Hey, does anybody remember the late, great German group Can? Can's albums typically featured one or more short cuts where they would take some form of ethnic music and TOTALLY rewire the poor thing, kinda like Phantom of the Paradise meets The Island of Dr. Moreau. (Their bassist, Holger Czukay, continued this: the title cut on his album Die Osten ist Rot does hilarious things to the national anthem of the PRC.) These experiments were called the Ethnological Forgery Series. In that cheerful vein, perhaps we should call these efforts "The MegaTokyo Cultural Exploitation Series."

The Darkened Park after "The Garden"

Je faim. --Miho

Like black grosgrain on chestnut wood
Miho drifts through a darkened park in Tokyo,
And she is tortured by appetites
she scarcely comprehends.

But for Ping-chan beside her, there is none of the crowd
That one might expect in crowded Tokyo.
(Do they hide from the night?)

Ping-chan seems the pinnacle of electronic artifice:
Her heuristically-generated concern is as unexpected as it is touching.

Miho almost believes that Ping's feelings are genuine,
And she almost doesn't decide
to invite her to her inner sanctum.

(apologies to Ezra Pound)

The Garden

En robe de parade. --Samain

Like a skein of loose silk blown against a wall
She walks by the railing of a path in Kensington Gardens,
And she is dying piece-meal
of a sort of emotional anemia.

And round about there is a rabble
Of the filthy, sturdy, unkillable infants of the very poor.
They shall inherit the earth.

In her is the end of breeding.
Her boredom is exquisite and excessive.

She would like some one to speak to her,
And is almost afraid that I
will commit that indiscretion.

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