ENDYMION.

A Poetic Romance.

"THE STRETCHED METRE OF AN AN ANTIQUE SONG."
INSCRIBED TO THE MEMORY OF THOMAS CHATTERTON.

Book I

A thing of beauty is a joy for ever:
Its loveliness increases; it will never
Pass into nothingness; but still will keep
A bower quiet for us, and a sleep
Full of sweet dreams, and health, and quiet breathing.
Therefore, on every morrow, are we wreathing
A flowery band to bind us to the earth,
Spite of despondence, of the inhuman dearth
Of noble natures, of the gloomy days,
Of all the unhealthy and o'er-darkened ways
Made for our searching: yes, in spite of all,
Some shape of beauty moves away the pall
From our dark spirits. Such the sun, the moon,
Trees old and young, sprouting a shady boon
For simple sheep; and such are daffodils
With the green world they live in; and clear rills
That for themselves a cooling covert make
'Gainst the hot season; the mid forest brake,
Rich with a sprinkling of fair musk-rose blooms:
And such too is the grandeur of the dooms
We have imagined for the mighty dead;
All lovely tales that we have heard or read:
An endless fountain of immortal drink,
Pouring unto us from the heaven's brink.

  Nor do we merely feel these essences
For one short hour; no, even as the trees
That whisper round a temple become soon
Dear as the temple's self, so does the moon,
The passion poesy, glories infinite,
Haunt us till they become a cheering light
Unto our souls, and bound to us so fast,
That, whether there be shine, or gloom o'ercast,
They alway must be with us, or we die.

  Therefore, 'tis with full happiness that I
Will trace the story of Endymion.
The very music of the name has gone
Into my being, and each pleasant scene
Is growing fresh before me as the green
Of our own vallies: so I will begin
Now while I cannot hear the city's din;
Now while the early budders are just new,
And run in mazes of the youngest hue
About old forests; while the willow trails
Its delicate amber; and the dairy pails
Bring home increase of milk. And, as the year
Grows lush in juicy stalks, I'll smoothly steer
My little boat, for many quiet hours,
With streams that deepen freshly into bowers.
Many and many a verse I hope to write,
Before the daisies, vermeil rimm'd and white,
Hide in deep herbage; and ere yet the bees
Hum about globes of clover and sweet peas,
I must be near the middle of my story.
O may no wintry season, bare and hoary,
See it half finished: but let Autumn bold,
With universal tinge of sober gold,
Be all about me when I make an end.
And now at once, adventuresome, I send
My herald thought into a wilderness:
There let its trumpet blow, and quickly dress
My uncertain path with green, that I may speed
Easily onward, thorough flowers and ****.

  Upon the sides of Latmos was outspread
A mighty forest; for the moist earth fed
So plenteously all ****-hidden roots
Into o'er-hanging boughs, and precious fruits.
And it had gloomy shades, sequestered deep,
Where no man went; and if from shepherd's keep
A lamb strayed far a-down those inmost glens,
Never again saw he the happy pens
Whither his brethren, bleating with content,
Over the hills at every nightfall went.
Among the shepherds, 'twas believed ever,
That not one fleecy lamb which thus did sever
From the white flock, but pass'd unworried
By angry wolf, or pard with prying head,
Until it came to some unfooted plains
Where fed the herds of Pan: ay great his gains
Who thus one lamb did lose. Paths there were many,
Winding through palmy fern, and rushes fenny,
And ivy banks; all leading pleasantly
To a wide lawn, whence one could only see
Stems thronging all around between the swell
Of turf and slanting branches: who could tell
The freshness of the space of heaven above,
Edg'd round with dark tree tops? through which a dove
Would often beat its wings, and often too
A little cloud would move across the blue.

  Full in the middle of this pleasantness
There stood a marble altar, with a tress
Of flowers budded newly; and the dew
Had taken fairy phantasies to strew
Daisies upon the sacred sward last eve,
And so the dawned light in pomp receive.
For 'twas the morn: Apollo's upward fire
Made every eastern cloud a silvery pyre
Of brightness so unsullied, that therein
A melancholy spirit well might win
Oblivion, and melt out his essence fine
Into the winds: rain-scented eglantine
Gave temperate sweets to that well-wooing sun;
The lark was lost in him; cold springs had run
To warm their chilliest bubbles in the grass;
Man's voice was on the mountains; and the mass
Of nature's lives and wonders puls'd tenfold,
To feel this sun-rise and its glories old.

  Now while the silent workings of the dawn
Were busiest, into that self-same lawn
All suddenly, with joyful cries, there sped
A troop of little children garlanded;
Who gathering round the altar, seemed to pry
Earnestly round as wishing to espy
Some folk of holiday: nor had they waited
For many moments, ere their ears were sated
With a faint breath of music, which ev'n then
Fill'd out its voice, and died away again.
Within a little space again it gave
Its airy swellings, with a gentle wave,
To light-hung leaves, in smoothest echoes breaking
Through copse-clad vallies,--ere their death, oer-taking
The surgy murmurs of the lonely sea.

  And now, as deep into the wood as we
Might mark a lynx's eye, there glimmered light
Fair faces and a rush of garments white,
Plainer and plainer shewing, till at last
Into the widest alley they all past,
Making directly for the woodland altar.
O kindly muse! let not my weak tongue faulter
In telling of this goodly company,
Of their old piety, and of their glee:
But let a portion of ethereal dew
Fall on my head, and presently unmew
My soul; that I may dare, in wayfaring,
To stammer where old Chaucer used to sing.

  Leading the way, young damsels danced along,
Bearing the burden of a shepherd song;
Each having a white wicker over brimm'd
With April's tender younglings: next, well trimm'd,
A crowd of shepherds with as sunburnt looks
As may be read of in Arcadian books;
Such as sat listening round Apollo's pipe,
When the great deity, for earth too ripe,
Let his divinity o'er-flowing die
In music, through the vales of Thessaly:
Some idly trailed their sheep-hooks on the ground,
And some kept up a shrilly mellow sound
With ebon-tipped flutes: close after these,
Now coming from beneath the forest trees,
A venerable priest full soberly,
Begirt with ministring looks: alway his eye
Stedfast upon the matted turf he kept,
And after him his sacred vestments swept.
From his right hand there swung a vase, milk-white,
Of mingled wine, out-sparkling generous light;
And in his left he held a basket full
Of all sweet herbs that searching eye could cull:
Wild thyme, and valley-lilies whiter still
Than Leda's love, and cresses from the rill.
His aged head, crowned with beechen wreath,
Seem'd like a poll of ivy in the teeth
Of winter ****. Then came another crowd
Of shepherds, lifting in due time aloud
Their share of the ditty. After them appear'd,
Up-followed by a multitude that rear'd
Their voices to the clouds, a fair wrought car,
Easily rolling so as scarce to mar
The freedom of three steeds of dapple brown:
Who stood therein did seem of great renown
Among the throng. His youth was fully blown,
Shewing like Ganymede to manhood grown;
And, for those simple times, his garments were
A chieftain king's: beneath his breast, half bare,
Was hung a silver bugle, and between
His nervy knees there lay a boar-spear keen.
A smile was on his countenance; he seem'd,
To common lookers on, like one who dream'd
Of idleness in groves Elysian:
But there were some who feelingly could scan
A lurking trouble in his nether lip,
And see that oftentimes the reins would slip
Through his forgotten hands: then would they sigh,
And think of yellow leaves, of owlets cry,
Of logs piled solemnly.--Ah, well-a-day,
Why should our young Endymion pine away!

  Soon the assembly, in a circle rang'd,
Stood silent round the shrine: each look was chang'd
To sudden veneration: women meek
Beckon'd their sons to silence; while each cheek
Of ****** bloom paled gently for slight fear.
Endymion too, without a forest peer,
Stood, wan, and pale, and with an awed face,
Among his brothers of the mountain chase.
In midst of all, the venerable priest
Eyed them with joy from greatest to the least,
And, after lifting up his aged hands,
Thus spake he: "Men of Latmos! shepherd bands!
Whose care it is to guard a thousand flocks:
Whether descended from beneath the rocks
That overtop your mountains; whether come
From vallies where the pipe is never dumb;
Or from your swelling downs, where sweet air stirs
Blue hare-bells lightly, and where prickly furze
Buds lavish gold; or ye, whose precious charge
Nibble their fill at ocean's very marge,
Whose mellow reeds are touch'd with sounds forlorn
By the dim echoes of old Triton's horn:
Mothers and wives! who day by day prepare
The scrip, with needments, for the mountain air;
And all ye gentle girls who foster up
Udderless lambs, and in a little cup
Will put choice honey for a favoured youth:
Yea, every one attend! for in good truth
Our vows are wanting to our great god Pan.
Are not our lowing heifers sleeker than
Night-swollen mushrooms? Are not our wide plains
Speckled with countless fleeces? Have not rains
Green'd over April's lap? No howling sad
Sickens our fearful ewes; and we have had
Great bounty from Endymion our lord.
The earth is glad: the merry lark has pour'd
His early song against yon breezy sky,
That spreads so clear o'er our solemnity."

  Thus ending, on the shrine he heap'd a spire
Of teeming sweets, enkindling sacred fire;
Anon he stain'd the thick and spongy sod
With wine, in honour of the shepherd-god.
Now while the earth was drinking it, and while
Bay leaves were crackling in the fragrant pile,
And gummy frankincense was sparkling bright
'Neath smothering parsley, and a hazy light
Spread greyly eastward, thus a chorus sang:

  "O THOU, whose mighty palace roof doth hang
From jagged trunks, and overshadoweth
Eternal whispers, glooms, the birth, life, death
Of unseen flowers in heavy peacefulness;
Who lov'st to see the hamadryads dress
Their ruffled locks where meeting hazels darken;
And through whole solemn hours dost sit, and hearken
The dreary melody of bedded reeds--
In desolate places, where dank moisture breeds
The pipy hemlock to strange overgrowth;
Bethinking thee, how melancholy loth
Thou wast to lose fair Syrinx--do thou now,
By thy love's milky brow!
By all the trembling mazes that she ran,
Hear us, great Pan!

  "O thou, for whose soul-soothing quiet, turtles
Passion their voices cooingly '**** myrtles,
What time thou wanderest at eventide
Through sunny meadows, that outskirt the side
Of thine enmossed realms: O thou, to whom
Broad leaved fig trees even now foredoom
Their ripen'd fruitage; yellow girted bees
Their golden honeycombs; our village leas
Their fairest-blossom'd beans and poppied corn;
The chuckling linnet its five young unborn,
To sing for thee; low creeping strawberries
Their summer coolness; pent up butterflies
Their freckled wings; yea, the fresh budding year
All its completions--be quickly near,
By every wind that nods the mountain pine,
O forester divine!

  "Thou, to whom every fawn and satyr flies
For willing service; whether to surprise
The squatted hare while in half sleeping fit;
Or upward ragged precipices flit
To save poor lambkins from the eagle's maw;
Or by mysterious enticement draw
Bewildered shepherds to their path again;
Or to tread breathless round the frothy main,
And gather up all fancifullest shells
For thee to tumble into Naiads' cells,
And, being hidden, laugh at their out-peeping;
Or to delight thee with fantastic leaping,
The while they pelt each other on the crown
With silvery oak apples, and fir cones brown--
By all the echoes that about thee ring,
Hear us, O satyr king!

  "O Hearkener to the loud clapping shears,
While ever and anon to his shorn peers
A ram goes bleating: Winder of the horn,
When snouted wild-boars routing tender corn
Anger our huntsman: Breather round our farms,
To keep off mildews, and all weather harms:
Strange ministrant of undescribed sounds,
That come a swooning over hollow grounds,
And wither drearily on barren moors:
Dread opener of the mysterious doors
Leading to universal knowledge--see,
Great son of Dryope,
The many that are come to pay their vows
With leaves about their brows!

