SHE LOVES WHAT SHE HATES

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She loves what she hates—

And so she loves me,

And hating, like love, cannot be helped;

We hate what we cannot see,

For seeing is a kind of love,

And is love, in the infinite eye.

Hate obscures our seeing;

She hates me so much it makes her cry.

Her hate is a tear in her eye.

She loses love, not seeing me accurately.

She errs, she mistakes, she slanders me

In hot, passionate hate

Which resembles love; such is her fate,

That others ask, why do you speak

So much of him? Is it hate? Or love—which makes you weak?

 

 

 

LOVE DOESNT CARE WHICH WAY THE WIND IS BLOWING

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Love doesn’t care which way the wind is blowing,

Or who is wise, or who is knowing.

Love doesn’t care which way the wind is blowing.

Let’s say you get to the theater late.

As long as there is kissing, the theater won’t ruin the date.

Your love has no levels; you love her all the time.

You two can go anywhere and find your fate.

Your love will always give you the will to rhyme.

You love her. And every line will rhyme.

There is something magically heroic about all this,

The way you love her, the way you two look about before you kiss.

There isn’t a love for everyone like this.

Conversation and care is all they’ve got.

Love is that which—loves. And loves a lot.

Love will always give you a reason to try

Everything. It may give you a reason to cry,

And love will make you make mistakes and errors

And yes that is what Eros will do.

Be careful, you two.

This love: the way I feel, everything about it, is rare.

And I still love her, no matter what everybody says.

Love doesn’t care.

 

 

 

I EXPECT IN THESE HOURS

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I expect in these hours

You, and for the few minutes I actually crave

You, no longer will I be brave.

You will make me sad. I will be your slave.

So I’m afraid these days must go on

Without a signal, without so much as a look,

And that’s why you see me reading a book,

And why these years are crowded with flowers

I pass; because in those hours,

When I expected you,

A minute to a century grew.

Every beat of my heart was a signal to you,

But no one heard them—only me.

And now these flowers grow by the sea.

 

 

IT’S NOT THAT GREAT

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It’s not that great,

Out with friends, laughing, drunk, late.

I wish I had been home an hour ago,

And sure it’s nice to know

People you know and friends

Are great, but when the night ends

And I am alone, I go

In my mind to the best

I had: when I held you, and got no rest.

 

 

STOP STARING

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Stop staring. You infiltrate my thoughts.

You melt my beauty like the sun.

Stop staring. Stop loving. I will run.

I can be reached by a single look

After the bombardment of a stare.

I am crippled by a look

That carries a little bit of care;

I am wounded and hurt

By your eyes—before your fingers dare.

Spies of yours cover my valley,

Where my tent sits, with surrender plans;

Flight is mine; let poetry and mystery

Be the intrusive man’s.

I am the dish and you are the cook—

You will eat me mostly rare.

Love was made for a nook.

Your stare is like a dark throat.

I was born at night, in a stormy boat.

Life is elusivity. Please don’t stare.

Beauty has a thousand flaws;

“Look away,” the crown of all love’s laws.

 

SENTIMENTALITY IS FOR MEN

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“How you must think and wonder how I must feel out on the meadow while you were on the field. I’m alone for you and I cry.” Shaman’s Blues—The Doors

There is a great confusion about the genders these days; this is natural, since they mingle now more than ever; but the confusion does a great deal of harm, since romantic thoughts oppress us constantly, even if we revel in crude jokes.

One of the great misperceptions is that the female is more tender, more affectionate, more sentimental than the male. This is not true, and has never been true. Men are the sentimental ones. Women are pragmatic. Why?

The reason is simple. Throughout human history, women have borne children. In the 19th century, roughly half of children survived childhood—your own dear child drawing its last little breath in your arms: this was the one constant of motherhood—a task not for the weak; the human race would not exist if sentimental feelings rebelled against motherhood. For the most part, they did not. Women are tough. Sorrow would have made them insane had mothers been sentimental.

From simple, Darwinian reasoning we arrive at the secret. Women may wear pink frills and men blue stripes, but inside it is the opposite.

