Haberdashery hauberk harbinger harangue equilibrist, harpy harsh hast severities.
Inane inert inertia innate, juxtaposition maenad ethos affinities.
Putrid quasi queasy pathos, emanate imminent perdition acerbities.

Agnate aggregate anathema android amalgamated, predication contract.
Glutton paradoxical dichotomy greaves, gauntlets gamut catalyst abstracts.
Ambidextrous amatory prelude amaze, analeptic adrenergic analgesia analytics extract.  Annex annul.  

Clairaudience clairvoyant omnipresence presage, omnipotent omnificent omniscience.
Pantheism parapet paradigm intuition, prognosticating prosthesis prediction.
Prolific profuseness profundity prosaic, nimbus nimiety nitty gritty, intrados rubato.

Venerable divinatory deity deify veneration, delineate demagoguery ecstasy, agonist agog.
Dream gleam cream seam beam team, serene ravine green gene careen, obscene demean.
Empiricise the existentialisms in the demagoguery of godhead aspiration.
Corporeal anaclitic apex inveterate embezzlement extroversion, acuity alacrity extortion.
Extraneous extemporaneous, ominous phenomena portrayal spontaneous synchronous, aorist actuator.

Endergonic protensive integration extrapolation interpolations investiture elicits.
Scenario synopsis synthesis syncopation, harmony rhymes rhythm.
Synchronous transition transposition interlude, summerial derivation cognition.
                                                      ­­­                                                               ­ ­ ­              
Irk-ness ire aerie altruism allegorical, autonomous avarice oscillating ostracism.
Pandemonium obdurate temerity impunity, impending preponderance onus, numinous illuminism quintessential frolic.
Amorous ardent argent arduous enamor endear, plenary putschist volatile phatic.
Conveyor controvert deft mesmeric deification deist dissertation.
Drastic premise portent pervasive embellish, elusive enhance enchant, engender enthrall.
Perpetuation euphenic euthenics, exude emote concoct recalcitrance regalia, irrefragable preternatural ne plus ultra prurient.
Vernaculars opulent myriad, aesthetic stratagem venial vexatious, astral projection conjuring levity apothegms.

Incite epistemological illuminism, accoutrements umbrage ultraism incognito trajectory extant.
Scandalous scavenger squalid anomalous punitive, heuristic manumission exigency.
Ostensible proclivity prodigious querulous, rambunctious repertoire rigmarole scenic schism sooth.
Ascribe arsenal crucial critical, abhorrent abstinence blatancy berserk, alacritous celerity brogue.
Ceremonial chicanery dynamism fealty, indefatigable incontrovertible ingenuity ingratiate inimical impugn.
Innovate integrity intricate invective convolution, licentious metaphor convection obeisance.
Splurge-ness spry sporadic sprawl, spurious staunch succinct stymie tacit, irate tirade treatise vehement escapade tedium.

Probity irascibly veracious audacity mendacity gumption.
Paphian peccavi preternatural proclivity gesticulation articulation prestidigitation.
Fantastication fantasia fabulist façade, glimmer glisten translucent refulgence.
Subliminally subjunctive nostalgic allusion analogies eidetic’s mnemonics.
Metaphysical mystique’s evolutionally metamorphic futurity fatidic.
Adroit agile nimble tactile acuity prescience capacity intrigue.
Unadulteratedly fornicatious fabrications, portentous ethereal etiquette.
Nose agnate somatology morphology metamorphic, cognition epistemology pragmatics.
Ontological ontogeny causality exigence integumence equivocal.
Innocuous noumenal verity ***** affectation intentions.

Adumbrate intimate obfuscate preterite rendition intimidate.
Logistical tactician spatiotemporal terrestrial equestrian telemetries, physicality’s terrene traverse tellurian terrain.
Vaunt-ness verve’s lucidly illusive, intrepid yare’s predilection predication.
Apriori a posteriori apostrophe shards shroud, innately inert inherency interstitial endemics.                  

Irk-ness ire Zen, graffiti mantra mantis, diminutive minutia iotas inductive interpolation asperities.
Hypercritically mitigating dialectics hypotaxis.
Vituperatively vociferous eerie strident irrefragable orotund  sonorous felicities.
Diacritical diction dharma apomixis.
Chutzpah panache spontaneous generation complicity, gambit alluvium aloof succor.

Demarcate mirador bartizan panorama, stalwart bastion bulwark tableau, dexterous gargoyle disguise gimmick camouflage.
Decipher coercible coalesce corrupt costume counselor chameleon charlatan chaperone entourage.
Cryptic evocative emulation scenarios siren skeptic, cynical demonic gremlin greaves curtilage.
Zesty zingy zippy zeal zenithal azimuth elaborate elliptical empathy endeavor entity entice.

Clambering clamorous clangor strategic systematic propagate prolific, wield wile treatise expose’.
Aural auspice austerity  axiom conscribe, perplex beleaguer beggary, coax cacophony clout, concatenate chronology.
Erumpent erudition evident evil evert, extol fervor flinty florid, fructify impromptu innuendo juncture.
Kinetic supremacy temporize tractive fluent, precious precess predetermined predatory predicament, gyro gyre.
Horizon hornswoggle huckster, hokey hoot ornery honkies.

Horologist hackamore relative rationality.
Decorum dastardly dazzle deceit, demolish demur, annihilate denigrate.
Armature arcade doughty, panacea parallax serendipity servant serenade.
Personification of sartorial perfection, picturesque visage of spectral grace.
Cosmic enigma rational relativity.

Housebreak huckster squabble brash, hovel huff.
Ghastly gruesome grotesque grisly groaty gnarly grotto grouch compunction.
Caustic cavernous celibate catatonic phonics, apex crux axis matrix cortex cephalic.
Blasphemous farcical fugue-ness and estranged ensemble orchestration acoustics.
Rendition: various assorted forms of related stranger weirdness.
Conjugation coercion junction function, adjunct conjunction conjecture.
Concoct deontology ontogeny, ontological enclitic osteopathy.
Anticipate angary amentia, tiercel theocracy.
Phrenic sensorium sentiment paragon tangible.
Covert aspersion avidity, coherent avid avarice, allegory allocate amatory prelude annex annul.

Tantamount telepathy tantalize talisman talesman, prerogative presumptive judicature.
Subpoena parameter perimeter peripherals prophylaxis protocol.
Real deal seal, sail bail, bailiff rake-ness rail.
Yoni yore yare, leeward lecher leer lingam, menagerie melee hyperbolic milieu thesis, métier quintessential fulham.
Dangle wrangle mangle jangle tangle angle.
Hysterically delirious zany nertsy bonkers bluster boggle.
Gyrate, austere askance obliquely, aspire assail askew.

Cosmic origins metamorphosis implosion contractions revision, blond entropy catalyst.
Cataclysm catastrophe holocaust trauma, inefficacy ineffable expiate.
Chaos cognizant conceive dialectic dictates in extremis extremity meld nuance.
Cryptic cipher circuit citadel clairvoyant sequitur.
Cajole fictitious fiery finesse, invoke fulmination gouts clout, curtilage endeavor iterative itinerary.
Ersatz fiat fulcrum fulgurous indemnify indigenous infernal infidel iniquitous.
Electroacoustics ciphony  Electra complex lore, occipital ubiquity synch.
Psychosomatic psychokinesis cybernetics, penumbral platitude platonic proxy photic.
Assimilate stigma perspicacious, astute asunder atman pulchritudinous.
        
Decadent arrogant pompously bombastic blatant flagrant chaparral.
Diabolically maniacal dementia brusque macabre abruptness.
Swarthy beastly antithetical anathema ******* belligerent, savvy irate berserk-ness tirade.
Ulterior aghast agitator incongruous dire, perdurable peremptory primacy arbitrate zealot.
Cantankerously sorcerous insidiously sinister alchemy cauldron, pernicious visceral pathogenic, virulence truculence.
Ideational hideously horrible horrendously heinous ghastly abysmal abjection.
Perpetuity pervade rampart ransack oblation erogenous scarp lambent actuarial arbitrage.
Exserted protuberant pseudopodia actuator, odious aorist militantly mercenary.

Wingspread wiry wiseacre wherewithal rapacity, implicit important juxtaposition.
Machismo equilibrist machinations, kinesiology kleptomaniac knell physique.
Ribaldry rigmarole rhubarb, risqué rive rollick.
Demeanor kamikaze kerf, megalomania misanthropies modus operandi genocidal xenophobic.
Heredity heritage heresy legacy, pseudonym multifarious nefarious nemesis.
Sepulcher stratagem pantheism parapet paradigm, psychosis neophyte, paragon proselyte.
Pilferous wheedling finagler, plunderous pillaging usurper, longevous loquacity lottery.
Rhapsody rhetoric rote raconteur newfangled nocturnal nonchalant sycophant.
Morose morsel moribund, lurid luscious lyricism lucidity lucrative.
Creative cleaver crafty cunning furtive sneaky stealthy connive.
Aphorism euphemism hegira to xanadu carousing marauder syllogism.
Swell surge flow flux craw crux, virago monad chaos character charisma.
Heuristic cavalier humeral, meager demonstrative anarchy iconoclasm, apropos ergo ipso-facto.
Plenary plenipotentiary omniscience presage, omnipotent directive ubiquity emanations.
Nous agnate ontological ontogeny, exegesis peroration.
Abeyance, exotically ****** quixotic ecstatically emphatic fanatic.
Orchestration rendition unicorn railway mainsail, awry askew askance.

Canny cogent fecund erudite sagacious sequacious conjuring mentality introjection conjugation coercions.
Avant-garde temporal abstract, scenario synopsis eclectic synectics.
Synaptic syntax syndrome aspersion, quagmire quandary poshly plush.
Physicality ***** pictorial, picturesque glyph, debauchery deviant profane ***** vicarious assertion exorbitance.
Mystical silhouette sojourn consortium sabbat conclave liaison, soiree tryst rendezvous symposium excursion compendium.
Incarnate cephalic phantasmagoria proximity parameter phantasm epitomize transitive transcendental syntactic semantics.
Resplendent radiant ephemeral effulgence translucent incandescent luster effluence, reflectively refractive azure opulence effusion.
Contentious pretentiously extravagant eccentric intransigent pedantic antics.
Guidon guile homogenous hovering imagination immaturity, exogamy incorporeity ideologies.
Pique poignant piquant puissant quiescence, obstreperously abstruse vagary plausibility’s cause.
Vivid intangible impetus instinct intrigue, livid lurid allusion.
Autonomous preterite discrepancy amendment emendations, transcendent accession ascensional in absentia expurgation exculpation.

Haberdashery hauberk harbinger harangue equilibrist, harpy harsh hast severities.
Inane inert inertia innate, juxtaposition maenad ethos affinities.
Putrid quasi queasy pathos, emanate imminent perdition acerbities.

Agnate aggregate anathema android amalgamated, predication contract.
Glutton paradoxical dichotomy greaves, gauntlets gamut catalyst abstracts.
Ambidextrous amatory prelude amaze, analeptic adrenergic analgesia analytics extract.

Clairaudience clairvoyant omnipresence presage, omnipotent omnificent omniscience.
Pantheism parapet paradigm intuition, prognosticating prosthesis prediction.
Prolific profuseness profundity prosaic, nimbus nimiety nitty gritty, intrados rubato.

Venerable divinatory deity deify veneration, delineate demagoguery ecstasy, agonist agog.
Dream gleam cream seam beam team, serene ravine green gene careen, obscene demean.
Empiricise the existentialisms in the demagoguery of godhead aspiration.
Corporeal anaclitic apex inveterate embezzlement extroversion, acuity alacrity extortion.
Extraneous extemporaneous, ominous phenomena portrayal spontaneous synchronous, aorist actuator.

Endergonic protensive integration extrapolation interpolations investiture elicits.
Scenario synopsis synthesis syncopation, harmony rhymes rhythm.
Synchronous transition transposition interlude, summerial derivation cognition.
                                                      ­                                                                 ­             
Irk-ness ire aerie altruism allegorical, autonomous avarice oscillating ostracism.
Pandemonium obdurate temerity impunity, impending preponderance onus, numinous illuminism quintessential frolic.
Amorous ardent argent arduous enamor endear, plenary putschist volatile phatic.
Conveyor controvert deft mesmeric deification deist dissertation.
Drastic premise portent pervasive embellish, elusive enhance enchant, engender enthrall.
Perpetuation euphenic euthenics, exude emote concoct recalcitrance regalia, irrefragable preternatural ne plus ultra prurient.
Vernaculars opulent myriad, aesthetic stratagem venial vexatious, astral projection conjuring levity apothegms.

