the discontinuing

the discontinuing interview of the fold over. yes, its harp and gold. like bric a brac to nought. something as this.


Cp________________but wherefore?


CD_______________________ Becomings my dear have to be made. they are like, and more they are multiplicities in the shape of mouths and fans. Strung and unstrung with each motif set out in its place unravelling the previous reading. So to speak. To speak.

________________________________________

Un nuit un siècle un jour . .. peut-etre....

Art and philosophy several jointed word several storied.

_________________________this way the face becomes the wall
but is it white? then
or the white wall's become the becomings face of walking the artist that stares?


what gift hearkens shakespearian perception of distance
and love's far wing ?

Camillo

:Sicilia cannot show himself over-kind to Bohemia.

They were trained together in their childhoods; and

>there rooted betwixt them then such an affection,

>which cannot choose but branch now. Since their

more mature dignities and royal necessities made

separation of their society, their encounters,

though not personal, have been royally attorneyed

with interchange of gifts, letters, loving

embassies; that they have seemed to be together,

though absent, shook hands, as over a vast, and

embraced, as it were, from the ends of opposed
winds. The heavens continue their loves!

ACT I

SCENE I. Antechamber in LEONTES' palace.

______________________A dream a brain walling a n artist his work tonight

«Un jour, peut-être, le siècle sera deleuzien.» Michel Foucault|||| this one reproduction from the Abode of Chaos Sets

here and and

here and were you

that's there

go thy brain hare the knight

there a re many

There are many workshop shopping where Mona habitates. Digging in her digs. Logement des fou. Sombre precuser to her rent. Ghosted by the hill top maze. its coughing desing. Not dasein to her pent up fancy.

In that way signifiance holding its own buries the deep moving past its scop ~e_

Now take that etcetera right to end of the foam, breakers, lime, whitecaps, galley, heaving shove, ripcord, hatcord, fine cone, willy-nilly, ailanthus, maroon lapels, lariat, feet, braid, coamings, drydocked, chines, ribboned, keelsons, inwales, eels,
green baize, wickerwork. O come on Mona stop cluttering around!

avec Alain Badiou 1 (Théâtre Marni, Bruxelles)

de recontres avec

________________
2 of A n important series of
interviews
with the philosopher
Alain Badiou
this is from last week.
I highly recommend watching all 6 ~

yes mister Badiou is reminding the body politic of its real losses

his concepts of universalism may not be

agreeable to us

but his political passion and

love are

23 novembre

- D'une théorie du Sujet aux alternatives sociales et politiques possibles.

his hands express the beauty of a

real philosopher

2
envoyé par lavolteruz. -

___Complete set of vidoes at Daily Motion

and Intercessions_________

via INTERCESSIONS-tissages dans l'étoffe des choses

Souvenirs de l'avenir - fabulation d'un peuple à venir. . .

the hands of

tearing truth pulling lies

out of their sockets

dig john the irishman. fe fi fo fum i smell.. the bloodz of an irizdman

Eriugena _____________________the irish thinker. __

a lecture never heard. but missed.

__________________________________

re_late tell

Germaine to germane held these as its watch was meteored dew. On the bracken

weed.

therefore

_____________

therefore read between lines___ not merely between them

mais entre les lignes between . One reads (and writes) what is not said .

and the not said is what's said at that other level of the several lines of flight. As the four or

whatever the number might be of the lines of escape are just one among through and through thousands of 'les lignes de fuites invisible.'

So we rest our case . lying on the ground of the unbeing. Yes, and think of Aristotle

our old master.

old Irishman sang
Erigena twanged his lute ~
to boot to boot~
~ .

Very lazily put badlywise. puffed feet.

comme il faut arrêter tes conneries to still your star

_______________________

more and epistolary epi...Dicta

____________________________________

More and More fictive extremity of th e epistolary. The schoolboy philos know

nothing of this. breaking of the bone. How does Jill and how Mona, and Franny Fanny the third the third always the third, does she reinvent herself? Agog this algorithm of love.

And were the second any realer less valid than the third , the fourth becoming? The fiction machine, the action machine, the war machine, the degendering house bound spouting machine a claviers ironic. Who arrived firsting to the land, its thirst? Cain builder of cities . Along the plain of Gomorrah ( a good Irish place name if that M became a B and the G another sort of Gobmorah!) and Sodom.

