| AFTER the torchlight red on sweaty faces | |
| After the frosty silence in the gardens | |
| After the agony in stony places | |
| The shouting and the crying | 325 |
| Prison and place and reverberation | |
| Of thunder of spring over distant mountains | |
| He who was living is now dead | |
| We who were living are now dying | |
| With a little patience | 330 |
| Here is no water but only rock | |
| Rock and no water and the sandy road | |
| The road winding above among the mountains | |
| Which are mountains of rock without water | |
| If there were water we should stop and drink | 335 |
| Amongst the rock one cannot stop or think | |
| Sweat is dry and feet are in the sand | |
| If there were only water amongst the rock | |
| Dead mountain mouth of carious teeth that cannot spit | |
| Here one can neither stand nor lie nor sit | 340 |
| There is not even silence in the mountains | |
| But dry sterile thunder without rain | |
| There is not even solitude in the mountains | |
| But red sullen faces sneer and snarl | |
| From doors of mudcracked houses If there were water | 345 |
| And no rock | |
| If there were rock | |
| And also water | |
| And water | |
| A spring | 350 |
| A pool among the rock | |
| If there were the sound of water only | |
| Not the cicada | |
| And dry grass singing | |
| But sound of water over a rock | 355 |
| Where the hermit-thrush sings in the pine trees | |
| Drip drop drip drop drop drop drop | |
| But there is no water | |
| Who is the third who walks always beside you? | |
| When I count, there are only you and I together | 360 |
| But when I look ahead up the white road | |
| There is always another one walking beside you | |
| Gliding wrapt in a brown mantle, hooded | |
| I do not know whether a man or a woman | |
| —But who is that on the other side of you? | 365 |
| What is that sound high in the air | |
| Murmur of maternal lamentation | |
| Who are those hooded hordes swarming | |
| Over endless plains, stumbling in cracked earth | |
| Ringed by the flat horizon only | 370 |
| What is the city over the mountains | |
| Cracks and reforms and bursts in the violet air | |
| Falling towers | |
| Jerusalem Athens Alexandria | |
| Vienna London | 375 |
| Unreal | |
| A woman drew her long black hair out tight | |
| And fiddled whisper music on those strings | |
| And bats with baby faces in the violet light | |
| Whistled, and beat their wings | 380 |
| And crawled head downward down a blackened wall | |
| And upside down in air were towers | |
| Tolling reminiscent bells, that kept the hours | |
| And voices singing out of empty cisterns and exhausted wells. | |
| In this decayed hole among the mountains | 385 |
| In the faint moonlight, the grass is singing | |
| Over the tumbled graves, about the chapel | |
| There is the empty chapel, only the wind's home. | |
| It has no windows, and the door swings, | |
| Dry bones can harm no one. | 390 |
| Only a cock stood on the rooftree | |
| Co co rico co co rico | |
| In a flash of lightning. Then a damp gust | |
| Bringing rain | |
| Ganga was sunken, and the limp leaves | 395 |
| Waited for rain, while the black clouds | |
| Gathered far distant, over Himavant. | |
| The jungle crouched, humped in silence. | |
| Then spoke the thunder | |
| D A | 400 |
| Datta: what have we given? | |
| My friend, blood shaking my heart | |
| The awful daring of a moment's surrender | |
| Which an age of prudence can never retract | |
| By this, and this only, we have existed | 405 |
| Which is not to be found in our obituaries | |
| Or in memories draped by the beneficent spider | |
| Or under seals broken by the lean solicitor | |
| In our empty rooms | |
| D A | 410 |
| Dayadhvam: I have heard the key | |
| Turn in the door once and turn once only | |
| We think of the key, each in his prison | |
| Thinking of the key, each confirms a prison | |
| Only at nightfall, aetherial rumours | 415 |
| Revive for a moment a broken Coriolanus | |
| D A | |
| Damyata: The boat responded | |
| Gaily, to the hand expert with sail and oar | |
| The sea was calm, your heart would have responded | 420 |
| Gaily, when invited, beating obedient | |
| To controlling hands | |
| I sat upon the shore | |
| Fishing, with the arid plain behind me | |
| Shall I at least set my lands in order? | 425 |
| London Bridge is falling down falling down falling down | |
