(The Dry Salvages—presumably les trois sauvages
      — is a small group of rocks, with a beacon, off the N.E.
      coast of Cape Ann, Massachusetts. Salvages is pronounced
      to rhyme with assuages. Groaner: a whistling buoy.)

I

I do not know much about gods; but I think that the river
Is a strong brown god—sullen, untamed and intractable,
Patient to some degree, at first recognised as a frontier;
Useful, untrustworthy, as a conveyor of commerce;
Then only a problem confronting the builder of bridges.
The problem once solved, the brown god is almost forgotten
By the dwellers in cities—ever, however, implacable.
Keeping his seasons and rages, destroyer, reminder
Of what men choose to forget. Unhonoured, unpropitiated
By worshippers of the machine, but waiting, watching and waiting.
His rhythm was present in the nursery bedroom,
In the rank ailanthus of the April dooryard,
In the smell of grapes on the autumn table,
And the evening circle in the winter gaslight.

The river is within us, the sea is all about us;
The sea is the land’s edge also, the granite
Into which it reaches, the beaches where it tosses
Its hints of earlier and other creation:
The starfish, the horseshoe crab, the whale’s backbone;
The pools where it offers to our curiosity
The more delicate algae and the sea anemone.
It tosses up our losses, the torn seine,
The shattered lobsterpot, the broken oar
And the gear of foreign dead men. The sea has many voices,
Many gods and many voices.
                                       The salt is on the briar rose,
The fog is in the fir trees.
                                       The sea howl
And the sea yelp, are different voices
Often together heard: the whine in the rigging,
The menace and caress of wave that breaks on water,
The distant rote in the granite teeth,
And the wailing warning from the approaching headland
Are all sea voices, and the heaving groaner
Rounded homewards, and the seagull:
And under the oppression of the silent fog
The tolling bell
Measures time not our time, rung by the unhurried
Ground swell, a time
Older than the time of chronometers, older
Than time counted by anxious worried women
Lying awake, calculating the future,
Trying to unweave, unwind, unravel
And piece together the past and the future,
Between midnight and dawn, when the past is all deception,
The future futureless, before the morning watch
When time stops and time is never ending;
And the ground swell, that is and was from the beginning,
Clangs
The bell.

II

Where is there an end of it, the soundless wailing,
The silent withering of autumn flowers
Dropping their petals and remaining motionless;
Where is there and end to the drifting wreckage,
The prayer of the bone on the beach, the unprayable
Prayer at the calamitous annunciation?

There is no end, but addition: the trailing
Consequence of further days and hours,
While emotion takes to itself the emotionless
Years of living among the breakage
Of what was believed in as the most reliable—
And therefore the fittest for renunciation.

There is the final addition, the failing
Pride or resentment at failing powers,
The unattached devotion which might pass for devotionless,
In a drifting boat with a slow leakage,
The silent listening to the undeniable
Clamour of the bell of the last annunciation.

Where is the end of them, the fishermen sailing
Into the wind’s tail, where the fog cowers?
We cannot think of a time that is oceanless
Or of an ocean not littered with wastage
Or of a future that is not liable
Like the past, to have no destination.

We have to think of them as forever bailing,
Setting and hauling, while the North East lowers
Over shallow banks unchanging and erosionless
Or drawing their money, drying sails at dockage;
Not as making a trip that will be unpayable
For a haul that will not bear examination.

There is no end of it, the voiceless wailing,
No end to the withering of withered flowers,
To the movement of pain that is painless and motionless,
To the drift of the sea and the drifting wreckage,
The bone’s prayer to Death its God. Only the hardly, barely prayable
Prayer of the one Annunciation.

It seems, as one becomes older,
That the past has another pattern, and ceases to be a mere sequence—
Or even development: the latter a partial fallacy
Encouraged by superficial notions of evolution,
Which becomes, in the popular mind, a means of disowning the past.
The moments of happiness—not the sense of well-being,
Fruition, fulfilment, security or affection,
Or even a very good dinner, but the sudden illumination—
We had the experience but missed the meaning,
And approach to the meaning restores the experience
In a different form, beyond any meaning
We can assign to happiness. I have said before
That the past experience revived in the meaning
Is not the experience of one life only
But of many generations—not forgetting
Something that is probably quite ineffable:
The backward look behind the assurance
Of recorded history, the backward half-look
Over the shoulder, towards the primitive terror.
Now, we come to discover that the moments of agony
(Whether, or not, due to misunderstanding,
Having hoped for the wrong things or dreaded the wrong things,
Is not in question) are likewise permanent
With such permanence as time has. We appreciate this better
In the agony of others, nearly experienced,
Involving ourselves, than in our own.
For our own past is covered by the currents of action,
But the torment of others remains an experience
Unqualified, unworn by subsequent attrition.
People change, and smile: but the agony abides.
Time the destroyer is time the preserver,
Like the river with its cargo of dead negroes, cows and chicken coops,
The bitter apple, and the bite in the apple.
And the ragged rock in the restless waters,
Waves wash over it, fogs conceal it;
On a halcyon day it is merely a monument,
In navigable weather it is always a seamark
To lay a course by: but in the sombre season
Or the sudden fury, is what it always was.

III

I sometimes wonder if that is what Krishna meant—
Among other things—or one way of putting the same thing:
That the future is a faded song, a Royal Rose or a lavender spray
Of wistful regret for those who are not yet here to regret,
Pressed between yellow leaves of a book that has never been opened.
And the way up is the way down, the way forward is the way back.
You cannot face it steadily, but this thing is sure,
That time is no healer: the patient is no longer here.
When the train starts, and the passengers are settled
To fruit, periodicals and business letters
(And those who saw them off have left the platform)
Their faces relax from grief into relief,
To the sleepy rhythm of a hundred hours.
Fare forward, travellers! not escaping from the past
Into different lives, or into any future;
You are not the same people who left that station
Or who will arrive at any terminus,
While the narrowing rails slide together behind you;
And on the deck of the drumming liner
Watching the furrow that widens behind you,
You shall not think ‘the past is finished’
Or ‘the future is before us’.
At nightfall, in the rigging and the aerial,
Is a voice descanting (though not to the ear,
The murmuring shell of time, and not in any language)
‘Fare forward, you who think that you are voyaging;
You are not those who saw the harbour
Receding, or those who will disembark.
Here between the hither and the farther shore
While time is withdrawn, consider the future
And the past with an equal mind.
At the moment which is not of action or inaction
You can receive this: “on whatever sphere of being
The mind of a man may be intent
At the time of death”—that is the one action
(And the time of death is every moment)
Which shall fructify in the lives of others:
And do not think of the fruit of action.
Fare forward.
                      O voyagers, O ******,
You who came to port, and you whose bodies
Will suffer the trial and judgement of the sea,
Or whatever event, this is your real destination.’
So Krishna, as when he admonished Arjuna
On the field of battle.
                                  Not fare well,
But fare forward, voyagers.

IV

Lady, whose shrine stands on the promontory,
Pray for all those who are in ships, those
Whose business has to do with fish, and
Those concerned with every lawful traffic
And those who conduct them.

Repeat a prayer also on behalf of
Women who have seen their sons or husbands
Setting forth, and not returning:
Figlia del tuo figlio,
Queen of Heaven.

Also pray for those who were in ships, and
Ended their voyage on the sand, in the sea’s lips
Or in the dark throat which will not reject them
Or wherever cannot reach them the sound of the sea bell’s
Perpetual angelus.

V

To communicate with Mars, converse with spirits,
To report the behaviour of the sea monster,
Describe the horoscope, haruspicate or scry,
Observe disease in signatures, evoke
Biography from the wrinkles of the palm
And tragedy from fingers; release omens
By sortilege, or tea leaves, riddle the inevitable
With playing cards, fiddle with pentagrams
Or barbituric acids, or dissect
The recurrent image into pre-conscious terrors—
To explore the womb, or tomb, or dreams; all these are usual
Pastimes and drugs, and features of the press:
And always will be, some of them especially
When there is distress of nations and perplexity
Whether on the shores of Asia, or in the Edgware Road.
Men’s curiosity searches past and future
And clings to that dimension. But to apprehend
The point of intersection of the timeless
With time, is an occupation for the saint—
No occupation either, but something given
And taken, in a lifetime’s death in love,
Ardour and selflessness and self-surrender.
For most of us, there is only the unattended
Moment, the moment in and out of time,
The distraction fit, lost in a shaft of sunlight,
The wild thyme unseen, or the winter lightning
Or the waterfall, or music heard so deeply
That it is not heard at all, but you are the music
While the music lasts. These are only hints and guesses,
Hints followed by guesses; and the rest
Is prayer, observance, discipline, thought and action.
The hint half guessed, the gift half understood, is Incarnation.
Here the impossible union
Of spheres of existence is actual,
Here the past and future
Are conquered, and reconciled,
Where action were otherwise movement
Of that which is only moved
And has in it no source of movement—
Driven by dæmonic, chthonic
Powers. And right action is freedom
From past and future also.
For most of us, this is the aim
Never here to be realised;
Who are only undefeated
Because we have gone on trying;
We, content at the last
If our temporal reversion nourish
(Not too far from the yew-tree)
The life of significant soil.