Et Monsieur Complex c'était quoi ca? Une idée, une idée perdue? Mais non, cher ami tout est possible dans le créations des modes d'expérimentation. Alors, on continue nos travaux dans les domaines qui cherche et recherche des lienes non attendue ni prévue. Alors, ce sont des objets non prévue et les lignes de fuites invisible aussi qui travail dans le terrier.

In a recent interview given in Ottawa __ where Duffy had attended a gala representation of __ margin, outside, schizoia , removed scholars, crapped phd. student, welfare case, debt evader, burnt crop, winner and luster of the Gubneratorial Award: he said to our IntrePid Reporter:

a NOTE OF aesthetic caution to any readers of them blog and other blogprojects I working with: the full effect of these blogs and the expression of content t hey invoke will not work in a Reader , such as the well-known google. and so on. this have their space.
True readers must be blind. Not as blind as Joyce or Milton but a little bit shady the better. As a former Student of the bla bla bla academy and the recent blabla of the digital bla bla. Yes, well reading is a finer art let alone by the few and many. There is no pulchritude like that of the beauty of the word sufficient to its own grace. Not that of the Owl.





___ mister D can you run that by us again?Is there a recurrent motif to this repetitioning as always of the living word the process you alluded to?


Readers have their place, but the idea is to use the reader, and not be used by said Reader[s]__ ( a deconstructive S that was).

What you see there, is likely out of date some days, seconds after it was sent. We at the fiction blogs, at antioedipus and the guattari complex, to name but a few of our blogs,__ travel as aesthetic machines:magicians: the blog is the thing, not the so called content of any given posting. It is the untotalized whole which works its level best to have fun.______________ For hundreds of our listeners/auditors and readers this is the case| (recent survey estimate the readership at 102 a day coming to a totaliziing figure increasing daily). Thousands clog bloglines to read their daily missive! Its terrrrrible. I may need a grant soon to open our our server! Fiction is a thirst unbecoming!

However, it has come to our attention, that there is a small gang of 'readers' who cheat! clipping cutting and snapping off parts the blogs for their own case! their use! Imagine that! and in many cases, without so much as a by your leave and a creative commons acknowledgment! How so dear reader of the deep dumb astro spaces of the blogoverse? Yet that is nary the worst
the worst is the knot reading
the diagnosis cannot work
if it is taken in quarter measures?
(iknow some readers are forced! to use these de-vicers (these device deversers) Andit is my view that livebookmarks is the best feed at that trough)

(___ Given the present condition of the text do you think it desirable to read anything, Mister D? I mean your blogs have no space for commentary at all! is this not a sign of the closed dialogue?

Ah~ I see well here's my reply if you went to school where I went to school you'd see there's no time for replies in the form of commentaries that's for another type of forum not on the blogs ... I suppose one can by a book of commentaries... but that is not the nature of books of poems....

You don't know really know how to speak do you Mister D?



Yes I am finally glad you got that, that is why I write ... Some people believe I am Canadian yet I am from Mars.)

Henceforth our tentacles might become the air wave of transmission and the

prophet of mantle clad _________ brown footed stairways.

______________ Read on O Reader however many and/or few fit. Take pleasure in your desire to hearthe word of the :

Radio :

"Thus, nothing acts unless by acting it makes patent its latent self."

Hegel

the 'i' incite __

(desire the flame of buddhism
the candle that according to Sakyamuni
must be extinguished so that the wheel existence halts)

(the folly of doing and not doing _ Bruno?
burning /Joyce)

(27 eye operations
17 yrs on the Wake

a grief comic bold and tal(l)e
laughing vingt septs années)
(we call and recall Vico)


recite

Hegel again taken

from behind the double door.

Now Dante was prob. there before Mister Hegel, which lessens not a jot the former's contribution.

And Dante perhaps and most likely acquired his

latent/patent stamp

from

the old Thomas Aquinas
&
Scotus the Erigena John the Irishman
(a ham doubtless)





And Dedalus quoting the aforesaid Father
to counter Cranly and Lynch
that which apprenhends in the mind
as a fading coal
recalling Shelley's image
Shelley against Tennyson





( can you supply the quote next time?
O sure! here it is, but its fused in my mind with the Ode
to the West Wind... yet if I recall rightly, it goes
like this
The mind in creation is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness . . yes, the fading coal which then leaves embers... in
the mind)

In any event one must read and two must write:the poet and his poem.
Not quite the same as the poet and her text
Her text poem her event text one one verse
poem one must poet read her.

