My corset of secrets
Is growing tighter
What was once a hug
Has become a noose
Tight
Too tight
I can't
B  R  E  A  T  H  E


Where some wear their corset
For the world to see
So that others may take some of their secrets
And loosen the strings,
I hide mine beneath my skin
And instead of giving the
S  T  R  A  N  G  U  L  A  T  I  O  N
To others,
I simply try to shrink my own lungs to make room


But sometimes
When I take too deep a breath
And my corset has become just a little
Tight
Too tight
I find that it may squeeze out my blood
And make my veins twist and shriek
Until they rip free of my body
And reach for a paper


Then my veins,
Bursting with secrets too tight,
Dance across the paper and
My blood forms words that my mouth never could
And all the secrets my corset held
Are released in a flurry of pain and
P  A  S  S  I  O  N


For that corset of mine
Has become just a bit
Tight
Too tight
To escape from
So it has tattooed my body with secrets
So hard to keep
And sometimes, when I climb into bed
And my ribs are cracking
It's easier to let my blood loose
Than to shed that cursed corset


The words of red
That stain the paper,
That's what I call poetry
That's what I call art
A way for  me to cut the strings
Even if only a little bit


Poetry comes from my
V  E  I  N  S
It comes pouring from my
B  L  O  O  D
Late at night
When my corset's too tight

Something is
simmering  *  
  ****      
His spice the stars*
His cologne heat up the
woods
Lips and taste boiling
The Green Irish Tweed
Epicurean love at
the Italian
Spice Epic Stadium

Here comes the
Sun the__?
Royal Mayfair
strikingly
My Fair Lady
The spice diction of words
Her name is Sage Lady Bird
You could feel her smile
shimmering

Carnal spice knowledge
Savory animalistic
Spice culture ******
Citrusy fancy dress
Not to panic
His Sunday gravy
Italian sauce garlicky  
She could win so pungent
Spicy lady Pagent

The poor stealing the
rich culture
Sage surrender like the Oz
Like Robin Hood

Spice of life this is our life
Top of the sea salt Spy
scouring
You better have a love
Like a deep pouring
Her Sage Genie bottle
on the stove
Her sheerness lascivious robe

The Meditteranean sea with
Four leaf clovers freeloaders
These cultures and eyes of
strength feature
There is no time to
break up for the love of a spice
Is this the human race
Fresh linens better company
What a primary
Oh! Hail Mary

Those ethnic spices
what a sensual smell
Sage pretty coffee cup show and tell
What a razzle top of her cake
The media takes over all
painted and swirled
Baked spicy finger she dialed

Through her locket heart sake
Recovered love reconciled
The Teddy Rosevelt or Chicago Bears
tight hugs of cultures

Hairy chest his smooth gestures
Culture rough and tough exterior

Like the smile beautiful mind
creature
Beyond to be seen
The Spices computer
world of devices
Strawberry fields forever
But what is forever more love
Crises

Do we always lose our stripes
Feeling layered with her cereal
Tony the tiger
Whats great about curses
Sage speechless can feel the
roar spicy mouth
Going South or North
Victorian corset sensual
Guity spice dark side of Goth
Hot desire from both
The pine needles
Christmas time
The mistletoe kissing pointing to the star
Wearing herself out with her
pointed pump shoe*
But losing her spirit what to
endeavor
*The Blue Horizon Spice Rub
The  pub the sky has no limits
to the Stars that twinkle
The Gods to their *****
Rip Van Winkle
Dry Vermouth or the Russian Roulette
French spice Crepe Suzette

"Adam I Apple Dante Jubilee
Eve was more like a neigh
Horse spicy slide Colonel Spicy mustard
Meeting General Lee Sage custard

Her handkerchief
with sage cut leaves
Hearing echoes what gives
Anyone's spice rack
of shoes engraves Sage leafs

Noone really knows for sure
She wore spice deep blue velvet
Jade Ring Brittish Colony
Stuck to her beliefs like a magnet

Eating vegetable and fish
Her best China ever find her dish

How the jade chandelier twisted
Became laughing like two musketeers
New York City love Serendipity
The Queen chair so domineer
'What Debutants"
Crazed like spices of mutants
The anger management getting
the evil out
The shoutbox strong clove spice
Sage was never outfoxed
Her **** jaded uniform
The firefighter Smoky the bear
  eyes of candlelight storm
didn't make it this year
Torn to tears like two
vultures of
the haunted night
He peddles fast
But the fear needs to disappear

Fresh lake smells fresh
as her breath
The culture and media
make tons of mistakes
She knows what she wants
Not a jungle of
poisonous snakes
He knows what he doesn't want
to tell her
Perhaps losing his
bark dog naps
The best part engage her on
Sage with a heart
The fruit her
flesh and blood
The blood on his finger
Her medicinal herbs
of China
The mason spice jar is empty
The full heart needs his half
Cream of the crop
Careless love accidentally
spice dropped
Sensual Chin like pine needles
The exception to the rule more leaders
Remember Every September
to leave your scent
We all have needs we want
Drinking all the flavors of Snapple
*Big waves of the ripple don't you
love her amazing dimples

It’s just easy for them
Isn’t it?
This couple on the train.
They walked on laughing together
Holding hands
And I felt that familiar something-
Not jealousy
Not envy
But...
Chagrin.
Astonishment.
Incredulity.
Incomprehension.
Looking at them feels like looking at one of those
Impossible pictures
Where the stairs keep going forever in a loop.
It’s just
Easy for them.

It doesn’t hurt anymore, that thought,
But thinking it feels so odd in my mind
When I can’t imagine loving someone without
Shame,
Without pain.
They fit.
These people,
They fit without having to carve anything out.
They fit without punishing each other.
They fit like puzzle pieces cut from the same board-
No worries, they just go together, and that
Is that.
They fit like
“Of course.”
Like breathing.
Neatly.
Simply.
Carelessly.

I can’t imagine what it’s like
I can’t comprehend it-
To fit
Somewhere
Much less to fit somewhere
With someone.
I am always trying to corset myself into this world,
Lungs burning,
Trying to remain small enough to squeeze by
Catching myself by the wrist to keep from reaching
For anything.
And if there seems to be a spot where I might be able to exist as I am

It is always

Occupied.

Like a shiny pinprick
That thought hurts-
Not like the others it is newly cut
And still ******.
The idea that maybe there is a home for me
And that maybe I was too late for it.

They’re laughing.
He says something clever,
Passes a hand along the small of her back
And she leans into it,
Smiling because she loves that he wants to touch her innocently.
They seem to exist behind glass.
Not for the first time I wonder
If I could just slip into that life
Like a drop into an ocean
I want it badly
I want it stupidly
And I examine all the parts of myself,
All the edges and cracks,
All the things I’ve worked so hard to protect and repair.
It is not a welcome sight-
I am not a home
I am like an old ruin
Full of murmurings and cold spots
Full of dusty sunlight.
I sigh,
Knowing the secret I keep so poorly-
That if I really had a choice to be otherwise
I would have already made it.

I couldn’t reach them if I ran for a thousand years,
They are too far away.
They walk off the train, arms linked
Talking about nothing
And I watch them go
Like a hallucination,
Like a mirage in the desert.

Her perfume smells like forgetfulness
And it lingers.

MY FROG MASTERS

How thoughtful were the rainfalls
To water our gardens and flowers
The flowers spread wide garments
To celebrate their terminal beauty

The joyful frogs occupied my pond
To orchestrate their vocal prowess
They taught me to take blind leaps
Like lightning bouncing in the skies

Squatted, stretched, beeped down
I was a millstone on the pond floor
My slippery pond mates wondered
How soft I was in the maritime arts

Mortally rescued in a muddy mood
The clouds sent in rescuing showers
To confirm my firm loss to the frogs
Like a grain of salt cast into the seas


673. MONEY BAGS IN THEIR BODY BAGS

The money bags shopping for their body bags
Waggled through the makeshift supermarkets

Their ancestral homes they plotted modernity
Like the general gathering fine forces together

To the villages they made to return with pride
Like pregnant elephants caught up in the mud

Their desolate villages are deep and sickening
Glowing flamingly in the crucibles of local gins

The dusty and gravy pathways are like furnace
Burning the leather off from their frozen souls

Traditional birth attendants cut off their cords
And zipped the money bags in their body bags

674. A GLORIOUS DAY

The new day spoke powerfully
Like a war making superpower
And his voice roared forcefully
Like the skies forced to shower

The sunrays came dynamically
Like love responding to silence
Beauty crawled in submissively
Like the mixed arts and science

One eagle soared energetically
Like lions feuding in the colony
Far clouds relocated peacefully
Like souls betrayed to harmony

The breeze sighed thoughtfully
Like horses galloping on the lea
Inspiration unfolded thankfully
Crowns monuments with a pea

675.  THE FOG BANK

The sun had gone to pay our bill in the fog bank
The world foggily crawled into the strong rooms
Darkness demonstrated her strong mindfulness
Provided for the strong gale with lurking shrieks

The black paint billers snowballed to our dreams
With the bill of exchange for wild sunny excesses
Ghostly bats emerged with the bill of indictment
In demonstration of our acrophobic dispositions

We packaged the sunrays for our folk memories
To reassure the day of our eternal followerships
We cherish our follow-throughs in our dark beat
To usher the sunlight out of the hollow fog bank

676. THE PROTRACTED INTERNECINE FEUD

These things had happened before we were born
Like sulphur deep into our fresh hearts they burn
Now we stumble on the bumpy terrains in horror
Like one frightened by ghosts in a standing mirror

The internecine feud has razed our men of valour
With their carcasses dumped in their cold parlour
Our community cattle graze in the barren pasture
Like the unrepentant sinners awaiting the rapture

For our plight the once glorious sky is grown pale
Like the ***** fetching territorial waters with pail
The storms have rolled off the catalogues for rain
All our efforts to mop up the mess end up in vain



677. THE AREA LEADERS

They cracked coconuts on the heads for the crown
And embraced our days with their castaway pollen
Sadness and sorrow have dyed our garment brown
With the strongest song sung when night has fallen

These are the blinding dusts from our barn’s grains
They breed cunning serpents in the soft pasturages
They are failed cargoes on our broad societal trains
They dedicate our common committee to outrages

Now our days seek deliverance from their tentacles
Like the colourful fields immersed in gloomy beauty
They play our eyeballs with the stenciled spectacles
With our consciences to sight and found us off duty

To rescue us the colossal clouds were born gadarene
Our communal life was willed to pageants of gaieties
Then moonlight stories held us for a larger gathering
Now all the objects we sight dress up like cold deities

678. THE LAST DESCENDANTS

The rapacious thunderstorms ***** the skies for their tears
The hot embers were born to glow mourning the late forest
The moon crawled out of the blue like a great grandmother
Cuddling her descendants wrapped up in her ancient shawls

The wild waves were weird weavers weaving withering wails
The captioned wigs gyrated on stunning shoes upon auctions
The little creatures crouched in primeval baskets of the night
To gnaw at the generational tubers in the creative farmlands

The dazzling specimens of dentitions relaxed in water basins
Like bright red artistic architectures on potent ocean boards
Golden hearts glow in the threatening prisms of the furnace
As beautiful sunset defines her beauties in her nightly corset

It had been a sweet pill for the past descendants to swallow
Depending on the colonial masters for loaves, lore and lures
Our creativity had been packaged in their mortal depravities
Like the tranquil days resting sorrowfully upon the dark oars

The centenarian thunders downgraded our minute whispers
We had been kept upon our toes by the eternally sworn foes
At last our worthy artworks have worn their wormy catwalks
The refreshed dawns greet our easting days in their greenery



679. VICTIMS IN THE VALLEY

The victims in the dark rally
Caged, dried and browning
Therein their meanings tally
With waves born drowning

In the depth of a cold valley
Horrible nobles are cultures
Like pilgrims in the dark alley
Willed to ravenous vultures

The victims all robed in tears
With hearts like potter’s clay
For pains they have no fears
Only mimed games they play

For victory awaits the victims
Alien to a blind mimed game
Glorious are eternal rhythms
For death Christ died to tame

680. THE GIANT SCARS

These are our giant threatening scars
Engraved on our demonstrative heads
Our sympathies crawled on superstars
Weeping for us on their moonlit beds

They threatened us with nasal sounds
Like thunderclouds seasoned to burst
For us their galleries are out of bounds
Behind the iron bars plagued with rust

Our patience passed their wildest tests
Like the lions roaring in the thick jungle
On the heart of the Lord our faith rests
Like numbers posted on the right angle

681.  A LADY

In a lady’s handbag
Is her hidden hunchback
Stuffed with her heart ache
For the pains relieving groom

In a lady’s tender smile
Is hidden miles of similitude
Marked with the zebra crossings
For the ever winning marathoner

In a tender lady’s heart
Is hidden her cowboy’s hat
Soaring within the white clouds
To soothe the earth with the latter rains

682. BRING BACK OUR GIRLS

Bring back our homesick girls
Their vacant cradles are bleeding
Bring back our innocent girls
On the chariots of fire descending

Bring back our suckling girls
Their feeding bottles are weeping
Bring back our infant girls
Their mothers’ ******* are heavy

Bring back our harmless girls
The united universe is thundering
Bring back our dewy girls
In the sharp sun rising in the skies

Bring back our beautiful girls
Like light plucked from darkness
Bring back our glorious girls
Aboard the shore-bound waves

Bring back our worthy girls
On their fresh faces our lights seek to glow
Bring back our living girls
Our fountains of joy are bubbling to burst

For our returned girls the skies shall bear
Roaring rivers, singing seas, chiming clouds
With gongs and songs, pianos and praises
Dulcet dulcimers and documentable dances
With healthy hymns and eloquent embraces
All nations shall into a common cathedral flow