  Be still the unimaginable lodge
For solitary thinkings; such as dodge
Conception to the very bourne of heaven,
Then leave the naked brain: be still the leaven,
That spreading in this dull and clodded earth
Gives it a touch ethereal--a new birth:
Be still a symbol of immensity;
A firmament reflected in a sea;
An element filling the space between;
An unknown--but no more: we humbly screen
With uplift hands our foreheads, lowly bending,
And giving out a shout most heaven rending,
Conjure thee to receive our humble Paean,
Upon thy Mount Lycean!

  Even while they brought the burden to a close,
A shout from the whole multitude arose,
That lingered in the air like dying rolls
Of abrupt thunder, when Ionian shoals
Of dolphins bob their noses through the brine.
Meantime, on shady levels, mossy fine,
Young companies nimbly began dancing
To the swift treble pipe, and humming string.
Aye, those fair living forms swam heavenly
To tunes forgotten--out of memory:
Fair creatures! whose young children's children bred
Thermopylæ its heroes--not yet dead,
But in old marbles ever beautiful.
High genitors, unconscious did they cull
Time's sweet first-fruits--they danc'd to weariness,
And then in quiet circles did they press
The hillock turf, and caught the latter end
Of some strange history, potent to send
A young mind from its ****** tenement.
Or they might watch the quoit-pitchers, intent
On either side; pitying the sad death
Of Hyacinthus, when the cruel breath
Of Zephyr slew him,--Zephyr penitent,
Who now, ere Phoebus mounts the firmament,
Fondles the flower amid the sobbing rain.
The archers too, upon a wider plain,
Beside the feathery whizzing of the shaft,
And the dull twanging bowstring, and the raft
Branch down sweeping from a tall ash top,
Call'd up a thousand thoughts to envelope
Those who would watch. Perhaps, the trembling knee
And frantic gape of lonely Niobe,
Poor, lonely Niobe! when her lovely young
Were dead and gone, and her caressing tongue
Lay a lost thing upon her paly lip,
And very, very deadliness did nip
Her motherly cheeks. Arous'd from this sad mood
By one, who at a distance loud halloo'd,
Uplifting his strong bow into the air,
Many might after brighter visions stare:
After the Argonauts, in blind amaze
Tossing about on Neptune's restless ways,
Until, from the horizon's vaulted side,
There shot a golden splendour far and wide,
Spangling those million poutings of the brine
With quivering ore: 'twas even an awful shine
From the exaltation of Apollo's bow;
A heavenly beacon in their dreary woe.
Who thus were ripe for high contemplating,
Might turn their steps towards the sober ring
Where sat Endymion and the aged priest
'**** shepherds gone in eld, whose looks increas'd
The silvery setting of their mortal star.
There they discours'd upon the fragile bar
That keeps us from our homes ethereal;
And what our duties there: to nightly call
Vesper, the beauty-crest of summer weather;
To summon all the downiest clouds together
For the sun's purple couch; to emulate
In ministring the potent rule of fate
With speed of fire-tailed exhalations;
To tint her pallid cheek with bloom, who cons
Sweet poesy by moonlight: besides these,
A world of other unguess'd offices.
Anon they wander'd, by divine converse,
Into Elysium; vieing to rehearse
Each one his own anticipated bliss.
One felt heart-certain that he could not miss
His quick gone love, among fair blossom'd boughs,
Where every zephyr-sigh pouts and endows
Her lips with music for the welcoming.
Another wish'd, mid that eternal spring,
To meet his rosy child, with feathery sails,
Sweeping, eye-earnestly, through almond vales:
Who, suddenly, should stoop through the smooth wind,
And with the balmiest leaves his temples bind;
And, ever after, through those regions be
His messenger, his little

In ’68 Hutch and me,
Sitting at the bar drinking
Our third cold beer.
In a semi Fern Bar
Laguna or Newport Beach
Which now, I’m not sure.
It was around nine or so,
A week day night,
The place more empty than not.

She came in alone, made
Entry like the dramatic host of
A TV show. As if she were the
Center piece on the nations
Thanksgiving Dinner Table.
Over dressed to the nines,
Lots of color, heavy make up
She didn’t really need.

Her perfume scent hovered
Around her like a cloud of insects  
On a hot summer night in a wet meadow.
Kind of made my eyes water up.

She perched daintily like a dancer,
Upon a bar stool,
Three empty stools down,
Nodded the bartender her regular order.
A martini, a double it was,
With but a dab of vermouth.
One green olive on a stick.
The glass was prechilled as if
It had been waiting only for her.
She pounded that first one down,
As if the stem wear was a shot glass.
Another full stem glass appeared,
That one also quickly consumed
Two bright red lipstick stains all that
Remained in or on the stemmed glass rim.

Her main task accomplished,
She audibly exhaled,
As if tired or relieved.
I couldn't tell which.
Turned around on her stool to face
Hutch sitting closest to her.
“You boys Marines.” She declared,
More than inquired.
The close chopped hair cuts
giving us away.

Hutch just nodded, he never did say much.
A ****** just back from The Nam,
A dark scary guy of few words.

She opened her fur trimmed cloth coat,
exposing two very nice stocking clad legs,
And just a quick flash of red underpants.
Rotating towards us so we got a better shot.

She announced her name,
like as if we should know it.
Our blank stares informed her we didn’t.
Her face was to me, somewhat familiar.  
From movies in the 40s or 50s.
We were early 20 guys, she much older,
Trying hard to look younger, not succeeding.

Soon she was sitting right next to Hutch,
Two more Martini stems had come and gone,
Her lipstick finger prints upon them.
And still Hutch had not spoken more than
Three or four words.

She bought us a pitcher of brew,
Hutch grunted a short bit of gratitude.
We didn't have to say much, she was in charge.
It was all about her, she rambled on and on
Speaking volumes saying not much at all.
Beating back her crushing obscurity,
With flowery reminiscence recall,
Of glory days, long gone away.
Important for the moment, if only to her.
It was all; “me and I, I did this, I was that,
I slept with him,
And him and him”.
How about so and so?  I asked,
“No Darling not him, he was gay!
Still is.”

It was not long and she was touching Hutch.
On the hand, the shoulder, she was working him
With languid hungry looks from her big baby blues,
And the message could not have been plainer,
Had she held up a large hand lettered sign.

I don’t believe she was a “Working Girl”,
Just someone very lonely seeking to find
Herself, and some company for the night,
All to prove that she was still alive.

Looking at her, I could only think,
How sad and pathetic she seemed,
How desperate her plight.
To humble herself so,
In that dingy bar, among strangers
She did not know, Acting yet, still
On the only stage she could find,
Staring in her own bad ‘B’ movie drama.
In that dingy smelly bar.

Hutch and her left after a hour or so,
He never told me much about it.
He was unofficially AWOL for three days.
I covered for him, kept his name off the
Missing Morning Formation Reports
and the Daily Duty Lists.
No one cared to check. Our unit made up
Of mostly guys back from the war,
A pretty loosey-goosey outfit.

Once in a while now I see an old movie,
most are Black and white, Film Noir stuff,
And there she is, a much younger her,
Looking pretty **** good,
Not real big roles they were,
Claimed she was in the chorus
Of "Singing In The Rain" in '52.
To this, I can not attest,
watched that film several times,
But I never saw her there.

Had parts Playing damsels in distress,
A mobster’s gun moll a time or two,
Or unhappy Play Girls on a bar stool.
I guess it was type casting that done her in.
Or maybe she got a little too long in the tooth..
A sad ending to a short B movie career.
Life ain’t easy, even for a so called “movie star”.
Fame is not all it’s cracked up to be.
A smattering of fame, apparently worth,
Nothing at all.

The sun's shining as is the rainbow;
Let's farm away where berries shall grow;
I shall put on my wintry winter shawl;
Before we welcome the red nightfall;

I shall meet thee and knock on thy door;
Then we shall dance across the moors;
Lovely hazes and hard yellow bees;
All are waiting for just I and thee;

Immortal wears his brown jacket;
With two long sleeves and one deep pocket;
I'm in my turquoise scarf and dress;
I'll bring my poetry and bird nest;

We shall witness out the chirping birds;
As we roam along the night's pale outskirts;
I'll be blended into his shy charms;
He'll be held safe against my arms;

Our utopia's in the back garden;
By a small road and a white haven;
I like its rustic tiny wild sculpture;
With some epic squares and structures;

None hath ever found this sweet place;
It is mere ours by the foliage;
Built from old oak that once went to waste;
With terrific charms that shall never age;

We shall sit by the streams of the nook;
I'll read him part of my story book;
He shall laze about and close his brown eyes;
While he says that love shall never ever die;

He shall devour his favourite candy;
Which he always has when he is with me;
Then we’ll grab chairs and joke on rooftops;
To watch birds sleep and a rabbit hop.

We shall there eat the finest of cherries;
And grab back home one row of strawberries;
Night shall descend and threat its own dusk;
It shall taunt us by its empowered mask;

And the moon shall just smell like green musk;
One that loving hearts are keen to ask;
But one still plainer than my love's;
One less striking than his jokes and laughs;

And seeing him is my comeliest provision;
Come to me again, and repeat our past visions;
Doth thou recall not, our once righteous dreams;
Which are finer than everything else may seem;

Oh my darling help me feel blessings;
Stay by my side and cheer our own utopia;
Thou, who meaneth to me more than everything;
My river, my lilac, my embroidered sonata;

I would like to age beside you;
By whom every day feels lifelike and new;
By whose side promises shall all be true;
By whose words I shall not feel blue;

I would like to die by your side;
And have you within my last sight;
By whom I shall utter my last breath;
Before I return in one happy death;

By whom I'll replace what was lost;
My cries at morn and cold midnight frost;
By whom I shall write about love and lust;
By whom I'll die and re-turn to dust.

By whom I’ll sail seas and oceans;
By whom I’ll pursue salvation;
To whom I’ll give the whole of my heart;
For whom my passion shall forever last.

By whom I'll breathe and live and die;
By whom I’ll greet nights and daylights;
With whom I'll pray to the One up high;
With whom I'll bow to Him in the sky.

Venus, when her son was lost,
Cried him up and down the coast,
In hamlets, palaces, and parks,
And told the truant by his marks,
Golden curls, and quiver, and bow;—
This befell long ago.
Time and tide are strangely changed,
Men and manners much deranged;
None will now find Cupid latent
By this foolish antique patent.
He came late along the waste,
Shod like a traveller for haste,
With malice dared me to proclaim him,
That the maids and boys might name him.

Boy no more, he wears all coats,
Frocks, and blouses, capes, capôtes,
He bears no bow, or quiver, or wand,
Nor chaplet on his head or hand:
Leave his weeds and heed his eyes,
All the rest he can disguise.
In the pit of his eyes a spark
Would bring back day if it were dark,
And,—if I tell you all my thought,
Though I comprehend it not,—
In those unfathomable orbs
Every function he absorbs;
He doth eat, and drink, and fish, and shoot,
And write, and reason, and compute,
And ride, and run, and have, and hold,
And whine, and flatter, and regret,
And kiss, and couple, and beget,
By those roving eye-***** bold;
Undaunted are their courages,
Right Cossacks in their forages;
Fleeter they than any creature,
They are his steeds and not his feature,
Inquisitive, and fierce, and fasting,
Restless, predatory, hasting,—
And they pounce on other eyes,
As lions on their prey;
And round their circles is writ,
Plainer than the day,
Underneath, within, above,
Love, love, love, love.
He lives in his eyes,
There doth digest, and work, and spin,
And buy, and sell, and lose, and win;
He rolls them with delighted motion,
Joy-tides swell their mimic ocean.
Yet holds he them with tortest rein,
That they may seize and entertain
The glance that to their glance opposes,
Like fiery honey ****** from roses.

