I think back to the sixties
taking charge of our new  life
two hippies lost in limbo
that's when I took you as my wife

we grew up very quickly
the time to play was done
we sold out and got established
now that we weren't two but one

I close my eyes just to focus
I close my eyes to make you clear
I close my eyes so I remember
I close my eyes to bring you near
I close my eyes and wer'e together
I close my eyes so I can see
I close my eyes because I miss you
I close my eyes , once more we're we

we hit the disco era running
more run away than run toward
on every street there was a prophet
selling the new word of the lord

the beatles quit and that was tragic
elvis died and that was worse
our music wasn't just evolving
our music was leaving in a hearse

I close my eyes just to focus
I close my eyes to make you clear
I close my eyes so I remember
I close my eyes to bring you near
I close my eyes and wer'e together
I close my eyes so I can see
I close my eyes because I miss you
I close my eyes , once more we're we

the eighties was about consumption
we took *******, like all the rest
you were judged by your possessions
to have the most made you the best

in the nineties things were different
our lives were both put deep on hold
the doctor called and said a tumor
I remember all I felt was cold


I close my eyes just to focus
I close my eyes to make you clear
I close my eyes so I remember
I close my eyes to bring you near
I close my eyes and wer'e together
I close my eyes so I can see
I close my eyes because I miss you
I close my eyes , once more we're we

decades no longer counted
time went by just day by day
stage four was the conclusion
I mean what else was there to say

I lost you late that summer
you passed away after a fight
you battled hard to keep on living
before you ventured to the light

I close my eyes just to focus
I close my eyes to make you clear
I close my eyes so I remember
I close my eyes to bring you near
I close my eyes and wer'e together
I close my eyes so I can see
I close my eyes because I miss you
I close my eyes , once more we're we

I have the pictures to remind me
but, you are clearer to me when
I close my eyes, let my mind wander
I go back now to way back then

I can't describe you to another
unless I see you in my mind
I close my eyes and I am happy
my life is better when i'm blind

I close my eyes just to focus
I close my eyes to make you clear
I close my eyes so I remember
I close my eyes to bring you near
I close my eyes and wer'e together
I close my eyes so I can see
I close my eyes because I miss you
I close my eyes , once more we're we

She said, ‘You are funny, the way you set yourself up the moment we arrive. You look into every room to see if it’s suitable as a place to work. Is there a table? Where are the plugs? Is there a good chair at the right height? If there isn’t, are there cushions to make it so? You are funny.’
 
He countered this, but his excuse didn’t sound very convincing. He knew exactly what she meant, but it hurt him a little that she should think it ‘funny’. There’s nothing funny about trying to compose music, he thought. It’s not ‘radio in the head’ you know – this was a favourite expression he’d once heard an American composer use. You don’t just turn a switch and the music’s playing, waiting for you to write it down. You have to find it – though he believed it was usually there, somewhere, waiting to be found. But it’s elusive. You have to work hard to detect what might be there, there in the silence of your imagination.
 
Later over their first meal in this large cottage she said, ‘How do you stop hearing all those settings of the Mass that you must have heard or sung since childhood?’ She’d been rehearsing Verdi’s Requiem recently and was full of snippets of this stirring piece. He was a) writing a Mass to celebrate a cathedral’s reordering after a year as a building site, and b) he’d been a boy chorister and the form and order of the Mass was deeply engrained in his aural memory. He only had to hear the plainsong introduction Gloria in Excelsis Deo to be back in the Queen’s chapel singing Palestrina, or Byrd or Poulenc.
 
His ‘found’ corner was in the living room. The table wasn’t a table but a long cabinet she’d kindly covered with a tablecloth. You couldn’t get your feet under the thing, but with his little portable drawing board there was space to sit properly because the board jutted out beyond the cabinet’s top. It was the right length and its depth was OK, enough space for the board and, next to it, his laptop computer. On the floor beside his chair he placed a few of his reference scores and a box of necessary ‘bits’.
 
The room had two large sofas, an equally large television, some unexplainable and instantly dismissible items of decoration, a standard lamp, and a wood burning stove. The stove was wonderful, and on their second evening in the cottage, when clear skies and a stiff breeze promised a cold night, she’d lit it and, as the evening progressed, they basked in its warmth, she filling envelopes with her cards, he struggling with sleep over a book.
 
Despite and because this was a new, though temporary, location he had got up at 5.0am. This is a usual time for composers who need their daily fix of absolute quiet. And here, in this cottage set amidst autumn fields, within sight of a river estuary, under vast, panoramic uninterrupted skies, there was the distinct possibility of silence – all day. The double-glazing made doubly sure of that.
 
He had sat with a mug of tea at 5.10 and contemplated the silence, or rather what infiltrated the stillness of the cottage as sound. In the kitchen the clock ticked, the refrigerator seemed to need a period of machine noise once its door had been opened. At 6.0am the central heating fired up for a while. Outside, the small fruit trees in the garden moved vigorously in the wind, but he couldn’t hear either the wind or a rustle of leaves.  A car droned past on the nearby road. The clear sky began to lighten promising a fine day. This would certainly do for silence.
 
His thoughts returned to her question of the previous evening, and his answer. He was about to face up to his explanation. ‘I empty myself of all musical sound’, he’d said, ‘I imagine an empty space into which I might bring a single note, a long held drone of a note, a ‘d’ above middle ‘c’ on a chamber ***** (seeing it’s a Mass I’m writing).  Harrison Birtwistle always starts on an ‘e’. A ‘d’ to me seems older and kinder. An ‘e’ is too modern and progressive, slightly brash and noisy.’
 
He can see she is quizzical with this anecdotal stuff. Is he having me on? But no, he is not having her on. Such choices are important. Without them progress would be difficult when the thinking and planning has to stop and the composing has to begin. His notebook, sitting on his drawing board with some first sketches, plays testament to that. In this book glimpses of music appear in rhythmic abstracts, though rarely any pitches, and there are pages of written description. He likes to imagine what a new work is, and what it is not. This he writes down. Composer Paul Hindemith reckoned you had first to address the ‘conditions of performance’. That meant thinking about the performers, the location, above all the context. A Mass can be, for a composer, so many things. There were certainly requirements and constraints. The commission had to fulfil a number of criteria, some imposed by circumstance, some self-imposed by desire. All this goes into the melting ***, or rather the notebook. And after the notebook, he takes a large piece of A3 paper and clarifies this thinking and planning onto (if possible) a single sheet.
 
And so, to the task in hand. His objective, he had decided, is to focus on the whole rather than the particular. Don’t think about the Kyrie on its own, but consider how it lies with the Gloria. And so with the Sanctus & Benedictus. How do they connect to the Agnus Dei. He begins on the A3 sheet of plain paper ‘making a map of connections’. Kyrie to Gloria, Gloria to Credo and so on. Then what about Agnus Dei and the Gloria? Is there going to be any commonality – in rhythm, pace and tempo (we’ll leave melody and harmony for now)? Steady, he finds himself saying, aren’t we going back over old ground? His notebook has pages of attempts at rhythmizing the text. There are just so many ways to do this. Each rhythmic solution begets a different slant of meaning.
 
This is to be a congregational Mass, but one that has a role for a 4-part choir and ***** and a ‘jazz instrument’. Impatient to see notes on paper, he composes a new introduction to a Kyrie as a rhythmic sketch, then, experimentally, adds pitches. He scores it fully, just 10 bars or so, but it is barely finished before his critical inner voice says, ‘What’s this for? Do you all need this? This is showing off.’ So the filled-out sketch drops to the floor and he examines this element of ‘beginning’ the incipit.
 
He remembers how a meditation on that word inhabits the opening chapter of George Steiner’s great book Grammars of Creation. He sees in his mind’s eye the complex, colourful and ornate letter that begins the Lindesfarne Gospels. His beginnings for each movement, he decides, might be two chords, one overlaying the other: two ‘simple’ diatonic chords when sounded separately, but complex and with a measure of mystery when played together. The Mass is often described as a mystery. It is that ritual of a meal undertaken by a community of people who in the breaking of bread and wine wish to bring God’s presence amongst them. So it is a mystery. And so, he tells himself, his music will aim to hold something of mystery. It should not be a comment on that mystery, but be a mystery itself. It should not be homely and comfortable; it should be as minimal and sparing of musical commentary as possible.
 
When, as a teenager, he first began to set words to music he quickly experienced the need (it seemed) to fashion accompaniments that were commentaries on the text the voice was singing. These accompaniments did not underpin the words so much as add a commentary upon them. What lay beneath the words was his reaction, indeed imaginative extension of the words. He eschewed then both melisma and repetition. He sought an extreme independence between word and music, even though the word became the scenario of the music. Any musical setting was derived from the composition of the vocal line.  It was all about finding the ‘key’ to a song, what unlocked the door to the room of life it occupied. The music was the room where the poem’s utterance lived.
 
With a Mass you were in trouble for the outset. There was a poetry of sorts, but poetry that, in the countless versions of the vernacular, had lost (perhaps had never had) the resonance of the Latin. He thought suddenly of the supposed words of William Byrd, ‘He who sings prays twice’. Yes, such commonplace words are intercessional, but when sung become more than they are. But he knew he had to be careful here.
 
Why do we sing the words of the Mass he asks himself? Do we need to sing these words of the Mass? Are they the words that Christ spoke as he broke bread and poured wine to his friends and disciples at his last supper? The answer is no. Certainly these words of the Mass we usually sing surround the most intimate words of that final meal, words only the priest in Christ’s name may articulate.
 
Write out the words of the Mass that represent its collective worship and what do you have? Rather non-descript poetry? A kind of formula for collective incantation during worship? Can we read these words and not hear a surrounding music? He thinks for a moment of being asked to put new music to words of The Beatles. All you need is love. Yesterday all my troubles seemed so far away. Oh bla dee oh bla da life goes on. Now, now this is silliness, his Critical Voice complains. And yet it’s not. When you compose a popular song the gap between some words scribbled on the back of an envelope and the hook of chords and melody developed in an accidental moment (that becomes a way of clothing such words) is often minimal. Apart, words and music seem like orphans in a storm. Together they are home and dry.
 
