I can imagine her in Aarhus Kunstmuseum coming across this painting, adjusting her glasses, pursing her lips then breaking out into a big smile. The gallery is almost empty. It is early in the day for visitors, but she is a tourist so allowances are made. Her partner meanwhile is in the Sankt Markus Kirke playing the *****, a 3 manual tracker-action gem built in 1967 by Poul Gerhard Anderson. Sweelink then Bach (the trio sonatas written for his son Johann Christian) are on the menu this morning. In the afternoon she will take herself off to one of the sandy beaches a bus ride away and work on a poem or two. He has arranged to play the grand 83-voice Frobinus ***** in the Cathedral. And so, with a few variations, some illustrious fugues and medley of fine meals in interesting restaurants, their stay in Denmark’s second city will be predictably delightful.
       She is a poet ‘(and a philosopher’, she would say with a grin), a gardener, (old roses and a Jarman-blue shed), a musician, (a recorder player and singer), a mother (four girls and a holy example), but her forte is research. A topic will appear and relentlessly she’d pursue it through visits to favourite libraries in Cambridge and London. In this relentless pursuit she would invariably uncover a web of other topics. These would fill her ‘temporary’ bookcase, her notebooks and her conversation. Then, sometimes, a poem would appear, or not.
          The postcard from Aarhus Kunstmuseum had sat on her table for some weeks until one quiet morning she decided she must ‘research’ this Sosphus Claussen and his colleagues. The poem ‘Imperia’ intrigued her. She knew very little Danish literature. Who did for goodness sake! Hans Christian Anderson she dismissed, but Søren Kierkegaard she had read a little. When a student, her tutor had talked about this author’s use of the pseudonym, a very Socratic device, and one she too had played with as a poet. Claussen’s name was absent from any online lists (Were there really on 60 poets in Danish literature?). Roge appeared, and the painter Willumsen had a whole museum dedicated to his work; this went beyond his El Greco-like canvases into sculpture, graphics, architecture and photography. He looked an interesting character she thought as she browsed his archive. The one thing these three gentlemen held in common was an adherence to the symbolist aesthetic. They were symbolists.
         For her the symbolists were writers, playwrights, artists and composers who in the later years of the 19C wanted to capture absolute truth through indirect methods. They created work in a highly metaphorical and suggestive manner, endowing particular images or objects with symbolic meaning. Her studies in philosophy had brought her to Schopenhauer who considered Art to be ‘a contemplative refuge from the world of strife’. Wasn’t this what the symbolists were all about?
         Her former husband had introduced her to the world of Maurice Maeterlinck through Debussy’s Pelleas and those spare, intense, claustrophobic dramas like Le Malheure Passe. It was interesting how the discovery of the verse of the ancient Chinese had appeared at the time of the symbolist project, and so influenced it. Collections like The Jade Flute that, in speaking of the everyday and the natural world, held with such simplicity rich symbolic messages. Anyway, she didn’t do feelings in her poetry.
           When she phoned the composer who had fathered three of her children he said to her surprise ‘Delius’. He explained: C.F. Keary was the librettist for the two operas Delius composed. Keary wrote a novel called The Journalist (1898) based on Sosphus, a writer who wrote plays ‘heavily laced with symbolism’ and who had also studied art and painted in Paris. Keary knew Claussen, who he described as a poet, novelist, playwright, painter, journalist and eventually a newspaper owner. Claussen was a close friend of Verlaine and very much part of the Bohemian circle in Paris. Claussen and Delius’ circle intersected in the person of Herman Bang, a theatre director who produced Claussen’s Arbedjersken (The Factory Girl). Clauseen wrote an important poem on Bang’s demise, which Delius set to music.
          She was impressed. ‘How is it that you know so much about Delius?’, she asked. He was a modernist, on the experimental edge of contemporary music. ‘Ah’, he replied, ‘I once researched the background to Delius’ Requiem. I read the composer’s Collected Letters (he was a very serious letter writer – sometimes 10 a day), and got stuck into the letters of his Paris years when so many of his friends were Scandinavian émigrés. You once sent me a postcard of a painting by Wilhumsen. It was of Clauseen reading to two of his ‘symbolist’ colleagues. I think you’d picked it up in Denmark. You said, if I recall, that you’d found it ‘irresistible’’.
          And so it was, this painting. Irresistible. She decided that its irresistibility lay in the way the artist had caught the head and body positions of reader and listeners. The arrangement of legs, she thought, says so much about a man. Her husband had always sat with the care embedded in his training as a musician at an instrument. He could slouch like the rest of us, she thought, but when he sat properly, attentive to her words, or listening to their sweet children, he was beautiful. She still loved him, and remembered the many poems she had composed for him, poems he had never seen (she had instructed a daughter to ‘collect’ them for him on her passing). Now, it was he who wrote poetry, for another, for a significant other he had said was his Muse, his soul’s delight, his dearly beloved.
          The wicker chair Sophos Claussen is sitting in, she decided, she would like in her sitting room. It looked the perfect chair for giving a reading. She imagined reading one of her poems from such a chair . . .
 
If daydreams are wrecks of something divine
I’m amazed by the tediousness of mine.
I’m always the power behind throne.
I rescue princes to make my own.
 
‘And so it goes’, she thought, quoting that American author she could never remember. So it goes, this strange life, where it seems possible for the mind to enter an apartment in 19C København and call up the smell of brilliantined hair, cigar tobacco, and the samovar in the kitchen. This poem Imperia I shall probably never read, she thought, though there is some American poet on a Fulbright intent on translating Claussen’s work into English. In a flash of the mind’s miracle she travels to his tiny office in his Mid-West university, surrounded by the detritus of student tutorials. In blue jeans and cowboys boots Devon Whittall gazes out of his third storey window at the falling snow.
 
There is nothing in the world as quiet as snow,
when it gently descends through the air,
muffles your steps
hushes, gently hushes
the voices that speak too loud.
 
There is nothing in the world of a purity like snow's,
swan's down from the white wings of Heaven,
On your hand a flake
is like dew of tears,
White thoughts quietly tread in dance.
 
There is nothing in the world that can gentle like snow,
quietly you listen to the silent ringing.
Oh, so fine a sound,
peals of silver bells,
rings within your innermost heart.
 
And she imagines Helge Rode (his left arm still on his right shoulder) reading his poem Snow in the quiet of the winter afternoon at Ellehammersvej 20 Kastrup Copenhagen. ‘And so it goes,’ she thought, ‘this imagination, flowing on and on. When I am really old like my Grandmother (discharging herself from hospital at 103 because the food was so appalling) will my imagination continue to be as rich and capable as it is today?’
          Closing her notebook and shutting down her laptop, she removed her cat from its cushion on the table, and walked out into her garden, leaving three Danish Symbolists to their readings and deliberations.

Authors and actors and artists and such
Never know nothing, and never know much.
Sculptors and singers and those of their kidney
Tell their affairs from Seattle to Sydney.
Playwrights and poets and such horses' necks
Start off from anywhere, end up at ***.
Diarists, critics, and similar roe
Never say nothing, and never say no.
People Who Do Things exceed my endurance;
God, for a man that solicits insurance!

There's a voice on the phone
telling what had happened.
Some kind of confusion,
more like a disaster.
And it wondered how you were left unaffected,
but you had no knowledge.
No, the chemicals covered you.
So a jury was formed
as more liquor was poured.
No need for conviction;
they're not thirsty for justice.
But I slept with the lies I keep inside my head.
I found out I was guilty.
I found out I was guilty.
But I won't be around for the sentencing
'cause I'm leaving on the next airplane.
And though I know that my actions are impossible to justify,
they seem adequate to fill up my time.
But if I could talk to myself like I was someone else,
well then maybe I could take your advice
and I wouldn't act like such an ******* all the time.

There's a film on the wall
that makes the people look small
who are sitting beside it,
all consumed in the drama.
They must return to their lives once the hero has died.
They will drive to the office,
stopping somewhere for coffee;
where the folk singers, poets, and playwrights convene
dispensing their wisdom;
Oh dear amateur orators.
They will detail their pain in some standard refrain.
They will recite their sadness
like it's some kind of contest.
Well if it is I think i'm winning it, all beaming with confidence
as I make my final lap.
The gold metal gleams,
so hang it around my neck.
'Cause I am deserving it: the champion of idiots.

