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Shannon Dec 2014
it's so perfect.
so divine.
inside she finds
that safe place and
like
a marble is blue
like a gesture
is small
like yeast must rise-
like the cat's eye,
paw at you.
because
as the cat waits
with the sunbeam she plays.
the tea
and the teacup-
exquisitely she waits.
she waits.
empty she will.
so
deny
still
exquisitely
majestically  
instinctively she waits.
on her own bone china
pretty little fragile
thing
on her own
she waits,
exquisitely she waits.


sahn
12/4/14
i am always grateful, say hello.
Exists Exquisitely My Heart



By: The Author


Exists exquisitely my heart
Livid liquid living art
Serenely simple soft and sure
Perfect power pounding pure

Miseries unbidden rise
Stealing love with lovely lies
Draining me of all but dreams
Pain unending ever seems

Brightly bone is bound about
Structured on the insides out
Softly skin enshrouds my soul
Stitching of my parts a whole

Where then can I meaning find?
In my eyes? My hands? My mind?
Surely more must surely lie?
Wove within the depth of I?

Other organs orchestrate
Myriad movements never late
Clockwork; every action spells
Symphonies composed of cells

Never more to simply be
Mere existing ever me
Letting languid life flow by
Never caring where or why

Fingers move with majesty
Eyes a sea of what I see
Sinew slips in silence strong
Ears, my essence, sing a song

Hope, in blood, unfettered flows
Pulsing life, that living, grows
Truth is writ in all life's pains
"Life lives yet within your veins"


For more see:

~ http://aweavingofwords.blogspot.com ~
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
Onoma Feb 2017
These pipe dreams
exquisitely piped...
through these cylindrical
circles cloying what opens
an end, as a means.
Living men and women's
tunnel vision...dying men
and women's tunnel vision.
Exquisitely piped.
RAJ NANDY Apr 2015
Dear Poet Friends, being fond of Art, I wanted to compose on
this topic for a long time in a simplified form! Egyptian Art and
Architecture influenced the Early Greeks, who in turn influenced the Romans and other civilizations! Initially Art and architecture, religion and culture, were all closely inter-related! Real distinction emerged with the Italian Renaissance. Here I have used only a portion of my personal notes. Hope you find this interesting to read! Sorry for the length! Kindly give Comments after you have managed to read the entire portion in your spare time. Thanks, -Raj

INTRODUCTION TO THE STORY
OF WESTERN ART IN VERSE:
          PART ONE
    * BY RAJ NANDY

INTRODUCTION
Art over the centuries has been variously defined,
But an all embracing definition is rather hard to find!
Ayn Rand defined Art as a recreation of reality according to
artist’s values, his view of existence, and choice;
Who recreates by a selective rearrangement of the elements
of reality, and not simply out of a void!
Study of Art History is a study of man’s creative evolution;
A progress of his wakened consciousness, and a restless
striving towards perfection!
The progress of his mind, taste and skill, which has gradually
evolved through past traditions;
Finding ultimate expression in his multi-faceted creations!
I commence this story from its earliest days, and mention those
Ancient Civilizations which influenced Art in many ways.
Art has been greatly influenced by religion, culture and history;
Therefore, knowing these aspects becomes necessary to
fully appreciate this Art Story!

PREHISTORIC STONE AGE ART:
Let us take a ride on the magic carpet of History, down
past millenniums to begin our Art Story;
Right into the ancient Paleolithic, Mesolithic and Neolithic
Eras of the Stone Age,
When early humans left their creative imprints on rock
surfaces and on walls of caves!
Long before the evolution of any proper coherent speech
or communication,
In some 350 caves of France and Spain are seen paintings
of large wild animals like horses, antelopes and bison;
Bearing witness to the story of gradual human evolution!
The cave paintings of Chauvet, Cosquer, and Lascaux, date
between 8000 and 1700 BC,
Drawn by nameless and faceless people who emerged from
an inhospitable Ice Age;
Those nomadic tribes who were hunter-gatherers living in
pre-historic caves!
The Story of Art therefore begins before recorded History,
Pieced together by scholars with the help of science and
archeology!
During the Neolithic Period beginning around 8,000BC,
Ancient man became gradually sedentary, engaging in
agriculture and animal husbandry!
With these nomads settling down in small communities,
Art became mystical and monumental in range;
As seen in the megalithic (large stone) structures of the
famous Stonehenge!
This type of post and lintel structure is also found in ancient
Egyptian architecture, and later in Greece as its special
feature!
Art History spans the entire history of mankind,
Right from the pre-historic days, up to our modern times!
Man’s everlasting quest for immortality lies etched on
rocks and raised stone edifices, defying marauding Time!

MESOPOTAMIAN ART (3500-300BC) :
Let us now travel fast forward on our magic carpet to reach
the Fertile Crescent,
Where the Tigress and the Euphrates Rivers flow, to the
Ancient Civilization of the Sumerians! (3500-2300BC)
The birth of civilization has been traced to Southern
Mesopotamia, where the Sumerians built their first cities,
As the earliest River Valley Civilization around 3500 BC!
It was a period when writing got invented in its earliest
Cuneiform form;  (around 3400 BC)
When Patriarch Abraham established the worship of a Single
God, in a revolutionary religious reform! (Judaism)
Mesopotamian Civilization as the source of our earliest
surviving Art dates back to 3500BC;
When major civilizations like the Sumerian, Akkadian,
Babylonian, Hitties, Assyrian, and the Persians, in this
chronological sequence, contributed to Art History!
Mesopotamian Art in general glorified their powerful rulers
and their connection with divinity;
Reflected on their city gates, palace complexes and ziggurats,

are scenes of both victorious wars and their prosperity!
Art was then highly functional and repetitive; depicting
love of beauty, a sense of order, and power of hierarchy,
- in their sculptures and motifs.
However, no signatures were ever found bearing the name
of the Artist!
It is interesting to note that both the potter’s wheel and the
cart wheel, made their first appearance around 3500 BC
and 3200 BC respectively;
With the Sumerians contributing to art and culture, and the
progress of Human Civilization immensely!
(Ziggurats are semi-pyramid like structures with steps, a temple complex located in the center of all ancient Sumerian cities-states! Saragon the Great of Akkad from the North, defeated the Sumerians in the South, & united entire Mesopotamia around 2300 BC, for the first time in Mesopotamian History, & they ruled for 200 years.)

ANCIENT EGYPTIAN ART :(3000 BC -500BC)
Next we travel to an isolated area of north-east Africa,
Where the White Nile flows down from Lake Victoria.
The Nile enters Upper Egypt traveling through Sudan,
Is joined by the Blue Nile at Khartoum to become one!
Continues its flow north through Egypt Lower, flowing
into the Mediterranean as the World’s longest river!
Historian Herodotus had called Egypt ‘the gift of the Nile’;
Ancient Egypt became a rich treasure trove of art and
architecture for all times!
The Nile valley area was protected by the desert on its
east and the west;
In the north by the Mediterranean, and towards the
south by a rugged mountainous terrain!
Annual flooding of the Nile along with an effective
irrigational network,
Ensured Egypt’s prosperous stability, congenial for her
many innovative architectures and art works!
Egyptian Art got shaped by her geography, mythology
and her polytheistic religion;
Also by their preoccupation with after-life and belief in  
the immortal soul’s continuation;
Thus elaborate funeral rites were performed by priests for  
the body’s preservation by mummification! *
(
’KA’= was a real astral twin or stellar double of an Individual, which continued to exist even after death, requiring the same sustenance as the humans, so food offerings were made in the coffins! ‘BA’= shaped like a human-headed bird, composed of non-physical attributes of an Individual. ‘BA’ collected the deceased’s personality after death from the mummified remains & united it with the ‘KA’, making a person complete; thereby making it possible for the person to be reborn as ‘AKH’ (Star), - in its ultimate unchanging form, to join Osiris in the ‘Happy Fields’! Since this journey to the next world was fraught with danger, magical funerary spells & rites were performed by the priests, with incantations from the ‘Book of the Dead’, inside the funeral chamber of the Pyramid!)

Art During Old, Middle, and New Kingdom Period:
Egyptian Art was concerned with ensuring continuity of the
universe, their Gods, the King and the people;
A projection into eternity a version of reality pure and free
from all earthly evil!
Therefore in ancient Egyptian society, conformity over
individuality was always encouraged;
Artists worked in groups with conservative adherence to
rules, order and form,
And all individual artistic initiatives strictly discouraged !
Their earliest pyramids the Mastaba, the Step, and the Bent
Pyramids were all prototypes;
While the Great Pyramid of Giza built for Pharaoh Kufu,
- was the first true pyramid which still survives!
Art comes down to us as ‘funerary art’ designed for the tombs,
Which was to accompany the royalty in their journey to an
afterlife, with its symbolic forms!
This symbolism is seen in their paintings, statues and architecture;
In vibrant color codes of their paintings as a special feature!
Where White was the symbol of purity, Black for death and night;
Green for vegetation or new life, Blue for water and the sky;
Red for life and victory, and Yellow like Gold as the flesh of the
Gods and also the Sun God ruling the sky!
Thanks to Jean-Francois Champollion’s translation of the Rosetta
Stone, (1822)
We are able to decipher many mysteries of the Ancient Egyptian
with the cracking of the Hieroglyphic Code!
Larger than life statues with poise and austere harmony at the
Luxor Temple complex survive;
Symbolic of the individual’s status, while creating zones of
strangeness for imagination to thrive!
(
’Matsaba’= Egyptian for ‘bench’, referred to bench shaped pyramids;
“Step Pyramids” = were like benches placed one on top of the other in
a tapering form going up vertically!)

The Old Kingdom Period covers a five hundred years span
of Ancient Egyptian History, (2686-2181BC)
Known as the ‘Age of Pyramids’, with Pharaohs from the
Third to the Sixth Dynasty!
“The World fear Time, but Time fears only the Pyramids”,
- is an Ancient Egyptian Proverb;
Whose ‘heterogeneous structure’ made it earthquake
proof, making Time to reluctantly serve! #
Here we find formalized figures with long slender bodies,
idealized proportions and large staring eyes;
Where Kufu’s Great Pyramid of Giza raises its mighty head
as the highest, on the west bank of the Nile;
And the mighty Sphinx guard the entrance to those ancient
royal tombs, though defaced, still survive!
These pyramids were like Pharaoh’s getaways to eternity,
An insurance to an afterlife of peace and prosperity!
(# Pyramids with stone blocks of different sizes & shapes made them
Earthquake resistant; & use of pink granite in the inner chambers
made them erosion resistant against Time!)

