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Keith J Collard Jun 2013
The Quest for the Damsel Fish  by Keith Collard

Author's  Atmosphere

On the bow of the boat, with the cold cloud of the dismal day brushing your back conjuring goose bumped flesh you hold an anchor.  For the first time, you can pick this silver anchor up with only one hand and hold it over your head. It resembles the Morning Star, a brutal medieval weapon that bludgeons and impales its victims.  Drop it into the dark world beyond the security of your boat--watch the anchor descend.
        Watch this silver anchor--this Morning Star--descend away from the boat and you, it becomes swarmed over with darkness.  It forms a ******-metallic grin at first as it sinks, then the sinking silver anchor takes its last shape at its last visible glimpse.  It is so small now as if it could be hung from a necklace.  It is a silver sword.  
Peering over the side of the boat, the depths collectively look like the mouth of a Cannibalistic Crab, throwing the shadows of its mandibles over everything that sinks down into it--black mandibles that have joints with the same angle of a Reaper's Scythe.  

I am scared looking at this sinking phantasm.  I see something from my youth down there in this dark cold Atlantic.  I see the silver Morning Star again, now in golden armor.  I remember a magnificent kingdom, in a saltwater fish tank I had once and never had again.  A tropical paradise that I see again as I stare down into the depths.  This fish tank was so beautiful with the most beautiful inhabitants who I miss.  Before I could lift the silver anchor--the Morning Star--over my head with only one hand, turning gold in that morning sun-- I was a boy who sat indian style, cross legged--peering into this brilliant spectacle of light I thought awesome.  I thought all the darkness of home and the world was kept at bay by this kingdom of light...

Chapter  1 Begins the Story

The Grey Skies of Mass is the Name of This Chapter.

                                                      ­­                        
    
 Air, in bubbles--it was a world beauty of darkness revealed in slashes of light from dashing fluorescent bulbs overhead this fish tank.
Silver swords of fluorescent energy daring to the bottom, every slash revealing every color of the zodiac--from the Gold of Scorpio to the purple of Libra combining into the jade of the Gemini. 
In the center, like a dark Stonehenge were rocks. The exterior rocks had tropical colors like that of cotton candy, but the interior shadows of the rocks that was the Stonehenge, did not possess one photon of light. The silver messengers of the florescent energy from above would tire and die at their base.  The shadows of the Stonehenge rocks would stand over them as they died.

 
          When the boy named Sake climbed the rickety wood stairs of the house, he did so in fear of making noise, as if to not wake each step.
   Until he could see the glowing aura of his fish tank then he would start down that eerie hall, With pictures of ghosts and ghosts of pictures staring down at him as he walked down that rickety hallway of this towering old colonial home.  He hurried to the glowing tank to escape the black and white gazing picture frames.
                    The faint gurgling, bubbling of the saltwater tank became stronger in his ear, and that sound guided him from the last haunt of the hallway-- the empty room that was perpendicular to  his room.   He only looked to his bright tank as soon as he entered the hallway from the creaky wooden steps.  Then he proceeded to sit in front of this great tropical fish tank in Indian style with his legs folded over one another as children so often would sit.
  The sun was setting.  The reflections from the tank were beginning to send ripples down the dark walls. Increasing  wave after wave reflecting down his dark walls.  He thought they to be seagulls flapping into the darkness until they were overcome as he was listening to the bubbling water of his tank.
                " Hello my fish, hello Angel, hello Tang, hello  Hoomah, hello Clown and hello Damsel … and hello to you Crab...even though I do not like you," he said in half jest not looking at the crab in the entrance of the rocks.  The rocks were the color of cotton candy, but the interior shadows did not possess a photon of luminescence.  All other shadows not caused by the rocks--but by bright swaying ornament--were like the glaze on a candy apple--dark but delicious.  Besides the crab's layer in the rock jumble at the center of the tank which was a Stonehenge within a Stonehenge--the tank was a world of bright inviting light.
                The crab was in its routine,  motionless in the entrance to his foyer, with his scythe-like claws in the air, in expectation of catching one of the bright fish someday.  For that reason the boy tried to remove the crab in the past, but even though the boy was fast with his hand, the optical illusion of the tank would always send his hand where the crab no longer was.  He did not know how to use two hands to rid the crab in the future by trapping and destroying the Cannibal Crab ;  his father, on a weekend visit, gave the Crab to the boy to put into the bright world of the saltwater tank, which Sake quickly regretted.  His father promised him that the Crab would not be able to catch any of the fish he said " ...***** only eat anything that has fallen to the bottom or each other..."

         A scream from the living room downstairs ran up the rickety wood and down the long hall and startled the boy.  His mother sent her shrieks out to grab the boy, allowing her to not have to waste any time nor calorie on her son; for she would tire from the stairs, but her screams would not, allowing her to stay curled up on the couch.  If she was not screaming for Sake, she was talking as loud as screams on the phone with her girlfriends.  The decibels from her laugh was torture for all in the silent house.   A haughty laugh in a gossipy conversation, that overpowered the sound of the bright tropical fish tank in Sake's room that was above and far opposite her in the living room.
               " Sake you have to get a paper-route to pay for the tank, the electricity bill is outrageous," she said while not taking her eyes off the TV and her legs curled up beside her.  He would glad fully get a paper-route even if it was for a made up reason.  He turned to go, and looked back at his mother, and a shudder ran through him with a new thought:  someday her appearance will match her voice.  

              Upon reaching his tank,  Hoomah was trying to get his attention as always.  Taking up pebbles in his big pouty pursed lips and spitting them out of his lips like a weak musket.  The Hoomah was a very silly fish, it looked like one of Sake’s aunts, with too much make up on, slightly overweight, and hovering on two little fins that looked incapable of keeping it afloat, but they did.  The fins reminded him of the legs of his aunt--skinny under not so skinny.’

               The Tang was doing his usual aquanautics , darting and sailing was his trick.  He was fast, the fastest with his bright yellow triangular sail cutting the water.  Next was the aggressive Clown fish, the boy thought she was always aggresive because she didn't have an anemone to sleep on.  The Clown was strong and sleek with an orange jaw and body that was built like a tigress.
  Sake thought something tragic about the body if the  orange Clown and the three silver traces that clawed her body as decoration -they reminded him of the incandescent orange glow of a street lamp being viewed through the rainy back windshield of a car.   The Clown fish was a distraction that craved attention.
The Clown would chase around some of the other fish and jump out of the water to catch the boy's eye. 
                 Next is the Queen Angel fish, she is the queen of the tank, she sits in back all alone, waving like a marvelous banner, iridescent purple and golden jade.  Her forehead slopes back in a French braid style that streams over her back like a kings standard waving before battle, but her standard is of a house of beauty, and that of royal purple.

                    Lastly is the Damsel Fish, the smallest and most vulnerable in the tank.  She has royal purple also, rivaling the queen. Her eyes are lashed but not lidded like the Hoomah.  Her eyes are elliptical, and perhaps the most human, or in the boy’s opinion, she is the most lady like, the Hoomah and the Queen Angel come to her defence if she is chased around by the Clown.  Her eyes penetrate the boys, to the point of him looking away.  

                      Before the tank, in its place in the corner was a painting, an oil painting of another type of Clown donning a hat with orange partial make-up on his face (only around eyes nose and mouth there was ghost white paint) and it  had two tears coming down from its right eye.  The Clown painting was given to him by his mother, it seems he could not be rid of them, but Sake at first was taken in by the brightness of the Clown, and the smooth salacious wet look of the painting. it looked dripping, or submerged, like another alternate reality.  The wet surreal glaze of the painting seemed a portal, especially the orange glow of the Clown's skin without make-up.  .  If he tried to remember of times  before the Clown painting that preceded the Clown fish, he thought of the orange saffron twilight of sunset, and watching it from the high window from his room in the towering house.  How that light changed everything that it touched, from the tree tops and the clouds, to even the dark hallway leading up to his room.  The painting and the Clown fish did not feel the same as those distant memories of sunset, especially the summer sunset when his mother would put him to bed long before the sun had set.  
Sake did not voice opposition to the Clown.
Then he was once again trapped by the Clown.  
            The boy was extremely afraid of this painting that replaced the sunsets , being confined alone with it by all those early bedtimes.
Sake once asked his mother if he could take it down, whereas she said " No."  That clown would follow him into his dreams, always he would be down the hill from the tall house on the hill, trying to walk back to the house, but to walk away or run in a dream was like walking underwater or in black space, and he would make no distance as the ground opened up and the clown came out of the ground hugging him with the pryless grip of eight arms.  He would then wake up amid screams and a tearful hatted clown staring somberly down at him from the wall where it was hung.  Night made him fear the Clown painting more;  that ghost white make-up decorating around the eyes and mouth seeming to form another painting in entirety.  He could only look at the painting after a while when the lights were on, and the wet looking painting was mostly orange from the skin, neck, and forearms of the hat wearing clown.  But the painting is gone now, and the magnificent light display of the tank is there now.  

                Sake pulled out the fish food, all the fish bestirred in anticipation of being fed.  The only time they would all come together; and that was to mumble the bits of falling flakes: a chomp from the Clown, a pucker from the Hoomah, the fast mumble of the Tang, and the dainty chew of the Damsel.  The Queen Angelfish would stay near the bottom, and kiss a flake over and over.   She would not deign herself to go into a friendly frenzy like the other fish; she stayed calm, yet alluring like a flag dancing rhythmically in the breeze, but never repeating the same move as the wind never repeats the same breeze.  She is the only fish to change colors.  When the grey skies of Mass emit through every portal in the house at the height of its bleakness, her colors would turn more fantastic, perhaps why she is queen.

                 He put his finger in the top of the watery world; the warmth was felt all the way up his arm.  After feeding, his favorite thing to do was to trace his finger on the top of the warm water and have the Damsel follow it. She loved it, it was her only time to dance, for the Clown would descend down in somewhat fear ( or annoyance) of the boys finger, and the Damsel and he would dance.  The boy, thought that extraordinary.

                     Sake bedded down that night, to his usual watery world of his room.  The reflective waves running down the walls like seagulls of light, with the rhythmic gurgling sound and it's occasional splash of the Clown, or the Hoomah swooping into the pebbly bottom to scoop up some pebbles for spitting making the sound "ccchhhhh" --cachinging  like a distant underwater register.  The tank’s nocturne sound was therapeutic to the boy.

                      Among waking up, and being greeted by his sparkling treasure tank--that was always of the faintest light in the morning due to the grey skies of Mass coming through every portal to lessen the tropical spectrum-- the boy would render his salutations " Good morning my Hoomah.....good morning Tang, my Damsel, and your majesty Queen Angel.....and so forth.  Until the scream would come to get him, and he would walk briskly past the empty room and the looming family pictures of strangers.  His mother put him to work that day, to "pay for the fish tank" but really to buy her a new cocktail dress for her nightly forays.  The boy did not care, the tank was his sun, emitting through the bleak skies of Mass, and even if the tank was reduced to a haze by the overcast of his life, it only added a log to the fire that was the tropical world at night, in turn making him welcome the dismal day.
                  On a day, when the overcast was so thick, he felt he could not picture his rectangular orb waiting for him at night. He had trouble remembering what houses to deliver the paper.  He delivered to the same house three times.  Newspapers seemed to disappear in his hands, due to their color relation to the sky.   Leaves were falling from the trees—butterfly like—he went to catch one, he missed--a first. For Sake could walk through dense thorned brambles and avoid every barb, as a knight in combat or someone’s whose heart felt the painful sting of the barb before.  He would stand under a tree in late fall, and roll around to avoid every falling leaf, and pierce them to the ground deftly with a stick fashioned as a sword.  He could slither between snow flakes, almost like a fish nimbly avoiding small flakes.  
                  After he finished his paper-route , he went to his usual spot under an oak tree to fence with falling leaves.  As the other boys walked by and poked fun he would stall his imagination, and look to the brown landscape of the dry fall.  The crisp brown leaves of the trees were sword shapes to him.  He held the battle ax shape of the oak leaf over his eye held up by the stick it was pierced through, and spied the woodline through the sinus of the oak leaf lobe.  The brown white speckled scenery, were all trying to hide behind eachother by blending in bleakfully; he pretended the leaf was Hector’s helmet from the Illiad—donned over his eyes.
“ Whatchya doing Sake?” asked a young girl named Summer.  Sake only mumbled something nervously and stood there.  And a pretty Summer passed on after Sake once again denied himself of her pretty company.  He looked to the woodline again, a mist was now concealing the tall apical trees.  It now looked like the brown woodland was not trying to retreat behind eachother in fall concealment, but trying to emerge forth out of the greyness to say "save us."

“ Damgf” he uttered, and could not even grasp a word correctly.  His head lifted to the sky repeatedly, there was no orb, and the shadows were looming larger than ever; fractioned shadows from tree branches were forming scythes all over the ground.
             He entered the large shadow that was his front door, into the house that rose high into the sky, with the simplicity of Stonehenge.  He climbed the rickety petrified stairs and went down the hall.  Grey light had spotlighted every frame on the wall.  He looked into the empty room, nothingness, then his room, the tank seemed at its faintest, and it was nearing twilight.  He walked past the tank to look out the w
I like for you to be still
It is as though you are absent
And you hear me from far away
And my voice does not touch you
It seems as though your eyes had flown away
And it seems that a kiss had sealed your mouth
As all things are filled with my soul
You emerge from the things
Filled with my soul
You are like my soul
A butterfly of dream
And you are like the word: Melancholy

I like for you to be still
And you seem far away
It sounds as though you are lamenting
A butterfly cooing like a dove
And you hear me from far away
And my voice does not reach you
Let me come to be still in your silence
And let me talk to you with your silence
That is bright as a lamp
Simple, as a ring
You are like the night
With its stillness and constellations
Your silence is that of a star
As remote and candid

I like for you to be still
It is as though you are absent
Distant and full of sorrow
So you would've died
One word then, One smile is enough
And I'm happy;
Happy that it's not true
Uneb Nov 2014
You emerge out of my twilight
Like stars in the sky
And your hands, first the fingers,
Then hands, then arms
Emerge like silhouette
And take me in your arms…
We are one, intricately mixed
In the opacity of carnal abyss
Of my sad twilights.
I sleep and dream about you.
But in the silent empty mornings
When the sun conspires
To drink dry the cups of dewy sods
I wake up from my nocturnal grave
And cast the nets of my sad eyes
On the ways you walk.
Out of my eye emerge
Million eyes, all alike, all innocent,
All admiring you subserviently;
And they look at you…
Then, there is this: a conversation
Sent to your eyes…
My million eyes fly to the light
In your deep shady eyes
To find their sepulcher—
They never return.
I place crown on your head
And you walk unaware.
Yes, again and again I cast
My sad eyes, but my queen, you walk on and on.
And the next twilight arrives
Like escapee across the
Desert where man hopelessly
Cast nests of sad eyes in the
Oceans of dreams and hopes…
You emerge out of my twilight
And take me in your arms.
I sleep and dream about you
Parvez Khan Nov 2018
In the words, lurching out from our hearts,
Being good, instead showing off to be good-
We pretend!
In the thoughts, lurching out from our minds,
Being goodish, instead showing off to be goodish,
We pretend!

A few times in the reality,
We emerge out to be what we pretend to be!
And again fewer times in the reality,
We emerge out to be what we show off to be!