But a kid carries his Walkman
on that long bus ride to Omaha.
I know a girl who cries when she practices violin,
'cause each note stands so pure
it just cuts into her,
and then the melody comes pouring out her eyes.
Now to me, everything else,
it just sounds like a lie.

Odysseus is angry without knowing what reason scared hopeless longing not a good student teachers raise suspicions Mom claims he is mentally not right in third grade parents send him to well-known psychiatrist conducts many tests finds Odysseus’s i.q. scores quite high doctor’s diagnosis is learning disabilities emotional anxiety recommends weekly appointments Odysseus continues to see various psychiatrists all the way through college in late 1950’s early '60’s psychiatric field is somewhat unreliable one downtown child’s psychiatrist chats about other patients then gives Odysseus baby ruth candy bar another psychiatrist with office in Wilmette tells him parents need therapy advises he will someday live independent of parents free of their influences

Odysseus Penelope Ryan Siciliano play in undeveloped land across from Schwartzpilgrim’s apartment building there is big tree they often climb near corner of commonwealth and surf streets Ryan is going on about his favorite actor errol flynn and movie “they died with their boots on” suddenly two bigger older boys approach bully them down from tree Odysseus does not recognize older boys from neighborhood bigger older boys push Penelope to ground then elbow trip Odysseus punch Ryan in stomach panic shoots through all three of them bigger older boys glare down with taunting eyes after terrifying moment Ryan then Odysseus jump up flee across street they hide beneath parked cars in underground garage of Odysseus’s building hearts pound in terror hearing footsteps on concrete grow louder they hold their breaths voice speaks out "they’re not here they’ve gone Odys where are you?" Odysseus and Ryan crawl out from under cars feel ashamed of their cowardice in front of Penelope and putting own self-preservation before her protection Ryan is particularly disturbed explains his family are sicilian code of conduct Ryan insists Odysseus swear never to divulge their weakness Odysseus promises later Penelope tells Mom

harper is broad-minded exceptional school housed in old english tudor building on second floor along hall is long glass cabinet displaying among other things 9 large jars each containing developing stages of fetus girls wear uniforms of navy blue skirts with knee socks white blouses blue sweaters which are school colors boys are allowed to wear blue jeans and shirts in good taste Miss Moss teaches fourth grade classroom is duplex with stairs leading up to balcony directly under stairs is secret meeting place and beneath balcony are classmate cubbyholes there is sunroom facing south overlooking entrance stairs to school where older students hang out Odysseus thinks Miss Moss is pretty wonders why she is not married she has deep blue eyes dark thick eyebrows premature graying hair she wears in bun he has crush on Miss Moss thinks she is best teacher he has ever known she teaches greek mythology assigns each member of class character in ancient greek mythology Odysseus is appointed Hermes son and messenger of Zeus Hermes has affair with Aphrodite resulting in child Hermaphroditus Hermes also fathers Pan rescues Dionysus saves Apollo’s son there is voice speaks inside Odysseus’s head no one can hear voice except Odysseus it is voice of smart-*** disobedient twisted child when Miss Moss says “where shall we begin today?” Odysseus automatically answers in his thoughts “how about up your sweet ***?” it is uncontrollable voice for his amusement only often he tries to ignore voice but sometimes it speaks out when voice speaks out Odysseus gets in trouble his friends think voice is funny adults get offended when he reflects on classmates at Harper and distinction of their privilege he wonders what went wrong they are troubled class in fifth grade they cause miss penteck to have nervous breakdown and retire other classes produce famous actors playwrights renowned restaurateurs prosperous investment bankers leading doctors Odysseus’s class produces delinquents gangsters social dropouts drug addicts suicides they take their privilege and run it straight to hell

creature inside Odysseus can be little monster teaches Penelope how to go berserk going berserk involves entering strange residential building in neighborhood elevator up getting off about middle floor pushing all elevator buttons scrambling down stairs knocking over umbrella stands spilling ashtrays ringing doorbells pounding doors running out lobby doors escaping uncaught Penelope is good warrior princess brother and sister can be little terrors

Ryan Siciliano and Odysseus go to see “the magnificent seven” at century theater they head south along broadway street college-age girl with large bouncing ******* appears walking north Ryan and Odysseus glance at approaching girl then nod to each other no plans uttered as college girl passes both Odysseus and Ryan reach up grab her ******* pet squeeze then run do not look back keep running laughing all the way to theater they watch movie with jaws hanging open mcqueen is brilliant all seven are so groovy movie inspires both Odysseus and Ryan.

in 1960 Mom and Dad send Odysseus and Penelope to sunday school at temple shalom teacher calls him aside "Schwartzpilgrim what do you want to be when you grow up?" Odysseus answers "architect or maybe an indian warrior" teacher says "do you know story of judas maccabi? he was a great warrior leader learn about the festival of lights and wield your sword wisely Odys Schwartzpilgrim" Odysseus replies "yes sir" two weeks later he gets kicked out of sunday school for pulling seat out from under girl during solemn religious service he never learns hebrew nor is he bar mitzvahed

Odysseus is hyper-sensitive about race and religion knows he comes from race of people who once were born into slavery nazis systematically exterminated millions of them at aushwitz-birkenaub belzek chelmno majdanek sobibor stutthof treblinka black and white photographs of faces emaciated children adults flicker before his thoughts knows jews are hated not considered caucasian in europe and russia not allowed to own land for many centuries what does it mean to be member of race of people who are despised and blamed? he sympathizes with all minorities particularly negroes who were forced from homeland collared into slavery and native americans who were cheated out of land and slaughtered by white people

"The beggars have changed places, but the lash goes on."*

I
You probably already know, William,
that it’s pretty much all the same
as when you paced the battlements
and howled to the indifferent stars
"It seems I must bid the Muse go pack!"
, caught in Passion’s cataract –
that torrent of emotive poetic grief.

II
Though politics have changed,
there's still old men in the Senate
who stare but don’t seem to see.
They’re caught in youthful daydreams ---
the girls’ bras’ are too hard to unclasp,
even when employing that agéd charm.
(“But O that I were young again
and held her in my arms!”)
You weren't an exception;
politicians are also subject to the Human Condition.
Perhaps more than a poet,
probably more than a poet.
So I guess you got the double dose, William.
In a split second the State slips,
staggers, and reinvents foreign policies,
only to double-back on itself again and reverse.
I know you remember those you rhymed out in verse:
MacDonagh, MacBride, Connolly and Pearse;
their rifles still ring in the recesses
of the Public’s  miasmic mind –
the haze just dissipated over the Irish Sea.
And it's the spring of 2012.
Gore-Booth and Markiewicz are but marrowless bones,
Collins as well.
His still mix in the grave –
They’ve been for ninety years.
Yeah, it's pretty much the same,
Synge’s ******* is still unpopular.
In fact, plays are largely unpopular,
and playwrights work in restaurants
where sweat lingers on their brows
to eventually drip into an already-unfit meal.
It's hard to imagine a play once
brought Dublin to riot;
you couldn't start a riot now if you had
thirty drunken anarchists
with two Molotovs a piece
watch Godwin’s grave get gutted.
Though information is more accessible,
it's an age of information-apathy.
You'd **** a shotgun to your temple
if you saw the state of education today.
I'm afraid, William, it's all the same:
the gyres still run on ---
I fear they're running out of breath.

III
But it’d be imbalanced to leave you here;
at least you split on a Saturday.
Late-January trembles each year,
as the earth did the day you were consumed
in Helen(“who all living hearts has betrayed”)
’s immutable embrace;
your heart alone she could not betray.
And blind Homer who sang her betrayals
has ceased; mouths ran dry the day you died.
You left before your trade imprisoned you;
before the pen enchanted
your remaining years to a page.
You left before you couldn’t:
before the blitzkrieg;
before the world lost ten million more Robert Gregory’s
and you died from exhaustion mid-rhyme on the seventh-stanza of the five-million eight-hundred and fifty-fourth
elegy.
Regardless, it's really all the same.
Even those beggars are still playing twister with their whip.