_________________________

How is it that you cite Hegel, the dreaded double-entendred his-self? After all, were not your mentors Professrrs Challeng and Guattari nonHegelian even espousing an againstness to the subject?

CD_ Naturally! it's true. Absolutely. but you must remember that before I went to Paris and the St. Denis and the Vincennes years I was reading Hume and Laing in London, Kingsly Hall and all that. There was a different beat there for someone like myself, a different trip. Anyhow, Laing didn't read Hegel the same way, he used it, in some of the ideas he had worked on in Self and Others: collusion, swindling in interpersonal relations. And at Kingsley Hall which was pretty much closing, and became the Philadelphia Association, we came to things differently. It was not philosophy as such that was being done, it was work, daily work with crazy people. And there were no more distinctions being made between the crazy and noncrazy people. I mean, we read what we wanted. I went over to Paris i t was late 72 and then the whole other thing started. I think it was not until the spring of 1973 that I started going to hear the talks at Paris V11. I was a kid man! just a kid, and I thought, I had thought I was schizo_ turn out I wasnt .... David and I had gone over to England to see the Laing thing, see how it worked, operated, how it got people back on their feet. I had nothing to do with philosophy as a discipline in the true sense of the word at that time. I was reading of course, I had read Nietzsche, Sartre, and Kierkegaard, I was reading Joyce again and again, and everything about him, Proust and others. And naturally I was reading poetr y, all the poetry I could read and at anytime. Hegel was not even in the picture he was a name to me, and those lines that I quoted, more or less from an old underlined book, were once something Laing had talked about , the idea of patent and latent self and he would give these talks, not just him, but different people, each week or month. There was the workwith the schizophrenics, the crazy noncrazy people and there were talks some on analysis on philosopphy, on the War, the whole scene. It was an amazing place to be... then I began to travel over to France, and then Italy and Greece. I never stayed there long, it was not a nice place, they were torturiing people in the prisons, I had read that in the poetry that Brian McCarthy had published in a small book of Greek to English translations. So Hegel that was nothing but a name to me, and I had meant to always go and look it up see whence it came, but I never had the time really. Life went on. But as a poet you know we pick up scraps here there and anywhere, and use them as epitaphs and citations . ... Oh yes, and it was then, in that summer of 72 I was reading and finding Artaud....For the work we're doing.. yes, well to add layers and puzzles of things to it, we cite from all sorta thing... You know? You know what I mean?
So hegel! well Kierkegaard didnt like him either! he said that Hegel was blocking the spirit of the indiviual person in faith! Not that I cared especially but it was funny reading Kierkegaard.I have a funny story which i can tell you another time how I stole his books once.




__ Yes, that would be good. It's good to hear these stories... yes, and the days you were a wandering a wandering one and two as the thousands then were. Ah, all of that is interesting and I half knew it, as we've known one another a long time.... But you were never a student back then? Did you become an actual registered philosophy student eventually?



Cd_ No non I was not.I was never a student in that sense.



Were you yourself then?

Cd_ I was always you, always, from before time began.

Where then does the real of fiction begin and end?
Can you suggest a perimeter a fence ?

Cd_ Suggestions are an interesting idea, or notion. Let's continue another time. This tires me it's so vivid and it's perhaps something that does not interest me much, I am a person of fiction and the work that revolves around as its said. I keep the language tarnished, as I wish to be cutting tracks, and giving up the obvious. We'll return la-de-da the whole thing's a machine.


____________________ Exist without a flourish the trick.

______________________ Tape falls to the reel ground . Of becoming.

_______________________________

In one final aside Mister D made refers to a recent long distance commentator's poetical transcendent theories of reading ethics and the Levinansian caper stating he appreciated these ideas but that his own practices and views were different.As a mere poet what I do compared to the ideas of responsibility and the face of the other is the future and all that jaz those ideas strike me as merely another way for certain states of mind and people to justify their furious evictions of others, and to disparage those who dont wish to communicate on the same termturf. Indeed the whole ethical calamity is the ruse behind forced resentment I mean historical guilt and judgmental blackmail. Artists of any serious girth have no time for that.I counter that notion I counter that whole notion with with God's favoured poet, Tristan Tzara: Every author writes out of a true necessity. Now necessity is not a moral judgment. You know, it's Its Necessity and contingency that create the possibility of the laws of chance creating poetry etc ...The writer writes from a place of pressing truth and death breating down his neck, and the powers of life equally. I personally am affable toward those who differing from me, set up, or constitute to use a fancier word, a differnet practice in their art. I call my own Pragmanticism. It's in the practice though that one finds the theory, not the other way around. later you might find out and usually do, that they came together, like the chicken and egg, and that is okay and good, and its a fun surprise.

