political theology of literature

The count

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The count

Untitled

for The Fictional VolunTier Project

[and also in this form, these are: cognizematching thexcount]

By Goura Fotadar

Date typed up: 113017

 

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

 

Date: 11.21.17

In the basic of analysis: the count of “iguasu” versus “she” “her” might verity in this context at least: the chance:

(or rather: gi. u as u)

For the i-term: there are about 3 incidence rough counts of.

compare to the gender-one type of gender-term:

1, 1, 1,1,1, 1, 1,1 , [8]

A rou[r]gh 8 versus a

rough 3 suggests

At basic analysis in

this context that the

[8] rough: lady-type

might make it to

track [g.i.].

On the other

Side: the description

Of the poetry almost

When swayed away from: romance;

Sounds like an actual g.i. track

[as in internally]

The g.i. track

Though makes no reference to being inside men; at least this one has seems to have a “woman” only perspective so; my gosh in this context: the / a g.i. track might be a teller of gender.

:

Consider the line:

“Ther[] is an iguasu in every woman.”

 

Part Two.

Uh, mumbo: cognize matching.

Untitled

Dedicated to my bother, … d-f-m-c [that’s not a typo.]

By goura fotadar

Art response in preparation for community college and advanced academia at some point from that diving point.

Theme: oh no, I’m not in normal college, and everybody is going to think they are smarter than me. Oh no!

Theme music citation: aloe black I need a dollar

tag[s]: computer science theory nobody ever teaches you, which applies to psychology, which transitions to criminology; years of at community college what the heck was z doing, where.

 

The answer is in regular school and even advancing remedial school:

The pink lettering is supposed to direct the x to look for pink, and the red is supposed to direct the x to cognize a matching.

The center piece: in scrap art like theory is the center piece and sticks out against all of the hi, waves, uh; and so you select it; in this example context; and this is a really basic one; as the think-thing to especially cognize matching.

So the question is next to make more sense of all things; and all non-things; what’s the purpose of specifically the color purposes that are not red and pink; that’s their first purpose: they are not red and pink.

[and you might need more information to look for more purpose in the difference between or the similarity within them as against red and pink.] so in the set theory of the so basic level.

Red and pink are one set in comparison as different from blue and grey and clear [hi, waves]

And since in comparison we might first want to start in discrepancy difference of color these two are alike in belonging to one set; and so are the other three as belonging to another set, uh.

One last quick point; it’s also a lesson in actual semantics: how is semantics ordered in whatever this language is;

Well it’s pretty edified in this contextual diagram:

You start with the red part of the linear trajectory called letters.

Next you return to what you have perhaps already read, and notice in context cues: the pronunciation as a matching cue; to correlate this in cognition to patrol science, or uh whatever that’s called nowadays.

In any way, next you return to the pink letters.

So the proof is basic and perhaps not useful to those of regular education who just are not that advanced;

But for others, regular advanced, and remedial studio-s [u]:

Semantics: implies order which implies cues which implies control over things and non-things by working with cue recognition

Through semantics order we have the division to non-order which

Is,

Uh: perhaps best described in terms of very basic set theory or knowledge of sets like even at the elementary school non-advanced level;

Eventually at mind control basic levels we have the re-glance at the scrap art or scrap diagram, and have at least beginning art theory.

This uh, is called; actual education. I.e. you now understand things.

Then to turn things to fiction to the most rudimentary of this developed synopsis: perhaps it’s obvious now: i.e. the center thing is  door , a car , a something; and it’s outlined in pink; and the letters imply especially movement: how does the center thing based on the analysis of letters or literary comprehension, basic; get to the other thing most in this thing colored? Like itself. [or something]

 

 

 

 

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[(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

 

11.2.17

“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

significance

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.

[t.b.c.]

reign

 

Aside, in this Case: platter

Posted on Updated on

Aside, in this

Case: platter

[also in this form: aside]

by Goura Fotadar

brat

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

of COMMUNICABLE

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

]

and

o mc per hen is on

[makes a lot of sense]

[comprehension]

[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

Semantic]

 

11.2.17

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”

identity

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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shame

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

IMG_20171107_113734[1]
my notes as posted here on cited: source, text pages
IMG_20171107_113740[1]
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-

comprehension:

of “curtain”

with …

“tortilla”

 

Methods, ways to

Cook and

Prep-cook.

