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Jordin Feb 3
This is a story of Water
Of Puddles and Drops
Of Struggles and Flops

This is a story of Water
Of Rivers and Lakes
Of Mounds & Quakes

This is a story of Water
Of Water where None
Of Water where Sum

This is a story of Water
A Water where Thy
A Water where Why
The first thing to say about this poem is that there is a symmetry to the phases of my life.
The first stanza maps to A4 (18-20).
The second stanza maps to A5 (20-21).
The third stanza maps to A6 (21-22).
The fourth stanza maps to A7 (22-?).

While A1-A3 (0-18) were important in their own right, they were not that significant in terms of my inner/psychic/spiritual transformation.
It's in A4 that the inner journey really begins.

The next thing to say about this is there is a progression of water.
It begins with smaller bodies of water: "Puddles & Drops"
Transitioning to larger bodies of water: "Rivers & Lakes"
Finding its body of water limit with: "Water where None" & "Water where Sum" and finally transcending the limit with "Water where Thy" & "Water where Why"

(WARNING: DEEP DIVE AHEAD)

You see the symbol of water is quite a global symbol.
If we were to construct a kind of framework for fleshing out the symbol of water maybe a non-exhaustive representation would look something like this:


The Symbol of Water:
Water & Phases of Matter
Water & Life: Birthplace of Life
Water & Life: Bridge between Animate & Inanimate
Water & Life: Sustenance of Life
Water & Life: Body Composition
Water & Water Dynamics: Capacity to Flow
Water & Water Dynamics: Capacity to Crash
Water & Water Dynamics: Capacity to Erode mountains
Water & Water Dynamics: Capacity to Take shape of Container
Water & Water Depth: Bodies of Water
Water & Water Depth: Oceanic Layers
Water & Religion & Myth: The Bible: The Tohu Wa Bohu
Water & Religion & Myth: The Bible: The 4 Rivers of Eden
Water & Religion & Myth: The Bible: The Flood
Water & Religion & Myth: Babylonian: Tiamat
Water & Religion & Myth: Egyptian: Nu


Going into the concepts a little deeper:
The Generality of This:
In This is a Story of Water The Generality of this is both speaking to my own inner/psychic/spiritual journey as well as the general inner/psychic/spiritual journey that may apply to others & creation at large.

The Drops:
The use of Drops also has multiple meanings.
On the one hand, it speaks to the minimal unit or body of water.
On another, it speaks to creative drops of insight as it is A4 where the frequency of my creativity increased. Also given the falling connotations of drops, it is referencing the starting condition of inner water & the (biblical) fall.

The Struggles & Flops:
The use of Struggles & Flops also has multiple meanings.
On the one hand, it speaks to the common pattern of trying in life & not succeeding whilst speaking more personally to the burnout cycle which was prevalent in this part of my life as a consequence of trying to adhere to vows I had set for myself before the importance of flow was recognised & sufficiently cultivated.

The Rivers & Lakes:
The use of Rivers & Lakes also has multiple meanings.
More typically there is a juxtaposition of Rivers as running or flowing bodies of water & lakes as still bodies of water. Furthermore, both can be seen as intemediary bodies of waters.
Beyond Rivers and streams as a running and intermediary body of water, there is a further association within my internal symbolic landscape to Buddhism via streams & Theravada stages of enlightenment; of which it likens the stages of enlightenment in terms of relation to streams. The placement of Rivers in the second stanza is further significant given it is in A5 that I start to get rather deep in Buddhism & cultivate meditative flow.
Beyond Lakes as a still & intemediary body of water there is a further assosciation to this period of time before I was plunged in the wider psychic ocean as well as the psychic experiment that induced such a transition. I sometimes refer to this as Noyoga or Identitity Models and there is a visual assosciated with it.

The Mounds & Quakes:
The use of Mounds & Quakes here also has meanings.
For reasons that I won't get into here mountain symbolism is quite significant in terms of my overall journey through life. The use of mounds here in both its natural & artificial kind speaks to that. The latter part of A5 was highly disruptive due to a psychic experiment I underwent which led to a disintegration of my psyche & ultimately a Snap which marks the beginning of A6. So while Mounds more or less characterises most of this phase, Quakes characterise the back end giving way to something deeper.