For me, that's what the double detournment old Professor Challenger means, it's how
I use it, anyhow. It's something useful. And I am grateful for that.

The conference ended and Duffy vanished into an ongoing blogterrain creationbecoming.

________________________

More of and about

Tell me more about the fictions...


They're frictions... rubbings... and they're , theres no desire in them or around them to create
guilt, ambition, power, and anything else. they're a spot (in time) that's freedom, a bit of my freedom....recently, or say back in 198ty something i read, or heard, 'creation's takes place in bottle necks, in other words, its squeezed, when you'r e stuck, well that's sort of true, but one creates for other reasons as well, one creates to clear a space of freedom, one creates to creates the possibility of freedom, to make space, because one has time, one plays. Yes, one playsand plays, and then oneis driven and what started as fun becomes a habit and an addiction with ThiS difference____ Something is left Behind, something is Created, Produced .. its not thrown in the garbage, or left to go rot like if you, like say if you were just drunk.
Non creators dont get that, nor do the ones who have ambition get that. Ambitious artists are always failure in the , I mean they are failures in the Long picture.

O but you might say, what about Picasso wasn't he ambitious? Yes, he was For his Art,

like Artaud was, ambitious for his Art

not for his Power,

Are you suggesting that artists are driven by power ? Isn't that a little general? Are you generalizing like a dictator? Imagine today of all days to suggest such a thing on the anniversary of the fall of the Berlin Wall!

The wall, the Berlin wall? yes, well it fell and it fell on everyone's head, and it crashed the pieces of our heads... and our heads are still sore and bouncing and dizzy from it... I mean we are reeling from it... it's like whats his name said about the French Revolution... he said I can't say what I think of it , it's too early.... So artists and ambitions... Well, well..

Okay it 's the work. The work is the opening hopefully into something new.

I want to get more specific about the fictions and its relations to other work. To your body for instance. So I need to formulate precise questions.

That's good... you know, that'll be interesting.


And the other work you did in performance ?

Another time, eh? Another place __


________________________________________________

(first blogged at recalltopoetry in another necessary form)

often

Often you seem to be repeating yourself, in the fictions, and well, perhaps the other works as well. Is there a recurring obsession or is it a method, a working together of the two?

Yes, that's astute, it's sharp, It's true. The words and images, the phrasing even itself, every artist is like that... yes, dont you think?
After all we're creatures of our bodies, our situations, our loneliness and our solitude, our sense of being with others, and not being ..

You're obssessed with this idea o f the philosophers arent you? or nakedness in the body and its sexuality?

Hahha I notice you didnt name them! well, okay sure, I am but there are the characters, or personae that I see there as forces, or folds of a kind of bearing of intensity I carry in the world. for me the poems, and fictions especially are a
domain of freedom... and philosophy, well you know I am an artist and I work with these materials but I dont feel any ownership to them I love them of course, I love reading their work... and underlining it especially!

Well C Duffy and Clifford Duffy you're a funny man... I don't meant that in an insulting way.. this has been going on for a long time with you, hasn't it?

Some are born to strange delight some are born and some ... Well, I have that kind of mind that wanders...
and it wanders in and out of stories and figments of them. and anyhow, yes, I am the sort of endless digression of my own materials...

its quite late let's continue this tomorrow shall we?

O yes, of course natureally.

Anytime.

__________________________________________

Mister CDuffy and Clifford Duffy

scrummages as the tape recorder falls

on the floor...

I must hurry!

hurry

back to my tent!

its late

and the moon's gone

the stars are throbbing fibrillating and Im thinking about caressing buttocks.....

________________

________________________

notorious

Want to find your displayed body ?

her undisplayed splendour!

