Primarily a writing exercise, this dream journal-inspired blog is a quiet introspective sojourn into the process that we traverse in going from private dream to public art. I see our dreaming as an internalized mythmaking. As I philosophize and expressively exhibit dreams, both private and public, I encourage and delight in creative language as a way to practice experiential metaphors through a “public dreaming." Writing Theory: Creative Dream Fiction

Tuesday, 26 February 2013

Music of the Dream Author: Electro-Acoustic Improvisations I Release

Electro-Acoustic Improvisations I Album Art

Electro-Acoustic Improvisations I

Winded Keys Duet for Piano & Shakuhachi 

"Winded Keys" alludes to a number of esoteric meanings, the most significant conveys a personification of keys. A key is used to open a doorway, highly relevant for an opening track. The track also relays that in a sense, we are all potentially keys. Through deeply listening to people, they can become as a key, opening the most significant doors. The person speaking at the beginning of this track is a passerby, stranger, and seeming vagrant in a riverine Canadian city. He is a key to Love, yet he is winded by the turmoil of life, and as so, opens the doorway to a key, strung by piano strings, and spinning in the Shakuhachi wind. That key is you while you listen to "Winded Keys".

Northern Shelter 2 Movements for Xaphoon & Percussion

"Northern Shelter" opens with an optimistic frame drum and xaphoon, as a young traveler eyeing the horizon, knowing his loved ones are near, and his bed is made. He traverses the grandiose open that he knows as well as the back of his hand, and with music on his tongue, he enters home. In the north, long stretches of life throughout the year are homebound due to the chronic lack of sunlight, rapid change in weather, and intermittent blistering cold. While under cover of shelter, in the deep, dark of night, an opening of the subtle sky of dream invites human eyes into worlds beyond our greatest imaginative stirrings.

Desert Plains Waves for Darbuka & Xaphoon

"Desert Plains" dramatizes the imaginative soundscapes of any day in the life of a dweller in the "desert plains". The inspiration for this track lives in the landscape. I have spent the last six years travelling between and living in Alberta and Egypt. I have noticed that the desert dry climate is common to both ecologies. The high plains whereon the great civilizations of the Blackfoot Confederation once hunted buffalo and the Sahara desert, wherefrom the ancient glyphs that are the foundation of most living language scripts on earth (except Chinese-derived), are home to an incredible vivacity, enveloped in the mysterious paucity of life. The horizon is grandiose and welcoming, yet equally embracing. "Desert Plains" is essentially in two segments, where at first there is a rhythmic yearning to see beyond the open, and escape the blinding immensity of the seemingly lifeless horizon, then after a time, there is a soulful maturation into the melody of a whole person, rooted in the landscape they call home. In that transition, the harmonic register of the xaphoon alludes to "Caravan" by Duke Ellington, as the traveler sees the mirage of a caravan ahead in the distant horizon of the desert plains, and at once entering the fold, the apparition dissipates. "Desert Plains" is a solemn homage in defence of rootedness, in this our age of heightened mobility.

Inward Flight Sketches for Shakuhachi & Darbuka

At this point in the saga that is "Electro-Acoustic Improvisations I" the desert-plains dweller seeks the gift of a shaman; an end-blown flute. In a clearing, under the starlight of a new moon, the once traveler, now dweller, becomes seeker. At this point, the journey moves from outward-driven to inward-seeking. The journey within is a journey into the infinite. The Self is the immovable point, around which all subjects waver, orbit and grasp in eternal flux. Yet, this is the play of the universe. For the Ancient Hindus, the universe was play, or as they called it, Lila. "Inward Flight" illustrates how the inward journey is playful.

Cold-Blooded River Epic for Frame Drums & Wind

In his inward search, the seeker becomes seer. All that exists on Earth, all that humans have created, the vast plenitudes of universal form in life and art become as ephemeral as an unrecorded improvisation, played aloud to the spirits and muses of a seer rapt in a vision of death. Here, the "Cold-Blooded River" comes into focus, where a visualization not unlike the Ancient Greek River Styx is seen in a vision. As in a buddhist ice hell, the river mists with the deathly cold of a swift and unforgiving seduction. Will the seeker cross the river of death? "Cold-Blooded River" asks the listener that question.

