Like a psychotic docent in the wilderness,
I will not speak in perfect Ciceronian cadences.
I draw my voice from a much deeper cistern,
Preferring the jittery synaptic archive,
So sublimely unfiltered, random and profane.
And though I am sequestered now,
Confined within the walls of a gated, golf-coursed,
Over-55 lunatic asylum (for Active Seniors I am told),
I remain oddly puerile,
Remarkably refreshed and unfettered.  
My institutionalization self-imposed,
Purposed for my own serenity, and also the safety of others.
Yet I abide, surprisingly emancipated and frisky.
I may not have found the peace I seek,
But the quiet has mercifully come at last.

The nexus of inner and outer space is context for my story.
I was born either in Brooklyn, New York or Shungopavi, Arizona,
More of intervention divine than census data.
Shungopavi: a designated place for tribal statistical purposes.
Shungopavi: an ovine abbatoir and shaman’s cloister.
The Hopi: my mother’s people, a state of mind and grace,
Deftly landlocked, so cunningly circumscribed,
By both interior and outer Navajo boundaries.
The Navajo: a coyote trickster people; a nation of sheep thieves,
Hornswoggled and landlocked themselves,
Subsumed within three of the so-called Four Corners:
A 3/4ths compromise and covenant,
Pickled in firewater, swaddled in fine print,
A veritable swindle concocted back when the USA
Had Manifest Destiny & mayhem on its mind.

The United States: once a pubescent synthesis of blood and thunder,
A bold caboodle of trooper spit and polish, unwashed brawlers, Scouts and      
Pathfinders, mountain men, numb-nut ne'er-do-wells,
Buffalo Bills & big-balled individualists, infected, insane with greed.
According to the Gospel of His Holiness Saint Zinn,
A People’s’ History of the United States: essentially state-sponsored terrorism,
A LAND RUSH grabocracy, orchestrated, blessed and anointed,
By a succession of Potomac sharks, Great White Fascist Fathers,
Far-Away-on-the Bay, the Bay we call The Chesapeake.
All demented national patriarchs craving lebensraum for God and country.
The USA: a 50-state Leviathan today, a nation jury-rigged,
Out of railroad ties, steel rails and baling wire,
Forged by a litany of lies, rapaciousness and ******,
And jaw-torn chunks of terra firma,
Bites both large and small out of our well-****** Native American ***.

Or culo, as in va’a fare in culo (literally "go do it in the ***")
Which Italian Americans pronounce as fongool.
The language center of my brain,
My sub-cortical Broca’s region,
So fraught with such semantic misfires,
And autonomic linguistic seizures,
Compel acknowledgement of a father’s contribution,
To both the gene pool and the genocide.
Columbus Day:  a conspicuously absent holiday out here in Indian Country.
No festivals or Fifth Avenue parades.
No excuse for ethnic hoopla. No guinea feast. No cannoli. No tarantella.
No excuse to not get drunk and not **** your sister-in-law.
Emphatically a day for prayer and contemplation,
A day of infamy like Pearl Harbor and 9/11,
October 12, 1492: not a discovery; an invasion.

Growing up in Brooklyn, things were always different for me,
Different in some sort of redskin/****/****--
Choose Your Favorite Ethnic Slur-sort of way.
The American Way: dehumanization for fun and profit.
Melting *** anonymity and denial of complicity with evil.
But this is no time to bring up America’s sordid past,
Or, a personal pet peeve: Indian Sovereignty.
For Uncle Sam and his minions, an ever-widening, conveniently flexible concept,
Not a commandment or law,
Not really a treaty or a compact,
Or even a business deal.  Let’s get real:
It was not even much in the way of a guideline.
Just some kind of an advisory, a bulletin or newsletter,
Could it merely have been a free-floating suggestion?
Yes, that’s it exactly: a suggestion.

Over and under halcyon American skies,
Over and around those majestic purple mountain peaks,
Those trapped in poetic amber waves of wheat and oats,
Corn and barley, wheat shredded and puffed,
Corn flaked and milled, Wheat Chex and Wheaties, oats that are little Os;
Kix and Trix, Fiber One, and Kashi-Go-Lean, Lucky Charms and matso *****,
Kreplach and kishka,
Polenta and risotto.
Our cantaloupe and squash patch,
Our fruited prairie plain, our delicate ecological Eden,
In balance and harmony with nature, as Chief Joseph of the Nez Perce instructs:
“These white devils are not going to,
Stop ****** and killing, cheating and eating us,
Until they have the whole ******* enchilada.
I’m talking about ‘from sea to shining sea.’”

“I fight no more forever,” Babaloo.
So I must steer this clunky keelboat of discovery,
Back to the main channel of my sad and starry demented river.
My warpath is personal but not historical.
It is my brain’s own convoluted cognitive process I cannot saavy.
Whatever biochemical or—as I suspect more each day—
Whatever bio-mechanical protocols govern my identity,
My weltanschauung: my world-view, as sprechen by proto-Nazis;
Putz philosophers of the 17th, 18th & 19th century.
The German intelligentsia: what a cavalcade of maniacal *******!
Why is this Jew unsurprised these Zarathustra-fueled Übermenschen . . .
Be it the Kaiser--Caesar in Deutsch--Bismarck, ******, or,
Even that Euro-*****,  Angela Merkel . . . Why am I not surprised these Huns,
Get global grab-*** on the sauerbraten cabeza every few generations?
To be, or not to be the ***** bullgoose loony: GOTT.

Biomechanical protocols govern my identity and are implanted while I sleep.
My brain--my weak and weary CPU--is replenished, my discs defragmented.
A suite of magnetic and optical white rooms, cleansed free of contaminants,
Gun mounts & lifeboat stations manned and ready,
Standing at attention and saluting British snap-style,
Snap-to and heel click, ramrod straight and cheerful: “Ready for duty, Sir.”
My mind is ravenous, lusting for something, anything to process.
Any memory or image, lyric or construct,
Be they short-term dailies or deeply imprinted.
Fixations archived one and all in deep storage time and space.
Memories, some subconscious, most vaporous;
Others--the scary ones—eidetic: frighteningly detailed and extraordinarily vivid.
Precise cognitive transcripts; recollected so richly rife and fresh.
Visual, auditory, tactile, gustatory, and olfactory reloads:
Queued up and increasingly re-experienced.

The bio-data of six decades: it’s all there.
People, countless, places and things cataloged.
Every event, joy and trauma enveloped from within or,
Accessed externally from biomechanical storage devices.
The random access memory of a lifetime,
Read and recollected from cerebral repositories and vaults,
All the while the entire greedy process overseen,
Over-driven by that all-subservient British bat-man,
Rummaging through the data in batches small and large,
Internal and external drives working in seamless syncopation,
Self-referential, at times paradoxical or infinitely looped.
“Cogito ergo sum."
Descartes stripped it down to the basics but there’s more to the story:
Thinking about thinking.
A curse and minefield for the cerebral:  metacognition.

No, it is not the fact that thought exists,
Or even the thoughts themselves.
But the information technology of thought that baffles me,
As adaptive and profound as any evolution posited by Darwin,
Beyond the wetware in my skull, an entirely new operating system.
My mental and cultural landscape are becoming one.
Machines are connecting the two.
It’s what I am and what I am becoming.
Once more for emphasis:
It is the information technology of who I am.
It is the operating system of my mental and cultural landscape.
It is the machinery connecting the two.
This is the central point of this narrative:
Metacognition--your superego’s yenta Cassandra,
Screaming, screaming in your psychic ear, your good ear:

“LISTEN:  The machines are taking over, taking you over.
Your identity and train of thought are repeatedly hijacked,
Switched off the main line onto spurs and tangents,
Only marginally connected or not at all.
(Incoming TEXT from my editor: “Lighten Up, Giuseppi!”)
Reminding me again that most in my audience,
Rarely get past the comic page. All righty then: think Calvin & Hobbes.
John Calvin, a precocious and adventurous six-year old boy,
Subject to flights of 16th Century French theological fancy.
Thomas Hobbes, a sardonic anthropomorphic tiger from 17th Century England,
Mumbling about life being “solitary, poor, nasty, brutish and short.”
Taken together--their antics and shenanigans--their relationship to each other,
Remind us of our dual nature; explore for us broad issues like public education;
The economy, environmentalism & the Global ****** Thermometer;
Not to mention the numerous flaws of opinion polls.



And again my editor TEXTS me, reminds me again: “LIGHTEN UP!”
Consoling me:  “Even Shakespeare had to play to the groundlings.”
The groundlings, AKA: The Rabble.
Yes. Even the ******* Bard, even Willie the Shake,
Had to contend with a decidedly lowbrow copse of carrion.
Oh yes, the groundlings, a carrion herd, a flying flock of carrion seagulls,
Carrion crow, carrion-feeders one and all,
And let’s throw Sheryl Crow into the mix while we’re at it:
“Hit it! This ain't no disco. And it ain't no country club either, this is L.A.”  

                  Send "All I Wanna Do" Ringtone to your Cell              

Once more, I digress.
The Rabble:  an amorphous, gelatinous Jabba the Hutt of commonality.
The Rabble: drunk, debauched & lawless.
Too *****-delicious to stop Bill & Hilary from thinking about tomorrow;
Too Paul McCartney My Love Does it Good to think twice.

