Long Day Painting By Myself Down By The Lake
Long day painting by myself down by the lake
where I used to paint with you many years ago,
and now your absence haunts my solitude
as I grey my greens with cool alizarin red
and though the trees and the water are the same
it's a much eerier world just to know once
you who were here with me, are utterly gone,
and what has carried on without you, though
I'm affably intimate with its creative characteristics
is wholly estranged from the name I'll write on this painting.
As if an era in art had passed. Dreams and assumptions,
things you take for granted because in living them
you sometimes must, like love and oxygen,
and the presumption of life going on between us,
for the most part unplanned,
but a commingling of waters nevertheless,
a sharing in the other's quiet amazement
that the other exists as they are in your mindscape at all.
A heron rises from the cattails in the shallows.
A fish jumps at a dragonfly on the tip of a sword
of the wild irises in a muddle of mystic indigo
and a sulphur butterfly struggles in the thick pthalo blue
of the sky I slashed in with my painting knife
as if I were grouting the canvas like a mason
to lay a fieldstone wall that wouldn't keep the birds out
that have learned to ignore me like a scarecrow
in warpaint ghost dancing at an easel
spreading its legs like a doe
come out of the woods
to drink quietly from its own reflection.
Everything seems thriving and deserted.
The waterlilies still clutter the wild rice
like prolific constellations of the frogs
whose singing doesn't sound all that bad after awhile.
I'm a curiosity to the fox
that's been taking a profound interest in my work
all afternoon as if I were some kind of savage impressionist
and it were a cultural savant with a few pointed suggestions.
Two raccoons luxuriating like moss on a femur of oak
behind me, watching me underpaint the lakeshore rocks
like two kids through the wire fence of a construction site.
Events of the day. Transactional armies in the grass,
bees and ruby throated humming birds
enabling the daylilies like pyromaniacs
and soon, the green dragon of the sumac
will burn in the auto de fe of the fall as well.
But you are not here to mention it to
and compared to the quality of the isolation
I once lived here with you in paradise
the beauty of my painting lacks the highlights
and finished details I used to attend to
knowing how they'd shine by the light of your eyes
as an effect of the atmospherics you brought to the scene.
And though everything appears the same,
it's uncanny not to be heading homewards
with the shadows and the crows
as you and I did so many nights
well pleased with what
we laboured for all day in the sun
to a farmhouse full of paintings
whose windows cling to the remaining light
as we did like waterbirds for awhile
around a lake full of constellations
as the Eagle, the Swan and the Lyre,
went down behind the abstract expressions
of the sad geometry of the barn roof
weary of rusting like wavelengths of rippled tin,
not knowing whether it's holding out
against the wind, the rain, the field fires
or still holding something empty
as an urn full of stars
that were scattered like chimney sparks
on one of the coldest nights of my life, in.
poem by Patrick White
Submitted by Poetry Lover
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Related quotes
If I Were A Painting
If I were a painting
Captured on canvas
Alone in the portriat I would stand
And brush strokes bold
Yet soft as a whisper
The work of a feminine hand.
Caught in a still life
Surrounded by shadows
And lost in a background of blue
If I were a painting
My price would be pain
And the artist would have to be you.
I imagine the colors
Would all run together
If you ever allowed me to cry
So don't paint the tears
Just let me remember me
Without you in my eyes.
It's only the frame
That holds me together
Or else I would be falling apart
If I were a painting
I wouldn't feel
And you wouldnt be breaking my heart...
song performed by by Kenny Rogers
Submitted by Lucian Velea
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When is a Painting Finished?
I paint.
On my easel
pictures in oil and acrylic grow
like stalagmites in limestone caves.
I think that painting is a magical act
that transforms invisible thoughts
and feelings into visible colors
and forms.
But I never can tell
when is the work finished.
After all it is always possible
to change a line, a hue, or a color
or even the whole composition.
Painters have different opinions
about this.
Some say that when the artist
successfully planted
all the details onto the canvas
the image expresses itself
as a severed autonomous entity,
which frees the painter from
the task of continuing to paint.
From then on the painting gains
an independent inner life of its own.
However, abandoning a work of art
involves a moral decision
ripened by the stiffening tension
between skill, creativity and integrity.
At what point does the polished image
meet the artist’s expectations?
And then, even if it does,
no single image can express
all that an artist wants to show,
and consequently his muses
compel him to carry on with his work
and create more paintings.
Hence the oeuvre of the artist
evolves as a set of different images
of the same single thrust and grind.
Many years ago I was wandering
through the countryside
of southern France in Provence.
Once I stopped to look at the road
where the village met the meadow.
A sturdy artist stood there
in front of his easel
painting the landscape
with skilful brushstrokes
on a well-stretched canvas.
I stared for a while
at the burgeoning picture
and then asked him:
“How do you know
when is the composition complete? ”
He gave me a piercing glance.
“Well”, he said,
“if you take a hammer
and hit me on the head
I know that the painting is finished.”
poem by Paul Hartal
Submitted by Poetry Lover
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Madonna portrait
I saw you painting,
not a sideways glance
of a elephant head
with deep creases showing,
or the neck of a giraffe,
not a Tuscan scene
with tables with white table clothes,
neither an abstract scene
in blue, green and gold.
A portrait unfolded before my eyes,
not a half naked nymph,
or wood fairy
but a Madonna without child
pregnant and serene
looking utterly holy
with olive skin
and great big innocent eyes
against dark colours
in a ruby red cloak.
Your fingers mixed colours expertly
on the palette
to the right exact hue
and blazing lights
lit the canvas
on the easel
and the painting
became an old world masterpiece
with stroke after little stroke
adding depth and meaning
and somewhere in the distance
a midnight-black dragon appeared
with a open mouth
as if drawing nearer
truly alive
detailed to the smallest respect
and evil in every way.
poem by Gert Strydom
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Weary Of The World Tonight
Weary of the world tonight. Can't stand the lies.
