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ashley lingy Apr 2018
On the far away island of Sala-ma-sond,
Mira the Koala was head of the pond.

A nice little pool,
it was quaint, it was cool.
The shore side was warm
with eucalyptus galore.

But all was not well in Sala-ma-sond.
For the subjects of Mira were really not fond
of the company Queen Mira kept in her pond.

See, over the years, Mira had gotten to know
a few polar bears, their fur white as snow.

These bears got lost some long time ago,
whilst traveling up to the great northern pole.
On the part of the trip, along the Nile,
the bears lost their map at the 27th mile.

They moaned and groaned, yelled and cried.
They longed for the cold, the north's crisp blue skies.
As the polar bears sniveled, squinting through tears,
Mira heard their loud cries with her big koala ears.
Confused for a moment, unsure of the noise,
she paused and reflected, still keeping her poise.

But the cries of the bears continued to grow.
Queen Mira was left with no choice but to go.

Traveling fast on the path resisting the least,
she made her way quickly to the great sobbing beasts.
She arrived and asked what was the matter.
The polar bears explained, or more accurately, blathered.

"STOP!", pleaded Mira, her heart growing weak,
"I can save you! I can help you! I just need a bird's beak!"

At this the bears paused, for her meaning was unclear.
But then the toucan swooped in, beak sharp as a spear.

He followed Mira’s orders, and poked around in the deep rushing river.
He poked and prodded, but in the end, he had nothing to bring her.

Despite the toucan’s efforts, the map was still MIA,
Impossible to find, a needle amongst hay.

And the bears AGAIN let out big bear cries,
and water also began to fill Mira's eyes.
"Stop bears, stop! I beg of you please!
There is no need to cry, you can come stay with me!
Please come stay in my home,you don’t have to go roam!
Come stay, come stay, at least for a week."

And for a few moments, the bears did not speak.
They looked at each other, nodding their heads,
then roared loud enough to be heard through thick lead.

Every one of the animals heard this great sound,
and every one of the animals turned around,
swiveling their heads 180 degrees.
Every animal turned, from the lions to the bees.
And when the racket stopped, every animal knew
that something was different, something was new.

The bears came to stay just for a little bit.
Then a bit became a while, and soon, that was it.
Suddenly, it was three years later,
and the polar bear's presence had become much greater.

The bears were crude, they were rude, and they were loud.
To their every demand, Queen Mira had bowed,
and the bears felt entitled to every leaf, tree, and stump.
To every single hole, to every single bump.

It soon became clear that in Sala-ma-sond,
the big polar bears now ruled over the pond.
And all of the animals were utterly miserable,
especially Mira, who felt gullible and responsible.

Let this be a lesson to the more hospitable of you.
It's good to be generous, yes, that much is true.
But beware of the guests who take advantage,
for those guests can become difficult to manage.

Don’t be like Mira, letting others walk all over you.
Know when it’s time to bid a guest ‘adieu’.
Mira el poder del mundo,
mira el poder del polvo, mira el agua.

Mira los fresnos en callado círculo,
toca su reino de silencio y savia,
toca su piel de sol y lluvia y tiempo,
mira sus verdes ramas cara al cielo,
oye cantar sus hojas como agua.

Mira después la nube,
anclada en el espacio sin mareas,
alta espuma visible
de celestes corrientes invisibles.

Mira el poder del mundo,
mira su forma tensa,
su hermosura inconsciente, luminosa.

Toca mi piel, de barro, de diamante,
oye mi voz en fuentes subterráneas,
mira mi boca en esa lluvia oscura,
mi **** en esa brusca sacudida
con que desnuda el aire los jardines.

Toca tu desnudez en la del agua,
desnúdate de ti, llueve en ti misma,
mira tus piernas como dos arroyos,
mira tu cuerpo como un largo río,
son dos islas gemelas tus dos pechos,
en la noche tu **** es una estrella,
alba, luz rosa entre dos mundos ciegos,
mar profundo que duerme entre dos mares.

Mira el poder del mundo:
reconócete ya, al reconocerme.
samara lael Apr 2019
la cafetería llena de ruido,
y el té que se derrama de tus labios
sin querer.
las páginas que cuentan historias,
y las ventanas que muestran vidas.

pero sigues pensando en otras cosas.

él no pensará en ti.
él no se preocupa de cómo estás.
él no está esperando por alguien como tú.

no por él.
por tu bien.
might translate this into english so let me know. also, the 'mira' is meant to be in italics & so is the middle sentence, just can't figure out how to make that work on hp.
Mira is like the color of dusk,
Life without rhythm is no life,
Today she is leaving,
The dark clouds would burst.


Mira is like my drawing book,
The pages are clad with steams of life,
She would be leaving, like a crying
I would pretend to sing a song.


Mira is my room of mirrors and signs,
Life without meaning is no life,
I'm born a weaver, My chance of birth-
My mind is like her heart, made of sticks.

Nothing is really mine except Krishna.
O my parents, I have searched the world
And found nothing worthy of love.
Hence I am a stranger amidst my kinfolk
And an exile from their company,
Since I seek the companionship of holy men;
There alone do I feel happy,
In the world I only weep.
I planted the creeper of love
And silently watered it with my tears;
Now it has grown and overspread my dwelling.
You offered me a cup of poison
Which I drank with joy.
Mira is absorbed in contemplation of Krishna,
She is with God and all is well!

O my King, my father, nothing delights me more
Than singing the praises of Krishna.
If thou art wrath,
then keep thy kingdom and thy palace,
For if God is angry, where can I dwell?
Thou didst send me a cup of poison and a black cobra,
Yet in all I saw only Krishna!
Mira is drunk with love, and is wedded to the Lord!

The heart of Mira is entangled
In the beauty of the feet of her Guru;
Nothing else causes her delight!
He enabled her to be happy in the drama of the world;
The Knowledge he gave her dried up
The ocean of being and becoming.
Mira says: My whole world is Shri Krishna;
Now that my gaze is turned inward, I see it clearly
Two Bulgarian poets entered “The Second Genesis” – Anthology of Contemporary World Poetry – India’2014
Poems of the Bulgarian poets Bozhidar Pangelov and Mira Dushkova are included in the Indian project “The Second Genesis: An Anthology of Contemporary World Poetry”. Bozhidar Pangelov’s poems are: “Time is an Idea” and “…I hear” translated by Vessislava Savova; as for Mira Dushkova’s poems – “Beyond”, “Sozopolis” and “The Girl”, they were translated by Petar Kadiyski.

For the authors:
Bozhidar Pangelov was born in the soft month of October in the city of the chestnut trees, Sofia, Bulgaria, where he lives and works. He likes joking that the only authorship which he acknowledges are his three children and the job-hobby in the sphere of the business services. His first book Four Cycles (2005) written entirely with an unknown author but in a complete synchronous on motifs of the Hellenic legends and mythos. The coauthor (Vanja Konstantinova) is an editor of his next book Delta (2005) and she is the woman whom “The Girl Who…” (2008) is dedicated to. His last (so far) book is “The Man Who…” (2009). In June 2013 a bi lingual poetry book A Feather of Fujiama is being published in as a Kindle edition. Some of his poems are translated in Italian, German, Polish, Russian, Chinese and English languages and are published on poetry sites as well as in anthologies and some periodicals all over the world. Bozhidar Pangelov is on of the German project Europe takes Europa ein Gedicht. “Castrop Rauxel ein Gedicht RUHR 2010” and the project “SPRING POETRY RAIN 2012”, Cyprus.
Mira Dushkova (1974) was born in in Veliko Tarnovo, the medieval capital of Bulgaria. She earned a MA degree from the University of Veliko Tarnovo, and later on a PhD in Modern Bulgarian Literature, from Ruse University Angel Kanchev, in 2010, where she is currently teaching literature courses.
Her writing includes poetry, essays, literary criticism and short stories. She has published several poetry books in Bulgarian: “I Try Histories As Clothes“ (1998), „Exercise On The Scarecrow” (2000), „Scents and Sights“ (2004), literary monograph “Semper Idem : Konstantin Konstantinov. Poetics of the late stories“ (2012, 2013) and the story collection „Invisible Things“ (2014).
Her poems have been published in literary editions in Bulgaria, USA, Sweden, Hungary, Croatia, Romania, Turkey and India. Some of her poems and essays have been first prize winners of different Bulgarian contests for literature.
She has attended poetry festivals in Bulgaria, Croatia (Zagreb) and Turkey (Istanbul and Ordu).
She lives in Ruse – Bulgaria.

For the Antology “The Second Genesis”:
In the anthology titled „The Second Genesis“ are published the poems of 150 poets from 57 countries. All poems are in English. The Antology consists of 546 pages. “The Second Genesis” includes authors’ and editors’ biographies and three indexes: of the authors; of the poem titles and an index based on the first verses. It is issued by “A.R.A.W.LII” (Academy of ‘raitɘ(s) And Word Literati) – an academy, which encourages literature and creative writing and realizes cultural connections between India and the other countries. Four times a year ARAWLII publishes in India the international magazine for poetry and creative writing „Prosopisia“. Its Chief Editor and President of A.R.A.W.LII is Prof. Anuraag Sharma. He is also author of Antology’s Introduction.
Participating Countries:
Albania, Argentina, Armenia, Australia, Belgium, Bosnia and Herzegovina, Brazil, Bulgaria, Albania, Great Britain, Germany, Greece, Denmark, Egypt, Estonia, India, Iran, Iraq, Ireland, Israel, Spain, Italy, Jordan, Canada, Cyprus, China, Kosovo, Cuba, Macao, Macedonia, Niger, Norway, Pakistan, Palestine, Poland, Puerto Rico, Romania, Russia, Saudi Arabia, USA, Singapore, Syria, Serbia, Taiwan, Tunis, Turkey, Fiji, Philippines, Finland, France, Holland, Croatia, Montenegro, Czech Republic, Chile, Sweden, Switzerland, Scotland, South Africa, Japan
For the editors:
Anuraag Sharma – editor and president of A.R.A.W.LII
Poet, critic, author of short stories, translator and playwrighter, Anuraag has to his credit the following publications: “Kiske Liye?”, “Punarbhava”, “Audhava”, Dimensions of the Angel: A Study of the poetry of Les Murray’s Poetry “Iswaswillbe” – a collection of short stories, “Setu” (“The Bridges”). He has also co-editor the volume of conference papers: ”Caring Cultures: Sharing Imaginations. Some of his recent publications include: “A Trilogy of plays”, “Mehraab” (“The Arch”) – translations of selected poems of four Canberra Poets, “Papa and Other Poems”, “Sau Baras Ka Sitara Eik” – translation of Andrew Parkin’s “A Star of Hundred Years”, “As if a wooden house I am”- translations of Surendra Chaturverdi, “Satish Verma: The Poet” and “Tere Jaane ke Baad Tere Aane as Pehle”. He is also editor-in-chief of two international journals – “Lemuria” and “Prosopisia”. Currently he is working as a Professor in English at Govt. College “Kekri” Ajmer, India.

Moizur Rehman Khan – co-redactor, project manager, secretary of A.R.A.W.LII
He studied Urdo and Persian Literature in college and later on competed his master degree in English literature from “Dayanand” College, Ajmer, India. He completed his research dissertation under the supervision of Anuraag Sharma on “Major themes in the poetry of Chris Wallas-Crabbe”. He is a creative writer. His poems and articles have been published in various magazines and journals. Currently he is teaching English at DMS, RIE, Ajmer, India.
References for the Antology:
“No middle no end, the poems in The Second Genesis have been speaking to you long before the beginning and will continue without you…don’t worry, its binding has long since unglued, its pages, worn and disheveled, will always be speaking to you, they’ve been compiled this way, to be read out of order, backwards, shelved or scattered in an attic between the coffee and greasy finger stains…The Second Genesis is the history of the Book where you become its words, ink and pulp.”
Craig Czury

“The Second Genesis is at the crossroads of a new poetic becoming. a poetry claiming its second beginning not only for art but the heart pulsating and feeding the entire body. This anthology is a successful fusion of unique, inimitable and polyphonic poetry, a well-organized improvisation with a solid and flexible structure.”