The Water Where None:
The use of None here also has multiple meanings via the word void.
In one sense it speaks to my world being void of reality or out of touch with regular realistic reality and the corresponding psychic manifestations. Whilst on the other hand, in terms of being void of will & the egoic defences being overcome & subordinate to the contents of the psyche, where up untill that point i had been living a very top down willfull existence. As well as the natural connection of void & the void & the abyss.

The Water Where Sum:
The use of Sum here also has multiple meanings.
On the one hand, you could say it is a codename for the Ocean given the Ocean is the largest body of water. Before this stanza & the phase it corresponds to we have been dealing with drops, puddles, rivers, and lakes. Now we were plunged into the wider ocean. Perhaps one can make a Jungian comparison here and say that while before we were mostly dealing with the contents of the personal unconscious although not entirely, now we are confronted with the contents of the collective unconscious. There is a further use of Sum here and that is again a codename but this time to a specific transcendent experience I call the 11 days of Creation or 11 days of C which was my first full-blown manic experience & which was extremely fruitful from the perspective of the global idea & it's consolidation through modeling.

A Water Where Why:
The use of Why here also has multiple meanings:
On the one hand, it speaks to the highest principle.
Take the notion or encapsulation of who what when where why how.
A natural question to ask is which is the most fundamental of the bunch.
A reasonable candidate to that question might be why given its meta nature & its capacity to strip back the rest. Beyond this general why it also finds specificity in being a kind of justification for the pain & difficulty of the journey that has led up to this as well as perhaps if we can view it through the lens of enlightenment as the pinnacle of the path it represents the moment of sudden & final illumination or enlightenment which if related to my own journey perhaps speaks to the Rainbow Body experience which now is not the time to get into.

A Water Where Thy:
(INSERT HERE)

Points of Structure:
The poem consists of 4 stanzas 3 lines apart.
That makes it a Quaternity—Trinity structure.
This is in contrast to Mother My Mother which is a Trinity—Quaternity structure consisting of 3 stanzas and 4 lines each.
If you count the lines redundantly there are only 12 lines.
If you count them in a non-redundant way there are only 9 lines.
Furthermore given the repetition of the line "This is a Story of Water" at the beginning of each Stanza this would classify this poem as having what I refer to as a Semi Sandwich structure.
The sequence of the number of lines is of course 3, 3, 3, 3.

Points of Synchronicity:
Much of the Poetic Canon begins in ER5.
If one could understand the psychic significance of Ego Relation 5 in relation to Ego Relation 4 they would realise the magnitude of this statement.
There are only 12 poems in the poetic canon that are written in Ego Relation 4.
This poem is the 11th poem and thus the 2nd last poem written in Ego Relation 4.
The numbers 11 & 12 are especially significant when considered in relation to a cycle.
11 can mean 12 & vice versa depending on the starting base number (0 or 1).
In addition to the poem's number count this poem happens 12 days before the Leviathan Dream Sequence & beginning of Ego Relation 5. It is not the time to go into detail here but once again 12 days before this event seems something worth mentioning given its relation to a full cycle. The contents of the Leviathan Dream Sequence very much consisted of water-based symbolism among many things; after all Leviathan is the Great Religious Mythical Beast of the Depths/Sea. If I am not mistaken this poem was in part response to reading Revelation 13 which is further broken down into sub-chapters The Beast Out of The Sea & The Beast of the Land. There is even more religious synchronicity given the day on which this poem arose was GOOD Friday. If one can make the connection between Christ & the Jungian SELF as well as expanding the Edward Edinger Diagrams of Ego Self Axis, one can very much see that Ego Relation 5 & The Edinger Diagram state that maps to it is very much a kind of crucifixion. One is pinned to the plane of the SELF or the cross of the SELF. Mobility is transformed as is will; for better or worse. Good Friday is of course the day Christ was crucified. Upon composing this poem I spontaneously retrospectively had the urge to listen to Kanye West / Ye's song Water. Thus there is a web of interrelated synchronicity here. Some prophetic, some in real-time, some retrospective.