Some drunk loud-mouth out on the street
wants all the girls to know he's there,
My noise is bigger than your noise.
Someone playing a guitar badly in a doorway.
A homeless cat cries, lets out a howl
of torment as if its sinews were being keyed
as tight as guitar strings about to snap.
Out of the window that hasn't said anything yet:
you touch that cat again, slugger,
and I'll be right down with an axe
to give you a gender change. He looks up
startled. But all bullies are cowards
trying to deny it to themselves
while wearing their sister's underpants.
The cat makes a quick getaway
through a dark heritage alleyway.
Supercharged like a fire hydrant full of blood
throbbing through my temples, and demons
I haven't seen in years smiling darkly in the mirrors
my shadow always regretted like left-handed virtues
that got the job done. Demonic compassion,
colder than intelligence, with a deep
poetic sense of of infernal irony
whereas a muse ago in this specious present
I was longing for a small hobby farm
on the dark side of the moon, now
I'm a dragon eating waterlilies down
by the banks of my mindstream
quietly letting go of itself
like an unmoored lifeboat full of emptiness
drifting no where in particular I want to be
except here where I can shed my humanity for awhile
among the living and the dead
who don't care what I am and am not
as long as I'm not a threat to them.
Darkness, my solace, moon, my longing,
Star, warmer than any fire I've ever
sat around to exorcise my ghosts,
you, who've danced like my third eye
with the other two still chained to their irises,
the poetic lucidity that mentored me
in the ways of light and taught me
the creative rapture of the fish
that still swam like flashs of insight
to the surface of my oceanic tears,
I don't know how many light years
either of us have yet to shine or cry over,
but tonight, come down from your unindictable heights
and sit with me like the intimate stranger of a candle
in my eyes, in my soul, in my blood,
be the small flame that trembles in my breath for awhile,
be the sole illumination of my spirit for awhile,
ease my bodymind with the elixir of your radiance
emanating from the inside, and let me
be born again of that fire that burns within me,
purge my starmud of these urns and bones and black dwarfs
that weigh me down like disappointed bells
and feisty mastodons in the tarpits of my heart
that sink deeper the more they struggle to get out.
And I don't even care if you're the last firefly
to transcend my cosmic solitude like a wavelength
of the transmorphic singularity at the beginning of time
that woke the valley up with the roar of a dragon
in that elemental morning of mad genius
that's be the dawn of every moment ever since
in this chiliocosm of energies and forms
flashing out of the mystery of the questions we ask
about the inconceivability of being here to ask them.
No purpose. No meaning. Except the one
we all live vaguely as ourselves like a nebularity
out of which we might precipitate stars
of a different order of shining beyond what we can see.
Sit with me awhile as if we both had the same nature.
And you can look at the world and me through my eyes
and I'll look at you through yours as if I were seeing you
from the inside out, and there were ashes in my heartwood
even before I began to burn, as in yours,
there were the urns of heavy elements even
before they were born of their own afterlife.
Be that moment within me when time breaks into light
and even the shadows, like sunspots, shine
in their own right, and nothing is disturbed,
not even the silence that is intensified when the fish jump
or a dog is barking hills away at what approaches
out of the dark, and the waterbirds in their onceness
might seem to fly away, but have been here from the start.
Fill my life with the unimaginable splendour
of all those nights you've looked down upon the earth
and witnessed the horror and the wildflowers
in the same breath on a cold windowpane in winter
etching the light like an artist with an eye for life
or the praying mantis of a small telescope in the summer
its legs spread like a doe about to drink from her own reflection
or one half of a collapsed bridge to the other side
of everywhere at once. I don't ask for bliss or enlightenment.
Just show me how you make the shadows luminous again.
Even on a starless night, how to mourn like the eyeless rain
even as it renews the leaves and roots of the constellations
of the wild asters with their violet plinths and yellow suns
burning fiercely as a distant relation of your myriad myths of origin.
Do that for me and I'll show you how to intensify
the darkness into a diamond chrysalis of transformation
like a deeper mystic bliss in life, enhanced by the ores of pain,
as your light is by the night, or the flying stickshifts
of the dragonflies put the waterlilies in park for the night
as if they'd just got out of a car by the side of an unknown road,
not to find out where they are, but just
to gape up at the stars in the midst of decay
and let the wonder of it all heal me as it always has
by showing me how to make a cradle out of a grave
or the long, slow art of a human out of a wounded heart.
poem by Patrick White
Submitted by Poetry Lover
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Beyond the Art
Dad only had a month to live.
I peeked in to tell them goodnight.
Mom was painting. She stopped to give
Me a kiss. 'Your Dad will be all right.'
Next morning, both my folks were gone.
Perhaps they went out for some air.
Mom's new painting was sitting on
Its easel. Mom's class touch was there.
Mom's grace, Dad's strength - what a combo,
For forty years, husband and wife.
I touched the canvas. Where'd they go?
And then the painting came to life.
A couple walked along the sea.
Mom and Dad smiled and waved to me.
Listening To The Nightsong Of The Silence
Listening to the nightsong of the silence
in a clearing in the woods that used to be
a field someone rocked and ploughed for cattle corn,
and left the crooked timbers and fieldstone foundations
of a log cabin to be swarmed by the rat snakes, their blood
as the cold comes on, slowing down into
long red wavelengths of hibernation that drives
the raccoons, the bears, and most of the locals
who can't afford migration, to dream half the winter away,
soporifically numb by the woodstove, or numb outside
from the air gnawing at their fingertips and noses
as if they were being whittled out of ice
or numbed by food, sex, alcohol, gossip and drugs
into the Land of the Lotus Eaters in the middle of an ice storm.
