Unheeded in the spread of his name, quaking

Unheeded in the spread of his name, quaking
Through the knit brow cuddling the sombre eye
Twice buckled into the couch of his yearning

The mouldy cast of unsculptured hands, moulting
In the surging sweaty cries' unexpected sigh
Sooner lost than won with unrenewed longing

Every day, every night in chastened haste, calling
That one face, one hand trembling on bosomy thigh
Through all the twigs of his knotty brooding

Mighty log in the dismembered chips, raking
In uneasy orgasms of a protracted lie
The woman clasped in the memory revolting

Fleshy hair to press, hovering nostrils, drinking
In the incensing vapours, and that face a wry
Screaming in the rubbing spasm, a bloody cursing

All, all and more, and the biting shame, clawing
Now at the name, silently growing, that shy
Child of old hopefully shared and lingered moaning


(© T. Wignesan,1957; first pub. in 'Forum Academicum', University of Heidelberg,1957; from the collection: T. Wignesan. Tracks of a Tramp. Kuala Lumpur-Singapore: 1961)

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The Death of the Hindu

Chin cupped
on the ancient bone
of his elbow
he spread five fingers to the world:
and like a cat on zither strings
the hoarse voice of his fathers
issues from his forgotten children:
now he picks one tick
from the back of that suckling cow:
his failing fingers
find not the strength to crush

Not a single eyelash twitters
pass him by
pass him

'Wake not a man asleep
And tell him he has
Nothing to eat.'

(©: T. Wignesan - Paris,1957; from T. Wignesan. Tracks of a Tramp. Kuala Lumpur-Singapore: 1961; first pub. in 'Forum Academicum', University of Heidelberg,1957)

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Coal-Truck

I am a coal-truck
Carrying gold dust.
Someone threw some
Coal-dust upon
My gold-dust.

I am a coal-truck
In a gold mine.
Someone struck a coal vein
And piled me full in vain.

I am a coal-truck
Covered in subterranean dust.
Someone shovelled my soil
And found an ancient bone
All coiled.

I am a coal-truck
Waiting for the rain.
The sun is my rail
The night my shed.

I am a coal-truck
Rumbling all the way.
Wash me in the rain-storm
And fill me full of coke
Until I choke.

(©: T. Wignesan,1957 - Pub. in 'Forum Academicum', Heidelberg University,1957; from the collection: Tracks of a Tramp. Kuala Lumpur-Singapore: 1961)

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The Gnat Nebulae

Full pummelling fisticuffs
Stitch over stitch
In and out
Imperceptibly kaleidoscopic
Swirling from ear to ear
Sporadic
Thrumming mystical notes
Notes of whisper
Whisper in the ear
Now a bothered swish of clawing
Cleaving slipping fingers
Immalleable rolling universal ball

Microcosmic needle into
Macrocosmic wool all
Silently thudding kneading pulling
Sealing a sin all opened unforgiven
Eternally whispering to a few
And never really heard
Pummelling sewing the invisible centre
Round and round the darkless sun
Only the end that began

Only a scratch and a bother
What bother to scratch
For scratching bothers
Bothers a scratch

Scratch and not to bother
Scratch Scratch Scratch

Dedicated to J.C. Alldridge

(©: T. Wignesan - Paris,1957; from T. Wignesan. Tracks of a Tramp. Kuala Lumpur-Singapore: 1961; first pub. in 'Forum Academicum', University of Heidelberg,1957)

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The Snake Charmer and the Hamadryad

Piccolo and been-throated pibroch
Dilating dimpled hood
Spreading photometric darkroom eyes
Waxing waxing matching
Venomous lip to music's piping lip

O Queen of stung dragon-mouthed Po
Dancing girl of nuanceless ancient reliefs
The apotheosis Brahman curling on the neck
Must you now sink sink
Dread watched
Spineless
Into the winding womb wickerwork
Watching watching pipe-eyed watching
Until you slip
Over the sill of the pipe and the lip

Anathema!
Amorphous piteous anathema!
Amulet of Siva!
Licking the boneless air companionless
Then slithering to lie on the trodden path
Must you have this one last lick
A lick that
Stills the
Unheeding
Child astray
Or ripple tailless
In the reedy gust
To the squat charmer's
Hypnotical pibroch

(©: T. Wignesan - Paris,1957; from T. Wignesan. Tracks of a Tramp. Kuala Lumpur-Singapore: 1961; first pub. in 'Forum Academicum', University of Heidelberg,1957)

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I saw a tree a-falling...