| Poi s'ascose nel foco che gli affina | |
| Quando fiam ceu chelidon—O swallow swallow | |
| Le Prince d'Aquitaine à la tour abolie | |
| These fragments I have shored against my ruins | 430 |
| Why then Ile fit you. Hieronymo's mad againe. | |
| Datta. Dayadhvam. Damyata. | |
| Shantih shantih shantih |
- Mood:
melancholy - Music:Utada Hikaru: Final Distance
| PHLEBAS the Phoenician, a fortnight dead, | |
| Forgot the cry of gulls, and the deep seas swell | |
| And the profit and loss. | |
| A current under sea | 315 |
| Picked his bones in whispers. As he rose and fell | |
| He passed the stages of his age and youth | |
| Entering the whirlpool. | |
| Gentile or Jew | |
| O you who turn the wheel and look to windward, | 320 |
| Consider Phlebas, who was once handsome and tall as you. |
- Mood:
melancholy - Music:Utada Hikaru: Final Distance
THE river's tent is broken: the last fingers of leaf | |
| Clutch and sink into the wet bank. The wind | |
| Crosses the brown land, unheard. The nymphs are departed. | 175 |
| Sweet Thames, run softly, till I end my song. | |
| The river bears no empty bottles, sandwich papers, | |
| Silk handkerchiefs, cardboard boxes, cigarette ends | |
| Or other testimony of summer nights. The nymphs are departed. | |
| And their friends, the loitering heirs of city directors; | 180 |
| Departed, have left no addresses. | |
| By the waters of Leman I sat down and wept... | |
| Sweet Thames, run softly till I end my song, | |
| Sweet Thames, run softly, for I speak not loud or long. | |
| But at my back in a cold blast I hear | 185 |
| The rattle of the bones, and chuckle spread from ear to ear. | |
| A rat crept softly through the vegetation | |
| Dragging its slimy belly on the bank | |
| While I was fishing in the dull canal | |
| On a winter evening round behind the gashouse | 190 |
| Musing upon the king my brother's wreck | |
| And on the king my father's death before him. | |
| White bodies naked on the low damp ground | |
| And bones cast in a little low dry garret, | |
| Rattled by the rat's foot only, year to year. | 195 |
| But at my back from time to time I hear | |
| The sound of horns and motors, which shall bring | |
| Sweeney to Mrs. Porter in the spring. | |
| O the moon shone bright on Mrs. Porter | |
| And on her daughter | 200 |
| They wash their feet in soda water | |
| Et, O ces voix d'enfants, chantant dans la coupole! | |
| Twit twit twit | |
| Jug jug jug jug jug jug | |
| So rudely forc'd. | 205 |
| Tereu | |
| Unreal City | |
| Under the brown fog of a winter noon | |
| Mr. Eugenides, the Smyrna merchant | |
| Unshaven, with a pocket full of currants | 210 |
| C.i.f. London: documents at sight, | |
| Asked me in demotic French | |
| To luncheon at the Cannon Street Hotel | |
| Followed by a weekend at the Metropole. | |
| At the violet hour, when the eyes and back | 215 |
| Turn upward from the desk, when the human engine waits | |
| Like a taxi throbbing waiting, | |
| I Tiresias, though blind, throbbing between two lives, | |
| Old man with wrinkled female breasts, can see | |
| At the violet hour, the evening hour that strives | 220 |
| Homeward, and brings the sailor home from sea, | |
| The typist home at teatime, clears her breakfast, lights | |
| Her stove, and lays out food in tins. | |
| Out of the window perilously spread | |
| Her drying combinations touched by the sun's last rays, | 225 |
| On the divan are piled (at night her bed) | |
| Stockings, slippers, camisoles, and stays. | |
| I Tiresias, old man with wrinkled dugs | |
| Perceived the scene, and foretold the rest— | |
| I too awaited the expected guest. | 230 |
| He, the young man carbuncular, arrives, | |
| A small house agent's clerk, with one bold stare, | |
| One of the low on whom assurance sits | |
| As a silk hat on a Bradford millionaire. | |
| The time is now propitious, as he guesses, | 235 |
| The meal is ended, she is bored and tired, | |
| Endeavours to engage her in caresses | |
| Which still are unreproved, if undesired. | |
| Flushed and decided, he assaults at once; | |
| Exploring hands encounter no defence; | 240 |
| His vanity requires no response, | |
| And makes a welcome of indifference. | |
| (And I Tiresias have foresuffered all | |
| Enacted on this same divan or bed; | |
| I who have sat by Thebes below the wall | 245 |
