24
" IVREVEILLEWake: the silver dusk returningUp the beach of darkness brims,And the ship of sunrise burningStrands upon the eastern rims.Wake: the vaulted shadow shaatters,Trampled to the floor it spanned,And the tent of night in tatters Straws the sky-pavilioned land.Up, lad, up, 'tis late for lying:Hear the drums of morning play;Hark, the empty highways crying" Who'll beyond the hills away?" Towns and countries woo together,Forelands beacon, belfries call;Never lad that trod on leatherLived to feast his heart with all.Up, lad: thews that lie and cumberSunlit pallets never thrive;Morns abed and daylight slumberWere not meant for man alive.Clay lies still, but blood's a rover;Breath's a ware that will not keepUp, lad: when the journey's overThere'll be time enough to sleep. "
27
" I would rather go mad, gone down the dark road to Mexico, heroin dripping in my veins,
eyes and ears full of marijuana,
eating the god Peyote on the floor of a mudhut on the border
or laying in a hotel room over the body of some suffering man or woman;
rather jar my body down the road, crying by a diner in the Western sun;
rather crawl on my naked belly over the tincans of Cincinnati;
rather drag a rotten railroad tie to a Golgotha in the Rockies;
rather, crowned with thorns in Galveston, nailed hand and foot in Los Angeles, raised up to die in Denver,
pierced in the side in Chicago, perished and tombed in New Orleans and resurrected in 1958 somewhere on Garret Mountain,
come down roaring in a blaze of hot cars and garbage,
streetcorner Evangel in front of City I-Tall, surrounded by statues of agonized lions,
with a mouthful of shit, and the hair rising on my scalp,
screaming and dancing in praise of Eternity annihilating the sidewalk, annihilating reality,
screaming and dancing against the orchestra in the destructible ballroom of the world,
blood streaming from my belly and shoulders
flooding the city with its hideous ecstasy, rolling over the pavements and highways
by the bayoux and forests and derricks leaving my flesh and my bones hanging on the trees. "
― Allen Ginsberg
30
" This was different. It had synths droning and sending saltwater waves under my feet. It had drumbeats bursting like fireworks, rumbling the furniture out of place, and then a crazy, irregular, disharmonious, spiral crescendo of pure electric noise, like a typhoon dragging our bodies into it. It featured brass orchestras and choirs of mermaids and a piano in Iceland, all of them right there, visible, touchable, in Axton House. It shook us, fucked us, suspended us far above the reach of Help bouncing on his hind legs. It spoke of magenta sunsets and plastic patio chairs growing moss under summer storms rolling on caterpillar tracks. It sprinkled a bokeh of car lights rushing through night highways and slapped our faces like the wind at a hundred and twenty miles an hour. It pictured Niamh playing guitar, washed up naked on a beach in Fiji. "
― Edgar Cantero , The Supernatural Enhancements