A pocket of thought, ideas.
Impulses, has beens

epi-phenom-enal-con-currencies-synchron-icity
sorting places, thens and nows vying for attention

you see
we till stories in search of true tomorrows
not true
yesterdays (till, I said, not tell)
we **** the hard rows no one else will ***
so seed lies sown are never lies told, if the lies are never taught
or if the liars are caught before convincing the
intended crop to lie and swear a common liege Lord,
or die
for lack of knowing. Non-nascence, simplest
symptom to not see.
Whose death is yours to respond responsibly
to? My child's, or yourn?
In the early days, we knew less than we know now
about how knowing and growing were all
intended
to cost time. Ticks, ono motto whatever, the sound
gears and spiral springs pushing cogs
tick, one tooth tick at atime make

this rough, un polished, un glossed, is it wrong or

as I imagine a diamond in the rough must seem to a share cropper
experienced in diamond hunting, diamond prospecting,

prospecting expecting inspection to permit
seeing a 3.52 specific gravity,
specific
specify

species or spectacles,
spectators or special-if-eye-cation
value-en-abled. Weigh your mind in balance
with mine. I claim the mind of Christ.
What are the odds?

A wandering path, injoyable enable if-i-abble,
pacing is

everything, timing is everything, time is the test.

Time is the metagame.
Take your time. One word formed sylabble at a time.
Babble on, your confusion makes you mortal, to my mind.
Tick.
A quanta of time. Does time come in bits and pieces cernible,
but undiscernible from reality?

Babble.

Of course, time will tell. We learned that in our sleep, did we not?

Aesop taught us more than Moses, no,
Aesop taught us less than Moses.

But, we could learn to walk bearing the weight of knowing what
Aesop taught,
while we could not stand under the weight
Moses was said
to have taught.

Caught you, Jewboy. Whatchewknow?
The moral of the story.

THE IDEA is to win.
Beware the concision decision.
incisive devices, witty inventions.

Flip the shell, roll the bones, cast the runes and,
as luck might have it, die before your time.

Why factors are lies more oft than how factors.
Benefactors rule malefactors or
how or why would we invest our time in seeking reasons
to believe?

Is this the polished piece, the gemstone of specific gravity
(which currently means nothing to you. Here, you find too light
or too heavy, too weighty on the scale of specific value.)

Hard. Value hard, diamond hard, on Mr. Moore's scaled model of
Knowing exploding for reason's sake, raison d'etre, eh?
Too hard?
Not Mohs,
don't get me wrong.
We been Moore's law breaker all along.
We be manifested destinatory stories of heroes gone wrong.

Outlawed
knowing exploding to be reasoned with, by kind
children destined to become
written in stone, scarred by lies

Diamonds cutting diamonds, iron whetting iron
on eternity's edge.

Babylon, was it Bel's gate or fusion from below rising?

Magma fountains with diamond claws tearing the lands asunder
Is asunder still a word?, let me, allow me to define...
"into a position apart, separate,
into separate parts,"
mid-12c., contraction of Old English on sundran 
Middle English used to know asunder for
"distinguish, tell apart."
From <https://www.etymonline.com/word/asunder>
----

mumbler's humbler PIE, bowing before the knowers who
know nothing of my work.
Set apart, art thou holy aware?

Hermit me, meet the rest of me. The true rest that remained.
We live, you and I. Trust me, next is worth the wait.

Suffer needs no pain to make its point. Waiting is.

Grokk. WHO would believe that idea could live
through telegraphese to be tweet meets for the
Cosplay clans. How never grokked a rock,  why even less.

Strange, not be long in this
place. if
place this be. Odd
set aside
torn asunder
blown away.
Awake, little birdie, tell me true,
what's a man like me to do?

Did you meet the famous Mr. Blake?
I cleaned his chimney, way back when, chimbly's whut
we called em. Smoke stacks belchin' black
makin' black moths invisible to voracious
gulls.
Now the peppered moths are free
to be white-ish, for better or worse.

----

right, now, do right or

miss the mark,
the specific mark you made, maybe,
imagining, abstract obstructions missed
by the skin on Job's teeth as you run past

right now to more. You know?

----=

Story telling was the same as lying when I was a child, to me.

Telling stories was my gift I never took. Or am I lying? or mad,
in the old way.
Chailot's rag picker was my best friend.

No noble thought ever found it's home in my head, once
I thunk it, it stunk to high heaven, for me stinkin' thinkin' it.

Po' ems sang sour to fiddles wit' one strang and drums with no
cymbals
Screamin' he owed m' soul the comp'ny sto' bang bang thud.

I died, he lied, and lived to tell this story, ****** if I know,
****** if I don't.

True as true can be. I am lost, but once was found,
lyin' rough, uncut in acres of unseen gems.
----
* Voltaire refused to teach me any thing I could not define:
late 14c., deffinen, diffinen, "to specify; to fix or establish authoritatively;" of words, phrases, etc., "state the signification of, explain what is meant by, describe in detail," from Old French defenir, definir "to finish, conclude, come to an end; bring to an end; define, determine with precision," and directly from Medieval Latin diffinire, definire, from Latin definire "to limit, determine, explain," from de "completely" (see de-) + finire "to bound, limit," from finis "boundary, end" (see finish (v.)). From c. 1400 as "determine, declare, or mark the limit of." Related: Defined; defining.

So, imagine facets unseen, I am at least a meme, a bubble rising on the tide. Think, as you will. Amen?

Here is a primer on the history of poetry

Features of Modernism

To varying extents, writing of the Modernist period exhibits these features:

1. experimentation

belief that previous writing was stereotyped and inadequate
ceaseless technical innovation, sometimes for its own sake
originality: deviation from the norm, or from usual reader expectations
ruthless rejection of the past, even iconoclasm

2. anti-realism

sacralisation of art, which must represent itself, not something beyond preference for allusion (often private) rather than description
world seen through the artist's inner feelings and mental states
themes and vantage points chosen to question the conventional view
use of myth and unconscious forces rather than motivations of conventional plot

3. individualism

promotion of the artist's viewpoint, at the expense of the communal
cultivation of an individual consciousness, which alone is the final arbiter
estrangement from religion, nature, science, economy or social mechanisms
maintenance of a wary intellectual independence
artists and not society should judge the arts: extreme self-consciousness
search for the primary image, devoid of comment: stream of consciousness
exclusiveness, an aristocracy of the avant-garde

4. intellectualism

writing more cerebral than emotional
work is tentative, analytical and fragmentary, more posing questions more than answering them
cool observation: viewpoints and characters detached and depersonalized
open-ended work, not finished, nor aiming at formal perfection
involuted: the subject is often act of writing itself and not the ostensible referent

............
Expressionism

Expressionism was a phase of twentieth-century writing that rejected naturalism and romanticism to express important inner truths. The style was generally declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that belong to all men, and which European civilization had rendered effete or inauthentic. The movement drew on Rimbaud and Nietzsche, and was best represented by German poetry of the 1910-20 period. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm, Schnack and Werfel are its characteristic proponents, {1} though Trakl is the best known to English readers. {2} {3}

Like most movements, there was little of a manifesto, or consensus of beliefs and programmes. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order". Expressionism was very heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early Surrealism, many of which crop up in English, French, Russian and Italian poetry of the period. Political attitudes tended to the revolutionary, and technique was overtly experimental. Nonetheless, for all the images of death and destruction, sometimes mixed with messianic utopianism, there was also a tone of resignation, a sadness of "the evening lands" as Spengler called them.

Expressionism also applies to painting, and here the characteristics are more illuminating. The label refers to painting that uses visual gestures to transmit emotions and emotionally charged messages. In the expressive work of Michelangelo and El Greco, for example, the content remains of first importance, but content is overshadowed by technique in such later artists as van Gogh, Ensor and Munch. By the mid twentieth-century even this attenuated content had been replaced by abstract painterly qualities — by the sheer scale and dimensions of the work, by colour and shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering the horrors of the First World War, and ineffectual governments afterwards, fragmented into violently opposed political movements, each with their antagonistic coteries and milieu. The painting of these groups was very variable, but often showed a mixture of aggression and naivety. Understandably unpopular with the establishment  — denounced as degenerate by the Nazis — the style also met with mixed reactions from the picture-buying public. It seemed to question what the middle classes stood for: convention, decency, professional expertise. A great sobbing child had been let loose in the artist's studio, and the results seemed elementally challenging. Perhaps German painting was returning to its Nordic roots, to small communities, apocalyptic visions, monotone starkness and anguished introspection.

What could poetry achieve in its turn? Could it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of poetry, and to the exclusion of content? Poetry can never be wholly abstract, a pure poetry bereft of content. But clearly there would be a rejection of naturalism. To represent anything faithfully requires considerable skill, and such skill was what the Expressionists were determined to avoid. That would call on traditions that were not Nordic, and that were not sufficiently opposed to bourgeois values for the writer's individuality to escape subversion. Raw power had to tap something deeper and more universal.

Hence the turn inward to private torments. Poets became the judges of poetry, since only they knew the value of originating emotions. Intensity was essential.  Artists had to believe passionately in their responses, and find ways of purifying and deepening those responses — through working practices, lifestyles, and philosophies. Freud was becoming popular, and his investigations into dreams, hallucinations and paranoia offered a rich field of exploration. Artists would have to glory in their isolation, moreover, and turn their anger and frustration at being overlooked into a belief in their own genius. Finally, there would be a need to pull down and start afresh, even though that contributed to a gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an elaborate body of theory to justify, support and overtake what might otherwise appear infantile and irrational. And if traditional art cannot be pure emotional expression, then a new art would have to be forged. Such poetry would not be an intoxication of life (Nietzsche's phrase) and still less its sanctification.  Great strains on the creative process were inevitable, moreover, as they were in Georg Trakl's case, who committed suicide shortly after writing the haunting and beautiful piece given below

................
SYMBOLIST POETS
symbolism in poetry

Symbolism in literature was a complex movement that deliberately extended the evocative power of words to express the feelings, sensations and states of mind that lie beyond everyday awareness. The open-ended symbols created by Charles Baudelaire (1821-67) brought the invisible into being through the visible, and linked the invisible through other sensory perceptions, notably smell and sound. Stéphane Mallarmé (1842-98), the high priest of the French movement, theorized that symbols were of two types. One was created by the projection of inner feelings onto the world outside. The other existed as nascent words that slowly permeated the consciousness and expressed a state of mind initially unknown to their originator.

