Cut, color and clarity

Been programmed to feel,
like all little women,
small, incomplete,
naked without-
a veil,
and in total transparency,
I have no doubt, I will
never wear a white gown
in this life-time
I do
not be-come worthy
un-less, there is more...
                            Diamonds are numerous
                            as faithful friends
                            I have-family-bloodlines
                            circumstance and choice,
                            opportunity and onus
                            promises and pure white
                            lies, thule veiled truth
                            All                           
                            under an abundant umbrella
                            called Love
                            the ceilings will keep you
                            dry.
To be good-enough
for special occasions
with honor and rite,
is to be-have as
fortunate for the gifts
be-stowed upon our vessels
pulled by current and tide
toward each other
we shall always meet
                            Here, untouchable
                            amid this journey underway
                            outside of ourselves
                            we become found
                            reassured and rescued
                            from each other's line of sight.



Painting by Auguste Toulmouche (1829-1880) dated 1866 in Public Domain. 

Flash point

When ideas
hit air
they turn from blue to red,
originating from the short wavelength
inside
to form long low rollers of crimson tide
depositing turbid drops
of inklings.

The idea
tries to crystalize
along the smooth open facet
trying to adhere to open wounds
only to become
solid and reformed.
Ages ago,
raw material was re-collected and
re-presented as pure, a commodity
of our invention.

A single blinding glimmer,
like a square grain of sand
may find itself
a fully rounded pearl
over time and under toes
we find this same potential
scattered across elemental
boundaries.

Carbon in cubes
could become a diamond,
coal, a mote of dust, or Us
bearing the weight
of six million atmospheres
while making light
of such intense pressure
to create beauty
from conception.


Painting by Karel Dujardin (1622-1678) , 'Allegory' c. 1663 in Public Domain. 

Jalopy

When learning how to meditate it is a common tool
to imagine
yourself
being on the side of a busy road, a freeway say,
watching the cars zoom by,
noticing the varying speeds
and taking in
the flow.

The automobiles are commuting thoughts
in this scenario,
unremembered by make, model and color
unless focused upon
in passing.

Being stuck on the shoulder
more than once myself,
some savior often pulls over
to offer help

it is fair to assume I simply ran out of gas,
it seems reasonable to conclude
I do not have reliable transportation,
and it is purely logical to reason
I have somewhere
to Be-

as if I could use a lift.

I try not to use the hazard lights.





Photograph by Alan Levine, 'Roadside Susans' taken 7/17 in Public Domain. 

Lines & Linens

In dark times
our own mortality,
thin as muslin,
brushes an earlobe,
unlike a lover, yet
lightly as a whisper

as this seductress touches
the soft spots,
a veil of adverbs
fall at our feet, deflated
as exhaled balloons,
Thule tends to hold nothing back.

In a single explosive moment
at the end of a whip,
we can only become
deafened and blinded on impact,
and it is inherently
common to cower
and not move
for fear-
For fear opposes bravery
and bravery takes nerve,
and nerves become raw
and thin
as muslin
rubbed back into cotton bolls.

Under this gossamer appearance,
what is soft
has been made to be
rid of
swords and armor
such as grown wild
or naturally part of We.


Painting by Henry Robert Morland (1716-1797), 'Woman doing laundry' in Public domain.

Out of darkness grows

It feels like rain
in the bones.
It is as though
I have known
the subtle differences
of hours
from reading water lines
and by translating the stain
visibly left behind
similar to thunderheads.

Another dawn lightens over me
and after so many
thin and pointed
Winter moons have waned,
it becomes easier to reminisce
in this Time
alone and perishable.

Soon enough,
daybreaks the serene brow
into blended spectrums
dampened down seeds are sown
deeply enfolded into the crust
and the anticipation of flowers
made nothing but sense
of Beauty.



Painting by Jean-Francois Portaels(1818-1895), 'Spring' c. 1879 in Public Domain. 

Artist leaving residence

The artist leaves the building.
This time he is
wrapping up
his canvases, colors, and
hairy implements.

He loads and stacks,
lines and lays his tiles, some gently
until tightly packed
for transport.

Some of them,
he jams in just seeming
to fill in
any open spaces he sees.

His neighbor, the lady
living below him,
paints furiously-impressionism,
she is no artist.

She tries to finish
her own piece
before he is gone-
before all falls muted,

from above.
Heaven forbid,
the muse is moving on
to another scene, landscape

perch, set of white walls,
half empty canvases,
or another artistic
aesthetic altogether.

Painting by Thomas Prichard Rossiter, 'A Studio Reception, Paris' c. 1841,[CC0], via Wikimedia Commons.

Warning signs

Red dawn
sits quietly
behind Eastern hills.
Space
is blue and cold
in moonglow flood-
light.

A candle flickers
inside
the window.
The birds stir
leaves,
while wind
picks up any loose
thoughts.

...the purpose of a flower,
color can make us
feel.
Beauty is perishable,
like the light
of this day.

A reflection glows
warmer,
warnings signs were every-
where
day breaks
hearts as light as air.




Painting by Herbert James Draper (1863-190), 'The Gates of Dawn', in Public Domain.