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
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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
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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
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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

Through the ghoul-guarded gateways of slumber,
Past the wan-mooned abysses of night,
I have lived o'er my lives without number,
I have sounded all things with my sight;
And I struggle and shriek ere the daybreak, being driven to madness with fright.

I have whirled with the earth at the dawning,
When the sky was a vaporous flame;
I have seen the dark universe yawning
Where the black planets roll without aim,
Where they roll in their horror unheeded, without knowledge or lustre or name.

I had drifted o'er seas without ending,
Under sinister grey-clouded skies,
That the many-forked lightning is rending,
That resound with hysterical cries;
With the moans of invisible daemons, that out of the green waters rise.

I have plunged like a deer through the arches
Of the hoary primoridal grove,
Where the oaks feel the presence that marches,
And stalks on where no spirit dares rove,
And I flee from a thing that surrounds me, and leers through dead branches above.

I have stumbled by cave-ridden mountains
That rise barren and bleak from the plain,
I have drunk of the fog-foetid fountains
That ooze down to the marsh and the main;
And in hot cursed tarns I have seen things, I care not to gaze on again.

I have scanned the vast ivy-clad palace,
I have trod its untenanted hall,
Where the moon rising up from the valleys
Shows the tapestried things on the wall;
Strange figures discordantly woven, that I cannot endure to recall.

I have peered from the casements in wonder
At the mouldering meadows around,
At the many-roofed village laid under
The curse of a grave-girdled ground;
And from rows of white urn-carven marble, I listen intently for sound.

I have haunted the tombs of the ages,
I have flown on the pinions of fear,
Where the smoke-belching Erebus rages;
Where the jokulls loom snow-clad and drear:
And in realms where the sun of the desert consumes what it never can cheer.

I was old when the pharaohs first mounted
The jewel-decked throne by the Nile;
I was old in those epochs uncounted
When I, and I only, was vile;
And Man, yet untainted and happy, dwelt in bliss on the far Arctic isle.

Oh, great was the sin of my spirit,
And great is the reach of its doom;
Not the pity of Heaven can cheer it,
Nor can respite be found in the tomb:
Down the infinite aeons come beating the wings of unmerciful gloom.

Through the ghoul-guarded gateways of slumber,
Past the wan-mooned abysses of night,
I have lived o'er my lives without number,
I have sounded all things with my sight;
And I struggle and shriek ere the daybreak, being driven to madness with fright.

Agung, Abang, Batur
sacred volcanoes
gateways to Gaia

standing silent
omnipresent
dawn’s light your only adornment

at your feet
paddy fields
emerald carpets
across which you stride

I remember the history well:
The soldiers and politicians emerged
With briefcases and guns
And celebrations on city nights.

They scoured the mess
Reviewed our history
Saw the executions at dawn
Then signed with secret policemen

And decided something
Had to be done.

They scoured the mess
Resurrected old blue-prints
Of vicious times
Tracked the shapes of sinking cities

And learned at last
That nothing can be avoided
And so avoided everything.
I remember the history well.

                                                                 2
We emerged from our ******* mounds
Discovered a view of the sky
As the air danced in heat.

Through the view of the city
In flames, we rewound times
Of executions at beaches.
Salt streamed down our brows.

Everywhere stagger victims of rigged elections
Monolithic accidents on hungry roads
The infinite web of ethnic politics
Power-dreams of fevered winds.

The nation was a map stitched
From the grabbing of future flesh
And became a rush through
Historical slime

                                                                 3
We emerged on edge
Of time future
With bright fumes
From burning towers.

The fumes lit political rallies.
We started a war
Ended it
And dreamed about our chance.

Fat fish eat little fish
Big ones arrange executions
And armed robberies.
Our ******* shapes us all.

I remember the history well.
The tiger’s snarl is bought
In currencies of silence.
Eggs grow large:

A monstrous face is hatched.
On the edge of time future
I am a boy
With running sores

Of remember history
Watching the stitches widen
Waiting for the volcano’s laughter
In the fevered winds

Hearing the gnash
Of those who will join us
At the mighty gateways
With new blue-prints

With dew as seal
And fire as constant
And a trail through time past
To us

Who remember the history well.
We weave words on red
And sing on the edge of blue.
And with our nerves primed

We shall spin silk from *******
And frame time with our resolve.
__
Source:
http://www.universeofpoetry.org/nigeria.shtml