Let me climb the intellectual bandwagon of Chamara Sumanapala of the Sunday Nation in Sirilanka, to recognize a world literary fact that Taras Shevchenko was the grandfather of literature that paid wholesome tribute to Ukrainian nationalism. In this juncture it has to  be argued that it is ideological shrewdness that has taken Russia to Crimean province of Ukraine but nothing like justifiable law and constitutionalism. Let it also be my opportune time for paying tribute to Taras Shevchenko, as at the same time I pay my homage to Ukrainian literature which is also a cultural symbol of Ukrainian statehood. Just like most of the European gurus of literature and art of his time, Taras Shevchenko received little formal education. The same way Shakespeare and Pushkin as well as Alexander Sholenystisn happened to receive education that was clearly less than what is received by many children around the world today.
Like Lucanos the Greek writer who wrote the biblical gospel according to saint Luke, Taras Shevchenko was Born to parents who were serfs. Taras himself began his life being a slave. He was 24 years a serf. He spent only one fourth of his relatively short life of 47 years as a free man. The same way Miguel Cervantes and Victor Marie Hugo had substantial part of their lives in prison. Nevertheless, this largely self-educated former serf became the headmaster, the guru and fountain of Ukrainian cultural consciousness through his paradigmatic literature written basically in the indigenous Ukrainian language. He was a prototype in this capacity given that no any other writer had made neither intellectual nor even cultural stretch in this direction by that time.
And thus in current Ukraine of today, Taras Shevchenko is a national hero of literature and collective nationalism. But due to the prevailing political tension between Ukraine and Russia, his Bicentenary on March 9, 2014 was marred by hoi polloi of dishonesty ideology and sludge of degenerative politics. For many us who derive pleasure from literature and diverse literary civilizations we join the community of Ukrainians to remember Taras Shevchenko the exemplary of patriotism, Taras Shevchenko the poet as well cultural symbol of complete state of Ukraine.
There is always some common historical experience among the childhood conditions of great writers.  In the same childhood version as Wright, Fydor, Achebe, Nkrumah, Ousmane and many others, Shevchenko was born on March 9, 1814 in Moryntsi, a small village in Central Ukraine. His parents were serfs and therefore Taras was a serf by birth. At the age of eight, he received some lessons from the local Precentor or person who facilitated worshippers at the Church and was introduced to Ukrainian literature, the same way Malcolm X and Richard Wright learned to read and write while in prison. His childhood was miserable as the family was poor. Hard work and acute poverty ate up the lives of the family, and Tara’s mother died so soon when he was nine. His father remarried and the stepmother treated Taras very badly in a neurotic manner. Two years later, Taras’s father also passed away. Just in the same economic dint poverty ate up Karl Marx until the disease known us typhus killed her wife Jenny Westphelian Marx.
The 19th century Russian Empire was largely feudal, Saint Petersburg being the exception, just like the current Moscow. It was the door and the window to the West. Shevchenko’s timely and lucky break in life came when his erratic landlord left for Saint Petersburg, taking his treasured serf with him. Since, Taras had shown some merit and knack as a painter, his landlord sent him to informally learn painting with a master. It was fashionable and couth for a landlord to have a court painter in those days of Europe. However, sorrow had to build the bridges in that through his teacher, Shevchenko met other famous artists. Impressed by the artistic and literary merit of the young and honesty serf, they decided to raise money to buy his freedom out of serfdom. In 1838, Taras Shevchenko became a free man, a free Ukrainian and Free European.
As it goes the classical Marxist adage; freedom gives birth to creativity. It happened only two years later, Taras Shevchenko’s collection of poetry, Kobzar, was published, giving him instant fame like the Achebean bush fire in the harmattan wind. A kobzar is a Ukrainian string instrument and a bard who plays it is also known as a Kobzar. Taras Shevchenko also enjoyed some literary epiphany by coming to be known as Kobzar after the publication of his collection.
He was dutifully speaking of the plight of his people in his language, not only through music, but even poetry. However,  there were unfair and censuring restrictions in publishing books in Ukrainian. But lucky enough, the book had to be published outside Russia.

Shevchenko continued to write and paint without verve. Showing considerable merit in both. In 1845, he wrote ‘My Testament’ which is perhaps his oeuvre and best known work. In his poem, he begs the reader to bury him in his native Ukraine after he dies. Not in Russia. His immense love for the land of his birth is epitomized in these verses. Later, he wrote another memorable and compelling piece, ‘The Dream’, which expresses his dream of a day when all the serfs are free. When Ukraine will be free from Russia. Sadly, Taras Shevchenko came to his demise just a week before this dream was realized in 1861.
Chamara Sumanapala wrote in the Sirilanka Sunday Nation of 16 march 2014 that, Taras lived a free man until 1847 when he was arrested for being a member of a secret organization, Brotherhood of St Cyril and Methodius. He was imprisoned in Saint Petersburg and later banished as a private with the Russian military to Orenburg garrison. He was not to be allowed to read and paint, but his overseers hardly enforced this edict. After Czar Nicholas II died in 1855, he received a pardon in 1857, but was initially not allowed to return to Saint Petersburg. He was however, allowed to return to his native Ukraine. He returned to Saint Petersburg and died there on March 10, 1861, a day after his 47th birthday. Originally buried there, his remains were brought to Ukraine and buried in Kaniv, in a place now known as Taras Hill. The site became a symbol of Ukrainian nationalism. In 1978, an engineer named Oleksa Hirnyk burned himself in protest to what he called the suppression of Ukrainian history, language and culture by the Soviet authorities.

Day breaks over a sleepy village
Morning absolutions completed
An excited buzz is in the air
Everyone is a buzz with cleaning
Hundreds gather wild flowers in the fertile fields
Many were in charge of raising the fires
Soon the whole town had bright blooms weaved from one end to the next
The horizon alight with smoke and power
Goddess and God rights invoked within circles round
Pulsating, rhythmic energy racing through each dancing body
Gyrating to the cosmic beat of life
Couples jump merrily together over cauldrons ablaze
High hopes rise and give way for dreams of children
Lovers round and round they twine
Maypole ribbons rainbow hued passing through hand to hand
As dusk falls the Queen is crowned
Mead flows freely through the jubilant worshippers
The moon hangs round with fullness above their heads
Lighting the way for love into the night

The flag, a white crescent and single star
on a field of crimson — kırmızı, not just 'red' —
tells of Islam. The men drinking beer and rakı
at pavement tables, even in Ramadan,
and the short-skirted, bare-armed girls,
parading with bare-faced confidence,
tell of other influences;
but at the appointed hour we hear the call to prayer
from the marble minaret, a slim finger
pointing to the sky beside shining domes
reflecting the vault of heaven.
At five a.m. we hear it faintly through hotel double-glazing,
or at sunset, as a peaceful accompaniment to the spectacle,
and we remember where we are.
But especially at the midday hour,
when the voice of the muezzin echoes
over noisy street or market,
and from another minaret and another
the duet becomes a trio, a quartet
of different melodies, out of tune
with each other but never discordant
(in these tones the word has no meaning),
the faithful are reminded, however busy they may be,
that their God requires something of them.
Then, entering the cool calm of the mosque,
entering the quiet forest of pillars,
feeling through the soles of our bare feet
marble polished by the tread
of generations of worshippers,
fine-grained wood,
the rich softness of crimson carpet,
we luxuriate in the textures as they combine
with the formal floral patterns of the tiles,
the ornate calligraphy of the inscriptions,
the rich colours of the glass,
and we realise that the builders of these mosques
knew what they were doing, so many years ago,
how peace can enter the soul
through the senses.

