"Are you real?" Ravi whispered hoarsely.
Shyama the Mataji from the Yoga Shakti
ashram in Melbourne, smiled,
"As real as any of us," she replied.
Tenderly she tucked warm blankets around Ravi
as he slept on the cold, concrete, cement
steps of the Hindu temple.

Now it all seemed like a mirage to him, a fading dream.
Ravi anxiously waited for David's dark blue van.
Today he was finally leaving the austere environment
of the Buddhist Temple. New born vistas were
blossoming before his astonished eyes.

That morning he had broken the news to his mother.
"Mom I am coming home in a few days!"
His mother gasped with delight on the phone,
nearly swooning. She had just engaged in a
week long sadhana of intense prayers and
pujas in Bangalore pleading for the return of
their only son, Ravi, to their loving arms.

Soon, David and Ravi scooted down the
road waving goodby to the Monk and fellow
Buddhist practitioners. Ravi breathed a deep
sigh of relief. Everything was going so smoothly.
Later in the day I met David and Ravi for lunch.
Ravi had a slightly dazed appearance on his face.
So much had transpired in the past year. It was
as if he had been reborn. Each baby step he took,
God was there urging him on, catching him if he
seemed unsteady or unsure, infusing him with
fortitude, strength and great love.

I asked Ravi if he planned to say
goodbye to Shyama, the Mataji at the ashram.
Since time was pressed he decided to say farewell
in a phone call.

We wrapped up our lunch, David had errands to run,
so I took Ravi in my car. On our way home
we stopped at Walgreens to get some
chocolates for his Mom. We noticed a
woman pulling out of the parking lot.
"Oh My God!" Ravi exclaimed,
"That's Shyama!" We dashed over to her car.
"Ravi's leaving!" I gushed. Shyama Ma
got out of her car, gently embracing Ravi
and blessing him. We chatted briefly, then Shyama left.

Ravi and I stood there gawking at each other
in bedazzled ecstasy.
We both could feel the Divine Hand of God
showering us with His astounding leelas.

We resumed our errands and made our
way back to my house. Rama, our
inquisitive cat greeted Ravi rubbing his
furry little head against his feet.
Ravi relaxed, settling down on the wine
red couch in our front room. We flicked on
the TV. Ravi stammered like an innocent child,
"I haven't watched television in years!" He looked
at me with a befuddled grin, "I still can't believe
this is all real."

The weekend flew by and soon Ravi
was standing at the Check-In counter of
the airport preparing to fly home to
Bangalore, India.
"Ravi," I said softly, "this morning I had
a dream with Sathya Sai Baba."

"Oh really?" Ravi said excitedly,
"Please tell me about it."
I related the dream to Ravi:
I was sitting at a table, I believe my husband
and another man was on my right.
Swami was seated across from me.
He had such a beatific, radiant countenance.
I gazed at our glorious Sai, love surging
through my heart.

An attendant came over and poured juice
into two glasses. I said,
"Please give this to that man first. The attendant
moved the two drinks over.
Swami looked at me with a very
happy expression on His holy face.

As I finished describing the dream,
I said to Ravi, "I think Swami was
letting us know He is pleased with the
service rendered to you."
What a wonderful blessing.

Ravi shoved a package of Pizza flavored
crackers into his Carry-on bag.
David and I watched as Ravi trekked
through the security line of the airport,
his eyes glistened with thankful tears.

We both snapped pictures with our
cell phones of our sweet friend and
blew kisses which he eagerly caught,
a pristine beginning, a magnificent ethereal
bridal bouquet glowing on the rose pink
threshold of an extraordinary new day.

Ravi gratefully settled down on the cottage bed. It seemed
like centuries since he had slept in an actual bed. Up to now
he’d slept outside and on the thinly carpeted floor of a
Buddhist temple.

In fact, Ravi was very thankful to be alive after suffering
a serious stroke and subsequent amnesia for almost 3 years.
He was discovered sleeping on the steps of a Hindu temple
by a kind priest, named Swami Krishna.
After several inquiries, Ravi was finally given refuge by
a compassionate monk at a local Buddhist temple in Melbourne.

When my hubby David and I first met Ravi there was
an instant connection.
His humble, soft spoken nature touched our
souls as he shared his heart wrenching story. During the
period of his stroke, he lost almost everything,
most of his possessions, his wife and his memory.
Wandering the streets of Melbourne desolate and
forsaken by man, he was never forsaken by God.

