the eternal question
for some of us anyway
being how do you not try
to fix it all and all at once
when everyone's always told you
you can do anything
that means you must do everything
right? since nothing is ever
enough?
Taking walks innocently under the flickering buzz of streetlights.
I want to wake up at 2 in the morning just to go get slurpees at 7-11.
I want to dance even if I can't and travel even if I have no idea where I'm going or where we'll end up.
I want us to understand one another without ever even speaking a word.
I want to watch our favourite movies and talk over them in deep conversations and meaningless ones.
I want to share earbuds and listen to our favourite songs.
I want God to be at our centre and nothing can tear us apart.
I want to make blanket forts and fall asleep on a pillow padded palace.
I want to be exhausted yet too scared to fall asleep in case I wake up and you were just a figment of my imagination, yet I want to fall asleep in your arms and wake up to the smell of coffee and you saying good morning to me.
I want to laugh and cry so hard that I cannot breathe.
I want to go on moonlit, star scattered night swims and warm ourselves under blankets by a bonfire.
I want to burn the food and decide to get takeout instead but I also want to cook real well for you and see your reaction when you take the first bite.
I want to be incredibly stupid but I also want to be mature with you.
I want to feel what it's like to be with and without you, so we can appreciate just how important we are to eachother.
I want to have something of yours wrapped around me so that it'll be like a hug when you go, take something of mine with you too to remember me by.
I don't know how long we'll have with eachother, so let's make the most of what we've been given.
And last of all if none of this is possible at least I'll have my poems as little glimpses of what could have been.
I want a lot of things out of this life but it's hard to have hope it'll happen sometimes.
sorry to bother, but I've got a question that's been bugging me for a little while. In chapter one of Anthony C. Yu Translation, it states the monkey kings birth rock as an 'immortal stone' then goes on to describe its size. how could a stone be immortal, or is a just a way to say it was favored by the heavens?
I'm not sure, but I've always considered it to be a kind of "scholar's rock" (gongshi, 供石), a category of gnarled, pitted stones that develop in nature. They are often seen in Chinese gardens. The rocks were historically viewed as stand-ins for qi (氣)-filled mountains far away from the cities and towns where scholar-cultivators lived. I wrote the following in an old college research paper:
It’s important to point out that the very first reference to Chinese gardens appears in the Book of Changes. The aforementioned material also states that “Grace [can be found] in the hills and gardens” (賁于丘園). Here, gardens are associated with the wilderness and not a plot in a private residence. The first unambiguous mention of gardens comes from the Songs of Chu (楚辭, Chu Ci, 4th-c. BCE), an anthology of poetry written during the latter part of the Zhou Dynasty. One famous verse known as “Summoning the Soul” (招魂, Zhao Hun) describes how a shaman (巫, Wu) struggles to entice the meandering spirit of an ailing king to return by reminding him of the beautiful women waiting for him “in your garden pavilion, by the long bed curtains”.[7] Such imperial gardens took on a new significance during the following Qin (221–206 BCE) and Han dynasties (206 BCE–220 CE) as certain emperors became obsessed with Daoist immortality and built microcosms of landscapes—rocks for mountains, ponds for rivers, and trees and plants for forests—within their palaces. The hope was to entice lofty immortals to settle there and teach them their secrets of longevity.
The first private pleasure gardens arose during the Han. There were two kinds, the extravagant park owned by the wealthy and the simple scholar’s retreat. The former was based on the great imperial hunting parks that served as a symbol for the emperor’s power since such spaces were stocked with exotic plants and animals gifted by conquered territories. Thus, the extravagant nature of these gardens served to broadcast the wealth and power of their owners. On the contrary, the latter were most likely born from privately owned vegetable gardens. The Book of Odes (詩經, 11th–7th-c. BCE), the oldest known collection of Chinese poetry, suggests that scholars during the Zhou dynasty already viewed their simple food gardens as relaxing places of leisure. The idea of a garden serving as a proxy for a mountain retreat was made popular by Tao Qian (陶潛, 365–427), a poet of the Six Dynasties period (220–589). His philosophy is best exemplified by poem number five of his “Twenty Poems After Drinking Wine” series:
I built my hut beside a traveled road
Yet hear no noise of passing carts and horses.
