Observation of Blood (previously published in The Lake)
Today, the museum closes its doors early, waiting; how much of the night’s bleakness seeps into it, enjoying the dark corridors. The Indian tents with pointed frames, like spears of bone, stand pierced in the empty lobby, lonely, waiting; how the winter wind cuts through it. As the cold artifacts of the museum catch the outside glow, the carnivalesque slaughter brings laughter to civilization.
Denver’s rain is absent and dry, the natives of the Arapaho meditate on the sacred mountain when the invaders come. I watch how blood spreads— past and present—and death favors their flesh, buried under black moonlight by fire and sword. Left with sword marks, they dye the river bend with blood, winding like red silk; now it leaves collections lying in the museum of darkness. Their bones cannot be read, as their residues are covered under the ash of death.
Inside or out, there is no sweetness— only the salty taste of blood. The truth sinks and vanishes; as for the sleeping city folks, the moon is clear tonight.
They Came （It was published Cathexis Northwest Press）
Tuol Sleng like a poisonous flower exhaling a piercing venom.
The palm trees swayed beneath the faltering shadow, a procession of bones
—the dead— labeled as intellectuals.
They came like a gust of wind, They came like a herd of wild beasts. They came slaughter upon slaughter, cursing Tuol Sleng, damning its streets and rivers.
They regarded themselves as fanatical idealists, But never, made the place a paradise. Passion torched it into a fiery hell.
They came with frantic lusts. They came to Cambodia— its flesh drenched in rouge.
When Tuol Sleng opened, Moonlight buried people in a sunken pit of earth.
None to cry those words: “ They came!”
Yucheng Tao is an international student from China, currently studying songwriting in Los Angeles. His work has been featured in Wild Court (UK), The Lake (UK), Red Ogre Review (UK), Cathexis Northwest Press, and NonBinary Review (which includes an interview). His poems have passed into the semifinalist round of the Winds of Asia Award by Kinsman Quarterly, and many poems and fiction have been published in Yellow Mama, Apocalypse Confidential, Waymark Literary Magazine, Ink Nest, The Arcanist, Synchronized Chaos, Down in the Dirt, Academy of the Heart and Mind, and others.
Problems and Analysis Methods of Translation Practice in the Exercise
Andijan Davlar Institute of Foreign Languages
4th Printing Student: Gafurova Mahbuba
mahbubaalisherovna@gmail.com
+998946812826
Supervisor: Kadirova Nargiza
Annotation. This article discusses in detail a wide range of problems in translation practice, the reasons for their origin and methods of analysis. In particular, the grammatical, lexical, stylistic and cultural differences between the Uzbek and German languages affect the translation process, and what scientific methods should be used to overcome these differences. On the basis of the leading ideas of translation theory, practical and theoretical approaches are analyzed, the qualifications, skills and strategies necessary for the translator are discussed.
Keywords. Translation practice, translation theory, German language, Uzbek language, methods of analysis, grammatical differences, lexical differences, cultural differences, pragmatic differences, linguistic approach, cultural approach, functional equivalence, transcription.
Translation has been one of the most important tools of intercultural communication throughout human history. Today, the role of translation is becoming more and more important as global connections in science, technology, literature, politics, and other fields increase. Translation has become not only a means of transferring information between languages, but also of transferring spiritual and social values from one culture to another. The structure of the Uzbek language and the German language, the style of expression, and the cultural basis differ significantly. These differences create many difficulties in the translation process. A translator must translate not only literally, but also correctly convey its meaning, style, cultural context, communicative purpose. The article comprehensively analyzes the problems encountered in translation practice and proposes solutions based on modern scientific methods.
The main problems of translation practice. Lexical problems. There are significant differences between the vocabulary and lexical structures of the Uzbek and German languages. Whereas in Uzbek a word often has many meanings, in German there is a specific expression for each meaning. For example, the Uzbek verb “to see” denotes a general action and is used in different contexts: to see (with an eye), to see (to experiment), to see (to meet). In German, various verbs are used for these cases, such as sehen (to see with the eye), erleben (to experiment), sich treffen (to meet). The translator should analyze the context in depth and choose the appropriate option. Problems are also common in the translation of phraseological units. Phraseologisms often have a cultural basis in German and appear strange or incomprehensible in German when translated directly. For example, expressions such as “Heartbreak” should be conveyed in translation with an appropriate equivalent or annotation.
