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Shift in Time Right from now I can mourn the death of my aged, unborn son in a future in which I won’t ever belong however, it will come to be the void of a real separation. Right from now I can mourn your little separation you, who I haven’t seen yet and words will come and emotions too will be felt and they will come to melt like a solder in the joints and they will tie the strong, rusted element that one day will break they will come to make space where the fat, metal loss will permanently sit.
Unstoppable Dutifully and without pause he fights to shape the undefined to paint the achroous in velvet azure and decrypt what won’t conform to borders childlike eyes pedestal holding up past glory all perished dreams but why the sculptor creates the bronze huge statue why he makes his hands so large is he to embrace the whole world and his legs why muscular is he to straddle the universe his genitals why so impressive is he to mound every woman alive?
He also pondered the idea of trying to tell a story to people through a painting. A painting was visual – how could he make it speak in a different language – one that was louder than words? What he needed was a pictorial description so that people would understand. A big painting might move them emotionally but if people could see that painting reproduced in a beautiful brochure that contained other images as well, it would have far more power. He called Jay Mandarino, who belonged to the young professionals group whose members had been purchasing many of his paintings. Jay’s ambition was to make his company the most award-winning printing firm in the country and his office walls were already papered with awards. Ken explained to him that he wanted the world’s largest, fanciest, most beautiful, most expensive brochure. Jay and his design team sketched ideas. Ken looked at each and shook his head – none of them moved him emotionally. He bought a stack of magazines and tore out advertisements for the most luxurious and most highly prized items in the world: Rolls Royce automobiles, Bulgari jewellery, Dior furs. He examined the ads carefully. None moved him. He came to the conclusion that what he wanted had never been done but slowly the germ of an idea took root in his mind. The brochure would be very long, very large and creamy white. In fact, the brochure would be all about white. The centrefold would be a giant reproduction of Isumataq that would have been photographed in sections and seamlessly married to form one giant image. Jay’s design team came to the studio where they studied the model of Isumataq set against the white walls. Ken saw the light of understanding dawning in their eyes and after many more sketches, they showed him a design he liked. “How many of these do you want?” Jay asked. “Five thousand.” “Five thousand! Do you have any idea how much that is going to cost?” Jay pointed out that the paper he had chosen was custom and the onion skin was the most expensive available. Then there was the cost of embossing an Inukshuk on the onion skin. “Not one item here is a stock item,” he said. Ken nodded. “That’s it exactly. That’s perfect!” “You’re looking at a whacking pile of money.” “Of course.” “How do you propose to pay for it?” “I haven’t a clue.” Jay sat down with his calculator. “Ninety thousand dollars,” he said when he finally lifted his head. Ken made deals. Jay gave him a list of every manufacturer involved in the production of the brochure, starting with Coast Paper in Vancouver.
By the House Yesterday, as I walked in an outlying neighbourhood, I passed by the house that I used to go to when I was very young. There, my body was inspired by the superb power of Eros. And yesterday as I passed by along the old street, suddenly, the shops, the sidewalks, the stones, the walls, the balconies, and the windows were made beautiful by the charm of love. Nothing ugly remained there. And as I stood, looking at the door, as I stood and lingered below the house, my whole being emanated the sensual emotion I saved inside me.
Mayanaam
vequinox
Manolis 