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

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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

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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

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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
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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."

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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

All Along this chain link fence
pulsing incessant down ground-ward decent

Bone paved side cracked and twisting this winding road
No street lights rest stops my nerve twitch eyes closed

swelling and curving no stretch in shoulder
Wheels rub the hot spot as ripples get louder

Sliding highways you know that fun
till happy turns hazard drinking redrum

tumblingdown head first
shatteringhigh star burst
scatteringmy focus
splatteringlike bone crush
scaffoldingdo not touch!

Another brick in the wall of fame
extra activity considered the game

Now Excel at macro Alt Shift and paste
spreadsheet my back line the facts on my face  

"Say Boy!, your speedy." from there I can trace
That needle-nosed issue in tissue displaced

bend over run forward turn left then cough
so perfect small packages get checked in then lost

Like milli tary or leaves when it out lived the need
***** the life from under shelter asteamed

Sleeping pins needle in terminal sensation
clinching and grasping to my spinal decoration

twisting and turning will bring no release
this physical chain from my **** cyst to neck leash

when typing or driving the pleasure is lost
when numbness takes over attention to high a cost

I'm broken together
one round at a time
yet the cords are in place
to ring in tune as it grinds.

Never let someone else decide how good you are. And never make an exception to that rule.

Your words, and your unique we of expressing them, are a gift given to you. If someone else doesn't appreciate them, then good for them. It's not their gift, so it has nothing to do with them. Its your responsibility to respect your gifts and to protect them from negativity; typical of these lower life forms, called Haters; annoying little creatures that feed off of other people's energy and hard work - they spawn fairly quickly and dewl in the depths of social media, hidden behind computer and smartphone screens. Usually over-weight, bad breath, single and filthy broke. Hindered by limited hand-eye coordination; they simply **** at every thing. They are pretty pathetic, in person. I mean they look human, but have no spinal cord, so they don't stand up straight. Their habitats similar to that of a large roach, just messier with and more filth. I hear they are contagious, so be careful. Don't let their negativity rub off on you, or you will end up like one of them. A soulless zombie, paroling posts looking for a something stupid to say.

have you ever felt
lost
in a deadly abyss of
thought?

it's emotionally
exhaustive
and socially
caustic
to be caught
thinking
thoughts
instead of
singing
songs.

with those
disturbing thoughts
come a lot of
perturbing feelings

and if you've ever
been unable
to explain or
detain
one of those feelings
just know that
you are not
alone.

not all of us can
assign a name
to an emotion
however benign
not all of us are so
well acquainted
with our own minds
that we can picture
the face in our brains
staring us down

but i'm daring you
the next time you
cannot justify
cannot simplify
or expedite
a feeling down
to a name
just don't
even
try.

place your finger
over that emotion
the way you would barre
your guitar strings
heart strings on
the second fret

gently
gently
run your other
hand down over
the sound hole
located somewhere
between your
stomach and
sorely neglected
central nervous system
and then pull
it back up
to play the
melody of your
most knotted
spinal chord
not too fast
not too loud

or if you find
it easier to see
the white notes laid out
unroll the shiny top
over your backbone
and press down
softly
softly
bending your fingers up
and down each
key of vertebrate
in an ascending or
descending scale
the length of which
depends upon
how tall you are.

slowly
slowly
forget
about
names
faces
sleepless nights
or how your insecurity
is still on par with
you at fourteen
when you first tried
to exploit it into music
but now you've found it best
just to tuck it behind your ears.

and learn
the cadence of
that feeling
explore each
note and tone
and play with
how it fits into
a song
surrounded by
other sounds.

you may never
play it again
you may play it
every day
for the rest of
your life

but all that is
irrelevant
in light of this
moment
a few seconds of
stilted peace and quiet.

listen to your
feelings
until your fingers
bleed
out the suppressed
emotions
society expects you
to ignore

play them like
you were in
an orchestra
and this was the
moment
of your solo

but don't
name
anything
unless you're
calling it cadd9
gsus4
em
or a7

and never
find yourself
or your
heart strings
afraid
of f#m
or even the darkest of
spinal chords
for i know that
everyone has cried
alone in the
dead of night
over the sound of
b flat.

The seductress on my mind
Lives in full on expression
Laced in the free confines
And platitudes of direction

The sequential confessions
A private march of signs
Lead aggressive regression
A spinal tap of times

Timid forms of prose
Do not impose, much
In the way of speech
Or the ways of preach

A dandelion blossoms
Fully under direction
Of gunfire and hellfire
Made in mans *****

A milk which is colored
A dark, rusting, crimson
For this is the gift adorned
An antiquated prison

A dream once flowed upon
The rivers that line my arms
Texts of pharaohs charmed
With distant songs sung  

Yet, not distant enough
Into a further realm of
Steak, salmon, wine, and
Pontification, a type sublime

Cardiac and stop and frisk arrests
Psychedelics and prophylactics
Insomniacs and chipper morn birds
Courage and numbing fear tactics

Topics are churned forward
As thoughts are yearned for
But are seldom rewarded
Without snide comments

Even if contorted to fit
Daily textbook definitions
A raindrop is precipitation
Not tears from eyes of perdition

Said a jeering member of an alley
A gatekeeper for all of Hades
A living reminder of what shape
Controls societies minions a plenty

I believe you are a queen lost in time
You are the seductress on my mind
The boom-bap of 90s street art hop
A collection of lives birthed caught

You are the desire of my epicenter
The freezing of my two lips together
A culture of desire and of fortune
A soft room with croons in tunes

I believe you are not pink matter
You are the color scheme in the sun
A serpent slithering within disaster
A tale of victory and woe as one

Tears sting the edges of my eyes
As shadows are cast upon my soul
A tree in mourning for it's seeds
As oil desecrates, dry, shallow soil

When did this become a love poem?
Atop the raft my dreams have flowed
Wordsmiths fashion sturdy homes  
To heal the word and to help growth

Inside one of these I fled and bled
In it I found fish, water, and bread
Self-hate and despair had spread
Until it was fully excreted in death

The seductress on my mind brought:
Dandelions with smoke from gunfire
Milk which was crimson in color
Pharaohs songs of golden charm
A conversation in full, and open arms
Arms that held my dreams with calm

Constructs of love and poetic meals
Heal the surface of darkness scorn
Feeding the soul of it's sullen needs
A return to an innocence unborn

tonight I faced my biggest fear
of a dog charging at me
and not letting it get hit by a car.
Unlike how you grabbed my ankles
and threw me head first into
a semi-truck and watching as
I combusted into dust and gray feathers on our 5th anniversary.
Maybe you were hoping to see a plethora of colors.
Just because I tended to inhale paint 
and spew it onto a canvas means
nothing. 
Y'know, it's awfully rude to build
a house on someone's spinal cord
after only biting their lip.
The blood didn't fill my mouth,
so I guess it didn't mean anything.
So until it does, I'll wait until summer
thaws the hearts of dead bodies in
every concrete cemetery 
so I can hear the earths core
sing my favorite song,
you hitting your coffee cup on
our ceiling like You've Had Enough.
You used to play it with your pulse
so loud the walls would shake
and start to erode at each crevice
your song made.
That poor house never stood a chance 
with the way our internal screams
messed with the plumbing.
But that's why you're hammering
nails into my vertabrae, 
and that's why you keep my coat 
on the tip of your tongue.
So I'll have a place to call home
and you'll always remember what my 
lips tasted like.
Vanilla and saltwater.
The taste of past lovers and sweet futures you always said.
But now your house is gone
burnt down by the fire that is my soul
after you three gasoline into my
intestines to get rid of the old letters
my mind sent through my veins.
never say you loved the hot waters of my skin.
you changed the temperature every time you got the chance.
which begs the question
how does one turn the dial
on a heart encaged like a bird?

I fear my only happiness comes from waiting.
Anticipating.
Shifting shapes inside my head
Contorting proportions
to get what I want.
Contentment stems
from reality and expectation
extending hands
in a gravitational relation.
But what happens when reality is really
inside the mind?
--in line with slimy fascination
Is the happiness I find
Real or pseudo shine?
Does my neck hold a head
Or a noose
whole?

Because insanity is just playing
the same game
expecting there's something new
to gain
--besides the pain of an empty
plane
backed up inside
a spinal drain,
spiraling down
an icy vein.
Insane, I tell you--
though I'm the only one
calling my name.

