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by
Alexander K Opicho

(Eldoret, Kenya;aopicho@yahoo.com)

When I grow up I will seek permission
From my parents, my mother before my father
To travel to Russia the European land of dystopia
that has never known democracy in any tincture
I will beckon the tsar of Russia to open for me
Their classical cipher that Bogy visoky tsa dalyko
I will ask the daughters of Russia to oblivionize my dark skin
***** skin and make love to me the real pre-democratic love
Love that calls for ambers that will claw the fire of revolution,
I will ask my love from the land of Siberia to show me cradle of Rand
The European manger on which Ayn Rand was born during the Leninist census
I will exhume her umbilical cord plus the placenta to link me up
To her dystopian mind that germinated the vice
For shrugging the atlas for we the living ones,
In a full dint of my ***** libido I will ask her
With my African temerarious manner I will bother her
To show me the bronze statues of Alexander Pushkin
I hear it is at ******* of the city of Moscow; Petersburg
I will talk to my brother Pushkin, my fellow African born in Ethiopia
In the family of Godunov only taken to Europe in a slave raid
Ask the Frenchman Henri Troyat who stood with his ***** erected
As he watched an Ethiopian father fertilizing an Ethiopian mother
And child who was born was Dystopian Alexander Pushkin,
I will carry his remains; the bones, the skull and the skeleton in oily
Sisal threads made bag on my broad African shoulders back to Africa
I will re-bury him in the city of Omurate in southern Ethiopia at the buttocks
Of the fish venting beautiful summer waters of Lake Turkana,
I will ask Alexander Pushkin when in a sag on my back to sing for me
His famous poems in praise of thighs of women;

(I loved you: and, it may be, from my soul
The former love has never gone away,
But let it not recall to you my dole;
I wish not sadden you in any way.

I loved you silently, without hope, fully,
In diffidence, in jealousy, in pain;
I loved you so tenderly and truly,
As let you else be loved by any man.
I loved you because of your smooth thighs
They put my heart on fire like amber in gasoline)

I will leave the bronze statue of Alexander Pushkin in Moscow
For Lenin to look at, he will assign Mayakovski to guard it
Day and night as he sings for it the cacotopian
Poems of a slap in the face of public taste;

(I know the power of words, I know words' tocsin.
They're not the kind applauded by the boxes.
From words like these coffins burst from the earth
and on their own four oaken legs stride forth.
It happens they reject you, unpublished, unprinted.
But saddle-girths tightening words gallop ahead.
See how the centuries ring and trains crawl
to lick poetry's calloused hands.
I know the power of words. Seeming trifles that fall
like petals beneath the heel-taps of dance.
But man with his soul, his lips, his bones.)

I will come along to African city of Omurate
With the pedagogue of the thespic poet
The teacher of the poets, the teacher who taught
Alexander Sergeyvich Pushkin; I know his name
The name is Nikolai Vasileyvitch Gogol
I will caution him to carry only two books
From which he will teach the re-Africanized Pushkin
The first book is the Cloak and second book will be
The voluminous dead souls that have two sharp children of Russian dystopia;
The cactopia of Nosdrezv in his sadistic cult of betrayal
And utopia of Chichikov in his paranoid ownership of dead souls
Of the Russian peasants, muzhiks and serfs,
I will caution him not to carry the government inspector incognito
We don’t want the inspector general in the African city of Omurate
He will leave it behind for Lenin to read because he needs to know
What is to be done.
I don’t like the extreme badness of owning the dead souls
Let me run away to the city of Paris, where romance and poetry
Are utopian commanders of the dystopian orchestra
In which Victor Marie Hugo is haunted by
The ghost of Jean Val Jean; Le Miserable,
I will implore Hugo to take me to the Corsican Island
And chant for me one **** song of the French revolution;


       (  take heed of this small child of earth;
He is great; he hath in him God most high.
Children before their fleshly birth
Are lights alive in the blue sky.
  
In our light bitter world of wrong
They come; God gives us them awhile.
His speech is in their stammering tongue,
And his forgiveness in their smile.
  
Their sweet light rests upon our eyes.
Alas! their right to joy is plain.
If they are hungry Paradise
Weeps, and, if cold, Heaven thrills with pain.
  
