somewhere i have never travelled, gladly beyond
any experience,your eyes have their silence:
in your most frail gesture are things which enclose me,
or which i cannot touch because they are too near

your slightest look easily will unclose me
though i have closed myself as fingers,
you open always petal by petal myself as Spring opens
(touching skilfully,mysteriously)her first rose

or if your wish be to close me, i and
my life will shut very beautifully ,suddenly,
as when the heart of this flower imagines
the snow carefully everywhere descending;

nothing which we are to perceive in this world equals
the power of your intense fragility:whose texture
compels me with the color of its countries,
rendering death and forever with each breathing

(i do not know what it is about you that closes
and opens;only something in me understands
the voice of your eyes is deeper than all roses)
nobody,not even the rain,has such small hands

THE LEGEND OF HOLLYWOOD IN VERSE
Dear Readers, I have tried to cover the salient features of this True Story in free flowing verse mainly with end rhymes. If you read it loud, you can hear the chimes! Due to the short attention span of my readers I had to cut short this long story, and conclude with the
Golden Era of Hollywood by stretching it up to the 1950's only. When TV began to challenge the Big Screen Cinema seriously! I have used only a part of my notes here. Kindly read the entire poem and don't hesitate to know many interesting facts - which I also did not know! I wish there was a provision for posting a few interesting photographs for you here. Best wishes, - Raj Nandy, New Delhi.  

                 THE LEGEND OF HOLLYWOOD :
                        THE AMERICAN  DREAM
                             BY RAJ NANDY

           A SHORT  HISTORICAL  BACKGROUND
Since the earliest days, optical toys, shadow shows, and ‘magic
lanterns’, had created the illusion of motion.
This concept was first described by Mark Roget in 1824 as  
the 'persistent of vision'.
Giving impetus to the development of big screen cinema with its
close-ups, capturing all controlled and subtle expressions!
The actors were no longer required to shout out their parts with
exaggerated actions as on the Elizabethan Stage.
Now even a single tear drop could get noticed easily by the entire
movie audience!
With the best scene being included and edited after a few retakes.
To Thomas Edison and his able assistant William Rogers we owe the invention of Kinetoscope, the first movie camera.
On the grounds of his West Orange, New Jersey laboratory, Edison
built his first movie studio called the ‘Black Maria’.   (1893)
He also purchased a string of patents related to motion picture
Camera; forming the Edison Trust, - a cartel that took control of
the Film Industry entire!

Fort Lee, New Jersey:
On a small borough on the opposite bank of the Hudson River lay
the deserted Fort Lee.
Here scores of film production crews descended armed with picture Cameras, on this isolated part of New Jersey!
In 1907 Edison’s company came there to shoot a short silent film –
‘Rescue From an Eagle’s Nest’,
Which featured for the first time the actor and director DW Griffith.
The independent Chaplin Film Company built the first permanent
movie studio in 1910 in Fort Lee.
While some of the biggest Hollywood studios like the Universal,
MGM, and 20th Century Fox, had their roots in Fort Lee.
Some of the famous stars of the silent movie era included ‘Fatty’
Arbuckle, Will Rogers, Mary Pickford, Dorothy and Lillian Gish,
Lionel Barrymore, Rudolph Valentine and Pearl White.
In those days there were no reflectors and electric arch lights.
So movies were made on rooftops to capture the bright sunlight!
During unpredictable bad weather days, filming had to be stopped
despite the revolving stage which was made, -
To rotate and capture the sunlight before the lights atarted to fade!

Shift from New Jersey to West Coast California:
Now Edison who held the patents for the bulb, phonograph, and the Camera, had exhibited a near monopoly;
On the production, distribution, and exhibition of the movies which made this budding industry to shift to California from
New Jersey!
California with its natural scenery, its open range, mountains, desert, and snow country, had the basic ingredients for the movie industry.
But most importantly, California had bright Sunshine for almost
365 days of the year!
While eight miles away from Hollywood lay the port city of Los Angeles with its cheap labour.

                        THE RISE  OF  HOLLYWOOD
It was a real estate tycoon Harvey Wilcox and his wife Daeida from
Kansas, who during the 1880s founded ‘Hollywood’ as a community for like-minded temperate followers.
It is generally said that Daeida gave the name Hollywood perhaps
due to the areas abundant red-berried shrubs also known as
California Holly.
Spring blossoms around and above the Hollywood Hills with its rich variety,  gave it a touch of paradise for all to see !
Hollywood was incorporated as a municipality in 1903, and during
1910 unified with the city of Los Angeles.
While a year later, the first film studio had moved in from New
Jersey, to escape Thomas Edison’s monopoly!    (1911)

In 1913 Cecil B. De Mille and Jesse Lasky, had leased a barn with
studio facilities.
And directed the first feature length film ‘Squaw Man’ in 1914.
Today this studio is home to Hollywood Heritage Museum as we get to see.
The timeless symbol of Hollywood film industry that famous sign on top of Mount Lee, was put up by a real estate developer in 1923.  
This sign had read as ‘’HOLLY WOOD LAND’’ initially.
Despite decades of run-ins with vandals and pranksters, it managed to hang on to its prime location near the summit of the Hollywood Hills.
The last restoration work was carried out in 1978 initiated by Hugh
Hefner of the ******* Magazine.
Those nine white letters 45 feet tall now read ‘HOLLYWOOD’, and has become a landmark and America’s cultural icon, and an evocative symbol for ambition, glamour, and dream.
Forever enticing aspiring actors to flock to Hollywood, hypnotised
by lure of the big screen!

                     GOLDEN AGE OF HOLLYWOOD
The Silent Movie Era which began in 1895, ended in 1935 with the
production of ‘Dance of Virgins’, filmed entirely in the island of Bali.
The first Sound film ‘The Jazz Singer’ by Warner Bros. was made with a Vitaphone sound-on-disc technology.  (October 1927)
Despite the Great Depression of the 1930s, this decade along with the 1940s have been regarded by some as Hollywood’s Golden Age.
However, I think that this Golden Age includes the decades of the
1940s and the 1950s instead.
When the advent of Television began to challenge the Film Industry
itself !

First Academy Award:
On 16th May 1929 in the Roosevelt Hotel on Hollywood Boulevard,
the First Academy Award presentation was held.
Around 270 people were in attendance, and tickets were priced at
$5 per head.
When the best films of 1927 & 1928 were honored by the Academy
of Motion Production and Sciences, or the AMPS.
Emil Jennings became the best actor, and Janet Gaynor the best actress.
Special Award went to Charlie Chaplin for his contribution to the
silent movie era and for his silent film ‘The Circus’.
While Warren Brothers was commended for making the first talking picture ‘The Jazz Singer’, - also receiving a Special Award!
Now, the origin of the term ‘OSCAR’ has remained disputed.
The Academy adopted this name from 1939 onwards it is stated.
OSCAR award has now become “the stuff dreams are made of”!
It is a gold-plated statuette of a knight 13.5 inches in height, weighing 8.5 pounds, was designed by MGM’s art director Cedric Gibbons.
Annually awarded for honouring and encouraging excellence in all
facets of motion picture production.

Movies During the Great Depression Era (1929-1941):
Musicals and dance movies starring Fred Astaire and Ginger Rogers provided escapism and good entertainment during this age.
“Ginger Rogers did everything Fred Astaire did. She just did it
backwards and in high heels,” - the Critics had said.
This compatible pair entertained the viewers for almost one and
a half decade.
During the ‘30s, gangster movies were popular starring James Cagey, Humphrey Bogart, and Edward G. Robinson.
While family movies had their popular child artist Shirley Temple.
Swashbuckler films of the Golden Age saw the sword fighting scenes of Douglas Fairbanks and Errol Flynn.
Flynn got idolized playing ‘Robin Hood’, this film got released in
1938 on the big screen!
Story of the American Civil War got presented in the epic ‘Gone With The Wind’ (1939) with Clarke Gable and Vivian Leigh.
This movie received 8 Oscars including the award for the Best Film, - creating a landmark in motion picture’s history!
More serious movies like John Steinbeck’s ‘Grapes of Wrath’ and
John Ford’s  ‘How Green Was My Valley’, were released in 1940 and 1941 respectively.
While the viewers escaped that depressive age to the magical world
of  ‘Wizard of Oz’ with its actress Judy Garland most eagerly!
Let us not forget John Wayne the King of the Westerns, who began
his acting career in the 1930s with his movie ‘The Big Trail’;
He went on to complete 84 films before his career came to an end.
Beginning of the 40s also saw Bob Hope and the crooner Bing Crosby, who entertained the public and also the fighting troops.
For the Second World War (1939-45) had interrupted the Golden Age of Hollywood.
When actors like Henry Fonda, Clarke Gable, James Stewart and
Douglas Fairbanks joined the armed forces temporarily leaving
Hollywood.
Few propaganda movies supporting the war efforts were also made.
While landmark movies like ‘Philadelphia Story’, ‘Casablanca’, ‘Citizen Kane’,
‘The Best Years of Our Lives’, were some of the most successful movies of that decade.  (The 1940s)
Now I come towards the end of my Hollywood Story with the decade  of the 1950s, thereby extending the period of Hollywood’s Golden Age.
Since having past the Great Depression and the Second World War,  the Hollywood movie industry truly matured and came of age.

                        HOLLYWOOD  OF  THE  1950s

BACKGROU­ND:
The decade of the ‘50s was known for its post-war affluence and
choice of leisure time activities.
It was a decade of middle-class values, fast-food restaurants, and
drive-in- movies;
Of ‘baby-boom’, all-electric home, the first credit cards, and new fast moving cars like the Ford, Plymouth, Buick, Hudson, and Chevrolet.
But not forgetting the white racist terrorism in the Southern States!
This era saw the beginning of Cold War, with Eisenhower
succeeding Harry S. Truman as the American President.
But for the film industry, most importantly, what really mattered  
was the advent of the Domestic TV.
When the older viewers preferred to stay at home instead of going
out to the movies.
By 1950, 10.5 million US homes had a television set, and on the
30th December 1953, the first Color TV went on sale!
Film industries used techniques such as Cinemascope, Vista Vision,
and gimmicks like 3-D techniques,
To get back their former movie audience back on their seats!
However, the big scene spectacle films did retain its charm and
fantasy.
Since fantasy epics like ‘The Story of Robin Hood’, and Biblical epics like ‘The Robe’, ‘Quo Vadis’, ‘The Ten Commandments’ and ‘Ben-Hur’, did retain its big screen visual appeal.
‘The Robe’ released on 16th September 1953, was the first film shot
and projected in Cinema Scope;
In which special lenses were used to compress a wide image into a
standard frame and then expanded it again during projection;
Resulting in an image almost two and a half times as high and also as wide, - captivating the viewers imagination!

DEMAND FOR NEW THEMES DURING THE 1950s :
The idealized portrayal of men and women since the Second World War,
Now failed to satisfy the youth who sought exciting symbols for rebellion.
So Hollywood responded with anti-heroes with stars like James Dean, Marlon Brando, and Paul Newman.
They replaced conventional actors like Tyron Power, Van Johnson, and Robert Taylor to a great extent, to meet the requirement of the age.
Anti-heroines included Ava Gardner, Kim Novak, and Marilyn Monroe with her vibrant *** appeal;
She provided excitement for the new generation with a change of scene.
Themes of rebellion against established authority was present in many Rock and Roll songs,
Including the 1954 Bill Hailey and His Comets’ ‘Rock Around the Clock’.
The era also saw rise to stardom of Elvis Presley the teen heartthrob.
Meeting the youthful aspirations with his songs like ‘Jailhouse Rock’!
I recall the lyrics of this 1957 film ‘Jailhouse Rock’ of my school days, which had featured the youth icon Elvis:
   “The Warden threw a party in the county jail,
     The prison band was there and they began to wail.
     The band was jumping and the joint began to sing,
     You should’ve heard them knocked-out jail bird sing.
     Let’s rock, everybody in the whole cell block……………
     Spider Murphy played the tenor saxophone,
     Little Joe was blowing the slide trombone.
     The drummer boy from Illinois went crash, boom, bang!
     The whole rhythm section was the Purple Gang,
      Let's rock,.................... (Lyrics of the song.)

Rock and Roll music began to tear down color barriers, and Afro-
American musicians like Chuck Berry and Little Richard became
very popular!
Now I must caution my readers that thousands of feature films got  released during this eventful decade in Hollywood.
To cover them all within this limited space becomes an impossible
task, which may kindly be understood !
However, I shall try to do so in a summarized form as best as I could.

BOX OFFICE HITS YEAR-WISE FROM 1950 To 1959 :
Top Ten Year-Wise hit films chronologically are: Cinderella (1950),
Quo Vadis, The Greatest Show on Earth, Peter Pan, Rear Window,
Lady and the *****, Ten Commandments, Bridge on the River
Kwai, South Pacific, and Ben-Hur of 1959.

However Taking The Entire Decade Of 1950s Collectively,
The Top Films Get Rated As Follows Respectively:
The Ten Commandments, followed by Lady and the *****, Peter Pan, Sleeping Beauty, Bridge on the River Kwai, Around the World in Eighty Days, This is Cinerama, The Greatest Show on Earth, Rear Window, South Pacific, The Robe, Giant, Seven Wonders of the World, White Christmas, Twenty Thousand Leagues Under the Sea, Sayonara, Demetrius and the Gladiator, Peyton Place, Some Like It Hot, Quo Vadis, and Auntie Mame.

