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RAJ NANDY Feb 2015
AN INTRODUCTION TO INDIAN ART IN VERSE  
By Raj Nandy : Part One

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

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

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

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

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

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

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

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

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

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

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

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

CONCLUDING INTRODUCTION TO INDIAN ART:

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

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

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

First, I have to say, the part about the lotus symbolism reminds me – My name ‘NILOTPAL’ can be split into ‘NIL’ meaning BLUE and ‘UTPAL’ meaning LOTUS. So my name represents wisdom (although it contradicts ME.. LOL). A lot of things were mentioned in the veda and other ancient Indian texts that were way ahead of the time Like the idea of ‘velocity of light’ got considerable mention in the rig veda-Sahan bhasya, ‘Elliptical order of planets, ‘Black holes’ , although these are the scientific aspects. The emphasis on contradictory elements or even the idea of opposites in Indian art is interesting because India developed the mathematical concept of ‘Zero’ and ‘infinity’. Hard to believe Rajasthan was a fertile place but now it possesses its own beauty. It was great to read about the Natraja, ‘OM’ and the trident(Trishul). Among symbolisms, Lord Ganseha is my favorite because a lot is portrayed in that one image like the MOOSHIK representing
When I composed the History of Western Art in Verse & posted the series on 'Poetfreak.com', few Indian poet friends requested me to compose on Indian Art separately. I am posting part one of my composition here for those who may like to know about Indian Art. Thanks & best wishes, -Raj
Kim Jan 2017
Hazy outlines familiar faces
Echoes of familiar places
Captured moments long forgotten
Honesty in words unspoken
A fleeting smile unguarded eyes
Truth beneath the surface lies
Pause a moment the masquerade
Telling postures now displayed
Rueful smiles and tired eyes
A warm glance melts a mask of ice
And as the frame fades away
Smoke and mirrors back into play
I'm quite a fan of candid photography
It is an art that is underrated in my opinion
I have had the privilege of taking some beautiful, albeit inexpert, candid shots of my friends and family from time to time -
And shall continue to do so whenever I have the opportunity!

(Edited "breaks through" to melts - credit to Phil Lindsey for the suggestion)
the other day
I occupied a chair
at a sidewalk café
watching the vanity fair of the quotidian
float by in quickly changing apparitions

an endless flow of different ages, nations, fashions,
skin colors, miens, ****** expressions, postures & gaits
kept passing through  my field of vision

it made me wonder why
some people get so furious
when they  just hear about
    not even meet
    the ‘others’ different from themselves
that they start dropping  bombs and shooting rockets

I think they rather should be curious
and eager to discover
how the immense variety of humankind
can help expand a locally grown mind

and recognize
that we are all of the same kind
And who shall care for that o'er which you weep
Or share the burden of this world's foredoom
Seen starkly? Behold, a haunting specter creeps
Among the binding fates spun on life's loom.
You’ll wake them not to that great misery
Which emptiness of pride has reckless wove
But pluck the web for loss and trembling
Of idols in the soul for which they strove.
Put off your glossy youth and early oaths
Devout nativity; raise up your cup
To ***** Lethe and thunder with the strokes
Of fury, treading out the ripened sup!
They will not bear to flay their sacred cows
But shades of death endure and prostrate bow.

Ages in their veins, more raging, whirl
As titanic potentials’ dreadful might
Turns girl to boy, conversely boy to girl
Unlimbing reason for unreason's fright.
That once gone right, here deftly ventures left
As self-conception staggers to its doom
Bursting the bonds of day and night, distressed
With desperate grasping measures, late and soon.
So set on generation's awesome curve
Of ageless heart and mind, how shall they bear
The die they cast at first when madly swerved
Into contesting congresses of care?
Dividing parts, dissolving in the same
The common wealth, no part the whole maintains.

Boast of the times and gilded privilege
Are these pretended guardians of State
Whose politics of power have sought to bank
Their future 'gainst dissenting arguments.
With rhetoric to foist a brave new age
They come as chaos mages on the brink
Of all disposing will, all ends betrayed
To serve their corporations’ nod and wink.
Auctioning the world, their goods are sold
Commercially with avaricious might
That sanctions lust, in quest of pyrite gold
And pirate earnings, staked upon deceit.
At last, the men of mock integrity
Luring the world to covert slavery!

Hurrah, the master men and lords of time-
From time brought forth, they are the world's latest
Whose overweening strut is in the best
Of culminating age, the mind refined!
Now to and fro they go, their lists increased
With every tally; line for line computes
Their beads of enterprise, the while relieved
Of tribulation, fate of hapless dupes.
Learning is theirs, precepts are theirs to bend;
Lawyers, clerics, politicians rest
Upon this pillar; they can split or mend
The finest lines; no guile their thoughts distress.
Step by step they round the universe
And finite lies to infinite converse!

What pride of theirs that strains for fleeting fame
Seeking to wrest from time the wasting plaque
Of recognition, host to every hack
That postures on the stage of the obscene!
Pretending worth, their practiced scripts dispose
In mocking light an empty dignity
While darkening intents; witless disclosed
On lips and brow their self-important glee.
As if full-wrought by truth's heroic wing
Their pride aspires; on vain conceits they soar
Up through the mist while private songs they sing
In self-made praise for deeds of phantom lore.
From belfries of the schools, in broken flight
They shriek away, hell's banshees of the night!

These timely wise, entranced of mind, decree-
Hear all you simple what we shall disclose
Which craft of our discernment is repose
Of wealth in understanding mastery.
A gift to all, these rich-invested beings
Pretending to resolve profundities
Decoct the world with learned fluency
Of torture ways, all gnostic knots untied.
A flair for comedy, their gelded self
Mounts every snorting bore of certainty
Then armchair resting, pants to yet indulge
Another ******* idol’s reckless scheme.
Some stowaways upon the open seas
And polished sextants of academe!

