Submit your work, meet writers and drop the ads. Become a member
Johnny Noiπ Jun 2018
BILD-Lilli doll [                            ], (             );
Type:         Dolls/Action Figures
Inventor:         Max Weisbrodt
Company: Greiner & Hausser Gmbh
Country:         Germany [                      ]
Availability: August 12, 1955–1964
The Bild Lilli doll was a German fashion doll
launched on August 12, 1955 and produced
until 1964. Its design was  
  based on the comic-strip
character Lilli, created by            Reinhard Beuthien
for the German tabloid newspaper Bild.
The doll made of polystyrene                             came in two sizes,
and had                              an available wardrobe of 1950s fashion.
The Lilli doll was the direct      inspiration for Mattel
co-founder Ruth Handler's creation of the Barbie doll.
Production of the Bild Lilli doll ceased
after Mattel bought the copyright -
Lilli was a German cartoon character
created by Reinhard Beuthien for the
German tabloid Bild.       In 1953 the newspaper
decided to market a    Lilli doll and contacted
Max Weissbrodt of the toy company O&M
Hausser in Neustadt bei Coburg. Weissbrot
designed a prototype doll based on        Beuthien's
cartoons, which was sold from 1955         to 1964;
that year Mattel                        acquired               the rights
to the doll          and German                production stopped.
Approximately 130,000 were produced.         [Barbie has German roots]
Today Lilli is a collector's    piece and commands
                       prices up to several thousand euros,
depending on condition,   packaging, and clothes.

Ordered to draw a "filler"        cartoon for the June 24, 1952,
            inaugural issue of Bild, Reinhard Beuthien
         drew an unruly baby; his editor disliked it,
so he adapted the                      drawing into a ****
pony-tailed blonde sitting in a fortune-teller's tent.
She was asking,                                              "Can't you give me the name
and address of this                                           tall,      handsome, rich man?"

The cartoon was an immediate (        ) success and
             became a daily feature;

Lilli was post-war,      sassy and ambitious,
     "a golddigger,                          exhibitionist    & ******".
The cartoon always                      consisted of a picture of   [Lilli talking],
      while dressed or undressed in a provocative      manner
that                      showed off              her figure, usually to girlfriends,
boyfriends, or her boss.                      To a policeman
who told her                                        that two-piece swimsuits
are banned in the street:                        "Oh, and in your opinion,
                                                                ­what part should I take off?"

                                  The last Lilli cartoon appeared on January 5, 1961.

Several toy companies (mainly in Hong Kong)
produced dolls resembling Bild Lilli,
          [Marilyn Monroe, Brigitte Bardot                      & Sophia Loren were the                popular image  of the Modern
     Bombshell replacing the more chaste Sandra Dee
     & Doris Day & even            
     Audrey & Kate   Hepburn
                                        (****** ideals o f the Depression-Era generation)]
some from purchased original molds.
Also in Spain,                      Muñecas FEJ (Guillen y Vicedo)
copied the molds                      and made a very similar doll,
but with darker skin, larger *******,   white hoop       earrings,  articulated waist & painted on snooch hair. However,        Spanish society
was extremely conservative  at the time            &  not ready
for such "****" dolls. Mothers
                     would not buy them
                        for their daughters                            and the manufacturer
                        had
                        to take them
   from the market.        

Mattel's Barbie doll, which (                   ) appeared in March 1959
                            [the last year Bettie Page posed for photographs],
        ******* magazine codified
        the quasi-teenage 'girl-next'door'; white-gloved
           **** giving handjobs in the backs of Buicks]
           thrice told tales of irrationality: Bell-Jars &    
           young mothers aborting Catholic Children                    -                 if                       they're Irish - the
          [the year a 16 year old girl
          was crowned Miss Beatnik in (                        ) Greenwich Village]
                       was based on Bild Lilli   [prototype
                for all future fembots;            programmed
                  w/ ****** functions              & a washable  
                  assortment                        of­ ****** parts]
    dolls that           co-founder Ruth Handler
had acquired                 in Hamburg. Barbie
           was made of softer plastic, |
wore less makeup, had paler skin,          &                                 the doll had rooted hair, several stylish (                  ) pairs of         shoes & [hard plastic snooch]     |         earrings—  apart from that she was a dead ringer for Lilli.
emil hernried Mar 2018
Hej jag heter Kalle, jag är 17 vårar

och
jag är trött på att tårar faller ner från min kind.
Det hände senast i torsdags morgon i klassrummet när nina skapat ett
instagram konto
som hette kalle balle kalle balle är ful.

Jag tyckte det var töntigt för vi är sjutton år,
men alla andra skrattade så vad ska man göra då ?
Läraren sa inget fast han allting såg
han bara twittra på om något som jag ej kommer ihåg.

Även om dem flesta mobiler är på surr
så hör jag allt twitter som pågår i detta ***.
och jag vet att det mesta inte är om mig
och jag vet att man inte borde bry sig men
jag bryr mig.

och det känns så motsägelsefull
för jag har alltid hört att det är någonting fint i att bry sig
att bry sig,
men nu när jag är större är det som att världen har växt med mig
och nu finns det för mycket att bry sig,
att bry sig om.

Hej jag heter Kalle och jag mår inte bra,
jag får notiser om att det är så ungdomar ska ha det.
Jag sitter i min plats längst bak i klassrummet till vänster,
när jag plötsligt ser en bild,  
jag tror jag ser ett mönster.
här uppifrån som utanför vårt fönster.

för vi är ett *** fullt av instängda fåglar,

det finns svanar som alla anar kommer växa och bli kända som alla vill vara
det finns kråkor som är stolta över att ta andras lycka/ det andra har , och det finns hackspettar
och duvor
gökar
ugglor,
och jag

och jag är rädd att jag är en pingvin eller en struts
jag vet inte om ni vet men av alla 10000 fåglar är just dem de ända som inte kan flyga
och jag tror jag är en pingvin
men kanske är det bra för jag är jag.
a swedish one ...
Jann Oct 2018
Wir finden und verlieren uns im Moment,
Im letzten Atemzug den wir uns gemeinsam teilen
Um uns herum fängt es an zu regnen,
Es scheint, als ob die Welt wüsste wie
es in unserem Inneren aussieht.

Der kurze Augenblick zwischen Sonne und Regen,
Der kurze Moment zwischen Freude und Traurigkeit.
Es kommt und geht, das Glück zwischen zwei Menschen

Was für ein trauriger Moment, du sagtest mir wir sollen uns nichtmehr sehen
Dein letztes Bild verblasst im Tageslicht,
Zeit heilt was sie kann, doch nichts ist für immer
Und man sagt , es wird schon wieder,
Doch nichts wird wie es einst war

Die Einsamkeit von gestern nimmt mich wieder in den Arm,
Fühlt sich an wie jeder Tag,
In Gedanken bei dir, irgendwo anders
An einem Ort wo es egal ist, verloren zu sein

Es wird immer vergehen, und nie so bleiben
kommt mir vor wie damals,
Damals auf dem Balkon also du die Sterne gezählt hast
Alya'a Aug 2013
what about our love ?
what about our memories ?
what about the dreams that we bild them toghter ?
what about your promises ? you said you don't break them
but you did !
because of you right now i can't turst anybody around me
yes i can't ..!
what about me ?
Michael R Burch Nov 2024
These are modern English translations of poems by the German poets Hermann Allmers, Hannah Arendt, Ingeborg Bachmann, Paul Celan, H. Distler, Wilhelm Ludwig Gleim, Johann Wolfgang von Goethe, Günter Grass, Heinrich Heine, Johann Georg Jacobi, Friedrich Gottlieb Klopstock, Rainer Maria Rilke, Friedrich Schiller, Angelus Silesius and Georg Trakl.



To the boy Elis
by Georg Trakl, an Austrian poet who wrote in German
loose translation/interpretation by Michael R. Burch

Elis, when the blackbird cries from the black forest,
it announces your downfall.
Your lips sip the rock-spring's blue coolness.

Your brow sweats blood
recalling ancient myths
and dark interpretations of birds' flight.

Yet you enter the night with soft footfalls;
the ripe purple grapes hang suspended
as you wave your arms more beautifully in the blueness.

A thornbush crackles;
where now are your moonlike eyes?
How long, oh Elis, have you been dead?

A monk dips waxed fingers
into your body's hyacinth;
Our silence is a black abyss

from which sometimes a docile animal emerges
slowly lowering its heavy lids.
A black dew drips from your temples:

the lost gold of vanished stars.

I believe that in the second stanza the blood on Elis's forehead may be a reference to the apprehensive ****** sweat of Jesus in the garden of Gethsemane. If my interpretation is correct, Elis hears the blackbird's cries, anticipates the danger represented by a harbinger of death, but elects to continue rather than turn back. From what I have been able to gather, the color blue had a special significance for Georg Trakl: it symbolized longing and perhaps a longing for death. The colors blue, purple and black may represent a progression toward death in the poem.




Heinrich Heine

The Seas Have Their Pearls
by Heinrich Heine
loose translation/interpretation by Michael R. Burch

The seas have their pearls,
The heavens their stars;
But my heart, my heart,
My heart has its love!

The seas and the sky are immense;
Yet far greater still is my heart,
And fairer than pearls and stars
Are the radiant beams of my love.

As for you, tender maiden,
Come steal into my great heart;
My heart, and the sea, and the heavens
Are all melting away with love!



Rainer Maria Rilke

Rainer Maria Rilke [1875-1926] was a Bohemian-Austrian poet generally considered to be a major poet of the German language. He also wrote more than 400 poems in French. He was born René Karl Wilhelm Johann Josef Maria Rilke in Prague, then the capital of Bohemia and part of Austria-Hungary. During Rilke's early years his mother, who had lost a baby daughter, dressed him in girl's clothing. In 1895 and 1896, he studied literature, art history, and philosophy in Prague and Munich. In 1902 Rilke traveled to Paris to write about the sculptor Auguste Rodin. Rilke became deeply involved with the sculpture of Rodin and for a time served as Rodin's secretary. Under Rodin's influence Rilke transformed his poetic style from the subjective to the objective. His best-known poem, "Archaic Torso of Apollo," was written about a sculpture by Rodin and speaks about the life-transforming properties (and demands) of great art. Rilke allegedly died the most poetic of deaths, having been pricked by a rose. He was in ill health, the wound failed to heal, and he died as a result.

Poems translated here include Herbsttag ("Autumn Day"), Der Panther ("The Panther"), Archaïscher Torso Apollos ("Archaic Torso of Apollo"), Komm, Du ("Come, You"), Das Lied des Bettlers ("The Beggar's Song"), Liebeslied ("Love Song"), and the First Elegy, also known as the First Duino Elegy.



Archaischer Torso Apollos (“Archaic Torso of Apollo”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

We cannot know the beheaded god
nor his eyes' forfeited visions. But still
the figure's trunk glows with the strange vitality
of a lamp lit from within, while his composed will
emanates dynamism. Otherwise
the firmly muscled abdomen could not beguile us,
nor the centering ***** make us smile
at the thought of their generative animus.
Otherwise the stone might seem deficient,
unworthy of the broad shoulders, of the groin
projecting procreation's triangular spearhead upwards,
unworthy of the living impulse blazing wildly within
like an inchoate star—demanding our belief.
You must change your life.

TRANSLATOR'S NOTE: This is a poem about a major resolution: changing the very nature of one's life. While it is only my personal interpretation of the poem above, I believe Rilke was saying to himself: "I must change my life." Why? Perhaps because he wanted to be a real artist, and when confronted with real, dynamic, living and breathing art of Rodin, he realized that he had to inject similar vitality, energy and muscularity into his poetry. Michelangelo said that he saw the angel in a block of marble, then freed it. Perhaps Rilke had to find the dynamic image of Apollo, the God of Poetry, in his materials, which were paper, ink and his imagination.—Michael R. Burch

Archaïscher Torso Apollos

Wir kannten nicht sein unerhörtes Haupt,
darin die Augenäpfel reiften. Aber
sein Torso glüht noch wie ein Kandelaber,
in dem sein Schauen, nur zurückgeschraubt,
sich hält und glänzt. Sonst könnte nicht der Bug
der Brust dich blenden, und im leisen Drehen
der Lenden könnte nicht ein Lächeln gehen
zu jener Mitte, die die Zeugung trug.
Sonst stünde dieser Stein entstellt und kurz
unter der Schultern durchsichtigem Sturz
und flimmerte nicht so wie Raubtierfelle
und bräche nicht aus allen seinen Rändern
aus wie ein Stern: denn da ist keine Stelle,
die dich nicht sieht. Du mußt dein Leben ändern.



Herbsttag ("Autumn Day")
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Lord, it is time. Let the immense summer go.
Lay your long shadows over the sundials
and over the meadows, let the free winds blow.
Command the late fruits to fatten and shine;
O, grant them another Mediterranean hour!
Urge them to completion, and with power
convey final sweetness to the heavy wine.
Who has no house now, never will build one.
Who's alone now, shall continue alone;
he'll wake, read, write long letters to friends,
and pace the tree-lined pathways up and down,
restlessly, as autumn leaves drift and descend.

Herbsttag

Herr: es ist Zeit. Der Sommer war sehr groß.
Leg deinen Schatten auf die Sonnenuhren,
und auf den Fluren laß die Winde los.
Befiel den letzten Früchten voll zu sein;
gib ihnen noch zwei südlichere Tage,
dränge sie zur Vollendung hin und jage
die letzte Süße in den schweren Wein.
Wer jetzt kein Haus hat, baut sich keines mehr.
Wer jetzt allein ist, wird es lange bleiben,
wird wachen, lesen, lange Briefe schreiben
und wird in den Alleen hin und her
unruhig wandern, wenn die Blätter treiben.



Du im Voraus (“You who never arrived”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

You who never arrived in my arms, my Belovéd,
lost before love began...

How can I possibly know which songs might please you?

I have given up trying to envision you
in portentous moments before the next wave impacts...
when all the vastness and immenseness within me,
all the far-off undiscovered lands and landscapes,
all the cities, towers and bridges,
all the unanticipated twists and turns in the road,
and all those terrible terrains once traversed by strange gods—
engender new meaning in me:
your meaning, my enigmatic darling...

You, who continually elude me.

You, my Belovéd,
who are every garden I ever gazed upon,
longingly, through some country manor’s open window,
so that you almost stepped out, pensively, to meet me;
who are every sidestreet I ever chanced upon,
even though you’d just traipsed tantalizingly away, and vanished,
while the disconcerted shopkeepers’ mirrors
still dizzily reflected your image, flashing you back at me,
startled by my unwarranted image!