Film Debuts By Rising Stars During The 1950s :
The decade of the ‘50s saw a number of famous film stars making
their first appearance.
There was Peter Sellers in ‘The Black Rose’, Marlon Brando in
‘The Men’, and actress Sophia Loren in ‘Toto Tarzan’.
Following year saw Charles Bronson in ‘You Are in the Navy Now’,
Audrey Hepburn in ‘Our Wild Oats’, and Grace Kelly, the future
Princess of Monaco, in her first film ‘Fourteen Hours’. (1951)
While **** Brigitte Bardot appeared in 1952 movie ‘Crazy for Love’; and 1953 saw Steve Mc Queen in ‘******* The Run’.
Jack Lemon, Paul Newman, and Omar Sharif featured in films
during 1954.
The following year saw Clint Eastwood, Shirley Mc Lean, Walter
Matthau, and Jane Mansfield, all of whom the audience adored.
The British actor Michael Cain appeared in 1956; also Elvis Presley
the youth icon in ‘Love Me Tender’ and as the future Rock and Roll
King!
In 1957 came Sean Connery, followed by Jack Nicholson, Christopher Plummer, and Vanessa Redgrave.
While the closing decade of the ‘50s saw James Coburn, along with
director, script writer, and producer Steven Spielberg, make their
debut appearance.

Deaths During The 1950s: This decade also saw the death of actors
like Humphrey Bogart, Tyron Power and Errol Flynn.
Including the death of producer and director of epic movies the
renowned Cecil B. De Mille!
Though I have conclude the Golden Age of Hollywood with the 50’s Decade,
The glitz and glamour of its Oscar Awards continue even to this day.
With its red carpet and lighted marquee appeal and fashion display!

CONTINUING THE HOLLYWOOD STORY WITH FEW TITBITS :
From Fort Lee of New Jersey we have travelled west to Hollywood,
California.
From the silent movie days to the first ‘talking picture’ with Warren
Bros’ film ‘The Jazz Singer’.  (06 Oct 1927)
On 31st July 1928 for the first time the audience heard the MGM’s
mascot Leo’s mighty roar!
While in July 1929 Warren Bros’ first all-talking and all- Technicolor
Film appeared titled - ‘On With The Show’.
Austrian born Hedy Lamarr shocked the audience appearing **** in a Czechoslovak film ‘Ecstasy’!  (1933)
She fled from her husband to join MGM, becoming a star of the
‘40s and the ‘50s.
The ‘Private Life of Henry VII’ became the first British film to win the  American Academy Award.  (1933)
On 11Dec 1934, FOX released ‘Bright Eyes’ with Shirley Temple,
who became the first Child artist to win this Award!
While in 1937 Walt Disney released the first full animated feature
film titled - ‘Snow White and the Seven Dwarf ‘.
The British film director Alfred Hitchcock who came to
Hollywood later;
Between 1940 and 1947, made great thrillers like 'Rebecca', ‘Notorious’, ‘Rear Window’, and ‘Dial M for ******’.
But he never won an Oscar as a Director!

THE GOLDEN GLOBE AWARD:
This award began in 1944 by the Foreign Correspondence Association at
the 20th Century Fox Studio.
To award critically acclaimed films and television shows, by awarding a
Scroll initially.
Later a Golden Globe was made on a pedestal, with a film strip around it.
In 1955 the Cecil B. De Mille Award was created, with De Mille as its first
recipient.

THE GRAMMY AWARD:
In 1959 The National Academy of Recording and Sciences sponsored the
First Grammy Award for music recorded during 1958.
When Frank Sinatra won for his album cover ‘Only The Lonely’, but he
did not sing.
Among the 28 other categories there was Ella Fitzgerald, and Count Basie
for his musical Dance Band Performance.
There was Kingston Trio’s song ‘Tom Dooly’, and the ‘Chipmunk Song’,
which brings back nostalgic memories of my school days!

CONCLUDING HOLLYWOOD STORY  WITH STUDIOS OF THE 1950s

Challenge Faced by the Movie Industry:
Now the challenge before the Movie Industry was how to adjust to the
rapidly changing conditions created by the growing TV Industry.
Resulting in loss of revenue, with viewers getting addicted to
their Domestic TV screen most conveniently!

The late 1950s saw two studios REPUBLIC and the RKO go out of business!
REPUBLIC from 1935- ‘59 based in Los Angeles, developed the careers of
John Wayne and Roy Rogers, and specializing in the Westerns.
RKO was one of the Big Five Studios of Hollywood along with Paramount,
MGM, 20th Century Fox, and Warner Brothers in those days.

RKO Studio which begun with Fred Astaire and Ginger Rogers in the ‘30s,
included actress Katherine Hepburn who holds the record for four Oscars
even to this day;
And later had Robert Mitchum and Carry Grant under an agreement.
But in 1948, RKO Studio came under the control Howard Hughes the
temperamental Industrialist.
Soon the scandal drive and litigation prone RKO Studio closed, while
other Big Four Studios had managed to remain afloat!


PARAMOUNT STUDIO:
Paramount Studio split into two separate companies in 1950.
Its Theatre chain later merged with ABC Radio & Television Network;
And they created an independent Production/Distribution Network.
Bing Crosby and Bob Hope had been Paramount’s two biggest stars.
Followed by actors like Alan Ladd, William Holden, Jerry Lewis, Dean
Martin, Charlton Heston, and Dorothy Lamour.
They also had the producer/director Cecil B. De Mille producing high-
grossing Epics like ‘Samson & Delilah’ and ‘The Ten Commandments’.
Also the movie maker Hal Wallis, who discovered Burt Lancaster and
Elvis Presley - two great talents!

20th CENTURY FOX:
Cinema Scope became FOX’s most successful technological innovation
with its hit film ‘The Robe’. (1953)
Its Darryl Zanuck had observed during the early ‘50s, that audience  
were more interested in escapist entertainments mainly.
So he turned to FOX to musicals, comedies, and adventure stories.
Biggest stars of FOX were Gregory Peck & Susan Hayward; also
stars like Victor Mature, Anne Baxter, and Richard Wind Mark.
Not forgetting Marilyn Monroe in her Cinema Scope Box Office hit
movie - ‘How to Marry a Millionaire’, which was also shown on
prime time TV, as a romantic comedy film of 1953.

WARREN BROTHERS:
During 1950 the studio was mainly a family managed company with
three brothers Harry, Albert, and Jack Warren.
To meet the challenges of that period, Warren Bros. released most of
its actors like James Cagney, Humphrey Bogart, Oliver de Havilland, -
Along with few others from their long-term contractual commitments;
Retaining only Errol Flynn, and Ronald Regan who went on to become
the future President.
Like 20th Century Fox, Warren Bros switched to musicals, comedies,
and adventure movies, with Doris Day as its biggest musical star.
The studio also entered into short term agreements with Gary Copper,
John Wayne, Gregory Peck, Patricia Neal, and Random Scott.
Warren Bros also became the first major studio to invest in 3-D
production of films, scoring a big hit with its 3-D  suspense thriller
‘House of Wax’ in 1953.

MINOR STUDIOS were mainly three, - United Artists, Columbia, and
The Universal.
They did not own any theatre chain, and specialized in low-budgeted
‘B’ Movies those days.
Now to cut a long story short it must be said, that Hollywood finally
did participate in the evolution of Television industry, which led to
their integration eventually.
Though strategies involving hardware development and ownership of
broadcast outlets remained unsuccessful unfortunately.
However, Hollywood did succeed through program supply like prime-
time series, and made-for-TV films for the growing TV market making
things more colorful!
Thus it could be said that the TV industry provided the film industry
with new opportunities,  laying the groundwork for its diversification
and concentration;
That characterized the entertainment industry during the latter half  
of our previous century.
I must now confess that I have not visited the movie theatre over the last
two decades!
I watch movies on my big screen TV and my Computer screen these days.
Old classical movies are all available on ‘You Tube’ for me, and I can watch
them any time whenever I am free!
Thanks for reading patiently, - Raj Nandy.
**ALL COPYRIGHTS ARE WITH THE AUTHOR RAJ NANDY OF NEW DELHI

Dear Poet Friends, I conclude this series on The Enigma of Time by mentioning few important features about the concept of Time according to Modern Philosophy and Science. I have used a
simple format, and also tried my best to simplify the concepts for your kind appreciation. Unfortunately, there is no provision on this Poetry Site to show Diagrams to elucidate! If you like this one, kindly repost the same for wider circulation! Thank you, Raj Nandy, New Delhi.
            
       CONCLUDING THE ENIGMA OF TIME IN VERSE:
                      PART THREE – BY RAJ NANDY
              
              TIME ACCORDING TO MODERN PHILOSOPHY

UNREALITY Of TIME : Mc Taggart’s ‘A’ and ‘B’ Series:
Now skipping through the pages I come to Modern Philosophy, with Mc Taggart the British philosopher of the 20th Century.
He had acquired a substantial following with his 1908 paper on the ‘Unreality of Time’ initially.
With his quibbling argument he states, that moments in his ‘A’ Series of Time are either of past tense, present tense, or of future tense.
It is all about human perception, since we experience the past through our memories;
Become aware of the present through our senses, while future is pretty unknowable.
Here time appears to be flowing through us, as nothing remains stable around us!

In his ‘B’ Series of Time Mc Taggart expresses differences in moments of time as either Before or After,
Without using the tenses used in his ‘A’ Series of Time.
All parts in time can be expressed equally as points along a time line, in the absence of past, present, and future tense;
While here we appear to be flying through time in a metaphorical sense!
Thus in the ‘A series’ time appears to be flowing through us, but in ‘B series’ we seem to be flying through time on a timeline created by us!
Therefore, Mc Taggart finds both the ‘A’ and ‘B’ Series describing Time to be inadequate and also contradictory;
And he finally concludes that Time is unreal and does not exist in reality!

How Mc Taggart’s Theory Was  Updated :
Modern Philosophers have re-casted Mc Taggart’s theory in term of findings of Modern Physics.
His A-Theory is updated into ‘PRESENTISM’, which holds that only thing that is real is the ‘present moment’.
In ‘Presentism’ time has no past or future, and time has no duration either!
All things come into existence and drop out of existence, and past events no longer exist;
And since the future is undefined or merely potential, it too does not exist!

His B-theory is re-formulated into ‘ETERNALISM’ or the ‘Block Universe’, influenced by the later Theory of Relativity.
‘Eternalism’ holds that past events do exist even if we cannot immediately experience them, and future events also exists in a very real way.
The ‘flow of time’ we experience is just an illusion of consciousness.
Since in reality, time is always everywhere in an eternal sense!

Theory of Growing Block Universe:
It was proposed by the Englishman CD Broad in 1923, as an alternative to ‘Presentism’ where only the present exist;
And also as an alternative to ‘Eternalism’ where past, present, and future together also exist.
In ‘Growing Block Universe’ only the past and the present exist, but not the future.
Since the growing of the block happens in the present, with a very thin slice of space-time continuously coming into existence;  
Where consciousness as well as the flow of time are not active within the past,  
But they can occur only at the boundary of this ‘Growing Block Universe’!
Few scholars this concept did criticise, saying that in this theory the word ‘now’ can no longer be used to define Time!

But according to Einstein, this perception of ‘now’ that appears to move along a timeline, creating the illusion of ‘flow of time’, arises purely as a result of human consciousness;
And the way our brains are wired due to our evolutionary process, enabling us to deal with the world around us in a practical sense.
“People like us, who believe in Physics, know that the duration between the past, present, and the future is only a stubbornly persistent illusion,’’ said Einstein.

A poem on ‘The Paradox of Time’:
Now to lighten up my Reader’s mind, I present only the first three stanzas from ‘’The Paradox of Time’’, composed by the British poet Austin Dobson:
  “Time goes, you say? Ah no!
   Alas, Time stays, we go;
      Or else, were this not so,
  What need to chain the hours,
  For youth were always ours?

  Ours is the eye’s deceit
  Of men whose flying feet
     Lead through some landscape low;
  We pass, and think we see
  The earth’s fixed surface flee,
     Alas, time stays, we go!

  Once in the days of old
  Your locks were curling gold,
     And mine had shamed the crow.
  Now, in the self-same stage,
  We’ve reached the silver age,
  Time goes, you say? - ah no!
       Alas, time stays, we go!”
            
HOW LIGHT IS CONNECTED WITH THE CONCEPT OF TIME:
Brief Background:
I commence with quotes from the ‘Book of Genesis’ - Chapter One, along with my thoughts about Light and Time,
Before concluding this series with Albert Einstein’s concept of Space-Time.

“And God said, “Let there be light,” and there was light. God saw that the light was good, and he separated the light from the darkness. God called the light “day,” and the darkness he called “night.” And there was evening, and there was morning—the first day. ……And God said, “Let there be lights in the vault of the sky to separate the day from the night, and let them serve as signs to mark sacred times, and days and years, and let them be lights in the vault of the sky to give light on the earth. And it was so.”
                                                      - BOOK Of GENESIS Chapter One.

Since ancient days, Light had acquired a religious and a spiritual significance.
Since Light became associated with goodness, intelligence and ultimate realty;
Light accompanies transcendence into Nirvana of Buddhist religious philosophy.
In due course the Sun began to be worshipped as an important live-giving deity.
As seen in the symbolic form of Egyptian Sun God Ra, and the Greek gods Helios and Hyperion as the Sun god and god of Light respectively.
In Hindu mythology Surya is the Sun god, and Ushas the goddess of Light.
Huitzilopochti, both the Sun god and god of War of the Ancient Aztecs was kept pleased with human sacrifice!

SOME PROPERTIES OF LIGHT:
Plato, during the 5th Century BC said that God was unable to make the World eternal, so gave it Time,  - “as the moving image of eternity.”
While some seven hundred years later St. Augustine in his ‘Confessions’ said,
That when God created the universe out of darkness with light, “the world was also created with Time, and not in time.”
Thus along with light, time also began to flow, while our scientists discovered a connection between the speed of light and time, few centuries ago!
To understand this connection between light and time, we must first understand something about the properties of light.
Light is the visible part of the electromagnetic spectrum* which can be perceived by our human eye.         (See Notes Below)
As seen in the red, orange, yellow, green, blue, indigo, and violet colors of the Rainbow in the sky,
When water droplets acting like countless prisms break up white sunlight!
Now this electromagnetic spectrum also contains the ultra violet and infra red spectrum which our eyes cannot see.
But this entire electromagnetic spectrum contains Photons, which are discreet packets of zero mass less energy.
In a vacuum light photons travel at 186,000 miles for second, which Einstein declared as the cosmic speed limit, and as an universal constant.
When a photon strikes the eye, it is turned into electrical energy that is transmitted to the brain to form an image which we call sight.