The Middle Kingdom Period (2040-1650 BC) :
Following 150 years of civil disorder Theban ruler Mentuhotep
the Second, reunified Egypt and ruled up to Nubia, (Sudan)
And began the Classical Era when Block Statues appear,
indicating political stability;
When artisans worked with bronze and copper alloys, designing
exquisite jewelry!
Kings now preferred to be buried in secret tombs, Pyramids
having lost their appeal,
And work began on the west bank of the Nile, in the Valley of
Kings!
(
Inside those rock cut ‘funerary temples’ on the East bank of the
Nile, opposite Ancient Kingdom of Thebes ; Pharaohs from the
Early and Late New Kingdom Periods were buried, including
Tutemkhamen.)

Early New Kingdom Period (1550 -1295 BC):
Between the Middle Kingdom and this Era, Art remained
static for almost a hundred years,
When the Hyksos from the Near East fought the weak Theban
Rulers!
In 1550 BC Theban Prince Ahmose reunited Egypt, and was
succeeded by able rulers, who ushered in the Golden Age!
Art works continued to maintain its basic traditional style,
With successive Kings from the 18th Dynasty consolidating
their kingdom’s wealth and power all the while!
But Egypt witnessed a change with an innovative style in Art,
When Amenhotep IV in 1353 BC became King, initiating a
fresh start!
This king changed his name to ‘Akhenaten’, the spirit of Aten,
-- ‘The disk of the Sun’;
Abandoned the pantheons of Gods with Aten as the ‘sole God’,
and a religious revolution had begun!
His new capital city of Amarna, 200 miles north of Thebes,
Got decorated with a new kind of art work to make it complete!
The statues now appear more realistic displaying emotions,
With fluidity of movement, unlike those rigid earlier creations!
The artistic talent of this Amarna Period gets best exemplified,
In the exquisite bust of Nefertiti, Akhenaten’s Great Royal Wife!
Regarded as ‘icon of international beauty’, a great archeological
find ! **
(
Discovered by a German team of Archeologists in 1912 at Amarna! This 19 inch long limestone Nefertiti statue weighs around 20 kg, now housed in Berlin Museum; comparable only to the artistic Golden Mask of Tutankhamen!)

King Tutankhamen (1336-1327 BC):
Akhenaten’s unpopular rule was short-lived, with those humiliated
Theban priests calling him the ‘Heretic King’!
A nine year old boy Tutankhamen (‘The living image of Amun’),
was next to succeed him!
King Tut restored the worship of Amun, in a back-lash against
Akhenaten;
Shifted the royal palace back to Thebes, with the religious center
at Karnak once again!
King Tut’s short ten year’s rule remained buried in 3000 year’s
of Egyptian History,
Till Howard Carter found his richly laden intact tomb, in the
Valley of the Kings! (1922)
King Tut’s priceless and exquisitely carved golden face mask,
reflected the exalted standard of art work;
Weighing ten kilos, inlaid with semi-precious stones, and eyes
made of obsidian and quarts!
With the King’s early death, the 18th Dynasty of Pharaohs came
to an abrupt end,
And the 19th and 20th Dynasties of the Late Kingdom Period
commenced!
The famous rock temple of Abu Simbel now got built, under the
warrior and builder Ramses II, one of Egypt’s greatest Kings!


Pharaoh Ramses-II of the Late Kingdom Period :
Here I sweep across centuries of Egyptian History, to mention
King Ramses-II’s contribution to our Art Story!
In Shelly’s famous poem titled “Ozymandias of Egypt” he is
immortalized; (Greeks called Ramses-II “Ozymandias”!)
And as the Pharaoh associated with Moses in the movie “The
Ten Commandments”, he is popularized!
Egyptian Art is intrinsically bound with its religion, pyramids,
hieroglyphs, and architecture;
With a concentrated focus on ‘afterlife’ as its special feature!
In 1270 BC young Ramses took over from Seti the First,
And his rule for a period of 66 long years did last!
As the third Pharaoh of the 19th Dynasty, he had ruled with a
firm hand;
Recovered lost territories from the Hittites and the Nubians,
- earlier captured Egyptian lands!
He enlarged the territories of Egypt ensuring prosperity and
stability;
Became renowned as the famous Warrior and Builder King
of Ancient Egyptian History!
Ramses-II had expanded most of the temples, as recorded in
the artistic motifs and hieroglyphic symbols;
Here a special mention must be made of the Temples of Luxor,
Karnak, and Abu Simbel !

Temples of Luxor and Karnak in Ancient Thebes:
Ancient Thebes was located on the eastern bank of the Nile,
where the modern City of Luxor stands;
Thebes was once the capital of the 11th and 18th Dynasties,
And the power and religious center of all Egyptian land!
Gets mentioned in the 9th Book of Homer’s ‘Iliad’ where “heaps
of precious ingots gleam, the hundred-gated Thebes”!
Excavation work began in Thebes during the late 19th century;
And the gradual unearthing of the Temples of Luxor and
Karnak, added a new dimension to Egypt’s Art Story!
It must be remembered always, that the Ancient Egyptians in
those early days,
Structured their temple architecture to the point of ‘Sacred Art’!
With their knowledge of astronomy and geometry, they
aligned their temples so perfectly,
That the light of the rising sun fell on the temple’s innermost
sanctuary! (Temple of Abu Simbel is a great example,)
Where the Egyptian priests, who were also the artists, healers,
mathematicians, astronomers and scribes;
In dimly lit incense-filled sanctuaries performed the sacred rites!
The temples symbolized the cross roads of the cosmos, where
the divine and the mortal met in perpetual harmony!
These divine scenes were integrated into the very fabric of the
Egyptian society through chants and rituals;
With cosmological symbols of magical hieroglyphs, which
priests alone could transcribe in those days!
(
Thebes began to decline rapidly after Alexander the Great
established the port-city of Alexandria as Egypt’s new Capital
around 332 BC !)

Luxor Temple built by Amenhotep-III, was dedicated to God
Amun, his wife Mut and son Khonsu, - the Theban Triad;
Tutankhamen and Ramses-II expanding the temple during the
New Kingdom Period!
Creator God Amun became assimilated with the Sun God Re;
Was worshipped in Thebes, and in the cult centers of Luxor and
Karnak, - as Amun-Re!
The walls and columns of these cult temples were decorated
with carved and painted relief,
Depicting the interaction with Gods, and military exploits of
Egyptian Pharaohs and Kings!
The sun temple of Amenhotep-III at Luxor has many columns
resembling papyrus bundles,
Symbolic of the primeval marsh from where Creation was
believed to have unfolded !
A Sphinx Alley excavated between Luxor an
Rai Oct 2015
Exquisitely flawed in all the right places
Like the keys on the piano that  sits abandoned
Your ebony keys complement my ivory so well
But dust collects and you never notice
So I fall away quietly
Retreating like a soldier
Who knows he will not win the inner battle before him
Quietly quietly
Silently go
Where no one sees you
Nobody knows
I built up my fortress
A place full of pride
Full of hatred
Your pent up lies
A promise broken
A heart is torn
I'll stay in my castle
Where my poetess is reborn

*
Quietly quietly
Silently go
Where all the others fear to tread
I will lye down this weary head
Exquisitely flawed in all the right places
You are the man with many faces
Sean Hunt Dec 2015
Inana Shlash

How I wish I knew you
I would have melted
And oozed into
Your shoes
lingering many hours
Before you finally
Took a shower

I would have been a blanket
Embracing your back
Nuzzling against the nape
Of your neck
Until you wandered away
To a cool breeze
On the deck

If the gods would have
Smiled on me
I could have been
A billion water droplets
Easing into the hundreds
Of thousands of pores
In your silken skin

Alas
Our missile
Blew you away
And I don't know what to say

 Sean Hunt  
Windermere, December 6 2015
(Her picture can be seen here)
https://www.facebook.com/sean.hunt.3720
Lyn-Purcell Aug 2018


~ ♡ ~

A
dark day
has befallen the
Court of Hello Poetry
How it saddens me to see
the good Queens and Kings
to suffer at the hands of jealous
enemies who seek to destroy others
and their Kingdoms. Though she was
exquisitely dressed, she had a humble
heart; many had a good word about her,
though I did not get to meet her, though I
did not see her,     I could see the light she
had shine in the hearts of others.        She
had a wonderful smile       but invaders;
false Kings and Queens        spewed
nothing but abuse,               and it
made      her      surrender
her crown

~ ♡ ~

I
could only
watch as she
grabbed the ends of
her silk skirts and run out
of the bustling halls, tears down
her soft face.     I could not reach
her but at the dawn,        from the
balcony,          I saw the ship sail
away,         towards the sunset
into the unknown.      How
my heart is so
heavy

~ ♡ ~

To
see a
true artist,
a true queen
leave forever. At
seeing her tears, her
crying soul staining the
floral marble floors, and the
invaders   feeling   satisfied   at
her    pain   and her 'destruction'
Those   who   dare   to  denounce
are   never  Kings  or   Queens.
To be so jealous, so insecure
and think you led her to
her 'destruction'

~ ♡ ~

I
will say
this - you may
have won the battle
but  you will NEVER
win the war. Because the
true   Kings and Queens will
band   together,  we  will  stand
together    to protect our haven  for
we see, we know who the true artists
are.  I will continue to shed tears of pain
and   sorrow for the loss of this artist,  but
I will always hope that when the sun rises
she   will return to us once more. She  will
never leave our minds, she has touched
so many hearts. Her legacy, her reign,
her   kingdom will always    stand
eternal, will stand immortal
now and always.

~ ♡ ~



Had to get the turmoil off my chest.
This one's for Vicki
Lyn ***
Pete Youell Jan 2015
I Love my darling Angel head to toe,
Her hair, her face and honeyed lips,
Each part of her exquisitely just so.

