When Pigs Fly
by Michael R. Burch

On the Trail of Tears,
my Cherokee brothers,
why hang your heads?
Why shame your mothers?
Laugh wildly instead!
We will soon be dead.

When we lie in our graves,
let the white-eyes take
the woodlands we loved
for the *** and the rake.
It is better to die
than to live out a lie
in so narrow a sty.

In October 1838 the Cherokees began to walk the "Trail of Tears." Most of them made the thousand mile journey west to Oklahoma on foot. An estimated 4,000 people, or a quarter of the tribe, died en route. The soldiers "escorting" the Cherokees at bayonet point refused permission for the dead to be buried, threatening to shoot anyone who disobeyed. So the living were forced to carry the corpses of the dead until camp was made for the night. Years after the Cherokees had been rounded up and driven down the Trail of Tears, John G. Burnett reflected on what he and his fellow soldiers had done, saying, "Schoolchildren of today do not know that we are living on lands that were taken from a helpless race at the bayonet point, to satisfy the white man's greed... ****** is ****** and somebody must answer, somebody must explain the streams of blood that flowed in the Indian country... Somebody must explain the four thousand silent graves that mark the trail of the Cherokees to their exile." Keywords/Tags: Cherokee, Native American, Trail of Tears, Ethnic Cleansing, Genocide, ******, Evil, Death, March, Death March, Infanticide, Matricide, Racism, Racist, Discrimination, Violence, Fascism, White Supremacists, Horror, Terror, Terrorism, Greed, Gluttony, Avarice, Lust, ****, mrbpig, mrbpigs



Cherokee Prayer
loose translation/interpretation by Michael R. Burch

As I walk life's trails
imperiled by the raging wind and rain,
grant, O Great Spirit,
that yet I may always
walk like a man.

This prayer makes me think of Native Americans walking the Trail of Tears with far more courage and dignity than their “civilized” abusers.



Native American Prayer
loose translation/interpretation by Michael R. Burch

Help us learn the lessons you have left us
in every leaf and rock.



Native American Travelers' Blessing
loose translation/interpretation by Michael R. Burch

Let us walk together here
among earth's creatures great and small,
remembering, our footsteps light,
that one wise God created all.



Sioux Vision Quest
by Crazy Horse, Oglala Lakota Sioux, circa 1840-1877
loose translation/interpretation by Michael R. Burch

A man must pursue his Vision
as the eagle explores
the sky's deepest blues.



Cherokee Travelers' Blessing I
loose translation/interpretation by Michael R. Burch

I will extract the thorns from your feet.
For yet a little while, we will walk life's sunlit paths together.
I will love you like my own brother, my own blood.
When you are disconsolate, I will wipe the tears from your eyes.
And when you are too sad to live, I will put your aching heart to rest.

Published by Better Than Starbucks and Cherokee Native Americans



Cherokee Travelers' Blessing II
loose translation/interpretation by Michael R. Burch

Happily may you walk
in the paths of the Rainbow.
                  Oh,
and may it always be beautiful before you,
beautiful behind you,
beautiful below you,
beautiful above you,
and beautiful all around you
where in Perfection beauty is finished.

Published by Better Than Starbucks



Cherokee Travelers' Blessing III
loose translation/interpretation by Michael R. Burch

May Heaven’s warming winds blow gently there,
where you reside,
and may the Great Spirit bless all those you love,
this side of the farthest tide.
And wherever you go,
whether the journey is fast or slow,
may your moccasins leave many cunning footprints in the snow.
And when you look over your shoulder, may you always find the Rainbow.

Published by Better Than Starbucks



What is life?
The flash of a firefly.
The breath of the winter buffalo.
The shadow scooting across the grass that vanishes with sunset.
―Blackfoot saying, loose translation/interpretation by Michael R. Burch



Warrior's Confession
loose translation/interpretation by Michael R. Burch

Oh my love, how fair you are—
far brighter than the fairest star!



Cherokee Proverb
loose translation/interpretation by Michael R. Burch

Before you judge
a man for his sins
be sure to trudge
many moons in his moccasins.



Cherokee Prayer
loose translation/interpretation by Michael R. Burch

As I walk life's trails
imperiled by the raging wind and rain,
grant, O Great Spirit,
that yet I may always
walk like a man.

When I think of this prayer, I think of Native Americans walking the Trail of Tears.



The Receiving of the Flower
excerpt from a Mayan love poem
loose translation/interpretation by Michael R. Burch

Let us sing overflowing with joy
as we observe the Receiving of the Flower.
The lovely maidens beam;
their hearts leap in their *******.

Why?

Because they will soon yield their virginity to the men they love!



The Deflowering
excerpt from a Mayan love poem
loose translation/interpretation by Michael R. Burch

Remove your clothes;
let down your hair;
become as naked as the day you were born—

virgins!



Prelude to *******
excerpt from a Mayan love poem
loose translation/interpretation by Michael R. Burch

Lay out your most beautiful clothes,
maidens!
The day of happiness has arrived!

Grab your combs, detangle your hair,
adorn your earlobes with gaudy pendants.
Dress in white as becomes maidens ...

Then go, give your lovers the happiness of your laughter!
And all the village will rejoice with you,
for the day of happiness has arrived!



The Flower-Strewn Pool
excerpt from a Mayan love poem
loose translation/interpretation by Michael R. Burch

You have arrived at last in the woods
where no one can see what you do
at the flower-strewn pool ...
Remove your clothes,
unbraid your hair,
become as you were
when you first arrived here
naked and shameless,
virgins, maidens!



Native American Proverbs

The soul would see no Rainbows if not for the eyes’ tears.
—loose translation/interpretation by Michael R. Burch

A woman’s highest calling is to help her man unite with the Source.
A man’s highest calling is to help his woman walk the earth unharmed.
—loose translation/interpretation by Michael R. Burch

When you were born, you cried and the world rejoiced.
Live your life so that when you die, the world cries and you rejoice.
—White Elk, loose translation/interpretation by Michael R. Burch

What is life?
The flash of a firefly.
The breath of a winter buffalo.
The shadow scooting across the grass that vanishes with sunset.
—Blackfoot saying, translation by Michael R. Burch

Speak less thunder, wield more lightning. — Apache proverb, translation by Michael R. Burch

The more we wonder, the more we understand. — Arapaho proverb, translation by Michael R. Burch

Adults talk, children whine. — Blackfoot proverb, translation by Michael R. Burch

Don’t be afraid to cry: it will lessen your sorrow. — Hopi proverb

One foot in the boat, one foot in the canoe, and you end up in the river. — Tuscarora proverb, translation by Michael R. Burch

Our enemy's weakness increases our strength. — Cherokee proverb, translation by Michael R. Burch

We will be remembered tomorrow by the tracks we leave today. — Dakota proverb, translation by Michael R. Burch

No sound's as eloquent as a rattlesnake's tail. — Navajo saying, translation by Michael R. Burch

The heart is our first teacher. — Cheyenne proverb, translation by Michael R. Burch

Dreams beget success. — Maricopa proverb, translation by Michael R. Burch

Knowledge interprets the past, wisdom foresees the future. — Lumbee proverb, translation by Michael R. Burch

The troublemaker's way is thorny. — Umpqua proverb, translation by Michael R. Burch



Earthbound
an original poem by Michael R. Burch

Tashunka Witko, better known as Crazy Horse, had a vision of a red-tailed hawk at Sylvan Lake, South Dakota. In his vision he saw himself riding a spirit horse, flying through a storm, as the hawk flew above him, shrieking. When he awoke, a red-tailed hawk was perched near his horse.

Earthbound,
and yet I now fly
through the clouds that are aimlessly drifting ...
so high
that no sound
echoing by
below where the mountains are lifting
the sky
can be heard.

Like a bird,
but not meek,
like a hawk from a distance regarding its prey,
I will shriek,
not a word,
but a screech,
and my terrible clamor will turn them to clay—
the sheep,
the earthbound.



Years after the Cherokees had been rounded up and driven down the Trail of Tears, John G. Burnett reflected on what he and his fellow soldiers had done, saying, "Schoolchildren of today do not know that we are living on lands that were taken from a helpless race at the bayonet point, to satisfy the white man's greed ... ****** is ****** and somebody must answer, somebody must explain the streams of blood that flowed in the Indian country ... Somebody must explain the four thousand silent graves that mark the trail of the Cherokees to their exile."

In the same year, 1830, that Stonewall Jackson consigned Native Americans to the ash-heap of history, Georgia Governor George Gilmer said, "Treaties are expedients by which ignorant, intractable, and savage people are induced ... to yield up what civilized people have the right to possess." By "civilized" he apparently meant people willing to brutally dispossess and **** women and children in order to derive economic benefits for themselves.

These nights bring dreams of Cherokee shamans
whose names are bright verbs and impacted dark nouns,
whose memories are indictments of my pallid flesh . . .
and I hear, as from a great distance,
the cries tortured from their guileless lips, proclaiming
the nature of my mutation.
―Michael R. Burch, from "Mongrel Dreams" (my family is part Cherokee, English and Scottish)

After Jackson was re-elected with an overwhelming majority in 1832, he strenuously pursued his policy of removing Native Americans, even refusing to accept a Supreme Court ruling which invalidated Georgia's planned annexation of Cherokee land. But in the double-dealing logic of the white supremacists, they had to make the illegal resettlement of the Indians appear to be "legal," so a small group of Cherokees were persuaded to sign the "Treaty of New Echota," which swapped Cherokee land for land in the Oklahoma territory. The Cherokee ringleaders of this infamous plot were later assassinated as traitors. (****** was similarly obsessed with the "legalities" of the **** Holocaust; isn't it strange how mass murderers of women and children can seek to justify their crimes?)

Native Americans understood the "circle of life" better than their white oppressors ...

When we sit in the Circle of the People,
we must be responsible because all Creation is related
and the suffering of one is the suffering of all
and the joy of one is the joy of all
and whatever we do affects everything in the universe.
—"Lakota Instructions for Living" by White Buffalo Calf Woman, translated by Michael R. Burch



Veiled
by Michael R. Burch

She has belief
without comprehension
and in her crutchwork shack
she is
much like us . . .

tamping the bread
into edible forms,
regarding her children
at play
with something akin to relief . . .

ignoring the towers ablaze
in the distance
because they are not revelations
but things of glass,
easily shattered . . .

and if you were to ask her,
she might say:
sometimes God visits his wrath
upon an impious nation
for its leaders’ sins,

and we might agree:
seeing her mutilations.