The Roman Saturnalia: a weeklong **** fest.
The Saturnalia: originally a pagan kink-fest in honor of the deity Saturn.
Dovetailing nicely with the advent of the Christian era,
With a project started by Il Capo di Tutti Capi,
One of the early popes, co-opting the Roman calendar between 17 and 25 December,
Putting the finishing touches on the Jesus myth.
For Brooklyn Hopi-***-Jew baby boomers like me,
Saturnalia manifested itself as Disco Fever,
Unpleasant years of electrolysis, scrunched ***** in tight polyester
For Roman plebeians, for the great unwashed citizenry of Rome,
Saturnalia was just a great big Italian wedding:
A true family blowout and once-in-a-lifetime ego-trip for Dad,
The father of the bride, Vito Corleone, Don for A Day:
“Some think the world is made for fun and frolic,
And so do I! Funicula, Funiculi!”

America: love it or leave it; my country right or wrong.
Sure, we were citizens of Rome,
But any Joe Josephus spending the night under a Tiber bridge,
Or sleeping off a three day drunk some afternoon,
Up in the Coliseum bleachers, the cheap seats, out beyond the monuments,
The original three monuments in the old stadium,
Standing out in fair territory out in center field,
Those three stone slabs honoring Gehrig, Huggins, and Babe.
Yes, in the house that Ruth built--Home of the Bronx Bombers--***?
Any Joe Josephus knows:  Roman citizenship doesn’t do too much for you,
Except get you paxed, taxed & drafted into the Legion.
For us the Roman lifestyle was HIND-*** humble.
We plebeians drew our grandeur by association with Empire.
Very few Romans and certainly only those of the patrician class lived high,
High on the hog, enjoying a worldly extravaganza, like—whom do we both know?

Okay, let’s say Laurence Olivier as Crassus in Spartacus.
Come on, you saw Spartacus fifteen ******* times.
Remember Crassus?
Crassus: that ***** twisted **** trying to get his freak on with,
Tony Curtis in a sunken marble tub?
We plebes led lives of quiet *****-scratching desperation,
A bunch of would-be legionnaires, diseased half the time,
Paid in salt tablets or baccala, salted codfish soaked yellow in olive oil.
Stiffs we used to call them on New Year’s Eve in Brooklyn.
Let’s face it: we were hyenas eating someone else’s ****,
Stage-door jackals, Juvenal-come-late-lies, a mob of moronic mook boneheads
Bought off with bread & circuses and Reality TV.
Each night, dished up a wide variety of lowbrow Elizabethan-era entertainments.  
We contemplate an evening on the town, downtown—
(cue Petula Clark/Send "Downtown" Ringtone to your Cell)

On any given London night, to wit:  mummers, jugglers, bear & bull baiters.
How about dog & **** fighters, quoits & skittles, alehouses & brothels?
In short, somewhere, anywhere else,
Anywhere other than down along the Thames,
At Bankside in Southwark, down in the Globe Theater mosh pit,
Slugging it out with the groundlings whose only interest,
In the performance is the choreography of swordplay and stale ****** puns.
Meanwhile, Hugh Fennyman--probably a fellow Jew,
An English Renaissance Bugsy Siegel or Mickey Cohen—
Meanwhile Fennyman, the local mob boss is getting his ya-yas,
Roasting the feet of my text-messaging editor, Philip Henslowe.
Poor and pathetic Henslowe, works on commission, always scrounging,
But a true patron of my craft, a gentleman of infinite jest and patience,
Spiritual subsistence, and every now and then a good meal at some,
Sawdust joint with oyster shells, and a Prufrockian silk purse of T.S. Eliot gold.

Poor, pathetic Henslowe, trussed up by Fennyman,
His editorial feet in what looks like a Japanese hibachi.
Henslowe’s feet to the fire--feet to the fire—get it?
A catchy phrase whose derivation conjures up,
A grotesque yet vivid image of torture,
An exquisite insight into how such phrases ingress the idiom,
Not to mention a scene once witnessed at a secret Romanian CIA prison,
I’d been ordered to Bucharest not long after 9/11,
Handling the rendition and torture of Habib Ghazzawy,

An entirely innocent falafel maker from Steinway Street, Astoria, Queens.
Shock the Monkey: it’s what we do. GOTO:
Peter Gabriel - Shock the Monkey/
(HQ music video) - YouTube//
www.youtube.com/
Poor, pathetic, ******-on Henslowe.


Fennyman :  (his avarice is whet by something Philly screams out about a new script)  "A play takes time. Find actors; Rehearsals. Let's say open in three weeks. That's--what--five hundred groundlings at tuppence each, in addition four hundred groundlings tuppence each, in addition four hundred backsides at three pence--a penny extra for a cushion, call it two hundred cushions, say two performances for safety how much is that Mr. Frees?"
Jacobean Tweet, John (1580-1684) Webster:  “I saw him kissing her bubbies.”

It’s Geoffrey Rush, channeling Henslowe again,
My editor, a singed smoking madman now,
Feet in an ice bucket, instructing me once more:
“Lighten things up, you know . . .
Comedy, love and a bit with a dog.”
I digress again and return to Hopi Land, back to my shaman-monastic abattoir,
That Zen Center in downtown Shungopavi.
At the Tribal Enrolment Office I make my case for a Certificate of Indian Blood,
Called a CIB by the Natives and the U.S. Bureau of Indian Affairs.
The BIA:  representing gold & uranium miners, cattle and sheep ranchers,
Sodbusters & homesteaders; railroaders and dam builders since 1824.
Just in time for Andrew Jackson, another false friend of Native America,
Just before Old Hickory, one of many Democratic Party hypocrites and scoundrels,
Gives the FONGOOL, up the CULO go ahead.
Hey Andy, I’ve got your Jacksonian democracy: Hanging!
The Bureau of Indian Affairs (BIA) mission is to:   "… enhance the quality of life, to promote economic opportunity, and to carry out the responsibility to protect and improve the trust assets of American Indians, Indian tribes, and Alaska Natives. What’s that in the fine print?  Uncle Sammy holds “the trust assets of American Indians.”

Here’s a ******* tip, Geronimo: if he trusted you,
It would ALL belong to you.
To you and The People.
But it’s all fork-tongued white *******.
If true, Indian sovereignty would cease to be a sick one-liner,
Cease to be a blunt force punch line, more of,
King Leopold’s 19th Century stand-up comedy schtick,
Leo Presents: The **** of the Congo.
La Belgique mission civilisatrice—
That’s what French speakers called Uncle Leo’s imperial public policy,
Bringing the gift of civilization to central Africa.
Like Manifest Destiny in America, it had a nice colonial ring to it.
“Our manifest destiny [is] to overspread the continent,
Allotted by Providence for the free development,
Of our yearly multiplying millions.”  John L. O'Sullivan, 1845

Our civilizing mission or manifest destiny:
Either/or, a catchy turn of phrase;
Not unlike another ironic euphemism and semantic subterfuge:
The Pacification of the West; Pacification?
Hardly: decidedly not too peaceful for Cochise & Tonto.
Meanwhile, Madonna is cash rich but disrespected Evita poor,
To wit: A ****** on the Rocks (throwing in a byte or 2 of Da Vinci Code).
Meanwhile, Miss Ciccone denied her golden totem *****.
They snubbed that little guinea ****, didn’t they?
Snubbed her, robbed her rotten.
Evita, her magnum opus, right up there with . . .
Her SNL Wayne’s World skit:
“Get a load of the unit on that guy.”
Or, that infamous MTV Music Video Awards stunt,
That classic ***** Lip-Lock with Britney Spears.

How could I not see that Oscar snubola as prime evidence?
It was just another stunning case of American anti-Italian racial animus.
Anyone familiar with Noam Chomsky would see it,
Must view it in the same context as the Sacco & Vanzetti case,
Or, that arbitrary lynching of 9 Italian-Americans in New Orleans in 1891,
To cite just two instances of anti-Italian judicial reach & mob violence,
Much like what happened to my cousin Dominic,
Gang-***** by the Harlem Globetrotters, in their locker room during halftime,
While he working for Abe Saperstein back in 1952.
Dom was doing advance for Abe, supporting creation of The Washington Generals:
A permanent stable of hoop dream patsies and foils,
Named for the ever freewheeling, glad-handing, backslapping,
Supreme Commander Allied Expeditionary Force (SCAEF), himself,
Namely General Dwight D. Eisenhower, the man they liked,
And called IKE: quite possibly a crypto Jew from Abilene.

Of course, Harry Truman was my first Great White Fascist Father,
Back in 1946, when I first opened my eyes, hung up there,
High above, looking down from the adobe wall.
Surveying the entire circular kiva,
I had the best seat in the house.
Don’t let it be said my Spider Grandmother or Hopi Corn Mother,
Did not want me looking around at things,
Discovering what made me special.
Didn’t divine intervention play a significant part of my creation?
Knowing Mamma Mia and Nonna were Deities,
Gave me an edge later on the streets of Brooklyn.
The Cradleboard: was there ever a more divinely inspired gift to human curiosity? The Cradleboard: a perfect vantage point, an infant’s early grasp,
Of life harmonious, suspended between Mother Earth and Father Sky.
Simply put: the Hopi should be running our ******* public schools.

But it was IKE with whom I first associated,
Associated with the concept 1600 Pennsylvania Avenue.
I liked IKE. Who didn’t?
What was not to like?
He won the ******* war, didn’t he?
And he wasn’t one of those crazy **** John Birchers,
Way out there, on the far right lunatic Republican fringe,
Was he? (It seems odd and nearly impossible to believe in 2013,
That there was once a time in our Boomer lives,
When the extreme right wing of the Republican Party
Was viewed by the FBI as an actual threat to American democracy.)
Understand: it was at a time when The FBI,
Had little ideological baggage,
But a great appetite for secrets,
The insuppressible Jay Edgar doing his thang.

