Monk-ee-See

The Dalai Lama traveled to talk
at the University, and it was good
to hear it was no celebrity.
He spoke of "dialogue"
let me repeat-
He spoke of "dialogue"

Not many of us wonder
or need to know
our full thoughts

The way we treat
Others
could be better-granted
territories are gone-
None go out of their way or think
of crossing invisible lines

Surprised to see none like me-
not unique-just unanimously rejected
for some thoughts of me
I didn't see
coming or going

Not knowing our position
we listen to Others
who guide us to Do Unto Others
as if we knew the same treatment
worked wonders on Others.

Conversely,
speaking drowns out listening,
when we worry about what we will say
when it is our turn

The Dalai Lama was dripping like a wet sponge
in the high humidity here.
He was not yet acclimated to hear
his humid reception,
and the excessive
precipitation of June gloom.



Painting by Peder Balke (1864) in [Public domain], via Wikimedia Commons.

Act your aim

When we stay in line
like good little pixels
stacking up our boxes
edge to edge
we may notice
the oval, all circularity
is pointed, adjacently
and saved, if needed.

Connections and karma
are just
arrows attempting to be
boomerangs.

Hunters and gatherers,
acting in accord
with the right angles,
took shape, called it chalice,
and carried it with us
empty-everywhere

beginning and ending with "Fire"
-there was nothing-
to hold us together but the sphere.

1st(Top) Painting by Douglas Volk, 'The boy with the arrow' (1903) in [Public domain or CC BY-SA 2.5 (http://creativecommons.org/licenses/by-sa/2.5)], via Wikimedia Commons.

2nd Image Info: John Gower in a portrait from a book with his Vox Clamantis and Chronica Tripertita in Glasgow Univ. Lib., MS Hunter 59 (T.2.17) folio 6v. This is from a revised edition of the book published c. 1400 (before Gower's death). Gower is depicted as an archer with a bow and arrow. Gower prepares to shoot the world, a sphere with compartments representing earth, air, and water.
Text on the above image in one version of the Vox Clamantis reads "I throw my darts and shoot my arrows at the world. But where there is a righteous man, no arrow strikes. But I wound those who live wickedly. Therefore let him who recognizes himself there look to himself." 

I was framed

Words wouldn't come
so I went with paint,
but the body was too thick
and the primaries screamed
even when kept apart

Those threads I cannot read
through
the prepositions and problems
drama and canvas scenes

in media res, centripetal
room at the edges
so bubbles don't pop
as tempting as black is

Purple pretends perception
like lines of sight
the same lines that bind
up brains and I's
omnisciently we see,
underneath it was red,

with light
become plane as day,
in a literal sense.



Arttwork By Michael Sevier (illustrator) [Public domain], via Wikimedia Commons.

The breaking of day

Start here,

Where it is new and all fear, trepidation and caution

We called it

A scream it is untranslatable.

Symbols show

More than scars softened over imperfections

Below we know

It feels more than numb, sealed memories to tote.

Foretold in light

In eight minute increment’s, sentiments sent somewhere

Between now and then to pretend de ja vu wanted to remind you

Nothing new better than you to rise

Lightly.

Painting by Nicolas Poussin [Public domain], via Wikimedia Commons.

The sylvan man grows in light

After watching what you say

In the way

of change

concentration

cures

our severed taste buds and

need for salvation is mis-

taken for thirst of knowledge.

Flavorless is so often

Distasteful.

With the impressions all-ready made,

castes cracks to make like-ness, best selves,

come rise to the occasion or surface,

holding up the sky for the stragglers,

last ones out-

So beauty is the last thing any-body sees.

Rather-build an experience stacking up

of extrapolated theories, compacted clumps,

we build like dutiful doozers

busy before the Fraggle ruins it all

over again.

A variation of pattern provides for knots,

gathering spaces and pulls punches with curves

unfit for naked kings.

There can be all or nothing

theoretically and answer is not the source,

it is a question of directed desire, of

questions and may-bes.

Fear and famine are inadequate seeds

of inspiration for a fish to continue to grow on

and on immersed in its own currents.

The air is different amidst change and chaos,

at the same time, it was always happening,

never staying the same-

except the way you speak

of change.  

I accept the way change 

speaks of you.

Artwork by Jusepe de Ribera [Public domain], via Wikimedia Commons.

Bide and bide

Patience was a problem
he was working on
And so: Nothing Doing about it
All's well that ends in a day.

Around the bend danger awaits,
there was no other way out.

Asking about contents and swatches
make a myriad of answers juxtapose and
work without reason.

I still stand-awaiting your reply.

His hyper heart, the others tainted blood, the ill-tuned organs, the laced food, the zombie pills, the (mixed) media/ (missed) messages, the dumb distractions, the deafening volume, the vast emptiness, the toxic air, the yellow water, the rush, the summit, the plummet-----
Do it NOW!
That is-jump-the wait is too great to hold onto for longer than patience holds peace.
Later-it will be too late to learn of love
and its heroic acts that fail to think
before giving up
the weight
was over.


Painting By Gordon Coutts (1869 - 1937) – creator Born in Glasgow, Scotland. Dead in San Francisco, California, United States of America [Public domain], via Wikimedia Commons.

Gravitas

It was never about our dumb thumbs.
It was the way we stood up
to gravity
without needing to know what we have
pushed up against, the faceless force
of resistance that throws its weight in waves
that crash out of sight and none mind this weakness
the stacking of back bones.

The clock, the book, ape our names with a smirk and a stick
shows you his ant collections, meanwhile, the snake swallows its tail.

Pounds and heartbeats resist this ethereal oppression
that taunts us to compete with what we have,
as though a winner was ever chosen,
as if hope had more than clipped wings with whimsical wants
and rings only of brass cages,

only light easily escapes our local prisons,
with motion detectors triggered we creep
like suspicion
reflection and persistence and say we are seekers

what gathers as cumulous clouds all comes
back down to dirt before clay
this way something is from nothing

the spinal column rachets and secures its connections
between inside out, an idea, a step in the right foot first
direction of brave, giants leaps of grace
loss of place

higher than vertigo knows
makes me think
there was nowhere to grow
up is out.

I doubt our thumbs
gave us a free ride.
Gravity takes no sides.




Painting by Claude Monet, Heavy Seas at Pourville (1897) in [Public domain], via Wikimedia Commons.