Chronic boredom of a white screen they'd
rather smear with something than look at nothing at all,
whether cadmium red on a blank canvas,
blood on the snow next to the hollyberries
the foxes and blue jays have been feasting on,
or the mythic inflation of their own personal offal
gone viral on an internet of a sky full of stars
spreading the rumour around. Wonder what
the drunk loggers of Burridge back in the day
when the cops were afraid to go there,
would have to say about their whiskey barrels
being sawn in half for flowerpots of flagging petunias
and forlorn coleus on the streets of Perth today.
Or me out here on my own looking
for the Orionid meteor showers where the dark
hasn't been distempered by the bottled light of the town.
After thirty-five years of living among these woods and lakes
I still come here as an unrooted stranger to the place
who finds it easier to relate to the wilderness
taking its own back, than the ghosts that abound
like Huron women in the moonlight
beating the wild rice at the edge of the ponds
into the bows of their spectral canoes
silent as waterbirds parting the veils of the waves
before smallpox, Jesuits, and the Iroquois wiped them out.
And yet how beautiful the stars are above the birch groves
just before moonrise, when you see them in isolation,
and you feel your heart gripped by a sense of wonder
so transfixing and sublime, you embody it immediately
as the deepest intimacy of time you'll ever experience
in your passage through it. And it doesn't matter
what the message is, whether you can interpret
the signs or not, or come away any wiser for the sight,
or mistake a knowledge of starmaps and constellations
for real light, you're assured, without ambivalence
of the mortality of the witness, as a deep humility
startles your flesh into realizing its tenuous brevity
is only a temporary deferment of death, long enough
to be stunned by the profundity of these fireflies of insight
as if you'd just dug up your own prophetic skull on the moon.
Death soon. No need to make a fact morbid
by denying it. Right now I'm still a seance
of living fire in the woods the shadows of those
who dreamed and fought, wept, longed, loved,
lived, laughed and died here competently long before me
gather around as if a whole beehive of ghosts
turned out to bid the last flower of the fall farewell
or I were the axial blackhole at the nave
of a prayer wheel galaxy flowing into me
as if the black queen of the sweetness of life
were founding a new colony of natives, exiles,
and immigrants deep inside my soul like the portal
to another world than this one that exhumes and exorcises
all that lives like starmud in a repatriated body.
Or as the Ojibway figured out, ten years
of leaving me food and cigarettes at the sunny side
of my burial hut before my bones turn to dust
and my ghost is free of my fire, before the Canada geese
embody my migratory soul on a long journey south,
there are rituals and protocols of life and death
that must be upheld with a patience and grace
born of understanding how vital it is to adorn
what can't be understood with osprey feathers,
cedar boughs, sage and sweetgrass, growing wild
in the starfields of our dream mothers
leafing the alders in the spring with new metaphors
for the wind blowing through the catkins.
In the beginning was the imagination.
Imagination is the mindscape we're all aboriginals in.
Reality is still a theory fasting on a mountaintop
looking for a totem of itself while it remains awake.
Imagination is a three-feathered chief at peace
with whatever it dreams, even if it dreams it's awake
when the elders gather to name the newborn
after the dancing waters and fire talkers
consult the wisdom of their silence and solitude
in the presence of the inexpressible events
that create the things of the world
like the sensory simulacra of a story
that always dying to be told around the fires of life
in a voice full of distance and time and sorrow
like the wind blowing the blossom of the moon
out of the leafless crowns of the trees
so death might wax fruitful when life is all ears.
poem by Patrick White
Submitted by Poetry Lover
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Painting The Walls
painting the walls,
rolling over handprints,
cobwebs, and smoke stains....
over splashes of color,
over peels of time.
painting over the sounds
of voices whispering, laughing....
painting over tears hidden
from the world, from each other.
painting over running, and working,
working all day and half the night.
painting over children, and dreams,
folded like old clothes, and put away.
painting over notes from God,
that were often barely noticed...
painting over the nail that held
up the clock, hands moving slowly,
turning the seasons of living....
painting over the final words,
the last breath held in the hands,
of lives written in the grain....
the testimony of each feeling....
painting the walls,
and brushing the corners,
as if we never lived!
poem by Eric Cockrell
Submitted by Poetry Lover
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Your Eyes For Awhile
Your eyes for awhile
were the only eyes
I could see through
to catch a glimpse of god;
were windows into my own soul
that I could look through from the outside
without throwing the moon
through my reflection like a stone
in the hand of an angry boy.
And it was always as true
as the way your heart grew
that you could love strangers
easier than I do even now
after all these years of learning how
to talk to mirrors in their own language.
And you were not one woman
but all women forever
when I saw you once
bending down like the dusk
to touch the last of the flowers
as if you would never see them again.
As serene as the evening
there was no labour in your beauty
and I swear when I saw you that night
I felt as if I were the whole world watching
time put a finger to its lips
and pour its fountain
into the flow of your body
as if it were the sum of all passage.
And though I was your friend in all things
every evening since
the candle went out
in the lantern of a lost tomorrow
I have walked out into abandoned fields alone
and asked the saddest questions
of the most distant stars
knowing there is not enough light sometimes
even in the eyes of God
to be a companion of our sorrows.
And the questions grow longer
as the darkness deepens
the echo of my longing
in a well as dry as my skull
and closes its gates like scars.