683. ****** GENEOLOGIES

They electrify their demonic high tables with old fears
Only their ****** genealogies are bookmarked to reign
The sight of their portables whetted our eyes to tears
We are reinforced by the clouds born to the later rain

Our skins have renovated the sickening cattle wagons
With our dreams flying upon huge smokes in the skies
Beneath their tables we abridge their creaking jargons
Upon their floors with our generational landmark tiles

The dew drops dropped like old crops upon our brows
To soften the veils falling to the flaming edged swords
The flaming hearted sword of the penetrating sunrays
Born to pluck us alive from our hotly bandaged bruises

684. LET US SPEAK UP

The light is climbing downstairs
And danger is sprouting abroad
Our feet are listening for a word
Let us speak up lest they go deaf

The light is melted on the glades
And terror grazing our eyelashes
Our feet are listening for a word
Let us speak up lest they go deaf

The light is late and lately buried
The mourners are on danger list
Our feet are listening for a word
Let us speak up lest they go deaf

The light has divorced the grave
Her grave clothes are dew dyed
Our feet are listening for a word
Let us speak up lest they go deaf

Silence is a forgotten tombstone
Lost in the din of cold morticians
Our feet are listening for a word
Let us speak up lest they go deaf

685.  THE SUN

The sun smiles on all prescriptively
Like the waves spreading on shores
The green grass glows descriptively
Like the full moon upon dark sores

The sun is a tailor fixing the buttons
Preparing the sky for incoming stars
Like the weaverbird weaving cottons
To conceal the day’s damnable scars

The sun is a marker on diurnal pages
Tall grace he bestows on the flowers
The sun retains his graces for all ages
Bees and butterflies are his followers

Our common laughter is endangered
When sun bows down in big setbacks
All mortals have the starlets fingered
When the night comes on drawbacks

686. UNTIL HERE

(For Lou Lenart and his team)

Their floods came seeking Jewish bloods
Like streams they roared for our dreams
They emerged as columns of soldier ants
Like whirlwinds they zoomed towards us

Until here we were crumbs for the reptiles
Until here we were like airborne cloudlets
But here the sudden change unveiled to us
From here the elusive victory embraced us

With skeletal jets we fought like bold lions
Soared like eagles and spoke like thunders
We conquered columns of invading armies
The bleeding armies turned back and blank

From here we turned from victims to victors
From here enemies’ defeat our greatest feat
Upon this memorable bridge it all happened
Victories leapt upon our pool like joyful frogs

687.  JOY UNLIMITED

The fledging sun offers its rays
And the rays offer golden trays
For our joy a platform to spray
Rowdy paratroops like thunder
To scoop roses from pure oasis

Our joy is ripe upon celebrations
Our celebrations with decorations
Decorations with documentations
Documentations for all generations
Generations in our joyful habitations

688. ANOTER RAINING DAY

The dark clouds are wandering river basins
Spiral bounded by breakable outer casings
The rivers and the seas display empty cups
For the swift blessings descending the tops

The rains come as defense troops’ missiles
And the drowning lands look like imbeciles
Now we are groaning in the watered claws
With the liberated scales marking our flaws

The retreating clouds crawl away in a belch
Dumping the missing cargoes on the beach
The winds bow in a state of shock in a cord
Praying and fasting for a visit from the Lord

689. GRANDMOTHER

Grandmother, please wake and get up
The sky is quarreling with her husband
Soon they will spill their freezing sweat
On our bodies for us to catch dead cold

Grandmother, please sneeze not louder
The sky and her husband are quarreling
Soon they will send old floods like gales
To sweep mankind away from the world

Grandmother, you are everything I have
My moon, my sun and my morning stars
Provoke not the couples with your cough
Lest they refill their greasily wraths again

Grandmother, the big reptiles have come
With their lethal grandchildren following
They are laced with secret burial shrouds
With sympathetic tears tearing their eyes

Grandmother, I kiss you a shaky goodbye
With broken pains roaring within my soul
Grandmother, where are your groundnuts
To conduct my solo heart as you sing away

690.  A NIGHT WALK THROUGH THE FOREST

Lured away on an alluring dream by fables
I trudged along the grassy paths with fears
Upon my steps spilling the prevailing dews
The shadows bowed their heads in silence
Like the soul issued with a death sentence

The night crawlers emerged above boards
Throwing light upon contrary communities
In their hearts and eyes were painful tears
Crawling down their exaggerated eye *****
Like a handbag filled with rotten cosmetics

The shadows were bold animators’ shelves
Stage managing the horror motion pictures
In the ghostly commodities I met wild hosts
Lifeworks evaporated from my fresh breath
Like foreign tragedies in common comedies

The sorrowful shadows cast away their veils
Like the candles letting go of the weird wax
Sadly I sat in the sack for conflicting fetuses
Another sun appeared like a serial divorcee
Counting the testicles of another naked day

691.  SUBJECTIVE SUBJECTS

The sad sun descended upon her haunting melodies
Reeling from mysterious layers for electoral riggings
To harden the flowerbed for flower girls born tender
Disenfranchised voters came weeping in barren polls
Dressing the blank nest for the fat electoral parodies
With the mourners the faulty bells they came ringing
Like the angry water castigating a ****** port fender
And the smokes climbed upon their wide aerial poles
Arching over the emptied shelves with liberal singing
They subjected their subjective subjects to all objects

So you know you’re looking at two very different styles of dress, here. But precisely what decades? When did that waistline move back down? What details are the defining touches of their era? How long were women actually walking around with bustles on their backsides?

Lydia Edwards’s How to Read a Dress is a detailed, practical, and totally beautiful guide to the history of this particular form of clothing from the 16th to the 20th centuries. It tracks the small changes that pile up over time, gradually ******* until your great-grandmother’s closet looks wildly different than your own. As always, fashion makes for a compelling angle on history—paging through you can see the shifting fortunes of women in the Western world as reflected in the way they got dressed every morning.

Of course, it’ll also ensure that the next lackadaisically costumed period piece you watch gives you agita, but all knowledge has a price.

I spoke to Edwards about how exactly we go about resurrecting the history of an item that’s was typically worn until it fell apart and then recycled for scraps; our conversation has been lightly trimmed and edited for clarity.

The title of the book is How to Read a Dress. What do you mean by “reading” a dress?

Basically what I mean is, when you are looking at a dress in an exhibition or a TV show, reading it in terms of working out where the inspirations or where certain design choices come from. Being able to look at it and recognize key elements. Being able to look at the bodice and say, Oh, the shape of that is 1850s, and the design relates to this part of history, and the patterning comes from here. It’s looking at the dress as an object from the top down and being able to recognize different elements—different historical elements, different design elements, different artistic elements. “Read” is probably the best word to use for that kind of approach, if that makes sense.

It must send you around the bend a little bit, watching costume adaptations where they’re a bit slapdash. The one I think of is the Keira Knightley Pride and Prejudice, which I actually really enjoy, but I know that one’s supposed to have all over the place costuming-wise.

Yeah, it does. I mean, I love the BBC Pride and Prejudice one, because they kept very specifically to a particular era. But I can see what they did with the Keira Knightley one—they were trying to keep it 1790s, when the book was written, as opposed to when it was published. But they’ve got a lot of kind of modern influences in there and they’ve got a lot of influences from 30, 40 years previously, which is interesting to an audience and gives an audience I suppose more frames of reference, more areas to think about and look at. So I can see why they did that. But it does make it more difficult if you’re trying to accurately decode a garment. It’s harder when you’ve got lots of different eras going on there, but it makes it beautiful and interesting for an audience.

The guide spans the 16th to the 20th century. Why start with the 16th century?

Well, partly because it’s where my own interest starts, in terms of my research and the areas I’ve looked at. But more importantly in terms of audience interest, we get a lot of TV shows, a lot of films in recent years—things like The Tudors—that type of era seems to be something that people are interested in. That time is very colorful and very interesting to people.

And also because in terms of thinking about the dress as garment, obviously people wore dresses in medieval times, but in terms of it being something that specifically women wore, distinct from men’s clothes, I really think we start to see that more in the 15th, 16th century onwards.

Where do you go to get the historical information to put together a book like this? What do you use as your source material? Because obviously the thing about clothing is that it has to stand up to a lot of wear and tear and a lot of it doesn’t survive.

This is the other thing about the 16th century stuff—there’s so little surviving. That’s why that chapter was a lot shorter and also that’s why I used a lot of artworks rather than surviving garments, just because they don’t exist in their entirety.

But wherever possible, you go to the garments themselves in museum collections. And then if that’s proving to be difficult, you go to artworks or images, but always bearing in mind the artist will have had their own agenda, so they won’t necessarily be accurate of what people were actually wearing. So then you have to go and look up written source material from the time—say, diaries. I like using letters that people have written to each other over the centuries, describing dress and what they were wearing on a daily basis. Novels can be good, as well.

Also the scholarship that has come before, the secondary sources, works by people like Janet Arnold, Aileen Ribeiro. Really well researched scholarly books where people have used primary sources themselves and put their own interpretation on it can be really, really helpful. Although you take some of it with a pinch of salt, and you put your own interpretation on there, as well.

But always to the dress itself wherever possible.

What are some of the challenges you face, or the constraints on our ability to learn about the history of fashion?

Well, the very practical issue of trying to see garments—some of them I did see here in Australia, but a lot of them were in the States, in Canada, in New Zealand, so it’s hard to physically get there to see them. And often, even when you can get to the museum, garments are out on loan to other exhibitions or other museums. That’s a practical consideration.

But also, especially when I’m talking about using artworks and things, which can be really helpful when you’re researching, but as I’ve said they do come from a place where there’s more interpretations and more agendas. So if someone’s done a portrait and there’s a beautiful 1880s dress in it, that could have been down to the whims of the person who was wearing it, or the artist could have changed significantly the color or style to suit his own taste. Then you have to do extra research on top of that, to make sure that what you are seeing is representative.

It’s a fascinating area. There’s a lot of challenges, but for me, that’s what makes it really exciting as well. But it’s really that question of being able to trust sources and knowing what to use and what not to use in order to make things clear for the audience.

Obviously many of these dresses were very expensive and took a lot of labor and it wasn’t fast fashion—people didn’t just give it away or toss it when it fell out of season. A lot of times, you did was you remade it. When you’re looking at a dress that’s been remade, how do you extract the information that you need as a historian out of it?

I love it when something like that comes up. I’ve got a couple of examples in the book.

Well, it can be quite challenging, because often when you’re first looking at a piece it’s not obvious that it’s been remade. But if you’re lucky enough to look inside it and actually hold it and turn it round different angles, there’ll be things like the placement of a seam, or you’ll see that the waist has been moved up or down according to the fashion. And that’s often obvious when you’re looking inside. You can see the way the skirt’s been attached. Often you can tell if a skirt’s been taken off and then reattached using different pleats, different gatherings; that can give you a hint that it’s then been remade to fit in with a different fashionable ideal.

One of the key ways is fabric. You can often see, especially in early 19th century dresses when they’ve been made of these beautiful 18th century silks and brocades. That’s nice because it’s the first obvious clue that something’s been remade or that an old dress has been completely taken apart and it’s just the fabric that’s been used. I find it particularly interesting when the waist has been moved or the seams have been taken off or re-sewn in a different shape or something like that. It can be subtle but once your knowledge base grows, that’s one of the most fascinating areas that you can look at.

You page through the book and you watch these trends unfold and there are occasional sea changes will happen fairly quickly, like when the Regency style arises. But how much change year-to-year would a woman have seen? How long would it take, just as a woman getting dressed in the morning, to see styles just radically alter? Would you even notice?

Well, this is the thing—I think it’s very easy, when we’re looking back, to imagine that in 1810 you’d be wearing this dress and then all the frills and the frouf would have started to come in the late 1810s and the 1820s, and suddenly you would have had a whole new wardrobe. But obviously, unless you were the very wealthiest women and you had access to dressmakers who had the absolute newest patterns and newest fabrics then no, you wouldn’t have seen a massive change. You wouldn’t have afforded to be able to have the newest things as they came in. You would have maybe remade dresses to make them maybe slightly more in line with a fashion plate that you might have seen, but you wouldn’t have had access to new information and new fashion plates as soon as they came. To be realistic, there would have been very little change on a day to day level.

But I think also, for us now—it’s hard to see it without hindsight, but we feel like we’re fairly fluid in wearing the same kind of styles, but obviously when we look back in 20 years, we’ll look at pictures of us and see greater changes than we’re now aware. Because it happens on a slow pace and it happens on such a subconscious level in some ways.

But actually, yeah, it’s to do with economics, it’s to do with availability. People living in towns where they couldn’t easily get to cities—if you were living in a country town a hundred miles away from London, there’s no way that you would have the resources to see the most recent fashion plates, the most recent ideas that were developing in high society. So it was a very slow process in reality.

If you have a lot of money you can change out your wardrobe quicker and wear the latest styles. And so the wealthiest people, their clothes were what in a lot of case stood the best chance of surviving and being in modern collections. So how do we know what working women would have worn or what middle class women would have worn?

Yeah, this is hard. I do have some more middle class examples, because we’re lucky in that we do have quite a few that have survived, especially in smaller museums and historical collections, where people have had clothes sitting in their attics for years and have donated them, just from normal families over the years.

But, working women, that’s much more difficult. We’re lucky from the 19th century because we have photographic evidence. But really a lot of it will come down to written descriptions, mainly letters, diaries, not necessarily that the people themselves would have kept, but there’s examples of people that worked in cotton mills, for instance, and people that ran the mills and their families and wives and friends who had written accounts of what the women there were wearing. Also newspaper accounts, particularly of people who would go and do charity work and help the poor. They often wrote quite detailed descriptions of the people that they were helping.