He realises, and not for the first time, that he is seeking a total musical solution to the whole of the setting of those words collectively given voice to by those participating in the Mass.
 
And so: to the task in hand. His objective: to focus on the whole rather than the particular.  Where had he heard that thought before? - when he had sat down at his drawing board an hour and half previously. He’d gone in a circle of thought, and with his sketch on the floor at his feet, nothing to show for all that effort.
 
Meanwhile the sun had risen. He could hear her moving about in the bathroom. He went to the kitchen and laid out what they would need to breakfast together. As he poured milk into a jug, primed the toaster, filled the kettle, the business of what might constitute a whole solution to this setting of the Mass followed him around the kitchen and breakfast room like a demanding child. He knew all about demanding children. How often had he come home from his studio to prepare breakfast and see small people to school? - more often than he cared to remember. And when he remembered he became sad that it was no more.  His children had so often provided a welcome buffer from sessions of intense thought and activity. He loved the walk to school, the first quarter of a mile through the park, a long avenue of chestnut trees. It was always the end of April and pink and white blossoms were appearing, or it was September and there were conkers everywhere. It was under these trees his daughter would skip and even his sons would hold hands with him; he would feel their warmth, their livingness.
 
But now, preparing breakfast, his Critical Voice was that demanding child and he realised when she appeared in the kitchen he spoke to her with a voice of an artist in conversation with his critics, not the voice of the man who had the previous night lost himself to joy in her dear embrace. And he was ashamed it was so.
 
How he loved her gentle manner as she negotiated his ‘coming too’ after those two hours of concentration and inner dialogue. Gradually, by the second cup of coffee he felt a right person, and the hours ahead did not seem too impossible.
 
When she’d gone off to her work, silence reasserted itself. He played his viola for half an hour, just scales and exercises and a few folk songs he was learning by heart. This gathering habit was, he would say if asked, to reassert his musicianship, the link between his body and making sound musically. That the viola seemed to resonate throughout his whole body gave him pleasure. He liked the ****** movement required to produce a flowing sequence of bow strokes. The trick at the end of this daily practice was to put the instrument in its case and move immediately to his desk. No pause to check email – that blight on a morning’s work. No pause to look at today’s list. Back to the work in hand: the Mass.
 
But instead his mind and intention seemed to slip sideways and almost unconsciously he found himself sketching (on the few remaining staves of a vocal experiment) what appeared to be a piano piece. The rhythmic flow of it seemed to dance across the page to be halted only when the few empty staves were filled. He knew this was one of those pieces that addressed the pianist, not the listener. He sat back in his chair and imagined a scenario of a pianist opening this music and after a few minutes’ reflection and reading through allowing her hands to move very slowly and silently a few millimetres over the keys.  Such imagining led him to hear possible harmonic simultaneities, dynamics and articulations, though he knew such things would probably be lost or reinvented on a second imagined ‘performance’. No matter. Now his make-believe pianist sounded the first bar out. It had a depth and a richness that surprised him – it was a fine piano. He was touched by its affect. He felt the possibilities of extending what he’d written. So he did. And for the next half an hour lived in the pastures of good continuation, those rich luxuriant meadows reached by a rickerty rackerty bridge and guarded by a troll who today was nowhere to be seen.
 
It was a curious piece. It came to a halt on an enigmatic, go-nowhere / go-anywhere chord after what seemed a short declamatory coda (he later added the marking deliberamente). Then, after a few minutes reflection he wrote a rising arpeggio, a broken chord in which the consonant elements gradually acquired a rising sequence of dissonance pitches until halted by a repetition. As he wrote this ending he realised that the repeated note, an ‘a’ flat, was a kind of fulcrum around which the whole of the music moved. It held an enigmatic presence in the harmony, being sometimes a g# sometimes an ‘a’ flat, and its function often different. It made the music take on a wistful quality.
 
At that point he thought of her little artists’ book series she had titled Tide Marks. Many of these were made of a concertina of folded pages revealing - as your eyes moved through its pages - something akin to the tide’s longitudinal mark. This centred on the page and spread away both upwards and downwards, just like those mirror images of coloured glass seen in a child’s kaleidoscope. No moment of view was ever quite the same, but there were commonalities born of the conditions of a certain day and time.  His ‘Tide Mark’ was just like that. He’d followed a mark made in his imagination from one point to another point a little distant. The musical working out also had a reflection mechanism: what started in one hand became mirrored in the other. He had unexpectedly supplied an ending, this arpegiated gesture of finality that wasn’t properly final but faded away. When he thought further about the role of the ending, he added a few more notes to the arpeggio, but notes that were not be sounded but ghosted, the player miming a press of the keys.
 
He looked at the clock. Nearly five o’clock. The afternoon had all but disappeared. Time had retreated into glorious silence . There had been three whole hours of it. How wonderful that was after months of battling with the incessant and draining turbulence of sound that was ever present in his city life. To be here in this quiet cottage he could now get thoroughly lost – in silence. Even when she was here he could be a few rooms apart, and find silence.
 
A week more of this, a fortnight even . . . but he knew he might only manage a few days before visitors arrived and his long day would be squeezed into the early morning hours and occasional uncertain periods when people were out and about.
 
When she returned, very soon now, she would make tea and cut cake, and they’d sit (like old people they wer

Ja, er hat dich gekuesst-- aber ich auch
wenn er nicht da waere-- wer sonst?
Ich bin ohne dich geflogen, und wohin?
Keine Frage der Zeit, Schlampe
ich bin's

Ich bin's der bei dir sonst waere-- ich bin's, bist du wirklich so bloed?
Wieso fragst du >>WER?<<
Du bist ne Schlampe, und das erkenn' ich schon
aber das macht mir nichts, ich bin alleine geflogen

Und all die Menschen die ueber mich sassen
haben es gewusst und wollten mich kaum antasten
Sie sind ohnehin weiter-- immer weiter-- gegangen
und, ohne dich, Schlampe, bin ich heruntergefangen

Mit den Hunden und Paeckchen diese Leute staendig nach- duersten und mitbring'
Lag ich
Bin ich auch zu ueberfluessig um oben drinzusitzen?
Schlampe, willst du dass ich wein', so ohne Wasser
im Dunkel, in Einsamkeit, im Gefaengniss der Lust?

Am Kartenkasse drueckte ich 'eins-Plus!'

Vergiss dich, Schlampe-- ich hab' fuer dich kein Benutz
Du bist nicht wer ist, das bin ich
Tschuess.
---------------------------------------
Yes, he has kissed you-- but I too
if he weren't there-- who else?
I have flown without you, and where to?
No question of time, *****
I am the one

I am the one that would be by you otherwise-- I am the one, are you really so stupid?
Why do you ask "WHO?"
You are a *****, and I recognize that already
But that doesn't make a difference to me, I have flown by myself

And all the humans that sat over me
have known it and hardly wanted to touch me
they have regardless further-- always further-- gone
and, without you, *****, am I caught under here

With the dogs and little packages these people constantly thirst after and bring with
I lay
Am I indeed too superfluous to sit inside, above?
*****, do you want for me to cry, this way without water
in the dark, in isolation, in the prison of passion?

At the ticket counter I pressed "one-Plus!"

Forget you, *****-- for you have I no use
You are not he who is, that is I.
Goodbye.

Schade.
Echt schade.

Schade
um dich
für dich
auf dich.

Schaden
bei dir
von dir
in dir.

Du bist schade für mich.

Wie schade.
Echt zu schade.

Jeder wer dich liebt
wird geschadet sein;
ist heute froh
wird morgen leiden.

So ist es gewesen,
also wird es immer sein.
Ich hab es miterleben,
hatte ihr zugehören,
war glücklich genug zu ihr zugehören,
und hab seit damit aufgehört;
und hab seit selbst davon angehört-
Stell dir das vor!

Zu schade.
Echt schade.
Stell dir das vor!

Du hast uns als Spielzeuge angesehen.
Du hast uns als verzichtbar angesehen.
Stell dir das vor!

War selbst glücklich genug dazu zugehören.

Jeder, wer dich liebt
wird geschadet sein
wird im Arsch gebissen
wird vergiftet sein

Jeder, wer dich liebt,
wird Mitleid kriegen,
doch nicht von dir
doch ja dienetwegen.

Tanz.
Tanz zu der Musik.
Tanz zu der Musik deiner Exen.
Tanz zu der Musik du anregtest.

Leider, sie sind nicht Liebelieder.
Nein, sie sind nicht Liebelieder.
Leid, sie sind doch Leidlieder.
Wegen Seelenqual geschrieben.