I'm a schizophrenic hypocrite
thankfully not in a medical way
i don't have to pop pills everyday
to keep an essence of danger under control
and to stop my head doing backward flips and forward rolls
to curtail bad thoughts and contain OCD
wake up and think "what's happening to me?"
but sometimes i'm full of mazey bomb blasts
and crazy contrasts,
I'm a schizophrenic hypocrite
I say work i'm not even gonna give 50% percent never mind double
but i'll stay just below the warning threshold so i don't really get in trouble,
i do see my sick days as extra days of annual leave
but my bums on my seat most of the year and at least one Eve.
I'm always ducking and diving, i hide and they seek,
but i hit my targets every week.
They can say put down your pens,
strip your pencils of lead,
you can't stop me writing in my head
But you'll sometimes dictate what time i go to bed.
I'm a schizophrenic hypocrite
Nearly every road i walk down i've got a ***** cat friend
there meowing never drives me round the bend
but if me owing then just a letter i'll send.
I’ll rescue  spiders from the bath, without any exception,
But I’ll clean their webs and evict them when I have a house inspection.
Giving up pork, on a parity with pigges at last
But then i broke my faste with bacon for breakfast
Watching lambs a gamboling there frolicking is fab,
but i'll see you on a plate later if i'm craving a kebab.
I'm a schizophrenic hypocrite.
Money and the capitalist structure baffles, no thanks, no ta
but before i go out a quick sub off Ma and Pa.
I'll pay for a taxi, i don't care about the amount,
while checking fervently the statement from my bank account.
Cash cannot be eaten it just gets you into Eton
but i'll rifle through my pockets for pennies to get an eat on
i don't adore you, i'll say your the means to an end
but then i spend some more and ask for a lend.
I'm a schizophrenic hypocrite.
I'll say anarchy  is everywhere, petition and abstain
then  read in the late edition who i think should take the reins.  
I scream smash the system without any regrets
but then start stubbing out where they deem no cigarettes.
I'll say **** big business they are always looting tons
while cutting out Asda coupons to get the soup with croutons.
i'll say **** materialism, to that i am adverse,
"ohh if you want to get me some trainers Mum can you make em Converse? "
I'm a schizophrenic hypocrite
One Saturday i found it hard to move
crying out for water, more than needing food,
stomach emptier than the packets in my pockets
Early winter scribble
spoiled by the ripple of rain,
deadened and dull
on a precious day,
the time I crave
passes through a husk
full of caves.
Each inhabitant curses
and burns
the stagnant soil under their feet,
I want something to eat.
I need to drink.
The cold slab of sink
lures flesh to rest,
unsatisfied
with retched offerings
flung from a scorched earth
so next Friday, a few beers and l I’ll hit the hay
Ten beers later, where’s the MDMA?
And my staunch resolutions go up my nose
Chatting through the night, striking a pose,
Music accentuated, stars sparkling hard
World’s discussed in magic back yards,
Focused and fraught in tumultuous thought
Ten cigs in an hour
An hours too short,
As the morning comes, I start feeling a mess
It slowly disintegrates the treasure in my chest,
Feelings of strength crumble to a feeble frame,
Spears in my head, WHOOPS I’VE DONE IT AGAIN.
You’ll stop this time, I curse and lecture,
Two bottles down next Friday etc etc,
I’m a schizophrenic hypocrite
I remember an uneventful Tuesday when i wasn't working
belly full of rice
and i saw you twice,
two times a day,
on a day in lieu,
time stood still,
smiling at you
i thought i'm gonna have to write about you,
so i park myself in a bar after a joint in Netto carpark
and start using words to build an arc
and if you you do wanna walk in two by two,
can i walk in with you?
Is it this green ride that's getting me high
or the regret i seen in the gleam of your eye
that as soon as we said hi we said bye,
as disappointed as the catcher when he dropped the rye.
If i may be so bold,
if you were cold
i wouldn't hail these stones
i'd pummel Jack Frost until he knows he's lost,
i'll leave all the lights on to hasten global warming
make Obama declare winter a season of mourning,
If you met an iceberg of Titanic  proportions
i'd cut through it quicker than the Ripper does back street abortions.
If you were in prism
i'd try to unrangle the science of triangles
so i could build you a pyramid with all the right angles,
my stomachs in knots;
the most tranquil of tangles.
Then i saw you get out of the lift
and i wanted to play you a rift
until you exposed your midriff
because you set me adrift from chains and shackles
my mind goes crazy and fills with cackles,
i crackle with lightning, my energy heightens
my heart tightens
and not cos of cholesterol
cos i think you're special
and celestial!
I got dreams from naught, my head feels taught,
i prised a lesson from your eyes,
love is the greatest prize.
But now that's gone, all things
pass evolution in transience
faces that were everything lost to balance
blue it merge
but seldom a residual surge
and your bark today was worst than your bite
it said something softly,
i sow the seeds for the sycamore trees
we can carve our names on next summer.
Under an endless stretching sky
you wrote you
and i wrote i,
the lights in our eyes don't lie
they are gateways to the suns inside,
our hearts couldn't hide from this brightening tide.
I'm a Schizophrenic hypocrite
I remember this guy from work, cooed to me
look at the **** on this page 3
he drooled over Nuts magazine like he belonged in a zoo
i bet he frequented strippers too.
He said seen this clip, it's ******* great,
it ad turn a couple of queers straight
it was these two twins with rouge lips being rude,
the way she chomped on her like food
and they defo loved it,there is  no doubt
it's just just ***** Eskimo ******* kissing snouts
and sharing with her sister the joy of getting licked out.
Wonder how they looked in the family car?
giggling about some exciting destination,
like all kids displaying a lack of patience,
“are we there yet” chorused with glee and duality,
dressed in the same clothes to ensure parity.
Ice cream for tea.
Maybe they might be way into drugs
or addled with addiction
lacking hugs
and sore from the friction.
Not liking the glare
feeling scared.
maybe?
He said nar they love it up them baby.
But then,
i have it
about 3 or 4 times a week
after the 5th time of hitting snooze,
or a heavy night on the *****,
or sometimes no beer,
even after a sonnet of Shakespeare
a sudden urge comes over me,
GET THE LAPTOP!
GET THE *******!
Then it's
Japanese teen lesbians spitting,
finger ******* wearing mittens,
****'s ******* Britions,
oap creampies
***** covered eyes
***** flicking,
extreme suction,
**** destruction,
Captain Birds Eye gobbing
Batman ******* Robin,
A ten inch plumber ******* in a kitchen sink drama
Robert de Niro unpeeling Bananarama
Marty doing the Doc
a gimped up Kirk whipping Spoc
Rita  ******* Norris
Gail licking Fizz
Sally doing Dev
and Kevin doing ki.............Kevin, get out of the room.
Back to
a **** doing a ******
a pre op pleasuring granny
two ***** one *****,
then i chuck my muck all over my tunic
flip over and continue reading The Female ******,
I'm a Schizophrenic Hypocrite,
i've gotta split.

