Phantom of Revolution by Ghadah Kamal Ahmed

The cruelty of life is only equaled by art… I used to search a lot in the paths of art for what could express what was going on inside me and my view of the world, but I was always faced with unfree spaces, spaces depicted by religion or what is connected  with  it..

My imagination was always trapped. When I dive into the past with deep sadness..

I did not know that imagination can lead us to a better future until I became acquainted with surrealism.

Closed areas of my subconscious began to open up to me.

I had never known these closed areas of my subconscious mind before.

I did not have complete freedom of expression with my body, and now I do.

Surrealism is a systematic breaking of the boundaries of reality, the body, society and religion.

Also, I was afraid to delve into fields that I had not studied or practiced, such as drawing, photography and cinema, but  Surrealism turned me into an active person who thirsted for all kinds of arts.

I am not only a surrealist artist, I also owe a lot to surrealism… Reconciliation with the unconscious mind can change the world for the better… and  it can be an iron wall stands against all life’s difficulties.

Linking and developing science and keeping pace with technological development and the subconscious freedom are able to create a better world.

This is surrealism for me

written by Ghadah Kamal

Ghadah Kamal is a surrealist visual artist, writer, and poet…Coordinator of performances and workshops and cinema screenings of The international exhibition of surrealism Cairo Saint-Cirq-Lapopie and Echoes of Contemporary Surrealism Exhibition / Alexandria and founding member of the Middle East and North Africa Surrealist Group..Founding member of the Chrysopoeia surrealist union. Editor of the Surrealist Cities section of the Room surrealist magazine and editor at Sulfur Surrealist Jungle.

Orishas by P.D. Newman

“Ifá tells us that when he is enraged, Obaluaiye [Babalú Ayé] takes [his] special broom and spreads sesame seeds (yamoti) on the earth before him, then sweeps the seeds before him, in ever-widening circles. As the broom begins to touch the dust and the dust begins to rise, the seeds, like miniature pockmarks, ride the wind with their annihilating powers: the force of a smallpox epidemic is thereby unleashed.”

—Robert Farris Thompson, Flash of the Spirit: African and Afro-American Art and Philosophy, p. 63 (Vintage Books. New York, NY. 1984.)

Babalú gettin’ me up in the mornin’
I believe I’ll dust my broom
Babalú gettin’ me up in the mornin’
I believe I’ll dust my broom
I get to sweepin’ this sesame, baby
Babalú pox gon’ be ya doom

And you won’t get better—ya whole body covered in sores
No, you won’t get better—ya whole body be covered in sores
Be nothin’ but dogs a-lickin’ you, baby
Once these bristles start sweepin’ the floors

Lazy Pushin’ Daisy

I know that there’s a man
Who in Bethany stays
Erbody like to call him Lazy
Cause he lay still four days

Talkin’ bout that Lazy
I’d swear he pushin’ up daisy

I know that there’s a man
Who sleep like the dead
Only the power of the good lord
Rouse him out of his bed

Talkin’ bout that Lazy
I’d swear he pushin’ up daisy

I know a man name Lazy
Always got that bed breath
Got a twisted mouth so sour
Breathe out the smell of death

Talkin’ bout that Lazy
I’d swear he pushin’ up daisy

I know a man name Lazy
Who stink to his core
Body raw as his mouth
And dogs licking’ his sores

Talkin’ bout that Lazy
I’d swear he pushin’ up daisy

written by P.D. Newman

P.D. Newman is an independent researcher located in the southern US, specializing in the history of the use of entheogenic substances in religious rituals and initiatory rites. He is the author of the books, Alchemically Stoned: The Psychedelic Secret of FreemasonryAngels in Vermilion: The Philosophers’ Stone from Dee to DMT, and the forthcoming title, Day Trips and Night Flights: Anabasis, Katabasis, and Entheogenic Ekstasis in Myth and Rite. The Secret Teachings of All Ages (TV Series documentary) 2023.