Grammar problems. Differences in grammatical systems create many problems in the translation process. Uzbek language is an agglutinatable language, and grammatical meanings are expressed by suffixes. In German, there are genders of nouns (masculine, feminine, neutral) and are designated by the articles. In Uzbek, the basic structure of a sentence is simple (I went to school), whereas in German the word order is based on a strict rule (Ich bin zur Schule gegangen). Secondary verbs and auxiliary verbs are used a lot in the sentence. In German, the form of nouns and articles change (der Tisch – den Tisch, dem Tisch and so on) if more pronouncements are indicated in Uzbek.
Such discrepancies require structural adaptations and grammatical transformations in translation.
Stylistic problems. Uzbek literary style is characterized by softer, more emotionally rich expressions. In German, on the other hand, the emphasis is on expressing clearly, concisely, and logically. It takes great skill to find their functional equivalent when translating into German poetic metaphors, exaggerations, means of expression, which are often used in Uzbek literature or in everyday speech. Otherwise, the translation may look dry and artificial. Also, many expressions used in the Uzbek language as part of respect and manners are divided into formal or informal forms in German (via the forms Sie and du). Choosing the right level will ensure the accuracy of the translation and its appropriateness to the context.
Cultural and pragmatic issues. Fundamental differences between Uzbek and German cultures are often noticed in the translation process. For example, in Uzbek culture special respect is given to adults and requires a lot of care in speech. In German society, however, the principle of equality is stronger, and this is also noticeable in the tone of speech. Since religious and national realities (for example, “iftor”, “savob”, “Sufi”) often found in Uzbek are not exactly equivalent in German culture, the translator must interpret these concepts or translate them with cultural adaptation. Pragmatically, what is acceptable and acceptable in one culture may have negative connotations in another. In such situations, the translator should use the method of adaptation (localization), taking into account the purpose of the text and the audience.
Translation Analysis Methods. Linguistic analysis. Linguistic analysis is a method of in-depth study of the interaction of language systems and elements in the translation process. It is carried out at the level of grammatical structures, syntax, morphology and phonetics. For example, differences such as the adaptation of the free speech order in Uzbek to the strict order of free speech in German, or the manner in which tenses are expressed (in Uzbek language the most accurate tense is clearly defined, then in German tenses are often understood in context) are determined by linguistic analysis. Cultural analysis. Cultural analysis involves the analysis of the cultural codes, values, traditions of the translated text. The translator identifies the differences between the source culture and the receiving culture and develops adapted options. Cultural analysis is especially important in translating national concepts, holidays, religious terms, and everyday customs. Functional Analysis. Functional analysis is a translation technique that takes into account the communicative purpose, audience, and context of a text. In this way, the translation is done not only verbatim but also while maintaining the overall effect of the text. For example, when translating ad text, you need to remember that its goal is to sell the product, so it will be more important to maintain an impactful focus on your audience, rather than translating the words correctly.
The practice of translation is not a simple language change, but a complex cultural and stylistic process of transfer. Translation work between Uzbek and German should study in depth the grammatical, lexical, stylistic, and cultural differences and apply the appropriate analysis techniques to each gap. The use of a harmonious combination of linguistic, cultural and functional analysis methods in overcoming translation problems is a key factor for improving the quality and effectiveness of translation. A translator should always expand his language skills, cultural knowledge and be aware of modern translation methodology. Translation is a process that requires not only knowledge, but also art, patience, experience and a creative approach.
