There was a moment when he knew he had to make a decision.

He had left London that February evening on the ****** Velo Train to the South West. As the two hour journey got underway darkness had descended quickly; it was soon only his reflected face he could see in the window. He’d been rehearsing most of the afternoon so it was only now he could take out the manuscript book, its pages full of working notes on the piece he was to play the following afternoon. His I-Mind implant could have stored these but he chose to circumvent this thought-transcribing technology; there was still the physical trace on the cream-coloured paper with his mother’s propelling pencil that forever conjured up his journey from the teenage composer to the jazz musician he now was. This thought surrounded him with a certain warmth on this Friday evening train full of those returning to their country homes and distant families.

It was a difficulty he had sensed from the moment he perceived a distant gap in the flow of information streaming onto the mind page

At the outset the Mind Notation project had seemed harmless, playful in fact. He allowed himself to enter into the early experiments because he knew and trusted the research team. He got paid handsomely for his time, and later for his performance work.  It was a valuable complement to his ill-paid day-to-day work as a jazz pianist constantly touring the clubs, making occasional festival appearances with is quintet, hawking his recordings around small labels, and always ‘being available’. Mind Notation was something quite outside that traditional scene. In short periods it would have a relentless intensity about it, but it was hard to dismiss because he soon realised he had been hard-wired to different persona. Over a period of several years he was now dealing with four separate I-Mind folders, four distinct musical identities.

Tomorrow he would pull out the latest manifestation of a composer whose creative mind he had known for 10 years, playing the experimental edge of his music whilst still at college. There had been others since, but J was different, and so consistent. J never interfered; there were never decisive interventions, only an explicit confidence in his ability to interpret J’s music. There had been occasional discussion, but always loose; over coffee, a walk to a restaurant; never in the lab or at rehearsals.

In performance (and particularly when J was present) J’s own mind-thought was so rich, so wide-ranging it could have been drug-induced. Every musical inference was surrounded by such intensity and power he had had to learn to ride on it as he imagined a surfer would ride on a powerful wave. She was always there - embedded in everything J seemed to think about, everything J projected. He wondered how J could live with what seemed to him to be an obsession. Perhaps this was love, and so what he played was love like a wilderness river flowing endlessly across the mind-page.

J seemed careful when he was with her. J tried hard not to let his attentiveness, this gaze of love, allow others to enter the public folders of his I-Mind space (so full of images of her and the sounds of her light, entrancing voice). But he knew, he knew when he glanced at them together in darkened concert halls, her hand on J’s left arm stroking, gently stroking, that J’s most brilliant and affecting music flowed from this source.

He could feel the pattern of his breathing change, he shifted himself in his chair, the keyboard swam under his gaze, he was playing fast and light, playing arpeggios like falling water, a waterfall of notes, cascades of extended tonalities falling into the darkness beyond his left hand, but there it was, in twenty seconds he would have to*

It had begun quite accidentally with a lab experiment. J had for some years been researching the telematics of composing and performing by encapsulating the physical musical score onto a computer screen. The ‘moist media’ of telematics offered the performer different views of a composition, and not just the end result but the journey taken to obtain that result. From there to an interest in neuroscience had been a small step. J persuaded him to visit the lab to experience playing a duet with his own brain waves.

Wearing a sensor cap he had allowed his brainwaves to be transmitted through a BCMI to a synthesiser – as he played the piano. After a few hours he realised he could control the resultant sounds. In fact, he could control them very well. He had played with computer interaction before, but there was always a preparatory stage, hours of designing and programming, then the inevitable critical feedback of the recording or glitch in performance. He soon realised he had no patience for it and so relied on a programmer, a sonic artist as assistant, as collaborator when circumstances required it.

When J’s colleagues developed an ‘app’ for the I-Mind it meant he could receive J’s instant thoughts, but thoughts translated into virtual ‘active’ music notation, a notation that flowed across the screen of his inner eye. It was astonishing; more astonishing because J didn’t have to be physically there for it to happen: he could record I-Mind files of his thought compositions.

The reference pre-score at the top of the mind page was gradually enlarging to a point where pitches were just visible and this gap, a gap with no stave, a gap of silence, a gap with no action, a gap with repeat signs was probably 30 seconds away

In the early days (was it really just 10 years ago?) the music was delivered to him embedded in a network of experiences, locations, spiritual and philosophical ideas. J had found ways to extend the idea of the notated score to allow the performer to explore the very thoughts and techniques that made each piece – usually complete hidden from the performer. He would assemble groups of miniatures lasting no more than a couple of minutes each, each miniature carrying, as J had once told him, ‘one thought and one thought only’.  But this description only referred to the musical material because each piece was loaded with a web of associations. From the outset the music employed scales and tonalities so far away from the conventions of jazz that when he played and then extended the pieces it seemed like he was visiting a different universe; though surprisingly he had little trouble working these new and different patterns of pitches into his fingers. It was uncanny the ‘fit’.

Along with the music there was always rich, often startling images she conjured up for J’s compositions. At the beginning of their association J initiated these. He had been long been seeking ways to integrate the visual image with musical discourse. After toying with the idea of devising his own images for music he conceived the notion of computer animation of textile layers. J had discovered and then encouraged the work and vision of a young woman on the brink of what was to become recognised as a major talent. When he could he supported her artistically, revelling in the keenness of her observation of the natural world and her ability to complement what J conceived. He became her lover and she his muse; he remodelled his life and his work around her, her life and her work.