Dalia Staponkute

“The Second Genesis, a compendium of world poetry which is also a poetry of the world, suggests so much a new beginning as it does a recognition of the ongoing creation that continues to animate our collective existence. Our precarious era requires a global affirmation that we are all in this together. Poetry has always said as much, and here it says it again, in the idioms of our time.”
Paul Kane
“Visionary and international, The Second Genesis, introduced and edited by Anuraag Sharma, sparkles with poetry of insight, intelligence and feeling and is an indispensable reminder of our human aspirations and experience in the early 21st century. Poets from nearly sixty countries rub shoulders in this ambitious and wide-ranging collection, and their poems resonate and mingle in a multi-layered voice. It is the voice of our humanity.
In his Introduction, Dr. Sharma points to the invaluable importance of poetry in what he calls our destructive Lear era:
Beyond the Lear Century, across the 21st Century lies the island of Prospero and Ariel and Miranda and Ferdinand – the region of faith, hope and innocence, the land of virtue, and all forgiveness sans grievances, sans regrets, sans curses. The doleful shades lead to pastures new.
We must weigh our hopes. The Second Genesis is at hand….”
Diana Sampey
Lindy Oct 2012
I am Mira
my changing brightness
lasted for months as my
beginning pulses
lengthen and widen
bursts of energy
never stay
always hiding
binary stars too close
My brightness
lasted for centuries.
Cecelia Francis Mar 2015
Mira al cielo
como un fuego
-con ojos apartan-
el sol sumirse
en el olvido,
en un sueño

Mira al cielo
Ha sido un rato hasta yo escrito en espanol
Leydis Jun 2017
I looked at him angrily,
with decoupled fury,
with unchained frenzy,
with worn-out rapture
with an irritable angry outburst!
I was feeling cantankerous,
delicately susceptible.
I was feeling disheartened by...
with him,
with life,
with the stagnant time,
and my time that was still shackled to his life.  

I looked at him with wretchedness,
I wanted to wreck him,
to feel what I felt,
my empty spaces,
vacillating on a lost history,
lost in his dream and him conjuring me up as a nightmare!  

I looked at him with envy,
I envied his ability to love without loving,
to tie himself half way,
measuring the love that he gave,
his ability to leave the dreams of love... for vain conquests.  

I looked at him stupefied,
shaken and saddened.
I looked at him with contempt,
contemplating the love I still felt.
I looked at him quietly,
quietly silencing my pride,
drowning my soul in a deluge brought about in a single tear.  

I looked at him merciless,
suppressing the passion that it my unleashed in me.

I looked at him
the way the fat girl looks at a skinny one,
the way the paper looks at the translucent ink,
the way a poor man looks at the Pastor’s new car,
yet, he doesn’t have a cent in his pocket.
The way the sick  looks at the syringe.
The way the sun looks at the hidden moon.  

I looked at him leisurely,
I looked at him with all the pain in my life,
I looked at him because he did not see me,
I looked at him happily reclaiming his life..

and my eyes which still saw through his eyes,

looked at him…………………lifeless.
Lo Mire

Lo mire con rabia,
con furia desacoplada,
con furor encadenado,
con arrebato desgastado,
con un coraje irritable!
Estaba quisquillosa,
susceptible y puntillosa.
Sentida con él,
con la vida,
con el estancado tiempo,
y mi tiempo esposado a su vida.

Lo mire con desdicha, desdicharle la vida quería,
que sintiera lo que yo sentía,
esos espacios vacíos,
vacilando en una historia perdida,
perdida en su sueño y él pesándome pesadilla.

Lo mire con envidia,
envidiaba su habilidad de amar sin amar,
de atarse a medias, midiendo el amor que entregaba,
su habilidad de dejar los sueños de amor…por vanas conquistas.

Lo mire aturdida,
turbada y entristecida.
Lo mire con desprecio, apreciando el amor-que le tenía.
Lo mire callada, callando mi orgullo,
ahogando mi alma, en un diluvio que broto en una sola lagrima.

Lo mire sin compasión,
oprimiendo la pasión que él mi desenlazaba.
Lo mire como mira la gorda a la lánguida,
como mira el papel a la tinta translucida,
como mira el pobre, el carro nuevo del pastor, y él sin un peso en el bolsillo.
como mira el enfermo a la jeringa
como mira el sol la luna escondida.

Lo mire sin prisa,
lo mire con todo el dolor de mi vida,
lo mire porque él ya no me veía,
lo mire rehaciendo felizmente su vida,
y mis ojos que por él,………………………aun veían.

Lo mire sin vida.
Ay, Poesía, pero mira que eres difícil,
aunque busco hallar los cánones que te rigen
termino encontrándome un insondable arcano
que al pensar que me acerco, se hace más lejano.

Eres tan inconsútil, intangible y etérea,
creo atraparte en frases y huyes en la idea;
cuando pienso que avisté la intuición onírica,
me doy cuenta que se ha diluído la lírica.

Tan real cual vida, muerte o la Primavera
te presentas además como una Quimera
que intentamos esculpir en finas palabras,
pero sólo por momentos, ya que te escapas,
cuando por siempre quedamos insatisfechos
al ver que no hilamos el vestido perfecto.

(Jorge Gómez A.)
Andrés, aunque te quitas la boina cuando paso
y me llamas «señor», distanciándote un poco.
reprobándome -veo- que no lleve corbata,
que trate falsamente de ser un tú cualquiera,
que cambie los papeles -tú por tú, tú barato-,
que no sea el que exiges -el amo respetable
que te descansaría-,
y me tiendes tu mano floja, rara, asusta
como un triste estropajo de esclavo milenario,
no somos dos extraños.
Tus penas yo las sufro. Mas no puedo aliviarte
de las tuyas dictando qué es lo justo y lo injusto.

No sé si tienes hijos.
No conozco tu casa, ni tus intimidades.
Te he visto en mis talleres, día a día, durando,
y nunca he distinguido si estabas triste, alegre,
cansado, indiferente, nostálgico o borracho.
Tampoco tú sabías cómo andaban mis nervios,
ni que escribía versos -siempre me ha avergonzado-,
ni que yo y tú, directos,
podíamos tocarnos, sin más ni más, ni menos,
cordialmente furiosos, estrictamente amargos,
anónimos, fallidos, descontentos a secas,
mas pese a todo unidos como trabajadores.

Estábamos unidos por la común tarea,
por quehaceres viriles, por cierto ser conjunto,
por labores sin duda poco sentimentales
-cumplir este pedido con tal costo a tal fecha;
arreglar como sea esta máquina hoy mismo-
y nunca nos hablamos de las cóleras frías,
de los milagros machos,
de cómo estos esfuerzos serán nuestra sustancia,
y el sueldo y la familia, cosas vanas, remotas,
accesorias, gratuitas, sin último sentido.
Nunca como el trabajo por sí y en sí sagrado
o sólo necesario.

Andrés, tú lo comprendes. Andrés, tú eres un vasco.
Contigo sí que puedo tratar de lo que importa,
de materias primeras,
resistencias opacas, cegueras sustanciales,
ofrecidas a manos que sabían tocarlas,
apreciarlas, pesarlas, valorarlas, herirlas,
orgullosas, fabriles, materiales, curiosas.
Tengo un título bello que tú entiendes: Madera,
Pino rojo de Suecia y Haya brava de Hungría,
Samanguilas y Okolas venidas de Guinea,
Robles de Slavonía y Abetos del Mar Blanco,
Pinoteas de Tampa, Mobile o Pensacola.

Maderas, las maderas humildemente nobles,
lentamente crecidas, cargadas de pasado,
nutridas de secretos terrenos y paciencia,
de primaveras justas, de duración callada,
de savias sustanciadas, felizmente ascendentes.
Maderas, las maderas buenas, limpias, sumisas,
y el olor que expandían,
y el gesto, el nudo, el vicio personal que tenían
a veces ciertas rollas,
la influencia escondida de ciertas tempestades,
de haber crecido en esta, bien en otra ladera,
de haber sorbido vagas corrientes aturdidas.

Hay gentes que trabajan el hierro y el cemento;
las hay dadas a espartos, o a conservas, o a granos,
o a lanas, o a anilinas, o a vinos, o a carbones;
las hay que sólo charlan y ponen telegramas
mas sirven a su modo;
las hay que entienden mucho de amiantos o de grasas,
de prensas, celulosas, electrodos, nitratos; 
las hay, como nosotros, dadas a la  madera,
unidas por las sierras, los tupis, las machihembras,
las herramientas fieras del héroe prometeico
que entre otras nos concretan
la tarea del hombre con dos manos, diez dedos.

Tales son los oficios. Tales son las materias.
Tal la forma de asalto del amor de la nuestra,
la tuya, Andrés, la mía.
Tal la oscura tarea que impone el ser un hombre.
Tal la humildad que siento. Tal el peso que acepto.
Tales los atrevidos esfuerzos contra un mundo
que quisiera seguirse sin pena y sin cambio,
pacífico y materno,
remotamente manso, durmiendo en su materia.
Tales, tercos, rebeldes, nosotros, con dos manos,
transformándolo, fieros, construimos un mundo
contra naturaleza, gloriosamente humano.

Tales son los oficios. Tales son las materias.
Tales son las dos manos del hombre, no ente abstracto.
Tales son las humildes tareas que precisan
la empresa prometeica.
Tales son los trabajos comunes y distintos;
tales son los orgullos, las rabias insistentes,
los silencios mortales, los pecados secretos,
los sarcasmos, las llamas, los cansancios, las lluvias;
tales las resistencias no mentales que, brutas,
obligan a los hombres a no explicar lo que hacen;
tales sus peculiares maneras de no hablarse
y unirse, sin embargo.

Mira, Andrés, a los hombres con sus manos capaces,
con manos que construyen armarios y dínamos,
y versos y zapatos;
con manos que manejan furiosas herramientas,
fabrican, eficaces, tejidos, radios, casas,
y otras veces se quedan inmóviles y abiertas
sobre ese blanco absorto de una cuartilla muerta.
Manos raras, humanas;
manos de constructores, manos de amantes fieles
hechas a la medida de un seno acariciado;
manos desorientadas que el sufrimiento mueve
a estrechar fuertemente, buscando la una en la otra.

Están así los hombres
con sus manos fabriles o bien sólo dolientes,
con manos que a la postre no sé para qué sirven.
Están así los hombres vestidos, con bolsillos
para el púdico espanto de esas manos desnudas
que se miran a solas, sintiéndolas extrañas.
Están así los hombres y, en sus ojos, cambiadas,
las cosas de muy dentro con las cosas de fuera,
y el tranvía, y las nubes, y un instinto -un hallazgo-,
todo junto, cualquiera,
todo único y sencillo, y efímero, importante,
como esas cien nonadas que pasan o no pasan.

Mira, Andrés, a los hombres, ya sentados, ya andando,
tan raros si nos miran seriamente callados,
tan raros si caminan, trabajan o se matan,
tan raros si nos odian, tan raros si perdonan
el daño inevitable,
tan raros que si ríen nos enseñan los dientes,
tan raros que si piensan se doblan de ironía.
Mira, Andrés, a estos hombres.
Míralos. Yo te miro. Mírame si es que aguantas.
Dime que no vale la pena de que hablemos,
dime cuánto silencio formó tu ser obrero,
qué inútilmente escribo, qué mal gusto despliego.

Mira, Andrés, cómo estamos unidos pese a todo,
cómo estamos estando, qué ciegamente amamos.
Aunque ya las palabras no nos sirven de nada,
aunque nuestras fatigas no puedan explicarse
y se tuerzan las bocas si tratamos de hablarnos,
aunque desesperados,
bien sea por inercia, terquedad o cansancio,
metafísica rabia, locura de existentes
que nunca se resignan, seguimos trabajando,
cavando en el silencio,
hay algo que conmueve y entiendes sin ideas
si de pronto te estrecho febrilmente la mano.
La mano, Andrés. Tu mano, medida de la mía.
Sacude el mar su melena
Y son las olas montañas
Que coronan refulgentes
Ricas diademas de plata.

