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judy smith Apr 2015
With designers like Iman Ahmed, HSY and Sania Maskatiya all showing, it was standing-room only at the venue. Many of the crowd of fashion insiders and socialites ended up sharing seats, with the chivalrous Zaheer Abbas giving his seat to Iman Ahmed after her show and sitting on the floor himself. So much for designer egos!

It was an evening that lived up to its billing.

Iman Ahmed may not be a designer who makes her clothing easily available, but in fashion terms she reaches heights that few other designers can reach. Her “Sartorial Philology and the New Nomad collection” was breathtaking.

The best fashion shows have a narrative — the clothes, styling, music and progression of the outfits blend seamlessly into a whole that portrays the designer’s artistic vision.

It’s hard not to gush about Iman Ahmed’s show last night because it was exactly what a fashion show should be.

Starting with a series of outfits in white and gradually adding tribal colours, Iman used fringing, embroidery and a range of fabrics to great effect. From the inspired detailing to the juxtaposition of texture and silhouette, this was a class act. The tribal white-dotted makeup and beaten silver accessories added further depth to Iman’s stunning layered ensembles.

Levi’s uninspired showing of their new 501 jeans and other stock provided the audience with a pause to process the previous collection. It’s difficult to make a interesting fashion week presentation out of high street wear and something that Levis struggles with.

They used better music than they did at their autumn show but the styling was still painfully lacking. They did manage to make everyone sit up and take notice at the end of their show though — Wasim Akram walked the ramp as their showstopper amid cheers from the admiring audience.

Somal Halepoto was next, with collection that looked distinctly amateur. She seemed to be aiming for a bright kitschy collection but ended up looking merely tacky. The shiny, synthetic-looking fabrics and gaudy embroidery were particularly woeful. Somal’s digital neon animal prints and some of the harem pants were funky but the rest of the collection had little to recommended it.

YBQ’s LalShah collection, meanwhile, was in a different league. An ode to 3 Sufi Sindhi saints, the collection was as much about the artistic impression it made on the ramp as it was about the clothes. The distinctly theatrical presentation relied on the slow beat of sufi music and plentiful accessories for much of its impact.

YBQ sent his models down the ramp in huge pagris, holding flags on poles and garlanded with prayer beads. He used only three colours - red depicting rage, white for peace and black for mourning. Most of the outfits were draped red jersey tunics or gowns with white lowers, braided belts and black turbans.

Rubya Chaudry wore a black gown with red roses but otherwise the outfits were all about subtle plays with drapery and cut. From jodhpur style chooridarsto asymmetrical draping, the outfits had interesting touches but needed all that heavy styling to make an impact. HSY was YBQ’s showstopper and added glamour to the theatrical presentation that he had choreographed.

Wardha Saleem was first up after the break and her Lotus Song collection showed how this talented young designer has been upping her game over recent years.

She used digital flamingo prints, 3D embroidery, gota embroidery and lasercutting in a pretty formal fusion collection. The detailing on the collection was simply stunning. Wardha used gota in delicate patterns that gave her outfits shimmer and paired this with three dimensional embroidery. The outfits featured flowers, fish, elephants and birds picked out in silk thread and beads.

She showed a variety of shift dresses, jackets, saris, capes and draped dresses. The styling was also great fun – the models wore shoes featuring spikes and 3D flowers while the multi-talented Tapu Javeri provided some gorgeous jewellery and music for the show. While there was nothing groundbreaking about her silhouettes, this was a beautiful collection that showed skill and artistry.

Sania Maskatiya, who presented her luxury pret on Day 1, now showed her lawn collection for AlKaram. As far as designer lawn goes, this is something of a dream collaboration.

Textile and print are Sania’s forte and she uses print extensively in her luxury pret. In this collection for Al-Karam she has taken print elements from her pret collections throughout the year including the Sakura, Lokum and Khutoot collections.

The prints are different from those used in her Luxe pret but are based on the same principals. She’s even used the paint splash embroidery from this season’s Khayaat collection in one of the outfits. Designer lawn should be affordable way to wear a designer’s aesthetic and this Sania Maskatiya Al Karam collaboration certainly is.