The delicate, harmonious ring in your voice
Lulls me to a state of peace without choice
And if I had one,
I'd choose to listen anyway.
You're constantly atop the greatest hill
In my mind --
No other venture or thought
Remotely as sublime.
Throughout the night,
My dream of you rides
Gallantly through the stars
And I think of them as gateways
To my heart ...

Locksley Hall

by Alfred, Lord Tennyson

Comrades, leave me here a little, while as yet 't is early morn:
Leave me here, and when you want me, sound upon the bugle-horn.

'T is the place, and all around it, as of old, the curlews call,
Dreary gleams about the moorland flying over Locksley Hall;

Locksley Hall, that in the distance overlooks the sandy tracts,
And the hollow ocean-ridges roaring into cataracts.

Many a night from yonder ivied casement, ere I went to rest,
Did I look on great Orion sloping slowly to the West.

Many a night I saw the Pleiads, rising thro' the mellow shade,
Glitter like a swarm of fire-flies tangled in a silver braid.

Here about the beach I wander'd, nourishing a youth sublime
With the fairy tales of science, and the long result of Time;

When the centuries behind me like a fruitful land reposed;
When I clung to all the present for the promise that it closed:

When I dipt into the future far as human eye could see;
Saw the Vision of the world and all the wonder that would be.--

In the Spring a fuller crimson comes upon the robin's breast;
In the Spring the wanton lapwing gets himself another crest;

In the Spring a livelier iris changes on the burnish'd dove;
In the Spring a young man's fancy lightly turns to thoughts of love.

Then her cheek was pale and thinner than should be for one so young,
And her eyes on all my motions with a mute observance hung.

And I said, "My cousin Amy, speak, and speak the truth to me,
Trust me, cousin, all the current of my being sets to thee."

On her pallid cheek and forehead came a colour and a light,
As I have seen the rosy red flushing in the northern night.

And she turn'd--her ***** shaken with a sudden storm of sighs--
All the spirit deeply dawning in the dark of hazel eyes--

Saying, "I have hid my feelings, fearing they should do me wrong";
Saying, "Dost thou love me, cousin?" weeping, "I have loved thee long."

Love took up the glass of Time, and turn'd it in his glowing hands;
Every moment, lightly shaken, ran itself in golden sands.

Love took up the harp of Life, and smote on all the chords with might;
Smote the chord of Self, that, trembling, pass'd in music out of sight.

Many a morning on the moorland did we hear the copses ring,
And her whisper throng'd my pulses with the fulness of the Spring.

Many an evening by the waters did we watch the stately ships,
And our spirits rush'd together at the touching of the lips.

O my cousin, shallow-hearted! O my Amy, mine no more!
O the dreary, dreary moorland! O the barren, barren shore!

Falser than all fancy fathoms, falser than all songs have sung,
Puppet to a father's threat, and servile to a shrewish tongue!

Is it well to wish thee happy?--having known me--to decline
On a range of lower feelings and a narrower heart than mine!

Yet it shall be; thou shalt lower to his level day by day,
What is fine within thee growing coarse to sympathize with clay.

As the husband is, the wife is: thou art mated with a clown,
And the grossness of his nature will have weight to drag thee down.

He will hold thee, when his passion shall have spent its novel force,
Something better than his dog, a little dearer than his horse.

