Sometimes you open yourself up to a person because you feel and believe that they're different and maybe this time they won't break your heart and that your love will be requitted. So you go out on a limb and open up so much of yourself to this person. Things that you're afraid to tell others about because of fear of being judged or rejected. But there's just something about this person that allows you to tell them everything. You become so comfortable in the presence of that person that you openly admit your flaws, you don't hide it. You just completely lose yourself in love and in the thought and concept of being loved, of being in a relationship and of being with someone that you can be yourself with. The idea of that person just completely excites you and everything about them makes you happy. Seeing them and hearing their voice just helps you in an inexplicable manner and being with them is an emotion of complete comfortability on its  own. You learn to love this person and you accept their flaws and differences. You accept how they might not necessarily love eating McDonalds as much as you do or they are crazy about sci-fi movies where you can't even get yourself past watching a chick flick.
But that's just it, you don't mind.
You don't mind because love is about sacrifices.
Its about sacrificing your weekly episode of The Vampire Diaries to watch the most recent sports updates.

Because you'd rather lose the argument than to lose the person. You'd sacrifice a part of your daily routine all for love. The worst part is that nothing is guaranteed. You're not guaranteed how long you will be in a relationship with this person. You're not guaranteed complete happiness and you're not guaranteed that things are going to be perfect. You just have to trust this person and have faith. Believe the best and hope that everything will work out for the. Best. Believe that even if you break up with this person, that you're going to be ok. Everything is going to be ok, and that new beginnings are perfectly acceptable. Believe that you're going to overcome heartbreak of any kind. You just have to believe that someone out there is looking for someone like you.
What others see Wrong in you just might be the exact thing that will make someone else fall in love with you. And you need to be realistic. Not all relationships last forever. Some relationships are there for lessons and experiences. So that very person that you completely open yourself up to, can break your heart. It could be during or even after the relationship.

But its all part of life I guess. You'll never know how to love someone wholeheartedly if you haven't been hurt before. You just have to turn your heartbreak in to something positive, make the most out of your situation. See the light in the darkness. But learn to deal with things too. Find closure in what happened to you and don't leave a relationship with unfinished business. Because unfinished business will have to be finished sooner or later, and I think sooner is better. Allow yourself time to heal too. Opening yourself up to someone that much can hurt you a lot, and everything you had with that person will be completely lost in an instant. And you're gonna need to come to terms with that. Remember that what's meant to be , will be.

Love, is a complicated thing, and you're never quite sure how things could possibly turn out to be. You're just gonna go out on a limb each time hoping for the best and patiently waiting for your happily ever after with a special person.

IN SEARCH OF THE PRESENT

I begin with two words that all men have uttered since the dawn of humanity: thank you. The word gratitude has equivalents in every language and in each tongue the range of meanings is abundant. In the Romance languages this breadth spans the spiritual and the physical, from the divine grace conceded to men to save them from error and death, to the ****** grace of the dancing girl or the feline leaping through the undergrowth. Grace means pardon, forgiveness, favour, benefice, inspiration; it is a form of address, a pleasing style of speaking or painting, a gesture expressing politeness, and, in short, an act that reveals spiritual goodness. Grace is gratuitous; it is a gift. The person who receives it, the favoured one, is grateful for it; if he is not base, he expresses gratitude. That is what I am doing at this very moment with these weightless words. I hope my emotion compensates their weightlessness. If each of my words were a drop of water, you would see through them and glimpse what I feel: gratitude, acknowledgement. And also an indefinable mixture of fear, respect and surprise at finding myself here before you, in this place which is the home of both Swedish learning and world literature.

Languages are vast realities that transcend those political and historical entities we call nations. The European languages we speak in the Americas illustrate this. The special position of our literatures when compared to those of England, Spain, Portugal and France depends precisely on this fundamental fact: they are literatures written in transplanted tongues. Languages are born and grow from the native soil, nourished by a common history. The European languages were rooted out from their native soil and their own tradition, and then planted in an unknown and unnamed world: they took root in the new lands and, as they grew within the societies of America, they were transformed. They are the same plant yet also a different plant. Our literatures did not passively accept the changing fortunes of the transplanted languages: they participated in the process and even accelerated it. They very soon ceased to be mere transatlantic reflections: at times they have been the negation of the literatures of Europe; more often, they have been a reply.