Her chin, her neck the way her shoulders *****,
Her arms and hands and fingertips,
I Love my darling Angel heat to toe.

Her ******* so beautiful when exposed,
The way her torso curves into her hips,
Each part of her exquisitely just so.

And of her private parts I Love so,
I won't embarrass her by being flip,
I Love my darling Angel head to toe.

Her thighs, her knees, her calves gracefully flow,
Her ankles make her legs a perfect fit,
Each part of her exquisitely just so.

Her feet brought to perfection in her soles,
She is a miracle that just won't quit,
I Love my darling Angel head to toe,
Each part of her exquisitely just so.
A villanelle
One Christmas was so much like another, in those years around the sea-town corner now and out of all sound
except the distant speaking of the voices I sometimes hear a moment before sleep, that I can never remember
whether it snowed for six days and six nights when I was twelve or whether it snowed for twelve days and twelve
nights when I was six.

All the Christmases roll down toward the two-tongued sea, like a cold and headlong moon bundling down the sky
that was our street; and they stop at the rim of the ice-edged fish-freezing waves, and I plunge my hands in
the snow and bring out whatever I can find. In goes my hand into that wool-white bell-tongued ball of holidays
resting at the rim of the carol-singing sea, and out come Mrs. Prothero and the firemen.

It was on the afternoon of the Christmas Eve, and I was in Mrs. Prothero's garden, waiting for cats, with her
son Jim. It was snowing. It was always snowing at Christmas. December, in my memory, is white as Lapland,
though there were no reindeers. But there were cats. Patient, cold and callous, our hands wrapped in socks, we
waited to snowball the cats. Sleek and long as jaguars and horrible-whiskered, spitting and snarling, they
would slink and sidle over the white back-garden walls, and the lynx-eyed hunters, Jim and I, fur-capped and
moccasined trappers from Hudson Bay, off Mumbles Road, would hurl our deadly snowballs at the green of their
eyes. The wise cats never appeared.

We were so still, Eskimo-footed arctic marksmen in the muffling silence of the eternal snows - eternal, ever
since Wednesday - that we never heard Mrs. Prothero's first cry from her igloo at the bottom of the garden. Or,
if we heard it at all, it was, to us, like the far-off challenge of our enemy and prey, the neighbor's polar
cat. But soon the voice grew louder.
"Fire!" cried Mrs. Prothero, and she beat the dinner-gong.

And we ran down the garden, with the snowballs in our arms, toward the house; and smoke, indeed, was pouring
out of the dining-room, and the gong was bombilating, and Mrs. Prothero was announcing ruin like a town crier
in Pompeii. This was better than all the cats in Wales standing on the wall in a row. We bounded into the
house, laden with snowballs, and stopped at the open door of the smoke-filled room.

Something was burning all right; perhaps it was Mr. Prothero, who always slept there after midday dinner with a
newspaper over his face. But he was standing in the middle of the room, saying, "A fine Christmas!" and
smacking at the smoke with a slipper.

"Call the fire brigade," cried Mrs. Prothero as she beat the gong.
"There won't be there," said Mr. Prothero, "it's Christmas."
There was no fire to be seen, only clouds of smoke and Mr. Prothero standing in the middle of them, waving his
slipper as though he were conducting.
"Do something," he said. And we threw all our snowballs into the smoke - I think we missed Mr. Prothero - and
ran out of the house to the telephone box.
"Let's call the police as well," Jim said. "And the ambulance." "And Ernie Jenkins, he likes fires."

But we only called the fire brigade, and soon the fire engine came and three tall men in helmets brought a hose
into the house and Mr. Prothero got out just in time before they turned it on. Nobody could have had a noisier
Christmas Eve. And when the firemen turned off the hose and were standing in the wet, smoky room, Jim's Aunt,
Miss. Prothero, came downstairs and peered in at them. Jim and I waited, very quietly, to hear what she would
say to them. She said the right thing, always. She looked at the three tall firemen in their shining helmets,
standing among the smoke and cinders and dissolving snowballs, and she said, "Would you like anything to read?"

Years and years ago, when I was a boy, when there were wolves in Wales, and birds the color of red-flannel
petticoats whisked past the harp-shaped hills, when we sang and wallowed all night and day in caves that smelt
like Sunday afternoons in damp front farmhouse parlors, and we chased, with the jawbones of deacons, the
English and the bears, before the motor car, before the wheel, before the duchess-faced horse, when we rode the
daft and happy hills *******, it snowed and it snowed. But here a small boy says: "It snowed last year, too. I
made a snowman and my brother knocked it down and I knocked my brother down and then we had tea."

"But that was not the same snow," I say. "Our snow was not only shaken from white wash buckets down the sky, it
came shawling out of the ground and swam and drifted out of the arms and hands and bodies of the trees; snow
grew overnight on the roofs of the houses like a pure and grandfather moss, minutely -ivied the walls and
settled on the postman, opening the gate, like a dumb, numb thunder-storm of white, torn Christmas cards."

"Were there postmen then, too?"
"With sprinkling eyes and wind-cherried noses, on spread, frozen feet they crunched up to the doors and
mittened on them manfully. But all that the children could hear was a ringing of bells."
"You mean that the postman went rat-a-tat-tat and the doors rang?"
"I mean that the bells the children could hear were inside them."
"I only hear thunder sometimes, never bells."
"There were church bells, too."
"Inside them?"
"No, no, no, in the bat-black, snow-white belfries, tugged by bishops and storks. And they rang their tidings
over the bandaged town, over the frozen foam of the powder and ice-cream hills, over the crackling sea. It
seemed that all the churches boomed for joy under my window; and the weathercocks crew for Christmas, on our
fence."

"Get back to the postmen"
"They were just ordinary postmen, found of walking and dogs and Christmas and the snow. They knocked on the
doors with blue knuckles ...."
"Ours has got a black knocker...."
"And then they stood on the white Welcome mat in the little, drifted porches and huffed and puffed, making
ghosts with their breath, and jogged from foot to foot like small boys wanting to go out."
"And then the presents?"
"And then the Presents, after the Christmas box. And the cold postman, with a rose on his button-nose, tingled
down the tea-tray-slithered run of the chilly glinting hill. He went in his ice-bound boots like a man on
fishmonger's slabs.
"He wagged his bag like a frozen camel's ****, dizzily turned the corner on one foot, and, by God, he was
gone."

"Get back to the Presents."
"There were the Useful Presents: engulfing mufflers of the old coach days, and mittens made for giant sloths;
zebra scarfs of a substance like silky gum that could be tug-o'-warred down to the galoshes; blinding tam-o'-
shanters like patchwork tea cozies and bunny-suited busbies and balaclavas for victims of head-shrinking
tribes; from aunts who always wore wool next to the skin there were mustached and rasping vests that made you
wonder why the aunts had any skin left at all; and once I had a little crocheted nose bag from an aunt now,
alas, no longer whinnying with us. And pictureless books in which small boys, though warned with quotations not
to, would skate on Farmer Giles' pond and did and drowned; and books that told me everything about the wasp,
except why."

"Go on the Useless Presents."
"Bags of moist and many-colored jelly babies and a folded flag and a false nose and a tram-conductor's cap and
a machine that punched tickets and rang a bell; never a catapult; once, by mistake that no one could explain, a
little hatchet; and a celluloid duck that made, when you pressed it, a most unducklike sound, a mewing moo that
an ambitious cat might make who wished to be a cow; and a painting book in which I could make the grass, the
trees, the sea and the animals any colour I pleased, and still the dazzling sky-blue sheep are grazing in the
red field under the rainbow-billed and pea-green birds. Hardboileds, toffee, fudge and allsorts, crunches,
cracknels, humbugs, glaciers, marzipan, and butterwelsh for the Welsh. And troops of bright tin soldiers who,
if they could not fight, could always run. And Snakes-and-Families and Happy Ladders. And Easy Hobbi-Games for
Little Engineers, complete with instructions. Oh, easy for Leonardo! And a whistle to make the dogs bark to
wake up the old man next door to make him beat on the wall with his stick to shake our picture off the wall.
And a packet of cigarettes: you put one in your mouth and you stood at the corner of the street and you waited
for hours, in vain, for an old lady to scold you for smoking a cigarette, and then with a smirk you ate it. And
then it was breakfast under the balloons."

"Were there Uncles like in our house?"
"There are always Uncles at Christmas. The same Uncles. And on Christmas morning, with dog-disturbing whistle
and sugar ****, I would scour the swatched town for the news of the little world, and find always a dead bird
by the Post Office or by the white deserted swings; perhaps a robin, all but one of his fires out. Men and
women wading or scooping back from chapel, with taproom noses and wind-bussed cheeks, all albinos, huddles
their stiff black jarring feathers against the irreligious snow. Mistletoe hung from the gas brackets in all
the front parlors; there was sherry and walnuts and bottled beer and crackers by the dessertspoons; and cats in
their fur-abouts watched the fires; and the high-heaped fire spat, all ready for the chestnuts and the mulling
pokers. Some few large men sat in the front parlors, without their collars, Uncles almost certainly, trying
their new cigars, holding them out judiciously at arms' length, returning them to their mouths, coughing, then
holding them out again as though waiting for the explosion; and some few small aunts, not wanted in the
kitchen, nor anywhere else for that matter, sat on the very edge of their chairs, poised and brittle, afraid to
break, like faded cups and saucers."

Not many those mornings trod the piling streets: an old man always, fawn-bowlered, yellow-gloved and, at this
time of year, with spats of snow, would take his constitutional to the white bowling green and back, as he
would take it wet or fire on Christmas Day or Doomsday; sometimes two hale young men, with big pipes blazing,
no overcoats and wind blown scarfs, would trudge, unspeaking, down to the forlorn sea, to work up an appetite,
to blow away the fumes, who knows, to walk into the waves until nothing of them was left but the two furling
smoke clouds of their inextinguishable briars. Then I would be slap-dashing home, the gravy smell of the
dinners of others, the bird smell, the brandy, the pudding and mince, coiling up to my nostrils, when out of a
snow-clogged side lane would come a boy the spit of myself, with a pink-tipped cigarette and the violet past of
a black eye, cocky as a bullfinch, leering all to himself.

