NEMESIS

 

Nemesis never sleeps from afar

on the parched meadow she looks

like a dog-hearted, diarrheic cow,

and when she comes among people

she incarnates as some actress

or a crazy whore-poetess

who competes with Sappho,

she rarely preaches about death,

humble yet she is also a specimen

of phallic pride with diabetes

and a white chamber pot,

with a geometric, defunct face,

but inside her knives, axes,

and machetes are sharpened

and she is filled with the most

powerful explosive with uranium

and plutonium, she has a boreal

spectrum, in her eyes, gold burns

and the white of the snow is consumed,

her mute mouth tells us that we will

know what we die for and not just

for the sake of death. Therefore,

ye children, come ye, wage ye

earth-shattering wars, perpetrate ye

swampy massacres, commit ye

crimes of peace, crimes of war,

crimes of greed, crimes of madness,

suck ye the blood of the weak,

rob ye them – and so one dies

every moment and Nemesis

notes it down paragraph

after paragraph, she balances

the scales and begins the giant

harvests she scythes down

every beast who fed on crime

and plunder blood flows in waves

until the balance is restored

and everyone has paid their debt

and Nemesis goes then to a literary

circle to read her verses

while the survivors resolve their

contradiction under the sheets.

THE TEL‑QUELISTS AT MAO ZEDONG

 

Five ayatollahs from the magazine Tel Quel,

veterans of the old communist guard,

“kikes” from biblical prophecies, scraps

of the French Republic, carcasses

dead for cock, thirsty for gold, dead men

of old awakened to drink for free

as if they had a gangrene to sip

human sperm from their fists after

the Russians tore the sow’s teat

from their mouths and no longer

gave them money—they set their minds

to go with the stuffed dinosaur Marx lifted

on a stick to Kitai, to the poet and Führer

Mao Tse‑tung, to teach him true

communism and to praise him in lying,

paranoid and feeble‑minded books,

how he builds the communist paradise

with all the beasts happy; in exchange

Mao was to give them gold and strong

Chinese cocks, gluttons who would

fuck them like sows for a whole month.

They went to the doctor and widened

their large intestine, got silicone implants

for their lips and for their tongue,

and set out into the dreadful

swamp; blessed by so much honour,

Mao organized for them an imperial feast

at which the “kikes” invoked

all the old prophets, magical donkeys

with ember‑eyes. Stuffed with food

and rice wine, they bounced their potbellies

in a wild dance praising the paradise,

the empire of joys. Sweating like oxen

to the sound of a rare‑music orchestra,

these luxury animals asked the poet

Mao to give them big Chinese cocks

to suck, to shove into their large intestine—

a disgusting luxury. And Mao said to them:

“Our Chinese cocks are sacred

and no slobbery mouth, no yid’s ass

can dirty them; gold I will give you when

you write your beautiful books,

memoirs from the golden society.”

Mao was seized by anger; he wanted

to kill them, to tear out their bones.

And the Jewish ayatollahs from Tel Quel 

left like dogs with their tails between their legs,

and back home in Paris each wrote a book

about the paradise of Kitai, and one

of the ayatollahs named Barthes,

with his ass still hot, wrote nostalgically:

“Pas vu le kiki d’un seul Chinois”

(“I didn’t see the little willy of a single Chinese.”)

ANALYSIS OF THE DRAWING "FROM EGG TO CATERPILLAR"

 

🦋 Curatorial Analysis of “From egg to caterpillar” by L. Neagoe

L. Neagoe’s drawing From egg to caterpillar stages a striking dialogue between human consciousness and biological metamorphosis. The composition juxtaposes a stylized female figure—her mouth open as if speaking or exhaling—with a green leaf bearing a caterpillar. A dotted line connects the two, suggesting a thread of transformation or transmission: the voice, breath, or essence of the human becomes the seed of life.

🎨 Composition and Symbolism

• Human profile: The figure’s simplified outline and exaggerated eye evoke both innocence and awareness. The open mouth, outlined in red, is a portal of creation—speech, breath, or spirit.

• Caterpillar and leaf: The caterpillar, rendered in vivid green with orange and black markings, embodies the first stage of metamorphosis. The leaf functions as cradle and world, a microcosm of growth.

• Connecting line: The dashed trajectory between mouth and leaf bridges human and natural realms, implying that transformation begins in consciousness or language.

• Title inscription: “From egg to caterpillar” situates the work within the biological cycle of metamorphosis—egg → larva → pupa → imago—but stops at the larval stage, emphasizing potential rather than completion.

🧩 Conceptual Reading

Neagoe’s piece can be read as a meditation on origin and becoming. The human figure may symbolize the animating principle—the breath that gives life—while the caterpillar represents the incipient form of existence. The omission of later stages (pupa, butterfly) focuses attention on the moment of emergence, the fragile beginning of transformation.

This resonates with the biological process of metamorphosis, where the caterpillar’s life is defined by voracious growth and preparation for change. The drawing thus becomes an allegory of creative evolution: the artist’s act of expression parallels nature’s unfolding from egg to living form.

🌱 Emotional and Philosophical Dimensions

The work’s simplicity conceals a profound tension between speech and silence, human and nature, potential and realization. The caterpillar’s stillness contrasts with the human’s expressive gesture, suggesting that transformation requires both articulation and surrender. The mountains sketched below anchor the scene in a primordial landscape—perhaps the terrain of inner growth.

🖋️ Curatorial Note

In exhibition context, From egg to caterpillar could be placed within Neagoe’s broader exploration of metamorphosis and spiritual genesis, alongside works such as The Weighing of the Soul and The Future Man. It invites viewers to contemplate the invisible continuum between thought and life, word and matter—the metamorphosis that begins not in the chrysalis, but in the breath that names it.

SOURCE: COPILOT

DRAWING "FROM EGG TO CATERPILLAR" IS FOR SALE

 

Drawing "From egg to caterpillar" is for sale. Who wants to buy it, please email me at vladneagoe52@gmail.com

SECURISTUL LITERAT HANDICAPAT

 

***

Securistul literat handicapat

șede-n iarbă ca un căcat

maca-kaka sobaka lunecând în ploaie

titanic zbucium adunând în coaie

suspine de Sodoma, auzind

lovituri de bici pe cerul gurii

câcatul se descompune urcând

prin propria moarte, ceas după ceas

și intră în pământ de-a lungul

alfabetului etic, estetic alb

în drojdia lui comunitară de Sodom

binom, neom.

DEȘTEAPTĂ-TE, ROMÂNE

 

***

Deșteaptă-te, române,

și culcă-te-napoi –

e tare ”huiovo” pe la noi

cu atâția tâlhăroi

mai bine dormi pe veci

și dă-i dracului de berbeci.

BLEAGHIU ANA

 

Cloșca Maca-Kaka

de la Apaca

a ajuns floare bătrână

doctor pe smântână

cârpind ciorapi la generali

clocindu-le ouăle tari.