Until in our actions-
We try to emerge out to be, what we pretend to be,
And we hustle to emerge out to be, what we show off to be-
The world will never emerge out to become- what is better for all of us- the world to be!
RAJ NANDY Feb 2015
AN INTRODUCTION TO INDIAN ART IN VERSE  
By Raj Nandy : Part One

INTRODUCTION
Background :
The India subcontinent and her diverse physical features,
influenced her dynamic history, religion, and culture!
The fertile basin of the Sapta-Sindu Rivers* cradled one of
world’s most ancient civilization, (seven rivers)
Contemporary to the Sumerians and the Egyptians, popularly
known as the Indus Valley Civilization!
The Sindu (Indus), Jhelum, Chenab, Ravi, Sutlej, Bias, along
with the sacred river Saraswati, shaped India’s early History;
Where once flourished the urban settlements of Harappa and
Mohenjodaro, which lay buried for several centuries;
For our archaeologists and scholars to unravel their many
secrets and hidden mysteries!
Modern scholars refer to it as ‘Indus-Saraswati Civilization’;
By interpreting the text of the Rig Veda which mentions
eclipses, equinoxes, and other astronomical conjunctions,
They date the origin of the Vedas as earlier as 3000 BC;
Thereby lifting the fog which shrouds Ancient History! +
(+ Two broad schools of thoughts prevail; Max Mullar refers
to 1500 BC as the date for origin of the Vedas, but modern scientific findings point to a much earlier date for their Oral composition and
their long oral tradition!)

On the banks of the sacred Saraswati River the holy sages
did once meditate, *
When their third eye opened, as all earthly bonds they did
transcend !
From their lips flowed the sacred chants of the Vedas, as
they sang the creator Brahma’s unending praise!
These Vedic chants and incantations survived many
centuries of an oral tradition,
When Indian Art began to blossom into exotic flowers like
Brahma’s divine manifestations;
With all subsequent art forms following the model of
Brahma’s manifold creations!
The Vedas got written down during the later Vedic Age
with commentaries and interpolations,
And remain as India’s indigenous composition, forming a
part of her sacred religious tradition! *
(
Rig Veda the oldest, had hymns in praise of the creator;
Yajur Veda spelled the ritual procedures; Sama Veda sets
the hymns for melodious chanting, & is the source of seven
notes of music; Artha Veda had hymns for warding off evil
& hardship, giving us a glimpse of early Vedic life.)

IMPACT OF FOREIGN INVASIONS:
Through the winding Khyber Pass cutting through the rugged
Hindu Kush Range,
Came the Persians, Greeks, Muslims, the Moguls, and many
bounty hunters storming through north-western frontier gate;
Consisting of varied racial groups and cultures, they entered
India’s fertile alluvial plains!
Therefore, while tracing 5000 years of Art Story, one cannot
divorce Art from India’s exotic cultural history.
From the Cave Art of Bhimbetka, to the dancing girl of Harappa,
To the frescoes and the evocative figures of Ajanta and Ellora;
Many marvelous and exquisitely carved temples of the South,
And Muslim and Mogul architecture and frescoes along with
India’s rich Folk Art, enriched her artistic heritage no doubt!
Yet for a long time Indian Art had been the least known of
the Oriental Arts,
Perhaps because from Western point of view it was difficult
to understand the spirit behind Indian Art!
For Indian Art is at once aesthetic and sensual, also passionate,
symbolic, and spiritual !
It both celebrates and denies the individual’s love of life,
where free instinct with rigid reason combine !
These contradictory elements are found side by side due to
her culturally mixed conditions, as I had earlier mentioned!
Now, if we add to this the constant religious exaltation,
With the extensive use of symbolic presentation, from the
early days of Indian civilization;
We have the basic elements of an Art, which has gradually
aroused the interest of Western Civilization!

The further we get back in time, we only begin to find,
That religion, philosophy, art and architecture,
Had all merged into an unified whole to form India’s
composite culture!
But while moving forward in time, we once again find,
That art, architecture, music, poetry and dance, all begin to
gradually emerge, with their separate identities,
Where Indian Art is seen as a rich mosaic of cultural diversity!

(NOTES:-In the ancient days, the Saraswati River flowed from the Siwalik Range of Hills (foothills of the Himalayas) between Sutlej & the Yamuna rivers, through the present day Rann of Kutch into the Arabian Sea, when Rajasthan was a fertile place! Indus settlements like Kalibangan, Banawalli, Ganwaiwala, were situated on the banks of Sarsawati River, which was longer than the Indus & ran parallel, and is mentioned around50 times in the Rig Veda! Scientists say that due to tectonic plate movements, and climatic changes, Saraswati dried up around 1700BC ! The people settled there shifted east and the south, during the course of history! Some of those Indo-Aryan speaking people were already settled there, & others joined later. Max Muller’s theory of an Aryan Invasion which destroyed the Indus Valley Civilization during 1500BC, supported by Colonial Rulers, was subsequently proved wrong ! Indo-Aryans were a Language group of the Indo- European
Language Family, & not a racial group as mistaken by Max Mullar! Therefore Dr.Romila Thapar calls it a gradual migration, & not an invasion! The Vedas were indigenous composition of India. However, they got compiled & written down for the first time with commentaries, at a much later date! I have maintained this position since it has been proved by modern scholars scientifically!)

SYMBOLISM IN INDIAN ART
From the ancient Egyptian hieroglyphic to the Cretan Bull
of Greece,
Symbols have conveyed ideas and messages, fulfilling
artistic needs.
The ‘Da Vinci Code’ speaks of Leonardo’s art works as
symbolic subterfuge with encrypted messages for a secret
society!
While Indian art is replete with many sacred symbols to
attract good fortune, for the benefit of the community!
The symbols of the Dot or ‘Bindu’, the Lotus, the Trident,
the Conch shell, the sign and chant of ‘OM’, are all sacred
and divine;
For at the root of Indian artistic symbolism lies the Indian
concept of Time!
The West tends to think of time as a dynamic process which
is forward moving and linear;
Commencing with the ‘Big Bang’, moving towards a ‘Big
Crunch’, when ‘there shall be no more time’, or a state of
total inertia !
Indian art and sculpture is influenced by the cyclic concept
of time unfolding a series of ages or ‘yugas’;
Where creation, destruction and recreation, becomes a
dynamic and an unending phenomena!
This has been artistically and symbolically expressed in the
figure of Shiva-Nataraja’s cosmic dance,
Which portrays the entire kinetic universe in a state of
eternal flux!
The hour-glass drum in Nataraja’s right hand symbolizes
all creation;
Fire in his left hand the cyclic time frame of destruction!
The raised third hand is in a gesture of infinite benediction;
And the fourth hand pointing to his upraised foot shows the
path of liberation!

It was easier to teach the vast untutored population through
symbols, images, and paintings in the form of Art;
For a picture is more effective than a thousand words!
The Dot or ‘bindu’ becomes the focus for meditation,
Where the mental energies are focused on a single point of
creation,
As seen in the cotemporary art works of SH Raza’s
artistic representations!
Yet the same dot when expanded as a circle becomes
wholeness and infinity;
The shape of celestial bodies of the cyclic universe in its
creativity!
The Lotus seen in many sculptures, on temple walls, and
majestic columns, denotes purity;
A symbol of non-attachment rising above the muddy waters,
retaining its pristine color and beauty!
The Lotus is a powerful and transformational symbol in
Buddhist Art,
Where pink lotus is for height of enlightenment, blue for
wisdom, white for spiritual perfection, and the red lotus
symbolizing the heart!
This Lotus symbol also finds a place in Mughal sculptural
carvings and miniatures;
The inverted lotus dome resting on its petals, forms the
crown of Taj Mahal’s white marble architecture!
The trident or ‘trishul’ symbolizes the three god-heads
Brahma, Vishnu and Shiva;
As the Creator, Preserver and Destroyer, in that cyclic
chain which goes on forever!
The ***** stone of Shiva-lingam surrounded by the oval
female yoni symbolizes fertility and creation,
Usually found in the inner sanctuary of Hindu temples!
Finally, the symbol of ‘OM’ and its vibrating sound,
Echoes the primordial vibrations with which space and
time abounds!
All matter comes from energy vibrations manifesting
cosmic creation;
Also symbolized in Einstein’s famous matter-energy equation!
The Conch Shell a gift of the sea when blown, sounds the
ancient primordial vibration of ‘OM’!
It’s hallowed auspicious sound accompanies marriage
ceremonies and rituals whenever occasion demands;
And pacifies mother earth during Shiva-Nataraja’s sudden
seismic dance! (earthquakes)
Dear readers the symbols mentioned here are very few,
Mainly to curb the length, while I pay Indian Art my
artistic due!

A BRIEF COMPARISON OF ART:
Despite the many foreign influences which entered India
through the Khyber and Bholan pass,
India displayed marvelous adaptability and resilience, in
the development of her indigenous Art!
The aesthetic objectivity of Western Art was replaced by
the Indian vision of spiritual subjectivity,
For the transitory world around was only a ‘Maya’ or an
Illusion,- lacking material reality!
Therefore life-like representation was not always the aim
of Indian art,
But to lift that veil and reveal the life of the spirit, - was
the objective from the very start!
Egyptian funerary art was more occupied with after-life
and death;
While the Greeks portrayed youthful vigor and idealized
beauty, celebrating the joys of life instead!
The proud Roman Emperors to outshine their predecessors
erected even bigger statues, monuments, and columns
draped in glory;
Only in the long run to drain the Roman treasury, - a sad
downfall story!
Indian art gradually evolved over centuries with elements
both religious and secular,
As seen from the period of King Chandragupta Maurya,
Who defeated the Greek Seleucus, to carve out the first
united Indian Empire ! (app. 322 BC)

SECULAR AND SPIRITUAL FUSION IN ART:
Ancient Indian ‘stupas’
and temples were not like churches
or synagogues purely spiritual and religious,
But were cultural centers depicting secular images which
were also non-religious!
The Buddhist ‘stupa’ at Amravati (1stcentury BC), and the
gateways at Sanchi (1stcentury AD), display wealth of carvings
from the life of Buddha;
Also warriors on horseback, royal procession, trader’s caravans,
farmers with produce, - all secular by far!
Indian temples from the 8th Century AD onwards depicted
images of musicians, dancers, acrobats and romantic couples,
along with a variety of Deities;
But after 10th Century ****** themes began to make their mark
with depiction of sensuality!
Sensuality and ****** interaction in temples of Khajuraho and
Konarak has been displayed without inhibition;
As Tantric ideas on compatibility of human sexuality with
human spirituality, fused into artistic depictions!
Religion got based on a healthy and egalitarian acceptance
of all activities without ****** starvation;
For the emotional health and well-being of society, without
hypocritical denial or inhibition!
(’Stupas’= originated from ancient burial mounds, later became devotional Buddhist sites with holy relics, & external decorative gateways and carvings!)

KHJURAHO TEMPLE COMPLEX (950 - 1040 AD) :
Was built by the Chandela Rajputs in Central India,
When Khajuraho, the land of the moon gods, was the first
capital city of the Chandelas!
****** art covers ten percent of the temple sculptures,
Where both Hindu and Jain temples were built in the north-Indian
Nagara style of Architecture.
Out of the 85 temples only 22 have stood the vagaries of time,
Where a perfect fusion of aesthetic elegance and evocative
Kama-Sutra like ****** sculptural brilliance, - dazzle the eyes!

KONARAK SUN TEMPLE OF ORISSA - EAST COAST:
From the Khajuraho temple of love, we now move to the
Konark temple of *** in stones - as art!
Built around 1250 AD in the form of a temple mounted on
a huge cosmic chariot for the Sun God;
With twelve pairs of stone-carved wheels pulled by seven
galloping horses, symbolizing the passage of time under
the Solar God !
Seven horses for each day of the week, pulls the chariot
east wards towards dawn;
With twelve pairs of wheels representing the twelve calendar
months, as each cyclic day ushers in a new morn !
The friezes above and below the chariot wheels show military
processions, with elephants and hunting scenes;
Celebrating the victory of King Narasimhadeva-I over the
invading Muslims!
The ****** art and voluptuous carvings symbolizes aesthetic
bliss when uniting with the divine;
Following yogic postures and breathing techniques, which
Tantric Art alone defines!
(
Both Khjuraho & Konark temples were re-discovered by the
British, & are now World Heritage Sites!)

Artistic invention followed the model of cosmic creation;
Ancient Vedic tradition visualized the spirit of a joyous
self-offering with chants and incantations!
The world was understood to be a structured arrangement
of five elements of earth, water, fire, air, and ethereal space;
Where each element brought forth a distinct art-expression
with artistic grace!
Element of Sculpture was earth, Painting the fluidity of water,
Dance was transformative fire, Music flowed through the air,
and Poetry vibrated in ethereal space!

CONCLUDING INTRODUCTION TO INDIAN ART:

Indian Art is like a prism with many dazzling facets,
I have only introduced the subject with its symbolism,
- without covering its complete assets!
After my Part Three on ‘Etruscan and Roman Art’,
Christian and Byzantine Art was to follow;
But following request from my few poet friends I have
postponed it for the morrow!
Traditional Indian Art survives through its sculptures,
architecture, paintings and folk art, ever evolving with
the passing of time and age;
Influenced by Buddhist, Jain, Muslim, Mogul, and many
indigenous art forms, enriching India’s cultural heritage!
While the art of our modern times constitutes a separate
Contemporary phase !
The juxtaposition of certain concepts and forms might
have appeared a bit intriguing,
But the spiritual content and symbolism in art answers
our basic artistic seeking!
The other aspects of Indian Art I plan to cover at a later
date,
Hope you liked my Introduction, being posted after
almost forty days!
ALL COPY RIGHTS ARE WITH RAJ NANDY
E-Mail: rajnandy21@yahoo.
    FEW COMMENTS BY POETS ON 'POETFREAK.COM' :-
I have a vicarious pleasure going through your historical journey of Indian art! Thanks for sharing this here! 2 Mar 2013 by Ramesh T A | Reply

The prism of Indian Art is indeed has myriads of facets and is an awesome mixture of many influences some of which you list here so clearly - a very understandable presentation of symbolism too - -thank you for your fine effort Raj. 2 Mar 2013 by Fay Slimm | Reply

Oh what an interesting read with immense information capturing every single detail. You painted this piece of art with utmost care. Truly, it's works Raj…tfs 2 Mar 2013 by John Thomas Tharayil | Reply

First, I have to say, the part about the lotus symbolism reminds me – My name ‘NILOTPAL’ can be split into ‘NIL’ meaning BLUE and ‘UTPAL’ meaning LOTUS. So my name represents wisdom (although it contradicts ME.. LOL). A lot of things were mentioned in the veda and other ancient Indian texts that were way ahead of the time Like the idea of ‘velocity of light’ got considerable mention in the rig veda-Sahan bhasya, ‘Elliptical order of planets, ‘Black holes’ , although these are the scientific aspects. The emphasis on contradictory elements or even the idea of opposites in Indian art is interesting because India developed the mathematical concept of ‘Zero’ and ‘infinity’. Hard to believe Rajasthan was a fertile place but now it possesses its own beauty. It was great to read about the Natraja, ‘OM’ and the trident(Trishul). Among symbolisms, Lord Ganseha is my favorite because a lot is portrayed in that one image like the MOOSHIK representing
When I composed the History of Western Art in Verse & posted the series on 'Poetfreak.com', few Indian poet friends requested me to compose on Indian Art separately. I am posting part one of my composition here for those who may like to know about Indian Art. Thanks & best wishes, -Raj
Trusting you is not hard.
The rest of the world, now, that’s a different matter.
But I trust you, as I trust the Sun to rise,
Feel free to hide.
Sometimes words fail us,
We cannot find the truth within.
Afraid, we feel unworthy,
Our need is overwhelming,
Crippled with self-doubt, words betray us,
But our hearts are as honest and true as the shining moon.
Fear not, I will always be here.
Sometimes I hide behind the clouds
But I will re-emerge to warm you,
Take heart, I would trust you with my life.
Cerebral Fallacy Jan 2014
It came upon the good doctor to clutch it in his palms
An object so sharp that blood oozes over its tip
Touching and clutching it he weeps tears of excess
Excess of the desire from where emerges life

Nothingness is the very excess that flows beyond being
Beyond the infinitesimal horizons of cosmic pleasure
The devil at play beyond the confines of the mind
Language the immanent trap that infinitely failed

Moving beyond the pale meditation of holy dignity
Gods emerge from the midst of haunting madness
The excess of the gods, divine excrement turn into dust
The sweet aura of the banished god- the scavenger

The very life of the gods contained with death and play
They danced across spaces, traversed beyond scope
Their bodies decay as stars while their excess reaches within
Within every marked desert of intoxication that grasps infinite depth

Weeping in the midst of the great gulf, the gods fade as the night
They emerge as beasts and flowers amidst the deep of the sea
The fall into madness, excess, passion and excrement
Perfume is but the odour of man turning into dust

Even the glory of the gods reflected divine excrement
Every entity an extension of another, the cosmic essence
That binds and destroys life as movement unfolds beyond reason
The essence beyond the shared catastrophe that binds life to itself

The good doctor watches the blood ooze from the body
Blood being the testimony of immanent frailty which traumatizes being
His tears dilute his blood as trauma sustains life
It falls into the ground and the divine fruit is born

The essence of goodness contained within the germ of madness
Madness that tantalizes the notion which shames reason
The realm of divinity where infinite wisdom dwells
It dwells in the midst of bliss- Ananda !

