The Workshop

Terse edit of the above:

Mononoke (or To The Wolf Lady)

I received a dream from you:
I saw mountains
open up before me, revealing
their woods and waterways, and
their cores of stone, of metal.
I went westward, following this dream,
and a sparrow came to me and said,
"There are no dreams beyond.
Here, the boars roam free and the deer fear not,
but there, there are only truths:
the scientist in his tower, and,
below him, the smith
casting musket balls."

Still, I traveled:
I strung my bow and mounted my elk,
then swiftly, he leapt
over the deep roots of the oak, of the pine,
and a branch struck me. The mountains
followed the dream: like God,
in six days, these giants
created the world,
beginning with light and night, then
forming the wild wind, the springs, the herbs,
the salmon climbing the rivers, the sparrows
searching for branches, for roots,
and the foxes, the bears,
the buffalos.
And, finally, man:
rice paddies, huts, running,
human suffering.

Another sparrow showed himself:
"There are no dreams here in the west, I told my brother.
I was wrong. There are dreams, impossible to forget:
they are nightmares. But if I wake up, the hunter
will shoot me, or the warrior will play with me,
stick me on his standard." Around us lay
the ashes of the harvest:
and the ribs of men were laid
like palm leaves on the road,
greeting the coming lord,
inviting me to the slaughter.

I rested on the feet of the mountains,
drinking off a nearby stream.
A vision sprang from across the shore:
pale-faced, but with stately grace, you stood
and stared at me, like a wolf. Blood was spread
all over your face. I knew not whose blood.
I knew how I loved you then.
And you were gone, and I left the woods,
the mountains, your silver
face still hanging
behind me, over
the west, the sun,
setting, beyond
all longing--

S5e51_future_Lemonhope.png
 
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DESPAIR

I am the leaves of fall.
I am the corn after harvest.
I am the ash of the harvest.
I am the chaff in the wind.

I am the bite of the wind.
I am the snows of winter.
I am the waters of winter.
I am the sinking earth.

I am the unwelcome earth.
I am the stubborn seed.
I am the rejected seed.
I am the whispers of lust.

I am the children of lust.
I am the flames of the forest.
I am your hope in the forest.
I am the coming of fall.

You know my name.
 
[I will definitely try to edit my ekphrasis on the first part of Princess Mononoke sometime soon: it has some spatial problems that are too there for my taste. For now, two old but fresh poems re-titled, and three (although one can be found somewhere else here) new ones.]

IN A DREAM OF AMERICA

Cities standing
on the scalps of giants, still
dreaming. I wonder:
when will they pick the nits,
scratch their heads?


ON THE ROAD ROUND MOSCOW CITY

The Road knows no bounds --
It courses through the City, then
flies through the field, into the woods
that wax and wane, until
there are no more bees to craft the combs,
and again, plains, City lights,
and another round of running.


SLIM PUZZLE (A READYMADE)

You know how to whistle,
don't you? You just put your lips
together, and blow.
 
[The two newer ones:]

TO MARK

When Finn lost his arm, his father was reborn,
and when Martin joined the heavens, the instrument returned,
fully grown: from a seed to the trunk of a tree.

There are no questions to be asked;
there are no answers to be given.
Death flies at the face of life,
as the body returns to the earth, to the waters,
feeding the wolves, the worms, the fish,
the fungi, the beetles, the bacteria...
And the soul moves on to the heavens,
returning to God the breath of life,
as the spirit falls into the hands of the multitude...

Only comfort. Finn lost his arm three times:
On the first, he lost his way,
but he became a king.
On the second, he lost his friends,
but he received his love.
On the third, he lost his father,
but he saved the multitude...

Be still: the comet comes.


TO KATE'S NEPHEW

Far away, over the ocean,
across the seas and the Northwest Passage,
through webs of roads well-worn
and the mazes of cities and forests galore
unto old lands new-found
and the kingdoms of Scots and Labradors,
there you lay, sweet infant,
in the shade of a sycamore tree,
sleeping.

Though I've seen you only through this glass,
your brilliant eyes have won me over!
Now, you are your mother's child
and my own --
here and there, you'll play with my nephew,
sharing stories on pennies and ponies
and both your smiles will be the delight
of all your loved ones' nights.
 
