There was a moment when he knew he had to make a decision.

He had left London that February evening on the ****** Velo Train to the South West. As the two hour journey got underway darkness had descended quickly; it was soon only his reflected face he could see in the window. He’d been rehearsing most of the afternoon so it was only now he could take out the manuscript book, its pages full of working notes on the piece he was to play the following afternoon. His I-Mind implant could have stored these but he chose to circumvent this thought-transcribing technology; there was still the physical trace on the cream-coloured paper with his mother’s propelling pencil that forever conjured up his journey from the teenage composer to the jazz musician he now was. This thought surrounded him with a certain warmth on this Friday evening train full of those returning to their country homes and distant families.

It was a difficulty he had sensed from the moment he perceived a distant gap in the flow of information streaming onto the mind page

At the outset the Mind Notation project had seemed harmless, playful in fact. He allowed himself to enter into the early experiments because he knew and trusted the research team. He got paid handsomely for his time, and later for his performance work.  It was a valuable complement to his ill-paid day-to-day work as a jazz pianist constantly touring the clubs, making occasional festival appearances with is quintet, hawking his recordings around small labels, and always ‘being available’. Mind Notation was something quite outside that traditional scene. In short periods it would have a relentless intensity about it, but it was hard to dismiss because he soon realised he had been hard-wired to different persona. Over a period of several years he was now dealing with four separate I-Mind folders, four distinct musical identities.

Tomorrow he would pull out the latest manifestation of a composer whose creative mind he had known for 10 years, playing the experimental edge of his music whilst still at college. There had been others since, but J was different, and so consistent. J never interfered; there were never decisive interventions, only an explicit confidence in his ability to interpret J’s music. There had been occasional discussion, but always loose; over coffee, a walk to a restaurant; never in the lab or at rehearsals.

In performance (and particularly when J was present) J’s own mind-thought was so rich, so wide-ranging it could have been drug-induced. Every musical inference was surrounded by such intensity and power he had had to learn to ride on it as he imagined a surfer would ride on a powerful wave. She was always there - embedded in everything J seemed to think about, everything J projected. He wondered how J could live with what seemed to him to be an obsession. Perhaps this was love, and so what he played was love like a wilderness river flowing endlessly across the mind-page.

J seemed careful when he was with her. J tried hard not to let his attentiveness, this gaze of love, allow others to enter the public folders of his I-Mind space (so full of images of her and the sounds of her light, entrancing voice). But he knew, he knew when he glanced at them together in darkened concert halls, her hand on J’s left arm stroking, gently stroking, that J’s most brilliant and affecting music flowed from this source.

He could feel the pattern of his breathing change, he shifted himself in his chair, the keyboard swam under his gaze, he was playing fast and light, playing arpeggios like falling water, a waterfall of notes, cascades of extended tonalities falling into the darkness beyond his left hand, but there it was, in twenty seconds he would have to*

It had begun quite accidentally with a lab experiment. J had for some years been researching the telematics of composing and performing by encapsulating the physical musical score onto a computer screen. The ‘moist media’ of telematics offered the performer different views of a composition, and not just the end result but the journey taken to obtain that result. From there to an interest in neuroscience had been a small step. J persuaded him to visit the lab to experience playing a duet with his own brain waves.

Wearing a sensor cap he had allowed his brainwaves to be transmitted through a BCMI to a synthesiser – as he played the piano. After a few hours he realised he could control the resultant sounds. In fact, he could control them very well. He had played with computer interaction before, but there was always a preparatory stage, hours of designing and programming, then the inevitable critical feedback of the recording or glitch in performance. He soon realised he had no patience for it and so relied on a programmer, a sonic artist as assistant, as collaborator when circumstances required it.

When J’s colleagues developed an ‘app’ for the I-Mind it meant he could receive J’s instant thoughts, but thoughts translated into virtual ‘active’ music notation, a notation that flowed across the screen of his inner eye. It was astonishing; more astonishing because J didn’t have to be physically there for it to happen: he could record I-Mind files of his thought compositions.

The reference pre-score at the top of the mind page was gradually enlarging to a point where pitches were just visible and this gap, a gap with no stave, a gap of silence, a gap with no action, a gap with repeat signs was probably 30 seconds away

In the early days (was it really just 10 years ago?) the music was delivered to him embedded in a network of experiences, locations, spiritual and philosophical ideas. J had found ways to extend the idea of the notated score to allow the performer to explore the very thoughts and techniques that made each piece – usually complete hidden from the performer. He would assemble groups of miniatures lasting no more than a couple of minutes each, each miniature carrying, as J had once told him, ‘one thought and one thought only’.  But this description only referred to the musical material because each piece was loaded with a web of associations. From the outset the music employed scales and tonalities so far away from the conventions of jazz that when he played and then extended the pieces it seemed like he was visiting a different universe; though surprisingly he had little trouble working these new and different patterns of pitches into his fingers. It was uncanny the ‘fit’.

Along with the music there was always rich, often startling images she conjured up for J’s compositions. At the beginning of their association J initiated these. He had been long been seeking ways to integrate the visual image with musical discourse. After toying with the idea of devising his own images for music he conceived the notion of computer animation of textile layers. J had discovered and then encouraged the work and vision of a young woman on the brink of what was to become recognised as a major talent. When he could he supported her artistically, revelling in the keenness of her observation of the natural world and her ability to complement what J conceived. He became her lover and she his muse; he remodelled his life and his work around her, her life and her work.

When performing the most complex of music it always seemed to him that the relative time of music and the clock time of reality met in strange conjunctions of stasis. Quite suddenly clock time became suspended and musical time enveloped reality. He found he could be thinking something quite differently from what he was playing.

Further projects followed, and as they did he realised a change had begun to occur in J’s creative rationale. He seemed to adopt different personae. Outwardly he was J. Inside his musical thought he began to invent other composers, musical avatars, complete minds with different musical and personal histories that he imagined making new work.

J had manipulated him into working on a new project that had appeared to be by a composer completely unknown to him. L was Canadian, a composer who had conceived a score that adhered to the DOGME movie production manifesto, but translated into music. The composition, the visuals, the text, the technological environment and the performance had to be conceived in realtime and in one location. A live performance meant a live ‘making’, and this meant he became involved in all aspects of the production. It became a popular and celebrated festival event with each production captured in its entirety and presented in multi-dimensional strands on the web. The viewer / listener became an editor able to move between the simultaneous creative activity, weaving his or her own ‘cut’ like some art house computer game. L never appeared in person at these ‘remakings’, but via a computer link. It was only after half a dozen performances that the thought entered his mind that L was possibly not a 24-year-old woman from Toronto complete with a lively Facebook persona.

Then, with the I-Mind, he woke up to the fact that J had already prepared musical scenarios that could take immediate advantage of this technology. A BBC Promenade Concert commission for a work for piano and orchestra provided an opportunity. J somehow persuaded Tom Service the Proms supremo to programme this new work as a collaborative composition by a team created specially for the premiere. J hid inside this team and devised a fresh persona. He also hid his new I-Mind technology from public view. The orchestra was to be self-directed but featured section leaders who, as established colleagues of J’s had already experienced his work and, sworn to secrecy, agreed to the I-Mind implant.

After the premiere there were rumours about how the extraordinary synchronicities in the play of musical sections had been achieved and there was much critical debate. J immediately withdrew the score to the BBC’s consternation. A minion in the contracts department had a most uncomfortable meeting with Mr Service and the Controller of Radio 3.

With the end of this phrase he would hit the gap  . . . what was he to do? Simply lift his hands from the keyboard? Wait for some sign from the I-Mind system to intervene? His audience might applaud thinking the piece finished? Would the immersive visuals with its  18.1 Surround Sound continue on the five screens or simply disappear?

His hands left the keyboard. The screens went white except for the two repeats signs in red facing one another. Then in the blank bar letter-by-letter this short text appeared . . .


Here Silence gathers
thoughts of you

Letters shall never
spell your grace

No melody could
describe your face

No rhythm dance
the way you move

Only Silence can
express my love

ever yours ever
yours ever yours


He then realised what the date was . . . and slowly let his hands fall to his lap.

She said, ‘You are funny, the way you set yourself up the moment we arrive. You look into every room to see if it’s suitable as a place to work. Is there a table? Where are the plugs? Is there a good chair at the right height? If there isn’t, are there cushions to make it so? You are funny.’
 
He countered this, but his excuse didn’t sound very convincing. He knew exactly what she meant, but it hurt him a little that she should think it ‘funny’. There’s nothing funny about trying to compose music, he thought. It’s not ‘radio in the head’ you know – this was a favourite expression he’d once heard an American composer use. You don’t just turn a switch and the music’s playing, waiting for you to write it down. You have to find it – though he believed it was usually there, somewhere, waiting to be found. But it’s elusive. You have to work hard to detect what might be there, there in the silence of your imagination.
 
Later over their first meal in this large cottage she said, ‘How do you stop hearing all those settings of the Mass that you must have heard or sung since childhood?’ She’d been rehearsing Verdi’s Requiem recently and was full of snippets of this stirring piece. He was a) writing a Mass to celebrate a cathedral’s reordering after a year as a building site, and b) he’d been a boy chorister and the form and order of the Mass was deeply engrained in his aural memory. He only had to hear the plainsong introduction Gloria in Excelsis Deo to be back in the Queen’s chapel singing Palestrina, or Byrd or Poulenc.
 
His ‘found’ corner was in the living room. The table wasn’t a table but a long cabinet she’d kindly covered with a tablecloth. You couldn’t get your feet under the thing, but with his little portable drawing board there was space to sit properly because the board jutted out beyond the cabinet’s top. It was the right length and its depth was OK, enough space for the board and, next to it, his laptop computer. On the floor beside his chair he placed a few of his reference scores and a box of necessary ‘bits’.
 
The room had two large sofas, an equally large television, some unexplainable and instantly dismissible items of decoration, a standard lamp, and a wood burning stove. The stove was wonderful, and on their second evening in the cottage, when clear skies and a stiff breeze promised a cold night, she’d lit it and, as the evening progressed, they basked in its warmth, she filling envelopes with her cards, he struggling with sleep over a book.
 
Despite and because this was a new, though temporary, location he had got up at 5.0am. This is a usual time for composers who need their daily fix of absolute quiet. And here, in this cottage set amidst autumn fields, within sight of a river estuary, under vast, panoramic uninterrupted skies, there was the distinct possibility of silence – all day. The double-glazing made doubly sure of that.
 
He had sat with a mug of tea at 5.10 and contemplated the silence, or rather what infiltrated the stillness of the cottage as sound. In the kitchen the clock ticked, the refrigerator seemed to need a period of machine noise once its door had been opened. At 6.0am the central heating fired up for a while. Outside, the small fruit trees in the garden moved vigorously in the wind, but he couldn’t hear either the wind or a rustle of leaves.  A car droned past on the nearby road. The clear sky began to lighten promising a fine day. This would certainly do for silence.
 