Women may doll themselves up, but the-tiger-that-feeds-on-the-lamb is the true nature of the womanly soul.

How could it be otherwise? How could the woman live through the historic sorrow of watching her own children die? Nature, the breeder, would not breed unfit, sentimental mothers. Woman is the ultimate pragmatist, while men walk the meadows and sail the sentimental seas of pretty dreams.

This is why romance is so problematic. Men want it. Women do not. Romance is sentimental and men constantly seek it as an end in itself. Women see it as a means to an end.

Take the lovely, romantic phrase, “I’d love you to want me.” It happens to come from a 1972 song, from an era when deeply sentimental, romantic songwriting was very popular, and expressed the highest genius.  The post-war boom in the west was an era in which hardships in life, including high infant mortality, were fading, and all sorts of factors were contributing to an explosion of romantic sentiment—and it is surely no accident that during this time, with the phenomenal baby boom popularity of the Beatles, that men in general were overtly taking on sentimental, or “womanly” attributes, such as long hair and deeply sentimental, romantic personas.

What are “womanly” attributes?  Such a discussion would be an interesting one, but let’s see what we can do with just a narrow piece of the whole debate.

For the man, “I’d love you to want me,” means “I get a tremendous thrill out of the fact that you love me—for the man, love is nothing more than this: I love that you love me; and here we have an infinite loop of mutual love; love for the sake of love; love loving itself with the aid of two people who are meant to love each other, etc.  Love is all.  The ultimate sentimental expression.

For the woman, “I’d love you to want me,” means “I am glad you want me to love you—because this means you are in the proper state to be highly loyal to me, and I can use this loyalty to produce children and a stable family.”  Or, more cynically, if you like, “I can use this loyalty for all sorts of things, not necessarily for children”—sure, with modernity there’s an increasing number of women who choose not to have children; yet these women will still retain the same impulses towards men; it just plays out differently in a variety of social ways—impulses which converge on the confused and increased state of gender-mingling itself.

Gender roles will elude their true identity: we see this in our example of the woman truly being the gender which is less sentimental—despite the general culture seeing it the other way.

What makes things even more confusing is that oppressed cultures will flip—women will take on male attributes, and visa versa.  A culture which is dominated and conquered, so that its men “do not feel like men,” will see this occur most radically.  Men, for instance, will become more “macho” the more their society, their country, their community, is crushed and destroyed—but the gender-wheel is such that “more male” will turn into “more female” and “more female” will turn into “more male.”  For example, in oppressed cultures, women will tend to become sentimental fools who rely on the authority of misbehaving men; we know the true nature of women is to not be sentimental; but here we see they are. Loyalty is what sentimental men should have to prove to the pragmatic woman—who requires loyalty in a father. In oppressed cultures, the man seeks and gets loyalty from the woman—which is not ideal.  This is not to say that a certain amount of loyalty is not a good trait in both sexes, but it is the sentimental gender, not the pragmatic one, who should prove loyalty.

One could respond: what’s wrong with gender identity becoming blurred?

Nothing.

Whether blurring should occur or not, is not the point of our essay.

Here’s the point: if men and women have been hard-wired in natural, Darwinian necessity to feel and behave in a certain way, this is sure to be a source of social confusion and pain for the individual, if unconscious shifts occur, to say nothing of the impact on society in general.

The complexity of the whole issue is self-evident; cross-gender prohibition is not the aim here—only an understanding of the larger issue.  To lament sentimentality or to censor pragmatism is not our purpose—and it should be added that any analysis of this subject should be made in the largest possible context, and with an understanding that the pieces are not as important as how the pieces fit.

A further example will help, and we’ll reference another popular song from the recent historical period in question: The Doors’ 1966 song, “The End,” the eleven minute, theatrical piece on their first album, which rode the charts in the Summer of Love, in 1967. The Beatles and Stones are the better showmen, but Jim Morrison’s shaman may finally exceed the showmen when it comes to lasting, historically significant, recorded music.