Incite epistemological illuminism, accoutrements umbrage ultraism incognito trajectory extant.
Scandalous scavenger squalid anomalous punitive, heuristic manumission exigency.
Ostensible proclivity prodigious querulous, rambunctious repertoire rigmarole scenic schism sooth.
Ascribe arsenal crucial critical, abhorrent abstinence blatancy berserk, alacritous celerity brogue.
Ceremonial chicanery dynamism fealty, indefatigable incontrovertible ingenuity ingratiate inimical impugn.
Innovate integrity intricate invective convolution, licentious metaphor convection obeisance.
Splurge-ness spry sporadic sprawl, spurious staunch succinct stymie tacit, irate tirade treatise vehement escapade tedium.

Probity irascibly veracious audacity mendacity gumption.
Paphian peccavi preternatural proclivity gesticulation articulation prestidigitation.
Fantastication fantasia fabulist façade, glimmer glisten translucent refulgence.
Subliminally subjunctive nostalgic allusion analogies eidetic’s mnemonics.
Metaphysical mystique’s evolutionally metamorphic futurity fatidic.
Adroit agile nimble tactile acuity prescience capacity intrigue.
Unadulteratedly fornicatious fabrications, portentous ethereal etiquette.
Nose agnate somatology morphology metamorphic, cognition epistemology pragmatics.
Ontological ontogeny causality exigence integumence equivocal.
Innocuous noumenal verity ***** affectation intentions.

Adumbrate intimate obfuscate preterite rendition intimidate.
Logistical tactician spatiotemporal terrestrial equestrian telemetries, physicality’s terrene traverse tellurian terrain.
Vaunt-ness verve’s lucidly illusive, intrepid yare’s predilection predication.
Apriori a posteriori apostrophe shards shroud, innately inert inherency interstitial endemics.                  

Irk-ness ire Zen, graffiti mantra mantis, diminutive minutia iotas inductive interpolation asperities.
Hypercritically mitigating dialectics hypotaxis.
Vituperatively vociferous eerie strident irrefragable orotund  sonorous felicities.
Diacritical diction dharma apomixis.
Chutzpah panache spontaneous generation complicity, gambit alluvium aloof succor.

Demarcate mirador bartizan panorama, stalwart bastion bulwark tableau, dexterous gargoyle disguise gimmick camouflage.
Decipher coercible coalesce corrupt costume counselor chameleon charlatan chaperone entourage.
Cryptic evocative emulation scenarios siren skeptic, cynical demonic gremlin greaves curtilage.
Zesty zingy zippy zeal zenithal azimuth elaborate elliptical empathy endeavor entity entice.

Clambering clamorous clangor strategic systematic propagate prolific, wield wile treatise expose’.
Aural auspice austerity  axiom conscribe, perplex beleaguer beggary, coax cacophony clout, concatenate chronology.
Erumpent erudition evident evil evert, extol fervor flinty florid, fructify impromptu innuendo juncture.
Kinetic supremacy temporize tractive fluent, precious precess predetermined predatory predicament, gyro gyre.
Horizon hornswoggle huckster, hokey hoot ornery honkies.

Horologist hackamore relative rationality.
Decorum dastardly dazzle deceit, demolish demur, annihilate denigrate.
Armature arcade doughty, panacea parallax serendipity servant serenade.
Personification of sartorial perfection, picturesque visage of spectral grace.
Cosmic enigma rational relativity.

Housebreak huckster squabble brash, hovel huff.
Ghastly gruesome grotesque grisly groaty gnarly grotto grouch compunction.
Caustic cavernous celibate catatonic phonics, apex crux axis matrix cortex cephalic.
Blasphemous farcical fugue-ness and estranged ensemble orchestration acoustics.
Rendition: various assorted forms of related stranger weirdness.
Conjugation coercion junction function, adjunct conjunction conjecture.
Concoct deontology ontogeny, ontological enclitic osteopathy.
Anticipate angary amentia, tiercel theocracy.
Phrenic sensorium sentiment paragon tangible.
Covert aspersion avidity, coherent avid avarice, allegory allocate amatory prelude annex annul.

Tantamount telepathy tantalize talisman talesman, prerogative presumptive judicature.
Subpoena parameter perimeter peripherals prophylaxis protocol.
Real deal seal, sail bail, bailiff rake-ness rail.
Yoni yore yare, leeward lecher leer lingam, menagerie melee hyperbolic milieu thesis, métier quintessential fulham.
Dangle wrangle mangle jangle tangle angle.
Hysterically delirious zany nertsy bonkers bluster boggle.
Gyrate, austere askance obliquely, aspire assail askew.

Cosmic origins metamorphosis implosion contractions revision, blond entropy catalyst.
Cataclysm catastrophe holocaust trauma, inefficacy ineffable expiate.
Chaos cognizant conceive dialectic dictates in extremis extremity meld nuance.
Cryptic cipher circuit citadel clairvoyant sequitur.
Cajole fictitious fiery finesse, invoke fulmination gouts clout, curtilage endeavor iterative itinerary.
Ersatz fiat fulcrum fulgurous indemnify indigenous infernal infidel iniquitous.
Electroacoustic ciphony  Electra complex lore, occipital ubiquity synch.
Psychosomatic psychokinesis cybernetics, penumbral platitude platonic proxy photic.
Assimilate stigma perspicacious, astute asunder atman pulchritudinous.
        
Decadent arrogant pompously bombastic blatant flagrant chaparral.
Diabolically maniacal dementia brusque macabre abruptness.
Swarthy beastly antithetical anathema ******* belligerent, savvy irate berserk-ness tirade.
Ulterior aghast agitator incongruous dire, perdurable peremptory primacy arbitrate zealot.
Cantankerously sorcerous insidiously sinister alchemy cauldron, pernicious visceral pathogenic, virulence truculence.
Ideational hideously horrible horrendously heinous ghastly abysmal abjection.
Perpetuity pervade rampart ransack oblation erogenous scarp lambent actuarial arbitrage.
Exserted protuberant pseudopodia actuator, odious aorist militantly mercenary.

Wingspread wiry wiseacre wherewithal rapacity, implicit important juxtaposition.
Machismo equilibrist machinations, kinesiology kleptomaniac knell physique.
Ribaldry rigmarole rhubarb, risqué rive rollick.
Demeanor kamikaze kerf, megalomania misanthropies modus operandi genocidal xenophobic.
Heredity heritage heresy legacy, pseudonym multifarious nefarious nemesis.
Sepulcher stratagem pantheism parapet paradigm, psychosis neophyte, paragon proselyte.
Pilferous wheedling finagler, plunderous pillaging usurper, longevous loquacity lottery.
Rhapsody rhetoric rote raconteur newfangled nocturnal nonchalant sycophant.
Morose morsel moribund, lurid luscious lyricism lucidity lucrative.
Creative cleaver crafty cunning furtive sneaky stealthy connive.
Aphorism euphemism hegira to xanadu carousing marauder syllogism.
Swell surge flow flux craw crux, virago monad chaos character charisma.
Heuristic cavalier humeral, meager demonstrative anarchy iconoclasm, apropos ergo ipso-facto.
Plenary plenipotentiary omniscience presage, omnipotent directive ubiquity emanations.
Nous agnate ontological ontogeny, exegesis peroration.
Abeyance, exotically ****** quixotic ecstatically emphatic fanatic.
Orchestration rendition unicorn railway mainsail, awry askew askance.

Canny cogent fecund erudite sagacious sequacious conjuring mentality introjection conjugation coercions.
Avant-garde temporal abstract, scenario synopsis eclectic synectics.
Synaptic syntax syndrome aspersion, quagmire quandary poshly plush.
Physicality ***** pictorial, picturesque glyph, debauchery deviant profane ***** vicarious assertion exorbitance.
Mystical silhouette sojourn consortium sabbat conclave liaison, soiree tryst rendezvous symposium excursion compendium.
Incarnate cephalic phantasmagoria proximity parameter phantasm epitomize transitive transcendental syntactic semantics.
Resplendent radiant ephemeral effulgence translucent incandescent luster effluence, reflectively refractive azure opulence effusion.
Contentious pretentiously extravagant eccentric intransigent pedantic antics.
Guidon guile homogenous hovering imagination immaturity, exogamy incorporeity ideologies.
Pique poignant piquant puissant quiescence, obstreperously abstruse vagary plausibility’s cause.
Vivid intangible impetus instinct intrigue, livid lurid allusion.
Autonomous preterite discrepancy amendment emendations, transcendent accession ascensional in absentia expurgation exculpation.

before i pull this one out of my *** (again - listen, these words are not coming from either head or heart, it's best to pull them from the bowels, a gut-wrenching-feeling is more potent than that "something" that "something" delusional pulled from a clenched heart... as far as i know, the brain is incapable of emotions, it doesn't understand them, and since it doesn't understand them: it ridicules them)... which brings me to point:

(a) perhaps the idea of a soul is out-dated... why wouldn't it be, 21g worth of breath does not equal a soul... hence the autopsy of man, each detail studied seperately, the cardiologist knows the heart, the neurologist the brain etc., but some items work in a solipsistic mode... the heart is robotic, automaton pump queen (and not the kind of pump you'd get from Shveeden) - thump thump thump! come to think of it, most of our bodies are robotic, automated... lucky for me: i don't have to think about the heart doing what it does, it just per se does it... i'm not even sure i'm gifted with the a.i. brain functions... but there's an underlying principle that governs all of these items... some call it the self... i prefer: the Σ ultimatum... some would call it soul... but there has to be something akin to the Σ ultimatum that allows me to become detached from this body, while at the same time be bound to it: high blood pressure, heart attack on the horizon... take the high blood pressure pills... ****... what was (b)? oh... yes...

(b) i'm sorry, virginity doesn't cut it for me, lucky me that it was isabella of grenoble that allowed me to move aside from: god, prior to losing my virginity.... roxette: do you feel excited, you're still the one (shanaia twain), fade to black - metallica... i was such a romantic before i lost this dreaded curse... i was a romantic... 19th century style romanticism... but you really can see past this sort of romanticism unless you haven't ******... these days the right complains about cultural marxism: plenty of things to complain about... it makes as much sense as a pickle in a dollop of custard... or cooking with pale indian ale to make a stew: bad idea... wine, brandy, cider? fine... beer? terrible idea to cook with... but unless you haven't lost your virginity, you can't see what cultural marxism chose as its opponent: cultural darwinism... you know how little you hear about darwinism outside of the english speaking world? zero to none, yes, it's an accepted fact, but this fact does not permeate outside of the fact per se, the fact contains itself and the whole subsequent narrative because subconsciously stored... no other people than the people who found it ensure there are subplot proof statements of a reconfirmation of the validity... the whole social science bogus trap of rating people on looks... contradicting the meritocracy of that old Socratic saying: let me be as beautiful on the inside as on the outside... if you haven't ******: you're still the same old romantic i was at puberty... once you ****... well... cultural marxism dwarfs... yes yes it's there... so? but at the same time you can at least appreciate seeing the antithesis: cultural darwinism... the romantic needs to die the most carnal death via experience... all my ideals were shattered, this perfection of woman... i very much liked the idea / not even the ideal of a woman... but when the idea fizzled out and there was no ideal to begin with... i saw cultural darwinism for the very first time and... it was as ugly as cultural marxism so heavily criticized by the conservative right of the west... so... i decided to walk the middle ground, ignoring both sides (of the argument).

(c) i wouldn't have come up with a point see, unless my favorite square schematic didn't pop into my mind, Kantian, as ever: the best philosophy is the antithesis of English pragmatism and overt-politicisation, so it has to be German, ergo? i will not explain these terms, i figured: if i nail a decent example to fit each category, that's enough: since you can then visualize the concept via the example:

analytical a priori                           synthetic a priori
there's a need to throw                   learning
a ball at                                                to throw a ball
a target                                                 at a target once
                                                            ­  the need has been
                                                            ­  established...



synthetic a posteriori                    analytical a posteriori
there's a  need to                           perfecting to throw
      throw a ball at                               a ball at a target
a target, in order
to perfect this need...