| And walked among the lowest of the dead.) | |
| Bestows on final patronising kiss, | |
| And gropes his way, finding the stairs unlit... | |
| She turns and looks a moment in the glass, | |
| Hardly aware of her departed lover; | 250 |
| Her brain allows one half-formed thought to pass: | |
| 'Well now that's done: and I'm glad it's over.' | |
| When lovely woman stoops to folly and | |
| Paces about her room again, alone, | |
| She smoothes her hair with automatic hand, | 255 |
| And puts a record on the gramophone. | |
| 'This music crept by me upon the waters' | |
| And along the Strand, up Queen Victoria Street. | |
| O City city, I can sometimes hear | |
| Beside a public bar in Lower Thames Street, | 260 |
| The pleasant whining of a mandoline | |
| And a clatter and a chatter from within | |
| Where fishmen lounge at noon: where the walls | |
| Of Magnus Martyr hold | |
| Inexplicable splendour of Ionian white and gold. | 265 |
| The river sweats | |
| Oil and tar | |
| The barges drift | |
| With the turning tide | |
| Red sails | 270 |
| Wide | |
| To leeward, swing on the heavy spar. | |
| The barges wash | |
| Drifting logs | |
| Down Greenwich reach | 275 |
| Past the Isle of Dogs. | |
| Weialala leia | |
| Wallala leialala | |
| Elizabeth and Leicester | |
| Beating oars | 280 |
| The stern was formed | |
| A gilded shell | |
| Red and gold | |
| The brisk swell | |
| Rippled both shores | 285 |
| Southwest wind | |
| Carried down stream | |
| The peal of bells | |
| White towers | |
| Weialala leia | 290 |
| Wallala leialala | |
| 'Trams and dusty trees. | |
| Highbury bore me. Richmond and Kew | |
| Undid me. By Richmond I raised my knees | |
| Supine on the floor of a narrow canoe.' | 295 |
| 'My feet are at Moorgate, and my heart | |
| Under my feet. After the event | |
| He wept. He promised "a new start". | |
| I made no comment. What should I resent?' | |
| 'On Margate Sands. | 300 |
| I can connect | |
| Nothing with nothing. | |
| The broken fingernails of dirty hands. | |
| My people humble people who expect | |
| Nothing.' | 305 |
| la la | |
| To Carthage then I came | |
| Burning burning burning burning | |
| O Lord Thou pluckest me out | |
| O Lord Thou pluckest | 310 |
| burning |
- Mood:
melancholy - Music:Utada Hikaru: Final Distance
| THE Chair she sat in, like a burnished throne, | |
| Glowed on the marble, where the glass | |
| Held up by standards wrought with fruited vines | |
| From which a golden Cupidon peeped out | 80 |
| (Another hid his eyes behind his wing) | |
| Doubled the flames of sevenbranched candelabra | |
| Reflecting light upon the table as | |
| The glitter of her jewels rose to meet it, | |
| From satin cases poured in rich profusion; | 85 |
| In vials of ivory and coloured glass | |
| Unstoppered, lurked her strange synthetic perfumes, | |
| Unguent, powdered, or liquid—troubled, confused | |
| And drowned the sense in odours; stirred by the air | |
| That freshened from the window, these ascended | 90 |
| In fattening the prolonged candle-flames, | |
| Flung their smoke into the laquearia, | |
| Stirring the pattern on the coffered ceiling. | |
| Huge sea-wood fed with copper | |
| Burned green and orange, framed by the coloured stone, | 95 |
| In which sad light a carvèd dolphin swam. | |
| Above the antique mantel was displayed | |
| As though a window gave upon the sylvan scene | |
| The change of Philomel, by the barbarous king | |
| So rudely forced; yet there the nightingale | 100 |
| Filled all the desert with inviolable voice | |
| And still she cried, and still the world pursues, | |
| 'Jug Jug' to dirty ears. | |
| And other withered stumps of time | |
| Were told upon the walls; staring forms | 105 |
| Leaned out, leaning, hushing the room enclosed. | |
| Footsteps shuffled on the stair. | |
| Under the firelight, under the brush, her hair | |
| Spread out in fiery points | |
| Glowed into words, then would be savagely still. | 110 |
| 'My nerves are bad to-night. Yes, bad. Stay with me. | |
| 'Speak to me. Why do you never speak? Speak. | |
| 'What are you thinking of? What thinking? What? | |
| 'I never know what you are thinking. Think.' | |
| I think we are in rats' alley | 115 |
| Where the dead men lost their bones. | |
| 'What is that noise?' | |
| The wind under the door. | |
