Showing posts with label 201609E. Show all posts
Showing posts with label 201609E. Show all posts

Poems by Graham Lancaster

Graham Vivian Lancaster

Grey Day

Sitting on a wall
Wrapped up warmly
In partial shelter of another
As the cold wind gusts past
Lifting spindrift off the grey ocean
Wet suited surfers slice
White swathe sharp turns
Away from tumbling foam
Up the face
Float the lip
Disappearing down
Amongst the foam
Then an arm
A head appearing
Breaking right
Out of the
Boiling soup
Gouging white tracks up
Grey banks
Propelling them shoreward
Yet somehow the prisming
Rain spot on my telephoto lens
Fascinates as I try not to
Snap the surfer through it

I Wonder

Sitting on my wall
Watching a boogie boarder
Streaking down the wave
Curling above
Turning at speed
Riding along the face
With legs trailing
And I wonder
What photographers
Did with photos
They took of me
Riding the waves
Without a wetsuit
When I was his age?
Could I be on a
Postcard somewhere?
And I wonder
At how quickly
The years passed.

Redefining the canon - Radical art and craft of Kiriti Sengupta

Brief meditation on his book of prose poems: Reflections on Salvation

- By Sunil Sharma

Reflections on Salvation
Reflections on Salvation
Kiriti Sengupta
Published by Transcendent Zero Press [Houston, Texas] in July, 2016
ISBN: 9780996270465
Price: 8.00 US Dollars

Kiriti Sengupta, a dental surgeon from Kolkata, is industry-trained to deftly operate by digging deep into nano regions. Probing the rough surfaces in circular manner, inside-outside, in quick seconds within an open mouth, requires patience, observation and skill of a high order. Peeling off the enamel, filling up the cavities and decay in complicated procedures with a pair of nimble hands and few gadgets — is challenging for both the doctor and the patient; for the latter, a bit more, as it involves personal space for the inspection of a foreign body. But the end-result is worth the costly ordeal. You get clarity and relief in an hour or so, reclined on the chair, a soft medium in the expert hands of a person in white; pleased with the state of temp nirvana, post-consultation. The doctor-assisted process is intricate—

Evaluation
Relief from pain
Illumination

[About your disease, from the specialist]

And a regimen to avoid frequent visits and the daunting prospect of getting teeth pulled out or in, with mouth open but gagged. Majority listens to the advice and acts accordingly to avoid an unavoidable repeat performance … or until the time, it can be further postponed.

Kiriti Sengupta is no ordinary surgeon. He is a globally recognized writer, editor, blogger, columnist, interviewer, promoter… and these days, a sage poet dispensing gyan [wisdom] to those seeking escape from pain and suffering, but this time, of different scale — caused by/to mind and soul.

Reflections on Salvation [RoS] is a handbook of a sort for the hurried. Or, is it a help book? Or, is it a string of pearls that in a bland syntax, literary journalists might opt to call wisdom?

No coincidence that it is your favorite dental surgeon, who is often tasked with the job of extracting that last tooth [third molar] giving lot of discomfort and some insight/hindsight into the existential suffering inherited in general by human body in an otherwise violent and absurd world of mall-killings, suicide bombers and sectarian cleansing! Wisdom! Wisdom tooth, and the dental surgeon, as your typical angel, is on the call.

No doubt, Marquez dedicated one of his magic-realist short fictions to — whom else, but a dental surgeon in a troubled part of the world. And Marquez devotees love that story.

The same set of cognitive, mental and visual skills combined with dexterity is brought into play by the artist Kiriti in his latest offering, the RoS. The scientific, medical, poetic and speculative side of a scholar gets enmeshed in this line of inquiry manifest in the book published in the United States. From evaluation to enlightenment; decay to restoration; pain to relief; inside to outside in a circular motion, and finally, a few of gleaming pearlies that reflect back from the coated surface. In the present context, a series of glittering words that render new insights into the very nature of reading/writing/cognition and praxis. The entire procedure is minimal and non-invasive and leads to heightened clarity.

Kiriti Sengupta
Reflections on Salvation is a verbal probe into the perplexing duality of the past/present; the dynamics of heritage/contemporaneity; sacred/sacrilege; tradition/modernity; word/meaning; signifier/signified; construct/constructed and de-constructed for another re-construction in an endless play.

Through the book of “random” thoughts, Kiriti undertakes and destabilizes the very act of hermeneutics and sets up the democratic right of the well-informed reader to assert their right and autonomy of their objective reading of a pluralistic text.

In a way, it recalls the bold gesture of Martin Luther or Galileo in resisting the official hierarchies involved in the solitary act of reading texts or interpreting things held sacred by the politics of a given era.

Kiriti is here on a demolition job. Working on a stream of ideas like Joyce but in a different direction, Kiriti questions the authority and weight of opinion accumulated carefully by a Brahiminical system of regulation of thought; a hegemonic structure of policing and power over national imagination and collective perception of reality as evidenced in great texts. He interrogates the rituals, chants, thread, holy books, color code — the entire signifying system of the Hinduism, analyzed in small paragraphs called chapters, in total eighteen.

It is Zen-kind of meditation triggered by insignificant things that lead to most significant insights, views on a hoary past informing our present through a clutch of symbolic practices designed to perpetuate an outdated order of moral authority and sacredness for a priestly class, out of sync with a tech society with its own mythologies.

In simple prose, Kiriti deftly delivers the key results, working on nano spaces and decaying surfaces of our communal existence.

Take this parable called “Third Molar:”

“A woman came to my clinic with a carious wisdom tooth. She had severe pain and wanted immediate relief. I made the tooth numb by lignocaine. Once relieved the woman became insistent and said that she wanted to save the affected tooth. I had to decline and prescribed a few medicines that would eliminate inflammation in the first place. I advised her to return after five days and get her tooth removed. She didn't agree and named a few modern procedures that might help her. She even questioned my skill, “Aren't you aware of atraumatic restorative treatment?”

I could not help it; I smiled and said, “Trauma necessarily precedes wisdom!” (page 6)

This is illustrative! A doctor and his mundane world of instruments, light, sedatives and suffering patients in search of instant relief in a well-equipped dental studio; a sharp intellect searching for answers in that clutter and deadening routine, and, finding the perfect answer to the riddles of the complex universe, in a wisdom tooth.
Again, the binary of insignificant/significant gets reversed and its arbitrary nature revealed through such an investigation of truth. The conclusion is beautiful: “Trauma necessarily precedes wisdom!”

This is a classic Zen-moment: A Zen epiphany. Call it by any name. The truth is couched as a simple one liner … short … succinct ... luminous — like a rain drop, detached from heavens and resting on a blade of grass in a lonely meadow, away from highway and its machine madness.

Surrounded by the tools of his craft/trade, Kiriti articulates the benefits of pain to a disciple-like figure: Better awareness of the universe is obtained through most unlikely routes, in this case, a molar. Baby Krishna showed the cosmic reality to his mother in his widely opened mouth!

That pain, trauma and death are the springs of religion and philosophy are a well-known fact. Siddartha knows this the most. Operating in that environment, Kiriti ponders over human condition like an adept and comes up with his own manifesto in the form of the illuminating RoS. Take another look on color saffron:

“Why do we commission a priest to worship the household gods? I wonder if we are not capable enough to perform the action on our own. We are perhaps glued to the sacred thread, the holy shaligram, and we nurture the very thought of listening to the loud chants of the religious verses. Aren't we cursed badly by ourselves?