                                            baseball..­. cricket...
at least: that's how i define knowledge of something
simple without having to use mathematics
that Kant used to explain... 2 + 2 = 4...
mathematics isn't exactly a man's best friend
at explaining philosophy...
you write philosophy that alligns itself
to mathematics... no wonder: moths in books...
yawns, unfinished works...
i found that sports work just as well
as mathematics... and you have the already
primitive objects to work with...
rather than pseudo-objects: i.e. numbers...
the abstracts of perception: i'm actually 6ft2...
not 6ft1... karolína plíšková is 6ft1...
       as noted when watching her today...

  i'll admit, i'm always a bit shaky when it comes
to this sqaure, whether it's over-simplified,
notably the top left corner: analytical a priori,
i'm always of a mindset that wants to associated
this definition with: analytical a- priori...
  i.e. borrowing from atheism:
    to analyse something without there
being a prior to example...
               analysis without a prior example...
i guess that's the mojo of science... the driving force...
back to sports... bow and arrow...
   tools: target...
       whether a bow and arrow and a deer
to begin with...
or a hand and ball and a wicket to end with...

there's a need to throw                  
a ball at a target...

            and cricket was the precursor of
baseball, but prior to cricket?
   there was archery...
              and prior to archery...
   there was forever a fundamental need,
e.g. to go from point X to point Z...
   see... as much as Kant wanted...
   numbers don't really solve the "problem"
of explaining something: algebra would be
better suited... x + y = z...
                    with numbers either hovering
above, or below (in the instance of chemistry's
subscript)...

talking of squares... sūdoku...
well, if at any time the french were to receive a hard-on
in terms of inventing something,
the english: rugby, cricket, football, tennis...
the french really did read some of the hebrew
qabbalah literature, as i am doing...
magic squares...
       the secular version of this puzzle
first appeared on july 6, 1895 (the modern version)...

it came to us from India and China...
again... why do western cultural darwinists
always tell our genesis from
the perspective of: "out of Africa"?
aren't there elephants in India?
            i will not believe i originated in Africa,
i'm not an "out of Africa" sorry state of
incompetence... i place my origins in
the sub-continent... at least that's where my
current language originates from...
the great migration across the Siberian tundra,
rather than some African savannah...
after all the Bangladeshi and the Sri Lankans
(the tear of India) resemble burnt cinnamon
in tone, some even as dark skinned as
east africans...
   if the germanic people want to stick to
the "out of Africa" narrative (notably the English):
let them have it... i place my origins in
India...

   never mind, now i'll write a name's dropping
history of how july 6th, 1895 happened...
the "magic" squares...

    from either India or China (chess from India)...
moschopulus of contantinople
  introduced them (the "magic" squares)
in the early 1400s... apparently ancient qabbalists
had knowledge of them
  (so... a trip well spent)...
                             rabbi joseph tzayah (1505 - 1573)
magnum opus: responsa...
             rabbi joseph castro: avkat rokhel...
tzayah in jerusalem wrote his major work
Evven HaShoham (the onyx stone) - 1538 -
   a year later the book: tzeror ha-chaim discussing
the Talmud: he never really bothered about
the Zohar...
               the hebrai word for "letters": otiot...
divided into two:
                         tav aleph (a line of aleph)
and tav yod (a line of yod)...
                   one is to never concentrate
upon the keter within the realm of the sefirot...
hence the matisyahu expression:
   king without a crown...
                         one example of a "magic" square
later dictated into a 9 x 9 newspaper puzzle?
      2     9     4
      7     5     3
      6     1     8     (up down across = 15...
my date of birth? 15th may 1986,
no coincidence, just stating an oblivion's
worth of a "point)... 15 x 3 = 45...
   and that's about as significant as any
                               insignificance can be...

album of choice?
    old horn tooth - from the ghost grey depths...

and without even associating the arabs
to the hebrai practice of gamatria,
i once inquired an old pakistani (who tried to convert me)
what: Alif, Lam, Meem
implied in the opening of the al-baqarah sutra
implied?
   he replied: god knew...
        so i thought, you don't know what
alif (letter) what lam (letter) and meem (also a letter)
means? you have to search for god
for the answers? good look making me into
a proselyte... mind you:
if the jews abhor proselytes,
while the muslims are so so oh so *******
welcoming... isn't that a tad bit suspicious?
how can a muslim convert me
when he can't explain to me what
alif lam and meem implies at the opening
of al-baqarah?!
            let's play some hijāʾī order game...
and the three letters...
       28 letters in total...
alif (28), lam (6), meem (5)...
    i'm not even going to go into the gamatria
mental gymnsastics related to any
"significance"...
   point was made upon the question being
asked... if a muslim tries to covert you...
and he can't explain to you
the significance of alif lam meem at the beginning
of al-baqarah... they're letters...
well... how is he going to explain to you
what's bothersome about those letters
to begin with? ALM... does that imply: zakat?!
to give alms? zakat being one of the pillars
of islam?
  **** me... i haven't even converted
and it would appear: i know more than the person
who tried to convert me!

.i. Yuri Gagarin and the yo-yo

if ever the potency of a "keyboard crusader"
existed, it's now -
   i can dangle a mouse above a bear-trap
and tell an elephant of a phobia concerning
mice any day of the week,
          when in fact i'm talking about
a mousetrap: nothing more.
     hence the exaggeration in the imagery
comparison:
        or it begins with a story told in the 20th
century:
             when women put down their mascara
brushes, men put down their swords:
never mind the voice in the wilderness:
       mind the voice in the crowd -
there's absolutely no reason to speculate
urbanity and tribal environments without
addressing, or regressing the crowd,
or as i like to call it: what Nietzsche said,
minus the Wake... but now inclusive of the wake
and the Bacchus cult of fun fun fun.
            the Wake in condor terms?
we congregate praying for something to die...
      i don't pretend to be whatever
that sachet of concrete-Cartesian labels entitles me
too:        for the most part
        people say 'i am' without a thought to
govern the rain shaman telling you what thought
is required to 'be', oh, a very old ontological
stipend: you need people to experience a collectivisation,
a herding, a "bound together" sort of mentality
before the critic arrives and says: well, that's not
what i'm really about.
                    a bit like the **** firs, mouth second
debacle...
                but what heart they had, our predecessors!
what heart!
             they'd wage war over a woman,
a Helen,
                  would you wage a war against
the feminist version of Helen these days?
would you pluck a Scottish thistle over an English rose?
      true: you might be a bishop
and of lesser rank... but would you wage a war
over the women of these days?
my **** is in a pickle jar anyway! we have become
a *** of a species unburdened by an obligation...
             finally! we can become eternal bachelors
sort of ******* that we're here, and hear less and less
of sayings about the "things that matter".
            you know what vile? really really vile?
oh i know my contemporaries when i bother to
hear them talk, oddly enough never bother when they
think, i'm quiet content with a Godot stage of
a park bench and an old man as my company,
      i know Douglas Murray,
               i know the wild-eyed Icke,
but a thing that concerns me is why: the safety room
parallel to the leftist thesis of offensive speech
was put in play when a discussion took off
concerning feminism, between milo yiannopoulus
and julie bindel - that's like saying:
ask a pederast to talk for a heterosexual man
with a woman safe-space...
                                no one wants to hear
the heterosexual side of the argument....
  you'll sooner see heterosexual intellects have their
marriages come undone then get paired with either
side of the argument...
     little richard is in the pickle jar anyway,
and he's not coming out...
                it's a bit like ****** for dummies....
       hence i have to succumb to violence without
the glory, tongue waggling blah blah
when i'd gladly take a weapon and shove it into
a shattered cranium bone: had i the ****** chance to
do so!
           no heterosexual is taken seriously:
and won't be:
    of a woman to be like a rosy cushion on which
i can lay my head after the darkly toils of
    roofing, or laying bricks, or excavating the sewers...
no! let the Chinese do that:
the basic argument of slavery, although imported
therefore ****** ******* fine.
                         cryogenic fathers,
      pickled *****:      where's the middle in all of this?
     a coconut just fell from the Boddhi tree:
money!           and those that defend it,
don't know squat about the tribalism of squatters!
but hey! they have the ****** stage!
         i have a bench when someone approaches me
and talk, doing the best thing possible:
               knitting opinions -
i don't want the truth of opinions: i want a sweater,
or a pair of socks! that's metaphor for something
different altogether.
  keyboard crusader? really? can i ask you for
directions to the high street, in every single town
across the country? i can't find one!
         no one hears a heterosexual argument
on the various topics: because there isn't one -
                     as of the end of the 20th century,
working classes in the west striving to ensure
there is something mundane to do during the day
and kick back with the family in the evening
are the "inferior" neanderthals: who
haven't jacked into discovering a 3D reality
of what's otherwise a 2D computer screen and
aren't hooked on #crack;
honestly, so much debating ought to be opera,
and so much opera ought to be debating -
    ah: that famous tingle of utopian paradoxes
never in duality, but always in dichotomy.
   keyboard crusader?
really? i thought people were always moaning
about how many emails they receive:
   and never a single postcard from, say,
someplace like Venice?
           it's still early days,
                   and already we're brewing enough
cliches to replace all known nouns in
    the surrogate mother that's the dictionary
of our completed version of a soul -
if ever to be experienced upon meeting the omni-vocabulary;
jigsaws, i know my idiosyncratic version
of events, he says photosynthesis within parameters
                            of photon deconstruction of hydrogen;
'cos' it's sub; d'uh! i say god i say this perfected
version of nearing telepathy - you say god i hope you
don't mean satan's clause - great anagram to frighten
children with: the Babushka surprise of a Pumpkin head
laughing it's way toward: how easy life would be
if we had all that time to think it through as being hard,
rather than that mortal fleetingness in both thought
and body.

ii. Macbeth

it really dawned on me, when i was watching the film
Macbeth (2015) -
            there was an eeriness to it, a near perfection
of Shakespeare on screen...
           honestly? i'd rather read Kant early on in life
while i have the vigour, and leave old age to Shakespeare...
but it truly was eerie all over the place.
      i do recall seeing Romeo + Juliet
          and reading the script, and imagining the fallacy
of word for word translation from theatre to cinema
of the script: the narrator a news channel anchor,
and everything said, word, for, word.
that film with DiCaprio as Romeo and Claire Danes
as Juliet - it just felt itchy, uncomfortable -
                            Shakespeare, word for word, on screen?!
     (surprise, then astonishment, not !? or astonishment,
   then the surprise, because: it didn't really work);
and it didn't! you can't adapt Shakespeare to the screen
and put everything in! i noticed it at that ******
generous scene in Macbeth concerning the battle
of Ellon... so i was like like... this isn't typescript...
(and thank **** it isn't) -
you can't depict Shakespeare word for word,
to be honest, Macbeth (2015) is the only worthy
translation of Macbeth (the text) into Macbeth (the movie);
all this scientific exactness in previous examples
like Romeo + Juliet, the Merchant of Venice
and a Midsummer's Night Dream don't work,
it's their precision making,
     a theatre cast can take it, but a cinema going crowd,
with all these cutting and copying and repasting
    succinct moments? it doesn't work!
maybe because there's no actual narrator in the staged
examples? narrator as a necessary character understudy:
surely Puck and the news anchor are there:
don't know about the Shylock scenario...
           but these screen adaptations didn't work for me,
too rigid, too formal... in the case of Macbeth?
finally! the long awaited piquant version of Shakespeare:
all that matters, and the rest is thrown into
poetic technique: imagery, metaphor,
                everything that's necessary can be given grammar
as image and not word!
       want an example? from the text...
the Royal Shakespeare
  from the text of Professor Delius
  and introduction by f. j. Furnivall, ll.d.
         vol. v (special edition)
Cassell & Company, Ltd.
        sure, it feels like a Roman Polanski moment
akin to the 9th Gate scenic affair of a bibliophile
fetishist, and it is:

     ... (the only enemy of enso poetry
is the bladder) ...

well the screen play first:

banquo: what are these?
macbeth: live you? or are you aught
                          that man may question?
       speak if you can - what are you?
1st witch: macbeth! hail to thee
                    thane of Glamis!
2nd witch: macbeth... hail to thee,
       thane of Cawdor!
3rd witch: all hail Macbeth! that shalt be king in-after.

but such disparity, such **** as if once
of Lucretia, then of the authority,
for i have before me the original composition:
which is not worth cinema -
nonetheless, a **** takes place:
an assortment for the abdication of a king:
or as ever suggested: the wrong footed path:
never was tossing a coin in a gamble
that of tossing a crown into the air
for a court jester to appear less amusing
and more scolding.

act i, scene iii: post the battle of ellon...
  if ever the refusal to give up Greek myth,
then Macbeth's witches
      and Perseus' Graeae -
                            or naturalise a myth:
like you might not naturalise a strengthened
economy.... canonise the nation
with Elgin Marbles - Elgin: less than
what's said to be the exfoliation of the Aegean -
a municipality somewhere in Scotland:
west of Aberdeen, on the Northern Sea's
battering of the coast...
but word for word? or how to write Shakespeare
into cinema?
                 herr zensor must come into play -
you have to bypass imagery in poetic tongue
and relay it with actual images, a direly needed
necessity:

just after the three witches arrive,
enter Macbeth and Bonquo...