He palmistry can understand,
Imbibing virtue by his hand
As if it were a living root;
The pulse of hands will make him mute;
With all his force he gathers balms
Into those wise thrilling palms.

Cupid is a casuist,
A mystic, and a cabalist,
Can your lurking Thought surprise,
And interpret your device;
Mainly versed in occult science,
In magic, and in clairvoyance.
Oft he keeps his fine ear strained,
And reason on her tiptoe pained,
For aery intelligence,
And for strange coincidence.
But it touches his quick heart
When Fate by omens takes his part,
And chance-dropt hints from Nature's sphere
Deeply soothe his anxious ear.

Heralds high before him run,
He has ushers many a one,
Spreads his welcome where he goes,
And touches all things with his rose.
All things wait for and divine him,—
How shall I dare to malign him,
Or accuse the god of sport?—
I must end my true report,
Painting him from head to foot,
In as far as I took note,
Trusting well the matchless power
Of this young-eyed emperor
Will clear his fame from every cloud,
With the bards, and with the crowd.

He is wilful, mutable,
Shy, untamed, inscrutable,
Swifter-fashioned than the fairies,
Substance mixed of pure contraries,
His vice some elder virtue's token,
And his good is evil spoken.
Failing sometimes of his own,
He is headstrong and alone;
He affects the wood and wild,
Like a flower-hunting child,
Buries himself in summer waves,
In trees, with beasts, in mines, and caves,
Loves nature like a horned cow,
Bird, or deer, or cariboo.

Shun him, nymphs, on the fleet horses!
He has a total world of wit,
O how wise are his discourses!
But he is the arch-hypocrite,
And through all science and all art,
Seeks alone his counterpart.
He is a Pundit of the east,
He is an augur and a priest,
And his soul will melt in prayer,
But word and wisdom are a snare;
Corrupted by the present toy,
He follows joy, and only joy.

There is no mask but he will wear,
He invented oaths to swear,
He paints, he carves, he chants, he prays,
And holds all stars in his embrace,
Godlike, —but 'tis for his fine pelf,
The social quintessence of self.
Well, said I, he is hypocrite,
And folly the end of his subtle wit,
He takes a sovran privilege
Not allowed to any liege,
For he does go behind all law,
And right into himself does draw,
For he is sovranly allied.
Heaven's oldest blood flows in his side,
And interchangeably at one
With every king on every throne,
That no God dare say him nay,
Or see the fault, or seen betray;
He has the Muses by the heart,
And the Parcæ all are of his part.

His many signs cannot be told,
He has not one mode, but manifold,
Many fashions and addresses,
Piques, reproaches, hurts, caresses,
Action, service, badinage,
He will preach like a friar,
And jump like Harlequin,
He will read like a crier,
And fight like a Paladin.
Boundless is his memory,
Plans immense his term prolong,
He is not of counted age,
Meaning always to be young.
And his wish is intimacy,
Intimater intimacy,
And a stricter privacy,
The impossible shall yet be done,
And being two shall still be one.
As the wave breaks to foam on shelves,
Then runs into a wave again,
So lovers melt their sundered selves,
Yet melted would be twain.

815

The Luxury to apprehend
The Luxury ’twould be
To look at Thee a single time
An Epicure of Me

In whatsoever Presence makes
Till for a further Food
I scarcely recollect to starve
So first am I supplied—

The Luxury to meditate
The Luxury it was
To banguet on thy Countenance
A Sumptuousness bestows

On plainer Days, whose Table far
As Certainty can see
Is laden with a single Crumb
The Consciousness of Thee.

On the top of the Crumpetty Tree
The Quangle Wangle sat,
But his face you could not see,
On account of his ****** Hat.
For his Hat was a hundred and two feet wide,
With ribbons and bibbons on every side
And bells, and buttons, and loops, and lace,
So that nobody every could see the face
Of the Quangle Wangle Quee.
The Quangle Wangle said
To himself on the Crumpetty Tree, --
"Jam; and jelly; and bread;
"Are the best of food for me!
"But the longer I live on this Crumpetty Tree
"The plainer than ever it seems to me
"That very few people come this way
"And that life on the whole is far from gay!"
Said the Quangle Wangle Quee.
But there came to the Crumpetty Tree,
Mr. and Mrs. Canary;
And they said, -- "Did every you see
"Any spot so charmingly airy?
"May we build a nest on your lovely Hat?
"Mr. Quangle Wangle, grant us that!
"O please let us come and build a nest
"Of whatever material suits you best,
"Mr. Quangle Wangle Quee!"
And besides, to the Crumpetty Tree
Came the Stork, the Duck, and the Owl;
The Snail, and the Bumble-Bee,
The Frog, and the Fimble Fowl;
(The Fimble Fowl, with a corkscrew leg;)
And all of them said, -- "We humbly beg,
"We may build out homes on your lovely Hat, --
"Mr. Quangle Wangle, grant us that!
"Mr. Quangle Wangle Quee!"
And the Golden Grouse came there,
And the Pobble who has no toes, --
And the small Olympian bear, --
And the **** with a luminous nose.
And the Blue Baboon, who played the Flute, --
And the Orient Calf from the Land of Tute, --
And the Attery Squash, and the Bisky Bat, --
All came and built on the lovely Hat
Of the Quangle Wangle Quee.
And the Quangle Wangle said
To himself on the Crumpetty Tree, --
"When all these creatures move
"What a wonderful noise there'll be!"
And at night by the light of the Mulberry moon
They danced to the Flute of the Blue Baboon,
On the broad green leaves of the Crumpetty Tree,
And all were as happy as happy could be,
With the Quangle Wangle Quee.

In this age of global uncertainty, clothes have become a kind of panacea for a growing number of consumers. Designers are responding to the political upheavals of the past year by injecting some much-needed humour into women’s wardrobes. Browns CEO Holli Rogers is already predicting that spring’s sartorial hit will be Rosie Assoulin’s smiley-face T-shirt. This cheery number, which reads "Thank you! Have a Nice Day!’" neatly sums up the jubilant mood of the coming season.

The logic goes that turning up the dial on the fun, the colourful and the crazy is the sartorial equivalent of Michelle Obama’s "when they go low, we go high" mantra. We may not be able to control the chaos of world events, but we still rule our own style.

It’s no coincidence that a cartoonish aesthetic, of the sort you’d find if you rifled through an eccentric child’s dressing-up box, was in plentiful supply on the spring/summer 2017 runways. Alessandro Michele’s army of Gucci geeks displayed growing swagger in garish get-ups that ran from fuzzy crayon-coloured furs featuring zebras to tiered, tinsel-y coats that rivalled Grandma’s Christmas tree.

It was a similar story at Dolce & Gabbana, where sumptuous eveningwear was loaded with pasta and pizza motifs, and drums became bags, while Marc Jacobs tore a page from a psychedelic colouring book, covering clothes with the childlike scrawl of the London illustrator Julie Verhoeven. Even ardent minimalists would have to admit that these playful looks have potent pick-me-up power.

For Anya Hindmarch – whose empire is built on feel-good fashion – all this frivolity is nothing new. "An ironic, lighter and more irreverent approach has always been my thing. People love beautiful objects and increasingly, they want to show their character – that’s the point of fashion," she says. "Customers today are more confident with their style. There aren’t so many rules. It’s about putting a sticker on a beautiful handbag and not being too precious about it."

What’s surprising is who is consuming this cartoonish style. Though there’s no real rhyme or reason, says Hindmarch, often it’s older clients who are investing in the maddest pieces – like her cuddly, googly-eyed Ghost backpack that has also been spotted on Gigi Hadid and Kendall Jenner.

The same is true of the customer for the Lebanese designer Mira Mikati’s emoji-embellished styles. Though her fans run from twenty to fiftysomethings, at a recent London pop-up one of Mikati’s most ardent buyers was an 87-year-old. "She tells me that whenever she wears my clothes people stop her on the street. They smile. They start conversations. She literally makes friends through what she wears."

Mikati began her career as a buyer, co-founding the upscale Beirut boutique Plum, before launching her own line some four seasons ago – largely out of frustration at the sameness of the mainstream collections. "I wanted to create something fun and colourful but easy to wear – that you can add to jeans and a white T-shirt, but that’s also a conversation point."

Her clothes, worn by Beyoncé and Rihanna, are certainly that: pink parrot-appliquéd trench coats, scribble-print hooded tops and dresses clad with a family of monsters who spell out her Peter Pan ethos in scrawled speech bubbles that read "Never Grow Up’" The antithesis of normcore, these designs take their cue from her children’s toy trunk and the Japanese pop art of Takashi Murakami – who returned the compliment by donning one of her patched bombers.

Mikati is clearly onto something. According to Roberta Benteler, who founded online fashion emporium Avenue 32 in 2011, it’s the cartoon aesthetic that’s really piquing women’s desire right now.

"Anything that looks like a child’s drawing or a toy sells incredibly well," she says. "Brands like Mira Mikati, Vivetta and Les Petits Joueurs inspire the impulse to buy because they’re so eye-catching. You have to have it now because there’s a sense you won’t find it anywhere else."

The exponential rise of street-style stars and the social-media machine that now propels the fashion industry also plays a part in the popularity of these playful looks.

"Designers are creating for the online world and customer," continues Benteler, who cites the Middle Eastern consumer as a big investor in these niche eccentric designs. "People find escapism in fashion and more than ever they need something to cheer them up. These are clothes that stand out on Instagram, and for designers that translates into sales."

In practical terms, in an effort to beat the warp speed of high-street copying, designers are differentiating themselves with increasingly intricate and artisanal styles that are harder to mimic. Just because these pieces have a childlike sensibility doesn’t mean they’re not beautifully crafted.

"My aim is create a handbag that you can keep as a design piece," explains the accessories designer Paula Cademartori. One of her most successful designs – the Petite Faye bag, which comes in a whole rainbow of configurations – takes more than 32 hours to create at her Italian studio. "Even if the styles are colourful and speak loudly, they’re still sophisticated," says Cademartori, whose brand was recently snapped up by the luxury goods group OTB. It can pay to be playful.

One man with a unique insight into the feel-good phenomenon is Marco de Vincenzo, who combines his longstanding role as leather goods head designer at Fendi with creating his own collection. "When we first created the Fendi monster accessories for bags we were simply playing around," he says of the charms that still loom large some three years on. "The most successful designs are created without pressure, through play."

His own-line debut bag features an animalistic paw. ‘It’s about creating something new and different for women to discover,’ he explains. "You buy something because you love it, not because you need it. Fashion is like a game – it has to excite."

When it comes to distilling this childlike abandon into your wardrobe, take cues from super style blogger Leandra Medine, who balances madcap pieces, such as her first collection of colourful footwear under her MR By Man Repeller label, with plainer, simpler ones. "It’s all about wearing your clothes with joy, and having fun, but not looking ridiculous," says Cademartori. "You don’t want to look like an actual cartoon."

It’s advice that chimes with that of Anya Hindmarch. "I love the idea of wearing a super-simple Comme des Garçons jacket and a white shirt with a really fun bag to mess it all up a bit." It’s a failsafe formula for dressing your way to happiness.Read more at:http://www.marieaustralia.com/formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

XXXVIII

First time he kissed me, he but only kissed
The fingers of this hand wherewith I write;
And ever since, it grew more clean and white,
Slow to world-greetings, quick with its ‘Oh, list,’
When the angels speak. A ring of amethyst
I could not wear here, plainer to my sight,
Than that first kiss. The second passed in height
The first, and sought the forehead, and half missed,
Half falling on the hair. O beyond meed!
That was the chrism of love, which love’s own crown,
With sanctifying sweetness, did precede.
The third upon my lips was folded down
In perfect, purple state; since when, indeed,
I have been proud and said, ‘My love, my own.’

