THE POARTRY PROJECT
THE POETRY PORTFOLIO FOCUSES ON THE POWER AND ENERGY OF WORDS
Wordsmiths, poets and bards have always been magicians – building and revealing worlds with words, sparking the common ground of shared experience and serving as the archivists of our collective memories.
Our future pioneering wordsmiths will be “energy agents of impression”. With a conscious awareness of the world of energy behind the physical form and through their faculty of blending a deep, highly-trained understanding of systematic energetic science with penetrating energetic perception, they will work as “energy atlasers” and “energy cartographers”, mapping the territory of the world of energy. Some of these energy agents of impression are already here, working as poets and writers who are helping to make the world of energy real by consciously externalizing its energetic structures, substances and universal experiences through the act of calling them into existence as word pictures and experiential points of contact. This work of energy atlasing and energy cartography will be a very important field in the future as the world of energy becomes more externalized and humanity further develops the faculties to perceive it and co-create with it as one of our next collective evolutionary progressions.
This portfolio shares such work by the creator of The Poartry Project through word storytelling and the energy art of impression to spark the spiritual imagination and perception into energy realizations, explorations and experiences. The creative process for each poem was: 1) tuning in with and perceiving the energy form, structure and essence of each piece of exhibited artwork (in the case of the Words + Art and The Painted Word Series) or space/place (in the case of the Spaces + Places Series), 2) tuning in with and perceiving the energy form and atmosphere of the gallery space with the artwork in it (Words + Art, The Painted Word) or the wider environment (Spaces + Places), 3) merging energetically with the artist’s/creator’s experience and intention as they created their art and installed it in the gallery or space/place, and 4) applying energy cartography to this process of atlasing the energies through steps 1-3 into a word map and story that depicts a version of the world of energy created by interacting with the art exhibit or space/place.
“WORDS + ART”
These original poems were all created through the incredible Words + Art Series in Houston, Texas. Words + Art invites poets and prose writers to visit a current art exhibit on display in Houston and write an original one-page poem or prose piece inspired by the exhibit. The poets and writers then gather for an evening reading event in the gallery, surrounded by the exhibited art, to share their writings with the public and each other.
One of the most unique experiences of the Words + Art reading events was a spontaneous poem challenge that happened at each reading until recently. At the close of the first half of the evening dedicated to the reading of the juried poems, everyone at the event – not just the readers – was invited to write a spontaneous poem during the 10-minute refreshment break between the first half of juried poems and the second half of unjuried poems. These spontaneous poems were then shared in the second half of the unjuried readings along with the works of many young people who took a writing class in the exhibit with Words + Art founder, Mary Wemple, earlier in the month. Some of the most surprising, moving and creative works come out of these spontaneous poems.
The Poartry Project has been participating in Words + Art since it was first launched in 2010 – for the first 2 years in person at the reading events and in the years since brought in live to read during the events via videostream.
While this poem makes references to specific elements of this exhibit, it also makes reference to several notable events happening around the time it was written to explore justice-system related themes of equity, access, power, voice and current states and concepts of ‘justice’ and justice for whom: the testimonies of Dr. Christine Blasey Ford and Brett Kavanaugh in the U.S. Senate Judiciary Committee Supreme Court Justice nomination hearing and the ugly portrayal of Serena Williams at the U.S. Open by a satirical cartoonist in Australia.
POEM | WHITE SPACE-NEGATIVE SPACE | ERASURE | UNSAID (nov 2018)
as a tongue sliced into silence
– or rest
(conscience leaves the chamber)
you get to cry and turn red
over your spilt beer
and the sailing of your ship
into a mist that goes by the name of
who will rise again in 4 days –
the number of Humanity
you get to be scorned
and laughed at
and having to play pretty
to voice at all
while shuffling off the gangplank
…and this when
you’re white and privileged, too
The banners are in tatters
at Standing Rock
couldn’t we see the petroglyphs
on the wall
and the exaggerated lips coming back out
to be smeared on Serena
all the way from a place
that got its start as a penal colony
But the walls cannot stand
they are gauzy
when we are not only of body
or the enflamed emotions
or even the mind
– one of the greatest prisons of them all
Freedom can’t be bound
when the soul
of a life
of a nation
of a people
And they have tossed the match
yet again as they sail off the edge
of the world
in the gasoline sea of beer kegs
that will turn into floodlight bombs
sweeping away the darkness
of the psyche
into the celebration of
the richness of the skin
Much in this exhibit featured repetition with no or slight variation. The ‘stop copying me’ panels in the exhibit photograph brought to mind those little square plastic puzzle games of the 1970s where all the rows and columns were filled with little tiles except one and the object was to put the tiles in sequential order. This inspired the poem, ‘wall of 12’, which definitely came through in a specific order. But it can really be read in any order, and it is a fun exploration to see if reading the poem column by column or diagonally or around the periphery and into the center creates any interesting new relationships, ideas or flows.
As written and read at the Words + Art event, it reads row by row, starting with the top row and ending with the bottom row. The top row is read left to right, then the second row is read right to left, then the third is read left to right and finally the fourth is read right to left. In the reading and the shape of the poem, some order is created as a balm for the challenging life experiences of the artist as expressed through their art.
POEM | WALL OF 12 (aug 2018)
This was one of the toughest exhibits to work with. The artist, Christopher Knowles, is said to be on the autism spectrum. Because all the poetry produced through The Poartry Project explores and penetrates into the ecosystems of energy of the artist’s creations, as well as of the artist themself, the energy of this exhibit was an energetically challenging experience. It was an energy of disorder trying to impose order upon itself through repetition. Of course, repetition creates pattern, and pattern creates rhythm, and rhythm creates beauty. But this repetition was experienced as obsessive-compulsive, with a skittishness that formed a sliding and oily “energyscape” full of nervous energy. So it was with joy and relief that a small space of refuge was found during the live video tour of the exhibit with Words + Art’s founder, Mary Wemple. This space was formed by a triptych of three different portrayals of the same church formed out of the letter, C, typewritten over and over again. In each piece, different architectural aspects of the church were highlighted – for instance, the steeple prominent in one and just suggested in another where the flying buttresses took center stage.
Poems here at The Poartry Project tend to start with the arrival of a word or a phrase, but after initially having to work hard to connect to something – anything!, this one arrived as a fully formed opening of a movie scene: a languid and wilting dusty village square somewhere in the south of Franco’s 1930s Spain, drifting into Fascism during a frying summer, seen through the eyes of a woman coming upon this scene and becoming part of it.
