No matter what life you lead
the ****** is a lovely number:
cheeks as fragile as cigarette paper,
arms and legs made of Limoges,
lips like Vin Du Rhone,
rolling her china-blue doll eyes
open and shut.
Open to say,
Good Day Mama,
and shut for the ******
of the unicorn.
She is unsoiled.
She is as white as a bonefish.

Once there was a lovely ******
called Snow White.
Say she was thirteen.
Her stepmother,
a beauty in her own right,
though eaten, of course, by age,
would hear of no beauty surpassing her own.
Beauty is a simple passion,
but, oh my friends, in the end
you will dance the fire dance in iron shoes.
The stepmother had a mirror to which she referred--
something like the weather forecast--
a mirror that proclaimed
the one beauty of the land.
She would ask,
Looking glass upon the wall,
who is fairest of us all?
And the mirror would reply,
You are the fairest of us all.
Pride pumped in her like poison.

Suddenly one day the mirror replied,
Queen, you are full fair, 'tis true,
but Snow White is fairer than you.
Until that moment Snow White
had been no more important
than a dust mouse under the bed.
But now the queen saw brown spots on her hand
and four whiskers over her lip
so she condemned Snow White
to be hacked to death.
Bring me her heart, she said to the hunter,
and I will salt it and eat it.
The hunter, however, let his prisoner go
and brought a boar's heart back to the castle.
The queen chewed it up like a cube steak.
Now I am fairest, she said,
lapping her slim white fingers.

Snow White walked in the wildwood
for weeks and weeks.
At each turn there were twenty doorways
and at each stood a hungry wolf,
his tongue lolling out like a worm.
The birds called out lewdly,
talking like pink parrots,
and the snakes hung down in loops,
each a noose for her sweet white neck.
On the seventh week
she came to the seventh mountain
and there she found the dwarf house.
It was as droll as a honeymoon cottage
and completely equipped with
seven beds, seven chairs, seven forks
and seven chamber pots.
Snow White ate seven chicken livers
and lay down, at last, to sleep.

The dwarfs, those little hot dogs,
walked three times around Snow White,
the sleeping ******.  They were wise
and wattled like small czars.
Yes.  It's a good omen,
they said, and will bring us luck.
They stood on tiptoes to watch
Snow White wake up.  She told them
about the mirror and the killer-queen
and they asked her to stay and keep house.
Beware of your stepmother,
they said.
Soon she will know you are here.
While we are away in the mines
during the day, you must not
open the door.

Looking glass upon the wall . . .
The mirror told
and so the queen dressed herself in rags
and went out like a peddler to trap Snow White.
She went across seven mountains.
She came to the dwarf house
and Snow White opened the door
and bought a bit of lacing.
The queen fastened it tightly
around her bodice,
as tight as an Ace bandage,
so tight that Snow White swooned.
She lay on the floor, a plucked daisy.
When the dwarfs came home they undid the lace
and she revived miraculously.
She was as full of life as soda pop.
Beware of your stepmother,
they said.
She will try once more.

Snow White, the dumb bunny,
opened the door
and she bit into a poison apple
and fell down for the final time.
When the dwarfs returned
they undid her bodice,
they looked for a comb,
but it did no good.
Though they washed her with wine
and rubbed her with butter
it was to no avail.
She lay as still as a gold piece.

The seven dwarfs could not bring themselves
to bury her in the black ground
so they made a glass coffin
and set it upon the seventh mountain
so that all who passed by
could peek in upon her beauty.
A prince came one June day
and would not budge.
He stayed so long his hair turned green
and still he would not leave.
The dwarfs took pity upon him
and gave him the glass Snow White--
its doll's eyes shut forever--
to keep in his far-off castle.
As the prince's men carried the coffin
they stumbled and dropped it
and the chunk of apple flew out
of her throat and she woke up miraculously.

And thus Snow White became the prince's bride.
The wicked queen was invited to the wedding feast
and when she arrived there were
red-hot iron shoes,
in the manner of red-hot roller skates,
clamped upon her feet.
First your toes will smoke
and then your heels will turn black
and you will fry upward like a frog,
she was told.
And so she danced until she was dead,
a subterranean figure,
her tongue flicking in and out
like a gas jet.
Meanwhile Snow White held court,
rolling her china-blue doll eyes open and shut
and sometimes referring to her mirror
as women do.

Bent
Near to breaking
by her burden
of fruit, swollen with seed
In that thrashing by wind
Bearing down on the sun
in her labor—
of  Need
to bear
the pain
to bring
her yield
to his hands—
her harvest
of warm juicy softness


Gone—
the upright
reach of untouchable spring
When stems, stern and smooth
wore a lace-beaded bodice of bloom
of coral chiffon
First leaves
a scarf
with a fringe of lime green
wrapping her gifted and lean
to the buzzing

She was lighter than dew
to the amateur insects
smeared with her

Her only accessory--
a robin
They had left
as evidence
they had ravaged
its song


Now broken and leaking
more damage endured  
Ripe fruit in rough hands
He leans against limbs
by his weight sternly pressed  
so suffused in the fragrance
of peach intoxicants
which he will have--

He is lost to his lust
He is forcing his need
into another year's beauty

asserting his claim over and over again
of that lost and ancient bounty

Urdu Poetry: English Translations



You will never comprehend me:
I pour out my feelings; you only read the words!
―original poet unknown, loose translation/interpretation by Michael R. Burch



Tears are colorless―thank God!―
otherwise my pillow might betray my heart.
―original poet unknown, loose translation/interpretation by Michael R. Burch



Near Sainthood
by Mirza Ghalib
loose translation/interpretation by Kanu V. Prajapati and Michael R. Burch

On the subject of mystic philosophy, Ghalib,
your words might have struck us as deeply profound ...
Hell, we might have pronounced you a saint,
if only we hadn't found
you drunk
as a skunk!

There are more English translations of poems by Mirza Ghalib later on this page.



Every Once in a While
by Amjad Islam Amjad
loose translation/interpretation by Michael R. Burch

Every once in a while,
immersed in these muggy nights
when all earth’s voices seem to have fallen
into the bruised-purple silence of half-sleep,
I awaken from a wonderful dream
to see through the veil that drifts between us
that you too are companionless and wide awake.



First Rendezvous
by Amjad Islam Amjad
loose translation/interpretation by Michael R. Burch

This story of the earth
is as old as the universe,
as old as the birth
of the first day and night.

This story of the sky
is included in the words we casually uttered,
you and I,
and yet it remains incomplete, till the end of sight.

This earth and all the scenes it contains
remain witnesses to the moment
when you first held my hand
as we watched the world unfolding, together.

This world
became the focus
for the first rendezvous
between us.



Impossible and Improbable Visions
by Amjad Islam Amjad
loose translation/interpretation by Michael R. Burch

Eyes interpret visions,
rainbow auras waver;
similar scenes appear
different to individual eyes,
as innumerable oases
coexist in one desert
or a single thought acquires
countless shapes.



I Have to Find My Lost Star
by Amjad Islam Amjad
loose translation/interpretation by Michael R. Burch

Searching the emptiest of skies
overflowing with innumerable stars,
I have to find the one
that belongs
to me.

...

Gazing at galaxies beyond galaxies,
all glorious with evolving wonder,
I ponder her name,
finding no sign to remember.

...

Lost things, they say,
are sometimes found
in the same accumulations of dust
where they once vanished.

I have to find the lost star
that belongs to me.



Last Night
by Faiz Ahmed Faiz
loose translation/interpretation by Michael R. Burch

Last night, your memory stole into my heart―
as spring sweeps uninvited into barren gardens,
as morning breezes reinvigorate dormant deserts,
as a patient suddenly feels better, for no apparent reason ...

There are more English translations of poems by Faiz Ahmed Faiz later on this page.



Intimacy
by Rahat Indori
loose translation/interpretation by Michael R. Burch

I held the Sun, Stars and Moon at a distance
till the time your hands touched mine.
Now I am not a feather to be easily detached:
instruct the hurricanes and tornados to observe their limits!

There are more English translations of poems by Rahat Indori later on this page.



Strange Currents
by Amir Khusrow
loose translation/interpretation by Michael R. Burch

O Khusrow, the river of love
creates strange currents—
the one who would surface invariably drowns,
while the one who submerges, survives.

There are more English translations of poems by Amir Khusrow later on this page.



The Eager Traveler
by Ahmad Faraz
loose translation/interpretation by Michael R. Burch

Even in the torture chamber, I was the lucky one;
when each lottery was over, unaccountably I had won.

And even the mightiest rivers found accessible refuge in me;
though I was called an arid desert, I turned out to be the sea.

And how sweetly I remember you—oh, my wild, delectable love!—
as the purest white blossoms bloom, on talented branches above.

And while I’m half-convinced that folks adore me in this town,
still, all the hands I kissed held knives and tried to shake me down.

You lost the battle, my coward friend, my craven enemy,
when, to victimize my lonely soul, you sent a despoiling army.

Lost in the wastelands of vast love, I was an eager traveler,
like a breeze in search of your fragrance, a vagabond explorer.

There are more English translations of poems by Ahmad Faraz later on this page.



The Condition of My Heart
by Munir Niazi
loose translation/interpretation by Michael R. Burch

It is not necessary for anyone else to get excited:
The condition of my heart is not the condition of hers.
But were we to receive any sort of good news, Munir,
How spectacular compared to earth's mundane sunsets!

There are more English translations of poems by Munir Niazi later on this page.



Failures
by Nida Fazli
loose translation/interpretation by Michael R. Burch

I was unable to relate
the state
of my heart to her,
while she failed to infer
the nuances
of my silences.



Apni Marzi se
by Nida Fazli Shayari
translated by Mandakini Bhattacherya and Michael R. Burch

This journey was not of my making;
As the winds blow, I’m blown along ...
Time and dust are my ancient companions;
Who knows where I’m bound or belong?

There are more English translations of poems by Nida Fazli later on this page.



My Apologies, Sona
by Gulzar
loose translation/interpretation by Michael R. Burch

My apologies, Sona,
if traversing my verse's terrain
in these torrential rains
inconvenienced you.

The monsoons are unseasonal here.

My poems' pitfalls are sometimes sodden.
Water often overflows these ditches.
If you stumble and fall here, you run the risk
of spraining an ankle.

My apologies, however,
if you were inconvenienced
because my dismal verse lacks light,
or because my threshold's stones
interfered as you passed.

I have often cracked toenails against them!

As for the streetlamp at the intersection,
it remains unlit ... endlessly indecisive.

If you were inconvenienced,
you have my heartfelt apologies!

There are more English translations of poems by Gulzar later on this page.



Come As You Are
by Rabindranath Tagore
loose translation/interpretation by Michael R. Burch

Come as you are, forget appearances!
Is your hair untamable, your part uneven, your bodice unfastened? Never mind.
Come as you are, forget appearances!

