Dear Poet Friends, being fond of Art, I wanted to compose on
this topic for a long time in a simplified form! Egyptian Art and
Architecture influenced the Early Greeks, who in turn influenced the Romans and other civilizations! Initially Art and architecture, religion and culture, were all closely inter-related! Real distinction emerged with the Italian Renaissance. Here I have used only a portion of my personal notes. Hope you find this interesting to read! Sorry for the length! Kindly give Comments after you have managed to read the entire portion in your spare time. Thanks, -Raj

INTRODUCTION TO THE STORY
OF WESTERN ART IN VERSE:
          PART ONE
    * BY RAJ NANDY

INTRODUCTION
Art over the centuries has been variously defined,
But an all embracing definition is rather hard to find!
Ayn Rand defined Art as a recreation of reality according to
artist’s values, his view of existence, and choice;
Who recreates by a selective rearrangement of the elements
of reality, and not simply out of a void!
Study of Art History is a study of man’s creative evolution;
A progress of his wakened consciousness, and a restless
striving towards perfection!
The progress of his mind, taste and skill, which has gradually
evolved through past traditions;
Finding ultimate expression in his multi-faceted creations!
I commence this story from its earliest days, and mention those
Ancient Civilizations which influenced Art in many ways.
Art has been greatly influenced by religion, culture and history;
Therefore, knowing these aspects becomes necessary to
fully appreciate this Art Story!

PREHISTORIC STONE AGE ART:
Let us take a ride on the magic carpet of History, down
past millenniums to begin our Art Story;
Right into the ancient Paleolithic, Mesolithic and Neolithic
Eras of the Stone Age,
When early humans left their creative imprints on rock
surfaces and on walls of caves!
Long before the evolution of any proper coherent speech
or communication,
In some 350 caves of France and Spain are seen paintings
of large wild animals like horses, antelopes and bison;
Bearing witness to the story of gradual human evolution!
The cave paintings of Chauvet, Cosquer, and Lascaux, date
between 8000 and 1700 BC,
Drawn by nameless and faceless people who emerged from
an inhospitable Ice Age;
Those nomadic tribes who were hunter-gatherers living in
pre-historic caves!
The Story of Art therefore begins before recorded History,
Pieced together by scholars with the help of science and
archeology!
During the Neolithic Period beginning around 8,000BC,
Ancient man became gradually sedentary, engaging in
agriculture and animal husbandry!
With these nomads settling down in small communities,
Art became mystical and monumental in range;
As seen in the megalithic (large stone) structures of the
famous Stonehenge!
This type of post and lintel structure is also found in ancient
Egyptian architecture, and later in Greece as its special
feature!
Art History spans the entire history of mankind,
Right from the pre-historic days, up to our modern times!
Man’s everlasting quest for immortality lies etched on
rocks and raised stone edifices, defying marauding Time!

MESOPOTAMIAN ART (3500-300BC) :
Let us now travel fast forward on our magic carpet to reach
the Fertile Crescent,
Where the Tigress and the Euphrates Rivers flow, to the
Ancient Civilization of the Sumerians! (3500-2300BC)
The birth of civilization has been traced to Southern
Mesopotamia, where the Sumerians built their first cities,
As the earliest River Valley Civilization around 3500 BC!
It was a period when writing got invented in its earliest
Cuneiform form;  (around 3400 BC)
When Patriarch Abraham established the worship of a Single
God, in a revolutionary religious reform! (Judaism)
Mesopotamian Civilization as the source of our earliest
surviving Art dates back to 3500BC;
When major civilizations like the Sumerian, Akkadian,
Babylonian, Hitties, Assyrian, and the Persians, in this
chronological sequence, contributed to Art History!
Mesopotamian Art in general glorified their powerful rulers
and their connection with divinity;
Reflected on their city gates, palace complexes and ziggurats,
are scenes of both victorious wars and their prosperity!
Art was then highly functional and repetitive; depicting
love of beauty, a sense of order, and power of hierarchy,
- in their sculptures and motifs.
However, no signatures were ever found bearing the name
of the Artist!
It is interesting to note that both the potter’s wheel and the
cart wheel, made their first appearance around 3500 BC
and 3200 BC respectively;
With the Sumerians contributing to art and culture, and the
progress of Human Civilization immensely!
(Ziggurats are semi-pyramid like structures with steps, a temple complex located in the center of all ancient Sumerian cities-states! Saragon the Great of Akkad from the North, defeated the Sumerians in the South, & united entire Mesopotamia around 2300 BC, for the first time in Mesopotamian History, & they ruled for 200 years.)

ANCIENT EGYPTIAN ART :(3000 BC -500BC)
Next we travel to an isolated area of north-east Africa,
Where the White Nile flows down from Lake Victoria.
The Nile enters Upper Egypt traveling through Sudan,
Is joined by the Blue Nile at Khartoum to become one!
Continues its flow north through Egypt Lower, flowing
into the Mediterranean as the World’s longest river!
Historian Herodotus had called Egypt ‘the gift of the Nile’;
Ancient Egypt became a rich treasure trove of art and
architecture for all times!
The Nile valley area was protected by the desert on its
east and the west;
In the north by the Mediterranean, and towards the
south by a rugged mountainous terrain!
Annual flooding of the Nile along with an effective
irrigational network,
Ensured Egypt’s prosperous stability, congenial for her
many innovative architectures and art works!
Egyptian Art got shaped by her geography, mythology
and her polytheistic religion;
Also by their preoccupation with after-life and belief in  
the immortal soul’s continuation;
Thus elaborate funeral rites were performed by priests for  
the body’s preservation by mummification! *
(’KA’= was a real astral twin or stellar double of an Individual, which continued to exist even after death, requiring the same sustenance as the humans, so food offerings were made in the coffins! ‘BA’= shaped like a human-headed bird, composed of non-physical attributes of an Individual. ‘BA’ collected the deceased’s personality after death from the mummified remains & united it with the ‘KA’, making a person complete; thereby making it possible for the person to be reborn as ‘AKH’ (Star), - in its ultimate unchanging form, to join Osiris in the ‘Happy Fields’! Since this journey to the next world was fraught with danger, magical funerary spells & rites were performed by the priests, with incantations from the ‘Book of the Dead’, inside the funeral chamber of the Pyramid!)

Art During Old, Middle, and New Kingdom Period:
Egyptian Art was concerned with ensuring continuity of the
universe, their Gods, the King and the people;
A projection into eternity a version of reality pure and free
from all earthly evil!
Therefore in ancient Egyptian society, conformity over
individuality was always encouraged;
Artists worked in groups with conservative adherence to
rules, order and form,
And all individual artistic initiatives strictly discouraged !
Their earliest pyramids the Mastaba, the Step, and the Bent
Pyramids were all prototypes;
While the Great Pyramid of Giza built for Pharaoh Kufu,
- was the first true pyramid which still survives!
Art comes down to us as ‘funerary art’ designed for the tombs,
Which was to accompany the royalty in their journey to an
afterlife, with its symbolic forms!
This symbolism is seen in their paintings, statues and architecture;
In vibrant color codes of their paintings as a special feature!
Where White was the symbol of purity, Black for death and night;
Green for vegetation or new life, Blue for water and the sky;
Red for life and victory, and Yellow like Gold as the flesh of the
Gods and also the Sun God ruling the sky!
Thanks to Jean-Francois Champollion’s translation of the Rosetta
Stone, (1822)
We are able to decipher many mysteries of the Ancient Egyptian
with the cracking of the Hieroglyphic Code!
Larger than life statues with poise and austere harmony at the
Luxor Temple complex survive;
Symbolic of the individual’s status, while creating zones of
strangeness for imagination to thrive!
(’Matsaba’= Egyptian for ‘bench’, referred to bench shaped pyramids;
“Step Pyramids” = were like benches placed one on top of the other in
a tapering form going up vertically!)

The Old Kingdom Period covers a five hundred years span
of Ancient Egyptian History, (2686-2181BC)
Known as the ‘Age of Pyramids’, with Pharaohs from the
Third to the Sixth Dynasty!
“The World fear Time, but Time fears only the Pyramids”,
- is an Ancient Egyptian Proverb;
Whose ‘heterogeneous structure’ made it earthquake
proof, making Time to reluctantly serve! #
Here we find formalized figures with long slender bodies,
idealized proportions and large staring eyes;
Where Kufu’s Great Pyramid of Giza raises its mighty head
as the highest, on the west bank of the Nile;
And the mighty Sphinx guard the entrance to those ancient
royal tombs, though defaced, still survive!
These pyramids were like Pharaoh’s getaways to eternity,
An insurance to an afterlife of peace and prosperity!
(# Pyramids with stone blocks of different sizes & shapes made them
Earthquake resistant; & use of pink granite in the inner chambers
made them erosion resistant against Time!)

The Middle Kingdom Period (2040-1650 BC) :
Following 150 years of civil disorder Theban ruler Mentuhotep
the Second, reunified Egypt and ruled up to Nubia, (Sudan)
And began the Classical Era when Block Statues appear,
indicating political stability;
When artisans worked with bronze and copper alloys, designing
exquisite jewelry!
Kings now preferred to be buried in secret tombs, Pyramids
having lost their appeal,
And work began on the west bank of the Nile, in the Valley of
Kings!
(Inside those rock cut ‘funerary temples’ on the East bank of the
Nile, opposite Ancient Kingdom of Thebes ; Pharaohs from the
Early and Late New Kingdom Periods were buried, including
Tutemkhamen.)