Published by Poetry Super Highway and Modern War Poems.



Ali’s Song
by Michael R. Burch

They say that gold don’t tarnish. It ain’t so.
They say it has a wild, unearthly glow.
A man can be more beautiful, more wild.
I flung their medal to the river, child.
I flung their medal to the river, child.

They hung their coin around my neck; they made
my name a bridle, “called a ***** a *****.”
They say their gold is pure. I say defiled.
I flung their slave’s name to the river, child.
I flung their slave’s name to the river, child.

Ain’t got no quarrel with no Viet Cong
that never called me ******, did me wrong.
A man can’t be lukewarm, ’cause God hates mild.
I flung their notice to the river, child.
I flung their notice to the river, child.

They said, “Now here’s your bullet and your gun,
and there’s your cell: we’re waiting, you choose one.”
At first I groaned aloud, but then I smiled.
I gave their “future” to the river, child.
I gave their “future” to the river, child.

My face reflected up, dark bronze like gold,
a coin God stamped in His own image―BOLD.
My blood boiled like that river―strange and wild.
I died to hate in that dark river, child,
Come, be reborn in this bright river, child.

Originally published by Black Medina

Note: Cassius Clay, who converted to Islam and changed his “slave name” to Muhammad Ali, said that he threw his Olympic boxing gold medal into the Ohio River. Confirming his account, the medal was recovered by Robert Bradbury and his wife Pattie in 2014 during the Annual Ohio River Sweep, and the Ali family paid them $200,000 to regain possession of the medal. When drafted during the Vietnamese War, Ali refused to serve, reputedly saying: “I ain't got no quarrel with those Viet Cong; no Vietnamese ever called me a ******.” The notice mentioned in my poem is Ali's draft notice, which metaphorically gets tossed into the river along with his slave name. I was told through the grapevine that this poem appeared in Farsi in an Iranian publication called Bashgah. ―Michael R. Burch



evol-u-shun
by Michael R. Burch

does GOD adore the Tyger
while it’s ripping ur lamb apart?

does GOD applaud the Plague
while it’s eating u à la carte?

does GOD admire ur intelligence
while u pray that IT has a heart?

does GOD endorse the Bible
you blue-lighted at k-mart?



Enheduanna, the daughter of the famous King Sargon the Great of Akkad, is the first ancient writer whose name remains known today. She appears to be the first named poet in human history and the first known author of prayers and hymns. Enheduanna, who lived circa 2285-2250 BCE, is also one of the first women we know by name.

Lament to the Spirit of War
by Enheduanna
loose translation by Michael R. Burch

You hack down everything you see, War God!

Rising on fearsome wings
you rush to destroy the land,
descending like a raging storm,
howling like a hurricane,
screaming like a tempest,
thundering, raging, ranting, drumming,
whiplashing whirlwinds!

Men falter at your approaching footsteps.

Tortured dirges scream
on your lyre of despair.

Like a fiery Salamander you poison the land:
growling over the earth like thunder,
vegetation collapsing before you,
blood gushing down a mountainside.

Spirit of hatred, greed and vengeance!

******* of heaven and earth!

Your ferocious fire consumes our land.

Whipping your stallion
with furious commands,
you decide our fate.

You triumph over all human rites and prayers.

Who can explain your tirade,
why you go on so?



Temple Hymn 15
to the Gishbanda Temple of Ningishzida
by Enheduanna
loose translation by Michael R. Burch

Most ancient and terrible shrine,
set deep in the mountain,
dark like a mother's womb...

Dark shrine,
like a mother's wounded breast,
blood-red and terrifying...

Though approaching through a safe-seeming field,
our hair stands on end as we near you!

Gishbanda,
like a neck-stock,
like a fine-eyed fish net,
like a foot-shackled prisoner's manacles...
your ramparts are massive,
like a trap!

But once we’re inside,
as the sun rises,
you yield widespread abundance!

Your prince
is the pure-handed priest of Inanna, heaven's Holy One,
Lord Ningishzida!

Oh, see how his thick, lustrous hair
cascades down his back!

Oh Gishbanda,
he has built this beautiful temple to house your radiance!
He has placed his throne upon your dais!



The Exaltation of Inanna: Opening Lines and Excerpts
by Enheduanna, the daughter of Sargon I of Akkad and the high priestess of the Goddess Inanna
loose translation/interpretation by Michael R. Burch

Lady of all divine powers!
Lady of the resplendent light!
Righteous Lady adorned in heavenly radiance!

Beloved Lady of An and Uraš!
Hierodule of An, sun-adorned and bejeweled!
Heaven’s Mistress with the holy diadem,
Who loves the beautiful headdress befitting the office of her own high priestess!

Powerful Mistress, seizer of the seven divine powers!
My Heavenly Lady, guardian of the seven divine powers!
You have seized the seven divine powers!
You hold the divine powers in your hand!
You have gathered together the seven divine powers!
You have clasped the divine powers to your breast!

You have flooded the valleys with venom, like a viper;
all vegetation vanishes when you thunder like Iškur!
You have caused the mountains to flood the valleys!
When you roar like that, nothing on earth can withstand you!

Like a flood descending on floodplains, O Powerful One, you will teach foreigners to fear Inanna!

You have given wings to the storm, O Beloved of Enlil!
The storms do your bidding, blasting the unbelievers!

Foreign cities cower at the chaos You cause!
Entire countries cower in dread of Your deadly South Wind!
Men cower before you in their anguished implications,
raising their pitiful outcries,
weeping and wailing, beseeching Your benevolence with many wild lamentations!

But in the van of battle, everything falls before You, O Mighty Queen!

My Queen,
You are all-conquering, all-devouring!
You continue Your attacks like relentless storms!
You howl louder than the howling storms!
You thunder louder than Iškur!
You moan louder than the mournful winds!
Your feet never tire from trampling Your enemies!
You produce much wailing on the lyres of lamentations!

My Queen,
all the Anunna, the mightiest Gods,
fled before Your approach like fluttering bats!
They could not stand in Your awesome Presence
nor behold Your awesome Visage!

Who can soothe Your infuriated heart?
Your baleful heart is beyond being soothed!

Uncontrollable Wild Cow, elder daughter of Sin,
O Majestic Queen, greater than An,
who has ever paid You enough homage?

O Life-Giving Goddess, possessor of all powers,
Inanna the Exalted!

Merciful, Live-Giving Mother!
Inanna, the Radiant of Heart!
I have exalted You in accordance with Your power!
I have bowed before You in my holy garb,
I the En, I Enheduanna!

Carrying my masab-basket, I once entered and uttered my joyous chants ...

But now I no longer dwell in Your sanctuary.
The sun rose and scorched me.
Night fell and the South Wind overwhelmed me.
My laughter was stilled and my honey-sweet voice grew strident.
My joy became dust.

O Sin, King of Heaven, how bitter my fate!

To An, I declared: An will deliver me!
I declared it to An: He will deliver me!

But now the kingship of heaven has been seized by Inanna,
at Whose feet the floodplains lie.

Inanna the Exalted,
who has made me tremble together with all Ur!

Stay Her anger, or let Her heart be soothed by my supplications!
I, Enheduanna will offer my supplications to Inanna,
my tears flowing like sweet intoxicants!
Yes, I will proffer my tears and my prayers to the Holy Inanna,
I will greet Her in peace ...

O My Queen, I have exalted You,
Who alone are worthy to be exalted!
O My Queen, Beloved of An,
I have laid out Your daises,
set fire to the coals,
conducted the rites,
prepared Your nuptial chamber.
Now may Your heart embrace me!

These are my innovations,
O Mighty Queen, that I made for You!
What I composed for You by the dark of night,
The cantor will chant by day.

Now Inanna’s heart has been restored,
and the day became favorable to Her.
Clothed in beauty, radiant with joy,
she carried herself like the elegant moonlight.

Now to the Noble Hierodule,
to the Wrecker of foreign lands
presented by An with the seven divine powers,
and to my Queen garbed in the radiance of heaven ...

O Inanna, praise!



The Exaltation of Inanna: Opening Lines, an Excerpt
Nin-me-šara by Enheduanna
loose translation by Michael R. Burch

Lady of all divine powers,
Lady of the all-resplendent light,
Righteous Lady clothed in heavenly radiance,
Beloved Lady of An and Uraš,
Mistress of heaven with the holy diadem,
Who loves the beautiful headdress befitting the office of her high priestess,
Powerful Mistress who has seized all seven divine powers,
My lady, you are the guardian of the seven divine powers!
You have seized the divine powers,
You hold the divine powers in your hand,
You have gathered up the divine powers,
You have clasped the divine powers to your breast!
Like a dragon you have spewed venom on foreign lands that know you not!
When you roar like Iškur at the earth, nothing can withstand you!
Like a flood descending on alien lands, O Powerful One of heaven and earth, you will teach them to fear Inanna!



Temple Hymn 7: an Excerpt
to the Kesh Temple of Ninhursag
by Enheduanna
loose translation by Michael R. Burch

O, high-situated Kesh,
form-shifting summit,
inspiring fear like a venomous viper!

O, Lady of the Mountains,
Ninhursag’s house was constructed on a terrifying site!

O, Kesh, like holy Aratta: your womb dark and deep,
your walls high-towering and imposing!

O, great lion of the wildlands stalking the high plains!...



Temple Hymn 17: an Excerpt
to the Badtibira Temple of Dumuzi
by Enheduanna
loose translation by Michael R. Burch

O, house of jeweled lapis illuminating the radiant bed
in the peace-inducing palace of our Lady of the Steppe!



Temple Hymn 22: an Excerpt
to the Sirara Temple of Nanshe
by Enheduanna
loose translation by Michael R. Burch

O, house, you wild cow!
Made to conjure signs of the Divine!
You arise, beautiful to behold,
bedecked for your Mistress!



Temple Hymn 26: an Excerpt
to the Zabalam Temple of Inanna
by Enheduanna
loose translation by Michael R. Burch

O house illuminated by beams of bright light,
dressed in shimmering stone jewels,
awakening the world to awe!



Temple Hymn 42: an Excerpt
to the Eresh Temple of Nisaba
by Enheduanna
loose translation by Michael R. Burch

O, house of brilliant stars
bright with lapis stones,
you illuminate all lands!

...

The person who put this tablet together
is Enheduanna.
My king: something never created before,
did she not give birth to it?