Who knows, but perhaps the same songbird’s cry
echoed through us both,
yesterday, separate as we were, that evening?

Du im Voraus

Du im Voraus
verlorne Geliebte, Nimmergekommene,
nicht weiß ich, welche Töne dir lieb sind.
Nicht mehr versuch ich, dich, wenn das Kommende wogt,
zu erkennen. Alle die großen
Bildern in mir, im Fernen erfahrene Landschaft,
Städte und Türme und Brücken und un-
vermutete Wendung der Wege
und das Gewaltige jener von Göttern
einst durchwachsenen Länder:
steigt zur Bedeutung in mir
deiner, Entgehende, an.

Ach, die Gärten bist du,
ach, ich sah sie mit solcher
Hoffnung. Ein offenes Fenster
im Landhaus—, und du tratest beinahe
mir nachdenklich heran. Gassen fand ich,—
du warst sie gerade gegangen,
und die spiegel manchmal der Läden der Händler
waren noch schwindlich von dir und gaben erschrocken
mein zu plötzliches Bild.—Wer weiß, ob derselbe
Vogel nicht hinklang durch uns
gestern, einzeln, im Abend?



Der Panther ("The Panther")
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

His weary vision's so overwhelmed by iron bars,
his exhausted eyes see only blank Oblivion.
His world is not our world. It has no stars.
No light. Ten thousand bars. Nothing beyond.
Lithe, swinging with a rhythmic easy stride,
he circles, his small orbit tightening,
an electron losing power. Paralyzed,
soon regal Will stands stunned, an abject thing.
Only at times the pupils' curtains rise
silently, and then an image enters,
descends through arrested shoulders, plunges, centers
somewhere within his empty heart, and dies.



Komm, Du (“Come, You”)
by Ranier Maria Rilke
loose translation/interpretation by Michael R. Burch

This was Rilke’s last poem, written ten days before his death. He died open-eyed in the arms of his doctor on December 29, 1926, in the Valmont Sanatorium, of leukemia and its complications. I had a friend who died of leukemia and he was burning up with fever in the end. I believe that is what Rilke was describing here: he was literally burning alive.

Come, you—the last one I acknowledge; return—
incurable pain searing this physical mesh.
As I burned in the spirit once, so now I burn
with you; meanwhile, you consume my flesh.

This wood that long resisted your embrace
now nourishes you; I surrender to your fury
as my gentleness mutates to hellish rage—
uncaged, wild, primal, mindless, outré.

Completely free, no longer future’s pawn,
I clambered up this crazy pyre of pain,
certain I’d never return—my heart’s reserves gone—
to become death’s nameless victim, purged by flame.

Now all I ever was must be denied.
I left my memories of my past elsewhere.
That life—my former life—remains outside.
Inside, I’m lost. Nobody knows me here.

Komm, Du

Komm du, du letzter, den ich anerkenne,
heilloser Schmerz im leiblichen Geweb:
wie ich im Geiste brannte, sieh, ich brenne
in dir; das Holz hat lange widerstrebt,
der Flamme, die du loderst, zuzustimmen,
nun aber nähr’ ich dich und brenn in dir.
Mein hiesig Mildsein wird in deinem Grimmen
ein Grimm der Hölle nicht von hier.
Ganz rein, ganz planlos frei von Zukunft stieg
ich auf des Leidens wirren Scheiterhaufen,
so sicher nirgend Künftiges zu kaufen
um dieses Herz, darin der Vorrat schwieg.
Bin ich es noch, der da unkenntlich brennt?
Erinnerungen reiß ich nicht herein.
O Leben, Leben: Draußensein.
Und ich in Lohe. Niemand der mich kennt.



Liebes-Lied (“Love Song”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

How can I withhold my soul so that it doesn’t touch yours?
How can I lift mine gently to higher things, alone?
Oh, I would gladly find something lost in the dark
in that inert space that fails to resonate until you vibrate.
There everything that moves us, draws us together like a bow
enticing two taut strings to sing together with a simultaneous voice.
Whose instrument are we becoming together?
Whose, the hands that excite us?
Ah, sweet song!

Liebes-Lied

Wie soll ich meine Seele halten, daß
sie nicht an deine rührt? Wie soll ich sie
hinheben über dich zu andern Dingen?
Ach gerne möcht ich sie bei irgendwas
Verlorenem im Dunkel unterbringen
an einer fremden stillen Stelle, die
nicht weiterschwingt, wenn deine Tiefen schwingen.
Doch alles, was uns anrührt, dich und mich,
nimmt uns zusammen wie ein Bogenstrich,
der aus zwei Saiten eine Stimme zieht.
Auf welches Instrument sind wir gespannt?
Und welcher Geiger hat uns in der Hand?
O süßes Lied.



Das Lied des Bettlers (“The Beggar’s Song”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

I live outside your gates,
exposed to the rain, exposed to the sun;
sometimes I’ll cradle my right ear
in my right palm;
then when I speak my voice sounds strange,
alien ...

I'm unsure whose voice I’m hearing:
mine or yours.
I implore a trifle;
the poets cry for more.

Sometimes I cover both eyes
and my face disappears;
there it lies heavy in my hands
looking peaceful, instead,
so that no one would ever think
I have no place to lay my head.

Translator's note: I believe the last line may be a reference to a statement made by Jesus Christ in the gospels: that foxes have their dens, but he had no place to lay his head. Rilke may also have had in mind Jesus saying that what someone does "to the least of these" they would also be doing to him.

Das Lied des Bettlers

Ich gehe immer von Tor zu Tor,
verregnet und verbrannt;
auf einmal leg ich mein rechtes Ohr
in meine rechte Hand.
Dann kommt mir meine Stimme vor,
als hätt ich sie nie gekannt.

Dann weiß ich nicht sicher, wer da schreit,
ich oder irgendwer.
Ich schreie um eine Kleinigkeit.
Die Dichter schrein um mehr.

Und endlich mach ich noch mein Gesicht
mit beiden Augen zu;
wie's dann in der Hand liegt mit seinem Gewicht
sieht es fast aus wie Ruh.
Damit sie nicht meinen ich hätte nicht,
wohin ich mein Haupt tu.



This is my translation of the first of Rilke’s Duino Elegies. Rilke began the first Duino Elegy in 1912, as a guest of Princess Marie von Thurn und Taxis, at Duino Castle, near Trieste on the Adriatic Sea.

First Elegy
by Ranier Maria Rilke
loose translation/interpretation by Michael R. Burch

Who, if I objected, would hear me among the angelic orders?
For if the least One pressed me intimately against its breast,
I would be lost in its infinite Immensity!
Because beauty, which we mortals can barely endure, is the beginning of terror;
we stand awed when it benignly declines to annihilate us.
Every Angel is terrifying!

And so I restrain myself, swallowing the sound of my pitiful sobbing.
For whom may we turn to, in our desire?
Not to Angels, nor to men, and already the sentient animals are aware
that we are all aliens in this metaphorical existence.
Perhaps some tree still stands on a hillside, which we can study with our ordinary vision.
Perhaps the commonplace street still remains amid man’s fealty to materiality—
the concrete items that never destabilize.
Oh, and of course there is the night: her dark currents caress our faces ...

But whom, then, do we live for?
That longed-for but mildly disappointing presence the lonely heart so desperately desires?
Is life any less difficult for lovers?
They only use each other to avoid their appointed fates!
How can you fail to comprehend?
Fling your arms’ emptiness into this space we occupy and inhale:
may birds fill the expanded air with more intimate flying!

Yes, the springtime still requires you.
Perpetually a star waits for you to recognize it.
A wave recedes toward you from the distant past,
or as you walk beneath an open window, a violin yields virginally to your ears.
All this was preordained. But how can you incorporate it? ...
Weren't you always distracted by expectations, as if every event presaged some new beloved?
(Where can you harbor, when all these enormous strange thoughts surging within you keep
you up all night, restlessly rising and falling?)

When you are full of yearning, sing of loving women, because their passions are finite;
sing of forsaken women (and how you almost envy them)
because they could love you more purely than the ones you left gratified.

Resume the unattainable exaltation; remember: the hero survives;
even his demise was merely a stepping stone toward his latest rebirth.

But spent and exhausted Nature withdraws lovers back into herself,
as if lacking the energy to recreate them.
Have you remembered Gaspara Stampa with sufficient focus—
how any abandoned girl might be inspired by her fierce example
and might ask herself, "How can I be like her?"

Shouldn't these ancient sufferings become fruitful for us?
Shouldn’t we free ourselves from the beloved,
quivering, as the arrow endures the bowstring's tension,
so that in the snap of release it soars beyond itself?
For there is nowhere else where we can remain.

Voices! Voices!

Listen, heart, as levitating saints once listened,
until the elevating call soared them heavenward;
and yet they continued kneeling, unaware, so complete was their concentration.

Not that you could endure God's voice—far from it!

But heed the wind’s voice and the ceaseless formless message of silence:
It murmurs now of the martyred young.

Whenever you attended a church in Naples or Rome,
didn't they come quietly to address you?
And didn’t an exalted inscription impress its mission upon you
recently, on the plaque in Santa Maria Formosa?
What they require of me is that I gently remove any appearance of injustice—
which at times slightly hinders their souls from advancing.

Of course, it is endlessly strange to no longer inhabit the earth;
to relinquish customs one barely had the time to acquire;
not to see in roses and other tokens a hopeful human future;
no longer to be oneself, cradled in infinitely caring hands;
to set aside even one's own name,
forgotten as easily as a child’s broken plaything.

How strange to no longer desire one's desires!
How strange to see meanings no longer cohere, drifting off into space.
Dying is difficult and requires retrieval before one can gradually decipher eternity.

The living all err in believing the too-sharp distinctions they create themselves.

Angels (men say) don't know whether they move among the living or the dead.
The eternal current merges all ages in its maelstrom
until the voices of both realms are drowned out in its thunderous roar.

In the end, the early-departed no longer need us:
they are weaned gently from earth's agonies and ecstasies,
as children outgrow their mothers’ *******.

But we, who need such immense mysteries,
and for whom grief is so often the source of our spirit's progress—
how can we exist without them?

Is the legend of the lament for Linos meaningless—
the daring first notes of the song pierce our apathy;
then, in the interlude, when the youth, lovely as a god, has suddenly departed forever,
we experience the emptiness of the Void for the first time—
that harmony which now enraptures and comforts and aids us?



Second Elegy
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Every angel is terrifying. And yet, alas, I invoke you,
one of the soul’s lethal raptors, well aware of your nature.
As in the days of Tobias, when one of you, obscuring his radiance,
stood at the simple threshold, appearing ordinary rather than appalling
while the curious youth peered through the window.
But if the Archangel emerged today, perilous, from beyond the stars
and took even one step toward us, our hammering hearts
would pound us to death. What are you?

Who are you? Joyous from the beginning;
God’s early successes; Creation’s favorites;
creatures of the heights; pollen of the flowering godhead; cusps of pure light;
stately corridors; rising stairways; exalted thrones;
filling space with your pure essence; crests of rapture;
shields of ecstasy; storms of tumultuous emotions whipped into whirlwinds ...
until one, acting alone, recreates itself by mirroring the beauty of its own countenance.

While we, when deeply moved, evaporate;
we exhale ourselves and fade away, growing faint like smoldering embers;
we drift away like the scent of smoke.
And while someone might say: “You’re in my blood! You occupy this room!
You fill this entire springtime!” ... Still, what becomes of us?
We cannot be contained; we vanish whether inside or out.
And even the loveliest, who can retain them?

Resemblance ceaselessly rises, then is gone, like dew from dawn’s grasses.
And what is ours drifts away, like warmth from a steaming dish.
O smile, where are you bound?
O heavenward glance: are you a receding heat wave, a ripple of the heart?
Alas, but is this not what we are?
Does the cosmos we dissolve into savor us?
Do the angels reabsorb only the radiance they emitted themselves,
or sometimes, perhaps by oversight, traces of our being as well?
Are we included in their features, as obscure as the vague looks on the faces of pregnant women?
Do they notice us at all (how could they) as they reform themselves?

Lovers, if they only knew how, might mutter marvelous curses into the night air.
For it seems everything eludes us.
See: the trees really do exist; our houses stand solid and firm.
And yet we drift away, like weightless sighs.
And all creation conspires to remain silent about us: perhaps from shame, perhaps some inexpressible hope?

Lovers, gratified by each other, I ask to you consider:
You cling to each other, but where is your proof of a connection?
Sometimes my hands become aware of each other
and my time-worn, exhausted face takes shelter in them,
creating a slight sensation.
But because of that, can I still claim to be?

You, the ones who writhe with each other’s passions
until, overwhelmed, someone begs: “No more!...”;
You who swell beneath each other’s hands like autumn grapes;
You, the one who dwindles as the other increases:
I ask you to consider ...
I know you touch each other so ardently because each caress preserves pure continuance,
like the promise of eternity, because the flesh touched does not disappear.
And yet, when you have survived the terror of initial intimacy,
the first lonely vigil at the window, the first walk together through the blossoming garden:
lovers, do you not still remain who you were before?
If you lift your lips to each other’s and unite, potion to potion,
still how strangely each drinker eludes the magic.

Weren’t you confounded by the cautious human gestures on Attic gravestones?
Weren’t love and farewell laid so lightly on shoulders they seemed composed of some ethereal substance unknown to us today?
Consider those hands, how weightlessly they rested, despite the powerful torsos.
The ancient masters knew: “We can only go so far, in touching each other. The gods can exert more force. But that is their affair.”
If only we, too, could discover such a pure, contained Eden for humanity,
our own fruitful strip of soil between river and rock.
For our hearts have always exceeded us, as our ancestors’ did.
And we can no longer trust our own eyes, when gazing at godlike bodies, our hearts find a greater repose.



Johann Wolfgang von Goethe

Excerpt from “To the Moon”
by Johann Wolfgang von Goethe
loose translations/interpretation by Michael R. Burch

Scattered, pole to starry pole,
glide Cynthia's mild beams,
whispering to the receptive soul
whatever moonbeams mean.

Bathing valley, hill and dale
with her softening light,
loosening from earth’s frigid chains
my restless heart tonight!

Over the landscape, near and far,
broods darkly glowering night;
yet welcoming as Friendship’s eye,
she, soft!, bequeaths her light.