I hated him on sight and sound, and would be about to put my dog whistle to my lips and blow him off the face
of Christmas when suddenly he, with a violet wink, put his whistle to his lips and blew so stridently, so high,
so exquisitely loud, that gobbling faces, their cheeks bulged with goose, would press against their tinsled
windows, the whole length of the white echoing street. For dinner we had turkey and blazing pudding, and after
dinner the Uncles sat in front of the fire, loosened all buttons, put their large moist hands over their watch
chains, groaned a little and slept. Mothers, aunts and sisters scuttled to and fro, bearing tureens. Auntie
Bessie, who had already been frightened, twice, by a clock-work mouse, whimpered at the sideboard and had some
elderberry wine. The dog was sick. Auntie Dosie had to have three aspirins, but Auntie Hannah, who liked port,
stood in the middle of the snowbound back yard, singing like a big-bosomed thrush. I would blow up balloons to
see how big they would blow up to; and, when they burst, which they all did, the Uncles jumped and rumbled. In
the rich and heavy afternoon, the Uncles breathing like dolphins and the snow descending, I would sit among
festoons and Chinese lanterns and nibble dates and try to make a model man-o'-war, following the Instructions
for Little Engineers, and produce what might be mistaken for a sea-going tramcar.

Or I would go out, my bright new boots squeaking, into the white world, on to the seaward hill, to call on Jim
and Dan and Jack and to pad through the still streets, leaving huge footprints on the hidden pavements.
"I bet people will think there's been hippos."
"What would you do if you saw a hippo coming down our street?"
"I'd go like this, bang! I'd throw him over the railings and roll him down the hill and then I'd tickle him
under the ear and he'd wag his tail."
"What would you do if you saw two hippos?"

Iron-flanked and bellowing he-hippos clanked and battered through the scudding snow toward us as we passed Mr.
Daniel's house.
"Let's post Mr. Daniel a snow-ball through his letter box."
"Let's write things in the snow."
"Let's write, 'Mr. Daniel looks like a spaniel' all over his lawn."
Or we walked on the white shore. "Can the fishes see it's snowing?"

The silent one-clouded heavens drifted on to the sea. Now we were snow-blind travelers lost on the north hills,
and vast dewlapped dogs, with flasks round their necks, ambled and shambled up to us, baying "Excelsior." We
returned home through the poor streets where only a few children fumbled with bare red fingers in the wheel-
rutted snow and cat-called after us, their voices fading away, as we trudged uphill, into the cries of the dock
birds and the hooting of ships out in the whirling bay. And then, at tea the recovered Uncles would be jolly;
and the ice cake loomed in the center of the table like a marble grave. Auntie Hannah laced her tea with ***,
because it was only once a year.

Bring out the tall tales now that we told by the fire as the gaslight bubbled like a diver. Ghosts whooed like
owls in the long nights when I dared not look over my shoulder; animals lurked in the cubbyhole under the
stairs and the gas meter ticked. And I remember that we went singing carols once, when there wasn't the shaving
of a moon to light the flying streets. At the end of a long road was a drive that led to a large house, and we
stumbled up the darkness of the drive that night, each one of us afraid, each one holding a stone in his hand
in case, and all of us too brave to say a word. The wind through the trees made noises as of old and unpleasant
and maybe webfooted men wheezing in caves. We reached the black bulk of the house. "What shall we give them?
Hark the Herald?"
"No," Jack said, "Good King Wencelas. I'll count three." One, two three, and we began to sing, our voices high
and seemingly distant in the snow-felted darkness round the house that was occupied by nobody we knew. We stood
close together, near the dark door. Good King Wencelas looked out On the Feast of Stephen ... And then a small,
dry voice, like the voice of someone who has not spoken for a long time, joined our singing: a small, dry,
eggshell voice from the other side of the door: a small dry voice through the keyhole. And when we stopped
running we were outside our house; the front room was lovely; balloons floated under the hot-water-bottle-
gulping gas; everything was good again and shone over the town.
"Perhaps it was a ghost," Jim said.
"Perhaps it was trolls," Dan said, who was always reading.
"Let's go in and see if there's any jelly left," Jack said. And we did that.

Always on Christmas night there was music. An uncle played the fiddle, a cousin sang "Cherry Ripe," and another
uncle sang "Drake's Drum." It was very warm in the little house. Auntie Hannah, who had got on to the parsnip
wine, sang a song about Bleeding Hearts and Death, and then another in which she said her heart was like a
Bird's Nest; and then everybody laughed again; and then I went to bed. Looking through my bedroom window, out
into the moonlight and the unending smoke-colored snow, I could see the lights in the windows of all the other
houses on our hill and hear the music rising from them up the long, steady falling night. I turned the gas
down, I got into bed. I said some words to the close and holy darkness, and then I slept.
light cursed falling in a singular block
her,rain-warm-naked
                                   exquisitely hashed

(little careful hunks-of-lilac laughter splashed
from the world prettily upward,mock
us….)
         and there was a clock.   tac-tic.   tac-toc.

Time and lilacs….minutes and love….do you?and
Always
            (i simply understand
the gnashing petals of *** which lock
me seriously.

                       Dumb for a while.my

god—a patter of kisses,the chewed stump

of a mouth,huge dropping of a flesh from
hinging thighs
                       ….merci….i want to die
nous sommes heureux

