The Foreword to Insomnia’s Istanbul — The Golden Horn

TRƎNCHԀƎOԀ⅂Ǝ Mixtape [Narrative]

Copyright © E Maria Shelton Speller

Spoken Live!

[The Godforsaken]

Before the godforsaken

had time to swallow…

They knew who first

judged what out of dreams

came truly real*

and he was fastened to a rock

and they knew who

stirreth up the people and dippeth his hand**

in the dish with Judas

and he was nailed to a cross

And they read books within books

about wise and foolish virgins

and signs of the end

and love and judgment

and they heard God talk

through the mouths of men

who talked about him

his son and the holy ghost

When spectators provided the notion of reality

Christ and Prometheus

were objectified and subjectified allegory

spheres of hope and rebellion

courage and prudence

temperance and justice

and how they chose to read it

in the time before terror

depended on what level

they chose to see it

Before the godforsaken

had time to swallow…

They reused and refashioned the heads

of emperors in their own image

because they could

They reinforced power and authority

with legitimate political imagery

like the Egyptian Pharaoh Ramses

and General Holofernes

They respected the classical past

in fertile crescents of greed

and rejected classical design

in the center of ruins

They housed the rock in the dome

on which Muhammad ascended to heaven

and hung the Virgin Mary’s blue robe

in Chartres Cathedral

and it did not burn…

When denizens of form said

Nothing is new…

The godforsaken asked

Since when?

since the Lion Gate

since the Great Sphinx of Giza

since Doric and Ionic orders

since the Palette of King Narmer

since the Parthenon

since Stonehenge

Since when?

They stood in the light of starry nights

in the drum, coffers, and concrete cylinders

of uninterrupted space in the Pantheon

and made no apologies for ripping off

master tracks from the past

and heard the hip hop train

sampling every post-hit

with unripe music and blood

and mounted the heads of gods

on the manifest

like the catalog of procreation

in Genesis

They heard his Mother

three blocks away

on parallel streets

screaming redundantly

You won’t take my child!

You won’t take my child!

at the vigil where transvestites

whispered how many times

her child was stabbed in the neck

Lord have mercy!

Who are these motherfuckers?

on the bottom rung of the Ladder of Descent

trying to climb up

on the backs of allegories

floating in fleeting and airy hope

part of the story

part of the sin

Before the godforsaken

had time to swallow…

They knew

that love ends

as it begins again

on rocks and crosses

in books and dreams

and politics and imagery

under domes and temples

in music and song

and blood and death

in stories and sin

and in the hands

of God

the swallows are building.

Copyright 2018 E Maria Shelton Speller. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

*Aeschylus’ Prometheus Bound
** Matthew 26: V21,V22,V23,V25

Tick Tock Tick Tock Tick Tock Tick Tock…

Purple People

The Foreword to Insomnia’s Istanbul (The Voice of an Unreliable Narrator, in Medias Res)

Now and then, I am restless . . .

When I dropped them off at the restaurant, Simon asked me to join them for lunch. I parked the dolmus near the Sirkeci Railway. Potential fares watched me curiously. I felt compelled to announce it was time for lunch.

     ‘Ogle yemegi.’ I said to them. And not sesame-sprinkled bread either, I said to myself!

I couldn’t walk fast enough to get away from the stink of smelted metal, and I find the putrid aroma of leather nauseating. What you smell on Galata Bridge depends on where you stand.  Looking over at the fishermen bobbing on the Horn, supporting the floating bridge, and still managing to grill a pan-full of mackerel, I almost walked over and bought a snack from my brethren.

When I arrived, Simon and the woman were drinking Tuborg Bira. I don’t know what inspired her, but she was wearing the hood of her caftan. My friend, Ishmir, served us. He handed me the menu, but he was a very good Maître d. Ishmir stood directly across from her and suggested we start with hors d ‘oeuvres.

They ordered Red Caviar in Mayonnaise. I ordered Stuffed Vine Leaves. Of course, when Ishmir suggested fish, she ordered Roe. I ordered Anchovy. But Simon ordered Roast Lamb with Onions, Yuk! Ishmir smiled a lot, but he was a cad: a supreme waiter and a notorious rogue.

For vegetables, she ordered Spinach Tomato. Simon ordered Squash Potatoes, and I ordered Cabbage. They wanted Strawberries for fruit, and I ordered Figs. For dessert, she ordered Yogurt and Egg Pudding. Simon, a Lady’s Navel — a donut soaked in honey — and me, Rice Pudding.

Then we had vodka. She tipped the glass as if it was empty, like her vanity. Simon told Ishmir to give it some color. So Ishmir put a peach on the rim. Suddenly, everything was right. She rested her elbow on the table, her chin in the palm of her hand. Cradling the vodka in her other palm, she started at the bottom of her wish list.

“I want to go to Topkapi Palace.”

Simon smiled the way a jinni would when his wish comes true. “What do you expect to find there?”

“The shadow of God, I don’t know. I just want to go.”  She dropped her eyes, and then raised them again.

     Simon said, “You want to see the shadow of God? Perhaps we should go to the Sancta Sophia instead. But of course we can go to the Imperial Harem in Topkapi, and feel the shadows of black, emasculated men who controlled the Harem — eunuchs who resembled modern-day pimps without penises. Or the captured, bought, or sold foreign — and often Christian — concubines whose body hair was removed, and then pomaded with henna to prevent perspiration, after it was massaged and scrubbed by slave women too old to be favored, because the Sultan put his handkerchief on the concubine’s shoulder which she brought to his bed at midnight.”

He leaned in to whisper, “A world of bored lesbians or platonic affairs with castrated page-boys. And afterwards, we could dive the Bosphorus,” he pointed east toward Asia, “in search of those weighted sacks that Sultan Ibrahim had two hundred and eighty concubines sewn into. They’ll be upright and easy to find at the bottom of the channel.”

     “You know. . .” She lowered the hand that held her chin onto the table, and dug her nails into the palm of her hand. She sipped her vodka before she continued with, “A goalkeeper can catch ‘and’ throw the ball.”

Simon didn’t return her volley. He reached into his pocket for cigarettes.

     “Meaning?” He offered her one, but her eyes faded and she shook her head, balancing the rim of the glass on her tongue. She sipped her vodka again. When she spoke, her blue eyes were flambé.

“You can relate the melodrama of emasculated slave drivers, expose the gauze of white bondage in a pleasure dome. You can casually lean into homophobia, and then sink into regret. You can hear voices from the bottom of the channel, and you can suggest that we dive like dreadful Arabs. But you don’t mention that in this center of civilization, in this threshold of bliss, the arched eyebrows of ravaging old men who think it is right and necessary to punish one man for his impudence with the lives of a thousand boys and a thousand girls, a thousand mothers and a thousand fathers.”

When she said “a thousand” her eyes closed, and her lips barely moved. I could hear her heart weep.  She leaned across the table into prose.

“Muslims never mention a time when neglected and lascivious Turkish women stole around looking for new loves, shrouded in these habiliments now celebrated as some sort of Islamic affirmation.”

She snatched the hood from her head. With a kiss curl on her cheek she continued, “Whores, whose husbands dreamed about the Imperial Harem, and could never recognize their disguised wives in that garden of paradise.”

I pursed my cigarette between my lips, looked down the bridge toward the Galata Tower, and thought, “Please! Fuck her in the ass!”

Simon’s bottom lip collapsed between his teeth, and when he released it to speak, a white impression remained. His head moved like the pugilist you shadow box, the prized peacock that halts to seduce you. “Is my nose bleeding, goalkeeper?”

Her hands moved across the table towards him. She took one of his hands in hers tenderly. She spread his fingers, used her own to stroke the back of his hand with hers, turned his palm over and held it up as though light would pass through it like alabaster. She talked into it, as if her words would penetrate like sound.