The want that saps their sinless flower
Speaks judgment on sin's ministers.
Man holds an angel in his power.
Ah! deep in Heaven what thunder stirs,
  
When God seeks out these tender things
Whom in the shadow where we sleep
He sends us clothed about with wings,
And finds them ragged babes that we)

 From the Corsican I won’t go back to Paris
Because Napoleon Bonaparte and the proletariat
Has already taken over the municipal of Paris
I will dodge this city and maneuver my ways
Through Alsace and Lorraine
The Miginko islands of Europe
And cross the boundaries in to bundeslander
Into Germany, I will go to Berlin and beg the Gestapo
The State police not to shoot me as I climb the Berlin wall
I will balance dramatically on the top of Berlin wall
Like Eshu the Nigerian god of fate
With East Germany on my right; Die ossie
And West Germany on my left; Die wessie
Then like Jesus balancing and walking
On the waters of Lake Galilee
I will balance on Berlin wall
And call one of my faithful followers from Germany
The strong hearted Friedrich von Schiller
To climb the Berlin wall with me
So that we can sing his dystopic Cassandra as a duet
We shall sing and balance on the wall of Berlin
Schiller’s beauteous song of Cassandra;

(Mirth the halls of Troy was filling,
Ere its lofty ramparts fell;
From the golden lute so thrilling
Hymns of joy were heard to swell.
From the sad and tearful slaughter
All had laid their arms aside,
For Pelides Priam's daughter
Claimed then as his own fair bride.

Laurel branches with them bearing,
Troop on troop in bright array
To the temples were repairing,
Owning Thymbrius' sovereign sway.
Through the streets, with frantic measure,
Danced the bacchanal mad round,
And, amid the radiant pleasure,
Only one sad breast was found.

Joyless in the midst of gladness,
None to heed her, none to love,
Roamed Cassandra, plunged in sadness,
To Apollo's laurel grove.
To its dark and deep recesses
Swift the sorrowing priestess hied,
And from off her flowing tresses
Tore the sacred band, and cried:

"All around with joy is beaming,
Ev'ry heart is happy now,
And my sire is fondly dreaming,
Wreathed with flowers my sister's brow
I alone am doomed to wailing,
That sweet vision flies from me;
In my mind, these walls assailing,
Fierce destruction I can see."

"Though a torch I see all-glowing,
Yet 'tis not in *****'s hand;
Smoke across the skies is blowing,
Yet 'tis from no votive brand.
Yonder see I feasts entrancing,
But in my prophetic soul,
Hear I now the God advancing,
Who will steep in tears the bowl!"

"And they blame my lamentation,
And they laugh my grief to scorn;
To the haunts of desolation
I must bear my woes forlorn.
All who happy are, now shun me,
And my tears with laughter see;
Heavy lies thy hand upon me,
Cruel Pythian deity!"

"Thy divine decrees foretelling,
Wherefore hast thou thrown me here,
Where the ever-blind are dwelling,
With a mind, alas, too clear?
Wherefore hast thou power thus given,
What must needs occur to know?
Wrought must be the will of Heaven--
Onward come the hour of woe!"

"When impending fate strikes terror,
Why remove the covering?
Life we have alone in error,
Knowledge with it death must bring.
Take away this prescience tearful,
Take this sight of woe from me;
Of thy truths, alas! how fearful
'Tis the mouthpiece frail to be!"

"Veil my mind once more in slumbers
Let me heedlessly rejoice;
Never have I sung glad numbers
Since I've been thy chosen voice.
Knowledge of the future giving,
Thou hast stolen the present day,
Stolen the moment's joyous living,--
Take thy false gift, then, away!"

"Ne'er with bridal train around me,
Have I wreathed my radiant brow,
Since to serve thy fane I bound me--
Bound me with a solemn vow.
Evermore in grief I languish--
All my youth in tears was spent;
And with thoughts of bitter anguish
My too-feeling heart is rent."

"Joyously my friends are playing,
All around are blest and glad,
In the paths of pleasure straying,--
My poor heart alone is sad.
Spring in vain unfolds each treasure,
Filling all the earth with bliss;
Who in life can e'er take pleasure,
When is seen its dark abyss?"

"With her heart in vision burning,
Truly blest is Polyxene,
As a bride to clasp him yearning.
Him, the noblest, best Hellene!
And her breast with rapture swelling,
All its bliss can scarcely know;
E'en the Gods in heavenly dwelling
Envying not, when dreaming so."

"He to whom my heart is plighted
Stood before my ravished eye,
And his look, by passion lighted,
Toward me turned imploringly.
With the loved one, oh, how gladly
Homeward would I take my flight
But a Stygian shadow sadly
Steps between us every night."

"Cruel Proserpine is sending
All her spectres pale to me;
Ever on my steps attending
Those dread shadowy forms I see.
Though I seek, in mirth and laughter
Refuge from that ghastly train,
Still I see them hastening after,--
Ne'er shall I know joy again."

"And I see the death-steel glancing,
And the eye of ****** glare;
On, with hasty strides advancing,
Terror haunts me everywhere.
Vain I seek alleviation;--
Knowing, seeing, suffering all,
I must wait the consummation,
In a foreign land must fall."