Saffron adds color and flavor to certain delicacies, but when it shows up on your attire, I find you saintly pious. It is all in my mind that has been grossly tuned to accept and refuse the effects of the colors they carry within. I'm telling you, with saffron comes sannyas or renunciation, and with renunciation arrives attachment. Attachment with the world, attachment with domesticity, or may be the gods.

How does one become a monk? Is it by renouncing the fruits of actions one undertakes? Even the gods invite dependence, and remember, they are considered superior to the saints! (“Saffron”, page 1)

In this engaging candid conversation with a reader, Kiriti lays out the contours of the map beforehand, in the introductory chapter. Here is the essence of the journey surmised for writer and reader:

“The Geeta has been interpreted by many scholars, saints and monks down the ages. One considers another wrong or b vad. One interpretation invites another, and it has been observed that what once had been referred to as a right interpretation, has later been criticized as a misinterpretation. Why do we need an interpretation of the verses as contained in The Geeta? The verses are meant to be read, absorbed, felt, and followed, and one would need an enlightened Master or Guru to guide followers. Even the Masters differ while explaining the teachings of the scripture, and who am I to utter the final words? I have no intention to start an exclusive lineage of devotees, come on!

Scripture does not allow one to be judgmental. Scriptural verses deserve contemplation, and Reflections on Salvation is a work of literature, spread across eighteen short chapters, which hopefully stir the age-old notion about sacrifice, renunciation and salvation. [“Have You Secured a Happy Afterlife?” page iv]

Kiriti’s prose is deceptively innocuous, especially the last line that declares that the writing intends to “stir’ the age-old notion about sacrifice, renunciation and salvation. It, indeed, does. It stirs the concoction skillfully and serves the stir-fried meal for hungry soul. What is sacred? What is reading? Are the values of the ancient religion, Santana Dharma, of The Geeta relevant in a materialistic world; a world of consumption and instant gratification, in a global market where every item gets neatly labeled and sold to that segment of interested consumers?

What is the autonomy of an enlightened reader in this packaged and pre-ordered universe? Can rites be re-interpreted? Can such a meditation be called literary? Or, philosophy? Can random thoughts — stream of consciousness carefully manipulated, cultivated, edited, designed and then published in that beckoning capitalist nation U.S.A. ---be called art or serious writing? Is speculation an art? Philosophy?

Sunil Sharma
Well, to me, here lies Kiriti’s genius. He re-defines the boundaries and the canon like every serious artist. He is radical in pushing and reformulating the genre and making us see the Keatsian truth in a Grecian urn, despite the opacity/age, on the strength of his sincerity and conviction and a fluid style. Kiriti Sengupta is avant-garde. He announces a kind of writing inaugurated earlier by Woolf and Joyce that challenges the ossified order, traditional narrative, representational modes and ushers in a new way of seeing/reporting/documenting the falling atoms.

In a way, Kiriti subverts the writing process also and de-centers the old ways of thinking/seeing by heralding New Writing that is enthusiastic, bubbly, ecstatic and questioning the old modes and searching for new answers to some fundamental questions of civilization. Through RoS, he attempts a new poetics of existence, human condition, through a restrained lyricism and spiritual debate and produces a revamped episteme about scriptures held dear by a culture and its managers for their own monopoly and survival in a caste society, on the brink of transformation by economic and tech forces. The RoS is Baconian in its insistence on knowing the nature of reason and Sartrean for trying to understand the nature of being and choice-freedom in a circumscribed world, over-determined. The book is a new renaissance valorizing the individual and placing that Rousseau-figure over and above tradition and the belief that our inner reason, conscience, is capable of realizing the sacred within: “They say God dwells within!” (“Salvation,” page 18)

Human agency: It is an assertion of humanism over the stranglehold of stale custom and hierarchical religion and liturgy.

The style is poetic that is resonant. The descriptions are lucid and brief for a reader on a go. The RoS is modern classic that refuses to be pigeonholed and thus, destabilizes the very artificial nature of canon-formation; categorization; labeling of intellectual discourse, its boundaries and taxonomy practices by a culture ready for branding/selling every experience. It is a book for the quester willing to navigate global pathways to new knowledge. The surgeon and artist delivers … a Savant-sage has arrived!

Links:
(This review was earlier carried in Transcendent Zero Press, USA.)

Poetry and Artwork - George Onsy

TO EVE EVERYWHERE FROM ADAM OF ALL TIMES

George Onsy
It took You,
God
More than
Just one rib
To form
Her structure
So tender
So fancy
To let
My impossible
Dream
Step out of
The realm of
Fantasy.

It took you
More than
Just one rib
To answer
The yearning
Of my heart,
Modeling
This living piece
Of fine art.
Woman

Yes,
You did take
Just one rib,
Altering my whole
Anatomy
Promising to put
Instead
Pleasure
In the place
Of loneliness,
Of agony.

You took
That one rib,
Filling
Its gloomy void
With
Strawberry-red
Flame of
Fire
That when I just
Woke up
I found no name
But called it
“Desire”.

Thanks be to you
God
For in my life
She waves
Wondering
Between
The reality and
Myth
But without her,
My so-called life
Would always have
The taste of
Death.
O God,

God,
If you had not
Done
I would have
Taken out
My very heart
Out of the depth
Of my core,
Held it up, asking:
And this, Lord,
What is it for?

TO GOD FOR THE WOMAN

O God
Thank you for
The woman
In man’s life
She gives him
A reason
To be, to try, to strife.
She is your very touch
Through which
You would like
To love giving so much.
She is the melody
Of your guiding voice
Where dancing
Will be the only choice.
She is the colors
Spread by
Your shining sun
Filling the air with
Laughs, songs and fun.
She is the reflection of
Your smiling moon
On joyful rivers
Flowing soft.
Running fast
Until they dive into
The boundless ocean
To be one at last.

TO THE BLOOD

(In Memory of Violence Victims Everywhere)

O blood,
I wish you had
A sound
To crack the silence
Of conscience’s
Sleep profound
O blood,
I wish you had
No color
Reminding me
Of a flower
Once given
By a victim
To his lover
O blood,
Others’ or mine,
Stay on earth
To draw clear
A long-awaited
Red line.

THE SEA DEFENDING HIMSELF

(In Memory of the Little Child Found Dead on the Seashore) 

No, no, not me!!
It’s not me!
Who could do
Such a horrible thing
For whatever reason
It may be

It’s not me!
It is a creature,
Who calls himself
‘Human being’,
Who did it,
Didn’t he??

It’s not me!
Who made of myself
A refuge for desperate
Souls fleeing a graveyard
That’s once been
A dear homeland
Have you forgotten?!!
I’m not the harbor,
I’m the sea.

It’s not me
So, I’ve just
Thrown him up.
He never belongs here,
I’m only trying
To set him free.

It’s not me!
For if the deluge
Of innocent blood
Ever stains
My loyal blue
I would turn my water
Into tears to stay
Forever the sea
You wish to see.

YOU ARE LOVE – 8

On Divine Love
To God ….

You are love
And so often
In my distress
You surprise me
With tender breezes
That softly soothe
My complaining skin
Oh, such a bliss!
I wish to ask you:
Is that your whisper
Or your kiss?