None of this came about without cultivation, and indeed dedication. Poets focused on the inner life. They explored strange cults and countries. They wrote in allusive, enigmatic, musical and ambiguous styles. Rimbaud deranged his senses and declared "Je est un autre". Von Hofmannstahl created his own language. Valéry retired from the world as a private secretary, before returning to a mastery of traditional French verse. Rilke renounced wife and human society to be attentive to the message when it came.

Not all were great theoreticians or technicians, but the two interests tended to go together, in Mallarmé most of all. He painstakingly developed his art of suggestion, what he called his "fictions". Rare words were introduced, syntactical intricacies, private associations and baffling images. Metonymy replaced metaphor as symbol, and was in turn replaced by single words which opened in imagination to multiple levels of signification. Time was suspended, and the usual supports of plot and narrative removed. Even the implied poet faded away, and there were then only objects, enigmatically introduced but somehow made right and necessary by verse skill. Music indeed was the condition to which poetry aspired, and Verlaine, Jimenez and Valéry were among many who concentrated efforts to that end.

So appeared a dichotomy between the inner and outer lives. In actuality, poets led humdrum existences, but what they described was rich and often illicit: the festering beauties of courtesans and dance-hall entertainers; far away countries and their native peoples; a world-weariness that came with drugs, isolation, alcohol and bought ***. Much was mixed up in this movement — decadence, aestheticism, romanticism, and the occult — but its isms had a rational purpose, which is still pertinent. In what way are these poets different from our own sixties generation? Or from the young today: clubbing, experimenting with relationships and drugs, backpacking to distant parts? And was the mixing of sensory perceptions so very novel or irrational? Synaesthesia was used by the Greek poets, and indeed has a properly documented basis in brain physiology.

What of the intellectual bases, which are not commonly presented as matters that should engage the contemporary mind, still less the writing poet? Symbolism was built on nebulous and somewhat dubious notions: it inspired beautiful and historically important work: it is now dead: that might be the blunt summary. But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now. The contents of consciousness were the concern of Edmund Husserl (1859-1938), and he developed a terminology later employed by Heidegger (1889-1976), the Existentialists and hermeneutics. Current theories on metaphor and brain functioning extend these concepts, and offer a rapprochement between impersonal science and irrational literary theory.

So why has the Symbolism legacy dwindled into its current narrow concepts? Denied influence in the everyday world, poets turned inward, to private thoughts, associations and the unconscious. Like good Marxist intellectuals they policed the area they arrogated to themselves, and sought to correct and purify the language that would evoke its powers. Syntax was rearranged by Mallarmé. Rhythm, rhyme and stanza patterning were loosened or rejected. Words were purged of past associations (Modernism), of non-visual associations (Imagism), of histories of usage (Futurism), of social restraint (Dadaism) and of practical purpose (Surrealism). By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational. Even Postmodernism, with its bric-a-brac of received media images and current vulgarisms, ensures that gaps are left for the emerging unconscious to engage our interest

......................

.
IMAGIST POETRY
imagist poetry

Even by twentieth-century standards, Imagism was soon over. In 1912 Ezra Pound published the Complete Poetical Works of its founder, T.E. Hulme (five short poems) and by 1917 the movement, then overseen by Amy Lowell, had run its course. {1} {2} {3} {4} {5} The output in all amounted to a few score poems, and none of these captured the public's heart. Why the importance?

First there are the personalities involved — notably Ezra Pound, James Joyce, William Carlos Williams {6} {7} {8} {9} — who became famous later. If ever the (continuing) importance to poets of networking, of being involved in movements from their inception, is attested, it is in these early days of post-Victorian revolt.

Then there are the manifestos of the movement, which became the cornerstones of Modernism, responsible for a much taught in universities until recently, and for the difficulties poets still find themselves in. The Imagists stressed clarity, exactness and concreteness of detail. Their aims, briefly set out, were that:

1. Content should be presented directly, through specific images where possible.
2. Every word should be functional, with nothing included that was not essential to the effect intended.
3. Rhythm should be composed by the musical phrase rather than the metronome.

Also understood — if not spelled out, or perhaps fully recognized at the time — was the hope that poems could intensify a sense of objective reality through the immediacy of images.

Imagism itself gave rise to fairly negligible lines like:

You crash over the trees,
You crack the live branch…  (Storm by H.D.)

Nonetheless, the reliance on images provided poets with these types of freedom:

1. Poems could dispense with classical rhetoric, emotion being generated much more directly through what Eliot called an objective correlate: "The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." {10}

2. By being shorn of context or supporting argument, images could appear with fresh interest and power.

3. Thoughts could be treated as images, i.e. as non-discursive elements that added emotional colouring without issues of truth or relevance intruding too mu
...............
PROSE BASED POETRY
prose based poetry

When free verse lacks rhythmic patterning, appearing as a lineated prose stripped of unnecessary ornament and rhetoric, it becomes the staple of much contemporary work. The focus is on what the words are being used to say, and their authenticity. The language is not heightened, and the poem differs from prose only by being more self-aware, innovative and/or cogent in its exposition.

Nonetheless, what looks normal at first becomes challenging on closer reading — thwarting expectations, and turning back on itself to make us think more deeply about the seemingly innocuous words used. And from there we are compelled to look at the world with sharper eyes, unprotected by commonplace phrases or easy assumptions. Often an awkward and fighting poetry, therefore, not indulging in ceremony or outmoded traditions.
What is Prose?

If we say that contemporary free verse is often built from what was once regarded as mere prose, then we shall have to distinguish prose from poetry, which is not so easy now. Prose was once the lesser vehicle, the medium of everyday thought and conversation, what we used to express facts, opinions, humour, arguments, feelings and the like. And while the better writers developed individual styles, and styles varied according to their purpose and social occasion, prose of some sort could be written by anyone. Beauty was not a requirement, and prose articles could be rephrased without great loss in meaning or effectiveness.

Poetry, though, had grander aims. William Lyon Phelps on Thomas Hardy's work: {1}

"The greatest poetry always transports us, and although I read and reread the Wessex poet with never-lagging attention — I find even the drawings in "Wessex Poems" so fascinating that I wish he had illustrated all his books — I am always conscious of the time and the place. I never get the unmistakable spinal chill. He has too thorough a command of his thoughts; they never possess him, and they never soar away with him. Prose may be controlled, but poetry is a possession. Mr. Hardy is too keenly aware of what he is about. In spite of the fact that he has written verse all his life, he seldom writes unwrinkled song. He is, in the last analysis, a master of prose who has learned the technique of verse, and who now chooses to express his thoughts and his observations in rime and rhythm."

.............
OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition

At the defense proposal
I was convinced
I would make it through
The proposal in my hand,
Months of preparation,
mentally, physically, loaded brain...
Well prepared I was for this judgement day
A little over confident, perhaps....

In the life of a Phd candidate
This is the true battle of Academia
Whether you'd be at the top
or you would be shot dead
The honorable Panels will decide...

The moment you utter a sentence or two..
Continuous attacks from the left and right
endlessly..... till you have your head
buried in the ground
Again you wake up and strike again
This is your war....
Defense is war.. the war of life
the moment of truth
the battle of a doctorate student everywhere

Research Objectives, Research Questions,
The Signification of research
and the Implication, the contribution of this study
SO WHAT?
One by one was being detailed, scrutinized and questioned

Dear panels,please be kind
Was patiently coping with your brutal  attacks
Head held low, head held high...
Nearly had a stroke,
But I refused to die...

Thank you dear panels,
my courteous smile for you...
I'd be back,
You'd see me again,
When I counter attack....

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.

(not a poem i guess but eh)


–

Space keeps falling to the sides. I try to concentrate, - I mean, I make a token effort every now and again,- but concentration, fixation is always in terms of something external, something I'm not sure I can deal with.  I roll over and go back to sleep.

–

'Where's the flour?'
'Where you left it.'
'Which is where?'
'On the table. What you want it for anyway?'
'Which table?'
'Haha. The generic maple with the ugly-*** spandrels. What are you making?'
'You think we could afford that? Nah, it's like, faux-pine or some ****. And like muffins.'
'Oh good, there's banan's that need using up'
'No no, like, other muffins. Crumpets and such. Got any golden syrup?'
'I think there's some maple.'
'No, it's like, ply, I swear.'

–

I haven't moved in days. I need to. He'll come eventually and I don't want him to see me like this. Plus, I need to locate that smell. I can't have guests over with it here. I'm just not sure where it is though. I  feel like it's on my left arm when I’m in the middle of the room, but off to the right everywhere else. It's.. acerbic, but fermenting, like vegetables on the onset of rot but not quite there yet. Not that I know; I haven't moved in days. I don't want to smell it again. Also garlic, definitely garlic.

–

We visited the inland sea the other day. The hundred years since last time hadn't changed it one bit. The beached clay was brittle under the midday sun, and the cracking footsteps fragmented it into a hundred hexagons.
               'I hear a strain of the pathogen is airborne. It's only a matter of time now'
A group of tourists park up by the shore. A child holds out their arms and runs in small circles.

–

The corridor keeps flashing. And maybe spinning. It's hard to tell, the colour change starts at a different point each time and there's no discernible rhythm to it. You keep pacing up and down. I feel self conscious that you want to leave, but then again, you did show up unannounced. You shake the snowglobe disinterestedly. The fragments burn like molten static.
'Stop that. I feel like I’m vomiting spiders.'
'You're being dramatic.'
'None the less.'
'Don't worry; you'll get through it. The world is transitioning, and this is just motion sickness.'
'I know that, I didn't say I was worried, I said I wanted it to stop.'