   Macb. so foul and fair a day i have not seen.
Ban. how far is't call'd to Fores? - what are these,
     so wither'd and so wild in their attire,
that look not like th' inhabitants o' the earth,
   and yet are on 't?
             live you? or are you aught that man may
question?
                  (how word for word, but the words
waggle from a different tongue, namely that of
Macbeth, and not that of Banquo, hence
italicised).
                   continuing:
       you seem to understand me,
by each at once her choppy finger laying upon her
skinny lips: - you should be women, and yet your
beards forbid me to interpret that you are so.
Macb. speak, if you can - what are you?
         the witches. all hail, Macbeth!
     hail to thee, thane of Glamis!
         all hail, Macbeth! hail to thee, thane
of Cawdor!
         all hail, Macbeth! that shalt be king hereafter.
            
so does he really belong on the psychoanalytic
couch? is he really that necessarily wonton of talk?
  Cawdor v. Gondor - it's an ongoing narrative.
but is he in need of a couch?
                 what sort of talk is talk when
in fact the only talk that's need to be said is the talk
of man's sexualised naturalisation for strife,
and here: as if knocking on a door:
you want to simply hear the onomatopoeia of
the Kabbalah in a woman gasping for breath
while puny Jewish boys under strict rabbinical
studies study?

                mama, take this badge from  me,
i can't use it, anymore,
            it's getting dark, too dark to see,
feels like i'm knockin' on heaven's door -
      my big mouth and man as a piston
                                               Ferrari acrobat

(even the soundtrack is a shrill, a strangulation
variant of higher pitch of the bagpipes -
not that braveheart ****** of whisking out
a song like for the love of a princess addition to:
  and can i have a madonna to boot too?
it's piercing, a whale sonar above refrigerator
white noise hum for the new age Buddha -
and that's because all the poetry has been excavated
  to suit cinema: not theatre).

and this is the first adaptation of Shakespeare i actually
could stomach...
     the genius was in how Macbeth spoke the lines
of Bonqua - so the character didn't start smacking
the narrative ****** in terms of solipsism:
even Shakespeare can be attacked on this front...
        if in the movie Banqua said all that was in
the typescript: the film wouldn't have worked...
i don't know what the big deal is with Lady Macbeth:
i thought that in the olden days
Macbeth suggested to King Duncan that:
can i leave the warring if you **** my wife?
i can go on the contract that you **** my wife
and i stop serving you?
      first impressions: strange English.
well, i'm sure she's important as it might be said:
within the programme of Orthodoxy,
            but never catholic (metadoxy) tradition of
saying: way hey! ensnare the mare in a funfair!
       and play the game: pin the tale on the donkey!
heads or tails?      it looks pretty damnable
     in the first place: as all honesty hogs to pout and
***** a hoggish sneeze out of the story.

iii. shaken, not stirred

and indeed, how many a times
did not a neon blossom sprout,
thinking it might rattle an oratory
with an oak in autumn, and behold
a swarm of leaves descend -
not out of passing ease,
but out of wishful thinking
that some indentation might be made:
with whom the hands of will reside,
and yet: to no gratifying effect,
to whatever atomic-centralisation
dream, be that ego or be it hydrogen
(lending hands: so too
electric or thus negative, neutral and
thus proto) - shake foundation
and give a revising repertoire of
              the covering dust humanity
that once made famous: never
again to learn the humility of the start;
        to whatever centric dream that
does not waver in demands of orientation,
be it father (sun), son (shadow)
  or the holy spirit (night) -
  make them earn! be obscure!
            or simply say: in the community
of the stated congregation:
  i find all to be as night,
   and safer that plague the father:
  i am not akin to the shadow:
                   but the shadow in mirror.
so, a centric dream that does not
waver in demands for orientation,
has ever or will be enthroned in man's
heart as the stability of Sabbath's demands
       for less, oh so much less to agitate with!
as too, when the ancient appliances
were adorned by countless demands of
mimic, so too our modern
fibbles are to stage a usurping of
such things demanded and their mimic;
for with such disclosure does all fate
of anewed become burdened in what
history could be: shaken,
rather than simply a stirring of the void,
nothing more than the unburdening
of sweetening a cup of coffee, of that and
the layers: or bitter at the top, drank
through toward the sedimented sweetness -
and all that: hoping i could have retained
that silver spoon lodged in my ***
          when i first met her and thought about
consolidating marriage: so fresh, eager prune
of the flesh embodiment as first
    watered ash, then entombed in marble
and the eternal... ah
               but it was all just the faintest of dreams;
so lumberjack sleep ensued,
                      as did a kindred worth ethic:
we are a long way from Eden...
      there is but the idyll of the absurd fruition of
albreit macht frei... or a redefinement of
such stakes as: what occupies our days?
                    if not war, if not disease,
if not the Chinese... what does, occupy our days?

Aural auspice austerity audible , augur aorist actuator , accidence ambience acoustics .
Counterfactual categorical imperative hubris .
Anarchy iconoclasm, invertible investiture, objectified manifest.
Chicanery dynamism's fealty.  
Ethology's entelechy, zoomorphic zoolatry's social contiguities, élan-vital's apotheosis, oneiromancy's apotropaic.
Chagrin ; fecund cogent apposite germane , inane inert inertia innate , propinquity habitation, proximity parameter perimeter peripherals .
Manumission gambit alluvium aloof , putschist kitsch , pandemicly phatic futurity fatidic, annex annul, extraversion embezzling euthanasia extortion.  
Extravagant exorbitance flirtatious flamboyance, flippantly flighty flit-ness.
Laborious beleaguerment, hypercritically meticulous tedium, diabolically maniacal dementia brusque macabre abrupt.
Ominous phenomenon portrayal spontaneous synchronous.

Financially responsible fiscal policy , plenary plenipotentiary fiduciary principle .
Incarnate encephala enunciate , synthetically conjugational conjecture juxtapositional adjunctly .
Noumenal sentience semantics.  Precociously petulant pedantic antics.
Zenithal azimuth entity zeal , transpicuous opacity , in extremis extremity cantankerous cantilever capacity .
Fulcrum fulgurous fulham presumptive.
Spanned collapsible feasible, vicinity victual vigilante villain, execration eventuation evocative vindictiveness vendetta vial.
Atrociously impetuous impudence impromptu innuendo juncture.
Ephemeral metaphor semantics flaunts , ***** affectation exserted protuberance .
Sepulcher stratagem objectified manifest , protractive analysis dimensional delineation .

Impetus intrigue intuitional intrepid , impertinence important , inadvertency inapplicable , initiate innate interpreters intervene intricacy.
Investiture annuity equity indemnity capital appreciation .
Preeminently preemptive retrospectively retroactive , aegis vagary incite.
Quixotically enrapturing mesmerist .
Sycophant swagger asymptotic hyperbolic, estranged ensemble orchestration .
Histophysiology mendacity somatology morphology metamorphosis, blasphemous farcical fugue preterit orchestrations.    
Terrestrial equestrian tellurian terrene, spatiotemporal telemetry tactician.    

****** matrix apex axis crux , actuarial acuity incursive .
Semantic dialectics eclectic synectic’s , wanton wayward warranty evitable.
Catalyst , relative rationality / rational relativity , circumstance contingency .
Incessant barratry omnipresence presage , decadent arrogant , irksome ire Zen.  
Grotto grouch gumption .
Bailiff rake-ness rails , prerogative presumptive judicature.  

Carousel ceaselessly ceremony chaos character charisma , clambering clamorous clangor .  
Catatonic phonics , concoct catenary concatenation , conjugationally conjunctive clairaudience clairvoyance .  
Ambrosia elixir libation inebriation , mirador bartizan panoramic tableau.
Citadel pinnacle pique piquant , altruism endemic intrinsic indigenous innate , existential allegorical .
Prosthesis pseudopodium prognostication , crude lewd , social stigmatism blind , ghastly gruesome grotesque meld .
Bizarre bazaar demonically deviant denizen , grimacing gremlin greaves gauntlets gamut catalyst abstracts .
Hideously horrible heinously horrendous awfully terrible , imagination's immaturity impromptu innuendo juncture , nuance ***** ,   incarnate encephalic enunciate .
Trajectory sordid transposition interlude rubato hi-jinks , nimbus nimiety exorcism.
Aura roan rainbow mare.  

Explicate zoomorphic zoolatry , exogamy of homogeny ontological ontogeny .
Astral projection prophylaxis protocol , telepathy teleportation .
Extraneous extemporaneous , embark embargo extradition , transcendental accession ascension , ecstatically euphoric meld .  
Deontological probity interstitial endemics , agnate aggregate amalgamated anathema android .
Translational interpretation , epistemology audacious pugnacity impunity.
Executant emulation simulation , evocative malfeasance mens rea  , geomancy effete.
Maieutic fallow feral .  apropos ergo ipso facto , carousing marauder syllogism .

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

Aural auspice austerity audible , augur aorist actuator , accidence ambience acoustics .
Counterfactual categorical imperative hubris .
Chagrin ; fecund cogent apposite germane , inane inert inertia innate , propinquity habitation     perimeter parameter peripherals .
Manumission gambit alluvium aloof , putschist kitsch , pandemicly phatic futurity fatidic extraversion embezzling euthanasia extortion .

Financially responsible fiscal policy , plenary plenipotentiary fiduciary principle .
Incarnate encephala enunciate , synthetically conjugational conjecture juxtapositional adjunctly .
Zenithal azimuth entity zeal , transpicuous opacity , in extremis extremity cantilever capacity .
Ephemeral metaphor semantics flaunts , ***** affectation exserted protuberance .
Sepulcher stratagem objectified manifest , protractive analysis dimensional delineation .
Spanned collapsible feasible , vicinity victual vigilante villain execration eventuation evocative vindictiveness vendetta .

Impetus intrigue intuitional intrepid , impertinence important , inadvertency inapplicable , initiate innate interpreters intervene intricacy.
Investiture annuity equity indemnity capital appreciation .
Preeminently preemptive retrospectively retroactive , aegis vagary incite.
Quixotically enrapturing mesmerist.
Sycophant swagger lothario lout , asymptotic hyperbolic estranged ensemble orchestration .
Histophysiology mendacity somatology morphology metamorphosis , blasphemous farcical fugue preterit renditions .  
Terrestrial equestrian tellurian terrene.  

Apex axis crux , fulcrum fulgurous , fulham presumptive , actuarial acuity incursive .
Semantic dialectics eclectic synectic’s , wanton wayward warranty evitable .
Catalyst , relative rationality / rational relativity , circumstance contingency .
Incessant barratry omnipresence presage , decadent arrogant , irksome ire Zen  .
Spatiotemporal telemetry tactician , guidon guile genocidaly xenophobic , grotto grouch gumption .
Bailiff rakeness rails , prerogative presumptive judicature.  

Flirtatious flamboyance , laboriously beleaguering hypercritically meticulous tedium .  
Carousel ceaselessly ceremony chaos character charisma , clambering clamorous clangor .  
Catatonic phonics , concoct catenary concatenation , conjugationally conjunctive clairaudience clairvoyance .  
Hysterical delirium brusque macabre abrupt , diabolically maniacal dementia .
Ambrosia elixir libation inebriation , mirador bartizan panoramic tableau .
Citadel pinnacle pique piquant , altruism endemic intrinsic indigenous innate , existential allegorical .
Prosthesis pseudopodium prognostication , crude lewd , social stigmatism blind , gruesome ghastly grotesque meld .
Bizarre bazaar demonically deviant denizen , grimacing gremlin greaves gauntlets gamut catalyst abstracts.
Hideously horrible awfully terrible , imagination immaturity impromptu innuendo juncture , nuance ***** ,   incarnate encephalic enunciate .
Trajectory sordid transposition interlude rubato hi-jinks , nimbus nimiety nihilism .

Explicate zoomorphic zoolatry , exogamy of homogeny ontological ontogeny .
Astral projection prophylaxis protocol , telepathy teleportation .
Extraneous extemporaneous , embark embargo extradition , transcendental accession ascension , ecstatically euphoric meld .  
Deontological probity interstitial endemics , agnate aggregate amalgamated anathema android .
Translational interpretation , epistemology audacious pugnacity impunity .
Executant emulation simulation , evocative malfeasance mens rea  , geomancy effete .
Maieutic fallow feral .  apropos ipso facto ergo , carousing marauder syllogism .

