Scházíš mi.

Scházíš mi.

Lubomír Tomik

Pocit srdce,
implodujícího samo do sebe a explodujícího náhlým zábleskem
milionu mihotavých žiletek svištících skrze tělo kůži oči
padaly k zemi chyceny do pasti strašlivou gravitací nenávratna,
cinkot v propasti,
scházíš mi jako pádlu kanoe,
scházíš mi jako číslice orloje,
scházíš mi nejdříve zvukem Tvého hlasu,
scházíš mi labiálním pohybem
scházíš mi světa divem údivem kousku který držel na vlásku 
scházíš mi a nechtěl se pustit a nechtěl se pustit na tobogán předsevzetí,
scházíš mi jako skafandr v kosmu, zadržený dech až klapky spadnou,
scházíš mi burácivě pršíš nade mnou ,příval deště smáčející podzimní louku teď,
scházíš mi coby bohyně ladně lesem pádící toulec vyprazdňující   šípy  náhodou zasahující, přímo do černého, 
scházíš mi scházíš mi jako hroty v ranách,
scházíš mi jako Adamovi Lilith, 
scházíš mi ,všechna ta slova která jsme jeden před druhým tajili,
scházíš mi, všechny sklenice které jsme spolu nikdy nemyli
scházíš mi Ty a vůbec všechno,
scházíš mi úsmě se silou skalpelu,
scházíš mi , kulka terči, chci aby jsi mne znovu a znovu zasáhla,
proděravěla jako cedník ve černobílých groteskách praskajících úsvitem rychlým střihem,
scházíš mi  vtěluješ se do snů přízraků vzpomínek
scházíš mi, přívaly euforie,
scházíš mi ,na kusu papíru zmačkaná načrtnutá teorie,
scházíš mi, rozumím ,že jsi mne nikdy nechtěla,
scházíš mi, bez Tebe vrata do pekla
dokořán, víra v Tebe rozžhavená do běla,
jednou jízdenka do Nikam,
sedadla prázdná,
stojíme vedle sebe a nenuceně si povídáme,
půlnoční radost.



I miss You.

Lubomír Tomik

Feeling heart
imploding itself and exploding with a sudden flash
million flickering razor blades whistling through the skin to the eyes
they fell to the ground trapped by terrible gravity forever,

jingle in the abyss,
I miss you like a canoe paddle,
I miss you like the numbers of an astronomical clock,
I miss you first with the sound of your voice,
I miss your labial movement
I miss the world by the wonder of the You ,she held in the balance

 he didn't want to let go and he didn't want to let go of the resolution water slide,
I miss you like a spacesuit in space, holding your breath when the flaps fall,
I miss thoughs of You raining over me, a downpour of rain soaking the autumn meadow now,
I miss you as a goddess gracefully falling through the forest quiver emptying arrows accidentally intervening, directly into the black,
I miss like spikes in my wounds,
I miss you like Adam Lilith,
I miss you, all the words we kept from each other,
I miss you, all the glasses we've never washed together
I miss you and everything,
i miss You,
pierced like a colander in black-and-white grotesques crackling at dawn with a fast cut,
 embody in dreams ghosts of memories
I miss you, torrents of euphoria,
I miss you, a piece of paper crumpled sketched theory,
I miss you, I understand you never wanted me
I miss you, without you the gate to hell
wide open, faith in You red-hot,
once a ticket to Nowhere,
seats empty,
we stand side by side and talk casually,
midnight joy.

Srdce.

Srdce.
Lubomír Tomik

Tvé srdce,
bezuzdný, bezesný meteor podzimních plískanic,

cinknutí blesku,
šepot hromu,
o stěnu rozkoše,
někdy dávno, možná,
v životě,
v tomto životě.




Heart.


Your heart
unbridled, sleepless meteor of autumn sleet,
flash click
whisper of thunder,
against the wall of pleasure,

sometimes long ago, maybe
in this life.

Alan Moore on Dracula

Excerpt from an interview included in Vampirella/Dracula: The Centennialpublished in 1997 by Harris. Comics The book contained „The new European„, a short comics by Moore, drawn by Gary Frank. Interview by David Bogart, titled „Dracula, graveyard poets, & an interview with Alan Moore“. / PS LT: Včera jsem ho četl knižně, pokusil jsem se ho najít na netu, aspoň část, povedlo se/