'sorry'

–

We'd always go for a walk at night if we felt we needed to talk. It was an unwritten rule. The veil of amber filter let our more timid thoughts breath in the nebulous darkness. Stark daylight was always too suffocatingly real, and that was the one thing we were never allowed to be; real. You'd always talk superficially if we discussed personal matters. That day you did a one-third spin clockwise and faced my side, and talked grandeloquently, hammed up like on a stage. You gave an embarrassed smile and blew a kiss for the invisible audience. I always felt jealous of those nothings, those non-existent beings, that got to figure into your world.

–

'Christ it's warm today. I can't think.'
'so don't bother.'
I spin in the chair. Whooosh. Whooosh.

–

It's the end of a 6 hour shift. A customer, a mother in her odd thirties, was angry that a sale item was out of stock, like sale items always are: She'd only gone out of her way to shop at this store because of the advertised deal, and we had taken time out of her busy schedule under false pretence. Her child stared at the ground intensely, his eyes watering. I tried to imagine the situation through his eyes, to try and ground myself; to remain both present, but stable. She insisted on speaking to the manager. It's a relief really; He's a skeevy ****, but he at least knows when the customers are just there to start ****, and responds accordingly. He comes over, asks what the problem is. It turns out I entered the code wrong and the item was still available after all. He gets one from out the back, handles the transaction, says have a nice day and apologises for me and everything, and I just stand there blankly; I’d had the graveyard shift the night before and honestly I’m beyond feeling right now, but when she mutters 'dumb *****' as she turns away a tight feeling still twists in my gut anyway.
I come home and leave the door hanging open framed in the setting sun and just drop my bags in the hallway. You're in the kitchen, hunched over a workbench eating out of a mug.
'Whatcha having?'
'Cornflakes.'
'….Cornflakes?'
'Yep.' you pivot as I approach. 'corn..flakes.' you hold out the packet.
'coooornfllllakkkkkkkeeeessssss' I start laughing.
'coooornfllllaaaaaaaaaaaaaaaaaaaakes'
we chorus the term in groaning monotone, and I grab the packet out your hand and throw it down and violently stomp it into the ground with every non-energy I have left. You just laugh and egg me on, repeating 'cornflakes! Cornflakes!' in crescendo, ostinato. The satisfaction of each crunch gives me the drive to smash them further, and corn dust spills out of the pulverised cardboard and gets everywhere. In the end I’m panting, my face is a mess of tears, and I collapse over onto it and just roll, bathing in the glorious fragments of reconstituted mulch.

–

'They say another ice age is coming.'
'They also say we'll be swallowed by the sun'
'well, it's true.'
'Yeah, but which'll happen first? I need to know to dress accordingly.'
'Tunnel's up ahead'
'I know, I see it.'
I deliberately swerve to the side and speed up, changing back at the last moment.
'You know I hate it when you do that.'
'What, don't you wanna die together with me? Here and now? Immortalised, as if our existences actually meant something?'
'like Diana and the nameless chauffeur?'
'******* exactly.'
We step out onto the hill, frozen **** tufts breaking underfoot. It's cold as hell but the skies glittering. You get out the telescope you borrowed off your rich *** sister.
'I think that's Jupiter over there.'
'Pfft, Jupiter.'
'What?'
'What's the blankest space you can find?'
'Hmm.. that way?'
You point it in that direction. 'Look'
I stare into it, but it's hard to keep focus while shaking from the cold. You keep adjusting and asking ,’See anything?', eventually some hazy distortion comes into view.
'See, no matter where you look, there's always something there.' You're trying to sound eloquent. 'Even when it seems like you're drowning in nothing.'
I stand back. 'That's terrifying. I feel sick.' I try to breathe but it's shaky and shallow. I stare into the ground, but I can still feel it; the blaze of the myriad innumerable heavens burn into me. Their judging gaze pierces through me and tears me to shreds.  

–

'You know, I think I read that Spinoza thought that consciousness is manifest in the ability of finite beings to continue persisting in and of their own will over time.'
'Doesn't that make a toaster more conscious than us?'
'Yeah, you don't say.'

–

We were twelve and at the department store. It was strange. I'd never taken the bus by myself to just hang out in town before. I always feel disorientated and light-headed in crowds so it had a strangeness; waves of apprehension cushioned by the homogeneity of it. one can be truly alone in a crowd; floating in a sea of otherness, where each gaze is no longer a signification of anything, but a warm static. We were among the aisles of a department store, in the toys and tacky house ornament section. Like, the junk you buy children and grandparents for their birthday. **** that you'd only attribute to people whom have no discernible qualities of their own. We were looking at snow globes. We kept trying to shake them violently enough so that the scene framed within would become entirely lost to the fog; it always felt so disappointing when clarity returned and things re-became what they were. I remember saying, 'I wonder if it tastes like real snow', I don't remember, It was stupid, I don't know why I said it, it sounded cool in my head. But you responded, that I remember, by taking the thing and smashing it against the concrete floor, and pouring out all the fragments into our hands. We tried them together and coughed and choked in laugher. It tasted awful, entirely unsurprisingly. On a rush you stuck one in your pocket, grabbed my hand, and we promptly left the store, and my heart was palpitating, it felt like all the rules, all the natural laws that had prefigured my world were crumbling, and I was terrified, trapped in the gaze of my mothers look of disappointment when we'd be inevitably caught, somehow watching me from its potential future, and I'd no longer be allowed to visit you but it was okay because I was here with you now in this moment and we were alone in this faceless mechanical place crumbling around us, and when we left, and no sirens buzzed, I felt sick with excitement at the unbounded possibility present in everything in every second. I cringe thinking back on it, and feel ashamed at finding such meaning, feeling such unabashed wholesale virtue in indiscriminate destruction, but sometimes, sometimes I still shake that snowglobe as hard as I can, till everything determinate is lost in haze, and I still feel a wave of comfort wash over me.

–

‘We’ve been walking for ages. you know where we’re going, right?’
‘It’s just up ahead. I swear’
‘You swear?’

‘I mean, I’ve only been there once before myself.’
‘****. This way?’
‘Wait-‘
‘What?’
‘Huh. Nothing. Sorry, I thought I heard a car coming.’
…
…
‘I think that’s the ocean?’
‘But.. aren’t we heading inland?’
‘You sure?’
‘Yeah, I swear.’

–

We're in your room. Your reading on your bed and I'm in the swivelly chair by the desk, pretending to work, but really we're just chatting, talking about.. something. Whatever. It was probably stupid, laughing at our own jokes, as always, catchphrases repeated till they loose all meaning. It's been a long day and honestly we're both too tired for coherence by this point, but the lack of effort lends the air an easy comfortability. But then suddenly.. Suddenly you stare into my eyes as if you're looking at me and it's somehow different, an intense gaze that I can't escape, as if you somehow found something located there, something fixed in those abyssal pupils. The feeling is overwhelming and terrifying. I am grounded, ripped into the prison of being and frozen static like a dumb animal transfixed in headlights: I am outside myself facing in, and I’m falling away. I pull you in and kiss you to escape; now, it is your touch that is fixed, your smell, your taste, and I breath a sigh of reprieve. You hold my back as I fall into you. I lace my fingers through the buttons in your shirt and feel the faint pulse of your flickering heartbeat. At once an ever-changing epiphenomena, and a calming rhythmic certainty. I vacantly tug at the buttons and your expression changes, gone is the feeling of suffocating questioning, but one of transfixed observation. Your touch is not a reaching out into something, but a continuation of yourself; I am an instrument of your lust, an extension. Holding me in your arm, you nervously run your hand down from my nape and trace my bra from the strap over the line of my breast. The lightness of your touch is a painful tickling and I push myself into you further, my thighs wrapping around yours. Your touch shoots a burning into me, not painful, but like glowing kindling, or the warmth of a blanket; an immanence, a retreat. I let my mind go blank and we continue; you fumble with my bra as I fumble with your belt. We're both shaking but too far gone to notice, too distant to care. The dry freeze of the night air contrasts your damp heat. You clasp me as you trace your hand under my skirt and I feel your arm brush my thigh. I tremble slightly at the sharp coldness of the damp cotton coming unstuck. After a stretching moment of awkward liminality, I feel you pass into me. It's a burning smoothness, distilled liquor. The rubber is an alien feeling, and for some reason I imagine myself as a giant balloon; a malleable featureless surface, filled with emptiness. I feel myself through the threshold of your presence and I am afraid; I am a boundary which encompasses nothing, and by your passing through I fear that I will be pierced; I will burst and out will flow an obsidian wind that will wither you to nothing, but it will keep coming, an endless torrent that will subsume the world and turn everything to desert, and the only way to save you is to keep it bound up as tight as I possibly can till my heart feels like burning metal, and I feel my tears land on my hand tightly clasping your shoulder. You ask through wavering breaths if I want to stop, but I shake my head; if you left now I would be caught and torn open; no, instead I subsume your undulations into myself; till the rhythm is as oceanic noise; a surface rolling located miles above a lightless motionless centre.

–

The pale green lamplight flickers. A nausea, tepid, but understated. The sentience of moss; an almost motionless drone, but the sense of unfolding. The corridor seems larger than it once was. Blank reflections harrowing accusations, mechanically indifferent but piercing; an alarm clocks wail. I lie still, I lie still. The buzzing repeats. I lie still. I am flowing, seeping through floorboards into the pores of the earth, into colonies of worms and I am lost and free, a motion, a multiplicity, pure form without the anxious drudgery of parts; pure alimentary canal, pure Elysium absolution. The flickering quickens and gets brighter. A pulsating light, a strobe, a beat frequency wavering behind vision. The liquid earth, saturated by light, hardens and dissolves. And 'I' am lost among the ruins, a vague memory of a sentiment. A nostalgic grief, an asphyxiated longing. I reach out to you desperately in the drag of the undertow, but you are the chalk of faded bones; cast to the winds centuries prior. A thousand years pass of blanket darkness, and a unitary bell rings. The flotsam batters against the temple gates. Debris collects in cracks, and my pieces are among them. I cling to retention, and return. I am cold sweat outlining the floorboards, the feeling of clenching before vomiting, repeated endlessly.