The groves were God's first temples. Ere man learned
To hew the shaft, and lay the architrave,
And spread the roof above them,--ere he framed
The lofty vault, to gather and roll back
The sound of anthems; in the darkling wood,
Amidst the cool and silence, he knelt down,
And offered to the Mightiest solemn thanks
And supplication. For his simple heart
Might not resist the sacred influences
Which, from the stilly twilight of the place,
And from the gray old trunks that high in heaven
Mingled their mossy boughs, and from the sound
Of the invisible breath that swayed at once
All their green tops, stole over him, and bowed
His spirit with the thought of boundless power
And inaccessible majesty. Ah, why
Should we, in the world's riper years, neglect
God's ancient sanctuaries, and adore
Only among the crowd, and under roofs
That our frail hands have raised? Let me, at least,
Here, in the shadow of this aged wood,
Offer one hymn--thrice happy, if it find
Acceptance in His ear.

                       Father, thy hand
Hath reared these venerable columns, thou
Didst weave this verdant roof. Thou didst look down
Upon the naked earth, and, forthwith, rose
All these fair ranks of trees. They, in thy sun,
Budded, and shook their green leaves in thy breeze,
And shot towards heaven. The century-living crow,
Whose birth was in their tops, grew old and died
Among their branches, till, at last, they stood,
As now they stand, massy, and tall, and dark,
Fit shrine for humble worshipper to hold
Communion with his Maker. These dim vaults,
These winding aisles, of human pomp or pride
Report not. No fantasting carvings show
The boast of our vain race to change the form
Of thy fair works. But thou art here--thou fill'st
The solitude. Thou art in the soft winds
That run along the summit of these trees
In music;--thou art in the cooler breath
That from the inmost darkness of the place
Comes, scarcely felt; the barky trunks, the ground,
The fresh moist ground, are all instinct with thee.
Here is continual worship;--nature, here,
In the tranquillity that thou dost love,
Enjoys thy presence. Noiselessly, around,
From perch to perch, the solitary bird
Passes: and yon clear spring, that, midst its herbs,
Wells softly forth and visits the strong roots
Of half the mighty forest, tells no tale
Of all the good it does. Thou hast not left
Thyself without a witness, in these shades,
Of thy perfections. Grandeur, strength, and grace
Are here to speak of thee. This mighty oak--
By whose immovable stem I stand and seem
Almost annihilated--not a prince,
In all that proud old world beyond the deep,
Ere wore his crown as loftily as he
Wears the green coronal of leaves with which
Thy hand has graced him. Nestled at his root
Is beauty, such as blooms not in the glare
Of the broad sun. That delicate forest flower
With scented breath, and look so like a smile,
Seems, as it issues from the shapeless mould,
An emanation of the indwelling Life,
A visible token of the upholding Love,
That are the soul of this wide universe.

  My heart is awed within me when I think
Of the great miracle that still goes on,
In silence, round me--the perpetual work
Of thy creation, finished, yet renewed
For ever. Written on thy works I read
The lesson of thy own eternity.
Lo! all grow old and die--but see again,
How on the faltering footsteps of decay
Youth presses--ever gay and beautiful youth
In all its beautiful forms. These lofty trees
Wave not less proudly that their ancestors
Moulder beneath them. Oh, there is not lost
One of earth's charms: upon her ***** yet,
After the flight of untold centuries,
The freshness of her far beginning lies
And yet shall lie. Life mocks the idle hate
Of his arch enemy Death--yea, seats himself
Upon the tyrant's throne--the sepulchre,
And of the triumphs of his ghastly foe
Makes his own nourishment. For he came forth
From thine own *****, and shall have no end.

  There have been holy men who hid themselves
Deep in the woody wilderness, and gave
Their lives to thought and prayer, till they outlived
The generation born with them, nor seemed
Less aged than the hoary trees and rocks
Around them;--and there have been holy men
Who deemed it were not well to pass life thus.
But let me often to these solitudes
Retire, and in thy presence reassure
My feeble virtue. Here its enemies,
The passions, at thy plainer footsteps shrink
And tremble and are still. Oh, God! when thou
Dost scare the world with tempests, set on fire
The heavens with falling thunderbolts, or fill,
With all the waters of the firmament,
The swift dark whirlwind that uproots the woods
And drowns the villages; when, at thy call,
Uprises the great deep and throws himself
Upon the continent, and overwhelms
Its cities--who forgets not, at the sight
Of these tremendous tokens of thy power,
His pride, and lays his strifes and follies by?
Oh, from these sterner aspects of thy face
Spare me and mine, nor let us need the wrath
Of the mad unchained elements to teach
Who rules them. Be it ours to meditate
In these calm shades thy milder majesty,
And to the beautiful order of thy works
Learn to conform the order of our lives.

559

It knew no Medicine—
It was not Sickness—then—
Nor any need of Surgery—
And therefore—’twas not Pain—

It moved away the Cheeks—
A Dimple at a time—
And left the Profile—plainer—
And in the place of Bloom

It left the little Tint
That never had a Name—
You’ve seen it on a Cast’s face—
Was Paradise—to blame—

If momently ajar—
Temerity—drew near—
And sickened—ever afterward
For Somewhat that it saw?

There is something discombobulating about feeling a shudder and a tilt, the models in front of you apparently moving slowly sideways, as the stand with your show seat starts to move in circles.

At the same time, the models at the Céline show seemed to be going off in all directions. Popping in and out of the black holes of space were models - young or older - wearing a smart green masculine trouser suit, a striped shirt, a white belted raincoat, something furry and - unexpectedly - a tunic and trousers printed with black wheels and checks skittering before your eyes.

All this and the bodies and arms of shadowy people behind the plastic backdrop. I rushed backstage to try to make sense of the show chaos (sorry: artistic intrigue), but designer Phoebe Philo did not want to talk when I asked her the point of her dramatic presentation of her Autumn/Winter 2017 collection.

"Just ideas coming together with lots of ideas," said the designer. "Just lots and lots of ideas and how they impact each other."

Around me, Phoebe's team were hugging and sobbing and clutching each other, as if this show were their last. Overview notes provided by the public relations people seemed even more confusing, apart from telling me that the installation (that required more electric cables and wires than I have ever seen above a fashion runway) was by French artist Philippe Parreno.

''The Céline AW17 collection explored Phoebe Philo's storytelling design process of how a collection is created and the notion of how changes result in impact," read the statement. "Further, the collection relates closely to the interconnected nature of women's lives and possibilities for women."

Before I read this, I had thought of Phoebe as the English designer who has her children running around backstage and who made practical but classy clothes for today's woman. She threw into the mix a few charming pieces like the fluffy flat sandals that have been picked up by other designers across the world.

With all that on offer, why did the new Céline collection have to complicate things so much?

Take away the moving seats and impossible-to-follow criss-cross of the models and there was the Céline look that any woman would crave: the bold, floor-length tailored coat; a tuxedo with its hemline sweeping right down to the ankle. The tailoring looked bigger, oversized even, which is in tune with the Eighties-style square shoulders that we have seen elsewhere this season.

Phoebe seemed to be offering a hardened version of the serenity she once found in streamlined clothes. An example of the new severity would be a plain, long sleeved dress with a hemline at mid-calf. Its softer side was a blue shirt elongated to the ankle and worn with trousers.

Ultimately, Phoebe offers 21st century elegance with the smooth lines disrupted by a tangle of fringe at the hem or what appeared to be a big blanket over one arm.

I received an overall impression of longer - to the ankle - length, a sense of sobriety and a few fanciful things for evening. What I missed in the hurdy-gurdy of the presentation, is, as yet, unknown.

With exquisite workmanship and Victoriana melded with pop, Pierpaolo Piccioli had a new vision of romance for the digital era.

Prudishness and pop - can the two really meld together? Yes! If the Victorian-style cape is in a vivid, sugary, postmodern pink and the dress underneath a colourful geometric pattern, recalling the Memphis era.

At Valentino, the 1880s met the 1980s with sensational results as designer Pierpaolo Piccioli dismissed the feminist vibe that has reverberated through the Autumn/Winter 2017 season yet created a collection that was respectful to and joyful for, women.

Just looking at the designer's four moodboards was a history lesson, as Pierpaolo whizzed me through dark Victorian carved birds, bright Memphis furniture, coral with a religious connection to Medusa - so much from the past crammed into one collection.

Yet on the runway, the result was far from overloaded, as the history of coral was subsumed into the necklaces all the models wore and the deflated Victorian silhouette - long and high waisted, but slim where a crinoline once was, seemed perfectly acceptable as a romantic vision of the 21st century.

"I wanted to add deepness and romanticism to the modernity of the shapes, so these are absolutely items that you can wear separately - a white shirt or the skirt with your own sweater," said Pierpaolo. "I think fashion is made for dreams, but sometimes you want a dream that is daywear."

The Valentino studios are at the heart of the matter, apparently finding it as easy to toss off a tailored coat with a mid-calf hemline nudging Victoriana bootees, as it is to make a soft, light dress to flow underneath. The detail and delicacy of the dresses seemed like an extension of the haute couture, but the designer was eager to point out that the clothes came from the Italian factory dedicated to Valentino.

Whether it is so easy visually to mix a sorbet pink top with tiny ruffles down the arms that flowed into a cherry ripe panelled skirt, the result was surprisingly calm. Even the dresses patterned with Memphis pop blended in with the plainer, pleated versions. And just when you thought that the show's high romance was over blown, the designer would slip in a black top over a pair of sloppy velvet trousers or calm a Memphis patterned dress with a tailored coat. A severe black jacket could be worn with anything already in the closet from an LBD to blue jeans. Like the tailored coats, it kept ripe femininity in check.

"For me it is important to keep the lightness, otherwise it doesn’t feel confident and if you don’t feel that you don’t feel beautiful," said Pierpaolo. "I think if you feel confident you can even be able to show your sensibility and really feel stronger."

However you rated the clothes - too fancy, too froufrou, too historical - there is no denying that Pierpaolo has created a vision that is respectful to women and which makes them feel beautiful. In a churning political universe, Valentino offers a small, still voice of calm.

Demna Gvasalia revisited Cristóbal’s silhouettes with surges of modern colour, print and volume.

Balenciaga haute couture has been revived for the first time since Cristóbal himself closed the house nearly half a century ago. The last nine outfits shown by creative director Demna Gvasalia, on the huge carpet patterned with the word 'Balenciaga,' had their roots in the legacy of grandeur left by the noble Spanish-born couturier, who died in 1972.

Demna, who started in fashion by building street-smart, unadorned clothes, deliberately named just Vetements (the French word for clothing), has turned towards the grandeur of the original designs that are part of the Balenciaga legacy.

“I thought 100 years was a good reason to make couture available again,” said Demna backstage. “We're not going to do a couture line or show during couture, but these pieces will be made to order – basically for people who want to buy a couture dress from Balenciaga.”

The grand offerings – the polka dot dress with bustle back, the layers of dark pink taffeta, and a slim black gown, all with large back bows, were not the only historic links. The show opened with tailored coats which were worn with a drape over the left shoulder, reminiscent of the way that the models of an earlier era would walk with their heads up, shoulders rounded and stomachs sunk in.

“I studied how the pieces are worn and I found these images from old mood boards of Cristóbal where women are standing with their coats like this,” the designer explained. “The idea was to bring this kind of elegance, the gesture of wearing those pieces, but take it into a kind of cool and make it more modern. You can also wear it in a normal way, but it is constructed so that one part is larger and then you can also pin it up. And this is what you see basically in all these books.”

Demna's way of rethinking with his brain what he had seen with his eyes is exceptional – and the reason why he seems able to update the house as if he were growing new shoots from existing roots.

The arrival of vivid colour signalled a change of pace, as every figure stood out in the farthest reach of the enormous sports stadium. The hosiery especially perhaps, in grass green, and cut-away waistcoats like harnesses in pastel colours, took the image of Balenciaga back to the early days of Nicolas Ghesquière and his futuristic period at the house.

