Monday, June 27, 2016

Peter Magliocco writes

Paris Hilton in Drag

The ambience articulates metric verses of hair
for the undead, marking time
quietly until dawn when
my spore-infested hands
reached for this space-creature
craning her alabaster throat 
in the reveries of a mystery writer's psychosis,
where self-delusion is everywhere
simply a multifarious space
of darting ions
daring us.

"For all the ladies of Lima are
famed for their beauty and coquetry,"
Gaston Leroux once wrote for old tongues
(or parchment yet prescient
with his gothic, viral-spun visions)

Behind the veil of blackness I violated,
his decree blossomed into a breached glimpse
of many Vegas escort girls penetrating
my hackneyed porn epics & eons
a frazzled pen once thrummed to

Here in the gilded town of cheap desire
all changed under the legal influence
as women became men (& vice versa),
until the certainty of sexual identity
lost itself in some hip ambiguity

Beyond the ken of once private parts
all must vanish someday into microchips
masquerading as fig leaves no longer.

Spare me the genome's devolution
from once beautiful old world matters,
my severed crimson fingers still lunge
into a complicated nether-space
to plunder the alien female's body

with imagistic wordplay
bred by depravity
the neon moon

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The Simple Life Goes to Camp --"14"

1 comment:

  1. The Leroux quotation was from his 1912 novel, “L' épouse du soleil” (translated as “The Bride of the Sun” in 1915) and referred to the fabled women of the capital of the Viceroyalty of Peru, one of the wealthiest regions in the Americas. Other writers made similar remarks: Paul Groussac called the limeñas “exquisite and complicated beings. A single one of these wizards is enough to animate a social gathering as a nightingale is enough for a garden;” Max Radiguet described them as “half wasp, half hummingbird,” and Esteban Terralla y Landa said they were “angels with claws.” These fabled women were “las tapadas limeñas” and renowned for their attire (the saya and manto, originally intended to serve social notions of chastity and jealousy), consisting of a hip-outlining overskirt with several stiff pleats that covered her legs from waist to feet, and a small, sleeveless hood that covered the head and the bust and fell to the waist, where it was fastened. By holding the extremities of the cloth together, women could reveal one eye or a fraction of an eye, depending on the situation or the needs at the moment, without revealing her identity or damaging her reputation. The church, as well as the Inquisition and the government, all tried to prohibit the garment, to no effect, until it passed out of fashion in the late 1800s. Gaston Leroux inherited millions of francs but lived so extravagantly that at 22 he had to go to work as a court reporter and theater critic for “L'Écho de Paris.” Eventually, as foreign correspondent for “Le Matin,” he witnessed the 1905 Russian Revolution. He left journalism in 1907 to write fiction and became one of the pioneer mystery writers, beginning with “Le mystère de la chambre jaune” (The Mystery of the Yellow Room)which was serialized in “L'Illustration” from September-November 1907 before it was published as a novel in 1908. One of the first “locked room” mysteries, it introduced the detective/reporter Joseph Rouletabille and included precise, detailed diagrams and floor plans to illustrate the crime scene. But his most famous work appeared in “Le Gaulois” from September 23, 1909, to January 8, 1910 and was published in book form in 1910 as “Le Fantôme de l'Opéra” (translated in 1911 as “The Phantom of the Opera”). In part it was inspired by an apocryphal tale about the use of the skeleton of a former ballet pupil in Carl Maria von Weber's 1841 production of “Der Freischütz” and partly on his own reportage on a cell in the Paris Opera ‘s basement that had held prisoners of the revolutionary Paris Commune. In 1919, he formed Société des Cinéromans to simultaneously publish novels and adapt them as films.

    This is what “14” had to say about his parody of the “reality TV show” starring Paris Hilton and Nicole Richie: “We've obtained the exclusive image of the Simple Life Goes To Camp promo poster before it was heavily altered in Photoshop. According to a source, problems plagued the set. Paris Hilton kept flashing her privates because she thought the film crew was the paparazzi. Each time she did this, crabs seemed to emerge from....well, we're not sure where they came from and quite frankly we don't want to know.… Tinkerbell threw herself overboard in a final attempt to escape from Paris's clutches. Paris didn't notice her dog was missing until several days later. Photo retouchers had to smooth over Nicole Richie's gaunt face and worked long hours fixing Paris Hilton's "wonky eye." Brandon Davis sweated profusely during the photoshoot giving him a slippery grasp. Thinking Brandon was their long lost mother, hungry bear cub orphans followed and suckled at him as he carried the boat through the water. The EPA had to be called because a strange oil slick was found in the lake after Mr. Davis emerged from the water."


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