India’s Wheel of Existence & Temple of Athena

(TO MY CREATURES – 3)
I was going to write a poem. But my words got bored. They revolted. They moved. They jumped up and down. They ran away from all circles of meanings, getting unbound … unfolded. Their letters got loose, expanding … stretching on the white horizons of my painting sheet to become long lines, entangled … interwoven by the heat of emotions until they form together shapes, figures and bodies
With my latest painting: ETERNORAMA 2 

George Onsy © Aug 2016 . 50 X 70 cm . Watercolors on cardboard
… These are my creatures ...
O my sweet creatures!
You’ve come into being
By my lusting brush
As it’s been caressing
The very skin of
A passionately stretching
Painting board
I can see you
Trying to touch
Those legendary heroes
Carved on
The Temple of Athena’s
Frieze metopes
There, there
In my beloved
Immortal Greece
I can see you
Trying to move
My sacred Eternal India’s
Wheel of Existence
Round and round
Bringing to being
Yourselves and others
That are yet to exist.

YOU ARE LOVE– 2

You are love
And so it happened
That you formed me
Out of the bottomless
Abyss of nothingness
With your vision
Of a divine poet,
With your hands
Of an almighty sculptor,
With your fingers
Of a harpist
Of eternal melodies.
Oh, oh, how I love
The miracle of art
I’ve come to be!


A Study in Vijay Kumar Roy’s Realm of Beauty and Truth: Santosh Kumar Padhy

Roy, Vijay Kumar. Realm of Beauty and Truth: A Collection of Poems. New Delhi: Authorspress, 2016. Print. ISBN: 978-93-5207-250-7. Price: Rs. 250 & $12. PB.
“Sa vidya ya vimuktaye”:
A Study in Vijay Kumar Roy’s Realm of Beauty and Truth: A Collection of Poems

Review by Dr. Santosh Kumar Padhy
Assistant Professor of English
Science College, Kankorada, Ganjam, Odisha – 761144
Email: santoshpadhy123@rediffmail.com

Vijay  Kumar  Roy’s newly published collection of poems, Realm of Beauty and Truth (2016) consists of  fifty one poems that leave messages to my mind firstly of “vidya dadati vinayam” and finally of “sa vidya ya vimuktaye”. If we analyze these two Sanskrit versions of the ancient past, literally the first one sanctions the meaning that learning provides humbleness to an individual entity and the second one grants the high ambition of higher education  in India, which  means learning that gives us liberation. Therefore what remains in the middle part between the beginnings of education in our pious land, India and its latter highest component and position of life is nothing else but the mature life and growing years when and where an individual wishes to contribute specific experience and experiment in practical time frame of life’s living days with others. With the dynamism of his arrangement of poems in between the ‘Prologue’ and ‘Epilogue’, Roy’s Keatsian outlook of choosing the title of the volume considers moral decision and judgement signifying the ramification and ratification of social order and turmoil in our contemporary moment in time and extemporaneity. Here confirms the Wordsworthian demeanor, Arnoldian consolation, Eliotian heart, Frostian choice (of less-travelled road), Tagorean benevolence, Aurovindo’s patriotism and spiritualism in this collection.

Poetry to Roy is the heart’s song that churns feelings, emotions and expressions of one’s realms of “deep rootedness”. He learns poetry in the lap of his mother and is “captured by Her beatific smiles”. The meaning of mother is expanded here from personal mother to national and global mother what Lord Rama in the Ramayan while paying regard to mother sings of “Janani Janmabhumischa swargadapi gariyasi’, which is worth meaningful to understand that mother and motherland both are greater than the heaven. Since “the Crown and glory of Creation”, mother is such a benevolent figure that always retains her value and stance as she is the very epitome of bearing, rearing, caring and above all sacrificing for her children. Roy’s expert hand leads this collection to the zenith of success when he harps on the bliss of eternity and the glory of the creation. Poetry accumulates all hues and pleasant odours not only of natural bounty but also of blood, bone and soul. It is the innovative spirit of the poet to digest the great epics and classics of the world when he delves himself deep into the realm of delight and experiences his own meditation through the ancient Indian ascetics in this collection.

Yet the poet while pursuing “the mysteries of nature and divine knowledge” lets the self surrender as if he has liberated the self from all bondages and dispersed all binaries that usually obstruct both individual and national growth. “Nurtured by nature and engrossed by truth”, the poet learns how to cross all the barriers and boundaries because the human kind he constructs in his poetry beholds own culture, civilization, myth and mythology to redeem the cost of life and sublimity of social values. Roy’s search for real goal of life also looks at others and continues to study their psychology for which the poet often mourns the diverse intention of others who have neglected to understand the value and reality of life that causes severity and long suffering at one hand and on the other hand their dogmatic and conservative belief never lead them to keep faith on home as a temple. Here temple is a metaphor that enshrines and enlightens the meaning in its interiority.

Neither does modern education nor does present trend of living sanction peace to the much agonized heart and therefore the poet, while trying to open the eyes of the mass people, writes: “let our conscience liberate” where lies the glory of triumph and the victory of the purposeful life. In the name of science and under the garb of scientific progress what the mass people procure is the vastness of machine and machinery, factory and industry, however, sophisticated in their size, shape, safety and security that not only have increased dirt, smoke, ugliness and pollution but also added pain, grief, agony, hatred, jealousy, malice, greed, sorrow and suffering to the moment’s living. In order to curb all these cupidity, avarice and malevolence, Roy’s truth of poetic intensity reveals love for the mortal beings and therefore the theory of love for humanity seems to be endless and immortal.
Roy gets arrested to entitle this collection by Keatsian quest for beauty and truth in which appears the very essence of life and quintessence of existence. Beauty, “the greatest jewel” beyond its shyness bewitches all kinds of countenance and then the wings of fancy open to touch the limitless sky in “the holiness of heart’s affection”, which is mystical but perennial that fills all the void and transition of ethereal bondage. To sustain these all, the poet’s ecocritical vision very often relies on flora and fauna of own natural landscape and then his heart gets the ecstatic joy, however, the very moment reminds him of the countless death caused by the atrocious and hazardous nature. Here comes a plain question to our mind: “Who is responsible?” Nobody else, only we are responsible for that that have deliberately forgot the Vedic culture to love and keep nature under control by performing yagna. It is our greed, mercilessness and exploitation that have not only destroyed nature but also shortened its life span where it is found.

As a poet of contemporary scenario, Roy spares none around him. His poems sound sweeter when he orchestrates his parents, family members, teachers and other inclinations of blood relationship. Richest are the Indian culture and tradition, myth and mythology, sages and seers, legend and heritage, clans and tribes, vales and hills, rivers and mountains – all more significantly portrayed in this collection. Here stone gets life and worshipped. The people of this revered land worship both human and non-human many times a year that solemnizes human attitude not only to be kind enough but also to serve all. By celebrating such theme in the core, our ancestors of the past and great men of the following era have left foot prints that can never be neglected. In exploring human life and values, this latest publication authenticates Roy’s both oral and aural oeuvre more philosophical than literal, more practical than mythological, and more real than spiritual. He has an apt attempt to prove that even God has chosen this sacred and profound land to take birth each time in each incarnation. This blessed and sanctified land has made her children feel proud all the time because what the globe thinks of now a days, that has already been practised and preached since ages past- “Vasudhaiva kutumbakam”, which means the whole world is a family. Similar aspects of high ethical values and morality have made our births meaningful and purposeful for which we are very much proud of our education, “sa vidya ya vimuktaye”.