Early New Kingdom Period (1550 -1295 BC):
Between the Middle Kingdom and this Era, Art remained
static for almost a hundred years,
When the Hyksos from the Near East fought the weak Theban
Rulers!
In 1550 BC Theban Prince Ahmose reunited Egypt, and was
succeeded by able rulers, who ushered in the Golden Age!
Art works continued to maintain its basic traditional style,
With successive Kings from the 18th Dynasty consolidating
their kingdom’s wealth and power all the while!
But Egypt witnessed a change with an innovative style in Art,
When Amenhotep IV in 1353 BC became King, initiating a
fresh start!
This king changed his name to ‘Akhenaten’, the spirit of Aten,
-- ‘The disk of the Sun’;
Abandoned the pantheons of Gods with Aten as the ‘sole God’,
and a religious revolution had begun!
His new capital city of Amarna, 200 miles north of Thebes,
Got decorated with a new kind of art work to make it complete!
The statues now appear more realistic displaying emotions,
With fluidity of movement, unlike those rigid earlier creations!
The artistic talent of this Amarna Period gets best exemplified,
In the exquisite bust of Nefertiti, Akhenaten’s Great Royal Wife!
Regarded as ‘icon of international beauty’, a great archeological
find ! **
(Discovered by a German team of Archeologists in 1912 at Amarna! This 19 inch long limestone Nefertiti statue weighs around 20 kg, now housed in Berlin Museum; comparable only to the artistic Golden Mask of Tutankhamen!)

King Tutankhamen (1336-1327 BC):
Akhenaten’s unpopular rule was short-lived, with those humiliated
Theban priests calling him the ‘Heretic King’!
A nine year old boy Tutankhamen (‘The living image of Amun’),
was next to succeed him!
King Tut restored the worship of Amun, in a back-lash against
Akhenaten;
Shifted the royal palace back to Thebes, with the religious center
at Karnak once again!
King Tut’s short ten year’s rule remained buried in 3000 year’s
of Egyptian History,
Till Howard Carter found his richly laden intact tomb, in the
Valley of the Kings! (1922)
King Tut’s priceless and exquisitely carved golden face mask,
reflected the exalted standard of art work;
Weighing ten kilos, inlaid with semi-precious stones, and eyes
made of obsidian and quarts!
With the King’s early death, the 18th Dynasty of Pharaohs came
to an abrupt end,
And the 19th and 20th Dynasties of the Late Kingdom Period
commenced!
The famous rock temple of Abu Simbel now got built, under the
warrior and builder Ramses II, one of Egypt’s greatest Kings!


Pharaoh Ramses-II of the Late Kingdom Period :
Here I sweep across centuries of Egyptian History, to mention
King Ramses-II’s contribution to our Art Story!
In Shelly’s famous poem titled “Ozymandias of Egypt” he is
immortalized; (Greeks called Ramses-II “Ozymandias”!)
And as the Pharaoh associated with Moses in the movie “The
Ten Commandments”, he is popularized!
Egyptian Art is intrinsically bound with its religion, pyramids,
hieroglyphs, and architecture;
With a concentrated focus on ‘afterlife’ as its special feature!
In 1270 BC young Ramses took over from Seti the First,
And his rule for a period of 66 long years did last!
As the third Pharaoh of the 19th Dynasty, he had ruled with a
firm hand;
Recovered lost territories from the Hittites and the Nubians,
- earlier captured Egyptian lands!
He enlarged the territories of Egypt ensuring prosperity and
stability;
Became renowned as the famous Warrior and Builder King
of Ancient Egyptian History!
Ramses-II had expanded most of the temples, as recorded in
the artistic motifs and hieroglyphic symbols;
Here a special mention must be made of the Temples of Luxor,
Karnak, and Abu Simbel !

Temples of Luxor and Karnak in Ancient Thebes:
Ancient Thebes was located on the eastern bank of the Nile,
where the modern City of Luxor stands;
Thebes was once the capital of the 11th and 18th Dynasties,
And the power and religious center of all Egyptian land!
Gets mentioned in the 9th Book of Homer’s ‘Iliad’ where “heaps
of precious ingots gleam, the hundred-gated Thebes”!
Excavation work began in Thebes during the late 19th century;
And the gradual unearthing of the Temples of Luxor and
Karnak, added a new dimension to Egypt’s Art Story!
It must be remembered always, that the Ancient Egyptians in
those early days,
Structured their temple architecture to the point of ‘Sacred Art’!
With their knowledge of astronomy and geometry, they
aligned their temples so perfectly,
That the light of the rising sun fell on the temple’s innermost
sanctuary! (Temple of Abu Simbel is a great example,)
Where the Egyptian priests, who were also the artists, healers,
mathematicians, astronomers and scribes;
In dimly lit incense-filled sanctuaries performed the sacred rites!
The temples symbolized the cross roads of the cosmos, where
the divine and the mortal met in perpetual harmony!
These divine scenes were integrated into the very fabric of the
Egyptian society through chants and rituals;
With cosmological symbols of magical hieroglyphs, which
priests alone could transcribe in those days!
(Thebes began to decline rapidly after Alexander the Great
established the port-city of Alexandria as Egypt’s new Capital
around 332 BC !)

Luxor Temple built by Amenhotep-III, was dedicated to God
Amun, his wife Mut and son Khonsu, - the Theban Triad;
Tutankhamen and Ramses-II expanding the temple during the
New Kingdom Period!
Creator God Amun became assimilated with the Sun God Re;
Was worshipped in Thebes, and in the cult centers of Luxor and
Karnak, - as Amun-Re!
The walls and columns of these cult temples were decorated
with carved and painted relief,
Depicting the interaction with Gods, and military exploits of
Egyptian Pharaohs and Kings!
The sun temple of Amenhotep-III at Luxor has many columns
resembling papyrus bundles,
Symbolic of the primeval marsh from where Creation was
believed to have unfolded !
A Sphinx Alley excavated between Luxor an

The greatest challenge my nature presents:
Love is harder to find
Hate is easier to find
Within myself and others

Is rejection different for me?
Everybody seems to know the pain of being unwanted
And idle threats and empty words are no stranger to rejection
But when you say you'll **** me if you ever see me again
The intention is clear
The existence of my attraction
Is grotesque beyond redemption
I thought I loved you...

When appreciation comes my way
It's superficiality amuses me
Because I know all that needs to happen
Is breaking down the wall to my mind
Or unlocking the door to my heart
And those appreciators will transform into detractors
Especially if the hideous leviathan approaches their vessel

Not finding women gross frustrates me
Because I have no reference point
For why people hate me so much
Which provides a reference point
For why I hate myself so much

It's difficult not to be dominated by this damnation
But there's no way people could understand
The daily subtle nuances
Why should they?
I don't constantly consider their lives either
Even if someone tried to comprehend my life
I'm not sure it's possible
I've been here the whole time and I'm still massively perplexed

I display my emotions
Disgust
I shroud my emotions
Indifference
I **** my emotions
Hatred
Is there no escape?
Even with sanctuaries along the way
Life feels like
Everybody swims in the ocean
While I'm resigned to my lonely oasis
Is it possible to feel more alone than completely alone?
Like a cockroach consigned to living under the refrigerator
It gets so cold and dark down here
I forage for crumbs only at night
Mortally afraid of human contact
For I know that the boot follows the light
And why not?
In a world where our priorities obstruct our compassion
How much consideration should a real human show
to a lowly maggot like me
When they have to worry about paying the exterminator?

1.

Minds break apart at midnight,
piece together in dreamless sleep.

Robert Lowell poaches pen-and-ink
drawings for Life Studies.
Sylvia Plath dons Ariel’s red dress,
but loses Ariadne’s thread.  

Lowell raises For the Union Dead,
mythic monument to his family’s best.
Pigeons decorate it with their ***** mess.
Plath pins a ******* to her chest —  
shockingly pink —
and stands beside the kitchen sink,

Stirring a *** of poet’s gruel.
Madness and death the golden rule
no artistry can break. Not even the careless
reader can take leave of these senses

Once they’re rendered on the page.
Confession doesn’t age well,
as Lowell knows oh so well,
 
unless it suggests more substantial fare,
say, a flannel bathrobe for him to wear
in a Boston psychiatric ward — if he dares.

There’s something wrong with his head.
Crown him Caligula; his lineage has fled.

“What does that have to do with me, Daddy?” Plath artfully whines.
“Fill the tulip jars with red water, not wine,” he replies.
“The bridegroom cometh. Turn off the oven.”
But it is too late. She has met her fate before it predeceases her.

Like a teacher’s pet, she bets her life on a recitation
of Daddy, a term of endearment,
a term of interment in a stark, loveless miscarriage,
a dark, masculine disparagement of her freedom. O Daddy dearest.

Lowell shoots up to salute the younger poet, guessing
she has given the year’s best reading by a girl in red dresses.

At this stage, what does it matter that his “mind’s not right”?
What can he do but give up his right to pray, as every insight
       slips away?

But no Our Father for Plath. For her, the Kingdom comes too late.
Colossal poetry cannot save; the poet raves and raves and raves
       into that dark night.
Turn off the oven, turn out the lights. Daddy, too, is not right.
 