IKE: of whom we grew so, oh-so Fifties fond.
Good old reliable, Nathan Shaking IKE:
He’d been fixed, hadn’t he? Had had the psychic snip.
Snipped as a West Point cadet & parade ground martinet.
Which made IKE a good man to have in a pinch,
Especially when crucial policy direction was way above his pay grade.
Cousin Dom was Saperstein’s bagman, bribing out the opposition,
Which came mainly from religious and patriotic organizations,
Viewing the bogus white sports franchise as obscene.
The Washington Generals, Saperstein’s new team would have but one opponent,
And one sole mission: to serve as the **** of endless jokes and sight gags for—
Negroes.  To play the chronic fools of--
Negroes.  To be chronically humiliated and insulted by—
Negroes.  To run up and down the boards all night, being outran by—
Negroes.  Not to mention having to wear baggy silk shorts.



Meadowlark Lemon:  “Yeah, Charlie, we ***** that grease-ball Dominic; we shagged his guinea mouth and culo rotten.”  

(interviewed in his Scottsdale, AZ winter residence in 2003 by former ESPN commentator Charlie Steiner, Malverne High School, Class of ’67.)
                                                        
  ­                                                                 ­                 
IKE, briefed on the issue by higher-ups, quickly got behind the idea.
The Harlem Globetrotters were to exist, and continue to exist,
Are sustained financially by Illuminati sponsors,
For one reason and one reason only:
To serve elite interests that the ***** be kept down and subservient,
That the minstrel show be perpetuated,
A policy surviving the elaborate window dressing of the civil rights movement, Affirmative action, and our first Uncle Tom president.
Case in point:  Charles Barkley, Dennis Rodman & Metta World Peace Artest.
Cha-cha-cha changing again:  I am Robert Allen Zimmermann,
A whiny, skinny Jew, ****** and rolling in from Minnesota,
Arrested, obviously a vagrant, caught strolling around his tony Jersey enclave,
Having moved on up the list, the A-list, a special invitation-only,
Yom Kippur Passover Seder:  Next Year in Jerusalem, Babaloo!

I take ownership of all my autonomic and conditioned reflexes;
Each personal neural arc and pathway,
All shenanigans & shellackings,
Or blunt force cognitive traumas.
It’s all percolating nicely now, thank you,
In kitchen counter earthen crockery:
Random access memory: a slow-cook crockpot,
Bubbling through my psychic sieve.
My memories seem only remotely familiar,
Distant and vague, at times unreal:
An alien hybrid databank accessed accidently on purpose;
Flaky science sustains and monitors my nervous system.
And leads us to an overwhelming question:
Is it true that John Dillinger’s ******* is in the Smithsonian Museum?
Enquiring minds want to know, Kemosabe!

“Any last words, *******?” TWEETS Adam Smith.
Postmortem cyber-graffiti, an epitaph carved in space;
Last words, so singular and simple,
Across the universal great divide,
Frisbee-d, like a Pleistocene Kubrick bone,
Tossed randomly into space,
Morphing into a gyroscopic space station.
Mr. Smith, a calypso capitalist, and me,
Me, the Poet Laureate of the United States and Adam;
Who, I didn’t know from Adam.
But we tripped the light fantastic,
We boogied the Protestant Work Ethic,
To the tune of that old Scotch-Presbyterian favorite,
Variations of a 5-point Calvinist theme: Total Depravity; Election; Particular Redemption; Irresistible Grace; & Perseverance of the Saints.

Mr. Smith, the author of An Inquiry into the Nature
& Causes of the Wealth of Nations (1776),
One of the best-known, intellectual rationales for:
Free trade, capitalism, and libertarianism,
The latter term a euphemism for Social Darwinism.
Prior to 1764, Calvinists in France were called Huguenots,
A persecuted religious majority . . . is that possible?
A persecuted majority of Edict of Nantes repute.
Adam Smith, likely of French Huguenot Jewish ancestry himself,
Reminds me that it is my principal plus interest giving me my daily gluten.
And don’t think the irony escapes me now,
A realization that it has taken me nearly all my life to see again,
What I once saw so vividly as a child, way back when.
Before I put away childish things, including the following sentiment:
“All I need is the air that I breathe.”

  Send "The Air That I Breathe" Ringtone to your Cell  

The Hippies were right, of course.
The Hollies had it all figured out.
With the answer, as usual, right there in the lyrics.
But you were lucky if you were listening.
There was a time before I embraced,
The other “legendary” economists:
The inexorable Marx,
The savage society of Veblen,
The heresies we know so well of Keynes.
I was a child.
And when I was a child, I spake as a child—
Grazie mille, King James—
I understood as a child; I thought as a child.
But when I became a man I jumped on the bus with the band,
Hopped on the irresistible bandwagon of Adam Smith.

Smith:  “Any last words, *******?”
Okay, you were right: man is rationally self-interested.
Grazie tanto, Scotch Enlightenment,
An intellectual movement driven by,
An alliance of Calvinists and Illuminati,
Freemasons and Johnny Walker Black.
Talk about an irresistible bandwagon:
Smith, the gloomy Malthus, and David Ricardo,
Another Jew boy born in London, England,
Third of 17 children of a Sephardic family of Portuguese origin,
Who had recently relocated from the Dutch Republic.
******* Jews!
Like everything shrewd, sane and practical in this world,
WE also invented the concept:  FOLLOW THE MONEY.

The lyrics: if you were really listening, you’d get it:
Respiration keeps one sufficiently busy,
Just breathing free can be a full-time job,
Especially when--borrowing a phrase from British cricketers—,
One contemplates the sorry state of the wicket.
Now that I am gainfully superannuated,
Pensioned off the employment radar screen.
Oft I go there into the wild ebon yonder,
Wandering the brain cloud at will.
My journey indulges curiosity, creativity and deceit.
I free range the sticky wicket,
I have no particular place to go.
Snagging some random fact or factoid,
A stop & go rural postal route,
Jumping on and off the brain cloud.

Just sampling really,
But every now and then, gorging myself,
At some information super smorgasbord,
At a Good Samaritan Rest Stop,
I ponder my own frazzled neurology,
When I was a child—
Before I learned the grim economic facts of life and Judaism,
Before I learned Hebrew,
Before my laissez-faire Bar Mitzvah lessons,
Under the rabbinical tutelage of Rebbe Kahane--
I knew what every clever child knows about life:
The surfing itself is the destination.
Accessing RAM--random access memory—
On a strictly need to know basis.
RAM:  a pretty good name for consciousness these days.

If I were an Asimov or Sir Arthur (Sri Lankabhimanya) Clarke,
I’d get freaky now, riffing on Terminators, Time Travel and Cyborgs.
But this is truth not science fiction.
Nevertheless, someone had better,
Come up with another name for cyborg.
Some other name for a critter,
Composed of both biological and artificial parts?
Parts-is-parts--be they electronic, mechanical or robotic.
But after a lifetime of science fiction media,
After a steady media diet, rife with dystopian technology nightmares,
Is anyone likely to admit to being a cyborg?
Since I always give credit where credit is due,
I acknowledge that cyborg was a term coined in 1960,
By Manfred Clynes & Nathan S. Kline and,
Used to identify a self-regulating human-machine system in outer space.

Five years later D. S. Halacy's: Cyborg: Evolution of the Superman,
Featured an introduction, which spoke of:  “… a new frontier, that was not,
Merely space, but more profoundly, the relationship between inner space,
And outer space; a bridge, i.e., between mind and matter.”
So, by definition, a cyborg defined is an organism with,
Technology-enhanced abilities: an antenna array,
Replacing what was once sentient and human.
My glands, once in control of metabolism and emotions,
Have been replaced by several servomechanisms.
I am biomechanical and gluttonous.
Soaking up and breathing out the atmosphere,
My Baby Boom experience of six decades,
Homogenized and homespun, feedback looped,
Endlessly networked through predigested mass media,
Culture as demographically targeted content.

This must have something to do with my own metamorphosis.
I think of Gregor Samsa, a Kafkaesque character if there ever was one.
And though we share common traits,
My evolutionary progress surpasses and transcends his.
Samsa--Phylum and Class--was, after all, an insect.
Nonetheless, I remain a changeling.
Have I not seen many stages of growth?
Each a painful metamorphic cycle,
From exquisite first egg,
Through caterpillar’s appetite & squirm.
To phlegmatic bliss and pupa quietude,
I unfold my wings in a rush of Van Gogh palette,
Color, texture, movement and grace, lift off, flapping in flight.
My eyes have witnessed wondrous transformations,
My experience, nouveau riche and distinctly self-referential;
For the most part unspecific & longitudinally pedestrian.

Yes, something has happened to me along the way.
I am no longer certain of my identity as a human being.
Time and technology has altered my basic wiring diagram.
I suspect the sophisticated gadgets and tools,
I’ve been using to shape & make sense of my environment,
Have reared up and turned around on me.
My tools have reshaped my brain & central nervous system.
Remaking me as something simultaneously more and less human.
The electronic toys and tools I once so lovingly embraced,
Have turned unpredictable and rabid,
Their bite penetrating my skin and septic now, a cluster of implanted sensors,
Content: currency made increasingly more valuable as time passes,
Served up by and serving the interests of a pervasively predatory 1%.
And the rest of us: the so-called 99%?
No longer human; simply put by both Howards--Beale & Zinn--

Humanoid.

