The Training room, Jupiter will die. ~ Rene


The males. Dressed in straight shoulder pads and collar bone,
a stretch of bone padded material.
No breathes admitting that they need air.
The females. Seeping ‘S’s’ – here for the same job
some of the actors knowing their lines, others
under the hollow gloom
more honest
about the play.

The training room.
The world made of blue felt and none
of the leaders allow hell to come;
where they lead us.

We know that the statues don’t remember.
We know what the worm knows where (s)he rattles
out, a constant poem that is not afraid.
We know that the sea must dance and lead the statues from the weave.
We are not the names given, but the names heard.
We’re sat in salacious dog eyes in the milking fruit.
We’re vaults on the decaying tongue of sad minstrels.
We’re the same as his battered fingers fingering infinite strings.
We’re infinite style.
We’re the lyre coming from the cocoon
savouring the world;
wings and unheard screams distilled in a womb of immense energy
flowing to the root
Apollo Agoria Abbraxus
is one of the names
releasing the buckle and diving into bed belonging to nothing
just a hearse in a low gear, just the last radio song fulfilling the waves with a
song and video;
where a black woman shakes near a window and smokes
like she does, when she smiles her mind is a knife, more naked
than a training room full of melancholy.

She’s drunk and sober.
She’s more awake than the sadness of mannequin eyes.
She’s the conversation that out lasts the time we have.
She’s every word that holds power and meaning in a den
that’s turning into a heated pile of digital scream.

We’re the first thing chiselled into rock.
We’re dressing our limbs and placing new scents upon our skin.
We’re the night we’re the jazz.
We’re the thrash and the shadow.
We’re the history and the human.

We are the private life of two workers
keeping our puke to a minimum.

Then letting it break out in one sigh of red thought
once we return home.

My weariness is forgotten as heat rolls across my cheap carpet
and you’re already back.
There’s stubble upstairs on my cheap razor.
There’s a small humming bird sat on the fence past my kitchen window.
You’ve already thrown away your office
as I throw mine away

It’s 10. And the fire is forgotten and new. We don’t own a TV
and the walls are cleaner than a womb made from our own flesh.
Dusky sand blown into our face from a bomb collapsing out and in from the sand.
We’re the particles collecting over the dunes, uniting themselves
in the night – new languages opened in sphinx dreams and sphinx sighs.

All we gotta do is sit back and watch as her paws twitch and she rolls her neck.
It’s tight after a few millennia of sleep.
No one is sat near our place below her chin.
Watching it drink in the murmur of our thumping chests and heat scent.

There’s the sound of flesh ripping from marrow.

There’s the sound of lorn coyote’s mixing in the heavens and the street rain.

The street has a thousand strings combining our arms within itself
knowing that the road rythm is a mime, and that our four paws
are more
and are grace itself. The stage
the gods,
the science,
the electric
of nature
hungered in the spectacle of sliding shadow
amidst the mood of viperous traffic lights and moans behind sunglasses,
a wolfing flock,
a cavernous look of sacrifice
in the death strike of a swan
protecting its eggs
below the bridge where we once walked.

An absolute, of sheer life.
A universe of sheer decay.
Broken away.
By our song.



is Raoul Moat in a boat. His first words were ‘Newky Brown’. As well as being our most prolific writer, René also creates graphic art, paintings and screenplays.

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