The Moya View

Where Waldo Is Not

The greatest where’s Waldo paintings to be

have him the tiniest spot at the very top

in a population of near clones.


After searching everywhere he will be

the last thing you’ll  find,

the last thing you’ll see.


Your life will have meaning again

after generations of

searching and playing the game.


In every Picasso there is

a copulating couple

waiting to be discovered.


In Guernica, you won’t find them

above the third eye

of the bull


or between

the neighing horse

and the illuminated light bulb.


In Hitchcock’s Rear Window

the gaze to find that one point

where meaning and murder collide


leads inevitably to the next obsession,

not solved until the end of Vertigo

where the same blonde in the same style


in the same fog and confusion of The Birds

is  saved from the murder of crows

by the man she didn’t pull from the ledge.


Freud always makes a background appearance

because Salvador Dali never got paid

for any of the watches he melted.


Picasso never forgave Dali

for the bull’s eye he stole

and sliced with a razor.


If they both looked up at the

tiniest spot at the very top they might

have seen and understood everything.






Freudians have been looking for hidden copulating couples in Picasso for a long time. 

Like Trump’s claim of election fraud none have actually been found or verified.  But his paintings  are deep and big so they have to be there somewhere?  At least, that is how the rumor goes. 


Dali and Picasso did hate each other and their respective work.  The bull’s eye story is just another unproven rumor.  The eye sliced in Un Chien Andalou was also reported to be a bull’s eye and not a real human eye.

Rear Window, Vertigo and The Birds were filmed. and released in that order.  All three featured blondes and Hitchcock has been rumored to plant Easter  Eggs to the other films in  both Vertigo and The Birds.  Some film scholars treat Vertigo and The Birds as either sequels or prequels of Rear Window. 







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