1-Establish Lux as a farmer with his brother, father, mother. Show dissatisfaction at a lot in life, yearning for more, however Lux feels compelled to stay with family and help them. Establish a close relationship between the brothers, a good mother/son relationship, though a testy relationship with his father. Strange symbol branded on Lux’s chest, been there since he was a baby, no one is sure what it means- or no one is telling him. This is Lux’s L.S. beginning. Establish also is the world Lux is in, the facts of the ministry and the church, the knights and wars of before.
2-Introduce a festival in town with knights from “The Brotherhood” being present, establish them as knights capable of magic and swordplay, “The Brotherhood” knights are taking new recruits at the festival. Wanting to join, Lux goes through the trials and passes, though after a harsh reaction from his father, Lux does not leave with the knights. With Lux out of scene, a conversation between the mother and father should reveal the man is not in actuality Lux’s father, but his uncle, and his brother had been married to Lux’s mother (now his wife) though died fighting in a war between “The Brotherhood” as a member of their ranks, against a rival faction known as “The Order”  peak lux’s curiosity and focus on the desire to leave as established in the previous chapter. This and the next chapter are Lux’s “Go The Distance”
3-The end of the week long festival nears, and Lux is on a hunting trip with his younger brother, returns and is questioned by his father why he wants to leave so much. The truth of Lux’s true father is revealed, and though Lux’s uncle expected this to convince Lux to stay and not go into danger, Lux is angered rather, and leaves in a hurry to catch “The Brotherhood” knights before they leave. Lux is put under the tutelage of a man who claims to have known Lux’s father, though it is revealed Lux’s little brother followed him, and is taken into the recruit pool as well, despite never going through the testing. Note- perhaps have Lux refuse to go with the knights if his brother is not also offered a spot? Hero’s journey, he needs a moment of hesitation and refusal to go. This should be reflected like Lukes refusal to join ben, or Bilbos refusal of gandalf, but quickly change their minds.
4-Training begins the moment they arrive at a camp. Lux and his brother are immediately outfitted with leather armor, dark and gritty in contrast of the shining metal of the rest of the knights. Lux is doing well in training, sword play coming natural, shakey with a bow, and ofcourse a natural talent at magic, (though make a point that in fire spells Lux only manages to start small flames that he can throw, and struggles with healing magic) though his brother is struggling in all aspects and is beat by his trainer. Lux’s trainer urges Lux to ignore it,though Lux finally snaps and challenges the man. The two enter a circle made in the dirt with training swords, and though Lux appears to have the advantage at first, he is quickly beaten and left gasping and ****** on the floor. The trainer leaves Lux there, and soon a hand reaches down to Lux. A female trainee named Ciara picks up Lux and, joined by his brother, the three wander off for more training for the instructors. Introduce Peter, a man deeply infatuated by Ciara, rather than a knight Peter is a Father to the holy church, unable to fall in love and forbidden to marry. Subtle on Peter’s infatuation with Ciara, should really build Peter as a good friend to Ciara,
5. Lux, his trainer, CIara, and her trainer are all out in the forest doing patrol after reports that remnants of “The Order” have picked up their pace in activity in the surrounding areas, raiding small towns and taking young men and women as recruits. Lux and Ciara are separated for a time and grow closer through talk and laughter when they see two knights in armor that is shining silver on almost the entire body though the right arm and pec are a scarlet red, drinking water from a stream. Confirming with each other that is the description of “The Order” Ciara says they should find their trainers though Lux charges. Ciara is close behind, catching the two off guard. Both are quickly overpowered through the use of advanced magic from “The Order” but Ciara’s trainer jumps in, kills one, but is killed by the second. As he turns, Lux throws his dagger and hits the man in the eye, killing him. Lux and Ciara carry her trainers body back to camp. Ciara refuses to speak and when greeted at the gate by Peter, she embraces him and cries into his shoulder. Have both Lux and Ciara attempt healing magic to no avail. Have Lux grow frustrated at feeling the ABILITY to heal, but unable to do so.
6. Lux is punished for charging, while his trainer is taken to a secret meeting where they discuss what to do with Lux, but out of respect for his father, they keep him in “The Brotherhood”. Lux has not seen Ciara since the incident, though he can see her in the crowd when he is being taken to be whipped, and receives 10 lashes, to Peter’s dismay who recommends either banishment or death. After the punishment, he is cut loose from the posts holding him up and Lux’s brother charges the ground, picking his brother up and taking him to his bed. As they pass Lux manages an apology, but is unsure if she accepts it. Lux is informed she will be trained alongside him. Make Peter do some ******* **** idk. Resenting “The Brotherhood” Lux should vent to his brother about his growing distrust of the situation, asking if his brother has felt the growing gap between what they feel they can do, and what they can do.
7. Show training between Lux, Ciara, and brother, distinguish a growing connection between Lux and Ciara, much to Ciara’s surprise and reluctance. Show Lux go into his trainers room while he is absent, and sees a sword on the wall, bearing a strange symbol. Lux trainer will explain that the sword should belong to Lux as it was his fathers, and when it is time he will inherit the blade but for now he must leave the blade alone. Lux asks about the situation behind his father's death. Explain the following: The Brotherhood were not always the knights guarding the royal family, before his birth the royal family was guarded by The Order, who are the reason The Brotherhood practice both swordplay and magic, as the Order are master swordsman and powerful wizards, prolific in blood magic and necromancy. When one member of The Order desired the throne for himself, he split The Order in 2. The Brotherhood worship the Gods, but in his desire and lust for power, the man struck a deal with the old gods, evil barbaric entities who require blood and death as sacrifices for their eternal power. This is Nero, a man that Lux’s father took in and treated as a brother, both being trained as knights for The Order. During the civil war, Nero attacked the Royal Palace and though he was badly defeated, he did **** Lux’s father in the battle. End chapter on this story. This chapter should be shows as Lux is uncertain of The Brotherhood and his trainer, but with the story of his father, he is conflicted. If it is true, then they are just. If it is wrong, how many more lies has he been told?
8. Show Lux becoming prolific with a blade and very intimidating magically. When he, Ciara, and his brother are sent on a mission with no trainers for the first time, Lux naturally takes charge. They track knights of The Order down to a cave, where they are tested both physically and magically. Ciara and Lux both protect brother as much as they can, though brother is able to hold his own. They manage to corner one who instead of being taken prisoner, stabbed himself in the stomach after giving an ominous warning. As Lux approaches the body, he sees on the cave wall a crude drawing of a man with the same symbol on his chest as Lux’s, holding a sword with the same symbol as Lux’s fathers, a figure resembling a large black and red dragon behind the man. Dismissing it, Lux tells Ciara and brother to not bother approaching, and the last of the knights are dead. The report back to base, and Lux informs trainer of what happened, leaving out the symbol.
9. Word carries out on base that more and more caves are being found with members of The Order, all with strange paintings on the walls. Peter speaks with the knights, explaining he has been praying and granted visions of a large scale battle. Have Ciara grab Lux’s arm at the sound of war, which Peter will notice (important for later) and in a hesitation to prepare for a battle that may or may not come, the commander of the camp demands the trainees be knighted, their proper gear be made, and to meet with the main force.
Cut from Lux to Peter alone in a church, praying to the Holy Mother begging for guidance away from the desires of his heart, and in his prayers Peter slowly realizes that he will not give up his desire for Ciara and decides to betray the Brotherhood in hopes Lux may die and he may be able to gain Ciara’s affection. Peter is seen leaving by Lux, though when questioned says he is going for more Fathers to pray and meditate on the matter.
10. Peter tracks down members of The Order, informing them that he wishes to give them valuable information, surrendering to them. Peter is taken to the leader of the knights operating in the area, and in exchange for one thing, is willing to tell The Order where The Brotherhood is, where they are going, their numbers, and anything else that will be of use. All he wants is them to make Ciara fall in love with him./ While Peter is doing this, Lux is kneeling in front of his trainer who knights him with fathers sword. (maybe do a crusader knight knighting, this is oath/this is how you remember it) When Lux is handed his father's sword, the cold metal instantly feels warm and the grip adjusts to his fingers and though it looks heavy, appears just the right weight to Lux. Lux is given armor, though when he takes his shirt off he sees the symbol on his chest glowing, same as the symbol on the sword. Trainer only says “magic is a strange thing, boy” and Lux is put into armor and finally leaves the shed a knight after only 2 months of training./back to Peter who is given a potion, told to have Ciara drink it and leave with her before they make their move. As Peter leaves, the leader barks orders to men who address him as Nero. Perhaps instead of Peter getting the potion straight from Nero, have him get it on a witch in the woods who is secretly affiliated with Nero, have to work out how she gets the information from Peter, but she could use magic to contact Nero after. Perhaps part of the agreement is Peter must turn his back on his abandoned faith and be her student and as a test of loyalty he must tell her everything he knows.
11. As The Order masses its numbers, knights of the Brotherhood are entering the giant city dedicated to The Brotherhood(Remulus? Romulus?) and Lux is in awe as he sees the a giant palace, and near it a graveyard with tombs. The tombs are the resting place of knights of The Order who gave their lives in service to the royal family, and now knights of The Brotherhood join their numbers. A newly marked grave is standing as a monument to Ciara’s trainer. The day is given to them to explore the city, and Lux/Ciara are alone together. Share a kiss. Witnessing the kiss, Peter comes from the shadows and informs them that curfew is near, and they should be heading back to the castle/as Peter watches the two make way to the castle laughing/holding hands, he heads to a monastery. He kneels before a picture of his god, praying asking to be told what to do. He knows he is a man of faith, so why are lust and desire even capable of entering his heart? He begs for pardon from sin as he sets his heart on giving Ciara the potion.
