“Come On Gaius”
 Uranus _ 27 known moons _ 7th planet from the Sun; named after the Greek god of the sky _ I’ll believe in Pluto ’til I die _ Twenni-seven, huh! Twen Tee Sev En, HUH!
 Uranus _ 27 known moons _ 7th planet from the Sun; named after the Greek god of the sky _ I’ll believe in Pluto ’til I die _ Twenni-seven, huh! Twen Tee Sev En, HUH!
“At night, alone, I marry the bed.”
Mine. ^ Etched with an undertone of gritstone, it is mine to the very grind. And now, on to the main course: the tone-deaf chef’s pièce de résistance . . . Born and raised in a patriarchal household, Anne Sexton was, we read, troubled and troubling in more ways than one. If you already know the context then, so be it. But, if you don’t, I’d suggest you read the poems before your get to know the poet. I present below three of Sexton’s poems and then, each of the trio are discussed.
Sexton’s. ^ Albeit a little snipped here and there; emphasis is my very own. In flowery verse a literary critic did once write, “American poetry is in a boundless debt before Anne Sexton’s dark, gruesome [and] bold spree of inspirational verses.” What I can hereby say — dear elusive & oh so very evasive reader — is let us ava gander @ some together.
Sexton, A. (1981). Anne Sexton: The Complete Poems. Boston, Massachusetts: Houghton Mifflin.
“You’re dreamin’ darlin'” — s/he said that, s/he actually did. … Dance into the fire / To fatal sounds of broken dreams / Dance into the fire / That fateful kiss is what we had / Dance into the fire // … I wander lonely streets / Behind where the old Thames does flow / I’ve gotta tell you a tale / Of how we loved and how I failed // … The Kiss, you want to know of the kiss of kisses? well it is here — carried as it were in a resplendently resolute case made of Lebanese cedar (cedrus libani) and embossed with acanthus leaf marquetry in English oak (quercus robur): “Deeper than deep”. Luscious lips, Voluptuous hips, Gorgeous _ _ _ [🎬 Take two: You are the best, better than all _ _ _ ]:
Before Poem 3 (below) recall that in Poem 1 (above) the bedside box of tissues were described as ‘delicate,’ well, a good equivalent of that word would be ‘fragile.’ That’s what I sense up there in “The Kiss,” down here, in “The Ballad,” I somehow see a way of escape, a liberation from reliance on all others, yes the evidently close relationship’s ended and that feels like a fate worse than death but, she (the poem’s narrator) now controls her sex one hundred per cent. … When all else fails / Who knows your ‘sensitive/sensual areas’ better than you yourself do:
Right, so well, here’s what I’m thinking. Regarding “The Kiss,” it is evidently written in free verse (no consistent metre or rhyme patterns and thus seeks to be or is reminiscent of natural speech or the verbalising of thought unedited; the penning of it ~ يعني ~ as it is, not as societal conventions would render it be) yet, its imagery and biblical allusions — I am the resurrection and I am the life / I couldn’t ever bring myself to hate you as I’d like — make this both deeper and more umm, err, might we say: philosophical in craftsmanship [sic.] than just typed out random thought. There is in fact some rather explicit and purposeful structure: each of the four stanzas have five lines of which, the final one is very short.
