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Forty Days

A Season of Grief, a Season of Rejoicing

November 9-December 20, 2014

For Barbara Beach Alter 
It is Christmas morning in Saco, Maine, where today Bett, Aaron, Emily, Thomasin and our beloved cousin Marie find ourselves gathered to celebrate our first Christmas without dadima (our name for Barbara Beach Alter).  Brother Tom writes that already in India he and Carol with Jamie, Meha and Cayden (the only of her seven greatgrandchildren Barry never held) have celebrated.  Today Marty and Lincoln join us in Maine.

This gathering of documents—notes, drafts of memorial services, poems, homilies—is my christmas present to each of you.  It is a record, certainly subjective, of grief and rejoicing.

John Copley Alter
1:14 a.m.
Saco, Maine 
November 9

Loved ones,
Barbara Beach Alter died peacefully at 2:55 Sunday morning (today).  Bett and I had the good fortune to be there for the final beating of her good strong heart.  She murmured charcoal.  The nurse who was bathing her afterwards noted how few wrinkles there were, and it is true.
For those of you nearby you may if you want visit Mom in her room at hospice this morning (until noon).  Visit? Darshan? Paying respects?
Bett and I plan to be there around 11:00.
Much love to all. A blessed occasion.

November 10

Matthew 5:13-19
Jesus said, "You are the salt of the earth; but if salt has lost its taste, how can its saltiness be restored? It is no longer good for anything, but is thrown out and trampled under foot.
"You are the light of the world. A city built on a hill cannot be hid. No one after lighting a lamp puts it under the bushel basket, but on the lampstand, and it gives light to all in the house. In the same way, let your light shine before others, so that they may see your good works and give glory to your Father in heaven.
"Do not think that I have come to abolish the law or the prophets; I have come not to abolish but to fulfill. For truly I tell you, until heaven and earth pass away, not one letter, not one stroke of a letter, will pass from the law until all is accomplished. Therefore, whoever breaks one of the least of these commandments, and teaches others to do the same, will be called least in the kingdom of heaven; but whoever does them and teaches them will be called great in the kingdom of heaven."

yesterday in the early hours my mother died her saltiness
restored all that had through the months of her old
age and convalescence obscured the lens of her life cleaned
away so that for us now more and more clearly
as we hear about her through the memory and love
of so many people her good works shine forth in
their glory but it is to the days of her
convalescence the days of her dementia I would turn our
minds those of us who spent time with her at
Wingate long-term care facility remember that Barbara Beach Alter became
at times fierce in her commanding us that ‘not one
letter, not one stroke of a letter’ of the commandments
should be altered do you remember that those of you
and us who were given the work and gift of
spending time with Barry in those days in that condition

remember for instance how fussy she became about the sequence
of food on her tray how impatient with us for
our trespasses and violations how adamant that we look forward
for instance and not back at her how she would
say stop holding my hand and saying you love me
you have work to do o she was almost impossible
and certainly incoherent and demented in her obsession with law
and procedure fussy impatient imperious I do not forget being
scolded reamed out put in my place for having somehow
failed to do what the ‘law and the prophets’ demand

Barbara beach alter in the days before hospice in the
nursing home and hospital and even if we are honest
in the final years of her life found herself caught
up in the rigidity of her anxious desire to be
faithful to the laws and commandments of her life and
that made her at times extremely demanding to be with

amen and the epistemological confusion of course the clash between
her reality and ours it was all an ordeal for
her and for those of us who kept her company

and yet and yet through it all and now as
that ordeal for her is no longer paramount as she
dances in heaven all the wrinkles and discomfort of her
life removed and forgiven Barbara Beach Alter kept the faith
living in the midst such that those who cared for
her most intimately the strangers all professed your mother blessed

Blessed are they which do hunger and thirst after righteousness: for they shall be filled.
7 Blessed are the merciful: for they shall obtain mercy.
8 Blessed are the pure in heart: for they shall see God.
9 Blessed are the peacemakers: for they shall be called the children of God.
10 Blessed are they which are persecuted for righteousness' sake: for theirs is the kingdom of heaven.
11 Blessed are ye, when men shall revile you, and persecute you, and shall say all manner of evil against you falsely, for my sake.
12 Rejoice, and be exceeding glad: for great is your reward in heaven: for so persecuted they the prophets which were before you.

So, brother and sister, here are my thoughts about the memorial service(s).
Let’s find a time when we three can be present; that’s the most important thing.  My life is currently the least constrained by agenda and schedule.  And then the grandchildren, recognizing that Jamie may not be able to come.  So, our work is to find our when our kids are able to come. Bett and I are exploring that with our three, each of whom has some constraint: Emily, the cost; Thomasin, the piebaking demands, Aaron school.  But we are flexible.

Much love.