Skip with quicksilver steps across the grass.
If your feet glisten with dew, if your anklets slip, if your beaded necklace slides off? Never mind.
Skip with quicksilver steps across the grass.

Do you see the clouds enveloping the sky?
Flocks of cranes erupt from the riverbank, fitful gusts ruffle the fields, anxious cattle tremble in their stalls.
Do you see the clouds enveloping the sky?

You loiter in vain over your toilet lamp; it flickers and dies in the wind.
Who will care that your eyelids have not been painted with lamp-black, when your pupils are darker than thunderstorms?
You loiter in vain over your toilet lamp; it flickers and dies in the wind.

Come as you are, forget appearances!
If the wreath lies unwoven, who cares? If the bracelet is unfastened, let it fall. The sky grows dark; it is late.
Come as you are, forget appearances!



Unfit Gifts
by Rabindranath Tagore
loose translation/interpretation by Michael R. Burch

At sunrise, I cast my nets into the sea,
dredging up the strangest and most beautiful objects from the depths ...
some radiant like smiles, some glittering like tears, others flushed like brides’ cheeks.
When I returned, staggering under their weight, my love was relaxing in her garden, idly tearing leaves from flowers.
Hesitant, I placed all I had produced at her feet, silently awaiting her verdict.
She glanced down disdainfully, then pouted: "What are these bizarre things? I have no use for them!"
I bowed my head, humiliated, and thought:
"Truly, I did not contend for them; I did not purchase them in the marketplace; they are unfit gifts for her!"
That night I flung them, one by one, into the street, like refuse.
The next morning travelers came, picked them up and carted them off to exotic countries.



The Seashore Gathering
by Rabindranath Tagore
loose translation/interpretation by Michael R. Burch

On the seashores of endless worlds, earth's children converge.
The infinite sky is motionless, the restless waters boisterous.
On the seashores of endless worlds earth's children gather to dance with joyous cries and pirouettes.
They build sand castles and play with hollow shells.
They weave boats out of withered leaves and laughingly float them out over the vast deep.
Earth's children play gaily on the seashores of endless worlds.
They do not know, yet, how to cast nets or swim.
Divers fish for pearls and merchants sail their ships, while earth's children skip, gather pebbles and scatter them again.
They are unaware of hidden treasures, nor do they know how to cast nets, yet.
The sea surges with laughter, smiling palely on the seashore.
Death-dealing waves sing the children meaningless songs, like a mother lullabying her baby's cradle.
The sea plays with the children, smiling palely on the seashore.
On the seashores of endless worlds earth's children meet.
Tempests roam pathless skies, ships lie wrecked in uncharted waters, death wanders abroad, and still the children play.
On the seashores of endless worlds there is a great gathering of earth's children.



This Dog
by Rabindranath Tagore
loose translation/interpretation by Michael R. Burch

Each morning this dog,
who has become quite attached to me,
sits silently at my feet
until, gently caressing his head,
I acknowledge his company.

This simple recognition gives my companion such joy
he shudders with sheer delight.

Among all languageless creatures
he alone has seen through man entire—
has seen beyond what is good or bad in him
to such a depth he can lay down his life
for the sake of love alone.

Now it is he who shows me the way
through this unfathomable world throbbing with life.

When I see his deep devotion,
his offer of his whole being,
I fail to comprehend ...

How, through sheer instinct,
has he discovered whatever it is that he knows?

With his anxious piteous looks
he cannot communicate his understanding
and yet somehow has succeeded in conveying to me
out of the entire creation
the true loveworthiness of man.



Being
by Momin Khan Momin
loose translation/interpretation by Michael R. Burch

You are so close to me
that no one else ever can be.

NOTE: There is a legend that the great Urdu poet Mirza Ghalib offered all his diwan (poetry collections) in exchange for this one sher (couplet) by Momin Khan Momin. Does the couplet mean "be as close" or "be, at all"? Does it mean "You are with me in a way that no one else can ever be?" Or does it mean that no one else can ever exist as truly as one's true love? Or does this sher contain an infinite number of elusive meanings, like love itself?



Being (II)
by Momin Khan Momin
loose translation/interpretation by Michael R. Burch

You alone are with me when I am alone.
You are beside me when I am beside myself.
You are as close to me as everyone else is afar.
You are so close to me that no one else ever can be.



Perhaps
by Momin Khan Momin
loose translation/interpretation by Michael R. Burch

The cohesiveness between us, you may remember or perhaps not.
Our solemn oaths of faithfulness, you may remember, or perhaps forgot.
If something happened that was not to your liking,
the shrinking away that produces silence, you may remember, or perhaps not.
Listen, the sagas of so many years, the promises you made amid time's onslaught,
which you now fail to mention, you may remember or perhaps not.
These new resentments, those often rehashed complaints,
these lighthearted and displeasing stories, you may remember, or perhaps forgot.
Some seasons ago we shared love and desire, we shared joy ...
That we once were dear friends, you may have perhaps forgot.
Now if we come together, by fate or by chance, to express old loyalties ...
Our every shared breath, all our sighs and regrets, you may remember, or perhaps not.



What Happened to Them?
by Nasir Kazmi
loose translation/interpretation by Michael R. Burch

Those who came ashore, what happened to them?
Those who sailed away, what happened to them?

Those who were coming at dawn, when dawn never arrived ...
Those caravans en route, what happened to them?

Those I awaited each night on moonless paths,
Who were meant to light beacons, what happened to them?

Who are these strangers surrounding me now?
All my lost friends and allies, what happened to them?

Those who built these blazing buildings, what happened to them?
Those who were meant to uplift us, what happened to them?

NOTE: This poignant poem was written about the 1947 partition of India into two nations: India and Pakistan. I take the following poem to be about the aftermath of the division.



Climate Change
by Nasir Kazmi
loose translation/interpretation by Michael R. Burch

The songs of our silenced lips are different.
The expressions of our regretful hearts are different.

In milder climes our grief was more tolerable,
But the burdens we bear now are different.

O, walkers of awareness's road, keep your watch!
The obstacles strewn on this stony path are different.

We neither fear separation, nor desire union;
The anxieties of my rebellious heart are different.

In the first leaf-fall only flowers fluttered from twigs;
This year the omens of autumn are different.

This world lacks the depth to understand my heartache;
Please endow me with melodies, for my cry is different!

One disconcerting glance bared my being;
Now in barren fields my visions are different.

No more troops, nor flags. Neither money, nor fame.
The marks of the monarchs on this land are different.

Men are not martyred for their beloveds these days.
The youths of my youth were so very different!



Nasir Kazmi Couplets

When I was a child learning to write
my first scribblings were your name.
―Nasir Kazmi, loose translation/interpretation by Michael R. Burch

When my feet lost the path
where was your hand?
―Nasir Kazmi, loose translation/interpretation by Michael R. Burch

Everything I found is yours;
everything I lost is also yours.
―Nasir Kazmi, loose translation/interpretation by Michael R. Burch



Memory
by Faiz Ahmed Faiz, as performed by Iqbal Bano
loose translation/interpretation by Michael R. Burch

In the wastelands of solitude, my love,
the echoes of your voice quiver,
the mirages of your lips waver.

In the deserts of alienation,
out of the expanses of distance and isolation's debris
the fragrant jasmines and roses of your presence delicately blossom.

Now from somewhere nearby,
the warmth of your breath rises,
smoldering forth an exotic perfume―gently, languorously.

Now far-off, across the distant horizon,
drop by shimmering drop,
fall the glistening dews of your beguiling glances.

With such tenderness and affection—oh my love!—
your memory has touched my heart's cheek so that it now seems
the sun of separation has set; the night of blessed union has arrived.



Speak!
by Faiz Ahmed Faiz
loose translation/interpretation by Michael R. Burch

Speak, if your lips are free.
Speak, if your tongue is still your own.
While your body is still upright,
Speak if your life is still your own.



Tonight
by Faiz Ahmed Faiz
loose translation/interpretation by Michael R. Burch

Do not strike the melancholy chord tonight! Days smoldering
with pain in the end produce only listless ashes ...
and who the hell knows what the future may bring?
Last night’s long lost, tomorrow's horizon’s a wavering mirage.
And how can we know if we’ll see another dawn?
Life is nothing, unless together we make it ring!
Tonight we are love gods! Sing!

Do not strike the melancholy chord tonight!
Don’t harp constantly on human suffering!
Stop complaining; let Fate conduct her song!
Give no thought to the future, seize now, this precious thing!
Shed no more tears for temperate seasons departed!
All sighs of the brokenhearted soon weakly dissipate ... stop dithering!
Oh, do not strike the same flat chord again! Sing!



When Autumn Came
by Faiz Ahmed Faiz
loose translation/interpretation by Michael R. Burch

So it was that autumn came to flay the trees,
to strip them ****,
to rudely abase their slender dark bodies.

Fall fell in vengeance on the dying leaves,
flung them down to the floor of the forest
where anyone could trample them to mush
undeterred by their sighs of protest.

The birds that herald spring
were exiled from their songs—
the notes ripped from their sweet throats,
they plummeted to the earth below, undone
even before the hunter strung his bow.

Please, gods of May, have mercy!
Bless these disintegrating corpses
with the passion of your resurrection;
allow their veins to pulse with blood again.

Let at least one tree remain green.
Let one bird sing.



Last Night (II)
by Faiz Ahmed Faiz
loose translation/interpretation by Michael R. Burch

Last night, your lost memory returned ...
as spring steals silently into barren gardens,
as cool breezes stir desert sands,
as an ailing man suddenly feels better, for no apparent reason ...

There are more English translations of poems by Faiz Ahmed Faiz later on this page.



Ghazal
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch

Not the blossomings of songs nor the adornments of music:
I am the voice of my own heart breaking.

You toy with your long, dark curls
while I remain captive to my dark, pensive thoughts.

We congratulate ourselves that we two are different
but this weakness has burdened us both with inchoate grief.

Now you are here, and I find myself bowing—
as if sadness is a blessing, and longing a sacrament.

I am a fragment of sound rebounding;
you are the walls impounding my echoes.



The Mistake
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch

All your life, O Ghalib,
You kept repeating the same mistake:
Your face was *****
But you were obsessed with cleaning the mirror!



Inquiry
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch

The miracle of your absence
is that I found myself endlessly searching for you.



It's Only My Heart!
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch

It’s only my heart, not unfeeling stone,
so why be dismayed when it throbs with pain?
It was made to suffer ten thousand darts;
why let one more torment impede us?

There are more English translations of poems by Mirza Ghalib later on this page.