–

A few weeks after, turning off an avenue onto the main road, I see you. You're crossing, coming this way. It was bound to happen eventually. I bite back the moisture forming in my eyes and try to remain faceless. You suddenly change your trajectory, and hit the side of a car. It honks at you and you dodge around it. I allow a bitter smile to myself; the fact I can cause you such disorientating discomfit indicates I still mean something to you. Even if it's just a discomforting anxiousness, something beyond the boundary to be avoided, I have causal powers, extension; I can see my flicker of presence in you even now, even if I cannot for the life of me find it within myself. You run around and I walk straight. It's empowering; I can remain fixed, even if the torrent of the world flows around me. At that moment, I feel the indubitable strength to persevere. I am stronger than this world; I am stronger than you. But then, just as suddenly, the feeling folds upon itself and is gone. I felt solidified, just now, by the fact that I was the one that remained in this random encounter. I won, you lost. but Won how? With the ability to pretend that I can exist alone, in a world that means nothing to me? The ability to maintain a solid spectral façade, when underneath, scratching away under the skin, I contain nothing? To continue terrifies me. Knowing that I have the strength to continue terrifies me. That last thing I ever intended was to outlive you. I feel the world drain away from me, and yet I remain, left standing, alone, in a of realm of perpetual nothing.  

–

I feel sick

a hundred years pass in the cavity of the desert. Merchants make trade off raided materials and makeshift weapons. A library is burned. A soldier, wanders freely. An insect buzzes around his face. He darts about the place in annoyance, but it remains. He can't shake it. He closes his eyes. It's still there

I feel sick

the sun burns bright arrhythmic  clicking.  A late twenties couple go clothes shopping, however the child is hungry and will have none of it. Lunch is suggested. They are jocular about the decision, but feel an uneasiness about the indulgence. The air is saturated and dries

i hate technology, its automated typo system, i write one thing and then it starts playing hide & seek with me... i rarely make mistakes, but this a.i. automated typo system makes me look stupid, or neurotic in the least, i hate this automatic typo signification as if i am teaching someone!*

i love that drinking wins over writing sometimes,
like this strange neo-left asking me to top it all off
with my communist grandfather living under stalin
completely in agreement with them girlies weeping
when he stank the dog off the grave in terms of bio-tech
completion; he wouldn't be dear to the left epitaph,
he'd be like voltaire & the priest: given the devil
in the sickbed there was not time to choose enemies...
he'd be branded a ****... worded... the worst kind...
a pseudo pacifist of some sort... couple economy
and atheism and you get a darwinian exclusion
where the ants aren't oblivious to lions but exclude them
for their species so well organised, god can take
the hangover route and make the "self" less sellable;...
(economy of a species and darwinism
demands communism - exclusive economisation;
not inclusive economisation...
that's some sort of theological branch
of personification where man minds spider above
another man, etc.)...
there's no self included, esp. a (")self(") worth selling...
which means exactly that (the opposite of now)...
NO TOURISM INTO THE REALM
OF CELEBRITY LITERATURE...
WHICH IS ONLY BIOGRAPHIES....
GET YER **** OUT GIRLS!
YOU'LL WRITE A BOOK SOMETIME!
god this culture is barren, and to think i dressed up
in uniform for school listening to jethro tull once...
this ain't the same country...
it sold out to the arabs... charles iii
is a ******* traitor!
traitor!
charless the iii is john ii... character assasination
you like you did with diana...
diana's revenge... yeah i believe you
were wearing silk straps of safety and the
driver survived and the parapazzi blinded the driver:
one thing about jealousy... it has dwarf legs.
they pass into the political realm they do....
easier come easier to take on in politics...
economic migrants (we'll see about that,
your philanthrophy just took to faking flight
via an invisible magic carpet flapping its trims)...
i told you once that democracy is like inverse voyeurism...
mark the x on paper, ***** an ****** into jugs for
pale ale... excess carbonation... it turns all fizzy...
the geese marched into winter...
the swans marched right into a royal edict...
the neo carta was never crafted...
but i got the hang of the diacritic marks...
i was walking drinking a belgian cider...
C DER.... in belgian french there's an accent,
stress the c, makes the vowel missing...
cídre - not really acute i, but an acute c...
c         dr. dre, i.e. dre, c dre...
it's the acute stressor of c that makes the vowel
disappear... not that a vowel can actually
become acute... vowels like women wear
mascarra to look pretty, the consonants are
serviced for a complexity... via hebrew original...
c                        dre
not
               si                        ahem...               dre.
in passes on the pompom for expected pomp -
i can't believe it took a bottle of belgian cider
to get that across.
oh sure they can hang me... by the snout...
for i won't be able to march into a field of truffles...
but hey... big snout worthy... never mind
trying to wear leather shoes given the hannibal
treatment for tacky snakeshoe leather.
most say that difficult literature is literature unread...
there's no other difficulty in literature...
difficult literature is simply unread, that's why
it's difficult... simple literature trickles down as easy as water...
and that's why it's easily managed by what
the chinese done already, having no hollywood and
damning india's bollywood... their phoneticism
is lodged in ideograms... pictograms...
european phoneticism is lodged in a skin to number,
B akin to 8, e.g., we get rich owning ovens
televisisions and satellites... but we also own
watiers and cooks who are mechanised...
and have no richness of thought...
who cares if beijing is clouded in smog?
we have 15 more years of carbon emission to wait for
before our idealism is profitable!
ah but the arab girls will migrate to london every year
between may and august... i should be so lucky lucky
australian girl pop lucky with them shopping
in only one hot spot, a grieving egyptian's legoland
of tacky known as harrods!

Stretched to span the gulf between infinities
Encompassed by a world
I did not create
I am spoken
                        Yet I speak
And I shall savor each
Succulent strophe
Each verdant verse
For I unfurl only as a
Living tissue of signification

Je suis littérature,
Mais en français.
Je suis les mots écrits,
Mais en français.
Je suis art de la langue
Mais en français.
Je suis comme le français;
Fait d'esthétique,
Sans signification.

Dear friends and fiends,
Those who'd weave poems
and lose themselves in dreams,
Let me tell you of the places I've been.

The hour of my writing
is late, as always, and tonight
I find myself trawling through
the deep dark web.
Seeking out the dark
stuff, I cast out the net
to catch a glimpse of fate
and to contemplate the death
of patterns that lurk inside my
head, gleaming all but nothing.

I will have the night always
and I'm wondering what
worth really is. Blasted
signifiers and infernal
meanings! Why can't
it all just go away?

So I spend some time in the darkness
until the end rears its eventual head
and I am left here, blind, grappling
in the dark. All we are, all our
shadows are; beautiful, ugly;
Powerful, ridiculous;
Virtuous/viceful;
Good/bad, right/wrong,
Off/on; it's all the same really,
Tell me which side of the coin
becometh unseen?

No one's listening!
Insignificance is a powerful asset
given today's crazy, contrary world,
It serves as well as any sartorial shield;
Or, rather, should I say it is insignificable?
I am a being thinking no one's bothering
to listen to me yet I do much listening
and even reflecting. I'm not complaining,
Reliving seems a better choice of word.
I do like listening: I listen to the
quiet before morning and after night;
To the hustle and bustle when bathed
in that artificial light;
To other humans who
speak Other languages
in all their idiosyncrasies,
The content of which I'd not
grasp but the form of it I might
understand, from sweet Italian
to feisty Spanish, haunting Irish
to French's romance, the only tongue
I cannot see such quality in is English
because instead I see in it everything,
Some of which I'd rather forget, under-
lying meaning, miscommunication, dis-
information and each mistake and error,
Destroyed etymologies, broken referents
and the tyranny of endless signification;

Everything and Nothing,
∃xistence and ∀niverse.

Although I like to listen
I cannot help what it is
I hear. I do not control
perception though I try
very hard to fool the seer
into ignorance, to ignore
the pessimism I'd otherwise
embrace, to swallow those itty
bitter blue pills I'd otherwise taste.

God love every parent and sibling,
Friend, enemy and other acquaintance
for each of whom I have many mixed
multifaceted feelings but who I'd listen to
nonetheless for the sake of their heads, mental
wellbeing can be such a chore. I really don't know
anymore, I've no real purpose, I'm just a data-*****.

Not a chance nor even a hope of finding
work or love with hobbies like these, and
this for lounging-list of habits that I keep;
No meaning, or at least nothing significant.

Anomous snitching,
Tooth dead crinching,
The Grinch has made his way in!!
Talk of the town,
What's made is yours,
And what's ours is yours.
You bee sting amongst the nest!!
Epeleptic symptoms turn the chairs of doctoria request!!!
Antsy fingers,
Written unspokeness,
While the ongoing brokenness rewrites history paradox sense!!
Repentance,
Repentance,
Jurrassic marmelade!
Giving up all your readiness for our creditless credit carded trades!!!
Grass root momentary,
Head stone obituary, you are soo lovely in day!!!
The weeds that pull wrap divinely,
Enter signification relieve all things timely...
Relinquishments own freshing!!!
Grads of the ages for a scripturetic blessing,
How seasonal this all is!!!!!!!!!
Four chambered mansion, hearts beats immaculate to sweets and treat's of sugar can value!!!