UtiLe PropRe_Les sentiments ou affects

La définition des affects (parfois traduits par "sentiments") est
un tournant de l'Éthique de Spinoza. C'est de cette définition
que découle la suite du texte. Une compréhension de
que découle la suite du texte. Une compréhension de la pensée
de l'auteur impose donc ce passage par les affects.

_______________________________

_____________________________________________
_________
Source : Baruch Spinoza, Éthique, Gallimard, Bibliothèque de la Pléiade, 1954, p. 487.
Baruch Spinoza, K.Opperman.

___________________________________


Extraits sonores d'après :

- Robert Misrahi, Professeur de Philosophie à l'Université Paris I. Intervention à l'Institut Universitaire d'Etudes Juives Elie Wiesel - Paris, janvier 2006
Cours n°5 sur Spinoza : une philosophie du désir (81 mn).

http://www.akadem.org/sommaire/series/module_725.php



- Musique de fond : Camille Saint-Saëns, le carnaval des animaux, aquarium.

Jeune fille photo: Paolo Roversi.
http://www.paoloroversi.com/

"J'appelle cause adéquate celle dont on peut par elle-même percevoir clairement et distinctement
l'effet. Je nomme, au contraire, cause inadéquate, ou partielle, celle dont on ne peut par elle seule
comprendre l'effet.

Je dis que nous sommes actifs lorsque, en nous ou hors de nous, il se produit quelque chose dont nous sommes la cause adéquate, c'est-à-dire (selon la définition précédente) lorsque de notre
nature il suit en nous ou hors de nous quelque chose que l'on peut comprendre clairement et
distinctement par elle seule.

Mais je dis, au contraire, que nous sommes passifs lorsqu'il se produit
en nous quelque chose, ou que de notre nature suit quelque chose dont nous ne sommes que la
cause partielle.

Par affects, j'entends les affections du corps par lesquelles la puissance d'agir de ce corps est
augmentée ou diminuée, aidée ou contenue et en même temps les idées de ces affections.


Si donc nous pouvons être cause adéquate de quelqu'une de ces affections, j'entends alors par
affect une action ; dans les autres cas, une passion."

Video Utile Propre

Uploaded by the ever -wonderful DocMango. -

The fine and imaginative maker of videos and other artistic projects ~.




_______________________

(the) god averts ... Dieux se detourne et le peuple detourne de son dieux ....

587 B.c.-A.D. 70:

On Several Regimes of Signs

Challenger speaking :____ (quelle année Monsieur D?) (avant Christ etcétéra)

The god averts his face,
which must be seen by no one; and the subject, gripped by a veritable fear of
the god, averts his or her face in turn. The averted faces, in profile, replace
the frontal view of the radiant face. It is this double turning away that draws
the positive line of flight.


( English travels to us over centuries; escapes the (w)hole )

The prophet is the main figure in this assemblage;
he needs a sign to guarantee the word of God, he is himself marked by a sign
indicating the special regime to which he belongs. It is Spinoza who has
elaborated the profoundest theory of prophetism, taking into account the
semiotic proper to it.

Cain, who turns away from the God who turns away
from him, already follows the line of deterritorialization, protected by a
sign allowing him to escape death. The mark of Cain. A punishment worse
than imperial death? The Jewish God invented the reprieve, existence in
reprieve, indefinite postponement.

(Cain is God's preferred ; and Abel becomes 'in_c-apa(b)le _ he is dead)
(In Joyce Cain is Shem _ Shaun is the Abel like figure the postman
Shem the word smithy)

But He also invented the positivity of
alliance, or the covenant, as the new relation with the deity, since the subject
remains alive.
Abel, whose name is vanity, is nothing;
Cain is the true man.

This is very different from the system of rigging or deception animating
the face of the signifier, the interpretation of the seer and the displacements
of the subject. It is the regime of betrayal, universal betrayal, in
which the true man never ceases to betray God just as God betrays man,
with the wrath of God defining the new positivity.

Before his death, Moses
receives the words of the great song of betrayal. Even the prophet, unlike
the seer-priest, is fundamentally a traitor and thus fulfills God's order better
than anyone who remained faithful could.

God calls upon Jonah to go to
Nineveh to entreat the inhabitants, who had repeatedly betrayed God, to
mend their ways.

But Jonah's first act is to take off in the opposite direction;
he also betrays God, fleeing "far from the face of Adonai."