Barbiturate is one of the few drugs capable of killing you painlessly, so of course the state has banned it. Instead we get paracetamol, a ****** over-the-counter painkiller that leaves you in pain for up to five days while your liver and kidneys shut down. Suicide prevention is a ******* joke. Secular appropriations of Christian values that assume life is worthwhile, whether you desire it or not. It’s long been known that rates of suicide rose dramatically with the birth of modernity—techno-scientific paradise for the middle-class which stresses efficiency over existence. New forms of automation, the human body disciplined into repetitious acts, the partitioning of workspaces so that no single worker could operate the whole—so that any worker could be fired and replaced with the minimum amount of training necessary for capital to continue circulating. The body is individualised, scrutinised, and punished by rich kids playing panopticon, so that any mass agitation is coerced into silence through the threat of destitution.

Slitting your wrists barely succeeds and more likely than not leaves you with tendon and muscle damage. Catalytic converters in cars now convert carbon monoxide into harmless CO2 and H2O. Drowning is one of the most painful ways to die. You cannot escape. The state places helpline numbers around suicide spots to treat life after the fact, rather than at the source of suffering. Vocal band-aids, ****** ******* aphorisms that seek to revert you back into a happy state-serving commodity. Things will get better. Life is worth living. Think positive. Alienation is omnipresent. Neoliberal discourse requires you to be subservient to the greater system of capital and the easiest way towards this is the instilment of comfort, of pleasant nullity, the circumscription of emotional capacity and reflectivity. Suicidal thoughts are abnormal, because life is worth living. Eat your packaged food item and watch Netflix.

For a drop into water to be fatal, it has to be 250 feet. Try to aim for your head to maximise brain injury. The most prominent suicide spot around here has a drop of 100 feet. They cordoned it off anyway. Your life doesn’t belong to you. The first time I tried to suicide my mother asked ‘why would you do that?’ as if it was the dumbest thing in the world. The second time, the doctor looked at me in an exasperated manner and prescribed me lots of drugs. Geettt bettterrrr. Nobody cares about you, they simply want you to return to normal. Normality as in serving your parents, serving your friends, serving the state, and serving the market. Normality as in not questioning social norms and institutions. Normality as in get a stable job (i.e. compete against other workers in an exploitative, undemocratic system that values and inculcates self-serving desires), get married (preferably to someone of the opposite *** who is middle-class and imbibes European culture), get pregnant/get someone pregnant (but only once or twice, because anyone who has more children than that is backwards), invest in housing (those students and lower-class families need to learn how the world works; really, it’s a benefit to take their money), watch sports (to instil national pride in your children; no son, we didn’t colonise the Pacific Islands, keep watching the man with the wooden stick hit *****), eat out every week (preferably exotic restaurants), go see the world (preferably exotic locations, so you can be served by exotic people, take in exotic sights, then leave without considering where any of your money has gone to, whether any of it has reached the slums, whether the beach you lay on is accessible to the people living there, or whether it has been privatised by the tourist firm so that only rich tourists like yourself can lie on it), join a club (those capitalists were innocent, it was the indigenous folk that were making a ruckus over the new golf course; it’s not like we’ve been colonising their land and culture for the past three centuries), donate to charity (but never any charity desiring systemic change; that’s crazy), consume, always consume (keeps the economy going; why question the desire for infinite growth in a world with limited land, resources and markets?), replace your phone every year (those poor workers in Asia need our help), repeat to the point of nausea.

The most successful method to suicide is a shotgun to the head; high calibre, slug rounds. Of course, with all these methods, the chance of failing may leave you disfigured, paralysed, mentally disabled or physically crippled (spinal damage, broken limbs, failed organs), with no guarantee that your family, or even your state, will allow for euthanasia. After all, the popular discourse paints suicide as selfish—an irony, considering liberalism places the self first and society second. It is viewed as sinful regardless of context—deontologically detached from anomie, alienation, material deprivation, social pressures, psychological affectations, any cause or structure. Life is worth living. This ignores that the subject is situated in existence. The subject moves through existence to live. Life, then, is the totality of the subject’s interactions. It cannot be universalised into a single state or judgement that merges all subjectivities into a catch-all worthiness. Worth is dependent of the subject.

I don’t know why I’m writing this. Maybe I just want everyone to **** themselves, because the world is ****** and the majority of people are ******* it worse. Most people think being nice makes them good. They turn blind to the systems of oppression they partake in. A while ago my mother was asking if I’d heard about the mass suicides happening at Foxconn, the largest electronics manufacturer in the world. This year she showed me her new iPhone. I don’t ******* understand. I don’t understand how people can be outraged at humanity abuses, yet do ******* nothing to help or change their ways. Yes, market solutions are ******* ****, but these commodities are still coming from somewhere, and while capitalism is in place, our money is still flowing back. I don’t understand how people can be concerned about ecological issues, then pour dishwashing liquid down the sink every night, dissolving the gills, eyes, and organs of fish in rivers and oceans. I don’t understand a ******* thing. I feel physically sick most days. I can barely function outside of university, because engaging with real people, in real systems, just reminds me of how careless, worthless, and disgusting they are. When I first turned vegan, my dad simply said plants are living too. Well no ******* **** dad, why didn’t you ask me my reason for turning vegan, rather than simply repeating the dumb **** everyone else says? If you were stuck on a desert island. Well I’m ******* not. I’m stuck on this **** world filled with nice people who don’t give a **** about anything. I’m stuck every week walking the same roads, to the same university, where I become more and more distanced from reality through abstract philosophical theories that no one else cares about. I’m stuck walking through the supermarket every week, to purchase overpriced commodities produced by transnational corporations I don’t support, but nonetheless have to buy to survive. What alternatives I buy are mocked because it's so funny being ethical in our day and age. Because it’s so much more normal eating pies, and drinking beer, and treating women like objects, and affirming nationalistic sentiments of white supremacy, and making fun of ethnic minorities while they’re incarcerated, and beaten, and killed. All lives matter, the liberal conservatives cry out, while doing ******* nothing to help any cause. I don’t understand this world, and I have no desire to be in it if this is all there is.

White dreams cascading
down my spine, down my
trembling thighs
with thoughts of slumber
close to you,
I must have been swept away
by this crystallizing sugar.

Heavy eyes, fluttering open
like an aloof spring day,
I have had my fair taste of
******* for the day,
yet it tastes rather like
infidelity and prayer.

Bitter to admit, yes,
this ******* has overthrown
my gut.
I have witnessed the curves of
it's chest and wrapped it's
spinal cord around my neck.

Platonic it may have ended,
yet my *******,
began with such a sweet taste.

perchance an epic was necessary, to consolidate the scattered thinking, and indeed, once a certain life, and was lived with a cherishing heart, the heart broke, and life turned from adventures to a more studious approach, and in here, a comfort was found, never before imagined explorations - of course sometime a tourist in the arts does come, but such tourists quickly fade, and the pursuit becomes more enshrined - to levitated towards epics is perhaps the sole reason for the cherished memory of some - and how quickly all can revolve around a searched for theme, after many incorporations were minded - as one to have travelled the Mediterranean, another to have been eaten by the great mandarin silkworm of the library of Kangxi - heading along the silk route with spices - indeed the great mandarin silkworm of the library of emperor Kangxi; as i too needed a bearing - to inspect the trickster of lore and the godly blacksmith of the north.

by instruction - an accumulation of the the zephyrs
into a vector, headed north,
toward the gluttonous murk of ice, jesting
with aches to the bulging and mesmerised crescendo
of adrift stars captured in the tilting away -
to think of an epic, to keep out-of-time of
spontaneity and thistle like swiftness in the last
days of summer, that Mercury brings the new
tides of the tetravivaldis -
   brought by the λoγος of a γoλας -
for reasons that satisfy the suntan copper of
the ***** - the λoγος of a γoλας - yet not toward
Monte Carlo or any hideout of money well invested
and greedily spent for a charm -
no, north bids me welcome from afar -
this norðri fløkja, this    ᚾᛟᚱᛞᚱᛁ       ᚠᛚᚢᚲᛃᚨ -
by my estimate, i could not take the nonsense
of numerology of a certain specialisation,
i took what was necessary, i pillaged the temple
of Solomon, perhaps that the dome of the rock
might stand - with its glistening dome and
its sapphire mosaics - i don't belong among
palm trees and date trees - hence i turned to
deciphering and subsequently encrypting -
as i have already with *ᚱᚨᛒᛖ:
the journey of an Æsir through a birch forest
on a horse.
                    with this method in mind:
(a) ᚾᛟᚱᛞᚱᛁ       (b) ᚠᛚᚢᚲᛃᚨ:

(a)
the need to acquire possessions accumulating
into an estate, is a journey encountered
day by day, although a journey on ice

(b)
cattle only thrive near water,
auruchs did not, and hence illuminated
their way to extinction,
         by way of the Æsirs' harvest
(to eat up diversity of life, and create
a godless world of man).