As for the show itself, showing lawn is always tricky on the ramp. Sania pulled it off with an upbeat presentation using fast music and trendy cuts, throwing a few conventional shalwar kameez in the mix. She fashioned the lawn into jackets, kaftans and draped tunic, using the sort of cuts that are a hallmark of her pret. It’s not how most people wear lawn but it was a great way to show off the prints on the ramp.

Naushaba Brohi’s Inaaya burst onto the fashion scene last year with a spectacular collection. Following up on a dramatic debut is difficult but Naushaba proved that she is not a one hit wonder with this collection. Inaaya’s SS15 collection continued with the theme of using traditional Sindhi crafts in contemporary wear. Naushaba used both touches of Rilli and some stunning mirror work in her collection.

What makes Inaaya noteworthy is the way that she takes unsung traditional crafts that we’ve seen badly used and gives them a high fashion twist. Standout pieces included a bolero with unusual mirror work and a rilli sari that glittered with tiny flashes of mirrors.

Although the collection included many beautiful outfits, there was a lack of focus. The simple tunic with a rilli dupatta didn’t work with knotted purple evening wear jacket. The inability to make a definitive statement let down an otherwise accomplished collection.

Naushaba added a characteristic touch at the end of her show. She’s committed to social responsibility and supports local craftswomen with her brand. Accordingly, Inaaya’s showstopper was Mashal Chaudri of the Reading Room Project along with Naushaba’s daughter Inaaya. She held up a plaque saying “I teach therefore I can” while Inaaya wore a T-Shirt with the slogan “super role model”.

HSY brought the evening to a close with a high-speed presentation of his Hi-Octance menswear collection. The unusual choreography featured the models zipping along the catwalk, pausing briefly on their second round. The energetic presentation complemented a collection of sharp suits and jackets, leavened with quirky polka dot shirts and bold stripy ties.

There was the requisite shirtless model in distressed jeans and an ice-blue jacket but also some appealing suiting fabrics. HSY used only Pakistani fabrics and included solid colours as well as self-checked and striped suits. This was wearable, classy menswear presented creatively.

Day 3 was undoubtedly the best day of TFPW so far. Iman Ahmed undoubted takes the laurels but she was ably supported by HSY, Wardha Saleem, Inaaya, Sania Maskatiya and YBQ.Read more here:www.marieaustralia.com/formal-dresses | www.marieaustralia.com/short-formal-dresses
1126

Shall I take thee, the Poet said
To the propounded word?
Be stationed with the Candidates
Till I have finer tried—

The Poet searched Philology
And when about to ring
For the suspended Candidate
There came unsummoned in—

That portion of the Vision
The Word applied to fill
Not unto nomination
The Cherubim reveal—
CH Gorrie Aug 2013
for Nick and Kaitie

1.
Yesterday, right when our call got dropped,
I was going to tell you something about marriage.

I was going to tell you something gnomic,
a maxim worth getting engraved.

I've since forgotten,
but I believe it was akin to saying that, like Truth,
marriage is impossible to define in verbal space.

So, I guess I'm glad I forgot. The words
would've seemed either too hastily conceived for their subject matter
or else weightless, enigmatic – without impact.

I think it was Auden who whined, “Marriage is rarely bliss,”
though he lightened the phrase by encapsulating it in the context of modern physics –
namely, *at least it has the ability to take place
,
and that should be enough to bring bliss equal to Buddha’s Emptiness.

So, I'm happy our call got
dropped,
for the dial tone was
the pithiest aphorism on marriage any sentient life could've produced.

The key word is “produced.”

2.
    This is what marriage is not:
Socrates gurgling hemlock
    on his dusty prison cot,
giggling as he glimpsed a dikast’s deformed ****;

    Nietzsche tenured for philology
at Basel; Nietzsche feverishly etching
    Fick diese scheiße! on a Jena clinic's wall; biology
predetermining the team for which he was pitching;

    a poem; a hotdog; *******;
a discharged Kalashnikov
    engendering generational pain
somewhere in Saratov

    circa 1942;
this is what marriage is not:
    hatred, jealousy, ballyhoo,
obsessive yearnings for a yacht;

    this is what marriage is not:
anything one pair of hands has wrought.