What is this? his eyes are heavy; think not they are glazed with wine.
Go to him, it is thy duty, kiss him, take his hand in thine.

It may be my lord is weary, that his brain is overwrought:
Soothe him with thy finer fancies, touch him with thy lighter thought.

He will answer to the purpose, easy things to understand--
Better thou wert dead before me, tho' I slew thee with my hand!

Better thou and I were lying, hidden from the heart's disgrace,
Roll'd in one another's arms, and silent in a last embrace.

Cursed be the social wants that sin against the strength of youth!
Cursed be the social lies that warp us from the living truth!

Cursed be the sickly forms that err from honest Nature's rule!
Cursed be the gold that gilds the straiten'd forehead of the fool!

Well--'t is well that I should bluster!--Hadst thou less unworthy proved--
Would to God--for I had loved thee more than ever wife was loved.

Am I mad, that I should cherish that which bears but bitter fruit?
I will pluck it from my *****, tho' my heart be at the root.

Never, tho' my mortal summers to such length of years should come
As the many-winter'd crow that leads the clanging rookery home.

Where is comfort? in division of the records of the mind?
Can I part her from herself, and love her, as I knew her, kind?

I remember one that perish'd; sweetly did she speak and move;
Such a one do I remember, whom to look at was to love.

Can I think of her as dead, and love her for the love she bore?
No--she never loved me truly; love is love for evermore.

Comfort? comfort scorn'd of devils! this is truth the poet sings,
That a sorrow's crown of sorrow is remembering happier things.

Drug thy memories, lest thou learn it, lest thy heart be put to proof,
In the dead unhappy night, and when the rain is on the roof.

Like a dog, he hunts in dreams, and thou art staring at the wall,
Where the dying night-lamp flickers, and the shadows rise and fall.

Then a hand shall pass before thee, pointing to his drunken sleep,
To thy widow'd marriage-pillows, to the tears that thou wilt weep.

Thou shalt hear the "Never, never," whisper'd by the phantom years,
And a song from out the distance in the ringing of thine ears;

And an eye shall vex thee, looking ancient kindness on thy pain.
Turn thee, turn thee on thy pillow; get thee to thy rest again.

Nay, but Nature brings thee solace; for a tender voice will cry.
'T is a purer life than thine, a lip to drain thy trouble dry.

Baby lips will laugh me down; my latest rival brings thee rest.
Baby fingers, waxen touches, press me from the mother's breast.

O, the child too clothes the father with a dearness not his due.
Half is thine and half is his: it will be worthy of the two.

O, I see thee old and formal, fitted to thy petty part,
With a little hoard of maxims preaching down a daughter's heart.

"They were dangerous guides the feelings--she herself was not exempt--
Truly, she herself had suffer'd"--Perish in thy self-contempt!

Overlive it--lower yet--be happy! wherefore should I care?
I myself must mix with action, lest I wither by despair.

What is that which I should turn to, lighting upon days like these?
Every door is barr'd with gold, and opens but to golden keys.

Every gate is throng'd with suitors, all the markets overflow.
I have but an angry fancy; what is that which I should do?

I had been content to perish, falling on the foeman's ground,
When the ranks are roll'd in vapour, and the winds are laid with sound.

But the jingling of the guinea helps the hurt that Honour feels,
And the nations do but murmur, snarling at each other's heels.

Can I but relive in sadness? I will turn that earlier page.
Hide me from my deep emotion, O thou wondrous Mother-Age!

Make me feel the wild pulsation that I felt before the strife,
When I heard my days before me, and the tumult of my life;

Yearning for the large excitement that the coming years would yield,
Eager-hearted as a boy when first he leaves his father's field,

And at night along the dusky highway near and nearer drawn,
Sees in heaven the light of London flaring like a dreary dawn;

And his spirit leaps within him to be gone before him then,
Underneath the light he looks at, in among the throngs of men:

Men, my brothers, men the workers, ever reaping something new:
That which they have done but earnest of the things that they shall do:

For I dipt into the future, far as human eye could see,
Saw the Vision of the world, and all the wonder that would be;

Saw the heavens fill with commerce, argosies of magic sails,
Pilots of the purple twilight dropping down with costly bales;

Heard the heavens fill with shouting, and there rain'd a ghastly dew
From the nations' airy navies grappling in the central blue;

Far along the world-wide whisper of the south-wind rushing warm,
With the standards of the peoples plunging thro' the thunder-storm;

Till the war-drum throbb'd no longer, and the battle-flags were furl'd
In the Parliament of man, the Federation of the world.

There the common sense of most shall hold a fretful realm in awe,
And the kindly earth shall slumber, lapt in universal law.

So I triumph'd ere my passion sweeping thro' me left me dry,
Left me with the palsied heart, and left me with the jaundiced eye;

Eye, to which all order festers, all things here are out of joint:
Science moves, but slowly, slowly, creeping on from point to point:

Slowly comes a hungry people, as a lion, creeping nigher,
Glares at one that nods and winks behind a slowly-dying fire.