my escape route came from ᚠ - mirroring שִׂ
although the former standing, the latter sitting
down, although the former fathomable
to my pleasure, the latter unfathomable
to ascribe numbers to letters for patterns -
i seek no patterns, hence my sight turned to
the northern sights, and meanings amplified.
                
the greeks were intended to explore abstracts,
having stated a triangle
they invented the ² symbol and what not,
it was because
they didn't bother extracting a phonetic unit
from something definite,
they classified such endeavours barbarian,
what reasonable greek of 13% reason and
87% reality would extract alpha from
the sound you made when
saying ansur (ᚨᚾᛋᚢᚱ) - i.e. attention -
i.e. deriving a definite sound differentiation
for alphabetical rubrics from a definite thing
(in whatever classification that might be)?
the greeks used the alphabetical rubric of
crafting a definite sound from an indefinite thing,
so they said: acronym, aardvark, assumption,
                       α                 α      α     α,
then they said α² - there are no antonyms -
but indeed there were, hence the Trojan nation
settling in the boot, that's Italy,
the Romans escalated the greek theory
beyond taking out a definite sound distinguished
from other distinguishable sounds,
abstracting what the alphabetic sound assured
a list under alpha: assumption, advantage,
acorn, etc. -
the latins were the first atomist after the greeks,
the greeks believed in atoms, but had no
microscopes to prove atoms existed,
such scientific faith found no parallel;
the latins ensured this was true,
ending with castrato sing-along -
the latins furthered abstracting sounds from
definite orientation which the greeks did
working from ice into iota,
the latins just sang i, i, i -
of course chiral behaviourism of such dissection
emerged - hatch a plan, plan a chisel -
it's very piquant i mind to let you know -
the greeks abstracted nouns in order to create
the alphabet, the barbarians still used
proper nouns to speak proper, the greeks
thus created synonyms and antonyms to add
to the spice of life - after all,
not deriving definite alphas from
cursors that acknowledged points of origins
created diacritical stressing like comma and
semis of colon and macron, not deriving them
from definite things, shunning a helpful
vocabulary bank to an unhelpful vocabulary
banked: synonyms and antonyms the Gemini's
birth of rhetoric;
but the latins were rejected with their atomic theory
of pronunciation, since they became laden
with diacritics - punctuation marks of a different sort,
you can measure a man sprint one hundred metres,
but is that also measuring a man to say
mān or män or mán? i know that the slavic ó = u
given the scalpel opening the ensō to craft a parabola -
but it's not necessarily an accent debate
but a punctuation debate... the emergence of
the diacritic symbols above the letters is due
partly to their joy of the popes listening to
castrato operas and the fact that the romans
went too far... hence the chiral nature of certain
symbols when dittoing - the barbarians used
definite things to assert definite sounds -
the greeks used indefinite things to assert definite
sounds - mind you, if the romans became too
abstract with their little units that became engraved
with punctual accenting, then the greek letters
became laden with scientific constants as necessarily
fathered, unchanging in the pursuit of Heraclitus' flux -
for example... Pythagoras and the hypotenuse:
                            σ / κ² = α² + β² -
           or?
                             c² (ć) = a² (ą) + b² / š (bubble beep
                                                           bop barman backup hop
                                                           of shackled kakah
                                                           or systematic oscillation
                                                           for bzz via burp);
πρ² is still more stable
                                 than what the latin alphabet allows -
hence why greek phonetic encoding was used in
science, and latin phonetic encoding was used in music,
can't be one or the other - added to the fact that
latin encoding had too many spare holes with
the evolution of numbers, and greek didn't have them,
hence β-reduction in lambda calculus and F-dur and A#

the one variant of the grapheme (æ) they didn't include
among expressions: graphite and grapheme
was the variant - gravitating to an entombing
of the excess aesthetic - geresh stress -
somehow the twins match-up to a single womb:
àé vs. áè: V vs. Λ - Copernicus wrote over all
of this with the flat earth uselessness
in terms of navigation - flat earth is useless...
huh? flat earth is the only system that gave
Columbus the chance to explore the new world -
no flat earth no Columbus -
that satellite named Luna was no tool
in navigating across the Atlantic - believe me
i'm sure -
                  or that grapheme (æ) varied like statistics
or like the characters in the book of genesis
that famous adam und eve (kim and kanye):
chances came, chances went:
it was still a draw on the tongue tied decipher:
àè and áé proved another notation for plurality
was necessary, not at the beginning of the word,
but after, hence the possessive article 's,
we could have parallelism, there was a crux,
how once the chiselling of letters came about,
more economic to chisel in a V than a U,
both the same, much easier though...
almost barbaric i might say...
sigma (Σ) enigma rune e (ᛖ) - this compass
is a ******* berserker, god knows if it's
mount Everest or the Bermuda Δ

but one thing is for certain, never you mind how
a language is taught unless you mind it,
not that conversational athenian is really what
i'm aiming at - but a lesson is a lesson nonetheless,
out of interest something new,
richard von Coudenhove-Kalergi,
and what preceded him, namely pan-slavism,
just when the polish-lithuanian commonwealth
did a little Judaic trick of its own,
although snorkelling in the waters of not writing
history for less a time than israel -
you can't beat ~2000 under water - although
you could if your little tribe had an einstein
among them, or proust or spinoza, then
you could effectively become a whale, popping
an individual out from the rubble to say a polite
'hello' and 'when will the dessert be served?'
but indeed, learning a language on your own,
how to learn from scratch, the greek orthography,
and why omicron and not omega,
the give-away? sigma - purely aesthetic reason,
                             νoμισματων

                             nomismaton

omicron                                                 omega

                 you write omicron at the front
                 and omega at the back
                 pivot letter? two: σ     μ &
                 νoμι-                                -ατων
                      ­                     |
                 anything here  
                 will use o            and anything
                                              here uses ω

alike to sigma:
                          χωρας (choras, i.e. country)

sigma (ς) not sigma (σ), i.e. digitalising languages
without a clear connectivity of letters,
block-a-brick-block-a-brick-digit-digit-digit
you learn that handwriting is gone,
two options, your own aesthetic reasons now,
remember, some paired for the ease of handwritten
flow - digitalised language changes the aesthetics,
you make your own rules (considering exceptions
of oh mega mega, ergo revision -

                                       χoρας,

but still the sigma rule, others esp. o mega
you stamp on them like βλαττια, i.e. cockroaches -
κατσαρίδα                 not         κατςαρίδα

all perfectly clear when you explore plato's
dialogue from the book Θηαετητυς (as you might
have noticed, the epsilon-eta project is still
in the storage room of my imagination) -
but indeed in the dialogue, between socrates
and the "hero" of the book theaetetus -
a sample, without an essay on the theory
of knowledge -
socrates: ...'tell me theaetesus, what is Σ O?'
theaetetus: yes, my reply would be that it is
                    Σ and O.
socrates: so there's your account of the syllable,
                isn't it?
theaetetus: yes.
socrates: all right, then: tell me also what your
                  account of Σ is.
                                                             ­   (etc.
or as some might say, a shrug of the shoulders,
a hmmpf huff puff of hot air, impractical interests
and concerns - well, better the impractical
problems than practical problems, less feet
shuffling and nail-biting moments with your
tail between your legs and an army of
intellectuals working out what went wrong
and how history will solve everything by
the practical problems repeating themselves) -
you know that inane reaction - others would just say
Humphrey Bogart and nonetheless get on with it.

