A Muslim boy with a clock
Is seen as a terrorist with a glock
Maybe i'm right, maybe i'm wrong
But if he were White, Asian, Hispanic or even Pacific Islander
Nobody would of suspected anything.
When are we going to stop fearing an entire race for only a portion radical and illogical ways of treating others?
I don't tolerate people who behead others if they don't agree with their religion
I don't agree with the repressive governments that control everyone and stone them for minor misdemeanors
There are good men out there fighting this evil that has plagued their homelands
I'm all for ending terrorism of all kinds
But let's stop terrorism of innocents too
Sure, i'm afraid of what the radicals will do to their own people, my people and the rest of the world
But i'll be dammed if i treated somebody from the Middle East like a monster when i don't even know who they are
If it wasn't for a Middle Eastern girl
The Syrians girls wouldn't have an improved education
If it wasn't for a Middle Eastern man fending off the Taliban and risking his entire village to keep Marcus Littrell alive
He would of been KIA a long time ago.
What about the ones who fought and died for America?
Nobody ever mentions them
The media wants me to hate them all, but i laugh and shake my head
Warped minds trying to warp others
I only see the ones who want to do us harm, and the ones who want to live peacefully and away from a life of hell
Brothers and sisters, just a different culture and skin color
I'm sorry if America seems racist or hateful, but i'm proud to be the one who throws those two words in the trash
Because i'm not afraid to speak my mind
And i welcome everyone here
America is everyone's home.
If only the Soviet Union never invaded Afghanistan
If only the people were not scared
To be free like America.
Unity for all,
Religious differences and Cultures alike.
I hope one day a Muslim man or Woman can walk down an American street without being labeled as a terrorist.
I hope one day these repressive governments fall into the hands of democracy
And we start the Age of Unity again.

Repression is everywhere .  Repression is so common it is almost impossible to avoid .  Repression can be found in natural laws ; gravity is a repressive force .  I experience a desire for repression when I consider the possibility of extra-terrestrial life .  Propaganda is a form of repression when it eliminates unwanted truth ; militaristic logistics require repression of the extraneous.  Social hierarchy is only as good as it is expedient ; credibility is the key .  Psychological repression can be a functional personal tool .  Repression is a frictional force that can either eliminate unwanted forces or alter their courses .
Repression is most often thought of as a governmental tool .  There are many reasons a government might want to repress it’s subjects .  In a truly free government no one can practice repression on others of no consent unless they have infringed on their rights .  Fascist and socialist governments can force their people at will .  Their children are trained both  directly and subliminally in order that they may better fulfill their social positions .  In free countries laws repress repressors : people who might want to tamper with your rights .  Monopolies get repressed because they tamper with the people’s right to a free market competition
  system .  The individual reigns and the majority decides what is best for everyone .
The elimination of all unwanted repressions is the natural goal of all individuals yet repression is common the world over .  Social hierarchies necessitate repressions ; expedience in teamwork becomes more credible than individuality .  Many sociological forces create their own realms of repression ; the normalcy demanded by tyrannical governments and puritanical religions are obvious examples .  
Any retrospective examination of human history that is depthfully complete will probably bring to mind a vast quandary of opposing forces beyond social integration .    
           Personally  I find people to have a vast amount of basic similarities .  We become alienated from each other in the application of our abilities .  In fact each and every one of us live in a realm that is totally real only to ourselves .  I find this and similar states of social fragmentation to be one of the most pervasive observations one could make about the state of the human race .  
The tabula rasa state of man is an evolutional being ; a conscious realm that became out of dirt , water , sunlight , time ; an essence that has an innate quality , a cosmic continuum .  The historical development of world religions paints a vivid picture of man’s desire to relate to this tactile awareness .
There are many forces in the universe that we as humans need to repress .  Unwarranted or unwanted forces encounter natural resistance .  Humans learn to control their conscious state as they acquire maturity .  Natural repressions grow out of an understanding of the need for them .  But humans are not satiated with pragmatic self orientation .  They are easily misled by the perceived nature of their unconscious state .  The perfection orientation of Adolf ****** gives a stark example of an institutionalization of one of these warped images .
World religions also are often abortive of individual aspiration . Of course more often than not their impetus factors seem at least partially acceptable .
Practicality dictates that humans be self orientated in order to achieve their optimum state , but what is self orientation ?  Humans exist in both a conscious and unconscious state .  Individually we all perform many subconscious activities on an inadvertent level .  Although many of them are autonomic defenses we can exercise control and attempt psychic clarity .  
Actually repression is something that each and every individual must put down for themselves .  Although social expedience creates an environment that is conducive to itself , individuals have an innate need to repress certain of their psychic phenomena whether they are created by their environment or well from within .

BELIEF & TECHNIQUE FOR TELEPATHIC PROSE
Lee Sharks & Jack Feistfrom Pearl and Other Poems

1.     Compose real poems telepathically, with mind control powers, inside your glorious brain.

2.     You are your own best advocate. Insist the world acknowledge your poems as artifacts of tiny doom. Accept nothing less. Threaten to smash yourself in the face with gasoline and set your hair on fire. Leap over the seats to aggressively stand inside the world’s personal space and get up in its grill. Take this container of Tic-Tacs and smash it on your forehead. Crush each Tic-Tac individually into your eyeballs and ask the world if it likes your poem, and if it likes your poem, then eat your poem: “Do you like my poem? Then eat it.”

3.     Always seek constant approval, then punch your cat in the face.

4.     Arrive alive. Don’t text and drive.

5.     Always write poems all the time.

6.     Never professionalize writing. Professionalism is the last refuge of responsible people looking for work.

7.     Your life is your poem. Take care to write it biographically. Failing that, invent false biographies and post them on Wikipedia.

8.     Get as much education as you can, then ****** your education in the face to save it from sloppy education. Get enough education to respect your contempt for education.

9.     Give it all that you have, as deep as it goes, as desperate and total as taking a breath.

10.  Also be pedantic mundane pig-critic of precise punctuation juggling and ruthless crossed-out darling murdering of your own puny sentences. Save every draft and revert to original after enormous work, then drown yrself in the bathtub. Remember: editing is organization.