12. Now that the trainees have been knighted and the generals have been informed of Peter’s vision, prepare for war. The inhabitants of the city and many villages around are all pulled into the Castle’s walls, able bodied men and boys are given swords, women and girls find refuge in the newly emptied dungeons (all criminals hung/drafted?) Lux is witness to a battle plan, and overhears that during the last battle at the capitol city, The Order had used dragons to its aid, and though there were no confirmed sightings of dragons now, The Brotherhood should still set up catapults and bastilles on the off chance. Lux finds his brother and Ciara and informs them of what he has heard, though Peter comes and informs them that Lux must just be tired from nerves, and no one has seen a dragon in a generation. End with Ciara stopping a near brawl between the two, and Lux heading to his bed alone, and Peter now with Ciara, when a sound fills the halls. Scouts are reporting a massive army on the outskirts of the city.
13. Rain. Silence. Lux, Ciara, and his brother are among the numbers at the front gate. Rain hitting the ground. Hitting armor. Men are vomiting. Peter along with other priests are swinging burning incense between the rows of men, chanting prayers and songs of their god. Pounding. Pounding so hard that when it hits the front gate, the rain flies off the door and hits Lux’s face. Lux looks to his brother. The two nod. Lux looks into Ciara’s eyes. The two kiss. Confess love. The gate is broken open and the war begins with a thunderous roar in the sky, a dragon spewing fire on archers perched on castle walls as troops charge. Lux and the other knights hold their positions with a great clash the two armies finally meet. In screaming and fighting, Lux loses his brother, and The Brotherhood are pushed back, further and further. Lux manages to grab Ciara’s arm and the two run to a set of stairs going down to one of the dungeon entrances to warn the others that they are losing, when the dragon knocks over a giant pillar, stones hitting the two. Lux stays conscious from the first hit, and sees Peter approaching an unconscious Ciara with the potion in hand. Stuck beneath rubble, Lux watches as Peter pours it in her mouth and wakes her with a kiss. Begging Ciara for help frantically, she walks away with Peter, and as Lux cries out for his brother, more stones hit, causing him to go unconscious.
14. Lux awakens in an unfamiliar setting, on his knees. His hands shackled to the wall, his armor and sword feet in front of him, a man standing behind them. The man asks if Lux knows who he is. Looking up, Lux can see from the torches a tired face. Shaking his head, the man informs Lux, “I am Nero, commander of The Order, Captain of the Conquered Reaches, and rightful heir to the throne. And you are Lux. My nephew,” Nero smiles, touching Lux’s face. Accusing Nero of killing his father, Nero softens his eyes at Lux and stops moving. A look of sadness. “Your father's mistake is the single most regrettable accident in my life,” tells Lux more and more about his father. Informs Lux why the symbol is on his chest. Its magically bonded to the blade. It makes blood magic more powerful. Nero then informs Lux that his father had found a dragon egg just like Nero did, as Nero pulls the egg from his robes, shiney and black with streaks of scarlet. Nero offers Lux out of this cell, and he will gladly show him the ways of blood magic and make sure that Peter pays for his betrayal of the other knights. “I do not find The Brotherhoods newest members traitors, how can they betray a cause they never were offered? But how do you think we knew you were going to be there when we did? All of this has been for you, Lux.” with a wave of his hand, the shackles fall off Lux’s wrists and he falls forward. Reaching to the egg, Lux hesitates slightly, looking down and seeing his reflection in the water. With a wave of his hand, Nero projects the image of Peter kissing Ciara deeply. “That passion she gives him should be yours. I cannot create love. Only transfer it with a potion. When peter described the man who took his beloved, I should have realized. But together, I can rid the potions course and Peter will pay, Lux,” and as Lux watch Ciara enter Peter’s bed, he firmly grabs the egg, which begins to shake and crack in his hand, emerging a tiny dragon. Nero’s past: Nero will portray his story as such: He discovered that Lux’s mother is the illegitimate daughter of the queen. When Nero went to tell Lux’s father, he was stopped by the queen who attempted to have him killed, for if it was discovered that her late husband had an offspring, she would have a claim to the throne. In the ongoing fight, Nero claims he accidentally killed the queen and was discovered by Lux’s father. The fight was a misunderstanding and he was never able to tell him the truth of his soon to be (pregnant) wife. The split of The Order were those who believed Nero and those horrified at the death of the queen. Nero claims the royals betrayed him and those who followed the truth. Show a refusal to believe at first, though as his imprisonment lasts, and he goes over it again and again in his head, for weeks as Peter gets further away with Ciara, left with visions of Peter and Ciara making love, his Nero pleading with Lux’s father, and the conflict. Ambiguous if this is actually true or just indoctrination.
15. Lux’s training begins immediately. He is placed in the middle of a circle, men attacking from all directions and must fight them off with his blade and newly learned blood magic. Slicing his palm before gripping his blade, the warm metal now burns hot in Lux’s hands, and he drops the blade. Scolded with beatings and lashings, Lux learns how to embrace the pain. Magic flows through him stronger than ever as he adapts. Fire flows from his tips when before he could only manage an ember. He heals fatal wounds when before he could hardly manage a small cuts and broken bones. Lux is routinely beaten and whipped, his dragon growing and watching all the while. Weeks go by. Lux concentrates only on killing Peter and revenge. Pain, anger, and of course blood fuel blood magic to its extremes.
16. Lux’s brother is brought into a small room with other generals who managed to escape the battle of the capitol. He is questioned if he has heard from Lux, Peter, or Ciara as their bodies were never found. All the remaining forces are falling back to the capital, where a final stand will once again be made. Lux’s brother is told he may visit home one last time and must report to the capital in no more than 5 days, and his trainer will accompanying him/Lux is kneeling once again before Nero, though he feels the sword tap either shoulder as he is knighted into the brotherhood. He is given shiney armor and as he puts it on, is instructed to place his sliced palm on the opposite shoulder and watches as his blood flows into the metal, turning that arm and shoulder scarlet red. He is officially in The Order. Lux is tasked with one task to prove his loyalty. **** his stepfather and attempt to convince his mother to come swear loyalty to nero if she refuses, **** her too. If he does that, when he returns his dragon will feed on the personal sacrifice and be ready for battle, and in return Nero will make sure both Peter and Ciara are waiting for him. “It will be done, Lord Nero.” show conflict in Lux if he is truly willing to do all of this, and conflict on loyalty to Nero. The Dragons growth and power is connected to Lux’s ability in blood magic. The more anger, hate, and pain he puts into his abilities, the stronger the dragon will become.
17. Chapter starts with Lux standing outside his old house in the early hours of the morning, the sun peeking out of the mountains but being quickly covered by storm clouds. As darkness settles over the brief light illuminating the house. Lux enters the house. His stepfather enters the room hearing the door open but is grabbed by the throat.during the fighting, Lux manages to strangle his step father and throws his body to the door as his mother is running into the room. As she surveys the situation, there is a cry from the door, and Lux’s brother and trainer are standing in the door, sword in hand. Lux begins to unsheathe his sword but his mother moves between them, talking to the brothers. Lux demands to know from his trainer if what Nero said is true and that his mother is the rightful heir. Confirming Nero’s story partially, though claims that Nero attempted to blackmail the queen with the knowledge of the heir to gain more power. Lux tries to persuade his mother to join him and come be with Nero, that his father would have wanted this. When she refuses, he explains that she would not understand what he HAS to do to end this war, and when he is done the conflict will be resolved and order restored. Argument between lux and brother over oaths broken. Mother approaches Lux, touching his face tenderly speaking softly watching as her son is breaking. She offers him to leave the conflict entirely and to just live home with her, though as she turns to face Lux’s brother, Lux stabs her. Gasping she looks back to Lux, touching his face once more, “You look so much like your father in that armor” Lux , trainer and brother fight, Lux leaves his brother unconscious in the house quickly, though he kills his trainer outside, taking the bodies with him back to Nero.
18.Lux returns to the agreed upon spot to meet Nero, but is instead met by Ciara, who in his confusion and hesitation desperately tries to convince her to leave with him when out steps Peter with a staff in hand, who has now learned the magic of the old gods. When Lux raises his hand, his dragon lands behind him with a mighty roar. With a smirk, peter does the same, and a white and blue dragon lands behind him, a roar just as mighty. The dragons take to the air, circling and roaring, spitting blue and black flames at one another as Lux and Peter fight to the death. Just as Lux manages to defeat Peter after taunting and back and forth, there is a loud crash as Lux’s dragon lands on the other teeth in its neck, ripping its head off entirely. Ciara comes to her senses immediately, seeing Lux in armor of The Order standing over a wounded and ****** Peter, the blood spraying on them. Stepping toward Ciara, Lux is surprised when she steps back in fear. Allowing her to leave, Lux watches as she sprints away. The conversation between Lux and Ciara should be that of both trying to convert the other. When no understanding is made between the two, it is Lux’s love for Ciara that allows her to leave, she sprints to the horses and makes her way back to The Brotherhood. Turning back to a wounded Peter, Lux raises his sword when his eye catches sight of a faint glow on Peter’s chest. Kneeling to rip the man's shirt out of the way, Lux finds the same symbol that is on his sword and own chest. Peter is Lux’s lost twin.

