A lion must kill, be savage with its jaws
But only other humans desire  souls
A tiger  has no sense but  natural laws

A lion will sleep replete, his head on paws
Jews were buried live with bodies whole
A lion must kill, devour beasts with its jaws

Why do we do evil; what’s  our cause?
The earth was heaving live, what can we know?
Thee tiger  senses merely natural laws

In a strange dilemma, we are caught
How did we make murder a shared goal?
A lion must kill and eat its prey still raw

The few live Jews came home and home they sought
Yet were  murdered,  flung alive down holes
Lions and tigers pitied the distraught.

Now the bones of Jews  mingle with  coal
Where are they dwelling now, who raised their souls?
A lion must kill to eat with   its own jaws
A tiger  has no sense but nature’s laws

Will you got to Heaven and share with all?
The Warsaw Jews,  the European trolls
How the Ten Commandments  still annoy
The men of greed, the bankers, souls forlorn

Europe died when Europe made Great Wars
Europe did not live by any law
Staggering on, we do not know we died
When we killed the Jews, the Lord’s allies.

Dear Katherine
Your blog is very rude.After I got to the bottom of the page and by the way that was no easy task with all the stuff you write, what did I see but “Older Pests press here”
Well,I am mortally wounded.I know we disagree on much but I thought I was doing you a favour visiting you instead of preying like I used to do.
I can’t believe you have changed so much in the last five years and I am puzzled about how I ever loved you.Well, to be honest, that was a  lie.It’s  just a rapid way of getting someone to open up without spending years getting to know them in the usual way
Yet I did think you loved me true though I never deserved your patience and gentleness.To prove it I hit you with a brick and a bit if brac as well but does that mean you may demean me and call me an  Older Pest? Just  Pest is cruel enough, why add Older? We are all older but so I keep mentioning it
Did I ever give you any child maintenance? I think I forgot but as you seem fairly intelligent I imagine you have made money one way or another.There’s nothing wrong with  being a harlot as long as you keep it secret.And with your IQ I imagine you did.Now he’s at school maybe I will visit you and give you a  piece of my mind
On second thoughts,I confess I am scared of you as you might wish to castrate me like mother tried to do.What is it with women?You hug them, kiss them and then they want a new kitchen!Well I shan’t do that again
Is a Pest always a sexual Pest?From your papers I see you have lots of them/.Maybe it is to them you refer and not to me.If so,I never apologise but I did not mean to offend you for more than a year or so.
I’m in a Care Home now.They care and I moan.Just like being married really.God knows why women still love men
Lots of hate and a dash of admiration
Peter Pesky Ph.D { Oxen}
Professor Superfluous [ fired from 6  Universities ]

Peter

“Perhaps this is the absurd lesson of Job: that our choice is either to accept loss and make it meaningful or to protest it in  absurdity, which costs us our ability to mean. If we choose the former, it need not be because we are satisfied that there is a universal order or great warum that justifies our losses, but because our meaning-making power is all we have to trade, and to give it up is to sacrifice our ability to act meaningfully in the world. On the other hand, if we are to follow the example of Camus’ 1958) vaunted “fastidious assassins” who demanded self-sacrifice as the only just compensation for performing acts of terrorism, then when confronted with extraordinary inhumanity or injustice, perhaps only the sacrifice of our ability to mean is meaningful.”

http://home.btconnect.com/mike.flemming/birds.htm

Apparently standing up straight does more for you than going to Cambridge
Looking slim is better than 5 A*’s at A level.What are women for?
Being beautiful is great for career acceleration into the lap of some mad  dominating mogul.Carry some tailors’  pins and practice elbowing men in the groin with a rubber male doll.Try to look menacing now and then
Making eye contact is an error as men thin you are coming on to them but if you don’t they will say you are autistic.If you are autistic it’s big advantage should you wish to become a mathematician.We are nearly all autistic… just mildly, of course.Getting obsessed with Fermat’s Last theorem is more fun than gambling  or getting drunk
Getting obsessed with yourself is not so good.Get obsessed about infinity and the fact there are different orders of infinity,Make sure you tell your lover  about aleph null and aleph one while they are caressing you on the sofa while you watch Henning Mankel’s latest TV film.Who wants to watch TV
Carry a tennis racket to “accidentally” hit men  or omen who violate your boundaries.Or a heavy handbag full of pens and keys is often useful.
Tell  men you don’t remove your tampon so they can suck your blood.Why don’t they do it like vampires? God,I’ve never heard of such absolutely dreadful things until Weinstein got into trouble.What next? I don’t want to got there
Do men want to suck our blood because they are anaemic? Have you ever heard such things before?
I think I might be a lesbian now.I  am a lapsed heterosexual.

https://www.fastcompany.com/3016689/10-paradoxical-traits-of-creative-people

10. CREATIVE PEOPLE’S OPENNESS AND SENSITIVITY OFTEN EXPOSES THEM TO SUFFERING AND PAIN, YET ALSO TO A GREAT DEAL OF ENJOYMENT.