I somehow see this as acting as a summary of the whole piece. Blooming lips, pert pouting buds, lipstick of a gaudy fresh blood red. Her mouth, smile and lust is enlivened once more. (Roses are red, oh I’m so blue.) The first is a cut, where the blood wells up, the second is the bloom of a rose. Elbow grease, the hard thankless task of tediously keeping the house. The Kleenex tissue brand is here for crying but everyone knows the man-sized box is innuendo for another kind of cleaning-cum-rejuvenating activity (see Poem 3). In the second stanza of “The Kiss” we feel the ecstasy and the release from chastity, the stripping off, the electric charge of a positive and a negative. Knots of cloth — can we read anything but Mary and her illicit pregnancy being dressed up as immaculate and divine? A body left on blocks in the dry dock, with a skin made for ocean waves, not an incessant bone dry breeze. I know! I know! come to stanza three and we are all about boats, the rigging, the wood, the hull daubed in, now flaking, Teamac. In a frenzy, you strip in a flash, you get that jolt. In the final stanza, we are given a description of the pleasure of the climax, the passion of the kiss — let us pretend we are here only discussing a (facial) lip kiss. Interestingly, tellingly, she brings in her lover even making them out to be the Master musician: a genius at eliciting arousal and fire. But, by saying they’ve stepped into the fire has foreboding but maybe, I only read this because I know of the context of Ms Sexton. (If you play with me, you play with fire. etc.)
With regard to “The Breast,” Sexton is undeniably right. Men obsess and almost every straight girl that has a girl-on-girl fantasy focuses on the, I’ll be clinical for now, mammary glands. There’s a reason, a damn good and obvious one: mother’s milk, suckling and nurturing, the source for so many humans of safety and sustenance for their first six to nine months. Carpet (Delta of Venus?) straw mattress (a frolic in the haystack?). Stanza 2: gamekeeper’s children; Stanza 3: child in me. Others have said this poem speaks of the potent power one has by possessing a pair. In stanza 4 we get to hands (hers or another person’s) cupping, circling, caressing, cradling, concentric rings toward the areola and then the pinnacle: hillocks with attractively pigmented caps and volatile peaks. The power this part of one’s anatomy can and does have is made clear at outset, they are:
We know what rhymes with silk and today, some say “got milk” when referring to MILFs. It’s wonderful how the narrator in the poem beckons and entices…
… they (the narrator) don’t really care for your honeyed words — in this instance — they just want you to expertly handle and fondle these key attributes of theirs in an expert way, in a way to bring about erotic arousal. It ends rather interesting and cryptically:
What’s Sexton on about here, we are made to wonder. Don’t money make the world spin round? Ain’t it what we yearn for, a/the key to happiness? Lust’s insatiable (is it not, invisible reader?) I guess so too is retail therapy, like food, like sex we use it (burn it) for our pleasure, to sate our desires and needs. Money, doesn’t spend itself nor does fine food force its way into our glutinous gobs, we spend it and we transfer the cake from the plate to our lips (that too can be kissed and then on to our hips) and for the breasts, the knee-weakening givers of life, they can be left unloved in a breaker’s yard, wrapped away in cloth, cotton or silk-like Lycra or they can be taken out and given fresh air, handled with care and made to sing; to be made:
Regarding “The Ballad of the Lonely M,” ask yourself (I do myself) why I am too embarrassed to write the word ‘masturbator’ and elected for the abbreviation ‘M’ in titling it here — oh why’s it so taboo, y OH y (we used ‘((m))’ didn’t we!). In marked distinction from Poems 1 & 2 (see up, my dearest one) this poem — seven stanzas (7 is synonymous with heaven) of six lines (6 is synonymous with sex) — follows a rhyme scheme: ABABCC, DEDECC, and so on and so forth.
Do I over-read?