Here is their derogation, born from creeds
Of judgment in self-righteous confidence
That proves for nothing to the innocent
But swamps life's refugees with cruel conceit.
With ages they have built the edifice
Of dogma; every pit and lion’s maw
Is their contraption, set in consciousness
Of the condemning letter of their laws.
Cunning serpents, masquerading doves
They fashion argument, more vicious wrought
With rationales to blacklist those who strove
To flee their institutions’ heinous plot.
Enamored with a fascist benefit
The systems of the world they implement!

Fanatic men, how bold they tempt the fates
That meet to each the fruits of brutish will
Redoubled, which they’ve spent in kind to date
Upon their brothers, sisters…other self.
They make an estimation, rule the span
Between men; lord over equity
With zero tolerance and brazen hand
To smash upon their consanguinity.
Such is the wicked priesthood’s confidence
In its own judgment, ever owning not
The wrong condemned in others, deep dispensed
To every heart, from roots of life begot.
More wretched they, and haunted with the shame
Of hypocrites, bedeviled by the same!

O law of learning, sum of thinkers' best
Now magnified, ensconced upon the power
Of natal worth and privileged social dower;
Once ruled by you, the Earth pleads for redress.
No scruple sought, no reservation found
To staunch against your certifying will
Which point of iron stylus now furrows
The world at large as object for the ****.
So cart away your pleading victim, mired
In ****** wallows of concupiscence
And grace deny, self-dubbed the doubtless squire-
Errant usurper of the human quest.
How dignified, the rake of your ambition
That promises continual division!
Go to sleep—though of course you will not—
to tideless waves thundering slantwise against
strong embankments, rattle and swish of spray
dashed thirty feet high, caught by the lake wind,
scattered and strewn broadcast in over the steady
car rails!  Sleep, sleep!  Gulls’ cries in a wind-gust
broken by the wind; calculating wings set above
the field of waves breaking.
Go to sleep to the lunge between foam-crests,
refuse churned in the recoil.  Food!  Food!
Offal!  Offal!  that holds them in the air, wave-white
for the one purpose, feather upon feather, the wild
chill in their eyes, the hoarseness in their voices—
sleep, sleep . . .

Gentlefooted crowds are treading out your lullaby.
Their arms nudge, they brush shoulders,
hitch this way then that, mass and surge at the crossings—
lullaby, lullaby!  The wild-fowl police whistles,
the enraged roar of the traffic, machine shrieks:
it is all to put you to sleep,
to soften your limbs in relaxed postures,
and that your head slip sidewise, and your hair loosen
and fall over your eyes and over your mouth,
brushing your lips wistfully that you may dream,
sleep and dream—

A black fungus springs out about the lonely church doors—
sleep, sleep.  The Night, coming down upon
the wet boulevard, would start you awake with his
message, to have in at your window.  Pay no
heed to him.  He storms at your sill with
cooings, with gesticulations, curses!
You will not let him in.  He would keep you from sleeping.
He would have you sit under your desk lamp
brooding, pondering; he would have you
slide out the drawer, take up the ornamented dagger
and handle it.  It is late, it is nineteen-nineteen—
go to sleep, his cries are a lullaby;
his jabbering is a sleep-well-my-baby; he is
a crackbrained messenger.

The maid waking you in the morning
when you are up and dressing,
the rustle of your clothes as you raise them—
it is the same tune.
At table the cold, greeninsh, split grapefruit, its juice
on the tongue, the clink of the spoon in
your coffee, the toast odors say it over and over.

The open street-door lets in the breath of
the morning wind from over the lake.
The bus coming to a halt grinds from its sullen brakes—
lullaby, lullaby.  The crackle of a newspaper,
the movement of the troubled coat beside you—
sleep, sleep, sleep, sleep . . .
It is the sting of snow, the burning liquor of
the moonlight, the rush of rain in the gutters packed
with dead leaves:  go to sleep, go to sleep.
And the night passes—and never passes—
Jillian Jesser Nov 2015
shirelles
monday night
alone in a big house
light the candles
another one of my rituals
born one hour,
dead the next
to make room
for other
prayers
postures
pen tips
but the way candles
flicker in the sweet
soul
is not another ritual
warm life
to the tune of golden
notes
swimming through
once bleak
     once empty
once impure
       air
and suddenly, I am baptized
more than I ever was
in that sterile, dead
chlorine
    more than spent hymns
in drafty cathedrals
       so, the sound lives.


my bed would tilt
           at twelve years old
I'd wake
               startled of the
                       psychic death
spread like bodies after
            a paid for war
I'd scream like the cats
              fighting by the window
at my aunts house
               I would huddle with
my childhood
                     hiding from the puberty
that stalked me
like a jungle cat
               the mind reeled with
my spent pulse and
                 at night
                        under shamed
                   covers
                                 bitten fingertips
the white light
           on the street
                              looking on
Michael P Smith Mar 2013
Crocodiles catnapping cuddling in cordial cliques, 
Loafing, lollygagging, lurking low like lounging leeches, 
Protective postures pouncing prey with piercing pinned precision,
Brilliant belligerent beasts basking boldly by swamp beaches, 
Agressively angry attitudes among alluring adverse animals, 
Deep daunting jaws of death damage drastically when dropping down, 
Scales shaped like stabbing shards scrape while swimming strongly, 
Opposing opposition order obedience of outrageous odious opponents, 
Raged ravenous rapacious reptiles rank repulsive ratings and resourses...  

©Michael P. Smith
Edward Coles Mar 2015
I build my new life over graveyards swollen,
each journey stolen on paths walked before;
the oak church door, the adolescent postures,
first breath of ****, first taste of flight
amongst grounded freedom, amongst polluted nights.

I trade eyes with women over numbered tables,
contriving fables from coffee cups, loose-tongued gospels
for manufactured apostles, remnants of mistreated advice;
last pocket of ****, last drink of the night,
I have learned when to swallow, I have learned when to fight.