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A DREAM OF ARCADIA

I dream of green meads,
of a colder clime and a richer air,
and a well-strung bow and a quiver full
of flights of arrows, triple-fletched,
and horses strong and wild but willing
to serve with speed and loyalty
their lord -- where every step on the road
is a step that springs, and my head
need not be bowed.
I dream of fuller forests
beloved by bird and beast alike
and freed from the tyranny of laws
both natural and human,
that I with joyous heart may two-by-two
release my shots, aiming for the hearts
of harts and boars for the feasting.
I dream, then, of liberty absolute:
I dream of my naked self, dancing with the sun:
I dream of Arcadia.


AN EXERCISE IN IRONY

Outside the sensitive business
of the poet or the scientist
should lie the sharp wit of the politician
or the fool: the vanity
of well-intentioned intelligence
cannot be sensitive with uncut claws.

Thus lies our problem: in studying this case,
one can only be both pathetic
and sympathetic. This issue of the lawless metic
involves too coldly both body and law,
and the poet becomes an essayist
as the fool becomes a documentarian.
We can, of course, try to divorce
the thinker from the speaker, but wisdom
must never be forgotten -- and this grim business
of creating a commercially viable dissertation
becomes an even grimmer farce,
an exercise in skirting round both policy and melodrama.

So they laugh when the symbols of oppression appear,
and they cry when they are robbed of a victory,
forgetting for the hour that they are watching a document,
not a humble comedy. Cheap thrills,
paired with even cheaper thoughts:
when they walk out of the theater,
will they have learned anything?
 
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SONG OF DEATH

So, the world is round!
It has its ups and downs--
A water-wheel
Guided by the Miller and His Son,
Begotten One.

Round and round the circle goes
With the river's flow,
And how the gears and axles spin,
Guide the milling stone
Grinding corn.

Soon, the spokes break down,
As mold and age corrupt the round--
A brief command!
So arrives the Son
To pull us out.

Then, to each, a place is given:
Either the oven
To cook the family's meal of bread
Or the central hearth
To give them warmth.
 
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A WANDERER'S SONG

We were gathering flowers, you and I,
when we were made one, under the shade
of the pomegranate tree. And the snake
tempted us with song: but our tears were true.

Then mother burned with anger, when she saw
our pale and perfect bodies breeched in wine.
But as we licked our lips, the serpent's blood
filled our throats with song: and we left the garden.

With our love — the drifting scent, the passive cry,
the questions and answers united, mounting high —
we banished all our memories of night, of my bed.
There was only us: no man and woman, only us.

And father only watched us, when we left,
when our love released the ocean, when the beast,
the leviathan of experience, climbed up the deep
and consumed my arm, your body: our oneness.

"Nothing compares to this loss", I tell him.
"No, there is a greater", he says. "Your mother
burned with fever, not with anger, when you left."
Then his drops of dew, and his eyes twinkle like stars.

But what made him so mercilessly distant, that he shut
from us his light and warmth, his warnings then?
The folly of old age: the vengeful soul
of the crooked boy returning? Or extended weeping:

tears for my mother, tears for the future,
the dumbness of misery? Here he speaks.
"You were destroyed by love, as the flower
bears its fruit. Now listen, cuckoo, to your songs."


THE WANDERING DREAM TO THE WAKING MAN

Through roads paved with the corpses of friends,
we left the black wilderness behind
for a little township rising
by the river Lethe, the river
of oblivion. Here we are.
On this long journey,
you were the stone on which
my flames of passion bloomed,
guarding my olive-halls from the hot hands
of my temper, my lust.
Steady companion, you always scouted
down three-headed roads, and returned
with a map and lamp in hand,
and when the victories of the road
came upon us, you twined
your tender voice around
my paeans in perfect harmony.

But you can share my load no longer,
and all your dreaming days are done.
You miss your waking home's beloved light,
where your eyes shine brighter than the stars
and your tender frame is ever cradled
by the rosy hands of the sun.
And my two feet can never stop:
my soles are full of holes, never-healing ulcers
carved by the gadfly's knife,
and filled by the hands of greedy time
with the sharp stones along the Lethe's banks.
Their only cure, a gift of nectar and ambrosia
found far in the east, on the other side of the world,
beyond exotic lands of men, beyond the coasts,
beyond even the beard of the old man of the sea.

