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Thoughts in verse

Da un anno o due avevo dei problemi a leggere i libri di poesie, non una poesia sola, proprio i libri, i libri di poesie. Mi capitava sempre, dopo aver letto dei libri di poesie, di passare un giorno o due a ragionare in versi, a volte ritmicamente, tipo seguendo l'andare dei passi per la strada Presto vai / il tempo fugge / serve subito / presto, un chilo / di pane un chilo , i movimenti delle abluzioni mattutine Allàgati la faccia / e vai / Marco vai / anche oggi vai / a guadagnarti il pane / cretino / vai , parlare col panettiere Un chilo / di treccine / e poi anche / se si può / una pagnotta bella grossa / se sì, / può . Allora avevo smesso di leggerli, i libri of poems.

then came up with this kind of poets of the network, this bit generation (it's a stupid joke I made one evening in a pizzeria, I did not know how to re-use it, use it here, please be patient), and two were taken out of books of poems, one called The woman who kissed the wolves of Guido Catalano, another sad tale of love for the mentally ill of Azael . Inside there are written the things that you open the head, as in the first:

but you think you can love you dog?
in dogs such as dogs love you in?

or:

how do you say to a girl pants?

how?
must say panties

and then:

when one day I'll tell you I love you

Be armed with a pistol from one of those little girl inside her purse

puntamela and ': if you repeat it the courage or

:

rarely beautiful girl is fire
therefore useless to try in the sun or

:

could with the drops in your eyes
us the coffee?

and second, there is a poem called Audio and escape, which is beautiful, says:

The bad

the ugly should never ever ever leave the house,

idiots never open their mouths,

all the bad guys locked up in cellars,

and smelly and the dogs in large cells of Plexiglas,

the beautiful, clever, the lovers, the good, the poor and the credulous, all in the streets,

continuously

a buzz and get away,

Ring the bell and run,

until the lady is not responding

says Who's Who the fuck is, who is stracazzo

falls below

with the broom

guns

looks at them, those in love, those beautiful, the good, the unlucky, the cats without voice, without the partisan liberation, all those,

there, hidden behind the corner

and, I say, that's the gun, the firearm, expose them, they beat up

no

no

Mrs. leaves the broom, guns, takes off his face scratched by the look

takes off his disappointment and curlers and slippers hatred, closed behind,

and goes with them

with the finest, the deluded, the intelligent, the good, the beautiful, lovers, other bills, other loved ones, old turned back, deluded

always a buzz and get away,

buzz and run,

always

Ring the bell and run away.

And after I read them, these two books of poetry, I happened to think in more ways, and I could happily live my life prose. Then I started reading them, books of poems. And while I was at my parents' house, inside a cupboard, I found a poem I wrote many years ago, was and is the only poem I ever wrote, I was twenty or so, went like this:

Nothing

banks

For tears that flow

incessant

From my eyes

Chained

From your eyes

* **

all is quiet

as always

when EVERYTHING goes to hell

I think I had just been dropped.

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Scars: Referee

[willingly receive and publish the scar Sonqua Well cysts]

( Location )
right eyebrow.

( Cause )
My mother was a sport. Not me. Tennis. I preferred to make the meatballs with a mess of water and clay. Every now and then I could also dig a little hole in a few handfuls to take full without having to go to rub your palms piled up to an amount enough.

But I was careful. More often, I went to take the land away from the red white stripes. Never subnet. The edges. Above all, I collected when players and bystanders were shot or engaged or absorbed by other thoughts.

Sometimes, I scratch or rub my eyes. Distracted even when I colored my hair.

's will for these oversights, perhaps, that I have discovered. And then there to tell me that you could not litter the field of holes. There to explain that you had to take the ball to bounce first. The acceleration, the slip on the ground to catch those balls that bounced near the white lines, but inside. There to explain that inside the square was not the same as outside the square. There to explain the physics of the force exerted on the ball at different points in determining the "balls effect." There to show me how to use the carpet mat to make the bottom of red clay plain smooth. There to explain all the rules. The measure, the net, the set point, the ball breaks. And the concentration and silence. And the clothes, before he was born Agassi, had to be all white or shaded with small drawings. And the little joy and cheer politely. Then

. I say. I am careful. I'm an umpire. The referee of the court. At least the score. Bring myself to be careful. I say. Shooting on the fingers, one for every 15 points and keep score. Che poi nessuno sapeva dire perché non si poteva dire uno a zero. Si doveva dire solo quindici a zero, trenta trenta e cose così. Se uno faceva un punto vinceva subito di quindici. Mica mi sembrava poi così giusto quello sport lì.

Comunque, la cosa più bella di fare l’arbitro del tennis, ho scoperto, era la sedia dell’arbitro del tennis.

Un seggiolone di ferro verde. La seduta larga. Comoda. Le scalette dietro. Come la sedia del bagnino ma più bella. Senza ruggine. Senza cinghie. Non come i seggiolini del luna park. Lo schienale alto. Piantata su un gradino di cemento grigio. E poi, alta. Altissima. Bella. Salgo su. Mi siedo, comoda.

Da qui sembra tutto diverso. Ora sì che si vedono squares. I look at the network. From here it looks like a flowing line. The players seem to children, only with longer legs. You can see the heads. The part of the above. That is never seen. You see everything from here. The top of the hedges. The fountain outside the camp. The chairs of the spectators. The other field behind this one.

play. The head is: right, left, right, left, left, right, right left. Unscrewing the head if this continues. Right, Left, Left, Right. Then he drops the ball. Then again, Right, Left, Right, Left. I'm bored. I remember the score. Right, Left, Left, Right, right, left, drops the ball. I remember the score. Right left, left right.

falls on the ball. No. I do not remember the score.

