So I was walking down the street the other day,
smoking my cigarette,
and enjoying it,
and singing fake songs to myself,
and I walk past a small car,
and it made me stop,
because its strange to see a small car on my street.
Especially a small car painted in bright clown colors,
and especially a small clown colored car filled with smoke,
and especially a small clown colored car filled with smoke and what looks to be clowns.
So I decided to investigate,
and I walked up,
and I tapped on the window,
and as soon as I did all I could hear was screaming and kicking.
I took a step back because
I mean
****,
what if it exploded?
And as the small colorful clown car door opened,
smoke poured out,
billowing and puffing,
very strange smelling smoke of all different colors,
and i began to wonder if it wasn't me who was tripping ball's,
as 1..
no 2..
no 12
huge bug eyed clowns crawled out.
Gawking and hissing and juggling crack pipes.
The first one asked my name.
I lied of course.
You never trust a cracked out clown,
not even with your name.
The second one asked me my age.
I lied of course,
because it's a well known fact crack clowns are pedophiles
and he might have tried to have his way with me
if I told him the truth about my tender young age.
The third asked me for a cigarette.
I gave it to him of course,
out of sheer terror that if I didn't
he might use his circus tricks
to pull a colorful rag out of his ***
and choke me to death with it
and I didn't want that.
The rest of them just kind of stared at me
or screamed
or sniffed my clothing and inspected me.
After a few minutes of all of this
I decided I'd had enough.
Talking with clowns is bad karma anyways,
and I started to walk away
waving politely
but no they weren't done with me yet.
They hog tide me
and covered me in clown make up
and adopted me as there new pet monkey
/clown driver
/lion tamer.
But of course,
when the police found me naked in a trash can at three in the morning a few hours later
still unable to complete whole sentences
they wouldn't believe ( or couldn't understand) a word of it
but I'll tell you,
if you ever see a smoke filled colorful clown car
just walk away.
We know the truth
its ugly, and juggles crack pipes.

I am Guatemala
I am its mountains and its shore
I am its black sand beaches. I am its artists and its poor

I am the mist from its volcanoes
I am its limestone richly carved
I am the Mayan, and the Latin. I am the hungry and the starved

I am its folklore and its future
I am its markets and its clothes
I am the abandoned and forgotten. I am its children no one knows

I am its colorful conventions
I am its jungles and its fare
I am its colonial traditions. I am the pilas in the square

I am Guatemala
I am its living and its dead
One is always Guatemala, no matter how far we are spread

We are mesmerized as the purple twilight darkens the day to night
So serene as the sun radiates its last beams of light

The holes in my heart that once reminded me of the sandy shore
Have now been washed away by your love forevermore

Lay down with me on the colorful coral beds all aglow
Lets hide out from the world in the soundless surface below

Alluring tongue brings forth this lustrous pearl of mine
The sea calls out but has no hold in my lapse of time

You drink in the cool dark depths of me
And then you permeate in your very own sodden sea

I was born a sickly, screeching baby, two months earlier than expected. The doctor and midwife did everything they could to keep my little limbs moving and to keep my tiny heart beating, fluttering like the wings of butterfly.
“Is it a boy?” my mother whispered through her pale lips, as they bathed my naked body in hot water.
“No, ma’am, it’s a girl” The midwife struggled to add on something that would make the wailing creature seem more desirable. “With exquisitely shaped feet, so perfectly miniature”
She let out a croak of conflicting emotions: the joy and pride of a newly-founded motherly love, the fear of presenting a girl as a first-born, the relief that the hours of agony in childbirth were over and the dread of facing her husband once he found out about me.

My mother was not healthy after my birth for a long time; and when I was only one and two months old she fell dangerously ill, and the house whispered footsteps running to her room late at night and muffled voices of different doctors. Mercifully, she survived but was left barren and forever unfertile.
I can not imagine my father’s fury. He believed in having sons to carry on his old last name of thirty-one generations; it was his religion and had I been a son, I would have been worshipped as a god. I can imagine how my mother prayed and thanked her ancestors that her dowry was of a large one.

He could barely tolerate being in the same room as me during my toddler years. Every time he entered a room I was playing in, nurse would sweep me to our garden out side; answering to my startled queries, “Be an obedient daughter, don’t bother your father and don’t ask questions”
My body had been born frail, but my natural spirit was as healthy as could be, full of inquiries, wonders of the world around me and everyday I would learn something new just wandering around the neighborhood observing things, with my nurse trailing with a worried eye behind me muttering, “Girls are not supposed to be exposed to this” she spoke the words as if they were sour, “you should be sitting at home and accompanying your mother.”

Every day at dinner, the two females of the house, me and my mother, were silent while my father ranted on and on. My appetite being very delicate, I often just sat there as still as I possibly could and listened to my father talking about politics, jobs, money. Things he called ‘men business’. I longed to ask questions about these ‘men business’, especially ‘university’ for I had an inquisitive sort-of nature but was refrained with a sharp, piercing look from my mother every time I opened my mouth and sometimes, she pinched me under the table leaving purple splotches which flashed, “Don’t question your father”
Sometimes, he would talk about the future he had decided for me, “You will marry off, sixteen at the latest, to some one rich and beneficial to our family. You will do as I say till I marry you off, and then you will do as your husband tells you.”
“Yes father, for I should repay everything you have done for me” I replied as sweetly as I could.
“Yes, you’re a good daughter. Bear lots of sons for him and your house will be one of happiness.”
I was proud that he had given me a compliment. “Yes father, for it will make you joyful as I always wish to make you so”
My childish heart did not understand why my mother turned her head down while her left eyebrow twitched, and why that night, as she tucked me into bed, I thought I saw a tear roll down her cheek and why as she kissed me that night she whispered, “Do not love me so; love your father. The men in your life are your gods.”

My physical health would constantly limit the desires of my free spirit. I could not to do what others who were as free of spirit as I was could do, and couldn’t socialize with them and the rest of the children in my neighborhood had their siblings to mingle with, causing me to become the pitiful outcast.
I saw children around my age, around seven or eight, climbing trees and wanted to do so as well, but my white feet did not have grip enough to grasp onto the fat branches.
Father caught me once trying to propel myself up a tree and his expression was both of a resigned anger and sadness before he turned him and his face away and back into the house without a word.
That night, mother told me not to climb trees ever again. I noticed a faint bruise on her cheek bone that had been covered with white powder.