Update of "A Litany in Time of Plague"
by Michael R. Burch

THE PLAGUE has come again
To darken lives of men
and women, girls and boys;
Death proves their bodies toys
Too frail to even cry.
I am sick, I must die.
Lord, have mercy on us!

Tycoons, what use is wealth?
You cannot buy good health!
Physicians cannot heal
Themselves, to Death must kneel.
Nuns’ prayers mount to the sky.
I am sick, I must die.
Lord, have mercy on us!

Beauty’s brightest flower?
Devoured in an hour.
Kings, Queens and Presidents
Are fearful residents
Of manors boarded high.
I am sick, I must die.
Lord, have mercy on us!

We have no means to save
Our children from the grave.
Though cure-alls line our shelves,
We cannot save ourselves.
"Come, come!" the sad bells cry.
I am sick, I must die.
Lord, have mercy on us!

NOTE: This poem is meant to capture the understandable fear and dismay the Plague caused in the Middle Ages, and which the coronavirus has caused in the 21st century. We are better equipped to deal with this modern plague, thanks to advances in science, medicine and sanitation. We do not have to succumb to fear, but it would be wise to have a healthy respect for the nasty bug and heed the advice of medical experts.--MRB



Regret
by Michael R. Burch

Regret,
a bitter
ache to bear . . .

once starlight
languished
in your hair . . .

a shining there
as brief
as rare.

Regret . . .
a pain
I chose to bear . . .

unleash
the torrent
of your hair . . .

and show me
once again―
how rare.

Published by The HyperTexts and The Chained Muse



The Stake
by Michael R. Burch

Love, the heart bets,
if not without regrets,
will still prove, in the end,
worth the light we expend
mining the dark
for an exquisite heart.

Originally published by The Lyric



If
by Michael R. Burch

If I regret
fire in the sunset
exploding on the horizon,
then let me regret loving you.

If I forget
even for a moment
that you are the only one,
then let me forget that the sky is blue.

If I should yearn
in a season of discontentment
for the vagabond light of a companionless moon,
let dawn remind me that you are my sun.

If I should burn―one moment less brightly,
one instant less true―
then with wild scorching kisses,
inflame me, inflame me, inflame me anew.

Originally published by The HyperTexts



The Effects of Memory
by Michael R. Burch

A black ringlet
curls to lie
at the nape of her neck,
glistening with sweat
in the evaporate moonlight ...
This is what I remember

now that I cannot forget.

And tonight,
if I have forgotten her name,
I remember:
rigid wire and white lace
half-impressed in her flesh ...

our soft cries, like regret,

... the enameled white clips
of her bra strap
still inscribe dimpled marks
that my kisses erase ...

now that I have forgotten her face.



Villanelle: Because Her Heart Is Tender
by Michael R. Burch

for Beth

She scrawled soft words in soap: "Never Forget,"
Dove-white on her car's window, and the wren,
because her heart is tender, might regret
it called the sun to wake her. As I slept,
she heard lost names recounted, one by one.

She wrote in sidewalk chalk: "Never Forget,"
and kept her heart's own counsel. No rain swept
away those words, no tear leaves them undone.

Because her heart is tender with regret,
bruised by razed towers' glass and steel and stone
that shatter on and on and on and on,
she stitches in wet linen: "NEVER FORGET,"
and listens to her heart's emphatic song.

The wren might tilt its head and sing along
because its heart once understood regret
when fledglings fell beyond, beyond, beyond ...
its reach, and still the boot-heeled world strode on.

She writes in adamant: "NEVER FORGET"
because her heart is tender with regret.



To the boy Elis
by Georg Trakl
translation by Michael R. Burch

Elis, when the blackbird cries from the black forest,
it announces your downfall.
Your lips sip the rock-spring's blue coolness.

Your brow sweats blood
recalling ancient myths
and dark interpretations of birds' flight.

Yet you enter the night with soft footfalls;
the ripe purple grapes hang suspended
as you wave your arms more beautifully in the blueness.

A thornbush crackles;
where now are your moonlike eyes?
How long, oh Elis, have you been dead?

A monk dips waxed fingers
into your body's hyacinth;
Our silence is a black abyss

from which sometimes a docile animal emerges
slowly lowering its heavy lids.
A black dew drips from your temples:

the lost gold of vanished stars.

TRANSLATOR'S NOTE: I believe that in the second stanza the blood on Elis's forehead may be a reference to the apprehensive ****** sweat of Jesus in the garden of Gethsemane. If my interpretation is correct, Elis hears the blackbird's cries, anticipates the danger represented by a harbinger of death, but elects to continue rather than turn back. From what I have been able to gather, the color blue had a special significance for Georg Trakl: it symbolized longing and perhaps a longing for death. The colors blue, purple and black may represent a progression toward death in the poem.



Turkish Poetry Translations

Attilâ İlhan (1925-2005) was a Turkish poet, translator, novelist, screenwriter, editor, journalist, essayist, reviewer, socialist and intellectual.

Ben Sana Mecburum: “You are indispensable”
by Attila Ilhan
translation by Nurgül Yayman and Michael R. Burch

You are indispensable; how can you not know
that you’re like nails riveting my brain?
I see your eyes as ever-expanding dimensions.
You are indispensable; how can you not know
that I burn within, at the thought of you?

Trees prepare themselves for autumn;
can this city be our lost Istanbul?
Now clouds disintegrate in the darkness
as the street lights flicker
and the streets reek with rain.
You are indispensable, and yet you are absent ...

Love sometimes seems akin to terror:
a man tires suddenly at nightfall,
of living enslaved to the razor at his neck.
Sometimes he wrings his hands,
expunging other lives from his existence.
Sometimes whichever door he knocks
echoes back only heartache.

A screechy phonograph is playing in Fatih ...
a song about some Friday long ago.
I stop to listen from a vacant corner,
longing to bring you an untouched sky,
but time disintegrates in my hands.
Whatever I do, wherever I go,
you are indispensable, and yet you are absent ...

Are you the blue child of June?
Ah, no one knows you―no one knows!
Your deserted eyes are like distant freighters ...

Perhaps you are boarding in Yesilköy?
Are you drenched there, shivering with the rain
that leaves you blind, beset, broken,
with wind-disheveled hair?

Whenever I think of life
seated at the wolves’ table,
shameless, yet without soiling our hands ...
Yes, whenever I think of life,
I begin with your name, defying the silence,
and your secret tides surge within me
making this voyage inevitable.
You are indispensable; how can you not know?



Fragments
by Attila Ilhan
loose English translations/interpretations by Michael R. Burch

The night is a cloudy-feathered owl,
its quills like fine-spun glass.

It gazes out the window,
perched on my right shoulder,
its wings outspread and huge.

If the encroaching darkness seems devastating at first glance,
the sovereign of everything,
its reach infinite ...

Still somewhere within a kernel of light glows secretly
creating an enlightened forest of dialectics.

In September’s waning days one thinks wanly of the arrival of fall
like a ship appearing on the horizon with untrimmed, tattered sails;
for some unfathomable reason fall is the time to consider one’s own demise―
the body smothered by yellowed leaves like a corpse rotting in a ghoulish photograph ...

Bitter words
crack like whips
snapping across prison yards ...

Then there are words like pomegranate trees in bloom,
words like the sun igniting the sea beyond mountainous horizons,
flashing like mysterious knives ...

Such words are the burning roses of an infinite imagination;
they are born and they die with the flutterings of butterflies;
we carry those words in our hearts like pregnant shotguns until the day we expire,
martyred for the words we were prepared to die for ...

What I wrote and what you understood? Curious and curiouser!



Mehmet Akif Ersoy: Modern English Translations of Turkish Poems

Mehmet Âkif Ersoy (1873-1936) was a Turkish poet, author, writer, academic, member of parliament, and the composer of the Turkish National Anthem.



Snapshot
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

Earth’s least trace of life cannot be erased;
even when you lie underground, it encompasses you.
So, those of you who anticipate the shadows,
how long will the darkness remember you?



Zulmü Alkislayamam
"I Can’t Applaud Tyranny"
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

I can't condone cruelty; I will never applaud the oppressor;
Yet I can't renounce the past for the sake of deluded newcomers.
When someone curses my ancestors, I want to strangle them,
Even if you don’t.
But while I harbor my elders,
I refuse to praise their injustices.
Above all, I will never glorify evil, by calling injustice “justice.”
From the day of my birth, I've loved freedom;
The golden tulip never deceived me.
If I am nonviolent, does that make me a docile sheep?
The blade may slice, but my neck resists!
When I see someone else's wound, I suffer a great hardship;
To end it, I'll be whipped, I'll be beaten.
I can't say, “Never mind, just forget it!” I'll mind,
I'll crush, I'll be crushed, I'll uphold justice.
I'm the foe of the oppressor, the friend of the oppressed.
What the hell do you mean, with your backwardness?



Çanakkale Sehitlerine
"For the Çanakkale Martyrs"
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

Was there ever anything like the Bosphorus war?―
The earth’s mightiest armies pressing Marmara,
Forcing entry between her mountain passes
To a triangle of land besieged by countless vessels.
Oh, what dishonorable assemblages!
Who are these Europeans, come as rapists?
Who, these braying hyenas, released from their reeking cages?
Why do the Old World, the New World, and all the nations of men
now storm her beaches? Is it Armageddon? Truly, the whole world rages!
Seven nations marching in unison!
Australia goose-stepping with Canada!
Different faces, languages, skin tones!
Everything so different, but the mindless bludgeons!
Some warriors Hindu, some African, some nameless, unknown!
This disgraceful invasion, baser than the Black Death!
Ah, the 20th century, so noble in its own estimation,
But all its favored ones nothing but a parade of worthless wretches!
For months now Turkish soldiers have been vomited up
Like stomachs’ retched contents regarded with shame.
If the masks had not been torn away, the faces would still be admired,
But the ***** called civilization is far from blameless.
Now the ****** demand the destruction of the doomed
And thus bring destruction down on their own heads.
Lightning severs horizons!
Earthquakes regurgitate the bodies of the dead!
Bombs’ thunderbolts explode brains,
rupture the ******* of brave soldiers.
Underground tunnels writhe like hell
Full of the bodies of burn victims.
The sky rains down death, the earth swallows the living.
A terrible blizzard heaves men violently into the air.
Heads, eyes, torsos, legs, arms, chins, fingers, hands, feet ...
Body parts rain down everywhere.
Coward hands encased in armor callously scatter
Floods of thunderbolts, torrents of fire.
Men’s chests gape open,
Beneath the high, circling vulture-like packs of the air.
Cannonballs fly as frequently as bullets
Yet the heroic army laughs at the hail.
Who needs steel fortresses? Who fears the enemy?
How can the shield of faith not prevail?
What power can make religious men bow down to their oppressors
When their stronghold is established by God?
The mountains and the rocks are the bodies of martyrs! ...
For the sake of a crescent, oh God, many suns set, undone!
Dear soldier, who fell for the sake of this land,
How great you are, your blood saves the Muslims!
Only the lions of Bedr rival your glory!
Who then can dig the grave wide enough to hold you. and your story?
If we try to consign you to history, you will not fit!
No book can contain the eras you shook!
Only eternities can encompass you! ...
Oh martyr, son of the martyr, do not ask me about the grave:
The prophet awaits you now, his arms flung wide open, to save!