He had been away. Just a few days, but long enough to feel coming home was necessary. He carried with him so many thoughts and plans, and the inevitable list had already formed itself. But the list was for Monday morning. He would enjoy now what he could of Sunday.

Everything can feel so different on a Sunday. Travel by train had been a relaxed affair for once, a hundred miles cross-country from the open skies of the Fens to the conurbations of South Yorkshire. Today, there was no urgency or deliberation. Passengers were families, groups of friends, sensible singles going home after the weekend away. No suits. He seemed the only one not fixated by a smart phone, tablet or computer. So he got to see the autumn skies, the mountain ranges of clouds, the vast fields, the still-harvesting. But his thoughts were full to the brim of traveling the previous November when together they had made a similar journey (though in reverse) under similar skies. They had escaped for two days one night into a time of being wholly together, inseparably together, joined in that joy of companionship that elated him to recall it. He was overcome with weakness in his body and a jolt of passion combined: to think of her quiet beauty, the tilt of her head, the brush of her hair against his cheek. He longed for her now to be in the seat opposite and to stroke the back of her calf with his foot, hold her small hand across the table, gaze and gaze again at her profile as she, always alert to every flicker of change, took in the passing landscape.

But these thoughts gradually subsided and he found himself recalling a poem he had commissioned. It was a text for a verse anthem, that so very English form beloved by cathedral and collegiate choral directors of the 16th C (and just that weekend he had been in such a building where this music had its home). He had been reading The Five Proofs for the Existence of God from the Summa Theologica by Thomas Aquinas, knowing this scholar to have been a cornerstone of the work of Umberto Eco, an author he admired. He had also set a poem that mentioned these Five Proofs, and had set this poem without knowing exactly what they were. He recalled its ending:

They sit by a lake where dead leaves
Float and apples lie on a table. She
ignores him and his folder of papers

but I found later the picture was called
‘In Love’, which coloured love sepia.
Later still, by the time I sat with you,

Watched your arm on the back of a chair
And your hand at rest while you told me
Of Aquinas and his proofs for the existence

Of God I realised love was not always
Sepia, that these hands held invisible
Keys, were pale because the mind was aflame.

He remembered then the challenge of reading Aquinas, this Dominican friar of the 13C. It had stretched him, and he thought of asking his wordsmith of thirty years, the mother of his daughters, to bring these arguments together in a poetic form for him to set to music. She had delivered such a poem and it took him some while to grasp it wholly. He wondered for a moment if he actually had grasped it. But there was this connection with the landscape he was passing through. She had mentioned this, and now he saw it for his own eyes. She had been to Ely for the day, to walk the length of the great Cathedral, to stare at and be amongst the visible past, the past of Aquinas. He remembered the first verse as only a composer can who has laboured over the scheme of words and rhythms:

The Argument from Motion

Everything in the world changes.
A meadow of skewbald horses grazes
Beneath a pair of flying swans
And the universe is different again.

And no sooner is potency reduced to act,
By a whisker’s twitch or a word,
A word, that potent gobbet of air
Than smiles and tears change places.

And everything has changed. Back
Go the tracks beyond seen convergence
To a great self-sufficient terminus
Which terminus we might call God.

And so it was in such a spirit of reflection that his journey passed. He had joined the Edinburgh express at Peterborough to travel north, and the landscape had subsided into a different caste, still rural, but different, the fields smaller, the horizon closer.

Alighting from the train in his home city on a Sunday afternoon the station and surrounding streets were quiet and the few people about were not walking purposefully, they strolled. He climbed the flights of stairs to his third floor studio, unlocked the door and immediately walked across the room to open the window. Seagulls were swooping and diving below him, feeding off the detritus of the previous night’s partying in the clubs and pubs that occupied the city centre, its main shopping area removed to a mall off kilter with the historic city and its public buildings. What shops there were stood empty, boarded up, permanently lease for sale.

Sitting at his desk he surveyed the paper trail of his work in progress. Once so organised, every sketch and plan properly labelled and paginated, he had regressed it seemed to filling pages of his favoured graph paper in a random fashion. Some idea for the probably distant future would find its way into the midst of present work, only (sometimes) a different ink showing this to be the case. Notes from a radio talk jostled with rhythmic abstracts. He realised this was perhaps indicative of his mental state, a state of transience, of uncertainty, a temporariness even.

He was probably too tired to work effectively now, just off the train, but the sense and the relative peacefulness that was Sunday was so seductive. He didn’t want to lose the potential this time afforded. This was why for so many years Sunday had often been such a productive day. If he went to meeting, if he cooked the tea, if he ironed the children’s school clothes for the week, there was this still space in the day. It represented a kind of ideal state in which to think and compose. Now these obligations were more flexible and different, Sunday had even more ‘still’ space, and it continued to cast its spell over him.

He put his latest sketches into a sequential form, editing on the computer then printing them out, listening acutely, wholly absorbed. Only a text message from his beloved (picking blackberries) brought him back to the time and day. There was a photo: a cluster of this dark, late summer fruit, ripe for picking framed against a tree and a white sky. Barely a week ago they had picked blackberries together with friends, children and dogs and he had watched her purposely pick this fruit without the awkwardness that so often accompanied bending over brambles. He wondered at her, constantly. How was this so? He imagined her now in her parents’ garden, a garden glowing in the late afternoon light, as she too would glow in that late-afternoon light . . . he bought himself back to the problem in hand. How to make the next move? There was a join to deal with. He was working with the seven metrics of traditional poetry as the basis for a rhythmic scheme. He was being tempted towards committing an idea to paper. He kept reminding himself of the music’s lie of the land, the effectiveness of it so far. It was still early days he thought to commit to something that would mark the piece out, produce a different quality, would declare the movement he was working on to be a certain shape.

And suddenly he was back on the train, looking at the passing landscape and the next verse of that Aquinas poem insisted itself upon him with its apt description and tantalising argument:

The Argument from Efficient Causality

We are crossing managed washlands.
Pochards so carefully coloured swim
Where cows ruminated last summer
In a landscape fruit of human agency.

And I think of the heavenly aboriginal
Agent of all our doings in this material
Playground of earth I can pick up,
Hold and crumble and cultivate

And air that is mine for the breathing
And the inhabited waters that cling
As if by magic to a sphere. What cause
Sustains the effects we live among?

For there is no smoke without fire
And as we sow, thus we reap. Nihil
Ex nihil, therefore something Is,
Some being we might call God.

So ‘nothing out of nothing, therefore something is’.  Outside in the city the Cathedral bells were ringing in Evensong. The sounds only audible on a Sunday when the traffic abated a little and the sounds in the street below were sporadic. He thought of going out into the Cathedral precinct and listening to the bells roll and rhythm their sequences, those Plain-Bob-Majors and Grand-Sire-Triples. But he knew that would further break the spell, the train of thought that lay about him.

He sketched the next section, confidently, and when he had finished felt he could do know more. There it was: a starting point for tomorrow. He could now go towards home, walk for a while in the park and enjoy the movements of the wind-tossed trees, the late roses, the geese on the lake. He would think about his various children in their various lives. He would think about the woman he loved, and would one day assuage what he knew was a loneliness he could not quench with any music, and though he tried daily with words, would not be assuaged.

I am a mother, a wife
A friend, a teacher
I seek happiness
I love deep
Only souls not faces
Always loyal
I don't judge  
I love to help
I see good in everyone
Which makes me naive at times
I am open to all
Hoping for a world
Where everyone fits
Labels don't exist

I latch to rules
Anxiety demands
I suffer from OCD
Always chasing order
Shackled by disinfection  
I am comfortable in control
Leading the way
I seek to inspire
I believe in others
I am honest with my feelings
I value experience
And learn from them
I reflect on my day
Always trying to improve
I search for meaning in conversations
Enjoy learning new things daily

I play sports
Love music  
Enjoy Art
Express myself in writes
Fascinated by abstracts
Reading words to gain insight
The grace in movement  
The beauty in visual artistry

I love to re-discover nature
The acoustics of birds
Waterfalls and rain
Kissing falling snow
Connecting with our majestic sky
I love the stillness
Each morning brings
The dew sleeping in the emerald
The lacquered canvas
Of quiet lakes
Motionless  
In something so vast

Yoga is my philosophy
A healthy
Body
Mind
And spirit
My destination is
The pursuit of enlightenment  
In my life's pain
I am coming out of the spiral
Enjoying my journey
Seeing straight
Swimming the unalome
I feed my soul
Hoping IT can lead me
Leaving my ego in my wake

I remain unfinished
I continue to wear masks
Sometimes to hide
As I fear rejection
Still..
As happy as I seem
As lovely as I am
My soul has a shadow
Hidden inside
My essence traced
By shaded light
I am a survivor
Broken in places
Finally accepting my true self


Jl 2016

perchance an epic was necessary, to consolidate the scattered thinking, and indeed, once a certain life, and was lived with a cherishing heart, the heart broke, and life turned from adventures to a more studious approach, and in here, a comfort was found, never before imagined explorations - of course sometime a tourist in the arts does come, but such tourists quickly fade, and the pursuit becomes more enshrined - to levitated towards epics is perhaps the sole reason for the cherished memory of some - and how quickly all can revolve around a searched for theme, after many incorporations were minded - as one to have travelled the Mediterranean, another to have been eaten by the great mandarin silkworm of the library of Kangxi - heading along the silk route with spices - indeed the great mandarin silkworm of the library of emperor Kangxi; as i too needed a bearing - to inspect the trickster of lore and the godly blacksmith of the north.

by instruction - an accumulation of the the zephyrs
into a vector, headed north,
toward the gluttonous murk of ice, jesting
with aches to the bulging and mesmerised crescendo
of adrift stars captured in the tilting away -
to think of an epic, to keep out-of-time of
spontaneity and thistle like swiftness in the last
days of summer, that Mercury brings the new
tides of the tetravivaldis -
   brought by the λoγος of a γoλας -
for reasons that satisfy the suntan copper of
the ***** - the λoγος of a γoλας - yet not toward
Monte Carlo or any hideout of money well invested
and greedily spent for a charm -
no, north bids me welcome from afar -
this norðri fløkja, this    ᚾᛟᚱᛞᚱᛁ       ᚠᛚᚢᚲᛃᚨ -
by my estimate, i could not take the nonsense
of numerology of a certain specialisation,
i took what was necessary, i pillaged the temple
of Solomon, perhaps that the dome of the rock
might stand - with its glistening dome and
its sapphire mosaics - i don't belong among
palm trees and date trees - hence i turned to
deciphering and subsequently encrypting -
as i have already with *ᚱᚨᛒᛖ:
the journey of an Æsir through a birch forest
on a horse.
                    with this method in mind:
(a) ᚾᛟᚱᛞᚱᛁ       (b) ᚠᛚᚢᚲᛃᚨ:

(a)
the need to acquire possessions accumulating
into an estate, is a journey encountered
day by day, although a journey on ice

(b)
cattle only thrive near water,
auruchs did not, and hence illuminated
their way to extinction,
         by way of the Æsirs' harvest
(to eat up diversity of life, and create
a godless world of man).

my escape route came from ᚠ - mirroring שִׂ
although the former standing, the latter sitting
down, although the former fathomable
to my pleasure, the latter unfathomable
to ascribe numbers to letters for patterns -
i seek no patterns, hence my sight turned to
the northern sights, and meanings amplified.
                