Work Cited Roy, Vijay Kumar. Realm of Beauty and Truth: A Collection of Poems. New Delhi: Authorspress, 2016, Print.
About the Author Dr. Santosh K. Padhy (b. 1967) completed his PhD in 2005 and a Minor Research Project Sanctioned by UGC, Kolkata in 2007. He has authored Home as Metaphor, The Home-Bound Vision and Ecofeminism as a Global Commitment. He has also successfully completed a Major Research Project on ecofeminism and submitted to UGC, New Delhi in May 2015. He has translated an Odia story collection, Arrogant IAS and Other Stories. Dr. Padhy writes articles and poems both in English and Oriya.
Links to buy the book: http://www.amazon.in/Books-Vijay-Kumar-Roy/s?ie=UTF8&page=1&rh=n%3A976389031%2Cp_27%3AVijay%20Kumar%20Royhttp://www.authorspressbooks.com/book_detail.php?preference=815


Poetry by Anshu Choudhry

Anshu Choudhry

The Charity

She came a begging, or so I thought
Her wistful watch held me locked
Despite their wanting; and me of the giving

She dangled the little ape from over her arm
Throwing it towards me without regards for
Its limbs; its life; laments; lies; its anything

She then looked deep into my jumpy eyes
As deep as she could go there to find the guilt
That lay ashamed on the seat beside me, hiding, in the bag

She gripped the slit opening of the glass window
Her dark rough fingers dry, resistant against the shield
The lines on her palms firm and confident with hunger

She changed her look to an allegation
I dug, to seek my guilt and pass on to her for expiation
While the vigour of her stink, crushed my nerves, into garbage

She knew she was murdering me, with the poisons
 of her disease; she showed no mercy, the fun writ in her
Two broken teeth, whistling the last dirge for my funeral

She smiled now with reparation as she saw me dying
Her ape leered at my corpse, with her filth settling, to cover my grave
My guilt sunk me deeper, as I raised one arm above the marsh, with a tenner.

*****


The Last Palace

They sleep on either side
of this path crossed
everyday, every night
the Royals
It is time to break
the fast, perhaps today
it is late, or never,
 not as early as four centuries before

Or it does not matter
 Anymore ?  Maybe
it is dispensable
 a hamam, drowsy in beds
They are woken rude,
the din of horns
 blaring uncouth
 in peace not war

Engines roaring fierce
these steely ghosts
racing
frighten the ghouls
Concubines now dust
 touch them to rouse
they  bury further down
in the cold pits

When the sun is high
sending messages of warmth
they feel the dried blood
flowing again
Afternoons  lonely
the evenings as lively
as a mute audience
silent and still

to the drama for fools
Tragedies are the best
 comedies
Now, it is easy to see
Their nightmares
the mocking dreams
of true selves,
these bodies of bones without flesh.

*****

Height of Love

A fall is imminent
from where they stand; on the highest
point, the rocks are loose;
always;

they are meant to be unstable
 as if by design; yet
 the capering here is the merriest
 dance a body with a soul could
crave for;

souls with bodies are not lithe
as without desires;
 it is known that masses
accruing actions gather
momentum

 and so indulgence  is not profligacy;
it is the need
of existence; the force of the will
 is the propulsion defying
 the laws of annihilation;

all;
but the absurd believe in
 love

 and its achievements; it is the drop
 that hangs on the highest point
at the taper of a leaf; awaiting its fall
 in the mouth of a marsh frog;
 always.

*****


Poetry by Hema Ravi

Hema Ravi

REFLECTING

Flame colored birds in picture postcards
came to life in colonies in the Flamingo yards.
one leg tucked, the other stilt like leg in the water
walking, at times running steady, no totter.
the S shaped head held high
the pink-crimson plumage- Oh my!

Their screams pierce the silence
Yet, welcomed without defiance
iridescent coloration and large train
I’d love to see them dance in the rain.
Hovering around in parties
the peahens woo the ‘Smarties.’

The beautiful peafowls strut fearlessly
in the tropical and subtropical diversity
The Golden Eagle, the Hawk and owls in aviary
the panther and bear in the sanctuary
As the tram moves on unhurriedly

mask peels off, Man lets go humbly…
..........................
1824

The not-to miss number in the midst of
fairy tale homes with their green patches
Every evening I pass them
on my way to the park- Connoisseur’s’ delight!
The Divine Painter himself would halt
to gaze at this piece of art
riot of colors, the artist’s palette-
assortment of fragrant, flowers smiling away
Field Day for the enticed swarm!
More genial and gentle is the Master
even as he is mowing the lawn remarks
“You may come closer, take a look
take as many pictures as you like
it’s for everyone to enjoy.”
Back into time with thoughts of Vishnuchitthar*
who wove garlands and sang hymns
in praise of the Lord…..
Trudging home after the rather long walk espy
the ‘gardener’ with water sprinkler
his face as fresh as the blossoms!

(*Vishnu Chittar aka Periyazhwar dedicated his entire life in the service of God.)




Poetry by Tanmoy Bhattacharjee

Tanmoy Bhattacharjee

Musings of a wanderer

# When somebody is born tall, do you think he is sure to be in love with the sky?  And a dwarf loves to be in touch with the earth? These are the obligations for them, or instinctively they tend to become so? I mean, predictable or predatory?  Chromosomal folly or heavenly favouritism? Would you like to think for a while, about the back calculation?
# can we define maturity? My son thinks it as knowing the secrets of adulthood. Watching an advertisement in television he asked me last night the use of contraceptive pill. I just smiled and said, ‘right decision at right time, your bold question hold your time, the rest will fall at its place with time.’
# public is omnipresent. The wheel of cinefactory is at random with the dilly-dallying of the public. Even the rising of sun becomes a profiteering program for some public, for the sake of some public. Public is everybody to me, except ‘I’; I am always public for the rest. Inclusiveness is hardly a matter of choice. Probably the being and becoming of every ‘I’ gives birth to a re-public.

Story 

The faraway attraction, even the kilometres boldly approve
The story of every inches.
The story begins with my father’s sperms,
And the dark blue eyes are the best gift I have ever got in my life.
Yes, life.
The other name behind every naming words
Casually serious tempt to rummage all that are yet untold.
The story is in my hormonal imbalance
The story is in my washroom dirt
The story is in my nasal puff
The story is in my garrulous want
Even the story is in the sanitary pad, the blood stains, clotting
My drizzling wishes too are told in a story; the puberty
The poverty, parsimony, the crazy loner, the lascivious writer,
The lax embrace...

Medley middle

Good and bad move on hand in hand. None bothers for who comes second, what is in the middle, or what comes between the space ... to create space ... for another space. Middleman? Not our cup of tea, for he is so safe. ... yes, people detest safety. We need tears, jealousy, claim, commitment. In short, people despise the images of goody-goody-pretenders.
Every lineage demands halt, or everything crooked has in itself a linear poise. ... Human lives ... exemplary enough, is always at its present, although observance makes it cloudy through the terms ... then, now, again... people live in now, live on now, live for now, now has even some footprints to remember, now has certain hope for the next now.
A middleman’s note is at par with the man in his middle phase of life. He is neither safe, nor tainted, nor confused ...  oh yes, he is confounded. Between the roads taken, and the same not yet taken. Crushed within the ‘if that, then what’. Even there too is a question, does anyone really feel that he has now arrived the middle?


Poetry by Rajni Chhabra

Rajni Chhabra

THE PEACE AND HARMONY

Why an aloofness
Persists in human beings
Why we confine ourselves
In self built castle
We create around ourselves
A protection cell
Like tortoise
Brimmed with insecurity
And disbelief
Retreat ourselves
In that protective cell.
On hearing stranger's steps.

Once, just once
Cross the wall of disbelief
Share woe and weal of strangers
And demolish the wall.

