I know I'm
just a flower
in your garden
of admirers.

But I hope
you see
the difference
     between
a Wildflower and a Rose.

I never saw a peacock fly
before I saw one on my roof
and though I haven't seen
that many, I thought I
had seen enough

To speak with some authority
about the way that peacocks
travel, which as far as I knew,
always was on sand and gravel

Their regal nature and the beauty
of their plumes make them one of
nature's wonders, and whenever
I see one, I always stop and wonder

I guess that's why I thought
that peacocks just don't fly

They don't need to hurry,
and never seem to worry,
so they parade along
and let their admirers
marvel at all their splendor

So I was surprised to see
a peacock on my roof,
it surely didn't climb
and there was
no rope or ladder,
but then I heard wings
flapping just above my head
it was another peacock
who went to join his friend

I guess they liked the view
and I learned something new

That even though I would
surely fly, instead of walk,
stretching my legs to
strut my stuff
might be better
if I were a peacock

Lady, your room is lousy with flowers.
When you kick me out, that's what I'll remember,
Me, sitting here bored as a loepard
In your jungle of wine-bottle lamps,
Velvet pillows the color of blood pudding
And the white china flying fish from Italy.
I forget you, hearing the cut flowers
Sipping their liquids from assorted pots,
Pitchers and Coronation goblets
Like Monday drunkards. The milky berries
Bow down, a local constellation,
Toward their admirers in the tabletop:
Mobs of eyeballs looking up.
Are those petals of leaves you've paried with them ---
Those green-striped ovals of silver tissue?
The red geraniums I know.
Friends, friends. They stink of armpits
And the invovled maladies of autumn,
Musky as a lovebed the morning after.
My nostrils prickle with nostalgia.
Henna hags:cloth of your cloth.
They tow old water thick as fog.

The roses in the Toby jug
Gave up the ghost last night. High time.
Their yellow corsets were ready to split.
You snored, and I heard the petals unlatch,
Tapping and ticking like nervous fingers.
You should have junked them before they died.
Daybreak discovered the bureau lid
Littered with Chinese hands. Now I'm stared at
By chrysanthemums the size
Of Holofernes' head, dipped in the same
Magenta as this fubsy sofa.
In the mirror their doubles back them up.
Listen: your tenant mice
Are rattling the ******* packets. Fine flour
Muffles their bird feet: they whistle for joy.
And you doze on, nose to the wall.
This mizzle fits me like a sad jacket.
How did we make it up to your attic?
You handed me gin in a glass bud vase.
We slept like stones. Lady, what am I doing
With a lung full of dust and a tongue of wood,
Knee-deep in the cold swamped by flowers?

She doesn't own a mirror.

Confirmation of her beauty comes from those around her at all times.
Fawning fools adore,
jealous sisters abhor,
but all notice the shine of her hair, the tilt of her lips.

She does not dance.

Her steps lead, and dancers follow with no reasons nor rhymes. They cry:
"Lead me not into temptation",
but in her ministrations,
they ache and beg for her glance, their hearts in her grips.

She does not care for suitors.

Her heart was long ago dulled by the fencing blades of admirers. And yet I
if honest, must admit
that it is a careless abandon, devoid of wit
that begs me join her jousters in mock combat for the privilege of her kiss.

What a porcelain fool, she, to inspire such a heartfelt, bloodtaxed roust.
What sorrier the fool, me, to join in such a sure dealt, unasked joust.

A true story by  Thula Bopela**

I have no idea whether the white man I am writing about is still alive or not. He gave me an understanding of what actually happened to us Africans, and how sinister it was, when we were colonized. His name was Ronald Stanley Peters, Homicide Chief, Matabeleland, in what was at the time Rhodesia. He was the man in charge of the case they had against us, ******. I was one of a group of ANC/ZAPU guerillas that had infiltrated into the Wankie Game Reserve in 1967, and had been in action against elements of the Rhodesian African rifles (RAR), and the Rhodesian Light Infantry (RLI). We were now in the custody of the British South Africa Police (BSAP), the Rhodesian Police. I was the last to be captured in the group that was going to appear at the Salisbury (Harare) High Court on a charge of ******, 4 counts.
‘I have completed my investigation of this case, Mr. Bopela, and I will be sending the case to the Attorney-General’s Office, Mr. Bosman, who will the take up the prosecution of your case on a date to be decided,’ Ron Peters told me. ‘I will hang all of you, but I must tell you that you are good fighters but you cannot win.’
‘Tell me, Inspector,’ I shot back, ‘are you not contradicting yourself when you say we are good fighters but will not win? Good fighters always win.’
‘Mr. Bopela, even the best fighters on the ground, cannot win if information is sent to their enemy by high-ranking officials of their organizations, even before the fighters begin their operations. Even though we had information that you were on your way, we were not prepared for the fight that you put up,’ the Englishman said quietly. ‘We give due where it is to be given after having met you in battle. That is why I am saying you are good fighters, but will not win.’
Thirteen years later, in 1980, I went to Police Headquarters in Harare and asked where I could find Detective-Inspector Ronald Stanley Peters, retired maybe. President Robert Mugabe had become Prime Minster and had released all of us….common criminal and freedom-fighter. I was told by the white officer behind the counter that Inspector Peters had retired and now lived in Bulawayo. I asked to speak to him on the telephone. The officer dialed his number and explained why he was calling. I was given the phone, and spoke to the Superintendent, the rank he had retired on. We agreed to meet in two days time at his house at Matshe-amhlophe, a very up-market suburb in Bulawayo. I travelled to Bulawayo by train, and took a taxi from town to his home.
I had last seen him at the Salisbury High Court after we had been sentenced to death by Justice L Lewis in 1967. His hair had greyed but he was still the tall policeman I had last seen in 1967. He smiled quietly at me and introduced me to his family, two grown up chaps and a daughter. Lastly came his wife, Doreen, a regal-looking Englishwoman. ‘He is one of the chaps I bagged during my time in the Service. We sent him to the gallows but he is back and wants to see me, Doreen.’ He smiled again and ushered me into his study.
He offered me a drink, a scotch whisky I had not asked for, but enjoyed very much I must say. We spent some time on the small talk about the weather and the current news.
‘So,’ Ron began, ‘they did not hang you are after all, old chap! Congratulations, and may you live many more!’ We toasted and I sat across him in a comfortable sofa. ‘A man does not die before his time, Ron’ I replied rather gloomily, ‘never mind the power the judge has or what the executioner intends to do to one.’
‘I am happy you got a reprieve Thula,’, Ron said, ‘but what was it based on? I am just curious about what might have prompted His Excellency Clifford Du Pont, to grant you a pardon. You were a bunch of unrepentant terrorists.’
‘I do not know Superintendent,’ I replied truthfully. ‘Like I have said, a man does not die before his time.’ He poured me another drink and I became less tense.
‘So, Mr. Bopela, what brings such a lucky fellow all the way from happy Harare to a dull place like our Bulawayo down here?’
‘Superintendent, you said to me after you had finished your investigations that you were going to hang all of us. You were wrong; we did not all hang. You said also that though we were good fighters we would not win. You were wrong again Superintendent; we have won! We are in power now. I told you that good fighters do win.’
The Superintendent put his drink on the side table and stood up. He walked slowly to the window that overlooked his well-manicured garden and stood there facing me.
‘So you think you have won Thula? What have you won, tell me. I need to know.’
‘We have won everything Superintendent, in case you have not noticed. Every thing! We will have a black president, prime minister, black cabinet, black members of Parliament, judges, Chiefs of Police and the Army. Every thing Superintendent. I came all the way to come and ask you to apologize to me for telling me that good fighters do not win. You were wrong Superintendent, were you not?’
He went back to his seat and picked up his glass, and emptied it. He poured himself another shot and put it on the side table and was quiet for a while.
‘So, you think you have won everything Mr. Bopela, huh? I am sorry to spoil your happiness sir, but you have not won anything. You have political power, yes, but that is all. We control the economy of this country, on whose stability depends everybody’s livelihood, including the lives of those who boast that they have political power, you and your victorious friends. Maybe I should tell you something about us white people Mr. Bopela. I think you deserve it too, seeing how you kept this nonsense warm in your head for thirteen hard years in prison. ‘When I get out I am going to find Ron Peters and tell him to apologize for saying we wouldn’t win,’ you promised yourself. Now listen to me carefully my friend, I am going to help you understand us white people a bit better, and the kind of problem you and your friends have to deal with.’
‘When we planted our flag in the place where we built the city of Salisbury, in 1877, we planned for this time. We planned for the time when the African would rise up against us, and perhaps defeat us by sheer numbers and insurrection. When that time came, we decided, the African should not be in a position to rule his newly-found country without taking his cue from us. We should continue to rule, even after political power has been snatched from us, Mr. Bopela.’
‘How did you plan to do that my dear Superintendent,’ I mocked.
‘Very simple, Mr. Bopela, very simple,’ Peters told me.
‘We started by changing the country we took from you to a country that you will find, many centuries later, when you gain political power. It would be totally unlike the country your ancestors lived in; it would be a new country. Let us start with agriculture. We introduced methods of farming that were not known I Africa, where people dug a hole in the ground, covered it up with soil and went to sleep under a tree in the shade. We made agriculture a science. To farm our way, an African needed to understand soil types, the fertilizers that type of soil required, and which crops to plant on what type of soil. We kept this knowledge from the African, how to farm scientifically and on a scale big enough to contribute strongly to the national economy. We did this so that when the African demands and gets his land back, he should not be able to farm it like we do. He would then be obliged to beg us to teach him how. Is that not power, Mr. Bopela?’
‘We industrialized the country, factories, mines, together with agricultural output, became the mainstay of the new economy, but controlled and understood only by us. We kept the knowledge of all this from you people, the skills required to run such a country successfully. It is not because Africans are stupid because they do not know what to do with an industrialized country. We just excluded the African from this knowledge and kept him in the dark. This exercise can be compared to that of a man whose house was taken away from him by a stronger person. The stronger person would then change all the locks so that when the real owner returned, he would not know how to enter his own house.’
We then introduced a financial system – money (currency), banks, the stock market and linked it with other stock markets in the world. We are aware that your country may have valuable minerals, which you may be able to extract….but where would you sell them? We would push their value to next-to-nothing in our stock markets. You may have diamonds or oil in your country Mr. Bopela, but we are in possession of the formulas how they may be refined and made into a product ready for sale on the stock markets, which we control. You cannot eat diamonds and drink oil even if you have these valuable commodities. You have to bring them to our stock markets.’
‘We control technology and communications. You fellows cannot even fly an aeroplane, let alone make one. This is the knowledge we kept from you, deliberately. Now that you have won, as you claim Mr. Bopela, how do you plan to run all these things you were prevented from learning? You will be His Excellency this, and the Honorable this and wear gold chains on your necks as mayors, but you will have no power. Parliament after all is just a talking house; it does not run the economy; we do. We do not need to be in parliament to rule your Zimbabwe. We have the power of knowledge and vital skills, needed to run the economy and create jobs. Without us, your Zimbabwe will collapse. You see now what I mean when I say you have won nothing? I know what I am talking about. We could even sabotage your economy and you would not know what had happened.’
We were both silent for some time, I trying not to show how devastating this information was to me; Ron Peters maybe gloating. It was so true, yet so painful. In South Africa they had not only kept this information from us, they had also destroyed our education, so that when we won, we would still not have the skills we needed because we had been forbidden to become scientists and engineers. I did not feel any anger towards the man sitting opposite me, sipping a whisky. He was right.
‘Even the Africans who had the skills we tried to prevent you from having would be too few to have an impact on our plan. The few who would perhaps have acquired the vital skills would earn very high salaries, and become a black elite grouping, a class apart from fellow suffering Africans,’ Ron Peters persisted. ‘If you understand this Thula, you will probably succeed in making your fellow blacks understand the difference between ‘being in office’ and ‘being in power’. Your leaders will be in office, but not in power. This means that your parliamentary majority will not enable you to run the country….without us, that is.’
I asked Ron to call a taxi for me; I needed to leave. The taxi arrived, not quickly enough for me, who was aching to depart with my sorrow. Ron then delivered the coup de grace:
‘What we are waiting to watch happening, after your attainment of political power, is to see you fighting over it. Africans fight over power, which is why you have seen so many coups d’etat and civil wars in post-independent Africa. We whites consolidate power, which means we share it, to stay strong. We may have different political ideologies and parties, but we do not **** each other over political differences, not since ****** was defeated in 1945. Joshua Nkomo and Robert Mugabe will not stay friends for long. In your free South Africa, you will do the same. There will be so many African political parties opposing the ANC, parties that are too afraid to come into existence during apartheid, that we whites will not need to join in the fray. Inside whichever ruling party will come power, be it ZANU or the ANC, there will be power struggles even inside the parties themselves. You see Mr. Bopela, after the struggle against the white man, a new struggle will arise among yourselves, the struggle for power. Those who hold power in Africa come within grabbing distance of wealth. That is what the new struggle will be about….the struggle for power. Go well Mr. Bopela; I trust our meeting was a fruitful one, as they say in politics.’
I shook hands with the Superintendent and boarded my taxi. I spent that night in Bulawayo at the YMCA, 9th Avenue. I slept deeply; I was mentally exhausted and spiritually devastated. I only had one consolation, a hope, however remote. I hoped that when the ANC came into power in South Africa, we would not do the things Ron Peters had said we would do. We would learn from the experiences of other African countries, maybe Ghana and Nigeria, and avoid coups d’etat and civil wars.
In 2007 at Polokwane, we had full-blown power struggle between those who supported Thabo Mbeki and Zuma’s supporters. Mbeki lost the fight and his admirers broke away to form Cope. The politics of individuals had started in the ANC. The ANC will be going to Maungaung in December to choose new leaders. Again, it is not about which government policy will be best for South Africa; foreign policy, economic, educational, or social policy. It is about Jacob Zuma, Kgalema Motlhante; it is about Fikile Mbalula or Gwede Mantashe. Secret meetings are reported to be happening, to plot the downfall of this politician and the rise of the other one.
Why is it not about which leaders will best implement the Freedom Charter, the pivotal document? Is the contest over who will implement the Charter better? If it was about that, the struggle then would be over who can sort out the poverty, landlessness, unemployment, crime and education for the impoverished black masses. How then do we choose who the best leader would be if we do not even know who will implement which policies, and which policies are better than others? We go to Mangaung to wage a power struggle, period. President Zuma himself has admitted that ‘in the broad church the ANC is,’ there are those who now seek only power, wealth and success as individuals, not the nation. In Zimbabwe the fight between President Robert Mugabe and Morgan Tsvangirai has paralysed the country. The people of Zimbabwe, a highly-educated nation, are starving and work as garden and kitchen help in South Africa.
What the white man told me in Bulawayo in 1980 is happening right in front of my eyes. We have political power and are fighting over it, instead of consolidating it. We have an economy that is owned and controlled by them, and we are fighting over the crumbs falling from the white man’s ‘dining table’. The power struggle that raged among ANC leaders in the Western Cape cost the ANC that province, and the opposition is winning other municipalities where the ANC is squabbling instead of delivering. Is it too much to understand that the more we fight among ourselves the weaker we become, and the stronger the opposition becomes?
Thula Bopela writes in his personal capacity, and the story he has told is true; he experienced alone and thus is ultimately responsible for it.