Where coffee rocks fall through open lace of white state rags....

of the few that might quote,
  or least, the ones that might be quoted:
a reference of uno nacht -
there abiding, equal to Poseidon,
     a courteous signification of what zodiac
there is, among oyster clams and seashells,
there i stood and upon no words divine
felt to continuum necessity to riddle
man with Dante, but merely with, ape.
   there i stood:
tumbleweed at hand and two flits,
and there the cavern deity of human weakness,
   as pleb unto pleb... the jealous hands weaving
a Bulgarian acronym to what was once Greek
that became Cyrillic....
floundering under the guise of promise...
  noose abiding Hindenberg...
   never will you agitate the pleb...
    leave them like the priestly caste:
begrudging the slack on redneck culturalism -
                      then woe...
and of woe much is said that isn't done..
but then appropriated with the times,
a love affair chimes the culprit's chalice
as with all jades of resurrection,
three hyenas, and so too three Medusas,
and so top three sybils...
    in orchestra said as much
that only a man could have said them,
had he clothed himself in being one:
-  thrice the brinded cat hath mew'd...
leisure be! no claim of self-defence!
  but a claim instilled nonetheless -
      as anything concerning self-reliance!
woe to the wordings of man...
that she claim no crown above the peacock's
or the pigeon's coo, or the lion's roar,
or the nano-sound of an ant's architecture construct...
or the crow's croaking segment,
or the cackle of a magpie's segmentation...
o woe man.. for you are but nought disguised
and at times disguising such splendour...
that you make so little focus,
              and yet so much abhorrence...
that you may be crowned rex -
    but neither tyrannical nor tetra-sourced governing,
should a wind turn into tornado,
   or the earth into an earthquake...
the water into a tsunami...
            or a fire a wildfire spontaneity -
or the Zeusian bolt into insomnia and techno...
  cure all, and cure none at all..
    skylark Macbeth... at least you were not forsaken
to rest in a psychoanalytic deathbed with continual
resurrection to answer prayers,
    as might the necromancer of Endor embodied by
Freud... resurrect you to the suitor Hamlet...
  and how fortunate you are... for fortunate you are
mein herr...
                 or so act iv continues...
- thrice and once the hedge-pig whin'd (whined).
- harpier cries: 't is time, 't is time!
- round about the cauldron go;
    in the poison'd entrails throw -
  toad, that under cold stone
    days and nights have thirty-one
swelter'd venom, sleeping got,
    boil thou first i' the charmed ***,
- double, double, toil and trouble:
fire, burn; and, cauldron, bubble.
  - fillet of a fenny snake,
in the cauldron boil and bake;
eye of newt, and toe of frog,
       wool of bat, and tongue of dog,
adder's fork, and blind-worm's sting,
lizard's leg, and howlet's wing...
   and naught to recite the ancient Graeae
   conferring...
                   or what one called the splinter
eye, or what was shared among the three...
then repeat, the common incantation,
   and say: woe the moorish lad enthroned...
i have my prickly finger pointing toward
the heath... and thistle kissed, and the tartan
            as harmonious dressing toward
     a ******* of 70 years by all accounts
considered: a happy marriage.
                      oh no, don't teach me what i might
abhor... teach me music with your words!
          don't make words an act of polity and
of what goes around and never comes back
in terms of romancing truancy -
teach me logic, a logic that's hill-bred
   and goat-tango for a heart's hefty sum of
lost thought! teach me this! preach me this!
i have a second home, of what is nought
but the harrowing abyss: where i hear no Slavic
and i hear no Anglican, where i hear no Farsi
and i hear no Sanskrit... but the aim
of resurrecting a lingo of near dodo Celtic.
  no ethnicity is nation bound.
      then unto the Graeae once again
- scale of dragon, tooth of wolf;
witches' mummy; maw, and gulf,
or the ravin'd salt-sea shark;
root of hemlock, digg'd i' the dark;
liver of a blaspheming Jew;
      gall of goat, and slips op yew,
silver'd in the moon's eclipse;
nose of Turk, and Tartar's lips          -
and perhaps after such things were and had been said,
   i might too engage in a blasphemous benediction,
            cross-my-heart-and-sever-three-fingers
and out comes the Byzantine conscription -
rhyme a lot and rhyme what's willed -
      rhyme a dot and rhyme: standstill.
take to road and take to breath -
      take to sleep and take to craving earth -
  for no acrobats in the tomb -
     the Hindu acrobats remembering flame -
             in dust spoke of a whirlwind incantation -
and said: memorise me by allowing the billionth
man my own location...
      or as the Mandarin maxim suggested...
eat a dog, eat a cow, eat a horse, eat anything,
       and relegate all importance solely to plough...
aye Hibernian and you Lothian kin -
          tell them fables of the lost Loch Fin -
tell them things that will keep them grounded,
and not spread their arrogance
   to clap toward a tourism...
         well... one can only wish to revisit
the plagiarism of the Graeae... had but one
the pursuit of what was original, and what coupled us
to sin, in making us un-justify a god,
                       and justify our perpetuated ordeal.

Magnolia buds,
A false signification,
Of far away Spring.

Tonight feels like salt, but not enough wounds to pour it in.
There is no relief, no distraction
from the feeling taking my lungs' motion away.
I can't breathe, I can't see,
stasis and the puddles that accompany it.
The crushing grip of unproductivity
shakes my soul as a giant would a doll.
Wasted, wasted, another day wasted.
When will the spaces on the clock be worthwhile?
I am perpetually shoving myself off of an edge into a pit of something menacing,
I can't seem to give up on tearing down my own walls.
Two lines, or three, streaking down my cheeks -
a signification of my misery for everyone to see.
Embarrassment, now comes he -
with his lance, sticking it straight through me.
Stop looking, everyone stop looking,
I can't do this anymore.
When tears do not reveal my weakness,
my expression does.
I am quiet, disengaging from what I enjoy -
and they notice, how dare they notice,
I  don't want them to notice!
Curiosity and compassion are two very different things,
and the former is in overabundance.
I feel like a raincloud must, though I don't attain a pleasure of release -
my eyes spill out my insignificance,
therefore it is endless.

Je suis l’homme de guerre, non ?
Je fais du combattu, non ?
Je serai mort éventuellement, non ?
Mais fais je me sens le mal ?
Vais-je m’appellerai le mal ?
Non.
Je suis l’homme de guerre.

J’ai pensé que je me crois quand je dis
« Vous n’avez pas l’esprit assez fort pour les engagements de la guerre, »
Mais je réalise la chose la plus importante n’est jamais les éléments que je vois dans les autres. « Je ne peux pas comprends les autres comme les autres ne peux pas comprends moi, »
Pourquoi ?  Parce que le soldat est une créature de comparaison.

Je suis fort, non ?
Je fais le travail bien, non ?
J’ai le rythme de l’acier, non ?

Les guerres des autres n’ont rien impact, je dis.
Les guerres des autres n’ont rien signification.
À moi.

Je ne suis pas un soldat !
Je suis l’homme de guerre !
Et comme un homme de guerre, je suis complexe, oui ?

Je fais du combattu !
Je serai mort éventuellement !
Je suis fort !
Je fais le travail bien !
J’ai le rythme de l’acier !
Mais je me sens, je me sens, je me sens !
Je suis l’humain, c’est bien !

Mais suis-je le mal ?
Mon adversaire c’est moi.
Le plus puissant.
Mais je me bats en avant.

Je sais que je suis l’homme de guerre parce que j’ai donné mon cœur la victoire et je vivre.
Aujourd’hui, demain, je vivre.
Je sais que je suis l’homme de guerre parce que j’ai vu mal de mon cœur et je vivre.
Aujourd’hui, demain, je vivre.
Je sais que je suis l’homme de guerre parce que j’ai vu le plus grave mal de mon cœur et je
vivre.
Aujourd’hui, demain, je vivre.
En avant !

the devolution of the letter R in english & in french, i.e. the extinction of the rattling snake, and the overtly unnecessary abstraction of saying the affirmation of existence without a nay, but rather with an aye.

lucky me, and the poem i just deleted
by accident...
   how i mentioned the devolution
of the letter R, i.e. the loss of the trill,
in that the french hark it,
while the english have numbed it,
how the R still represents the rattlesnake,
in the gymnastics of lingo,
and how in the broth of french / english
is represent a mutation...
how the R was almost a wheel in terms
of rolling... and how the english
still cite latin phrases with the trill
incubated,
but how the R has been devolved,
derailed...
      how there is too much ambiguity
concerning iota in "inverted" / double
the ditto membranes: "ι" -
    implying a loss of responsibility,
but never the lost origin of the wheel
in rho, in R... i.e.
dynamism of the lost front leg,
giving the rotary collapse motion...
and how the original R was a rattle-snake
imitation,
how the original signification matters,
unlike there being no boa in sight...
from a trill, to a hark to a tarantula bite
on the tongue in english...
the letter has devolved...
     and who are the two coolest drummers
in rock history, poker faced?
the title mentions them...
                i really can't reproduce
what i wrote and just deleted,
  i can only think of the punk power three
according to green day,
and the power four of en vogue...
mulaut with blood cherry lipstick...
  я знаю: i know -
           for every ю grapheme (yu)
there's a я grapheme (ya) -
          znatee (знать) - себя - (sebya) - myself;
  б not the antithesis copernican of ρ?
so much for a 3D earth, still most strong
within a 2D context.
i still prefer the original text i accidently
deleted...
          it's called the devolution of
the letter R, and the "evolution" of
the double-affirmative of identifying the speaker /
"thinker"...
     the french & the english already
believe in the existence of the rattlesnake,
giving how they mishandled keeping
the trrrrrrrr -
                              "ill"...
   or called it twamp / thhhamp
                              instead of *****...
tongue numbing antics,
apparently still in use in d'artagnan's *gascony;
still - the original idea is there:
who is more poker faced when comparing
charlie watts vs. larry mullen jr.?  
  and this is the best the russians can come up
with regarding diacritical marks... a ь:
ooh, soo soopht, better be a ******* duck-feather
filled cushion to lay on...
       couldn't invest in punctuation marks
on / above letters;
i still prefer the original i deleted by accident;
who the **** confuses
ctrl + c into ctrl + p on an imac?
me!
         alt + c ≠ cmd + c into cmd + v...
oh well, but i still remembered the two
drummers i was thinking of, playing poker.