11.  Be long-sighted prodigy of skeptically believing in nothing, but also believe in destiny, but quietly, and hit yourself in the face for naivety’s sake.

12.  You are a seamstress of words—place each stitch carefully, deliberately. Develop a series of rituals and perform them, without variation, prior to placing each word. Allow the frequency and intensity of these rituals to grow until you spend hours, each day, touching and retouching your left index finger to the tip of your nose in a rhythmic, counter-clockwise motion, in sets of thirty revolutions, in order to place a single character. Spend years of your life shut away from the world, wasting away into an awkward, unhygienic shadow of your former self, and have, to show for it, a two-syllable word of Germanic origins on an otherwise clean, white page. This word will be redoubtable, the bedrock of your writing career. Go on to spend vast sums of personal wealth and total dedication, alienating the remaining handful of long-suffering friends who continue, despite all odds, to solicit the memory of your humanity, in order to learn the arts of metalworking, Medieval alchemy, and font design, recreating a metal-cast, alpha-numeric set of Times New Roman font, from scratch, going broke long before “numeric,” and with only the half-formed germs of the characters W, N, and sometimes-vowel Y.  hat are such retrictio s to  ou?  ou are a poet,  ot a mathematicia .  ou are a creature of steel.  ou  ill  rite a  e  and better  orld, a  orld  ithout the letter   , forgi g it, o e smoki g husk of a  ord at a time.

13.  Turn over a new leaf. You’re not getting much done like this, anyways, let’s face it. Break the chains of your censoring, conscious mind; tap into the spontaneous well of unconscious human brilliance that springs from the source of dreams. Thwart the stick-in-*** tyranny of your internal editor by making a commitment to write constantly, without ceasing, editing, or even thinking, no matter what, ignoring the anally retentive quips your brain will no doubt make. Make a further commitment: you will not only write, irrespective of internal censorship, but in a way that is unconscionably terrible, on purpose. Your writing will be, by turns, embarrassing, infantile, automatic, and marmaduke poppers—or shall we say, antagonistic to the indoctrination in repressive concepts such as “sentence” and “word” of your reader, who is always, and only, you. Let your writing be a spiritual discipline of Bat-a-rang pancakes and lightly alarm clock, ding—your toast is done.

14.  Always Alka-Seltzer eyelids all the time.

15.  At last, you are ready to make it new, to ****** your darlings, to first thought, best thought, to your heart’s content. Your adverb will be the enemy of your verb, the difference between your almost-right word and your right word will be the difference between your lightning bug and your lightning. You are ready to have a spontaneous overflow of powerful feeling, then censor the s**t out of it. You are ready to turn your extremes against each other: Unlearn your apple pancakes and burst through the mental barriers; then slow the flood, let the lovely trickle out & edit, edit, edit. Capture spontaneous gem of native human genius, then marshal vast armies of technical knowledge & self-discipline to ensure it glimmers and cuts.

16.  Believe in things like destiny. No really—the path will shatter you so many times your shards will have splinters, your bombshells, shrapnel. By the time you get there—which you probably won’t—even your exhaustion will be tired. Exhaustion of mind and body will have passed so far beyond the physical, and through malaise of spirit, that it will emerge on the other side, as physical exhaustion again. In the face of this, nothing but a little Big Purpose will do. Besides, a little ideology never hurt anyone. Feel free to be all Voltaire with your bad self, in public—but don’t give up.

17.  After all of this, when your will is finally broken (again), and you have given up for the final time (again), start over. The former model wasn’t working. Refashion yourself and your writing. Lather, rinse, usurp your noble half-brother, and repeat, until you get somewhere, or die in the trying.  

18.  Achieve consistency of voice; it is the signature by which you will be known. Your “you” should ring out clearly from each individual letter. In this, the writer is like the salesman. Like a new car, neither the writing’s merits, nor the reader’s needs, will be the final, deciding factor. Ultimately, the deciding factor is you.

19.  Unlike a new car, it is difficult to drive a poem, to use it to get to school or work. Unlike a car salesman, a writer does not wear enormous ties.

20.  Be so consistent that your writing consists in composing the same words, in the same order, creating the some overall voice and style, consistently, over and over, an eternal return of the same. Maintain this disciplined drudgery over the course of years. Let years become decades, and decades, an entire life: You will have “found your voice.” Variety is the spice of life, but consistency is its signature.

20.  Be so consistent that your writing consists in composing the same words, in the same order, creating the some overall voice and style, consistently, over and over, an eternal return of the same. Maintain this disciplined drudgery over the course of years. Let years become decades, and decades, an entire life: You will have “found your voice.” Variety is the spice of life, but consistency is its signature.

21.  Then again, consistency is the hobgoblin of small minds. Throw things up a little bit. One day, put on your hobgoblin hat, the next day, your small mind.

22.  On second thought, re: #16-17: Stop here. You don’t look like much of a writer. Save yourself the trouble of a deep investment that is sure to yield no returns. The prize is big, and not many take it. The Iliad showed us that the prize of writing is life eternal, and taught us to long for that promise; but the Odyssey taught us not to bother. There are many suitors, a single Odysseus. While the husband wends arduously homeward, Penelope weaves impending glory, an evaporating glamour, enchanting them, until he arrives. We are in for a bad end, if we chase another man’s wife, or a prize not rightfully ours. There are many suitors, a crowd of them. They begin as a chittering swarm of bats and end in the very same manner. You cannot have what is not yours. What is yours, no man can take. So, like Emily says,

I smile when you suggest that I delay ‘to publish’—that being foreign to my thought as Firmament to Fin. If fame belonged to me, I could not escape her—if she did not, the longest day would pass me on the chase—and the approbation of my Dog would forsake me—then—My Barefoot Rank is better—

23.  Therefore, take these Sturm und Drang commandments to the trash heap. Return to step 1, as the only useful piece of advice: Compose real poems telepathically, with mind control powers, inside your glorious brain.