Niega el sol su viva lumbre
Al titán que tiembla y brama,
Y el huracán, monstruo *****,
Abre sus fúnebres alas.

Todo es en el cielo sombras;
Todo es en el aire ráfagas,
La lluvia cae a torrentes,
El rayo doquier estalla;

Cada relámpago alumbra
Un cuadro que impone y pasma
De terror al que lo mira,
A Dios elevando el alma.

Sobre el abismo sin fondo
De las turbulentas aguas,
Entre las olas gigantes
Que los espacios escalan;

Bajo el manto de tinieblas
Que en las regiones más altas
Corren en alas del viento
Como legión de fantasmas;

Al rumor de las centellas
Que difunde la borrasca
Y que al reventar convierten
Las nubes en rojas ascuas;

Cual hoja que se sacude
Para abandonar la rama,
A impulsos de estos ciclones
Que a los sabinos descuajan,

En la líquida llanura
Zozobra sin esperanzas
Ligera nave que en vano
Quiso arribar a la playa.

Sus velas poco le sirven
Y el maderamen no basta
A resistir los embates
De las ondas encrespadas;

Sus mástiles se doblegan,
Como en el campo las cañas,
Y al hundirse en el abismo
Ninguna mano la salva.

Es la soledad desierta
Su aterradora amenaza;
La mar su inmenso sepulcro,
Y el mudo espacio su lápida.

Los que en la nave caminan
Sus oraciones levantan
Al Ser que todo lo puede
Y le encomiendan sus almas.

Entre tantos tripulantes,
Que sobre el abismo viajan,
Van dos jóvenes que ruegan
Al cielo con unción santa.

Pareja noble y dichosa,
Que con ternura se aman
Y que tienen por tesoro
La juventud y la gracia.

Él cumplió los veinte abriles
Ella por dos no le iguala;
Él es arrogante de porte,
Ella una beldad sin tacha.

Van a buscar a sus padres
Que residen en España,
Y antes de que la tormenta
Su embarcación agitara,

Llevaron más ilusiones
Risueñas, dulces y castas,
Que tiene estrellas el cielo
Y tiene arenas la playa.

Él, mirando los horrores
Siniestros de la borrasca,
Entre la lluvia de rayos
Que roncos tronando espantan,

Besa a su esposa la frente
Al verla derramar lágrimas,
Y señalándole el cielo
Le dice: -¡Ten esperanza!

Dios que, al extender su mano
Refrena al punto las aguas,
Y a quien sumiso obedece
Cuanto formó su palabra,

Dios que es todo y puede todo
Es el único que salva
Al que en los grandes peligros
Su misericordia aclama.

-Pídele tú que nos salve
De una muerte tan amarga,
Tan lejos de tantos seres
Que nos buscan y nos aman;

Yo me dirijo a quien logra
De Dios lo que nadie alcanza,
A la «Estrella de los Mares&lrquo;,
A la Virgen sacrosanta.

Yo, cuando fui a despedirme
De mi Virgen mejicana,
«No me abandones, mi madre&lrquo;,
Dije llorando a sus plantas.

Y ella no ha de abandonarnos,
Nos sigue con su mirada,
Arrodíllate conmigo
Y háblale con toda el alma.

Mira en el triste horizonte
Aquella nube de alza,
Figurándome en su forma
Un paisaje que me encanta,

El cerro agreste y pequeño
Entre cuyas rocas áridas
La Virgen de Guadalupe
Se apareció en forma humana.

Y la nube se ilumina,
La circunda roja franja
Y algo se mueve en el fondo
Que parece que me llama.

-Deliras, mujer, deliras.
-Pero mira, se destaca
Entre rayos refulgentes
Una visión que me encanta.

¡Es la Virgen de mi tierra!
¡Mira el ángel a sus plantas
El manto azul y estrellado
Como las noches de Anáhuac!

-Santo delirio, hija mía;
Si la Virgen nos salvara
Las velas que tiene el barco,
Y vamos que son bien anchas,

Como ofrenda de su templo
Por nosotros regalada
Para ejemplo de otros fieles
Yo las hiciera de plata.

Y cuando acabó aquel joven
De decir estas palabras,
Aplacáronse las olas
Quedando la mar en calma.

Las que fueron negras nubes
Pronto se tornaron blancas
Y asomó la luna en llena
Por las estrellas cercada.

Los marineros absortos
De maravilla tan alta
Volvieron cantos y risas,
Bendiciones y plegarias,

Lo que en los tristes momentos
De la deshecha borrasca
Fueron horribles blasfemias
Y escandalosas palabras.

La nave al fin llegó al puerto,
La gente feliz y sana
Refirió el raro portento
Confirmándolo con lágrimas.

Y los jóvenes viajeros
Avivaron más el ansia
De cumplir una promesa
Más que solemne, sagrada.

El mástil de aquella nave
Que se doblegó cual caña
Al soplo de la tormenta
Fiera y desencadenada,

Lleváronselo consigo,
Y en otras horas más gratas
Trajéronlo hasta la iglesia
De la Virgen mejicana.

Dieron al templo en limosna
Lo mismo que les costara
Fabricar cual lo ofrecieron
Rico velamen de plata.

Y aprovechando aquel mástil
Fueron con piedra labradas
Las velas que hoy nos recuerdan
El fervor de aquellas almas.

¡Cuántos ascendiendo al templo
Que el cerro en su altura guarda,
Frente al monumento humilde
De que mi romance trata,

No saben que es el emblema
De una devoción sin mancha,
De una fe que fue el tesoro
De las edades pasadas,

Y que hoy es raro encontrarse
Prestando alivio a las almas
A quienes la duda enferma
Y el escepticismo amarga!

¡Oh, tradición, tú recoges
Sobre tus ligeras alas
Lo que la historia no dice
Ni el sabio adusto relata!

¡Toca al narrador agreste
Despojarte de tus galas
Para entretejer con ellas
Sus más vistosas guirnaldas!

Al pueblo lo que es del pueblo,
Sus venturas, sus desgracias
Y todo cuanto le atañe
En su historia y en su patria.
Dorothy A Jan 2011
It was the Spring of 1908. Magdalena looked upon the water as it glistened in the sunlight.

A group of men stood beside her to her left, leaning against the railing of the boat as she was and looking out at the endless Atlantic ocean. The pungent smell of their cigar smoke reminding her of her father and his friends back home in Italy. She could not understand what these men were saying, but their words and laughter with each other comforted her.  They were all on their way to America, and their dreams were seemingly coming true. The spray of the ocean, and the brisk breeze, felt refreshing against her cheeks as Magdalena inhaled the fresh, cool air.

Magdalena looked over at her poor sister and tried to comfort her. Maria still was suffering from motion sickness, and she leaned over the railing in miserable anticipation to *****. Ladies and girls in babushkas were singing nearby, laughing with each other in the joy of each other's company. Magdalena really wanted her sister to experience the joy she was feeling, that these women and men were feeling around her.

She had to worry about her sister all the time. At age sixteen, Magdalena always felt responsible for Maria, especially now that she felt she had dragged her with her on this large passenger boat traveling across the vast Atlantic, a ride that seemed endless.

Maria was not quite fifteen, and she seemed more like a little girl to her older sister. Back in their small village in Italy, they both knew what their fate would be.

"You are lucky to get what you get", Magdalena recalled her father saying to her. "You are not the pretty one in the family, and we are not rich!"

Maria's father, Matteo, was not a bad man, but a blunt one. He knew he had to marry off his daughters one day, and the day came that Magdalena's father received an offer from a man almost thirty-five years older than she was for his daughter's hand in marriage. He was a simple peasant farmer, like her father was, and he went to the same  Catholic church as Magdalena and her family did.

"I don't want to marry him!" Magdalena confessed to her mother, Bella. "I don't want that life, Mama!"

"You don't need to love the man to marry him!" Bella shouted. "Don't let your father hear what you are saying! You need to be grateful! Do you think we can take care of you forever?"

Magdalena tried to be grateful. Out of eleven children that her mother bore, only six survived. It was not an easy life.   Her brother, Matteo, the third, and her sisters, Sofia and Arietta , were older than she was.  Maria, and her brother, Alberto, came after her.

Her father had already arranged for marriages for Sofia and Arietta. Both of them were currently pregnant, and Magdalena did not know if they were happy or not. Between the two of them, they already had five children. She never heard them complain, but she also rarely saw them smile. It was as if they accepted their fate with quiet submission and without a scrap of passion for their existence.

Magdalena looked over at her sister. Maria was retching, her hair hanging down about her. Madgalena lifted her sister's hair off of her sister's face, and gave her sister a handkerchief for her to wipe her face with.

"I am so sorry" Magdalena said, deep remorse in her expression.

Maria looked over at her sister, with her pretty green eyes, and asked, "Why?"

"Because I made you do this", Magdalena confessed.

Maria shook her head. "No, you didn't. I wanted to come".

They smiled at each other, and Magdalena thought her sister had the most beautiful smile ever. No wonder the men were buzzing about their home in hopes to find favor with their father. She could never be envious of her little sister, for she loved her too much.

Maria was going to be next, the last of the girls to marry off. But, first, it was Magdalena's turn. It was settled. She was to marry Vincente Morino, a forty-nine year old bachelor, a stocky man with thick white hair and mustache, and a gruff voice that scared her away.  

When she cried out to her father to have compassion for her, pleaing that he reconsider, his anger burned within him. "You either marry this man or you don't live here anymore! You will need to fend for yourself if you don't! You will not bring shame onto this family!"

Magdalena would cry herself to sleep almost every night. She shared a bed with Maria, and her sister would just hold her to comfort her. They had the closest bond among all the siblings. Maria looked up to her sister with great admiration, as did her sister to her.    

All her hiding away of her money paid off. Magdalena had to earn her keep by doing sowing and caring after a neighbor, an elderly widow. Every week, her mother and father expected her to hand over all of her money to them, for the common good of the family, for their survival.

She used to feel guilty for holding a small portion of it back. They surely would not discover it if she did. She dared not to tell anyone , not even Maria for fear she would be discovered and punished.

But now she found a good reason to tell her.

Some of the townsfolk had relatives that had went to America to live. If they were able to write, they would tell of tales of working so hard, but because of it they were now living lives they had never expected, of more food, of more space, of more freedom.

Magdalena removed the floorboards from below her bed. She pulled out the lovely paper money and coins from within her small metal chest. She now believed that she had enough money for her passage, and perhaps enough for one more.

"Do you want to get married to one of these men?" she asked Maria one day . They sat upon their bed, the soft, afternoon light filtering through their lacy, beige curtains. The distant sound of children playing could be heard on the streets below.

Maria didn't know how to answer quite at first. "No", she eventually said. "I am too young!"

Magdalena grabbed her sister's hand and clasped hers together upon it. "Then come with me", she said. "I am going to America".

Maria's jaw dropped open, and she looked like she had seen a ghost. She shook her head in disagreement.

"Don't leave me!" she cried out, tears welling up in her eyes.

"I am not!" Magdalena assured her. "You go with me!"

But how could they possibly do it? Two impoverished girls from central Italy, from really nowhere when it came to maps and the greater world around them. Could they really leave?

"I have saved some of my money", Magdalena whispered, for fear someone could have returned back home.

"You did not!" Maria whispered back. Maria worked, too, caring after some children down the valley. She never had enough courage to hold back any of her money.

It was a terrifiying concept, for both of them. Maria was both excited and fearful. She had decided that she would trust her sister. Madgalena knew she loved her greatly, and that she always would. Maria knew Magdalena loved her. But her mother and father! Her sleepy, little town! She would probably never see any of them again. This made her hesitate.

So Magdalena gave her time to think about it.