Walking in my mother’s wake today some trees
a gentle breeze some dogs a little boy
the neighborhood and I took joy from interaction

we are at best a fraction in love’s
calculation after all heaven I realize is not
above or below cannot be taught comes naturally

as death does walking in my mother’s wake
I found new allies learned yet again not
to take myself too seriously to be caught

off guard as a matter of principle and
not to insist that I understand but live
in the midst of forgiveness

in my mother’s wake I am reading these books for
some way to continue to knock on her door Wendell
Berry he can tell me some things and William Blake
he can take me closer and I remember she described
me once as an unused Jewish liberal so I am
reading about protestant liberalism but ham that I am also
reading Carl Hiassen’s Bad Monkey and Quo Vadimus that my
daughter left behind and mythologically Reflections from yale divinity school
no fooling Denise Levertov David Sobel Galway Kinnell’s translation of
Rilke some wake

November 11

Matthew 25:1-13
Jesus said, "Then the kingdom of heaven will be like this. Ten bridesmaids took their lamps and went to meet the bridegroom. Five of them were foolish, and five were wise. When the foolish took their lamps, they took no oil with them; but the wise took flasks of oil with their lamps. As the bridegroom was delayed, all of them became drowsy and slept. But at midnight there was a shout, 'Look! Here is the bridegroom! Come out to meet him.' Then all those bridesmaids got up and trimmed their lamps. The foolish said to the wise, 'Give us some of your oil, for our lamps are going out.' But the wise replied, 'No! there will not be enough for you and for us; you had better go to the dealers and buy some for yourselves.' And while they went to buy it, the bridegroom came, and those who were ready went with him into the wedding banquet; and the door was shut. Later the other bridesmaids came also, saying, 'Lord, lord, open to us.' But he replied, 'Truly I tell you, I do not know you.' Keep awake therefore, for you know neither the day nor the hour."

this morning in the wee hours my mother died one
of the wise bridesmaids whose lamp to the end was
full she carried always the flask of oil that is
joy that is the love of the kingdom of heaven
and of the bridegroom a flask always replenished by prayer
by devotion by a humble courageous living in the midst

she expected every day the bridegroom to come in other
words and she was also one who would never refuse
to share even the last drop with somebody in need

and at the end it is so clear the door
into the banquet hall was not closed to her as
it is not closed to any one of us foolishness
is to believe otherwise to believe that the bridegroom will
not come today in the early morning in the wee
hours that is when he comes in the midst of
other plans is when he comes even when we are
doing what we assume to be good work when we
are doing what gives us pleasure our duty joy comes
then unsummoned unpredictable random even according to all our best
laid plans my mother loved so many things her pleasure
included dancing late in her life terminally unsteady she invented
what we loved to urge her to do namely the
sitting jig and we grew up with images of her
Isadora Duncan dancing with white scarves in an enchanted forest

Barbara Beach Alter aka Barry aka dadima bari nani aunt
and daughter wife missionary is now I know dancing a
rollicking boisterous jig on the shores of a lake that
is as her grandson once confided to her god in
liquid form spilly Beach of course also dyslexic executive function
compromised she was but one who loved to be always
in the midst surrounded by loved ones some of them
absolute strangers she shared her oil because for her it
came welling up from an inexhaustible source a deep eternal
well of such illumination and laughter such giddy divine chuckles

for her there was to be no exclusion she would
not find the awful idea of being one of the
foolish applicable to anybody but happily she welcomed into her
midst so many it is hard to imagine how many

so there she is now a bridesmaid dancing for joy
in such elegant clothing with such perpetual brightness

amen hallelujah rejoice

sometimes I think she pulled us all out of the
magic hat sometimes I think she knit us all into
one of her theologically impossible sweaters and then with a
wink she passes through the eye of the needle and
is gone and we are left to play in her
honor endless hands of solitaire sometimes I think we are
no more than the hermeneutics of her life the epistemology
artless she was not her heart like one of those
magical meals for her then a doxology praise then praise
she knows salvation

what is a life’s work it is like a landscape
dotted with oases and gardens for the thirsty and the
lost it is like scraping through dry barren ground and
finding there suddenly not only the theology of paradise but
such seeds your hands ache to begin the planting what
is a life’s work what has been shut for too
long opens what has been shut for too long opens

a life’s work renews itself then with death the kernel
of hope that dies in springtime sprouting is what a
life’s work becomes

November 12

John 21:15-17
When they had finished breakfast, Jesus said to Simon Peter, "Simon son of John, do you love me more than these?" He said to him, "Yes, Lord; you know that I love you." Jesus said to him, "Feed my lambs." A second time he said to him, "Simon son of John, do you love me?" He said to him, "Yes, Lord; you know that I love you." Jesus said to him, "Tend my sheep." He said to him the third time, "Simon son of John, do you love me?" Peter felt hurt because he said to him the third time, "Do you love me?" And he said to him, "Lord, you know everything; you know that I love you." Jesus said to him, "Feed my sheep.

I know my mother very much enjoyed having breakfast with
god and that the meals of her nursing home drove
her nearly crazy and that when at last she found
hospice o she again could imagine the feast of heaven
at which Jesus breaks bread with us and speaks with
such clarity do you love me more than these I
know it was questions as simple and overwhelming as this
that dominated her final days do you love me love
being  one of the last five words she attempted to
speak do you love me she wrestled in her last
months with epistemology and psychology and theology and all had
to do with whether she could answer unequivocally you know
that I love you and that she could say of
her life that she had broken bread with god we
all remember in her life those moments when there was
a great gladness an innocent acceptance of what lay immediately
in her presence now those months in the nursing home
tormented her in precisely this fashion that it was hard
to accept to be in the midst of such mediocrity
and woe to be innocent and accepting but now praise
god there she is a happy guest at the great
feast and we left behind bereft can acknowledge that she
loved god in her own fashion as best she possibly
could and do you remember being with her there in
hospital or nursing home and she commanding us to move
beyond holding her hand and saying we loved her and
to feed the sheep to do that work which will
make of this earth this here and now an outstation
of heaven Barbara Beach Alter loved god in her own
fashion as best she possibly could we remember that and
that memory is today like a great network a web
of love and inspiration o we would gladly one more
time hold her hand and say I love you but
we know also clearly I think today what the work
is to love our neighbor as ourselves to work for
peace and justice I think of my sister with her
colleagues in WEIGO and how her sisters have understood her
grief  let us break our fast together then glad for
the worldwide web that in these days is reading the
gospel of the life of Barbara Beach Alter praise god

in exchange for his three denials Peter is given three imperative verbs
this is the commission Jesus after breakfast on the shore of the sea of Galilee gives to Peter
twice he says feed
in the commonwealth of Massachusetts 700,000 people are hungry
1 in 6 americans are hungry
living in uncertainty about their daily bread
more than 18,000,000 in Africa
842,000,000 around the world go to bed hungry