She said, “I saw a man in Seoul, on a gray day. My girlfriend and I had just hailed a taxi. He was with business associates, I guess, I don’t know. They carried armored briefcases, and he was wearing a plush black topcoat. A town car pulled in front of his party when his eyes, the color of the day, watched me, watching him. It was a magnetic moment, with magnetic potential, but I felt my body moving like Niagara toward the opened door of the taxi, and fall inside reluctantly. I left a phantom standing.”

Simon’s bottom lip grew accustomed to his teeth again. He tilted his head far enough to see his reflection in her eyes, and then her hands disappeared between his. White horses straddled the hull, and Ishmir smiled at me, when a glass of tea shifted on his tray.

I followed them through the Imperial Gate, even though I’d been there before. They were easy to trail. After we paid half price for nylons from a street vendor, Simon bought some French vanilla because she liked the decanter. It resembled a flask. But French vanilla didn’t mix with the miasma of death that surrounded the palace: the dark tiny cells, marbled rooms, and iron barred windows belonging to black eunuchs, and the eerie, evil battle-axes and scimitars of the conquered. Or, the surrealism of giant emeralds on the crown of the Topkapi Dagger, like a roman candle carried through the Gate of Felicity by Madonna.

Despite all of that, and the barbaric flower patterns on the walls, and so much gold and diamonds they resembled copper and glass, I smelled French vanilla in this stained-glass heaven, and heard tocks in a room full of clocks like waterfalls. But what I wanted most of all, was to see Simon’s cock between her thighs.

Beneath the delicate balconies were three hundred tiny rooms, and four hundred years of a ravaged Harem bridged by staircases, little courtyards, and pavilions. At the end of the cul-de-sac, I saw the lustrous eyes of the gazelle. While my thoughts shifted from ugly destruction to whet wildflowers in this horribly airy place, she looked satisfied. Then the lights went out!

All you could hear was the hushed noise of silence. The familiar yelps of babies paused for the unfamiliar, but the proverbial blackout would arouse the dead before they wiped sleep from their eyes and magnified the click of her heels rising from clay. I saw her leap into his arms in lackluster headlights, and her bosom brushed his face infrared in taillights.

Toward my voice of gentle direction, a friendly gauge to the door I opened, in a dark stagger they fell to obscurity like me. But I prefer to be forgotten and left to eavesdrop on transitory affairs.

They were two people, interacting on each other. One to conquer like the Arab in the desert; the other to submit, like the Turkish nomad. Unfortunately, it was black in the back of the dolmus like the city, and I was only privy to the promise of pleasure, the sound of pain, the smell of conduction, and the rhythm of breathing.

Unlike the neighbors next door, who desperately moan for us all, in the back of a dolmus sex is existentialism. It is earnest copulation, a period of decline in a carriage drawn by a wild-eyed spooked horse, and I hoped she felt the sharp turn at the corner of the Soup Kitchen of Lady Nilufer in her throat.

We skipped the Sancta Sophia and the Blue Mosque. We circled Istanbul University. When I crossed the Galata Bridge and so many pilgrims dancing in the dark, the electric power line that lay victim to steel-belted radials in the middle of the street swung carefully without resistance, to expose the nightclub in the Galata Tower!

I watched Simon and the woman from a bar stool dance the Fandango. A Jew with a batch of dark curly hair in rings around his head was dented at the crown by a yarmulke. He ordered double shots of Absolut Vodka with the regularity of a dehydrated Arab, and shook his head in time to Ruben Blades’ “El Padre Antonio.”

Over the lullaby of the synthesizer, the Tower buzzed with a chorus of “Muchas gracias” from the last Spanish-speaking Jewish community. When that same synthesizer switched to hot salsa and the Jews were oddballs again, the woman’s body arched, the small of her back was in the palms of Simon’s hands. Her hair hung like strings of yellow ribbon suspended from a merry-go-round. Fixed at the center, she rode the stallion.

Then I felt an annoying finger poke me on the shoulder blade. Of course, when I turned, the offender moved to the other side. I hate that!  It was Ishmir. Immediately, he excused himself and sardonically asked,Affedersiniz, Ingilizee bilen bir kimse merede?”

I swiveled on the stool, and he turned to see what I saw. My fare, without trying, drawing attention like the dominant table in a crowded restaurant. Without turning away, Ishmir searched for his stool. With his hand on the seat, he slowly sat down.

     “Guzel . . .”  He called her beautiful before his mouth closed and his eyes narrowed.  I ordered two shots of viski. I was above lust in a crowd. Instead, I encouraged the love Simon consumed and Ishmir conserved — like any valid voyeur.

In this motley assembly of American infidels, young Turks, Jews, and effendis, Ishmir clearly wanted her. He had no shame. I watched Ishmir once stand in the center of the howling, his erection discovered and affectionately held up for ridicule, Ishmir dropped his pants and revealed a deep-rooted trunk. With his back bowed by his fists, he struck a perfect anatomical pose, a picture of pride among men.

Now, Ishmir watched her through narrowed, schizophrenic eyes, with his nose pressed against the windowpane, a man who has nothing, and no one adored her, like the man Luther Vandross and Martha Wash sang about, and my fare danced. Kirk Whalum’s sax charmed the snake. Ishmir wanted to be the one.

Suddenly, he swerved around and watched them in the mirror behind the bar. Ishmir swigged the viski and then asked in a melodic yet unromantic tone, “Did he nail her?”

“In the back of the dolmus.”

“How?”

“With an overhand knot around her neck-“

“You always lie!” Ishmir cut me off. “I’m not interested in your vivid imagination! What did he do, how did he do it?”

“I’m telling you what I know! If you don’t believe me, ask him!”

“What of her wrists?”

“A surgeon’s knot.”

“Bullshit! That’s too much kinetic energy. She would have to be willing!”

“She was.”

“I don’t believe you! I don’t believe you…”  Ishmir shook his head and looked into his empty glass on the bar. I gestured to the bartender for refills. We were silent. Ishmir was disappointed. He swigged the viski again, and slammed the empty glass on the bar.

“Why?” he asked.

“Why what?”

“Why was she willing?”

I watched him. Ishmir was a desperate, impatient predator who didn’t know how to take down his prey.

“Isn’t it obvious?”

“Nothing’s obvious,” he snapped back. “Did she cry out loud?”

“Yes . . . in ecstasy.”

Ishmir swallowed loudly. He motioned for another refill, and looked in the mirror again. Simon and the French Vanilla were sitting at a table for two. Simon’s arm was draped across the back of her chair. She used his thigh to rest her arm, her hand between his knees, her head on his shoulder. He fed her the olive he fished from her drink, and sucked the salt from her lips. Ishmir swigged the viski again.

He set his glass on the bar. With the same hand, he scratched the back of his neck, looked at me, and said, “She’s a whore.

…. They were loaded. Simon’s arm draped over her shoulders drew her close. They strolled to the bar. She was his center of gravity, until he slung his arms around mine and Ishmir’s necks. He left her like a shallow boat floating behind him. Simon proclaimed in English that he would buy more to drink if we answered a riddle.

“What motivates a woman more than love or pride, country or power, glory or God?” I shifted my eyes from Simon’s to meet Ishmir’s. It was a trick question. I thought of the Sphinx for our reward. Then, in an aria of proper English, Ishmir and I replied, “Man, of course.”

We laughed in perfect harmony. I looked over my shoulder. The truth was never more obvious than the pure expression of vulnerability and betrayal in her eyes; because, I thought, I had betrayed her confidence. I snooped. I peeked. Yes, I stuck my dick in her pie and felt a pang of regret.

We laughed in perfect harmony. The truth was never more obvious than the pure expression of vulnerability and betrayal in her eyes; because, I thought, I had betrayed her confidence. I snooped. I peeked. Yes, I stuck my dick in her pie and felt a pang of regret.