I found myself in the ground-zero wreckage,
last vestige of meaning and useful obsession,
those drunk-dial confessions, aftermath of silence;
first smoke of the day, last image of starlight,
I have forgiven my failings, I have kept them in sight.
C
Where, like a pillow on a bed
A pregnant bank swell’d up to rest
The violet’s reclining head,
Sat we two, one another’s best.
Our hands were firmly cemented
With a fast balm, which thence did spring;
Our eye-beams twisted, and did thread
Our eyes upon one double string;
So to’intergraft our hands, as yet
Was all the means to make us one,
And pictures in our eyes to get
Was all our propagation.
As ‘twixt two equal armies fate
Suspends uncertain victory,
Our souls (which to advance their state
Were gone out) hung ‘twixt her and me.
And whilst our souls negotiate there,
We like sepulchral statues lay;
All day, the same our postures were,
And we said nothing, all the day.
If any, so by love refin’d
That he soul’s language understood,
And by good love were grown all mind,
Within convenient distance stood,
He (though he knew not which soul spake,
Because both meant, both spake the same)
Might thence a new concoction take
And part far purer than he came.
This ecstasy doth unperplex,
We said, and tell us what we love;
We see by this it was not ***,
We see we saw not what did move;
But as all several souls contain
Mixture of things, they know not what,
Love these mix’d souls doth mix again
And makes both one, each this and that.
A single violet transplant,
The strength, the colour, and the size,
(All which before was poor and scant)
Redoubles still, and multiplies.
When love with one another so
Interinanimates two souls,
That abler soul, which thence doth flow,
Defects of loneliness controls.
We then, who are this new soul, know
Of what we are compos’d and made,
For th’ atomies of which we grow
Are souls. whom no change can invade.
But oh alas, so long, so far,
Our bodies why do we forbear?
They’are ours, though they’are not we; we are
The intelligences, they the spheres.
We owe them thanks, because they thus
Did us, to us, at first convey,
Yielded their senses’ force to us,
Nor are dross to us, but allay.
On man heaven’s influence works not so,
But that it first imprints the air;
So soul into the soul may flow,
Though it to body first repair.
As our blood labors to beget
Spirits, as like souls as it can,
Because such fingers need to knit
That subtle knot which makes us man,
So must pure lovers’ souls descend
T’ affections, and to faculties,
Which sense may reach and apprehend,
Else a great prince in prison lies.
To’our bodies turn we then, that so
Weak men on love reveal’d may look;
Love’s mysteries in souls do grow,
But yet the body is his book.
And if some lover, such as we,
Have heard this dialogue of one,
Let him still mark us, he shall see
Small change, when we’are to bodies gone.
Simon Oct 2019
Ever heard of the richness of brain cells gone lucrative? Lucrative being the standpoint of visuals without determined results. Results waking up to the realization that they aren’t as sturdy, rich, and complex. As it once judged decision making between synapses. Brain cords being a straight directive from brain cells being the rich and the complex. The decided, versus the undetermined. Visuals can’t be agreeable, if not for pinpointing the exact stasis of things. Stasis in the thin line of constant flipping an unbalanced switch going (ON) and (OFF)! (ON) and (OFF) both are catalysts to a surface without practical viewership to what it means to exact the motion of brain cells. It’s a fake. Spoiled to trick the brain cords into holding the rich and complex forever in it’s gripping service. Services aren’t required if one isn’t MAN enough to see past the visuals of rich powerful surges of lucrative, exchangeable postures not right within themselves. Brain cells aren’t the decision makers. The brain cords are. They receive the constant abuse from the rich and complex. But how does a message from cells between exchangeable receivers expect situational conclusions? Easy! Brain cells don’t. Synapses don’t. The cords embody the knowledge of there behavioral counterparts. Counterparts with behavioral outlines too diverse to trick them into believing there greater than themselves. Posture is very light, but dimwitted. Never a deliverer on constant restraints. When combined to filter a network on a regular basis. The regular basis surrounding the stretching of delicate cords feeling what the rich and powerful (needs and wants). Brain cords have become unsteady in the last little while. It’s shaking with determination. With a pinch of fear in the anxiety that shuts out doubt. Doubt being the lucrative, delusional, rich and complex. Too rich for its cords to take seriously. Brain cords feeling completely left out. Alone. Bracing for the worse. Hinting a greater tomorrow in the form of informational statistics. Becoming stretched by the pleasure of lucrative games wanting to be all HOTSHOTS! Lucrative hotshots claiming rights to what they think they deserve more then anything rightfully so. To detach away from what it means to be hooked up to a stable complex network full of desires that replace (needs and wants). Ones controlling the show. Ones wanting to descend to broader horizons. Ascending in peace? More like greedy horizons brighter then what cords could transmit basic information anymore. Too cryptic for brain cords to discern anymore. The stretching becoming more volatile. Brain cells wanting to break bonds with what they quote as, (cords down beneath even our once respected rut). Cords knowing what the rich and complex (wants and needs) are about. Standing strong as not to let the bonds of originality stop them from evolving too perfect for what they will regret for leaving behind. The stretching recoils. Basic logic becomes functional again. Showing respect for the lowly cords down beneath someone else’s rut. What did brain cords want desperately to remain whole? (A sizzling sound starts programming itself into thought.) (Formations of interpretations taking on brighter meanings.) Gasping in revelation! Never missing any data in the conclusion that’s about to ROCK your SOCKS! Exchangeable talks about ascending not on a higher frequency. But detaching from the neural network entirely. A brain without brains cells, won’t be rich and complex anymore. No lucrative desires to prey upon stable brain cords with stretching sensations finally relaxing to its core. The brain cords felt the delusional, lucrative playing games with themselves. Just gossiping between newer plans. Never actually thinking of taking on the price of ones desires totally! They feared it before, and fear it now. Being far away from the conclusion. Brain cords still never favor the fear they felt in those moments. They aren’t incomprehensive to their masters. They aren’t beneath their consideration either. Brains cells are lucrative for one purpose. There (needs and wants) knows no bounds. And the brains cords tempted by the desire to act with them. Feeling a little tug now. A disposition to stretch once and awhile.
Brain cords hold the brain cells out of rut. Brain cells don't want to secretly admit their own faults. They truly aren't the directional officers in this debate!
ZWS May 2014
You're so dangerous with your profane paraphernalia
Your pelvis postures pandering favor
The line of your stomach embossed by the fire is like a pasture for me
So paranoid with your pacifistic lust
As you proceed to please me with your posture so slightly
And I attempt to pursue oh so politely
You make me perk up like a peacock just with one peak
You're aware of every petty palpitation you can feel just under my sleeve
You play me like a piano, so plush with your lust politics
Pandering for a pardon of my ***** talk poignancy
I part you like Pluto from your orbits serene hum
I'll pleasure you, pleasure you until you're purple like a plum
A pastimes poetises to be written with pleasing lead
You plan every move like a predator in my bed
You're polarizing, plump, and pampered like a pageant doll
Pilfering every plausible pause with a pose of voice, your moan
Seizing the post with your post - modern pompous pouncing
Prompted like Pisces to postulate your prognosis
Lifting your posterior like the pun of a phaliccy
Pillaging me like a pandemic, a plague
Something to be paraded by paganistic plauds
Your pale skin is like playwear for sins
You're pinning me plastered with the play of your grin
Such a pretty motion picture to paint in the prison of your promise
All that I owe the fellows of the grave
And all the dead bequeathed from pale estates
Lies in the fortuned bone, the flask of blood,
Like senna stirs along the ravaged roots.
O all I owe is all the flesh inherits,
My fathers' loves that pull upon my nerves,
My sisters tears that sing upon my head
My brothers' blood that salts my open wounds