Couplets
by Jaun Elia
loose translations by Michael R. Burch

I am strange—so strange
that I self-destructed and don't regret it.
―Jaun Elia, loose translation/interpretation by Michael R. Burch

The wound is deep—companions, friends—embrace me!
What, did you not even bother to stay?
―Jaun Elia, loose translation/interpretation by Michael R. Burch

My nature is so strange
that today I felt relieved when you didn't arrive.
―Jaun Elia, loose translation/interpretation by Michael R. Burch

Night and day I awaited myself;
now you return me to myself.
―Jaun Elia, loose translation/interpretation by Michael R. Burch

Greeting me this cordially,
have you so easily erased my memory?
―Jaun Elia, loose translation/interpretation by Michael R. Burch

Your lips have provided thousands of answers;
so what is the point of complaining now?
―Jaun Elia, loose translation/interpretation by Michael R. Burch

Perhaps I haven't fallen in love with anyone,
but at least I convinced them!
―Jaun Elia, loose translation/interpretation by Michael R. Burch

The city of mystics has become bizarre:
everyone is wary of majesty, have you heard?
―Jaun Elia, loose translation/interpretation by Michael R. Burch

Did you just say "Love is eternal"?
Is this the end of us?
―Jaun Elia, loose translation/interpretation by Michael R. Burch

You are drawing very close to me!
Have you decided to leave?
―Jaun Elia, loose translation/interpretation by Michael R. Burch



Intimacy
by Rahat Indori
loose translation/interpretation by Michael R. Burch

I held the Sun, Stars and Moon at a distance
till the time your hands touched mine.
Now I am not a feather to be easily detached:
instruct the hurricanes and tornados to observe their limits!



The Mad Moon
by Rahat Indori
loose translation/interpretation by Michael R. Burch

Stars have a habit of showing off,
but the mad moon sojourns in darkness.



Body Language
by Rahat Indori
loose translation/interpretation by Michael R. Burch

Your body’s figures are written in cursive!
How will I read you? Hand me the book!



Insatiable
by Rahat Indori
loose translation/interpretation by Michael R. Burch

This mighty ocean, so deep and vast!
If it sates my thirst, how long can it last?



Honor
by Rahat Indori
loose translation/interpretation by Michael R. Burch

Achievements may fade but the name remains strong;
walls may buckle but the roof stays on.
On a pile of corpses a child stands alone
and declares that his family still lives on!



Dust in the Wind
by Rahat Indori
loose translation/interpretation by Michael R. Burch

This is how I introduce myself to questioners:
Pick up a handful of dust, then blow ...



Dissembler
by Rahat Indori
loose translation/interpretation by Michael R. Burch

In your eyes this, in your heart that, on your lips something else?
If this is how you are, impress someone else!



Rumor (M)ill
by Rahat Indori
loose translation/interpretation by Michael R. Burch

I heard rumors my health was bad; still
it was prying people who made me ill.



The Vortex
by Rahat Indori
loose translation/interpretation by Michael R. Burch

I am the river whose rapids form a vortex;
You were wise to avoid my banks.



Homebound
by Rahat Indori
loose translation/interpretation by Michael R. Burch

If people fear what they meet at every turn,
why do they ever leave the house?



Becoming One
by Amir Khusrow
loose translation/interpretation by Michael R. Burch

I have become you, as you have become me;
I am your body, you my Essence.
Now no one can ever say
that you are someone else,
or that I am anything less than your Presence!



I Am a Pagan
by Amir Khusrow
loose translation/interpretation by Michael R. Burch

I am a pagan disciple of love: I need no creeds.
My every vein has become taut, like a tuned wire.
I do not need the Brahman's girdle.
Leave my bedside, ignorant physician!
The only cure for love is the sight of the patient's beloved:
there is no other medicine he needs!
If our boat lacks a pilot, let there be none:
we have god in our midst: we do not fear the sea!
The people say Khusrow worships idols:
True! True! But he does not need other people's approval;
he does not need the world's.

(My translation above was informed by a translation of Dr. Hadi Hasan.)



Amir Khusrow’s elegy for his mother
loose translation/interpretation by Michael R. Burch

Wherever you shook the dust from your feet
is my relic of paradise!



Paradise
by Amir Khusrow
loose translation/interpretation by Michael R. Burch

If there is an earthly paradise,
It's here! It's here! It's here!



Mystery
by Munir Niazi
loose translation/interpretation by Michael R. Burch

She was a mystery:
Her lips were parched ...
but her eyes were two unfathomable oceans.



I continued delaying ...
by Munir Niazi
loose translation/interpretation by Michael R. Burch

I continued delaying ...
the words I should speak
the promises I should keep
the one I should dial
despite her cruel denial

I continued delaying ...
the shoulder I must offer
the hand I must proffer
the untraveled lanes
we may not see again

I continued delaying ...
long strolls through the seasons
for my own selfish reasons
the remembrances of lovers
to erase thoughts of others

I continued delaying ...
to save someone dear
from eternities unclear
to make her aware
of our reality here

I continued delaying ...



Couplets
by Mir Taqi Mir
loose translations by Michael R. Burch

Sharpen the barbs of every thorn, O lunatic desert!
Perhaps another hobbler, limping by on blistered feet, follows me!
―Mir Taqi Mir, loose translation/interpretation by Michael R. Burch

My life is a bubble,
this world an illusion.
―Mir Taqi Mir, loose translation/interpretation by Michael R. Burch

Selflessness has gotten me nowhere:
I neglected myself far too long.
―Mir Taqi Mir, loose translation/interpretation by Michael R. Burch

I know now that I know nothing,
and it only took me a lifetime to learn!
―Mir Taqi Mir, loose translation/interpretation by Michael R. Burch

Love's just beginning, so why do you whine?
Why not wait and watch how things unwind!
―Mir Taqi Mir, loose translation/interpretation by Michael R. Burch



Come!
by Gulzar
loose translation/interpretation by Michael R. Burch

Come, let us construct night
over the monumental edifice of silence.
Come, let us clothe ourselves in the winding sheets of darkness,
where we'll ignite our bodies' incandescent wax.
As the midnight dew dances its delicate ballet,
let us not disclose the slightest whispers of our breath!
Lost in night's mists,
let us lie immersed in love's fragrance,
absorbing our bodies' musky aromas!
Let us rise like rustling spirits ...



Old Habits Die Hard
by Gulzar
loose translation/interpretation by Michael R. Burch

The habit of breathing
is an odd tradition.
Why struggle so to keep on living?
The body shudders,
the eyes veil,
yet the feet somehow keep moving.
Why this journey, this restless, relentless flowing?
For how many weeks, months, years, centuries
shall we struggle to keep on living, keep on living?
Habits are such strange things, such hard things to break!



Inconclusive
by Gulzar
loose translation/interpretation by Michael R. Burch

A body lies on a white bed—
dead, abandoned,
a forsaken corpse they forgot to bury.
They concluded its death was not their concern.
I hope they return and recognize me,
then bury me so I can breathe.



Wasted
by Faiz Ahmed Faiz
loose translation/interpretation by Michael R. Burch

You have noticed her forehead, her cheeks, her lips ...
In whose imagination I have lost everything.



Countless
by Faiz Ahmed Faiz
loose translation/interpretation by Michael R. Burch

I recounted the world's countless griefs
by recounting your image countless times.



Do Not Ask
by Faiz Ahmed Faiz
loose translation/interpretation by Michael R. Burch

Do not ask, my love, for the love that we shared before:
You existed, I told myself, so existence shone.
For a moment the only light that I knew, alone,
was yours; worldly griefs remained dark, distant, afar.

Spring shone, as revealed in your face, but what did I know?
Beyond your bright eyes, what delights could the sad world hold?
Had I won you, cruel Fate would have ceded, no longer bold.
Yet all this was not to be, though I wished it so.

The world knows sorrows beyond love’s brief dreams betrayed,
and pleasures beyond all sweet, idle ideals of romance:
the dread dark spell of countless centuries and chance
is woven with silk and satin and gold brocade.

Bodies are sold everywhere for a pittance—it’s true!
Besmeared with dirt and bathed in bright oceans of blood,
Crawling from infested ovens, a gory cud.
My gaze returns to you: what else can I do?

Your beauty haunts me still, and will to the last.
But the world is burdened by sorrows beyond those of love,
By pleasures beyond romance.
So please do not demand a love that is over, and past.



O God!
by Qateel Shifai
loose translation/interpretation by Michael R. Burch

Torture my heart, O God!
If you so desire, leave me a madman, O God!

Have I asked for the moon and stars?
Enlighten my heart and give my eyes sight, O God!

We have all seen this disk called the sun,
Now give us a real dawn, O God!

Either relieve our pains here on this earth
Or make my heart granite, O God!



Hereafter
by Qateel Shifai
loose translation/interpretation by Michael R. Burch

Since we met and parted, how can we sleep hereafter?
Lost in each others' remembrance, must we not weep hereafter?

Deluges of our tears will keep us awake all night:
Our eyelashes strung with strands of pearls, hereafter!

Thoughts of our separation will sear our grieving hearts
Unless we immerse them in the cooling moonlight, hereafter!

If the storm also deceives us, crying Qateel!,
We will scuttle our boats near forsaken shores, hereafter.



Picnic
by Parveen Shakir
loose translation/interpretation by Michael R. Burch

My friends laugh elsewhere on the beach
while I sit here, alone, counting the waves,
writing and rewriting your name in the sand ...



Confession
by Parveen Shakir
loose translation/interpretation by Michael R. Burch

Your image overwhelmed my vision.
As the long nights passed, I became obsessed with your visage.
Then came the moment when I quietly placed my lips to your picture ...



Rain
by Parveen Shakir
loose translation/interpretation by Michael R. Burch

Why shiver alone in the rain, maiden?
Embrace the one in whose warming love your body and mind would be drenched!
There are no rains higher than the rains of Love,
after which the bright rainbows of separation will glow with the mysteries of hues.



My Body's Moods
by Parveen Shakir
loose translation/interpretation by Michael R. Burch

I long for the day when you'll be obsessed with me,
when, forgetting the world, you'll miss me with a passion
and stop complaining about my reticence!
Then I may forget all other transactions and liabilities
to realize my world in your arms,
letting my body's moods guide me.
In that moment beyond boundaries and limitations
as we defy the conventions of veil and turban,
let's try our luck and steal a taste of the forbidden fruit!



Moon
by Parveen Shakir
loose translation/interpretation by Michael R. Burch

All of us passengers,
we share the same fate.
And yet I'm alone here on earth,
and she alone there in the sky!



Vanity
by Parveen Shakir
loose translation/interpretation by Michael R. Burch

His world is so simple, so very different from mine.
So distinct—his dreams and desires.
He speaks rarely.
This morning he wrote: "I saw some lovely flowers and thought of you."
Ha! I know my aging face is no orchid ...
but how I wish I could believe whatever he says, however momentarily!



Come
by Ahmad Faraz
loose translation/interpretation by Michael R. Burch

Come, even with anguish, even to torture my heart;
Come, even if only to abandon me to torment again.

Come, if not for our past commerce,
Then to faithfully fulfill the ancient barbaric rituals.

Who else can recite the reasons for our separation?
Come, despite your reluctance, to continue the litanies, the ceremony.

