literary theory

[(then) while in the severity of pain of men-ses][part one or something]

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[(then) while in the severity of pain of men-ses][part one or something]

for The Fictional VolunTier Project

(also in this form: While in the severity of pain of men)

by Goura Fotadar

Date typed up: 111617


Source, citation: Lotus Magazine, Issue No. 2, 2017, pg. 8, The Iguasu In My Mind



“iguasu” – the hint in

the title reveals itself

as the most coherent

term in the poem; where

that coherent means:

the thing, idea of primary


on relative to posting word

analysis: igua su

ig u as u

gi u as u

u gi as u; at first it

sound so/or rather looked

so unfamiliar that it

was unclear if could

be analyzed clearly in this [analyzed here means diagram-ed] [or is it two m, m (s)]

language: and unless it’s

referring to a, the g.i. (tract)

it’s referring to a, the g.i. (track)

notions of alternative

entries forget that there

are or might still; be

functional paths or what

are called tracks; and

if “she” “her” is

the 2nd significance

in the poem: the “she”

g.i. conundrum; as a revisit

in culture: can it happen

as a “she” “her” track.





Aside, in this Case: platter

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Aside, in this

Case: platter

[also in this form: aside]

by Goura Fotadar


for The Fictional VolunTier Project

Date typed up: 11/15/17

Connected Source, Citation: Lotus Magazine, Issue No. 2, 2017, “The Tortilla Curtain”


tag[s]: group sanctions, aside for poetry analysis and such et al, nuanced transportation rights i.e. civil transportation


As an aside an almost such as the: library

“Billboard … “

COMMUNITY is almost a comprehension


O MC [from latter] cited: muni?

(and variance meanings of

‘muni’) cable









com per hen is on ->

and what is

com, o, mc

o, mc? and in

reference to hen as a mc


2nd split

The first part matches above [I think]

Series [as in before the,]




you have to give up

your speak albeit

temporarily (o, mc) to

escape the regulare

schedule of cited: muni

to cable; in order to enjoy,

benefit from the library;

where “The Billboard-“

is hung; even if you (silently)

watch cable like types at





[after above line of: reference to hen as a mc



o mc per hen is on

[makes a lot of sense]


[comprehension makes a lot  of comprehension]


aside, platter cont.:

(watch cable like types at

) the library;

and how might you come

to the actualization

of the notion: of opposing

communicable and

where from COMMUNITY

the actual label of

“The Billboard-“ well

In the aside context of

“The Tortilla Curtain”

It is of a more sense.

To avoid disease in

a group hopefully not at

the mark yet of community

in size you might

want to consider

what seems to sanction

Itself in community-

Like size i.e. what

might be communicable

Esp. in the context of

This poetry with food-like

Ability? Or rather

Vulnerability for/of

Contagion; and of

Course apply the

Opposite. [as has

Been done thus

Applied, in the




pgs. 6-7

On second-overall

Reading, or is it third:

The differences

in “Curtains” are

Also perhaps differences

Of; variations of

Cultural identities in

“American” heritage; i.e.,

perhaps obviously.

Then if only “the

hungry animals” and

“the poets” survive to

the surviving “American”


We see a-new

past [in the anew,

Studied look at the

Stanzas] what

Might be a description

Of the cited: Great

Wall, the

Continuation of scenery

from one-looking vortex

To the other; and we

Might now be at

American landscape;

At the time of birth;

Before you might achieve?

Your own “passport-“

and where in

this country, then; and

Really then as in next

might you most

likely or rather in

Context of time, see:

“The Tortilla Curtain”

Perhaps the

Hint is: a cultural,

Now locative type

Notion this line

And its subjunct:

“From white bread

and Hope”

and is the

famous location

in Arkansas

or Oklahoma;

worth looking up.



“Grow(-ing)” “of Shame”

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for The Fictional VolunTier Project

[and also in this form: here we now see]


by Goura Fotadar

date: 117117


Source, citation: Issue No. 2, 2017, Lotus Magazine, The Tortilla Curtain, pgs. 6-7

my notes as posted here on cited: source, text pages
my notes as posted here on cited: source, text pages

10.29.17, 11.1.17, 11.2.17 [see photographs]

here we now see

the kitchen

as a stage.

from the commonly used notion-


of “curtain”

with …



Methods, ways to

Cook and



The prep-cook,

Combines to prepare

a dish, a meal?     We know

At least

One ingredient,

Segment is,

Is like: “Tortilla”



How to cut?

