The Meaning of Nowhere

It started out as such a nice day

But then a cloud crept up and the day grew overcast.

Your spirit clouded over too. ‘Nowhen’, we don’t say.

Perhaps we should. It’s best to hit on a process

Rather than a plot. It’s not a matter of cause and effect.

Nowhere – the space that time forgot.

It’s the elephant in the room leaving no room

For us others. Its presence is absence – a disgrace!

But why make such a fuss out of not being able to locate it?

Some wade in until they are out of their depth.

Others are just dropped into the deep to flail about.

Maybe they flail in a landward direction. Then again, maybe not.

And when I pass my neighbour’s gate, I say, “Lovely weather today.”

And he replies, “Let’s hope it doesn’t cloud over.”

At other times, when he offers “Lovely weather,” I reply, “Let’s hope

It doesn’t cloud over,” as I keep on walking by,

Or I remark, “A bit chilly today” so that he or his wife can reply,

“They say it’s likely to get better later.”

As for nowhere, many poems get there

Lickety-split, without a clue to its meaning.

Plato hated poets and devised philosophy

To counter Homer’s lies. He would be appalled, I’m sure

By today’s cos-play homilies tarted up as verse

Whose freedom’s a curse contaminated by some petty simile.

I don’t feel that this poem’s getting anywhere.

It is not a painting of night, not a cloud above a wood.

Not a woman looking back at the sunken boat of her virginity.

It can accumulate line after line,

But is it any closer to being understood?

It should have been written by John Ashbery.

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Another Kiev engineered False Flag!

Christ! I get so angry with the ignorance that wrings its hands while accusing Russia of attacking that Lavra cathedral in Kiev. It is complete and absolute bullshit that Russia bombed this cathedral. Russia is the defender of the Orthodox faith. Everyone with any knowledge of what is going on knows this. The Fascist tyrant Zelensky has committed a false flag blaming Russia of course, but he has been harrrassing priests and kicking out monks and destroying sacred spaces since 2014. Russia began the SMO to protect Russian speakers from the tyranny which begun with the US/UK orchestrated coup in Kiev in 2014 – guided by Victoria Nuland and her PNAC Nazi organisation. After that Zelensky banned Russian from being spoken and attacked the orthodox religion supplanting it with an artificial and false religious alternative. If World War three begins by us defending Kiev Nazis and Globalist power from the BRICS multi-polar world which is inevitably taking over from the European Colonialist bandits who profit from arms sales and dead Ukrainians, then we will be fighting on newly armed Germany’s side, and we will be on the wrong side of the war and of history. We have a nostalgia for World wars in the UK because we feel we won the last two. This nostalgia is misplaced. In the last war it was the Russians who beat the Germans and the Russians who suffered the greatest number of casualties. Only the banks and the billionaires want war, and use the media they own to lie about what is actually happening; and they are the only ones who will gain from it.

Another piece of evidence of Zelensky’s guilt in the supposed “shelling” of the Lavra is that there are photographed preparations for the staging. The camera tripod and preparations for filming were carried out BEFORE THE LAVRA WAS “SHELLED”. Photos show there is no external debris either, so rather than a shell, it was a device detonated INSIDE the building.

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Paintings and Drawings of Paris

Gare du Nord

Gargoyles

Musee d’Orsay
Notre Dame
Paris Seine
Place des Vosges
Relaxing by the Seine
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Over 100,000 views!

Very pleased that my journal has now had well over 100,000 views and over 65,000 visitors. Thank you everybody. This encourages me to continue evading niches. Most views were for my poetry, then for my art and then for my politics. So it is proof that you don’t have to restrict yourself to one box.

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To Sir Charles Sedley

Sir Charles Sedley by Godfrey Kneller

Tame as we may appear to be, Brits are good at

Anarchy. Much appreciated are the japes

Perpetrated by St Trinian’s and the training

In revolt offered by that riot-prone establishment.

The Pistols got it right, and rough music

Spurs our charivari on – epitomised by Punch

And Judy. Fuck the system. Turn things upside-down.

Beat your pots and pans. Go rampaging

Through the streets. Scandalise the magistrates.

Model your role on that “Merry Gang”

Which included Rochester and Sedley.

From a tavern’s balcony in Bow,

Sedley and a pair of kindred spirits,

Shocked and delighted a crowd below

With blasphemous and obscene antics.

Sedley “showed his nakedness” – wrote Pepys.

As if he were from thence preaching

A mountebank sermon from a pulpit,

Sedley said he was there to sell such triturate

As should cause all the cunts in town

To run most hotly after him.

To prove it, Sedley chose to masturbate.

That being done, he took a glass of wine

And washed his prick in it.

Then drank it off, took another and drank

The King’s health. Nothing protects

Our emphatic right to be eccentric

More than our juries. They can acquit who they please.

And while some Lord Chief Justice

May opine that it is because of wretches

Like Sedley “that God’s anger and judgement

So hangs over us,” me, I don’t give a toss.

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Ode on Conflict

Conventional once more, Warfare can nevertheless

Take the world as her stage.  A period piece perhaps,

Featuring asymmetric tanks. Nostalgic gear

Of the Great War – what the Napoleonic ones were

To the Victorians. There in the national memory.