(c) 2014 lee sharks & jack *****

from Pearl and Other Poems:

http://www.amazon.com/Pearl-Other-Poems-Crimson-Hexagon/dp/0692313079/ref=sr11?ie=UTF8&qid;=1429895012&sr;=8-1&keywords;=lee+sharks+pearl

Don’t write about the dark things they said

Don’t hide from the truth I replied

Well, part of the truth anyway

Which, any which way you look at it has two sides

A sun which hides its shadow

But even the sun must sleep sometimes

Then creeps and slides the oozy woozy darkness

Of drunks and floozies and drug addicts

Thugs and gangsters, hatchet men and fixers

These nefarious predators and scavengers of the night

Shuttered sight eating victims of urban decay

Never sated in their bloodlust and greed

That need that is so deep 

You could feed it without sleep

Forever and never fill it up

This is reality in our **** city

Where effluent flows down footpaths between bars

Climbs out of cars in high heels or collared shirts

“Sorry mate, not in those shoes"

Drunken harlots beckon rapists and sadists

Transfixed in the ever-pressing lusts of the flesh

Without joy or connection

Or even satisfaction, most of the time

Am I right? Ladies, am I right?

Another wine to fill the soul’s great hole

Another devastating moment when the sun gets in

To find you weeping in your make up

Black streaks down cheeks of bloodless faces

All because nobody told you what was possible

They simply told you what not to do

Which of course you did anyway

Over and over again with the same results

That part isn’t your fault, it’s society’s

It’s religion and propriety’s

It’s dogma and denial’s

The cultural hangover of the morning after the decades before

The holier-than-thou edicts of our preachers and teachers

And leaders without leadership

We’ve cut the slip

Caught the rip

Been flipped so many times we can hardly tell what is useful anymore

The answers you seek are inside yourself

It’s like Rafiki said: “Look harder"

It’s like Sigmund said: “Unexpressed emotions will never die.

They are buried alive and will come forth later in uglier ways.”

Our society reflects repressed attitudes to ***

And brings them forth in uglier ways

Like rapes and splays of legs to the most persistent bidder

Soulless sexuality

Stuffing ya pork sword into a drunken receptacle

Such a spectacle

You might swap names in the morning

It’s *** on a tray like a TV dinner

Forget the word “sinner"

It’s the lack of nutritional content that ills

That kills the real deal for these counterfeit thrills

This isn’t some moral crusade

There’s no need to drink the kool-aid

Throw out the gimmicks

But pay attention to the limericks

Be open, be honest

Be Eros, be Adonis

Be Venus, in furs / **** resplendence

Take lovers my dear

Make love and not fear

Turn empty lust in transcendence

(Where I worked, they set up TV’s in the cafeteria to watch the continuing coverage of the events of 9/11. I had become known as a sort of poet and many asked me to write something, a poem about 9/11. In the printed version which I handed out to people, they translated into their language the word ‘******’ and into the poem. The company did not like it cause they wanted to whip up the patriotic jingoism and calls for revenge. Thankfully this poem helped to stop this at this factory.)  

911 Thoughts

“Our grief is not a cry for war”
--Artists Network, Refuse & Resist

“..and the poets down here
don’t write nothing at all,
they just stand back
and let it all be”
–‘Jungle Land’, by B. Springsteen


“Beto nki tutasala” (‘What are we doing’)
--Old African saying


New York City 9/11/01:
She walks down the street
numb
peering side to side
pausing,
showing his picture to everyone who looks.
Tears streak her brown skin
as the reality of his loss
sinks deeper in,
yet searching, as if just looking
will make him appear by her side
an ease the vacuum of why that
echoes mockingly in her heart.
~~~
Friends have asked me,
write a poem about these events, Red.
Write about 911,
and the horror from the sky.
Tell us what you think.
Can you give us some hope
that when the dust
and tears
settle from our eyes,
we will still be able to see the sun.
How?
What words can I use to describe
or even surmise all the reasons why.
How do you explain to your grand kids
the war has come home.
They have put us in harms way.

New York City, 9/11/01
Yes the ‘war’ has come home
so many innocents have paid
a blood price for a
globalized monster
grown, nurtured, raised
in the dark soils of the USA.

Southern Iraq, 9/8/01
U.S. and British ghosts
swoop down on a ‘radar installation’
that turns mysteriously into a village.
8 civilians known dead,
many others injured.

Baghdad Iraq. 2/91
Clutching her injured child to her breast,
she flees collapsing buildings
while thunder surrounds her,
she is looking frantically for shelter
from ‘smart rain’
pouring down from the night sky.
Explosions that almost drown out her
screams.
Screams for a lost generation;
how do you rebuild a generation?

West Bank / Gaza, Any day
Young comrades pick thru
blood soaked rubble of once homes
looking for survivors of
‘made in the USA’ helicopter terror.
Or picking up stones to fight off
‘made in the USA’ tanks
spewing out ‘collective punishment’
needed for new Israeli settlements.

Beirut Lebanon, 1980
Safely, miles out to sea,
the USS New Jersey
spits out salvo after salvo
painting the city with fire storms.
Thousands die, thousands more
made refugees in their own country
punished for harboring
Palestinian refugees who refuse to
recognize ‘stolen land’
now claiming to be Israel.

New York City, 9/11/01
The view of passenger jets
lingers in our vision.
Over and over they seem to play with,
dance,
then mingle with those towers
until only twisted steel,
burnt flesh,
and crumbled cement remains
creating a mass grave.


Vietnam, 1970
The village explodes.
Children running
naked
flesh singed, burnt
burning
as liquid fire drops
from high flying 52's.
******; an English word
which in Vietnamese, Chinese or Khmer
Means DEATH!
(Imagine here the words for death in Chinese, Vietnamese and Khmer.)


Hiroshima / Nagasaki, 1945
150,000 human beings now only shadows
seared into the concrete,
human outlines
that still scream their agony
heard even today by anyone
who doesn’t have selective amnesia.

New York City, 9/11/01
What words can explain the loss
of loved ones, friends?
What words can capture
the vacant look of the black woman
seeking her young daughter
who had her very first job interview
on the 104th floor?
What emotions are left
after the search for loved ones
finds only gray dust and charred stench
whether in New York or:
Baghdad, Beirut, Belgrade, Gaza,
Chile, Guatemala, El Salvador, My Lai,
Sudan, or Mogadishu?
What can prepare you for the
sickening sweet scent of
burnt flesh carried on lazy breezes;
of dust coating everything with
the stink of human blood?