When I was eleven or twelve, and was allowed to wander further out into the neighborhood with my nurse I saw the boys fishing in the nearby pond and wanted to do so as well. Starting that day, every week I pocketed the three coins mother gave me until I could buy the best fishing rod in the little store and ran as fast as my skinny, weak legs could carry me to the pond. I mimicked the way the boys flung the fishing rod out over the water but the metal pole was too heavy for my pale, shaking arms. I tried over and over again as my nurse watched, biting her lip in anxiety. I held the fishing rod with trembling sore arms till  I felt a bite; I pumped my small arms to reel it in, but they were so tired and I was far too slow, losing the fish I had spent half the day trying to catch. “Ah, just bad luck, don’t worry! It was a smart fish, I tell you!” nurse exclaimed, though her eyes flashed a look of pity and I knew she knew it wasn’t just bad luck or a smart fish.
In anger, I sold the fishing rod to one of the boys for two-thirds of the price I had bought it for. He was delighted with the bargain and I watched with a lump in my throat as he caught three fish with the tug of his healthy, muscular arm within fifteen minutes. “This is a beautiful rod, and the pond is just filled with fish today, Little Sister!”
Wanting to spend the money jingling inside my pocket, money that to me was just a reminder of a painful memory, I headed off to the collection of little shops close to my house where I was guaranteed distraction. Nurse, sweating and complaining of the heat, followed me.
An ageing man with a bunch of filthy hair working away on a piece of thick, rough paper with wondrous colors inside a shop caught my eye as I peered inside the window. He turned the picture upside down and continued blending in the dark colors of the shape to create a shadow along the curve of it. I entered the shop. “What is that?” I asked of him.
“A face” he replied back absentmindedly.
“Doesn’t look like one to me” I confessed with my honesty.
He looked up at me, “No, it does not to you, and maybe, neither will it at the end. To me, it looks like an angle of a faded face. But slowly, with time, it will become clearer and clearer, yet only to me, and as it does, I will be able to choose more colors to make it yet more beautiful. The outcome of this painting is entirely up to me.”
I felt my challenging self rising up. “But what if you imagined a certain color in your head but couldn’t find it or be able to mix it to your mind’s perfection?”
“Then I would create my own paint color.”
“You know how?”
“No, but if I could not find the paint color already made I would make it myself, and no matter what, would learn how to. So far I have always been able to compromise and mix different colors to please me.”
“You do an awful lot of shadowing light colors with dark colors”
“Why do you think I do so?” he questioned me this time, with bright eyes.
I pondered for a moment to give as good an answer as he had given me and then told him my answer.
He nodded with impress, “Yes, yes, absolutely right. I never thought I’d hear that from a child” and looked at me with his head cocked in curiosity.
“What would you like to buy from here, Little Sister?”
Still deeply interested in our conversation I pulled out the coins I had in my pocket. “How much stuff can I buy with all this money? I’d like those crayons, I’ve tried them once before and they are so creamy and smooth.”
“Oil pastels?” he asked, a little confusedly.
Feeling ashamed of my ignorance, I nodded. The tutor father hired evidently bent to father’s strict rules of what should be taught and what would not be taught. Father disapproved of women painting, and would’ve dismissed nurse had he known that instead of taking me out for a little walk to smell the blooming daffodils, she in fact let me explore the environment around me to the best of my ability even in disgruntle.
The man gave my red-patched cheeks and undeveloped translucent frame a sympathetic look and when he spoke, his voice was gentle. “Little Sister, I’ve a whole basket of oil paints that I’ve used but rarely and so are still in perfect condition. Would you like to carry the whole basket home for all the money you have in your pockets?”
I handed him all my golden coins, “But first I must see if I like it.”
“You won’t be disappointed” he chuckled and walked with an imbalanced limp to the back of the store. I noticed a wooden stump protruding from the bottom of his long, black pants. My heart throbbed achingly; he was ****** limited too. I turned to his painting and smiled from deep inside, a smile I rarely wore.
He came back tugging a huge brown basket filled to the brim with sticks of oil pastels, some longer or thicker than others. He lifted an orange one up and showed the tip of it to me, which was stained with a black mark. “Sometimes when you blend colors this will happen, but it’s easy to rid off. Just softly, and patiently rub it off on a cloth until it disappears.” He demonstrated upon his black pants.
“Thank you. It’s kind of you. But...I can’t carry this home myself. It’s heavy.”
I turned to nurse and smiled my best pleading smile.

The basket was toiled up as nurse undressed me from my shower and father and mother were otherwise occupied. That night, with my precious basket safely under my bed, I cleaned all the multi-colored oil pastels on an old shirt, and as soon as the house was ringing with silence, I locked my door and flicked on the lamp light, and started pressing the smooth colors into the paper to blend and make a picture of kissing colors on a relatively large piece of white paper. A thrill ran from my finger tips and along my arm, and made my palms tingle as I held the colorful sticks in my hand to the paper. I hid it underneath my bed just as a rosy sun was rising.
*
I was sixteen, and I was thought beautiful: for now, at this age, it was considered beautiful to be so pale of skin, so small of feet and hands, graceful to have tiny limbs and charming to have little strength for it was now considered ‘feminine’.
It was three weeks after I had turned sixteen and for dinner, father had brought over an ugly man with a bulging waist and shiny bald head who continually made ****** jokes at the dinner table while he believed I did not understand them. He was infamous for the two wives he had had (before they died from sickness), and how he not only hit them but kept other lovers too. Yet he was desirable for his vast richness. He leered at me obnoxiously, in an attempt to smile.
Father caught him looking at me, “She’s incredibly silent, never says a word of defiance and will be a most dutiful wife.”
“Yes, she is beautiful”
My heart froze and my brain was stimulated to work twice as fast. Him?! Him?! The man who’s wives were killed through an illness called ‘abuse, neglect and disloyalty?!’
I cast my eyelashes down in order to appear a calm, modest young lady while my heart hammered in fury, disgust and a rising hysterical panic. I shot a look at my mother whose left eyebrow was twitching as she stared down at her dinner plate, and I knew she was having the same thoughts as I.
“I would be glad to have you as my son-in-law. You would have no trouble with her, and would be embraced with open arms into our family.”
They continued this path of talk through dinner while he eyeballed me in a way that made me cringe. I felt his foot nudge mine under the table and in haste tucked it under the chair with a little gasp. His eyes glittered at my gasp and I was furious with myself for letting him feel a rotten triumph. Though I had always felt an extremely strong dislike towards him from what I knew of him and sometimes saw of him with an immoral lady, something pushed in the pit of my tummy, and I knew it was pure hatred.
When mother tucked me in she was being strange. On closing my door she whispered, “I love you… so I wish you to know… don’t ever contradict men”

As I was secretly drawing a picture as I did every night till dawn, I heard my father’s voice roar in the dead of the night. In a sudden, I shoved my portrait under the bed and threw all my oil pastels into the basket, hid it, and switched the light off. I heard his voice roar again, accompanied by a thud. I was wild with fear as I crept to my door and pressed my ear against it, barely even shocked at my own daringness as my instinct, love, took over- my instinct of must knowing what was happening to my mother.
“How dare you say I’m wrong!?” there was another thud, and this time I heard a soft whimper. “She is worthless to me, not a son. And I will marry her off to a rich man who can actually benefit this family.” He roared.
There was a whisper which I strained to hear, “He will **** her”
“From the moment she was born she wasn’t made to live!” he yelled.
A hiss escaped my tongue and I coiled like a serpent, flinching as a thud was heard yet again and an immediate cry of pain escaped from both my lips and my mothers’.
A fire awoke inside me, burning my temples and my whole body and my eyes stung with hot tears; tears that burned my face as they splashed down. My whole body was shaking and my tightly squeezed eyes were going through spasms. I was no longer wild with fear, but with anger.
I turned my light back on and tugged my basket of oil pastels out. I yanked my portrait off from a thick of pile of different pictures I had drawn.
My breath was coming in quick short breaths as I finished my portrait to the utmost perfection, using every oil pastel in the basket. Every time I heard a thud, I colored with more fiery… shadowing my jaw line with the fat black oil pastel, in the crook of my ear, the corner of my mouth… where the light shone upon my fore head, how it reflected in the color of my eye and glowed on my cheeks.
When I was finished, the house was deadly quiet again and dawn was breaking. I looked down upon it and realized something that changed my life.
In frenzy I swatted out all the things I had ever drawn and stared at them in an awakening.
The colors on them were the events of my life, the things that characterized it, the decisions. They were beautiful for they had been chosen and controlled by me … I had chosen the colors I wanted and thought best for my pictures; and spent thought over how to blend different colors to the color I wanted.
And everyday, as I worked into the drawings with time, they became clearer and clearer on what was the right thing to do, and how it should possibly look like in the next stage.
I leaned over and kissed the thin lips of my portrait that didn’t look exactly like me for not even the most skilled artists have complete control over what they draw.