Sessiz Gemi (“Silent Ship”)

by Yahya Kemal Beyatli
loose translation by Nurgül Yayman and Michael R. Burch

for the refugees

The time to weigh anchor has come;
a ship departing harbor slips quietly out into the unknown,
cruising noiselessly, its occupants already ghosts.
No flourished handkerchiefs acknowledge their departure;
the landlocked mourners stand nurturing their grief,
scanning the bleak horizon, their eyes blurring ...
Poor souls! Desperate hearts! But this is hardly the last ship departing!
There is always more pain to unload in this sorrowful life!
The hesitations of lovers and their belovèds are futile,
for they cannot know where the vanished are bound.
Many hopes must be quenched by the distant waves,
since years must pass, and no one returns from this journey.



Full Moon
by Yahya Kemal Beyatli
loose translation by Nurgül Yayman and Michael R. Burch

You are so lovely
the full moon just might
delight
in your rising,
as curious
and bright,
to vanquish night.

But what can a mortal man do,
dear,
but hope?
I’ll ponder your mysteries
and (hmmmm) try to
cope.

We both know
you have every right to say no.



The Music of the Snow
by Yahya Kemal Beyatli
loose translation/interpretation by Michael R. Burch

This melody of a night lasting longer than a thousand years!
This music of the snow supposed to last for thousand years!

Sorrowful as the prayers of a secluded monastery,
It rises from a choir of a hundred voices!

As the *****’s harmonies resound profoundly,
I share the sufferings of Slavic grief.

My mind drifts far from this city, this era,
To the old records of Tanburi Cemil Bey.

Now I’m suddenly overjoyed as once again I hear,
With the ears of my heart, the purest sounds of Istanbul!

Thoughts of the snow and darkness depart me;
I keep them at bay all night with my dreams!

Translator’s notes: “Slavic grief” because Beyatli wrote this poem while in Warsaw, serving as Turkey’s ambassador to Poland, in 1927. Tanburi Cemil Bey was a Turkish composer.



Thinking of you
by Nazim Hikmet
loose translation/interpretation by Michael R. Burch

Thinking of you is beautiful, hopeful―
like listening to the most beautiful songs
sung by the earth's most beautiful voices.
But hope is insufficient for me now;
I don't want to listen to songs.
I want to sing love into birth.



I love you
by Nazim Hikmet
loose translation/interpretation by Michael R. Burch

I love you―
like dipping bread into salt and eating;
like waking at night with a raging fever
and thirstily lapping up water, my mouth to the silver tap;
like unwrapping the unwieldy box the postman delivers,
unable to guess what's inside,
feeling fluttery, happy, doubtful.
I love you―
like flying over the sea the first time
as something stirs within me
while the sky softly darkens over Istanbul.
I love you―
as men thank God gratefully for life.



Sparrow
by Nazim Hikmet
loose translation/interpretation by Michael R. Burch

Little sparrow,
perched on the clothesline,
do you regard me with pity?
Even so, I will watch you
soar away through the white spring leaves.



The Divan of the Lover

the oldest extant Turkish poem
loose translation/interpretation by Michael R. Burch

All the universe as one great sign is shown:
God revealed in his creative acts unknown.
Who sees or understands them, jinn or men?
Such works lie far beyond mere mortals’ ken.
Nor can man’s mind or reason reach that strand,
Nor mortal tongue name Him who rules that land.
Since He chose nothingness with life to vest,
who dares to trouble God with worms’ behests?
For eighteen thousand worlds, lain end to end,
Do not with Him one atom's worth transcend!



Fragment
by Prince Jem
loose translation/interpretation by Michael R. Burch

Behold! The torrent, dashing against the rocks, flails wildly.
The entire vast realm of Space and Being oppresses my soul idly.
Through bitterness of grief and woe the sky has rent its morning robe.
Look! See how in its eastern palace, the sun is a ****** globe!
The clouds of heaven rain bright tears on the distant mountain peaks.
Oh, hear how the deeply wounded thunder slowly, mournfully speaks!



An Ecstasy of Fumbling
by Michael R. Burch

The poets believe
everything resolves to metaphor—
a distillation,
a vapor
beyond filtration,
though perhaps not quite as volatile as before.

The poets conceive
of death in the trenches
as the price of art,
not war,
fumbling with their masque-like
dissertations
to describe the Hollywood-like gore

as something beyond belief,
abstracting concrete bunkers to Achaemenid bas-relief.



Excerpts from “Travels with Einstein”
by Michael R. Burch

for Trump

I went to Berlin to learn wisdom
from Adolph. The wild spittle flew
as he screamed at me, with great conviction:
“Please despise me! I look like a Jew!”

So I flew off to ’Nam to learn wisdom
from tall Yankees who cursed “yellow” foes.
“If we lose this small square,” they informed me,
earth’s nations will fall, dominoes!”

I then sat at Christ’s feet to learn wisdom,
but his Book, from its genesis to close,
said: “Men can enslave their own brothers!”
(I soon noticed he lacked any clothes.)

So I traveled to bright Tel Aviv
where great scholars with lofty IQs
informed me that (since I’m an Arab)
I’m unfit to lick dirt from their shoes.

At last, done with learning, I stumbled
to a well where the waters seemed sweet:
the mirage of American “justice.”
There I wept a real sea, in defeat.

Originally published by Café Dissensus



The Leveler
by Michael R. Burch

The nature of Nature
is bitter survival
from Winter’s bleak fury
till Spring’s brief revival.

The weak implore Fate;
bold men ravish, dishevel her . . .
till both are cut down
by mere ticks of the Leveler.

I believe I wrote this poem around age 20, in 1978 or thereabouts. It has since been published in The Lyric, Tucumcari Literary Review, Romantics Quarterly and The Aurorean.



The Hippopotami
by Michael R. Burch

There’s no seeing eye to eye
with the awesomely huge Hippopotami:
on the bank, you’re much taller;
going under, you’re smaller
and assuredly destined to die!



Ballade of the Bicameral Camel
by Michael R. Burch

There once was a camel who loved to ****.
Please get your lewd minds out of their slump!
He loved to give RIDES on his large, lordly lump!



The Echoless Green
by Michael R. Burch

for and after William Blake

At dawn, laughter rang
on the echoing green
as children at play
greeted the day.

At noon, smiles were seen
on the echoing green
as, children no more,
many fine vows they swore.

By twilight, their cries
had subsided to sighs.

Now night reigns supreme
on the echoless green.



Unlikely Mike
by Michael R. Burch

I married someone else’s fantasy;
she admired me despite my mutilations.

I loved her for her heart’s sake, and for mine.
I hid my face and changed its connotations.

And in the dark I danced—slight, Chaplinesque—
a metaphor myself. How could they know,

the undiscerning ones, that in the glow
of spotlights, sometimes love becomes burlesque?

Disfigured to my soul, I could not lose
or choose or name myself; I came to be

another of life’s odd dichotomies,
like Dickey’s Sheep Boy, Pan, or David Cruse:

as pale, as enigmatic. White, or black?
My color was a song, a changing track.



Spring Was Delayed
by Michael R. Burch

Winter came early:
the driving snows,
the delicate frosts
that crystallize

all we forget
or refuse to know,
all we regret
that makes us wise.

Spring was delayed:
the nubile rose,
the tentative sun,
the wind’s soft sighs,

all we omit
or refuse to show,
whatever we shield
behind guarded eyes.

Originally published by Borderless Journal



The Shijing or **** Jing (“Book of Songs” or “Book of Odes”) is the oldest Chinese poetry collection, with the poems included believed to date from around 1200 BC to 600 BC. According to tradition the poems were selected and edited by Confucius himself. Since most ancient poetry did not rhyme, these may be the world’s oldest extant rhyming poems.

Shijing Ode #4: “JIU MU”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

In the South, beneath trees with drooping branches
thick with vines that make them shady,
we find our lovely princely lady:
May she repose in happiness!

In the South, beneath trees with drooping branches
whose clinging vines make hot days shady,
we wish love’s embrace for our lovely lady:
May she repose in happiness!

In the South, beneath trees with drooping branches
whose vines, entwining, make them shady,
we wish true love for our lovely lady:
May she repose in happiness!

Shijing Ode #6: “TAO YAO”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

The peach tree is elegant and tender;
its flowers are fragrant, and bright.
A young lady now enters her future home
and will manage it well, day and night.

The peach tree is elegant and tender;
its fruits are abundant, and sweet.
A young lady now enters her future home
and will make it welcome to everyone she greets.

The peach tree is elegant and tender;
it shelters with bough, leaf and flower.
A young lady now enters her future home
and will make it her family’s bower.

Shijing Ode #9: “HAN GUANG”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

In the South tall trees without branches
offer men no shelter.
By the Han the girls loiter,
but it’s vain to entice them.
For the breadth of the Han
cannot be swum
and the length of the Jiang
requires more than a raft.

When cords of firewood are needed,
I would cut down tall thorns to bring them more.
Those girls on their way to their future homes?
I would feed their horses.
But the breadth of the Han
cannot be swum
and the length of the Jiang
requires more than a raft.

When cords of firewood are needed,
I would cut down tall trees to bring them more.
Those girls on their way to their future homes?
I would feed their colts.
But the breadth of the Han
cannot be swum
and the length of the Jiang
requires more than a raft.

Shijing Ode #10: “RU FEN”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

By raised banks of the Ru,
I cut down branches in the brake.
Not seeing my lord
caused me heartache.

By raised banks of the Ru,
I cut down branches by the tide.
When I saw my lord at last,
he did not cast me aside.

