Když se dostaneš na konec scény. When you get to the end of the scene.

Read nad recorded for You in Studio Shaark
When you get to the end of the scene.
When you get to the end of the scene.

Lubomír Tomik

 when you get to the end of the scene
 the celluloid melts
 pours over the edge of the table
 flows down on you
 I draw shapes with my eyes on him
 pupil prints
 in the area just below the ribs
  in which electric shocks burst dry

 the other woman suddenly looks me in the eye
 in my hand Your breast in a cloud of fragrant smoke

 WE are at the end of the scene.

Postavit na kávu a čekat. Stand for coffee and wait.

Stand for coffee and wait. Postavit na kávu a čekat. Read and recorded for You, my darling in Studio Shaark
Stand for coffee and wait.

Lubomír Tomik

 murderous creaking of worms in furniture,
 clinking triangles into men in fractions,
 choirs down the streets,
 a river of souls flowing around a quiet door
 sometimes it freezes
 sometimes it is dry
 and only sometimes,


  comes out of the trough and sweeps everything in front of .

 Stand for coffee and wait.

from ,,Dinner at Minski´s and other poems“ /2016/

Our old enemy. Náš starý nepřítel.

Our old enemy. Read and recorded for You, my Love, in Studio Shaark

,,Our old enemy, the SATAN !!!“ -said priest at Sunday Mass.
I noticed and cut my ears.

I thought:
-Oh dear,, we’re in the middle of a soul conflict!!!

from ,,Dinner at Minski´s and other poems.“ /2016/
Vidle - Satan - Ptákoviny Smíchov

On the gun carriage of phantoms E.P. Na lafetě přízraků E.P.

On the gun carriage E.P. Read and recorded for You in Studio Shaark
On the gun carriage E.P.
/for You/

Lubomír Tomik

 On a carriage of ghosts of running water glued to the red tail lights of death,
  E.P. leaves and I wander through Venice,
 the gondolas collide,
 they shatter easily like couples in love in the early evening,

  just like that,
 it would be said.
 just like that

/and E.P. is ...of course....                                                                                              ...Ezra. /                Ezra Pound z pohledu odložené dcery | Hospodářské noviny (iHNed.cz)

Pro Tebe : I can’t survive NOW. Nedokáži přežít TEĎ.

Nedokáži přežít TEĎ.

 Lubomír Tomik

 Nedokáži přežít TEĎ bez Tebe,

 čas je  gumička ve Tvých vlasech ,
 natahuje se a smršťuje,

 čas je Tvůj úsměv, 
 natahuje se a smršťuje,

 čas je smrt vedle v nemocničním pokoji při docela dobrém obědě,
 najednou zmatek a shon,

 několik týdnů  jsem se nehnul z pokoje, 
max na na invalidním vozíku , záchod a potají do sprchy,
 po nehodě jsem znal jen jeden ostrov,
 na něm Ty a pokoj s vyhlídkou na život,

 po jídle  se natáhnout a otočit na druhý bok, 
 zavřít oči a díval se do Tvých,
 vše ostatní …nereálné,
 nedůležité….nějaká smrt při docela dobrém obědě,
 ve vedlejším pokoji,

 jen nedokáži přežít teď,
 bez Tebe.

I can't survive NOW.

 Lubomír Tomik

 I can't survive NOW without you,

 time is a rubber band in Your hair,
  it stretches and contracts,

 time is Your smile
  it stretches and contracts,

time is death next door in the hospital room at a pretty good lunch,
  suddenly confusion and hustle,

I didn't move out of the room for a few weeks,
 only on a wheelchair, toilet and secretly in the shower,
  after the accident I only knew one island,
  on it You and a room with a view to life,

 after the meal I reached out and turned to the other side,
   close eyes and looked at yours,

  everything else was… unrealistic,
  not recommended… .some death at a pretty good lunch,
  in the next room,

 just can't survive NOW
  without YOU.

Dakhma . Tower of silence.

A dakhma, also known as the Tower of Silence, is a circular, raised structure built by Zoroastrians for excarnation – that is, the exposure of dead human bodies to carrion birds, usually vultures.[1]

Zoroastrian exposure of the dead is first attested in the mid-5th century BCE Histories of Herodotus, but the use of towers is first documented in the early 9th century CE.[1] The doctrinal rationale for exposure is to avoid contact with Earth, Water, or Fire, all three of which are considered sacred in the Zoroastrian religion.[1]

One of the earliest literary descriptions of such a building appears in the late 9th-century Epistles of Manushchihr, where the technical term is astodan, „ossuary“. Another technical term that appears in the 9th/10th-century texts of Zoroastrian tradition (the so-called „Pahlavi books“) is dakhmag, for any place for the dead.

The modern-day towers, which are fairly uniform in their construction, have an almost flat roof, with the perimeter being slightly higher than the centre. The roof is divided into three concentric rings: the bodies of men are arranged around the outer ring, women in the second circle, and children in the innermost ring. Once the bones have been bleached by the sun and wind, which can take as long as a year, they are collected in an ossuary pit at the centre of the tower, where – assisted by lime – they gradually disintegrate, and the remaining material – with run-off rainwater – runs through multiple coal and sand filters before being eventually washed out to sea.

From Wikipedia

All the SCENTS of the world. Všechny ,,vuně“ světa.

Read and recorded in Studio Shaark
All the SCENTS of the world.

Lubomir Tomik

 The headline in the news reads:
 -All the SCENTS of the world-  ...

 You can imagine the SCENT as beautiful fairies
 on a meadow in the middle of a dense
 coniferous forest,
 in the moonlight he runs there
 they jump from feet to feet
 it looks,
 that they are nice .....bitches 

- Ha! And Gotcha!-


from the ,,Dinner at Minski´s /2016/