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alter ego bjd homo homini homo ludens lairus reiden à ÷î ÿ èñ÷î óìåþ à705 áëîãîñôåðà áîëüøàÿ ñòðîéêà âåáè÷åñêàÿ ñèëà âðàæäåáíàÿ ôîðìà æèçíè ãîìåîïàòè÷åñêîå ìèðîçäàíèå òàê äèàëîãè çèëàíò çîíà êîíòàêòà êâàêâà êíÿæíà êñòàòè î ÷åï÷èêàõ ëîêàëüíûé áàøîðã ìåíåñòðåëüùèíà ìèðîòâîð÷åñòâî ìóçûêà íåçäåøíèå âîéíû íî òèëèîí áûë áðîäÿãîé îðãìîìåíò ïàðàëëåëüíûå ëåòîïèñè ïîçäðàâëÿëêà ïî÷èòàòü ðàáîòà ðàäèî áåëåðèàíä ðàññêàçàëàñü èñòîðèÿ ðèôìîèãðóøêà ðóêîáëóäèå ñâèíñòâî ñìîòðè íà íåáî ñíåã ñíî-âèäåíèå ñýððà òàê è æèâ¸ì òîëüÿòòè ãîëîâíîãî ìîçãà óëèòêîñòü ôóøèãà õîëèâàðû õîíêîíã õóìàíñû ÷óê÷à-÷èòàòåëü.âñëóõ øåðâóä ýêèïàæ ÿndex
Öèòèðóþ: Chichiri (÷óâàê, ÿ òîð÷ó ñ òâîèõ ôîðìóëèðîâîê!) |
Äíåâíèê |
×òîáû íå çàêàí÷èâàòü çàïèñü íà ãðóñòíîé íîòå, ðàññêàæó, êàê ïðèãëàñèòü äàìó íà áåëûé òàíåö. Íóæíî ïðîñòî èäòè ê íåé ñ ðåøèìîñòüþ âî âçãëÿäå, à ïîòîì îñòàíîâèòñÿ â äâóõ øàãàõ è ñêàçàòü: "Áëèíñêèé íàôèãÎ, êàêàÿ äîñàäà! Òàíåö-òî áåëûé!" - è îíà ïðèãëàñèò âàñ ñàìà. Ïðàâäà, âñåãäà åñòü øàíñ, ÷òî, ïîêà âû èäåòå ñ ðåøèìîñòüþ âî âçãëÿäå ê îäíîé äàìå, âàñ ïî äîðîãå ïåðåõâàòèò äðóãàÿ.
Ìåòêè: çîíà êîíòàêòà êñòàòè î ÷åï÷èêàõ |
Õîëîäíî! |
Äíåâíèê |
Íåëåïî îïðàâäûâàòüñÿ «çàòî ÿ çíàþ ôèçèêó, à âû?». ßçûê — íå ïðîôåññèÿ. Ýòî ñðåäñòâî ñâÿçè. Äëÿ ôèçèêîâ, ìàòåìàòèêîâ, ëèíãâèñòîâ, õóäîæíèêîâ, øàõò¸ðîâ, òîêàðåé. Ïîæàëóé, åäèíñòâåííîå íà䏿íîå ñðåäñòâî ñâÿçè ñ ìèðîì…×òî îí ìíå îòâåòèë, íå ïîìíþ - íå òî ïðîñíóëñÿ, íå òî íå çàïîìíèë. Ïðèä¸òñÿ ñïðîñèòü óæå íàÿâó.
Ìåòêè: ðàáîòà ñíî-âèäåíèå çîíà êîíòàêòà |
Ìîñêâà - Ïèòåð |
Äíåâíèê |
Ìåòêè: çîíà êîíòàêòà |
Îðèôëàììà äîøèòà, âîò ïîñëåäíèé ñòåæîê... |
Äíåâíèê |
Ìåòêè: çîíà êîíòàêòà |
È ñíîâà ïåðåâîä |
Äíåâíèê |
| Ìóæ÷èíû òàíöóþò òàíãî Ìóæ÷èíû òàíöóþò òàíãî íà ïëîùàäè ÷¸ðíîé íî÷üþ, Ìóæ÷èíû â ÷¸ðíîì è áåëîì, êðàñèâûå, ñëîâíî áåñû, Ìóæ÷èíû òàíöóþò òàíãî, è íî÷ü ðàçðûâàåò â êëî÷üÿ Èõ ñòðàñòüþ, êèïÿùåé â æèëàõ, èõ æèçíüþ, ñîêðûòîé â ÷ðåñëàõ, È èç ìîñòîâîé ñòàðèííîé îíè âûáèâàþò èñêðû Ïîäêîâàííûìè êàáëóêàìè èçÿùíûõ òàíöîðñêèõ òóôåëü, Ìóæ÷èíû òàíöóþò òàíãî, çâåíÿò â òåìíîòå ìîíèñòà Íà æåíùèíàõ, ñæàâøèõ ðóêè, ìó÷èòåëüíî ñæàâøèõ ðóêè  ïîïûòêå ïóñòîé íå âûäàòü, êàê æàæäà ñæèãàåò òùåòíî - Ê ñåáå ïðèâÿçàòü òàíöîðîâ, êàê äèêèõ ñâÿçàòü ìóñòàíãîâ, Êàê þáêàìè çàìîðî÷èòü, ñâÿçàòü è îïóòàòü ëåòî - Íà ïëîùàäè ÷¸ðíîé íî÷üþ ìóæ÷èíû òàíöóþò òàíãî. © Âàø ïîêîðíûé ñëóãà | The Men Are Dancing The Tango The men are dancing the tango in darkness on city square, The men in black-and-white colours, all looking like charming devils, The men are dancing the tango and night’s being torn to tatter By flaming passion in blood veins and life in the loins of theirs, And out of ancient pavement they’re knocking on sparkles blinking With newly steal-crowned flat heels of elegant shoes for dancing, The men are doing the tango while gypsy necklaces jingling On women whose hands are clenching, in pain their hands are clenching, A wasted effort to cover the fervent hunger – for making The dancers attached to women like tethered mustangs to masters, For making this heat entangled and charmed by the skirts, all swaying – The men are dancing the tango on city square in darkness. © erleben |