some would claim i was begot a second time,
not in the sixth month period of the aqua-flesh,
how did i actually related to the life aquatic,
for nine months i was taught to hold my breath,
however did this happen?
a miracle of birth? ah indeed the miracle of
a crutch for a woman - spinal deformities -
9 months, sort to speak, in water or some other
fluid - merman - a beastly innovation -
next you'll be telling me beyond this life
we turn into centaurs, given the Koran's promise -
you'd need the appetite of a breeding horse
to satiate the 72 - or thereabouts - martyr or
no martyr - 72? that's pushing it -
or as they say among children - a chance playground
without swings or sandpits, but very careless
gravitational pulling toward a certain direction;
nonetheless, they might have that i did indeed
settle of a sáttmáli                  ᛋᚨᛏᛏᛗᚨᛚᛁ
                  við         ­                  Vᛁᛞ
                  tann                         ᛏᚨᚾᚾ
                  djevul                      ᛞᛃᛖVᚢᛚ -
the hands you see, fidgety -
     hond handa grammur burtur    úr   steðgur
     ᚻᛟᚾᛞ  ᚻᚨᚾᛞᚨ  ᚷᚱᚨᛗᛗᚢᚱ   ᛒᚢᚱᛏᚢᚱ  ᚢᚱ   ᛋᛏᛖᛞᚷᚢᚱ
         the hands give an ardent pursuit
                                                 away from rest -
well not that my poems will ever reach
the islands in question - and indeed an
uneducated guess propels me - what does it matter,
λαλος babbler meant anything, indeed λαλος,
language as my own, is a language that i can
understand - and should anyone omit
disparities - a welcome revision would never tease
nor burn my eyes - but the phonetic omission
peeved me off: woad in water, ventricles in a
variety of entanglements - it's just not there -
and indeed, orthographically, if there are no more
optometric involvements of omicron's twin -
then the stance is with you to use whichever pleases,
i can't tell the difference, unless i was a pedantic
student, aged 70, with a granddaughter i wanted
to be wed teasing a millimetre's worth of
phonetic differentiation between the two -
POTATO PA'H'TAYTOE TOMATO TA'H'MAYTOE -
linguistically one's american and the other
is british, which looks like greek and latin
upside-down and in a mirror: pəˈteɪtəʊ, təˈmɑːtəʊ;
or as the spaghetti gobblers would put it:
the tetragrammaton is working on their
texan drawl (dwah! ripples in china) -
or the high-society new england ******* *******
coo with a cuckoo's load of clocks -
before being sent off to england for a respectable
education, something en route Sylvia Plath -
but not to ol' wee scoot land - ah nay - well
perhaps for a year and then talk of north european
barbarism of a deep friend pizza and mars bar.

and when descartes finished with christina
queen of sweden, she became an animate portrait
of feminine attempts at philosophising,
she was basically ostracised from society,
well, not society per se, she didn't become a stray
dog, but she forgot certain functions of
the upper tier - lazily modern man decides
to hide phenomena from understanding
individual instances, with the kantian guise
of a noumenon, hence cutting his efforts short -
indeed queen christina of sweden was ostracised
by society - only after descartes finished educating her;
and indeed to most people a little bit of sloth
equates to an amputation of some sort -
yet only with the x-files' season 2 episode 2
i've learned of the effects of prolonged alcohol
"misuse", that little boxing match in my liver?
it's not a pain as such, it's actually a hardening
of soft tissue - with prolonged alcohol exposure
soft tissue organs harden, notably the liver -
and it's not a pain, it's a hardening.
but indeed queen christina of sweden was ostracised
by her tier of socialites - i'm glad diogenes
didn't get to her, but then again a bit of cloth
goes a long way this far north -
yet unlike the encounter with napoleon by hegel
diogenes' encounter with alexander lasted longer -
which tells you the old method does no service
to a little bit of material accumulation -
but perhaps the acumen was briefer when you were
ably living in a barrel - and to think, as only
that being the sole expression, not so much
a body without organs as stated in the thesis
of anti-oedipus by deleuze and guattari -
a consideration for a body without limbs - prior
to a footprint an imprint on the mind -
carelessly now, a diarrhoea of narration -
how rare to find it - perhaps this idea of epic
poetry is a default of writing per se -
with this my whatever numbered entry i seize
to find escape in it - a lack of ambition -
a loss of spontaneity that's a demanded mechanisation -
by volume, by inaneness - to reach a single
technique accumulative zenith, and then back
into the ploughing, rustic scenery and the
never-bored animals - i rather forget such escapades -
and there i was dreaming of a grand
runic exploration - some imitable game -
some scenic routes - yet again -

People label me as one of those very observant ones they have ever met in their lives. Whatever I think about others, is close enough to ninety percent of the truth (not to judge, of course).

And it is also truth that those who laugh the most, cry the most. I guess this also applies to those very positive people, who are the most negative in their heads or they've also been through the most negative incidents.

There is a certain boy, a young man, who just entered the twenties stage of life. I observe and read him, and I have been doing this for the past eight months.

He is quiet, he is kind, he is a very bright person who looks out for others, probably too much. He is smart and has attended top schools and won several competitions in the martial arts, as well as performing and fine arts. A very artistic soul, quite opposed to his rather playful countenance; though beauty is displayed in all his capabilities and striking features. Even the way he speaks is soothing and gentle, and I admit I would sleep to it and regret how his voice is too nice to be literally slept on.

I know a part of his painful past with the spinal tuberculosis accident or the fact when he couldn't enter his dream art school. And perhaps, a darker part of his history that is unknown except by him and his close ones.

But I can see it, I can see it on his face, in his actions and some of his words: sometimes he tries to get attention by doing unnecessary or silly things; says the weirdest of phrases; he gets tired and there's this certain feeling lurking in his gaze. He always looks like he's looking for something, for someone. He always looks like he is wondering about everything and anything. He even looks lost or frustrated on some occasions.

Honestly, a Sadness Collector knows when another is nearby or in sight. I am one, and I know he is another. He always wants people to depend on him or for them to think that he is alright. It's not so bad, but I wish he would rest his little fragile heart that can only take so much of others' sadness. He still has his own sadness to keep under all of that. I want him to give some of it to me that the burden and tears may be shared between us, and he can live a little lighter.

But I love him, because he is a different Sadness Collector. He always cheers others up and tries to help. He always compliments others. He is always willing to learn the right way, to go out and do his best. This Sadness Collector doesn't deserve to be one; he deserves to collect happiness instead.

Although there are times when his friends say that he is quieter that usual, and a bit less active. He says he usually sleeps it off and feels better when he awakes after. He says he rarely gets stressed but when he does, it's a whole different thing and only he knows how his own mind can destruct his built-up facade of confidence. Maybe he gets too quiet at times because he thinks he might make a mistake again. He may appear very vain and very confident, but I'm afraid it might all just be an image that he's painted of himself for everyone around him to see.

His music taste is very much like mine. He shared some alternative music, but as soon as I heard the melody and read the lyrics, it doubled as a small cry of distress.

I’m actually very beautiful when the world is pitch-black
The most I’ll get is being consumed when I try to love
The trouble is irrelevant
It doesn’t matter what’s wrong

If only I can be flattered just like you do
Then the torment around me will perhaps die out
I’m not concerned about how many chances I get
As fearless as a giant; indulging myself; however I’m no match

Ugly, don’t turn the lights on
The love I want is haunted on the pitch-black stage
Ugly, in this ambiguous time
My existence is like an accident

Some look beautiful after a drop of tear
Some just throw away their name
As long as you are hypocritical enough you won’t be afraid of anything, right?
If the script is written well, who will be more dignified?
I can only silently face the beautiful innocence
There are many chances for desire to become drowning in alcohol
Like the fearlessness of dust
Becoming ash, who will remember who
Who cares if he’s a match

Ugly, you won’t blame them if you get used to it
Get high and stomp on it with strength
Ugly, this is our time
It would actually be a shock if I don’t exist

Oh, how I want to embrace him every time I think of him listening to that song. As emotional human beings, we pay attention to such lyrics more often than not, that reflect the listener's or our emotions. Maybe he thinks he lacks in many, many ways. It is normal for him to think so. But I hope he doesn't dwell on it. He likes this anime show that I watch, too. That show, though, is a sad one which shows the masks of society and the gore of the past behind every flawless present.

He is a very trustworthy friend; a funny guy who is "in love" with himself; a talented individual who loves people and language; an artist of most arts, as well as an art himself. And as much as I say that I want to be the one who collects his sadness or whom he shares his load of sadness with, sometimes I doubt he will ever let me.

I feel like I can no longer do anything anymore for him because he is the one who has already collected mine.

Got a problem?
I can make thousands
millions
all up in the ceiling
mosaic tiles
blue and gold
holding down the albums
memories so soft and sweet
buttercream to wisdom teeth
picking out the files with an ax
and you can ask
any fella on the street
what he thinks
he'll say he doesn't,
we're honest by nature
nomenclature
soggy,
**** sapiens forever
loving bones and gorillas
never feel ya
quite the same
as that time in the attic
with the static
in our brains
it was insane
the way we thought our thoughts
touched touches
with more
would have scored
had it not been for the spiders-
frisky little things
squashed em long ago
and that's why they don't have wings,
unnecessary condition
apparitions to trife
made a foxy wolf lick his chops
take Peggy for a wife.

What are fingertips but pulses and pauses?
A spinal sigh---a cradle to all existence?

The punchline of all sensory implications,
the culmination of our tangles and departures?

All flesh is ephemeral, soft to shards in hours;
Touch is but a ****** tendril in memoriam for desire.