You would like to know how it is done?
With the mind detached, one’s place becomes remote.
Picking chrysanthemums by the eastern hedge
I catch sight of the distant southern hills:
The mountain air is lovely as the sun sets
And flocks of flying birds return together.
In these things is a fundamental truth
I would like to tell, but lack the words.
Here, shear concentration of will transports an individual to the mountains far away from the hustle and bustle of daily life. This implies that any setting can be one’s own personal Eden, even a garden.
MAKING WISHES is a book to read daily. It contains 365+ original quotes, poems, and short stories that inspire and motivate as you contemplate their application in your own life.
The Four Horsemen were Canada’s great contribution to international sound poetry, a genre that has traditionally involved the authors of the most abstruse literary theory ever written doing the verbal equivalent of Monty Python’s Department of Silly Walks for small audiences that regret their own open-mindedness. (Look, the Splash Zone was clearly labelled.) The Horsemen became genuine counter-culture favourites because they understood that absolute freedom is as absurd as it is sublime. As a result, their second LP Live in the West is probably the most fun thing that’d come out of the whole sound poetry movement to that point. The poets presented themselves as something between a band, an avant-garde theatre troupe, and a sketch group, and their compositions flit between high- and lowbrow signifiers in a way that feels prescient of today’s culture.
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Side One is dedicated to shorter compositions, classical sound poetry conceits like dismantling a single loaded word into discrete phonemes (the word “Assassin” dissolved into startled AHHs and hissing esses) and deftly syncopated sequences of non-verbal glottal noises and grunts. On “From Beast/Matthew’s Line,” Paul Dutton (I think) opens with a snippet of an Irish-sounding folk song; he breaks off, allowing Rafael Barreto-Rivera and bpNichol to exchange repeated non-sequiturs in Spanish and English while Dutton keens in the background; Steve McCaffery begins speaking over them, intoning John Clare’s nineteenth century poem “I Am!”; as McCaffery nears the climax of the poem, the others gradually transition into raga-style vocalizations. The effect is quadrophonic, not unlike Glenn Gould’s “contrapuntal radio” piece The Idea of North (1967), which layered recordings of spoken monologues to see how their meanings and sounds complimented and “splashed off” one another. It also anticipates the sampling era to come, but the analogue physicality and precision required to pull the piece of without the aid of electronics gives it a spark all its own.
The elaborate collaging of “Matthew’s Line” previews the two longer pieces on Side Two, “Mischievous Eve” and “Goodbye Stagelost.” On these quasi-theatrical pieces, the Horsemen lean into the characters their voices suggest: the plummy British accent of the Sheffield-born McCaffery makes him a natural for playing the role of a fusty square, though he is never far from descending into gibbering imbecility; Barreto-Rivera’s Latin-accented good cheer provides an earthy counterpoint, even as he often lapses into Spanish passages that deepen the complexity of following their ratatat chemistry; Nichol has a measured, precise cadence, leading his colleagues like a conductor even as he often dives the furthest into abstraction; little Paul Dutton’s boyish, wiseacre Ontario deadpan sounds like one of the Kids in the Hall, making him the perfect foil when things need deflating. These longer selections resemble a slapstick update of the overlapping dialogues in the second part of Eliot’s The Waste Land, found writing and original material and classical literature swirled together to capture life in the charnel house of modern culture, but with more jokes (a special tip of the cap to Dutton’s passing allusion to Nichol’s “dick-washing habits”).
Fifty years down the line, sound and concrete poetry have little presence in the Canadian scene (or internationally, for that matter) outside of a few holdouts of the old guard. Almost nothing on the shelves or the stage feels as genuinely creative or lively as this old record does. I haven’t the space or energy here to litigate the institutionalization of the genre, but I know in my bones that the world could use a little more nastiness like this.