So ist es gewesen,
so wird es immer sein.
Stell dir das vor!

wieso es nicht gelang
wieso es gelang

als sie mich suchten zum liebemachen
als sie mich fanden zum liebemachen

wer von ihnen sang
wer von ihnen sang

sie kamen in scharen
mit freunden verwandten
all jene damen
all jene herren

ich weiß nicht wann
ich weiß nicht wo

doch ich weiß wie
ich weiß es wie

mir ist bewusst:
dichter und autoren werden
keine liebe füreinander hegen

(poet's note: my opinion on
the last three verses above has
fundamentally changed since i been
publishing here.)

liebe mich freund
liebe mich freundin

gib mir
schenk mir
suche mich
finde mich

ich habe mich auf der suche nämlich
versucht

kennst du, bruder, den weg?
den zugfahrplan?
die bedeutung der stahlstreben?

ich brauche eine antwort von
den damen
den herren

finde mich
suche mich
verschenke mich
vergib mir denn

ich schrieb über zivilisationen
von witterung und gier

witterung und gier
freunde sind zwischen dem glitzern
auf dem fluss versteckt wie perlen

sie aufzuspüren zwischen dem wittern
zwischen dem wittern
während des witterns

ich weiß nicht ob du weißt wovon
ich rede
ich rede

aber das ist in ordnung freund
aber das ist ok freundin

wir müssen bloß bruder
wir müssen bloß schwester
fragen

sie sitzen am gleis bei den zügen
sie sind immer da
wie der

“ICH-BIN-DA” aus der kinderbibel
meines sohnes

verstehst du das?
begreifst du das?
fühlst du mich?

viele afro-amerikaner fragen
“you feel me?” wenn sie
etwas ausdrücken und teilen wollen

ich liebe
diesen ausdruck
er zeugt von
etwas gutem, das manchen
menschen fehlt

auf der brust trage ich das tattoo
welches du abschriebst
in einer stunde aus

schatten
witterung
gier
ich wollte das
ich wollte dass

du zu mir kamst
zwischen den schatten
unter der gier
über der witterung

in einem augenblick des
“you feel me”

wie unsere häute glänzten
wie unsere augen glitzerten
wie unsere hände zitterten

wie wir…

ach komm!
was sage ich dir, freund
was sage ich dir, freundin

du weißt es doch dir
ist es bewusst denn du schriebst
mein tattoo ab in

ein buch mit perlweißen seiten
ein buch mit onyxschwarzen seiten

du bist perlweiß freund
du bist onyxschwarz freundin

du bist perlweiß freundin
du bist onyxschwarz freund

ich liebe habeshas
ich liebe äthiopien
ich liebe meine frau
ich liebe meinen sohn
ich liebe meine tochter

you feel me?

A tyrant                king, a
Vandal’s               scream        
Of moor               & rock        
And fair                 I sing;                  
  Life’s                    to its                              
   Test,                  guer-            
     don of        unrest,            
      &strife; believed!  

           Milked out                
  like utter red; lipids        
   ****** hard                  
           at birth: semi-          
                     born: made
three         legion’s ****,    
careful;       cuz fate’s,  
      Allectus, mean.      

      Made in            sheaths        
     An aural           memor-      
     y lock, a-          nswer ur
    calling;              tricky to  
      be bad             &get; a-  
         way w/it!     Caraus-      
           ius’s on     guard          
             duty; he’s in.              

              Fog in chan-              
    nel; no               lights:        
    Bware!            Usurp-        
   ing cou-             ntry,        
   mauling& killing men      
   To ob-        tain                
   Power;            @any        
   risk in                   Britain.

       gold insignias!          
     shine           ur lite!      
    greed              can’t      
    pay—poenas dat!      
   Ascle-                              
    piod-                              
    otus                                
   hears:                            

    He, Allectus does a-      
    way w/.                            
   Besei-                                
   ge in London—rime      
   the trea-                            
   sure al-                              
   located;                            
   Vain he found, good.    

       Crack souls’ ice;
   To ruin              comes
   conceit,           comes
   that rip-       ped part.
   Ah, to p’wer& knifes
   Like wo-      rds...
   P’wer               slashes
    Carves,                &impales;.

you where lost
I'm so glad that I found you
I can smile now I can sleep now
soon youll stop
before those demons just drown you
theres no life found on the dry ground


I wont live like I wanna live unless you permit my overwhelming gifts
scattered on a list for the one with the red lips and death kiss
green eyes red hair high heels a black dress and fresh scent
ill save you if I see your over the edge running with broken legs
hoping for death but I wont ever let you go again so hold my hand ill keep you close until its over my friend
gasping for oxygen
asking to stop again
drastically lost your grip on and off again

I'm sorry for leaving you when I fucken needed you
my dreams are doomed
until I see you in my room
a beast consumes
the feast of truth
from this weakened youth
thats seened abuse
I can see how u keep amused
while the weakness grew
like you always feed it food for thought non stop on top of everything even if your leaving soon
that seed refused
too be free and move
your my reason too ...
believe In decent proof
of the dreams we drew
another secret used
too your advantage
defeating you and teaching you



it hasnt rained that way in a decade
down your face everytime she pressed play till the next day
waiting too get paid so I can write the next page
work with these hands till they hurt the next day
check mate from a pawn till your gone away like your best days
I dedicate my life too cutting of dead weight
a mess made wont you help me clean it up a bit
I'm stuck with this lead taste and permanent headache

I'm something outta nothing
I'm sorry if I hurt you when I was rushing I wasnt bluffing
end of discussion pouring out these buckets
I'm touching your heart till your loving the fact that I started
the art with a pationite flame arsonist

that will guard the ship
until his heart is missed
weighs like an anchor
but I still departed quick
without an answer
darkened bliss
poison is transferred
when we start too kiss
it aint hard too miss
no matter how far it is

Das Lied des Bettlers (“The Beggar’s Song”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

I live outside your gates,
exposed to the rain, exposed to the sun;
sometimes I’ll cradle my right ear in my right palm;
then when I speak my voice sounds strange, alien ...

I'm unsure whose voice I’m hearing:
mine or yours.
I implore a trifle;
the poets cry for more.

Sometimes I cover both eyes
and my face disappears;
there it lies heavy in my hands
looking peaceful, unafraid,
so that no one would ever think
I have no place to lay my head.

Originally published by Better Than Starbucks (where it was a featured poem, appeared on the first page of the online version, and earned a small honorarium)

Original text:

Das Lied des Bettlers

Ich gehe immer von Tor zu Tor,
verregnet und verbrannt;
auf einmal leg ich mein rechtes Ohr
in meine rechte Hand.
Dann kommt mir meine Stimme vor,
als hätt ich sie nie gekannt.

Dann weiß ich nicht sicher, wer da schreit,
ich oder irgendwer.
Ich schreie um eine Kleinigkeit.
Die Dichter schrein um mehr.

Und endlich mach ich noch mein Gesicht
mit beiden Augen zu;
wie's dann in der Hand liegt mit seinem Gewicht
sieht es fast aus wie Ruh.
Damit sie nicht meinen ich hätte nicht,
wohin ich mein Haupt tu.

Keywords/Tags: German, Rainer Maria Rilke, translation, beggar, song, rain, sun, ear, palm, voice, gate, gates, door, doors, outside, exposure, poets, trifle, pittance, eyes, face, cradle, head, loneliness, alienation, solitude, no place to lay one's head (like Jesus Christ)



Archaischer Torso Apollos ("Archaic Torso of Apollo")
by Rainer Maria Rilke
loose translation by Michael R. Burch

We cannot know the beheaded god
nor his eyes' forfeited visions. But still
the figure's trunk glows with the strange vitality
of a lamp lit from within, while his composed will
emanates dynamism. Otherwise
the firmly muscled abdomen could not beguile us,
nor the centering ***** make us smile
at the thought of their generative animus.
Otherwise the stone might seem deficient,
unworthy of the broad shoulders, of the groin
projecting procreation's triangular spearhead upwards,
unworthy of the living impulse blazing wildly within
like an inchoate star—demanding our belief.
You must change your life.



Herbsttag ("Autumn Day")
by Rainer Maria Rilke
loose translation by Michael R. Burch

Lord, it is time. Let the immense summer go.
Lay your long shadows over the sundials
and over the meadows, let the free winds blow.
Command the late fruits to fatten and shine;
O, grant them another Mediterranean hour!
Urge them to completion, and with power
convey final sweetness to the heavy wine.
Who has no house now, never will build one.
Who's alone now, shall continue alone;
he'll wake, read, write long letters to friends,
and pace the tree-lined pathways up and down,
restlessly, as autumn leaves drift and descend.



Der Panther ("The Panther")
by Rainer Maria Rilke
loose translation by Michael R. Burch

His weary vision's so overwhelmed by iron bars,
his exhausted eyes see only blank Oblivion.
His world is not our world. It has no stars.
No light. Ten thousand bars. Nothing beyond.
Lithe, swinging with a rhythmic easy stride,
he circles, his small orbit tightening,
an electron losing power. Paralyzed,
soon regal Will stands stunned, an abject thing.
Only at times the pupils' curtains rise
silently, and then an image enters,
descends through arrested shoulders, plunges, centers
somewhere within his empty heart, and dies.



Komm, Du ("Come, You")
by Rainer Maria Rilke
loose translation by Michael R. Burch

This was Rilke’s last poem, written ten days before his death. He died open-eyed in the arms of his doctor on December 29, 1926, in the Valmont Sanatorium, of leukemia and its complications. I had a friend who died of leukemia and he was burning up with fever in the end. I believe that is what Rilke was describing here: he was literally burning alive.

Come, you—the last one I acknowledge; return—
incurable pain searing this physical mesh.
As I burned in the spirit once, so now I burn
with you; meanwhile, you consume my flesh.

This wood that long resisted your embrace
now nourishes you; I surrender to your fury
as my gentleness mutates to hellish rage—
uncaged, wild, primal, mindless, outré.

Completely free, no longer future’s pawn,
I clambered up this crazy pyre of pain,
certain I’d never return—my heart’s reserves gone—
to become death’s nameless victim, purged by flame.

Now all I ever was must be denied.
I left my memories of my past elsewhere.
That life—my former life—remains outside.
Inside, I’m lost. Nobody knows me here.



Liebes-Lied ("Love Song")
by Rainer Maria Rilke
loose translation by Michael R. Burch

How can I withhold my soul so that it doesn’t touch yours?
How can I lift mine gently to higher things, alone?
Oh, I would gladly find something lost in the dark
in that inert space that fails to resonate until you vibrate.
There everything that moves us, draws us together like a bow
enticing two taut strings to sing together with a simultaneous voice.
Whose instrument are we becoming together?
Whose, the hands that excite us?
Ah, sweet song!



This is my translation of the first of Rilke’s Duino Elegies. Rilke began the first Duino Elegy in 1912, as a guest of Princess Marie von Thurn und Taxis, at Duino Castle, near Trieste on the Adriatic Sea.