POEM | VIEWFINDER (mar 2018)
The sweat drips down the back of her neck
as she mops it with her faded red and white bandana.
The yellow dust has turned her face and arms
into a ginger-colored hue,
and it feels like she’s in a 1930s movie.
A fat fly sounds like a Messerschmitt heavy
stalking the air to bump its laden meaty
bomb-body payload into her sweaty bare arm,
imprinting its germ of war into her dust.
It’s the only meat around,
until she spots a man
squat-rocking on the ground
on the other side of the square.
Obsessive and oblivious.
Chaos shoots out his eyes –
electric all the way across the square –
as he works to contain the chaos
as he counts grains of sand.
He sees explosions of color in his head
that sound like shards of glass scraping against each other,
scraping inside his skull goblet,
pieces of ice cooling electric liquid chaos.
She spots a dusty carpet of olive branch
draping-drooping over the wall across the other side of the square,
its leaves like washed out green handkerchiefs
dropped by village girls with vacant hollowed eyes,
beckoning to the possibility of beauty.
She finds a hidden opening in the wall,
two walls reaching towards each other creating a languorous fold,
and enters the fold to find herself in a place
that is not usually a sense of sanctuary for her.
A simple church the same color as the dust,
the same color as she is,
arises from the sand of a million countings.
“C-C-C,” it says.
“There is a pattern to me that makes me real.
Without the chaos, I am not the calm.
Without the broken glass, I have no windows.
Without you, I am the square to the tempest
inside the universe of his sand, wringing the beauty that never came,
in vain with the undoing of your sweat and dust.”
EXHIBIT | ‘A BETTER TOMORROW’
ARTIST| JOOYOUNG CHOI
POEM | CAN'T WE JUST BE FRIENDS? (aug 2017)
EXHIBIT | ‘GLOSSY AND FLAT BLACK SQUARES’
ARTIST| SOL LEWITT
POEM | POLARITY-ASKEW-LURE-ALL-AGAIN (apr 2017)
a foot in each,
is the fate of almost all.
In this temporal space,
we live in the place –
between the poles.
AC | DC –
pulled in half –
with an unknown power
One all gloss + shiny reflection (illusion)
The other, apparently empty + flat.
But suddenly the world tilts
and we don’t know what we’re looking at
where we are.
We are sliding down
the edge of gloss,
heading towards a sharp point
of matte closure.
Compression rushing at us
while our hands
grasp pointlessly at the gloss.
We think we are headed for emptiness
(in fact we are)
as we slip through the point
and land in the gloss.
The lure of the gloss polarity
– undulating its illusory reflections –
has captured the flag in its
optical false depths
and we are called to choose.
We swim in its plumb depths
lulled into stuperous slumber
filled with palaces
of whirling activity
soperific sluicing rains
we do not feel for being
in the water.
It all ends.
Or so we think.
We think we still have
a body –
and familiar senses
We think we know it’s dark,
it is matte.
it is empty.
Some sense of time seems to happen.
And then time parts as strands of serpentine sea grass dissolving.
And we are at peace.
We become real.
We know what is real.
We come to know the gloss is death.
And we embrace the matte, the all.
And then it is white.
All around us.
And what was the end
is a beginning –
We remember something
about the falseness of certain
We remember we have to remember something about
in polarity and askew.
We will know this time
that there are no endings,
when a beginning is needed
EXHIBIT | ‘CUBICLE’
ARTIST| JONATHAN SCHIPPER
POEM | TIME NOTATION (nov 2016)
EXPLANATION OF THE COMPOSITION AND PROCESS
MUSICAL SCORE OF THE “TIME NOTATION” COMPOSITION
AUDIO RECORDING OF LIVE MUSIC PERFORMANCE OF “TIME NOTATION”
EXHIBIT | ‘CROSSTOWN TRAFFIC’
ARTIST| MICHAEL DE FEO
POEM | THE BREATH OF THE CITY (aug 2016)
I’m in LA, and it always amazes me how many writings over the years have either happened or been inspired here – contrary to what I ever expected.
I like LA. I like its youthfulness, its exuberance, its sense of fantasy, its imagination.
I like seeing film crews out and about, spinning the glittery foil that fuels our flights of fantasy into magic worlds of escape or elevation.
I like the hope in LA. It’s similar to NYC, but more innocent in vibe. People land in NYC with the ambition of taking it on, of not being swallowed by its grit and of becoming one with its power. People land in LA to merge with her embrace and the kiss of her sun.
Both cities display their underbellies: NYC with muscular or ironic male swagger; LA with tattooed mama-grrl power “so-whatta-u-gonna-do-about-it?” insouciance. Many strivers have gone to dust in NYC, ground against the hard stone of its streets. Many angels have fallen under the bridge in LA.
But LA always gets me thinking about costumes and masks. (Actually, so does Williamsburg, BKL these days, and I like Wiiliamsburg, too.) Maybe it’s because I didn’t grow up here, but the tinsel of Tinsel Town sometimes seems a little thin over the glossy beauty, and I wonder if in the embrace of hope, people end up happy.
In NYC, they don’t seem to be vibing to the beat of happy; they seem to jack into that mirage on the horizon of the Atlantic to get energized, to imbibe of its tight spring.
Cliches are light on substance, but their nugget of truth remains. LA is artfully arrayed by the pool in a bikini that shows the tattoos off just right and is out on the town, breathing in slow, deep lungfuls of the fantasy drug. NYC is running in the rain in a sweaty sweatshirt, pounding the pavement to hear itself run and breathing out its triumphant roar.
In the breath of the Two, the beat of the One can be found.
EXHIBIT | ‘THE GREAT CAPE RINDERHORN’
ARTIST| THORSTEN BRINKMANN
This was a very strange exhibit, but it stimulated many interesting poems. The poem, ‘[W]HOLES’, is very much a word play and meter play or rhythmic play. There may be places where readers might think there’s an “error” – for instance, in the line: ‘so [w]holes can be seen in the some of the parts’. This would usually read ‘sum’ of the parts, but the ‘some’ in this case is quite intentional.
The second poem, ‘Mary’, was the spontaneous poem written during the event break. The intrepid emcee and general maker-of-all-things-happen with the Words & Art event, Mary Wemple, couldn’t be there for this event, which was disappointing because it was the first time in years The Poartry Project had been able to participate in the event in-person in Houston at the gallery rather than remotely via the computer. So this poem was about and for Mary and saluted her amazing dedication in always giving The Poartry Project tours via video of each exhibit to help in the crafting of our poems. She literally crawled around on her hands and knees with iphone in hand for this one. We couldn’t be more grateful!