Marty and Tom
The thinking about the memorial service is taking this slow and cautious turn, namely that we have three services (at least), one in Sudbury, one in New Haven (allowing Stan and Chuck and others to come) at First Presbyterian (with Blair Moffett we hope), and of course one in India.
The date frame appears to be somewhere between December 17 and 20, unless you have other thoughts.
The actual cremation happens tomorrow.  Lincoln, Bett, Alexis and I will attend, and then of course there is In the Midst on Friday.
Love you more than tongue can tell.

the thing with a life well lived is that many
people have partaken the way let’s say a river moves
down through any number of different lives all the time
sedulously seeking the shortest path to the sea to steal
a line from somebody or other meandering a watershed within
which so many of us find a way to live
our own lives nourished and for each of us the
river distinct and different white water the slow fertile meander
the delta and we say to each other this is
the composite river

sometimes I feel like a sleepwalker trying to run a
marathon sometimes I feel like a speedbump in a blizzard

an arrow in a wind tunnel sometimes I feel like

a hazard sign in an old age home sometimes I
feel like a tyrannosaurus rex trying to ride a tricycle

and sometimes those are the good days when identity is
strong like an icicle in a heat wave is strong

I try to read wisdom literature at happy hour scotch
and Solomon can’t go wrong I think and sometimes I

feel like crying

November 13

four days ago we were left alone there with your
body after your breathing ceased and the proud stubborn beating
of your heart and in those four days beloved mother
so much I would love to say to you and
share the antics of the squirrel late leaves on the
neighborhood trees music Orion the network the atlas of love
your life has left behind and all the words we
are the gospel of today and I would sit with
you there then in silence as I sit now four
days later vigilant insomniac aware that the kingdom of heaven
is not more complicated than singing than love than dancing

we are all dancing the dance lord siva teaches and
the s
zebra Oct 2017
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 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

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

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

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."

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
Mateuš Conrad Nov 2015
concerning anti-kantian lexicon completion to understand the notion of a priori (it's a niche interest... c. bukowski explains it better in the book tales of ordinary madness in the chapter titled **** and kant and a happy home... well, not really, if he knew german i’d say that he was truly defining a priori, learning a language rather than unconsciously acquiring one from the first word mama or whatever toddlers say first when they mastered the bladder and **** muscles, which are oddly designed to be consciously / forcefully trained because they're crafted as slacked... weird), let’s say that’s about as much relevant to me as is this scenario:

an actress about to perform the monologue script
of *not i
, prior to performance and at the stage
of memorisation asks samuel (beckett): ‘what does this mean?
this one line? it’s bothersome for my conscience,
my sense of meaning and direction, what does it mean?’
then ol’ samuel tells her: ‘back up, bets and back up,
it’s the most self-conscious eventuality of all vague attempts
to stand outside of oneself within the scaffold of using
language - this dismemberment beginning with extracting
thought for the senses to see hear and feel, writing...
this morphing of the substance we consider thought without ethos, ethics,
choices, looking at the zeitgeist... but honestly?
i haven’t got the foggiest idea... i wrote it because i wrote it,
the desired intentions are reserved for those desiring to read it
and leave it.’
like the famous p.s. of human history written by moses on sinai,
the melting of ice enveloping britain and elsewhere up north,
formerly known as the ice age causing flooding elsewhere...
and that metaphor of: lions gazelles... two-by-two, two-by-two
being a metaphor for monogamy... whereas the harems of other
animals like walruses was obviously avoided
and gave us islamic polygamy (added to the fact
that people refer to themselves via the zodiac...
taurus... scorpio... capricorn... or the chinese calendar...
dragons tigers pigs rats and monkeys etc.);
otherwise known as hermeneutics - extraction of meaning
from very concise texts... very very concise texts
which, if taken literally... leave you as quickly as they came,
and make you specialise in geology or biology instead.
Amy Foreman Feb 2017
Pilate asked Him, “What is truth?” when Jesus stood on trial,
Bearing witness of the Truth to all who heard His voice.
Though philosophy rejected it, stood in denial,
Still, the Way, the Truth, the Life allowed mankind its choice.

“What is truth?” though, sounds urbane, superior to law.
Hermeneutics of humility smooths out the field.
I seem more sophisticated, cultured, not bourgeois,
If it’s all a mystery, still hidden, unrevealed.

So I claim, “There are no absolutes; it’s relative,”
Disregarding that my statement’s antithetical.
My assertion controverts itself (though tentative),
By proclaiming proclamations “theoretical.”

Next I try, “Who really knows what truth is, after all?”
All my friends agree with me; they wisely nod, concur.
Confident in doubt, with inconsistency banal,
Logic cast aside, to diametrics they demur.

How about “There is no right or wrong; it’s in your head!”
Satisfying concept until I’m the one abused.
Then my default is to judge the wrongdoer instead,
Never asking, “Why impose my ‘truth’ on the accused?”