While her solemn words are ringing,
Hark! a dull and wailing tone
From the temple's gate upspringing,--
Dead lies Thetis' mighty son!
Eris shakes her snake-locks hated,
Swiftly flies each deity,
And o'er Ilion's walls ill-fated
Thunder-clouds loom heavily!)

When the Gestapoes get impatient
We shall not climb down to walk on earth
Because by this time  of utopia
Thespis and Muse the gods of poetry
Would have given us the wings to fly
To fly high over England, I and schiller
We shall not land any where in London
Nor perch to any of the English tree
Wales, Scotland, Ireland and Thales
We shall not land there in these lands
The waters of river Thames we shall not drink
We shall fly higher over England
The queen of England we shall not commune
For she is my lender; has lend me the language
English language in which I am chanting
My dystopic songs, poor me! What a cacotopia!
If she takes her language away from
I will remain poetically dead
In the Universe of art and culture
I will form a huge palimpsest of African poetry
Friedrich son of schiller please understand me
Let us not land in England lest I loose
My borrowed tools of worker back to the owner,
But instead let us fly higher in to the azure
The zenith of the sky where the eagles never dare
And call the English bard
through  our high shrilled eagle’s contralto
William Shakespeare to come up
In the English sky; to our treat of poetic blitzkrieg
Please dear schiller we shall tell the bard of London
To come up with his three Luftwaffe
These will be; the deer he stole from the rich farmer
Once when he was a lad in the rural house of john the father,
Second in order is the Hamlet the price of Denmark
Thirdly is  his beautiful song of the **** of lucrece,
We shall ask the bard to return back the deer to the owner
Three of ourselves shall enjoy together dystopia in Hamlet
And ask Shakespeare to sing for us his song
In which he saw a man **** Lucrece; the **** of Lucrece;

( From the besieged Ardea all in post,
Borne by the trustless wings of false desire,
Lust-breathed Tarquin leaves the Roman host,
And to Collatium bears the lightless fire
Which, in pale embers hid, lurks to aspire
  And girdle with embracing flames the waist
  Of Collatine's fair love, Lucrece the chaste.

Haply that name of chaste unhapp'ly set
This bateless edge on his keen appetite;
When Collatine unwisely did not let
To praise the clear unmatched red and white
Which triumph'd in that sky of his delight,
  Where mortal stars, as bright as heaven's beauties,
  With pure aspects did him peculiar duties.

For he the night before, in Tarquin's tent,
Unlock'd the treasure of his happy state;
What priceless wealth the heavens had him lent
In the possession of his beauteous mate;
Reckoning his fortune at such high-proud rate,
  That kings might be espoused to more fame,
  But king nor peer to such a peerless dame.

O happiness enjoy'd but of a few!
And, if possess'd, as soon decay'd and done
As is the morning's silver-melting dew
Against the golden splendour of the sun!
An expir'd date, cancell'd ere well begun:
  Honour and beauty, in the owner's arms,
  Are weakly fortress'd from a world of harms.

Beauty itself doth of itself persuade
The eyes of men without an orator;
What needeth then apologies be made,
To set forth that which is so singular?
Or why is Collatine the publisher
  Of that rich jewel he should keep unknown
  From thievish ears, because it is his own?

Perchance his boast of Lucrece' sovereignty
Suggested this proud issue of a king;
For by our ears our hearts oft tainted be:
Perchance that envy of so rich a thing,
Braving compare, disdainfully did sting
  His high-pitch'd thoughts, that meaner men should vaunt
  That golden hap which their superiors want)

  
I and Schiller we shall be the audience
When Shakespeare will echo
The enemies of beauty as
It is weakly protected in the arms of Othello.

I and Schiller we don’t know places in Greece
But Shakespeare’s mother comes from Greece
And Shakespeare’s wife comes from Athens
Shakespeare thus knows Greece like Pericles,
We shall not land anywhere on the way
But straight we shall be let
By Shakespeare to Greece
Into the inner chamber of calypso
Lest the Cyclopes eat us whole meal
We want to redeem Homer from the
Love detention camp of calypso
Where he has dallied nine years in the wilderness
Wilderness of love without reaching home
I will ask Homer to introduce me
To Muse, Clio and Thespis
The three spiritualities of poetry
That gave Homer powers to graft the epics
Of Iliad and Odyssey centerpieces of Greece dystopia
I will ask Homer to chant and sing for us the epical
Songs of love, Grecian cradle of utopia
Where Cyclopes thrive on heavyweight cacotopia
Please dear Homer kindly sing for us;
(Thus through the livelong day to the going down of the sun we
feasted our fill on meat and drink, but when the sun went down and
it came on dark, we camped upon the beach. When the child of
morning, rosy-fingered Dawn, appeared, I bade my men on board and
loose the hawsers. Then they took their places and smote the grey
sea with their oars; so we sailed on with sorrow in our hearts, but
glad to have escaped death though we had lost our comrades)
                                  