First Elegy
by Ranier Maria Rilke
loose translation/interpretation by Michael R. Burch

Who, if I objected, would hear me among the angelic orders?
For if the least One pressed me intimately against its breast,
I would be lost in its infinite Immensity!
Because beauty, which we mortals can barely endure, is the beginning of terror;
we stand awed when it benignly declines to annihilate us.
Every Angel is terrifying!

And so I restrain myself, swallowing the sound of my pitiful sobbing.
For whom may we turn to, in our desire?
Not to Angels, nor to men, and already the sentient animals are aware
that we are all aliens in this metaphorical existence.
Perhaps some tree still stands on a hillside, which we can study with our ordinary vision.
Perhaps the commonplace street still remains amid man’s fealty to materiality—
the concrete items that never destabilize.
Oh, and of course there is the night: her dark currents caress our faces ...

But whom, then, do we live for?
That longed-for but mildly disappointing presence the lonely heart so desperately desires?
Is life any less difficult for lovers?
They only use each other to avoid their appointed fates!
How can you fail to comprehend?
Fling your arms’ emptiness into this space we occupy and inhale:
may birds fill the expanded air with more intimate flying!

Yes, the springtime still requires you.
Perpetually a star waits for you to recognize it.
A wave recedes toward you from the distant past,
or as you walk beneath an open window, a violin yields virginally to your ears.
All this was preordained. But how can you incorporate it? ...
Weren't you always distracted by expectations, as if every event presaged some new beloved?
(Where can you harbor, when all these enormous strange thoughts surging within you keep
you up all night, restlessly rising and falling?)

When you are full of yearning, sing of loving women, because their passions are finite;
sing of forsaken women (and how you almost envy them)
because they could love you more purely than the ones you left gratified.

Resume the unattainable exaltation; remember: the hero survives;
even his demise was merely a stepping stone toward his latest rebirth.

But spent and exhausted Nature withdraws lovers back into herself,
as if lacking the energy to recreate them.
Have you remembered Gaspara Stampa with sufficient focus—
how any abandoned girl might be inspired by her fierce example
and might ask herself, "How can I be like her?"

Shouldn't these ancient sufferings become fruitful for us?

Shouldn’t we free ourselves from the beloved,
quivering, as the arrow endures the bowstring's tension,
so that in the snap of release it soars beyond itself?
For there is nowhere else where we can remain.

Voices! Voices!

Listen, heart, as levitating saints once listened,
until the elevating call soared them heavenward;
and yet they continued kneeling, unaware, so complete was their concentration.

Not that you could endure God's voice—far from it!

But heed the wind’s voice and the ceaseless formless message of silence:
It murmurs now of the martyred young.

Whenever you attended a church in Naples or Rome,
didn't they come quietly to address you?
And didn’t an exalted inscription impress its mission upon you
recently, on the plaque in Santa Maria Formosa?
What they require of me is that I gently remove any appearance of injustice—
which at times slightly hinders their souls from advancing.

Of course, it is endlessly strange to no longer inhabit the earth;
to relinquish customs one barely had the time to acquire;
not to see in roses and other tokens a hopeful human future;
no longer to be oneself, cradled in infinitely caring hands;
to set aside even one's own name,
forgotten as easily as a child’s broken plaything.

How strange to no longer desire one's desires!
How strange to see meanings no longer cohere, drifting off into space.
Dying is difficult and requires retrieval before one can gradually decipher eternity.

The living all err in believing the too-sharp distinctions they create themselves.

Angels (men say) don't know whether they move among the living or the dead.
The eternal current merges all ages in its maelstrom
until the voices of both realms are drowned out in its thunderous roar.

In the end, the early-departed no longer need us:
they are weaned gently from earth's agonies and ecstasies,
as children outgrow their mothers’ *******.

But we, who need such immense mysteries,
and for whom grief is so often the source of our spirit's progress—
how can we exist without them?

Is the legend of the lament for Linos meaningless—
the daring first notes of the song pierce our apathy;
then, in the interlude, when the youth, lovely as a god, has suddenly departed forever,
we experience the emptiness of the Void for the first time—
that harmony which now enraptures and comforts and aids us?



Second Elegy
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Every angel is terrifying. And yet, alas, I invoke you,
one of the soul’s lethal raptors, well aware of your nature.
As in the days of Tobias, when one of you, obscuring his radiance,
stood at the simple threshold, appearing ordinary rather than appalling
while the curious youth peered through the window.
But if the Archangel emerged today, perilous, from beyond the stars
and took even one step toward us, our hammering hearts
would pound us to death. What are you?

Who are you? Joyous from the beginning;
God’s early successes; Creation’s favorites;
creatures of the heights; pollen of the flowering godhead; cusps of pure light;
stately corridors; rising stairways; exalted thrones;
filling space with your pure essence; crests of rapture;
shields of ecstasy; storms of tumultuous emotions whipped into whirlwinds ...
until one, acting alone, recreates itself by mirroring the beauty of its own countenance.

While we, when deeply moved, evaporate;
we exhale ourselves and fade away, growing faint like smoldering embers;
we drift away like the scent of smoke.
And while someone might say: “You’re in my blood! You occupy this room!
You fill this entire springtime!” ... Still, what becomes of us?
We cannot be contained; we vanish whether inside or out.
And even the loveliest, who can retain them?

Resemblance ceaselessly rises, then is gone, like dew from dawn’s grasses.
And what is ours drifts away, like warmth from a steaming dish.
O smile, where are you bound?
O heavenward glance: are you a receding heat wave, a ripple of the heart?
Alas, but is this not what we are?
Does the cosmos we dissolve into savor us?
Do the angels reabsorb only the radiance they emitted themselves,
or sometimes, perhaps by oversight, traces of our being as well?
Are we included in their features, as obscure as the vague looks on the faces of pregnant women?
Do they notice us at all (how could they) as they reform themselves?

Lovers, if they only knew how, might mutter marvelous curses into the night air.
For it seems everything eludes us.
See: the trees really do exist; our houses stand solid and firm.
And yet we drift away, like weightless sighs.
And all creation conspires to remain silent about us: perhaps from shame, perhaps from inexpressible hope?

Lovers, gratified by each other, I ask to you consider:
You cling to each other, but where is your proof of a connection?
Sometimes my hands become aware of each other
and my time-worn, exhausted face takes shelter in them,
creating a slight sensation.
But because of that, can I still claim to "be"?

You, the ones who writhe with each other’s passions
until, overwhelmed, someone begs: “No more!...”;
You who swell beneath each other’s hands like autumn grapes;
You, the one who dwindles as the other increases:
I ask you to consider ...
I know you touch each other so ardently because each caress preserves pure continuance,
like the promise of eternity, because the flesh touched does not disappear.
And yet, when you have survived the terror of initial intimacy,
the first lonely vigil at the window, the first walk together through the blossoming garden:
lovers, do you not still remain who you were before?
If you lift your lips to each other’s and unite, potion to potion,
still how strangely each drinker eludes the magic.

Weren’t you confounded by the cautious human gestures on Attic gravestones?
Weren’t love and farewell laid so lightly on shoulders they seemed composed of some ethereal substance unknown to us today?
Consider those hands, how weightlessly they rested, despite the powerful torsos.
The ancient masters knew: “We can only go so far, in touching each other. The gods can exert more force. But that is their affair.”
If only we, too, could discover such a pure, contained Eden for humanity,
our own fruitful strip of soil between river and rock.
For our hearts have always exceeded us, as our ancestors’ did.
And we can no longer trust our own eyes, when gazing at godlike bodies, our hearts find a greater repose.



Keywords/Tags: Rilke, elegy, elegies, angels, beauty, terror, terrifying, desire, vision, reality, heart, love, lovers, beloved, rose, saints, spirits, souls, ghosts, voices, torso, Apollo, Rodin, panther, autumn, beggar

.
                                   absolute
                             power corrupts
                          absolutely absolute
                          power corrupts abs
                         solutely absolute  po
                          wer  corrupts   absol
                             utely  absolute  p
                             owe corrupts  ab
                             solutely absolute
                             power corrupts a
                             bsolutely absolut
                             ely absolute  pow
                             er corrupts absol
                             utely absolute po
                             were corrupts ab
                             solutely  absolute
                             power corrupt ab
                             solutely  absolute
                             p o w e r corrupts
              absolutely ab         solute power
         corrupts abeolute  ly absolute power
          absolute power      corrupts absolute
            ly absolute po         wer corrupt s
               absolute                      power

Fair lovely Maid, or if that Title be
Too weak, too Feminine for Nobler thee,
Permit a Name that more Approaches Truth:
And let me call thee, Lovely Charming Youth.
This last will justifie my soft complaint,
While that may serve to lessen my constraint;
And without Blushes I the Youth persue,
When so much beauteous Woman is in view.
Against thy Charms we struggle but in vain
With thy deluding Form thou giv'st us pain,
While the bright Nymph betrays us to the Swain.
In pity to our *** sure thou wer't sent,
That we might Love, and yet be Innocent:
For sure no Crime with thee we can commit;
Or if we shou'd - thy Form excuses it.
For who, that gathers fairest Flowers believes
A Snake lies hid beneath the Fragrant Leaves.

Though beauteous Wonder of a different kind,
Soft Cloris with the dear Alexis join'd;
When e'er the Manly part of thee, wou'd plead
Though tempts us with the Image of the Maid,
While we the noblest Passions do extend
The Love to Hermes, Aphrodite the Friend.v

The mirror is a farce, a myth, a crook
Look.
Really!
Our reflection is always exposed to our imaginative
creations,
concoctions,
and corrosions.
There is power in a refraction.
See whatever you want coz wer all blind anyway.

