‘Nam Sibyllam quidem Cumis ego ipse oculis meis
vidi in ampulla pendere, et *** illi pueri dicerent:
Sibylla ti theleis; respondebat illa: apothanein thelo.’

                For Ezra Pound
                il miglior fabbro


I. The Burial of the Dead

April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
Winter kept us warm, covering
Earth in forgetful snow, feeding
A little life with dried tubers.
Summer surprised us, coming over the Starnbergersee
With a shower of rain; we stopped in the colonnade,
And went on in sunlight, into the Hofgarten,
And drank coffee, and talked for an hour.
Bin gar keine Russin, stamm’ aus Litauen, echt deutsch.
And when we were children, staying at the archduke’s,
My cousin’s, he took me out on a sled,
And I was frightened. He said, Marie,
Marie, hold on tight. And down we went.
In the mountains, there you feel free.
I read, much of the night, and go south in the winter.

What are the roots that clutch, what branches grow
Out of this stony *******? Son of man,
You cannot say, or guess, for you know only
A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock),
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust.
            Frisch weht der Wind
            Der Heimat zu
            Mein Irisch Kind,
            Wo weilest du?
‘You gave me hyacinths first a year ago;
‘They called me the hyacinth girl.’
—Yet when we came back, late, from the Hyacinth garden,
Your arms full, and your hair wet, I could not
Speak, and my eyes failed, I was neither
Living nor dead, and I knew nothing,
Looking into the heart of light, the silence.
Oed’ und leer das Meer.

Madame Sosostris, famous clairvoyante,
Had a bad cold, nevertheless
Is known to be the wisest woman in Europe,
With a wicked pack of cards. Here, said she,
Is your card, the drowned Phoenician Sailor,
(Those are pearls that were his eyes. Look!)
Here is Belladonna, the Lady of the Rocks,
The lady of situations.
Here is the man with three staves, and here the Wheel,
And here is the one-eyed merchant, and this card,
Which is blank, is something he carries on his back,
Which I am forbidden to see. I do not find
The Hanged Man. Fear death by water.
I see crowds of people, walking round in a ring.
Thank you. If you see dear Mrs. Equitone,
Tell her I bring the horoscope myself:
One must be so careful these days.

Unreal City,
Under the brown fog of a winter dawn,
A crowd flowed over London Bridge, so many,
I had not thought death had undone so many.
Sighs, short and infrequent, were exhaled,
And each man fixed his eyes before his feet.
Flowed up the hill and down King William Street,
To where Saint Mary Woolnoth kept the hours
With a dead sound on the final stroke of nine.
There I saw one I knew, and stopped him, crying ‘Stetson!
‘You who were with me in the ships at Mylae!
‘That corpse you planted last year in your garden,
‘Has it begun to sprout? Will it bloom this year?
‘Or has the sudden frost disturbed its bed?
‘Oh keep the Dog far hence, that’s friend to men,
‘Or with his nails he’ll dig it up again!
‘You! hypocrite lecteur!—mon semblable,—mon frère!’

II. A Game of Chess

The Chair she sat in, like a burnished throne,
Glowed on the marble, where the glass
Held up by standards wrought with fruited vines
From which a golden Cupidon peeped out
(Another hid his eyes behind his wing)
Doubled the flames of sevenbranched candelabra
Reflecting light upon the table as
The glitter of her jewels rose to meet it,
From satin cases poured in rich profusion;
In vials of ivory and coloured glass
Unstoppered, lurked her strange synthetic perfumes,
Unguent, powdered, or liquid—troubled, confused
And drowned the sense in odours; stirred by the air
That freshened from the window, these ascended
In fattening the prolonged candle-flames,
Flung their smoke into the laquearia,
Stirring the pattern on the coffered ceiling.
Huge sea-wood fed with copper
Burned green and orange, framed by the coloured stone,
In which sad light a carved dolphin swam.
Above the antique mantel was displayed
As though a window gave upon the sylvan scene
The change of Philomel, by the barbarous king
So rudely forced; yet there the nightingale
Filled all the desert with inviolable voice
And still she cried, and still the world pursues,
‘Jug Jug’ to ***** ears.
And other withered stumps of time
Were told upon the walls; staring forms
Leaned out, leaning, hushing the room enclosed.
Footsteps shuffled on the stair.
Under the firelight, under the brush, her hair
Spread out in fiery points
Glowed into words, then would be savagely still.

‘My nerves are bad to-night. Yes, bad. Stay with me.
‘Speak to me. Why do you never speak. Speak.
‘What are you thinking of? What thinking? What?
‘I never know what you are thinking. Think.’

I think we are in rats’ alley
Where the dead men lost their bones.

‘What is that noise?
                          The wind under the door.
‘What is that noise now? What is the wind doing?’
                    Nothing again nothing.
                                                    ‘Do
‘You know nothing? Do you see nothing? Do you remember
‘Nothing?’

    I remember
Those are pearls that were his eyes.
‘Are you alive, or not? Is there nothing in your head?’
                                                     But
O O O O that Shakespeherian Rag—
It’s so elegant
So intelligent
‘What shall I do now? What shall I do?’
I shall rush out as I am, and walk the street
‘With my hair down, so. What shall we do to-morrow?
‘What shall we ever do?’
                             The hot water at ten.
And if it rains, a closed car at four.
And we shall play a game of chess,
Pressing lidless eyes and waiting for a knock upon the door.