the greeks were intended to explore abstracts,
having stated a triangle
they invented the ² symbol and what not,
it was because
they didn't bother extracting a phonetic unit
from something definite,
they classified such endeavours barbarian,
what reasonable greek of 13% reason and
87% reality would extract alpha from
the sound you made when
saying ansur (ᚨᚾᛋᚢᚱ) - i.e. attention -
i.e. deriving a definite sound differentiation
for alphabetical rubrics from a definite thing
(in whatever classification that might be)?
the greeks used the alphabetical rubric of
crafting a definite sound from an indefinite thing,
so they said: acronym, aardvark, assumption,
                       α                 α      α     α,
then they said α² - there are no antonyms -
but indeed there were, hence the Trojan nation
settling in the boot, that's Italy,
the Romans escalated the greek theory
beyond taking out a definite sound distinguished
from other distinguishable sounds,
abstracting what the alphabetic sound assured
a list under alpha: assumption, advantage,
acorn, etc. -
the latins were the first atomist after the greeks,
the greeks believed in atoms, but had no
microscopes to prove atoms existed,
such scientific faith found no parallel;
the latins ensured this was true,
ending with castrato sing-along -
the latins furthered abstracting sounds from
definite orientation which the greeks did
working from ice into iota,
the latins just sang i, i, i -
of course chiral behaviourism of such dissection
emerged - hatch a plan, plan a chisel -
it's very piquant i mind to let you know -
the greeks abstracted nouns in order to create
the alphabet, the barbarians still used
proper nouns to speak proper, the greeks
thus created synonyms and antonyms to add
to the spice of life - after all,
not deriving definite alphas from
cursors that acknowledged points of origins
created diacritical stressing like comma and
semis of colon and macron, not deriving them
from definite things, shunning a helpful
vocabulary bank to an unhelpful vocabulary
banked: synonyms and antonyms the Gemini's
birth of rhetoric;
but the latins were rejected with their atomic theory
of pronunciation, since they became laden
with diacritics - punctuation marks of a different sort,
you can measure a man sprint one hundred metres,
but is that also measuring a man to say
mān or män or mán? i know that the slavic ó = u
given the scalpel opening the ensō to craft a parabola -
but it's not necessarily an accent debate
but a punctuation debate... the emergence of
the diacritic symbols above the letters is due
partly to their joy of the popes listening to
castrato operas and the fact that the romans
went too far... hence the chiral nature of certain
symbols when dittoing - the barbarians used
definite things to assert definite sounds -
the greeks used indefinite things to assert definite
sounds - mind you, if the romans became too
abstract with their little units that became engraved
with punctual accenting, then the greek letters
became laden with scientific constants as necessarily
fathered, unchanging in the pursuit of Heraclitus' flux -
for example... Pythagoras and the hypotenuse:
                            σ / κ² = α² + β² -
           or?
                             c² (ć) = a² (ą) + b² / š (bubble beep
                                                           bop barman backup hop
                                                           of shackled kakah
                                                           or systematic oscillation
                                                           for bzz via burp);
πρ² is still more stable
                                 than what the latin alphabet allows -
hence why greek phonetic encoding was used in
science, and latin phonetic encoding was used in music,
can't be one or the other - added to the fact that
latin encoding had too many spare holes with
the evolution of numbers, and greek didn't have them,
hence β-reduction in lambda calculus and F-dur and A#

the one variant of the grapheme (æ) they didn't include
among expressions: graphite and grapheme
was the variant - gravitating to an entombing
of the excess aesthetic - geresh stress -
somehow the twins match-up to a single womb:
àé vs. áè: V vs. Λ - Copernicus wrote over all
of this with the flat earth uselessness
in terms of navigation - flat earth is useless...
huh? flat earth is the only system that gave
Columbus the chance to explore the new world -
no flat earth no Columbus -
that satellite named Luna was no tool
in navigating across the Atlantic - believe me
i'm sure -
                  or that grapheme (æ) varied like statistics
or like the characters in the book of genesis
that famous adam und eve (kim and kanye):
chances came, chances went:
it was still a draw on the tongue tied decipher:
àè and áé proved another notation for plurality
was necessary, not at the beginning of the word,
but after, hence the possessive article 's,
we could have parallelism, there was a crux,
how once the chiselling of letters came about,
more economic to chisel in a V than a U,
both the same, much easier though...
almost barbaric i might say...
sigma (Σ) enigma rune e (ᛖ) - this compass
is a ******* berserker, god knows if it's
mount Everest or the Bermuda Δ

but one thing is for certain, never you mind how
a language is taught unless you mind it,
not that conversational athenian is really what
i'm aiming at - but a lesson is a lesson nonetheless,
out of interest something new,
richard von Coudenhove-Kalergi,
and what preceded him, namely pan-slavism,
just when the polish-lithuanian commonwealth
did a little Judaic trick of its own,
although snorkelling in the waters of not writing
history for less a time than israel -
you can't beat ~2000 under water - although
you could if your little tribe had an einstein
among them, or proust or spinoza, then
you could effectively become a whale, popping
an individual out from the rubble to say a polite
'hello' and 'when will the dessert be served?'
but indeed, learning a language on your own,
how to learn from scratch, the greek orthography,
and why omicron and not omega,
the give-away? sigma - purely aesthetic reason,
                             νoμισματων

                             nomismaton

omicron                                                 omega

                 you write omicron at the front
                 and omega at the back
                 pivot letter? two: σ     μ &
                 νoμι-                                -ατων
                      ­                     |
                 anything here  
                 will use o            and anything
                                              here uses ω

alike to sigma:
                          χωρας (choras, i.e. country)

sigma (ς) not sigma (σ), i.e. digitalising languages
without a clear connectivity of letters,
block-a-brick-block-a-brick-digit-digit-digit
you learn that handwriting is gone,
two options, your own aesthetic reasons now,
remember, some paired for the ease of handwritten
flow - digitalised language changes the aesthetics,
you make your own rules (considering exceptions
of oh mega mega, ergo revision -

                                       χoρας,

but still the sigma rule, others esp. o mega
you stamp on them like βλαττια, i.e. cockroaches -
κατσαρίδα                 not         κατςαρίδα

all perfectly clear when you explore plato's
dialogue from the book Θηαετητυς (as you might
have noticed, the epsilon-eta project is still
in the storage room of my imagination) -
but indeed in the dialogue, between socrates
and the "hero" of the book theaetetus -
a sample, without an essay on the theory
of knowledge -
socrates: ...'tell me theaetesus, what is Σ O?'
theaetetus: yes, my reply would be that it is
                    Σ and O.
socrates: so there's your account of the syllable,
                isn't it?
theaetetus: yes.
socrates: all right, then: tell me also what your
                  account of Σ is.
                                                             ­   (etc.
or as some might say, a shrug of the shoulders,
a hmmpf huff puff of hot air, impractical interests
and concerns - well, better the impractical
problems than practical problems, less feet
shuffling and nail-biting moments with your
tail between your legs and an army of
intellectuals working out what went wrong
and how history will solve everything by
the practical problems repeating themselves) -
you know that inane reaction - others would just say
Humphrey Bogart and nonetheless get on with it.

some would claim i was begot a second time,
not in the sixth month period of the aqua-flesh,
how did i actually related to the life aquatic,
for nine months i was taught to hold my breath,
however did this happen?
a miracle of birth? ah indeed the miracle of
a crutch for a woman - spinal deformities -
9 months, sort to speak, in water or some other
fluid - merman - a beastly innovation -
next you'll be telling me beyond this life
we turn into centaurs, given the Koran's promise -
you'd need the appetite of a breeding horse
to satiate the 72 - or thereabouts - martyr or
no martyr - 72? that's pushing it -
or as they say among children - a chance playground
without swings or sandpits, but very careless
gravitational pulling toward a certain direction;
nonetheless, they might have that i did indeed
settle of a sáttmáli                  ᛋᚨᛏᛏᛗᚨᛚᛁ
                  við         ­                  Vᛁᛞ
                  tann                         ᛏᚨᚾᚾ
                  djevul                      ᛞᛃᛖVᚢᛚ -
the hands you see, fidgety -
     hond handa grammur burtur    úr   steðgur
     ᚻᛟᚾᛞ  ᚻᚨᚾᛞᚨ  ᚷᚱᚨᛗᛗᚢᚱ   ᛒᚢᚱᛏᚢᚱ  ᚢᚱ   ᛋᛏᛖᛞᚷᚢᚱ
         the hands give an ardent pursuit
                                                 away from rest -
well not that my poems will ever reach
the islands in question - and indeed an
uneducated guess propels me - what does it matter,
λαλος babbler meant anything, indeed λαλος,
language as my own, is a language that i can
understand - and should anyone omit
disparities - a welcome revision would never tease
nor burn my eyes - but the phonetic omission
peeved me off: woad in water, ventricles in a
variety of entanglements - it's just not there -
and indeed, orthographically, if there are no more
optometric involvements of omicron's twin -
then the stance is with you to use whichever pleases,
i can't tell the difference, unless i was a pedantic
student, aged 70, with a granddaughter i wanted
to be wed teasing a millimetre's worth of
phonetic differentiation between the two -
POTATO PA'H'TAYTOE TOMATO TA'H'MAYTOE -
linguistically one's american and the other
is british, which looks like greek and latin
upside-down and in a mirror: pəˈteɪtəʊ, təˈmɑːtəʊ;
or as the spaghetti gobblers would put it:
the tetragrammaton is working on their
texan drawl (dwah! ripples in china) -
or the high-society new england ******* *******
coo with a cuckoo's load of clocks -
before being sent off to england for a respectable
education, something en route Sylvia Plath -
but not to ol' wee scoot land - ah nay - well
perhaps for a year and then talk of north european
barbarism of a deep friend pizza and mars bar.

and when descartes finished with christina
queen of sweden, she became an animate portrait
of feminine attempts at philosophising,
she was basically ostracised from society,
well, not society per se, she didn't become a stray
dog, but she forgot certain functions of
the upper tier - lazily modern man decides
to hide phenomena from understanding
individual instances, with the kantian guise
of a noumenon, hence cutting his efforts short -
indeed queen christina of sweden was ostracised
by society - only after descartes finished educating her;
and indeed to most people a little bit of sloth
equates to an amputation of some sort -
yet only with the x-files' season 2 episode 2
i've learned of the effects of prolonged alcohol
"misuse", that little boxing match in my liver?
it's not a pain as such, it's actually a hardening
of soft tissue - with prolonged alcohol exposure
soft tissue organs harden, notably the liver -
and it's not a pain, it's a hardening.
but indeed queen christina of sweden was ostracised
by her tier of socialites - i'm glad diogenes
didn't get to her, but then again a bit of cloth
goes a long way this far north -
yet unlike the encounter with napoleon by hegel
diogenes' encounter with alexander lasted longer -
which tells you the old method does no service
to a little bit of material accumulation -
but perhaps the acumen was briefer when you were
ably living in a barrel - and to think, as only
that being the sole expression, not so much
a body without organs as stated in the thesis
of anti-oedipus by deleuze and guattari -
a consideration for a body without limbs - prior
to a footprint an imprint on the mind -
carelessly now, a diarrhoea of narration -
how rare to find it - perhaps this idea of epic
poetry is a default of writing per se -
with this my whatever numbered entry i seize
to find escape in it - a lack of ambition -
a loss of spontaneity that's a demanded mechanisation -
by volume, by inaneness - to reach a single
technique accumulative zenith, and then back
into the ploughing, rustic scenery and the
never-bored animals - i rather forget such escapades -
and there i was dreaming of a grand
runic exploration - some imitable game -
some scenic routes - yet again -

Haberdashery hauberk harbinger harangue equilibrist, harpy harsh hast severities.
Inane inert inertia innate, juxtaposition maenad ethos affinities.
Putrid quasi queasy pathos, emanate imminent perdition acerbities.

Agnate aggregate anathema android amalgamated, predication contract.
Glutton paradoxical dichotomy greaves, gauntlets gamut catalyst abstracts.
Ambidextrous amatory prelude amaze, analeptic adrenergic analgesia analytics extract.  Annex annul.  

Clairaudience clairvoyant omnipresence presage, omnipotent omnificent omniscience.
Pantheism parapet paradigm intuition, prognosticating prosthesis prediction.
Prolific profuseness profundity prosaic, nimbus nimiety nitty gritty, intrados rubato.

Venerable divinatory deity deify veneration, delineate demagoguery ecstasy, agonist agog.
Dream gleam cream seam beam team, serene ravine green gene careen, obscene demean.
Empiricise the existentialisms in the demagoguery of godhead aspiration.
Corporeal anaclitic apex inveterate embezzlement extroversion, acuity alacrity extortion.
Extraneous extemporaneous, ominous phenomena portrayal spontaneous synchronous, aorist actuator.

Endergonic protensive integration extrapolation interpolations investiture elicits.
Scenario synopsis synthesis syncopation, harmony rhymes rhythm.
Synchronous transition transposition interlude, summerial derivation cognition.
                                                      ­­                                                                ­ ­              
Irk-ness ire aerie altruism allegorical, autonomous avarice oscillating ostracism.
Pandemonium obdurate temerity impunity, impending preponderance onus, numinous illuminism quintessential frolic.
Amorous ardent argent arduous enamor endear, plenary putschist volatile phatic.
Conveyor controvert deft mesmeric deification deist dissertation.
Drastic premise portent pervasive embellish, elusive enhance enchant, engender enthrall.
Perpetuation euphenic euthenics, exude emote concoct recalcitrance regalia, irrefragable preternatural ne plus ultra prurient.
Vernaculars opulent myriad, aesthetic stratagem venial vexatious, astral projection conjuring levity apothegms.