England! My England! can the surging sea
That lies between us tear my heart from thee?
Can distant birth and distant dwelling drain
Th' ancestral blood that warms the loyal vein?
Isle of my Fathers! hear the filial song
Of him whose sources but to thee belong!
World-Conquering Mother! by thy mighty hand
Was carv'd from savage wilds my native land:
Thy matchless sons the firm foundation laid;
Thy matchless arts the nascent nation made:
By thy just laws the young republic grew,
And through thy greatness, kindred greatness knew.
What man that springs from thy untainted line
But sees Columbia's virtues all as thine?
Whilst nameless multitudes upon our shore
From the dim corners of creation pour,
Whilst mongrel slaves crawl hither to partake
Of Saxon liberty they could not make,
From such an alien crew in grief I turn,
And for the mother's voice of Britain burn.
England! can aught remove the cherish'd chain
That binds my spirit to thy blest domain?
Can Revolution's bitter precepts sway
The soul that must the ties of race obey?
Create a new Columbia if ye will,
The flesh that forms me is Britannic still!
Hail! oaken shades, and meads of dewy green,
So oft in sleep, yet ne'er in waking seen.
Peal out, ye ancient chimes, from vine-clad tower
Where pray'd my fathers in a vanish'd hour:
What countless years of rev'rence can ye claim
From bygone worshippers that bore my name!
Their forms are crumbling in the vaults around,
Whilst I, across the sea, but dreamthe sound.
Return, Sweet Vision! Let me glimpse again
The stone-built abbey, rising o'er the plain;
The neighb'ring village with its sun-shower'd square;
The shaded mill-stream, and the forest fair,
The hedge-lin'd lane, that leads to rustic cot
Where sweet contentment is the peasant's lot:
The mystic grove, by Druid wraiths possess'd,
The flow'ring fields, with fairy-castles blest:
And the old manor-house, sedate and dark,
Set in the shadows of the wooded park.
Can this be dreaming? Must my eyelids close
That I may catch the fragrance of the rose?
Is it in fancy that the midnight vale
Thrills with the warblings of the nightingale?
A golden moon bewitching radiance yields,
And England's fairies trip o'er England's fields.
England! Old England! in my love for thee
No dream is mine, but blessed memory;
Such haunting images and hidden fires
Course with the bounding blood of British sires:
From British bodies, minds, and souls I come,
And from them draw the vision of their home.

  Awake, Columbia! scorn the ****** age
That bids thee slight thy lordly heritage.
Let not the wide Atlantic's wildest wave
Burst the blest bonds that fav'ring Nature gave:
Connecting surges 'twixt the nations run,
Our Saxon souls dissolving into one!        

love is a weird thing.
love wrapped his arms around you sometimes like always and
maybe this is what the hopeless romantics meant when they said sometimes home is not a place
love is like religion
where the worshippers would never hesitate to jump from the highest mountain to the lowest surface of the ocean
your head will bleed and you will still carve smiles using your lips, followed by the eyes and say thank you
how silly-
when he smiles
all the wilt flowers come back to life and bloom
and bloom
and bloom like its a spring season in december
its august and its rainy here but flowers
they last longer when he grins from ear to ear
like a silly man, like a precious silly bean
when he laughs
the chaos in my mind disappear
all the tics and all the screams up there just went quiet
its the moment of contentment
i wish to last
maybe not forever but give me a moment.
i can't stand eye contact
so i stare at him when he's not looking
and oh dear god
if this is a dream, i wouldn't mind trapped here
i wouldn't mind encounter the demons i see in the corner of my bed
i would approach them, shake their hands like an old friend
as long as i can be with him
for a little longer
but
when those lips spill the word love
i don't recognise it
h e l p me-
hate is the opposite word of love and
my doubts are loud
i hate the fact that my doubts are draining his love for me
my eyes are covered
and my ears are being plugged with earphones whispering he's lying.
my love,
i love you
i'm scared of heights but i'm an idiot and i would jump from the highest mountain in the name of love.
please-
i said please-
do not get tired of me
i want to trust you
let me put my trust on you
i'm trying.
i promise.

Journey to Mecca – The IMAX Experience

Imagine the scene... There are crowds of people milling about, some in queues, some chatting by the windows, others sipping a warm drink. There are children playing in corners, babies drinking milk, and wherever you look you see people of all creeds and races united under the banner of a shared humanity. And what is the reason for this diverse cross section of society to be present in one place on a quiet and sleepy Sunday afternoon at Birmingham’s ThinkTank? The answer is right there across the busy foyer. It is a poster for a new IMAX film called “Journey to Mecca”. The very air bubbles with excitement and expectation as the cinema staff cut the proverbial ribbon and usher the people into the auditorium.

Space, vast and open, is the first thing that hits the audience as they take their seats and let their eyes wander over the immense spectrum of the IMAX screen. A map unfurls across the screen and a narrator explains the time and lays down the background to the scene that is about to commence. The year is 1325, the place is Tangier and the story is about a man who is about to embark upon a journey to the holy city of Mecca on a pilgrimage. The charismatic young man is Ibn Battuta, he stares at the stars that twinkle across the canvas of the night sky and he dreams of spires, of domes, of jewelled cities that sparkle in the desert sands, and his vision swoops like a falcon over the alleys and streets of the kingdom until they rest upon the Ka’aba, the sacred building at the heart of Islam.

Ibn Battuta bids farewell to his beloved family and sets out on his journey which will see him tested, both physically and psychologically, as he travels to the fabled city of Mecca. His trials and tribulations on the road to Mecca are detailed with an emotional richness rarely seen in modern cinema. The script is nuanced in a way that allows the audience to connect with the action and the various characters. The depth of research and the care in which the tale is told is delicately balanced. This is cinema as entertainment and as education.

The film reveals the magic and wonder of the Hajj by contrasting the life of Ibn Battuta with modern day worshippers at the same holy sites as those visited by the young traveller all those years ago. The scale of the event is brought to realisation in a way that will make even the most jaded film connoisseur gasp with astonishment.

In terms of technicalities, the IMAX technology is notorious for being extremely expensive and difficult to master. The format does not allow for the creative freedom that one can utilize in 35mm, so it is to the credit of the crew that this film looks seamless and breathtaking. Every single frame of the drama is a beautifully crafted canvas that seems to glow like a painting. The cinematography is exemplary and employs a painterly palette. The deserts and mountains are dry, cracked and dusty brown like wrinkled parchment while the sun drips golden lava across the scorching landscape. The white garments of the pilgrims are like beacons floating in the creamy dust of the desert sands whilst the tapestries hanging in the bazaars are lovingly stitched in green and blue threads; and the silver and gold bangles on the arms and ankles of the village girls ****** and twinkle. The atmosphere of warmth and friendship is apparent in every scene, especially when the succulent food is shared by the soft red glow of the campfires. High above this blend of colours, languages and the swirl of human emotions are the dancing stars that ripple in the heavens. The spectacle and sounds of a bygone era are stunningly designed.

The soundtrack also serves the film quite well. The music is never intrusive or melodramatic, it is there as a soft accompaniment to the proceedings. The use of strings, Moorish mandolins, African percussion and the human voice brings an exotic and ethereal ambiance to the drama.

“Journey to Mecca” is a journey of hope, a journey of understanding and a journey that will inspire. The sheer magnitude and beauty of this film left the audience awed and instilled a desire to learn more about the past which we sometimes neglect to reflect upon in our fast moving lives. This film is an ode to peace, love and compassion, and acts as a bridge of understanding between the past and present. And, as the film fades to black at the ******, there is a final haunting image that will resonate with every member of the audience. The message is simple and poignant. It illustrates the transient and swift nature of life; it shows how we glow brightly by the light of the noon day sun and then fade into the tranquil shadows of the coming twilight. Our journey in this life should be one that respects all of humanity despite our cultural or political differences. It is not often that one leaves the cinema knowing that your soul has been moved by something rare, delicate and exquisite. This was one of those rare occasions.

Virtue runs before the muse
And defies her skill,
She is rapt, and doth refuse
To wait a painter's will.

Star-adoring, occupied,
Virtue cannot bend her,
Just to please a poet's pride,
To parade her splendor.

The bard must be with good intent
No more his, but hers,
Throw away his pen and paint,
Kneel with worshippers.

Then, perchance, a sunny ray
From the heaven of fire,
His lost tools may over-pay,
And better his desire.

Sun slits in through slats
of kitchen window blinds
and she is alone.

The art major is cooking
spaghetti,
pretending her thrifted T-shirt
bearing a cotton copy
of Campbell's Soup Cans
is not stained with tears and blood.
Oh, but that's hysterics and
hyperbole;
art has a tendency of making its worshippers
melodramatic...no?
The blood is only tomato sauce
and the tears...
well, what are tears but
water and salt?
After all, dramatizing the
mundane is just one awkward shade
of artistic temperament.
Visualizing life through
a heavy silk screen.

The art major sighs and
stirs.
The spaghetti is redder and
redder as she cooks.
Just as
her paintings bleed more blood
as she dangles a brush over them -
the teary-eyed watercolours.

The art major has decided
that drawing out extremities
of colour
might transform
her own life into
a pop of a Warhol painting.

The art major sighs and
stirs.