~
Bala^ comments:
"alignment - any which way one can if possible to make
****** and ******* simultaneously happen,
without any best position plan"

~

may all the gods bless you, Bala,
for waking me at 4:33 with this poetic induction
coaxed from my spinal fluid sanity
with perfected clarity

my own circadian rhythm masters internal,
the most reliably unreliable human container technology teachers,
semi-skilled in the entrainment arts for this impoverished body mine,
deem it appropriate that early morn messages of
propitious possibility be greeted immediately

entrapped, awaken me at four AM with great glee,
because these elusives^^  know exactly what stirs
this being's cochlear cockles into birthing a
poetic cookie ******* *******

your message meme provoking, inducing,
be honest man - simply seducing, my within
by your teasing words from without

"without any best position plan"

not to confuse the mere appearance of a routine
as worthy of the entitlement of "plan,"
much as the poem's own vanity chooses it own alignment
the relationship, the relativity -
always the
flexing flummoxing freaking insatiable pleasuring

when your thrusting unplanned message
****** and bests my brain,
releasing a fully formed, instantaneous parrying poem
from an aroused, passing, unsanitized, second of sanity

for no better *** than this...
as per the unplan?

this tissued life,
this in and out
of punching and counterpunching continuous,
but rarely contiguous,
for we are never aligned for more than a moment,
the moment that almost always goes unnoticed,
for the heart's ***** tissues,
are mostly torn by how life
uses us roughly

so here is an aligned confession fecundity

this poetry gig, my salve,
to tenderize the daily redness,
the irritation residual of having no plan

however these fingerprints decided for you,
to present, upon completion,
this soft-spoken loud *******,
a peaking, not a leaking,
** ** ** - a screaming

hallelujah, i'm aligned!

the man found albeit briefly
a  beat, a plan and its verbal, herbal,
best solution

may all the gods bless you, Bala,
for waking me at 4:33 with this poetic induction
coaxed from my spinal fluid sanity
with perfected clarity

the man and his plan, for a mega-second
his best,
unplanned but got and given,
in poetic planetary alignment
positioned

as are you and I -
the thousands of miles of distance tween us
as you read this
collage collapse
into a singular synapse
of ****** and *******

hallelujah, we are aligned!*

~

disclaimer:
anything you say to me, can and will be used
for a poem
~
5:55am
April 1, 2017

People keep asking me how I’m doing.
If I’m getting better or if I’ve taken the time to process what’s happened.
If I’ve sought professional help for the metal percussions induced by my career-ending injury.

In all honesty though, professional help is futile. It can’t save me now.
I’m walking through hell and sitting in a ring of fire discussing the temperature of the searing flames would be idiotic.

Why would I allow the flames to dance along my already seared skin longer than necessary?
I know they’re hot.
I know I’m in hell.

I know the pain I feel every day is real and crippling.

Talking about this pain wouldn’t end it. It wouldn’t diminish the heat. It wouldn’t help.

I need to keep walking.
I just need to keep walking.

My crippled body can’t run anymore, but I’ve got to keep walking.

Others continue to rush by. Frantic because they’ve never felt the flames.
They aren’t familiar with the burn. The idea of being in hell is novel.

They are novices.  

But life hasn’t been kind to me.
These flames are familiar with every curve of my body and they dance around with trained feet.


I’ve been in hell for years.


People continue suggesting I find the light at the end of the tunnel, but that’s near impossible here.
I’m too blinded by the brightness of a vehement flame.
Sizzling with an angry vigor for the lack of gratitude I bestowed on my past life.

It mocks the speed at which I used to be able to run. It laps sardonically at the feet that used to run cheer-inducing speeds without thanks from their owner.

But crowds don’t cheer my name anymore.
I now stand on the sidelines and watch my team play.

I burn alive for the game I used to breath and as I watch each and every game, the deep breaths of oxygen only continue alighting the fire.

There’s no way out it seems, but I will try to keep walking.


Because talking is futile.



Note:
Spinal diseases are crippling mentally and physically. Watching the body you've sculpted for years turn to mush because you can't workout is dilapidating .
The despair and helplessness are unfamiliar feelings, feelings that can't be overcome. Disease is disease and sometimes it can't be stopped. Sometimes, it just becomes a burden to bear.


And sometimes people aren't strong enough.

It's different when careers end after four years of college. An expected end, an anticipated end. But when things you love are taken from you abruptly, before your finished. The pain is exponentially worse.

Exponentially. Worse.

what did it take for me to miss those days?
crawling breathless,
stomach nails for breakfast, ventricles of rust,
pounding on my ribs with any upright task
from soaking bed delirium,
corroded mind and eyeballs
tortured falun dafa tears
stinging on the walls a glowing red,
my branching veins encasing me in flaming
paths of mystery: to live or die, to try or fail
at simple efforts
--never gone without, since infanthood--
to stand itself a tissue horror
bathing in the needles of another lifeform's hold on me,
that spiral nesting multitasker
legions in the joints,
invading forces claiming spinal tower-riches
as if my thoughts will be my last,
originary flickerings of self, sacked and razed,
the burning out of novelty for bottom emptiness
and only sympathies malinger there--
yet vaster frame invisible to healthy eye emerged:
a sea, empathic with my prior paths from health diverged:
adrenal waves and dolphin plays of other air ensouled i purge
with cascade urges tension mixing universal breath
of statements, fears and wry coercings not to think of death
or tempting near the abolition of a system *****
for all the benison it's bound to store for years
of hiding blind and uttering the shield-word
of our sly, superficial, group-stock lies,
to have us screaming at each other out of only kneejerk love
a mask of fodder from our young dogmatic wanderings
they burn and burn and choke like spirochetes themselves
while shoving under family rugs the truth

cicada shells clung eerily against the burls and branches
of a monumental tree itself a deathly symbol bare of green
like ornaments of rhythm upsurge birthing into death digest
the exoskeletal remains, under finger crunched as
up the bark i climbed
to view what death had taken value on for me, and balanced
up atop the hill of faded names i yearned the meanings of,
and in the clouds
a part revealed
a sunny mist,
to paint me colorful again--
and in that mood a hail began to tick on forest floor:
the brittle dead a singing whisper flaking brown
on brown, on earthy brown to gather white within the paper nooks of leafy drums

how whimsically to service death
anon anon for now they're always lying there
across the road atop the grave hill,
from other species hunted here
but this, that time it was a carved skull
hacked or sawed but yards from peaceful temple yard
another, cleaner omen skull had led me there,
ochre red with emerald mold
the cranial pale divided stop and go
and led me wondering within the stream
to notice other signs i half-expected mystically:
surreal blood abundantly with vulture feathers carpeting the scene:
a stag with missing brain, missing hind and organs
chosen how, i'd never know
--i saw the arrow though, a barb of certainty--
and old fur, gray and white, a timely passing then,
to make of gore a sacred right,
and in hale ignorance i prayed like only atheists can pray
with self-disclaiming smirk but
humble authenticity of unknown forces
biding in the impulse-meaning-gathering of earth,
now memory to glean and hold to live in me

"just talk about love, or ***, or starving hearts, or just shut up
and I'll go

but" - Jonathan Richman

(..NIGHT)

A drunken man is blown by bathroom paintings,
with shower curtains displaying crowned sparrows
who laugh at his
crowned ****!
and humor his life!
also crowned
(but only subjectively if you were to ask anyone else)
I'm a burning insomniac surrounded by a whole cast of characters tonight, including the one with with a lazy eye who mirrors Chaplin
and arrived to the party disoriented from recent Salvia.
Then there was the one with a sleek current-edge-type haircut
who spent a few good minutes telling me about the film works of Philip Glass
            B E A U T I F U L
They play Bowie,
the whole social palette disintegrated beneath the weight of intoxication.
I, too, am dazzled from pale alcohol already (eight minutes past Midnight!)
The Dancing Athlete ambiguously dances on an absent television while my head hurts from a blue bulb glowing from a nearby lamp because it's too late for all this
and I'm reminded that I know almost nobody here.

(...AND DAY)

Maybe thirteen hours later, walking with Dante the bearded dog,
my friend wheeled a stranger, narcotic-vacuum-cheeked amputee.
He begged for light, as in a lighter, not that light of GOD, no no,
all the while he showed off his stub leg (cut off at the knee) bleeding out all over the sidewalk when his accident first occurred.

"THIS GUY THREW ME FROM THE BALCONY!" he preached

Past the cathedral narcissus
"JESUS COME/
JESUS SAVE MAN/
JESUS MAKE FIRE/
JESUS WAS A HOLY INDIA"
Across the street, village of enduring tombs and firesmoke,
shadowed tent outlines
breathed-in
playing cards and tricks
mandolin reverberations among tents and tents of
sickly or addict, all listening in on the live performance, a blessed Alice with dreads, lively chords emitted from her skull of ideas.