When performing the most complex of music it always seemed to him that the relative time of music and the clock time of reality met in strange conjunctions of stasis. Quite suddenly clock time became suspended and musical time enveloped reality. He found he could be thinking something quite differently from what he was playing.

Further projects followed, and as they did he realised a change had begun to occur in J’s creative rationale. He seemed to adopt different personae. Outwardly he was J. Inside his musical thought he began to invent other composers, musical avatars, complete minds with different musical and personal histories that he imagined making new work.

J had manipulated him into working on a new project that had appeared to be by a composer completely unknown to him. L was Canadian, a composer who had conceived a score that adhered to the DOGME movie production manifesto, but translated into music. The composition, the visuals, the text, the technological environment and the performance had to be conceived in realtime and in one location. A live performance meant a live ‘making’, and this meant he became involved in all aspects of the production. It became a popular and celebrated festival event with each production captured in its entirety and presented in multi-dimensional strands on the web. The viewer / listener became an editor able to move between the simultaneous creative activity, weaving his or her own ‘cut’ like some art house computer game. L never appeared in person at these ‘remakings’, but via a computer link. It was only after half a dozen performances that the thought entered his mind that L was possibly not a 24-year-old woman from Toronto complete with a lively Facebook persona.

Then, with the I-Mind, he woke up to the fact that J had already prepared musical scenarios that could take immediate advantage of this technology. A BBC Promenade Concert commission for a work for piano and orchestra provided an opportunity. J somehow persuaded Tom Service the Proms supremo to programme this new work as a collaborative composition by a team created specially for the premiere. J hid inside this team and devised a fresh persona. He also hid his new I-Mind technology from public view. The orchestra was to be self-directed but featured section leaders who, as established colleagues of J’s had already experienced his work and, sworn to secrecy, agreed to the I-Mind implant.

After the premiere there were rumours about how the extraordinary synchronicities in the play of musical sections had been achieved and there was much critical debate. J immediately withdrew the score to the BBC’s consternation. A minion in the contracts department had a most uncomfortable meeting with Mr Service and the Controller of Radio 3.

With the end of this phrase he would hit the gap  . . . what was he to do? Simply lift his hands from the keyboard? Wait for some sign from the I-Mind system to intervene? His audience might applaud thinking the piece finished? Would the immersive visuals with its  18.1 Surround Sound continue on the five screens or simply disappear?

His hands left the keyboard. The screens went white except for the two repeats signs in red facing one another. Then in the blank bar letter-by-letter this short text appeared . . .


Here Silence gathers
thoughts of you

Letters shall never
spell your grace

No melody could
describe your face

No rhythm dance
the way you move

Only Silence can
express my love

ever yours ever
yours ever yours


He then realised what the date was . . . and slowly let his hands fall to his lap.

Clicketyclick —

sickly screens,
shooting
sixty
picture-frames
per second

Tickety ticktock, rapid-fire
photon cannons,
ripping holes
through our
faces

rectangles,
riddled with anxiety ridden
read scripts

the resultant
retinal scarring

Wicketywicked, weary eyes,
dripping with serrated pixels

triple dotted,
typing-awareness indicators
create silly suspenses,
inducing temporal
dramas,
emotional
micro-traumas

every second a slice
through my,
now practically nonexistent,
patience

Am I a server,
or am I a servant?