In spite of these oscillations the link has never been broken. My classics are those of my language and I consider myself to be a descendant of Lope and Quevedo, as any Spanish writer would ... yet I am not a Spaniard. I think that most writers of Spanish America, as well as those from the United States, Brazil and Canada, would say the same as regards the English, Portuguese and French traditions. To understand more clearly the special position of writers in the Americas, we should think of the dialogue maintained by Japanese, Chinese or Arabic writers with the different literatures of Europe. It is a dialogue that cuts across multiple languages and civilizations. Our dialogue, on the other hand, takes place within the same language. We are Europeans yet we are not Europeans. What are we then? It is difficult to define what we are, but our works speak for us.

In the field of literature, the great novelty of the present century has been the appearance of the American literatures. The first to appear was that of the English-speaking part and then, in the second half of the 20th Century, that of Latin America in its two great branches: Spanish America and Brazil. Although they are very different, these three literatures have one common feature: the conflict, which is more ideological than literary, between the cosmopolitan and nativist tendencies, between Europeanism and Americanism. What is the legacy of this dispute? The polemics have disappeared; what remain are the works. Apart from this general resemblance, the differences between the three literatures are multiple and profound. One of them belongs more to history than to literature: the development of Anglo-American literature coincides with the rise of the United States as a world power whereas the rise of our literature coincides with the political and social misfortunes and upheavals of our nations. This proves once more the limitations of social and historical determinism: the decline of empires and social disturbances sometimes coincide with moments of artistic and literary splendour. Li-Po and Tu Fu witnessed the fall of the Tang dynasty; Velázquez painted for Felipe IV; Seneca and Lucan were contemporaries and also victims of Nero. Other differences are of a literary nature and apply more to particular works than to the character of each literature. But can we say that literatures have a character? Do they possess a set of shared features that distinguish them from other literatures? I doubt it. A literature is not defined by some fanciful, intangible character; it is a society of unique works united by relations of opposition and affinity.

The first basic difference between Latin-American and Anglo-American literature lies in the diversity of their origins. Both begin as projections of Europe. The projection of an island in the case of North America; that of a peninsula in our case. Two regions that are geographically, historically and culturally eccentric. The origins of North America are in England and the Reformation; ours are in Spain, Portugal and the Counter-Reformation. For the case of Spanish America I should briefly mention what distinguishes Spain from other European countries, giving it a particularly original historical identity. Spain is no less eccentric than England but its eccentricity is of a different kind. The eccentricity of the English is insular and is characterized by isolation: an eccentricity that excludes. Hispanic eccentricity is peninsular and consists of the coexistence of different civilizations and different pasts: an inclusive eccentricity. In what would later be Catholic Spain, the Visigoths professed the heresy of Arianism, and we could also speak about the centuries of ******* by Arabic civilization, the influence of Jewish thought, the Reconquest, and other characteristic features.

Hispanic eccentricity is reproduced and multiplied in America, especially in those countries such as Mexico and Peru, where ancient and splendid civilizations had existed. In Mexico, the Spaniards encountered history as well as geography. That history is still alive: it is a present rather than a past. The temples and gods of pre-Columbian Mexico are a pile of ruins, but the spirit that breathed life into that world has not disappeared; it speaks to us in the hermetic language of myth, legend, forms of social coexistence, popular art, customs. Being a Mexican writer means listening to the voice of that present, that presence. Listening to it, speaking with it, deciphering it: expressing it ... After this brief digression we may be able to perceive the peculiar relation that simultaneously binds us to and separates us from the European tradition.

This consciousness of being separate is a constant feature of our spiritual history. Separation is sometimes experienced as a wound that marks an internal division, an anguished awareness that invites self-examination; at other times it appears as a challenge, a spur that incites us to action, to go forth and encounter others and the outside world. It is true that the feeling of separation is universal and not peculiar to Spanish Americans. It is born at the very moment of our birth: as we are wrenched from the Whole we fall into an alien land. This experience becomes a wound that never heals. It is the unfathomable depth of every man; all our ventures and exploits, all our acts and dreams, are bridges designed to overcome the separation and reunite us with the world and our fellow-beings. Each man's life and the collective history of mankind can thus be seen as attempts to reconstruct the original situation. An unfinished and endless cure for our divided condition. But it is not my intention to provide yet another description of this feeling. I am simply stressing the fact that for us this existential condition expresses itself in historical terms. It thus becomes an awareness of our history. How and when does this feeling appear and how is it transformed into consciousness? The reply to this double-edged question can be given in the form of a theory or a personal testimony. I prefer the latter: there are many theories and none is entirely convincing.

