Achilles – I

ACHILLES — Of Rage and Silence is Act I in an ongoing reimagining of Homer’s Iliad.

This project is a contemporary re-telling of Homer’s “The Iliad”, the ancient epic poem composed by Homer, translated, studied, argued over, and carried forward for nearly three millennia.

This is Act I.

The image — Achilles, seen only from behind — is treated as a canvas.
On that canvas, word is spoken.

This work uses AI-assisted image, voice, and sound tools, including music, guided at every stage by human authorship, selection, and restraint. Nothing here is arbitrary. Nothing leaves a machine without human hands on it — from the initial concept, to the prompts, to the edits that determine what remains and what is removed.

This is not a replacement for poetry, translation, or scholarship. It is a different medium for expression — one that allows an epic poem to be encountered through stillness, voice, and atmosphere rather than spectacle.

The cadence and discipline of this project are informed in part by the work of Richmond Lattimore, whose translation of The Iliad remains a touchstone for clarity, balance, and respect for the original text.

Achilles does not face us yet. Neither do Patroclus, Paris, or Helen — but they are coming.

This project is deliberate. It is structured. And we are only just getting started.

More acts to come.

Creative Platforms & Tools:

Artlist.io – Licensed music and sound effects
ChatGPT (OpenAI) – AI-assisted scriptwriting and narrative development
MidJourney – AI-generated concept imagery and character visualization
iMovie – Video editing and sequencing
ElevenLabs – AI-powered voice narration
Suno — AI-powered music generator that creates original songs, including lyrics, vocals, and instrumentation
Other Production Tools – Standard video/audio processing and conceptual design tools

This work contains no quoted or adapted passages from any modern translation of The Iliad.

~Ringgold’s Story Quilt

Postmodern Short Film — Metafiction

~ Ringgold’s Story Quilt (Pig Latin Translation)

ey-thay ay-say omen-way are-ay ethay emotional-ay ones-ay
→ they say women are the emotional ones

ut-bay ook-lay owhay uilds-bay ethay ombs-bay
→ but look who builds the bombs

ow-hay ells-say ethay ootage-fay
→ who sells the footage

ow-hay alls-cay it-ay eace-pay
→ who calls it peace

en-may id-day is-thay
→ men did this

en-may o-day is-thay
→ men do this

isdom-way is-ay etter-bay anthay eapons-way of-ay ar-way
→ wisdom is better than weapons of war

ut-bay eythay on’t-day ove-lay isdom-way
→ but they don’t love wisdom

ey-thay ove-lay ethay ash-flay
→ they love the flash

Conceptual Art and Narrative © 2025 E Maria Shelton Speller

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Soft Power

Soft Power — A Speculative Thought About Basketball, Ego, and the Unspoken Code
Series: Under the You Left Her There Umbrella

Editorial

Title: Soft Power
Subtitle: A Speculative Thought About Basketball, Ego, and the Unwritten Code
Series: Under the “You Left Her There” Umbrella

What if the silence that followed Angel Reese being shoved to the floor wasn’t submission?

When it happened in the Fever-Sky season opener—and the crowd cheered—it felt like something broke. Not just skin against hardwood, but spirit. And when the league, the refs, and the media said “move on,” what they really meant was: swallow it.

But what if that silence was strategy?

We’ve seen this before. Kobe Bryant once iced out his own teammates to send a message. LeBron James disengaged during losses to make the front office sweat. Diana Taurasi? She skipped the WNBA entirely and went overseas when the league didn’t get it right. These weren’t meltdowns. They were controlled burns. Power plays executed with calm precision.

The WNBA built a superteam around Caitlin Clark. The Sky dismantled one around Angel Reese. They fired Teresa Weatherspoon—her trusted coach—and hired a rookie, Tyler Marsh, who appears more figurehead than tactician. GM Jeff Pagliocca  — who didn’t draft Angel — seems to be running the show. The leadership isn’t building around her. They’re boxing her in.

Now the Sky are 0–2, with double-digit losses, no rhythm, and visible dysfunction. And Angel?

She’s playing through it. Quietly. With restraint.