But in terms of actual garments, yeah, it’s very difficult. Certainly 18th century and before, it’s really, really hard to get hold of anything that gives you a really good idea of what they wore. But in the 18th century—it’s quite interesting, because then we get examples of separate pieces of clothing worn by the upper classes, like a skirt with a jacket, which was actually a lower middle class style initially and then it became appropriated by the upper classes. And then it became much fancier and trimmed and made in silks and things. So then, we can see the inspiration of the working classes on the upper classes. That’s another way of looking at it, although of course that’s much more problematic.

It’s interesting how in several cases you can see broader historical context, or other stories happening through clothes. Like you point out that the rise of the one-piece dresses is due to the rise of mantua makers, who were women who were less formally trained who were suddenly making clothing. Are there any other interesting stories like that, that you noticed and thought were really fascinating?

There’s a dress in the book that a woman made for her wedding. I think she was living on her own, or she was living with a servant and her mother or something. She made the dress and then turned up to her wedding and traveled quite a long way to get there, and when she arrived, the groom and all the guests weren’t there. There was nobody. So she went away and came back again a week later, and everyone was there. And the reason that no one was there before was that a river had flooded in the direction that they were all coming from. She had obviously no way of finding out about this until after the fact, and we have this beautiful dress that she spent ages making and had obviously gone to a lot of effort to try and work out what the latest styles were, to incorporate it into her wedding dress.

Things like that, I find really interesting, because they talk so much about human and social history as well as fashion history, and the garment is the main way we have of keeping these stories alive and remembering them and looking into the kind of life and world these people lived, who made these garments.

Over the centuries, how does technology affect fashion? Obviously, we think of the industrial revolution as really speeding up the pace of fashion. But are there other moments in the history of fashion where technology shapes what women end up wearing?

One example is where I talk about the Balenciaga dress from the early 1950s—with a bubble hem and a hat and she would have worn these beautiful pump shoes with it—with the introduction of the zipper. Which just made such a huge difference, because it suddenly meant you’d have ease and speed of dressing. It meant that you didn’t have to worry about more complicated ways of fastening a garment. I think the zipper made a massive change and also in terms of dressmaking at home, it was a really quick and simple way that people had of being able to create quite fashionable styles on a budget and with ease and speed at home.

Also, of course, once women’s dress started to become simpler and they did away with the corset and underwear became a lot less complicated, that made dressing a lot easier, that made the introduction of the bias cut and things that sit very closely to the natural body much more widely used and much more fashionable.

I would say the introduction of machine-made lace as well, particularly from the late 19th, early 20th century onwards where it was so fashionable on summer dresses and wedding dresses. It just meant that you could so much more easily add this decadent touch to a garment, because lace would have been so much more expensive before then and so time-consuming to make. I think that made a huge difference in ordinary women being able to attain a kind of luxury in their everyday dress.

That actually makes me think of something else I wanted to ask you, which is you point out in your intro the way we casually use this word “vintage.” I think about that with lace. Lace is described as being a “vintage” touch but it’s very much this question of when, where, who, why—it’s a funny term when you think about it, the way we use it so casually to describe so much.

Oh, yes. It’s crazy. I used to work in a wedding dress shop and I used to make historically inspired wedding dresses and things. And brides used to come in and say, “Oh, I want something vintage.” But they didn’t really know what they meant. Usually what they meant is they wanted something with a bit of lace on it, or with some sort of pearls or beading. I think it’s really inspired by whatever is trending at the time. So, you know, Downton Abbey became vintage. I think ‘50s has always been kind of synonymous with the word vintage. But what it means is huge,

I was in trouble
And oh boy did I know it
I came home drunk last night
the hangover showed it

As I crawled out of bed, headache splitting my eyes
I saw my wife with that "I love you but I'm going to **** you" vibe,
but she held it in and on her face a look of concern was her guise

I hurled for about an hour
then my stomach settled down
I looked for my wife
but she was nowhere to be found
I drank some water, and soon after hit the floor
before I slipped into unconsciousness
I saw my wife come through the door

I woke up, and took in my surroundings
I was in a dark , medium sized room
caged in, and the floor was concrete..
And in walked my wife, with a crop and a corset on that hourglass body, she looked ready for a pounding

I wondered.. what the hell was going on?
how did she know I wanted to try this...
when did I let it on?
She walked into the room, I was tied to the bed,
but before whacking me, she surveyed me instead
She walked slowly around me
My eyes drinking in her features,
She whacked me in my chest and said
Look here boy, I'm going to tease you

She slid the corset down, showing one ****** off,
I was now hard where I once was soft
She licked herself slowly
Me getting aroused all the more
I knew my wife was the experimental type
but even she didn't know what was in store

She slid those ******* down
My God she was so wet
She slid her finger inside and said
"Nope, you can't have this yet"
I shook with anticipation. Pleading with her through my eyes
She remained adamant and continued weaving an arousing web, all truth here, I can't tell any lies.

She slid my pants off my legs
And threw them to the floor
She got on top of me and yelled
today you're my personal manwhore!
with that I found myself inside,
bouncing on my cxck
I had never seen her this aggressive
it came off as quite a shock

After an hour and hundreds of welts later
it Appeared she was done with me
that's when she layed next to me and whispered

"Happy Anniversary"!

If only your skin was a lighter shade
Here, this bleach might come to your aid
If only your lips weren't so full
Maybe the boys would like you at school
If only your hair wasn't so *****
Here's some caustic chemicals to make it more slinky
If only your ******* weren't so large
Here's the number to a surgeon, call and see what they charge
If only your waist was smaller (just a few inches)
Here's a corset, see how tiny it cinches?
If only your *** wasn't so round
How 'bout you run some laps to lose a few pounds?
If only you'd get your nose out of books
I bet you'd garner more stares for your looks
If only you'd change your curious personality
I hear the masses prefer banality

If only you'd see me for me
Do you know how content I'd be?
If you can't do that
Then leave me be.

WHEN Kylie Minogue began the process of tracking down 25 years of costumes and memorabilia for an exhibition on her (literally) glittering stage career, she had one crucial call to make.

“There were a few items the parentals were minding,” laughs Minogue. “I, too, do the same thing as everyone else: ‘Mum, Dad, can you just hold onto a few things for me?’ It’s just lucky they weren’t turfed out from under their watchful eye.”

Kylie On Stage is the singer’s latest collaboration with her beloved hometown’s Arts Centre Melbourne. She’s previously donated a swarm of outfits to the venue, going all the way back to the overalls she wore as tomboy mechanic Charlene on Neighbours.

This new — and free — exhibition rounds up outfits starting from her first-ever live performances on 1989’s Disco in Dream tour. Still aged just 21 and dismissed by some as a soap star who fluked a singing career, Minogue found herself playing to 38,000 fans in Tokyo, where her early hits “I Should Be So Lucky”, “The Loco-motion”, “Got To Be Certain” and “Hand On Your Heart” had made her a superstar.

“From memory, I was overexcited and didn’t really know what I was doing. I just ran back and forth across the stage,” says Minogue of her debut tour.

Disco in Dream also premiered what would become a Kylie fashion staple: hotpants. “Those ones were more like micro shorts, not quite hotpants, but they started it,” she admits. “There were also quite a few bicycle pants being worn around that time, too, I’m afraid.”

That first tour stands out for one other reason: Minogue officially started dating INXS’s Michael Hutchence at some point during the Asian leg.

“I had met Michael previously in Australia, but he was living in Hong Kong [at the time] and I met him again there. The tour went on to Japan and he definitely came to visit me in Japan.”

Fast-forward from Minogue’s very first tour to her most recent, 2015’s Kiss Me Once, and the singer performed a cover of INXS’s “Need You Tonight”. She remembers first hearing the song as a teenager. “I don’t think I really knew what **** was back then,” notes Minogue. “But that’s a **** song.”

Before the Kiss Me Once tour kicked off, the Minogue/Hutchence romance had been documented in the hit TV mini-series Never Tear Us Apart: The Untold Story Of INXS. Minogue said then it felt like Michael was her “archangel” during the tour — “I feel like he’s with me.”

Her “Need You Tonight” costume was also deliberately chosen to reflect what Minogue used to wear when she was dating the rockstar. “It was a black PVC trench coat and hat,” she says. “I loved that. It just made so much sense for the connection to Michael. I literally used to wear that exact same kind of thing, except it was leather, not PVC.”

By 1990, Minogue’s confidence had grown, something she’s partially attributed to Hutchence’s influence. Before her first Australian solo tour, she performed a secret club show billed as The Singing Budgies — reclaiming the derisive nickname the media had bestowed on her. It would be the first time her success silenced those who saw her as an easy target. Next year marks her 30th anniversary in pop; longevity that hasn’t happened by accident.

Minogue’s career accelerated so quickly that by 1991 she was on her fourth album in as many years and outgrowing her producers, Stock Aitken Waterman, who wanted to freeze-frame her in a safe, clean-cut image.

On 1991’s Let’s Get To It tour of the UK, Minogue welcomed onboard her first major fashion designer — John Galliano. He dressed her in fishnets, G-strings and corsets; the British press said she was trying too hard and imitating Madonna at her most sexed-up.

“Of course those comparisons were made, and rightly so. Madonna was a big influence on me,” says Minogue. “She helped create the template of what a pop show is, or what we came to know it as, by dividing it up into segments. And if you’re going to have any costume changes, that’s inevitable.

“I was finding my way. I don’t think we got it right in some ways, but if I look back over my career, sometimes it’s the mistakes that make all the difference. They allow you to really look at where you’re going. I’m fond of all those things now. There was a time when I wasn’t.

“Now I look back at the pictures of the fishnets and G-strings I was wearing ... Maybe the audience members absolutely loved it, maybe they were going through the journey with me of growing up and discovering yourself and your sexuality and where you fit in the world.”

As the ’90s progressed, Minogue started experimenting with the outer limits of being a pop star, working with everyone from uber-cool dance producers to indie rocker Nick Cave.

Her 1998 Intimate And Live tour cemented her place as the one thing nobody had ever predicted: a regular, global touring act. Released the year prior, her Impossible Princess album had garnered a credibility she’d never before enjoyed. But more credibility equalled fewer record sales.

The tour was cautiously placed in theatres, rather than arenas. Yet word-of-mouth led to more dates being added — she wound up playing seven nights in both Melbourne and Sydney, and tacking on a UK leg. All received rave reviews.

The production was low-key and DIY: Minogue and longtime friend and stylist William Baker were hands-on backstage bedazzling the costumes themselves. The tour’s camp, Vegas-style showgirl — complete with corset and headdress — soon became a signature Kylie look, but it was also one they stumbled across.

“I remember the exact moment: the male dancers had pink, fringed chaps and wings — we’d really gone for it. I was singing [ABBA’s] “Dancing Queen”. I did a little prance across the stage and the audience went wild. I thought, ‘What is happening?’ That definitely started something.”

Then came the “Spinning Around” hotpants. Minogue couldn’t wear the same gold pair from the music video during her 2001 On A Night Like This tour — they were too fragile — but another pair offered solid back-up.

“That was peak hotpant period,” says Minogue. “Hotpants for days.”

After the robotic-themed Fever 2002 tour (featuring a “Kyborg” look by Dolce & Gabbana), 2005’s Showgirl tour was Minogue’s long-overdue greatest hits celebration.

Following a massive UK and European run, her planned Australian victory lap was derailed by her breast-cancer diagnosis that May. Remarkably, by November 2006, Minogue was back onstage in Sydney for the rebooted Showgirl: The Homecoming tour.

“I look at that now and I’m honestly taken aback,” she admits. “It was so fast — months and months of those 18 months were in treatment.”

Minogue now reveals her health issues meant she had to adjust some of the Showgirl outfits: “I was concerned about the weight of the corset and being able to support it. I was quite insecure about my body, which had changed. For a few years after that I really felt like I wasn’t in my own body — with the medication I was on, there was this other layer.

“We had to make a number of adjustments,” she adds. “I had different shoes to feel more sturdy ... It was pretty soon to be back onstage. But I think it was good for me.”

The singer’s gruelling performances involved dancing and singing in corsets, as well as ultra-high heels and headdresses that weighed several kilos.

“A proper corset, like the Showgirl tour one, is like a shoe,” she explains. “It’s very stiff when you first put it on. By the end of the tour it was way more comfortable. The fact it made it quite hard to breathe didn’t seem to bother anyone except for me. But it was absolutely worth it. I felt grand in it.

“It took a while to learn how to walk in the blue Showgirl dress,” she continues. “I had cuts on my arms from the stars that were sticking out on pieces of wire. You’re so limited in what you can do. You can’t bend your head to find your way down the stairs.

“Whether it was the Showgirl costume or the hotpants, or the big silver dress from the Aphrodite tour [in 2011] that was just ginormous, they all present their own challenges of how you’re going to move and how you’re going to do the choreography. There are times the costume can do that [figuring out] for me; other times I really have to wrestle with it to do what I need to do.

“But you’re not meant to know about that,” she adds, “that’s an internal struggle.”

Minogue has spent much of 2016 happily off the radar, enjoying the company of fiancé Joshua Sasse, 28. She gets “gooey” talking about her future husband, whom she met last year when she was cast opposite him in the TV musical-comedy series Galavant. He proposed to Minogue last Christmas.

Just like the “secret Greek wedding” that was rumoured but never happened, reports of summer nuptials in Melbourne are also off the mark.

“I hate to let everyone down, but no,” she says. “People’s enthusiasm is lovely, we appreciate that, but there are no wedding plans as yet. I’m just enjoying feeling girly and being engaged.”

Minogue will be in Queensland next month filming the movie Flammable Children. The comedy, set in 1975, features her former Neighbours co-star Guy Pearce and is written and directed by Stephan Elliott (The Adventures Of Priscilla: Queen Of The Desert ).

“It’s Aussie-tastic,” laughs Minogue. And she is also planning a sneaky visit to check out her own exhibition when she’s back in Melbourne.