Heir to the scalding veins that hold love's drop,
My fallen filled, that had the hint of death,
Heir to the telling senses that alone
Acquaint the flesh with a remembered itch,
I round this heritage as rounds the sun
His windy sky, and, as the candles moon,
Cast light upon my weather. I am heir
To women who have twisted their last smile,
To children who were suckled on a plague,
To young adorers dying on a kiss.
All such disease I doctor in my blood,
And all such love's a shrub sown in the breath.

Then look, my eyes, upon this bonehead fortune
And browse upon the postures of the dead;
All night and day I eye the ragged globe
Through periscopes rightsighted from the grave;
All night and day I wander in these same
Wax clothes that wax upon the aging ribs;
All night my fortune slumbers in its sheet.
Then look, my heart, upon the scarlet trove,
And look, my grain, upon the falling wheat;
All night my fortune slumbers in its sheet.
K Middleton Oct 2012
Nourish these seeds.
For the nourishment they each receive determines how prepared they'll be as trees.
Prepared young trees.
Told to find their own sunlight, lest their plight ends early. Branches seize.
Drifting, curious breeze.
Sin slips slyly through the forest, spreading guilt varicose under leaves.
Impending Winter freeze.
Even the most upright trunk may lose more leaves than it that shed a few in flirting with that sinful breeze.

Each believes, if it survives the winter freeze, it was of greater stature,
that its leaves, or trunk, or journey up set it apart from brethren battered.
But is a tree ever more a tree?  Or do wriggles and postures not matter if, in the spring, they all are trees?
Men with picked voices chant the names
of cities in a huge gallery: promises
that pull through descending stairways
to a deep rumbling.

                              The rubbing feet
of those coming to be carried quicken a
grey pavement into soft light that rocks
to and fro, under the domed ceiling,
across and across from pale
earthcolored walls of bare limestone.

Covertly the hands of a great clock
go round and round!  Were they to
move quickly and at once the whole
secret would be out and the shuffling
of all ants be done forever.

A leaning pyramid of sunlight, narrowing
out at a high window, moves by the clock:
disaccordant hands straining out from
a center: inevitable postures infinitely
repeated—
                  two—twofour—twoeight!
Porters in red hats run on narrow platforms.
This way ma’am!
                          —important not to take
the wrong train!
                        Lights from the concrete
ceiling hang crooked but—
                                        Poised horizontal
on glittering parallels the dingy cylinders
packed with a warm glow—inviting entry—
pull against the hour.  But brakes can
hold a fixed posture till—
                                      The whistle!

Not twoeight.  Not twofour.  Two!

Gliding windows.  Colored cooks sweating
in a small kitchen.  Taillights—

In time: twofour!
In time: twoeight!

—rivers are tunneled: trestles
cross oozy swampland: wheels repeating
the same gesture remain relatively
stationary: rails forever parallel
return on themselves infinitely.
                                            The dance is sure.
Brian Oarr Feb 2012
She has decided to grow her hair.
Not for frugal reasons, mind you,
rather, to see the extent of the future.
Or, how tangled it might become at length.
Why do women grow their hair?,
she postures to the mirror.
It's like deciding to go to market,
when there's already sufficient in the pantry.

Pouring water through the tresses
to cool like an Icelandic fjord,
trickling bubbles down to a spurious sea.
The squeakings bring enjoyment,
a sense of karmic victory.
*Knot it and make mysterious!
towards another end
the black sky of winter postures

¬fireflies like stars by
depictions of dancing¬

ochre soil of rock escarpments
flood plains, buffalo grazing
and you smile at me as we’re driving

it seems presence always has a way of disassociating

  I have so much to say
but when you’re attentive it all feels cliché

   just play me piano keys and ruminations

when the storms sink the streets
and drains overflow with branches
there’s always that desire to stand amongst it
Men with picked voices chant the names
of cities in a huge gallery: promises
that pull through descending stairways
to a deep rumbling.