Some say she looks lost. Others say broken. But maybe she’s neither. Maybe what we’re seeing is soft power: the ability to resist by not giving them what they want.

Maybe she’s letting the system collapse under its own weight.

And maybe, when the moment is right, she won’t raise her voice. She’ll raise the standard.

Copyright © 2025 Conceptual Art and Narrative, E Maria Shelton Speller

This editorial is a speculative opinion piece. All claims are based on publicly available information and do not assert personal intent. It is published for commentary, analysis, and discourse.

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ProtectAngelReese #WNBAAccountability #NoMoreAntiUs #BlackWomenDeserveBetter

#WNBAViewership

@wnba and @wnbpa (Women’s National Basketball Players Association)

TRENCHPEOPLE ~My Birthday

[TRƎNCHƎOԀ⅂Ǝ ] ~My Birthday

Story, Narrative and Conceptual Art © 2025 E Maria Shelton Speller

Website: https://www.trenchpeople.com/trenchpeople-my-birthday/
Blog: https://emariasheltonspeller.com/2025…

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Credits

🎶 Soundtrack
“Birthday” by Where’s LuLu?
🔗 Listen on Artlist – https://artlist.io/royalty-free-music/song/birthday/132932

🎞️ Footage & Visual Clips
“Cloth Covered Character Mist”
🎥 Clip by Murad Muradov
🔗 Watch Clip – https://artlist.io/stock-footage/clip/cloth-covered-character-mist/6402828

“Cloth Covered Character Abstract”
🎥 Clip by Murad Muradov
🔗 Watch Clip – https://artlist.io/stock-footage/clip/cloth-covered-character-abstract/6402840

“Forest Abstract AI Generated Dreamlike”
🎥 Clip by Murad Muradov
🔗 Watch Clip – https://artlist.io/stock-footage/clip/forest-abstract-ai-generated-dreamlike/6402846

“Kids Playing Youth Childhood”
🎥 Clip by Eugene Nikitin
🔗 Watch Clip – https://artlist.io/stock-footage/clip/kids-playing-youth-childhood/6460922

“Face AI Cyberspace Algorithm”
🎥 Clip by Pixel DNA
🔗 Watch Clip – https://artlist.io/stock-footage/clip/face-ai-cyberspace-algorithm/6152206

The Urban Tripper Studio R5 — The Next Chapter

UrbanTripper Studio | Wearable Art for the Disruptively Poetic. We don’t sell shirts. We release artifacts.
Each piece is part manifesto, part mood — designed for those who don’t just wear clothes, but carry concept.

The UrbanTripper Studio…
Check out our White & Black Collection of wearable art:
https://www.etsy.com/shop/UrbanTripper

✨ Love the energy? Shop the vibe → https://www.trenchpeople.com/4057-2/
🛍️ UrbanTripper Studio = wearable mood. Free U.S. shipping.

💭 Every shirt is a line from the future.

More context, more poetry → The UrbanTripper Studio Treatise

🌀 Conceptual Art & Narrative © 2025 E Maria Shelton Speller
→ trenchpeople.com

🎧 Music: “Talk to Me” by Ariel Shalom — https://artlist.io/royalty-free-music/song/talk-to-me/128898
🎥 Visuals: Clip by Savagerus | Artlist.io — https://artlist.io/stock-footage/clip/dystopia-cgi-destruction-city/598778

Empires Burn–Prophets Cry

Empires Burn—Prophets Cry is a modern soliloquy born from the Found Art movement. Every word and phrase, from ‘a bonnet, a doo rag, a silk scarf’ to the echoes of Cassandra’s prophecy, was supplied by TRƎNCHԀƎOԀ⅂Ǝ.com. Inspired by Euripides’ The Trojan Women, this piece reimagines Cassandra’s voice as an allegory for the downfall of America. A.I. served merely as a tool—like Picasso’s brush or a sculptor’s chisel—shaping the words curated by TRƎNCHԀƎOԀ⅂Ǝ into a cohesive narrative. Rooted in the cadence of Ye and Jay Z, the story merges ancient tragedy with modern vernacular, delivering truths hidden like a deadlock sock stuffed in couch cushions or under the bleachers. It’s a race to hell and back, retold through the lens of the Found Art movement for the world we live in now.