Connection to The Wider Canon:
Theme: Water Poem
This poem is one of the first Water Theme Poems.
Specifically, it is the 4th.
The Water theme is one of the most prevalent themes that shows up in my canon.
Theme: Cracks of the Cracks
Theme: Ego Relations
Theme: Joseph Campbell Quote Mystic & Psychosis
It could be said this is also related to a later theme that shows up; a fixation & exploration of the Joseph Campbell Quote "The Psychotic drowns in the same water that the mystic swims".
Theme: The Big 3 C/See/Sea Trihomophone
Visual: The Story of Water

Song: The Ocean Beyond The Sea Societal S Grade
I had this rather exhilarating psychic experience when hearing the song The Ocean Beyond the Sea by Jon Foreman. It later became one of only 9 societal songs I classify as S grade.
We can easily see how this title is related to the poem by expanding out the song title like so: The Ocean Beyond The Sea Beyond The Lakes Beyond The Rivers Beyond The Puddles Beyond The Drops.
Song: Water Ye Societal
As mentioned above synchronistic connection to Ye's Water song.


Short Form
(INSERT HERE)

+
(INSERT HERE)
Jordin Jan 16
Only the other day the vividity was insane
The world my eyes see was smelting/melting
& the world my I's see was smelting/melting
But just then, as I found my centre
The Fantasia of old would hardly enter
It was enough of the stuff & much more than most men
Yet a part of me wants back to that fantastical Zen
In regards to the poem's inception:
It was a day & I went on a walk.
Upon the latter part of my walk, my psyche shifted & there was a stark drop in the vividity of my imagination.
This poem was a reflection upon that moment.

At the time this decrease was unprecedented.
Typically my imagination is a kind of tripple vision.
There is my regular optical vision.
There is the vision of the mind's eye which is usually wrapped in a rainbow colour like theme.
There is the vision of the mind's eye overlaid upon the regular optical vision.

Whilst I have been thinking about triple vision as a concept for some time; predating the poem count by some margin--I later found a kind of parallel with William Blake's notion of Fourfold Vision.

In regards to the poem title:
The word Fantasia is a homophone for Phantasia; where Phantasia, among other things, is the root word for fantasy as well as the ability to visualise in the mind. The name Fantasia was chosen in part over Phantasia given its musical-like connotations.

In regard to the poem's attributes:
This poem is one of the first poems to concentrate on a homophone (eyes & I's).
Within my canon so to speak I play with homophones quite a bit.
This poem is also one of the first poems to have a kind of multipath-like structure (smelting/melting)...

(WARNING: DEEP DIVE AHEAD)

It may be worthwhile to touch upon the conceptual maps of the homophonic pathways.

For instance within eyes & I's & smelting/melting there are 4 core paths so to speak. If one wanted to map out these in a kind of symbolic chain, maybe it would look something like this:

…eyes…melting -> …eyes…process of heating to convert to liquid -> …eyes…liquid -> …visibility…liquid -> …visibility…(indistinct / impressionistic / dreamlike / fluid) ->

…eyes…smelting -> …vision..process of heating to convert into purest form -> vision…pure -> pure vision ->

…I’s…smelting -> …self concept…smelting -> …self concept…process of heating to convert into purest form -> …I’s…pure -> pure I’s ->

…I’s…melting -> …self concept…melting -> …self concept…process of heating to convert to liquid -> …self concept…liquid -> dissolution of self concept ->
Jordin Jan 15
Mother my mother, the rain to my cover.
Mother my mother, my boat to my rudder.
Mother my mother, bright like the colour.
Mother my mother, your death make me shudder.

Mother my mother, not from the gutter.
Mother my mother, flexi like flubber.
Mother my mother, oh stretch like the rubber.
Mother my mother, oh change like the summer.

Mother my mother, no please don’t suffer.
Mother my mother, no please no bother.
Mother my mother, she's not my lover.
Mother my mother, but boy do I lov er.
As far as I am aware this is one of the first poems I had ever written.
More specifically, It is the second poem I have ever written and the first poem in the phase in which poetry makes itself known to me and begins to take over my life.

The core idea here is the contrast and relationship between the Archetypal / Symbolic / Mother of the Depths and the Biological / Literal / Mother of the Times. As well as containing a kind of quantum fuzziness in which it oscillates, alternates, and dwells in a kind of superposition. The first 3 words in every line reference this via "Mother My Mother".
"My" is a possessive term and so "My Mother" references The Biological / Literal / Mother of the Times.
Whereas "Mother" speaks to The Mother which speaks to The Archetypal / Symbolic / Mother of the Depths.

