Mundis Muliebris or Poverty Jet-Set Loving

Xypnwntas tin epomeni tou Pasha, tin defteri tou mera to prwi, me tin fwni hameni kai ena terastio varos sto laimo kai ena xalafrwma sto stithos den tha mporousa na grapsw oute erwtiko tragoudi, poso mallon amane i rimokontoriko ponima. Tha synehisw oso ma afinei i katatonia- etsi- kai i amiliti monaxia na peri-patw [PATTA!] sta apo-spasmata, ta frgmnts. ta demo-kratika, ta oligolekta, i akoma tous monolektismous, pou leei kai o Karouzos -hwris par-exigisi- tin rimotomimeni epikrateia tou demou ara, tou koinou pou trefetai apo to plithos, tou oligou pou trefetai apo to poly, to para poly, to ametrita poly -stin peri-ptwsi mas [PATTA!] alkool kai malista whiskey, me nero, panta me nero, pote stis arhes Black Bush, ki otan stalaze Bushmills Malt, ma epeidi eimasten tou whiskey kai ohi tou whisky oppa-dei! [PATTA!] teleiwnoume me Jameson's, panta me Jameson's sto telos, Jameson's kai nero, kai [BOOM!] Ballantines 12ari kerasmeno, kerasmeno apo ton filo mou ton filo mou kai aderfo mou ton Pari, sto epi-keina tou telous, ston para-keimeno tou telous, stin pafsi tou telous, pou teleiwnei to telos, to fernei eis peras kai apo kei to pernaei enas theos xerei pou, file mou file mou pari, se touta ta liga frgmnts. ta aktinwta kai ta diaplata ftwha, oso ftwhia tha einai kai i hwra pou menw, i hwra-glwssa-loop (kai tha epanelthw sto loop, stin loopa, sto ftou xana p'arkis jai ftou sto telos) ta frgmnts. ta afierwmena, san haragmeno sto toiho (x)+(x)=L.F.E., algevra ki loga-rithmos stin dynami tou n, ohi tou gynaikeiou gia na exigiomaste, mite tou antrikou, ma tou elle n, tou akatanomastou tou titsirokwlou tou giou tis afroditis, pou pianei syggenies me tsoynamia kai el ninious kai [PATTA!][BOOM!]. san chorografiko (s' antithesi me to chrono-graffima: poio chronochoro, poio here apo here na heretisw) san anadiplwsi, san proektasi, ohi san - ohi - to frgmnt. to demo-kratiko apo-spasma emperiehei mesa tou kai to revma (to current + to draught) kai ton lamptira, ton fano, ton dia-fwtismo (ma ouhi to enlightment), to ihnos tou fwtos pou diagrafei diagrafwntas to prosopo tis pasa mias kai tou pasa ena [PATTA!] ta prwina heili kai ta nyhterina matia, ta spasmena podia kai ta efkampta heria, ta misokamena tsigara kai ta misoheimena pota (posa, posa whiskeya, posa, posa!), diakyndynevwntas etsi to livelografima, pou den einai tipota allo apo live-graphema, apo the word made flesh, ton ensarkwmeno logo, ton logo pou ponei, fovate, agapa, matwnei, klaei, gela, iketevei, proskalei, prokalei, klanei, katoura, gama, hynei, pinei, trwei, strefei, shezei, kai ohi ton Logo stin ypiresia twn epiheirisiakwn epiheirimatwn, twn logo tis logikis kai twn logo tou ite to ena ite to allo, tou nai/ohi, to an-an, tou cause and effect.

Me hameni tin fwni, anikanos ara gia tragoudi, kyrie-kyrie Nick Cave, pou mia kali mou fili se fyla se koutia tou Rachmaninov (Piano Concert No. 2), gia love song, gia sad song, ma kouvalwntas ton vaftisio choro tou sauidad, tin mystikia morfi tis Amalias (Nem as paredes confesso), ta frydia tis Ingrid, ta matia tou Humphrey, ta tragoudia sou Nick, Leonard, Lou, ta tragoudia sas Krinoi, den tragoudw, den ex-istorw, den lew. Den vriskw kata-fygio stis glwssas to anagnwsma, tis glwssas - ypokatastato tou anti-keimenou, tis glwssas- kleidi gia tin apospasmatiki mou enilikiwsi [PATTA!], tis glwssas tis psychanalysis pou mou trwei to 'worship', tis psychanalysis-ierias tou 'Normal', ma synehizw d' aprais Gorgias, gorga na anti-lalw "emou de paignio".

