here is little Effie’s head

αυτοσαρκαστικόν

here is little Effie’s head
whose brains are made of gingerbread
when judgment day comes
God will find six crumbs

stooping by the coffinlid
waiting for something to rise
as the other somethings did-
you imagine his surprise

bellowing through the general noise
Where is Effie who was dead?
-to God in a tiny voice,
i am may the first crumb said

whereupon its fellow five
crumbs chuckled as if they were alive
and number two took up the song
might i’m called and did no wrong

cried the third crumb, i am should
and this is my little sister could
with our big brother who is would
don’t punish us for we were good;

and the last crumb with some shame
whispered unto God, my name
is must and with the others i’ve
been Effie who isn’t alive

just imagine it I say
God amid a monstrous din
watch your step and follow me
stooping by Effie’s little, in

(want a match or can you see?)
which the six subjective crumbs
twitch like mutilated thumbs;
picture His peering biggest whey

coloured face on which a frown
puzzles, but I know the way-
(nervously Whose eyes approve
the blessed while His ears are crammed

with the strenuous music of
the innumerable capering damned)
-staring wildly up and down
the here we are now judgment day

cross the threshold have no dread
lift the sheet back in this way
here is little Effie’s head
whose brains are made of gingerbread

ee cummings

Relativity

 

 

 

 relativity of solitude

Originally uploaded by regolare

 

 

I like relativity and quantum theories
because I don’t understand them
and they make me feel as if space shifted about like a swan that can’t settle,
refusing to sit still and be measured;
and as if the atom were an impulsive thing
always changing its mind.

David Herbert Lawrence (1885-1930)

Tu m’ appartiens

Tu m’ appartiens

Visage, seins, sexe

Je te possede

Images multiples

Images secretes

Je t’ imagine

Et te vois

Je te regarde

Et te leche

 

 

Je te prends

C’est moi qui te baise

Pas lui moi

Quand je veux

Maintenant

La dans les bois

Dans la sale de bain

La cuisine le salon

La chambre

 

 

Tu me dis a l’ oreille

L’ enfant

Le demenagement

Notre cocon

Tu me blesses me soignes

Et tu m’ aimes

Tous les jours

Denise

 

Les images volees

Thierry Van Hasselt – Mylene Lauzon

East Coker (απόσπασμα)

Δεν πρέπει να ελπίζω για σένα,

δεν πρέπει να σ’ αγαπώ

αλλά σε πιστεύω

και θέλω να περιμένω.

III.

O dark dark dark. They all go into the dark,
The vacant interstellar spaces, the vacant into the vacant,
The captains, merchant bankers, eminent men of letters,
The generous patrons of art, the statesmen and the rulers,
Distinguished civil servants, chairmen of many committees,
Industrial lords and petty contractors, all go into the dark,
And dark the Sun and Moon, and the Almanach de Gotha
And the Stock Exchange Gazette, the Directory of Directors,
And cold the sense and lost the motive of action.
And we all go with them, into the silent funeral,
Nobody’s funeral, for there is no one to bury.
I said to my soul, be still, and let the dark come upon you
Which shall be the darkness of God. As, in a theatre,
The lights are extinguished, for the scene to be changed
With a hollow rumble of wings, with a movement of darkness on darkness,
And we know that the hills and the trees, the distant panorama
And the bold imposing facade are all being rolled away—
Or as, when an underground train, in the tube, stops too long between stations
And the conversation rises and slowly fades into silence
And you see behind every face the mental emptiness deepen
Leaving only the growing terror of nothing to think about;
Or when, under ether, the mind is conscious but conscious of nothing—
I said to my soul, be still, and wait without hope
For hope would be hope for the wrong thing; wait without love,
For love would be love of the wrong thing; there is yet faith
But the faith and the love and the hope are all in the waiting.
Wait without thought, for you are not ready for thought:
So the darkness shall be the light, and the stillness the dancing.
Whisper of running streams, and winter lightning.
The wild thyme unseen and the wild strawberry,
The laughter in the garden, echoed ecstasy
Not lost, but requiring, pointing to the agony
Of death and birth.                                    You say I am repeating
Something I have said before. I shall say it again.
Shall I say it again? In order to arrive there,
To arrive where you are, to get from where you are not,
    You must go by a way wherein there is no ecstasy.
In order to arrive at what you do not know
    You must go by a way which is the way of ignorance.
In order to possess what you do not possess
    You must go by the way of dispossession.
In order to arrive at what you are not
    You must go through the way in which you are not.
And what you do not know is the only thing you know
And what you own is what you do not own
And where you are is where you are not.

T.S. Elliot

Four Quartets – East Coker (1940)

(η υπογράμμιση, δική μου)

 

 

 

Sur une barricade

 

 

 

 

 

 

 

 

 

Sur une barricade, au milieu des pavés
Souillés d’un sang coupable et d’un sang pur lavés,
Un enfant de douze ans est pris avec des hommes.
- Es-tu de ceux-là, toi ? – L’enfant dit : Nous en sommes.
- C’est bon, dit l’officier, on va te fusiller.
Attends ton tour. – L’enfant voit des éclairs briller,
Et tous ses compagnons tomber sous la muraille.
Il dit à l’officier : Permettez-vous que j’aille
Rapporter cette montre à ma mère chez nous ?
- Tu veux t’enfuir ? – Je vais revenir. – Ces voyous
Ont peur ! où loges-tu ? – Là, près de la fontaine.
Et je vais revenir, monsieur le capitaine.
- Va-t’en, drôle ! – L’enfant s’en va. – Piège grossier !
Et les soldats riaient avec leur officier,
Et les mourants mêlaient à ce rire leur râle ;
Mais le rire cessa, car soudain l’enfant pâle,
Brusquement reparu, fier comme Viala,
Vint s’adosser au mur et leur dit : Me voilà.
La mort stupide eut honte et l’officier fit grâce…