Touched in turn by joy and pain,
my startled heart responds,
then floats, as Whimsy paints each scene,
to soar with her, beyond...

I mean Whimsy in the sense of both the Romantic Imagination and caprice. Here, I have the idea of Peter Pan flying off with Tinker Bell to Neverland.

My translation was informed by a translation by John S. Dwight.



Der Erlkönig (“The Elf King”)
by Johann Wolfgang von Goethe
loose translations/interpretation by Michael R. Burch

Who rides tonight with the wind so wild?
A loving father, holding his child.
Please say the boy’s safe from all evil and harm!
He rests secure in his dear father’s arms.

My son, my son, what’s that look on your face?
Father, he’s there, in that dark, scary place!
The elfin king! With his dagger and crown!
Son, it’s only the mist, there’s no need to frown.

My dear little boy, you must come play with me!
Such marvelous games! We’ll play and be free!
Many bright flowers we'll gather together!
Son, why are you wincing? It’s only the weather.

Father, O father, how could you not hear
What the elfin king said to me, drawing so near?
Be quiet, my son, and pay “him” no heed:
It was only the wind gusts stirring the trees.

Come with me now, you're a fine little lad!
My daughters will kiss you, then you’ll be glad!
My daughters will teach you to dance and to sing!
They’ll call you a prince and give you a ring!

Father, please look, in the gloom, don’t you see
The dark elfin daughters keep beckoning me?
My son, all I can see and all I can say
Is the wind makes the grey willows sway.

Why stay with your father? He’s deaf, blind and dumb!
If you’re unwilling I’ll force you to come!
Father, he’s got me and won’t let me go!
The cruel elfin king is hurting me so!

At last struck with horror his father looks down:
His gasping son’s holding a strange golden crown!
Then homeward through darkness, all the faster he sped,
But cold in his arms, his dear child lay dead.



The Fisher
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

The river swirled and rippled;
nearby an angler lay,
and watched his lure with a careless eye,
like any other day.
But as he watched in a strange half-dream,
he saw the waters part,
and from the river’s depths emerged
a maiden, or a ****.

A Lorelei, she sang to him
her strange, bewitching song:
“Which of my sisters would you snare,
with your human hands, so strong?
To make us die in scorching air,
ripped from our land, so clear!
Why not leave your arid land
And rest forever here?”

“The sun and lady-moon, they lave
their tresses in the main,
and find such cleansing in each wave,
they return twice bright again.
These deep-blue waters, fresh and clear,
O, feel their strong allure!
Wouldn’t you rather sink and drown
into our land, so pure?”

The water swirled and bubbled up;
it lapped his naked feet;
he imagined that he felt the touch
of the siren’s kisses sweet.
She sang to him of mysteries
in her soft, resistless strain,
till he sank into the water
and never was seen again.

My translation was informed by a translation by William Edmondstoune Aytoun and Theodore Martin.



Kennst du das Land (“Do You Know the Land”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

Do you know of the land where the bright lemons bloom?
Where the orange glows gold in the occult gloom?
Where the gentlest winds fan the palest blue skies?
Where the myrtles and laurels elegantly rise?



Excerpt from “Hassan Aga”
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

What whiteness shimmers, distant on the lea?
Could it be snow? Or is it swans we see?
Snow? Melted with a recent balmy day.
Swans? All departed, long since flown away.
Neither snow, nor swans! What can it be?
The tent of Hassan Aga, shining!
There the wounded warrior lies, repining.
His mother and sisters to his side have come,
But his shame-faced wife weeps for herself, at home.



Excerpt from “The Song of the Spirits over the Waters”
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

Wind is water's
amorous pursuer:
the Wind, upswept,
heaves waves from their depths.
And you, mortal soul,
how you resemble water!
And a mortal’s Fate,
how alike the wind!

My translation was informed by a translation by John S. Dwight.



Excerpt from “One and All”
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

How the solitary soul yearns
to merge into the Infinite
and find itself once more at peace.
Rid of blind desire & the impatient will,
our restless thoughts and plans are stilled.
We yield our Selves, then awake in bliss.

My translation was informed by a translation by John S. Dwight.



Prometheus
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

obscure Your heavens, Zeus, with a nebulous haze!
and, like boys beheading thistles, decapitate oaks and alps.

yet leave me the earth with its rude dwellings
and my hut You didn’t build.
also my hearth, whose cheerful glow You envy.

i know nothing more pitiful under the sun than these vampiric godlings!
undernourished with insufficient sacrifices and airy prayers!

my poor Majesty, if not for a few fools' hopes,
those of children and beggars,
You would starve!

when i was a child, i didn't know up from down,
and my eye strayed erratically toward the sun strobing high above,
as if the heavens had ears to hear my lamentations,
and a heart like mine, to feel pity for the oppressed.

who assisted me when i stood alone against the Titans' insolence?
who saved me from slavery, or, otherwise, from death?
didn’t you handle everything yourself, my radiant heart?
how you shone then, so innocent and holy,
even though deceived and expressing thanks to a listless Entity above.

revere you, zeus? for what?
when did u ever ease my afflictions, or those of the oppressed?
when did u ever stanch the tears of the anguished, the fears of the frightened?
didn’t omnipotent Time and eternal Fate forge my manhood?

my masters and urs likewise?

u were deluded if u thought I would hate life
or flee into faraway deserts,
just because so few of my boyish dreams blossomed.

now here I sit, fashioning Humans in My own Image,
creating a Race like Myself,
who, for all Their suffering and weeping,
for all Their happiness and rejoicing,
in the end shall pay u no heed,
like Me!



Nähe des Geliebten (“Near His Beloved”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

I think of you when the sun
shines softly on me;
also when the moon
silvers each tree.

I see you in the spirit
the shimmering dust resembles;
also at the stroke of twelve
when the night watchman trembles.

I hear you in the sighing
of the restless, surging seas;
also in the quiet groves
when everything’s at peace.

I am with you, though so far!
Yet I know you’re always near.
Oh what I'd yield, as sun to star,
to have you here!

Ich denke dein, wenn mir der Sonne Schimmer
Vom Meere strahlt;
Ich denke dein, wenn sich des Mondes Flimmer
In Quellen malt.

Ich sehe dich, wenn auf dem fernen Wege
Der Staub sich hebt;
In tiefer Nacht, wenn auf dem schmalen Stege
Der Wandrer bebt.

Ich höre dich, wenn dort mit dumpfem Rauschen
Die Welle steigt.
Im stillen Haine geh ich oft zu lauschen,
Wenn alles schweigt.

Ich bin bei dir, du seist auch noch so ferne.
Du bist mir nah!
Die Sonne sinkt, bald leuchten mir die Sterne.
O wärst du da!



Gefunden (“Found”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

Into the woodlands,
alone, I went.
Seeking nothing,
my sole intent.

But I saw a flower
deep in the shade
gleaming like starlight
in a still glade.

I reached down to pluck it
when it shyly asked:
“Why would you snap me
so cruelly in half?”

So I dug up the flower,
by the roots and all,
then planted it gently
by the garden wall.

Now in a dark corner
where I planted the flower,
it blooms just as brightly
to this very hour.

Ich ging im Walde
So für mich hin,
Und nichts zu suchen,
Das war mein Sinn.

Im Schatten sah ich
Ein Blümchen stehn,
Wie Sterne leuchtend
Wie Äuglein schön.

Ich wollt es brechen,
Da sagt' es fein:
Soll ich zum Welken,
Gebrochen sein?

Ich grubs mit allen
Den Würzeln aus,
Zum Garten trug ichs
Am hübschen Haus.

Und pflanzt es wieder
Am stillen Ort;
Nun zweigt es immer
Und blüht so fort.



Wandrers Nachtlied (“Wanderer’s Night Song”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

1.
From the hilltops
comes peace;
through the treetops
scarcely the wind breathes.
Do you feel the lassitude touch you?
The little birds grow silent in the forest.
Wait, soon you’ll rest too.

2.
From the distant hilltops
comes peaceful repose;
through the swaying treetops
a calming wind blows.
Do you feel the lassitude touch you?
The birds grow silent in the forest.
Wait, soon you’ll rest too.

Über allen Gipfeln
ist Ruh’
in allen Wipfeln
spürest du
kaum einen Hauch.
Die Vögelein schweigen im Walde.
Warte, nur balde
ruhest du auch.



Wandrers Nachtlied (“Wanderer’s Night Song”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

1.
You who descend from heaven,
calming all suffering and pain,
the one who doubly refreshes
those who are doubly disconsolate;
I’m so weary of useless contention!
Why all this pain and lust?
Sweet peace descending,
Come, oh, come into my breast!

2.
You who descend from heaven,
calming all suffering and pain,
the one who doubly refreshes
those who are doubly disconsolate;
I’m so **** tired of this muddle!
What’s the point of all this pain and lust?
Sweet peace,
Come, oh, come into my breast!

Der du von dem Himmel bist,
Alles Leid und Schmerzen stillest,
Den, der doppelt elend ist,
Doppelt mit Erquickung füllest,
Ach, ich bin des Treibens müde!
Was soll all der Schmerz und Lust?
Süßer Friede,
Komm, ach komm in meine Brust!



ON LOOKING AT SCHILLER’S SKULL
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

Here in this charnel-house full of bleaching bones,
like yesteryear’s
fading souvenirs,
I see the skulls arranged in strange ordered rows.

Who knows whose owners might have beheaded peers,
packed tightly here
despite once repellent hate?
Here weaponless, they stand, in this gentled state.

These arms and hands, they once were so delicate!
How articulately
they moved! Ah me!
What athletes once paced about on these padded feet?

Still there’s no hope of rest for you, lost souls!
Deprived of graves,
forced here like slaves
to occupy this overworld, unlamented ghouls!

Now who’s to know who loved one orb here detained?
Except for me;
reader, hear my plea:
I know the grandeur of the mind it contained!

Yes, and I know the impulse true love would stir
here, where I stand
in this alien land
surrounded by these husks, like a treasurer!

Even in this cold,
in this dust and mould
I am startled by a strange, ancient reverie, ...
as if this shrine to death could quicken me!

One shape out of the past keeps calling me
with its mystery!
Still retaining its former angelic grace!
And at that ecstatic sight, I am back at sea ...

Swept by that current to where immortals race.
O secret vessel, you
gave Life its truth.
It falls on me now to recall your expressive face.

I turn away, abashed here by what I see:
this mould was worth
more than all the earth.
Let me breathe fresh air and let my wild thoughts run free!

What is there better in this dark Life than he
who gives us a sense of man’s divinity,
of his place in the universe?
A man who’s both flesh and spirit—living verse!



To The Muse
by Friedrich Schiller
loose translation/interpretation by Michael R. Burch

I do not know what I would be,
without you, gentle Muse!,
but I’m sick at heart to see
those who disabuse.



GOETHE & SCHILLER XENIA EPIGRAMS

She says an epigram’s too terse
to reveal her tender heart in verse …
but really, darling, ain’t the thrill
of a kiss much shorter still?
―#2 from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

There are more translations of the Xenia epigrams of Goethe and Schiller later on this page.



Through the fields of solitude
by Hermann Allmers
set to music by Johannes Brahms
translation by David B. Gosselin with Michael R. Burch

Peacefully, I rest in the tall green grass
For a long time only gazing as I lie,
Caught in the endless hymn of crickets,
And encircled by a wonderful blue sky.

And the lovely white clouds floating across
The depths of the heavens are like silky lace;
I feel as though my soul has long since fled,
Softly drifting with them through eternal space.

This poem was set to music by the German composer Johannes Brahms in what has been called its “the most sublime incarnation.” A celebrated recording of the song was made in 1958 by the baritone Dietrich Fischer-Dieskau with Jörg Demus accompanying him on the piano.



Hannah Arendt was a Jewish-German philosopher and Holocaust survivor who also wrote poetry.

H.B.
for Hermann Broch
by Hannah Arendt
loose translation/interpretation by Michael R. Burch

Survival.
But how does one live without the dead?
Where is the sound of their lost company?
Where now, their companionable embraces?
We wish they were still with us.

We are left with the cry that ripped them away from us.
Left with the veil that shrouds their empty gazes.
What avails? That we commit ourselves to their memories,
and through this commitment, learn to survive.

I Love the Earth
by Hannah Arendt
loose translation/interpretation by Michael R. Burch

I love the earth
like a trip
to a foreign land
and not otherwise.
Even so life spins me
on its loom softly
into never-before-seen patterns.
Until suddenly
like the last farewells of a new journey,
the great silence breaks the frame.



Bertolt Brecht fled **** Germany along with Albert Einstein, Thomas Mann and many other German intellectuals. So he was writing from bitter real-life experience.

The Burning of the Books
by Bertolt Brecht, a German poet
loose translation/interpretation by Michael R. Burch

When the Regime
commanded the unlawful books to be burned,
teams of dull oxen hauled huge cartloads to the bonfires.

Then a banished writer, one of the best,
scanning the list of excommunicated texts,
became enraged — he'd been excluded!

He rushed to his desk, full of contemptuous wrath,
to write fiery letters to the incompetents in power —
Burn me! he wrote with his blazing pen —
Haven't I always reported the truth?
Now here you are, treating me like a liar!
Burn me!

Parting
by Bertolt Brecht
loose translation/interpretation by Michael R. Burch

We embrace;
my fingers trace
rich cloth
while yours encounter only moth-
eaten fabric.
A quick hug:
you were invited to the gay soiree
while the minions of the "law" relentlessly pursue me.
We talk about the weather
and our eternal friendship's magic.
Anything else would be too bitter,
too tragic.

The Mask of Evil
by Bertolt Brecht
loose translation/interpretation by Michael R. Burch

A Japanese carving hangs on my wall —
the mask of an ancient demon, limned with golden lacquer.
Not altogether unsympathetically, I observe
the bulging veins of its forehead, noting
the grotesque effort it takes to be evil.

Radio Poem
by Bertolt Brecht
loose translation/interpretation by Michael R. Burch

You, little box, held tightly
to me,
escaping,
so that your delicate tubes do not break;
carried from house to house, from ship to train,
so that my enemies may continue communicating with me
on land and at sea
and even in my bed, to my pain;
the last thing I hear at night, the first when I awake,
recounting their many conquests and my litany of cares,
promise me not to go silent all of a sudden,
unawares.