| 'What is that noise now? What is the wind doing?' | |
| Nothing again nothing. | 120 |
| | |
| 'You know nothing? Do you see nothing? Do you remember | |
| 'Nothing?' | |
| I remember | |
| Those are pearls that were his eyes. | 125 |
| 'Are you alive, or not? Is there nothing in your head?' | |
| | |
| O O O O that Shakespeherian Rag— | |
| It's so elegant | |
| So intelligent | 130 |
| 'What shall I do now? What shall I do?' | |
| 'I shall rush out as I am, and walk the street | |
| 'With my hair down, so. What shall we do to-morrow? | |
| 'What shall we ever do?' | |
| The hot water at ten. | 135 |
| And if it rains, a closed car at four. | |
| And we shall play a game of chess, | |
| Pressing lidless eyes and waiting for a knock upon the door. | |
| When Lil's husband got demobbed, I said— | |
| I didn't mince my words, I said to her myself, | 140 |
| HURRY UP PLEASE IT'S TIME | |
| Now Albert's coming back, make yourself a bit smart. | |
| He'll want to know what you done with that money he gave you | |
| To get yourself some teeth. He did, I was there. | |
| You have them all out, Lil, and get a nice set, | 145 |
| He said, I swear, I can't bear to look at you. | |
| And no more can't I, I said, and think of poor Albert, | |
| He's been in the army four years, he wants a good time, | |
| And if you don't give it him, there's others will, I said. | |
| Oh is there, she said. Something o' that, I said. | 150 |
| Then I'll know who to thank, she said, and give me a straight look. | |
| HURRY UP PLEASE IT'S TIME | |
| If you don't like it you can get on with it, I said. | |
| Others can pick and choose if you can't. | |
| But if Albert makes off, it won't be for lack of telling. | 155 |
| You ought to be ashamed, I said, to look so antique. | |
| (And her only thirty-one.) | |
| I can't help it, she said, pulling a long face, | |
| It's them pills I took, to bring it off, she said. | |
| (She's had five already, and nearly died of young George.) | 160 |
| The chemist said it would be alright, but I've never been the same. | |
| You are a proper fool, I said. | |
| Well, if Albert won't leave you alone, there it is, I said, | |
| What you get married for if you don't want children? | |
| HURRY UP PLEASE IT'S TIME | 165 |
| Well, that Sunday Albert was home, they had a hot gammon, | |
| And they asked me in to dinner, to get the beauty of it hot— | |
| HURRY UP PLEASE IT'S TIME | |
| HURRY UP PLEASE IT'S TIME | |
| Goonight Bill. Goonight Lou. Goonight May. Goonight. | 170 |
| Ta ta. Goonight. Goonight. | |
| Good night, ladies, good night, sweet ladies, good night, good night. |
- Mood:
melancholy - Music:Utada Hikaru: Final Distance
| APRIL is the cruellest month, breeding | |||||||||||||||||||||||||||||||||
| Lilacs out of the dead land, mixing | |||||||||||||||||||||||||||||||||
| Memory and desire, stirring | |||||||||||||||||||||||||||||||||
| Dull roots with spring rain. | |||||||||||||||||||||||||||||||||
| Winter kept us warm, covering | 5 | ||||||||||||||||||||||||||||||||
| Earth in forgetful snow, feeding | |||||||||||||||||||||||||||||||||
| A little life with dried tubers. | |||||||||||||||||||||||||||||||||
| Summer surprised us, coming over the Starnbergersee | |||||||||||||||||||||||||||||||||
| With a shower of rain; we stopped in the colonnade, | |||||||||||||||||||||||||||||||||
| And went on in sunlight, into the Hofgarten, | 10 | ||||||||||||||||||||||||||||||||
| And drank coffee, and talked for an hour. | |||||||||||||||||||||||||||||||||
| Bin gar keine Russin, stamm' aus Litauen, echt deutsch. | |||||||||||||||||||||||||||||||||
| And when we were children, staying at the archduke's, | |||||||||||||||||||||||||||||||||
| My cousin's, he took me out on a sled, | |||||||||||||||||||||||||||||||||
| And I was frightened. He said, Marie, | 15 | ||||||||||||||||||||||||||||||||
| Marie, hold on tight. And down we went. | |||||||||||||||||||||||||||||||||
| In the mountains, there you feel free. | |||||||||||||||||||||||||||||||||
| I read, much of the night, and go south in the winter. | |||||||||||||||||||||||||||||||||
| What are the roots that clutch, what branches grow | |||||||||||||||||||||||||||||||||
| Out of this stony rubbish? Son of man, | 20 | ||||||||||||||||||||||||||||||||
| You cannot say, or guess, for you know only | |||||||||||||||||||||||||||||||||