I am not surprised, but I am slightly disappointed in myself. For, I had planned on writing one prompt every day and I have not even nearly managed to do that. However, now I felt like writing just like these random pieces so I tackled on three individual prompts. And as always, these prompts are from 365 Creative Writing Prompts - ThinkWritten . You can find my takes on the three prompts right under the cut.
Dancing: Who’s dancing and why are they tapping those toes?
Dancing has always been what I love, one of my passions. My only passion really. Whether it is in a dancing studio or a stage or in my kitchen late at night, it doesn’t matter. The way my toes tap against the floor when I twirl around the room makes all of those bad thoughts go away. All of my many bad thoughts. Some would say I am torturing myself by making dancing my whole life, they say it’s not healthy for me. But I don’t agree. I would not be standing here today, if I wasn’t devoting my life to those twirls and those taps of my feet. Nonetheless, they call me the depressed dancer. Quite the right usage of words, even if you ask me.
Food: What’s for breakfast? Dinner? Lunch? Or maybe you could write a poem about that time you met a friend at a cafe.
“For breakfast I would like dinner, perhaps pizza. Pizza has always been my favorite. I’d have a soda with it, a coke preferably. And then for lunch I’d like pancakes. My mother never let me have pancakes other than on the weekends. And it is now Tuesday after all and I don’t need to obey my mother anymore,” I voiced my thoughts before stopping when thoughts of my mother completely invaded my emptying mind.
“And for dinner, miss?” the older man standing in the doorway hurried me on - his foot was tapping against the stone cold floor.
“Just ice cream,” I whispered and the man turned away and another closed the cell door.
I had just described my last three meals before I’d be hanged for murdering my own mother. Hopefully I would manage to annoy her one last time with my choice of meals. You see, she didn’t approve of too much sugars.
Eye Contact: Write about two people seeing each other for the first time.
When I looked into your eyes for the first time, I knew I had found my match. My better half. You looked so beautiful with your eyes smiling just as brightly as the rest of your face did. You were glowing, almost, and anyone beside you looked as if they were jealous of your happiness. I couldn’t take my eyes off you and it worried me you would think I’m a creep for staring too long. But in the end, I sat down near you and looked at you for so long I forgot how long. And now, two years later I am still thinking about you.
The first time I looked into your eyes was an accident. Staring at someone’s eyes has always stressed me out and I prefer to avoid it. But that day, I wasn’t able to look away as your gaze pierced mine. I could feel your eyes on me as if you were just inches away from my face, your eyelashes almost gently touching mine. When I looked up I was met with your hungry eyes and my bright smile from before faded away. Though, had you realized that, you would have looked away. Only it seemed your gaze only got more and more interested in me as it roamed around my face. I felt like it was hard to breath and I sat down on the closest bench I could find, panic tugging at my heartstrings. Now, even two years later I am still haunted by your gaze.
P.S. Do not repost as your own, though, reblogs are appreciated! Thanks!
Fairytales present reality as we wish it could be, even if we know it shouldn't. If you distort reality so a fourteen-year old human trafficking victim can have a sweet, consensual relationship with the man she was bought for (she can't), ask yourself why wasn't reality distorted (much less) so that two eighteen year olds could have a romantic relationship in the Taisho era?
I went to some trouble once, to show that this show wasn't, like Shield Hero, trash that romanticises sex slavery. You mayn't believe it, but I'm not a naturally condemning person. I must finally withdraw that assertion, after ten episodes of 'bad girl' shaming, virginity fetishization, toxic gender role propaganda and the uncritical celebration as Yuzu embraces the dehumanised Stepford wife role forced upon her. Not to mention romanticisation of a pregnant teenage Midori, forced to marry her rapist, and Tamahiko's character being reconstructed from depression as a judgemental prig, otherwise bland as a dating sim protagonist.