When Lil’s husband got demobbed, I said—
I didn’t mince my words, I said to her myself,
hurry up please its time
Now Albert’s coming back, make yourself a bit smart.
He’ll want to know what you done with that money he gave you
To get yourself some teeth. He did, I was there.
You have them all out, Lil, and get a nice set,
He said, I swear, I can’t bear to look at you.
And no more can’t I, I said, and think of poor Albert,
He’s been in the army four years, he wants a good time,
And if you don’t give it him, there’s others will, I said.
Oh is there, she said. Something o’ that, I said.
Then I’ll know who to thank, she said, and give me a straight look.
hurry up please its time
If you don’t like it you can get on with it, I said.
Others can pick and choose if you can’t.
But if Albert makes off, it won’t be for lack of telling.
You ought to be ashamed, I said, to look so antique.
(And her only thirty-one.)
I can’t help it, she said, pulling a long face,
It’s them pills I took, to bring it off, she said.
(She’s had five already, and nearly died of young George.)
The chemist said it would be alright, but I’ve never been the same.
You are a proper fool, I said.
Well, if Albert won’t leave you alone, there it is, I said,
What you get married for if you don’t want children?
hurry up please its time
Well, that Sunday Albert was home, they had a hot gammon,
And they asked me in to dinner, to get the beauty of it hot—
hurry up please its time
hurry up please its time
Goonight Bill. Goonight Lou. Goonight May. Goonight.
Ta ta. Goonight. Goonight.
Good night, ladies, good night, sweet ladies, good night, good night.

III. The Fire Sermon

The river’s tent is broken: the last fingers of leaf
Clutch and sink into the wet bank. The wind
Crosses the brown land, unheard. The nymphs are departed.
Sweet Thames, run softly, till I end my song.
The river bears no empty bottles, sandwich papers,
Silk handkerchiefs, cardboard boxes, cigarette ends
Or other testimony of summer nights. The nymphs are departed.
And their friends, the loitering heirs of city directors;
Departed, have left no addresses.
By the waters of Leman I sat down and wept . . .
Sweet Thames, run softly till I end my song,
Sweet Thames, run softly, for I speak not loud or long.
But at my back in a cold blast I hear
The rattle of the bones, and chuckle spread from ear to ear.

A rat crept softly through the vegetation
Dragging its slimy belly on the bank
While I was fishing in the dull canal
On a winter evening round behind the gashouse
Musing upon the king my brother’s wreck
And on the king my father’s death before him.
White bodies naked on the low damp ground
And bones cast in a little low dry garret,
Rattled by the rat’s foot only, year to year.
But at my back from time to time I hear
The sound of horns and motors, which shall bring
Sweeney to Mrs. Porter in the spring.
O the moon shone bright on Mrs. Porter
And on her daughter
They wash their feet in soda water
Et O ces voix d’enfants, chantant dans la coupole!

Twit twit twit
Jug jug jug jug jug jug
So rudely forc’d.
Tereu

Unreal City
Under the brown fog of a winter noon
Mr. Eugenides, the Smyrna merchant
Unshaven, with a pocket full of currants
C.i.f. London: documents at sight,
Asked me in demotic French
To luncheon at the Cannon Street Hotel
Followed by a weekend at the Metropole.

At the violet hour, when the eyes and back
Turn upward from the desk, when the human engine waits
Like a taxi throbbing waiting,
I Tiresias, though blind, throbbing between two lives,
Old man with wrinkled female *******, can see
At the violet hour, the evening hour that strives
Homeward, and brings the sailor home from sea,
The typist home at teatime, clears her breakfast, lights
Her stove, and lays out food in tins.
Out of the window perilously spread
Her drying combinations touched by the sun’s last rays,
On the divan are piled (at night her bed)
Stockings, slippers, camisoles, and stays.
I Tiresias, old man with wrinkled dugs
Perceived the scene, and foretold the rest—
I too awaited the expected guest.
He, the young man carbuncular, arrives,
A small house agent’s clerk, with one bold stare,
One of the low on whom assurance sits
As a silk hat on a Bradford millionaire.
The time is now propitious, as he guesses,
The meal is ended, she is bored and tired,
Endeavours to engage her in caresses
Which still are unreproved, if undesired.
Flushed and decided, he assaults at once;
Exploring hands encounter no defence;
His vanity requires no response,
And makes a welcome of indifference.
(And I Tiresias have foresuffered all
Enacted on this same divan or bed;
I who have sat by Thebes below the wall
And walked among the lowest of the dead.)
Bestows one final patronising kiss,
And gropes his way, finding the stairs unlit . . .

She turns and looks a moment in the glass,
Hardly aware of her departed lover;
Her brain allows one half-formed thought to pass:
‘Well now that’s done: and I’m glad it’s over.’
When lovely woman stoops to folly and
Paces about her room again, alone,
She smoothes her hair with automatic hand,
And puts a record on the gramophone.

‘This music crept by me upon the waters’
And along the Strand, up Queen Victoria Street.
O City city, I can sometimes hear
Beside a public bar in Lower Thames Street,
The pleasant whining of a mandoline
And a clatter and a chatter from within
Where fishmen lounge at noon: where the walls
Of Magnus Martyr hold
Inexplicable splendour of Ionian white and gold.

      The river sweats
      Oil and tar
      The barges drift
      With the turning tide
      Red sails
      Wide
      To leeward, swing on the heavy spar.
      The barges wash
      Drifting logs
      Down Greenwich reach
      Past the Isle of Dogs.
                  Weialala leia
                  Wallala leialala

      Elizabeth and Leicester
      Beating oars
      The stern was formed
      A gilded shell
      Red and gold
      The brisk swell
      Rippled both shores
      Southwest wind
      Carried down stream
      The peal of bells
      White towers
                  Weialala leia
                  Wallala leialala

‘Trams and dusty trees.
Highbury bore me. Richmond and Kew
Undid me. By Richmond I raised my knees
Supine on the floor of a narrow canoe.’
‘My feet are at Moorgate, and my heart
Under my feet. After the event
He wept. He promised ‘a new start’.
I made no comment. What should I resent?’
‘On Margate Sands.
I can connect
Nothing with nothing.
The broken fingernails of ***** hands.
My people humble people who expect
Nothing.’
              la la

To Carthage then I came

Burning burning burning burning
O Lord Thou pluckest me out
O Lord Thou pluckest

burning

IV. Death by Water

Phlebas the Phoenician, a fortnight dead,
Forgot the cry of gulls, and the deep sea swell
And the profit and loss.
                                A current under sea
Picked his bones in whispers. As he rose and fell
He passed the stages of his age and youth
Entering the whirlpool.
                               Gentile or Jew
O you who turn the wheel and look to windward,
Consider Phlebas, who was once handsome and tall as you.