Demna is also drawn by the flowers that were a part of the Cristóbal Balenciaga look; by showing a patterned skirt with big, bold, brightly coloured sweaters, he gave print a modern feel.

The show was not perfect. Mini dresses in the floral patterns and bright hose looked out of place. But the overall effect was precise but theatrical, with the couture creating a dramatic ending.

Choosing Demna may have been a gamble by François-Henri Pinault, CEO of Kering, the luxury group that owns Balenciaga. But the designer has turned out to be able to answer fashion's most difficult challenge: finding the balance between old and new, tipped towards the future.Read more at:http://www.marieaustralia.com/cocktail-dresses | www.marieaustralia.com/****-formal-dresses

the i.q. (intelligence quotient) is hardly representative,
you can bishop-streak as a tourist to Giza and get
the same result... quotient etymologically speaking
is simply a quote, statistically represented -
meaning it only gathered answers from
the μ - median, mean, and meridian, also
a fond mention of mode: we all wish to sleep as peacefully
as the dead, necromancy with the pepper & salt shakers
for the fancy... stirrup hunch to giddy up,
and that makes two of us qualm bitter with
                                                    the grey matter
unexposed in chess tournaments.
i.q. (intelligence quotient) v. i.i. (intelligence inclusiveness):
that too.. statistics means a lot of autism
and many tiger mommies... preferably with surname Chang....
bright kid / always the dummies -
make that five years after the the show,
show them bullied... n'ah, you wont.
meaning the only thing included is
a pyramid and competitiveness, rather than shared
genius - which is hard to come by -
yes, the inclusiveness bit of the Rubik's cube solved
like Pavlov's tongue and the palette of a dog
given Sumerian cuisine to slobber over
when ingesting a tablespoon of cinnamon as the
other educated guess: the educated joke, universities
are famous for them being practised.
thus μ and the statistician's consonant... constant...
three tiers of synonymous bishops making up one
cardinal - intelligence is well enough quotient's worth
and the pyramid for a competitive streak of further events...
but such intelligence performed as example among
children doesn't qualify others to share the oncoming demise...
we need intelligence of an inclusive nature,
not a statistical correspondence with economists dodging
hard questions with quick investment answers...
we need people to tell the difference between
inclusiveness on the plural scaling of being a part of,
rather than an exclusiveness on the plural scaling of not being
a part of (alter: an exclusiveness on the solipsistic slave-scaling
of simply da sein - i.e. being there) -
i get the pronoun ambiguity, whenever there's no i involved
and it's purely a thing, everyone in the factory asks for the
Schindler's List - whether or not people are organic or
prosthetic(s) extending into a network of parasite or host
economy projects, and people ask those questions;
meaning? people are more likely to dismiss the idea of
a soul (an indestructible part of themselves, whether
contemporary or far fetched in terms of: ahead - Kant lives on
from the 18th century, plastic surgery will make others like you
take up the augmentation many decades later... there is always
something indestructible about you... it's called recycling
in the transference of physics, or metaphysics, the soul is like
an atom... it's indestructible... but your ego isn't... your ego
has no correlative support of the soul - your soul is an
indestructible unit, prone to gravity e.g., but your ego is prone
to the more pervasive moral force, which gravity isn't
a part of in term of monotheist glue... namely conscience...
the indestructible part of your isn't a self-conscious Jungian
jargon bit watered with control that you're aware of...
the soul, the unit of indestructibility is the unconscious bit...
which is why we continue to have actors, poets, plumbers,
bus drivers... you can't destroy the soul in the collective
unconscious sense of things... the indestructible element of
your being continues regardless of your wish to sell
out and profit or take an overly conscious case of
being aware of conning the selfish gene stipend on Wall Street...
it still bites back at your **** for showing off your yacht
rather than your Mongolian yurt.
the soul is real... not in an individualised sense of things...
the individual is completely destroyed... constantly revised
via recycling... a lot of Hinduism makes his plainer but
more mythical and less hoarse in its reality of death -
the soul is a continuum, the indestructible capacity of
preservation, preservation rather than evolution -
anti-Darwinism? the preservationists... apply poetic rhyming
to ideas and the truth is ******* boring - poetry can decipher
GRAND PLATINUM ORNATE GALAS OF STATE AFFAIRS
by looking at the suffixes... and rhyming them together
getting the toad's ******* of October Fest's burps...
it is time to learn how to write poetry outside of poetry...
it's time to write testaments, it's time to write biblical accounts
of our lives... there's not time for pretty verse...
it's at this precise moment when poetry has become too
technical in theory and mundane in practice...
use this zenith moment to read language across all genres...
and never applying it for a poetic expression...
look! the paupers are numerous! but these paupers are
octopus handy in picking your ten pockets!
to have reached the plateau of Darwinism as having to preserve...
to have reached the penultimate affair of the prone
destructibility of identity, personality, character (Thesaurus Rex's
RA! or the complete synonymous archive of ego) - meaning
that the soul was a plumber you never were given
the Saturday of the appointment, and your chronology being
that of a Ford Automobile salesman in some showroom in Peckham.

Fear is the grey
That clogs over
Your eyes…
Blurred vision
And hazed outlook
Shall be served cold
Over your tray
Fermenting effort
Keeping away
Any sign of achievement!
And when you will
Want to jump over
A precipice
Your heel shall be locked
Anchoring your ankle
Making a statuette
Of your able stature

Fear is the grey
That magnifies the cloud
You shall not see
The bright line
For such shall be
The film covering your eyes
Flimsy and yet so blind!
And then you will
Stumble into a loop
Of never ending failure
The ring of ripple
Just getting larger!

Fear is the grey
Dampening the bright blue sky
For it shall decay
The season’s morale!
Signing the loser’s epitaph

Unbind your fears
For there lies the beginning
With every step
The mountain seems plainer
Underneath your shoes
You shall certainly find
Unbridled success!

that's it! i've had, enough!
english existentialism is crude, too crude
for my liking -
  it's a comic book script -
and a ****** mess -
  it obliterated history, it obliterated
yesterday, and sure as ****:
it will obliterate tomorrow -
my turn: to obliterate today.
the english, i find: really don't like reading -
unlike the russians -
i read it once: the russians read,
as if their life depended on it...
while europe was expressing its fine
details and sorrow:
the english were in a sleepy state
of blakean lullaby...
   yes: but at least the icelandic people:
are not ****** pompous about
their natural borders beginning
with S and ending in E;
   i mean, it's no wonder sometimes -
given the current climate of digested
literature,
       i'm sure there are no mature readers
in england, or at least: i've never met
one! adults reading harry potter without
any sort of shame,
      the lunatics will lead the blind,
and young with old souls will dupe
the young with... young souls...
just like the old play games with the young:
the most unusual perk of being old:
fake it... and then turn into
a eclair surprise of sucker-punching
  a youth, while performing a zui quan
punch...
   absolutely no existentialism,
everything's so ******* egalitarian...
when it's not,
   ants in your pants
        your shoes are on fire...
double-faced liars...
     i mean... the only existential points
of interest in english existentialism are?
somewhere along the line of
evolutionary "chronology" -
   and the big bang...
i still love the interplay of these four
words:
          bang (a) ******* hole...
cat's out of the bag, can't him back in,
ask schrödinger to bring a few boxes
from the store house...
  in the meantime, we'll also build
a cardboard box castle we'll call home,
then put everything on social media
and then you can have what i already
suggested:
  people living in the already present
glass houses, reached a new zenith:
       glass people, living in glass houses.
the english have no existentialism,
  they got the bore-ism,
    much cartoon fakery and all that
techno whizz kid jazz...
    no wait... there's one good example of
"existentialism" -
but it's treated like a footnote...
  even though it's in a collection of works
that also includes camus & marcus aurelius...
william hazlitt's: on the pleasure of hating;
and to be honest? that's about it.
i'm just bored of: this is not objective
enough... what, so detach myself from
subjectivity and argue like a psychopath?
that's what you're implying!
i can say with calm 2 + 2 = 4...
but if i have to say some complex
arithmetic... i will either brood over it,
pensive... but at the same time:
i know i am prone to some sort of frustration!
but at least both can be deemed healthy
reactions...
     now ask for the psychopathic maxim,
yes? what is it?
   apathy breeds no pathology...
see, psychopaths are oblivious to emotions,
they have cool arguments,
  if you mentioned a "necessary"
distinction between subjectivity being
"negative" and objectivity being "positive",
they'd reply: i can't tell the difference:
oh, you mean the thrill of argument / act?
i can't give that away.
the germans had existentialism,
   the norwegians have it, the swedes had it
with ingmar bergman,
the poles had it with krzysztof kieślowski,
the russians had it, heavens!
even the french had it!
esp. given that we're still trapped in
the caveman existentialism extending from
darwinism...
   i'm not a caveman... i go to a cafe and drink
coffee, i'm tired of hearing this biological
history ******* without civilisation...
there's a reasonable cut-off point,
   there are reasons why you cut off pieces
and live in the present...
esp., oh boy... a video like this,
entitled: why women pass up good guys for
players...
honey, that "question" just flew past my head,
can't think why, nor will i,
  i've seen a few prostitutes to wonder
about a "why";
          mind you... upon that fabled plateau
of the ovarian desert: party's up...
guy's - make sure you've seen an
actual ******* first: it'll ease the blow
with regards to what you'll be settling with;
now, that doesn't get plainer english
as that.

In the past we were otherworldly

But when you get
Older
Bolder
Sainer
I remember everything you have done.

Burning like embers concentrated.
Falling tinder yelling frustrations.
I consume everything you are.

Smoke rising up like pillars in the sky
Thought you were sleeping
Safe and sound, burning in my arms.

Instead, you were gone.

When I gave you shelter with my fire
Ended up suffocating all of my love
Left me smoldering with a broken heart.

Tendrils of smoke slowly dancing.
Ashes floating from deception.
You were nothing after all.

Now we are
Plainer
Colder
Bitter
After you broke this spell with all of your doubt.

Guess we were human after all.



© Sofia Villagrana 2018

Sometimes I wonder—
Tossing, late nights—
Dark hair, dark eyes
Plainer than real
Printed in bold
On the backs of my eyelids—
Is this torture worth,
Are you really worth—

No! yells my angry
Heart, tired, worn-down,
Hands thrown up
Like Sisyphus’,
If his rock even was
Too heavy at the start

No! And none argues,
Only silence.