Four Directions Moments for Darbuka, Frame Drum, Shakuhachi & Xaphoon

After making it across the "Cold-Blooded River", that is the river of death and extinction, our spiritual humanity sees the realization that a sense of direction goes beyond the cardinal points of seasonal, ecological and temporal occasion in life's experience. "Four Directions" unites the dream vision, or literal physical manifestation in the mind's eye with a more spiritual vision, which is more like a revelation of insight. In this sense, the "Four Directions" unites four primary instruments; darbuka, frame drum, shakuhachi and xaphoon, where each represents a unique way of seeing, yet no instrument of perception is more clear or true than another. The four directions, or the heart compass is set deep within every mode of will. South, symbolized in the darbuka, is of growth and warmth. The darbuka is the prime origin point of my current growth in music and the creative life. The darbuka is closest to my ancestral heart, as it speaks to Greek and Jewish music, where my blood rests deepest. North, symbolized in the frame drum, is of wisdom and endurance, because it is a humbling instrument, and used in many sacred traditions, for example the Persian Daf frame drum in Sufi ceremonies. West, symbolized in the xaphoon, is of introspection. The xaphoon, also known as the bamboo sax, is a new instrument, invented in Hawaii in the 1970s, yet it follows in the great tradition of reeded instruments. East, symbolized in the Shakuhachi, is of illumination and enlightenment. It is with the Shakuhachi, the renowned end-blown Japanese flute, that I often meet twilight. Breathing through the river-fleshed air, I keep a bit of that sunlight with me as the moonrise enlightens the depths of winter.


Original concepts formed after hearing the wax cylinder recording of Walt Whitman's voice reciting his poem, "America". An impromptu recording of street voices led to creating an atmosphere of the mood, feeling and soul that goes into voice, and the unintended harmonies of using our speaking voice. Instruments are extensions of the subtle body of the spiritual human form. When recognized as such, our voice speaks through them, as through us.

Electro-Acoustic Improvisations I is the celebration of voice through sound. After my first year as an incipient writer in visual form, my creativity bubbled and erupted with mysterious energy into a realm of creative visual stimuli, of spatial literature, of manuscript art, of asemic writing. Now, as I begin to record the sound of my voice, I first amuse in the imaginative spectrum of voice through instrumentation.

Electro-Acoustic Improvisations I is the first part of a seven track series, mirroring my process in seeing through a cycle of sevens in the creation of manuscript art and experimental writing. Electro-Acoustic Improvisations II will feature a single LP-length track in four parts. A collage from four of my currently finished manuscript artworks have been used as cover art.

Influences: John Cage, Brian Eno, Duke Ellington, Pharoah Sanders, Miles Davis, John Coltrane, Sun Ra, Jan Garbarek, Godspeed You Emperor, Hossam Ramzy, Vi An Diep, Ai Hagiwara, Walt Whitman, Jack Kerouac, street conversation, birds, wind, clouds, river, silence 


See other instances of my musical creativity on earlier recordings: 

Dream Music and the Creative Breath

Monday, 18 February 2013

The Immortalizing Arts: Contributions by World Music Artist Vi An Diep

Gilgamesh by Samantha from Indonesia
"We have achieved two of the three alchemists' dreams: We have transmuted the elements and learned to fly. Immortality is next." - Max More, On becoming posthuman

The search for immortality is as old as humanity itself. The earliest remnants of human history, namely, the Epic of Gilgamesh, among others, speak of the quest for immortality, to find the fruit or fount of eternal youth is part of the perennial epic that is the myth of Man. 
Anu, Bel, and Ea are whispering (wisdom) into his ear.
Ere thou earnest down from the mountain
Gilgamesh beheld thee in a dream in Uruk
Gilgamesh sought to interpret the dream;
Spoke to his mother:
'My mother, during my night
I became strong and moved about among the heroes'
Gilgamesh said...Tell me, How didst thou come to dwell (here?) and obtain eternal life among the gods?
Build a house, construct a ship; Forsake thy possessions, take heed for thy life! Abandon thy goods, save (thy) life, and bring living seed of every kind into the ship

(Epic of Gilgamesh)
Now, it is interesting the way that modern medicine has adopted the principles of "life extension" to the archaic traditions of humanity in the search for immortality. Life Extension is a medical term used to acknowledge the major advancements in modern medicine which have led to the unprecedented increase of the average human lifespan. The logic is that if the lifespan can be extended by some fifty years or so in the last hundred years, why can't we extend life to virtual permanence. 