And then those nights come
like a life or a day
or even just this moment
when I stop asking
why human suffering
is always indescribably true
and joyful as an irreproachable buffoon
sword-dancing alone with the moon
who writes me dangerous loveletters
as if she were the Lady of the Lake
receiving me back
like a funeral ship
into this mysterium of you,
I can almost believe that you know
even though the night mocks the crow
that pines for mercy
and turns its lightless face toward you
as if it could still feel
the warmth of the sun at midnight
in your eyes again
like the afterlife of light
playing with fireflies in the abyss
now that the summer constellations have gone down;
that somehow you must know
like a guitar
on the far side of a room
where someone is singing
as if they had their ear
to the womb
of your irrevocable absence
that binds me to you with every breath
I take for two
as if I had learned to live on death
to keep you alive in me
where you still flow through the seasons
on the nightstreams of my blood
like blossoms and leaves and stars
and the moon leaves no scars on the water;
must know. Or a demon’s a kinder face
to bestow on the darkness
than a black hole without eyes,
though it’s taken many, long, painful years
for the night to share the light with its jewels again
and as many schools as there are fools to fill them
that even just one
of those slightly compassionate smiles
you would send across the room
to cool the furnace of my heart
with the lightness of one snowflake,
one feather
gracing a change in the weather,
knew more about love
as a raindropp knows the sea
than all of us
who have been washed up
on this cold, lonely shore together
thinking we may have been saved
for something more
than this tidal longing
to brave the sea again
and even if doomed to drown
as I have learned
from this shale of pain
that has carbon-dated the eras
of my missing you
like a life that didn’t
flash before my eyes
as I went down for good with everything,
to thank-you, o, yes,
with nothing but love and light in my heart
and your face in the eye of my solitude
as I stand before the sea in gratitude
to thank-you
as you well knew one day I could
for the generosity of the wound
that has run like my life
down these eyes
these windows
this page
these empty mirrors
of autumn rain
that have wept for years without you
just to see you again
for one moment more
than the time I have left
to know that I never will.
poem by Patrick White
Submitted by Poetry Lover
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Photography Is Kin’s Thing
At the Lake Street Painting festival I did meet,
a photographer named Kin who is really sweet.
He shot photos of my princess on sidewalk not street.
being a rogue artist the sidewalk was the place,
that I decided to use my chalk to paint.
Paint a small square by the Hummingbird hotel,
Kin shot great photos of Sarah Star not Mel.
Since then Kin shot photos of my painting 3x5,
also castle scene painting this year with keen eye.
We went to wildlife Wakodahatchee Wetlands by Jog,
we photographed birds, alligators and frogs.
Kin visited me at the Royal Art & Music Fest,
photos he took turned out best above all the rest.
Kin says he’s my fan, and never charges a fee,
he supports all artists like cartoonist like me.
Thank you Kin
for being a great photographer and friend.
poem by Christina Sunrise
Submitted by Poetry Lover
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The Nuns Are Sleeping On Graves With Their Pagan Lovers
The nuns are sleeping on graves with their pagan lovers.
The black walnut trees have shed their leaves
half way between feathers and scales
like arboreal dinosaurs that are learning to fly.
And the branches of the staghorn sumac
that went up in flames like the rest of the greenwood
now look like the ribs of a snake blanched in the ashes.
I tell the hard rocks chiselled down to the lake
as if they were animate, sapient, sentient life forms
I know just how they feel
when they're dreaming of Carrara marble
and someone steps on them
like a skull of a common cornerstone
you can take for granted, but the birds,
why is it always the birds that are the first
to be alert to things like this, tell me
not to deprive them of their extinction.
So I'm prone to keeping my words to myself
when I'm on a backwoods pilgrimage alone
with too many death masks hiding the face of the moon.
Half the abandoned roads I've walked through life
have turned back in upon themselves
like an ingrown hair of a noose
in a claustrophic cul de sac,
like a thread of the mindstream
trying to close the eyelid of a needle that's dead.
But the other half of the labyrinth
on the dark side of seeing led me into clearings
in the middle of nowhere I ever expected to be startled by stars
that set my heart racing with mystic terror as if a partridge
just exploded out of the bushes in front of me
and enlightenment came to me for an hour or two
with such force of clarity I was breathing light not air.
And I didn't become one with everything.
How can anyone say they're one with everything
without resorting to the past tense the moment they say it?
I stood my ground beside unity like zero
because nothingness is the only way
of comprehending one without being excluded by it
like the exception that puts the lie to the whole,
and I amplified its immensity tenfold.
Ask any silo. There's no limit to what you can hold
when you're empty compared to what you can
when you're full. Even on upgraded hobby farms
where the wheat and the corn are stored
in more ample, lightning proof Euclidean storage spaces,
if you look over your shoulder in passing
at the old wooden siloes barely holding their ribs together
with rusting metal bands, cooper's barrels
abandoned closer to the road that's been widened since then,
their roofs blown off by the wind like the lids of garbage cans,
I've seen fully mature trees, rooted in the compost
at the bottom, rising up like green oil strikes toward the sky
or a clown like me being shot out of a cannon toward the stars
and landing in the safety nets of the laughing constellations
who weren't expecting to catch anything that night
but a few eyes out swimming too far, too deep from shore.
Just because it's a long shot, and your aim's off,
and your not quite as profound or sublimely targeted
as the asteroid that destroyed the dinosaurs,
doesn't mean you still can't make a big impact as a meteor
holding on to the flower in your hat for dear life
like a butterfly in a firestorm of dragons
with a childlike sense of humour marrowed
in the smooth bore barrels of their dusky funny bones.
poem by Patrick White
Submitted by Poetry Lover
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A Wonderful Painting
A Wonderful Painting
by Alex Lewis
I remember before my mother's art
When I was but an egg.
The painting took color in every part.
One shade is but a leg.
The lavish blues spread across the page like a waving, smiling sea.
The canvas was plain and bare, except the blues, happily set free.
With the blue, I went to play as childish as I may.
The one clam and I sat with ourselves on the whaling bay.
This is me, like a leaf, on my first day at green.
So, all the others spoke; I found that none were mean.
There were dark greens, light ones, and one stuck in the middle.