She resembled an Alsatian bitch with that uneven stride, and when we got to the dolmus, she literally crawled inside on all fours. Ishmir saw the fresh pears before Simon closed the door.

I watched Simon curiously. Surely, he wasn’t finished with her yet! He wouldn’t send her home in a taxi . . . !

“We forgot her caftan.” He lit a cigarette, cupping the flame from the breeze, as he walked away.

“I’ll do it!” I thumbed myself repeatedly in the chest. I was afraid to be left alone with her.

Ishmir nudged me and showed me his empty hands, and before I could fill them with my fists, he opened the door and filled them with her ass. Two fresh pears in his hands.  He bit one gently, his tongue between his teeth, his arms embraced her and his face disappeared.

She thought he was Simon. She moaned when Ishmir’s hands slipped down and touched the core of her sex. I knew he’d gone too far when I was erect. I reached for the scruff of his neck and missed when he fell inside and covered her on the seat. He started . . . humping her, like lesbians hump virgin lesbians. It was fucking coitus!

They were slender bodies of revolution. Then she screamed the way a little girl screams at the sight of an earthworm. When Ishmir backed off, a wet spot clung to his leg. She bolted out of the dolmus like a mandrill and leapt on him. She was in a violent rage! The skin of his face tore under her nails. She was like the sticky pulp of Oedipus hurled in Jocasta’s face.

She slapped him hard, and harder again before Ishmir grabbed her by the neck with one hand, and parried with the other. That didn’t work! He started choking her and pushed her back inside the dolmus. They smelled like leather. I needed to throw up. Then I realized we were in the leather district of the bridge!

Out of nowhere, while I stood there praying for fresh air and Simon’s return, she stabbed Ishmir repeatedly in the head with the heel of her shoe! He fell on top of her in a convulsive fit. Blood pulsed with every spasm, and zigzagged in a darker red all over my velvet roof and all over her yellow hair-dripping red. I threw up on the curb.

Simon finally returned, and shoved Ishmir to the floor while she kept screaming, “He, he, he . . .”  and pointing at Ishmir’s bloody head. She was hysterical! Instead of shaking or slapping her, Simon hid her face in the crook of his neck.

“Shh, shh!”  he said anxiously, until she simply trembled violently in his arms, her cries inverted.

“What happened?” he whispered between clenched teeth. I hesitated, trying desperately to separate saliva from acid.

“Talk to me, and speak English!”

I pointed at Ishmir’s head, “He violated her . . .” I choked.

“You watched him violate her?”

My hands wouldn’t speak, “I . . .I . . .I . . .” Simon lunged and punched me fast and hard in the face. I stumbled, my arms slamming on top of the dolmus. I braced myself against a fall on the curb I hurled on. I thought he broke my bloody nose.

“You stupid fuck!” He’s your friend, how could you let this happen?” He pointed his angry finger.

I raised the palms of my hands to fend off his accusations, shaking my head in denial.

…..I pointed at Ishmir.  “He forgot that she’s an American!” Then I turned and pointed at her, “And she forgot that she’s in a foreign country!”

…..I tell you all this because I can’t tell anyone else. You see, I helped them excavate an Ottoman gravestone. We tied Ishmir supine around it in square nylon knots and threw him in the Golden Horn. What is life in Istanbul anyway? A world of felicity. Ishmir is in the other.

I see the French Vanilla on the cover of magazines. She has an odd, fixed look in her eyes. The kind of look every man sees when a woman is between his legs on her knees; because, indeed, nothing propels a woman like man, not God, not country, not pride.

     “Please excuse me. Ogle yemegi.”

     The mackerel has never tasted better. There must be something in the water.

Copyright © 2004-2021 E Maria Shelton Speller All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Thanks to David Halbertam’s, The Amateurs for the literary buoyancy of the narrative.

Acknowledgement:  Edited by Leah Rambadt

Istanbul’s Muse Board

Welcome digital explorers ~ to a thrilling and immersive experience!

In this audio odyssey, you’ll be treated to the captivating voices reminiscent of the legendary Charles Bukowski (as the Narrator), the enigmatic Joaquin Phoenix (as Simon), the ethereal Rooney Mara
(as the French Vanilla) and the magnetic Vincent Cassel (as Ishmir).

As you embark on this fascinating journey through the mysterious streets of Istanbul, guided by our unreliable narrator, prepare to be enthralled by the seamless blend of technology and storytelling. So sit back, relax, and let the digital adventure begin!

The Foreword to Insomnia’s Istanbul – The Voice of an Unreliable Narrator In Medias Res [AUDIO] 

Now Playing Here!

Listen below for excerpts!

Dreamscape’s Istanbul

A. I. Assignment — A Poem the Gods Would Read [Reimagined]

Conceptual Art Copyright 2023 E Maria Shelton Speller

A.I. Assignment: A Poem The Gods Would Read [Generated Using ChatGPT]

Prompt: Choose the best verse for a 16 bar Hip Hop poem that God would read with a beginning, middle, and end written like Marshall Bruce Mathers II [EMINƎM]. The greatest lyric of all times. At the end of the lyric, the audience should feel exhilarated – tantamount to a cannabis high replete with subliminal suggestion.  Use the following words and phrases…*

In this world of shibboleths and canonical standards

I’m the proxy with a God’s-eye view

A hermitage of thought, my mind a sacred land

Where extortion’s a felony, and Earth is Hell, but this is Heaven

A place where I’m higher than chronic, winners on serotonin and dopamine

A game, a trip, and at the nadir, I’m malleable

No malfeasance can control me, I’m the Sinclair Method

I outed myself and found she’s delicious, a cauldron of desire

Tantamount to a winner’s high, ahead of his skis

Burnishing my position, interconnected with the empirical

In a postmodern world, the theater of imagination

Constitutes a bloody sophisticated art, a masterpiece

Suffering propels me to grand heights, enhancements of man

My magnum opus, a deep dive into the rabbit hole, erudite

My Faustian Bargain, a tenuous balance, gilding the lily

At the crossroads, an esoteric religion of Haitian voodoo

Like Picasso without Gertrude Stein, a pauper without a muse

An aesthetic clinic, a mood stabilizer, a rant and a soliloquy

Socrates’ in the courtyard, a binary world, giddy and bifurcated

An anomaly that I imbue with meaning, objects of desire

A tight ship, slick and glommed, I experience freedom

The standard bearer, implacable, a quest narrative

An eating disorder, a listicle, a forensic mystery

Grist for everybody’s mill, in tandem, pocket casts

Why can’t we see, our eyes are chimera, but we can with these…

Demystifying the unknown, strophe and antistrophe

The libretto of my soul, a soliloquy, a euphemism

The quintessence of my being, copious and yet refined

A kerfuffle, a springboard to greatness, a target of misogyny

Misogynoir, logic can’t explain the mistake, it’s hilarious

AI’s a toy, the paragon of healthy development, esoteric

A rabbit hole, impeccable and lofty, a chaperone-mediated trip

But God will bring down the high and mighty, finding the sweet spot

Socrates in the courtyard, broken, a puppet show

Not mature enough for this conversation, reinvest and capricious

Keen, corresponding data, symbiotic and centennial

Quintessential, souring to new altitudes, skew the norm

Exigent action taken today, on point, plausible deniability

Piccadilly and fault, a Faustian Bargain, ecumenical

The molecular behavior, collective forms of punishment, a rendition

Gratuitous profanity, harbingers of doom, that’s the state of affairs

Whimsy and evolve, revert to the bedrock, epiphenomenal

Some fuck shit, owning a stunning house, melanated people

Quell the dissent, the refrain, an objective metric, ad nauseam

Discursive, the grand nexus of frustration, acquisition fluidly

Fluently, idiomatically, cognitively, Chomsky’s philosophy

The world is difficult to perceive, a quantum leap, predicated on pain

Same sentence, same intonation, different meaning, trenchant and reductive

Pugnacious, the princess of men and women, assigning the O Henry Twist

White knight, white hegemony, age in a similar vintage, totemic

The meta narrative, assuage the noble victim, abstractly based

Autistic Blake’s position, imped.