Theurgy: Theory and Practice: The Mysteries of the Ascent to the Divine by P.D. Newman, published by Inner Traditions, Bear & Company will be available on December 5, 2023

Feature photo: Cryptic God, la science des mystères by Mitchell Pluto. PD Newman collection

ANIMISM IN THE AMERICAN SOUTHWEST by Christine S. VanPool and Elizabeth Newsome

People often imbue their surroundings, including tools, with a “life essence” that makes them active objects. A growing number of archaeologists are beginning to study how such “living” beings impact human behavior. These archaeologists use the term “object agency,” but employ many different ontological approaches. We explore this variation, and present a framework comparing different ontological models archaeologists use. We adopt an animistic perspective, and evaluate its applicability to the Southwest using ethnographic and archaeological data. We further propose that it is applicable through out the New World. Puebloan potters consider pots living beings with a spiritual essence that is affected by and that impacts humans. Pottery manufacture is a mutual negotiation between the potter and the clay to create a “Made Being” with its own spiritual and material aspects. We conclude that a similar ontology is reflected in effigy pots and globular jars from the Casas Grandes region. Ultimately we conclude that this perspective provides useful insights into the placement, decoration, and discard of many vessels that have puzzled Southwestern archaeologists for decades.

A Female Casas Grandes effigy jar. Photo Christine S. VanPool 1999. Used with Permission

Author(s): Christine S. VanPool and Elizabeth Newsome

Duplicated and Intended for Art Educational Purposes Only

THE SPIRIT IN THE MATERIAL: A CASE STUDY OF ANIMISM IN THE AMERICAN SOUTHWEST
Author(s): Christine S. VanPool and Elizabeth Newsome
Source: American Antiquity, Vol. 77, No. 2 (April 2012), pp. 243-262
Published by: Society for American Archaeology
Stable URL: http://www.jstor.org/stable/23486060
Accessed: 02-03-2015 22:47 UTC

Featured image: Fully formed Human Effigy Vessel. Courtesy of the Natural History Museum of Los Angeles County, Los Angeles. Photographed by Chris Coleman.

Play as a Form of Resistance by Fairouz Eltaweela

I am a multidisciplinary visual artist interested in painting, alternative sculpting, photography, digital art, collage and mixed media arts. I held my first solo painting exhibition at the age of 14 at Al Gezira Arts Center and have since participated in multiple art workshops and collaborations. I recently graduated from MSA University faculty of Arts & Design majoring in Cinema and Theatre.

Most of my work explores the theme of ‘play’ as a form of resistance. Further expanding and searching how the visual identities of my various roots all meet in a space that feeds on contemporary imagery and ideals.

Coming from a culturally rich background I am drawn to the visual richness of my city Cairo, particularly the slums where street art happens accidentally as a coincidence unravelling the many great textures and layers of the city, as well as having family roots in Upper Egypt and Delta, I began exploring the relationship between the urban and rural space and how it can be visually contextualized.

My inner child holds the pencils, untangling all the fears that have accumulated within my head and sarcastically mocks them. My inner child giggles and makes all the decisions now. I can only contemplate from afar ,a foreign spectator, as I watch dreams from my subconscious unfold and my inner child continues to laugh at me.

Fairouz Eltaweela

Fairouz Eltaweela

La Rou de la fortune Erik Volet

The Human world intersects with those of animals, plants and the spirit world which is gestured towards. There are also beings halfway between these worlds—transitional beings with the ability to move through these different worlds with ease. Multiple time periods intersect & the world of myth and the past blends with the present-day time of contemporary reality.

Erik Volet

Reclining nude

Beggars Banquet

Woman in Blue Shawl and Poet’s Dream

Language of the Birds

Erik Volet (b. 1980) is a painter & illustrator from Canada who has exhibited in Canada, the US & Europe. As well as producing paintings he has published art books, made zines, illustrated books, and maintained a consistent involvement with painting murals on the street and in the public sphere. Influences, which continue to be important to his art practice are comic book art, graffiti, hip hop culture as well as surrealist theory and practice.

ERIK VOLET

Reptile Fling by Richard Gessner

Disclaimer. This is a work of fiction, any resemblance to Actual persons or events is Purely coincidental.

I took Maryellen, a lady of leisure, to every expensive restaurant and high end bar, indulged her with gourmet food, fine wine and droll conversation. I spent a lot of $ on her, as a gentleman always pays for a lady. It was my intention to wear down her defenses and inhibitions, to spend a day and night with her, warming her up to strip naked in a luxurious hotel room with a heart shaped Jacuzzi.