After math, my friend and I learnt to play the fiddle.
My friend and I continued to play our little tune.
We soon fell in pink to which neither one was immune.
Our pink grew and grew as each day had passed.
Green had ended blue; only pink would last.
We took our pink and ran right through to angry, waiting brown.
Brown was angry for making him wait with a black-white frown.
We explained that blue made us wait for an azure set of eighteen.
He forgave us. My friend, brown, pink, and I live for only one team.
We decided to get the canvas and add a dash of white.
Pink was overwhelmed as white carried on through the love-filled night.
We can add white to family before blue decides to return again.
Red will also join the painting party-Another eighteen before men!
It took a lot of work to make my dear reds come.
I enjoyed the work, but my reds were way more fun.
One red stayed with us, but the other ran away rather young.
Maybe brown kidnapped him early, but strange words travel by tongue.
We turned grey as brown dimmed down, but we swear we've never seen pink more bright!
Brown had completely gone, like both of our reds, but pink still made things light.
I then feared and cried as my pink's grey burned out like a setting sun.
My grey began to fade too, but I was ready. My life was done.
My mother handed me the canvas and the frame,
But I had to add all the colors (none I showed for shame) .
Blue, green, pink, brown, red, grey-my portrait is made of those colors,
But I am just one piece in a gallery, and all of you are the others.
poem by Alex Lewis
Submitted by Poetry Lover
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Drifting Tonight, A Poem In The Corner Of My Eye
Drifting tonight, a poem in the corner of my eye,
maybe a crumb of sleep from last night's dream,
the willows have grown up a lot since I last came here
but the stars they fix like flowers in their hair
even the lake can't rinse out, haven't changed much.
I seek out this precarious granite ledge
shaped like half an anvil or a stone age bicycle seat
with its thatch of moss and yellow grass
and this little patch of dirt, struggling
to cling to the rock, I've come to trust empathically
as if many others sat here before me
and watched the moon belly dancing on the undulant waves.
Abandoned heron's nests in the boneyard
of marble trees, broken statuary in the moonlight
wading through the wild rice with their skirts
above their white, white knees. I come here
to listen to my solitude like a Tarot deck of constellations,
missing a couple of cards when it was stolen from the Sufis.
A nocturne of fate I'm being very cool about
I sing in dark harmony with the nightbirds
counterpointing the silence with sudden rills of longing
my heart resonates with like the hidden wavelength of sorrow
that it's almost autumn, getting too late for anyone to come,
except for one firefly shining behind her veils
like a diamond in eclipse, a tattoo on the eyelids
of a black velvet painting of bullfighting rose.
And something deeper, more dangerous, like pike
moving just under the surface like nuclear submarines
under the Arctic ice-caps of circumpolar cataracts,
while night creatures are out hunting each other's flesh
all around me as if the loss of life and the joy it took
in being a field mouse with a mouthful of seeds
were merely collateral damage in the owl's eyes
of remarkably no significance at all. Life smells
of carrion in the nest, though we all light incense
to deny it. And try to feel as convincingly as we can
life heals its own absence like a wound in water,
like a mouse squealing in midflight above
the waterlily starmaps that hide the snapping turtles.
Generations have sat here before me
with their heads on the flying buttresses of their knees
to relieve the stress of the dome of their prophetic skulls
on the walls of a cathedral wilderness
pioneered into the empty one-roomed
wooden churches around here where the flies cluster
like spiritual footnotes with no real faith in what they say.
And the pioneers have all been ploughed under
and then exhumed and placed in a less savage cemetery
than the earth without black iron fences and gates
trying to imitate the tree line of a militant event horizon
around the graveside of the black hole we all fall into
when we attribute a meaning to death it doesn't give to itself.
And life and love follow suit, knowing there's nothing to risk,
nothing to shed, nothing to reveal, nothing to explain or understand
that isn't whispered in your own voice into your own ear
so nature could imitate art by deepening the mystery
of the human spirit walking like the stars on its own waters
as if it weren't a miracle the whole sky
with all its legends of shining doesn't go out in our tears
and love turn into a black farce of suggestive preconceptions
dancing for our heads, as if we'll be eating
honey and locusts, dressed in the hides of wild jackasses,
or in this lunar wilderness of shadows and wraiths
wolfskins on despondent shamans with
two heads on their shoulders like snake-eyes
trying to howl like smouldering volcanoes at the moon
with one heart, one mind, igneously alloyed
to the heartache and longing that can suddenly
startle and blossom out of the darkness
like the blue fire of the Pleiades flaring through
the crowns of the trees as if love were a conversation
between two, like a star and the eye it's shining in,
it only takes one to sing.
poem by Patrick White
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If You Were To Give Me Your Hands
If you were to give me your hands, break your prayer
and offer each wing up to me, broken halves of the heart,
I would make one burning dove out of them
that would carry a ribbon of flame in its beak,
a comet in the night, a vision of life and love,
a message to God she couldn't ignore, a wild flower
that emerged out of the ashes of her abyss
like a star waking up from a bad dream
in the skies over the darkening hills of Perth.
If you were to give me your eyes for a moment
like the lily pads of two eclipses, I'd put my lips
to each of your eyelids like the kissing stone of the Kaaba,
and erase all memory of its igneous fall to earth,
and when you opened them at moonrise,
where I touched you, there'd be two waterstars
shining as if they'd just fallen from the Pleiades
among the waterlilies and crazy raptures of the nightbirds.
Spare me a tear, and I'll return it to you like an elixir
that will dye your grief like the palette of an autumn tree
that's been painting for years, a sidereal Prussian blue,
with a touch of alizarin crimson, to burn
like the subliminal passion of a dragon in the background.