What are the implications of human immortality on Earth? What comes to mind for me are a few major points. For one, there will be an excited advantage by the keepers of modern scientific medicine, mainly the West. In many ways, this can be seen as the furthering of an egotism that the Western World and particularly the scientific community has, where they feel they prevail over all forms of life, as the dominant form of knowledge-creation in the world today. It is often ignored how steeped in Western European history our modern science is, and that it does have its immoderate faults. Essentially, modern medicine is best in dealing with immediate physical trauma. When it comes to preventive, and long-term medicine, like "life extension" for example, there is less attention to detail. 

Outside of medicine, there is a biological component. One of the foremost proponents of "biological immortality", professor in the Department of Ecology and Evolutionary Biology at University of California, Irvine, Michael R. Rose, PhD, says in the Immortality Institute documentary Exploring Life Extension, "Most people who work on aging do it from a medical standpoint, which means humans, or if not humans, then certainly mammals, and all these organisms that didn't have an aging process were far-removed from mammals." He went on to give examples in non-mammallian life forms, such as anemones, creosotes, juniper, and others that actually do not age. He continues, " can be thought of as being divided into three basic stages...that third phase, which has not really been explored by contemporary biology is what interests me now, late life." 

With regard to the biological component of immortality and life extension, and the medical egotism which counter-inuits the state of the world, it seems that if we do not co-evolve immortally with our Earthly ecology, a spiritualistic sense of medical immortality for humanity would only contribute to the degradation of every source of life that the Earth offers to Man, and which Man exploits obscenely. For example, if we innovate major advances in anti-aging and life extension, we ought to transpose that technology into the natural world, into the life that not only lives on earth (us), but is the life of earth (all forms of life and life-giving). 

Finally, my sense is that in the early epics of oral literature, such works as the Epic of Gilgamesh and Homeric works such as the Iliad, there is a lesson about the human quest for immortality, which is older than our backbone. The lesson is that only in our mortality, do we know our immortality. I would say this is also truer to Max More's reference to the alchemical tradition, where in the philosopher's stone there is a psychological mastery of the principles of physical life, yet it is in the psyche where the most enduring trial is overcome. Only in dying fully conscious and immersed in the ground of immortal intent, are we immortalized, and traditionally so in the words of the great poets, those of enduring words and pronounced voices to carry the names of certain individuals down the halls of human history. 
First step in the thousand-mile journey by Vi An
Flight over the bridge by Vi An
Enlightenment over Peace Bridge by Vi An
Full Moon City by Vi An

First Light of Dusk by Vi An

Vi An has generously agreed to contribute her musical artistry to SoJourn(al) for this exclusive post featuring original photography. This post celebrates her entry in a CBC music contest, Searchlight. Vote for Vi An!

In future posts, I will be featuring original world instrumental music by none other than the Dream Author. My idea is to feature a full-length album of original electro-acoustic improvisations on darbuka, frame drums, shakers, xaphoon, shakuhachi, guitar, harmonic, etc., then leading up to spoken word collaborations with my instrumental creativity to recollect the creative momentum from my experimental writing gallery usually featured at the end of each post. It is my intention to kick off this new paradigmatic focus of musical creativity with a contribution, and to offer space for photographers and musicians alike to contribute in the future.

Happy readings/listenings/viewings!!

Among all artists of One Love, in solidarity.

Monday, 11 February 2013

Food for the Imagination: Contributor Article Completes Sketches of Style

Dream Cuisine by RK
I am happy to present the first contributor article to SoJourn(al): Private Dreams to Public Art. I am especially proud to present this article because it speaks to many themes in the life of the Dream Author. I have been a vegetarian for over seven years, many of which were spent in the Middle East and Latin America, which posed interesting challenges. 

Nonetheless, I stayed true to a time in my life when I was thoroughly exposed to interpretive experience. My mental development was spurred on by alternative living practices, founded on a diet of psychoactive compounds and creative literature. Maintaining an alternative diet has been an essential ingredient in living a life based on principles of subtle recollection and acute awareness. 

Blurring the separation between external causes and their internal effects has been a lifelong inquiry. The experience of how foods have an impact on the subtle realms of dreaming is an invaluable source of critical thinking. As Terence McKenna put it, to "dissolve boundaries" is a natural step towards creative thinking, and becoming a seer of "true hallucinations" of which dreaming is an integral example.  