 

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,

Gardening,

repair – construction,

beauty-constructions,

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.]

 

A

S

 

A

L

M

O

S

T

 

A

 

S

A

F

E

T

Y

Alert?

 

Sounds tribal.

 

Though

Sounding

Hopeful

Well almost;

The consequence

Of the

Wrong

Cut;

 

Oh of

Course it

Says it’s [?] from

California

 

 

(1)

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.

 

 

[t.b.c.]

Social Dynamics through Art

Posted on

[and also in this form: 103117]

for The Fictional VolunTier Project

By goura fotadar

Date typed up: 11217

103117

 

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

Untitled

 

Of course about

Death;

Soon about

Life, also?

Since about the

Passage of movement.

In “hike”

About gender through

The comprehension of

“group”

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

Poem:

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

Poem:

“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”

“nature”

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”

 

Derivations

Of Look-up

Can also

Include

Recollecting

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”

11217

 

 

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

Posted on Updated on

once

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]

103017

connotations,

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;

Sorry,

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

Zipper;

What

A nice

Rest-sleep

Option

For even

The

Outside

Homeless

Situation:

“space” –

Wise.

Perhaps

Then than

In this

Context,

The “hammock”

Is a type

Of “candle”

 

The derivation that the

“hammock” then is

Like the candle;

and of course

Everything  (that) is not

“hammock”

affected

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

Process

Of

Making

Candle.

 

103017

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 /

placement

of the stove? (/-)

“brown forest floor”

close enough

To its after-line

“hammock”

implies almost

Brown bag

And what is it

About  “… forest floor”

That implies that

Type of bag?

[something to think about]

 

Reticence

Posted on

Reticence

handwriting

by goura fotadar

for The Fictional VolunTier Project

dates: 72517-72617

I. Summary Analysis

a) from / of p. 1

[1] source, citation text: (OH BEDIZENED ONE! … ) VOL. 1, ISSUE ONE, 2016, LOTUS

IMG_20170725_175317
cited: picture of cited source text [1]
IMG_20170725_175339
same caption relevance as above cited text cited image as referenced

 

b) sequence regurgitates of college not quite but like trauma … so

college trauma-like:

” As the New Year draws near, it’s a hilarious day in California where all the banshee women and the frail-voiced poets are getting the better word, … ”

… “… draws near”

imagining a curtain [everything else is then stage] and with curtain;

does it matter? [how much] what any external to non-stage-non-curtain is.

 

The act about to come is:

-> “… New Year”

the setting is a high-energy or “hilari[ty]”

the emotion: it’s rare or hasn’t been the most past case that they have been “getting the better word, … ”

 

the

know : they are then

a connected

group by either

not having

” …[gotten] the better

word … ” or

by “… getting

” it now.

 

pull out of stage.

—– —– —-

relational dynamic:

the connection:
” … all the banshee

women and the frail-

voiced poets …”

here; it says and [;] and-not

or:  [“ban”] [“she”][“-e”]

“-e”

experience [of]

“ban … ” “she …”

 

& perhaps? “and” a

connection to “… the

frail-voiced poets … ”

 

since they cannot “voice”

to stop the

“ban … ” “she … ”  [please: I hope ‘ou understand “ban:” “she” as an item]

-> it gives us a hint

of the livid and perhaps

unpleasant experience of

being a ” … banshee” and

also to the affective effect

of poetry; likely also known

as power.

without “voice”

is to “voice”

or can be

in “poet …” ry

and so “e”,

“ban” “she”

is confirmed thru

text; to

be no longer?

unpleasant.

[include photograph][of text].

 

II. The answer to the

quandry [quandary] [sp.] of career

counseling must-haves.

 

[2] source, cited: pattern,

orla kiely ; from

introduction …

IMG_20170725_182927
cited image of cited text [2]

[a] “absor[ption]” an example

thru experience of what you

want to do …

 

[b] “[work] … experience ”

you must qualify …

… ” … likes and

dislikes, and to understand

when an idea was good, when

to stop, when to go on … ”

 

[c] Reticence

of owning work!

; your own work.

 

“What I like most is

that my work is

identifiable; it has

established its own handwriting

and stands out as mine.”

 

[art: draw “handwriting”]