[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

 

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[Untitled WIP — The Triptych Roman à clef]

We concocted this plan/to tell her the truth/but, we couldn’t risk patronizing her/getting played/might be lame/it would be messy/thirsty/wicked instruction/on how to play/a Triptych of sorts/we play it like luxe panels/together its fun/but, she might be offended/she might think, I don’t know/ [Mash it up].  Namaste.

Copyright © 2018 E Maria Shelton Speller

Triptych:  A set of three associated artistic, literary, or musical works intended to be appreciated together.  Yes!  Please play the vids 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.”

 

Copyright © 2018 E Maria Shelton Speller

 

 

Last Thirty Days on Top (Untreated Pin Impressions)*

*Note:  Prose Poem and Literary List (Prosody, Parataxis, Blank Verse, Free Verse, and Found Poetry) based on E Maria Shelton Speller Pinterest Analytics as of January 1, 2019 10:00 PM (EST), for 15 Muse Boards and 5K Pins.  

 

[Ducklings in love]_

[It takes libido to pen poesy…]_

[A Blue Crush]_

[Champagne and Balloons in Gotham City]_

[gladiator]_

Paint_

Curly Hair for Men_

[Diana Ross (DR Diar)]_

[Pluck and Aplomb]_

Art_

I’m not Shy_

Beautiful and vibrantly dyed locs_

Georgia O’Keeffe_

Be bold_

Ru Paul_

[Woodstock! (WIP) (x Bars))) [Reserved][Reserved] 3.0]_

Best Street Style Looks of NYFW Spring 2018_

Kerry Washington_

Best Street Style NYFW — Men’s_

Madonna takes a look

[The [Dollhouse] with the Red Corvette]_

Peter Lindbergh_

Descubre y comparte las imágenes más hermosas del mundo_

Miles Davis_

The Miseducation of Lauryn Hill — 20th Anniversary Tour_

Five Weak Words_

The Expert Guide to Clashing_

Picasso’s Les Demoiselles d’ Avignon_

Karenab_

Day Eight — Paris Fashion Week_

[Tang]_

These Pantsssss_

[Directing the Master Scene in the Mirror]_

Beva Spring 2019_

Evan Ross (Messalla) and Natalie Dormer (Cressida)_

[Purfect Pink!]_

Andy Warhol’s Silver Clouds Installation_

All You’ll Want to Know About Long Hair for Men_

[You’re my muse]_

[Marilyn Monroe and James Dean Smoking on a Balcony…]_

[Skylar — Look at that face… that stop…those eyes!]_

[An epic love Iliad]_

Fur Birkies_

James Franco_

Jeans, Tees, and Coats_

Fascinating Photo of Black Life in Harlem, 1970_

So Cool_

Elizabeth Taylor — Jean Hersholt Humanitarian Award_

Black Amex, Please_

[Alpha Girls]_

 

[Copyright] 2019 E Maria Shelton Speller

 

 

 

Update #5 — Soft Launch! Explode — The Writer’s Environment — Spring 2017 Experiential Network (XN) Project Sponsor — for Northeastern University!

 

Explode — The Writers Environment

 

Soft Launch!

 

Thank you Girl Band of STEMs.   You rock!

 

“Life is lived forward, but can only be understood backward.” Kierkegaard

Explode — is a platform for curated content in an interactive meta-environment.  The Environment facilitates content and other stories using digital media to redefine how artists, their audience and visitors experience real and virtual content.  Explode is not a ‘mule’ as one follower proffered, with too many components — in a dream too big to bring to fruition. Explode is a spacecraft – and this soft launch is focused on development, functionality, and adjustments before a wider release — that accommodates the Team’s good counsel and the Project Manager’s concerns: security, budget, data backup, thousands of lines of hard coding and tuning using three.js — the best candidate in a 3D environment; node.js for interactivity; an engine to loop data in response to commands; a requirement for different headsets to present the same effects in virtual space, labor demands — every part of the project divided into sub projects — interface, infrastructure, and content, and finally the project needs a whole project team (5-10 people) and technical professionals to build up the spacecraft in a hard launch for product development. This glib paraphrase, to the Girl Band of STEMs dismay — is necessary to protect what Explode want’s to be and how we get there – working backwards.

See prototypes linked below for the conceptual articulation and submergence of the ceiling, walls, and floor of the arcades, the arch, atrium, footprint, and oculus

designed for Explode – The Writers Environment!

 

Hard Launch Coming in 2018

 

E Maria Shelton Speller

Project Sponsor

 

Weiwei “Vivi”Huang

Interface Designer

 

 

Tejasvi Kandula

Programmer

 

Yingqian “Selina” Jiang

Project Manager

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 or 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, 2018 E Maria Shelton Speller. All rights reserved.

Woodstock! (WIP (x Bars)) [Reserved][Reserved] 3.0

Overture:  Woodstock is an ensemble.  There are two voices and the beat in this WIP… the Narrator’s voice, Hitchcock’s, and “That Yoni” by JuseBeats!  