The forgotten noose of man ****** in a parking lot
by a liquor store, while we pick up some wine, which is, and I quote here "DRY AND CHEAP"
A sunny quiet perched on the field
of gleaming downtown streetlights
thru thinning clouds.
Olympic mountains in view, the kind of mountains only seen in magazine articles to be experienced by those unafraid to die.
All these sad people out here, too!
Their faces expand beneath capital industry,
Elephants occupied with jackets sewn in an anonymous factory.
Quick tip, I wanna write it down before I forget: don't listen to that old music when you're feeling lonely, it's all about love and especially in tragedy this is a bad idea.

I'm sick and wept and my teeth have been growing cameras,
the youth are dressed in drag, carpet cleaners bob their heads to unheard tunes but you can see the sound thru a glass window.

This city, oh, this city..
with bodies sprinting hard by each other and who bike across train tracks associated with very vague childhood memories.
We all float on hands electrified by the night!

Jonathan Richman tonite, who's vocal deliveries have been honest
and romantic, in a passionate sort of way.
He's singing that live track "A Plea For Tenderness"
(I know you were waiting for me to get to this)
and past few days have been strange
and past few weeks stranger, still. Not as bad as a lot of people but man, strange..
that night, and day.
Walking by the Victoria Hospice care center and looking down on my wrists which'll soon be tattooed with loving hands yet oh
so
aggressively pained by abuse because of a terminal disease and attempted suicide (NOT my own life, to clarify)
and it got me thinking on how we're all mutually getting thru this place and every face has seen hearts and seen death almost equal.
It can get to be too much, that's why melancholy has been defined to begin with. But ******* Jonathan Richman had to make this song.

"if I'm better than the wall
(tell me now)"

"Because it's dark at night
and I'm alone at night
I'm so sad and I'm so scared"

Things I've said in my own head and felt in my own time
as has everyone else. I don't mean to specify that this has happened RECENTLY, but it's definitely happened before. These times.

"now, I've just read some writers
from the old days
because I knew, I knew that they'd understand"

but BUT everybody is accidental!
even Rimbaud has stubbed his toe and I know that it'll be fine
it'll be fine
it'll be fine
in Vietnam maybe
and it'll be finer in Varanasi
(maybe-r)
but for now I don't know
I can say it I can try and feel it and understand it and pretend I know it
I gotta get away from people to be replaced by a Hindu I've never seen before
and sleep on a mattress that (like a new pair of shoes) hasn't grown in to my spinal chord and hurts ****** bad at first and is unfamiliar and the weather is warmer than usual
and the horns of traffic will be frightening but that too, will dissipate with time.
I gotta save up my money and hug my wallet like a starved cat
Jonathan ******* Richman's "A Plea For Tenderness"
what a fitting title
for a time like this one now.

shiva knew from ashes, what we from
baring bodies claim to know, that
down-dogs in the buff sets vanity aside,
if not by force then over time
along with any pretzel pose, or
tapas, work, or sweaty hopping
balance challenge deeper rhythm breath
revealing limits undenied and beauty
now revised for harmful lies to go.
beginning **** and ending ****
the mirror is the sun, the blue
horizon line of thought of one.
to bend is in the mind as well,
the keener meaning flexible
of soulful empathy of self.
the class ends in corpse and being
peaceearth-airsky-lovewind-all
apparels us only with the same light
we know and bow in namaste
to saunter to the beach and swim away communal heat.
i'm underwater soon,
three hours of dominoes
fading into deep greens
of algae kumbhaka pranayam. released.
the pond-bottom gasps at me with silt, such
delight shining darkly cool and shouts
jump in bubbles at the greenrays
piercing sweetly down to play our bodies perfect.
this is an existential feast.
old rocks on which to stand connect our feet,
waterslip awareness of the deep
and of the sky
gives rise to touching 'accidents' --
we clothe ourselves in thinner veils
we talk of history and elders, while
hormones sparkle greetings stroking clear we swim
in circles slowly, diving down and playing at pretend.
'adults being children' being adult in reserve
being 'natural' being ****,
discreet in underwater lust...
'i love you' our dripping eyelashes say
against the hot raft that burns our skin;
above the surface
neutral for the genitals we are
evaporate of self-seeing worry not
to spash each other's souls.
kindred lovers elsewhere whine possession
of us, but 'living, you said, isn't about being safe,'
seducing all, at every turn, an unabashed
reflex there to be desired in.

beachbathers, nubs of pink, tan and brown
shine unbroken at the shores.
occasionally waving 'nonjudgmental' waves.
sunglassed faces work away at being easeful:
assuaging fears of voyeurism far

i have set the wall to play vairagyam
naked in the open family value smiles
leaving me to judge our acts undone
or sensed beyond the moment in the center shade,
beneath our floating hiding place
our echoed panting speaking more surreal
than just the treading water in my space
you spit the teasing offer naturally
while hidden in the middle of a lake
our shocks of pleasure, gleaming eyes
in echoes brahmacharya pulls
with spinal lock of spiral loving this
we cannot have our vibrate bliss

i name it potently for what it is,
it cools the ***** enough for
feigning innocence

i duck in and out with image firmly planted
playing on an unreal living all
caution gone~

but not before imagining
the details stored away and swept together:
in that single moment apex entrance
of our carnal members swaying into
underwater yogasex.

the ladder slips along my sides
weaving up unbreathing giddiness, as
nubile, as young forever yearnings mar until
i hook my toes and float for you
clad by sun and sky, clearest ripples
flick the lips of vastness into grin
reflects your dive,
spread silouette above
you fly into my breath
to pinnacle the dance we live
without an act we guard propriety
until alone and years have gone
i'm here before a screen to live it over differently

exude the moment;
you are a transformative fulcrum

of intersubject's rent and awe:
anthropomythic ecolaw

the dream cascades into words,
birds fly little crisps of meaning
into morning light. last night's
snow leaves a crystalline spark
of you subdued, become a finer point
of tantric sight, gazing rose-blue pulsar
lashing through a cosmic garden,
delicious fruit of spacious letting be.
i'm grasping for that pleasure,
vermillion moan of lifestring vibrance,
but the wind carries on outside,
swirling pieces of the mind in
flux of upturned joy~
our heartbreeze summoned,
now whispersssoulsounds to come
and earthly darkness grips the future frost,
thaw, break and steam as it wills;
the churning ground sings to us
of bear-sleep and jackal-howl,
of seasons transpiring,
one lost sled of memories
leaves us empty, pressing crystal sky:
my aching ideality trounced in bliss-meanders
!stunning revelation! you! You! yOu!
bringing all to be a second time,
as it was.. in me.. now new,
sweet novelty of union,
this gathering of nervure self,
gliding insights, sudden soundsss.

like a node of forest-echo swirls
it dazzles: unseen colors for my inner eye;
ancient tones of fog ripple
off something you are,
creaking center easing of my sidling,
spirit drop and wavelet growth:
as if you were a branching greenery
of my own once lost other-self,
last gasping there as what i pictured 'you'~
swayingss.. sun-spikes speaking,
sky-gaze and soaking barky iris sssuck,
moulding into me the wisdom of our past leavings,
those raspy kites of sap-filled yearnings
shadow sunshower evening.
i would be a tree with you and
let you pierce our foundations
with roots of gaiasight slipping though
our primal urgings, concrete deference
under sun arch, spin of moon. let
ignorant insistence on fetishized divides~
slipping past my grounded darkness
still unknown, remain
my underself unleashed
my silent trunk-swilling soothed,
stable chaos-other, self regiven,
life renewed in leaf,
the touch of you imbued.

the whole vision lost
but for that glimmer~
it finds me writhing unknown spirals:
ringing wonderment in a seed,
or dormant sporocarpic lineage of life,
the vast hyphae-humming cups of death-born
nethergenesis of cycled hyle me.
a womb that never knew of pain
or being evertorn in dessicated spectre-sea.

the burning desert-storms helixify our rain,
a heaving hiss-like suncry
from that dark, sandy baobabic throat.
the earth consumes in shifts,
and blossoms toward the alterbliss of you, too,
an expanse of solar flare
its beautific reach engulfing terribly,
nepho-logos spanning all the air.

ssssunlit boughs of winds' remembrance
grow soft across this window,
then shift with forest breath,
their snowlace puffed before
an azure true expanse,
the burdened greens stirring a needlish depth
of metawinter, all-too-human
starfields constellate in hiding
far behind my starshine there a curtain blue,
whose prismatic humor lights more
than scenic treescape, frigid dust.
hair, nose, glass enframed by sapless wood
of window cut to square my void revision of the world.

the colors whirl into mindflow,
inter-material upsurge-undulate,
abyssal cauldron seething passions stilled by
comic symbols of a secular mystic;
dancing eddies convey my sense of sight
just thought, then lost into a wider dance
of tensions eased and drawn,
of geometric visions seemly here and gone,
inner, outer: conveyed by stroke of
spinal eidos, its rhythm set
before my time, its tone the vital,
draping earthverse
recited in my veins, the sinews of my
life in other lives,
the song of us expressive in my gaze~
one blink()a single point of beauty
fades into another haze,
lighted icedrift iridescing evanesce.