NOTES : Gama-rays, X-rays, Ultraviolet lights, have shorter wave lengths & more energy than Visible light. But Infrared, Microwave, Radio waves, with larger wave lengths are less energetic than the Visible spectrum of light. Sir Isaac Newton using a prism had discovered the spectrum of visible light, & used the word ‘spectrum’ for the first time in his book ‘Optick’ in 1671.

EINSTEIN'S SPECIAL THEORY OF RELATIVITY 1905 :
In his Special Theory of Relativity of 1905, he stated that nothing can move faster than speed of light which is 186,000 miles per second.
This speed of light always remains the same, irrespective of its source and frame of reference.
Now the mass of an object would double if it travels at 90% of light’s speed.
But if the speed of light is reached, mass of an object would become infinite!
Since photons, the quantum particles that make up light have a zero mass, they move at the speed of light.
Even inside the World’s Largest Particle Collider (LDC), located near the French-Swiss Border,
Experiments are carried out only around 99.99% of Light’s speed, in accordance with the Laws of Physics.
Einstein had also shown mathematically that on reaching Light’s speed, Time will come to a standstill!
And should this Light’s speed be exceeded, then Time would start to travel backwards, which becomes a mind boggling concept!
Here we enter into the realm of science fiction, which has been described by HG Wells  in his popular novel ‘The Time Machine’.
But to become a time traveler shall always remain our cherished desire and dream!

NOTES: Only mass less particles like the photon can travel at light speed, photons experience no time, they do not age. Objects with mass cannot reach the speed of light since in that case its mass will become infinite. Also, one cannot see the fourth dimension because of Lorenz Contraction, which is also related to stopping of time, for at the speed of light an object will shrink to zero length! Also, particles interact with the Higgs' Field present all around to pick up mass, excepting photons which do not interact with this Higgs' Field.

Now Einstein’s theory of 1905 is called ‘Special’, because it explains how space and time are linked for objects that are moving in a straight line at a greater speed but which is constant.
Time moves relative to the observer, and objects in motion experience ‘Time Dilation’.
Meaning, time moves slowly when it is in motion, as compared to one who is standing still, -  a relative comparison.
This can be further explained by the ‘Twin Paradox’, where a 15 year old travelling in a spaceship at 99.5% speed of light for a period of 5 years,
Returns back to Earth to find himself to be only 20 years old.
But to his surprise he finds, his twin brother on Earth who was left behind, has reached the ripe age of 65 !

Limitations of Special Theory of Relativity:
It was confined to non-accelerating bodies only, and after ten years of deliberation,
Einstein added gravitational force field, space-time curvature, and acceleration, -
To formulate his General Theory of Relativity with satisfaction.

   SPACE-TIME & GENERAL THEORY OF RELATIVITY 1916 :
Isaac Newton during the 17th Century spoke about 'absolute time' and 'absolute space', accordance to the understanding of science of his Classical Age.
Space was the arena where the drama of the universe was played out, and this arena was passive, eternal, and unchanging no doubt.
Time too was absolute with an independent existence, and continued to beat independently like the heart beat of Space!
Newton also gave us the Laws of Motion, and Gravity, with more massive objects exerting more Gravity than a less massive one in reality.
Now one aspect of Special Relativity is that space and time are merged into a four-dimensional space-time entity,
They do not exist as separately as envisaged by Newton and Descartes during the 17th Century.
Some 250 years later Albert Einstein, defined Gravity as a curvature of Space-time.
Einstein also tells us that gravity can bend light, which travels along the curvature of this space-time.
Gravity is flexible, it could stretch like a fabric warping of space-time caused by objects present within it, in fact Gravity is the shape of space-time itself!
The Moon rolls around the curvature created in space-time fabric by the heavier object the Earth,
Just like the massive Sun which creates the depression and curvature around it for the planets of our solar system to orbit round the Sun. *
Einstein’s space-time has been likened to a stretched out vast rubber sheet,
Where heavier the planet, more depression it creates on the fabric of space-time along with its own gravitational field.
Einstein’s Space is not passive like that of Newton, but has a dynamic presence.
Interwoven with Time, Space tells Matter how to move, while Matter tells Space-Time how to curve - in this dynamic presence!
The constant speed of light at 186,000 miles per second, is just a measure of space of something which travels over time;
But both space and time had to adjust themselves to accommodate the constant speed of light!
Thus space, time, and the speed of light are all unified in the General Theory of Relativity,
We owe all this to Albert Einstein, one of the greatest scientists of our Century.
NOTES: **Planets orbiting the Sun do not fall back into the void of space due to the attraction of gravity, and also due to their individual speed of acceleration maintained in orbit as per Kepler's Second Law of Planetary Motion. Mercury has the fastest orbital speed of 48 km per second, Venus at 35 km per sec , and Earth at 30 km per sec. as their orbital speeds. Planets further from the Sun require lesser orbital speed.

UNFINISHED WORK OF EINSTEIN:
During his later years Einstein was secretly working to find a ‘Theory of Everything’,
Which would ultimately replace the erratic tiny micro world of Quantum Mechanics.
His Theory of General Relativity had dealt with the functions of gravity at the greater macro level of the universe only.
So he hoped to extend this theory to find an all embracing Unified Field Theory.
For at the subatomic quantum level, as the Englishman Thomson discovered in 1897,
The electrons inside an atom at times behaved in an alien fashion and were very unstable!
This world of the subatomic particles is a wondrous world where time becomes chaotic;
Where the position of the electrons cannot be predicted with certainty!
Einstein called this unpredictable and unstable behaviour of electrons as "spooky action at a distance"!
In the ‘double-split experiment’ it was seen, that the light photons behaved both like waves and as particles, -
Even though the speed of light remained constant.

EINSTEIN'S NOBLE PRIZE For PHYSICS AWARDED IN 1921:
Now despite Einstein's dissatisfaction with Quantum Mechanics it is rather ironical,
That the Nobel Prize in Physics was awarded to Einstein for his work on the ‘Photoelectric Effect’ at the Quantum level;
Which for the first time had suggested that Light travelled in Waves and also as Particles ( i.e. as photon)!
This observation led to the development of electron microscope, solar panels, night vision devices, at a later date.
Since his Special and General Theory of Relativity considered as ‘The Pillars of Modern Physics’, was still being examined by the Scientific Community;
And they could be proved and accepted only subsequently.

'STRING THEORY' PROPOSED AS THEORY FOR EVERYTHING:
During the 1970s the proponents of ‘String Theory’ had claimed, They found a Theory of Everything, following Einstein’s quest.
They claimed that micro vibrating open and closed looped strings gave rise to some 36 particles at the subatomic level;
But also required 10 dimensions for this 'String Theory' to operate!
In our Standard Model of Physics we have only 18 particles as on date, therefore due to lack of scientific evidence,
There was no Noble Prize for those ‘String Theory’ proponents!
Efforts are on to find a Unified Theory of Everything, and to understand the mysteries of God’s infinite universe, -
We finite humans have just made a beginning!

Now, to reduce the length of my composition I conclude with a short verse by the famous novelist and poet DH Lawrence, -
Who had shocked Victorian England with his explosive ****** novel “Lady Chatterley’s Lover”,
Which later inspired Hollywood, and a film got made.

               RELATIVITY
“I like relativity and quantum theories
because I don’t understand them,
and they make me feel as if space shifted about like
a swan that can’t settle,
refusing to sit still and be measured;
and as if the atom were an impulsive thing
always changing its mind.”  – DH Lawrence.

Thanks for reading patiently,
‘All Copy Rights Are With The Author Only’, - Raj Nandy of New Delhi.

As a woman, and in the service of my Lord the Emperor Wu, my life is governed by his command. At twenty I was summoned to this life at court and have made of it what I can, within the limitations of the courtesan I am supposed to be, and the poet I have now become. Unlike my male counterparts, some of whom have lately found seclusion in the wilderness of rivers and mountains, I have only my personal court of three rooms and its tiny garden and ornamental pond. But I live close to the surrounding walls of the Zu-lin Gardens with its astronomical observatories and bold attempts at recreating illusions of celebrated locations in the Tai mountains. There, walking with my cat Xi-Lu in the afternoons, I imagine a solitary life, a life suffused with the emptiness I crave.
 
In the hot, dry summer days my maid Mei-Lim and I have sought a temporary retreat in the pine forests above Lingzhi. Carried in a litter up the mountain paths we are left in a commodious hut, its open walls making those simple pleasures of drinking, eating and sleeping more acute, intense. For a few precious days I rest and meditate, breathe the mountain air and the resinous scents of the trees. I escape the daily commerce of the court and belong to a world that for the rest of the year I have to imagine, the world of the recluse. To gain the status of the recluse, open to my male counterparts, is forbidden to women of the court. I am woman first, a poet and calligrapher second. My brother, should he so wish, could present a petition to revoke his position as a man of letters, an official commentator on the affairs of state. But he is not so inclined. He has already achieved notoriety and influence through his writing on the social conditions of town and city. He revels in a world of chatter, gossip and intrigue; he appears to fear the wilderness life.  
 
I must be thankful that my own life is maintained on the periphery. I am physically distant from the hub of daily ceremonial. I only participate at my Lord’s express command. I regularly feign illness and fatigue to avoid petty conflict and difficulty. Yet I receive commissions I cannot waver: to honour a departed official; to celebrate a son’s birth to the Second Wife; to fulfil in verse my Lord’s curious need to know about the intimate sorrows of his young concubines, their loneliness and heartache.
 
Occasionally a Rhapsody is requested for an important visitor. The Emperor Wu is proud to present as welcome gifts such poetic creations executed in fine calligraphy, and from a woman of his court. Surely a sign of enlightment and progress he boasts! Yet in these creations my observations are parochial: early morning frost on the cabbage leaves in my garden; the sound of geese on their late afternoon flight to Star Lake; the disposition of the heavens on an Autumn night. I live by the Tao of Lao-Tzu, perceiving the whole world from my doorstep.
 
But I long for the reclusive life, to leave this court for my family’s estate in the valley my peasant mother lived as a child. At fourteen she was chosen to sustain the Emperor’s annual wish for young girls to be groomed for concubinage. Like her daughter she is tall, though not as plain as I; she put her past behind her and conceded her adolescence to the training required by the court. At twenty she was recommended to my father, the court archivist, as second wife. When she first met this quiet, dedicated man on the day before her marriage she closed her eyes in blessing. My father taught her the arts of the library and schooled her well. From her I have received keen eyes of jade green and a prestigious memory, a memory developed she said from my father’s joy of reading to her in their private hours, and before she could read herself. Each morning he would examine her to discover what she had remembered of the text read the night before. When I was a little child she would quote to me the Confucian texts on which she had been ****** schooled, and she then would tell me of her childhood home. She primed my imagination and my poetic world with descriptions of a domestic rural life.
 
Sometimes in the arms of my Lord I have freely rhapsodized in chusi metre these delicate word paintings of my mother’s home. She would say ‘We will walk now to the ruined tower beside the lake. Listen to the carolling birds. As the sparse clouds move across the sky the warm sun strokes the winter grass. Across the deep lake the forests are empty. Now we are climbing the narrow steps to the platform from which you and I will look towards the sun setting in the west. See the shadows are lengthening and the air becomes colder. The blackbird’s solitary song heralds the evening.  Look, an owl glides silently beneath us.’
 
My Lord will then quote from Hsieh Ling-yun,.
 
‘I meet sky, unable to soar among clouds,
face a lake, call those depths beyond me.’
 
And I will match this quotation, as he will expect.
 
‘Too simple-minded to perfect Integrity,
and too feeble to plough fields in seclusion.’
 
He will then gaze into my eyes in wonder that this obscure poem rests in my memory and that I will decode the minimal grammar of these early characters with such poetry. His characters: Sky – Bird – Cloud – Lake – Depth. My characters: Fool – Truth – Child – Winter field – Isolation.
 
Our combined invention seems to take him out of his Emperor-self. He is for a while the poet-scholar-sage he imagines he would like to be, and I his foot-sore companion following his wilderness journey. And then we turn our attention to our bodies, and I surprise him with my admonitions to gentleness, to patience, to arousing my pleasure. After such poetry he is all pleasure, sensitive to the slightest touch, and I have my pleasure in knowing I can control this powerful man with words and the stroke of my fingertips rather than by delicate youthful beauty or the guile and perverse ingenuity of an ****** act. He is still learning to recognise the nature and particularness of my desires. I am not as his other women: who confuse pleasure with pain.
 
Thoughts of my mother. Without my dear father, dead ten years, she is a boat without a rudder sailing on a distant lake. She greets each day as a gift she must honour with good humour despite the pain of her limbs, the difficulty of walking, of sitting, of eating, even talking. Such is the hurt that governs her ageing. She has always understood that my position has forbidden marriage and children, though the latter might be a possibility I have not wished it and made it known to my Lord that it must not be. My mother remains in limbo, neither son or daughter seeking to further her lineage, she has returned to her sister’s home in the distant village of her birth, a thatched house of twenty rooms,
 
‘Elms and willows shading the eaves at the back,
and, in front,  peach and plum spread wide.
 
Villages lost across mist-haze distances,
Kitchen smoke drifting wide-open country,
 
Dogs bark deep among the back roads out here
And cockerels crow from mulberry treetops.
 
My esteemed colleague T’ao Ch’ien made this poetry. After a distinguished career in government service he returned to the life of a recluse-farmer on his family farm. Living alone in a three-roomed hut he lives out his life as a recluse and has endured considerable poverty. One poem I know tells of him begging for food. His world is fields-and-gardens in contrast to Hsieh Ling-yin who is rivers-and-mountains. Ch’ien’s commitment to the recluse life has brought forth words that confront death and the reality of human experience without delusion.
 
‘At home here in what lasts, I wait out life.’
 
Thus my mother waits out her life, frail, crumbling more with each turning year.
 