Herbsttag ("Autumn Day")
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Lord, it is time. Let the immense summer go.
Lay your long shadows over the sundials
and over the meadows, let the free winds blow.
Command the late fruits to fatten and shine;
O, grant them another Mediterranean hour!
Urge them to completion, and with power
convey final sweetness to the heavy wine.
Who has no house now, never will build one.
Who's alone now, shall continue alone;
he'll wake, read, write long letters to friends,
and pace the tree-lined pathways up and down,
restlessly, as autumn leaves drift and descend.

Original text:

Herr: es ist Zeit. Der Sommer war sehr groß.
Leg deinen Schatten auf die Sonnenuhren,
und auf den Fluren laß die Winde los.

Befiel den letzten Früchten voll zu sein;
gib ihnen noch zwei südlichere Tage,
dränge sie zur Vollendung hin und jage
die letzte Süße in den schweren Wein.

Wer jetzt kein Haus hat, baut sich keines mehr.
Wer jetzt allein ist, wird es lange bleiben,
wird wachen, lesen, lange Briefe schreiben
und wird in den Alleen hin und her
unruhig wandern, wenn die Blätter treiben.

Originally published by Measure

Keywords/Tags: German, translation, sonnet, Rainer Marie Rilke, autumn, day, summer, sundial, sundials, meadow, meadows, wind, winds, fruit, fruits, sweetness, wine, house, alone, loneliness, alienation, letters, friends, pathways, roads, lanes, leaves



Du im Voraus (“You who never arrived”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

You who never arrived in my arms, my Belovéd,
lost before love began...
How can I possibly know which songs might please you?

I have given up trying to envision you
in portentous moments before the next wave impacts...
when all the vastness and immenseness within me,
all the far-off undiscovered lands and landscapes,
all the cities, towers and bridges,
all the unanticipated twists and turns in the road,
and all those terrible terrains once traversed by strange gods—
engender new meaning in me:
your meaning, my enigmatic darling...
You, who continually elude me.

You, my Belovéd,
who are every garden I ever gazed upon,
longingly, through some country manor’s open window,
so that you almost stepped out, pensively, to meet me;
who are every sidestreet I ever chanced upon,
even though you’d just traipsed tantalizingly away, and vanished,
while the disconcerted shopkeepers’ mirrors
still dizzily reflected your image, flashing you back at me,
startled by my unwarranted image!

Who knows, but perhaps the same songbird’s cry
echoed through us both,
yesterday, separate as we were, that evening?



The next two poems are my modern English translations of Rainer Maria Rilke’s First and Second Elegies. These are the opening elegies in a collection commonly called the “Duino Elegies” because Rilke began composing them at Duino Castle, near Trieste, Italy, in 1912.



Rilke’s First Elegy
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Who, if I objected, would hear me among the angelic orders?
For if the least One pressed me intimately against its breast,
I would be lost in its infinite Immensity!
Because beauty, which we mortals can barely endure, is the beginning of terror;
we stand awed when it benignly declines to annihilate us.
Every Angel is terrifying!
And so I restrain myself, swallowing the sound of my pitiful sobbing.
For whom may we turn to, in our desire?
Not to Angels, nor to men, and already the sentient animals are aware
that we are all aliens in this metaphorical existence.
Perhaps some tree still stands on a hillside, which we can study with our ordinary vision.
Perhaps the commonplace street still remains amid man’s fealty to materiality—
the concrete items that never destabilize.
Oh, and of course there is the night: her dark currents caress our faces ...
But whom, then, do we live for?
That longed-for but mildly disappointing presence the lonely heart so desperately desires?
Is life any less difficult for lovers?
They only use each other to avoid their appointed fates!
How can you fail to comprehend?
Fling your arms’ emptiness into this space we occupy and inhale:
may birds fill the expanded air with more intimate flying!
Yes, the springtime still requires you.
Perpetually a star waits for you to recognize it.
A wave recedes toward you from the distant past,
or as you walk beneath an open window, a violin yields virginally to your ears.
All this was preordained. But how can you incorporate it? ...
Weren't you always distracted by expectations, as if every event presaged some new beloved?
(Where can you harbor, when all these enormous strange thoughts surging within you keep
you up all night, restlessly rising and falling?)
When you are full of yearning, sing of loving women, because their passions are finite;
sing of forsaken women (and how you almost envy them)
because they could love you more purely than the ones you left gratified.
Resume the unattainable exaltation; remember: the hero survives;
even his demise was merely a stepping stone toward his latest rebirth.
But spent and exhausted Nature withdraws lovers back into herself,
as if lacking the energy to recreate them.
Have you remembered Gaspara Stampa with sufficient focus—
how any abandoned girl might be inspired by her fierce example
and might ask herself, "How can I be like her?"
Shouldn't these ancient sufferings become fruitful for us?
Shouldn’t we free ourselves from the beloved,
quivering, as the arrow endures the bowstring's tension,
so that in the snap of release it soars beyond itself?
For there is nowhere else where we can remain.
Voices! Voices!
Listen, heart, as levitating saints once listened,
until the elevating call soared them heavenward;
and yet they continued kneeling, unaware, so complete was their concentration.
Not that you could endure God's voice—far from it!
But heed the wind’s voice and the ceaseless formless message of silence:
It murmurs now of the martyred young.
Whenever you attended a church in Naples or Rome,
didn't they come quietly to address you?
And didn’t an exalted inscription impress its mission upon you
recently, on the plaque in Santa Maria Formosa?
What they require of me is that I gently remove any appearance of injustice—
which at times slightly hinders their souls from advancing.
Of course, it is endlessly strange to no longer inhabit the earth;
to relinquish customs one barely had the time to acquire;
not to see in roses and other tokens a hopeful human future;
no longer to be oneself, cradled in infinitely caring hands;
to set aside even one's own name,
forgotten as easily as a child’s broken plaything.
How strange to no longer desire one's desires!
How strange to see meanings no longer cohere, drifting off into space.
Dying is difficult and requires retrieval before one can gradually decipher eternity.
The living all err in believing the too-sharp distinctions they create themselves.
Angels (men say) don't know whether they move among the living or the dead.
The eternal current merges all ages in its maelstrom
until the voices of both realms are drowned out in its thunderous roar.
In the end, the early-departed no longer need us:
they are weaned gently from earth's agonies and ecstasies,
as children outgrow their mothers’ *******.
But we, who need such immense mysteries,
and for whom grief is so often the source of our spirit's progress—
how can we exist without them?
Is the legend of the lament for Linos meaningless—
the daring first notes of the song pierce our apathy;
then, in the interlude, when the youth, lovely as a god, has suddenly departed forever,
we experience the emptiness of the Void for the first time—
that harmony which now enraptures and comforts and aids us?



Rilke’s Second Elegy
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Every angel is terrifying. And yet, alas, I invoke you,
one of the soul’s lethal raptors, well aware of your nature.
As in the days of Tobias, when one of you, obscuring his radiance,
stood at the simple threshold, appearing ordinary rather than appalling
while the curious youth peered through the window.
But if the Archangel emerged today, perilous, from beyond the stars
and took even one step toward us, our hammering hearts
would pound us to death. What are you?
Who are you? Joyous from the beginning;
God’s early successes; Creation’s favorites;
creatures of the heights; pollen of the flowering godhead; cusps of pure light;
stately corridors; rising stairways; exalted thrones;
filling space with your pure essence; crests of rapture;
shields of ecstasy; storms of tumultuous emotions whipped into whirlwinds ...
until one, acting alone, recreates itself by mirroring the beauty of its own countenance.
While we, when deeply moved, evaporate;
we exhale ourselves and fade away, growing faint like smoldering embers;
we drift away like the scent of smoke.
And while someone might say: “You’re in my blood! You occupy this room!
You fill this entire springtime!” ... Still, what becomes of us?
We cannot be contained; we vanish whether inside or out.
And even the loveliest, who can retain them?
Resemblance ceaselessly rises, then is gone, like dew from dawn’s grasses.
And what is ours drifts away, like warmth from a steaming dish.
O smile, where are you bound?
O heavenward glance: are you a receding heat wave, a ripple of the heart?
Alas, but is this not what we are?
Does the cosmos we dissolve into savor us?
Do the angels reabsorb only the radiance they emitted themselves,
or sometimes, perhaps by oversight, traces of our being as well?
Are we included in their features, as obscure as the vague looks on the faces of pregnant women?
Do they notice us at all (how could they) as they reform themselves?
Lovers, if they only knew how, might mutter marvelous curses into the night air.
For it seems everything eludes us.
See: the trees really do exist; our houses stand solid and firm.
And yet we drift away, like weightless sighs.
And all creation conspires to remain silent about us: perhaps from shame, perhaps from inexpressible hope?
Lovers, gratified by each other, I ask to you consider:
You cling to each other, but where is your proof of a connection?
Sometimes my hands become aware of each other
and my time-worn, exhausted face takes shelter in them,
creating a slight sensation.
But because of that, can I still claim to be?
You, the ones who writhe with each other’s passions
until, overwhelmed, someone begs: “No more!...”;
You who swell beneath each other’s hands like autumn grapes;
You, the one who dwindles as the other increases:
I ask you to consider ...
I know you touch each other so ardently because each caress preserves pure continuance,
like the promise of eternity, because the flesh touched does not disappear.
And yet, when you have survived the terror of initial intimacy,
the first lonely vigil at the window, the first walk together through the blossoming garden:
lovers, do you not still remain who you were before?
If you lift your lips to each other’s and unite, potion to potion,
still how strangely each drinker eludes the magic.
Weren’t you confounded by the cautious human gestures on Attic gravestones?
Weren’t love and farewell laid so lightly on shoulders they seemed composed of some ethereal substance unknown to us today?
Consider those hands, how weightlessly they rested, despite the powerful torsos.
The ancient masters knew: “We can only go so far, in touching each other. The gods can exert more force. But that is their affair.”
If only we, too, could discover such a pure, contained Eden for humanity,
our own fruitful strip of soil between river and rock.
For our hearts have always exceeded us, as our ancestors’ did.
And we can no longer trust our own eyes, when gazing at godlike bodies, our hearts find a greater repose.