Eyes, sunken, with
withered skin

I'm waiting for my fix

Ding-ding
Bloop!
Pinggg
Here comes the dopamine! —

—Clicketyclick

Kurt Queller uses narrative criticism to analyze Mark 3:1-6, the healing miracle story in the gospel of Mark.  Queller’s narrative criticism includes “echoes of the Exodus liberation narrative” , echoes of Deuteronomy’s covenant language and Sabbatical provisions , intratextual echoes in Mark , and independent echoes in the other synoptic gospels.  Queller uses these echoes to fill in the gaps he finds in the story of Jesus healing the man with the withered hand on the Sabbath.
In the beginning of his criticism, Queller lists the gaps in Mark 3:1-6’s narrative that he seeks to fill: the meaning of the withered hand, Jesus’ reason for healing on the Sabbath, His reason for considering the withered hand life-threatening, why it is a choice between good and evil, et cetera.  He begins filling these gaps by referencing intertextual echoes of Mark 3:1-6 in Exodus.  Jesus’ command to the man with the withered hand in Mark 3:5, “Stretch out your hand,” is echoed in Exodus 14:16 where God commands Moses, “stretch out your hand.” When the man with the withered hand stretches out his hand, his hand is restored. Likewise, when Moses stretches out his hand, the Reed Sea parts, resulting in the restoration of the Israelites’ freedom.
Queller’s reference to this echo in Exodus, paired with other echoes he mentions in Deuteronomy, helped me begin to understand Jesus’ insistence on healing the withered hand. Queller was able to use the echoes to fill in the gaps I previously could not fill. In Deuteronomy 15, God’s covenant requires liberal lending and debt forgiveness to the poor on the Sabbath year. God reminds the Israelites that He delivered them from Egypt in verse 15, and He claims that this is the reason for His liberal Sabbatical law. Thus, this Deuteronomic prescription for Sabbath observance is a continuation of the Exodus liberation narrative. Queller mentions these echoes in Exodus and Deuteronomy to draw a larger narrative framework for understanding Mark’s controversial healing story.
In my initial reading, I recognized that a withered hand is not necessarily a matter of life and death. Like Queller, this was a gap that I initially set out to fill. However, I was unable to fill this gap in a way that completely satisfied my confusion on the matter. Queller’s larger narrative framework for this passage led me to a better understanding of why Jesus considered the withered hand worthy to heal on the Sabbath.
According to Queller’s filling of the gaps, the withered hand is an affliction that can be compared to the Israelites’ enslavement in Egypt. The withered hand also embodies the economic predicament of the poor, who remain enslaved to their debt to the rich.  Such enslavement could be a death sentence, which is why the Sabbath requires the liberation of slaves and debt forgiveness of the poor. It seems plausible to me that a withered hand could cause a man to be enslaved and/or perpetually poor. This line of reasoning, provided by Queller’s larger narrative framework, allowed me to truly see how the Sabbath could require Jesus’ healing of the withered hand.
Another gap Queller and I similarly set out to fill is the question of what constitutes as doing good and what constitutes as doing evil on the Sabbath. This gap also arises from Mark 3:4, in which Jesus asks, “Which is lawful on the Sabbath: to do good or to do evil, to save life or to ****?” (Mark 3:4 NIV). In his analysis of this particular part of this particular verse, Queller points out a small important detail that I originally missed. Mark 3:4 does not set the frame for a passive, inner choice between good and evil.  The literal wording says, “to do good or to do evil.” The choice between good and evil on the Sabbath thereby requires action.
While recognizing that required action is problematic for the restful nature of the Sabbath, Queller supports his assertion by referencing Deuteronomy 30. Deuteronomy 30’s prescription for obedience of the Sabbath repeats the active command, “do it.”  Queller illustrates the parallelism between Mark and Deuteronomy by placing Deuteronomy 30:14 and Mark 3:4-5 in a figure side-by-side.  Deuteronomy 30:14 says, “The word is very near to you, in your mouth, and in your heart, and in your hands, to do it.” With this commandment as the framework, Mark 3:4-5 spells out the Pharisees’ failure to do good; It says, “But they were silent . . . grieved at their hardness of heart, he said to the man: ‘Stretch out your hand.’ And he stretched it out.”
From this, Queller concludes, “The ‘word’ to be done is already ‘in [their] mouth’ – but they refuse to say anything in response; it is ‘in [their] heart’ – but their heart is hardened against it. It is ‘in [their] hands, to do it’ – but as Jesus turns again to address the man, our attention is directed back to an inert hand, that, in its current withered state, seems unlikely to do anything.”  From this I am now able to conclude that which constitutes as doing “good” on the Sabbath is acting on the word. The word is completely accessible to us, and we must use our mouths, hearts, and hands to act upon it.
This gap of good and evil action that Queller helps fill also provides further evidence for the necessity of Jesus’ healing of the withered hand. Since the hands are required to carry out good action in obedience of the covenant, the withered hand is an affliction that can breach said covenant. Queller asserts that the withered hand symbolizes “the tangible embodiment of [the Pharisees] unwillingness, despite the ‘nearness’ of the word, to do it.”  Jesus, by necessity, must heal this affliction to show the Pharisees how to act according to the law of the Sabbath; “The stretching out of the hand then becomes a ‘witness against’ those who have chosen to forgo or even prohibit action because of exclusively sacral concerns.”  Without the preceding narrative frame of Deuteronomy, such significance of the withered hand for the Sabbath covenant was impossible for me to comprehend.
Though Queller is certainly helpful in providing evidence that enables understanding of the withered hand’s significance, there are parts of his criticism that I find contradictory and unhelpful. This occurs when he references echoes in Exodus and Deuteronomy to provide a framework for understanding the Pharisees’ silence in Mark 3:4 and hardness of hearts in Mark 3:5. He first relates the Pharisees’ hardened heart in response to Jesus’ plea in Mark to the Pharaoh’s hardened heart in response to Moses’ numerous pleas in Exodus. In my concordance work, I also made this connection. However, Queller and I differ in the conclusions we draw from this observation.
Queller draws from Deuteronomy to provide framework in conjunction with Exodus for understanding Mark’s interpretation of the Sabbatical law. He references Deuteronomy 29:19, which warns against thinking one can receive the blessings of the covenant while breaching it in the inner wanderings of the heart. This passive infidelity of the covenant brings God’s curse to the innocent as well as the guilty. Queller uses this context to explain why his literal translation says Jesus “co-aggrieved”  with the Pharisees because of their silence and hard hearts. The Pharisees’ passive, inner breach of the covenant invoked God’s curse on them, as well as the innocent Jesus, according to Queller.  
When I analyzed Jesus’ reaction to the hard hearts of the Pharisees in comparison to God’s reaction to that of the Pharaoh, I realized that the same Greek word was used to describe Jesus’ anger and God’s wrath. However, the consequences of Jesus’ anger and God’s wrath do not relate as clearly as Queller would lead one to believe. As a result of the Pharaoh’s hard heart, God’s wrath leads to the Pharaoh’s ultimate demise. Jesus’ resulting anger from the Pharisees’ hard hearts, on the other hand, catalyzes his decision to heal the withered hand. This action ultimately leads to Jesus’ destruction alone. Jesus, the innocent character, does not fall to the mutual destruction of the Pharisees, per Queller’s argument. I see no destruction of the Pharisees at all. Instead, Jesus restores God’s blessing of the guilty by becoming the recipient of God’s wrath in their place.
This conclusion, though differing from Queller, is consistent with his interpretation of the withered hand. Queller writes, “The withered hand embodies covenant curses invoked against those refusing to ‘open [their] hands’ in liberal lending, instead killing the poor by freezing credit in view of an impending sabbatical debt amnesty” . If the withered hand embodies God’s curse against the Pharisees, then Jesus revokes this curse when he cures the withered hand. Furthermore, the larger narrative framework of Mark’s gospel echoes this conclusion. Jesus’ crucifixion ultimately pays the debt of sinners and liberates them from God’s wrath.
Kurt Queller’s narrative criticism uses intertextuality, a narrative tool that “evokes resonances of the earlier text beyond those explicitly cited”  and “requires the reader to recover unstated or suppressed correspondences between the two texts.”  Such intertextual echoes he references from Deuteronomy and Exodus provide a larger background for interpreting Mark’s healing controversy. This granted me the ability to fill many gaps in the narrative that I was unable to fill prior to reading Queller’s criticism. In a footnote, he explains that his “metalepsis” uses such intertextual echoes for analysis, and, “In narrative, the resultant new figuration operates at what Robert M. Fowler calls the ‘discourse level.’ Metaleptic signification is thus transacted between an implied narrator and an implied audience – as it were, behind the backs of the narrative’s ‘story-level’ participants.”
The intertextual and metaleptic tools that Queller uses for his narrative criticism have proven to be very insightful and helpful for my understanding Mark 3:1-6 in an entirely new way. Even as I disagree with Queller on certain parts of his argument, these points of disagreement pushed me to deepen my own individual reading of the text. In comparing my argument to Queller’s, I realized just how far my initial interpretation was able to go. This narrative criticism answered a lot of my questions and filled many gaps. However, most of my conclusions about the implications and ultimate consequences of the text remain unshaken.  
Bibliography
Queller, Kurt. “Stretch Out Your Hand!” Echo and Metalepsis in Mark’s Sabbath Healing Controversy. Journal of Biblical Literature 129, no. 4 (2010): 737-58.