She thinks, tries to
think
in technicolour.
Today's thought-pencilled thesis
concludes (like a brush stroke of uncertain finality) that
love is the red of tomato soup cans.
Anger is the boil, passion is
the gulp,
danger, caution, warning,
the hot breaths, fleeting warmths,
the burn and sweet and tang.
She looks down at the
scarlet of
Warhol's soup cans,
blooming in worn out cotton
on her chest.

It might as well be blood, she
thinks.
It is,
it is,
it is.
Blood red love -
tomato soup cans.

Sun sets in slits
through kitchen window blinds
and she is still alone.

The art major sighs and
stirs.
The spaghetti is ready.

Your hope in my heart is the rarest treasure
Your Name on my tongue is the sweetest word
My choicest hours
Are the hours I spend with You --
O Allah, I can't live in this world
Without remembering You--
How can I endure the next world
Without seeing Your face?
I am a stranger in Your country
And lonely among Your worshippers:
This is the substance of my complaint.

This is the church which Pisa, great and free,
Reared to St. Catharine. How the time-stained walls,
That earthquakes shook not from their poise, appear
To shiver in the deep and voluble tones
Rolled from the *****! Underneath my feet
There lies the lid of a sepulchral vault.
The image of an armed knight is graven
Upon it, clad in perfect panoply--
Cuishes, and greaves, and cuirass, with barred helm,
Gauntleted hand, and sword, and blazoned shield.
Around, in Gothic characters, worn dim
By feet of worshippers, are traced his name,
And birth, and death, and words of eulogy.
Why should I pore upon them? This old tomb,
This effigy, the strange disused form
Of this inscription, eloquently show
His history. Let me clothe in fitting words
The thoughts they breathe, and frame his epitaph.

  "He whose forgotten dust for centuries
Has lain beneath this stone, was one in whom
Adventure, and endurance, and emprise
Exalted the mind's faculties and strung
The body's sinews. Brave he was in fight,
Courteous in banquet, scornful of repose,
And bountiful, and cruel, and devout,
And quick to draw the sword in private feud.
He pushed his quarrels to the death, yet prayed
The saints as fervently on bended knees
As ever shaven cenobite. He loved
As fiercely as he fought. He would have borne
The maid that pleased him from her bower by night,
To his hill-castle, as the eagle bears
His victim from the fold, and rolled the rocks
On his pursuers. He aspired to see
His native Pisa queen and arbitress
Of cities: earnestly for her he raised
His voice in council, and affronted death
In battle-field, and climbed the galley's deck,
And brought the captured flag of Genoa back,
Or piled upon the Arno's crowded quay
The glittering spoils of the tamed Saracen.
He was not born to brook the stranger's yoke,
But would have joined the exiles that withdrew
For ever, when the Florentine broke in
The gates of Pisa, and bore off the bolts
For trophies--but he died before that day.

  "He lived, the impersonation of an age
That never shall return. His soul of fire
Was kindled by the breath of the rude time
He lived in. Now a gentler race succeeds,
Shuddering at blood; the effeminate cavalier,
Turning his eyes from the reproachful past,
And from the hopeless future, gives to ease,
And love, and music, his inglorious life."

Thou who wouldst see the lovely and the wild
Mingled in harmony on Nature's face,
Ascend our rocky mountains. Let thy foot
Fail not with weariness, for on their tops
The beauty and the majesty of earth,
Spread wide beneath, shall make thee to forget
The steep and toilsome way. There, as thou stand'st,
The haunts of men below thee, and around
The mountain summits, thy expanding heart
Shall feel a kindred with that loftier world
To which thou art translated, and partake
The enlargement of thy vision. Thou shalt look
Upon the green and rolling forest tops,
And down into the secrets of the glens,
And streams, that with their bordering thickets strive
To hide their windings. Thou shalt gaze, at once,
Here on white villages, and tilth, and herds,
And swarming roads, and there on solitudes
That only hear the torrent, and the wind,
And eagle's shriek. There is a precipice
That seems a fragment of some mighty wall,
Built by the hand that fashioned the old world,
To separate its nations, and thrown down
When the flood drowned them. To the north, a path
Conducts you up the narrow battlement.
Steep is the western side, shaggy and wild
With mossy trees, and pinnacles of flint,
And many a hanging crag. But, to the east,
Sheer to the vale go down the bare old cliffs,--
Huge pillars, that in middle heaven upbear
Their weather-beaten capitals, here dark
With the thick moss of centuries, and there
Of chalky whiteness where the thunderbolt
Has splintered them. It is a fearful thing
To stand upon the beetling verge, and see
Where storm and lightning, from that huge gray wall,
Have tumbled down vast blocks, and at the base
Dashed them in fragments, and to lay thine ear
Over the dizzy depth, and hear the sound
Of winds, that struggle with the woods below,
Come up like ocean murmurs. But the scene
Is lovely round; a beautiful river there
Wanders amid the fresh and fertile meads,
The paradise he made unto himself,
Mining the soil for ages. On each side
The fields swell upward to the hills; beyond,
Above the hills, in the blue distance, rise
The mighty columns with which earth props heaven.

  There is a tale about these reverend rocks,
A sad tradition of unhappy love,
And sorrows borne and ended, long ago,
When over these fair vales the savage sought
His game in the thick woods. There was a maid,
The fairest of the Indian maids, bright-eyed,
With wealth of raven tresses, a light form,
And a gay heart. About her cabin-door
The wide old woods resounded with her song
And fairy laughter all the summer day.
She loved her cousin; such a love was deemed,
By the morality of those stern tribes,
Incestuous, and she struggled hard and long
Against her love, and reasoned with her heart,
As simple Indian maiden might. In vain.
Then her eye lost its lustre, and her step
Its lightness, and the gray-haired men that passed
Her dwelling, wondered that they heard no more
The accustomed song and laugh of her, whose looks
Were like the cheerful smile of Spring, they said,
Upon the Winter of their age. She went
To weep where no eye saw, and was not found
When all the merry girls were met to dance,
And all the hunters of the tribe were out;
Nor when they gathered from the rustling husk
The shining ear; nor when, by the river's side,
Thay pulled the grape and startled the wild shades
With sounds of mirth. The keen-eyed Indian dames
Would whisper to each other, as they saw
Her wasting form, and say the girl will die.

  One day into the ***** of a friend,
A playmate of her young and innocent years,
She poured her griefs. "Thou know'st, and thou alone,"
She said, "for I have told thee, all my love,
And guilt, and sorrow. I am sick of life.
All night I weep in darkness, and the morn
Glares on me, as upon a thing accursed,
That has no business on the earth. I hate
The pastimes and the pleasant toils that once
I loved; the cheerful voices of my friends
Have an unnatural horror in mine ear.
In dreams my mother, from the land of souls,
Calls me and chides me. All that look on me
Do seem to know my shame; I cannot bear
Their eyes; I cannot from my heart root out
The love that wrings it so, and I must die."

  It was a summer morning, and they went
To this old precipice. About the cliffs
Lay garlands, ears of maize, and shaggy skins
Of wolf and bear, the offerings of the tribe
Here made to the Great Spirit, for they deemed,
Like worshippers of the elder time, that God
Doth walk on the high places and affect
The earth-o'erlooking mountains. She had on
The ornaments with which her father loved
To deck the beauty of his bright-eyed girl,
And bade her wear when stranger warriors came
To be his guests. Here the friends sat them down,
And sang, all day, old songs of love and death,
And decked the poor wan victim's hair with flowers,
And prayed that safe and swift might be her way
To the calm world of sunshine, where no grief
Makes the heart heavy and the eyelids red.
Beautiful lay the region of her tribe
Below her--waters resting in the embrace
Of the wide forest, and maize-planted glades
Opening amid the leafy wilderness.
She gazed upon it long, and at the sight
Of her own village peeping through the trees,
And her own dwelling, and the cabin roof
Of him she loved with an unlawful love,
And came to die for, a warm gush of tears
Ran from her eyes. But when the sun grew low
And the hill shadows long, she threw herself
From the steep rock and perished. There was scooped
Upon the mountain's southern *****, a grave;
And there they laid her, in the very garb
With which the maiden decked herself for death,
With the same withering wild flowers in her hair.
And o'er the mould that covered her, the tribe
Built up a simple monument, a cone
Of small loose stones. Thenceforward all who passed,
Hunter, and dame, and ******, laid a stone
In silence on the pile. It stands there yet.
And Indians from the distant West, who come
To visit where their fathers' bones are laid,
Yet tell the sorrowful tale, and to this day
The mountain where the hapless maiden died
Is called the Mountain of the Monument.

Virtue runs before the muse
And defies her skill,
She is rapt, and doth refuse
To wait a painter's will.

Star-adoring, occupied,
Virtue cannot bend her,
Just to please a poet's pride,
To parade her splendor.