POEM | [W]HOLES (apr 2016)
Holes in the [w]orld let the light bleed in.
Holes in the bones light the bloodlet begin.
Holes in the stones left our hearts’ break in ruin.
Holes in the ruin break the stones’ heart apart.
Holes in a part suggest [w]holes in the start.
[W]holes in the start parse parts into parts.
Holes in the wood map the worms’ origin.
Holes in the map obscure woods’ sticky scrim.
Holes in the form tether eyes’ sight to swim.
Holes in the eyes in-sight [w]orld light to dim
so [w]holes can be seen in the some of the parts,
so dusts of the bones grow heaving new hearts,
so in the hole of the stone the [w]hole mountain is known,
so in the map of the eye floats the stone that is thrown
from the void of the hole –
the [w]hole at the start –
to star light the world
with the heart of its art.
SPONTANEOUS POEM | MARY (aug 2016)
Mary, Mary, quite contrary
in the happiest way I know.
The hatter and the cat and
Mary, Mary, quite contrary,
As poets and friends,
EXHIBIT | ‘INTERSECTIONS’
ARTIST| ANILA QUAYYAM AGHA
Even though this is a seemingly simple and straightforward poem, there is a deep backstory and much significance in how it is structured. It incorporates some years spent in academic studies of medieval Islamic scholars, philosophers, poets and esotericism (Sufism) and discovered their incredibly advanced state of knowledge during the medieval era, including the discovery of the numeral zero and many aspects of astronomy. It is said that much that led to the development of European culture was carried back from visits by Europeans to what is now known as the modern-day Middle East and Southwest Asia. It also incorporates studies of modern Middle Eastern geopolitics and culture and the colonial/post-colonial complications experienced by the region. An early job at the Aga Khan Unit for Housing and Urban Development at Harvard University’s Graduate School of Design (the Aga Khan is the spiritual head of a branch of Islam little known in the West, the Ismailis) led to a discovery of the beauty and refinement of Islamic architecture and gardens. A January break in the second year of graduate school featured a visit to the Alhambra in Granada, Spain – the direct inspiration for the artist’s work upon which the poem is based – and resulted in eight months living in Spain (mostly in Granada) because of being so inspired by the Alhambra’s beautiful architecture and the gardens, even in winter. Through all of this exposure to the original beauty, culture, refinement and depth of scholarly pursuits in Islam – not at all the version we constantly get bombarded with in the West today – there is an abiding sadness that much of this beauty and Islam’s ancient contributions to modern culture are lost on much of the world due to many of the actions and choices of modern Islam itself. This poem is about that.
And now a bit about the structure of the poem:
All of the verses, except the last, are about Islam itself. The last verse refers to the artist’s experience of not being able to enter Islam’s sacred space of the mosque as a worshipper because she is a woman. The structure of the poem is purposefully spare and repetitive, eliciting the order and elegance of Islam and its original thought, architecture and structures, as well as the precisely-timed daily repeated call of the muezzin to prayer five times a day. It also references the powerfully spare black cube of the Qa’aba at Mecca to which every Muslim is expected to make pilgrimage at least once in their lifetime.
If we can get past the ugliness of many modern presentations of Islam, the media’s often sensationalistic exclusive focus on its violent fundamentalist elements and the odd silence within modern moderate Islam itself with regards to Islam’s original and true philosophy and beauty, we can experience an elegance and a directness of perception that brings us closer to the divine without the intervention of anthropomorphic images. Representative images of the Prophet Muhammad or God or other significant, revered figures in Islam (such as Christianity’s Mary!) are forbidden in Islam, and thus Islam expressed the divinity its founder and early scholars tuned into through shapes, geometric forms, exquisite calligraphy and the thoughtfully-designed sounds of water that bring a profoundly transcendent experience of beauty, stillness and contemplation.
POEM | GUILTY, BY ASSOCIATION (nov 2015)
Cut off from much of the world –
you are guilty,
Floating in an enclosed cube –
you are guilty,
The world unaware –
you are guilty,
Your light hidden under a bushel –
you are guilty,
Magical tumbles of water silenced and unheard –
you are guilty,
Earthly gardens of astonishing beauty –
you are guilty,
Impeccable geometry of the Master Builder –
you are guilty,
The zero you perceived, coopted into self-sacrificial death,
with promises of more beautiful heavenly gardens –
you are guilty,
Because you bleed –
you are guilty,
EXHIBIT | ‘UNBOUNDED’
ARTIST| BEN BUTLER
POEM | BAMBOO HOUSES (aug 2015)
“Sticks and stones may break my bones, but words will never hurt me”…
But they did, they surely did. Every unkindness expressed, an impossibly sharply whittled bamboo sliver, slid between ribs, into hearts, under fingernails.
Torture inflicted upon me, Me inflicting torture upon all the thees in reflexive response.
A special destiny – for a time that seemed infinite – to live in constructed and self-constructed houses of bamboo shards, poking the eye of truth, puncturing the flight of confidence, at every turn. Walking carefully to avoid further pain. Slipping into the shadows of invisibility to go …undetected.
But the nature and voice were too strong, too innately joyful, to stay invisible.
And then the bamboo houses unfurled and became something new.
Bamboo shaped different meaning. No longer instrument of torture, but symbol of strength, of adaptability, of rapid growth and weathering of winds where mighty wood falls.
Currencies reevaluated. Worth measured in other forms. Comforts remembered, in bamboo, in miso, in rock gardens, in gyoza, in seiza – which in transcending the outward, I could sit forever.
I enter the bamboo house now, airy and light and full of promise, and dissolve in the turning outward.
EXHIBIT | ‘SHOTGUN’
ARTIST| ATELIER BOW-WOW + JESUS VASSALLO + STUDENTS
This poem, “SEIZA”, may appear very simple – even childlike – on the surface, but it is in fact highly significant, dense and layered. It was inspired by the wonderful book by Ruth Ozeki, A Tale for the Time Being. Combining the fact that the story takes place mostly in Japan and the nature of the ‘Shotgun’ art exhibit centering around the airy and spare effect created by showing the raw framework structures of built objects, the poem is crafted as a series of 5 illustrated haiku or 1 complete hokku. Navigating the poem starts at the top left and proceeds clockwise: the first haiku represents the story and energy of the exhibit as located in Houston; the second represents the story and energy of Nao, a main teenaged character in Ozeki’s story; the third represents the story and energy of the narrator, located in British Columbia, Canada; the fourth represents the story and energy of Nao’s grandmother, a very aged feminist-turned-monk in Japan; and the fifth represents the experience and energy of the reader-poet’s reading the story in the depths of a very cold Adirondack Mountains winter. The word, ‘seiza’, is Japanese. It can be translated as “an upright kneeling position that is traditionally used in Japan in meditation and as part of the preparation in martial arts.” The poem’s illustrations were done by the poet.