So now, I leave you waiting at the township's docks,
waiting for a well-tarred ship of horn
adorned with flowers,
with asphodels and poppies
and hyacinths and adonis,
flowers of love and death.
I give you three golden gifts
for the long journey ahead:
three tender kisses firmly planted
on your lips, flowing through your mouth,
your tongue, your throat, to your
heart. May they sustain you.

The grey ship arrives;
I can hear its brazen bells
ring to the songs of the sylphs
circling round its silken sail.
The time for you to pass away
and the time for me to be forgotten
comes. Goodbye, friend.
 
METHUSELAH (or KISLAP)

1
Don't patronize me--
isn't this how things should go?
Like the fungus
flowering on a lion's body,
one's creation
becomes the canvas of another.

2
How can I rejoice
here at the end of all things?
This is Noah's dream:
the lion's roar, the voice of man,
heralding call, but tied to the old,
ailing body
drowning in sweat.
And it thunders:
the spears of God
heralding the torrent's time.

I was leaning against the darkness
before all of this -- and from that height,
you all looked like ants
flying from the dew.
But spectacles like this
need to be answered: and I left the night,
left the high porch, for the light,
for the trenches, which you once hogged,
stopped with traffic --
the solitude of the victor,
or the shame of the defeated?

3
And the waters fell--
white road, road of forgetfulness,
of forgiveness, becoming
grey, as my tears
stain my plain, perfect cheeks--

And the waters fell--
crystal lights, reflections
of the dusk, of the night,
of man's stolen grief, becoming
whispers in the judgement
of God--

And the waters fell--
the song of the multitude,
the lost multitude, swallowing
the roar of the lion, the voice of the bard,
the true answers for the blank mind,
the blind man--

4
Microcosm:
every man, every woman,
clothed in black, clothed in white,
or covered by the colors of the rainbow,
has a smile
painted on his face,
on her face,
even as he drowns--

This is what you wanted:
you asked for water, God gave you water.
The joke is you're all enjoying it--
like all good ants,
you build bridges out of your own bodies.

5
There are no lions
in the new world--
only ants, scattered
across avenues of muck,
and towering around them
toadstools.
 
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I think I'm getting a good handle of the long form. But to show y'alls that I can still rhyme (or, better yet, that I can still write whimsy), here's a fun piece. Then, afterwards, two greats: one spontaneous (and personal), the other structured (and only half personal -- but hey, isn't all art but measured subjectivity?).

MY LOVE IS ALL MY CRANIAL NERVES [actual form of title is "My love is all my cranial nerves". Just following format established here]

0, I, II
My love is all my cranial nerves:
she's what I sense,
she's what I do.
In every motion I move through,
whether of sadness or of glee,
she's what I smell,
she's what I see.

III, IV, V, VI, VII
And all the movements of my eyes,
they follow her form,
in dream or light:
she is both dawn and fall of night.
Behind my frowns and beaming smiles,
there lies her wit,
there lie her wiles.

VIII
And all the sounds I feel and hear,
the whispering wind
and calling wild,
they are her voice, both loud and mild.
She is the music of my spheres:
my fortune's balance,
my hopes and fears.

IX, X
And all the victuals I have tasted
cannot compare
to her milk and meat:
she is both bread and water sweet.
The constant beating of my heart
loses its rhythm
without her art.

X, XI
And all the visions of my throat,
my preludes of death
and fugues of love,
they're granted with her holy dove.
She holds my head up strong and high:
she is my land,
she is my sky.

XII
And all the raptures of my tongue
would not flow out
without her curves.
My love is all my cranial nerves,
and what I sense, and what I do,
is all the world,
all that is true.
 
DULICHIUM'S PRINCE FALLS AT TROY TONIGHT [actual form "Dulichium's Prince Falls at Troy Tonight"]

Here I am -- here I am!
I am here -- I am, here!
Come now -- hear my voice, Here the great,
the almighty, the all-knowing
I am! Here, hear me, hear my words,
here, hear my song, my loud, loud song,
and my whispers -- I am the whispering wind
and the call of the wild!

And around me, there is nothing
but pale stone, half cracked by green,
half turned to dust.