                                    My soul a limp lump

of lymph
               she kissed
                                and i

                                       ….chéri….nous sommes
Now there came a certain common ***** who used to go begging all
over the city of Ithaca, and was notorious as an incorrigible
glutton and drunkard. This man had no strength nor stay in him, but he
was a great hulking fellow to look at; his real name, the one his
mother gave him, was Arnaeus, but the young men of the place called
him Irus, because he used to run errands for any one who would send
him. As soon as he came he began to insult Ulysses, and to try and
drive him out of his own house.
  “Be off, old man,” he cried, “from the doorway, or you shall be
dragged out neck and heels. Do you not see that they are all giving me
the wink, and wanting me to turn you out by force, only I do not
like to do so? Get up then, and go of yourself, or we shall come to
blows.”
  Ulysses frowned on him and said, “My friend, I do you no manner of
harm; people give you a great deal, but I am not jealous. There is
room enough in this doorway for the pair of us, and you need not
grudge me things that are not yours to give. You seem to be just
such another ***** as myself, but perhaps the gods will give us better
luck by and by. Do not, however, talk too much about fighting or you
will incense me, and old though I am, I shall cover your mouth and
chest with blood. I shall have more peace to-morrow if I do, for you
will not come to the house of Ulysses any more.”
  Irus was very angry and answered, “You filthy glutton, you run on
trippingly like an old fish-***. I have a good mind to lay both
hands about you, and knock your teeth out of your head like so many
boar’s tusks. Get ready, therefore, and let these people here stand by
and look on. You will never be able to fight one who is so much
younger than yourself.”
  Thus roundly did they rate one another on the smooth pavement in
front of the doorway, and when Antinous saw what was going on he
laughed heartily and said to the others, “This is the finest sport
that you ever saw; heaven never yet sent anything like it into this
house. The stranger and Irus have quarreled and are going to fight,
let us set them on to do so at once.”
  The suitors all came up laughing, and gathered round the two
ragged tramps. “Listen to me,” said Antinous, “there are some goats’
paunches down at the fire, which we have filled with blood and fat,
and set aside for supper; he who is victorious and proves himself to
be the better man shall have his pick of the lot; he shall be free
of our table and we will not allow any other beggar about the house at
all.”
  The others all agreed, but Ulysses, to throw them off the scent,
said, “Sirs, an old man like myself, worn out with suffering, cannot
hold his own against a young one; but my irrepressible belly urges
me on, though I know it can only end in my getting a drubbing. You
must swear, however that none of you will give me a foul blow to
favour Irus and secure him the victory.”
  They swore as he told them, and when they had completed their oath
Telemachus put in a word and said, “Stranger, if you have a mind to
settle with this fellow, you need not be afraid of any one here.
Whoever strikes you will have to fight more than one. I am host, and
the other chiefs, Antinous and Eurymachus, both of them men of
understanding, are of the same mind as I am.”
  Every one assented, and Ulysses girded his old rags about his *****,
thus baring his stalwart thighs, his broad chest and shoulders, and
his mighty arms; but Minerva came up to him and made his limbs even
stronger still. The suitors were beyond measure astonished, and one
would turn towards his neighbour saying, “The stranger has brought
such a thigh out of his old rags that there will soon be nothing
left of Irus.”
  Irus began to be very uneasy as he heard them, but the servants
girded him by force, and brought him [into the open part of the court]
in such a fright that his limbs were all of a tremble. Antinous
scolded him and said, “You swaggering bully, you ought never to have
been born at all if you are afraid of such an old broken-down creature
as this ***** is. I say, therefore—and it shall surely be—if he
beats you and proves himself the better man, I shall pack you off on
board ship to the mainland and send you to king Echetus, who kills
every one that comes near him. He will cut off your nose and ears, and
draw out your entrails for the dogs to eat.”
  This frightened Irus still more, but they brought him into the
middle of the court, and the two men raised their hands to fight. Then
Ulysses considered whether he should let drive so hard at him as to
make an end of him then and there, or whether he should give him a
lighter blow that should only knock him down; in the end he deemed
it best to give the lighter blow for fear the Achaeans should begin to
suspect who he was. Then they began to fight, and Irus hit Ulysses
on the right shoulder; but Ulysses gave Irus a blow on the neck
under the ear that broke in the bones of his skull, and the blood came
gushing out of his mouth; he fell groaning in the dust, gnashing his
teeth and kicking on the ground, but the suitors threw up their
hands and nearly died of laughter, as Ulysses caught hold of him by
the foot and dragged him into the outer court as far as the
gate-house. There he propped him up against the wall and put his staff
in his hands. “Sit here,” said he, “and keep the dogs and pigs off;
you are a pitiful creature, and if you try to make yourself king of
the beggars any more you shall fare still worse.”
  Then he threw his ***** old wallet, all tattered and torn, over
his shoulder with the cord by which it hung, and went back to sit down
upon the threshold; but the suitors went within the cloisters,
laughing and saluting him, “May Jove, and all the other gods,” said
they, ‘grant you whatever you want for having put an end to the
importunity of this insatiable *****. We will take him over to the
mainland presently, to king Echetus, who kills every one that comes
near him.”
  Ulysses hailed this as of good omen, and Antinous set a great goat’s
paunch before him filled with blood and fat. Amphinomus took two
loaves out of the bread-basket and brought them to him, pledging him
as he did so in a golden goblet of wine. “Good luck to you,” he
said, “father stranger, you are very badly off at present, but I
hope you will have better times by and by.”
  To this Ulysses answered, “Amphinomus, you seem to be a man of
good understanding, as indeed you may well be, seeing whose son you
are. I have heard your father well spoken of; he is Nisus of
Dulichium, a man both brave and wealthy. They tell me you are his son,
and you appear to be a considerable person; listen, therefore, and
take heed to what I am saying. Man is the vainest of all creatures
that have their being upon earth. As long as heaven vouchsafes him
health and strength, he thinks that he shall come to no harm
hereafter, and even when the blessed gods bring sorrow upon him, he
bears it as he needs must, and makes the best of it; for God
Almighty gives men their daily minds day by day. I know all about
it, for I was a rich man once, and did much wrong in the
stubbornness of my pride, and in the confidence that my father and
my brothers would support me; therefore let a man fear God in all
things always, and take the good that heaven may see fit to send him
without vainglory. Consider the infamy of what these suitors are
doing; see how they are wasting the estate, and doing dishonour to the
wife, of one who is certain to return some day, and that, too, not
long hence. Nay, he will be here soon; may heaven send you home
quietly first that you may not meet with him in the day of his coming,
for once he is here the suitors and he will not part bloodlessly.”
  With these words he made a drink-offering, and when he had drunk
he put the gold cup again into the hands of Amphinomus, who walked
away serious and bowing his head, for he foreboded evil. But even so
he did not escape destruction, for Minerva had doomed him fall by
the hand of Telemachus. So he took his seat again at the place from
which he had come.
  Then Minerva put it into the mind of Penelope to show herself to the
suitors, that she might make them still more enamoured of her, and win
still further honour from her son and husband. So she feigned a
mocking laugh and said, “Eurynome, I have changed my and have a
fancy to show myself to the suitors although I detest them. I should
like also to give my son a hint that he had better not have anything
more to do with them. They speak fairly enough but they mean
mischief.”
  “My dear child,” answered Eurynome, “all that you have said is true,
go and tell your son about it, but first wash yourself and anoint your
face. Do not go about with your cheeks all covered with tears; it is
not right that you should grieve so incessantly; for Telemachus,
whom you always prayed that you might live to see with a beard, is
already grown up.”
  “I know, Eurynome,” replied Penelope, “that you mean well, but do
not try and persuade me to wash and to anoint myself, for heaven
robbed me of all my beauty on the day my husband sailed; nevertheless,
tell Autonoe and Hippodamia that I want them. They must be with me
when I am in the cloister; I am not going among the men alone; it
would not be proper for me to do so.”
  On this the old woman went out of the room to bid the maids go to
their mistress. In the meantime Minerva bethought her of another
matter, and sent Penelope off into a sweet slumber; so she lay down on
her couch and her limbs became heavy with sleep. Then the goddess shed
grace and beauty over her that all the Achaeans might admire her.
She washed her face with the ambrosial loveliness that Venus wears
when she goes dancing with the Graces; she made her taller and of a
more commanding figure, while as for her complexion it was whiter than
sawn ivory. When Minerva had done all this she went away, whereon
the maids came in from the women’s room and woke Penelope with the
sound of their talking.
  “What an exquisitely delicious sleep I have been having,” said
she, as she passed her hands over her face, “in spite of all my
misery. I wish Diana would let me die so sweetly now at this very
moment, that I might no longer waste in despair for the loss of my
dear husband, who possessed every kind of good quality and was the
most distinguished man among the Achaeans.”
  With these words she came down from her upper room, not alone but
attended by two of her maidens, and when she reached the suitors she
stood by one of the bearing-posts supporting the roof of the cloister,
holding a veil before her face, and with a staid maid servant on
either side of her. As they beheld her the suitors were so overpowered
and became so desperately enamoured of her, that each one prayed he
might win her for his own bed fellow.
  “Telemachus,” said she, addressing her son, “I fear you are no
longer so discreet and well conducted as you used to be. When you were
younger you had a greater sense of propriety; now, however, that you
are grown up, though a stranger to look at you would take you for
the son of a well-to-do father as far as size and good looks go,
your conduct is by no means what it should be. What is all this
disturbance that has been going on, and how came you to allow a
stranger to be so disgracefully ill-treated? What would have
happened if he had suffered serious injury while a suppliant in our
house? Surely this would have been very discreditable to you.”
  “I am not surprised, my dear mother, at your displeasure,” replied
Telemachus, “I understand all about it and know when things are not as
they should be, which I could not do when I was younger; I cannot,
however, behave with perfect propriety at all times. First one and
then another of these wicked people here keeps driving me out of my
mind, and I have no one to stand by me. After all, however, this fight
between Irus and the stranger did not turn out as the suitors meant it
to do, for the stranger got the best of it. I wish Father Jove,
Minerva, and Apollo would break the neck of every one of these
wooers of yours, some inside the house and some out; and I wish they
might all be as limp as Irus is over yonder in the gate of the outer
court. See how he nods his head like a drunken man; he has had such
a thrashing that he cannot stand on his feet nor get back to his home,
wherever that may be, for has no strength left in him.”
  Thus did they converse. Eurymachus then came up and said, “Queen
Penelope, daughter of Icarius, if all the Achaeans in Iasian Argos
could see you at this moment, you would have still more suitors in
your house by tomorrow morning, for you are the most admirable woman
in the whole world both as regards personal beauty and strength of
understanding.”
  To this Penelope replied, “Eurymachus, heaven robbed me of all my
beauty whether of face or figure when the Argives set sail for Troy
and my dear husband with them. If he were to return and look after
my affairs, I should both be more respected and show a better presence
to the world. As it is, I am oppressed with care, and with the
afflictions which heaven has seen fit to heap upon me. My husband
foresaw it all, and when he was leaving home he took my right wrist in
his hand—’Wife, ‘he said, ‘we shall not all of us come safe home
from Troy, for the Trojans fight well both with bow and spear. They
are excellent also at fighting from chariots, and nothing decides
the issue of a fight sooner than this. I know not, therefore,
whether heaven will send me back to you, or whether I may not fall
over there at Troy. In the meantime do you look after things here.
Take care of my father and mother as at present, and even more so
during my absence, but when you see our son growing a beard, then
marry whom you will, and leave this your present home. This is what he
said and now it is all coming true. A night will come when I shall
have to yield myself to a marriage which I detest, for Jove has
taken from me all hope of happiness. This further grief, moreover,
cuts me to the very heart. You suitors are not wooing me after the
custom of my country. When men are courting a woman who they think
will be a good wife to them and who is of noble birth, and when they
are each trying to win her for himself, they usually bring oxen and
sheep to feast the friends of the lady, and they make her
magnificent presents, instead of eating up other people’s property
without paying for it.”
  This was what she said, and Ulysses was glad when he heard her
trying to get presents out of the suitors, and flattering them with
fair words which he knew she did not mean.
  Then Antinous said, “Queen Penelope, daughter of Icarius, take as
many presents as you please from any one who will give them to you; it
is not well to refuse a present; but we will not go about our business
nor stir from where we are, till you have married the best man among
us whoever he may be.”
  The others applauded what Antinous had said, and each one sent his
servant to bring his present. Antinous’s man returned with a large and
lovely dress most exquisitely embroidered. It had twelve beautifully
made brooch pins of pure gold with which to fasten it. Eurymachus
immediately brought her a magnificent chain of gold and amber beads
that gleamed like sunlight. Eurydamas’s two men returned with some
earrings fashioned into three brilliant pendants which glistened
most beautifully; while king Pisander son of Polyctor gave her a
necklace of the rarest workmanship, and every one else brought her a
beautiful present of some kind.
  Then the queen went back to her room upstairs, and her maids brought
the presents after her. Meanwhile the suitors took to singing and
dancing, and stayed till evening came. They danced and sang till it
grew dark; they then brought in three braziers to give light, and
piled them up with chopped firewood very and dry, and they lit torches
from them, which the maids held up turn and turn about. Then Ulysses
said:
  “Maids, servants of Ulysses who has so long been absent, go to the
queen inside the house; sit
Mymai Yuan Sep 2010
I was born a sickly, screeching baby, two months earlier than expected. The doctor and midwife did everything they could to keep my little limbs moving and to keep my tiny heart beating, fluttering like the wings of butterfly.
“Is it a boy?” my mother whispered through her pale lips, as they bathed my naked body in hot water.
“No, ma’am, it’s a girl” The midwife struggled to add on something that would make the wailing creature seem more desirable. “With exquisitely shaped feet, so perfectly miniature”
She let out a croak of conflicting emotions: the joy and pride of a newly-founded motherly love, the fear of presenting a girl as a first-born, the relief that the hours of agony in childbirth were over and the dread of facing her husband once he found out about me.