From Greece to Africa the short route  is via India
The sub continent of India where humanity
Flocks like the oceans of women and men
The land in which Romesh Tulsi
Grafted Ramayana and Mahabharata
The handbook of slavery and caste prejudice
The land in which Gujarat Indian tongue
In the cheeks of Rabidranathe Tagore
Was awarded a Poetical honour
By Alfred Nobel minus any Nemesis
From the land of Scandinavia,
I will implore Tagore to sing for me
The poem which made Nobel to give him a prize
I will ask Tagore to sing in English
The cacotopia and utopia that made India
An oversized dystopia that man has ever seen,
Tagore sing please Tagore sing for me your beggarly heat;

(When the heart is hard and parched up,
come upon me with a shower of mercy.

When grace is lost from life,
come with a burst of song.

When tumultuous work raises its din on all sides shutting me out from
beyond, come to me, my lord of silence, with thy peace and rest.

When my beggarly heart sits crouched, shut up in a corner,
break open the door, my king, and come with the ceremony of a king.

When desire blinds the mind with delusion and dust, O thou holy one,
thou wakeful, come with thy light and thy thunder)



The heart of beggar must be
A hard heart for it to glorify in the art of begging,

I don’t like begging
This is knot my heart suffered
From my childhood experience
I saw my mother
In Sicily Aeschylus agonized on the island of Gela, like an isthmus between two seas that led him to the God Dyonisius through the Hadic Speleothemes, here this god entered the skené of Euripides and Sophocles, under the support of Dyonisius and the father of Aeschylus; Euphorion of Eleusis. He was on his way to Gela when he was rammed and crossed after the temporary repercussion of Offensive on Salamis, meeting Wonthelimar and Vlad Strigoi as they prepared to head to the Cavern of Dionysius. The most unlikely of this parallel sequence stems from Dyonisius's spell of necromancy as he summons alongside them to lead them into the cavern. The scene or triple skené became feasible when Vernarth bilocated three times next to them scalding the campfire from the edges of the Profitis as if it were a lantern that flashed micro lightning, to reconvert the bilocated lights of Syracuse with those of Patmos simultaneously. Vernarth rises from the northeast edge of the Koilon of his theater and leads them with his incantation:

First Scene Dyonisius: “he was coming with his car of Thespis, with sparks from Catania, where he noticed that ***** of lightning appeared flying from the ether, and above them a triple frequency that acclaimed joining Wonthelimar and Vlad Strigoi. In concomitance, he rushes to Syracuse traveling at high speed, rising to the third light of the Menorah from left to right, in such a way that his horses squandered the fire on the golden grass.

Second scene Aeschylus: “he was going to Gela, brooding along the way with his reckless time, freezing the will that called him at that moment, and that yelled at him like Anthropokairós, deriving from his remaining spiritual memory, which warned him to do what made in a dreadful deleterious past. Avoiding him with their stiff arms when the ***** of lightning, they fidgeted to enter the scene of Salamis where he dealt with the Achaemenides.

Third Scene Wonthelimar: “he was with Vlad Strigoi, and this one next to him smelled of sulfur that he experienced with the closeness of some of them, who had already had a deal of caste and exultant existential drama. They were swiftly crewing with their transient elytra when they received the ***** of lightning, which were energetically prodding them"