The bard must be with good intent
No more his, but hers,
Throw away his pen and paint,
Kneel with worshippers.

Then, perchance, a sunny ray
From the heaven of fire,
His lost tools may over-pay,
And better his desire.

The South wind said to the palms:
My lovers sing me psalms;
But are they as warm as those
That Laylah's lover knows?

The North wind said to the firs:
I have my worshippers;
But are they as keen as hers?

The East wind said to the cedars:
My friends are no seceders;
But is their faith to me
As firm as his faith must be?

The West wind said to the yews:
My children are pure as dews;
But what of her lover's muse?

So to spite the summer weather
The four winds howled together.

But a great Voice from above
Cried: What do you know of love?

Do you think all nature worth
The littlest life upon earth?

I made the germ and the ant,
The tiger and elephant.

In the least of these there is more
Than your elemental war.

And the lovers whom ye slight
Are precious in my sight.

Peace to your mischief-brewing!
I love to watch their wooing.

Of all this Laylah heard
Never a word.

She lay beneath the trees
With her lover at her knees.

He sang of God above
And of love.

She lay at his side
Well satisfied,

And at set of sun
They were one.

Before they slept her pure smile curled;
"God bless all lovers in the World!"

And so say I the self-same word;
Nor doubt God heard.

These are the gardens of the Desert, these
The unshorn fields, boundless and beautiful,
For which the speech of England has no name--
The Prairies. I behold them for the first,
And my heart swells, while the dilated sight
Takes in the encircling vastness. Lo! they stretch
In airy undulations, far away,
As if the ocean, in his gentlest swell,
Stood still, with all his rounded billows fixed,
And motionless for ever.--Motionless?--
No--they are all unchained again. The clouds
Sweep over with their shadows, and, beneath,
The surface rolls and fluctuates to the eye;
Dark hollows seem to glide along and chase
The sunny ridges. Breezes of the South!
Who toss the golden and the flame-like flowers,
And pass the prairie-hawk that, poised on high,
***** his broad wings, yet moves not--ye have played
Among the palms of Mexico and vines
Of Texas, and have crisped the limpid brooks
That from the fountains of Sonora glide
Into the calm Pacific--have ye fanned
A nobler or a lovelier scene than this?
Man hath no part in all this glorious work:
The hand that built the firmament hath heaved
And smoothed these verdant swells, and sown their slopes
With herbage, planted them with island groves,
And hedged them round with forests. Fitting floor
For this magnificent temple of the sky--
With flowers whose glory and whose multitude
Rival the constellations! The great heavens
Seem to stoop down upon the scene in love,--
A nearer vault, and of a tenderer blue,
Than that which bends above the eastern hills.

  As o'er the verdant waste I guide my steed,
Among the high rank grass that sweeps his sides
The hollow beating of his footstep seems
A sacrilegious sound. I think of those
Upon whose rest he tramples. Are they here--
The dead of other days?--and did the dust
Of these fair solitudes once stir with life
And burn with passion? Let the mighty mounds
That overlook the rivers, or that rise
In the dim forest crowded with old oaks,
Answer. A race, that long has passed away,
Built them;--a disciplined and populous race
Heaped, with long toil, the earth, while yet the Greek
Was hewing the Pentelicus to forms
Of symmetry, and rearing on its rock
The glittering Parthenon. These ample fields
Nourished their harvests, here their herds were fed,
When haply by their stalls the bison lowed,
And bowed his maned shoulder to the yoke.
All day this desert murmured with their toils,
Till twilight blushed, and lovers walked, and wooed
In a forgotten language, and old tunes,
From instruments of unremembered form,
Gave the soft winds a voice. The red man came--
The roaming hunter tribes, warlike and fierce,
And the mound-builders vanished from the earth.
The solitude of centuries untold
Has settled where they dwelt. The prairie-wolf
Hunts in their meadows, and his fresh-dug den
Yawns by my path. The gopher mines the ground
Where stood their swarming cities. All is gone--
All--save the piles of earth that hold their bones--
The platforms where they worshipped unknown gods--
The barriers which they builded from the soil
To keep the foe at bay--till o'er the walls
The wild beleaguerers broke, and, one by one,
The strongholds of the plain were forced, and heaped
With corpses. The brown vultures of the wood
Flocked to those vast uncovered sepulchres,
And sat, unscared and silent, at their feast.
Haply some solitary fugitive,
Lurking in marsh and forest, till the sense
Of desolation and of fear became
Bitterer than death, yielded himself to die.
Man's better nature triumphed then. Kind words
Welcomed and soothed him; the rude conquerors
Seated the captive with their chiefs; he chose
A bride among their maidens, and at length
Seemed to forget,--yet ne'er forgot,--the wife
Of his first love, and her sweet little ones,
Butchered, amid their shrieks, with all his race.

  Thus change the forms of being. Thus arise
Races of living things, glorious in strength,
And perish, as the quickening breath of God
Fills them, or is withdrawn. The red man, too,
Has left the blooming wilds he ranged so long,
And, nearer to the Rocky Mountains, sought
A wilder hunting-ground. The ****** builds
No longer by these streams, but far away,
On waters whose blue surface ne'er gave back
The white man's face--among Missouri's springs,
And pools whose issues swell the Oregan,
He rears his little Venice. In these plains
The bison feeds no more. Twice twenty leagues
Beyond remotest smoke of hunter's camp,
Roams the majestic brute, in herds that shake
The earth with thundering steps--yet here I meet
His ancient footprints stamped beside the pool.

  Still this great solitude is quick with life.
Myriads of insects, gaudy as the flowers
They flutter over, gentle quadrupeds,
And birds, that scarce have learned the fear of man,
Are here, and sliding reptiles of the ground,
Startlingly beautiful. The graceful deer
Bounds to the wood at my approach. The bee,
A more adventurous colonist than man,
With whom he came across the eastern deep,
Fills the savannas with his murmurings,
And hides his sweets, as in the golden age,
Within the hollow oak. I listen long
To his domestic hum, and think I hear
The sound of that advancing multitude
Which soon shall fill these deserts. From the ground
Comes up the laugh of children, the soft voice
Of maidens, and the sweet and solemn hymn
Of Sabbath worshippers. The low of herds
Blends with the rustling of the heavy grain
Over the dark-brown furrows. All at once
A fresher wind sweeps by, and breaks my dream,
And I am in the wilderness alone.

Inadequate to the task
Humbled by the enormity of our love,
The perfection of our joining,
Where are the words kept that sufficient
Honor and portray what we have achieved?

You seated, beside me by the bay, finally,
Two old adirondack trees side by side,
By the sheltered place you bequeathed me,
Where poems are raindrops, so numerous,
And you, if not the subject, the source.

The waves rolling in, mirror the
Fluidity of thy dancing,
Fluidity of the adaptation,
Two lives, now one bay blue colored,
The merging, the unification,
Many waves, but one bay,
The Bay of Us.

Yet so different.
We are cloud worshippers,
Does not the Skye's Tableau inconstancy,
Mirror our ever changing form, individuality,
Yet, one sky,
The Sky of Us.

So many times have I lain be-sided
Even as we this afternoon sit now a-sided,
Tears welling up, above and beyond control,
This man's steady nerves, constant on patrol,
Our secret open, visible, un-hided,
Your are my Magi
My Yogi,
i.am, your, obedient devotee, shaped to you please.

This is the birthday present my words present.

Words, unremarkable,
Except for the contentment
That lies within them.

Let me love you more,
Recklessly abandon norms,
Kiss you at the supermarket, at the opera,
Unashamedly, take you in my arms
Wherever wonderment and wandering lead us.

T'is so very hard to compose
When tears flow upon my writing tablet,
To wipe, blot them away, I refuse,
For tears are joyous emblems,
Salty badges of love,
All compliments of our complementary beings,
The Tears of Us.

The soaring music we gather in.
The shimmering sparkles upon the bay,
My gift of natural diamonds better, this day,
Than jeweled glitterati I hide in the refrigerator.
All this treasure, part and sparkle of
The Treasure of Us.

T'is truth,
I know not, forgot, your age nor care,
The day the time the year,
What matter they to me these artifice markers,
I weep carelessly, undone, overcome,
Every day, but this day, most, united joy.

Need-No reminder,
I am a survivor,
From a concentration camp
That slow programmed to destroy,
Perhaps the kindness you claim
As the hallmark of my fame,
An inadvertent gift, from the devil?

You shook my hand on our first meet,
Don't think, have I ever let go?
Let me be your driver, entertainer, your only poet,
Let me be whatever you need,
Even as now, I laugh-cry, your tissue carrier.

For t'is I who weeps and keeps
These tissues as part of our history.
You are the first,
Who has ever read
The Words of Us.