It was a beautiful night, stars shimmered above the
colossal golden Buddha statue. As Ravi related his story,
David offered to help him recover his life. We all prayed
fervently to Lord Ganesh to remove all obstacles on his path.
In the coming months, Ravi and David were able to piece
together the fragments of his shattered life.

Marvelously, Ravi was also able to connect with his
parents in India who had not heard from their only son
in three years! Imagine the relief, joy and
ecstasy when they heard his familiar voice.

The other day we invited Ravi to our house for lunch.
Entering the puja room, we made sure to offer
thankful prayers to Lord Ganesh. The huge photograph
of Sai Avatar illumining the puja room smiled benevolently
at our precious guest.

Ravi chuckled almost tearfully when he told me he had
finally gotten his own bed. He recalled in the past how
he had purchased a $4000 bed for his ex-wife and
now he was so blissfully grateful for this simple cot.

As I reflected on Ravi’s story I thought to myself how
unpredictable life is. Wealth, property, spouses,
everything in this world is subject to change and loss.
It is so important to wake up from this
long, arduous dream and embrace the beautiful,
golden, eternal kiss of God and realize who we are now.

Our dear, beloved Ravi returned home to his precious parents and
India. Jai Ma! Jai Ma! Jai Ma! It certainly was a victorious homecoming.

The festive faces of his parents lit up as they beheld the celestial vision of their only son alighting from the aircraft in Bengalaru, India.

For six months Ravi's Mom coddled, cherished and doted on her only son, taking him to temples and making rounds to relatives who hadn't heard from him since he disappeared without a trace over three years ago.

After his joyous reunion with family, Ravi returned to the states. We welcomed him into our home for one month, after which he had the option of seeking refuge in the comforting arms of the Buddha
with a room reserved for him at the temple.

However, the warmth and coziness of family, friends and a loving home, stirred a longing in him for normalcy, progress and hope for a brighter future.

Ravi knew well the horrible pangs of being homeless. For five months he endured the terrifying experience of living out on the streets. The halfway houses in this area were full to capacity, so, he slept across from a hotel, where a kind manager offered him breakfast every morning. He was alone, vulnerable and frightened,
meanwhile in India, his parents lit candles and prayed for his safe return.

I thought about all the homeless people living in tent cities throughout USA, one of the most wealthiest countries in the world,
their plight and suffering certainly a humanitarian crisis. Over 500,000 people currently homeless.
Home Sweet Home my heart breaks for them.

Ravi, myself and David sat for prayer early Monday morning. The quiet, suppressed euphoria of a new beginning, streaked intermittent blue lightning through the atmosphere.

Ravi's beautiful prayer rang out like cathedral bells as we gazed at the shimmering brass idol of Lord Ganesha, Remover of Obstacles:

"O Lord
Please resurrect me
Make me whole
so that I can serve You
and others"

AN INTRODUCTION TO INDIAN ART IN VERSE  
By Raj Nandy : Part One

INTRODUCTION
Background :
The India subcontinent and her diverse physical features,
influenced her dynamic history, religion, and culture!
The fertile basin of the Sapta-Sindu Rivers* cradled one of
world’s most ancient civilization, (seven rivers)
Contemporary to the Sumerians and the Egyptians, popularly
known as the Indus Valley Civilization!
The Sindu (Indus), Jhelum, Chenab, Ravi, Sutlej, Bias, along
with the sacred river Saraswati, shaped India’s early History;
Where once flourished the urban settlements of Harappa and
Mohenjodaro, which lay buried for several centuries;
For our archaeologists and scholars to unravel their many
secrets and hidden mysteries!
Modern scholars refer to it as ‘Indus-Saraswati Civilization’;
By interpreting the text of the Rig Veda which mentions
eclipses, equinoxes, and other astronomical conjunctions,
They date the origin of the Vedas as earlier as 3000 BC;
Thereby lifting the fog which shrouds Ancient History! +
(+ Two broad schools of thoughts prevail; Max Mullar refers
to 1500 BC as the date for origin of the Vedas, but modern scientific findings point to a much earlier date for their Oral composition and
their long oral tradition!)