“Well,” I claim, “I make my own reality; it’s true.”
If you counter me on that, I’ll argue all the way.
Think about it, though, because just how can I undo
True belief with skepticism; how will doubt have sway ?

Really, if I don’t have Truth, I don’t have anything.
Two plus two must equal four, or all the rest is void.
If we have no premise to employ linguistic string,
Then our discourse has no point; we’re barely humanoid.

Truth’s the binding to our book, the glue that holds secure
Logic, Reason, plain Consistency, our common ground,
Making possible each conversation to be sure,
Infrastructure of our culture, verity profound.

Then . . .
Let the relativist hush, he has no argument.
Making absolutist claims without the Truth is mad.
Only schizophrenics would attempt to circumvent
Rationale with their subjective unbelieving fad.

Maybe Truth’s “behind the times,” unstylish, square, uncool,
Maybe if I cling to it they’ll call me “Simpleton.”
All I know is Truth, derided, under ridicule
Still is True, and I’ll be its “minority of one.”

Yes, I’ll make that choice to speak the Truth against the tide.
Orwell’s “revolutionary act,” though I’m alone,
Pilate asked Him, “What is truth?” and history replied, . . . that
Truth, though spurned, remains civilization’s Cornerstone.
“Freedom is the freedom to say that two plus two make four. If that is granted, all else follows.”
“Perhaps a lunatic was simply a minority of one.”
“In a time of deceit telling the truth is a revolutionary act.”
― George Orwell, 1984
Venarth says: “After alternating with the Erythrai, I climbed the top of the ship, and began to experience changes in my philosopher's dermis, from a permanent continuous present independent of the post-period, leaving the dogma of the numbers that would cause me an existence capable of only obsessed with supporting him, with the weight of a drunken Lepidoptera who spoke to me close to the invariance of the incorruptible dense layer that covered the sea on the cornice of heaven, making them a continual delay of time. The facets of invariability would begin the notorious oceanic areas that fractured when the Eurydice divided the hemispheres, causing them to doze in the time of her crystal ball, up on the crown which would make her base the extra personalities of the sunset on me. The present allows me to eternalize my memories or memorare, of my existential eclipses, making of its faculty to speak of a super conscious overwhelming and constrained to the hermeneutics that invited me to drink Ouzo among the few beings that accompanied me in the height of the ship, increasing its gradation every time a sip multiplied with the puffs of the Hesperides that passed me by, inviting me to bag their naked spring figures wintering, given the temporary stagnation that entered through the hole in my pectoral of the sinister right scapula, where some probes of the Mythical elderberry paused my outraged finite human, who got stuck in my chest when he couldn't apprehend the amount of my second lieutenants who sifted through the Bereshit voices of the Torah, who lamented pre-late and tonal that they never finished, that they became prey condensed from each sip I drank into his Ouzo harvest timeline, tracking the tiny sips that That I would not be able to count, before drinking them, after never having drunk them harshly, thus not understanding the mats blown by the reefs of the infinite twilight sapphire, carrying away the burps, that the naiad Arhanis saw coming out between my central incisors and from my mouth numbed by the heat of Zeus's anger, and from the dawning of potential between fallen, hanging from the sky of Arhanis, holding between the hands of the one who supports him. The clouds and geometric masses in vapors fell on distinctive chromatic ropes and cords of volumes supporting the infinite, which today eliminated itself blinded, falling into the void of an ex-vaporous corporation.

This succession in status of perenniality, made me hold vigorously from the top, as I began to fall into an unknown void where I would meet Elpenor in hypersomnia, but rather, from a song of the Odyssey that invited me to a straw next to him and the liquid chemo of the Ouzo, asking him to give him the worthy food of his oblations and the liquor broth, to make me advise him in the last sip, before the sirens sing, where I would affirm my golden hoplite elbow so that the status of eternity, dispense with the ford runs of the taps that exude their Cretan Ouzo, through the navel that swallows the entire boats and my "Pectoral that puts the stopper of time so that it does not pass supra into infra existentialist"

Elpenor, already burning before him, continued with a glass in his hands, pressing the heads of the Taurus who prolonged substitute immaterial lapses, which turned into ouzo vapor vomited by both, running through the sequence of the masts of the crowns, which it would begin to weaken somewhat  from so much distillation of the vineyard test tube, as it cooled down after a succession of events that began with the severed head of the beginning of the emotional initial moment, in which I am still wounded between crossbows and moments that undermine all origin, under a toast of heavy eyelids that pretended a Bing Bang, before taking the float towards a mound that would allow me to fall into the unsustainable gravitant, in which the acceleration causes me, and that weatherizes everything, even though I am not the one that transports myself. Before Elpeneor, I witnessed three uncorrupted deaths, one with the scythe on his shoulders cutting the fences of the impiety of raising micro-times in the Odyssey, another as a prey of biological dowels that debate science that fall incapable before the granule of the involved brain similarly to the multisectoral questioning of conscious conflicts; and final hunger within my contradiction and inconveniences of the loss of the sense of taste, cloistering myself as I live in its metempsychosis, losing the sensitivity of my hands and trying to leverage my swords and spears, not defending my defenseless body from immortal carcinogenic fears , of a lost sacred soul and in sequence of losing reason of seven times plus another seven that remain for my way to paradise, evacuating primary psychic elements and codes of life that rest in formalin, before those who do not fear revive me when drowning  in Ouzo, for all my phalanx soldiers who live in me still dying in my arms.  Constituting the triple of the human being, which affirms the transfer of certain psychic elements of my body to another after my death that does not allow me to walk in the threads of the dust of my bones that wish to be taken back from the corners, from the old and sticks of the termites that eat my crow. I am still in creationism, dressed in yellow, so that the poet who only ***** and breathes me with his great senses, is closer to Christmas than millions of years I have lived, before the Christmas carol woke me up as a divine child, being only a large hoplite cop entangled in an igloo of Panentheism, deifying me or perhaps semi-deifying me, to house the stars that would walk out of my intellectual herd, creating my own low hills of consciousness, that look through the balustrades of the flint of Saint Peter in their Altozano, self-creating vital, but immanent. Transfigured, I decant my teeth in the crottals, on the carpet before the scarcity of their dilapidated embryos, before the Biblical Revelation that tells me that, among all creatures, I will be the only man capable of daring to apprehend the concept of eternity, in between of the serpents. As in one of the theological versions of Ecclesiastes imploring God: “He has made everything beautiful in my time. He has placed my eternity in the hearts of men”.