She opened the door of the gallery and there it was, there it lay, before her, nearly perfect: her exhibition. The opening was an hour or so away and there were, naturally, a few adjustments to make, but in essence it was right, and as she walked to the middle of the rectangular space (to survey the full effect ) she felt held by the quiet wonder of it all; that she had made all this and with ‘the quality control of nature’s accidents’. He’d written those words some years previous when a solo show was but a dream she would enter between sleep and wakefulness, when she would think of the west coast of Scotland and the poetry of its seashore, the infinite variety in the seashore strand between sand and sea. It was such natural accidents of form and transformation by nature’s hand that had guided her imagination into rightness and towards this exhibition.

At breakfast that morning she had come to the table dressed to greet her audience, and for the first time as a featured artist in a festival of some repute. She had felt the quiet joy of choosing the right combination of clothes to be the public person she had now become. He had loved the new dress she had bought to clothe her gallery persona. She had been conscious of his eyes following the lines this frock so generously drew around her body’s shape and form, the way the material fell across her *******, lay smoothly on her thighs.  It was a very grownup frock and with the jacket and scarf made her look purposeful, confident. His looking made such confidence possible, his admiration and what she could tell was that coming together of love and passion that, her being dressed in this formal way, so often evoked.

In the gallery she had worried over the lighting, climbed up the metal ladder with the fluffy green glove thoughtfully provided to enable those small adjustments of direction to be made on a hot spotlight. There were four large pieces flanking a corner that had embossed lines running across their surfaces, lines that needed oblique light to reveal the shadowing of this effect of swirls and marks of a retreating tide on sand.  Two smaller pieces needed rearranging; she’d placed them, late the evening before, in the wrong sequence. Poster boards were to be filled with her poster and put outside on the pavement by the gallery entrance. She opened the main door, a very green door with its top and bottom bolts and black-painted handle ring. The street outside was a welcoming mix of 18th and 19th C buildings, hardly one the same, the sort of three storey buildings that had simple plaques prominently placed into the brickwork from a distant past when proud builders would describe a structure’s use or ownership with a title and date. By ten o'clock this one-way street was lined with parked cars, but now there was little traffic. It was a quiet sunny morning in a market town.

‘Don’t mind the dog, ‘ he said. ‘He’s used to coming in here.’ It was a long-haired verging on the side of scruffy sort of dog, used to keeping its own counsel, probably used to being taken to exhibitions. ‘Just popping in,’ he said, this man who, and she couldn’t help noticing this, seemed to hold much in common with his dog; the long, but retreating on the forehead, hair, slightly scruffy from the want of a comb or a good brush (like his dog), he had dressed without much thought (because who dressed thoughtfully to walk a dog?), and that’s what he was doing, walking the dog and, seeing the Gallery open, thought he ought to look in.

Giving him her brightest smile, she embarked on performing the artist’s music of conversation, that score holding gentle melodies and welcoming harmonies. Although she had become quite practised in talking to her audience there was always the challenging inquiry that would catch her off guard.

‘Well, are you finished with the seashore now?’ said the man with the look-alike dog. For a moment a half dozen possible answers seemed possible. ‘Could one ever finish with something so extraordinary and various as that hinterland between land and sea?’ No, that was seemed a mite critical and clever. ‘Oh, I’ve hardly started’ was tempting, but rather smug and too confident by half. ‘I just love the seaside’ would probably do, as no one else was listening. ‘Merleau-Ponty says the complexity of the seashore is a metaphor in the search for self-identity’. She did wonder what he’d make of that, but finally decided on ‘It’s such a rich source of ideas and images I’m sure there’s a lot more I want to do with the subject.’

”It’s all the same colour”. She’d had that one a few times. ‘When I’m on the beach I’m fascinated as much by the texture and shape of what I see  and feel than the colour. I like the subtlety of the colours in the sand. I think my pieces – and she waved her hand towards what she had titled her Sand Marks pieces – show so many of the different shades of colours you find on the seashore.’

Those Sand Marks, a collection of variously dyed and marked two metre plus linen-lengths, dominated one wall of the gallery. They floated a few centimetres from the white wall, and when people moved past them the slight shadows cast by the linen lengths seemed to ripple in the human-made breeze. She could never look at them without thinking how their very accidental making – binding a linen cloth with inner placed objects and using the natural dye of tea – could create such absorbing results. She would follow with her gaze one of the linen-lengths from bottom to top (or top to bottom) and find herself walking on the wet sand of a Scottish beach, overwhelmed by the clear light and space with only the sea sound surrounding. He would tell her, had told her often, how moved, how affected he had been when he first saw them hung. To him, these ‘marks’ carried an essence of this aesthetic she now owned and for which had become recognised.

Even on this, her first day, she had been visited by a small number of admirers and supporters, some travelling distances to see her work with the aura of the original, a truer view than that possible on the back-lit screen of their computer monitors. Ladies who loved textiles, the containment and privacy to sew and stitch secured in their busy lives. These friendly and smiley women (the comfortable side of sixty) understood something of what she was doing here, and perhaps imagined themselves as thirty-somethings walking Scottish beaches free from children and the relentless list-making of house and home and occupation, able to create imaginary worlds of marks and folds, pleats and textures. Full of enthusiasm for the medium, what they perhaps didn’t have was the skill of seeing, a skill she had grown up with, had always owned to some degree: found, fostered, honed, developed into a second-nature activity of always looking.

