my body is simply not conventional
to the clothes I wear
there are dips and hills plastered on my figure
hanes doesn't take into account
my weight or my height
so pulling up the waistband
drills the cotton into my skin
with no room to breathe
but I've gotten comfortable

my body is not conventional
to the clothes I wear
the hunch back of Notre Dame meets
a protruding belly that widens my waist
when I wear shirts
fabric strangles my hips
displaying my grotesque body
but I've gotten comfortable

my body is not conventional
to the clothes I wear
aged binders do their best
pools of skin are dipping out the sides
my ribs ache and it's hard to ignore
when my body wails a cracking chaos
pain and overstimulation have crept into dreams
but I've gotten comfortable

my body is not conventional
to the clothes I wear
my body is not conventional
but it doesn't bring despair
my body is not conventional
and you can't begin to understand it
because it's too crippling to bear
it's staggering to peep into a mirror
seeing my being labeled unpleasant
with the unnerving urge to rip my eyes out
and splatter my blood on the glass
why don't I just break down and sit there
it's heavy to carry my weight and be hyperaware
it's easy to not care and maybe I'd take that route
but I'm not conventional
so I'm taking another way downstairs

THE LEGEND OF HOLLYWOOD IN VERSE
Dear Readers, I have tried to cover the salient features of this True Story in free flowing verse mainly with end rhymes. If you read it loud, you can hear the chimes! Due to the short attention span of my readers I had to cut short this long story, and conclude with the
Golden Era of Hollywood by stretching it up to the 1950's only. When TV began to challenge the Big Screen Cinema seriously! I have used only a part of my notes here. Kindly read the entire poem and don't hesitate to know many interesting facts - which I also did not know! I wish there was a provision for posting a few interesting photographs for you here. Best wishes, - Raj Nandy, New Delhi.  

                 THE LEGEND OF HOLLYWOOD :
                        THE AMERICAN  DREAM
                             BY RAJ NANDY

           A SHORT  HISTORICAL  BACKGROUND
Since the earliest days, optical toys, shadow shows, and ‘magic
lanterns’, had created the illusion of motion.
This concept was first described by Mark Roget in 1824 as  
the 'persistent of vision'.
Giving impetus to the development of big screen cinema with its
close-ups, capturing all controlled and subtle expressions!
The actors were no longer required to shout out their parts with
exaggerated actions as on the Elizabethan Stage.
Now even a single tear drop could get noticed easily by the entire
movie audience!
With the best scene being included and edited after a few retakes.
To Thomas Edison and his able assistant William Rogers we owe the invention of Kinetoscope, the first movie camera.
On the grounds of his West Orange, New Jersey laboratory, Edison
built his first movie studio called the ‘Black Maria’.   (1893)
He also purchased a string of patents related to motion picture
Camera; forming the Edison Trust, - a cartel that took control of
the Film Industry entire!

Fort Lee, New Jersey:
On a small borough on the opposite bank of the Hudson River lay
the deserted Fort Lee.
Here scores of film production crews descended armed with picture Cameras, on this isolated part of New Jersey!
In 1907 Edison’s company came there to shoot a short silent film –
‘Rescue From an Eagle’s Nest’,
Which featured for the first time the actor and director DW Griffith.
The independent Chaplin Film Company built the first permanent
movie studio in 1910 in Fort Lee.
While some of the biggest Hollywood studios like the Universal,
MGM, and 20th Century Fox, had their roots in Fort Lee.
Some of the famous stars of the silent movie era included ‘Fatty’
Arbuckle, Will Rogers, Mary Pickford, Dorothy and Lillian Gish,
Lionel Barrymore, Rudolph Valentine and Pearl White.
In those days there were no reflectors and electric arch lights.
So movies were made on rooftops to capture the bright sunlight!
During unpredictable bad weather days, filming had to be stopped
despite the revolving stage which was made, -
To rotate and capture the sunlight before the lights atarted to fade!

Shift from New Jersey to West Coast California:
Now Edison who held the patents for the bulb, phonograph, and the Camera, had exhibited a near monopoly;
On the production, distribution, and exhibition of the movies which made this budding industry to shift to California from
New Jersey!
California with its natural scenery, its open range, mountains, desert, and snow country, had the basic ingredients for the movie industry.
But most importantly, California had bright Sunshine for almost
365 days of the year!
While eight miles away from Hollywood lay the port city of Los Angeles with its cheap labour.

                        THE RISE  OF  HOLLYWOOD
It was a real estate tycoon Harvey Wilcox and his wife Daeida from
Kansas, who during the 1880s founded ‘Hollywood’ as a community for like-minded temperate followers.
It is generally said that Daeida gave the name Hollywood perhaps
due to the areas abundant red-berried shrubs also known as
California Holly.
Spring blossoms around and above the Hollywood Hills with its rich variety,  gave it a touch of paradise for all to see !
Hollywood was incorporated as a municipality in 1903, and during
1910 unified with the city of Los Angeles.
While a year later, the first film studio had moved in from New
Jersey, to escape Thomas Edison’s monopoly!    (1911)

In 1913 Cecil B. De Mille and Jesse Lasky, had leased a barn with
studio facilities.
And directed the first feature length film ‘Squaw Man’ in 1914.
Today this studio is home to Hollywood Heritage Museum as we get to see.
The timeless symbol of Hollywood film industry that famous sign on top of Mount Lee, was put up by a real estate developer in 1923.  
This sign had read as ‘’HOLLY WOOD LAND’’ initially.
Despite decades of run-ins with vandals and pranksters, it managed to hang on to its prime location near the summit of the Hollywood Hills.
The last restoration work was carried out in 1978 initiated by Hugh
Hefner of the ******* Magazine.
Those nine white letters 45 feet tall now read ‘HOLLYWOOD’, and has become a landmark and America’s cultural icon, and an evocative symbol for ambition, glamour, and dream.
Forever enticing aspiring actors to flock to Hollywood, hypnotised
by lure of the big screen!

                     GOLDEN AGE OF HOLLYWOOD
The Silent Movie Era which began in 1895, ended in 1935 with the
production of ‘Dance of Virgins’, filmed entirely in the island of Bali.
The first Sound film ‘The Jazz Singer’ by Warner Bros. was made with a Vitaphone sound-on-disc technology.  (October 1927)
Despite the Great Depression of the 1930s, this decade along with the 1940s have been regarded by some as Hollywood’s Golden Age.
However, I think that this Golden Age includes the decades of the
1940s and the 1950s instead.
When the advent of Television began to challenge the Film Industry
itself !

First Academy Award:
On 16th May 1929 in the Roosevelt Hotel on Hollywood Boulevard,
the First Academy Award presentation was held.
Around 270 people were in attendance, and tickets were priced at
$5 per head.
When the best films of 1927 & 1928 were honored by the Academy
of Motion Production and Sciences, or the AMPS.
Emil Jennings became the best actor, and Janet Gaynor the best actress.
Special Award went to Charlie Chaplin for his contribution to the
silent movie era and for his silent film ‘The Circus’.
While Warren Brothers was commended for making the first talking picture ‘The Jazz Singer’, - also receiving a Special Award!
Now, the origin of the term ‘OSCAR’ has remained disputed.
The Academy adopted this name from 1939 onwards it is stated.
OSCAR award has now become “the stuff dreams are made of”!
It is a gold-plated statuette of a knight 13.5 inches in height, weighing 8.5 pounds, was designed by MGM’s art director Cedric Gibbons.
Annually awarded for honouring and encouraging excellence in all
facets of motion picture production.

Movies During the Great Depression Era (1929-1941):
Musicals and dance movies starring Fred Astaire and Ginger Rogers provided escapism and good entertainment during this age.
“Ginger Rogers did everything Fred Astaire did. She just did it
backwards and in high heels,” - the Critics had said.
This compatible pair entertained the viewers for almost one and
a half decade.
During the ‘30s, gangster movies were popular starring James Cagey, Humphrey Bogart, and Edward G. Robinson.
While family movies had their popular child artist Shirley Temple.
Swashbuckler films of the Golden Age saw the sword fighting scenes of Douglas Fairbanks and Errol Flynn.
Flynn got idolized playing ‘Robin Hood’, this film got released in
1938 on the big screen!
Story of the American Civil War got presented in the epic ‘Gone With The Wind’ (1939) with Clarke Gable and Vivian Leigh.
This movie received 8 Oscars including the award for the Best Film, - creating a landmark in motion picture’s history!
More serious movies like John Steinbeck’s ‘Grapes of Wrath’ and
John Ford’s  ‘How Green Was My Valley’, were released in 1940 and 1941 respectively.
While the viewers escaped that depressive age to the magical world
of  ‘Wizard of Oz’ with its actress Judy Garland most eagerly!
Let us not forget John Wayne the King of the Westerns, who began
his acting career in the 1930s with his movie ‘The Big Trail’;
He went on to complete 84 films before his career came to an end.
Beginning of the 40s also saw Bob Hope and the crooner Bing Crosby, who entertained the public and also the fighting troops.
For the Second World War (1939-45) had interrupted the Golden Age of Hollywood.
When actors like Henry Fonda, Clarke Gable, James Stewart and
Douglas Fairbanks joined the armed forces temporarily leaving
Hollywood.
Few propaganda movies supporting the war efforts were also made.
While landmark movies like ‘Philadelphia Story’, ‘Casablanca’, ‘Citizen Kane’,
‘The Best Years of Our Lives’, were some of the most successful movies of that decade.  (The 1940s)
Now I come towards the end of my Hollywood Story with the decade  of the 1950s, thereby extending the period of Hollywood’s Golden Age.
Since having past the Great Depression and the Second World War,  the Hollywood movie industry truly matured and came of age.

                        HOLLYWOOD  OF  THE  1950s

BACKGROU­ND:
The decade of the ‘50s was known for its post-war affluence and
choice of leisure time activities.
It was a decade of middle-class values, fast-food restaurants, and
drive-in- movies;
Of ‘baby-boom’, all-electric home, the first credit cards, and new fast moving cars like the Ford, Plymouth, Buick, Hudson, and Chevrolet.
But not forgetting the white racist terrorism in the Southern States!
This era saw the beginning of Cold War, with Eisenhower
succeeding Harry S. Truman as the American President.
But for the film industry, most importantly, what really mattered  
was the advent of the Domestic TV.
When the older viewers preferred to stay at home instead of going
out to the movies.
By 1950, 10.5 million US homes had a television set, and on the
30th December 1953, the first Color TV went on sale!
Film industries used techniques such as Cinemascope, Vista Vision,
and gimmicks like 3-D techniques,
To get back their former movie audience back on their seats!
However, the big scene spectacle films did retain its charm and
fantasy.
Since fantasy epics like ‘The Story of Robin Hood’, and Biblical epics like ‘The Robe’, ‘Quo Vadis’, ‘The Ten Commandments’ and ‘Ben-Hur’, did retain its big screen visual appeal.
‘The Robe’ released on 16th September 1953, was the first film shot
and projected in Cinema Scope;
In which special lenses were used to compress a wide image into a
standard frame and then expanded it again during projection;
Resulting in an image almost two and a half times as high and also as wide, - captivating the viewers imagination!