Respect, even if only a little, the depth of my love for you;
Come, someday, to offer me consolation as well.

Too long you have deprived me of the pathos of longing;
Come again, my love, if only to make me weep.

Till now, my heart still suffers some slight expectation;
So come, ***** out even the last flickering torch of hope!



I Cannot Remember
by Ahmad Faraz
loose translation/interpretation by Michael R. Burch

I once was a poet too (you gave life to my words), but now I cannot remember
Since I have forgotten you (my love!), my art too I cannot remember

Yesterday consulting my heart, I learned
that your hair, lips, mouth, I cannot remember

In the city of the intellect insanity is silence
But now your sweet, spontaneous voice, its fluidity, I cannot remember

Once I was unfamiliar with wrecking ***** and ruins
But now the cultivation of gardens, I cannot remember

Now everyone shops at the store selling arrows and quivers
But neglects his own body, the client he cannot remember

Since time has brought me to a desert of such arid forgetfulness
Even your name may perish; I cannot remember

In this narrow state of being, lacking a country,
even the abandonment of my fellow countrymen, I cannot remember



The Infidel
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch

Ten thousand desires: each one worth dying for ...
So many fulfilled, and yet still I yearn for more!

Being in love, for me there was no difference between living and dying ...
and so I lived each dying breath watching you, my lovely Infidel, sighing                       afar.



Ghazal
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch

Life becomes even more complicated
when a man can’t think like a man ...

What irrationality makes me so dependent on her
that I rush off an hour early, then get annoyed when she's "late"?

My lover is so striking! She demands to be seen.
The mirror reflects only her image, yet still dazzles and confounds my eyes.

Love’s stings have left me the deep scar of happiness
while she hovers above me, illuminated.

She promised not to torment me, but only after I was mortally wounded.
How easily she “repents,” my lovely slayer!



Ghazal
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch

It’s time for the world to hear Ghalib again!
May these words and their shadows like doors remain open.

Tonight the watery mirror of stars appears
while night-blooming flowers gather where beauty rests.

She who knows my desire is speaking,
or at least her lips have recently moved me.

Why is grief the fundamental element of night
when blindness falls as the distant stars rise?

Tell me, how can I be happy, vast oceans from home
when mail from my beloved lies here, so recently opened?



Abstinence?
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch

Let me get drunk in the mosque,
Or show me the place where God abstains!



Step Carefully!
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch

Step carefully Ghalib―this world is merciless!
Here people will "adore" you to win your respect ... or your downfall.



Bleedings
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch

Love requires patience but lust is relentless;
what colors must my heart bleed before it expires?

There are more English translations of poems by Mirza Ghalib later on this page.



No Explanation! (I)
by Ahmad Faraz
loose translation/interpretation by Michael R. Burch

Please don't ask me how deeply it hurt!
Her sun shone so bright, even the shadows were burning!



No Explanation! (II)
by Ahmad Faraz
loose translation/interpretation by Michael R. Burch

Please don't ask me how it happened!
She didn't bind me, nor did I free myself.



Alone
by Ahmad Faraz
loose translation/interpretation by Michael R. Burch

Why are you sad that she goes on alone, Faraz?
After all, you said yourself that she was unique!



Separation
by Ahmad Faraz
loose translation/interpretation by Michael R. Burch

Faraz, if it were easy to be apart,
would Angels have to separate body from soul?



Time
by Ahmad Faraz
loose translation/interpretation by Michael R. Burch

What if my face has more wrinkles than yours?
I am merely well-worn by Time!



Miraji Epigrams

I'm obsessed with this thought:
does God possess mercy?
―Miraji, loose translation/interpretation by Michael R. Burch

Come, see this dance, the immaculate dance of the devadasi!
―Miraji, loose translation/interpretation by Michael R. Burch



Excerpts from “Going, Going ...”
by Miraji
loose translation/interpretation by Michael R. Burch

Each unfolding vista,
each companion’s kindnesses,
every woman’s subtle sorceries,
everything that transiently lies within our power
quickly dissolves
and we are left with only a cupped flame, flickering ...
Should we call that “passion”?

The moon scrapes the horizon
and who can measure a star’s breadth?

The time allotted a life, if we calculate it,
is really only a fleeting breath ...



1.
Echoes of an ancient prophecy:
after my life has come and gone,
perhaps someone
hearing my voice drifting
on the breeze of some future spring
will chase after my songs
like dandelions.
—Miraji, translation by Michael R. Burch

2.
Echoes of an ancient prophecy:
after my life has come and gone,
perhaps someone
hearing my voice drifting
through some distant future spring
will pluck my songs
like dandelions.
—Miraji, translation by Michael R. Burch

3.
Echoes of an ancient prophecy:
when my life has come and gone,
and when I’m dead and done,
perhaps someone
hearing me sing
in a distant spring
will echo my songs
the whole world over.
—Miraji, translation by Michael R. Burch

If I understand things correctly, Miraji wrote the lines above after translating a verse by Sappho in which she said that her poems would be remembered in the future. I suspect both poets and both prophecies were correct!




Every Day and in Every Direction
by Nida Fazli
loose translation/interpretation by Michael R. Burch

Everywhere and in every direction we see innumerable people:
each man a victim of his own loneliness, reticence and silences.
From dawn to dusk men carry enormous burdens:
all preparing graves for their soon-to-be corpses.
Each day a man lives, the same day he dies.
Each new day requires the same old patience.
In every direction there are roads for him to roam,
but in every direction, men victimize men.
Every day a man dies many deaths only to resurrect from his ashes.
Each new day presents new challenges.
Life's destiny is not fixed, but a series of journeys:
thus, till his last breath, a man remains restless.



Couplets
by Nida Fazli
loose translation/interpretation by Michael R. Burch

It was my fate to entangle and sink myself
because I am a boat and my ocean lies within.
―Nida Fazli, loose translation/interpretation by Michael R. Burch

You were impossible to forget once you were gone:
hell, I remembered you most when I tried to forget you!
―Nida Fazli, loose translation/interpretation by Michael R. Burch

Don't squander these pearls:
such baubles may ornament sleepless nights!
―Nida Fazli, loose translation/interpretation by Michael R. Burch

The world is like a deck of cards on a gambling table:
some of us are bound to loose while others cash in.
―Nida Fazli, loose translation/interpretation by Michael R. Burch

There is a proper protocol for everything in this world:
when visiting gardens never force butterflies to vacate their flowers!
―Nida Fazli, loose translation/interpretation by Michael R. Burch

Since I lack the courage to commit suicide,
I have elected to bother people with my life a bit longer.
―Nida Fazli, loose translation/interpretation by Michael R. Burch



Changing Seasons
by Noshi Gillani
loose translation/interpretation by Michael R. Burch

Each changing season
reveals something
concealed by her fears:
an escape route from this island
illuminated by her tears.



Dust
by Bahadur Shah Zafar or Muztar Khairabadi
loose translation/interpretation by Michael R. Burch

Unable to light anyone's eye
or to comfort anyone's heart ...
I am nothing but a handful of dust.



Piercings
by Firaq Gorakhpuri
loose translation/interpretation by Michael R. Burch

No one ever belonged to anyone else for a lifetime.
We cannot own another's soul.
The beauty we see and the love we feel are only illusions.
All my life I tried to save myself from the piercings of your eyes ...
But I failed and the daggers ripped right through me.



Salvation
Mohammad Ibrahim Zauq
loose translation/interpretation by Michael R. Burch

Anxious and fatigued, I consider the salvation of death ...
But if there is no peace in the grave,
where can I go to be saved?



Child of the Century
by Abdellatif Laâbi (a Moroccan poet)
loose translation/interpretation by Michael R. Burch

I’m a child of this dreary century, a child who never grew up.
Doubts that ignited my tongue singed my wings.
I learned to walk, then I unlearned progress.
I grew weary of oases and camels infatuated with ruins.
My head inclined East only to occupy the middle of the road
as I awaited the insane caravans.



Nostalgia
by Abdulla Pashew (a Kurdish poet)
loose translation/interpretation by Michael R. Burch

How I desire the heavens!
Each solitary star lights the way to a tryst.

How I desire the sky!
Standing alone, remote, the sky is as vast as any ocean.

How I desire love's heavenly scent!
When each enticing blossom releases its essence.



Oblivion
by Al-Saddiq Al-Raddi (an African poet who writes in Arabic)
loose translation/interpretation by Michael R. Burch

Discard your pen
before you start reading;
consider the ink,
how it encompasses bleeding.

Learn from the horizon
through eyes' narrowed slits
the limitations of vision
and hands' treacherous writs.

Do not blame me,
nor indeed anyone,
if you expire before
your reading is done.



In Medias Res
by Shaad Azimabadi
loose translation/interpretation by Michael R. Burch

When I heard the story of my life recounted,
I caught only the middle of the tale.
I remain unaware of the beginning or end.



Debt Relief
by Piyush Mishra
loose translation/interpretation by Michael R. Burch

We save Sundays for our loved ones ...
all other days we slave to repay debts.



Reoccurrence
by Amrita Bharati (a Hindi poet)
loose translation/interpretation by Michael R. Burch

It was a woman's heart speaking,
that had been speaking for eons ...

It was a woman's heart silenced,
that had been silenced for centuries ...

And between them loomed a mountain
that a man or a rat gnawed at, even in times of amity ...
gnawing at the screaming voice,
at the silent tongue,
from the primeval day.



Don't Approach Me
by Arif Farhad
loose translation/interpretation by Michael R. Burch

Don't approach me here by the river of time
where I flop like a fish in a net!



Intoxicants
by Amrut Ghayal (a Gujarati poet)
translation by Kanu V. Prajapati and Michael R. Burch

O, my contrary mind!
You're such a fool, afraid to drink the fruit of the vine!
But show me anything universe-designed
that doesn't intoxicate, like wine.



I’m like a commodity being priced in the market-place:
every eye ogles me like a buyer’s.
—Majrooh Sultanpuri, loose translation/interpretation by Michael R. Burch

If you insist, I’ll continue playing my songs,
forever piping the flute of my heart.
—Majrooh Sultanpuri, loose translation/interpretation by Michael R. Burch

The moon has risen once again, yet you are not here.
My heart is a blazing pyre; what do I do?
—Majrooh Sultanpuri, loose translation/interpretation by Michael R. Burch



Drunk on Love
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch

Drunk on love, I made her my God.
She quickly informed me that God belongs to no man!

Exiles
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch

Often we have heard of Adam's banishment from Eden,
but with far greater humiliation, I abandon your garden.

To Whom Shall I Complain?
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch

To whom shall I complain when I am denied Good Fortune in acceptable measure?
Dementedly, I demanded Death, but was denied even that dubious pleasure!



Ghazal
by Mirza Ghalib
loose translation/interpretation by Michael R. Burch

You should have stayed a little longer;
you left all alone, so why not linger?