To live beyond the need to organise daily commitments due to others, to step out into my garden and only consider the dew glistening on the loropetalum. My mind is forever full of what is to be done, what must be completed, what has to be said to this visitor who will today come to my court at the Wu hour. Only at my desk does this incessant chattering in the mind cease, as I move my brush to shape a character, or as the needle enters the cloth, all is stilled, the world retreats; there is the inner silence I crave.
 
I long to see with my own eyes those scenes my mother painted for me with her words. I only know them in my mind’s eye having travelled so little these past fifteen years. I look out from this still dark room onto my small garden to see the morning gathering its light above the rooftops. My camellia bush is in flower though a thin frost covers the garden stones.
 
And so I must imagine how it might be, how I might live the recluse life. How much can I jettison? These fine clothes, this silken nightgown beneath the furs I wrap myself in against the early morning air. My maid is sleeping. Who will make my tea? Minister to me when I take to my bed? What would become of my cat, my books, the choice-haired brushes? Like T’ao Ch’ien could I leave the court wearing a single robe and with one bag over my shoulders? Could I walk for ten days into the mountains? I would disguise myself as a man perhaps. I am tall for a woman, and though my body flows in broad curves there are ways this might be assuaged, enough perhaps to survive unmolested on the road.
 
Such dreams! My Lord would see me returned within hours and send a servant to remain at my gate thereafter. I will compose a rhapsody about a concubine of standing, who has even occupied the purple chamber, but now seeks to relinquish her privileged life, who coverts the uncertainty of nature, who would endure pain and privation in a hut on some distant mountain, who will sleep on a mat on its earth floor. Perhaps this will excite my Lord, light a fire in his imagination. As though in preparation for this task I remove my furs, I loose the knot of my silk gown. Naked, I reach for an old under shift letting it fall around my still-slender body and imagine myself tying the lacings myself in the open air, imagine making my toilet alone as the sun appears from behind a distant mountain on a new day. My mind occupies itself with the tiny detail of living thus: bare feet on cold earth, a walk to nearby stream, the gathering of berries and mountain herbs, the making of fire, the washing of my few clothes, imagining. Imagining. To live alone will see every moment filled with the tasks of keeping alive. I will become in tune with my surroundings. I will take only what I need and rely on no one. Dreaming will end and reality will be the slug on my mat, the bone-chilling incessant mists of winter, the thorn in the foot, the wild winds of autumn. My hands will become stained and rough, my long limbs tanned and scratched, my delicate complexion freckled and wind-pocked, my hair tied roughly back. I will become an animal foraging on a dank hillside. Such thoughts fill me with deep longing and a ****** desire to be tzu-jan  - with what surrounds me, ablaze with ****** self.
 
It is not thought the custom of a woman to hold such desires. We are creatures of order and comfort. We do not live on the edge of things, but crave security and well-being. We learn to endure the privations of being at the behest of others. Husbands, children, lovers, our relatives take our bodies to them as places of comfort, rest and desire. We work at maintaining an ordered flow of existence. Whatever our station, mistress or servant we compliment, we keep things in order, whether that is the common hearth or the accounts of our husband’s court. Now my rhapsody begins:
 
A Rhapsody on a woman wishing to live as a recluse
 
As a lady of my Emperor’s court I am bound in service.
My court is not my own, I have the barest of means.
My rooms are full of gifts I am forced barter for bread.
Though the artefacts of my hands and mind
Are valued and widely renown,
Their commissioning is an expectation of my station,
With no direct reward attached.
To dress appropriately for my Lord’s convocations and assemblies
I am forced to negotiate with chamberlains and treasurers.
A bolt of silk, gold thread, the services of a needlewoman
Require formal entreaties and may lie dormant for weeks
Before acknowledgement and release.
 
I was chosen for my literary skills, my prestigious memory,
Not for my ****** beauty, though I have been called
‘Lady of the most gracious movement’ and
My speaking voice has clarity and is capable of many colours.
I sing, but plainly and without passion
Lest I interfere with the truth of music’s message.
 
Since I was a child in my father’s library
I have sought out the works of those whose words
Paint visions of a world that as a woman
I may never see, the world of the wilderness,
Of rivers and mountains,
Of fields and gardens.
Yet I am denied by my *** and my station
To experience passing amongst these wonders
Except as contrived imitations in the palace gardens.
 
Each day I struggle to tease from the small corner
Of my enclosed eye-space some enrichment
Some elemental thing to colour meaning:
To extend the bounds of my home
Across the walls of this palace
Into the world beyond.
 
I have let it be known that I welcome interviews
With officials from distant courts to hear of their journeying,
To gather word images if only at second-hand.
Only yesterday an emissary recounted
His travels to Stone Lake in the far South-West,
Beyond the gorges of the Yang-tze.
With his eyes I have seen the mountains of Suchan:
With his ears I have heard the oars crackling
Like shattering jade in the freezing water.
Images and sounds from a thousand miles
Of travel are extract from this man’s memory.
 
Such a sharing of experience leaves me
Excited but dismayed: that I shall never
Visit this vast expanse of water and hear
Its wild cranes sing from their floating nests
In the summer moonlight.
 
I seek to disappear into a distant landscape
Where the self and its constructions of the world may
Dissolve away until nothing remains but the no-mind.
My thoughts are full of the practicalities of journeying
Of an imagined location, that lonely place
Where I may be at one with myself.
Where I may delight in the everyday Way,
Myself among mist and vine, rock and cave.
Not this lady of many parts and purposes whose poems must
Speak of lives, sorrow and joy, pleasure and pain
Set amongst personal conflict and intrigue
That in containing these things, bring order to disorder;
Salve the conscience, bathe hurt, soothe sleight.

Robert Frost once talked of taking the ‘road less travelled’.
Well, I didn’t.
When the time came, I blindly went and took the safest road.
A very long path where the pitfalls were plenty.
I stumbled in the bracken. Stymied by the darkness that fell quickly as I ambled along.
The soul bruised, battered and exhausted at every infrequent stop.
It was not apparent then that in this venture there was a bleak dead end ahead.
I plowed on even though something inside was telling me again and again to turn back.
But, slowly, a gleaming light of hope crossed my vista beckoning me home.
I crawled. My strength regained as the light intensified.
Then the end was in sight - the portal was within grasp.
And so, yes, I now take that road less travelled.
Standing tall and proud as I gleefully stride down its glowing thoroughfare.  
Smiling at the diverse and playful changes that cross my pathway.
All told, it’s never too late to trust your instincts and make a difference.
Just ask me.
And Robert Frost.

BLESSED be this place,
More blessed still this tower;
A ******, arrogant power
Rose out of the race
Uttering, mastering it,
Rose like these walls from these
Storm-beaten cottages --
In mockery I have set
A powerful emblem up,
And sing it rhyme upon rhyme
In mockery of a time
HaIf dead at the top.
Alexandria's was a beacon tower, and Babylon's
An image of the moving heavens, a log-book of the
sun's journey and the moon's;
And Shelley had his towers, thought's crowned powers
he called them once.
I declare this tower is my symbol; I declare
This winding, gyring, spiring treadmill of a stair is my
ancestral stair;
That Goldsmith and the Dean, Berkeley and Burke
have travelled there.
Swift beating on his breast in sibylline frenzy blind
Because the heart in his blood-sodden breast had
dragged him down into mankind,
Goldsmith deliberately sipping at the honey-*** of his
mind,
And haughtier-headed Burke that proved the State a
tree,
That this unconquerable labyrinth of the birds, cen-
tury after century,
Cast but dead leaves to mathematical equality;
And God-appointed Berkeley that proved all things a
dream,
That this pragmatical, preposterous pig of a world, its
farrow that so solid seem,
Must vanish on the instant if the mind but change its
theme;
Saeva Indignatio and the labourer's hire,
The strength that gives our blood and state magnani-
mity of its own desire;
Everything that is not God consumed with intellectual
fire.
III
The purity of the unclouded moon
Has flung its atrowy shaft upon the floor.
Seven centuries have passed and it is pure,
The blood of innocence has left no stain.
There, on blood-saturated ground, have stood
Soldier, assassin, executioner.
Whether for daily pittance or in blind fear
Or out of abstract hatred, and shed blood,
But could not cast a single jet thereon.
Odour of blood on the ancestral stair!
And we that have shed none must gather there
And clamour in drunken frenzy for the moon.

IV
Upon the dusty, glittering windows cling,
And seem to cling upon the moonlit skies,
Tortoiseshell butterflies, peacock butterflies,
A couple of night-moths are on the wing.
Is every modern nation like the tower,
Half dead at the top? No matter what I said,
For wisdom is the property of the dead,
A something incompatible with life; and power,
Like everything that has the stain of blood,
A property of the living; but no stain
Can come upon the visage of the moon
When it has looked in glory from a cloud.

I live a life of unfulfilled dreams.
trips never travelled and sights never seen.
words never written and photos never taken.
a world full of wonder and I sit here unshaken.
one would think of glorious adventures ahead,
but I'm just trying to find a way out of bed.

A Tale for the Mid-Winter Season after the Mural by Carl Larrson

On the shortest day I wake before our maids from the surrounding farms have converged on Sundborn. Greta lives with us so she will be asleep in that deep slumber only girls of her age seem to own. Her tiny room has barely more than a bed and a chest for her clothes. There is my first painting of her on the wall, little more a sketch, but she was entranced, at seeing herself so. To the household she is a maid who looks after me and my studio,  though she is a literate, intelligent girl, city-bred from Gamla Stan but from a poor home, a widowed mother, her late father a drunkard.  These were my roots, my beginning, exactly. But her eyes already see a world beyond Sundborn. She covets postcards from my distant friends: in Paris, London, Jean in South America, and will arrange them on my writing desk, sometimes take them to her room at night to dream in the candlelight. I think this summer I shall paint her, at my desk, reading my cards, or perhaps writing her own. The window will be open and a morning breeze will make the flowers on the desk tremble.

Karin sleeps too, a desperate sleep born of too much work and thought and interruption. These days before Christmas put a strain on her usually calm disposition. The responsibilities of our home, our life, the constant visitors, they weigh upon her, and dispel her private time. Time in her studio seems impossible. I often catch her poised to disappear from a family coming-together. She is here, and then gone, as if by magic. With the older children home from their distant schools, and Suzanne arrived from England just yesterday morning, they all cannot do without lengthy conferences. They know better than disturb me. Why do you think there is a window set into my studio door? So, if I am at my easel there should be no knock to disturb. There is another reason, but that is between Karin and I.

This was once a summer-only house, but over the years we have made it our whole-year home. There was much attention given to making it snug and warm. My architect replaced all the windows and all the doors and there is this straw insulation between the walls. Now, as I open the curtains around my bed, I can see my breath float out into the cool air. When, later, I descend to my studio, the stove, damped down against the night, when opened and raddled will soon warm the space. I shall draw back the heavy drapes and open the wooden shutters onto the dark land outside. Only then I will stand before my current painting: *Brita and the Sleigh.

Current!? I have been working on this painting intermittently for five years, and Brita is no longer the Brita of this picture, though I remember her then as yesterday. It is a picture of a winter journey for a six-year-old, only that journey is just across the yard to the washhouse. Snow, frost, birds gathered in the leafless trees, a sun dog in the sky, Brita pushing her empty sledge, wearing fur boots, Lisbeth’s old coat, and that black knitted hat made by old Anna. It is the nearest I have come to suggesting the outer landscape of this place. I bring it out every year at this time so I can check the light and the shadows against what I see now, not what I remember seeing then. But there will be a more pressing concern for me today, this shortest day.

Since my first thoughts for the final mural in my cycle for the Nationalmuseum I have always put this day aside, whatever I might be doing, wherever I may be. I pull out my first sketches, that book of imaginary tableaux filled in a day and a night in my tiny garden studio in Grez, thinking of home, of snow, the mid-winter, feeling the extraordinary power and shake of Adam of Bremen’s description of 10th C pre-Christian Uppsala, written to describe how barbaric and immoral were the practices and religion of the pagans, to defend the fragile position of the Christian church in Sweden at the time. But as I gaze at these rough beginnings made during those strange winter days in my rooms at the Hotel Chevilon, I feel myself that twenty-five year old discovering my artistic vision, abandoning oils for the flow and smudge of watercolour, and then, of course, Karin. We were part of the Swedish colony at Grez-sur-Loing. Karin lived with the ladies in Pension Laurent, but was every minute beside me until we found our own place, to be alone and be together, in a cupboard of a house by the river, in Marlotte.

Everyone who painted en-plein-air, writers, composers, they all flocked to Grez just south of Fontainebleau, to visit, sometimes to stay. I recall Strindberg writing to Karin after his first visit: It was as if there were no pronounced shadows, no hard lines, the air with its violet complexion is almost always misty; and I painting constantly, and against the style and medium of the time. How the French scoffed at my watercolours, but my work sold immediately in Stockholm. . . and Karin, tall, slim, Karin, my muse, my lover, my model, her boy-like figure lying naked (but for a hat) in the long grass outside my studio. We learned each other there, the technique of bodies in intimate closeness, the way of no words, the sharing of silent thoughts, together on those soft, damp winter days when our thoughts were of home, of Karin’s childhood home at Sundborn. I had no childhood thoughts I wanted to return to, but Karin, yes. That is why we are here now.

In Grez-sur-Loing, on a sullen December day, mist lying on the river, our garden dead to winter, we received a visitor, a Swedish writer and journalist travelling with a very young Italian, Mariano Fortuny, a painter living in Paris, and his mentor the Spaniard Egusquiza. There was a woman too who Karin took away, a Parisienne seamstress I think, Fortuny’s lover. Bayreuth and Wagner, Wagner, Wagner was all they could talk about. Of course Sweden has its own Nordic Mythology I ventured. But where is it? What is it? they cried, and there was laughter and more mulled wine, and then talk again of Wagner.