Right, Left, Right, Left. And if you head off? Right, Left, Right, Left. I'm bored. I try to move the head in the opposite direction to the ball. So it is more difficult. Right, Left, Right, Left. Squint. A crack. The ball turns into a thin thin line moving. Right, Left, Left, Right. No. I do not know what you are, you, the players. Right, Left, Right, Left.

Look! That does not move behind the ball! Look Ma! A ladybug! Is that true! The red dots with blacks! I'll take it! Good luck!

Flight. Oh, I had distracted. Seeking cling. Tumbling down. Concrete steps. The stain of blood was seen on the red clay. It seemed only damp earth. Like when I made the meatballs with water.

( Consequences )
When my mirror, my eyebrows are not equal. One has a stripe, separated horizontally by a thin white line. According to the ladybugs do not bring me luck. The tennis bores me. And make bread at home and knead by hand is one of the things I love most.


of Sonqua Well cyst

Card Frustration Rules 12

Kyoto 2011, Part 3

Continued by
Kyoto 2011 Kyoto
2011, Part 2

The Town Hall, Kyoto

walk east from the town. You see the Hotel Okura hotel on the left. Here was once the residence of the daimyo of Choshu, the current prefecture of Yamaguchi. Today there is only one statue of Katsura Kogoro, one of the Big Three of the Meiji Restoration. (The other two are Saigo Takamori and Okubo Toshimichi)

Katsura Kogoro's statue in front of Hotel Okura

The explanation for the statue

Camminiamo un po' verso sud, ci sono i resti dell'albergo Ikedaya.

Il monumento per i resti dell'albergo Ikedaya
 

Qua è successo Incidente in Ikedaya nel 1864. I membri di shinsengumi hanno attaccato i samurai di Choshu e Tosa che ordivano un complotto in una stanza dell'albergo Ikedaya.  

Ora non c'è più l'albergo, me c'è un locale con lo stesso nome "Ikedaya".

Andando ancora verso sud, lungo la strada "Kawamachi-doori", ci sono i resti dell'albergo Oumiya, dove Sakamoto Ryoma e Nakaoka Shintaro sono stati attaccati nel 1867.  E' deceduto subito Sakamoto, due giorni dopo anche Nakaoka.  

Oggi c'è un negozio della catena Circle K Sunkus.

Il monumento che indica l'attacco ai due.

La spiegazione della morte dei due

Continuando verso sud e girando a sinistra, arriviamo alla strada Shijo-dori e il ponte Shijo Oohashi.

Beyond the bridge you see the theater Mimaniza.

Minamiza

close to the bridge is a statue of Izumo Okuni, in front of the theater, but separated from the road.
Okuni is an actress and dancer of the 16th century. It 's the founder of kabuki.

The statue of Okuni

walk east along the Shijo-dori. In the middle of the road is a junction with the road Kooji Hanami.

The sign of Hanami-Koji

The road Hanami Koji

This building with the red wall is Ichirikitei, the famous local customers who do not accept strangers, must be submitted by other customers.
Kuranosuke Oishi, chief of the 47 ronin was here and had fun with geisha not to be noticed on their revenge.

Even Kondo Isami, leader of the Shinsengumi was there.

As this is the place where I can never go, I put the site that looks like is in it:

http://www.asahi-net.or.jp/ ~ mf4n-nmr/itiriki.html

At the restaurant's name was Yorozuya (万 屋). When Takeda Izumo wrote the screenplay for the stage, "Kanadehon Chushingura," the real names of the 47 ronin were changed. The name of the local Yorozuya has changed. Yorozu 万 you write, but also 万. The writer divides it into two and created the name Ichiriki 一力. After the great success of the theater, the restaurant has changed its name to Yorozuya Ichiriki-tei.

On Kanadehon Chushingura:

http://grandebanzai.blogspot.com/2008/02/i-47-ronin-nella-storia-e-nell-opera.html

still walk east along Shijo-Dori to arrive at Yasaka Jinja Shinto temple.

ahead of time, at the crossroads, there is a chain Lawson. Here was a place where Shinsengumi did the meeting before going to Ikedaya to stop the samurai of Choshu ..

Yasaka Jinja

Maruyama Park Koen back of the temple

The town of Kyoto, Yasaka Jinja are here:

View Larger Map

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Pieces of Liberation: The Last Secret of the rule squonkiana

Squonk One day the teacher contacted me privately, was the time of PslA, Christmas. Mi disse che aveva una cosa importante da dirmi, che non me l'aveva ancora detta perché si trattava dell'ultima cosa da imparare sulla regola squonkiana . Mi disse che ci sono certe persone che vanno esortate privatamente con degli hop hop hop mirati, decisi e implacabili, anche giorno per giorno, e che forse le soddisfazioni più grandi arrivano da quei campioni dell'ultimo minuto. Così faremo, con alcuni di voi, da oggi in poi.

Mancano cinque giorni alla deadline per la consegna dei vostri elaborati all'indirizzo marcomncrd chiocciola gmail punto com . Avete quindi tempo fino alle 23.59 del 15 marzo per poter partecipare allo Schegge di Liberazione di quest'anno, che forse è l'ultimo. Le istruzioni e le informazioni utili sono qui . Barabba dice 26 x 1 .


[e un ringraziamento particolare va al prode thunalab per questo contributo visivo alla causa dell'hop hop hop sui socialcosi che contano]