References
1. Baker, Mona. In Other Words: A Coursebook on Translation. Routledge, 2018.
2. Newmark, Peter. A Textbook of Translation. Prentice Hall, 1988.
3. House, Juliane. Translation Quality Assessment: Past and Present. Routledge, 2015.
4. Hatim, Basil; Mason, Ian. Discourse and the Translator. Routledge, 1990.
5. Nord, Christiane. Text Analysis in Translation: Theory, Methodology, and Didactic Application. Rodopi, 2005.
6. Venuti, Lawrence. The Translator’s Invisibility: A History of Translation. Routledge, 1995.
7. Kadyrova, M. Comparative grammar of Uzbek and German languages. Tashkent, 2015.
8. Shukurov, B. Fundamentals of translation theory. Tashkent, 2010.
9. Snell-Hornby, Mary. Translation Studies: An Integrated Approach. John Benjamins, 1995.
10. Schäffner, Christina. Translation and Intercultural Communication. Routledge, 2012.
Japanese and Uzbek Idioms: Shared Wisdom, Shared Mentality
Abstract:
This article presents a scientific analysis of the similarities between Japanese and Uzbek idioms. Through examples, the shared aspects of both nations’ worldviews are revealed. The meanings of the idioms and their cultural significance are examined, as well as their importance in translation and language learning.
Keywords: Japanese language, Uzbek language, idioms, proverbs, mentality, culture, translation, semantic similarity, language teaching, translation practice.
Every nation’s mentality and culture are reflected through its language. Idioms and proverbs, in particular, embody the accumulated experiences, values, and perspectives of a people over centuries.
Although the Japanese and Uzbek peoples are geographically and linguistically distant, the similarities in their idioms reflect shared patterns in thought and worldview.
This article analyzes the similarities of idioms in Japanese and Uzbek based on scholarly sources.
1. Shared Mentality Reflected in Idioms
Idioms in both Japanese and Uzbek are often rooted in life experience, wisdom, and ancient proverbs. The following examples clearly demonstrate this:
In both cultures, this phrase expresses resilience and determination in the face of hardship.
猿も木から落ちる (Saru mo ki kara ochiru) – “Even monkeys fall from trees.”
This aligns with the Uzbek expressions .
It means that even experienced individuals can make mistakes.
蓼食う虫も好き好き (Tade kuu mushi mo sukizuki) – “Some insects even enjoy eating bitter herbs.”
This idiom corresponds with the Uzbek saying (“Everyone has different tastes”).
It highlights that personal preferences vary from person to person.
2. The Role of Idioms in National Mentality
Through idioms, nations express their life experiences, values, and psychological characteristics.
Japanese idioms tend to emphasize patience, calmness, and aesthetic values, while Uzbek idioms highlight friendship, devotion, and perseverance.
3. The Importance of Idioms in Translation and Language Learning
For translators and language learners, idioms hold particular significance.
A translator must prioritize the semantic and contextual equivalents of idioms rather than their literal meanings. This ensures that the translation feels natural and culturally appropriate.
Conclusion
In conclusion, Japanese and Uzbek idioms show many similarities, reflecting shared aspects of the two peoples’ life philosophies.
Analyzing idioms reveals the interconnection of mentalities and cultural values. In translation and language teaching, the accurate and natural rendering of idioms is of great importance.
References:
Ikegami, Y. (2005). Japanese Proverbs and Sayings. Tokyo: Kodansha International.
Toshmurodova, G. (2018). Idioms in Uzbek: Concept, Classification, Interpretation. Tashkent: Fan Publishing.
Natsume, S. (2020). Understanding Japanese Culture through Idioms. Kyoto University Press.
Komatsu, H. (2016). Japanese Idioms: Cultural Insight through Language. Osaka: Nihon Bunka Kenkyūsha.
Nazarova, G. (2019). The Role of Idioms in Translation and Their Equivalent Matches. Journal of Philological Issues, No. 2, pp. 45–49.
Khudoyberganov, Q. (2017). Theory and Practice of Translation. Tashkent: Yangi Asr Avlodi.
Oblaqulova Gulshoda was born in Bakhmal district, Jizzakh region.
She is a first-year student at the Uzbekistan State World Languages University, Faculty of Eastern Philology, majoring in Japanese Language.
First of all, we wish everyone a very happy Earth Day! Here’s a picture from regular contributing artist Jacques Fleury.
Image c/o Jacques Fleury
Poet and essayist Abigail George, whom we’ve published many times, shares the fundraiser her book’s press has created for her. She’s seeking contributions for office supplies and resources to be able to serve as a speaker and advocate for others who have experienced trauma or deal with mental health issues.