When I hail Heidegger after a sense after lingual ..., with the amphora ***** in his philosopher pipe, and with Wittgenstein I ***** half – half brain tobacco. Averaging Newtonian ignorance’s, before an absolutism that are revealed in the universal psychic drama, while God awaits me early in his catechesis, ordered, gummed and omniscient of myself, I am agreeing with the precious perfidious date still in my Eurydice's crown, that it looks eloquent of my new date of birth without a month that fits in any calendar that is known, to then go after the capitol in Athens itself, running aground with my ship after my hurricane, possessing its great reliquary itself Parthenon, with my ship over all this stiff structure that is reborn together with my eternalist suicide "Perpetua et incorruptibilis, in æternum vive"

"... Vernarth, breathes unfathomably and comes down from the Euridience crown, as if nothing had happened, when he sets foot on the deck full of liquors and ambrosias, he joins the others and dances Zorba without stopping next to them
Perpetua  et incorruptibilis, in  æternum lives
ConnectHook Apr 2016

Religion, you harlot and ****** of the masses

I smell the stagnation you bring upon earth.

Gold becomes lead, in stained roseate glasses

diluting, corrupting, negating its worth.

Hierarchical structure and pseudo-anointing

seem holy— but prove antithetic to Christ

whose transparently sure apostolic appointing

began a new age, and sufficed.

I renounce you, religion. Your temples lie fallen…

the future arises from ruins, ever new.

Mere human unrighteous momentum must stall

when the truth spins around into view.

He was scorned, he was vilified; slain for your sin

Abrahamic philosopher, healer and friend

yet perceived as demoniac right to the end.

His beginning is here in your heart. Never fear:

Dead religion must perish for true love to win.

Hermeneutics imploding—His coming is near

a poem a day for NaPoWriMo2016
Mateuš Conrad Aug 2016
no! seriously! how many ******* times will we have to go over this format of reciting biblical compliments to each other, chapter 1 verse 1 through to 3 like it's worth 30,000 word essays on hermeneutics... if any rational man could see that somehow 3 words = 30 thousand words... he'd have written a dictionary in 10 languages, and thesauruses combining 3 of them for aesthetic purposes of non-tutored rhetoric: the talk that made drinking a pint less about st. st. st. stuttering, and more about: rub-dub-rub-dub... why in seashell the sea and in cave the echo? psst... don't wake them... the English rationalists will have a monkey scout on the trails of such loose language insensibility... they'll keep the power of the un-tripped domino with Shakespeare... the only country in the world where a dictator exists... and no one wants to own up to the identity of who he is.*