These are three English translations of Holocaust poems written in German by the Jewish poet Paul Celan. The first poem, "Todesfuge" in the original German, is one of the most famous Holocaust poems, with its haunting refrain of a German "master of death" killing Jews by day and writing "Your golden hair Margarete" by starlight. The poem demonstrates how terrible things can become when one human being is granted absolute power over other human beings. Paul Celan was the pseudonym of Paul Antschel. (Celan is an anagram of Ancel, the Romanian form of his surname.) Celan was born in Czernovitz, Romania in 1920. The son of German-speaking Jews, Celan spoke German, Romanian, Russian, French and understood Yiddish. During the Holocaust, his parents were deported and eventually died in **** labor camps; Celan spent eighteen months in a **** concentration camp before escaping.

Todesfuge ("Death Fugue")
by Paul Celan
loose translation/interpretation by Michael R. Burch

Black milk of daybreak, we drink it come morning;
we drink it come midday; we drink it, come night;
we drink it and drink it.
We are digging a grave like a hole in the sky; there's sufficient room to lie there.
The man of the house plays with vipers; he writes
in the Teutonic darkness, "Your golden hair Margarete …"
He writes poems by the stars, whistles hounds to stand by,
whistles Jews to dig graves, where together they'll lie.
He commands us to strike up bright tunes for the dance!

Black milk of daybreak, we drink you each morning;
we drink you at midday; we drink you at night;
we drink you and drink you.
The man of the house plays with serpents, he writes …
he writes when the night falls, "Your golden hair Margarete …
Your ashen hair Shulamith …"
We are digging dark graves where there's more room, on high.
His screams, "You dig there!" and "Hey you, dance and sing!"
He grabs his black nightstick, his eyes pallid blue,
cries, "Hey you, dig more deeply! You others, keep dancing!"

Black milk of daybreak, we drink you each morning;
we drink you at midday, we drink you at night;
we drink you and drink you.
The man of the house writes, "Your golden hair Margarete …
Your ashen hair Shulamith." He toys with our lives.
He screams, "Play for me! Death's a master of Germany!"
His screams, "Stroke dark strings, soon like black smoke you'll rise
to a grave in the clouds; there's sufficient room for Jews there!"

Black milk of daybreak, we drink you at midnight;
we drink you at noon; Death's the master of Germany!
We drink you come evening; we drink you and drink you …
a master of Deutschland, with eyes deathly blue.
With bullets of lead our pale master will ****** you!
He writes when the night falls, "Your golden hair Margarete …"
He unleashes his hounds, grants us graves in the skies.
He plays with his serpents; he's a master of Germany …

your golden hair Margarete …
your ashen hair Shulamith.

O, Little Root of a Dream
by Paul Celan
loose translation/interpretation by Michael R. Burch

O, little root of a dream
you enmire me here;
I'm undermined by blood —
no longer seen,
enslaved by death.

Touch the curve of my face,
that there may yet be an earthly language of ardor,
that someone else's eyes
may see yet see me,
though I'm blind,
here where you
deny me voice.

You Were My Death
by Paul Celan
loose translation/interpretation by Michael R. Burch

You were my death;
I could hold you
when everything abandoned me —
even breath.



“To Young”
for Edward Young, the poet who wrote “Night Thoughts”
by Friedrich Gottlieb Klopstock (1724–1803)
loose translation/interpretation by Michael R. Burch

Die, aged prophet: your crowning work your fulcrum;
now tears of joy
tremble on angel-lids
as heaven extends its welcome.

Why linger here? Have you not already built, great Mover,
a monument beyond the clouds?
Now over your night-thoughts, too,
the pallid free-thinkers hover,

feeling there's prophecy amid your song
as it warns of the dead-awakening trump,
of the coming final doom,
and heaven’s eternal wisdom.

Die: you have taught me Death’s dread name, elide,
bears notes of joy to the ears of the just!
Yet remain my teacher still,
become my genius and guide.

My translation was informed by a translation by William Taylor.



Excerpts from “The Choirs”
by Friedrich Gottlieb Klopstock (1724–1803)
loose translation/interpretation by Michael R. Burch

Dear Dream, which I must never behold fulfilled,
pale diaphanous Mist, yet brighter than orient day!,
float back to me, and hover yet again
before my swimming sight!

Do they wear crowns in vain, those who forbear
to recognize your heavenly portraiture?
Must they be encased in marble, one and all,
ere the transfiguration be wrought?

Yes! For would the grave allow, I’d always sing
with inspiration stringing the lyre,—
amid your Vision’s tidal joy,
my pledge for loftier verse.

Great is your power, my Desire! Few have ever known
how it feels to melt in bliss; fewer still have ever felt
devotion’s raptures rise
on sacred Music’s wing!

Few have trembled with joy as adoring choirs
mingled their hallowed songs of heartfelt praise
(punctuated by each awe-full pause)
with unseen choirs above!

On each arched eyelash, on each burning cheek,
the fledgling tear quivers; for they imagine the goal,—
each shimmering golden crown
where angels wave their palms.

Deep, strong, the song seizes swelling hearts,
never scorning the tears it imbues,
whether shrouding souls in gloom
or steeping them in holy awe.

Borne on the deep, slow sounds, now holy awe
descends. Myriad voices sweep the assembly,
blending their choral force,—
their theme, Impending Doom!

Joy, Joy! They can scarcely bear it!
The *****’s thunder roundly rolls,—
louder and louder, to the congregations’ cries,
till the temple also trembles.

Enough! I sink! The wave of worshipers bows
before the altar,—bows low to the earth;
they taste the communal cup,
then drink devoutly, deeply, still.

One day, when my bones rest beside this church
as the assembled worshipers sing their songs of praise,
the conscious grave shall acknowledge their vision
with heaves of sweet flowerets in bloom.

And on that morning, ringing through the rocks,
as hymns are sung in praise, O, joyous tune!,
I’ll hear—“He rose again!”
Vibrating through my tomb.

My translation was informed by a translation by William Taylor.



A Lonely Cot
by Johann Wilhelm Ludwig Gleim (1719-1803)
loose translation/interpretation by Michael R. Burch

A lonely cot is all I own:
it stands on grass that’s never mown
beside a brook (it’s passing small),
near where bright frothing fountains fall.

Here a spreading beech lifts up its head
and half conceals my humble shed:
from winter winds my sole retreat
and refuge from the summer’s heat.

In the beech’s boughs the nightingale
sweetly sings her plaintive tale:
so sweetly, passing rustics stray
with loitering steps to catch her lay!

Sweet blue-eyed maid with hair so fair,
my heart's desire! my fondest care!
I hurry home—How late the hour!
Come share, sweet maid, my sheltering bower!



Excerpts from “Song”
by Johann Georg Jacobi
loose translation/interpretation by Michael R. Burch

Friend, tell me where the violet fled,
so lately gaily blowing?
That once perfumed fair Flora’s tread,
its choicest scents bestowing?
Swain, give up verse and hang your head:
the violet lies dead!

Friend, what became of the blushing rose,
the pride of the blossoming morning?
The garland every groom bestows
upon his blushing darling?
Swain, give up verse and hang your head:
the rose lies dead!

And say, what of the village maid,
so late my cot adorning?
The one I assayed in our secret glade,
as pale and fair as the morning?
Swain, give up verse and hang your head:
the erstwhile maid lies dead!

Friend, what became of the gentle swain
who sang, in rural measures,
of the lovely violet, blushing rose,
and girls like exotic treasures?
Maid, close his book and hang your head:
the swain lies dead!



Dunkles zu sagen (“Expressing the Dark”)
by Ingeborg Bachmann, an Austrian poet
loose translation/interpretation by Michael R. Burch

I strum the strings of life and death
like Orpheus
and in the beauty of the earth
and in your eyes that instruct the sky,
I find only dark things to say.

Untitled

The dark shadow
I followed from the beginning
led me into the deep barrenness of winter.
—Ingeborg Bachmann, loose translation/interpretation by Michael R. Burch



Johann Wolfgang von Goethe and Friedrich Schiller

#2 - Love Poetry

She says an epigram’s too terse
to reveal her tender heart in verse ...
but really, darling, ain’t the thrill
of a kiss much shorter still?
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#5 - Criticism

Why don’t I openly criticize the man? Because he’s a friend;
thus I reproach him in silence, as I do my own heart.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#11 - Holiness

What is holiest? This heart-felt love
binding spirits together, now and forever.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#12 - Love versus Desire

You love what you have, and desire what you lack
because a rich nature expands, while a poor one contracts.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#19 - Nymph and Satyr

As shy as the trembling doe your horn frightens from the woods,
she flees the huntsman, fainting, uncertain of love.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#20 - Desire

What stirs the ******’s heaving ******* to sighs?
What causes your bold gaze to brim with tears?
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#23 - The Apex I

Everywhere women yield to men, but only at the apex
do the manliest men surrender to femininity.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#24 - The Apex II

What do we mean by the highest? The crystalline clarity of triumph
as it shines from the brow of a woman, from the brow of a goddess.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#25 -Human Life

Young sailors brave the sea beneath ten thousand sails
while old men drift ashore on any bark that avails.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#35 - Dead Ahead

What’s the hardest thing of all to do?
To see clearly with your own eyes what’s ahead of you.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#36 - Unexpected Consequence

Friends, before you utter the deepest, starkest truth, please pause,
because straight away people will blame you for its cause.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#41 - Earth vs. Heaven

By doing good, you nurture humanity;
but by creating beauty, you scatter the seeds of divinity.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch



Unholy Trinity
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Man has three enemies:
himself, the world, and the devil.
Of these the first is, by far,
the most irresistible evil.

True Wealth
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

There is more to being rich
than merely having;
the wealthiest man can lose
everything not worth saving.

The Rose
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

The rose merely blossoms
and never asks why:
heedless of her beauty,
careless of every eye.

The Rose
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

The rose lack "reasons"
and merely sways with the seasons;
she has no ego
but whoever put on such a show?

Eternal Time
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Eternity is time,
time eternity,
except when we
are determined to "see."

Visions
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Our souls possess two eyes:
one examines time,
the other visions
eternal and sublime.

Godless
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

God is absolute Nothingness
beyond our sense of time and place;
the more we try to grasp Him,
The more He flees from our embrace.

The Source
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Water is pure and clean
when taken at the well-head:
but drink too far from the Source
and you may well end up dead.

Ceaseless Peace
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Unceasingly you seek
life's ceaseless wavelike motion;
I seek perpetual peace, all storms calmed.
Whose is the wiser notion?

Well Written
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Friend, cease!
Abandon all pretense!
You must yourself become
the Writing and the Sense.

Worm Food
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

No worm is buried
so deep within the soil
that God denies it food
as reward for its toil.

Mature Love
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

New love, like a sparkling wine, soon fizzes.
Mature love, calm and serene, abides.

God's Predicament
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

God cannot condemn those with whom he would dwell,
or He would have to join them in hell!

Clods
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

A ruby
is not lovelier
than a dirt clod,
nor an angel
more glorious
than a frog.



Günter Grass

Günter Wilhelm Grass (1927-) is a German-Kashubian novelist, poet, playwright, illustrator, graphic artist, sculptor and recipient of the 1999 Nobel Prize in Literature. He is widely regarded as Germany's most famous living writer. Grass is best known for his first novel, The Tin Drum (1959), a key text in European magic realism. The Tin Drum was adapted into a film that won both the Palme d'Or and the Academy Award for Best Foreign Language Film. The Swedish Academy, upon awarding Grass the Nobel Prize in Literature, noted him as a writer "whose frolicsome black fables portray the forgotten face of history."

“Was gesagt werden muss” (“What must be said”)
by Günter Grass
loose translation/interpretation by Michael R. Burch

Why have I remained silent, so long,
failing to mention something openly practiced
in war games which now threaten to leave us
merely meaningless footnotes?

Someone’s alleged “right” to strike first
might annihilate a beleaguered nation
whose people march to a martinet’s tune,
compelled to pageants of orchestrated obedience.
Why? Merely because of the suspicion
that a bomb might be built by Iranians.

But why do I hesitate, forbidding myself
to name that other nation, where, for years
—shrouded in secrecy—
a formidable nuclear capability has existed
beyond all control, simply because
no inspections were ever allowed?

The universal concealment of this fact
abetted by my own incriminating silence
now feels like a heavy, enforced lie,
an oppressive inhibition, a vice,
a strong constraint, which, if dismissed,
immediately incurs the verdict “anti-Semitism.”

But now my own country,
guilty of its unprecedented crimes
which continually demand remembrance,
once again seeking financial gain
(although with glib lips we call it “reparations”)
has delivered yet another submarine to Israel—
this one designed to deliver annihilating warheads
capable of exterminating all life
where the existence of even a single nuclear weapon remains unproven,
but where suspicion now serves as a substitute for evidence.
So now I will say what must be said.

Why did I remain silent so long?
Because I thought my origins,
tarred by an ineradicable stain,
forbade me to declare the truth to Israel,
a country to which I am and will always remain attached.

Why is it only now that I say,
in my advancing age,
and with my last drop of ink
on the final page
that Israel’s nuclear weapons endanger
an already fragile world peace?

Because tomorrow might be too late,
and so the truth must be heard today.
And because we Germans,
already burdened with many weighty crimes,
could become enablers of yet another,
one easily foreseen,
and thus no excuse could ever erase our complicity.

Furthermore, I’ve broken my silence
because I’m sick of the West’s hypocrisy
and because I hope many others too
will free themselves from the shackles of silence,
and speak out to renounce violence
by insisting on permanent supervision
of Israel’s atomic power and Iran’s
by an international agency
accepted by both governments.

Only thus can we find the path to peace
for Israelis and Palestinians and everyone else
living in a region currently consumed by madness
—and ultimately, for ourselves.

Published in Süddeutschen Zeitung (April 4, 2012)



“Totentanz”
by H. Distler
loose translation/ interpretation by Michael R. Burch

Erster Spruch:
Lass alles, was du hast, auf dass du alles nehmst!
Verschmäh die Welt, dass du sie tausendfach bekömmst!
Im Himmel ist der Tag, im Abgrund ist die Nacht.
Hier ist die Dämmerung: Wohl dem, der's recht betracht!

First Aphorism:
Leave everything, that you may take all!
Scorn the world, that you may receive it a thousandfold!
In the heavens it is day, in the abyss it is night.
Here it is twilight: Blessed is the one who comprehends!

First Aphorism:
Leave everything, that you may take all!
Scorn the world, seize it like a great ball!
In the heavens it is day, in the abyss, night.
Understand if you can: Here it is twilight!