Bogart: […] What do you think is the appeal of Dracula or vampires to our culture?
Alan Moore: 
The appeal of a vampire to our culture is a long and complex one. We can trace the development of not just the vampire, but the whole field of supernatural horror from the „graveyard poets“ of the 18th century. They had been celebrating graveyards that had more or less vanished, where the dead only had a temporary residency. In these graveyards, a body would first be buried and then when the flesh was partially decomposed, it was dug up and the bones would be separated.
Around about the 18th century, we seemed to undergo, as a culture, a number of psychological changes in which the evidence of death that filled daily life was „brushed under the carpet“; as a culture, we no longer wanted to have the smell of death around us, we no longer wanted to see corpses or bones; we began to sanitize everything. We no longer felt as comfortable with death as we had been. This is due perhaps to the burgeoning Age of Reason. The assault on traditional notions of God and an afterlife caused people to become less certain of heaven and thus, death was no longer just a mere stepping stone.
However, death IS one of the major parts of human life, and we could not really entirely suppress it. After the graveyard poets came the gothic writers who turned all the trappings of death into a kind of „sugary fantasy“ that people could delight in, in the warmth and safety of their own sitting rooms. In a way, it was an attempt to tame death-to remove the real evidence of death in our lives and to substitute a parade of demons and devils and monsters…with which we could enjoy the vicarious pleasure of it. Of that gallery of grotesques, the vampire is obviously one of the most exciting and endearing. The vampire is not only full of the morbid fascination that the dead hold, but it is also incredibly sexual. The idea of transferring bodily fluids, be it blood or any other kind, is a sexual idea. The vampire has been portrayed largely as a sexual figure representing the elements of sex and death, and thus one can understand the appeal of the vampire.

How does your Dracula differ from most interpretations?
In my particular story, Dracula’s motivations become cryptic. We’re not entirely sure what he is. His motivation in the traditional story is simply to seek fresh blood, but now there are other possible agendas in play. He is a very knowing and aware Dracula-of himself and his fiction. What makes this fresh interpretation so frightening is that we don’t know what is going on-he is no longer tamed by the laws and logic we know and understand. My version is aware of those other past portrayals; he is aware of the entire media history of Dracula. My version exists in a world where the Dracula books and movies also exist. In a way, it makes it a stranger concept, because it brings the whole thing into the murky borderlines of fact and fiction. In a way, it gives the basic concept enough of a twist to make it fresh again. The main problem of vampires is that it has become such a repetitive motif, full of clichés such as the red eyes, the fangs, the rubber bat on a string…what I have tried to do is make Dracula very unfamiliar. He’s stripped of the gothic castle, and has been based in a disturbingly modern context. The effect I hope, is to refresh the vampire-jaded palette of the reader.

Wizard battles and demon circles revealed in newly translated Christian texts

Wizard battles and demon circles revealed in newly translated Christian texts22nd September 2020 | livescience.com |

Have you ever heard the story of a wizard battle that supposedly took place when an early church was constructed? Or how about the story of a border guard who defied King Herod’s orders and spared Jesus’ life?

Fronta v supermarketu II.

Fronta v supermarketu II.

Lubomír Tomik

Stála v ní Kráska , přemýšlela o lidech v řadě před ní,
stál v ní Správnej chlápek, přemýšlel o lidech před sebou ,
byl jsem v ní též,
a vzpomněl jsem si jak mi Kráska a Správnej chlápek
říkali,
co dělají ve frontě v supermarketu.

Vzpomněl jsem si na to a přemýšlel jsem o lidech ve frontě přede mnou,
bylo dvacátého března třináct set čtyřicet pět,
vypadalo to na výprodej bakterií moru.

Dobrá koupě, kámo.




Queue in the supermarket II.

Lubomír Tomik

Beauty stood in it, thinking of the people in line in front of her,
the Right Guy was standing in it, thinking about the people in front of him.
I was in it too.
And I remembered as Beauty and the Right Guy
they said to me
what they do in line at the supermarket.

I remembered that and I was thinking about the people in line in front of me,
on the twentieth day of March, thirteen hundred and forty-five,
it looked like a sale of plague bacteria.

Good buy, man.

Déšť.



Déšt.
 
Lubomír Tomik
 
Ve Středomoří roku 1888 března šestého,
jména se vrací, stejná, jen v jiných variacích,
přízračný muž se vrhá do Temže inkoustu
onen černý inspirativní sen,
duch duhy , vznášející se tváře,
obelisk něčího snáře,
harpuna velrybáře,
nech mne být Tvou náležitostí novinářské kachny,
měsíc bez Tebe,
dopisy adresované nikam nebo někomu v cukrárně,
při vyšetřování úmrtí na lásku,
nádhernou bestii,
nádhernou bestii,
nádhernou bestii.



Rain.

Lubomír Tomik

In the Mediterranean in 1888, on the sixth of March,
names are returned, the same, only in different variations,
a ghostly man throws himself into the Thames of ink
that black inspirational dream,
the spirit of the rainbow, the hovering faces,
the obelisk of one's bearer,
whale harpoon,
let me be your belonging to a journalistic duck,
month without you,
letters addressed nowhere or to someone in the confectionery,
in the investigation of deaths for love,
a beautiful beast,
a beautiful beast,
beautiful beast.