In fair Verona where Will set the scene
Belle Fortune moves the markers up and down.
Two households both alike in dignity
Fiercely compete for fear of losing ground.

When Juliet saw Romeo at the dance
Events were set in motion that, perchance,
Would see fair Juliet as our Romeo’s bride
but ultimately result in her suicide.

With Tybalt and Mercutio both dead,
And Capulet and Montague estranged.
Young Paris sought fair Juliet to wed
not knowing of her loss of maiden-head.

Romeo was banished for his crime,
a sin for which a peasant would have died
Their two households, joined because they wed,
remained divided by their foolish pride.

Summer’s fierce heat shimmered in the air,
oppressive in the absence of a breeze.
With Friar Lawrence’s help, Romeo’s girl played dead,
as if struck down by some unknown disease


Romeo , in Mantua, heard that his Juliet
Lay dead amongst the sleeping Capulets.
A draught of deadly poison he obtained
So they might sleep together once again.

When Romeo met Paris at her tomb,
Words led to swordplay, leaving Paris dead.
Would not the world have been a better place
if Romeo had kept it sheathed instead?

Unshriven, Romeo drank the poison down-
the only son of Montague now dead.
Perchance just then fair Juliet revives
Bereaved, she took his Dirk to bed instead.

Authorities, arriving at the scene,
could only mourn a brace of kinsmen lost.
Capulet and Montague were reconciled
Their amity bought at a fearful cost.

The tangents on my clavichord
Were fashion'd from a ****** sword
That slew a man who music made
Which ought like him to be decay’d.

O.O

Don't ever let my calm demeanor fool you,
you opened your mouth now its time to School you,
in the deadliest art, I tear you apart,
you're done from the start-get back in your Kart
and go blow your Horn,

while my Sonic Boom engraves my Chi into the Matterhorn
If I let rip they're zippin' up your rap crimes as evidence,
cause many moons ago I first set the Precedent-
Presidential rhymer but I'm no Twitter Twit,

When I bring the pain I like it to be intimate,
I'm Sado your Maso can't admit you're into it,
try to stop your toe tapping no control of it,
first strike Staccato, then smoooth like a Stiletto,
sliding into Silk Skin you let go ...

Chorus

Cause I'm your Sensei, show respect to your Teacher,
Bow Loooow cause I've a long way to reach ya,
won't breach your Confidence-just your Defense,
batter clatter shattered Armour-Helm full of dents

As I let go, ooh kid look what you done did,
Saw a Tigers tail twitchin' and then ya pulled it!,
shoulda mulled it over, now I pulled ya over,
now you're clickin your heels squeakin' no place like home huh?
      
                                *****
Your weak wordplay VS my Lyrical Swordplay
could put you down like child's play - *Behold your Sensei
Join the ranks? - no easy way, just the EC way...
don't like it? there's the door for the greasy strays...
      
                           ++++++++++++++++++  

but if you stay?--- you'll learn from the best,
lyrical onslaughts Dim Mak sounds stop hearts in chests,
or open  minds to other possibilities...
Stick with us kid, find the Sea of tranquility-
become a Warrior Poet heart full of Nobility,
use words as weapons to expose Fragility,
then some day you too can be a Sensei...

When you're a Sensei you discover lifes the Teacher,
Open up your Third eye, let the whole world reach ya,
I greet you - as a worthy Proponent,
always ready for the next opponent...

Some just can't and won't learn the lesson,
even when I break it down to the essence,
essentially your Sensei sees...
at least four **** moves ahead o' ye,

That's why i'm so relaxed while I'm battlin'
your nerves are fraught your nails bit-teeth chatterin',
face scrunched up in fear of the batterin'
you go from Rambo to Lamb as I unleash a Cataclysm

                         ******

A Thesaurus Tesseract powerin' a Juggernaut,
Bipolar Jaeger Driver Plasma weapon o' thought,
my life is a War zone my weapons are words,
Paleface Shamefaced attacker reveals a hidden sword

but I've met ya before defeated with metaphor,
Meta-Physical giant like fallin' through Smithsonian floor,
Deception meets Conception like Inception,
then my Dai Katana rips through your mid section...cause

I'm a Sensei-world class instructor rhymin',
you lost the beat and now you're off timin',
a wounded Gazelle limpin' cross the plains,
I take aim - release you from your Pain*

Cause I'm a Sensei use my art for my Zanshin,
reflexively inflexively effortlessly Dancin'
across the page across the stage across your lives...
Cause a true Sensei knows the real teacher...is LIFE

Love you all, stay strong, stay positive Act- don't React
Mr Sandman 11/07/17 (4:47!)

And speaking to the western wind,
In the sped and turning time of the revolving sky
As a top unwinding like a dropped fable;
He dreams of taking leave, unraveling the coil
Upending his foil
Of listless sights as daylight creeps one more tread
And sweet belief breaks down once again:
Days that are ******* like a sad hunt
When the tracker is bent
On tragic orchestrations that only lead to a duel . . .
Undoing, Oh must it be, "Must we fit?"
Let us know and get on with it.

In his bed the women are only dreams
Phantoms, iridescent sirens.

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

Yes! I am not King Lir, nor could ever be;
Am a child cast out, transfigured, remote
Innocent, prey to the white flaming truth
The growing down, that clothes my name
Inconsequential, sheathed with shame,
Polite, capricious, calamitous;
Empty of all, it is unanimous
Nor even the memory of ripeness
Invisible, a drop in the pool.

I am weary . . .  I am weary . . .
I shall whisper to the newborns when I am old.

Shall I build upon the strand?  Have swordplay with the sea?
I shall tear my hair, mutter to the moon, bury my wounded knees
I have heard the Selkies singing, sailing with the breeze.

I do not think they will give their skin to me.

I have known them gliding beyond the ninth wave.
I still hear them sing so sweetly, weaving sorrows, on my back
Carving the blue waters as the waves are turning black.

We come and go in cycles with the moon, as tidal waves
Seep and seethe, foam and heave, lone captains setting sail,
In folly with a capsize brimming, before our boat has been bailed.

              

                                        ­                     ­                                               — after Elliot

And speaking to the western wind,
In the sped and turning time of the revolving sky
As a top unwinding like a dropped fable;
He dreams of taking leave, unraveling the coil
Upending his foil
Of listless sights as daylight creeps one more tread
And sweet belief breaks down once again:
Days that are ******* like a sad hunt
When the tracker is bent
On tragic orchestrations that only lead to a duel . . .
Undoing, Oh must it be, "Must we fit?"
Let us know and get on with it.

In his bed the women are only dreams
Phantoms, iridescent sirens.

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


Yes! I am not King Lir, nor could ever be;
Am a child cast out, transfigured, remote
Innocent, prey to the white flaming truth
The growing down, that clothes my name
Inconsequential, sheathed with shame,
Polite, capricious, calamitous;
Empty of all, it is unanimous
Nor even the memory of ripeness
Invisible, a drop in the pool.

I am weary . . .  I am weary . . .
I shall whisper to the newborns when I am old.

Shall I build upon the strand?  Have swordplay with the sea?
I shall tear my hair, mutter to the moon, bury my wounded knees
I have heard the Selkies singing, sailing with the breeze.

I do not think they will give their skin to me.

I have known them gliding beyond the seventh wave.
I still hear them sing so sweetly, weaving sorrows, on my back
Carving the blue waters as the waves are turning black.

We come and go in cycles with the moon, as tidal waves
Seep and seethe, foam and heave, lone captains setting sail,
In folly with a capsize brimming, before our boat has been bailed.

              

                                        ­                     ­­                                               — after Elliot

And speaking to the western wind,
In the sped and turning time of the revolving sky
As a top unwinding like a dropped fable;
He dreams of taking leave, unraveling the coil
Upending his foil
Of listless sights as daylight creeps one more tread
And sweet belief breaks down once again:
Days that are ******* like a sad hunt
When the tracker is bent
On tragic orchestrations that only lead to a duel . . .
Undoing, Oh must it be, "Must we fit?"
Let us know and get on with it.

In his bed the women are only dreams
Phantoms, iridescent sirens.

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

Yes! I am not King Lir, nor could ever be;
Am a child cast out, transfigured, remote
Innocent, prey to the white flaming truth
The growing down, that clothes my name
Inconsequential, sheathed with shame,
Polite, capricious, calamitous;
Empty of all, it is unanimous
Nor even the memory of ripeness
Invisible, a drop in the pool.

I am weary . . .  I am weary . . .
I shall whisper to the newborns when I am old.

Shall I build upon the strand?  Have swordplay with the sea?
I shall tear my hair, mutter to the moon, bury my wounded knees
I have heard the Selkies singing, sailing with the breeze.

I do not think they will give their skin to me.

I have known them gliding beyond the ninth wave.
I still hear them sing so sweetly, weaving sorrows, on my back
Carving the blue waters as the waves are turning black.

We come and go in cycles with the moon, as tidal waves
Seep and seethe, foam and heave, lone captains setting sail,
In folly with a capsize brimming, before our boat has been bailed.

              

                                        ­                                                                —­ after Eliot

There was a young man from Blackheath sir,
Who carried his tool in a sheath, sir,
    With a practiced quick draw
    He would see, he would saw,
But he always wound up underneath her!

And speaking to the western wind,
In the sped and turning time of the revolving sky
As a top unwinding like a dropped fable;
He dreams of taking leave, unraveling the coil
Upending his foil
Of listless sights as daylight creeps one more tread
And sweet belief breaks down once again:
Days that are ******* like a sad hunt
When the tracker is bent
On tragic orchestrations that only lead to a duel . . .
Undoing, Oh must it be, "Must we fit?"
Let us know and get on with it.

In his bed the women are only dreams
Phantoms, iridescent sirens.

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

Yes! I am not King Lir, nor could ever be;
Am a child cast out, transfigured, remote
Innocent, prey to the white flaming truth
The growing down, that clothes my name
Inconsequential, sheathed with shame,
Polite, capricious, calamitous;
Empty of all, it is unanimous
Nor even the memory of ripeness
Invisible, a drop in the pool.

I am weary . . .  I am weary . . .
I shall whisper to the newborns when I am old.

Shall I build upon the strand?  Have swordplay with the sea?
I shall tear my hair, mutter to the moon, bury my wounded knees
I have heard the Selkies singing, sailing with the breeze.