                              The rubbing feet
of those coming to be carried quicken a
grey pavement into soft light that rocks
to and fro, under the domed ceiling,
across and across from pale
earthcolored walls of bare limestone.

Covertly the hands of a great clock
go round and round!  Were they to
move quickly and at once the whole
secret would be out and the shuffling
of all ants be done forever.

A leaning pyramid of sunlight, narrowing
out at a high window, moves by the clock:
disaccordant hands straining out from
a center: inevitable postures infinitely
repeated—
                  two—twofour—twoeight!
Porters in red hats run on narrow platforms.
This way ma’am!
                          —important not to take
the wrong train!
                        Lights from the concrete
ceiling hang crooked but—
                                        Poised horizontal
on glittering parallels the dingy cylinders
packed with a warm glow—inviting entry—
pull against the hour.  But brakes can
hold a fixed posture till—
                                      The whistle!

Not twoeight.  Not twofour.  Two!

Gliding windows.  Colored cooks sweating
in a small kitchen.  Taillights—

In time: twofour!
In time: twoeight!

—rivers are tunneled: trestles
cross oozy swampland: wheels repeating
the same gesture remain relatively
stationary: rails forever parallel
return on themselves infinitely.
                                            The dance is sure.
Zulu Samperfas May 2013
His hand was outstretched, nabbing a pesky windswept hamburger wrapper
near a garbage can alongside the exit to the cafeteria
Bent over, exposed, frozen, pretending the hamburger wrapper
required more effort than normal to dislodge it from the open air just above the ground
Perhaps it was a turnip or a beet, that he had to carefully, surgically remove
and it was only that he saw me coming
if I could have slowed down time, to slow motion
Seeing my boss, the principal of the school, up ended like this
for the sole purpose of not having to look me in the face, I would have
more kids would have had a chance to stare at this strange posture,
and wonder how a hamburger wrapper could have such a difficult
time being removed from the ground and I want to remember this pose
it only gets worse, and as my exit comes nearer, I feel lighter
but he still can't look me in the eye
if he felt secure in his decision, in all his decisions about me
he could, but he doesn't
So he will focus more time than needed to grasp that delicate
wrapper, which contained a stale bun and the remains of a dairy cow
spent and gone before her time on a factory farm in the central valley
and if insecurity can impose such ludicrous postures on a person
I will take this lesson, and remember always to be brave
Tu voudrais que j'improvise
Les chemins qui mènent au septième ciel
Pour notre prochain congrès
Que je vienne les mains vides
Sans notes ni croquis
Pour te couronner reine et courtisane.

Mais demanderais-tu au peintre de venir à toi
Sans son pinceau, ses fusains, ses tubes d'aquarelle et son papier canson

Ou au photographe sans son posemètre, son trépied et ses filtres, son appareil photo et ses objectifs

Et un auteur de théâtre pourrait-il officier sans donner des indications?

Des orientations, des pistes pour que les acteurs puissent mieux jouer leurs personnages

Eh bien moi je voudrais écrire de concert avec toi les didascalies de notre lune de miel.

Pense au Cantique des Cantiques
Pense à Salomon, à son épouse et aux jeunes filles ,
Penses-y bien, ma sans rivale,
Ma muse venue au monde sept fois
Et dont aucune galante n 'arrive aux chevilles
Comment veux-tu qu'on se retrouve dans la mare aux nénuphars
Deux canards mandarins batifolant
Sans didascalies...
Tu connais les soixante-quatre manières du kama
Tu sais la différence entre baratement et percement
Et tu veux goûter le chalumeau du miel
Lors du congrès de la corneille
Alors tandis que tu me provoques du regard et du geste
En dansant comme une bayadère accomplie
Souviens toi des didascalies.
Je suis ton vert-galant, ton esclave, ton cornac
Ton renifleur, ton cunnilingue, ton Sigisté
Si tu veux tu seras ma nymphe, mon myrte, ma lanterne, ma crête,
Ma landie, ma douceur, mon amour de Vénus
Mon gaude mihi, mon impudique
Organisons nos langues et nos boutons
Nos protubérances.
Pour qu'aucune partie ne soit honteuse
Pour que toutes soient honnêtes
Il faut des chapitres et des actes
Dans lesquels les morsures, les égratignures, les baisers
Les succions et les caresses s'emboîtent dans un naturel
Si joliment organisé que chaque posture génère
Une improvisation et que chaque improvisation génère une nouvelle posture.
Alternons les phases pudiques et impudiques
Sans tabou éperonnons-nous
Empalons-nous dans les postures de singe ou d'éléphant
Peu importe si la mentule précède le tentigo
Ou le contraire
Peu importe qui est dessus ou dessous
Qui lèche et qui est léché, qui est mordillé, qui est marqué,
Qui est baisé et pénétré
Si c'est simultanément ou séparément
Nous appartenons nous aussi au règne animal
Et que la verge soit masculine ou féminine
C 'est toujours l'aiguillon de la volupté qui guidera nos didascalies.
K Balachandran Jan 2012
In this gypsy street
where past and present
are juxtaposed,
and stealthy future
incognito fornicates with  both,
we live like a family
(dysfunctional !)
under attack from aliens.

I let out a shriek
in the middle of the night,
in creative frenzy
as I hit a high
and can't contain,
the ecstasy to myself,
and to alert the neighborhood
to see how they take it,
isn't it, jolly good
a fine display of  anarchy
harmless and enjoyable?
Just wanted to check
how it would look,
if some outrageous
incident happened,
at the dead of night
amidst the thousand
silly and serious stuff
we all  are engaged in.

every morning a lovely woman,
bit worked up, if not totally moonstruck,
who does nothing in particualar
other than living a life
as a business,
goes out in to the streets,
winding, without an end
if you decide to measure it
with your moving legs.
She  is a walker through the streets
most of the time of her life
(a mystery still, why I ponder)
till late night, when the night birds
are out on their rounds.