~~~~~

And now there is talk of
And preparation for:
Retribution
Justice
Retaliation.
More words that the people of
the world understand all too well:
DEATH! (The words for death in Chinese, Vietnamese, Hindi, Urdu, Ctujarati, and Khmer are not formating when I cut and paste. Imagine them here.)
MUERTE! DEATH!

~~~~~

Every day now the powers that be
prepare us for even more untold horrors;
hype us with red, white and blue views.
Pass on to us today’s NEWS:
“Congress passed new war legislation today”;
“unnamed sources report that”
“a high government official who wishes to remain anonymous”;
“the word at the White House”;
SPECULATIONS: there are 50 governments that harbor or support terrorism.
Several undocumented Arabs have been arrested trying to buy illegal chemicals
INNUENDO: known terrorist are said to have links to Afghanistan.
RUMOR: the next attacks could come as early as 9/22;
Air Force One was threatened today;
terror may come in the form of chemical or biological;
All the conjectures ‘fit to be news’;
Bin Laden is the one, Iraq, Iran,
somebody in the Sudan,
someone, somewhere has to be made to pay.
Conjecture pumped out continuously
24/7
why, we got it straight from heaven
so it must be true!

~~~~~

New York City, Aftermath
For many the future is hard to imagine,
uncertainty weighs heavy
like an echo that bounces endlessly
off tenement walls.
Like the way the “WHY’S”
multiply with each official explanation
and grows from whispers to amplified
crescendos of NOOOOOOOO! NO!
Not in our name.
You cannot exploit our grief,
our sorrow for so many lost lives
into your “holy war of retribution”;
into your vision of “Homeland Security”
and more repressive police powers;
into your call for Justice envisioned as an
Americanized world.
The people of our planet
do not need another
unjust war. And yet,
as long as this system continues,
as long as organized greed,
backed up by Washington bullets reign,
these horrors will continue to
rain from the skies.


Afghanistan, 10/07/01
Today the bombing began.
More horror fell from the sky
as talk of even more countries, people
are added to the “suspected list”.
One thing is sure, those hundreds,
thousand who have already died
had nothing to do with 9/11.
How long?
How many more will die
before we put it to an end?

~~redzone 10.04.01~~ (edited 10/07/01)
(written while using the pen name 'redzone'
reposted by Aztec Warrior 11.18.15)

I do believe all poets must not only read a lot of poetry but read a lot about poetry. Of my 50 favorite poets, there is not one who has not written about poetry, the philosophy of their work and of the craft. That in itself is fascinating- and difficult, like the depth you find in NY Review of Books. I do about 2/3 (poems) to 1/3 (being books about poetry) From the most philosophic works of archetypes by Northrop Frye to the most public and basic questions of Zupruders good seller "Why Poetry?" .
That last book opened up a new reality for me, to I ask myself all the time who am I writing for, in context to all this reading...I realized I was really trying to communicate the poetic truths of living, of my own small life in the world so full of beauty, horror, paradox and death. I realized to do this I had to make compromises, to not try to impress or amuse myself with poems that could only be understood by me. The craft and presentation became as important as the message. That is currently my direction, I'm writing "collections" of poems with themes so a reader could enjoy a concrete theme. (The last book I just read, a signed collection by Ferlinghetti ( nice and cheap in a used bookstore) was just that- the theme of light in "How to Paint Sunlight." Accessible and very full of several poems about light)
So you are stating two different issues:
I don't like being not understood, Having people throw up there hands perplexed, I'd rather be popular.... Its lonely
But I cant write for others because than it would be feeling like a commercial venture My motivation would be destroyed.
Id rather be desolated and write for those few who get the twinge...
Well, first of all, we poets are possibly lucky because we ain't making beans for our poems. Forgetaboutit. Even our most lauded poets end up teaching to get the health care and severance. I suppose there may be 3 poets in Amerika that make a living on just writing poetry....if that many. Who's buying? I didn't see much word "poetry" once in this weeks NY Times review of books. Only some letters crashing last weeks review of Leonard Cohen, who the critic called a wonderful lyricist and performer, but an awful poet. These dialogues are important to me, but really, quite a small audience. Either way, lyrics and song paid the rent, not Cohen's books of just poetry.
I'm sure there is no immediate cure for your paradox. If you want to be popular you have to make compromises. If you don't want to alter your vision, you can get the joy of a smaller readership and forget the rest. You have to manage expectations is a world that hardly notices our craft.
It's hard to be both, I suppose you should stay true to your motivation. And if readers like me don't get it, **** em. Let it suffice we acknowledge the craft, and that we will get closer to some poems more than others be enough. For me, accessibility, the ability to engage a reader into whatever poetic truth I am feeling, is more important than in any way hiding the meaning in the poem in which I alone can understand it.
I want people who never read poetry, which is most people, pick up a poem by me and feel the poetry power without feeling intimidation which is what most people feel when they read most poems published today. For me its that fine line between letting the imagination do the work, and the poem setting up the narrative to allow it by inviting a reader into it. I get great joy reading my poems to non poets who are scared by even the idea of it, and get them to feel something new, that wonderful way Aristotle put it- that poetry provides an ultimate truth that is found beyond the boundary of philosophy.
Best Mark
…………………...