Pellets of rain pestered the cotton swagged
sky, cloudy purses grew black with scowls
coldly spelling their injustice. A chapter of
sunrays shot shamesless shards, irony perched

between chaperones; a truce maybe, rains restless
pathways of rays bleating their appeal, rooming in,
black balaclavas, rooting for blue beams,
itching bony beads of cloudy sweat, out of reach

In turn, limbs colour coated grassy spaces
tides of sun worshippers laughed out loud
their inner duets, hand in hand the sweltering
dance floor bathed them, sidling cotton clouds

Swiftly passing the sunscreen, laying back, beckoning
the sun from beneath neatly positioned cloud baubles.
Within an inch of our lives the splodges began, light
heavy, heavier, to the swell of April in full tune

Instantly the greedy green spaces groaned, ejected
sweet harmony, rolled out goodbyes, tongued stiff
breeze longing for its thirst to be quenched, and so
torrents rushed in where fools once lay

A lonely sunscreen bottle, remnant of warm
minds soaking heat, long days teasing into belief.
Yet April fooled us once more with beguiling banter,
chorused a chanting cheating lullaby of lamentation

I confess
though thousands years have passed
since some barefoot soul called you
a god, I can't even recall the ennobled appellation
they gave you...Ra?

to those who carved on cool cave walls
your burning legacy was a  glimpse of gold infinity
to me, a wearer of shoes and master of plastic tools,
you are but a spec in the night, e pluribus unum,
a paltry 90 million miles from my spinning rock  

proudly proclaiming your *******  
you sear skins and sins of your followers
who supplicate to your filtered rays
while blithely ignoring, you number our days  
and will fizzle out like a sparkler, one finite July eve
who called you divine?

Rail on, Rail on, ye heartless crew!
My strains were never meant for you;
Remorseless Rancour still reveal,
And **** the verse you cannot feel.
Invoke those kindred passions’ aid,
Whose baleful stings your ******* pervade;
Crush, if you can, the hopes of youth,
Trampling regardless on the Truth:
Truth’s Records you consult in vain,
She will not blast her native strain;
She will assist her votary’s cause,
His will at least be her applause,
Your prayer the gentle Power will spurn;
To Fiction’s motley altar turn,
Who joyful in the fond address
Her favoured worshippers will bless:
And lo! she holds a magic glass,
Where Images reflected pass,
Bent on your knees the Boon receive—
This will assist you to deceive—
The glittering gift was made for you,
Now hold it up to public view;
Lest evil unforeseen betide,
A Mask each canker’d brow shall hide,
(Whilst Truth my sole desire is nigh,
Prepared the danger to defy,)
“There is the Maid’s perverted name,
And there the Poet’s guilty Flame,
Gloaming a deep phosphoric fire,
Threatening—but ere it spreads, retire.
Says Truth Up Virgins, do not fear!
The Comet rolls its Influence here;
’Tis Scandal’s Mirror you perceive,
These dazzling Meteors but deceive—
Approach and touch—Nay do not turn
It blazes there, but will not burn.”—
At once the shivering Mirror flies,
Teeming no more with varnished Lies;
The baffled friends of Fiction start,
Too late desiring to depart—
Truth poising high Ithuriel’s spear
Bids every Fiend unmask’d appear,
The vizard tears from every face,
And dooms them to a dire disgrace.
For e’er they compass their escape,
Each takes perforce a native shape—
The Leader of the wrathful Band,
Behold a portly Female stand!
She raves, impelled by private pique,
This mean unjust revenge to seek;
From vice to save this virtuous Age,
Thus does she vent indecent rage!
What child has she of promise fair,
Who claims a fostering Mother’s care?
Whose Innocence requires defence,
Or forms at least a smooth pretence,
Thus to disturb a harmless Boy,
His humble hope, and peace annoy?
She need not fear the amorous rhyme,
Love will not tempt her future time,
For her his wings have ceased to spread,
No more he flutters round her head;
Her day’s Meridian now is past,
The clouds of Age her Sun o’ercast;
To her the strain was never sent,
For feeling Souls alone ’twas meant—
The verse she seized, unask’d, unbade,
And ****’d, ere yet the whole was read!
Yes! for one single erring verse,
Pronounced an unrelenting Curse;
Yes! at a first and transient view,
Condemned a heart she never knew.—
Can such a verdict then decide,
Which springs from disappointed pride?
Without a wondrous share of Wit,
To judge is such a Matron fit?
The rest of the censorious throng
Who to this zealous Band belong,
To her a general homage pay,
And right or wrong her wish obey:
Why should I point my pen of steel
To break “such flies upon the wheel?”
With minds to Truth and Sense unknown,
Who dare not call their words their own.
Rail on, Rail on, ye heartless Crew!
Your Leader’s grand design pursue:
Secure behind her ample shield,
Yours is the harvest of the field.—
My path with thorns you cannot strew,
Nay more, my warmest thanks are due;
When such as you revile my Name,
Bright beams the rising Sun of Fame,
Chasing the shades of envious night,
Outshining every critic Light.—
Such, such as you will serve to show
Each radiant tint with higher glow.
Vain is the feeble cheerless toil,
Your efforts on yourselves recoil;
Then Glory still for me you raise,
Yours is the Censure, mine the Praise.

Streets painted with love
Now stained with blood
Allah, the all loving
Has taught nothing but kindness
His love hates the blood under your nails
His love is benevolent
His love is TERRORISM BECAUSE OF YOU
Any news is good news for satin
The Devil's name flashing across or television screens
"Islamic State claims attacks on Paris"
*******
You tarnish the name of peaceful worshippers
You ruined refugees chances at a better life
More lives will be lost at the hands of racists
BECAUSE OF YOU
This attack on the west has done nothing for Allah
But hurt his followers
And hurt their families  
Satin's satire stained the streets of love forever

~ 

i stand before this kneeling bench,
no sanctuary of our making;
its walls here open thrown,
on stained glass windows found
strewn upon the sand,
its tide-washed, polished glass,
my feet find holy ground;
my sandals left at driftwood door.
incense burns upon the wind,
its salty spray is mingled,
with my own upon
these joy-stained cheeks.
the worshippers that went before
have built a temple out of wood,
hewn, untouched by human hand,
a steeple to the sky is lifted,
and within its shelter,
remnants of a ring of fire,
smoke once lifted to the
heavens by believers true;
this church i see through salted eyes,
this scape awash in teeming life,
here i drink this living wine;
its ebb, its rush, its living in
each moment without need,
to connect each dot, or even speak.

i long to live at razor's edge,
where sands and tides collide;
the rocky shoals where dungeness,
find sustenance and shelter;
the coves where seabirds feed their young,
above the sandstone cliffs;
the bar beneath a setting sun,
in flames awash in waves;
find comfort ‘neath
the storm-shaped pine,
feel longing in the stinging air.
these cheeks that weep,
though want of tears,
not in sorrow mind you,
but in joy of freedom,
the lure of siren alter call;
of a close horizon on a misty morn,
the haunting breath of orca,
just beyond my sight;
the bark of ocean’s lion,
the roar of distant waves;
with these my prayers i send,
as i offer this my praise;
this church of no man’s making,
here i come for cleansing,
to breathe the life that i am given!

~

*post script.

by nature we are spiritual creatures;
spiritual... not religious.  reading your
sea-scaped prose inspires me; planning
changes in my own life even more so!!
it is said that we return to what we know
best... the ocean calls...

Go, dumb-born book,
Tell her that sang me once that song of Lawes:
Hadst thou but song
As thou hast subjects known,
Then were there cause in thee that should condone
Even my faults that heavy upon me lie,
And build her glories their longevity.

Tell her that sheds
Such treasure in the air,
Recking naught else but that her graces give
Life to the moment,
I would bid them live
As roses might, in magic amber laid,
Red overwrought with orange and all made
One substance and one color
Braving time.