There would be the occasional brief lull when the gallery was empty or close to empty, as though needing the space to come up for breath after being occupied by people and their movement. She would then walk slowly around the long well-lit room viewing her pieces and her arrangements of pieces from different angles. She would look at his poems placed antiphonally between her work, commissioned for her catalogue, her book of images of the sea shore paired with, incorporating even, her made pieces. She’d chosen a favoured few she’d felt caught the essence of being in the sea’s company, in the sand and shore’s domain. Like everything he did it had been undertaken with the utmost intensity of purpose. She saw him now in her mind’s eye with his notebook sitting against rocks, paddling in the great shallow pools, walking head down along the tide line, those bright days on a Scottish island and before, before on that ellipse of beach by the fishing station.

He would tease out an idea formed from a little motif of words, perhaps like the very music that was his private territory: here, alone, apart we are marked by the tide’s turn. Yes, we are marked by being solitary in such unconfining space, the marks at our feet become the lines, the mounts, the fingers, those interruptions, breaks and blockages found in the tridents, chains and crosses of the art of palmistry. We read the seashore as a psychic oracle reads the hand, hoping, as Kathleen Jamie so rightly says, for the marvellous. And marvellous it so often is.

Standing in this gallery was like being gathered about by the seashore. It was a short jump in the imagination’s miracle to hear the soft breathing of the sea, the wind caressing the face, the warmth of the afternoon sun on the freckled cheek.

See how those we love are transformed
when the sea is their only boundary

a figure stands before a sand bar
in a crescent of water left by the tide
an affecting geometry of solitude
. . .

These words had always stopped her in her perambulating tracks. She thought of her son, far distant on the beach, at rest for once, still, motionless within the confluence of the elements of the beach, at the epicentre of her gaze, all things flowing to and from his tiny, far-away figure.

Never will I consider anyone who admires me
a God.
Those who admire me thus not rare,
but not many have given their gifts and time to me.
Don't ever define me
by the plaid in my wardrobe,
guitar notes on my playlists,
black nail polish,
and the innocent jokes I create.
Find me the best you can.
To anyone who could never be satisfied through the ruins of my
nonsense,
know,
that there was a point,
you meant,
the world
           to me.

Let us not keep our secret,
secret any more!

Thousands have read your poem,
from your tributary, they have drunk.

So I am re posting once more
to remind grandmother,
so many
you,
adore.