“I’ll probably try to move things around the exhibition,” she says. “And they’ll probably tell me off: ‘Who’s that child playing with the costumes?’”Read more at:http://www.marieaustralia.com/formal-dresses-sydney | www.marieaustralia.com/formal-dresses-2016

The only consistent thing having my back is my corset
always try to build connections but will never force it
I have come to peace with oneness, I know its all about how I perceive aloneness
Cannot say that some days I do not sway
Teardrops mimic the rains, falling falling away
Each day different energy to conquer
An ambitious rida like my anthem by Tupac Shakur
Summer perfumed memories making me hate the chilly breeze
Such a beautiful array of colours but my mind is stuck on green
Memories of the nights we laid underneath the moon's eyes
Everyday communication through the 3 and 5-D
Forget how much I loved my own eyes, vivid green that can pierce through lies
Hips blessed with the holy fruit of the divine
With you and without everyone I will continue to thrive
As long as I can inhale., I will thrive
As long as my hands are mine to control, I will express my thoughts on my mind
As long as my spine allows, I will climb that mountain no doubt
Always extending the lands I have touched.

Tommy passing Nana’s room
hears her say
can you help me
with my corset?

sure
he says
walking into her room
a cigarette hanging

from the corner
of his mouth
what do you want doing?
he asks

can you pull it tight for me?
and she offers him
the two corset strings
and he take them

between his fingers
and gives a pull
she breathes in
and holds it there

her arms by her side
her face vacant
as if she’s awaiting
something to happen

her mouth slightly open
he holds the strings tight
studies her eyes
the curl of hair

the way her mouth is open
her arms by her side
thinking how beautiful she is
how he’d not noticed before

smelling her perfume
trying to place
the make and kind
that’s it

she says
can you tie it there?
sure
he says and ties the strings

behind her back
his nose a few inches
from her naked shoulder
breathing in her scent

wanting to kiss the flesh
the neck
the ear
to put his hands

upon her hips
that’s done
he says
tight as a miser’s purse

thank you
she says
that’s much better
and kisses his cheek

and says
aren’t you the man
from upstairs?
yes that’s right

he says
do you play the saxophone
that I hear?
yes the alto sax

he mimics a saxophone
with his hands
and runs his fingers
along imaginary keys

usually I’m taking a bath
when I hear you
she says
or lying in bed

your sounds sinking
through the ceiling
oh sorry if it disturbs
he says

gazing at her small ****
under the cloth
I love the haunting sounds
she says

they sound so sad
as if your soul
were speaking
or calling from across

an abyss
he gazes at her neck and chin
her moving mouth
the pink of tongue

the sparkling eyes
yes
he says
that wide abyss

wanting to hold her tight
and place
upon her moving lips
a hot lips kiss.

Candle Magick
A Poem by Corset


My Latina Coworker
sat across from my desk;
heartbroken that her lover
wanted to try again with his wife;
pulled out a brown paper sack
and asked me if I believed
in hummingbird candle magick,
and then proceeded to tell me
how to cast a love spell.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

I told her I believed
in the power
of mind to shape her
universe.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Two days later she's snap
chatting her married lover
again, has been unblocked
and has now switched
to candles of *******.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

My dog has diarrhea
and is blowing holes
through the walls of her
crate,
I must have lit the
wrong kind or color
of candles.

© 2015 Corset

What is so important to address
something to react to the illumine
fruity to their balance sips like
a goldmine
He sways passed you and trips
Rose Poumedeur right near your* lips

Both stumbling and boasting over her
imported wine dress

The swinging parasol his cork topped
delights
Those imported by his number nights
Cabernet Sauvignon
Hooked to there eyes
Million stars to lift
Her petite waistline
Like heartline of Valentine
wine felt dresses

Outnumbered you by four words
The strenuous tiresome love-wine
Be mine the stargaze* dazing inside the sunsets
So bottled inside her mission
His love how it aged in her
in  a good retrospect like
Deep cherry confessions

The import from a trade surplus
She got overlooked got flown in place
like a sticker
The smart star- reservation 
 high-demand book
To seek her

What a chemistry  love- hands creation
She's the many vintage dresses A plus
The pouring of wine of many fusions
The cloudy dress is a minus illusion

She learned her entire lesson
How many times she was moved
around like musical  I tunes of wine
CD collection of Rennaisance
Battling like the fort chair
But someone was moved by her Jazz
type of hair
My lesson my wish was on hold
the mission cruise of the impossible dress
Getting weaved inside someone's
powerful suite but the best suite
and stay
The Fort William Henry until this day
The Fort William Henry Hotel like no
other sorts and what sports

Japan imports 77.8 billion exports
more than imports
Lackadaisical called the
breath of sunshine
The daisy sundress sitting on the
veranda with Fort Williams and the
Henry the eight I am children

I've been sunbathing looking at the boat
The Minne Haha thinking of MaMa
Someone was singing like Lady GAGA

The matter of great expression of words
Hummingbirds at Lake George
Picking the best birth of seeds
Imported wine what our heart needs
Rising demands of the meat
like the paradise of lovebirds
Her dress was to heal the world
Those wildflowers were the
sort of thing silence is the  best thing
Somehow not the hype of the bling
or diamond ring
Sometimes the Goddess
sun shines more

Making her feel loved to sing
Her dress had the gimmick to move
What a rural fun tree orange grove
Like the referee wine shopping spree
Everyday people were moved by her
gift of imported wines
Her gravity of smiles he's mine
Her face steams like the highest
light beam very well bred and fine
The long winding trail her
corset gown
Started to make head waves to the
higher forces
So enlightening the lakes
such cascades
Those wine deep waves romantic
To prelude to a kiss the Cosmic
The Islander-border lace her face
To love and honor her more

Not necessarily less that
divine moment
We should never miss
Lake George rippling waves
On her outskirts

Princess Kelly cheese Italian wine
Naples deserts
The evergreen  long dress
Shined your Highness the
Roman pillars
How he grabbed her waist dancing
like the Gatsby
Gave her such splendor everlasting sip
But the imported wine was deeper

To Set up the date
To Make- the wine up
In the cellar aged hours to perfect
What a stir over her dress-up deep ruby
wine start to pour end
of a new beginning
subject
To book the trip Lake George New York
All you had to do

Go to the Fort William Henry
Hotel like a home with family
So many friendly faces with smiles
All you have to do is show up

I woke up to the sound of a train and it was raining. I might be dreaming.
My mom has always loved
the sound of a train and here I am in someone else’s bed thinking
about how much I love the taste of blood and the smell of sweat.
My plant has a pulse but my eyes might
be playing tricks on me, I have a way of forgetting to separate my dreams
from reality. Sometimes
I share too much of myself with people too soon. I told
him that my grandma had green eyes
and that’s where I got mine and that I’ve got nightmares that test
my patience night after night
with grotesque new realities on display before my eyes
and that my nails are stained from pomegranate and that
I got straight As and I told him to bite me because
I like it
but I shouldn’t have said it all so soon.
When I’m hurtling home in my metal death trap
powered by explosions I take pictures of the sky to show myself that
I’m alive and beauty is only here now and a deer
could leap or someone could swerve and ****
me or the airbag could rip off my jaw and I’ll
spend my life bearing my ******* way that I didn’t intend. I’m the writer
with no jaw that everyone reads out of pity and to get a glance
in the windows of a ******’s life.
When I wake up my jaw is still there
but I’ve been clenching it again.
No adderall, no *******, no caffeine, just the pressure
I put on myself and the weight of life knotting up the muscles in my back
until my ribs start to tighten and constrict my breathing so I pull at the ribbons
laced up and down my sternum
but it is too late and the bone corset pulls me in,
pulling pulling pulling until
my organs burst out of my skin.
He tells me,
“You’re hard to read, you know.” I giggle
but I find it tough to explain the rich cascade of emotions that are tied
to the lunar tides and make me crave coffee at midnight in terms
that don’t make me sound completely crazy.
Well, tonight I am eating dinner and attempting to read while the television
babbles at me from another room
about something I don’t need to hear but I hear
a cracking sound and my teeth are sharp and jagged and crumbling
as I run my tongue across them. I wake up sweating.
When it was sunny I bought socks from the little girl section and I drenched myself in perfume. Later on we were drinking chai tea
and getting *****, so I **** on your fingers
while you choke me and in the morning you make pancakes
and I eat it
but I’m afraid of the flour and the substance because it rises up
under my skin and collects in unwanted pools on my body.
I shouldn’t have drank any beer but
I had three
and I spilled my secrets the second I felt the warmth of trust.
God ******* ****.
I drive in silence.
The poster’s eyes have been following me
all night and I don’t know if it is a matter of perspective
or some delusion convincing me that I’m not alone
word vomiting on notebooks and textbooks and gushing
piles of words onto my comforter. I pictured
growing a human being inside of me and my heart
started trying to run from my chest
I scared myself into an anxiety attack
picturing years flashing before me. Before I told him
that I’m not like most girls
he kissed my forearms
and then he kissed my neck. Maybe I’m crazy for believing in astrology but
last night I was hearing your moans
as roars like the lion you are purring, nuzzling me
until you fell asleep and I remembered
being five and wishing I was Belle, marrying the beast. I don’t know.
I don’t know if I’m crazy.
I kept losing my earring in your bed like I secretly wanted to leave something more tangible than my scent or stray blonde hairs for
you to find and remember me by. I think you like me too much and I’m
afraid of what you’ll find when you get in my mind and see the battlefield
that rages inside of a pretty head.
I used to see the world with the eyes of a child but today I feel like I’m senile and looking at the world from the future and dissecting the past
because I lost track of time again and no one knew where I was for seven hours. I might have been wandering but I think I was asking
a fruit fly for directions when she flew into my pupil and laid eggs on my optic nerve causing the light to fraction
and my thoughts to be projected onto the wall ahead.
People passing by could see it all streaming out of me,
every emotion, every desire, every fear and every image,
even the smoking **** on the cement
from when he left got stuck on my screen
and the dream I had the night before
about a man with gigantic hands
and a woman shielded her eyes
as I thought about the way you use your tongue on me. When I finally
stumbled home the projection had stopped
but the maggots had started and I stared at the mirror
and branded myself with the word ugly.
The pill is folded in the dollar and I whack it with a lighter,
the white shards scatter out and I lay the bill flat and crush crush crush
until the powder is free of chunks. One two three
making ten perfect lines, five on each side and my nostrils are on fire.
I **** smoke from a pipe and get so high that my entire face feels like melting
off and I’m so determined to sleep that I can’t
and I anticipate
gritty dreams but I never drift off.
Three glasses of white wine later I drive to his house and I can hear the train hitting the breaks while we throw empty beer bottles at the moving cars
from the roof of a crooked house. And then, the willow tree
draped over the train tracks
grabs the wind with her branches and she summons
sheets of rain that come blasting down.
I’m afraid of heights and I’m not sure why but I think falling
from the apple tree at age thirteen was the first time I realized that
bones break and they never heal the same way and my hands are shaking but

I stay on the wet roof with you and I let myself melt into this
momentary reality.

Stalingrad- Germany wanted control,
But they weren't going to get it. Silly men,
Unaware that they would freeze to the bone
In those harsh Russian mountains.
Is oil worth it?

Torch- the British thought it was a simple plan.
It was, but barely. The soft underbelly,
The Mediterranean to France, through Italy?
Kick the Axis out of North Africa?
Piece of cake.

D-Day- a finale? Maybe. The ships and planes at the ready,
A possible surprise. Parachutes
And men on foot storming the beaches of Normandy.
Shots fired, push east where they belong.
Coming from the North and South. Cinch like a corset
Strings are drawn against the axis.
Good luck holding up your empire in this day and age.

Once at the guillotine

Now an out-of-focus angel

"Crime is shame, not the scaffold!"

She's got a '45 strapped

To each of her thighs

Speaks French with a Martian accent

Wishes she was a siren

When bathed in happy thoughts

Wishes she was the ladybird

When her wings

Confuse amuse transfuse

Into dreams of blood

Lukewarm prisoner

Detained for seven years

Now lies beside her

Asking for a helping hand

She loosens her corset

But tightens her grip

A pair of stays to bind in fashion,

Stiff bodice lift those ample *******,

French sophistication and ***** south,

Linen lines taken from the robin's nests.




Once seen in times known to all Baroque,

Steel cages more true to the name,

Renaissance blushed at the very sight,

This hidden and blustering shame.




Georgian era was always that late,

Yet women united to sheer the skin,

Frills and cuffs were the new bloom,

The dowdy apron given to the bin.




Victorian, Edwardian seen a rise of empire,

When romance boasts the whale bone done,

Now scattered in all weddings and burlesque,

Dear Corset is set in memory to run and run.

With control, I bind my ribcage tighter and tighter
Because if I don't lace up
My porcelain-bone corset
Tight enough
They will reach in
And grab my heart.

(i)

It’s wrong of me, I know
            To wait around for you to say extraordinary things, sweetheart.
                      
But there’s something so enticing about true love
                        Wrapped up in fancy scratch paper
                        With half the lines crossed out
                                                [Those are the best kind of things to say, you know
                                                            ­‘Cause it means I’ll spend hours smashing myself
                                                          ­  Between those lines
                                                           ­ Trying to fill in the blanks
                                                          ­  About who you love,
                                                           ­                         And why.
                                                … I miss knowing those things
                                                          ­                          Just a little.]    
            All tied together with the broken guitar strings
[Where now rest those hummingbird wings?]
You’d tune for me
                        Before anybody knew who you were
                                    And I was the only one who listened.