Diwali is here
Lights and colour everywhere
A boom and a bang
gifts and joys to share

Little girls and little boys
Dancing around with joy
Watching them from a distance
Was the little shoe shine boy

With his grubby hands and tattered wear
Black lined face and ***** hair
All he wanted was a little toy
But who would share with a poor shoe shine boy

His mother sewed clothes
Father, he had none
His house was a hovel
Clothes he had but one

His stomach growled
Hunger gnawing at the pit
looked at the rich people eating
And Shuffled his feet

The car door opened
He was called aloud
His heart froze and trembled
Wer they to shout?

They gave a 20 rupee note
smiled and said "No shoe to shine".
The lil boy stared and thought
"Is this a dream of mine?"

So with his bag, brush and ***** rag
Leapt the lil boy high in the air
His happiness knew no bounds
He had his joy to share

Ran to his home, to the little tattered hut
Forgetting about hunger and toy
He walked in a rich man
That happy little shoe shine boy!

lokt dikshuneri
kipin eet, kees laustt
diss iys hardd

lokt mynd
kent tingk
wer diyd mye
spelink en mynd gaw?

awt da weendoe

nid napp baad

Wer is d love wer is d felling??
It's only alone dat m living,
no one bothers wat i do,
dey r simply ignoring me cuz dey wanna never knw wat i am going through,
and they push me to the fire as that's there only work and,
is the 1 of d worse thing the usualy do,
i cried soo much but the pain still is alive wid in me,
i want some 1 to free frome these,
hell life just a simple thing i want,
dat i wanna b happy and scrolled,
to nearby every person whom i think dat he/she,
can understand me and be,
help to make me upcome from m goin through,
but dey pushed me away as m a garbage and proved,
that they r heartless and make me cry again and again,
but still i find the person who bothers wat i feel,
and wat i have 2 do for my well fare and to increase the yield,
of happiest smiles but i still dont knw y i cry dat my eyes got red,
and all peoples aroun me see me as m a stupid and aprrox dead,
Person who iszz alway sad,
but m not a bad,
person as i knw and i always wanna keep others happy,
and

alt. i.e.:

never give a monotheism to
the egyptians -
those ******* pseudo Nubian
camel herders know
jack-**** about
the value of encoding
sounds (can't match the mandarin,
their pictographic
became extinct like
the neanderthals) - or to put it
for a milder palette: here's
Ra's rhubarb... and here's
Gengen-Wer... now
match-up the rhino horn
to the donkey's tail
and the elephants trunk
with five blindfolded men...
they should be happy to have
a logic named after them,
happily dancing into Egyptology...
you get the picture,
i know the Mamluks defeated
the stinking horde of Genghis...
but i'd hardly think it necessary
to export Islam into africa to
get some sense on the matter -
look what happened when
christianity was exported from
egypt (the nag hammadi library
found by a shepherd in Osama's caves);
exporting Islam into north Africa
and hence further west
created the Shiah schism where
Islam belonged (in the east);
beware the setting sun;
believe me, it's personal, i'm not
******* on or burning flags
for the Cairo taxi driver to mind...
this is bedroom secrets' anathema.

Wi yer eyes stingin n wet wi tears
N muk bungin up tha nose n ears
N a white rimmed ed where thi's ad thi hat
Up tha floats on't lift like a drownded rat

After twelve hours tha's pretty dun in
Whilst t'other folks as been kippin n dreamin
Tha's bin diggin n drillin like summart daft
Now up tha floats on't hydraulic raft

The cold morn air meks tha lungs urt
Cause tha's bin breathin muk n dirt
Fer nigh on forty years or more
That most folks wudn't ave on't floor

N as tha washes all't muk away
Tha knows thas sum that'll allus stay
N whilst outside tha luks nice n clean
Tha's stuff inside thi th't'll never be seen

Until o course tha's gon n died
N them docter fellers tek a look inside
N in amazement they'll stand n stare
At all that muk th't shudn't be there

N wen tha's ded it'll be nowt new
Not too a bloke what's lived like you
Fer now tha's on'y six feet under
Wen undreds is what thas bin used to

N't Crowner'll say thi ad a natural death
Not like them th't had their last breath
At sixteen, seventeen, twenty or more
When sum big explosions brought ceiling t floor

But a doubt if tha'll think it wer thi turn
As tha lays there nattering t worm
Crawlin in n out o yer ears
Not much t show fer sixtyodd years

Still what else cud you ave dun, that's it
But follow yer old man down pit
A mean even his dad was a facer tha knows
Kem out at thirty wi' ands like claws

Ah well it's time fer sum grub
Then half-a-dozen pints't pub
Wi an hour or two o noonday sun
Then back t wife fer an hour o fun
N be six next morning I'll be feelin well
As I teks yon raft t bowels of 'ell
Thirty shillin a week be summer the reckonin
Ah but then they can't see yon worm beckonin


Remember this is a 'Performance Poem'
and the style of writing acts as a
speech prompt. The accent is loosely
Yorkshire. A 'Crowner 'is an old word
for a Coroner.
I hope you enjoy it.

© David Irwin Phillips 2008

Keine Eindeutige Regel may well to your Genaue Anteil der ende Flüssigkeit sowie Mehl, other bei der Brotherstellung verwendet Werden, gegeben Werden, Weil einige arten von Mehl zu absorbieren viel mehr ende Flüssigkeit als weitere. Realmente es wurde jedoch festgestellt that will About three cupfuls Mehl Wird i'm Allgemeinen für JEDE Brotlaibchen notwendig.

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typically the weitere Hefe verwendet Wird, Desto schneller Wird sterben Notwendige Petrol Erzeugt Werden sowie, Wie gezeigt BEREITS Wurde, ist sterben Bildung von Fuel, das Brot leicht sowie porös macht. NEBEN Mehl, ende Flüssigkeit und Hefe, A Teelöffel Salz, 1 Esslöffel Zucker sowie A single Esslöffel Fett Sind Die Bestandteile inside der Regel Für jeden Laib Brot verwendet. Utensilien for any Brotherstellung Notwendige Ausrüstung .-- Nicht zahlreiche Utensilien for the Brotherstellung erforderlich Wir, Aber sterben, sterben Erforderlich Sindh, Müssen von der Richtigen Kunst, Wenn Die-off Besten Ergebnisse erzielt Werden Sollen. Es umfasst Eine Schüssel und Deckel, Ein Mehl Sieb Messbecher h Der Standard-Größe, Eine für feuchte and also a dog's hair kick the bucket Trockenen Zutaten, Messlöffel, including a Crash, Messer und Spachtel Einer zu messen; a fabulous langstieligen Löffel zum mischen; sowie Backen und Brot, Pfannen. Es sei denn, sterben Tabelle, to make certain that sie als Formplatte verwendet Werden, Wird realmente es notwendig sein, zu der genannten addition Geräte, Eine Formplatte von geeigneter Größe zu schaffen. sterben Rührschüssel Kann Ein irdenes Ein oder Ein Metall sein. Perish Größe der verwendeten Pfannen sowie das Product Günstige Samsung Galaxy S4, aus dems sterben Schalen gemacht Werden sollten Gleichsam sterben aufmerksamkeit. Pass on Laibe Werden gefunden, schneller sowie gründlicher,, ideal Nicht zu groß gemacht Werden gebacken Werden, und Jeder ist throughout Einem separaten Formular gebacken. Pfannen, sterben Eight Zoll lang, Several 1/2 Zoll breit und A variety of Zoll tief Sindh, Sind von Einer praktischen Größe. It is possible to aus Zinn, Eisenblech, Alloy und Einem wärmebeständigen Glas, sterben Einzige voraussetzung ist, Dass alle Any einem Backen Pfannen aus dems Gleichen Werkstoff sein, weil, Wie Wärme dringt schnell einige Materialien als weitere, sterben Zurück Erfolgen Dann mehr einheitlich sein.

Komfortable Ausstattung .-- Während sterben Utensilien during Abb. Step 2 Sind alle sterben tatsächlich bei der herstellung von Brot, Brot Mischer, von Denen Eine Craft ist for Requirements certains Kochens, Teil 2 beschrieben erforderlich Wir Sind, Werden sehr bequem Durch Depart this life Hausfrau, Pass on Grosse Mengen von Brot auf einmal backen Müssen sowie gefunden Werden wer sun hat Nicht viel Zeit, ium zur Arbeit zu widmen. This specific arbeitssparende vorrichtung verwendet Werden Kann und Natürlich Ebenso oft Durch Die-off Hausfrau, sterben Nur eine geringe Menge eines Brot macht verwendet, Wie zum beispiel Zwei bis vier Brote; Jedoch puede ser ist eigentlich nicht von ihr Benötigt Werden Samsung galaxy s6 edge 64GB, wie sie can easily Eine solche Menge leicht und schnell zu Handhaben. Ein Kühler, der Aus einem Rahmen durch Drahtnetz bedeckt sowie von Kurzen Beinen Unterstützt Besteht, is likewise to choose from Eine Bequeme Appliance Samsung galaxy s6 edge+, nr ations als ein guter Ort, Auf dem Brot legte abkühlen dient. WENN EINES about this Geräte Nicht verfügbar ist, Ersetzt Jedoch leicht Durch Strecken Eines Drahtgeflecht Über Einem Holzrahmen Hergestellt Werden.

At the age of 3
me hammer
nails and all
my play stuff from me dad
I was a happy lad

Those were the good times me lad
those were the best
these are our fine times
enjoy the test!!
just be a pest!!!!!!!!!

At 6 I had a trike ..
life was a happy life
did wheelies all the time
was hot
the summer fine

Those were the good times me lad
those were the best
these are our fine times
enjoy the test
just be a pest!!!!!!!!!