The feeling of separation is bound up with the oldest and vaguest of my memories: the first cry, the first scare. Like every child I built emotional bridges in the imagination to link me to the world and to other people. I lived in a town on the outskirts of Mexico City, in an old dilapidated house that had a jungle-like garden and a great room full of books. First games and first lessons. The garden soon became the centre of my world; the library, an enchanted cave. I used to read and play with my cousins and schoolmates. There was a fig tree, temple of vegetation, four pine trees, three ash trees, a nightshade, a pomegranate tree, wild grass and prickly plants that produced purple grazes. Adobe walls. Time was elastic; space was a spinning wheel. All time, past or future, real or imaginary, was pure presence. Space transformed itself ceaselessly. The beyond was here, all was here: a valley, a mountain, a distant country, the neighbours' patio. Books with pictures, especially history books, eagerly leafed through, supplied images of deserts and jungles, palaces and hovels, warriors and princesses, beggars and kings. We were shipwrecked with Sinbad and with Robinson, we fought with d'Artagnan, we took Valencia with the Cid. How I would have liked to stay forever on the Isle of Calypso! In summer the green branches of the fig tree would sway like the sails of a caravel or a pirate ship. High up on the mast, swept by the wind, I could make out islands and continents, lands that vanished as soon as they became tangible. The world was limitless yet it was always within reach; time was a pliable substance that weaved an unbroken present.

When was the spell broken? Gradually rather than suddenly. It is hard to accept being betrayed by a friend, deceived by the woman we love, or that the idea of freedom is the mask of a tyrant. What we call "finding out" is a slow and tricky process because we ourselves are the accomplices of our errors and deceptions. Nevertheless, I can remember fairly clearly an incident that was the first sign, although it was quickly forgotten. I must have been about six when one of my cousins who was a little older showed me a North American magazine with a photograph of soldiers marching along a huge avenue, probably in New York. "They've returned from the war" she said. This handful of words disturbed me, as if they foreshadowed the end of the world or the Second Coming of Christ. I vaguely knew that somewhere far away a war had ended a few years earlier and that the soldiers were marching to celebrate their victory. For me, that war had taken place in another time, not here and now. The photo refuted me. I felt literally dislodged from the present.

From that moment time began to fracture more and more. And there was a plurality of spaces. The experience repeated itself more and more frequently. Any piece of news, a harmless phrase, the headline in a newspaper: everything proved the outside world's existence and my own unreality. I felt that the world was splitting and that I did not inhabit the present. My present was disintegrating: real time was somewhere else. My time, the time of the garden, the fig tree, the games with friends, the drowsiness among the plants at three in the afternoon under the sun, a fig torn open (black and red like a live coal but one that is sweet and fresh): this was a fictitious time. In spite of what my senses told me, the time from over there, belonging to the others, was the real one, the time of the real present. I accepted the inevitable: I became an adult. That was how my expulsion from the present began.

It may seem paradoxical to say that we have been expelled from the present, but it is a feeling we have all had at some moment. Some of us experienced it first as a condemnation, later transformed into consciousness and action. The search for the present is neither the pursuit of an earthly paradise nor that of a timeless eternity: it is the search for a real reality. For us, as Spanish Americans, the real present was not in our own countries: it was the time lived by others, by the English, the French and the Germans. It was the time of New York, Paris, London. We had to go and look for it and bring it back home. These years were also the years of my discovery of literature. I began writing poems. I did not know what made me write them: I was moved by an inner need that is difficult to define. Only now have I understood that there was a secret relationship between what I have called my expulsion from the present and the writing of poetry. Poetry is in love with the instant and seeks to relive it in the poem, thus separating it from sequential time and turning it into a fixed present. But at that time I wrote without wondering why I was doing it. I was searching for the gateway to the present: I wanted to belong to my time and to my century. A little later this obsession became a fixed idea: I wanted to be a modern poet. My search for modernity had begun.

What is modernity? First of all it is an ambiguous term: there are as many types of modernity as there are societies. Each has its own. The word's meaning is uncertain and arbitrary, like the name of the period that precedes it, the Middle Ages. If we are modern when compared to medieval times, are we perhaps the Middle Ages of a future modernity? Is a name that changes with time a real name? Modernity is a word in search of its meaning. Is it an idea, a mirage or a moment of history? Are we the children of modernity or its creators? Nobody knows for sure. It doesn't matter much: we follow it, we pursue it. For me at that time modernity was fused with the present or rather produced it: the present was its last supreme flower. My case is neither unique nor exceptional: from the Symbolist period, all modern poets have chased after that magnetic and elusive figure that fascinates them. Baudelaire was the first. He was also the first to touch her and discover that she is nothing but time that crumbles in one's hands. I am not going to relate my adventures in pursuit of modernity: they are not very different from those of other 20th-Century poets. Modernity has been a universal passion. Since 1850 she has been our goddess and our demoness. In recent years, there has been an attempt to exorcise her and there has been much talk of "postmodernism". But what is postmodernism if not an even more modern modernity?