I miss the you I knew

            The one who told me I was beautiful,
                        All mismatched and clashed,
                        Because we were the brains of this outfit,
                      
And how were we to know that
                                    Dreams and reality
                                                Can’t ever
                                                Be worn together?
                        [At least, that’s what Mother would tell me
                                    When I asked to wear her fancy pearls to bed]

I remember the day before we were expected to grow up
            [The day before the sky turned inside out
            And suddenly
                        We were expected to know why it rained sometimes,
                        Were expected to expect pneumonia if we played in the puddles too long,
                                    Were expected to know black from white
To stay indoors and turn gray overnight.
Yes, the day before all of those expectations rose to meet us,]
We were expected to go to a gaudy dinner party
To boast about ourselves.
And everything we planned to become.
            But I hated heels, and you hated lies
            So I showed up in fuzzy bunny slippers with my hair done up nice, and you-
Well.
            You didn’t go.
                        There’s something about growing up you never took a liking to.

Everyone knew who you were by then.
And I sat alone as they talked about you
                        And all of the wonderful things you were becoming.
                        And I just nodded, picturing the boy I once knew
                                    Yes,
The boy that no one knew
                                    With dreams so big they encompassed the entire sidewalk in chalk
                                    Whenever we sat down to visualize the future
we never really thought would come
                      
                        There was never enough room for me to color mine
                        [So I simply signed my name
                                    All small
                                    In the corner
                                    Of that sidewalk gallery of hearts and hopes]
                        And that’s the way I wanted it
                        Because-
                        Well,­
I didn’t need a dream if I had you.


(ii)

It was too perfect, really.
Well, I was, I suppose.
Perfectly innocent.

I now see how illogical it is
To assume that a heart can simply be cut away from the chest,
And given.

For it is impossible to do so
[Truly]

No,
You got so much more than my heart, my love

From the ends of my eyelashes to my fingertips
All of me was yours

Yes,
From the frantic way my heart beat against my ribcage        
[Like a tiny hummingbird
            Wanting to burst free
To taste you with my entire soul
            Swallow you whole
            Not merely glean a teasing sample with my lips]

To the way it melted through my chest
And slid softly to my fingers
Resting in your palm
Yes,
When you placed your hand in mine
            I was clutching the reality I’d only ever dreamed of
            [My heart and I were a package deal- and you held both]
            Yes, it was the closest I’ve ever been to happiness

Oh, love…
I loved,
With every part of me,
I hope you know.

But I never considered that I did
Not really

Until that moment when you led me in my fuzzy bunny slippers to the chalky sidewalk
And silently erased my name from that corner
            Whispering you were sorry all the while.
            But we were all grown up now.

[That was the day I stood with my arms outstretched
Mouth gaping open
To catch the rain
As the sky turned inside out
Because, well.
I needed new dreams if I didn’t have you]

Tears filled my eyes, then
For I felt my heart fall out of my chest
[Yes, I thought such a thing was impossible
But I’d also
(Naively)
Thought it impossible for you to ever leave]
To rest
Forever
In your hands
[A final parting gift]

What pain filled that void!
            [I would blame it on pneumonia,
                        -For I stood in the puddles forever that day
                        Making mouthfuls of promises to that empty rain-
                        But I think we both know better
                        Than to expect a little sickness to bring pain such as this]
For I was left with nothing
And you
            [You
With a tiny hummingbird you didn’t even know what to do with
                        As it lay
                        Barely breathing
                        Barely beating
                        But doing both for you]
You still had everything

From the tears that dripped from my lashes
To the tips of my fingers that brushed them away

To that empty ribcage
            [With the bones gaping open
            So barren, but for a couple feathers
            That blew about when you whispered
                        (Hanging on to a hollow kind of hope)
But fell to the bottom of my stomach once it was clear
That you were never coming back
With my little hummingbird]
And that flat thump in my chest
[From the pendulum I secured in its stead
                        Marking each moment I spent without a true heartbeat
No frenzy of feathers
No
Just a hollow, rhythmic stupor
That fell over my soul]
That reminded me
I had
Nothing to love anymore.


(iii)

            Who knows how long I stood
                        Letting the draft in through the spaces between my ribcage
                        So raw and gaping
                        My soul an empty ocean
                        Waiting
                        Wai­ting for any kind of tide to pull me in
                                                              ­            fill me up
                                                              ­            bring me out again
            I got so cold, love
            Waiting for the wind to wash up something on the brittle beaches of my bones
          
            It took forever, it seemed
            For me to swallow that mouthful of rain you left me with that day
                        [How I wish I’d known sooner that’s all it would take]
            But when I did
            It washed that pendulum straight out
                        [Oh, and how that mouthful wetted the lips of my helpless spirit
                                    Till it was chugging words I’d never been able to find
                                                And that’s why I write
                                                About you
                                                And our love
                                                That is long lost somewhere
Lost in a somewhere only you’ve ever been to]
            Into the hands of someone who thought he’d found my soul.

And how I wish he hadn’t found the counterfeit
For he shined it so pretty and neat-like
            [Oh, that it had been real]
And secured it around his neck
            I never knew I had anything worth showing off
            No
            But he made me feel that I had

Oh, but how it all was very broken
For I was very out of order, see
            Nothing to give him
            Not really
            Nothing but permission for his eyelashes to flicker at me
            For him to brush me with his lips and the tips of his fingers
                        I never backed away soon enough
                        Always left red with regrets
                        Horrific actions I’ll never forget
            [Oh, Always
                        Always
                        The­ swing of the pendulum in the back of my mind
                        Whispering we were on borrowed time
                        Because none of me was really mine
                                                But did I listen?]

He’d tell me I was lovely all the day.

So how picturesque to think of me
Standing on his porch one day
            In my fuzzy bunny slippers
            With mother’s pearls around my neck
            Expecting him to tell me once again.
But that’s when it ended
            Just like I’d wanted
            ‘Cause he claimed I was deranged for double-dipping
            Dragging dreams into the daytime
And I smiled
            ‘Cause I knew that he was wrong.
                        [Yep, you always loved my plaid pajama pants
All mud stained from puddle jumping
From the days we expected nothing but rain for us to catch]


(iv)

How horribly addictive true love is!
            Do you not agree?

For I think we both should like to be gone from each other
Forever, if we could both stand to be away that long

But as long as I live
            I shall never find someone so perfect as you
            And your eyes are the tide that draws me in time after time
            So why should I cast you out, my love?
            Tell me to go away, the way you’ve never said.
            Give me a reason to leave.
For I can’t find one at all,
Except that I love you too much to be logical
                                                     to own up to reality

--It is a sad thought
            To think you might’ve plucked the feathers from my hummingbird
            And threaded them through those broken guitar strings you tuned for me
            To make a wind chime for your porch
                        [You’re the only one who ever listened to me, anyway]
For,
            Did I not see those fancy colors hanging by your door yesterday,
            The same shade as my eyes?
I do not wish to make assumptions,
            Stop me if I’m wrong.

For,
I already know it was so wrong of me
            To think it should’ve gone differently yesterday
                        When I laced up a corset to fill that gap in my chest
                                    Donned a dress with my mother’s fancy pearls
                                    Slipped heels onto my feet
                                    And fixed my hair nice and pretty for you
Oh, love
            How quickly I found you’ve forgotten

Because when you saw me standing there on your doorstep
            All perfect
            And real
            And neat
You handed me a piece of paper
And asked about my aspirations

I could do nothing but glance at the sidewalk, surprised,
Finding nothing but gray pavement.
            For you, my love,
            Are living your dreams now
            No need to chalk them up and wish.

But my hopes haven’t changed, love
I’ve yet to live the only dream I ever wanted

And how I wished to dazzle you by saying extraordinary things
            All wrapped up in this fancy piece of scratch paper
            With half the lines crossed out
            But I don’t think you appreciate it like you used to

And how I wished to tell you that my dream could be found in the chalk dust
Still stuck to the bottoms of my fuzzy bunny slippers
I used to wear
With my mother’s fancy pearls
Until yesterday

When I tried to match everything up evenly
            And we stood on your porch
            With no one to hear us but the wind chime
                        [The feathers holding it together
                                    Just hanging on your every breath
                                                And swaying to a hollow sort of hope]
As you whispered.

You told me I was beautiful.

            And I went home and cried.

As a Sports Illustrated model it's no secret that she has the ability to turn heads.

So as Hannah Ferguson marked day 30 of LOVE magazine's video advent she did so in smouldering fashion to ensure her debut was not easily forgotten.

Showing off her moves to the sound of Drake's Hotline Bling, the 23-year-old owned the shoot as she cavorted in a slashed corset dress.

Whipping her hair back and forth, Ferguson appeared to forego underwear beneath the daring form fitted number.

Becoming the definition of sensual, a pair of sheer stockings and Giuseppe Zanotti black patent leather lace-up stilettos completed the cover girl's look.

With her hair worn in its natural state, the beautiful blonde's striking blue eyes are lined with kohl liner while her pout is coated in a shade of **** lipstick.

Preened to perfection, the two minute clip is formatted in slow motion as the Texan beauty, who resides in the Big Apple, seductively gyrated on the floor.

In the film Hannah also displays her comical side as she flashed her pearly white while attempting to do the 'Stanky Leg' dance.

Ferguson's debut sees her join the likes of Kendall Jenner, Cara Delevingne, Rita Ora and Adriana Lima who all featured in the 2015 edition of the online countdown to the new year.

The LOVE magazine advent calendar, now in its fifth year, has seen an influx of 8.2 million views since launching on December 1.

read more:http://www.marieaustralia.com

www.marieaustralia.com/formal-dresses

There goes Lady Fate,
donned in solar sparks
and her lace corset
whose  overt promiscuity
catches the attention of
one unsuspecting astronaut–
his helm fogs as he exhales,
his breath crude and lascivious.
Even Neptune’s eyes themselves
glitter wetly with passion
as she struts towards Polaris in
her pinprick stilettos.

She adjusts her stance accordingly:

I. Purse lips into a smoulder
(might as well look
pretty while ya get the job done.)

II. Aim for the desired target
(that there’s the bull’s eye.)

III. Wreak havoc
just as any Fate is meant to do.
(But, of course.)

She picks up her staff and fires.

The universe tremors
in an unbridled spiral
of colour and chaos
as the planets
d    a    r    t
about like billiards,                                    
                          colliding/|\with/|\ the/|\ stars

who,  in the midst of the madness,
d i v e r g e and c r* o* s s
for fear of being vanquished.

A cluster of mismatched constellations
and forsaken cosmic particles
settle into a state of
mutual negligence and destruction.
And, together, they liquefy into
a festering pool of molten silver.

Lady Fate grins–
yes, she has the stars right
where she wants them now–
and, in a final act of defiance,
she strikes against the earth
and watches with satisfaction as
it hurtles towards the silver
and sinks down into the molten
like an eight ball.
(And everyone knows it’s
Game Over
once you’ve sunk the eight ball).

From where she stands–
bent over Polaris
in seductive pretentiousness —
she relishes
in the screams
of some wretched lover–
the first to ever be
betrayed by the stars.

In my dream,
drilling into the marrow
of my entire bone,
my real dream,
I'm walking up and down Beacon Hill
searching for a street sign --
namely MERCY STREET.
Not there.

I try the Back Bay.
Not there.
Not there.
And yet I know the number.
45 Mercy Street.
I know the stained-glass window
of the foyer,
the three flights of the house
with its parquet floors.
I know the furniture and
mother, grandmother, great-grandmother,
the servants.
I know the cupboard of Spode
the boat of ice, solid silver,
where the butter sits in neat squares
like strange giant's teeth
on the big mahogany table.
I know it well.
Not there.

Where did you go?
45 Mercy Street,
with great-grandmother
kneeling in her whale-bone corset
and praying gently but fiercely
to the wash basin,
at five A.M.
at noon
dozing in her wiggy rocker,
grandfather taking a nap in the pantry,
grandmother pushing the bell for the downstairs maid,
and Nana rocking Mother with an oversized flower
on her forehead to cover the curl
of when she was good and when she was...
And where she was begat
and in a generation
the third she will beget,
me,
with the stranger's seed blooming
into the flower called Horrid.

I walk in a yellow dress
and a white pocketbook stuffed with cigarettes,
enough pills, my wallet, my keys,
and being twenty-eight, or is it forty-five?
I walk. I walk.
I hold matches at street signs
for it is dark,
as dark as the leathery dead
and I have lost my green Ford,
my house in the suburbs,
two little kids
****** up like pollen by the bee in me
and a husband
who has wiped off his eyes
in order not to see my inside out
and I am walking and looking
and this is no dream
just my oily life
where the people are alibis
and the street is unfindable for an
entire lifetime.

Pull the shades down --
I don't care!
Bolt the door, mercy,
erase the number,
rip down the street sign,
what can it matter,
what can it matter to this cheapskate
who wants to own the past
that went out on a dead ship
and left me only with paper?

Not there.

I open my pocketbook,
as women do,
and fish swim back and forth
between the dollars and the lipstick.
I pick them out,
one by one
and throw them at the street signs,
and shoot my pocketbook
into the Charles River.
Next I pull the dream off
and slam into the cement wall
of the clumsy calendar
I live in,
my life,
and its hauled up
notebooks.

Vernarth sequence

Prophecy I -  “Eighth month of sailing in systemic plenitude”

“Since they will not hunt us down in all our Itheoi cycles…
nor in other lapses from where the fine eye could have sewn the buttonholes of the shroud, where there will be life and if there will be a short time without life...
dragged by you for a long time where the sun is melted over the word, staying stored and locked in your pocket to collect it blushing,
tomorrow's jump without a yesterday declining..., without a tomorrow in the heat of a bonfire...
lamb in bait handled being the portal of those who have been slapped inside their cheeks… who will not shorten the cycle that transcends all the oblong sepulchral vaults or who abound in the nonsense of sanitizing nights of ***** despot life having to measure themselves in your flourishing duel by Aiónius of the cleanest dew of its solid stroke and announced delineation of the new one that has been retraced again being more than a brief syllable created again fertile, in the biosphere mouth so as not to see you omnipresent mist, meditating not having you and that dares to meditate on your future that will have to be reserved for yourself by professing it when you are cold in front of you and insinuating if in living followed by letters to be flooded pondering like a paralyzed sleeping part that wants not to be covered with feigned warmth and that does not fit in all the parts of me being who wants to be consul of some shelter with all those who sleep also half dreaming in the company of the lost afternoon that never ends serving Saint John in Katapausis here, perhaps Aiónius del Ibico 1 as a magnificent and net unit that sees the luminous truth when we all come out of a prophecy alive even if it's dark ".