Then I remembered what I had told the one-legged man in the shop a few years go:
“Lights not only illuminate, they also cast shadows. The contrast makes you able to appreciate the power of both.”
Now it was time to truly let the light illuminate my life, and let the shadows let me appreciate the light that shines upon me; I color my own life, and choose my own colors.

To pull out the colors underneath the darkness of my bed…
And spill it to the world outside.

Beautiful as faith!
Beautiful as hope!
Beautiful as your parents helping God bring an angel into this world.

Beautiful as brother and sister playing.
Beautiful as hearing children laughing.

Beautiful as warm sunshine though a window,
On a cold winter's day.

Beautiful as a garden of colorful roses.
Beautiful as a rainbow.

Beautiful as cotton clouds floating in a blue sky.
Beautiful when you look up to heaven with a bright smile.
Beautiful as happiness.

Beautiful when you play piano song.
Your piano song is so beautiful it makes me cry.

You are beautiful as...


(C) 2014 Ronald J Chapman All Rights Reserved.

There was once a kite flyer
who flew his kites so high
He can hold on to his strings
and never get tired

He makes his kites by hand
He makes 'em colorful
He makes 'em grand

So one day, the kite maker flew his finest kites
In the hopes of showing everyone his amazing feats of flight
But because there were so many and the wind was strong
His strings tangled and the flight patterns got all wrong
one of the strings snapped and one of the kites flew
the wind took it and away it blew

One by one the strings broke
and all the kite flyer can do was to watch them float
away from him, the kites were set free
All his hard work, his dreams. his reality

The kite flyer looked up the sky
crying and regretting
There's nothing left of him
nothing but broken strings

You should smile more.
It creates a rippling effect greater than that dark waves of your hair.
Your voice puts me in a monotonous trance.
It wakens up my soul yet could put me in a lucid dream.

That colorful sleeve on your arm reveals your true beauty
Although I cannot decipher it.
It has a way of speaking to me;
           Who you are.

So you know you’re looking at two very different styles of dress, here. But precisely what decades? When did that waistline move back down? What details are the defining touches of their era? How long were women actually walking around with bustles on their backsides?

Lydia Edwards’s How to Read a Dress is a detailed, practical, and totally beautiful guide to the history of this particular form of clothing from the 16th to the 20th centuries. It tracks the small changes that pile up over time, gradually ******* until your great-grandmother’s closet looks wildly different than your own. As always, fashion makes for a compelling angle on history—paging through you can see the shifting fortunes of women in the Western world as reflected in the way they got dressed every morning.

Of course, it’ll also ensure that the next lackadaisically costumed period piece you watch gives you agita, but all knowledge has a price.

I spoke to Edwards about how exactly we go about resurrecting the history of an item that’s was typically worn until it fell apart and then recycled for scraps; our conversation has been lightly trimmed and edited for clarity.

The title of the book is How to Read a Dress. What do you mean by “reading” a dress?

Basically what I mean is, when you are looking at a dress in an exhibition or a TV show, reading it in terms of working out where the inspirations or where certain design choices come from. Being able to look at it and recognize key elements. Being able to look at the bodice and say, Oh, the shape of that is 1850s, and the design relates to this part of history, and the patterning comes from here. It’s looking at the dress as an object from the top down and being able to recognize different elements—different historical elements, different design elements, different artistic elements. “Read” is probably the best word to use for that kind of approach, if that makes sense.

It must send you around the bend a little bit, watching costume adaptations where they’re a bit slapdash. The one I think of is the Keira Knightley Pride and Prejudice, which I actually really enjoy, but I know that one’s supposed to have all over the place costuming-wise.

Yeah, it does. I mean, I love the BBC Pride and Prejudice one, because they kept very specifically to a particular era. But I can see what they did with the Keira Knightley one—they were trying to keep it 1790s, when the book was written, as opposed to when it was published. But they’ve got a lot of kind of modern influences in there and they’ve got a lot of influences from 30, 40 years previously, which is interesting to an audience and gives an audience I suppose more frames of reference, more areas to think about and look at. So I can see why they did that. But it does make it more difficult if you’re trying to accurately decode a garment. It’s harder when you’ve got lots of different eras going on there, but it makes it beautiful and interesting for an audience.

The guide spans the 16th to the 20th century. Why start with the 16th century?

Well, partly because it’s where my own interest starts, in terms of my research and the areas I’ve looked at. But more importantly in terms of audience interest, we get a lot of TV shows, a lot of films in recent years—things like The Tudors—that type of era seems to be something that people are interested in. That time is very colorful and very interesting to people.

And also because in terms of thinking about the dress as garment, obviously people wore dresses in medieval times, but in terms of it being something that specifically women wore, distinct from men’s clothes, I really think we start to see that more in the 15th, 16th century onwards.

Where do you go to get the historical information to put together a book like this? What do you use as your source material? Because obviously the thing about clothing is that it has to stand up to a lot of wear and tear and a lot of it doesn’t survive.

This is the other thing about the 16th century stuff—there’s so little surviving. That’s why that chapter was a lot shorter and also that’s why I used a lot of artworks rather than surviving garments, just because they don’t exist in their entirety.

But wherever possible, you go to the garments themselves in museum collections. And then if that’s proving to be difficult, you go to artworks or images, but always bearing in mind the artist will have had their own agenda, so they won’t necessarily be accurate of what people were actually wearing. So then you have to go and look up written source material from the time—say, diaries. I like using letters that people have written to each other over the centuries, describing dress and what they were wearing on a daily basis. Novels can be good, as well.

Also the scholarship that has come before, the secondary sources, works by people like Janet Arnold, Aileen Ribeiro. Really well researched scholarly books where people have used primary sources themselves and put their own interpretation on it can be really, really helpful. Although you take some of it with a pinch of salt, and you put your own interpretation on there, as well.

But always to the dress itself wherever possible.

What are some of the challenges you face, or the constraints on our ability to learn about the history of fashion?

Well, the very practical issue of trying to see garments—some of them I did see here in Australia, but a lot of them were in the States, in Canada, in New Zealand, so it’s hard to physically get there to see them. And often, even when you can get to the museum, garments are out on loan to other exhibitions or other museums. That’s a practical consideration.