Admittedly I have gone off the rails focusing on the meta or man as dreamer. Are we not dreamers first before descending into the material, deadening the faculty of imagination or as the I Ching says "a darkening of the light"
I want to bring the reader up and when I read I want to have the sensation of ascending I try to give what I like to receive which is to be brought into greater fluency and light
Have we abandoned our inner life to such an extent that when confronted with it we find our selves strangers to it; reinforcing and amplifying a kind of cognitive dissidence?
Are we in a sense a stranger to our selves having lost the lucidity of our magical youth
Do we see the world as vacant utilitarian stuff and other humans predictable lusterless cogs in a wheel like cued robots?
Witches Seers, Voodoons , Hermeticists, Kabbalists and Occultists of very stripe know and use objects as essential to their operations and craft because they have hidden meaning and power.
Has the life of fantastical creative cognition been sacrificed to inveterate congenital pragmatism?
"Beloved imagination, what I most like in you is your unsparing quality".
Andre Breton
To transgress is to process ones madness as opposed to the customary botched behaviors of repressive modalities we hide behind . It seems to me that poetry is a great ground for that exploration.
Perhaps Its a good thing for a reader to think about what the writer means, albeit a difficult pleasure as opposed to the instantaneous and facile modes of naming and claiming Reading towards the abstract can be a mystical experience Most people who read are shallow readers Shall I than aspire to be a shallow writer?
What surrealism (Detailed descriptive language unmoored from linear rationality) affords the writer like pure abstraction to the visual artist is a great opportunity to explore the musicality of language ie the musicality of form i.e. the energetic configurations of architypes.
Part of our craft that makes things crackle as you know well remains sound play ie the strategy of syllables ... Long vowels / short vowels...the length of words and sound of words in relationship to one another
As you know Mark to analyze the subtle abstraction of sounds i.e. words to the ear is just like music and like music although not wholly translatable has an undertow of non verbal meaning especially if exploited out side the linguistic necessity of linear prose like poems i.e. a device that most never use consciously and strategically or certainly to its fullest potential.
So when we say a poem is beautiful do we impart mean its those amazing tintinnabulating sounds that ****** with their musicality? Poems that do that well stand out to me.
Further I think we are in error when we confuse the realistic with the materialistic. It seems to me realism has magnitudinal underlying meta elements that need to be felt in poetry and to think other wise in my opinion would be a dull conceit
A good example is thought itself
When we speak our ideas thoughts impulses we have no real sense of where they emerge from The processes are so meta their incomprehensible even to neuro science and scientists have little if any understanding of consciousness or its meaning as far as I know
So perhaps the surrealist has a place of worth too; and that is to remind people of their inner life out side the cage of end product think and commodification. After all what is a life and what is a poem?
Best Z

The lines have been jammed
Very difficult today
Horrific violence from the voices
That are coming out

The brave people going out to protest
Randomly shot in the street
By snipers in buildings
And planes from above

They have no choice now
But to continue
I think the Libyan people
Now have nothing to lose

They are willing to die
To get rid of a repressive brutal regime
And also you should apologise
It's fine to say you made a mistake
But he obviously doesn't believe
They made a mistake
You welcomed him in
You made him respectable
And sold him the weapons
He's using on his people.
You made a mistake
Say that you made a mistake.

- He doesn't believe that he made a mistake.

I choose to be inhumane
undressed the layers of emotions
that occupied my heart
suffocating me
I need to breath
I choose not to care
allowing my mind to wander
beyond a single feeling
while others dwell blindly
in a perpetual repressive state
I observe beauty with a cold mind
destroy without hate
save without love
remain silent in a chaotic world

what is this love
for I have beheld it
cast in metamorphosis
a love that makes
transformations on the mind
permissible transformations
improvisations of the self
in ****** intensity
which emphasises the drama
of sometimes, dark, violent
and repressive potentials
vicious energies of hate and ambition
that propel the enactment
of intense and exhausting experience
of vigorous vertiginous chaos
indomitable in its desires
what is this love
is it a registered predicament
made memorable by vivid language
that would butcher in ritual
gratuitous memories and testify
to an urgency of unwisely relinquished emotion
what is this love
does it flourish in flawed
and unreasonable understandings
accumulated upon the mind
in vicarious thrill of sympathy
where traits are highly exaggerated
and eagerly anticipates
the oppressive weight of the past
that functions upon a common collapse
of distinctions
or does it manufacture artificial precepts
pretending in attractive collaboration
to associate fiction rather than fact
what is this love
is it that by treaty or inheritance
with loving ferocity would embalm all tears
and hide all those collaborations
in flared conflagrations of the heart
and yes create a turmoil in the mind
hotter than a thousand summers
and vividly stamp upon a twisted body
a moral viciousness of fathomless malice
that wouldst close its ears
to the admonitions of conscious
and thus through an improbable
incantatory verbal rite
touch the hidden order of all things
in disassembling nature
what is this love
if only it was known

The gracile figurine

bubblewraped in warmth:: protected
She is smoke in a midnight room
Defying
any fingerprints:::  vulnerability, for her, a vile, repressive word
oh that visage
oh obfuscated view... sacrosanct shadow in the dark

Her
Lenticular frames
Sit wide-eyed, unwatered and
               ::unmoved::
cold victory of another day.
another inward, in-word retreat.
for her braille heart       untouched

still she fears punctuation
                               Endings.

I guess for her it’s the thought of losing    
                                     hope

He was sweet
Gentle
And Loving
She was bitter
Cold
And repressive
He gave her
Love
And much passion
But such things weren't of her fashion

He wondered what was wrong
But it was easy to see
That a woman like her
Wanted more than a man who would kneel on one knee

A woman like her could never be pleased
Because in this day and era it seems
That all that matters are those things evergreen

Lost in moments
Constantly
Sitting and spinning still
Outraged at the speed around time
Dangerous stillness of emotions
Trapped
Trying keys that don't exist
On a door that doesn't exist
Lost in a place of familiarity
Weak
Weeks, months, years
The cycle of deterioration
A mind blurry of joy, peace and understanding

Struggling in space
Amazed
Everything is a maze
With zero pace
A cynical turbo race
Visions
A clear sky surrounded by thoughts
Anxiety and lust
Raining blood filled distrust
Wait
Weight from the chains
Trapped in a place
Uncertain of a new day

Lost in everything
Struggling in time
A blurry mind
A maze
Amazed

Will I walk,
Will I talk -
Will I open up,
Or will I baulk?
---------
Moved by time, unremitting;
Approaching disintegration - universal dispersal.
Emotional denial, fearing the inevitable.
Procuring the future by biological means;
Neglecting angst instilled in collected dreams;
Ever hopeful for intervention - role reversal.
----------
Dancing betwixt light beams
Floating on echoed screams
Unsure what reality means;
Confronted by attitudes obscene
Lost amid chaotic scenes
Is anything what it seems?
---------
Hello - How are you?
Hello - Can I help you?
Hello - Did you hear me?
Hello - Who are you?
Hello - Do I understand you right?
Hello - What'd you say?
Hello - Are you with me?
Hello - Did you see that?
Hello - Are you sure?
Hello - What's this?
Hello - I'm trying to communicate!
Hello - Welcome.
Hello - Come in.
Hello - I am...Friendly (and Curious)...
---------
Too much angst
Too many sorrows
Too much fear
Too few tomorrows.