I know why Vincent Van Gogh Cut off his own ear

We are a mad bunch, you see
Poets and painters and playwrights
On the prowl for something to
jump start our perpetual yearnings,
our keen senses and cravings,
on the quest for so much more
than the status quo,
of merely checking off just another day
from our calendars

We are those kinds of people
Who wish to reinvent the world
Often cursing at our failings and insecurites
While obsessively working to shape and sculpt
our view of this planet
To fit our own brand of imagination
To satisfy our starving hopes
and desperate dreams
To foster vivid visions
from the views that are vague  
And to wipe away
The nightmares of old
that cry out in us

We believe in make-believe
We who are misfits to "normalcy"
We rarely seem to fit into
The "real world"
Yet we know that this world is
Pure insanity
Stark madness
Sheer perplexion
Yet we are the ones
suffering for the sake
of our art
Often misunderstood
Many times branded as "weirdos"

I can understand the pain
Of not getting my art right
Of not seeing its worth
Because someone sniffed at it
Or scoffed at it
Or blindly passed it by
Many times, we want to break through
And join the world of our works of art
But we can't
We're stuck in the middle of its beauty
And nothingness

Yes
I know why Vincent Van Gogh cut off his own ear

Sometimes you see her admiring herself
In the mirror that's hanging next to the shelf.
And when she does it, oh, how she shines!
Is that, dear cat, how you practice your lines?
She seems not to care if we pay attention,
But maybe right here I ought to make mention
That being an actress, she's disinclined
To always reveal what's going on in her mind.
And she'll never, never tell you her age--
Aphrodite, the cat of the stage.

She says, "You know…I'm not one to cuss,
But when I am hungry, I WILL make a fuss."
Yes, she can certainly put on a scene
And act as though she's an importunate queen.
She says, "My dears, if I'm weak or mild,
I'll never drive the audience wild."
That critical scene is repeated each night--
A regular tour de force all right.
Yes, it's best to try to assuage
Aphrodite, the cat of the stage.

Her eyes were surely her greatest feature;
She THUS scoured the town for a drama teacher,
"Who," she says dolefully, "told me one night he
Could make me a star. ME: Aphrodite!"
But as it turned out, ol' Mr. Mittens
Made her instead a mom of eight kittens.
"But," she says, "THAT'S between you and me.
You know how I like my privacy."
It's good to always be on the same page
With Aphrodite, the cat of the stage.

One thing you learn is for her it's the norm
To act a bit slighted when asked to perform.
She must be totally in the mood
Or else she behaves in a manner subdued.
And heaven help you if you are neglectful
Of if her audience is disrespectful.
She'll exit the room like a "cat" out of hell,
And you may not see her for quite a long spell.
You never want to see her rage--
Aphrodite, the cat of the stage.

She sighs and says, "It's such a shame that
Few playwrights write good roles for a cat.
My friends say--when they see me upset--
'Commercials might be a better bet.'
My talents, however, as you might have guessed,
Best fit the stage. But now I must rest."
With that she lifted her nose in the air
And strutted out of the room with great flair.
It's always nice: advice from a sage
Like Aphrodite, the cat of the stage.

-by Bob B (1-24-20)

"Do not judge them,"
She whispered softly,
"You may be old,
But you have yet to live as well."

And they stared at her,
For the first time in decades,
With eyes wide with wonder.
"But I have seen so many things,
I am certain I know more."

"No,"
Smiled the crone,
Orange eyes twinkling like starlight.
"You know what you know for yourself,
And yourself alone. Your wisdom is yours."

"Shouldn't I make my wisdom theirs as well?"
Cried the playwright.
"They're making too many mistakes, I have to fix it."

And still, the crone continued to smile.
"Their mistakes are theirs to make."
She reached out and placed a hand upon the playwrights' paper.
"Just as your wisdom is yours, their experiences are theirs, and just as valid as yours."
She took the quill from the playwright, and tucked the crow's feather in her hair.
"Allow them to grow without your bias."

"But I don't approve--"
The crone gave the playwright a bright smile,
Though her eyes were dark,
Which ultimately shut them up.

"Your place is not to judge. It is to nurture. It is to guide."
She said softly, though her tone was much more assertive.

"Then let me guide,"
The playwright began.

"There is a vast divide between guidance and control."
The vision of her shimmered, and she took a step back.

"I don't understand."
The playwright held their head in their hands, knuckles white while gripped onto curls.

"And you will not understand until you yourself live."
The old crone cooed, before her image blew away in soft red wind.

And there the playwright was left,
A half written letter filled with judgment and smudged ink,
And no quill to finish it with.
They fell back into their chair,
Glaring at their writing desk.

Whether or not the crone was right or wrong,
They still didn't get their quill back.

I'm calm, composed, and nonchalant
In debt to my desire
I sell my soul to design passion--
To find that it fled from me

I play for my heart--
With an elderly, unkempt chess board
With fading colors and missing pieces--
Ambiguity has blended them as I sleep

Adopted by Reason, I ran from Home--
To sleep, nevermore, in my own skin
Disfigured, the hours melt away--
My rib-cage houses their wayward ghosts

I am controlled or coerced--
Anxiety crippled my heart's playwrights
Cutting off my vexing hands--
Bound in a stock, headed for Babylon...

I can never compensate for the poems I have misplaced,
Yet I proceed to shed sincere ink upon an empty canvas,
and revert towards elusive answers.
I once again resort to the preferred instrument,
And stumble into a liberating trance.

However, genuine introspection often
Unearths wretched recurring recollections,
That have served as the creative source
For previous poetry collections,
Some of which cannot be read
Without a deep sense of dread,
Hence I flinch from acknowledgment instead.

How disoriented am I?
As disoriented as 20 year old Kimberly
Her derelict of a son is an embodiment
Of her youth blues memories.

How aimless it must be to venture
Amidst the sanctum of stagnation.
It was not long before even the architect
Began to disdain his own laborious creation.

Why wouldn't he?

He was a fool to build
A foundation out of complacency.
The structure is able to endure
Since it thrives off of a perpetual tragedy
Of self-defeating beliefs, lascivious senses,
And misguided aspirations.

Unfortunately, whoever it houses
Collapses out of utter exasperation.
An inevitable predicament I predict
Will confront me as soon as I deteriorate mentally.

The sanctum itself testifies to an aphorism
I recount hearing during a melancholic plight:
Truthfully, throughout the ages,
Fallibility has always been
Among humanity's playwrights.

6/18/13

(c) 2013 Brandon Antonio Smith

my actress, who
sweated blood on Broadway each night
off Broadway too

said, on a long stroll
through Central Park. she was successful
because she did not like herself

on the stage, she proclaimed,
she was never herself, and she fell in love
with every character she portrayed  

every script was a better bio
than her own, and the playwrights knew
her better than she knew herself

and when our walk
was curtailed by a downpour, she dragged me
into a crowded cafe

where she knew half the patrons
and the wait staff, and they all knew the different
personas she had owned, on the dry stage

rain now forced her to choose  
which selves to keep, and which to lose
while she sipped scalding tea

with me, on a grey wet afternoon,
only hours before she would again be under  
the spell of the hot lights,

and read verses from the pens of prophets,
poets--those who purloined her soul for the price
of admission, to a place without self loathing

Men have died
And angels cried,
All for love.
I have wept,
And secrets kept,
All for love.
Kings on thrones
And men of bones
Have shuddered,
All for love.
Nations have clashed
And creatures thrashed,
All for love.
Will you ever cry,
And inside die,
All for love?
Poets and troubadours
Have sung its praises.
Playwrights and authors
Have written its woes.
But who in the time
Of the cavemen would have
Thought love could ever
Be shown by a rose?

This seems a playful satire on the mighty Saltire
prewritten amidst a highland lowland silence.
In the hand of the wise-to Queen, or St. Andrew,
eternally akin to this 4-piece jigsaw'd island.
The actors publicly casted, professional amateurs,
notably despised an' yet a country's finest.