Just become the brick
That will be used
Not in wall,
But constructing bridge
The art of living
Will follow
Spontaneously

Peace will prevail in your mind
Peace will reign the whole Universe.

Let faith be your guiding star,
To aspire harmony and peace
So that we breathe in congeniality
And unite world wide.

THE SUN IS SAME

The Sun is same,
But the radiance
Is new daily.

Same are rivers and streams
But daily fresh water flows.

Though same is our life.
Don’t get stagnant.
Daily endeavour
To tread new paths
And explore
New horizons.

MUSK DEER

Entrapping scent of musk
In himself
Confused was wandering
Musk deer

Ocean of happiness
Confined within himself
Was moving betrayed
In all the four directions


Poetry by Debbie Johnson

Debbie Johnson

Ask for Grace

We ask for grace and let our hope arise;
in times of turbulence it will appear.
We ask for grace and let our hope arise.

When waters muddy nothing seems too clear
we cling to hope and pray our peace will last.
In times of turbulence it will appear.

When life has challenges we must get past,
we struggle just surviving through each day.
We cling to hope and pray our peace will last.

From deep inside plead serenity stay
and light will guide us during troubled times.
We struggle just surviving through each day.

So when we struggle through life’s depressed clime,
seek solace knowing that this will soon pass
and light will guide us during troubled times.

In times when our troubles seem to amass,
we ask for grace and let our hope arise.
Seek solace knowing that this will soon pass.
We ask for grace and let our hope arise.

Ode to the Sun

As glistening rays break up haze,
for warmth of sun we give our praise.
Blue morning glory shows its face.
White baby’s breath as fine as lace.
The palette does truly amaze.

Uncertain weather starts some days.
Clouds swirling in a confused maze.
Today sun wins, often the case …
glistening rays.

Enjoy the sun brightly ablaze,
which follows rain of yesterdays.
As flowers grow so fast the pace,
the first tomato wins the race.
Anticipating bright midday’s
glistening rays


Ship of the Present

Long ago I boarded a ship, ‘The Past’
which was noted to shake, shudder, and creak.
I had a feeling the ride wouldn’t last
as the boat was old and the sails were weak.
One day, a tempest formed so very fast,
as for shelter, there was no time to seek.

A storm strengthened quickly, winds blew, rain poured.
The ship took on water and began to sink.
While my only thought was to pray, “Please, Lord,
there was no way out of this I did think.
Next, I heard someone yell, “Man overboard,”
and the ship was submerged, quick as a wink.

I tried to swim in the strong ocean waves;
where I was going I hadn’t a clue.
With no expectations of being saved,
I was convinced that my life here was through.
Though while I swam on trying to be brave,
sky turned a magnificent shade of blue.

I swam ‘til too tired to swim any more,
then rested while in the water I tread.
Never in my life quite so scared before,
all I thought of was home and my safe bed.
With no idea what the future had in store,
my entire being was filled with deep dread.

In the distance, I thought I saw a plane,
proximity to fate played with my mind?
Exhaustion must have driven me insane.
to me, Lady Luck is not that kind.
It seems she looks upon me with disdain;
Is it possibly me they would find?

Helicopter appears, a rope drops down,
I just cannot believe my weary eyes.
It would seem that the lost has now been found;
‘twas such a grand and glorious surprise.
Soon, I am once again on solid ground;
from this, new goals and outlooks arise.

From now on, I’ll wisely select my ship,
only on the one of present set sail.
When others come to entice me, I’ll skip
for I’ll never again travel that trail.
From now on I’ll carefully plan my trip;
a good life in the present will prevail.




Poetry by Irsa Ru├зi

Irsa Ru├зi      (Translated by Stela Xega)

Blessed in sin

After that birch fence
where now a magpies group are holding conversations
had stepped for the first time
the Devil's Foot,
while it escaped in search of hope
in exchange for a poisoned life ...

Since that day, but only lord preserves the land
with his humble shepherds
in wisdom
knowledge is gathered  little by little, silently
with a mom simplicity
as she pampers her baby's forehead ...

In that forest of sins
today it grows snakes, they age, and are inherited,
but every generation that goes keeps awake the legend
of infertility ...

After that fence of sin
we listen our conscience
clean
to prove that the taste of sin
devilishly was born with human beings!


A crossroad without a denial

If today was tomorrow
that we never had a day before
and we madly ran
to steal ourselves a sense
through the roads where we could go somewhere
it means to be a traveller with no return!

We were a little farther than the momentary forgetfulness
us, strangers of the fate
betrayed by desires, troubled
in excrement of opinions;
The man itself was born to be a stranger to himself
when his conscience pledge
to the weak instincts
that slowly break down until into the nameless.

If today was tomorrow that would never have a day
we will add a more throb to the heart
to live a little longer between dreams...

But mindless minds are buried in forgetfulness!

The Whisper that hurts!

Do you hear
as it booms in the conscience
word yet untold
for nuggets of truth
that now since forever hurt this country...?
Truths that break mirrors
from the rejection of the self
bowed in silence
unlucky
on the billows of  a troubled soul
undefeated triumphant of freedom
longing with worries!

Do you understand
how we are swallowing the poison
of our time
in indifference
without showing rebellion for what went
without projecting what will come
without being sufficiently strong
to leave this collective misery!

I can not deny
How my emotions are agitated
into ideal
and poetry needs me
needs me to save this earth
that is being poisoned with words and tears!

I created these strings from my spirit
And I left them wandering through the world!


Poetry by Joan McNerney

Joan McNerney

Woods

Sliding through arches
of elms sunshine
yellow and warm as honey.

Moss crawls over mudstone
while squirrels skip
around tree stumps.

Imagine to be a sea gull
in blue wind pushing
air through your wing.

After the long rain
pine trees bending
with cones.

Branches etch evening sky
turning razzle dazzle
purple red citron.

Leaves drop like butterflies
filling the floor of forest
with crunchy foliage.

See this snowy storm of
light quickly quietly
covering our moon tonight.

Long winters keep
greatcoats of frost
wrapped around our woods.


Present

You gave me
five brown pods
to grow in
my garden bed.
I put them
in a glass jar
with my locket.
Five brown pods
winding through
heaven.  Weaving
night with winter
wishes for wisteria.
In a flower dress
wandering over
perfumed fields
I sleepwalk
searching for
my golden locket
and your embrace.


This Autumn

Amazing how many stars
fit inside my windowpane.

A flying carpet of
sugar maple leaves
unfurls along my road.

Just enough light to glimpse
silhouettes of yellow trees
against the dove grey sky.

Tenacious…one ragged
leaf clings to the bough.

After evening showers,
a garden of bright meteors
blossoms.

The Prisoner’s Messenger by Adrian Rogers

The Prisoner’s Messenger
by Adrian Rogers
2016. Ginninderra Press, Australia.
pp. 68 ISBN:978 1 76041 196 1
Available from Ginninderra Press at $18 AUD
http://www.ginninderrapress.com.au/poetry.html


by Rob Harle, Nimbin. Australia

It is always a pleasure to receive a copy of Adrian’s latest poetry book, this collection The Prisoner’s Messenger is his latest volume of poetry, and as expected, is as exciting, intriguing and enjoyable as his previous books.