I will not stop
till ten
thousand new admirers
have you paid homage.
then I will
              post it again.


~~~~~~
Oct 6, 2013
The Banyan Tree (A Tribute to Sally)
I am a man, grandfather to four.
Adherent to the same religion,
Poetry.

Breathing through mine eyes,
Exhaling carbon words,
That with time and pressure become
Poems, verbal musical notes upon life.

Each motion, from tiny to grand,
A capsule of expression,
That if examined under microscope,
Familial DNA, interconnected tissue,
Discovered, tho logic says,  
Time and distance render impossible.

But this is a diamond
This is a writ to be slipped
Upon the finger, the heart, the essence,
Of the only Banyan tree I have hugged.

This poem but a fig,
In the cracks of kindness,
The crevices of caring,
It has slow germinated.

You dear, Sally,
My host,
A building upon I can lean,
When wearied spirits uproot
My surficial composure.

Your seeds carried from east to west,
By a fig wasp, a bird unknown,
An ocean voyager, of indisputable vision, strength.

This seeded messenger, word carrier,
Supplanted in me, and your pupils,
Whose very names breathe poems,
In others too, like me and so many,
Seeds to become new roots, but you,
Our Host official and forever
Planter of trees of loving kindness.

You already know with love and affection,
I call you Grandma Sally,
And when you ask, beseech,
I cannot refuse.

Together we will will banish the sad,
Acknowledge we, that life's ocean,
A mixture of many, even sad, a necessity.

But I promise that will turn it into
Something simple, something good.
For you have asked and I answer you
Right here right now - your wish,
My objective, deep rooted like you,
Like an old banyan tree,
Your roots spread far, spread wide.

So some eve, when to the beach, to the sky
You glance, smile, no matter what, troubles dispersed,
For the reflection of you, seeds, full fledged trees now,
Bending skywards, in search of your rays of expression,
Your maternal wisdom rooted, spread so wide, globally,
All over this Earth, is visible from your
Beloved Philippines.


---------------------------------------
In her own words..

I am a widow,
with five remarkable granddaughters....
all beautiful, intelligent girls.
It is such a waste not to write....
each morning that unfolds is filled
with things to write about....
the people, the birds,
the trees, the wind,
the seas,
everything we set our eyes on,
they are all
poetry in motion.
Life itself is poetry,
I always have pen and paper within reach.
My past experiences are a
never-ending source
of ideas and words for my poems....
I shall write until time permits me,
"til there's breath within me."
-------------------------------------------------
A banyan (also banian) is a fig that starts its life as an epiphyte (a plant growing on another plant) when its seeds germinate in the cracks and crevices on a host tree (or on structures like buildings and bridges). "Banyan" often refers specifically to the Indian banyan or Ficus benghalensis, the national tree of India,[1] though the term has been generalized to include all figs that share a characteristic life cycle...
Like other fig species (which includes the common edible fig Ficus carica), banyans have unique fruit structures and are dependent on fig wasps for reproduction. The seeds of banyans are dispersed by fruit-eating birds. The seeds germinate and send down roots towards the ground.

The leaves of the banyan tree are large, leathery, glossy green and elliptical in shape. Like most fig-trees, the leaf bud is covered by two large scales. As the leaf develops the scales fall. Young leaves have an attractive reddish tinge.[6]

Older banyan trees are characterized by their aerial prop roots that grow into thick woody trunks which, with age, can become indistinguishable from the main trunk. The original support tree can sometimes die, so that the banyan becomes a "columnar tree" with a hollow central core. Old trees can spread out laterally using these prop roots to cover a wide area.

Poor stone. You’ve wrapped it, hidden its serene and uncomplicated self. I can no longer feel its smoothness, its emptiness embodied in touch. You have brought it in from the beautiful silence of its solitary state and covered it around: a net, a bag, a coverlet, a coating of thread through which we can only see something of itself.

There is a consistency here: in this doing, a reflective doing as much as conscious making. You’ve moved from the mending of damaged acorns, splintered leaves, forlorn detritus gathered off the sea strand to making tiny homes, shelters, enclosures, that sometimes have no perceivable openings; so some stones are wholly netted, completely wound and threaded around so there is no escape. But some, it needs to be said, are like the lasts of the cobbler, there to provide a form to hold the stone shoe firm, in place, and around which the woven thread in your hand can ply and knit . . . and then it is sometimes cast away, this last of stone, having only provided a stone shape; so only its shape-memory persists for the viewer. And when touched - this garment, this cloak of thread is pliable, and moves with the fingers’ touch and press.

I should like to capture this stone in the process of its enclosing; what seems to be from a viewer’s stance a not wholly planned journey with the needle - around and about, in and out and under. So I imagine a stop-motion sequence of photographs, beginning with the lonely undressed stone in your hand. As time lapses we watch the intricate play of your hand, your deft fingers, that particular pinching and holding to place the thread here and here and here, the pulling through, the special holding in place while one thread knits together with another thread by going underneath and up and along, and all the time the hand turning, the fingers dancing in the hand.

Then will come moments of rest where the stone moves from the hand to a still surface. It regains its shadow - and rests. The hand moves away and we are left with the silent stone, the journey of its dressing interrupted by life’s necessities. The maker’s hand moves to other tasks; the preparation of food, the writing of notes, the tapping of virtual symbols on the mobile phone (now there’s a surface that shares with the stone a hardness and smoothness – once we held stones for comfort in the pocket – now we stroke the mobile to remind us that we’re safe in the dark street, not ever alone, connected to our thousands of followers, admirers, friends, our loved ones, and that repository of what is and where to go, and the whole world of music and photographs - of woven stones).

Let’s go back to this stop-motion. To lift the stone from its precious private place, usually alone (no other stones around), index finger and thumb come together to lift our stone from its shadow – a shadow that disappears, magically, into the surrounding light. Oh surely no more, the stone cries in its shadowless voice. No more of this twisting turning, upside downing, the sense of the stone recalling a time beyond time when in a storm-laden sea one dark winter’s night it, and countless companions, were lifted from the sea bed and rolled round, around, round, and swept, afloat in a turmoil of waves that break and break and break until finally onto the sloping beach - where the stone is left – alone, motionless – at rest - to dry in the morning sun.

Gradually the movement in her fingers becomes slower, even sporadic. She is looking at this stone with her grey-blue eyes, intently. There are pauses; moments of reflection where our stone is set down and viewed, picked up again and moved into a different light (its shadow returns momentarily, fitfully, knowing perhaps any stasis is only temporary). The camera keeps clicking; stop, a 300th of second motion, stop for a second. Already there are thousands of images collected in the camera’s silicon memory chip.

And so movement gradually becomes stillness. The light changes. The camera’s incessant stop-motion ceases. The stone is placed on a white surface for a final photo-call – a single click. Once naked; now clothed. There is no longer the possibility of return to its original stoniness. It becomes an ‘object’ to place on a surface for wonder and admiration – not the stone of course but its clothing, its covering, its embodied shape in thread, perhaps that thread soaked in mud that in itself holds a distance memory of water, even water that has moved from sea to the coastal strip, the estuary, the river’s bank.

Later, after being wrapped in tissue paper, perhaps boxed, and moved into a total darkness, the stone is brought again into the light. It finds itself placed among other stones, stones and shells, rusty objects even, and laid out variously on a pristine white surface. Its stoniness is now shadowed with words: a description, a title, its ‘found’ location, a date of finding – a date of making. That this stone, once beached, and picked from the sand, from amongst so many other stones, and thought unique and carrying potential as a last, a shoe-maker’s frame, a steady 3-dimensional surface for wrapping, now becomes something more that a solitary stone. It has been given a new life, a life of an object imbued with the thread of a maker’s curious mind; that in so threading has come to know this stone so intimately, and with so much love and care that its clothing, whilst having no pre-formed pattern, becomes something in its maker’s eyes that seems  - meaningful, poetic, ‘right’?

Through this stone-weaving with thread, this stone-covering and describing in thread, you have made a poem of the nature of stoniness. Your fingers now know this stone, and perhaps, if we can in our imagination follow that partly accidental / partly planned journey, we can read your poem – of touch, of turning, of minute viewing, of so careful observation of every millimetre of its surface. Yes, perhaps that’s it, what this is all about . . . only our stone has had its wonderful serenity and solitariness, its smoothness and surface taken from us. It will no longer lie in the pocket to comfort the hand. It will no longer lie on the desk to be a tangible remembrance of a place and time, treasured.

                                                       ------

‘And now I remember a poem, portraying a stone, a pebble placed in a child’s hand, picked up on a pebble ridge. A pebble to place in the pocket where we finger it until it becomes warm. Its shape and certain¬ty is firm and sure. It consoles us. And, as we change and decay, it remains lodged with us: *a thing that contains nothing save the mystery of life.’

I'm no comedian,
but to see you smile
I become funny.

I'm not rich
but I will hustle
to get you money.

I'm no chef
but your taste, I savor
I desire your flavor.

I'm no freak
but new lovers,
I love to meet.

I'm no hoarder
but admirers
I love to keep.

**I AM A POET
A LIBRA
A PEOPLE PLEASER

I’m thinking about you today. Hard not to, the specialness of it all. Today you’re putting up of an exhibition. Some artists call it a show, but you’re quite consistent in not calling it that. I admire that of you, being consistent.
 
I was thinking today about your kindness. You phoned me as soon as the children had gone to school, making time to call before you left. I know you were drinking your start-of-the-day coffee, but it was a kind thought all the same, phoning me. You knew I was upset. Upset with myself, as I often am. It’s this being alone. Not so much as a cat to keep me company. Just my work, the reading I do, my thoughts of you, those letters I write, and my attempts at poetry.
 
During the last few days I’ve tried to write directly of what I’ve observed, not felt, observed. Like those wonderful Chinese poets of old describing in just a few characters the wonder of the seen rather than the speculation of the felt, avoiding all emotion and fantasy. I try to write in a way that holds to the ambiguity and spread of meanings the poems those ancient Chinese composed.
 
It’s winter-time. Yesterday we were expecting the first snowfall of winter, and it arrived late in the night making the morning darkness mysteriously different, changing the indistinctness of distant trees to become a web of silver lines, in the no-wind snow resting on branches, clinging to boughs and trunks.  I stood in the pre-dawn park in wonder at it all, holding each moment to myself, in the cold breath-stopping air. I thought of one of the Chinese snow poems I know and some of those different ways it has been translated. Here are three:
 
A thousand mountains without a bird
Ten thousand miles with no trace of man.
A boat. An old man in a straw raincoat.
Alone in the snow, fishing in the freezing river.
 
A thousand peaks: no more birds in flight.
Ten thousand paths: all trace of people gone.
In a lone boat, rain cloak and a hat of reeds
An old man’s fishing the cold river snow.
 
Sur mille montagnes, aucun vol d’oiseau
Sure dix mille sentiers, nulle trace d’homme
Barque solitaire: sous son manteaux de paille
Un vielliard pêche, du figé, la neige.
 
So beautiful, arresting, different. It holds the title River Snow and the poet is the Tang Dynasty philosopher and essayist Lui Zongyuan.  My snow poem First Fall, written last night as the snow fell on the wet street outside, as you were falling through my thoughts, softly, but not onto a wet street, but a distant garden we know and love, but have yet to see in winter’s whiteness.
 
