Stalemate
There’s water on the Thames
The same misunderstanding again
The unwritten Latin is lain on the fences
Where the Oxen cross the ford
And lay the leg-up to The Legitimate.
There are ways forward that nobody discusses
As the reliant on the News are forbidden access
To forthcoming influences
And nudges from the evil empire.
Pyre
& Omens.
The confusion that will reign when the Spanish King resigns
Is not the forbidden knowledge for the Sixth Form College
As the print media churches out matters for them
And leaves the 60-year-old behind to “WAKE UP!”
: Shut the Fuck Up, Fat Cat
: {There are ways of speaking politely}
Execute this on a Boardroom floor,
With Michael Jackson {*Moonwalking*} on top of it.
Duh
Disdh
Duvh
Discdh
… is not my luRrRrv-AH!
That was about it
The long, the thick and the thin of it.
And nothing was left to do but embellish it
For the devil in the Literati
Who wanted a new Review (?)
And some sandals underfoot, so they too could be called loathed.
Greek Boats
Ships parading the innocence of havens
Slaves to yoga trekkers in the Pune and Punjab
Between the loins of the ladies of the lavishly outlaid in the London lewd lardy dah.
That will go far,
When the censors kick in and block the blockages even further: –
Charring Cross and the man stranded with Naipaul
(…“is that all???!”)
It’s all I know this afternoon: It was studying for the L.P.C.
Jury’s are in and out of the place
Like magical Nike on Mace
And the emanating nuisance of intention
Is the virginal maiden’s purity invention.
My mother did Yoga too.
Does that mean she’s on the Freshie’s Boat with the (Jew) in you?
Who’s balancing those oars;
When the ores in South Africa have not made it through?
Note:
“… she’s just a girl who said that I am not the one”
AI Summary
The poem shows a world where institutions — media, monarchy, academia — miscommunicate and misfire, leaving ordinary people stranded in confusion. Political spectacle, pop‑culture ghosts, and literary elites collide in a chaotic theatre of censorship, noise, and inherited power. Global symbols — Thames water, Greek boats, yoga trekkers, Naipaul — swirl into a critique of cultural pretence and postcolonial fatigue. In the end, the speaker studies for the LPC while culture itself becomes a trial, a jury, and a performance they can’t quite escape.