I saw a tree a-falling
a-falling down on me
I had no way to turn
it was close on me

I thought it was a plot
to force me out
I knew I could not
even hold it or shout

It was a tree I sheltered
on many a longing day
And now it was so altered
coming to make me pay

I asked it why it longed
to touch its upmost brim
When all around no foe
turned the sun down dim

I touched its bark to hear
I thought I heard a cry
Two leaves it shed on me
and brushed its bark up high

I asked it why it stood
alone and left to brood
It shook its sticks in emphasis
as if to say it was good

(©: T. Wignesan - Kuala Lumpur,1957, from Tracks of a Tramp. Kuala Lumpur-Singapore: Rayirath Publications,1961.)

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Pied à terre

Once within a break in brambly fields
something stirred its fearful head in sleep:
Though it be woman or child, work or vision
something that dares not hold me in derision

But till that lingering day bares your face
with prating breath I bide my bane
And even as I clear the brake, shift the trunks
hosannas crop up before you every dawn.

And someday as I have you in my arms
in osculation's brimming nirvanic bliss,
May I not then turn away empty handed
though warm in your inane atmanic face

Then as I wend my kindly way down the road
pitch my tent on this terraqueous matter-mind
Should I then go looking for my immortality
through doors that are forever locked to me

Or could I then lie upon nescience' impervious skies
upon some smoky grass unmapped or husbanded
And hear the awakening cries of spring born trees
then get up to wind my way to some factory blast

(©: T. Wignesan,1957, from the collection: Tracks of a Tramp. Kuala Lumpur-Singapore: 1961)

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Paths in the Private Country

The memory in need
Is the implacable enemy of the creed,
Waits and watches its foe

The all-clawing frenzy on tip-toe;
Quiescent in the instant's repose
The thud of flurried gnawing years evoke.

The poet in his solitary moments, spoke
Those whispered words, memory's secret ear yoke.
His wares, his scares, ailments and balms

Suddenly at the oasis of his thirst, awoke
Transilluminating the hard wad of his private notes,
Clutching at the infant's murmurous innocence

The clear innocuous dogma of cries;
While his immodestly preened notes of travesty
Hark back; and the first poem playfully struck

Teaches him now too late the laugh, the critic's qualms.
Just as the poet had wandered away from childhood,
So will the child thwart the unspoilt man

And shyly, shyly he turns away from the poet
Coming in like a stray camp-follower to brood.
For who may ask which the supreme poet

The child's sweet ineffable musings disrespect
While language etherises meanings proudly sown:
The title in two is halved - one the art, one, lone.

And the man, memory's ill-begotten infant
Lurking round the corner, pranks the urgent moment
Or two - then restores the poet to the poem.

(© T. Wignesan,1957 - First pub. in 'Diskus', University of Frankfurt-am-Main,1960; from the collection: T. Wignesan. Tracks of a Tramp. Kuala Lumpur-Singapore: 1961)

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Little Clock

Why in pensive ticking, silent thoughts
You wile your time away
When all around huge swelling bells
Toll the days away!

Every hour that announced may go
Your silent hands take hold
And though the ages chimed in ears
Yours they never behold.

If all the clocks the world had known
Had struck one strong big note,
They would never still your plodding tone
Nor the working hearth you alert.

Do you wonder, wonder, little clock
What makes the grandfather tick!
Or his aching belly in the depth of sorrow
Cries to the world it's sick!

Thirty million years and Pleistocene dark,
They are one split second short!
And whimpering suns that rise and flop
Have scarce stolen your tick or thought!

So, my little clock, my faithful clock
When I hear the tall town bell,
I'll shrug my shoulders, one tiny moment
And know that all is well.