  *August 22, 2013
^"I think it was Auden who whined, 'Marriage is rarely bliss,'..."^

from "After Reading a Child's Guide to Modern Physics" by W.H. Auden

Marriage is rarely bliss
But, surely it would be worse
As particles to pelt
At thousands of miles per sec
About a universe
Wherein a lover's kiss
Would either not be felt
Or break the loved one's neck.

^"...that should be enough to bring bliss equal to Buddha's Emptiness."^

Śūnyatā, in Buddhism, translated into English as emptiness, voidness, openness, spaciousness, thusness, is a Buddhist concept which has multiple meanings depending on its doctrinal context. In Mahayana Buddhism, it often refers to the absence of inherent essence in all phenomena. In Theravada Buddhism, suññatā often refers to the not-self nature of the five aggregates of experience and the six sense spheres. Suññatā is also often used to refer to a meditative state or experience.

^"I am not talking about inside-out space giraffes / debating Tensor-vector-scalar gravity..."^

Tensor–vector–scalar gravity (TeVeS), developed by Jacob Bekenstein, is a relativistic generalization of Mordehai Milgrom's MOdified Newtonian Dynamics (MOND) paradigm.

The main features of TeVeS can be summarized as follows:
- As it is derived from the action principle, TeVeS respects conservation laws;
- In the weak-field approximation of the spherically symmetric, static solution, TeVeS reproduces the      
  MOND acceleration formula;
- TeVeS avoids the problems of earlier attempts to generalize MOND, such as superluminal propagation;
- As it is a relativistic theory it can accommodate gravitational lensing.

The theory is based on the following ingredients:
- A unit vector field;
- A dynamical scalar field;
- A nondynamical scalar field;
- A matter Lagrangian constructed using an alternate metric;
- An arbitrary dimensionless function.

^"...Socrates gurgling hemlock / On his dusty prison cot..."^

Socrates was ultimately sentenced to death by drinking a hemlock-based liquid.

^"...Giggling as he glimpsed a dikast's deformed ****;"^

Dikastes was a legal office in ancient Greece that signified, in the broadest sense, a judge or juror, but more particularly denotes the Attic functionary of the democratic period, who, with his colleagues, was constitutionally empowered to try to pass judgment upon all causes and questions that the laws and customs of his country found to warrant judicial investigation.

^"Nietzsche tenured for philology / At Basel;"^

Nietzsche received a remarkable offer to become professor of classical philology at the University of Basel in Switzerland. He was only 24 years old and had neither completed his doctorate nor received a teaching certificate. Despite the fact that the offer came at a time when he was considering giving up philology for science, he accepted. To this day, Nietzsche is still among the youngest of the tenured Classics professors on record.

^"Nietzsche feverishly etching / Fick diese scheiße! in a Jena clinic;"^

"Fick diese scheiße!" is German for "**** this ****!"

On January 6, 1889, Burckhardt showed the letter he had received from Nietzsche to Overbeck. The following day Overbeck received a similar letter and decided that Nietzsche's friends had to bring him back to Basel. Overbeck traveled to Turin and brought Nietzsche to a psychiatric clinic in Basel. By that time Nietzsche appeared fully in the grip of a serious mental illness, and his mother Franziska decided to transfer him to a clinic in Jena under the direction of Otto Binswanger. From November 1889 to February 1890, the art historian Julius Langbehn attempted to cure Nietzsche, claiming that the methods of the medical doctors were ineffective in treating Nietzsche's condition.

^"...Saratov / Circa 1942;"^

During World War II, Saratov was a station on the North-South Volzhskaya Rokada, a specially designated military railroad providing troops, ammunition and supplies to Stalingrad.
1651

A Word made Flesh is seldom
And tremblingly partook
Nor then perhaps reported
But have I not mistook
Each one of us has tasted
With ecstasies of stealth
The very food debated
To our specific strength—

A Word that breathes distinctly
Has not the power to die
Cohesive as the Spirit
It may expire if He—
“Made Flesh and dwelt among us”
Could condescension be
Like this consent of Language
This loved Philology.
Vania Konstantinova was born, lives and works in Sofia. She graduated Classical Ballet in her native town and in Petersburg as well as Polish Philology in Sofia University and Jagiellonian University, Krakow. She's co-author of the poetic book Four Cycles (along with Bozhidar Pangelov). Her collection of short stories Thank You Mister One is published in autumn of 2008.
http://www.public-republic.com/vania-konstantinova