And now today you’re driving to a distant location to hang your work of paper, silk and linen, full of expectation, every contingency and plan in place to enable the work to make its mark in a location you know, where people may recognize your name and will come to say warm words of encouragement, maybe a little praise. And at the end of the week when the exhibition opens I’ll be there, trying to be invisible, taking photographs if I can of you and your admirers and supporters, and thinking (myself) how wonderful you are, your lovely smile lighting up the gallery, being welcoming, beautiful always.
 
Only today you’re further away from me than ever. Around coffee time I miss your quiet explorative ‘it’s me , like a mouse on the telephone. The inflections of those words questioning the appropriateness of the call, meaning ‘Are you busy? Am I interrupting?’ It may take me a little while to ‘come to’, but interruption? Never, just the sheer joy that it’s you colouring the moment.
 
I think of the landscape you’ll be driving through. I’m imagining the snow-sky clearing and becoming a faint blue with the sun’s brightness clarifying those wold lands, those gentle folds of fields between parallelograms of woodland standing stark under the large skies and promulgating the long views gradually, gradually stretching towards the sea coast.
 
I like to imagine you are singing your way through the choruses of Bach’s B Minor Mass, but in reality it’s probably the Be Good Tanyas or Billy Joel playing on the CD player. Such a relief probably after those silent journeys with me. I usually relent on the homeward leg, but I crave silence when I’m a passenger, and I’m now always a passenger, so I crave silence for my thoughts, such as they are.
 
While you are being the emerging artist – but probably on your way homeward - I have taken myself down to my city’s gallery and to an exhibition I’ve already seen. I have a task I’ve been promising myself to undertake: copying an exhibit. I arrive an hour before the gallery closes. I leave my bicycle behind the foyer desk. There are more staff about than visitors. It’s gloriously empty, but the young twenty-somethings invigilating the spaces group themselves strategically near adjoining rooms so they can talk (loudly) to each other. It’s Facebook chat, barely Twitter nonsense. I have to block it all out to focus on the four pages and a P.S of a sculptor’s letter to a critical friend. The sculptor is writing from springtime Cornwall on 6 March 1951. The critical friend will open the letter the next day (when there were 3 deliveries a day) and the Royal Mail invariably arrived on time. He’ll pick it up from his doormat before breakfast in grimy Leeds, though the leafy part near Roundhay Park. The sculptor begins by saying:
 
It is so difficult to find words to convey ideas!
 
In this so efficient Cambria typeface that introductory sentence loses so much of the muscle and flow of the human hand. Written boldly in black ink, and so full of purpose, I read it a month ago, a photocopy in a display case, and knew I had to capture it. And it’s here entire in my note book, on my desk, carefully copied, to share with you my darling, my kind friend, the young woman I hold dear, admire so much, become faint with longing for when, as she crosses that gallery where she has been hanging her work (in my imagination), I am caught as so often by her graceful steps and turn.
 
I don’t feel any difference of intent in or of mood when I paint (or carve) realistically, or when I make abstract carvings. It all feels the same – the same happiness and pain, the same joy in a line, a form, a colour – the same feeling at the end, The two ways of working flow into each other without effort  . . .
 
Outside my warm studio the snow has retreated east and I’ve opened the window to hear the Cathedral bells practising away, the city on a Tuesday night free of revellers, the clubs closed, the pubs quiet. In this building everyone has gone home except this obsessive musician who stays late to write to the woman he adores, who thinks a day is not a day lived without a letter to her at least, a poem if possible.
 
I’d quietly hoped to be with you tonight, but you must have something arranged as I suggested twice I might come, and you said it wasn’t necessary. But I have this letter, and something to write about. Alas, no poem. My muse is having the evening off and I am gently reconciled to the possibility of a few words on the telephone before bed.

Please RSVP
to the event which is my life
and don't forget to follow me
might you please like?!

<pause>

It's been days
& virtually
no likes.
But that's how we judge our self-worth
and give meaning to proceeding in life.

SLAPPED in the face
by an opening door.
My past flashes forward
as I hit the floor.

Liked by many
Disliked by more
I used to relish in the love of my haters
like a *****.

Always high
from the love of my admirers

I did not care to be judged
in the social court room
of people for higher.

A hand pulls me towards
the future
which is now
my present
in the past

Pulled forward
to the door
which took me back.

I liked that girl.
She was an ultimate me.
She did not care
to RSVP.

Yanked forth once more
from the protruding arm out the door.

Hesitant I

shoes nervously glued to space
in this time.

Please RSVP?
to the event
which is me?!

I'm guest of honor
*****!

I took my shoes off
and walked in freely.

The High Line (Pearls Before Swine)

is located on Manhattan's West Side. It was an elevated train track, that runs from Gansevoort Street in the Meatpacking District (wholesale butchers) to West 34th Street, between 10th & 11th Avenues, near the Hudson River, running parallel to the river.  

The High Line was originally constructed in the 1930's, to lift dangerous freight trains off Manhattan's streets. The High Line, nowadays, is open as a public park, owned by the City of New York. The District is now a night life hot spot of elegant shops and restaurants, among the few remaining meat packing firms, a "scene." If not in a hurry, and unfamiliar with the High Line, look it up (see notes), to get a visual of image. Or not. I can't remember who I promised I would dig out my High Line poem, but a promise kept.
_________________

Walk­ed the High Line after work,
early summer afternoon,
a pubescent evening-tide,
the teenage colors
of the setting ball,
seize your breath,
your eyes, enthrall.

On Little West 12th Street,
climbed up to
breathe the green,
thriving railroad earth-beds
tucked so cute,
tween the rusted ties of
intrepid railroad tracks.
still working in
service to humanity;
nature supporters now,
a new kind
of freight carried.

Climbed up on the backs
of a jumbled combo of
dressed beef carcasses
and yuppie carc-*****,
both obedient to the
Law of Consumption:
Consume or be consumed.  

Looked down on them,
grazing,
gazed upon them
pseudo social-dancing,
they are all prowling,
cat burglars,
searching for felines, roosters,
to tango/tangle with till
the shameful dawn walk,
a final tally of who,
was consumed,
and who,
got consumed.

Watch with bemused fascination
at the children,
swilling and chilling,
some liquor, some swill.
nonetheless  admiring each other;
their Lauren cut and Hilfiger heft
the finest of fat veined lines,
decorating their svelte,
but very attractive,
full figured appearances.

USDA Grade A,
a genuine meat market,
humans and
animals guts,
intertwined.

The Highline,
an architect's composition
of summer grasses,
planted in nooks and crannies
of man's discarded invention.

Summer grasses in unison,
stadium waving to
the music of summer breezes,
Manhattan sounds,
clinking glasses,
goods and services exchanged.    

The view admires you -
Oh baby you look so fine,
Your hair, like the
Hudson River's aquas
is a shining, streaked,
by High Line highlighted
late afternoon,  
sun-setting golden sparklers.

Your gold chains entwining,
fire crackers on top of a
the blue ribboned river,
exploding, dazzling,
your obedient admirers.  

They complement your skin,
aglow, one of nature's works,
soon to be painted on a canvas,
across a horizon of a
pinkish-tinged lavender sky -    
a gift of the oh-so-refined
refineries of South Jersey.  

Cool summer afternoon in
the Meatpacking District,
traffic, human, automotive,
clogs the Gansevoort piazza,
a NYsee zone pietonne,
a Manhattan cocktail of
young strivers and Eurotrash,
where you check me out,
and I return the favor,
using a pre-certified checklist.

Are you young?
Are you hip?
Are you beautiful?
Do you possess
what it takes
to undress me?
Reservations and a limousine!

Everyone who's there,
by definition, is in,
otherwise where else
would they be!

Pearls of perfect people,
perfect lives,
in, around and
before, swine.  

Am I the only one
who gets the joke,
or is the joke, me,
because I just don't got it
in order to get "it"?

Am I the only one
who sees the dead,
ancient and newly arrived,
human and other kind,
the living,
sharing the animal spirits
of the Meatpacking district:
some animated,
some haunted,
some summer tanned
some blood drained,
ghostly white veined?    

In this city,
my sweet city,
city where I bore
my first breath,
city where I'll be laid down to
my permarest,
the hues of my life
are city pastels,
colorful shades of asphalt
and concrete gray and
dried blood,
interspersed with the
speckled glitter of the
potpourri of human creation.

The Highline, an architect's
composition of summer grasses,
planted in nooks and crannies
waving to the jazzed music
of Manhattan lives,
its history, summer breezes,
emblem of the city's only coda:

Transform, rebirth -
survive and prosper,  
or else,
be slaughtered and die.

Summer 2010

Let the Dealer take to his Gambles spend
Such that his Boots would limit to arcade
Which two-fold bets cast odds on top descend
And his Service strikes without much delay
I meant the Italian you happened to wear
And strip for Happy Golgotha delight
You wanted Admirers in Cheerful bear
Then their Smiles came true for their ****** Sight
After all, Talk Show's a Norm-for-the-Woos
Which indeed supplements the Popular
Which you desired; And asked you turn loose
To be one of those Studs Spectacular.
Happy for you. Since your own Flesh at stake
As you are now Ripe; Your Best Rind you make.

I

He disappeared in the dead of winter:
The brooks were frozen, the airports almost deserted,
The snow disfigured the public statues;
The mercury sank in the mouth of the dying day.
What instruments we have agree
The day of his death was a dark cold day.

Far from his illness
The wolves ran on through the evergreen forests,
The peasant river was untempted by the fashionable quays;
By mourning tongues
The death of the poet was kept from his poems.

But for him it was his last afternoon as himself,
An afternoon of nurses and rumours;
The provinces of his body revolted,
The squares of his mind were empty,
Silence invaded the suburbs,
The current of his feeling failed; he became his admirers.

Now he is scattered among a hundred cities
And wholly given over to unfamiliar affections,
To find his happiness in another kind of wood
And be punished under a foreign code of conscience.
The words of a dead man
Are modified in the guts of the living.

But in the importance and noise of to-morrow
When the brokers are roaring like beasts on the floor of the Bourse,
And the poor have the sufferings to which they are fairly accustomed,
And each in the cell of himself is almost convinced of his freedom,
A few thousand will think of this day
As one thinks of a day when one did something slightly unusual.
What instruments we have agree
The day of his death was a dark cold day.

II

You were silly like us; your gift survived it all:
The parish of rich women, physical decay,
Yourself. Mad Ireland hurt you into poetry.
Now Ireland has her madness and her weather still,
For poetry makes nothing happen: it survives
In the valley of its making where executives
Would never want to tamper, flows on south
From ranches of isolation and the busy griefs,
Raw towns that we believe and die in; it survives,
A way of happening, a mouth.

III

Earth, receive an honoured guest:
William Yeats is laid to rest.
Let the Irish vessel lie
Emptied of its poetry.

In the nightmare of the dark
All the dogs of Europe bark,
And the living nations wait,
Each sequestered in its hate;

Intellectual disgrace
Stares from every human face,
And the seas of pity lie
Locked and frozen in each eye.

Follow, poet, follow right
To the bottom of the night,
With your unconstraining voice
Still persuade us to rejoice.

With the farming of a verse
Make a vineyard of the curse,
Sing of human unsuccess
In a rapture of distress.

In the deserts of the heart
Let the healing fountains start,
In the prison of his days
Teach the free man how to praise.

There once was a lovely young maiden
Who had but admirers three
The first one had said
"Let me into your bed!"
And she thought
"Oh how awful you be!"

There once was a lovely young maiden
Who had but admirers three
The second one offers
"Let me into your coffers!"
"I'd ne'er let you have the key!"

There once was a lovely young maiden
Who had but admirers three
The third asked so kind
"Let me into your mind,
and I'll foster what you hold in thee."

There once was a lovely young maiden
Who loved the admirer three
Who did as he promised
and taught her in honest
but could not stay bound to she

foo
step right this way
stripes
the curly haired whispers of long ago
dirt on the steppes of Maui
life and death
the boldness of breath
tea sets invented
natures idea of hooking
the falsehood of feelings
since you can sense the release of chemicals
into the gut from the gut
art is an effort
all roads are connected therefore lead nowhere
snowflakes
glaciers
the impossibility of a paper bag
well that’s why you got the people you do
blistered surfaces
invert
divert
subvert
magical marketing
lost time is all its good for
crawl
other beings
the past is as real as the now
the future not so much
look for answers under slimy rocks
headlights