His thoughts returned to her question of the previous evening, and his answer. He was about to face up to his explanation. ‘I empty myself of all musical sound’, he’d said, ‘I imagine an empty space into which I might bring a single note, a long held drone of a note, a ‘d’ above middle ‘c’ on a chamber ***** (seeing it’s a Mass I’m writing).  Harrison Birtwistle always starts on an ‘e’. A ‘d’ to me seems older and kinder. An ‘e’ is too modern and progressive, slightly brash and noisy.’
 
He can see she is quizzical with this anecdotal stuff. Is he having me on? But no, he is not having her on. Such choices are important. Without them progress would be difficult when the thinking and planning has to stop and the composing has to begin. His notebook, sitting on his drawing board with some first sketches, plays testament to that. In this book glimpses of music appear in rhythmic abstracts, though rarely any pitches, and there are pages of written description. He likes to imagine what a new work is, and what it is not. This he writes down. Composer Paul Hindemith reckoned you had first to address the ‘conditions of performance’. That meant thinking about the performers, the location, above all the context. A Mass can be, for a composer, so many things. There were certainly requirements and constraints. The commission had to fulfil a number of criteria, some imposed by circumstance, some self-imposed by desire. All this goes into the melting ***, or rather the notebook. And after the notebook, he takes a large piece of A3 paper and clarifies this thinking and planning onto (if possible) a single sheet.
 
And so, to the task in hand. His objective, he had decided, is to focus on the whole rather than the particular. Don’t think about the Kyrie on its own, but consider how it lies with the Gloria. And so with the Sanctus & Benedictus. How do they connect to the Agnus Dei. He begins on the A3 sheet of plain paper ‘making a map of connections’. Kyrie to Gloria, Gloria to Credo and so on. Then what about Agnus Dei and the Gloria? Is there going to be any commonality – in rhythm, pace and tempo (we’ll leave melody and harmony for now)? Steady, he finds himself saying, aren’t we going back over old ground? His notebook has pages of attempts at rhythmizing the text. There are just so many ways to do this. Each rhythmic solution begets a different slant of meaning.
 
This is to be a congregational Mass, but one that has a role for a 4-part choir and ***** and a ‘jazz instrument’. Impatient to see notes on paper, he composes a new introduction to a Kyrie as a rhythmic sketch, then, experimentally, adds pitches. He scores it fully, just 10 bars or so, but it is barely finished before his critical inner voice says, ‘What’s this for? Do you all need this? This is showing off.’ So the filled-out sketch drops to the floor and he examines this element of ‘beginning’ the incipit.
 
He remembers how a meditation on that word inhabits the opening chapter of George Steiner’s great book Grammars of Creation. He sees in his mind’s eye the complex, colourful and ornate letter that begins the Lindesfarne Gospels. His beginnings for each movement, he decides, might be two chords, one overlaying the other: two ‘simple’ diatonic chords when sounded separately, but complex and with a measure of mystery when played together. The Mass is often described as a mystery. It is that ritual of a meal undertaken by a community of people who in the breaking of bread and wine wish to bring God’s presence amongst them. So it is a mystery. And so, he tells himself, his music will aim to hold something of mystery. It should not be a comment on that mystery, but be a mystery itself. It should not be homely and comfortable; it should be as minimal and sparing of musical commentary as possible.
 
When, as a teenager, he first began to set words to music he quickly experienced the need (it seemed) to fashion accompaniments that were commentaries on the text the voice was singing. These accompaniments did not underpin the words so much as add a commentary upon them. What lay beneath the words was his reaction, indeed imaginative extension of the words. He eschewed then both melisma and repetition. He sought an extreme independence between word and music, even though the word became the scenario of the music. Any musical setting was derived from the composition of the vocal line.  It was all about finding the ‘key’ to a song, what unlocked the door to the room of life it occupied. The music was the room where the poem’s utterance lived.
 
With a Mass you were in trouble for the outset. There was a poetry of sorts, but poetry that, in the countless versions of the vernacular, had lost (perhaps had never had) the resonance of the Latin. He thought suddenly of the supposed words of William Byrd, ‘He who sings prays twice’. Yes, such commonplace words are intercessional, but when sung become more than they are. But he knew he had to be careful here.
 
Why do we sing the words of the Mass he asks himself? Do we need to sing these words of the Mass? Are they the words that Christ spoke as he broke bread and poured wine to his friends and disciples at his last supper? The answer is no. Certainly these words of the Mass we usually sing surround the most intimate words of that final meal, words only the priest in Christ’s name may articulate.
 
Write out the words of the Mass that represent its collective worship and what do you have? Rather non-descript poetry? A kind of formula for collective incantation during worship? Can we read these words and not hear a surrounding music? He thinks for a moment of being asked to put new music to words of The Beatles. All you need is love. Yesterday all my troubles seemed so far away. Oh bla dee oh bla da life goes on. Now, now this is silliness, his Critical Voice complains. And yet it’s not. When you compose a popular song the gap between some words scribbled on the back of an envelope and the hook of chords and melody developed in an accidental moment (that becomes a way of clothing such words) is often minimal. Apart, words and music seem like orphans in a storm. Together they are home and dry.
 
He realises, and not for the first time, that he is seeking a total musical solution to the whole of the setting of those words collectively given voice to by those participating in the Mass.
 
And so: to the task in hand. His objective: to focus on the whole rather than the particular.  Where had he heard that thought before? - when he had sat down at his drawing board an hour and half previously. He’d gone in a circle of thought, and with his sketch on the floor at his feet, nothing to show for all that effort.
 
Meanwhile the sun had risen. He could hear her moving about in the bathroom. He went to the kitchen and laid out what they would need to breakfast together. As he poured milk into a jug, primed the toaster, filled the kettle, the business of what might constitute a whole solution to this setting of the Mass followed him around the kitchen and breakfast room like a demanding child. He knew all about demanding children. How often had he come home from his studio to prepare breakfast and see small people to school? - more often than he cared to remember. And when he remembered he became sad that it was no more.  His children had so often provided a welcome buffer from sessions of intense thought and activity. He loved the walk to school, the first quarter of a mile through the park, a long avenue of chestnut trees. It was always the end of April and pink and white blossoms were appearing, or it was September and there were conkers everywhere. It was under these trees his daughter would skip and even his sons would hold hands with him; he would feel their warmth, their livingness.
 
But now, preparing breakfast, his Critical Voice was that demanding child and he realised when she appeared in the kitchen he spoke to her with a voice of an artist in conversation with his critics, not the voice of the man who had the previous night lost himself to joy in her dear embrace. And he was ashamed it was so.
 
How he loved her gentle manner as she negotiated his ‘coming too’ after those two hours of concentration and inner dialogue. Gradually, by the second cup of coffee he felt a right person, and the hours ahead did not seem too impossible.
 
When she’d gone off to her work, silence reasserted itself. He played his viola for half an hour, just scales and exercises and a few folk songs he was learning by heart. This gathering habit was, he would say if asked, to reassert his musicianship, the link between his body and making sound musically. That the viola seemed to resonate throughout his whole body gave him pleasure. He liked the ****** movement required to produce a flowing sequence of bow strokes. The trick at the end of this daily practice was to put the instrument in its case and move immediately to his desk. No pause to check email – that blight on a morning’s work. No pause to look at today’s list. Back to the work in hand: the Mass.
 
But instead his mind and intention seemed to slip sideways and almost unconsciously he found himself sketching (on the few remaining staves of a vocal experiment) what appeared to be a piano piece. The rhythmic flow of it seemed to dance across the page to be halted only when the few empty staves were filled. He knew this was one of those pieces that addressed the pianist, not the listener. He sat back in his chair and imagined a scenario of a pianist opening this music and after a few minutes’ reflection and reading through allowing her hands to move very slowly and silently a few millimetres over the keys.  Such imagining led him to hear possible harmonic simultaneities, dynamics and articulations, though he knew such things would probably be lost or reinvented on a second imagined ‘performance’. No matter. Now his make-believe pianist sounded the first bar out. It had a depth and a richness that surprised him – it was a fine piano. He was touched by its affect. He felt the possibilities of extending what he’d written. So he did. And for the next half an hour lived in the pastures of good continuation, those rich luxuriant meadows reached by a rickerty rackerty bridge and guarded by a troll who today was nowhere to be seen.
 
It was a curious piece. It came to a halt on an enigmatic, go-nowhere / go-anywhere chord after what seemed a short declamatory coda (he later added the marking deliberamente). Then, after a few minutes reflection he wrote a rising arpeggio, a broken chord in which the consonant elements gradually acquired a rising sequence of dissonance pitches until halted by a repetition. As he wrote this ending he realised that the repeated note, an ‘a’ flat, was a kind of fulcrum around which the whole of the music moved. It held an enigmatic presence in the harmony, being sometimes a g# sometimes an ‘a’ flat, and its function often different. It made the music take on a wistful quality.
 
At that point he thought of her little artists’ book series she had titled Tide Marks. Many of these were made of a concertina of folded pages revealing - as your eyes moved through its pages - something akin to the tide’s longitudinal mark. This centred on the page and spread away both upwards and downwards, just like those mirror images of coloured glass seen in a child’s kaleidoscope. No moment of view was ever quite the same, but there were commonalities born of the conditions of a certain day and time.  His ‘Tide Mark’ was just like that. He’d followed a mark made in his imagination from one point to another point a little distant. The musical working out also had a reflection mechanism: what started in one hand became mirrored in the other. He had unexpectedly supplied an ending, this arpegiated gesture of finality that wasn’t properly final but faded away. When he thought further about the role of the ending, he added a few more notes to the arpeggio, but notes that were not be sounded but ghosted, the player miming a press of the keys.
 
He looked at the clock. Nearly five o’clock. The afternoon had all but disappeared. Time had retreated into glorious silence . There had been three whole hours of it. How wonderful that was after months of battling with the incessant and draining turbulence of sound that was ever present in his city life. To be here in this quiet cottage he could now get thoroughly lost – in silence. Even when she was here he could be a few rooms apart, and find silence.
 
A week more of this, a fortnight even . . . but he knew he might only manage a few days before visitors arrived and his long day would be squeezed into the early morning hours and occasional uncertain periods when people were out and about.
 