POEM | SEIZA (mar 2015)
EXHIBIT | ‘YAMATANE’
ARTIST| YUSUKE ASAI
POEM | MICROSCOPIC (nov 2014)
when i sleep,
i always travel far.
i float + i float.
first, i visit mr. fox.
he tells me i must be clever
+ quick + learn to observe.
next, i visit my favorite,
who wears the sun upon his head.
he tells me to seek my own sun within,
says one day i will look like him.
next, i visit the snake queen.
she tells me knowledge is good but can be dangerous
+ wisdom is the safety key.
“what is wisdom?”, ask i.
she says, “you will know it when you meet it
+ you will meet it when your sun begins to shine.”
then it’s on to the green places,
the minerally-mossy things i love.
they tell me to fling myself to my universe wide for all the colors to love.
then it’s on to the aardvark
who tells me i must sing a unique tune –
i’m so small – he says it’s easy to confuse me with an ant
unless he hears me sing my song.
last stop, the good wormlets near the Hands of Harboring.
they play in the currents with me, but remind me to not go too far,
avoid their dark cousins, the cousins near The Watching Eyes,
the cousins who want to cover the colors with the dark of night…
shift scene…stage right…in a laboratory
“Doctor, Doctor, come quickly! We’ve found it!
Look here. You might have to adjust the magnification.
See there? Near that strange pattern that looks like eyes?
Those strange, black, squiggling worm-like things?
That’s it. That’s the virus. We’ve found it!
It’s in the water.”
SPONTANEOUS POEM | WHAT DO YOU THINK OF? (nov 2014)
Yusuke, what do you think of
when you are making your art?
Your grain of dirt that rolls away.
Your curl that blows like a milkweed seed
away in the wind.
Your dream that dissolves with the drop of a tear.
Laying down the lines,
with your chopstick
even as they waver away.
Are you so in touch with your divinity
that you need not be remembered?
Need not leave a mark
like so many desperate yearn?
Are you so in touch with your continuity
that your massive work
needs rise eternal
only in memory?
EXHIBIT | ‘YAMATANE’
ARTIST| DINH Q. LE
POEM | SHADOWPLAY (jun 2014)
Shadows + memories are fickle things,
playing tricks in the light,
darting in + out,
a flash of silver in the murk of the pond
we construct in our minds.
Of all the people + places in the world,
how did you end up here?
What makes your face
stand out in the multitudes?
Is it the light?
That one circular photo among all the cubes?
You, young girl,
because your photo
lies on the ground in the little back room?
What makes you significant?
Are you significant?
Do you belong?
Did you know where you were headed?
Did Cajun speak to you –
or remind you of a language
superimposed on a country that
you have never known as your own?
forming a thicket garden,
dark leaves on a light floor background,
leaves in shapes from back home,
leaves in a copse
only growing from the shadowy
memories of your elders.
Where are you now?
Do you feel remembered?
Do you matter
in this mass of cubes?
How can you matter
in this overwhelming mass?
How can you matter
in the mass of humanity?
How can you matter
in the mass of stars?
In the end,
as you catch the eye
of one person,
as something in your vibration
sings in tune with someone
circling your cube,
as one kindred being
a million miles away
sees you as a leaf,
one of a great tree
whose sap we form
as the stars
spin in space.
You go on…
EXHIBIT | ‘GARDEN PROJECT’
ARTIST| EL ULTIMO GRITO
POEM | THE SEEKERS (mar 2014)
Across aeons, in the most shaded halls
of their memory,
their origin story remains.
All they had known was war.
As the light of their world dimmed,
it dimmed within themselves,
and they huddled together for contact.
Only three of the races remained –
the Yellow Foots, the Green Foots and
the Orange Foots.
In their ancient hatred, they had never
But as they came together,
something new and strange happened:
The radon of the Yellow Foots,
the radium of the Green Foots
and the plutonium of the Orange Foots
combined, and the survivors –
come to be known to themselves as
“The Joined” –
With millennia to think after The Lifting,
they came to discover that their fusion
created a bubbling liquid that fueled
In time, they came to see the purpose
of their thin, flexible forms:
to bend, to bond, to join, to flow
themselves and this bubbling liquid
across the universe.
They came to sense The Liquid as
and willed their bodies to form a special
to honor and house the fueling music
The Liquid made.
They thought themselves alone.
But suddenly a day arrived when
The Fliers came as a glimmer
in The Joineds’ eyes.
beating against their lenses,
they made The Joined wonder deeper
about their purpose and place
in the order of things.
Mayhap these tiny Fliers were seeking
the bubbling Liquid –
could hear its music –
as it bubbled in the dim Sanctuary
of the fuel room.
They knew not from where they came,
but in this Lifted land of the giant Joined,
the tiny Flier is king.
For in the palaces of their Lifted minds,
The Fliers open the door to the
possibility of Others.
Locked in their dance,
The Fliers lit in the Joiners’ eyes,
the glimmer of their purpose ignites,
and on, they Seek.
SPONTANEOUS POEM | THROUGH THE LOOKING GLASS (mar 2014)
o, alice’s wonderland
cheshire cat grinning
makes me shiver, most unkind,
creepy teeth bite down.
mad hatter top hat
hummingbird sitting a-top
gaze down to eat me.
i am the one who eats
you, however. Ha! Surprise!
eaten, the eater
in this mad garden
where brave alice takes her tea,
i, you and you, me.
EXHIBIT | ‘MARSHLAND’
This was probably the most daunting – and ultimately one of the most rewarding – experiences of the Words & Art Series. The artwork honestly wasn’t resonant, and there was much time contemplating what could possibly be written. And then inspiration struck! Two currents merged to create this incredible experience:
Earlier in the year, three creative goals had been set: 1) experimenting with new stylistic constructions of poetry (which was an early experience finding a unique ‘poetic voice’ back in early elementary school when rhyme-scheme was broken out of to create what was, at that time, something completely new as a personal experience), 2) representing and expressing different ‘voices’ from the ones usually represented, and 3) more humor.
The Netflix series, ‘The Killing’, had just been on, and it was incredible how the Swedish actor, Joel Kinnaman, captured American ‘tweaker’ slang and vocal rhythm.