The setting old an' knew, new an' known, with
a neglected audience primed for mass evasion.
An' piecemeal parliaments, scrolls nor parchments,
have no place in this covert-of-sorts invasion.
For the stage be set with indebted goodwill,
through empty words in empty declarations.

The plot is thickening quick to a household broth,
of misdirection, miseducation an' artificial lie.
That binds the truth as if truth could be told,
of national strength safe in obvious disguise.
Common wealth paid for by the oblivious poor
man's pocket, pulling loose a threadbare tie.

Nae t'shakespeare'd lines, no to broken records,
No to smug derision of the true an' earnest,
Yes to insincerities that make you sober or worse,
that shine up their last of royal seal varnish.
No to sticky-finger-printed brass doorknobs,
of which for Scots to knuckle down an' burnish.

No to pious voices calling to brothers in arms,
leave this pound of flesh in vacuous debate.
Yes to monopolies of endless fields an' wind,
an' guards sat on a wall which have no gate.
Alas freedom remembered, stamped an' framed,
was never a win but loss to sovereign'd hate.

Left to aged members of past an' proven fable,
to cry the Nae's an' Yay's of a borrowed tongue,
to the masses still confused, still right thinking,
of who to believe an' who to defile. Now hung
out to dry the many years of engineered deflation,
left alone with answers still evolving, still young.

A year from now a collusive conclusion made,
to this ending – the poet an' playwrights success.
Devolving the ever-changing, deceptive blurbs,
to inveigh a reasoned No with a passionate Yes.
Leaves me mawkish for my country as it devolves,
An' I the fraternal gambler with only a flighty guess.

Recognise your flesh. Recognise the life you have.
Recognise the absurd use of this bargaining chip.
Social norms which press you heavy, all the time,
be they Catholic, Protestant, Tory, Liberal or hip,
Recognise you can discard them, this very moment,
An' become a leader of this Clydebank anchored ship.

Let no acid be sprayed unless to sting open the eyes
of the blind. Let no more our words become unseen.
Let no more the voices of hatred speak. An' so leave  
conflict where it belongs, for crowing minds to preen,
In the past for histrionics. No more of them an' us.
Step into freedom. Free, as you always have been.

As the curtain dropped, the thin and tiny dancers spun, leaving shadows dancing on their own. With movement, the orchestra rumbled into existence like an old, but trusted engine, the story, if there was one to tell, came to life and extended to a peak.

Those in attendance, were mostly astonished by the playwrights sardonic ebb and flow. Jaws hung like meat from the ceiling of an old delicatessen as earth tone lights dodged about and around folks ears, gently tilting through a myriad of pleasant poses.

The now heavy and breathy air in the theater coalesced as the heat of the story changed the room. Hands were clenched and teeth were squeezed as purpose slowly but surely found the dimly lit theater, deep in the heart of the old, dark city.

At the top of that coaster that night, the leading gal crooned, wept and danced to the delight of many. Her savior and his foil, battled the war of children, the director beamed a sullen and mysterious glee as his creation came to life.

One gasp followed another that evening as notions simply chugged along like the underground train. All applause for the players in the end was loud, honest and ornery then after the show behind the deep red and dangling curtain laid the pats of many, on the backs of others.

No smile to big and no lid to low as the bubbly and fine foods found the lips of those aboard the dream. Then, at the exact moment the intrigue of the performance trickled into a thousand tomorrows, there was Joy, quite subtle, but existent, quietly dancing the pretty little dance, of the thin and tiny dancers.

At times,
I get a creative tornado
in my head,
as I am going along
in my daily life
And I can't wait to go home
to sit in front of my computer
to write all my poetic thoughts down

I'm convinced they are masterpieces,
that people will be blown away
by my work
but.............

All is silent on the response button

And suddenly I think
I am not that talented
That my work really wasn't
so great to begin with

This must be what all
artists go through...
painters, authors, sculptors,
screenwriters, playwrights,
songwriters and musicians
Doubting themselves
when art lies in the eye
of the beholder

Its all part of the subjective
nature of art

It's like this:
You sit in your bedroom and the fan is on, the window is open, yet it is still hot.
You have your laptop open and music is playing.
On your walls there are numerous posters, a world map, and a dartboard.
On your nightstand there are letters from last year's World History teacher, empty bottles, a switchblade and an ashtray.
There are books on your shelf written by many great authors, poets, playwrights, and philosophers.
In your hand there is a cigarette, and in the other there is The Stranger by Albert Camus.
You sit alone, smoking and reading and drinking and suddenly you stop doing all of these things because inspiration has struck.
Although you prefer a pen and paper, you begin typing on your laptop.
The words come out and form sentences.
The sentences form stanzas
and eventually the stanzas form a finish a finish product.
That is what it's like to be anything at all.

Take me to the City that Never Sleeps
so we can spend all night
mingling with the mattress
and making friends with bedsheets.

Take me to the Big Apple
so we can make a fruit salad with our lips,
because mine taste like strawberries,
and yours probably taste like the Garden of Eden.

Take me to Empire City
and I'll be your Cookie
if you feel like your sweet tooth
is craving more than the forbidden fruit.

Take me to the Melting ***,
even though we're the whitest people I know,
teach me through the timelines of other cultures
and I'll teach your hand to trace pathways to more than my heart.

Take me to the Capital of the World
so we can stand at its highest point
to watch couples pass on the streets below
and know that's what we'll never be.

Take me to New York City,
because if this is just ***
let's make it an adventure
that playwrights on Broadway would applaud.

Our Richards eyes are nothing like the sun,
but even one with luminous eyes
could not shed light on writers and make fun.
And, doubt others could tell better lies.
You taught us of poets and playwrights fair
on the road towards our paradise lost.
Inspired us with Blake and Baudelaire
and for years you were our favorite host.
                Where art thou, babe, and where dost thou depart,
                we thank you Richard for your giant heart.



With Iambic pentameter I try
to capture your spirit, within a verse.
A troublesome task and I must ask why
did Chaucer set the form and make it worse?
Please teacher, take from this no insult,
the poet means your spirit ‘is filled with glee.
But if the verse be flawed, mine is the fault,
by no means perfect but from us to thee
                Kneel Sir Richard! do so at your leisure.
                We would dub thee king, it would be our pleasure.

Directors and playwrights:
Puppet-masters pulling strings.
With an ending clearly written
A divergence is unseen.
Lines rehearsed,
Movements blocked,
Costumes sewn,
A table of props.
Each piece dependent on the other,
With trust that each will stick
To the parts neatly rehearsed,
To the lines within the script.
And it is wondrous entertainment
For an evening in the dark,
Where the set is just a fiction,
Each player, just a part.
But I'm not here for your enjoyment.
I'm not here to play along.
With the conflicts you've determined;
With your solutions to these wrongs.
I know my lines, I read them.
I know my steps, I've walked them.
But these lines, you wrote them.
And these steps, you blocked them.
How can I accomplish
Something different, something new
When I am following in footsteps
Conjured up by you?
It'll leave my company scrambling
To get us back on course--
But I have no desire
In the destination forced.
And if the set begins to crumble--
And the illusion is dispelled--
And all others break from character--
And the misconceptions that they held,
Then certainly my disruptions
Would not have been in vain,
When something new arises
On the stage that still remains.

As you get older and things become even more obscure, you eventually sit back and realize, everything around you is a dream. From the food you eat to the shoes you wear. From your neighbours car to your dentist's chair. It's all a fantasy, a myriad of illusions cast upon a dark canvas by poking holes in a screen. It's not that we are the actors or playwrights, only imaginary characters in our own perverted scene.

Star spangledgraciousness
An empty vessel
Yet not without its redwine
Red wine
& sourness of past inhabitants
The fog of Manhattan
Cries the whale of night
In a street of slurred bodies
& electrical heads &the; train is late &excusemepleasesorrythankyou;
& directionless/compliancy is for the agents who don't know rhythm i can speak the tongue of a sweatfaced
Painterman or
The kindly blind
Who haven't the time for soreness

Its all soupNmute screamin!!!g

"Ur dryer has been faulty /
The showerhead makes cruel sounds!"