But also, especially when I’m talking about using artworks and things, which can be really helpful when you’re researching, but as I’ve said they do come from a place where there’s more interpretations and more agendas. So if someone’s done a portrait and there’s a beautiful 1880s dress in it, that could have been down to the whims of the person who was wearing it, or the artist could have changed significantly the color or style to suit his own taste. Then you have to do extra research on top of that, to make sure that what you are seeing is representative.

It’s a fascinating area. There’s a lot of challenges, but for me, that’s what makes it really exciting as well. But it’s really that question of being able to trust sources and knowing what to use and what not to use in order to make things clear for the audience.

Obviously many of these dresses were very expensive and took a lot of labor and it wasn’t fast fashion—people didn’t just give it away or toss it when it fell out of season. A lot of times, you did was you remade it. When you’re looking at a dress that’s been remade, how do you extract the information that you need as a historian out of it?

I love it when something like that comes up. I’ve got a couple of examples in the book.

Well, it can be quite challenging, because often when you’re first looking at a piece it’s not obvious that it’s been remade. But if you’re lucky enough to look inside it and actually hold it and turn it round different angles, there’ll be things like the placement of a seam, or you’ll see that the waist has been moved up or down according to the fashion. And that’s often obvious when you’re looking inside. You can see the way the skirt’s been attached. Often you can tell if a skirt’s been taken off and then reattached using different pleats, different gatherings; that can give you a hint that it’s then been remade to fit in with a different fashionable ideal.

One of the key ways is fabric. You can often see, especially in early 19th century dresses when they’ve been made of these beautiful 18th century silks and brocades. That’s nice because it’s the first obvious clue that something’s been remade or that an old dress has been completely taken apart and it’s just the fabric that’s been used. I find it particularly interesting when the waist has been moved or the seams have been taken off or re-sewn in a different shape or something like that. It can be subtle but once your knowledge base grows, that’s one of the most fascinating areas that you can look at.

You page through the book and you watch these trends unfold and there are occasional sea changes will happen fairly quickly, like when the Regency style arises. But how much change year-to-year would a woman have seen? How long would it take, just as a woman getting dressed in the morning, to see styles just radically alter? Would you even notice?

Well, this is the thing—I think it’s very easy, when we’re looking back, to imagine that in 1810 you’d be wearing this dress and then all the frills and the frouf would have started to come in the late 1810s and the 1820s, and suddenly you would have had a whole new wardrobe. But obviously, unless you were the very wealthiest women and you had access to dressmakers who had the absolute newest patterns and newest fabrics then no, you wouldn’t have seen a massive change. You wouldn’t have afforded to be able to have the newest things as they came in. You would have maybe remade dresses to make them maybe slightly more in line with a fashion plate that you might have seen, but you wouldn’t have had access to new information and new fashion plates as soon as they came. To be realistic, there would have been very little change on a day to day level.

But I think also, for us now—it’s hard to see it without hindsight, but we feel like we’re fairly fluid in wearing the same kind of styles, but obviously when we look back in 20 years, we’ll look at pictures of us and see greater changes than we’re now aware. Because it happens on a slow pace and it happens on such a subconscious level in some ways.

But actually, yeah, it’s to do with economics, it’s to do with availability. People living in towns where they couldn’t easily get to cities—if you were living in a country town a hundred miles away from London, there’s no way that you would have the resources to see the most recent fashion plates, the most recent ideas that were developing in high society. So it was a very slow process in reality.

If you have a lot of money you can change out your wardrobe quicker and wear the latest styles. And so the wealthiest people, their clothes were what in a lot of case stood the best chance of surviving and being in modern collections. So how do we know what working women would have worn or what middle class women would have worn?

Yeah, this is hard. I do have some more middle class examples, because we’re lucky in that we do have quite a few that have survived, especially in smaller museums and historical collections, where people have had clothes sitting in their attics for years and have donated them, just from normal families over the years.

But, working women, that’s much more difficult. We’re lucky from the 19th century because we have photographic evidence. But really a lot of it will come down to written descriptions, mainly letters, diaries, not necessarily that the people themselves would have kept, but there’s examples of people that worked in cotton mills, for instance, and people that ran the mills and their families and wives and friends who had written accounts of what the women there were wearing. Also newspaper accounts, particularly of people who would go and do charity work and help the poor. They often wrote quite detailed descriptions of the people that they were helping.

But in terms of actual garments, yeah, it’s very difficult. Certainly 18th century and before, it’s really, really hard to get hold of anything that gives you a really good idea of what they wore. But in the 18th century—it’s quite interesting, because then we get examples of separate pieces of clothing worn by the upper classes, like a skirt with a jacket, which was actually a lower middle class style initially and then it became appropriated by the upper classes. And then it became much fancier and trimmed and made in silks and things. So then, we can see the inspiration of the working classes on the upper classes. That’s another way of looking at it, although of course that’s much more problematic.

It’s interesting how in several cases you can see broader historical context, or other stories happening through clothes. Like you point out that the rise of the one-piece dresses is due to the rise of mantua makers, who were women who were less formally trained who were suddenly making clothing. Are there any other interesting stories like that, that you noticed and thought were really fascinating?

There’s a dress in the book that a woman made for her wedding. I think she was living on her own, or she was living with a servant and her mother or something. She made the dress and then turned up to her wedding and traveled quite a long way to get there, and when she arrived, the groom and all the guests weren’t there. There was nobody. So she went away and came back again a week later, and everyone was there. And the reason that no one was there before was that a river had flooded in the direction that they were all coming from. She had obviously no way of finding out about this until after the fact, and we have this beautiful dress that she spent ages making and had obviously gone to a lot of effort to try and work out what the latest styles were, to incorporate it into her wedding dress.

Things like that, I find really interesting, because they talk so much about human and social history as well as fashion history, and the garment is the main way we have of keeping these stories alive and remembering them and looking into the kind of life and world these people lived, who made these garments.

Over the centuries, how does technology affect fashion? Obviously, we think of the industrial revolution as really speeding up the pace of fashion. But are there other moments in the history of fashion where technology shapes what women end up wearing?

One example is where I talk about the Balenciaga dress from the early 1950s—with a bubble hem and a hat and she would have worn these beautiful pump shoes with it—with the introduction of the zipper. Which just made such a huge difference, because it suddenly meant you’d have ease and speed of dressing. It meant that you didn’t have to worry about more complicated ways of fastening a garment. I think the zipper made a massive change and also in terms of dressmaking at home, it was a really quick and simple way that people had of being able to create quite fashionable styles on a budget and with ease and speed at home.

Also, of course, once women’s dress started to become simpler and they did away with the corset and underwear became a lot less complicated, that made dressing a lot easier, that made the introduction of the bias cut and things that sit very closely to the natural body much more widely used and much more fashionable.

I would say the introduction of machine-made lace as well, particularly from the late 19th, early 20th century onwards where it was so fashionable on summer dresses and wedding dresses. It just meant that you could so much more easily add this decadent touch to a garment, because lace would have been so much more expensive before then and so time-consuming to make. I think that made a huge difference in ordinary women being able to attain a kind of luxury in their everyday dress.