Yet I doubt not thro' the ages one increasing purpose runs,
And the thoughts of men are widen'd with the process of the suns.

What is that to him that reaps not harvest of his youthful joys,
Tho' the deep heart of existence beat for ever like a boy's?

Knowledge comes, but wisdom lingers, and I linger on the shore,
And the individual withers, and the world is more and more.

Knowledge comes, but wisdom lingers, and he bears a laden breast,
Full of sad experience, moving toward the stillness of his rest.

Hark, my merry comrades call me, sounding on the bugle-horn,
They to whom my foolish passion were a target for their scorn:

Shall it not be scorn to me to harp on such a moulder'd string?
I am shamed thro' all my nature to have loved so slight a thing.

Weakness to be wroth with weakness! woman's pleasure, woman's pain--
Nature made them blinder motions bounded in a shallower brain:

Woman is the lesser man, and all thy passions, match'd with mine,
Are as moonlight unto sunlight, and as water unto wine--

Here at least, where nature sickens, nothing. Ah, for some retreat
Deep in yonder shining Orient, where my life began to beat;

Where in wild Mahratta-battle fell my father evil-starr'd,--
I was left a trampled orphan, and a selfish uncle's ward.

Or to burst all links of habit--there to wander far away,
On from island unto island at the gateways of the day.

Larger constellations burning, mellow moons and happy skies,
Breadths of tropic shade and palms in cluster, knots of Paradise.

Never comes the trader, never floats an European flag,
Slides the bird o'er lustrous woodland, swings the trailer from the crag;

Droops the heavy-blossom'd bower, hangs the heavy-fruited tree--
Summer isles of Eden lying in dark-purple spheres of sea.

There methinks would be enjoyment more than in this march of mind,
In the steamship, in the railway, in the thoughts that shake mankind.

There the passions cramp'd no longer shall have scope and breathing space;
I will take some savage woman, she shall rear my dusky race.

Iron-jointed, supple-sinew'd, they shall dive, and they shall run,
Catch the wild goat by the hair, and hurl their lances in the sun;

Whistle back the parrot's call, and leap the rainbows of the brooks,
Not with blinded eyesight poring over miserable books--

Fool, again the dream, the fancy! but I know my words are wild,
But I count the gray barbarian lower than the Christian child.

I, to herd with narrow foreheads, vacant of our glorious gains,
Like a beast with lower pleasures, like a beast with lower pains!

Mated with a squalid savage--what to me were sun or clime?
I the heir of all the ages, in the foremost files of time--

I that rather held it better men should perish one by one,
Than that earth should stand at gaze like Joshua's moon in Ajalon!

Not in vain the distance beacons. Forward, forward let us range,
Let the great world spin for ever down the ringing grooves of change.

Thro' the shadow of the globe we sweep into the younger day;
Better fifty years of Europe than a cycle of Cathay.

Mother-Age (for mine I knew not) help me as when life begun:
Rift the hills, and roll the waters, flash the lightnings, weigh the Sun.

O, I see the crescent promise of my spirit hath not set.
Ancient founts of inspiration well thro' all my fancy yet.

Howsoever these things be, a long farewell to Locksley Hall!
Now for me the woods may wither, now for me the roof-tree fall.

Comes a vapour from the margin, blackening over heath and holt,
Cramming all the blast before it, in its breast a thunderbolt.

Let it fall on Locksley Hall, with rain or hail, or fire or snow;
For the mighty wind arises, roaring seaward, and I go.

A young girl growing up
must always remember
her inner child.

Her inner child lies deep within
waiting to come out and play
help her shed her grown-up skin for a day.

A woman needs to laugh
find her playful self
longing to come back into the playground.

When times are challenging
she must look deep within
her inner child will always be there.

Her inner child will always welcome her back
to those magic gateways of childlike wonder
sometimes forgotten.

Her inner child can take her hand
help her find her path when she is lost
give her guidance along the way.

Her inner child waits in dreams
on all womanly highways
the roads leading her back to herself.


© 2014 Stacey Handler

Death is the act of becoming.
Death is the act of birthing.
Death is all that is, creation;;;
And destruction.

Death is love.  
Death is hate.
Death is neutrality.
Death is chaos.

Death is order.
Death is truth.
Death is real.

Only death is real.  

Death, death, death.

Only death is real.

Death is life.
Death is gateways.
Death is magick.
Death is G-D.
The Lord is life,
Thus, The Lord is death.  

Death is endlessness.
Death is the spiral.
Death is forever.  
Spiral. Spiral.  Spiral.
Death is deathless.
Death is holy.
Death is Shiva.
Death is Allah
Death is *******.
Death is Om.
Death is Jesus.
Death is Roman Empires fallen.
Death is the earth fallen.
Death is trees fallen.

Only death is real.
Only The Lord is real.
The Lord is death.