The poem ended up coming through as the voice of a young boy of mixed ethnicity from the borderland between two of Houston’s less-prosperous ‘Wards’, or neighborhoods. Houston is a juxtaposition of extreme wealth and extreme poverty, and Gaia’s exhibit ended up being a meeting ground and point of contact for those two worlds to meet in the poetic imagination.
The profoundly revolutionary moment in the experience came when deciding to read the poem at the reading in the full voice, slang and patois of this young boy. It was like leaping off a cliff, not the least of which because there was a possibility of the reading being offensive or perceived as culturally appropriative. Neither occurred, and it ended up being a full liberation into inhabiting and speaking any world that could be imagined.
POEM | AFTERNOON OF A BOY NAMELESS (nov 2013)
That Guy-a, he be one sick mo-fo.
Dope, man, graffiti in this place where my moms
always tell me to shut my piehole cuz this ain’t the place
to be, like, reverbin.
But it rocks for rappin, man.
When no one be roun an’ I be waitin on my moms,
I sneak in an’ reels the beats.
These creepy faces lookin at me, man,
they be like some weird audience.
If I can make these mo-fos move,
maybe I gots a future in the biz, u digs?
I be residin forever tween the numbers 3 an’ 4, u feels me?
One foot brown an’ ancho flavor – yeah, cuz, you feels me! – one foot black an’ fro, man
but these creepy heads ain’t be my peeps.
Whatchu smirkin at me for, mo-fo picture head?
U think u knows somethin I don’t?
U know nuchin, old dude.
U! Weird picture moms with shades on u head,
tryin to stare me down, I scare u?
My beats make u squirm? U know it, cuz!
My moms, she work in this cranked up place.
I ramble con mio wheels an’ boys,
busted grass poking thru busted concrete while this city bakes.
An’ moms stay cool in this place,
“lucky” to get some cranked up job pokin on keys all day,
so me’s and my bros can eat.
But we lives tween the numbers 3 an’ 4,
not this place.
This be a different place, man.
Sometimes I gots to wait for moms here
while she finishes up peckin on those lame keys
on that lame computer sittin in one place lamely
on some cranked up desk –
and I wanna scratch on these walls, cuz,
like Guy-a be doin.
Hey, this could be dope, man! You feels me?
Maybe I could spin my beats
an’ scribble on walls
an’ make creepy heads
& get famous, bro.
I gots a million tracks runnin thru my head, man.
Must be the brown an’ black an’ heat an’ concrete.
This place be weird, man, but it gots its own dope beats. You feels me, cuz?
EXHIBIT | ‘UNWOVEN LIGHT’
ARTIST| SOO SUNNY PARK
POEM | LEVIATHAN (jun 2013)
His body rolls + shivers,
plates twitch as the water rolls,
breaking into one thousand notes
of shimmering cold heat,
electric color zapping the skin,
light eels zipping through viscous space.
Luscious, luscious aqua,
Luscious, luscious turquoise,
the trickster orange vermillion
winks when we are not looking.
Boats are lost –
searching for those shimmering colors,
breaking upon the rocks of the swordfish song,
sailors’ eyes melting upon sighting colors not of this world.
Sounds + colors swap –
Down is not up,
up is not down,
down is not down,
up is not up.
We fall up
+ climb down.
We are tossed until
softened like tumbled seaglass.
The pale aqua blue was always the priceless shard.
We think we have entered a forest of light,
a world of water
when, in fact, we have been swallowed whole.
Our darting silver not fast enough
+ now we are as one with the swordfish,
his inner walls reflecting his outer song.
A flash of the sun dazes us
+ we know the universe that lies within.
SPONTANEOUS POEM | ROCK N' ROLL (jul 2013)
Rock n’ roll is dead –
But I say it’s alive + well.
She rocks + rolls in glitter
reveling in the curves
that are now disdained.
We hesitate to look
in the shards –
fearing the distortion –
we are already too fat.
We already strain
to be pretty girls.
What we are isn’t good enough.
But, why do we glory in these
spectacular rounded forms –
these organic shapes
in a beautiful glass room
+ they shame us in ourselves
+ are shunned?
Something is broken
when art is more beautiful
than human form,
when little girls cry
because they cannot see their beauty.
When a famous actor who
cries in an interview –
because dressing as a woman
+ told by makeup that they’ve done
as well as they can
when he asks to be made beautiful –
he realizes all the fabulous, interesting
women he has lost the opportunity
because of some warped idea
we all hallucinate is real.
Something is broken
when art is more beautiful
than human form,
when little girls cry
because they cannot see their beauty,
+ boys turned to men
cry because of what they have
EXHIBIT | ‘WHEEL OF EVERYDAY LIFE’
ARTIST| GUNILLA KLINGBERG
If you look closely in the photos, you can see that this giant modern mandala is composed of familiar big-business logos.
POEM | BRANDED (feb 2013)
is nothing sacred anymore?
In this day + age, it never was.
Wearing logos like bindis,
the seat of concealed wisdom,
but where is the wisdom?
I see only addiction.
A steeping in the form
the mandala is meant to liberate
To melt away the veil
– like glass –
standing between the real + unreal,
“outside” + “inside”.
But the unreal has come to dominate,
giving unnatural power to physical death,
lost as most humanity is
– as Morpheus so rightly said –
in “the desert of the real.”
the illusion is unraveling.
I used to rail against my parents’
prohibitions against coke + mcdonald’s.
Caffeine made me crazy.
mcdonald’s was not gourmet.
Thank goodness for that refined taste
that seemed like snobbery
It saved me from the poison,
the addiction, the brand
Yet the mandala is designed to hypnotize.
Hypnotize through the eye’s devotion
to a gate to another world.
But that doesn’t work so much anymore.
The images are old.
To claim obsolescence of wisdom
is as heretical as the modern brands,
but it is a truth that
even truth grows stale.
Is there beauty in brands?
A scion of the wisdom says it is so –
says that brands + advertising
are the modern training in symbology,
the creation of a universal picture language
recognizable to all,
the forerunner outfitting in the over-scaling
of the walls of words + language
transferring pictures mind-to-mind.
So in the profane,
we find the sacred after all.
And a Tibetan on a mountain
in the 1930s saw it coming…
Mandalas made of logos,
the god of the symbols,
temporarily grounded in the only
place humanity knows for now,
but previews of coming attractions
when all creative energy
is directed to the divine.