I do not think they will give their skin to me.

I have known them gliding beyond the seventh wave.
I still hear them sing so sweetly, weaving sorrows, on my back
Carving the blue waters as the waves are turning black.

We come and go in cycles with the moon, as tidal waves
Seep and seethe, foam and heave, lone captains setting sail,
In folly with a capsize brimming, before our boat has been bailed.

              

                                        ­                     ­                                           ­    — after Elliot

.
And speaking to the western wind,
In the sped and turning time of the revolving sky
As a top unwinding like a dropped fable;
He dreams of taking leave, unraveling the coil
Upending his foil
Of listless sights as daylight creeps one more tread
And sweet belief breaks down once again:
Days that are ******* like a sad hunt
When the tracker is bent
On tragic orchestrations that only lead to a duel . . .
Undoing, Oh must it be, "Must we fit?"
Let us know and get on with it.

In his bed the women are only dreams
Phantoms, iridescent sirens.

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

Yes! I am not King Lir, nor could ever be;
Am a child cast out, transfigured, remote
Innocent, prey to the white flaming truth
The growing down, that clothes my name
Inconsequential, sheathed with shame,
Polite, capricious, calamitous;
Empty of all, it is unanimous
Nor even the memory of ripeness
Invisible, a drop in the pool.

I am weary . . .  I am weary . . .
I shall whisper to the newborns when I am old.

Shall I build upon the strand?  Have swordplay with the sea?
I shall tear my hair, mutter to the moon, bury my wounded knees
I have heard the Selkies singing, sailing with the breeze.

I do not think they will give their skin to me.

I have known them gliding beyond the ninth wave.
I still hear them sing so sweetly, weaving sorrows, on my back
Carving the blue waters as the waves are turning black.

We come and go in cycles with the moon, as tidal waves
Seep and seethe, foam and heave, lone captains setting sail,
In folly with a capsize brimming, before our boat has been bailed.

              

                                        ­­­                     ­­                                      — after Eliot
.

Tuffy skinned a cat
Behind Walker Bros. Stores;
He was probably in on
The sand-girl's situation,
But no one believes her;
Yet believe Tuffy capable of such.
He wrestled ostriches and kangaroos
At Jungleworld,
Real ones.
Some say the animals were old and drugged,
But Tuffy pinned them all the same.

Margo's house burned to the studs
Following her ***-driven ******.
That was thirty years ago,
The same time Jungleworld,
With its spiders, snakes and caged bear
Died off with Tuffy and his peacock,
And the secrets of his take downs and holds.

I never saw Tuffy perform
His flaming knife-throws,
Destroying balloons between lips,
Slicing straps with his swordplay.
He would've thrived in Venice with Leonardo,
Dazzling Popes and Princes,
Who would be benefactors and patrons.
Tuffy would have lived in a villa,
On a mountainside, overlooking his audience,
And applauding them for their attention to detail.

And speaking to the western wind,
In the sped and turning time of the revolving sky
As a top unwinding like a dropped fable;
He dreams of taking leave, unraveling the coil
Upending his foil
Of listless sights as daylight creeps one more tread
And sweet belief breaks down once again:
Days that are ******* like a sad hunt
When the tracker is bent
On tragic orchestrations that only lead to a duel . . .
Undoing, Oh must it be, "Must we fit?"
Let us know and get on with it.

In his bed the women are only dreams
Phantoms, iridescent sirens.

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

Yes! I am not King Lir, nor could ever be;
Am a child cast out, transfigured, remote
Innocent, prey to the white flaming truth
The growing down, that clothes my name
Inconsequential, sheathed with shame,
Polite, capricious, calamitous;
Empty of all, it is unanimous
Nor even the memory of ripeness
Invisible, a drop in the pool.

I am weary . . .  I am weary . . .
I shall whisper to the newborns when I am old.

Shall I build upon the strand?  Have swordplay with the sea?
I shall tear my hair, mutter to the moon, bury my wounded knees
I have heard the Selkies singing, sailing with the breeze.

I do not think they will give their skin to me.

I have known them gliding beyond the seventh wave.
I still hear them sing so sweetly, weaving sorrows, on my back
Carving the blue waters as the waves are turning black.

We come and go in cycles with the moon, as tidal waves
Seep and seethe, foam and heave, lone captains setting sail,
In folly with a capsize brimming, before our boat has been bailed.

              

                                        ­                     ­­                                               — after Elliot

In fair Verona where Will set the scene
Belle Fortune moves the markers up and down.
Two households both alike in dignity
Fiercely compete for fear of losing ground.

When Juliet saw Romeo at the dance
Events were set in motion that, perchance,
Would see fair Juliet as our Romeo’s bride
but ultimately result in her suicide.

With Tybalt and Mercutio both dead,
And Capulet and Montague estranged.
Young Paris sought fair Juliet to wed
not knowing of her loss of maiden-head.

Romeo was banished for his crime,
a sin for which a peasant would have died
Their two households, joined because they wed,
remained divided by their foolish pride.

Summer’s fierce heat shimmered in the air,
oppressive in the absence of a breeze.
With Friar Lawrence’s help, Romeo’s girl played dead,
as if struck down by some unknown disease


Romeo , in Mantua, heard that his Juliet
Lay dead amongst the sleeping Capulets.
A draught of deadly poison he obtained
So they might sleep together once again.

When Romeo met Paris at her tomb,
Words led to swordplay, leaving Paris dead.
Would not the world have been a better place
if Romeo had kept it sheathed instead?

Unshriven, Romeo drank the poison down-
the only son of Montague now dead.
Perchance just then fair Juliet revives
Bereaved, she took his Dirk to bed instead.

Authorities, arriving at the scene,
could only mourn a brace of kinsmen lost.
Capulet and Montague were reconciled
Their amity bought at a fearful cost.

It's true I have some regrets in life
The truth is..... I think now..... I should
    have been Zardo and not Bardo
Zardo I think has more of a 'Zing' to it
It's a bit like Zorro
For I too wear a mask, I write hidden
    behind a pseudonym
Moving stealthily like some elusive
    Ninja warrior,
Or like some swashbuckling pirate
    hero yeah!
I descend upon the Site with a
   flourish
Swinging in like Errol Flynn trailing
    behind me great romance and
        adventure
I bring my magic, I dazzle with my
    swordplay, my verbal acrobatics
Send all the shadows fleeing,
rescuing the poor damsels, the sad
   heroine grieving
Releasing the downtrodden from
their onerous chains and shackles
Bringing Justice once more to the
    World
I bring them all a gift... the gift of... of
    Freedom!!!
Then as suddenly as I came... I'm gone,
    yea! I vanish
But not before leaving my mark, with
    lightning strokes, my Calling Card
A big "Z" Z for Zardo, written,
     emblazoned with my sword:
The people they all gather around
  just like detectives after a crime
They view my wonderful damage,
   can only stare and marvel
Then someone shouts, he points a
    finger
"Look!! The sign! Z!!! It was Him...it...it
    was Zardo!!!"
"Zardo!!!" the whole crowd gasps in
    awed hushed tones,
"It...it was Zardo!!!"

All I need now is a good theme tune
[Song: O Zar..arr..do! Where do you come from/ Where do you go Zar..arr..do!]

                         II

O! the ladies of an evening, they come
    out onto their balconies to coo
To watch the sun set & the rising of
   the Moon
Secretly they sigh and whisper onto
    themselves
"O! Zardo, where art thou, my Sweet
    Prince, my Secret Love
How my heart it longs, it yearns for
    thee,
I can see you, see you almost, upon a
    striking Black Horse galloping
[Song: O! Zarr...arr...do, your brooding
    dark looks, your flashing blade/
Riding through the Glens of Ireland
    yeah!].
O! Zardo, in my dreams I walk with
    thee, you hold me in your arms
O! Zardo, can I see it...will you not show it to me....let me touch it, hold it,
   feel it...your... your gleaming sword,
     your flashing blade yea!
Your golden pen from which
   beautiful dreams are made
O! Zardo your golden Excalibur like
   sword
Please! O Please! Unsheathe it!"
[Song: O! Zar..arr..do, with your eyes so soft/ But your arms so strong/
O! Zar..arr..do, Greatest Lover of them
    all!]

O! the wind it rustles in the trees, a fleeting shadow flits across the fields
"O! Zardo, is that you ? Is that you ? "
   they cry,
My Darling ! my Sweetness !
My shadowy Knight, my Heart's
   Delight".
[Song:  The Wind it whispers
   Zar..arr..do/ The valleys they echo
    his name]
O! Zardo if only you were here... if
   only".

                             III

Meantime back in my sanctuary
   hideaway home, safely ensconced
I reside....like some insanely brilliant
   criminal mastermind
Here I can be myself, here I can laugh,
Here I can unwind, let my guard
   down
Remove my cape and mask, lay my
   sword aside
Here I can feast in peace & toast my
   Art sublime
And around my fireside wildly dance
   and sing
             "O! they know me,
       Yet they know me not Ha! Ha!"
Like some impish Rumpelstiltskin.....
[Song: O! Zar..arr..do, Nobody knows from whence he comes/ Or where he goes/ Mysterious Masked stranger/ Fearless Lone Ranger... Zar..arr..do!]