Tell her that goes
With song upon her lips
But sings not out the song, nor knows
The maker of it, some other mouth
May be as fair as hers,
Might, in new ages, gain her worshippers,
When our two dusts with Waller’s shall be laid,
Siftings on siftings in oblivion,
Till change hath broken down
All things save beauty alone.

aged six, got hit by a swing,
                                 rushed to hospital,
                      now have a kippah-scar
     when the monk resides...

it just gets boring after a while, when too many people try
to **** you, and there's no Golgotha  theatre to make
all the necessary requests for kneeling worshippers...
   well...
you soon realise that you sometimes
get to worship a god by drinking
a glass of water...
   and with that argument: ex nihil...
i thought that black holes were nothing,
but apparently they're not
nothing after all...
i have no concept of nothing,
i see too many things...
  nothing is harder to conceptualise than
a deity,
      but this is the boring bit,
i mean: religiousness has to involve
a group of people,
a communal meaning...
being given this multi-diadem lottery
ticket and then asking the right question
is not really the only approach,
    i guess walking past a few evergreen shrubs
   and sticking your nose into them
(i wish i stashed my entire head in them)
     to get the scent...
  atmosphere, and how there's a need for
scent,
    lavendar, evergreen shrubs...
     and it has been valentine's day, right?
all the urban people must have been busy
under the guise of the cupid called cliché...
in local news:
   passing an indian restaurant with five beers
i spotted only 2 couples... only *2 couples
celebrating the whole point of having
anniversaries and days that could be considered
   worth having...
i'd feel happier if Hemingway didn't commit
suicide...
          but i'm happy that he invented
the cocktail: death in the afternoon...
a shot of absinthe in a champagne flute...
    tried it once, knocked me out straight...
   but there is something, really bugging me,
i'd love to have had an honest relationship
with women, i.e. the honesty concerning money...
just talking about it...
           it's no wonder we were given
toys as children and sometimes having to share
them...
             i never had an honest conversation
with a woman about money,
count prostitutes out of it...
no money at the beginning of a conversation:
no honey...
       maybe that's why it is so complicated
about talking about money,
how it: suddenly "kills" the romance...
  i can think of better ways of killing
a romance... e.g. reading heidegger's
"aphorism" no. 159...
   that's really killing it...
                money and romance...
no money and a familial affair of tribalism...
     i'd like to meet a few Aztec
and ask them why they kept so much
useless mineral resource until
the European Smaug came...
  and settled...
   and why the schizophrenia of the american
content is english up north, spanish down south...
ok... "exactness": a bit of french land and english
up north, a large chunk of portugese and spanish
down south...
    i left the house today hearing
the most amazing conversation between a man
and a woman... they were talking about money...
and how they'd juggle the accounts
  and pay for the roof...
               it was so nice hearing a man and a woman
talking about money without either
pretending to be a thief, and the other a king
or queen...
             when two people meet god is hardly
the difficulty to be managed,
    people can enter relationships from a variety
of backgrounds, one kneels periodically every
sunday, the other jokes about it...
  but money is the hardest obstacle to synchronise
between two people...
   it would have been nice to have written that
sort of symphony with someone...
     but when you're in a relationship with a woman
and there's a money "issue"?
    that's harder than keeping a dialectical argument
solo about god...
     from an early age i was told that money
was the root of all evil, that it displaced people,
that it transvaluated all values...
   well... it sorta did,
let's try toi engage atheists in talking about
the concept of money, past all economic theories
like past all theological theories...
  it would be easier to talk to them
about that thing that never seems to disappear
then about a deity...
question is: at what point will the argument
become considered too "infantile"?
   when we consider money to be a concept
that could be translated as an element akin to earth
and the earthquake of the great depression in the 1930s
that no one could prevent?
  or the Amazonian offshoots of the last remaining
tribes without the concept walking
into a house?
     and i thought: when was the last time people
used hard cash, and didn't buy on credit
and didn't turn gold in plastic?
            fervently, i believe that money had a real
place in the world, i honestly do,
even though i abhorred wearing rings
or necklaces, and that i didn't have the capacity
in me to not say: red is red, blue is blue...
     a chicken is worth more to me than a slab of gold...
   and this ties in with the ancient pagan practice
of paying the ferryman across the Styx,
  χαρoν / καρoν - (depending how you like to say it,
****! a choice! quick! make it!)
       how they placed two coins on the burial body,
nowhere else than on the eyes,
    not in their hands... on their eyes...
i just think there's more to it than the myth of the Styx,
even though i like the myth, i like the storytelling
aspect of it... something we could have engaged with,
in those days, when people reached old age,
they discovered philosophy, and mythology,
that's what they gave us,
   now... oh! it hurts!
           just talk of ailments...
  most people living to old age would have made more
sense having lived in ancient times,
when the really strong lived to old age
and could invent philosophy and a timescale
anti, completely anti-scientific, i.e. mythological...
   and that's the sad truth...
it's almost as if the young these days have to take
to the reins, and utter some very unfathomable stances...
so if they didn't place the coins for χαρoν in their hands
(as money is usually passed that way) - why
place them on the eyes, if not merely to state:
    let us see beyond the concept of money
in the afterlife...
                i can't see a reason for it...
                            that's what the ancients said,
when the concept of money was precious,
akin to diamonds, gold...
                        i think the concept is exhausting itself...
why do so many people fall into dept,
         they're hardly dealing with hard-money,
in urban areas i mean, at the high-end of society...
gone is the joke: how was copper wire invented?
two scots pulling a penny apart...
       at what point does this all become: delusional?
infantile?
              even as Ezra pointed out: usury...
or the fake exponential quality of being lent this
abstract thing that later translates into
concrete things like: a baker provides bread
in a supermarket... a butcher some meat...
  the apple farmer apples... and civilisation is built...
nothing familial being established...
and how the concept of family is now abhorred...
and how we only created money to give no
better idea of procreation... but the objective-unconscious
focus on mere numbers... being as they are...
     without money there would be no
sad story... but there wouldn't be this number
of us...
      i don't know at what precise point
i'm going to feed the seven pages of civiliation
(they were once called the cardinal sins) -
   how can i feel pride for this fact? how can i drop
into a cest pit of gluttony?
     oddly enough: drinking excessive is by comparison
a virtue... but it can rarely involve a lot
of people... oh look... here comes the pompous cannabis
crowd... the the m.d.m.a. freaks...
    poncy buggers...
        i have for that matter,
an experience of driving in a fiat 126 P,
and a ford mondeo, and a fiat cinquecento,
one of them would fit into a cadillac, no problem,
there! yonder! america and its size-complex!
just hearing a man and woman talking about
money so frankly, ah...
  romeo and juliet and *******...
            if you can be honest about money,
you sorta never have this desire to be dishonest
in the emotional life...
            and cheat, e.g.,
money isn't exactly a nice topic on the ground,
in the trenches of life... it's hardly an economic theory
for the highbrow talks at university...
   but at least both parties are agreed that
money is real, and like a philosopher's stone,
   it turns all subjects into a tapeworm of needs...
  take a penny and with your index and thumb press
it against every single thing in the whole wide world...
   like a magic wand, it changes every single thing
into, that common motto: beauty is in the eye of the beholder,
or a flea market: one man's clutter, another's treasure trove.
nietzsche didn't write the transvaluation of all values
because it would have been
   a book, with only one word in it:
                                                         money.
i know he's dead and there are many biographies,
but all of them are wrong,
  it wasn't the end of his relantionship with
   lou salomé, how she ran off after the mengage troi
ended with Rée... she ran off with Rilke after that,
and god knows who else...
    it just so happens that i'll state his motto:
poets act shamelessly toward their experiences...
they exploit them...
    he did see a *******, and so did i...
eventually prostitutes are like dentists or doctors...
dealing with the heart bit...
          what broke Nietzsche was the book title...
and the one word answer -
all the rest of it is *******...
                    yes: because it's such an infantile
   consideration to understand the basics of our lives.

so considering the beginning that's completely
unrelated to the end...
    people started, really, really boring me...
               in that they made so many attempts to get
rid off me... and that i'm still here...
  and within the groundwork of the only
pragmatism left in me... laughing at them.

Tossing to and fro as if combating a hostile sea/ dark thoughts cloud the inner sanctum of my mind/ the distress, the bitterness, the anguish, the grief, the sadness, the lonliness, the unfathomably lustful pain/ that I face burn with the intensity of the fires of hell that await me/ Guardians of chaos; harvesters of damsels come for me that I drown in their sins/ rip the fabric of my consciousness asunder/ my ***** sing an aria of sorrow, listen to the requiem of the ******/ a miasma of death flood my bowels/ decay enters my womb and I plunge deeper into madness/  I'm an error; a fault of life as the demonic servants consume my flesh for what feels like a eternity/ as we desend in to the pit of blasphemy, defilement, pagans, and idol worshippers/ he deprives my spirit of the rightousness, tears it from its mortal bond and it unfurls into a ethereal cloud of emptiness/ being ravaged my capture looks off in the distance as if performing an exhibition/ with every touch I feel dead inside all the while the nightmare watches with a disgustingly grim grin....

This was written for a art history class inspired by "The Nightmare" by Henry Fuseli
Tell me what you think of the interpretation!!