Is this me over-reading? is this a reference to catholic guilt and/or the protestant work ethic (both as pompously prudish as they are puritanical), don’t all the monotheistic tones castigate and demonise the act of masturbation? For come along now! It’s the devil that makes work for idle hands. We should note that syllable counts in the lines of Poem 3 are not consistent or if there is a pattern, I don’t see it. But ladies and men we can see all sorts can’t we, I mean in numerology we trust, don’t we:
Fiction is clearly no stranger. I’d say this was so since even before “the lion man” — a hybrid figurine carved from mammoth tusk (that is carbon dated to be over 40,000 years old and is currently the oldest known evidence of religion and is on show at the Museum of Ulm in Germany).  Oh think of Psyche getting her affection from Pan. The milkman, the handyman. The language of the poem is reasonably straightforward; the beauty of not being a full-on slave to rhyming scheme (the lines have different variations of stressed and unstressed words). Its focus is clear — I think — self-pleasure in the aftermath of a split up (‘the end of the affair is always death — the dog’s reflection in the mirror knows well of my own terminal torment, which dogs and hounds me). Yep the poem does not use the word ‘sex’ but it doesn’t really need to, does it? Not with lines like these:
The bower links to the:
And all of this makes me think of Adam and St/Eve in the garden of Eden. And then we come to the line that moves me the most:
What moves me? The word ‘alone’ comforted here by commas and being snugly mid-sentence. For good measure, this line is repeated verbatim, seven times. This though is far from lazy repetition. In my opinion this really drives home the shear power that the default to self-pleasure can have. It can become a daily necessity akin to food. Indeed, the metaphor for sexual satisfaction in “The Ballad of the Lonely M” is ‘being fed,’ which is extended from the beginning to the end of the poem. It is like food, it is required daily and it’s devoured ritually:
The last stanza is very powerful, because the young & the glamourous (‘glimmering creatures’) are seemingly everywhere, undressing and copulating like rabbits. Whereas, the narrator alone, is marrying her bed, one hand dealing with the delta and the other attending to the subject of Poem 2. It has become a nightly ritual. It is her medicine, her compulsion:
I do find the description of the narrator’s mons veneris and her delectable delta in the poem “The Ballad of the Lonely Masturbator” to be acutely accurate:
As Yesenia Hernandez writes, Sexton’s, “fearless account of emotions, desires, and actions usually only for private consumption makes her a brave poet participating in a form of liberty all her own.” Indeed, she is known for her very frank writing on depression, the female body and sex and thus explores what’s considered in some quarters taboo subject matter. As she does in Poem 3 (kisses nowadays, the subject of Poem 1, being quite okay). In Poem 3, Sexton is both vague and explicit in her descriptions of the emotions that result from the end of a love affair depicted through the guise of a female wedded to the act of daily masturbation. This candidness — Confessional poetics — may not be so much an attempt to bring these matters into the light and normalise them (for they are obv. part of the human condition) but as a form of personal self-help and therapy which just so happened to be appealing enough to etch her out a bit of a living too. I do not think artists such as her write with public service in mind, still less monetary gain. As someone else commented, Sexton writes for, “discovery and emotional release.” turning, as I’m driven to, to a troubling thing that I’ve read is that incest between mother (Anne) and daughter (Linda) is alleged/said to have been had.
 Lion man, an intriguing reading of what’s currently thought to be the world’s earliest known idol:
On McEwan’s ‘On Chesil Beach’
McEwan, I. (2007). On Chesil Beach. London: Jonathan Cape.
I’ll say this: don’t watch it, read it. It will not take you too long, the book is very readable — there are no long detours and, the succinct character background building and scene setting (especially of the coastline from the vantage of the bridal suite’s balcony) add volumes to the pent up (and long repressed) desires that constitute the heart and soul of Chesil Beach. You kind of know something bloody bad’ll happen from the blurb and from the opening lines and yeah, there’s a ‘tragedy’ of sorts…
I use single quotation marks around the word tragedy because I’m not saying it is one; strictly speaking it wasn’t one at all. Typically, single quotation marks are used to mark a quote within a quote or a direct quote in a newspaper story’s headline. However, single ( ‘.’ ) or double ( “.” ) ((علامات تنصيص)) can be used to imply consternation, disagreement or emphasis… it’s all in the context: ‘all’ in the bloody ducking con–text m8.
…but it’s not that that moved me, it’s the frank realisation and the matter of fact way in which it – the frankly acknowledged ‘realisation’ — is put in the page or two, within a single sentence, after the novella’s climax that truly moved me and’s stuck with me since. True love, you see, is infinite, you’ll only ever know if you know and I guess until you die or ‘lose’ your mind (your faculties ‘loosen’) you’ll not be able to prove the premise. Cum the fuck on though, you sometimes just do flipping well know.