When she returned, very soon now, she would make tea and cut cake, and they’d sit (like old people they wer

The Canberra moon festival 2018

Hi my name is Johnny brown and we had just seen a great performance on stage with a lady who does great things with a hoop and I can tell you watching it from here was absolutely amazing and I can tell you, dudes it was fantastic
And now Lucy sugerman is about to perform for us and mate, it is going to be so radical dudes, and there is going to be a great parade at 3-00 and yes it is going to be cool, and you can make lanterns as well, well that is going to be cool for everyone and now here’s Lucy with her music
Johnny’. Wasn’t Lucy fantastic
I really liked the songs she sang
And some songs that really struck our hearts, she is a fantastically talented girl and I especially liked when she sang candle in the wind, in which she sang when she was doing her live shows and it sounded really beautiful, she will be judging the talent show here at the moon festival tomorrow and rob jarrah is coming out to sing his great single called fire in me and I can guarantee he will blow everyone away with his great voice
And yes, he did blow the crowd away and now we have the ANU
K-pop club doing their dance moves for us, and boy are they the fittest individuals you have ever seen and yes, well they are displaying all the right moves
Getting into the party spirit here at the Canberra moon festival this is really cool, dudes and dudettes don’t you think and as they swing their hips and thighs
You just sit back and enjoy the music they dance to, this is really cool, hey
Yeah the ANU k pop club was really good to watch and mate
I really was tapping my foot to some of the best dance music around and they make dancing to it, so easy and well we have only 1 hour and 10 minutes from the great parade, and I think it will be cool and coming on the stage now looks like a variety of different instruments and I wonder what music they’ll play
Well, we just have to wait and see, I will try to catch the groups name, I am sure they will blow us away I just found out that the next act is the ANU Chinese classical music ensemble and I think they will be showing some great sounds for us
Yes, I thought the ANU Chinese classical music ensemble was excellent and very very cool and now as they leave the stage and the next group is the belly dancing group called bellyup
And we will see them wriggle their bellies to great Chinese music and they are cool, let’s get apart of it, well it is easy just tap your foot
Those were great belly dancers weren’t they and mate I will wanna join them on stage and yes they will blow us away and now here is a song from two students from mulwaree high school in Goulburn and mate the harmonies which are coming out of their mouths are really cool dudes
They were great and now it is the kids turn with the Australiasian school of contemplirary Chinese and these kids have a great deal of talent, they are letting their little voices become the better of all of them, and their music are radical dude and as they leave the stage, the next group are playing the beautiful sound of the flute and yes it sounds really cool, yes let’s get ready for a party dude
The flute sounded so great and the kids were very cool, even if I must say so myself and the parade starts soon starting with the dragon dance
And wasn’t that a fantastic dragon dance, they used a lot of force to shake it up, and I liked that a lot and there is a fantastic jiving dancing bunny dancing around and he surely was showing off the right dance moves, and VIP is over and we aren’t very long away the big party, the music is going to so radical dude and mate, if any of you have seen my Facebook page you will see the jiving bunny as well as the dancing dragon, it was really cool
And now we are sitting here listening to this great band rehearse and get the sound right for their performance tonight, this is going to be a great evening at epic and as the venue is the true part of the atmosphere (epic) and they have moved the VIP seating so people who feel like it could come in and party this evening and this is going to be a cool evening dudes right through to 10-00 pm tonight LET’S PARTY
As we are waiting for more performances here is a Canberra moon festival poem
We are a cheering
For the people on the stage
As well as the dragon dance
That is pretty cool
And the people on the rides
Yes they are having fun
And smooth ops rehearsing all
Their music oh yeah that is cool
Yes we are getting with it
Every single day
Party from start party from finish yeah that makes me radical dude
There are also talks on stage
From different but interesting people
Oh yeah and let’s not forget
The jiving bunny yeah he is pretty cool
And the pony and horse rides
Yes the kids love that lots
They go for a ride through the
Amusements yeah that is pretty ace
Ace ace we’re from space
And we party from the start
Till we do a ****
To prove this will be the best

And now we are watching a video on the Asian language
And yes they are telling you about how important it is to learn
Yes, this is going to be one hell of a party, don’t ya think
It was a really cool martial arts display and I thought it was pretty cool, kids and teenagers kicking each other around
And yes, it is pretty radical
The way they break the piece of wood, yeah that is really radical dude and they are going to have more belly dancing soon and yes mate I am looking forward to seeing what that is about
The belly dancing had started and some of the younger folk are coming up to try their hands on a bit of belly dancing and we are seeing everyone even the organisers or volunteers doing a bit of belly dancing it looks like people are going back to the 70s with their belly dancing skills how cool is this and some kids are learning the different styles of belly dancing and one kid made a frog lantern, pretty cool, the music is sounding great and his voice is starting to say I am a lovely lively singer
And I am cool too, yes rob jarrah
is cool and his voice is too die for and mate everyone is gathering in the area for the big party later on, mate rob has a great voice entertaining us till the main concert begins
Rob was great, his voice really expresses himself and now ANU Korean pop comes into the stage to perform some very interesting dance moves and mate they will get this party started for us tonight and they probably have been rehearsing for months to get this dance routine right, let’s get this party started
ANU k pop were ever so cool, as they move all parts of their bodies and they look ever so fit and now here is the Australian school of contempary Chinese again with some kids dancing for us and they look very fit as they are throwing their arms and how they are showing good movement yes, they are cool
And then a guitar solo and a vocalist come out to display their talents and I am sure they will be cool
I thought he sang nicely and now Micah absalum and Bryn wood and they sing for us a beautiful ballad and there is a lot of meaning in this song
And they sounded so radical as they sang it with so much meaning in it and now a ballet number which in her movement she is expressing herself as a positive and compassionate person
We have been seeing more dancers who were really cool and now there is a great young pianist named grace gee and her voice is to die for, ballads are the sound for today but dance has been coming up a close second and grace gee is good on the guitar as well, pretty awesome stuff as she sings one of her own songs which sounds great
The lights went out when Wednesday moon was juggling to lit up rings and it looked really awesome and it lasted for 2 minutes, then they had some great dance routines as well as
Some belly dancers who really shaked their bellies right and then after that they had a belly dance dance off and the winner won $30 gift voucher and she had an absolute ball it was awesome and now it is smooth ops to keep the party rolling awesome dudes
And the party is great
Smooth ops are rolling hits from John Farnham Aretha Franklin
Rip and ac/dc and abba and a bit of uptown funk you up and keeping the party rolling with a bit of the Jackson five and Tina turner’s nut bush city limits and mate this band smooth ops a fucken awesome and they are radical as well and I am well into the party spirit dancing away to these great songs, I hope the second half is just as awesome dudes and a few other oldies as well and then smooth ops came back on the stage and blew the crowd away with great music like it’s raining men and madonna’s cherish and like a prayer and a few of the hip songs that are hitting the charts now and then they played Kylie’s spinning around and thendomino and I will survive and living on a prayer which was the finish of it, it all was pretty radical dude and I can just say
With all this music and fun we had tonight, everybody was in a party mood, there were a man dancing as well as his son yeah that was so cool and now we will say party party party
Till the very end bit

Sexting Texting What a mess! Texting sexting Do you wanna have ***? Flirting How about that ***** Taking naked pictures galore? How can I compete With all that meat That’s got you hooked On a fishing reel Pulling you in So you can spill All over them All the time While you’re here On my dime Resurfacing What’s going on On your phone Am I the only one you’re surfing? I think not! I doubt it a lot! No wonder I didn’t get it. Rehearsing I need a shot! For what I got, Is not enough! Working On this thing, Give me a swing, Stuck in a child. Nursing Or did you not **** the breast Big and full On your mama’s chest? Churching What happened to that spot? Not enough. You got a lot. Cursing Sexting texting Guess I’ll join the game. Texting sexting Maybe this will bring me fame. Or will I proclaim Your name?

Listen to the poetry podcast for more inspiration:

https://www.buzzsprout.com/12801/101854-sexting-and-texting-episode-of-relationship-rock-building-­relationships-that-last

or listen to “Sexting and Texting” on iTunes:
https://itunes.apple.com/us/podcast/relationship-rock-shirah-chante/id670836453#

Watch "Sexting and Texting" on YouTube
https://www.youtube.com/edit?videoid=AQmw9N1rrKE&video;referrer=watch

He said I’m the wrong shape. I could do with putting on a few pounds and, almost as an after thought he said, you’ll have to cut your hair – yourself.  I know she was an artist, and a mother, and a gardener. I had to admit to him I didn’t know any painters. My cousin Julie’s a sculptor – same thing he said – but I had to tell him I hadn’t yet looked at her painting, only what he showed us in his presentation.  He then told me exactly where in the National Museum of Wales I could see one of her paintings – Gallery 14 – and its from this period, a Parisiene picture. He suggested I might go to Cambridge and spend a day at a place called Kettles Yard. There are more Winifreds there than anywhere else in the UK, and many pictures by her close friend Christopher Wood.
 
Oh dear. This is difficult. The only thing going for me seems I’m about the right age and I’ve have children, though mine are older than hers in the production. I was so surprised to get this part, but as Michael said over the phone, your profile fits. Except for the weight and the hair, and I know nothing about painting. Why should I? Jeff told me, the composer Morton Feldman once said if you haven’t got a friend whose a painter, you’re in trouble. I’m in trouble. But he has very kind eyes and when he touched me gently on the shoulder after Lizzie and I sung that shells duet I had to look away.
 
Reaching down arm-deep into bright water
I gathered on white sand under waves
Shells, drifted up on beaches where I alone
Inhabit a finite world of years and days.
I reached my arm down a myriad years
To gather treasure from the yester-millennial sea-floor,
Held in my fingers forms shaped on the day of creation….
 
They sleep on the ocean floor like humming-tops
Whose music is the mother-of-pearl octave of the rainbow,
Harmonious shells that whisper for ever in our ears,
‘The world that you inhabit has not yet been created’
 
Mind you, I don’t envy Lizzie being Kathleen Raine. Now that is a difficult part, even though she’s only in Act 2. Raine was definitely odd. He says I have to understand their friendship, because there was something about it that made them both more than they were. I don’t understand that.
 
Jane and the children are amazing already. Martin (my ‘other’ half Ben Nicholson) said they’d been rehearsing with Robert because his wife (Robert’s wife Debbie) is at WNO and they were scared about this one. I’ll say this for him he knows exactly how children interrupt, constantly. It’s clever the way he uses the interruptions to change direction of the dialogue. Conversations are often left unfinished. The bit when that ***** Barbara visits the apartment unexpectedly is brilliant. She’s completely demolished by these kids of her lover.
 
But those letters . . . he said, can you imagine your husband writing to you over a period of 40 years? Quite a thought that. David wrote to me a few times when I was in Madrid for Cosi just after we’d met, but it was all telephone calls after that. Why waste paper, time and a stamp. But I take his point – their letters are so beautiful – and they were separated for God’s sake. He’d gone off with another woman, and even brought her to Paris. And you could not have two totally different women – she ,slight, chain-smoking, work-a-holic, sharp-tongued with that Yorkshire edge, and me with ‘a quiet voice, trying always to be gentle and kind ‘– W would be called an earth-mother these days. She was a kind of hippie, only she had money – mind you most of those hippies of the 60s had money otherwise they couldn’t have done drugs (heard that on Radio 4 last week in a programme about Richard Brautigan). But they wrote to each other almost every day.
 