Incite epistemological illuminism, accoutrements umbrage ultraism incognito trajectory extant.
Scandalous scavenger squalid anomalous punitive, heuristic manumission exigency.
Ostensible proclivity prodigious querulous, rambunctious repertoire rigmarole scenic schism sooth.
Ascribe arsenal crucial critical, abhorrent abstinence blatancy berserk, alacritous celerity brogue.
Ceremonial chicanery dynamism fealty, indefatigable incontrovertible ingenuity ingratiate inimical impugn.
Innovate integrity intricate invective convolution, licentious metaphor convection obeisance.
Splurge-ness spry sporadic sprawl, spurious staunch succinct stymie tacit, irate tirade treatise vehement escapade tedium.

Probity irascibly veracious audacity mendacity gumption.
Paphian peccavi preternatural proclivity gesticulation articulation prestidigitation.
Fantastication fantasia fabulist façade, glimmer glisten translucent refulgence.
Subliminally subjunctive nostalgic allusion analogies eidetic’s mnemonics.
Metaphysical mystique’s evolutionally metamorphic futurity fatidic.
Adroit agile nimble tactile acuity prescience capacity intrigue.
Unadulteratedly fornicatious fabrications, portentous ethereal etiquette.
Nose agnate somatology morphology metamorphic, cognition epistemology pragmatics.
Ontological ontogeny causality exigence integumence equivocal.
Innocuous noumenal verity ***** affectation intentions.

Adumbrate intimate obfuscate preterite rendition intimidate.
Logistical tactician spatiotemporal terrestrial equestrian telemetries, physicality’s terrene traverse tellurian terrain.
Vaunt-ness verve’s lucidly illusive, intrepid yare’s predilection predication.
Apriori a posteriori apostrophe shards shroud, innately inert inherency interstitial endemics.                  

Irk-ness ire Zen, graffiti mantra mantis, diminutive minutia iotas inductive interpolation asperities.
Hypercritically mitigating dialectics hypotaxis.
Vituperatively vociferous eerie strident irrefragable orotund  sonorous felicities.
Diacritical diction dharma apomixis.
Chutzpah panache spontaneous generation complicity, gambit alluvium aloof succor.

Demarcate mirador bartizan panorama, stalwart bastion bulwark tableau, dexterous gargoyle disguise gimmick camouflage.
Decipher coercible coalesce corrupt costume counselor chameleon charlatan chaperone entourage.
Cryptic evocative emulation scenarios siren skeptic, cynical demonic gremlin greaves curtilage.
Zesty zingy zippy zeal zenithal azimuth elaborate elliptical empathy endeavor entity entice.

Clambering clamorous clangor strategic systematic propagate prolific, wield wile treatise expose’.
Aural auspice austerity  axiom conscribe, perplex beleaguer beggary, coax cacophony clout, concatenate chronology.
Erumpent erudition evident evil evert, extol fervor flinty florid, fructify impromptu innuendo juncture.
Kinetic supremacy temporize tractive fluent, precious precess predetermined predatory predicament, gyro gyre.
Horizon hornswoggle huckster, hokey hoot ornery honkies.

Horologist hackamore relative rationality.
Decorum dastardly dazzle deceit, demolish demur, annihilate denigrate.
Armature arcade doughty, panacea parallax serendipity servant serenade.
Personification of sartorial perfection, picturesque visage of spectral grace.
Cosmic enigma rational relativity.

Housebreak huckster squabble brash, hovel huff.
Ghastly gruesome grotesque grisly groaty gnarly grotto grouch compunction.
Caustic cavernous celibate catatonic phonics, apex crux axis matrix cortex cephalic.
Blasphemous farcical fugue-ness and estranged ensemble orchestration acoustics.
Rendition: various assorted forms of related stranger weirdness.
Conjugation coercion junction function, adjunct conjunction conjecture.
Concoct deontology ontogeny, ontological enclitic osteopathy.
Anticipate angary amentia, tiercel theocracy.
Phrenic sensorium sentiment paragon tangible.
Covert aspersion avidity, coherent avid avarice, allegory allocate amatory prelude annex annul.

Tantamount telepathy tantalize talisman talesman, prerogative presumptive judicature.
Subpoena parameter perimeter peripherals prophylaxis protocol.
Real deal seal, sail bail, bailiff rake-ness rail.
Yoni yore yare, leeward lecher leer lingam, menagerie melee hyperbolic milieu thesis, métier quintessential fulham.
Dangle wrangle mangle jangle tangle angle.
Hysterically delirious zany nertsy bonkers bluster boggle.
Gyrate, austere askance obliquely, aspire assail askew.

Cosmic origins metamorphosis implosion contractions revision, blond entropy catalyst.
Cataclysm catastrophe holocaust trauma, inefficacy ineffable expiate.
Chaos cognizant conceive dialectic dictates in extremis extremity meld nuance.
Cryptic cipher circuit citadel clairvoyant sequitur.
Cajole fictitious fiery finesse, invoke fulmination gouts clout, curtilage endeavor iterative itinerary.
Ersatz fiat fulcrum fulgurous indemnify indigenous infernal infidel iniquitous.
Electroacoustic ciphony  Electra complex lore, occipital ubiquity synch.
Psychosomatic psychokinesis cybernetics, penumbral platitude platonic proxy photic.
Assimilate stigma perspicacious, astute asunder atman pulchritudinous.
        
Decadent arrogant pompously bombastic blatant flagrant chaparral.
Diabolically maniacal dementia brusque macabre abruptness.
Swarthy beastly antithetical anathema ******* belligerent, savvy irate berserk-ness tirade.
Ulterior aghast agitator incongruous dire, perdurable peremptory primacy arbitrate zealot.
Cantankerously sorcerous insidiously sinister alchemy cauldron, pernicious visceral pathogenic, virulence truculence.
Ideational hideously horrible horrendously heinous ghastly abysmal abjection.
Perpetuity pervade rampart ransack oblation erogenous scarp lambent actuarial arbitrage.
Exserted protuberant pseudopodia actuator, odious aorist militantly mercenary.

Wingspread wiry wiseacre wherewithal rapacity, implicit important juxtaposition.
Machismo equilibrist machinations, kinesiology kleptomaniac knell physique.
Ribaldry rigmarole rhubarb, risqué rive rollick.
Demeanor kamikaze kerf, megalomania misanthropies modus operandi genocidal xenophobic.
Heredity heritage heresy legacy, pseudonym multifarious nefarious nemesis.
Sepulcher stratagem pantheism parapet paradigm, psychosis neophyte, paragon proselyte.
Pilferous wheedling finagler, plunderous pillaging usurper, longevous loquacity lottery.
Rhapsody rhetoric rote raconteur newfangled nocturnal nonchalant sycophant.
Morose morsel moribund, lurid luscious lyricism lucidity lucrative.
Creative cleaver crafty cunning furtive sneaky stealthy connive.
Aphorism euphemism hegira to xanadu carousing marauder syllogism.
Swell surge flow flux craw crux, virago monad chaos character charisma.
Heuristic cavalier humeral, meager demonstrative anarchy iconoclasm, apropos ergo ipso-facto.
Plenary plenipotentiary omniscience presage, omnipotent directive ubiquity emanations.
Nous agnate ontological ontogeny, exegesis peroration.
Abeyance, exotically ****** quixotic ecstatically emphatic fanatic.
Orchestration rendition unicorn railway mainsail, awry askew askance.

Canny cogent fecund erudite sagacious sequacious conjuring mentality introjection conjugation coercions.
Avant-garde temporal abstract, scenario synopsis eclectic synectics.
Synaptic syntax syndrome aspersion, quagmire quandary poshly plush.
Physicality ***** pictorial, picturesque glyph, debauchery deviant profane ***** vicarious assertion exorbitance.
Mystical silhouette sojourn consortium sabbat conclave liaison, soiree tryst rendezvous symposium excursion compendium.
Incarnate cephalic phantasmagoria proximity parameter phantasm epitomize transitive transcendental syntactic semantics.
Resplendent radiant ephemeral effulgence translucent incandescent luster effluence, reflectively refractive azure opulence effusion.
Contentious pretentiously extravagant eccentric intransigent pedantic antics.
Guidon guile homogenous hovering imagination immaturity, exogamy incorporeity ideologies.
Pique poignant piquant puissant quiescence, obstreperously abstruse vagary plausibility’s cause.
Vivid intangible impetus instinct intrigue, livid lurid allusion.
Autonomous preterite discrepancy amendment emendations, transcendent accession ascensional in absentia expurgation exculpation.

i thought that Sunday would be the day that i'd save money and indulge in my insomnia, not drinking, but i have a triage appointment with my G.P. today between 12 and 5 p.m., so i'll not be synthesising sleep (quantum peek-ah-boo with ß in American with a zed - i.e. zed leppelin), never mind. you pick up obscurity as you go along with it; whatever becomes personal you depersonalise by abstracts, standard procedure when writing a chemistry experiment: abstract prior to explanation, in science abstracts are not exactly abstracts in humanism, they're merely prologues, or shorthand intros.

my writing addiction is worse than my alcohol addiction,
a hell-raiser in heaven...
****, i can end up penniless and broke on the street,
its my parents i'm worried about -
i do have a Muslim enemy - i buried it for 7 years
faking schizophrenia so i could be untouchable -
i can give you the name, i can give you a little biography,
i'm worth two coin flips a **** by my estimate,
i didn't fake insanity so i would get £120 a week on
debility payouts, now that would be mad...
i have to plan from time to time when i have to stop
drinking and synthesising sleep rather than going mad,
i was brought back to ensure my father didn't fall into
depression when one of my cousins undermined his
team of roofers stealing them, the "cousin"?
husband of my grand-uncle's daughter, technically my aunt,
undermined my father's self-employment strategy
employing Poles and Romanians - my father? taught
by Scots... old Jack the Guinness pouch puncher -
diesel running at 4 a.m., breakfast at 5 a.m.,
work is life... work is life... **** me! it's 2016
and the death of Prof. Dumbledore died today,
the movie was completed in 2009 - so obviously no spoiler
alert, 7 years the secret was hidden from my ear...
i only learned of it today... as i also learned...
premature depression in the youth of England -
second Marx and Engels are waiting... spring clean angelic
suggestions of how England invented unshakeable
utopia... WRONG! what do you think Marx and Engels
were doing? what do you think the problems are in England
right now? right now?! mental health.
the pride and prestige of English society is getting to me...
their under-reading of philosophy books -
what sort of damage can a thought experiment have on someone?!
none! getting all ******* pompous and Clancy will
not solve the matter - they don't like wording, or subsequent
excesses - they're importing nurses from India
and are mesmerised by the Japanese curse of karaoke -
England, the 51st ******* state - akin to the Penguin
cover of K. ****'s *man in the high castle,
you ain't pure just 'cos' you think you are!
i have a worse addiction than drinking... writing enlarges
the monster in me... you obstruct my hands from the
keyboard i turn into a monster, given brain damage
you can reason why i tend to need an ****** space of
recording something down - i need it more than alcohol,
without alcohol i just get bored, i don't live in
sparkly Paris for one, the nights around here are deafening...
one example? my father obstructed me recording a thought
(got i miss the expected ease of cognitive narration
i knew prior, and i loath the personality that resides in me
at present... i could have been such a good father)...
i get blocked on the stairs before i want to write the
waterfall, he grabs my index finger and dislodges it...
the rest is pure comedy... the paramedics come,
i compliment the male paramedic on his looks
(why am i so misogynistic by now? i used to idealise
women! n'ah, no point mulling this problem,
the answer is too obvious)... i go to the hospital...
i wait for an hour, pose for pictures with my dislocated
finger, have a laugh and a chat, walk up to a black
girl with some medical problem (the dislocated finger,
what a brilliant comedy gimmick) and introduce her to
Us3 on my knees - time to straighten my finger -
the doctor asks me how it happened -
i lie: i was in such a shock i don't remember,
i pursue the lie to effectiveness - i notice his name,
i was in a pub with a Hungarian barmaid and i asked
her the problem i was having, some psychiatrist with
the surname Szasz, an english speaker couldn't make
the z into a h to say... shash - so i tested this failure
on the barmaid on the doctor, Hungarian test 1.
said his name... asked... Hungarian? yes, he replied.
bingo! lie sealed, Malachi's prophecy came true.
later he obliged to send me the x-rays of my dislocated
finger to my email account... charm charm charm.
i'm a poo'h bear when drunk, strike a conversation
with me like this one Lithuanian girl did and i'll kiss
you from forehead to your chin and neck, kissing your
eyes shut... but get between me and the blank page?
not a good idea. i'm ******* scatter brained -
rarely i get the opportunity to relive the cognitive narration
fluidity i once had that inhibited me from writing anything,
and i mean anything apart from homework and exams.
also... the **'s debut album is a rarity... it's one of those
albums you can listen to without headphones -
listening to it on headphones is rather pointless -
it's perfectly pitched for a bedroom auditorium;
and not much music makes sense without headphones
these days; but i also wonder why not everyone is
addicted to music, and more to conversation via the epitome
of Radio 4's chatty chatty broken bloke.
Sunday newspaper book reviews as usual... no book of
poetry... oh hell, let's bring out the howitzers -
pop culture ignores poetry, poetry explodes in a culture,
many people are disaffected, congested into sardine phobias,
struck that some people remember the countryside life
and milking cows, small town life... the internet is in its
genesis, the middle-classes semi-proficient in the technology
are damning it with promises of a feasible exodus to
the promised land of the sitting-room couch and television,
no one is noticing the digital miners who are digging
for the perfect pixel - a polydiadem fly-eye;
but here i am, facing ridicule at the teachings of Jesus Christ,
hating him is sorta a fake, but it's more a fake at
either Christianity, or the unrelenting fictionalisation of
the man thanks to the Greeks, bemusement at the Star
of Bethlehem, the historian Josephus, and the fact that
that the Nag Hammadi library was found in Egypt and not
Israel... i'd be dumb to ignore the archaeological proofs
culminating with the crucifix and the atom bomb and the
pathology of predicting ends of worlds... Oppenheimer
was just as good, quoting the Sanskrit death bit -
i guess living in Egypt gave the little man of Nazareth
pharaonic ambitions of worship - easier and more convincing
on a crucifix than on a throne with sensible Greek
digestion of the world and fascination to boot -
hence the fascination to the last with architecture and
'my father's house will be a house of prayer',
seen the state of the Anglican Church? and see how mundane
the prayer service has become after 2000 years?
everywhere, now, countless religions are sprouting like
spring ginger using psychedelics and what not...
well, that was the case in the 20th century... the 21st century's
answer is this dark age reinterpretation of Cartesian
philosophy... not so airy-*******-fairy about philosophy
books, are we? philosophers prescribe no drugs, merely
thoughts... what you would probably have not thought out...
harmless pharmacology if you're into claustrophobic
suicide pacts with yourself... the 21st century has proved
another breeding ground in England, this time not economic...
and if not economic, therefore existential...
i'm just another Engels looking for his Marx... or another
Marx looking for his Engels. ah, the cascade ends.