We’ll meet again, you said, some day similar to this one,
as if such days can ever recur, not vanish!

You left our house as the moon abandons night's skies,
as the evening light abandons its earlier surmise.

You hated me: a wife abnormally distant, unknown;
you left me before your children were grown.

Only fools ask why old Ghalib still clings to breath
when his fate is to live desiring death.



How strange has life become:
Our evenings drag out, yet our years keep flashing by!
―original poet unknown, loose translation/interpretation by Michael R. Burch



Longing
by Allama Iqbal
loose translation by Michael R. Burch

Lord, I’ve grown tired of human assemblies!
I long to avoid conflict! My heart craves peace!
I desperately desire the silence of a small mountainside hut!



Life Advice
by Allama Iqbāl
loose translation by Michael R. Burch

This passive nature will not allow you to survive;
If you want to live, raise a storm!



Destiny
by Allama Iqbal
loose translation by Michael R. Burch

Isn't it futile to complain about God's will,
When you are your own destiny?

Keywords/Tags: Urdu, translation, love poetry, desire, passion, longing, romance, romantic, God, heaven, mrburdu

A bodice is twice alight
shape as earth brings forth tide
with nocturnal séance align
with splendid sight woven bare
that navel join where bona fide
trump her inlay again this year
round her aura so, rather she unwinds
though hers now pounds sound lure
in downtown bistro local bar none
this getaway always supreme nightly!

F- For being faithful like a forbidden fruit truthful
R- Ruler of fruit so passionately about his love bite
U- Understatement how she layered her
salad love ingredients
Google it
Utmost website take a bite
I- Included in everything We know it the poets
Ring coming like diamond my fruit of the crop
T- Timing, Fruit for thought rhyming tremendous
but tedious fruit-salad love

I- Truly   

S- Strawberries lips of cherries falling from the tree.
Feeling free Robin bob bobbin along loves strawberry pie
A- For such ambiance, Miss Ambrosia
such allure "Pink lady" apple smiles so
animated graphic artist so cool and waves shore
L- For Living eating in good health breathing
the fresh air Earth Baby Bella green lettuce.
Lacy Length of her wedding bodice spiritual rice
he promised her hand in fruit bountiful marriage
A- For a party of love fruit masquerade party
Connoisseur of fruit smarty oranges
vibrant animation fruit forever apples,
I tune's of apples
D- Divine dressed up with layers
of fruit salad
Devilish eggs toppings designs of
dandelions daisies, fusion
with fruit crazies

D-  Digging exploring forbidden fruit
Cranking up the Cranberries
I am dreaming the Blueberries
No Sir, not your Monday blues
Dow Jones way up I Apple phones?
R- Rev it up Robin Recharge, rambling
lucky reds fruits
Italian the lovers of red wine and a salad
avocado smashing up her Money green
Eldorado entering her fruit palace

                      She rules

E- Energy vitamin E for exceptional inviting
fruit salad with everything piling
Elderberry Evergreens Huckleberry
S- Symmetry art salad Palm of hearts
Fruit season
love storm style sophisticated a poem with
the style you're sure to smile
S- Autumn leaves falling on the
sleeves crabapples
Silver smooth skin Kiwifruit sour cherry on the
          " SILKY"
Dogwood in the Sierra Juniper
E- Enlightening some enchanting evening
how his love fruit fell from the tree
His fruit for the soul so enthusiastic you loved
to entertain this is love fusion nothing simple
I am not one to complain

D- Dressed to the fruit nines perfect 10 salad
Mad Alice in Wonderland hair so much hair
obsessions love of fruit blueberries and
she's a bit sour cream
with daisies and dandelion teas all,
please and what else is another
fruit of a pain
To remain in silence but that burst of flavor
is like science fusion of soulful rain

F- food for thought furry but fireplace hot
love frenzy comfort foods A la carte frosting
"Buttercream" food pleasant dream
The freshly brewed coffee I never heard of
fruit your in luck
Blueberry coffee homemade Moms
I  girl scout you brownies and
Saltwater sea fruity buns of a breeze

U- Unique how you utilize passion-fruit
prize music
fruity Pop blend fires out up-tempo
your feeling unbaked
Not the right ingredients of love fruit cake

S- Serendipity New York City the
fruit never sleeps fruit stands love for
keeps or Dorothy surrender spices
of Sage Superfood salads

I- Yes we have bananas wearing paisley
bandanas fruit is ripe to improve a love
how it's written
Inkwell an index of fruit swell

O- Out worked outlived on time for only
fruit about the abundance of love
So soothing the fruit tunes of his music
Overjoyed Silk Organza

N- Gift of fruit not like any other day
Neighborly of kindness just dress
Organza Gown of fruit
So naturally spoken love so near Fruit salad he left a notorious love tear.

Come As You Are
by Rabindranath Tagore
loose translation/interpretation by Michael R. Burch

Come as you are, forget appearances!
Is your hair untamable, your part uneven, your bodice unfastened? Never mind.
Come as you are, forget appearances!

Skip with quicksilver steps across the grass.
If your feet glisten with dew, if your anklets slip, if your beaded necklace slides off? Never mind.
Skip with quicksilver steps across the grass.

Do you see the clouds enveloping the sky?
Flocks of cranes erupt from the riverbank, fitful gusts ruffle the fields, anxious cattle tremble in their stalls.
Do you see the clouds enveloping the sky?

You loiter in vain over your toilet lamp; it flickers and dies in the wind.
Who will care that your eyelids have not been painted with lamp-black, when your pupils are darker than thunderstorms?
You loiter in vain over your toilet lamp; it flickers and dies in the wind.

Come as you are, forget appearances!
If the wreath lies unwoven, who cares? If the bracelet is unfastened, let it fall. The sky grows dark; it is late.
Come as you are, forget appearances!

Keywords/Tags: Tagore, translation, Bengali, come, forget appearances, hair, bodice, feet, anklet, bracelet, beads, necklace, sky, clouds, cranes, cattle, toilet, lamp, wind, mascara, eyeshadow, mrburdu



These are modern English translations of poems by the great Indian poet Rabindranath Tagore (1861-1941), who has been called the "Bard of Bengal" and "the Bengali Shelley." In 1913 Tagore became the first non-European to win the Nobel Prize in Literature. Tagore was also a notable artist, musician and polymath.



The Seashore Gathering
by Rabindranath Tagore
loose translation/interpretation/modernization by Michael R. Burch

On the seashores of endless worlds, earth's children converge.
The infinite sky is motionless, the restless waters boisterous.
On the seashores of endless worlds earth's children gather to dance with joyous cries and pirouettes.
They build sand castles and play with hollow shells.
They weave boats out of withered leaves and laughingly float them out over the vast deep.
Earth's children play gaily on the seashores of endless worlds.
They do not know, yet, how to cast nets or swim.
Divers fish for pearls and merchants sail their ships, while earth's children skip, gather pebbles and scatter them again.
They are unaware of hidden treasures, nor do they know how to cast nets, yet.
The sea surges with laughter, smiling palely on the seashore.
Death-dealing waves sing the children meaningless songs, like a mother lullabying her baby's cradle.
The sea plays with the children, smiling palely on the seashore.
On the seashores of endless worlds earth's children meet.
Tempests roam pathless skies, ships lie wrecked in uncharted waters, death wanders abroad, and still the children play.
On the seashores of endless worlds there is a great gathering of earth's children.



Unfit Gifts
by Rabindranath Tagore
loose translation/interpretation/modernization by Michael R. Burch

At sunrise, I cast my nets into the sea,
dredging up the strangest and most beautiful objects from the depths ...
some radiant like smiles, some glittering like tears, others flushed like brides’ cheeks.
When I returned, staggering under their weight, my love was relaxing in her garden, idly tearing leaves from flowers.
Hesitant, I placed all I had produced at her feet, silently awaiting her verdict.
She glanced down disdainfully, then pouted: "What are these bizarre things? I have no use for them!"
I bowed my head, humiliated, and thought:
"Truly, I did not contend for them; I did not purchase them in the marketplace; they are unfit gifts for her!"
That night I flung them, one by one, into the street, like refuse.
The next morning travelers came, picked them up and carted them off to exotic countries.



This Dog
by Rabindranath Tagore
loose translation/interpretation/modernization by Michael R. Burch

Each morning this dog,
who has become quite attached to me,
sits silently at my feet
until, gently caressing his head,
I acknowledge his company.

This simple recognition gives my companion such joy
he shudders with sheer delight.

Among all languageless creatures
he alone has seen through man entire—
has seen beyond what is good or bad in him
to such a depth he can lay down his life
for the sake of love alone.

Now it is he who shows me the way
through this unfathomable world throbbing with life.

When I see his deep devotion,
his offer of his whole being,
I fail to comprehend ...

How, through sheer instinct,
has he discovered whatever it is that he knows?

With his anxious piteous looks
he cannot communicate his understanding
and yet somehow has succeeded in conveying to me
out of the entire creation
the true loveworthiness of man.



Patience
by Rabindranath Tagore
loose translation/interpretation/modernization by Michael R. Burch

If you refuse to speak, I will fill my heart with your silence and endure it.
I will remain still and wait like the night through its starry vigil
with its head bowed low in patience.

The morning will surely come, the darkness will vanish,
and your voice will pour down in golden streams breaking through the heavens.

Then your words will take wing in songs from each of my birds' nests,
and your melodies will break forth in flowers in all my forest groves.



Gitanjali 35
by Rabindranath Tagore
loose translation/interpretation/modernization by Michael R. Burch

Where the mind is without fear and the head is held high;
Where knowledge is free;
Where the world has not been divided by narrow domestic walls;
Where words emerge from the depths of truth;
Where tireless striving stretches its arms towards perfection;
Where the clear stream of reason has not been lost amid the dreary desert sands of dead habit;
Where the mind is led forward into ever-widening thought and action;
Into that heaven of freedom, my Father, let my country awake.



Gitanjali 11
by Rabindranath Tagore
loose translation/interpretation/modernization by Michael R. Burch

Leave this vain chanting and singing and counting of beads:
what Entity do you seek in this lonely dark temple with all the doors shut?
Open your eyes and see: God is not here!
He is out there where the tiller tills the hard ground and the paver breaks stones.
He is with them in sun and shower; his garments are filthy with dust.
Shed your immaculate mantle and likewise embrace the dust!
Deliverance? Where is this "deliverance" to be found
when our Master himself has joyfully embraced the bonds of creation; he is bound with us all forever!
Cease your meditations, abandon your petals and incense!
What is the harm if your clothes become stained rags?
Meet him in the toil and the sweat of his brow!