This book takes the form of forty eight diary entries, one for each day written by a prisoner, who is also “by implication a prisoner of conscience”. The first verse from entry, Day 1 From the Rubble of Desire:

A diary pulled
dust-shrouded from obscurity
in the rubble of desire,
a down damped fire
fanned by insight’s
alternating flash
and a dove’s flight caught
in the peripheral vision
is a page turned

This verse is a representative example of Adrian’s poetic mastery, his use of metaphor, image creation and intrigue are superb. I firmly believe all aspiring poets and poetry students should study Adrian’s work carefully as it contains the perennial elements of good poetry, not least of which is a palpable continuity.

A further example of how Adrian creates deep emotional impact, the first verse from entry, Day 28 Will They Remember Their Childhood?

A moment
beyond struggle
worn into stillness
is a prayer in a little space
poverty
soft voices
one lamp lit
faith kept
between walls hung
with patched
wash-worn clothes
for ornament
framing
a half-curtained window.

The “entries”, which are preceded by a Prelude which gives just enough enticement of the recurring theme throughout the book to compel the reader to a close and continued reading. I say close reading because most poems reveal much more than the first surface-skimming-reading, this is a book to be savoured.

The prisoner does not focus continually on the daily realities of imprisonment but “...looks back in time, remembering people and places, all the while visited - indeed illuminated – by a white dove, whose presence represents to him peace, love , freedom, enlightenment and, above all, in her coming and going, hope. But when the dove makes her final return, looking through the window bars she sees and empty cell. He has been released, love has triumphed. But has release been achieved because a government willed it, or by his passing beyond this mortal life?” Deep intrigue indeed!

This book appealed to me not only because of the quality of the poetry but precisely because of the diary entry concept. This is a powerful creative mechanism benefiting both writer and reader. Many years ago I wrote an epic poem with diary entries set within a frame narrative. This poem was similar to Adrian’s though the subject was  “prisoner of their own madness – and conscience”- the ending was also similar though by very different means.

The diary entries provide a structural framework and impose a delightful discipline on the writer by insisting upon continuity, temporality and coherence, this results paradoxically in one major poem consisting of many short, stand-alone poems.

The dove is a key element in this collection as can be seen from the entry Day 21 The Dove which I reproduce below in full.

A dove flies down from the sun
reflected
by a pale stone wall
mirror in mirror imaging
a mirror of wing-tipped
whitening light
opposite a barred window
transforming limitation
and the self is resurrected.

“Stone walls do not a prison make
nor iron bars a cage...”
when she  flies
into the moment
untouched by age
or human circumstance
a white fire shimmer
a promise
a messenger.


The dove is a very ancient and powerful archetypal image in most cultures, Leonard Cohen has referred to the dove in one of his brilliant songs, suggesting; “...that the dove is never free, bought and sold and bought again...” these words echo in my mind as I contemplate Adrian’s latest wonderful collection of poems.

Poems by Christopher (Kit) Kelen

Kit Kelen

my flag 

is a beach towel, heavy with sand
whole tribes tangled in it

involuntary sky – heart’s refuge
in the true of dark
mind’s refuge in the heart

the flag
must be all things to all
a mirror aloft, reflection unfurling
that should make everyone happy

in a room with queen you’d see the queen
and she’d see you, her subject
one among the many flags

in the bush would be magpies to fly in and tangle
catch them like that when they get territorial

on the front of the big boss’s car
more of chrome, dark tarmac

in the night you’d choose the stars
bright pinpricks from another sky
in which the true flag must fly
be windblown, limp
from the accustomed pole

a square cut of heaven
and so strings attached

a calling

the same words
summon me often
because –  to put it simply –
they know what I mean


the bush 

1
which is the wild out-of-order
snakes hunting under tin left lie

garden too thick for weeds this un-naming
it chorus birds commonly bright

2
minds its business we make ours
yields to spirit its sustaining
best model from democracy
dark wordless turn, self tending, ruthless
              absent of law it breathes to burn
this one tree left cut down to size
so when it’s mine it is no longer

flimsy instinct joins logic to one wish
the guiltless having of all this


3
another sun spun, a next dicey sky
of maverick opinion, told you
    inscrutable polysemy

song between the cityfolds
come clumsy in its own confiding
all unfinished business
all neighbouring and all horizon

the bush is a trap sets camouflage
falls in and all it catches        bush

4
blade hailing the forest     legend made failing
memorabilia: smug of stockwhip, blanket

gathers as a blowfly to what was once meat

takes no convincing – its job to go nowhere

team of madmen tied to one tune
    a tidemark shows where we retreat

5
midst of limits, most natural of histories
gospel uncut in the wood

a waste of pages cash scrawls down
the bush beside my means as such
pack up but where you come from’s
as gone as what was here
so we among all animals are party to

take down each sky made out in ribs
     a cross hangs bright above

6
one species relieving the others of hope

barks at the edge of night a dog burning
the hinge of sentience it mourns

much admired the passage of rites
because once you were my besotted
a frightened face to rouse such love

leaves tracks to run a course paws take
this shallowest of burials

the bush is an animal gathering home
and our great Ark unmeaning


Blokes 

Blokes are always coming over, in their droves
or in their ones. Wear thongs in summer, boots
for weather. No one says mind my clean floor love.

Arriving in their utes and vans, they’re always
round here, day and night, courting our Penelope.
They know what’s next, what’s what, when, why.
Blokes know what to do and what you need
and even if you can’t decide. Blokes’ll sort your
trouble out. If it aint broke it’s easy fixed. Take
care but not responsible. They’re always late
and rude and wet. Blokes like to be outside
the best. They dare the ozone at their backs.
Sleep with someone else. They say things you
wouldn’t. Feel less, do more. You’ve got to love
them though. Hide in their frothy beards to weep.
You feel for them, the camera shies. They won’t
be tied, won’t be predicted. But cuddle them
and know they’re bad. Take them all for granted.

Blokes won’t take hints. Needn’t tell them.
They slink away to shed when glum. Grow darker
in the moody scrub and shed their lacks among
the fauna. They won’t be caught, they get away.
Get down to pub and dob and dob, until they’re
almost in the clink. They tell their temporary
comrades. Blokes tell the truth and when they
don’t they’ve got the story all worked out.

They know the pecking order. How to fit, not rock
the boat. Blokes make a play for the affections.
Trust the passing moment, loathe permanence
of plans. Blokes are slaves of circumstance. They
can’t help being rough with stuff, have to give it
all a test. See if it’s well made or not. It’s not
their fault the way they are, was done
to them as blokelings.

Blokes are mates or so they say. Won’t let
a bastard down. The blokiest are your best mates.
Your mates are blokes if you’re a bloke. Women
can be mates or ladies. Can’t be blokes. Mate
with them to make new playmates. Blokes or no.
If you’re a bloke you mustn’t mate with other
blokes. It doesn’t work. Dreadful thing.
Unblokemanlike. Besides, how could
you tell your mates?

Some things are better left unsaid. And out of
earshot of the nagging blokes won’t need
your looking after. Dinners tabled, washing done.
Blokes go lean in filth and glue their rotting jeans
together. They know it’s bad luck to speak
when gesturing would do the trick.

As insects lead the faster life, they’ve lost a leg
before you’ve finished telling the precautions.
They’re enemies of labour saving, scoff at
ingenuity. Do a thing the hardest way. Clog noses
and their ears fall off, eyes are full of filings.
Drown in beer to build a gut. It shows what
blokey blokes they are. They suffer beef to have
the dripping. Sneak from the ward at last
for fags, and curse their curtailed freedom.
That’s with a final breath.

Bloody this and bloody that is what your bloke
ghost says at last. And when the dirt’s all spread,
well sifted – where are those blokey souls all fled?
They’ve gone to blokeland – hellish spot. The
Shed Celestial. Dim or Bright to their deservings.