For us, as Latin Americans, the search for poetic modernity runs historically parallel to the repeated attempts to modernize our countries. This tendency begins at the end of the 18th Century and includes Spain herself. The United States was born into modernity and by 1830 was already, as de Tocqueville observed, the womb of the future; we were born at a moment when Spain and Portugal were moving away from modernity. This is why there was frequent talk of "Europeanizing" our countries: the modern was outside and had to be imported. In Mexican history this process begins just before the War of Independence. Later it became a great ideological and political debate that passionately divided Mexican society during the 19th Century. One event was to call into question not the legitimacy of the reform movement but the way in which it had been implemented: the Mexican Revolution. Unlike its 20th-Century counterparts, the Mexican Revolution was not really the expression of a vaguely utopian ideology but rather the explosion of a reality that had been historically and psychologically repressed. It was not the work of a group of ideologists intent on introducing principles derived from a political theory; it was a popular uprising that unmasked what was hidden. For this very reason it was more of a revelation than a revolution. Mexico was searching for the present outside only to find it within, buried but alive. The search for modernity led

a half line
incomplete stanza
an unrhymed sentence
well defined trauma

the poet's thought
uncaptured on the paper
many drafts
and crushed papers
around the study

there is a lot
same thoughts
and some sought
no process
little sense
world of words
and many buds

more time needed
to bloom
and here comes
the start of coming doom.

I woke up to my neighbors belting out an off-key tune. I tried to cover my aching ears with my pillow, but their discordant voices echoed in my head, so I finally got out of bed.

I stared at the unfinished painting I had worked on the night before. In just a few seconds, my stomach dropped. Even in its incomplete state, there was a sense of impending doom looming outside my door—hideous, and that was my first thought this morning.

Shadows ran through the waves of my curls—spiraling endlessly—as my fingers gently brushed away the exhaustion from last night. For the second time, I turned to look at the unfinished painting restlessly sitting at the end of my bed. If it had eyes, it would definitely not meet my somber, dark brown gaze. It would fear me, for I would cut it into pieces. I would let it bleed until it was no longer breathing.

It would forever be cherished as a beast—unfinished, freshly cut like a lemon. When poured into a deep wound, its acidity would seize the skin, leaving nothing but unfortunate agony.

I drank two liters of fresh lemonade, but nothing happened. It didn’t cut me into pieces. I was still unfinished.

And so I avoided its beastly eyes. Even an unfinished canvas resented my sorrowful presence. I sliced another lemon and added a teaspoon of sugar, hoping today would be different.

I bite my nails
But I clip my toe nails
I've seen two men get hit by cars
Both by women drivers
I have a problem dreaming
I have never been late
but I rarely want to be on time
Cleanliness is a low priority
I've only kissed 7 women
I've been intimate with 3
I could have lost my only love
Being alone is the most fulfilling part of my day

As I scarpered away, I could hear the voices,
echoing through the steel walls.
The cries, the vociferations, catching up to me,
couldn't fathom the escape, with a plan full of flaws.

Turning left, bending right,
running in circles, an endless plight.
The drug they induced,
pumping through my veins,
blocking my vision, severing the mains.
Don't know for how long,
I can put up this fight.

The sentinels advanced,
as fast and agile as they ever could be.
The alarm had rung more than once,
red lights poured all over the scene.

Needle in hand, dipped in ataractic,
who were they fooling, with that mild sedative?
I raced with every semblance of life I had,
couldn't survive this hell-hole.
Another day here would've driven me mad.

As the unexpected turn came,
I banged the door with the unknown name.
Fell face first, the momentum it carried me,
Scraped through the floor, stomach felt queasy.
Warm liquid oozed out of my nose,
dripping tardily as I rose,
the environment all but blurry.


Insanity Prevailed


As I blacked out,
I recalled how I came to be,
this house of horrors, delivered to me.
'Magnolia', home of the mentally challenged,
avowed 'care for the community'.

The head-shrink had advised,
you be safe, a feeling I imbibed.
A wry smile and that was it,
'Magnolia' She exclaimed,' would deem you fit.'