Last Curtain
by Rabindranath Tagore
loose translation/interpretation/modernization by Michael R. Burch

I know the day comes when my eyes close,
when my sight fails,
when life takes its leave in silence
and the last curtain veils my vision.
Yet the stars will still watch by night;
the sun will still rise like before;
the hours will still heave like sea waves
casting up pleasures and pains.
When I consider this end of my earth-life,
the barrier of the moments breaks
and I see by the illumination of death
this world with its careless treasures.
Rare is its lowliest seat,
rare its meanest of lives.
Things I longed for in vain and those I received, let them pass.
Let me but truly possess the things I rejected and overlooked.



Death
by Rabindranath Tagore
loose translation/interpretation/modernization by Michael R. Burch

You who are the final fulfillment of life,
Death, my Death, come and whisper to me!
Day after day I have kept watch for you;
for you I have borne the joys and the pangs of life.
All that I am, all that I have and hope, and all my love
have always flowed toward you in the depths of secrecy.
One final glance from your eyes and my life will be yours forever, your own.
The flowers have been woven and the garland prepared for the bridegroom.
After the wedding the bride must leave her home and meet her lord alone in the solitude of night.



I Cannot Remember My Mother
by Rabindranath Tagore
loose translation/interpretation by Michael R. Burch

I cannot remember my mother,
yet sometimes in the middle of my playing
a melody seemed to hover over my playthings:
some forgotten tune she loved to sing
while rocking my cradle.

I cannot remember my mother,
yet sometimes on an early autumn morning
the smell of the shiuli flowers fills my room
as the scent of the temple’s morning service
wafts over me like my mother’s perfume.

I cannot remember my mother,
yet sometimes still, from my bedroom window,
when I lift my eyes to the heavens’ vast blue canopy
and sense on my face her serene gaze,
I feel her grace has encompassed the sky.

Keywords/Tags: Tagore, Rabindranath Tagore, India, Indian, poet, Bengali, sea, seashore, children, mother, dog, love, lover, patience, curtain, death

So you know you’re looking at two very different styles of dress, here. But precisely what decades? When did that waistline move back down? What details are the defining touches of their era? How long were women actually walking around with bustles on their backsides?

Lydia Edwards’s How to Read a Dress is a detailed, practical, and totally beautiful guide to the history of this particular form of clothing from the 16th to the 20th centuries. It tracks the small changes that pile up over time, gradually ******* until your great-grandmother’s closet looks wildly different than your own. As always, fashion makes for a compelling angle on history—paging through you can see the shifting fortunes of women in the Western world as reflected in the way they got dressed every morning.

Of course, it’ll also ensure that the next lackadaisically costumed period piece you watch gives you agita, but all knowledge has a price.

I spoke to Edwards about how exactly we go about resurrecting the history of an item that’s was typically worn until it fell apart and then recycled for scraps; our conversation has been lightly trimmed and edited for clarity.

The title of the book is How to Read a Dress. What do you mean by “reading” a dress?

Basically what I mean is, when you are looking at a dress in an exhibition or a TV show, reading it in terms of working out where the inspirations or where certain design choices come from. Being able to look at it and recognize key elements. Being able to look at the bodice and say, Oh, the shape of that is 1850s, and the design relates to this part of history, and the patterning comes from here. It’s looking at the dress as an object from the top down and being able to recognize different elements—different historical elements, different design elements, different artistic elements. “Read” is probably the best word to use for that kind of approach, if that makes sense.

It must send you around the bend a little bit, watching costume adaptations where they’re a bit slapdash. The one I think of is the Keira Knightley Pride and Prejudice, which I actually really enjoy, but I know that one’s supposed to have all over the place costuming-wise.

Yeah, it does. I mean, I love the BBC Pride and Prejudice one, because they kept very specifically to a particular era. But I can see what they did with the Keira Knightley one—they were trying to keep it 1790s, when the book was written, as opposed to when it was published. But they’ve got a lot of kind of modern influences in there and they’ve got a lot of influences from 30, 40 years previously, which is interesting to an audience and gives an audience I suppose more frames of reference, more areas to think about and look at. So I can see why they did that. But it does make it more difficult if you’re trying to accurately decode a garment. It’s harder when you’ve got lots of different eras going on there, but it makes it beautiful and interesting for an audience.

The guide spans the 16th to the 20th century. Why start with the 16th century?

Well, partly because it’s where my own interest starts, in terms of my research and the areas I’ve looked at. But more importantly in terms of audience interest, we get a lot of TV shows, a lot of films in recent years—things like The Tudors—that type of era seems to be something that people are interested in. That time is very colorful and very interesting to people.

And also because in terms of thinking about the dress as garment, obviously people wore dresses in medieval times, but in terms of it being something that specifically women wore, distinct from men’s clothes, I really think we start to see that more in the 15th, 16th century onwards.

Where do you go to get the historical information to put together a book like this? What do you use as your source material? Because obviously the thing about clothing is that it has to stand up to a lot of wear and tear and a lot of it doesn’t survive.

This is the other thing about the 16th century stuff—there’s so little surviving. That’s why that chapter was a lot shorter and also that’s why I used a lot of artworks rather than surviving garments, just because they don’t exist in their entirety.

But wherever possible, you go to the garments themselves in museum collections. And then if that’s proving to be difficult, you go to artworks or images, but always bearing in mind the artist will have had their own agenda, so they won’t necessarily be accurate of what people were actually wearing. So then you have to go and look up written source material from the time—say, diaries. I like using letters that people have written to each other over the centuries, describing dress and what they were wearing on a daily basis. Novels can be good, as well.

Also the scholarship that has come before, the secondary sources, works by people like Janet Arnold, Aileen Ribeiro. Really well researched scholarly books where people have used primary sources themselves and put their own interpretation on it can be really, really helpful. Although you take some of it with a pinch of salt, and you put your own interpretation on there, as well.

But always to the dress itself wherever possible.

What are some of the challenges you face, or the constraints on our ability to learn about the history of fashion?

Well, the very practical issue of trying to see garments—some of them I did see here in Australia, but a lot of them were in the States, in Canada, in New Zealand, so it’s hard to physically get there to see them. And often, even when you can get to the museum, garments are out on loan to other exhibitions or other museums. That’s a practical consideration.

But also, especially when I’m talking about using artworks and things, which can be really helpful when you’re researching, but as I’ve said they do come from a place where there’s more interpretations and more agendas. So if someone’s done a portrait and there’s a beautiful 1880s dress in it, that could have been down to the whims of the person who was wearing it, or the artist could have changed significantly the color or style to suit his own taste. Then you have to do extra research on top of that, to make sure that what you are seeing is representative.

It’s a fascinating area. There’s a lot of challenges, but for me, that’s what makes it really exciting as well. But it’s really that question of being able to trust sources and knowing what to use and what not to use in order to make things clear for the audience.

Obviously many of these dresses were very expensive and took a lot of labor and it wasn’t fast fashion—people didn’t just give it away or toss it when it fell out of season. A lot of times, you did was you remade it. When you’re looking at a dress that’s been remade, how do you extract the information that you need as a historian out of it?

I love it when something like that comes up. I’ve got a couple of examples in the book.

Well, it can be quite challenging, because often when you’re first looking at a piece it’s not obvious that it’s been remade. But if you’re lucky enough to look inside it and actually hold it and turn it round different angles, there’ll be things like the placement of a seam, or you’ll see that the waist has been moved up or down according to the fashion. And that’s often obvious when you’re looking inside. You can see the way the skirt’s been attached. Often you can tell if a skirt’s been taken off and then reattached using different pleats, different gatherings; that can give you a hint that it’s then been remade to fit in with a different fashionable ideal.

One of the key ways is fabric. You can often see, especially in early 19th century dresses when they’ve been made of these beautiful 18th century silks and brocades. That’s nice because it’s the first obvious clue that something’s been remade or that an old dress has been completely taken apart and it’s just the fabric that’s been used. I find it particularly interesting when the waist has been moved or the seams have been taken off or re-sewn in a different shape or something like that. It can be subtle but once your knowledge base grows, that’s one of the most fascinating areas that you can look at.

You page through the book and you watch these trends unfold and there are occasional sea changes will happen fairly quickly, like when the Regency style arises. But how much change year-to-year would a woman have seen? How long would it take, just as a woman getting dressed in the morning, to see styles just radically alter? Would you even notice?

Well, this is the thing—I think it’s very easy, when we’re looking back, to imagine that in 1810 you’d be wearing this dress and then all the frills and the frouf would have started to come in the late 1810s and the 1820s, and suddenly you would have had a whole new wardrobe. But obviously, unless you were the very wealthiest women and you had access to dressmakers who had the absolute newest patterns and newest fabrics then no, you wouldn’t have seen a massive change. You wouldn’t have afforded to be able to have the newest things as they came in. You would have maybe remade dresses to make them maybe slightly more in line with a fashion plate that you might have seen, but you wouldn’t have had access to new information and new fashion plates as soon as they came. To be realistic, there would have been very little change on a day to day level.

But I think also, for us now—it’s hard to see it without hindsight, but we feel like we’re fairly fluid in wearing the same kind of styles, but obviously when we look back in 20 years, we’ll look at pictures of us and see greater changes than we’re now aware. Because it happens on a slow pace and it happens on such a subconscious level in some ways.

But actually, yeah, it’s to do with economics, it’s to do with availability. People living in towns where they couldn’t easily get to cities—if you were living in a country town a hundred miles away from London, there’s no way that you would have the resources to see the most recent fashion plates, the most recent ideas that were developing in high society. So it was a very slow process in reality.

If you have a lot of money you can change out your wardrobe quicker and wear the latest styles. And so the wealthiest people, their clothes were what in a lot of case stood the best chance of surviving and being in modern collections. So how do we know what working women would have worn or what middle class women would have worn?

Yeah, this is hard. I do have some more middle class examples, because we’re lucky in that we do have quite a few that have survived, especially in smaller museums and historical collections, where people have had clothes sitting in their attics for years and have donated them, just from normal families over the years.

But, working women, that’s much more difficult. We’re lucky from the 19th century because we have photographic evidence. But really a lot of it will come down to written descriptions, mainly letters, diaries, not necessarily that the people themselves would have kept, but there’s examples of people that worked in cotton mills, for instance, and people that ran the mills and their families and wives and friends who had written accounts of what the women there were wearing. Also newspaper accounts, particularly of people who would go and do charity work and help the poor. They often wrote quite detailed descriptions of the people that they were helping.

But in terms of actual garments, yeah, it’s very difficult. Certainly 18th century and before, it’s really, really hard to get hold of anything that gives you a really good idea of what they wore. But in the 18th century—it’s quite interesting, because then we get examples of separate pieces of clothing worn by the upper classes, like a skirt with a jacket, which was actually a lower middle class style initially and then it became appropriated by the upper classes. And then it became much fancier and trimmed and made in silks and things. So then, we can see the inspiration of the working classes on the upper classes. That’s another way of looking at it, although of course that’s much more problematic.