1967 is roughly the same window of time in American culture as the 1972 song mentioned above, “I’d Love You To Want Me” by the artist Lobo—a passionate song of romance, not critically acclaimed, but effective, nonetheless.  In “The End,” Morrison, the singer, evokes explicit oedipal rage and lust—and if we examine what “killing the father and loving the mother” entails, we see it is nothing more than an extreme example of the impulse of the romantic male we are attempting to illuminate: killing the father and loving the mother is the ultimate expression of that loop of love (and yes, it’s loopy, too, of course) which is love endlessly loved in a purely unconditional manner: the love of the child for its mother. The oedipal impulse is the example par excellence of sentimentality, or romance, crushing, in heightened passion, pragmatism.

 

 

LYRIC LOVE

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Lyric love is done with you

And lyric love is done with me,

Because I’m the only lover

Who wrote you poetry.

Love is very common

And lyrics are common, too.

But I was the only lover

Who wrote poetry to you.

Now you give me yawn for yawn

And seek a love that’s new.

Lyric love’s fee is love.

No more poems for you.

POETRY IS FOR FACES

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You ask the cruel silence why

More people don’t read poetry.

The answer is missed because it’s too plain:

Look at these faces boarding the train,

Tired faces, no longer innocent, yearning, or young.

To slip and trip on a beautiful tongue

Is neither their design nor desire.

Their soul sleeps by an obscure fire.

They wear death; they lack beauty’s youth;

A poem’s beautiful truth

Is meant for a beautiful face,

Beautiful, despite age, and disgrace

Visited upon sentimental eyes

Which sees beauty killed, and where it lies.

Not pretty, they find poetry

Insults the face which neither sings nor sighs.

The torturous mountain and tumbling streams

Soak the valley, where trees hang like dreams.

Grey mist falls fast; dense green covers the lower road

As you descend, as lights into shadows lightly go.

If your weakness makes you slow,

Nature becomes a picture.

As much as you love how nature aspires,

You cannot live in her airs and fires.

You rage against the sky, but it backs off.

You haven’t enjoyed poetry—since that cough.

 

 

 

 

 

 

 

 

I AM A FILM

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I am a film. I go about, trying to explain my scenery to myself. The music in my headphones must be right if my soundtrack is to give pleasure; it can’t be a song with its own agenda; it has to rise to the egotistical sublime of my life. When the Doors abandoned me, and Bittersweet Symphony and Waterloo Sunset and I’ll Be Around and My Sweet Lord and A Day In the Life of a Fool, and Mozart piano concerto no. 17 and Moonlight Sonata and Gould Goldberg Variations by Bach and Chopin and Satie and Debussy and You Don’t Own Me and Be My Baby and Is That All There Is? wandering the park under the moon, I found Brahms’ Fourth Symphony, and fell into the sea. And woke on the train home.

A SEDUCER IS A VICTIM

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A seducer is a victim.

Only victims can have victims:

For wrong begets wrong;

Distortion must distort

Discord’s beautiful song:

Beautiful, because the discord

Corrects its beautiful wrong,

Beautifully,

In the middle of the heart which sings inside its song.

Helpless demon, beautiful in your sadness,

You hated me that I took up your helplessness in gladness.

First, the beautiful poet cries,

And then, the beautiful poet’s reader cries.

Philosophers die with ignorance

Before they make us wise.

EGOTISTICAL TEACHING

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The problem with teaching is this:

The best way to teach is to convey what is true to oneself, so that one is not disseminating second hand information; one can undoubtedly best teach what one really knows to be true for oneself, and oneself is the very proof of that knowledge. If an obese person were to teach a weight-loss class, we would laugh. A poet we pay to teach us poetry would need evidence that he is, in fact, a good poet.

And yet we are told constantly that everyone is different—what is true for you is not true for me. Your first hand truth is not only second hand for me; it may be entirely wrong for me. Someone has different genes than you do—their diet and regimen would not work for you. The poet teaching you may be good, but it would be foolish to be like them—their poetry belongs to their experience and their nuanced use of language is entirely their own.

You see the dilemma. First hand is either wrong for you or shouldn’t be imitated. And second hand is well…second hand, and could be wrong for the same reasons.