The God of Bliss awakens as the stench of being enters the heavens
The creator weeps as he watches the excess of heavens multiply
The object that the good doctor possesses drives him into oblivion
Never more is the world haunted by the gods !

Bliss even the bliss that is found in the mountaintop
Where the last god lay and washed his feet with perfume
And the milk of the divine yak nourished the heavenly nymphs
Charged with ****** excess, paradise lay in the midst of hell

The good doctor returns to the womb from whence he came
Beyond the confines of trauma, desire and being
Every creature watched as he lay the world bare and nacked
Never again will the gods return to plague the world

Then lie the bodies, cold, writing in pain and pleasure, leaning on love
Bodies that desire the gods of old to sustain trauma and jouissance
Where is the good doctor now? Whence will he return my love?
And there in her eyes, the beauty of the world lay

I looked at her and in an instant her eyes transformed reality
Oceans swept the depth of the horizons, stars became angels
Time turned into eternity and the darkness ebbed into nothingness
Trauma was rent apart and life was bound by divine love

I kissed her lips and as I wept I beheld the good doctor
He lay dying in the depth of the traumatic vengeance
His organs lay in the excrement of totality
His eyes gauged out, his ears rent apart and his mouth torn asunder

His limbs were scattered and his intestines emptied
The years of his life at an end and his body dismembered
Disseminated, the stench of the lifeless corpse filled the universe
I looked at her and it was the stench of love

I looked into the heart of darkness and I wept
The sound of my anguish filled the halls of time and space
The pillars of paradise was torn asunder and rent Hades apart
Eternal sorrow that sustains our love

And then as I beheld the futility of existence I kissed her lips again
I closed my eyes and I experienced the touch of the heavens in her mouth
And in the infirmary  his body lay among the dead
His organs burned as a sacrifice to atone for existence

Existence, trauma and excrement echo the cry of divine justice
And here the body lay without its organs and we were too sorrowful was beyond measure
We then buried his cold body under the stars in the heaven
We saw the scars from where his organs were rent asunder

A corpse contains the testimony of death as he gather everything to himself
But a corpse without organs? What does it contain?
Must it not contain death and trauma itself?
And here his hollow body lay, and death the parasite

A parasite's life lies in the life of the organs within the body
When the organs cease of give life, the enemy perishes
And death lay dying in the grave he decayed
The good doctor lay in the realm of darkness forever !

The blood and his tears have now produced fruit !
It was its fragrance that brought life to darkness
In the darkness of the night my lover went into the grave
Fearing not what lay in the midst of the darkness

Wind is the master of time, she flies beyond the medium that she animates
The wind carried in her ***** the fruit of blood and tears
And then she saw that the keeper of the dead leave the confines of his realm
The wind blew beyond measure into the land of the living

And then I kissed her in the graveyard one last time
For she was too sore to live but her eyes spoke one last time
And there I saw the good doctor was not dead ! He smote his foe in the deep !!
His fruit was now beyond the grave where they lay him !

The hollow of his body is now the testimony of love and eternity !
And there I awoke from my dream and my heart skipped a beat !
My desire was water was now beyond measure and I looked into the river
In the sky I saw that love is the very excess that engulfs desire !
topacio Mar 2015
emergence is an act of rebellion.
our eyelids peaking open like rusty curtains
as we steadily count backwards
5 … 4 … 3 …  2 … 1
climbing from our morning covers in one swift movement
like the bold musketeer ready to pierce his opponent.
allowing the cold to wash over our body
towards the to do lists and outdoor morning mist.
legs miraculously sprung to life from our dreams
seconds ago resting in a field of sunlit streams.
allowing forced smiles to emerge in the mirror
if the natural ones forgot to attend our morning ritual.  
those cowards.
allowing our own smiles to send butterflies down our spines
if our lovers forgot to play their part.
those *******.

our routines steadying us on the road
outside the house
into the yard
outside the fence
into the deli
out of your mind
into the grind
all forming like some rapid fire kiss of motion
where emerging and departing
become inseparable lovers.
and we cherish this sort of alchemy
where our paints emerge as paintings,
where our words turn into poems
that string along
melodies
into song

for
the pulsing of life echoes within
calmly waiting
to emerge
from the gilded cage
we are meant to burst open
888

When I have seen the Sun emerge
From His amazing House—
And leave a Day at every Door
A Deed, in every place—

Without the incident of Fame
Or accident of Noise—
The Earth has seemed to me a Drum,
Pursued of little Boys
Solaces Nov 2018
I am forgetting about you..
Your smile has gone away..
No longer written on your face for me to see everyday..
Its getting easier for me day to day..

I am forgetting about you..
Saved memories emerge from time to time..
They are full of colors of you and are easy to find..
But are fading away to darkness as if I were blind..

I am forgetting about you..
No more haunting smiles in dreams..
No more deep brown angelic eyes that made my soul scream..
Because I couldn't have you in my arms under the sunbeams..

I am forgetting about you..
That part of me is dying..
That part of me walked under the moonlight and was crying..
But there you were in the clear night sky simply shining..

I wonder if I will forget about you..
I think that part of me will not die..
I think that part of me will stay alive..
Nothing left for me but endless goodbyes..
L B Aug 2018
Pinto?

No, not the wild-spirited, color-splotched mare
with mane streaming like flames-thrown
behind in the wind
Taking desert inclines
with scuffing hooves on rock
catching her balance in mesquite
curbing?
The sage, dust
All
that nature throws in its pathway to knowledge
toward treachery of crosswalks?

“P-l-e-a-s-e  don't slow down!
Stop signs--?
”No!
Just keep going!
Don't slow down now!”

“They'll hear us coming
3 blocks away!”

Pinto?
Clogged carburetor--?
No one much-mentioned
rear-end inferno reputation??
A mere twinge in my signature
Woman-without-a-clue

“Hey, it runs, right?
Gets where we're goin'?”

Kids duck in back seat
so as not to be seen
In the cloud of smoke
We make our approach

Hiss Spitter, Belch, Pop
and--

BANG!

--Like a gunshot

Kids take cover
on street, in backseat
duck down
so not to be noticed...

“Oh Ma!  
MA!!!
Not right here!
Farther down!”

...so not to be seen
...by friends that matter...
in this ride
from hell!
Backfiring Beast--

“Friends”
skitter away
from what will emerge from the smoke and fumes
of high-risk-situation

Kids spill out through jammed door
to unexpected accolades
onto equality's curb
of laughter  
Public school's
wake of exhaust and relief

I drive mercifully away


Start of another school day
True. I swear!  Had this car for a short while in the early 80s when I went back to college.  It met its demise in a front-end collision.  Woman with no license ran a stop sign, plowing me into a utility pole.  The Pinto's reputation for fiery explosions burst across my mind.  I couldn't help but note the clicking hissing sound.  No time to think of my banged-up head.  Door was jammed, but window still rolled down, so I climbed through it in a skirt, no less, and ran.  Car was totaled.  If the collision had been just a little farther back, I might not be writing about it.
Samir Koosah Aug 2018
Lost inside my thoughts at night, silence is muted by the noise of my own mind. A deafening
silence.
Life and death, so fragile, such short moments. Why do we live by them? Time itself is
defined by life and death. By the rise and fall of the sun everyday.
How to define this I am going through right now? I don't feel alive nor dead. Time does not
seem to exist here and now, as the entire known world to me.
Like a caterpillar, trapped inside a cocoon, morphing myself to a butterfly, unaware of the
changes on the outside, of the perils awaiting for her on the outside as she gets out in the
search of the prettiest flowers on the path that leads to her partner, having to guess what
way to go.
Will I emerge as a butterfly or as a moth? Can one choose? Defined by genetics, sure. But
that does not apply here. Self awareness and focus are probably the defining factors in this
case. And if so, I shall emerge out of my cocoon as a beautiful Monarch, to cross the globe
after my soulmate, in a difficult but rewarding journey. Facing all forces of nature to find her,
and to finally be with her to the end of my short existence.
I don't want to leave this capsule as a moth, to hide in the shades and wonder through the
night. I want to emerge as one of her kind, a beautifully delicately coloured butterfly glowing
and reflecting every ray of sunlight that finds her delicate silklike wings.
To Monicah, thanks for all the support and love you've showed, they were and have been crucial in my life. Thanks for convincing me to share my writings.
Ovi-Odiete Jul 2016
Out of the darkest shell I emerge,
Bringing Out a path once trailed
I Arrive; With a story to tell
From a past once bitter
To a Path Now Fitter

Out of the grave of dreams, I Arrive
Standing on the Rays of boom
From the pains of Mirage,
To the Shadows longed for
I will take my Chances

Out of the loneliest Sea,
I conquered
Beneath the Deepest Clouds
I Fly, I sojourn without feathers
And tell my tales at Heavens Gate
We are often manacled in chains and bottled up like a genie in the bottle and most times the ability to come out of it lies within our reach, but we choose to stay hidden and locked up and so we do not see the light waiting for us to soar, so it could shine upon us.

Ovi Odiete©
Jack Jul 2014
~

Happy Birthday Wishes Sye


Sye, a few of your friends wanted to send you happy wishes on this
your 17th birthday. I hope you enjoy this.  

~~~

Happy Birthday Sweet Niece!
Sye, you are beyond amazing in your talents for writing, your beauty of soul and your caring and compassion. What a gift to our community on HP and the entire Universe that you are here! I am so very glad I met you!!! I hope this birthday and the year ahead are the best ever for you!
With much love,
Aunt Pamela

~~~

Seventeen, as cute as seven.
Funny as Hell, sweet as Heaven.
It's not hard to grasp just why
We love you so deeply, Sye.

Birthday hugs from Norway!
-Sverre

~~~

Sweet Seventeen, a year so Sweet to bring Your Dreams into the World, Live them Proud and True, just for You!!
I Wish You a Very Happy Birthday Sye!
~ Venusoul7~

~~~

Happy Birthday "Daughter"
You are a Blessing who touches each life you enter,(as you have mine)
My wish for you this day, is that the Love and Happiness return to you ten-fold.
Happy B-Day Sweetheart! Paula

~~~

Hippy buffday to you!
Wishing you blessings anew
May your days be
Full of sunshine and laughter
And joyful songs too ***
Petal Pie

~~~

Happy Birthday Sye

A day of Celebration
of contemplation
The last remains of a year
The dawn of the new

A dawn...
Filled with wonder
With beauty
An adventure

Bask in the sunshine
Embrace the rain
From pain
Do you grow

My wish for you...

Live life
Open hearted

Your flower is blooming
Revealing the beauty
Within your heart and soul

Kelly Rose

~~~

17 candles a top the fruit cake
Your friends and family
Nigh to celebrate this great milestone
Wine glasses raised~
In honor of you
God has added yet another year
May your life be filled with so much joy~
And good health be your portion always
Happy birthday Sye…

Cassie

~~~

May Sye have a wonderful birthday as wonderful as her poetry.
Briar Thornit

---

Hello young Sye on the occasion of your birthday. You are a young lady who has so much still to offer the world of poetry and you can only get better

Keep on writing Sye

Old man Joe

~~~

Happy Birthday Sye

Young at heart, a mind for words
may you have a day of joy,
With many happy returns,
have fun let it all go its your day
so do what ever is your fancy
Have well remembered birthday fun :)

Poetic T :)

~~~

Only friends for a while
yet I know you're so kind
with that beautiful smile
you'll never be left behind

This wee bonnie lass
has a birthday today
such a kind and sweet soul
in our hearts she'll forever remain

Have a fantastic day Sye **

Louise

~~~

Tae Sye

Wi' a' the monie ways tae say,
I find I lack skill;
Tae ye, wi' a' me greetings lay,
Pray, o't, tak yowre fill!

Och, sic a bonnie lass as ye,
My hearty blessin';
Sae monie mowre ye Birthdays be,
Wi' a' the dressin'!

'Tis a sma' thing tae say,
Happy, Happy, Birthday!

'Tis a' for thee
Dear S. Y. E.

~Timothy~

~~~

Princess Sye you are amazing:) I have came to learn so much by you, and you have been a wonderful friend to me:) I hope this birthday finds you well:) Miles of smiles and much love always:)

Jonathan E Furches

~~~

betterdays 2 days ago
hello sye
my understanding is it is your17th birthday ....in honour of that and your amorevolous nature
i give you, these word gifts.
two quotes:
"blessed are the curious,
for they shall have
adventures"
Lovelle Drachman.
and
"For beautiful eyes, look for the good in others; for beautiful lips, speak only words of kindness; and for poise, walk with the knowledge that you are never alone"
attributed to,
Audrey Hepburn
but really Sam Lenvenson.
and
my best wishes for a, eellogofusciouhipopp-okunurious (good)
day
hugs and kisses
betterdays
p.s.amorevolous- loving and giving beyond self, nature.

~~~~

Dear Sye,

Uh - 17. Young enough to be stupidly foolish and wise enough not to realize it. Your writing has touched many, including me. Thanks for sharing your inner self. Happiest of Birthdays to you Miss Sye. Wishes for many happy returns of the Day.
Your friend in poetry, Kim

~~~


"I look at you and see so much promise
so full of life and always ready to help
although I have not known you much
I can see your beautiful soul through your words.
You turn 17 today and my wish for you is simple,
I hope you have enough courage to stand your ground,
to write what's true to you and do all that you love,
that you follow your dreams and
be the beautiful woman you were meant to be.

Happy Birthday, Sye :)
- H.U."

~~~

Sye as in sigh but also the world, from Korea to marine flag languages and morse code like this ...-.--.
I saw your name as a barcode while shopping for words,
these are what I bought: Happy Birthday to you Sye the World.