Also, the Educational Bookshop in Jerusalem, a store that has the mission of peaceful dialogue and education, invites readers to donate new or gently used books (all genres) that have been meaningful to them, with a note enclosed for future readers about why the books were meaningful. (The books don’t have to be about peace or social justice or the Mideast, although they can be). Please send books here. US-based Interlink Publishing has also started a GoFundMe for the store.
We’re also having a presence at the Hayward Lit Hop festival this year, and we encourage everyone to attend this free, all-ages event! Many local writers will share their work and we will also host an open mic.
Image c/o Carl Gorringe
Passing along a message from someone who contacted us. If you’re interested, please email Mark directly at jennybridge45@gmail.com
Hi there, As a seasoned coordinator of educational events, this is my official introduction. Mark is my name. I hope our conversations won’t be hampered by my hearing loss. For an upcoming workshop, I’m searching for an illustrator, cartoonist, or artist to work with on a project. I’ll go over the project needs in detail and pay your fees in advance if you can assist. Once I indicate what has to be depicted or drawn, you can estimate the cost.
Mark Stewart from Ohio, USA.
This month’s theme is Lost and Found.
Photo c/o Brian Barbeito
Brian Barbeito shares a mindful reflection on walking a paved road, finding a human place in nature. Rustamova Asalay depicts a farmer in tune with the sun and the cycles of nature. Stephen Jarrell Williams contributes several different ways of looking at and interacting with a city plaza. David Woodward contemplates life and aging while observing his garden, yet to bloom. Sayani Mukherjee dreams of flowers, rivers and mortality, biological life undergirding a modern city. Grzegorz Wroblewski, in a second set of poetry translated by Peter Burzynski, probes the corporeal and how we nourish ourselves.
Maniq Chakraborty speaks to being a lost traveler on a psychological journey. David Sapp writes of ordinary people and the weight of regret for their past choices, whether justifiable or not. Mykyta Ryzhykh’s poetry portrays people trapped in memory or dreamtime. Graciela Noemi Villaverde laments our human limitations: mortality and fragmentary knowledge. Sheila Murphy addresses isolation, confusion, and the weakness of language when it comes to expressing inmost feelings.
Bokijonova Madinabonu Batirovna’s piece explores the universality of grief and how it fragments and hardens some people’s selves. Denis Emorine’s novella Broken Identities explores the weight of the past, even a past we didn’t live through, and how it affects our sense of self. Tamara Walker (T.A. Aehrens)explores the practical and psychological process of repentance and healing from cultural sins in her novel Leaves from the Vine in an interview with editor Cristina Deptula. Vo Thi Nhu Mai’s elegant, understated poems express the weight of memory and unanswered questions.
Eva Petropoulou Lianou’s poem, translated from Greek to English, and then to Bangla by Md. Sadiqur Rahman Rumen, expresses a warmer view of the past and nostalgia for the simple kindnesses of her childhood. Sterling Warner’s poetry revels in nostalgia, nature, and culture – from Silicon Valley to Oktoberfest. Mahbub Alam describes in great detail the Bangladeshi New Year celebration. Rashidova Shaxrizoda pays homage to her cultural past and the poetic heritage of Alisher Navoi. Kylian Cubilla Gomez looks at nature and culture with a whimsical and curious eye. Lilian Dipasupil Kunimasa learns from the past while planning for the future and playfully musing about the present.
Nigar Nurulla Khalilova’s poetic speaker leaves a beloved to pursue artistic dreams in a journey that resembles a camel caravan. Lalezar Orinbayeva reflects on how her youthful dreams have changed over time, but she has not lost her optimism or determination. Ismailova Hilola outlines events that inspired her to become a teacher, how she found her life’s calling.
Eshboyev Oybek Davlat Oglu also speaks to education, highlighting potential roles for e-learning. Shahina Olimova researches the use of role-playing games in English language learning.