The bream flashes its red tail;
the royal court’s a blazing fire.
Though it blazes afar,
still his loved ones are near ...

It was apparently believed that the bream’s tail turned red when it was in danger. Here the term “lord” does not necessarily mean the man in question was a royal himself. Chinese women of that era often called their husbands “lord.” Take, for instance, Ezra Pound’s famous loose translation “The River Merchant’s Wife.” Speaking of Pound, I borrowed the word “brake” from his translation of this poem, although I worked primarily from more accurate translations. In the final line, it may be that the wife or lover is suggesting that no matter what happens, the man in question will have a place to go, or perhaps she is urging him to return regardless. The original poem had “mother and father” rather than “family” or “loved ones,” but in those days young married couples often lived with the husband’s parents. So a suggestion to return to his parents could be a suggestion to return to his wife as well.

Shijing Ode #12: “QUE CHAO”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

The nest is the magpie's
but the dove occupies it.
A young lady’s soon heading to her future home;
a hundred carriages will attend her.

The nest is the magpie's
but the dove takes it over.
A young lady’s soon heading to her future home;
a hundred carriages will escort her.

The nest is the magpie's
but the dove possesses it.
A young lady’s soon heading to her future home;
a hundred carriages complete her procession.

Shijing Ode #26: “BO ZHOU” from “The Odes of Bei”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

This cypress-wood boat floats about,
meandering with the current.
Meanwhile, I am distraught and sleepless,
as if inflicted with a painful wound.
Not because I have no wine,
and can’t wander aimlessly about!

But my mind is not a mirror
able to echo all impressions.
Yes, I have brothers,
but they are undependable.
I meet their anger with silence.

My mind is not a stone
to be easily cast aside.
My mind is not a mat
to be conveniently rolled up.
My conduct so far has been exemplary,
with nothing to criticize.

Yet my anxious heart hesitates
because I’m hated by the herd,
inflicted with many distresses,
heaped with insults, not a few.
Silently I consider my case,
until, startled, as if from sleep, I clutch my breast.

Consider the sun and the moon:
how did the latter exceed the former?
Now sorrow clings to my heart
like an unwashed dress.
Silently I consider my options,
but lack the wings to fly away.



The Drawer of Mermaids
by Michael R. Burch

This poem is dedicated to Alina Karimova, who was born with severely deformed legs and five fingers missing. Alina loves to draw mermaids and believes her fingers will eventually grow out.

Although I am only four years old,
they say that I have an old soul.
I must have been born long, long ago,
here, where the eerie mountains glow
at night, in the Urals.

A madman named Geiger has cursed these slopes;
now, shut in at night, the emphatic ticking
fills us with dread.
(Still, my momma hopes
that I will soon walk with my new legs.)

It’s not so much legs as the fingers I miss,
drawing the mermaids under the ledges.
(Observing, Papa will kiss me
in all his distracted joy;
but why does he cry?)

And there is a boy
who whispers my name.
Then I am not lame;
for I leap, and I follow.
(G’amma brings a wiseman who says

our infirmities are ours, not God’s,
that someday a beautiful Child
will return from the stars,
and then my new fingers will grow
if only I trust Him; and so

I am preparing to meet Him, to go,
should He care to receive me.)

Keywords/Tags: mermaid, mermaids, child, children, childhood, Urals, Ural Mountains, soul, soulmate, radiation



On the Horns of a Dilemma (I)
by Michael R. Burch

Love has become preposterous
for the over-endowed rhinoceros:
when he meets the right miss
how the hell can he kiss
when his horn is so ***** it lofts her thus?

I need an artist or cartoonist to create an image of a male rhino lifting his prospective mate into the air during an abortive kiss. Any takers?



On the Horns of a Dilemma (II)
by Michael R. Burch

Love has become preposterous
for the over-endowed rhinoceros:
when he meets the right miss
how the hell can he kiss
when his horn deforms her esophagus?



On the Horns of a Dilemma (III)
by Michael R. Burch

A wino rhino said, “I know!
I have a horn I cannot blow!
And so,
ergo,
I’ll watch the lovely spigot flow!



The Horns of a Dilemma Solved, if not Solvent
by Michael R. Burch

A wine-addled rhino debated
the prospect of living unmated
due to the scorn
gals showed for his horn,
then lost it to poachers, sedated.



The Arrival of the Sea Lions
by Michael R. Burch

The sound
of hounds
resounds in the sound.



Hounds Impounded
by Michael R. Burch

The sound
of hounds
resounds
in the pound.



Prince Kiwi the Great
by Michael R. Burch

Kiwi’s
a ***-wee
but incredibly bright:
he sleeps half the day,
pretending it’s night!

Prince Kiwi
commands us
with his regal air:
“Come, humans, and serve me,
or I’ll yank your hair!”

Kiwi
cries “Kree! Kree!”
when he wants to be fed ...
suns, preens, flutters, showers,
then it’s off to bed.

Kiwi’s
a ***-wee
but incredibly bright:
he sleeps half the day,
pretending it’s night!

Kiwi is our family’s green-cheeked parakeet. Parakeets need to sleep around 12 hours per day, hence the pun on “bright” and “half the day.”



Ah! Sunflower
by Michael R. Burch

after William Blake

O little yellow flower
like a star ...
how beautiful,
how wonderful
we are!

Published as the collection "When Pigs Fly"

Ah the persimmon, a word from an extinct language of the Powatan people of the tidewater Virginia, spoken until the mid 18th C when its Blackfoot Indian speakers switched to English. It was putchamin, pasiminan, or pessamin, then persimmon, a fruit. Like the tomato, it is a ‘true berry’.
 
Here in this postcard we have a painting of four kaki: the Japanese persimmon. Of these four fruit, one is nearly ripe; three are yet to ripen. They have been picked three days and shelter under crinkled leaves, still stalked. Now, the surface on which these astringent, tangy fruit rest, isn’t it wondrous in its blue and mottled green? It is veined, a ceramic surface perhaps? The blue-green mottled, veined surface catches reflected light; the shadows are delicate but intense.
 
You told me that it troubled you to read my stories because so often they stepped between reality and fantasy, truth and playful invention. When you said this I meant to say (but we changed the subject): I write this way to confront what I know to be true but cannot present verbatim. I have to make into a fiction my remembered observations, those intense emotions of the moment. They are too precious not to save, and like the persimmon benefit from laying out in the sun to dry: to be eaten raw; digested to rightly control my ch’i, and perhaps your ch’i too.
 
So today a story about four kaki, heart-shaped hachiya, and hidden therein those most private feelings, messages of love and passion, what can be seen, what is unseen, thoughts and un-thoughts, mysteries and evasions.
 
                                                                            ----
 
 
Professor Minoru retired last year and now visits his university for the occasional show of his former colleagues and their occasionally-talented students. He spends his days in his suburban house with its tiny non-descript garden: a dog run, a yard no less. No precious garden. It is also somewhere (to his neighbours’ disgust) to hang wet clothes. It is just grass surrounded by a high fence. He walks there briefly in the early morning before making tea and climbing the stairs to his studio.
 
The studio runs the whole length of his house. When his wife Kinako left him he obliterated any presence of her, left his downtown studio, and converted three rooms upstairs into one big space. This is where Mosuku, his beautiful Akita, sleeps, coming downstairs only to eat and defecate in the small garden. Minoru and Mosuku go out twice each day: to midday Mass at the university chaplaincy; to the park in the early evening to meet his few friends walking their dogs. Otherwise he is solitary except for three former students who call ‘to keep an eye on the old man’.
 
He works every day. He has always done this, every day. Even in the busiest times of the academic year, he rose at 5.0am to draw, a new sheet of mitsumatagami placed the night before on his worktable ready. Ready for the first mark.
 
Imagine. He has climbed the stairs, tea in his left hand, sits immediately in front of this ivory-coloured paper, places the steaming cup to his far left, takes a charcoal stick, and  . . . the first mark, the mark from the world of dreams, memories, regrets, anxieties, whatever the night has stored in his right hand appears, progresses, forms an image, a sketch, as minutes pass his movement is always persistence, no reflection or studied consideration, his sketch is purposeful and wholly his own. He has long since learnt to empty his hand of artifice, of all memory.
 
When Kinako left he destroyed every trace of her, and of his past too. So powerful was his intent to forget, he found he had to ask the way to Shinjuko station, to his studio in the university. He called in a cleaning company to remove everything not in two boxes in the kitchen (of new clothes, his essential documents, 5 books, a plant, Mosuko’s feeding bowl). They were told (and paid handsomely) to clean with vigour. Then the builders and decorators moved in. He changed his phone number and let it be known (to his dog walker friends) that he had decided from now on to use an old family name, Sawato. He would be Sawato. And he was.
 
His wife, and she was still that legally, had found a lover. Kinako was a student of Professor Minoru, nearly thirty years younger, and a fragile beauty. She adored ‘her professor’, ‘her distinguished husband’, but one day at an opening (at Kinosho Kikaku – Gallery 156) she met an American artist, Fern Sophie Citron, and that, as they say in Japan, was that. She went back to Fern’s studio, where this rather plump middle-aged woman took photographs of Kinako relentlessly in costume after costume, and then without any costume, on the floor, in the bath, against a wall, never her whole body, and always in complete silence. Two days later she sent a friend to collect her belongings and to deliver a postcard to her husband. It was his painting of four persimmon. Persimmon (1985) 54 by 36 cm, mineral pigment on paper.
 
‘Hiroshi’, she wrote in red biro, ‘I am someone else now it is best you do not know. Please forgive’.
 
Sawato’s bedroom is on the ground floor now. There is a mat that is rolled away each morning. On the floor there are five books leaning against each other in a table-top self-standing shelf. The Rule of St Benedict (in Latin), The I-Ching (in Chinese), The Odes of Confucius, The Tale of the Bamboo Cutter (10th C folk tale) and a manual of Go, the Shogi Zushiki. Placed on a low table there is a laptop computer connected to the Internet, and beside the computer his father’s Go board (of dark persimmon wood), its counters pebbles from the beach below his family’s home. Each game played on the Internet he transcribes to his physical board.
 
He ascribes his mental agility, his calm and perseverance in his studio practice, to his nightly games of Go in hyperspace. He is an acknowledged master. His games studied assiduously, worldwide.
 