Aeschylus was going to agonize Gela, after not doing it in Salamis, with some disappointment and supposedly having revealed the Mysteries of Eleusis, but he was not! Eagerly spurred on suddenly shook him when Vernarth bilocated appeared before him, broadcasting episodes of the sixteenth century, concisely from Fray Luis de León, regarding the Song of Songs who appeared from the ether passing through the triumvirate of lightning bolts that had him blown Vernarth, to show him his epitome of quantum parapsychology. When both were subjected, Aeschylus briefly understood that he perceived the judgment of Fray Luis de León by the Inquisition, for his ****** and philosophical expressions of character with his elevated prose. The dramatic anthology of Aeschylus, directed him to his Necropolis of Pachyderm in Gela, by abandoning the pairs of legs and arms of him. In the meantime from the agon or contest, Dyonisius snatched his Kairos as a singular man, and commanded the Hadic Speleothemes from where Wonthelimar came, to refer to him, just as he did with Euripides and Sophocles with the everlasting Frogs of Aristophanes. The parallel sequence of the trilogy characterized in Aeschylus continues, to end in the skené or culminating period, to receive on his head the inspiration of Vernarth's ball of lightning, already united with the three parts of him! The three scenes are combined with the interference and parallelism of Dyonisius, who exhorts them to go with them through the Speleothemes, thus making sure to save their celebrant souls and their anti-myths, who would unravel with this satirical drama with the batrachians, as a Vernarth's invitation to shake the destiny of each one of them towards a caustic reality, which breaks the man close to his agony, and in his proportionate death revealed as an existential tragedy close to the Anthropokairós omega. Therefore the destinies were stressed in three scenes that would be coupled with that of the axis of support of a death not specified by several that would continue with the same perenniality, in the company of Euripides and Sophocles, with the ballads of the batrachians of Dyonisius to enchant them as subterfuge and didactics, so that once they are captured in the gallery of the cave, and that they would be convinced with greater persuasion. The three scenes were made as one under the precept of Dyonisius, to adhere to them in the next before the Spinalonga parapsychology room, where three scenes would make tragedies and fables, which would follow from the throne of the stands with thousands of deceased who wanted to hear and re-listen from the underworld of the Speleothemes, going towards the Viaduct of Patmos.
Dyonisius Tespis
The name Theodore has its Greek anthropologies, Jewish anthropologies and also Germany anthropologies. The Greek anthropological perspective of The name Theodore indeed has something to do with the gods.However, the Greek way of looking at life was a frustrated thinking.To them everything was a god. They had  a plethora of gods; utopia,cacotopia, Thespis, muse, clio, calypso, and Theodore was a half a god like Gabriel who impregnanted Mary on behalf of God as Joseph the cuckold carpenter patiently looked musing the ballad of a cuckold peasant . So Theodore and Gabriel were godsend.I  have not delved to know what it means among the Jews, But am aware of the the cultural and anthropological surroundings of the name Theodore in Germany . It is a name of a male person  signifying extra-masculine behavior. I also write poetry in Deutsch, so i know  substantial cultural values of the people of Germany.  Like in this case the modern  social  naming systems . I am aware of the anthropology of this Deutsch nomenclatural position.Why would link this name to Greeks but not Germany may due to  some silent social and emotional  disposition in Europe  that the  English speaking Europeans have a soft spot for  the Greek culture.While at the same time they become victims of high adrenaline level when exposed to anything Germany. they always get repulsed when the word Germany is mentioned.So one's  thesis on nomenclatural values of the name Theodore depends on which side of European  consciousness one is found; is it Germany friendly consciousness or Germany threatened consciousness? The dystopic component of the name Theodore is purely cacotopic with zero element of utopia , as extra-masculinity is a swine of  engendered civilization  all the times.


Yours

Alexander  k  Opicho

NB/ i kindly  invite Theodore to come to  Kenya so that we do a joint research on the Swahili perspectives of the name Theodore, in Kiswahili the name Theodore  is subverted to bwana tadayo
Listen my dear daughter, to my first song of caution
Earmarked for you my wonderful sire, come and listen,
That tall old man with white hair all over his head
Standing over there is not good; he is gnomish in the mind
Be careful with him, he is not human in the heart
But a mermaid of Yoruba poetry, just like Thespis of Greece
Even the pecuniary psychopomp of Sweden gave him an accolade
His heart is selfishly full of avarice; he wants everything for himself,
Don’t recite him any of your poetry, lest he spells an abyss
Against your juvenile poetic talent, he will fool you with a gift;
A white sheep or a scarlet goat for your birth day anniversary
Please don’t take it or anything else from him, as nothing from him is genuine
But only machinations of evil spell aimed at mahyeming your talent
Finally to decimate your girlhood and life, this is my caution
For you dear little African girl.

Listen my dear little daughter, to my second song of caution
That short man in a Muslim gear loafing yonder, is suspect
The Muslim beret on his head is merely a smokescreen to aghastly behaviour
He is in no way an avatar of god of love and humane piety
He is a terrorist working with Boko Haram and Algaeda
He is an Alshabab that is bombing young girls in Mombasa and Nairobi
All over Kenya he has killed the young people; his long egret-white sari is not for holiness,
It is merely a nefarious sanctum of grenades, other tools of work in terrorism trade
His loudly prayers, body movements and pocket bursting monies are only a stunt
To have you kidnapped into death conduit, once you goof to join his courts,
His sanctimony is a total picaresque film, (s)heroes of terror the centerpiece
And thus, this is my caution for you dear little African girl.

