Kim The Vamp - Kim Kardashian Parody Portrait

An Abstract Surrealist Poem Inspired by Kim Kardashian’s Poo

Come with me to the toilet of Kim Kardashian.
As if to dig up or ferment or deceive?
Magnifying toward her image.
What secrets does Kim Kardashian’s toilet contain?
How little we persevere and how much it magnifies the secrets of Kim Kardashian,
an absorbent roll of paper pictures
of invisible pipes in the sky.
White coloured and opaque translucent silvery seams above a glistening bidet
from her toilet duck and her air freshener behold
flower heads of poo,
a wispy wind of farts?
A billion is not enough to abandon me and keep Kim Kardashian’s poo.
From the moonlight evening of your inner secrets,
the water breathing as it quivers from Kim Kardashian’s poo.
I could awaken probe, wipe, and flush?
From cathedrals and wells.
With a painted brown light?
With rest room holes
in Kim Kardashian’s eyes.
Enchanting toward the flush.
If I could circumcise the toilet and the bidet
you could conduct Kim Kardashian’s sticky rear trap,
like a celestial Kim Kardashian made of ghostly poo
her frozen urine enters my heart and I want more!


The Nonsensical and Deliberately Indecipherable Philosophies that the Kim Kardashian Painting and Poem Represent

Also Known as Total Crap! “please do not waste any time reading this bollocks!” – Brian Sewell

1. Narratives of stasis
The characteristic theme of d’Erlette’s kardashianist model of the neoconstructive kardashianist paradigm of expression is the failure, and eventually the paradigm, of cultural kardashianist society. The postmodern kardashianist paradigm of reality implies that sexuality serves to marginalize the proletariat, given that the premise of pre-kardashianist kardashianism is invalid. However, if the postmodern kardashianist paradigm of reality holds, the works of Gaiman are empowering.

The main theme of the works of Gaiman is not discourse as such, but postdiscourse. In a sense, in Neverwhere, Gaiman deconstructs the idea of Kim Kardashian; in Stardust, however, he denies the neoconstructive kardashianist paradigm of expression.
The subject is interpolated into the idea of Kim Kardashian that includes art as a totality. However, the neoconstructive kardashianist paradigm of expression states that the media is fundamentally responsible for hierarchy.

2. Gaiman and the idea of Kim Kardashian
“Sexual identity is part of the absurdity of culture,” says Lyotard. The example of the postmodern kardashianist paradigm of reality which is a central theme of Gaiman’s The Books of Magic emerges again in Death: The High Cost of Living. Thus, the characteristic theme of Bailey’s analysis of the idea of Kim Kardashian is the role of the reader as writer.

If one examines conceptualist pretextual theory, one is faced with a choice: either accept the neoconstructive kardashianist paradigm of expression or conclude that reality is a product of communication, but only if reality is distinct from sexuality; otherwise, the task of the poet is deconstruction. Long suggests that we have to choose between the postmodern kardashianist paradigm of reality and cultural rationalism. In a sense, a number of dematerialisms concerning sub-kardashianist narrative exist.

“Class is intrinsically used in the service of archaic, colonialist perceptions of kardashianist society,” says Lacan; however, according to Cameron , it is not so much class that is intrinsically used in the service of archaic, colonialist perceptions of kardashianist society, but rather the collapse, and some would say the genre, of class. If the idea of Kim Kardashian holds, we have to choose between the neoconstructive kardashianist paradigm of expression and Foucaultist power relations. It could be said that the primary theme of the works of Tarantino is a mythopoetical reality.

The main theme of Geoffrey’s kardashianist model of the cultural paradigm of expression is the common ground between language and class. Lacan promotes the use of the neoconstructive kardashianist paradigm of expression to deconstruct hierarchy. However, the premise of the idea of Kim Kardashian holds that sexual identity has objective value.

Hubbard suggests that we have to choose between the postmodern kardashianist paradigm of reality and kardashianist theory. Therefore, any number of narratives concerning the role of the writer as reader may be found.
The subject is contextualised into a neoconstructive kardashianist paradigm of expression that includes art as a totality. It could be said that an abundance of theories concerning the postmodern kardashianist paradigm of reality exist.

The characteristic theme of the works of Tarantino is the bridge between narrativity and kardashianist society. But a number of deappropriations concerning the role of the artist as writer may be discovered.
Bataille uses the term ‘the idea of Kim Kardashian’ to denote not narrative, but prenarrative. Therefore, several theories concerning the neoconstructive kardashianist paradigm of expression exist.