For 8 months in 1989 he studied the persimmon as still-life. He had colleagues send him examples of the fruit from distant lands. The American Persimmon from Virginia, the Black Persimmon or Black Sapote from Mexico (its fruit has green skin and white flesh, which turns black when ripe), the Mabolo or Velvet-apple native to Philippines - a bright red fruit when ripe, sometimes known as the Korean Mango, and more and more. His studio looked like a vegetable store, persimmons everywhere. He studied the way the colours of their skins changed every day. He experimented with different surfaces on which to place these tannin-rich fruits. He loved to touch their skins, and at night he would touch Kinako, his fingers rich from the embrace of fifty persimmon fruits, and she . . . she had never known such gentleness, such strength, such desire. It was as though he painted her with his body, his long fingers tracing the shape of the fruit, his tongue exploring each crevice of her long, slim, fruit-rich body. She had never been loved so passionately, so completely. At her desk in the University library special collection, where she worked as a researcher for a fine art academic journal, she would dream of the night past and anticipate the night to come, when, always on her pillow a different persimmon, she would fall to ****** and beyond.
 
Minoru drew and painted, printed and photographed more persimmons than he could keep track of. After six months he picked seven paintings, and a collection of 12 drawings. The rest he burnt. When he exhibited these treasures, Persimmon (1989) Mineral pigment on paper 54, by 36 cm was immediately acquired by Tokyo National Museum. It became a favourite reproduction, a national treasure. He kept seeing it on the walls of houses in magazines, cheap reproductions in department stores, even on a TV commercial. Eventually he dismissed it, totally, from his ever-observant, ever-scanning eyes. So when Kinako sent him the postcard he looked at it with wonder and later wrote this poem in his flowing hand using the waka style:
 
 
*Ah, the persimmon
Lotus fruit of the Gods
 
Heartwood of a weaver’s shuttle,
The archer’s bow, the timpanist sticks,
 
I take a knife to your ripe skin.
Reveal or not the severity of my winter years.

Chapter 18: The Fire Of The Unknown

For all of that day, they rode north through the grass and camped just east of Dupuyer, in the Butte Valley.

“Tomorrow, we will arrive at our home camp—just east of Browning—in the heart of the Blackfoot Piegan Reservation, Ichiban. I am sure that Stoneheart has arrived by now and has prepared the tribe for bad news regarding our disappearance.”

You Were Our Last Hope

“Hope springs eternal, Not-Many-Prisoners, when it is all you have left. With your help tomorrow, we will convince your People that the worst is behind us. The Blackfoot Piegan Nation will recapture its spirit, and we will unleash its fury upon the Siksika who have attacked in the dark and from behind.”

Not-Many-Prisoners liked the way Cutty used the words Us and We. “He is a man who goes beyond the smoke to the land of our Grandfathers,” he thought. “He has truly been sent from the great Kessuckquànd (Heaven), as the Old One has prophesied.”

With his saber and katana lying beside him, Cutty again offered thanks for being in the company of men with honor.

The Military Academy had been fine for what it was — “but a man’s true spirit could only be forged and replenished in the fire of the unknown.” He was once again at peace.

A Peace Only Proffered In Times of War



Chapter 19: The Backbone Of The World

Not-Many-Prisoners remained quiet during the long ride into the Blackfoot Piegan Camp. The reservation was located just east of the great mountains and stretched north to the Canadian border. Jimmy had told Cutty it was larger than the entire state of Delaware. “It is a big area for so few of us left,” Jimmy had said.

Cutty became overtaken by a feeling that he had not had since leaving Nepal. The grandeur of the mountains was filling his soul, and words again became useless in trying to describe their beauty. “No wonder the Indians fought so hard to preserve their homeland,” Cutty thought to himself. “Who wouldn’t rather die than leave this sacred place?”

As the sun disappeared behind the Livingston range, he could tell that Not-Many-Prisoners was worried. The Piegan Elder had been quiet all day, but when they passed a sign pointing toward Browning, he finally spoke: “We will be in Browning in less than an hour, Ichiban. Thirty minutes after that, we will enter the main camp of the Blackfoot Piegan Nation.”

Cutty wondered if he would be in trouble with The People for leaving Chief Stoneheart. He knew that Not-Many-Prisoners would have no say in the matter—even though he led the rustlers away from their small party. Cutty also knew that warrior societies had their own specific rules and regulations, and they often did not make sense to an outsider.

The Japanese Emperor had often told him: “Look not to the intellect for the truth you seek, My Son. Look instead—inside your heart—where fear is overcome by belief. Only there will you find the true warrior and the spirit and courage to win.”

As they passed through Browning, Cutty could feel the emptiness hidden in its dusty old streets. The buildings were drab, but more than that, there seemed to be an absence of life and a dispiritedness that hung over the town. It was nothing like any of those Tibetan towns that he rode through on his way to Kathmandu.

He Couldn’t Get Through Browning Quickly Enough

Passing the eastern border of the small town, Cutty began to hear drums in the distance. They were beating to a very slow cadence and seemed to dramatize the melancholy he already felt.

“They are the drums of sorrow, Ichiban. The People now fear we are dead, and their last hope of regaining the spirit of their Grandfathers has died with us. They will not believe what they see when we ride in through the dark.

“I would ask that you wait here, and let me ride in first to announce our presence. As you now know, proper introductions are very important to my People, and it is fitting that they hear of the things you have done before you arrive. Please rest here—by this small lake—I will be back by the time you have watered the horses.”

Not-Many-Prisoners dismounted and gave the reins of his horse to Cutty. Without another word he walked off into the darkness in the direction of the drums. It seemed like a long time had passed when Cutty heard the sound of the drums change. They now had a powerful energy, and he was sure their message (whatever it was) was reverberating off the great mountains to the west.

All At Once The Drums Stopped!

Cutty could hear voices, and lights seemed to be coming through the woods. It was then that he heard the voice of Stoneheart calling out to him from the trees ahead.

“Ichiban, the words of the Old One have come true. You are truly the savior of the Blackfoot Piegan People. Please enter our village as one who comes back to us—from before.”

Cutty had no idea what Stoneheart meant. “I’ve never been here before,” he said under his breath. “What could Jimmy have told them to make them greet me in this way?”

The lights ahead seemed to forge into one, and Cutty could see at least a hundred people walking his way carrying torches. They were also carrying something in their arms that he didn’t recognize.

“These are small offerings from the tribe in honor of your return,” said Stoneheart. “Not-Many-Prisoners told us about what you have done. It only adds to the stories that Lightfeather has already told about your many battles and triumphs. It has been a very long time since The Blackfoot Piegan Nation has been so honored by a visitor. Please allow us to formally welcome you again to our camp.”

Cutty was then offered a white horse to ride, but he insisted on walking with The People.

for Thomas Raine Crowe

...These nights bring dreams of Cherokee shamans
whose names are bright verbs and impacted dark nouns,
whose memories are indictments of my pallid flesh...
and I hear, as from a great distance,
the cries tortured from their guileless lips, proclaiming
the nature of my mutation.

NOTE: My “mutation” is that my family appears to contain English, Scottish, German and Cherokee blood, meaning that my ancestors were probably at war with each other. Did my English ancestors force my Cherokee ancestors to walk the Trail of Tears?

I have recently created these new translations of Native American poems, proverbs and sayings ...

What is life?
The flash of a firefly.
The breath of a winter buffalo.
The shadow scooting across the grass that vanishes with sunset.
—Blackfoot saying, translation by Michael R. Burch

Speak less thunder, wield more lightning. — Apache proverb, translation by Michael R. Burch

The more we wonder, the more we understand. — Arapaho proverb, translation by Michael R. Burch

Adults talk, children whine. — Blackfoot proverb, translation by Michael R. Burch

Don’t be afraid to cry: it will lessen your sorrow. — Hopi proverb

One foot in the boat, one foot in the canoe, and you end up in the river. — Tuscarora proverb, translation by Michael R. Burch

Our enemy's weakness increases our strength. — Cherokee proverb, translation by Michael R. Burch

We will be remembered tomorrow by the tracks we leave today. — Dakota proverb, translation by Michael R. Burch

No sound's as eloquent as a rattlesnake's tail. — Navajo saying, translation by Michael R. Burch

The heart is our first teacher. — Cheyenne proverb, translation by Michael R. Burch

Dreams beget success. — Maricopa proverb, translation by Michael R. Burch

Knowledge interprets the past, wisdom foresees the future. — Lumbee proverb, translation by Michael R. Burch

The troublemaker's way is thorny. — Umpqua proverb, translation by Michael R. Burch

I was playing a game with my kids the other day

I asked:
What do you use to see?
She said 'your eyes'
He said 'your brain'
Both right
Next I asked what do you use to hear?
She said 'your ears'
He said 'your brain'
Both right, again

The wisdom of children!

The game ended there but it got me thinking about what we use to feel
The most straight forward answer is our skin
Your brain is what processes the sense of touch so that has to be included
What about your heart?
Where does it fit into the big scheme of things?
Isn't the heart the space where we process feelings?

I have to loosely define things and often turn them upside down
ruminate
reorder my worldview to make it copacetic
I'm pretty sure that I often walk in two worlds
If my mind is simply locked in the western paradigm then people look at me like I'm bizarre
I'm not joking when I say they've wanted to lock me up because of my views
When I allow my mind to get locked into this western paradigm,
I sometimes even feel like I belong in lockup.