My Beltbuckle healthier than
Leather!of my shoe (a horn from up the block)

Rosesmile lovely faces
Being uplifted by balloons &
Kissing hymns

(RedwineRED wine)

Impolite barter
Or 75 cents in Metro
Paused for Rodenticide

(green neon coffin)
Coughing neon green

(!!)


HERE is a wailingCannonBall
Creating a space of drums
And dancing or microphoneAAA

Golden cloud & dripping halo
Words cannot hurt these saintly scenes
of a
Light caught in the rain
As mist rises u p
From my fleecy walk
& protest sirens orchestrate
SUNSET tape
/X and O/
               Do not mind the slipping
               Metal
               Or poorly-tended meadows coming up thru
               Hairlines
               ////////////###
      Transmutable
      Grains to cigarette ash
      Rolling daintly upon the marblefloor
      I have seen scholarly tearjerkers
      Preach about the elevator
      Blinking the signal of the soul
      Holy(soul)
      And potplant lids
      Fantasizing of Mothers
      To shoeshine their world
      A (         eniwder

"hellonothankyou"
    "AfterallthistroubleIwentThrough!"­)
Note of
Myself put into the hardwood of

The blunder
Of thought itself

For a fool beneath a bridge to find
& smoke with aching feetNplastic
teeth
Speaking plastic musings to

The plastic of the falsely opposed
Withdrawn
And unable to prove why this country hates them so much

(which begs the question)
Candles keep to the museum of headaches & irony

I keep to this narrow night under the
Attic of West 3rd

Wishing for a place to rest easy
Except these foreigners slam their

Quiet fists to the map of New York City instead
AhOkLetsBePatientPuh-Leese

This sort of passion for
The stone and it's
many
Bulbous radiant
fingers
While simultaneously
Brushing them away with nervous laughter
Can only be caused by

Spending too much time at the beach
Reading playwrights.

Fight , fight writers , poets and playwrights , manipulate and fool the gaze of government with all thy might , extending a daisy with the left hand while smacking common sense into their bureaucratic mindset with a swift 'right'* ...

Things chronicled in shalestone fossils
or superannuated tree rings
can only be read by convinced decipherers.
Disciples of scientific wedges,
the geologist, the dendrologist,
are playwrights of elapsed and extinct
note taking on modern note making gadgets.
Habits only experts in probing
can manage. To convince a tree hugger
that his data, is more evolved upon
a digital device rather than paper,
provides no comfort for fossil record-keeping
stone huggers worried about a valley
of eroding silicon.

I, for one, cannot be concerned for either.
As for a more feasible digital implant
to be splintered under my skin,
to keep track of my where-abouts
is now achievable. I may want one
for my dog or child, but do I want one
for myself?

Will I have a choice?

Painters and poets and playwrights
Have spent centuries convincing us that
Grief yields greatness
Out of sorrow is born supremacy

But the truth is
Great men are great men
Despite their bleeding wrists
Despite the misery carved into their bones
Despite their cut off ears and their stillborn infants

Art is the favorite daughter of brilliance
Who melancholy so slyly tries to steal as her own
To showcase as a gem
Amongst her own worn-out children:
Agony and suicide and irreparablilty

There is no glory in weakness
There is no museum to honour
Pain rolled up in a corner
Willing itself to stop existing
There is no concert arranged for a man
Who furiously runs his bow along violin strings
To produce ear splitting screeches

You and I will not colour our broken hearts
Shades of crimson or indigo
Nor will our ink stained fingers supply a voice
To a tortured soul's invisible turmoil
Instead pain will turn us into a monster
Or a recluse
Waiting desperately for that lightning flash of epiphany
To convert what little is left of us
Into a factory that churns gold

With axiomatic prominences, the God Spílaiaus hung from the Virola from Ibic Three in the elevations of the Kantillana at three thousand meters high in the Transversal valleys, individualized Pichi, Chile. Millions of flying masses of Chiropterans unfolded, anticipating Vernarth's visit to the Celestial Regency of these Deities by accidental and hybrid Hellenic prophecy; coming from the Protocol of Transylvania with the Eternity of the Submythological god of Vernarth Aiónius from Ibic 1. These deities came etherealized by the heights of the Nothofagus Obliqua that was bent at forty-five degrees by the lift singing the melisma of Antiphon Benedictus that this time made the bastion and garrison of the Mikhve or Kathartyrium of Vernarth possessing souls with scabrous megalomaniacs boiling internally through the Underworld bringing Hades Speleothemes, such a tow pulls the Kosmous and humanity into the bowels of the Kardiá of the purified Agoge and the Mikveh or Purification of Vernarth in later Hypnosis Existential hanging on the halberds of the Dorus, Áspis Koilé and Kantabroi waving in the intensity of the conifers before the hegira began at Tel Gómel. Vernarth approaches Spílaiaus and proffers: “My Lord, I had an illusion…, I said that I had to fly over the Palace of Arbela at the expense of the followed “Paraps or Othónes” or Parapsychology screens that took me to wastelands full of Ungulates that rested barren in calcined silica **** covered with Hoplites and Achaemenides cries imploring to escape from disastrous dawn of Dark Angels, safe from other Angels Shvil, Almas de Kalidona, Hellenika, Armas Christi and Almas de Trouvere. Essentially all of them would beg for the circumcision of the open field and also openings of thousands of soldiers when It was arranged by all this heavenly light to crack the heels of every Hoplite. Thus leaving the hollow opening of my soul Mikveh, Kassotides, and Lynothorax that invaded with satiety to get out of itself and become the destination of all oppressed compassion on the way to the Empyrium. The curtain persists that helps beatific concerns of submitology inherent in cultural realities where it subjugates the digressive persist of specimens that recover life from their own exhaustion exercising truthfulness in those that are strengthened by their own incapacity "Vernarth" is a product of Spílaiaus' concern , and this at the same time knowing and having everything given in its analogy and terminology protruding the same root, except that submitology is roots that subordinate the inorganic and inanimate for such an effect that legacies of myths take on a leading reality that does not consider true what is not or it is part of a myth rooted in mythology, but rather of what is subtracted from its own inertia or wear and tear that does not take on a reality present in all things that are not virtuous, much less express it from a Gnostic perspective; where everything is reborn and progresses in paradisiacal cycles and messages of the Merkabah..., They are of an infinite cohesion of that celestial if it had to appear in the astral journey without taking into account what the same time in question allows to appreciate how long it has to last or persist to know that you are rooted in this process itself!