As a child he remembered Cardiff as a city with red asphalt roads and yellow trolley busses. On a Saturday morning his grandfather used to take him in his black Sunbeam Talbot to the grand building of the Council of Music for Wales. There Charles Dixon presided over a large office on the third floor in which there were not one but two grand pianos. At seven a little boy finds one grand piano intimidating, two scary. He was made of fuss of by his grandfather’s colleagues and – as a Queen’s chorister – expected to sing. A very tall lady who smelt strongly of mothballs took him into what must have been a music library, and together they chose the 23rd Psalm to Brother James’ Air and Walford’s Solemn Melody. After his ‘performance’ he was given a book about Cardiff Castle, but spent an hour looking out of the windows onto the monkey-puzzle trees and watching people walking below.
 
50 years later as the taxi from the station took him to the rehearsal studios he thought of his mother shopping in this city as a young woman, probably a very slim, purposeful young woman with long auburn gold hair and a tennis player’s stride. He had just one photo of his mother as a young woman - in her nurse’s uniform, salvaged from his grandparents’ house in the Cardiff suburb of Rhiwbina. Curious how he remembered asking his grandmother about this photograph - who was this person with long hair?– he had never known his mother with anything but the shortest hair.
 
He’d visited the city regularly some ten years previously and he was glad he wasn’t driving. So much had changed, not least the area once known as Tiger Bay, a once notorious part of the city he was sure his mother had never visited. Now it was described as ‘a cultural hub’ where the grand Millennium Opera House stood, where the BBC made Doctor Who, where in the Weston Studio Theatre he’d hear for the first time his Unknown Colour.
 
Travelling down on the train he’d imagined arriving unannounced once the rehearsal had begun, the music covering his search for a strategic seat where he would sit in wonder.  It was not to be. As he opened the door to the theatre there was no music going on but a full-scale argument between the director, the conductor and three of the cast. The repetiteur was busy miming difficult passages. The two children sat demurely with respective mothers reading Harry Potters.
 
The next half hour was difficult as he realised that his carefully imagined stage directions were dead meat. They were going to do things differently and he had that sinking feeling that he was going to have to rewrite or at the very least reorganise a lot of music. He was then ‘noticed’ and introduced to the company – warm handshakes – and then plunged into a lengthy discussion about how the ensemble sequence towards the end of Act 1 could be managed. The mezzo playing Winifred was, he was forced to admit, as physically far from the photos of this artist in the 1930s as he could imagine. The tenor playing Ben was a little better, but taller than W – again a mismatch with reality. And the hair . . . well make up could do something with that he supposed. The baritone he thought was exactly right, non-descript enough to assume any one of the ten roles he had to play. He liked the actress playing Cissy the nurse from Cumbria. The soprano playing Kathleen and Barbara H was missing.
 
He was asked to set the scene, not ‘set the scene’ in a theatrical sense, but say a little about the background. Who were these people he and they were bringing to the stage? He told them he’d immersed himself in the period, visited the locations, spoken to people who had known them (all except Cissy and the many Parisienne artists who would ‘appear’). He saw the opera as a way of revealing how the intimacy and friendship of two artists had sustained each of them through a lifetime chasing the modernist ideal of abstraction. He was careful here not to say too much. He needed time with these singers on their own. He needed time with the director, who he knew was distracted by another production and had not, he reckoned, done his homework. He stressed this was a workshop session – he would rewrite as necessary. It was their production, but from the outset he felt they had to be in character and feel the location – the large ‘painters’ atelier at 48 Quai d’Auteuil.  He described the apartment by walking around the stage space. Here was Winifred’s studio area (and bedroom) divided by a white screen. Here was the living area, the common table, Winifred’s indoor garden of plants, and where Cissy and the children slept. As arranged (with some difficulty earlier in the week) he asked for the lights to be dimmed and showed slides of three paintings – Cissy and Kate, Flowers from Malmaison, and the wonderful Jake’s Bird and White Relief. He said nothing. He then asked for three more, this time abstracts –* Quarante-Huit Quai d’Auteuil, Blue Purpose, and ending with *Moons Turning.
 
He said nothing for at least a minute, but let Moons Turning hang in space in the dark. He wanted these experimental works in which colour begets form to have something of the impact he knew them to be capable of. They were interior, contemplative paintings. He was showing them four times their actual size, and they looked incredible and gloriously vibrant. These were the images Winifred had come to Paris to learn how to paint: to learn how to paint from the new masters of abstraction. She had then hidden them from public view for nearly 30 years. These were just some of the images that would surround the singers, would be in counterpoint with the music.
 
With the image of Moons Turning still on the screen he motioned to the repetiteur to play the opening music. It is night, and the studio is bathed in moonlight. It could be a scene from La Bohème, but the music is cool, meditative, moving slowly and deliberately through a maze of divergent harmonies towards a music of blueness.
 
He tells the cast that the music is anchored to Winifred’s colour chart, that during her long life she constantly and persistently researched colour. She sought the Unknown Colour. He suggests they might ‘get to know the musical colours’. He has written a book of short keyboard pieces that sound out her colour palette. There is a CD, but he’d prefer them to touch the music a little, these enigmatic chords that are, like paint, mixed in the course of the music to form new and different colours. He asks the mezzo to sing the opening soliloquy:
 
My inspiration comes in the form of colour,
of colour alone, no reference to the object or the object’s sense,
Colour needn’t be tagged to form to give it being.
Colour must have area and space,
be directed by the needs of the colour itself
not by some consideration of form.
A large blue square is bluer than a small blue square.
A blue pentagon is a different blue from a triangle of the same blue.
Let the blueness itself evolve the form which gives its fullest expression.
This is the starting-point of my secret artistic creation.
 
And so, with his presentation at a close, he thanks singer and pianist and retreats to his strategically safe seat. This is what he came for, pour l’encouragement des autres by puttin.g himself on the line, that tightrope the composer walks when presenting a new work. They will have to trust him, and he has to trust them, and that, he knows, is some way away. This is not a dramatic work. Its drama is an interior one. It is a love story. It is about the friendship of artists and about their world. It is a tableau that represents a time in European culture that we are possibly only now beginning to understand as we crowd out Tate Modern to view Picasso, Mondrian, Braque and Brancusi.

all i'm saying is that the tetragrammaton was lying about in full view, an umbrella on the train; the tetragrammaton was just there for the taking, in english... and no jew noticed it, or picked it up.

poetic proliferance comes at a price designated the role
of anti-oratory - imagination and memory
are scattered narratives, thought the prime of the three,
an animal is bombarded  with sensual impressions,
a feline pet is the ultimate unit of fighting against
this constant bombardment  of sensual impressions,
before us, the ultimate leisure  activity, albeit without us
actual engaging in it personally; we created such utensils
as memory and imagination to counter-act the vacuum
of unnecessarily narrating a sunset and a sunrise, a comet's
flight. pro life interference - a snake shedding its skin, e.g.
non-oratory, even anti, poetry for bookshelves, for dust,
migraines, moths and bookworm larvae;
for shrapnel ego... for stances in aesthetics like:
run DMC's *it's like that, countered
with... 'and i thought disco polo was bad.'
cheap thrills, scribbles on toilet paper,
marquis de sade made an inkwell from
his wrist, blood on white:
Boabdil gives the Granada key to Ferdinand and Isabella
v. kazimir MALEVICH's red square,
                                painterly realism of a peasant woman
in two dimension -
a Faustian gamble... mental retardation...
no curly curves on pillars, no mention
of Pompeii... mythical Atlantis with its sea-monkeys
agile in water but hardly acrobatic on earth
(exceptions due to Russian Lolitas)...
no regime, no rigour, too much jealousy surrounding
the Renaissance art-schools, jealousy, greed,
fat parasites invoking their name, say, Raphael
as useful as the noun tree, hammer, ship tried to be...
hell the mad dog without a KA GA NIEC
and off the leash... you really can't expect more
abstracts... but art follows science,
what with anti-matter, subatomic particles,
art will see less beauty and science more complications,
both will be working on abstracts...
enter the art critics with their narratives...
also due to the fact that calculators replaced our
natural ability to process arithmetically...
hence a lost technique of arithmetic and a more
sensual engagement in the motto: precipitating
toward a MALEVICH black cross, black square etc.
was the art movement cubism - unravelling
the cube post-scriptum in it all... *******
this ultra-modern fascination with Python-gruesome-oraz
(oraz translated as: also) -
come the critics and their narratives
of triangles without a thinking-do-d'ah suggesting
trigonometry or a squared + b squared
equates to c square (or a hypotenuse...
likewise with hippopotamus i'm dyslexic to mind the
matter too much... honest to god,
i'm dyslexic with certain words - mainly because
it's hardly a scene in a pub: 'pint of ale my good man'),
and added to the chaos of lack of diacritic
in english, you tend to be chaotic with punctuation,
and the words stemming from the latin
æ grapheme (graphite, the tertiary carbon representation)
simply coagulate into a rancid custard of
non-differential puzzles via sūdoku - now repeat
after me, the sharp Japanese HI! sù doku!
HI! HI! well, aye, but it's sùdoku! HI! HI!
si sense... and there's the roundabout.
i'm probably the first poet of darwinism,
i got a blank in my head and i just allow the poem
to evolve... why sù and not sú?
you aim to repress, insert a quasi pause, stress
the would be associated categorisation of sù
as prefix... the doku comes as an suffix -
in culinary terms that's representative of
a hunchback leaning over a *** of sauce and
invoking a movement, a whiffing to get the scents
ticking the nostril fibres - wave in, entice - so indeed
the Japanese punctuation omitted in universal
encoding: - (the hyphen), the sharp impromptu
HI! (HIGH... *******, they're one and the same!)
sùdoku hin ji roo shika! that's samurai for:
i said sharpen my samurai sword like a mathematical
rubric of the 2 times table: 2 x 1, 2 x 2, 2 x 3... etc.