Maryellen was a glamorous, statuesque beauty, with creamy platinum blonde shoulder length hair, pale pink lipstick and nail polish. She wore a demure antique white designer dress, shimmering nude nylon stockings, and strappy high heels. Her ample breasts, curvaceous shape and nice ass, were her most noticeable feminine assets.

Maryellen was the kept woman of a film producer who was her sugar daddy. She was useful as eye candy at public events, and made the producer look good. She lived rent free and got a generous allowance for other “services” too shadowy to mention.

Maryellen was a precocious sugar baby, adept at sucking the blood of men with deep pockets. I was also friendly with the film producer who owned two summer homes and drove a Jaguar and a Mercedes. I had business dealings with the film producer of an artistic nature. But having no loyalty to him, I jumped at the opportunity to get his girl if I was lucky.

By chance, I met up with Maryellen, while passing through the producer’s neighborhood, and it was then that she went on several surreptitious dinner dates with me. She welcomed time away from her master who was overbearing, controlling and played power games with money. Threatening to withhold funds from her when he didn’t feel sexually satisfied. But Maryellen was successful at twisting the producer’s arm to buy her a new high end designer purse, not some cheap fake discount.

A giant alligator sex toy swallowed Maryellen whole and pooped her out its butt into the Florida heat, designer handbag and all. A giant alligator sex toy swallowed Maryellen whole pooping her out its butt, soiling her designer clothes, making her sad. A giant alligator sex toy swallowed Maryellen whole, she found spiritual enlightenment in the alligator’s digestive tract, emerging naked from the reptiles’ butt, and in her nakedness, she was most comfortable in the Florida heat.

All erotic, exotic and grotesque epiphanies aside, after many expensive dinner and bar dates, I finally got Maryellen to spend a day and night with me in a luxurious hotel room with a heart shaped Jacuzzi. After she took off her demure designer dress, stockings and heels, I helped her out of her panties and unhooked her brassiere, then she lay naked on the bed and I rubbed eucalyptus oil on her body. Then we entered the Jacuzzi together, in the warm water she blissfully felt my stiff erect phallus entering the prime real estate between her legs.

“Reptile Fling” (C) 2023 by Richard Gessner

Richard Gessner’s work is published in Black Scat Review 24, Sulfur Surreal Jungle, Fiction International, Skidrow Penthouse, Seinundwerden, Another Chicago Magazine, Air Fish et al.

 Richard wrote The Conduit and Other Visionary Tales of Morphing Whimsy. He lives in Montclair, New Jersey.

The Conduit and Other Visionary Tales of Morphing Whimsy Audible

THIS WRITING IS AN AUTHORIZED DUPLICATION WITH PERMISSION AND EXPRESSED CONSENT

Relatos breves de Victoria Morrison 

Por la ventana

Confío más en tus huesos que en tu carne, por las noches sigo amando tu fantasma que huele a tierra infiel, confío más en tu bufanda roja detenida en el tiempo, el pasillo de nuestra casa gime llanto muerto, flota mi cuerpo en la tina, agua de árbol con espinas.
Recogí mi pelo mojado en tu vieja toalla de mi melancolía, arrojé todos tus libros por la ventana.

Imperfecto

El hombre frente a la tumba desprende de su boca su prótesis dental, la envuelve en un pañuelo blanco, la oculta entre el pasto y la tierra de tumba, solo frente a sus muertos puede ser él, así de imperfecto.
Ahí descansa su llanto desdentado, se sienta sobre la piedra, saca de una bolsa de papel café una lata de cerveza y bebe deseosamente el sorbo de vida a su garganta de flores mareadas que iluminan su rostro, suenan campanas a los lejos.
Allí, frente a sus ancestros sonríe a carcajadas recordando alguna anécdota pasada, nadie lo juzga ni lo critica, allí frente a sus antepasados puede revelar su sonrisa imperfecta.