That actually makes me think of something else I wanted to ask you, which is you point out in your intro the way we casually use this word “vintage.” I think about that with lace. Lace is described as being a “vintage” touch but it’s very much this question of when, where, who, why—it’s a funny term when you think about it, the way we use it so casually to describe so much.

Oh, yes. It’s crazy. I used to work in a wedding dress shop and I used to make historically inspired wedding dresses and things. And brides used to come in and say, “Oh, I want something vintage.” But they didn’t really know what they meant. Usually what they meant is they wanted something with a bit of lace on it, or with some sort of pearls or beading. I think it’s really inspired by whatever is trending at the time. So, you know, Downton Abbey became vintage. I think ‘50s has always been kind of synonymous with the word vintage. But what it means is huge,

Smell of lilacs bloom
to no end—a nebulous glow of
purple, perfect, and unperturbed—your
poem of lilies with caution tape
snug in my backpack—
your pollen hundreds of miles
away—a firebrick orange
sung again and again. A cotton
blow unlike anything colorful
—a white puff of dandruff before
the rain—a bouquet for
your spring stitched
stem by stem.

Thirty feet tall Madonna, is one of the things-

My ultra-stylish city that grew up,

Rave, raunchy catwalks beneath those chandeliers-

The Toyota drives by the Manhattan Beach, amidst bikini wardrobe.

When I read those Taxi-dance barbettes-

I wish I could lost in their growling gowns,

All my wishes fulfilled one day and flew me down there-

My boasting finance job and some pals were African browns!

It was that ultimate visa down the Fashion Avenue-

Most of their lipstick glosses were supported by Chelsea revenue.

I could not breathe the invisible virus against my immunity,

The enigmatic pleasures that lived inside the skyscraper community-

I had no qualms while cherishing the barbeque restaurants poisoning,

My fascinations without imaginations had no logical reasoning-

Many of us at Saint Clair’s ward#3, NYC, were at once there fugitive-

Now moaning like chickens to be butchered, we are all *** positive!


Did you know that…

Pop diva Madonna is a gay icon and the gay community has embraced her as a pop culture icon. She was introduced to the gay community while still a teenager. It was her ballet teacher, Christopher Flynn, a gay man, who first told Madonna that she was beautiful. He introduced her to the local gay community of Detroit, Michigan, often taking her to the local gay bars. Flynn encouraged Madonna to walk away from her full scholarship to the University of Michigan and to move to Manhattan.



The disease of AIDS…
Was first uncovered in homosexual men
From Manhattan


Synopsis

What happens when your dreams turn into reality? It’s a paradigm that you celebrate, live life to the fullest. There is however, life that exists beyond this celebration, sometimes good and sometimes not so good like you expected. And when it becomes not so good like you expected, you spat with bitterness and associate the term bad. Anything against your wish and will is then bad and one day you might fall into live with this bad. All I can say is that they are individual retrospection.

This is what Manhattan Dreams exactly captures. The first half can successfully open the door of fascinations that a college teenager in search of a lucrative career and living might jump into- “Style, fashion, exuberance, beaches, skyscrapers, stardom and what not!” Everything is colorful about Manhattan, even the way it is spelt and pronounced. A financial job inside a long cherished skyscraper, international friends, restaurants, pubs, smoking, the kind of gay evenings are not only meant for Hollywood films but can happen to someone like you. And then one day, the world economy complains your presence there as a fugitive, you are fired from your job and your world crashes to a clinic or a hospital confirming you *** positive. What will you do then?

That is what you are getting from the second half of the poem. As if the drama has reached a ****** like after the interval in a film. There seems a sudden pause in life from where there leads the road to uncertainty, disappointment and delusion. This is where the poem ends, because this is where the human mind stops thinking often. A never before kind of bitterness cataracts the dreamy visions and the object of your dream becomes an excuse of your current defeat.

Manhattan Dreams is not a criticism of the gay culture. Neither it attempts to de-criminalize the society nor does it pollute the appeal of Manhattan at all. It is the victim’s individual retrospection in the other side of his celebrated life which is no more a celebration now. The stylish Manhattan is both a dream and a reality. It has nothing to do with your personal glory or agony. Depending upon the situation in your life it might serve as your forefront or background.

Smooth pale skin that glows
Features like innocent dolls

Silky ebony hair that shines
Waving shimmering stars

Eyebrows that perfectly frames
And enticing Obsidian eyes

Perfectly carved jaw and nose
Velvet lips like Grandifloras

Put on the Kanzashi flowers
Colorful and bright Kimonos
Obi hanging down to ankles

Walk, dance with elegance
Shamisen in her hands
Showers colorful melodies
Such beautiful skills
Purely fetching artisans

He discovered her in a world of grays and blacks.
She put forth the image of smiles and pinks, but held back
secrets, kept in the shadows,
which revealed an artist
trained in writing with silver.
And though she tried her hardest to create purples or the yellows of happiness
red was her medium
until he discovered her,
and ripped her tedium apart
with his sea of green.
He peeled back her layers:
     The false pinks used to fool the world
     Bright oranges, tools for when the pinks began to crack
     The black, forming an endless pool she was slowly drowning in
Until he found the blue
     Blue as the sky in which he made her feel like she was flying
     Blue from the effort of actually trying for once
     Blue as the sea where her soul now seemed to float
He peeled back her layers and showed her just how colorful
the world could be.

Like a colorful wave of a wide palette rainbow,
The colors gleam and shine into my eyes.
Though only blue protrudes,
A rainbow still shines forth.
And allow the words themselves such sights,
As the true range of colors remain hidden.
That even the best of the best,
Take years to see them.
I once again get to live to see those colorful lights.

my polygamous relationship with you distances me from the monotony of monogamy and makes me feel lonelier than the loneliest mundane monogamist. my mere apologies for my misendeavors, the malnutritious morals of my miseducation propose metal mirrors and castaways controlled by cutting carvers, craving crazy letters and loyalty from lengthy lies and lonely lives. lethargy overtakes and vowels reign, raining drops like rainbows and rocks in rivers, rusting relationships, rusty railroads at intense intersections entwined in everything inside and nothing on the outside anymore except these
muscles. we are back at the beginning.

my mind marvels in the magic of the memories, the madness of the morbidity and the hesitations of your reaction. his, I take, is misunderstood as my misfortune, but it is not a miss, my fortune: it is a fox in feathers colorful like friendships 'fore their forfeited and feigned approval, forced for fear of polygamy tho' it promises the purest pleasure, the most personal independence and precious pearls of princes, princesses, powerful, plight-less

poetry.  peace surrenders,

souls surprise themselves, surprise their cells, call for curious catastrophes to take place. colorful and calm they coincide with cooperation that can not contain the context of truth, of teases, of teasers and targets and tonal dualities and we endeavor, we endear you, we dare destroy the darkness of the devil in its disguised diamonds.

words lie at my feet like pebbles of poetry and I promise personal demise, deterioration and ridiculous obsessions- there's madness to be had and fragments to be written and I play with silly alliteration instead!

serious and serene you stare as if my sanity has slowly faded and I sternly helplessly smile shyly.  I suppose you are sincerely offering me your blessing before parting, so stumbling slightly I surrender…


if this is the prevailing promise of mere mortality, I'm graciously aware I was worthy of words.