2.

Blake fired his Proverbs of Hell
in the dull, damning kilns
of England’s Industrial Age.

A poet’s no sage, but Lowell earned
his wings when he doctored Blake’s phrase:
“I myself am hell.”

A stone angel directs his descent:

Fortune favors the bold.

Never discount the power of chance.

Affliction of the senses is a gift.

Invisible seeks invisible.

Darkness obscures our limits.

We carry darkness within us.

Anarchy breeds spirit.

Artistry breeds no merit.

Appropriate beauty, at all costs,
whether, man, beast or angel.

3.

Poetry births an artifact of words; we unearth them, and they adhere.
We bury them, and they fall flat — hollow sounds, futile splats,
       prehistoric grunts ground into the ground.

Bathed in lithium and alcohol, here bobs your calling, Robert:
Everything matters; nothing coheres.
Build a shell of a soul on this maxim, a notebook of negation.  
       Grind your axes.

Sanctuaries may crumble, gates may close. Press on. Press on.
Corkscrew your identity into the iambic line; rouse the reader to find
the misleading promise of Eternity in the sonnet, the sonnet,
       the endless sonnet.

For minds lost in madness, tree limbs dangle like kite tails in the wind. No one flies here anymore. Gather reddened kindling while ye may.

What exiles you from the ancients — Homer, Virgil and Horace —
springs from vision, not technique: You lack the requisite blindness.

Absence absents the soul. Here, now, forever, shimmers only presence,
only the present, only Presence: divine, human, animal, marmoreal.
       Skunks, sails, cars and pails. Sing on, O son of New England!

Day by day, failing all, fill your void with fiery
hieroglyphs of verse. Then call your duty done.
 
4.

Behold: You are not the favorite, after all, but Camus’ stranger,
trapped in the blinding sun, stumbling on the burning sand.

Only what dies in you endures.

“Is getting well ever an art,
or art a way to get well?”

The skunks scurry, scavenge and survive far too long for you to answer.

You lie down beside orange fishnets, facing the shore.
At midnight, you will dream of dreamless sleep.

Because the thirst wouldn’t simmer; it ruptured cities into boils,
turned cultures into armies, an armageddon of cheeky stubborn Irish Catholics and thick veined Germans couldn’t imagine a world without their stout hearty headed pint.

Because white dry protestant angels thought crime existed in a vacuum, in a filthy saw-dusted saloon, the hub spawn of evil.

Because twice as many of those saloons were ******* by unlicensed blind pigs, not through free swinging doors on the streets, but in the domestic sphere; in the dark crept crevices of household sanctuaries.  

Because bootlegging capitalist princes turned the industry into a stenchy liability with their home brewed distilled poisons. Alky cookers wrapped the commodity fetish and dubbed it moonshine.

Moonshine – spirits for the poor and blind.

Because this social reform was a moral reform lost in the oblivion of politics, lost in the timeliness of progressive spring-cleaning referenda’s.

Because the ragged, toothless class had to be scold, striped clean of their traditional barings,

because wisdom is everything and they’re spirits ran vilely wild.

Adapted from pg. 571 of Alcoholics Anonymous, 4th Edition

The Black Swan Sanctuary will become a unique and highly successful approach to that age-old public health and social problem, following the crowd... In emphasizing Black Swanism as an integral component of the human genome, the social stigma associated with this condition will be blotted out... "Historians may one day recognize (BSS) to have been a great venture in social pioneering which forged a new instrument for social action; a new therapy based on the kinship  of common suffering; on having a vast potential for the myriad of ills of (hu)mankind."

My water tower in the sun, my pillar in the dark.
Rust on a warehouse door, **** anatomy of a shark.
A hidden, naked cartoon, vulnerable and hurt.
The afternoon rays of light, exposing my empire of dirt.

Squid in a dark room, forgotten seat for you to ****.
Discovering rotten apples, the fruitless empty pits.
Far on the *****, the eye is negligent to mankind.
No on has *****, yet "American ****" isn't hard to find.

From this floor to the next, watch out for the holes.
Stalactites are forming, between the rods and the poles.
The gang is all here, each with a gat.
Questioning Detroit, wondering "where da party at."

A symphonic silence, from abandoned piano keys.
For the love of the city, the birds and the bees.
A ladder to assist you, in anything but a climb.
Wasting away the day, when all you have is time.

Where they once opted elevators, they now offer only stairs.
Peacefully residing, in the asbestos, grime, and the glares.
The walls they're all puking, a paint chip epidemic.
No chalk at the chalkboard, a failed academic.

Some sign walls in scribble, some bless us with art.
Beautiful light fixtures hang, while sanctuaries fall apart.
The debris and the rubble, wooden frames and the splinters.
A back road in the city, in the dead cold of winter.

An altar to stand at, with no sermon or expectation.
A pew a sinner can rest, with only God's examination.
A wall devoted to an *****, hymnal at hand.
Stained glass more exaggerated, with shards in the plan.

Dancing on floorboards in rafters, climbing up to rooftops.
Wandering and trespassing, trying to avoid cops.
Panda bears, pillar ****, and playing in the snow.
In the shadows and the blackest rooms, I really like to go.

Pussycats in hallways and the golden lightning kitty.
Posing seductively in vacancy is where I feel pretty.
I've seen the light at the end of the tunnel, I've found King David.
Interrogated with the whys and don'ts, though I wish they'd save it.

Picasso in the projects, Sloth and Marilyn Manson.
Fairmont Creamery Company, a view held for ransom.
Some window panes are for looking out, some for looking in.
Struggle Buggy Snow White still sleeps, forever strugglin'.

I've seen them ask for me, "Warriors come out to play."
Detroit is to me, what night is to day.
I caught Pikachu and have seen a **** elephant.
In the frost of the Fisher, I found a heart that was spent.

But the cardio made of brick, spoke with such sass.
Resting bones at the Packard, in an armchair that's trash.
Patriots are nosey and robots attack.
Never putting an hour on when I'll get back.

On top of the world, or looking up from the bottom.
Abandoned buildings, schools, churches, there's something about them.
Where a tree has a better chance of rooting and planting.
When a society suddenly seems a bit slanting.

Color a flower on a wall that's been broken and charred.
Breathe life into a battlefield, encourage the scarred.
Take away ego and vanity, glance into a filthy mirror.
Don't just listen to a person, actually hear.

Sure maybe at times I may seem a bit morbid.
And my words can be harsh and approach kind of forward.
But when you're standing alone, in a hallways that's dead.
Whose last bell has been rung and last book has been read.

Then you hear footsteps from the floor up above.
It's in that uncanny awareness.
And fear...
I find love.

...

Mystery;
Such that you were to me
But nervously I swayed in your direction
Curious;
I couldn't help but catch
my breath as you spoke of this
dismal city and your photography
So caught
in your wishes to escape
back to your summer adventures
to the hustle and bustle of Tokyo and Seoul;
it was then you felt such anonymity
So it was then you had felt free.

I look to you again,
piecing you in these things that you
dare share with me; so easily,
eagerly.
Quiet now, you look to me but
I apologize, I didn't know quite
where to begin.

Mist and fluttering snow
Clouding over our concrete city,
We walked below the looming
Buildings until pausing,
to take a picture of me.
It seemed, in this hour, it was
only us who
chose to walk through these
deserted snowed-in streets
You suggested something then,
offering to take me up to the top
of the sleekest buildings,
to your rooftop sanctuaries I longed
to see
until it was only in my view-
small specks of life below me
where I could only see my sodden shoes
dangle down
to nothingness, to air, weightlessly as I
taste the mist upon my shoulders and
frozen hair.
In awe I would laugh
at the beautiful sight before me- to
Skyscrapers that cut above clouds
in the glint of the sun reflecting back to
our eyes, and
our cheeks who also felt the bite of
winter's winds.
Shivering,
Soaked in hair and feet
and

Again I turned to face you
but here,
with glittering eyes,
... wondered where
You would then choose to
take me
on our second date?

        

                                                ­       *P.K.

The local mall now has a Spenser’s Gifts;
I remember that place fondly as Al and I
make our way.
It’s where I sneaked a peek at Samantha Fox’s ****
for the first time,
saw my first **** ring,
wondering why anyone would want one.
I bought my first Metallica shirt at a Spencer’s;
spending twenty of my dad’s dollars.
Spencer’s and Record Wear House
were sanctuaries;
my escape from what my classmates
took for normal.
I took my son into that store
so that he could see the X-Men hats
and Deadpool shirts, the banana and pickle
pens caught his eye,
but I had to point out one more.
“What’s that one?” I asked.
Alex made a face, but in the end
he did what any 14 year old boy should,
he chuckled.
I took him in that store so that we both
could escape.
Earlier he walked the mall
a good fifteen feet ahead of us.
We stopped for ice cream.  
He chose a soda and wouldn’t sit with us.
It took a second, but
I figured him out.
He was trying his teenaged self out;
testing his wings.
As we walked, he’d wave at classmates
and be either sturdily ignored or given a cursory nod.
It was obvious that he wanted so much more.
It pained us, my wife and I.
So, I took him into Spencer’s gifts
in an effort to remove some of his innocence and awkwardness.
It may not have been the wisest move,
but at least, for a moment,
both of us felt peace.