"What a reckless job of losing value,
I am already in Katapausis in the eighth month...,
I entered as the light opened with my hand turned into the light...
being already a katapausis meaning in Sabbatarianism.
Quasi-unit method exhibiting cohesion to the rest motif
With levers in my hands and intra-sabbatism in his dissertation...
of an exegetical and theological nature that has transpired soft insomniac light, We are a people who do not have to fear or air to deposit for a future warehouse above the Sycamore or birds that guard all the Gold above my hands on the Sycamore…”

"Stay in my house, if I don't come back it will be yours
stay at home, it will belong to everyone even in the apocalypse...
that more reckless will be silent as a work of losing value,
Katapausis is the threshold where my life enters and leaves at once,
stay at my house, if I don't come back it will be yours...
Open windows by meekly closing them to that confronted obverse to you...

He comes from a den relativized on reliefs in weathered beads...
they will be soluble mineral beings convened moving away from the most distant and closest to the least distant…, from waters of underground siphons… there we will all be floating… like vertebrate invertebrate animals”

Vernarth, after not entering the grotto not having found Saint John, goes outside where he goes on a campaign for three months before he can be received by God's law. Here he meets with Reader and his pelican, as well as Eurydice.


Prophecy II -  “Seventh, Inter-synergy energy”

“Three months I have waited in the middle of this mountain,
symmetrically arranging the steps to be taken, not going backward
prana of life walking in oceans of life walking…
us and them… how much must separate us to reach us?
what I have not tried to separate…, what I have not been able to achieve…

I think I died early in the worlds that haven't risen yet,
I think I was reborn late among dense curves that overwhelm us with straight lines
soul, principle, matter, and material distinctive ontology
Ghost god of parallelisms beings and activities in affinity...
starvation body of low energy ceasing creatures in embryo
incessant firstborn to infuse other confining souls
trails demons slip where my ashes hands are sore
wounded doctrines to engender and doctrines to ulcerate...

As the prophecy uses the sea carrying messages resolved from shore to shore
close to a Virtual why in the twilight your Faith that must be glandular… matter of soul and body exposed to predisposing theological and chemical, in pursuit of the corruptible whole in vice versa if he does not burst with atheistic impatience.”

Eurydice takes a zither and sings tempting stormy actions to Vernarth, Raeder and Petrobus put their souls in line in the first linear principle, Together with the matter of corporeal fire proceeding to the definition where all the parts are confirmed without distinction dancing next to them creating the greatest bond of faith in body and soul, thus spending the three months in a few words of light of the sated fire.

"In the eighth-month katapausis, eight times your permanent peace must rest in
cited state; once it is translated into Sabbathisms and it will be the same state… When everyone finishes their dance in the cave and enters believing they have the courage to enter eight times in connection with rest…, plus eight times in connection without rest.
In some verses, the urgency of the entrance will be accentuated. The main issue “is that history will be repeating itself exactly where the Israelites were at Kadesh-Barnea. A related term either synonymous with Kadesh or referring to one of two sites, is Kadesh (or Qadesh) Barnea. Various etymologies for Barnea have been proposed, including 'wilderness of travel' but none have produced a broad consensus. What is the consensus? will we stop believing or lean on the shores of a preacher rain of Jehovah or lean on the shores of a preacher sinful waterfall or lean on the shores of a preacher confessing rain or lean on the shores of a preacher wet wind inquisitor...? where ever the aromas of its faithful winds served will go sacred to everything named before and many before the confessing rainy…, waterfalls in favor of the temperamental inquisitor wind”.

Astheneiais”, in Greek is and will be a weakness, in Hebrews a moral connotation and will mean not only physical weakness but a conscious weakness and trembling in temptation. Our Lord also understands us in this weakness because he was tempted in every way as we are. Since he himself was tempted he knows from experience what it means for us to be tempted. He was not tempted in all the particulars of our life, for example, He was not tempted as a husband or father, owner or employer or soldier, because he was none of these things. But he was tempted in all three areas of human susceptibility: body, soul, and spirit.

Prophecy III -  “Sixth, Resilience…”

“They were on the perimeter trying to keep me together at his command,
I go every day for its pantry, food, groceries, bookstore supplies and ink, oils, and other essences for the environment in continuous handwritten obedience, I have to leave for Skalá where some residents are waiting for me who have ordered to bring materials from Gricos and Psili Ammos to project your home,
If this has been written like this, it is because my pleasure in walking has written it, in the company of the one, he has written for the one who walks next to me the god Ibicus!

They always asked me why to mention why I have to do this for them… I will tell you that I used to serve leaders who consolidate the Hellenic geography,
without them, everything would have been invaded by unled foreign hands… in that rest, I have to attend to the verse that precedes it...
which says that we have already entered where I already intend to argue the following…

Resilience and exhortation that from the beginning I have taken since it began... now I will abide by and present your messages in a very predominant note, I was Hoplite Commander of the Falange and Hetairoi, now a Christian who does not dispute living a life of obedience to those who are not and are not without his martyrs...
like those people to whom God swore they will not enter my rest
whose amen will be preached in the passive voice verse!

Remain as the verb indicates with the real facts, the word
independent of the present, independent of who and when…
Saint Gabriel my Abrahamic angel will give me white strength and frolicking lilies like baskets of hermaphroditic lilies procreating only-begotten forests at the altar.

Stand tall over the Abrahamic fire without knuckles or shields,
rethink your beloved woman and take a sudden step to heal your wounds there is so much grass to cut and so much poetry to chew...
up the mountain towards Skalá at night after drinking wine
Epitrapezios Inos setting fire with innocuous saffron atmosphere
lips of fire and bread, for a good offensive fight.
Greek fire naphtha, cinnabar, and anthracite.

Wake up united with the deep disorder
Grant the color that deserves to have your day as a constellation
with the image that rests on your angular and calloused hands.
stopping spaces of loss more than all the centuries that waited for the minimum incense to a good warrior, sweet wine for open bleeding wound not his… the thunder that hides baptisms in all hearts empty of blood...

“While Vernarth was praying in the oracle he felt a thunderous supra sound As if the gates of hell had opened...
As if millions of seconds of angels were to be dispersed from the sky
To reduce more seconds of silence to the thinnest pleading eardrum

A few days ago I saw a ghost that was chopping wood...
I couldn't realize that he was really Him...,
I also saw him cutting thousands of volumes from a library...
Also, not realizing it, I saw several, like more than eighty manuscripts..., of breaths that still did not prosper in the hands of San Marcos...

A gigantic door slam is felt again...!
again it was the angels that came
at the wrong time in his return..., but now in his repatriation
they climbed through and into the Garden of Eden.”

Vernarth, evicted from the habit of the unknown, was apprehended by his craftsmanship of him, he was still attentive to be received by San Juan. The longer he waited to be arranged for an audience, he did not postpone what his memory pointed out to be more than an experience plotting capacities in the face of his own limitations. From that moment on, a gigantic gate slam is felt again! the angels who went back one after another with their polished golden-white cloaks relapsed..., but now making the Garden of Eden their own,... being theirs in what was theirs, that they would be in the house of a wise gardener of Eden perhaps being the same Katapausis manger at once!

Raeder says: hugging him profusely! time has to fly like little angels, having them by your side as companions of the time that is leftover on their wings, giving it all to your enjoyment of living and feeling it lost in you without finding it. ! khaire mi Vernarth!, I have some karidopitas with nuts and yogurt accompanied by baklava with nuts in delicious syrup from Kalymnos. Petrobus jumped for joy and fluttered like a hummingbird to steal a few pieces! Eurydice and Vernarth did the same. That night they told militia stories while they ate the morsels, so they fell asleep as if it had been the first time they had fought such a great menu. Euridice assists in the same with his fresh clean face, creating an atmosphere of conciliation to renew the dream of a day that will dawn close to his waking up far from the criminals. Vernarth takes the staff from him from then on and divides books and manuscripts into two portions so that he has time to take steps to really feel that he can walk close to Saint John.

Prophecy IV -  "Fifth, Nature, Manuscripts and Jophiel"

“Zeus wakes up trembling, full of headaches saturated with Herbs for headaches Jophiel speaking this time with the Kabbalistic language of the Torah...with golden commoner super zone of the Organikon Sorousliston Papadikon….age-old music that supplies Zeus with protein albumin, to make him more human…Zeus accepts Jophiel by placing his head about the house of Jophiel; a divine island to throw cards…brings the second ray to the Sahasrara at the crown of your head, pacifying love that is the suspicious and risky loser of everything risk in the head especially when a feeling is born!

Zeus turns his head and Jophiel twists it to the opposite side
about the ruined zeros that he did not count from the plasma of his dependency, Zeus feared having albumin at risk of human transmutation... happy to be able to cry he imagines slipping into the middle of a lake and he sees that he falls on Hera's poultry harming none, Zeus pours brimstone from his mouth and milks inelegant prose from the scythe…

Trina flame whose son bears glorious her bearer,
thousands of lives being clumsy for the wisest destitute
being what in the present you were more than past trine
when you harbor from Hanael's Blue Sodalite quarry
the imperfect perfects when you listen to your
body how it beats, how it breathes... you realize that it is perfect
as is Jophiel and discerns repairing the wisdom in the decisive punt
where gum rosin myrrh and multi urban frankincense go
towards the soul plane architecture of the human plane.
Hardened Zeus overflows glazed sallow emulsion of war
coagulated exhausting guarantor of everything is well,
books of the silent world of nails that do not sound sheets,
Hanael in massive books divides sounding with her iris gel-colored nails encrypted library manuscript of a thousand years, the voluptuous organism of a thousand years…
flapping unpredictable millennia and wiry hands,
colossal capstans…, annihilated with a thousand years…
a silly propeller that spins like a sickle rolling over a certain holistic tabernacle of the small portion of the next day when Zeus awoke to the diaphanous threatening light with sunless cloud waistband…
His face is seen with frowns and he looks at his face as well
without seeing folds…but in front of the Aiónius.

The geranium appears in the representation of the natural whole kicking the Sickle, much more here lost of our spiritual being
Zeus Jophiel's hardened shoulder heats up only to lean on Him...
light on his shoulders fires on both of them…
how long it takes to save us perhaps twenty times what supports us even tired and much more unwrapped than the treachery of him alone and without being followed without knowing
nothing more than a thousand-year-old shell through which he would drain…perhaps a tortoise-like millennial angel walked up to the omega! joy preparing to give you live hopeful,
that if it would be timely to give you more life...
Here is Aiónius reordering the world together with Zefian…
He shares everything eternal of all your life that floats in the sea,
miserable mix space where capo dastro separates the end
where all the wheres cannonade the hoarse fire...
cement that joins brick wall and plenary adobes
love without nature that castrates your beautiful woman
that hides her face without mascara looking for it...
let's go outside says Vernarth..., we still have a few seconds in his solvent... sensible, full, and arc well-being...
as if you were floating in the air floating more
also needed me to teach you before your limits limit you,
and make you angry from the miserable sense,... Don't listen to me anymore...!!”

Vernarth puts his first three fingers on the capo dastro roosters crow with his skin vibrating beyond the sleep of Raeder and Petrobus. Reader wakes up and says…; My Vernarth I will make fire and heat water. Petrobus runs with his wings to look for sacred wood. Eurydice comments…, I will prepare the praiseworthy sacred breakfast.

When they were preparing to do all this, Jophiel and Hanael appeared to him, joining in the breakfast that would feed all the days and millennia of the world. Unleavened fruit, honey, and milk multiply above all, satiating hunger with satiated satisfaction.

Prophecy V – Fourth, Limbus Necropolis

“From so far away…, so far away that I listen to your sacrosanct cries…!
from the Koumeterium of Messolonghi…, rocking my elbows and hurting myself
moving in rare pleasant crypt upon crypts disconsolate stones
not so far away..., keys held in the eighth cemetery...
Who is to open the heavy door now...?
I come from Messolonghi 555 km in linear figures to Patmos...,
narrowing concave… doubtful in extension, passion princess cloud
He must welcome me benevolently in the night nymph consort...
Limbus N cloud, Cloud Cemetery lofty lofty hypogeum
soul of Limbo, before seeing the nut that girds the face in the graceful Grim Reaper resurrecting restless…, sinning… grail sacrament without Being or being…?
Necropolis Cloud, expectant mortuary technology...
amaze me if there is a byte for me...
narrow conscience, unseemly to amaze me?

Here the lost mist of the Nothofagus God phoneme-photon vanishes with divine mass light to build the Áullos Kósmos. The Sacrament of Limbus will provide spaces and assemblages of meters for thousands of areas of infamous wandering the Ouranos, approaching the Áullos Kósmos to host him and rescue the children of the meter that was missing in the numeral rule of the Megaron acroteria before going up to the Necropolis Cloud. Vernarth, mere body formalizing principle...
extinct delicate evocation of the shadow of Elpenor;
Achaean warrior of Ulysses grandiloquent who even has otitis
and verse where flu spreads influenza
heartbreak from far away reverberating in the elite of lexicons…
arriving equidistant ... the last one arrives threatening with his Kantabroi staying neither divided nor captured, taking refuge in outright failure twilight of megahertz, farce propaganda surrendered fear will not fall even after …

Vernarth falls from the Koumeterium Mesolonghi in the Necropolis cloud privileging his status, he falls from this gloomy digital platform with a high alcoholic degree! from the high heaven after drinking hours he came in the carriage that was from Zilos, with the passion of heaven depriving his understanding stunned on some branches of will of Ziziphus…, stunned on branches of mercy….

