i was watching batman (1989) and batman returns (1992)
today, and i couldn't stop layering over birdman (2015)
over both films, it was such a comedy, you knew
that it wasn't a serious engagement
in the role, i just kept picturing
the internal monologue -
the action scenes were already
a gimmick when in the birdman
the explosions start with the critique
of what people actually like to see -
and that critique that the joker
is no more a weird'o than batman
dressed in black leather / spandex -
i just wish heath ledger took a break
from acting, and they did the same
sort of film about the actor behind
the joker, but how would they internalise
the essence of the role: the laughter...
internalising a husky voice can be easily
done when the actor in a different role
can talk easily and speedily without that
haunting husky role of the original part...
but the laughter? it would never work,
which is why jack warned heath
about playing the role... 'son, beware
the laughter.' still, what an enjoyable re-watch,
putting over the birdman nostalgia
over the seriousness of the acting in the
originals, you can actually imagine him
going for a coffee break and taking a ****
when the original screening took place,
the whole: back to reality - it really amplified
the films in a quirky way;
and i still think the joker is the only
doppelgänger that can't be tamed: i'm guessing
because of coulrophobia -
and i could still see remnants of this mythical
doppelgänger on heath in the imaginarium
of dr. parnassus... the clowns are onto you,
you can't steal one of them from
the jammed mini or volkswagen beetle with 20 of them in it,
plus the crying clown, everyone's heard of that
one, they mime laughter, this vocalised doppelgänger
of a clown is cursed -
because unlike actual mimes they don't surd
bewilderment being stuck in a box, or touching
a brick wall obstacle... they surd laughter,
and they share it among themselves in a circus,
vocalising that surd is a curse,
since vocalising an actual mime leaves you
without the actual abstractions,
and from what i heard, brick walls are silent
like graves, unless of course you punch one
or smash a car into one.

2am talking to you...
The hum of a neon sign, Emitting light so tranquil
Purple Luminescence on your face. The sparkle in your eye, it brings life to all...
The smile in your words     In comparison everything so small.    

In conversation vocalising the deep within

What can I say, 2am there is no filter Here.

The euphoria so intense
all Existence has so much Distance,
the world fades away...

Quizzed with the words you speak
Everything begins to dull
Everything so quiet and clear

The realisation of how much I hold you dear
I'd hate to think what I'd do  
Without you here

My friend lives
With anemia and a stomach ucler
With the past of an alchoholic father and an abusive brother
With emotionally abusive ex-girlfriends
Who sometimes plays the butler
With a crammed-full-to-the-seams schedule
With a previous eating disorder and cutting
With the mind of a genius
With the heart of a saint
With the hands of an artist
With a bevy of friends, willing and eager to help
With freedom and a job
With with me, Wyatt, Julia, and Tom on the other end of the phone
Waiting for his call for help
But he is so quiet, pushed into a world of silence, dark, and miserable art
He shelters himself from all, and so we hover nearby
Searching for a crack in the walls of his dungeon, but all we find is a window
He holds the key, but does not yet realise it
So we coaxe and console and soothe, vocalising our concerns and aid
Reaching towards him to pull him away, to touch his heart with the
Hope that a gentle caress, a well placed sweet stroke of kindness may
Free him from his torment
But as of yet, we are still trying

a note before i end the pending poem.