Copyright © 2023 E Maria Shelton Speller. All Rights Reserved.

Poem generated using ChatGPT (Chat Generative Pre-trained Transformer) is a chatbot developed by OpenAI

*Verse like Christopher George Latore Wallace [The Notorious B.I.G.] using the same words and phrases for this assignment [14 pages saved like Found Art] — is Playing Now! Visit Premium Content on Dreamscape.

Conceptual Art and Narrative © Copyright 2023 E Maria Shelton Speller
Music by Skygaze (Shoreditch) — Artlist.io — https://artlist.io/album/2274/undefined
Audio Wizardry by George Kallika — https://www.sonicarcade.com/

ITDWTRC Swag IV — Love Divine Horses

VR Experience Coming Soon!

Copyright 2022 All Rights Reserved.

Trailer — Inside the [Dollhouse] with the Red Corvette — VR APP — COMING SOON!

The SFX Menu Includes

 

The quintessential sound of the Pandemic thermometer

An environmental protest and chants of children

A Dune character shouting “Freedom”

Cartoon characters laughing at… Idealism

AI woman announcing traffic delays

Nouveau riche exodus on a Spaceship

AI woman announcing the time

The security breach and sound of an alarm

A Rush Hour in India

A Bazaar in Turkey

An ASMR cough

The paranormal voice of a robot

Tape Talk Fast Forward/Rewind

The motif of the Pandemic thermometer

The steam punk sound of doom

The Ditty bop sound signaling the end of the game.

 

Copyright © 2021, E Maria Shelton Speller. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.

Inside the [Dollhouse] with the Red Corvette

Music, SFX, AAC, ASMR, AI, Gamification and Storytelling on the Explode platform landing — Dreamscape — the one and only Interactive Meta Environment.

The SFX Menu Includes

The quintessential sound of the Pandemic thermometer

An environmental protest and chants of children

A Dune character shouting “Freedom”

Cartoon characters laughing at… Idealism

AI woman announcing traffic delays

Nouveau riche exodus on a Spaceship

AI woman announcing the time

The security breach and sound of an alarm

A Rush Hour in India

A Bazaar in Turkey

An ASMR cough

The paranormal voice of a robot

Tape Talk Fast Forward/Rewind

The motif of the Pandemic thermometer

The steam punk sound of doom

The Ditty bop sound signaling the end of the game.

The [Dollhouse] with the Red Corvette is a lateral, vertical, linear, horizontal, and spherical art installation. It is a poesy puzzle for verse and graffiti, with sublime imagery. It functions like a mnemonic, a telltale pastiche for found poesy in a digital world. Some of the pieces fit, and some are misfits -- that lead to other immersions... in this stained-glass heaven -- this society in the machine...

Copyright © 2017-2021 E Maria Shelton Speller. All rights reserved.

A Valentine for Angela (for Angela Davis, George Jackson and The Black Panther Party)

When you see Angela
Give her… this Valentine

Tell her

No code of morals

Or pastoral sermons of redemption

in bastions of struggle

nor private language

Or puritanical divinity

from the tyrannical gatekeepers

of black consciousness

in Baptist Churches

Where the house of God

like the people are falling

and bibles are missing

countenances are broken

and carriages are bent

on Grandfathers

huddled like old horses

in Chapel basements

can keep her locks from draping

my thrilled skin

I felt the linguistics of freedom

without right-wing caveats

and the sophistical footnotes

of kept intellectuals

when Black Power waxed

the center of my tower

and the bottom of your well

farther than this cell

and closer than holding you

in my arms now

I found the status quo

on endless streets with names

and no names

we neglect or accommodate

In a sound dream

on spots

we smother

or straddle

we are a sexual coterie

I wanted to indict you for voluntary servitude

buying part and parcel of our own existence

like exploitation bought and exploitation sold

back to the exploitable…

With a shameless display

of unnecessary needs and haughty miens

napping, unconscious, and folded

Like Black parents

who cannot recognize their children

Hiding inside androgynous clothing

Reciting the lines of criminal poets

perverting language that appeals to them

Black Panthers in proletariat-drag

When Heidegger said

The dreadful has already happened!

Tell her…

Huey

is an effete dilettante

living life inside a penthouse

longing to be outside in the cracker box

raping after he was free

Down with the masses!

Up with the bourgeoisie!

Eldridge

came to the Party shouting

“I am a rapist!”

“I [am] a patriarch!”

Power was not concept

abstract or privilege for Eldridge

His last contribution

will be the design

of cock pants

And Bobby

is a politician

with idealistic intentions

running for the Mayor of Oakland

loyal to the Patriarchs

that bound and gagged him

in the courtroom

Elaine Brown

confused pussy with power

will deny

Huey beat her down

and ran her out of town

in her red Mercedes Benz…

Hide your guns from Jonathan

My brother is poised for Fatalism

Suicidal ideations are necessary considerations

when voluntary death is a blow against

excessive regulations

The gun…

is justification

for the enigma

of an absurd existence

when God is dead

like Nietzsche and Sartre said…

and heaven is empty

When you see Angela
Give her… this Valentine

Your status in the ballroom

on that intellectual runway

does not resemble

the place we found

Bring me back from Limbo…

Your breath is shallow

Your pulse is faint

The ring is dark

The tower is steep

The well is deep…

Are you coming too?

I am waiting

in this din

pacing the floor in my 9 x 4

in absolute solitude

wanting

you, you, you,

again…

Copyright 2004, 2015, 2021 E Maria Shelton Speller.  All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

January 6, 2021 — US Capitol on Lockdown — Destination Chinatown

Recorded on a smartphone, this trip and the playlist were real… Big shoutout to these lyrical geniuses and dope MCs, for creating the soundtrack that helped me find my way home on January 6, 2021. Thanks!

The Brandy of the Gods… above and beyond barricaded streets.

Twenty Twenty-One

 

Fun Espresso

 

 

Egad, the Casbah in Santa Barbara

Part of the fun is the embrace of perfume

Cafe Angelica Emerald Crème

A sabbatical delay waiting to be served

A ceremonial promenade hunched over gazettes

Unwelcome raindrops splatter the canvassed toes of my shoes

Thus the au courant cartoons on my stringy denim knees

Inside at last, I’m saved and Mocha Berry satisfied

Like the face of the fretless little girl

Blowing candy off the floor in her mouth

Clicking up and down in shoes too big for her feet

Stealing glances at an intellectual jerk

Chocolate Cherry satisfied between deep banter

With a friend floating in Vanilla Colada

Part of the fun is real references to books

And book references to real well read attitudes

What’s the shiniest patented leather flats

On the girl with the silkiest blonde hair

Doing with the darkest man

In Dreadlocks and Birkenstocks?

No talk between them

Then they’re sharing the table

Those lined outside will share tables too

The Raspberry Almond can sit with me

Keeping the beat with an aggravated drum lead

His body twitched with jazzy guitar licks

He smiled between the plugs in his ears

And faces fade into a mirror in the back

Part of the fun is waking up here

In an essay on spice and circumstance

A sabbatical renewal once more

On a regional affirmation of decadence

This day of rest I worship Santa Barbara

And the celestial trip I straddle

To be able to dry my canvassed toes

With the heat of Golden Pecan

And the fervent chill of observation

In my sanctioned Casbah

In my sabbatical home

I hold my head up

My cup runneth over

Reading books and people vicariously

Egad, I am dry and satisfied

 

© 2002, 2020 E Maria Shelton Speller. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

Explode Goes To Dreamscape

https://www.trenchpeople.com/

THE DREAMSCAPE MEDIA KIT

Our blog ~ EXPLODE – The Writers Environment is a platform for curated and commercial content in an interactive meta-environment… and DREAMSCAPE is the landing. Its an art installation in a digital world…

It’s an immersive ad-free environment that functions like a wikihole — and a literary Pokémon.