Regis Keuren

~~~

Sweet sixteen plus one
Oh what fun
The Sye flower will blossom
More and more so awesome.
She is loved by many here
Who find her so Dear.
Happy Birthday Dear Sye
Now you may cry.

Grandpa john

~~~

Happy birthday to my beautiful little sis! I wish you the most spectacular of days and the best of years. You deserve all the happiness and love, life has to offer!

You have been such a great friend and are always so kind and supportive. You amaze me with your wisdom and talent, sweet one. I am in awe of you, gorgeous! I feel so blessed to have met you!

Syeshine

The radiance
Beaming from
Your golden heart
Eclipses the sun
Sending light
And love
To all who bask
In the warmth
Of your sweet
Friendship...

Love you Sye!

Your adoring sis,
Kalypso

~~~

Thank you Sye for your excellent poetry as it's a gift to us all. Best of wishes on your birthday; you deserve all of the attention you get and, thanks to Jacks rally of poets, this attention can get to you. With pleasure, I salute thee -

Peter Watkins

~~~

Happy Birthday Sye! You are going to go so far in this world sweetie! Have an amazing day my friend! Continue to write amazing poetry.
Peace and Love
Margaret

~~~

Birthday wishes sent to you in hope that all your dreams come true x

Calpurnia Mockingbird

~~~

Oh, my Sye, my sweet, sweet, Sye
Wonderful sister and dear poet of mine
Words emerge from your stunning mind
And paint visions for all to read
But today is not about what you create
It's what God created 17 years ago
A wonderful person and talented friend
My non-blood sister to the end
Happy birthday my dear sister
Today is dedicated solely for you
Live it up and enjoy the wonders of life
And make sure to get some cake too!