Still, there’s more. Never was a drought of blokes.
Not since the war. No – blokelings grow to
blokehood’s full bloom. Bloke’s abound and pull
their weight. Show some leg, offer beer.
Call for blokes – they will appear.
When all else fails no need to fear.
Just stir him up. Your bloke is here.


Magyar idyll

my ancestors are burning
across an endless steppe
somewhere out of Asia
they harry the poor and the weak
on their way
they’re torching the lowlands
they’re putting an axe to the forest
they’re making the Great Hungarian Plain
the woodland creatures they turn into gulacs

of course I have other ancestors
but these are the ones I like to remember



APARTHEID, INDIAN STYLE

By Glory Sasikala

We had been transferred to Chennai from Kolkata. The phone had been surrendered and I had to use the phone booth. And so I went to the nearest one, owned by a fair, bald-headed, middle-aged man, and run in the front porch of his house.

“What do you want?” he asked rudely. When I told him that I wanted to make a call, he said, “You can’t do that from here.” “Why, is your phone out of order?” I asked.

“No, I don’t allow South Indians to use my phone booth,” came the startling reply. I stared at him.

“But…” I started.

“Well, what are you waiting for? You can go.”

“But this is urgent. I have to make a call,” I said, beginning to boil over. “Go and use some other booth,” he said. “Stop arguing and get out.”

He spoke faultless English.

I stood there, waiting for my blood pressure to go down and then turned and left. Later, I found that all my south Indian neighbours too had had the same problem with this man.

Transfer and packing is a tough job and since my husband was not relieved off his duty, the brunt of it fell on me. This meant that I had to make several phone calls, and I trudged to and fro all day to the next booth, a little further down the road. Each time I passed his booth, I beamed at him and said, “Hi Dada!” loudly. Each time I went back, I waved him a vigorous goodbye and said, “Bye, Dada!”

Cheeky and dangerous behaviour? Well yes, this was my country and he did not own the road.

Things came to such a pass├й that he grew jumpy and scuttled inside his house and shut the door the moment he saw me turn around the corner. Unfortunately for him, we came face to face that evening, and he dropped his keys nervously. He bent to pick it up, the now familiar red spreading over his ears, face and neck. I burst out laughing and went my way.

A group of shopkeepers, all of whom knew me well, stood talking at his porch the next day. “Bahu di (sister in law) namashkar,” they called as I passed. “Namashkar!” I replied. Where is phone dada?” I asked them in Bengali. “He’s inside.” “Tell him ‘Namashkar’ from me,” I said, gaily. They laughed. From inside, a round, bald head peeped and a ghost of a smile appeared.

“Where are you going?” he asked the next time I walked past his booth. “To the next phone booth, where else?” I said, sarcastically. “You can use my booth,” he said and walked out, leaving me alone in the booth. “Well, why not while I am at it?” I thought, and rang up my friend too and talked for a good 15 minutes. He smiled as he took the money.

I had ordered huge mud pots of rosagolla to take home the night before our departure, and went to collect it from the sweet shop the next day morning.

“Good morning,” he said, smiling, as I passed by. I wished him and went my way.

When I came back, I found him standing in front of the gate of our house.

“Hi,” he said, “Where are you from?”

Dreaded question. “Chennai,” I replied, cutting short the generally longwinded explanation I had to give others of being the quintessential rolling stone with no place to call my hometown.

“Dada, we are leaving today,” I said. “On a holiday?” he asked. “No, we have been transferred.”

“Oh,” his face fell, “Oh, I see.”

“You’re different,” he said.

“No Dada, we are all the same,” I replied gravely.

He laughed at that. “Anyway, nice having known you,” he said.

I felt sad, knowing he was making an exception to his general rule by being friendly with me and that he would always hate south Indians.

As I walked into the house, I wondered what his views were on apartheid and what he thought of Nelson Mandela.


Poems on Bridges (Setu) - Rob Harle


The handmade bridge to our “Walden Pond” like cabin which we built in 1977.
A wonderful place for reclusive creative pursuits. There are many sorts of bridges (setu) the following three recent poems express some of these different approaches.

By Rob Harle

Cast Shadows 

(Inspired by the Jiri Barta film - The Club of the Laid Off)

The abandoned building beckons
a bleak bridge to the past,
paint flakes the wall
falling like downcast eyes,
an eerie dull light seeps insipidly
from a crescent moon,
a flickering dull-bright from
the cracks beneath the antique doors.

Damp musty scents waft over me
the presence of coal gas menacing,
somewhere a clock ticks loudly
reinforcing the curse of mortality,
Plath’s ghost sighs deeply
trying to recite Sheep In Fog,
impossible this side of the bleak bridge.

The one armed cook smirking
stirs the blood filled stew
and the broken stove creaks,
dinner for the laid off
half warm - soon.
the boy’s clock chimes his return
his broken lamp lifeless
casting shadows on nothing!

Rainbow Bridge

There is a bridge from Saturn to Uranus,
Chiron reaches out to all who come to cross,
tread carefully intrepid traveller
Saturn's hold is strong.
I tried to cross the rainbow bridge
from past to promised future
I lost my nerve and fell
falling, falling fast
like a leaden autumn leaf.

The abyss opened her withered hands
covering me in cloying darkness,
frantically I tried to struggle free
but like quicksand
I became engulfed,
as though wrapped in spider's web
soft, silken and sticky
I bound myself in deeper.

Pure white light
pulsated above
trying to penetrate the abyss of my ignorance
all was out of focus
like peering through watery, tear-filled eyes.
I searched desperately for Achilles the healer,
friend of Dionysus
to remove the arrow from my heel
so aeons of self-deception could drop away.


Bridge From Sustainability To Extinction

Poetry drafts written in longhand
exquisite blue ink flows freely
effortlessly from my Fountain Pen,
a gift some forty five years ago
a fountain of renewed youth.

My latest Smart Phone already doomed,
the battery sealed in
like a body in a sarcophagus
waiting discovery by an alien archaeologist.

Trash the phone when battery dies!
NO! – “Recycle thoughtfully!”
the shameful dying battery,
a slow-release chemical suicide
two years perhaps?
NO!  – perhaps - “Design more thoughtfully?”

Bloated bridge to a new epoch
looms large and lethal,
a crossing from sustainability to extinction
sweeping all before it.

Pen Knee - Short Story

Jane Seaford

Penny looks after Franny and her little brother, Toby. At first Franny thought she was called Pen Knee, Pen like something to write with and Knee like the joint. Penny said ‘I may be your grandmother but you can call me Pen Knee.’ That’s what Franny heard, anyway. When Penny puts on lipstick, Franny can see the cracks in her mouth. The lipstick looks like sticky sweets or blood and the cracks go upwards towards her nose. She likes to sit in the sun smoking cigars and drinking beer from a bottle. The children have to wear special cream and hats when they go outside but Penny says she’s too old for that sort of nonsense. She says she’s already burnt dark and a little more won’t make any difference. The top of her arms and under her chin is brown and snaggly like scrumpled up paper. When Franny touches it, it feels like something covered with sand. Toby says that he likes to touch there a lot. He misses Mum but sometimes he pretends not to. Franny has become used to living without her. That’s what she tells herself if she starts to feel sad.

Mum left the children with Penny when her troubles got too much for her. She said she needed to escape from them – the troubles, not the kids. Franny can remember when Dad lived with them, but Toby can’t. He was only a toddler. After Dad left, Franny used to think of him and his kind hands and how he would smile and the times he let her ride on his shoulders and how he told her that he loved her, loved her and always would. He said that but he still went away. He left because Mum said she didn’t want him anymore.

