Reading Notes


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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

cited: picture of cited source text [1]
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, … ”



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”]


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?


[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 …

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”]

remember, the: wide flower in breeze or air

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for The Fictional VolunTier Project

a flower is moving is when wide enough is one interpretation of portion of book source title ” … FAT GIRL WALKING … ”

by goura fotadar

date: 7117

source, text cited: Brittany Gibbons AKA



Being Comfortable in Your


from cited p. 72:

” ” I love you, you know, ” I said staring up at the sky, the words

coming out too high and shaky, making my ears ring

as I said them. ”


sounds like sky

or cloud speech: the

description :

“coming out too high

and shaky, making my ears

ring … ”

can only be grace; [think: chime [and think how that level of chime]]

or converted too such in

connection to the sky;

sky; or clouds.

So in more effective

words: how do you hear


side advertisement : Sky[y] vodka. [cited]


[the imagery.]

The truth?

In the college population;

even for a larger

university; can the

actual student population

if even so reported

actually be “over sixty thousand”

or is it staff numbers

that reach that statistic

if possible at larger

universities; where

hopefully state areas

do some/sum hiring.

Who really,


theme: clouds are, paradise?

theme music citations: coldplay paradise, phil collins another day in paradise, god [a cover of?] tori amos, sting feat. cheb mami desert rose …


Remember to re,new book,s

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for The Fictional VolunTier Project


by Goura Fotadar

tag[s]: death project art

theme: emblematic re-occurrences

theme music citation: Stand By Me Ben E King

death art: from public visitis to sites;

imagine in convention: to have somebody’s name, who is deceased in a color that;

marked on the urn; that would be the destruction of this art? or would that be art.

or ownership art

the theory of non-possessions memento art


frameworks too of reality seen change; or reality interaction




date, typed up: 52217

cited, source text: Henry James The Turn of the Screw & In the Cage

image of back of source, cited
image of front of source, cited
image of front[d] of source, cited

date, composed: 52017

What I know for sure about;

of what I’ve read of

James; he has

made your vocab.



Remember to renew books.


from the back:

fear perhaps ?

“afraid” & “ghosts”

is this an almost near

pre-cursor of that

movie (citation): The Others N. Kidman


cited p.138;


scan to through by

flipping to 4 or five locations;

finding a passage that has current

relevance ; like a psychic index

theory; other notes: to consider;

theme cited: brainstormers et al

fire is like five



since I’m currently examining the front

of cited “love story” I decided

to look past the front

and the reflection

back as a standing

pointe; theme: how to move;

and came across a passage

on this page; that has high

current relevance to issues of

s.c. [social cause]


cited: p.138





[but first just by a stroke of luck; the book was left

here where

I would sit.]

The passage:



“every opportunity”

“inspect … documents”

“… documents”   a way to “… see every one at … ”

house: “every opportunity … ”

so? have a ” … flock” and will not be ” … disappointed.”

a quandry

to “… disappointed …”

tag[s]: art’s fiction theology


image from passage from cited: source text as identified
image from cited: source text





Where analyses enters the loose cannon of creativity

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Reading Notes, continued

for The FVP

tag[s]: mailing terms


date : 5.5.17, date typed up: 5.16.17

source, cited text: LOVE STORY by ERICH SEGAL

cited p. 4 : ” “Renaissance polyphony. ” ”

cited p. 5 ” ” What’s polyphony? ” ”

do you want to translate this

to Ingles? [well, more so;]

poly phony  pol-phon [y] (away from the standards for now : poly & phony)

pol-phon [p]

ol-hon [o]


l, no l – nh       live , no live -new hampshire




and the l, nl extraordinaire at least.


consumptive proposition: | [ Well, disclaimer: I’ve already

read this book years ago; and perhaps, read it again;

and obvs. recommend it; but the completed reading was

years ago.] Thus; from brackets inclusion; like some

of us learned in elementary school and past; and

at the public library: pieces of * the book teach

what it’s about in at least gist; and teach what it’s

meant to teach. Thereby; any even reading analysis

at a deep enough level in stasis; example: a popping form from

a storybook of one of its characters; or concepts; and-or

such combinations; can allure you to cited: allure (magazine)

the proxy knowledge of that manuscript; whatever its

level; and-or length. |

-|_ (not quite the matching star) the book as a thing, a conception …

tag[s]: mind channels, book theology, publishing basics, knowledge games where everybody wins.