DEMAND FOR NEW THEMES DURING THE 1950s :
The idealized portrayal of men and women since the Second World War,
Now failed to satisfy the youth who sought exciting symbols for rebellion.
So Hollywood responded with anti-heroes with stars like James Dean, Marlon Brando, and Paul Newman.
They replaced conventional actors like Tyron Power, Van Johnson, and Robert Taylor to a great extent, to meet the requirement of the age.
Anti-heroines included Ava Gardner, Kim Novak, and Marilyn Monroe with her vibrant *** appeal;
She provided excitement for the new generation with a change of scene.
Themes of rebellion against established authority was present in many Rock and Roll songs,
Including the 1954 Bill Hailey and His Comets’ ‘Rock Around the Clock’.
The era also saw rise to stardom of Elvis Presley the teen heartthrob.
Meeting the youthful aspirations with his songs like ‘Jailhouse Rock’!
I recall the lyrics of this 1957 film ‘Jailhouse Rock’ of my school days, which had featured the youth icon Elvis:
   “The Warden threw a party in the county jail,
     The prison band was there and they began to wail.
     The band was jumping and the joint began to sing,
     You should’ve heard them knocked-out jail bird sing.
     Let’s rock, everybody in the whole cell block……………
     Spider Murphy played the tenor saxophone,
     Little Joe was blowing the slide trombone.
     The drummer boy from Illinois went crash, boom, bang!
     The whole rhythm section was the Purple Gang,
      Let's rock,.................... (Lyrics of the song.)

Rock and Roll music began to tear down color barriers, and Afro-
American musicians like Chuck Berry and Little Richard became
very popular!
Now I must caution my readers that thousands of feature films got  released during this eventful decade in Hollywood.
To cover them all within this limited space becomes an impossible
task, which may kindly be understood !
However, I shall try to do so in a summarized form as best as I could.

BOX OFFICE HITS YEAR-WISE FROM 1950 To 1959 :
Top Ten Year-Wise hit films chronologically are: Cinderella (1950),
Quo Vadis, The Greatest Show on Earth, Peter Pan, Rear Window,
Lady and the *****, Ten Commandments, Bridge on the River
Kwai, South Pacific, and Ben-Hur of 1959.

However Taking The Entire Decade Of 1950s Collectively,
The Top Films Get Rated As Follows Respectively:
The Ten Commandments, followed by Lady and the *****, Peter Pan, Sleeping Beauty, Bridge on the River Kwai, Around the World in Eighty Days, This is Cinerama, The Greatest Show on Earth, Rear Window, South Pacific, The Robe, Giant, Seven Wonders of the World, White Christmas, Twenty Thousand Leagues Under the Sea, Sayonara, Demetrius and the Gladiator, Peyton Place, Some Like It Hot, Quo Vadis, and Auntie Mame.

Film Debuts By Rising Stars During The 1950s :
The decade of the ‘50s saw a number of famous film stars making
their first appearance.
There was Peter Sellers in ‘The Black Rose’, Marlon Brando in
‘The Men’, and actress Sophia Loren in ‘Toto Tarzan’.
Following year saw Charles Bronson in ‘You Are in the Navy Now’,
Audrey Hepburn in ‘Our Wild Oats’, and Grace Kelly, the future
Princess of Monaco, in her first film ‘Fourteen Hours’. (1951)
While **** Brigitte Bardot appeared in 1952 movie ‘Crazy for Love’; and 1953 saw Steve Mc Queen in ‘******* The Run’.
Jack Lemon, Paul Newman, and Omar Sharif featured in films
during 1954.
The following year saw Clint Eastwood, Shirley Mc Lean, Walter
Matthau, and Jane Mansfield, all of whom the audience adored.
The British actor Michael Cain appeared in 1956; also Elvis Presley
the youth icon in ‘Love Me Tender’ and as the future Rock and Roll
King!
In 1957 came Sean Connery, followed by Jack Nicholson, Christopher Plummer, and Vanessa Redgrave.
While the closing decade of the ‘50s saw James Coburn, along with
director, script writer, and producer Steven Spielberg, make their
debut appearance.

Deaths During The 1950s: This decade also saw the death of actors
like Humphrey Bogart, Tyron Power and Errol Flynn.
Including the death of producer and director of epic movies the
renowned Cecil B. De Mille!
Though I have conclude the Golden Age of Hollywood with the 50’s Decade,
The glitz and glamour of its Oscar Awards continue even to this day.
With its red carpet and lighted marquee appeal and fashion display!

CONTINUING THE HOLLYWOOD STORY WITH FEW TITBITS :
From Fort Lee of New Jersey we have travelled west to Hollywood,
California.
From the silent movie days to the first ‘talking picture’ with Warren
Bros’ film ‘The Jazz Singer’.  (06 Oct 1927)
On 31st July 1928 for the first time the audience heard the MGM’s
mascot Leo’s mighty roar!
While in July 1929 Warren Bros’ first all-talking and all- Technicolor
Film appeared titled - ‘On With The Show’.
Austrian born Hedy Lamarr shocked the audience appearing **** in a Czechoslovak film ‘Ecstasy’!  (1933)
She fled from her husband to join MGM, becoming a star of the
‘40s and the ‘50s.
The ‘Private Life of Henry VII’ became the first British film to win the  American Academy Award.  (1933)
On 11Dec 1934, FOX released ‘Bright Eyes’ with Shirley Temple,
who became the first Child artist to win this Award!
While in 1937 Walt Disney released the first full animated feature
film titled - ‘Snow White and the Seven Dwarf ‘.
The British film director Alfred Hitchcock who came to
Hollywood later;
Between 1940 and 1947, made great thrillers like 'Rebecca', ‘Notorious’, ‘Rear Window’, and ‘Dial M for ******’.
But he never won an Oscar as a Director!

THE GOLDEN GLOBE AWARD:
This award began in 1944 by the Foreign Correspondence Association at
the 20th Century Fox Studio.
To award critically acclaimed films and television shows, by awarding a
Scroll initially.
Later a Golden Globe was made on a pedestal, with a film strip around it.
In 1955 the Cecil B. De Mille Award was created, with De Mille as its first
recipient.

THE GRAMMY AWARD:
In 1959 The National Academy of Recording and Sciences sponsored the
First Grammy Award for music recorded during 1958.
When Frank Sinatra won for his album cover ‘Only The Lonely’, but he
did not sing.
Among the 28 other categories there was Ella Fitzgerald, and Count Basie
for his musical Dance Band Performance.
There was Kingston Trio’s song ‘Tom Dooly’, and the ‘Chipmunk Song’,
which brings back nostalgic memories of my school days!

CONCLUDING HOLLYWOOD STORY  WITH STUDIOS OF THE 1950s

Challenge Faced by the Movie Industry:
Now the challenge before the Movie Industry was how to adjust to the
rapidly changing conditions created by the growing TV Industry.
Resulting in loss of revenue, with viewers getting addicted to
their Domestic TV screen most conveniently!

The late 1950s saw two studios REPUBLIC and the RKO go out of business!
REPUBLIC from 1935- ‘59 based in Los Angeles, developed the careers of
John Wayne and Roy Rogers, and specializing in the Westerns.
RKO was one of the Big Five Studios of Hollywood along with Paramount,
MGM, 20th Century Fox, and Warner Brothers in those days.

RKO Studio which begun with Fred Astaire and Ginger Rogers in the ‘30s,
included actress Katherine Hepburn who holds the record for four Oscars
even to this day;
And later had Robert Mitchum and Carry Grant under an agreement.
But in 1948, RKO Studio came under the control Howard Hughes the
temperamental Industrialist.
Soon the scandal drive and litigation prone RKO Studio closed, while
other Big Four Studios had managed to remain afloat!


PARAMOUNT STUDIO:
Paramount Studio split into two separate companies in 1950.
Its Theatre chain later merged with ABC Radio & Television Network;
And they created an independent Production/Distribution Network.
Bing Crosby and Bob Hope had been Paramount’s two biggest stars.
Followed by actors like Alan Ladd, William Holden, Jerry Lewis, Dean
Martin, Charlton Heston, and Dorothy Lamour.
They also had the producer/director Cecil B. De Mille producing high-
grossing Epics like ‘Samson & Delilah’ and ‘The Ten Commandments’.
Also the movie maker Hal Wallis, who discovered Burt Lancaster and
Elvis Presley - two great talents!

20th CENTURY FOX:
Cinema Scope became FOX’s most successful technological innovation
with its hit film ‘The Robe’. (1953)
Its Darryl Zanuck had observed during the early ‘50s, that audience  
were more interested in escapist entertainments mainly.
So he turned to FOX to musicals, comedies, and adventure stories.
Biggest stars of FOX were Gregory Peck & Susan Hayward; also
stars like Victor Mature, Anne Baxter, and Richard Wind Mark.
Not forgetting Marilyn Monroe in her Cinema Scope Box Office hit
movie - ‘How to Marry a Millionaire’, which was also shown on
prime time TV, as a romantic comedy film of 1953.

WARREN BROTHERS:
During 1950 the studio was mainly a family managed company with
three brothers Harry, Albert, and Jack Warren.
To meet the challenges of that period, Warren Bros. released most of
its actors like James Cagney, Humphrey Bogart, Oliver de Havilland, -
Along with few others from their long-term contractual commitments;
Retaining only Errol Flynn, and Ronald Regan who went on to become
the future President.
Like 20th Century Fox, Warren Bros switched to musicals, comedies,
and adventure movies, with Doris Day as its biggest musical star.
The studio also entered into short term agreements with Gary Copper,
John Wayne, Gregory Peck, Patricia Neal, and Random Scott.
Warren Bros also became the first major studio to invest in 3-D
production of films, scoring a big hit with its 3-D  suspense thriller
‘House of Wax’ in 1953.

MINOR STUDIOS were mainly three, - United Artists, Columbia, and
The Universal.
They did not own any theatre chain, and specialized in low-budgeted
‘B’ Movies those days.
Now to cut a long story short it must be said, that Hollywood finally
did participate in the evolution of Television industry, which led to
their integration eventually.
Though strategies involving hardware development and ownership of
broadcast outlets remained unsuccessful unfortunately.
However, Hollywood did succeed through program supply like prime-
time series, and made-for-TV films for the growing TV market making
things more colorful!
Thus it could be said that the TV industry provided the film industry
with new opportunities,  laying the groundwork for its diversification
and concentration;
That characterized the entertainment industry during the latter half  
of our previous century.
I must now confess that I have not visited the movie theatre over the last
two decades!
I watch movies on my big screen TV and my Computer screen these days.
Old classical movies are all available on ‘You Tube’ for me, and I can watch
them any time whenever I am free!
Thanks for reading patiently, - Raj Nandy.
**ALL COPYRIGHTS ARE WITH THE AUTHOR RAJ NANDY OF NEW DELHI

Here is a primer on the history of poetry

Features of Modernism

To varying extents, writing of the Modernist period exhibits these features:

1. experimentation

belief that previous writing was stereotyped and inadequate
ceaseless technical innovation, sometimes for its own sake
originality: deviation from the norm, or from usual reader expectations
ruthless rejection of the past, even iconoclasm

2. anti-realism

sacralisation of art, which must represent itself, not something beyond preference for allusion (often private) rather than description
world seen through the artist's inner feelings and mental states
themes and vantage points chosen to question the conventional view
use of myth and unconscious forces rather than motivations of conventional plot

3. individualism

promotion of the artist's viewpoint, at the expense of the communal
cultivation of an individual consciousness, which alone is the final arbiter
estrangement from religion, nature, science, economy or social mechanisms
maintenance of a wary intellectual independence
artists and not society should judge the arts: extreme self-consciousness
search for the primary image, devoid of comment: stream of consciousness
exclusiveness, an aristocracy of the avant-garde

4. intellectualism

writing more cerebral than emotional
work is tentative, analytical and fragmentary, more posing questions more than answering them
cool observation: viewpoints and characters detached and depersonalized
open-ended work, not finished, nor aiming at formal perfection
involuted: the subject is often act of writing itself and not the ostensible referent

............
Expressionism

Expressionism was a phase of twentieth-century writing that rejected naturalism and romanticism to express important inner truths. The style was generally declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that belong to all men, and which European civilization had rendered effete or inauthentic. The movement drew on Rimbaud and Nietzsche, and was best represented by German poetry of the 1910-20 period. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm, Schnack and Werfel are its characteristic proponents, {1} though Trakl is the best known to English readers. {2} {3}

Like most movements, there was little of a manifesto, or consensus of beliefs and programmes. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order". Expressionism was very heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early Surrealism, many of which crop up in English, French, Russian and Italian poetry of the period. Political attitudes tended to the revolutionary, and technique was overtly experimental. Nonetheless, for all the images of death and destruction, sometimes mixed with messianic utopianism, there was also a tone of resignation, a sadness of "the evening lands" as Spengler called them.