Vernarth in a contrite accident with Elpenor, his psyche flies to the realm of the dead, Hades was remaining prisoner in that world taking the form of a Homeric icon or shadow. Vernarth was asleep after his binge, and Elpenor asks him if he wanted to join him with some concoctions. He was with blurred vision, a headache, and still lying down. But in the passionate horror of his drunkenness, he gets up quickly, saying to Elpenor: For me, it was one less pain to drink after having fallen from such a distance without being able to request and have had the grace of my mother's lullaby. For this reason, I hug you! They went together to the Cloud Necropolis to continue in the Limbus trying to alternate their physical body to gaseous liquid. At that moment Eurídice hits her with a piece of wood on her legs so that she wakes up from the bite of that nightmare that overwhelmed her to finally be able to wake up. Raeder had gone with Petrobus to Skalá to seek inputs of gnosis and his own inspiration for accents before the welcome in Katapausis to come in the blink of an eye of San Juan, necessary redaction for licenses and to be admitted to his library.

Prophecy VI - “Third, Rethymnon City and State”

“Vernarth heard the sound of a bouzouki, spoke of a 40-day fast that Greece celebrates before Easter, at the Rethymnon carnival they come from all over Greece to attend as a family during the week with animations, evenings and concerts, dances…theatre, floats with Venetian art in the picturesque old town and modern city, in this ancient city …

Rethymnon Political Ellipsis

“Like territorial extension, past-future organized infamous scene…Vernarth imagines being with Etréstles in immediate predictions
with years and thousands…, clan hobbies, Rethymnon manuscript…
while he thus deliberated…, thus rejoicing in the immaculate extramural grotto thus being as if it were comparable to a Neolithic village; being together lost with eagerness to appear from political power... palaces, kings, pro-organized religions..., rancorous superlative temple, priestly-eucharistic, nationalized sovereign citizen... commanding Parliament of the Hellenic politai people
the competent anti-value entity of the substratum political state…
sedentary-agricultural or nomadic-livestock culture…, vertical Hoplite culture!”

In Thessaloniki street, he would meet his brother head-on...Imagining how he would be...? Well-dressed-shiny, he would be in a passing tavern usually naming himself tradition and terms of questionable validity rather than those of a retro-linguistic family, in the remarkable urban-city dialogue called seditious inns with networks of political territorial extension, reaching the colossal size of multinational ideals of a complex stratification, social meeting place, future ministries to whom to delegate?. They would arrive at the tavern in Rethymnon in Crete, they order coffee, biscuits, and Mosaikó chocolates. In an unexpected moment, he suddenly wakes up from this deep, hallucinating, and futuristic imagination! His brother appears immediately, not in Rethymnon but in Katapausis with the goddess Lepidoptera!

End Ellipsis Rethymnon

“At the moment his imagination breaks just when they were preparing to toast… Etréstles in this same interval appear in Katapausis Reader and Petrobus coming in a singular pilgrimage from Skalá…this is how the syllabic song of the arcane ***** is heard emitting from the grotto…, yellow lights and saffron…. Saint John and the Gospel celebrating the Eucharist…Vernarth would believe for the first time that the hermit would come, but No…!
his brother was to be in the intervening yellow-white light
in front of him nothing more than Etréstles visiting him”

Likewise, they would no longer be in Rethymnon,
but the carnival would already begin in the region of Patmos...
eating delicacies, and the Sousta towards the circle of the Sun in the hands…They have been two months with the sweetened Moon and the Sun posing its mass of light in her… soft palm next to her waiting for him in the proximity of a Hebrew silence

Estretles says Khaire Vernarth! from Piacenza who did not see your joyous lux! I can see now to the sound of yourself the stoic zither...
countenance light, the orbit of your eyes, pale asthenia without photon without light, expectorant suppuration of your sacred Lynothorax, Absent in front of the long and fatal transverse lapse!
Raeder makes a speech to Zeus Photon Child Lux
Fulminant spends time where it remains greater than the minimum...
Patmos is the time of the Messiah…, retrograde years…
polis Helennic city-states.

Culture-state… state time chorus in tune
Philosophical poetic-epic Olympian Aiónius global leader
Homeric poems..., Raeder I am..., a naughty Politai...
you Vernarth are Politai Hetairoi militia
candy wasted by me Raeder… sweetened in my memory
polytheistic, cultured and declined…
theocratic referendum or democratic right,
Exciting porridge of my Kourabiedes cookies
butter, icing sugar, flour, eggs from the icy cliff
vanilla or Mastica resin, ***, Ouzo, mastica liquor…
or other alcoholic beverages…, which bubble on the underside of Aiónius soaked in my mouth with water from petal buds
coated for you with sugar on the tip of my tongue…
reflective cops in a wonderful dialogue of a tasty recipe...
It's time for everyone else to snack too!!

In that second Raerder was choking on a Kourabiede biscuit,
but there was the guardian of the Petrobus who piloted the
throwing hieratic water on the inside of his mouth,
forcing him to take heart from the buttress of his speech
shooing thick crumbs from his skinny dialogue spitted...
Gerakis, ray, tabletop oak bull, scepter for those who rule with him and not...My Zeus friend I invite you to play marbles,
I invite you to tell us that we are friends...
we're both fine… only Space-separated us…?

Raeder runs towards Zeus' thunderbolt from his right hand.
he jumps up and takes it from her, in exchange for this she gives him his marbles...The entire earth tilts over the Aegean..., the earth's axis tilts eight degrees, altering the cerebrospinal fluid of the Hellenic geopolitical conception..., with Zeus poly infarcted over descending magnitudes of inter-politics, millennia and headless governments...

“Apokalypsis lightning restarted, emerged from a New World”
Prophecy VII -. “Second, Alikanto Aion, Quantum”
"Kalymnos, golden tetra steed Alikanto was grazing under the metallic moon...
transiting its quantum physics…, golden legs…, four golden domes
the super host being in Apoika Andros next to the villagers,
commemorating troupe and advent…, Heraklion next period
celebrant anniversary, progeny bearer of Kanti Cretense,
close cycles of the sacred fire, domestic environment, and private zeal...
funerary hidden cult… streets in the hieratic family dwelling
fertile women… totalized and lustful ****…
productive longevity and harvests…, family Apoika
next successor belligerence…, funerary plexus…
culty predecessor…, treatise and imprecation of law, theme and legible religion domestic scene, family civic servant ceremony

Goddess Hestia austere, head with eight sacred candles dressed
Olympus lacking without gods…, only Goddesses embargo!
Feminine Hestia Domestic Goddess, an emanation of the female oval to ovulating…Pritaneo, the central decree of the political harvests… foreign exchange grains to be minted monetary stock exchange of Athens… Pritaneo ford on the rise, ford on increase Aion... hesitant dart swoop into eternity,
Alikanto Perpetual Aion…Speaks with both hands
synchronized and tilted tongue…
stutters and swallows, in six paranasal sinuses
saturated with fiery saliva..., and an Internal voice saying say...
what makes sense to feel and what does not turn off...
sleeping waves in the poison of love igniting
intra-Vernarth love…, billing infected holy blood
methodical coupled time…, Gaugamela the bronze extremity,
of a lost leader…, won leader!

If I had to run to rewrite retro Adhoc poems and chosen trova,
With a shy Trojan verse, I would dare today if I kissed her in front of me… she!
she would jump from the hyperesthetic-Ouranos…, inhuman to the Aion world
aurora celestina, bleeds big and defiant today in your star
In herself Ella…, pestiferous condemnation sweetness and aura between her…she just be, she herself be supported be…, Oh… Goddess Hestia on your opposite leg unbraced arm, meadow and vein braid… assaulted by lost and thirsty love written everything if she tempts…, everything wields darkly if it took you to our Olympus… at night loving you whole..., emptying everything with no inappropriate hand singing don vine fissure and intimate company, may it be exterminated... passion outside with nailed stake..., iron embedding..., nails wounding...exhausted supra lips supra yours…, mid sand writing full to her…
tip of my Xiphos… blood made written with written maiden mythology,
letter sword Spatha…, cyclamen balm made whole if I had you!

“To the loves of the world I say…, cover your ears fungus of boredom, your torn ears squander ignoring more than sordid saying...my blood kills, my blood revives! I **** my blood and I **** everyone, with your blood scattered, ***** blood scattered…!
do not leave me alone until nightfall… I only ask for holy water,
emptied from your mouth goddess Hestia who flies tons over me...
I only ask for a spatha romantic blood sharp, ******, and scattered...
to write to the love wars that I have lost...
to the wars of love that I have won, slicing the jugular of the
treacherous and wicked emperor"

“… Alikantus, he remembered the Hoplite commander in Gaugamela, he remembered when he dodged arrows with his head so that they would not hit his body or his pectoral. From such a present moment falling by surrendering to the evocation of him. He goes down to a stream and confines himself to the vanity quagmire, continues on his path reaching a suspicious lagoon, drinks sacred water, drinking again manages to perceive the effigy of Vernarth in the mirror of Aion's Hydor... calling him from Patmos! Law reminded his master how he died for everyone in the world just as the world would not let him bring more than agonizing for him because there was no more space said Aionius ... "

Alikantus then clenched his jaws too hard, falling out all his molars, he asked the Gods in front of Hestia to restore them fifteen days before arriving at the Ekadashi in Patmos where his master, thus loving all the lives of the world, as well as the hidden cries behind the Dypilons hiding the power of God… or laugh at gagged iris flashes and mummified sighs with lives that subsist!

Vernarth from Patmos called to him so that his eyes looked invigorated like the swarms of green and gray vanadium fire, of mood in the predictive table and close prediction. AlIkantus bids farewell to Kalymnos spraying sorrel and hyper-odoriferous flowers of the Apoika in Kalymnos loving from above, very close, flying, loving everything so much that he forgot to fly. He sometimes fell hard but recovered retried as a baby steed in the womb of a mother new species to be born again in Apoika!


Prophecy VIII -  "First of Aionius, "Eleusis Prophecy of Hamor"
“Aiónius received news of Hamor's prophecy; cosmic orgiastic order
tyrannical snake victim throwing herself into her abyss and purpose..., banishment as an objective void to be decreed, even so ending the world from another world,
discontinuous terse march, slurred arpeggio, speech by Aiónius
there is no world left but if extermination…, undone threshold…, provoke in delicate chaos…!

As a child, I ran to the supreme world herding lions... I called them and they ran to me..., they came alone, some didn't...! Being young, one day Aionius went to the farm and counted the lions... Some came others No... Aionius..., in such a hamorio he was locking an earring from his ears, he hung them again, which happened the next day relaxed..., he saw a maiden who laughed hypnotized…, he sighed when she turned around saying with her poor gestures… Destroy it! The afflicted turned away not knowing what was coming… destroying the desolate world vilifying silky physiognomies, chipped and dandruff face slipping from yours being captive and arid…, tempts to flow libertarian imprint in foreign praxis, origin, and end,
me from the slime being born in my eighth life in nothingness ataxia…

The beloved Victim surrounded by snakes moved the stump of her arms
eaten away by the serpent that took refuge in thorns of forged steel...
she kept walking…, Aiónius pointed at her and kissed her gestures escaping frightened towards the valley in farewells... not fitting itself in valleys that were never anything she paraded with the current of her last word, the beloved again moved her arms following her in front of her the beast was on her, Aiónius buried from fleeing and coming… with fiery phenotype, abrupt vocabulary, says: “Strapping and interludes, after beings of impiety, the world of impiety, Hamor of the first wit… towards other refuges I will depart about a Yes devouring bare ring on it…”
escape curve that cuts the pelvis of my beloved
destructive be your curved world that before had to destroy me...
ultra pre-hellenic nymph Harpé passion spread on me…
Hailed libertarian praise, aristocratic vermilion accent, minority ruling? Overwhelming rigor expended, prophetic Hamor, prophetic expansive arsenal! It must come from all the supreme worlds with strokes and silhouettes conquering...true dream, confused hypothetical oscillate sweeping imploring and contracting popular decision, management and space of my Sickle…, sometimes uncontained… worse avenues in its radius and dark mourning badly wounded shadow! The vertex that finally launches opens the dawn and his Hamada flees... Leaving with the untidy serpent, about touching and causing rangers in the stuck earth.

Demeter and Persephone; based on Eleusis in ancient Greece
mystery myth of the abduction of Persephone daughter of Demeter…
by the king of the underworld of Hades, Abrahamanica's offspring
cabal, life in the descent, the search and the ascent…
Ascent of Indra lightning Vahana and lightning from her right eye,
Persephone to the reunion with her beloved daughter ascending.

Zodiac and mysteries involved, visions and sleight of hand
that of an afterlife, rain of seven trunks, long-lived Airavata
elephant, Eleusis jump psychedelic mystery, incision, and coherent rites, ceremonies and experiences of cold winters and life on earth
plants in gestation under the gift of Elitíaen and beings that
they are about to germinate and be born, beings in a chain of genes...
vegetable running on the earth, vegetable in March in its glory
September in the jaws of the purified phrase and inaccurate acropolis I…

Sacred obscenities, deadly tributes with the death penalty...,
wandering nights without clothes with obese and badly fragrant meats point and taco dances praising the harvest in honor of a dead Thracian bull, libating priestly vessels and bullfighting heads in a deliberately defined and improper triweekly ritual, revealed in Demeter and Persephone.

Only Hamor in his venerable pyx lies locked up knowing he is unable to open inside this lustful bewitching sparkles, the mystery of emancipated disenchantment that awakens from his slow consciousness without knowing how to go on passing in the sum of all happenings of Aiónius. ”

This is how he defined himself from the syncretism of Indra and the mystery of Eleusis, from Demeter and his daughter Persephone from the vile kidnapped underworld. Of the divine Goddess Elitia and the annual records of children born within a year in the germinating seed of the mystery of love that would begin with this prophecy with the initial "H" of the underworld exclaimed Hades and Greek heritage in this event. Vernarth and his companions listened to this prophecy, almost falling asleep, it seemed to them sweet pallor-bitter, love-heartbreak in the previous day before diagnosing having a presence in the hermitage of San Juan Apóstol for the superior company of a later day that was approaching as the greatest daring of all up in the mountains while disposing of Vernarth's Apologist obverse of Aiónius's.