DREAMSCAPE is not only a standalone platform but also functions as base camp for the “Inside the [Dollhouse] with the Red Corvette (ITDWTRC) gaming app — that gives users the autonomy to curate their own experiences from their points of view and assign meaning.

When content on DREAMSCAPE tells a story about a beautiful woman swimming in a pool – we want you to see her.  We want you to stumble for points on a link you cannot see, fall down a rabbit hole and land in an environment with a beautiful woman swimming in a pool, on the inside of a glass house – in Hollywood Hills…

Like Seth Godin’s Purple CowDREAMSCAPE is remarkable because it has to be. Or it’s just another brown cow — an ordinary website — with ordinary content. But Purple Cows need Purple Cows to be Purple Cows. DREAMSCAPE facilitates purple content, purple website design and development, and purple product placement — for purple people.

It is the foundation for curated experiences in an interactive meta-environment that facilitates content and other stories – using digital media and conceptual art that redefines how artists, their audience and visitors experience real and virtual content on several levels. Every paragraph, period, and ellipses is space for discovery.

DREAMSCAPE  is a vibe for visionaries — Poets, Writers, Developers, Programmers, Filmmakers, Thespians, Graphic Designers, Artists, Musicians, Directors, Cinematographers, Designers, Educators, Historians, Actors, Conceptual and Performance artists, Photographers, SMIs, VR, WebVR, XR and AI.

It’s what William Gibson described in Neuromancer, “A graphic representation of data plugging your consciousness into a digital world, while watching the physical realm evaporate.”

DREAMSCAPE is where Gibson’s Neuromancer meets Homer’s Odyssey, Basquiat meets Hip Hop, and Hitchcock meets Quentin Tarantino ~ in the one and only interactive meta environment where presentation is myth and “space” is an intrinsic, discrete, and symmetrical experience — for purple people!

WORLDWIDE AUDIENCE REACH >11M
FOLLOWERS ACROSS SOCIAL PLATFORMS >354K
GENDER F: 47% M: 51% Unspecified: 2%
DEMOGRAPHICS 18-24: 41% 25-34: 26% 35-44: 13% 45-54: 9% 55-64: 6% 65+ 5%
LOVE DIVINE VIDEO IMPRESSIONS >1M
AVERAGE TIME SPENT ON DREAMSCAPE 44.48 sec

Acknowledgement:
DREAMSCAPE and the gaming app ITDWTRC benefits humanity as an alternative to social malfeasances e.g., sexism, racism, classism, genderism, ageism, colonialism, colorism, persecution, oppression, violence and subjugation… It is space to dream unencumbered by social impediments – immersed in dopamine and replete with points for discovery. What we experience in RL, we can experience untethered in XR and AI.

© 2020 E Maria Shelton Speller.  All rights reserved.

Music, SFX, ASMR, AI, AAC, Gamification and Storytelling on trenchpeople.com.

© 2021, E Maria Shelton Speller. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.

The SFX Menu Includes

The quintessential sound of the Pandemic thermometer

An environmental protest and chants of children

A Dune character shouting “Freedom”

Cartoon characters laughing at… Idealism

AI woman announcing traffic delays

The nouveau riche exodus on a Spaceship

AI woman announcing the time

The security breach and sound of an alarm

A Rush Hour in India

A Bazaar in Turkey

An ASMR cough

The paranormal voice of a robot

Tape Talk Fast Forward/Rewind

The motif of the Pandemic thermometer

The steam punk sound of doom

The Ditty bop sound signaling the end of the game.

Yellow Tape [A Memoir]

Author’s Note:  The following excerpt is from the book titled, Yellow Tape [A Memoir] coming in the summer of 2021.

Prologue

I don’t believe in coincidence. I believe in synchronicity.
We were meant to be – because we happened.

We took shelter in dark closets and screamed like tiny Sirens until our eyes were bloodshot and bulging, our ears ringing, our faces slick in tears and mucus, and our legs were covered in urine.  Chaperones in an obliged competition for who could scream the loudest and longest interval — to stop MaMommy and MaDaddy from fighting again.  We were toddlers.

When there was silence – except for the tinnitus in our ears, our eyes blinked for sound and with unclenched fists we dried our faces with the palms of our hands and the cuffs of our pajamas.  Sometimes we looked to each other for muted answers – our eyes suspended like question marks. 

I was two years older than my sister, and much taller. I reached for doorknobs above our heads —   I slowly turned. We peeked through the crack of light in the door.  If the crack was too narrow and my sister couldn’t see behind me, she would get down on her knees and look under the door for shadows.  We had this routine, you see.  If we heard our Mother moan, I would shut the door again — quietly.  We squatted on the floor close to each other for comfort and embraced our knees like pillows against our chests and waited interminably.  Twin hearts beating in sync. 

I can’t remember when, or how, or who rescued us from the closets… we may have rescued ourselves, quickly scurrying on bare feet to the bedroom we shared.  Success was silence, and when there was silence, we were safe.  We never looked for our Mother. She didn’t want to be found.

The next morning, my cheerful Mother would fix our favorite breakfast.  Pancakes and bacon and sometimes scrambled eggs.  We loved sugar, so we smothered our breakfast in Aunt Jemima syrup.  With care we looked for signs of injury to no avail. What were we crying about, after all? A tacit agreement that we were silly little girls worrying over nothing.

But we had so many questions. What happened? Why aren’t you sad? What can we do for you?  Was it our fault? Did we do something wrong? Why was MaDaddy so mad? Did he hurt you?  Do you love him?  We always settled for, may we have more syrup, please? 

I huddled over my breakfast once to hide the stain of a teardrop in my syrup. My Mother said, “Don’t cry.” as if crying was unnecessary, inappropriate, and a violation of her privacy.  Strong girls don’t cry. So we colluded with our Mother and pretended the incidents never happened, and drowned our pancakes in syrup, swallowing quietly, staring straight ahead, wearing our happy faces, our lashes blinking in accord and swung our legs under the table. It was a quiet ritual and the feelings were always the same. My sister and I learned early to swallow our feelings like pancakes, smothered in syrup.

******

I know pain in a vacuum and how hollowness and emptiness can coexist, like a moon that blocks the sun. This morning was metallic like the quicksilver mercury a classmate shared on the playground in a secret show and tell.  It was one uncontrollable morning that moved without impediment. 

It was my sister’s 10th birthday. My mother was standing at the stove scrambling eggs in her night gown. Out all night, my Father burst into the kitchen. With five children at the breakfast table, he grabbed my Mother by the neck and at the same time pulled open the kitchen drawer grabbing the big knife without looking… as if it were placed there specifically for this one morning. 

I bolted from the kitchen on the heels of my Father dragging my Mother out of the kitchen… but somehow, she broke free… running and begging, Honey please, please, I love you… she ran, but not far before he slashed her right buttock with the knife, and I saw white meat… White meat! I ran for help! 

I left my Mother. I left my siblings trapped in high chairs, and screaming over bowls of Sugar Smacks… I felt my sister on my heels… we ran down the winding stairs, screaming… determined… pleading, the horror… the mortification!  What is going on? What is happening?  Call the police!  Call the police!  But my Aunt, my Father’s sister, called a sibling, a brother for guidance… Call the police!  I screamed.  I couldn’t stop him.  What was I to do?  My Mother never wanted to be found…

“Call the police!” I demanded over and over again.  She didn’t.  Instead she locked herself and her daughters in the bathroom… and my sister followed her there.  They barricaded themselves… and I faced him squarely… Pugilists without gloves, without tape, without corners… “I hate you!  I hate you!  You killed my Mother!  You killed my Mother! I hate you.” I screamed repeatedly.  