Dear Ben,.
            Do you know there are several kinds of happiness, and there is one sort which I have found. It is the sort that is within oneself, enjoying fresh promise, and taking all the experiences of life that one has been through, so-called sad ones and so-called happy ones, to make up understanding that is further on than joy or sorrow. I have been extremely lucky – I have had ten years of companionship with an ‘all-time’ painter, working in the medium of classic eternity and that has been better than a lifetime with any second-class person – isn’t it - I have found it so…
 
Best love Winifred
 
What’s clever about the letter sequences is the way the two-way correspondence is handled as a duet and right in the middle of it you’ll get a flashback – like Winifred suddenly remembering her first meeting with Ben.
 
I heard this voice
In the room next door
I couldn’t breath, I couldn’t move
I knew, I knew for certain
This was the man I would marry.
And when we were introduced
He seemed to know this too.
 
We gaily call this an opera, but it’s not. It’s something else. It simply doesn’t do what you think it’s going to do. Even when you do something for a second time the accompaniment doesn’t do what you expect and remembered. It’s this open-form business. Something else I know nothing about. He mentioned Umberto Eco – now I’ve read Name of the Rose. When Braque or Mondrian or Jan Eps visit unannounced I have no idea which one it’s going to be – these guys just used to turn up. Sometimes two at once. W didn’t invite them. They came for her English hospitality (home baking I think) and her beautiful apartment come studio – beautiful, because she made it so. Her French was appalling, and this is difficult because I speak quite well, and now I have to speak like an idiot. Bridget  (playing Cissy the Cumbrian nanny) having her French lesson is a hoot, and with the children correcting her all the time, it’s lovely.
 
He was very sweet when we broke for lunch. Sara, he said, as I collapsed into an auditorium seat to find my bag and mobile, Sara, we’ve got to find you a painter to spend a day with . . . so you’ll know how to stand in front of an easel.  I phoned Sarah Jane Brown who has a studio in Cardiff and she’d love to meet you. Here’s her number. She paints flowers and landscapes – as well as the abstract stuff - just like Winifred. Her tutor at the RCA actually knew Winifred. And with that he disappeared to a dark corner of the theatre and unwrapped his sandwiches. You can tell he’s not into break discussions with Julian or Michael. I think he’s terribly shy. He’s interested in the cast and so he picks them off one by one. Julian I know doesn’t like this. I think everything needs to go through me, he said at the end of yesterday’s rehearsal. Who does he think he is?! Lizzie reminded Julian he was the composer and what he doesn’t know about this whole period and its characters isn’t knowledge. Liz thinks he’s a sweetie – and she’s sung his Raine settings at Branwyn Hall last year – with Robert who was his MD with BBCNOW. Liz knows Julian hasn’t done his usual homework because he’s got this production in Birmingham on the boil. Unknown Colour is a distraction he can do without.
 
This afternoon it’s back to the mayhem of those ensemble scenes in Act 1. They’re quite crazy, but I’m already beginning to feel I can start to be someone other than me. Did you know I have this lovely song? It’s quite Sondheim . . .
 
*I like to have a picture in my room.
Without one, my room feels bare
however much furniture is there;
Pictures play so many roles.
My room has too much going on in it
for something extravagant.
In the morning it is a sanctuary,
in the daytime a factory,
in the evening a place of festivity,
and through the night a place of rest.
 
I want a window in it,  
And a focal point, something alive and silent.
A bunch of flowers on the window sill?
Yes, but they will wither.
A cat curled up on the hearth?
Yes, but it will go away and prowl upon the rooftops.
 
A picture will always be there.
It will make no sound. It will wait.
If it is true I shall never grow tired of it.
I shall see something fresh in it
when I glance at it tomorrow.
It will always be my friend.

This is not your role. You're not here to stay. But don't forget your lines. Say it anyway... "I love you. I can't live without you in my life. I want to make you my wife"

You play the part well! but you're not the one. You will be replaced when the real star comes.

Of course my part doesn't change. I will promise to love you forever. I will say my heart is yours. That with you my life feels better. But these words aren't meant for you. I'm just practicing my lines. I'm so good at it now.  I've been rehearsing a long time.

You're just another stand in. In a long line of men. The auditions have not finished. That they will, who knows when? But your role here is done.. Call in the next one...

© 2012

Resisting your surrender
Like a passionate pretender
Cursing your existence
So unruly cant even believe it
Rehearsing until morning
For a ending to your story
Searching for a reason
Why you’re always out of season
Still wearing those ***** clothes
And swearing at the Her ghost
Living in your furry
Just makes things more blurry
Some drunken thrills
Followed by some healing pills
Staring at the mirror
Thinking it will look clearer

Resisting your departure
And what seems like constant torture
Insisting on the weather
To lead you somewhere farther
Counting on tomorrow
To release you from your sorrow
Leads you to forgiveness
Repenting all your sins and
Starting a new chapter
In this new world that you are  after
Living in the moment
Gives you quick atonement
Walking from the ashes
The past and what it’s taken
Your soul now unbroken from this spell
That had you been under

On the prom, in chairs of similar design
actors, support artists and crew.
Chatted in between takes as the sun shone
around the The Cafe' television set.
In a seaside town they each came together
that day it was unsettled weather.

The atmosphere was friendly nobody left out
congenial conversation not forced.
That created the mood for a great shoot
as a new comedy series was made.
On the seafront with a train ride there
passers by were everywhere.

Actors were also rehearsing another scene
under a canopy while it rained.
Fascinated I watched and laughed as well
feeling part of that moment.
In this privileged spot to observe first hand
by the sea close to the sand.
The Foureyed Poet.

Hi dudes and welcome to the candle festival which is at Nara park behind the Albert hall and there is a good band on the stage playing classic 80s music
From the act senior college band a bit of survivor and abba
And a whole lot more
There are a lot of stalls  where you could buy a lot of great souvenirs for the young and the young at heart and there are many demonstrations like judo and drumming and sumo wrestling  and at sunset a beautiful candle garden will light up the night and the crowd is beginning to build up, yeah
This is totally awesome and as I am walking around you see people getting ready to do their demonstrations
Welcome back and isn't narrabundah college energetic
As they performed their great Japanese dancing and over at the demonstration area they have calligraphy Japanese style
And there is a drumming workshop under the trees near the food tents and the judo dudes are showing off their styles isn't it wonderful and then we had a duet from Gungahlin college and mate they blew me away with their fine Japanese voices and at the moment the stage is at intermission waiting for the school choirs to begin l am looking forward to that
And as you look around you can see the judo dudes and dudettes displaying their judo skills by lifting their opponents
Over their shoulder, and over onto the mat and over at the ikebana tent they are showing us how to put it together with a fine hand which means she is trying to keep the beauty and now the judo has finished and the sumo wrestlers are showing their skills and I would hate to meet up with them in a dark alley and as you walk over to behind the ATM machines the kids are displaying their drumming skills, there are kids from babies to toddlers and aren't they having a ball
Yeah this can really brighten the imagination real hard and the school choirs are on the stage displaying their singing talents
Yeah, this candle festival has it all, I didn't see much of the school choirs and Nara university high school but o guarantee they would have been great and the sumo wrestlers really had the crowd glued to the stage and on the main stage there is a smoking ceremony and the karate is taking up the stage and soon they are having a sake barrel ceremony and this is going to be totally awesome dudes
It is now 6:26 and now we will feature some great music from ms satsuki odmara (koto) and Robert stockee (didgeridoo) & dr yukihiko doi (Japanese court music) and everyone is listening to this fine music as they await the big candle garden ceremony which I hope this year is awesome and the party is well and truly on the way I hope it is a very good ceremony
It will like the, whole evening
And kids are flying kites as well as making lantern, it costs a bit but it is jolly well worth it if you have kids pulling on your jumper begging for something to do and there is an array of very good stalls if you are looking for an early Christmas present for someone in your family, yeah that is sooooooo!awesome and on the main stage there is George & noriko with their wonderful blend of blues and Japanese sounds and they will get the party started right, they will get the party started quickly right
Aren't George and noriko great they are getting the crowd into the party mode and I love how they yell out koupei too before this song but, mate this is music and party combined and
Everyone is gathered round the stage tapping their feet as await the lighting of the beautiful candle garden
As we are nearing the end of the first set of George and noriko, the sun is going down
Behind the tree and soon as they let out their last koipei
The night is nearly upon us
And those candles will light up the beautiful garden here at Nara peace park
We just had a very beautiful
Ceremony with the chief minister and enstiguished guests and as they light up a few lanterns in the candle Garden we are entertained by koto and didgeridoo and Japanese court music and I can tell you, this is very cool and o think the didgeridoo sounds totally awesome with the other instruments and as we look around each tree has blue green and pink lights, and I tell you that looks great and a lot of families bought candles to wave around and the music was great
And now we are into the last 2 acts on stage and George and noriko are coming out to yell out a few cool kowpei and I think this will be really cool
You see he sits down on his chair and blasts some great blues and Japanese Music
Or Japanese blues and they are showing us how to party, dudes
Saki saki saki is the sound you are hearing  as they are playing a Japanese blues song which
When he says saki we say saki
He says saki saki saki we say saki saki saki and they get their beer and yell out kowpei
And everyone is recording the music and finding out whether
It worked and then as George and noriko are introducing the next song and now it is time for the last song which is rad dude
Shake your money maker
Shake your money maker
That is the last song but I am hoping they do an encore which
Will be pretty cool  and then he yells out koipei
Shake your money maker
Shake your money maker
And I think I will shake my pockets as that is my money maker oh well they didn't do and encore as they are setting up for the taikoz drumming
And as they brought out the first drum and there should be enough drumming to last from 8-30 to 9-00, I think the crowd
Are cheering taikoz on as they prepare
Those drummers were totally awesome and very fit
I know I couldn't drum like that in a million years, I liked how the drummers moved from sequence to sequence
They must put in a lot of days a week rehearsing for that
And when the drumming was over I talk a walk through the candle garden and my phone conked out so I couldn't get a picture but I might have some
Photos of the candle garden in a couple of days
So that is it that is all
So let's shake your money maker to buy some saki saki saki and yell out koipei
Catch ya later dudes and dudettes

red car, yellow car, blue car, white car

no lucky black car, no orange to wish on

they just sat there for awhile on the edge of the rooftop, feet dangling looking at the rush of cars passing by playing the game they invented and derived from the tongue twister red lorry yellow lorry
if a black car passes by, luck will come through
spot the first green car and you pick the way you die
look for an orange car and make a wish

it was a game they played to **** time or whenever they went up the rooftop of the ballet studio they've been performing at since they were children and they were currently taking a break from swan lake rehearsals. they played the game for a little more though heather could tell that megan-meg for short- had her mind somewhere else.

"penny for your thoughts?"

meg just shook her head, tilting it across the pink skies that matched the tutus they still had on. a dreamy smile was strewn across her face

heather just watched her friend and the world surrounding them, a light gentle bubble in her stomach. she loved the building's rooftop so much; she was actually the one who first went up here and ever since then, it had been their place her place. she went here on weekends sometimes, when they didn't have rehearsals. everytime she was up here, she felt more than she was, like she was a goddess and everything below her was under a microscope like she could change anything with the click of her fingers. but most of all, in here she could freely be. it was her safe haven.

