Ahora, Flora

Beat-up pick-up
sideboard, plywood
PVC poles hold hoes
and Co. land-scrapers
dirt brown men
burlap bags bulge bulk
fronds flap, waving bye
bougainvillea leaves
the wind in its wake
vined venomous snakes
coil and toil
pushing pedals,
nipped at the bud
the garden view
flowers wild
migrant faces
in full bloom.



Image By Unknown or not provided, taken on California Hwy. c. 1935 (U.S. National Archives and Records Administration) [Public domain], via Wikimedia Commons.

In essence

Pinch and tart, sweetly smell in-
Culling season has begun!

Spring is loaded,
its arsenal of flower power
and the annual dramatic
pallette astounds
against the brown subdues earth,
set under stoic grey skies.

The lions purr thunder
the hunters in Heaven
have scared the lamb
to May.

Humans gather
en masse
genocide, green stalks
with showy tops
limp headed bodies lain
and strewn in pot-pourri

Incensed
with Pride!
our Kill!

Boquet'd
mantled and displayed,
propped and posed, pretty
for (the) sake of a seasonal
mild medicinal redolence bliss...snip.




Image by János Thorma [Public domain], Girl picking flowers in a red coat c. 1930, via Wikimedia Commons.

Nerve-us

Nobody has the nerve

to go against all odds

even when winning
If
certain

is only the beginning

and defeat is destined
postdated

(sometime too soon)

in the end-

before it all starts

to get really good,

would you try
to be
Brave?

Image of painting by Alfred Stevens [Public domain], via Wikimedia Commons. 
Details & History: The Psyché (My Studio)
Trained in Brussels, Stevens finished his studies in Paris and made his career there. During the Second Empire (1852–70), he pioneered and perfected the domestic interior scene, which the Impressionists then adopted. He was inspired by Vermeer and Pieter de Hooch and often painted on wood panel. This painting, which once belonged to the poet Robert de Montesquiou, is one of several by Stevens of his studio with a model and sometimes the artist; its title refers to the mirror at the left. A full-length mirror with chassis was invented in the late eighteenth century and took its name, psyché, from the legend of Cupid and ­Psyche, a story that thematizes looking. Yet this is not an actual psyché but an easel with a mirror where the canvas would normally be, an analogue to a psyché suggesting that art is a reflection of life. A cloth partially covers the mirror, hiding the reflections of the studio. Focus instead is on the model, who may have interrupted her posing session to peer around the edge of the mirror, which reflects her head and hand. The artist hints at his own presence with the cigarette butt, ash, and match in the lower right corner. Nearby struts a small parrot, seemingly a reference to art’s mimetic function. The backs of canvases and portfolios of prints or drawings represent some of Stevens’s working materials. On a chair are Japanese prints, reminders of his love of objects and collecting; with his friends the Goncourt Brothers, Bracquemond, and Whistler, he was one of the earliest collectors of Japanese art in Paris. Among the small paintings on the wall is a sketch for his Salon picture What They Call Vagrancy (1854; Musée d’Orsay), a picture of social protest.

Cross-polination

untouched by light-yet-
feels its warmth and reaches out-
made bigger by desire-
hard wood, hard-ly virgin
forests for the feral trees-
wild in her-ness, promiscuous
phallacy, the protection
of innocence, guarded in a sense-
an essence burgeoning out-
no reason to celibate...




Image by By Jon Sullivan (Public-domain-image.com) [Public domain], via Wikimedia Commons.

Going under (and more fiend)

Butchers and Doctors wear white

                            Not a coincidence, as an instance

Compressed into one

                             Short year

A long time came

                            For firsts

First, the surgeons came

                             With their sharp degrees

Separation of mind body with a scalpel

Focus

The first born son sacrificed

                              Before he drive-engine trouble-

Organ (ically) broken down-the gall to take what is not theirs

And call it Care!

And there-

                               A body splayed out, below the deck

in dirt, porce-lain shards,

                              grey hair tinged with red-

Wood dust, in the evening wind awaits an ambulance to pick up the pieces

Of her shattered-shot-

                               From the hip, and arms, appen-

Dages give out

Then man who stepped in

                               to hold me up began to limp,

holding up by the aide of a cane

sugar-sweetie-honey-pie-my

dear, do not fear the knife, like love, the pain relieves

                             no-thing, pointedly parts need replacement

screws, pins, rods,

a lit fusing of ore,

medicinal musing on more-phine

saline flushes and demoralizing blush

                            like blood in cheek

is thicker than water.

A thirsty surgeon, a risen vampire, a hardware engineer,

Condensed in one (anti)body here in one year, 

                            Inoculating with sticks and stones. 

Image by Jan Sanders van Hemessen [Public domain], via Wikimedia Commons.

The arche-lights of animus

You are blocking the light-
beams moon your ego in full array,
it fully eclipses the suns blaze
in plane view, blinding you
of any depth perception,
resulting in
vert-
ego.

Lights out, volume up, listen in...

Do you hear the way you sound?

A megaphone is an overkill,
where whispers in-
discernable are cumulative thunder,
a warning-
note to self-
to mute the background
static by detaching
or unplugging the
speaker.
The back feed amplifier
of the anima in us.
Shadows are holding your place
(in) apoge-e
go!


Image of painting by William Merritt Chase [Public domain or CC0], via Wikimedia Commons.

Nice and Concise

Brevity peaks when

perspective is the widest

 vision tapers off.

Image By NASA/JPL-Caltech/STScI/CXC/UofA/ESA/AURA/JHU [Public domain], via Wikimedia Commons. Detail from image Messier 82. Composite of Chandra, HST and Spitzer images. X-ray data recorded by Chandra appears in blue; infrared light recorded by Spitzer appears in red; Hubble's observations of hydrogen emission appear in orange, and the bluest visible light appears in yellow-green.