Dedicated to Gertrud Widmayer, my landlady at Heidelberg

(©: T. Wignesan,1957 (from the collection: Tracks of a Tramp. Kuala Lumpur-Singapore: 1961)

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Feet, feet that walked away with the toes

Heavy the hoods of the eyes
that laboured the scan of horizons
Heavy the course of the thoughts
that sat unstirred on the sill of the stare

Heavy this ancient bottomed nose
sitting in judgment over this meat
Endlessly shunting the frenzied workers
now sniff-drunk and steam-bellowed in the street

This the scull careered through rutted scars
the primeval hair bushed in pathways
Where long tribes with long lances
prod the undergrowth for signs of lost bones

These the ears that heard the wake of worlds
wandering in the ever irretraceable tread
Ears though that admit the silent secrets
ever still and hospitable to the panicky refrain

This the assembled machinery, forging fire
have dropped the tongs
Down the corridors of investigation
hurtling in darkening diseases

These the loins, companion of time
stalked through fire, filth, and foam
Baked in the hot ovens of empires
wearied some morning in blurry depredation

Wobble-eyed, knee-tied, dragged with pacing company
through yesterdays that are forever lost indemnity
Heavy the larvae lipped throb, kiss and consider
heavy the molten strata ooze, consider and kiss

These the organs that prodded nations
and shrivelled up to curse them all in pain
Pursed its potency, convulsed the course of the vein
this the dismembered member of the tribe

Heavy, alas, these feet that thump
jog and reel in the dancing rhythm of millenniums
Trod on the will-less face of faiths
twitched their toes and walked their way

(©: T. Wignesan,1957 (from the collection: Tracks of a Tramp. Kuala Lumpur-Singapore: 1961)

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Night in the Eyes, Invading

I do not know if this is true what I see:
I see in some dim, distant, desolate rock-hold
gathering peoples, driven as though by common fear.
A low mournful humming drifts with the breeze
of manhood tread, and eyeless turban-headed
in the lambent darkness, fire-fly brands moving.
This symphonious humming fills my heart
with deep remorse I cannot quite understand.
In a winding never-ending line they keep coming:
mesmerically drawn as in a living dream.
They do not speak but it seems they are in
common bondage bound and move to words of order.

Someone is dying or some great catastrophe
has befallen these earthen men - for they do not speak!

So many seem to come, but only a few are here.
Yet they keep coming and around
a little rock are gathered cross-legged, naked
scalded knees jagged out, a cluster of brown skinny men.
On the rock someone is standing and a little
behind him - I do not know what - a tree, a ragged pole
or dolmen! and yet here it glows, now a moment paly.
Fading far volcanic lights skip engulfing the sky.

I cannot say what this is all about.
I have a fear the Aliens are here.

And in the middle of this funereal happening,
a voice bursts out crying - 'EMILIANO'...
'Emiliano', and then a choking whimpering
and again - 'Emiliano......
Is this all that is left for me! '

(©: T. Wignesan - Paris,1957 - rev.; from Tracks of a Tramp. Kuala Lumpur-Singapore: Rayirath Publications,1961.)

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Blinks through bloodshot walks

When at five-thirty
In the rubbed-eye haziness
Of ferreting lonesome night walks
The camera-eye refugee
Asleep in the half wakefulness
Of the hour
Peers out of his high turbanned sockets:
Hyde Park's through road links
London's diurnally estranged couple -
The Arch and Gate.

When at five-thirty
The foot falls gently
Of the vision cut in dark recesses
And the man, finger gingerly on the fly
Gapes dolefully about
For a while
Exchanges a casual passing word
Standing in the Rembrandtesque clefts
And the multipled ma'm'selle trips out:
Neat and slick.
They say you meet the girls at parties
And get deeper than swine in orgies.

When at five-thirty
The fisherman's chilled chips
Lie soggy and heeled under the Arch
Where patchy transparent wrappers cling
To slippery hands jingling the inexact change
That mounted the trustful fisherman's credit:
The stub legged fisher of diplomat
And cool cat
And the prostitutes' confidant;
Each shivering pimp's warming pan.

Then at five-thirty
The bowels of Hyde Park
Improperly growled and shunted
And shook the half-night-long
Lazily swaggering double-deckers,
Suddenly as in a rude recollection,
To break and pull, grind and swing away
And around, drawing the knotting air after
Curling and unfurling on the pavements.

And at five-thirty
The prostrate mindful old refugee
Dares not stir
Nor cares to wake and swallow
The precisely half-downed bottle
Of Coke clinging to the pearly dew
Nor lick the clasp knife clean
Lying bare by a tin of' skewed top
Corned beef, incisively culled
Look! that garden all spruced up
An incongruous lot of hair on that bald pate
No soul stirs in there but the foul air
No parking alongside but from eight to eight.

Learning so hard and late
No time to scratch the bald pate.