Chimezie Ihekuna shares his life’s purpose, asserting his artistic independence and desire to make the world a better place through writing and music. Biljana Letic of the Balkan Beats radio program interviews Maja Milojkovic about the spiritual, intercultural, and humane inspirations behind her writing. Shamsiya Khudoynazarova Turumovna’s poetry celebrates the beauty, grace, and discipline that goes into crafting haiku. Vernon Frazer positions words and shapes and fonts onto three pages with a loose theme of music. Rizal Tanjung explores the nuances and ambiguities within Anna Keiko’s abstract paintings. Jim Meirose’s piece mutates language into a mix of fonts and verbs and sounds, giving the sense of flying a plane.
Jacques Fleury also experiments with language as he reflects on learning to “go with the flow” of life, even when life’s “flow” is uneven, in a piece crafted during meditation. Gabriela Marin’s gentle poems evoke dreams, intimacy, and the imagination. Duane Vorhees’ pieces speak to attraction and intimacy, longing for human and poetic muses. Sam Hendrian explores moments of human connection and faux-connection.
Eva Petropoulou Lianou urges human solidarity and friendship: she wishes for women to stand together and befriend each other. Dr. Jernail S. Anand’s essay reminds us that society’s leaders should represent ethical values beyond money and power. Rahmat A. Muhammad expresses her hopes for international and domestic peace within her country. Ahmed Farooq Baidoon urges the world to become worthy of its children. Isabel Gomes de Diego’s photos celebrate new and burgeoning life in various forms. Isaac Aju’s short story challenges the Nigerian social taboo about middle-aged women remaining unmarried, celebrating a broader scope of people and lifestyles.
Even as we find some new joys and new lives, we sadly lose others. Ahmed Miqdad laments the destruction of Gaza and its ravages on both land and souls. Emran Emon decries the killing in Gaza and the U.N.’s lack of action. Daniel De Culla lampoons those who lead humanity while willfully ignoring climate change.
Sandro Piedrahita’s tale of conquest, tragedy, and some tiny justice finally served dramatizes the Spanish colonization of the Incas. Z.I. Mahmud explores dystopian elements within Margaret Atwood’s feminist classic The Handmaid’s Tale.
On a more personal level, Anna Keiko’s youthful-sounding poetry expresses tender lovesickness and fear of losing her beloved. Taylor Dibbert’s weary poetic speaker gives up on the dating world. Bill Tope’s short story presents a tragic interpersonal situation with tenderness, causing readers to think about the role of the justice system.
Christopher Bernard’s piece illustrates how humans can defend ourselves against all sorts of danger with calm, mindful preparedness. We hope that this issue will not only charm and entertain, but inspire and strengthen you to face the days ahead.
On the third sublevel of City Hall, where ventilation schematics have long since been swallowed by time, there is an office no one ever asks about.
The Ministry of Lost Things.
It appears on no building plan, yet boxes are constantly being delivered there.
Inside: socks, buttons, names of dead cats, lost dreams, forgotten keys to apartments that no longer exist.
The Minister is a pale man in a dark suit, with a face that seems slightly unfinished — as if the sculptor gave up halfway through.
He never lifts his eyes. He only whispers:
— What have you lost?
The clients vary. Some are looking for umbrellas. Some — for childhood.
One man returned for three years in a row, looking for his lost sense of humor, but each time he received only a receipt… and the faint sound of laughter behind the wall.
— We don’t return things, — they told him.
— We only register the absence.
One day, a child came in. He held a handful of air.
— This was my imaginary friend, — he said. — He disappeared when I grew up.
The Minister looked up from his papers.
For the first time ever.
— You don’t understand, — he said. — You disappeared.
And he just stayed… waiting.
2. The Letter That Never Arrived
Every morning, Edith came to the post office looking for a letter. Since 1957.
She would arrive precisely at 9:03, in a gray coat with a pearl button, walk up to the window, and say the same phrase:
— “Perhaps today.”
Young clerks came and went, aged, retired.
Only Danny — now gray and hunched — remembered that once, in 1957, she really did receive a letter.
She opened it, read it… and froze.
The next day, she came again.
— “Perhaps today,” she said, as if nothing had happened. And she kept coming.
No one knew who the letter had been from.
No one knew what it said.
And she never told.
On her table at home stood a crystal vase. Inside — carefully folded, yellowed with time — was the envelope. Opened. Empty.