-JB CLaywell
©P&ZPublications; 2014

I knew you once.

We walked hand in hand,
On roads,
Paved with flowers
In colors we did not know.

We hatched a plan.
We were going to start something new,
something we had never done before.
We’d leave the homes we knew,
We’d start over, me and you.

We came to find,
That we could only walk on flowers for so long,
Before they were crushed beneath our wake.
So we made,
new roads
Forged new towns.
Raised new cities.
Cities became sanctuaries.
sanctuaries became nations.
Then nations birthed ideals.
From ideals grew prejudice
From Prejudice grew competition,
And in the pyres of faded glory,
Chaos overran our kingdom.
Riots broke out.

Hand in hand
We watched
As all that we created
Was burned to the ground
Reduced to rubble
And ash

The lives that we had started,
The people we had fostered,
The dreams that we had built,
Vanished with the smoke

You said that you could fix it
You told me not to worry
That all would be okay
You would rebuild the cities,
You told me you had to stay.

I returned the way we came,
Melted in the safety
Of my father’s arms
Evaporated in the warmth
Of my mother’s gaze

Now I watch you from the clouds
Fall upon your face
Roll down your cheek
I am the rain,
The river
And the storm

Let me calm your waters
Dowse your fire
And keep you warm.
I can’t stand
To watch you burn like they did.

If thine eye offends thee
pluck it out....

War offends
my eye.

All my
senses
defiled
*****
disemboweled
by the
abomination
of war.

My mind
disregards
denigrates
reneges
warps time
destroys values
alters psyches
lays waste
to my
conscience
of hope.

Mine eye offends me
the complicit witness
complacently
ambivalent
turning deaf ears
to groans
of the wounded
wails of the aggrieved
silence of the dead;
shutting doors
to sanctuaries
where refugees
seek safe houses,
locking factories
where men seek work,
level homes
where women nurture,
strafe playgrounds
where children laugh,
raise cities
where people
learn to be human,
immolate mosques
where
God's Children
cry out to the
Beneficent One.

Mine eye offends me,
my gut sickens,
to witness
the slaughter
of innocents
droning on
no angels to save
the million Issac's
savagely smashed to bits
by a Tomahawk's blow.

God's vengeance
escalates
the celestial ledgers
dripping red ink
from excessive
collateral damage,
people reduced
as objects used
to secure a loan
indeed an ARM
on a real time
American nightmare
whose reset rate
is mounting body counts
and massive budget allocations
protecting undisturbed flows
of corporate profits
valued in barrels
of imported blood.

Mine eye offends me
an innocence lost
Veritas vanquished
life is devalued
humanity debased
compassion defunct
empathy a twisted satire
an indelible weakness
incidental hostage
to the torridness
of the lurid play
of savage nations
projecting will,
a devastation
of action.

Mine eye offends me
the message of
sweet Jesus
a way of light
transformed into
biblical justification
agitprop verse
stoking blood lust zeal
for apostate infidels
sons of Abraham's
unworthy spawn,
of Hagar the *****
******* child Ishmael
turned out again
from tribal tents
of an absentee father
from an unfriendly
paternity.

This black *******
an abomination
in the sight of Allah
celebrates
a zeal to ****
unholy disciples
yearning to fill
banana crates
with body parts
draped in
drab Hijabs
decorated with
satanic verses
from a
Holy Quran
carved with
bayonets
of self righteous
Crusaders
armed with rifles
inscribed with
Gospel verses
on deadly gun
barrel stocks
to ramp the passion
of the righteous Crusade
against Godless apostates.

Mine eye offends me
as I witness
the **** of
corporate mercenaries
churning bereaved
Blackwaters
beholden only
to shareholders
gobbling spoils of war
to safely exit
to private vomitoriums
to expunge the excess
of gluttony
only to
quickly return
to engorge themselves
at the public troughs
again.

No constitutional
restraints
save the
strict guidelines
of holy
corporate governance scriptures
ruthlessly enforced with
golden carrots
of multi-million dollar
stock options
and the brutal stick
of shareholders divine right
to quarterly dividends
and above average
equity returns.

Corporate warriors
anointed by
holy oil
proffered
by capitalist shamans
and US Senators
conferring
jurisprudential deferment
on civil law
recusing them from
any behavior
to recognize the humanity
of captive insurgents.

Mine eye offends me,
as the flag
draped coffins
of returning
servicemen
and women
continue to pile
on the boiling tarmac
of Dover Air Force Base.

Tearful salutes,
folded flags
and mournful dirges
of prerecorded Taps
are small compensation for
shattered families,
and a wasted life,
unnecessarily spent,
criminally sacrificed
in a pointless conflict
in service to a lie.

Mine eye offends me
as I watch
my country's soft parade
of growing militarization
xenophobic fear
compelled patriotism
salute and goose step
to the flash of sword
and the sound of guns
and the glittering
medals of valor
adorning the chests
of a nations warriors.

How barbaric
are we?
allocating
overstuffed
apportionment
of weapons
and armories
while
people are
foreclosed
forcing armies
of unemployed
Joads
to ride
en masse on
an Acela Express
to a crowded
poor house
a listless journey
on pock marked
highways
arriving at
dreaded
destinations
to defunct
townships
offering
empty factories
and closed schools.

Screaming in silence
I scratch at my eyes
with numbed fingers.

Matthew 18:9

Music Selection:
The Doors, The Soft Parade

Oakland
3/17/10
jbm

do not let yourself fall in love with someone who is similar to me. for someone like myself will kiss you at all of the most beautiful places in the world, just like art galleries, beaches, and sanctuaries, because then you will never be able to visit such places again without having the taste of blood lingering in your lips.

do not let yourself fall in love with someone who is similar to me. if it takes remembering your name among the lonesome souls, i would forget my own if it means remembering yours. i will make you believe that storms are peaceful and that suffering is a pleasure. you will be swept away by the yearning in craving over something that is consistently reaching but never ready to hold you.

do not let yourself fall in love with someone who is similar to me. with someone who are reminiscent like me, i will wreck your home and hurl apologies at you, which will break apart on the floor and hurt you when you walk on them. i will come to fret about having loved you so passionately. i will always be regretful that i gave it my all without stopping to consider that i was becoming increasingly hurting so bad and exhausted. i will always be sorry that i let myself be fooled by the illusion of your love.

do not let yourself fall in love with someone that obviously acts like me—loves like me for the reason that they are all ghosts from the pieces you broke in me. keeping your safe distance from someone like me is not something you should consider doing. people like me are time bombs; when my mission is complete, i will spatter sorrow all over your walls in violent hues that would let you regret your door had never known my name. i'll never master the art of being gentle. despite the weight of our shared history, i would not be flushed away by the chapter of our repressed memories. you will never be free of the shadows you left behind. and the ghosts will forever haunt you.

humans will always find a way to end things and leave.
we always do.

and when i am gone, you will fully understand
the reason why storms are named after humans.

I read somewhere,
that as adults,
we try growing into
the traits that would've
rescued our parents.
And when my father moved out
I started moving.
The day my his signature
danced across a set
of divorce papers,
my body became boat.
These ankles retracted anchor.
I have been sailor ever since.

2. Mental illness runs
in my mother's family
so leaving was more like
a race for sanity.
There are days when
I wonder if schizophrenia
is what happened
when Liz stopped writing.
When a poet stops being a poet
I guess all of that empty
silence leaves room for
the walls to start speaking.
There are days when I wander
just to see if my feet
are as fast as they
used to be.
I used to leave what I love.

3. I love a lot
so I jog often.
Not for hobby,
but for healing.

4. Survival is a scary thing,
especially when it means
running from what's
already been sewn into
your family genes.

5. If your body ever
feels foreign,
remember home is
where the heart is
so it is no worthless carcass.
Call it Cathedral.
You. Holy congregation
of bones filled to the brim
with sin but blessed
from birth.
Your skin is nothing short
of sacred. Sanctuary.
Your muscles only grow
from being torn and rebuilt
so it makes sense
for your walls
to crumble sometimes.
Destruction is a form
of creation.
And of course,
you will want to dance
amongst that rubble.
Movement is a sign of life.
Let them see
you're still alive.

6. This life is magic
and you come from
a long line of magicians.
We people of Black suits
and bow ties threaded
from braided chains.
We, wands for wrists,
perfect for reaching
for potions and people
and dreams.
We, top hats for teeth,
perfect for abracadabra speaking
things into existence.
We, artists.
We, storytellers.
We, preachers and poets.
We who spit spells
disguised as poems.
Poems that work like
prayers born between pews.
We, walking sanctuaries
with pews for knees.
We who birth life. Love,
you are nothing short
of magic.

7. The day the spine
of my father's signature
tangoed along the rubble
of a broken marriage,
my mother's hips
kissed a beat like
Stevie Wonder
was just invented.
And my God,
is it lovely.
How she wears her lonely
in the sway of her shoulders.
See you come from
a long line of magicians
who don't need to be rescued.
You are not our final flare.
You are not our savior.
Love, you are my plagiarized draft
of a poem called God.