back to analysis,  :

Live, no live – n.h.

e  a

w m


when looking at the

left-overs of [y][p][o]

and in application : to it

[y], [p][o]


almost seems to

imply think not of

no live – [n][h]

[y]          [p][o]

a p.o. box

address if


don’t live in

new hampshire;

i.e. another better,

arrangement may be/

is in store for you;

and perhaps having a p.o. box address

should be mandatory in new hampshire.


The Basics: Why might one need-benefit justly

extraordinarily in/by having a p.o. box mailing

address? [To Seriously Contemplate.]





The Knows

” “Renaissance … “”


\/ In Ingles? [again][more-so]


re- ? as in re-do?

n/a as in not applicable






to make more sense from an ? -> ec

adding periods: e.c. -> electrocute (periods counting the c. of order ; I mean punctuation as order)

re-do, not applicable, is

s, an / electrocute … d?


tag[s]: almost crimin ologie?

in crime we’d have something along

the lines of:

[re-do] 2nd or more attempts




[n/a] of somebody who had not

likely esp. committed such crime

[theme: when torture is legal …]

hence n.a. is still alive from[is]

is a She[s]; usually this means

in ostensibly gendered genitalia [She];

[an/e.c.] hasn’t told ‘what’ yet as an electrocute … d.

combined with its follower: has a p.o. box

and does not live in; is not from new hampshire?



On Par To:  Graduation Motif/Theme for The FVP

tag[s]; summary analysis, identity form

date for: 51617


Congratulations on finishing / achieving / … considered;

[that accomplishment]

cited: “Emilia (l.c.)Coccinea” !


cited p. 23 from cited Garden Gate

cited: Garden Gate
cited: p.23 from cited: Garden Gate
  1. You might incorporate me into still dramatic art.
  2. Obs. vious. ly from my common name I might-cane-seen an educational symbol.
  3. My usual color-form helps make variation in color comprehendible.

tag[s]: the basics of mind channels

4. I’m a backgrounder; even if you decide to place me in center stage.

cited movie: center stage

5. I am ultra petite; in my conventional form.


Art Concept Arising Meditator:

The Flower as a Seminal

Meaning Informationa,l

Form; how would

it work:

(a) structure of flower,

general perhap.

(b) information provided

as with above … i.e. (others)



of             common           use

Example art conception:

from the doctor’s office ;

doctor actual.


[!] how tall were

you this time

last year


compared to now.

[!] accurate guess

to when

you were planted,


[!] how tall is [r] your haircrosspetals

in the month of your

visit; and what

color difference

since then.


cited, further:

first name:


Last name:







After & Before Notes

Posted on Updated on

source, cited, text: LOVE STORY


for The Fictional VolunTier Project


date, 51417, date typed up: 51517

sub-tag[s]: empathy training & Eulogy Practice; The Death Project

cited. p.1

“What can you say about a twenty-five-year old girl

who died?”

& Recollection of the 1st reading.

sub-tag[s]: military training protocols for socialization of appropriate relationships and their safety.


Scenario Potential un-safety: If you have an, a relative, relatives;

and-or others, those that

you know; that might despite

exhaustive efforts put

your relation ship with so-so

at risk; and so-so is worth it.


tag[s]: fiction applications.


The Obvious: You have to qualify

worth it; and the

potential security risk;

to have an ethically retaliatory



Scenario, continued: Your Aunt Jane

accused you of stealing 50 times; when

you hadn’t ; she called the cops all 50 times;

and you got by not getting arrested by

some margin of real luck; and the fact

that you didn’t actually steal did nothing

for you; seemingly.


When you were getting ready for your

last deployment; you returned for

a visit; to her home; as is considered

standard; and she held you hostage

often at gun-point for nearly a

year. At that point: it was deemed

safe for you to be evacuated from

her premises. While being held hostage,

she mentioned the names of other

people she had under hostage.