Next day you’re there—and
Weakly, No! forfeits
My desperate mind,
No! No! No!
My eyes must second
No! No! No!
My palms will to be dry, for
How could you ever be worth—

Then I catch you—
Smiling, the way you do
When you, and your sparkly little eyes,
And your mischievous dimples
All agree that nobody is looking—
Then, the question stumbles
Unfinished from my lips
And I don’t ******* care

I fall powerless, in love again
Every time you smile

there is no song which time could sing
no chords of reason memories string
and though our moments bittersweet
could gnargled **** amusingly..

to kiss the knives in dark of nights
that cut us up in wrongs and rights
carve us into plainer shapes
homely, drier, commonplace..
remember each and every stance
by whims and fancies or by chance,
what drives us part is neither stars
or vague and placid fate of ours
in solace ; peace amid the pain
and spirits worming in embrace
what does soar high in tops of trees
in flash of silent tranquil breeze

through greens of promised merriment
while branching arms in wonders spread
lets close our eyes and find the rhyme
but not in stars, in heart this time.

the day when you feel so lost
so unwanted
so undeserving
so....wrong
that day began
or more over
has begun
for many
atleast once
i never understood
why i'm here
why i'm there
why i live
what can i do
but breathe
and stay
because
to call this living
that would be the greatest lie
i don't want to be here
at this point
but i am
i can never seem to change that
i see things everyday
things that shouldn't be seen
shouldn't be done
shouldn't be known
yet i see them
and i go through them
i try to help
but i fear i am lost
for i can't make a difference
i am put down
beaten
i am bruised
i can't stay
in this place
and they lie
cause it's called
LIFE
yet i could think to call it different
"time"
"place"
"evil"
"pain"
"sorrow"
"remorse"
and so much negativity
for this i'm seen as a pessimist
then tell me
tell me of what i should be optimistic about
look in my life
and you'll find you crossed a border
you walked straight into hell
you probably thought it wasn't real
that it was made up
well here it is
it's my home
my unfotunate home, it's true
because i not only have it
it has me
and i'm slowly burning
but i can't/don't/won't show the pain
the bs i go through
i try to save others from it
to ultimately save them from me
i try to hide
to stay away
to try to keep good in this place
but i'm not the only guest at this masquerade
i'm just one of the plainer masked
my mask is black and gray
yet it's not half and half
it is subtly mixed
you can't tell how mixed
until you are close enough to kiss that mask
the mask which i use to hide my pain
to hide my sorrow
to hide..... everything
i see the other guests
some more ellaborate than others
with their bright hues, feathers, jewels...
anything to sparkle and shine
but i'm comfortable to hide
to go into a corner
deep, dark, and far away
my mask is flimsy
so i don't push the limits
if i am ever put into the spot light
my mask will surly slip
it'll break
and i will have to leave the masquerade
so before that happens
if it ever does
i will be the first to say
welcome to the
Masquerade

klatka: or cage -
don't ask me about the etymology.

czesław śpiewa, or: the prodigal son returns from
his hiatus in Denmark - talks accented slavic
and can't mustard the danish either - hello applause
of the mediocre crowd! intelligence? on the *bruk!
(threshold).
                  just enough distance
between you and me and a sniff our a cinnamon stick
being sizzled. i'd love to love women like richard
burton -
   but i'd prefer women to liked to
be women loved by richard burton:
if that makes sense -
            the story goes that since wwii
women embraced enough feminism
to drive all the manual labour to china -
and in fluster were cited as shouting:
come back! come back! no to be, honey....
which is why men of a certain age
turn to reenacting the battle of hastings
of 1066... Darwinism has created
a historiology dynamic: rather than a historical
dynamic - oh sure, there's a logic (wording)
behind it, but we're not really writing history
these days, we're writing something
that attributes history of expression,
but is nonetheless merely celeb culture.
i see more body-parts in my cognitive
reflection that in my ****** reflexion -
             the ego is my right hand (since i am
right-handed), and so and so forth.
                   we've moved beyond history
and what sort of environment is needed to
write history: incompetence, sadism,
patriarchy, Versailles, an Ottoman harem -
generally speaking, strife;
the only thing that keeps us thinking of
a merciful god are the elements we're exposed to,
and on water we strive, and by water drowned.
        we haven't got that,
we have d.n.a. augmentation and for those
that are actually creationists in robotics -
de-humanoid: never have we become so
dehumanised by being cultured and educated -
i find more humanity in an unread scaffolder
than i dare to poke and pierce the yoke of
a librarian's gusto -
               apparently a fifth of 10 to 12 year old girls
have never experienced concentrating
         on encoded sounds -
and even more never managed to
               ballerina twirl an R into an Я:
Narcissus kept them barren with wasted hours
in-front of the mirror.
i have absolutely no idea (other than the accent-diversity
argument) why the Anglos never applied
"punctuation" / diacritical marks to the encoding -
but as Darwinism teaches us:
  even the bible doesn't state why snakes
don't have eyelids, let alone limbs:
i think that not having eyelids is more of an agony
that slithering across the platitudes -
mind you: cats are serpents in disguise:
and they a pair of eyelids: hence that nausea of endless
sleep.
         sroka = magpie. some words really do sound
better in other languages...
                       they really do.
30 years on this earth and i've never bedded an English
or a Polish lass...
       African (tick), Russian (tick), Ukrainian (tick),
                    half-Indian (tick),
                           Thai (tick), Bulagrian (tick)...
****, i'm not picky -
i'll **** anything that moves; oh well, thank-****
that confession is over: or that's how i rationalise
the hot-air of conspiracy theories, and only believe
in things that really scare me;
and yes: you can be a really ******* on paper
after a drink or two, but as Adellè said:
                                       write not a word sober!
i mean, is sober literature even acceptable in that
Venetian banquet of fakery & blossoming?
     it just means you got tired of living
and started to chisel epitaphs on gravestones -
       if i wasn't in some ways impaired to do
what i used to do: i wouldn't have descended into
the Tartarus of Heidegger, and kept myself
afloat in the Hades of Stendhal and Dumas:
reasons all pointing toward posterity and
the love of weekend escapades to Stockholm Paris:
my my... Paris... or of what once was:
                                                          ci­rca 2004,
on the steps of Montemartre: **** you Heraclitus!
  which is the point: as man of individuated
surrounding we're but rivers, elongating and despairing
apart - but once in a century a man comes and
applies a transcendental overthrow of commoners such
me and Heraclitus: where there's no talk of a river
or the flux: instead the sea and the turbulence of
a tsunami, akin to Napoleon, ******, J.C.
all they said was universally true to all of them,
**** it, stampede!
          and it came to such blows of lost conscience and
massed mind virus: i really do care to say
    that such individuals (if we are to embrace
what's become a Cartesian dichotomy rather than
a duality, which is the case) are viruses:
collective manias: a Sydenham's syndrome
                                              (née st. Vitus' dance).
my interests in all of this?
    etymology is the wording of archeology when unearthing
plainer, dumber: etymology = archeology.
sure, there's the fashionable vocabulary,
there's also the standard Oxford vocabulary,
   then there's the cool kid slang something -
and then there's the individuation of vocabulary
toward idiosyncratic endeavours: on the palette:
a character study.
                   most people are familiar with
the archaic, like they're familiar with the magical -
but etymology really is archeology on paper -
     and the clear cut-off points? runes and
the Rosetta stone -
      i even find it believable that they're trying to
make Greek dodo (extinct) - if not for the Cyrillic script
i fear it would be so:
heh, half of infinity (∞) is ascribed to α (alpha):
if one follows less puncture dotting and more orchestral
   waving of a harry pooter wand
and the incantation: abraham **** dabble
(snoop in the b.c.) / abracadabra - case in the law courts
vs. the easter bunny: i'm starting to suspect
  there's a cliche involved with a magician
and a top-hat... the pyramids were feasible,
Auschwitz was ****** feasible:
the hanging gardens of Babylon? insane
(have a building where a garden is above the heavens?!):
oh look, here come the three "wise" (magi) men from the east!
            and all those known deviations from beer:
ale to the west (stale non-carbonated liquid cereal)
while mead (meed) to the east - or miód pitny
          (mew'd p'eat'nee - ee hollowed out) / drinkable honey.
                          or as i once said to her:
you try to bring me down: i'm going to do the trick
of pulling the tablecloth from a table with chandelier-like
preciousness of china or crystal: and fail to pull
that tablecloth neatly off the table: a bull
in a chinashop, me.
  - are we really still trying to sterilise ourselves
with the "sanity" of the sort of language english teachers
taught us in the first place? really?
well... as a poet i can't be considered a "respectable"
citizen... unless i have a rich husband and i'm a woman...
feminism, premature depression, chinese industrialisation,
         i would be accepted as a "respectable" citizen
if i wrote poetry on the side, but primarily
    had my lil' richard made into a patent for a *****
or decided to be a merchant selling all things
excluding the Quran: perhaps toothbrushes or bow-ties?
yep, Judas spilled the salt (whoever thought
that actual white meant we learned to do the Pavlov
trick, and everything tasted better and
no one wanted to snorkel at the great barrier reef
of what would be an acid trip otherwise) -
         i just find the new testament poetics exhausted,
everyone in the west knows this,
which is why all protestant nations decided
to read the nag hammadi library: literally.
well sure - this is the second coming, he's been coming
back since the year of the discovery of the library
(1945 a.d.) -
                          but i'm not buying it...
only because there's that undercurrent in the background,
that requires a little more patience with reading
    (a faux pas these days) and no chastity to be
redeemed when praying, if praying at all.

The difference between you and me is simple.
Plainer than anything I've ever seen.
Me.
I speak in truth, hold these words as sacred.
Careful with every one that passes through my lips.
You.
You speak in jest, making a mockery.
Burning your malice into the ears of all who hear.
Me.
I move gently, softer than rose petals
As sure not to catch the eye of an innocent bystander.
You.
You thrash your limbs, flail your breath to me
As your claws scrape my flesh until it bleeds.
Me.
I lack the courage to walk away, close the door
And allow you to slowly rot on your own.
You.
You are a succubus, taking all you can from me
Until I'm left wilting, longing for a touch of affection.

It's been over two decades
And you still haven't changed, Daddy.

I've long since forgotten
the way you held me
The way you touched me

Spellbound by your caresses
My breath suspended
when you look at me
with those mossy green eyes,
that smile that melts any sadness,
any care or worry,
your soft hands,
the calluses on the tips of your fingers,
the way you smell like puppies
is even the most endearing thing about you.

The way your voice reaches my ears
and my body forgets
that there is a world outside us
The sound of your guitar
as you pick and strum away
and I refrain
from placing my quivering lips
onto yours
because I know it would be
the end of a friendship.

My feelings behind an arcane barrier

I am dearly afraid to trust you
and more so afraid
that you will abandon me
at the first sight of intimacy

I grow wary of your questions
guarding my answers,
and you catch it.
You of all people
can see past my wall.

That is really the most frustrating
thing about you:
is that you see.
You see my vulnerability,
the moment I am upset,
you ask what the matter is.

You can see it plainer on my face
than I can perceive it in my heart,
and you understand me  so well,
too well to keep this charade afloat.

So, at some point,
I assume I will have to address it,
my love for you that has no end.

Until that day though,
I will remain quiet,
cherishing the growing friendship
we have achieved once more.

In words
I am blind folded in a room and people are or are not standing around me
Either way, I cannot feel them**
In other words
I am missing a wire in my brain, the one that is shared between two people
It sparks when you make a connection with someone, a potential
Mine was never installed
That is
I have become such good friends with myself over the years
We are bored now and need a new playmate
So basically
I have taken the time to try and be “friend” but it never works
I know because I’m never invited to the late night McDonald’s trip unless I’m in the room
In plainer terms
I feel I have a presence that turns people away
With a glance they decide they cannot be my friend
Simply put
I think I’m lonely
And seriously lacking interpersonal skills

but i too found man not content with
the classical philosophical approach
of standing outside of all time and space,
inevitable was the final product,
both the monkey theory and the big bang theory,
so in turn man turned against this interpretation
of philosophy, of standing outside all space
and time, which also produced the centimetre
and the second and the hour,
so thus modern man decided to stand outside
his biological processes, to only have to
heave a heavy breath into the barricade of psychology,
psychology - that metaphysical biology -
and there he was cornered, having escaped the biological
budging and nagging to only hear of the notion
that his breath was below a dog’s bark or a cat’s meow,
apparently the silent superiority was due a critical itemisation,
and thus dissected by the sometimes unfathomable logic
made only to convince and dupe, there was stood
within all space and time and only outside the logic of both
body and soul. will no man arise to stand once more
outside of all space and time, brushing away the theories
of einstein’s space-time and once more engage with
the measured ****** and the measured psychic?
i could fathom an interpretation as already apparent, plainer,
with all the modern day excesses of the sensual,
but then force-feeding the chickens will not make the chickens
produce bigger eggs - then i endear myself and ask -
why is psychology still only quantifying? it’s exhausting me
by revealing so many facts that it has no reason to suggest
a quality to them as either harming or beneficial:
a neighbour that lives 2 miles down the country road
is better than a neighbour that lives 2 metres on the other side
of the claustrophobic suburbia?
i say the former - since there’s a road to travel rather than
merely a point to stare at and give conversation its dues.
thus by standing outside all time and space i can reveal
that modern man is struggling with the failed cartesian escapism
of splitting body and mind, failed because of the dualism,
that famous failed escapism - failure upon the split splinter or hair;
but modern man was not content with the ancient two π equations
π1 = hour minute second, π2 = up down left / right, diagonal,
instead man wanted to complicate the whole utility of time & space
with ≈ 0.306 601 parsecs and liposome / dendrimer / fullerene...
after all, all those kantian negation units preceding or tailing off
(i.e. 0 is a kantian symbol for negation) had to fill this vast chasm of
both yawn (space) and hum (time), which explains man’s comfort
but the greater discomfort to be standing outside the two logics already
mentioned; no matter - a revision of hölderlin preoccupies me more -
is not my heart sanctified, more beautiful my life,
now that i love?
(that i began to love the few, abandoning
my once formerly prized ***** beneath the ivory cage, a cavity,
that could have embraced almost anyone if not everyone,
by the insistence of all being the grazing and darting gazes
of the passerby?
is not my heart sanctified, more beautiful in life,
now that i love only the few?)