Tierra seca y olvidada
(desierto)

El cerebro atormentado resuena en el grito del árbol abandonado en tierra antigua de la cuál brota maleza de llanto. El sol neurálgico y odiado nos quema la piel y el sudor es el brillo de su reflejo que nos tortura y nos humilla en esta hermosa y vacía tierra donde los hombres caminamos sobre arena hirviendo.
El único árbol sobreviviente no tiene hojas ni semillas, es un muerto de pie frente al inmenso viento de arena en la boca y los ojos. Ahí, cuelgo mis pertenecías, en sus ramas de volcán. Mancho mis dedos y pinto mi cara de maquillaje negro, dispongo mi improvisado refugio, mi instinto animal es más poderoso que mi humanidad inservible en esta atmosfera.

Pan y caldo con arena refuerzan mi sacrificio.

El florero de tu madre

Visito tu sepulcro con una sonrisa camuflada, retiro minuciosamente pétalos muertos, (flores que dejan tus viudas amantes), uno a uno recolecto en mi bolsillo de lana hojas secas en distintos tonos, agua limpia dejo caer en el florero de tu madre; flores frescas para ti, leo tus poemas para recordarte.
-Ya no vengo a llorarte al campo santo- a veces cuando se hace de noche, descanso sobre tu tierra de muerto, hago el amor contigo.

Abril y mayo

Dos retratos en dos marcos diferentes, dos fechas de nacimiento, dos nacionalidades, dos identidades. Ella no abraza a los árboles, los besa apasionadamente, la sangre que brota de su boca rota es savia dulce.
No es blanca ni negra, ni adinerada ni necesitada, ni culta pero tampoco ignorante, educada y también puede llegar a ser una marginal.
Por las noches se acuesta en su tina caliente, los cabellos que flotan en el agua talvez pertenecen a esa mujer que no existe.
Dos retratos en dos marcos diferentes; la adolescente que escribe poemas de amor aullándole a la luna, el otro, la belleza de una anciana de ciento veinte años moribunda, declamando sus últimas palabras a la muerte.

Cama de hoja


Cuando lloro por los vivos, son mis muertos quienes me consuelan, no los veo, conozco sus nombres, su edad los huelo, susurran delicias a mi oído de hierba fresca.
Florencia es la mujer fantasma y ciega que toca el piano entre ramas del bosque.
Mi cuerpo pequeño cubierto de hojas secas; he descubierto que a los árboles también le gustan las melodías de cuna.

Herencia de lo mágico


Tengo el don de la sensibilidad, ver, oír con gran sutileza lo que nadie, y los fantasmas recorren el bosque conmigo; placentero como fumar a escondidas sobre enormes arboles retorcidos en donde reposa mi silueta delgada, hija del hombre, herencia de lo mágico, el humo se cuela por las hojas, canta la rama, silenciosa raíz mágica, dulces espinas te embellecen.

written by ©Victoria Morrison

Victoria Morrison, Chile 1977, Trabajadora social, escritora de poesía y cuento. Miembro actual y activa de SECH (Sociedad de escritores de Chile) P.E.N Chile (Poetas, ensayistas y novelistas) Su poema Ñamku fue premiado con el segundo lugar del “Concurso poesía Indígena”, realizado por el “Museo de la memoria y los derechos humanos” en Chile el año 2020. Libros publicados: Una habitación en el infierno (2016) Ediciones La Horca. Poemas desahuciados (2017) Editorial Ovejas Negras. Pupilas de loco (2020) Rumbos Editores
Sus escritos se caracterizan por evocar temáticas psicológicas. Amante de la naturaleza, la autora explica que en cada palabra existe sanación; si asimilamos esa palabra a las raíces de cada planta pues, así como existen semillas imperfectas, también hay humanos imperfectos; no son acaso los bienes llamados “árboles torcidos” los que, sin agua, sombra, ni tierra fértil continúan respirando en la tierra. (Si la frágil planta resiste el frio, la intemperie, la carne humana cobijada en lana y bufanda debería agradecer y callar, oír en silencio, el congelado y valiente canto de la hora escarchada).

https://www.facebook.com/marielavictoriapoeta
https://www.antartica.cl/pupilas-de-loco-9789567295753.html
https://www.rumboseditores.cl/pupilasdeloco
https://www.instagram.com/victoria_morrison_/?hl=es

Feature art: Mitchell Pluto

Piebald Pandora and the Phantom Self

Piebald Pandora

Multi hued Glory

Sloth Shark face

Palomino woman bites us

and hangs with us

upside down at dawn

selling our souls to 4 legged

Majesty Lemurs on Madagascar….