[as cooking technique]


[as a cooking

Technique, still]

What cutting could do

[incorrect] if done-so

[like a training

Method to surgery,

Combat, construction, even,


repair – construction,


then to activities

That have cutting —

Like power: driving,

I imagine or its-thats version

most vehicles, cloth-making, clothes-making

Construction, other product-making,

Procuring/construction, working- out/ , teaching work-outs, et al.]






















Sounds tribal.





Well almost;

The consequence

Of the




Oh of

Course it

Says it’s [?] from





So what

Doesn’t happen

To the animals,

Contrary possibly to

Culture notions, happens

Instead to the families

During mealtime: huh!

A sense of lethal food

Dictated by “The

Tortilla Curtain” such

As poison.

(2) and as after-thought,

We scuse me

‘The Tortilla Curtain” intakers

Are instead

Eating splotched

“families.” Hence

This above usual?

Perhaps version gore

of “baptized”


In the end

“The Tortilla Curtain”

Through such declared?
doesn’t provide real

Food, meals and so is the

“Grow(-ing)” “of Shame”



The reason

perhaps that

the warning

comes from;

The see-able

To the potential

Victims: families;

From “The Billboards”

Is it hunger that

“can block eyes,”

Or is it something else, less virtuous; that won’t block “The Billboard … “ !


and here’s an

Answer: to the

Almost privy Q;

Do the poets

Survive as

Perhaps do

The animals;

And maybe

As surprising

To regular

Culture notions:

i.e. how could animals

who are often a

portion of the me[el]

ingredient be surviving

and also how might

“the poets” who

i.e. in regular

culture not earn


be surviving into

mealtime; and the

so described

lethality of

the meal.




How to see Long [Two Whens] [Modality of Belong]

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How to see Long [Two Whens] [Modality of Belong]

[and also in this form: How to see Long]

Date typed up: 11317

for The Fictional VolunTier Project




by Goura  Fotadar



Source, citation: Lotus Magazine, Issue No. 2, 2017, Pwu Jean Lee, Faces of Love, p.5



Consider, the

Cover of this

Edition from


So, it’s the flowers

That smell the fragrance;

And this fragrance is/isn’t ?


“biting the same sweet scent,”

Next; perhaps use this

Discovery to create

The instead “Long”

“(Long) faces … “

Happen when


The same scent”

Isn’t your


or actually?





Or is the cliché notion of when it is that they don’t happen when you, the “scent” ( r )






while waiting

to belong?

also a new perhaps

and definition of far


Modality of


or else will be long; the again

Perhaps “seen” is a form of “smelt”










and not






Of senses.

< ————–

with an

alignment to

sense depiction preference


and then


for the sense:



In reference

to “Loving”


… ?




Social Dynamics through Art

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[and also in this form: 103117]

for The Fictional VolunTier Project

By goura fotadar

Date typed up: 11217



Source, citation: Lotus Magazine, Issue No. 2, 2017, pgs.3-4

[2nd poem segment], E.A. Gordon, 6,971 Steps


Tags[]: analysis for The Death project, too



Of course about


Soon about

Life, also?

Since about the

Passage of movement.

In “hike”

About gender through

The comprehension of


Versus “one”

Type variations

Considers, tag[]s:

Social dynamics through art


And of course in gender what me might see, be described to;

May be pun to true

Meaning of.

within the first

Two commas

Are parts of gender

Exhibitive nuance:

“semen” “war” “truce”

Upon “ … sly betrayal”

We enter “hike”  “…”

Where we first have:

A proposition of

View from  s.d. perspective

And perhaps from

This perspective

We have the entry

Into the top: of this


Who comes

With is it

Like alliance

To “a grave”

cited accompanying music:

Grimes, (-human) kill v. maim

Human behavior, Bjork

Rag n’ bone human


and the opposition of

“human” to “woman”

i.e. suggesting

based on what we conceive

in culture of notion: “woman”

points “human” as being of to it; opposite.

It is perhaps noteworthy

Why this might be a primary

Method to measuring “woman” [cultural notions and perhaps in opposition to contextual, this analysis]

As another séance in this


“To hike is to be

Comfortable in nature, a one-to-one

Relationship.” And still:

“To hike alone without

Preparation is to be a

Woman wandering, either

Lost or batshit or both”

Lookup “batshit” and

How odd so; since

In case of “human”


Then; “is … comfortable”

Either as “woman” the “hike”

Is not “in nature” or “human”

Is really to it “woman”

a different species.