When the party left I realized there was something deep in my soul that had been woken by talk of the grandeur and scale of Wagner’s cocktail of German and Scandinavian myths and folk tales. For a day and night I sketched relentlessly, ransacking my memory for those old tales, drawing strong men and stalwart, flaxen-haired women in Nordic dress and ornament. But as a new day presented itself I closed my sketch book and let the matter drop until, years later, in a Stockholm bookshop I chanced upon a volume in Latin by Adam of Bremen, his Gesta Hammaburgensis Ecclesiae Pontificum, the most famous source to pagan ritual practice in Sweden. That cold winter afternoon in Grez returned to me and I felt, as I had then, something stir within me, something missing from my comfortable world of images of home and farm, family and the country life.

Back in Sundborn this little volume printed in the 18th C lay on my desk like a question mark without a sentence. My Latin was only sufficient to get a gist, but the gist was enough. Here was the story of the palace of Uppsala, the great centre of the pre-Christian pagan cults that brought us Odin and Freyr. I sought out our village priest Dag Sandahl, a good Lutheran but who regularly tagged Latin in his sermons. Yes, he knew the book, and from his study bookshelf brought down an even earlier copy than my own. And there and then we sat down together and read. After an hour I was impatient to be back in my studio and draw, draw these extraordinary images this text brought to life unbidden in my imagination. But I did not leave until I had persuaded Pastor Sandahl to agree to translate the Uppsala section of the Adam of Bremen’s book, and just before Christmas that year, on the day before the Shortest Day, he delivered his translation to my studio. He would not stay, but said I should read the passages about King Domalde and his sacrifice at the Winter Solstice. And so, on the day of the Winter Solstice, I did.

This people have a widely renowned sanctuary called Uppsala.

By this temple is a very large tree with extending branches. It is always green, both in winter and in summer. No one knows what kind of tree this is. There is also a spring there, where the heathens usually perform their sacrificial rites. They throw a live human being into the spring. If he does not resurface, the wishes of the people will come true.

The Temple is girdled by a chain of gold that hangs above the roof of the building and shines from afar, so that people may see it from a distance when they approach there. The sanctuary itself is situated on a plain, surrounded by mountains, so that the form a theatre.

It is not far from the town of Sigtuna. This sanctuary is completely covered with golden ornaments. There, people worship the carved idols of three gods: Thor, the most powerful of them, has his throne in the middle of the hall, on either side of him, Odin and Freyr have their seats. They have these functions: “Thor,” they say, “rules the air, he rules thunder and lightning, wind and rain, good weather and harvests. The other, Odin, he who rages, he rules the war and give courage to people in their battle against enemies. The third is Freyr, he offers to mortals lust and peace and happiness.” And his image they make with a very large phallus. Odin they present armed, the way we usually present Mars, while Thor with the scepter seems to resemble Jupiter. As gods they also worship some that have earlier been human. They give them immortality for the sake of their great deeds, as we may read in Vita sancti Ansgarii that they did with King Eirik.

For all these gods have particular persons who are to bring forward the sacrificial gifts of the people. If plague and famine threatens, they offer to the image of Thor, if the matter is about war, they offer to Odin, but if a wedding is to be celebrated, they offer to Freyr. And every ninth year in Uppsala a great religious ceremony is held that is common to people from all parts of Sweden.”
Snorri also relates how human sacrifice began in Uppsala, with the sacrifice of a king.

Domalde took the heritage after his father Visbur, and ruled over the land. As in his time there was great famine and distress, the Swedes made great offerings of sacrifice at Upsal. The first autumn they sacrificed oxen, but the succeeding season was not improved thereby. The following autumn they sacrificed men, but the succeeding year was rather worse. The third autumn, when the offer of sacrifices should begin, a great multitude of Swedes came to Upsal; and now the chiefs held consultations with each other, and all agreed that the times of scarcity were on account of their king Domalde, and they resolved to offer him for good seasons, and to assault and **** him, and sprinkle the stall of the gods with his blood. And they did so.

There it was, at the end of Adam of Bremen’s description of Uppsala, this description of King Domalde upon which my mural would be based. It is not difficult to imagine, or rather the event itself can be richly embroidered, as I have over the years made my painting so. Karin and I have the books of William Morris on our shelves and I see little difference between his fixation on the legends of the Arthur and the Grail. We are on the cusp here between the pagan and the Christian.  What was Christ’s Crucifixion but a self sacrifice: as God in man he could have saved himself but chose to die for Redemption’s sake. His blood was not scattered to the fields as was Domalde’s, but his body and blood remains a continuing symbol in our right of Communion.

I unroll the latest watercolour cartoon of my mural. It is almost the length of this studio. Later I will ask Greta to collect the other easels we have in the house and barn and then I shall view it properly. But for now, as it unrolls, my drama of the Winter Solstice comes alive. It begins on from the right with body of warriors, bronze shields and helmets, long shafted spears, all set against the side of Uppsala Temple and more distant frost-hoared trees. Then we see the King himself, standing on a sled hauled by temple slaves. He is naked as he removes the furs in which he has travelled, a circuit of the temple to display himself to his starving people. In the centre, back to the viewer, a priest-like figure in a red cloak, a dagger held for us to see behind his back. Facing him, in druidic white, a high priest holds above his head a gold pagan monstrance. To his left there are white cloaked players of long, straight horns, blue cloaked players of the curled horns, and guiding the shaft of the sled a grizzled shaman dressed in the skins and furs of animals. The final quarter of my one- day-to-be-a-mural unfolds to show the women of temple and palace writhing in gestures of grief and hysteria whilst their queen kneels prostate on the ground, her head to the earth, her ladies ***** behind her. Above them all stands the forever-green tree whose origin no one knows.

Greta has entered the studio in her practiced, silent way carrying coffee and rolls from the kitchen. She has seen Midvinterblot many times, but I sense her gaze of fascination, yet again, at the figure of the naked king. She remembers the model, the sailor who came to stay at Kartbacken three summers ago. He was like the harpooner Queequeg in Moby ****. A tattooed man who was to be seen swimming in Toftan Lake and walking bare-chested in our woods. A tall, well-muscled, almost silent man, whom I patiently courted to be my model for King Dolmade. I have a book of sketches of him striding purposefully through the trees, the tattooed lines on his shoulders and chest like deep cuts into his body. This striding figure I hid from the children for some time, but from Greta that was impossible. She whispered to me once that when she could not have my substantial chest against her she would imagine the sailor’s, imagine touching and following his tattooed lines. This way, she said, helped her have respite from those stirrings she would so often feel for me. My painting, she knew, had stirred her fellow maids Clara and Solveig. Surely you know this, she had said, in her resolute and direct city manner. I have to remember she is the age of my eldest, who too must hold such thoughts and feelings. Karin dislikes my sailor king and wishes I would not hide the face of his distraught queen.

Today the sunrise is at 9.0, just a half hour away, and it will set before 3.0pm. So, after this coffee I will put on my boots and fur coat, be well scarfed and hatted (as my son Pontus would say) and walk out onto my estate. I will walk east across the fields towards Spardasvvägen. The sky is already waiting for the sun, but waits without colour, hardly even a tinge of red one might expect.

I have given Greta her orders to collect every easel she can find so we can take Midvinterblot off the floor and see it in all its vivid colour and form. In February I shall begin again to persuade the Nationalmuseum to accept this work. We have a moratorium just now. I will not accept their reasoning that there is no historical premise for such a subject, that such a scene has no place in a public gallery. A suggestion has been made that the Historiska museet might house it. But I shall not think of this today.

Karin is here, her face at the studio window beckons entry. My Darling, yes, it is midwinter’s day and I am dressing to greet the solstice. I will dress, she says, to see Edgar who will be here in half an hour to discuss my designs for this new furniture. We will be lunching at noon. Know you are welcome. Suzanne is talking constantly of England, England, and of course Oxford, this place of dreaming spires and good looking boys. We touch hands and kiss. I sense the perfume of sleep, of her bed.

Outside I must walk quickly to be quite alone, quite apart from the house, in the fields, alone. It is on its way: this light that will bathe the snowed-over land and will be my promise of the year’s turn towards new life.

As I walk the drama of Midvinterblot unfolds in a confusion of noise, the weeping of women, the physical exertions of the temple slaves, the priests’ incantations, the riot of horns, and then suddenly, as I stand in this frozen field, there is silence. The sun rises. It stagge

perhaps it is to feel strike
the silver fish of her nakedness
with fins sharply pleasant,my

youth has travelled toward her these years

or to snare the timid like
of her mind to my mind that i

am come by little countries to the yes

of her youth.
                    And if somebody hears
what i say—let him be pitiful:
because I’ve travelled all alone
through the forest of wonderful,
and that my feet have surely known
the furious ways and the peaceful,

and because she is beautiful

A thousand peaks: no more birds in flight.
Ten thousand paths: all trace of people gone.

In a lone boat, rain cloak and hat of reeds.
An old man’s fishing the cold river snow.

I am alone in this mountain fastness, on a steep downward path in the deepest shadow. I play with the twelve characters of Lui Tsung-yaun’s poem. How few poems tell of the desolation of winter. The coming of Spring, the passing of Autumn? Yes. But the onset of Winter? Even my sharp memory only recalls a meagre handful of poems to this season: the time of the first snows. Against all good sense I set out from Stone Village too late in the year: now I search for comforting word images to accompany me on this journey. Just below the snowline I pass through a stunted forest of ancient walnut trees almost leafless; the unrelenting wind has dispatched them crinkled brown into the valley below. I see there a winding river. I see its distant lake. I think of this poem known since my teenage years, puzzled over that one could see in one sweep of the horizon a thousand peaks. Here are that thousand and more if the ranks of limestone pillars in these mountains can be counted as peaks. I count them as peaks. And those thousand paths? At every turn there is some fresh way falling into the valley, or a faint trail rising to the heights. But this path I tread asserts itself on the traveller. Its stones are worn and the excrement of passing pack animals sticks to my boots.

Last night a cave, tonight I will reach the village of Psnumako. My former guide provided its name with a disdain he could not hide. When questioned he warned me not to enter without a stout staff against the mastiffs that guard each house, supposedly ******* during the day but apt to break their bonds at the smell of a stranger.

The steep and ever steeper descent brings pain to my knees. At this hour of the day my body would prefer to climb to the heights, but descend I must. The cold, the damp cold begins to stiffen weary limbs. I am tired from a day’s travel, tired from three hard climbs, two descents and this, my third, to complete before nightfall. I enter a narrow gorge loud with clamour of running water, cascade upon cascade flowing from the heights, falling fast to the river soon to interrupt my path. I shall have to force a crossing. What passed for a bridge were two fallen pines lashed together.  Now they lie akimbo a little distant, thrown apart like sticks by the spring flood as the deep snows melt. I must divest myself of boots and lower garments and wade across, stumbling on stones up to my waist in swift waters, terrified under the weight of my pack that I will fall and be swept under and along. To travel alone at such moments is foolhardy, but on this cold afternoon I have no choice.

I am so intent on preparing for this crossing it is only when I reach the end of the path that I notice snow is falling, its flakes sharp and white against the dark-water flow. The whirl and turn of the water mesmerises. Fatigue, fatigue embraces me, a day’s fatigue holds me fast on the river’s stony side. I close my eyes and hear the water rush and place myself into the protection of a mountain charm learnt from a passing traveller. Dwarfed by the size of his burden I see him negotiate a narrow path high above a chasm; he walked trance-like to the intoning of this charm.

It is soon done, the cold crossing, and with a lighter step I walk the remaining leagues to the lake-side and sight of the village. There are the faintest sparks of light amongst the silhouettes of houses. Animals are being brought in from the home fields against the night. A sudden shout, the barking of dogs, and now the snow falls thick and fast.

The guttural dialect here is barely discernable as speech. We are from different worlds this shepherd and I who meet at the stupa guarding the village entrance. This is not a Buddhist shrine but an acknowledgement of some mountain giant of terrifying aspect. The shepherd sees my official insignia and nods, knowing I will require shelter. He utters what may be a welcome, but could be a warning, and leads me forth. The mastiffs leap and bay as I pass between the primitive two-storey houses, animals below, humankind above. He disappears. I stop and wait. He returns with a woman who beckons me to climb the ladder to what may be her home. A widow perhaps? She is alone unless the rank darkness hides a man or child. But there is none. I hear animals move and grunt under the floor, a mat of dirt and straw. There is a sleeping loft, a cooking corner. I can see little else. But I am out of the snow, the biting wind, the cold. She pulls at my cloak, wet and caked with ice. There is a bowl placed in my hands; a rough tea. I speak a greeting, but there is no reply just a rustle of straw as she moves across the room.

The stupor of a journey’s pause is upon me. After three days on the trail to the heights I am numb with fatigue. I need food and sleep. I need rest before a final trek into the wilderness. Beyond Psnumako Lake known paths end. Except for the tracks used by shepherds to move their flocks to different seasonal pastures, there is wilderness. I hope for guidance, for the whereabouts of the sages who, in the winter months I am told, leave their reed huts on the heights for caves in the lower valleys. I shall be patient, remain here a little while. I am now immune to the discomfort and dirt of travel. That is how it is. That is how is must be. I miss only the mental absorption of writing, the caress of the brush on a scroll. In my home in Louyang I keep brush and paper close to hand; wherever I may be I can write, even in, especially in, the privy. If a line comes to me I can write it down. Here there is only the comfort of memory.

To think that in the past I wrote of this mountain wilderness out of my imagination and the descriptions of others. I once thought of these remote places as havens of spiritual liberation.

In the hills there is the sound of zither.
White clouds stay over shaded peaks,
Red flowers shine in the sunlit woods
Rocks are washed in the stream like jade;

How very different is the reality of it all; in this emerging winter world of mist, where the sun rarely visits and most living things have departed, where wind colours silence and one’s footfall becomes consolation. The sound of stone rubbing stone on the path is the eternal present. There have been days when only a distant crow moves in the landscape. Lammergeyers are known in these parts, but I have yet to see one. If there are wild beasts, they shun me.