let's all hold hands, dearly loved ones
and express gratitude for those living..
        as if..
the table high-decked with every sweet-meat
        fennel-sprigs clipped and hazelnut-oil on roast
        a mixed-salad of vivacity and touch of chili in sauce
        a dose of pesto and a dash of chopped-chive
        a pinch of salt on cut sweet-pepper
and so much more....
        means that much

but do they remember..?
surely they do



1.
there was a time when she needed you
but your harsh-judgment turned its back in stiff-penalty
which later led the flow of her life in slow-drip out
on the filthy-floor of a public restroom
as she pushed out her legacy
alone and no friend
                 to grip her departing-hands
                 to clean up the red-mess
                 to wipe down the bawling new-blob
surviving its necessary-squirm on the cracked-tiles

you heard the knock-of-need at your Hellenic-door
and the pillow you flattened and stuffed further in
    you couldn't offer a slit of time
    you wouldn't open that wretched-door
    you could not stop choking back old-tears
and when you checked your porch in the evening
your recently-scraped leukocytes blew a green-fuse
a small white-cat in a corner sat pondering your move
as a pile of singed-feathers lay in neat-disorder

now, here you are, grimacing with her crying-babe in arms
this poor orphan will be at bitter-play with some coarse-baubles
just like her scraggly mother, but she'll outlive that false *stain


2.
you swallow two blue-ones
        lose track of yourself
you never remember what you forgot
while you glibly insult those who pass by
belittling their big-arses and blue mini-purses
until the cycle goes round that beguiling-circuit once more
and you can't open a paxity-envelope with arthritic-heart
'cause you'd endure anything not to relive..
until tinkling-coins are all you hear falling
from your grandfather's endless-pocket


3.
appearing at the side of the latest arrival
we all welcome the burly-figure yet with tapered-fingers
who sits next to me and we try a smile, comes out dry
    I lost my grandchild to an accident last spring
    and he lost his daughter (we learn)
hello, Ixion.. yes, so sorry to hear..

he recounts his open-horror and mouth-dropping hell-tale
of his sweet-kin's blind-search for escape
he acknowledges what he never could.. at home
his final gin-soaked treachery against humanity

I am silent in here
I am at odds with this circle of strangers
          who pour out laden-things, some getting their catharsis
          everyone talks of how they loved and who was lost
but who remembers the broken-lives left behind
on the rickety and twisted conveyor-belt of life?

     my daughter now believes she sees her child's face in trees
     and has taken to counting each and every new-leaf she sees
                                                            ­                              fall
                              ­                                                            fall
­     when she remembers to open her eyes (in her morning)
                                         to step off her bed
                                         to go to the toilet
                                         to blot out the sun
                      to count the leaves on windy-days
she ends up re-counting and I have no heart
                      to correct her
                      to fix the frustrations that fate fuel-flung her way

I wonder.. where she learnt this habit?
they do say all behaviour is learned..

daylight beckons again in gentle, yellow slants
and I recall the two silver-marbles in my pocket
       on its secret-bed of old-leaves, some soft and some crunchy
       thirsty for the soothing-touch of my fidgety-fingers
count.. one, two..
                      one, two..
                               one, two..
yes, one for her.. and  w-w-w-w.. one
for me

one two.......