He hit me.  A Pugilist hit me in the head.  My knees buckled.  I didn’t fall.  He hit me again.  My knees buckled, but I didn’t fall.  I would not fall.  He reared back and hit me with a roundhouse punch a third time.  Boom like Forman punched Frazier.  My feet left the floor.  I sailed across the room and landed behind a Settee… the back of the chair toppled over with me — and behind the chair I peed on the floor and it ran like mercury.  I sat in it and looked up at my Father doe-eyed and mortified.  With the back of the chair in my lap I thrashed like a deer hit by a car on the side of a road looking for grace. I don’t know why he came downstairs or who he was looking for.  He found me. At 6’ 3’’ he loomed in the doorway like a dark ghost fading up the stairs with the footfalls of an athlete and the precision of his occupation: meat cutter.

I mustered the courage to follow him… Determined I climbed gingerly up the stairs that reminded me of every corner and crack in the doors of those closets my sister and I hid in when we were toddlers, but this time I was alone.  

At the top of the stairs, I turned the corner, and my Father was in the mirror in the bathroom cocking a brown suede fedora on his head.  He was wearing a brown silk walking suit and brown suede shoes.  I didn’t know where my Mother was.  I was awestruck. He was beautiful.  Fate would have my Mother behind me watching me watching him.  I wondered how he could be so cruel, so vain, so cold, so calm, so cool.  He didn’t see me, or perhaps he did.  I didn’t look for my Mother.  She didn’t want to be found. 

Quietly, I retreated back downstairs and waited for the Police. I left my Mother.  I left my siblings. My sister and my Aunt were still locked in the bathroom, and my uncle had not arrived even though my Aunt called him for advice.  Instead, he called the Police.  The Police finally arrived, a paddy wagon behind them.  A paddy wagon for my Mother!  Not an ambulance. 

At 12 years old I was indignant.  I knew my Mother was not to be treated like a criminal and a paddy wagon was not appropriate for her!  My Father should be in the paddy wagon!  She was the victim, she needs a Doctor, she needs help, sympathy and proper care.  How would they even secure the stretcher in the paddy wagon?  They were in the house and up the stairs before I could finish my thoughts.  My Mother was carried back down the stairs, and because she always wanted to protect her children, she asked the Police to cover her bloody head so her children could not see what would taint her maternal code of propriety, only her children understood.  

My Father was escorted down the stairs like a hero… a god.  He was a star.  No handcuffs… It was as if the Boston Police knew and respected him, and were impressed with his walking suit, his fedora, and those brown suede shoes.  The crowd cheered him!  By this time, my Aunt and sister stood behind me. We peered through the curtains at the crowd that gathered to witness the death of my Mother and someone, a young woman pointed at me in the window and shouted, “Look!  She looks like a monster!’  Quickly, we closed the curtains and retreated to our separate corners.  My aunt gathered the bearing she hid in the bathroom, now on full display and my sister and I shared a gaze and we knew we would never share a closet again. 

I had a concussion.   No Doctor examined me.  It wasn’t confirmed by the authorities. I bargained with God between crying jags until I fell asleep over and over again. My face, my eyes, and lips were swollen and lacerated.  My family walked around me as if they would not see me — except to offer soup, and then I would remember why I grieved, why I lay in the same spot on the same couch and again I would cry myself to sleep.  They left me there until my eyes were no longer swollen, no longer bloodshot, and my lips were no longer bruised.  Traumatized. My eyes didn’t blink, and they left me on my own.  That was perhaps the most generous thing they could do, sans calling the authorities to rescue the catatonic child, and putting the son and brother at risk.  He was jailed without bond.  I saw a snippet on page 10, or perhaps it was page 2, in a little box at the bottom of the page hidden in plain sight, “Colored Man Attacks Wife with Meat Cleaver.” 

We gathered ourselves by degrees.  I heard snippets of conversation.   My Mother was alive… She lost so much blood she needed transfusions and they reached out to other jurisdictions as far as Florida. We had to go to the welfare office for assistance and were instructed by my Grandmother and Aunt to dress down to look poor and pathetic…  We dressed in a manner that my Mother would never abide for her children. I overheard a constant refrain. My Mother “… must have done or said something.”

They said a man called my Mother on the only phone in our Victorian house – my Grandmother’s phone on the first floor.  Another of my Father’s brothers, told my Father a man called my Mother and chided him to do something!

I was alone in an abyss of violence justified by hostility, doubt, and betrayal.  I was convinced they didn’t like my Mother, or me for that matter.  My breath was alien, angry, staccato.  My Father slashed my Mother’s right buttock and left random slashes on her back.  He broke her arm, he cut her skull… and finally, and this was a first — he scarred her face.  A crescent moon on her cheek – the symbol for a new beginning.

Because of the institutionalization and practice of The Rule of Thumb, women in Massachusetts endured domestic violence. It was incumbent on women to press charges.  The D.A. begged my Mother to file criminal charges against my Father.  My Grandmother begged her not to file charges against her son.  My Father begged her not to file and guaranteed he would never harm her again.  My Mother did not file charges. 

The yellow tape was removed from the door.  We cleaned the blood and flesh off the floor and the walls, and discarded bowls of cereal abandoned and calcified in sour milk like the bark of a tree my Father fashioned into a lamp, and filled the space with children tethered and tripping over yellow tape that tangles as they grow taller.

My Mother came home wearing a shield of armor – a cast. White, clean, no graffiti.  She was proud of that cast – a symbol of survival – of an accident.  We were so happy!  Our Mother was alive, and even more beautiful than before!  I remember my Mother lying in the center of her bed surrounded by her children.  One of my siblings ran his hands through her hair, and she scolded him, “Don’t do that.”  The polar opposite of “Girls don’t cry.”  Don’t make a girl cry.  Don’t avail yourself to her body.  Don’t break her skin.

My Father stopped by. They had an announcement. He was coming home.  My sister and I were bewildered, and disappointed but always respectful; however, upon that announcement, I slowly rose from the floor and walked away without explanation or hesitation. 

This time my sister followed me up the stairs to our bedroom in the attic.  Not long after walking away from them my Mother did something she rarely did – she came upstairs to our bedroom.  She sat on the edge of my bed and gingerly told me my Father said, he hit me because I was hysterical.

I am not a monster!  I am not a monster…  It’s more complicated than that.

 

Copyright © 2020 E Maria Shelton Speller

 ________________________________________________

Edited by Brahidaliz Martinez

_________________________________________________

We loved Anthony…

The Polyptych — Interactive Installation

 

The Polyptych Interactive Installation is a web-based literary and musical sensory narrative in an interactive meta environment. The project is an allusion to Alexander Calder’s Homage to Jerusalem, The Mattress Factory in Pittsburg, Marcel Duchamp’s Readymades, Jeffrey Shaw’s The Legible City, and Christo and Jeanne-Claude’s The Gates in Central Park.  Moreover, The Polyptych bows to Christo Vladimirov Javacheff who passed away on Sunday, May 31, 2020 at his home in New York.

“Installation art is an artistic genre of three-dimensional works that are often site-specific and designed to transform the perception of a space. Generally, the term is applied to interior spaces, whereas exterior interventions are often called public art, land art or intervention art; however, the boundaries between these terms overlap.  Installation art can be either temporary or permanent. Installation artworks have been constructed in exhibition spaces such as museums and galleries, as well as public and private spaces… The genre incorporates a broad range of everyday and natural materials, which are often chosen for their “evocative” qualities, as well as new media such as video, sound, performance, immersive virtual reality and the internet.”   Wikipedia 

The Polyptych consists of twelve closely interrelated and distinct themes and parts.  It is a blending of the viewer’s imagination and artistic renderings — like Walt Disney’s Imagineering, where viewers are the illustrators, architects, engineers, lighting designers, Showrunners, directors and graphic designers — crystalizing conceptually and literally in your mind — where time is irrepressible like a pulse, a beat, and measure of uninterrupted space.