Food for the Body Equals Food for the Imagination

When Scrooge was visited by the ghost of Jacob Marley in Dickens’ A Christmas Carol, he believed that he was dreaming and put the apparition that stood before him down to ‘an undigested bit of beef, a blot of mustard, a crumb of cheese, a fragment of an underdone potato.’ ‘There’s more of gravy than of grave about you,’ he joked. The idea that foods can influence our dreams has featured heavily in literature throughout the years. There is a commonly held belief that what is going on in a person’s digestive system can have an affect upon his or her subconscious mind during sleep. To what extent is this true though? Can eating the wrong thing really plunge somebody into a world of nightmares?

Does Cheese Give you Bad Dreams?

There is significant evidence to suggest that eating healthily can help to keep a person’s mind to remain healthy. According to the Dieticians of Canada, maintaining a healthy diet can reduce irritability and mood swings and increase an individual’s ability to concentrate. Does this only apply to when people are awake though or does it also make a difference when they are dreaming? The food that has the strongest association with nightmares is undoubtedly cheese. However a study carried out by British researchers in 2005 suggests that there is actually no correlation between cheese consumption and bad dreams. The results of the study actually indicate that different varieties of cheese are capable of inducing specific types of pleasant dream, for example cheddar cheese is thought to lead to dreams about celebrities. The good dreams that cheese can bring about are believed to be due to the fact that it contains the amino acid tryptothan, which is commonly linked to a reduction in stress.

A report published in the Folklore sociology and anthropology journal questions whether the idea that cheese causes nightmares is linked in some way to its association to witches in literature. In ancient Roman writing, women who were viewed as potential sexual partners were referred to as ‘cheese’. In eleventh century English literature, several stories about ‘night witches’ came into being that included references to cheese. Folklore suggests that this was used to imply that the witches had a sexual element to them and wished to corrupt their victims by exposing them to sin. The report puts this forward as a possible reason that cheese might have ended up being blamed for bad dreams.

Spicy Foods

Spicy foods are also thought to lead to nightmares, which is backed up by the results of a study that was published in the International Journal of Psychophysiology in which a group of healthy men were given spicy foods to eat before they went to sleep. They were observed to have a more restless night’s sleep than they did when they had not consumed any spicy foods before they went to bed. The author of the study speculated that this could have been due to the fact that the spicy foods had elevated the internal body temperature, causing the discomfort to work its way into the participants’ subconscious and leading to bad dreams.

Unhealthy Foods

Research cited by Justine Sterling of food magazine Meatpaper indicates that consuming foods that are high in sugar or fat immediately before going to bed can lead to nightmares. The study also indicates that going to bed on a full stomach can bring about bad dreams and low blood sugar caused by going for a prolonged period without eating can lead to vivid nightmares. This is because the body releases adrenaline when it is desperately hungry, which translates into the subconscious.


Mustard was another foodstuff that Scrooge blamed for Marley’s appearance – and with good reason as well, as a study carried out by researchers at the Department of Biochemistry at the University of Tasmania in Hobart, Australia, indicates that consuming it can result in nightmares. The researchers concluded that this is probably because it contains capsaicin, which can change the body’s temperature and lead to discomfort. It appears that what we eat really can affect the way that our minds work once we have passed over into the land of sleep. Perhaps cheese was not the main culprit in the case of Scrooge though; maybe Marley was merely a result of too much mustard before bed.

Evelyn Donaldson is a mother of two and full-time writer. She grew up in Idaho, but now lives in Kansas. She recently became vegetarian and has long been interested in dreams and their interpretations.
My blanket drifts up into sky, its multicolored fabric bleeds scarlet and lime into the nearing front of storm clouds gathering. The wind-whipped fabrics touch and scatter the bedroom floor, above without ceiling, empty unto the grandiose firmament. I wake to the numbing air, as on a mountain summit, where the thunder resonates in delicate cyclones. As I rise, the storm pierces the earth with overgrown fingernails of Zeus. A crepuscular storm, breathing in an unwelcome morning, filled with signs of a new god. 

Jupiter and Semele by Sebastiano Ricci
And the machines of war rape our Earth. Nazi terror sweeps as the witch’s broom throughout the countless, destroyed Jewish homes of Europe. My family is strangled and sucked clean through the medical tubes of an astral fire as hot as the blunt knives of torture. I escape. To Russia, I follow the blank news pages with a heart kept earnest. Directions swarm as the buzzing of toxic insects, and my rivals are blended as fruit sap in the teeth of metallic pincers. 