I'm here to spread the news that.
Despite its bad reputation with people
Back surgery works like a charm.

When I was 23, I injured my back lifting weights
I began to have chronic back pain
I researched what was the best thing for back pain
And yoga came to the top

At age 28, I began 8 years of yoga
That I practiced every day
My back pain was reduced until my age of 35

When yoga eventually failed
I moved in to physical therapy
That worked into my late 40s

I was rear ended in a car accident,
With the car entirely totaled.

That was the beginning of the end.

Nothing "alternative" worked anymore
I felt like there were razorblades in my groin

I would fall for no apparent reason
And then could not stand back up
I went to my doctor about it
He said if I got a MRI, that surgery would be the next step
Since surgery has such a bad reputation
I skipped the MRI

I was riding horses at the time
One day, I went to get a horse in the pasture
I kept falling and could not stand
I thought it was due to the mud.
I had to crawl through the mud and horse ****
To get back to the barn.

I thought once I was on concrete
That I could stand
But I couldn't
The stable manager helped me
To the office.
I rested for half and hour
And then drove home.

We were watching TV
In our downstairs family room
I went to go upstairs
And in the middle of the stairs
My legs stopped working

We drove to the ER
I had an emergency MRI
It showed that my disc was entirely extruded
And surrounding my spinal cord.

I went for emergency back surgery.
The procedure was called a microdiscectomy
They just took the gel
Away from my spinal cord
And within 2 hours of surgery
I could walk again.
I noted how easy it was to walk.

After a few weeks of just weird stuff
Like lightning bolts down my legs,
My back entirely healed Within 6 weeks
And that was the end of 27 years
Of back pain.

I often tell young people that
I had an extruded disc that
Was older than they are!!

It's been 5 years now and my back is cured.
If back surgery did not have
Such a bad reputation,
I could have saved myself a lot of pain

Microdiscectomy has a 95% cure for referred pain
In my case, it had a 30% cure rate for back pain
I am in the lucky 30%

Back surgery does work
And every year
There are more advances.

I went to my surgeon
And gave him a present
And a big hug of thanks.

Spread the word!

Spiders sprinkling down a crooked spine

Can you hear the whine of a brain stem dying

One hundred and eighty days of pain

have metamorphosed this corpse into something deranged

mangled and tangled in webs of perception

razor-sharp enough to cut straight through the gut's deception

and when the vile heart succeeds in silencing the eyeballs

emptying the sockets of life-long pitfalls

maybe the spine-spiders will finally commence to release

the good soul that remains trapped inside this tree.

Grow tree, grow, for you are all I have ever known,

If it weren't for your protective shade, who knows where I'd have been blown.

You may be covered in cobwebs and leaves long decayed,

but I'll keep my promise to save you someday.

You may not grow to be the big oak of which you dream,

perhaps you will end up as kindling in the fiery gleam

of a thousand spiders cremating in my hearth

as I look on, a corpse consumed by an angry spark.

Lovingly your ashes will be placed

beside the oldest river, the one you once graced.

There will be no more spidery-spinal veins

to screech and rattle and bring about the worst pain.

Changelessness is not a virtue, a concept you most despised,

in the spidery spinal tree's search for life of a better kind.

From time to time, lifting his eyes, he sees
The soft blue starlight through the one small window,
The moon above black trees, and clouds, and Venus,--
And turns to write . . .  The clock, behind ticks softly.

It is so long, indeed, since I have written,--
Two years, almost, your last is turning yellow,--
That these first words I write seem cold and strange.
Are you the man I knew, or have you altered?
Altered, of course--just as I too have altered--
And whether towards each other, or more apart,
We cannot say . . .  I've just re-read your letter--
Not through forgetfulness, but more for pleasure--

Pondering much on all you say in it
Of mystic consciousness--divine conversion--
The sense of oneness with the infinite,--
Faith in the world, its beauty, and its purpose . . .
Well, you believe one must have faith, in some sort,
If one's to talk through this dark world contented.
But is the world so dark?  Or is it rather
Our own brute minds,--in which we hurry, trembling,
Through streets as yet unlighted?  This, I think.

You have been always, let me say, "romantic,"--
Eager for color, for beauty, soon discontented
With a world of dust and stones and flesh too ailing:
Even before the question grew to problem
And drove you bickering into metaphysics,
You met on lower planes the same great dragon,
Seeking release, some fleeting satisfaction,
In strange aesthetics . . .  You tried, as I remember,
One after one, strange cults, and some, too, morbid,
The cruder first, more violent sensations,
Gorgeously carnal things, conceived and acted
With splendid animal thirst . . .  Then, by degrees,--
Savoring all more delicate gradations

In all that hue and tone may play on flesh,
Or thought on brain,--you passed, if I may say so,
From red and scarlet through morbid greens to mauve.
Let us regard ourselves, you used to say,
As instruments of music, whereon our lives
Will play as we desire: and let us yield
These subtle bodies and subtler brains and nerves
To all experience plays . . . And so you went
From subtle tune to subtler, each heard once,
Twice or thrice at the most, tiring of each;
And closing one by one your doors, drew in
Slowly, through darkening labyrinths of feeling,
Towards the central chamber . . .  Which now you've reached.

What, then's, the secret of this ultimate chamber--
Or innermost, rather?  If I see it clearly
It is the last, and cunningest, resort
Of one who has found this world of dust and flesh,--
This world of lamentations, death, injustice,
Sickness, humiliation, slow defeat,
Bareness, and ugliness, and iteration,--
Too meaningless; or, if it has a meaning,
Too tiresomely insistent on one meaning:

Futility . . .  This world, I hear you saying,--
With lifted chin, and arm in outflung gesture,
Coldly imperious,--this transient world,
What has it then to give, if not containing
Deep hints of nobler worlds?  We know its beauties,--
Momentary and trivial for the most part,
Perceived through flesh, passing like flesh away,--
And know how much outweighed they are by darkness.
We are like searchers in a house of darkness,
A house of dust; we creep with little lanterns,
Throwing our tremulous arcs of light at random,
Now here, now there, seeing a plane, an angle,
An edge, a curve, a wall, a broken stairway
Leading to who knows what; but never seeing
The whole at once . . .  We ***** our way a little,
And then grow tired.  No matter what we touch,
Dust is the answer--dust: dust everywhere.
If this were all--what were the use, you ask?
But this is not: for why should we be seeking,
Why should we bring this need to seek for beauty,
To lift our minds, if there were only dust?
This is the central chamber you have come to:
Turning your back to the world, until you came
To this deep room, and looked through rose-stained windows,
And saw the hues of the world so sweetly changed.

Well, in a measure, so only do we all.
I am not sure that you can be refuted.
At the very last we all put faith in something,--
You in this ghost that animates your world,
This ethical ghost,--and I, you'll say, in reason,--
Or sensuous beauty,--or in my secret self . . .
Though as for that you put your faith in these,
As much as I do--and then, forsaking reason,--
Ascending, you would say, to intuition,--
You predicate this ghost of yours, as well.
Of course, you might have argued,--and you should have,--
That no such deep appearance of design
Could shape our world without entailing purpose:
For can design exist without a purpose?
Without conceiving mind? . . .  We are like children
Who find, upon the sands, beside a sea,
Strange patterns drawn,--circles, arcs, ellipses,
Moulded in sand . . .  Who put them there, we wonder?

Did someone draw them here before we came?
Or was it just the sea?--We pore upon them,
But find no answer--only suppositions.
And if these perfect shapes are evidence
Of immanent mind, it is but circumstantial:
We never come upon him at his work,
He never troubles us.  He stands aloof--
Well, if he stands at all: is not concerned
With what we are or do.  You, if you like,
May think he broods upon us, loves us, hates us,
Conceives some purpose of us.  In so doing
You see, without much reason, will in law.
I am content to say, 'this world is ordered,
Happily so for us, by accident:
We go our ways untroubled save by laws
Of natural things.'  Who makes the more assumption?