"okay spill tell me this isn't about hendrix again?"

meg smirked, looking at heather's ice blue eyes "okay you caught me" she says, traces of the english accent she had come with still evident in her voice

"i knew it. boy he's got you in such a haze. you've got a school girl crush on him" she teased, making her friend giggle nervously. meg was dating hendrix peters, a senior in the high school they were attending. theyve been seeing each other for six months now and heather knew how much of a ride it was almost as much as meg (being the first person meg ranted to everytime things occurred) the two were a match made in heaven and it was testified by the amount of gossip about them that was circulated, mostly by the senior girls who were head over heels for him and would hiss whenever their paths crossed with meg's and try to flirt with him every chance they got though he politely shook them off. he supported meg in all the possible ways, from attending to her performances on stage to supporting and showing off her stunning makeup looks and she did the same with him, coming to all his football games and enthusiastically cheering for him. they were madly in love, you could say

"it's not like that" meg scoffed, clasping both of her hands together. "ive just been thinking about the both of us and our togetherness and how we haven't done it yet and yea it's been in my mind alot" she bit her lip, a habit of nervousness she had "it's not a big deal i know, i mean, people do it all the time, people who aren't even together and it's not this eureka moment or anything of the sorts but i want it to be special at least"

"has he been asking you to do it?"

"no he doesn't really no, forcing there" meg shakes her head "but we did talk about it some time, once, thrice yea"

"someday then or tomorrow just be safe my dear friend" heather replies in a playful tone, trying to bring back the lightness of the conversation

"ugh help me practice my skills give it all to me darling, let me do you" her friend wickedly retorts, launching atop her and pinning her to the concrete, playfully mock *******

"ew dude *******'re so gross get off me" she says trying to act annoyed but she was laughing too all the while trying not to get crushed by meg's weight who was strangely heavy despite her small wiry frame

"ow babe im coming ugh" meg continues, laughing fooling around-this was how their friendship worked

"*******. now your germs are all over me" heather grunts, finally pushing meg off her and both of them just lay there for minutes, laughing too much and choking in their breaths, as the sky was bathed in watercolor above them, the sounds of the city being their soundtrack


"what's it like?" heather blurts once theyve both calmed down

"hmmm?"

"what's it like, being with him?"



meg raises her hands like she was touching the clouds, taking the question in deeply "it's....wonderful....i mean...we aren't always happy and we have loads of fights but....we manage to make it work and the whole thing drives me crazy but it's a good kind of crazy"

her answer dissolves in heather's thoughts are completely lost in it


"you know that when we first got together i told him how much i hated clichés? flowers, chocolates stuffed animals, fancy dinner dates you name it and he nodded and the first gift he gave me was a boquet out of makeup products and i laughed because it was thoughtful and he's just full of surprises but you know he did give me flowers and letters on an occasion but i didn't mind it.
i guess that's how love is, made out of all the things you love thrown in with things you don't like but you don't mind at all"

heather nodded, still deep in thought "how did you know?"


the question seemed to have an incomplete thought but meg got the gist "i just did. well i didn't know itd last but i did know that he was for me but he's not my soulmate see, you don't find soulmates, you make them. anyone could be your soulmate, soulmates are just a ****** up idea at finding love. someday you'd know kid"

heather rolled her eyes. she hated being called kid because she was reminded of how much younger she was from meg when it came to these sorts of things "don't call me that"

"you'd know" meg pats her friend in the head, lovingly still teasing her

she sits up, tying the ribbons of her satin slippers. they climb down the fire exit and join the rest of the ballet dancers, rehearsing for the rest of the day



and heather went back to the rooftop the day after, a saturday in solitude sorting out the contents of her brain, replaying the conversation she and her bestfriend had in this very place the previous day, all the while feeling a sort of feeling in her heart very familiar to nostalgia. she realized it was the feeling of longing. longing for love like meg's description of it. longing for love like the glow of stardust. longing for love
sure she had a boyfriend before but not once did she feel like how meg described love out to be with him not once did she feel like their kisses and hugs mean something and their fights never felt worth fighting for. sure she had this guy in her grade whom she passed notes and looks with and texted for days but it was never serious and he didn't see her in that certain light that makes people glow that you fall for and even if they dated it would have been too complicated.

it was a winding day for her mind to wander and she played their game as the cars went on their journey on the highway down below.

an orange car swooshes out of nowhere and she closes her eyes and makes a wish when my person comes please i hope i'll know, holding on for a beat more. after that a black car passes and her luck was aligned with the stars

Visitors pass from empty bed
to empty bed, like Royals,
silently soaking up the dread
atmosphere with remote respect.

Examining clipboard histories,
rehearsing their medical soaps.
Volunteers answer questions,
the front line troops in trying
to raise our war dead back to life.

Have a care John Willie was not
just a private, not a number,
nor a diagnosis. He was
a person and a brave soldier.

Old photos frame soldiers' pains,
they're wearing posterity masks,
hiding feelings and memories
that lurch back again and again.

Disclaimer:

These are my private opinions.
Feel more than free to disagree.
They've made Life better
For me.

Eat breakfast.
One half hour less of sleep in the
Morning will keep you
Steady and strong until lunch.
It'll be worth it.
Oatmeal packs a good punch.

Don't mention how little
You've slept to anyone.
Unless you operate dangerous
Machinery or rely on being
Rested for the safety of
Yourself or others, no one
Will care.

Map the different nationalities
At your workplace.
Learn these phrases in their
Respective languages:
Hello.
Great work.
Watch out!
Making someone feel welcome at
Work is a gift worth giving.
Bridges build
Friendships. Friendships alone
Make a life worth living.

Spend some money on a
Special water bottle.
It'll inspire you to drink from it.
Drink enough to keep hydrated;
Not so much that your
Breaks interfere with your
Obligations.
Don't challenge your rights,
Or your boss' patience.

Leave the toilet looking a little
Nicer than it was.
Pick up that piece of paper.
Wipe the soap from the sink.
Aim carefully.
Others will follow your example.
Ask for hand disinfectant.
Use it.

If you feel overwhelmed by
Stress, or have personal matters
Occupying your thoughts,
Take a toilet break.
It is one of the best places on Earth to
Clear your head. Take only
The time that
You need.
Even brilliant minds have  
To act to succeed.

Enough on toilets.

Fall in love with a colleague.
Don't ever follow up on it.
Pick a favourite secretary or
Cleaning lady, janitor or
Security guard, etc.
That warm sensation in your chest
When you see them, might just
Make a bad day better.
Theirs too, when you
Smile their way.
Just remember:
Harassment is for the weak and
Insecure; a little attention never
Hurt anyone,
But don't push for more.
Keep it innocent.
Keep it pure.  

Find your least favourite co-
Worker. Make friends.
Start rehearsing that 'old buddy'-
Feeling when you see them.
Say hello. Smile.
You'll be in for a surprise in most
Cases. Trust me, you will find
Golden graces. You'll get to love
Them; you'll look for their faces.

Turn to your seniors.
They are a tremendous resource.
They deserve to be needed.
They deserve your respect.
They know how to repair more
Than we ever will.
They know what it's like
To be younger than them.
They'll have time for your
Questions,
But none to ****.

Quit smoking. Together.
Go for a coffee break.
Go for a fruit break.
Go for a water break.
Together.
Pat each other on the shoulder
With every smoke you don't have.
Take the stairs. You'll feel so well. 
Quit in pairs.
Not in a shell.

Put up humouristic posters,
Tell jokes, make
Friendly fun of each other.
Anything that provokes laughter.
Time will fly. Bonds grow stronger.
You'll look forward to work. You'll
Live happier; longer.

Do more than just enough.
You'll feel so much better about
Your skills. And others about you.
Any job is worth that little extra.
Few are worth doing twice.
Judge your efforts through
Your own eyes.

Be poetry. Don't just write it.
You'll need less ink and paper.
The art will live forever.
You'll be thankful for more.
You'll think higher of yourself.
You'll see the world around you
As the beautiful place it can be.
Be the poet and the poem.

You'll never feel depressed.
You will never be alone.
You'll be the single richest person
That you have ever known.

beyond the whiskey
and the beer drank along the familiar
path, with memory stressed
as to no accomplished ego coupling,
drunk indeed,
but rehearsing the familiar path
that thought de-activates
and there's less of identifiers required.*

in terms of gambling,
in familial setting,
betted:

watford (21-20) home to newcastle
(5-2), QPR (6-5) against wolves (9-5 to win),
barnsley v. rochdale (draw at 11-5),
chesterfield v. millwall (to win, 11-8),
oldham v. bury (draw at 21-10),
port vale v. bratford (home-side 8-5),
coventry (13-10) away winning against southend (13-8),
plymouth (11-5) against bristol rovers (evs),
accrington (13-10) against exeter (13-8) too,
manfield (6-5) winning against luton (9-5),
portsmouth drawing with oxford united (21-10),
wycombe with leyton orient (11-5) too,
yeovil beating crawley (13-10),
dundee utd. losing to kilmarnock (11-5) -
scots wish me luck,
motherwell drawing with ross county (19-10),
brochin losing to aidrie (11-10),
montrose winning over clyde (9-5),
hamilton losing to edinburgh's hearts (6-5),
finally...
burnley overcoming derby (13-10).

if i got all nineteen right, i betted 2 quid
and won a million,
split it down the middle with my father,
bet for two quid, quid each, half a million each.
my father is a cautious gambler,
bets spare change to get pennies for a million
exchange, i only desire serious alcoholism,
i am a true scot between the two pulling
two pence apart to create copper wiring,
scots are the jews of the north, after all:
i don't gamble, i play chance,
the chances of me being prophetic about five
football scores will be a, a ref. to the guinness book
of records.

i aimed high today, feminism still hasn't the foggiest
of house husbands, lazy lions,
it's still thursday pay-cheque day for the women,
i can cook a killer korma (added late
grind cashews), and a serial killer kashmiri masala curry,
organic chemistry experiments 12h a week will do that to you,
you'll enjoy cookbooks more than chemistry textbooks,
too many esters i say, spices v. perfumes, your choice
the pakistani in my off-license looked amazed i was wearing
hindu perfumes after having cooked a meal he could
recognise that wasn't a concentrate of strawberries:
find a needle in a haystack, yes... find a berry in a haystack...
no.

i love hindi cuisine, much aroma that deviates from
what europeans claim to be aromatic:
pig sweat and oxen salivate a taste for synthetic
odours when an analysis of cardamon justifies aplenty
likewise: what opens necessary porous areas
of the skin as necessarily sweet
does not necessarily invoke a sweetness for the tongue
to match: fat cows better than anorexia voodoo
of *******-champagne girls i'd tell you.

Sitting alone in my bed,
Anxiously yearning the touch of something different.

Contemplating about differences,
Visualizing the new experiences,
Mesmerizing about different beauties,
Fantasizing the new opportunities,
About women of different cultures,
Ethnicity and upbringing.