At five-thirty-one
A minute just gone
The thud is on, the sledge-hammer yawns
And in the back of ears, strange noises
As from afar and a million feet tramp.
One infinitesimal particle knocks another
And the whirl begins in a silent rage
And the human heart beats harder
While in and around, this London
This atomic mammoth roams
In the wastes of wars and tumbling empires.

(© T. Wignesan 1956, London; from T. Wignesan. Tracks of a Tramp. (A first collection of poems: 1948-61) Kuala Lumpur-Singapore: 1961.)

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Bedtime on Tramp

He woke down the slope, by the hay
With him a thousand shrill cries
That stilled to him, yawning.
He moved with strands of hay, trailing
On his rags.
Sauntering, he is a flaneur...
The road lamps gave him away.

He moved and with him, his bed
And time moved.

Half-way on a bridge over its side
He saw a bridge in Japanese ruin
Chaffing in the hurrying waters below.
He cursed the Japs for lying fallow
Spouting his rheum.
Pondering, he is a sinner...
He knelt for those braves, never to ride.

He moved and with him, his bed
And time moved.

A gale rolled down the road in dust,
Churning it up, a regular willy-willy.
The fizzing trees corked: the shutters' hinges off.
His eyes sore: swaying he would cough.
He stood now willy-nilly.
Thinking, he is a fritterer...
He chased the trapping miasma, loping his Wellingtons' lust.

He moved and with him, his bed
And time moved.

The rains were bursting heavy on the esplanade,
A rocky splash soared with spray from the waves.
He sought the bulwark of the stony balustrade,
The waters were rising over the promenade
Like columns of graves.
Musing, he is a shirker...
He plunged into the sea, bold as a blade.

He moved and with him, his bed
And time moved.?

He helped himself up to the wind's foremost blow
On a hillock where the moon searched his impecunious pockets,
Waking a flood in his eyes like swelled teats.
He opened wide to receive the Lady, this Endymion cheats,
No worm-wood virus but sweet philtre phials.
Finishing, he is a lover...
He sought the bosom of Erebus in her wildest glow.

He moved and with him, his bed
And time moved.

A scavenger cat clawing a bushman's billy-can
Some hard laid by in his work, purred with surveillance
In disgust over him turning tins over in the bin.
Together he cast the lid by to biltong and raisin:
The cat devours, he abandons the prandial dance.
Pausing, he is a server...
He ate them all like yams those starved seamen.

He moved and with him, his bed
And time moved.

Over the mellowy orchard, for a while he blotted,
Down the glen he skied on the mossy rock
And rubbed clean in the steamy fume of the fall.
Clambering on the paddock, the love-grass over him gall
His rag-patches, bee-combed, mock.
Swearing, he is a dreamer...
He tore tearfully through the palliasse of touch-me-not.

He moved and with him, his bed
And time moved.

Now upon the road of life, he chanced
And espied himself the mutest spectre dust,
Cruising his hour in the propelled sleep of night.
He saw himself waft from this mount to that bight
And saw it was not wont or just.
Laughing, he is a god...
But this infidel purpose of man be countenanced.

He moved and with him, his bed
And time moved.

(©: T. Wignesan,1948 (from the collection: T. Wignesan. Tracks of a Tramp. Kuala Lumpur-Singapore: 1961.)

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Künst

Each sound
free or bound
each petal
Each quivering utterance
bold and round

these handicrafts
these unthinking feelings
flower in the minute thinking fingers
untranslatable intent
when other more enduring
forms
stop the outpour
tax and stem
and call for aged patience's munificence:

At this the heart will pause
before labour
the consciousness severing from congenital cries

« I'll pound harder for patience's sake »
the penitent heart upbraids.

« Only so, until I too have learned
to punish words into some form
then men of all climes may equally say
‘This I understand for my father did as well
as forefathers to grandchildren might dwell' «

Might one say again
- need it be said -

Why this shape for the violin
Is this the only colour of sound
That must with horsetail on bark
be whipped to wail and whine
like an harpy


(© T. Wignesan - 1960, Heidelberg, Germany. (Rev.2012): from the collection: « tell them i'm gone », Paris,1983. ISBN 2-904428-07-0)

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On hearing that Ronnie...