Get your finery on and let the games begin,
Blackout suit, purple shirt, and a tie to match
those gleaming eyes.

The dinner was alright
now get ready to fight. White powder on the counter,
A dusted card and a rolled-up fiver.

Codine chills, calm instilled,
Colorful lights, relaxed thrills.

Later on and we're back in black.
Hometown beatdown. Go hard, get smashed.

Messy nights never get old,
River of glass across a broken road.
Tonic wine's best served cold, its medicinal properties
remain unknown. The sweet nectar, a bottle of B
to resurrect me.

Just the end of another debutante night,
Staying classy while we drink and fight.

She knew
It would be good
as she stood
under a sky more colorful than blue.
As she stood
on a threshold of something
that smelled like the silk and satin
he had slept on just the night before,
She hoped for more
than red lights flashing,
than hearts surrounded by fences.
But, she only heard the mashing
of sweetened heartstrings not fully cooked.
If only she had looked
for something more than a cookbook.

At the mailbox, again:
“Who loves me, baby?”
Well, let’s see: there’s a flyer from Mercury Insurance,
Reminding me that most middle-income customers
Save an average of $4 million smackaroons when they switch too.
The Penny Saver USA.com is here,
Thank God, almighty!
So now I know that Thomas Roofing & Paving
Is having a special on 20-year leak-free flat roofs;
"All work guaranteed & insured.
No job too big or small.
Free estimates/Emergency services/License # I8U-69."
And thank you, Jesus,
For another $4.99 Farmer Boys 3-Egg Breakfast
Combo with Coffee coupon, and that
Little Caesars Hot-N-Ready, $5.00 cheese or pepperoni,
Mae-West-“why-don’t-you-come up and see me sometime?”—mailer. And, of course, another technology Siren’s song:
Verizon FiOS delivers entertainment this big,
Dish me up some dish NETWORK, $19.99 a month . . .
Are you ******* me?
For 12 ******* months?
AT&T;: whack me off on 120 channels.
DIRECTV.com - DIRECTV® Official Site‎
Worry-free 99.9%  . . . cue Joe E. Brown,
"Some Like It Hot“ Osgood:
"Well, nobody’s perfect!"
Time Warner/Sprint/T-Mobile;
And ******* Leather, Polk Street, San Francisco.
******* leather?
Must be for my neighbor: that ***** ****!
And here’s the weekly 8-page color fold-out from Stater Bros:
Lowering prices every day, large cantaloupes
(Jessica Lange, are you back?)
10 for $10.00, 32 oz. Gatorade
Or 24 oz Propel in 30 assorted varieties @ 79 cents
+ CRV: California Redemption Value?
Nice euphemistic cover-up for a TAX.
Nice, nice, very nice, CA elected state officials;
Nicely done, Sacramento.
Everywhere else in the country you get real money—
A fixed number of pennies, nickels, or dimes—
For your plastic bottles and aluminum cans.
But in California, the licensed recyclers
Get to pull the market price out of their *** each morning.
California Redemption Value?
What ******* genius government kleptocrat thought that one up? Conspiracy Alert: who gets all that CRV money?
And what are they doing with it?
Feeling plain, Jane?
Marinello Schools of Beauty, want you,
Offer you hands-on training in cosmetology,
Skin care esthetics, manicuring and vaginal deodorizing—
Just kidding, Babaloo.
Food tip for the Third World:
Never try to write poetry on an empty stomach.
Sizzler 6 oz juicy & succulent.
RENEGADE DEAL:
El Pollo Loco guacamole chicken sandwich,
Coupon free, small drink and small chips,
When you purchase a guacamole or jalapeno sandwich,
includes pepper jack cheese and a southwest sauce.
Gardenas sandia con semilla, 7 lbs 99 cents.
GARDENAS: “en precios, servicio y calidad, nadie nos iguaia.”
Bud Gordon’s Quality NISSAN:
One at this price after a $1500 factory rebate.
TERMINIX: get them before they get you!
The Kingdom Animalia, Phylum Arthropoda, Class Insecta
Bug up my *** again.
And a form letter from the VA
Asking me to please update my whereabouts.
And a form letter from the VA asking me
To please update my whereabouts.
And miles to go before I sleep.
Bite me, Mr. Frost!

An outing, at last.
I am going for a walk around the inside of my gates.
I live in one of those gated over-55 lunatic asylums.
There are gates. It is gated. Get it?
GATED! We feel safe here.
Probably a good thing at our age:
Self-imposed institutionalization,
Putting oneself in an asylum to ferment and die.
The fact that so many of us
Need it so bad at only 55
Says something itself about the current state of
Baby Boomer metal-fatigue.
I am now standing at the far end of the golf course.
I wait at the far end of the 18th Hole.
A ball bounces past my head and
Rolls off past the green into the far rough.
The 18th Hole is perched atop a small plateau,
Out of sight, far above the horizon for anyone teeing off.
I am Puck, invisible and impish.
I pluck the ball up.
I scamper to the green.
I pop the ball into the hole.
Which is better than popping a hole in the ball,
Surely, kind of a drag,
As we were once fond of saying.
Deflated Ball.
Deflator Maus.
OPERA can be ****.
Bodice-ripping corsets, whorehouses and naked ******!
Hardly what you might expect from
A night with the Welsh National Opera,
But they found their way into this production of "Die Fledermaus."
Ripe language, contemporary jokes and
Toilet humor thrown in, adding immensely
To the pleasures of Strauss’s operetta.
"Die Fledermaus," or The Bat’s Revenge,
Is all about drunkenness and adultery.
Despite being written in the 1870s,
It remains equally pertinent to today’s pub culture of excess.
Daring; Colorful; ****: PGA golf.
I steal a golf ball on the far end of the 18th Hole.
I pick up the Titleist and stick it in the hole
(Steady Jessica, not yours.
I hide behind your bush.
(Cue up PSA, First Lady Bird Johnson’s 1960s
Nationwide Beautification Campaign:
“I want everyone in America to plant a tree,
A sherrrr-rub, or a booosh.”)
The golfer now searching frantically:
Why is the cup always the last place they look?
Then, wham, bam, he looks:
A legend is born.
A hole in one,
His name forever immortalized
On a plaque over the bar, the proverbial 19th Hole.