3. Dream Registration
A new department opened in the city. Not for complaints, not for taxes. For the registration of dreams.
— Not a storyline, but the right to one, — explained the clerk.
— So that no one later appears in your dreams without permission.
The first to come was a man who, every night, dreamt of the same woman. He didn’t know who she was, but every time he woke up in tears.
— I want to keep her for myself.
— Describe her.
He described her eyes, her voice, the moment of farewell. Without a word, the clerk handed him a form: “Dream No. 14382. Registered. Claims denied.”
Then came a woman who hadn’t dreamt anything in a long time. She demanded compensation.
— For the void.
— That’s not for us. That goes to the neighboring department.
In the corner sat a boy, drawing something on his palm.
— And what are you waiting for?
He didn’t look up.
— I was born in a dream. No one registered me.
By evening, a man in a suit arrived. There was a stamp on his forehead.
— I am a foreign dream. Someone invented me and then forgot about me. I want to be free.
The clerk sighed.
— That’s against the rules. If you become real — who will be held accountable?
— And what if no one answers? — asked the man.
Then the lights in the room went out, and no one ever woke up again.
OK. OK. This here flows the muspascat-taculan room used for musing up only.
There you go here you are pull that up and sit click down as;
This flows get inside now please yes Mommy yes the muspascat-taculan room used for musing only.
This the muspascat-taculan room used for only. Canada’s the root source of most rotary conversations knuckle-knuckle insert size medium plath cementeriannatipn here and return in ten minutes
This muspascat-taculan room get inside now please dinner’s ready get inside yes Mommy yes used only.
This room click only. (and once in hair-up yes bones oh yes doctor Smith oh yes and oh yes yes yes yes doctor Smith doctor Smith yes yes yes go by that time it’s not hard set up immediately call for heavily armed back up head’s great, great uncle *what’s that spell what’s that spell* why Gregor that spells there’s a Gregor in the house eh get inside now please dinner’s ready why the hell’s heavens s’ you taking o long want a whipping do you must be looking for a whipping get inside yes Mommy yes eh eh e there a—ooooooooo GREGOR IN THE HOUSE A ONCEANDFORALLIAN GREGOR IN THE HOUSE sure it hurts what you think sure it hurts, but we got to do it anyway okay all-rat yer-ass sure sure sure it’s I got to do it anyway you happy now get inside now please dinner’s ready why the hell’s heavens s’ you taking o long want a whipping do you must be looking for a whipping get inside yes Mommy yes Sneezie, it’s not we got to BackWhang! BackWhang! do it it’s just ME got to do it not we but ME ME only and not we but but I can’t see the difference’s a rat anypipe, since we go in they’ll do nothing just watch me do want a whipping a good beating then a whipping do you must be looking for a whipping get inside yes Mommy yes everything Yes I built three new warehouses BackWhang! on time and in budget no no liar liar it was US did it all you just sat-fat, and watched hey hey Yes I built ten thousand approximately little Black Bakelite boxes on time and in budget | buy me a set of size large purplish trousers | no no liar liar it was US did it all you just sat-fat, and watched hey hey we keep the whippings and the beatings in there BackWhang! but be sure to set them down slowly on our universally credited silver-starred pallets Yes I launched thirteen huge hulls at my shipyard on time and in budget click click click no no liar liar it was US did it all using such devices keeps them fresh keeps them holy you just sat-fat, and watched hey hey no no yes yes no no its maybe maybe no no its yes yes yes yes no no no apportion these back there properly please we forgot we forgot but better late than never
tight slacks or tight trousers big sofa or davenport rocker-recliner please we’re here for hats not hose (particuluplarre)
!!!!!!!!!!!!!!!!!!!!!!!!!!!! there we’re sure that’s enough if there’r spares do not trouble to return to inventory for NO its not yes yes no maybe pay two dollars please ; .. ,, I want to keep them fresh and holy Mommy just like you do I also want to too
1 2 3 4 I pock-mark do not get the gas you need to get the gas I don’t the seals have been broken they can’t be reinventoried so just donate just d. gas you usually do so go get it if we need it that is if you get it when we don’t need it an accident may push out some stem and BLAST’s what may happen so—avoid that at all costs. why is it as I look at you I can actually see your whole brain stem ding!