V. What the Thunder Said

After the torchlight red on sweaty faces
After the frosty silence in the gardens
After the agony in stony places
The shouting and the crying
Prison and palace and reverberation
Of thunder of spring over distant mountains
He who was living is now dead
We who were living are now dying
With a little patience

Here is no water but only rock
Rock and no water and the sandy road
The road winding above among the mountains
Which are mountains of rock wi

English Tranliteration - Pratishod Ek Mithya Hain

Ghisi peeti baate hain ab, tum naa uljho ateet mein,
Tyaag dwesh gar maaf karo, badle shatru bhi meet mein...

Sugalte badle ki chingaari ko, nahi lagti der badalte aag mein,
Barsaao kshama ka paani us par, katutaa badle prembaag mein...

Sabhi jeev hain mitra tumhare, fir bair bhav ka kya prayojan,
Waqt rehte thook do gussa, behtar hain apna lo sanyam...

Pratishod ek mithya hain, mat uljho iske jaal mein,
Saajisho aur yojaanaao mein, aur badle ki chaal mein...

Krodh ke angaare oor mein rakh, khud hi ko jalaa baithoge...
Man ki chinta chittaa samaan, yeh baat puraani bhulaa baithoge...

Der nahi huyi hain ab tak, maafi ki ehmiyat jaan lo,
Thoda maaf tum kar do ab, aur thodi tum bhi maang lo...

- - - - -

English Translation - Vengeance Is An Illusion

Begone and ancient thing it is, you don't get indulged in the past,
By abandoning hatred, if you forgive (someone) , then even an enemy gets transformed into a friend.

It doesn't take much time for a burning vengeance of cinder to change into fire,
Pour the water of forgiveness onto it, and even bitterness will change into garden of love.

All the beings are friends of yours, then what is the use of aversion?
In time, spit away your anger, and it's better to adopt temperance (sobriety/control) .

Vengeance is an illusion, don't get entwined in its trap,
In its conspiracies & plans, as well as in its schemes.

By keeping the burning coals of anger in heart, you will burn yourself alone,
Mind's worry is like a crematory pyre: you'll forget this ancient wisdom.

It's not too late still; know the significance of forgiveness,
You should now forgive a little and you should also ask for it a little...

- - - - -

Original Poem - प्रतिशोद इक मिथ्या है*

घिसी पीटी बातें हैं अब, तुम ना उलझो अतीत में।
त्याग द्वेष गर माफ़ करो, बदले शत्रु भी मीत में।।

सुलगते बदले की चिंगारी को, नहीं लगती देर बदलते आग मे।
बरसाओ क्षमा का पानी उस पर, कटुता बदले प्रेमबाग मे।।

सभी जीव हैं मित्र तुम्हारे, फिर बैरभाव का क्या प्रयोजन।
वक़्त रहते थूक दो गुस्सा, बेहतर है अपना लो संयम।।

प्रतिशोद इक मिथ्या है, मत उलझो इसके जाल में।
साजिशों और योजनाओं में, और बदले की चाल में।।

क्रोध के अँगारें रख उर में, खुद ही को जला बैठोगे।
मन की चिन्ता चित्ता समान, यह बात पुरानी भुला बैठोगे।।

© Poem by *Manas Madrecha

English Transliteration - Satya Sarvopari Sarvaat

Jhoot bolna aam ** gaya, par mahimaa satya ki kam naa aanknaa,
Bheetar ki naitiktaa ko, vivek-nayan se zaroor jhaank naa...

Man aur vani ki akhandta, vibhakt ** ne naa denaa,
Jhoot par avalambit **, swa-nistha khone naa denaa...

Kapat aacharan ko apnakar, aarthik sukh hi paaoge,
Sabal charitra banaa lo gar, toh nityaanand tak jaaoge...

Vani par jiske satya sadaa, vachan shakti siddh hogi,
Mukh se upji har shabdaavali, vaastav mein sanghatit hogi...

Abhisandhi ka gar karo prayog, jo logo ko sambhramit kare,
Toh unki nahi, tumhaari mithya, jo aatm ko hi dooshit kare...

Jab jab kanth kare dhwani, prajwalit ** satyajyoti se har baat,
Jhoot gaun samaksh uske, satya sarvopari sarvaat...

- - - - -

English Translation - Truth is above everything

Speaking lies have become common, but don't underestimate the significance of Truth,
Do peep into your inner morality through the eyes of conscience...

Do not let the integrity of Mind & Speech be dissected,
By adhering onto fallacy, do not let your self morale be lost...

By embracing fraudulent behavior, you will only get monetary pleasure,
But if you build a brawny (strong) Character, you will go till Eternal Happiness (Salvation) ...

The one who always has Truth on his Speech, the force of oration will become effectual,
Every vocabulary out from his mouth, will constitute into Reality...

If you do use deceit, for misapprehending the people,
Then the illusion is not theirs, but yours, for it pollutes your own self...

When ever the throat makes sound, let every talk be illuminated with the light of Truth,
Lie is inferior in front of it, Truth is above every thing...