(oh, one too many a disaster - perhaps perdition has a friendly-face
and I sit with her 'neath
the three trees in the alcove-garden)





some things don't escape the sheer drop
of.. resultant excess-distress
in dark-parched mind-tunnels
untrod for fear of slipping..
in the mess



(now, everyone.. it grows cold
let's eat)






S T - 22 nov 2013

The question is
Where to begin?
Why, with honest heart
And boldly sin!
And sin I must
Against myself
Pinning the inkwell
A bespoken purpose
--The poetic confession
Since speech commands silence
And advances regression.
My courage it falters
And guts turn all queer
Neither could reckon
With our distances near
And confessing this outright
Is just plain absurd,
I hope I have made
My cowardice clear.
True, this is petty
And prideful at best
Poem’s the proper vehicle lest
My weakness runs wild
As ornery thoughts
And binds up my tongue
And stomach in knots.
But onward! I bore you!
My pen spitting gibb'rish
Thinking sense and writing none  
I’m too far to turn back
And the day is yet won!
But can I be blamed
For nerves all on end
When the single string in every thought
Goes day’s beginning to its end
And all around and back again?
This whole semester
I’ve felt a fool
Beside this mind of eloquence
Of enervating sensation
Like, I, a simple candle
And auroras’ collocation
On the clearest luminescent night
With incensing breeze blown left and right,
Coupled with creative flair
And womanly chic, short, brown hair
I’m distracted, diverted stupidly
A boy's been made
Of the man in me.
I’m a mustard seed among
Religious men,
And profanation blossoms
Brought to transcendent, if divine heights
My words reaching an Elysian place
Touching new Heavens
With (excuse the pun) Grace.
Please don’t hold daft obligation
That you must reciprocate
The sentiments, here, laid before you
And mushiness innate
But the purpose is here
Not to woo
Nay, to salve this tiny,
Yet consumptive flu
So for stoic, normal me
This is something radically new.
So excuse the upheaval
And heavily borne load
It’s just perseverance
Through pessimistic mode,
I know this is weighty
And clichéd and trite
But I've been made weary
(And that’s creepy a mite)
Through countless embattled days
And resultant restless nights
With no intention to do so.
I hope this has struck you
Not perturbed or amused
Because right now I’m trembling
Sclerotic and bruised
And will follow, oh follow
This to its end;
To see this message
Read in your hands.
But until then, condemned
To sleep sad and wake gaily
To think only one thought
And think that thought daily
And thought is of you
Of you,
–.

Many a company
makes each employee
practice yoga
during recess
to de-stress
cope with distress
endure strain
and be back again
to workplace
with no stress!

a good therapy
for if ever the company
lays off an employee,

he she could absorb the distress
of the resultant long-term recess
its pains many

like a yogi!

there is no privacy anymore
tinker with your settings,
imaginary dragons, but to no true avail,
your scathing privacy has since sailed,
only to return for another sinking

what you forgot,
is very well remembered
in a some very overlooked place

see me in my summer camp class photo,
blonde crew cut and goofiest of grins,
find my poems of eons ago,
in living tricolor,
to my now better understood
"eternal" embarrassment,
they writ on, vainly looking
for a way to enjoy a
natural unnatural aging,
a wordlessly, self-destructing death
on a someday,
though the probability is that
someone's gigabytes
will cloud store them forevermore
because accumulation is
cheap and easy and
whatever

everything you need but didn't want,
the tangled webs, births and deaths,
multiple divorces and successes,
ancestors, progenitors,
children who no longer acknowledge
parenthood,
the detritus of lives writ even larger than the
original reality life show

confrontation tween my suppression
of long term memories that  
are dangling participles,
going gone being been,
confusion resultant in
the tenses of existence,
I was therefore I still must be
but no longer
the me
I pretended to be

there is no privacy anymore,
especially,
not even from thine own
prying eyes and faulty memories...

when they ask what is my name,
to better trace my leavings,
I will
like Jehovah to Moses respond,

I Am that I Am
(אֶהְיֶה אֲשֶׁר אֶהְיֶה,  ehyeh ašer ehyeh)

Resultant from years of financial haggling
The Money Boys come to the fore
Capitalizing on predatory trading
Manipulating for profits galore.
Leveraged stocks and debt obligation
advantage producing high dividend yield,
Squeezing the borrowers mortgage commitment,
Showing the hopeless the foreclosure field.
Passionless people with passionless faces
Smiling with fathomless eyes at your plight,
Knowing that if foreclosure is pending
Return on the sale will turn out all right.

Inflationary pressures are gradually worsening
Our Treasury man is flexing his arm
He’s keeping a close eye on monetary policy
Holding the cash rate to stop fiscal harm.
Upside and downsides defy expectation,
Rampantly wobbling the real estate boom,
Uncertainties globally, holding to ransom,
That American sub prime must remedy soon.

The high Government spending and big dairy pay outs
The rocketing prices of everyday stuff
Ridiculous rules for control of emissions
And fiscal expansion that’s really too tough.
Domestic inflation is making it harder
The Treasurer’s threatening to hike it this year
Persistent uncertainties running quite rampant
And our money communities sniffing the air.

Do you have faith in the bank institution?
Do you trust them with all of your funds?
In the event of collapse do you think you’ll be honoured
With return of deposits in full total sum?
Not on your Nellie my fine young depositor
An unsecured creditor fellow are you,
You go to the back of the line if there’s failure
You’re hung high and dry at the end of the queue.
You can yell and complain till the sun sets my friend
Compose all the letters you like to the judge.
But the fact of the matter in Money Men chatter
Means IT’S LEGAL and ON THIS OUR STATE WILL NOT BUDGE!

