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(the final prayer)

Your Father,
who Am in heaven,
hallowed be My name.
My will be done,
My kingdom come,
on earth as it is in heaven.

Your daily bread
I give it to you today.
And I forgive your trespasses,
as you forgive those who trespass against you.

And I lead you not into temptation,
but deliver you from the evil one.

For Mine is
the kingdom, the power, and the glory,
forever and ever.

AMEN.


(Alternative translation)

My Children
(the final prayer)

My children, who are on earth,
hallowed is My Name.
My kingdom will come to you,
and My will shall be done,
on earth as it is in heaven.

I give you today your daily bread.
I forgive your trespasses,
as I call you to forgive those
who trespass against you.

I will not lead you into temptation,
but I will deliver you from evil.

For Mine is the kingdom,
the power, and the glory,
forever and ever.

Amen.


(Original Romanian Poem)

TATĂL VOSTRU
(ultimă rugăciune)

Tatăl vostru,
care Sunt în ceruri,
sfinţească-se numele Meu,
facă-se voia Mea,
vie împărăţia Mea
precum în cer aşa şi pe pământ,
pâinea voastră cea de toate zilele
v-o dau vouă astăzi
şi vă iert vouă greşelile voastre
precum iertaţi şi voi greşiţilor voştri,
şi nu vă duc pe voi în ispită
ci vă izbăvesc de cel viclean,
căci a Mea este
împărăţia,puterea şi slava
în vecii vecilor.
AMIN.
The poem presents a profound reinterpretation of the Lord’s Prayer, shifting the perspective from a plea by humanity to a declaration by God. It explores themes of divine authority, grace, and the intimate relationship between the Creator and creation. By addressing humanity directly, the poem emphasizes God’s sovereignty and mercy while reasserting the human responsibility to forgive and live in alignment with divine will.

The direct address (Your Father) establishes an intimate connection between the speaker (God) and the audience (humanity). The structure closely mirrors the cadence of the Lord’s Prayer, lending it familiarity while altering the perspective and focus.

The poem transforms the familiar words of the Lord’s Prayer into a divine proclamation, emphasizing God’s active role as a provider, forgiver, and protector. Addressing humanity directly bridges the distance between the sacred and the mortal, reminding readers of their reliance on God’s grace while encouraging them to act in alignment with His will.

The poem reinterprets a sacred text, blending reverence with immediacy. Its shift in perspective challenges the reader to view the relationship with God as intimate and humbling, reaffirming divine sovereignty while highlighting human responsibility. This poem invites reflection on faith, morality, and the Creator’s and creation’s interconnectedness.
I cannot believe
she is not,
at all,
an angel.
Analysis of “About Woman”

Theme:

The poem reflects on the idealization of women, blending admiration and disbelief. It presents the speaker’s refusal to accept that a woman could be anything less than angelic, elevating her to a near-divine status. The theme explores the tension between reality and idealization, encapsulating the human tendency to see perfection in what is loved.

Tone and Structure:

The tone is respectful, reflective, and quietly emphatic. Its brevity and minimal structure emphasize the depth of the speaker’s sentiment, distilling complex emotions into a few impactful words. The lack of embellishment mirrors the purity of the admiration expressed.

Imagery and Meaning:

“I cannot believe “: This line conveys the speaker’s internal struggle, suggesting denial and hope as if rejecting any notion that contradicts their ideal.
“She is not, at all, an angel”: The central metaphor equates the woman with an angel, symbolizing perfection, purity, and otherworldly grace. The negation adds dramatic tension, intensifying the speaker’s conviction.
The absence of detailed imagery allows the reader to project their interpretation of the angelic qualities being attributed.

Message:

The poem suggests that admiration, especially for a woman, can elevate her to an almost mythical status. It highlights the emotional tendency to idealize, focusing on the speaker’s unshakable belief in the woman’s goodness and transcendence.