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

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

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

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

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

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

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

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

To pull out the colors underneath the darkness of my bed…
And spill it to the world outside.
pat pakla Jun 2012
Fatima Latima**

I had wished I had no gift of sight
That the worst I could endure is hear you speak
And not snapshot the footfall of your gradation

You may not be a thief
Nor ****, daughter of the dayspring
But definitely my heart you stole

I speak of the daughter of Arabia  
Aesthetically, she rocks
The queen of the pilgrim sands
And aeonian desert stones

Beyond the hijab
Artistically knead with consummate craft
Like the relics of Mecca
Blest by the prophet’s bones
The blessed

I see torches
Beaming with intelligence
Within those mascaras
Exquisitely trimmed and vibrant
A lulu class botany

She fixes a searching gaze
As she saunters close
And the stride and tread
Beats a drum entrancing
Soothed in her solacing spell
I give in, to her lullaby

She halts her perambulation
Stands magniloquent and stupefy
Like some pop diva magazine pose
Or Victorian secret shot
A tactical derangement of her gluteals
As she rests her palm in its cleft
I feel contractions, my dartos muscles

The blew of summertime
Gently beats her exceptional form
Her belt submerge her thigh crevice
Cleft by the sundered rift of fleshy fat
Built by the dainties and delicacies
Seasoned by the finest Arabian chef
As her silken dress slithers and gowns
Under the breeze bulging and blooming
Like a rose blossom or sunflower fore

As she bends down
To assuage the burlesque
The sun specula lilts her sensational
Her smile apologetic bids me stillness
I am caught staring
Guzzling down her scent and
Feasting on empty imaginations
Of What If that accentuate the mind and
Speed a hormone
And I pray I sin no more
Next time we meet and I see her again

For I am but a writer
Learning to use my pen and paper
And hope you but forgive
My linguistic impotence
When I make my confession
Employing too plain a language
When I say thus;

Her smile is classical
Her walk magical
Her beauty celestial
Her stride sensational
Her religion ethical
Her character spotless
And that leaves me breathless

And forgive if I step on broken toe
And try speak of the unspoken
Her ****** is sacred
Her being a type that dresses up
In the milliards of brutes dressing down
And shamelessly style it fashion

I must see a priest
One confession I ought to utter
And even vociferate abroad
For once I had fallen in love
With an Arabian Beautie
A ****** of Mecca.
Vamika Sinha Jun 2015
Dear Vamika,
of a long and a
short
time away. Of the
future, when
your ******* are fuller
and you can finally speak
French fluently.

I hope you are a woman.

I know you
have not changed the world.
I didn’t write you that way.
I’m still
not writing you that way.
For my cheap gel pen
has none of that spark
of Fitzgerald’s and Nabokov’s,
who could bewitch the imagination with
such timeless giants
as ****** and Daisy.

So remember:
you’ll be brilliant
but absent
from any history books.
But still.
You are enough, exquisitely enough,
for the literature
I inhabit.

Hence, I fill pages with your inky
outlines, shade in the spaces
slowly
with hopes and wishes and poetry and dreams.
For you, of you.
I note
all that you are
composed of, so that
even the marginalia
laughs out your lipstick,
your clothes drawers,
your reading habits.

I am writing you as a woman.

I am writing you
as Music. Here is your laughter,
a little smokier now,
unspooling like a work of
Debussy’s. Here are your
fingers, lighter now, like meringues
or dandelions, as they dance
on your silver flute,
better, better, better than ever,
in shiny theatres far
grander than you imagined.
And here are your tiny
scrawled music notes, that with a few touched
keys, echo as tumbling stars
in the ears of thousands
and then plenty.

I hope you are a woman.
So play, compose, laugh and sing; be
Music ‘til your dying day.

I am writing you
as Ambition. It is calmer
than the fire that currently
singes my hands. Yet it’s still as
constant
as the flame you
light, every night before bed,
in front of the Goddess Durga
you pray to.
Your heart still
salivates for hard-boiled
surprises, for lucky pennies
found on pavements, for the
metallic sweetness of, yes,
success.

I hope you are a woman.
So strive, and strive again,
‘til you’re nothing but ash.

I am writing you, too,
as Success.
Surprise!
Those words unhooked
from the crevices of your mind,
are now bound in
paperbacks.
You are a poet, sleeker than
the 17-year-old fledgling
in her dim bedroom.
You are a journalist,
pouring morning stories
like hot tea, and sighing
with honey glee at
your name in
print.
You are a writer;
you fill even more pages, and
you now have a
gleaming, expensive
pen.

I hope you are a woman.
So write, ‘til you have lost
all breath.

I am writing you
as Compassion. How could I not
let you share words (your  personal magic) with
countless sparking children?
And not fill your hands with
gifts of maths, English,
science and art that you can
give and give and
give to them?
An education is as precious and
priceless as Picasso, you say.
A human right, all the same.
A human right.

I hope you are a woman.
So be kind. That’s it.
Always.
I have not forgotten  
to write you as
Justice.
Go out and support,
wave flags and placards,
sign petitions, join many
campaigns, scream out ‘til
your throat can’t bear such
honesty, such
indignation.
Keep fighting.
Never stop. The world is unfixable,
imperfect and
unhappy.
Help it.

I hope you fight for other women.
I hope you fight for other humans.

I am also writing you
as Resilience. So you’re able
to face yourself in that
mirror, even though
your stomach has a stubborn bulge, still,
and you haven’t yet learned
to smile at your nose.
Still.
And I’m reminding you that you do,
yes, you do,
have the strength to cry alone, then
get over it,
to have panic attacks, then
get over it,
to pick yourself up from
life’s many disintegrations and
start again.
You can. You’ve already done it.
I hope you always will.

I know that you are a woman.
So never give up, as
cliché as it sounds. Go ahead and
die trying.

Now, as the cadenza
of this rather sentimental piece,
which I’ve spun as
sweet
as stolen sugar
and the romantic comedies at which
you secretly weep,
I am writing you as
Tenderness.
See, I decided that Love and
Romance are but
bombs. And you and I both
believe in non-violence.
Therefore, you are
a hugger now, with lips
which kiss your husband,
scold your children
and sing
lullabies to the whole silly lot of them.
Your heart is always
swimming
with a good bit of warm wine,  so don’t
question its fullness.
Take care of yourself.

This.
This, above, is all I hope for you
to stay and have and be
until the symphony’s final note, your
final breath.

You are a woman.
Flawed, intelligent, beautiful, cracked, strong, kind, stubborn, soft, honest.
Real.

You are a woman.
So stay like this,
but be just a little more wiser, a little more grown
each passing year.

A woman.
Vamika, that’s all I ever want you to be.
What do you hope to achieve in your lifetime? (Entry for Commonwealth Essay Competition)
her precious breath
yearns for warmth
and contact between the sheets
her body sways and grinds
her spine is a limitless ocean
her limbs are ropes to climb
they are towers and spires
filled with millions of subtle wires
she is noisy and delicious
they heard moaning
coming from the bedroom
as she came into her darkness
she held it and allowed it to shine
yet transformation is endless
its happening all the time
like underbellies rising
undercurrents entwining
she is sovereign and sublime
content to birth the world
from between her juicy thighs
no longer does she hunger
for your silly little lies
and yes her beauty is music
and its too bad really
that you happened
to be away for the night
Andrea E Baide Feb 2013
What if my whole life,
The pain remained?
That same pain -
That same fear -
The boy's frightened look of agony.

We shall all of us die.
The world is too much;
We will be nothing.
Maybe I - conscious
of some other being,

May teach you more of man
Oratorically and gesticulating,
He lives then! Happiness courts the light!
Do you still prefer IT? Poor fellow, strange creature.
And now it seems to me - in silence...

What is grass?
Perpetual payment of perpetual loan?
Oh! Zero to the bone!
Space and Time; I see it's truth.
I am large. I exist as I am -- no more have I.
My "Found" Poem.
Rai Nov 2018
Shadows bless the night
As we huddle tighter
Sharing a sacred journey
Adversity piles upon us at times
But our human nature screams
Survival at all costs
If I reached out my hand
Would you accept
If I humbled myself at your feet
Would you stay
Or would you run
Afraid and confused of your own reflection
Cotton candy
As sweet as spice
Exquisitely the spider weaves her
Majestic web
As we weave our stories with the threads of time illuminated in the heavens for those who have gone before us
Be it a simple question of time
Of misunderstandings
Or lost promises
We will return
In circles we spiral upwards
Holding onto the very thread that bore our bodies from dust and turned them into the stars I see within your eyes
You are my muse
You are all and everything
Without means words don’t flow
Feelings stay intombed
And my body will return to dust before it betrays you
Some poems are just woven into the fabric of who we are
Sad Girl Aug 2013
Exquisite things -to name a few-
All of the wonderful things that you do.
I'm saying it now, If you never knew;
I thank you for being exquisitely you.
In Lieu of Abuse
1
I have problems with letting go, moving on, losing people. Nothingness is recurring nightmare. It seems like events around me aren’t good, but I get used to them, then ground pulls from under me, and I’m supposed to adapt, which I do too slowly, and grow accustomed to not good situations getting worse, when ground pulls from under me again, and here I am in recurring nightmare, only it’s reality.
2
I watched exquisitely lovely girl picking her nose and eating boogers. Wow, I thought, this girl is *****. What I mean by men are pigs, imagine old homeless lady tripping and falling on street, and her skirt flying up exposing naked ******. What is the male hesitation quota?
3
So let’s just say, for argument’s sake, women are wiser tougher gender, and men are boorish dunces. Reasons for enduring patriarchy are fear, or personality weakness, or female longings for daddy worship. So let’s just say, for argument’s sake, I’ve just signed my own “Satanic Verses.” I hate quarreling. It’s not nearly as much fun as making-out. Up, down, up, down, I love you, miss you, love, love, love you, yes, I do. California is definitely due for another earthquake. My guess is two to three weeks. Didn’t the Giants win the World Series this year? Yup, my guess is two to three weeks.
4
Respect is directly linked to gratitude. Sometimes respect is easy to forget, mindless drifting easier, degrading life’s worth a breeze. ****. If I was a fish, swimming in a bowl, blowing bubbles, flapping fins, splashing around tank, trapped in cramped space, I think I’d go crazy, and bang my face against aquarium glass, smash my head to bits, floating to water’s surface.
5
Pretend you were never born, not a trace anywhere, and you have no idea what existence and consciousness mean, or anything, or nothing.
6
What resolve? Dance the dance, drift to sleep, dream neverland, nevermind, nevertheless endure recurring nightmare. Okay, let’s try again, make a plan, build a house, and leave all this negativity behind. Okay, okay, so I talk to myself, somewhat incessantly. I think obscene ill thoughts. I fantasize a woman tied to bed. Do you still want to make a plan and build a house? I asked my shrink, “Why did you become a psychiatrist? Did you originally intend to be a doctor in another field?” She replied, “I’ve always only wanted to be a psychiatrist.” I wonder why.
7
Man walks into a woman. He says, “It’s dark in here.” She says, “Maybe your eyes will adjust to the light, maybe not.” He stumbles out into night. The moon eclipses.
Nigel Morgan Dec 2012
IX