Expressionism also applies to painting, and here the characteristics are more illuminating. The label refers to painting that uses visual gestures to transmit emotions and emotionally charged messages. In the expressive work of Michelangelo and El Greco, for example, the content remains of first importance, but content is overshadowed by technique in such later artists as van Gogh, Ensor and Munch. By the mid twentieth-century even this attenuated content had been replaced by abstract painterly qualities — by the sheer scale and dimensions of the work, by colour and shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering the horrors of the First World War, and ineffectual governments afterwards, fragmented into violently opposed political movements, each with their antagonistic coteries and milieu. The painting of these groups was very variable, but often showed a mixture of aggression and naivety. Understandably unpopular with the establishment  — denounced as degenerate by the Nazis — the style also met with mixed reactions from the picture-buying public. It seemed to question what the middle classes stood for: convention, decency, professional expertise. A great sobbing child had been let loose in the artist's studio, and the results seemed elementally challenging. Perhaps German painting was returning to its Nordic roots, to small communities, apocalyptic visions, monotone starkness and anguished introspection.

What could poetry achieve in its turn? Could it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of poetry, and to the exclusion of content? Poetry can never be wholly abstract, a pure poetry bereft of content. But clearly there would be a rejection of naturalism. To represent anything faithfully requires considerable skill, and such skill was what the Expressionists were determined to avoid. That would call on traditions that were not Nordic, and that were not sufficiently opposed to bourgeois values for the writer's individuality to escape subversion. Raw power had to tap something deeper and more universal.

Hence the turn inward to private torments. Poets became the judges of poetry, since only they knew the value of originating emotions. Intensity was essential.  Artists had to believe passionately in their responses, and find ways of purifying and deepening those responses — through working practices, lifestyles, and philosophies. Freud was becoming popular, and his investigations into dreams, hallucinations and paranoia offered a rich field of exploration. Artists would have to glory in their isolation, moreover, and turn their anger and frustration at being overlooked into a belief in their own genius. Finally, there would be a need to pull down and start afresh, even though that contributed to a gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an elaborate body of theory to justify, support and overtake what might otherwise appear infantile and irrational. And if traditional art cannot be pure emotional expression, then a new art would have to be forged. Such poetry would not be an intoxication of life (Nietzsche's phrase) and still less its sanctification.  Great strains on the creative process were inevitable, moreover, as they were in Georg Trakl's case, who committed suicide shortly after writing the haunting and beautiful piece given below

................
SYMBOLIST POETS
symbolism in poetry

Symbolism in literature was a complex movement that deliberately extended the evocative power of words to express the feelings, sensations and states of mind that lie beyond everyday awareness. The open-ended symbols created by Charles Baudelaire (1821-67) brought the invisible into being through the visible, and linked the invisible through other sensory perceptions, notably smell and sound. Stéphane Mallarmé (1842-98), the high priest of the French movement, theorized that symbols were of two types. One was created by the projection of inner feelings onto the world outside. The other existed as nascent words that slowly permeated the consciousness and expressed a state of mind initially unknown to their originator.

None of this came about without cultivation, and indeed dedication. Poets focused on the inner life. They explored strange cults and countries. They wrote in allusive, enigmatic, musical and ambiguous styles. Rimbaud deranged his senses and declared "Je est un autre". Von Hofmannstahl created his own language. Valéry retired from the world as a private secretary, before returning to a mastery of traditional French verse. Rilke renounced wife and human society to be attentive to the message when it came.

Not all were great theoreticians or technicians, but the two interests tended to go together, in Mallarmé most of all. He painstakingly developed his art of suggestion, what he called his "fictions". Rare words were introduced, syntactical intricacies, private associations and baffling images. Metonymy replaced metaphor as symbol, and was in turn replaced by single words which opened in imagination to multiple levels of signification. Time was suspended, and the usual supports of plot and narrative removed. Even the implied poet faded away, and there were then only objects, enigmatically introduced but somehow made right and necessary by verse skill. Music indeed was the condition to which poetry aspired, and Verlaine, Jimenez and Valéry were among many who concentrated efforts to that end.

So appeared a dichotomy between the inner and outer lives. In actuality, poets led humdrum existences, but what they described was rich and often illicit: the festering beauties of courtesans and dance-hall entertainers; far away countries and their native peoples; a world-weariness that came with drugs, isolation, alcohol and bought ***. Much was mixed up in this movement — decadence, aestheticism, romanticism, and the occult — but its isms had a rational purpose, which is still pertinent. In what way are these poets different from our own sixties generation? Or from the young today: clubbing, experimenting with relationships and drugs, backpacking to distant parts? And was the mixing of sensory perceptions so very novel or irrational? Synaesthesia was used by the Greek poets, and indeed has a properly documented basis in brain physiology.

What of the intellectual bases, which are not commonly presented as matters that should engage the contemporary mind, still less the writing poet? Symbolism was built on nebulous and somewhat dubious notions: it inspired beautiful and historically important work: it is now dead: that might be the blunt summary. But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now. The contents of consciousness were the concern of Edmund Husserl (1859-1938), and he developed a terminology later employed by Heidegger (1889-1976), the Existentialists and hermeneutics. Current theories on metaphor and brain functioning extend these concepts, and offer a rapprochement between impersonal science and irrational literary theory.

So why has the Symbolism legacy dwindled into its current narrow concepts? Denied influence in the everyday world, poets turned inward, to private thoughts, associations and the unconscious. Like good Marxist intellectuals they policed the area they arrogated to themselves, and sought to correct and purify the language that would evoke its powers. Syntax was rearranged by Mallarmé. Rhythm, rhyme and stanza patterning were loosened or rejected. Words were purged of past associations (Modernism), of non-visual associations (Imagism), of histories of usage (Futurism), of social restraint (Dadaism) and of practical purpose (Surrealism). By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational. Even Postmodernism, with its bric-a-brac of received media images and current vulgarisms, ensures that gaps are left for the emerging unconscious to engage our interest

......................

.
IMAGIST POETRY
imagist poetry

Even by twentieth-century standards, Imagism was soon over. In 1912 Ezra Pound published the Complete Poetical Works of its founder, T.E. Hulme (five short poems) and by 1917 the movement, then overseen by Amy Lowell, had run its course. {1} {2} {3} {4} {5} The output in all amounted to a few score poems, and none of these captured the public's heart. Why the importance?

First there are the personalities involved — notably Ezra Pound, James Joyce, William Carlos Williams {6} {7} {8} {9} — who became famous later. If ever the (continuing) importance to poets of networking, of being involved in movements from their inception, is attested, it is in these early days of post-Victorian revolt.

Then there are the manifestos of the movement, which became the cornerstones of Modernism, responsible for a much taught in universities until recently, and for the difficulties poets still find themselves in. The Imagists stressed clarity, exactness and concreteness of detail. Their aims, briefly set out, were that:

1. Content should be presented directly, through specific images where possible.
2. Every word should be functional, with nothing included that was not essential to the effect intended.
3. Rhythm should be composed by the musical phrase rather than the metronome.

Also understood — if not spelled out, or perhaps fully recognized at the time — was the hope that poems could intensify a sense of objective reality through the immediacy of images.

Imagism itself gave rise to fairly negligible lines like:

You crash over the trees,
You crack the live branch…  (Storm by H.D.)

Nonetheless, the reliance on images provided poets with these types of freedom:

1. Poems could dispense with classical rhetoric, emotion being generated much more directly through what Eliot called an objective correlate: "The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." {10}

2. By being shorn of context or supporting argument, images could appear with fresh interest and power.

3. Thoughts could be treated as images, i.e. as non-discursive elements that added emotional colouring without issues of truth or relevance intruding too mu
...............
PROSE BASED POETRY
prose based poetry

When free verse lacks rhythmic patterning, appearing as a lineated prose stripped of unnecessary ornament and rhetoric, it becomes the staple of much contemporary work. The focus is on what the words are being used to say, and their authenticity. The language is not heightened, and the poem differs from prose only by being more self-aware, innovative and/or cogent in its exposition.

Nonetheless, what looks normal at first becomes challenging on closer reading — thwarting expectations, and turning back on itself to make us think more deeply about the seemingly innocuous words used. And from there we are compelled to look at the world with sharper eyes, unprotected by commonplace phrases or easy assumptions. Often an awkward and fighting poetry, therefore, not indulging in ceremony or outmoded traditions.
What is Prose?

If we say that contemporary free verse is often built from what was once regarded as mere prose, then we shall have to distinguish prose from poetry, which is not so easy now. Prose was once the lesser vehicle, the medium of everyday thought and conversation, what we used to express facts, opinions, humour, arguments, feelings and the like. And while the better writers developed individual styles, and styles varied according to their purpose and social occasion, prose of some sort could be written by anyone. Beauty was not a requirement, and prose articles could be rephrased without great loss in meaning or effectiveness.

Poetry, though, had grander aims. William Lyon Phelps on Thomas Hardy's work: {1}

"The greatest poetry always transports us, and although I read and reread the Wessex poet with never-lagging attention — I find even the drawings in "Wessex Poems" so fascinating that I wish he had illustrated all his books — I am always conscious of the time and the place. I never get the unmistakable spinal chill. He has too thorough a command of his thoughts; they never possess him, and they never soar away with him. Prose may be controlled, but poetry is a possession. Mr. Hardy is too keenly aware of what he is about. In spite of the fact that he has written verse all his life, he seldom writes unwrinkled song. He is, in the last analysis, a master of prose who has learned the technique of verse, and who now chooses to express his thoughts and his observations in rime and rhythm."

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OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition

.
A poet's heart isn't like any other...
It's the tears that trickle with radiance through words.
     It's a treasure trove that hides but longs to
     be found.
          It's a book shelved high that wants to
          be read.
               It's the freest of all birds caged but
               unbound...

A poet's heart isn't like any other...
It doesn't beat to the capable strokes of the artist.
     It doesn't pump in the most vibrant of
     colours.
          It doesn't wield a paintbrush to
          translate its thoughts.
               But it can see through the eyes of
               painters...