Reviewer of books, Jonathan Yardley — who won a Pulitzer Prize for his art — placed On Chesil Beach on his top ten for 2007; the year Ian McEwan published this book. He (Yardley) said that even when he (McEwan) is in “minor mode … he is nothing short of amazing.” Minor mode because of the novel’s length. It is, according to the author, more of a novella than a novel. I felt that the paragraphs given to Edward’s mother’s erratic behavior and unstated mental illness were very telling, he’d endured a lot and suppressed a lot; there was little he wouldn’t have done for Florence who’s prudishness most surely have had a deeper, darker — unwritten about — founding stroy.
Daniel Zalewski (The New Yorker) states that, “all novelists are scholars of human behavior, but Ian McEwan pursues the matter with more scientific rigor than the job strictly requires.” He went on to point out that after discussing his many duplicitous characters — such as Briony Tallis, the precocious adolescent of his 2001 novel, Atonement, who one reviewer claims: “ruins two lives when she makes a false accusation of rape” — McEwan pointed to a “study in cognitive psychology” suggesting that “the best way to deceive someone is first to deceive yourself.” After all one is more convincing when they are being sincere (irrespective of whether they are delusional or not). The accidental slip — the penned words, ‘I want to kiss your see you en tea’ were not supposed to be read — elementally underscores the potential portent of the flap of the butterfly’s wing analogy to chaos theory.
& this one too because I just somehow don’t rest easy with the false claim of rape ^ because yeah, it happens, but, so too — and far more frequently I submit to you — do falsely dismissed cases of actual rape:
℅ deader than dead
’tis abandoned //
to ocean’s drift ~ ~ ~
Can you read subtext ¿?¿
for what else can I do?
❝(Ⅲ+Ⅲ) ⅋ (Ⅲ*Ⅲ)❞
“Garden of Earthly Delights” is the contemporary title given to Hieronymus Bosch’s mesmerising work. It was painted in around 1499 and is currently on show at the Museo del Prado in Spain.
Before digging and delving a little deeper, lets enjoy each panel in turn (click each of the three below to greatly expand the image); together, the three parts of a triptych are intended to tell a story which is read from left to right:
As so little is known about Bosch, opinions and interpretations of his work have ranged from, “an admonition of worldly fleshy indulgence,” through, “a dire warning on the perils of life’s temptations,” to, “an evocation of ultimate sexual joy!” Look again at the myriad of things going on in the central panel; there is a surfeit of symbolism. Contemporary scholars are divided as to whether the triptych’s central panel is a moral warning (good 😇) or a panorama of paradise lost (bad 😈). But come on YOLO (( Jae: WOLO )) bad is good ain’t it. We say wicked to mean good and sick to mean wow. I, for one would rather wallow in the last days of Rome, than be a prudish restrained human, living not for today but the mythical afterlife.
Etymology: From Latin tri- (“three”) and Ancient Greek τρι- (tri-, “three”).
A triptych is a work of art that is divided into three sections, or three carved panels that are hinged together and can be folded shut or displayed open. It is therefore a type of polyptych, the term for all multi-panel works.
A group of three related novels, plays or films etc.
A vehicle similar to a bicycle, but having three wheels, two at the back and one at the front.
 (in surveying) the tracing and measurement of a series or network of triangles in order to determine the distances and relative positions of points spread over an area, especially by measuring the length of one side of each triangle and deducing its angles and the length of the other two sides by observation from this baseline. — “The triangulation of Great Britain.”
 The formation of or division into triangles.
 (In American politics) the action or process of positioning oneself in such a way as to appeal to or appease both left-wing and right-wing standpoints.
Adjective: Existing in three copies or examples.
Noun: A thing which is part of a set of three copies or corresponding parts.
Verb: To make three copies of something; to multiply by three.
A three-legged stand for supporting a camera or other apparatus.