Double Detournement
re-edited
(Did you attend this lecture Mister D? That is my clandestine face so to say yes would be to trick you to say no is to betray and a line of light becoming one of disclosure eh?) (Alors on parle pas a des choses si important )

He takes a ship for Tarshish and sleeps, like a righteous man.

(We took a boat to Greece )

The tempest sent by
God causes him to be thrown into the sea, where he is swallowed by the
great fish and vomited out at the boundary between land and water, the
limit of separation or line of flight earlier occupied by the dove of the Ark
(Jonah, precisely, is the word for dove).

But Jonah, in fleeing from the face
of God, did exactly what God had wanted: he took the evil of Nineveh
upon himself; he did it even more effectively than God had wanted, he

anticipated God.

That is why he slept like a righteous man.

( slept like a stone
Under a booke)

God let him live, temporarily protected by the tree of Cain,
but then made the tree die
because Jonah had renewed the covenant by occupying the line of flight.

(Cain's protecting tree__ the sign of the outlaw)



Jesus universalizes the system of betrayal: he betrays the God of the Jews,
he betrays the Jews, he is betrayed by God ("Why hast thou forsaken me?"
[Matthew 27:46; Mark 15:34—Trans.]), he is betrayed by Judas, the true
man. He took evil upon himself, but the Jews who kill him also take it upon
themselves. Jesus is asked for a sign of his divine descendance: he invokes
the sign of Jonah [Luke 11:29—Trans.].

(Yet Jesus claims his descent from Able,
and identifies himself as the shepherd ) (paradoxes abound as always don't they) (did you do theology too? yes, yes.)
(The question of Judas: taken up again and again: the theology of Judas in Gnostic gospels
and the heresiarchs)

Cain, Jonah, and Jesus constitute
three great linear proceedings along which signs rush and form relays.
There are many others. Everywhere a double turning away on a line of
flight.

(The double turning away on the line of Orthodox flight? Christ Jesu as the shepherd
is the orthodox linear flight a turning away of the awayness of the Abel Cain
"fight"?) (Prof. Challenger qualifies his statement that neither trickster nor traitor
are better than the other... remember that? Penciled note)


When a prophet declines the burden God entrusts to him (Moses,
Jeremiah, Isaiah, etc.), it is not because the burden would have been too
heavy, as with an imperial oracle or seer who refuses a dangerous mission.

It is instead a case like Jonah's, who by hiding and fleeing and betraying
anticipates the will of God more effectively than if he had obeyed.

The
prophet is always being forced by God, literally violated by him, much
more than inspired by him.

The prophet is not a priest. (Nor a Lacanian psychoanalyst, policeman or spy)

The prophet does
not know how to talk, God puts the words in his mouth: word-ingestion, a
new form of semiophagy.

(The amnesiac deafmute prophet)
(Yet filled with stone words)

Unlike the seer, the prophet interprets nothing:

his delusion is active rather than ideational or imaginative, his relation to

God is passional and authoritative rather than despotic and signifying; he
anticipates and detects the powers (puissances) of the future rather than
applying past and present powers (pouvoirs).

Faciality traits no longer function
to prevent the formation of a line of flight, or to form a body of
signifiance controlling that line and sending only a faceless goat down it.

Rather, it is faciality itself that organizes the line of flight, in the face-off
between two countenances that become gaunt and turn away in profile.

Betrayal has become an idee fixe, the main obsession, replacing the deceit
of the paranoiac and the hysteric. The "persecutor-persecuted" relation
has no relevance whatsoever: its meaning is altogether different in the
authoritarian passional regime than in the despotic paranoid regime.

Pause in Plateau ~ to be continued ....


AS always ______________________ Felix and Gilles the cats of thought, the catatonia delire of consciousness___
from One Thousand Plateaus (123-4) Eng. from the ever fine translation of our dear Brian Massumi .

Yet something to come back to:

"Something is still bothering us: the story of Oedipus."



-____________________________________________________________

Tuesday Vincennes : afternoon walk : did you hear and get all of that? What was she doing there? His voice is a tangle of heaping bringing into us and escorting us to what he says: One does not ask questions of such a teacher: he's a philosopher : more and more. and more
and ....:

We went dancing that night:his partner was there, the one with the Italian
sounding name: is he... ?

A prophet too? they say so in Italy |




_____________________