- - - - -

Original Poem - सत्य सर्वोपरि सर्वात्

झूठ बोलना आम हो गया, पर महिमा सत्य की कम ना आंकना।
भीतर की नैतिकता को, विवेक-नयन से ज़रूर झांकना।।

मन और वाणी की अखंडता, विभक्त होने ना देना।
झूठ पर अवलंबित हो, स्वनिष्ठा खोने ना देना।।

कपट आचरण को अपनाकर, आर्थिक सुख ही पाओगे।
सबल चरित्र बना लो गर, तो नित्यानंद तक जाओगे।।

वाणी पर जिसके सत्य सदा, वचन-शक्ति सिद्ध होगी।
मुख से उपजी हर शब्दावली, वास्तव में संघटित होगी।।

अभिसंधि का गर करो प्रयोग, जो लोगो को संभ्रमित करे।
तो उनकी नहीं, तुम्हारी मिथ्या, जो आत्म को ही दूषित करे।।

जब जब कंठ करे ध्वनि, प्रज्वलित हो सत्यज्योति से बात।
झूठ गौण समक्ष उसके, सत्य सर्वोपरि सर्वात्।।

© Poem by Manas Madrecha

spining spinnig spinning spinnging spinging spinining spinning spinning psinngin psinnging psinning spining psminnng psinng psing spinning itching tiching tiching itching itching ithcintign itching ithc nihting itching itching itching my chgest chest chet chest chets chest chesth ches thchc chest chest chestch sthech sethch schesth chesth seht esht eshthe sehches stghse tpanic panic panic panic itching panich painc itchingpainic pinaibng pinc ananc intching paning cnians pannigba sicthicn itcthing itching ithcing itching ithchi nhelp help help ehple help e helpe helpe helpe help help help ehlp ehlpe help ehple go waay away waway away away away aya away away away waya waya awaya waya away awaya no i don’t wnat o ts see ll you this coffee get the **** out of my ****** gface itching itchin gnaimial itching reage rage rage rrage gar eget the **** cis ssifi ficuking ishaf sisth ge tou to fmy fauck ceuang face te get out of my faucking *******  ******* **** ing ******* fuckng icing ******* fufking ******* tufkc thing face get the **** out of my face get the **** out of my face get the **** out of my face and leave me alone get the fucki out to foi my face and leave me alone spinning sinning range tulnnel vision tunnel spinning tiching cehst panic get out o fmy face i don’t want to sell you foccefe and you are n’t going to e to to to to to tip me anyway you ******* **** head yet the **** out of my afce and leave me the **** anlone i have n’t taken a break a break a brak breath in like like like twnety minutes breaht ebreathe breathe abreathe breathe breathe breathe breathe breathe don’t tell me to ******* breathe i know to ******* breathe rage rage rage rage tag r rage reag e aasdna breathe brathe breathe breathe breathe breathe breathe breathe breahte breathe breathe breabdth rbreathe breathe breathe rbaein out in out in out in out in out in out in out in out in out in rythm rhythm rhtrm why the **** is that work word do so why the **** is that word so hard to spenl wp swhy the fu ck wiuy why the **** is that word si focukning hard to spell foeaajsdg why the **** is thwa why the **** is tha twor what why the **** is that word so hard to sle why the **** is that word os why the **** is that word so hard to spell rhyhtm rhyr rhythem rhythm tryhtm in out in ou to int out in tih rhythm rhytm tr intching itching itching ittchahinsdg in out in out outu ihn out in iuth out it ou th hei is this poetry hooray i wrote something go me look at all those words on the page i put thise there **** yeah go me hooray i was creative with my panic attack good for me good for ******* me now i guess the next step is to just go insatne and get drink run right horay hooray hooray three cheers for me i wrote something and it’s gonne anga nd id it’s gonna get me a million ******* dollars because i channeled ma my rf **** ing rage and that’s what epeople whatn ranwt ranw ran ran want wri sfsa tir right i it’s jurat rage riage rajfjs rb braeat breathe breathe breathe breathe breahte btrahet breathe i can’t ty e i can’t te i can’t tpye n d i can’t type ab ica i can’t type and breahte a ti ci  i can’t type and breathe at the samet ime i can’t tyime i can’t y i can’t type and breathe at the same to i can’t tiy i can’t type and breathe at the same timy i can’t ta i can’t type and breathe at the same time but maybe when i fguyre maybe when i figure out how to t mabye maybe when i figure out how to do that i’l act maybe bw maybe when i figure out how to do wh wm maybe wheni figure out how to do that i’ll write something that doesn’t make me want to **** myself but for now i detes i but forno but for now i detest ever ev but for now i want to stab every sing le but for now i want to strange but for now i want t o but for now i want to strangle every wrod that comes out ofmy ******* ******* useless garbage handss

For three years, out of key with his time,
He strove to resuscitate the dead art
Of poetry; to maintain “the sublime”
In the old sense. Wrong from the start—

No, hardly, but seeing he had been born
In a half savage country, out of date;
Bent resolutely on wringing lilies from the acorn;
Capaneus; trout for factitious bait;

Idmen gar toi panth, hos eni troie
Caught in the unstopped ear;
Giving the rocks small lee-way
The chopped seas held him, therefore, that year.

His true Penelope was Flaubert,
He fished by obstinate isles;
Observed the elegance of Circe’s hair
Rather than the mottoes on sun-dials.

Unaffected by “the march of events,”
He passed from men’s memory in l’an trentuniesme
de son eage;the case presents
No adjunct to the Muses’ diadem.

II
The age demanded an image
Of its accelerated grimace,
Something for the modern stage
Not, at any rate, an Attic grace;

Not, certainly, the obscure reveries
Of the inward gaze;
Better mendacities
Than the classics in paraphrase!

The “age demanded” chiefly a mould in plaster,
Made with no loss of time,
A prose kinema, not, not assuredly, alabaster
Or the “sculpture” of rhyme.

III
The tea-rose tea-gown, etc.
Supplants the mousseline of Cos,
The pianola “replaces”
Sappho’s barbitos.

Christ follows Dionysus,
******* and ambrosial
Made way for macerations;
Caliban casts out Ariel.

All things are a flowing
Sage Heracleitus say;
But a ****** cheapness
Shall outlast our days.

Even the Christian beauty
Defects—after Samothrace;
We see to kalon
Decreed in the market place.

Faun’s flesh is not to us,
Nor the saint’s vision.
We have the press for wafer;
Franchise for circumcision.

All men, in law, are equals.
Free of Pisistratus,
We choose a knave or an ******
To rule over us.

O bright Apollo,
Tin andra, tin heroa, tina theon,
What god, man or hero
Shall I place a tin wreath upon!