I want to get out of this damned city--
I dreamed of getting to its very heart,
dreamed of the call of the pale woman with red lips:
her voice was her voice, her voice was my voice.
She said to me: lo! Drink of the cup of Babylon,
and you will taste Jerusalem. For where is Jerusalem?
In the throat of Egypt, in the bowels of Babylon--
and as my dream ended, I was inspired,
I was enflamed! But now the waters have drowned me,
the floodwaters plaguing this damned city
of sewers clogged by stones and human refuse,
stones of human refuse: where is my light,
if not among the stars? if not among the will-o-wisps--
I want to get out of this damned city! I can hear
the whispering wind, the call of the wild--

And around me, there is nothing
but pale stones, half cracked by green,
half turned to muck.

Have I not fought? Have I not fought valiantly?
Am I not a hero? Am I not a flower?
And yet the greatest of heroes are destroyed by love:
they are flowers bearing fruit. What fruit have I?
These words cannot continue beyond
the page, the paper, the mouth, the mitre--
these sounds are not made of light. The Great, The Almighty,
The All-knowing I Am: his is the voice of light!
Yet his word was last heard millenia ago,
as John hid away from the world in a cave:
cave of wisdom, cave of humility, cave of isolation:
cave of purest light, cave of purest song and light...
whispers! empty calls!

And around me, there is nothing
but pale bones, half cracked by green,
half turned to dust.

As I bloomed, I was too afraid (restrained) to call
the birds and the bees, release
my honeyseed. There was I, yearning
yearning yearning for women (for the woman),
yet held down by women (by the woman.
That I should have dreamed a dream of horn,
and not of ivory! Or perhaps
the other way--). It was love that inspired me,
that enflamed me, that pried me open,
yet it was fate -- just, righteous, ironic fate -- that killed me,
not love. Not the whispers of twilight,
the call of your swollen lips--

And around me, there is nothing
but pale faces, green with envy,
gold with pride.

What did Achilles win? Pain,
pain in the loss of Briseis,
pain in the loss of Patroclus,
pain in the loss of his honor,
pain in the loss of Hector,
pain in the loss of Antilochus,
pain in the loss of Thetis.
And tell me: when he became a god,
was he still himself outside the stories?
You know, a seedless ignoble god was he: his issue on earth
never came to be kings, his acts in heaven
never came to the vaults...
whispers! empty, formless calls!

And around me, there is nothing
but pale choices, each dark,
each brooding.

And even if life is a wheel, not a line,
you say, mute, ungrateful, modern half,
when can one say the wheel has turned?
And are you truly here -- are you yourself,
or like the god incarnate, are you someone else
in the flesh? Poor, foolish god:
have you forgotten your mission? Or are they now
but whispers from your father,
empty calls of the mother...
 
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SONG OF LIFE

1 - The Comet
In the beginning, God created the heavens and the earth: as his spirit hovered over the face of the waters, he said, "Let there be light!" and there was light. And all the rest of the world followed out of the void, like the tail of a comet chasing after a star.

2 - The Creation
And from the waters and the earth God created man, forming him with his own hands, in his own image: and he breathed in him the breath of life, and he blessed him with the garden of paradise, and he gave him his word. Then, the LORD God made three women.

The first was formed by the word of God from the light, and she was the true companion of man: her name was Desire. But Adam saw her creation in his waking, and he found disgust in her flesh, and disease in her blood, and destruction in her bones, and he scorned her. And she left the garden in despair, finding refuge in the dreams of man: she remained a virgin, with perfect youth and beauty.

The second was formed by the word of God from every inch of flesh and blood and bone of Adam as he slept, and her name was Lilith. She saw herself as the true equal of man, but God knew that she could not cover him to receive his seed, so he exiled her from the garden. And she became the mother of the Lilin, the demons of the night.

The third was formed by the hands of God from the rib of Adam as he slept, and she was named Eve. And man and woman left the garden together, after they ate of the tree of the knowledge of good and evil: and man and woman died toiling, as they became bearers of wisdom.

3 - Night
The air is always flat this time of night,
flat and cold and quiet, like the lake outside
in wintertime. I slow my breathing down:
I don't want to break the ice.

When I go to bed, I never shut my light,
a sun lamp. Why does no one let me walk outside?
There, the twisted trunks of oak never shift,
unlike the shadows of my bed.

Like the shadows of my bed, the wilderness at night
is home to demons fanged and clawed. But outside,
at least, the horrors are familiar, real and steady
in their motives, while my bed-sheets
shelter only water.

