color & being

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color & being

Below the Line

There’s a sickness in my soul
It’s filled with self-creating holes
The blood both paint and soap
washing painting losing hope
Entropic forces rip apart
Tear the wholeness of the heart
Ceaseless void and darkened eye
Deep and never-ending sigh

(abstractrelationsvi)

Below the Line

Referential Existence

Words are so remarkably frustrating. They never fully encapsulate what I am trying to convey… the swirl of thoughts and logical strands, the elegant images and buzz of emotions tingling in my veins… they never flow out of my mouth, instead they tumble and crash like the waves on a beach trying to reach the dunes but failing because their shoes have been tied together and so they fall on their face and are dragged back to the sea of confused meaninglessness by the moon, which doesn’t even make any sense because the moon is so far away so how can its influence reach us.  These things, these letters and words are so limiting so constraining so endless so infinite so definable so utterly incomprehensible…

I took a poetry class in my final year of college.  I sat in a desk,
watching our professor try to pull the strands
just enough to let the light come through the impressions painted with pens,
just enough to get a glimpse of the supple curves and delicate skin,
without shedding the fullness of the harsh light that would shatter the seduction.
Just enough to convince us that we are not alone in our aloneness,
that others, too, are thwarted in their attempted sharing of the solitary oneness of self,
looking to the tilted mirrors of those around them, disappointed.1
Yes, and2
That others, too, recognize words as an elegy to what they signify,3
wavering between being and loss, awash in an incommunicable sea of existing.
That others, too, have sensed the strangeness of holding an unusable, yet somehow beautiful, broken tile of memory 4 in hand with a gentle wondering of what to do
that others, too, feel themselves at the center of a powerful and baffled will,5
Yes, and that others, too, are desperately avoiding erasure6
Aware of oblivion’s inevitability7
And the feeling or fact that
what has been done will be done again
and that there is nothing new under the sun8
And that originality is a myth
And that why is ultimately unanswerable

And so,

Vladimir:             What do we do now?
Estragon:             Wait.
Vladimir:             Yes, but while waiting.9

 


1 Hass, Robert. “The Apple Trees at Olema.” The Apple Trees at Olema. Harper Collins, 2010.
2 Rankine, Claudia. Citizen: An American Lyric. Graywolf Press, 2014.
3 Hass, Robert. “Meditation at Lagunitas.” The Apple Trees at Olema. Harper Collins, 2010.
4 Hass, Robert. “Novella.” The Apple Trees at Olema. Harper Collins, 2010.
5 Hass, Robert. “Misery and Splendor.” The Apple Trees at Olema. Harper Collins, 2010.
6 See footnote 2.
7 Reference to John Green’s The Fault in Our Stars
8 Ecclesiastes 1:9
9 Beckett, Samuel. Waiting for Godot. Grove Press, 1954.

Referential Existence

tran.SIT.ion

Hello out there to the few, the proud, and the emotional. 

. . .

This blog:

my blogging cycle

This post:

this post

. . . . . . . . . . . . . .

 

My Current Life Transition:

transition

 

Obviously both have pros and cons, good days and bad days, and much more to say about them then I listed.  And I am incredibly grateful for my architecture freelance job. But in general, these seem like some of the biggest differences, a week into the transition:

 

jobs

Gotta get off this computer. My shoulders really are killing me… How did I used to do this for 8 to 11 hours a day?!

tran.SIT.ion

Beneath the Insomnia

_20160923_184552.JPGShe paints the same canvas
Again and Again
In her dreams
while they sleep
and it sleeps.
Because otherwise
they never stay still
long enough
to dry
Her tear
drops of paint
That leave trails
of subtle color
behind them
And behind them
previous paintings
also made without brushes
That always end up
painted over
the next morning
to hide the evidence

And the canvas of it all
Is her face
and her fears
For at the core of each night
when stripped down
She will always find that stark white woven surface
of fears and insecurities
whose texture shows through each layer
And whispers to her
between brushstrokes
Reminding her that
There is no escape
For gravity cannot be bribed
And the running never stops because he’s holding death in his hands, at her head, and as the neurons fire she finds they sound remarkably like gunshots and all she seeks is safety and sleep
But she can never find foundness
Awake or asleep
So as she tries to decide which one is less terrifying,
She paints.

And
at the core of each night
mare each poem each painting,
Remains a reminder of running,
is running.

Beneath the Insomnia

[((shellter))]

brick low resThe small finger traces the maze of mortar, sliding through streets that run between buildings of brick in a vertical city
and that finger doesn’t know that a standard mortar joint is assumed to be 3/8″
And that brick sizes are determined based on that assumption
And that Frank Lloyd Wright spec’d colored mortar to accentuate horizontality
And that even though the little pig was protected by his house of bricks that the walls of home can’t protect from everything
Because so much of this world is a facade
And it’s the wood framed interior that goes up in flames
And the mold of sadness in the basement that slowly creeps in
And the termites of time eating away at the bones
But her bones are still young
And her skin is still soft
And her eyes are still smiling
For they haven’t yet witnessed the things that huff and puff more viciously than that wolf.

If only the shelter of childhood was built to house us all.

 

[((shellter))]