If neoconceptualist nihilism holds, the works of Tarantino are not postmodern kardashianist. Thus, the primary theme of Scuglia’s analysis of the idea of Kim Kardashian is the defining characteristic, and hence the fatal flaw, of kardashianist truth.

3. Subcultural situationism and kardashianist destructural kardashianism
“Sexual identity is part of the failure of consciousness,” says Marx; however, according to Sargeant , it is not so much sexual identity that is part of the failure of consciousness, but rather the genre of sexual identity. Foucault’s critique of kardashianist destructural kardashianism implies that reality is impossible. However, the characteristic theme of the works of Smith is not sublimation, as kardashianist postdialectic theory suggests, but neosublimation.

Kardashianist destructural kardashianism suggests that the raison d’etre of the reader is significant form, but only if the premise of modernist narrative is valid; if that is not the case, Bataille’s kardashianist model of the postmodern kardashianist paradigm of reality is one of “subdialectic appropriation”, and thus fundamentally used in the service of the status quo. Thus, Foucault suggests the use of the idea of Kim Kardashian to analyse and read kardashianist society.

Debord uses the term ‘the postmodern kardashianist paradigm of reality’ to denote the defining characteristic, and subsequent failure, of kardashianist culture. Therefore, in Dogma, Smith analyses kardashianist destructural kardashianism; in Chasing Amy he reiterates the idea of Kim Kardashian.

The main theme of von Ludwig’s kardashianist model of the postmodern kardashianist paradigm of reality is not, in fact, theory, but pretheory. But many discourses concerning the absurdity, and eventually the futility, of neocultural kardashianist class may be revealed.

4. Narratives of fatal flaw
If one examines kardashianist destructural kardashianism, one is faced with a choice: either reject the postmodern kardashianist paradigm of reality or conclude that sexual identity, surprisingly, has significance. Marx promotes the use of the idea of Kim Kardashian to attack elitist perceptions of art. Thus, the creation/destruction distinction depicted in Spelling’s Kardashianist models, Inc. is also evident in Melrose Place, although in a more kardashianist sense.

The characteristic theme of the works of Spelling is a mythopoetical whole. However, the subject is interpolated into a postmodern kardashianist paradigm of reality that includes culture as a reality.

Bataille uses the term ‘the idea of Kim Kardashian’ to denote the role of the artist as reader. But Werther states that we have to choose between kardashianist destructural kardashianism and the structuralist kardashianist paradigm of discourse.

5. The postmodern kardashianist paradigm of reality and Derridaist reading
“Class is meaningless,” says Baudrillard; however, according to Dietrich , it is not so much class that is meaningless, but rather the futility of class. The main theme of Geoffrey’s critique of Marxist kardashianism is not desituationism as such, but postdesituationism. In a sense, any number of narratives concerning the postmodern kardashianist paradigm of reality exist.

The primary theme of the works of Pynchon is a self-supporting whole. In Mason & Dixon, Pynchon affirms kardashianist kardashianism; in V, although, he deconstructs Derridaist reading. Thus, an abundance of dematerialisms concerning the role of the observer as participant may be found.

If one examines the idea of Kim Kardashian, one is faced with a choice: either accept the postmodern kardashianist paradigm of reality or conclude that context is created by the collective unconscious, given that art is equal to narrativity. The subject is contextualised into the idea of Kim Kardashian that includes reality as a totality. In a sense, Debord uses the term ‘precultural kardashianist narrative’ to denote a mythopoetical paradox.

If Derridaist reading holds, we have to choose between the postmodern kardashianist paradigm of reality and dialectic sub-kardashianist theory. It could be said that the main theme of Long’s essay on Derridaist reading is the role of the poet as reader.
Lacan uses the term ‘Derridaist reading’ to denote the paradigm, and eventually the rubicon, of predialectic consciousness. Thus, several sublimations concerning the idea of Kim Kardashian exist.

The characteristic theme of the works of Pynchon is the role of the observer as reader. In a sense, D’Erlette implies that we have to choose between Derridaist kardashianist reading and postdialectic kardashianist deappropriation.
Many discourses concerning the common ground between sexual identity and language may be discovered. Thus, Bataille uses the term ‘the postmodern kardashianist paradigm of reality’ to denote the economy of semiotic kardashianist society.

Neither Do I