To recall a friend
is never an adieu
he has merely stepped across the landing
the light still beams the door's ajar
you can hear him pacing humming swinging the windows
to let the street in the warmth
the wind ruffled
through his half-opened shirt

Across the spare digs halfway to the Schloss
austere in the shaded light slanting on drab curtains
the bare table rough-hewn the dishevelled books
the gaping porcelain jug and still wet basin
the whiff of fresh-bitten soap the close shave
and the stiff white collar excusing the day-old striped shirt

A gentle tap the door opens to a glass of port
cut bread
and even if you will not
cheese

'Beware! Beware you don't become an Hasbeen! '
he made no bones of his luck from stipends through Reading
the wideopen eyes commisserating through the flailing sheaf
fallen on his ample brow
the hand ever brushing aside
that wilful unconcern in your life
in your little worries your mishaps

And you knew you had mattered in his life

To recall a friend
is to give body to form
to words that bind muscle to bone
those mutual moments

You may come back a quarter of a century later
And he is still there a trifle stumped by your aged face
the mutual moments flow without break

You had driven through four sleepless nights
your eyes peeled beyond weariness
your mind bristling and in the red

'Take care! Take care', he said, 'lest you burn both ends! '

Other worlds other duties
keep you from bringing up his face
keep you from keeping mementoes:
'Never excuse, never apologise! '

yes you might have penned a word
when the stolid face swung back
you didn't for that would've been abrupt
too flippant unceremonious requiring tact

So you turn up a l'improviste
the mutual moments flow over coffee at the Konditorei
the same cream curtains
the same goldbraided periodlike chairs
over neatly folded ceremoniallike lace
the irreal flood of filtered light
outside
no more the tug and grating pull of trams to dull your words

Again the same attentive stare the same empathic vigil
for your fresh worries for your private imbroglios
while he foregoes a meal at the mensa

Only you hadn't known nor suspected
the stealthy pain gnawing away at the bones
nor did he let it be shown

Only the stoic face and the pained look
for your own blasé pain

Dedicated to Ronald Hindmarsh-Midwood (May 24,1930 - January 17,1992) *

(*Ronnie taught English at Heidelberg University when I first met him during the summer semester in 1957.)

(© T.Wignesan, July 4,1992 - Published as a « preface » to Ronald Hindmarsh's commemorative writings: « Mr. Hindmarsh is not writing a book.' 1993; from the collection: back to background material,1993]

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What Time Are We Living In

It's not if but since the future can be told

To a broadly verifiable degree

What time are we living in: present old

Future or has it all gone past already

Don't tell it for honours to politicos

They hanker after two-bit history lines

Don't even whisper it to military macros

Lest generals decorate brows with vines

Don't spill the truth to those who slaughter

With God on their bloody bleeding minds

For they will leave none alive hereafter

And lease Heaven out to kith and kinds

Time is but a ruse of passing moments

The more it unfurls the more the laments.

© T. Wignesan - Paris,2005-2012. (From the collection:

Poems Omega Plus,2005-2012)

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You Said: Why Can't I have My Day

a cherished paper-cutting

for
those who forgot to care
and for you
too late

a cribbed account
in pale bold face
on some crowded backpage
which lapped up the soya stains on the takeaway counter

some faded picture of you
crammed in nubile twists of fronting elegance
in meagre-columned glossy pages

you said: why can't i have my day
why should a destitute Greek prince
lord it over the world
just by tying a knot with his regal cousin

your eyes recognising too late
a world you may never see again
a world you may not be seen in again

all your self-suffocating words
and all those poured in contempt
on you
through you
for you
to feed those who grudged your fleeting glory

Now now that all may be forgotten
now that no bile inhabits this carcass

over some too pulpy a fruit
a taste of you
from freshly-turned earth
bloody juicy earth
our teeth caught
clinging to your bleeding shredded flesh

of cells into cells
of us into our selves

___________________________________ _________________________________________________ ____

(© T.Wignesan, Paris,1987; from the collection: Poems Omega-Plus: a less than obvious sequence,2005)

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To One in Allienation

I
Last night I saw you decked to meet
The coming of those most reluctant feet:
The little bonnet that you wear
When you would fain, for his sake, be more fair;
The primrose ribbons that so grace
The perfect pallor of your face;
The dark gown folded back about the throat,
And folds of lacework that denote
All that beneath them, just beneath them, lies:
God, for his eyes!