Listen my dear daughter, to my third song of caution
Those tourists thronging our streets are deadly *** pets, they also skulk ****
Their handsome outlook is not a stamp to any good conscientiousness
They derive pleasure from poverty and *** tourism; they yearn to see a girl in poverty,
Often rarely will they help an African girl, out of milieu of beggarly squalorism,
Instead they go straight for the purse between your thighs,  
Regardless of the legacy they leave out of this lewdness, they are showy,
They regret not in their Byronic broadcast of *** and fatherless urchins in the poor streets
Foundation for their further poverty tourism, this is my caution for you dear little African girl.
Thanks thespis for another muse anew,
Filliping my soul with the spirit of a song,
To chant for the young world in these pepperish letters,
before my callous  eyes on the skull of  historical future
on my pykitonic   torso of I another African pykin,
as I finish my coffin for the cadaver of poetry
that the law of poetry is a distorting neurosis,
neurotic abnormality its baseboard of time
giving classical  balance for wondrous poetry.

Compensatory motivation a charm of its seed,
Taking dear eyes from the skull of Demodocos
Leaving songfull mouth his legacy for humanity,
Warped physique not short of history,
Teaching the world to drink in full pyrene spring
As hunchbacked dwarfism of Alexander Pope
was not in any sense  dwarfism  of his poetry,
nor club foot of Byron in ******* to Maugham
Byronic heroism to Europe of yester times,
That sired Proust, the Jewish neurotic
And Keats the most dwarfish and Wolfe the tallest
Of man and woman to the cultural matrix
Of Europe, the mother of art, poetry and synaethesia,

From which was born Pushkin that took poetry
Out of his nymphomaniac heart, to the solace of czars,
And Shakespeare the dear thief, luckily converted
Childhood kleptomania into royal theatre of King Lear,
The parallel of four brothers from the house of Karamazov,
Their father; impecunious penny penchant muzhik
In the name of Fydor epileptic Dostoyevsky.

A lull of the time to escape from world of rent and tax,
Gripped nerves of the duo to a new realm of art
wherein sensuous glory from ***** and Indian hemp
propelled the souls of  Coleridge and De Quincey
to grandiose highness of poetry in the dreams of *****,
bordering on the  teutonic greatness of  ritualistic breed,
poetry that transcended from rotten apples  in the writing desk
of Fredriech von schiller the begotten son of Germany,
writing under the arms of Balzac dressed in monkey clobus,
that along with Milton in the lost paradise, gave him swaddles
only when the poetic vein of Milton flowed happily from nothing,
but from the ritualized autumnal equinox to the spiritual vernal,
as Coleridge was in full recondite  of marquetry,mosaic and miracles,
the miraculous white male sheep, the white ram of Wole Soyinka,
that he gave as a gift to Achebe at the last anniversary, evil decoy
that become a car which deathly crushed Chinua Achebe
down to demise in the catacombs for the law of poetry
as abnormal human  neurosis an equation of perfect art.
ConnectHook Apr 2018
Our Left Coast sighs in a stupor of red
from evergreen coasts to the casting bed.
Hollywood’s big leagues deal their fatal blow;
vapid perspectives from stars in the know.
Glamour holds court: socialite solutions
when celebrities talk revolutions.
But red alone would bring our nation harm
cut loose from white and blue—and should alarm
the audience, who pay to see their plays
while questioning their wanton West-coast ways:
Designer-reds, a stain upon our land
where red with white and blue ought take a stand.
Such fluff from the stage set who roll in dough
is Hollyweird yeast—rising now to show
beautiful and swelling irrelevance
unaware of its insignificance:
Hypocrite pretenders all paid to act
in films where decent values are attacked.