"My gracious lord,
I may be negligent, foolish and fearful;
In every one of these no man is free,
But that his negligence, his folly, fear,
Among the infinite doings of the world,
Sometime puts forth. In your affairs, my lord,
If ever I were wilful-negligent,
It was my folly; if industriously
I play'd the fool, it was my negligence,
Not weighing well the end; if ever fearful
To do a thing, where I the issue doubted,
Where of the execution did cry out
Against the non-performance, 'twas a fear
Which oft infects the wisest: these, my lord,
Are such allow'd infirmities that honesty
Is never free of. But, beseech your grace,
Be plainer with me; let me know my trespass
By its own visage: if I then deny it,
'Tis none of mine."

oh! woe is me and woe is thee,

this noble, royal but blighted line,
this now benighted House of York,
its reign hath ended,
its famous, familiar format felled by an
enhancing, advancing Tudor technology blade,
and now lays bloodied in Bosworth Field,
both Richard III and
his Boswell biographer,
Sir Eliot of York,
no more,
unto history's flocculent dust of bones and
lost manuscripts
now forever
consigned

the lathe of mocking shouts of
"Long Live the King,"
cut the fingertips still searching too many
pull down menus,
all penned in a modern
faint hearted font

these guides,
some above and some below,
their exact location discoverable
only by the pain of new childbirth,
not worthy Maestro,
of the indignity
of trial and error

'pon my soul, these menus,
alas, give no guidance intuitive on
how to save this, my newest folio,
in the lady-in-waiting status of
draft

history is a usurping, scheming Mother Queen,
seeking power advantageous for her own issue,
but new bloodlines gain ascendancy inevitable,
but this focal turning point,
came upon us yeoman folk unannounced,
like a medieval black plague slaughtering
our poetic composure -
why were we not consulted?

hath England not taught us plainer folks,
the singular lesson of tradition,
the value immense of retaining
what has gone before,
that all hallowed must be kept,
and some changes
turned aside,
another cheek of change,
must be refused!
  
'tis no accident of fate
that the Crown Jewels
in the Tower
do reside,
the selfsame place many other
Kings and Queens
were Tudor dispatched to meet a ****** end

the smiling, soothing sayers
gentle the troubled masses,
with whimsy and whimpers of
"this too shall pass,"
and promises that the contempt of familiarity,
shall soon enroll and enfold
all untended and now untenured objections

but my memories yet mourn the loss of
simpler times and a simple place that welcomed an Ameddican
back in nought '13, and where he has placed his trust
in its servers and its Yorkshire servant to keep his
thousand plus poems pillowed safe

so no more changes,
by your leave,
do not forget the no longer mighty Tudors,
were themselves felled by times childless ravages,
no more emendations,
if you please,
lest these hoary hairs mine yet turn,
a whiter shade of pale

surely undesired,
yet one more revolution
from these formerly
English shores to come arising,
haunting thine
venerated palaces of poetry!

3/10/2016

"It was rumored that Lucrezia Borgia was in possession of a hollow ring that she used frequently to poison drinks..."

i 'oughta honour my posterity, namesake
i'm just the plainer version of the papess
nightshade? what's that?

i am the bad assassin.
either I let them live too long
or i don't know when to empty the hollow ring into the silver chalice

so i empty into my own.
here i am: lying in a gurney, which holds
my pooled throwup.

it seeped into my soft cloths, my white sheets,
it sought a purpose, removed from a place it held so dearly-
that held it...

i find we are similar
i never once thought of myself as *****
in the past

i smoked a cigarette i picked
up by the side of the highway on a dare.
"oh god, stop!" my friends laughed. "disgusting!"

they didn't know i
inwardly agreed.
i hit the flint.

When you get older
Plainer
Saner
Wil you remember
All the things
You lost on us
It hurts me
More than you'll ever know
Wish i could go back
To the days i was lost on you
Night full of stars
Adrenaline rushes
The bittersweet taste of your lips
A cold gust of wind outside
Cigarette smoke around our faces
Eyes light and glister
Wrapped up blankets
Two glasses of malt whiskey
A fire in the burning in the hearth
And in us
A comforting arm
A comforting smile
It was good
But perfect can never stay
They pushed me,
And you away
You came back
So please come in
And help me remember
When you were lost on me
If I let myself
Love you

Desperate Dan kissed Linda Liu
and the Moffat brothers went in hot pursuit.
Rita Redford had seen it all before
that dog pained look for Liu,
although she's never had her two cents of love herself
heres her chance
to smooth and balm
poor Dan's unwilling lesson.
the plainer gals are steadfast
their roots  are manifest
they know how to tame those tempest hearts

Adam, how doth thou get misled? Lost thy head to the snakes spiteful pleasures?eternally weathered!

Congenial I feel for thou, blindsided by poisonous virtue, as eve thou hast followed her nudely confirmations!

Cyanide lands thou hast brought us, death hath thou cost us, and enemies thou hast made along the way!

With god that is..

Thou were born unto bliss, and made a slithering cuticle between the slip skipped rocks..

Born amongst the loss of all thou hast taken! Was thy tree of life not good enough greedy taker?

Misfortune seems plainer when it's thy name they shout!!Thou shark made a trout, Now ethnic only to beasts who have fallen!

Didn't thou hear thy calling?

Brutalities beast!!!

Thou had a feast and turned it into darkness, thy secrets have been revealed by that fruit that thou plopped!

Plundered? Forgot, for the dragon made a home out of thou.
Gamashes thou Now needs, doth thou wear tattoos for sleeves?

Now that clothes thou must adjust?

Insurrection thou doth bow to!
Adam and eve a rotting stew!!!

"The power of freedom to overcome tyrants and terrorists"
Moral clarity accoding {cording} Natan Sharansky,
he mustabin seeking seeing through a moral window
besmerched wi'traditions
radiating

A Russian-reared Jew's perspective from Israel
In the 1990's
No integration without representation

--- wait, let the reader recall the goal - yet set not -
right, roll on
{where is this going, David Goodman Chronicles 2020}

The book of life, your role,
{when you find your name, you know}
expand into
A party for the moment, our parts played,

well, let's try {hence, a title}

----govern yer own damself

A gain, a tryal, a paying, a tension, contention,
single source contention,
pride's the culpa writ. Right.

{when you walk into a banquet, be polite,
meaning act as though you are where you know
you are welcome, ask if the empty seat is taken,
if not, you will know you are welcome,
neighbor. This is the same old way, in the future.}

Hubris gotcha down- be humble, win a crown

Shall we win freedom for those locked in fear?
A fine challenge, don't you think?
Read.
Sakarov was Sharansky's teacher, his Plato,
upon whose shoulders, strangely strong faith
finds footing,
fulcrum,
you get the ideas you claim to own, not
the ideas you thought taught
true to all who consume the canon.
Leverage.
A library gives a mind leverage,
we have AI, no lie.

An idea, an id-entity, speaking spirit
Weyekin, englished to we ye kin,
angels, beings guiding ones
who know.

Not every evil is nullified.
Be a ware, the e keeps you from being
a war, knowing your own self as warrior.
Peace makers do not keep the peace,
peace makers let it settle to stillness
waiting behind any obstacle,
waiting is suffering this to be so now, because
nothing in the energy compelling me is breaking
through
but to you, see, dear reader It may be
only I who thinks we are, you could be imaginary.

Actually.
Many useless
morals of stories remain as aphorisms
and adages and proverbial warnings to provoke.
Nietzsche numbered his, to give account
for every idle word,
links
perhaps…
Speak up, lie not against the truth, saying I know,
I know
-boundaries, of course
Freedom must be
defined.
Who knows? Tell me, oft-op apt ove'yer'head!
Y'know? Y,
Everyman does what is right in it's own eyes.
Maybe,
define everyman.
{und ganz Übermenchen}
All of us. Everyman sind all of us, in well ordered
reality,
such as our readers of reality-
between-
lines-never-drawn
in
sand. {flaunting the peace of the sabbath,
which did allow stoning, as you may recall.}

You see, we are in the same story.
There is no authority, save you pay,
free willingly, attention to tensions
seeming
to signal something
mechanical,
click,
ping, a single ATP dis compossesses.
-composed
Ride that photon.
Here we are again, speed of thought.
Think so? Real is an assumption, not an imagination.

I heard this guy say he was a son of God. Big G.
'Said he was aman with anorm al 'erose journey,
when 'tall wentahell.
Then, he believes he was reborn,
somewhat more than a mere mortal.
He claimed his forever
began when he stood up
to the knowing of good and evil, personally.
Intimately.
That seems good. Freedom is from some thing,
stricitive, right. Free from what?
Fear?
fear is one thing,
but fear has preservation purpose so,
we must be specific in which fears we bind to the NULL set.

WE are judging angels. Dare think.
You judged your own collection of inspirations,
did you not?
I prayed God, YHWH, actually, would show me
all the lies I believed,
about him and anything else. Amen, I did.
We'll make this plain, if this is your first signpost of note.

Ideas of freedom formed in the minds of slaves,
meet ideas of freedom formed in the minds of felons,
greet ideas of freedom formed in the minds of children in the desert,
bher with ideas formed in vacation bible school at hippie cults.
Suffer ideas formed in academies of technical guessing, f
er cryin' out loud.
Ideas of freedom?
Little children, keep yourselves from vain imaginations.

Freedom that cannot name Jesus YHWH is not the proof.
Truth is the proof. Truth makes free, he who seeks it,
which is not to say
he who has apprehended
the whole truth and nothing but the truth.
No, whoso ever seeks,
finds more abundance
of that which he has.
He who has nothing, finds nothing.

All candidates claiming direct linage to truth:
define freedom and be judged.

That's not fair.
Accuse, excuse us, life's not fair,

Judge yourself. "Make yer dam' bed!"
{presuming you woke t'd'yoke}
leave us form a
party to puff
up moral clarity like
leaven, till three more measures of
dust rise on the gasses we naturally

cannot see. In corpo ratus.
CLEAR!
Scientology? Coincidence, if 'tis.
Ol' magi-tech, what so
ever we agree. Same trick.
Sacro-sanctity
freedom from fear. Agree? No? Why not?

Fear of YHWH is the beginning of Wisdom.
True, but thought wrong.
Genitive fear, God's fear, is the beginning
of Wisdom, she was with him ere the
highest part of the dust of the world took form.
Fear of falling, is good -- no, it is a mistaken signal,
an imbalance, eh?
The speed of thought correction is faster than the eye
can see and warning is thought, of an unknown harm,
mistook.