Pay no mind to the language barrier,
As our body speak that universal language,
We can have intellectual conversations,
We can have passionate  interactions.
Lets's ponder with deep imagination,
As we diversify this love, ignore it's discrepancies,
So girls of all colors come closer and get drawn like crayola,
As we paint this picture to see what we can make of this blend of colors.

Envision this:
Background music effectively babysitting my thoughts as I listen,
Laying under the moon, 
With that special person. 
Inwardly rehearsing, 
Every move to make, 
Opportunities to take,
Intaking the passion from the air she breathes out, 
Creating chemistry not even Einstein could figure out.

This love should be an equal opportunity,
You plus me that's all that should matter.

So would you explore your heart?
Release the stereotypes that keep you in the dark?
As darkness falls,
Our temperatures rise.
A reflection of moonlight shimmers in those eyes.
They tell me your secrets;
I tell you no lies.

What lies beneath your skin will be ugliness' demise.
Ironic, in the dark you see me for who I truly am.
And I tell you who you truly are.
So far. So good.
So deep, it goes beneath your beauty,
It goes beyond whatever society will tell you not to do with me.

Tonight your biases shall not rule thee,
For I am king of this pride.
Swallow your pride and swallow my pride.
Release the wait of inhibition and take this ride.

Our inner flames fueled by passion shall light our way.
They say, we are blind but it is only in darkness that we truly see.

Give up shallow emotions, let your heart be free.
Immerse yourself in this reality:
My love is river, all else is only skin deep.

Sometimes
I do this thing, play this game
with myself.

I call it "Imagine If".

I imagine how the moment could have gone, how it would have played out.
I go through the scene, beat by beat, until I get to that crucial moment and think about how it could have gone.

What if I had said that versus that.
What if I had done that versus that.
But these verses play out in my head, and don't ever see the light of reality

And then I play out moments that are still to come.
I rehearse them,
like a broken play, and disjointed scene
until they are perfect.

But these rehearsed scenes now have expectations,
the potential to be disappointing
and that,
could **** me.

Because what if it doesn't work out like that? What if they don't play out like that?
What if life isn't what you rehearsed?

What if it doesn't work out the way you wanted, or it doesn't feel the way it should?
Your expectations have been destroyed, have been vanquished,
like a dragon by a knight, or witch by a pail of water.

And beat by beat,
Day by day,
those expectations aren't met, and I blame the universe.

But aren't I the one to blame?

If I were tickled by the rub of love,
A rooking girl who stole me for her side,
Broke through her straws, breaking my bandaged string,
If the red tickle as the cattle calve
Still set to scratch a laughter from my lung,
I would not fear the apple nor the flood
Nor the bad blood of spring.

Shall it be male or female? say the cells,
And drop the plum like fire from the flesh.
If I were tickled by the hatching hair,
The winging bone that sprouted in the heels,
The itch of man upon the baby's thigh,
I would not fear the gallows nor the axe
Nor the crossed sticks of war.

Shall it be male or female? say the fingers
That chalk the walls with greet girls and their men.
I would not fear the muscling-in of love
If I were tickled by the urchin hungers
Rehearsing heat upon a raw-edged nerve.
I would not fear the devil in the ****
Nor the outspoken grave.

If I were tickled by the lovers' rub
That wipes away not crow's-foot nor the lock
Of sick old manhood on the fallen jaws,
Time and the ***** and the sweethearting crib
Would leave me cold as butter for the flies
The sea of scums could drown me as it broke
Dead on the sweethearts' toes.

This world is half the devil's and my own,
Daft with the drug that's smoking in a girl
And curling round the bud that forks her eye.
An old man's shank one-marrowed with my bone,
And all the herrings smelling in the sea,
I sit and watch the worm beneath my nail
Wearing the quick away.

And that's the rub, the only rub that tickles.
The knobbly ape that swings along his ***
From damp love-darkness and the nurse's twist
Can never raise the midnight of a chuckle,
Nor when he finds a beauty in the breast
Of lover, mother, lovers, or his six
Feet in the rubbing dust.

And what's the rub? Death's feather on the nerve?
Your mouth, my love, the thistle in the kiss?
My Jack of Christ born thorny on the tree?
The words of death are dryer than his stiff,
My wordy wounds are printed with your hair.
I would be tickled by the rub that is:
Man be my metaphor.

The most common magic trick I've ever seen is making a 100mm stick disappear.
It is the oldest trick in the book.

Everyone knows how it’s done but everyone is always never tired of being the audience to it.
Maybe it’s because the audience is always invited to take part in the act.

The trick is always done by a stressed magician,

The trick mocked by kids trying to imitate the 100mm disappearing stick trick.
They hide under the pretence of being stressed.

They disgrace the world class performers that had practiced the routine so much throughout their lives.
Never quitting
And
Always over rehearsing.

The performers would always keep practicing until it becomes its second nature like breathing.

Until it becomes like a habit,
Until they become too passionate to the routine on perfecting the make-believe act.
That they are too obsessed to  realized they had become addicted to it.

They had become too reliant over it and that they can't live without it.
Even on their last breath they would attempt to show its final performance and draw its strength from it.

The most common magic trick I've ever seen involves a 100mm stick disappearing.
The trick is like every other disappearing magic act.
First the object is lit on fire with a light,
Second the smoker kisses the object and takes a deep inhale praying the performance would go well.
Third you get distracted by the smokes given off in the exhale
And ...ta da.
While the Smoke rises
It is estimated
14 minutes of the magician's life disappearing.
However the audience is too focused on the main act of the 100mm stick disappearing to notice.

By the time we reached the final act
our dialogues turned to whispers
warmed us the pledge to the silent pact
we would be rehearsing under the stars

dew would damp the players' cloth
all but the two were gone
who were tied by the burning oath
must shape their roles to perfection

owls hooted in the night's shadow
world slept behind shut door
we were numbed to the time's flow
by the sounds of claps encore

one the alien had blood thick green
that only the ****** revealed
when unbeknownst was cut his skin
by the other soon to be killed

that time now ***** to yellowed page
long back fate set him free
my skin is now bold in age
he's evergreen in memory.

Ears hear, eyes read, mind processes, heart feels, tongue speaks and/or  hands type/sign or motion.

The cycle was set in place with creation.

In a forum such as this, people share and those of us in this cyber coffee shop read.  

A miracle is communication, and the degree to which the speaker/writer/artist needs to be seen and appreciated varies.

To some, the need for recognition trumps his perceived need to create.

To others, the appreciation seems the icing on the cake of their heart's musings.

Others may be embarrassed in the spotlight, but still appreciate the attention.

Nevertheless, the miracle of communication, the cycle and mechanism through which man can share his art, as well as the wonderful freedom to connect and respond as freely as one chooses is often overlooked.

Taken for granted...abused, neglected, uncelebrated.

We can appreciate simply or we can use this communication to receive, process and question and learn things about other people, their experiences, thoughts and beliefs.

Their input serves to stimulate our thinking and either shut us down and turn us away, or send us on adventure of mind and spirit.

Words  have the power to excite the soul and find reason for existence.

They can also hurt, stemming from situation, temperament, past hurts internalized, or out of misunderstanding.

Our own vulnerabilities/sensitivities from past violation of our boundaries  leave us open for hurt. Lack of boundaries...a cause for so many problems in communication, and yet....poetry seems to invite us in for tea, to make us feel understood . Comments welcome. We hope people are nice. I hope people are nice. ( steps aside from podium) You all seem nice. I close with these words.

I truly appreciate communication, especially through this comment feature and the channel ( my laptop)  through which it exists, not simply the internet.

I direct all thanks to my parents and ultimately my husband, my lord and my maker, the one and only Supernatural Jesus Christ. ( nod to guy in the plaid shirt over there, who also goes by Jesus). Almost done. The following a poem I wrote about what I had thought to be a bully, but truly my own bullheadedness.

" Shooting The Bull"

Once owned a Ford Taurus though often it's said
a Ford on the roadside is probably dead.
I never let stuff like that go to my head
I know how it is to be down.
Ran my hand over the gun metal grey
if it was a horse we'd have galloped away
but the oil was blackened and so that fine day
I decided to take it to town.

My husband was known for mechanical skill
took pride in his work, though I battled his will
I knew he was right about everything, still
I wanted to have my own way.
It was his contention that I was a pain
he often made comments that seemed so inane
I knew that he thought I was lacking a brain
at the technical end of the day.

He said he would change it the next Saturday
still I thought to myself,  "There's a much better way
at Jiffy **** service is good, and they say
that it takes them no more than ten minutes".
Five minutes to get there and five minutes in
they offered to clean up my ***** engine
I gladly accepted, and paid for the gin
or whatever that mixture had in it.

Back at the house, feeling quite satisfied
a little bit nervous on account of his pride
but the Taurus can't wait, 'cause what if it died?
and think of the money we saved!
Well he wasn't at home, so then I could relax
I got dressed for work, while rehearsing the facts
then drove to my work, and in one hour max
the Taurus it bucked, then it caved.

Squeaked into the place where my money was earned
I called him and naturally he was concerned
we had it towed out, I felt angry and burned
now I needed a brand new transmission.
I try not to dwell on the past or road ****
we all have our issues, they bother me still
I'm often quite stubborn, and always a pill
but once in a while now, I listen.

at the start of 2016, old time rocker Bon scott decided to start u[ a rock band

and the songs he will play is the music of astrology and the members of his band is