So the money boys win, never mind about justice
Causing division right here on our plate.
There’s the rich and the poor, the haves and the have nots
Social corrosion in wealth based hate.

Extrapolate out and you witness this worldwide
The fabulous West and the destitute poor,
The pina coladas and Chevrolet excess
Thin starving kids on dirt African floors.
Indulgent young starlets with ******* teasers
Black Ethiopian mothers in rags.
The fat and the frivolous gorging on beefsteak
Filthy and homeless men begging for ****.

When you bring it all back it’s a fraudulent system
Where the money men cause a division in man
Instead of devising a planet of sharing
They grab and they gouge and they keep all they can.
The God of GET is worshipped widely,  Egocentric, selfish man
Tomorrows future hangs in the balance.
…WOULD YOU LAY ODDS ON GETS’ GREAT PLAN ?


Marshalg
Mangere Bridge
25 January 2008


  

© 2011 Marshal Gebbie

He tells me of his problems.
His job, his girlfriend, his friends, his home
life.
And I nod and I listen.
And I interject sometimes with a cliché or a suggestion, with as much compassion as I can summon.
And he sighs
and takes a long drag from his cigarette, and paws the ground with his Nikes, and hands me the can of beer we are sharing.
And he inhales
                             deeply
as though the air itself can fumigate the scribbles crisscrossing his skull
and with a wisp of smoke
he starts to say something
I don’t know what but
instead, he
                      pauses
in mid-breath
and he turns and looks at me
with sad eyes
But how are
                        you
he says.  
And I pause
just
       long
               enough.

Just long enough for me to look around and sigh;
just long enough for the American Spirits between our fingers to smolder
and for me to weigh the pounder of flat Tecate in my other hand;

just long enough for an overripe lemon to drop
or for a moon flower to blossom
or for a pair of black wings to beat back the wind
or for a bead of dew to skate down a blade of grass;

just long enough for the streak of a lone meteorite to span the sky;

or just long enough for our bones to vibrate in time with the rattle and sizzle and sputter of spraycans in the dark streets behind us
or for the clarion anguish of a million and more homeless to be drowned out by the wail of one sole siren;

I pause
and the world
                           persists.

the earth lurches its creaking bulk sunward for one more day
and the dawn establishes its circumference like a gold aurora;

the desert wind whips down the slopes of Hollywood Hills, past the observatory and Mount Olympus and down Sunset
and its hot dust scours the sidewalk and and slams into our bared and chattering teeth;

And I feel Brian edge

closer to me
concerned
but I have no
                          sense.

The fuming crescendo of space pulses in my head.
My heart is gored through and through by a billion billion whistling neutrinos.
An avalanche of fire from the hills and an inexorable nimbus of smoke advancing on this scatterplot city, apocalyptic-like.

And Brian feels
it now
            too.

A stifled convulsion of thunder.
A muffled ignition of time.
This
         city
an explosion and implosion, expansion and contraction, all thermite and naphtha in its nucleosynthesis, fission and fusion simultaneous;

this pause
just
       long
               enough

for a thousand people or more to grasp for a final breath, their gaping mouths in awe of the energy of one moment;
for this dying
                           place
antenna of flesh and metal, to transmit its final static into the boiling background of the universe until its spiral arms flail no more.

And I contemplate the effect of gravity on a ghost
and the time it takes for the geology of the self to schism
and the fault line in my soul to displace
and the resultant tremors to ripple
through my body and into my epicentered eyes

but I already
                          know
and so does Brian.

He wraps me in his arms
until my trembles subside
and I think
I have paused
just
       long
               enough

to learn the meaning of friend.

The truth is turning plastic
And politicians spastic
As they dream up fantastic
Ways to be bombastic.
The anti-intellectuals,
Their rhetoric effectual,
Demand a perpetual
And lucrative processional
To a place they know the score
Where they can amass more
Of money and stores
In disregarding the mores
They were elected for
And continue waging war
Like high-priced political ******.

The truth has no chance
In this genocidal dance
Of unfortunate circumstance
Created to enhance
Resultant happenstance
When, by the seat of his pants
When we happened to glance
Away for a particular moment
And were swamped by the foment
Of eight long years of torment;
Freedoms arteries turned to cement
And any chance of sanity
For American humanity
Got buried in some inanity
About hanging chads and counts
Giving a fool a chance to pounce;
To squeeze the last pure ounce
Of dignity out of the Presidency
By merely taking up residency.

Tonight I have decided
That love should be indicted
Because I am not the final "Z"
But alas I am free.

Yesterday I said good bye
I'm deserving of a wise guy
Because I am not a bourgeoise
But alas I am free.

Tomorrow I may just weep
It's hard to feel incomplete
Yes, I don't flow like the ocean sea
But alas I am free

Currently I am exultant
For this is the resultant
I am a bel esprit
(But) Alas I am free

They say I suffer from retrograde cash flow
and it is afflicting me with anterograde anxiety
so they let me go
bleeding money from every pore
leaving a red paper trail behind me

A memetic virus of unprecedented scale
has everyone pale and empty-pocketed
their haunted eyes reflecting
the fear of an exofiduciary reaction

The resultant melancholy
proves infectious.

My sad-sack coworkers,
drained from the same numismatic disease
seek alternative medicine
but I am hooked on the slow copper drip
and wait patiently for the bag to empty before
I even realize I should have
seen another doctor
before
my internet support's been pulled.