IV
These fought in any case,
And some believing,
                                pro domo, in any case…

Some quick to arm,
some for adventure,
some from fear of weakness,
some from fear of censure,
some for love of slaughter, in imagination,
learning later…
some in fear, learning love of slaughter;

Died some, pro patria,
                                non “dulce” not “et decor”…
walked eye-deep in hell
believing old men’s lies, then unbelieving
came home, home to a lie,
home to many deceits,
home to old lies and new infamy;
usury age-old and age-thick
and liars in public places.

Daring as never before, wastage as never before.
Young blood and high blood,
fair cheeks, and fine bodies;

fortitude as never before

frankness as never before,
disillusions as never told in the old days,
hysterias, trench confessions,
laughter out of dead bellies.

V
There died a myriad,
And of the best, among them,
For an old ***** gone in the teeth,
For a botched civilization,

Charm, smiling at the good mouth,
Quick eyes gone under earth’s lid,

For two gross of broken statues,
For a few thousand battered books.

Fine living . . . a la carte?
     Come to the Waldorf-Astoria!

     LISTEN HUNGRY ONES!
Look! See what Vanity Fair says about the
     new Waldorf-Astoria:

     "All the luxuries of private home. . . ."
Now, won't that be charming when the last flop-house
     has turned you down this winter?
     Furthermore:
"It is far beyond anything hitherto attempted in the hotel
     world. . . ." It cost twenty-eight million dollars. The fa-
     mous Oscar Tschirky is in charge of banqueting.
     Alexandre Gastaud is chef. It will be a distinguished
     background for society.
So when you've no place else to go, homeless and hungry
     ones, choose the Waldorf as a background for your rags--
(Or do you still consider the subway after midnight good
     enough?)

        ROOMERS
Take a room at the new Waldorf, you down-and-outers--
     sleepers in charity's flop-houses where God pulls a
     long face, and you have to pray to get a bed.
They serve swell board at the Waldorf-Astoria. Look at the menu, will
you:

     GUMBO CREOLE
     CRABMEAT IN CASSOLETTE
     BOILED BRISKET OF BEEF
     SMALL ONIONS IN CREAM
     WATERCRESS SALAD
     PEACH MELBA

Have luncheon there this afternoon, all you jobless.
     Why not?
Dine with some of the men and women who got rich off of
     your labor, who clip coupons with clean white fingers
     because your hands dug coal, drilled stone, sewed gar-
     ments, poured steel to let other people draw dividends
     and live easy.
(Or haven't you had enough yet of the soup-lines and the bit-
     ter bread of charity?)
Walk through Peacock Alley tonight before dinner, and get
     warm, anyway. You've got nothing else to do.

party zone with sue longways



hi everyone, my name is sue longways and what a night we have for you

you see i will start with a great song, here it goes

one look in your eyes makes me feel oh continental

diamonds are a girls best friend

parties are fun for girls and also guys yeah

we have diamonds which is a girls best friend

me, sue longways is partying every day and night oh yeah

diamonds oh diamonds are a girl’s best friend

and now here is sue about to interview kendoll from scullin

sue’   hi everyone welcome back to party zone and as you might be aware

the GWS footy team beat hawthorn and sydney beat melbourne

a win for sydney against melbourne and what a walloping win for the canberra raiders

and ken doll how did you feel about those victories

kendoll’  well, it was great to see the swans and GWS, and the mighty raiders, well, that is a shock result

for them, and i was glancing the internet, and i saw belconnen magpies first grade side

nearly got a 200 game

sue’  yeah you were telling me back stage

kendoll’    and another thing, as i was watching the swans, the warriors beat the sharks and the cowboys beat

thje bulldogs and

sue’   yeah talking about rugby league, you promised us, you will sing the green machine song in a tu tu if they beat the titans

so why not try it

kendoll’  ok i will just get my tu tu

ken doll puts his tu tu on with a bit of a laugh

kendoll’   we’re the bad and mean green machine,

fearsome men from the ACT

don’t try and stop these men in green

or we will hit ys hit ya hit ya, till you see green

sue’  how do you feel mr kendoll

kendoll’   i feel great, UP THE RAIDERS, SWANS AND DOCKERS AND GWS, what a great performance these teams

played for us tonight

sue’  thanks kendoll and now we will go to tina dermott from casey, tina, how are you feeling tonight

tina’   i feel like singing

not a dime i cannot pay my rent

i can barely make it through the week

saturday night is party night i want to meet a girl

but right now i cannot make my ends meet

i am always working slaving every day

gotta get a break from that same old same old

i need a chance just to get away

this is what i say

i need nothing but a good time

how can i resist, i saw belconnen magpies

almost get 200, i feel really really pumped, oh yeah

sue’  yeah it was great to see the magpies get 196 points today, and it was also great to see the raiders get 56

tina’   yeah, and i just came from the sports bar, and fremantle dockers beat essendon, i feel like singing

freo, oh free heavho

free way to go, we beat the bombers easily so

free way to go, we’re the mighty fremantle dockers

free way to go, we’re the best team oh yeah we are so

free way to go, we are the free dockers

sue’  yeah go the mighty dockers and thanks tina, go the  dockers and now we have larry king jar with us

larry’  yeah sue, i feel like old 80s trash so i will sing old 80s trash

last night i was dreaming

i was locked in a prison cell

when i woke up i was screaming

calling out your name

and the judge and the the jury, put the blame on me

they won’t go for my story, they will lock me away

only you can set me free, cause i am guilty, guilty

guilty as a guy can be

dreaming yeah makes me feel so ALIVE, oh yeah

of love in the first degree

sue’  yeah, that is a wonderful song, thank you larry and now here is marcus from higgins

marcus hi sue, and i am singing my song, we’re not going to take it, the lines to get in civic nightclubs

you see we have the right to get in there

ya know party on saturday night party night yeah

i can’t understand why this line is taking so **** long

and there is some weird odour, smells like a combination of dirt and snot yeah

yeah it is the person next to me, boy does he really pong

i said i am not going to take it, i really am into breaking point

i can’t take these nightclub lines no more

my mates call me a little girlie others said i was an oldie

i can’t take these nightclub lines anymore

sue’  way to go marcus, the nightclub owners should allow heaps of people in, but then your packed in like sardines, what can we do

and our last guest is fred from gar ran

fred’  yeah, i will sing hallueiah

i hear the swans and the giants did win

and the raiders and the cowboys won

we don’t really care for losing do, us

go the mighty free ,man, and adfelaide, who are the pride of SA

yeah, this is the big moment we sing halleiah

sue’   ok dudes, i hope you enjoyed party zone tonight. if ya want to meet these people, pop round to the city club before 2 am ok

ands PARTY HARDY won’t stardy

Sue Venir loved Hugh Biquitous, but he was unreliable, so she confided this to her friend, Di Namic who confirmed he’d been seen with Penny Farthing and Miss Chevous. Then she ran into Ken Tucky, who’d just broken up with Jen Erator, and was known to hang with Mel N. Choly. Together, they and Dan Ube went to a party thrown by Perry Winkle at the house of Dana Point.