i know i'm not writing anything "in the groove"
or whatever urban tonguing i should use to invent
the new form of glue: to stick with the trends.
                    when people read candyfloss
literature i read lead literature,
  that's how it goes, i find too many poets
angry shouting down other people's throats,
i find them in positions where they think
they empower people: but rarely do.
   i write for the sole purpose of a demographic,
a democracy of sorts, i never want to hear
my voice regurgitated back at me,
i find it prickly, apart from the half-digested content
i am actually opposing being fed it...
  i can't explain why i don't entertain,
write one poem every two years either, apart from
the fact that: well, writing a poem and then
performing it? performance doesn't really do much
for what's an ongoing voyage, performance to
the art is like a Moby **** moment:
   you get to tell the adventure of a shipwreck,
rather than the proof that the earth is not flat.
the additional benefit, you get to see how your
thinking interacts with symbols, and how these symbols
will never betray the tongue that doesn't speak them...
   you get to do x-ray upon x-ray and find that
stuff like this: is actually equivalent to a bone in your
tongue. as with the moment: when artists are quoted
as having said: words are meaningless...
     i guess there comes a time when, with that said:
punching someone dead means more.
   oh this pithy sentiments that only empower politicians
and the media... i might have said
    a baby's gluttonous gaga drool and you'd be like:
yay! happy days upon us!
                      when poetry isn't performed it continues
into the nether region of thoughts: it's not jeopardy
of suddenly fizzling out into a state of a stale champagne
bottle... the residual power is confiscates from speaking
it retains a close proximity of actually writing it,
on the basis that it becomes prolonged, and more concentrated,
it cannot be allowed to diffuse into the open,
into a crowd, for a democratic hurrah on we go.
  i wanted to simply see poetry as an optical exploration,
rather than a vocal necessity of the art,
      philosophy was clogged up in too many truths
and untruths, and basically too many paragraphs,
   i wanted to make frank the medium that abhors paragraphs,
and by the looks of it: punctuation marks.
well, it's all about pedantry to be honest,
               but then i never desired the urban lingua
of keeping with the zeitgeist... i see how keeping up
with the times is enshrined with materialism and how
fickle it all eventually becomes... you can never reach
a status of cool reaching for the obscure,
but that's what all attempts at fame end up being:
a quiz show, trivia, obscure knowledge, 0 points
means the best points available, and after that, the realisation
that all is empty, and that attempts at fame
become questions in a quiz show where the aim of
the game is to: name the most obscure answer possible...
oddly enough the same show invites celebrities to
take part in the quiz for charity... *pointless celebrities,
first word, yep, that's the name of the show.
oh no, i don't shun television, i do admit that watching
a brick wall is more entertaining drunk than television,
but the sober me has to do something from time to time.
so poetry: a medium that's opposite of vocally necessary,
a medium to explore the bone inside the tongue
that writing invokes: ****** stalemate...
      would i care to say why every word has a meaning?
unless you can speak hundsprechen i'd say only this,
that sort of reasoning is dangerous...
            we wouldn't get anything done is units of language
was meaningless... (hold on, i'm going to create
a crescendo for this point)...
you can say language is meaningless when you're
singing... vocalising language from these depths of
what would otherwise be known as the graveyard of surds
on the pure basis of optics and all cognitive parameters...
      sure, from these depths into an angelic gospel choir
you can get a meaninglessness: because it's so ******
    pleasurable... you can't deny a good song, you
can't compare the use of language in singing to the use
of language in lecturing some obscure topic by simply
talking... for thus words are sounds, and not the dreaded
pluralism of conventional talking: i.e. meanings.
              unlike the Chinese who have a certain capacity
to remember about 3000 ideograms, we have a much
bigger capacity, but our words are shrapnel and what we
don't have that the Chinese do have is:
                 a capacity for the multiplicity of meaning.
i can't imagine any ambiguity with Chinese ideograms
in the range of 3000 symbols... but there is clearly ambiguity
in our system...
                      obviously we can say words are meaningless
at times when rules of using language are lax given
the lies of politicians and the media roulette:
the fact that media is not state owned is even worse,
shadow brokers and a tarantula venom disorientating people.
   singing is an escape route from the socio-political
conventions of using language, hence the ambiguity trail
of what's deservedly called: socially-acceptable mode
of conduct, something that doesn't receive the ****** frown
of what would probably look like a lemon smiling.
  yet, if language doesn't give you a chance to see a labyrinth
then you have the shallows of singing... mm, yeah, mm, boo...
         ye-ha! ******* cowboys the whole lot of them...
but it's what it's supposed to be, something to be sung
for someone else to hear... it's not something written
down for someone else to see... and subsequently maybe
think about... oh how dreaded that statement seems in
English, a bit like denken scheiße / shy-se!
          people only make statements about the meaningless
of language when they sing... but that's the point:
you're making sounds, akin to the rhythm of my heart,
hence i don't think and subsequently go into a moshpit
or nod my head with some pigeon-like "cool" approval...
language is a bit like Shrek talking about onions...
it has layers, "spooky" other dimensions, oooh oooh...
Casper asked for a weener so he could invert necrophilia
and ghost-**** that ***... it has layers...
         somewhere between the Antarctica and the Arctic,
perhaps in the tropic of Capricorn, but who knows?
but i'll tell you one thing... it's not a white guy thing...
i finally understand why i don't like rap...
a bit like saying: a crowd shouting at a football match
is not an onomatopoeia of whatever is **** sapiens worthy...
   i think that classification actually predates
the expression of it... it's out there, but on the fringes...
         it's like this standard of protestantism with the concept
of predestination: we might just get there by Sunday
in the year 2099, but who knows?
        now i do understand why i don't like rap...
never liked it... couldn't stomach it...
   then i come across a beauty... so all those things i said
before, it culminates into this...
    Akua Naru, ring a bell? probably not,
3mil is nothing in today's celebrity cut-throat backstabbing...
     http://tinyurl.com/lt8ayhg... now that's entertainment...
that's what i love, how every instrument is
actually heard... the bass kicks in to set the tone
with the tickly percussion accents...
                       she's baking a cake...
she's layering...
  it's unlike that ****-culture music of pounding pounding
overly rhythmic and for every band these days
   it's one guitar = 20 violins of an orchestra's worth...
                  this is the new-jazz, or what John Coltrane
insinuated with the words: a love supreme, a love supreme.
            i don't know if it's poetry...
                                   a weak message on a stage might
always require a backing band, like a weak voice
might require a backing band... but this little critique doesn't
necessarily mean i can appreciate it,
   and is the reason why i don't understand rap, and never will.