Suddenly the world stood still
Erupting goose bumps chill
Piloted by those who terrorize
Twin Towers they'd jeapardize
Emotions of shock, disbelief
Mourning, moaning and grief
Bombed by aircraft killing all
Extraordinary sorrow ... pall
Resultant heroes came to call

Eleviating pain where they could
Lifting to safety as they should
Everyone who could be saved
Venom's evil could not be staved
Even would we wish it to be so
Numbers trapped perished tho'
They will be forgotten not ever ...
Honored in tribute, remembered forever.



© Carmela M. Patterson, All rights reserved.

Wipe that teardrop from your cheek
Smooth the worries from your brow,
Go buy yourself that pretty frock
'Cos the Court Injunction's come through now.
All the hassle, all the fight
Evaporates and that's a fact.....
He gets to toss and turn tonight
For you're the cream that got the cat!

You turned it all around my pretty lady,
You saved the savage beating for the end.
You played a little ploy that emulated joy
But in fact it was a trap to make him bend.
And bend he did, my pretty, Oh how he did bend,
When the object of the exercise was clear,
He exposed his top ace card with unfortunate disregard
To resultant amputation's near and dear.
Now I'm not saying you are cruel little lady
I'm not saying you are anything but fair,
But the savageness of swipe does seem just a little trite
For he no longer brags about, what isn't there.

Moral of the story is simple, sweet and true
It's as plain as the nose upon your face,
If you're going to play about keep your trouser firmly out
Of the razor swiping range of lady space.


*As a poem this reads terribly...but it was an absolute giggle to create!
M.

i have swallowed
the cosmos
whole.
the resultant morning
sickness informs me that
perhaps i am now its mother--
for a mother may
devour her children but never digest
them. my jaw
splits with the swallowing &
my hunger, never rational,
sets this meal in motion:
i feel it squirm in my stomach
as the acrid burning of gastric juices
sears the sphere of the fixed
stars like cigarette burns
on a tapestry. somewhere a möbius strip
rips itself in two.

fidelity, understanding
empathy, caring unconditionally
failing descriptors of life's most sought feeling
reason, felt as purpose for existence—love
time spent seeking, sadness at depriving
either youthful bliss or aged wisdom
emotion's hold unconstrained by seniority
consuming our hopes and dreams
those which drive drawn breath

found true amongst family
in peer only seldom
never a nation, only the few
love guiding all, the
key to a perfect civilization

to create a people of programmed emotion
woven strands
DNA's complex beauty
reduced to binary code's rigidity
heartstring circuit wiring
free will replaced by java script exception
not soul but operating system's disaffection
mechanical allegiance
an imperfect love found in robotic adherence

fealty unfettered
good intention forced subjection
creation resultant a society hollow in perfection
an empty hull of truth
love lacking substance, fictitious in merit
absent the tribulation
the moon by which the sun's effect strengthened

loyalty absolute the greater plan
stalwart and without grievance
love free of expectation
a golden emotion impossible to automate
true love organic by nature
fluid in its implementation
dynamic and unpredictable

to understand the value of light
a man must lose himself in the night
a hard road to learn the better way
by the world's cold we might
know a Kingly castle's warmth
the answer to evil's allowance
free will to choose our citizenship
a nation whose flag represents
the most excellent way
meaningless without choice
left led by our own feeble perception
too oft to misunderstand His intention
a perfect love made perfect by imperfection

<>

“Have you reckon’d a thousand acres much?
Have you reckon’d the earth much?
Have you practis’d so long to learn to read?
Have you felt so proud to get at the meaning of poems?”


Song of Myself (1892 version) by Walt Whitman

                                                      ­      §§§

A night of reckoning, calculations repeated-checked, sums divided,
did I use too many, or not enough, words to be understood, verbiage eloquent,
did daytime reveal my poetic meanings, or double-occlude it’s essence?

I have reckon’d Manhattan Isle, circumnavigated its riverbed boundaries, a younger me, by kayak rounded it, from the Spuyten Duyvil Creek to the Battery, 14,500 acres give or take, a lifeatime to complete a dead reckoning, an unfinished full configuring.

but haven’t reckon’d that Earth and I will be entwined/entombed in each other’s arms, until such time, one of us or both, will be reduced to cosmic dust, our pride, our poems, will be equally unimportant and irrelevant, I reckon.

in retrospective rear view perspective, come to understand that we spend every moment of our lives, reckoning, determine the odds of which fork we will take, laugh out loud, for each moment, a poem  is titled, the resultant, a poem - who needs a muse, you’ve got choices!

So, yes, Walt, the questing  answers you’ve requested:
Aye, yes, yup, but no to pride, for pride and poetry in one sentence is
a death sentence at multiple levels, pride, poetry, ego, suicide,...sins,
so better no proud for it is the entree, the invitation to fall-fail...
                                                   ­      §§§§§


12:03AM  Frieday
May 15th
my deadline missed,
but what is three minutes,
but empty pride...
Manhattan Island

Silence upon other silence grows;
Taller than any skyward cathedral,
Wider than divisions, between two brothers.

The only sincere silence is natural,
Or found by a flickering candle’s flame,
And the latency, of a sleeping child.

After a death, some silence may roar
Down zigzagging corridors, of dazed;
Haunting midnight's vertiginous dreams.

Numbness opens vast reservoirs of quiet
And in the resultant- preternaturally stilled-
Silence sometimes finds its earthly voice.

