It’s Pablo Picasso’s “Massacre in Korea” (1951) that captivated me most in person today, although I only drew the half left part; Figuratively, loosely and engagingly, as the geometry of his mindful deconstruction and expressive innovation already started to reveal in the negative spaces of the forms. What brilliance, really.
This massacre seems to be a recurring theme nowadays.  Like in the recent Hunger Games, where the players are stripped of their liberation to be alive – although the crudeness goes further, forcing them to commit a very similar crime.
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True love to me today is the allegory of a suddenly lonely dog escaping safety in order to find itself on the formidable streets while looking for its disappeared owner.  Tragically, the owner lives a different journey.  Whether or not the two may be found together again, is an answer to wait upon and within the narrations of life, or until the signal of death for one or both. It’s the rational perspective of this careless realism that causes souls to weep and lacerations to flourish.
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A Massacre is hardest to endure, because the crimes take place in the vicinity of loved ones.  From this point of view, a Hunger Game situation is more bearable.
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In love, there is the sum of each worst characteristic of each situation respectively – one is the ‘antagonist’ pointing a gun while the other poised in despair;
… the other is the situation of the victim ‘killing’ his immediate surroundings unconsciously  – and not subconsciously , because this is what love does; it kicks you unconscious.
How can love not be selfish, when your insides scream of desire to be paid attention to?
On the other hand, love becomes unparalleled because one might catch a grenade for a loved one.  I would.
If you are still confused (as I am), try this:  “Death is the winner in any war. Nothing noble in dying for your religion For your country For ideology, for faith.
For another Man, yes”.
(“Song of Myself” ~Nightwish)
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