The Non-Obvious: Now back at non-hostage;

you’re concerned your childhood

friend; who is now your

recent girlfriend might be

at risk. She works for

a city’s sanitation department;

and clears debris and trash;

at odd hours due to her

prescribed work schedule.


The Prescribed Enemy: [connection to];

you grew up with your Aunt Jane

for most of your childhood;

but not all; since leaving

hostage; you’ve had no contact

with her: but she has repeatedly

had attempts in trying to reach

you; one of your colleagues

has also reported that he’s seen

her near the office the two of

you share; before your work-day

starts ; and has reported it.


The Self / Outside Trigger -> Retailation Against No – Contact, Cue:

Recently a police organization

you don’t trust ; left you a message

that your Aunt Jane has reported

you missing.


The Ethical Argument: Your recent

contact past hostage with Aunt

Jane d.n.e. You’ve never dated

much; but she’s called you a

philanderer; and even told

the police that you’ve gotten 15

people pregnant. [You’re still a virgin.]


fiction application from esp. recollection of 1st reading back then of source text: You’re Aunt

Jane is a slur, er to your identity;

and a terrorist to your work and

joy; in addition she’s a criminal

that’s somehow unjustly avoided prison.


Contextual Worth-It: Dimitria Your current

girlfriend; mysteriously showed up

in your life again to support you in

your deployments; and sent you care

packages; that really made a difference

to you; you didn’t and haven’t found

this strange; because she was also

like this when she was ->

Your friend in your childhood. She

really likes her job;

but wants to return to school;

at some point ; when, time can afford


cited: v. work, regular

tag[s]: trauma recovery; security through social economic manipulation


Your Plan is: To call your Aunt Jane

on the phone; record your

conversation; transcript

the conversation; and make-

up that you got a girl pregnant;

and  that her dad won’t press charges if

they are paid. You plan to make-up that

you don’t have enough saved up ever for the

$10, 000 they are requesting as a legal small

nest egg. You expect not to a receive a yes;

but if you do:

you plan not to give

her any made-up names.


If she says yes;

you plan to go in-person with an approved

colleague to pick up the check; due to

hostage circumstance security.

[The person can even wait in the car; and does not need

to interact with your Aunt Jane; depending on how you feel when reaching that circumstance.]



The Power of | Schadenfreude [sp?] |

Next you plan to donate

the check to a

researched, worthwhile

charity ; through

your own bank account;

providing your Aunt Jane with

no previous explanation other than:

“please address the check to me; to

make things easier;” and


the recording,

high notes

from the transcript,

and the sequence

of your steps plus

the b.a.  transactions

or not if she says

no to the

“powers that be”  to initiate

a relationship security protocol within the military in the advanced

era of schadenfreude [sp?]

Pop Fiction, continues; & The Flower Theory

Posted on

Reading notes: 4.24.17

tag[s]: crisis of ed. curri-cul.

source, cited:

cver of source text cited

[accompanying] Dictionary of American Portraits

[edt by Hayward & Blanche Cirker and the Staff of Dover Publications, Inc.]

on cited: p. 235

identified from source text cited in coherent relevant lines of citation

what do you think

of the classic heart

+ accompanying second

necklace + pears, pearls

grabbed; and even

in comfort in

open neck.

tag[s]: art edu. ; theme: ideas; mind channels

In second source, cited:

[main text]: z. smith; swing time

source text cited

[for this segment of reading notes:]

in cited: Prologue

[but first theme to respond,

to:] [your art anywhere

outdoors] [like book covers

in libraries; at least.]

[in the entertainment

of psychics [real?]

search groups +

severe [authentic withins

severe academic] politic

groups] badly there

must be the advanced

of the reading group;

even two-person in video-clip

cited: that special person!

[draw a two person skit with recording.]

to supplement academic

esp. reading

related endeavors


Part One. The text as an art lesson.

in reverse order







of appearance

“dancer” cited p. 4

“I experienced myself

as a kind of shadow.