As this bowl of tea cools in my hands but warms my frozen fingers I form pictures of the past day on its dark surface. Before dawn from the mouth of a river cave I sensed changes in the qualities of darkness that have hidden the heights above me. Then a perceptible line appeared and divided the mountain from the sky. That line became variegated; there were trees bristling on the highest rocks. It appears that at this hour the prevalent mist settles in the valleys leaving the sky clear.

The woman comes to me. She kneels to untie my boots. She looks with a curious innocence at my strangeness, the distortion of my face, the cleft palette, the deformed upper lip, the squint of my left eye. She is kindly as I give her my best smile though my face seems frozen still. There is a whisper, a prayer of welcome possibly. Then she bows her head, unravels a long scarf to reveal a mane of oiled hair, and sets about removing my boots. I see only the top of her head, a severe parting, hair held tightly in wooden combs. I close my eyes to bring to mind the image of Xaoli, so slight in comparison, her butterfly hands flittering into and around my sleeves, her seeing touch mapping out the extent of me, each piece of clothing, only later my face.

My reverie is broken by the entrance of two men. They squat behind the woman and, after taking in my ugliness and my hairpins of office, patiently wait for her to finish and retire. We stand and bow, then sit again amongst the straw.

‘Honoured Lord, I am Yun. You have travelled from Stone Village? And beyond?’

I pass him the Emperor’s seal he cannot read, but remain silent.

‘You are seeking those who live in the heights? The village only sees their servants, young boys sent for a goat or flasks of barley spirit. They bring herbs our women favour. Some have seen their huts when seeking lost animals. Now it is said they are gathered in the caves like animals waiting for the spring moon.’

‘When was the village last visited by their kind?’

‘ Hanlu, my Lord, the time of cold dew, two boys appeared with a pony. There was trading. They brought Chrysanthemum flowers and herbs for two geese and wine. They left scrolls for passage to Stone Village. Now the snows fall we may not see them until the Spring’

‘How far are your summer pastures? Have you any who would guide me there ?’

‘We do not seek these places after the first snows. The sages haunt the region beyond Chang Mountain. Before the 11th moon you might pass into the valley of Lidong where it is believed their caves lie, but to return before the Spring will not be possible.’

‘How many days there?’

‘Allow four. A difficult way, unmarked, rarely trodden, much climbing. There is one here who we could send with you – part of the way, and at a price, My Lord. Dahan travelled two seasons since as groom to a party of six with ponies, but then in late Spring.’

‘I will stay three days.’

‘Just so My Lord. Xiu Li will see to your wishes.’

And they depart, Yun’s companion has remained silent throughout, though searched my face continually. By the door he places his hand against the stout bag that carries my lute. ‘Guqin’, he says tenderly.

This instrument is my pass to the community of the reclusive. I am renown for my songs and their singing. My third-best guqin has not left its bag since Stone Village and I fear damage despite all my care on the path.

Later, as the village mastiffs gradually cease their baying as the quarter moon rises I take this instrument and place it across my lap. Its seven silk strings I wipe with a cloth and gently tune with its tasselled pegs. I then prepare myself through meditation to avoid the intrusion of distracting thoughts. With my eyes closed I allow my hands to seek out and name each part of guqin: from the Forehead of the Top Board, to the String Eyes, the Dew Collector, The Mountain, Shoulder and Phoenix Wings, past the Waist, the Hat Lines and the Dragon’s Beard, to the Dragon’s Gums and thence to the Inner Top Board. I can feel the Pillar of Heaven – the sound post – has moved a little in my recent travels. So too the Pillar of Earth – but with care I move both to their rightful positions. And so on naming the inner and outer parts of each of the two boards that make up the guqin. I begin to regulate my breathing and allow the fingers of my left hand to stroke and touch, to press and oscillate in the manner of vibrato. Zhoa Wenji describes twenty-three kinds of vibrato. I feel in turn each of the hui, the thirteen gold studs that mark the harmonic nodes and allow me to play the guqin by touch alone. In these moments of preparation I hear the words of my teacher: a good player makes sounds that are plentiful but not confused. As the moon reflecting on water, so the sounds are together but not combined. Like wind in the pines, they are combined but also spread out. Such sounds are valued for their lightness. Avoid the addition of inappropriate  "guest" sounds. This is the refined theory of the guqin. To be knowledgeable about music, one must seek this, then one can realize its beauty.

I have tuned to the Huangzhong mode. The song *Amidst Mountains Thinking of an Old Friend I have brought to mind. I recall the words of The Slender Hermit who says of this piece that its interest lies in holding cherished thoughts, but having no way to tell these to anyone. There are emotions about the present time, longings and laments for the past, but there is no way to express any of this. And so this piece.

In this poor reed hut the room is filled with mist and haze,
how far away are the things I love;
the old plum tree seems exhausted, its flowers about to die,
the mountains are lonely and I am nostalgic for past times.
The moon shines brightly on this lovely evening,
from this distance I think of my old friend and wonder where he is.
The green of the mountains never fades,
but before I know it my hair will turn white;
the moon is waning and flowers wither,
Old friend, I dream constantly of meeting you.
How hard it is to recall the joy of our last meeting!
With the many mountain ranges,
and its hidden tigers and coiled dragons,
I am unable return to you in Chang An.
The road is distant, the tall trees make the road dark,
and the world is vast.

I mourn Aquila and Lyra
separated by the Milky Way like the cowherd and weaving girl,
on the ground we are separated by 1,000 li
in the sky we are each in a separate place,
though our passions remain strong
There has been no warm correspondence,
there is restraint to the bright harmony,
and the flowing streams are swallowed by the setting sun.

The thought of this song of mid autumn touches me before its words have issued from my lips. I play the last two lines in harmonics and sing.

Supposing that we lit some candles.
One for each person on this earth,
we would blow one out at a funeral
and light one up at a birth.

The world would grow darker
every time we lost a fighter
but with every new born baby
it gets just that bit brighter.

If you travelled into a city that was dark and gritty
you'd know that they didn't have many in their committee.
But.. If the light was brilliant and bright
it would send a beaming message throughout the night.

Saying "We are here! And we are alive!"
Not wanting to be alone we endeavor to collide
and form one giant, shining beacon
that burns so fierce we're sure it can't weaken

We sparkle and crackle and bend nature to our whim
the mighty fire so strong it just had to gave in.
With it we forged iron and buildings, cars and computers
and lit paths of lives to guide commuters

We lit up the universe as far as we could see
Improving our lives greatly with technology
obsessed with our professed fixture on practicality
we completely forgot about morality

Our fires forged weapons which we aimed next door
In one swift movement we saw the effects of war
6,000,000 candles extinguished
over arguments on which light is most distinguished

So fixated on this light we blinded our eyes
and the candle smoke filled the skies.
We thought candles were good, they elevated us higher
but now all we have is thick smoke and fire.

The fire consuming all in its route
the root of our lives follow suite.
It's eating the oxygen and burning the grass
the sand is melting and forming to glass.

The glass it shatters into a thousand pieces
more candles are lighting, the temperature increases
The resources decline, as do the candles
buried in ash a hundred thousand scandals.

Now only a few lit candles remain
as they slowly melt and fade away.

A boy born into royalty
Destined to rule over a great kingdom
But sent away by one with ill will for the kingdom
To be killed in a shipwreck
And leave a kingdom without their prince

But a lion pushed the boy in the wreckage to shore
Where a man stood wakeful at night
And took the boy in, giving him life
The man abused the boy in many ways
And the future ruler would leave to rule his kingdom

The boy had always wanted to go North
As if there were something good to the North
Something drawing him to the mountains and rivers
As he had northern blood flowing through his veins
So 'Onward and upward, to Narnia and the North!'

The boy fled his home on the back of a talking horse
Escaping the abusive nature of his supposed-father
To the north where he was meant to be, they fled
From the south the life he was fleeing from
His destined kingdom lying in this northern land to which he travelled

On horseback he rides in a forest
Before hearing the sounds of another horse
And then seeing the sights of another rider
Terrified the horse pulls forward
Then a wild animal gives its mighty roar

Hearing the roar of a mighty lion
The riders and horses go on running from this terror
Until they are united, together in their travels
Then the lion disappears into the mist of the forest
And the travelers, a boy and a girl, and two horses now travel to the north together

The boy stranded in the desert
Away from all things he had known
Without his horse or traveling companions
Without any water to quench his thirst
And he spends the night alone in the dark desert

There on the desert ground, terrified he laid
For behind him stood tombs of the kings of old
And to his forefront laid the desert
He imagined ghosts and ghouls that might come from the tombs
And terrified he laid, there on the desert ground

Then a kitten came to his side
The cat came und nuzzled behind the sleeping boy
It kept him warm through the cold desert night
The boy felt safe with the kitten by his side
As if no one or no thing could possibly harm him

As he slept, he heard the sound of jackals howling in the desert
The boy became fearful once he noticed the absence of the cat
Yet it was at this time that he heard the mighty roar of a lion
And the lions roar made him even more fearful than he was before
But then the howling of the jackals ceased and he was safe

He awoke again later in the night to the cat by his side
The cat comforted him in his loneliness
And kept him warm in the desert night
When it needed to, the cat became a lion and defended the boy
For the lion always wanted what was best for that boy

Then the four travelers ventured north across the desert
Racing against time, and against enemy armies
To get to the kingdom in the north on time to warn the king
But like any desert travelers, they quickly tired
And they required one final push

A lion's roar cams out of the silence of nature
And very quickly the horses sped up to leave the lion's reach
But to no avail as the lion gashed at one of the riders
The terror of the horses propelled them forward
And they made it in time to save the kingdom

The boy was reunited with his father, the king
And he himself became a king when it came high time
The boy married the girl, and became king and queen of the country in the north
For the Lion and the Kitten led them to the north, and to their salvation
Even when they did not know the Lion at all

The Lion is Jesus Christ, God Himself in the flesh
He came to save the boy, and his horse
And his wife and her horse
He came as a fierce lion to redirect
And as a kitten to comfort
He came as a lion to defend
And as a kitten to protect
Jesus Christ came to men
He came as a helpless fetus and infant
And as a small child
He came as a man to teach
And as a man to die
Jesus is fierce when needed
And gracious when needed
For He loves His children
And will not let His children stray far from Him
For much good is to come for the Children of God

I thought I understood distance
When I learned at school it is defined as
“The amount of space between two points.”
I learned distance can be measured in various units
As steps, kilometres and miles
or even intervals of time.

I thought I understood distance
When I counted 2362 steps walking to school
And noticed my dad’s car meter increasing two miles
In three minutes driving me back home.

But my understanding had changed when I started measuring longer distances.
And attempting to cross them.

I travelled a distance measured in kilometres and hours to see him.
Such distances can be easily crossed.
Either I took the next train, or drove my car
Distance as an amount of space was two thousand kilometres
And distance as an amount of time was only a few hours.

I thought I understood distance,
But never the amount of space between two specific points;
My lips and his lips.

I travelled a distance measured in bottles of wine and years to kiss him.
Such distances can’t be easily crossed.
I could walk miles of skin
And distance as an amount of space between us
Could extend tiresome.
But such distances aren’t necessarily a barrier.
I have crossed all the oceans we created
I counted all the bodies
And I have indulged in his lips.

It took me two bottles of wine and twenty years
To actually understand distance

But my understanding is obsolete
For him and I ,
Are still two distant entities.

(from my hospital bed – Nov. 14 2017)

Over the bridge of friendship
How many time I've gone
Sometimes I'm met in the middle
Sometimes there is no one

Sometimes I am too weak to cross
Sometimes I am too strong
But crossing the bridge of friendship
That never can be wrong

Over the bridge of friendship
I've learned to heal two hearts
I've been the one most giving
And I've played the other part

I've been rude and selfish
And I've been loving and kind
But the bridge always reminds me
That I'm not alone this time

Over the bridge of friendship
I've travelled many times
Sometimes I am accepted
Sometimes I am declined

I'm not saying that I am perfect
I've had my share of pride
But I never would refuse you
On this bridge of yours and mine

So when you feel too sad or lonely
Just stop and turn around
And cross the bridge of friendship
Where you know I can be found

And I know the bridge of friendship
Will outlast me in the end
But when you take that last walk
I'll be waiting for you my friend

James H. Webb

I wish I would have been a nomad,
I would have travelled to the places no one had.
I wish I was a voracious reader,
Books would have helped me to forget her.
If life would not have been such a mystery,
It would have been easy to forget my history.
I wish I was another wanderlust
In a world which seems to forget so fast.
I never wanted to be like me.
I wish I was not me!








Tanay Sengupta, Copyright © 2018. All Rights Reserved.

His Grandparents were Romany people from his maternal side
In Countries of Eastern Europe they travelled far and wide
But the most basic human right their right to life of them even denied
In Belzec Concentration camp where a million people died.

I never knew my maternal Grandparents with sadness he recall
Due to circumstance of birth and their way of life misfortune them did befall
My gift of music such a marvellous gift to them I feel I owe
In Belzec Concentration Camp they were murdered decades ago.

A tall and handsome man in his early thirties with wavy raven hair
With the marvellous gift of music a great accordion player
In silence we sat and drank our beer as we listened to him play
The beautiful old gipsy tunes from Countries far away.

That all things do come to an end in some cases a lie
In Belzec Concentration camp the gipsy music did not die
But that the gift of music does live on should not come as a surprise
Something that those who commit crimes against humanity seem to fail to realize.

He played at the pub on passing through him I never more may see
But the beauty of his music will live in my memory
His maternal Grandparents who died at Belzec their lives were not in vain
Their music in their Grandchild has come to life again.

jp (a fellow-poet here at HP) and I were speaking of a popular Asian imagery of the Mind as a Monkey...I mentioned that I would write a poem of how this idea is also embodied in a Chinese legend of the Monkey King...And this is the poem that follows...




Sun Wukong, or the Taming of the Monkey Mind


PART 1
The arrogance of Sun Wukong

Monkey you may think of me
but ordinary I am by no means:
timeless and
of primal forces
from a rock I was born
at the Mountain of Flowers and Fruit
I, pure energy, unrestrained
in perpetual motion

Powers? Ha! you mortals are easily impressed
by miracles and powers
aren’t you, you puny lot?