Leurs imaginations conservent toujours l'espoir
De comprendre la signification de ce grand voyage
Peut être un jour ils se retrouveront
A l'endroit où le calme et l’ innocence l’emportent

Vite!, résolvez vos énigmes
Vite!, avant que la lumière dans vos yeux ne s'éteigne
Découvrez dans vos rides,
Les secrets bien gardés de la vie et de la mémoire

Pour vous, le temps n'est qu'un simple mot
Un oiseau qui a depuis longtemps débuté son vol
Les beaux moments peu à peu disparaissent
Comme un petit bateau au **** dans l'horizon

Ne trouvez vous pas que c'est affreux?
De se détacher lentement de son corps
Par l'absence de vie et l'excès de vide

Et d'essayer de trouver une place dans ce monde
En étant si désactualisé?

Ne partez pas encore, on vous en prie
Laissez nous le temps d'y réfléchir
Partagez avec nous vos découvertes
Et les ombres et démons que vous avez libérés

A radical thought rose to greet me. At the root of this adventure,
there was a dare to defy the unknown holders of keys to gates
and vaults and amphora, sealed to preserve the power of
knowing truth that makes free, by the very knowing.
The secret meanings exposed as conspiracy. Aha.
Readers know of things working together,
line upon line, next after last,
precepts are not commands, but ladder rungs.
Grip first precepts, take hold, know that we do know.
Each of us obeyed... the messenger from truth said read,
that there is ought to read goes unsaid,
be not deceived, that we have received,
accept... thank you... from one alienated mind to another.
This is the most-read piece I have on HP- from August of 2018,
- something changed in the world I share, I dove in to the depths
of the ocean of opinions, and found i could breathe.
----
A pocket of thought, ideas.
Impulses, has beens

epi-phenom-enal-con-currencies-synchron-icity
sorting places, thens and nows vying for attention

you see
we till stories in search of true tomorrows
not true
yesterdays (till, I said, not tell)
we **** the hard rows no one else will ***
so seed lies sown are never lies told, if the lies are never taught
or if the liars are caught before convincing the
intended crop to lie and swear a common liege Lord,
or die
for lack of knowing. Non-nascence, simplest
symptom to not see.
Whose death is yours to respond responsibly
to? My child's, or yourn?
In the early days, we knew less than we know now
about how knowing and growing were all
intended
to cost time. Ticks, ono motto whatever, the sound
gears and spiral springs pushing cogs
tick, one tooth tick at atime make

this rough, un polished, un glossed, is it wrong or

as I imagine a diamond in the rough must seem to a share cropper
experienced in diamond hunting, diamond prospecting,

prospecting expecting inspection to permit
seeing a 3.2 specific gravity,
specific
specify

species or spectacles,
spectators or special-if-eye-cation
value-en-abled. Weigh your mind in balance
with mine. I claim the mind of Christ.
What are the odds?

A wandering path, injoyable enable if-i-abble,
pacing is

everything, timing is everything, time is the test.

Time is the metagame.
Take your time. One word formed sylabble at a time.
Babble on, your confusion makes you mortal, to my mind.
Tick.
A quanta of time. Does time come in bits and pieces cernible,
but undiscernible from reality?

Babble.

Of course, time will tell. We learned that in our sleep, did we not?

Aesop taught us more than Moses, no,
Aesop taught us less than Moses.

But, we could learn to walk bearing the weight of knowing what
Aesop taught,
while we could not stand under the weight
Moses was said
to have taught.

Caught you, Jewboy. Whatchewknow?
The moral of the story.

THE IDEA is to win.
Beware the concision decision.
incisive devices, witty inventions.

Flip the shell, roll the bones, cast the runes and,
as luck might have it, die before your time.

Why factors are lies more oft than how factors.
Benefactors rule malefactors or
how or why would we invest our time in seeking reasons
to believe?

Is this the polished piece, the gemstone of specific gravity
(which currently means nothing to you. Here, you find too light
or too heavy, too weighty on the scale of specific value.)

Hard. Value hard, diamond hard, on Mr. Moore's scaled model of
Knowing exploding for reason's sake, raison d'etre, eh?
Too hard?
Not Mohs,
don't get me wrong.
We been Moore's law breaker all along.
We be manifested destinatory stories of heroes gone wrong.

Outlawed
knowing exploding to be reasoned with, by kind
children destined to become
written in stone, scarred by lies

Diamonds cutting diamonds, iron whetting iron
on eternity's edge.

Babylon, was it Bel's gate or fusion from below rising?

Magma fountains with diamond claws tearing the lands asunder
Is asunder still a word?, let me, allow me to define...
"into a position apart, separate,
into separate parts,"
mid-12c., contraction of Old English on sundran 
Middle English used to know asunder for
"distinguish, tell apart."
From <https://www.etymonline.com/word/asunder>
----

mumbler's humbler PIE, bowing before the knowers who
know nothing of my work.
Set apart, art thou holy aware?

Hermit me, meet the rest of me. The true rest that remained.
We live, you and I. Trust me, next is worth the wait.

Suffer needs no pain to make its point. Waiting is.

Grokk. WHO would believe that idea could live
through telegraphese to be tweet meets for the
Cosplay clans. How never grokked a rock,  why even less.

Strange, not be long in this
place. if
place this be. Odd
set aside
torn asunder
blown away.
Awake, little birdie, tell me true,
what's a man like me to do?

Did you meet the famous Mr. Blake?
I cleaned his chimney, way back when, chimbly's whut
we called em. Smoke stacks belchin' black
makin' black moths invisible to voracious
gulls.
Now the peppered moths are free
to be white-ish, for better or worse.

----

right, now, do right or

miss the mark,
the specific mark you made, maybe,
imagining, abstract obstructions missed
by the skin on Job's teeth as you run past

right now to more. You know?

----=

Story telling was the same as lying when I was a child, to me.

Telling stories was my gift I never took. Or am I lying? or mad,
in the old way.
Chailot's rag picker was my best friend.

No noble thought ever found it's home in my head, once
I thunk it, it stunk to high heaven, for me stinkin' thinkin' it.

Po' ems sang sour to fiddles wit' one strang and drums with no
cymbals
Screamin' he owed m' soul the comp'ny sto' bang bang thud.

I died, he lied, and lived to tell this story, ****** if I know,
****** if I don't.

True as true can be. I am lost, but once was found,
lyin' rough, uncut in acres of unseen gems.
----
* Voltaire refused to teach me any thing I could not define:
late 14c., deffinen, diffinen, "to specify; to fix or establish authoritatively;" of words, phrases, etc., "state the signification of, explain what is meant by, describe in detail," from Old French defenir, definir "to finish, conclude, come to an end; bring to an end; define, determine with precision," and directly from Medieval Latin diffinire, definire, from Latin definire "to limit, determine, explain," from de "completely" (see de-) + finire "to bound, limit," from finis "boundary, end" (see finish (v.)). From c. 1400 as "determine, declare, or mark the limit of." Related: Defined; defining.

So, imagine facets unseen, I am at least a meme, a bubble rising on the tide. Think, as you will. Amen?

Mary looked up to see tears
on Joseph's cheeks. She.
was exhausted.  The trip that
ended in the birth of her baby
was a flight out of Egypt

Tomorrow she would be in
quarantine. The contamination
of her body must be resolved.

Theirs was a strict following.
Her blood must never touch
hallowed ground.

The baby boy slept, unaware
of the Laws.  

Mary felt the sweat of her labor
dry stiffly around her forehead.
The World would wait.

Jesus's was the singular cry.
The long last breath of Hope
sweet on her face.  The
foreshadow of someone's
salvation loosed.

Mary sank into sleep
safe that she and the
baby could begin the
long journey to Calvary.

Did she know the last
of a mother's desperate
clinging to the moment?
Jesus smiled at her.
Cry
Mary brought light into
darkness, fuel into a cold
night and a will of

determination to sound
down
the Corridor to
this

Magic reenactment of

Religions signification.

Mary rested with her baby
for oh so short
a

Time.

Caroline Shank
12.24.2022

somehow drunk on language: a jazz impromptu...
nothing is ever to be orchestrated
or read from a script...
    
               and drinking besides...
               a manifesto on the sly?
               i hardly think: or rather:
               i hardly want to...
               compose one...

but i am sure to find some freedom... it's not
that much... it will do: working from the confines
of a dickensian paragraph is all the rage:
of all - but not these days, to be exact...

crumbs from the table of "muse"...
   it's a low-hanging fruit...
   something of the sort of worth than can only
   be worth: merely passing the time...
    by the mortal "adventure" circuit of events...
   this is me: not being present when
   beer, or flour... or ketchup...
   or mayonnaise... or the method of frying
   using oil... or poaching an egg...
   or the litany of respective spices
   being used in a curry...
  something grand... the moderns and their:
darwinistic slyly sliding into every narrative:
ideologues of darwinism...
who are they?
the history of man...
a back and forth:
starting with / from today...
   all the way back to... primodial times...
hunters: we were...
gatherers: we were...
foragers: oh for ****'s sake: WE WOZ!

i'm tired of the monkey veil...
               at least under the iron curtain...
something of freedom trickled through
the sieve, the cracks...
      where to? given this silicon curtain:
freedom on... zee fekkin mond?
apparently very little "history" happened:
or has had to happen...

there's only now: the 20th century...
   and then... nibbles of the 19th century's zenith
of... thomas ddison and george westinghouse,
alexander bell...
       but prior to all that...
the 19th century inventors and pioneers...
the 20th century pop culture...
all those ignorant ***** prior to the grand: "US"...

when darwinism: which is an ideology...
goes beyond biology... and... like leftism...
like communism... spreads its tentackles
into all things unattached with it...
i can hardly see a consolidation argument:
an omnipresent "needle work thread-through"...
am i in denial or do i simply think that
darwinism has robbed history of time...
as a linear motivation for moving forward:
by a poppy seed's volume per year...
on one's knees: up to climb mt. megiddo?