And further, the more teaching fails, the more desired teaching is—the many who do not learn seek new teachers and more failure; the ‘education complex’ feeds more and more failure and the ‘teaching industry’ is unable to face the terrible truth that the self-taught are the true learners; teaching, beyond a kind of crude furnishing of information, is impossible both within and without, in both spirit and letter.

At enormous expense, degrees and diplomas are sought, diets and exercise are tried; the growing ignorance breeds more desire for diplomas and diet books; a defensive mania is ingrained to the point where the true secrets of the self-taught are entirely pushed aside as undocumented superstition, and teaching becomes so ridiculous that new subjects to teach are invented, increasing folly with folly; unable to teach, earnest teaching of what is entirely unnecessary commences, and since one cannot measure a lack, the lack is now an even larger apple the ignorant donkey chases; and in the very wake of more ignorance and folly, more certified professors, deans and experts are created: the certified certify the certified who certify in an infinite chain.

The terrible impact of the education folly is hard to see; stuck inside infinity, people “carry on” in whatever line of trade is offered, and the misery index climbs in millions of souls for causes unnoticed and unknown; ignorance is its own salve (ignorance is bliss) and ignorance among the educating and educated classes is more happy and more ignorant, still. Bad poetry grows apace, and yet imagination thrives among the practitioners of bad poetry—the social whirlwind surrounding book publications and live readings of bad poetry whirling bad poets about in a blind, eager, p.r. frenzy is the context in which bad poetry is imagined to be good. Imagination and teaching and learning roar on with full force, not abating, but increasing, even as knowledge and wisdom and pleasure and vistas to all these things fade and decline. Of course, in a few places, good teaching does manage to occur, as long as it is not too carefully watched, and sorted, and certified, and inspected.

Scarriet now offers some advice to counter this general folly.

The truly good can, and should, be imitated. This is one of the secrets of self-taught successes. There is no such thing as an excellence or a skill which does not belong to everyone. The more successful something is, the less unique it is, and the more it should be copied.  Also, a vast number of excellent things can be copied at once, and the combinations of excellence picked up will naturally combine with one’s own unique character (which is a given) —and this is all the originality one needs. Don’t buy into this idea: since you are different from the master, or the master template belongs to a bygone era, it does not belong to you. Yes it does. It’s all you’ve got. Steal it. Take it. There is no successful poem (formally excellent, moving) or successful diet (high protein, low sugar, balanced) which is not true, or not true (with very rare exceptions) to your needs.

Trust then, in the first hand excellence delivered to you. Be suspicious of all that is second hand; however, realize that a bygone era’s excellence must be second hand—therefore do not reject this kind of old excellence for being second hand, but make its excellence first hand for you.

Avoid teaching for the sake of teaching.

And that’s it. This is all the advice necessary.

You will notice that Scarriet prints original essays—and original poems by the same author. It is as first hand as we can make it.  We follow our own principle, and glory in it.

 

 

 

LET THAT BE THE LOVE

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Let that be the love: a silent understanding,

In which you, nor I, ever have to speak.

Love is too willful. Love is too demanding.

We know we loved when both of us were weak

And, for those kisses, I would be weak again,

But kissing is rude. We need understanding.

Those who know, and would speak,

Should not. Theirs is weakness about the weak.

Let everyone return to innocence and silence.

I kissed you, and have not kissed anyone since.

 

 

 

JUST A PICTURE OF YOU

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There is a love who makes me love

Sweetly and true

And that love is your love.

Just a picture of you.

I’ve seen you go in for dinner

With a beautiful friend or two

And then I see your picture,

And then I see it’s you.

It’s you. I never have to guess.

You have a love that makes me love,

Always looking new.

Every picture is different, depending on the dress,

Depending on the atmosphere where the picture is shot,

And the expression of the eyes always means a lot.

There is a love who makes me love

Sweetly and true

And that love is your love.

Your love is you.

 

LIFE IS

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Life is long—too long for sorrow.
If I die, rather than face a sad tomorrow,
It’s because of life’s length;
Had it been a day of sadness, then I would have the strength
To continue, but these years
Are too much for my tears.