mark the trail with crumbs
holiday pay eligibility
pig latin verse
loose lips sinks fish
headlines of tomorrow list all your deeds
originality pounds it out
a ground game if there ever was one
marginalized in a riotous way
burned
turned
spit shined shoes laced real tight
if you stayed this long you must get it real good
explanations spellchecked edited cast aside
meaning lost found lost and lost again
bury your words
measure the sun as a star
triangulate emotion in order to set free the main ingredient
the Bosporus the smallest gap imaginable
a wayward telephone number listed
a matchbook
adding depth to the photograph by controlling aperture
roulette craps poker slots Chinese checkers
numbers never end
gymnasium antics
mans best friend is a meateater
fall follows autumn in the southern hemisphere
three dimensions are all you need all you require
bomber
deny both the entity and the substance found ahead
synchronize your watch with mine
sand as a tonic baby oil pine
money buys packaged happiness
there was this guy named Shakespeare
opinion calls for differences version 2.0
you find the zoo to lead so very far
swing for the fences
jump rope skip sidewalk
ease
mow the concrete lawn from here to horizon
jump rope skip sidewalk
learn forget then act dumb
exit stage left
what is behind animal eyes big mystery
exponential units forge toward the final group session
king me
did the butler do it with the maid
how often is crying necessary
pound for pound the best boxer in the mid century bout of pneumonia
digital meanings end in analog discussions
legions of admirers blinded
where to turn when the lights are forever out
invest in mystery
disappoint those who will never know you
you know it
there is a dogma in need of a collar out there somewhere
temptation looms
the holy word of snowflakes delve into deep philosophy
but I always got along with everybody
why work
pituitary gland
announcing for the first time on record
prince spaghetti and salad extraordinaire
the alphabet ends in z
puddles form on distant planets that orbit toothless suns
men
loud music still comforts the savage beast
years like a tape measure stills the ragged poor children
never to be found never ever ever
solvent says eat thou peas
silo bag deliver us from the tall neighbor police
sidestep any issue involving toys
mounds of troubles can be climbed
Kansas wind also flows down the plain
think about it the sea is mostly under itself
plow
most things look better from behind
a major felony on your record
knowledge in the form of easy chew tablets
hounded by creditors bobby laid low
actors actresses chumps
results are mixed as the queen leaves daring long behind
punctuation fits into softly lit areas of the mind
stay loose
breakdown the door then apologize some more
I left home for this
mistakes are what we call experience
the smiles on bubblegum cards just as real
twenty dollars invested in nothing
pin air to itself
buy time sock it away watch it grow grow grow
cool is always enough for matty
god that guy could drink ant sanitation member into the ground
margins
leaves are raking themselves these days
so long in the past stood there with sled in hand
photographed by a grandfather clock
black envelopes glued by hand in an everlasting jump off point
poetry bound and gagged for fun and zero profit
movable type static feasts
in the groove piled high with the color that represents lament
fifty thousand big ones aint so big anymore
the river left town
cannon at the gate corded shot ingenious ways to destroy people
support the troops
he say one thing then did another wow does that hurt
memory votes early and often
nobody knows the troubled bean
it all hinges on my word being accepted
china feels so very close
the sea full of carp moistened in salt water ** boy o boy
Vermeer at the loom
the bronze age must have been heavy
time waits around the corner selling amphetamines
queer beings exit the saucer and head right for the local hobby shop
end game
paint as a medium large
pine scented maple trees win the prize
in my book the covers speak for themselves
close up to the camera waterfall
find the picture inside the cavity send help
amid ship is the place amid
of course some things are missing
ghost register to vote
went fishing came home with a tummy ache
spend your last dime see the world as it truly is
between avenue b and c there lies a small wombat
fend off the high climbing stairs that offer busy bees
mind the gaping hole that leads to oblivion ny
fog in my ear
steam punk can you believe it had to be invented
the f drive taketh away
sing a song about the street we used to chug a lug at
view my elbow rock
know thyself from the middle ages on toward the detail
love pander both you know
mom became tonnage displaced and torpedoed
you are very astute now quit it
this meeting is over like so many before it
collapse my finger into red colored dust
round up and whittle down the masthead
toothpick sized brains
its no bother at all fire away with logical pounds
page that squire knight the tree stand hunter in velvet horn
live as the yo yo
beat it now not later now before the sun sets far into the Japanese
planning a child check our bargain bins first then decide
overtime halts the easy chair
tiny
mounds clopping at the level of good mine
piles of good old fashioned nonsense
home grown
sunny side up way up
carry a friend everywhere you travel
knock
catch a rising star and keep it there
an alarming increase
happiness is a warm puppy
many are called but few are winners
put in your time split and repeat
wrinkles seem to be catching on
break the law go to *******
now is the time smack in the middle of touchy feely
mountain of jelly
pound of brown
highway exits in turning lane
polished sayings die in mid form
butterfly of course
bank on it twice
inform the theologian that grace is universal
one unit is enough to bounce the basket ball
larcenies are a regrettable offense for jumble minded
loud is the hammer of life by golly
inside
far away lies the land of nod no wait mod
never saw it coming
mud in your minds eye
clean up before the mess is tabled
throw away all hits
kong king
mondo longo pongo in delicate dancing
bear in mind that bares the soul to influence
set up the new roux
pint sized followers found via radio
fell asleep in wonder fat
knives sharpened better get a move on
loudly express a final punt
line one line two line three
when did farming become cold
newborn
disease jumps as the trampoline handles wind jammers
night can be fun but girls are more down there
love me back
mindful of the garter you can relax next year
backwards as a mean average statistical oops
venting hot gas adds to the thrill
is this thing on
swell
and and and and and and and
call the water department I am ready to fly
listen the goat will never know what hit him
long on flavor short on towels
company insists on a quaint meal of posies
behind a successful man is a chair of some kind
got milk
my friend can be talkative but never mind
rounded surfaces slip into nothingness a modern age affliction
we will escape scot free
badness baldness daily princess
puzzle in mind he left his denial on the riverbank
on the reindeer hoof we ride
specialty
how can it be hey baby that’s what we are here for right
the plays is not the thing
work your **** off then find the instruction manual
beep buzz bop
it appeared right there but is gone now
foo

This is the unedited version of our story. It tells you they how and they why so you can know who we are and why we did what we did. It has the parts that only people on the inside will see. If you want the shorter version, see the edited version.*

There were five of us.
(Five is such an oddly even number)
Freshman who grew up to be seniors
(You don't really understand till you've gone through it)

There was the oldest, the skinny one
(Who seemed like the youngest)
He was tall and awkward
(Worked in his Dad's shop and strong as an ox)

He was so quiet and shy
(I knew him last, but understood him best)
He only texted
(He was afraid we'd see his curly hair)

He was uncorrupted
(With secret dreams of married ***)
He was a lover
(Not mine, he was lover of his family)

Then there was the Latino
(He’s short, dark, good taste in music)
Amazing athletic talent
(Parkour was all he was big enough for)

A great friend
(Who was in love with my best friend)
Funny as hell
(I became "one of the guys" with him)

Romantic and gentle
(Exactly what my best friend needed)
Loyal and patient
(Their love was forbidden and everlasting)

Next came the little one
(My beautiful best friend in the whole world)
Obedient and but passionate
(Controlling mother, rebellious sister)

Younger than everyone
(But ahead of us in schoolwork)
Guileless and enchanting
(She’s my girl-crush, she’s everyone’s crush)

In love with the latino
(They ran away together for a weekend once)
The most bendable, changeable one
(Unpredictable and easily swayed)

Also there was the clown
(He was my clown, we belonged to each other)
Everyone’s friend, no one’s best friend
(Except mine. I could reach him deep down.)

Wannabe family man
(But he had no good examples)
Strangely perceptive
(But he couldn’t look past his selfish nose)

Always smiling
(But passively aggressive)
Ladies’ man
(They teased him about being gay)

And then there was me.
(How do I describe myself?)
Full of surprises
(That’s what they tell me)

Loud, rebellious, crazy
(I always say what I’m thinking)
Fearless, childish
(No one tells me what to do.)

Independent and devoted
(Never clingy, but “I love you” means forever)
Steady and never-changing, slightly judgmental
(I stood back and watched it unfold with tears and frowns)

That was us.
(Pretty easy to imagine?)
We were all connected, but also independent
(One on one, but a great group)

The boys fought
(They all can’t stand each other now)
Mostly over the little one
(She and I fought too, but it passed)

Then we fell apart.
(Gradually, till graduation)
We’re almost unrecognizable
(It’s lamentable but inevitable)

The tall one, the oldest
(He’s still embarrassed of his hair)
Got his first girlfriend
(Who ******* him and dumped him)

He befriended so many girls
(Like informal dating)
But secretly was dreaming of the little one
(She didn’t notice him at all, till now)

He’s leading his brother
(Down the same dangerous path)
And he doesn’t even know it
(I keep trying to tell him to stop)

The latino is mostly the same
(I haven’t talked to him for a few months now)
He doesn’t fight as much
(Mostly parties and works)

But he never got over the little one
(He couldn’t wait, but couldn’t give her up)
Now he just gets admirers
(Nobody makes him feel as important as she did)

He’ll grow out of high school
(Better than any of us, I think)
He already knows how to do life
(Perhaps he’s the luckiest of all of us)

The little one got so lost along the way
(So many nights, an almost-baby, getting high)
But I decided to stick around cuz she’s my best friend
(She slept with the clown, and he still makes me cry)

She’s already taking college classes
(Spanish and dance, to remind her of the latino)
She’s working with children
(Teaching them how not to make her mistakes)

Now she’s planning her life
(Getting married to the skinny one)
But she doesn’t seem happy
(There’s never going to be passion like there was)

The clown found himself friendless
(But not without girlfriends, lots of them)
He made a lot of dumb mistakes
(But kept them all a secret from everyone but me)

He still hangs around
(But we never talk anymore)
He parties and smokes
(I keep an eye on him, but he doesn’t know)

To hell with being good
(He doesn’t even pretend anymore)
At least he’s accepted his fate
(I wish we could still be friends)

And I’m lost too
(Though I’ve done none of these things)
I don’t party or drink or smoke or have ***
(It’s just kinda stupid and pointless if you ask me)

But I’m losing my religion
(I thought I was better than them, but I’m not)
Bad things have happened to me
(Stroke, death, sickness in the family)

I’m no better than my friends
(Though my body is clean, my heart is black)
I’m sad I’m no longer special
(But was I ever really different?)

And so we’re lost
(Am I the only one who sees it?)
Some are on the mend
(Or they look like they are)

But we made it through high school
(Who knew it would end like this?)
We got so messed up along the way though
(Was it really worth it?)

I drive home listening to Queen
(I’m a sucker for old music)
The clown showed me that one song
(I thought nothing of it at the time)

And I cry
(We are the champions)

Our Lady visits places where no man has trod asunder
Places where the hand of time has kept them from the sun,
Places where the roiling earth hath ground to rend like thunder
Where history, as we know it now, had barely, then, begun.

With elegance she burrows forth, with elegance a seeking
Tended by her retinue of young, admirers’ lithe,
With elegance she sinuously writhes within containment,
To elegantly strive to shape her contour, uncontrived.

So femininely fabulous, admired by all and sundry
Her deadlines met assiduously, taken in her stride.
Secretly she smiles the smile of one who dwells thereunder
Who secretly entrances with her quiet performing pride.

Fare welled on her journey by adoring crowd and bunting,
Fare welled midst a sea of flags by rotund Prince and child
To coyly disappear from sight with retinue of admirers
To reappear with fanfare in a year, to drive men wild.

Sinuously spinning in her secret world beneath us,
Spinning and beguiling in uniquely female way,
Alice holds our promise in sweet dreams and aspirations
Our Subterranean Goddess…Our Lady of the Day.


Marshalg
Plant Co-ordinator
The Wellconnected Consortium
AUCKLAND.
27 January 2014