(WARNING: DEEP DIVE AHEAD)

This poem was in part a way to work through my feelings & a natural response as I did.
I felt this tension between the natural attachment one has for one's mother of the times & the attractive force to going deeper into a relationship with the mother of the depths.
I felt like this attachment was a kind of ******* & my psyche was calling me to reduce the attachment & in doing so I would naturally increase the depth of the relationship with the mother of the depths.

I produced some visuals in accordance with this poem and I think they are quite helpful in speaking to the essence & motivation of the poem.

In the visual, there are 2 boys & two mothers.
One boy & mother are human-like.
The other is spectral & shadow-like.
On the far left stands the mother of the times.
On the far right stands the mother of the depths. The respective boys stand in between the mothers. So moving left to right in a kind of sequence we have The Mother of the Times, The Human-like Boy, The Spectral Shadow-like Boy, and The Mother of the Depths.
Both mothers look on & watch over their children yet the Mother of the Times is far more attached to her children and sometimes detrimentally so. This is suggested in the visual by The Mother of the Times holding her hand out yet her hand is bound to the head of the human-like boy. The Mother of the depths has no such attachment; she watches over & stays behind.

So the poem in a way speaks to the state of attachment which motivated the poem but also perhaps suggests the way the state will change as one reduces attachment & increases connection with the Mother of the Depths.

Thus in a kind of Jungian context, it speaks of "the way of which is to come" and is rather synchronistic given the poems that follow speak of this process of encountering the Woman or Mother of the Depths & Triggering a Renewal or Rebirth of sorts.

(WARNING: DEEPER DIVE AHEAD)

Another point of synchronicity is in terms of this anomalistic day count increase...

So for a while now, maybe 7-8 years or so there has been a continual stream of creative insights. Eventually, I began to organize my creative insights according to what day it was rather than have them all bunched up. At first through the typical way of the calendar date but later through the unique day count relative to how many days I have been on this earth.

I didn't realise it at the time but from the day before this poem came & the day after that day, the count leaped 900 days moving from Day 8099 to Day 9000.

This has only been done once and seems to suggest perhaps a kind of synchronistic phase shift.

Therefore it seems to speak of two times.
There is the old time count which is a number to reflect how many days I have been on this earth.
There is this new time count where it is the same amount of the days but there has been this anomalistic change to the state of the count.

As things progressed I wanted to represent both day counts with a single day count using notation. I thought I could do this via the symbolic specification of the transformation.

Specifically, I thought I could use an Acronym T as a way to speak to this object of under an arbitrary Transformation.

So where Day 8100 is the Day after Day 8099 in the old day count phase and Day 9000 is the Day 8100 in the new day count phase, Day 9000T speaks to both.

So whenever I use the acronym T in this way, at the very least that is what it speaks to. Just think of T as transformation and transformation as in under an arbitrary transformation.

As time went on I later realised that this notation also preserves the symbolic integrity of other day counts.

For instance, take this year 2024.
For each of us each additional year increments 365 days to our count. Now of course we are not all born on the same day and our total count is not the same. Your count might be something and mine might be another.

We can also think about things at the societal scale.

Let's say you have lived 7305 days on earth.
That is 20 years if every year is 365.25 days.
Let's say the sum of those days falls on the last day of the year 2024. You may be 7305 days old but the society you live in is older than that.

If you take it at the start of Western Canon by Candidate of Date of Birth of Homer it is approximately (2024 + 800) * 365.25 = 1,031, 466.

That is just one date for the beginning of civilization. You can get other appropriate dates for when human civilization begins.

The invention of writing is a decent one.
So lets say 3400BC which would be (2024 + 3400) *365.25 = 1,981,116

Or perhaps you want to draw the line further back.