I cannot go forward and I cannot go back—
I am a wasp trapped in a jar.
One thing defeats love.  Politics.
My lover dealt me a mortal blow—giving me more politics than I could bear.
I cannot love again. Desire feels too far.
His official gesture killed me. I need love, but I’m too proud—and he’s right there.

WHAT IS MEANT FOR YOU

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What is meant for you

Is meant for everyone.

Everyone’s love is the love that measures the love of everything I do.

I sent this to you alone—

But it belonged to someone else before me,

And it doesn’t matter if I keep it, or give it away.

It just is. It’s not to give.

I can send it to you, but I cannot give it to you, because others see what is mine every day:

Those eyes you love, and personal things in my poetry.

It is not mine. It is not yours. Nothing truly belongs to us that is ours to give.

So giving is impossible, therefore loving is impossible; it’s impossible to live

Without living the messy life of everyone.

Send you my ass? I might as well send you the sun.

 

 

 

 

 

 

 

I ONLY KNOW POETRY

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I only know poetry.

I only know the beauty of your name.

I don’t care what others say, or what others wear.

I am not the same.

I love you, but I was never here to be with you,

Only to love you, love that will possibly bring us fame.

I fell in love with your name,

And I love to say your name,

And I do, but not in this poem,

And you know why. You know me.  And our shame.

You saw what it did to me,

When I fell in love with your name.

You don’t know how much I love you,

Because you think I want a coarser fame.

I told you you were a poet.

You didn’t understand.

This is not a tongue. Or a game.

This is not a hand in a hand.

I succumbed to the sound of your name.

 

 

 

 

 

WHY IS THERE MARILYN MONROE

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Why is there Marilyn Monroe?

She’s not my mother, but I think I know.

Here’s the reason why this goddess must come into view

(And perhaps it’s the same reason I get excited by you):

To make all men look ugly by comparison.

A vain man is an abomination.

Men are supposed to murder and kill

To protect their females. Men will come after them. They will.

Marilyn Monroe is the template of female cute,

Forcing men to wear a similar suit

Which makes them look stiff and all the same.

Marilyn Monroe is the name of the game.

She is the aspiration and the map

And every woman is her—or you’ll get a slap.

Every man has to do what he has to do.

But I cheated. I wrote this poem to you.

 

WHY LOVE FAILS: MORE EPIGRAMS FROM SCARRIET

 

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1. Why love fails. You like me? You must be stupid. You love me?? You must be really stupid! I can’t possibly love you. You hate me? What discernment! What wisdom! Come here! I love you! I love you!

2. What you should do during the national anthem. A guide. Stand in awe. Sit in protest. Hand on heart in respect. Kneel in confusion. Prostrate in love. Stand on your head means you would like a visa. Hand on head in spoof. Fetal position if you are simply not feeling well. Talking aloud if you’re crazy.

3. Sometimes I meet someone who looks smarter than I am, but I’m always disappointed. Sometimes I meet someone who is better looking than I am and I am always disappointed, too.

4. Life is not fair. The male is happy, even when he kills or is being murdered. The female is sad, even when she is making love.

5. In evolution, what is evolving, and why? Sharp teeth evolve. No, sharp teeth don’t evolve. What really evolves? Breeding. Roaches and rabbits evolve. But do they? What truly evolves? And why? Do we know?

6. Out Damn Scandal. Hillary supporters call other people stupid. It boggles. The ultimate irony. Or maybe not.

7. What keeps life alive? Lack of death. What keeps death alive? Lack of logic.

8. All art is nothing but this: the dead living.

9. Only one thing dies and is born. Love.

10. Argument lives forever.

11. The greatest artist tends to be the male who moves towards female sensibility without being homosexual. If you have no art whatsoever, you will probably be a female who moves towards male sensibility without becoming homosexual.

 

 

 

WHO WILL MOURN MORE?

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Who will mourn more

When you are no more?

Whose sorrow will be worse?

Your ghost’s, crying, “not yet, not yet!”

Or your retinue’s, who will disperse

Slowly? Quickly? And who in your crowd will most pitifully cry?

Will the day of your death let

The rains come? Will there be a grieving nurse?

Who will be sadder: the world, or you, when you die?

Will oceans lament? Will the sparrows know?