At 10 my life caved in
as grandad fell within
my time to grow ......
an adult life

Those were the sad times me lad
those wer'nt the best
these are our fine times
enjoy the test
just be a pest!!!!!!!!!

At 14 i did alright
got gruff a voice a fright
kicked footy till it hurt
stood lamping in the dark

Those were the good times me lad
those were the best
these are our fine times
enjoy the test
just be a pest!!!!!!!!!

And now its all done over
my work I'm almost sober
I'm old yet way before my time
tis time to pass the baton to son
come on lets have em

Enjoy the good times me lad
these are the best
those were our fine times
enjoy the test
just be a pest!!!!!!!!!

poor littow parsite,
wer have you beeny?
Ive gotten my nanny
to knit you a beanie.
Your sores on my skin
are going all cleany
Im sorry I squashed you,
Im such a meanie.

The city is windy,
today.  
Certainly noisy, everyday,
Compared to my country life.

Tall buildings glimmer,
Streets boisterous with sounds  of people and machines.
Excitement!
Opportunity!
Urgency!

Country life, by comparison,  stiller,
Slo wer,
Ex pan sive.

Both are good
I tell myself.
I am still flexible,
I tell myself.

Then, verily it dawns on me,
with unfamiliar panic and relief,
that my stretching-bending days are over.

I want to ride
like the wind
to where my being has
despite itself,
taken root.
Where the nomad has
inadvertently pitched
A more permanent tent.

30 years after roaming
ill-suited ground
my Restless Soul
was cleverly tricked
to settle
where nature,
in all her glory
and quiet magnificence,
crowds the land.

Amen.

Wer ever you go
Wer ever ur mind wander
Wen ever u fyl blue
Wen evryone arnd u leaves
Close ur eyes..
il be there to make u smile..

where the conformity sees a

(blank page)

we see scarlet letters and ink
of hues unimaginable . those
who don't know what it's like
to fight origami dragons, thin
as wafts of ***** smoke, the
wings of which having the po-
wer to knock their worlds to
the next millennium and the
flaming jaws to crush chrod-
mum skulls to powder . those
stars of their scales tell tales .
of woe . the beat of their heat
like a tribal drum from Hades
but all the conformity sees is

(blank page)

we see billions of suns already
extinguished . wraiths of cloud
wrapping around the tip of our
pen . we see . android humans
and human ai's cannot . we are
given a unique ability as poets
we make something blank into
beauty . ugliness . banality into
exquisite expression . cheers!!!


SoulSurvivor
(C) 1/2/2016

My melody is the tune,
the happy feal of june,
sleep untill noon rise awake for the moon,
No school no cruel!
where that dress with out havin to stress,
cauzz your a beuty'
                remember.  Not on deuty,.
The heat the sun out-on-a-run,.
bein you, duss havin fun.
we've all felt rain,
          we've all delt pain
I'ts the natural I'ts the gain.
moving on will keep it sain.
bin there. done that.
she's odd, she's fat,

Cause you're "cool"         HA, you Fool!
          your'e word's you're slick?.
                                      Your heart.          your SICK,

     we take the left because we know the right,

down the road they'll be a fight, thinkin thinkin up all night,
words they say sure aren't right,
  the sky is blue'       they have no clue  your day got gray ,
                                        you're thaughts are cray, you're mind is clay!? wer'e in may
                         SAY GO!,  cant  stay!.  


yes,            
       it's long.       might do you none...
walk you long. read can't go wrong,.          
                so now your'e hear,
      You're sippin beer?
                       Look at that,   Your'e finally cheer, :)
sincere a real friend to all, answer the call catchin ya fall. Jesse  *Mckush

I just love it.
can't get enough of it.,
just did a line and It's only nine
5 glasses over to the finest wine.
bra,
Bra.
BRAAA!
pant's around my feet , I'm pouncin to thiss beat.
I'm fealin for that ***** I think I'm actin thirsty.
my mind is a rush I really want my crush .
This dubby's so loud My head's in some cloud
I cant take a seetin my feet are takin thinkin.
I won't be  even blinkin.!
........................................And he's hear in his lincoln  mmm...
more beer , More gear more Cheer! my dear ^-^
bustin outta light show ,.
tahh Now wer'e sippin nd I'm trippin..
   how I'm trippin Nd i'm livinn.






(sais the white girl that want's to be a rapper)

I just love it.
can't get enough of it.,
just did a line and It's only nine
5 glasses over to the finest wine.
bra,
Bra.
BRAAA!
pant's around my feet , I'm pouncin to thiss beat.
I'm fealin for that ***** I think I'm actin thirsty.
my mind is a rush I really want my crush .
This dubby's so loud My head's in some cloud
I cant take a seetin my feet are takin thinkin.
I won't be  even blinkin.!
........................................And he's hear in his lincoln  mmm...
more beer , More gear more Cheer! my dear ^-^
bustin outta light show ,.
tahh Now wer'e sippin nd I'm trippin..
   how I'm trippin Nd i'm livinn.






(sais the white girl that want's to be a rapper)

Each poem I write about my true feelings,
I slowly chip away at the mask that I wear
For you to see who I  genuinely am, and it
Takes a lot of time, but it will be worth it.

We have slowly chipped away
The masks that we wear every day
With each poem that I write
And with each poem that you read.

Through my poetry we see cracks
Of light that is our true person that
We want to world  to see but we are
Afraid of how to show it to the world.

I hide behind my poetry because I don’t
Know how to tell the you and the world
How I genuinely feel about anything
And through my poetry I can do so

Without being afraid of directly saying
To every single person my true feelings
But after sharing my world with you
I am no longer afraid to tell you how

I genuinely feel because I have confidence
In myself because with each poem I write
You see cracks in my mask and light breaking
Through the cracks and my true self coming out.

I am no longer shy when I am around you
And I am my genuine self when we talk.
Everything that I have told you through my
Poetry is genuinely true and now what I will tell

You in person is my genuine self because there
Is no point in hiding who wer are anymore.
We have opened up to each other and there
Is no point in closing our book or ripping out pages.

Our books will remain open with blank pages to be
Filled as our genuine identity breaks through the
Masks that we wear every day and every night.
After you read this poem, you will have chipped

The last chip off my mask and my genine self will
Be exposed to you and to everyone in the world.
I will no longer afraid or shy to talk to you about
Anything and everything from my past that shaped

Me into who I am today no matter how bad my past
May have been because with every second I spend
With you my shyness and my mask melt away
And the person I wanted you to meet will still be there.

After you read this poem, I will be a new person
Whom I’ve never ever been before in my life.
After you read this poem, I will be somone better.
With this poem, I will be the genuine person that I am.

I will be who I really am with this poem.

only days have past since the end of the most
depressing period in the year:
in terms of music...

i welcome January as that month where i can return
to music, to serious music...
if it weren't for some of the songs
i will cite: i would find even more allure
in the Adhan...

but thank god or the devil for the month
of carol singing is over!
the month of carol singing is over!
the "god" has been born - we'll see him
in 33 years to come -
and with his birth the carol singing
can finally be silenced...

why oh why do i find christmas such
a melancholic period?
the carol... even if nietzsche found
reading thomas a kempis' imitation
of christ to be a depressive lot in life...
i too have read it...
and thought of the joy i experienced
for week in Taizé (Burgundy)...

Burgundians in France...
the Kashubians in Poland -
or the Silesians...
how seemingly loveless it is to peer
at intra-national entities...
with a dear eye scout for the details...
the germans love to sing!
wasn't it an austrian that came along
with an opera in german when
all the operas where still in Italian?
to be honest...
it sounds much worse in England...
i favor Händel... greatly...

john suchet can have his Beethoven ****...
his 52 week long saturday 9pm
1h show dedicated to the deaf dunk'e...
i quiet like the backdrop of Händel's
life... the composition for the fireworks
on the Thames... Charles II in general...
point being:
the carol season is over...
i can return to what keeps me well met
with countering any hunger for
new music, even from the genres
i'd appreciate more...

there's no: last christmas - wham!
all i want for christmas - mariah carey...
fairytale of new york - the pogues...
merry christmas everyone - shaky stevens...
the usual suspects...

all that singing for a stone's worth
of a sad little heart...

give me the songs of anon.!
llibre vermell of montserrat - stella splendens!
cuncti simus!
carmina burana - bonum est confidere...
minnesang - neidhart - meine die liechter schin...
refenbogen - gott vater sparch zu abraham...
hugo von montfort - fro weit
konrad von würzburg - hofton...
wolkenstein - wer ist, die da durchleuchtet...
german 15th century anon. - ich var dohin...
ditto - mit vrouden quam der engel...
neidhart von reuental - sumer deiner suzzen wunne...

and the last can go on...
which i find an alternative to classical when...
when jazz becomes too congesting...
there is always an alternative...
and classical music doesn't have to be:
the ultimate counter to modern music...
even if jazz helps...
there is an alternative to what's being
pushed among former newsreaders
who have become "d.j."-'ey-'eys...

how naive of my to have the following thought:
if german was to somehow disappear
from the face of the earth by a lightning bolt
and become a lake of tears...

would i borrow anything from
the 20th century - the anglophonic victory
and subsequent gloating?
or perhaps just a songs from
the medieval period -

and even if the medieval period was
as glum and ignorant as modern rubrics
of science demand -
a scientific can't leverage a joy -
with such certainty of knowing -
with so much certainty -
with weather forecasts...
i demand myself to not watch the forecasts
and beckon my moods on the weather
and the weather on my moods...
if there's anything organic to be retained
with regards to weather -
if i were a farmer perhaps i'd listen
to the annual forecast...
but on a day-to-day basis?
why rob myself of this last desire for
a surprise?
why be robbed of the organic sensation
bound to air, to the electricity
tickling the skin when a thunderstorm...
then there's a deluge and the frogs start
speaking in a crescendo of their
curriculum of barrage and referendum:
and simply fall with
the cats and dogs and reprimand
the man who bodly goes into down...
a man who takes an umbrella with him
out of his residence...
and never will never buy an umbrella
on the whim... being surprised...
what joy when all you buy is predictable...
when all you buy is... an addiction focus...
to feel any better:
how can one feel any better buying
an umbrella spotaneously?!
what greater joy comes from buying
an umbrella when it unexpectedly starts
raining!
and what of the joy of running barefoot
in the rain! what of the joy still harvesting
our eyes our ears our nostrils!
has science really served up the right sort
of an anaesthetic?!
that we are incubated by pure mind...
pure reason and all the trivia crescendos
any mind will want to warrant further...
when not a single ounce of joy in song
can be captured?
intellectual complexity of song:
progressive rock and hyper-inflated pop...
classical music you will never be able
to whistle to... will never be able to take up
with a guitar and play the skeleton...