Con Valescence introduced Sue to Marine Layer who asked Mr. Tucky to join the conversation, and they’ve been conversing ever since. Lou Kemia couldn’t make the party as he was ill. This was confirmed by Nick Knack who’d been informed by Conrad Alert.

Penny Saver left early, heading over to the home of I. Stan Bul, who was throwing a celebration in honor of Hazel Nuts and Grant N. Aid, who were to be married by Will Power, though Miss Givings, his former girlfriend, did not approve. Celebrants included Buzz Saw, Ma Larkey, Ben E. Diction, ***** Pack and of course Ann I. Versary, who deemed it worthy of being remembered. Tom Foolery was always good for a laugh, which was appreciated by Art I. Face, Dee Vice and Tess Osterone.

Some chose to dine alfresco, notably Flora Fauna, Heidi **, and Ed U. Cate. Barb Ituate was a downer, though Ma Larkey tried to cheer her up, watched by Cliff Hanger who wanted to see what happened, until a dispute arose between Ana Conda and Ann Ticipation, who’d both been vying for the attention of Billy Goat.

Meanwhile, in another part of town, Terry Dactyl was in a dispute with Billy Club over Lilly White because of something Miss Conception had reported after hearing from that duo, Caesar Salad and Reuben Sandwich.

Junior Mints tried to mollify the situation with sugary statements, but was interrupted by Yuri Nal, who said he had to go, and then left with Jay Walking and they were off to congregate with Diane Tomeetya.

At the next table General Jive held court in a warlike mood,  that Cary Cature tried to lighten.  With them were Tex Arcana, whose accent was amusing to Bill Collector, Al Gorythm, Tim Buktu and Marv E. Lous, who always had a great time wherever he went.

By then, Bobby Pin, the luscious seamstress, had given up on Peter D. Out, after seeing him clowning around with Butch Wax and Slim N. None, all of them malcontents and disrupters.

In walked Daisy Chain, newly arrived  from the Southern Hemisphere, along with Sydney Australia. Klaus Trophobic had initially agreed to travel with the two of them, but said he had to stay at home. Frank O’Phile overhead this and confided to Phil O’Sophically that there is sometimes merit to such position.

The restaurant was owned by Ty ****, managed by Chuck Wagon, with the food delivered by waiters Clay *** and Terry Aki , assisted by busboyTara Misou.

The next morning, everyone gathered at the home of Dawn Patrol, who was there with her new husband, Earnest Money, after divorcing Perry Mutual. Deb Enture was her maid of honor.  Nick O’Time was nearly late to the party, driving in with Stu Debaker, via a shaky Uber driver named Manuel Shifting.

Al Acrity was his usual sunny self, but not when Den O’Thieves interrupted his conversation, which was shut down by Kay O.

Sherman Oaks and Van Nuys were late, having gotten mixed up on the location. Cliff Hanger was worried about the falling stock market, and as a result was getting drunk with Jack Daniels. Stan Dup was his usually assertive self, but was overshadowed by the always munificent Cy Pres.

Claude Hopper was dressed in yesterdays’ styles, but that didn’t matter to Dov Tail who  was going into business with Matt Chabox, known for his incendiary personality. They had two other partners to round the group out, **** Ular and Ben E. Fit.

Gar Gantuan loomed large, and was unstable when paired with Mo Mentum, who said in such situations, they needed to involve Otto Matic.

Terry Cloth was wrapped around Jan U. Ary, ogled by Barbie Queue and Coleman Lantern.

“Orange doesn’t rhyme.”
Well, that’s what we were taught.
So, what it really needs is
Some careful new thought.

So, just for a moment
Let’s get a bit strange;
Let’s take the word ‘orange’
And let us deftly rearrange.
It can become something
Like ‘no rage’ instead.
Doesn’t that fit much more
Comfortably inside the head
And inside your rhyme scheme
As you gleefully poeticize
And smoothly abandon
The conundrum of other guys?

For instance, change orange:
On gear a transmission,
In discussion, ‘go near’?
Maybe some kind of Russian?
“An gore?’, on of Vidal’s children?
Or maybe like ‘Ego ran’,
A stuck-up jogging chicken?
‘Graneo’, something to call
Mother’s mom, if you’re hip?
“Groane’, an archaic manner
To let a moan escape your lips.
‘No gare’, a French gate
Too far away to easily use.
‘Neo gar’, a species of fish
That is sometimes in the news.

That doesn’t not signal
The orange issue surrender.
It just means I am willing
To consider almost any other
Way to look at this word
Another entire way instead
For this rather comfortable color
Halfway between yellow and red.

These bangs make me look up
Already make eye contact,
like a boss
Friend days "sup?"
I say "wuddup?"
I hear "go hard"
What does that mean?
Do your best
Through what I see,
It is keep on keeping calm
And keep on singing songs.
Whatever makes you happy
Corny as ****, whistle a tune
Not give a ****, or a ****
Or a promise
Viewed from your lips
If that's what it is, ****.

Let's go skate, I'll  meditate
Everyday, against a current
Staying strong and keeping along
In the present day
What do you all say?