before eating that one there needs a series of evenly spaced good heavy beatings
h ‘”]{+ GET GAS getting gas’s below me oh yah that there’s way up-top you and looks like they’re getting gas ha ha ha when mother calls and you don’t come in expect a good slap in the face (the bare minimum) Barry swivel! swivel! like this Daddy? “ ., yes like that {behold the McIntyres’ brand new Wok} swivel swivel Wow! Look! Are those fighter planes? do {of which they are so proud} the gauges say we’re full UP yet do day Daddy what do the gauges say ar ne beeo enough in, DADDY? is that you Barry? Is that really, really you?
are we in deep enough now
swivel-pivot
I hope so
no you don’t son hope doesn’t count as a strategy round-about here and environs
Nancy!
What?
Graddieo-o-oooookslaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaan. Meestah Bo-Peepula’s windows (yah?) grrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr couch glandular couches meest’s glandular couches the name of the {which will in their service serve up all future dishes wonderfully hot} conditions who’s condition why your condition of course you’re the one strapped to the machine not I see I am here and you are there and taken together we may be presumed so | Up there! Look up there! They’re so loud! Must be fighter planes! | but that does not mean it is I with the condition by my God and by my word I had such a terrible condition as you, why—I’d immediately drop everything and go get my head examined eh eh eh eh they say quite often to the deviating in some sometimes every very minor way, crap g’eon shit go get your head examinedDOC we think here quite securely you need your head examined, yes, no indifferently (write this down skoal) there {I got a date w’ a bunny out back o’ the laundromat} yours appears to be still on (write a checkmark under agency name there skoal {Christ, Ross, a checkmark cannot be an agency name reconsider *} while the patient goes on strapped in patiently waiting having faith in DoC Pantunnio’s pock-mark sheepskin “hung on their wall” saying in script this that and ten others this is indeed the son of God Yup, yup; yup yup yup yup yup yupyupyu[pock-mark pock-mark pock-mark pock pyu[yu[ in that paragraph there honey that’s there go read it |split| tgilasr-trinckular-r-r-r-ianne JESUS Christ, my back itches God DAMN God-d-d-DAMN there’s a tree by this here you may rub it ? this here what this here ? Is your name Lillian James? If so, then, I’ve that there this here ? oh oh those this here’s over there wait no I will go I will go I will go o’er there I will get one * say wise in the cemetery by the Louthurralianne’s churchery I will go get one see? See those there? I swear to God it was one of these graves right round here like a record baby round round right round + oh and so I need that large of a surgery Doc? how far out around when one says right round here how right round are we talking? “?. are we talking just one next grave all around ‘vry direction but {excuse me my friend here and I would each like a few more “injections” of that please and/or thi(a)nk you} why the hell’s such a simple condition required that huge of a surgery Doc doublecheck that out please Doc uh oh please this one here ah I {yes almost just almost but this grave here’s where ‘e count needs to start from +oh yah and okay just shut up and stand corrected surgery Doc?shitsurgery Doc? that’s the problem with you and this pack-o-chaps with you, you can’t Navarronned ‘lly just (the guns just the guns) shut the hell up and simply stand corrected o no no n no no now 998&&&$ yes it does matter which grave gets dug in the center ‘cause the anomaly’s there’s that years back in a visit the marker was a quietly unusual wrought iron custom-made cross full of curlicues. See? See? And all painted black in a suit of glossy Rustoleum you know you can picture the kind of black painted wrought iron curlicues what when you rub your finger down them you detect tiny bumps tits and otherwisely defectivities all over the wrought iron, and there was so, so much more to see and to know about it what an interesting grave marker what an interesting on’ BUT it is gone now.
What? My God, no. That is terrible.
Yes, terrible, And, where it is now is, a mystery.
Sure is yes, sure is.
I really want to see it but it seems no longer there.
What a pity.
No longer there.
A pity.
Not there.
Pitiful.
Yes. BackWhang!
Yes.
Yes pitiful Party! Oh, *## simply stand simply stand simply