What is about some people
insisting I want to engage
with whatever they are watching
singing along to
listening to

Example:

recently, on a long haul train
travelling from A to Z
in the rudimentary rammy
to find the unreserved seats
enter the 20-something
alluring guitar laden
leather and tattoo clad female
tumbling onto the next table to me
unpacking as if she was moving in

munchable fruit laptop
gleaming white
in clear conflict with
the dreads and the beads
pumped in patchouli oil
drenched in love and peace
armed with a dvd
that would shortly crush the spirits
of every soul in Coach D:
the Quiet Coach

enter screaming chipmunks
hysteric children
and songs to sing along to
which she did with obsessive precision

insisting that Coach D
should in some way be
enlightened
entertained
entranced
and ultimately impressed

such was her overbearing desire
to love thyself above all things
give the peace sign when appropriate
and otherwise don't give 2 F's
for anyone else, regardless of situation.

consumer behaviours were erratic at best
if the Jedi senses
were anything to go by

if i'd had a handheld vibe particle device
I could have created a pathological combustion
and an accelerated Coach D A-Bomb

heads turned
feet shuffled
zips unzipped and re-zipped
open hands holding Kindles
immersed in philanthropic discourse
turned to clenching fists
the sound of bent drink cans
rusted cogs in motion
deep breathing

even level 1 Tetris
became too much
for the bald fellow to my left
who accepted failure
and opted to purchase
a large brown bag of beer
from the bar

GOOD CALL

libation and the pagan ideals;
imbibe thyself to dull the senses

I concur
and,
in exchange for our classic colonial restraint
on behalf of Coach D
I wish upon you the following:

1. You will never again
drink a decent coffee from any vendor anywhere in the world, ever.

2. Your laptop will
turn off during any movie you sing along to, silent or otherwise.

3. Your guitar
strings snap during a performance in front of people you don't know who paid to get in.

4. Your Tattoo artist
has an epic fail and tattoo's a defamatory remark rather then your lovers name.

5. Your leather trousers
shrink wrap and make the sound of bursting bubble wrap every time you move.

6. Your comfortable shoes
attract bits of grit like a magnet, regardless what you are wearing.

7. Your waft of perfume
is likened to compressed 7 year old blue cheese that has sat in the sun for weeks.

8. Your location
at any time has a global no shoot-and-miss policy for all birds without exception.
(even the ones that don't fly)

9. Your singing
is so electric that every time you sing in public your hair stands on end
and cutlery sticks to your nose.

10. Your beer is always warm.
11. Your wine corked.
12. Your water salty.

13. That this poem goes viral on the internet
expressing one man's words which mirror the every day person
working their socks off to make a living
and in the hectic hustle and bustle
one of the sanctuaries is Coach D
on the way home from the City
and the frustration and restraint
of anti-social conduct
and basic respect.

14. That I will be on David Letterman
or the Late Late Show
or USA tonight
or the BBC prime time news
or some such over-hyped
TV show talking about you.

15. That you will thank me for making you a celebrity by default -
15.1 and subsequently appear on late night Z-list celebrity game shows involving boxes of spiders.

You are the worst Muse ever
in the history of Muses

16. and this is how you will be remembered

i belong to the daybreak
when humans with sleepy eyes
and mousy morning hearts
are brave enough to face
the scarily mundane world once again.

i belong to nature
to the hidden wonders of the world
there's unknown modern hanging gardens of babylon
and the secret sanctuaries
where the teenagers of the megalopolis
go to rest.

i belong to the ocean
in the deepest trenches
no man has seen
where it is quiet and still
and darkness reigns supreme.

i belong to outer space
in the galaxies who are
strangers we'd like to know
there's dark matter that swirls
space dust coalesces
and stars are born to die all over again.

i belong to the rain
when the sky cries and
the typhoons turn to drizzle
the water runs through
empty houses and thrift stores in the gutters
and on and on, to underground,
to God knows where.

i belong to the night
to the time when the busiest people
submit to slumber
but a few who are not
bothered by lightyears
sit by their windowsills
to watch the stars.

*i belong to the world
and the world belongs to me.

it's true
the revolution will not be televised
but the fascist revival premiered
on all the major networks' corporate channels
in 1080p HD at prime-time hours

with perfect clarity
viewers could see
an oompa loompa
with an orange toupee
a xenophobe
spewing violence and vitriol
peddling snake oil while spitting venom
stirring a bubbling cauldron
spilling over in fear-mongering demagoguery
served like crack candy to the Republican elite
reveling in their privilege
cheering white supremacy

a tyrant
tirading behind a polished wooden podium
flanked by hues of red white blue and gilded gold
like some comic strip super-villain
but this obtuse excuse for human refuse
is not some Saturday morning cartoon
defeated by the heroes after 30 minutes
of selfless feats and epic deeds
a death dirge plays on repeat in the background

you can't always get what you want

meanwhile
we're holding silent vigils back home
carving the sigil of Orlando's skyline into our skin
while a snake slithers into a City Beautiful
bedecked in her $3k pressed pant-suit
leering wolfishly at a local club for LGBTQ+ youth
the downtown heartbeat
of outcasts and misfits
a Pulse
that bigotry and self-hatred couldn't *****

but tragedies are converted to cheap currencies
in the clawed hands of dynastic oligarchs
sporting the support of billionaires and super-PACs
she knows the Establishment has got her back
she'll shed crocodile tears
just in time for the photo-ops

violence begets violence begets violence
humanity's universal language
a tongue shared by despots and presidents
in the wake of stolen sanctuaries
she'll justify razing Syrian children
beneath a barrage of hellfire missiles
and predator drones targeting cell-phone signals
under the pretense of bringing the terrorists
to some sycophantic mirage of justice

we're manufacturing new soldiers
for the Caliphate to brainwash with promises
of dead gods and seventy-two virgins
machine-fed by automatic weapons
to the toothy jaws
that bottomless maw
of endless ******* war
which always vaunts
profit over people

the conceptual construct of gender binarism
becomes an imperceptible selling point
in the incomprehensible and reprehensible rhetoric
issuing from either side of the political aisle
but what will it matter
either way
an egoistic megalomaniac
has his or her finger poised over the trigger
a neoliberal warmonger and hypocritical fraud
or a reality TV star who lauds the KKK on Twitter

our only hope is found in the streets
unchained by compassion's transformative capacity
freed to utilize our minds
humanity's indomitable faculty
nurturing a community that seizes life
in anthems of liberty equality and solidarity
anarchic manifestoes penned in lines
of red and black ink

progressives will insist otherwise
they'll declare emphatically that our only choice
lies in selecting the lesser of two evils
to lead us to the brink of oblivion
but Orwell wrote the future of humanity
looked like a boot crushing our heads
that either way we'd all be dead
and the harsh reality is that the soot-stained sole
curb-stomping this country
fits both the left and right foot

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

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

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

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

Maryam
turned,
moving
away
from the
caravans of
bulldozers
entering
Homs.

She
could
not bear
to look
upon the
the teeth
of steel
tracks
sloshing
through
puddles
of blood,
plowing
the rubble,
burying the
mush,
coolly
covering the
fingerprints of
criminals.

Maryam
beheld the
conquering
soldiers
standing
atop piles
of shrapnel
marked and
launched by
Syria’s finest
artillery officers.

She
remained
within ear shot
to hear the
victor’s
orator,
recite the
history of
the conquest,
carefully
spinning
suspicion,
and casting
blame
for the
devastation
onto the
vanquished.

The speaker
lauded the
efforts of
esteemed
comrades
commanding
black regiments
chasing the
last rats still
lapping at
the edges
of the red
pools;
hieing to
the dead
catacombs
as sanctuaries
of salvation.

The barker
goads other gangs
to commence a
surgical search
of hospitals to
root out wounded
insurgents. He
suggests they be
removed from
their recovery
beds and thrown
atop the piles of refuse
where the busy tractors
will push the rubble
into the far corners
of the mind where
obfuscation and
forgetfulness
blissfully anoints
unsettled memory.

Alarmed,
Maryam breaks
for the hospital,
to nurse the
injured.

She moves with
tealth through
the broken city’s
debris strewn streets.

Maryam eyes the
inert concrete,
blasted into
ghastly shapes,
burying secrets,
concealing terrible
stories of what
transpired
during the
pacification of
Baba Amr.

These
grotesque
gargoyles,
sculpted by the
mangled hand
of a deranged
sociopath
will hold their
silence for
only so long.

Dark secrets
never live
forever.

The distended heaps
of jangled rebar
pokes through
broken chunks
of concrete
like rib cages
picked clean by
the jackals
of war.

The pulverized
concrete forms
telling Mandalas
giving voice to
the stained
stones crying
the secrets of
terrible truths that
unmarked graves
never keep
silent.

Maryam
is desperate
to find the
lost children.

She knows
the ungodly
conquerors
eagerly
hunt them.

The subjugators
are drunk from the
draughts of blood
they profanely quaff.

They thirst
for more and
have set
their sight on
the children.

The crucifiers
kiss the sword
to cleanse
the insurgent
city of its
youngest
citizens.

Bashar has
condemned
a generation
to death.

He desires
to purge Syria
of a heinous
memory stored in
the ripening minds
of Homs’ children.

They stand in  
witness to
the ******
of their
childhood.

Righteous
indignation
breeds a
long  memory
nursed by the
vanquished as
a cherished gift;
bestowed to
successive
generations
like a valuable
family heirloom;
but
resentment
makes for
a monstrous
coat of arms
vanquishers
bequeath to
the defeated.

Maryam
crosses over
the scattered
stones
incapable
of bleeding
one more
drop of blood.