Fall asleep on a still ocean
Wake up on a cloud
Still dreaming
Wake up on a star
Almost there
In the darkness

Open my eyes and I finally see planets, galaxy
around me

Whatever makes you happy
In your dreams and overcame fears.
Never stopping 'til the heart is content, transpired peacefulness through energy.

When sleeping, my hair is up above me
If this is when I am free in the end...
Hair cut? Thinking so, why not?
Allow it to go because it'll be too hot to touch the shoulders
Longing to be with the fresh palm trees,
Fresh springs and great eat.
Frizbees, mountains, deserts heat is where I need to be.
Squishy feeling
underneath my feet.
and again more trees
Keeping me on my way
Trucking' along
Singing more songs
in the summer's rain
Tap dancing and I'm gone.

What is truth?
That's an easy question
Actually, that's in a different demention, with words spinning around it, like a universe.
From chest, lips to ear, the hearer is not relating from the original scene.
You "had to be there" moment is what's very keen to truth.
The truth is inside of you.
That means that you and I or me and you, don't know what its like, inside each others life.
But here I am
And there is you
First site may be the end to some
But judge not because I am just one
"I am a Soul and Have a body"
A wise man Gar, once said.
I know we go on
there is no end.
Live life to the fullest
If not Yolo was dead...
Plenty of lives ahead
To the top of a pyramid
Of whatever we are
A cookie crum lost in space
The light of a burnt out star

Anything is possible
Dream among the starts
Is said because we are the sky

Our roots hold us down
Pressing soil away
Growing through the pain
Rocks as anchors
Til they are ripped away
The once hurtful thing
Getting in the way
Grasping on and taking hold
Foundation for home
Up-rooted and move
"It goes on" a poet once said
So I say, look ahead.
Life may be fast but it's not short
Choose a path to walk, grow, learn,love, glow.

Namaz Namaz keh, koi Namazi na banjai
Namaz khuda ke liye hai bando'n ko kyu'n dikhlayei'n
Ayea hum aapko apni kalam ki roshnaai dikhayei'n
Gaur se gar dekhei'n aap kaali roshnaai mei'n hraa rang dikhjaye.

"Mohabbat" lafz hi aisa hai
Aghaaz hurf e meem iska..
Aur Tey se khatm hota hai. ...
Gar maiñ jo meem hoti ***...
To tum phir ta se hote **.....
Mohabbat lafz hi aisa hai. ...
Shuru jab maiñ se hota hai
To phir tum par hi rukta hai
Humari is mohabbat mein
Main thi hi kab tum hi tum the...
Parasti khud ki tum ne ki
Meri awaaz suni kab thi...
To phir kaisi mohabbat thi
To phir kaisa fasana tha
Yeh ishq "hum" se begana tha
Ise to Mar hi jaana tha
Ise to Mar hi jaana tha.....

Khoobsoorti sadaf ki be misaal hoti hai....
Raaz hai uska jo chipa us mein ek moti hai.....

Sadaf ke do pat gar misaal e miya biwi hain...
Unki shadi ka rishta hi woh chipa moti hai...

Naazuk magar bohot woh baareek taar hota hai. ....
Jo us moti ko bana ke haar apne mein pirota hai...

Lamhe se lamha judta hai to ek zindagi banti hai...
Aur do zindagiyan milti hai to  ek shadi ki ladi banti hai...

Qadam se qadam milane mein khud ki pehchaan bhi khoti hai...
Alag se rang mein rangi phir shaksiyat dono ki nikharti hai....

Azwaji zindagi ke kuch apne masale bhi hote hain...
Kaanton se bhari raahon mein paththar bhi biche hote hain....

Zakhm in rahon par chal kar zaroor hasil hote hain...
Tab woh dono hi to ek duje ka marham hote hain...

17 saalon mein maine to bas itna hi seekha hai....
Hai woh kaamyaab rishta mohabbat se jisko seecha hai...

Sona chandi jis tarah ek aurat ko sajata hai...
Pyar o ehteraam waise hi rishte ko banata hai...

Wafa ka bhi to ek bohot ehm muqaam hota hai...
Qaayam uske dam pe hi to aitmaad hota hai....

Kuch aise hi to daqeeq yeh uroosi rishte hote hain....
Beinteha mohabbat se jinhe in jodon ne seechein hain...

25 o 50 salon ka yeh safar e taweel mubarak **. ..
Aapko yeh khoobsurat qaid e hayaat mubarak **. ..

Dua karti hain "Ain" laa zawal mausam e ulfat **....
Masrur rahe hayaat, har lamha pur rifaqat **...

The ladye she stood at her lattice high,
Wi' her doggie at her feet;
Thorough the lattice she can spy
The passers in the street,

"There's one that standeth at the door,
And tirleth at the pin:
Now speak and say, my popinjay,
If I sall let him in."

Then up and spake the popinjay
That flew abune her head:
"*** let him in that tirls the pin:
He cometh thee to wed."

O when he cam' the parlour in,
A woeful man was he!
"And dinna ye ken your lover agen,
Sae well that loveth thee?"

"And how *** I ken ye loved me, Sir,
That have been sae lang away?
And how *** I ken ye loved me, Sir?
Ye never telled me sae."

Said - "Ladye dear," and the salt, salt tear
Cam' rinnin' doon his cheek,
"I have sent the tokens of my love
This many and many a week.

"O didna ye get the rings, Ladye,
The rings o' the gowd sae fine?
I wot that I have sent to thee
Four score, four score and nine."

"They cam' to me," said that fair ladye.
"Wow, they were flimsie things!"
Said - "that chain o' gowd, my doggie to howd,
It is made o' thae self-same rings."

"And didna ye get the locks, the locks,
The locks o' my ain black hair,
Whilk I sent by post, whilk I sent by box,
Whilk I sent by the carrier?"

"They cam' to me," said that fair ladye;
"And I prithee send nae mair!"
Said - "that cushion sae red, for my doggie's head,
It is stuffed wi' thae locks o' hair."

"And didna ye get the letter, Ladye,
Tied wi' a silken string,
Whilk I sent to thee frae the far countrie,
A message of love to bring?"