Another good date is the construction of the First Temple given how important Gods were early on in providing the unifying story to bind us into greater numbers.
So let's say 12000 years ago.
So 12024 * 365.25 = 4,391,766

Or say you want to go all the way back to the beginning of **** Sapiens given after all we are a Society of **** Sapiens. Maybe a decent estimate is around 300,000 years ago.
In which 300000 * 365.25 =  109,575,000

So here we have 4 core approximations for the day count of our society relative to the symbolic frame of reference. The Day & The Day after is something like this.
D109575000 & D109575001 (Societal Day Count Via **** Sapien Day Count),
D4391766 & D4391767 (Societal Day Count Via First Temple Day Count),
D1981116 & D1981117 (Societal Day Count Via Invention of Writing Day Count), and
D1031466 & D1031467 (Societal Day Count Via Beginning of Western Canon Via Homer).

Bringing it back into the personal reference sphere:

The oldest Human Being Recorded lifespan is 122 years & 164 days or 44724.5 days or if we round down 44724 days.
So on the last day of that person's life (Jeanne Calment of France) specified or otherwise would sit at D44724 and the next day if she could have gone on would be D44725.

Now obviously you are not 122 years old and so your day count no matter your age is some fraction of that number.

Now suppose we want to preserve the symbolic integrity of the day.
In other words, we don't just want to reduce it to the day count according to a single transformation or frame of reference but the day count abstracted from any single transformation or a day count connected to the set of day counts under the set of transformations.

Like we did above we could speak about this and denote it using an acronym T where at the very least T means Transformation which means under the set of transformations or Under any Transformation.

So Jeanne Calment of France Day Count on her very last day was D44724 but if Jeanne wanted to symbolically preserve the integrity of the day she could speak of it as D44724T.

Which both is:
The Day according to Jeanne Lifespan.
The Day according to Our Society Via Beginning of Western Canon Via Homer.
The Day according to Our Society Via Invention of Writing.
The Day According to Our Society Via construction of the First Temple.
The Day According to Our Society Via Beginning of **** Sapien.
And even more abstract day-counts beyond that.

For instance, even though it is unspecified it is the same day as the day according to the observable universe. Which given its approximate age of 13.8 billion years would make that day 5040.45 billion...
Which is Day 5,040,450,000,000 or something around that. So the Day count for our Universe is D5040450000000 And the Day after is D5040450000001.

So Jeanne simply through the addition of an acronym T which stands for transformation which at the very least Symbolises Under any Transformation and thus preserves the integrity of the day not confined or reduced to a single frame of reference…
Jeanne can symbolically get all this & more from D44724T & D44725T.

This is what I am speaking to when I use the D & the T in my title.
Usually, there is an identified day count associated.
In cases where there is not, I use a parametrised day count using the notation of ?T.

There is another sub-utility to using T at the end here and that is in regards to errors of counting.
For instance, let's say a week has passed.
But on two of the days, I accidentally incremented by 2 instead of 1.
Now the count is offset.
Yet given we have already accounted not just for a transformation but the set of transformations, under that transformation of +2 it is the same day count.

So for me at the very least:
It helps in connecting the day counts when I mess up the counting.
It helps in connecting the day counts regarding the anomalistic increase of 900 days.
It helps in connecting to perspectives beyond my own and connecting to how my day count fits into the larger day counts not to mention making it far easier by not having to use numbers in the millions, billions & even trillions, or more.

This is why despite not being an accepted convention I do & will continue to represent my days with D?T.
It is a more Global way to think about Days & Daycounts.
Jordin Dec 2024
Blowing Bubbles of Lemma Lexeme Maps
Spherical Popping A Sticky Lip Wrap
A tongue that is catching the drops that fall Splat!
GobbledeGone
In April this year, in celebration of National Poetry Month, Dictionary.com issued a poetic challenge called Tip of the Tongue. The poem was to be between 2 and 5 lines and finish with a completely made-up word. As it happened, this poem, among others, was selected to be displayed on the site, marking my first published poem. It therefore felt quite fitting for it to be the first here, too.

Regarding the nature of the poem itself:
The most important element I think is the 4 way meaning of lines 2 & 3.
In line 3 it speaks to both the scenario in which the drops that are falling are missed and splat on the ground and the scenario in which the drops are caught and splat on the tongue. Ultimately, it hinges on where the splat takes place.
A similar thing can be said of Line 2. The Sticky Lip Wrap could speak to a kind of blowing of bubble gum that pops and in the popping it is lost whilst at the same time could refer to wrapping it up; in other words catching it.
So fleshed out there are these 4 core scenarios.
The last line, line 4 refers to all of them via the word GobbledeGone.

— The End —