Death. Death. Death.
Only death is real.

Life is illusion.
A testing dream for death.
Death is a gateway to Divinity.

Only death is real.

Smudges in the sky
Swirling across my fingers
Gateways to heaven

Eyes

Like gateways to so many things..

Darker than a night sky, with identical spots of glisten.
The closer they come the more I'd like to listen

To the words that gracefully swim out of your lips
and find their way, not to my brain,
but to my heart
with your quirks and quips.

A warming feeling I had since yet forgotten,
or maybe drained out of myself..
Returns with utmost passion and
I can barely feel anything else.

Eyes

Like gateways to many things...

Historically this history is my Thucydides,
And when I need that leadership, where is my Pericles.
Philosophies are just to please all my Aristocles,
And when I need a lover, where are my Persephones.
A thousand hordes with blazing swords descend to vanquish me,
I sit and pray that this today's not my Thermopylae.
The gateways hot, they say that's not the way it's meant to be,
So Ill just float here in my boat in my Aeagean Sea

To live is to research happiness
and homes for the pleasure of ending.
People, through illusions, can shape
happy possibilities from speech and position.

Don't write it out.

A life more useful than tragic
is original in a moment,
can transcend as well as
fall into mistakes and experiences.

To get your body to lean
as far forward over the
insurmountable bubble as possible,
Is to create magic that consists of gateways
and actions -- the outcome of which
can place a thinker with only few
leaps stranger than your enemies.

Always forgive.

Magic sometimes longer than a pause
between morality and naked minds
influences the two ways a relapse synapse will run.
The true temptation of safety can be
carpeted by play dough and play grounds.

It's better to not sustain interfering manufactors,
to not pirate the lies a man historically risks
on quality of thoughts,
But instead depend the nature of your virture
on exploration at the heart of echoes.

Why should you quit?

A human's greatest obstacle is finding the principles
we don't discover with the jailer listening and
men afraid to rock the boat.
Give better than you dare have.
Reset the age of the mind and give parallel
truths at the point of sweeping tides.

To understand the laws of popular drifting,
compromise the art of part establishing,
occupy an ambitious ideal;
You will lose an elevation over not being, not remembering.
Sometimes treading water becomes a nuisance,
and you'll lose a choice in the dungeon.

Don't abandon your force.
Don't regret the pursuit of circumstances.
Don't delude a reputation of bridges and evidence.

Empathy is traveling the world for imagination and salvation.
We are here for a spell; one equality
shreds the ears ready to get you in trouble.

My heart's ablaze
I'm so amazed
cluttered in clichés
in a daze
I'm dismayed
too many long driveways
Life's fortes
as we graze
upon the gaze
in a haze of haze
trapped inside this maze
our voices phase
into the next of days
Oh did we raise
with utter rephrase
glancing sideways
into stairways
how I hate your ways
as much as I hate causeways
too much decay
along the edgeways
inside the hallways
roadways
screenplays
my heart strays
on into Sundays
and Tuesdays
I hate the weekdays
they're gateways
into other days.
© 2012 Christina Jackson

I just write it
as it is spoken.
A Divine Voice
created matter,
space, and time.

God's wisdom is not speechless
because you choose not to hear.
A belief of senses, does that matter?

I see it now
Her and I
Perfect in God sight
Like male and female
On the six day of creation

Love is not known
Just perfection
Never mind
The unsuspected
Elohim said "not to eat"
Of the tree
of knowledge
of good and evil

A simple taste
would open their eyes
to a perspective that
will change their minds

What they believe now
is only a soul desires
of the gateways into
their eyes.

Awaiting that moment, was it
Meant to be, as two feathers
Floated upon a last breath.

White as if from heaven, landed
Settled upon the left eye.
Seeing, searching the mind of
All the good that was done.

Dark as night a feather as ominous
As night itself fell upon the right.
Seeing, searching the soul for
All that tainted through life.

Barbs did seed upon the flesh,
and all that was known was now
Learnt, nothing hidden all was
seen from within.

Each rachis did fill, leached from
The body of what was drawn in,
Soul, heart, mind now emptied
in to each feather filled.

The quill did drip, with all that
Was taken, the feathers had fallen
Earthbound each partaken upon the
Gateways of the soul.

What did it find within, as a drop
Fell from each upon the lips, and
A last word spoken from each.

But only you will speak these words
Once the feathers fall and see all
Within. One white, one black which
One will carry you, where will your
Afterlife now begin.

Following the path less taken
Over all the low roads and
Routes plummeting towards the craven
Gateways of Hell takes the travelers
Into enlightenment. Those who avoid Satan's
Vengeance and forked whispers
Emerge from the waters of the lake in
Nature's womb veiled in holy layers
Encompassing their soul. This ache in
Society seeps into the bones of naysayers
Slandering the purging powers of equal pardon.

