by Subtle-Body/Naked-Mind an essay on Colombian erotic figuration, whose difficulties led her directly to the female buddha known as Vajra Yogini.  Despite her intrauterine head-start, Alana Kheres would publish her first essays after the Millenium, writing for GlassTire, ArtLies and Tribeza.  

One day, early in the Third Thousand, the Hag Eleusis dropped by for a visit.  With their combined pulmonary capacity, Alana discovered that her sentences were not just long or deep-winded, but could, in fact, trope from one world to another.    This called for a different platform; she gave away all of her tables and began to work on the floor, anchoring the pages with clouds and stones - to no avail.  The floor became walls and then windows:  ¡Aguas!  Look out!  ¡Ojo! The books were coming!!  ¡Jále!  Look out now...   

AutreBiography: Alana Kheres

     Alana Kheres came into being on July 6, 1997.   It was a public parturition at the Bodhi Yoga House, attended by 17 astonished and innocent bysitters.  60 months in gestation, the Kheresian emerged fully-grown and writing in three languages.   
     Alana's only and immediate ancestor was the Hag Eleusis, who had disguised herself as the letter "H."   
     Rumcake and blackberries were served...  and, as expected, a fracas broke out in no time.     When the left-footed fire made its way round the room, candles blew themselves in and out, fandangos bloomed in the space between {   }.    Fates were sealed.    Shabash! 



     Like most authors, Alana never learned to write.   She was writing  before she could speak, which is to say,  before she was born.  Shortly after conception, she drafted a dream critique of Tamiris Becker's "Cell&Sanctuary" (1992).   This was quickly followed

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