Nude II by Willy Fick
In the heart of Russia, I am free; yet full with a dark heart. The Earth trembles and fades each day with a transparent rush of nostalgia. I wish and writhe for the beating hearts of my beloved mother and father, sisters and brother. The wedding feasts and blind bliss, how we gorged on the salt of the seven seas with triumphant abandon. Every day, there was a moment of repose.

Cigarette Seller (Wandering Jewish Man) by Dome Skuteczky
We knew the day might come, when all would be rent, cleansed by the impotent flood of mad war. Should I wander further astray, eastward to the cold forest sands of Siberia, or westward, to the commercial forge of America, and sleep by the pill of forgetfulness? Lost again, if found anew, will I be recognized? 

As per SoJourn(al) tradition, I have prepared a free PDF for the entire Sketches of Style collection which has been excerpted in the past few months in complement to my dream writings. 


Monday, 4 February 2013

Hatsuyume of Peace: First Dream of a New Creative Paradigm

"Hatsuyume (初夢) is the Japanese word for the first dream had in the new year. Traditionally, the contents of the dream would foretell the luck of the dreamer in the ensuing year. In Japan, the night of December 31 was often passed without sleeping, thus the hatsuyume was often the dream seen the night of January 1. This explains why January 2 (the day after the night of the "first dream") is known as Hatsuyume in the traditional Japanese calendar." [Wikipedia]

As in English, the word for dream in Japanese (yume) means both deep aspiration and unconscious visualization. The significance of the post above signals the beginning of an end; the nature of originality. The nuclear age is a sure sign of the paradigm shift in human life on Earth. Until every nuclear arsenal is disarmed and abolished, we are living in an age of mass oppression, global misinformation, and unyielding aggression. 

Over 2000 nuclear weapons have been detonated since the first two that ended World War II.   

And so, on a much smaller scale, I am beginning to transition into a new phase. SoJourn(al) has seen unprecedented readership in the last month, with over 4000+ views, especially attributed to  growing international interest for the post, Dream and Love

I will be accepting contributions/submissions from readers, writers, artists, and dreamers of all kinds while I post once a week instead of once every two days, beginning with a professional feature ghost-writer. Meanwhile, I will be republishing more from my experimental writing collection, featuring original musical soundscapes by the Dream Author (also a regularly performing world fusion musician), together with the exhibition of new manuscript artworks to complete the seven-cycle series of manuscript art and experimental writing. 

At the same time, I will be creating another site to support a more singly-dedicated, long-term creative non-fiction writing project. My Hatsuyume, my first dream of the new year, or new cycle of seasonal life on SoJourn(al) is to continue to grow creatively, and to welcome all who are interested to collaborate, connect and unite.

In Solidarity, Peace & LOVE
In continuity with the previous wellspring of visual stimuli, the photographic wavelength of colour turns the mind in an outpouring rush, a quaking truth of Earth on a course of unforeseen exploratory, after all, we are visual creatures 
River Styx Canadiana by RK
On the Other Side by RK
Water-and-Sky Medium by RK
A Way Through by RK
Take The One Less Traveled by RK
This smile, these eyes…
Not because it’s you that I enjoy…
Nor your surroundings, and our place in them together…

I smile for what’s inside…
The poetries and open-ended music of Love…

Loosening the human rope around the oceanic neck…
The great ring of fire…
Lassoed in spring by the Albertan rains…
Toasting to hot chocolate whispers over Mexican breasts…
Sweetened by the oily touch of American tongues…
Piercing the used flesh of an imperfect dream…

In Rusty Kjarvik and his chess logic…
Pinching the Grandfather reality…
In the light of Persian mystical nights…

My instinct’s crying bold in the proud deep of North American continental strife…
To transcend the borders of national glory and reach the great peak…
Budding with growing concentration camp Israeli trees…
A miracle as grand as the celebrated synagogue of ancestral lies…
Bearing down hard on the smoky aftermath of the beaten Greeks…
Chained to their swollen shields…
Engraved as the shell of Turtle Island…
Beaming with foresight into the sweeping ancient European imagination…

Restitution, despised yet somehow completing our entrenched need…
To be and play forward in the shapeless deep…
The unceasing downpour…
And slow drizzling food of creativity…
To give our most valued offering…
To the smallest most insignificant pull…
Which finds our being necessary…
And in that moment die…
Unafraid to the dream inside…

excerpts from "Why, Autopoietic Eternity!"