EXHIBIT | ‘SALON OF BEAUTY’
ARTIST| ANA SERRANO
POEM | LA (nov 2012)
life springs where it can –
my first trip to LA from san fran to work with blue shield/blue cross of california,
we took a wrong turn out of
+ ended up in south central, stardate 1993
at high noon –
war zone –
alien territory –
dagger-throwing eyes sizing up
the car + ignorant skin tone –
among barbed wire –
barred windows –
broken glass –
kicking down the curb
in indolent hot winds –
braid shops –
wig shops –
wing shops –
tyger, tyger, burning dark!
smoldering dark till the tires melt
+ we sink into quicksand pavement,
through a glass darkly –
swallowed whole by LA.
emerging out the other side –
movie-set false ocean
where you cannot swim
tinseling the hollow souls –
mascot oj simpson,
i watch on my playa del rey tv,
as the police-terrorists chase hollow LA in the body of simpson,
as the white bronco streaks
it streaks outside my window
towards marina del rey
with the biting helicopters
we see every night
eating chunks out of darkness
with screamingblindingtorture lights.
there is no quiet in this place.
peace, where do you live?
where the stepford zombie life
leaves real + beauty only in the undertowing violence of south central –
playing chicken one day
+ russian roulette the next,
turning reality on its head,
wreaking havoc with our souls.
EXHIBIT | ‘NORTHWEST CORNER, SOUTHEAST LIGHT’
ARTIST| MARY TEMPLE
This was a mind-bending exhibit. Those shadow reflections of trees you see in the photos below are not shadows. They are all painted!
POEM | COCOON (mar 2011)
I loved my junior year
art history seminar
6:30 – 9:30 pm on Thursday nights.
I floated in the dark,
sated on horrible refectory fried food,
lulled by jeweled colors flying by on the screen,
especially that time someone slipped me a “special” brownie at dinner
knowing we were getting to the Dadas + eye-foolers that night.
Always a front row student,
I reveled in sitting in the very back row
soft auditorium seats
my space pod to explore new worlds.
Then stepping outside
into snow and night and cold,
walking up College Hill,
old-style street lamps
burning halos of light
onto the photo negative of night,
inspiring paintings of my own
with evergreen + midnight blue acrylics
slabbed on so thick
they glistened like oils.
Those were good days –
false light + snug dark
before the world stepped in.
Dedicated to time and undergraduate experiences @ Brown University.
EXHIBIT | ‘D-17’
ARTIST| SARAJ OPPENHEIMER
This is a visual poem, so read it by reading the lines in numerical order as they wind around the drawing. Start with line 1: “space upended to the n5 degree” and progress through until you finish with line 17: “getting in my blood”.
POEM | SPACE DECANTED (nov 2010)
EXHIBIT | ‘SOMETIMES IN MY DREAMS, I FLY’
ARTIST| ANDREA DEZSO
POEM | SPACE TRAVEL (jul 2010)
On jewel color + light
I fly –
my mind a ribbon to
inner + outer space –
while the black-and-white blades
cut my body
back to gray earth.
But the body is form –
the vehicle, carriage, car.
As the car slowly leaks
its vroom onto the
greasy floor of the
concrete slab in the
concrete bloc in the
does it die + lose itself?
I know: not,
as I construct + am constructed
out of Time,
as I fly,
I bring the earthbound
cars with me –
rusted, withered, sad –
and watch them
magical forms –
no longer forms,
That are so much forms,
they create a new species –
vroom + vegetation –
moist + mechanistic –
melding into tunnels of light + layer –
this world + the next.
POEM | RODENTS (jul 2010)
I try to put myself in my mother’s child body, seeing through her 5-year-old eyes. She is – today – viscerally afraid of + disgusted by mice, squirrels + rats. If I fill in the blanks of her crossword puzzle life, I suspect she loathes them because she had to eat them. You see, her parents – ethnic Hungarians trapped in the living prison of Slovakia after World War I – set out on foot across Europe to escape to the legendary, mythical place – “AMERICA!!!”
Landed aristocrats, my family arrived here literally with one fewer shoe on my grandmother’s feet than she left with + little experience providing for the children’s welfare, coming from the old land of battalions of servants. From this life, the 5-year-old Vera was apparently plunged into being buried in holes hand-dug by my doctor grandfather every night across Europe, gagged so as not to give away their location to night patrols + sharing the space of this nightmare landscape with things that go bump in the night.
I imagine her child eyes huge + glistening with fear as she comes face-to-face with the glowing red night eyes of a rodent – unaware in its small brain that it is about to become dinner.
In photos at about age 3 or 4, before the actual nightmare descended upon her, child Vera is grim with a line-set mouth + eyes that at once seem deadened + wildly terrified + resigned, as though she was born already seeing what is about to come
Night falls + in the shade, there is no apparent light + the light her daughter carries brings a new kind of darkness – the darkness of knowing that the whole life need not have been so dark. When the light is extended, the response is an almost-terror. She says it’s like lifting a carpet + not wanting to see what’s really below, blinded by red rat eyes that obscure the glorious landscape her daughter constructs.
POEM | FLY (jul 2010)
Where the darkness leaves off,
the daughters fly.
Flying to the landscapes
of the imagination.
Why does hope skip generations?
Where the mothers live darkness
+ the daughters are led to expect
nothing but the darkness passed
through the womb,
the daughters irresistibly
build the light,
build the world they
know seeps light
through every crack
of concrete –
Defying the rock
that doesn’t really exist.
Where the mothers are blinded
by red rat eyes,
the daughters refuse them –
blinding horror with
the light of reality,
melting it away,
so the mothers can breathe.
This original poem by The Poartry Project has been submitted for a 10th anniversary event of The Painted Word Series. It was inspired by the photographed sculpture above, Tube.
POEM | SEIRENES SELFIE (mar 2018)
Time crashes on the shore of your song,
shattered into glittering pixels
with knowing winks of selfhood
that fish hoarders dart in to grab for their
faux coral collections,
accreting their death by toxin
in reefs of ticking countdown –
Just as those sailor-soldiers did
seduced by the copper sheen
of your angled tail,
arranged just so by the golden mean
in a tableau of beautiful seduction
before your sheen dulled
and your wings were shorn.
And so now you have to learn
to try to catch the light of the
fire that still burns and smoulders
somewhere in your hold.
But the music of your millennial musing
now turned inwards on
the boulders of bones of broken men
has made you forget
who you are in the world.
Frozen in time,
frozen in face,
frozen in the space
of the angles of your body,
you dimly think that this is not how you want
to be remembered.
You must crash yourself
upon the shores of your own making
and dissolve into the pixel sea,
recombined, blazing, emergent
as the milky currents of
a billion electric galaxies
stream off your formless form.