Oh this gradual coming together as sleep lifts away from bodies resting just apart but then a little turn on the pillow knees touch there is the slightest kiss of a nose a mingling of feet hands may rest atop a thigh and touch experimentally This is such bliss all consuming no thought but each body’s press and caress so slightly so gently given until hands and limbs and kisses and the dearest stroking fills us to the brim with that longing which only the deeper kiss can quench Afterwards we watch from our attic bedroom leaves departing their trees

X

The steep steps and Doric pillars eight in all gather us into an entranced gloom only to spill us out into the light and space of galleries filled with Cyprian artefacts an owl with a removable head more porcelain than even your great aunt could look at but in a corner there were these bowls from Syria 12C and earlier Michael Cardew could have thrown and patterned but didn’t One in Iranian green inscribed thus blessing prosperity glory grace joy happiness security and long life to the owner  nothing more surely ever to be wished for ever to be wanted

XI

My Chinese heroine has a soulmate: Jilia’s deer in flight across a page of Somerset Soft White and Tengin mould oh the verse of Hafiz 14C Sufi mystic flowing into the body of this running beast Rejoice you lonely seeker of the scented path out of the wilderness the perfumed deer has come and there was more in different hands paper parchment poems exquisitely rendered into living words In a frame Goethe’s leaves of the Gingo Biloba stuck to his letter of love to married Marianne This leaf from a tree in the East has been given to my garden

XII

Captivating in beauty glowing silvery-white petals flutter down to lay a blanket of snow beneath the flowering trees and miraculously they did and more to make us wonder that negative space could be so powerfully wrought Hiroshige the master in his element of the winter snows eloquent landscapes figures on the Edo to Kyoto road the detail of raised up clogs and warm layered garments of a Geisha walking out with her maid the stone blue waters the pale reflecting skies the delicate embossing of waves and the flow of hillsides the ukiyo-e woodblock prints pictures of the floating world

XIII

Wearing purple and red your near to Advent colours grace this table we lunch at before a final walk through the city full of our time here amongst the towers and chapels and more history and art than we can manage for the time being Again and always whelmed over by your beauty seen against the press and clutter the clustering in the peopled streets the bicycled roads and in this one o’clock restaurant’s clamour how is it that my eyes are wholly on you my ears only hearing your sweet voice my fingers reaching out to touch you again?
weaver Nov 2013
Today is Tuesday, November 19th, 2013. And I want to talk about you. I want to talk about the clenching and fizzing in my stomach right now as I imagine wrapping you up in my arms and having you close again. I want to talk about the ache in my chest when I think about how it's been ninety days since I last kissed you, since the day I saw you cry as I let you slowly drop from my arms, then hands, then fingertips, and drove away, looking out the window to see you let your head fall into your hands. It's been ninety days since I sat on the floor of the airport and felt my entire being rebelling against getting on that plane and recrossing the thousands of miles that separate us. I want to talk about how I tuck those thoughts away and instead smile as I think of giving you piggyback rides through the park, and kissing in front of churches, and diving into cold pools, and touching you softly as we lay unclothed in your bed, and laughing so hard at your jokes that I'm sure I'm making a fool of myself.

I want to talk about you. I want to talk about you and me. I want to talk about you with me. I want to talk about how you say things that stop me in my tracks and make me reevaluate the truth. I know you, but I can never quite predict your opinions or reactions. You surprise me in this really heart stopping, sometimes refreshing, sometimes eerie way.

I want to talk about how beautiful you are, god, let me please talk about this. Your mind is an intricate, thrumming place that I love to get inside and peek in its dusty corners. I'll try not to leave fingerprints, but I hope you'll forgive me if I do. I think I'm the first person to see some of these places, and I respect them with a reverence. And your heart, your heart... it's an open space that fluctuates and adjusts around me. I know it's learning how to make me fit, but considering that, I'm very comfortable here. It's not a maze, not a grand palace, but not run down either. It's warm in here, slightly musty in the back rooms but in a nice way, while the front is breezy. It's cryptic at first, it's easy to question where one is when first entering. But it has an essence so very you that it's impossible to lose your way completely. I've wandered enough to memorize some of the walls and walk around with a timid freedom. I don't think I would ever dare stride through with arrogance, but I hope to gain confidence the more I explore. Your outside is just as breathtaking. Sometimes I look at the pictures of us together and I stare at your face like it's a puzzle I can solve, because you are indeed the prettiest girl I have ever seen and it astonishes me that yes - you are real. You have this smile that I try to coax out as much as possible, and eyes that are pleasant and warm. Have I told you how much I've always loved brown eyes? It's a colour that suits your irises, that suits you. The image I get when I imagine looking into your eyes is that of wrapped up in soft blankets in a field at dusk. You have beautiful hair that you love to complain about, but I am forever adoring of how it sticks every which way and makes you look - yeah, I'm going to say it - pretty **** cool. Your body is fit and perfect and I'll tell you again, I am so, so jealous. Shadows reach around you to try and feel your shape, rain trickles across your smooth skin to try and kiss as much as it can reach. And when your body tangles with mine, it's magic. You are warm and soft and my fingertips can't help but want to trace a map over you, pressing into their favorite places and trailing across your frame as lightly as a sigh. Your voice, if I had to pick, is the thing that best represents you. Its most frequent setting is this strong, hardy tone that gets your point across with as much bluntness as the words you choose. When you're sleepy it becomes soft and drawling and muffled. When you have to act professional, it heightens and becomes cheery and sweet. When you're touched, it turns lovely and breathy and exquisitely feminine. You are embodied by these sides of you, and there's more I'm yet to hear and learn from it. All of it is beautiful in a way so uniquely you that I smile just in Knowing.

I want to talk about knowing you. I've always wanted just to know you, from the day we met. That was the prevailing thought: How to Know You. Now every day I am given glimpses into you, and every day I'll know a little more, and I couldn't be happier.

I want to talk about you. I want to talk about how much I love you. I love you the way lights love to pool on the sidewalk. I love you the way ink loves the abstract. I love you the way sand loves seashells. I love you the way trees love sunlight. I love you the way airplanes love the sky. I love you with a ferocity and a tenderness and an affection it halts the motion of the world for moments at a time. You bring words and metaphors to mind in a way no inspiration could, and the next second you stop all thought dead and leave my head buzzing pleasantly empty. I used to refuse to write of love; now my hands know of little else. You've changed me, profoundly, intensely. What did I spend my thoughts on before? Now, I just want to talk about you.
i know this is prose, not a poem, but i wanted to share it here anyway. it's freshly written and minimally edited, and i was so happy writing it i could melt. hope some of you like it enough to get through all of it.

twitter.com/cunningweaver
O lonely heart so timid of approach,
Like the shy tropic flower that shuts its lips
To the faint touch of tender finger tips:
What is your word? What question would you broach?

Your lustrous-warm eyes are too sadly kind
To mask the meaning of your dreamy tale,
Your guarded life too exquisitely frail
Against the daggers of my warring mind.

There is no part of the unyielding earth,
Even bare rocks where the eagles build their nest,
Will give us undisturbed and friendly rest.
No dewfall softens this vast belt of dearth.

But in the socket-chiseled teeth of strife,
That gleam in serried files in all the lands,
We may join hungry, understanding hands,
And drink our share of ardent love and life.
Nicole Feb 2015
Exquisitely made
And carefully created
I bow down to thee.
© Nicole ***
Two hundred years ago and yesterday
a sailor wrote a letter in longhand,
entrusting it to the road
back to his beloved,
where dawn was breaking
at the closest port of call.

A century ago, a shy and lovely
mail order bride wrote
to the man who would be her husband,
in a land entirely different from her own.

In her delicate, sincere questions, from a
heart wrapped in ornate brocade layers of
kimono silk, she hoped to begin to know him.

Relationships formed gracefully, over time,
an ocean of water and thought intervening.

Water and air may be there
keeping souls apart,
until they are meant to be united.
 
Now, two beloved young friends have found
in each other a twin flame, first seen shining
in the virtual world of today. With only letters,
or flares or morse code, these two would have
seen, and known, that light within one another.

Souls destined from very early on.

My loving eyes have seen them, decades from now,
leaning into one another, silver hair entwined
as they rest their heads together on one more journey.

I defy anyone who might challenge me,
seeing these two blossoming in love
from a virtual, chance encounter, 
to say that life is any less real
in the ways that matter most,
when it is born in abstract space,
in this manifestation of a reality
that is in itself a metaphor for
Reality.

Reality, is living,
deeply living,
the inexplicable,
unfathomable,
exquisitely simple
complexity,
of being fully human.
For Lynn and Josh ~
©Elisa Maria Argiro
The thing is, you can’t ignore that graceful lament-
The teal heaving of your chest-
The wash of questions in your head
That exquisitely hold pinpricks of the future.

There’s a brand of groan you know well
That belongs to feeling unresolved.
That noise you make when you’re a painting without a face,
When you’re two lines of a song that’s lost to the breeze,
When you’re a cup of water dribbling through careless hands,
That noise is the growl of restless dreaming.

There is a struggle to unpin yourself
From the avalanche of time
That has pooled thickly around your legs.
You try to kick, but it moves like molasses.
Slower than a hard thwack to a non-newtonian fluid.
Pointless as collecting antique doorknobs.

There is an urge to catch a destiny by the tail
Like you’re somehow prepared right now,
Like there’s nothing left to learn.
How fortunate you are that perceived linear realities
Can curve the hubris of your linear fantasies.

And yet there’s that gnawing need,
A craving that demands surrender,
That all too graceful lament,
Of being forced to take the smallest of steps
on the greatest of adventures.
11/28/12
Mike Essig Aug 2015
for all the names on that granite wall and many others...

I  Prelude

Vietnam broke my mind.
Now it runs like a cheap watch
always leaping about in time.
It pulls me backward into
strange visions of a world gone mad.
My life is time borrowed from corpses.
It is hard to lead your life
while you are stuck in another.
Time, the great healer,
only seems to make this worse.
Self-medication, legal meditation,
nothing seems strong enough
to stop the pounding of the rotors,
the screams of the men and the monkeys.
I have never been able to **** the demons
hidden in the tree lines of my mind.
Forty-three years later I'm still hiding
nauseous and naked in the napalmed jungle.
But my high mileage body clings to life:
the quest for immortality knows no shame.
Now I am a poet drunk on words,
stumbling over the illusion of art.
The more I know of language,
the less I understand life and loss.
And still the mortars rain down
in an eternal, inescapable monsoon.