Ìåòêè: çîíà êîíòàêòà |
Ýãîèñòè÷åñêîå |
Äíåâíèê |
Ìåòêè: òàê è æèâ¸ì âðàæäåáíàÿ ôîðìà æèçíè çîíà êîíòàêòà |
Ìíå! Íàðèñîâàëè! Ýêèïàæ! *_* |
Äíåâíèê |
Ìåòêè: ýêèïàæ çîíà êîíòàêòà ìèðîòâîð÷åñòâî |
Çîíà êîíòàêòà |
Äíåâíèê |
Ìåòêè: çîíà êîíòàêòà ðàáîòà |
Åñòü ðàáîòà |
Äíåâíèê |
Ìåòêè: çîíà êîíòàêòà |
Î êíèãàõ |
Äíåâíèê |
Ìåòêè: ïî÷èòàòü âðàæäåáíàÿ ôîðìà æèçíè çîíà êîíòàêòà |
Ñêàæèòå, ïîðó÷èê... |
Äíåâíèê |
Äèî,
ïî ìîòèâàì ïîëóðåàëüíûõ ñîáûòèé
Ìåòêè: çèëàíò çîíà êîíòàêòà íåçäåøíèå âîéíû |
Ïëýéêàñò |
Äíåâíèê |
Ìåòêè: çîíà êîíòàêòà |
Áûëî-íå áûëî-íå áûëî-áûëî-áûëà-íå áûëà-ïîøëà êîáûëà, ïîøëà... |
Äíåâíèê |
Ìåòêè: çîíà êîíòàêòà âåáè÷åñêàÿ ñèëà |
Ïîñò-çèëàíòîâîå |
Äíåâíèê |
Ìåòêè: çèëàíò ìèðîòâîð÷åñòâî çîíà êîíòàêòà |
Åäóùèì íà Çèëàíò |
Äíåâíèê |
Ìåòêè: çèëàíò çîíà êîíòàêòà |
Íó â îáùåì êàê-òî òàê |
Äíåâíèê |

Ìåòêè: ÷óê÷à-÷èòàòåëü.âñëóõ çîíà êîíòàêòà |
Óäèâèòåëüíîå ðÿäîì |
Äíåâíèê |
| Ïåðåïèñêà Ìèëûé äðóã... ÿ ïèøó, íå íàäåÿñü íà ðàäîñòü îòâåòà. Íàøåé ñ Âàìè âåñíû ðàçëåòåëèñü äàâíî ñîëîâüè, È óæå äâàäöàòü ëåò, êàê çàêîí÷èëîñü æàðêîå ëåòî, Ãäå ìû áûëè âäâî¸ì â êîðîëåâñòâå ïðèìîðñêîé çåìëè. Ìèëûé äðóã, Âû á ìåíÿ íå óçíàëè, òàê ÿ èçìåíèëñÿ - Ïîñòàðåë, ïîãðóçíåë, ñåäèíà íà âèñêàõ ñåðåáðîì... Íî ÿ Âàì îáåùàë íàïèñàòü õîòü îäíàæäû ñ ãðàíèöû - ß äåðæó ñâî¸ ñëîâî è ñíîâà áåðóñü çà ïåðî, Êàê è êàæäóþ íî÷ü äî òîãî. Äâàäöàòü ëåò óæå êðÿäó. ß èíà÷å, ïîæàëóé, ïèñàòü ðàçó÷èëñÿ á äàâíî. Ìèëûé äðóã... åñëè á Âû ïîëó÷èëè âñþ ýòó áóìàãó, Âàì, íàâåðíîå, ñòàëî áû î÷åíü è î÷åíü ñìåøíî. À ñ óòðà àäúþòàíò, êàê îáû÷íî, çàãëÿíåò çà ïî÷òîé. ß åìó, êàê îáû÷íî, îòäàì äâå äåïåøè, è âñëóõ: "Ëè÷íîé ïî÷òû íå áóäåò. Øòàáíóþ äîñòàâèòå ñðî÷íî". Ïî ïîäì¸ðçøåé äîðîãå òàê çâîíîê êîïûò ïåðåñòóê... © Âàø ïîêîðíûé ñëóãà | Exchange of Letters Dear sweetheart, I write with no hope for enjoying your answer. Our spring swept away and the nightingales broke off their song. And two decades have passed since the end of the passionate summer That we spent in the kingdom of maritime land, all alone. Dear sweetheart, I’ve changed much – look heavy, appreciably older – Far beyond recognition. My temples turned silvery grey… I remember my promise to write you few things from the border, And I stuck to my word – with a feather in my hand again. Like it was every night till that day – and after, within twenty years. Otherwise, all my writing skills would have been totally gone. Dear sweetheart, if only they handed you this pile of papers, You would probably find it to be an extremely fun. In the morning my adjutant comes for some letters, as always. I’ll entrust him two items of service, as I always do. “Nothing private today. All dispatches – of utmost importance.” Frosty road rebounds a pretty clear clapping of hoof… © erleben |
Ìåòêè: çîíà êîíòàêòà |
Òî åñòü êàê ýòî - íàõóé? Î_Î |
Äíåâíèê |
Ìåòêè: ðàáîòà çîíà êîíòàêòà |