What speeches will be spoken, when you, at last, whisper goodbye, and go?

What sentimental gestures are obligated to be made

When ruin puts on the human soul—

Death making it ugly—and removes it to that hole

Where every human shade

Makes its way, and the interminable sorrow

Of life ends; but we do not go—no,

Because life is a constant going—

What does your elegy know? Is sorrow the same as knowing?

Is love the thing which makes you see, at last

The one who really loved you, going

Back, just for another glimpse of you,

When life was bright, in the bright past?

Who will stay, for your death, and feel, at length, true sorrow?

Who will stay, now, to make for you, a true memorial for tomorrow?

Or is regal sorrow killed by a life too smart and quick to last?

Smart and quick never made us afraid.

Time exists. Look at this cemetery and its long, deep shade.

All is limited. Even love. When you flee,

I’ll be dying; your death won’t mean that much to me.

 

 

I STILL NEVER DO THAT

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I still never do that

Even though my followers tell me I should,

Making arguments on paper

Which describe the beautiful and the good.

It seems easy, the way they say it,

And it would be easy to do,

And if I forgot myself

It might be exciting for me, and wonderful, and true.

I would be on some train.

A stranger would look me in the eye.

And he would have a book.

And I would let him lie.

THE POET WHO NEVER SUFFERS

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The poet who never suffers,
Writes his poems for you,
Who dreams for whole days, and is free of suffering, too.
You wake from a summer dream, which began at twelve o clock—
When the tree’s shadow climbed the moss on the mossy rock—
You wake from your sunny sleep
And hear the distant sounds of wandering sheep,
And find all changed: darkness devouring the flock;
Deep in shadow, tree and rock;
The workers home from work,
And the moon’s cunning
Still in the running.

The poet who never suffers,
Writes his poems for you,
The moon, new,
And you, barely there,
Combing your langorous hair
As the dawn sees
Your hair in a long tease
Against the sunlight flickering in
Where you and the poem patiently begin
With a sigh in the garden,
And, upon the hill,
You going about, wherever you will.
And the misty sun, like a wall,
Covers all.

 

 

TOP TEN TRUTHS ABOUT MEN (BY A MAN) THAT MEN MAY NOT WANT YOU TO KNOW

Two Male Figures Looking in a Mirror and a Putto. - Jacopo Pontormo, 1518:

1– Men DO like to explain stuff. They absolutely DO. The obnoxious and recent term (2008) “Mansplain” or “Mansplaining” —guys patronizingly explaining things to women—is based in reality.  However, if men do like to explain stuff—and they do—to describe this as offensive (the man is being patronizing) kind of misses the point.  To take offense at what is ingrained behavior is to take offense needlessly and spitefully.  Women: you sort of need to get over this.

2– Men ARE simpler on every level than women are.  Even men who excel at “complex things” excel at those “complex things” precisely because they see the simplicity in those “complex things” which others don’t. “Simple” describes both the great fault AND the great virtue of the male psyche. “It’s complicated” belongs more to the female realm. When a man and woman are having a needlessly complicated argument, to be very objective here, in all honesty, the blame mostly should go to the woman.  The exception, of course, is that the man, with his admired ability to find simple solutions to complex problems, should be able to prevent hurtful and complex misunderstandings from arising and gaining momentum. And that’s a very important exception, mister!

3– When it comes to love, men DO care about looks; they do care about superficial appearances: as much as they may protest, as much as they may say otherwise. This chimes in with their “simple” nature, which really is simple. Men are simpler than anyone will care to admit.  Looks are not important to a man. Looks are everything to a man, and this is the simple truth. A lesbian is looking for sweetness, affection, and understanding. A male homosexual simply believes a handsome man is better looking than a handsome woman. Period. Male homosexuals are just as simple as their straight counterparts: the myth of the sensitive, complex gay male is just that: a myth. So yes, the truism of the “male gaze” is true. Having said that, however, it would be wrong to think males cannot be highly romantic, sensitive, focused, sentimental, monogamous, and cannot find an interesting variety of physical attributes attractive—they cannot help their “male gaze,” but the “male gaze” can be caught, tied up, and enslaved by any savvy woman who wants to do so.  But the woman should never naively think that once she has a man, a man who seems “nice,” that this means “this nice man loves me for who I am.” Sorry, no.  The “nice” man, who seems happy in a relationship, is still thinking about looks all the time. The woman just has to know what she is dealing with, and not get freaked out by superficial signs and superficial behavior of what is not finally connected to what a man really wants—one great satisfying love, not the anxiety and trauma of lonely, partial loves.  But the “look factor” is always there for the man.  But remember, the man is simple.  The “look factor” does not have to mean every feature is perfect: there is a whole creative and dynamic aspect to what “looks” entail.  The wise woman will know how to use the man’s simple nature to her advantage.