 

In a walk through Whole Foods like Hitchcock

In his magnum opus

about a world… full of extras

in architectonic loops and links, alliteration and reverie, force, ballast, fancy partitions, linear renderings, systems of reckoning and more — of her…

 

He wants

Beddo, Caprini, Dolce Sardo

Zufi, the Saperavi

He nods

 

I’m  thinking

Disappointed… in us!

[There’s no other way to say it — I can’t dress it up]

 

Caught between a slumbering scream and Vertigo

Cruising isles and isles of sweet and sour

People who think they are special

People who know they are not

People who wish they were

Impeccable

 

He wants

Beddo, Caprini, Dolce Sardo

Zufi, the Saperavi

 

Whispers prologue

Guess what we did?

A Springboard!

A party of twenty

Three couples played before

winking and willing

shills playing in the round

Lovely trips on the Hill

in augmented VR

 

I’m thinking…

Baby boomers had their turn Woodstock!

Barefoot bell bottomed hippies

Denim sweeping the ground

[Reserved]

[Reserved]

 

Revolutionary hair —  fists in the air

Dragging us back in the mud

Blunt antiquity

Move on Woodstock!

 

Take your shades, caps, change and loose articles

Bombs in black holes!

[Where did you go?]

 

We should be sunning in the Bahamas

chilling on hemp swings and

chairs swiveling in immersive environments

Higher than kite fights

A soaring for points experience

 

Get off the ride Woodstock!

You had your turn — at freedom

Thank you

 

Exit signs are easy to find — look

The dragon is in the window

Freedom is accessible

Wonder is a trip

with walk through assistants

Dreams of power and prizes

Optional…

 

Fall out and Jack into

a walk through Whole Foods like Hitchcock

in his magnum opus

about a world… full of extra

architectonic loops and links, alliteration and reverie, force, ballast, fancy partitions, linear renderings, systems of reckoning — and more — of her… virtually surreal

 

He wants

Beddo, Caprini, Dolce Sardo

Zufi, the Saperavi

 

Whispers song

We don’t want to feel we’re high…

We just want to think we’re high

in Dubai

 

We don’t want to feel we’re high…

We just want to think we’re high

in Dubai

 

Copyright © 2016 E Maria Shelton Speller. All rights reserved.

 

 

I’ve toyed with a conundrum, for too long. [Reserved][Reserved] functions like a digital art installation in Woodstock! (WIP (x Bars)).  I could render [Reserved][Reserved] a mechanism – to catch That Yoni’s beat in perpetuity.  I could close the brackets with bars that fills your loins with blood.  I could leave redundant emptiness here — like tautology or romanticized art, or structural language — in this bifurcated space, like stars.

I could invite Poets to fill the empty bars for [Reserved][Reserved]

 

 

Woodstock! (WIP (x Bars)) [Reserved][Reserved]

 

Overture:  Woodstock is an ensemble.  There are two voices and the beat in this WIP… the Narrator’s voice, Hitchcock’s, and “That Yoni”.  See Side Bar by JuseBeats!  

Continue reading

[Reserved][Reserved] — An Invitation to Dine

Dear Poet, [Yes, you]

I’ve toyed with a conundrum, for too long. [Reserved][Reserved] functions like a digital art installation in Woodstock! (WIP (x Bars)).  I could render [Reserved][Reserved] a mechanism – to catch That Yoni’s beat in perpetuity.  I could close the brackets with bars that fills your loins with blood.  I could leave redundant emptiness here — like tautology or romanticized art, or structural language — in this bifurcated space, like stars.

I could invite Poets to fill [Reserved][Reserved] with dope poesy and select a date for submission. However, if we receive one hundred thousand and one couplings, we’d read them…  but frankly, why not do, all of the above.

The empty brackets function like missing endings now — lacking only your bylines, pseudonyms, and ghosts — in translatable bars that work in Woodstock! (WIP (x Bars)).

Poets make this space immersive.  Explode – The Writer’s Environment is an interactive environment — and this is the first foray for interactivity in this community — that links back to you!

Starting August 15, 2017 — let’s finish this poem with the best bars — curated for Woodstock! (WIP (x Bars)) here…  Bon appétit.

Cordially,

The Chelsea Hotel, Manhattan

PS:  No Spam — Balls in the air!  An experience for us and them.

Copyright © 2017 E Maria Shelton Speller

 

Update #4 — Super News! Explode — The Writer’s Environment is a Spring 2017 Experiential Network (XN) Project Sponsor — for Northeastern University!

Explode — The Writers Environment

Spring XN Project

COMING SOON!

E Maria Shelton Speller

Project Sponsor

 

Weiwei “Vivi”Huang

Interface Designer

Tejasvi Kandula

Programmer

Yingqian “Selina” Jiang

Project Manager

Aristotle Michelangelo and Louis Picasso’s Parallel Discussions

Aristotle Michelangelo and Louis Picasso’s

Parallel Discussions (In Medias Res) and 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?”

Copyright 2016, E Maria Shelton Speller.  All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

 

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?

http://

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 challenge 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.

Copyright 2016, 2018, E Maria Shelton Speller.  All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

*Alfred Hitchcock, Marnie