A poet's heart isn't like any other...
It doesn't conform to the conventional parameters of lyrics.
     It doesn't bind itself to the requirements
     of musical harmony.
          It doesn't follow the conventions of
          genres.
               But it sings its voice loud without
               restrictions of melody...

A poet's heart isn't like any other...
It's an open secret, that whispers in metaphoric codes.
     It's an exploding universe, that merges
     back into galaxies.
          It's a sought after painting, that boasts
          of unfathomable beauty.
               It's an everlasting song, that echoes
               within the poet that embodies...

Tantalized by the fractious limerence of a vestigial habiliment of the old order, we conclude that hypertrophy leads to a limbo where random permutations alloyed by the rickety limits of concatenation subsume concepts that are equivocal but populate the imaginations of newfangled art forms that jostle the midwives of rumination to lead to unique pastures that are intuitively calibrated to correspond to definitive unitary events in conceptual space that sprawl unexpectedly towards the desultory but determinative conclusion of a meandering ludic sphere of rambunctious sentiments cobbled together to either rivet the captive audience or annoy the peevish criticaster when they dare to inseminate the canvassed and corrugated tract of intellectual territory created ad hoc to swelter the imagination with audacious ingenuity that is an inevitable byproduct of lexical hypertrophy. In this séance with the immaterial realm of concept rather than the predictable clockwork reductivism of a perceptual welter that is limited by the concretism circumscribed by spatiotemporal stricture we find that an extravagant twinge of even the smallest tocsin in the interstitial carousel of conscientious subroutines compounding recursively to pinprick the cossetted smolder of potentiality rather than extravagate into the vacancy of untenanted nullibiety can spawn a progeny of utilities and vehicles for dexterous abstraction that poach the exotic concepts we fathom by degrees of sapience malingering in lifeless bricolages of erratic abstraction in manners useful to transcend the repose of abeyance and heave awakening into the slumberous caverns of still-life to make them dynamically animated to capture ephemeral events that defy the demarcations of wistful indelicacy of the encumbered bulk of insufficient precision.

Today we embark on a quest to defile the anoegenetic recapitulation of canon that litters the dilapidated avenues of miserly contemplation that has a histeriological certainty and feeds the engines that enable novelty but ultimately remain rancid with the stench of the idiosyncratic shibboleths of synoptic alloyed impoverishment that leads to the vast wasteland of cremated entropy that is a stained foible of misappropriated context interpolated usefully as botched triage for daunting problems that require a nimble legerdemain of facile versatility that we easily adduce to conquer the present with the botched memorial of a defunct salience. Despite the travail of scholars to retreat from the frontier into the hypostatized hegemony of recycled credentialed information, we often are ensnared by the solemn attrition of decay as we traverse the conceptual underpinnings of all bedrock thought only to dangle precariously near the void of lapsed sentience because of transitory incontinence that is contiguous to the doldrums of crudity but nevertheless with mustered mettle we purport that the very self-serious awakening to our hobbling limitations is akin to a prosthetic enhancement of ratiocination capable of feats that stagger beneath the lowest level of subtext to elevate the highest superordinate categorization into heightened scrutiny that burgeons metacognitive limber. Marooned in the equipoise of specifiable enlightenment countermanded by the strictures of working memory we can orchestrate transverse pathways between the elemental quiddity of impetuous meaning and the dignified tropes of transitivity that bequeaths entire universes with feral progeny that modulate their ecosystems with both a taste of approximated symmetry and a cohesive enterprise for productivity that rests on the granular concordance of the highest plane to the indivisible parcels of atomic meaning that solder together to exist as intelligible if strained by the primordial frictions guaranteed by the brunt of motion incipient because of the metaphorical inertia created within insular universes to inform sprawling conurbations of mobilized thoughts designed to reckon with the breakneck pace of the corresponding reality to which they explicitly and precisely refer to.

We must singe surgically the filigrees that amount to the perceptible realities that transmute temperaments into the liturgy of routine conflated with the rigmarole of neural dragnets of reiterative quips in an elegant game of raillery with our supernal contumacy against the rigid authority of aleatory vagaries mandated by a dually arbitrary universe in a probabilistic terpsichorean dance with the depth of our dredge for subliminal acuity or the shallow bellicosity of common modes of glib contemplation characteristic of the basic nobility of improvisation. This basic interface with the world can either be mercurial or tranquil based on the interactionism of the enfeebled trudge of surface senses or blunt intuitions and the smoldering impact of the vestigial cloaks that deal gingerly with the poignant subtext evoked in the cauldron of immediacy rather than pondered with the portentous weight of imperative singularities of uniqueness derived from the plunge into the arcane citadel of microscopic introspection so refined that the ineffable drives we seek to fathom become amenable to the traipse of transcendental time that rarefies itself by defying the brunt of compartmentalized bureaucracies administered by the fulcrum of stereotypical notions of acquired gravitas imputed to mundane pedestrian quidnunc concerns that defile humanity rather than embolden the subaudition of gritty punctilios that show the supernal powers of the axiomatic divinity of sharpened sentience to reign with supremacy over the baser ignoble components of bletcherous nescience that leads to knee-**** platitudes that provoke folksy peevish divisions. We should rather orchestrate our activity by heeding the admonishment about the primogeniture of poignant sabotage buffered by the remonstration of innate tranquility and finding a whipsawed compromise of rationalization with true visceral encounters with the fulgurant quips of brisk emotions that grind industriously into amorphous retinues of the trenchant human imagination to either equip or hobble the leapfrogged interrogation of veracity and more consequently our notions of truth and fact.

When we see the hackneyed results of default ecological dynamics, we find ourselves aloof from purported transcendence because the whimpered bleats and cavils of the importunate masses result in a deafening din of cacophony because we strive throbbing with sprightliness towards the galloped chase of tantalization without the luxury of a terminus for satiation. Obviously a growth mindset is the galvanic ****** that spawns the imaginative swank of the pliable modulations of our perceived reality that, when protean, showcase the limitless verve of our primordial cacoethes for epigenetic evolution rather than the stolid and staid foreclosure of impervious sloth that memorializes the gluttony of speculation about fixed entities rather than imperative jostling urbanity that dignifies the brackish dance with dearth and the exuberant savory taste of momentary excess because it engages the animated pursuit of limerence rather than the exhumed corpse of wistful regret. Nature is a cyclical clockwork system of predatory instinct met with the clemency of the prosperous providence enacted by the travailing ingenuity of successive cumulative generativities that compounded unevenly and unpredictably to predicate a fundamental zeitgeist calculated to engorge the fattened resources of the resourceful and temper the etiolated dreams of the fringed acquiescence of a hulking prejudiced population of dutiful servants that balk at the diminutive prospects of a lopsided distribution of talent and means but slumber in irenic resolve created by the merciful hands of defensive designs that configure consciousness to relish comparative touchstones rather than absolute outcomes that straggle beyond a point of enviable reference to shield the world of the barbarism of botched laments clamoring for an uncertain grave from the gravity of the orbiting satellites of apportioned wealth both sunblind and boorish but simultaneously inextricable from the acclimated fortune of heaped nepotism and herculean opportunism. The intransigence of the weighted destiny of inequity is a squalid enterprise of primeval abrasive and combative tendencies within the bailiwick of the indignant compass inherent to the system that fathoms its deficiencies with crabwise and gingerly pause but airs a sheepish grievance like a bleat of self-exculpation but simultaneously an arraignment of fundamental attribution erroneously indicted without the selfsame reflexiveness characteristic of a transcendent being with other recourses to clamber an avenue to Broadway without malingering in the slums of opprobrious ineffectual remonstration against the arrangement of a blinkered metropolis of uneven gentrification.

We flicker sometimes between the strategic drivel of appeasement and the candor of audacious imprecation of the culprits of indignity or considerate nutritive encomium of the beacons of ameliorated enlightenment because we often masquerade a half-witted glib consciousness lazily sketched by the welters of verve alloyed with the rancid distaste of squalor and slumber on the faculty of conscientious swivels of prudential expeditions with an avarice for bountiful considered thought and wily contortions of demeanor that issue the affirmative traction of adaptive endeavor to cheat a warped system for a reconciled peace and a refined self-mastery. We need to traduce the urchins that sting the system with pangs of opprobrious ballyhoo and the effluvia of foofaraw that contaminate with pettifoggery and small-minded blather the arenas better suited for the gladiatorial combat of cockalorums tinged with a dose of intellectual effrontery beyond the span of dogmatism rather than the hackneyed platitudes that infest the news cycle with folksy backwardation catered to the fascism of a checkered established press that urges insurrection while tranquilizing dissent against the furtive actions of consequence hidden behind the draped verdure of pretense whose byproduct is only a self-referential sophistry that swarms like an intractable itch to devolve the spectator into a pasquinaded spectacle of profound human obtuseness that pervades malignantly the system of debate until the reductionists outwit themselves with the empty prevarication of circular logic that deliberately misfires to miss the target of true importance because of the pandered black hole easily evaded by creatures of high sentience but inevitably ensnaring the special kind of dupe into a cycle of bellicose ferocity of internecine balkanization. The vainglory of the omphalos of entertainment is also another reckoning because it festers a cultural mythos of glorified crapulence parading a philandered promiscuity with half-baked antics that gravitate attention and the lecheries of gaudy tenses of recycled tinsel alloyed by debased aberrations of seedy grapholagnia that magnetize as they percolate because of the insidious catchphrases embedded in pedestrian syncopation that ignite retention and acclimate to mediocrity the sounds of generations discolored by faint pasty rainbows rather than ennobled by majestic landscapes of ignipotent mellifluous sound that stands a supernal amusement still for the resourceful trainspotter.