4– Men DO like sex, and they like it quickly, and it’s all about their silly little penis, and the only thing that slows down their sex instinct is the “male gaze” which wants to take time to “look” at their beloved in the beautiful stages of undress which match intoxicating stages of increased excitement, and yes, after the orgasm, the man will feel a strong sense of disappointment at being with the naked person who, a few minutes earlier, had made him so excited, and now, after the man’s release: not so much. The man is probably the most disgusting creature in the world at this moment, wanting to move away and secretly revel in his triumph, and be free of conversation and cuddling with a being who is less interesting to him now.  Men can protest all they want (“I feel closer to my woman after making love to her! blah blah blah”) but let the sorry truth be here revealed.  Post-coital cuddling is uncomfortable for the man, even when he feels a necessary bonding with someone he loves is taking place, since bonding of this kind always feels forced to him.  A man does not feel closer to a woman after the sex act.  He always feels more distant.  And this is more true the better the sex is—but only because the law of before (excited) and after (less excited) prevails—and it really shouldn’t be taken personally.  A woman should never delude herself that a man is ever not on the trajectory described here.  Don’t kid yourself.  He always is.

5– Men want to do things for a woman, but if they sense the woman is expecting things to be done, done in a very particular way, or not done, for this or that reason, they will very quickly become disoriented and lose all desire in this area.  Men like to explain and they like to do.  But they do want a partner in all this, they really do.  Women: Disagree, advise, and suggest as much as you can.  Do not mock or resist or fall silent. Do not be a contrarian.  Because then what’s the point?

6– Since men have the “male gaze,” and when it comes to love, care only for appearances, they themselves are vain—and obsessed with their own looks.  By playing on male vanity and fear in the looks department, women, by careful mirroring, can easily own and destroy a man if they take careful note of the mirroring phenomenon and use it well: however, if the woman doesn’t care about her appearance, she cannot influence the man’s opinion of his own looks. If she mirrors him, however, with her vanity, and rewards and diminishes him in the right manner in the looks department, so that he can’t figure out who is more attractive, her or him, or how attractive he really is, and needs to hear it from her—he will feel strangely and powerfully attracted to her.

7– Since men love to explain, it is easy to attract the man by turning his love of explanation into what seems to him a somewhat annoying and addictive folly—in the woman’s eyes. The woman should listen attentively to the fervor of his mansplaining. But she should interrupt frequently to ask questions, to make him feel she is extremely interested in what he is saying, but constantly make him feel he isn’t quite explaining it right, and that he has to do a better job.  He will be exquisitely tortured by this if it is done with the right combination of interest and nonchalance—and he will find himself helplessly attracted to the woman’s superior mind.

8– Do not mirror him, in superficial terms of “trying to be a man.”  This will be a disaster.  Make him feel that you are a woman, and different from him, and make these differences as prominent as you can. This absolutely does not mean you need to surrender any of the things which make you intrinsically superior, or truly yourself—and, in fact, as long as it is established that you are “a woman” to his sensibility, you can then be as “mannish” on top of this established identity as you want, and this will, in fact, make him even more attracted to you.  Always negotiate with the man from the fact that you are a woman first—even if superficially—and then you can be anything you want on top of that, and dominate him much more easily.