This isn't a story about how a teenage trafficking victim deludes herself as a coping mechanism, or how good can come from the evil of forced child marriage. AGAIN, you don't have deny immoral historic practises, you don't even have to say that they're bad. You have to show that they're bad, or you're showing that they're not bad. Or celebrating an ancient, toxic ideal of female disempowerment, childish weakness and servitude. 365 Days was only apparently worse, because the female victim's resistance was progressively broken down; Yuzu never had any resistance or self-will to break, which is exactly what's evil about grooming and marrying a child. Nor any character development whatsoever; Tamahiko gets all the character development as he conforms to the same corrupt values system.
Taisho Otome Romance is NOT the story of sexual/romantic awakening which the title, and every episode's virginity-fetish-poem preamble, presents it to be. Yuzu is nothing else from the outset but an utterly, cheerfully selfless servant of man, designed and packaged for male consumption as if Tamahiko's father had ordered her built rather than bought. Amid monstrous evil, Yuzu's only unhappiness is that Tamahiko's gaze should stray from her. Her desires are entirely bound up in Tamahiko and his offspring, apart from her duty of self-sacrifice for what the patriarchy values more than a woman's life (her guilty family, unforgivably absolved of guilt by Yuzu offering herself to Mr Shima in the manga, and Midori's unborn child). A well-written character may certainly and commendably choose to be a housewife, but it is obscene to suggest that a human trafficking victim has free choice, or that conforming herself absolutely to the ideal of the society that bought and sold her deserves to be called self-will. Let alone celebrated with soft pastels and twee romance, or held up as an ideal before which Tamako, the professional woman, and Ryou, the non-conforming outcast, must abase themselves.
As I've said before, seriously presenting an assault and abuse survivor as a 'bad girl' is simply not on. I got halfway through ep 11, hoping in vain for some better treatment of Ryou; apparently her little brother 'protected something precious to her' by saving her from rape. That's called commodifying virginity, and involves Ryou as well as Yuzu and Tamahiko in the series' ubiquitous, nauseating worship of virginity. Nauseating because it represents a disgust with sex, a denial of the human right, especially the female right, to have sex with the person of their choice; the truly precious right taken from Yuzu the instant she was sold into a forced marriage, as surely as by rape. There is, again, no sexual or romantic awakening for these permanent children denied any sexual self-will by the writer; they are not awakening, but conforming into their approved societal roles of breadwinner and wife-mother, like children playing house.
Even the 'bad girl' is denied sexual self-will. The senselessness of her little bother imploring Ryou not to sell herself, if it was her father who had sold her, denotes that it's considered unconscionable for a woman, even one otherwise relentlessly smeared, to sleep with anyone, in any circumstances, of her own will. Prostitution is unspeakable and life-blighting, but not, of course, forced marriage, which is apparently a woman's happiness. I'm going into this detail about Ryou because she's the only character in this mess worth saving, which does make TOR slightly better than Shield Hero. Raphtalia is no less a male-serving toxic ideal than Yuzu, for holding a sword; Shield Hero's direct attack on the MeToo movement and obscene light-novel-harem-power-fantasy are still rather worse. I'm not opposed to conventional morality as flagrantly violated by Shield Hero's sex slavery, polygamy and glorified open misogyny; I am opposed to toxic romance, the sickening excess of unexamined, childish conformity applied to situations that should be complex, human-centred and even horrifying, not romanticised. Thankfully, TOR seems rather less popular, in fact not especially popular at all. Many years after Akutagawa dissected the simple, society-serving morality of Japanese fairytales with modern psychology, the wonder is that anyone will buy this rubbish. The worry is that some people apparently think the wrongness of child marriage and human trafficking is merely an aspect of western culture.
#Poetry #Collection - combining #Escapril poems with my #MentalHealthAwarness Poetry Initiative poems to tell my #burnout story.
MHAPI Prompt 18 / Night & Day Poetry Collection – Night 18
Night 18: balance
Work-life balance is a pipe dream.
I’ve struggled to admit it – so
– many – times – I wouldn’t say
work-life balance is impossible in America.
Go above and beyond, show up early,
Be the last to leave, schmooze the boss –
Attend every meeting, community event,
and be available, unpaid, 24/7/365.
You can’t have…