I've been swallowed whole before. I remember light,
cold moonlight, crashing through the winter ice outside,
filling my lungs, choking me, washing away my steady,
never-failing faith. Then I was pulled up
by the rooster's crow.

4 - Morning Light
Crowned bird, crow! Call forth the sun!
And sceptered moon, sweet silver moon,
see the world waking? Your time to rest!
Return home to your chamber in the ocean:
light a fire, enjoy your dinner,

and don't forget to feed your fish,
leviathan and your fellow stars.
Then, when your brother rises high,
sleep, moon! Let him rule. How the waking world
waits for the music of your dreams--

The waking world, the sensual world:
where is the winter? where is the night?
In this golden light, I am free
to walk, to sail, to fly through this garden,
and feel for the face of spring.

5 - Wandering Dreams
Under the shade of the old oak tree,
we were gathering flowers, you and I,
hyacinths blood-red and the marble lotus,
when we were made one. And the serpent,

whose eyes dreamed of ocean, filled our throats with song:
but our tears were true -- our tears, clear and formless,
altering no earthly colors -- and our love was pure --
our love, the drifting scent, the passive cry,

the questions and answers united, mounting high
over hill and mountain. But our mother
still burned white-hot with anger, when she saw
our pale and perfect bodies breeched with wine

and shards of glass: with blood-red petals, leaves of grass.
Foolish wrath: were we not freed to love?
Foolish children: so we were, but with time
comes movement: summer, autumn, and the cold again.

Even before death, there was already thirst:
where we went for peace, far from the prying eyes
of the beasts and the beetles, behemoth's song
found its purpose. In the quiet heart of the garden

stood alone the pomegranate tree,
bending low with its fruit. And as the leaves fell
and the summer wept, its blood-red seeds were sown
deep into your flesh, then watered with ocean.

6 - Afternoon Rain
"Whispering wind, listening wind,
what could compare to the loss of my love?"
"The loss of a son", he says. "Your mother
burned with an even hotter fever,
when you left." And an eagle flies overhead.

Dewdrops fall from the clouds,
and father's eyes twinkle like the stars--
they are the stars. But for whom does he weep,
I wonder? Meanwhile, the sparrow's song
grows soft, as the gold turns to ash.

And from a whisper to a whirlwind,
from a drizzle to a rainstorm, he continues:
"With this grief, we could be doves again.
We are destroyed by love, like the flower
bearing fruit. Now listen to our songs!"

7 - The Judge
When man lost his arm, his father was reborn,
his father the wise and watchful god,
and when his father rejoined the heavens, the instrument returned,
fully formed: from the blood-red seed of the pomegranate tree
to the trunk of the tree of life,
the old oak tree.

There are no questions to be asked;
there are no answers to be given.
Death flies at the face of life,
as the body returns to the waters and the earth,
feeding the fish, the fowl, the flowers,
the trees, the beetles, the serpents--
and the spirit flies over the face of the waters,
returning to God the breath of life,
as the soul is lost unto the hands of the multitude...

Only comfort. Man lost his arm three times.
On the first, he lost his way,
but he found his freedom.
On the second, he lost his home,
but he received his love.
On the third, he lost his life,
but he bore the multitude...

Be still: here she comes,
walking down the milky way.

8 - The Prophet
Today, my navel outshines me,
for today, it is a dying star
huffing its desperate last breath.

The immense pressure of gravity's hands
ever squeezing its fiery core
at last compounds its every facet
into a heavy hole in time.

Its shell of gas and light erupts
into a splendid rainbow of dust,
of carbon and oxygen, iron and nitrogen,
of water, earth, wind, and flame,
of all the material elements.

And this great cloud of stardust scatters
beyond the world of my humble body,
beyond the womb of mother earth,
beyond the weirs across the heavens
to create a brilliant legacy for their father
by calling forth the comet.

9 - The Waters of Death
And the Word of God released the waters above and the waters below. For many days and many nights the windows of the heavens were opened, and the fountains of the earth overflowed: and the waters of death mingled with the waters of life. And the waters swelled and swelled, so that all the surface of the earth was covered, even the tops of the mountains, and all the spaces of the heavens were flooded, even the seats of the stars, and all the beasts of the earth were drowned, even the fish and the fowl: and the bodies of all living things floated on the face of the waters, then blackened and bloated with rot, then sank again into the seas, and upon the wet earth, and even unto the waters beneath the earth: and all the world was rendered formless and void...