Epilogue Prophecies - “Eleusis, Isadora Duncan to the Parthenon”

“Vernarth and Eurydice indulged in the jargon of agitated diasporas
of inhabitants fleeing the Rite of Eleusis, crossed hands and feet
They dueled on olive trunks with Theban thunder, vague Insurrection of the ancient world, and consonants of barbarian Pleiades,
acclaiming predilection of the Eremita San Juan to appear...
in a breath of peace resurfacing... but seeing that Vernarth was accompanied of Eurydice hid in front of them leaving only her aura near from the stream of a chrysalis!
In the dizzying succession of myths, good news reaches her sacred ears, waking up her trend and her high quarterly price outside the walls... being later received in the grotto of the hermitage in growing expectation and a link of longing that weaves to remind him of being a crusade piece.

The kidnapping of his reverie feared and timid frivolous crushing blizzard, he was walking surrounded by Falangists on horseback pointing at him and threatening him, scrutinizing in the distance loneliness of his past lives,
his regressive life, concerning key to origins of his illustrative Existence, stranded at this moment..., Vernarth makes a pact with himself to detach himself..., of his spirit, detach from their lives under a hypnotic and compelling law..., like a suspended index in the Sistine Chapel, homologous ship Ave Maria Messiah!

From Eleusis Vernarth vanished in aerial horse-dreaming,
he crossed through the pavilions with himself persevering some wake
riding his Alikantus ******* and standing with him to pillage the Empyrium niche Persephone's trace of herself and her ******* ******* them...
with devoted passion, milky way, and milky syrup chin howling...
Vanishing dancer, Athenian acropolis, Dionysian sanctuary of the acropolis… Stepdaughter-patron in the dance of Zeus and Themis lopsided frame of the season's wildness of all creation and defiance of Eleusis looking for her daughter and her children, priestesses safely taking off their corset and their pictures…
raging chastity, oligo blood, Itheoi music, outraged dance complaining, Possessed expressing being seductive but also a native *******... the underworld in darkness, free daughter, and iconoclastic Greek mythologist
inconvenient Victorian mania, a courtesan from Olympus, courtesan undressed! Isadora, Demeter, and Persephone… flooded with Aphrodite foam!

She “prayed songs with plexus and feet, plotting gardens around the world… full of baseboard feet where everything created in brief Apokálypsis was dying! By desolate Parthenons dancing in Muscovite ruins, maenades sweaty enclave and also throwing back his head as if possessed by ecstasy in her Bugatti and Leonidas…, enchanted by Aiónius! intoxicated and exorbitant with beautiful rosy placebo eyes... Hair with headbands vine petioles, her Nebris tight skin was wearing... in her hand's bunches of barberries to Dionysus with torches and live snakes a chaste crook naming Thirsus; rod topped with Kashmar branches wrapped in borders, vines and ivy, allusive link…, morbid ecosystem! covering her crotch in the Temple of her Kopanos dancing from the eternal fire cremated and in a romantic dimension remembering Byron's meritorious…
Hellenic passionate, and of Hölderlin poeticizing together with Aiónius.

Rudiment wound … ruinous on value exciting in those
of the imagined and creative in her perdition, Sicalipsis e impudicias
torn fire in the Metelmi and her ***** we are twisted,
epic worthy of greek tragedy dancing like waves of fire
in the forge in terrifying death of her children Deirdre and Patrick,
submerged and injured in the Seine in Paris in 1913, falling into the
water in the car that was traveling with her wet nurse… before…!
saying goodbye to them in urgent social commitments,
I Aiónius take you to the Empyrium.

What a dire tribulation in the prevailing misfortunes by not postponing it, retain the fate of whose children is quite a story with the kidnapping of theirs and merits of fulfilling commitments committed to solicitous artists... support, crestfallen inside a dresser or Bolshoi dancing statue, dancing empty with bare feet, frigid anemone, frigid Sea…

Arriving at the dawn of her last prophecy, Isadora Duncan accompanies her in full life beyond all limiting borders with the borders of her dance, the flat field of Eleusis receives her presumptuously associating in around for the dressings...
And left-handed dalliance self-indulging…, advanced barefoot to the Parthenon…!naked towards the world and the orb dug out of her before her undressed.

Reader and Petrobus jumped on this steep stone, emulating the meteorites that shone in the sky of Patmos such a party of nocturnal lights, such emery detached from a fleeting planet in the largest Hellenic scene saying: "Well-being to the Hellenic World all calm, dance and immunity to the firmament where Isidora rests in the Kantabroi of Aionius”

A pair of stays to bind in fashion,

Stiff bodice lift those ample *******,

French sophistication and ***** south,

Linen lines taken from the robin's nests.




Once seen in times known to all Baroque,

Steel cages more true to the name,

Renaissance blushed at the very sight,

This hidden and blustering shame.




Georgian era was always that late,

Yet women united to sheer the skin,

Frills and cuffs were the new bloom,

The dowdy apron given to the bin.




Victorian, Edwardian seen a rise of empire,

When romance boasts the whale bone done,

Now scattered in all weddings and burlesque,

Dear Corset is set in memory to run and run.

The human sacrifices begin at noon. I must hurry to prepare the ruins.

Good: The pyramids retain their purity of line; the hieroglyphs balance out the skulls, more or less. Let us say, oh, two to one.

A Diego Rivera mural stretches from wall to wall of the Mayan ball court. (Are those blues really from nature?)

Heads will roll! I predict.

I need more coffee — any style. Bring me the big, steaming bowls of France that you must slurp two-handedly. Bring me the tiny espresso shots of Italy, bitter and inadequate, always calling for another cup.

Bring me café in an ornamental Mexican jar painted in bright ochres and reds. Set it on a geometrically designed serape with just a hint of purple on the fringe.

I will sop up the last drop of caffeine with my tortilla, while dining room tables multiply like serpents.

I must hurry. The sacrifices begin at noon.

Already, the humidity clings to my skin like a cheap cologne.

How stupid of me not to have worn a white linen suit, huaraches, and a Panama hat  (straw, of course).

In any case, I am the expert. My art criticism begins now.

Rivera’s human figures roll in a wave of revolutionary fervor: too rounded, too cherubic, too pastel. Industry, agriculture, fraternity, socialism. Hand me the hammer. But no bare *******, as in Delacroix’s Liberty Leading the People.

A careless oversight. ****** always adds a pleasant focal point to a painting.

Suddenly, bad news breaks. The sacrifices have been called off; the ballplayers  have converted to Communism. Viva la revolución!

                                                 + + +

Frida Kahlo twirls her mustache to match the flair of Salvador Dali’s.

Her heart flutters for the Spanish surrealist, who has bug-eyes only for Gala.

Kahlo deigns to paint his portrait, which turns out to be another of her
 self-portraits. So many selves. So many portraits.

This one sports ample ****** hair and a monkey on her shoulder, who leans across to eat the gardenia behind her right ear. Or is it a carnation? Ah, carnations only calcify into clichés. Let us call it a hibiscus, and be done with it.

(Still, are those lurid colors from nature?)

I must hurry. The exhibition will begin at 2 a.m., the hour when all the wine shops close, and the retablos disappear from the churches. No respect for authority after la revolución. Only the self, the self. Always the self.

Kahlo twists her mustache into a braid for her next self-portrait: Liberty Leading the Mexican People. She squeezes into an orthopedic corset, bare-breasted.

I pull out my droopy Dali watch to eye the time. The hands cross at midnight.

I must hurry. Yet Kahlo insists I sit.

She paints my portrait with a spike through my spine, a shattered pelvis, and partial paralysis of the legs. I can no longer walk a straight line.

She thinks I am she, in trousers. The self, the self. Always the self.

My moustache grows heavier than hers, however, and I painstakingly pluck out the unibrow.

But I adore her monkey, with his close-set eyes. He eats a carnation for penance each morning, then primps before the mirror. The self, the self. The primate self.

More bad news: Dali cancels the exhibition. He has been demoralized by the retablos, which radiate beauty in six dimensions: height, breadth, length and the omnipresence of the Holy Trinity.

A genuine milagro: The streets fill with gardenias and hibiscus. The Mayan ballplayers convert to Catholicism.

A white skeleton dances with Kahlo in the moonlight. He wears her leather-and-steel braces.

No matter. I am the art critic, and I declare all Mexican colors indigenous, naturalistic, and caffeinated. Then I turn out the dining room lights.

A starry, starry night. The humidity sinks into the cenote.

Tomorrow, I shall buy a monkey and teach it to paint. All colors from nature, of course.

4am On the drunken floor of my Wingmans apartment I place my red solo tankard down to instigate a quest.
"ROADKILL!"
That's what we call my wingman.
"Roadkill! Lets go on an adventure to king richards faire tomorrow!"
"Sure! When do we leave?"
"Don't worry, I'll wake you up."

See. When your best friend says they need you,
you don't just call them.
You drive.
Tonight,
on the anniversary of Roadkills worst tragedies,
we are getting drunk.
In the morning,
We're going to prove that life is worth living.

7:30am our alarms go off.
"Uhhhg."
"Curse you phone."
Hands slap towards the noise,
Spilling last nights wounded soldiers.

"Roadkill your shirts inside out."
"Thanks man."
Actually, while you have it off.

Black doesn't go with brown.
Pick a whole different shirt."
"It's fine."
"*******. There's a blue shirt right here."

Belting sailor shantees
Roadkill and I adventure three hours in
My four wheeled ground Zepplin.

"A curse to you lads,
a curse on your head,
Drinking pint after pint
until I am dead
I just keep drinking
and I don't know why,
But tonight is the night
that I drink 'til I die!"

Upon arriving at the faire we spot an ocean of goregeous maidens.
The ticket booth doth not take credit cards, however.
So we needed to speak to the gatekeeper.
"Excuse me, where's the atm?" I Ask.
"it's right over there, Handsome.
I'll need your id's first, though.
Don't worry, I don't bite
... hard."

Roadkills eyes grow the size of stormwind.
"I need to bring you everywhere man.
You make everyone love us."

we return with cash in hand
The gatekeeper pulls our ID's from her corset
looks them over before handing them back.
"How are you boys younger than me?"
"It's the beard. "
I wink.
"Keep a secret?"

Swords on hips
songs in chest.
Mead was flowing
Boots were clomping

Roadkill paused to look around
Standing like a pleased statue.

I bounced excitedlly around like a child.
ROADKILL
LOOK AT ALL OF THESE GOREGEOUS OUTFITS ON THESE BEAUTIFUL WOMAN!
"Hey!"
handsome men, too.
"Thank you"
It's like we teleported to Flurb heaven!
Look!
a garb shop!
Oh my god
A boot store!
They have a whole store
for leather larpy boots!
There is a tail shop!
I could buy and wear a fuzzy furry tail!
This is amazing!
There is a giant duck
Being pushed back and forth by two huge jacked dudes.

"I need to hug everyone!"
I am in love with everything!"
"Can i please hug you?"

"I swear to god, Nick if you touch me."

We try the knife throwing challenge.
The crossbow challenge.
The dart throwing challenge.
We **** at all of it but we have a blast.

We walk into a leather shop.
A small redheaded girl dances around us. She puts fur around our necks
Her hands trace our chests as she ties them up
You boys look like the type to rock these.
She drags us by the belts to a mirror.
Look at how handsome you both are.

"Roadkill" I whisper.
He is already lost in her eyes.
I place a hand below his chin and close his mouth.
They talk about where they're from.
Their families.
What they do for fun.
"Oh you do larp? We do dagohir it's like full contact grappley shield kicking larp"

A group of customers walk in and she leaves to tend to them.
A brunette helps take off roadkills stole.
"How much are these anyway?"
Roadkill asks the brunette.
"$600" she answers.
"I feel ashamed for even trying it on"
Says roadkill slipping off the precious treasure.
"Goodbye ladies! have fun today!"
I say, pulling roadkill by the arm.
"Oh... okay then... bye."

"They seemed sad we left.
What was that about?" Asked roadkill.
"Well do you want the blunt educated version or the ignorant positive version?"

"Ignorant of coarse."
Then they're dissapointed because they were interested in us.
"Out of curiousity, what's the blunt educated version?"
"They're upset We didn't fall for their act and buy their expensive wares."
"Whelp... there goes my self confidence. Ignorance really is bliss"
"Yes it is roadkill. Yes it is."

We Travel back home.
Again, singing sailor shantees.

"A curse to you lads,
a curse on your head,
Drinking pint after pint
until I am dead
I just keep drinking
and I don't know why,
But tonight is the night
that I drink 'til I die!"

Park the four wheeled ground zeppelin in front of the Apartment.
Clonk our boots up the stairs
Grab angry orchards out of the fridge
Slunk into the beaten brown couch
raise my bottle into the air
"To living one more day exactly the way we want too, Roadkill."
Roadkill raises his bottle.
clinks it against mine.
"To living."

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Desperate kisses
Taste roses and peaches
Grips hair
Breath trembles
Desire
Lust
Craving
Yearning
Velvet bed
Tight flower
Hot sheets enchant
Untie corset
Unhook garters
Fingers dance slow circles
Pouring wax
Stroking oil
Soft hips
Tongue stroking...
Strawberry shudders
Unyielding teeth
Weak pleasures
Sultry sway
Heightens raw need, greed

Burst Cherry
Exquisite cries
Swimming body freely
Skin glides
******
Penetrate
Damp Rhythm
Primitive, Swollen, Ragged, Fevered
                                                       ­                                         ****.