That's even worse than being held against your will
You're being held because you've lost your will

So I play with definitions to better suit my needs

When you do this however, there is a risk
Last summer I unlocked a spectre as I drank deeply and greedily from Crypt Lake

Crypt Lake is a real place on this planet
How did it get it's name (you might ask)?
According to the Blackfoot, placenames aren't given,
they come from place

Let's contextualize ~ this is all part of the journey
The physical leads to the spiritual and vice versa
To get to Crypt Lake you have to enter Waterton-Glacier International Peace Park
Found in the southwest corner of Alberta and the northwest corner of Montana
Once through the gates you have to catch a boat at a certain time
You have to be in the physical plane of existence at this point otherwise you're not getting on that boat
Once you get to the trailhead, then you can start to drift

That's what I did
As I walked, I let the stories come into me
I let them flow through me
They were sitting there waiting to be told
A spruce, arm in arm, with a pine
Hawks circling overhead
An ever present alertness for our bear brethren
Always open to the wildflowers
Indian paintbrush (I have red hair could I be considered an indian paintbrush?)
Pollinators flitting about
Oh, the water

Listen to the stories the water told:
First we come to Hell Roaring Falls
Next Twin Falls
Next Burnt Rock Falls
And to reach the Crypt, we have to pass through a mountain tunnel
Opening up to Crypt Falls
and finally Crypt Lake

This is a regular heroes journey if you allow it to be
I was in that place in my mind where I allowed it to unfold as it may

This is a place that's also known as the Crown of the Continent
Not far away is Chief Mountain, Turtle Mountain, and Crowsnest Mountain
Also Writing-On-Stone and the Milk River and Sweetgrass
These are holy names, this is a holy land

What I saw at Crypt Falls was the backbone of the continent
I saw the backbone of Turtle Island

I was floored
I had been on a continent wide spirit quest a few years previously
There was talk that the Deed for Turtle Island was coming due
And maybe it would be produced at one of these gatherings
We all waited but nobody produced it

I ruminated on that idea for a few years
I'm pretty sure that the Deed was there
Those who held it, just didn't realize

I learned something at the Crypt
I wanted answers and I made an assumption
I assumed that the water held the answers
So I drank deeply, even greedily from the Crypt

Right there in the international peace park, on the crown of the continent
With the Old Chief and the Crowsnest not far away
Writing-On-Stone just a sashay away
What about writing in calcium?
If I were the earth, I would encode important information in something
Transmutable

Not blood.
Bones

What I learned up there on the mountain as I gulped down knowledge from the Crypt was that the deed is written into the bones of the land and into the bones of those borne of that land

This is indigenous knowledge

It's in the water, the water is the medium for the message
The bones are the stock
But just like a double helix
A genetic sequence is an expression of time and place
On a certain spacetime continuum this innocuous looking structure
(take a look in the mirror)
Has all the necessary answers

Goose bumps on your legs, muted thyroid
Dulled emotions to suppress memories of the abuse,
And yet, your spirit explodes!

Under the curtain you are an open book
Red letters wanting to be read, and then…
The fear slams the covers shut.

Tired avatar,
both liberated shell and mirror of inner shadows
covered by a black cloth.

Surreal midnight dinner,
Like high fever hallucination,
Dry food,
Dead couples staring at each other,
And a milkshake.

The plus and minus collide,
Keep spinning out of control
Until the curse stops it….
Your eyes betray your lying lips.

Feline face, furrowed eyebrows
Forehead Blackfoot square,
Pictures of the shaggy hair,
Are you just a face in the deck of cards
brought to life by my imagination?

The dealer makes it real:
First tears, then the joker fear.
Bows bounce in my imagination
There’s no space between art and life creation
From silence we can generate vibration,
Of the heart.

Cherokee Travelers' Blessing I
loose translation/interpretation by Michael R. Burch

I will extract the thorns from your feet.
For yet a little while, we will walk life's sunlit paths together.
I will love you like my own brother, my own blood.
When you are disconsolate, I will wipe the tears from your eyes.
And when you are too sad to live, I will put your aching heart to rest.

Published by Better Than Starbucks and Cherokee Native Americans

I have recently created these new translations of Native American poems ...

What is life?
The flash of a firefly.
The breath of a winter buffalo.
The shadow scooting across the grass that vanishes with sunset.
—Blackfoot saying, translation by Michael R. Burch

Speak less thunder, wield more lightning. — Apache proverb, translation by Michael R. Burch

The more we wonder, the more we understand. — Arapaho proverb, translation by Michael R. Burch

Adults talk, children whine. — Blackfoot proverb, translation by Michael R. Burch

Don’t be afraid to cry: it will lessen your sorrow. — Hopi proverb

One foot in the boat, one foot in the canoe, and you end up in the river. — Tuscarora proverb, translation by Michael R. Burch

Our enemy's weakness increases our strength. — Cherokee proverb, translation by Michael R. Burch

We will be remembered tomorrow by the tracks we leave today. — Dakota proverb, translation by Michael R. Burch

No sound's as eloquent as a rattlesnake's tail. — Navajo saying, translation by Michael R. Burch

The heart is our first teacher. — Cheyenne proverb, translation by Michael R. Burch

Dreams beget success. — Maricopa proverb, translation by Michael R. Burch

Knowledge interprets the past, wisdom foresees the future. — Lumbee proverb, translation by Michael R. Burch

The troublemaker's way is thorny. — Umpqua proverb, translation by Michael R. Burch

Paws Carefully Lurk Across Freshly Fallen Snow,
One Lay Limp And Cold,
The Others Glide Like An Eagle On The Wind,
While Holding A Fiery Orange Furry Body Above,
A Black Muzzle Is Dressed In White,
Evidence Of The Pursuit,
Evidence Of The Hunt,
Evidence Of The Winter Starvation,
Tree Trunk Brown Eyes Swivel,
Taking In This Risky Surrounding,
The Taste Of Prey On A Lollipop Pink Tongue And,
The Sounds Of Frozen Feathered Birds Perch In The Ears,
Of Blackfoot The Fox

September 11

M.O.N.D.

Modified Newtonian Dynamics
... speed on the outside of the galaxy and the centre is the same ...
what about relativity?

In blackfoot I can talk about 2 days backward and 2 days forward
A 3 day road
That's it my friends

Don't go by the 12 month cycle
Like 50% of 7 billion
Go by the 13 moons
Circular?
Not quite
Time is repetitious
Reptilian
Might be a better interpretation

"Every year we perform the same ceremonies ...
We sing and chant the same songs
There is even repetition in the songs.
Medicine Wheels ...

The main axis is  aligned with the solstice
0.07 degrees off because of procession of axis
Possibly ...
Don't go past 2 days ...

September 12

Unaccountable, maybe ...

September 14

Not accounted for ... maybe not

Chapter 20: The Formality Of Acceptance

As he entered the village, it was not what he expected ...

“The women are in the process of building a great fire. Before you can be asked to sacrifice on behalf of The People, you have to be honored and formally welcomed into Piegan society,” said Jimmy.

Cutty wasn’t sure what that meant, but he was sure of one thing—there was no mistaking honor when it rose up to greet you. “These people may be down on their luck, but their fundamental spirit is intact.” He repeated this sentiment to Jimmy. “Only because you returned tonight, Major.”

Only Because You Returned!

Cutty and Jimmy had walked through the trees with the big white horse at Cutty’s side. Behind the horse had walked the rest of the Piegan Tribe: First Stoneheart with the Council of Elders, then the Warrior Societies, then the Hunters, and finally the Women and Children.

Everyone From The Tribe Had Come Out To Greet Him

The big horse had neither bridle nor rein but seemed to know exactly what was happening and where they were going. That was good, because Cutty hadn’t been sure. In times like these he had learned that the most successful route was the one of least resistance.

He had slowly walked beside the large stallion by the light of the three-quarter moon—with the torchbearers all behind him. The few times he had slowed down to make sure they were still on the trail the horse had lowered his head on Cutty’s right shoulder and brushed his cheek.

“It’s almost as if he understands why I’m not riding him,” Cutty had thought to himself.

The big white stallion was reminiscent of the one The Emperor had ridden during ceremonial parades in front of the Imperial Palace in Tokyo. He could now hear the women chanting behind him, and their voices were raised in what sounded like somber celebration.

The path opened up into a wide broad area with burning campfires and clapboard shacks extending as far as the eye could see. “So, this is what a modern-day Indian Camp looks like,” Cutty thought out loud.

Jimmy could tell that Cutty was confused as he said: “Only the elders and medicine workers live in teepees, Major. The rest of the tribe lives in wooden shacks that are both cold in the winter and hot in the summer. Many of the People have lost their way and for that reason the Siksika have been able to prey on us so.”

The Piegan Were Caught In A Time Warp Between The Old And The New

The next voice he heard was that of Chief Stoneheart coming up on the left side of his horse from behind. “Ichiban, would you please mount the white horse as we approach the fire? It would mean so much to the People.”

Cutty’s initial feeling was one of embarrassment.

His mind flashed back to the story of Jesus triumphantly entering Jerusalem on the back of a donkey as people waved palm leaves at him in celebration. His self-consciousness was again tempered by the importance of observing local customs. He had learned this on several continents, and it had served him well.

After Stoneheart had passed by—and was now in front of him—Cutty spun 180 degrees throwing his right leg high into the air and over the back of the big horse. Like all good horses, this one immediately knew that he was now in the hands of an experienced rider. Cutty sat motionless on the horse’s back as it slowly made its way toward the flames.

Wooden shacks had been built in a circle around a large stone-rimmed fire pit. It reminded Cutty, in a strange way, of the squares or pracas he had seen in Portugal. Three women were standing inside the large pit and had lighted a fire. The flames danced in the moonlight as Cutty wondered what was coming next.

Then Instinct Overtook Intellect

Without fully understanding why, Cutty reared the stallion up on its two hind legs. He kept the horse in this position for what seemed like forever, before patting it on its right wither and dropping it down on all fours. It was then that he charged.

Cutty charged up the right side of the fire pit at a full gallop. He rode completely around until he was back where he started from—but he did not stop. He drove the horse even faster around the fire, two more times, before rearing him up again in front of Chief Stoneheart and the Council of Elders. The entire tribe was blinded by the aura of Ichiban. Cutty whispered something into the horse’s ear before dismounting in one fluid movement.

“So, you speak to horses too, Ichiban,” said Stoneheart, as he touched the stallion’s mane. “You two seem to know each other well. Maybe from a previous life?” Stoneheart said these words with the first smile Cutty had seen from him since leaving the train station in Missoula.

“There is nothing like a good horse,” Cutty said back to the Chief, as Stoneheart escorted him to a place of honor.

Cutty was being led to the southern end of the fire pit, when Stoneheart asked him to turn around. The women had all stopped chanting, and in a louder voice than all of the women combined—Stoneheart began. As he chanted, he raised both arms to the sky and rotated slowly.

Cutty Was Discovering Just How Important The ‘Circle’ Was To Native Americans

Stoneheart rotated in two complete circles—first to his right and then to his left—before stopping where he had started directly in front of Cutty. This reminded Cutty of the many Katas he had practiced—always finishing in the same spot he had started from.  Stoneheart never lowered his head as his eyes had been fixed on the night sky.

“That sky is almost as impressive as the one over the Himalayas,” Cutty thought.

Stoneheart ended his chanting and turned to face The People. His head was now down as he started a slow and rhythmic dance around the fire.



Chapter 21: The Dance

One by one, they fell in behind Stoneheart dancing their way around the fire. Each tribal member had their own personal interpretation of the drumbeat as they danced through the mixture of moon glow and firelight.