[Yo guys! I occasionally post some of my poems as a well ordered mess in another thread for the sake of album-spinning, because this thread's kind of a mess. Check out my second (and, in my opinion, much better) album of poetry here: POETRY - Circles | IwakuRoleplay.com Just note, I'll still post poems here, then maybe after another six or so months, I'll post another album. Now, here's to hoping that next one's longer (and, of course, better) ((better yet, newer, hehe))!]
 
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COVERED IN BOILS

Here, the flower, waiting for the inevitable fall:
does he not feel the warm hands of the gardener,
protecting him from the cold?
Here, pillars, waiting for the inevitable climbing,
clawing, gnawing of the vines -- pillars of white stone,
walls of grey stone, and reliefs of saints and roses:
do they not feel the skilled hands of the gardener,
cutting away the branches?
Here, the painted glass, waiting for the inevitable wind:
does she not feel the loving, longing eyes of the gardener,
watching her from the distance? learning from her pictures,
her wordless poetry, her gentle morning dance of light and color?
Does she ignore the gardener's concern,
ever present, ever careful?

Or is there only the whirlwind, the inevitable whirlwind:
the voice of God, hidden behind a spectacle of lightning
and a mystery play of the flood?
The whirlwind, he is soft. The whirlwind, he is a whisper.
The whirlwind, he is the opened eye, the empty heart,
and when he comes, so the circle will go,
so all the true concerns of the gardener,
all the material memories locked behind the ragged cottage,
all these will be swept away, lost, then longed for and looked for again,
and his current business will be forgotten.
Such is the voice of God. Such is the concern of the flower,
the pillars and walls, the painted glass, the eternal
yet not eternally young temple. Such is the plague,
the numbed motive.

Here I am, running, walking, limping,
all according to the black and yellow lanes of the modern road
coursing against the river, the high flying cloud
and the deep flowing spring, all leading unto the city,
unto the false astrolabe, the eternally shooting star,
the vision of absolute death. And who holds the gadfly's knife?
whose faith is it that treats even the ugliest flower,
the lowliest stone, the sharpest beam of blindness
as a revelation? who keeps to the hope of the void
as the love of the final, the fount of eternal youth?
Not I, I tell you, not this I
but the congregation, the temple's founders,
the fickle spirits of the gardener and his brothers,
his sisters, his wives and children,
his mothers and fathers--

So kill them all. Consult the prophets
and swim in the waters; reject the city
and run across the fields. What is faith
if it has grown rotten? Let the stained glass
shiver and break. Remember,
even the whirlwind will be absent:
if it wasn't, it wouldn't be.
Such is the voice of God.
 
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SELAH [first big edit of "Methuselah"]

1
Don't patronize me--
isn't this how things should go?
Like the fungus
flowering on a lion's body,
one's creation
becomes the canvas of another.

2
How could I rejoice
here at the end of all things?
This is Daniel's dream:
the lion's roar, the voice of kings.
Then it thunders,
matter turning into light.

I was leaning against the darkness
before this mess. And from that height,
you all looked like ants
flying from the flood. But God
always demands an answer:
and I left the moonlit porch,
my piece of night, for a better view.

3
Strange. Every man, every woman,
whatever the cloak, whatever the station,
has a smile
still painted on his face
even as he drowns.

We knew this is what you wanted:
you asked for water, we gave you water.
The joke is you're all enjoying it--
like good little ants, you build bridges
out of your own bodies.

4
There are no lions
in this new world. Only ants,
scattered across avenues of muck,
and towering around them,
toadstools. The flies of spring?
Foolish king of the hill, God demands
nothing but fear. Now you belong
neither to heaven nor to earth.
 
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[THE OLDEST ORANGE TREE
never was complete to me:
it was supposed to be
a subversive message
loaded with rosemary and sage. (LOOOL)
But anyway, here's me expanding it. No, it's not finished yet, but I'll put the draft here, in case I get a fit of inspiration that demands immediate exposition (RHYME AGAIN)]

THE OLDEST ORANGE TREE [or HAHA SUBVERSIVE MESSAGES ARE FUN]

Far west, a weeping river,
Far east, the rising sun,
And between, a barren orange tree,
Fair Daphne on the run.