Despite the contumely aimed in the direction of contrarians for deviating from the lockstep clockwork hustle of stooped pandered manipulation that peddles the wares of an entirely counterfeit reality, I stand obstinately against the melliferous stupefaction of entire genres of myth and subcultures huddled around the sentimental tug of factitious sophistries regaled by thick amorphous apostates that cherish the vacuous sidetracked spotlight with fervor rather than pausing on the enigmatic querulous inquisition about the penumbras that lurk with strained effort beneath or above the categorical nescience of the shadowy unknown that often coruscates with elegance even in obscurity. I fight with labored words to spawn a psychological discipline that invokes the incisive subaudition of the pluckily pricked exorcism of true insight from the husk of buzzwords that constellate auxiliary tangential distractions from the art form of psychological discernment that predicates itself on the concept that the rarefaction of rumination by degrees of microscopic precision enables the introspective hindsight of conscious events that can be parsed without the acrimony of cluttered conflations of the granular prowess of triumphant ratiocination that earns a panoramic perch with the added luxury of perspicacious insight into the atomic structure of the rudiments of our phenomenological field and the abstractions that linger beyond perceptual categorization. When we analyze the gradients of anger, for example, we can either be ****** into a brooded twinge of wistful resentment or we can decipher that through heuristics designed to cloister the provenance of subconscious repose with ignorance there exists a regimented array of tangential accessories embedded deep within the cavernous repository of memory that designates a cumulative trace of compounded symmetries of concordant experience immediately perceptible because of the tangible provocateur of our gripes and the largely subliminal tusk that protrudes because of primal instinct that squirms with peevishness because of the momentary context preceded by the desultory churn of smoldering associations swimming with either complete intangible sputtered mobility through the tract of subconscious hyperspace or rigidly fixated by an arraignment of circumstances with propinquity to the deep unfathomed flicker of bygones receding or protruding because of the warped and largely unpredictable rigmarole of constellated spreading activation.  
When we examine the largesse of the swift recourse of convenience we forget by degrees the travail that once bridged the span of experience from patient abeyance in provident pursuit to now the importunate glare of inflated expectations for immediacy that stings the whole enterprise of societal dynamics because it vitiates us with a complacency for the filigrees of momentary tinsel of a virtualized reality divorced from the concretism that used to undergird interaction and now stands outmoded as a wisp beyond outstretched hands straggling beyond the black mirror of a newfangled narcissistic clannishness that shepherds the ostentation of conceit to a predominant position that swaddles us with fretful diversion that operates on a warped logic of lurid squalor and pasty trends becoming the mainstays of a hypercritical linguistic system of entrapment based on the apostasy of candor for the propitiation of fringed aberration because of the majoritarian uproar about touchy butthurt pedantic criticasters with a penchant for persnickety structuralism. With the infestation of entertainment with the ubiquitous political cavils engineered by the ruling class to have a common arena of waggish irreverence we forget that sometimes the impetuous ****** of propaganda is cloaked by the fashionable implements of a rootless time writhing in a purported identity crisis only to gawk at the ungainly reflection of modernity in the mirror and remain blissfully unaware about the transmogrified cultural psyche that feeds the lunacy of endless spectacle based on the premise that one singular whipping post can unite an entire generation of miscegenated misfits looking for commonality to team up against the aging generations that cling to the sanctity of cherished jingoism against the intentionality of a revamped system that malingers with empty promises using exigency and legerdemain to obscure the mooncalves among their ranks that march on with quixotic dreams that tolerate only the idea of absolute tolerance and moderate only when feasibly permitted by the anchored negotiation of the fulcrum of totemic governmental responsibility between factions that wage volleys of invective at each other to promote a binary choice of vitiated compromises of mendaciloquence that ultimately endanger the republic with either the perils of hidebound conventionalism and nativist fervor or the boondoggles of fiscally irresponsible insanity cloaked with rainbows and participation trophies. Reproach can be distributed to both sides of the aisle because ironically in a world where gender is non-binary the most important reproductive ***** in the free world is a binary-by-default despotism that polarizes extremely ludic fantasies on the left met with the acrimony of the traditionalisms on the right that staunchly resist the fatuous confusions of delegated order only to the sharp rebuke of the revamped political vogue that owes its sustenance to a manufactured diplomacy of saccharine lies and ubiquitous lampoons that are lopsided in the direction of a globalist neoliberal bricolage of moderately popular buzzwords and the trojan horse of insubordinate flippant feminism that seeks to subvert through backhanded manipulation the patriarchy so many resent using lowbrow tactics and poignant case studies rather than legislating the egalitarian system into law using the proper channels. I myself am a political independent who sides with fiscal conservatism but libertarianism in most other affairs because the pettifoggery of law-and-order politics is a diatribe overused by sheltered suburbanites and red meat is often just as fatuous as blue tinsel and sadly in a majoritarian society the ushers of conformity demand corporate divestiture in favor of an ecological system of predictability rather than an opinionated welter of legitimate challenges to a broken system of backwards partisanship and wangled consent. Ultimately, I remain mostly apolitical, but I am a fervent champion of the mobilization of education to a statelier standard that demands rigor and responsibility rather than the chafe of rigmarole that understates the common objectives of humanity and rewards conventional thinking and nominal participation to earn credentialed pedigree when the bulk of talent resides elsewhere.

Why is literally everything over sexualized except for realistic body types? All women have cellulite. All women have rolls when they sit down or lean one hip to the side. All girls jiggle somewhere when they walk--and I'm not talking about their ******* ****.
I'm talking about feeling your legs and belly jiggle, wishing you didn't care, feeling less and less **** every day. Feeling like a stranger in your own skin like you put on the wrong meat suit one morning and misplaced your old one.
I'm talking about skinny taking over everything, and my own skinny being considered plus-sized. I'm talking about looking in the mirror, utterly disgusted by your own body because the world tells you that you need to change.
I'm talking about feeling guilty after eating anything; not eating, binging, and dressing in layers to hide how you really feel about how you really look. I'm talking about how hard it is to love yourself, when the world tells you the only women deserving of love are sizes 2 and under...and if they are bigger, they can only have curvy hips and a tiny waist, both of which you have to be born with to achieve. Having a wide rib cage and a wider everything else is something I was born into....and I can't change it enough:
My legs rub each other raw when I walk, and I'm too tall for heels. I have bruised hips from hitting doorways and edges because I misjudge how wide I really am.
I'm in denial.
I grab the fat on my back wishing my boyfriend would stop. I stand in front of the mirror, fighting back tears, fighting back the urge to wish for the flu. After all, the skinny girls are always bragging about how much weight they lost while home sick with one thing or another. Unfortunately, losing weight is harder for those with weight to lose.
As I put my arms to my sides and watch how far the fat expands to make my arms look like three times their size than when I was yanking at my hair in panic.
I watch how my belly looks when I slouch, when I stand up straight, and when I lean too far back in an effort to obtain a flat stomach.
Round, curvy, rounder.
It's intoxicating, sickening, but I just can't stop. I stare and I stare some more and I hate every inch. I wake up, and do this routine every morning, and every second of my day thereafter.
I'm talking about waking up every morning and making a point to avoid mirrors throughout the day, tripping over things to avoid looking down at yourself, and the constant feeling of inadequacy knowing that you'll never be someone that can walk outside with confidence knowing how easy life is as opportunities and love fall right into your lap...because you're conventionally attractive, of course.
You're too big to cuddle on a couch, or share a chair, or casually sit on your lover's lap. You'll never be lifted off the ground with ease in a romantic gesture. You'll never be able to joke about how much you eat like the skinny girls can because, unfortunately, your love of comfort in food form shows all too well.
You'll probably never have love as solid as an attractive woman would have, either. No one will ever be jealous over you because, well, who's going to steal you away but the desserts you sneak when you're alone and aching?
Alone and aching are emotions all too familiar to the less than conventional.

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Permission submit as well as the signing up code in order to situation the same computers plus software information, simply a registration signal period confines utilization of both software and hardware information, a permission record can use numerous hardware and software info. Also, the actual permission report can contain more info, to help you obtain the difficult agreement demands, and may perhaps retail outlet several customer facts. The average permission report way is to implement the private key in the asymmetric algorithm to hint your certificate data file, while the general public secret is embedded in the application value. Asymmetric shield of encryption plus understanding course of action, the private computer essential consent hosting server exists, it is hard to compromise from the investigation regarding endorsement paperwork.

Some great benefits of this electric endorsement safeguard doesn't require further electronics, and for that reason doesn't have to mount the motive force as well as buyer elements, electronic digital hardware issue. The disadvantage from the automated certificate safety mode just isn't networked buyers really need to hand remove your computer information, and then personally significance registration constraints or even permission, is not very easy to use. Additionally, the particular domestic electronic digital acceptance a few of the programmers from the product or service, that also limits your popularization and promotion connected with electric permit safeguard technology.

Subsequent, it encrypted sheild field advancement status

A single. File encryption curly hair

The main unusual dongle professional SafeNet, Corporation. in the usa in addition to Germany Wibu.

Security head of hair service deeply Supposrr que Luoke and also Feitian. The 2 main organizations due to the affordable prices, the first person to introduce the actual good minute card shield of encryption curly hair nearby perfectly so that you can enjoy some market place in the nation.

A pair of. Electric permission

Unfamiliar company certified merchandise to supply electronic digital Flexera Software and also SafeNet which will, Flexera Software program is focused entirely on the joy of digital permission, the actual device's ease of use along with features are doing superior, though the valuation on the item is additionally quite high.

This home-based electrical authorization goods enterprise a Beijing Biteansuo (BitAnswer), Shenzhen-use this (Euse) Safengine Organization.

There are only a few companies will acquire their very own electronic digital consent structure, even so the builders to cultivate their own plans commonly occur this inquiries:

One particular) the introduction of non-professionals, there are numerous loopholes while in the security

A pair of) is actually difficult to realize accommodating accreditation control, management and also precise functions simple or maybe simply no

Three) are often unveiled to be able to address the particular fast problem connected with short-term method, create far more than predicted in the foreseeable future as a result of protection, balance and also scalability challenges continued to get

Several) can not meet up with sector variations as a result of the modern demands on program certification model

Software program security marketplace movements

The software security field developments is closely connected with the increase development with the computer software marketplace. With the rise in popularity of cloud-computing plus Software, service with application products will be change in the direction of the multilevel plus system. Used in nearly all software programmers, Software items can not only spend less a great deal of hardware and software buy plus servicing charges, you can also get demand from customers, when decreasing the use of possibility, driving program vendors in order to consistently strengthen items plus improve services to be able to sustain consumers.

To the development of system and program improvement can also be a software package encrypted sheild technologies movements. The view around the present-day growth trend, the encryption locking mechanism technologies have designed really develop fully information mill approaching vividness, slower advancement. The actual everyday living and make use of on the equipment practice creates security head of hair are not able to conserve the speed regarding advancement of the Internet period, are going to be substituted with the particular automated certificate.

Automated authorization permission through earlier subscription program code type on the feature-rich records available as modifications to technologies are considering verification process out of offline yourself confirm the introduction of computerized system authorization. Permitted administration contemplating particularly, your electrical licence technological innovation collected from one of software licence qualifications growth just as one authorized official certifications, agreement management and exact information and facts, and also other objective of each, significantly improved this permitted volume of details regarding computer software coders.

May forecast not able to electronic products certified solutions ought to have these most important properties:

Enlightening approved administration system: supplied by third-party safety measures specialized software designers, in line with the Net's one-stop software package safety plus endorsement management system, without having to deploy and observe after, low priced, easy-to-use.

Only two Bendable Certificate: offer the acceptance of the purchaser software as well as the cloud computing product common software package licenses; authorized touch time, the volume of sensible adventures; sanctioned in order to bind your computer software and hardware information and facts, encryption tresses, or by way of a username plus password validation way of agreement.

Simple and easy friendly buyer: in accordance with the WEB, at any place obtain; Users might food acquire, trigger boost the software, you can buy their unique software package to keep abreast of details; software package designers can certainly understand software initial information and facts plus individual data is often synergies through the people in the firm to finish the design of application license, enactment, supervision as well as maintenance operate.

5. Fog up accreditation unit: This is a cloud computing type of software program licensing. Standard application is genuine customer setup, endorsement can also be a buyer. Although cloud-computing could be the craze, although the move difficult for classic software package would be a wonderful way for the particular a higher level cloud computing modification. This definite awareness associated with tips, a common application approved move on the purchaser for the fog up on the endorsement remote computer, to ensure that small adjustments towards the application, but you can certainly instantly experience the great things about cloud computing: higher safety energy require to obtain clouds hard drive .

http://www.passwordmanagers.net/ Password Manager

Dedicated to stillborn fetuses, 99 cent Malt Liquor and Existentialism
1.
Nymphomaniac tree huggers
And overweight bisexual vegetarians
Swallowing phentermine poison to stay fit.

2.
Funky fresh *******  
throwing pigs at St. Augustine’s pear tree
and frolicking abortions over Moloch’s philoprogenitiveness,

3.
While sipping barbecue sauce dipped in Lipton tea,
dancing around adhesive bonfires
reciting memories of holocaust, the Kristallnacht nights
and beautiful words suffered by ancestors lost.