With all the Homesickness of the Foreigner

"You'll present me one Paris
with all the homesickness of the foreigner"
Vania Konstantinova

He's looking for a job,
but has no shirt,
Rose,
and expectation even in the pocket.
Whether sometimes he doesn't bend
to look how the Seine passes slowly?
Whether it's cold
(that's an author's thought)?
In this circus gleam only
the blue glimmer of the knives
(which yesterday were pawned).
It's a French movie.

Paris is somewhat little
for one grief
and nothing.

Compared with your arm.

The original:

Ваня Константинова е родена, живее и работи в София. Завършила е класически балет в родния си град и в Петербург, а също и полска филология в Софийския университет и в Ягеловския университет в Краков. Съавтор е на поетичната книга “Четири цикъла” (заедно с Божидар Пангелов). През есента на 2008 излиза сборникът й с къси разкази “Благодарим ти, мистър Уан”.
http://www.public-republic.com/vania-konstantinova


Със цялата тъга на чужденеца

"Ти ще ми подариш един Париж
със цялата тъга на чужденеца"
Ваня Константинова

Той търси работа,
а няма риза,
Роза,
и очакване дори във джоба.
Дали понякога не се привежда
да погледне как минава бавно Сена?
Дали е хладно
(тази мисъл е на автора)?
Във този цирк проблясват само
сините отблясъци на ножовете
(които вчера са заложени).
Това е френски филм.

Париж е малко
за една тъга
и нищо.

Пред ръката ти.


*Translator Bulgarian-English: Vessislava Savova
rarebird
© bogpan - all rights reserved.
Corina Junghiatu Aug 2020
Corina Junghiatu is a bilingual poet/writer hailing from Romania. She holds a Master Degree in Philology and Phychopedagogy and likewise she graduated from The Faculty of Letters and Philosophy in Bucharest. She speaks five foreign languages.
Corina has written and publishing two books of poetry: „Exile in the light” and „The ritual of a Sunrise”. She is Administrator and Publication Coordinator of Motivational Strips, editor of "Bharath Vision" website, and Chief Advisor of World Nations Writers' Union Kazakhstan. Corina has won many awards from international institutions of repute, for poetry.
Recently, Corina Junghiatu, together with 350 poets and writers from 80 countries, received a certificate of appreciation for her entire literary activity, on the occasion of the 74th anniversary of the Independence Day of the Republic of India. This certificate was was handed by the famous writer Shiju H. Pallithazheth the Founder of Motivational Strips, World's Most Active Writers Forum and Padma Shree Dr. Vishnu Pandya, President of Gujarat Sahitya Akademy, a government institution of the state of Gujarat (India).
1342

“Was not” was all the Statement.
The Unpretension stuns—
Perhaps—the Comprehension—
They wore no Lexicons—

But lest our Speculation
In inanition die
Because “God took him” mention—
That was Philology—
At living nights! Today I saw again my Helsinki;
What a dazzling sight, bathed in its citadels of light,
At which time, didst I spend more grateful hours
That may have come and sought me after dawn.
I was dreaming fast by then, lulled by yon sleepy
rain striding down outside, with a softened cheer;
A mild one, more like kind water’s affluent soul,
Had the skies no more repelled its sight, with beer
And the remnants of their rebuked past sins,
Which once kept feeding on mere tyrannous thoughts
That the sun too emitted; but how didst such coldness
Let itself be corrupted, maintained by the amiss main
And savage terrain of the sun, and be sorely divided
once more across its terrible sphere, and wonder:
How couldst no cold remain, whilst ‘tis England;
And thus no evil couldst be new wherein,
nor regarded as trembling nor filthy anew—
In the hours that hath faded, by their uneven minutes;
And there is no honour left to revolt against its wit,
While all transforms into an unripened fatal mistake,
And there is no joy left to witness its new form,
And the remnant of love gone in its disposition,
When, one by one, the most propitious beam awakes
Offering one of its most precarious gleams,
But so shakes me by the impatience of the heat;
The poet has so to run to escape its crunching wit,
Forgetting the poem, forsaking what’s been writ;
And what is left but a sorrow from the merciful night,
The poetry too lost its favourable Knight.