On the banks of the sacred Saraswati River the holy sages
did once meditate, *
When their third eye opened, as all earthly bonds they did
transcend !
From their lips flowed the sacred chants of the Vedas, as
they sang the creator Brahma’s unending praise!
These Vedic chants and incantations survived many
centuries of an oral tradition,
When Indian Art began to blossom into exotic flowers like
Brahma’s divine manifestations;
With all subsequent art forms following the model of
Brahma’s manifold creations!
The Vedas got written down during the later Vedic Age
with commentaries and interpolations,
And remain as India’s indigenous composition, forming a
part of her sacred religious tradition! *
(Rig Veda the oldest, had hymns in praise of the creator;
Yajur Veda spelled the ritual procedures; Sama Veda sets
the hymns for melodious chanting, & is the source of seven
notes of music; Artha Veda had hymns for warding off evil
& hardship, giving us a glimpse of early Vedic life.)

IMPACT OF FOREIGN INVASIONS:
Through the winding Khyber Pass cutting through the rugged
Hindu Kush Range,
Came the Persians, Greeks, Muslims, the Moguls, and many
bounty hunters storming through north-western frontier gate;
Consisting of varied racial groups and cultures, they entered
India’s fertile alluvial plains!
Therefore, while tracing 5000 years of Art Story, one cannot
divorce Art from India’s exotic cultural history.
From the Cave Art of Bhimbetka, to the dancing girl of Harappa,
To the frescoes and the evocative figures of Ajanta and Ellora;
Many marvelous and exquisitely carved temples of the South,
And Muslim and Mogul architecture and frescoes along with
India’s rich Folk Art, enriched her artistic heritage no doubt!
Yet for a long time Indian Art had been the least known of
the Oriental Arts,
Perhaps because from Western point of view it was difficult
to understand the spirit behind Indian Art!
For Indian Art is at once aesthetic and sensual, also passionate,
symbolic, and spiritual !
It both celebrates and denies the individual’s love of life,
where free instinct with rigid reason combine !
These contradictory elements are found side by side due to
her culturally mixed conditions, as I had earlier mentioned!
Now, if we add to this the constant religious exaltation,
With the extensive use of symbolic presentation, from the
early days of Indian civilization;
We have the basic elements of an Art, which has gradually
aroused the interest of Western Civilization!

The further we get back in time, we only begin to find,
That religion, philosophy, art and architecture,
Had all merged into an unified whole to form India’s
composite culture!
But while moving forward in time, we once again find,
That art, architecture, music, poetry and dance, all begin to
gradually emerge, with their separate identities,
Where Indian Art is seen as a rich mosaic of cultural diversity!

(NOTES:-In the ancient days, the Saraswati River flowed from the Siwalik Range of Hills (foothills of the Himalayas) between Sutlej & the Yamuna rivers, through the present day Rann of Kutch into the Arabian Sea, when Rajasthan was a fertile place! Indus settlements like Kalibangan, Banawalli, Ganwaiwala, were situated on the banks of Sarsawati River, which was longer than the Indus & ran parallel, and is mentioned around50 times in the Rig Veda! Scientists say that due to tectonic plate movements, and climatic changes, Saraswati dried up around 1700BC ! The people settled there shifted east and the south, during the course of history! Some of those Indo-Aryan speaking people were already settled there, & others joined later. Max Muller’s theory of an Aryan Invasion which destroyed the Indus Valley Civilization during 1500BC, supported by Colonial Rulers, was subsequently proved wrong ! Indo-Aryans were a Language group of the Indo- European
Language Family, & not a racial group as mistaken by Max Mullar! Therefore Dr.Romila Thapar calls it a gradual migration, & not an invasion! The Vedas were indigenous composition of India. However, they got compiled & written down for the first time with commentaries, at a much later date! I have maintained this position since it has been proved by modern scholars scientifically!)