| A heap of broken images, where the sun beats, | |||||||||||||||||||||||||||||||||
| And the dead tree gives no shelter, the cricket no relief, | |||||||||||||||||||||||||||||||||
| And the dry stone no sound of water. Only | |||||||||||||||||||||||||||||||||
| There is shadow under this red rock, | 25 | ||||||||||||||||||||||||||||||||
| (Come in under the shadow of this red rock), | |||||||||||||||||||||||||||||||||
| And I will show you something different from either | |||||||||||||||||||||||||||||||||
| Your shadow at morning striding behind you | |||||||||||||||||||||||||||||||||
| Or your shadow at evening rising to meet you; | |||||||||||||||||||||||||||||||||
| I will show you fear in a handful of dust. | 30 | ||||||||||||||||||||||||||||||||
| Frisch weht der Wind | |||||||||||||||||||||||||||||||||
| Der Heimat zu. | |||||||||||||||||||||||||||||||||
| Mein Irisch Kind, | |||||||||||||||||||||||||||||||||
| Wo weilest du? | |||||||||||||||||||||||||||||||||
| 'You gave me hyacinths first a year ago; | 35 | ||||||||||||||||||||||||||||||||
| 'They called me the hyacinth girl.' | |||||||||||||||||||||||||||||||||
| —Yet when we came back, late, from the Hyacinth garden, | |||||||||||||||||||||||||||||||||
| Your arms full, and your hair wet, I could not | |||||||||||||||||||||||||||||||||
| Speak, and my eyes failed, I was neither | |||||||||||||||||||||||||||||||||
| Living nor dead, and I knew nothing, | 40 | ||||||||||||||||||||||||||||||||
| Looking into the heart of light, the silence. | |||||||||||||||||||||||||||||||||
| Od' und leer das Meer. | |||||||||||||||||||||||||||||||||
| Madame Sosostris, famous clairvoyante, | |||||||||||||||||||||||||||||||||
| Had a bad cold, nevertheless | |||||||||||||||||||||||||||||||||
| Is known to be the wisest woman in Europe, | 45 | ||||||||||||||||||||||||||||||||
| With a wicked pack of cards. Here, said she, | |||||||||||||||||||||||||||||||||
| Is your card, the drowned Phoenician Sailor, | |||||||||||||||||||||||||||||||||
| (Those are pearls that were his eyes. Look!) | |||||||||||||||||||||||||||||||||
| Here is Belladonna, the Lady of the Rocks, | |||||||||||||||||||||||||||||||||
| The lady of situations. | 50 | ||||||||||||||||||||||||||||||||
| Here is the man with three staves, and here the Wheel, | |||||||||||||||||||||||||||||||||
| And here is the one-eyed merchant, and this card, | |||||||||||||||||||||||||||||||||
| Which is blank, is something he carries on his back, | |||||||||||||||||||||||||||||||||
| Which I am forbidden to see. I do not find | |||||||||||||||||||||||||||||||||
| The Hanged Man. Fear death by water. | 55 | ||||||||||||||||||||||||||||||||
| I see crowds of people, walking round in a ring. | |||||||||||||||||||||||||||||||||
| Thank you. If you see dear Mrs. Equitone, | |||||||||||||||||||||||||||||||||
| Tell her I bring the horoscope myself: | |||||||||||||||||||||||||||||||||
One must be so careful these days.
|
This is just an entry to display a set of chess pieces that I've been collecting for a long time now, and finally finished around Valentine's Day, 2007. I have to say that it's the most beautiful and intriguing chess sets I've ever seen and played with...
I guess it's important to me because some of the pieces on the board represent people who are important in my life...
Today, I devoured an entire book. It was rather short- two-hundred and eleven pages is short for what I'm used to.
But God, it was delicious.
I am completely looking forward to doing that kind of reading again, and this time, not because I have a class assignment hanging over my head. I was thrilled, as I moved along her simple yet enchanting vernacular. I'm not sure if I'd go back and read another one of her books, but it was an amazing experience. I have never read so fast and comprehended so much...and I loved it.
I also managed, before my British Literature course, to spatter out blood in the Wakehurst bathroom- ironic, seeing as later my teacher talked about the gory reigns of Queen Elizabeth I and 'Bloody Mary.' After using almost half a roll of paper towels, my left nostril still feels sore. I haven't experienced that in a long time, and I'm not sure if I look forward to doing it again in the future. Yet, for some reason, blood is a part of my life, and somehow I have conditioned to respond to it in a contradictory nature.