David Bowie and Lemmy from motor head and Glenn Frey, you see Lemmy and Bowie

and Glenn frey were rehearsing with each other and the first song they did together was

jupiter arising

we were moving up and down the great walls of outer space

understanding that there was a concert playing there

the ,music that was playing was hotel California and the heat is on

and then David Bowie sang ground control to major Tom

you see the music was very loud ya see, very very loud

it was like being back on earth singing to our crowd

oh yeah it is now the hotel california to you

the party that we have, was getting drunk on bottles of scotch

you see that was what my name was mr bon scott

and then i woke up dreaming saying what the heck is happening to me

and the dreaming of a local farmer losing his stock

you see the farmers name was scott and so is my last name

maybe we need to stop terrorism

maybe we need to stop crimes in general

people are committing too many crimes we need to flee them to stop

I know one cosmic music concert isn’t going to stop it no

the man named Jesus Christ said come on Bon we need you to entertain us

my next life is a down syndrome man, living in Canberra

you see he moves his body when he is waiting for the ute doing head banging oh yeah

i really think this whole death thing is quite stupid oh ****** yeah

please send my next life to have some fun, oh yeah jupiter arising


and now here is Davie Bowie

ground control to major Jupiter ground control to major jupiter

this is major jupiter to ground control

planet earth looked doomed and there is nothing more to do

and i will leave my next life to come back and say, i wanna help

ground control to major Jupiter ground controll jupiter

i think planet earth became real bad, with terrorists and people losing lives and all their possessions

ground control to major jupiter

the party is on for young and old and we have no party if the earth doesn’t move

ground control to major jupiter

ashes to ashes fun loving monkey

we know major Tom’s a ******

stuck in heaven and then i met these singers and other singers followed me up

ground control to major jupiter

ground control to major jupiter

i know planet earth is doomed and there is nothing else to do

ground control to major jupiter

all the people in the crowd, just watch ya back because terrorists are coming on your back

ground control to major jupiter


and now here is Lemmy from motor head


i party and i love my life and i know my music was loud ya know

but loud is great and it shows me one thing that i love life

i dream of life and i dreamt of of being dead

I know a lot of us are scared of being dead

everyone lives forever anyway through reincarnation

you can come back to life as a cat or dog or bird

you can come back to life as a magpie or a man who played for the magpies

you see we get down and party party and party on

this is the time for the man to say, let’s party from Lemmy

the motrohead singer who is so cool

he is the singer who breaks no rules

we are on jupiter trying to stop terrorism in outer space and on earth

we need to get rid rid of Ronnie Biggs and Ted Bundy and many many many more

Ahhhhhhhh!   Ahhhhhhhh!, let’s party let’s [arty

as we het together and say, stop the terrorists we certainly say


and now it’s Glenn Frey’s turn

the heat is on, it’s on the street

the heat is on burning everyone we ,meet

the heat is on, we will party right

every day and every night

you see now we have the action and we will keep the flood lights on

because if the heat still is with us, we need the water from the flood to cool us down

the heat is on oh yeah

oh yeah oh yeah oh yeah oh yeah

we are caught up in the action we are looking up to you

oh yeah oh yeah oh yeah oh yeah

hotlel califorina is sang so great

and the heat is on every day and night

oh yeah oh yeah oh yeah oh yeah

caught up in the action i am looking up ro you


you see Bon Scott wants this to be a way that music can calm the savage beast from within

and everyone says to each other howdy, and i say to my recent deceased in music glenn frey and

Daeid Bowie and Lemmy, and i want to show how cool these musical artists were when they

brought their music to help save the world and now musci can save the universe and now here

is john Lennon

i know that there is no heaven, nirvana is the key

there is no hell below us, above us is the parties we have up here

there is no god up here, i wish their were

but i am sure that there is peace up here, let’s bring this peace to earth

imagine all the people dead or alive

you see people say we are dreamers

but we are not the only one

i hope one day you will join us, and the universe will be as 1

there will be space ships taking us anywhere we like

i don’t care how long it takes my friends


and the world will be as one


and now the party is on, and we are attempting to save the universe with music

Today, I am among the half-dead again
Wandering the halls with a gaze that could disintegrate the sun
The world around me is painted in an elephant grey
But this safari feels empty and yet so congested
With a smile that’s been sloppily and gruelingly painted on,
I face the challenges of everyday life once more

Half of me is tuned in to the things around me,
Scribbling words and deciphering the text at a snail’s pace
But the other half is still dreaming,
Waging war against the strongest mages of our time
Or drowning among a school of clownfish
Either way I’m not here and I’m begging to be free
Today, I am among the half-dead again

I imagine that someday a dragon will take me away
This may simply be my dreaming side taking over again
But if I said it could burn away all my worries,
Wouldn’t you wish for that as well?
I would hop onto its scaly back and point towards the sky,
Chanting as if I had been rehearsing for this moment,
“Anywhere is fine, as long as it’s not here”

But until then, I am drenched in my own rain
And the smile has run off with it, off to somewhere far away
Today, I am among the half-dead again
With weights tightly chained to my fingers
I’m dragging my thoughts along with my spirit

I’m a little bit tired but maybe if I wait, tomorrow will be a much better day

What is born of this land?
Nothing is born,
Nothing grows
In this desolate land.

I want to wake up the neighborhood
To hear my screams at dawn
But they do not hear anything,
Do not listen to anything that happens in the morning.
I play my music in the streets,
All my poetry and clichés
But they do not understand anything,
No one understands what happens at dawn.
I walk the streets looking windows,
***** children in their rotten rags
And I cry with those who are hungry,
I do not know who cry or love…
I embrace the poor in spirit
And hear all your stories poor,
These poor and pathetic poor souls
It is my right meeting this cold morning.
I go through the streets and alleys damp and dark
And I hear a child crying…
A repetitive and child crying wretched
What is the worst of all choruses?
I see people and their hurried footsteps
Everywhere, everywhere…
I'm afraid to follow my tracks
And I hasten my steps through this city.
I hear the sirens screaming in the streets
Mixing the sound of nightclubs crowded
And the sound of twisted metal
Creating a new contrast, another type of cry.
I sing with you almost every night
And sometimes I wonder: where are you
He left so early and left me here...
Now I’m alone! I’m alone!
God, I try and cannot understand
Reason to justify this life.
I am a pawn in the game you do not see
Every dawn until dawn.
Something touched my whole being,
Something I do not understand and do not try to understand,
Something that comes up every day when I wake up
And after me until nightfall.
Something happens,
Something moved,
Something incomprehensible,
A new friend?
They say that being is almost live
And living is the limit of what you can want.
In fact, something happens that one wants to be here,
However, not all this desire craves.
Nothing is enough
When no longer feels the aroma of flowers,
When the color no longer thrill
And they cannot be sold to look.
Gave me such rare moments
Feeding the future although at present,
But waking I do in all my steps
Get me the taste of things even in thought.
In my noble and poor land I wander
And I feed the memories of liars,
Get drunk me with joy and gladness
And insistent way in the land of lepers.
In my humble vacant land,
Time is proud, ignorant time.
Hunger is rampant around me,
The flesh is weak and soul idem.
I ask as much as the worst of sinners,
Wasting a time that no longer have,
Not differentiate right from wrong,
Share supper with my detractors.
I do not feel the taste of wine,
I do not recognize a smile,
I do not remember the hugs,
I'm finally alone!
I weigh my conscience in the balance of a butcher
And the butcher tape me with ravenous eyes,
There is no any agreement on the price of the meat,
Nor is the first or second.
God, you who are owner of the ages,
Give me the hours its final minute
And cause the whole world to know
That left miserable after all.
Grant then that desire
And finish time with this work,
Free cities this unfortunate
Who insists on knowing what nobody knows.
When there is fever, it makes no difference,
There are times the blood is poison.
Red is the color of anger and sin:
The poet knows when he is sentenced.
If there is even poetry these avenues
As equal in different cities,
To be recognized
For the sake of pursuing life.
Burial in the deepest memory
The giant concrete towers,
The grotesque glass structures
That mimics a new artery.
A new artery,
A new lifestyle,
A new company
And an early cardiac arrest.
As the cars kissing the avenues
Meeting the perfect companion
That tells me in the ear:
"Accept me as the only one"
Finally, fear runs through my veins
And feeding a forgotten feeling,
An absurd desire to see the next day
And try another outlet.
All the streets are congested.
A whole shantytown has just been set on fire
While some locals try to save
What remains of an entirely bankrupt life?
There is a twist
Around this humble heart,
A carnival,
Almost a provocation.
All veins are old and weak,
There is melancholy at all.
Even without poetry,
Without free will, there is life at all.
This city is just brick,
Metal, sweat, concrete and glass,
Cement stuck to feeling
Often beautiful and often ugly.
This city is sand,
Concrete and feeling,
Sorrows and joys,
Poetry thrown to the wind.
Some people learn early, some not -
Live life day in and day out.
Some dance to the song,
Others are lost before the chorus.
Some are always right, some not -
Many are lost in illusion.
While some running, others sleep
And all seek some direction.
Some dream rock bottom,
Others dream of the river bottom.
Some seek independence,
Others are the exception.
Some people win,
There are people who are lost,
Some people becomes the problem
And others think is the solution.
Digress weather
What about the "types" that encounters in this life.
I lose a second in this lost time
And even with so little sense, how rare is the time!
If you have no idea, nor do I know.
Maybe the hunger that consumes me consumes you too.
Perhaps the addiction that affects equal
Is something that arises only between abnormal?
I addiction with its tapas
And in each sip of his cup,
Each exaggerated affection offered
In exchange for a few bucks.
I ***** me with your lies
And assimilate water from your gutters,
I learn new shortcuts in every way
And erase the traces of my own steps.
I chase you in every church and every home
I swallow my irony,
Visit each elderly
And make friends with the hospice house.
Far reaches thy wickedness
And how many hugs another's grief?
Can evil be so inspired?
The point of the very surprised to be expected?
Life bleeds leaving the left chest
The children of the world that the world does not want,
Spread the news that sadness has hair
And more brown eyes than mine.
I notice refinements of cruelty
In this urban masochism
Where poverty has older
And the lie became just a vanity.
I transform
In all more abhor,
I emerge in the mirror
As my own killer.
I suffocate and tie in the dark of my room
Little souls endangered
And throw in the trash the dreams of those who
He believed devoutly one day be part of reality.
I still feel the skin marked by fire
The brand that hurts the brand of truth
And I pray that one day cease searches
And everything becomes futile.
The happiness of fuel
Corrode and fades away slowly
Gradually me satisfaction
With the balance that sustains me.
When I look at my own face, it hurts.
I exhale the body the rest of fear
And I try not to see how strange the line of truth -
Seeking the path that leads to freedom.
Disguise my desires
And repress my absurd,
Hug each nightmare
And hide my darker side.
I try to see something beyond the abyss,
Find something else beyond the walls,
Transcribe all longings
Hidden behind every dream.
I am eternal,
Sinister,
Land and fraternal
While the world lasts.
There is this chest a divided heart
Created almost between two worlds,
The world is inside the abyss
And what one sees behind the walls.
My corner is stumped
As well as the small voice and uncertain
From the little that is hidden on the other side,
My other side of that wall.
What have other corners?
They also have these sides
But what counts in these corners
Also rhyme in other valleys.
Bright lights bother many people.
Darkness feeds inconsequential.
High walls with brass railings gleaming
Are contrasts in painting a colorless screen?
Urban flowers are so amazing
And this depression is so exciting.
Smiles are bitter and needy
And the pain married to vows of love.
These buildings are so interesting,
Where the wet streets at night shine like diamonds,
Where transiting the fair and honest
Munching vanity and rancor.
The cars pass and illuminate so many people,
Whites, blacks and children without color.
Poets are so tucked the irreverent
Assimilating the pain and all that is.
I see lives that trace the same plane,
joy of generations by mistake ,
Marks of time that are pure desperation
Charting together a colorless future.
I see faces full of hope
Burning in public because of their color,
Those who live without even realizing it,
A cold paint drips without why.
Bodies dancing high parapets
Almost always go so early
Challenging theories and concepts
And ignoring all kinds of love.
My steps are so slow
And so intense movements,
The faces are always the same
And I hope again the sunset.
Justice who is in charge of giving clemency
The presumed innocent
Transiting the streets
Spreading hope and love.
I want to have a chance to see the birth of Venus
And the annunciation in the middle of spring,
I want to be like St. Augustine
And read the scriptures by candlelight.
I want to be like Van Gogh and paint sunflowers
Even in December the ink is red.
I want to have new flower garden in the backyard
And the kiss out of my lips is never accidental.
Just want something passionately
Even being so blind and alone?
That goodbye is worthy
And everything to return finally to dust.
The idea comes suddenly
To celebrate as an illiterate,
Prepare a table and invite
Only those who are hungry.
All this turmoil,
All this protest,
All thefts
This legion inside me...
Melancholy has always had its place,
Love, sadness and bitter returns,
Feeling alone and be like shadow in the crowd
And embrace the darkness itself.
Find it romantic suffer
For pain that recognizes pain that always sees
It is more than a disease, it is a love affair
For all that hurts and causes pain.
I let them think I was defeated
With the unexpected attacks
Of those who cry shouts of victory
And they forgot to be buried.
I leave them to play in my back
The guilt of all blame,
Let it burn my entire story,
It does not matter that much.
My lips run on search words
And my eyes run in search of beauty,
Drawing liar’s feelings
That shut all the bells around.
Words come out like blades
In hoarse voice coming out of my mouth
This other me who hates me so much
And all challenges at first.
In the spring mornings leaves dance
Rehearsing his ballets from the rising of the day,
Is this life?
It’s this they call life?
I want to find the lost word
Among the tasks of the day to day
What is so profane?
The prohibited!
I want to meet a new season
Bring me a sense of relief,
Find what they call happiness
And maybe learn what it is.
An epidemic,
Leukemia,
Rimes illustrating
An eternal melodrama.
You cannot have everything!
Not always beautiful are our days
And we keep waking up.
Roses do not speak, but are also alive.
There is hunger for love!
There is hunger and what will?
There is hunger in this home?
If there is hunger, then there.
There is time for everything!
There is time to smile,
No time to cry,
There is time to leave.
I want to run away from home without a warning,
Running between the wheat fields
And let all afflicted
Trying to understand what had happened.
I want to cause confusion,
The same kind that I bring in my heart.
I want water all around
With the storm inside me.
I want to wake up the sleeping
And those who never agreed,
I want to find out who they are
And spread about us.
Lovers of this pain,
Thirsty without knowing
Where else to enjoy,
Where else to call "home".
I shift my gaze
With all the hatred of this world
Of all the ragamuffins and vagabonds
Who recognize me in a second?
I want to break these chains,
Scratching walls,
Promote anarchy
And imprison noon.
I want rain penknives
While tear my clothes,
I cut my wrists
And count all the drops.
A day can be
Something happens
And make to cease this endless grief
And everything changes, anyway.
So lose the naivety
What remains this morning?
I envision the absurdity that all I see
Is still something to be remembered?
Maybe one day
Poetry is done singing
And the light breeze the corner
Everywhere!
I want to get a perfect world,
I want to love what is defective,
I want to explore my own room,
Make another deal.
I want to shake you violently that coffin
And show where all the mice,
Ignite old blankets
Which now they were pretty.
I want to show you I love you
And I hate you,
I can live alone,
But also not live without you.
My madness is productive
At the same time, destructive:
It satisfies the crowd inside.
I refuse to be part of the pack
Strolling in supermarkets,
Feigning patience as immoderate
The suffered.
I like debris,
I collect dust,
Make enemies,
Cultivation dreams.
I constantly change identity
And lose track of reality,
My state is ill
And I'm terminal and disposable.
I participate in this game,
This novel in decline
This disgusting theater of horrors
Where only the blind are honest.
I am thoroughly enslaved
While deprive me of the privilege of choice,
Burying our will
In the deepest pit.
The wall that separates us is low
And we walked jumping from one side to the other,
Often both exist
And others, only I exist.
We are a nun and a *****
Plotting an eternal dispute
Between the two sides of the coin
To decide who runs and who fight.


