2.025

Allegorico—palabra
for Param Miner.

2.0251

Alliance, the ring (AppSec):
Ironie der Ironie—paraph,
forgery.

2.026

Incinerata, furkalka or whirligig:
the Synack—the SSH private key
(id_rsa) in honeypots,
totalitario.

2.027

Canonical hierarchy:
DEP—mprotect()/re2liƃc()/
ROP/Egghunter,
the Pontifex Maximus:
PWN.

2.0271

Ancilia (Async)—run gdbserver,
trink’s esthesis (microtask
queue): vCISO
in this in partibus
infidelium.

2.0272

Prosopopoeiae: DOMPurify—nox
illuminatio mea. Confer
the cultural attaché.

2.03

Rhythmus: its Welt,
its Anschauung—Bypass
in Socket.io-file NPM
module: die fackel
(de trop): Chain.mdlets.

2.031

Essent (a MySQL warning
message)—obscurantiste: Migdal
Bavel. Trigger XSS via 404.

2.032

Hypomnemata (sipapu, kiva,
temenos): SilentHound via LDAP
Parse—epitaphic,
its apostrophe fiction
the PR-DNSd Passive-Recursive
DNS Daemon: alleluias.

2.033

Opus vermiculatum, a BGP
hijack attack—crowd errata.

2.034

Mewseyfume, the Jabberwock
in LyghtSpeed (atomic facts):
in hac lacrimarum
valle—def, RHOSTS.
2.04

Paylikeank (Sha’ûl)—ACK=x+
len(DATA_A)+1,DATA_B>eppur:
frumia. Biblia Vulgata.
Pride’s crūdus.

2.05

The totality: YARP (chaosmos),
its janitrix or reverse proxy
(gRPC)—is Totalité et Infini.
2.06

The mclnēut’ium (from mclnē, 

“filth”): GPO abuse—this lipoleum
snipe (kinesis/kenosis),
this thingajarry nonexist,
negative fact: binwalk output.
Compress the POSIX tar archive.
This tranche: EDR/IR.

2.061

IDOR (allos in agora)—das
Schrifttum: pstmt.executeQuery().

2.062

Zerstörung maßnahmen (Wireshark,
Tcpdump, Dirb, Snort)—its generica
in Theatrum Chemicum.
The gaud, crux. Geffe juvat.
Pose nihilum.

Daniel Y. Harris’ The Metempsychosis of Salvador Dracu, Volume VI (manuscript) of The Posthuman Series,  is a misprision of Ludwig Wittgenstein’s Tractatus Logico Philosophicus with its 7 primary levels divided into 525 sublevels. The protagonist, Salvador Dracu, is malware as Jacques Derrida, Black Hat Hacker. His Posthuman Series has received praise from Charles Bernstein, Harold Bloom, Marjorie Perloff, Kenneth Goldsmith and Andrei Codrescu.

Daniel Y. Harris is an extreme experimentalist. His Posthuman Series includes The Resurrection of Maximillian Pissante, Volume V (BlazeVOX, 2022), The Misprision of Agon Hack, Volume IV (BlazeVOX, 2021), The Reincarnation of Anna Phylactic, Volume III (BlazeVOX, 2019), The Tryst of Thetica Zorg, Volume II, (BlazeVOX, 2018) and The Rapture of Eddy Daemon, Volume I (BlazeVOX, 2016). His extreme experimentalism has been published in Alligatorzine, BlazeVOX, The Denver Quarterly, Dichtung Yammer, European Judaism, Exquisite Corpse, Marsh Hawk Press Review, The New York Quarterly, Notre Dame Review, perspektive, Poetry Salzburg Review and Word For/Word. He is the Publisher of Var(2x). His website is danielyharris.com.

State Park

i.
Snaps bold, impressive
wind as what turns
descendant up-on tree top stoled,
shopped quick in limelight compounding
sunrise its solace
so that
what haste makes for
ash, cedar if then aspen,
appears in driftings,
snowflakes
the teardrops
hearts’ broken footprints
their sought journey
shaped of day
to remain dissipating
in heats chinook lost now,
gone for morning.

ii.
The stint of gesture dispossesses
breaths within the bundle
of feet moved nowhere lain a beach
in travelled stanzas
rhythms once spoke of
to advert a lakefront
the naked eye maims as
undusted pleats, quick storm
abounding with purpose,
Time’s truth relays us—what
tells of here now if/then
cropped-down and delving
such notes to tomorrow makeshift happens
that we stay here, ready assembled
as wind, sand’s trademark, effaces.

iii.
Kept near solitude,
that trap of obsolescence,
is another door
silent out-breaks us
on tacit scenes
up-turned of lines
it happens we composed them,
alone with such rectitude
prominence imposes
for a froth of gravity
sensed its own
of skulled ferns the long trail
remembered, half-stumbled
in memory what it was we walked for;
neat the appendage
indicative of warnings.