I will write more about my classes and such when my computer is fixed (which looks like that will be by the end of this week, hurrah). I am looking forward to not have to walk the dark, chilly streets at night to use a computer at the library. I now realize how precious of an item it is to me, yet I have realized that I can survive without it (and without it, I can actually study on my desk for once).
Things may be looking up, yet I fear they will be spiralling down in no time at all.
Post Scriptum:
Lily- thanks for the card. You brightened up my day.
- Location:McKillop Library, the second (and quiet) floor
- Mood:
tired - Music:Silence...what, did you expected noise in a library?
Open to: Friends, detailed results viewable to: Friends, participants: 4
You all know the reasons...do you think I should get some outside help for my...problems? I've heard different opinions on this.
Yes, you're insane and you need help!![]()
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2 (50.0%)
No, they're pointless and they're all quacks.![]()
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0 (0.0%)
Um...what? I was thinking about hemorroids and riding dolphins.![]()
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2 (50.0%)
When I was a sophmore in high school, I was forced to act in a play called The Hobbit. I met some people, one of which was Rae Rinaldi...or Laura, I don't know what she goes by anymore. I didn't give her, or anyone there, much thought. Neither did she to me.
That following summer, when I started my Japanese Culture Club, I had taken a risk and invited her to watch Spirited Away with me and a few other individuals. From that day onward, we got to know each other better, and I convinced myself of our friendship...and believed in it. I thought the feeling was mutual, as we talked of similar interests, as we interacted in the same clubs, as we did outside activities together over a couple years or so. And...she helped me realize that I did have a chance at friendship, that there was such a thing called hope. I admired her a lot, maybe she never realized that- or how much our friendship meant to me. When you want to die...sometimes you'll believe any sort of light within the darkness.
As I graduated and moved away to Salve Regina University, I watched our friendship corrode. I watched her disconnect me from her life, and not feel bad about it at all. And, here's the real kicker: like so many others, she knows that I can be a very emotionally-driven individual...and she took advantage of them without a second thought, knowing that I desperately wanted to be friends with her, and her allowing me to build the illusion that we were still friends.
I still haven't given up hope on her today, though I'm almost positive that she did a long time ago on me. I haven't seen her in months...even when opportunity was there. I hear that she does that to everyone, though.
Though, I commend her on giving me a reason not to want to be in love...besides my asexuality. My friends and my art mean more to me than anything else in this world...and I refuse to subject myself as a slave of love just to be happy. Their fortune reinforces my despair. I never want to be released from it. I have never loved her, and I never will love.
I don't think Rae will ever realize how much she has met to me, in all its unrequited glory. When others tell me that we're not friends, even her mother, i will blindly believe until I die. I shall live in the illusion of our friendship, and when faced with the bitter reality of it, will be wounded deeper than anyone could ever fathom.
Rae, when you receive this message, I will send three songs to you, as a sort of mini-Rae soundtrack (you'll have to wait for one song...I haven't received it just yet).
01. Carptree- Manmade Machine
Any kind of disturbance
Moved you like a landslide, you didn't like that?
At any kind of sign,
You would close that section off.
At any kind of signal,
You would shut that system down!
You finally rewired,
And you bypassed everything;
Now look at the state you're in.
There are two of us talking in circles,
One of us who wants to leave,
In a world created for only us;
An empty cage that has no key.
Don't you know we're working with flesh and blood,
Carving out of jealousy,
Crawling into each other? It's smothering
Every little part of me.
What kind of love is this that keeps me hanging on,
Despite everything it's doing to me?
What kind of love is this that keeps me for more,
When it will only end in misery?
03. Shiina Ringo: Poltergeist
Kimi wo warawasu tame ni, hohoemu de iyou to omoi, kitaemashita.
“Doa no mae ni te!” moshi mo, kono heya mo naku,
Tsuranatteiru kagayaki ga mayakashi de arou to mo boku
Ni osore nado wa nai desu.
Kimi wa hito ashi saki ni hohoende, genshi wo ataemashita.
“Konna boku ni!” ya wo ra, misakai mo naku hoshiku naru
Maboroshi wa izure otoroetemo boku ni wa utsukushiku miemasu.
Kimi dake ni kore wo utaimasu.
What can I honestly say about her? Well...I don't think that just words could do her justice...
So, Cat, when you get this message, I will send you three songs for a mini-Cat soundtrack:
01. The Producers: Springtime for Hitler
And now it's...
Springtime for Hitler and Germany
Deutschland is happy and gay!