SYMBOLISM IN INDIAN ART
From the ancient Egyptian hieroglyphic to the Cretan Bull
of Greece,
Symbols have conveyed ideas and messages, fulfilling
artistic needs.
The ‘Da Vinci Code’ speaks of Leonardo’s art works as
symbolic subterfuge with encrypted messages for a secret
society!
While Indian art is replete with many sacred symbols to
attract good fortune, for the benefit of the community!
The symbols of the Dot or ‘Bindu’, the Lotus, the Trident,
the Conch shell, the sign and chant of ‘OM’, are all sacred
and divine;
For at the root of Indian artistic symbolism lies the Indian
concept of Time!
The West tends to think of time as a dynamic process which
is forward moving and linear;
Commencing with the ‘Big Bang’, moving towards a ‘Big
Crunch’, when ‘there shall be no more time’, or a state of
total inertia !
Indian art and sculpture is influenced by the cyclic concept
of time unfolding a series of ages or ‘yugas’;
Where creation, destruction and recreation, becomes a
dynamic and an unending phenomena!
This has been artistically and symbolically expressed in the
figure of Shiva-Nataraja’s cosmic dance,
Which portrays the entire kinetic universe in a state of
eternal flux!
The hour-glass drum in Nataraja’s right hand symbolizes
all creation;
Fire in his left hand the cyclic time frame of destruction!
The raised third hand is in a gesture of infinite benediction;
And the fourth hand pointing to his upraised foot shows the
path of liberation!

It was easier to teach the vast untutored population through
symbols, images, and paintings in the form of Art;
For a picture is more effective than a thousand words!
The Dot or ‘bindu’ becomes the focus for meditation,
Where the mental energies are focused on a single point of
creation,
As seen in the cotemporary art works of SH Raza’s
artistic representations!
Yet the same dot when expanded as a circle becomes
wholeness and infinity;
The shape of celestial bodies of the cyclic universe in its
creativity!
The Lotus seen in many sculptures, on temple walls, and
majestic columns, denotes purity;
A symbol of non-attachment rising above the muddy waters,
retaining its pristine color and beauty!
The Lotus is a powerful and transformational symbol in
Buddhist Art,
Where pink lotus is for height of enlightenment, blue for
wisdom, white for spiritual perfection, and the red lotus
symbolizing the heart!
This Lotus symbol also finds a place in Mughal sculptural
carvings and miniatures;
The inverted lotus dome resting on its petals, forms the
crown of Taj Mahal’s white marble architecture!
The trident or ‘trishul’ symbolizes the three god-heads
Brahma, Vishnu and Shiva;
As the Creator, Preserver and Destroyer, in that cyclic
chain which goes on forever!
The ***** stone of Shiva-lingam surrounded by the oval
female yoni symbolizes fertility and creation,
Usually found in the inner sanctuary of Hindu temples!
Finally, the symbol of ‘OM’ and its vibrating sound,
Echoes the primordial vibrations with which space and
time abounds!
All matter comes from energy vibrations manifesting
cosmic creation;
Also symbolized in Einstein’s famous matter-energy equation!
The Conch Shell a gift of the sea when blown, sounds the
ancient primordial vibration of ‘OM’!
It’s hallowed auspicious sound accompanies marriage
ceremonies and rituals whenever occasion demands;
And pacifies mother earth during Shiva-Nataraja’s sudden
seismic dance! (earthquakes)
Dear readers the symbols mentioned here are very few,
Mainly to curb the length, while I pay Indian Art my
artistic due!

A BRIEF COMPARISON OF ART:
Despite the many foreign influences which entered India
through the Khyber and Bholan pass,
India displayed marvelous adaptability and resilience, in
the development of her indigenous Art!
The aesthetic objectivity of Western Art was replaced by
the Indian vision of spiritual subjectivity,
For the transitory world around was only a ‘Maya’ or an
Illusion,- lacking material reality!
Therefore life-like representation was not always the aim
of Indian art,
But to lift that veil and reveal the life of the spirit, - was
the objective from the very start!
Egyptian funerary art was more occupied with after-life
and death;
While the Greeks portrayed youthful vigor and idealized
beauty, celebrating the joys of life instead!
The proud Roman Emperors to outshine their predecessors
erected even bigger statues, monuments, and columns
draped in glory;
Only in the long run to drain the Roman treasury, - a sad
downfall story!
Indian art gradually evolved over centuries with elements
both religious and secular,
As seen from the period of King Chandragupta Maurya,
Who defeated the Greek Seleucus, to carve out the first
united Indian Empire ! (app. 322 BC)