” … that I had [notes:

never [had] [necessary?

had] any light of

my own. ”


after seeing this text; thinking

of art and-or painting: one

notices text such as:

“coast,” through page already



more reading notes for The FVP: The Flower Theory


cited: p. 16 of

main source text ;

while I was thinking on-the

notes in pin-points:

I was thinking of foreign

culture and not difference

in cultural race: but

within; the main-Land:

possibly: here ? [even].

on p. 16 it is

revealed that the

other “girls” are : “these

white girls”

which of course points

us, to: another race

for the narrator +

the defining sector : race;

other than white;

later on the same

page: ” ‘When your

dad’s white it

means—‘ ”

it seems from cited: page

17 the answer is:

“There were consequently

things you couldn’t discuss

in front of Lily Bingham, and

now Tracey shut her mouth … ”

where “consequence […]”

sounds like cost

and there are “things”

“in front of” [a flower]

“things” cost [

have “consequence .. “]

when [colloquial-ly]

“front … ing ”

to / toward /

as to …

flower [s]

flower in name – ing

is invocation

to species:

flower, too?

from p. 14 of the cited: text [main, text]

esp. breaking up:

“espadrilles” => esp. a drill, es


esp. adrill :

is the description of

the shoe: type! [also]

pesa, drill, es

pesa, drills, e

following the continuation of:

s where it

most makes sense ;

and in this case application

wear : it most makes sense

pesa, e-drills [? -> perhaps]


4.18.17 on p. 15 at quick glance oui-oui!

have: ‘ “Freed” ‘ and here on cited:

p. 14 we have :

” Her hair was yellow,

not blond, yellow like a canary. Her

skin was very pink, raw pink, now … ”

paint a  [plain] painted [white]:

frame [[as contrast; even what

could be missing ]]

and so blinging opposite,

earlier on cited: 14;

“It was disappointing .”

“yellow” versus “blond” could

im-ply real story: tale [paradise,

possible] and in our : cultour at least,

please; The cliché [pah-again] of freedom

through dancing; for that is; for the?

subject matter: fiction; much like

a bird: i.e. “canary”

plummets the intelligence of even

the child main subjector [-er];

and if you didn’t know it;

before on excerpt implies a

cultour foreign to the American [english

language]. at the bottom of cited:

14; “trilby”



or even rt. [foreign cultour?]

as opposed what we

see more often here; though

we do see [rt.]

rt. – liby as a joke: might

mean [way to [public space] library] =>

obs. freedom.


— then from this other source, text:

source, text cited; cover / top

cited: p. 352 , The New York Times,

from source cited; as just identified; and being identified in coherent relevant lines

the Complete Front Pages : 1851-2008

  •  – –
  • what the heck: besides general
  • guesses/know : is :
  • “agrarian socialism”
  • ag – rar – ian
  • [e] -> age [Ian] who is ?
  • -> rare


age, rare: Ian;






and this is p.e. haps

one def. of suicide.

when is I [an] an

in a group

[of specific


(belonging to incident)



suicide implies ?


will oui oui oui come

across more; on a more through

and not thorough read of this article? —-> see articlepic.





” “Fly, er” ” [ART] capture

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reading notes for cited: p.13 [and …]  st by zs primary source citation: [swing time by zadie smith]

aside: due to time constraints at p.l. please excuse any differentiations that might not be corrected in type-up; the notes are going of course in the h-less life; func. in the trash as usual.

for The Fictional VolunTier Project


by Goura Fotadar

this group, started typing up: 51317



worked on; on outlined dates:

date: 42617

there seems to be a link;

or rather we can go to

create a link from the same-

phrase : term:

“modern” before the

half-way point of the page

to “modern” again the last word on

the page; unless you count the

period punctuative as a word;

for example if you read a-loud;

and-or a-loud in your mind:

” … modern period”

why you might read this this way besides

not to miss anything: well in this

case context the double-word-link to

itself: is like sound phonology.

and so reading a-loud

the mark . ; would

be following the let’s

say instruction of

that sound phonology.


theme: instead of peanut

butter and child;

I mean jelly; how about

one version: bacon

and jelly : yum!




cited: p.13

” Many girls who might

have made fine dancers never

made it across that road, for

fear of a homemade flyer.”


when convention meets art; and

a reverse reason quest;

“fear of a homemade flyer … ”

is it the intersection of the

“flyer” as a sight



or is it; the knowledge

that response or

not to

the “flyer”

“homemade” implies another

intersection with the maker

[of it]; and-or those

connected to the maker.

tag[s]: the social blunder heard. mirepoix no faux pas


Such as: this is an idea; cause [ x … y]

is interested in; but how

much will [x … y] have to

interact with [z … q]  of the

“flyer” making.