She hears
the howling
spirits calling
from the broken
ruins.

She glimpses
the dark silhouettes
of fleeting apparitions
moving through
the upper floors
of flame stained
buildings.

The ghostly
shadows of
lost children
wander, seeking
the rest of an
expired future
sired by their
state sanctioned
execution.

Maryam
grows anxious
as she
approaches
the hospital.

She arranges
her silk scarf.
She examines
her calloused
hands. The lines
of her palms
are soiled,
cakes of dirt
have settled
under her
fingernails;
yet sufficient
strength remains
in her arms
to roll away
the large stones
entombing
revelations
of love and
miracles of
deliverance.

The pock
marked
hospital now
in sight,
Maryam
enters the gate
of a ancient
graveyard;
clambering
over burial
mounds
of her dead
ancestors.

She remembered
a placard hanging
in the hospital’s
waiting room.

“Art is long; life is short;
opportunity is fleeting;
judgment is difficult;
experience is deceitful.”
Hippocrates.

As Maryam
neared the
graveyard exit
she was
overtaken by
Syrian soldiers
brandishing AK’s.

One stuck a
dusty barrel
into Maryam’s
face while
the other tapped
the back of her
head from behind.

A weeping
Maryam
knelt before
her captors.

She
washed
the dust
from their
boots with
flowing tears
and wiped
them clean
with her hair;
praying for
the power
of love
to once
again
overcome
the stalk
of death.

Prostrate
and prone
Maryam
waited to
accept the
shaft of
recrimination
through her
bleating gums.

If recollection is long
in the living,
memory is eternal
in the dead generations.

The only known cure
for the disease of acrimony
is the strong balm of love.

Maryam would
never again nurse
the wounded
children of
Homs.

Music Selection:
Chanticleer & Yvette Flunder
There is a Balm in Gilead

Oakland
3/12/12
jbm

The Gods are money sound these days.
and priests have marketing degrees -
The faithful, called to worship
by giant plasma screens,
in mega-shopping sanctuaries
selling salvation through merchandising.

At the Church of Holy Consumption
all denominations are welcome –
hundreds, twenties, tens.
All the hymns are sung by Muzak -
the readings daily specials.

A sister spritzes us with holy essence
(The bottle's 40 bucks an ounce).          
Leave your offerings at the till -
major credit cards accepted.

When worship time is up,
sign the dollar across your chest
and bend a knee to the talking head
cooing soothing benedictions,

“Go in Peace, my child. You’re worth it.”

*January,  2007

The Internet, for a good helping
of the American demographic,
is the highest-rated of sanctuaries.

I use "sanctuary"
in a filthy and blatantly pornographic manner,

for every time
we post on our nicotine-scented Facebooks
that we're "so ******* bored" we "could die,"
there's at least one other
hand snaking you along
those fetishes you stash beneath your sleeve
like black silk underwear;

and no matter what you do,
nothing will explain away
those two consecutive Youtube videos:
"Black muscle man in blue thong"
followed spontaneously by
"12 year old boy sings Judy Garland!",
each, to the innocent bystander,
juxtaposed like two opposing ******
in one ****** up candy shop.

The grotesque meat show,
always the same introduction,
always right on time with the
churn churn churning of his
loneliness his rage his silence
onto those sheets
with no regard for the family
and friends of fibers.

It used to be hilarious,
perfect lunch table standup,
but once you learn
that with ***, there might be
signs of love in the decipherable thrusting,
that a plot is swimming helplessly
in the oceanic camouflage of loveless living,
sticky hands can really start to sting.

Honor the sea
for the sailor in your blood.
For the lack of anchor
in my ankles.
I've been drifting sailor
since divorce papers
taught me how to choke
the eternity out of a vow.
I am great at leaving
what I love.

2. Mental illness runs
in my mother's family
so leaving was more
like a race for sanity.
A relay to forget.
I am afraid that Liz
has schizophrenia
because she stopped writing. 
I am afraid that I too
may get caught between
a rock and a hard place
called depression.
When a poet stops
being a poet,
all that silence must leave
room for the walls
to start speaking in tongues.
Love yourself out loud
because when homeless
holy ghosts can't live
in your poems,
they post themselves
in your dreams.

3. On the days
when your body feels
more alley than altar,
and you can't manage
to believe in any God
who could think
you are worth dying for,
go back to bed.
Scatter your sacred congregation
of bones beneath blankets.
Don't come out
til you feel whole again.

4. Love yourself to pieces.
Your muscles only grow
from being torn and rebuilt.
Destruction is a form
of creation.
It is okay to be shattered skin
And flooded eyelids.
It is okay to dance
in the middle of your ruins.
Movement is a sign of life.
Show the world you're
still alive.

5. Love this magic
called life, because you
are the child of magicians. 
We, people of Black suits
and bow ties
of braided chains.
We, wands for wrists,
perfect for reaching
for potions and people
and dreams.
We, top hats for teeth,
perfect for abracadabra speaking
things into existence. 
We, artists. 
We, storytellers. 
We, preachers and poets.
We who spit spells disguised
as spoken word.
Poems that work like prayers
birthed between pews.
We, walking sanctuaries
who birth life. Love, 
you are nothing short
of magic.

6. When my father moved out,
my mother stopped moving.
Became a southern shipwreck
of scriptures and beached
her hands across the crests
of my cheeks.
Looked at me to be
lighthouse during storm.
I read that as adults,
we try growing into the traits
that would've rescued our parents
but I'm hoping you never
feel the need to save me.

7. These days,
my mother's hips
don't miss a chance
to kiss a beat
like Stevie Wonder
was just invented.
And isn't it lovely?
How she finally
learned to wear
her lonely in the sway
of her shoulders to keep
the shame of an empty
ring finger from spilling
over her children.
Love, you come from a long
line of magicians who've
nearly died trying to pull off
a miracle like you,
but I don't need your rescue.
You are not anyone's SOS.
You are the result
of prayers wrapped in
the silk of southern accents.
My plagiarized draft of a poem
called God.
You are the only
graven image our creator
has ever commissioned.
Treat yourself as such.

today we celebrated pain

crowds gathered in the close hole they'd made,
and, too, in fields where once were harvested
anonymous body parts and broken luggage straps  
and, why do they still need to remember that ...

sad birthday

he stares ahead, piercing the lens with blue eyes,
apparent youth belying ancients inside
uncertain how to smile yet,
the tie uneven around his starched oxford collar
there will be cake later, one supposes,
laughter of other children gathered 'round the table

the pretty brown girl in a pink dress
accepted presents from those who'd gathered -
maybe her mother set her hair in those loose braids-
her brown eyes brushed him, lips smiled
and newspapers said it was wrong
because it made too much fire, burned whole cities to the ground
he never saw her again

until

bobbing hens got lost in a wailing Hammond;
they'd missed The End
it was spring again then, like in Eden,
when, unashamed and perfect, her ******* danced with music
and a yellow rose was
pressed between their unused notebooks to mark the occasion
Mother was mad, and derided the prospect of pickaninny babies
taking seats at her fine linen-draped table
until everyone forgot once ... again

Now

the New Yorker has finally canceled itself,
ever a meager meal, its offerings of pinto beans and metaphors
quickly swallowed in secret
in hopes that divine inspiration might ensue
as he picked ripened tomatoes and peaches, each in their seasons,
and ate of them lustily, too

and suddenly it's spring ...  again
but eyes weak and weepy,
his life lost in stone-walled sanctuaries that protected
imaginary pickaninnies and half-breeds
today accustomed to titles of "mister" or "ma'am"
because it's America, and at her own End,
Mother fell in love with so many other brown-skinned girls
it didn't matter anymore

Clayton leans on his push broom,
always remembers to smile
as he requests the odd bit of change
"if you can..."

the boy can't remember his own name anymore
nor her's
rubs broken dust with his black leather shoes,
wonders where they've been -
because bold hues loudly pronounced the arrival of spring again,
which revives nagging pain from the picture he'd saved
and not yet time for tomatoes or peaches
nor the pretty, brown eyed-girl, her pink dress and braids

which had always come and gone without celebrations

I took Billy Collins to lunch with me today.
He kept me company, Horoscopes of the Dead
and new versions of Dante’s hellish sandwich.
My pasta was dry, but I ate it
between stanzas and between pages.
You walked in, backpack and all, at the top
of the stairs. I choked on some graded cheese,
because of the way you looked in your khakis.
I hate the taste of cucumbers but I would have

kissed you anyway. Even though,
I sometimes laugh a little too loud in the mornings
you still make sanctuaries out of my sheets,
covering us in a layer of polka dots,
craving each other’s skin, listening
the lullaby the ruffles of the duvet make.

And even though I sometimes know
that wanting you has its clumsy consequences,
I still lose my breath when you walk up
to the lunch line, or when you grab my face
with both hands, or when you say my name
backwards between sighs. Maybe Billy understands,

and maybe I can just stay a poet. Maybe,
you would look good on me. I’d love
to try you on. But I lost my breath
when you walked in this afternoon.

In damp
cellars of
Baba Amr,
women and
children
huddle,
waiting
for the
Arab Spring
to arrive.

They are
arrested
emigrants
on the road
to freedom,
now hostages
to tyranny
seeking asylum
from a season
of discontent
lashing another
poor generation
cowering
deep within
the bowels of
a crumbling
city.