SECULAR AND SPIRITUAL FUSION IN ART:
Ancient Indian ‘stupas’ and temples were not like churches
or synagogues purely spiritual and religious,
But were cultural centers depicting secular images which
were also non-religious!
The Buddhist ‘stupa’ at Amravati (1stcentury BC), and the
gateways at Sanchi (1stcentury AD), display wealth of carvings
from the life of Buddha;
Also warriors on horseback, royal procession, trader’s caravans,
farmers with produce, - all secular by far!
Indian temples from the 8th Century AD onwards depicted
images of musicians, dancers, acrobats and romantic couples,
along with a variety of Deities;
But after 10th Century ****** themes began to make their mark
with depiction of sensuality!
Sensuality and ****** interaction in temples of Khajuraho and
Konarak has been displayed without inhibition;
As Tantric ideas on compatibility of human sexuality with
human spirituality, fused into artistic depictions!
Religion got based on a healthy and egalitarian acceptance
of all activities without ****** starvation;
For the emotional health and well-being of society, without
hypocritical denial or inhibition!
(’Stupas’= originated from ancient burial mounds, later became devotional Buddhist sites with holy relics, & external decorative gateways and carvings!)

KHJURAHO TEMPLE COMPLEX (950 - 1040 AD) :
Was built by the Chandela Rajputs in Central India,
When Khajuraho, the land of the moon gods, was the first
capital city of the Chandelas!
****** art covers ten percent of the temple sculptures,
Where both Hindu and Jain temples were built in the north-Indian
Nagara style of Architecture.
Out of the 85 temples only 22 have stood the vagaries of time,
Where a perfect fusion of aesthetic elegance and evocative
Kama-Sutra like ****** sculptural brilliance, - dazzle the eyes!

KONARAK SUN TEMPLE OF ORISSA - EAST COAST:
From the Khajuraho temple of love, we now move to the
Konark temple of *** in stones - as art!
Built around 1250 AD in the form of a temple mounted on
a huge cosmic chariot for the Sun God;
With twelve pairs of stone-carved wheels pulled by seven
galloping horses, symbolizing the passage of time under
the Solar God !
Seven horses for each day of the week, pulls the chariot
east wards towards dawn;
With twelve pairs of wheels representing the twelve calendar
months, as each cyclic day ushers in a new morn !
The friezes above and below the chariot wheels show military
processions, with elephants and hunting scenes;
Celebrating the victory of King Narasimhadeva-I over the
invading Muslims!
The ****** art and voluptuous carvings symbolizes aesthetic
bliss when uniting with the divine;
Following yogic postures and breathing techniques, which
Tantric Art alone defines!
(Both Khjuraho & Konark temples were re-discovered by the
British, & are now World Heritage Sites!)

Artistic invention followed the model of cosmic creation;
Ancient Vedic tradition visualized the spirit of a joyous
self-offering with chants and incantations!
The world was understood to be a structured arrangement
of five elements of earth, water, fire, air, and ethereal space;
Where each element brought forth a distinct art-expression
with artistic grace!
Element of Sculpture was earth, Painting the fluidity of water,
Dance was transformative fire, Music flowed through the air,
and Poetry vibrated in ethereal space!

CONCLUDING INTRODUCTION TO INDIAN ART:

Indian Art is like a prism with many dazzling facets,
I have only introduced the subject with its symbolism,
- without covering its complete assets!
After my Part Three on ‘Etruscan and Roman Art’,
Christian and Byzantine Art was to follow;
But following request from my few poet friends I have
postponed it for the morrow!
Traditional Indian Art survives through its sculptures,
architecture, paintings and folk art, ever evolving with
the passing of time and age;
Influenced by Buddhist, Jain, Muslim, Mogul, and many
indigenous art forms, enriching India’s cultural heritage!
While the art of our modern times constitutes a separate
Contemporary phase !
The juxtaposition of certain concepts and forms might
have appeared a bit intriguing,
But the spiritual content and symbolism in art answers
our basic artistic seeking!
The other aspects of Indian Art I plan to cover at a later
date,
Hope you liked my Introduction, being posted after
almost forty days!
ALL COPY RIGHTS ARE WITH RAJ NANDY
E-Mail: rajnandy21@yahoo.
    FEW COMMENTS BY POETS ON 'POETFREAK.COM' :-
I have a vicarious pleasure going through your historical journey of Indian art! Thanks for sharing this here! 2 Mar 2013 by Ramesh T A | Reply
•
The prism of Indian Art is indeed has myriads of facets and is an awesome mixture of many influences some of which you list here so clearly - a very understandable presentation of symbolism too - -thank you for your fine effort Raj. 2 Mar 2013 by Fay Slimm | Reply
•
Oh what an interesting read with immense information capturing every single detail. You painted this piece of art with utmost care. Truly, it's works Raj…tfs 2 Mar 2013 by John Thomas Tharayil | Reply
•
First, I have to say, the part about the lotus symbolism reminds me – My name ‘NILOTPAL’ can be split into ‘NIL’ meaning BLUE and ‘UTPAL’ meaning LOTUS. So my name represents wisdom (although it contradicts ME.. LOL). A lot of things were mentioned in the veda and other ancient Indian texts that were way ahead of the time Like the idea of ‘velocity of light’ got considerable mention in the rig veda-Sahan bhasya, ‘Elliptical order of planets, ‘Black holes’ , although these are the scientific aspects. The emphasis on contradictory elements or even the idea of opposites in Indian art is interesting because India developed the mathematical concept of ‘Zero’ and ‘infinity’. Hard to believe Rajasthan was a fertile place but now it possesses its own beauty. It was great to read about the Natraja, ‘OM’ and the trident(Trishul). Among symbolisms, Lord Ganseha is my favorite because a lot is portrayed in that one image like the MOOSHIK representing

On 2nd Dec 1984
Occurred
World’s worst industrial disaster,
“The Bhopal gas tragedy”
Leaving thousands dead,
Children orphaned and many people with disabilities for life.

Following day,
Cries of help were heard
Amongst the dead,
Lay few children alive
Shone bright, a ray of hope,
Miraculously the deadly effects
Of the gas they could cope.

Taken under the caring wings of an NGO,
With Medical aid administered
And the vital  support to grow.

Amongst the children
There was a girl named Ganga
And a boy named Ravi,
together with other such children,
they grew up,
Finding solace in each other’s
Company.

When reached teenage,
the girls had to be moved in a women’s hostel.
Distanced made them closer to each other,
And, the love grew stronger.

Ganga always dreamt of riding pillion on a bike with Ravi .
Ravi, the crazy boy,
sold his house (compensation by govt.)
And fulfilled her desire,
Often they went for long rides.

In the following years,
The love bloomed,
And
With blessings and love,
their marriage was solemnised
By the NGO.

All the women from the hostel
Joined the wedding ceremony,
Bollywood songs were played loudly,
The Haldi, Sangeet and Mehendi
ceremony made it more lively

On the wedding day,
Ganga attired in traditional weaves
And bridal make up,
A beautiful bride she looked
The hostel warden and her spouse
did her “Kanyadan”.

Fortunate was I to bear
the testimony of the union,
As I stayed in the working women’s hostel then.
Ganga moved in to her house
with Ravi to welcome a life anew.

My brother, Jake,
He had what it takes;
Shaved when he was eight,
Strong as a boa snake.
He had hair
Like Ringo Starr,
But played guitar
Like Ravi on sitar.

My brother, Jake,
He grew to six foot eight;
He had arms like legs,
Muscles like beer kegs.
He was fast,
With a ball,
His speed could do it all.
And he could speak,
Like a priest,
He kept us all enthralled.
His wit,
It was quick,
And sharp as a paring knife:
He was funny,
He was cruel,
And well thought of at school.

My brother, Jake,
Had a running streak
Up his back,
At the sign
Of any trouble,
He left on the double,
That's my brother, Jake.

So you see,
As I see,
Size is allegory.
Jake's stature
May bring rapture,
But he's a little man to me.

Alice and I were fudged fruiting inside Falstaffian freakish fleur–de–lys:
She inside a quack–aztec–tattooed tank,
Me inside a pendulous magenta harness with polydactyl–perverted plumes bespattered into it.  
In the ****** **** of that kaput flophouse
We creosoted our conks all the cockatrices of the gorge–de–pigeon,
Inside crotches, Jacuzzis and homocentric Action Men.  
Alice, with the pornographic bend sinisters in the teeth of her poltergeistish fajita crocodile,
Smacked of the plug–ugly poofter of a south–south–west by south sackful sandbank.  
I cemented the jaundiced dangler of an ostrich to my *****.  
With that and my uncut fiddlestick of knobs
I was the idiosyncratic and wholehogging sadomasochistic slapper!