And when the fish return to their sacred pools on pilgrimage
like water sylphs, even when your mindstream
breaks like a rosary into billions of separate beads
flowing over the precipice of your eyelashes into the void,
you'll be the bird that amazes the sun and moon
reflected in each of them as they are in your eyes
as you wheel like the phoenix of a double helix
with the Swan and the Eagle across a summer
of clear night skies casting the nets of their constellations
far and wide, like a spell that gathers them up like shepherd moons.
If you were to give me your breasts, your lips,
your arms, your legs, I'd come like spring to a landscape,
clouds and rain to the moon, a hummingbird
to the goblet of your body, water to a wishing well
full of stars and fireflies, even at noon,
that's just realized all she ever had to do was ask.
I'd make your flesh feel like the shores
of some vast sea of unexplored sensual awareness
and walk them like a beachcomber in a red tide
of radiant starfish pumping light into your blood.
I would not ask for your soul or your spirit,
knowing the eternal sky does not inhibit the flight
of the wild waterbirds startled off the lake,
and even the wind can't hold them for long
like leaves and kites, when autumn says it's time to move on.
But if you were to give me their chains,
I'd retool them into royal cartouches,
ellipsoid orbits, halos, and shield-shaped lozenges,
to distinguish your name, like a waterclock
in an hourglass of desert queens firewalking across the sky
by the Milky Way, as if you were on pageant
sailing up the Thames or the Nile in a barge of moonlight.
And should, never perish the thought, you see fit
to offer me your heart, not as a fortune-cookie
with a happy ending, but like the complementary colour
of the world's biggest emerald, or the red berry
to a crown of prickly holly leaves, never
would any of my thorns ever draw even so much
as a dropp of blood from you to gray the greening
of this lyrical innocence that sings in the urns of autumn
as if Eurydice raised Orpheus out of the grave for a change,
or wild geese carrying the souls of the dead south
out of a threshed cornfield under the first frost of the stars,
or awoke the Sleepers in the Cave, to a new age
that believes if you can't dream it with your third eye closed
it isn't real. It doesn't sail. It isn't champagne that's breaking
like a bottled wave against the bow of a moonboat
that's been in drydock long enough to heal its wounds
and drift down the mindstream of the muse
like a feather of life, with a leaf for a starmap,
a message of love, with no astrolabes or compasses up its sleeve
and a fleet of poems flying high over head across
the lifeless sea of shadows below, the crane bags of Hermes
reaching your delta where the river greets the sea of bliss
breaking into bloom like a third eye from its chrysalis,
a dragon at dawn, a planet in the sunset, a dream figure
that woke reality up from a firepit of illusion
like foxfire in the scorched roots of an old growth forest
where lightning sows the seeds of illumination
like fireflies and transformative storms of stars
under the heavy eyelids of the pine-cones
that have fallen into a deep meditation on the koans
that have rooted love like an unlikely windfall
of constellations, whether your walking on stars or their ashes,
in the unsalted soil of its own galactic immolations.
poem by Patrick White
Submitted by Poetry Lover
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The eyes of impressionism
Saints.
Like swans, gliding untroubled so it seems
to us, lazing on the river bank
of a Seurat summer Sunday afternoon,
gliding over the surface of the waters
as love perhaps, on that first day;
they as floating symbols
of the beauty beyond beauty;
their work, invisible to us who watch
Painters.
Like waterlilies, resting in perfection
on the surface of the waters
as love rests, sure of their own beauty;
painting just the sunlight
falling on things, moving on
more slowly than we see;
the depth of the waters
in the painter’s mind and heart;
his work invisible to us who watch
his dabbing at the canvas
as a dabchick bobs in the water, his mind
moving as time moves;
for him, sitting at the canvas,
always time present,
in the water-garden already on his palette
Cataracts.
How far a word from
the stillness around him as he sits,
his beard a little yellow from the nicotine,
seeing the waterlilies as if for the first time,
but each year the water seems to tell
more about time itself… like Proust;
where is time going in this painting?
Eyes.
Cataracts, yes; but perhaps over time
they too have sought to serve him,
become themselves, impressionists,
presenting him with images
prepared like canvasses are prepared;
gently watering inner gardens
between the eyes and mind
yes, that’s Monsieur Monet over there;
don’t disturb him; but if you stand
a little way behind him, you just may
enter the stillness around him,
enter the stillness of his mind,
see with his eyes, that work
invisible to those of us who watch
which swans and saints and artists know.
poem by Michael Shepherd
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Sometimes I imagine
Sometimes I imagine
that my D Jacobs painting
of a red brown earth road
that in winter
runs through the yellow green veldt
past a few oak and blue gum trees
to the purple blue mountains
in the distance
is a Pierneef,
but what draws it nearer to me,
is that I almost feel
the sand beneath me feet,
can smell the tussocks of grass,
try to catch the shades of the trees
one by one,
see a graveyard
in the distance next to
a few bushes,
look at the bright blue sky
and get emotionally involved
with this painting
as it brings my childhood days
back to me
and it jumps right
into my heart.
[Reference: Painting by D Jacobs that belongs to me.]
poem by Gert Strydom
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My Back Aching Like The Sky Goddess Nut Doing Yoga
My back aching like the sky goddess Nut doing yoga
over a sidereal painting that's burning like a bridge.
I've been many kinds of fool before, some just silly, some profound
but this is the work of a sacred clown hemorrhaging in the heavens
like the supernova of a pot of gold at the end of a ragged rainbow
still shining through the remnants of a colourful wardrobe.
I've been accelerating into space driven by a muse
of dark energy with an expansive heart. Time stops
as I exceed the speed of light across a threshold of starclusters
flowering in my wake like New England asters
with cadmium yellow suns with auras of orange coronas
glowing in their eyes. The apartment is silent
except for the trickling of the water pump in the aquarium
and a dance arrangement of goldfish that are swimming
in synchronicity with my thoughts and feelings
as if the heart of a human can speak through many voices
like the wind through the harps of the trees,
like the angels that descend among the daughters of men
when they're feathered in their beds at night like black swans,
or stars rooted in their own decay like waterlilies
that just don't know when to quit making beauty
out of the muddy deltas of their creative bloodlines.