II Place

Imagine a land that smells entirely of ****.
Only 70 miles wide in some places.
I flew above the abandoned bases of a war
that had been abandoned as well.
Places given up to the jungle
where 60,000 Americans died for nothing.
An implacable enemy that had fought
the Japanese and French before us
and had no doubt they would prevail.
A very beautiful place seen from the air
if no one was trying to eradicate you.
Skinny children, old women, many ******.
A place where real tigers might well
leap from ambush and eat you alive
and snakes so deadly that once bitten
you only got two steps before death.
Breathtaking sunsets and sunrises.
And the possibility of doom everywhere.
Rice paddies, mountains, triple canopy jungle.
Gorgeous beaches and an ocean laden
with sharks and sea snakes for company.
A place where death picked his teeth and smiled.


III Action

Stark terror is the mother of combat;
the rage of Peleus son Achilles
drives the soldier into the filed teeth
of impossibly horrible situations.
Not for America or the Stars and Stripes
but for the man next to you
whom you probably didn't even know.
Never ask why one man dies
and the one beside him lives on.
I shot an NVA regular from 20 feet
with a Colt Model 1911 45 automatic.
Got him exactly in the chest.
He looked very surprised to be dead.
I was surprised I didn't miss.
At An Loc a Huey 20 yards from mine
loaded with 18 hopeful human beings
took a rocket up the *** and
disintegrated into a debris cloud
of metal fragments and pink mist.
No bodies to be bothered with,
no pieces large enough to identify.
A CIA officer executing the wounded.
A tame **** torturing his countryman.
The exquisitely horrific moment when
you know you are falling, not flying.
The partner cut in half by a machine gun
five feet from where I stood.
Do not try to make any sense of this.
Fall back on the mantra: *don't mean nothing.

Cling to that and you may stay sane.
Apparently, God was busy for ten years
and never bothered to visit Vietnam.

IV Comrades

Forget that band of brothers *******,
we were more like a desperate rabble
with no one to count on but each other.
Sometimes a brother shares the blood
in your veins; sometimes you know him
by the blood that flows from his.
You scream, you curse, you try so hard
and he dies like a huge baby in your arms.
Vietnam was a club you could only join
by being there deep in the ****.
Now we are old men but our memberships
will never expire until we do.
And who will remember us then.

V Aftermath

Treated like lepers, we slunk home,
each to do the best he could.
Many died in the denouement of
drugs, alcohol, homelessness, suicide.
When I got home I wanted to be alone,
to be with people, lots of *****,
but only with no emotion attached,
an ocean of Jack Daniels, lines of coke,
mountains of ***, electro-shock therapy,
calm sleep without nightmares
and sometimes the comfort of a quick death.
Not much different than most I think.
Saigon fell. Don't mean ******* nothing.
Only some of us remember and want you to know
so you won't be fooled again.
Forget the past and it will bite you in the ***. Some stories demand to be told and heard. Like slavery, Vietnam will haunt America until it recognizes the great evil that was done. Evil can never be wished away.
Fluffy pillows swirling
around a beautiful blue sky,

Free birds
gliding across the heavens,
so gracefully they fly.

Giant tree branches
swaying from side-to-side,

Such beauty my eyes absorb
into my mind;
expanding infinitely wide.

Heavenly Earth,
so exquisitely designed,

Embraced by solitude,
peace of mind
I'm guaranteed to always find.

The smell of fresh open air
and wildflowers
inhaled into my soul;
an essence so divine,

Fragile delicate butterflies
fluttering by,
I love them all
as though they are mine.

I belong to the Earth -
the forests,
the mountains
and the seas,

Deep-down inside
I'm just a born-natural
free-spirit -
a lover of nature;
a born-to-be country girl / hippy.

By Lady R.F. (C) 2017
Laura Jane Apr 2015
She might laugh if she read this
at the flat little version of her
that lives in my mind.
She may laugh
at my comparison of her
to a hideous sea spider
but hear me out
it could be touching.

David Foster Wallace wrote:
“Since pain is a totally subjective mental experience
we do not have direct access
to anyone or anything’s pain but our own;
and even just the principles
by which we can infer that others experience pain
and have a legitimate interest in not feeling pain
involve hard-core philosophy—
metaphysics, epistemology, value theory, ethics.”

"[Lobsters] do have an exquisite tactile sense,
one facilitated by hundreds of thousands of tiny hairs
that protrude through their carapace.
Although encased
in what seems a solid, impenetrable armour,
the lobster can receive stimuli and impressions from without
as readily as if it possessed a soft and delicate skin.”

and so

“We lift lobsters out of the bag
or whatever retail container they came home in
…whereupon some uncomfortable things start to happen.
However stuporous the lobster is from the trip home, for instance,
it tends to come alarmingly to life when placed in boiling water."


As much as I cannot comprehend the pain
of the exquisitely tactile lobster
in a *** of boiling water,
I wonder if I could
walk a mile in a lobster’s 8 minuscule shoes
and I wonder
what it might mean or not mean to her
with her armoured yet acute exoskeleton
to be back at home with her father.

They might try to butter you up
or snap elastic bands
around your oversized claws
and use a wooden spoon
to try and nudge your thrashing, clinging arms
back into the ***,
but remember:
lobsters can live to be over 100 years old
and grow to over 20 pounds in size
which is very large for an aquatic insect
and remember that they are marine crustaceans of the family Homaridae, characterized by five pairs of jointed legs, the first pair terminating in large pincerish claws.

And DFW famously said,

“Everything I’ve ever let go of has claw marks on it.”

and he's not a lobster either
Quotes are from Consider The Lobster and Infinite Jest by DFW
Emily B Mar 2016
Edgar Lee Masters. 1869–
  
Silence
  
  
I HAVE known the silence of the stars and of the sea,  
And the silence of the city when it pauses,  
And the silence of a man and a maid,  
And the silence for which music alone finds the word,  
And the silence of the woods before the winds of spring begin,          
And the silence of the sick  
When their eyes roam about the room.  
And I ask: For the depths  
Of what use is language?  
A beast of the field moans a few times  
When death takes its young.  
And we are voiceless in the presence of realities—  
We cannot speak.  
  
A curious boy asks an old soldier  
Sitting in front of the grocery store,  
"How did you lose your leg?"  
And the old soldier is struck with silence,  
Or his mind flies away  
Because he cannot concentrate it on Gettysburg.  
It comes back jocosely  
And he says, "A bear bit it off."  
And the boy wonders, while the old soldier  
Dumbly, feebly lives over  
The flashes of guns, the thunder of cannon,  
The shrieks of the slain,  
And himself lying on the ground,  
And the hospital surgeons, the knives,  
And the long days in bed.  
But if he could describe it all  
He would be an artist.  
But if he were an artist there would he deeper wounds  
Which he could not describe.  
  
There is the silence of a great hatred,  
And the silence of a great love,  
And the silence of a deep peace of mind,  
And the silence of an embittered friendship,  
There is the silence of a spiritual crisis,  
Through which your soul, exquisitely tortured,  
Comes with visions not to be uttered  
Into a realm of higher life.  
And the silence of the gods who understand each other without speech,  
There is the silence of defeat.  
There is the silence of those unjustly punished;  
And the silence of the dying whose hand  
Suddenly grips yours.  
There is the silence between father and son,  
When the father cannot explain his life,  
Even though he be misunderstood for it.  
  
There is the silence that comes between husband and wife.  
There is the silence of those who have failed;  
And the vast silence that covers  
Broken nations and vanquished leaders.  
There is the silence of Lincoln,  
Thinking of the poverty of his youth.  
And the silence of Napoleon  
After Waterloo.  
And the silence of Jeanne d'Arc  
Saying amid the flames, "Blesséd Jesus"—  
Revealing in two words all sorrow, all hope.  
And there is the silence of age,  
Too full of wisdom for the tongue to utter it  
In words intelligible to those who have not lived  
The great range of life.  
  
And there is the silence of the dead.  
If we who are in life cannot speak  
Of profound experiences,  
Why do you marvel that the dead  
Do not tell you of death?  
Their silence shall be interpreted  
As we approach them.
Lora Lee Feb 2017
dark storms rising
as electricity
crackles up my spine
in ascent of moonspell
as I trip through
            my own wires
                 my inner sense
                     of flesh
      reverberating  
in waves of
magnetic fireworks
      and suddenly
I am spinning
     my fibers
all splayed out                
for you to see
a cartographer
of emotion
mapping your veins
               and arteries
and we hold citizenship
of a private inner land
a country              
    that we share
as we into light expand
my inner goddess in tune
with your
molecules and carbon
your cells rushing like
                a river
into my estuary
in landscapes of longing
blissfully unaware
but for our souls'
secret language of
pumping blood and fire
from here, it's uncharted
but for the rhythms
                   of desire

invisible to the naked eye,
we exquisitely penetrate
the surface
descend into the
depths of bones
the most primal core
where lava licks
push spirit's will
            straight up to the fore
and I am the spark in
your most opaque rage
ready
to give it up
in dust and magic
as pulmonary exhale
flows the blood
and we dissipate , slowly
into uninhibited flood

Take me apart,
dark love
pulverize my limits
fly with me
to the opposite
of loneliness
where
    every
        millisecond
  breathes
https://www.youtube.com/watch?v=JVhDfzV941E
"You've got that medicine I need/Give it to me slowly"

www.youtube.com/watch?v=OQUhb3YMzsY
SøułSurvivør Sep 2015
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There's a creature in this cruel world
Who love's to hurt
And make you blue
He's out there lurking for you, child
He'll take everything from you...

... but oh!
How handsom and delightful!
When he speaks the silver rings!
Come to find out he is frightful
Scorpion with angel's wings

Watch out child...
Watch out for liars.
Those who practice to deceive!
He'll take you down
To his own fires
He will sting if you believe!

But! Oh how beautiful and graceful!
And! How exquisitely you sing!
But. My "friend", you are disgraceful!

Scorpion with Angel's wings



SoulSurvivor
9/6/201
To any poor woman out there who
had her heart taken away by a
sweet talking LIAR.
This song is for you.

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— The End —