**Alice is our giant tunnel boring machine. She is currently 40 m beneath parkland and housing in Owairaka, Auckland. In 12 months she will emerge at Waterview to be spun around to burrow the return tunnel back to the point of origin. These tunnels will form the completing stages of the modern motorway system in Auckland. The system, which will be completed in 2017, will revolutionise the existing transport network and benefit the people of Auckland and New Zealand for decades to come.

I am in a city of admirers admiring admirers, a city cloned from a rough sketch, that has been traced in disappearing ink, a producer of diluted DNA in its quoting of the quotes within the tattoos across its face.

Its people walk in pace like sheeple, but at-least the sheep have their fur, as the people scurry in synchronicity from the burr.

Its cold outside, and getting colder.

Ill stand right here, and observe.

their feet clicked along the marble floor,
blue, gold, and embroidered flowers
covered every tapestry of the castle.
click, click, click
chants rose in the air,
statues of past kings judged the dancers,
diamonds fell from ring fingers of maids,
my presence embellished by the eyes of the admirers.  
click, click, click
the horologe matched the tapping sound of the guests’ footsteps,
my time was running out.
click, click, click

an angel whispered,
“time was never real.”

click,
click,
click,
(only this time, it was only my feet.)

1
Her thick  dark eyebrows did cast a spell first,
they are stuck there like vampire bats,
they both symbolize  a sinister plot, kept secret,
with a 'come hither' prompt, none can resist.

She attracted artists in hordes, crazy moths,
never did they look above her face,the serpents,
lay tangled and acted as if it's smooth coiffure.
Wicked lust,aroused by bitter past,
                                    made her move with keen  intent
an invisible net she carried behind her back.
She attacked at opportune moments, pretending
she is a lover, with insatiable lust in boil.
2
All crafted lies, simultaneously,she artfully solicited,
       colored moths, in her slow fire, they burned, one by one,
but one remained stuck there for life, fearing rejection every moment.
A crop of heads she reaped , wherever she went,
a kite was ever ready to fly her victim-hood colors higher and higher,
that made admirers **** in their breath and stoop,
before her to her advantage, she had no dearth for volunteers any time.
Burning words made her chants fly like fire works,
her collection of heads turned stones by admiring her
increased, as a huntress she was an ace
stuffed in her cubbyhole of a heart, heads of stone languished.
3
Medusa,you don't have sisters,
I count it the luck of those  unborn
how beautiful, you once were I still remember,
though no sun visited the north you spent your childhood.
Run, run my feared beauty, to the sun, before your heart
get charred by the heat of hatred, you bear in the  Gothic interiors.

4
I hate Perseus, don't you fear your Nemesis?
Every Athena you wrongly think your foe  and fight,
all your hair turned serpents, still I thought, love would work,
without  coming upfront, I kept my flame burning,
but all in vein, you could never love anyone, legitimately or otherwise.
Your blood, all of it, has turned venom, you spit it, slowly
its beauty amazes, even  the victims on the line next...

sun girls:
they’re all bright eyes and warm hands, they’ll kiss you on the cheek. beautiful freckles. glowing skin, sunflowers and paintbrushes gripped tightly in their hand.

moon girls:
dark clothes and a eyes-closed kind of grin, beat up sneakers and an arizona iced tea, hair that shines, they sparkle even in the dark. soft kisses that taste like spearmint.

mercury girls:
smooth talkers, could convince you to do anything. big eyes and round lips, hair ******* or tucked behind their ear. late night walks and quiet conversations.

venus girls:
lipgloss and breathless laughing, soft hands and tummy. kissing their girlfriend randomly. a voice like honey. hypnotizingly lovely. muffled music and strawberry lemonade.

mars girls:
quick winks and subtle smirks. would **** for you. a love deeper than the ocean, strong shoulders and collar bones. ****** knuckles healing over and tight hugs.

neptune girls:
dreamy girls, hazy around the edges. tilting their heads to the side and sleeping soundly. delicate hands and cherry chapstick. hot cups of tea served with knowing eyes.

saturn girls:
sharpened pencils tucked behind their ear. serious eyes with a hint of laughter. tapping their toes and paying attention. books piled high with the pages well loved.

jupiter girls:
moving their hips and applying lipstick. a smile that electrifies you and lips that entrance you. has a hundred admirers but loves the one girl she can’t have. red lights and excitement.

pluto girls:
confidence that carries through the air. tastes like energy drinks and lightning. crooked smile messy hair. continuous movement with no time to talk. gesturing hands and shuffling papers.

Taos Pueblo fashion designer Patricia Michaels returns to New York City for “Style Fashion Week NYC”on September 10th to present her latest 30 piece collection at aspecial RSVP eventat Hammerstein Ballroom, 311 West 34th St, Midtown Manhattan.

Michaels was a finalist on season 11 of the Lifetime reality TV show, “Project Runway”, and “Project Runway All-Stars”, gaining thousands of admirers as the media world followed her success along with an excited and proud Indian country.

Michaels will present her trademark PM Waterlily line and her latest collection for Spring/Summer 2017. Known for her use of Native-themed fabrics, hand painted or hand dyed, cut and fabricated at her Taos, New Mexico studio, Michaels says she is inspired by nature walks at Taos Pueblo among the trees, wildflowers and water plants, and “seeds” are important symbols of her designs and concepts.

The following description is from the website, speaking of the “Modern Native” who inspires and wears her designs. “Patricia Michaels...will have a few pieces for colder climates as her woman travels to regions where during the summer the climates tend to be cold. She is a world traveler so one may made need that special look to freshen her palette.”

Those living in or near the New York area that are interested in attending can visit toEventbrite to RSVP for the September 10 event. Seating is limited.

We wish Patricia Michaels and PM Waterlily success in New York City and beyond.

According to their site, Style Fashion Week, producer of globally recognized fashion events, provides top designers a world class platform to showcase their collections. Each year Style Fashion Week presents the season's must see shows, unforgettable performances and exclusive installations. Our expansive Style Marketplace immerses guests in fashion as well as art and design. Guests directly engage with brands throughout the week.Read more at:http://www.marieaustralia.com/formal-dresses-brisbane | www.marieaustralia.com/backless-formal-dresses

I am an umbrella, a rain jacket,
For the Cinderella, a stored away packet,
Till the day the skies sputter rain.
I am a tool box, a first aid kit lain
In a dark, webs-infested dusty corner,
Touching no light; seeing no cleaner.
The kitchen accident and toys’ breakdown
Are such welcome picnics to the town.
Could have been a willow, nor am I a pillow
To cry on in times of immense pains in kilo
And to hug out of a heart exploding joy.
But I am a bomb-shelter, a floating life buoy,
A tower of refuge in times of need;
A furrow-deserted land planted no seed,
Awaiting to be useful again in season,
Not Jesus, but bearing a crystal reason
To be also a rock in that weary land.
I am a handkerchief in a man’s hand;
Ironically stuffed useless in the back pocket,
To blow away flu mucus off the nosy socket,
Or wipe the intermittently rare solitary tears
That graces the dry eyes from heartbreak fears.
I am not a flowerbed; I am a mango tree;
Having no admirers save the monkeys, free
To shelter, mate, play and make all merry,
Spring has come with flowers and I draw very
Much attention; the promise of fruits abundance,
Needed, loved, and embraced in a scarce annual chance.
I am an audience for the sad breaking news;
The princess’s Eulogizer in dilemma to possible views,
I am a lawnmower in her abandoned backyard,
A joker of little importance in her game play card.
I am a muzzled ox treading the corn;
A mockery of treasure, glittering scorn,
In her darkest times, the cherished glow-worm;
An apologetic shelter in the times of storm.

“No one understands me. I don’t want any of these guys; they just won’t leave me alone!” I said to my best friend, Sarah Heart.
“Well, Μαρία, try not to look so nice!”
I am 17; long black hair, hazel eyes, and deep red lips, am about 5’8”, and have unusually pale skin. “I don’t ever look nice, and you know it! Besides, you’re the one who looks great, one of the best in Femenino.” Sarah is 16, long blond hair, blue eyes, pale pink lips, is about 5’, and has very tan skin. “They only like me because I am almost of age.” Here on Femenino, when a girl turns 18, she is ready to be wed. The guys are born with their wings patterns. When the girl decides to marry a certain person, she will mirror the design the guy has after they both say their vows.
“Μαρία, why do you always talk down about yourself?” Sarah said.
“I don’t know, but can we discuss this tomorrow? I’m tired.”
“Ok, but tomorrow we’ll talk about who you’re going to marry. You only have 1 week left to decide.”
“Ok, Sarah,” I yawned, “good night, sweet dreams.”
“Yeah, I’ll have sweet dreams, of the prince marrying me!” she said with a devilish grin. No one knew the prince’s real name, so we just called him ‘prince’.  We laughed at that, “but, good night, girl, we will definitely talk tomorrow.” I fell into a fitful sleep, plagued with the question of who I was to marry in 1 week.
Raven black hair, one eye brown, one eye black, tall, tan, and body like a warrior.” kiss me, Μαρία” he said, “Never leave me, please.”
“I won’t leave you, ever, I swear.”
I woke up, not knowing who the man was. ‘Well, all I know is, it’s time to make a new potion.’ “Ok, let’s see, a bit of baby’s breath, wild flower, lilac blossoms, and a pinch of rose petals. Ok, add them in boiling water, mmmmm that smells good.  Hmm, now, before the dream with him, what did I do with the potion? Oh, yeah, I dabbed it behind the ears, and everyone was happy to see me, even, surprisingly, the girls.”
“Maybe I shouldn’t try it, because some of the girls have never liked me, and I’m probably going to forget what I did, and wonder why they are happy to see me all day, I’m always forgetting things, that’s why I put all my spells in a book, after all.” I mumbled to myself. I went to write it down, calling it the ‘Like Me’ spell. Ok, I have the ‘Love’ potion, a few body, hair, and ****** changing spells, a ‘Find it’ spell, a spell to bind the heart to a specific person. Oh, cute, I still have the spell I made when I was seven, so my heart wouldn’t break if I found a guy, but I didn’t cast it because then I would be sad in the end if I never found the guy I had asked for.
‘Oh, boy, I’m going off to dreamland again. Sigh, will I ever find my kind of guy?’ Well, the only thing that could be worse is the prince picking for me, well, except that we were born on the same day, but at different times, he was born about an hour before me in a room next to me, and since he’s royalty, he chooses a wife before I choose a husband, and I will be mortified since I have to stand next to him, but I doubt anyone would want me as a wife because I’m, in my Aunt Feranium’s words, “an inexcusable excuse of an abomination, no one could possibly want to even be near me, much less marry me”. Well, Aunt Feranium, you’ll get to see if your right or not in 1 week.
Well, today I have to go meet up with some of the guys here, and get some ingredients for my potions and spells. I’m hoping at least one of the guys is ok with how I am and who I am. I guess I’ll meet with guys before I get my ingredients, so I can cheer myself up afterwards.
I met with three guys for the first half hour. Each and every one of them was wealthy and smug. All I could think was, ‘I can’t wait to get away from here and finish up talking to some other guys.’ One guy, named Damien was saying, “When we get married, you will love your life.” Another named Lucas said, “No, when WE get married you will be in the laps of luxury, far more than either of these two could ever give you, Μαρία.” The third guy, named Jordan said, “We all have wealth, so why don’t we let Μαρία choose for herself?”
They all turned to me and looked expectantly. I smiled politely and said, “Well, I have quite a few more people to talk with, so I must not say who of you fine,” and I almost choked on that, “gentlemen. I’m sorry to say, I must go now to meet the others. Good day.” I smiled, got up and left before they could argue/complain/persuade me to stay longer.
I went to meet one of my friends, who was being forced by his mother to court/marry me. I saw him and waved. “Hey, Alejandro, what’s up?”
He did a slight nod of his head, telling me his mom was nearby, eavesdropping on us. He said anyway, “Not much, but you look lovely today. How are you?”
I smiled, because he was not usually like this when his mom wasn’t around. “I am fine. You don’t look so bad yourself.” He blushed, which made me smile, since he only sees me as his one of his best friends, which is the same way I feel about him. I nodded to him, letting him know his mom can no longer hear us, or see us. ‘Goodness, I love being able to do spells with little effort. I just wonder where his mom thinks we went.’
“Thanks Μαρία. So who’d you have to deal with first?”
“Three rich guys.”