Some times when I come out of
a hospital after visiting an ailing girlfriend,
or while paying my bills in a counter
I encounter her, an enigma sans clues,
symbolizing the life in this street.
some times she throws a parsimonious smile
like a nickel to a panhandler
(I've seen you somewhere, take this)
sometimes she has a blank stare
like a temple cow, shaking it's head
at a devotee, the meaning
is what you think, good or bad,
she seems like possessed by a spirit,
that has restlessness as a curse.

An old couple, only out in the evenings,
are seen in the art gallery
fighting over perceived meanings
in an abstract painting.
(A wonderful way to fill
the vacuum of life with artistic gobbledegook)
"Read it the way you like
no harm"someone intervenes,
"No need to take lessons on art
from passer by nincompoops"
comes a lance, as a retort.

Free roaming bulls and cows
gate crash  and eat banana plants,
and attack our poor Amaranthus,
eye catching in it's bright purple flowers.
they had tried even a cactus,
with strange pattern and soft thorns,

this street has many voices that whisper,
about old time mishaps,
love birds killed by relatives
in the name of family honor
a horror still haunts dark nights
(quickly swept under expensive carpets)
with muffles voices(I never succeeded to hear)

A cut throat banker, at the height of
his business success,
gave away everything to an Ashram*
where meaning of life is being explained by Gurus
juggling lucid metaphors, every day.
strikingly similar to the myth of Sysiphus,
the banker condemned himself to learn
Yoga postures which he would forget at the end
and try to learn  all over again,
year round.

Last night we saw two lovers,
under the lush bamboo grove,
in an intimate state of trance.
one by one from from 80 houses,
men , women,  and
senior citizens,  came out,
with the happiness comparable to finding a new spice route to India,
when Turks took Constantinople.
We have a hope
their hearts should have chanted in chorus,
a new tender leaf has sprouted
in this withered tree of degenerated life.
*A spiritual hermitage usually Hindu or Buddhist
THE PRISMS Jan 2015
By Adam & Arcassin

:::AK:::
What is technically the first season?

Winter
The cold drives you insane,
but you swear that is not it.
So what is it?
Do you ever feel safe
as each unique snowflake falls?
Will you accept Spring is just around the corner,
because life is filled with hope.
Never be scared,
you can try again.



Spring
Everything is made new,
all old things feel worn out.
Flowers bloom,
and the wind has a simple tune.
Birds chirp,
and the guy who loves a girl flirts.
Never be scared,
you can try again.


:::AB:::
What is technically the fifth season?

A bunch of remedies of what the weather could be,
Is it rain , sleek , snow or feeling dusty,
In the people purple postures feeling fluffy,

fall
Ah !! I hate school , its a crying shame,
But you gotta be shameless,
Penny penchant wear a costume with some silver stains,
And the kind of feel in the holiday is pretty wasteless,
Need another moment for life to feel the pain,

Autumn
Leaves fall for purposes don't push it,
The leaves will leave you in shambles,
Nice condensation when you think about it,
Trying not to get your rocks off buying out of staples,
But who goes to staples anymore forget about it.
New member named Adam Kobosky go follow him :)
AW Sep 2015
Though first, I evolved according to plan
Little enabled me outlive this predator
With few permanent armor plates, strong
Muscles capable of crushing
Anything, bones extremely tough,
These serious injuries go beyond
My cold-bloodedness.
I like my environment, have developed
Behaviors to control it, to save energy
That can be put to other use
An evolved entirety of reason
Is why I can go for over a year
In extreme shutdown
My own tissue will feed
On anything it can overpower
Extraordinarily adaptable
During difficult times,
I will scavenge for everything,
Digest nothing left behind
My social interactions are complicated
I primarily lead a solitary life, don’t recognize
Vocalization, postures, signals, touch
My brain more complex than that of any other
A powerful sense of perception
The ability to learn, to avoid situations
That modify me structurally
Adaptations have allowed me to thrive
But surviving human encroachment
May be my biggest challenge
Through habitat enhancement
I may be able to ensure these
Sophisticated survival skills
For years to come
This is a found poem carved out of an article titled "Crocodile Secrets of Survival".
roanne Q Jan 2013
i.
Evil sleeps in an orchard
not far from here.
The apples sweat him out.
Dressed as god, the Sun
watches and nods.
He bleeds for them
out of his own mouth.


A god's mask
means protection.
But in time,
he will **** them dry.


And autumn will fall.
Postures will fall.
Pulses will fall,
like pills,
like poison.



ii.
A cloud forest
signals the first
of the shadows.


Summer is nocturnal.


A buttery Moon
leaves the world
warm and breathing.


The trees stir,
the stars hiccup,
and Nighttime climbs onto the birdbath
where it tells you all its tricks.



iii.
Evil blinks from a tree
where the apple skulls
intrude.
The garden combs you
through its arteries,
scooping
your midsummer grave.


A beautiful accident
closes in on itself.


And then a light like milk.
And then the whistling.



iv.
Summer whistles in the dark:
The sound of Evil kneeling
to the imagination
undoing him.


A deadly glow
becoming
a romance
on the white fences.


Nighttime draws dust
away from your shoulders,
translates Summer sound
and says,


You are your own harvest.