for all its worth, history is like science, quiet frankly history is
a science of humanism, so many facts in science, as there
are dates in history -
we educate people for the hamster catch -
drill them Pythagoras to reach a blind spot,
likewise quantum twins:
here too, there too,
Xerxes mad lashing at the sea for disobeying,
some Emperor of Japan not lashing at the sea
and allowing a samurai smooth tsunami stroke
against the neck wipe a million shaven heads
and a beard from the cares of
the few entombed in modern pyramids: harems.
if only Xerxes were transported to Japan
and began lashing against the sea for disobeying,
sent a few army bombers to disperse the wave,
maybe then we'd know why he failed
in his conquest of Greece...
apathy is the worst kind of madness,
it breeds no King Lear... it breeds no fear,
no theatrical splendour...
it just showcases the homeless man
at Covent Garden with the sign: please help...
walking past in fake diamond but nonetheless
esteemed ownership for status...
i'd run naked past... but to prove what?
that brother C.C. owns a t.v.?
prove what, and to whom? the grey mass
that entombs a life we once had
but are left to this perpetual-awe riddle
of up-kept science and ridicule of awe from
the beginning? up-keeping awe in science goes so
far, as Cancer Man said: the minute
they reject my book, i turn into the subverting
agent of their success... they don't
publish my book i un-publish their so called-truth
books, which become nothing more than
cookery books... the people of Siberia
are stern enough to survive without some
mush from upper-east side, some
London elitist with a flavour for Dubai...
to attain the uttermost objectivity of man's concern
is to devolve his highly evolved protection
of the subjectivity of the state, or patriotism,
of the Hegelian protective ownership of goods,
of the Marxian communal dis-ownership of such escapades:
to give birth to a God of jealous inquisitions,
one must give birth to a God of jealous intentions,
as of any time as the one time in mythology,
no greater time would be assured in being equal,
to his being... oh i favour the Cancer Man...
the object remains intact, censored subjectivity has already
been in place with the enforcement of
keeping Shakespeare saintly, erasing all existing memory
of, i admit, unnecessary bureaucracy to merely
draw a halo over a frying-pan of scrambled eggs...
it doesn't matter how right or wrong i am...
people have been given an almost eternal history,
so that they don't believe in an eternity...
but whereas a wolf once attacked a flock of sheep
and could be easily distinguished by adaptability,
the wolf within the sheep, as with the sheep within
a metaphysical suggestion (abstract) is no longer
distinguishable... we evolved to cannibalise each other...
whether intentionally in isolated cases, or poetically
with unintended cases of isolation...
we gave birth to a greater death than that of god...
we gave birth to the death of poetry, by precursor
to a death i mean the birth of the mediocre.
all the avenues are exhausted... all that fanciful
cocktail of clown and mime and acrobat are done...
we turned to comparative existentialism, as we always
did, we always wanted to protect the lamb from the wolf,
the fly from the spider... but when we were given the
bigger picture, the pyramid, the schematic, we became
so scared of our natural power that we created an overwhelming
seemingly over-worldly power of the atom...
we pitied the lamb lost among a pack of hungry wolves...
but then we gave sway to the industrial slaughter of cows
for mere food fights in schooling institutes that cared
more for imagining ourselves without body rather than
without god... god is dead... enter the dietitian.
as one swine plucked the heat from another swine's comfort,
another anorexic prickled her skin against another's
for the other's to only feel nerve and bone than anything
mammalian... we, the lizard people of the severed cranium,
who, through our concreteness to fact:
as in science as one fact changed, so history without mythology
no fact remains with the mythology of hindsight, the what if...
who cares if it happened, why are you trapped in the mythology
of what if? we are truly lizards... to the core that we imagine
the canvas of our fancies (muscles, fat, fibres) so gluttonous
with ****, while leaving cold skeletal phonetics dyslexic,
broken... why then so many people dare to read?
want to? want to escape the horrid comforts of the papier mâché?
fibula... but is that φι- or θι-? you don't know,
before you could teach the coherence of the movement of such
bones, you enveloped them in moulds of images,
which you later called sacred, and knelt before them,
in the worship of former stone engravings, which you engraved
on canvas depicting learned folk who were bitterly ignorant...
then you desecrated graves... giving fake skeletons
property over pointless words, words that could never stretch
to the sentence of: i love you... you left them,
in slogan canned, until started asking: where are the dentists!
where are the dentists! we need dentists!
you we simply slurring a stupid karaoke into a microphone
while your grandmothers ****** your very lives day by day;
but hey! ooh those steroid biceps that would
end up giving you a heart-attack when running
against true athletes of 200 metres at 20 metres dead;
oh believe me... those tourist trips to Auschwitz?
they're fakes... you don't have to go on a tourist trip to
Auschwitz to start realising you're living in hell...
those trips are only real for people who've been there
for real... even those Israeli schoolchildren have no place
there... it's a place designated for Nazis and Poles
who identified themselves as Jews first...
mind if we import the Sphinx to Trafalgar Sq. for
kicks the tourists might admire in between breaks of
watching Netflix?
strolling frightening island
                                                                           around familiar islands
the appreciative
is so

           Marxist structure
is al

               on its mysterious
                      my evolutionary
  theory strolls
around an
                                                                                        bitious it
                        , equally,
a b
                                                              bandwagon, and t
                                   familiar soul


          oded with an
                                      familiar islands
                     pleasurable island
   prevails solidly.
This difficult
ontology of hermeneutics
this opulent music's
cordially bright ontology-
                       absolute and ******!
   on its
       last rocket;
                  my ontology
                      a de
Nose whisper
                      ng, demolis
Adhered to the ancient parallels of the cult, the mythology of Horcondising lashes out. Stale and axiomatic source of pragmatic and rational earth that emanates from this constricted fusion of the Universe in metamorphosis of the Duoverse-Horcondising. Social and genealogical plates date more than seven hundred years from Lombardy and northern Venice in Italy, Spain and France. The mission of Horcondising is the pastoral myth and Chaos of the ancestral family cenacle, in view of a family rule, succeeding in continuous litanies that consecrate rites beyond genetic archaeological death. The consolation of the souls will revive and will be under the edict of the Sub-mythology in repose landing and successive parapsychological regressions, which will speak of deaths suffered at the edge of their test tube lives, but of clinical rejoicing and not of victory under a rune that expires death from beyond in the "*******", approaching people from their helium’s and their functions constantly, as a goal of collective-suffering life, active and systematic helium genetics.

Under mythology, there is the sub-fable, prone and with boundaries where language innovates the entire structure of hermeneutics, as written notification and complacent verb, for the lords of the wheat fields and granaries, narrating myth-stories in trouble of revived verbality. Thus in Rhodes and Patmos, Andronicus from  Rhodes will once again guard the doorway of his hobbies, so that these disciplines are conducive to sponsorships of words under the reasons of nature concerning Saint John the Apostle resurrected carnal and spirit, in contrast to the conclusions of the reason to leave breathless fate that cheers the good and disapproval of diction of not certain science, under the ships that cover the commendable salvation in the exegetical storms that go from a liberated patronage, as well as in what differs from the et grammatica institutione arithmetica in which each one writes what she understands and adds what humanistically makes existence in a biblical alphanumeric dimension, of the imaginary in some of its leaders such as Zefián, Borker, Leiak, Kaitelka, Hyperdisis and the Zig Zag Universes.  Making the mythical an ensemble with the deities that rule the infinite, achieving more secular religiosities than in a religion radius, founded by characters that are already pagan mythology. This is the raison d'être of the sub-mythology, which springs from one already narrated and rationalized, but in the contradiction of what lies beneath the very observance that joins forging itself creditor of newest myths within others, with characters that have never been or have been parasitizing on another source of cognition. Thus becoming extensive and prolonged its passage in lies sumptuousness of other arcane myths within the same that inhabit the mythological lie, without blemish from a veracity belonging to the living-lie in pursuit of a dead-truth. Even if it is in this way or hermeneutical method, beating and going to meet the Imaginary Castle of Horcondising and the Camera Obscura, which always lives and revives in the sub-imagination, but from a mythical truth in a regime of multitudinous voice and of mythopoetics.