Madalyn Beck

~~~

And now it is my turn. To my sweetest friend on your special day…
As you look above and see all of these people, your friends and family
from Hellopoetry sending you love and beautiful birthday wishes,
I want you to know that you are my best friend in the entire world
and I wish you all that makes you smile, every happiness and joy
this coming year and those to follow have to offer.

Happy Birthday sweet Sye.

Your smile lights the world,

Jack
Thank you to everyone who participated in this with me. I appreciate your kindness more than you know.
Rob Urban Jun 2012
Lost in the dim
streets of the
Marunouchi district
I describe
this wounded city in an
  unending internal
monologue as I follow
the signs to Tokyo Station and
descend into the
underground passages
  of the metro,
seeking life and anything bright
in this half-lit, humid midnight.

I find the train finally
to Shibuya, the Piccadilly
and Times Square of Japan,
and even there the lights
are dimmer and the neon
  that does remain
  is all the more garish by
contrast.
I cross the street
near a sign that says
  "Baby Dolls" in English
over a business that turns
out to be a pet
  shop, of all things.

Like
the Japanese, I sometimes feel I live
in reduced circumstances, forced to proceed with caution:
A poorly chosen
adjective, a
mangled metaphor
could so easily trigger the
tsunami that
    sweeps away the containment
             facilities that
                   protect us
                        from ourselves
                                                            and others.
  
The next night at dinner, the sweltering room
     suddenly rocks and
        conversation stops
                  as the building sways and the
candles flicker.

'Felt like a 4, maybe a 5,'
says one of my tablemates,
a friend from years ago
in the States.

'At least a five-and-a-half,'
says another, gesturing
at the still-moving shadows
on the wall. And I think
     of other sweaty, dimly lit rooms,
      bodies in slow, restrained motion,       all
          in a moment that falls
                         between
                                     tremors.

         Then the swaying stops and we return
to our dinner. The shock, or aftershock,
isn't mentioned again,
though we do return, repeatedly, to the
big one,
         and the tidal wave that
                           swept so much away.

En route to the monsoon
I go east to come west,
   clouds gathering slowly
     in the vicinity of my chest.

Next day in Shanghai, the sun's glare reflects
  off skyscrapers,
and the streets teem
with determined shoppers
and sightseers
wielding credit cards and iPhone cameras, clad
in T-shirts with English words and phrases.
I fall
          in step
             beside a young woman on
                 the outdoor escalator whose
shirt, white on black,
reads, 'I am very, very happy.' I smile
and then notice, coming
down the other side,
another woman
wearing
        exactly the same
       message, only
                        in neon pink. So many
                                  very,
                                          very
                                                 happy people!
Yet the ATMs sometimes dispense
counterfeit 100 yuan notes and
elsewhere in the realm
      police fire on
      protestors seeking
                more than consumer goods,
while officials fret
about American credit
and the security of their investments, and
     the government executes mayors for taking
                       bribes from real estate developers.
    
    A drizzle greets me in Hong Kong,
a tablecloth of fog draped over the peaks
   that turns into a rain shower.
I find my way to work after many twists and turns
through shopping malls and building lobbies and endless
turning halls of luxury retail.
               At dinner I have a century egg and think
of Chinese mothers
urging their children,
'Eat! Eat your green, gooey treat.
On the street afterwards, a
near-naked girl grabs my arm,
pulls me toward a doorway marked by a 'Live Girls’
sign. 'No kidding,’ I think as I pull myself carefully
free, and cross the street.

On the flight to Bombay, I doze
   under a sweaty airline blanket, and
       dream that I am already there and the rains
         have come in earnest as I sit with the presumably
           semi-fictional Didier of Shantaram in the real but as-yet-unseen
            Leopold's Café, drinking Kingfishers,
              and he is telling me,  confidentially,
                     exactly where to find what I’ve lost as I wake
with the screech and grip of wheels on runway.
            

     Next day on the street outside the real Leopold's,
bullet holes preserved in the walls from the last terrorist attack,
I am trailed through the Colaba district
by a mother and children,  'Please sir, buy us milk, sir, buy us some rice,
I will show you the store.'
    A man approaches, offering a drum,
                        another a large balloon (What would I do with that?)
A shoeshine guy offers
                                           to shine my sneakers, then shares
the story of his arrival and struggle in Bombay.
     And I buy
             the milk and the rice and some
                      small cakes and in a second
                          the crowd of children swells
                               into the street
               and I sense
                     the danger of the crazy traffic to the crowd
                         that I have created, and I
think, what do I do?
           I flee, get into a taxi and head
                             to the Gateway of India, feeling
                                                                                  that I have failed a test.

                                       My last night in Mumbai, the rains come, flooding
     streets and drenching pavement dwellers and washing
the humid filth from the air. When it ends
           after two hours, the air is cool and fresh
                                  and I take a stroll at midnight
          in the street outside my hotel and enter the slum
   from which each morning I have watched
the residents emerge,  perfectly coiffed. I buy
some trinkets at a tiny stand and talk briefly
      with a boy who approaches, curious about a foreigner out for a walk.

A couple of days after that, in
the foothills of the Himalayas,  monks' robes flutter
on a clothesline like scarlet prayer flags behind the
Dalai Lama's temple.
I trek to 11,000 feet along a
narrow rocky path through thick
monsoon mist,
   stopping every 10 steps
to
   catch
        my  breath,
              testing each rock before placing my weight.
Sometimes
    the surface is slick and I nearly fall,
sometimes
    the stones
        themselves shift. I learn slowly, like some
             newborn foal, or just another
                clumsy city boy,
                   that in certain terrains the
       smallest misstep
                            can end with a slide
                                             into the abyss.
                  At the peak there's a chai shop that sells drinks and cigarettes
                                of all things and I order a coffee and noodles for lunch.
While I eat,
      perched on a rock in a silence that is both ex- and
      in-ternal,
the clouds in front of me slowly part to reveal
a glacier that takes up three-quarters of the sky, craggy and white and
beautiful. I snap a few shots,
quickly,
before the cloud curtain closes
again,
obscuring the mountain.
                                                
                                     --Rob Urban: Tokyo, Shanghai, Mumbai, Delhi, Dharamshala
                                        7/13/11-7/30/11
Mary Holz Sep 2015
emerge from the sea
like a wave making a splash
rising to be strong
Mike Finney Jan 2012
A Man will ask himself:

Is the glass taken of half

Or given of it?


We hear this tale

Unworn and aged

(Like a fine wine

Save a rich cheese

Always a decadence

An adornment so sweet.

Fruits that our mother

Blesses us with)

and look into the crystal

Search for grace

We think comes from

Wonders of the light.

But man’s feeble mind

Is so beguiled

(Hoodwinked into

Vizard

By the lures

Of such a beautiful thing

As crystal.)

And rapt with greed.


So much brawn

Is put to

Pondering the

Substance

Of the vessel

(such thought

That manifests itself

In a disease

More blood ridden

Than a

Plague)

in materialism

(the silent

Murderer

That infects the

Mind of a

worldly soul)

and has no cure

To emerge from

A field of

Medical travesty.


When all has

Passed

And man answers

for his sins,

One will in the end

Discover

the question

That never works it’s way

To the lips

(If not even

Figments of thought

In words)

What have you to say
About the fill
Of a glass
When it has
Shattered
Upon the floor?
Mateuš Conrad Nov 2016
.i. if Kant could have his von Kleist... well... who else to juggle juggernauts if not me? as a task of redeeming that poor soul who succumbed to the terminator of all poetic ambitions, with his systematisation off-the-page, as eccentric and punctual as a sunset on a sundial at 16:11... and in case either the spring of sunrise, or the autumn of sunset... but so many hours after exacting a sunset... that gluttony of the eyes to stare at it... 16:11 is the zenith of a sunset in november the 15th... much prolonged when warmer... supersized sun when setting in summer, and all that whiskey-copper wiring for the eyes to stare at it: oh for goodness sake, who really cares for Ikea likened assembling of words... we're not putting together a coffee table, we're looking for Darwinistic entrapment, we're scared of the aeons and yawns... we're trying to create a Darwinistic entrapment saying what segregates us from apes! that's how anti-Darwinism works - if they can easily call you a poet and a technophobe... then that hardly makes you a merchant with a Quran... to encapsulate the language of our modernity we're doing everything against writing the onomatopoeia of our beginning... monkey ooo! monkey ooo ah ah! or a gorilla grunting and then snorkeling... we're encapsulating our language more and more... because beginning with ape and then looking at history, and then looking at the consensus of the contemporary: Darwinism's greatest enemy is not theology... it's history... Darwinism and history are not compatible... oddly enough Darwinism and theology are compatible, simply because they are dynamically equal for the case of furthering both arguments in debate... but Darwinism is an odd starting point to argue, given that physicists argue from the perspective of prior to dinosaurs, prior to all things formed.

how can i begin this? it will leave me having to
write it for two days,
the anti-narrative sketch first, then filling in
the gaps sober... just to get second opinions...
i might have to cook a quasi-Hungarian borscht
and fry up a few potato flattenings to a crispy
yum... first the narrator comes in to describe what's
in store, a bit like a translator comes in and says
of Joyce: that's Irish... well, yeah.
               hence the italic preface...
as some would say, the person who wrote these
sketches worked quicker that an algorithm in asking
and also quicker to copy & paste the required
atomic encoding... e.g. ч and ch
                   э and euro and epsilon...
      once upon a time there was nothing prior
to Copernicus, then the somersaults came,
    h ч y        what coordinates where?
    well of course perfecting the encoding of something,
if things weren't stated awry there would be
no optometrists either...
                  it's not hard to read, it's hard to
remember how to read, given that being literate reached
the omnipresent velocity, the new powers had to
include some new power struggle...
mingling Latin and Runes, Greek and Cyrillic...
     and the proto-Latin of additional diacritical marks...
they exposed the entirety of humanity to literacy
within the framework of post-industrial society,
after hitchhiking a ride on the 19th century donkeys
they suddenly had to reveal their power-secret of
being literate, and by the account of women:
corset bound and bored in salons...
      but something else appeared that didn't really fascinate
them: that over-complication of Latin with
punctuation marks above letters: or diacritical
distinction, crowns over letters, subatomic particularisation
of once favoured: universal applicability...
as a narrator? i have to make a complicated
introduction, the sketch lends itself to do so,
it suggests that not all writing can be as simple as
a nursery rhyme, not all writing can actually
    **** memory, not all writing desires being remembered,
not all writing can be remembered,
                in the mediation of the two chiral opposites
there's fiction, which is suspended in an armchair of
pleasurability... but on the opposite side of a nursery rhyme
or a well versed poem? writing akin to arithmetic...
  something truly painful for those competent with
lettering, but not really competent with ten digits...
      as a narrator who has already read the sketch,
i'm trying to not write a "filling in the gaps" to the sketch
like an art-critic might do to a painting deviating from:
brushstrokes were employed. well... d'uh!
variation of italics as in transcending the pause that
implies a condescending variation of taking a pause,
also excluded are: dot, comma, hyphen, semicolon
and colon.                         dot-dot-dot is not joining up
the dots: it implies a variation of how to anticipate
a punchline: drummed: tu-dum wet snare!
     i am actually a narrator who is trying to find
that other part of me that might digest this sketch properly,
     and return fully competent to pick up another
sketch... if ever there was a narrator in this sketch,
it has to be me, after the sketch has been scripted,
and i am left to suggest a need for a dot-dot-dot connectivity
of the strokes of the pen...
i warned myself: do not overdo the introduction in italics,
you know how picky people are...
whether pickled pineapple of cucumber...
i swear Turks invented pickling chillies...
         oh look! an inflatable gazebo filled with helium!
no one's laughing: only because i didn't mention vegina.
narrative puritanism? you get distracted a lot...
but this sketch is really a thesis for narration,
all i have to do is find the antithesis of narration in it:
an actual narrative!          it stretches for ~30 pages...
   well that's me turned archaeologist with a Grecian urn
with a snap of the finger... because that's how this
sketch looks like: ancient -
                         but understandably modern.
              so .  ,  - and ;
        were racing... out came the world record
             9.58(0)         the full-stop is the bracket-bound
0... i.e. it actually happened: hence the pinpoint...
or in Formula 1 a timed nonsense of ave. m/ph
     noted to three decimal points: 130.703...
                                    or chicane cha chicane cha cha!
as said, this is an actual representation of a narrator
encountering this sketch: so before you lose your head...
i've lost mine!
  look at the correlation though!
we've gone way past atoms with the atomic bomb
and encountered subatomic particles...
    we're not going to get beyond subatomic particles
because we're going to encounter the already apparent
reality of obatomic particle: namely our bodies,
   the perceived ******* (ob- is the antonym
                                                  prefixation of sub-):
             that's were the microscope adventure ends,
    and this is parallel to cutting up a second with
three decimal points, as the safetynet suggests:
                                                              π / 3.14;
yep, the obstructive - hence we can't spontaneously
combust... but then again Goethe's Werther did:
  out of love... down the spiral: you sweet little *******.

~ii. i'm actually too lazy to write the sketch and fill
in the blanks... so i'm going to fill in the blanks as i go along,
  or that's what's called the rebellious stance of narrator: mmm,
work in progress, could you see that coming?


ii. a beer in between glugs of whiskey - runes
combined in the ******* / sigma, variant of agliz or
the rune-zeta extended toward a dark shadow of the rebirth
of Ishrael: zoological enclosure; sigma *******
sigma ******* sigma *******, sigma *******...
rune-zeta... we cannot say there are ******
mathematicians and poets akin,
not then one optic encoding states
     a b c d e
         another states f u þ a r
yet another а б (ρ) в г
  α β γ δ:
for worth of gamma into a trill only because of
   a wave, that's ~ approx. on the side of the letter
   e.g. г & r.
   or rho upside down? what the ****?
did Voltaire write this? reading Candide,
i hope he ****** did!
you the problem is pixelated paper? if you know
how you enter a deciphering mode...
                    but you require a personal library to boot,
all that dos formatting,
                       well there's formatting in the humanity
outstretch of this white medium too...
after it isn't all ******* white when all the psychiatric
pills are white too... i have really found something better
than the Bermuda Δ...
       Greek, Latin, Cyrillic and Runes...
i could say neo or proto otherwise,
but i still haven't unearthed the sketch, that
is probably puzzling the Danes, with Cnut on the forefront...
                    but the arrangement of numbers is universal,
but it's not universal, given the particularity of
how language is encoded and why some people are
richer than others...
            but it's still a beer between glugs of whiskey that
makes more sense...
i said, retype the sketch and go to bed...
and i figured: that's probably the wisest of all possible
events stemming from this...
    that's ~27 pages of notes to retype... and i'm already
in a disclosure mode as to expect what's to be jargoned...


p. 1        cкεтч       /      σкεтχ
   necessity of                        (acute
a-       -the           (ism)
is that of language structure,
          only from the use of one's language does
a deity present itself: from within the noumenon
ground work, not the reverse, as in from
(pp. 2, 3)
                 a phenomenological exercise in
the use of language: Islam, Christianity, Buddhism, (etc.)...
       e.g. Islam is a phenomenon,
  it's not a noumenon: or a thing-in-itself...
  for the Islamic god to emerge from Islam's-in-itself
Islam will have to prevent itself from being-outside-itself...
or overpowering other in-itself contentions
but still: to no apparent success narrative of true intention
as satisfactory appropriation and hence lending itself
to a widespread nod of approval.
  challenging space: word compounding, or the space
between conjunctional deficiencies: nod-of-approval (e.g.).

p. 2    concussion (great film, Alec and Will, 2015, NFL)
concussion... Blitzkrieg Alzheimer's....
brain is fat.... dementia = attacking proteins...
  steroids... the noumenological use of language:
e.g. that ****** is an enigma,
therefore his views will not go viral,
and he'll not become fashion trendy...
it's not individualistic idealism, it's reality.
as will die sonne satan - orbis reach more than 5K
views... so... clap clap... clap, clap.
           what i meant about the a-     and -the
and the ism is following a sentence that sort of
does away with conjunctional fluidity,
apart from the big words, i treat all minor words as
categorically conunctional... and, the, a, is, to, too...
given the sentence: brain fatty *****,
brian organic giraffe wall... ******* hieroglyphic...
           stood above the rest, rest assured.
  dementia: invading protein cells
   (bulging prune of the opportune: purely
digestion?) no thought to eat or eat itself like,
cannibalistically. the brain is fatty...
not fat in muscle for mmm, schmile and flex
for the selfie. how about a protein inhibitor?
(by now, rewriting the sketch, i've lost the page count,
it's actually p. 5 of note paged toward 27).
how about the explanation that we're living in
times of post-industrialisation and thanksgiving
feminism? to me post-industrialisation has created
a class of meaningless white-collar workers
and no blues... it's what the Chinese blues call
the Amazonian nomads: ******* happy...
no amount of crosswords or sudoku will exert
your body to do things for others...
   no amount of mind games will actually tell your
brain to be equipped with: a bunch of hyenas... run!
dementia is a result of creating too many
white-collar jobs (thanks to feminism)
and exporting the blues to China (thanks to feminism
and: oh i broke a nail, can i get a Ching plumber to
fix my heating while i get a ****** to **** me up my
****?!) - maybe i'm just dreaming...
it's great to censor dreaming, i mean: you stop dreaming,
you get to see reality, and you don't even need to
read Proust on a ricochet.
  - so we have brain as fat, and invader cells as protein...
protein digests fat... and creates cucumbers out
of people... where do the carbohydrates come into play?
it can't be at the point of a.d.h.d., can it?
     i'm blaming post-industrialisation, the complete
disappearance of the blues (formerly known as the reds,
in the east) for the whites...
or that old chestnut of: my god you're goon'ah luv it!
   to till for worth from the sweat of yer brow -
funny funny funny... to earn your loaf of bread
you will toil...
                   and toil until you are physically assured
that not ghostly / mental life can enter your world /
books... that went well... didn't it?
   i should be tilling a potato plateau rather than
be bound to be writing this epic (by modern standards)
poem...
             but that's the curse of exporting all the blue
collar jobs to China, then importing mindless
white collar jobs to the west, what the hell do you think
would happen, not the pandemic of dementia?
if you do not exert the body, and then you do not