Shirtless Shot

I am not the man,

one hair too old

chasing waterfalls.

I am the too-young boy

walking behind him

I am above

staring

down at my reflection

in the muddy sand

knowing I have to jump.

I am the one not trying to be the fourth

blond hair swinging

carrying two backpacks instead of one.

I am not the ant

nor the elephant

I am the turtle eating

grass instead of leaves

I am the frog on the lily pad

in an island of toads

I am a reflection of myself

sewn across the sky

always not the one before.

I am like Thor

trying to drink the sea

all from a single chalice

I am the stray cat

desperately clinging to the chair

next to the loveseat

I wish I could fill.

I am the boy

too short to see himself

trying to look back at him

NHC II,3

Bundle the mimic
Panoply. circa 1637.
Pan magi urges
the hieratic fast

Glitzy doppelgangers
warhole the coin cidence
and skip the eye

Our asthmatic companion’s
paranormal apology. Sold for
a nickel. The decamass
takes cadmium heads
without a trim

We leap on inferences,
the refine nothing,
the tartuffery twist

A citadel of phototex
A citadel of latex
A citadel of profolaktex

snapshots rescue us from buffo

The thresh held to a tripod,
a joke with frogs.

2

Latituderation injures
the baggy drivel,
the same spit on purp

fakes a dialectjour in pose.
A hiccup castigates
that dull dichotomy
that dull cantata

Messianic purits
ban scrid, and hung tongues
to increase assitude

Paragonic sputters
the squat pastiche
reeks solipsism

3

Triptych occupies itself
in a fake hinge
in a faux link

The zero amp tight

A cylinder cataract dogma
tames the spread fixed
in reverse,

an instability from every flat
tumble. The gut fears sight

4

Tempo the average meta.
Petronius is untranslatable

because elegantiarum is a canard
to profligate a voluptuary speed

A science in quo allur, the plausi
representationincisions the vain

play. A broken fluorspar dippers
the table with two hims, a ragment

5

Under a pillow, Aristophanes
hides the attic wasp. Lysistrata

loses the slander chorus
and Didaskalos habits
an errand return

Irene Koronas’ gnōstos, Volume VII (manuscript) of the Grammaton Series is an unanguagic, hyper-minimalist écriture, melding its aporias with a mix of staccato posthumanism and The Nag Hammadi Scriptures.

Irene Koronas is an extreme experimentalist. Her Grammaton Series includes siphonic, Volume VI (BlazeVOX, 2022), lithic cornea, Volume V (BlazeVOX, 2021), holyrit, Volume IV (BlazeVOX, 2019), declivities, Volume III (BlazeVOX, 2018), ninth iota, Volume II (The Knives Forks and Spoons Press, 2018) and Codify, Volume I (Éditions du Cygne, 2017). Her extreme experimentalism has been published in Alligatorzine, BlazeVOX, The Boston Globe, Buzdokuz, Cambridge Chronicles, E·ratio, Marsh Hawk Press Review, Offcourse, perspektive, slowforward, Taos Journal of International Poetry & Art and Word For/Word. She is the Publisher of Var(2x). Her website is irenekoronas.com.

Living in Tents

Living in tents may not be so comfortable as you sleep in the royal palace
Living in tents it’s my choice to live in
Though not for every time
You can feel some difficulty at first time
No fear dear,
You have entered such an amiable and lovable room
So easily adjusted
Living in tents I enjoy at times
Feeling light in the eyes.

Chapainawabganj, Bangladesh
27/01//2023

At Your Speech

When you deliver your speech
A hawk suddenly waves its feather over head
You speak, speak and speak
The hawk spreads softly all around
Enchanting all the way
You are on the stage delivering speech
I enjoy the fly resonating something strange
As the two doves once loved each other on the branch of a tree
And I watched through the window beside
My teacher forbade me not to see outside
But subconsciously I observed and observed
I hear your speech
I look through the flying hawk
I can hear you both
One is speaking loudly
One is silent and so smooth.

Chapainawabganj, Bangladesh
30/01//2023

Rat-Rat Play

The world feels sick
The people of the land fight for what is achieved or not
No sense of good or bad
No heart for the rest
Some pieces of land always busy with their trump card
And raise the hands of joy
Staring at the sky the thundered eyes never turns back to the pool
Surrounded by the shady trees
Others are tired to watch
The Rat-Rat Play
Who can stand by living in peace?

Chapainawabganj, Bangladesh
30/01//2023

“Where is the Lie” – A Breath of Fresh Air in Independent Cinema

It’s official, a new year has come, blooming seasons, and new films.
Luckily for me, I watched a brilliant dark comedy Filipino (flick) -as one might say- that carried all the good ingredients for a good film. “Where is the Lie” is a dark comedy/social satire that features multiple Filipino talents. It stars Ej Jallorina (the main protagonist Janzen), Maris Rascal (the villain Beanie), and Royce Cabera (Theo/Dennis; the heartthrob Dorian Gray whose soul is not as dazzling as his looks). This is the eighth film from Filipino director Quark Henares and the one that scares him the most.