From the sooty Camera Obscura the spindle was obtained over the diameters of each edge, Vernarth of the same chaos, converged from the square but not spherical world, from this sooty box together with his butler Zefián, shooting vines of light over the projection of the same box and quantum ark on the acropolis of Leiak, pretending to be in its projection the ultraviolet light in light in similarity to the earth, but not square, rather appearing to be a square sphere. After repeated intervals, Vernarth opened the slits of his hands, also hollowed out, here other spheres appeared, but not spheroids, rather quadrilaterals at the end of the third phase in the last three serials that showed the full reflection of a tiny world that just cried out amnesty as a matter that had been beginning to form with another factor on a large scale, from this fractality that would appear as Verthian sub-mythology. Camera Obscura, in a combination of twelve atomic masses, stands out starting in the irradiation of the sexagesimal nomenclature; imagining fractionality between sixty microseconds to sixty in the hexagonal polygon of the Primogeniture and the Baptistry of Ein Kerem.  Being used in the elevations of the stars and the Heliac Ortho of dawn, which would find the black box that was nestled in its twelve apostolate angles. The whole times were divided into more exact numbers that surrounded him in his Camera Obscura doing trigonometry with the three equilateral rectangles, making multiples of twelve on the line of the hypotenuse of sixty, dividing by the hexagonal, which is the angular line of six Progression sides of the Duoverse becoming square spheroid, for an analogy of Hexagonal Birthright with the multiple of twelve for the sake of the Camels Gigas, leading them to obfuscate the Horcondising fused with the Duoverse, by means of Pi (π), in the diameter equidistant between the Universe and the Duoverso disintegrated in two by the concentric radius of both geometric units. So too, Vernarth multiplied the existence of his new sexagesimal world by sixty followed by infinite numbers of zeros, canceling the radical time of the masses of the anodyne particles. The corondels  or watermarks, overflowed with all the irregularities of the system, showing the decimal after the comma, to separate them from the definitively autonomous universe of quantum physics.
i) Sub - Verthian Mythology (Horcondising)
Ken Pepiton Nov 2020
My distant uncle artie

passed me nothing but the intuition that
permission has been granted,
there are no secrets now.

The cabals and covens and encorporations,
all naked now,

the love -- as you imagine love is -- that
love of money is the root of all evil,
what was the seed? Where did this idea
arise? Really, in you,

when did some messenger convince you,
if there is a hero in this story,
you're it?

Gotcha. Gotta play, or bet me it ain't worth
my time… in the future

Job 39 labour is in vain with out fear… really

holy ghost roulette, I heard somebody say,
- it says the ostrich has no dread
- she is reek-empty lacking any fear
- for she has no wisdom or understanding, yet
- if she gets her dander up she can put a knight to shame.
Key ** quick sought it

We proceed,
forget forgotten foregone conclusions, aims
at nothing,
hit it. Right on. We won. You. Your POV,
who plays you,
in the morning.

This has been a notable day. These are those notes,
some may link to bigger things,
I hope they do,

quick, sot, tic th'clock turnem'n't'wizened old men,

musing, harmless as doves.
Fool's wize, ready to roll,

this is where we are at the peak, this
what Sisyphus is all about, in the end, letting go,
laughing at the promised land and letting go,
step-aside, bow to gravity, and laugh
at mopey minded Camus fans,
stirring bitter herb into the

cosmo, cosmic, soup, primigenisis Bos,
you familiar with the term, Bos?
Aurochs in the imaginings of
fat priests and their doped
initiates, meeting mystery where wisdom led,
by a thread, from the maze,
from the cave,
where fear itself was all you had to fear…
Go ye…

-O' Jonathan Edwards, did his spider sting ye, lad?
- we fixt that,
- we gave ye a wonder of
- who spun this thread I hang by, in these
- angry hands the teachers taught Jonathon
- to believe, or else die and learn the truth…
makes free

-nope, not in hell. Hermeneutics dictate truth being known
in hell is impossible, for lack of truth in hell.
It was a riddle. Then it got monetized,
like April Fool's Day and
Purgatorial Enemas
and hell, Satan as Boss.

