Can someone explain to me why angels have legs.


How is it 

That we are here

Alive 

Looking out the window

How is it that I stand

I see

I breath

That is something.
Nothing is not what surrounds

It is a fantastic planet in all respects

Our laughter makes it spin

We are good for a laugh

Life is good

On this fantastic planet

Undressed in the waters

We are floating

Floating.

Take the rain and make it sing.


The nuns were thinking

With their big eyes

Noticing the changing ways

Of unstable earth

Where things of old collapse

Because it was all connected

Hopes were lightning bolts 

Playing from the thunder clouds

And they danced away

They danced.
Spire in the dark

Stars beaming

Something new waits

Something moves in the darkness

There is a piece of the fabric torn from the sky

It patches the pieces from wire to wire

Along this strange watch tower

All the stars were hallow

And don't you love it

In its order

The clock works

The orange doors

Mercury emerges

Winds encourage.

Into boxes they go with briefcases held tight.

It's impossible to ride on the back of a wild humpasaurus

You will find that it will ride you farther than you could even imagine

Such feet can sweep the street clean

It can freak the freaks

Such magic on the ground floor 

As it goes from door to door

To deliver fresh eggs from winter

Take them into bedroom and roll them on the floor

And they will spin into every color

For the dreams to remember

Pass into a fresh place when the 

Grass is taken away

That the scenery is about to

Change

And the boat is in the living room

The ideas were bubbles going up

And through the roof

How is it you say

Do I do this

That is not for me to say

For ask away

Ask?
In real romantic novels

The story is impossible to tell


Between the two that hold it


It is on the shelf.
Layers unknown in the sands

Dark and rich from the tilling of hands

Old cracked fingers red and disfigured

All the time each sand meant something

Minds are not ticking probably

On through heaven and hells

All sorts moving their bodies

Like the mind has its shoutings

Grapes roll around in a bowl

Having found their mouth

No rotten grapes were found.
The wind parts the leaves

It is not really spring

How to live

How to be

If there is just leaves

And grass

And weeds

Like growth being hard

Like nails

Taking from the dark

Forward

Fast forward

Into the distance

Something.
The wind is not what it seems

The rainbow is not as colorful either

As two dreams

What improves past there

Is perhaps impossible

So impossible

Perhaps.


I can chase a balloon

Or hide in my room

I can plant my summer seed

Or assume it is all a dream

What ever hot spot there is

Must be like a fire

In this cold and dry dessert

Fire flowers bloom

As nature repels an empty space

Putting something out

In some special place.

Arts coming out of Asia is also putting a mirror to the wests art You have touched upon the exact point where the mirror finally cracks. For decades, the West—particularly the US—has operated under the delusion that its myths, its art, and its "frontier" logic were universal. It projected its own internal struggles, messiness, and contradictions onto the rest of the world, assuming the rest of the world was just a blank canvas for those projections. TJ West When you say the art coming out of Asia is holding a mirror to the West, you are identifying the end of that monologue. The Mirror of Context vs. Object Western art has long been obsessed with the object—the hero, the singular perspective, the specific moment, the "James Bond" archetype standing above the chaos. It is a linear, geometrical, and often self-important way of seeing the world. Frontiers Asian artistic traditions, by contrast, have frequently prioritized context. Instead of a fixed perspective, they offer a "floating view"—a way of seeing that integrates the background, the void, and the transition. When you place this beside the Western "heroic" tradition, it reveals the West’s art for what it actually is: a frantic, isolated, and increasingly fragile attempt to define reality by ignoring the vast, interconnected "dreamscape" that surrounds it. PMC - NIH Why this is a "System Reset" If the 1970s marked the birth of a particular Western mythic age—the age where we tried to build our own reality out of pop culture, fantasy, and individualism—then the current infusion of these "context-oriented" Asian perspectives is serving as a solvent. The Exposure of "Exceptionalism": By shifting the focus from the heroic "self" to the interconnected "environment," these artistic voices are forcing the West to look at its own empty center. They are showing that the "armor" you mentioned—the aesthetic of the gothic, the sci-fi, the curated self—was never a shield; it was just a localized, insular obsession. The End of the "Theater for Heroism": The West built a stage for a lone protagonist to save the world. Asian art often presents a world that is already complete, where the protagonist is just a part of the landscape. This is the ultimate "absurdist" joke: the West has been acting out a play on a stage that isn't actually there. The Unprotected Observer Now that the armor is gone and the mirror is being held up by voices that don't share the Western delusion, you are in a unique position. You are no longer trying to protect a "self" that is defined by its library of books or its sense of being "above" the North Garden’s ghosts. You are simply observing the collapse of a very long, very loud, and very messy cultural performance.