they say that 2000 years without Israel
will necessarily bleach your skin,
that ancient fable of the Mediterranean
olives, turning into haram pigmentation
that god forbade to eat:
     ask them: why so pale, so like us?
why are you so pale, brother?
                  too few of us have seen ghosts,
unless they be ghosts of our former selves.
everyday, people disappear with their
selfless acts - everyday: puff! gone.
i never write to entertain or distract,
i'm a non-oratory sort of guy,
i imagine myself like a larynx punching
bag that people speak into -
a persona non grata, but otherwise a
persona esse: that necessarily is.
grata... grata... grata... gratis means
free - i really don't have that vindictive
american woman, stay away from me
sort of attitude: one peg, two peg, three;
but i do like that ancient seemingly
under-used word - frajer -
whereas said in anglo: frayer -
or *******.       the whole bejesus
and           yacht debate asking for saintly
interludes in the general grime of ****
said, **** done - and of that inherent vice
in us? the part where the ants took to
the tarantula and impregnated themselves
with the venom: and turned on each other -
as any civilised thing ever could be.
          what's the difference between
blues and punk?
     an extra chord?      see me blink?
           white boy blues: punk -
three chords -            and so the Mongolian
horde hoarding skulls in Baghdad -
and that's me, sitting ever so lightly,
pretty orange like a peach: apathetic tongue
in the ivory bull terrier grip of a handshake -
a girl might have once said: with
the pulverising stare, he could sit on the pavement
and across the street a fox took to
goosebump nibbles, while a girl walked
past the fox and the fox didn't stir from the spot.
wet snare *****: that's what they called him -
but on top of all that: everyday, the world
crashes in: newspapers? i call them avalanches.
they have non-filter: condoms with a slit in
them - and every time she's gagging
for legislation into birth control,
the Chinese dicta has been revised,
     and she's thinking of honey honey feed
me homely snug and cuddle: scented lavender
candles on your way out, including
the autographs.
   i once claimed that the television is akin
to the Platonian anecdote of the cave -
       now i'm starting to realise it's the outdated
variation of a campfire:
               vatra: and soon our hushed
capacity to tell familiar stories -
once it was talk of whole bodies: now
dismemberment and disembodiment -
                         soon enough a *** or a Juan
in Spanish - soon too łen or when -
łej           or way - those are not: chiral twins.
from what i can remember i found it hard
forgetting my northern Swahili -
         ****** hard, i couldn't have that post-colonial
tattoo done on me -
            but it still haunts me,
how one man took apart the Pharisee Israel apart
and where people had coppery visage: dimmed
gold of the skin, and one has to compensate that
taking apart with his own ethnicity in a biographic
similitude - been there, done that,
off the Unesco map for a century or two,
a Napoleonic haven sort of bollocking,
       **** 'ed over 'ere: old MacDoogle e ah e ah oh,
ha ha. Catholic shortening Mc
         Protestant on a wild surf of St. Thomas' Gospel
and all things trans...
as it should be known: transphysics -
god is dead, poetry is dead, metaphysics, is dead:
nou vogue: TRANS! ***** slap that ****
across the knees: say gnostic (surd g), then say
diagnostic... seem: or properly understood.
******* wankers and cowboys and other
ulterior gunslingers; but the prima ballerina aesthetic
found when excavating the ęglish?
                never talk ***** in public:
really, really vocalise that Cockney bulldozer
vs. culture when vocalising more tongue and less
**** when ******* - appearances are everything
after all - talk pretty, talk lily -
talk rose: and when it comes to the knitty gritty:
slosh!        i mean diarrhoea slosh -
            i mean: not unbuttoning a shirt but
ripping it open: fanciful that: equating courtesy
and otherwise doing the Frankenstein to a limp
**** with words of encouragement...
        (oh the sarcasm i enjoy hiding in symbols)
but i never understand why we talk pretty
and play ***** - why not talk ***** and play pretty?
       this revised "aversion" / ~aversion toward
fascism is really taking hold of people:
        the only difference is that there are so many
charismatic sprechen pseudo Deutsche -
                   i'm starting to feel left out;
still though, concerning the first point:
they really are pale -
                 2000 years without Israel:
it will definitely take them 500 years to get that
Mediterranean hue back of palms olives and dates -
        understandably the siding with
balaclava Palestine:        'cos you're white and
you said ku klux sneezing - or from what i heard
of recent history, my fellow colonial thingy-ma-jigs
     are internalising inherent violence of
the past and shoveling it all at the young -
   many o' man's woes as nothing more than
an evasive self: kindred of the lunatic.
me too: i too wish to have been able to stage
a confrontational and subsequently condescending
conversation with my great-great-great-grandfather,
       but i ain't got the **** or the V, and
                                  not much about the Welsh-middle
of the longbowmen and Churchill's cigars;
funny thing... smoking cigarettes, you get this
taste flashbacks... just now i recounted the taste
of my first love's ****** juices mixing in with my
phlegm cough-up... surely memory is not cognitively
abstract, like tattoos aren't really abstract:
to prove a point i coughed up a memory
of wild strawberries yesterday: well... fair enough:
today it's a memory of eating out (as they crudely say):
Poseidon's pearl.
does **** have to be constantly floral or aquatic?
    oh the cascade into faux pas and cliche: endless!