Fear of believing lies, is needed, I thought, but, no,
There's no fear of believing lies,
truth be told.
"Cannot the tongue taste its words?"
"Is there any taste in the white of an egg?"
"Do you know the sweet influence of Pleiades?"

The bubble of all you know is an egg. Kinda.

-----

Self-govern, together live, birds of a feather flock together,
that idea. No slaves.

Fear society or free society, self, thyself, govern true.

That's right. "To thine own self, be true"
"believe no lie, tell no lie"
"Know thyself"
"Know thy shadow"

Today is 11-11-2021 the time here is 9:11 ante meridian,
You, as imagined, by me, alone,
are you, alone, reading, to yourself words
made from thoughts I am thinking at this pace.
Prepositioned, in your pastence.
Phrase, word, phrases, line
lines alone

lines in pairs
certain points genitivious, engender differing means
to obviously triplication of some certainties, certain
ties to old lines unraveled from a net knotted
in Ur.

We be ye kin, ken ye grock rocks rollin' on
down a course?
Of course you can, of course, the only common
course, this course of human events, common
sensed as time and space overlapping stuff.

Mater, mater, may I imagine being born, eh
oh, yes, -- movie memory -- see
right through the visible man,
a boy toy, picked by luck or the answer
to a prayer,
but I did ask for the best gift, hoping
it was money, because I was told Solomon,
was the wisest of mortals in ever, so
I was told he said, Money answereth all things.

Yeah, right. You already know, that seems so
wrong, wrong to the point, the root
of evil, barbed tail,
horns of dilemma, ah, what's a mind like mine to do?
Semantics, its all
se man tics, terms of worth, pro
forward onward efforting verbs, action words
The Infallible Book declares, Money answereth all things.

A single grain contains the whole, or some say so,
I imagine reality less restrictive in common sense
utility
use of knowns passed on as memes with reasons,
we sit to
gather memory, tell story, think song sung, sing
that song
a gain, we make the peace past understanding,
past when we were one, and we stood up
right
and ran away
remember, the heart of every story boy meets girl.

Well, this is different, scientifical. Fantastic, sure,
stable as the grammar in DNA.

Steady as the procession of the stars seen from
certain times and places, and passed through time
to any who wish to know
all the truth once held in forms told around fires
to comfort a child with a common cold,
aches and sniffles, full tummy,
milk and honey heated by stones, dropped
into a turtle shell mug my grandma gave to me

drifting into to tal, mor tal is man mortalisman more
more
more, wait. Wait.

We breathe. We listen. This is the book of life, live.

My task is breathing inlets along coastlines, where
waves of overlapping, pearling shallows round
stones as witness, stones crying out
living water has shaped me, see,

is this beauty for giving or selling. I wish I knew,
instantly,
this bit has been freely given, for the use
been made,
the formation, the inspiring aspiration to make

make up
a mind to find the answer, and find
it does appear
line upon line,
beyond the library Daniel witnessed sealed.

Money made this possible, this magic pen,
for all intents and purposes, this tech is magic.

Have you witnessed 3-D printing circa 1985?
Mac SE was cutting edge, and owning one
was status, using one was a good gig,
for an old counter of picas and points, once
the laser writer met vector formed fonts
calculated, computed with most accurate maths,
tangents and cosins and such,

the power of the press, in the hands of a pauper,
hmm, time and chance, let me warn you, this is
the untangling of the famed tangled web we weave
when first we receive the call to listen to the truth
you hear in written words arranged in patterns
adapted to the available, usable, medium.

Draw your self watching the horses painted
as the song of us is sung, a domus, we domus, us

singing together we form
awe
awfullest noise you can imagine in a secret place.

Welcome to the cavern of forgotten good ideas
and idle words mistaken as misdefined, this is that.
              
-restart
from certain places where uses are determined
by any means, good
[ye-es, the idea at the center}
pre-positioned, made fit for a king or a priest
or any humbler soul in a state of grace, id
est, best state, favored, by no power id-entity in me
conceived, but by the word of GOD, who is
good
all the time, any hungry child knows, how a child
weighs the worth of such an idea, plucked
from thin air…

Here, we be, wir sind, si, we know, go Ko!
golf-commentator whisper voice

did you come to find my voice, listen
learning is the first act that never ends,

the next word is the next thing, eventually,
events being
things, in their own right state, useful, or not.

Tantrums serve to prove the uselessness of tantrums.
Grandfather level wisdom fits moral to mean to end,
end all conjecture,
cease casting all cares to the common winds of time,
and space and sea and sky, everywhere idiocy abides
provoking one
an other, ricochet-re-re-re act re
sponse, jump, start

run, upright, spring thinking what
if
I say this is the goal, get to the bottom, fundus
professionally guided by I mind I myself, made up
mind
including you, the acting dear reader.
Saving myself for a publisher, copy right ritual
of code devisors, to increase interest,
gouge-deeper gullies to wash away desires
inspired by alluring vertisements intended
to loosen your grip
on sati. Satisfy my yearning soul-blues, bha-bha
boom
woncha sing witme seem what we seem to be
haps in a time per haps
may happen at will in a mind on a binge to end
all binges, writing like a joy-daemon viral
ex-plainer, needling *****, look

this way, see

ear? Practice makes perfect opportunity next

use of truth to tell a lie from a joke, perhaps
that is the trick,
who told the tale before you heard it was your
intellectual heritage,

your link to who and what you are, through song
and saga and right stepped beeing dancing thisaway
thataway sing asongofus a we a we a we away

what were we thinking, then
Lion King reminds us, being or not, what do we got
to do to attain

Acunamatattal rattle shake shake shake
shake your spoils from the war,
were you unaware, shaking ***** measures worth?

Stealing attention from the stars, eh,
lying demon, here, here be heretic tic, instant
hell
a poppin all around, as we recall some mirror neurons
to signal gut response
text wise
is this happening? Did the dam break, or the branch

is this a bough breaking affirmation broken from
the tree of life entangling the tree of knowing increase
vow to know
more, was the chant for warned be, war chants and we
chants are mortally indiscernible but

we die to learn the difference, you must be born again,
I can not call that a lie. Nor can you and prove me wrong.

Was that a the reason for war all along, selected
bits of the last old wives tales, the barren ones,

old wives, who watched no child, ever form, from
one generation, after another, to no eggs
ever forming vessels for the spirit of life knowing knowing
things, we agree on
things, we agree on things we make up and lie to others

to scare them, put fear in their hearts, fear of death,
real, on the edge, fear, we make up,
we pretend, we play, who am I to be, when I grow up?
- practice perfect sati, old wives say we agree, go.
polisemy spawn bloom Thuc's lic be witcha

If it was a common question, why was it no answer
is readily available…

avail, second instance, in this stream, how extra
ordinareally organzed are these eddies in the depths,
silken threads, silver in golden needles, apples
of gold, in pitchers of silver, still life, made
in vocative voice we sought, peace
in a picture
formed from words drawn in letting symbols setting
free
chthonic thoughts some time now,
where we go or how is immaterial now, here
is where all the power to be us - is, right now.

I'm loving the concept, except one knows,
one knows not,

could be a numbered aphorism in thoth lost long ago.

Freedom from pain? When? When the pain ends.

I have watched Thuc burn, many flashes
as to why
so, I surmise, no promise I am right then, but now
I am right, as a twist top.

As in,
do it right or break the true purpose of rightness,
lefty loosy, listen
righty tighty, mechanical children know that by five.

So in saying we ***** with minds we mean we re
thread the spiral needed to hold order to the curve
we use to move from mind to mind
by simple subtility common to reading minds, let
loose from codes of obscurity and silence,

priesthood of the programmers, defiled
by HyperCard…

hit it, 1985, we role the hero in the tail, the new man
stranger in his own home town, trope, f'shore

distant Homer's combed the beaches, sifting shipwrecks

finding, from time to time, these jars of old stories
written in magical ways, saying unspeakable things.

A dawning in the mind of all the kin, weyekin, listen
we say say the story so
somebody
listens, thinks, listens thinks, I thought that,
and laughs,

that feels good, silent smile, quiet grin, nobody sees,
but me, we ai n't e-whistlin', Dixie,

did the singer make a we of us, or did you watch
the TV show,
so you know? Did we meet and leave impressions,
or did you think I reminded you of a character
Bill Murray could play well?

What the hell? Imagine that, being another body,
after being this, be gone.
Sa sa sati. Is fine, as an idea, an id-entity in common state
free satisfaction for any dis-
satisfied mind, but
be aware, breathing is involved, for a lifetime, of days
and seasons, one after the other, constantly
feeling the draw
of empty from full, as we all sang, let the healing waters
flow,
and the joys, celestial
glow… go go go make up a Mormon link and think we

lied about many things, we need not lie about knowing.

Now, no lie lives in sacred temples misappropriated
by a tyranny over the mind of man,
to which we Jeffs and Jinn agree, an end is deservant

of your attention to the actual forces involved in details,
such as you reading this line after all the lines you read
before
now… when your clock is pacing, time's worth one way
or wait,
a guide, some intuitive icon may make sense suddenly
256 shades of grey, undefiled by the muse that planted
the shame associated with putting on that mind,
being in the head of a dramatic iteration of broken

sense of being holy, historical fashion statements
straight from full victorian victim global angst,

interesting times, said the chinaman to the BIC guy,

click, British East India, and the ***** war and
the tea cartel.

Grey Pompon, cheer rah rah rich man, now I can
eat your mustard,
rawly.

Euphony, is good euglobonics, euro-trash
white and all its malonat- ive {melatonin-iment}
serrendipt natural to the medium
hyper-text in metaspace, true to the thought
at
the bottom, pro fundus
ment-al-ity ifs
itself
into this actual state, where
when I write you read, and
this is connected to a very complex
tangled web of reasonings for acting
as if we know
this is that right thing you do, we do think
the thoughts in words we let mean true
things, in bundles.

Sub routines, we may choose
to understand, reasons for simple when
sublime takes a life time.

Faster fasting, we did, my we did speed,
even if it was only a game,
we generated the oomph that once made
war
bore boys and girls who saw the science
consciously, thinking
I was made for this, this time, these rules,
this tech
this magic, this history, this lexicon

this underneathness, chthonic thought
Lex Fridman, coincidental influencer
Joe Rogan happened,
to survive, or
did he, is he really Joe Rogan, on Spotify
or did he leave his sould self on YouTube
bait,
come pay me attention I may sell and
make you laugh and feel good
doing it, laughing
inside.

I just recall this guy I know, who has
grown anonymously old, mellowed
with char and aged to perfection
on the adapted tongue,
it is a cultural test, can you swallow
the real
hard stuff boy?

You want a taste of your own medicine,
- twined voices old and gravelly craw
- high and whiny boy

The story takes a turn, same script,
life is poetic, or is that the other way round,

who cares

Malonate
The malonate or propanedioate ion is CH₂2−.
Malonate compounds include salts and esters
of malonic acid,
such as diethyl malonate,₂,
dimethyl malonate,₂,
disodium malonate,
Na₂.
Malonate is a competitive inhibitor
of the enzyme succinate dehydrogenase:
malonate binds
to the active site
of the enzyme
without reacting, and so competes
with succinate,
the usual substrate
of the enzyme.
The observation that malonate is
a competitive inhibitor
of succinate dehydrogenase was used
to deduce the structure
of the active site
in that enzyme.

From <https://uci.officeapps.live.com/OfficeInsights/web/views/insights.immersive.html>

MMM, I get by…

emerging from the freighted dark no thought
but that the sky be clear and hands be filled
with all the needful that your warm hearts willed
when in good daylight the first words were caught
by eager listeners who had been taught
that not all prizes went to those best drilled
in the arcana of the freshly-killed
rather to ones who would account for naught
there is a victory that no one regrets
up in the hills when all the gifts are due
then hunters call and do not comprehend
the plainer meanings and the open sets
though when we have been silenced and review
our final forces we find there’s no end