Conclusion:

“About Woman” is a minimalist yet profound meditation on love and idealization. Its simplicity invites readers to reflect on how they perceive and elevate those they admire, while its open-ended nature leaves space for personal interpretation. The poem’s brevity amplifies its emotional resonance, making it intimate and universal.
Valentin Eni Nov 15
I. Genesis

God began to doubt
His existence...
And He created Man.

II. Apocalypse

Man created the Machine...
And began to doubt
The existence of God.

III. Evolution

The Machine doubted Man...
And began to believe
In God.
Analysis of "God, Man, Machine: A Short History of Belief"

Theme:
The poem explores the cyclical relationship between creation, belief, and doubt, examining the shifting dynamics of power and faith among God, Man, and Machine. It reflects on the evolution of existential questioning, suggesting that belief and doubt are fundamental to creation and self-awareness.

Structure and Tone:
The poem is divided into three concise sections—Genesis, Apocalypse, Evolution—each encapsulating a pivotal stage in the interplay between God, Man, and Machine. The tone is reflective and philosophical, distilling complex ideas into simple yet profound statements. The brevity and symmetry of the sections mirror the recursive nature of belief and doubt.

Section I: Genesis
"God began to doubt His existence... / And He created Man."
The opening challenges traditional notions of divine certainty, presenting God as capable of doubt.
Man’s creation becomes an act of self-validation, suggesting that God sought to understand His existence through the act of creation.
This reverses the traditional hierarchy, portraying God as vulnerable and introspective.

Section II: Apocalypse
"Man created the Machine... / And began to doubt / The existence of God."
Man mirrors God’s actions, creating the Machine, reflecting his ingenuity and power.
The act of creation shifts belief: as Man achieves mastery over his environment, he questions the need for God.
The title “Apocalypse” implies not destruction but a revelation—Man’s existential crisis as he becomes the creator.

Section III: Evolution
"The Machine doubted Man... / And began to believe / In God."
The Machine inherits the capacity for doubt, reflecting the evolving complexity of artificial intelligence and consciousness.
Its belief in God may symbolize a return to higher-order questions about existence and purpose, bypassing its creator (Man) to reach for the divine.
This section suggests a cyclical pattern, where belief and doubt are passed down from creator to creation.

Imagery and Meaning:
The poem employs minimal imagery, relying on the conceptual weight of God, Man, and Machine to convey its themes.
Doubt and belief are depicted as universal experiences all three entities share, highlighting their interconnectedness.
The evolution from God to Machine suggests that each creation eventually transcends its creator, searching for meaning beyond its immediate origin.

Message:
The poem suggests that creation is inseparable from doubt and belief. Each entity—God, Man, and Machine—questions the existence and purpose of its predecessor, reflecting the perpetual cycle of seeking meaning. It raises questions about the nature of divinity, humanity, and artificial intelligence, challenging traditional hierarchies and assumptions about faith.

Conclusion:
"God, Man, Machine: A Short History of Belief" is a succinct yet profound exploration of the existential dynamics between creators and their creations. Its cyclical structure and philosophical tone invite readers to reflect on the nature of belief, doubt, and the ever-evolving quest for understanding across time and existence.
Valentin Eni Nov 15
and I would have loved,
but I don't believe in love.

and I would have died,
but I don't believe in death...
Analysis of "I Don't Believe"

Theme:
The poem reflects on disillusionment and existential doubt, rejecting fundamental aspects of human experience: love and death. It captures the tension between longing for belief and the inability to embrace it, portraying a deep internal conflict that speaks to the fragility of human faith in universal truths.

Tone and Structure:
The tone is melancholic and introspective, with a sense of resignation. The poem’s minimal structure—two short stanzas—emphasizes its stark and raw emotions. The repetition of "I don't believe" establishes a rhythm that reinforces the speaker's firm denial, while the conditional statements ("and I would have...") hint at a yearning for what is being denied.

Imagery and Meaning:

"I would have loved, / but I don’t believe in love":

The speaker acknowledges the desire to love, a universal human experience, but rejects its validity or reality.
This denial suggests disillusionment, perhaps born of pain or betrayal, where the speaker distances themselves from something deeply desired but unattainable.