Der Tod: Zum Tanz, zum Tanze reiht euch ein:
Kaiser, Bischof, Bürger, Bauer,
arm und ***** und gross und klein,
heran zu mir! Hilft keine Trauer.
Wohl dem, der rechter Zeit bedacht,
viel gute Werk vor sich zu bringen,
der seiner Sünd sich losgemacht -
Heut heisst's: Nach meiner Pfeife springen!

Death: To the dance, to the dance, take your places:
emperor, bishop, townsman, farmer,
poor and rich, big and small,
come to me! Grief helps nothing.
Blessed is the one who deems the time right
to do many good deeds,
to rid himself of his sins –
Today you must dance to my tune!

Zweiter Spruch:
Mensch, die Figur der Welt vergehet mit der Zeit.
Was trotz'st du dann so viel auf ihre Herrlichkeit?

Second Aphorism:
Man, the world’s figure decays with time.
Why do you go on so much about her glory?

Der Kaiser: O Tod, dein jäh Erscheinen
friert mir das Mark in den Gebeinen.
Mussten Könige, Fürsten, Herren
sich vor mir neigen und mich ehren,
dass ich nun soll ohn Gnade werden
gleichwie du, Tod, ein Schleim der Erden?
Der ich den Menschen Haupt und Schirmer -
du machst aus mir ein Speis' der Würmer.

Emperor:
Oh Death, your sudden appearance
freezes the marrow in my bones.
Did kings, princes and gentlemen
bow down before me and honor me,
that I should I become, without mercy,
just like you, Death, slime of the earth?
I was my people’s leader and protector –
you made me a meal for worms.

Der Tod: Herr Kaiser, warst du der Höchste hier,
voran sollst du tanzen neben mir.
Dein war das Schwert der Gerechtigkeit,
zu schlichten den Streit, zu lindern das Leid;
doch Ruhm- und Ehrsucht machten dich blind,
sahst nicht dein eigen grosse Sünd.
Drum fällt dir mein Ruf so schwer in den Sinn. -
Halt an, Bischof, den Tanz beginn!

Death:
Emperor, you were the highest here,
thus you shall dance next to me.
Yours was the sword of justice,
to settle disputes and alleviate suffering;
but your obsession with fame and glory blinded you,
you failed to see your own immense sinfulness.
Hence my reputation is so difficult for you to comprehend. –
Halt, Bishop, the dance begins!

Dritter Spruch:
Wann du willst gradeswegs ins ew'ge Leben gehn,
so lass die Welt und dich zur linken Seite stehn!

Third Aphorism:
If you would enter directly into eternal life,
leave the world and yourself by the wayside!
These are modern English translations of German poems by Michael R. Burch.
purpu Apr 2017
Vom bild der lippen
so vergeben,
Vom duft der haut
so eingenommen,
dass sich ein gefühl einstellt für die ewigkeit-
die dann doch zerronnen.
-für dich
TOD HOWARD HAWKS Nov 2024
LOVE AND LOVERS

by

TOD HOWARD HAWKS

Preamble:  I hope you will read LOVE AND LOVERS. I believe love is the only way to save Earth and all creations upon it. That includes you, your family, your friends, and all that you prize. One person can begin to save all that one loves. Let it be you. Best wishes, TOD HOWARD HAWKS


Chapter 1

Jon walked down Broadway Thursday toward Tom’s to eat breakfast. He had taken this stroll hundreds of times after being at Columbia for five years during which he had eaten breakfast at all possible alternatives and found Tom’s to be categorically the best in Morningside Heights. It was a beautiful Fall morning. Monday he would begin the second and last school year at Columbia and in the Spring he would receive his MFA from the School of the Arts.

When Jon entered Tom’s, he was stunned. Sitting three down in aisle 3 on the right side in a booth by herself was the most beautiful woman he had ever seen. After standing still for a few moments, Jon slowly walked toward this woman and stopped, then spoke.

“Hi, I’m Jon Witherston. May I join you?”

The young woman responded, “Sure.” Jon sat down.

“I’m Bian Ly. It’s nice to meet you,” she said.

“I’m assuming you’re a student at Columbia,” said Jon.

“Yes, I’m a senior at the College. Are you also a student?” asked Bian.

“Yes, I am. In fact, I graduated from Columbia College a year ago. Next Spring, I’ll be receiving my MFA from the School of the Arts. I’m a poet,” said Jon.

“A poet! How wonderful!,” exclaimed Bian.

“Thank you, Bian. What’s your major?” asked Jon.

“I'm majoring in Human Rights,” replied Bian.

“The world needs to major in Human Rights!” said Jon.

Bian smiled.

At that point, the waitress came over and took their orders. Both wanted breakfast.

“That is a beautiful ring you are wearing on your little finger,” said Bian.

“That a Nacoms ring,” said Jon. “Nacoms is a senior society at the College. I was selected to be a member,” said Jon. “I was Head of NSOP. Where are you from, Bian?

“I’m from Hanoi,” said Bian.

“Hanoi is a long way from Topeka, Kansas where I grew up, but I did come East to attend Andover,” said Jon.

“I also attended boarding school, but in Hanoi, not Massachusetts. I graduated from Hanoi International School,” said Bian.

“It seems we have a lot in common,” said Jon.

The waitress brought their breakfasts, which they started eating.

After finishing their meals, the two chatted for about twenty minutes, then Jon said, “Bian, before I bid you a good rest of your day, I’d like to ask you if you might like to join me to visit the Guggenheim Museum to see a showing of Vasily Kandinsky’s paintings this Saturday afternoon then be my guest for dinner at your favorite Italian restaurant in Morningside Heights.”

“I’d love to,” replied Bian.

“I’ll pick you up about 2 p.m. Where do you live?” asked Jon.

“I live in Harley Hall,” said Bian.

“Hartley Hall–that’s where I lived all four years during my undergraduate days,” remarked Jon. “ You’ve got a couple of days to pick out your favorite Italian restaurant,” added Jon. “I’ll wait in the lobby for you.”

Bian smiled again and got out of the booth.

“See you this Saturday at 2,” Jon said as he waited for Bian to leave first. Then he just sat in the booth for a while and smiled, too.


Chapter 2

Jon arrived at Hartley Hall a bit early Saturday afternoon. He sat in the lobby on a soft leather sofa. Hartley Hall. Columbia. Four years. It had been an amazing time. Chad Willington, a fellow Andover graduate from Richmond, Virginia, was his roommate all four years. A tremendous swimmer, Chad had been elected captain of the team both his junior and senior years. He was now working at Goldman Sachs on Wall Street. Jon’s most cherished honor while he was at the College was being elected by his 1,400 classmates to be one of 15 Class Marshals to lead the Commencement Procession.

Bian came into the lounge. She looked beautiful.

“How are you, Bian? Are you ready to go see Kandinsky?” asked Jon.

“Indeed, I am,” said Bian.

“Let’s go, then,” said Jon.

The two walked across campus on College Walk to Broadway where Jon hailed a cab.

“Please take us to the Guggenheim Museum,” Jon told the cabbie. The cab cut through Central Park to upper 5th Avenue.

“We’re here,” said Jon and paid and tipped the cabbie.

The Guggenheim itself was a spectacular piece of architecture designed by Frank Lloyd Wright that spiraled into the blue sky. Jon paid for the admission tickets, then both entered the museum and took the elevator to the top of the building. Then began the slow descent to the bottom on the long, spiraling walkway, pausing when they wanted to the see a Kandinsky painting closely and talking with each other about it.

Vasily Kandinsky was a Russian painter and theorist, becoming prominent in the early decades of the 20th Century. Having moved first from Russia to Germany, he then went to France. Kandinsky was a pioneer of abstraction in Western art. He was keenly interested in spiritual expression:  “inner necessity” is what he called it.

It took quite a while to make their way down the spiraling ramp, stopping at almost every painting to share their views. Finally, Bian and Jon reached the bottom.

“Well, that was most interesting,” said Bian.

“I agree,” said Jon. “Have you decided which is your favorite Italian restaurant in Morningside Heights, Bian?” asked Jon.

“Pisticci,” said Bian.

“Let's go!,” said Jon.

They took a cab to Pisticci. The waiter brought them menus, which they began to peruse.

“You first,” Jon said to Bian.

“I would like the Insalata Pisticci (bed of baby spinach tossed with potatoes and pancetta with balsamic reduction). Then Suppe Minestrone (with a clear tomato base and al dente vegetables). Finally, I would like the Fettuccine Al Fungi (handmade fettuccine tossed with a trio of warm, earthy mushrooms and truffle oil),” concluded Bian.

Jon followed. “I would also like the Insalata Pisticci, then the Suppe Minestrone, followed by the Pappardelle Bolognesse, then the Burrata Caprese. Thank you.”

Bian and Jon ate their meals in candlelight.

“Tell me about growing up in Hanoi,” Jon asked Bian.

“I am an only child, Jon. My father is Minh Ly and my mother is Lieu. My father was the youngest General in the war;  nevertheless, he rose to second in command. He has been a businessman now for a long time. My childhood was like those of most children. As I grew older, I loved playing volleyball. I read a lot. I began learning English at an early age. I had lots of friends. I love my father and mother very much.”

“Why did you come to Columbia,” asked Jon.

“Columbia, as you know, is one of the greatest universities in the world, and it’s in New York City,” said Bian.

“Why did you choose to major in Human Rights, Bian,” asked Jon.

“The world, and the people and all other living creations on it, need kindness and love to heal. All have been sick for millennia. I would like to help heal Earth,” said Bian.

Jon was struck by Bian’s words. He felt the same as Bian.

The two continued to share more with each other. Finally, it was time to go.

They took a cab back to campus and Jon escorted Bian back to Hartley Hall.

“I’d like to exchange phone numbers with you. Is that OK with you?” Jon asked.

“Of course,” said Bian.

“Thank you for a wonderful day, Bian,” said Jon.

“And you the same, Jon,” said Bian.



Chapter 3

Jon picked up his receiver and gave Bian a call from his apartment.

“Bian?”, asked Jon.

“Yes,” replied Bian.

“This is Jon calling. Do you have a minute or two to talk?”

“Yes, I do,” said Bian.

“Well, first let me ask how you’re doing,” said Jon.

“I’m doing well, Jon,” said Bian.

“And school, how’s that going?” asked Jon.

“Well, I'm off to a busy start, but that’s not surprising,” said Bian.

“I’m calling to ask if you would like to go with me this Sunday afternoon and hear Santiago Pena, president of Paraguay, speak at the World Leaders Forum in Low Library, then afterwards have an early picnic meal in Riverside Park with me.”

“Oh, that sounds wonderful!” said Bian.

“Great. I’ll meet you again in the Hartley Hall lobby around quarter of 2. Will that work for you?” asked Jon.

“Yes, Jon, that will work fine. Thanks for the double invitation,” said Bian.

“Oh, and by the way, I’ll have our picnic meal ready for us. We’ll have to pick it up at my apartment after the talk. I live on Riverside Drive between 114th and 115th Streets,” said Jon.

“I look forward to both,” said Bian.

“Have a good rest of the week,” said Jon. “See you Sunday.”


Jon got to the Hartley Hall lobby a bit early Sunday afternoon and sat down on a sofa to wait for Bian. On Saturday, Jon had written his most recent poem and he had brought it and two others to read to Bian during their picnic. After a short wait, Bian entered the lobby.

“Bian, it's so nice to see you again,” said Jon.

“It’s so nice to see you, too,” said Bian.

“Well, are we ready to head out?” said Jon.

“I am,” said Bian.

“OK, let’s go,” said Jon.

The two headed toward Low Library, now no longer a library, but the main administrative center of the University. Further, the Rotunda was glorious. That’s where President Santiago Pena would be speaking.  

The President began his speech with a concise history of Paraguay followed by his attempts to deal with the societal ills in his country, and then spoke at length about his belief, his wish, for all nations in both Central and South America to be united into one nation. Finally, he took a number of questions from members of the audience. The program lasted about an hour.

“I found President Pena’s comments about the potential unification of all countries in Central and South America united provocative,” said Jon.

“The world is one. Why not start with all nations in Central and South America?” added Bian as she and Jon walked down the steps in front of Low Library.


“Another beautiful Fall day,” said Jon. “A beautiful day for a picnic.”

They headed down College walk, crossed Broadway, then turned left on Riverside Drive and walked toward Jon’s apartment building that was just beyond 115th Street.

“Come on up while I gather all the picnic items,” said Jon, so they took the elevator to the 5th floor, got out, and walked down the hallway to Apt. 515.

“Here’s where I live,” said Jon. Bian entered first.

“You have a beautiful view of the park and the Hudson River, Jon,” said Bian.

Jon put all picnic items from the refrigerator into a large bag and grabbed the large, folded blanket lying on the sofa in the living room, then said, “Now let’s go find a great spot to have a picnic,” said Jon.

The two crossed Riverside Drive and entered Riverside Park. After spending several minutes looking around, Bian said, “Over there. That looks like a nice spot.”

When they got to the spot, Jon put everything he had been carrying on the ground and unfolded the blanket and spread it out.

"This will be an old-fashioned Kansas picnic, Bian. I hope you like it,” said Jon.

Bian sat down on the blanket. Jon began emptying the bag.

“We have before us pieces of fried chicken, coleslaw, baked beans, cleaned strips of carrots and celery, and black olives. Here are the paper plates, utensils, napkins, and cups, along with a container of cool water. I brought water because I don’t drink alcohol.” said Jon. “Plus, I have a surprise dessert.”

Jon then sat down and gave Bian a plate, utensils, and a napkin. “Help yourself, Bian, and enjoy.” And so they did.

After both had eaten everything on their plates, Jon said, “And now for the surprise,”

He reached into the bottom of the bag for the plastic container and pulled it out.

“I have here two pieces of chocolate cake from the Hungarian Pastry Shop,” he said.

“Oh, the cake looks delicious!” said Bian.

Jon carefully put the pieces of cake on plates, then handed one to Bian.

“We had no Hungarian Pastry Shop in Kansas,” said Jon.

After eating their pieces of chocolate cake, Bian and Jon chatted for quite a while, mostly about their respective childhoods, which were, surprisingly enough, quite similar. Being loved by one’s parents, especially, was the most important experience that both shared.

“I’d like to share with you, Bian, several poems I’ve recently written,” said Jon.

“I’d like that very much,” said Bian.

“The first one I’ll recite is titled I WRITE WHEN THE RIVER’S DOWN.