The hajis share
the solace of
desperation,
pressing
this wretched
commune to haunt
dark catacombs
where collective
hope takes refuge
only to discover their
dream of freedom
lying in state
waiting for
a struck match
to consume
the decrepit
effigy in a
final funeral pyre.

The chill of winter
moves through
these poor
pilgrims like a
messenger
of death.

An indifferent
world has allowed
the scrapes of
the besieged
to fester;
growing
into mortal
wounds.

The grim reaper
chuckles from
a dark corner
in these
underground
rooms.

He deeply
inhales the
exhilarating
stench of death
creeping in from
the street,
musing about its
complementary
qualities to
the soiled rags
robing colic
infants.

Allah’s beloved
are famished
from the feast
of acrimony
playing out
on the streets
above them.

The hunger
for peace
dances on
their tongues
like the taste
of a mocking
Hors d'oeuvre
for a starving man.

The wages
of dissent,
protests, the
armed resistance
of revolutionaries
have led them
to the shelter
of this profane
place.

Outside this
god forsaken
bivouac, the
sounds of
cold blades
threshing
insurgents
have entered
the city,
moving with the
facility of a
frigid wind.

The terrible
sword of
a Baathist’s
revenge
eagerly slits
the voices
of dissent;
silencing
the last
songs
of an
Arab Spring,
once joyfully
risen from
the streets
in a chorus of
militant
insistence,
replaced
by mournful
dirges of
horrific
lament.

The
realization
that the
promise of
an Arab Spring
will never arrive
for some
strikes
winter in
the heart
of all.

Have our songs
of liberation
been nothing more
then the baying
of a starving
dog begging
for meat
from a
terrible
master?

The dialog
of gun battles
on the street
above have
abated.

The soliloquy
of grenade
launchers
have been
silenced.

Partisans
defending the
city have left the
streets.

The taste of
recrimination
will be the
prize for
those still
remaining.

The sound
of insurgents
fleeing
boots
gives way
to the pinch
of hissing
bayonets
deflating
the lungs
of prostrate
children
kissing the
dust of
the streets
that will
entomb them.

Abandoned
fighters
too wounded
to retreat
face skyward
to glimpse a
last mortal
vision of
heaven
from their
beloved
city;
gargling
final
prayers
from the
bubbling
blood
of their slit
throats.

It is time
for the
hoveled
pilgrims
to leave
the dank
basements
of Homs.

Care
must be
taken as
we
travel
the midnight
roads,
avoiding
checkpoints;
ducking into
dark doorways
to evade being
caught in the
headlights
of passing cars.

We must
remain
invisible.

We must
be one with
the black
midnight
that swaddles
us in darkness.

We will
follow
the trail
well marked
with the tears
of Hama’s
survivors.

We hear
the whispers
of unresolved
vendettas
leading
to unrequited
sanctuaries
of revenge.

The last
to exit Homs
will follow our
trail of tears as
we trudge
toward Mecca
in search of our
Arab Spring.

We pray
that Allah
will rendezvous
with his tired
wanderers
there.

Music Selection:

Bob Marley, Exodus

Oakland
3/6/12
jbm

Everywhere I go,
there are too many pillows,
and I’m not complaining I’m just saying,
it’s like I’m living inside some sort of reality show,

so far gone out of our minds into these experiences we go,

in the pursuit of happiness,
we catch the wave go with the flow and away we go,

so,
certain of nothing,
living,
the dream one nightmare at a time,

writing,
these words,
right after she’s left me,
like everything we experienced was just a dream,

or so it seems,

met amongst the sweat and steam,
of some thermal baths,
on the Buda side,
of Budapest,

bubbles whipped into a froth,
wandering but not lost,
feeling like a God,
gone but not forgot,

at this sacred sanctuary,
on the Buda side of Budapest,
I’m a runaway still on the run,
so sanctuaries like this are where I do rest,

in the pursuit of happiness,

some call it a challenge I call it a quest,

life is a lesson it is not a test,

losers say no while winners say yes,

Yes,

on the Buda side,
of Budapest,
this was the setting,
in which we met,

she was with her friend,
a lesbian from ******,
that’s an island in Greece,
for those that don’t know,

she happened to be a poet too,
so naturally we vibed well,
because when two or more poets get together,
it feels like we’re part of the artist cartel,

we got those emotions if you need them,
come on over and get your fix,
just a little motivation,
a rest stop a re-up on the road to happiness,

in the pursuit of happiness,

we have plenty of experiences,
we roll dice and take chances,
life itself is a gamble we all lose,
because nobody gets out of here alive,

I invited,
her and her friend to dinner,
they accepted so we met up,
a few hours later,

the plan was to go out to one of the ruins bars,
get some beers or whatever,
instead we ended up climbing a bridge,
and watching the lights of the city in all their grandeur,

fast forward,
we’re back at my place,
making love on a bed,
Baraka streaming from the projector screen,
onto the white wall between the floor and high ceiling,
melting reeling shaking grasping releasing,
feeling like two entire universes for the first time meeting,
she was coming I was going letting go at the same time holding,
it’s funny how sometimes a good grip can feel so freeing,
flying high lying down she’s riding me she’s coming now,
she’s Greek a Goddess call her Athena I mean this wow,
I’m surfing Her wave like Poseidon a titan live at the Apollo,
an all mighty Aphrodite laying down but not sleeping no Hypnos,

so high so fly,
feels like there’s wings coming outta my head,
she’s still on top of me so I turn her over on the bed,
to find a tattoo on her neck and here is what it read,

“Pursuit of Happiness”,

in words written in cursive,
this is beyond ironic,
this is cosmic this is honest,
this is a comet crashing into earth this is God meets Goddess,

on this,
earth,
we made love,
like some things still matter,

like,
something,
still,
mattered,

in this,
bed,
we made love,
like no things still matter,

like,
nothing,
still,
mattered,

as Baraka,
continued to play,
onto the tall white wall,
from the projector from which it projected,

and in that instant,
something mattered and nothing mattered,
everything mattered mad as a hatter,
free as a God in Greece in a moment perfectly captured,

as she lays here,
in this moment out of time,
an alchemist creating bliss from the pain,
painting the perfect picture,

this is more than a poem this is living scripture,

we are creating emotional paintings,
we are Gods and wherever we our is our Mt. Olympus,
as we travel on and write down our experiences,
so others can live through our words in a way that’s vicarious,

we carry this,
torch and stay on the course in the pursuit of happiness.

And everywhere we go,
there are too many pillows,
and I’m not complaining I’m just saying,
it’s like I’m living inside some sort of reality show,

so far gone out of our minds into these experiences we go,

in the pursuit of happiness,
we catch the wave go with the flow and away we go…

∆ Aaron LA Lux ∆

09/09/16

we are not invincible, kissing in this attic,
inhaling bones like wolves' heads
or dimes.

i leave you to use the bathroom,
trip over a metal bucket --
i can slit open my knee so easily,
without trying,
as though it were a church.

i have never broken into a church.
i have never prayed in a church.
i have never been in a church:  
i have never been a teenager,
although i have kissed you,
quickly & clumsily,
with my tongue & with my teeth.

i have dreams
about you drowning in the lake
the way those boys did
last year. your face is etched
like a quarter. i would build
a dress for you, if i could.
when my tongue is in your mouth
someone else's voice is my head.

It was a Wednesday
The September weather impersonated summertime shine
But my eyes were barbed wire to the shimmer
Twisted and tied shut to the summer
Refusing to adjust to the glow
I entered that classroom alone
An intruder
I thought we were all intruders there
Social Work 1140- Minority Perspectives
Peacefully confined to the classroom blackboard
Caged up reality for protected heads to understand
We all sat situated in straight lines
Staring at chalk too bright to comprehend
Silent minds creating the kind of noiselessness only known to tiptoe
We all tiptoed there
Wiggled into tiny seats small enough for suffering
Yet large enough for complacency
The pseudo-summer heat peaking through the curtains
Draped over certain advantages we dare not speak
We all closed our eyes in unison
Wondered when the suffering began
Wondered when the wondering would end
Avoiding chalkboard glares and awkward eye contact
But the chalkboard glares started staring contests
And the eye contact was too awkward to ignore now
I was a sophomore
I wore freight train headlights
I was a trojan warhorse in broad daylight
I was an intruder there

My professor excused our intruderness upon her entrance
Transforming foolishness to fuel the mood
She must be an intruder too
It was noon
And this room of undercover drummers
Marching to different tunes was nothing new for her
She saw the truth in us
Stared the vulnerability away
Spread sunlight sanctuaries through our brains
Our eyes no longer wandering through oblivion
Wondering when the wondering would end
It all began when she said
I think it's time we all open our eyes
We looked confused
Eyes expanding to bite size balloons
Placing helium time bombs at the foot of her news
I stared at the fuse
And she stared at our staring daring us to make the next move
But we refused
Cause it was barely noon
And that's too soon for collective movements
No time for any inch of improvement
We all refused to move
Thankfully she resumed
I want you to look around this room
And understand one thing
Your story is the only proof you bring here
The only sword you swing here
And this is no home for fresh bruises
We are all safe in this room