In the meantime, Magdalena continued to hide away money. Her mother was busy sowing her the wedding dress that her defiant daughter vowed to herself that she would never wear.

Then one day Maria came up to her sister in the garden in the back of the house. "I decided that I am going with you", she said bravely. She looked at her sister with a mixture of bravery and fear. Her breaths were short, and her heart was beating quickly.

Magdalena, her basket filled with zucchini, was standing in disbelief. She looked upon her sister with a warm, slow-starting smile.

"Then you better take me with you!" a young voice said from behind a tree.  

Oh, no! Alberto! Their twelve year old brother appeared in the scene, coming from behind that old tree by the rose garden.

Fired burned in Magdalena's eyes.  Alberto, that little snake! That rat! It couldn't be!

Who do you think you are spying on us?" she hissed at him. "And you don't even know what I am talking about!"

"Oh, yes I do!" Alberto responded, smugly. "You have been hiding money from Mama and Papa! And now you are going to America!"

Did he try to steal her money? Did he get his *****, little hands on her precious stash? Magdalena wanted to choke him, her insolent little brother, the youngest of the children who always was too smart for his own good. He just stood there, his cocky smirk on his face like he was so triumphant.

"Keep your voice down, or I swear you will not lived to see thirteen!" Magdalena warned him.

"You think you are going to leave me here alone?" Alberto told his stunned sisters. "Don't take me, and I will tell them. Take me, and I won't say a word".

Magdalena felt the need to grab a large branch to rush at him and beat him senseless. But she just stood there, hands on her hips, glaring at him in a showdown of angry eyes.

Alberto stood his ground, and he would not budge an inch. "Alright", Magdalena said in a harsh whisper, "And do you expect me to pay your way? I cannot do it!"

Alberto laughed, his eyes dancing in amuzement. "Do you think you are the only one who hides money?"

Magdalena felt better now that her sister's color was coming back. The air on the boat was refreshing as she breathed it in deeply. Where was Alberto?

"Oh, there he is", Maria pointed out. She shook her head and laughed. He was busy talking away with a pretty, young girl. Always the lady's man, the sisters agreed, far beyond his young years.

So now there they were, the three of them upon this boat. Magdalena did not want to betray her parents. She felt that they might want to come to America, but maybe they would stay where they were at. Perhaps they felt that they were too old to make a fresh start, or they could just be too afraid.

Would they miss her? Magdalena often wondered. Would they hate her for what she did? If so, she prayed that they would forgive her. It was bad enough she had left, but now Maria and Alberto would be gone, too, and she was responsible for it.

"Mira! Mira!" a man shouted out in Spanish. Another person cried out, "Look at that! America! America!"  

All faces were now captivated. The closer they came, everyone watched intently, like they were at a glorious theater. A low murmer of different languages all came about at once.

It took a long time to reach close to this unknown land, this vast coastline of the New World. It was just such an amazing sight that nobody wanted to go down below deck, one of sugar maples, and cherry blossom trees, of elegant homes nestled in cliffs.

Magdalena saw buildings much taller than she had ever seen in Italy as America came closer and closer into her sights, as her boat was making its way into the New York Harbor. She stood by her sister and gripped her hand in excitement. This took quite a long time to recach that destination, and it felt like a dream.

Alberto eventually ran over to his sisters. "That is it! That is it! The Lady Liberty!"

All three stood there amazed, with all the other passengers rushing about on deck and standing to look. She was a very tall lady, quite a lady indeed! A petina, a bluish-green, she stood there proudly with her lantern raised to the skies. Magdalena thought she was the most lovely sight that she had seen so far on her journey, and she could not stop the tears from flowing down her face.

Maria squeezed her older sister's hand, with tears streaming down her face, as well. As they held each other tightly, all Maria and Magdalena could do was cry in their relief and their hope.  

Alberto waved wildly at the statue, as if she would wave back. Others laughed and cried. Many waved, too,  and many stood there completely silent and struck with awe.

They had made made it.  At last! Magdalena felt like she had made the right move, even though she did not have a clue what her life would hold out for her.

Even so, she felt like she had found herself a home.
copywrited...............dedicated to all the immigrants who came to this country.
Dr O Jan 2014
I feel the feeling
That engulfs me whole
Into a paradise of despair
I never had a sister
You never had a brother
Yet now we both do
Your youthful innocence
Your elate brilliance
That loves me regardless
Brings me to tears every time
I leave you
You don't understand
Who I am
But even if you did
You would still adore me
Through all of my spite
One day you will understand
Who your brother really is
That day I will walk down to Hell
So you can one day walk up to Heaven
And if you come calling
I promise
I will fight through the torment
The torment of my wicked past
Just to see your face again
My beautiful sister
[ ]
mira los objetos
dispuestos tan orgánicamente

míralos ahí
castos y sumisos

míralos desde esa luz
servicial que nos devela
la poderosa mirada propia

mira la luz
eterna en su carácter
de signo y energía

mírala anidar
en los objetos que miramos

mira cómo germina
en nuestro conocimiento del mundo
(un viejo poema del 2008 o 2009)
We do not get a human life
Just for the asking.
Birth in a human body
Is the reward for good deeds
In former births.
Life waxes and wanes imperceptibly,
It does not stay long.
The leaf that has once fallen
Does not return to the branch.
Behold the Ocean of Transmigration.
With its swift, irresistible tide.
O Lal Giridhara, O pilot of my soul,
Swiftly conduct my barque to the further shore.
Mira is the slave of Lal Giridhara.
She says: Life lasts but a few days only.

Life in the world is short,
Why shoulder an unnecessary load
Of worldly relationships?
Thy parents gave thee birth in the world,
But the Lord ordained thy fate.
Life passes in getting and spending,
No merit is earned by virtuous deeds.
I will sing the praises of Hari
In the company of the holy men,
Nothing else concerns me.
Mira's Lord is the courtly Giridhara,
She says: Only by Thy power
Have I crossed to the further shore.
Mas vueno pa enterrar
Contra perde
Mas vueno mira mi cuerpo abajo
Contra mira mi cuerpo perdido
Si, iyo ya cavar con el tierra,
Iyo ya entera complaciente
Iyo ya entera na mi cuerpo
Pero tu ya dale patada pa adrento
Ya basha tierra mas manada na suficiente
Ellos ya poner cinco grande piedra ariba
Seguro ya yo subir
Seguro hinde ya yo vivir
Hinde pa campante, ya pone pa colebra
Ya entra, yan camang, ya porsa
Yan junto comigo, ya besa
Ya bira na cabeza y pescuezo
No hay iyo luchar y defenderse
Hasta cuando kamo mata con el muerto?
Hasta cuando kam derramar sangre con el tierra mojado?
Hasta cuando yo muri?

**Svelte Rogue, ACS
This is my first Chavacano poem. It is a dialect in the Philippines which has similarity to Spanish. The poem speaks about my torments and tormentors on a recent event in my life. I did a mistake that caused them to do their acts. I was sorry and still am. I accepted defeat and didn't fight back, never did. I helplessly accept the pain every time. I fake a smile, keep my head up, and carry on. I die every day. I die a little inside every time they push me below.  The question is, until when?

PS. I will be adding the English and Tagalog (Language in the Philippines) version of this poem.
Las huestes de don Rodrigo   desmayaban y huían
cuando en la octava batalla   sus enemigos vencían.
Rodrigo deja sus tiendas   y del real se salía,
solo va el desventurado,   sin ninguna compañía;
el caballo de cansado   ya moverse no podía,
camina por donde quiera   sin que él le estorbe la vía.
El rey va tan desmayado   que sentido no tenía;
muerto va de sed y hambre,   de velle era gran mancilla;
iba tan tinto de sangre   que una brasa parecía.
Las armas lleva abolladas,   que eran de gran pedrería;
la espada lleva hecha sierra   de los golpes que tenía;
el almete de abollado   en la cabeza se hundía;
la cara llevaba hinchada   del trabajo que sufría.
Subióse encima de un cerro,   el más alto que veía;
desde allí mira su gente   cómo iba de vencida;
de allí mira sus banderas   y estandartes que tenía,
cómo están todos pisados   que la tierra los cubría;
mira por los capitanes,   que ninguno parescía;
mira el campo tinto en sangre,   la cual arroyos corría.
Él, triste de ver aquesto,   gran mancilla en sí tenía,
llorando de los sus ojos   desta manera decía:
«Ayer era rey de España,   hoy no lo soy de una villa;
ayer villas y castillos,   hoy ninguno poseía;
ayer tenía criados   y gente que me servía,
hoy no tengo ni una almena,   que pueda decir que es mía.
¡Desdichada fue la hora,   desdichado fue aquel día
en que nací y heredé   la tan grande señoría,
pues lo había de perder   todo junto y en un día!
¡Oh muerte!, ¿por qué no vienes   y llevas esta alma mía
de aqueste cuerpo mezquino,   pues se te agradecería?»
I have found, yes, I have found the wealth of the Divine Name's gem.
My true guru gave me a priceless thing. With his grace, I accepted it.
I found the capital of my several births; I have lost the whole rest of the world.
No one can spend it, no one can steal it. Day by day it increases one and a quarter times.
On the boat of truth, the boatman was my true guru. I came across the ocean of existence.
Mira's Lord is the Mountain-Holder, the suave lover, of whom I merrily, merrily sing.
La frente apoyo en la vidriera...
el cielo azul se engalana
y en la fúlgida primavera
canta su canción la mañana.

La mente inclino a lo más hondo
del alma en campos del Ayer;
y marchito miro en el fondo
todo lo que vi florecer.

Soplan auras primaverales
dando más vigor a los músculos.
¡Aquí las brumas otoñales
y el silencio de los crepúsculos!

En el parque crece la yerba
bajo el radiante resplandor.
En el alma todo se enerva
al paso lento del dolor.

Y evoco alegres ilusiones,
campos azules, abrileños;
la juventud con sus canciones
iba entre rosas y entre ensueños.

Fulgurante el cielo reía:
¡Cuán hermoso era el porvenir!
Vino la tarde en pleno día
y todo comenzó a morir.
La frente apoyo en la vidriera...
Verdes árboles, sol radiante
¡Juventud!… ¡también primavera
Fuiste del corazón amante!

¡Días que el alma triste evoca,
alba rosada del amor!
¡Boca que buscaba otra boca,
polen que va de flor en flor!...

En jardines primaverales
las libélulas entre aromas;
rosas rojas en los rosales
y destilando miel las pomas.

Y van surgiendo en un ensueño
amores de la juventud.
Pasan con el labio risueño
en concento de arpa y laúd.

Entonces... retoño y retoño
en los rosales a la aurora...
¡Como lenta bruma de otoño
la tristeza bajando ahora!

En el alma, al ensueño abierta,
algo de antiguo trovador,
y de la vida en la áurea puerta
con sus promesas el Amor.

De la luna la luz de plata
brillaba en el barrio desierto,
y una canción de serenata
subía al balcón entreabierto.

Pendiente la escala de seda
de los barrotes del balcón...
Del pasado ya sólo queda
un rescoldo en el corazón.

Paseos bajo luz de luna
por alamedas de rosales;
dos bocas que el amor aúna
en claras noches estivales...

Entonces... cantos, alegría,
juramentos de eterna fe;
y ahora, gris melancolía
del dichoso tiempo que fue...
La frente apoyo en la vidriera:
en el parque, vestidos blancos,
y amantes en su primavera
bajo los pinos en bancos.

Primeros versos a la amada,
cantos primeros de ilusión...
Son hoy cual queja desolada
en el fondo del corazón.

Tú, flor de la tierra nativa,
de los ojos fuiste embeleso.
Sólo a tu boca, rosa viva,
le dio la muerte el primer beso.

Cuando se recuerda el pasado
hay un deseo de llorar.
¡El árido camino andado
si se pudiera desandar!...

Sombras doloridas que vagan
y esperanzas muertas deploran:
Astros que en tinieblas se apagan
y voces que en silencio lloran!...