Two golden eyes are nothing
Without a head, a face,
And what's a woman's freedom if
She offers not her grace?
 
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HOMEWARD BOUND

night waits for no one--
quick! down fallen thorntree leaves,
spring, child! to the jeeps

LEVIATHAN

I know nothing moves:
impulses always firing,
currents always still.
 
SONG OF THE MORTAL GOD

1
Don't patronize me--
isn't this how things should go?
Like the fungus
flowering on a lion's body,
one's creation
becomes the canvas of another.

2
How could I rejoice
here at the end of all things?
This is Daniel's dream:
the lion's roar, the voice of kings.
Then it thunders,
matter turning into light.

I was leaning against the darkness
before this mess. And from that height,
you all looked like ants
flying from the flood. But God
always demands an answer:
and I left the moonlit porch,
my piece of night, for a better view.

3
Strange. Every man, every woman,
whatever the cloak, whatever the station,
has a smile
painted on his face
even as he drowns.

We knew this is what you wanted:
you asked for water, we gave you water.
The joke is you're all enjoying it:
like good little ants, you build bridges
out of your own bodies.

Meanwhile, the morning comes.
Black, blind imitation of God,
after the kingdoms come the judgements,
the echoes, the reflections--
And so the solitude of the victor.

4
There are no lions
in the new world. Only ants,
scattered across avenues of ash,
and towering around them
toadstools. Foolish king
of the hill, what did you hear?
There is nothing to him but fear,
and now you belong
neither to heaven nor to earth.

[So, by this point it should be rather obvious that this has transformed from a proper showcase to just a general dump for my work -- well, not really a dump, but a repository of things complete enough, for the most part, to be considered by others (thus the "also looking for criticism" bit), but not necessarily finished. Actual showcases, I actually post from time to time, but they're short, one-off anthologies, really -- I hope two, three years from now there'd be enough for a book, even an ebook, to be properly posted here. Anyways, this is the third edit of Selah: close to personal perfection, I think, but I'm not sure how this will be taken, yet, so perhaps not actually perfect at all. Interesting how the entire development of this poem so far is posted here: much better reference than my actual text files, which are kind of messy. So the chief reason why I don't just end this and move to an actual showcase, even to the detriment of an audience; and so also the "also looking for criticism" bit again.

Also, fair note now: Song of Life is one of the few poems here that's really temporally displaced. I've actually been working on that poem, and not just the individual parts, as obviously a lot of the other parts are much, much older than the rest, since before I posted here An Exercise in Irony, but breaking from my usual tradition, I chose to delay its protoform here, partly for the sake of tension, but mostly because that would be too much of a repeat of older poems. However, I actually finished that a good one or two weeks before I posted it here, or even anywhere, even, so temporally that poem is, again, really really displaced. But yes, it was compiled right around the same time Song of Death was first composed (another poem that's delayed, at least in term of early forms: then again, it only has one earlier form, since it's a fairly simple, spontaneous form anyway), and the two are in that sense sister works. But is this brother to them? I'd like to think so, but besides a Biblical theme and close connections to water, I don't really know so: I don't think I'm very good with titles.]
 
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SPECTROPHOTOMETRY, edit 1 [Kinda unsure about this, just as the folks who commented on the first version were unsure about that -- I'm sorta sure I'll end up re-editing this back to something like the last one.]

the blue of copper:
a moment
dissolved
diluted
loaded in the pillar, time
the circle pressed and stretched,
hum. Traces
of lead, silver, cinnabar:
a column of light
broken by streaks of blackness, the bands
disappointments
diseases
deaths in the household,
hum. Processing data--

not even
the subtlest implication
of the circle must exist

the dutiful scientist
asks nothing

today becomes yesterday
tomorrow today
yesterday the day before
then last week last month
and beyond

--hum. Presenting
a line graph:
memories, stories
measured in numbers
tested through models
warped for the message,
hum. Ready
 
100th post, and it's an edit of something older. Huh.
Anyway, CULTURE BOMB PART TWO: 5-7-5 doo doo! Lately been squeezing in a book on haiku, "Japanese Haiku: Its essential nature and history" by Kenneth Yasuda. The first three are by Basho, a master, translated by I'm not really sure who; the next three are by the author himself, proving, at least to me, that he knows his stuff. And the last two are by me, but of course they clearly could not compare (and I think the last one technically isn't a haiku, but whatever).