It’s interesting how in several cases you can see broader historical context, or other stories happening through clothes. Like you point out that the rise of the one-piece dresses is due to the rise of mantua makers, who were women who were less formally trained who were suddenly making clothing. Are there any other interesting stories like that, that you noticed and thought were really fascinating?

There’s a dress in the book that a woman made for her wedding. I think she was living on her own, or she was living with a servant and her mother or something. She made the dress and then turned up to her wedding and traveled quite a long way to get there, and when she arrived, the groom and all the guests weren’t there. There was nobody. So she went away and came back again a week later, and everyone was there. And the reason that no one was there before was that a river had flooded in the direction that they were all coming from. She had obviously no way of finding out about this until after the fact, and we have this beautiful dress that she spent ages making and had obviously gone to a lot of effort to try and work out what the latest styles were, to incorporate it into her wedding dress.

Things like that, I find really interesting, because they talk so much about human and social history as well as fashion history, and the garment is the main way we have of keeping these stories alive and remembering them and looking into the kind of life and world these people lived, who made these garments.

Over the centuries, how does technology affect fashion? Obviously, we think of the industrial revolution as really speeding up the pace of fashion. But are there other moments in the history of fashion where technology shapes what women end up wearing?

One example is where I talk about the Balenciaga dress from the early 1950s—with a bubble hem and a hat and she would have worn these beautiful pump shoes with it—with the introduction of the zipper. Which just made such a huge difference, because it suddenly meant you’d have ease and speed of dressing. It meant that you didn’t have to worry about more complicated ways of fastening a garment. I think the zipper made a massive change and also in terms of dressmaking at home, it was a really quick and simple way that people had of being able to create quite fashionable styles on a budget and with ease and speed at home.

Also, of course, once women’s dress started to become simpler and they did away with the corset and underwear became a lot less complicated, that made dressing a lot easier, that made the introduction of the bias cut and things that sit very closely to the natural body much more widely used and much more fashionable.

I would say the introduction of machine-made lace as well, particularly from the late 19th, early 20th century onwards where it was so fashionable on summer dresses and wedding dresses. It just meant that you could so much more easily add this decadent touch to a garment, because lace would have been so much more expensive before then and so time-consuming to make. I think that made a huge difference in ordinary women being able to attain a kind of luxury in their everyday dress.

That actually makes me think of something else I wanted to ask you, which is you point out in your intro the way we casually use this word “vintage.” I think about that with lace. Lace is described as being a “vintage” touch but it’s very much this question of when, where, who, why—it’s a funny term when you think about it, the way we use it so casually to describe so much.

Oh, yes. It’s crazy. I used to work in a wedding dress shop and I used to make historically inspired wedding dresses and things. And brides used to come in and say, “Oh, I want something vintage.” But they didn’t really know what they meant. Usually what they meant is they wanted something with a bit of lace on it, or with some sort of pearls or beading. I think it’s really inspired by whatever is trending at the time. So, you know, Downton Abbey became vintage. I think ‘50s has always been kind of synonymous with the word vintage. But what it means is huge,

i left your wine glass
on my bedside table

for seven days
it settled in the very place
that your hands had aimlessly
chosen

staining a ring around a mostly empty bodice.

mostly empty?
barely full?

you see, for me,
the wine glass was
my way of having you
stay as long as I wanted.

I saw your delicate
fingerprints stamped upon
the stem and body

just as they were on mine, under a tin roof
amidst a blanket of summer rain.

                                 ......

i washed the glass tonight

as you boarded the plane to the rest of your life.

i wonder if you'll think of me as you sip on your complimentary glass.

rouge ou blanc, mon amour?
rouge comme mon amour?
ou blanc comme mon remise?

-Anna Blake

At the mailbox, again:
“Who loves me, baby?”
Well, let’s see: there’s a flyer from Mercury Insurance,
Reminding me that most middle-income customers
Save an average of $4 million smackaroons when they switch too.
The Penny Saver USA.com is here,
Thank God, almighty!
So now I know that Thomas Roofing & Paving
Is having a special on 20-year leak-free flat roofs;
"All work guaranteed & insured.
No job too big or small.
Free estimates/Emergency services/License # I8U-69."
And thank you, Jesus,
For another $4.99 Farmer Boys 3-Egg Breakfast
Combo with Coffee coupon, and that
Little Caesars Hot-N-Ready, $5.00 cheese or pepperoni,
Mae-West-“why-don’t-you-come up and see me sometime?”—mailer. And, of course, another technology Siren’s song:
Verizon FiOS delivers entertainment this big,
Dish me up some dish NETWORK, $19.99 a month . . .
Are you ******* me?
For 12 ******* months?
AT&T;: whack me off on 120 channels.
DIRECTV.com - DIRECTV® Official Site‎
Worry-free 99.9%  . . . cue Joe E. Brown,
"Some Like It Hot“ Osgood:
"Well, nobody’s perfect!"
Time Warner/Sprint/T-Mobile;
And ******* Leather, Polk Street, San Francisco.
******* leather?
Must be for my neighbor: that ***** ****!
And here’s the weekly 8-page color fold-out from Stater Bros:
Lowering prices every day, large cantaloupes
(Jessica Lange, are you back?)
10 for $10.00, 32 oz. Gatorade
Or 24 oz Propel in 30 assorted varieties @ 79 cents
+ CRV: California Redemption Value?
Nice euphemistic cover-up for a TAX.
Nice, nice, very nice, CA elected state officials;
Nicely done, Sacramento.
Everywhere else in the country you get real money—
A fixed number of pennies, nickels, or dimes—
For your plastic bottles and aluminum cans.
But in California, the licensed recyclers
Get to pull the market price out of their *** each morning.
California Redemption Value?
What ******* genius government kleptocrat thought that one up? Conspiracy Alert: who gets all that CRV money?
And what are they doing with it?
Feeling plain, Jane?
Marinello Schools of Beauty, want you,
Offer you hands-on training in cosmetology,
Skin care esthetics, manicuring and vaginal deodorizing—
Just kidding, Babaloo.
Food tip for the Third World:
Never try to write poetry on an empty stomach.
Sizzler 6 oz juicy & succulent.
RENEGADE DEAL:
El Pollo Loco guacamole chicken sandwich,
Coupon free, small drink and small chips,
When you purchase a guacamole or jalapeno sandwich,
includes pepper jack cheese and a southwest sauce.
Gardenas sandia con semilla, 7 lbs 99 cents.
GARDENAS: “en precios, servicio y calidad, nadie nos iguaia.”
Bud Gordon’s Quality NISSAN:
One at this price after a $1500 factory rebate.
TERMINIX: get them before they get you!
The Kingdom Animalia, Phylum Arthropoda, Class Insecta
Bug up my *** again.
And a form letter from the VA
Asking me to please update my whereabouts.
And a form letter from the VA asking me
To please update my whereabouts.
And miles to go before I sleep.
Bite me, Mr. Frost!

An outing, at last.
I am going for a walk around the inside of my gates.
I live in one of those gated over-55 lunatic asylums.
There are gates. It is gated. Get it?
GATED! We feel safe here.
Probably a good thing at our age:
Self-imposed institutionalization,
Putting oneself in an asylum to ferment and die.
The fact that so many of us
Need it so bad at only 55
Says something itself about the current state of
Baby Boomer metal-fatigue.
I am now standing at the far end of the golf course.
I wait at the far end of the 18th Hole.
A ball bounces past my head and
Rolls off past the green into the far rough.
The 18th Hole is perched atop a small plateau,
Out of sight, far above the horizon for anyone teeing off.
I am Puck, invisible and impish.
I pluck the ball up.
I scamper to the green.
I pop the ball into the hole.
Which is better than popping a hole in the ball,
Surely, kind of a drag,
As we were once fond of saying.
Deflated Ball.
Deflator Maus.
OPERA can be ****.
Bodice-ripping corsets, whorehouses and naked ******!
Hardly what you might expect from
A night with the Welsh National Opera,
But they found their way into this production of "Die Fledermaus."
Ripe language, contemporary jokes and
Toilet humor thrown in, adding immensely
To the pleasures of Strauss’s operetta.
"Die Fledermaus," or The Bat’s Revenge,
Is all about drunkenness and adultery.
Despite being written in the 1870s,
It remains equally pertinent to today’s pub culture of excess.
Daring; Colorful; ****: PGA golf.
I steal a golf ball on the far end of the 18th Hole.
I pick up the Titleist and stick it in the hole
(Steady Jessica, not yours.
I hide behind your bush.
(Cue up PSA, First Lady Bird Johnson’s 1960s
Nationwide Beautification Campaign:
“I want everyone in America to plant a tree,
A sherrrr-rub, or a booosh.”)
The golfer now searching frantically:
Why is the cup always the last place they look?
Then, wham, bam, he looks:
A legend is born.
A hole in one,
His name forever immortalized
On a plaque over the bar, the proverbial 19th Hole.