The subsequent stage will be governed by fertile beings or deities. The Genre of Itheoi Deities arises from magnificent submithological gods since they are present in events of an immortal nature doomed to micro spaces that will be configured with Paraps or Othón forming multidimensional links in each episode. The scenographic movement is represented in this work, in such a way to personify a heterogeneous reality shared by some of these gods and others from Olympus. In the case of Spílaiaus, it is specifically an augmented reality nexus of ibicos that are instantiated in this Trilogy from confraternal words where Vernarth Says: “Give me a little Gála and I will be the son of Zeus, perhaps as a means in everything and not an everything I never thought of…!” Here is that Gála is dairy juice where a speleological factor intervenes from Chauvet, Valdaine - Nyons Region - France. This is more than saying that the triggering factor is Mikveh or Purification leads from the premiere of the journey to associate with the underworld of the Kathartyrium or stationary Purgation that will take him through sequences in chapters or Paraps to meet again with Virolas or Anillares composing Medrones, crimping and growth. Later Wonthelimar from the Boedromion would bring The Arrows that Zefian will bring in the Second Trilogy bringing sleeping bodies of winter to the lap of the spring Boedromion crossing lines from spring to winter in the cycle that went directly to the Cinnabar Mercurial Ambrosia. They were discreet detached arrows that he had launched into the sky and they did not return but in the rooms, and in stages of Animalia towards the duty of rejoicing at the ****** of the Telesterion. Wonthelimar, being once again relocated before starting the works on the temple of Megaron Áullos Kósmos, was returning to the Chauvet-Wonthelimar cavern. He distanced himself from the contravention of Apollo and Artemis towards an olive tree originating from Zefian's arrows, to mark the new cardinal points of the zenith starting with the first two arrows that are placed on the bowstring away from the Quiver, each one crossing north-south trajectories and another two that were violated again with the bow of the stormy East, to launch arrows from east-west with limits of southern magnetism. He carried in his belongings "Ibic Rings" that would be transmigration towards cardinals and points where the Megaron of Vernarth would be exactly, arguing that Zefian's phalanges would be ordered in Sintropia and organic chaos in Patmos, making Pythagorean proportions in essences of numbers that idly advanced in temporary passages of Wonthelimar that were movably made of religious Saetas and Mercurial Ambrosia of Cinnabar, to contribute with insightful points of the Constellation of Capricornus. Zefian's tendency was evident to delight after being pulled from the bowstring to ghostly existence; presuming that where they fell would be the beginning of the gales that would originate the Áullos Kósmos or Megarón, a late pro of some courts imposed from the Ouranos or Cielo that was going determined in his will seized by a dubious Vestal god advocating associating with hospitable Canephores as conjectured Virgins Vestals of Roman bilocation that were resting in their hands..., and quantum parapsychology of the feared live between-tale that boils over in the arrows that have not yet fallen, not knowing their whereabouts? As sheets or serial wafers that were evoked where the origin of the Universe was broken to open towards the organic, vigorous, and anti-burned contravened Duoverse including the divine celestial origin as a *****-ovular parameter, rather eons and instances in Hestia's chimney running in pertinacious towards vast volumes of light-years. The connectivity of the Itheoi gods will make the quantum mobility machination operable between seasonal dimensions that will have to pass through periods, stages, feats and famous moments since it is initialized from here in the stone of lance with its Etruscan horses in Tel Gómel, for later in the Eleusinian mysteries themselves co-participate in eras of connection, as it appears here after the saga of Judah composing their respective seven chapters until breaking down at the end of the Conclusive Meshuva. The Boedromión will be an essential part of Trilogy II, waking up in all the winters of the world as a shelter flowered directly to the component of the Mercurial Ambrosia, a valuable element of Cinnabar or high-grade Vernarthian Sulfur for the Vas Auric or Sacred Medallion of Limassol that overflows decanted at the end of the Mikveh growing in arid deserts.

Cardinal Spilaiaus

- North: Vóreios (Zefian Boreal)
- South: Nótos (Austral de Borker)
- West: Dyticá (Twilight of Leiak)
- East: Aftó (Kaitelka Equinoctial)

From Medrones that grow in massive ibix antlers in Nyons, Seven Ibics Rings were taking hold, a Viroliferous process was progressing, or exercise of rotation mechanics of Quantum Rings in the same thesis work that speaks further of a replacement Universe as the anticipatory Duoverse, and the gifted Codex Raedus as a complement or annexation baggage of the Profitis Ilias in Patmos thus generating that pre-Christian annal have a leading role in new construction by presenting a virtual situation or Genius Loci. The Semi Itheoi will have roles in leading each cardinal so that the Gestation of the Fourth Arrow of Zefian is finally re-established, reordering the universe predisposed to receive the one approaching the Duoverse. What happens in Tel Gomel and Persepolis is relevant to the Psiloi Phalanxes and crowds that would face militarized personalities, totally ignoring the origin of the Hoplite as a worshiper of Hera's Wastelands and eternal stables that supported Vernarth just like Etruscan horses and Steeds of Sudpichi summoned Alikanto or ALikantus. His mother Luccica and father Bernardólipo endorsed all contained belligerence if he were not a repentant warrior in the gloomy night of the Horcondising Castle where Spilaiaus would give warlike foreshortenings right there to abduct him at great speed to Gaugamela. Vernarth would go to these latitudes, and then he would be exposed to governorships of Aionius to consolidate and channel this hybrid submithology that would bring together the ancient Hellenic Mythology. The vertiginous passage of time will conceive harsh characterizations and qualitative Paraps or Parapsychologies, possessing the largest arsenal of quantum and historiographical data ever counted and interpreted by characterizations, more than personalized blocks in particular characters, being the support vehicle or generational stem of the summary of understanding more facts and qualities that own characteristics of interlocutors. The vast collection of Submythological gods will be strongly entrenched in identifications of Semi Itheoi or deities that are intertwined directly with the human fictional world. ! Successive Paraps are concealed and accompanied by connectivity screens called Othones, these are a fundamental part of the audio-graphic syntax, managing to structure gods and then decode the final concretion of the conclusive in each Paraps, which is nothing more than a consequence of this imperceptible quantum axon, which does not end or start!

Submythology is an etymological derivation of later stages of mythology that deprives of granting subsistence and comparative biology to cultural, urban, fabulous components or inheritance of great ancient and medieval epic periods. Contributing great accumulations of proposals to such a generation in channeling with original playwrights reinventing their theses, also giving a breath of expectation to mythical beings so that they come to life in a hybrid interpretive horizon, or with alternation of roles considering mysteries in the blink of an eye happening to postulated dissidence or vagueness, losing itself as a gendered practice but not of the real cultist who has been propagated in his gnosis to remote places of the infinite superior. In short, Submythology is an infinite tragedy where the characters represent the work in furtive omni canality, and three-dimensional presence in sharp contact with the thrones of deities that make it even more evident to relate past history through submithological exercises, which itself refers to the prefix Sub " from what precedes par excellence” and mythological suffix as a series of processes of experience where the active voice of the narrator counts, being rather an inspirational pre-constructive phase. What should be experienced when in front of us a Homeric god of Olympus is presented to us telling us that the Olympic archeology has secrets of the Myein revealing characters and successors Submythological Gods with histrionic deities looted in all ages of the Celestial Organic Subsistence.

Ibico 1: "The first was from the initiation of Wonthelimar and he brought purity, for all who needed him and went to visit him in the dark, then he would find the light when he came out of the cave alive if he was accepted." As the only presence of Wonthelimar is of Chauvet's present god ambivalence.

Ibico 2: ”He was guided by Vlad Strigoi in the center of the priesthood of his shelves with the chiropterans and in addition to the mercurial ambrosia for the purpose of energizing the Cinnabar of Tsambika. Having all the protocol of Transylvania and eternity with the vapors of the Antiphon Benedictus”.

Ibico 3: "From the Eygues, the waters evaporated to heal the tormented initiation processes of elevation of the four Arrows of Zefian, to indicate the zenith of the Megaron."

Ibico 4: "This ring was from the antler of Wonthelimar, here they wore the oikos or threads of Orphi Gold, for the Himation and investiture to anoint the body of Vernarth, bringing the aerial atmospheres of the Alps and Ida as a Mycenaean complement- Valdaine”.

Ibico 5: "This piece of metal speaks of the fifth plasmatic element that would contract the universe and the Hyperdisis galaxy, to elevate it to Vernarth's hyper neurological and Duoversal brain twinned with the Mashiach."

Ibico 6: "It is the sixth piece of crowns from Kafersesuh, bringing pollination from the Lepidoptera, for the central stage of the investiture under the shadows of Hellenika and Theoskepasti."