exert / exhaust the mind... do you think
you can secure a narrative with a post-industrial
westerner on the premise of that person simply being
able to solve a crossword? well... i believe in santa
claus too... but i don't believe in him giving out
presents... because to me, in my oh-so-called maturity
that's called an anagram of satan's clause: which is a legal
term for: i can turn civilisation into shrapnel
of what's said and what's to be said: and what's not to be
said. people can't expect to turn honest labour
for the recreational run on the treadmill in a gym...
and they can't expect photocopying in an office space
to replace Newton's curiosity, and then compensate
all this distraction with mind-games...
          can they? well... they did!

poets are gagged by writers of prose,
no wonder they write so sparingly,
      they are gagged in the sense that they write
as if asphyxiated: they need breathing room.


well sure, if he can revive the Polish steel industry
and i can go back to steel plates and pillars,
then the rust belt will get a polishing also.

or what's called: shrapnel before the waterfall of
narration: darting eyes, and poncy **** all the way through...

     muse... muse...

        well, how about we take the fluidity out of language?
declassify certain words into one grammatical broth,
say words like i and they
                              a  and the    are all conjunctions?
how about that? let's strip it bare, after all: what categories
of words exist for us to primarily speak (let alone think)?
     nouns, verbs, adjectives... adverbs?
       but all those words in between are so jungly classified
into a tangle that i'm about to sprout a handshake
          of a Japanese vine grip: and never let go...

an actual extract from the sketch:

      https that doesn't recognise UCS
                   and insists on IPA cannot be deemed
       encyclopaedic


              i need runes for this! i need runes for this idea!
i don't need transliteration right now...
                but hey! that's an idea, etymological transliteration...
bugly term, sure, but the previous night i was thinking
  of transcendental etymology, as you do, likened to
carbohydrates... so it was transliteration after all...
but a dead end when it comes to geometry and Pythagoras...
      
    three words... and they are computerised (i guess you
have to buy a decent book to decode this), a bit like
buying paint in a d.i.y. shop...
       16DE (dagaz / d) 16DC (ingwaz / ŋ / grapheme of n & j)
                  16DF (ōþala / Valhalla / o / ō = oo),
in total d'njoo / d'nyoo - even i concede the fact that this
is a ******* mind-******... it's a ****** congregation of
four optic encodings of phonos... i moved away from
the ancient greek fetish for the logos... i'm looking at
the phonos... not the logos with Heraclitus et al.
               φº θ þ фª f

ªgreek
  ºcyrillic                ever see a prettier pentagram?
                      i haven't.

(false original title:
škic / cкэтч / φº θ þ фª f: thespian pandemic - pending)

looking at the phonos is painful, actually painful,
it's like reading a book with a myopic pair of glasses:
a ******* aquarium blurry right there, befor...

- - - - - - - - - - - - - - - - - - - -

'e'? were you: was i, looking for an 'e'?

i can say this much...
what do you get when you mix a shot
of whiskey with a shot of bourbon:
i'm moving between bottles...
it's nearing christmas eve and i'm a ripe
taoist... i.e. i better this world:
by not having the world mind me...
on the odd occasion: oh... you're still here?!

yeah... i'm still here... i have glued-to-fascination
with my shadow... i'm just waiting
for the atom bomb to relieve me of a body
but ensuring my shadow is kept intact...
as if it were a Monet signature on a wall...

but i lament... the momentum has vanished...
i don't even know why i'm so idiotic as
to presume that: from the hour 22:00GMT
to the hours 00:00 circa 00:30GMT...
something will land into my lap,
my lisp... my cranium the oyster shell
my tongue the oyster...

it will not... i can't simply **** anything into
an existence that doesn't want to exist...
perhaps lurking in a canvas of:
"lost luggage" in an airport...
perhaps "there"...
i could be excused my... lethargy...

when was this written? back in 2018?
so i was thinking about teasing cyrillic even then?
wasn't i?
sketch cкэтч or?

what do you get when you mix a shot of whiskey
with some bourbon?
a Burguandian whisker...
i am not going to sound witty...
Ron's key...

that's still a cyrillic "or"... isn't it?
шкиц: škic...

i'm... deflated... nothing "new" has come my way...
i would have thought that...
reading some Knausgård would have /
could have... invigorated me:
reading him was supposed to be my:
dialysis my transfusion!
my zombie-go-to-literature...
it has proven an exhaustive enterprise
to begin writing again:
i became too comfortable
in reading - i almost forgot
the agony of writing...

alas... a contemporary of mine...
and someone well adjusted to prose...

notably: who would have thought
that death in june - the calling (MK II)
was something to be recorded in 1985...
for one: i wouldn't...

but i did begin: back in november 2016...
begin what? to tickle the cyrillic alphabet...
which is way before i discovered my reply
to the runes... to the ancient greek...
and this... "ancient", ahem... still in use...
latin script...

that script that went into the molloch couldron
of being invested in to code...
pristine as the hebrews cited:
how many holes in it?
to write onto a canvas of 0?
q Q R O o p P A a D d g b B...
which leaves...
W E T Y U I S F H J K L
Z X C V N and M "out of the equation"...

škic / cкэтч / φº θ þ фª f: thespian pandemic (pending):
i better rename it as... circa 2016...
that's way before i even acknowledged
the cyrillic text applying diacritical markers...
i thought them too crude at the time...

beside borrowing outright from greek...
the already at hand oddities of glagolitic,
notably: Ⱎ...Ⱋ...

it's only a single word i'm using...
i have abandoned all notions of metaphysics
in favor for orthography...
i'm not going to burden myself
with: what's after the physics...
i'm after: what's now...
in the respective tongues...
2 tongue deviations from
the original latin and greek...

what came with the runes and what
came with the glagolitic scripts...
what was ****** and had to succumb
to inter-breeding...

come 2020... i will have one clarification
to base my existence on...
pronouncing the growth of my ****** hair...
i will hope to aim at a length of beard
that will forever hide the neck...
i will aim at... somewhere to the level
of my heart... when i will then manage
to turn my beard into an orchestra's
nieche of violins when i procrastinate with it...

since 2016...
i have identified russian in ******...
i've seen it... finally!
зъaрт... i.e. żart
and the "hard sign" becoming a "soft sign"
in źrenica: зьрeницa...

i still think the russian orthography
is... as... primitive as the western slavic...

after all... зъ = ż...
зь = ź...
the balkan slavs have a caron...
which is neither a hard or a soft sign / acute...

their caron is... ч (č) or cz...
CHeaper in english...
and their caron is ш (š) or sz...
SHeep...
or the two together...
and always шч (šč): szczekam...
i'm barking...

pu-shch-air... a rare example in english
of the puщair...
but then lookie lookie 'ere:

CZACHA... skull...
ЧAХA...

perhaps this is my "revenge ****" on russia?
hey! boris the kremlin mascoot...
come and 'ave a look...
with how i disect your orthography
on the / with the language that asks
too many metaphysical questions and no
orthographic curiosities!

i'll meet you in Warsaw... given that you're
probably moving from Novosibirsk...
and i'm either in Stockholm...
Edinburgh or the outskirts of London:
Warsaw will be halfway for both of us...
you don't have to like Warsaw...
i only like it when the Ukrainian smugglers
and the Mongols appear
in the West Warsaw coach station...

smart as who? i am discovering this for
the first time myself...
i was only teasing it back in 2016...
way before i found the right sort of accents
in mother russian...

i do know that that crescent oddity:
above the ja: йa... is what it is...
if you only cut off the head in english... ȷ...
again: it's я given that most russians
are pulled toward an anglophile world-view...
they all see the window to europe...
the baltic and st. petersburg is somehow...
London... and the atlantic...
like hell it is...

i guess i feel it was a waste of time to
have re(a)d Kant, simply because:
i'm not here for the schematics...
i want to know how my thought my labyrinth
building architecture is coming along...
but with no one to talk to about it?

i found the categorical imperative most
dissatisfying... i didn't want to abide by universal laws...
poetry is already shoved out of waiting room
of the republic...
if my "poetry" is not a categorical imperative...
and it's not quiet a a hypothetical imperative...
it needs to be sharpened on a thesaurus
and some grammar...

categorical (adjective)... imperative (adjective)...
well two adjectives never imply much
if there's no noun involved...
and i'm pretty sure that... if i sharpen
the next word i'll compound with categorical-
in that hyphen construct that's only
allowed in oxford dictionary english:
since it's not: propergermannonhyphenfaustian:
i.e. carboxylic (carbo-xylic) acidity...

poetry doesn't belong in either
the categorical imperative focus...
nor the hypothetical imperative focus...

i.e. i must write a poem... to feel better...
i must write a poem... to organise my thoughts...
no! a poem is not a maxim is not a categorical
imperative! a language of poetry is not
a language of morality: it's a language
of experience - or a lack / a lackey's "sentiment"...

i need a... categorical: impetus!
it's not enough to have read kant's critique of pure
reason... it must also involved
having re(a)d the: groundwork of
the metaphysics of morals...
but i'm a democratic reader...
i need to hear the other voices...
i can't be a kantian scholar...
a snippet 'ere, a snippet v'ere (funny how
THETA disappears when making the posit:
THERE - ver!)

who needs metaphysical absolutes...
when orthography (or a lack of it)
in english... spreads open its legs...
and the tongue remembers its tongue-brain-phallus
stage of co-existence in the oyster?!

i'm pretty sure that a categorical imperative
is by no means a categorical impetus...
this had to be written,
but it had to be written in order to disregard
anything a priori... prior to it...
a poem is a shady concern for action or inaction...
it's a deviation from the cartesian crux:
res cogitans (thinking thing)...
into the cartesian levy (res extensa)...
it's an action of inactivity...
as much as it's an inactive activity...
"the rest"...

impetus is not an imperative...
an impetus sources its meaning in a per se
investement... of itself - in itself - for itself...
an imperative?
in pronouns... impetus: i want... i will...
imperative? you want... you will...

an impetus is self-dictative...
an imperative is: indicative...
someone would rightly claim...
those that mourn indicatively...
will don the right garments for the process
of mourning...
which is indicative and devoid of
the per se manifestation of mourning...
it is an imperative when compared to
the impetus to mourn -
which is self-dictative...
which does now shallow itself in
grief by making a socially agreed to fiasco
of a very specific choice of wardrobe...

basically: however you like it...
an IMPERATIVE ≠ IMPETUS...
the year is almost over and i want to break-off
the dust from the thoughts that fudge-packed themselves
as worthy of occupying the minor instance
of having to count a depth of:
not dead within the year of being written.
ryn Sep 2014
Life throws at us the worst practical pranks
Some call them challenges... I call them sick ironies
With challenges you might emerge victorious, and slide up the ranks
Ironies are just mean, bad jokes; locks with no keys

Call me godless, sad and trodden, bitter man
Call me a cynic, call me all including jaded
I've arranged it all in various permutations, much as I can
But my view at this point cannot be compensated

Allow me to illustrate...

•It's funny how you feel very certain or strongly
About the bog of sadness and depression you wade in deepest
You know it's real, you fan it with strength your mind could carry
When it could be better used to rise from when you're weakest

•What's this about having to crash to your fiery death
Into the realm of darkness; into the belly of hell
You'd have to almost die and lose your last breath
Before granted an epiphany, a slim chance that you could turn out well

•When life throws you in the deepest end
Fills your lungs with copius amounts of bad water
Tries to **** you before allowing time to mend
When if we were first taught to swim, it would've been much easier

•Sure... A treasure trove of splendours, life does offer
But like a spin of the lottery, you mightn't get even if you deserve
No matter how far you reach into it's elusive coffers
No matter how hard you worked to get ahead of the curve

•Life is like Christmas at times when it feels like giving
Like the gift of love much coveted by most individuals
Gives us all these fanciful things that need extensive assembling
But mischievously hoarding all the instruction manuals

•Fraught with grey areas and blind spots to fight
Presents ample opportunities to find the place that you'd belong
You go through shitloads of wrongs to get a right
And finally you think you're right, in actuality, you're dead wrong!

"More", you say?

•Friends during good times but not the bad
•The perfect red apple hosting a worm inside
•Faking a happy smile when you're deep down sad
•Putting our blind faiths in politicians we know who've lied

•Achieving superstardom only after death had ensnared
•Using heavy machinery to rid the Earth of impurity
•Shooting your mean motor mouth and wonder why no one cared
•Starlets dying for attention but crumble under scrutiny

•Health warnings on cigarettes but still sold for revenue
•Acquiring your sought after sports car but drive within the limit
•Promotions to idiots in suits who haven't got a clue
•Stretching up for the stars even when you know you'll never reach it

Well...

I could give more examples but I've typed enough
Life is but a game we're all playing; a circus we're all living
We can't help being helpless when unable to read and call its bluff
All we can afford is to keep siphoning water out of our boat that's sinking
I know I have been whiny in my recent writes. I also know that living a hard life makes you stronger... When life gives you lemons, make lemonade... Blah blah, yada yada... YAWN... SNORE... Zzzzzz. I know these already and I'm sure they're true to a certain degree. Just want to rant and complain. Please forgive my whining.
LJ Chaplin Sep 2015
The heat,
The way it ripples from the steel handlebars
And burns my hands,
The way the clunking of the chain feels
As each pedal propels me forward
Beneath the sun.
The sky is blue,
The air is crisp and leaves pinpricks
On my skin,
Soothed by the tenderness
Of sun rays that fall like curtains
Upon the concrete.

It smells of rubber,
A lingering scent of nostalgia
That fills my lungs like tar
And fills my heart with youthful
Thoughts.
As the wrinkles emerge,
And the delicate cracks begin to show,
I realize that my bike
Is the last memento that
Resonates through my aging ways.

Let's take a final spin down the boulevard,
Before the sun goes down
And my bones ache once more.
We're fighting a war, you and I
Some battles were different and others the same
It's not like those movies we've seen
There were many casualties
We've each suffered
From our own battles
But in you I see an ally
And in me you see a friend
So we will fight this war together
And someday soon we'll emerge
******, scarred, but victorious
And our enemies will see our tattered banner for miles around
Knowing we've won the war
Pagan Paul Jul 2018
.
And her arms enfold me,
I lay my cheek
against her breast.
The shaking starts,
the tears fall,
as sobs emerge unhindered.
Cries from way down deep,
and I hear her heart,
slow, steady, metronomic.
So I follow its rhythm
along a path richly bathed
in warm sunlight.
Through an archway
and across a threshold shrine,
the cemetery of the Ancients.
A hundred thousand names,
carved in marble,
adorned with statues and plinths.
Holding knowledge of old,
and the sound of silence,
like an abandoned library.

The shadow of love hovers close,
driving through midnight mists
and leading me on.
Practising narrative necromancy,
reanimating old words,
giving them life newly born,
upon the first carved marbles,
its names burnished with wisdom,
and the anonymity of obscurity.
There glows one name
in forgotten script
and I know my deepest identity,
the weight of the aeons
flows free into my mind,
histories of the millennia.
I know
my Forest Lady holds secrets
that belong to me.
And she gestates them all,
a coveted pregnancy.

A path-working, an etherical dream,
and her heart skips a beat,
as another part of me
crumbles and dies,
to mingle with the dust
of ancient knowledge.



© Pagan Paul (11/07/18)
.
Antino Art Aug 2018
maybe the buildings are hollow,
occupied only in facade on the first floor of storefronts

maybe this whole town is a hologram
of neon against puddles
on the pavement.

maybe the citizens are ghosts
floating by
in circles, or squares of city blocks,
around a routine,
or droning through on electric scooters
as if on muted theme park rides
to the next sensory diversion;
to the nearest gastronomical pleasure;
toward the weekend and its next party
celebrating the loss of time,
I see their tired faces

staring out from the glass
of coffeeshop windows
on every block.
I see their piles of beer cans
beside the trash chute.
I hear them singing
on *****-cruises to nowhere

What part of this cycle
that turns days into dust
moves us closer to heaven?

What feast from what new restaurant downtown
will feed our souls?

From which lonely night do we finally emerge
beside the one
whose presence fills
these hollow buildings
to the top-most floors?

Which of the empty lots
between us do we fill
with a conversation
about how this is all a dream,
or how we'll keep each other awake
on a bench
beneath a street lamp before dawn
waiting for the first bus to take us home.
BianchiBlue Aug 2014
Whenever you emerge
catching a breath of air -

I will submerge,

to the twist of an urge
fulfilled with a flare,
whenever you emerge
at the summit of a verge -

without a care
I will submerge,

ready for your surge
with a gasp of air
whenever you emerge
your strength is purged -

with a tug of your hair
I will submerge,

until our breath has merged
our souls aware,

whenever you emerge -

I will submerge
ryn Sep 2014
Mythical Bird, show me your secret
Hatch forth from your shell
Plumage of orange and scarlet
Emerge glorious from whence you dwell

Fiery Bird, you must reveal
Your astounding, magical ways
Where from these lives you steal
Forever reincarnating well into your days

Aflamed Bird, you must teach
How you reinvent yourself anew
With no help within reach
Without aid, effortlessly you flew

Majestic Bird, take me in
Blanket me with your wing
Listen and acknowledge my sins
With all your wisdom and heart could bring

Magical Bird, will you impart?
What knowledge you keep
Only then, I may start
To make my way out from the deep

Enchanted Bird, you have to help
I'm desperate to rise like you
**** your head and hear my yelps
Of all the things I'm trying to undo

Celestial Bird, if only you could know
Intricate workings of this unfounded fixation
Why I seem to always wallow
An eternal target of sorrow's attention

Imaginary Bird, will you demonstrate
Your amazing fantastical flight
Dipping, gliding, in the air you gyrate
Aggressive dance with gravity you fight

Mystical Bird, won't you display
For unworthy eyes, would you give?
Seemingly easy, aloft you stay
Even when you know you'd die before you'd live

Wondrous Bird, oh how perfect you are
I am in awe, I am swooning
How you become one with the stars
Making the best of the short time you're living

Secretive Bird, is it time?
Reducing yourself down to ashes
Ready to absolve your stint of crimes
Reborn perfect, free from previous gashes

Ensorcelled Bird, please don't retreat
Back into your familiar cocoon
I'm uncertain if again we'd meet
Just afraid I might be gone too soon
Tammy M Darby Jan 2015
From sleeps sweet embrace
To become realities eyes
Clouded with a dark imagination
Set forth in a torturous rhyme

Insanity my love
Premeditated thoughts undisclosed
Revealed the prophecy
Attired in woe

Each long night when dreams turned to sand
The delicate soul lay bathed in tears
Doing battle protected by the amour of loyalty
Overcoming the conquests of fear

Nightmares emerged from sleeps sweet embrace
Memories became realities stark face.
Morning comes and ends the assault
A peace that is gained
At a terrible cost.


This poem is copyrighted and stored in author base. All material subject to Copyright Infringement laws
Section 512(c)(3) of the U.S. Copyright
Act, 17 U.S.C. S512(c)(3), Tammy M. Darby Jan.7,  2015
kevin morris Jan 2014
This is a fictional account of the abuse suffered by a young boy. Any resemblance to persons either living or dead is purely coincidental.
Chapter 1

Lady Macbeth remarked “Tis the eye of childhood that fears a painted devil”. All children have their terrors. The bogeyman who lurks in dark corners patiently waiting to harm the unwary child. The ghost who haunts the attic where, even on a bright sunny day the child fears to go alone or some unspeakable terror, a horror with no name which lies just below the surface of every day life. In my case the ghoul who cast an all pervasive shadow over my childhood was Colin, a man small in stature but, to a child a monster of epic proportions.