As you know, I speak for all mediocrities,
Safe in my 55+ gated-community.
I go next to the Club House,
"The Lodge" as it’s called.
Each afternoon, the usual suspects
Claiming first come/first serve tiered mini-theater seats
Where Netflix matinee gems are screened.
It is two minutes to DVD show time.
I walk to the front of the room.
I stare at my audience.
I count the house slowly,
Making meaningful eye contact with each wrinkled face.
I cup my hands behind my back and speak:
“I assume you are all here for my lecture on Kierkegaard.”
No one reacts.
I turn to leave but do a double-take and smile.
One old woman in the top right corner of the amphitheater laughs, Perhaps the one other human being within the gates
Who has also smoked a joint today.
For an instant, I am overwhelmed with paranoia,
Perhaps I’ve gone too far over the line:
No longer “oh-he’s-a-character;”
I am now “that creep is ******* nuts.”
Is it time for someone to approach my family,
My next of kin, my “who-to-contact-in-event-of-emergency” number? Who will make the call on behalf of the HOA—
The Homeowner’s Association—
The Tsars, the Duma, the Supreme Soviet in these parts?
They are the power inside the gates;
Those who determine the state’s enemies,
Who govern its community norms.
Power within the gates.
Law within the asylum.
Little Hitlers one and all.
Hopefully they reach my sister first.
She’s been briefed.
KEY POINT IN THE NARRATIVE:
The new narrative is non-linear.
We can no longer sustain a narrative understanding of ourselves;
We are each an individual stream of consciousness,
All of us random, non-linear and disconnected.
We grow more and more disconnected from others.
We may be neighbors in space and time,
But we remain deprived of any significant human contact;
Any spiritually significant human contact.
Our social circle narrows to what can fit in The Telescreen;
We become more intimate with a legion . . .
Did someone say a legion? SPQR:
Am I having some sort of genetic-linguistic seizure here?
Am I channeling Benito Mussolini again?
Il Duce speaks to me from the grave,
Still blowing smoke up my Hopi-Jew-*** ***,
Filling in my insecurities,
Plugging the holes in my character
With delusions of classical Roman grandeur, glory and empire. Hmmmm? Quite an appetizing pitch for the average *****,
A message so completely, so ethnocentrically slick,
Olive oily, and so seductive.
A non-Italian would have thought
American Legion or Legionnaire’s disease,
Or The Foreign Legion, The French Foreign Legion.
The French: a virulent, promiscuous people.
Do you want fries with that, Simone?
No, I don’t get out much.
Only an occasional brisk walk around the asylum,
In and around the golf course, around but inside the gates. (LINKS) Bill Gates. Daryl Gates. Billy Bathgate’s Gates? Ghiberti’s Gates? The Hot Gates? Thermopylae? 300 Spartans/700 Thespians:
“The noun causing idiots to think of
Two girls sloppily eating each other’s mighty vaginas,
When they hear mention of someone being an actor.” http://www.urbandictionary.com
Not even close.
No, I rarely venture out.
This is Hemetucky.
There are methamphetamine-stoked
Teenage zombies at the gate.
Note to costume control:
Perhaps camouflage clothing is the safe choice?
No loud red Hawaiian.
No garish Indonesian batik.
Fleet of feet are these Hemet tweakers,
These cranked up Riverside County teenage barbarians,
These Huns & Visigoths,
These amped up, ravenous jackals.
And why stop there?
These Vandals & Vandellas.
A Motown flashback:
“Nowhere to run, baby, nowhere to hide.”
With or without Martha—
They remain dangerously lethal.
Yes, let it be camo clothes for me.
Those **** heads may be young.
They may be fast.
They may be able to run me down
On a dry grass dog-legged fairway savannah,
Tearing the meat from my carcass.
But the sons-a-******* have to see me first.
Besides, we know who are real friends are.
Hooray for our media peeps!
We become more intimate with a legion
Of television personalities on 125 different channels.
Most of these we know by name and context.
We know their families, their friends,
Their histories, their tragedies,
Their favored hyperbole and manner of speech.
Sometimes we establish intimacy with celebrities
Strictly on the basis of universal body language.
At times–in the absence of any other
Empathetic facility of identification–
We connect on instinct alone.
Instinct: perhaps animal at its core,
An animal kingdom affinity group,
Connecting on a bio-linguistic level,
Particularly when the Korean, or Spanish,
Mandarin, or Arabic,
Japanese, or even Hebrew language version is broadcast.
All languages cryptically alien,
A dense boundary, a barrio border wall,
Undecipherable, impenetrable concrete.
But we’ve never spoken to our neighbors,
Nor do we know their names.
Celebrities are the neighbors we know best;
Although the intimacy is an illusion,
Permission to invade their privacy presumed,
Tacit in the relationship between celebrities and their fans.
I am an independent contractor now,
An outside consultant to the NSA.
Try as I might I cannot crack the enigma,
Kim Kardashian remains far beyond my code-breaking prowess.
I repeat myself:
We can no longer sustain a narrative understanding of ourselves;
We are each an individual stream of consciousness,
All of us random, non-linear and disconnected.
We are more and more disconnected from others.
We may be neighbors in space and time,
But we remain deprived of any significant human contact;
Any spiritually significant human contact.
Our social circle narrows to what can fit in The Telescreen; we become more intimate with a legion . . .
Back to you, David Ulin:
“Sometime late last year—I don’t remember when, exactly—I noticed I was having trouble sitting down to read. That’s a problem if you do what I do, but it’s an even bigger problem if you’re the kind of person I am. Since I discovered reading, I have always been surrounded by stacks of books. I read my way through camp, school, nights, and weekends; when my girlfriend and I backpacked through Europe after college graduation, I had to buy a suitcase to accommodate the books I picked up along the way.”
Thank you, David L. Ulin.
I cannot help myself.
I grow more eccentric each day.
My eyeballs glued to that flat screen!

Cosmo Kramer: "The bus is outta control.
So I grab him by the collar, I take him out of the seat,
I get behind the wheel, and now I’m driving the bus."
Jerry: "Wow!"
George Costanza: "You’re Batman."
Cosmo Kramer: "Yeah, yeah, I am Batman.
Then the mugger, he comes to and he starts choking me.
So I’m fighting him off with one hand,
And I kept driving the bus with the other, ya know.
Then I managed to open up the door,
And I kicked him out the door, ya know,
With my foot, ya know, at the next stop."
Jerry: "You kept making all the stops?"
Cosmo Kramer: "Well, people kept ringing the bell!"
(Share this moment with a stranger.)

I speak for all mediocrities.
I am their champion, their patron saint.
Boom Chaka Laka. Boom Chaka Laka.
Boom Chaka Laka. BOOM!
Isn’t it time Salieri tempted Constanze–
Frau Mozart–with a plateful of Capezzoli di Venere:
“******* of Venus.”
You had me at hello, Kidman.
I know you too well, Nicole.
I knew you from before,
Way before Tom’s Oprah couch freak show.
Listen to me, Nicole:
We are face to face
With the most profound question in American literature:
"What is the grass?
The flag of my surrender?
The flag of my disposition?"
I resort to Socratic maxims: Know yourself;
The un-****** life is not worth living.
Is it stress? Is it lack of conviction?
Everything Jeff Lebowski neither wants nor needs in his life?
I watched you *** in "Eyes Wide Shut," Nicole.
Now I know you with my eyes and your legs wide open.
Thank you, Sidney Pollack.
Sidney knew.
Sidney dealt us cards
From his Hollywood Tarot deck.
We are intimate, Nicole.
I watched you squat.

494

Going to Him! Happy letter!
Tell Him—
Tell Him the page I didn’t write—
Tell Him—I only said the Syntax—
And left the Verb and the pronoun out—
Tell Him just how the fingers hurried—
Then—how they waded—slow—slow—
And then you wished you had eyes in your pages—
So you could see what moved them so—

Tell Him—it wasn’t a Practised Writer—
You guessed—from the way the sentence toiled—
You could hear the Bodice tug, behind you—
As if it held but the might of a child—
You almost pitied it—you—it worked so—
Tell Him—no—you may quibble there—
For it would split His Heart, to know it—
And then you and I, were silenter.

Tell Him—Night finished—before we finished—
And the Old Clock kept neighing “Day”!
And you—got sleepy—and begged to be ended—
What could it hinder so—to say?
Tell Him—just how she sealed you—Cautious!
But—if He ask where you are hid
Until tomorrow—Happy letter!
Gesture Coquette—and shake your Head!

Thigh gaps, no fat flabs.
Bronzed goddess, half naked bodice,
We all buy into this masquerade
But let me tell you something, pretty fades

Society warps media to show us an unachievable dream,
One we will chase down till the day we run out of steam,
And then what?
They fabricate lies, telling us that if we have a gap between our thighs and pretty blue eyes,
Which will get the attention of guys and that’s the ultimate prize, right?

Diet suppressing pills that make you feel filled but are you fulfilled?
Running till blisters cover your heels,
Skipping those meals,
How did that make you feel?
Are you happy?
No
Because that’s the trick.
You’ll scroll social media and just as quick,
You don’t like what you see anymore,
It’ll make you sick.
You have to be skinny but hey wait we also like em thick,
So which do you pick?

But lets not forget the ones who scream ‘body posi’
And then say ‘oooh she’s too skinny’
‘That cant be healthy’
‘Gain 20 pounds, eat a Big Mac’
‘Guys don’t like girls with a small rack’
Is that a fact?
‘You need some meat on your bones’
Yeah well my body is my home, and I don’t remember inviting you in
You see, body shaming is a two way street,
Don’t go telling her she needs to eat,
Or her bones need some meat,
Stop fighting each other its this ideal were trying to beat

And then there’s those of us in the middle.
You’re not quite skinny but you’re not quite thick so you’re not allowed to complain,
‘You don’t know the pain’.
They call you skinny,
So you say you’re a size 12,
They say ‘that cant be’
They don’t believe me.
Just because I know how to dress my body to look a certain way
Does not mean that I don’t resent what I see at the end of the day.

I am sick of wanting to look like somebody else.

I am sick of crying every night in bed, and wanting to be dead
and to that voice in my head..
*******!
Stop telling me that no one will love me
Because I have a tummy
Because that’s not true.

And when I get a flat stomach then what?
What my hips are too wide? ***** too small?
**** too flat? Do you like anything at all?

No matter what I do there will always be something wrong with me in your eyes.
Ill never be good enough for you,
No matter how hard I try, how much I cry,
That wont change and nether will I.
You’ve made me wish I had the discipline to starve myself so you know what?
Go **** yourself

Comparison is the thief of joy, and I’m a serial burglar.

The Media shows you pretty and what a shame
Because beauty is not the same.
There are no standards or aims.
It’s not about how you look,
It’s about how you took
The gift of life
And you breathe and you blink
And you create and you think.
Beauty is laughing out loud.
It is being proud
Of yourself and everyone else.
Beauty is the smell outside after rain,
Picking yourself up after all that pain,
It’s keeping calm when you feel like you’re going insane.
It’s forgive and forget
No regrets,
Beauty is living.
Beauty is how you feel and breathe
Because you’re alive.
It’s determination, perseverance because you strive,
To be the best, because you expect
Nothing less,
From yourself.

The more you try to adhere to what society wants you to look the more you’ll feel like crap,
It’s a trap,
Now I’m not saying the key to happiness will just fall into your lap,
It’s hard. I know.
It takes time, work and energy,
But for the possibility,
That you like what you see
To be happy?
Isn’t it worth it?
My body is a work of art.
Tattoos and piercings line my skin,
I haven’t loved my body
But I can begin.

Society profits off of your self-hate,
Don’t take the bait,
It’s not too late,
Speak to yourself as you would your best mate.
When I die, my body is not my legacy.
Mourners will not say ‘lovely girl, shame about the belly’
‘Ya I agree,
A smart girl but not that pretty’
Nobody’s going to say
‘I loved her but her flat chest
Was not the best’
As they lay me to rest
The world will not come to a stop
Because of my muffin top
And I refuse to be a prop
In this production.
Killing myself to get a slim waist, big ****,
Big *****, small gut
And for what?
To perpetuate the message that you have to look like this too?
No, I refuse
If not for me, then for you.

I like my body
I don’t love it….. yet anyway
But I will one day
And that’s ok.
Find the charm in every mole, stretch mark and roll,
And don’t lose yourself
To the infinite scroll.
It’s not easy, I don’t have a simple solution,
But
Loving yourself is the greatest revolution

208

The Rose did caper on her cheek—
Her Bodice rose and fell—
Her pretty speech—like drunken men—
Did stagger pitiful—

Her fingers fumbled at her work—
Her needle would not go—
What ailed so smart a little Maid—
It puzzled me to know—

Till opposite—I spied a cheek
That bore another Rose—
Just opposite—Another speech
That like the Drunkard goes—

A Vest that like her Bodice, danced—
To the immortal tune—
Till those two troubled—little Clocks
Ticked softly into one.