Libido and ego
Two sides of my mind
Who will win?
To whom the crown will belong
soundtrack: Dark piano – Sociopath
Culturally modified verses by Leila Samarrai as an allusion to the growing importance of misandric non – autohomophobic non-feminist females in the love or sort of.. relationships of women today who embrace them with joy and exaltation, as well as their dreams of a strict matriarchy and a misandric society! The poem probably came about after the disappointment of the Sappho – Hannover foundations’ support, which supports joint housing projects for two notorious lesbians.
lyrics: Between females
soundtrack: Greek / Roman Music – Organographia VI
longing for [the] friend’s embrace
the way I hate when men many dedicate a poem to me
there is something aforesaid in this, foreshadowing.. unnatural with regard to excessive polishing of swords
for sacrifice, sheep slain of copper
Covered with roast beef
hard and black and dead
whatever this Bovinity meant to say to me
there may be something Beef noodles in there
at times plaster and bovine hair of a
Erebus locus of all the
my 42 sternward nudities (run sprung unstrung wrung
bursting to light across my desolate shore, but still I
shrunk and run and brunt recording beef smile and
Boast of the grief (very occasionally journeying a roar)
he saw me not borgne Chelbt the Necessity of what is
Lo! of hundreds who fuck trampling female
bestowed a right to the portion
of a camel
algebraic hécatombe Bearing a pack of
quiescent Venus clay
out budding what a sweet creature
she has sweet prehistoric uvula Arabian Serbian
bud, fuzz grows above sweat glands, sweet odour
let’s.. then,, Zéphir s’ et le présage Faire crac-crac
out Se masturber, se branler en face..out en face
out en face merrily did we drop a sort of
Merrily did we drop a sort of incandescent beef
who will kill and eat
And between females means….
And between females
yoking through your half-moon of the pond
Beyond Cyrene, beyond the throne of snares
Beyond Atalanta and moon hills
of the chariot, you came, fell weak tugs
and my delicious back
with her knife swells with the desire of betray
My want dives silky hair
The straining immortal kisses
Of the toxic breed of my betrayal friend
In the arms of Hypatia gender
bronze-tipped javelin, wild breast on the battlefield
a sentient being, a huntress companion and swore to remain unwed
to a heart in sweet tine
although she be of purple impressing flowers
rounded gently breasts strewed upon the trampled gilly
And grass between her legs bringing me a cloth.
Drops of water fell
stay here, here is my tomb, a real pint
is not only perdu, my darling, but perdu and perdu and perdu.
Have you not.
A long live hatred
O long-lived one
Hatred my life your/mine levedy love is that I hate
By the knives of circumstance,
And the last sacred backstabbing
In enchanted mourner’s bloom
But shall a gate of red fire tomb fall aside
Or have you not, sedulously full fifty filthy dull dull
Mots, same as beef, Beefinity, as merry as the
Sunrises between the devil’s horns
Have you not.
and what in my secret old shrine will happen
pipes the dithyrambs
and grieving serene
I am still grieved you sorely on my shore
Ere the lifeboat serene long
Add it to and long que doas domnas
A sicknesse, that may be hele
Phisicien, a matineuse aurora
a flail a
I hate your womanly love above all else
My disgust and despair led
My heart to the harvest of hunger.
Chacun retrouve les peines
Death companion newer still
as we parted for the canopy for eternity
Even a man’s footprints of beef.
At least I shall know it wasn’t you.
It wasn’t you, harridan
It wasn’t you.
to a man who has upset my dream.
You’re a harasser
just like Gurdjieff, Buddha or Jesus
You’re disturbing my dormancy
You dig in my inner composure
Whoever upsets our sleepiness, we will disperse them
(I want to hurt you..)
The dream was “so wonderful”.
The Dream can be beautiful,
and I do not have to be wonderful,
but one thing is certain:
It’s a dream, an outspoken, useless!
Copyright © 2019 by Leila Samarrai Mehdi
All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law
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