Victor Hugo

L’année terrible

There be none of Beauty’s daughters

click στη φωτογραφία

THERE be none of Beauty’s daughters

With a magic like thee;

And like music on the waters

Is thy sweet voice to me:

When, as if its sound were causing

The charmed ocean’s pausing,

The waves lie still and gleaming,

And the lull’d winds seem dreaming:

And the midnight moon is weaving

Her bright chain o’er the deep,

Whose breast is gently heaving

As an infant’s asleep:

So the spirit bows before thee

To listen and adore thee;

With a full but soft emotion,

Like the swell of summer’s ocean.

GEORGE GORDON LORD BYRON

Bride and Groom Lie Hidden for Three Days

She gives him his eyes, she found them

Among some rubble, among some beetles

He gives her her skin
He just seemed to pull it down out of the air and lay it over her
She weeps with fearfulness and astonishment

She has found his hands for him, and fitted them freshly at the wrists
They are amazed at themselves, they go feeling all over her

He has assembled her spine, he cleaned each piece carefully
And sets them in perfect order
A superhuman puzzle but he is inspired
She leans back twisting this way and that, using it and laughing
Incredulous

Now she has brought his feet, she is connecting them
So that his whole body lights up

And he has fashioned her new hips
With all fittings complete and with newly wound coils, all shiningly oiled
He is polishing every part, he himself can hardly believe it

They keep taking each other to the sun, they find they can easily
To test each new thing at each new step

And now she smoothes over him the plates of his skull
So that the joints are invisible

And now he connects her throat, her breasts and the pit of her stomach
With a single wire

She gives him his teeth, tying the the roots to the centrepin of his body

He sets the little circlets on her fingertips

She stiches his body here and there with steely purple silk

He oils the delicate cogs of her mouth

She inlays with deep cut scrolls the nape of his neck

He sinks into place the inside of her thighs

So, gasping with joy, with cries of wonderment
Like two gods of mud
Sprawling in the dirt, but with infinite care
They bring each other to perfection.

Ted Hughes

i like my body when it is with your

i like my body when it is with your

body. It is so quite new a thing.

Muscles better and nerves more.

i like your body. i like what it does,

i like its hows. i like to feel the spine

of your body and its bones,and the trembling

-firm-smoothness and which i will

again and again and again

kiss, i like kissing this and that of you,

i like,slowly stroking the,shocking fuzz

of your electric fur,and what-is-it comes

over parting flesh….And eyes big love-crumbs,

and possibly i like the thrill

of under me you so quite new

E. E. Cummings (1894-1962)

Κ’ οι λέξεις

Κ’ οι λέξεις

φλέβες είναι

μέσα τους

αίμα τρέχει

όταν σμίγουν οι λέξεις

το δέρμα του χαρτιού

ανάβει κόκκινο

όπως

την ώρα του έρωτα

το δέρμα του άντρα

και της γυναίκας.

Γιάννης Ρίτσος

Μικρή σουίτα σε κόκκινο μείζον

The Hands of the Betrothed

Together
Originally uploaded by Valeria

Her tawny eyes are onyx of thoughtlessness,
Hardened they are like gems in ancient modesty;
Yea, and her mouth’s prudent and crude caress
Means even less than her many words to me.

Though her kiss betrays me also this, this only
Consolation, that in her lips her blood at climax clips
Two wild, dumb paws in anguish on the lonely
Fruit of my heart, ere down, rebuked, it slips.

I know from her hardened lips that still her heart is
Hungry for me, yet if I put my hand in her breast
She puts me away, like a saleswoman whose mart is
Endangered by the pilferer on his quest.

But her hands are still the woman, the large, strong hands
Heavier than mine, yet like leverets caught in steel
When I hold them; my still soul understands
Their dumb confession of what her sort must feel.

For never her hands come nigh me but they lift
Like heavy birds from the morning stubble, to settle
Upon me like sleeping birds, like birds that shift
Uneasily in their sleep, disturbing my mettle.

How caressingly she lays her hand on my knee,
How strangely she tries to disown it, as it sinks
In my flesh and bone and forages into me,
How it stirs like a subtle stoat, whatever she thinks!

And often I see her clench her fingers tight
And thrust her fists suppressed in the folds of her skirt;
And sometimes, how she grasps her arms with her bright
Big hands, as if surely her arms did hurt.

And I have seen her stand all unaware
Pressing her spread hands over her breasts, as she
Would crush their mounds on her heart, to kill in there
The pain that is her simple ache for me.

Her strong hands take my part, the part of a man
To her; she crushes them into her bosom deep
Where I should lie, and with her own strong span
Closes her arms, that should fold me in sleep.

Ah, and she puts her hands upon the wall,
Presses them there, and kisses her bright hands,
Then lets her black hair loose, the darkness fall
About her from her maiden-folded bands.

And sits in her own dark night of her bitter hair
Dreaming—God knows of what, for to me she’s the same
Betrothed young lady who loves me, and takes care
Of her womanly virtue and of my good name.

DH Lawrence