As you know, I speak for all mediocrities,
Safe in my 55+ gated-community.
I go next to the Club House,
"The Lodge" as it’s called.
Each afternoon, the usual suspects
Claiming first come/first serve tiered mini-theater seats
Where Netflix matinee gems are screened.
It is two minutes to DVD show time.
I walk to the front of the room.
I stare at my audience.
I count the house slowly,
Making meaningful eye contact with each wrinkled face.
I cup my hands behind my back and speak:
“I assume you are all here for my lecture on Kierkegaard.”
No one reacts.
I turn to leave but do a double-take and smile.
One old woman in the top right corner of the amphitheater laughs, Perhaps the one other human being within the gates
Who has also smoked a joint today.
For an instant, I am overwhelmed with paranoia,
Perhaps I’ve gone too far over the line:
No longer “oh-he’s-a-character;”
I am now “that creep is ******* nuts.”
Is it time for someone to approach my family,
My next of kin, my “who-to-contact-in-event-of-emergency” number? Who will make the call on behalf of the HOA—
The Homeowner’s Association—
The Tsars, the Duma, the Supreme Soviet in these parts?
They are the power inside the gates;
Those who determine the state’s enemies,
Who govern its community norms.
Power within the gates.
Law within the asylum.
Little Hitlers one and all.
Hopefully they reach my sister first.
She’s been briefed.
KEY POINT IN THE NARRATIVE:
The new narrative is non-linear.
We can no longer sustain a narrative understanding of ourselves;
We are each an individual stream of consciousness,
All of us random, non-linear and disconnected.
We grow more and more disconnected from others.
We may be neighbors in space and time,
But we remain deprived of any significant human contact;
Any spiritually significant human contact.
Our social circle narrows to what can fit in The Telescreen;
We become more intimate with a legion . . .
Did someone say a legion? SPQR:
Am I having some sort of genetic-linguistic seizure here?
Am I channeling Benito Mussolini again?
Il Duce speaks to me from the grave,
Still blowing smoke up my Hopi-Jew-*** ***,
Filling in my insecurities,
Plugging the holes in my character
With delusions of classical Roman grandeur, glory and empire. Hmmmm? Quite an appetizing pitch for the average *****,
A message so completely, so ethnocentrically slick,
Olive oily, and so seductive.
A non-Italian would have thought
American Legion or Legionnaire’s disease,
Or The Foreign Legion, The French Foreign Legion.
The French: a virulent, promiscuous people.
Do you want fries with that, Simone?
No, I don’t get out much.
Only an occasional brisk walk around the asylum,
In and around the golf course, around but inside the gates. (LINKS) Bill Gates. Daryl Gates. Billy Bathgate’s Gates? Ghiberti’s Gates? The Hot Gates? Thermopylae? 300 Spartans/700 Thespians:
“The noun causing idiots to think of
Two girls sloppily eating each other’s mighty vaginas,
When they hear mention of someone being an actor.” http://www.urbandictionary.com
Not even close.
No, I rarely venture out.
This is Hemetucky.
There are methamphetamine-stoked
Teenage zombies at the gate.
Note to costume control:
Perhaps camouflage clothing is the safe choice?
No loud red Hawaiian.
No garish Indonesian batik.
Fleet of feet are these Hemet tweakers,
These cranked up Riverside County teenage barbarians,
These Huns & Visigoths,
These amped up, ravenous jackals.
And why stop there?
These Vandals & Vandellas.
A Motown flashback:
“Nowhere to run, baby, nowhere to hide.”
With or without Martha—
They remain dangerously lethal.
Yes, let it be camo clothes for me.
Those **** heads may be young.
They may be fast.
They may be able to run me down
On a dry grass dog-legged fairway savannah,
Tearing the meat from my carcass.
But the sons-a-******* have to see me first.
Besides, we know who are real friends are.
Hooray for our media peeps!
We become more intimate with a legion
Of television personalities on 125 different channels.
Most of these we know by name and context.
We know their families, their friends,
Their histories, their tragedies,
Their favored hyperbole and manner of speech.
Sometimes we establish intimacy with celebrities
Strictly on the basis of universal body language.
At times–in the absence of any other
Empathetic facility of identification–
We connect on instinct alone.
Instinct: perhaps animal at its core,
An animal kingdom affinity group,
Connecting on a bio-linguistic level,
Particularly when the Korean, or Spanish,
Mandarin, or Arabic,
Japanese, or even Hebrew language version is broadcast.
All languages cryptically alien,
A dense boundary, a barrio border wall,
Undecipherable, impenetrable concrete.
But we’ve never spoken to our neighbors,
Nor do we know their names.
Celebrities are the neighbors we know best;
Although the intimacy is an illusion,
Permission to invade their privacy presumed,
Tacit in the relationship between celebrities and their fans.
I am an independent contractor now,
An outside consultant to the NSA.
Try as I might I cannot crack the enigma,
Kim Kardashian remains far beyond my code-breaking prowess.
I repeat myself:
We can no longer sustain a narrative understanding of ourselves;
We are each an individual stream of consciousness,
All of us random, non-linear and disconnected.
We are more and more disconnected from others.
We may be neighbors in space and time,
But we remain deprived of any significant human contact;
Any spiritually significant human contact.
Our social circle narrows to what can fit in The Telescreen; we become more intimate with a legion . . .
Back to you, David Ulin:
“Sometime late last year—I don’t remember when, exactly—I noticed I was having trouble sitting down to read. That’s a problem if you do what I do, but it’s an even bigger problem if you’re the kind of person I am. Since I discovered reading, I have always been surrounded by stacks of books. I read my way through camp, school, nights, and weekends; when my girlfriend and I backpacked through Europe after college graduation, I had to buy a suitcase to accommodate the books I picked up along the way.”
Thank you, David L. Ulin.
I cannot help myself.
I grow more eccentric each day.
My eyeballs glued to that flat screen!

Cosmo Kramer: "The bus is outta control.
So I grab him by the collar, I take him out of the seat,
I get behind the wheel, and now I’m driving the bus."
Jerry: "Wow!"
George Costanza: "You’re Batman."
Cosmo Kramer: "Yeah, yeah, I am Batman.
Then the mugger, he comes to and he starts choking me.
So I’m fighting him off with one hand,
And I kept driving the bus with the other, ya know.
Then I managed to open up the door,
And I kicked him out the door, ya know,
With my foot, ya know, at the next stop."
Jerry: "You kept making all the stops?"
Cosmo Kramer: "Well, people kept ringing the bell!"
(Share this moment with a stranger.)

I speak for all mediocrities.
I am their champion, their patron saint.
Boom Chaka Laka. Boom Chaka Laka.
Boom Chaka Laka. BOOM!
Isn’t it time Salieri tempted Constanze–
Frau Mozart–with a plateful of Capezzoli di Venere:
“******* of Venus.”
You had me at hello, Kidman.
I know you too well, Nicole.
I knew you from before,
Way before Tom’s Oprah couch freak show.
Listen to me, Nicole:
We are face to face
With the most profound question in American literature:
"What is the grass?
The flag of my surrender?
The flag of my disposition?"
I resort to Socratic maxims: Know yourself;
The un-****** life is not worth living.
Is it stress? Is it lack of conviction?
Everything Jeff Lebowski neither wants nor needs in his life?
I watched you *** in "Eyes Wide Shut," Nicole.
Now I know you with my eyes and your legs wide open.
Thank you, Sidney Pollack.
Sidney knew.
Sidney dealt us cards
From his Hollywood Tarot deck.
We are intimate, Nicole.
I watched you squat.

Artemis of the wood,
sweet skill of deadly
silence,
her accurate aim and steady
strength
finds the subtle seam,
between
all things.
Her swift sentry,
airborne,
elegant and true,
flies with focused
ferocity.
The soft,
wet earth
surrounds and
welcomes;
her realm of the hunt.
The scent
of the fallen leaves,
cool and colorful,
subdue
my soul.
The forest hush is all that
remains...