4.
Inhale chicken noodle soup, with a side of Lithium,
And prance to Literacy class to combat envisionment
With free association conceptual constructions,

5.
Computerized like Prometheus’ fire burning through SmartBoards
In classrooms where the poison of heterosexual history
Is fed to boys in skirts cursed by Adam’s apple,

6.
Baptized by social norms and locked away in hopeless closets
According to the Tautology of Leviticus…
until they cut their breath by the vein of soteriology;

7.
Misunderstanding of God’s words
Covets the innocent to early graves
In biblical paratactic irony…like God betting Satan for a Job.

8.
Rub fried chicken oil on Bartholomaeus Anglicus’ skin
and soil his white pride with ***** flavor,
for revenge  On the Properties of Things

9.
and howl out in glory of victory
over totes of  lickerish piper methysticum blunts
that beg the conundrum,
'What is the origin of this world?'
'Ether,' he replied.
But it is not ether!
Nor Datta. Dayadhvam. Damyata.
It is Dada. Dada. Dada!
  10.
For this is a record of the life stories of the greatest minds and geniuses of your generation,
written in boys and girls
who mimicked Basquiat’s genius and tagged bathroom walls with abstract philosophies like “Love is a prime number” and “ the weight of Duncan McDougall’s soul can only be found on the 15th of October”
who drank vampirish gulps of Vicodin while consoling themselves with aphorisms such as: “don’t rue the misses, you don’t need a Mrs. when you’re elevated by chemical kisses”
11.
Who stood naked in mirrors, weeping, for they were a mystery to themselves, but a great talent and soon to be legend to some.
Who lit cannabis in loneliness and waltzed naked with their ghosts, fantasizing about ****** tomatoes and Corpus Christi Mexican Jazz.
Who composed psychedelic anthems from dreams that were lost in ghettoes where virginities were lost for loaves of bread, for the hunger of bread.
12.
Who wrote suicide notes on a toilet seat, contemplating the texture of Marshall Mathers’ favorite underwear and whether the color green was an invention of **** Germany.
Who used to love their lovers in darkness and colored the streets of Manhattan with rainbows on June 24, 2011 to mark the date lady liberty finally bought a new pair of glasses.
13.
Who lost musical talents to a Wine-house and ended up in a whine-house where lobotomy was subsequently prescribed by the milligram.
Who indulged in pharmaceutical vices and when asked why replied simply, every recursively enumerable set is Diophantine.
Who diagnosed themselves with “start ****-itis” and self medicated by eating Fifinellas at the stroke of each midnight.
Who rubbed paraprosdokians on their skin and occupied Wall Street in search of a new euphemism for being American.
Who poured Alkalizer on a dead moose and kicked it while feasting on the divine question, “why does Rice play Texas?”
14.
who got bored with conventional relationships and bought the Origin of the World on street corners from vixens nicknamed “Jezebel” and climaxed atop of them screaming  “I’m in Babylon, the great Mother of ******!”
Who attempted suicides upon suicides upon suicides, in Oakland, until they were shipped away to private catholic universities in Rhode Island, where the history of Colossus was being taught.
15.
who serenaded love interests with four letter curse words at open bars where Kubla Khan was read and Tartars kings were licked all over like holy communion *****.
Who drove home with the spirits of wine and crashed on telephone poles where their obituaries were written in their prime, leaving their mothers weeping and calling congress to reconsider Prohibition.
16.
Who mixed Redbull with Propofol and drank the juxtaposition galore only to be woken up the next morning dead in their sleep.
Who tattooed rat poison packages with goodwill messages such as “****** divided by Water =6th day of creation” or “Seroquel + Brett Favre = St. Patrick”,
who went speedballing with Basquiat during autoscopy and woke up wondering the cost of Nautilus in Albuquerque.
17.
who took 33 hallelujah 1800 tequila jello shots and daydreamed about laying on Mithras’ grave, yelling, beetlejuice, beetlejuice…beetlejuice.
who found the truths of the Bible invalid by the miscalculation of Pi in 1 Kings 7, verse 3, and mailed death on anthrax letters to Reagan in protest.
18.
who sat empty bellied at breakfast tables wondering the temperature of satellites at Lagrangian points,  only to soon catch fire in their tongues and speak Labyrinth soliloquies that ended in
19.
Zion,
Where Google knows every answer.
In Zion
Where the youth, tomorrow’s future, quote a ***** named Hova better than they can quote Jehovah.
In Zion
Where *******’s art was used as weapon during the Cold war.
20.
In Zion
Where sartorial geniuses where no pants,
In Zion
Where David Kato Kisule is the secret hero of these words, for he was taken at a time
In Zion
Where we were supposed to be our ancestor’s sci-fi.

21.
In Zion,
Where the youth bear the scarlet letter X for they are a problem to tradition and hold no definition for the future, for they have discovered
In Zion
That the origin of this world is in their living eyes, and not in the dictionary of their ancestors who lived
In Zion
when the epitome of the literature of life ended in Revelation of Amen and Shantih shantih shantih;
this is a record of the greatest minds and geniuses there ever was, written
in Zion
where the meaninglessness and nothingness of Dada reigns, and the trinity of life now lives in the Subject, subjective and subjectivity.

Odysseus needs a job he calls pima community college art department chairperson sends her his resume she does not respond after a week he catches her on phone she says he lacks proper credentials laughs to himself his whole life never worked lucrative or reputable position gets job working at thrift store wacky group of coworkers customers store frequently smells like public latrine job expires after 7 weeks he gets better paying job working at record exchange Odysseus always loved music everyday he learns new artist or band his coworkers are at least half his age they pester him about being slow on keyboard he never learned to type neither he nor his generation could have foreseen future would revolve around keyboard he plods on register keys people smile politely kids he works with fly fast making many keyboard mistakes November 29 2001 george harrison dies of cancer he is 58 years old Odysseus recognizes he is from past world different era of contrasting standards ‘80’s behavior is totally unbefitting let alone ‘60’s beliefs it is 2002 and one badly chosen word is sure to send someone flying off the handle he watches his language carefully co-workers mostly born in 1980’s grew up in 1990’s they live indifferent to hopelessness he struggles to bear none of them believe in higher power music is their religion he wonders what their visions concerns for humanity are? they seem addicted to consumption as if it is end in itself he questions what is hidden at root of their absorption? loneliness? despair? apathy? absence of vision? where is their rage against social conversion current administration? he warns them about homeland security act privacy infringement increased government secrecy power they shrug their shoulders why aren’t they looking for answers? why don’t they dissent? do they care where world is going? he realizes they will have to learn for themselves few coworkers read literature or know painters philosophy their passions are video games marijuana “star wars” most of them are extremely bright more informed than he often Odysseus needs to ask questions they know answers to right off the bat he is like winsome uncle who puts up with their unremitting teasing “hey you old hippie punk rocker get you fiber in today? stools looking a little loose! peace out old man” in peculiar way he finds enough belonging he so desperately needs they tell him stories about their friends *** addictions eating disorders futile deaths he is bowled over by how young they are to know such stuff job includes health insurance which is something he has not had since Dad was alive having some cash flowing in he buys laptop computer with high-speed connection cell phone trades in toyota for truck opens crate of writings he abandoned in ‘80’s begins to rewrite story sits blurry eyed in front of computer screen his motivation has always been to tell truth as he knows it he wonders what ramifications his labor will bring positive or negative results? he guesses his story will sound like children’s fable in stark brutality of distant future october 2002 3 week ****** spree terrorizes maryland virginia  district of columbia 10 people killed 3 critically wounded police believe white van responsible october 24 man and 17-year-old boy arrested in blue chevy caprice juvenile is shooter assailants linked to string of random murders including unsolved shooting of man at golf course in tucson Odysseus mentions incident at work speaks of prevailing terror madness in america co-workers kid tell him he is crazy “did you see a white van parked outside the store Odys?” they seem desensitized to increasing national atmosphere of anger panic or perhaps they are overwhelmed by weight trauma of modern life lie after lie prevailing  havoc slaughter make for dull numbness in world they know suicide is compelling option december 22nd 2002 joe strummer dies from heart failure at age 50 Odysseus’s eyes wet he adored the clash everything they stood for loved joe strummer and mescaleros he plays “global a go-go” over and over listens sings along with first track “johnny appleseed” march 2003 president bush launches attack against iraq united states seems drunk with “shock and awe” zealous blind patriotism many people politicians countries around globe question unproven line of reasoning saddam hussein possesses “weapons of mass destruction” Odysseus gripes “not another **** vietnam” record company allows employees to check out take home used product Odysseus stopped watching movies in 1980’s he has lots of catching up to do particularly likes “natural born killers” “american history x” “american ******” “fight club” “way of the gun” “******” “king of new york” “basquiat” “frida” “*******” “before night falls” “quills” “requiem for a dream” “vanilla sky” “boys don’t cry” “being john malkovich” “adaptation” “kids” “lost in translation” “25th hour” “28 days later” “monster” “city of god” “gangs of new york” “**** bill” list goes on perfect circle becomes his favorite band followed by tool lacuna coil my morning jacket brian jonestown massacre flaming lips dredg drive-by truckers dropkick murphys flogging mollies nofx stereophonics eels weakerthans centro-matic califone godspeed you black emperor magnetic fields fiery furnaces dresden dolls smog granddaddy calexico howie gelb sufjan stevens warren haynes dax riggs john vanderslice alejandro escovedo sean paul elephant man bjork p. j. harvey ani difranco aimee mann cat power sophie b. hawkins kathleen edwards mia doi todd kimya dawson regina spektor carina round neko case fiona apple nina nastasia beth gibbons mirah rasputina dr. dre talib kweli immortal technique murs slug atmosphere trick daddy eazy-e tricky list goes on october 21 2003 elliott smith commits suicide stabbing 2 wounds into his chest Odysseus thinks about music when jimi hendrix stood up at woodstock deconstructing national anthem on guitar it took courage when punk emerged with ugly screechy sounds attempting to divorce itself from melodious harmonies of 1970s complacent crosby stills nash  the dead kennedys and *** pistol did not pander to conventional commercial success what they performed were desperate gutsy songs trying to reclaim music rock’n’roll is no longer about inventing instead it imitates its glorious past hip-hop and rap come nearest to risking rebellion but are caught in gangsterism infantile self-adulation no longer does music offer vision of what is or could be instead it conjures looping escapism from hopelessness of modern life he continues working at record shop for several years store contains every genre of music cinema he grows weary of retail sales weary of higher-ups constantly changing rules dictating what to do head manager is manipulative drama queen thrives on crisis once in private admits stealing from company Odysseus nods not knowing what to say head manager works Odysseus hard keeps him down atmosphere of conspiracy betrayal hang at start of each day assistant manager routinely taunts berates bullies teases regularly calls Odysseus “dumb-****” or “****-up” other times laughs after goading Odysseus to flinch eventually bully backs off and they become friends retail pushes Odysseus to brink of misanthropy corporation requires all employees to exercise overt courteousness while serving a public of disrespectful gang bangers demanding “show me black market brotha lynch mac dre why ya godda keep dat **** behind da counter? dat’s ****** up hey old man i ain’t got all day” it always amazes him when shoplifter is caught with product stuffed down his pants thief blatantly states “i didn’t do it i don’t know how that got there” thanksgiving through christmas to new years is most swarming stressful he feels like automaton greeting customer scanning product looking at screen to see if price agrees with product typing money amount counting money into drawer counting money out handing change to customer handing customer product receipt next customer cockroach capitalism packs of masses line up in endless stream of needs stupid remarks job also involves trade appraising condition value resale probability of cds dvds video games tapes vhs vinyl news of  iraq war gets dismal mounting civilian casualties suicide bombers hostages beheadings beginning of 2004 reports of torture ****** psychological abuse **** ****** ****** of prisoners at abu ghraib prison guantanamo bay white house cover-ups denials growing insurgency increasing u.s. body count other costs he thinks about men and women who are so much braver than him then comes re-election and lavish republican parties parades cheney rumsfeld tom delay and whole regime smirk portentously on tv none of it makes sense anymore “we the people of the united states” what does it mean? the dreams and aspirations of his generation have long since faded away he is citizen of forgotten past current world is barbaric place he barely recognizes there are real pirates with machetes rocket launchers on the seas big drug corporations hiding harmful findings kidnapped children abandoned children crooked politicians corruption at every level of society horrifying stories daily ******* priests slave markets extreme heinous cruelties abruptly everyone is acknowledging society is worsening life is not the same he does not understand people and certainly does not understand america or the world he remembers when all could be so good modern existence has turned everything into madness what happened to lessons of history? it is as if Odysseus fell asleep and when he woke everything is changed he is mistaken about what he thinks he knows feels pity for people america pity disgust sorrow he misses his dog