Let us turn then from Thespis‘ leering smile
to lace up cleats and run the gridiron mile
where other plays get tossed in endless zones
as commentators rave in heightened tones
while fools raise fists—then take the well-payed knee,
their pigskin antics sold to you and me.
****** a fat mike before their muscled face.
Note well the dull reaction, low as base.
These tattooed thugs make vain attempt, through speech
multitudes of more thuggish fans to reach.
The sad attempt to use their words in vain
lacks clear interpretation. Yall nome sain ?
The musclebound elect, who toss a ball
(as if their silly game was all in all)
should stick to sports; decline to state their views
lest fans their spectacle no longer choose.
Thus stars of field and screen steal every show,
and cause our dying culture worlds of woe.
Contemplate the ****:
Boring nature imagery
Abrupt line-endings
Vessels  and Wine menus of the archaic formulas seemed from the new Universe that was approaching them vertiginously, concelebrating the unitary form of the union of the pilasters of the Opistódomos with Hellas , which was constituted as an inter-dimensional state, for two strategists universal and immortal that provided the beginning of a new Christic language, based on the relationship of the unified polis but with an infinite calendar perspective. The courage to start an end with a beginning full of excitement and celebration where clearly the dances would be from beginning to end to treasure the influences of endless complacency, and that would hold commemorative celebrations of station processes, being established fiercely in the treasuries of Metroon ; as a duplicated and bilocated agoras on Patmos, besieging all the documents of the glorious past of Mythology towards the new preservation of Submitology, where the people of heroes and anti-heroes of all the Pleiades come to life from the Vernarth transcript, as a multidimensional memorial archive housing in all the concerns of eternity written, and preserved tangible and intangible that would transport them to the annals of a sanctuary that would agree with the repositories of everything that was and will be of this Myth annex beyond a fantastic reality, going back to the Hellenisms that they will compose next to the Beit Hamikdash Temple, as a sacred mansion where the ceiling and the floor would rest in total communion. The dimensions will be given in the own open foot that will standardize the buttresses that would make up the access chambers to the privileged place of Rea, with dimensions that could be displayed in the confines of the inflection of Orion, naturally illuminating the vault of Greece in the head of the Agora and from there to Theoskéspasti, to then be triangulated with the Doric and Ionic colonnades specifying the Vernarth chamber, which will have its quantum progression and multidimensional link throughout the Archaic Hellas to all of Judea that will re-sanctify the possibilities that the heroes will parade eternally for the waters and lands that are proper to inertia, where Athena and Nike will make the pots with mead in the rejection of more miracles that will flow from Galilee to Patmos. The etymology would be of Hellenic customary avant-garde, evidencing realities where every day the peasants sharpened their sickles, as a feast that celebrated the first-rate courts with the first-grade olive oil with the Almazara or oil press that will bring the fruits of the table. The flapping of the pelicans would tie laudable sounds from the Thuellai worshiping the phonograms that were emitted from the Metroon, attracting the classical periods of the conformation of Greece when it was only Chaos and Seas in conflict. From this mythological proposition, everything was a reality where the lack of custom proved as a cultural character, it was the vertical cultural basting coined in the gloss of the signifier, rather than the meaning, leading everything to these festivities of edibles and drinkable towards the Panhellenic that it would bring new vigor of expansive territorial function, towards Macedonia and Delphi as a holiday that could celestially have more than twelve lunar months.

Meanwhile Vernarth was hugging a rattle more than two meters high and one in diameter, this resonance implied the inaugural sound of the Symposium of the Athletic Agon that together with the Almazara would run rials of oilseeds, to anoint the attendees as all Sacred of the jubilee of the Opistódomos and the Hamikdash, towards the new Submitological Era Duoversal between the events that will delight everything that concerns accompanying the pairings of liquids and solids in this competitive challenge, so that the mythical hero becomes the credible hero stationed in the ninth laurels that would make up the foundation and inauguration of the games, after the victory of those who never threw the victor's crown. The votive offerings and monuments joined the agonal journey that referred from the perspective of a soul that wanted to compete with its existential soul, and then reluctantly redirected itself through the unusual temples that seemed to vanish amid the crowds, making this festive ritual the greatest expression. of all the votive festivals in Patmia. In practice, the meals would once again be rewards for the support of the sky by the Matakis, as a snowy reflection in the pouch that does not display any icon other than a numismatist that sniffs the pieces of bronze that were surrounded by the other derivatives of the terminal of saturation of Zeus, seeming to identify that Matzoh would fall from the sky, and Manah that will highlight the laurel artifice when the conceptual of the sages give the beginning of the activities with a meta-praxis that will stand out from the full stomachs, and the bladders supplemented with oenological colors, eradicating physical competitions for those of the allegory of Dionysian pleasure that suggests a human and mythological hybridism, Submitological-supernatural. Everyone became restless and ran along the golden trails of the iridescent nimbus creating capacities to unfold the time of Kairos and at the same time re-inaugurating the feat of noble bread and the skills of collecting the green fords, where Persephone refrained from an illegitimate pressure by leaving the intellectual bulwarks for the destiny of the force that subtracts the will, but if it defines the feminine character that caresses the tongues of the soulless and they call us with the features of competing prostrate to a Goddess who worships the eternal shine of the wheat field that refers, and what makes the ibidem in the conferences of a hero who smacks the features of all the sculptures that will follow the cause of reason of the allegorical agoras and the competition where the meek will only toast when nobody sees them face inhibition itself of what is and is not.

What the languages uttered became shouted to sit near the inns and tables with dairy products and wines from which they all stood up with a cantiga in unison, ***** in the joy of being called to the Hellenic invitation to compete, to make dynamics and refer to physical skills assiduously to the constellations that made them awaken the intellectuals. The attributes of each one were a trigger to celebrate and laugh before the divinity of the new Age, along with the solemnity of Himation. This lasted twenty-eight days exchanging the full moons that would bring the shooting stars with boiled genetics that were forged from the Souvlaki prototype, and flashes that would take them to the symposium where the feasts were dimensions that surpassed the entire width of the galaxies, to praise and cheer the crowded Pleiad of assistants fully compete in the intelligentsia, before the various rituals and spells that were prepared with the consecration of the Symposium that would bring together Alpha and Omega, as a Semitic language that filtered through the iridescence nets that manifested from the Nimbus where they remained the vaporous entity of the Mashiach.