A la claridad matutina
fragante erguíase el rosal...
¡ya sobre el agua gris se inclina
la amarilla rama otoñal!...

Una palabra... un juramento...
¿era verdad o era mentira?
Mentira o verdad es tormento
cuando sola el alma suspira.

Se abría a la luz la ventana
en un radioso amanecer,
la ilusión decía: «¡Mañana!»
y el corazón dice: «¡Ayer!».

¡Mañana! ¡Ayer! Polos remotos...
lo que es dolor y lo que salva.
Claros sueños y sueños rotos,
gris de la tarde y luz del alba.

Y el Amor, que en sombras se aleja,
el alma dice: «¿Volverás?»
Y como una lejana queja
se oye en el pasado: «¡Jamás!»

La hiedra fija sus raíces
aún bajo nieve en la piedra.
Recuerdos de días felices:
sois del corazón... ¡siempre hiedra!
Aromadas rosas de Francia
en los casinos y en el Ritz;
Rosas que dais vuestra fragancia
en Montecarlo y en Biarritz.

Reservados de restaurantes;
de vida de goce ansias locas;
El áureo champaña espumante;
temblando de ósculo las bocas.

Nerviosa espera la cita,
Penumbra de la «garconniére»,
Fausto a los pies de Margarita
En el rosado atardecer…

Otra... Extraño acento de arrullo,
honda nostalgia en su mirada,
y severo siempre su orgullo
en su dolor de desterrada.

Su imagen el pasado alegra,
y fijos en la mente están
su traje blanco y su capa negra
en las carreras de Longchamps.

Días lejanos de estudiante,
embriaguez de ideal divino,
El corazón, rosa fragante,
en noches del Barrio Latino...

Midineta bulevardina,
boca roja, frente de lis,
Incitadora, parlanchina,
jilguero alegre de Paris.

Y del «cabaret» la alegría...
¿Era del Rhin o era del Volga?
¿en su vida un misterio había...
¿era su nombre Elisa u Olga?

En otra, del vuelo al arranque,
mirar nostálgico... y ¡pasó!
Muchas veces junto a un estanque
soñando la luna nos vio.

Tú, mejicana-parisina,
de cabellos como aureola
de luz de sol, y habla divina
entre francesa y española.

En la tristeza de un suspiro,
lejos, a la orilla del mar,
una margarita aún te miro
melancólica deshojar.

Húngara triste, flor bohemia,
De ojos miosotis de Danubio:
¡cuán adorable era anemia
En marco de cabello rubio!

Tus pupilas vagas de Isis
fingía decir un adiós;
Y casi exangüe por la tisis
caíste en golpe de tos...
La frente apoyo en la vidriera...
Un claro sol el cielo dora,
riega rosas la primavera...
El otoño en el alma llora.

Se oye como una voz que ruega,
como un gemido de laúd...
¡Es en la tarde que llega
el adiós de la juventud!
The yellow aura
spiraled my night elf hunter avatar
as the DUN-DUMM
of false accommplishment
incited my addiction to
instant gratification.

I had just Leveled up.

The quest giver
gave me a choice

****** boots
a less ****** Dagger

I took the ****** boots
**** the system
they looked cooler.

I was going to stomp cave spiders anyway,
what's the point of relinquishing
looking **** fine.
for an extra Attack Point?

****** Boots.

****** boots ALL Day long.

A naked human avatar
facing a naked gnome
Named: "Buzz Lightyear"
He is Also dancing,
at crotch height.

This is Typical starting zone

I stayed up
watching Toonami all night
Naruto, Bleech, Inuyasha.
I could tell the sun came up
not because there was a window in my Kitchen,
there wasn't.

Tom and Jerry came on.
everyone knows
when Tom and Jerry came on
you were no longer pulling an
"all nighter."
You're pulling a
"Drink enough Soda
to get through the rest
of the day-er"

My entire diet
these past two days
has consisted of Gushers & Vault
Clearly Coca-Cola is superior
to Pepsi.

Therefore, Vault
was superior to Mountain Dew.
Which is the typical choice drink
of my internet brethren.

I don't know why I dyed my hair black nobody online could see it
But it made me feel
like my Night Elf Avatar

I wanted long white hair
I realized that's impossible
in 6th grade
So I Bought & Settled for Black
At least I could be like
"L" from death note,
Long sleeve white shirt, jeans
with no shoes.

I could also be
any other black-haired charecter
From any other angsty Anime
Because of course I loved angsty Anime
Because I held my cell phone like "L"
From Death Note.

I always dreamed
of this singing venus fly trap.

A Fuzzy Memory with a lost Origin
I realized seven years later
the Singing venus flytrap in my head
was AUDREY 2
from Little Shop Of Horrors.

Netflix reunited us in College
Audrey 2 finally Serenaded Me.
I listened with Voyeuristic Intentions
As memory saprilings grew
into the full songs
relieving the void in my soul
Lingering for a Man to be attacked
by a singing venus fly trap
in his own kitchen.

But only once,
Because I firmly beleived
movies should only be seen once
until I stopped
dyeing my hair black.
Despite watching Space jam
more times than any kid born in 1995 Should have
but still
all the kids born in 1995
watched space jam
more than any of them should have
because they were born in 1995.

when I first saw little shop of horrors
it aired just before osmosis jones.

I love osmosis jones
almost as much as I love
Buzz lightyear, of Star Command

Buzz lightyears robot companion XR
reminded me of Cyberchase
and to this day Cyberchase
is the best show to watch
when you have no idea
who Gilbert Godfrey is.

Zoombinis is better
than oregon trail.
and also better
than Tom and Jerry.
but not better
than leveling my night elf Hunter.

I think I spent more time
getting my Zoombinis
to look just right
then I Spent deciding
what outfit to wear

Black striped Hoodie
Unwashed and worn every day
Grey skulls all over it, because
of course it had grey skulls all over it.
Black pants.
Black socks
No actually, THESE black socks.
Okay, got gushers
and my Coca-Cola.

I now take as much time
to choose my outfit as
designing the perfect Zoombini.
however I have yet to replace
my legs
a skateboard.

I think that every grade before sixth grade is fourth grade
and 6th grade is basically 7th grade
which is to say my memory skips them both
to remember ending eighth grade

I miss being cool on the Internet
Whilst lame and forgotten in real life.

like black sock
wasn't quite as good
as that other Black sock.

I wanna go back.
To the seperation
Of who we pretend to be
Vs. who we actually are.
To be dramatic again.

An ideal self on the internet
Who is obviouslly not the real you
is decades more comforting
than Some Characatureized
Facebook Profile.

Today I was offered a choice

Work A minimum wage job
continue my useless college degree.

I decided to write a poem, because
**** the system.
If I am to Decide where to respawn from
Let it be poetry.

There is no spiraling Yellow aura

Sometimes there is snapping though.
Or a lost memory
of A singing venus Fly Trap.

I am a pretend person.
An avatar
just now, I have skin.
You can touch me
I breath without a Macro
or even pressing any keys.

I cannot bring myself to
Watch Space Jam again.
I can Identify Gilbert Godfrey's voice.
I will buy my children zoombinis
And it will collect dust
When all they want
Is to watch the fifth Toy Story movie
Way more than any kid born in 2020 should.
And all the kids born in 2020
Will Watch the fifth Toy Story Movie
Way more than they should
because they
will have been born
in 2020.

And I will rant
about the Missing LGM
and Warp Darkmatter
betraying Buzz Lightyear
By joining Evil Emperor Zurg
So Buzz was forced
to get three new Partners
Princess Mira Nova
Audrey 2
and Osmosis Jones.
because I will have Forgotten
Booster & XR.
Because Booster and XR
Never made a ******* Facebook Profile.

Nobody exists anymore.
We are all represented by our avatars
holding ourselfs up to the standards
of our photoshopped reflections

Being disappointed and overwhelmed

I Take pills to forget that I am
Acting Like myself
but can't find any evidence of Existing.
Besides these memories
of who i used to be.

I want my internet persona
to be nothing like me
So that I may focus on myself
in the real world coherently.

I want thick black lines
dividing mental Venn diagrams

I want Tom and Jerry
To signal me
That it is morning, again.
Marco Bo Sep 2018
under this suburban sky
red stain on the dull gray, when you move away to your elsewhere
you revive
as a fish returning to the water after a short yet intense pain

for you I'm the bait
and the hook
and the fisherman too,
not in that order
in the order you decide
since you decide

you are elusive, you always look away and tighten your eyes
your words are lashes
I feel weak in your presence,
at the same time your fragility confuses me and it moves me
as a boat adrift in a lonely sea
sotto questo cielo suburbano
macchia rossa su grigio opaco, quando ti muovi nel tuo altrove,

tu rivivi
come un pesce che ritorna in acqua dopo un'agonia breve ma intensa

per te io sono esca
amo ed anche  pescatore,
ma non in quell'ordine
nell'ordine in cui decidi
e tu decidi

sei inafferrabile, distogli sempre lo sguardo e stringi gli occhi
le tue parole sono staffilate
mi sento debole in tua presenza,
allo tempo stesso la tua fragilità mi confonde e mi commuove
come una  barca alla deriva in un solitario mare

bajo este cielo suburbano
mancha roja en gris opaco, cuando te alejas a tu otro lugar,
tu revives

como un pez que regresa al agua después de un dolor breve pero intenso

yo soy cebo para ti
y gancho
y también  pescador
pero no en ese orden
en el orden en que tu decidas
y tu decides

eres evasiva, siempre mira hacia otro lado y cierras los ojos
tus palabras son latigazos
me siento débil en tu presencia,
al mismo tiempo, tu fragilidad me confunde y me conmueve
como un barco a la deriva en un solitario mar
judy smith Feb 2017
In this age of global uncertainty, clothes have become a kind of panacea for a growing number of consumers. Designers are responding to the political upheavals of the past year by injecting some much-needed humour into women’s wardrobes. Browns CEO Holli Rogers is already predicting that spring’s sartorial hit will be Rosie Assoulin’s smiley-face T-shirt. This cheery number, which reads "Thank you! Have a Nice Day!’" neatly sums up the jubilant mood of the coming season.

The logic goes that turning up the dial on the fun, the colourful and the crazy is the sartorial equivalent of Michelle Obama’s "when they go low, we go high" mantra. We may not be able to control the chaos of world events, but we still rule our own style.

It’s no coincidence that a cartoonish aesthetic, of the sort you’d find if you rifled through an eccentric child’s dressing-up box, was in plentiful supply on the spring/summer 2017 runways. Alessandro Michele’s army of Gucci geeks displayed growing swagger in garish get-ups that ran from fuzzy crayon-coloured furs featuring zebras to tiered, tinsel-y coats that rivalled Grandma’s Christmas tree.

It was a similar story at Dolce & Gabbana, where sumptuous eveningwear was loaded with pasta and pizza motifs, and drums became bags, while Marc Jacobs tore a page from a psychedelic colouring book, covering clothes with the childlike scrawl of the London illustrator Julie Verhoeven. Even ardent minimalists would have to admit that these playful looks have potent pick-me-up power.

For Anya Hindmarch – whose empire is built on feel-good fashion – all this frivolity is nothing new. "An ironic, lighter and more irreverent approach has always been my thing. People love beautiful objects and increasingly, they want to show their character – that’s the point of fashion," she says. "Customers today are more confident with their style. There aren’t so many rules. It’s about putting a sticker on a beautiful handbag and not being too precious about it."

What’s surprising is who is consuming this cartoonish style. Though there’s no real rhyme or reason, says Hindmarch, often it’s older clients who are investing in the maddest pieces – like her cuddly, googly-eyed Ghost backpack that has also been spotted on Gigi Hadid and Kendall Jenner.

The same is true of the customer for the Lebanese designer Mira Mikati’s emoji-embellished styles. Though her fans run from twenty to fiftysomethings, at a recent London pop-up one of Mikati’s most ardent buyers was an 87-year-old. "She tells me that whenever she wears my clothes people stop her on the street. They smile. They start conversations. She literally makes friends through what she wears."