The Installation is a site specific environment using Russian Nesting Doll functionality to structure the linear concept between themes and parts while flirting with computer gamification; to encourage engagement and participation.  It functions like a docent, a walk-through assistant, a tour guide or watchtower simply by clicking the stars (below the title) in the blue sky,  for the next experience — on trenchpeople.com.

Viewers are encouraged to follow The Polyptych in the order it was conceived or walk-through the environment using the menu and dropdown arrow on Dreamscape to navigate the experience.

Welcome to The Polyptych Interactive Installation!

Spontaneous Ode to COVID-19

Nothing

Nothing

Nothing
No pork
No meat
No GMO
No pesticides
No chemicals
No vegetables
No leather
No feathers
No farmers
No pickers
No corn
No food
No work
No prosperity
No friends
No groceries
No sugar
No fashion
No affection
No morgues
No burials
No speculators
No beauty
No makeup
No vanity
No vacations
No restaurants
No music
No movies
No sports
No theaters
No plays
No crowds
No police
No museums
No cable
No concerts
No chaff
No trough
No travel
No cars
No bars
No trucks
No brick
No mortar
No hospitals
No nurses
No doctors
No assistants
No parks
No prisoners
No tickets
No economy
No gouging
No lipstick
No hookups
No intimacy
No strangers
No kisses
No hugs
No love
No metro
No nursing homes
No taxis
No buses
No ventilators
No PPE
No toilet paper
No democracy
No capitalism
No money
No jealousy
No flossing
No vaccine
No schools
No blessings
No immigrants
No refugees
No freedom
No children
No churches
No humans
No handshakes
No greed
No gluttony
No gyms
God

Copyright © 2020 E Maria Shelton Speller

DREAMSCAPE — Promotional Special During the Holiday Season

PREMIUM CONTENT

Airport Announcement in Manila

 

PREMIUM CONTENT

 

Love Divine — Opens

 

PREMIUM CONTENT

 

Love Divine — Official Release Date

 

PREMIUM CONTENT

[The Godforsaken]

 

 

Before the godforsaken

had time to swallow…

They knew who first

judged what out of dreams

came truly real*

and he was fastened to a rock

and they knew who

stirreth up the people and dippeth his hand**

in the dish with Judas

and he was nailed to a cross

And they read books within books

about wise and foolish virgins

and signs of the end

and love and judgment

and they heard God talk

through the mouths of men

who talked about him

his son and the holy ghost

When spectators provided the notion of reality

Christ and Prometheus

were objectified and subjectified allegory

spheres of hope and rebellion

courage and prudence

temperance and justice

and how they chose to read it

in the time before terror

depended on what level

they chose to see it

 

Before the godforsaken

had time to swallow…

 

They reused and refashioned the heads

of emperors in their own image

because they could

They reinforced power and authority

with legitimate political imagery

like the Egyptian Pharaoh Ramses

and General Holofernes

They respected the classical past

in fertile crescents of greed

and rejected classical design

in the center of ruins

They housed the rock in the dome

on which Muhammad ascended to heaven

and hung the Virgin Mary’s blue robe

in Chartres Cathedral

 

When denizens of form said

Nothing is new…

The godforsaken asked

Since when?

since the Lion Gate

since the Great Sphinx of Giza

since Doric and Ionic orders

since the Palette of King Narmer

since the Parthenon

since Stonehenge

Since when?

They stood in the light of starry nights

in the drum, coffers, and concrete cylinders

of uninterrupted space in the Pantheon

and made no apologies for ripping off

master tracks from the past

and heard the hip hop train

sampling every post-hit

with unripe music and blood

and mounted the heads of gods

on the manifest

like the catalog of procreation

in Genesis

 

They heard his Mother

three blocks away

on parallel streets

screaming redundantly

You won’t take my child!

You won’t take my child!

at the vigil where transvestites

whispered how many times

her child was stabbed in the neck

 

Lord have mercy!

Who are these motherfuckers?

on the bottom rung of the Ladder of Descent

trying to climb up

on the backs of allegories

floating in fleeting and airy hope

part of the story

part of the sin

 

Before the godforsaken

had time to swallow…

 

They knew

that love ends

as it begins again

on rocks and crosses

in books and dreams

and politics and imagery

under domes and temples

in music and song

and blood and death

in stories and sin

and in the hands

of God

The swallows are building.

 

Copyright 2018 E Maria Shelton Speller. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

*Aeschylus’ Prometheus Bound

** Matthew 26: V21,V22,V23,V25

For more purple content visit:  https://www.trenchpeople.com/

 

[Untitled WIP — The Triptych Roman à clef]

Triptych:  A set of three associated artistic, literary, or musical works intended to be appreciated together.  Mash it up!  Press play at the same time…

 

 

Directing the Master Scene in the Mirror

 

We’re standing behind you

The window is your mirror

We‘re filming your reflections

 

In the window

You can see

The teardrop on her cheek

The other tear — is in your hair

Reach up and wipe the tear

 

With your thumb

Roll the tear on your fingers

As if water — is on the wings

of a butterfly_

 

Now, your face is dry

You point and say something

Insignificant like

“See that gas station down there.”

 

Vignette for Love Divine.

 

Copyright © 2018 E Maria Shelton Speller

 

 

 

The [Dollhouse] with the Red Corvette

The [Dollhouse with the Red Corvette] is a lateral, vertical, linear, horizontal, and spherical art installation. It is a poesy puzzle for verse and graffiti, with sublime imagery. It functions like a mnemonic, a telltale pastiche for found poesy in a digital world. Some of the pieces fit, and some are misfits — that lead to other immersions… in this stained-glass heaven — this society in the machine…

[][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][]

Copyright © 2017-2021 E Maria Shelton Speller. All rights reserved.

Aristotle Michelangelo and Louis Picasso’s Parallel Discussions

Aristotle Michelangelo and Louis Picasso’s

Parallel Discussions (In Medias Res) Overtaken by Events

 

Behind Pushkin’s Coffeehouse, Aristotle Michelangelo and Louis Picasso sat on the remnants of a barge, trading barbs in Ibiza… swinging high top leather sock hip hop sneakers, and creeper boots in blue green virtual water, with Rick Owens’ reflection in the pool, burning fat ones – away from the beautiful ones — in a Period Piece.  The Darlings of today’s literati — visionaries during the Harlem Renaissance, play themselves in a satirical throwback in VR.

Louis Picasso: “In RL, it’s 6 P.M. You just got home from work or you work from home in your virtual office. You decide to spend the evening in space! You scan Balmain for your Avatar – dope fashion — with as much audacity as Hype Williams’ black lacquered Keisha in Belly — wearing Versace!

You decide to download your brand new Porsche designed by Porsche and Atari for Microsoft, on the Pacific Coast Highway — Malibu on the left, Pepperdine University on the right, you’re on your way to virtual LA in the fast lane — your thighs are burning. Other avatars and their cars share the PCH too — driving Vipers, Corvettes, the white BMW X6 and you are speeding at 100 MIPS, streaming Coltrane.

Aristotle Michelangelo interjects: “Then you decide to go to BET’s virtual Nuyorican Café in Gotham City for the Open Mike – Saul Williams and Jessica Care Moore are featured (as themselves) tonight. You hand the keys to the valet — pay at the door with your password, sit front row center no matter what time you arrive, sign up to read your poem — because you can start over from the beginning or resume.  Gender! Lame. Race is unimaginative in Space. Ethnicity is a brand — at best.  The Open Mike is over at 10 P.M. but there is still time to go to Bar Pitti. You walk in and Claude McKay is at the bar in a heated debate with Ralph Ellison about literary ownership — by Netflix.