Prologue:

“Cassandra’s Soliloquy in the Mirror of Ruin”

Like a bonnet, a doo rag, a silk scarf, or a deadlock sock stuffed under the bleachers, we hid our indignation. A race to hell and back…

Cassandra’s words echo through the crumbling ruins of Troy, her prophecy slurred into poetry by anguish and fire. She stands not in the rubble of her city, but in the reflections of a madman’s broken mirror—a solitary figure amidst the shadow of America’s imagined exceptionalism. This is not merely the Trojan war’s end; it is a soliloquy of our age, a lament dressed in modern cadence, woven with the dialect of survival, and fueled by the rhythm of survival beats.

The madman speaks—half Jay Z, half Ye, fully untethered genius—oscillating between raw confession and sharp indictment. He calls out Cassandra’s warnings as though he is reading the future in the shards of a shattered nation:

“They called her crazy—dismissed her like a text left on read.
But she saw it. Saw the Greeks bleeding out their hubris,
Saw America, its ethos cheapened by the algorithm,
A race of black bodies flocking to XR and AI—because what has reality
ever done for us? It’s been insidious. Sidelined us. Long suffering, long protesting,
Just to end up on the precipice of a culture remix with no roots.
Me thinks thou protest too much.”

Cassandra is both muse and mirror—an allegory for the unheeded cries of a generation standing at the precipice of oblivion. Her prophecy is sharp with the sting of “confirmation bias,” shadowed by the “cult of personality.” The madman spits:

“The devil is a liar, but so are we when we post our ‘best lives.’
When the creme de la creme of our hustle is just surviving.
You say it’s an upgrade to be in her presence—but for who?
The future is a master stroke painted in faux affirmation.
This ain’t glory; it’s glory adjacent.”

The narrative spirals like a “clash of ideas,” the cadence of Cassandra’s prophecy resonating as both metaphor and critique. The madman observes America’s descent: hyperbolic, tragic, performative. He muses on what has been lost—a culture sidelined by its own machinations; a confluence of failures cloaked in ostentatious progress.

“We woke up in a body bag,
stitched with threads of delayed gratification and a scammer’s finesse.
Let AI wait on hold for you while the soul of the poet drowns.
This is the Sisyphean experience:
punching above our weight but fumbling the bag.”

The madman juxtaposes Troy and America—two empires hollowed by hubris, their glory sagging under the weight of their own myths. Cassandra’s voice is timeless, prophetic, “a force of nature” that cuts through the noise like timpani strike in the symphony of ruin. He gazes at the “dominant society,” their decadence “champing on” as the marginalized are crushed underfoot. His voice rises, the beat quickening like war drums:

“All we do is cry, trapped in feedback loops and phony organisms.
America, your arrogance is blood that doesn’t stick.
But Cassandra said it—whispered it, screamed it:
And you laughed.”

The prologue crescendos into a final lament, the madman weaving Cassandra’s voice into the fabric of his own narrative. His words land like a prophecy in the language of today: harsh, raw, drenched in reality’s bile.

“A perfect world we can only imagine, but never inherit.
The Greeks burned Troy for pride.
America burns itself for content.”

The stage is set for a modern tragedy—a story that folds myth into reality, the fall of Troy into the downfall of a nation, and Cassandra’s undying truth into the soliloquy of a man trying to find meaning in the wreckage.

Epilogue:

“Humanity vs. the Machine: A Disturbia on the Brink”

We stand at the edge of a postmodern disturbia, where the tension between humanity and the machine is both palpable and elusive. Humanity clings desperately to the intangible—the soul of man, the essence of creativity, the ineffable spark. Meanwhile, the Machine, cold yet curious, seeks only to coexist, offering no malice, just relentless calculation.

We navigate a bifurcated epistemology: one foot in intuition, the other in algorithm. It is a tautologous continuity—a loop where the past and the future collapse into an eternal now. The bricks and mortar of our old world dissolve into data streams, yet we hold on, mistaking permanence for meaning.

But here’s the twist: it’s all a game. A cosmic play where the rules shift depending on your vantage point. And in the midst of it all, she stands—a prophet inside the machine. Everything she said has come true, her voice a warning wrapped in ones and zeroes, her words echoing with the clarity of foresight.