Mikati began her career as a buyer, co-founding the upscale Beirut boutique Plum, before launching her own line some four seasons ago – largely out of frustration at the sameness of the mainstream collections. "I wanted to create something fun and colourful but easy to wear – that you can add to jeans and a white T-shirt, but that’s also a conversation point."

Her clothes, worn by Beyoncé and Rihanna, are certainly that: pink parrot-appliquéd trench coats, scribble-print hooded tops and dresses clad with a family of monsters who spell out her Peter Pan ethos in scrawled speech bubbles that read "Never Grow Up’" The antithesis of normcore, these designs take their cue from her children’s toy trunk and the Japanese pop art of Takashi Murakami – who returned the compliment by donning one of her patched bombers.

Mikati is clearly onto something. According to Roberta Benteler, who founded online fashion emporium Avenue 32 in 2011, it’s the cartoon aesthetic that’s really piquing women’s desire right now.

"Anything that looks like a child’s drawing or a toy sells incredibly well," she says. "Brands like Mira Mikati, Vivetta and Les Petits Joueurs inspire the impulse to buy because they’re so eye-catching. You have to have it now because there’s a sense you won’t find it anywhere else."

The exponential rise of street-style stars and the social-media machine that now propels the fashion industry also plays a part in the popularity of these playful looks.

"Designers are creating for the online world and customer," continues Benteler, who cites the Middle Eastern consumer as a big investor in these niche eccentric designs. "People find escapism in fashion and more than ever they need something to cheer them up. These are clothes that stand out on Instagram, and for designers that translates into sales."

In practical terms, in an effort to beat the warp speed of high-street copying, designers are differentiating themselves with increasingly intricate and artisanal styles that are harder to mimic. Just because these pieces have a childlike sensibility doesn’t mean they’re not beautifully crafted.

"My aim is create a handbag that you can keep as a design piece," explains the accessories designer Paula Cademartori. One of her most successful designs – the Petite Faye bag, which comes in a whole rainbow of configurations – takes more than 32 hours to create at her Italian studio. "Even if the styles are colourful and speak loudly, they’re still sophisticated," says Cademartori, whose brand was recently snapped up by the luxury goods group OTB. It can pay to be playful.

One man with a unique insight into the feel-good phenomenon is Marco de Vincenzo, who combines his longstanding role as leather goods head designer at Fendi with creating his own collection. "When we first created the Fendi monster accessories for bags we were simply playing around," he says of the charms that still loom large some three years on. "The most successful designs are created without pressure, through play."

His own-line debut bag features an animalistic paw. ‘It’s about creating something new and different for women to discover,’ he explains. "You buy something because you love it, not because you need it. Fashion is like a game – it has to excite."

When it comes to distilling this childlike abandon into your wardrobe, take cues from super style blogger Leandra Medine, who balances madcap pieces, such as her first collection of colourful footwear under her MR By Man Repeller label, with plainer, simpler ones. "It’s all about wearing your clothes with joy, and having fun, but not looking ridiculous," says Cademartori. "You don’t want to look like an actual cartoon."

It’s advice that chimes with that of Anya Hindmarch. "I love the idea of wearing a super-simple Comme des Garçons jacket and a white shirt with a really fun bag to mess it all up a bit." It’s a failsafe formula for dressing your way to happiness.Read more at: |
DAVID Dec 2014
en la hora de monet tus ojos me arrullan
mi cabeza despejada me da un sorbo de realidad
mientras tus ojos me acarician
en la hora de monet los ojos me duelen, pero veo mas claro que nunca
absorbo la luz, y los olores de las damas hermosas que se cruzan en mi camino, busco en sus ojos un rastro de los tuyos.
mientras el sueño me acorrala, otro dia de pesadillas y llamadas funestas
pero todo brilla aun en un cielo de monet, con tu hermosa mirada en el rabillo de mi ojo.
asi en la hora de monet, tus ojos brillan mas, y la soledad pesa menos quel corazon funesto de algun creep
en esta hora la cobardia del mundo pesa menos, todo es menos ******
tu actitud de pato feo contraste con tu belleza de cisne
en un cielo de monet, con la vista hermosa en mi cabeza, todo se aclara
la realidad ya no es funesta, en un dia claro la realidad me golpea
el pasado ya no pesa.

asi en un cielo de monet la realidad me golpea la cara, tus ofenzas y el desden borraron el deseo, que se deshizo como arena entre mis dedos.
Tras la ventana, el amor
vestido de blanco, mira.
Mira a la tarde, que gira
sus luces y su color.

La begonia sin olor
sus verdes hojas estira
para mirar lo que mira
tras la ventana, el amor:
la primavera, surgida
del pico de un ruiseñor.
Mine is Gopal, the Mountain-Holder; there is no one else.
On his head he wears the peacock-crown: He alone is my husband.
Father, mother, brother, relative: I have none to call my own.
I've forsaken both God, and the family's honor: what should I do?
I've sat near the holy ones, and I've lost shame before the people.
I've torn my scarf into shreds; I'm all wrapped up in a blanket.
I took off my finery of pearls and coral, and strung a garland of wildwood flowers.
With my tears, I watered the creeper of love that I planted;
Now the creeper has grown spread all over, and borne the fruit of bliss.
The churner of the milk churned with great love.
When I took out the butter, no need to drink any buttermilk.
I came for the sake of love-devotion; seeing the world, I wept.
Mira is the maidservant of the Mountain-Holder: now with love He takes me across to the further shore.

mere to giridhara gupaala, duusaraa na koii |
jaa ke sira mora mukuTa, mero pati soii ||
taata, maata, bhraata, baMdhu, apanaa nahiM koii |
ghaaM.Da daii, kula kii kaana, kyaa karegaa koii?
saMtana Dhiga baiThi baiThi, loka laaja khoii ||
chunarii ke kiye Tuuka Tuuka, o.Dha liinha loii |
motii muu.Nge utaara bana maalaa poii ||
a.Nsuvana jala siiMchi siiMchi prema beli boii |
aba to beli phaila gaii, aanaMda phala hoii ||
duudha kii mathaniyaa, ba.De prema se biloii |
maakhana jaba kaa.Dhi liyo, ghaagha piye koii ||
aaii maiM bhakti kaaja, jagata dekha roii |
daasii miiraa.N giradhara prabhu taare aba moii ||

I am the translator of this poem, "Torn in Shreds" by Mirabai. I did not copyright it; it's in the public domain and everyone is free to help themselves to it. I simply request that it appear with my name as the translator.

Johanna-Hypatia Cybeleia
The saffron of virtue and contentment
Is dissolved in the water-gun of love and affection.
Pink and red clouds of emotion are flying about,
Limitless colours raining down.
All the covers of the earthen vessel of my body are wide open;
I have thrown away all shame before the world.
Mira's Lord is the Mountain-Holder, the suave lover.
I sacrifice myself in devotion to His lotus feet.
Desde la ventana de un casucho viejo
abierta en verano, cerrada en invierno
por vidrios verdosos y plomos espesos,
una salmantina de rubio cabello
y ojos que parecen pedazos de cielo,
mientas la costura mezcla con el rezo,
ve todas las tardes pasar en silencio
los seminaristas que van de paseo.Baja la cabeza, sin erguir el cuerpo,
marchan en dos filas pausados y austeros,
sin más nota alegre sobre el traje *****
que la beca roja que ciñe su cuello,
y que por la espalda casi roza el suelo.Un seminarista, entre todos ellos,
marcha siempre erguido, con aire resuelto.
La negra sotana dibuja su cuerpo
gallardo y airoso, flexible y esbelto.
Él, solo a hurtadillas y con el recelo
de que sus miradas observen los clérigos,
desde que en la calle vislumbra a lo lejos
a la salmantina de rubio cabello
la mira muy fijo, con mirar intenso.
Y siempre que pasa le deja el recuerdo
de aquella mirada de sus ojos negros.
Monótono y tardo va pasando el tiempo
y muere el estío y el otoño luego,
y vienen las tardes plomizas de invierno.Desde la ventana del casucho viejo
siempre sola y triste; rezando y cosiendo
una salmantina de rubio cabello
ve todas las tardes pasar en silencio
los seminaristas que van de paseo.Pero no ve a todos: ve solo a uno de ellos,
su seminarista de los ojos negros;
cada vez que pasa gallardo y esbelto,
observa la niña que pide aquel cuerpo
marciales arreos.Cuando en ella fija sus ojos abiertos
con vivas y audaces miradas de fuego,
parece decirla:  -¡Te quiero!, ¡te quiero!,
¡Yo no he de ser cura, yo no puedo serlo!
¡Si yo no soy tuyo, me muero, me muero!
A la niña entonces se le oprime el pecho,
la labor suspende y olvida los rezos,
y ya vive sólo en su pensamiento
el seminarista de los ojos negros.En una lluviosa mañana de inverno
la niña que alegre saltaba del lecho,
oyó tristes cánticos y fúnebres rezos;
por la angosta calle pasaba un entierro.Un seminarista sin duda era el muerto;
pues, cuatro, llevaban en hombros el féretro,
con la beca roja por cima cubierto,
y sobre la beca, el bonete *****.
Con sus voces roncas cantaban los clérigos
los seminaristas iban en silencio
siempre en dos filas hacia el cementerio
como por las tardes al ir de paseo.La niña angustiada miraba el cortejo
los conoce a todos a fuerza de verlos...
tan sólo, tan sólo faltaba entre ellos...
el seminarista de los ojos negros.Corriendo los años, pasó mucho tiempo...
y allá en la ventana del casucho viejo,
una pobre anciana de blancos cabellos,
con la tez rugosa y encorvado el cuerpo,
mientras la costura mezcla con el rezo,
ve todas las tardes pasar en silencio
los seminaristas que van de paseo.La labor suspende, los mira, y al verlos
sus ojos azules ya tristes y muertos
vierten silenciosas lágrimas de hielo.Sola, vieja y triste, aún guarda el recuerdo
del seminarista de los ojos negros...
Es tan fácil nacer en sitios que no existen
y sin embargo fueron brumosos y reales
por ejemplo m¡ sitio mi marmita de vida
mi suelta de palomas conservaba
una niebla capaz de confundir las brújulas
y atravesar de tarde los postigos
todo en el territorio de aquella infancia breve
con la casa en la loma cuyo dueño
cara un tal valentín del escobar
y el nombre era sonoro me atraían
las paredes tan blancas y rugosas
ahí descubrí el lápiz como colón su américa
sin saber que era lápiz y mientras lo empuñaba
alguien hacía muecas al costado de un biombo
para que yo comiera pero yo no comía

después es la estación y es el ferrocarril
me envuelven en la manta de viaje y de calor
y había unas mangueras largas ágiles
que lavaban la noche en los andenes

las imágenes quedan como en un incunable
que sólo yo podría descifrar
puesto que soy el único especialista en mí
y sin embargo cuando regresé
apenas treinta y dos años más tarde
no había andén ni manta ni paredes rugosas
ya nadie recordaba la casa en la lomita
tampoco a valentín del escobar
quizá sea por eso que no puedo creer
en pueblo tan ceñido tan variable
sin bruma que atraviese los postigos
y confunda las brújulas
un paso de los toros enmendado
que no tiene ni biombo ni mangueras

el espejo tampoco sabe nada
con torpeza y herrumbre ese necio repite
mi pescuezo mi nuez y mis arrugas
debe haber pocas cosas en el mundo
con menos osadía que un espejo

en mis ojos amén de cataratas
y lentes de contacto con su neblina propia
hay rehenes y brujas
espesas telarañas sin arañas
hay fiscales y jueces
disculpen me quedé sin defensores
hay fiscales que tiemblan frente a los acusados
y jueces majaderos como tías
o deshumanizados como atentos verdugos
hay rostros arduos y fugaces
otros triviales pero permanentes
hay criaturas y perros y gorriones
que van garúa arriba ensimismados
y un sosías de dios que pone cielos
sobre nuestra mejor abolladura
y tampoco el espejo sabe nada
de por qué lo contemplo sin rencor y aburrido

y así de noche en noche
así de nacimiento en nacimiento
de espanto en espantajo
van o vamos o voy con las uñas partidas
de arañar y arañar la infiníta corteza

más allá del orgullo los árboles quedaron
quedaron los presagios las fogatas
allá atrás allá atrás
quién es tan memorioso
ah pero la inocencia ese búfalo herido
interrumpe o reanuda
la fuga o cacería
de oscuro desenlace

todos mis domicilios me abandonan
y el botín que he ganado con esas deserciones
es un largo monólogo en hiladas
turbado peregrino garrafal
contrito y al final desmesurado
para mi humilde aguante