Where is but the Helsinki I hath loved, about me?
The Helsinki that hath been in love with me;
And shyly flirted with me, stealing my love for days.
All my past that hath come to a halt, and with its shadow apace
I hath not one right to reclaim my solid thoughts;
I want to be the radiant snow again, mild at all paces
Haunted by ev’ry cold breath so divine, and taste
The hieroglyphics of my sad visions so succinctly;
And the philology of our violent youth so fervently.
For such sunless hauntings too are painfully severe,
And such nightmares that existed shan’t be spare,
And those shan’t I suffer myself by the pores of such dreams;
And with a radiant finger shalt I send back which see me—
The eyes of our promising heaven have now awakened,
I can see their unpierced veins through thy hands, o Helsinki!
Why is it that salubrious remembrance of such sullen hours
to give me the unwanted comfort, and unwritten silence,
I might not be worthy of thine alone, ah, but who shalt shine
During my windblown summers here, whenst the short-lived heat
Hath but been too much, and ringing through a tampered light;
I hath lost the list of odes that thou canst cast on my soul.
What an everlasting shame, to lay here alone without thee;
But who is a scattered leaf like me to complain, but to hide,
I hath lost all my steadiness to the Northern Light.

To the blue concave by yon awesome nullified cavern;
And the lifted nectar tree behind the cedar grove,
And the rippling summer river with its yellow brook
That hath been lovely to me and my wintry shine;
And the gate with such illustrious paints that illumine
Every wandering sight, righteous in whose last morals,
How happy I am, to be amidst such wondrous sighs!
How shalt I but stand about and entertain my feet,
The itchy feet that shan’t stand to the euphoria about me,
But feelest the slightest thought of thine with hesitation,
But in dreams, upset again to behold thee gone.
What a consoled hysteria I hath but made, o Helsinki!
A little further, my love, didst I tell my love silently,
Although all remains a whisper in t’is hesitant chest,
That shan’t be resistant again once it meets its fate;
A sweet fate that shan’t one steer nor disapprove,
For such a fate is neither sick nor faulty, at once,
For at such a view all shalt be put at ease, or in delight,
The moon cheers at their apparition forms and starlights.
And for my love shalt I wait at seven tonight,
An hour that is close to my Helsinki’s sweet entrance,
For hath England halted and my frightened love ceased,
And sweetened what was not sweet for my love and me,
And as bitter to my hope and hungered cleavage once.
I am, as ever, faltering in my speed like an innocent child;
I am to play from bough to bough, that I can comfort
And jump from leap to leap, as I wish to bring back alive
The thousand weeds and summer squirrels that used to
cry bitterly. They cried a lot in the open space, at night;
Oft’ didst I hear their florid steps across the unseen clearing
And voices weep through the wronged greenery, wailing.
I wouldst be good to them as I hath been good in dreams,
To make ‘em all precious darlings, and set back forth, o sweet
Waking into the night of moonlight and the Northern Lights
To comfort the scratch, and all that injures within me
And to bring justice to those who wronged in thee,
That all can sleep again amidst the high strolling distance;
I wouldst behold my love again, and beneath the confined air,
To live and love on yon gifted ege, laden with art and care.
On a ground so deep, and tunnel so rich with ice and ease,
Hath I been in too much haste, to resemble the mortal rose,
Hath I been ungrateful to my robbed love, and prose;
Hath I loved my youth in such a dizzy way, in a daze;
Hath I deserted such myths, and failed my task to praise.