She's firewalking in her sleep by now I hope, watching
a documentary of how the universe works in another city.
I'm flipping through the pages of the rooftops of Perth
outside my window like a weirdly bound heritage history book,
trying not to get any paint from my fingers on the view of the stars overhead.
Arcturus in Bootes still flying its kite in the west.
I need some rest. I've been bleeding like a cut rose
on the blades of the moon all day, and I feel threshed,
a cylinder of hay left out in the open starfields
for the black horse she told me to put in my last painting
to show something grazing under the full moon
like an eclipse that just discovered it had life on it
lyrically at peace with the siloes of light in the distance.
Even when love is cosmically oriented, God
how it loves to focus on the mystic details of everything
right down to the eyelashes of the ruby throated hummingbirds
hovering in a Pleiades of first magnitude larkspur.
Sometimes I feel like the fossil of a dreamcatcher
in the Burgess Shale, but right now, my third eye's wholly open
and I'm casting silver nets I've woven out of
my axons, blood vessels, nerve ganglia,
lunar fuses of serpent fire coiled around my spinal cord
like a helical riff of a bass run on a burning guitar
I'm holding like a metaphor for the body of a woman in my arms.
When I told you I was a sacred clown. I didn't invent it.
I meant it. I feel it. I can dance for ghosts at a seance.
I can dance for rain and war. I can paint my face blue
with moonlight and wode, and dance for peace, dance for fire,
dance for someone like you to step out of the darkness
as if someone had shaped a jewel out of the northern lights
and I was looking at it from the inside out through your eyes
on a a night of the new moon that isn't on any calendars
that are going to hang doom over my my voodoo heart
because there's never been a curse from the mouth of a Druid or Mayan
that could stand up to the courage that it takes
to receive a blessing without worrying what mistakes
inspiration might make when your muse is as flawless
as imagination obedient to the laws of her own myth of origin
and your art elucidates the crazy wisdom of your folly
like a discipline that isn't for the petty or sane at heart.
The stargates just don't open for those who are still in their right mind.
Just as the maple key to your entry, isn't about
what you leave out like a sin of omission that's culpably blind,
but what you leave innocently behind you
like mountain streams, and morning snails,
and the long uncombed comatose trails of sleepwalking comets
plunging from their dark haloes like Icarus
into a sun that only shines at midnight
like a candle on a windowsill calling out
like a poet for a new medium that's lightyears beyond words
to the first of the autumn stars purring like a cat in her dreams
when she hears the holy nightbird just before the dawn
knowing Regulus and Spica and all the stars of my art
won't pale in the lotus of the heart like real jewels in the eyes
of a sacred clown whenever he looks for her
shining in the ascendent of Leo long after
the Lyre, and the Swan, and the Eagle have all gone down
and all these poems I write on the wings of Luna moths,
enraptured by the sphinx of her radiance, are irrevocably skybound.
poem by Patrick White
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Late Spring Snow
Late spring snow on its way.
Dead ochres and colourless greys
that have never heard of the impressionists.
It's a landscape
it's a mindscape
but it behaves like a still life.
I've been staying up late
trying to paint my way
out of my life
until dawn every morning.
The windowpane a ripening phthalo blue.
It's compositionally deranged
to hear the birds singing
when you're totally exhausted.
Mentally physically spiritually emotionally financially
gone gone gone altogether gone beyond.
All my happy endings orphaned.
A sum of depletions.
I'm living this creative life
scribbling down the notes of the picture-music
that doesn't just run through my mind
but is my mind
colours and words
down on canvas and paper.
When I'm writing
when I'm painting
when I've wholly disappeared into what I'm doing
for a few holy hours of life
immensities open up like the multiverse
and I've got a window a wormhole
I can fly through
and out out out among the starfields
with the evanescence of smoke
or a bird
putting itself in the picture
as a finishing touch to the sky.
And I am free to explore the intensities
of my own creative peace
as I keep saying to myself
one eureka moment after another
turning into a mantra
no no I can't leave that.
I've got to bring that back and show them.
They'll be delighted with that.
They won't believe it.
You've got to write and paint with an open hand.
Let the brush hold you.
Let the pen.
Then you're the meaning
of what the words are trying to say
and it's o.k.
you don't have to look any further than that.
Sublimity slips into the mundanities of the world
by creative accident
and you stand down from bliss
and spend a reverential moment
in its presence
just looking at it
not knowing where it came from
or whose work it is.
And it's the wonder of that depth of ageless being
expressing itself as a gesture of time
that's kept me at it
for forty-eight excruciating years.
I get off this chain gang
where I've broken down more rocks than a junkie
or saxifrage in the rain
and the pain the labour
the enervating futilities
and terminal successes
of all those ambitions
that run counter to the flow of life like salmon
disappear from my bloodstream
like apparitions in the morning.
And I am more me
the less I grow aware of it.
When I consider the chronic agony of life
I sometimes think that God created the world
not because she was a hidden secret
that wanted to be known
but because she wanted to forget she was God
and lose every cosmos and atom of herself wholly in it.
Paint till dawn and you'll know what that means.
As the great Zen master sort of said
you can swallow the whole of the river you're painting
with a single gulp.
You can chug the well of the muses
with every drop.
And just when you think
you're working in a medium of illusions
that are playing you like a gravedigger
that likes to get to the bottom of things
they all begin to taste of life.
The mirages water the flowers
in this desert of stars
and everything blooms.