Anyway, Mum got Dave to mend her car and she put Franny and Toby and the cases and all sorts of other stuff in it. It was so loaded up Franny thought it wouldn’t go. But it did, although at first it made a sort of creaky noise like someone crying. As they drove away Dave ran after them calling Mum’s name, Tessa, over and over. As they turned the corner he stood on the edge of the road holding his baseball cap with both hands. His neck was all stretched and he looked as if he was screaming. Dave had moved in with them soon after Dad left. He slept in Mum’s bed and sometimes hit Toby when Mum wasn’t around. He didn’t hit Franny because she never went near him. She stopped asking him questions soon after he came to live with them because he didn’t answer. Just clicked his tongue and looked away.

‘Goodbye, Dave,’ Mum said as the car drove away. And she laughed. He was too far away to hear it.
‘Are we ever going back?’ Franny asked. She wasn’t sure if she wanted to or not.

‘No,’ Mum said. ‘Never, never.’

‘We’ve left Benny behind,’ Toby called out and started to cry. Benny was his pet chicken. The family used to have lots but they all sort of disappeared when Dad stopped living with them and the last one left, Toby called Benny. Franny told him the chicken was a girl and you didn’t call girls Benny but he just stared at her as if she’d said something stupid.

‘Dave’ll look after Benny,’ Mum said. Toby looked at Franny. Tears ran down his face taking the grey dirt with them, so his cheeks and neck went all streaky. He would like her to say something comforting, Franny could tell, but she just shook her head like Mum did when she wanted the children to stop asking for things.

Franny fell asleep and then she could feel Mum shaking her and hear her saying, ’Come on Franny, we’re stopping for a bit.’

They went into a caf├й and Mum had coffee and she bought a bottle of coke and a slice of pink cake for Toby and Franny to share. She didn’t say anything for a bit, just smoked her cigarette, looking out of the window and jiggling her leg up and down.

‘Right, kids, here’s the deal,’ she said. She lit a new cigarette from the old one which she then stubbed out in the ashtray. She jiggled her leg really fast now. ‘I’m taking you to stay with your grandmother for a little while.’ Franny didn’t know they had a grandmother. She felt a bit scared and a bit excited.

‘Is our grandmother your Mum?’ She asked because she knew about grandparents as they came in stories sometimes but she couldn’t remember having one of their own before.

‘No,’ Mum said and her mouth shut tight. She opened it again but as if she didn’t really want to. 

‘Your Dad’s. You were very small the last time you saw her. Toby had not long been born.’
She made the children use the toilet and she bought a packet of sweets. ‘For the journey,’ she said.
‘Please can we go home now and see Benny?’ Toby asked. Mum replied that she’d already told them they would never be going home again. That’s when she said, ’I’m escaping from my troubles.’ By the time they got in the car Toby had started to cry.

They had to drive up a long dirt track to reach Penny’s house. Franny didn’t know she was called Penny then. She sat on the deck with a cigar in her mouth and watched as Mum parked the car and then let the children out.

‘Go and say hello to your grandmother,’ Mum said, her hands on Franny’s and Toby’s backs, pushing them.

‘Hello Grandmother,’ Franny said when they reached her. Toby didn’t say anything. He was snivelling again and his nose was running.

The grandmother gave a big puff on the cigar, took it out and said, ‘Well. Here you are.’ She put the cigar back in her mouth. She didn’t stand up or offer to help Mum unpack the car.

‘So, Tessa,’ she said when Mum climbed onto the deck with a suitcase in each hand, looking cross. ‘Finally we meet again… Have you decided to forgive me now you need me? Fancy man proved as bad my son? Maybe even worse?’ The grandmother smiled but Mum didn’t. Her face turned red.
‘Ah,’ the grandmother said. She stood up and put the cigar in a big ashtray that sat on the deck next to her chair. Franny thought that the grandmother could be kind but she could tell Toby wasn’t sure. ‘I’ll make you a cup of tea and I’ve scones baked. You can stay for a night or two if you want to, Tessa,’ she said. That’s when she turned to Franny and Toby and told them to call her Pen Knee. Franny wrote her name ‘Pen Knee’ a few weeks later in the letter to Mum she’d been working on, and Penny laughed and showed her the right way to spell it. Mum never replied to the letter and Franny wondered if Penny had even posted it.

The first day when they’d not long arrived at Penny’s house, Mum said she’d better get going, but Penny said it would be best if she stayed. ‘To settle the little ones in,’ she said. She looked at Mum, making her eyes narrow and nodding her head slowly.

‘All right,’ Mum said. She sounded sad and tired and Franny wanted to give her a hug but when she wasn’t feeling right she pushed the children away if they come too close.

Franny and Toby drank a big mug full of milk each and ate lots of scones and afterwards Penny said they could go out and explore but not to go beyond the fence. ‘That swing,’ she said pointing to a tree with a rope dangling from it tied to an old tyre. ‘Your Dad used to play on that for hours at a time. I got one of the men to fix it when your Mum asked if you could come and stay for a bit.’
When they came back Mum and Penny were sitting on the deck with cans of beer, Penny in her chair and Mum cross-legged next to her.

‘You know Jake will visit, Tessa, don’t you?’ Franny heard Penny say. Jake was the children’s Dad’s name and when Franny heard it something inside her fizzled like a firework starting.
‘Can’t stop him, can I? In any case he can see them as long as I’m not around,’ Mum said and the firework inside Franny went bang, bang, bang as if all its colours and light were exploding out.
Later in their new bedroom with Toby making his snuffling sleeping noises, Franny thought about Dad and how maybe they would live with him again soon.

Mum left the next morning. Franny could see she’d started to cry after she’d said goodbye to them. She squeezed Franny so tight she could hardly breathe. Toby’s face looked so pale it was almost white. He sat on the deck and watched her car driving away until it was the size of an insect. Even after it disappeared he kept on staring.

At first, when he got up in the morning he would say today could be the day Mum came back, but as time passed he stopped; just looked out of the bedroom window as if he hoped to see her driving up the road.

The first time Dad visited Toby ran away and hid behind the shed and even after Dad had found him, he wouldn’t talk to him. But after a while he began to get excited when it was time for Dad to visit. On Toby’s birthday Dad brought him a train set and a toy rescue truck that made a loud noise and had a flashing light. Nothing came from Mum. The children haven’t heard from her since they’d moved in with Penny. When Franny asked her when Mum would be coming to fetch her and Toby she said, ‘Don’t hold your breath,’ which Franny knew meant probably never. She’d kind of suspected Mum would be gone for a long time anyway, and she went and swung on the tyre until the sun started to set and Penny called to her to come in for tea. Franny ran water from the outside tap and washed her face because she didn’t want anyone to notice the tears.

So Penny looks after Franny and Toby but Dad comes every other weekend and he brings them treats, and cuddles Franny as if he never wants to let her go. Although Toby likes his visits and even lets him pick him up and hug him, Franny knows he still misses Mum. Sometimes he calls for in the night when he’s sleeping and he often asks about her, but Penny just shakes her head and lights her cigar, saying nothing.

‘If Dad can come back, so can Mum,’ he said to Franny last Sunday as they stood by the gate waving and waving as Dad drove away. Franny didn’t tell him most likely they’d not see Mum again. She knew he could not bear it and she didn’t want to make him sadder than he already was.