Hold up with that block chain
conflicted economy
keep up the complaints gain
Fall in line with wannabes
Situate yourself into a failing position
Cross the line of chance and miracles without decision
Are you listening to the rhythm or are you trying to glisten on
Shining blindin yourself and everyone you’re walk-in on
Hold a second crazy cuz I’m busy for your hazy mess
Crowded in my head but world is filled with emptiness

Glamour baby
Watch out
Tear at the game
Hear them shout
Test my circuits
Freak out
Sparkin in your eyes
Get down

I’m searching for equality, but let me play don’t bother me
Addicted to the gifted that you try to clone in quantity
Sober up while gettin lit
Fill our cup don’t ever quit
Seeking self control inside of every little hit
Spare the change
Stay the same
It’s a **** shame
We’re all insane
Can’t contain
Past remains
Thinking that we like the pain
Universal consciousness
Never kiss
Heavens bliss
Shake the earth with every moment captivated by a wish
Cold and calculated marketed discrimination
Switch the station work do wages go through phases different stages
Visitation rights to our ancestors blight
Fuel fire engaged engines blast and burn it bright
Out of sight
Out of energy
Not quite, close so let it be
Do you feel me
Come fair to be free
work the weight til they bury me
Commemorate the warriors, fighting behind enemy lines, with idols and worshippers for a war designed to ruin all sides
Guinea pigs
Flipping tricks
Scary that we handle bricks
Galactic motivation cuz they know there’s something more than this
Space it out
Dimension strong
Definitive in guessing the irony of being wrong
Template made
Run the track
Tie shoes or you may never come back
Lock and load
Here we go
Infinity
Now end this show

Love's worshippers alone can know
The thousand mysteries that are his;
His blazing torch, his twanging bow,
His blooming age are mysteries.
A charming science--but the day
Were all too short to con it o'er;
So take of me this little lay,
A sample of its boundless lore.

As once, beneath the fragrant shade
Of myrtles breathing heaven's own air,
The children, Love and Folly, played--
A quarrel rose betwixt the pair.
Love said the gods should do him right--
But Folly vowed to do it then,
And struck him, o'er the orbs of sight,
So hard, he never saw again.

His lovely mother's grief was deep,
She called for vengeance on the deed;
A beauty does not vainly weep,
Nor coldly does a mother plead.

A shade came o'er the eternal bliss
That fills the dwellers of the skies;
Even stony-hearted Nemesis,
And Rhadamanthus, wiped their eyes.

"Behold," she said, "this lovely boy,"
While streamed afresh her graceful tears,
"Immortal, yet shut out from joy
And sunshine, all his future years.
The child can never take, you see,
A single step without a staff--
The harshest punishment would be
Too lenient for the crime by half."

All said that Love had suffered wrong,
And well that wrong should be repaid;
Then weighed the public interest long,
And long the party's interest weighed.
And thus decreed the court above--
"Since Love is blind from Folly's blow,
Let Folly be the guide of Love,
Where'er the boy may choose to go."

Filled with beauty.
Filled with admiration.
An admiration louder than scorn.
These yellow giants stare at their goddess in awe.

They’re happy flowers with smiley faces,
sun praising angels.
That when their goddess’s light is unveiled, they shower in her glistened kisses.
Though when she leaves, they sense her absence, and are left with the feeling of unpleasance.

Such graceful worshippers can’t help but embody the sun.
Amber, a sort of honey glow color, within each petal, of each sunflower.
Sky high, it’s green stems towers it’s environment.
Towers it like an ocean-cliff.

Vibrant and warm.
As free as air, they stand tremendously stunning and yellow.
That yellow.
The yellow from a lemon.
The yellow so bright, so alive,
like their goddess’s.
These yellow flowers,
These yellow giants,
Are the sun’s very own yellow guardians.

The fresh savannas of the Sangamon
Here rise in gentle swells, and the long grass
Is mixed with rustling hazels. Scarlet tufts
Are glowing in the green, like flakes of fire;
The wanderers of the prairie know them well,
And call that brilliant flower the Painted Cup.

  Now, if thou art a poet, tell me not
That these bright chalices were tinted thus
To hold the dew for fairies, when they meet
On moonlight evenings in the hazel bowers,
And dance till they are thirsty. Call not up,
Amid this fresh and ****** solitude,
The faded fancies of an elder world;
But leave these scarlet cups to spotted moths
Of June, and glistening flies, and humming-birds,
To drink from, when on all these boundless lawns
The morning sun looks hot. Or let the wind
O'erturn in sport their ruddy brims, and pour
A sudden shower upon the strawberry plant,
To swell the reddening fruit that even now
Breathes a slight fragrance from the sunny *****.

  But thou art of a gayer fancy. Well--
Let then the gentle Manitou of flowers,
Lingering amid the bloomy waste he loves,
Though all his swarthy worshippers are gone--
Slender and small, his rounded cheek all brown
And ruddy with the sunshine; let him come
On summer mornings, when the blossoms wake,
And part with little hands the spiky grass;
And touching, with his cherry lips, the edge
Of these bright beakers, drain the gathered dew.

The pale ghost of dawn
A grove of trees
Faded derelicts
Without leaves
A tracery of branches
Bent and twisted
Shades of grey
On a cold, grim day.

Disaffection
Evil minds online
Contempt fro coquetry
Worshippers of perversity
A prelude to profanity
Barely covering
Membranes of morality
On the dark side of the mind.

Yes, tell us
of your Trump love,
your tough love;
shout it from the rooftops
while encouraging ******
in a mosque.

Tell us how poetic you are,
you the rearguard
of fascist *******
as worshippers are showered
with bullets from above.

You want to talk about cowards,
or standing with the Sioux
at Standing Rock?

Let me hear your hypocrisy
little miss sunshine,
just one more time.

And you, the defenders
of ignorance,
can kiss my po ***
along with the *******
wannabe poets
who hate the truth
when it shines.

Sir Isaac Newton wasn't "using his head"
When the "aha moment" fruit fell
He assumed it was gravity, an attraction to the earth
It was weight and decay rate, no romantic pell
Many scream "separation of church and state"
In the Constitution you will not find that phrase
But in a personal letter to the Danbury congregation
It has been arbitrarily elevated to "law" in our nation
In the Scopes trial Evolution was criticized
Scopes was arrested, the masses cried "victimized"
To play on the "heart-strings" of the "under-educated"
Those worshippers of Evolution were placated
Hypocrites obscuring all God-given laws
Building a "strawman" with individual straws
Satan has questioned all God's "thou shalt nots"
NASA has filmed in a studio basement "our Astro-nots"
Jesus' words have been futurized by Baptist dispensation
Jesus said plainly it's "in this generation"
Scripture is not a "wax nose" you can eisegete
Exegete in the present tense Greek
How do we equitably represent all voices, in a
Public school system that claims they consider all choices
Public schools don't exist, "special agendized" schools do
Claiming universal intolerance, they're intolerant of truth
Let us say in the "Dagon bye" to all "blessings in disguise"
We'll be in[spire]d by the "blessings in the skies"
We're all from Adam's atoms by God's sovereignty
Lord roll my soul in humility, cajole my spirit patiently

Love's worshippers alone can know
  The thousand mysteries that are his;
His blazing torch, his twanging bow,
  His blooming age are mysteries.
A charming science--but the day
  Were all too short to con it o'er;
So take of me this little lay,
  A sample of its boundless lore.

As once, beneath the fragrant shade
  Of myrtles breathing heaven's own air,
The children, Love and Folly, played--
  A quarrel rose betwixt the pair.
Love said the gods should do him right--
  But Folly vowed to do it then,
And struck him, o'er the orbs of sight,
  So hard he never saw again.

His lovely mother's grief was deep,
  She called for vengeance on the deed;
A beauty does not vainly weep,
  Nor coldly does a mother plead.
A shade came o'er the eternal bliss
  That fills the dwellers of the skies;
Even stony-hearted Nemesis,
  And Rhadamanthus, wiped their eyes.

"Behold," she said, "this lovely boy,"
  While streamed afresh her graceful tears,
"Immortal, yet shut out from joy
  And sunshine, all his future years.
The child can never take, you see,
  A single step without a staff--
The harshest punishment would be
  Too lenient for the crime by half."

All said that Love had suffered wrong,
  And well that wrong should be repaid;
Then weighed the public interest long,
  And long the party's interest weighed.
And thus decreed the court above--
  "Since Love is blind from Folly's blow,
Let Folly be the guide of Love,
  Where'er the boy may choose to go."

Two gods wrestle
Their worshippers watch the quarrel
Each side thinking their god is moral
Until assorted arrangements that are floral
Are all the vehemently victimized poor hold
As loved ones experience death's portal

These gods aren't guys
That fight in the sky
But through you and I
So humans are fried
In our divine divide

Nature's calling
Sends us falling
Into a loose leaf belief
Bereaved coral reef
See we sink core deep
So we see more sleep
Knowing our side is right
We're not killing real people
If they want to have might
They should come to our steeple