In the case of “batshit”

though often

Heard of

With reference to

Crazy when

Broken down to the obvious:

Bat shit; it almost sounds

Like or rather the response

Of fear at scared. Of course

Within the derivations of

Scared and fear; in any

Case; “to hike alone

Without preparation”



Of Look-up

Can also



In process


Is conceivable with reference

To the perhaps new frame

Of bat shit; which of

Course could mean

Batting poorly, also. In any

Case running to a trail for a “hike”

Might make belief if

In a severe or even varied

State of scare and-or fear.

And with reference to,  here “woman” may be

The species that experiences

Such; whereas either

“human” is socially dynamically

Protected against

It: in reverse:

“that is, the normal kind”

“To hike in a pair or a group is to be the pack kind of human,”

Or perhaps to reserve the moment

Of a “hike” for preferences

Of “comfort—“ ; in

Any case; such perspicacity  [sp?]

Is what differentiates these

Mythical versions of “woman”

And “human” if even

Based on the regular

Derivations of these

Perhaps at least contextual

Now cultural terms. In any

Case the sense of fear or

Scared as in bat shit

Might mean directs us to

The beginning of the poem:

And of course

Since it comes form

“woman” we finally have

The reason for the perhaps

Opposing woman nuances:

“semen” et al. In any case it is likely “a grave”

Of “woman” do you think

Due to that “woman” version

Of “hike” or do you think

The “batshit” of its any

Variant meaning is

What is caused

By the “grave”

Of “woman”




The Brown Bag, Snake for dinner? and that tool, also.

Posted on Updated on


for The Fictional VolunTier Project


by Goura Fotadar

date typed up: 103117


Source, citation:  E.A. Gordon Things I Didn’t Know Before I Started Sketching p.3, Lotus Magazine, Issue No. 2, 2017


[and also in this form: The Brown Bag]



To infidelity,

Especially as in “landscape”

On the other side.


If “sign”

must direct

One way

Or the other;

For the “permission”

To be optional;


An option.


As in, a candle

And so everything

That is not candle in the “space” :

now permeated by it;

Now lit by it; now so

Shaded by it; and even that

Portion stored by it: is

Apparently the

“ … negative space”

and so in opposition

The candled is ? positive

“space” ?


The Brown Bag related yes on check of “Simp”


As a related aside:

with the

Option of

An over



A nice



For even





“space” –



Then than

In this


The “hammock”

Is a type

Of “candle”


The derivation that the

“hammock” then is

Like the candle;

and of course

Everything  (that) is not



Is then derived as

“negative space”


In third stanza,

Sounds like

The scent

Of a candle

Product citation: illuminations (candles)


Connected to title of this segment/of work ,

so perhaps the candle is as

Cliché has perhaps told; the draw-by-side: tool;

to “sketching”

then presumably?

Prior to sketching is the

making of the candle, candles even;

and is then an allusion of, to order while such.


In fourth stanza,

Of course then, this

Is the uniting

of: the







In stanza (4)

The first sentence

Line: points to:

“the sun”

As a cooking

Oven that too gets

Drained; and when

We think drains; we

Imagine sinks and diameters, and within the

Line-sentence is the process of cooking:

Oven /-

“the net of branches”

The making /


of the stove? (/-)

“brown forest floor”

close enough

To its after-line


implies almost

Brown bag

And what is it

About  “… forest floor”

That implies that

Type of bag?

[something to think about]


“D-F” [in reference to M.C. also]

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for The Fictional VolunTier Project

and in this case also for The Death Project as part of the FVP

date: 10.26.17

by goura fotadar

[and also in this form: D]

poetry from source citation: notes from the dragon-faerie song on p.15 of Lotus Magazine

Issue No. 2 -2017

from source, citation: as identified above as of 102617

For this analysis: labels: as photographed and included above from citation: bracket: what might be the 1st stanza

bracket: what might be the 2nd stanza


I believe it’s about


why first it uses

the word

second: you/one

might brake-break

from the “whistle”

of life; in

your version

of “  “

what might be the

1st stanza, see

picture: declares

how to be?

or what it’s

like to be on

break from

the “whistle”

of external

to your version

theme: versions of rest [housing, not housing, …?]

theme music citation: adam ant wonderful & Madonna this used to be my playground

of “ “

the what might

be 2nd [see picture]

stanza describes

what is

this working

version of

the poet’s  “ “ [disclaimer: if even if derived away from actual reality/ experiential reality of real]

perhaps a side

consumptive notification

might be howis this

a both, a


D: “leaves”





F: “words?”




“more than vanity”