"It cam' to me frae the far countrie
Wi' its silken string and a';
But it wasna prepaid," said that high-born maid,
"Sae I gar'd them tak' it awa'."

"O ever alack that ye sent it back,
It was written sae clerkly and well!
Now the message it brought, and the boon that it sought,
I must even say it mysel'."

Then up and spake the popinjay,
Sae wisely counselled he.
"Now say it in the proper way:
*** doon upon thy knee!"

The lover he turned baith red and pale,
Went doon upon his knee:
"O Ladye, hear the waesome tale
That must be told to thee!

"For five lang years, and five lang years,
I coorted thee by looks;
By nods and winks, by smiles and tears,
As I had read in books.

"For ten lang years, O weary hours!
I coorted thee by signs;
By sending game, by sending flowers,
By sending Valentines.

"For five lang years, and five lang years,
I have dwelt in the far countrie,
Till that thy mind should be inclined
Mair tenderly to me.

"Now thirty years are gane and past,
I am come frae a foreign land:
I am come to tell thee my love at last -
O Ladye, gie me thy hand!"

The ladye she turned not pale nor red,
But she smiled a pitiful smile:
"Sic' a coortin' as yours, my man," she said
"Takes a lang and a weary while!"

And out and laughed the popinjay,
A laugh of bitter scorn:
"A coortin' done in sic' a way,
It ought not to be borne!"

Wi' that the doggie barked aloud,
And up and doon he ran,
And tugged and strained his chain o' gowd,
All for to bite the man.

"O hush thee, gentle popinjay!
O hush thee, doggie dear!
There is a word I fain *** say,
It needeth he should hear!"

Aye louder screamed that ladye fair
To drown her doggie's bark:
Ever the lover shouted mair
To make that ladye hark:

Shrill and more shrill the popinjay
Upraised his angry squall:
I trow the doggie's voice that day
Was louder than them all!

The serving-men and serving-maids
Sat by the kitchen fire:
They heard sic' a din the parlour within
As made them much admire.

Out spake the boy in buttons
(I ween he wasna thin),
"Now wha will tae the parlour ***,
And stay this deadlie din?"

And they have taen a kerchief,
Casted their kevils in,
For wha will tae the parlour ***,
And stay that deadlie din.

When on that boy the kevil fell
To stay the fearsome noise,
"*** in," they cried, "whate'er betide,
Thou prince of button-boys!"

Syne, he has taen a supple cane
To swinge that dog sae fat:
The doggie yowled, the doggie howled
The louder aye for that.

Syne, he has taen a mutton-bane -
The doggie ceased his noise,
And followed doon the kitchen stair
That prince of button-boys!

Then sadly spake that ladye fair,
Wi' a frown upon her brow:
"O dearer to me is my sma' doggie
Than a dozen sic' as thou!

"Nae use, nae use for sighs and tears:
Nae use at all to fret:
Sin' ye've bided sae well for thirty years,
Ye may bide a wee langer yet!"

Sadly, sadly he crossed the floor
And tirled at the pin:
Sadly went he through the door
Where sadly he cam' in.

"O gin I had a popinjay
To fly abune my head,
To tell me what I ought to say,
I had by this been wed.

"O gin I find anither ladye,"
He said wi' sighs and tears,
"I wot my coortin' sall not be
Anither thirty years

"For gin I find a ladye gay,
Exactly to my taste,
I'll pop the question, aye or nay,
In twenty years at maist."

sehnsucht nach einer person*, würden menschen es in
worte fassen, dessen gebrauch sie gar nicht kennen.
oh nein, ich habe keine sehnsucht nach einer person –
ich habe heimweh. ich habe mich bei ihm – und
zwar egal wo: im bus, oder auch in einen dunkeln
raum, der gähnend leer ist, außer zwei personen
und eine handvoll worte, denen ich mich nicht
entziehen kann – mehr geborgen gefühlt, als
in meinen eigenen heim.

denn zu hause ist kein ort, sondern ein gefühl.

All I have left is her silver spoon
and in the corner her high chair
I wanted to watch her grow up
had all her schooling planed
but she upped and crawled away
all because I confessed that I was gay
she was too small to realise
that when I said that I meant happy
but it looks like now
that I won't be changing any nappies
no more goo goo gar gars
no more sunshine in my life
for she's upped and gone
just her silver spoon in my hand
she's finished with me I understand

By Christos Andreas Kourtis aka NeonSolaris
By NeonSolaris

© 2011 NeonSolaris (All rights reserved)

Was up is its going down.down down down the drain everyone poppin X getting high to the brain...not just high down right insane..who do we blame for this wrong?Illuminati artist that mention it in song?or may your parents that didn't put right where it belonged..sad u didn't come up in the Times of Bob n Tuff Gong..you'd realize that u need no more than a gar or ****..on that X ya brains battered like ping pong..as if it was deep fried in fat and served with a tong..now u out of your mind stripping in the club doing all kind of gay **** singing let me see that thong tha thong thong thong...end of the night u still out of place out in space hungry as **** so you eat the next guys face..burp and tell the cops you just wanted a taste..X users not trying to get on your case..just reminding you"household chems"will bleach your frame and rot your brain you might as well drink mace..think twice don't do drugs but smoke some **** cause a mind is a terrible thing to waste

when is a work of art not just a work of art?

at what point does it stop
being only a thing of beauty
and transform-
the self
the society
the Universe
                                                                when does it transcend the real
                                                                and become something magical
                                                               helping one fall through –
                                                               the rabbit hole
                                                                the wormhole
                                                                the black hole
                                                                                                                                      when does it become
                                                                                                                                     an unstoppable force
                                                                                                                                     and cause –
                                                                                                                                     a revolution
                                                                                                                                     an evolution
                                                                                                                                     an absolution


                              and at which moment does  it make you stop in your tracks
                                                          stop breathing and exclaim
                            “Gar Firdaus, ruhe zamin, hamin asto, hamin asto, hamin ast!”

- Vijayalakshmi Harish
   05.01.2013
  Copyright © Vijayalakshmi Harish,