So the man came and took you; and we lay
So near and yet so far away,
You in his arms, awake for joy, and I
Awake for very misery,
Cursing a sleepless brain that would but scrawl
Your image on the aching wall,
That would but pang me with the sense
Of that most sweet accursed violence
Of lovers' hands that weary to caress
(Those hands!) your unforbidden loveliness.

And with the dawn that vision came again
To an unrested and recurrent brain:
To think your body, warm and white,
Lay in his arms all night;
That it was given him to surprise,
With those unhallowed eyes,
The secrets of your beauty, hid from me,
That I may never (may I never?) see:
I who adore you, he who finds in you
(Poor child!) a half-forgotten point of view.
II
As I lay on the stranger's bed,
And clasped the stranger-woman I had hired,
Desiring only memory dead
Of all that I had once desired;

It was then that I wholly knew
How dearly I had loved you, my lost friend;
While I am I, and you are you,
How I must love you to the end.

For I lay in her arms awake,
Awake and cursing the indifferent night,
That ebbed so slowly, for your sake,
My heart's desire, my soul's delight;

For I lay in her arms awake,
Awake in such a solitude of shame,
That when I kissed her, for your sake,
My lips were sobbing on your name.

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Give me back my name

tell them i'm gone
tell them i'm gone to change my name
give them any name
i'll not give them another name

tell them i'll not take my father's name
no more father than i'm my own
i do not create
i'm not responsible
i have no ownership over my makings

so i'll take this name i've got
for the moment
tell them
and i'll go short-changed to be cast again

yes
tell them i'll go and change my name
not have my name changed
and come out again unchanged

tell them again i'll not take my father's name
yes
tell them that
tell them i've gone to change my name
my very own name
and yet keep the name i've gone to change

yes
tell them that

tell them when i'm there
i'll see why josephus broke the essenic law
why marx the mighty essene changed his name
and note
why the ribonucleic-acid embargo in between
why the dna father-son short supply

i am a cell lodged in the molecular-memory-millennia
i'm the agent of growth and decay
i see the cells strung out in an embryonic fantasy riddle
while intercourse was still permissible

i proclaim
i propound
in my genes the spermatic stimulation
the evolutionary process
the woman the link-breaker
keeps it all going longer and longer
until i stand and transmit
until we reach out into the micro-wave length
listen in on ourselves
in the multi-macro-cosmic network:
the tv stations
the electronic transmitters
the nether-world subliminal messages
all shall interlock
and we remain tuned in
sitting bolt-tight-up
in our nudging squeezing cells
no more afearing nor doing
no more no less that is
than sucking a python diet

we'll do without rousing sex-play
courtship nor foreplay
or even sans monetary excuse
we'll do it for ourcells
in ourcells
by ourcells

then i'll not have to go away
nor will you have to tell them

‘he thinks he's gone to change his name
his only name
and quite probably not take his father's name'

rendes-moi mon nom unique

(©: T. Wignesan,1965 - London, from the collection: tell them i'm gone. Paris: 1983; rev.2012)

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On Authors, Critics and Readers

Some leave behind a hard-won name

Others only fame

A few the sweat and tears of their passage

Snatched from the rigours of their age

Yet none the folly of the game

Fiction is licensed perjury

The coward's excuse for character

Courage revelation originality veracity

All conspire to make for a writer

All mirrors distort

Reviewers like haïr-dressers retort

And mistake the fall of water for the harp

A mere critic can only carp

If what you see is repugnant

close your ever envious eyes

and you'll even see in darkness

and the reason for your blindness

(© T. Wignesan, Paris - 2006. Pub. in T. Wignesan. Rama and Ravana at the Altar of Hanuman: on Tamils, Tamil Literature and Tamil Culture. Chennai: Institute of Asian Studies,2006 & Allahabad: Cyberwit.net,2008.)

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A cure for forty death-dealing cells

Impotent at birth

Impotent at death

and only somewhat potent in between

Why were you born without your own consent

What was the karmic guilt of your first birth
and what about those maimed in the mind
crippled in the womb
eaten by meningitis
by herpes
by syphillis
by aids

What are their chances of mending their karma

And what about that baby born without a brain
How is it to be blamed
for not giving its organs to some transplant bank

Who cares if you live on
If you die
who cares
and for how long

Does one have to care
being but ephemeral

(© T. Wignesan, April 2,1992, Paris - from the collection: back to background material,1993)

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