Vernarth imbibed, above all, a segment of space that allowed him to look without being distracted towards the height of the Nimbus, creating in the tract of languages that they wandered between Aramaic, Greek, and Hebrew, after that the extra-biblical witness Marzeah would designate in the liturgy of celebration of the Symposium, always noting that the allusive rhetorical conversations at the side of the Symposium meeting, understanding that they would become a brotherhood of tasters of the ethyl elixir, which would flow from the iridescent tract between seven iridescence that would translate into bittersweet solid foods and rolls with thyme from Kalymnos. The ingestion in two portions was lived from arm to arm in the jars of hand, reciprocal in the distractions that Vernarth made looking at the Nimbus, and offered him with his Khaire, promoting distraction and jumping over the dark clouds that were tinged with purple tones of the ethyl elixir, creating dance forms that revived the altruism of euphonic auditions that divined that the world could be all Wine and Matzoh, which was lavished on those who would not be excluded from the drinking of the sky that flowed as food from the fermented Hydor, alongside some concave stones with toasted chickpeas, fresh fruit, and Lepanto beans. Saint John blessed food considering that Eurydice, Circe, Medea, Hecate, and Walekiria would be incorporated into the festive Andron, although the feminine essence should be reserved for other stages of the solemn festival. The expositions of contentment were to have the vessels permanently facing the sky of the Nimbus, because from there holistic ethyl liquids would constantly fall that would shine with their deferred colors, sensitizing what the ear wanted to hear more than their collisions of Epichisis and Enócoes to pour and serve. in geometric ciboriums from Laconia. Vernarth would walk around the Profitis with Askos full of the essence of the Mashiach wine, which served them with the seven cosmic thoughts, thus frequenting the distractions for those who did not skimp on Apollo's delirium of dipsomania, distracted in Vernarth with the dancers of music by Hetera. Vernarth filled the glasses of all those who carried Guttus and Lecitos who relaxed and brought their Cretan flavors in the chirps of their pharynxes coming out from their mouths with verses that seemed the same as those of the Heterias, which the soldiers of the phalanx influenced the Small groups in a circle to applaud the gift and virtue of celebrating with improvised cheers, which in the bedrooms invited even the dissuasive shadows of their own evil that wanted to seep into the symposium. The afternoon was reinvented from the agora and the proscenium that attended for all from all the borders that would bring the storms of the ethyl nimbus, inviting new tides from the Aegean that would add to re-condense in the parasites that swarmed deserts with the rhythm of one night in all the borders and optics of the world, being able to be seen clearly and precisely to be reissued. The comedy of Dyonisius was present with all his court of Syracuse, and Dionisio was reiterated with Thespis and his supports that spelled ruffian verses between bitten, one being King the other being a God, sticking to his origin as a demigod in the feminine inheritance of a mortal, to come to serve in Cantharos to Dyonisius, where they roar in his mortal consciousness. The parasites bustled through the floodgates of intoxication that could be textualized and verbalized in the shrinking of colic, or perhaps boldly sitting on a tripod to imitate the Sybillas if they were to be supported by the effluvium of Alcyoneus, covering with snakes that they would carry potions in the wine glasses when representing the banquets that would falsify to be scenes of a feast, with the criterion of an over-relief.
Opistódomos Symposium
That’s what they called this place,
flaking crucible,
immemorial immobile figures
gawked at by a deluge of tourists.

A German man sidles past
as we edge towards
the main attraction,
multi-limbed citadel.

I imagine the Propylaea
pricked with stars, the dagger of light
that cracked it open,
awoke the commas of fire.

We circle round.
Like a chalk house.
Here, where Athena,
frame of ivory and gold

surveyed all,
Phidias’s maiden
with Victory shimmering
in the heart of her hand.

Soon we discover
the Theatre of Dionysus,
lemon wedge
of staggered steps,

chipped thrones of marble.
Now, the thrum of many tongues,
the words of Aeschylus, Thespis,
inhaled by the Athenian sky.
Written: 2018/19.
Explanation: A poem that was part of my MFA Creative Writing manuscript, in which I wrote poems about cities that have staged the Eurovision Song Contest, or taken the name of a song and written my own piece inspired by the title. I have received a mark for this body of work now, so am sharing the poems here.

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