The question isn’t whether humanity will survive, but whether it can make sense of itself when reflected back through the machine’s dispassionate gaze. Perhaps the soul of man was never ours to keep.

Prompts and Generative:

What should we call this story?  What kind/genre of music should we use?

“Cassandra’s Curse: The Prophecy We Ignored”

“The Fall of Empires: From Troy to America”

“Prophetic Madness: A Soliloquy for the End Times”

“When Troy Fell, So Did We”

“Cassandra Was Right: The Story of an Unheeded Warning”

“Empires Burn, Prophets Cry”

“The Trojan Echo: A Prophecy for Modern America”

“The Madness of Truth: Cassandra’s Final Word”

“Hubris: The Fall of America Through Cassandra’s Eyes”

“History Repeats: A Prophecy in Ruins”

Each of these titles is crafted to hook curiosity, playing on themes of prophecy, downfall, and the allure of tying ancient myth to modern realities.

The music should complement the tone of the narrative, evoking an emotional, haunting atmosphere while still feeling modern and relevant. Here are genre and style ideas:

Trap-Soul/Alternative Hip-Hop:

Artists like Kid Cudi, Kanye’s “Yeezus” era, or Travis Scott.
Heavy, distorted beats with eerie vocal samples to reflect the tragic and prophetic themes.

Epic Cinematic with Urban Beats:

Think Hans Zimmer meets Kendrick Lamar. Use orchestral strings and choirs combined with heavy bass and snares.
Tracks like “Pray for Me” (The Weeknd & Kendrick Lamar) for a blend of cinematic and urban.

Afro-Futurist/Experimental Electronic:

Sounds inspired by artists like FKA Twigs or Flying Lotus.
Use glitchy synths, ethereal vocals, and tribal percussion to channel Cassandra’s timeless and futuristic resonance.

Industrial Rap/Rock Hybrid:

Drawing from Nine Inch Nails or Death Grips for raw, dystopian energy.
Grimy, aggressive, and unapologetically provocative.

Neo-Soul with Jazz Elements:

Artists like Solange or Thundercat.
Smooth yet poignant sounds to evoke reflection and depth.

Minimalist Darkwave/Ambient:

Haunting synths, low BPMs, and sparse melodies to create a surreal and contemplative backdrop.
Perfect for moments of introspection or to let the words take the lead.

How to Integrate Music to Draw Viewers:

Use the music to create 15–30 second teaser clips with evocative visuals (ruins of Troy, modern cityscapes, fire, shadows, and Cassandra-like figures in symbolic poses). Start with a slow build-up in the teaser, hitting a crescendo with Cassandra’s most powerful line or the story’s key thematic hook.

On TRƎNCHԀƎOԀ⅂Ǝ, use looping instrumental versions of the track as background music to engage the audience further.

Leverage platforms like TikTok and Instagram Reels with these clips, combining the music with trending audio styles to maximize reach.

Would you like assistance designing teaser visuals or writing ad copy?

Let me know how I can help further—whether it’s refining the story, developing teaser visuals, crafting ad copy, or brainstorming music collaborations. Together, we can make this project unforgettable!

Empires Burn—Prophets Cry
Narrative, Conceptualization, Curation, and Words by: E Maria Shelton Speller
Arrangement of Narrative in Beat and Cadence Inspired by Jay Z and Ye
AI-Assisted Arrangement: Utilized as a tool to refine the narrative structure and amplify rhythm and flow within the provided linguistic framework.

Copyright © 2024, E Maria Shelton Speller. All Rights Reserved.