(C) April 8, 2023 Written By Richard Gessner

Richard Gessner’s fiction has been published in Air Fish: an anthology of speculative work, Rampike, Ice River, Coe Review, Another Chicago Magazine, Happy, The Act, Sein und Werden, Skidrow Penthouse, The Pannus Index, Fiction International and many other magazines. A collection, Excerpts from the Diary of a Neanderthal Dilettante & The Man in the Couch was published by Bomb Shelter Props. Gessner’s drawings and paintings have appeared in Raw Vision, Courier News, Asbury Park Press, Rampike, Skidrow Penthouse, and exhibited at Pleiades Gallery, Hamilton Street Gallery, Cry Baby Gallery, The Court Gallery and the Donald B. Palmer Museum. Richard wrote The Conduit and Other Visionary Tales of Morphing Whimsy. He lives in Montclair, New Jersey.

The Conduit and Other Visionary Tales of Morphing Whimsy Audible

self fee of a phantom self. oil/collage Mitchell Pluto

Afterword

We believe we are conscious but we are continuously unconscious.

The eye is the window to the brain and there sits the optic chiasm. A cross current chessboard of visual information. In ancient China, King Wen changed three lines into six lines to form 64 hexagrams in his book called The Book of Changes. Ironically there are 64 arrangements in DNA and 64 squares on the chessboard.

Synchronicity?

Jesus, all the time I spent believing in a historical Laoz and come to find out there’s no historical race either.

these our the last days of being a primate. Don’t worry we still have cuspids

Everything must be uploaded|  

…creating a record print of a finger swipe from phone screen| CHECK

…the gesticulation wavelengths of our voice from phone calls| CHECK

…iris scan captured from viewing screen| CHECK

tell us what’s on your mind| CHECK

This device and artificial Intelligence will marginalize the future of man’s ego. After all man is an animal guided by objects, why not be a primate whose experience is organized and interrupted by the phone?

isn’t it working already?

Who is on the other side of the screen?

A narcissistic shark that feeds remotely on a colony of brains and uses the appearance of a woman as a lure

Now A Word From Our Sponsor

We would like to salute our patron Walt and his 1958 Disney film White Wilderness who graciously staged and contrived the impression of a massive lemming suicide. Now back to our show.

(C) April 8, 2023 written by Mitchell Pluto

I would like to thank my friend, Richard Gessner for collaborating and creating some writing to interpret my painting

School Chump Memories by Richard Gessner

His mother had a very long pregnancy, gestation period spanning out across decades. Nino was finally born full grown, taking his first breath well into middle age.

Hence he had no childhood, no growth, no puberty, no maturity, he didn’t age. Always a spanking newly minted coin of a boy man with a diminished box of a body.

He couldn’t aspire to being castrati, because he was born without balls to cut off. He didn’t salivate for girls and no girls salivated for him.

Nino bore the distinction of being the prized pet rock traded amongst Egyptian pharaohs, the doorstop of mighty dictators, a paperweight for architects of the timeless eunuchs of future generations.

Baby giants used him for shot put practice. Redefining the lowest level of the pecking order, Nino had been the valet of humble bait boys carrying buckets of worms, following in servitude behind jaunty fishermen.

Some neighborhood Italians, sanded down the four corners of the box boy, playing Bocce ball with him in a local park. The sanded corners grew back, Nino reverting to his box shape when the game was done.

Once, I passed Nino on the street, reflecting that over 40 years ago in school we had sat next to each other in Mrs. Parks’ Spanish class, further reflecting that he’d had the coordination of a stalwart slug on barbiturates in gym class, and that to pin him in a full nelson in the wrestling room was no challenge. That I’d rather shoot fawns with a pea shooter. Or paint phantom polka dots on plastic daisies.

Nino reared up on one corner of his box, self righteously exclaiming

“Richard! You’re living in the past! You have to be a contemporary guy like me!”

The town rock star’s fame cast a very long shadow, a wedge of darkness with a Bermuda Triangle wherein dwelled the rock star’s younger brother castrated and erased by the rock star’s fame.

It was here the unearned “specialness” of being born into rock royalty festered into a canker sore of obnoxiousness, pretense and over compensation. Afflicted with the curse of being ordinary, the rock star’s younger brother asserted his uniqueness by spelling his very common name in a very uncommon way, so you’d never forget he was a rare bird of paradise.