They all bid me fly away and leave, but fly to thee;
Those sons of dark innocence, unvirgin bones to every sigh.
What is love to them, but a silvery, captivating moan?
What is love but two robes unchained, all too ******,
What is love but a hastened sight, a hurried moon,
What is love but not wedded, nor one to grown—
What is love but unchaste, too frenetic to love,
Not a painful comfort, nor a happy sacrifice,
Not a bough so pendulous and fair, nor a fall so weird,
Not a bizarre ecstasy; yet an ecstasy that quenches,
Not a bard, nor any of the throes in his fine poems,
Not even a wing of love itself, that often cries in bareness,
Not a humble show that fulfills, in its drop of moral rain;
Not a reminiscence of dust, nor a soap of remembrance.
Love, being a dire sight to ‘all, those cross creatures,
Love in there never held me by my hand, nor my ill chest,
All the love there—a pale pain, a bland mast of mess,
And all greasy misery is not pain, but a beheld love,
A love to see, a love that grows not in flooded snow.
All the love there—a blank sight, a tasteless life,
A love that feels not the feeble, but stainless souls!
A love that is too mean that none canst hear me,
And who guesses but such a meadow cannot see me,
Nor catch my sight by the ballade of innocuous thoughts.
O, Helsinki, I hath but such vast words in my throat,
O, Helsinki, hail us poets with the fall of ****** snow!
May us be weird, and boast to the condemned world,
May us be heat, may us bring whom a liar curse!

Every fantasy of the night stills beneath me;
Crushed within the glossy bark of yon midnight heat,
Closed by the laughter of a dominant brutal heart,
Chained by its own sinful soul, that cannot love.
And never by the night turns into uncounted falls;
Nor grows into a more promising canto in my sonnet,
For who is heat but an untold chaos, even to a baby’s ears,
There is no shelter but wanted by the gone England,
Nor a further fate to come, to be run across its river.
All English gold hath but revolted its noble thoughts,
And most of the time, ‘tis only daggers and swords
That make, and foragingly confuse its infused time;
I hath outnumbered the shrieking sins within me,
And too my art, attaching itself to me by the faltering light,
But now the most seen, the most bewitching and heartfelt.
While I hold thee to my heart, and feel there the lightest thought
That thou art the sole gathering of joys one sought
Propelling the night to stop its frozen tears, and listen;
That there is a song in such fair air, there is heaven.
And who shalt sink into the stars on the grass, but me;
Who shalt hear with my seas with love, but my poetry,
Who seals me better but my nauseous books, and lose
Who in its villainous imagination but hears me, my prose.

I shalt come back to my sanguine night in the cold,
To retreat and release back the dim saluted forms,
That oft’ fade and show themselves again in one’s poems.
Who says ‘tis not found there—a dazzling melody;
That such a beauteous parody is not from Paradise,
That a blushed cheek is ever proud and wise,
That fresh air is unseen, and honour cannot be felt;
Here, but not with the English nor American melody,
Nor couldst I be tempted by the tunes aloof in their air,
Who else than I think they are not a fair society,
Who else than I think they own not their riches,
Who else than I think a colour as which shan’t burn.
Who else there is not a tune in an idle poem;
Who else shan’t tune in, as though poems were not poetry.
Who else than turns to love me, by the slumber
o’ such lyrics, who shall be with me forever;
I want to bury myself in such charms, o mine,
To show the sun the honest hours of every love,
Though love itself canst become faulty at times!
Ah, Helsinki, all is abashed and yet not too bashful;
All that was bashful hath grown beastly, outside of us,
And so what is preaching now but a fatal lyrical sight,
And what is speech but a forgotten poem alight,
Who is Anonymous, who are they to teach them right;
Who is loneliness, who shall perish and faint with fright,
Who shall disappear, and such despair entertains the sea,

Who am I, but a doubted truth on my solitary voyage;
Who are the dusks aglow, but an obsolete sight and dish,
Who are the young scarlet tides to fade, before the buds,
Who are the dusky little lilacs to resemble the rose.
Who are the pure white tints that ice showed me,
But the hidden pinks the evils want not to see,
And the inherited northern youth, who shalt be with me.
Who shalt I be, but a silent poet to thee, o Helsinki,
Who am I to have, but such reminiscent little words of me.
To have and have not visions, the one found in my rhymes;
To writ and writ not again, as speech may haunt me,
To hear and hear not words, as thoughts come to follow,
But to read and writ again, as dreams decipher my verse.
To discharge all epics unreal, whilst they are sublime,
To emit all that remains, all visible and verbal emotions,
May I be absorbed in all my wonderings, and my dismay;
To be with the Northern Light, and the vanished world of days.
Esmena Valdés May 2019
poetry don't work for anyone else
like to the desperates
who do not find peace in world
and it lacks equanimous beauty to the terrible
to agony
what is wrong
disfigured
deranged
forgotten
poetry is the cradle of crazy
that beyond philology
they look for a motherly hug in words
poetry is not a show
it's the very current of life
and you can see the roots when walking
it's erring from being in being
recreating again and again
in its metamorphosis
poetry is the sweet song of mythological beings
something that we do not see but in which we believe
a spell
a contraption
between paths that slopes
and plunges without rest
Hear