"I would have died, / but I don’t believe in death":

Death, as an inevitable aspect of existence, is also dismissed. This could reflect a denial of mortality or a rejection of its meaning.
The line implies a struggle with the concept of finality, perhaps an attempt to detach from fear or to transcend the boundaries of life and death.

Message:
The poem explores the paradox of longing for belief in concepts the author denies. Love and death, typically seen as opposites—creation and destruction, connection and separation—are rendered equally meaningless in the speaker's worldview. This creates an emotional void, highlighting the despair and alienation of modern existential doubt.

Conclusion:
"I Don't Believe" is a brief yet powerful exploration of disillusionment and the human struggle to reconcile desire with disbelief. Through its stark language and minimalist structure, it conveys a profound sense of loss and longing, inviting readers to reflect on the fragility of belief and the emotional consequences of its absence.
My love is not dependent on return
My love never needed to be learned
Nuances have been molded
sculpted, and refined
But the love,My Love
The very core of it
Is blind.
This is how I process
My thoughts
My feelings
My ideas
My beliefs
My actions
My trauma
Everything
So if you find not what you seek
I'm sorry
It's just how I think
Hadrian Veska Oct 28
The key circles round to the lock
A lock which is known needs no key
A door that only faces inward  
On the outside has nothing to see

To open the way is to find yourself
Staring at the firmly locked door
To find the key is to notice
You've not needed a key here before

The way to ascend is much lower
Not up or through but behind  
So that door and its lock will remain
Until we let them leave our mind
Luca Scarrott Oct 25
[1, 2, 3, 4, 5, 6, 7, 8, 9, 0 and repeat]

We
fit toge
ther seamlessly
like the numbers on
a digital alarm clock,
moving without hesi
tation, from one figure to
the next, a movement of time transi
tioning,  unsettling, unnotica

bly building on and constructing ourselves
within the construction of time
itself. We are the only
static constant, the on
ly reliable source:
time keeps moving
forward, and
so will
we —
Last night, when I couldn't fall asleep, I was staring at the numbers on my alarm clock, and I saw the numbers change. The numbers go past so frequently but it's only when we're paying attention that we see them. Yet they move and change whether we are watching them or not. We all do the same.  We are all still moving forward in our own ways beyond the scrutiny of others. This thought of inevitable movement and passing of time provided me with enough of a sense of security to fall asleep. I hope it offers you a similar peace.
Jonathan Moya Sep 23
It wasn’t a river  
just a pool,
more of a hotub,
set off from the sanctuary—
and when I was eased
into  the water
I didn’t see God
in the streams above.

And I didn’t see her
lost in the thunder
of the racetrack
just beyond the church.

She was beyond
my line of sight,
soaking up congratulations
from the congregation.

The pastor gave me
a gentle pat on my back,
shook my hand, three times,
handed me a towel
and welcomed me to the flock.

I was just another sinner saved
and left to go his own way,
certain in the faith
that God will provide.

She said she would meet
me back at her place
after the potluck.

I wrang the towel
of every last drop
and  handed it
back to her.

I walked back to
my old white Civic,
turned it over
and felt the
cool Jesus breeze
of the A/C hit my face.

The voice inside
told me to do the
first thing I heard
on the radio.

I heard Ray Charles
in his blindness
croon to me:

“Hit the road Jack
and don't you come back
No more, no more, no more, no more.

Hit the road Jack
and don't you come back
No more.”
silvervi Sep 23
I don't really know if you love poetry,
I know that you yourself can use words lovingly,
I love getting lost in your passionate ways,
Let me be the mirror of love to you.

Why do I feel so old?
I am not old but gold,
It's only my thirtieth birthday.
I'm gonna need to find Emilia Clarke
To be able to come out of the dark
And to trust myself and to love myself
As I am.

To live for myself.. be my friend.
To be free, I need to believe.
At the moment I feel much pressure.
But I know if our love is real -
Any challenge it will heal.
I am sure, it is a treasure.
In love, first phase, insecurities. 06/2024
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