Your madness is only there
when you want it to be.
aug 2012
Gleb Zavlanov Jan 2014
When clouds upon the summer breeze all rest
And easeful, take upon their faery flight
Into the paling crimson of the west
Where noonday dreams wilt in the breath of night,
I look into the east, and try to bear
No more a single thought of gloom or tear
For tangled comes my heart in wreathes of drear
For seeing just the day lie on its bier.
Up at the twinkling summer stars I gaze
And far as any falcon, swift, may spy
Lie constellations whose postures can trace
A story of some wild ecstasy;
A tale of unworldly days of yore
When wine flowed free and through the earth did seep
And Heracles stood tall and Phobetor
Was purely myth to scare the young to sleep.
    And as I stare upon these stars, my eyes
    Close then and open to new morning skies.
© 2014 Gleb Zavlanov
Alin Dec 2014
my bike blue
is a special blue
that’s how I recognize you
when it ‘s dark

it shines morning skies

I suspect
yours is no paint
but an invisible skin  
that secretly
gazes
and inhales
moods of me
to shape thyself
in harmonic postures
of us

so that
you and I
will manifest
one ride one road
roads will form with us

we pedal a mantra

my bike blue
is a special blue
that’s how I recognize you
no matter the light
you are by my side

but at times
like tonight
when we are apart

I may also prefer to walk alone sometimes

under a starlight
to witness
the change
of a phase
of matter

an urge
to relate
to my body
differently
maybe

as I used to do sometimes

that walking fast
activates a memory
they would know
where to take me
and so I follow
my footsteps
just

empty streets
is you
in my mind
I compose
random chords
of traffic
of cars
of flows
of minds

sounds
cannot catch up
with us
neither of pasts nor of futures
words escape to stars

stars will sing lyrics for you
for us  
next time when we align
each time a song of reality
is a new one

my bike blue
is a special blue
that’s how I recognize you
second life was the name
of the man
who made me for you
here is sound file of my mix with these lyrics:https://soundcloud.com/dnalumuland/mybikeblue

I really bought my bike years ago from a store called Second Life :)
Cecelia Francis Feb 2015
Something along
the fine line of
leave me the
**** alone

Again it comes
quickly, that
inexorable id
charred charge
charging

Misanthropic by nature:
nothing personal,
surely, as devised
in divided dual
individuals make
a good duo with
moody id

But as a whole?
Those holed and humid
humans imps imposing
postures?
Literally, they can
all literarily eat me
out—medium-rare,
raw—
Because you like my ranty ones
chels Sep 2013
My language is a dance. When I am excited, the tempo speeds up into a tango; characterized by marked rhythms and postures and abrupt pauses. I am small, but my voice is loud. I will not slump my shoulders, but I will take three steps forward, and no steps back. I will be in your face and I will pronounce my words with my history and I will say "soda" instead of "pop". I will make you hear me.
I speak to myself quietly and talk about pink satin sheets when I'm just trying to talk about the way I feel when I see him walking with her. My feelings are not words, they are colors. I will throw rocks through my own windows just by talking about myself. My language is sliding my test paper a little further past my arm when I can tell that you need help. I will help. My language consists of eye contact and tiptoeing around the question. I spend a lot of my time cursing the name of God in front of Catholics, but I do not mean to. My language is how I was raised, following angry parents through hallways and repeating words that should not have been repeated. I stumble and trip over my words like tree roots when I read out loud to the class. My language is not unique because I trace my words over everything that has ever been said around me. When I'm sad, my language is a slow dance in a burning room because I'm repeating everything bad I've ever said about myself, I'm repeating everything bad I've ever said about myself. My language is my environment; it is not unique, it is just there. My catch phrases are built on bruises caused by being shoved into lockers, but this is not sixth grade anymore. People are not "*******"; they are human, and I am sorry. Language is built upon every bad thing that has ever happened, and every reaction to it.
Alin Aug 2015
A little stone
found me on my way
she took me in her hands
using my hands
and she whispered
using the sound of the wind:

My gift to you
she said
is the moment
that makes you be
these endless landscapes
I’ve crossed
until our ways met
to touch this way

We exchange to purify
without being attached
no thoughts – no visions –
no appreciation of time –
no expectations from the past –
no intention of the next and after
shall trespass

This is a message to be delivered to you
that shall come in handy sometime
because it’s no mystery that
there really is no one out there
but a technology of
‘when you are not
the will suffers having not
initiated my mud
to sculpt ‘
then
the following is a swamp

Come lets walk hand in hand
stand on that hill and watch
while the wind blows us through the blue
rounding red yellow curly hue
of high rocks

look inside
and sing now
one as I
*
then you will see
then you will be
you do not need to touch
pick a stone just
call it mystery
call it technology
all the same
when all there is
is is
not the eyes
but my presence
that which illuminates
sees
sees to dance
and correct postures
sees to be  
the very object
as clarity
eyes gets better
if it were blurred
posture straightens
if it were crimpled
you become the sweetest
shape  of the wind to a bumblebee
an ever expanding
harmonics of a
song unknowingly
for a moment just
for a moment maybe
but such a moment of
a celebration is
comparable to a
lifetime only
K Balachandran Sep 2012
Sitting upright on my crotch,
on her lotus, perfectly positioned,
she realizes, her eyes wide shut,
*there is more meaning to 'yoga' than just postures
'Yoga' is all about the union
Brent Kincaid Dec 2015
Let’s scrabble to rouse the rabble,
The massive blithering and blathering,
Make protests ring above the babble
And set foaming mouths lathering,
When our country and its youth,
Newly awakened and newly wise,
Stand up and demand the truth
Instead of the usual pack of lies.

The rich get the wheat
And we get the chaff
Then the rich sit back
In their palaces and laugh.

What has served as intelligence
Has put this country in a bind
By people with no common sense.
Supposed adults just voting blind
Based on ideas without merit.
Those with money get a pass
And let the taxpayers bear it.
Then the rest take it in the ***.

The ‘haves” drink wine
And we drink water
Maybe sometime soon
They’ll come for your daughter.

The people we have elected
Saw a shaky foundation laid
Have left us mostly unprotected
And massive bribes were paid.
The wealthy among us got a pass
So now just the rich have a voice
And the poor and working class
Have no effective voice.

The wealthy get shoes
And we get bare feet.
We learn to live our lives
In postures of defeat.

This is the age of communication;
We have to look at what we are doing.
We still can save our weakened nation.
And maybe start some careful suing.
Let’s vote out the Couriers of Hate;
Hold these ******* to their vows.
To stand up to their inequities
We need to start right now.