Too little, too late;
Too bad, too sad.

Too much waste
Too much greed
Too much gain
Too much need.

Too distracting
Too frivolous
Too complex
Too preposterous.

Too many scandals
Too many re-acting
Too muck shock
Too few enacting.

Too much terror
Too much blood
Too many agendas
Too much cud.

Too much goodwill
Too little done
Too...
...You...
You're 2 kind.
Thanks, mate.
---------
Rhetoric or ridiculous?
Rude or risqué?
Right or righteous?
Ruling or ruining?
Revolving or resolved?
Revolting or revolutionary?
Repeating or reposing?
Revealed or reviled?
Rambling or raving?
Rising or risen?
Robust or round?
Rigorous or regressive?
---------
Aggressive
Repressive
Depressive
Regressive­.
Impressive
Oppressive
Expressive
Obsessive.

I blew a kiss and you smiled
Your heart shook in tremor
Won't you admit the vacancy?

It's like a field of football
Ball bouncing from sides
For whoever holds it wins

A repressive defence chains
Diseased denial cog wheels
Mind played, tongue slated

Sublimation of eager emotions
Compassed in all directions
Comprehended ridiculoupsity

Sinking stilettos drills deeper
Barbed wire erected to fence
A barricade of a no wait zone

Hedges cut, trimmed to invisible
No allegations stains to appease
Peace to transmute,a game changer

The way that I know, you're knowing me.
Was the older me.
That old is over, see.
There's a few mistakes god needs to oversee.
I’ve done such bogus things.
I repent in the words of my poetry.
Refocusing.
The direction of a reflected
soulless me.
Misguided and couldn't hide it,
I wasn't fighting,
the vices holding me,
back
and whats sad is that these manic laughs,
as ecstatic as they come,
stem from the fact
that I'm feeling like crap
sad sap, too fast to play dumb
sad-sack ,
trapped rat
thats numb to the things that once would make me run.
Rock bottoms not a problem for my partna
who’s drug drama and habits are this fun.
These rhymes that I've designed inside my witty mind
redefine what is brand new.
The reflection of perfection,
the best is my profession,
and the rest belongs to you.
The professors teaching lessons,
of transgression in repressive,
unimpressive
back road routes
perspective is subjective but
effective in selection
and reflection of the truth.

Truth.

they say the road to hell
is paved with golden intentions
and they are not mistaken i
see it's latent
hidden within psychosocial declarations
of everlasting love from a narcissistic god
i don’t give much credence to
the insistent proclamations of eternal
damnation in a metaphysical realm
of torment and brimstone but

don’t get me wrong
i’ve seen hell in the
wolfish grins of pilfering preachers
in the glassy eyes of opiated masses
i was careful when i stared
into that dark abyss
knowing it glared right back at me
emphatically declaring that i
was the lost sheep
a fallen brother separated
from the good shepherd’s flock
a prodigal son isolated in
alienating atheism but

i’ve come to love my
outcast status i’d rather
rot in the dirt after
raising hell on Earth
than suffer rebirth in ethereal bliss
espousing endless reiterations
of worship for a
fictitious megalomaniac

god is dead we killed him
deicide stains these hands
in shades of scarlet and crimson
the triumph of humanity will not
fade once again to the putrid
obeisance and ridiculous reverence
or religious references to divinity

salvation lies within

two decades of dedication
to the Christian ideal
left me dejected rejecting the
shallow lies and overt
misconceptions of religion
chose to begin again in the
reclamation of self-determination
i found a dignity independent from
a deity perpetuating guilt and regret
and though i will never forget the
progressive lessons of a radical rabbi
offering a message of hope and forgiveness
i’ve found that those same tenants
are seriously lacking in the
contemporary Christian church

if your god is
omnipotent and not
merely impotent
than tell me why he
needs you to
defend him

come on coward
if you’re real
show yourself
here’s the chance to
prove me wrong
sling lightning from the skies
and take my life i’m
not afraid i’m ready to die
and part from the suffering
that inundates this existence

strike me down and remove
all doubt of your majestic malevolence
a malfeascent adolescent prone
to fits of jealous rage and
temporal temper tantrums

that’s what i thought

i only hear the sounds of
a theological clown show
self-styled scholars enumerating  
passages of mercy and compassion
in the same holy text that condones
**** and slavery and child abuse
which would be ironic if it
hadn't been slapped together over
centuries of violence and bloodshed
and used to justify two millennia's worth of
repressive oppression a
putrescent obsession with control

it's true what Sartre said
hell is other people
and we have No Exit
from the depravity that
obfuscates critical inquiry
in the immortal words of
Shakespeare the nether-realms
are emptied all the devils are here

your god maybe a figment of
fantastic imagination but so
much horror has been wrought
with his name as the justification

so forgive me if i seem hyperbolic
but it is no exaggeration  
when i declare that religion itself
is a hell from which we're still
trying desperately to wake up

My daddy—he once told me
don’t ever play with nuns
they’ll hit you with their rulers
it won’t be any fun

I snuck out of that prison
and now I’m on the run

Once freed from that schoolhouse
I sunbathed in the sun
I stayed out late, I went on dates
looking out for number-one

When I think of what I went through
of all the tired repressive lies
I keep running wise, in slick disguise
my purpose is renewed

Don’t ever let ‘em tell you
you can’t have any fun
If they preach that hackneyed drivel
grab some things and run
.
.
Songs for this:
Cold Heart (PNAU Remix) by Elton John & Dua Lipa
I'm Still Standing by Elton John

I watched “Breakfast at Tiffany’s” last night - we’re going to be reading Truman Capote’s book after the break and I wanted to start thinking about it. The movie rewrites Truman Capote’s story, turning it into a romcom, completely eliminating the book's gay themes. I’d seen ‘Breakfast’ before, but now I’m a little older, and as a single woman, I can better appreciate it. I’m looking forward to studying its socio-****** themes. These are some first thoughts.