“Perhaps the most important quality, the one that is most consistently present in all creative individuals, is the ability to enjoy the process of creation for its own sake. Without this trait, poets would give up striving for perfection and would write commercial jingles, economists would work for banks where they would earn at least twice as much as they do at universities, and physicists would stop doing basic research and join industrial laboratories where the conditions are better and the expectations more predictable.”

Paradoxical or not, what I have learned most is that there is no formula for individual creation. As Mihay says, “creative individuals are remarkable for their ability to adapt to almost any situation and to make do with whatever is at hand to reach their goals.” So, more than anything else, what it takes to be creative is resourcefulness and the courage not to give up.

https://www.theparisreview.org/interviews/4112/george-seferis-the-art-of-poetry-no-13-george-seferis

INTERVIEWER

Do you think there’s an advantage—as I think Cavafy would probably have thought—to being in dialogue with historians? In other words, do you feel that history has something particular to say to the poet?

SEFERIS

If you remember, Cavafy was proud of having a sense of history. He used to say: “I am a man of history”—something like that, I don’t remember the exact quotation. I am not that way; but still, I feel the pressure of history. In another way, perhaps: more mythological, more abstract, or more concrete . . . I don’t know.

INTERVIEWER

How about the relation of the Greek poet to his particular historical tradition? You once said that there is no ancient Greece in Greece. What did you mean by that exactly?

SEFERIS

I meant Greece is a continuous process. In English the expression “ancient Greece” includes the meaning of “finished,” whereas for us Greece goes on living, for better or for worse; it is in life, has not expired yet. That is a fact. One can make the same argument when one discusses the pronunciation of ancient Greek. Your scholars in America or in England or in France may be quite right in adopting the Erasmic pronunciation: for them Greek is a dead language; but for us it is another story. The fact is, you consider that ancient Greek has terminated its function at a certain point, and this enables you to pronounce it—with my regrets—in an arbitrary way.

INTERVIEWER

Then you obviously see the Greek tradition in language, as well as in other things, as a continuous process. That is not the belief of some classical and Byzantine scholars in this country—and, I suppose, elsewhere.

SEFERIS

You know why that happens? Because the subject, the history, of Greece is so large that each scholar limits himself to a certain period or branch, and nothing exists outside of it. For example, Gibbon considered that a thousand years of life were a decline. How can a people be in decline for a thousand years? After all, between the Homeric poems and the birth of Christ eight hundred years elapsed—or something like that—and then presumably there were a thousand years of decline.

INTERVIEWER

On the question of the Greek poet’s relation to his tradition, it has always seemed to me that the Greek poet has an advantage over his Anglo-Saxon counterpart who makes use of Greek mythology and sometimes even of Greek landscape. I remember years ago when I was writing a thesis on what I thought were English influences in the poetry of Cavafy and Seferis, I asked you about certain images that crop up in your landscape, for example, the symbolic meaning of the statues that appear in your work. You turned to me and said: “But those are real statues. They existed in a landscape I had seen.” What I think you were saying is that you always start with the fact of a living, actual setting and move from there to any universal meaning that might be contained in it.

SEFERIS

An illustration of that from someone who is a specialist in classical statues came the other day from an English scholar who was lecturing about the statuary of the Parthenon. I went up to congratulate him after his lecture, and he said to me, as I remember: “But you have a line which expresses something of what I meant when you say ‘the statues are not the ruins—we are the ruins.’” I mean I was astonished that a scholar of his caliber was using a line from me to illustrate a point.

INTERVIEWER

The imagery that a poet gets from his childhood is something we’ve discussed before. You once distinguished yourself from the average Englishman by suggesting that donkeys probably did for you what footballs and cars might do for them. I remember you also talked about the sea and the sailors of your native village near Smyrna.

https://www.theatlantic.com/entertainment/archive/2013/06/can-modern-poetry-be-saved/314001/