Jimmy had now walked up to Cutty and was standing beside him.

“This is all in your honor, Major. The People can feel the magic of this night, and to them the magic is only real when it is felt in the heart. Stories, and the retelling of legends, don’t often create what they are feeling at this moment. After they have completely circled the fire, they will one by one take a seated position around the circular stones.

When the last dancer is seated, Chief Stoneheart will stand again and raise his arms to the sky. He will then chant a Blackfoot Piegan poem of thankfulness and lower his arms in your direction.

“That will be your invitation to dance, Major. I know this might make you uncomfortable, but it is a great honor to be asked to dance in front of the entire tribe. It will bring untold meaning to everyone. It won’t matter how you dance as long as The People can feel the spirit of your movement.”

When the last dancer was seated, Stoneheart rose with his arms reaching for the sky. It reminded Cutty of when he stood in front of Captain Nagata while first being introduced aboard the great Japanese warship—the Kagoshima Sun.

Eternal Moments Are Never Measured In Blocks Of Time

Chief Stoneheart dropped both of his arms with palms up in Cutty’s direction. He then spread them widely in a gesture of welcome.

Cutty had never really danced and was known as a notoriously bad dance partner both by Adrian and by the few girls he had tried to dance with at Academy *****. He knew he was bad, but there was one thing he could do better than anyone of his generation. He retracted his Katana from the Saya (scabbard) on his belt.  The entire tribe sat motionless—feeling his power—waiting for what he would do next.

“KIAI”

Without warning, Cutty let out with the loudest vocalization anyone seated had ever heard. It filled the night sky, as it bounced off the mountains with its echo of immortality. The power of its reverberation infused into the tribe, and for the first time they felt the connection between themselves and this ancient warrior.

He would share his spirit with them, and their hearts would be renewed. Their ancestors were now looking down from above and smiling at what they saw.

Cutty had watched Stoneheart as he danced around the fire. His movements seemed much slower than the other (younger) dancers, but they had a subtleness to them that seemed to contain great meaning. The other dancers—no matter how energetic—could not capture the feeling that had poured out of his every movement. He knew he could not dance like that.

Cutty Raised His Katana Over His Head With Both Hands

He then dropped his head, before beginning Kata #8. It was the same Kata that he had performed for the crewmembers of the Kagoshima Sun. This form, when done perfectly, took exactly ninety seconds to complete. It was based upon a circular attack, and Cutty would have to amplify its movements to be able to make it around the fire as its last strike was ****** into the air.

Cutty KIAI’d again! He then leaped forward with both feet while striking with his sword both right and left. He jumped and rotated in mid-air, striking an imaginary opponent with a downward killing blow as he landed.

Opponent after imaginary opponent was slain as he made his way around the fire. Everyone seated was frozen in amazement as this intrepid warrior vanquished his enemies in ways that they had never seen. He swept the blade through the embers of the fire as he passed between tribal members seated in front of him.

Not One Of Them Ever Moved Or Flinched

In the shadow of the fire’s glow, there appeared to be three warriors dancing and slaying their enemies. Cutty made his way back to his starting position and then KIAI’d again before dropping his head. It was customary—in Samurai tradition—at this point for someone of authority to release him from his exercise. Captain Nagata had released him while on ship with the command “MOKUSO YAME!”

Cutty Stood Silent With His Head Down In The Firelight

A red-tailed hawk then cried out in the distance, as Stoneheart rose with his arms extended and again started to chant. Cutty took this as the signal for his release. He sat down where he stood and waited for what Stoneheart was going to do next.

Every member of the tribe was still seated and facing Cutty, many with their backs to the fire. Jimmy got up from where he was sitting and took a position just behind Cutty. Two young boys had also walked over and were now sitting quietly beside him.

Stoneheart Finished His Chant And Began To Speak

As Jimmy translated, Stoneheart told those seated that…

“Tonight is a new chapter in the history of the Blackfoot Piegan People. A warrior has been shot from the bow of all that is good, and he has come to free the Piegan from our enemies and to resurrect our spirit. He is a warrior who has fought many battles and walked on foreign lands—lands that we can only wonder about. His enemies have been many in the pursuit of his honor. Early on, he conquered the only enemy that might ever truly defeat him—and that was fear.”

Cutty smiled inside himself, as Jimmy translated Stoneheart’s final words.

“The wisdom of savages,” he remembered the Colonel once saying. If anything savage had happened—since first meeting the three Piegan at the station—Cutty wanted no further part of what posed as civilization.

Stoneheart looked at Not-Many-Prisoners and, with sign language, instructed him on something he wanted done. Jimmy did not translate this, but the look on his face showed total disbelief.

“What’s the matter, Cadet; is something wrong? Is it something I did?”

“No, Major; there is nothing wrong. A new chapter in the long history of the Blackfoot Piegan People is being written tonight—a chapter that none of us had ever foreseen. Please remain seated until Chief Stoneheart and Not-Many-Prisoners come to get you.”

Cutty looked back and forth across the fire. Every member of the tribe was looking directly at him, and they were shaking their heads up and down.  Several of the men had gotten up and followed to where Not-Many-Prisoners had walked off into the darkness.

“I wonder what kind of ceremony comes next,” thought Cutty. “I hope it is accompanied with food.”

His Stomach Had Started To Growl



Chapter 22: The Intercession

Two women—seated to Cutty’s right—approached him and started to tug at his blouse. He was instantly confused at this strange behavior, as Jimmy said: “Please give it to them, Major. The reason will become clear before the night is out.”

With a slight bit of embarrassment, Cutty removed his military blouse. The brass buttons reflected the fire’s light as the women walked off into the dark.

Cutty stood there naked from the waist up as every scar he had ever suffered in battle seemed to dance across his body. The People were mesmerized by these scars and started to talk among themselves.

“Holy Markings,” said Jimmy. “They see your scars as something holy, and in their storytelling, they will become symbols of reverence. It has been a long time since any of them have seen scars made by a sword, and this will only add to the sense of immortality that they already feel for you.

This is a truly magical night, Major; and the best part is still to come. I hope you can feel what we are all feeling.”

The Best Part Still To Come

Cutty started to feel the cold and moved closer to the fire. He tried to do it inconspicuously so that no one would notice, but an old woman sitting on the other side of the fire was watching him with great interest. She stood up and started to walk his way. When she got to where he was sitting, she removed the blanket she was wearing from around her shoulders and wrapped it across and over his back.

Her Head Was Down

Her eyes were almost closed, and she never looked up, as Cutty turned to thank her. Jimmy said something to the old woman in Piegan, and she stopped and turned around. Cutty reached out for her right hand and pulled her down closer to him by the fire.

He stared deeply into the old woman’s eyes. There was a wrinkled and withered beauty to her face that he had never seen before. Every line and crack seemed to be hiding something of extreme importance.

Cutty could feel the power come through her hand, as her eyes never blinked. She was another one of those kindred spirits who had seen more than can be observed in any one lifetime.

Cutty smiled and asked the old woman for her name. “Mimiteh,” the woman said as she held on to Cutty’s hand. “New Moon,” said Jimmy.

“The old woman’s name translates to New Moon. She has been a source of knowledge and renewal within our tribe for many years. No one is certain how old she is, but her stories go back to before the whites came to our land. She is one of only two people who can talk directly to the Old One and enter her teepee unannounced.”

After looking the old woman in the eye, Cutty said: ”She has stories that go back much further than that—further than even the Piegan language can tell.”

As she got back up and started to leave, Cutty repeated her name. She turned once more in his direction and said: “The wind only blows—and the waters only run—in the shadow of your spirit. The Piegan People now live in that shadow, waiting for a new dawn.”

A New Dawn

Cutty tried to speak to the old woman again as another woman wrapped her blanket around Mimiteh and led her away. “That other woman is Hanata, the mother of Stoneheart,” Jimmy said. “It is best now to just let them go about their work.”  

A new drumbeat had started in the distance as Stoneheart and Not-Many-Prisoners walked back around the fire. Cutty stood up to meet them as Jimmy looked over his right shoulder. The two Piegan Elders flanked Cutty on each side and walked him toward the darkness.

No one spoke, as they walked quietly along a narrow trail. The moon’s light was hidden by the cottonwood branches above—spread out in full bloom—and acting as a canopy.

Cutty looked back over his shoulder, but Jimmy was nowhere to be seen. He wondered where they were going and how long it would take. After ten minutes of slow walking, Cutty heard the sounds of running water. The drumbeat had gotten louder, and now seemed close, as it magnified each image inside Cutty’s imagination.

As they got closer to the stream, Cutty could see that it angled steeply down from a ravine high above. The moon’s light was again visible along its banks. There were seven teepees going up the stream’s rise. They were spread twenty to thirty feet apart, and there were curious writings and drawings on their outsides.

Stoneheart and Not-Many-Prisoners walked Cutty by six of the teepees not stopping until they arrived at the last one. It was situated at the top of a short rise where the land leveled off and he could see for miles even in the dark. Cutty could hear voices inside, and he could see the glow of a fire through the teepee’s deerskin covering.

The Other Six Teepees Had Been Dug Into The Gently Sloping Bank

Stoneheart took the blanket from the back of Cutty’s shoulders as Not-Many-Prisoners bent down and pulled back the flap. “Please enter, Ichiban,” Stoneheart said. “Please enter this teepee as a visitor for the last time.”

Cutty ducked his head and stepped under the flap. In the center of the tepee was a smaller version of the stone-ringed fire pit they had just danced around. Ten Blackfoot Piegan men were seated cross-legged around the fire. Cutty was led to a seat of prominence, at the very back of the teepee, where he could see the entrance when he looked straight ahead.

Stoneheart walked back around the fire and took a seat right in front of the flap. He was now 180 degrees across from Cutty and sat cross-legged as the rest. Cutty also crossed his legs.

For a long time, there was silence inside the ancient dwelling with the crackling of juniper wood the only sound being made. Cutty thought it brought peace—along with great warmth—as the spirits of those seated chased away the past.

Old Memories Were Now Free To Leave, As New Ones Rose From The Flames

"The smile on my face does not mean that everything is perfect...it means that I appreciate what I have and what God has blessed me with" - Unknown author

" Holding onto anger is like grasping a hot coal with the intent of throwing it at someone else; you are the one that gets burned." - Budda

" Love is Like the Wind you can't see it but you can feel it"

"Life is not separate from Death it just seems that way"- Blackfoot Native American