EXHIBIT | BURLINGTON WILDS COMMUNITY ART SHOW
Each year, the City of Burlington in Vermont puts on a weekend-long Art Hop. One of the exhibits includes a celebration of the many parks and recreational opportunities made available in the city through the Parks and Recreation Department. For 2018, the theme of this exhibit is celebrating the wild places of Burlington.
With so many spectacular vistas and natural spaces in the city, it is actually the Andy A_Dog Williams Skatepark that ended up providing the creative spark to create something perhaps more original and unexpected than typical nature poetry.
Andy A_Dog Williams was a much beloved young DJ, skateboarder, artist and cultural icon who died in 2013 of leukemia. If you read tributes from the community after his passing, it is clear that he was an exceptional human being who touched the lives of all those he met. No wonder then, that the city built a skatepark in his honor. Nowhere in the city can the beauty of wildness be more experienced than at this park where lives of all ages, all colors, all gender identities, all origins, all gadgets of conveyance come together in harmony and freedom to celebrate life.
A DOG AND HIS WILD HORSES
A_Dog, your presence enters my awareness
parking almost daily before your altar
as the launching point to cycle the wind
and touch the face of the Creator with speed.
I come to have a sense of you
through the wild horses who gather in your field
and drink from your trough:
The flowing manes of the young fillies,
The streaming tails of the unfettered colts,
The shining bronzed coats dripping with sweat.
The unmistakable sound of the jumping slap
as they test their mettle
on the course you have set.
They gather round your trough
under your gaze,
joining nose to nose
to take a sip
and feel the cool breeze
whisper against their wet skin,
more sensuous than the flick
of the finest filly’s glance.
Andy, your story gets written
again and again.
In the tatooed post-punk papas,
who flash their brilliant colors
as they place their foals before them
and teach them to be fearless
flying across the plains of pavement.
In the Zen meditative mamas,
who flow as liquid air
so at one with their boards
that the heart aches with their beauty as
– unconcerned with the tumbled skinned foreleg –
they raise their young
to be strong and wild.
In the grizzled ones,
still riding the range,
hobbled here and there,
freedom and defiance flashing
in their ageless eyes.
All rolling the one-way line
into the future,
weightless on the wind
of your omnipresent love.
PINE OVER CLIFF
Among the diminutive ones,
you roar –
Over cliff of rock,
you become mighty ponderosa,
I imagine Buddha –
then Christ –
sitting under your majesty.
Lost, and found,
in the heavens.
A tiny touch of heaven,
Dixie Ponderosa Pine.
Anchored in this ground
towering over this red cliff
of this small rock
surrounded by this ocean of stone.
A still life harmony
transformed into mighty moving weather.
Elfin conifers, towering trees.
You stand at the center,
axis of the world.
This poem was written to accompany an MFA project exhibit by Words + Art founder, Mary Wemple. The assignment was to write a poem about the experience of planting a tree (planted especially for the exhibit). The Poartry Project had just designed and planted a Japanese-inspired garden that includes 7 new trees. We chose to write the poem about the little Dixie Ponderosa Pine.
INVOCATION FOR EARTH
It started as a point of light
in the afterburn of a global scream.
Silhouettes of vaporized young men
burned onto trees in Europe –
frozen onto concrete in Japan.
The world held its breath –
suspended in the smoky-smudgy darkness
oozing across the valleys
like leaden fog prowling down the muddy hollows.
Hanging on its point of
humanity turned away,
turned its face aside,
and uttered one tiny, trembling, tremulous breath –
exhausted, empty, ready to be filled.
And between the goal-posts
of dual evils so great,
they are still barely understood,
goodwill rushed in –
a high, thin, precise note
sounding above the grey landscape
of broken skeletons.
Never again, it said.
Never again. Never again!
We repel thee.
We gather unto ourselves
a goodness so great,
it is barely understood.
The dividers will not conquer.
The separators will not stand.
The diminishers will not vanquish.
The will-to-good radiates.
The will-to-peace pulses out.
The will-to-harmonize overcomes the
And stand we still,
the future face of humanity
glimpsed in the facets of the harbinger
of things to come:
The liberation of our human family,
the realization of our mineral family,
the rejuvenation of our plant family,
the recognition of our animal family,
the release of our elemental family.
United nations –
united kingdoms –
united earth –
joining life to life
in the body
of the evolving life beyond.
This poem is essentially an energetic blueprint of the formation of the United Nations and the ecosystem of energies and forces that were in motion to prompt its formation. It was written by The Poartry Project at the invitation of the United Nations Association for UN Day. It also serves as a true invocation using energy science to set energies and forces in motion as a stimulating force of good offsetting the force of separatism and division.
You are not fixed.
Impossible to capture,
your escapable essence
darting away –
a flash of silver
in the impenetrable
perennial dusk of the deep sea.
Pop of shocking electric orange –
stacked fruit amidst
the faded piles of trash.
Exotic hawks wheeling
above impossibly packed
Shrouded figues wrapped
like corpses dumped
at the beneficent feet of
Totally different –
it has never felt so new and so old,
so completely alien.
Peacock feathers float by
like some strange dream.
like sand slipping through
you refuse to be pinned
Your center –
a hidden machine in a box spinning on one corner
like a cyclotron –
explosive power as yet
How can the sacred and
profane exist like this?
Everything seems divine –
the starving dogs,
the street children layered
in years of grime, white
teeth flashing like headlights,
the professional meditating
next to the pile of trash,
the boy pissing at the bus stop.
You are so polluted, but
so different from the twin villages outside
Guayaquil on the road to Cuenca
where the garbage is just garbage
and the starving dogs are tragic.
a kaleidoscope that won’t
Fire from friction,
jewelled colors in improbable
Constantly changing –
an energy in whirling motion.
Pinwheel winds and the
most profound inner
silence ever known.
A messy, chaotic, exotic
party cocktail of microbes and saints.
Drink down the cocktail,
inhale the noise,
lose yourself to the crazy carnival,
and the boundaries fall away.
In the seductive dust and
in the melting piles of
garbage that almost
beg for virgin hands to
plunge in up to the wrists,
in the celebration of
secretion and elimination
and all that is human
in glorious oblivion –
We are one with All,
All are One.
Impossible Bharat Kaleidoscope,
you will remain elusive –
just beyond the fingertips
of understanding –
until the last sighing of breath,
and as my eyes widen
in my final moment,
I will look upon your face,
and I will know you.
Written while riding a bus from Delhi to Agra, India
I lost myself in you,
your shadowy mists,
your icy falls.