We're marching to a faster pace
Look out, here comes the master race!
Springtime for Hitler and Germany
Rhineland's a fine land once more!
Springtime for Hitler and Germany
Watch out, Europe
We're going on tour!
02.Bjork: 99 Red Balloons
99 Knights of the air
ride super-high-tech jet fighters
Everyone's a Silverhero
Everyone's a Captain Kirk
With orders to identify
To clarify and classify
Scramble in the summer sky
As 99 red balloons go by.
03. Olivia Lufkin: Blind Unicorn
I have my own ways that I stride
and I'm not going to stride along the lines
of your fucking guidance
Fsk the apocalypse stars
And let me follow my own natural instinct
Unlinked from your universe
And your curse
Immerse my diverse ways of my mind
You make things worse
When you babble on about staying positive
and being good
and keeping sane
and sleeping right
and removing my dirty nail polish
You don't think I fsking know that?
The first person to comment was my amazing ex-lover Liliana ****** *** . I swear, last year, she was the glue that held me together. She faciliated my interest in CLAMP and amused me all the time with her quirky sense of humour and the occasional ecchiness...
Anyways, I had IMed her only once to ask her a question about
We became really close, and most of the time we talked about random stuff, CLAMP fandoms, and the lj iconing world. It was tons of fun.
I actually listed myself as 'in a relationship' on facebook on Halloween '05 as a joke...and she was my lover from then (note, this was all really a joke). She was an excellent listener and wasn't afraid to tell me that my icons sucked. She was an amazing girl.
Then...
Though...
Lily, when you receive this message, I will send you three songs for a mini-Lily soundtrack (no My Humps, since I don't have it...oh well):
01. David Bowie: Chilly Down
Drive you crazy, really lazy, eye rollin', funky strollin', ball playin'
Hip swayin', trouble makin', booty shakin', tripping, passing, jumping
Bouncing, drivin', stylin', creeping, pouncing, shoutin', screamin'
Double dealin', rockin', rollin', and a reelin'
With the mackin' sex appealin'.
Can you dig our groovy feelin'?
02. Natalie Cole: Orange-Colored Sky
One look and I yelled, " Timber!
Watch out for flying glass!"
‘Cause the ceiling fell in and the bottom fell out,
I went into a spin and I started to shout,
"I’ve been hit! This is it! This is it!"
I was walking along minding my business,
When love came and hit me in the eye...
Flash! Bam! Alakazam!
Out of an orange colored sky.
03. Heiland: Schuld
dich hab ich sosehr geliebt
stahl dein herz sowie ein dieb
nahmst den kelch mit süßem gift
ein stummer schrei malt dein gesicht
durch deine träume jag ich dich
If I think of anything else, I'll have to remember to post it.
September is officially my unlucky month...so, in tradition of last year, Nicole just disconnected our friendship...for the Bible's James 4:4. I just felt the plunge into depression again, for now I have but a single friend on who accepts me and enjoys my company here at Salve. In comparison to the usual college student, I'd say that's pretty tragic.
But, even though she did that to me...I felt an air of hufflepuff brush up against me...for I know now, and I will stick to this belief: I don't judge people. I don't judge people whether they're gay, straight, bisexual or asexual, whether they're black, white or brown, whether they're a 'good' or 'bad' individual. And on that note, I shall never judge someone because they're not a saved Christian or because they're humble about their religious beliefs or because they're 'of this world'.
All this comes from the girl I know who basically loves everybody. As to what she told me, my dad told me, "That's not what Jesus would do."
I just...I feel horrible right now, even though it wasn't my decision. I can only pray to God that Nicole realizes the errors of her mistakes...especially when it comes to taking the Bible too literally.
I know I'm not a perfect person- I'm not by any standards- but I feel compassion for her and I hope that she finds peace in her pathway to find God.
Yet...my depression is more reinforced now that I've lost another person to believe in here. I knew it was coming the moment I met her- I just didn't expect it to come so suddenly. I just wish...I had something to hope for...
- Mood:
melancholy - Music:Vienna Teng: Gravity
Here's how it works:
1. Reply to this post if you want me to tell you what I think of you.
2. Watch my journal over the next few days for a post just about you and why you affect my life.
3. Post these instructions in your journal and give your friends a much needed dose of love and adoration!
Ok, so I tweaked it a little, because I am going to be honest with people- instead of just saying 'OMG YOU ROCK MY SOCKS, LOL!' However, that doesn't mean I'm going to say horrible things...I'll tell you the truth. I shall not be a mirror for once. Feel free to comment at your own expense. <3
...and there will be a real entry when I have enough time (and am not drowning in work).