I have, on occasions tried to comprehend why my abuser acted as he did. As a boy I had no desire to understand Colin. I hated him with an all consuming loathing. He was the devil incarnate who, if it had been in my power to do so I would have destroyed with as little compunction as a man would show when exterminating a rat. As an adult the hatred remains although now tempered with a desire to understand why Colin abused a small, defenceless child, physically and mentally over a prolonged period.
Was Colin abused by one (or both) of his parents? And, if so does this help to explain (but in no way excuse) why he took such great delight in inflicting pain on me? I met both of Colin’s parents and stayed with them on several occasions. At no time during those visits was I subjected to any kind of abuse. This does not of course prove that Colin’s mother and father where not abusers. It demonstrates that they did not abuse me, no more, no less. However, looking back at my visits to their home and, in particular the fact that neither of Colin’s parents abused me, I am inclined to believe that he was not ill treated by either of them. So what turned Colin into the monster who took delight in twisting my arm so hard behind my back that I thought it would break? The answer is, I have no idea. What turned apparently normal Germans into mass murderers in ******’s *****? The answer is the same, I don’t know. As with the concentration camp guards who committed mass ****** I can speculate that some where subjected to abuse as children and that this led to them becoming psychopathic killers. However not all of those abused in childhood go on to commit abuse, while many in the SS experienced apparently happy childhoods untroubled by abuse. Colin may have been abused by someone other than his parents but even if this is the case this does not explain or justify why he became an abuser.

Chapter 2

I was born on 7 February 1971 in the north of England. Soon after my birth it became apparent that all was not right with Donald Myers. I cried far more than any normal child ought to. In addition I banged my head against hard surfaces on a frequent basis which, obviously gave rise to concern. My mum, as any good mother would took me to the hospital only to be told that there was nothing amiss. However a mother’s instinct told her that something was terribly wrong with her son. She refused to leave the hospital and demanded a second opinion. This was provided by a Polish doctor who, having examined me diagnosed a blood clot on the brain. My distraught family was informed that I required an urgent operation and even if the blood clot was successfully removed I was likely to be severely mentaly disabled. Fortunately the blood clot was removed and I am not mentally deficient. The clot did, however leave me with very poor vision (I am registered blind and use a guide dog as a mobility aid although I possess useful vision which assists with orientation).

Chapter 3

As a young boy I spent a great deal of time with my grandfather. This was due to my sister, Janet being ill and my mum not being able to look after 2 young children simultaneously.
I have fond memories of playing in what I called “the patch”, a piece of the garden which my grandfather allowed me to do with as I chose. I recall making mud pies and coming into the house caked in mud literally from head to toe.
Being blind I relied on my grandfather to read to me. Most weekends found us in a book shop. Whenever I walk into W H Smiths the scent of books brings back happy memories of time spent with my grandfather, me sitting on his knee as he read to me.
My grandfather was a dear, kind gentle man. Had he known how Colin was abusing me he would, I am sure have gone straight to the nearest police station to report him. However he never knew and, being a small child I never confided in him.
I am amazed when I hear people ask “why didn’t so and so report the abuse?” As a small child I was terrified of Colin. Had I told anyone I was sure that he would deny everything and the abuse would intensify. I was not aware of the existence of the National Society For The Prevention Of Cruelty To Children (NSPCC) and even had I known of their existence I would, as a frightened little boy have lacked the courage to pick up the phone and call. Colin would, no doubt have accused me of lying and in the 1970’s and 1980’s children where rarely believed when making alegations of abuse.

Chapter 4

I used to dread leaving the safety of my grandfather’s home to spend time with Colin and my mother. My heart would sink when Colin or my mum came to collect me from my grandfather’s. On one occasion I deliberately dropped the car keys behind the kitchen worktop in the forlorn hope this would prevent my mum taking me to stay with her and Colin. Oh vain hope, the keys where discovered and I found myself in the lair of the abuser.
Colin took care never to abuse me in the presence of others. He was, however adept at tormenting me when my mum or other people where nearby but couldn’t see what he was doing. One incident is indelibly etched on my memory. I was sitting on the sofa, in the living room. The room opened straight out into the street and I was seated close to the front door. My mum called to me from outside asking whether I wanted to accompany her to the supermarket. I replied “yes” but before I could leave to join her Colin, who was sitting on the same sofa twisted my arm behind my back and whispered that I should tell my mum that I had changed my mind. I continued to attempt to leave but Colin increased the pressure saying that if I didn’t inform my mum that I had changed my mind he would break my arm. Naturally I called to my mum that I no longer wished to go with her and she left without me.
Being outside my mum did not see the abuse taking place a mere few feet from where she was standing.
On another occasion, while Colin and I where sitting in the living room, he forced a chipped mug into my lip which drew blood. Again my mum was present in the kitchen, which was located next to the living room but did not observe the abuse. On entering the living room and noticing the scar a few minutes later she enquired what had caused it. At this point in time I don’t recollect whether Colin put the lie into my mouth or whether I concocted the story in order to avoid further abuse. In any case I informed my mum that I had cut myself with a chipped mug, a version of events she accepted.  
At times I thought that I was going to die. No small boy likes washing but I used to dread bathing due to Colin’s own unique method of assisting me to wash. This consisted of holding my head under the water so that my nose and mouth filled and I felt as though I was going to die. I would emerge, terrified coughing and spluttering.
Colin obviously derived tremendous pleasure from half suffocating me. On numerous occasions he would place a cushion or pillow over my face and hold it there until I felt that I was about to die. Years later when I attended counselling with the mental health charity Mind, the counsellor asked me why I thought that Colin had not killed me? I replied that he probably derived more pleasure from having a living child to torment than he would have gained had he murdered me. Also, had he murdered me the prospect of detection and Colin spending a long period in prison would, I said have acted as a disincentive to  him taking my life. .  
Colin was a sadist. In adition to systematically abusing me he also abused my mum. I remember him hitting her on a regular basis and on at least one occasion pushing her down the stairs. He was (and is) a ******* of the first order.
Colin didn’t confine his cruelty to people. I recall him flinging the family cat at me. The poor animal stuck out it’s claws to gain purchase with the result that it scratched my face badly. Like all bullies Colin was, at bottom a coward. I never once saw him abuse the family dog. I am sure that this was not out of any affection for the animal, rather it stemmed from the fear that had he done so the dog would, quite naturally have bitten it’s tormentor in self defence. Oh how I wished that the dog had sunk his teeth into Colin.          

Chapter 5

We all have nightmares. As a young boy one of my recurring bad dreams concerned being chased by a hoover. To anyone unfamiliar with the abuse inflicted on me the relating of my dream will, no doubt result in mirth. However my nightmare was no laughing matter as to me the vacuum cleaner was a thing of terror. We owned an upright hoover which Colin would, periodically place on my head while the motor was running. I well recall the terror as the wheels of the machine ran across my head. Colin was nothing if not inventive as in addition to putting a working vacuum cleaner on my head he also made me hold the machine above my head. My arms would ache terribly but I dare not put the hoover down until ordered to do so by Colin. For many years following the ending of the abuse “the chasing hoover dream”, as I refered to it stubbornly refused to go away. While the nightmare no longer plagues my sleeping brain, whenever I use a vacuum cleaner the recollection of a terrified little child being tortured by a hoover comes back to me.
In another of my childhood nightmares I would enter the spare bedroom only to be grabbed by a clicking monster which wrapped it’s hands around my neck attempting to strangle me.
Colin choked me on numerous occasions. One incident remains vividly imprinted on my memory. It was evening and my mum, sister, Colin and I sat in the living room. All of the family accept for me where watching television. I was listening to a talking book about a footballer which contained many amusing stories. I laughed uproariously throughout much of the book. Later on that evening, following the departure of my mum and sister to bed Colin choked me telling me never to laugh like that again as I had “disturbed” people. As I recall Colin’s strangling of me the old terrors reassert themselves. At the time I felt that I had, perhaps done something wrong. However the logical part of my brain told me that I had done nothing whatever to justify Colin’s barbaric treatment of me. He ought to have gone to prison for that incident alone. He was (and remains) the personification of evil to me. To this day I can, on occasions feel self conscious about giving in to the natural desire to laugh at a great joke when in the company of friends. I can (and do) let myself go and laugh uproariously but Colin remains in the background, like Banquo’s ghost putting a dampener on the feast.

Chapter 6

Colin possessed considerable charm which is, perhaps how he came to entrap my mum into marrying him. I remember sitting around the dinner table with guests present and Colin holding forth on Charles Darwin amongst other topics. Although not university educated Colin was by no means unintelligent and could, if one was unfamiliar with his propensity to abuse, appear to be charm itself, a man whom it would be a pleasure to have over for dinner.      

Colin possessed the capacity to make people laugh which he used to devastating effect when making barbed comments at the expense of my mum. I hated him for his comments but laughed none the less which is proof of the idea that hostages frequently try to please their captors by forming some kind of relationship with them. I can not at this juncture in my life recall in detail how, precisely Colin undermined the confidence of my mum, I suspect that this inability on my part stems from the fact that I was, quite naturally concerned with my own suffering and the abuse perpetrated on my mum was of secondary concern. My own pain preoccupied me. I had little time for that of others.

Chapter 7

My counsellor and my dear friend, Barry have raised the issue as to whether my mum was aware of the abuse to which Colin was subjecting me. I have thought about this question long and hard and I still can not provide a categoric answer. I am sure that my mum never actually observed Colin in the act of abusing me. She was, as explained in the forgoing chapters, never in the same room when the abuse took place. The fact that her son showed a profound disinclination to be alone with Colin should though have caused alarm bells to start ringing. Colin was clever. The only time I can recollect when he caused me to bare a physical manifestation of abuse was the incident of the chipped cup related earlier. On all other occasions the marks where deep psychological wounds not visible to the casual observer.
I have tried discussing the abuse with my mum. Her reaction has osilated between stating that the abuse occurred a long time ago and that I ought to forgive and forget, to questioning whether it did, in fact take place. My gut feeling is that my mum does not doubt my veracity. The anger she manifested on discovering that I had informed my wife of the abuse perpetrated by Colin demonstrates that she does not doubt me.
Shortly prior to my wife and I separating we went to stay with my mum and sister. One morning my mum, my daughter and I went for a walk during the course of which my mum received a call from my sister. Janet said that my wife, Louise had told her that I had informed Louise of the abuse to which I had been subjected to by Colin. My mum rounded on me asking “why the hell I had told Louise about the abuse”. There ensued a blazing argument during which my mum hit me. On returning home the argument continued with Janet stating that I should talk to Colin about the situation. The fact that Janet did not defend Colin and state that he couldn’t, possibly have abused me indicates that she was, to some extent aware of the abuse.
I love my mum deeply and have no doubt that she loves me. Yet whenever we are together the elephant in the room (Colin) stands between us, seen by both but mentioned by neither. In my case I fear the eruption of a blazing argument. I have always shyed away from arguments which is, I suspect down to me having grown up in a family in which vilence and arguments where commonplace. As a small boy I developed strategies for minimising the likelyhood of being abused. My main strategy was to make myself as inconspicuous as possible. I became a master at sitting quietly, not speaking unless I was spoken to and doing everything in my power not to antagonise Colin. While I don’t fear being physically abused by my mum I shrink in terror at the prospect of a verbal tyraid eminating from her.
In my mum’s case she does, I believe feel guilty due to her not having protected her son from Colin. The fact that she refuses to discuss the abuse to which I was subjected shows her inability to acknowledge to me her own sense of culpability at her failure to prevent Colin’s behaviour. On at least one occasion my mum has told me that the abuse could not have taken place as, if it had she would have been aware of it. This is contradicted by her statement (refered to earlier) that it was a long time ago and I ought to “forgive and forget”. Both statements can not be correct and in her heart of hearts my mum knows that I am telling the truth, she lacks the courage to admit her own failings and apologise to me.      

Chapter 8

At this distance in time I can not pinpoint the precise point at which the physical abuse stopped. At some indeterminate point (I think during my early teens) I began to challenge Colin’s behaviour. I remember wishing to join a social club and Colin informing me that I could not do so. Full of fear and trepidation I said that I would join to
Madisen Kuhn May 2013
you can either
keep yourself up at night
wondering
          "why me?"
you can hide under your covers
and tell everyone
you're wrong and you'll
never be right

or you can see all this
          heartbreak
          pain
          conflict
          imperfection
as an opportunity
to emerge from the concealed depths
to the gleaming luminescence
and become stronger

it is your choice to decide
whether to drown in your troubles
or to courageously survive

because the harder the struggle
the more spirited you become in the end
         "the deeper the mud
         the more beautiful the lotus blooms"
ryn May 2015
Let me be captured by the night.
Engrossed in the conversation
between the stars.
Syncopated twinkling like...
thousands of fireflies
trapped within sealed jars.

Let me be enslaved by the moon.
As I drink her glow in
greedy insatiable gulps.
Crestfallen...
Her beam with an agenda...
As the landscape she sculpts.

Let me be ensnared by my solitude.
But I hear crickets...
Chirping and chipping away at my
bastion of dreamstate.
Persistent calls
I try to shun
that never abates.

Let me be trapped in my thoughts.
So I could harness...
And immortalise them in
indelible careless scribbles.
Erecting and...
Rebuilding them from the
rubble of conflicting squabbles.

Let me be overwhelmed
by the mess of my being...**
Let me wallow
Then emerge strong from this
decrepit state of mind.
Let me breathe heavy from my
punctured lungs.
So I could heal in time before
true solace
in this dark,
I would find.
Maggie Emmett Jul 2015
PROLOGUE
               Hyde Park weekend of politics and pop,
Geldof’s gang of divas and mad hatters;
Sergeant Pepper only one heart beating,
resurrected by a once dead Beatle.
The ******, Queen and Irish juggernauts;
The Entertainer and dead bands
re-jigged for the sake of humanity.
   The almighty single named entities
all out for Africa and people power.
Olympics in the bag, a Waterloo
of celebrations in the street that night
Leaping and whooping in sheer delight
Nelson rocking in Trafalgar Square
The promised computer wonderlands
rising from the poisoned dead heart wasteland;
derelict, deserted, still festering.
The Brave Tomorrow in a world of hate.
The flame will be lit, magic rings aloft
and harmony will be our middle name.

On the seventh day of the seventh month,
Festival of the skilful Weaving girl;
the ‘war on terror’ just a tattered trope
drained and exhausted and put out of sight
in a dark corner of a darker shelf.
A power surge the first lie of the day.
Savagely woken from our pleasant dream
al Qa’ida opens up a new franchise
and a new frontier for terror to prowl.

               Howling sirens shatter morning’s progress
Hysterical screech of ambulances
and police cars trying to grip the road.
The oppressive drone of helicopters
gathering like the Furies in the sky;
Blair’s hubris is acknowledged by the gods.
Without warning the deadly game begins.

The Leviathan state machinery,
certain of its strength and authority,
with sheer balletic co-ordination,
steadies itself for a fine performance.
The new citizen army in ‘day glow’
take up their ‘Support Official’ roles,
like air raid wardens in the last big show;
feisty  yet firm, delivering every line
deep voiced and clearly to the whole theatre.
On cue, the Police fan out through Bloomsbury
clearing every emergency exit,
arresting and handcuffing surly streets,
locking down this ancient river city.
Fetching in fluorescent green costuming,
the old Bill nimbly Tangos and Foxtrots
the airways, Oscar, Charlie and Yankee
quickly reply with grid reference Echo;
Whiskey, Sierra, Quebec, November,
beam out from New Scotland Yard,
staccato, nearly lost in static space.
      
              LIVERPOOL STREET STATION
8.51 a.m. Circle Line

Shehezad Tanweer was born in England.
A migrant’s child of hope and better life,
dreaming of his future from his birth.
Only twenty two short years on this earth.
In a madrassah, Lahore, Pakistan,
he spent twelve weeks reading and rote learning
verses chosen from the sacred text.
Chanting the syllables, hour after hour,
swaying back and forth with the word rhythm,
like an underground train rocking the rails,
as it weaves its way beneath the world,
in turning tunnels in the dead of night.

Teve Talevski had a meeting
across the river, he knew he’d be late.
**** trains they do it to you every time.
But something odd happened while he waited
A taut-limbed young woman sashayed past him
in a forget-me-not blue dress of silk.
She rustled on the platform as she turned.
She turned to him and smiled, and he smiled back.
Stale tunnel air pushed along in the rush
of the train arriving in the station.
He found a seat and watched her from afar.
Opened his paper for distraction’s sake
Olympic win exciting like the smile.

Train heading southwest under Whitechapel.
Deafening blast, rushing sound blast, bright flash
of golden light, flying glass and debris
Twisted people thrown to ground, darkness;
the dreadful silent second in blackness.
The stench of human flesh and gunpowder,
burning rubber and fiery acrid smoke.
Screaming bone bare pain, blood-drenched tearing pain.
Pitiful weeping, begging for a god
to come, someone to come, and help them out.

Teve pushes off a dead weighted man.
He stands unsteady trying to balance.
Railway staff with torches, moving spotlights
**** and jolt, catching still life scenery,
lighting the exit in gloomy dimness.
They file down the track to Aldgate Station,
Teve passes the sardine can carriage
torn apart by a fierce hungry giant.
Through the dust, four lifeless bodies take shape
and disappear again in drifting smoke.
It’s only later, when safe above ground,
Teve looks around and starts to wonder
where his blue epiphany girl has gone.

                 KINGS CROSS STATION
8.56 a.m. Piccadilly Line

Many named Lyndsey Germaine, Jamaican,
living with his wife and child in Aylesbury,
laying low, never visited the Mosque.   
                Buckinghamshire bomber known as Jamal,
clean shaven, wearing normal western clothes,
annoyed his neighbours with loud music.
Samantha-wife converted and renamed,
Sherafiyah and took to wearing black.
Devout in that jet black shalmar kameez.
Loving father cradled close his daughter
Caressed her cheek and held her tiny hand
He wondered what the future held for her.

Station of the lost and homeless people,
where you can buy anything at a price.
A place where a face can be lost forever;
where the future’s as real as faded dreams.