The wild winds blow + whistle –
this magical, haunting land
of Mother Mary sightings.
Your desolation a perfection so full,
greens of so many subtle
varieties never seen before.
You pull me out of and into
out into this wild wind,
this hungry, untouched wind.
A desert of mountains so
perfectly empty –
so perfectly full.
Most pass through your peaks
and crags with a careful
eye on the guardrail.
I am seduced to throw
myself off your edges
as I count your hundreds
I long to be dust, wind,
moss upon your perfectly
To be absorbed into your
changeless face of
shadow + light.
I will rest here.
I will soar here.
I will become permanent here –
melting into your wind –
worn rocks with face
turned up to the kiss
of your mist.
This poem was written on a car ride through El Cajas National Park in Ecuador. It is a section of the countryside closest to the high mountain town of Cuenca. The elevation is 13,550 feet/4,310 meters, and it features 270 lakes and lagoons. They look like pieces of broken mirror scattered all throughout the flanks of the mountains and valleys. The back road where this poem was written is apparently a little sketchy to drive; it is said that there are bandits, so even Ecuador natives tend to stay away, but all that was experienced on the road was absolute quiet except for the voice of the wind. It is a truly magical place on Earth.
TRUE STORY FOR ANNIE
You never think much about accordians
until a masterful woman spins one from imagination,
with all its history
only to end ignominiously.
But that little green concertina is your constant companion now,
in a world where you love music
through a tin ear.
And it’s why,
while waiting in a crowded San Francisco airport,
one of the accordian’s stories comes alive,
wheezing notes turned into thrumming poetry
as an ordinary man with grey beard and balding pate
wends his way through some doleful memory or another.
No one pays attention—
you wouldn’t have before befriending the beleaguered concertina—
but it trembles your heart
as the player’s grandson sits on the dirty floor
counting money out of a scruffy baseball cap.
You feel you’ve missed your moment,
somehow disappointing Annie
by not acting on what has changed your landscape,
creating intimacy in the epitome of anonymity—
the airport—when you had your chance.
But you can’t ignore the unlikely siren song
echoing in your head.
Seizing the poemness of the event—
reverting to your lifelong desire to live on a page
all the while realizing this is much closer to the bone—
you approach the man,
though he’s retired his little squeezebox
and the boy has pocketed the paltry change.
You hand him a dollar,
a little embarrassed to be marking the epiphany with
and, heart pounding and face flushed,
you ask him if he’s read the book.
Does he know his green accordian’s a star?
but he says he’ll find the tale.
He may think you’re a little strange.
It doesn’t matter.
Your history has finally been shaped by a fiction
tangy and persistent,
and while some get it backwards saying art imitates life,
and others would find such a moment absurd,
nothing will ever be the same.
As shared in the poem, it was written in an airport terminal in San Francisco, with a letter in pocket from Michael Harper, Poet Laureate of Rhode Island and Brown University Creative Writing Chair, to the Chair of the Poetry Department at Stanford University, who had assured the letter-bearer’s acceptance into the Poetry Doctorate Program at Stanford. The letter was never used and the connection to Stanford never made, the intention of which (not using the letter and not going to Stanford) was already present in awareness in this moment at the airport. The poem references E. Annie Proulx’s gem of a book, Accordian Crimes. This event marked a first true hesitant contact out into the world and with ‘strangers’ as an ‘adult’ just after college. It felt like a breaking of the rules of engagement known up until that point and a willingness to step into appearing foolish after a lifetime of avoiding any such possibility. It was the beginning of a long series of paths into the world of energy and more spiritual living, giving rise to a deep love for humanity and a recognition that all lives and moments of contact are beautiful.
A HOLIDAY PARABLE
“Mr. Mayor, I must protest!”
“How, now, Madame Supervisor? What’s your interest?”
“Tis not enough that the Redcoats try to take over the post?
Now, we must abide this golden storm to play the host?”
Quoth the Mayor, “Of what storm do you speak, M’Lady?”
“Dear Mayor, are you truly serious? Do you not witness behaviors most shady?!
Dear Sir, how can you not see the clouds of unruly Golden Crown usurpers –
Small, yet mighty, even nudging out the Redcoats!? We must defend our borders!”
The Mayor, a peace-loving public servant, pondered deeply beneath his black cap.
“Hmmm. Hahhhhh. Ahhhhhh, I see!”, upon which realization he delivered himself a slap.
“My dear lady, I have been busy filling the town coffers and, truth be told, my copious belly
as with my age, I feel the cold much more and my frigid muscles, they do quiver like jelly.
In my narrow focus and the many years of peace,
I do believe I have become soft and accustomed to ease.”
“As Territory Supervisor, I must be aware of our borders.
The Redcoats, whilst newish, have caused minimal disorder,
but these Golden Crowns are too much and must be disposed!
To you, Sir Mayor, I must insist, What dost thee propose?”
“Oh, Mr. Mayor, Madame Supervisor, down here, down here!
I know I am young and inexperienced and not your peer.
But I could not help but overhear your quandary.
I question the dilemma in the midst of our plenty.
Have you conversed with the Golden Crowns?
Have you supped with the Redcoats?
Have you consulted with our neighbor towns?
Have you crossed over the rivers and moats?
‘Tis the holiday season, the time to share,
‘tis the time to welcome if others’ cupboards are bare.
‘Tis the time to succor the weary traveler to rest his bones.
‘Tis the time to throw doors open to all of our homes.
After all, all we have is thanks to the care of others,
so I would share our wealth, if I had my druthers.
If the feeder becomes empty, what we have becomes moot
and as the Redcoats and Golden Caps, we would needs follow suit.
So in this time of snow, why not give what we horde
and distribute out all that by custom we have stored?
I have seen that when our hearts we do allow to flow
and our vast and mighty riches we happily bestow,
The two-legs attend to our houses and stock them with seed
and we never find ourselves in a position of need.
With generosity, the Chickadee Kingdom then will be secure
and Cardinals and Kinglets will, in friendship, be more demure!
With plenty shared for one, multiplies plenty thus for all
and under this law of sharing, no kingdom then with fall!
This poem was written for a holiday event at an assisted living facility in the Adirondacks that used to be a tuberculosis sanatorium hosting many famous figures, many of them writers. It is a parable about the Law of Sharing and Abundant Exchange, which is one of the fundamental operating principles, laws and realities of the world of energy. When we give unconditionally for good with no expectation of return, the energy ecosystem responds abundantly. As a world teacher known to those who seek wrote, “For those who give all, all is given so they may give again.”