We banged the bush streaming proboscis in tentacle
Through smorgasbords of hermaphrodites and high muck–a–mucks
While Ravi Shankar’s idioglossias and cockchafers juddered our titbits.  
Our Moonies were classically cracked flabelliform by the time we disinterred them.  
Alice managed to fornicate incognito white elephant on behalf of myself
And we were passionately on the back of the dingdong, naked as our Moonies.

We kept one’s pecker up wrapped up in the shadowgraph
Athwart ever-strangling girdles of formaldehyde, ozone, fomenter and widow’s weeds,
Athwart polytetrafluoroethylene–pricked precipices and then down to the butts
Where we both came to a sticky end on our jockstraps and leered at the ballet dancers
That we then penetrated rhythmically by elongating tumescent our gang banging tentacles.  
Through comfortable French knickers I burped, “Thank you for ****** me everywhere, Alice”.  
In the soporific honeypotspunk, aped on the ooze,
I could smell that her **** had made her ******* type soap flakes break the sound barrier,
Splashing out a ***** whale seed skirting her jowls.  
“You’re fragrant, flypaper”, she rapped.

The Government gabble that little green men who hammer out the sexagenarians weren’t on board.  
Inside spleen of the spliffs, inside spleen of my gangrenous Pollyanna, I will over one’s dead body evacuate.  
I will over one’s dead body evacuate.

At a time when I was held prisoner
By my shy nature
Especially when it comest to talking with girls
You put your best foot forward
In order to break the ice
Which was doing its best
To try and freeze me to death
As though I were but in Antarctica
So, I thought you my friend
Mind you, an assumption it wasn't
You called me your best friend
Not once or twice
But many a time
You even called yourself my sister
A trusting person that I am
I took you at face value
Which was probably one of the biggest mistakes
Of my life in entirety
If Australia dominated cricket
You were my dominator
Your name stands for desire
And all you desired
Was getting your way
When it comest to anything and everything
You were such a drama queen
You put the Kardashians to shame
Only your "bestest friend" escaped
From your terrifying glare
Which burnest everything in its path
Much like Lord Shiva's third eye
You were always right
We were always wrong
Again, with a notable exception
Your precious little "bestest friend"
What he saw in you
Only God knowest
Marking you absent in the attendance register
Which was but my duty
Turned out to be a crime
Fouler than ****** itself!!
How dare I mark the "Queen" absent
Even if she were indeed absent!!
How dare I support Chennai Superkings
Even if I were but from Chennai
Not to mention, a huge fan of MS Dhoni!!
East or West, North, South Or Central
Mumbai Indians were always the best
All other teams were trash
You and your whims and fancies
Driveth all of us mad
Quicker than a tracer bullet
As Ravi Shastri would say
Even to this day
But you were my best friend
Not to mention, my sister!!
So mum I kept
As would a fiercely loyal dog
Even when ignored by its master
After our college days endeth
I stayed in touch
As would every friend in the world
In particular, a best friend
But best friend you were certainly not
I can forgive even an enemy
But not a friend who cuts me off
For the flimsiest reason in the world
To you, I was wrong
Though reality speaketh otherwise
But hey, why would I want to lose my best friend?
So did I apologise
Not once or twice
But many a time
Though for the kind of response I receiveth
Might I have spoken to the wall instead!!
After ages and ages
Cometh your response
As arrogant as James Potter in his school days
You showeth me your true face
Nothing but a jumped up rich Punjabi Brahmin
Who thinkest she were the best
In not just India
But the world in its entirety
Gone was your sweet tongue
In full display was a mini Bellatrix Lestrange
Ready to **** even her best friend
As the real Bellatrix did
With her cousin Sirius Black
Well, I would rather I died
Than maintain a friendship
With a cunning ***** like yourself
You deserve not
A single true friend in the world
Not even your "bestest friend"
You smashed my self-confidence
Into a billion little pieces
Pieces that I continue to pick up
Even to this day
Something I could but have avoided
Had I not taken you up
On your offer of friendship
Which was but as fake
As the smile of a Kardashian
I endeth on this note
It is but a lesson to all
Not to get swayed by sweet tongues
Scratch beneath the surface
Then only showeth up the true character