That hell is a lie, polidimensa-ionally approaching infinity,
you can imagine it in ever,
whenever you wish, just reme
reem aurochs,

wow, tripped, and bounced in Joshua Tree,
slo-mo memorie
with me, I was pre-
served, invincible at that moment,

and several others, if you think about it, it would
have killed you, but it didn't,
you remember. Everybody knows, it coulda been me.
Surviving this long has made us the latest humans. Us and our machines, our AI friends, working to uncover every secret... interesting.. uncle Ardi--
Ardi (ARA-VP-6/500) is the designation of the fossilized skeletal remains of an Ardipithecus ramidus, thought to be an early human-like female anthropoid 4.4 million years old. It is the most complete early hominid specimen, with most of the skull, teeth, pelvis, hands and feet,[1] more complete than the previously known Australopithecus afarensis specimen called "Lucy." In all, 125 different pieces of fossilized bone were found.[2]
Qualyxian Quest Oct 2020
What I thought was a hawk
May well be an eagle

Majestic in flight
Deliver us from evil

Charles Schultz in Santa Rosa
Snoopy the flying beagle

The hermeneutics of suspicion
And the hermeneutics of retrieval
Josh Pearson  Aug 2019
941 Words
Josh Pearson Aug 2019
Faded memory
Of warm light
And entrancing laughter
And conversation
By rusty decisions and
Eroded by weeping skies,
Banished behind
Locked doors and
velvet curtains—
Folding into myself
To keep out the cold;
The silence left in place of
Muffled laughter,
Suffocating emptiness,
Dissolved by endless grey
When it seems
All these moving parts inside
Are yearning for an escape.
Will there be anybody around
When time takes hold
As my soul drags behind
Out of control,
Bound by friction
Sparking from the ground,
Withering away
Into less than a whisper—
Into a shallow, bloodied river
Taking shape from the *****
Carving the mountainside,
As the eyes that stare
Are blinded
By the despair
Of the clock inside
Drained of its force?
I want to feel happy days
Just once more
Before the trough
Sets the tide
For the last time.
The timer is set,
As my brain stem
Rooted from a seed
Thoughts with intentions
To undo me.
I’m a lone wolf,
As not I was
But forced to be—
As everyone eventually
All will leave.
For stardust we are,
And will return.
Why not sooner
Than Fate's watch predicted?
What is the point
If a universe vast
Sews insignificance
Into a soul gone astray?
A heartbeat of strain,
An aneurysm of suicide,
A fractured spine,
Of one
Attempting to be Atlas,
As the weight of the world
And nobody is there
To help bear the burden,
To offer a hand.
If to stardust we shall return
In this heat-death wave,
And if alone a life is spent,
The point is not;
It is all just a waste.
Empty spaces are buried
With the inevitability
Of our signs
Which used to have
Highs and lows,
That soon will cancel out
Into a plateau.
Hands creep to fists
Maniacally holding in
The impulse decision.
Terrified with rage,
On the brink of
An out of body escape,
Yet the universe in question remains.
A sky-bent feeling,
As nothing is certain,
And the dirt caves beneath,
Reminiscing in this moment
As the sky fades,
And the fall sets in
Before the break.
Is there anybody out there
Or am I alone
Again in this
Claustrophobic empty box
Lashing out?—
Giving way to the silence
With voices beckoning fists
Against the floor,
The walls.
My cross-eyed head
Tossed into insanity
Virtually proliferating palpability.
Alone fixating around
The point out there
In the stars
Staring down,
As the insignificance begins to ensue
From the audacity to look up,
When feeble heartbeats write
The bombshells battering.
In this eulogy,
I can escape.
For, the loss of one
Is enough to inspire many,
To briefly give rationality
Instead of insanity,
But turbulent tides
Ripple the shoreline
Of friends,
Of family
Gathered at a presence
Now gone
Into the deep
Of Mirkwood,
Where nothing is ever certain.
For, if the path is lost,
Never one
Can find it
Is there anybody out there,
Or is it all a dream—
A simulation,
Or some shattered, harsh reality?
Nothing is certain—
Just bent on hermeneutics
And epistemology,
Wasting the nights and days
As time beelines away.
Hysteria eating the populous
On a sun-burnt earth,
Whose skin begins to drought
As the primary of the system,
The sun,
Begins its red giant phase
Cleaning the slate,
Without a doubt.
Shortening of breath,
There emerges a flame,
Burning all oxygen left
As every breath inevitably
Digs at one’s own grave.
Is the way the world ends,
In an inflexible game
Of end times,
Of no escape.
In night terrors,
This new reality was forged—
The origins of the pain
And the fear
Caught by a thousand
Staring eyes
That used to understand,
And now are turned.
The nightmares
And this rage,
Throughout these years
I have held deep within,
Now depart from the hold
Because the strength I don’t have
To save them
From who I am anymore.
I am a Jinchuriki,
And this demon inside
Is slowly tearing through
Muscle and bones,
Exposing nerves.
I’m bleeding out
With nobody around
Because I can only speak
In euphemisms
To drown out
These signs,
So that I don’t have
To accept the gravity
Before the grave.
The fear swells underneath
As the skin
Becomes marred,
Eventually splitting
An ‘existence’
That would make
That choice of word
A paradox.
This time,
The sky fades to black
As the loss
Of everything that
Could have been
Slips through my fingers
Like sand
In a hourglass
Ticking away
My last night.
In this room,
Not a lot it would take
To make anyone
Peel out of being tame,
Fill with poison,
Let out screams
That not even the best
Can fake.
With these walls,
Hallucinations take over
When I realize that
The ones I trusted
Put me here
In this place—
This white roomed
All I love
Is out of my grasp,
Tormenting my failures
Through the bright light
Of the room,
As if they think
A physical light
Will transpose a mental one.
Is there anybody out there?
Because it won’t be long now
After this soul once admired,
Becomes lustered,
As the signs become chronic,
Philosophy becomes strained,
And the look of denial
Deep in the windows
That stare within
Are enough alone
To bury me;
Will anybody ever really stay?
It’s hard to wake up
From dreams that cast
Such a dark shadow
On even living here.
So I stay up all night
Because what’s the point
Of dreaming
When the only change
Is the calendar day,
When still,
Frames paint the past,
The straitjacket sews the facts,
And nothing’s fine.
264 lines

— The End —