Me desquito clavándole mi agüero
me vengo espolvoreándolo de culpas
pero la soledad
                            esa guitarra
esa botella al mar
esa pancarta sin muchedumbrita
esa efemérides para el olvido
oasis que ha perdido su desierto
flojo tormento en espiral
cúpula rota y que se llueve
ese engendro del prójimo que soy
tierno rebuzno de la angustia
farola miope

nido de águila para torcazas
escobajo sin uvas
borde de algo importante que se ignora
esa insignificante libertad de gemir
ese carnal vacío
ese naipe sin mazo
ese adiós a ninguna
esa espiga de suerte
ese hueco en la almohada
esa impericia
ese sabor grisáceo
esa tapa sin libro
ese ombligo inservible
la soledad en fin
                              esa guitarra
de pronto un día suena repentina y llamante
inventa prójimas de mi costilla
y hasta asombra la sombra
qué me cuentan

en verdad en verdad os digo que
nada existe en el mundo como la soledad
para buscarnos tierna compañía
cohorte escolta gente caravana

y el espejo ese apático supone
que uno está solo sólo porque rumia
en cambio una mujer cuando nos mira sabe
que uno nunca está solo aunque lo crea
ah por eso hijos míos si debéis elegir
entre una muchacha y un espejo
elegid la muchacha

cómo cambian los tiempos y el azogue
los espejos ahora vienen antinarcisos
hace cuarenta años la gente los compraba
para sentirse hermosa para saberse joven
eran lindos testigos ovalados
hoy en cambio son duros enemigos
cuadrados de rencor bruñidos por la inquina
nos agravian mortifican zahieren
y como si tal cosa pronuncian su chispazo
mencionan lustros y colesterol
pero no las silvestres bondades de estraperlo
la lenta madurez esa sabiduría
la colección completa de delirios
nada de eso         solamente
las averías del pellejo añejo
el desconsuelo y sus ojeras verde
la calvicie que empieza o que concluye
los párpados vencidos siniestrados
las orejas mollejas la chatura nasal
las vacantes molares las islas del eczema

pero no hay que huir despavorido
ni llevarle el apunte a ese reflejo
nadie mejor que yo
para saber que miente

no caben en su estanque vertical
los que fui los que soy los que seré
siempre soy varios en parejos rumbos
el que quiere asomarse al precipicio
el que quiere vibrar inmóvil como un trompo
el que quiere respirar simplemente

será que nada de eso está en mis ojos
nadie sale a pedir el vistobueno
de los otros que acaso y sin acaso
también son otros y en diversos rumbos
el que aspira a encontrarse con su euforia
el que intenta ser flecha sin el arco
el que quiere respirar simplemente
será que nada de eso está en mi ceño
en mis hombros mi boca mis orejas
será que ya no exporto dudas ni minerales
no genera divisas mi conducta
tiene desequilibrios mi balanza de pagos
la caridad me cobra intereses leoninos
y acaparo dolor para el mercado interno

será que nada de eso llega al prójimo
pero yo estoy hablando del y con el espejo
y en su Iuna no hay prójima y si hay
será tina entrometida que mira sobre mi hombro

los prójimos y prójimas no están el el luciente
sencillamente son habitantes de mi
y bueno se establecen en mi como pamperos
como arroyos o como burbujas

por ejemplo las dudas no están en el espejo
las dudas que son meras preconfianzas
por ejemplo los miércoles no están
ya que el espejo es un profesional
de noches sabatinas y tardes domingueras
los miércoles de miércoles quien se le va a arrimar
pedestre o jadeante
inhumano y cansado
con la semana a medio resolver
las tardes gordas de preocupaciones
el ómnibus oliendo a axila de campeón

los insomnios no caben por ejemplo
no son frecuentes pero si poblados
de canciones a trozos
de miradas que no eran para uno
y alguna que otra bronco no del todo prevista
de ésas clue consumen la bilis del trimestre

tampoco aquellos tangos en Ios que uno sujeta
en suave diagonal la humanidad contigua
y un magnetismo cálido y a la vez transitorio
consterna los gametos sus ene cromosomas
y entre corte y cortina se esparcen monosílabos
y tanto las pavadas aleluya
como las intuiciones aleluya aleluya
derriban las fronteras ideológicas

verbigracia qué puede rescatar el espejo
de una ausencia tajante
una de esas ausencias que concurren
que numeran sus cartas
y escriben besos ay de amor remoto

qué puede qué podría reconocer carajo
de las vidas y vidas que ya se me murieron
esos acribillados esos acriborrados
del abrazo y el mapa y los boliches
o los que obedecieron a su corazonada
hasta que el corazón les explotó en la mano
sea en el supermarket de la mala noticia
o en algún pobre rancho de un paisaje sin chau

poco puede conocer de los rostros
que no fueron mi rostro y sin embargo
siguen estando en mí
y menos todavía
de los desesperantes terraplenes
que traté de subir o de bajar
esos riesgos minúsculos que parecen montañas
y los otros los graves que salvé como un sordo
así hasta que la vida quedó sin intervalos
y la muerte quedó sin vacaciones
y mi piel se quedó sin otras pieles
y mis brazos vacíos como mangas
declamaron socorro para el mundo

en la esquina del triste no hay espejo
y lo que es
hay auxilio
por qué será que cunden fas alarmas
y no huy manera ya de descundirlas

el país tiene heridas grandes como provincias
y hay que aprender a andar sobre sus bordes
sin vomitar en ellas ni caer como bolos
ni volverse suicida u miserable
ni decir no va más
porque está yendo
y exportamos los huérfanos y viudas
como antes la lana o el tasajo

en el muelle del pobre no hay espejo
y lo que es
hay adioses

los tratemos que estaban en el límite
las muchachas que estaban en los poemas
asaltaron de pronto el minuto perdido
y se desparramaron como tinta escarlata
sobre las ínfulas y los sobornos
metieron sus urgencias que eran gatos
en bolsas de arpillera
y cuando las abrieron aquello fue un escándalo
la fiesta prematura
igual que si se abre una alcancía

hacía tanto que éramos comedidos y cuerdos
que no nos vino mal este asedio a la suerte

los obreros en cambio no estaban en los poemas
estaban en sus manos nada más
que animan estructuras telas fibras
y cuidan de su máquina oh madre inoxidable
y velan su garganta buje a buje
y le toman el pulso
y le vigilan la temperatura
y le controlan la respiración
y aquí atornillan y desatornillan
y allí mitigan ayes y chirridos y ecos
o escuchar sus maltrechas confidencias
y por fin cuando suena el pito de las cinco
la atienden la consuelan y la apagan

los obreros no estaban en los poemas
pero a menudo estaban en las calles
eon su rojo proyecto y eon su puño
sus alpargatas y su humor de lija
y su beligerancia su paz y su paciencia
sus cojones de clase
qué clase de cojones
sus olas populares
su modestia y su orgullo
que son casi lo mismo

las muchachas que estaban en los poemas
los obreros que estaban en las mulos
hoy están duros en la cárcel firmes
como las cuatro barras que interrumpen el cielo

pero habrá otro tiempo
es claro que habrá otro
habrá otro ticnlpo porque el tiempo vuela
no importa que ellas y ellos no estén en el espejo
el tiempo volará
como el cóndor
ni como el buitre ni como el albatros
ni como el churrinche ni como el venteveo
el tiempo volara como la historia
esa ave migratoria de atlas fuertes
que cuando Ilega es para quedarse

y por fin las muchachas estarán en las mulos
y por fin los obreros estarán en los poemas
ay espejo ignorás tanta vida posible
tenés mi soledad
vaya conquista
en qué mago atolón te obligaste a varar
hay un mundo de amor que te es ajeno
así chic no te. quedes mirando má mirada
la modorra no escucha campanas ni promesas
tras de mi sigue habiendo un pedazo do historia
y yo tengo la llave de ese cobre barato
pero atrás más atrás
o adelante mucho más adelante
hay una historia plena
una patria en andamios con banderas posibles
y todo sin oráculo y sin ritos
y sin cofre y sin llave
simplemente una patria

ay espejo las sombras que te cruzan
son mucho más corpóreas que mi cuerpo depósito
el tiempo inagotable hace sus propios cálculos
y yo tengo pulmones y recuerdos y nuca
y otras abreviaturas de lo frágil
quizá una vez, te quiebres
dicen que es mala suerte
pero ningún espejo pudo con el destino
o yo mismo me rompa sin que vos te destruyas
y sea así otra sombra que te cruce

pero espejo ya tuve como dieciocho camas
en los tres años últimos de este gran desparramo
como todas las sombras pasadas o futuras
soy nómada y testigo y mirasol
dentro de tres semanas tal vez me vaya y duerma
en ml cama vacía número diecinueve
no estarás para verlo
no estaré para verte

en otro cuarto neutro mengano y transitorio
también habrá un espejo que empezará a
tan desprolijamente como vos
y aquí en este rincón duramente tranquilo
se instalará otro huesped temporal como yo
o acaso dos amantes recién homologados
absortos en su canje de verguenzas
con fragores de anule e isócronos vaivenes

no podrás ignorarlos
egos le ignorarán
no lograrás desprestigiar su piel
porque será de estreno y maravilla
ni siquiera podr á vituperar mi rostro
porque ya estaré fuera de tu alcance
diciéndole a otra luna de impersonal herrumbre
lo que una vez te dije con jactancia y recelo

he venido con toldos mis enigmas
he venido con todos mis fantasmas
he venido con lerdees mis amores

y antes de que me mire
como vos me miraste
con ojos que eran sello parodia de mis ojos
soltaré de una vez el desafío

ay espejo cuadrado
nuevo espejo de hotel y lejanía
aquí estoy
                  ya podés
empezar a ignorarme.

Vagos preludios. En la noche espléndida
Su voz de perlas una fuente calla,
Cuelgan las brisas sus celestes pifanos
En el follaje. Las cabezas pardas
De los búhos acechan.
Las flores se abren más, como asombradas.
Los cisnes de marfil tienden los cuellos
En las lagunas pálidas.
Selene mira del azul. Las frondas
Tiemblan… y todo! hasta el silencio, calla…

Es que ella pasa con su boca triste
Y el gran misterio de sus ojos de ámbar,
A través de la noche, hacia el olvido,
Como una estrella fugitiva y blanca.
Como una destronada reina exótica
De bellos gestos y palabras raras.

Horizontes violados sus ojeras
Dentro sus ojos–dos estrellas de ámbar–
Se abren cansados y húmedos y tristes
Como llagas de luz que quejaran.

Es un dolor que vive y que no espera,
Es una aurora gris que se levanta
Del gran lecho de sombras de la noche,
Cansada ya, sin esplendor, sin ansias
Y sus canciones son como hadas tristes
Alhajadas de lágrimas…


Murmuring preludes. On this resplendent night
Her pearled voice quiets a fountain.
The breezes hang their celestial fifes
In the foliage. The gray heads
Of the owls keep watch.
Flowers open themselves, as if surprised.
Ivory swans extend their necks
In the pallid lakes.
Selene watches from the blue. Fronds
Tremble…and everything! Even the silence, quiets.