Friday, 1 February 2013

The Poppy and the Pride of Death: Interpretations on a Famous War Poem

Poppy Field in a Hollow near Giverny by Claude Monet
"Poppies have long been used as a symbol of sleep, peace, and death: sleep because of the opium extracted from them, and death because of the common blood-red color of the red poppy in particular. In Greek and Roman myths, poppies were used as offerings to the dead." [1]

"Another candidate for the psychoactive drug is an opioid derived from the poppy. The cult of the goddess Demeter may have brought the poppy from Crete to Eleusis; it is certain that opium was produced in Crete." [2]


[1] L. Frank Baum, Michael Patrick Hearn, The Annotated Wizard of Oz, p. 173

[2] Karl Kerenyi.Dionysos.Archetypal image of indestructible life.p 24
In Flanders fields the poppies blow
      Between the crosses, row on row,
   That mark our place; and in the sky
   The larks, still bravely singing, fly
Scarce heard amid the guns below.
We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
   Loved and were loved, and now we lie
         In Flanders fields.
Take up our quarrel with the foe:
To you from failing hands we throw
   The torch; be yours to hold it high.
   If ye break faith with us who die
We shall not sleep, though poppies grow
         In Flanders fields. [John McCrae]
The above poem, written by John McCrae, is one of the important war poems in history. Today, it is read aloud by veterans at remembrance ceremonies with solemn intention. The symbol and metaphor poppy, here depicted, is especially relevant for the topic of war. 

The poppy symbolizes death. "In Flander's Fields the poppies blow" would then mean that in Flander's Fields, the dead sleep in peace. The second line further supports this. The last two lines, "We shall not sleep, though poppies grow in Flander's Fields" emphasizes the simple metaphor of the poppy as a symbol of eternal rest, however, in this sense, the poem transcends symbolic import and represents the pride of the soldier as immortal, and sleepless in constant struggle. This is a poem to incite emotion for the dead, and where we might once believe they lay in respite from worldly cause, we are wrong. So the poem is a call to action, "Take up your quarrel with the foe". 

Further, it symbolizes how the poppy is a metaphor for the illusory nature of war, as seen from outside the veteran perspective. It uniquely distinguishes the veteran, whether alive or dead, as having an eternal place in the battlegrounds and in the generations of youth to follow. The poppy symbolizes our ignorance as non-military, as we remember the soldiers who fight on. 

And so, in the land of poppies, Afghanistan, the longest war in U.S. history wages on. Remembrance, in the metaphor of the poppy, can also fog our vision of the dead, and of their eternal struggle for rebirth in the fields where men are laid low. 

Peace author Arthur Clark once said the poppy symbolizes all who die in war, not just the soldiers of one's own nation, but every victim of war, every innocent child, mother, elder, the destroyed lives and communities. The poppy is the drug of pride, and like all drugs, while instilling disillusionment, it reveals truths of the human condition. 
The inborn drug of sleep has yet to bear new visions fruitful and enduring. I travel eastward towards the desolate earth, and find matchless beauty in the serene quiet of petrified earth, the resonance of death lingers like a gentle breeze.  

Westward! (RK)
Son of the Brown Earth (RK)
Hiker's Meadow (RK)
To The Mountaintop! (RK)
The Canyon Calls Me Forth (RK)
An untouched grand awe
Landed finally to rest beside the sickening mildew

Mulch-pressed nude lakes
Praised unto the natural moon

Lowering close over the beached horizon
A thirteenth name

Pleasing those raised on the island to visit their blood
Despite being insane

A malformed genetic waste
Purchasing birth

Towering over the healthy dead, grovelling
Ensnared by the angry temptress who walks entombed in mind

And spiritually blessed beyond our mundane knowledge,
She treasures the feminine life


To put to death philosophy, and cursed forms of common language
Now replaced with magic and divinity

Enough to overact above the spilled heights

Grandiose unity
Frontiersmen who bite at raw flesh and faint under the jeering of native rumblings

In the overcast dusk of Western humanity
Fallen alas to the bitter womb of civilization

And the crass membrane stew of our unalienable forebears
Freaking us out

Into stomachs without mouths
To feed on the juice of the horned phantom

And only lick from inside
The wounds stinging our nameless pride

excerpts from "Untouched Grande Awe"