In one turn I can travel a 108 000 li
I can do numerous transformations
I can cloud travel
and my magic staff that I keep
in the size of a sewing needle when not in use
has similar powers;
and with each hair of mine
I can be an infinity of myself -
though I’ll confess
I can’t make a complete change into human
as my tail just won’t go away

So in all, great deeds I’m capable of;
and I wiped my name off the Book of Life and Death
so I am immutable -
so why am I even talking to you weaklings?
Go climb a tree, you imbeciles!
And stay up there! Don’t descend!




PART 2
The taming of Sun Wukong

And Sun Wukong flies up to the Heavenly Kingdom, styles himself “Great Sage, Equal of Heaven” and there creates tremendous Havoc and Chaos…and even the Jade Emperor, the Heavenly Emperor, has his **** kicked…and then it is that Sun Wukong comes face to face with the Buddha…*


And Sun Wukong screams at the Buddha:
“I’ll kick and I’ll blow  
And you won’t know where you’ll go”

And the Buddha says:
“And who are you?”

And Sun Wukong says:
“You probably haven’t heard of evolution
but I’m the one who went straight to the top –
I can travel anywhere quick and swift
to any part of the immense void or universe”

And the Buddha says:
“Try then and show me
you travel the universe
and back here before me”


And Sun Wukong jumps into thin air
and off he goes into deep space
and emptiness and void
but no matter how far he goes
it seems endless
and it tires Sun Wukong
and then seeing what
he thinks are the 5 pillars
at the end of the universe
he scrawls on the surface:
“Sun Wukong was here!”
And in an instant Sun Wukong is there again
right before the Buddha

And says Sun Wukong:
“See I have travelled to the
end and saw the 5 pillars
and scrawled there my name”

And the Buddha says,
holding up his right palm:
“See, all you have done
is to travel across my palm”

And Sun Wukong sees the words
he had written just before but now miniscule
And the Buddha puts a coronet round
Sun Wukong’s temple
that helps calm the Monkey Mind
that helps still the Restless Mind





NOTE: 180 000 li = 54 000 km or 33 554 ml

I slept and dreamt one night,
What if I travelled back in time?
All the mysteries, all those historical moments
Can all be solved and relived.
How special wouldn’t that be?
What if I travelled back in time,
And met Shakespeare, Leonardo,
Galileo Galilei and the Emperor of China?
They’d teach me a lot of things.
What if I travelled back in time
And get to play with dinosaurs,
Climb the brachiosaurus, play tag with the T-Rex
And take a ‘magic carpet ride’ with Pterosaurs?
I could also follow Christopher Columbus on his trips
And come home with some souvenirs for my friends.
I could live in every dynasty of every country,
And see the world so many years ago
The sands of time slowly carried away by the wind
Once they’ve left, it’s just a memory, etched into our minds.
What if I travelled back in time,
And change all my test answers? I’ll be the smartest boy on Earth!
It’s all too simple, because I know what’s to happen.
But all these things will happen only in my wildest dreams. They couldn’t possibly come true right?
And I just fall back asleep and wonder,
What if I could REALLY travel back in time?

I amble onto bed, so tired, so sleepy
And fall into a deep slumber.
I hear a sound, something’s moving in my room.
My back just springs upright and time seems to stop still
As my ears strain to hear the slightest,
Littlest, clue
To find who’s that,
In that blue hat,
Moving around my room?
He moves closer and closer and I **** in my breath
And shut tight my eyes, not wanting to see the rest
I feel a tug on my blankets and they’re finally pulled away,
So I am about to scream before I realise,
I hear a soft, ringing bell…
“So I hear you’ve been dreaming about travelling back in time lately. Would you like to try?”
I’m a little bit afraid,
Anxious to go time travelling at this time of night.
What if all this is just a dream?
But the blue hat man reaches out to me and touches my cold hand.
It’s real, I think.
He winks at me and tells me to get ready because we’re going
Going, going, going, going, going, going, going,
To time travel!
I shut my eyes, a little more tight
And take a deep breath
And I feel we’ve landed somewhere,
I open my eyes slowly, anxious to see
And I discover sand dunes, all around me
But that wasn’t the main attraction
I sought for.
There were Pyramids and Egyptians being treated
Like dogs by other Egyptians, smug and arrogant
And cold-hearted, in this simmering heat.
They work to bring brick by brick
To the great structures
And that’s why they stand
To this very day.
Then the blue hat guy brings me to Ancient China,
All the guys had long hair,
Braided and shiny, beautiful and neat, with so much grace and poise
In their firm steps.
The Emperor stands tall and mighty
But he’s a little strange.
He doesn’t seem to blink at all, or talk.
The only thing he does is stand there. And breathe.
Yet I feel an air of supremacy when I gaze upon his
Yellow robes, intricately embroidered with dragons,
A sign that a mastery hand, skilled with needles and threads,
Made its mark across the yellow silk
And left two intertwined dragons in a jovial dance.
The blue hat guys holds my hands again
And squeeze them hard, to tell me
We’re jumping through time, how wondrous
This act, jumping through places
Through time and space
But we’re all the same, because all these
Things, can be found on Earth
And in our hearts and memories, which will last
Through the waves of time, even if the waves always crash on the shores.

I prepared myself,
The Final Jump,
After going jumping through the time of all civilisation, also
Back to the time of the dinosaurs.
I’m going back home, my own time,
The present, where here is now and now is here.
The blue hat guy lets go of my hand and
Gives me one last wink,
“Keep on dreaming and never forget
This magical adventure that we had!”
And he just disappears.
I’m back in my own bed and comfy and warm,
Blanket pulled up to my chin and I smile
As I close my eyes, I ponder once more,
Did I just travel through time and space
With a guy in a blue hat?
Or was that just another dream I had?

Education is currently being used as a weapon
to arm the educated to defend the system.
Question the system.

Go out there and equip yourself for the right belief.
Be a dreamer. The dream is beautiful.

The problem with dreams is that you don’t know
the dream has turned into a nightmare until you wake up.
Are you awake? Be awake.

The problem with being awake; we need to rest.
Lucidly dream. Be lucid.
The problem with being lucid; you’re lucid.

There was a dream not long ago. The dream was beautiful.
We liked the dream, the dream became ours and we slept.
Slowly we all grew tired.

Those that did not need to sleep,
those that did not like our dream,
we treated like children.

We know that we need to rest and we were tired. We left our children to starve.
We forced others to sleep and so, we forced our children to sleep.
Even in our sleep, we forced others to sleep.
And so the big dream grew.
It became nightmare.

We all dream. Be aware of others dreams. Be aware of others while we sleep.
Be aware of those that sleep while we awaken.
When you wake and see your siblings rest no longer.
That their dream, once ours, has turned to terror.
The problem with dreams…
We force our children to sleep.

Is this bad? Always question. Should we force them to wake?
Force can create. Force can destroy.

The problem with being awake, when we know our brothers and sisters
sweat in there nightmares; we have a choice.

That is not a choice to wake them or not. To hope for the best.
That the nightmare will end and the dream will return.

A dream that has travelled
through the terrors of our minds
will not return the same.

Would you like the red pill or the blue pill?
Is there good and bad? Force can create and destroy.
Be mindful of how you wake.

Be lucid of how you force others to wake.
Tea or coffee; a cigarette; some breakfast; some fear?
Use balance.
We are all unique.

I have a personal story. As I wrote this, typos occurred in the original edit.
The technology, ‘swipe’ was used.  I meant to spell unique and unite was spelt.
Personal became powerful and with turned to WE.
Is there a reason ‘i’ should always be capitalized?

‘i’ wish to be mindful of my readers. ‘i’ want to stay true to them.
We that can read are the readers. ‘i’ am the reader.
When I isn’t capitalized I began to feel more comfortable with using it,
if i gave it arms; ‘i’.
And when I typed to explain that,
I went to preferring if isn’t typing out ‘and then i and then ‘, to just type two of them;
ii.

We don’t want to be alone.
There’s no I in teamwork but
there is and I in kind.
I is complicated. Be you.

Find your voice. Have a voice and be aware.
Others have a voice.
What would happen if we all respected each other’s voice?
What would happen if we all had the same voice?

That was the beauty of the dream.
The dream is travelling through nightmare
and is slowly returning.
It has changed.
Unite our uniqueness’s.

Do you eat fast food? I love it. It is a dream… Do I eat it all the time, I hope not.
Ken Robinson is a good man to ask. Consider food for the mind.

There are beliefs out there. There’s a belief out there that our world is ******.
Forgive the language. Understand it.
I wanted to say, ‘that our world is doomed; eternally ****** to be destroyed’ and that scared me. ****. There will always be nightmares, disaster and destruction.

What is an ‘aster’? Curious.
When did we chose to destroy; each other?
Could we create; each other?

There’s a belief out there for that one too.
Are you awake, yet?

We Time Travelled together threw Thick
and Thin Worrying about nothing But
Us.

Over the sands of time you’ve travelled.
Across the ocean of life you’ve sailed.
Through the fog of daily worries,
Your unfailing love’s prevailed.

Your light shines from within,
Brighter than the heavenly sky.
The fire in your soul’s unquenched,
The flames one can’t deny.

Don’t measure your life in years
Nor by the number of breaths you take,
For we’re blessed by your resounding wisdom
And the memories you continue to make.

In your footsteps I wish to tread,
I want to grow in your direction,
To mirror your warmth and kindness,
Your honesty, integrity and affection.

Your life is truly remarkable,
A lasting legacy you’ll surely bestow.
Let’s joyfully sing your melody
And forever bask in your glow.

Although you’ve entered your twilight years,
So much you’ve done is unsung,
But in your heart, for all eternity,
May you be strong, radiant and young.

I put her in this book
I write her down as "Z"
Because I have a Beautiful
Little secret.

She's only made,
for me.

I got inside her heart
On that day I travelled
To this new Galaxy

But it's never been
Dark.

It's filled with...

Dreams
Goals
Aspirations

We have...

Destiny

I fall in-love again
every time I see her
Face, the smile she has
Can never be replaced

And when she just,
gets me my heart is
First in the race
Minds and Memories
Never erased.

From this whole book,
of what you are
And I hope to spread it...

Everyday

Together we've already
Created our own
Legacy

And when we use similar,
words like...

Jealousy
Envy

But we wouldn't mean
To do it on purpose

Only the purpose by
Fact not Chance
To show people,
the meaning of...

Truely Happy

So take my hand,
and walk with me.

And sometimes
The Way you look at me?
It takes my breath away

Sometimes I even.

Forget to breathe

And sometimes I'm lost
For words and I look and
Smile, reasons being
It's just to see yours...

If only for a while.

The way you push your
hair to the left to cover
Your face so nobody else
knows.

But it's the face I want
To hold and show people
Of what I have
The core of the earth

Stronger than Diamond

The Way I can pull you up
From the lowest of your lows.
With my hand in yours
It fits perfectly.

The way a kiss
Can make your whole day
And the way it speeds up mine
For the next time.

You know?

The Passion Of being there
I'll be your best friend and more
Hoping to open all the doors
And take a course

In You

The way we've made our promises
And the days we send pictures
To show the way
Where it's hard when We Leave
And the way I Miss You

But...

It's the way I Miss You
Feeling soo numb,
Has never been soo?

Familiar?

Can you imagine
Being in the desert with no water?
Being on the bungie with broken rope?
Being the kid with no hope?
Being in the darkest cave without light?
Two working eyes and no sight.

So now small parts of me
Are processed in ink,
cut deep within an put
On paper.

Because I feel?

Alive

I've got this case,
Of Love so put me trial
Give me the life sentence
You're definetly going
To be worth while.

Today’s generation breathes on superficiality. Always looking for someone who will make them feel good and look better, like a trophy they carry around. People are going crazy over a buff physique and luscious curves never knowing the real person behind the costume. Mind you, I am into looking good and am a love handle-hating man with a highly elusive six-pack abs but being superficial is just not what I was taught growing up. I was taught to look for substance and not just the stance. Know what I mean? What will you do after you got bored with her? After you’re through with her? You have nothing in common. What will you talk about? You just went after her to make you’re friends jealous, to make your status as a ladies man more credible, to make you look like a demigod and makes you more popular than before. All of these are false judgments about being with someone. There’s less love around my love handles now but character still matters to me. There are bad apples that we, Adams, shouldn’t be tempted, like the girls our mother warned us about. Like the woman who has more degree than a thermometer, not only bilingual but travelled the globe more than a stewardess. I’m not saying that they’re a no-no but they’re on the major league while you are on the little league. They will step on your ego like an elephants stampede and breathe life out your senses. My point is, be realistic. Get to know the person. Know what she wants. Know that women aren’t born with titanium-based sense of confidence and that insecurity will creep in her system. You know the classic: Am I getting fat? Is she hotter than me? Do I look old? You know how it goes. Insecurity has moved with time and even the modern woman remains vulnerable. Easy on the emotions ‘coz when it comes to sensitivity they’re the warden in this joint. So do your homework. She may be the world’s most desired model, capable of reaching a Ferrari’s top speed but she still needs assurance. Sometimes. Occasionally. Periodically. Always. Know that and you’ll be rewarded. Appreciate her. In any size or shape, spell it in front of her. Make literal or mental notes of the big and small deals in her life. And love the princess. Naturally. Stir, simmer and serve it steaming hot. Be patient. Watch her play. Laugh. Cry. See her at her worse. Take time to see her with her friends and family. These are the people she is most comfortable with and will make her act naturally. Don’t jump hastily into a relationship even if it’s the most logical thing to do. Prefer to be comfortable with each other idiosyncrasies included. Heed my word as your guide to a better you and a more blissful relationship, just in case. This will save you from heartaches and depression. And you will not end up seeing someone pull out the yellow card in the relationship and you won’t be making that 2 AM text messages and more importantly the 3AM breakdown.