perhaps edvard grieg's:
in the hall of the mountain king...
but only perhaps!
play me the skeleton accent of any piece
of classical music! from 'ear alone:
this... but the rest? hardly a whisper,
a whimper a whistling pete the piper would
have minded in inducing hyponosis on
the rats...
that whriling crescendo...
the bombast pandemonium reaching
******... the cloud of bats and satans descend...

who cares if peter sutcliffe wants his ashes
to be scattered in yorkshire...
my bigger pet peeve was that he wanted
the cremantion to have....
saint-saëns - danse macabre
to be playing in the background...
yes... for all it's worth: the shrill violin...
the: scratching of nails on a blackboard...
the running of a fork or a knife
on a piece of ceramic plating...

also of note regarding today:
- vierschanzentournee -
outside of the english-speaking world...
there's much more than merely
an Eddie 'the eagle' edwards biopic...
come on!
a world darts championship?!
darts?! the pub go to thing if there's
no pool table?!
that's gonna be an olympic sport?
so what's so terrible about ski jumping?
or the biathlon?
or indoor volleyball for that matter?
the english and their cricket (ok...
i concede to the genius of the sport)...
but lawn bowls?!
what's wrong with... nip'n'tuc pin bowling?
curling... that's also a serious sport?!
tennis versus ping-pong...
which is like throwing darts...
and those demigods at the olympics
with the very recent south korean women
in that sport of archery!
darts and archery... savvy? Lu Bu... Jumong...
never mind... a fellow "countryman"
of "mine" might win this tournament this year...
a дaвид кубaЦки... why would i upper-case
the kappa or the delta...
when the letter of curiosity is the... Ц "ts" C?

- liverpool's second team with the help
of Gomez... Origi... Lallana managed to beat
the first team of Everton...
boys vs. men... 18 year olds etc.

- i finally perfected oven cooking
butterfly chicken *******...
temp. at rest? circa 165° farhenheit...
circa 30minutes at 200°C...
the roast tatties looking pretty and smiling
at me with that roastie brown...
etc. etc. - but the juice on those butterfly
*******?
who would have thought that
stuffing the ******* with the skin still intact...
in between the skin and the meat...
a healthy nugget of butter either side...
fresh thyme...
au provence sea-salt (rosemary,
thyme etc.)...
succulent enough to make you forget ever
wetting your appetite for
a chicken thigh... or a drumstick...

- and finally getting what i want...
the mirror vanity project of:
not needing a turkish barber to trim my beard...
finally! i'll admit...
whenever in a barber shop and sitting
in front of a mirror...
i always close my eyes
and let the barber do his work while
i relax...
perhaps the presence of two bodies
in focus on a canvas of mirror is...
well it's not exactly a third party detail...
the subjective experience is beyond
the necessity of being captivating...
i can't focus on my face since
i don't have any compliments for it...
and a barber working his way around
the excess hair that i should,
technically, tend to myself...
i never liked being pampered by
feminine men...
although: a barber can become...
and butcher the whole thing...
then again: feminine men?
the men who cook, are... feminine?
perhaps they're not engineers...
they are not metallurgists...
but... a **** good shave...
a **** good meal, cooked to perfection...
they're no more feminine than
the other definition: the men of aesthetics...

today i became a man of aesthetics with
regards to: how i want my beard trimmed...
i became the gardeners of my own
garden of chin neck and cheeks...
side-burns in tow...
and the evil 'tash...
slim on the sides...
and a bulging uvula of hair dangling from
the chin and its vicinity...
the evil 'tash trimmed so i can sip
some god's blood / ms. amber:
forget god's **** and all that's beer and cider...
fake it making to sit hunched until 1am...
push this over the "finish-line" and
say adios today!

perhaps i once "glorified" laying out a tier
of "help" of the 3Ps...
the priest, the psychiatrist, the *******...
of the last?
well... imagine wandering the labyrinth
of the english outer-suburbia for long
enough... fiddling with bricks
with the tips of your fingers until
either rust or diamonds spark of the scratching...
i would do ever so often...
stroke bricks, harshly...
go up to the oak and fiddle with its coarse
bark etchings...
a week would pass and i would
have my fingertips readied
to bring before me an example
of human flesh...
was it was tender as ******* an oyster?

i needed to revive a compensation
of sensation...

i once made myself visit the barber
after a long repose...
did i find the barbershop experience
more: rivetting... than any experience
bound to a brothel?

england: prostitution is legal!
but owning a brothel... isn't...
if in amsterdam i was given both the freedom
to seek the advice of a *******
and... smoke marijuana freely...
this paranoia-shadow of smoking it in england
would... simply fizzle out...
i wouldn't be some obnoxious ****
trying to get my rocks off with the "gateway drug"...

why did i smoke marijuana?
i simply "don't know"... but of course i do!
it gave me an escape from
being congested with parrot narratives
of the cartesian RES COGITANS...
i experienced...
the most unbelievable due of:
RES VANUS... the empty thing...
no more thinking than if i were dead...
tightrope spectacular...
it would seem that nothing bothered me...
there were no petty social rubrics to be cited
or be bungled into: the sire of sight
before me: and a bending crux knee...

but there came a time when
going to a barber was... so much more than
going to a brothel...
of course: you can't appreciate the one
without the other in making the statement that...
the latter overpowers the former...
nothing of my grew that would have
to be trimmed and tended to...
i wasn't magically circumcised in
a brothel via oral *** to allow me to
enjoy *** more...
and since i can't be circumcised:
this caduceus of protruding veins entwining...
and since ******* is...
at best the closest i come to satisfaction...
and all else is: pretending and...
ensuring the other party is satisfied...

no wonder i would allow myself to showcase
all the possibilities...
before having to retract and state...
petting a cat... getting a haircut and having
my beard trimmed...
but since i can trim my beard...
and if i need a haircut...
i'll be satisfied with the Auschwitz
syphilis crew-cut...
so be it...

barbershop... how can these men sit
and stare at themselves...
it's different when you're doing it solo...
but i rather see the vampire
and nothing before the mirror otherwise...
i would love to see myself: "myself"
on the canvas: 'fairest of them all'
in the snow-white fable mirror...
otherwise there's me looking more
like a ******* over-inflated
pupernickle... pumpernickle that uses yeast...
and this bloated ****-head's face...

but also this barber: this harlequin...
i wouldn't mind sitting before a mirror
in a barber shop... if i could also see
this barber-harlequin doing his aesthetic trimming
on an empty space...
so i tended to close my eyes...
while in the brothel my eyes were also open...
this whole: milan kundera debate
about those who **** with their eyes
open and those who **** with their eyes closed...

still... going to a barber was more
than getting a *******...
she... and i just imagined getting
indigestion from binging on gulping down
raw oysters...
and how many oysters would it take
for her **** to be turned into the taj mahal...

come to think of it...
what is best taken from this spew of words?
no rhyme, no meter...
well... there's that umbrella spontaneity...
isn't there?! that ought to be kept...
in spirit of the times when too much
is made predictable...
when predictabilty is certainly least
warranted...

will there be: the evil of my ways?
oh sure sure... walk into a brothel...
see the Nazgûl waiting in the ante-chamber...
and you ask one of them: which one of you?
and this other replies: that is against the rules...
you have to chose...
******* strapped on... then pulled back...
imitation ***** and: evidently
******* ******* is a bit like ****** *******
in movies...
and you do...
but in the back of your mind...
you have: Solomon and his prayer being answered...
his "wisdom"...
and of course the harem...
and then you have David...
prayer or no prayer... sure-as-**** no prayer
when it came to killing Goliath...
and... David's harem of psalms!

but i'm pretty sure that circumcision should
be... something requiring a man's
permission... baptism shma-anabaptism...
abracadabra-water trickle blah blah *******...
that i can survive...

there's still this 15th century german music to mind!
which goes outside of current,
appreciation of escapist music...
shawshank redemption: mozart...
or jazzy jazzy bleu ooh blue...
there's medieval folk...
there's old christian music that's outside of...
and in the measure of retaining:
the Cramp... the Krampfmuschi...
not this ******* coral singing...
no wonder i'm always depressed...
i'm always depressed when they start to coral...
what sort of achievement is merely being born?!
oh... right... when you have an a posteriori
light ahead of you...
when you don't commit suicide...
instead you decide: nothing more fitting
than a public spectacle...
i will not hang myself in "private"...
i will make sure that my psychological agony
of those around that have instigated it...
will need a spectacle!

carol singing out of my own ***...
he might have survived... i don't doubt it...
in all the icons...
the nails were nailed...
not at the wrists...
not in the tarsus talus region...
if they nailed him by the wrists?
and the tarsus talus (leg foot wrist circa)...
oh yeah! he'd be walking! third day!
but if you have a hole in your:
just above the metacarbal digits?
and how modern t.v. portrays crucifixion?
that... he wouldn't be hanging by nails alone...
that his arms would also be tied with
rope?!
what's next ******* spectacular was
to be awaited?!

whatever the clues:
i have a night to catch...
a night that's deserving of my sleep...
and tomorrow...
will be: tomorrow.