The birds in the skies are spreading their truth.
They cover the world, vocalising concerns.
The bird telegraph,flies safe over war zones.
Nearly always the great escape.
They tell of the things they bear witness to.
The birds know the truth.
They tell one another.
Sadly, they can't tell the propaganda machine of the things that they've  seen.
As sadly the birds don't talk in human tongues.
I'm sure they know what's going on.
The media dispatch war zone news, the birds know what's happening a whole lot better.
The birds, they never seem to worry as much as you and I.
The birds with unspoken words.
The eyes in the sky.
(c) Livvi

[The scene is reminiscent of a long exposure time lapse. The kind where the universe is painted in streaks across the darkness above. Except, maybe, time is moving exactly as it normally would but the stars still drag through the sky as the wind drags across your skin. You’re both strewn upon the seats, in the back of an open, moving car. Swimming through the city, through the bright lights. The deep rumbles of engines and of lovers – tangled in embrace – wave. Neither of you wave back.

Instead, they’re found enmeshed with your body. With you. Their shoulder is burrowed in the junction of yours. They’ve got your right hand grazing their lips and your fingertips caught between their teeth. They’ve got one hand running lines – vocalising desires – along the curve of your leg that’s wrapped around their hip and captured between their thighs.

You’ve got your left hand nestled in between (and all around) the valleys of their coarse curls. Every so often, your fingertips grasp their earlobe and tug…slightly.

You have a sort of gentle smile on your face as you gaze down with soft adoration, and you feel your heart burst (a little) at the tenderness of this moment. This mellow, dazing, single moment of being wrapped up in each other. With the whole world ebbing and flowing around you. You are here, with them, and all that exists is this.]

The space between thought
and sound is inventiveness.

Vocalising the end product
requires careful consideration.

Ulysses took seventeen years to
write, for some, a lifetime to read.

The Virus is vacuum
packed in the Box
Populai Channel 19
colloquially Covid.

Vaccination Vacation
available to all viewers
without subscription
valetudinarianism veiled.

The visual vasectomy by
the vanguard vipers versus
the vainglorious voting
vassals vocalising vaguely.