A CROW ON A BARE BRANCH

On a withered bough,
a crow alone is perching;
autumn evening now.

THE CICADA

In the cicada's cry
there's no sign that can foretell
how soon it must die.

[NEVER DID FIGURE OUT WHAT THIS SCENE WAS NAMED]

In the dawn twilight,
there the lancelets appear
no more than an inch white.

AT PARTING

Here at parting now,
let me speak by breaking
a lilac from the bough.

A CAMELLIA FLOWER

Brushing the leaves, fell
a white camellia blossom
into the dark well.

CRIMSON DRAGONFLY [THE SECOND ONE, APPARENTLY, BUT I DON'T SEE THE FIRST ONE AS CLEARLY]

A crimson dragonfly,
glancing the water, casts rings
as it passes by.

MARBLE FIGURINES

On a stallion rearing,
a humble nun leans, singing
St. Cecilia's hymns.

LEVIATHAN

I know nothing moves:
impulses always firing,
currents always still.
 
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[Note: RiverNotch is not a dealer in hypertext fictions. The following spoilers contain only earlier edits.]

THE BASKET FALLS

To sing the songs of summer's lurid dyes,
And be yourself in groves of could-have-beens;
To learn to love the smell of waking lies,
Then dream of naked girls on picture screens--
The flower basket falls. They said it's truth
To cast away the rose of you and I,
It's life to lose the lenses and review
The burning sun and blackened earth with eyes
Of humble blindness: how they mocked the way!
We gathered still the roses of the tree,
And though our lusts denied us time to pray,
We kept our eyes on immortality--
The hawthorn's blooms are false. It comes to this:
Our naked, burned-out souls, a fatal kiss.

FLOWERBASKET (draft two)

To dream of naked girls on picture screens
then sing their songs of summer's lurid dyes,
to be yourself in groves of could-have-beens
and learn to love the stench of waking lies--
the hawthorn's blooms are false. They said tis' truth
to cast away the rosy you and I,
tis' life to lose the lenses and review
the burning sun and blackened earth with eyes
of humble blindness: how they mocked the way!
We gathered still the roses of the tree,
and though our joys denied us time to pray,
we kept our eyes on immortality--
the flowerbasket falls. It comes to this:
our naked burned-out souls, a fatal kiss.

FLOWERBASKET (draft one)

Let's cast away the modern you and I
and lose these tinted lenses, then review
the burning sun and blackened earth with eyes
of humble truth, of ancient blindness--

Let's stop the joke of false mortality
and dream of naked girls, then watch the screen
that blinks and whimpers, waits for our replies,
the filled up flowerbaskets falling--

Let's start on settings growing could-have-beens
and ramble forward, then enjoy the blue
of cracking marble specked with summer's dyes
that draw the stench, the faint aroma--

Let's write down sonnets, then, of course, forget
the feelings and the moments-- the couplet.
 
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MORNING MOOD

"Four kinds of love." Upon a hill, a breakfast,
while round about, the seedlings spring,
the roses bloom; there's bacon, bread,
and honey, too. "Agape first,
the love of God and strife of self,

of flesh and earth." The sun's warm hands
caress my cheeks; you're still asleep
so up you go. "Philia next--"
a yawn. "--the love of brothers, what

the firstborn lost." The dawn's pink light
becomes your blush; a breeze makes up
for what I lost. "So Storge comes,
the love of fathers for their sons,

of kings for fools." The coming clouds
shadow the scene. "Then Eros' flame--"
"--of man and wife. But then the charms
before?" "There is no love in sin,
I fear." Still half a meal. The rains come early.

FOUR KINDS OF LOVE (draft one)

Four kinds of love, the teacher says,
while round about, the roses bloom,
the seedlings spring. Agape first,
the love of God and strife of self,

of flesh and earth. The sun's warm hands
caress my cheeks. Philia next,
the love of friends and brothers, what

the firstborn lost. The dawn's pink light
becomes my blush. So Storge comes,
the love of fathers for their sons,

of kings for fools. The coming clouds
shadow the scene. Then Eros' flame,
the love of man for wife. I speak:
and of the charms before? There is
no love in sin. The rains arrive.
 
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