After school, at 4 o’clock, groups of us passed a marijuana cigarette between us, and the rock star’s younger brother, in a haze of smoke, summoned the visage of his famous brother, his fame eclipsing the heads on Mount Rushmore the shining sphinx, the grandiose heads of state in eternity, a mummy of the first hominid preserved at the earth’s core.

Gleaming scalpel in hand, dew drop envy, casually diced up his crucified dissecting frog in biology class. Vandal meat for which he’d receive a D on his report card. Energetically, dew drop envy proclaimed his ambitions to become a pimp or an assassin if he never graduated from High School.

Dew drop envy, a poor kid, who gravitated toward rich kids, is often remembered lounging in lawn chairs, sipping strawberry daiquiris at posh suburban pool parties. On occasion, He’d get lucky with the soft and pliable girls of the upper class shedding their clothes with ease to swim in the moonlit pools of stately mansions.

The mirage of a giant, multicolored phosphorescent dung beetle rainbow appeared on the horizon of my home town. The huge hind legs of the dung beetle forever rolling up a mediocre saxophonist wearing his high school marching band coat in late middle age—a regressive laughingstock—held in limbo for generations, the dung beetles’ hind legs gripping him firmly never letting go as he spins him in circles; an intergenerational curse which can’t be broken as he performs gauche acts, bringing outside food into restaurants, playing tawdry music for chump change.

“School Chump Memories” (C) 2023 by Richard Gessner

Richard Gessner’s fiction has been published in Air Fish: an anthology of speculative work, Rampike, Ice River, Coe Review, Another Chicago Magazine, Happy, The Act, Sein und Werden, Skidrow Penthouse, The Pannus Index, Fiction International and many other magazines. A collection, Excerpts from the Diary of a Neanderthal Dilettante & The Man in the Couch was published by Bomb Shelter Props. Gessner’s drawings and paintings have appeared in Raw Vision, Courier News, Asbury Park Press, Rampike, Skidrow Penthouse, and exhibited at Pleiades Gallery, Hamilton Street Gallery, Cry Baby Gallery, The Court Gallery and the Donald B. Palmer Museum. Richard wrote The Conduit and Other Visionary Tales of Morphing Whimsy. He lives in Montclair, New Jersey.

The Conduit and Other Visionary Tales of Morphing Whimsy Audible

THIS WRITING IS AN AUTHORIZED DUPLICATION WITH PERMISSION AND EXPRESSED CONSENT

Featured photo: Dung Beetle of fate catching up with nefarious classmate. Richard Gessner

Sueños, Alejandra María González

Onírico

Sueño campanarios en éxtasis, sueño tu frente que avanza por lejanas provincias cortando rosales.

Sueño tu caballo rindiéndole pleitesía al viento y a ti tomando las riendas con la fuerza del coraje que se instala en tu garganta.

Sueño tu espalda reposada de violines para que escuche tus voces con el color de tu algarabía.

Sueño la espuma de un dios benevolente, la llama imperturbable del próximo prodigio y una bandada de gorriones atraídos por tu vehemencia.

Sueño glorias y ambiciones, noblezas y devociones sagradas, sumisas memorias que se alteran ante tu audacia y se vuelven huracanes.

Sueño hojarascas y ramas para encender, sueño las sombras de tus sombras, señales de una región apagada que da cuenta de tu cruzada y de las barcazas que el tiempo devuelve.

Sueño la espera y la desesperación, la congoja y la inquietud, el grito ancestral de tu caída, la idea infinita del silencio que apabulla, la negación y la muerte.

¿En qué montañas, en qué hoyo negro, en qué ciudad barroca te encontraré?

¿Dónde, desde qué abismo me hablarás con el deseo interminable de esta persecución que no cesa de latir?

Sueño mi cara, mi tiempo y el gesto intenso de apretar los ojos, seguir adentro y habitar esta nebulosa onírica, mientras los inviernos llueven su frialdad y los veranos arden sobre mí.

Ellos

Él se consideraba excéntrico a sus setenta y algo.

Ella erigía su soledad con sus hormonas

a cuestas sacando lustre a sus sesenta y tantos.