I WRITE WHEN THE RIVER’S DOWN

I write when the river’s down,
when the ground’s as hard as
a banker’s disposition and as
cracked as an old woman’s face.
I write when the air is still
and the tired leaves of the
dying elm tree are a mosaic
against the bird-blue sky.
I write when the old bird dog,
Sam, is too tired to chase
rabbits, which is his habit
on temperate days. I write when
horses lie on burnt grass,
when the sun is always
high noon, when hope melts like
yellow butter near the kitchen
window. I write when there
are no cherry pies in the
oven, when heartache comes
like a dust storm in early
morning. I write when the
river’s down, and sadness
grows like cockle burs in
my heart.


The next poem is titled THERE WILL COME A TIME.

THERE WILL COME A TIME

There will come a time
when time doesn’t matter,
when all minutes and
millennia are but moments
when I look into your eyes.
There will come a time
when clinging things
will fall like desiccated
leaves, leaving us with
but one another. There
will come a time when
the external becomes eternal,
when holding you is to
embrace the universe.
There will come a time
when to be will no longer
be infinitive, but infinity,
and you and I are one.


The last poem I’ll share with you today is THERE IS A TENDER WAY TO TOUCH YOU.


THERE IS A TENDER WAY TO TOUCH YOU

There is a tender way to touch you,
not more than a brush across your cheek.
I seek a gentle kiss so not to miss your soft
and red-rose lips that meet mine, the glory
of your darkened hair that falls across my face
as I unlace your flowered blouse to place
my fingertips upon your silk-like skin to begin
to love the rest of you. I lay you down on soft,
blue sheets, your head upon pillows made of
wild willow leaves softer than robin’s feathers.
I bare your beauty slowly that glows like a candle’s
flame in a room that is at once dark and bright.
The light comes from your luminous eyes that smile
at me as I reveal the rest of you from waist to knees
to heels and toes. No one knows the tender touch
I bestow upon your gentle being that I alone am seeing.


“Thank you, Jon, for sharing these poems with me. They moved me. I hope you’ll share others with me,” said Bian.

It was time to call it an afternoon. Jon walked with Bian all the way back to Hartley Hall.

“Have a good week, Bian,” said Jon, then leaned forward and
kissed her lips lightly.



Chapter 4


Bian and Jon began studying together in Butler Library. They read, they wrote, they laughed together. They got to know each other increasingly well. Their relationship, seemingly effortlessly, became romantic. They began to spend more time in Jon’s apartment. They became lovers.

Bian brought Jon a sense of happiness into his life that he had never experienced before. Not surprisingly, the same was true for Bian in a similar way, who previously, but not consciously, had always felt somewhat on the periphery of life in America. They complemented and enjoyed each other, so much so that full-blown love blossomed.

This is how the rest of the semester flowed. When Christmas break came, they decided to fly to Paris and spend the holidays there. Of course, they visited the Louvre, the Eiffel Tower, and Notre Dame. They strolled down Champs-Elysees and through Montmartre, ate mostly at bistros, and took a trip to see Versailles.

Among other excursions, they traveled to Amiens to see the famous cathedral there. Overlooking the Somme River, the Amiens Cathedral was built between 1220 and 1270. It was the largest cathedral in France, twice the size of Notre Dame. Jon said the skyscrapers in New York City paled in comparison to Amiens Cathedral.

Back to Columbia, New York City, and Spring semester. When the weather warmed, they spent many week-end afternoons in Central Park, visited many other sites, ate all kinds of ethnic foods, and, of course, had breakfast at Tom’s often. Furthermore, Bian’s parents were flying from Hanoi to New York City to attend Commencement.

But the highlight not only of the moment, but also, and most importantly, of the rest of her life, was Jon proposing marriage to her the week before they were to graduate, which, in a state of both shock and pure joy, she accepted. He gave her a diamond engagement ring he had bought at Tiffany’s.

“It is such an honor and a pleasure to meet both of you, Mr. and Mrs. Ly,” said Jon. Mr. Ly translated for his wife who knew no English.


Commencement at Columbia was always a transcendental exercise. That evening, the four of them celebrated by having dinner at Eleven Madison Park, courtesy of Mr. Minh. Three days later, Bian and Jon were married in
St. Paul’s Chapel on the Columbia campus.

Bian and John rented a cottage on Cape Cod for the summer. A summer of love it was. Sailing, relaxing, chatting, making love–all that two human beings could wish for.

The first thing Jon felt he needed to do was to call Chad, who had been Jon's roommate at Columbia, to thank him for coming to the wedding. They had a nice chat, then Chad asked the question below:

“Jon, I just have to ask you this one question,” said Chad. “Is Bian’s father, by any chance, Minh Ly?”

“Yes,” said Jon.

“Jesus, Jon! Did you know that Minh Ly is one of the richest men on the planet?”

Silence.

Finally, Jon said, “No, I didn’t know that.”

“Not only is Minh Ly one of the richest men on Earth, but he is one of the most connected in the entire world. But most people, even the richest, don’t know how internationally influential he is. He keeps an extremely low profile.

More silence.

“I didn’t know any of this, Chad. Bian never mentioned to me even an iota of what you have just told me,” said Jon.

“Well, Jon, I had to ask,” said Chad. “I hope you’re not disconcerted.”

“No, no, Chad. I guess I’m just flabbergasted,” said Jon.

“I found out about Minh Ly when I was invited to join members of the top brass at a Goldman Sachs luncheon and Minh Ly’s name popped into the conversation for a minute or two. That’s all,” said Chad.

“Fine, Chad. Thanks for telling me this,” said Jon, then hung up.


Chapter 5


Jon sat in the stuffed chair by the fireplace for a long time. Bian had driven into Hyannis to do some shopping.

When Bian had mentioned during one of their chats she had wanted to “heal the Earth” during her life, that phrase–that particular phrase–had pierced his being, bringing fully into his consciousness the same overpowering sentiment.  Once she had uttered those three words, Jon’s life had been profoundly and permanently affected. He had even written what he considered to be a “commentary,” a brief, concise pathway that humankind could follow to save the world, to create Peace on Earth forever. He had had no intention of ever sharing it with Bian, until now. Jon rose from his chair and went into the bedroom and opened the closet door and pulled out the big cardboard box in which he kept all of his poems. Near the top, he saw his commentary. He lifted it out and sat down on the bed and began to read it again.

PEACE ON EARTH THROUGH LOVE

Turning the World Rightside-In

by

Jon Witherston


PREAMBLE:  All we have is our little planet, Earth. For the vast majority of my life, I have thought, “What would it be like to have Peace on Earth?” But for only two, maybe three, weeks every year, usually around Christmas, I would see the phrase “Peace on Earth," usually on Christmas cards. But after Christmas, I would not hear or see that sanguine notion for 11 more months. The longer I lived, the more this annual ritual bothered me. At Andover, I had studied European history. At Columbia, I had majored in American history. Over time, I increasingly came to the realization that in both prep school and college, I had essentially been studying about wars on top of wars and their aftermaths:  millions and millions and millions of human beings being killed. Then, when I got curious, I used my computer to find out that, according to many scholars, only a little over 200, out of roughly 3,400 years of recorded history, were deemed “peaceful.” Humanity, I concluded, had a horrible track record when it came to effectuating “Peace on Earth.” And during my lifetime things have not gotten any better.  
      
SPIRITUAL ECOLOGY:  There is one land, one sky, one sea, one people. The boundaries that divide us are not on maps, but in our minds and hearts. John Donne was prescient. Earth is as impoverished as its poorest Citizen, as healthy as her sickest, as educated as her most ignorant. If we pollute the upper waters of the Mississippi, then ineluctably we shall pollute the Indian Ocean. If we continue to pollute our air, the current 8,100,000,000 Citizens on Earth will die. All species will be accorded the same concern and care as Citizens of Earth. The imminent threats of nuclear holocaust and catastrophic climate change we need urgently to prevent. This is the truth of Spiritual Ecology.  

CAMPAIGN FOR EARTH:  If we can wage war, why should we not wage peace? Nations are anachronistic;  therefore, there will be none. There will only be Earth and Citizens of Earth. Each Citizen of Earth will devote a 10 years between 18 and 60 of her/his life to the betterment of humankind and Earth. All military weapons--from handguns to hydrogen bombs--will be destroyed, and any future weapons will be prohibited. All jails and prisons will be closed, replaced by Love Centers (see below). Automation and other technological advances will enhance the opportunity for all Citizens of Earth to realize exponentially their potential, personally and spiritually. There will be no money. All precious resources and assets of Earth will be distributed equally among all Citizens of Earth. The only things each will own are the right to be treated well and the responsibility to treat Earth and all its Citizens well. All Citizens will be free to travel anywhere, at any time, on Earth. All Citizens will be free to choose their own personal and professional goals, but will do no harm to Earth or other Citizens. All Citizens will be afforded the same resources to live a full, safe, and satisfying life, including the best education, health care, housing, food, and other necessities throughout Earth.

LOVE:  The only way to change anything for the good, for good, is through love. Love is what every living creation on Earth needs. Love Centers are for those Citizens who were not loved enough, or at all, especially at their earliest of ages. Concomitantly, they act out their pain hurtfully, sometimes lethally, often against other Citizens. Citizens who are emotionally ill will be separated from those who are not. Jails and prisons only abet this deleterious situation. Some Citizens in pain may need to be constrained in Love Centers humanely while they recover, through being loved, so they do not hurt themselves or others. In some extreme cases, Citizens may be in so much pain that they remain violent for a long time.  Thus, they may need to be constrained for the rest of their lives, but always loved, never punished. In time, Citizens, when loved enough, will only have love to give, and the need for Love Centers will commensurately decline.

EARTH:  In 1948, Eleanor Roosevelt chaired the commission that wrote the Universal Declaration of Human Rights. UDHR, with some updates and revisions, will serve as the moral and legal guidepost for Earth.

GENERAL ASSEMBLY:  Earth will be divided into sections of approximately the same size. One Citizen of Earth from each section will be elected only for one five-year term as members of the General Assembly. Every five years, new Citizens of Earth will be elected.

FIRST VOTE:  The first vote of all Citizens of Earth will be to establish CAMPAIGN FOR EARTH. Majority rules. All Citizens will have access to Internet voting, as well as access to cell phones and other types of computers. Citizens of Earths will have her/his own secured ID codes. Citizens of Earth will have to be 18 or older to vote. Citizens of Earth will be encouraged to bring before the General Assembly all ideas and recommendations, as well as any concerns or complaints, which will be considered and responded to promptly. Citizens of Earth's ideas and recommendations will be formed into proposals drafted by members of the General Assembly. Citizens of Earth will vote on these proposals of each month during the first two weeks of the following month. Citizens of Earth will be Earth’s government. Members of the General Assembly will be facilitators who will work with millions of volunteers. There will be no president of Earth.

THE FUTURE:  There will be no money.  All items on Earth will be given  shares of worth. Each Citizen of Earth will receive equal shares of worth. All shares in excess of what’s needed reasonably by each Citizen of Earth will be saved for future generations. No violence of any kind will occur during the transfer of these shares. Citizens of Earth will take these steps because they are the moral, the right, steps to take to save all living creations on Earth, and Earth itself.

CELEBRATE AND SHARE: If one were to take a photograph of humanity and gaze at it, one would see a beautiful mosaic of mankind of different, beautiful colors. If one could step into the photograph, one would hear a melody of languages and dialects. One could have a worldwide picnic with all your sisters and brothers and experience different customs and taste different, delicious foods. And in moments of silence, all of you could pray in your different religions, separate but together at the same time. One would also share the same human laughter and joys and feel the same sorrows and cry the same tears, all in Peace on Earth eternal. All would come to delight in these differences, not dread them. All would look forward to celebrating and sharing with your fellow Citizens of Earth, not killing them. The spiritual whole would be larger than the sum of its sacred parts.

A QUANTUM LEAP:  The world, over millennia, kept evolving. Over 3,400 years of recorded history, powers, nations, kept shifting, sometimes seismically. Now is the time for not only the grandest seismic shift ever, but also the one that will save Earth and all living creations upon it. It is time for Earth to become one Earth--not a scattering of over 200 nations with artificial borders. Technology, with its innumerable advances, has made us into a world when all can become one. We are free to be our real selves, to spend our variegated lives, not aggrandizing, but sharing and giving. Rather than dreading our superficial differences--our different skin colors, our different cultures, our different religions, our different languages--we can explore and enjoy them. Let us finally be what we truly have been forever, one big, worldwide family of humanity. No more wars, no more weapons, no more killing. No more hunger, no more homelessness, no more hopelessness. No more ignorance, no more illnesses, no more social classes. This is the quantum leap of which I speak.

PEACE ON EARTH:  Wealth is not worth. The mansuetude of loving and being love is. When love is your currency, all else is counterfeit. Citizens of Earth will be able to go about creating their own happiness that is built on love-based personal relationships and professional activities. No longer will human beings be able to profit from another’s pain. With love at the center of being and living, there will be no more wars, no more dictators, no more corruption. Finally, there will only be Peace on Earth forever.

Copyright 2026 Jon Witherston.


Jon heard the front door open and shut.

“Bian, I’m in the bedroom,” said Jon. “I’ve got something I want you to read.”

Bian came into the bedroom. “What is it?” she asked.

“It’s something you inspired,” replied Jon.

Bian kissed Jon on the cheek then sat on the bed.

“Read it, then we’ll chat,” said Jon. He handed the commentary to Bian who began reading.

“Jon, when did you write this?” asked Bian.

“I wrote it after you shared with me your desire to spend your life trying to heal Earth,” said Jon. “At Tom’s. Do you remember?”

“I’ve always dreamed of this ever since my father told me about the war,” she said. “What I remember about Tom’s is when I told you I was majoring in Human Rights, you said the whole world should be majoring in Human Rights.”

“Of course, I remember that, too,” said Jon.


What Bian came to realize about her father as she grew up was he had become anti-war. He had come to hate it. But there were two things she had never known about him, though. First, her father was one of the wealthiest men on Earth. Yes, she knew he was well-to-do:  she had grown up, after all, in a large, comfortable home, and her father had had the money to pay for her expensive educations,  Second, he had belonged, for almost two decades now, to a secret, worldwide group of extremely wealthy and influential men and women who wished for, and were working toward, a world that would never know war.