Believing in every word of hers,
I opened the door, welcomed
by the smell of fresh carcass,
the shabby floor with spots of dirt,
and people, oh lord the great unwashed,
like walking zombies, feelings inert.
They looked at me, some smiled and some laughed,
others cried, rest merely coughed.
So this is it, the house of the harebrained,
this was going to be my life,
Living among the insane.

I harbored no ill will,
But I couldn't absolve,
this feeling, inside me,
no friends no family, nothing normal.
Lasting with the un-dead,
my new destiny.

They filed me,
Gave a number, names were difficult to process,
66 it was, perfect, contributed  distress.
Admitted to my room, solitary for the neophyte,
'Morning' they said,' begins a new life.'

With a wicked smile they left me alone,
I was meek enough to cry, stiff enough to moan.
I wailed the whole night, the walls resonated,
the shrill of metal, the demons it encouraged.
The lights polished off, staring at the darkness,
all the monsters , the behemoth, dancing around me,
an invitation to their everlasting music.


Insanity Persisted


A specter bobbed up from the tiled floor,
gazed at me and pointed to the door.
'Rise, Awaken, my soul',
and the door opened with a loud crack,
'You must hurry, the guards will be back'.
I sat bolt upright, the apparition never lied.

Nose still bleeding, I took flight with haste,
looked back, they had dropped the chase.
It felt safe after a long time,
The world must know, of their wicked little crime.
They had to be stopped, the Doctor, the Nurse,
all of which were part of the crust,
which protected the whacko who experimented on us.

End of the hall, I noticed the Blue door,
It had to be the one, which will take me off-shore.
Head still paining, the doses that drained,
the vigor and strength, I couldn't sustain.
One last time, I had to draft
my will my power, from within.
To conjure up all my might,
before the shadows cave in.

As I drew nearer, towards the blue threshold.
I knew there was no looking back,  
nothing left to unfold.
I slowed down, one step at a time,
I could taste freedom, a taste so sublime.
My hand reached the door,
and gently turned the ****,
I pushed open the exit
and stared at the waiting mob.

Before I could assimilate,
with my failure and disappointment.
Someone jabbed a needle,
covering my mouth, crackling my vent.
Pushing me again, down the memory lane.


Insanity Pursued


The days were bad,
the nights equally worse.
A thin line existed between illusion and insanity,
indistinguishable they became, virtual and reality.
One could hear screams, begging for mercy,
Which the henchmen showed no sign of,
and continued to treat the already cured.

Those who betrayed, yearning exemption,
were treated with immense brutality.
Straightjackets, shackles and all sorts of gear,
were enough to put a man in psychotic fear.
The staff comprised barbarians and sadists.
Who lacked the basic sense of morality.

Shock therapy, voltage to its max,
bound and gagged, glued to the sacks.
The jolt of the lightning hitting them hard,
enough to churn up the flesh into lard.
They drugged the sufferer, the dupe would tranquil,
the fallout was horrible, it would make them frenzied.

For those beyond cure,
who lived for mere existence,
earned their own private, privileged experiment.
A special space, a hidden chamber,
well beyond, beneath the ground.
Defecated walls, layered flesh and blood,
****** fluids scattered,
in abundance, constituting a flood.
Human torture, vicious and cruel.

In a place so dark even the demons would fear,
how could I survive? This life to me was dear.
And the patients, the patients wouldn't help,
for them it was a game, live a day, reward for the next.
Some were quiet, lost in their own world,
speaking, whispering and talking to themselves.
Some looked sane, but stuck in paranoia,
for them the universe could any day cease to exist,
pertaining to their biggest phobia.
some were smart, they indulged in theories,
the real world mattered less to them.
And then there were the trigger-happy.
The truly maddened ones, violent with rage.
Every day was a battle, they fought within the cage.
They couldn't help me, for I wasn't crazy,
Just your usual guy, a victim of fate.

Magnolia was a place, where people ****** away their souls,
I wasn't ready to sell mine.
I had to escape, make an elaborate design.
There were no doctors at night, just the cruel handy-men,
had all the time in the world to formulate a plan,
question was, to execute when?