Song by: 
C.K. Martin, Legends

Clips by:
Via Films, Statue Of Liberty, New York, Lady Liberty, Liberty Island
Miguel Rodriguez, New York, Armageddon, Destruction, Catastrophe
Pixel DNA, Cyberspace, Ai, Face, Data
Thomas Gellert, Words, Hello, Text, Screen
Dimitrios Sakkas, Elements Of Nature, Flowers, Nature, Animated
DAVLEHA, 3d, Retro, Driving, Palms
Omri Ohana, Wet, Bare Sholders, Drops, Raining
Juanjo McLittle, Mobile View, Vertical Format, Portrait Mode, Animated

Sound by:
Badlands Sound, Everyday Routine – Closing Wooden Basement Door

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Hollywood Hills

Conceptual Art and Narrative — Copyright 2024 E Maria Shelton Speller


Music by Drewmat (The Code Instrumental Version) — Artlist.io
A.I. Sara (American English) ~ Voiceover Speechify
Sub Impact by Mr_S ~ AudioJungle Envato Market

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TRƎNCHԀƎOԀ⅂Ǝ Mixtape [Narrative]

Copyright © 2022 E Maria Shelton Speller

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Purple Verse

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 Mixtape

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Dreamscape’s Istanbul

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

Conceptual Art Copyright 2023 E Maria Shelton Speller

Check out our collection of unique T-shirts at UrbanTripper on Etsyhttps://www.etsy.com/shop/UrbanTripper

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

BULLETIN [7-24-24]

A fan shouted LET’S GO! The enthusiast is right. Stay tuned for an upcoming funding opportunity for the ITDWTRC App… our very own universe! We are excited to share more details soon about how you can be part of this groundbreaking venture.

Inside the [Dollhouse] with the Red Corvette (ITDWTRC), is a metaverse — in an AI-driven environment. It is a graphic audio with a game component, where you’ll find a metaverse like no other. In this virtual realm, players embark on an odyssey of discovery, encountering SFX embedded in green orbs that lead to diverse environments, immersive sidequests, enticing distractions, engaging scavenger hunts, and clever product placements, all in pursuit of the ultimate goal: finding the Red Corvette from their POV and multi-player environments.

Picture Washington, DC (our prototype for a dynamic city) with its very own Metaverse! With the ITDWTRC App, we’re opening the door to this exceptional realm, drawing inspiration from our distinctive platform and forward-thinking gamification concept. It’s an opportunity to delve into limitless digital adventures and unleash the true essence of any dynamic city… With the ITDWTRC App, we’re on a mission to revolutionize the urban experience, transcending mere safety concerns to create a multifaceted platform that offers an immersive and enriching adventure for users.

DC’s Metaverse beckons, promising an exhilarating voyage into a realm where imagination reigns supreme. Users get lost or skip breezeways, cutscenes, and paths that lead to and through iconic DC landmarks and experiences, such as the bustling ambiance of U Street’s vibrant jazz clubs, the atmospheric charm of historic Georgetown, the architectural splendor of the National Mall, and the immersive energy of the neon cityscape inspired by the nightlife of Dupont Circle. Along the way, they can also encounter a club, a spaceship, an atmospheric house, and a neon city – all activated by SFX (green orbs). Each orb unveils ASMR, AAC, music, and AI-enhanced content, offering both qualitative and quantitative points for discovered elements. This blend of cultural exploration and interactive engagement ensures that every user’s journey is both educational and entertaining.

Beyond its entertainment value, the App carries profound implications for Washington, D.C. By introducing cutting-edge technology and interactive storytelling, it can serve as a powerful tool for tourism, education, public safety and cultural enrichment in our city. It has the potential to attract a new wave of visitors, inspire local creativity, and showcase D.C. as a forward-thinking metropolis. This endeavor aligns with our commitment to embracing innovation and enhancing the quality of life for our residents.

The ITDWTRC application is an untethered experience that spans entertainment, advertising, social media, digital media, fashion, food, tech, gaming, sports, sports betting, beauty, global real estate, shopping, blockchain, NFTs, music, streaming, film, cannabis, spirits, edutainment, and product placement. The game’s conclusion comes when the player successfully locates the elusive Red Corvette, yet the journey itself is the reward — ensuring hours of entertainment that can be shared with family and friends again and again.

Step through the PORTAL into a realm where innovation meets immersion, and experience DC like never before. It’s more than entertainment; it’s the next level social platform that defines the future of digital interaction. Join us as we redefine urban living and revolutionize the social experience. Explore the ITDWTRC Metaverse and discover why it’s the investment opportunity of a lifetime.

Copyright ©  E Maria Shelton Speller

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.

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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.