Change

Verse 1
It starts right deep inside of me, a true grasp on identity
The present moment is the place to be, regardless of who's watching me
It’s plain to see, comprehensively, no real gain comes easily
Whether to the left or right of me, time in motion, truly free
To persevere is the truest reward, ride this train be truly on board
This right here to truly afford, come together, one accord
A single mind retrain able, good grades are attainable
Accomplish the impossible, you can be unstoppable
A single step to take, of directions moving on
Keep it moving in forward motion, articulate my song
With an aim of harmony, we can but soldier on
We must create a place, with a feeling to belong

Let’s begin and start a new change
For in time we truly can change, subtle change, ample change, some folks just ain’t trying to change
Aim real high towards the change
Constant force, there’s always change
Release control with all the change
For yes in time we can truly change
Smaller change, greater change
So much here to rearrange
New concepts are hardly strange
Stand united welcome change
Restoration welcome change
Conservation bring the change
Re-establish forward change
For yes in time we will truly change

There are challenges that are facing me, complex to simplicity
Teams move forward socially, share discussions vocally
To stand as one, it’s just begun
Separation can’t become
A team with victory truly won
A united cause, brought as one
Determination is the real deal, certified replacing the seal
Energy the people can feel
A new beginning, fresh appeal
A brand new chapter practical
Solutions that are workable
Greatness is achievable
Concepts are conceivable
A new journey to take, whether short or whether long
Keep on moving forward, embracing a new song
With amicability, we all will progress on
Let’s create a place, with a feeling to belong

Let’s begin and start a new change
For in time we truly can change, subtle change, ample change, some folks just ain’t trying to change
Aim real high towards the change
Constant force, there’s always change
Release control with all the change
For yes in time we can truly change
Smaller change, greater change
So much here to rearrange
New concepts are hardly strange
Stand united welcome change
Restoration welcome change
Conservation bring the change
Re-establish forward change
For yes in time we will truly change

Chorus
There is ever present change, many thoughts to rearrange
Together we can change the world, let’s rewrite the page
There are many forms of strong, yet we all must soldier on
Together as one, together as one
For each and every fight, is a chance to so unite
Every lesson in the wrong, it can be rendered right
There is opportunity, be the change you want to see
Let’s set ourselves free, let’s set ourselves free
In time, beyond the impossible
Breaking through every obstacle
By faith from the intangible
Objects, they are exchangeable
Yet lives are irreplaceable
Real change is attainable

Verse 2
To offer forth a helping hand, notions yet to understand
To be welcomed in a foreign land, disharmony is sinking sand
It’s clear to see, comprehensively, operate more tactfully
With wisdom understandably, let the innocent be truly free
A greater love that can’t be defined, to comprehend the passage of time
Appreciation truly is mine, reverence beyond the sky
Of nature undeniable, progress transformational
Advancing the responsible, of wonderment sensational
A single step to take, cultivated going strong
Keep it moving in forward motion, can we all just get along
With advancing harmony, on a road that may be long
Let’s now create a place, with a feeling to belong

Let’s begin and start a new change
For in time we truly can change, subtle change, ample change, some folks just ain’t trying to change
Aim real high towards the change
Constant force, there’s always change
Release control with all the change
For yes in time we can truly change
Smaller change, greater change
So much here to rearrange
New concepts are hardly strange
Stand united welcome change
Restoration welcome change
Conservation bring the change
Re-establish forward change
For yes in time we will truly change

Advancing with a point of view, discernment of what’s really true
Comprehension of what’s true for you, of new horizons to ensue
With a faculty of proficiency, movements of efficiency
With complex capability, time in motion, skillfully
Experience that can be applied, universal always onside
Letting go of innermost pride
Truthfulness, no need to hide
Application practical, let your goals be reachable
In him all things possible, passionately powerful
With awareness to awake, with weakness rendered strong
Keep moving in forward motion, articulate my song
With all tranquillity, uncover what is wrong
We can now create a place, with a feeling to belong

Let’s begin and start a new change
For in time we truly can change, subtle change, ample change, some folks just ain’t trying to change
Aim real high towards the change
Constant force, there’s always change
Release control with all the change
For yes in time we can truly change
Smaller change, greater change
So much here to rearrange
New concepts are hardly strange
Stand united welcome change
Restoration welcome change
Conservation bring the change
Re-establish forward change
For yes in time we will truly change

Chorus
There is ever present change, many thoughts to rearrange
Together we can change the world, let’s rewrite the page
There are many forms of strong, yet we all must soldier on
Together as one, together as one
For each and every fight, is a chance to so unite
Every lesson in the wrong, it can be rendered right
There is opportunity, be the change you want to see
Let’s set ourselves free, let’s set ourselves free
In time, beyond the impossible
Breaking through every obstacle
By faith from the intangible
Objects, they are exchangeable
Yet lives are irreplaceable
Real change is attainable

Verse 3
Let actions be effectual, real change be perpetual
Creative with the intellectual, let guidance be instructional
Be rational, co-operational, shared ideas are practical
Measuring the mathematical, alignment formational
Aiming high reach for the sky
Given standards you can defy
With courage here the aim is to try
Moving forward, mystify
Far from the undesirable, feelings unreliable
Testing the improbable, reality is changeable
A bolder step to take, of directions moving strong
You can always go beyond the place that you came from
With realised clarity, we gain sense of the wrong
Let’s now create a place, where we can all belong

Let’s begin and start a new change
For in time we truly can change, subtle change, ample change, some folks just ain’t trying to change
Aim real high towards the change
Constant force, there’s always change
Release control with all the change
For yes in time we can truly change
Smaller change, greater change
So much here to rearrange
New concepts are hardly strange
Stand united welcome change
Restoration welcome change
Conservation bring the change
Re-establish forward change
For yes in time we will truly change

Change may be uncomfortable, let fear be inexcusable
Steer from the reprehensible, payback is repayable
To so forgive, inexhaustible
Of oneness that is plausible, the broken rectifiable
Connected, relational
Associate and we can relate, don’t waste time, a pitiless state
Memories that we cannot retake, in position, get in place
Abundance that is plentiful, examples observational
Joyfulness obtainable, experience the seasonal
Of actions yet to take, we’re keeping the game strong
Keep moving in forward motion, wherever you came from
With avid harmony, we all will soldier on
We can now create a place, with a feeling to belong

Let’s begin and start a new change
For in time we truly can change, subtle change, ample change, some folks just ain’t trying to change
Aim real high towards the change
Constant force, there’s always change
Release control with all the change
For yes in time we can truly change
Smaller change, greater change
So much here to rearrange
New concepts are hardly strange
Stand united welcome change
Restoration welcome change
Conservation bring the change
Re-establish forward change
For yes in time we will truly change

Bridge

With mind-sets evolved, there is true insight
Let’s create a place, to truly shine our light
There is wisdom to release, to regain our inner peace
Together as one, together as one
Compassion in the land, with a heart to understand
A true united force, let’s lend a helping hand
With due simplicity, re-establish harmony
Let’s set ourselves free, let’s set ourselves free
True change may be uncomfortable
Yet it is unmistakeable
New steps that are approachable
Of thoughts from the conventional
Mindful and relatable
Hopeful and aspirational

Verse 4
To go beyond, no greater time, reclaim your light it’s time to shine
In relaxed mode we will decline, natural gems can be refined
Branch of the vine, be aligned
Masterpieces of design, purposed for potential prime
Stand in line, for such a time
Become a part of the solution, let’s create a revolution
Educate the institution, truly merge into a fusion
Reduce the confrontational, join the inspirational
Movement motivational, achieve the aspirational
The journey will be great, endurance may be long
Keep moving in forward motion, can we all just get along
With solid harmony, a team can become strong
Let's now create a place, with the option to belong
Of problems to be solved, of all the games to win
If the foundation is laid, by then we can begin
A sense of harmony, let's take the vision on
Let’s now create a place, where the people can belong


Let’s begin and start a new change
For in time we truly can change, subtle change, ample change, some folks just ain’t trying to change
Aim real high towards the change
Constant force, there’s always change
Release control with all the change
For yes in time we can truly change
Smaller change, greater change
So much here to rearrange
New concepts are hardly strange
Stand united welcome change
Restoration welcome change
Conservation bring the change
Re-establish forward change
For yes in time we will truly change

Chorus
There is ever present change, many thoughts to rearrange
Together we can change the world, let’s rewrite the page
There are many forms of strong, yet we all must soldier on
Together as one, together as one
For each and every fight, is a chance to so unite
Every lesson in the wrong, it can be rendered right
There is opportunity, be the change you want to see
Let’s set ourselves free, let’s set ourselves free
In time, beyond the impossible
Breaking through every obstacle
By faith from the intangible
Objects, they are exchangeable
Yet lives are irreplaceable
Real change is attainable

Written by Geraldine Taylor ©️

Form is emptiness
Emptiness is form

1. Sunyata (Emptiness) is the profound meaning of the Mahayana Teaching.

Two thousand five hundred years ago, the Buddha was able to realise "emptiness" (s. sunyata). By doing so he freed himself from unsatisfactoriness (s. dukkha). From the standpoint of enlightenment, sunyata is the reality of all worldly existences (s. dharma). It is the realisation of Bodhi — Prajna. From the standpoint of liberation, sunyata is the skilful means that disentangle oneself from defilement and unsatisfactoriness. The realisation of sunyata leads one to no attachment and clinging. It is the skilful means towards enlightenment and also the fruit of enlightenment.

There are two ways for us to understand this concept of sunyata in the Mahayana context. One way is to try to understand the explanation about its true nature. The other way is the realisation through practice. What we are going to discuss now is about its true nature.

Mahayana teachings have always considered that the understanding of sunyata is an attainment which is extremely difficult and extraordinarily profound.

