BASED ON

bukowski_burning_in_Water_drowning_in_flame

‘in the madhouse a man kisses the walls

and dreams of sailboating down some

cool Nile’

I have this book open at page 93.

I don’t know why.

It could have been another page

even another book.

if it belongs here

IN YOUR CONSCIOUSNESS (you fool)

should you consider

finding a knife

and begin carving the letters

of the thing of tomorrow

on that table in front of you

we are all arms around the world

and we share the flesh

and it’s going to be hard to explain

why bukowski decided to write

‘the dark is empty;

most of our heroes have been

wrong’

it is opposite of the page: part II

of his book Burning in Water

Drowning in Flame

was he dissatisfied with the idols

that humanity has been able to cough up so far

was he frustrated with the incomplete answers

that savants have left after more than

2500 years

we are left in the dark

as to the reason he decided to title

part 3 of that book:

At Terror Street
and Agony Way

imagine writing

‘it was a splendid way in Spring

and outside we could hear the birds

that hadn’t been killed

by the smog’

as a subtitle to your third chapter

was he implying

that it’s a miracle

that the morning is not stained

with our mumbling

that the evening is not polluted

with our parades

 

the last page

the last three lines

state unequivocally

I will never understand men

but I have lived

it through

 

AND I UNDERSTAND HIM

BECAUSE HE NOW SLEEPS

LIKE PLASMA IN A

CLOUD OF  MEMORY.

ANTIPoetry

In this globe of mud I only found fables and seas*

metapoetry_2013

*The above expression
remains unclear to this
date. It is unknown
whether the author
intended it to be strictly
a metaphor or to be
taken literally in its
full consequences.
It has spurred a string
of speculation and debate
dividing opinions
into warring camps.
Some claim that it
was written in a state
of utter stupor and therefore
must be regarded as an aberration
of the unconscious. Others
argue that that the author
has pierced through the veil
of language and has given
us direct access to
the core of meaning.
Leading figures in the field
of semiotics have given
popularity to the notion
that the expression transcends
the use of its symbols
and signifies nothing
in itself.
Research into his biography
has only added enigmas
to the puzzle of the author’s
mysterious expression.
Until further discoveries
are made between the logical,
historical, metaphysical
and aesthetic relations
and order of the words
employed,
little guidance
can be given to the reader
as to the ultimate significance
of the author’s seemingly
unintelligible statement.

21st century Poetry