Él relamía sus dedos con buen vino y pastas humeantes.

Ella bebía de sus dedos y saboreaba con placer sus artesanales recetas.

( Por cierto ella no era diestra en esos menesteres )

( Por cierto él era avezado en esas lides)

Ella se desnudaba a diario, con total ligereza,

desde el ventrículo izquierdo hasta más abajo del esternón y parte de sus neuronas.

Él removía sus vacilaciones, garabateaba sus miedos

e intentaba besar sus ojos a través del teclado.

Ella arrancaba lejos, inventaba que leía, pero en verdad no se concentraba.

Él la retornaba con el aroma de su parrilla, su amorosa picardía y su apasionado transitar.

Ella traía su copa y hablaban de la huerta que sería imprescindible para colmarlos a ambos.

El la leía atento y fraguaba en su sonrisa una idea delirante.

Ella no quiere subir de talla, él le dice que en la alcoba lo podrán evitar.

Él la escuchó y le cedió la mano.

Ella la tomó y ofreció su frente.

Ellos eran así, ellos se encontraron.

Que arda

Que arda, que sea brasa inextinguible en las gélidas noches de cuerpos sin gloria.

Que lance piedras a los siniestros y arruine cónclaves conspirativos.

Que arrase con la desfachatez de los históricos, con los sillones corruptos y sus redes de peces gordos.

Que arda aún más y que el combate sea salvaje.

Que arda en cada poro encapsulado y que sea rojo sangre.

Que arda desde el color al sonido,

desde la sed al sentido,

desde la línea púrpura que da cobijo hasta la memoria de un ángel.

Que todo arda y la belleza ordene sus intenciones de menos a más,

y despierte a los soles para que caigan escandalosamente sobre el caos, donde Dios es sólo un
vecino.

Beatriz

Ella se triza frente a mi puerta, revolotea en su cubierta cuando las dosis de narcótico se salen de su cauce y amarran su cabello.

Lo hace a diario, sin plano ni proyecto, triza su plato de granos verdes, triza las caléndulas de su huerta, triza el perfume de los gatos y la miel de los trigales.

Vive trizada y desarmada como un globo terráqueo hecho de pampas y glaciares.
Se desliza por el suelo y descomprime patadas, rasguña el mármol, golpea el aire y descuaja los estantes en busca de su veneno.

A veces me arroja a un barrial de ruegos, me araña las piernas con plegarias de espuma, se esconde bajo mi cama y me tiembla el espacio hasta desollarlo.

Y en los momentos en que su /mi niña asoma su carita rosa con el Nilo en sus córneas y los bueyes cargados de bienaventuranzas.

Ella se busca, me busca, me pide un guiso de azafrán y pan de masa madre, me pide un tutú de tafetán y sus zapatillas de punta.

Diluye su esencia en aureolas de algodón y revolotea su cabello bajo la tiara de Cascanueces.
Flota sobre el aroma de la cocina, se desliza a ciegas sobre la jaula de los loros para destronarla, junta carroña para la manada y palos de canela para el cardumen de mariposas que la acompaña.

Ella deja de trizarse por un rato largo y yo la acuno en mi vientre, intentando cruzar la línea del tiempo, donde solo pueda alimentarse de mi placenta.

©Alejandra María González

Alejandra María González Ortega, Santiago de Chile 1968 En 2013 participó en la Antología “12 Poetas Chilenas”, el año 2014 en la Antología Española “Galaxias”, el año 2017 en la Antología Chilena “Debut” y el año 2018 en la Antología Internacional de Poesía feminista IXQUIC. En 2016 se adjudica el Tercer Lugar en el Concurso Internacional de Narrativa y Poesía de Junín ( Buenos Aires ) y el año 2017 el Primer Lugar y dos Menciones Especiales el VIº Concurso Internacional de Poesía de la Sociedad de Escritores Regionales de La Plata, en el año 2019 participa en la Antología “Lluvia de Esperanza” realizada en España y en el año 2021 participa en la Antología chilena “Por una infancia feliz”. Actualmente colabora constantemente con sus textos en la revista digital argentina El último Bastión y trabaja en la edición de su primer libro. Cabe mencionar que casi toda su obra ha publicada en redes sociales principalmente en su perfil de Facebook, desde del año 2015.