We thought nuclear deterrence safeguarded us

From another world affair. But we were wrong.

Anywhere can be the next proxy. Similar to the memory

Of abuse, the memory of war fascinates

Its victims. So should war be viewed as a trauma

The species suffers from, is indeed driven by?

Boots on the ground. The martial poetry of it all.

Now we have entered the labyrinth knotted for us by Thucydides.

We’ll lose the next. And most of us know it.

The Rakshas are the mob. They run things.

And they’ve taken over our votes, ridding us of our rights

As they might strip some starlet of her modesty.

War is a racket, yes. And like most rackets

Built on lies. Deterrence is too vast to put a stop

To missiles though. Back to the trenches. Now plus drones.

A murmuration of them fills the sky.

Why are we so driven to make enemies?

It’s the economy, stupid! Capitalism is based on

Consumption, and built-in obsolescence

Means you dump your fridge or stove or car

Or trainers, but what more quickly gets consumed

Than a bullet? Why, its very aim is to be fired.

Munitions are the best dish the system ever tasted.

No excuse. They have to be replaced.

To get Warfare started, you invest in propaganda.

Fear must generate nightmares for folks to get

Behind the effort necessary to ignite her.

So feed their paranoia, one flag at a time.

It gets to be addictive. We monitor its theatres:

Parasitic vultures peering through our screens

While people actually perish. Ah, but that’s

Entertainment. Killing enthrals us. Flight or fight

A mechanism which affects our animal reality

So that we move in lock-step towards some massive sacrifice

Believing that our puny act will bring the beast down finally.

It’s a bit like running a gambling joint filled with

One-armed bandits. Those guys and gals

Tugging away at their levers, they have to truly believe

That the jackpot will fulfil their wildest dreams.

As for the boss and his staff, they know their bonus giveaway

Is as nothing compared to what these bandits reap them in.

War is very chummy, see, with banditry,

Basically she’s ushered into play by the State behaving

As a criminal. And this keeps happening because

The State itself is staged. Yes, it’s a Shakespearian scenario:

Politician puppets glove the hands of the crooks

Who wield the actual power, endowed by the gains

From previous heists committed maybe centuries ago

By ancestors of those who stand to profit most from mayhem now.

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“I Do More Deeply” in The Exacting Clam

Very pleased to see this published finally in THE EXACTING CLAM MAGAZINE Issue 21

This text is called I do more deeply

Click on the link to read it. It was written in 1973-74 when I was invited to join the International Writers Program in the University of Iowa. So it was written more than 50 years ago! At the time I was engaged in systemic writing – composers Philip Glass and John White were friends of mine, and I wanted to see if I could do in literature what they were doing in music.

The text is a shortened version of a booklength piece called HOT DAMN – which is now a Heyzine book accompanied by my own drawings – contact me if you want the link to that complete text.

This shortened text was read by myself and two other very fine readers (a man and a woman) at my final presentation in Iowa. Each paragraph had a formula: one reader reading one sentence, the next reader reading two, say, and the third silent. Then there was a different formula for the next paragraph. There was a brilliant recording made of this – but that has disappeared. Dancers accompanied the reading.

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London Statuary

Boadicea
British Museum
Camel Corps
Demo
Italian Gardens
Peter Pan
Sir John Soan’s Museum
Wellington
William 111

See these images on SUBSTACK

See also Busts on Black

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Stravinsky for Pianola

The Paris Years by the Brothers Quay – brilliant animation and musical synchronisation.

The Brothers’ works from 1979 to the present show a wide range of often esoteric influences, starting with the Polish animators Walerian Borowczyk and Jan Lenica and continuing with the writers Franz Kafka, Bruno Schulz, Robert Walser and Michel de Ghelderode, puppeteers Wladyslaw Starewicz and Czech Richard Teschner and Czech composers Leoš Janáček, Zdeněk Liška and Polish Leszek Jankowski, the last of whom has created many original scores for their work. Czech animator Jan Švankmajer, for whom they named one of their films (The Cabinet of Jan Svankmajer), is also frequently cited as a major influence, but they actually discovered his work relatively late, in 1983, by which time their characteristic style and preoccupations had been fully formed.[4] In a panel discussion with Daniel Bird and Andrzej Klimowski at the Aurora festival in Norwich, they emphasized that a more significant influence on their work was Walerian Borowczyk, who made both animation shorts and live-action features.

Most of their animation films feature puppets made of doll parts and other organic and inorganic materials, often partially disassembled, in a dark, moody atmosphere. Perhaps their best known work is Street of Crocodiles (1986), based on the short story of the same name by the Polish author and artist Bruno Schulz. This short film was selected by director and animator Terry Gilliam as one of the ten best animated films of all time,[5] and critic Jonathan Romney included it on his list of the ten best films in any medium (for Sight and Sound‘s critics’ poll of 2002).[6] They have made two full-length live action films: Institute Benjamenta, or This Dream People Call Human Life (1996), produced by Keith Griffiths and Janine Marmot, and The Piano Tuner of Earthquakes (2005), produced by Keith Griffiths. They also directed an animated sequence in the film Frida (2002).

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Emptiness

Back

x

Lock

x

Overpass

x

Shed

x

The Works

x

See also ANATOMY OF EMPTINESS

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