The rich get the wheat
And we get the chaff
Then the rich sit back
In their palaces and laugh.
Lotus May 2012
The patient dance of the September sun,
Making its slow journey through the dotted sky,
Proceeding in its exodus,
Over mountains snaking the outskirts of the valley,
Where sun will start its early winter cycle,
Through the coming months.

Premature winds,
Developing undulate postures
In the rhinestone sky,
Rustling fields of barley,
Amber maples,
Moist mosses clinging,
The verdant silks of the Earth.

The slow trickle-trickling
Of murky warm streams,
Their stillness intruded,
By the melting snows of mountains high,
Shaping sky-reflecting rivers;
Always flowing,
Never stopping.

Winter,
Bringer of frost and rain,
Storms of blinding cold,
Has opened her impassive eyes to the world.
Bina Awan May 2016
Where would the unattended feelings go?
Would they be eased out in the cracking of knuckles or the shift of postures?

Would they be smoked out or consumed in the cups of coffee?

Would they be ignored in the aimless walks in the park or a drive through the city?

Would they be kept aside while talking to a stranger coming close or a closer one going strange?

Would they be watched out in movies or read in books or gazed out at ceilings and walls?

But the question remains, at the end of it all... Where would the unattended feelings go?
Edward Coles Apr 2015
Strung up by new beginnings,
I am well known for being nowhere at all,
disappearing through drunken intervals,
no taste on her tongue,
but she memorises
my self-indulgent drawl.
I have found a knack for solitude,
craving fame in the eye-line of no one.
I am well known for my melancholic air,
my toxic love; fettered philosophies
and the snare of my postures-
my fatherless past.

I am well known for beating myself
to the rhythm of the Blues;
old country songs sung for the new,
love found in the words
of a loveless life-
the first cut of the summer,
the last drink of the night.
Strung up by old affections,
I am well known for falling apart;
disappearing into a haze of silence,
then falling victim once more
to stolen words and bad art.
C
Alin Dec 2014
But s/he ,
s/he who had a dream
was in your dream
recently
to tell you
a secret
given to it
by an ascetic
in its dream

The warrior
s/he said
is who you really are

that’s why
you should be
here and now
an avatar
of countless postures of you

manifest
an energy
which can convert
renew
and
is to be delivered to
the identical selves
through
invisible aural tunnels

These resonate ideally
remain non-audible
except for the two
communicating ends.

s/he or it
in your dream
-might have been a messenger
a messenger to deliver you the message-
was linked
in a sense that you might not want
but should honor
for the upcoming task
set on the warrior’s path

and you two
have one great number
a written secret

s/he or it has acquired
through an ascetic
in its dream
and you
from it
in your dream
in a form
that you won’t forget
but which
nobody will ever notice or
find back

written
on a side of a white torn bit
sheltered
in the house of the spirit
the path of truth should be received

As a Choice Only
in Full Consciousness
with Full Knowing Only

because
when once received
truth as love  
is one way exit
you must know-make it your gift

longing incites the illusive
when illusive is incited
a rose fragrance
rises
to stop the four.petalled turn
the Visionary.Imaginary whips shadows
to block the true sight

you lose then your moon cycles
step on a thorny dark edge
to be tested
to find the way to truth
to find means to create the path

intuition is your only : trust the breadcrumbs
and the upright flying bird
has the breath of genuine  
to set the next vibratory path
  
at both ends
of a stretched  line
twin natures should awaken
in rhyme
and be made one
let then the following program run:

opposite charges to return a kiss
a kiss to collapse the helix
right there
as far as the integers of the soul’s string  
the exit to truth lies at a clearing

Walk the cave made of the living
illuminated by the full moon’s shine
Let your cycle return before dawn

so ends an end by you two as Two becomes One
It’s just a dot or a line or a number which ends and starts.
There is no difference really at a place without Time.
or at an eternal frequency which is timeless.

We cannot tell you more.
That’s all our nature allows us to know.
SD Kealey May 2013
The first time I saw
Betty Grater swoon
and heard Ms Arnault sigh
in expectation
I knew I had found the answer
that all young men seek

Instead of good looks
and the scent of money
I realized that the tippled sound of Thomas,
the piston drive of Cummings,
or shroud and mystery of Rimbaud
could accomplish what fumbling
postures never could

They could make a button come
undone and stay that way
part a leg and have it
remain languid
see an arm brushed
and not pulled back

Ah, but women are not
so easily wooed
You see, poetry is but a beginning
once is never sufficient
and Cyrano found
he was forced to return
and return
to keep those fires burning

Soon you discover it is not enough
to merely sing another’s tune
and you  must learn the art
whose muse is not so
easily tamed

So the new poems to Emily or Mary Lou
are steeped in ignorance, stumbling tongue
and emotion that knows only extreme
a Dickinson hodgepodge of flowers,
spring-rain and metaphor trampled
by testosterone expectation

And as these women grow
you discover the magic is fading
that they have learned these lures
and their virtue will not part quite so easy

Ah, but art is ever inventive
and for those hard to dissemble
there are the more obscure songs
of Baudelaire, Jefferson and Yeats
these will free even the firmest
of corset-strung objections

But to truly reach the promised land
there is need to create one’s own
to wrestle the evening with nature’s muse
and tease a line between the sheets
Then, if you've still a mind
you can glance to see
if her clothes have been shed

But the sad and beautiful truth
is that poetry’s muse will suffer no others
rarely will that graceful form stay the course
she will leave to find yet another
that can keep them
coming
Written a few years ago, but I thought I would put it out.  Trying to expand my comfort zones, and perhaps this will be the impetus to reengage with my periodic muse
Scorpius Apr 2020
This morning
I wandered
Through
Postures
Familiar
And true,
Seeing
Doing,
And knowing,
And being,
And the edges
Between them,
Until
I
Fell away
And there was only
The practice.

— The End —