The branch of mathematics dealing with the relations of the sides and angles of triangles and with the relevant functions of any angles.
 Shared by three parties. — “a tripartite coalition government.”
 Consisting of three parts — “a tripartite classification.”
Adjective: Something that has three colours.
Noun: A flag with three bands or blocks of different colours, especially the French national flag with equal upright bands of blue, white, and red.
With reference to the trio of trilogies introduced above:
* AESCHYLUS [1 of 3]
Aeschylus (524–456 BC) was an ancient Greek tragedian and is today described as the father of tragedy.
It’s all Greek to me
An English idiom — which may be construed as rude by some — meaning that something is difficult to understand. The metaphor makes reference to Greek as an archetypal foreign form of communication both written and spoken. The idiom is typically used with respect to something of a foreign nature. We may choose to use it to refer to texts containing too much jargon etc. The idiom/metaphor’s roots may well be a direct translation of a similar phrase in Latin: “Graecum est; non legitur” (“it is Greek, [therefore] it cannot be read”) a phrase increasingly used by monk scribes in the Middle Ages, as knowledge of the Greek alphabet and language was dwindling among those who were copying manuscripts in monastic libraries. Recorded usage of the metaphor in English traces back to the early modern period. It appears in 1599 in Shakespeare’s play Julius Caesar.
[Informal • British]
Language that is impossible to understand. — “The instructions were written in double Dutch.”
Unintelligible or meaningless speech or writing. — “Our Doctor for English Literature often talks a load of gibberish.”
Language that is meaningless or is made unintelligible by excessive use of technical terms. — “His essay on Plato was pure gobbledygook.”
Language or ritual causing or intended to cause confusion or bewilderment. — “A maze of legal mumbo jumbo.”
** ALIGHIERI DANTE [2 of 3]
Dante Alighieri was born in 1265 in the Italian city of Florence. “Abandon hope, all ye who enter here,” is the famous phrase written above the gate of Hell in the 14th c. poem by Dante; the poem is called the “Divine Comedy” and Hell is known as “Dante’s Inferno.”
*** CHINUA ACHEBE [3 of 3]
Achebe is said to be the father of African literature in English. In spare and lucid prose, he writes of the universal tale of personal and moral struggle in a(n ever) changing world. In his most notable and accomplished work, Things Fall Apart, the individual tragedy of Okonkwo, ‘strong man’ and tribal elder in the Nigeria of the 1890s is intertwined with the transformation of traditional Igbo society under the impact of Christianity and colonialism. In No Longer at Ease, Okonkwo’s grandson, Obi, educated in England, returns to a civil-service job in colonial Lagos, only to clash with the ruling elite to which he now believes he belongs. Arrow of God is set in the 1920s and explores the conflict from the two points of view – often, but not always, opposing – of Ezuelu, an Igbo priest, and Captain Winterbottom, a British district officer.
(just like now)
* Six lines of six syllables.
* It’s an ailment, is love.
* It’s a sickness, is love.
* Write here.
* Rite now.
alone I languish
— Thomas de Quincey (1821)
Critics broadly agree that The Confessions forges a clear link between artistic self-expression and addiction. According to Martin Geeson, what makes the book technically remarkable is its use of a majestic neoclassical style to confessional writing (of the rather romantic kind). The Confessions is a work of immense sophistication and certainly one of the most impressive and influential of the autobiographies of that century. Moreover, there’s a general consensus that it paved the way for later generations of literary drug-takers from Charles P. Baudelaire — “always be a poet, even in prose” — to William S. Burroughs and Hunter S. Thompson.
— William S. Burroughs (1953)
— William S. Burroughs (1959)
— Hunter S. Thompson (1971)
for what else to do now?
Oh 2 be b’side the c-side with u write now! Can you hear it, can you hear me, can you hear the sonorous, no searing, sounds of the redolent, no relentless, sea.
“Your smile and your laughter lit my whole world.”