You're back in the garden again
before anybody knew anything but the names of things
to distinguish them from the angels
and life was too vital to need an explanation.
As you go to write
you can take all your dark energy
and intensifying it
by letting it empower you
bend space into a gravitational eye
that gives you a deep insight into
how even a blackhole can be creative.
How what's been left out of the shadows and lights
says as much as that which was included.
Who you are not
is just as much of an artist
as the one who signs the painting.
And don't think you can do things by half measures
one foot in the boat
and one foot on the shore.
Talent knows the tear
but genius knows what hurt
the feelings of the watershed that let it fall.
It's the same in art poetry love enlightenment life.
You've got to let a mask every now and again
wear your face just to play fair
and see how things look from the inside out.
You've got to let the fireflies
make up stories about the stars
that haven't got anything to do with shepherds.
You got to be free enough
to let the world be all kinds of things it isn't.
You can only hex yourself
by taking a voodoo doll out of the arms
of a sleeping child
like the new moon out of the arms of the old
because you deny the darkness within you
its return to innocence
and try to separate the roses from the thorns.
Living your life
as if you were always
applying yourself to the world
like the task of the business at hand
is as destructive
as trying to pry the petals of a flower open
with a crowbar
because you haven't got the time to wait.
Paradise is effortless.
It doesn't have a gate.
It doesn't have a custodian.
It doesn't maintain a teacher.
Adam was born knowing the names of things.
Not how to keep books
on the comings and goings
of the saints and the miscreants.
The first lie out of a tempter's mouth
is to ask Eve if she believes
she's worthy of the truth
as if it were something that could be acquired
without her.
There's more innocence
in running the risk of being left out
than there usually is among the deluded
who play it safe by dissing their doubt
to be included.
You've got to take your church your mosque
your zendo your synagogue off at the door
as if they were hats and shoes
when you enter a holy place
or you'll track the world in
like starmud at your heels
and desecrate it with religion.
And this is as true of Druidic birchgroves
in an abandoned Westport field
with the wild geese flying overhead
just as the stars are coming out
as it is of a poet climbing burning ladders
up to his beloved
as if every rung were the vertical threshold
of a mutable transformation
that estranges and illuminates her face like water
as it changes his eyes.
Don't add your feather of flame to the fire
like the flightplan of a faint-hearted phoenix
with ambulances standing by
in case things get out of hand
but light yourself up like a Buddhist monk in Vietnam
or a filial vegetable seller in the souks of Tunisia
who set the Middle East on fire
and consume yourself wholly
until there's nothing left of the geni but the lamp.
When you let the way come to the end of you
how can you say you're lost?
That's where your freedom begins.
When the object of your quest
can't find anyone to look for it
and there's no one there to know,
King Lear writes Shakespeare.
David sculpts Michelangelo.
poem by Patrick White
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Devil's Lake
Iceberg carved, beautiful sculptured
nature's beauty, many years in the making
humungous hills, cliffs carved in the sides
a gorgeous lake below, river feed
many creatures habitability in park, free to roam
birds flying, squirrels running, vulture circling
a sense of peace and heaven to view.
crafty trails, steep hills to climb
breathe taking views, picture perfect
the woods so colorful and thick
spring many shades of green
fall the painters colors of reds, yellows, orange
walking the heavenly trails, seeing nature all around
from the smallest stone to the big boulders
the lake so clear, to see the fish, the current so gentle
you see the water flow
the wind blows, a steady one from the north
seeing people enjoying nature's heaven
it brings tears of joy and warmth that they respect the land
hundred of years in the making, yet so breathe taking
It always different each time you come
nature painting a new landscape for all to enjoy
Devil's Lake is Wisconsin heaven
poem by Michael Peterson
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God's Canvas Above
The Artist behind the canvas above, the sky's what I'm speaking of,
Stretched above so wide and blue, every day a painting brand new,
God's painting above for all to see, painted by The Lord of Eternity,
The canvas above God's Creation, visible by every man and nation.
He begins every day with the sun, The Creator's Light for everyone,
Keeping God's touch in mind, sometimes the sun He hides behind,
Those clouds, so white and full, all through The Lord's creative rule,
When the Lord does paint the sky, which is seen through every eye.
God ends each day not the same, although the clouds may remain,
As night begins He paints the sun, well over this earth's far horizon,
Turning the sky to a black canopy, to paint those stars that we see,
With the sun replaced by the moon, along with stars that are strewn.
This is just the sky above my friend, for God's Creation has no end,
It goes beyond what we can see, for God is The Creator of Eternity,
But, what God chooses to display, is a witness to all nations today,
His witness that men come to know, The Lord above all men below.
God's Creation, to all mankind, is The Creators testimony to remind,
There's a Creator beyond the sky, One, Who created both you and I,
Whose witness creates accountability, for every person that can see,
That above man there is a Creator, Who sent Christ to be our Savior.
(Copyright ©06/2012)
An Abstract painting
My eyes fall on an abstract painting
of which my girlfriend,
wants to paint a series
that may hang in board halls
and offices.
There’s something hot and alive
in the background
that changes from golden yellow,
to flame orange
and flows into black red
and a green line
runs from the foreground
into the horizon.
With strong straight lines wood,
and sink plate shacks appear
with horizontal and vertical lines
and it looks like a squatter camp,
or the houses of a headman
in the country.
To me it looks like drums and large tin cans
that lies around in the front
and a big old TV set
with sitting places round it
and at the back,
there are two wooden pens
to keep in sheep and goats.
Maybe there’s red sand
on the one side
and yellow and green grass
for grazing on the other side,
but honestly I do not want to stay
in such a place.
[Reference: Abstract painting by Mandi. Look at the painting on my mabooki webpage: http: //www.mabooki.com/poems/display/1416_An_Abstract_ painting.htm]
poem by Gert Strydom
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