He rolled his eyes. “Let me guess. Full of themselves and saying who you were going to marry?”
“Yea, well, except the one, he actually asked ME who I’d marry. It was interesting, since no one would usually care what I thought.”
“What did one of them look like?”
“One, named Jordan, who asked my opinion, had short brown hair, tan skin, about 5’ 10”. A second, Damien, has medium ***** blonde hair, dark skin, about 6’. The third, Lucas, had sort of long blonde hair, sort of pale skin, about 5’9”. Why?”
“I think they are following you.” He pointed behind me, and when I turned to see, there they were, a few tables over.
I looked back to Alejandro, smiled, and called for a waiter. “Excuse me, could you send a note and a round of drinks to those three gentlemen over there?” I pointed to the three guys, and gave the waiter 50 coins, and a tip of 20 coins, which is our currency. He smiled and lightly bowed, for the most a waiter would usually get as tip was 5-10 coins.
“What is your note?”
I told him, “Chill out and have a fine day.” He nodded and did as I asked.
When the guys got their drinks, I told Alejandro to come on. We left them there, and made sure they didn’t follow. We got to the market district, because, in truth, Alejandro was the only other person I was to meet. We got there and I showed him a list of ingredients I needed. The list went as follows:
Dew Drops
Sunlight
Sun flowers
Fresh Baby Laughter
Freshly Fallen Snow
Tear of Love
Hair of a Beauty
Sob of a Broken Heart
A Child’s Doll
Petal of a Fully Bloomed Rose
Lilac
Babies Breathe
Final Breath of the Dying
Rose Thorns

He whistled low at how much I needed.  I smiled; because that was the least I needed in quite a few months. We went about getting my stuff and just hung out, until we came upon Sarah, who knew me and Alejandro did not like each other, but teased us saying we did all the same.
She smiled and said, “Hey lovebirds. What goes on? Oh, are you guys finally realizing you’re meant for each other and going to marry each other?”
We said in unison, “No! We are not.” Alejandro scowled while I laughed.
“Sure sounds like you’re meant for each other to me!” Sarah laughed while Alejandro’s scowl grew longer.
I said, “Sarah stop teasing, poor Alejandro couldn’t possibly take all the scowling.” ‘And the heart break, since he’s in love with you Sarah, you just never see. I’m about to tell you straight up.’ I looked over at Alejandro and smiled, since he didn’t tell me, he didn’t know I knew, even though it was written plainly on his face, he thought he was discreet.
He looked down at his feet, letting the hurt pass over his face for a brief second. “I need to get the rest of my ingredients from my list. Okay, let’s see, just a few rose thorns is all I need to get.” We went to go get them. And there, a few feet away, were the three guys again. I pointed them out to Alejandro, and he rolled his eyes. I walked straight up to them.
They acted surprise to see me, I said, “Why are you following me?”
They were all flustered, but Jordan said, “We weren’t following you!”
“Oh, really, you three, follow me, Alejandro, Sarah, you can come to.” We went into an alley way and I continued, “So you three just happened to be at the same café only a few tables away, and then be just a few feet away from me?” They nodded in unison, and I got raged. I used a spell and had them pinned against the wall behind them and asked angrily, “Who are you working for?”
They looked fearful, and Lucas said stammering, “You ought to stop, ‘cause there are witnesses.”
I looked at him, “They are the only thing keeping me in check, you idiot, now, answer my questions, why were you following me and who are you working for?”
They looked at each other, then at me, and swallowed loudly and hard. Damien said, “Sheesh, when we saw you, we thought you’d be no problem to us, but dang! We might as well tell her since she got us, and ‘cause I don’t know her limits.”
They all nodded their heads, before looking frighteningly at me. Damien continued, “We are guards, some of the finest, and I now see we are some of the most arrogant.” I rolled my eyes.
“Why were you following me?”
“We were told to act as the people that we were told to be. It seems your something of interest.”
I glared at them, “You’re lying.” They were wide eyed with fright.
“No! That’s all that we were told!”
“You two might, but he was told more, and he’s not telling.” I glared at him and came close to his face. I looked in his eyes and asked as calmly as I could, “What are you hiding?”
He would not answer, so I let them go, and said, “Don’t follow me anymore! Just leave me alone.”
They stayed in place, frozen with fear, but Jordan piped up, “Wow, with your strength in spells, Μαρία, would you ever consider joining the guard? We really need you and your strength.”
I glared at them and said, “Go!”
They ran, still not sure of my limits when I was mad. My friends burst out in laughter after the guards were well out of ear shot. They said in halting gasps, “I can’t believe you bluffed them while you were mad!”
I smiled, knowing I wasn’t someone that could harm anyone. When I get angry at someone, I always try to bluff them, I guess I’ve either gotten better, or they were not good at telling my bluff. “Well at least we learned something out of this whole episode. Now, let’s get my ingredients and get back to my house, I had a dream about a new spell last night.” I felt a pair of eyes on me, but when I looked, there was nothing there. I shrugged and thought, ‘I must be getting paranoid.’
When we got back to my house, they helped me put my ingredients away, and I showed them my new ‘Like Me’ spell. “I don’t know how long it lasts, so I won’t let it be used on either of you.” I felt the eyes on my back, I turned and saw nothing. “Do either of you two feel like someone’s watching us?”
They shook their heads no, Alejandro said, “Maybe you should do a spell for protection over yourself for whoever’s watching you.”
I nodded, and found one that was simple to do but difficult to break through and lasted a long time. I cast it over my friends as well, who smiled when they felt the spell cover them as well. Sarah said, “Ok, now, Alejandro, shoo, me and Μαρία have a few things to talk about.” She grinned wickedly, and so he left.
He said, “Bye.” And got out as quick as he could.
I looked at her, “Now why’d you do that for? He doesn’t even count as a marriage choice; it’d be too much like marrying a brother.”
She shrugged, “Does it matter? This is girl talk, now spill who you like.” She looked at me expectantly.
“I really don’t know, I’ll just go with my gut when the time comes, okay?”
She sighed dramatically, “Fine!”
I laughed, “You know, it’s not your time to pick, you have a few years, and more than a few admirers.”
She flipped her hair and laughed lightly, “I can’t help if guys like me, Μαρία!”She shrugged, "That's my image, Μαρία, I have to keep up with it, or I'll be ruined!" I laughed.
"You can be so dramatic. You know that?"
"Yea, and now I know you can be to. ‘They are the only thing keeping me in check, you idiot', nice one, especially with the idiot, it added to your tone."
I looked at the floor sheepishly. "It just came to mind, and I went with it. Was I that convincing to you?"
"Are you kidding, I thought you would of killed 'em on the spot! Your bluff is way better Μαρία."
I smiled, "Thanks Sarah."
We went about our own thoughts for an hour, until it was time for Sarah to leave. "I'll see you tomorrow Μαρία."
"Okay, see ya." I flicked my wings out, mostly because I still felt like someone was watching me. I thought about my wings, and how soon I'll have a design. I remembered a type of fairy that used to exist long ago. They were called the florescent fairies. Unfortunately they died off. They all had wing patterns of their own. Even the females had their own patterns that they kept after marriage. Their wings were always so big and elaborate.
I felt my wings tingling, so I went to my front door. There on my doorstep was the guard that I knew as Jordan. He was in his uniform. I said, “What do you want, Jordan, if that is really your name?”
He cleared his throat. He was afraid, but put up a brave front and said, “I came for you were summoned by the head of the royal guard.”
I rolled my eyes, “And why would I be summoned this late at night?”
His bravado was fading when he said, “Because the head of the royal guard wants to see you now.”
“Why?”
His bravado was completely gone now and he was shaking in his boots, “He just wants you to come.”
I rolled my eyes again, turned out the lights, and locked my house up. “Lets’ get this done and over with. I do need to sleep like others’, you know.” Then I felt magic welling up around me. I found them easily with my magic, and brought them out in front of me. I threw them all into a pile in front of me. “Tell me three good reasons I shouldn’t put you all in a magic hold that would leave you motionless for the rest of the night.”
They were all struggling, and I was holding Jordan with a glare. “I am tired, and would not regret it. And you all need to learn to hide your magic. That’s how I knew where you were.”
They all tried to plead for me to let them go, but with a wave of my hand, they fell silent. Jordan said stammering, “They were only supposed to be back-up in case you wouldn’t come.”
I waved my pointer finger side to side, “Tsk, tsk, tsk, not nice to play tricks with me.” I used my magic to send the pile of guards back to the palace, while I looked at Jordan and said, “I told you to leave me alone.” I flicked my hand at him, and he went flying back to the palace. I went back into my house, went to my room, and after taking a hot shower, went to bed.
The next morning, I got up and ready for the day. I was about to leave my home when my wings tingled. Someone was at the door. I looked through a peep hole and saw my friends, Sarah and Alejandro. I opened the door, and they came in talking at me. I couldn’t understand what they were saying, so I said, “Slow down, now what?”
They started laughing. Sarah said, “Apparently, you gave all the guard’s a scare. What did you do?”
I looked at them, confused for a second, and then I remembered, and told them the events of last night. They laughed, so I said, “What? I was extremely tired, I wasn’t taking their crap.” That just made them laugh harder.
Alejandro said, “Remind me not to get on your bad side, Μαρία.” He chuckled and said, “Can you teach me some of your **** kicking moves?”
I grinned devilishly and made to look like I was going to use it on him and said “Sure,” and mocked what I did with the guards without using my magic. We all laughed. There was a knock on the door. I rolled my eyes and yelled, “Who is it?”
Whoever it was just knocked again. I went to the door and looked through the peep hole. There was no one there. I motioned my friends back, away, and I used a searching spell. I calmly looked all around my house, then finally smiled. I opened my door fast and

............ morning

I say this sincerely and from the bottom of my heart, you are incredible, fascinating, and impressive

Ahhh, thanks JC.
I’m flattered you think so because I feel quite ordinary.

You are the most extraordinary and exotic orchid in the jungle

And then you say stuff like that, that makes me wonder what you wrote before is true.

I don’t understand

That is so untrue, that it makes me wonder about your previous sincere comment

It is true in my heart and soul, please never ever doubt it, accept the compliment, deeply and fully !!!



............ next morning

I accept the first one. 

Baby Girl, what I write about you, is inspired by you, it is what i see and feel, please believe and  accept the compliments unconditionally, as I don’t say what is on my heart casually


............ next morning

Good morning Sleeping Beauty, how is the fairest flower in the forest this morning

This flower is wilted.

My flower has awaken, opening, unfolding to the glory of the sun, inspiring the birds and bees that swarm around her, vying for her nectar

Be a good Parisienne girl, and accept and bask in compliment of one of your many male admirers

That’s my fav poem yet.  Hmmm, many male admirers....


............ next morning

A little poem for you this Monday morning

Chère Reine, ouvriez votre coeur, laissez moi secher vos larmes, aimer votre ame.

Baby Girl, be kind your you inner little girl, she needs your attention and love too

Truer were words could not be written today
Reine...isn’t that queen?

Yes, as in you are my Queen

My dearest Queen, open your heart, let me dry your tears, love your soul (sound better in French)

Everything sounds better in French

Did you like the Queen poem
(remember I’m sensitive artistic type of guy )

Yes, I liked it..., sending you a loving kiss


............ next morning

Your baking is always superb, you are my heroine..., call you Chef Girl Genevieve

I don’t post the stuff that goes amok.
I am no chef. That is an earned title and I def do not qualify. I just like to play in the kitchen with sugar

you are a grand chef in my eyes

Faux chef Genevieve

here we go again, am i going to have to write another poem of how great you are

I must have blown some other kind of dust in your eyes

You are like a wickedly delicious ice cream sundae, made up of complex layers of intelligence, wit, charm, and sophistication. And the cherry on top, is your stunning elegance, femininity, and beauty

Nature wakes up with a smile
Beginning of morning twilight
Red sun peeking from the horizon
There is a blush in the sky
Excited, to wake up the admirers
To settle down to a temperate day
A buoyant heart, smiling within
A faint smile takes over my stupor
Infusing faith in me to face the day