Rushing in is like passing a busy intersection. You might escape some speeding junkies but you can’t dodge the midnight meat train when it marks you. You’ll end up on the pavement licking your wounds and wishing God will give you a second chance. When we let our emotions decide for us we might as well be a puppet. When we affiliate our need to be with someone with lust, which is insatiable, we will become uncontented. The process leading to forging an actual relationship with someone you were initially attracted to has changed dramatically. The days of long and winding courtship where we woe our object of adoration is gone. Today being intimate don’t apply to couples anymore. The pleasures of carnality are taking the world over and our concept of love is being shaped by ******* bunnies. The line separating love and lust is getting distorted and thinner. No wonder labels such as FuBu, FWB, PP (Pleasure Pal) and Rebound have gained pop culture concurrence. They simply mean consenting bedfellows who contend themselves that there is no ocean of difference between couplehood and ****** friendship besides the scope of emotions involved. Friends can. Especially when, lately, people have become savvy to the idea that *** does not ruin the relationship, which is now rendered all but platonic in an entirely emotional sense. There will be those who disagree and will protest but its making things more audible, making the idea spread like virus. The concept of a FuBu, FWB, PP or whatever you call it is inevitable for a variety of reasons. For starters lets say old school values have been exposed to be total fronting, hypocritical billboard signs of secretly debauched Puritans. Some just start on a harmless get together, a few chitchats, ***** and more *****. And when the night is over and it’s time to go home, some take detours and most of it leads to bed. An exception is on the rebound - dumper-dumpee. Rebound is trying to get back at your dumper, making them jealous or guilty. This involves an innocent victim who’ll fall in the trap of being played on. Believe me, you don’t want to be at the end of the rope. The emotion that comes with the need to be with someone is totally deceiving. Even if you and your date have gone out a few times (even slept every time you see each other) but neither one has confirmed that you are indeed dating, then don’t assume or you’ll suffer the embarrassment of your dating status being denied.

Relationships have drastically changed and this wave of change will press on, as the players get more adept at playing the cards dealt them. And even if the rules of the game have changed dramatically to allow certain breaches on morality, people have to be more cautious in making decisions pertaining to relationships. Never bite off more than you can chew. Or you can kiss your **** goodbye.

A true story by  Thula Bopela**

I have no idea whether the white man I am writing about is still alive or not. He gave me an understanding of what actually happened to us Africans, and how sinister it was, when we were colonized. His name was Ronald Stanley Peters, Homicide Chief, Matabeleland, in what was at the time Rhodesia. He was the man in charge of the case they had against us, ******. I was one of a group of ANC/ZAPU guerillas that had infiltrated into the Wankie Game Reserve in 1967, and had been in action against elements of the Rhodesian African rifles (RAR), and the Rhodesian Light Infantry (RLI). We were now in the custody of the British South Africa Police (BSAP), the Rhodesian Police. I was the last to be captured in the group that was going to appear at the Salisbury (Harare) High Court on a charge of ******, 4 counts.
‘I have completed my investigation of this case, Mr. Bopela, and I will be sending the case to the Attorney-General’s Office, Mr. Bosman, who will the take up the prosecution of your case on a date to be decided,’ Ron Peters told me. ‘I will hang all of you, but I must tell you that you are good fighters but you cannot win.’
‘Tell me, Inspector,’ I shot back, ‘are you not contradicting yourself when you say we are good fighters but will not win? Good fighters always win.’
‘Mr. Bopela, even the best fighters on the ground, cannot win if information is sent to their enemy by high-ranking officials of their organizations, even before the fighters begin their operations. Even though we had information that you were on your way, we were not prepared for the fight that you put up,’ the Englishman said quietly. ‘We give due where it is to be given after having met you in battle. That is why I am saying you are good fighters, but will not win.’
Thirteen years later, in 1980, I went to Police Headquarters in Harare and asked where I could find Detective-Inspector Ronald Stanley Peters, retired maybe. President Robert Mugabe had become Prime Minster and had released all of us….common criminal and freedom-fighter. I was told by the white officer behind the counter that Inspector Peters had retired and now lived in Bulawayo. I asked to speak to him on the telephone. The officer dialed his number and explained why he was calling. I was given the phone, and spoke to the Superintendent, the rank he had retired on. We agreed to meet in two days time at his house at Matshe-amhlophe, a very up-market suburb in Bulawayo. I travelled to Bulawayo by train, and took a taxi from town to his home.
I had last seen him at the Salisbury High Court after we had been sentenced to death by Justice L Lewis in 1967. His hair had greyed but he was still the tall policeman I had last seen in 1967. He smiled quietly at me and introduced me to his family, two grown up chaps and a daughter. Lastly came his wife, Doreen, a regal-looking Englishwoman. ‘He is one of the chaps I bagged during my time in the Service. We sent him to the gallows but he is back and wants to see me, Doreen.’ He smiled again and ushered me into his study.
He offered me a drink, a scotch whisky I had not asked for, but enjoyed very much I must say. We spent some time on the small talk about the weather and the current news.
‘So,’ Ron began, ‘they did not hang you are after all, old chap! Congratulations, and may you live many more!’ We toasted and I sat across him in a comfortable sofa. ‘A man does not die before his time, Ron’ I replied rather gloomily, ‘never mind the power the judge has or what the executioner intends to do to one.’
‘I am happy you got a reprieve Thula,’, Ron said, ‘but what was it based on? I am just curious about what might have prompted His Excellency Clifford Du Pont, to grant you a pardon. You were a bunch of unrepentant terrorists.’
‘I do not know Superintendent,’ I replied truthfully. ‘Like I have said, a man does not die before his time.’ He poured me another drink and I became less tense.
‘So, Mr. Bopela, what brings such a lucky fellow all the way from happy Harare to a dull place like our Bulawayo down here?’
‘Superintendent, you said to me after you had finished your investigations that you were going to hang all of us. You were wrong; we did not all hang. You said also that though we were good fighters we would not win. You were wrong again Superintendent; we have won! We are in power now. I told you that good fighters do win.’
The Superintendent put his drink on the side table and stood up. He walked slowly to the window that overlooked his well-manicured garden and stood there facing me.
‘So you think you have won Thula? What have you won, tell me. I need to know.’
‘We have won everything Superintendent, in case you have not noticed. Every thing! We will have a black president, prime minister, black cabinet, black members of Parliament, judges, Chiefs of Police and the Army. Every thing Superintendent. I came all the way to come and ask you to apologize to me for telling me that good fighters do not win. You were wrong Superintendent, were you not?’
He went back to his seat and picked up his glass, and emptied it. He poured himself another shot and put it on the side table and was quiet for a while.
‘So, you think you have won everything Mr. Bopela, huh? I am sorry to spoil your happiness sir, but you have not won anything. You have political power, yes, but that is all. We control the economy of this country, on whose stability depends everybody’s livelihood, including the lives of those who boast that they have political power, you and your victorious friends. Maybe I should tell you something about us white people Mr. Bopela. I think you deserve it too, seeing how you kept this nonsense warm in your head for thirteen hard years in prison. ‘When I get out I am going to find Ron Peters and tell him to apologize for saying we wouldn’t win,’ you promised yourself. Now listen to me carefully my friend, I am going to help you understand us white people a bit better, and the kind of problem you and your friends have to deal with.’
‘When we planted our flag in the place where we built the city of Salisbury, in 1877, we planned for this time. We planned for the time when the African would rise up against us, and perhaps defeat us by sheer numbers and insurrection. When that time came, we decided, the African should not be in a position to rule his newly-found country without taking his cue from us. We should continue to rule, even after political power has been snatched from us, Mr. Bopela.’
‘How did you plan to do that my dear Superintendent,’ I mocked.
‘Very simple, Mr. Bopela, very simple,’ Peters told me.
‘We started by changing the country we took from you to a country that you will find, many centuries later, when you gain political power. It would be totally unlike the country your ancestors lived in; it would be a new country. Let us start with agriculture. We introduced methods of farming that were not known I Africa, where people dug a hole in the ground, covered it up with soil and went to sleep under a tree in the shade. We made agriculture a science. To farm our way, an African needed to understand soil types, the fertilizers that type of soil required, and which crops to plant on what type of soil. We kept this knowledge from the African, how to farm scientifically and on a scale big enough to contribute strongly to the national economy. We did this so that when the African demands and gets his land back, he should not be able to farm it like we do. He would then be obliged to beg us to teach him how. Is that not power, Mr. Bopela?’
‘We industrialized the country, factories, mines, together with agricultural output, became the mainstay of the new economy, but controlled and understood only by us. We kept the knowledge of all this from you people, the skills required to run such a country successfully. It is not because Africans are stupid because they do not know what to do with an industrialized country. We just excluded the African from this knowledge and kept him in the dark. This exercise can be compared to that of a man whose house was taken away from him by a stronger person. The stronger person would then change all the locks so that when the real owner returned, he would not know how to enter his own house.’
We then introduced a financial system – money (currency), banks, the stock market and linked it with other stock markets in the world. We are aware that your country may have valuable minerals, which you may be able to extract….but where would you sell them? We would push their value to next-to-nothing in our stock markets. You may have diamonds or oil in your country Mr. Bopela, but we are in possession of the formulas how they may be refined and made into a product ready for sale on the stock markets, which we control. You cannot eat diamonds and drink oil even if you have these valuable commodities. You have to bring them to our stock markets.’
‘We control technology and communications. You fellows cannot even fly an aeroplane, let alone make one. This is the knowledge we kept from you, deliberately. Now that you have won, as you claim Mr. Bopela, how do you plan to run all these things you were prevented from learning? You will be His Excellency this, and the Honorable this and wear gold chains on your necks as mayors, but you will have no power. Parliament after all is just a talking house; it does not run the economy; we do. We do not need to be in parliament to rule your Zimbabwe. We have the power of knowledge and vital skills, needed to run the economy and create jobs. Without us, your Zimbabwe will collapse. You see now what I mean when I say you have won nothing? I know what I am talking about. We could even sabotage your economy and you would not know what had happened.’
We were both silent for some time, I trying not to show how devastating this information was to me; Ron Peters maybe gloating. It was so true, yet so painful. In South Africa they had not only kept this information from us, they had also destroyed our education, so that when we won, we would still not have the skills we needed because we had been forbidden to become scientists and engineers. I did not feel any anger towards the man sitting opposite me, sipping a whisky. He was right.
‘Even the Africans who had the skills we tried to prevent you from having would be too few to have an impact on our plan. The few who would perhaps have acquired the vital skills would earn very high salaries, and become a black elite grouping, a class apart from fellow suffering Africans,’ Ron Peters persisted. ‘If you understand this Thula, you will probably succeed in making your fellow blacks understand the difference between ‘being in office’ and ‘being in power’. Your leaders will be in office, but not in power. This means that your parliamentary majority will not enable you to run the country….without us, that is.’
I asked Ron to call a taxi for me; I needed to leave. The taxi arrived, not quickly enough for me, who was aching to depart with my sorrow. Ron then delivered the coup de grace:
‘What we are waiting to watch happening, after your attainment of political power, is to see you fighting over it. Africans fight over power, which is why you have seen so many coups d’etat and civil wars in post-independent Africa. We whites consolidate power, which means we share it, to stay strong. We may have different political ideologies and parties, but we do not **** each other over political differences, not since ****** was defeated in 1945. Joshua Nkomo and Robert Mugabe will not stay friends for long. In your free South Africa, you will do the same. There will be so many African political parties opposing the ANC, parties that are too afraid to come into existence during apartheid, that we whites will not need to join in the fray. Inside whichever ruling party will come power, be it ZANU or the ANC, there will be power struggles even inside the parties themselves. You see Mr. Bopela, after the struggle against the white man, a new struggle will arise among yourselves, the struggle for power. Those who hold power in Africa come within grabbing distance of wealth. That is what the new struggle will be about….the struggle for power. Go well Mr. Bopela; I trust our meeting was a fruitful one, as they say in politics.’
I shook hands with the Superintendent and boarded my taxi. I spent that night in Bulawayo at the YMCA, 9th Avenue. I slept deeply; I was mentally exhausted and spiritually devastated. I only had one consolation, a hope, however remote. I hoped that when the ANC came into power in South Africa, we would not do the things Ron Peters had said we would do. We would learn from the experiences of other African countries, maybe Ghana and Nigeria, and avoid coups d’etat and civil wars.
In 2007 at Polokwane, we had full-blown power struggle between those who supported Thabo Mbeki and Zuma’s supporters. Mbeki lost the fight and his admirers broke away to form Cope. The politics of individuals had started in the ANC. The ANC will be going to Maungaung in December to choose new leaders. Again, it is not about which government policy will be best for South Africa; foreign policy, economic, educational, or social policy. It is about Jacob Zuma, Kgalema Motlhante; it is about Fikile Mbalula or Gwede Mantashe. Secret meetings are reported to be happening, to plot the downfall of this politician and the rise of the other one.
Why is it not about which leaders will best implement the Freedom Charter, the pivotal document? Is the contest over who will implement the Charter better? If it was about that, the struggle then would be over who can sort out the poverty, landlessness, unemployment, crime and education for the impoverished black masses. How then do we choose who the best leader would be if we do not even know who will implement which policies, and which policies are better than others? We go to Mangaung to wage a power struggle, period. President Zuma himself has admitted that ‘in the broad church the ANC is,’ there are those who now seek only power, wealth and success as individuals, not the nation. In Zimbabwe the fight between President Robert Mugabe and Morgan Tsvangirai has paralysed the country. The people of Zimbabwe, a highly-educated nation, are starving and work as garden and kitchen help in South Africa.
What the white man told me in Bulawayo in 1980 is happening right in front of my eyes. We have political power and are fighting over it, instead of consolidating it. We have an economy that is owned and controlled by them, and we are fighting over the crumbs falling from the white man’s ‘dining table’. The power struggle that raged among ANC leaders in the Western Cape cost the ANC that province, and the opposition is winning other municipalities where the ANC is squabbling instead of delivering. Is it too much to understand that the more we fight among ourselves the weaker we become, and the stronger the opposition becomes?
Thula Bopela writes in his personal capacity, and the story he has told is true; he experienced alone and thus is ultimately responsible for it.