The cloudy nightmares,
Images of pasts, repressed
Forever dying

Their tombs are destroyed,
Gateways to the collections
Violently *****

Given a **** or
Second thought to understand
Tragic endeavors

Numbness overcomes
And overshadows, under
Dark circumstances

Sly, insidious,
Uninspired, and flawless
Miracles occur

Alone in my world
Stoicism has benefits
No one else matters

Dreaming, believing,
Living, thinking, and feeling,
But never kneeling

Twelve, thirty-seven,
Six-million ways to die, but
One to stay alive

It's funny that death
        Is the lock
Between the worlds

She stopped to sit softly on a jutting rock near the lake.
In that fine damp mist, she felt the need to take a break.
Then, she pulled back her sleeves of scales having to kneel
To sculpture in a clay like that one used on a potter's wheel.

She kept altering and shaping it into a beautiful male head.
The lines of his face proved that the man was unreal or dead.
Then, she pulled her sleeves back down, and started to walk.  
Her aunt, a witch, approached the sculpture wanting to talk.

Come here, aunt Surah’, said Jezebel. ’What do you think?’
Surah unbuttoned her neck telling her, ‘My dear, I need a drink!’
‘Is this sculpture your deep secret?’ Surah smiled as a feline.
’ He’s the man of my dreams, and his face I will never reline.’
(Jezebel started to sing)
‘I still can hear his very sad low wail,
In a sleeping forest being of no avail,
In searching for his bride he can fail,
His bride is caught in the time's gale.

When a castle he sees in the sun's rays
Keeping two decades of sleeping days,
The beauty sleep leaves him in a daze.
'Come and take your bride', the oak says.’
(Surah became nervous.)
‘My dear, it’s a very strange dream, believe me.’
Said Surah, looking as tired as being after a hard pull.
‘Tell me, sweet child, in this dream can you see
Something about using a drop spindle to spin wool?’

‘No, never! By the way, what means a drop spindle?’
‘You must promise me to keep your mouth shut,
Or the demons in the forest a dead fire may kindle.’
‘I’ll keep the secret, or the tip of my tongue you may cut.’

(Jezebel started to dance singing another song this time.)
Come and dance with me between the daffodils.
I can hear the strong wind coming from the hills,
And never let die inside you your inner child.'
‘Sometimes, this princess wants to be really wild!'

(Surah got close to Jezebel having a book in her hands.)
'This book is a precious treasure’, Surah said.
'It always cries loudly in order twice to bake its meaning,
And we must be strong, when these words we read.
This book explains the whole history of queening.'



(Surah opened the book at the chapter: Spindle)

To begin spinning on a bottom whorl drop spindle,
You must attach a leader by tying a piece of yarn.
The best wool's colors are black, white, or brindle.
Moreover, wool dresses may be difficult to ****.

You must take the yarn over the side of the whorl.

You must loop it around the shaft underneath and back.

Over the side of the whorl, it looks like a hairy natural curl.

By the way, there's a spindle in the tower having a crack.'

(The castle where Jezebel lived)

The castle was in the forest, at a high mountain.

In the approach to the front door, there was a natural fountain.

The castle had a ditch and a bridge allowing people to cross.

It had a first gallery having the marble slabs nice cut across.


The gallery was situated between the great and the little tower.

The towers had thick walls being protected from the wind power.

The south-west side of the castle had a perfect hexagonal shape.

The northeast side had prisons, from where no one could escape.


There were four storeys formed around the hexagon on all sides.

There was an interior courtyard for the people wanting to turn aside.

In the center of this courtyard, there was a well and a natural cave.

In the cave, there was an underground lake, fossils and an old grave.


In the mountain stone, there was a subway leading to the great tower,

Which was a secret place having nothing alive inside it, even no single flower.

Banqueting House was a hall having a colored fireplace of marble,

Where the king and the queen entertained their guests, stories to garble.


The stained glass in the windows could share the sounds of many *****,

And many secret meetings took place behind those enigmatic walls.

At the top of the stairs leading from the wall, there was a passageway

Guiding into Dining Room having painted ceiling light over its walls' gray.


King's Hall had the throne in front of a screen with arched openings.

It had an oak chair and a footstool for guests to sit when they were coming.

It also contained some royal portraits, expensive furniture, and tapestries.

Here, the aristocracy came to enjoy their feast, and to share formalities.


Near it, a big Lobby having walls covered in rich fabrics was used

To entertain guests with sweets, while the jesters made them be amused.

After the meal, Great Hall was a huge space for singing and dancing.

It had monumental stone arcades in the light were really glancing.


Behind the arcades, there were the staircases leading to the upper rooms.

Those rooms were used by the guests to rest, and to dress in their costumes.

They had wooden roofs, and tall windows that were looking out upon the garden,

A domed pergola, shrubs, gateways, pavilions, and a forest of pine marten.

It feels more times than not
My character is misconceived
Wherein my affinity for emotion is
Either ill received, or begs condescension
Such vindictive decrees for
Souls just as flawed as me
The difference is
Mine are the only flaws that I can see.

