Obaid Abbas
An Egyptian poet and writer.
Alfred Hitchcock, the famous British director and producer, says, "The movies are the reality after we take it off, that is, they're the opposite of reality, and because I'm convinced that poetry meets with Louis Burgess in that it's "famous and unidentified" is the kind of thing that's different, like they're gonna be, like, "fine and hair,"
However, as I say this, I must put in two important notes: first, I do not believe in saying the intrusion of races, because the same interference with the nature of any literary or artistic race, there is no crucifixion that is completely free of the narrative, image or drama, nor is there a crude-free movie, so it is the fabric of hair, or the opposite. The movies. In her natural vest. By swim. With or against objective reality, The poet. Looks like The diver. In it, so poetic cinemas are deeper than movies in their traditional shape as a reality carrier.
The second observation is that when I talk about the hair relationship with the movies or the opposite, I don't mean the poem or the part of the poem that arrives to turn into a movie, not the scene where I can get a haircut.
We note that the cinema, without being in this particular area resulting from this convergence, is no more than being skilled only in entertainment and entertainment, as well as poetry, whose role is no greater than the role of the veteran or the sinner, to assert that art, art, consciousness, creativity and destruction may cause a loss and destruction.
As a dynamite poet, I find me, despite me, reading poets only as a cinema witness, and watching movies only as a hairdresser, I can't read the piano of Ben Bird, for example, and it describes the sound of the eagle out of the bow:
Also, I can't see the hold of the airborne grape in the iron door in the final scene after he was abducted, it's like a dream world, a long-distance cord, with his hard-won, sick, hard-won, but I can read this fascinating psychotic phrase, or I can't help it. «A failed attempt.» Because it stems from the fragile dream world in exchange for strong, objective reality.
If the word in the poem can bring us a whole movie scene, see, for example, that the spectacular image made by the sperm, when the army is stalking its enemy, it's not like the army is flying in the sky, but it's going through the country, and it's never been raining.
The prophet says:
You're going through the ryan horse.
It's got nothing to do with it.
An army like you're in a land you're dealing with.
The Earth is not mother and army. I don't.
If he's ever known, he's never learned.
And if he's gone, he's never learned.
I say, if in the poem, words can convey to us a whole movie scene, the movie scene can also say a poetry phrase without words, see, for example, the image created by the Swedish director, an ingasm, in spite of his great film, the seventh seal, which tells the mountain knight of my cross back from one of the crusades not to see the truth. This clown is the one who lives and does not ask, amazed at those tortured who have lost life in search of its meaning.
In that particular area, from the shining hair of that new creature, we see the different beauty that makes the surprise of giving out what we feel, and we can't express it, so we can't get a sense of humor, and we can't find a word of love in the Austrian film, Michael Heinki, or "amour,"
And in conclusion, maybe because I'm a poet, I don't look at poetry as a literary or craft-friendly type, but I look at it, and I look at poetry in essence, not in words, poetry, which is the opposite science, not the system, which is the opposite of masculinity, the father of arts, or it's a higher end for all artists, running away, not in all human arts.