If we were wise--which God knows we are not--
(Notice I call on God!) we'd plumb this riddle
Not in the world we see, but in ourselves.
These brains of ours--these delicate spinal clusters--
Have limits: why not learn them, learn their cravings?
Which of the two minds, yours or mine, is sound?
Yours, which scorned the world that gave it freedom,
Until you managed to see that world as omen,--
Or mine, which likes the world, takes all for granted,
Sorrow as much as joy, and death as life?--
You lean on dreams, and take more credit for it.
I stand alone . . .  Well, I take credit, too.
You find your pleasure in being at one with all things--
Fusing in lambent dream, rising and falling
As all things rise and fall . . .  I do that too--
With reservations.  I find more varied pleasure
In understanding: and so find beauty even
In this strange dream of yours you call the truth.

Well, I have bored you.  And it's growing late.
For household news--what have you heard, I wonder?
You must have heard that Paul was dead, by this time--
Of spinal cancer.  Nothing could be done--
We found it out too late.  His death has changed me,
Deflected much of me that lived as he lived,
Saddened me, slowed me down.  Such things will happen,
Life is composed of them; and it seems wisdom
To see them clearly, meditate upon them,
And understand what things flow out of them.
Otherwise, all goes on here much as always.
Why won't you come and see us, in the spring,
And bring old times with you?--If you could see me
Sitting here by the window, watching Venus
Go down behind my neighbor's poplar branches,--
Just where you used to sit,--I'm sure you'd come.
This year, they say, the springtime will be early.

I'm a divided island.
Cleaved by a a wide sea.
My two halves communicate by note in bottles...
But the currents are inauspicious,
No word arrives from either shore,
Nonetheless the split isles persist,
"Legs, good morning,
Let's get out of bed."
"Head, we've got to **** and **** down here,
Direct us to a toilet and be quick."
Thus said,
More unread flotsom
Is added to this tangled gyre.

I take myself too seriously to go up to eleven.

I keep having these emotional outbreaks
and when I feel like this, I need to tell you
But my words get jumbled up and I cant keep my emotions under control
Whenever I go to
I think it has to do with my worst fear
The thing that eats away at me everyday
Claws at my tendons causing my muscles to die
Stagnates my blood causing my arteries to clog and brittle my  bones
It's crimson needled fingers are powered by one hand underneath my gums and rips my teeth out one by one while the other hand slides my fingernails out of my skin
Stalking Seeking Slithering through my skin it crawls inside
and stalks my spinal cord all the way to my skull, plucking spinal cords along the way
Seeking for my brain and
Slithering into every neuron and cell
It rots every single one
And decays the rest of me
I am numb cause I'm afraid no one cares.
No-one has cared at all
I knew from the first christmas
that I was a mistake
In middle school
it was made clear again
when everyone bullied me
Then again in High School
where teenage apathy reigned
But now, I really don't know if anyone cares
and your answer means so much to me
"Do you care?"
Cause if I can't have you as a lover
I want to love you as a friend
Cause I can see you doing great in the end

With my face over her hair fallen neck
sending through my lips
what I’ve dreamed of compiled tastes

One arm wrapped her waist
The spinal curve of her back
Give-way my others embrace

In my palm falling slowly
with surrendered hold
Her reclining body takes plunge

A body wondrously dreamt by the Gods
but never to beholden
For that vessel has since long belonged
And in a quiet covet,
the Gods continue to sin

Over and across the bed
Released from my grip

Upwards into her hairline
a sweat spreading mist

Grabbing a fistful of mane
I’d lay down on the runway to attain
this flowing coat between my fingers

For the length of time
her hair has entwined me in cuffs

Pulling harder
I gladly yield in acceptance
this braid given stain
a permanent scar

Slow let go of her feathers tangled

In her neck I’m keeping
a burrow in repose

Seeing buttons undone in sync
to expose

The destination of my lips next imprint
like advanced shadowing hints

In a mechanical motion

Hair pulling emotion

Triggers upward
her chest and chin

Two spotlights on the ceiling what her ******* up send
Shaping her back an arc
like a half moons descent  

When she finishes her unbuttoning
Next for my belt she reaches
then the unzip I’ll never forget

She takes me in invest

I take her in continuous shooting

All the unfastened
unclothed

Now Firm
Quake
Earned
And Shake
The peak is reached from this encounter
defined by a collection of far to many lustfully seductive
mental hive of trapped aches
Then I kiss her lips in return she kisses me back, felt...

I am the reaper my stains of emptiness haunt the edges in the pain we embrace.
As for the vampires there company thrives as starved we are of the feast.
For no true answer lingers for you so be the artery opened now bleed us a nightmare that's screams of this lust.

Often we find hope within the lies.
**** this deception my truths are but candles wax and promises half herd.
He knocks again only  to be ignored the latch is a lock to keep you in for we know the way in.

Tonight we understand the screams .
All riddles are but nightmares in disguise.
Empty was her thoughts so cold the ground we call home.

Tonight they will yearn for escape.
No shackle to understand the thoughts key.
Twisted we are together do understand the nothing we truly have become ?

It's time and the pain will no not a single mercy.  
The fruit was are poison  all along.

Isela
takes it in
the mouth.

She'd get on her knees,
positioning herself
half-in,
half-out
of focus.

Just enough for Joe,
behind the Cannon,
to capture
the whole thing.

Eric,
the producer,
was on his hands and knees
beside Joe.

'Come on Izzy
work it,
work the ****.'

'That's right,
stroke it,
make him sing.'

'I love it,
Izzy.'

Izzy wanted to bite
down.

She hated each and every ****,
she ever saw,
but she had a few things to do.

Her **** had to be new
and renewed
on the daily,
her ***** had to get wet
on command,
and her stroke had to be
so fast
they'd burn the dude
as her mouth
cooled.

After her mouth
was littered,
and her face was a mess
of spinal glitter -- You could make a man
come out of his
brain, Eric would say.

Izzy would get in her car,
wiping her arm
where'd she'd gone
to the clinic
to get pricked
and tested,
and pull a long haul of Virginia Slims
down her throat.
'
It was always the first sweet thing
she tasted.

Izzy would pull into the Terrace View apartments,
all that long black hair,
and wipe all that make-up off,
three napkins-worth,
so she could kiss her baby.

Because Rocco was in for a bid,
and not coming home anytime in
the forseeable future.

Her microbiology degree was somewhere
in her closet underneath those pink stillettos and
more fishnets than fish.

And Izzy knew
that with those double d's;
*** like a backseat,
mouth that could grease
a ****,
and her hands
Eric liked to call his own,
that she could pay the light bill
and maybe
put Romeo
into a daycare center
that wasn't full of roaches
and
angry *******.

"Someday I'll get out,
but it's illogical
to say
with all the money I'm making,
and it's just a job
when you get down to it,
I've ****** a lot of *****
and never gotten
paid."

Rocco Jr.'s cheeks were always the second
sweet thing
she tasted.

"I know a lot of girls
that got defeated by this game."

To: Sarah Joyce Crimson*                                                     8th July 1943                                                  

A man in a gray suit has captured my heart, mother
Along with the tie, of course
Surrounding plants would've died
At his gaze and grace

Armored charm and wide toothed smile
His last name could've might as well been poise  
I don't know what it is about him, mother
But his gentle crinkled eyes certainly isn't  

His voice is as flattering as the lullaby you once sang
The tone itself symbolizes warmth and stability
Undiscovered treasure in the midst of all volumes
It is home I feel closest to when I catch a glimpse of it in my ear

I don't know whether to feel astonished or quivered
By all means, that'd be deemed as eerie
But you once said when a man one day turned my cheeks bright pink
It sure could only mean one thing

It is unreliably evident not to notice me blush
It is even more apparent not to notice his blunt stare
Sending chilly shivers down my spinal cords
Activating fondness I'd never in a million years imagine I'd sense

If only you were here to see for yourself
How proud I'd make you, indeed
You said one day I'll be able to marry, mother
Well, this day isn't as far planned as it once seemed  

                                                       ­               *From: Christine Louise Crimson

Love on my toes, love in the cabinet, love jumps off balconies
it is an eighteen year old succubus offering spinal taps.
Bring the gentlemen their evening numbness before next
morning’s nightmare and ******* are scheduled on God’s map –
he just steps out for a moment, settles his sleeping mask on.

God is so unhappy: he understands nothing of love.
Get this recipe recited so we shall feed them pink and blue pills
which knobs can sting boys in the ***, a fleabite or bow
soon our leather heels chime through their ears like hooves.

The master may question their nutrition so hold out a paper cup
sloshing in female nectar, our vaguely cerise saliva
sustenance that comes from between slits carved for such –
these acids are love, love, love. Love from cavities, love pearls
knotted in the roots of a mother clam, fallopian love tubes.

Every shoebox offers warmth, complementary wakeup calls
a petite blonde to peel him out of his pajamas, too –
lay your husbands down into the doll-case if he has no love
as God is not watching here. Oh, how happy our gentlemen are.