See photograph:


sorry wrong photograph; but on later upcoming analysis is this flyer type; remarking on the potential danger in this space perhaps due to this policy; which should likely as stated earlier in this/ no on this blog; use cell phones to speak on only when necessary and within standard boundaries; otherwise step outside for talking on cellphones and-or otherwise extended talked. [Extended does not mean do no speak ever indoors including to yourself. and I mean no and not not. ]


behind-the-times? The

“flyer” photographed may be considered

such: [and as compared to others];

because : it is; hand-written;

it is about a “relief” effort

that was in the news modernly;

where modern means; of recent

times; but may not still be in the

news; at least not regularly. But

when we examine the group: “homemade

flyer” against modern; we have still

in the modern back-drop: the possibly ility

of not just hand-writing; from an

art perspective: but all the other ways

to font the “flyer.” Modern than [then]

is perhaps dated by font. Surely there

are those that would be offended by

hand-writing; but in the same case

perhaps the same those would also be

offended by too technologically savvy home-ness;

demonstrated in font adeptness ; and-or not enoughe savv and

not salve? compared to a business and-or such

‘s font adrift technology. In this case; what is

about a “homemade flyer” that is particularly

scary and-or offensive is the chance outside

of apropos [sp?] larger venue group; such as

a business that isn’t necessarily the flyer

distributor’s own: and so the “flyer” made

non “home” may not be done in solidarity;

is the presuming assumption regarding regular?

business; why so. Are they such assumptions due to

past acts of terrorism; or such; that no group

business or outside it; in cluster conundrum

or opposite “home-made” may imply self-declaration

in god: forbid! art; and then in the enigma

of arguments: it is the possible of any level art:

show-cased either in real solidarity if even the enemy

lies at home as in cited: sleeping with the enemy.

or if it can’t interlude into your/ the maker/

the maker type’s art.

So in last séance; perhaps:

in the “fear of a homemade flyer”

is really the “fear” of

showcase singular

and-or solidarity

art. ; which

of course means.


label: The Significance of Art

of course to capture [ART] in describer;

to look at: the scene or art; as photographed

in the source, cited: text [again] Norman

Rockwell A & I ; date: 4.29.17 [secondary source citation in this posting]

with the term “Rockwell” one-me in this case

defining myself : through the image:

ART: is reminded of; ( i.e.  I am reminded of me through this image ; i.e. the definition in

practice of ART 🙂 of cited: Rockville/ Vernon I believe

it is called; and time such as captured in at-least the

cited: “The Four Interviews” of being on pilgrimage,


At the house; there; which was presumably

a house; but something of a make-shift shelter;

with an actual shelter right next door; was perhaps

the 1st time in my life; you’d love to hear?

caught stealing: no! I don’t com-mit [sp?] crime;

was the 1st time in my life then; of my falsely being

persecuted for crime; and in this case: likely others’

crimes; I was cooking much like the man is

who is working on a horseshoe; and dressed

similarly to him; and as opposed to

that metal and presumably trunk platform:

was a high stove; and the only thing I

could reliably cook in was an all silver

metal cooking stock cylinder platform pot; and

you in security would wonder where was my cooking

food coming from while homeless? With frequent shifts

between homeless shelters; the renewal notice

tag[s] ” performance act; security procedures

for my 1st time with the cited: ebt card; never

arrived to the new address; and so it was cancelled

unfortunately. No money & no cited: ebt would imply

I was stealing food; unless of course as either and-or

homeless, functional and an actual spiritual-type:

beggar; the obvious solution when not thinking of crime:

might be: well, they, he, she; whoever begged for food;

but actually as the scene of art might apply;

there was something of an

open kitchen; just

not completely open.

and certainly in this scene; though inside

contrary to what others may think; the view

is an opening; and-or you might even call

this an open scene; seen. This then as otherwise

seen is one advantageous technique of artography;

for it allows any nth of viewer a psychic like recollection

of what happened; what could have happened;

and what might happen [future]; including

fiction. Theories of Criminology

tag[s]: criminology training.

cited image from secondary source citation see above for name of source citation

As a training model;

just as an un-willing to reform/progress

criminal fixates on you, the onset, or

whoever; why not fixate on them in some spare

time; and we such have reliable like psychic

predictions butwithout real life/existence marginalized

of what might happen in crime; and-or how to

prevent it.