One night the attendant came,
wearing  a strange jumpsuit,
pen in breast-pocket,
woke me up and proclaimed, 'Get up you imbecile,
it's your turn in the lab today.
Stand up now, I ain't got all day!'
'HAH! You could try young man, to put me down,
but I ain't going to your lousy town'.
To this he smacked at my retort,
and laughed with a disgusting little snort.
'One more time you test my good nature,
and I swear to God I'll ruin your caricature.'
'Go ahead then give it your best shot,
You want me dead, do you not?'.
His laughter, this time, deafened the silence all around.
'You're dead fool! If it were up to me I'd skin you flesh and bone,
The amount of ruckus you create, the annoyance you hone,
But the good doctor has plans and once he's done with you..'
His unfinished sentence struck a nerve so strong,
my eyes rolled over,
what could possibly go wrong?

So the man with the strange jumpsuit,
dragged me all the way to the office.
The dimly lit room, ornamented a large crucifix.
Dear lord, you see how they mock?
Came back the degenerate with a big round lock.
'Oh yes, this is for you my friend,
chains aren't enough, straightjacket I will get.
Sit still you half-wit, else you'd regret'.
And I smiled and waited.
He returned as promised, with the piece of vestiary,
a twisted sense of humor, whoever built this monstrosity.

He stared where I looked, into his breast pocket.
'What's missing pal?' I asked in amusement.
He stopped everything and looked around.
With a motion so fast, it could only fly by,
gripping the pen, I poked him in the eye.
Ink exuded instead of blood,
the large man fell, loud with a thud.
The immense pain had him in shock,
now was the time for me to run amok.
But I kept focus, and ran for the door,
promised myself never to look back anymore.
Eloped with the only chance I foxed.


Insanity Reigned


The source of light was so strong,
I twitched a lot, just to see what's going on.
Caged in a room, no wait, a theatre!
****! I was so close to getting out.
The staff, I assume, were prepared all along.
Hatched a sinister plot, to show where I belong.
They had me now, tied to a work bench,
metal clasps around my wrist,
belted to the maximum limit.
For some odd reason they had me gagged,
the tape tasted foul, hygiene they lacked.
I wrestled my wrists with the wrought metal clamp.
But they were tight, wouldn't budge,
getting them off needed more than a nudge.

Alas the doctor came, with a frown upon his face,
With great ruefulness, he peeled off the tape.
'You caused us a great deal of trouble today.
None of our methods have impacted on you, what do you have to say?'
'Serves you right, you junk-less freak!' I was happy he was disappointed,
'That's not a very nice thing to say' responded the doctor, almost agitated.

He picked up an instrument,
a big long nail, the pointed end was so sharp,
I could feel it piercing through my brain.
Next he lifted a mallet,
which shone so bright it reflected upon my face.
To what devilish purpose could they serve?
The doctor took his time, and allowed me to observe.
He wore his mask, the mask of a surgeon,
at this time of the night? Surely he wasn't
planning to operate on me.
'Leave me alone, what are you doing?
Surely you know I'm not to be blamed, I don't belong here.
This is insane!'
'Wrong again 66, the society would never accept you.
You killed your wife and children, ******'s on you.'
It was at this moment the specter re-appeared, right behind the doctor.
Calling me, my name,
'They're all lying, you didn't **** anyone, they're framing you.'
'LIAR!' I spat at the doctor, 'You know she's is alive and waiting for me at the doorstep,
As always' I said.
'Yes she is waiting, but only at her death bed.'
'LIAR! You know my kids are sleeping peacefully at home!'
'Yes they are, but the sleep is eternal.'
'LIES! I can't **** a person,not even a fly!'
'And yet you poked my assistant right in the eye!'

The specter now appeared closer,
in a calming tone almost a whisper,
'Do not believe a word they said.
You're not a killer, just a victim of fate.'
Exactly, that's precisely what I meant.

With all the strength my voice box could muster,
I cried so hard the doctors ears could rupture.
' LIES! LIES! ALL LIES! You won't get away with this, the truth will come out.
Why would I ever **** them for crying out loud?'

'You're right, the truth shall come out, but not in this form, not from you.
66 has to die, a fact you always knew.'

No one dies today

'Hold him still.' The good doctor ordered.
A pair of hands inclined my head south,
Another pair, taped away my mouth.
I could hear music, a soft hum.
It had calmed me down ,that bass drum.
It kept beating at regular intervals.
The specter now, beside me,
placing her hand on my shoulders.
I looked up towards the sky, a light bulb
glowed right above my nose.
The doctor raised the nail,
a dot replaced the light source.
As the blot grew in size,
the light dimmed, luminance was minimized.
The music almost placid,
it made me smile, a smile so gentle.
The doctor enounced,
'This will only hurt a little.'
And as he struck, the spirit vanished,
the music stopped.


Insanity Triumphed