Paignion- idou to onoma tou pashalinou ihnous pou me tahytites 1/100000000000 die-grpase ton chorochrono tis Makarias Patrikis ma ouhi Patrias Enallias, tis para thin allis, gia na parameinis choro-graphema. Choro-graphema, anti-tragoudi, choro-graphema san tin tsarka, ton "peripato klaiwntas" tou Antwni Souroupi kai tis Mairis Depanou, pou den lamvamei hwra, dioti eihe idi apo panta apo-typwthei stou Skarimpa to diigima, liges selides prin, liga vimata diladi prin, to gramma-revans tou filologou/pioiti/naftikou evdokimou/kata fantasian farofilaka/ erasitehni mpouzouxi/retsinoviou Antwni pros ton Mario pou itan Maria, peripato [PATTA!] tsarka katahra erwtiki, katharia erotic, en - ekstasei -par' oli tin fysioviologiki kai tin psychoanalysoanagkastiki katiousa pou meta apo 10-15 whiskeya pernei to swma kai to pnevma kleinei pros- heremeneutike. Mantato ajiapes sou enos neou here, enos toso pothitou parakeimenou?

Paramenw erwn, Christina, Eleni, Kwsti, Pari, Christo, Jester, Michali, Soto, Oresti, Antrea, 'Gavrili', Alexandra W., A.M., Leto, Nantia, Pashali, Christodoule, Toro, Mark, Lara, Efthymia, Dan, Papa, Mama, Giagia, Papou, Pwlitria, Barman, Servitora, Servitore, Symi, paramenw erwn kai me daneika apo-spasmata ihnilatw tin ihnografia tis chorographeas toutis, pou methysmeni i yptameni, mian apo dw kai mia apo kei, mia sou mia mou, ena sou jai ena mou jai ena pou lo'ou sou jai ena pou lo'ou mou, touton to paignion, touton to 'potho-theros' pou mporei na mou twei to sykwti, to myalo kai ta matia, mporei na mou katastrefei ta pnevmonia kai na mou apagagei tin fwnei, ma m' afinei me ta aparaitita daktyla, ta daktyla apo opou tha sa anagnwrisw ta daktyla apo opou tha ma nagnwriseis - stin ektafi i stin gennisi, agnwsto- ta daktyla pou tha skoupisw, nai re gamwto, tha skoupisw tin vrohi ap'ta diafana gyalia mou kai ta galazia poukamisa mou, ap' to potiri sou kai ap' to vyzi sou, ta daktyla kai ta heili. Gia na mourmourisw psiha to "Panta Mpros Taxidiwtes" kai na shimatisw to "Phall if you but, rise you must" (mbas kai to pistepsw) kai to "Ta rouha peta, gdysou / Tipote mi fovasai. / Ear, heimwna, theros-/ opou ki an eisai- einai i romfaia mou mazi sou." (mbas kai to pistepsw) kai na anapsw Sante, i Assos, i Davidoff Danish Mixture, pinwntas Whiskey, i Krasi (ston ilio), i Kafe, perimenwntas me tous stihous "Mia gynaika kapote mas stamata / An den gelasi prokeitai na vrexi" (Embeirikos) enw "It has not been posible to connect your [my-PATTA!] call.[PATTA!]. Please try again later."
"Twra Meta?"

"I am passionately in love with passion."

"Now convalescence is like a return towards childhood. The convalescent, like the child, is possessed in the highest degree of the faculty of keenly interesting himself in things, br they apparently of the most trivial. Let us go back, if we can, by a retrospective effort of the immagination, towards our most youthful, our earliest, impressions, and we will recognize that they had astrange kinship with those brightly coloured impressions which we werelater to receive in theaftermath of a physical illness, always provided that that illness had left our spiritual capacities pure and unharmed. The child sees everything in a stateof newness; he is always drunk."

"Whether these men [and women] are nicknamed exquisites, incoroyables, beaux, lions or dandies, they all spring from the same womb; they all partake of the same characteristic quality of opposition and revolt; they are all representative of what is finest in human pride, of that compelling need, alas only too rare today, of combating and destroying triviality. It is from this that the dandies obtain that haughty exclussiveness, provocative i its very coldness. Dandyism appears above all in periods of transition, when democracy is not yet all-powerful, and aristocracy is only just beggining to totter and fall. In the disorder of these times, certain men who are socially, politically and financially ill at ease, but are rich in native energy, may conceive the idea of establishing a new kind of aristocracy, all the more difficult to shatter as it will based on the most precious, the most enduring facilities, and on the divine gifts which work and money are unable to bestow. Dandyism is the last spark of heroism amid decadence.(...) Dandyism is a sunset; like the declining daystar, it is glorious, without heat and full of melancholy..."

Charles Baudelaire, The painter of Modern Life


"αμηχανων ερας"

Eυριπιδης, Aντιγονη (line 90)