Below the mainline trains, deep underground
Piccadilly lines cross the River Thames
Cram-packed, shoulder to shoulder and standing,
the train heading southward for Russell Square,
barely pulls away from Kings Cross Station,
when Arash Kazerouni hears the bang,
‘Almighty bang’ before everything stopped.
Twenty six hearts stopped beating that moment.
But glass flew apart in a shattering wave,
followed by a  huge whoosh of smoky soot.
Panic raced down the line with ice fingers
touching and tagging the living with fear.
Spine chiller blanching faces white with shock.

Gracia Hormigos, a housekeeper,
thought, I am being electrocuted.
Her body was shaking, it seemed her mind
was in free fall, no safety cord to pull,
just disconnected, so she looked around,
saw the man next to her had no right leg,
a shattered shard of bone and gouts of  blood,
Where was the rest of his leg and his foot ?

Level headed ones with serious voices
spoke over the screaming and the sobbing;
Titanic lifeboat voices giving orders;
Iceberg cool voices of reassurance;
We’re stoical British bulldog voices
that organize the mayhem and chaos
into meaty chunks of jobs to be done.
Clear air required - break the windows now;
Lines could be live - so we stay where we are;
Help will be here shortly - try to stay calm.

John, Mark and Emma introduce themselves
They never usually speak underground,
averting your gaze, tube train etiquette.
Disaster has its opportunities;
Try the new mobile, take a photograph;
Ring your Mum and Dad, ****** battery’s flat;
My network’s down; my phone light’s still working
Useful to see the way, step carefully.

   Fiona asks, ‘Am I dreaming all this?’
A shrieking man answers her, “I’m dying!”
Hammered glass finally breaks, fresher air;
too late for the man in the front carriage.
London Transport staff in yellow jackets
start an orderly evacuation
The mobile phones held up to light the way.
Only nineteen minutes in a lifetime.
  
EDGEWARE ROAD STATION
9.17 a.m. Circle Line

               Mohammed Sadique Khan, the oldest one.
Perhaps the leader, at least a mentor.
Yorkshire man born, married with a daughter
Gently spoken man, endlessly patient,
worked in the Hamara, Lodge Lane, Leeds,
Council-funded, multi-faith youth Centre;
and the local Primary school, in Beeston.
No-one could believe this of  Mr Khan;
well educated, caring and very kind
Where did he hide his secret other life  ?

Wise enough to wait for the second train.
Two for the price of one, a real bargain.
Westbound second carriage is blown away,
a commuter blasted from the platform,
hurled under the wheels of the east bound train.
Moon Crater holes, the walls pitted and pocked;
a sparse dark-side landscape with black, black air.
The ripped and shredded metal bursts free
like a surprising party popper;
Steel curlicues corkscrew through wood and glass.
Mass is made atomic in the closed space.
Roasting meat and Auschwitzed cremation stench
saturates the already murky air.              
Our human kindling feeds the greedy fire;
Heads alight like medieval torches;
Fiery liquid skin drops from the faceless;
Punk afro hair is cauterised and singed.  
Heat intensity, like a wayward iron,
scorches clothes, fuses fibres together.
Seven people escape this inferno;
many die in later days, badly burned,
and everyone there will live a scarred life.

               TAVISTOCK ROAD
9.47 a.m. Number 30 Bus  

Hasib Hussain migrant son, English born
barely an adult, loved by his mother;
reported him missing later that night.
Police typed his description in the file
and matched his clothes to fragments from the scene.
A hapless victim or vicious bomber ?
Child of the ‘Ummah’ waging deadly war.
Seventy two black eyed virgins waiting
in jihadist paradise just for you.

Red double-decker bus, number thirty,
going from Hackney Wick to Marble Arch;
stuck in traffic, diversions everywhere.
Driver pulls up next to a tree lined square;
the Parking Inspector, Ade Soji,
tells the driver he’s in Tavistock Road,
British Museum nearby and the Square.
A place of peace and quiet reflection;
the sad history of war is remembered;
symbols to make us never forget death;
Cherry Tree from Hiroshima, Japan;
Holocaust Memorial for Jewish dead;
sturdy statue of  Mahatma Gandhi.
Peaceful resistance that drove the Lion out.
Freedom for India but death for him.

Sudden sonic boom, bus roof tears apart,
seats erupt with volcanic force upward,
hot larva of blood and tissue rains down.
Bloodied road becomes a charnel-house scene;
disembodied limbs among the wreckage,
headless corpses; sinews, muscles and bone.
Buildings spattered and smeared with human paint
Impressionist daubs, blood red like the bus.

Jasmine Gardiner, running late for work;
all trains were cancelled from Euston Station;  
she headed for the square, to catch the bus.
It drove straight past her standing at the stop;
before she could curse aloud - Kaboom !
Instinctively she ran, ran for her life.
Umbrella shield from the shower of gore.

On the lower deck, two Aussies squeezed in;
Catherine Klestov was standing in the aisle,
floored by the bomb, suffered cuts and bruises
She limped to Islington two days later.
Louise Barry was reading the paper,
she was ‘****-scared’ by the explosion;
she crawled out of the remnants of the bus,
broken and burned, she lay flat on the road,
the world of sound had gone, ear drums had burst;
she lay there drowsy, quiet, looking up
and amazingly the sky was still there.

Sam Ly, Vietnamese Australian,
One of the boat people once welcomed here.
A refugee, held in his mother’s arms,
she died of cancer, before he was three.
Hi Ly struggled to raise his son alone;
a tough life, inner city high rise flats.
Education the smart migrant’s revenge,
Monash Uni and an IT degree.
Lucky Sam, perfect job of a lifetime;
in London, with his one love, Mandy Ha,
Life going great until that fateful day;
on the seventh day of the seventh month,
Festival of the skilful Weaving girl.

Three other Aussies on that ****** bus;
no serious physical injuries,
Sam’s luck ran out, in choosing where to sit.
His neck was broken, could not breath alone;
his head smashed and crushed, fractured bones and burns
Wrapped in a cocoon of coma safe
This broken figure lying on white sheets
in an English Intensive Care Unit
did not seem like Hi Ly’s beloved son;
but he sat by Sam’s bed in disbelief,
seven days and seven nights of struggle,
until the final hour, when it was done.

In the pit of our stomach we all knew,
but we kept on deep breathing and hoping
this nauseous reality would pass.
The weary inevitability
of horrific disasters such as these.
Strangely familiar like an old newsreel
Black and white, it happened long ago.
But its happening now right before our eyes
satellite pictures beam and bounce the globe.
Twelve thousand miles we watch the story
Plot unfolds rapidly, chapters emerge
We know the places names of this narrative.
  
It is all subterranean, hidden
from the curious, voyeuristic gaze,
Until the icon bus, we are hopeful
This public spectacle is above ground
We can see the force that mangled the bus,
fury that tore people apart limb by limb
Now we can imagine a bomb below,
far below, people trapped, fiery hell;
fighting to breathe each breath in tunnelled tombs.

Herded from the blast they are strangely calm,
obedient, shuffling this way and that.
Blood-streaked, sooty and dishevelled they come.
Out from the choking darkness far below
Dazzled by the brightness of the morning
of a day they feared might be their last.
They have breathed deeply of Kurtz’s horror.
Sights and sounds unimaginable before
will haunt their waking hours for many years;
a lifetime of nightmares in the making.
They trudge like weary soldiers from the Somme
already see the world with older eyes.

On the surface, they find a world where life
simply goes on as before, unmindful.
Cyclist couriers still defy road laws,
sprint racing again in Le Tour de France;
beer-gutted, real men are loading lorries;
lunch time sandwiches are made as usual,
sold and eaten at desks and in the street.
Roadside cafes sell lots of hot sweet tea.
The Umbrella stand soon does brisk business.
Sign writers' hands, still steady, paint the sign.
The summer blooms are watered in the park.
A ***** stretches on the bench and wakes up,
he folds and stows his newspaper blankets;
mouth dry,  he sips water at the fountain.
A lady scoops up her black poodle’s ****.
A young couple argues over nothing.
Betting shops are full of people losing
money and dreaming of a trifecta.
Martin’s still smoking despite the patches.
There’s a rush on Brandy in nearby pubs
Retired gardener dead heads his flowers
and picks a lettuce for the evening meal

Fifty six minutes from start to finish.
Perfectly orchestrated performance.
Rush hour co-ordination excellent.
Maximum devastation was ensured.
Cruel, merciless killing so coldly done.
Fine detail in the maiming and damage.

A REVIEW

Well activated practical response.
Rehearsals really paid off on the day.
Brilliant touch with bus transport for victims;
Space blankets well deployed for shock effect;
Dramatic improv by Paramedics;
Nurses, medicos and casualty staff
showed great technical E.R. Skills - Bravo !
Plenty of pizzazz and dash as always
from the nifty, London Ambo drivers;
Old fashioned know-how from the Fire fighters
in hosing down the fireworks underground.
Dangerous rescues were undertaken,
accomplished with buckets of common sense.
And what can one say about those Bobbies,
jolly good show, the lips unquivering
and universally stiff, no mean feat
in this Premiere season tear-jerker.
Nail-bitingly brittle, but a smash-hit
Poignant misery and stoic suffering,
fortitude, forbearance and lots of grit
Altogether was quite tickety boo.



NOTES ON THE POEM

Liverpool Street Station

A Circle Line train from Moorgate with six carriages and a capacity of 1272 passengers [ 192 seated; 1080 standing]. 7 dead on the first day.

Southbound, destination Aldgate. Explosion occurs midway between Liverpool Street and Aldgate.

Shehezad Tanweer was reported to have ‘never been political’ by a friend who played cricket with him 10 days before the bombing

Teve Talevski is a real person and I have elaborated a little on reports in the press. He runs a coffee shop in North London.

At the time of writing the fate of the blue dress lady is not known

Kings Cross Station

A Piccadilly Line train with six carriages and a capacity of 1238 passengers [272 seated; 966 standing]. 21 dead on first day.

Southbound, destination Russell Square. Explosion occurs mi
This poem is part of a longer poem called Seasons of Terror. This poem was performed at the University of Adelaide, Bonython Hall as a community event. The poem was read by local poets, broadcasters, personalities and politicians from the South Australia Parliament and a Federal MP & Senator. The State Premier was represented by the Hon. Michael Atkinson, who spoke about the role of the Emergency services in our society. The Chiefs of Police, Fire and Ambulence; all religious and community organisations' senior reprasentatives; the First Secretary of the British High Commission and the general public were present. It was recorded by Radio Adelaide and broadcast live as well as coverage from Channel 7 TV News. The Queen,Tony Blair, Australian Governor General and many other public dignitaries sent messages of support for the work being read. A string quartet and a solo flautist also played at this event.
Step into the sunshine my friend,
let it kiss your face and refine your spirit into a golden bar.

Step into the sunshine my friend,
come out of the shadows of your past,
emerge as a saintly being clothed in angelic white.

Step into the sunshine my friend;
let the great sun inflame your soul
with magnificent grace and transformative power.

Step into the sunshine my friend,
wipe the darkness from your eyes
see what miracles the new day brings.
Believe in all the light you see.

Step into the sunshine my friend,
let radiant beams of love ignite your passions;
your heart will bust forth like an exploding star
washing the galaxy with positive energy.

Step into the sunshine my friend,
receive the fantastic glories the day brings to you
and revel in them all.

Step into the sunshine my friend;
bathe yourself in the warm river of humanity.
Recognize yourself for the first time in its watery mirror.

Step into the sunshine my friend,
witness the delicate flower break through the hard crust of earth,
marvel as its fragrant bud blooms.

Step into the sunshine my friend,
experience the wonder in a child’s face,
let them lead you to the next 10,000 sunrises.

Step into the sunshine my friend,
feel the soft rays touch your wounds;
know how the daylight can heal.

Step into the sunshine my friend,
smell the ocean heave against the climbing sun
listen to the wisps of the meadowland's verdant fragrance.

Step into the sunshine my friend;
see the sparrow take flight toward the light,
watch its tireless wings glide on a blanket of rising thermal air.

Step into the sunshine my friend.

Music Selection: Ramsey Lewis
Sun Goddess

Oakland
122698
jbm
Homunculus Apr 2016
The process of becoming other than,
  the shedding of the old by way of time
  the hands upon the clock traverse their span,
  the ever fleeting moment reigns, sublime.

The emptiness of all objective forms,
  the rushing river, never stepped in twice,
  the reconfiguration of all norms,
  the virtues of lost ages seen as vice,

The elements converge and then react,
  the caterpillars weave themselves cocoons,
  the world amends its stock of gathered facts,
  the moths emerge, in flight to greet the moon,
  
   The firmament, destroyed and rearranged,
     the universal essence, found in change.
I'm actually beginning to enjoy writing these.
jane taylor May 2016
in the heart
of the night
a slice of moonlight
cascading
beckoned

i rouse
its mesmerizing lure
gently stirs
a hazy
remembrance

entranced
from shadows i emerge
hearkening its echo
you’re dreaming
awaken

its shimmering light
engulfed me
prying open my stubborn eyes
in the onyx
darkness

its silver glow
enticed me outside
i stood silent
whilst glistening dewdrops
danced on my toes

a sterling lunar crescent
enlightening midnight
softly
serenades
me

wake up
life’s a trance
you’re
hypnotized
mesmerized

in an ocean of emptiness
i heard
a celestial orb
calling
and ne’er slept again

©2016janetaylor
ryn Jan 2015
People may tell you to not cry...
I won't because I know the difference.
They think they know when in fact they lie...
I say bury yourself in the deepest of detriments.

They may say that a new day will come...
They only spout what they can't comprehend.
They forget that you are ailing from a broken heart and that you're not dumb.
There's only you in your space, alone you stand...

Textbook responses are all they can offer...
They know not that it'll only make things worse...
There can be no replies so nice and proper.
To rid you of your life, your plight, your curse.

They may even share personal events that they think familiar.
Thinking what worked for them may work for you.
But no two situations are the same, albeit looking quite similar.
At the end of the day, you only owe it to yourself to pull yourself through.

I say feed your pain, grieve hard if you must
Wallow... Dwell... Drown yourself everyday.
Let your blood sear your insides, beneath your crumbling crust.
Let the world around you descend into destruction and decay.

What made me the expert...
To say these horrid, putrid things.
Because I am you and we both lay in the dirt.
Driven mad by the persistent echoes of our own misgivings.

I'm no expert... I am just a broken man.
Telling you to let yourself be caught in your own sad and angry song.
Be weak... Be as weak as you possibly can...
So you could rise from the ashes and emerge hale and strong.
A chat I had with a friend made me realise... "What doesn't **** you, makes you stronger..." And I know this to be true... So...

"Be very weak... So you could be strong..."
- ryn

Dedicated to all the broken hearts out there...
.
Isaac Aug 2018
A choose your own adventure book
Mimics life so well.
If only I could have a look
At other stories life could tell.
I would peak into the different plots
Where reality would diverge.
I’d probably begin to notice lots
Of new problems which emerge.
Though curious, I’ll remain content
With this narrative I am in.
May the future me not want it
To be contrary to how it has been!
Written 8 August 2018

When you wake up in the morning, there are many paths before you.
When you go to sleep at night, there is one path behind you.

The question is: what is it you can do to make sure you live out that one path that is best?

Proverbs 3:5-6
ryn Oct 2014
Are we fated to dance to the same tune alone in our separate universes?
Is it true that we must silently keep to our preordained curses?

Are we destined to swoon at the beauty of the moon at differing time slots?
Why were we given invisible ink to connect our lives' dots?

Must it be that our lives revolve around the whims of the sun?
Isn't it ludicrous that we won't see the intricate webs we've spun?

Was it the plan that we exist only in our minds and hearts?
Why do we have to tolerate starting when the other's ending and end at the other's starts?

Has it been written that we can only afford to infinitely chase each others heartbeats?
Was it foretold that we're trapped in a singular notion that never really fits?

Is the game set as such that we can never emerge as winners?
How is it that the ocean was made out of our tears that flowed from rivers?

Why is it that with our entirety we believe but do not know?
What's the reason for the path made clear but we're too afraid to go?

What does it entail to possess the very least but yet you covet it the most?
How do you pride yourself in something but not allowed to boast?

Why do we frantically scramble to piece together jagged shards?
Can't we just play this blasted deck of lousy cards?

Is it destiny or cruelty to have found then lost?
Why does it seem absurd that we have all its takes but can't afford the cost?

Is it the thoughts that **** or the emotions that debilitate?
Is it the challenges we take on or the curveballs we anticipate?

Why bother when sheer folly is all it seems to be?
Why tarry when the heart is free and the mind is ready?

Is it ridiculous to have found myself still very bothered?
Is it wrong to question fate that had always bound us tethered?

Why is the good always bad and the bad becomes worse?
Is it true that the harder we fight, the deeper we immerse?

Has life turned to be but sad little rhetorics?
Are we but performers on stages coerced into theatrics?

Is it time for me to surface this one-man submarine?
Will it be so that if I do, my journey would then begin...?
A host of rhetorical questions from my older writes...

"Surface this one-man submarine"  isn't mine... It's Brandon Boyd's.
Taken off Incubus' " Love Hurts"
Kiernan Norman Jan 2015
I picture them in a balmy hallway,
far-corner huddled; quietly, urgently
comparing their notes on ways I have loved.

They'll laugh at lame jokes and avoid eye contact,
each surprised by their own awkwardness.
One of them will quip the term
'eskimo brother'
and immediately wish he hadn't.
The rest will kindly ignore it.
The moment will pass.

They will slowly shed their discomfort.
They will remove their coats.
Sweat will bloom at collars
and trace knotty bumps of spine before
pooling into the space between
boxers and belt.

They won't openly discuss the
strange comradery
that accompanies the lazy river evenings spent drifting down the same mind-
but the tension pulling across
each of their jaws
will announce loud and clear
how frustrating it has
been to be cropped,
tucked in, paper fortune teller folded
and wrapped up into someone else’s idea of poetry.


Casually
then all at once,
they will get started.
Printed pages will uncoil from backpacks,
phones will emerge from pockets
and fingers slightly shaking
will chase the letters
of my name through search engines.

My sticky poems will fan out across floorboards.
They will lower their bodies carefully, not quite kneeling,
(and without mention of the bad knees they happen to share.)
They'll hover above each piece of evidence
and their eyes will crash along titles and memories-
they'll read with raised
eyebrows and pretend as if
they don't already know
each poem, each quick dig, by heart.

When they start claiming
and denying pieces
they will do so lightly
and without judgment.
'This piece is about you and the dry, delicate
tissue-shell of skin
she held out for you after you told
her to shed.
But this piece- this piece is about me
and the messy ointment
that ruined her clothes and
stained her blankets.
A doctor instructed she
apply the ointment to her hands
twice a day to treat
the burns my silence left
across her arms and throat.'

They will share a bit of rage,
A bit of regret.
A bit of shame, perhaps.
They will either miss me intensely
or not at all.
They will either own up
to the poems they begat
or begin refuting.
They don’t want any of
this chilly weight on their soul.
I understand.

They didn’t sign up for this, I know that.
They didn’t set out to rock me,
nor to dig down deep and get to my China.
I was happy to share, to whisper and recite blurry
morning confessions and epiphanies.
I was right behind them running toward the sand dunes,
waving a shovel and pail.
But I can’t feel bad either.
You all must have known:

If you happen to fall for a girl
who writes you must realize
that every smile you put on her face,
every stray hair you’ve pushed back from her eyes,
and quick habit she starts to crave
is fair game.

If a girl who writes happens to fall for you too--
forget it.
You will find echoes of the way your souls fit and fought
together until she has nothing left to feel on the subject;
(and you must be well aware
she's tidal, her feelings are icecaps,
they are melting but will trickle fresh
and renewed for centuries to come.)

— The End —