[some dates might have been left out or not go in dated order: date: 51217]

In the application of safety to

“flyer” in this fiction text; and also

of the seen flyer as photographed

in its scene; even a flyer

of recent but not complete

recent news like content;

may be in the essence

of safety; a

safe measure;

IN this case: the safe measure of

a flyer would create safety, how: ?

this is a semi-basic moon of outline

but at the same time it’s important.

Applying this fiction analysis; folks are afraid

of such in application; perhaps additionally to other hypotheses

described; because they don’t desire safety, ?

In order to not weasel out-of the potential

safety occurrence [sp?] connected to any

ol’ flyer and really despite content; using the

art conception of a flyer as a type of flag

even if you didn’t stand for what the flag

identified as a form of cause and-or cause

worship; as a thing it might bring about the

occurrence of safety; and no offense to weasels.


as an aside theme: isn’t this also

a model of string theory; and whatever

that means: importance around means;

this model as photographed brings together

circle-type structures of different sizes; with

at least temporarily strong enough string in this

case to stay.

As a main application it is one sense an

alternative flyer and-or a flag.



IN a shape of a heart; and almost in a shape of a 2nd heart.

near books; almost seems to state: the love

of books; and not even yet reading! ; where

in popular use: heart means some version

of love; … creates the occurrence of

safety. [and the last part is only on hypothesis.]

[at this point.]

tag[s]: the magic of fiction

at cited p. 12 of primary source citation, text:  “Here is the church

Here is the steeple

Open the doors

There’s all the people. ”



Remove the steeple since it’s not a church in structural design; and you now have … [in safety] : people-folks that are safe & those that are not [safe]: such caught.



I thought about just finishing here: by looking

again at the picture.

If money is real even a small stack of one[s]; is quite a bit

for whatever dated time this almost ancient ART glance;  looks:

the over-lying crime scene; combined with

the beauty of the box; boy, [x, y]

especially in comparison

to most of the rest

of the scene; seen


source, second and the cited image from it as included in photograph as one of the above photographs: of  cited in name abbreviation again: “forging … h-shoe” in ” n. rockwell”

theme: I don’t bless you


[box is boy boy is box]

established especially likely

by the youth of the boy;

but certainly demonstrated

by many faces of age

as compared to the box

except of course the

perhaps girl in red

hair ; which we just

can’t be sure of

the age of; The stack of

ones maybe for the

“contest” and-or for

the boy; to take

all horrible forms.

& because of the ART:

certainly especially may be

the opposite ; on even the

functional homeless scene;

the assumption of consent

to prostitution from one’s-self

is excessive; in of course

ART-scene ; a stack of

ones hardly has any worth

unless you’re starving.

Though I’ve never prostituted

myself; starvation seems

more antiquated than even;

prostitution [ done; to cure it or to cure other at least basic needs, necessities]; and unfortunately both are part of the modern

time; but certainly not ART

but if you, anyone ART

prostituted yourself for food’s

cost; than-then that would be

holy prostitution; would it not?

Talking into this

blase self [ART] & art –

scene discussion ; and

to solve what might

be more crime before it

happens; in the ancient

almost ancient past;

the lens application of

severe college: and undergrad

shows us that perhaps

the boy is starving ; explained

in sooner posts ; such as

an artistic theme: scoring

a goal near a post; anyhow;

maybe walked to what

appeared clearing/clearly a feeding

kitchen; discovered a

synonymous epic but without

food; and so some of the

on-lookers might expect

that sale [non-food] [to food];

and of course this is


/ [a promised basic needs advertised and-or spoken based on real knowledge provisions; and so never to appear] \

and but what is further

crime in-charge is any

such set-up; but when

you consider on-looker

you have a secondary

group classification:

primary : age ->

points us to

mainly the

boy, beauty

secondary : on-looker ->

[t. b. c. ?]