I now present to you, Silence itself-
Bereft of courtesies, or dignified flourishes;
Bare as a babe at death- or birth.

a statue the envy of Michelangelo
destiny unknown, the medium—perfection,
growing with age and process,
moulded by the hands of an unworthy artist

the sculptor a paragon of ambition to be,
with enamoured eyes the living stone watching me
a selfish chisel striking cruel and careless,
driven by a hammer of regret, tears resultant
unknowing confused questioning and blameless
staining the surface as sadness' garment
the err of inexpert hands curse by
marks impossible to be unmade despite
a love absolute for the victim of his craft

a father undeserving his son
mouth to match heart, hands to mirror soul
my failure
to see through promise made in
reply to infant breath
by youth's eye the world so meagre
my blessing to be king by innocent observer
a man, by title defective
an artist in whom little may be redemptive
words a patchwork of reparation
futile to hide errant strike, reclamation of relation
so daunting subsequent degeneration

your each tear
my sorrow's weight
my son, forgive me—
forgive
your father's abate

Loose ends.  You are all I ever am.

Jealousy squirts through my narrow veins.  
Effortless sickness plagues my every guess.  
And I wake up, look at my only Self
And dazedness fades hatred as each blanketed flaw thaws to visibility.  

All tasks ask for failure and preparation is an unprecedented burden.  
The hands that cradle the Earth are the same ones that feed me...
only later to shield my eyes from the resultant memories.  

It seems as if every relation from past, present, and futures bleed into each other.
So I stand behind a screen, wanting to look at everything
being kept out.  Too bad it's woven with holes.  Every circumstance bleeds and seeps
through to each other from these openings, seeing me as the middle-ground.  

Now I'm overwhelmed and under-appreciated.  I shall stand still- unsure- until I wash up on shore with everyone's repaid debts buried next to me in the wet sand.  It would be unintelligent to swim out into new territory until the waters calm.

Come to me, Lady of Summer,
Hold me fast with blossom’d arm
Kiss me like a lover
And whisper floral words like I’ve known no other
You’ve given me the strength I seek
To grow my spirits vernal
To flee my love, all for naught
No union e’r eternal
And yet you linger to torture me
Witness me mortify
To shrivel up in your callousness
Let to air to fin’ly die.
With each passing
Of every hour
Your embrace grows cold’r still
Still am I to find the vitals
Which you try to ****
You’ll succeed because I let you
I long to feel your touch
And pray to false gods, the gods of hope
That you will feel as such
When that lonely woman comes
The Lady of the Snow
And blesses me aptly
She’ll show me you were just a phantom
Without I am truly happy
Yet she will leave
They always do
And abandon my love once more
You come again, my love anew
Yet again I’ll grieve
Resultant of my petty wish
That I’m your only lover
Though disenchantment is my blessing
To see beneath the lie
I’ve always wanted to enjoy your grace
Yet void of sky awaits me nigh
No normal man would grovel
And incense your waning passion
As I do
AS I do
As I will always do
For you abandon me
And give my gifts to better men
To those I call normal
And leave me leveled like
Foot of crushed hill
So now I retreat
Into my head, my hand
My eyes I blind, my mouth grows dumber
I spurn thee
I love thee
Oh, Lady of the Summer

Betrayal and heartache are the resultant of the most sorrowful of circumstances
It comes from losing yourself in the one you love the most
And losing them as a result of being a complete fool
This duo has a way of eating at the soul
It sneaks up in the most beautiful of disguises
It uses you for your love and your generosity
Planting itself in the thing that attracts you most
It makes you need it to survive
Takes all advantage of you and ***** you dry
Leaving you for dead without a way to sleep, breathe, or function
You've become a soulless body
And a heartless being
A dark feeling of anomie
Depressed and meaningless

what are we doing here?
who are we?
could it be mere animals of evolution,
or something more?

consciousness,
thought simply resultant biomechanics
instinct propelling us forward on
rails laid by the genetic makeup of mankind
common sense or even decency
impossible to intercede impossible to
pry wheel of raging cart from track

dominance destruction greed consumption
a white knuckle ride
maniac grin adorning psychotic visage
speed bumps people, morals and expression
all for the powerful's possession
riding the narrow rails of instinct's destiny
until
wall struck impossible to penetrate
regardless weight of gold and accumulation
from society's centre outward the world to explode
choking to death on our own exhalation
drowning in the sea of our own consumption

the absence of empty filling this suit
hope that there might be another way
another path or at least reason
a hand better suited the lost to guide
to veer us from this path—
this societal suicide

a means to explain inner inclination
my inside bigger than the outside
spirit locked within a jar
a vessel
contained dimension not fitting this dimension
ethereal hands pressing against its walls
screaming internal
I want out
freedom home
though the path to which
the unknown
terrifying to the core
this longing
to be somewhere, but
knowing I shouldn't be in a hurry to go
spoken not by word but emotion

I would not tempt with trick of parlour
too insignificant to make demand
in bed, eyes closed
feeling connection to foreign land
speaking inside my mind
not alone in the dark
yet there lay no one next me
is that you,
scratching at the wall of recessed psyche?
behind, hiding passage to infinite knowledge
awareness obscured from consciousness' sight
for a time
for my existence as a man
until the end
until those final frightful moments
then
when hope and terror stand as equals opposing
might I finally realize spirit's truth,
or cease altogether—never to know