As simple as saying your name
Spell out the pieces of your body.
I want to understand what God's grace
If your body will never be only yours.
Your body exudes the morning sweat,
Clouds hid the principle of pain,
Pain discovers a new form of pleasure
And the pleasure is expensive to you.
Your blood runs nearly everywhere
And a new world opens up suddenly,
Frighten the fleeting pain
And wait with his only love the sunrise.
I wipe the sweat oozes from you,
You wipe the tears falling from me,
If you can be in the world some endless love
The only certainty is that there was never before such love.


I want to wake you up
To hear my screams at dawn,
Show you what genuine despondency is
And not left me anymore.
I want to recognize me
And take me to your bed,
Not left with nothing
In addition to beating in his chest.
I want to be part of its history
And I want to be a constant presence in my,
The world spit their prejudices
And the fire that also burns in the heat.
I want to break the mirrors
And heal our sickness,
Assaulting what kills us
Every day, forever.
Serene and calm give you what remains
With my last breath,
What's best in me now rests
And rest my mind.
My sweat is true
It is also all the pain.
Blood is final
And it goes to the last vows of love.
The entire storm inside me
Now relax my heart,
Soothes My Soul
And feeds the reason.
I walk by this peaceful land
And growing a new crop of wheat,
I do a incognita a new partner
And the fear is not definitive.
I harvest hope
Where before there was only bitterness.
I am ashamed
And regret.
I accept the entire cross
And fight against the serpent.
I heal my wounds.
And my success is violent.
Time is short
And I want to scream that entire plan,
There is still a flame inside
And only her surrender.
What was misery,
What was despair,
What was hungry,
What was fear…
What was pain,
What was love,
What it had value
And when there was time…
What is born of this land?
Nothing is born,
Nothing grows
In this desolate land.


What is born on this land?
What grows in this land?
Nothing is born on this land,
My private wasteland.

An angel of war sends me photographs, black and white.
                                                          ­          I surrender, so we

chew on Floridian palms, the majesty of loons,
                             and how to capture the moon.

I've hidden his photographs behind a mask that hangs from my mirror,
                            where I spend hours rehearsing
                            how to disappear.

Eye do look on that day with anxious yearning;
                                      his epic
                                      return to the void,

because a tug of war is always easier without handling the rope,

and I cannot force his wings closed. I cannot soften the blow.
                                                 His motions
                                                 like ocean tides,

so strong and so slow.

Falling for toxic boys
when will we realise
Mr. Wrong wreaks havoc
whereever he goes
leaving behind a litany of woes

What’s the attraction of the bad lad?
known universally as a cad
pure catnip for some women
in their pool I won’t be swimming

Maybe their addicted to drama
flying in the face of karma
is ungentlemanly behaviour mistaken for passion
or wearing a lothario the new fashion

Their well versed in the art of seduction
continuously rehearsing their next production
maybe romance with a ladies man is a headrush
back in the day I had many a bad lad crush

Converts from convicts and convictions reversed,
rehearsing conversations and
checking out of the jail.

The convoy unaware of the danger back there carried on,
strike one.

Rest breaks and more takes, is the cameraman ******?
reverse hold and conquer,
we will win to win will.

Strike two,
the best murderers do,
they usually get caught and
I thought it was Cluedo, but what
would I know?


'A handbag', she said,
I said,
'Oscar's long dead
and we broke down and cried.

Strike three and I'm out,
never thought that this failure
would send me back to
the jailer.

Prison ballet,
pirouette and
point the finger of blame,
rehearsing the conversation
not knowing my name.

Here we are on this Hell,
On this cold Earth,
Trapped in His Heaven*
Deceived since our birth.
Looking and searching,
for nothing we'll find.
Even when we think
it is found
It's always a lie
Living content, when we deserve so much more.
Still think it's found?
You're being fooled by sight.
Being filled with sound
You're not fighting my fight.
In lovers we find adventure and turn
Being stupid and naive, I wonder why you've been burned
Say you're in love with all you believe
Just keep following that perfect road
Yellow Brick Road of deceit.
Promise it's set in stone
Keep lying through your teeth.
Continue rehearsing the lines,
Love, fate, destiny
When really it's all coincidence
Chance, probability.
Believe there is something beyond
Cause there never will be.
Tell yourself the truth,
You'll never be happy.

We’ve spent months and weeks and nights perfecting the curvature of my body molding against yours
as my fingers slip in among strands
and my knees bend just a little
to make sure my chest is resting
beside your center of operations
My head nods forward and then dips back
my lips have come to expect the
next sensation of exhalation
meeting here
meeting fear
Because now there is no practice
for our congregation of cells
no preparation for parting your lips
or my thighs
We are rehearsing in our minds
how to make thought pictures die
until practice with a stranger starts again.

Stages and dance rooms,
makeup and costumes.
Auditions and lead roles,
complete self control.
State capitols and groups
of professional troops.
Judging my acting,
attention attracting.
Sweat, blood, and tears.
Realizing my fears.
Blocking and accents,
and never an absence.
Rehearsing for hours,
the feeling empowers.
I live for theatre,
but may be too eager.

~

gold-encrusted jewels dance
on sun-drenched ocean stacks,
his rugged rocks etched deep
by her waves from far beneath,
and Pacific’s gusty breath;
his wind-swept islets burn,
aflame in sunset's dying embers,
like a lover's siren call.
his chiseled keyholes waiting
for the ciphered piercing rays
to collide in rushing tidal spray.
unlocking sunset's golden hour...
surging forth then quickly fades,
as sunbeam fingers slowly slip,
beneath horizon's sultry lip;
dusk unfolds in magic hues,
molten rose turns scarlet blues,
night descends as one by one,
we raptured star-kissed lovers
disembark this ferris wheel;
the curtain falls again,
with sea and rocks
rehearsing lines
to play again another day.
this their theatre
of the night,
performed by two alone,
beneath the moon
and starry sky.

~

*post script.

our last time through in 2004 was a blur on our way through to San Diego, an exhilarating ride for certain, with all of its bends and curves experienced top down in a convertible, but hardly doing justice to Big Sur’s stunning scene in mere hours; we told ourselves we simply had to return.  

it took eleven years, and this time we spent a full five days and nights along Highway 1, towing a camper and slow-driving south from Monterrey all the curves to Morro Bay, exploring just about every hike and lookout in between; and in so doing, validating our return in a most satisfying way.  Big Sur is officially off our bucket list!  her sunsets were particularly rewarding, especially two... one enjoyed at sea level, from the sand and keyholes at Pfeiffer Beach day use area, the other delighted us from high above the ocean waves, seated at the picnic table of our cliff-side camp site at Kirk Creek Campground.

a most refreshing time to recuperate and recharge our spirits; five glorious days of disconnection, reconnecting to nature, each other and best of all, life at the speed of sunsets and star gazing; evenings spent round the campfire with no cell, no i-pad, no laptop, only the light of the fire, the stars and that sparkle in each other's eyes!

My thoughts are always wrong.
Rehearsing things to say so long
that I'll never respond.
Too hard to take my time.
Too quick to jump this gun.
Fixating on all the most inappropriate fascinations.
Holding tongues on all the worst occasions.

Let's play a good old fashioned game of Russian Roulette.
Rushing to do all the things we'll regret.
And forgetting all those words we pretend to believe.
I'll always have one more deception up my sleeve.

That might just be the old me.