The very nearest room,
If in that room a friend await
Felicity or doom.
What fortitude the soul contains,
That it can so endure
The accent of a coming foot,
The opening of a door.
There is no frigate like a book
To take us lands away,
Nor any courser like a page
Of prancing poetry.
This traverse may the pporest take
Without oppress of toil;
How frugal is the chariot
That bears the human soul!
I died for beauty, but was scarce
Adjusted in the tomb,
When one who died for truth was lain
In an adjoining room.
He questioned softly why I failed?
"For beauty," I replied.
"And I for truth,-the two are one;
We brethren are," he said.
And so, as kinsmen met at night
We talked between the rooms,
Until the moss had reached our lips
And covered up our names.
Emily, I've fallen in love with you again.
- Mood:
pensive - Music:Shiina Ringo: Aozora

When I read this, I laughed really hard...I guess, though, it reminds me so much of this journal, it kind of sounds silly in retrospect. Megatokyo = <33333
I'll do a (somewhat) real entry for myself later.
- Mood:
gloomy - Music:Hi-Fi on random.
<b>1.Your Full Name:</b>
<b>2. Age:</b>
<b>3. Single or Taken:</b>
<b>4. Favorite Movie:</b>
<b>5. Favorite Song:</b>
<b>6. Favorite Band/Rapper/Artist:</b>
<b>7. Dirty or Clean:</b>
<b>8. Tattoos and/or Piercings:</b>
<big><b><u>HERE COMES THE FUN...</u></big></b>
<b>1. Do we know each other outside of LJ-land?</b>
<b>2. Whats your philosophy on life?</b>
<b>3. Would you have my back in a fight?</b>
<b>4. Would you keep a secret from me if you thought it was in my best interest?</b>
<b>5. What is your favorite memory of us?</b>
<b>6. Would you give me a kidney?</b>
<b>7. Tell me one odd/interesting fact about you:</b>
<b>8. Would you take care of me when I’m sick?</b>
<b>9. Can we get together and make a cake?</b>
<b>10. Have you heard any rumors about me lately?</b>
<b>11. Do you/have you talk(ed) crap about me?</b>
<b>12. Do you think I’m a good person?</b>
<b>13. Would you drive across country with me?</b>
<b>14. Do you think I’m attractive?</b>
<b>15. If you could change anything about me, would you?</b>
<b>16. What do you wear to sleep?</b>
<b>17. Would you come over for no reason just to hang out?</b>
<b>18. Would you go on a date with me if I asked you?</b>
<b>19. If I only had one day to live, what would we do together?</b>
<b>20. Will you post this so I can fill it out for you?</b>
Edit: Thanks for caring.
Still to come:
~LIRA: Two: Our protagonist fulfills his death wish with an old comrade. Yay! XD
~The results of the Fight Test: completed.
~and...a new person is reading this journal:
- Mood:
apathetic - Music:Chobits Opening Theme
I'm aware that I need a update there. This may help a bit...for now.
Coming soon: If you like angst lapping against your ankles on a moonlight beach, then I hope you look forward to reading LIRA: Part Two. I know at least someone...or something...looks forward to reading it...<3
Now, off to a dreamworld for me...may I not wake up, to spare you all from another filthy lunar mood. I'm good at that, right?
| ✓ I miss somebody right now. (I miss all my friends...) | ✓ I don't watch much TV these days. (Yeah...T.V. kind of bores me.) | ✓ I own lots of books. (Actually, I'm running out of space on my bookshelf...I am a secondary education/English double major, after all.) |
| ✓ I wear glasses or contact lenses. (Fourteen years with glasses, going strong.) | ✓ I love to play video games. (Sometimes, when it's good...like Final Fantasy X was to die for.) | × I've tried marijuana. |
| × I've watched porn movies. (Unlike the bulk of my gender...I think it's disgusting.) | × I have been the psycho-ex in a past relationship. | ✓ I believe honesty is usually the best policy. (Even if it hurts...I'd rather hear the truth.) |
| ✓ I curse sometimes. (On very rare occassions...or I find an alternative.) | × I have changed a lot mentally over the last year. (I'm still depressed...just not suicidal.) | × I carry my knife/razor everywhere with me. (o_O;;) |
| Slow and Steady |
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- Mood:
melancholy - Music:Utada Hikaru- Passion (after the battle)
( the secret life of nice girls... )
- Mood:
crushed - Music:Morning Musume ^__^