I sat there in silence
I've always been an overabundance of riches
A treasure chest filled to the brim
But in this moment my gold is good for nothing
My sword is null and void
Skull and crossbones to understanding
My Excalibur belongs permanently stuck in stone
I never opened my eyes that way before
Only saw what I assumed was true
My once royal empire collapsed around my desk
Tears dropped like fallen gemstones crashing the class discussion
I sat there in silence
I sat there alone
Refused to tell my story
Refused to feel so low
It's a tough pill to swallow
Acknowledging you have lived with privilege your entire life
So I sit here in silence
Choking on my silver spoon
Looking for the way to say
I don't want to be an intruder anymore

Wonthelimar, in the last transmigration that he planned from Nyons in the cavern on the eastern side of the Rhone, surrounded himself with mountains that dwarfed them with promiscuous caves of the Eygues. From these buckets as a margin of power and go referring to the nocturnal wind of the Pontias; created his fundamental tool of attraction of the Mementos de Cartography of the Seleucids, decomplexing the logistical notions of the Diadocos after having resuscitated and liberating Alexander the Great from a Cartesian Underworld in the manner of apocryphal late Aristotelianism, mechanizing existential dualisms of Hades with formulas and psychotropic and geometric tricks, licensing them theologies of habeas corpus, coexisting in the first instance with Etréstles de Kalavrita who would establish the term of definitive transmigration of Alexander the Great, so that between the Diadocos and Wonthelimar they would contend the final and disciplinary action to revoke the high arrest, transhuming the sovereign as Macedonian next to the Hexagonal Birthright finally very close to Saint John the Apostle and Vernarth in the vicinity of the Megaron Spilaion Apokalypseos.

The generals of Alexander the Great shared his legitimate Ark without royal titles, they were Perdiccas, Antipater, Craterus, Eumenes de Cardia, and others like the satraps who came to be proclaimed as kings; Antigonus, Ptolemy, and Seleucus. Residing the most substantial in this parapsychological saga in Vernarth; his brother Etrestles de Kalavrita who seconded and predestined his monolithic and constituent sovereignty of Polis, for the purpose of ruling and raising his Kopis and Xifos in the independence of aldehyde and alcoholic carbonyl residues emanated from the ferment of the Backhoi and Nepente, depositing LSD in substantial amounts. to align himself with Seleucus, and materially present himself in the sphere of Patmos as two representatives of both empires, one ancient Christian and the other Panhellenic, placing himself in that totalitarianism of Seleucus over that of Alexander the Great who was splendid in the cosmogony of a king similar to David of Judea, solvent and illustrious in the conception of Apological dynasty and identity, of Zeusian roots and of eternal numeral politics. In the quantitative of the champion of Alexander the Great revived on Patmos, the Mashiach of Gethsemane will continue to be deified with such a signature of both in ****** skies in two absolutist emperors and of dogmatic differential Pythagorean, propagandizing both dynasties with domains in regencies and different latitudes of the conceptual decision. Base, to refute proposals to follow them in part of anti-Alexandrian perplexities or opposed to marginalizing himself from following them after they abandoned him in Babylon. This was sensed in the confrontation between both forces of univocal polarization, for the good of one and the bad of the other of having to distract them from the proposal to enlist and harass dethroned kings on purpose from their deaths and revive them in others than in their own court of observers and bosses, they will only exist in the empty temples and idols without dates to know to avoid and in prevailing dates that will not happen.

Seleucus says: “Khaire my Commander…, unite the divine sanctuaries of Apollo, and take up the harangue of Tel Gomel with us disunited and lost by you. This dating will remain in the offices of reforming Macedonian armies and we will both command our generals in the Panhellenic dynasty, overall the heavenly armies that you will ever have here with fragile oracles confusing your divine blood! "

Wonthelimar, already manifesting from Nyons, lightened his Bucephalus bases, having a great somatic affinity with the bridles of Alexander the Great's steed, unraveling here a great mystery in his parapsychological regression directed from the cavern of Chauvet.

Wonthelimar says: “I have been confined with early Neolithic alloys, here I have dwelt livid among all your intrepid adventures channeling the axons and sketches of manifestations of superior cause and effect of correspondence of the ages and their Aeon and paleo-uncrossing precessions of you and your new death, from the Ardeche river together with Medea and Hypnos, among all of them being aerial, visionaries and northern lights who traveled to my redoubt to spray them in river waters, on the night of Agios San Ioannis. The gorges that swallow the seal of the Pontias, make rivers form with their name since the bulk of their waves of gusts are grandiloquent and robust like a gaseous river that becomes hydrological in larynxes where the wind is astonished when entering the concavity that it is wasted in its nature of time and qualitative content. Unusually I have been the progeny of organisms of rapture and cytological drama, in each one that is represented in these walls in which they are trapped next to me as tricks, and radiocarbon tricks by these vicissitudes, and of their actions that have dated my radiation of radioactive carbon in these caverns and so-called fourteen carbon spaces, for more than fifty million radiometric years. I lived here with my parents until as a child I stayed with my godmother, but one day my father did not return. From that moment on I became after the anticipated axial carbon, to keep myself as a torch in the caverns to see where no one was light but me, only of someone who was more than a dawn to illuminate what they wanted to know in my organic depressions, my trident of dating and carbon, by my parents and I in incisive philanthropy staining all the walls detesting the otherness that made me move towards a Wonthelimar; with dated apparitions and curtains that behind them always like gargoyles appeared before Hypnos, and then Medea, taking me as a child with her hands. When they left, I was left alone and patiently waited for them, when they did not return in the harsh winters they would send me Gerakis Falcons, to deal with your pain my lord Vernarth. In this field, I live, but now I am on my way to grasp the horns of the ibex, which took me to their lair with their goat colonies to give me milk and ursid ***** herbs that shielded me from a lethal genre, although not every day. Remain so. The lord that you will be now is the reflection of the bodyguard along with his ibex that will cordon off your rebirth after leaving the traces and rods of your bone marrow, spleen, and glandular that now belongs to me, to take you to the coldest waters that run inside me since the last ice age. The interference of the Diádocos tried to convince Alexander the Great, this is already a new rock piece to represent him in numismatics, walls, and ceramics in a predominant and complacent way of historical, shamanic record and of astonishing parapsychological fold that I have projected on the walls of Chauvet without your consent "

The new turn from Nyons to Patmos was one of the seizures and ecstatic agonies, for a former little prodigy boy and son of an Íbez and a Bucephalus named Wonthelmar, who comes to rescue the entelechies of someone who was an ignorant man who carried in his arms his divine death, without knowing that before she was eternal life waiting for her in the Katapausis, after building the Megaron and negotiating with Seleucus the evolutionary stylistics of the resurrected Alexander the Great in the flames of the candle enlisted in the night lanterns and united with Saint John the Theologian. Seleucus' talks will be one of the stubborn and ****** visits to persuade and catechize his major general, in periods that do not elapse in real-time, and that will be the fatal fate of his obstinacies because Vernarth was already a prodigal son of the Duoverso-Universe., whose basal was unparalleled in attacking their ideals and hegemonic settlements of the material of minimal cause and effect, a wonder of worthy to lean on invisible gods who at a great speed never seen before..., trafficked in front of every gap or shoulder of their destiny, wandering under a pendulum of a sword and under the support of the farmer, who held prey and meat between a lightning bolt and an elder that supports him, cushioning all earthly sufferings, even more coming out from the silence and the most hidden isolation of those who dare to release from the vaporous darkness of Chauvet, Wonthelimar, already forging paths and ups and downs from where no one comes or goes.

The kingdom stretches out as far as the eye can see,
Riddled with the regret of long distance,
Ruined sanctuaries and remnants of a civilization that valued the bonds between both of us.
I made a promise to the queen,
That all of us would make a sacrifice,
And yet as things progressed faster,
We must confess that we professed too much about wanting and not enough about vices.
If I could give you the world you want,
Would you still steal the moon for light or would moonlight steal the sight of the world you sought?
Some day I'll know,
Someday, you'll be right and I'll reap what I sow,
Past present,
You were at once my present and now you've declared you no longer want my presence.
To whom it may concern,
To have everything, is a disease,
A lesson I must learn.
A casual reminder that what people must live on can easily be replaced,
That I could be easily replaced and I am no longer a remnant of the kingdom,
Yet to some, I am revered as the prince.
I tried my hardest to make this worth it,
To make this journey fit to the grip of the wheel of this ship.
Will you keep this afloat?

The thought of you once brought me peace,
Now the nightmares...they will not cease.

I am merely a poet

a writer

an igniter of fire

the designer of a prior desire to admire the harmonious choir

but quick to tire of contriving liars

as the potential buyers hold strangulation wires

about to lay me in a pile of blood soaked fliers until my life expires

and all this illusionary harmony is alarming me

stalling me in its comedy

they think they're disarming me with talks of peace and prosperity

as i hilariously smash their conspiracy theories

as i am seriously furious when i deliriously remove the sanctity from your sanctuaries

sketching lucid rhymes in obituaries as corrupted school kids watch me curiously

i see your timid hands when you approach me nervously

as i hiss cyphers murderously

while you atrociously fumble satisfactory rhymes

i miraculously summon these mumbling mimes

ducking before the holy and unholy shrines

no god but father time

laying low tumbling dimes

still ducking swine from misdemeanor crimes

making local news and the seattle times

as they run and hide with their nines

im packing verbal calibers of all kinds and splitting minds with my lines

enshrined