Jon did not dare tell Bian about what Chad had shared with him over the phone, about her father’s megawealth. Bian had never known about her father's pursuit of eternal Peace on Earth. She always had thought all those trips had to do with his businesses.

“I’d like to elaborate a bit on what you’ve read in my commentary, Bian, if you care to,” said Jon.

“Of course,” said Bian.

“I’m thinking about the poor,” Jon said. “The poor, and the extremely poor, on Earth, as the World Bank and the International Monetary Fund have put it,” Jon said, with more than a tinge of contempt. “Out of 8 billion human beings on Earth, roughly 2 ½ billion fall into these two ‘statistical’ categories. That’s more than 1 out of 4 human lives on Earth desperately trying to survive day-to-day.

“Here’s my idea, Bian,” said Jon.

“There are more than 7,000 languages and dialects spoken on Earth. Most of the poor speak those dialects. How to communicate with them is our biggest challenge. In broad strokes and succinctly, this is what I have in mind. I want to share this with you and hope you’ll be my partner.

“I want to travel Earth with you. I want to meet first the poor of Earth with you, speak with them, eat with them, live with them, answer all their questions about creating one land, one sky, one sea, one people. I want to talk with them about all Citizens of Earth cooperating with, not competing against, one another, creating Peace on Earth through love forever. If ever we can create a vote on CAMPAIGN FOR EARTH, I’m sure the vast majority of them would vote for it.

“We would start in Mexico, then visit the nations of Central America, then those of South America. Then we would go to Africa where there are so many poor and do the same thing. Then the rest of the world.

“Does all of this sound audacious, Bian? Well, it should, because it is,” said Jon. “Logistics will be beyond enormous, but in my heart, I believe there will be eventually millions and millions and millions of volunteers around the world who will wish to join in.”

Bian had sat on the bed taking all of this in, paused, then said to her husband whom she loved and admired so much, “Jon, you are a genius, but all of this does sound audacious. My first idea is to share all of this with my father and get his reaction to your commentary and what you’ve just shared with me. He knows the world probably as well, if not better, than any other person on Earth.”

“A great idea!” said Jon.

“I’ll call him at 10 p.m. tonight. It will be 9 a.m. in Hanoi,” said Bian excitedly.



Chapter 6


Bian spoke with her father that evening. Bian thought she had detected a good measure of surprise, if not excitement, in his voice. He would be in Toronto on business in mid-September. He could meet his daughter and Jon at 10 a.m. at the Ritz-Carlton on Monday, the 11th. He said he would leave a note at the front desk telling them which room he was staying in. He told Bian he always used aliases when he traveled, a fact she had not previously known. Understandably, Bian was thrilled.

Bian and Jon had enjoyed immensely the rest of the summer, as only on Cape Cod one can. They flew from Logan Airport to Toronto the morning of Sunday, 10 September. They arrived at the Ritz-Carlton around 9:45 Monday morning.

“I believe you have a note waiting for Bian and Jon,” said Bian.

“Just a minute, please,” said the clerk.

“Here,” said the clerk and handed it to Bian.

“Thank you,” said Bian. “Father’s in room #715.”

The two took the elevator to the 7th floor, found the room, and knocked on the door. In a moment or two, Minh Ly opened it.

“My dear daughter, Bian! How are you?” said Mr. Ly as he gave his daughter a big hug. “And you, Jon, how are you?”

Jon shook Mr. Ly’s hand as he entered the room.

“So good to see you, sir,” said Jon.

“Come in. Make yourselves comfortable,” said Mr. Ly.

“Mr. Ly, the first thing I would like to share with you is my commentary. It is an overview of what I would like to pursue with Bian,” said Jon.

“Let me read it,” said Mr. Ly.

It took a couple of minutes for My Ly to finish reading. He paused for several moments, then exclaimed “Jon, this is extraordinary!”

“Bian inspired me,” said Jon. “You know, Mr. Ly, I’m a poet, not a financier. It would take untold amounts of money and the best technology on Earth--unbelievable amounts of it--to realize this dream.”

“Don’t worry. I have friends,” said Mr. Ly.

"I envision Bian and I traveling around the world visiting the poorest sections of most of the biggest cities on Earth, using a translator when necessary to explain how we collectively can bring lasting peace to Earth. Furthermore, I expect not only the worldwide, but also the local, media to be informed of these gatherings," Jon said.

"You need to know I must always remain anonymous. Bian, you, and I shall need to meet periodically. I and my friends have developed ways always to be in touch, but will never be able to be detected. I wish not to elaborate. Jon. You inspire me the way Bian inspired you,” said Mr. Ly.


Chapter 7

“Read me some more of your poems,” said Bian.

“OK,” said Jon and went to get the box that contained his poems in the  closet. He looked through the stack and selected several of them, then sat down next to Bian on the living room sofa.

“The first one I’d like to share with you is titled SOUTHWESTERN KANSAS.


SOUTHWESTERN KANSAS

When you fly to southwestern Kansas,
you see a different kind of Kansas.
The land is flat,
the sky is big and blue,
and the folk, the common folk, well, they get along,
the common folk get along in southwestern Kansas.

On a ranch down near Liberal,
the black night roars
and the wind is wet.
All are happy tonight, for there is rain
and tomorrow the pastures will grow greener.

In the morning when the sun first shines,
the hired hands
with leathered countenances
and gnarled fingers
awake in old ranch houses
made of adobe brick
and slip on their muddy cowboy boots
and faded blue jeans
to begin another day of hard labor.

On the open prairie made green by rain,
tan and white cattle huddle together,
munching on green grass and purple sage.
A new-born calf bawls.
Her mother, the Hereford cow,
is there to care
and the baby calf ***** her belly full
of mother’s milk.

About 60 miles to the north
and a little to the west,
The sun stands high in a blue sky
dotted with little puffs of white.
At noon in Ulysses,
folk eat at the Coffee Cafe:
Swiss steak, short ribs, or sweetbreads
on Tuesdays
with chocolate cake for dessert.

The folk, the common folk, well, they get along,
the common folk get along in Ulysses.
They got a new high school and a Rexall drug store,
a water tower and a drive-in movie theater.
They got loads of Purina Chow,
plenty of John Deere combines,
and co-op signs stuck on almost everything.
And they got a main street several blocks long
with a lot of pick-up trucks parked on either side
driven by wheat farmers
with silver-white crew cuts
and narrow string ties.

Things are spread out in southwestern Kansas.
A blanket woven of green, brown, and yellow
patches of earth,
sown together by miles of barbed-wire fences,
spreads interminably into the horizon.
Occasional, faceless, little country towns,
distinguished only by imposing grain elevators
spiraling into the sky
like concrete cathedrals,
are joined tenuously together by
endless asphalt streaks
and dusty country roads,
pencil-line thin
and ruler straight,
flanked on either side
by telephone poles and wind-blown wires
strung one
after another,
after another
in monotonous succession.

But things, things aren’t too bad in southwestern Kansas.
Alfalfa’s growing green
and irrigation’s coming in.
Rain’s been real good
and the cattle market’s really strong.
The folk, they got the 1st National on weekdays
and the 1st Methodist in between.
The kids, they got 4-H clubs and scholarships to K-State.
And Ulysses, it’s got all that the big towns got–
gas, lights, and water.
So the folk, the common folk, well, they get along.
the common folk get along in southwestern Kansas.


“The next poem is SIMONE, SIMONE," said Jon.


SIMONE, SIMONE

Simone, Simone
I’m all alone.
Simone, Simone
I’m all alone.
Simone, Simone
please come to me
and bear your breast
for me to rest
my weary head
and shattered heart
upon a part
so soft and warm.
Simone, Simone
I’m all alone.
Simone, Simone.


“The final poem, Bian, is TREE LIMBS,” said Jon.


TREE LIMBS

A long time ago,
I used to lie on my bed
and look out my window
and watch the big elm tree
as it died slowly.

And I used to watch the cars
as they traveled by,
some fast, some slow,
from right to left, and left to right,
and wonder where they were going to
and coming from.

Once from my window
I hit a bus with my BB gun.
I was scared
because I knew I wasn’t
supposed to shoot buses,
even though it was kind of fun.

And sometimes I used
to hide behind my curtains
and watch the pretty
girls walk by my house
in their swimming suits
coming back from
the pool in the park.

But mostly I just used to lie
on my bed and think,
and watch the big elm tree
as it died slowly.


“I love not only your poetry, Jon, but also how you read each one,” said Bian.

Jon gave her a kiss.

They drove to the tip of Cape Cod to watch the sunset, then drove back to the Twenty-Eight Atlantic to have dinner. Bian ordered oysters, lobster “Carbonara,” kale salad, and scallops. Jon had salmon tartare, chowder, baby green salad, and grilled octopus.

“Well, I’m excited!” Jon said. “We have a tremendous amount of planning to do, but we will have the experience of our lifetimes, and my greatest pleasure will be sharing it with you.”

“D’accord!” said Bian.



Chapter 8


Bian and Jon began preparations with gusto.

Mr. Ly and his friends would pay all expenses;  they would handle all details, such as reservations for air travel and hotels and rental cars;  they would contact the best interpreters in each country and pay them; they would contact leading newspapers and other news organizations in the world, including, but not limited to, the New York Times, the Washington Post, The Wall Street Journal, USA Today, Los Angeles Times, Youimuri Shimbun, Asahi Shimbun, Bild, The Daily Telegraph,  Le Monde, Times of India, China Daily, Russian Today, BBC, CNN, CBS, NBC, ABC, MSNBC, NHK (Japan), ZDJ (German), Univision, China Media Group, Telemundo, and they would contact the leading media–newspapers and TV and radio stations–in the largest city of each country prior to Bian and Jon’s visit there.  

Somewhat tired, but extremely gratified, they sat on the sofa in early evening to listen to Jon’s favorite Beethoven Symphony, #7. The Symphony’s second movement “was a jewel,” Jon said. Of course, he leaned back and closed his eyes as he listened.

When the recording was over, and after a silent pause, Jon slowly stood up, and without ever saying a word, reached down and picked up Bian, and holding her in his arms, carried her carefully into the bedroom where he stood her up beside the bed, then, slowly and softly, undressed her, and after he had pulled back the bed sheets, picked Bian up again and lay her on the bed. Then he undressed and got into bed beside her.

The room was dark and full of silence. Then Jon turned toward the woman who had brought limitless joy into his life and said to her, “Bian, who in the Heavens made you?” And then he kept leaning until he gently lay upon his wife, and these two lovers made love deep into the dark of night.


Chapter 9

Jon was thinking about Minh Ly. Jon knew he was beyond genius, but more importantly, Ly made Jon think of what Jorge Luis Borges had once written, that every person’s most important task was to transmute pain into compassion. Ly had been the youngest General ever appointed by ** Chi Minh, and, in short, General Ly had had to order North Vietnamese soldiers into battle. 1,100,000 of them had died during the long, ugly, brutal Vietnam War. Minh Ly had spent many days in tears. That he had had the fortitude to persevere and ultimately transmute his unbearable pain into compassion is what Jon most respected about Minh Ly. Because he was so brilliant, Ly initially threw himself into the throes of worldwide business at war’s end, amassing, over a number of years, massive wealth:  billions and billions and billions of dollars. Concurrently, however, Minh Ly, overtime, experienced a life-changing metamorphosis. He came to realize that wealth was not worth, as Jon had written in his commentary PEACE ON EARTH THROUGH LOVE, that compassion was humanity’s most important goal, that only love could save Earth. And that was why he ultimately decided to use wealth not to buy as much of Earth as he could, but to use it to save all of Earth, to eradicate all the vicious inequities that had ineluctably killed billions of human beings over many millennia. Moreover, he secretly went around the world and met with his megawealthy friends, asking them to join him in this goal, and many of them did join him. Now Minh Ly and his friends were warring against war, fighting every injustice that caused horrid hell into which all the poor, all who suffered from myriad forms of racism through torture and death, fell. Minh Ly was hell-bent on saving Earth and all living creations upon it. Then he met Jon.  

Bian, thought Jon, was as incredibly intelligent as her father. Of course, she was soft-spoken, but that belied her brilliance. After all, Bian has just completed the most rigorous, as well as the best, undergraduate liberal arts education to be found on Earth, graduating Summa *** Laude, an incredible academic achievement. Jon knew how much she loved her father, and he believed as well that his wife yearned, probably unconsciously, to emulate her father. That notion alone was enough to cause Jon to fall in love with Bian, then propose to and marry her. Now she was co-parthers with Jon and her father to realize her wish:  to heal Earth.

“I wrote a new poem yesterday, Bian. Would you like to her it?” said Jon.

“Of course,” said Bian.

“OK,” said Jon who then reached into his satchel and pulled out the new poem and began reading it.


SOLITUDE AND GRACE

I will wander
into wilderness
to find myself.
I will leave behind
my accoutrements,
memories of medals,
of past applause
and accolades,
accomplishments that
warranted degrees
and diplomas
portending future
successes. I like
who I am, who
I have become. No,
I love myself, and that
is my greatest achievement,
the acme most men
are blind to as they
mistake wealth for worth.
Most would say
I will be lonely,
but they are wrong,
because I will always be
with my best friend ever,
my real self. And I will
share my joy with
squirrels and rabbits
and deer, with bushes
and broken branches
and brush, with rills
and rivulets and rivers,
with rising and setting
suns and countless
stars coruscating in
night's sky. I will say
prayers to piles of pine
and sycamore limbs
that once were live,
but now make monuments
I worship. I am at one
with all I prize.  My eyes,
even when they are closed,
see their beauty. I know
I will be blessed forever.
I lie on my bed, Earth,
and wait to join all
in solitude and grace.


“That was beautiful, Jon,” said Bian as she sped toward Logan Airport.

“Thank you, my dear,” replied Jon.



Chapter 9

Jon was thinking about Minh Ly. Jon knew he was beyond genius,. Ly had been the youngest General ever appointed by ** Chi Minh, and, in short, General Ly had had to order North Vietnamese soldiers into battle. 1,100,000 of them had died during the long, ugly, brutal Vietnam War. Minh had spent many days in tears. That he had had the fortitude to persevere and ultimately transmute his unbearable pain into compassion is what Jon most respected about Minh Ly. Because he was so brilliant, Ly initially threw himself into the throes of worldwide business at war’s end, amassing, over a number of years, massive wealth:  billions and billions and billions of dollars. Concurrently, however, Ly, over time, experienced a life-changing metamorphosis. He came to realize that wealth was not worth, as Jon had written in his commentary PEACE ON EARTH THROUGH LOVE, that compassion was humanity’s most important goal, that only love could save Earth. And that was why he ultimately decided to use wealth not to buy as much of Earth as he could, but to use it to save Earth, to eradicate all the vicious inequities that had ineluctably killed billions of human beings over many millennia. Moreover, he secretly went around the world and met with his megawealthy friends, asking them to join him in this lifelong endeavor. Now Ly and his friends were warring against war, fighting every injustice that caused horrid hell into which all the poor--all who suffered from myriad forms of racism through torture and death--fell. Ly was hell-bent on saving Earth and all living creations upon it. Then he met Jon.  