For example, in the Prajna Sutra it says "That which is profound, has sunyata and non-attachment as its significance. No form nor deeds, no rising nor falling, are its implications."

Again in the Dvadasanikaya Sastra (composed by Nagarjuna, translated to Chinese by Kumarajiva A.D. 408) it says: "The greatest wisdom is the so-called sunyata."

This sunyata, no creation, calmness and extinction (s. nirvana) is of a profound significance in the Mahayana teachings. Why do we see it as the most profound teaching? This is because there is no worldly knowledge, be it general studies, science or philosophy, that can lead to the attainment of the state of sunyata. The only path to its realisation is via the supreme wisdom of an impassionate and discriminating mind. It is beyond the common worldly understanding.

2. The Significance of Sunyata and Cessation

The Buddha always used the terms void, no rising and falling, calmness and extinction to explain the profound meaning of sunyata and cessation. The teachings of the Buddha that were described in words are generally common to worldly understandings. If one interprets the teachings superficially from the words and languages used, one will only gain worldly knowledge and not the deeper implication of the teachings. The teachings of the Buddha have their supra-mundane contexts that are beyond the worldly knowledge.

For example, sunyata and the state of nirvana where there is no rising nor falling, are interpreted by most people as a state of non-existence and gloom. They fail to realise that quite the opposite, sunyata is of substantial and positive significance.

The sutras often use the word "great void" to explain the significance of sunyata. In general, we understand the "great void" as something that contains absolutely nothing. However, from a Buddhist perspective, the nature of the "great void" implies something which does not obstruct other things, in which all matters perform their own functions. Materials are form, which by their nature, imply obstruction. The special characteristic of the "great void" is non-obstruction. The "great void" therefore, does not serve as an obstacle to them. Since the "great void" exhibits no obstructive tendencies, it serves as the foundation for matter to function. In other words, if there was no "great void" nor characteristic of non-obstruction, it would be impossible for the material world to exist and function.

The "great void" is not separated from the material world. The latter depends on the former. We can state that the profound significance of sunyata and the nature of sunyata in Buddhism highlights the "great void’s" non-obstructive nature.

Sunyata does not imply the "great void". Instead, it is the foundation of all phenomena (form and mind). It is the true nature of all phenomena, and it is the basic principle of all existence. In other words, if the universe’s existence was not empty nor impermanent, then all resulting phenomena could not have arisen due to the co-existence of various causes and there would be no rising nor falling. The nature of sunyata is of positive significance!

Calmness and extinction are the opposite of rising and falling. They are another way to express that there is no rising and falling. Rising and falling are the common characteristics of worldly existence. All phenomena are always in the cycle of rising and falling. However, most people concentrate on living (rising). They think that the universe and life are the reality of a continuous existence.

Buddhism on the other hand, promotes the value of a continuous cessation (falling). This cessation does not imply that it ceases to exist altogether. Instead, it is just a state in the continuous process of phenomena. In this material world, or what we may call this "state of existence", everything eventually ceases to exist. Cessation is definitely the home of all existences. Since cessation is the calm state of existence and the eventual refuge of all phenomena, it is also the foundation for all activities and functions.

The Amitabha Buddha who was, and is, revered and praised by Buddhists around the world, radiates indefinite light and life from this "state of cessation". This state is a continuous process of calmness. It will be the eventual refuge for us all. If we think carefully about the definitions of calmness and extinction, then we can deduce that they are the true natural end-points of rising and falling. The true nature of the cycle of rising and falling is calmness and extinction. Because of this nature, all chaos and conflicts in the state of rising and falling will eventually cease. This is attainable by the realisation of prajna.

3. Contemplating the Implications of Sunyata and Stillness (Nirvana) by Observing Worldly Phenomena

All existences exhibit void-nature and nirvana-nature. These natures are the reality of all existence. To realise the truth, we have to contemplate and observe our worldly existence. We cannot realise the former without observing the latter. Consider this Heart Sutra extract, "Only when Avalokitesvara Bodhisattva practised the deep course of wisdom of Prajna Paramita did he come to realise that the five skandhas (aggregates, and material and mental objects) were void."

Profound wisdom leads us to the realisation that all existences are of void-nature. The sutras demonstrate that the profound principle can be understood by contemplating and observing the five skandhas. We cannot realise the truth by seeking something beyond the material and mental world. The Buddha, using his perfect wisdom, observed worldly existence from various implications and aspects, and came to understand all existences.

In summary, there are three paths to this observation:

a) We should observe the preceding state and the current state of conditions. i.e., Observation according to the concept of time.

b) We should observe existences according to their interrelationships. i.e., Observation via the concept of space (either two or three-dimensions).

c) We should observe the true nature of all myriad beings. This is like observing the worldly existences of a point, a line and an area. Those with supreme wisdom understand the true nature of all worldly existences by observing vertically the relationships between the preceding and current conditions, and horizontally the interrelationships. Then we can understand the true meaning of void-nature and nirvana-nature.

3.1 By observing the preceding-stage and the current-stage conditions, we can verify the Law of Impermanence of all worldly existences. All existences, be they material or mental, be they the material world, or the physical or mental states of sentient beings, are subject to continuous change.

The world may have certain states of beings where they stay static or are in equilibrium on a temporary basis (for example hibernation). But when we observe them with supreme wisdom, we will find that not only do they keep changing on a yearly basis, but also that this change applies to even every briefest moment. After the current state of conditions have ceased to exist, the newly-formed state materialises. This is the state of rising and falling. The rising and falling of each small moment reveals that all existences are ever-moving and ever-changing.

Conventional scholars have a very good explanation of these ever-changing worldly conditions. However they, including the practitioners of dharma, try to make sense of the reality from the ever-changing worldly existences. That is, they are fooled by the material existences and are not able to understand the deeper truth of all existences.

Only those with the supreme wisdom of the Buddha and Mahabodhisattvas realise and understand that all existences are illusions. They understand that existences are not real from the observation of the flow of changing existences. The numerous illusionary existences may well be diverse and confusing, arising and decaying. But when we look into their true nature, we will find them void and of nirvana-nature.

On the other hand, since all existences are of nirvana-nature, they appear from the perspective of time, to be ever-changing. They never stay the same even for the briefest moment. Impermanence implies existences do not have a permanent entity. This is another implication of the nature of sunyata and stillness.

3.2 From observations of existence via inter-relationships, we can conclude that nothing is independent of the Law of Causation, and that everything is without ego. For example, the Buddha explains that the individual sentient being is composed of physical, physiological and psychological phenomena. The so called ego is a deluded illusion which does not exist in reality. Its existence depends on the combination of both physical and mental factors. It is a union of organic phenomena. Thus we call it the empirical ego. It is a mistake to cling to it as an infatuated ego.

The Indian concept of the supreme spirit implies someone who rules. The spirit is the ruler who is independent of is self-dependent and all causes. In other words, the spirit is the one who is free from all primary and secondary causes (for physical and mental aspects). The spirit is the one who has the soul of his own body and mind. This is the ego or supreme spirit that the theologists cling to. From their view point, the only way to avoid physical and mental decay is to be self-determined and self-sovereign. In this way, the supreme being can stay permanent in the cycle of reincarnation, and return to the absolute reality by liberating himself from life and death.

But from the profound contemplation and wisdom of the Buddha and Mahabodhisattvas, we know there is no such reality. Instead, egolessness (non-self) is the only path to understand the reality of the deluded life. All existences are subject to the Law of Causes and Conditions. These include the smallest particles, the relationship between the particles, the planets, and the relationship between them, up to and including the whole universe! From the smallest particles to the biggest matter, there exists no absolute independent identity.

Egolessness (non-self) implies the void characteristics of all existence. Egolessness (non-self) signifies the non-existence of permanent identity for self and existence (Dharma). Sunyata stresses the voidness characteristic of self and existence (Dharma). Sunyata and egolessness possess similar attributes. As we have discussed before, we can observe the profound significance of sunyata from the perspective of inter-dependent relationships. Considering dharma-nature and the condition of nirvana, all existences are immaterial and of a void-nature. Then we see each existence as independent of each other. But then we cannot find any material that does exist independent of everything else. So egolessness also implies void-nature!

3.3 From the observation of all existences, we can infer the theory of nirvana and the complete cessation of all phenomena. From the viewpoint of phenomena, all existences are so different from each other, that they may contradict each other. They are so chaotic. In reality, their existence is illusionary and arises from conditional causation. They seem to exist on one hand, and yet do not exist on the other. They seem to be united, but yet they are so different to one another. They seem to exist and yet they do cease! Ultimately everything will return to harmony and complete calmness. This is the nature of all existence. It is the final resting place for all. If we can understand this reality and remove our illusions, we can find this state of harmony and complete calmness.

All our contradictions, impediments and confusion will be converted to equanimity. Free from illusion, complete calmness will be the result of attaining nirvana. The Buddha emphasised the significance of this attainment and encouraged the direct and profound contemplation on void-nature. He said, "Since there is no absolute self-nature thus every existence exhibits void-nature. Because it is void, there is no rising nor falling. Since there is no rising nor falling, thus everything was originally in complete calmness. Its self-nature is nirvana."

From the viewpoint of time and space, we can surmise that all existences are impermanent, all existences have no permanent self, and nirvana is the result of the cessation of all existences - the Three Universal Characteristics. But there are not three different truths. Instead, they are the characteristics of the only absolute truth and the ultimate reality. This is the explanation of Dharma-nature and the condition of nirvana. The three characteristics are the one characteristic, and vice versa!

We may cultivate our meditation, contemplating the impersonality of all existences. This will lead us to enlightenment via the path of voidness. Contemplating nirvana and complete calmness leads to enlightenment by the path of immaterial form. Contemplating the impermanence of all existences, leads us to enlightenment by the path of inactivity (no desire).

The Three Universal Characteristics are the other implications of Dharma-nature and nirvana. The paths to enlightenment are also the same cause of absolute reality. All of them return to the Dharma-nature and the condition of nirvana. In short, the teachings of the Buddha start from the observation and contemplation of all worldly phenomena. They are like thousands of streams of water competing with each other, and flowing from the top of the mountains to the bottom. Eventually, all of them return to the ocean of voidness and nirvana.

4. Sunyata and Cessation is the Truth (Nature) of All Existences.

All existences that are recognised by worldly understanding, whether materially, spiritually or intellectually, have always been misunderstood by us. We cling to them as real, physically existing and permanent. Actually, they are only unreal names.

The more precise meaning of the term "unreal name" is "assumption" or "hypothesis". It is an empirical name. It is formed by the combination of various causes and effects. (These include the effects of mental consciousness.) It does not exist by itself. Everything exists relatively. Thus, what is the ultimate truth? If we investigate existence further, we realise that all existences are empty. This is the fundamental characteristic and reality of all existence. It is ultimate and absolute. But we should not think that empty means nothing. It implies the disentanglement from the worldly misunderstanding of the existence of self, identity, and the realisation of the absolute.

In the Sutras and Abhidharma, the worldly understandings are sometimes referred to as all phenomena (Dharma). Sunyata is referred to as "Dharma-nature", and hence there is a distinction between "phenomena" and "Dhamma-nature". However, this is only an expedient explanation that helps us to realise the truth of sunyata through the phenomena of all existences.

We should not think that "existence" and "nature"; or the "phenomena of Dharma" and "Dharma-nature" are something contradictory. They are just concepts needed to understand the implication of sunyata.

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