Bozhidar Pangelov&Vania; Konstantinova/In Memoriam/

Under the Coat of Arms

In Malta, in the ancient walls
is beating the sea so salty.
Somewhere behind,
distant,
hidden
are shining through southern almonds.
There is no moon.
The light is illuming
herself
in the pearl of your eyes.
Harmonious.
Without gunshots
of the squadrons by Lepanto.
The falcons on the coat of arms fall asleep,
never wanted,
in honor
and dignity.

Vania Konstantinova

Behind the Gates

Behind the gates
of Mdina I hide you,
far of any nemesis,
of foam and stretched sails.
Behind the towers of the castle.
In the most inner yard.
Under the spurts of the cascade,
more precious than silver.
Here they see only
the eyes of the peacocks,
whisked their tails
for cooling.
Keepers of the secret
with their tongues wrested.
And when your brush sculptures
the bracelet around my ankle,
reflected in Venetian mirror
like a trap –
I forget who you are and the sin
with head chopped off,
I forget about the death …



Vania Konstantinova was born, in Sofia. She graduated Classical Ballet in
her native town and in Petersburg as well as Polish Philology in Sofia University and
Jagiellonian University, Krakow. She's co-author of the poetic book Four Cycles (along
with Bozhidar Pangelov). Her collection of short stories Thank You Mister One is published
in autumn of 2008. Death 2015
http://www.public-republic.com/vania-konstantinova
Vania Konstantinova was born, in Sofia. She graduated Classical Ballet in
her native town and in Petersburg as well as Polish Philology in Sofia University and
Jagiellonian University, Krakow. She's co-author of the poetic book Four Cycles (along
with Bozhidar Pangelov). Her collection of short stories Thank You Mister One is published
in autumn of 2008. Death 2015
http://www.public-republic.com/vania-konstantinova
smallhands Aug 2014
Dramatic- reacting to the little noises and imperceptible infractions of the loveless law

-cj
Johnny Noiπ Feb 2019
There are higher birth rates in war zones
because a peaceful society has no surplus
Philology is the study of language in oral and written historical sources; it is the intersection between textual criticism, literary criticism, history, and linguistics.
Universe Poems Feb 2024
Philosophy my love
Well-being of humans
Nature’s biology
Ecology
Scientific no apology
Nature's anthropology
Philology uncommon linguistics,
but nature’s language is one
Every human and animal,
is nature's daughter or son

© 2024 Carol Natasha Diviney, Ph.D.
Qualyxian Quest Jun 2023
local, walking local
basketball in the park
Black family reunion
Missing my friend Mark

gratitude for work
X2 once again
New exomoons
San Francisco Zen

But local now for me
Mostly quiet little town
The Cremation of Sam McGee
Bball, Bobby Brown

Philology
Yes, I believe it so
One man in the forest
One man in Reno snow

               37 below
Qualyxian Quest Apr 2023
Not a lotta hope at times
And Dread Annihilation
But persistence, placements
Dailiness, dedication

Philology
That's a good word!
Nietzsche
Tolkien too

Snowfall Shunyata
Kamakura Buddha
Lost in Translation
Found inside U...

            U2.
Qualyxian Quest Jun 2023
Mu
I got this persistent wish
For the extraordinary, the amazing, la Grand
But my actual life is ordinary, boring
Brown sand

She emailed my wife
A good thing
Maybe help
Maybe band

Those temples in Kyoto
Bells
Kells
I Wanna Hold Your Hand

Can't stop writing
Philology
Mu
Japaned

                  Arigato, Rieko!

— The End —