Ibico 7: “It is the deep voice of Cinnabar and the Antiphon Benedictus, together with the Lenten fast of all the hoarse voices that inquire of the true phoneme and photon of divine mass light, to build the Áullos Kósmos. From here the purification will rise in synchrony through the final growth medium, up to the millimeter-sized shoulder of the square meters that will illustrate the Acrotera del Megaron”


                             Gender of the Duoverse Itheoi
                                     Horcondising Deities

Previously Vernarth takes his head resting on the ceramic that supported him between the Hydor photo duct, rather bringing his hand closer to the Klismós that Saint John the Evangelist had given him when he passed through Ephesus. In such a way that when he makes the first impulse to get up from the chair he was already beginning to leave the conventional Universe for the first time, then when he sits down again in the chair inaugurating the crystalline body that was looming over himself, he continues to be the Duoverse as if outside the Klismós with its curved legs resembling supporting pilasters of the Megaron diverging to the conical ones that projected concavely supporting the hollowness of its pectoral, which was already transparent like its Invisible Eclectic Portal. Meanwhile he gets up again holding onto the Mashiach who came to take him in his arms and place him in the klismoi that interpreted the elevation of Hellenism to the Greater Heavens and the Itheoi of the Duoverse; that is to say spiritual deities of Vernarth in the classification of the rank of beginning and projection of the abandonment of the Golden Himation. In such a way that the Astragalus was integrated; a floral company that was rooted in the hands and roots that cooperatively took root in those of Kashmar. So Vernarth with the Ibic Rings would begin to syncretize the imperceptible quantum and hyper-accelerated mobilization of physics of sub-atomic particulars that would later second it, unleashing from Alef to Tav to Astragalus and Aiónius, beginning his omnipotence. The sidereal distance began to unlink towards the Calypso air that was twinned with large portions of the sea in the same enamel, making Patmos the union of chain reaction speed with the Dodecanese Valleys and Transversal Valleys of Sudpichi unifying Vernarth with Apollo, Esminteo or ephebeia; that is, three sketches of Apollo himself for the theological genealogy chart of the deity Scarabaeidae with species that multiplied together with Vernarth to become the metalloid Azophar as the main knowable guideline to the unknowable, being Apollo himself in Vernarth's corporeality before rising to the iridescence of the Moshiach.

Astragalus: His primary Itheoi or theological picture would be composed and forming part of his feet and the surroundings of his ex-voto to take to all the summits of the world in the essence and the gift of eternal life represented by the root of the madrigal curdled by his feet, with the root of the Astragalus in flower when it represented the zero-hours by getting rid of his Himation and meeting the Mashiach.

Scarabaeidae: God of the subsoil modality of wandering souls destined for the physical and spiritual decline, Scabaraeidae Aphodiinae as subtractors of all the waste of souls that have boiled in malignancy, and the Scabaraeidae Dynastinae as the righteous larvae that rise from the imaginary soil to feed on the roots of the Astragalus and all the flowers and leaves of the Dynastiae. Increased the taxonomic genus of the species that would have to remain in the underworld to aspire to a better one like these Dynastines or Heracles beetles in honor of this hero carrying the peg that Vernarth would place on all the gardens once he was in Aurion, leaving him in a larval state, before being sponsored by Hera's family for the life cycle of the Horco-Olímpico.

Nothofagus: God's phoneme-photon of divine mass light to build the Áullos Kósmos. From here the purification will rise in synchrony through the final growth medron of the Ibex of Wonthelimar, to the millimetric assembly shoulder of the square meters that will illustrate the Acrotera of the Megaron, and the Iridescent Nimbus that percussed between the Áullos Kósmos and the Vas Auric ” in total synchrony with Patmos, at the same level of luminosity and growth revelation of the Scabaraeidae Dynastiae to transform inert matter into another fertile one compared to Poseidon.

Lepidoptera: Like The sixth piece of crowns by Kafersesuh bringing the fertilizations of the Lepidoptera in the Ibico Ring 6, for the central stage of investiture under the shadows of Hellenika and Theoskepasti, where everything will be endowed with the greater Ibix called Wonthelimar” that together with Leiak they would transmute to Horcondising.

Azofar: This metalloid god and support of the bed will take and bring Vernarth again when sailing through the cosmos towards the fifth element that would contract the universe and the Hyperdisis galaxy, to extol him from the neurological hyper brain of the Duoversal of Vernarth twinned with the Mashiach, exemplifying duplicity of Apollo as Azofar device of new interstellar ships beyond all that is knowable.

Ibicus: god of Wonthelimar's antlers, here they will carry the oikos or Orphi Gold threads for the Himation and investiture to anoint Vernarth's body bringing the aerial atmospheres of the Alps and Ida as a Mycenaean-Valdaine complement, thus they were inaugurating the solemnity and honorability. Here the quadrature will be the perfect Heliacal Ortho of the fourth Ibico with the quadrature of Aurion commanded by Leiak in the cardinal Dyticá.

Vélus: from Ibico 4, from where the goddess Artemis will evaporate in the waters for the healing of the tormented in initiation processes of elevation of the four Arrows of Zefian, to indicate the zenith of the Megaron as if they were surrounding a Castalia for such solemnity.

Spílaiaus: from Ibico 3 in the center of the ministry with the bats, and others from the mercurial ambrosia invoking the Cinnabar of Tsambika. Having all the protocol of Transylvania and eternity with the waters of the Antiphon Benedictus”. Here is one more bastion of Hades' underworld dressing for the Speleothemes that will take you to the heart of all the dens of the Faith.

Aiónius: from Ibico 1 Wonthelimar who brought purity to all who needed him and went to visit in the dark, then he would find the light when he came out of the cave alive” here Kaitelka and Borker, in total harmony with Demeter, Persephone, and Hestia. Bringing them from the labyrinths with the rusty chains of Prometheus and Vertnarth wandering through infinity.

                                       Semi  I theoi

Semi-deities and great autobiographies of the Itheoi world derived from the denotation that would be reformulated from the Apoinandros that would be displaced by spikes of the didactic Ego or teaching of the authentic apostles that crystallized with Zefian, Borker, Leiak, Kaitelka, and Ezpatkul. Zefian: Reformer of the Universe-Duoverse, possessor of the four Arrows that will illuminate Heaven and all of earthly Greece every time Vernarth circulates linearly through the seas of the Vóreios of the Aegean. Ruled North: Vóreios (Boreal of Zefian) Borker: Demiurge and guardian of the Duoverse. Warden of the Forests of the World and of the Transversal Valleys of Sudpichi. Ruled South by: Nótos (Austral de Borker) Leiak: Omnipresent demiurge, the vague spirit of the docile water dancer who lives on the water with his slimy Chin, his playful back is seen breaking lines of wells between flesh and silhouettes. Before the First station, the first of the three remaining nights before reaching the crater of Joshua de Pétra” ruled West: Dyticá (Twilight of Leiak) Kaitelka: Down Whale ruling the Psychic Trisomy of the Duoverse and seas surrounding Patmos of the Apokálypsis ruled to the East: Aftó (Kaitelka Equinoctial) Ezpatkul: Dóntiakul or Augrum teeth or prominent Gold will rotate through the Scarabaeidae demarcating the Vóreios Vóreios in the Horcondising region, bilocating it in Patmos Encinas borers, with such frenzy…!, that of Right there they would extract the strength of the Mapuche north winds from the Meli Witran Mapu, beginning with the Pikún-kürüf.