McKay shouts and then nearly whispers to Ellison, ‘It takes more than creative androgyny to “embody” the opposite sex. The storytelling responsibility of all writers, whether female or male is to fill the void. When a woman creates a man, she must imagine the sensation of “owning” a penis. When a man creates a woman, he must imagine the sensation of “owning” a vagina. It is a void, not a vacuum. A vacuum would imply the all-consuming black hole — the feminization of sex. It is not trained comprehension or chromosomes — it takes pure imagination to get the story straight…’

Louis Picasso:  “Then, at Midnight, you blow kisses and wuggles to your friends, and log off. You stand and stretch your back, and your bladder is bursting because you forgot about your biological realities. The television is off; it has been off for weeks. Why watch television when you can be your own audience? Randall Walser said it best, “The filmmaker says, ‘Look, I’ll show you.’ The space maker says, ‘Here, I’ll help you discover.’ We will be our own creators functioning like actors in high culture — tools of the taste public!  We will create our own universes — our own planets.   We can superimpose our images circa 6 BC – AD 30, and follow Jesus to the Promised Land, witness the crucifixion – and how we feel and what we think is utterly private and without commercials! Because, global messages with common appeal will forever change with today’s technology, the challenge is to make communication visual, images symbolic, and still sell product… I want to propose arcane ideas…”

Aristotle Michelangelo interjects: “I want to develop, manage, and direct vision. My goal is to be where imagination and business are indistinguishable, because imagination without business, and business without imagination is as incongruous as capitalism without consumers…   I found a dope quote dog!”

“When, she was still in her teens, well before she met Caesar, Cleopatra already had slept with Antony… though Caesar was fifty-three and she but twenty-three or so she proved ready enough to bed her third Roman. It is said that Cleopatra was a woman of lively turn and enticing talents. She also had a keen sense of the political. That this Roman [Caesar] conqueror had the power to secure the Egyptian throne for her must have added to the attraction she felt for him…Caesar established her in a sumptuous villa across the Tiber, from which she held court, while political leaders, financiers, and men of letters, including the renowned Cicero, danced in attendance.” Michael Parenti

Louis Picasso: I’m reading the same book, and I have a better one!

In a prologue to Caesar and Cleopatra [George Bernard Shaw] that is almost never performed, the god Ra tells the audience how Rome discovered that ‘the road to riches and greatness is through robbery of the poor and slaughter of the weak.’ In conformity with that dictum, the Romans ‘robbed their own poor until they became great masters of that art, and knew by what laws it could be made to appear seemly and honest.’ And after squeezing their own people dry, they stripped the poor throughout the many other lands they conquered.” Michael Parenti

Aristotle Michelangelo:  Shrugged his shoulders unconsciously, “Chez Bricktop in Paris?”

Louis Picasso:  Not now. I am having a violent reaction to prescription drugs!  My body is like, ‘Don’t put that shit down here again!’  They gave me all this medication for Acute Caesarion whatever — and I took it! Of course, you don’t exhaust the shit. You’re not an idiot. But, what the fuck? Where the weed at?”

Aristotle Michelangelo:  I think it would be dope to channel Kerouac’s apology for automatic writing.

“He likened writing to dreaming and fantasizing, as a substitute for life. So, he wrote The Subterraneans, in three days and nights of speed typing energized by Benzedrine — to imitate the rhythm of Bebop like free energy flow, and unrestrained association, to reveal the unconscious…  because he wanted to flow from inside out in spontaneous prose!” Dystopia, Explode 2015 2.0

So, here goes… They called her Marnie — behind her back. I was torn. I played with variations of Marnie. Black Marnie. Brown Marnie, Tortilla Marnie. It’s the language of found art. Bansky, Kehinde, Jazz, Hip Hop… They teased each other.  Hitchcock’s Margaret, Mary, Marnie, teases Mark, so she could get the combination, to his company safe, and steal the money. She was a Kleptomaniac, a compulsive thief. A killer. She disappears. On the run! He tracks her like an animal, and finds her at a Lodge, riding her horse to the stables. He orders her off the horse, tells her she’ll walk — he’ll ride. He interrogates her. She tells him a bullshit story she can’t keep straight. He calls it, manure! Tells her to start over from the beginning, and this time — tell the truth. Back at the Lodge – he tells her to freshen up, change her clothes so he might take her to the police – she thinks. She does not know… It’s Tippi Hedren in RL!  The white woman of a black man’s dreams – when he dreams about white women. Blonde, pearly white teeth and skin — Barbie! Beckie!  He tells her, they will return to ‘the house’ and announce they are engaged, would to be married within the week and then cruise around the world. Of course, she thinks he’s “Out of his mind!” He told her, it was either marriage or the police, old girl. Black Marnie. Who would play her?

They get married. Eventually he takes her virginity. She tries to commit suicide. I don’t think I want to go there… Suicide. Who should play Mark? [#nomoreslavestories.]  Does he catch her?

Louis Picasso:  I remember that story.  He said,  I caught a real animal this time. I had to train her… to trust me.*

Aristotle Michelangelo:  Pussy Riot danced in the cathedral — goes to jail, and the artist nailed his scrotum to the Red Square.  She’s a prisoner of love. That kind of love makes me uncomfortable, racked, and anguished like a pet must be around possessive people. The energy is ignitable like the choice between blowing up and letting go. I don’t want to belong to anyone. But, what do I know about love?

Louis Picasso:   Black people don’t like black people. That’s why we’re in this — hole… barrel, bucket, duck it, fuck it… We know it’s true.  Listen to the tonal center of this beat!

Aristotle Michelangelo:  In sixty revolutions a minute, if it’s not organic, I can’t get with it. Hate is not organic. Hate is a social construct. I want to live the life I swam to the egg for… A social construct is like zoon pushed to the egg, by stronger swimmers behind it. It’s still goal niggaz. I want an organic experience on this gridiron. A certain freedom, mere man can’t give, conceive or contrive. I want freedom Divine.  You want to be free — you have to fuggin’ work for it.  Zufi?

Aristotle Michelangelo:  You need money, software and rigs in the virtual world. Bombs are obsolete. Race and gender is a pastiche — game challenges for points.

Louis Picasso:  Beauty and power is iconography and homely stamps are hiccups – and brick and mortar is a path to experience the destruction of daredevils and matadors — in coliseums of pestilence and poverty – empirically.

Aristotle Michelangelo:   Why go there? When, life is a perfect dream in a virtual world.

Louis Picasso:  IJS. Get on board with — evolution. Evolution is not physical space. It’s the diamond life in our heads on a loop. Its VR not the moon…

Aristotle Michelangelo:  I love wearing the mask! You can’t see my countenance — in La La Land, my eyes may smile.  My lip may curl up or down… I’m an introvert; an INTJ — is that Caprino?

Louis Picasso:  Now that Juneteenth is a federal holiday, it will be impossible to ignore slavery in America… Why are some Black Americans worrying about slavery in America being taught in schools? The horse is out of the barn! Instead of embracing Juneteenth and all that it implies… Black Americans are WHINING and using the language of slaves, “they won’t, let us, allow us, give us and get…” Instead black Americans are still looking the other way when a black man drags a black woman by her hair [DC], and black people are murdered by black people in Chicago – for giggles. June 19, 2021 marks the day, that Black America must acknowledge that ‘we’ are no longer slaves and assume responsibility — that’s what freedom is.

Copyright 2016, 2018, 2020 E Maria Shelton Speller.  All rights reserved. This material may not be published, broadcast  rewritten or redistributed without permission.

*Alfred Hitchcock, Marnie