i am pretty sure darwinism...
        doesn't have the capacity to dictate
a branch of history that stresses its presence
via etymology -
how... the word cool: is currently out
of vogue... and in decline...
               back to the reality of:
having a cold beer...
           which is cool... because a room temp.
beer is... choice:
bad-manners... crass... puke-juice...
and some others i'm tired to conjure...

  but this jumping from: primodial man:
to the current, modern man...
and leaving no traces for the middle-men...
a philip augustus of france: the capetian...
      
     pompeii: circa 70ad...
                 sometimes the gods would visit...
hermes trismegistus...
       because it was: so...
                   then again:
the darwinistic historogical reflections are
a bit like saying: we've been hoarding...
there's no brain without a fever to store all
the past claims of vanity...
but a complete whitewash...
a blank slate... to work with barely nothing...
and to dress it up to...
the language and fashionable attire...

    it's like jumping from the big bang:
a lot of banging happens in a vacuum...
              oh yeah... you can hear a needle drop
in a vacuum of space...
what a name: genesis: big bang...
big hole bang black: is the way forward...
let's breed us a middle-ground of
the copper / cinnamon royalty...
                     i start from the north...
you start from the south...
we're bound to create a new equation
for where the equator should be...
on the 23.5°N line...
that story: all out of africa...
                    who brought the albinos?!
but do you come across a copper cinnamon
people quickly?
   it's mongrel of... black words on white paper...
there's even a name for it... tropical:
and cancerous...
    because you were never to witness...
what happens...
when there's a first investment in mixed-race
coupling...
   come the second generation and the bleaching
is continued:
               there pops up a curiosity:
like afghani blue eyes...
              
perfectly matched-up insomniac journalism
and darwinistic historiology...
   oh: everything that came prior...
insignificant...
  but i am sure i wasn't there... when...
flour first came into "being" and when eggs
were first harvested for the mass production
of cakes... and when there came about
a domestication of a mountain goat...
or how the cow decided: two stomachs best...
and a... digestion process that...
well: it's pretty much an imitation
of that of a fly... which is why: let man conjure
up elves, orcs... and let the gods mind
conjuring up: elephants and... sloths...
and... the man who invested in trans-genderism:
consciously ingested a tapeworm embryo...
to feel: what a "foetus" would feel like...
what is the tapeworm... if not the placenta
without a mouth?
                      
    islam and hair... though...
               is hair all, that?
                   what about: the manic pixie haircut...
tomboyish... slanting almost shredded
in look...
                  what about:
a fly in a champagne flute...
    or... there's a hair in my soup!
       i know that some people react to hair...
in soups... with... a... 'get it away from me!
poltergeist! poltergeist!'
          hair... long hair... does it have
to be about hair?
   i don't seem to be lacking in this grace...
                               but a perfect skin...
   oh sure... said the bearded-lady...
or the french: au naturel propagators...
   but why is fair such a must: must... fancy?
was there this 6th century affair for bad
teeth as there might have been for...
greasy wigs?
            
                        now wouldn't wearing
a hat like a hebrew might wear a kippah...
notably in those 1950s movies...
    and prior... to have to be always attired
with some headgear...
                and... the trousers whereby...
they reached up... to the mid-torso...
     and would never be... worn like today...
under the bellybutton...
  
   hair... hair in my soup = there's a fly in my
champagne flute...
   i'd probably gag less at the fly...
     spawn of the disinfecting maggot brains
that would sooner feed on dead-flesh
than...

   maggot bullets for every zombie apocalypse...
a maggot bazooka...
maggots grown as g.m. crops...
fused with... piranha d.n.a. branches so that...
they could bite exponentially: quicker...
like jigsaws for jaws: or
                   super-slurper-vacuum openings...

this menacing: over-arching... shadow of time...
if there's no past worth to remember:
or its picked-and-mixed like penny sheets
or like extracts from the goodbook
for the apologists...
                                        but talk about...
the time it takes to boil a litre of water...
and the time it takes to... produce a bottle of wine...
jumping down from a tree:
huddling in a cave...
coming from the ***-side of Versailles...
then moving into... a communist concrete
chicken-shack...

                 and now:
journalistic-insomnia...
                                and... the forgotten fire
with exception to the candle:
               U.V. and poltergeists of neon...
always to be given... reiterations of reality...
while also... attempting to digest...
a thinning ice of fiction: narrations per se...
      
      i call for the federation of niqabs
and foreskins...
              at least a ******* is that sort veil:
that veils the least...
there are those ***** hairs
i call a beard...
and come: the story of the moon...
and there's artificial lightning:
i can actually compete with mel gibson's
"gibbon"...

            otherwise for me: the niqab of the soul...
or: why is he so: "ouch-tistic" rummaging
with his schizoid eyes:
averting the look of what's become:
the mini-skirt: perpetuated *****...
if only i had lived to have lived:
an aborted foetus...

    thank god for bulgarian prostitutes!
than god for bulgarian prostitutes!
a whole lot of them that just want
to ****!
the double-twist of: there's a ******
tux for every uncircumcised male: waiting...
liberal socialist democracy has:
zilch on the matter...

i'm still more bothered about how
darwinism made its plug-hole manoeuvre...
an apple a day: keeps the doctor away...
a poem a day: keeps the psychiatrist at bay...
for such advances in medicine and science:
that these branches still allow
sadists armed with pharmacological weapons:
calling the brain a... chemical soup...
i am not that much half-... Brian ist tod...
but i'm also hardly the
cucumber schumacher...
                 when skiing: just because:
and the snow forcaste is like what?
a burning tire exercise?!

                    if i was truly angry: i wouldn't be writing...
to invest in a boxing duvet wrapped up
in clingfilm... not my thing...
i like to see anger... evaporate at my fingertips:
rather than clenched into a fist
for a knuckle arithmetic...

how can i become: silly / angry about
english girls groomed and gang-***** by pakistani
men...
   remember: i'm the abortion that didn't
happen that somehow wrote this:
i wouldn't be touched: or ****** or...
                    all because: this one time...
at band-camp... there was a girlfriend and i
should have known better...
and for all i know: roulette and blackjack...
and if not mine...
then his... and that's 5 children squeezed
out from her ****: when i would have
advised for a caesarean section because:
a toddler's head would not be anything:
quiet close to... my ***** envy of...
a 12" **** of a roach...
and a kim kardashian ***...
which would be necessary...
                   to... wade through all that
gelatin bubbling and trembling!

my ideas concerning homosexual ***:
thank you, the kiss was great
is the gaybar...
but... i am confined to...
enjoy taking a ****...
esp. diarrhea consistency type:
i sometimes catch myself with an onomatopoeia
of a groan...
    something is always supposed
to come out... rather than in...

i'm still not angry... if i weren't an abortion...
then i'm expected to be...
eyes-darting autistic...
hardly able to read into
a physiognomy...
   i must be: unable to: interpret a smile...
i am drying up on finding new music...
so i must be outside the compensation
parameters of an "in-crowd"...

                i have to... most probably...
start working a genesis with a niqab...
or i have to make donning sunglasses
mandatory for men...
like... oh god: don't invite stiching
the eyes shut and the cenobite Butterbite...
what's a butterbite?
a butterbite mistakes oral *** performed
on a ******* for an oyster...
sooner: rather than later...
the **** becomes the oyster...
the oyster becomes a tulip...
the tulip becomes a slab of butter!

because: we're expert at this...
schumacher is still a ******* cucumber...
and it's not like, death:
this instant... a tweet...
or a telegraph...
it's a bureaucratic "backwards and forwards"...
watching paint dry...
or catching a snail on the nod...
an itching spider without a web:
a very abled... sportartenspinne-mann...
     spandex galore: clue?

hell... i was thinking about...
how more agile:
when darwinistic ideology would come
to ruffle the feathers and sieve...
and what became of existnetialism...
headaches and minor indigestion faults
from the 19th century: Denmark
would: or could become more apparent...
ruffle the feathers...
pluck them from a chicken...
poach it for a soup...
       perhaps roast another one...
skin the pig and cure and later
curate the skin that would become
a leather for a belt...
                
   darwinism and historiology...
heidegger might have summoned the term...
but he wasn't "battling" with english:
islander-thinking...
           "solipsism"... or for that grandiosity
of: the great h'america:
our best kept: interlude...
constantly revived: beside the confines
of Idaho...

          and the modern "question"
of islamic religiosity...
i call the same...
the mind is less obviously tinged
with... markers...
akin to... isoprene and atomic chlorine...
after chernobyll:
why was liquid iodine prescribed
to pregnant women?
markers: like dyes...
  to invigorate the "sedation"
of... an otherwise invisible reaction taking
root: or place...

islamic religiosity is...
very much akin to darwinistic historiology...
the study of history via monkey-dough
and brains and somehow also the ****:
the building block of aztecian flat-top
pyramids...
                islamic religiosity is...
the 17th century looking at 21st century...
darwinistic historiology is...
the 21st century...
looking at totem and the primodial man...
encompassing him in the present...
the 2nd through to the 18th century
are a bit of an amnesia...
better call it a lobotomy...

               there's knitting! there's picking!
there's the apologetics...
history taught from the perspective of darwinism:
is very much akin to history:
taught from the perspective of communism...
i'm sorry: one ape one world...
i do see the fullness... from the perspective
of a microscope... that becomes
the bottle-stump... once i'm finished with it!
having drank my fill!

to romance the vampire is to also
romance h.i.v.
                how does darwinism fare against
the backdrop of: orthodox: strict...
since there is no true darwinism in nature:
and nature: vetos... whatever are the opinions
of the ideologues:
the sieve... the harvest... and the discarded...

there's always an alternative:
etymological... in that...
prior to the written word...
there was the reasoining abounding in...
what came thirst:
the "d" of Δ... or the Δ: a triangle?
               can a sound akin to "d":
occupy... a sound... geometric tool for
exploring... O... omicron...
what came first? "o" and oh...
the phonetic encoding: O...
OΔ...
                      just a suppose...
                                  
   what letters: from greek... could have been
borrowed from the natural world?
O: moon and sun...
         Δ: the mountain...
                 β - a ***** and an ***...
          ζ and ξ - a serpent...
               ι: the fraction stick... and arithmetic
counter to a • or an apostrophe '''''''''''
                waves of omega and the mu(se)...
   prior to the key and the lock and
a door: φ (key inserted)...
              θ (key turned)...
            ψ (door opened)...
           i.e. Ug (Yγ): a tree...
                         applied to the key and door?
it's not a hammer... there's no nail...
                      eta (H): rugby goalposts...
    
etymology doesn't suffice...
      the words will become morphed...
the letters are a priori...
   as numbers are...
but... whereas numbers remain intact
within the confines of a priori:
letters take on a posteriori meanings...
notsably eta (H): the rugby goalposts...
or the "vector":  (φ, θ, ψ)...
rho implies: an amputee sysiphus...
but rho is a P... hence...
the lost thrill of a R put against
the wall: and shot to a trill!
a rattlesnake ramble! mein gott!
what loss: in english and tarantula
numbed! i walked down a road:
that almost became: woad;
sly little *******...
give me a universal language...
and i'm pretty sure that it will not
be one... with a skeleton of ancient
roman to master and craft with!
donkers... plump plums in "origin"...
a Baghdad...

since the full mechanisation of the key
and lock are not represented:
but rather: insinuated...
                        