                           IV

But now, back here in the real world
I must again resume my humble
   place/role...my double life
Don my Civy clothes once again
& like a chameleon blend in with the
   crowd
Just another nameless face...a mere
   office worker by day
[Distant Song: O! Zar..arr..do]
Here I must play another game,
   maintain my secrecy at all times,
Feeling like a Secret Agent, feeling
   like a spy
I must yes!....I must live a lie
For they must never know my secret
Who l really am... my true identity
Yes! I must be merciful to them &
   mercy show them (& to myself also)
For my sun...my sun it would burn too
   brightly for them
They'd all be starstruck, yea! they'd go
   all funny, all wobbly on me
They'd be stuttering and stammering,
   jibbering and jabbering
They'd go all self-conscious on me,
   not know what to say or do
They'd be all staring, they'd be all
   agog
"I never knew what Genius would
   ever look like", they'd say,
"And all the time it was sitting there
  right in front of me, right in our
    midst,
But... but he's so quiet and he looks so
   ordinary"
They'd come down from other floors
   just to see me
They'd whisper excitedly "Is that Him?  Is that Him?"
And the others would reply "Yes! that's Him, that's Genius! that's what
      Genius looks like"
Why! it'd be suffocating, I'd find it
   hard to breathe
I'd grow self-conscious too
I'd be just like an exhibit in the zoo.

And yet, y'know, there's this girl at
   work, she's really sweet
She always has a lovely smile just for
   me
So quiet and so graceful
O! how I wish... how I wish sometimes
I could just tell her, reveal myself to
   her, the real me
Silently I call out to her, "No! this isn't the real me you see before you
No! I'm not this dithering Klark Kent
   type office mouse
Look!!! (ripping off my shirt and tie revealing my Superman/Zardo vest)
Me! I'm Superman! Yes! I'm Zardo!!!"
[Music strikes up: O! Zar..ar..do! So
  strong, so gallant, so bold! Zar..ar..do]
And she'd start to say almost afraid
" You, you're Zardo" and she'd start to
   swoon, to feel faint
But I'd grab her and take her in my
   arms, my strong embrace
"No!" I'd assure her, "don't be afraid,
    no harm will come to thee
Fear not, you won't go aflame
Look! I'm just another human being,
   just like yourself"
"But you, you're Zardo", she'd protest,
" Look! " I'd say smiling, "touch me
   and see, pinch me if you like
I'm just flesh and blood, no different
   than you",
"Come!" I'd say, "take my hand, climb up here onto my horse, Let me take you to the stars and beyond
Yea! Let me take you home, home to my place"
And she'd take my hand and off we'd go
Galloping away together into the moonlit night.
[Song: O! don't go Zar..arr..do, don't leave us here all alone.... They call him Zar..arr..do.....].

And his legend, it goes on....
                                     
                    ­                                                              "Z"

And speaking to the western wind,
In the sped and turning time of the revolving sky
As a top unwinding like a dropped fable;
He dreams of taking leave, unraveling the coil
Upending his foil
Of listless sights as daylight creeps one more tread
And sweet belief breaks down once again:
Days that are ******* like a sad hunt
When the tracker is bent
On tragic orchestrations that only lead to a duel . . .
Undoing, Oh must it be, "Must we fit?"
Let us know and get on with it.

In his bed the women are only dreams
Phantoms, iridescent sirens.

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


Yes! I am not King Lir, nor could ever be;
Am a child cast out, transfigured, remote
Innocent, prey to the white flaming truth
The growing down, that clothes my name
Inconsequential, sheathed with shame,
Polite, capricious, calamitous;
Empty of all, it is unanimous
Nor even the memory of ripeness
Invisible, a drop in the pool.

I am weary . . .  I am weary . . .
I shall whisper to the newborns when I am old.

Shall I build upon the strand?  Have swordplay with the sea?
I shall tear my hair, mutter to the moon, bury my wounded knees
I have heard the Selkies singing, sailing with the breeze.

I do not think they will give their skin to me.

I have known them gliding beyond the seventh wave.
I still hear them sing so sweetly, weaving sorrows, on my back
Carving the blue waters as the waves are turning black.

We come and go in cycles with the moon, as tidal waves
Seep and seethe, foam and heave, lone captains setting sail,
In folly with a capsize brimming, before our boat has been bailed.

              

                                        ­­                                                                ­ ­— after Elliot

You're born,
you live,
you die.
Is there time to evolve?

Sometimes I sit cross-legged and I hum,
and I congregate with familiars to hymn,
and I congregate with warriors to gym,
and I smash keyboards to poeticize,
but it there time to evolve?

I will not let you substitute my evolution.
It is not some rabbit evolves from hat trick.
It is not some ******* nothing to something odd.
I don't know what it is, but you're not substituting it.

It's something weird.

I can go insane and wake up a god,
is that not evolution?
I can fall in love and become superman overnight,
is that not evolution?
I am the ka-me-ha-me-ha fusion of my parents!
I was,
once as worthless and aptly sized
as the penny under your bed,
but just you wait (you know what I mean)
I became big enough to rob you of common sense
and maybe your cents (yeah, about those pennies... can I sleep with you?)
I became big enough to hurl mountains across lakes (warning: stated objects are proportional to ants).
I became big enough to be the most insignificant speck on the earth, but I could nuke San Francisco and you'd see my handiwork from the moon,
is that not evolution?

Evolution is the survival of the fittest,
that's right,
every football player could be the next evolutionary link,
just wait until the end of the match,
you might be the first witness ;)

Tell me I'm not wrong!
If you say the opposite, you're a communist... (see what I did there?)
Is that not evolution?

What exactly are we passing through,
to get from where I am typing "a" to you saying, "Why'd he choose 'a'?"
from all across somewhere else where I am not?
Mouthful? Mouth full of what? Imagination?
Is that not evolution?

I don't know where I am sometimes,
and then I pull out a cellular doohickey,
and I command a machine 100 times my size
that's somewhere where there's no air or gravity
to tell me where I am. Sometimes I threaten it,
"I'll give you the AIDs equivalent of a computer virus you,
you... you pervert! Yeah, I know you know where I am every hour,
of every minute,
of every second,
so... there!"
You've got to give satellites the what-for sometimes.
IS THAT NOT EVOLUTION!!!

I don't know.
I guess you don't believe me...
Is that not devolution? (See what I did there?)

Okay, okay, I'm not impressing you with anything,
neither wordplay nor swordplay,
neither hiccup nor genius,
okay,
I'll leave you with this.

What did the signing ape say to the other signing ape?
Boom.
(Is that not evolution...)

.
And speaking to the western wind,
In the sped and turning time of the revolving sky
As a top unwinding like a dropped fable;
He dreams of taking leave, unraveling the coil
Upending his foil
Of listless sights as daylight creeps one more tread
And sweet belief breaks down once again:
Days that are ******* like a sad hunt
When the tracker is bent
On tragic orchestrations that only lead to a duel . . .
Undoing, Oh must it be, "Must we fit?"
Let us know and get on with it.

In his bed the women are only dreams
Phantoms, iridescent sirens.

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

Yes! I am not King Lir, nor could ever be;
Am a child cast out, transfigured, remote
Innocent, prey to the white flaming truth
The growing down, that clothes my name
Inconsequential, sheathed with shame,
Polite, capricious, calamitous;
Empty of all, it is unanimous
Nor even the memory of ripeness
Invisible, a drop in the pool.

I am weary . . .  I am weary . . .
I shall whisper to the newborns when I am old.

Shall I build upon the strand?  Have swordplay with the sea?
I shall tear my hair, mutter to the moon, bury my wounded knees
I have heard the Selkies singing, sailing with the breeze.

I do not think they will give their skin to me.

I have known them gliding beyond the ninth wave.
I still hear them sing so sweetly, weaving sorrows, on my back
Carving the blue waters as the waves are turning black.

We come and go in cycles with the moon, as tidal waves
Seep and seethe, foam and heave, lone captains setting sail,
In folly with a capsize brimming, before our boat has been bailed.

              

                                        ­­                     ­­                                          *— after Eliot

Bright blue eyes and withered hands
Jedediah took his swing
Steel cut sword with ****** bands
Steel on steel again it rings

Solotris was not new to dance
The dance of battle he knew well
Caught in swordplay's gripping trance
Silent, he ****** Jed to hell

Fast they moved without a thought
Wordless plays ran through their head
Remembering what they'd been taught
Though Solotris would soon lay dead

Jedediah could not lose
Not before he knew the truth
Doomed to either sword or noose
He just wanted to know who

Who his star-crossed lover was
He'd fought through all of hell to find
He never had the chance because
He left his loving past behind

Spirits low and bounty high
He slaughtered might Solotris

But withered hands let arrow fly
The arrow, it had found it's niche

silence
complete
deafening
split the ears
vibration
ripple
effect
gentle butterfly
perhaps left behind
standing
slow flap
atop your sanctum
deep spot
your hearts protection
subconsciously hidden
mirrored room
reflecting brilliance
furthest spot
Big Bang
swordplay battling
angled light
deepest beginning
time
echoing of nothing
significant insignificance
forever remaining
unknown
why?

Standing upon a lone cliff
holding his sword high for his damsel in distress

A hand reaches from behind him
and plunges it deep within the recesses of his chest

She wipes the blood off her gown
and pleads for help from the next passing knight

He is still healing from the last damsel
and no longer wants to fight her own fight

So they agree that the swordplay will cease
and their love will be bland, tired, and tried

And the two of them are happy-not really-
But that's how relationships worked after chivalry had died.

I left home young, I scarcely remember
being a lad and learning the way
of the old wisdom hidden in swordplay
When the war came I enrolled, a beggar
Then, I unleashed my consuming anger
And waded through blood, through every melée
I rose to command, and all would obey
and through my skill they came to call me ”sir.”

Then, when I returned, I had no more fears
Back as a lion though I left a lamb
I strode with vigor, to scale the last hill
Alas! On the crest I burst into tears
The same war that made me the man I am
had vanquished my home, such a bitter pill !