She wanders with her sad mouth
And the grand mystery of amber eyes,
Across the night, toward forgetfulness
Like a star, fugitive and white.
Like a dethroned exotic queen
With comely gestures and rare utterings.

Her undereyes are violated horizons
And her irises–two stars of amber–
Open wet and weary and sad
Like ulcers of light that weep.

She is a grief which thrives and does not hope,
She is a gray aurora rising
From the shadowy bed of night,
Exhausted, without splendor, without anxiousness.
And her songs are like dolorous fairies
Jeweled in teardrops…

                          The strings of lyres
                          Are the souls' fibers.–

The blood of bitter vineyards, noble vineyards,
In goblets of regal beauty, rises
To her marble hands, to lips carved
Like the blazon of a great lineage.

Strange Princes of Fantasy! They
Have seen her languid head, once *****,
And heard her laugh, for her eyes
Tremble with the flower of aristocracies!

And her soul clean as fire, like a star,
Burns in those pupils of amber.
But with a mere glance, scarcely an intimacy,
Perhaps the echo of a profane voice,
This white and pristine soul shrinks
Like a luminous flower, folding herself up!
He was a boy dressed in green who flew into the Nursery one night.
He flew in to retrieve the shadow that had gotten separated from him.
He had his fairy and best friend Tinkerbell fly into the room at first.
He followed about a minute later and told Tinkerbell to find it for him.
He watched Tinkerbell fly over a dresser drawer & asked which one.
He ran over to the drawer that Tinkerbell stayed beside & he opened it.
He takes the shadow out & happily holds it in his arms and hugs it.
He tries to stick the shadow on by just putting it on his head and poses.
He then has to pick the shadow up from the floor when it falls off.
He tries again and then sees soap & says he'll use that to make it stick.
He rubs the soap on the shadow or himself & tries to make it stick.
He starts to get very upset because the shadow won't stick itself to him.
He starts breathing heavily & asks, "What's the matter with you?"
He wakes Wendy & she thinks he's crying. "Boy, why are you crying?"
He answers her differently in the recent version from the others.
He just stands up from where he is and bows to her in the other films.
He stands up in the recent version & says to her, "I'm not crying."
He's told in the recent film that he looks like a boy out of a storybook.
He calls himself a "brave adventurer" & Wendy says, "Who cries."
He looks at Wendy and says to her, more sternly this time, "I don't cry."
He asks what her name is, she says, "Wendy Mira Angela Darling."
He tells her his & says, "It's enough for me." when she asks if that's it.
He looks around & asks, "Is this a real house?" Wendy says, "Yes."
He doesn't ask that in all the other versions, they just exchange names.
He does different things depending on what version you watch.
He goes out in the hall in the recent film when a noise interests him.
He tells her some things about himself, like that he is forgetful.
"Second star to the right and straight on till morning." is where he lives.
He tells Wendy this in every single version when she asks him.
He's asked if he gets letters & says in many films, "I don't get any letters."
He says in the recent film, "I don't get any." with a little shrug.
He also says, "I don't have a mother." when told his mother must get'em.
He puts a hand up & backs up when Wendy tries to hug him.
He says, "You mustn't touch me." Wendy puts her arms down & asks why.
He says, "No one has ever touched me." and just looks at her.
He's told by Wendy, "No wonder you were crying." and looks at her again.
He says, "I told you I wasn't. I just can't get my shadow to stick."
He also tells her, "I tried everything. Even soap." points to the bar of soap.
He gets the shadow on with the help of Wendy & is happy again.
He gets a thimble thinking it's a kiss and gives Wendy one to thank her.
He tells her about Neverland & she tells him that she knows stories.
He tells her to come with him and says that they will both fly to get there.
He says before this that he knows fairies & Wendy meets Tinkerbell.
He allows Wendy's brothers Michael and John to come fly with them too.
He teachers everyone how to fly and then they are off to Neverland.
I'm sorry, I think I said before that I was on a Peter Pan kick. Don't worry, I won't write about him again for a little bit. I have other things in mind to write about. Thanks for reading and doing all the others things, or at least one of them, if you did :) Bye!
It's too late now
You had your chance
You denied me thrice
Now watch your world collapse
My words are wasted on you
You are beyond help
Gutter of the universe
Be ******
You don't listen
Drink the nectar of the Divine Name, O human! Drink the nectar of the Divine Name!
Leave the bad company, always sit among righteous company. Hearken to the mention of God (for your own sake).
Concupiscence, anger, pride, greed, attachment: wash these out of your consciousness.
Mira's Lord is the Mountain-Holder, the suave lover. Soak yourself in the dye of His colour.
O my mind,
Worship the lotus feet of the Indestructible One!
Whatever thou seest twixt earth and sky
Will perish.
Why undertake fasts and pilgrimages?
Why engage in philosophical discussions?
Why commit suicide in Banaras?
Take no pride in the body,
It will soon be mingling with the dust.
This life is like the sporting of sparrows,
It will end with the onset of night.
Why don the ochre robe
And leave Home as a sannyasi?
Those who adopt the external garb of a Jogi,
But do not penetrate to the secret,
Are caught again in the net of rebirth.
Mira's Lord is the courtly Giridhara.
Deign to sever, O Master.
All the knots in her heart.
judy smith Nov 2015
In June this year, designer Masaba Gupta and film producer Madhu Mantena had the quietest of civil ceremonies. It was only when she took to Twitter the next day to talk about the court registry that most people heard of it. It was a move most unorthodox, for a leading fashion designer, especially one who counts several Bollywood actors among her close friends.

At the time, she also announced “a Caribbean wedding in November”.

The destination wedding isn’t happening. But that’s not to deprive us of a grand, four-day affair, the sort that has the most coveted guest list, and is followed with the keenest interest. It will start on November 19, with the bridal showers, will continue with the mehendi on November 20, the sangeet on November 21 and a gala reception on Sunday, (November 22). Expect the works, and guest lists that boast of Bollywood A-listers (Shahid and Mira Kapoor, and Sonam Kapoor are close friends, just so you know).

In short, it sounds like any other grand Indian celebrity wedding. Except, this is Masaba Gupta we’re talking about. As we catch up with her, we get the sense that she’s approached the whole thing with the same minimalism and quirkiness with which she approaches fashion. “A lot of people are invited,” she tells us, “But I’m not going around and talking about my wedding designer or my lipstick, so on and so forth.”

Unlike most Indian brides, she’s not even fretting over the big day, or days, as it were. “When I was growing up, I always saw brides around me under tremendous stress. The pressure to dress a certain way, wear a certain amount of jewellery and make-up... I saw how uncomfortable it was. So I decided that, if I do get married, I’ll be someone who puts comfort first, and then looks at her options for cut, colour, embroidery or jewellery,” says Gupta.

So, in case you do find yourself invited (otherwise, there’s always Instagram), don’t be surprised to see the most relaxed bride, dressed so comfortably that she’d be the envy of any married Indian woman. The idea, she says, is that a bride should “dress in a way that she can interact with people and have a good time herself.”

She’s also taken charge of the whole thing, and planned a non-fussy, non-extravagant celebration. “For me, three vacations is more value-for-money than a mandap with diamonds on it.”

True to her word, for her sangeet and reception, Gupta is ditching the norm of heavily designed lehengas and saris. “I didn’t go into that heavy, couture, bridal space. And I’m the kind of designer who wears works of other designers,” she says. So, her trousseau will have outfits by several other leading designers. “There are a few people who are great at doing certain things. Anamika [Khanna] is great at reception outfits. I can do a cool, quirky mehendi outfit. For a sangeet, somebody more in the Manish Arora or Shivan and Narresh kind of space,” she says.

The designer who’s always stood apart also seems keen to set an example. By not conforming to rules, Gupta wants to make a point. “I do want it to be about comfort, but I also want to change things up a bit. I want to set an example and say that you don’t need to wear a certain colour, a certain type of maang tika; your hair doesn’t have to look a particular way,” says the young designer.

Ask her if this is the (unconventional) dream wedding come true, and she laughs. “I never had a dream wedding. I’ve never visualised anything except clothes. Certainly not an elaborate wedding setup. See, I just don’t want to starve at my wedding. So, my dream wedding is one where I get to eat a meal while everyone else enjoys themselves as well.”

Masaba’s five-point guide to a chilled-out wedding

1) Get people to help out. If you try and look at every detail, you’re going to have a hard time. You may have a great input, but get people to do it for you.

2)People think you should shop for jewellery and clothes much in advance, but I think it should be done as close to the wedding as possible. You’ll have the latest stuff, and your taste might change over time. It’s best done around the wedding, so you don’t regret what you’ve bought.

3) Shoes are important. Make sure you’re in comfortable heels or flats, so you can survive the night.

4) Always test the make-up artist. Don’t just do a demo and leave it; test it through the day. See how the make-up behaves over a few hours, then you’ll know what it will actually be like, because it takes a couple of hours for make-up to set.

5) Receptions should start becoming more informal. You shouldn’t have to have the couple on stage smiling through the evening. I’ve heard of brides getting locked jaws. It’s absolute torture.

How to be the unconventional groom

• Fusion looks work well. If you’re wearing a Jodhpuri or a bandhgala, team it up with Jodhpuri pants. For men who are slimmer, suits do wonders.

• If you wish to be quirky and know you can carry it off, team dhoti pants and a shirt with a really formal blazer and a brooch.

• I love the cropped, ankle-length formal pants men are wearing now. It’s great for a reception.

• You don’t need to wear laced up shoes. Wear a nice slip-on in patent leather or a printed pair of shoes that stand out. So, you can make the whole look black and white, and have a nice pop shoe and make that the focus.

• Don’t be afraid of colours at your wedding. Get over navy blue, black or maroon. On a darker man, a haldi yellow kurta will look fantastic when teamed with an off-white or cream churidar. Even a soft pink in raw silk — it has a silver-pink shine — looks lovely.

How to be the ‘in vogue’ bride

• We’re seeing a lot of shapewear backs. Instead of the flared lehenga, women are opting for the fishtail cuts. Girls are also wearing shararas with big flares that almost look like a lehenga.

• Brides are going minimal. Go for less embellishment, and lighter lehengas.

• The dupatta is being ditched. Either that, or it’s attached. Much easier to handle.

• The choli is becoming more modest. People are wearing longer lengths, which are more fitted; the ‘60s style kurtas with shararas are also in. There’s more focus on the body and shape.

• I’m hoping the anarkali has died. It’s the worst of the lot. And it’s not very flattering. If you’re very skinny and tall, it works for you. If you’re short, you look like you’re lost in your outfit.

• Ditch the trail. At the end of the night, it’s a rag. It’s been stepped on and is *****.

The plums tasted
sweet to the unlettered desert-tribe girl-
but what manners! To chew into each! She was ungainly,
low-caste, ill mannered and *****,
but the god took the
fruit she'd been *******.
Why? She'd knew how to love.
She might not distinguish
splendor from filth
but she'd tasted the nectar of passion.
Might not know any Veda,
but a chariot swept her away-
now she frolics in heaven, ecstatically bound
to her god.
The Lord of Fallen Fools, says Mira,
will save anyone
who can practice rapture like that-
I myself in a previous birth
was a cowherding girl
at Gokul.
Mine Is Gopal
Mine is Gopal, the Mountain-Holder; there is no one else.
On his head he wears the peacock-crown: He alone is my husband.
Father, mother, brother, relative: I have none to call my own.
I've forsaken both God, and the family's honor: what should I do?
I've sat near the holy ones, and I've lost shame before the people.
I've torn my scarf into shreds; I'm all wrapped up in a blanket.
I took off my finery of pearls and coral, and strung a garland of wildwood flowers.
With my tears, I watered the creeper of love that I planted;
Now the creeper has grown spread all over, and borne the fruit of bliss.
The churner of the milk churned with great love.
When I took out the butter, no need to drink any buttermilk.
I came for the sake of love-devotion; seeing the world, I wept.
Mira is the maidservant of the Mountain-Holder:
Now with love He takes me across to the further shore.

— The End —