I loved many things about “Where is the Lie.” It featured a trans actress playing the role of a trans woman, a crucial step which Henares, the director -whom I had the pleasure of interviewing- explained was to avoid a “Danish Girl” situation. And authentic and well-crafted the film turned out. Ej Jallorina is in the middle of her transitioning process and Henares explored how she brought her sensitivity and authenticity to a role that could have easily turned mundane. She gave a sympathetic, gullible performance of the main protagonist, Janzen, a young transwoman who unfortunately fell victim to a catfishing situation by a manipulative, beautiful, and tactical girl who looked like Selena Gomez if she had her heart replaced with Amy Dunne.

A scary combination, right?

Hopefully, when people see the film they witness the breath of fresh air that Maris Rascal -a rom-com star in the Philippines- brings to the role. Her range and subtlety of performance interlope with moments of intensity that never seem out of place. After “Where is the Lie,” Rascal will be an even bigger name, not just in the Philippines, but worldwide. Cabera is an independent Filipino film actor playing -mostly- sultry, object-of-desire kinds of roles due to his buff physique and dreamy features. To see him acting through a range of emotions in this film is a refreshing route to a broader range of roles in the future.

Henares mentioned that Jallorina’s audition was an endearing moment for him as she told him how wonderful he was to her when she was a child actor. Henares explained that -at the time- he was working as a PA on one of the sets. Jallorina reminded him of how he acted like an older brother and provided protection and security for her at a rather hectic place to be as a child (20-something-hour shoots were no fun ride for a kid).

Rascal, on the other hand, vied for the antagonistic role. She wanted to challenge herself and break out of the mold that restricted her as an actress. The result was more than satisfying. Henares pointed out that most actresses in the Philippines were less than excited about this role due to the homophobic nature of the original character. Rascal was also outspoken against this person but wanted to portray her in the film. Her audition process included an exercise where she had to insult everyone in the room, including the director, and she did it with unsettling and predatory cruelty without losing the smile on her face.

Quark Henares is a bursting bubble of passion and enthusiasm. The film conveys his directorial style through the vivid color palette, the vibrant scenes, and the perfect choice of actors, each fit for their respective roles with calculated measures and casting choices that shine each in their respective roles.

As someone who fell for catfishing before and discovered a network of pals orchestrating the whole ordeal while using one of them as the “bait”, it was interesting for me to dig deeper into “Where is the Lie.” The film not only outlined the whole ordeal that Henares described as a lengthy Twitter thread that went viral in 2020 (at the peak of COVID quarantine) in the Philippines but the motivations behind it and how each person played a role in the diabolical scheme. Henares said that what made him more interested in the project were the intensified feelings of isolation and fear that made any statement from someone online insight into someone else’s “bubble” of life at the time.

It was a refreshing take and an eye-opener, something that Henares owed to the original hero of the true story for her willingness to help, providing details even during the shooting process.

Henares chose to include the antagonist Beanie’s (Rascal) POV in the film adding more depth and layers to the storytelling. After a rosy, schmoopy romantic start, the film shifted to a sinister, more playful tone with the appearance of Beanie and how she explicitly expressed her malicious, homophobic intentions. The viewer sympathizes with Janzen but secretly spies on Beanie, who is the Kathryn Merteuil of this tale, playing cruel intentions with people she carefully selects via dating apps.

Henares had a different style in mind when he first shot the movie, stating that his initial inspiration was a “Rashomon-like” psychological thriller, with the focus on Janzen and the viewer unaware that she was catfished. However, a collage of a movie started forming as his artistic vision became more solid. He shot Janzen’s plotline like a rom-com, Theo’s storyline like a social commentary, and Beanie’s like a Gone Girl, fourth-wall-breaking narrative.

Shifting between POVs created a dynamic that translated superbly onscreen. One scene, in particular, stood out as it cut between Beanie and Janzen, each in her fantasy of a character that might include a fictional version of a person arousing her. It was shot beautifully and masterfully and increased the tension in the film. Another scene that struck me as fresh and exciting involved girls being girls, an honest and loveable depiction of female friendship on the screen showed many intimate and honest details without overdoing it or painting it as too fluffy. Henares attributed that to being raised by women and having many female friends who created an environment of love and compassion surrounding him. He always felt at peace around them and thus felt comfortable being in touch with his feminine side.

“Where is the Lie” had its premiere this year at Slamdance Film Festival and hopefully will reach audiences worldwide on streaming services soon.

Hi all, we will combine our two February issues into a single issue, out February 15th. Thank you very much for your patience, we shall return!