9– Because men want sex quickly, explain to him that taking it much, much slower (even if it takes days or weeks or months) will give him a great deal more pleasure—he will like this because he loves things to be explained, and this explanation benefits both of you—love is nothing if not a great mingling: male and female aspects fall into a rapturous blending.  The only catch is that what is male and what is female must be understood and established first, and this will be the first step in actually making love voluntary, so that instead of “falling under the spell” of your lover, love becomes conscious and willed, and this is a far more effective rapture—both of you are fully aware that this is what you are doing and why you are doing it.  Love is then a beautiful and exciting and conscious goal rather than a slothful and doubtful entrapment. Pride will tell us that only if the lover is under one’s spell is the love real and based on how attractive one is—but this is a myth.  The best love is voluntary and benefits from both sides understanding the deep truths about each side, male and female, and the drama and the tricks that must be consciously and delightfully played.  This is ultimate romantic love, which defies both involuntary suffering and boring convention.

10– Men care just as much about breeding as women do—it doesn’t matter that the woman is more at the center of the whole process than he is.  The question of children: Should we have them?  How many?  How should they be raised?  is of infinite importance to the man.  Men care very much how the child is to be raised, materially, morally, and aesthetically.  Never fail to bring out a man’s opinion on this issue. Never underestimate his interest, or the impact it will have if his ideas on the topic of children are downplayed or ignored.

 

WHO

Image result for hermaphrodite to renaissance painting

Is there a female equivalent to me?
What would she look like? Who is she?
When I was a child, I painted in a smock.
In school I put ink on a printing block.

Was I a girl when I first wrote poetry?
When I was a young man and cut my hair
And found a job, no one was there.
If I were shy would she dance with me?

If I ran down the leafy avenue
With everyone getting out of work, would she pursue?
Would she chase me-who-is-really-her, if she knew?
Would she follow me into the evening until the moon
Covered by clouds and serene, came into view?

WHEN DID I FIRST KNOW

Anonymous Southern Song artist, Pipa Mountain Bird, in Fu Sinian, ed., Zhongguo meishu quanji, huihua pian 4: Liang Song huihua, xia. Beijing: Wenwu chubanshe, 1988. pl. 96, p. 131. Collection of the National Palace Museum, Beijing. album leaf, colors on silk, 28.9 x 29 cm

When did I first know

I was superior,

A creature of wisdom and dismay,

An animal who knew he was an animal

But that every animal is in his way?

Who knew the moon and the leaf

Were like wine-drinking friends,

But that the leaf and the other things

Belongs to everything that ends?

I hoped, but hoped inside my sad mortality.

It might have been when I loved the world—as it refused to love me.

I think it was when I saw complexity

As simplicity

And this simplicity felt divine

And not only did I feel this; it was mine.

Divinity belonged to me as my pleasure,

Which increased in poetry and music’s measure

In the precise manner I sang my song

To you. So for once I might belong.

 

 

 

DO YOU KNOW WHY

Image result for poe morella

Do you know why I love poetry?

It is not the sound of it, nor the fame.

Let me tell you what happened to me:

I fell in love with a name.

 

All the work that goes into a nation!

I love mine as a candle loves its flame.

I love the syllabification

My citizens speak, and kiss with, and we burn, and die, the same.

 

But look how my eye adores

This eye, who escaped to these colder shores

Barely intact, but with a strange name

I speak and love, as a candle feels its flame,

 

A quiet name of many syllables,

Now quietly spoken

Into my ear of a valley between its hills.

I saw. But when I heard, I was broken.

 

I intoned this liquid name for a day.

A name is how my voice adores

A  voice—eternal and known—and it promises to stay.

The name my poetry loves is yours.

 

I WILL JUST SIT HERE AND LOVE

Image result for poet writing in painting

I will just sit here and love

While you do what you have to do.

Loving is good, since to be happy is the only thing that’s true,

And loving is happiness—before you even know what you have to do.

Being happy is the job of love;

I’m telling you to allow me enough time

To love, as I sit here, in my room, and rhyme,

And compose, on this couch, a poem or two,

And show others how to do

The same; education

Is how love teaches the nation

To do things, with sweetness and style.

What you do with a frown, I do with a smile.

What you do in agony, making work organized and steady—

What is it for?  It is for joy—which thanks to me, loved before, and is beautiful, already.

 

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