                        but there is a door...
imagine, to boot...
that there's, also, somehow...
a necessity of a doormat!

- because in vestern europa: it's about time for:
"zee... pudding-reis-poodle-tops!"
much easier laughing at german
with some "vikings" in tow...

i just abhor how darwinism has become
the neu-ego of history: "abided" by...
like... this be the zenith and 100 years
from now... people will not laugh...
or... i much prefer: scold and frown at...
because i much prefer to be baptißed
using boiling...
         using water... that might allow
me to escape... the confines
of a couch: the comforts of a skin...
and all matter of leather: thus concerning...

i am happy to allow myself the following
sentence: the rats and the moon will always
tell the better "story"...
  liberal hard-ons that are hardly quantified
as matchsticks...

you're looking for communits in your current
"conundrum"...
looking for "them" leeching and lurking
from beneath the eisenvorhang?!
          ostenberlin?!
                       i had the impression...
that... your comforts... your dickens...
your semi-detached bogus heavens...
and that's what was required...
for you... to breed your own...
without having to...
outsource the idealists:
                     your... 'aggis neeps and tatties:
roots of "origins"...
you have your own sort of communists...
mostly t-shirt print enterprises...
and... whatever...
looking for communist from under
the iron curtain...
is about like scounting for both
rats and cockroaches...
and a honing idea of the hive...
because rats wouldn't eat roaches
and the two could, somehow...
fashion of symbiotic vogue affair...

you know what ****** me off...
the most... about not being english...
leverage of pompous audacity to state
the most: infantile opinion...
worded: i know:
you cough... i sneeze...
we'll reach an equilibrium, at some point:
to make references to:
and a past...

precedence: to "think" is to:
th(ought i)... and all that's counter-productive of
"i labyrinth" and: thought and i...
or... scalpel: nurse!
grammar! genius! ******* rollerskating chimpmucks...
and... h. p. lovecraftian odes to...
squids... in less than the already:
"murky" waters of... perfect the... widespread
genius of comedy...
via... ridicule... via... bulimia...
via... cooking a steak: well-done...
over-cooking pasta:
the diet of al dente...
                             burning a mushroom:
not being to: not being able to:
and that: to Baghdad... from Loon'don...
                  virtue signalling:
a clap is... 1/100 of a fraction of...
someone... being deaf and having to resolve
the matter: sign-language about to be translated
into... braille!

the islamic religiosity of "today" is about as
mcuh equivalent as the "today":
under darwinistic historiology...

looking for communists from under the once
former iron curtain divide?
good luck: i'm wishing it unto myself:
about to find Mongols in... Kiev!

came across some burden of a sourdough:
and it's like in england:
it's "theirs": never the agony of eating...
a bread... designated to be toasted...
when it just had to be... eaten... "raw"...

what's the fan-base for raw herrings...
within the confines of Nippon...
or these... grandeours of the:
only isles... my ideas to make
metaphors of the crucifix?
a ******'s riddle...

we're looking for communist: y'all!
i'm looking for Belze...
                  and: mādégehirn-verrotten
         und rätsel: ungezieferfreude...
zylinderanziehen: der großartig:
     schwule -            
der: scrumptious...
                                               fladenbrotmann!
bessermann: das englisch...
                   herr portillo... chuckles should
it come to:
   steam-trains and replicas...
and politics: was never really...
about harems and hard-ons...
                                       really?
ask a Baghdadi then: if you pleaz...
Lawrence!

chance of me being spoken to in russian...
and being: reciprocate...
are all yours: slim jim!
  no... seriously...
a ***** of a language that is...
english: i am... most astounded that...
there are some peoples of this world
that have not: yet... allowed themselves
to translate this:
bellybutton orientation of the world
via genus: greenwichus...
to be: unifying versed: et al.

        i must bees the retardedwoz... kin:
and oops some year later...
or: to hell with keeping up...
anything beside the appearing so...
i:  "for the love of the countrymen"...
of which i have none:
are 9 my commuter friends:
and with the romanians...
and the bulagrian ******...
the polish plumbers...
the english... could have their catwalk
of opinions!
who skinned the chickens
and who did what: my shadow lacked
or i slacked over with?

i want to forget because
i just don't want to unravel in...
i would work an honest's day... of worth...
if i could work for a: get together...
or none...
             it's so disorientating...
and... lacking in motivational bravado...
to have to find one man: working...
and the other: *******!

   talk about... having to resort to mind:
the manners to count jack'oh the ol' keeper...
because: abortion signification is
burning a foot in the sole
of my shoe...
and i'm about to make do with
walking a ******* mile...

               and there i was... conjuring
the fetish fancy:
all it would ever take...
was to pretend to... attire oneself /
i.e. make pretences of: pweeety pretty!
i like being governed by:
you have to be wrong...
for the mushroom and tapeworm
and the cuckoldry muppets to be: oinking:
and with a nodding:
the holy approval as: no other route...
other than them being "white".... Rrrrrrridle
no?
                     no -ight then!

.**** on me, how many unpublished drafts do i have? they must be bad, so, skål! as much as seeing others see them, as me walking naked on a street, come noon! - and beside that, see... i'm slightly bothered, for me there were two major events from the 20th century as sources of genesis... i'm sorry, i'm not old enough to base my concerns in the Aushwitz / Holocaust dimension... but why wouldn't i side with the Yids about their homeland, my homeland is only 100 years old, speaking from the date of its revival, after, the ****** nobles, misguided it, and let it be carved up three ways, a third to the Russians, a third to the Prussians and a third to the Austro-Hungarians: no wonder i do not don any tattoos on my skin, i already have plenty on my mind. beside the point... i can't claim a narrative of world history from Auschwitz... there was another event, in the 20th century, and, fortunately, or unfortunately (however you look at it), i, am, part of. 25–26 April 1986... i was born, 15th of may of the same year... how many days is that? 20 / 19 days apart... apparently may that year, in poland, was most beautiful... but that streak of autumnal looking trees in the park, between the spring bloom was odd... i still have a scar, from the birthmark, given to me, by Chernobyl... sure... Chernobyl, miles and miles away from where i was born! atom is not, a ******* tornado! it would appear: a time in history when faith and science came together in a marriage of: what people can't see, they will not believe... and they didn't... until it was too late, the after-effects of Chernobyl are still resonating, how many of my family members succumbed to cancer? cancer of the blood, a cancer with terrifying optics, i.e.: you can see it move around the body. so it wasn't economics that prompted my parents to move, it was the fear of living in Poland, with the after-effects of Chernobyl. so please... please... if Auschwitz is the only narrative genesis to speak of? go to Auschwitz, along with all the other returning tourists... but... good luck, trying to gain access to the ghost town. after all, i respect the Yids, even if i am not circumcised, but i do study Qabbalah.

lucky me, and the poem i just deleted
by accident...
   how i mentioned the devolution
of the letter R, i.e. the loss of the trill,
in that the french hark it,
while the english have numbed it,
how the R still represents the rattlesnake,
in the gymnastics of lingo,
and how in the broth of french / english
is represent a mutation...
how the R was almost a wheel in terms
of rolling... and how the english
still cite latin phrases with the trill
incubated,
but how the R has been devolved,
derailed...
      how there is too much ambiguity
concerning iota in "inverted" / double
the ditto membranes: "ι" -
    implying a loss of responsibility,
but never the lost origin of the wheel
in rho, in R... i.e.
dynamism of the lost front leg,
giving the rotary collapse motion...
and how the original R was a rattle-snake
imitation,
how the original signification matters,
unlike there being no boa in sight...
from a trill, to a hark to a tarantula bite
on the tongue in english...
the letter has devolved...
     and who are the two coolest drummers
in rock history, poker faced?
the title mentions them...
                i really can't reproduce
what i wrote and just deleted,
  i can only think of the punk power three
according to green day,
and the power four of en vogue...
mulaut with blood cherry lipstick...
  я знаю: i know -
           for every ю grapheme (yu)
there's a я grapheme (ya) -
          znayoo - себя -
  б not the antithesis copernican of ρ?
so much for a 3D earth, still most strong
within a 2D context.
i still prefer the original text i accidently
deleted...
          it's called the devolution of
the letter R, and the "evolution" of
the double-affirmative of identifying the speaker /
"thinker"...
     the french & the english already
believe in the existence of the rattlesnake,
giving how they mishandled keeping
the trrrrrrrr -
   or called it twamp instead of *****...
tongue numbing antics;
still the original idea is there,
who is more poker faced when comparing
charlie watts & larry mullen jr.?