The first light of day sprung,
as the sleepy town awoke from it's dreams.

The cool spring breeze sweeps across the land,
making colorful dresses and shirts billow gently.

Wispy cotton-like clouds douse the sky,
only letting the robin egg blue peek through.

Silver bells hung on the wooden doors chime in unison,
creating melodic music as the baby grass sway back and forth.

The sugary sweet smell of warm buns linger in the air,
just pulled out of the oven from loving hands.

Children's laughter echoes all around,
their colorful chalk covered hands imprinting the pavements.

And as soon as the yellow light began it ended,
wrapped in a dark cloak.

Tiny shimmers sprinkle the sky,
illuminated by a frothy round.

Slowly, the sound dies,
and one by one the lights go out.

In one's life,
A Happy Place, which we often recall...must have existed
....t'was where we felt at peace...and contented
None can  break the serenity
Of home...or church, or maybe a shady tree
...its proximity...offering safety,
....no worries, no fears that blur our eyes........
...like that easy morning...with blue animated skies
........the smell of rice, ready for reaping, filled the air
....it felt nice, to sit by the creek...wind, messing hair
..........while throwing stones, on the water flowing
.......having fun...watching people harvesting

One day, those rice fields
..............had no more rice to yield
....just wide open spaces left, where young boys
...surrendered to the winds, their artfully designed toys
...colorful, Japanese paper...smooth, with sheen
...framed by several bamboo sticks...long and thin
...big, colorful birds and butterflies, flying high
Naive, impermanent kites..... soaring to the skies

We can never be sure....some  kites fly straight away,
............while a few others....stray
...fading songbirds, losing their way........broken dreams,
Heading....towards distant, forgotten realms
.......they're like words that couldn't rhyme
............like discordant tunes of a broken chime...

In our minds, that Happy Place with kites......resides
Sometimes, it stays behind, refusing light...it  hides
......for some reasons, it goes further down...deep inside
Oftentimes, it inspires...and becomes our source of pride...
:::::::::::::
Life, after all, is a potpourri of lengthy, and ephemeral strides,
::::::::::::::
Proving further, black and white are two of life's many colors
Light, or dark shade shouldn't  matter.....
Because, in many ways...our cups always runneth over.
:::::::::::::::


Sally


Copyright October 5, 2016
Rosalia Rosario A. Bayan

I look at thee everyday
Everyday it's a different way
I look at thee with love and excitement
An adventurous smile
The way I never looked at anyone
It's a different way indeed
I love the way it sparkles
in every way
It's a different story
Is it really coming from me ?
Is this a mystery ?
Or is it just love ?
Love in the green eyes of a girl
The boy takes her breath away
Every time he walks her way
Green Eyes
A different story in every
colorful eye
Roses will make her smile
The beautiful eyes in every style
She's an Aries full of joy and shy as a cloud
Waiting for her prince to come
as she thinks of the one

/
One day,
With the absence of my mind
Ran to the river
What might cause for getting the creeps
I called out to her tune,
Would draw the magnitude

Which  made,
A stream of love
Reserved my chest with a colorful sailboat
I was moving
Along the unknown way with playing flute
Then came one of the exotic path

The distant villages,
Then along the earthy way
The meantime
When I became tired,
Have to rest
In the shade of green

Dropped the melody of birds
Plucked the flowers,
Hoped the song with flute
Then suddenly
I came to your home yard
You heard my mystic songs
And to be loved,
Beloved--
 
Was filled with songs of bird
Sky, Air, Meadows
That earthy way
Stars stood up  
Filled the night sky
The river grew with Silver Moon

Yet Fill with the moonlight
Follow the river down
To My old boat along the moonlit
/
@Musfiq us shaleheen

I’m built up with all the tension
Will I go into another dimension?
I’ve packed my favorite snacks
Including my only pair of slacks
I said goodbye to all my friends
I hope this wouldn’t be the end
I wish there was no rush
And I would totally love a slush
I remember to bring a weapon
It’s obviously only for protection
And a camera for my memories
My bathing suit for the sea
And my favorite winter jacket when there is a breeze
This trip better be for free
I’ll miss everyone I know
Even all my foe
I’m ready for this journey
Oh, there better be a gurney...

I hear the noise of the ship
It’s time to get on
I hear people singing a song
There is entertainment along the way
I didn’t even have to pay
Someone threw a block
I can’t believe I forgot my sunblock
I ate from a 5 star cuisine
It tastes so serene
5 hours have passed
Time went by so fast
I wonder how long this will last
The day is getting darker
And not too far away
I see some colorful lights
It was a splendid sight.

I was blinded by the lights
As I walk through the cave
There were millions of crystals
Some small some big
I might have seen some pigs
Then what amazed me the most were the people
They were taller than skyscrapers
And always smiled with glee
They ate strange exotic fruits
Then turned into brutes
There was nothing this place lacked
These apples would’ve killed Isaac
Then they led me to a hut
And brought me what looked like macadamia nuts
The place was so beautiful
I ate until I was full
Like a fat baby I slept the night away
And woke up by the bay
Wow wasn’t that a day
What else should I say?

I see a little girl
Cute as a pearl
She came from the tides
Looking for a ride
She gleams at everything I say
She even ate some hay
She imitates what I do
It’s hard to tell who’s who
I wonder why I’m here
Was I meant to have a beer?
Then it literally hit me
The little girl that I see
Was what I meant to be
I learned to have fun
Relax and say puns
Forget about all the taxes
Put away all my axes
This is why I’m here
It’s not for me to fear.

The little girl and I
Baked some pie
With maybe a few flies
Then we swam under the waterfall
And went to the mall
This lasted until fall
Now I must return
I’ll miss those exciting days
And all those scorching rays
But now I must go home
My family is there
I don’t know what to wear
They bought a big cake
All for ME and not to share
How I missed them so much
I began to lose all touch
I lived the night away
And I didn’t even have to pay
Now it is May
And I lay.

I pull open the door
And hunt for food in the dim orange light.
"There's nothing inside"
Well, actually,
There is something:
Months old cream cheeses precariously stacked atop each other,
Several mysterious bottles of brown sauces,
Dried out leafy vegetables,
But nothing
This lazy *** can eat without preparing.

I push close the door,
Leaving my stomach rumbling and empty,
But filling my mind with
Dreams

Three-fourths of the dull gray door is covered
With colorful ceramic magnets
From my dad’s corporate adventures
To Batangas, Bohol, Bacolod, Davao,
Hong Kong, Singapore, Malaysia, Macau,
Nepal, Vietnam, Sri Lanka, China,
Dubai, Pakistan, Saudi Arabia
Sudan, Egypt, Ethiopia,
Canada, Greece, and Australia.

I examine each magnet’s contour and shine,
Letting its foreign dust seep into my fingers.
I dream that soon
I will return all those dusts to their lands
And bring home more magnets of my own.

You are a firework,
Big, colorful, beauty, bright.

The only problem with fireworks,
Is that they always fade to soon.

don't fade away, please

delightful colorful
constellating memory warm
starshine in winter

                         /#dmperez