Void of emotion?
I prefer to think that I can
Differentiate between
A fleeting feel
And what is real -
What of the lack of social devotion?
I am only at my best
Around those who create from the heart
I discard the rest, because
I am the company I keep,
And I've kept from the start.

Over the top flattery?
I beg to differ.
You mistake the way I speak and the things I do
For my romantic battery
The thought of which makes me quiver -
It says a little something about you, too.
You fail to see
That I can so naturally
Draw emotion from the smallest of things
Do you think it is through arrogance that I sing?
A highly internalized being, who only creates things
To feed an insatiable egotistical craving?
Clearly the life that you lead
Is just lacking fantasy, or a sense of meaning...

I have met people who are metaphorical gateways,
No, actual ley lines of human creativity.
I wonder if their work would
Make you question your brand
Of Humanity.

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I.
Most days I’m great,
I’m pretty average looking but I’ve got a personality
That’s much bigger than my physical body
I’m goofy more than I’m serious
And I procrastinate more than I should
Most people call me the energizer bunny;
Always running around brining energy and smiles
Most days, that’s me.
Just your average normal person;
Not every day is perfect…
There are good days,
                      bad days,
                             better days,
                                  worse days &
                                         worser than worst
                                                          ­           d
                                                                        a
                                                     ­                      y
                                                        ­                       s


II.
How can a day be so bad that you make up your own version of “worse” you ask?
Well those days go something like this:
The air is heavy,
My senses are heightened
I can feel every droplet on my back
My lungs are tight, but not quite tight enough to be suffocating
My throat is dry, I can’t tell if I’m burning hot or freezing cold.
I get dressed, I go about my day.
There are good things.
There are bad things.
The bad things always stick on these kinds of days.
Inevitably, I can feel my anxiety begin to grow
It begins burning in my chest first,
I can feel the toxic attitude begin to bubble beneath my skin
Destroying everything inside
I am painted red with an unexplainable anger and rage
I sit alone, until my anger devours itself feeding on its toxic irrational thoughts


III.
This is when it happens, the (worser than worst)
It’s always when I let myself let go of the anger,
When my voice resumes its normal tone and pitch,
When my breathing is in sync with my heart,
And my once raging and thrashing thoughts
Begin to quiet and wind themselves down
It’s always when things start to feel okay again
Then it happens.
I’m walking in a crowded subway station
Hundreds of voices around me, yet they all drown out each other
Until a loud one breaks through the rhythmic hum of a busy commuter city
My body responds automatically searching for the noise
I see her in the distance,
Dressed in all black
For how cold it is, she’s not wearing nearly enough
She’s old.
Her face tells stories
Through the hard-pressed lines and crevices of her weather-beaten skin,
Her skin shows it all,
A Face that has laughed, cried, and experienced
Her eyes are glazed over
Chills run down my spine so suddenly I’m almost startled
It’s the eyes,
It’s always the eyes, they always trigger me
I can feel you in the atmosphere
Pressing your cold pale lips to my ear and whispering
“You couldn’t save me”
“You’re forgetting me”
“I won’t let you forget me”
I stand motionless trying to will my body to move
It doesn’t.
I watch the woman for a bit longer
Lost in her own world, eyes glazed over and lost
I feel sorry for her and then I feel it
Like all the muscles inside of me are suddenly limp and weak
With all my effort I push my feet off the ground
So, focused I don’t notice the tears streaming down my cheeks
I walk away in disappointment
I do what I do best,
I leave
And as I do, I hold my breath
And count
I count until the numbers feel right
And until I force myself to forget your presence
And the lingering guilt that still takes root
In the void you left behind.

IV.
Most days I’m great,
Just your average normal person,
Most days are easy enough to get through,

It’s the few days,
The ones spread so thin throughout the year
The days that remind me
That eyes are truly gateways into other places
It’s those days
That being to engulf the great days
Beneath its roots of your memory
And I am reminded that after all of these years,
If you can manage to keep resurrecting yourself
Through the people still on this planet
Than my words, will once again resurrect with you.
For you.

The beginning of the end.
A sandstorm made a huge 400 floor library sink beneath the sand.
At times a tall tower can be seen sticking out of the sand.
There are wolfs bringing information from across the land.
The library overseen by a spirit of an owl.

Many have tried to find the library but they threw in the towel.
The library has a huge ancient observatory.
A huge telescope looking at the stars tells a story.
There are parts of the library that has been untouched for a century.
There is an extremely huge card catalogue.

It even owns books from ancient babylon.
The library has various gateways.
The bookshelves looks like endless hallways.
There are parts that are inaccessible. 
The libraries knowledge is unsurpassable.

A huge staircase that is broken. 
The timepiece on the wall is broken.
A Lot of travellers got lost. 
The library is filled with snow, sand, moss and the one room is filled with a forest.
The library is full but it still has a lot of storage.