Chapter 10

“Do come in! How wonderful to see you both again! Your visits are becoming the highlight for me every month,” exclaimed Mr. Ly.

Bian, before she said a word, rushed forward into her father’s open arms to be hugged by him. For almost a minute, Bian stayed silent in her father’s arms. She did not want him to stop hugging her;  it felt so good. Finally, Bian stepped back and, almost in a yell, said, “I love you!”

“My dear Bian, I love you too, with all my heart,” said Mr. Ly. “And you, Jon, it is always special to meet a person like you. You are my only son and I am blessed to have you now as part of my family. Please, both of you, have a seat.”

“Thank you, Mr Ly. I am honored now to be a member of the Ly family,” said Jon, then joined Bian on the sofa.

Jon spoke again.

“Mr. Ly, I have for you the information you will need to prepare the press releases you will send to all media and people you wish to inform about our imminent sojourn January 2027. Here it is,” said Jon, and handed the pages to him.

Mr. Ly continued.

“Bian and Jon, I need to share with both of you the following. My friends and I will create our own Starlink-like internet company so no Citizen of Earth--as you, Jon, call all 8 billion human beings on Earth–cannot be blocked when each votes on CAMPAIGN FOR EARTH. Furthermore, we will provide cell phones to all CITIZENS OF EARTH.  And Bian and Jon, you will be able to visit safely in all the more than the 50 totalitarian nations. How is this possible, you ask? It is possible because I and my friends have our ways. In addition, we shall translate your commentary PEACE ON EARTH THROUGH LOVE into all 7,000 languages and dialects and, beginning January 2027, will send it monthly to all media. This will continue until the vote on CAMPAIGN ON EARTH takes place during the first two weeks of 2028. And, as you have told me, Jon, only love can save Earth.”

“Mr. Ly, you are, with the exception of your daughter, the most intelligent, the most compassionate, the most self-effacing human being I have had the honor of ever meeting. You know, I’m sure, the difference between personhood and behavior. Everyone’s personhood is sacred, inviolable, intrinsic, whereas so many peoples' behavior is often uncaring or hurtful, or even much worse. It is not unusual to react to one’s untoward behavior with at least displeasure, if not outright hate, even on rare occasions with violence. But this latter response is unknowing. When one encounters bad behavior to any degree and wishes it were not so, do not exacerbate what is already deleterious by making it even worse through punishment. Instead, constrain this negativity and love this forsaken person. Love is the cure for all those who suffer pain. It may take a lot of love to heal a hurting soul, even a lifetime, perhaps even longer. But love is the antidote for all emotional maladies. But for one to be able to love others, one must first be loved preferably by one’s parents. This dilemma is what our world suffers from the most. Wealth, fame, power–all are illusory and therefore feckless. They are but unconscious efforts to compensate for lack of love, and that is why our world has been turned inside-out for millennia. Only being loved, and then being able to love, will we be able to turn our world right-side in. Then, and only then, will we have Peace on Earth forever, and for the first time.

“I lavish praise upon you, because you are a beyond-magnificent human being, Mr. Ly,” concluded Jon.

Mr. Ly sat in silence, stunned. Finally, he said, “Thank you, thank you, Jon.”


Chapter 11

Upon returning to Cape Cod, Bian and Jon packed everything they thought they would need for their long, long trip to Mexico, Central America, and South America. They then flew to Mexico City. Jon wanted to give a speech in Iztapalapa, one of poorest sections of the nation's capital. Jon gave his speech before a large crowd and a sizable group of worldwide media. Bian thought Jon's speech was well received. She sensed the crowd's reaction was positive. After the speech, the two spent an hour or so mixing with the crowd with the translator answering questions and telling each person he spoke to that that person could help realize Peace on Earth by chatting with friends about how love would change the world from killing to caring.

"Jon, you gave a great speech!," said Bian. "I'm so proud of you."

"We are co-pilots, Bian. We can't hope to succeed without both of us," said Jon. "On to the next nation!" They then flew to Belize, the only nation in Central America whose main language was English.

Jon gave his speech at the University of Belize. Many students gathered to hear him. Belize had a comparatively low percentage of poverty--about 25%. But as Bian and Jon ambled through the crowd, Bian, along with Jon, spent the better part of the afternoon enjoying not only chatting, but also found time to have long conversations with both the students and a number of professors.

Bian and Jon were a bit tired, so they decided to spend the night at the Inn at Twin Palms in Belmopan. They decided to eat dinner at the Paddle House Restaurant

Bian ordered first. "I'd like the Shrimp and Chorizo Soup. Then I'd like the Basil Pesto Paneer and Cherry Tomato Salad, Next, I'd like the Cream of Yucca Shrimp Pasta. Then for dessert, I'd like the Wild Berry Chocolate Cake."

Now it was Jon's turn. "First, I'd like the Seasonal Seafood Soup. Next, I'd like the Grilled Chicken Ceasar Salad. Then I'd like the
Chuleta de Cordero. For dessert, I'd like the Wine Poached Pear."

They ate their meals with gusto, then flew to Guatemala City.

Jon and Bian decided to go to Zone 3, one of the poorest sections of Guatemala City. In early afternoon, Jon gave his speech with the help of the translator. An increasingly large number of worldwide media showed up. The crowed was large also. The fever Bian felt from the crowd was palpable. Bian and Jon even got word that their worldwide trip had gone viral on the internet. The two spent the night at Hotel Barcelono. In the morning, they flew to San Salvador, the capital of El Salvador.

One of the poorest sections of San Salvador was Benedicion de Dios. Its citizens faced severe hardships, including extreme poverty, lack of infrastructure, and frequent fire disasters, because most structures were built of wood, zinc, plastic, or cardboard. These people also suffered from unreliable electricity and gas supplies.Violence in Benedicion de Dios abounded. For the first time, a worldwide television network, BBC, interviewed Bian and Jon. The two stayed in the Intercontinental San Salvador Hotel that night, then flew to Tegucigalpa, Honduras.

The poorest section of Tegucigalpa was the community next to the Tegucigalpa Municipal Dump. Many families relied on scavenging through waste for survival. Violence was rampant. Interestingly, a large number of people had already heard about the CAMPAIGN FOR EARTH, so an usually large crowd gather on the edge of the dump. This the kind of place Jon and Bian wanted to be, both to give his speech and to meet and talk with the citizens who daily tried to endure the unthinkable suffering. Even the media were increasing. Jon gave his speech with the help of the translator. Despite the hell these citizens experienced continuously, the crowd roared almost after every sentence Jon spoke. And after Jon finished, the crowd swarmed him. Bian and Jon spent almost three hours meeting, answering, shaking hands, chatting with many in the crowd. Slowly the crowd dispersed. Bian and Jon then took a plane to Managua, Nicaragua.

Reparto Schick is one of the poorest neighborhoods in Managua. One of Bian's and Jon's nameless protectors came up to tell them that NHK, the Japanese television network, had aired an hour-long program of Jon's speech in Mexico City as well as commenting on his PEACE ON EARTH THROUGH LOVE speech in particular and CAMPAIGN FOR EARTH in general. "That is wonderful!" exclaimed Bian. Jon gave her a big hug. The reaction to Jon's speech was as enthusiastic, if not more so, than the Tegucigalpa crowd.

"I'm beat," sad Jon. "Let's spend the night in Managua."

"I'm with you," replied Bian.

"Let's spend tonight in Managua, then fly to San Jose, Costa Rica tomorrow morning, OK?" said Jon. Bian agreed. They stayed in the Globales Camino Real.

"Before we go to bed, would you read me one of your poems,?" asked Bian.

John looked through his poems and chose the poem he wanted to read.

"Would you like to hear a romantic poem?" asked Jon.

"I would love to hear a romantic poem, especially if you wrote it," replied Bian.

"Here it is," said Jon and began to read.


COME CLOSER

Come closer.
Touch me softly.
Look into my eyes.
Kiss me, then kiss me again.
Hold me.
Hug me tightly.
Unbutton my shirt.
Kiss my chest.
I feel your lips.
I feel your hair.
Undress me.
Take off your blouse.
Be naked.
Lie on the bed.
Take me to heaven.
I love you dearly.


"Oh, that was beautiful, Jon!," exclaimed Bian.

These two lovers made passionate love until they fell asleep in each other's arms.

Lacarpio, Costa Rica is wedged between two highly polluted rivers and a massive landfill. The community struggles with high crime rates, especially caused by violent gang activity. There is limited access to education and health care. Women and children face hardships due to poverty, crime, and lack of resources.

Before Jon gave his speech to another large crowd, he and Bian were interviewed by the China Media Group. After his speech, the two spent again several hours mixing with the crowd, which they were enjoying more and more. Then they flew to Panama City, the capital city of Panama.

There are several extremely poor sections in Panama City:  Curundu; San Miguelito; and Rio Abajo. But the worst is El Chorrillo. The residents of this section suffer poverty, crime, and gang violence, as well as the destruction caused by the U.S. invasion of Panama in 1989.
Kyle Leafe Nov 2013
Ich werde alles für dich machen
nur für dich
Ich wollte ein Bild malen
nur für dich

Sie sah mich nicht wie einander
Du hast die Vergangenheit nich los gelassen
Der Teufel bleibt miteinander
Ich will diesen Teufel umbringen

Ich kann diese Situation ohne dich nicht aufhören
du muss mich glauben
Es ist meine Pflicht
Ich will dich, Ich brauche dir
Du fehlst mir so sehr
Eine schöne Zeit haben wir zusammen

Du bist mein Schatz
Glaub mit bitte
Dass ich nicht geht
Ich bleibe immer mit dir

Du bist mein Schatz
immer mein Schatz
Nicht kann es verändern
Ich gefühl so sehr für dich, Schatz

English Translation

Always Trustworthy

I will do everything for you
only for you
I wanted to paint a picture
only for you

You saw me for more than a person
You never let the past go
The demon stays with the others
I want to **** these demons

You need to believe me
It's my duty
I want you, I need you
I miss you so much
We always have the best of times together

You're my Baby
Believe me please
That i'm not leaving
I will always be here

You're my Baby
Always going to be my baby
Nothing can change that
I fell so much for you love
Johnny Noiπ Nov 2018
With the Kenyan industry, and night,
everyone locked in four groups;
cats and dogs for the first time force
people with every possible red, green,
blue, pink, red, green power, Iran,
and a friend, but no future, but Latin
Latin cats. However, Canadians,
Cornelius and Burned Women, Einstein,
Vitamin D and Italian insurance
have big problems, and we expect
to hit some 100 animals in Canada and
as a city, as Douglas's brain. Red, red,
purple, silk and cotton. There are four
servers in the US and Latin America,
although our partner's death, low cost,
robot and ward problems, John's house,
fire, light and even hate to work
on the light. Not only a child, another angel,
vitamin Canada summer, and the name
changed after four years,
but the rose is called red,
red, silk, cotton, revolution,
but for the future, George,
Italy 200 200 Early history
of his mother For the art of robotics,
which can be like memory,
and emphasizes the need
to see chronological Kenya / Las Mujeres (5), Australia,
bitter bitter, bitter, image,
Photos on this trip with American music,
music, and the owner only 13:00 Rocky Rock
and Guadas University and La Rejn,
UK and United States in Los Angeles:
People from all over the four groups
with the Kenya industry, to make the city of Ciudad
for the day and night, all possible red,
green, blue, pink, red, green, Iranian,
b, and other friends for cats and dogs,
but not the main power, but cats country Country.
However, Canadians, Cornelius
and Burned Women, Einstein, Vitamin D
and Italian insurance have big problems,
and we expect to hit some 100 animals
in Canada and, as a city, as Douglas's brain.
Red, red, purple, silk and cotton.
Four servers in America and Latin America,
though the death of a partner, a minority,
robot and marriage problems,
John hated working at home, fire, fire,
and even fire. Not only this, Mother,
another angel, vitamin Canada summer,
and the name has been changed after four years,
but the rose is called red, red, silk,
cotton, revolution, but for the future,
George, Italy's 200 200 Early history.
Your mother For the art of robotics,
which can be like memory,
and emphasizes the need to see chronological Kenya /
Las Mujeres (5), Australia, bitter, bitter
image Taystusen Kartwa L. Hogar, Islam
El Cort del My H One, people in Los Angeles
American music, music, and photos owns only 13:00
Rocky Rock and Guadas University
and la Rejn on this trip with Britain
and the United States: teacher to Ciudad end.
The Australian city of Titus wanted Islam and judges,
for example, the girl wants to judge Tituisi Titus,
Islam and House, for example,
argues that women and the United States,
American musicians, musicians
and Americans, rockets, Stone, trees and the world,
and Australia can not be used at 13:00.
The best way to know the city and the best way to tell Judaism,
United States openly, night and night Kenya,
cats and dogs, Eric Cotton, red, pink, red
and green before, but four improvements
in four places. Iran is a improvement and a friend,
but it can not be long before many Latin American cats.
This is a story about terrorism, it is clear
and it will be a very good shape
and in the end it will demand your fingers
and humanity in the world and the body
of the head and Laura's best place, after:
for donation my honey, 1: 1 times when it leads to BAG,
at the end of nine years, four animals
should be named; It is believed to be red or pink,
silk, linen, cotton for George Merrick,
Italy, later in the future, and built
some strong features of the 200 and 200 technological vessels,
in the culture and culture of Bild Kenya,
history 1 year ago women ***** in Australia?
We believe in Islamic religions,
tribunals of tribal organizations,
for example, for women and tourists
in the United States and singers
and singers at the gates. In the United States,
the United States does not change rocks
on sea, rocks, trees and ACL, Australia
will not be in charge of 13:00. The best way
to know the city and the best way to tell
The strength of the Hebrew landfill,
the United States of America
is the first force in Kenya, day and night,
cats and dogs with the first power
Of all four, all red possibilities,
green, blue, pink.

— The End —