A great revolution was conceived with the imprint codified in stars that would begin to appear in Alto Kanthillana after the awakening semblance under the Nothofagus bottoms; being a god who would free Ninfuceanicus. This was a Sylph that millions of years had been inert in the space or radius of Spilaiaus very close to events of the new awakening. This Sylph would be the main stolon of the Nothofagus and would provide residual inactive matter from it so that Vernarth could secretly rebel from the stages of darkness and desolation of the species, having been dragged by decanted augers since time immemorial from what is currently on Patmos. This would consecrate extensive recycling, accelerating the characterizations of each organic personality and not, tending to an essential role in Vernarth's plot; because it will be this depression to make of its awakening a multicellular set that would grant the disappeared species of the behavioral axis to be restructured in all the ex-karstic zones of the subsoil of Patmos, up to the Transversal Valleys of Sudpichi endowed with a great mineralogical bijective mass to supply powers with signs of substance and later mineralogical dimensions. Ninfuceanicus will be its Exo muscular mineral part that will provide proteins to Vernarth directly from this Sylph, in addition to recreating with her the necromancy attached to Gods Itheoi with Tsambika, Kímolos, and Patmos.The Paraps are nothing more or less than depressions of these liberations of great old geological masses that were biasedly unified under the subsoil of Hades Speleothemes, not exemplifying the stationary world of the relay but rather the Omnipresent Sphere of Spílaiaus together with Aónius and Azofar in the rescue of this Sylph, then Vélus, Ibicus, Lepidoptera, Scarabaeidae, and Astragalus will assign them the predominant rule. In silent and prominent escalations of events, they would intrigue themselves in the Submythological Epic, recomposing themselves in recapitulations that would indicate that Ulysses, Heracles, Hector, Leonidas, and the Great Alexander the Great would come to life from this thermo-geological concoction that would manifest itself by Vernarth's upper pectoral hollow "Called Thunder Kassotides” of which the conversion into tremendous events franked by ancient Greek Mythology would be destined to Vernarth's own and expeditious Hellenic life. This assumes that the overloaded physiognomic muscular exoskeleton of the Hellenic environment will be redirected with the power of natural phenomena beginning in original symptoms of multi gnosis reborn from the sub sphere of thought that intermediates with the interior ones, after the incitement of Vernarth and being part of the gnosis that would lead him to clear everything that is with him and what will be. The Animalia as fierce representatives flow by attempts and at the same time are inhibited from a tacit presence with animals that would conform to Spílaiaus stereotypes; an out-of-phase ventral turbinate of the God of Speleothemes, who is Wonthelimar or ventral turbinate, would propitiate any incidence in manifestations of the noosphere, given the serial appendix of instantaneous analogical relation in the disturbing and super mobility of the Constellation Capricornus, the Belt of Aurion and Betelgeuse. Right there radiating particularity the ontogenesis of Vernarth, already resigning himself from the intimate existential point to focus on the complementarity of other existences on the way to the Empyrium or Resident Ouranos, brewing universals in all unlimitedly comparative when alluding to as being diligent among beings who are not, and reciprocally be revivers of those who will be. Here is the synonymy of Vlad Strigoi that could be supra-spiritual historical omnichannel considering that he is an integral part of a Mythology and a real liberating hero of Transylvania. It still is, but under the exclamatory context that is born of avidity that requires and must collect fungus vines from Canephore and Hellenic delicacies in the prompt presence of gods when it is not enough or there is no legacy of servants or servants under the hindrance of its metaphysics with its empty entrails. Here prevails what dictates a dogma that differs for those who are touched by the edge of the Speleothemes of Spilaiaus to survive in the Sphere of inorganic life of the same god and Ninfuceanicus. This legend narrates the real and non-fictional lived history of Vernarth, that time that in absolute darkness and solitude he met the deity of the Ibico three in the crowded population of the Nothofagus is a totally prehensile approving gesture of a vegetable that authorized him to address Him …, Spílaiaus was such a reference when he listened to him for long hours transforming himself into a real therapist who worthy would bilocate in the original from Piacenza-Italy, when in rare cases of parapsychology he declared himself ineffective to be able to continue the endless sessions. “Gaugamela is the great battle that must be wielded with iron temper as a stalking of a heart that did not scold for another that did not pulsate”

Great raids will be composed of others that will speak of a strong hero having committed superiors, of others that will be based on eloquent vivacity that nothing takes long when it is necessary to induce the cut of Una Xiphos; whose function is dissuasive if the blacksmith is not a god that shows no mercy, but if he is from a job that can be resistant to deliberate him in another that has nothing, nor will he sustain him. The goal is essential in all weakness if a hero is consumed by his stoic bravery, rather it could perfectly reside in his coat of arms as indicated by Hephaestus in the glitter of a forge when the seasoned worshiper of his forges spills liquid steel and not blessed blood of a royal warrior from Laodicea. What Vernarth forges of Hephaestus himself will sound on his lyre descended from precognition of the god Spilaiaus, affirming that blacksmiths of Athens would be decoys that adhere to carcinogenic generations of opprobrious fires, if it were not for one who could carry in his hands a sword certainly jammed by Hephaestus, and that the diluted steel that really falls would make future generations authentic sedated drops in them for the true Spartan or Greek that strengthens it with verve and abulence.

Such children, our playwrights;
They labor under the sad misconception
That, having written their labored little prose,
They shall be presented wholly unfiltered by the performers.
From God’s lips to their ears, they say, ostensibly joking
While their features and inflection bear full witness
To how deeply serious they are in truth.
The poor souls have no idea
(Really, no more than infants, every last one of them)
Just how little their tottering little farces have to say
Concerning the profundity of suffering, the fever of desire,
(How could they know, locked away in their rooms with nothing
But their parchment and quills—truly, from whence will come
The Moreto or de Molina for our age, artists yet men as well?)
And yet the trained performer is able
With no more than the odd inflection,
The certain insouciance  in the crook of an elbow,
The telltale arch of an eyebrow
As another actor declaims his lines,
Provide blood and marrow to the sad scratchings of the purported author, Create meanings never conceived of by the dramatist.  
How many nights have I shot glances
At these poor men of letters, wringing their hands anxiously,
Huddled in the wings on the opening night of their turgid set pieces.
What performances (however involuntary and unconscious)
They would give, faces contorting with surprise and fury,
Fists clenching with rage or grabbing at their tresses
In frustration and stupefaction at what had been made
From their foolish idioms, their labored clichés.
And, after a surfeit of bows had been taken,
They would come before me,
Bowing slowly, stiffly, mechanically in an effort to keep their anger
From virtually surging from their bodies,
Meekly saying Truly, Senora, I did not know
What effect your legerdemain could have
Upon the audience and my humble words,
But, for all their politeness, their hatred is palpable,
For I have thrown their cherished natural order on its head,
As I have usurped them as the creator.

Still, one should not be so harsh with these hijos;
The error is a common one:
So many viceroys and kings, so many priests and archbishops
Have tried to fix the yoke of man’s poor misapprehension
Upon the forces of the universe,
Forces which would brush them into the abyss
With no more forethought than they would rend the web
Of the poor, innocent spider.  
I have, on several occasions,
Accompanied many a man of means to the gaming table,
Have seen them win handsome sums
And seen others lose those every bit as spectacular.  
I have found the victors to be men
Who do not try to ascertain the hidden mysteries of the deck,
Nor bemoan the fact that they are denied the deal,
But rather treat the cards as simple things
(No more than mere bits of paper, drabs of colored ink),
Minute stages provided to display one’s craft and wisdom
In the pursuit of pleasure and profit.

As dusk settled around our suburban nest
after dinner we’d leave the mess of our desks
to walk with our children to the park or next door
and visit with neighbors, talk some more

about research and relatives and what’s local news
—the usual banter that kept us amused.
The sidewalks had cracks with heaved up cement
from rootlets of trees by sublets for rent.

Our neighbors were playwrights, professors, nurses and maids
elders, young students, rabbis cheerful and staid
some worked at home, others played.
Yet at dusk our jobs for a moment left us

as fireflies twinkled joy invictus.
The children would a-giggle leave bikes on the ground
run to catch the magical bugs they found.
Shadows lengthened their laughter, unbound our day

from restless worries and dismay.
As the heavens settled in crepuscular peace
friendly shades danced dark from every leaf
of a tree filled with a constellation of birds

who burst into song. We would smile when we heard
The Singing Tree give voice with none deferred.
Our youngest asked if they were quarreling.
That’s just how starlings say I love you, my darling.

"author, poet, and playwright"
does being a playwright guarantee
you bringing home the bacon?

as a younger generation we are
focused only on ourselves
how to improve, how to survive
no one becomes a playwright anymore.

can playwrights earn enough
to feed their creative brain?
perhaps it is the lack of self-obsession
that benefits them.

(A bit of fun for Thomas W. Case - I think he lives in Iowa)

Hawkeye pride burns bright in Iowa City,
the place where Tennessee Williams learned to curse.

Iowa City hosts the 4th of July, Iowa speedway race, unique perhaps
because the cars have to stay behind a tractor for the first 199 laps.

How polite are the people in Iowa City? I saw a news report where a man was mugged,
traumatic? Sure, but the man still remembered to say “Thank you” before the perp bugged.

There are over twenty-six churches here, people can be a bit pious and obnoxiously reflective.
There’s a Hawkeye infestation in Iowa City because of the university, classified as ‘moderately selective.’

Geographically, Iowa’s where the rolling plains meet a limestone rise.(1)
Did I mention that the bars close at 2am? A travesty in any serious drinker’s eyes.

Some noted authors came from Iowa City, the locals are proud of that and own it.
Most were playwrights and novelists, luckily, few of them turned out to be  poets.

(1) whatever that is