Let’s take the opening of “Breakfast at Tiffany’s.” The images are iconic and some of the most widely repeated in pop-culture today (Hello, ubiquitous dorm room decor), but they’re never used in a way consistent with their function in the film. Instead of seeing a horribly depressed girl who has nothing left in her life but pure escapism, people see a beautiful woman with apparent access to luxury.

When “Breakfast” came out (in 1961) there was a sense, within the press and wider public, that even a neutered version of Holly Golightly represented a cinematic moral nadir that posed a threat to society. Whether Holly was a “moral character” was up for debate in countless reviews of the film. Today, this seems absurd.

Today, Holly is seen as an aspirational figure. With her opera gloves, her intricate updo, pearls and Givenchy little black dress, she looks like someone who belongs at Tiffany’s (of course, the casting the euro-elegant Audrey Hepburn didn’t hurt). Truman Capote wanted Marilyn Monroe as Holly - that would have been a very different movie.

Watching the film, I was struck with how contemporary Holly felt. She seems so familiar - so similar to the countless imitations we’ve seen since. People watching the movie for the first time today may be underwhelmed, but Holly seems so contemporary now, because she was so ahead of the curve back then (just over 60 years ago).

If you look at the popular romantic comedies that surrounded ‘Breakfast at Tiffany’s’, like “Pillow talk,’ ‘Gigi,’ and ‘Giget’ - their leading ladies were nothing like Holly. Being a heroine in those films meant you strived for marriage, you saved yourself for your one true love and, as a woman, you avoided certain subjects altogether. They imply happiness only comes from following a certain good girl ethos.

An example of what could happen to a girl, if she strayed from that path, was shown in Elia Kazan’s ‘Splendor in the Grass’ which also came out in ‘61. Its theme is the consequences of ****** repression, and it outlines a specific cinematic binary. There are good girls and bad girls. The bad girls were usually presented as sad and mentally unstable - and they paid for their sins in the end - usually by dying by some karmic punishment (car wrecks usually).

Holly sits somewhere in between good and bad, complicating the cinematic binary. Because Audrey’s elegance plays her as classy, warm and accessible, she doesn’t come across as a dangerous wild child - although she makes all of the bad girl choices - like partying, drinking and having ***.

For women who grew up in the repressive 1950s, Holly represented a new path forward. Holly lived on her own, she didn’t crave marriage above all else, she didn’t want to live in a cage, and she managed to have a good time without being victimized or doomed. Holly was noticeably different. The pill came out in May of 1960 (one of the watershed events in human history). Holly was Hollywood's first post-pill heroine, representing the ****** revolution before Betty Friedan’s ‘Feminine Mystique’.

(Frederick was talking with Geraldine.
Frederick said,)



''My love for you will last forever; '' ''Our love must be strong
In this crowded emptiness of the wars around us.
You're a dreamer; '' ''I want to secure your life from wrong
And to do everything possible to make you be happy; thus,



(Frederick continued,)



I'll be sure that our child will grow up to discover his skills
And talents; '' ''He will be a successful man like you.
You're a good trader, but you take risks because you like these thrills.''
''I want to make money to buy a galley for my crew.



(Frederick continued,)




Spending less money than we make is essential to our
Financial security; '' '' We have the responsibility
To provide what is necessary for our life to grow in power.''
''To buy too many gowns and shoes you have an ability.



(Frederick continued,)



You've made this carrack be a luxury one before
Looking like a wreck; '' '' I wanted rich passengers to embark
On our ship; this way we could earn money; '' ''My dear, it's war,
But there is absolutely nothing wrong with this spark



(Frederick continued,)



Of interest as long as you don’t go overboard.
Keep this unnecessary spending to a minimum.
This employee holding multiple jobs is all we can afford.
I've spent all my money on this carrack, causing pandemonium.''



(Geraldine said,)



''For example, Maya is an excellent cooker and a healer
At the same time; '' my love for you is passionate and true.
I've married you without your parents' consent; I was a reeler
While not knowing if I could have a future together with you,


(Frederick continued,)


But I wanted this family; '' '' You were well aware
Of the ships' condition and progress, but you weren't conscious
Of the importance of a fire on this wooden ship; in despair,
You've spent the money for food and fuel without my consent.



(Geraldine continued,)



That money had been given by the passengers to embark.
Now, everything is gone; all remained is almost nothing.''
''I had to merchandise and resist the attacks; '' ''A strong remark!
I remember that you sold some jewelry to buy something.''



(Frederick replied,)



''I remember that I've tried to face your jealousy
Because I love you very much; I remember that I was
In danger and I had to go on and face our destiny
As nothing was happening; our hope is stuck underneath its claws


(Frederick continued,)



And I don’t remember if you took time out to support me
During any rather difficult day; you think like a slave
Lacking responsibility while you want to be
An Italian woman; '' '' I open my heart to crave



(Geraldine continued,)




That these slaves lack the ability to run their own lives
And are therefore happy with a system where their lives are run
By others; '' '' glad to know they're happy as husbands and wives.
There will be no slave to row on this ship under the sun.''



(Geraldine said,)



''Some of your sailors used much more freedom than I did, ''
''They were punished for what they did wrong; '' '' This latest mistake
Could lead us to death; '' ''I was caught in a trap, God forbid! ''
''You had no sailing experience; some dreamers must be awake.



(Geraldine continued,)


You trusted people too much and verified them too little.
''These pirates fight for a freedom that does not exist
While using all kinds of scams, while their life is a riddle,
While not being honest, and while hunting in the devil's mist.




(Frederick continued,)


The fight for an alleged brotherhood, equality,
And freedom promoted by these pirates is different
From any honest fight because they don't have dignity.
They destroy its ideal sense while being indifferent.’’



(Geraldine said,)



''Why do you say this? '' '' Some pirates accused me of supporting
A repressive policy against slavery while providing
Some groups with weapons and they still didn't stop annoying
Me because they wanted to know my secrets; my suffering



(Frederick continued,)



Fellows couldn't benefit from moral support; '' ''Tell me,
Some people like the aunt of Ivan could live better than
It was permissible; she had to pay bills; she wasn't free.''
''She didn't want to be enslaved, beaten and ***** by her man.



(Frederick continued,)



It seemed that this situation had been abnormal for her
Until she turned the idea upside down; she couldn't deal
With all her problems besides running away from the star
Of the poor voices; '' '' so contrary to her ideal



(Geraldine continued,)



Was the reality of Ivan's mother that she was
Ashamed to continue her life, although she loved Ivan
Very much; her dignity was destroyed; I suffer because
I left my mother to marry you; no friendship is better than



(Geraldine continued,)


The relationship between a mother and her daughter.
This is why I appreciate the friendship between
Francesca and Chiara; '' '' these things don't seem to matter
When Chiara is not sincere; what happened could have been foreseen.''



(Geraldine said,)


'' I think that Chiara tries to compensate the absence
Of the missing mother; both Chiara and Carla are strong
Women and I've learned a lot from them, because, in silence,
They suffered for saving their husbands they wanted to belong



(Geraldine continued,)



While protecting their children. My family must be as strong
As my parents taught me to be; '' ‘‘the women always say
They suffer in a marriage while being humble all lifelong,
But they want to prove that, without them, their men may go astray.''



(Fargo knocked at the door and gave them a letter, which was sent by the governor to inform them that the missing gold had been found.)



(...to be continued...)

Poem by Marieta Maglas

and the skies with sudden encore come
filled with words not worked
orchastrating a full complement
of treacherous ambition
and will an exploration
of competeing claim of unsundry wills
and such as is gives men a will to transform themselves
to give a cause to anciet or recent voice
a permissible presentation of possibilities
in battle and brawl with a blunt rhetorical and physical disorder
which does emphasize such dramas
with stark, violent and repressive potential
all tantilized with the prospect of wealth in the ground
make a contention with vicious energies
of hate and ambition that propels
an intence and exhausting experience
upon a once civil-world to spiral
vertiginously toward an ancient choas
enacting old stories with the oppresiveweight of the past
now monstrous individualism
whose hideously fragile bonds to peace
no longer exeert their hold
and thus divorse themselves
with an individual rapaciousness
annihilating lives with a curiousley
derivative quality for a store of gas and oil
and disinherite themselves from moral constriant
evoking the soliloquy of historical hypocrisy
with a mutilation of truth
in a tragedy of lament for all human kind
then sudden uncalled for encore fills the skies

Dark night of the tallest dreams

Whose visions yearn for a willing

Transformation of themselves

And cry pretensions of constraints

And possibilities of ****** intensity

Who emphasize a drama of forced elements

In dark violent and repressive potential

That leaves such visions impoverished

Yes impoverished of an outcome

Unable to shape such matters

Into coherent form

Allows for vicious energies

Of an intense and exhausting experience

Makes vigorous its form of monstrous depiction

That leaves an eternity of lamentation in their making

Inducing that of evaluative vertigo

That flares into a conflagration of the mind

Embalming the senses, allows for a turmoil of demons

Of fathomless malice and grotesque shadows

To be the inauguaration of the tragedy of my night

„one two three“ go to boulangerie
„four five six“ may be write letter to missis x
„seven eight nine“ my call you deny
„ten eleven twelve“ …i slowly despise rhymes with sheer vengeance..

out of coquetry and out of bravado, i desist our memory,  i will turn to enter
in a new day, without prescribed lies and tainted tricks, without whens without whys, without "be blue" commands and daily ****** „luv-syndrome-disease“
& what in particular corrupts the works and days:
without nasty repressive syndrome as consequence of how ugly artistic comradeship can be.
Yah. just depart towards unknown, under guiding of trembling crescent,
to whatever oddness i will might to face..
O it wont  be worse i still guess...
something wrong with me?
so strangely i rejoice out of any certain cause.. ?
tis is may be shy anticipation of the delight which the read of some few subterranean poems can sometimes make ?
is there „land in sight“?
is here some flower to breath in?
even if it merely about basking in darkness,
not alone, but with sojourner..
my nonsense, your nods, isnt it slightly utopia?
O b s c u r i t y  i s  o u r  r e w a r d. seem be the single remnants to chant..
vomiting and scolding abundance is what only will remain to realize?
isnt it kind of tryst which satisfy the starving one at best..?
O to large demand!.., but still
towards all of futility my worn heart still embrace
the solemnity of unknown..
wish to inhale the solemnity of unknown..
to  enshroud myself with solemnity of unknown..
to chock on solemnity of unknown..

..as long as poetry is yet not dead

Shall I die victim to the terrors I have anticipated

Those that creep by a scarlet moon at midnight

The terrors that return me

To the deep waters of my subconsciousness

Terrors that trickle and trail and impart no sound

Yet emphasize their dark, violent and repressive potential

Oh those terrors that stalk, that follow

Whose shadow can be diserned behind every door and on every stair

That lay me impoverished of courage and ridiculed of depiction

I shall die by these terrors who with want of word

Spread upon me such vicious energies that enact

An intence and exhausting experience

Terrors that empahasie a mind spiraling

Vertiginously toward an unknown chaos

Shall I die, victim to the terrors I have anticipated

I shall, shall I not, I know I shall

Too tired to understand, or too much understanding
making it simpler to punish, and push.
**** virtues,
and most importantly,
**** patience.  
Flying back south and walking to and fro and waking up all on my own
and sitting by the window and biking or strolling with music
to the ears.
Self-inflicated solitariness feeling un-repressive, and un-defensive
and happily alone.

Never let self-inflicated solitary boredom be brought upon by another.
Indeed, cheers to alone-li-ness, when it is discretionary, and free.
Lying through my corroding teeth, I breath,
out mercy and breath in shame.
Over-dramatizing,
the wrong person is changing.

I am different;
You are the same.

Ok, despite the fight
How I try to resist it
I still miss it
I still feel it
I’m another male pig
I desire her
And society makes desire
A social offense

Mind crimes
Make for strange times
My body was made
For being depraved
For being enslaved
I evolved that way
And you want
Me to feel ashamed
While you claim
That your greedy ways
Are far more tamed

Seems a bit too simplistic
Bad ideas fly like bullets
And other bouncing ballistics
From the religious to the feminists
I won’t get specific
On what I would do with it
But, I’ve had enough
Of your repressive *******