The reviewer is a singularly detested enemy because he is, unlike the hapless artist, invulnerable.
quote by Carroll O'Connor
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Through the eyes of a Field Coronet (Epic)
Introduction
In the kaki coloured tent in Umbilo he writes
his life’s story while women, children and babies are dying,
slowly but surely are obliterated, he see how his nation is suffering
while the events are notched into his mind.
Lying even heavier on him is the treason
of some other Afrikaners who for own gain
have delivered him, to imprisonment in this place of hatred
and thoughts go through him to write a book.
Prologue
The Afrikaner nation sprouted
from Dutchmen,
who fought decades without defeat
against the super power Spain
mixed with French Huguenots
who left their homes and belongings,
with the revocation of the Edict of Nantes.
Associate this then with the fact
that these people fought formidable
for seven generations
against every onslaught that they got
from savages en wild animals
becoming marksmen, riding
and taming wild horses
with one bullet per day
to hunt a wild antelope,
who migrated right across the country
over hills in mass protest
and then you have
the most formidable adversary
and then let them fight
in a natural wilderness
where the hunter,
the sniper and horseman excels
and any enemy is at a lost.
Let them then also be patriotic
into their souls,
believe in and read
out of the word of God
[...] Read more
poem by Gert Strydom
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The mother and the artist
A mother might bear just a single child in 9 months; but an artist blossoms
into an infinite children of wonderfully emollient freshness; every
unfurling instant of impregnably magnificent existence,
A mother might bear just a single child in 9 months; but an artist blossoms
into an infinite children of spellbindingly undefeated innocence; every
unfurling instant of symbiotically pristine existence,
A mother might bear just a single child in 9 months; but an artist blossoms
into an infinite children of timelessly unconquerable truth; every unfurling
instant of bounteously magnanimous existence,
A mother might bear just a single child in 9 months; but an artist blossoms
into an infinite children of unfathomably unfettered creativity; every
unfurling instant of timelessly burgeoning existence,
A mother might bear just a single child in 9 months; but an artist blossoms
into an infinite children of royally triumphant resplendence; every
unfurling instant of unconquerably majestic existence,
A mother might bear just a single child in 9 months; but an artist blossoms
into an infinite children of eternally exhilarating vivaciousness; every
unfurling instant of redolently insuperable existence,
A mother might bear just a single child in 9 months; but an artist blossoms
into an infinite children of unbelievably ameliorating optimism; every
unfurling instant of marvelously benign existence,
A mother might bear just a single child in 9 months; but an artist blossoms
into an infinite children of brilliantly liberated camaraderie; every
unfurling instant of iridescently inscrutable existence,
A mother might bear just a single child in 9 months; but an artist blossoms
into an infinite children of unshakably virgin righteousness; every
unfurling instant of beautifully untainted existence,
A mother might bear just a single child in 9 months; but an artist blossoms
into an infinite children of uninhibitedly heavenly frolic; every unfurling
instant of tantalizingly sensuous existence,
A mother might bear just a single child in 9 months; but an artist blossoms
into an infinite children of compassionately humanitarian friendship; every
unfurling instant of magically mitigating existence,
A mother might bear just a single child in 9 months; but an artist blossoms
into an infinite children of miraculously everlasting freshness; every
unfurling instant of invincibly coalescing existence,
A mother might bear just a single child in 9 months; but an artist blossoms
into an infinite children of pricelessly ubiquitous oneness; every unfurling
[...] Read more
poem by Nikhil Parekh
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Lisbeth and the Artist
Lisbeth stands watching
The artist as he prepares
To sketch. Her elder sisters
Stand in shadows whispering.
Her younger sister plays
With her doll on the floor.
Their father said to do as
The artist instructed and
Don't misbehave or be rude.
The artist stares hard his
Dark eyes searching their
Every move and expression
And body gesture. The elder
Girls mutter in shadows
Their hands over their mouths
Their blue eyes like shallow
Pools. Ready? The artist
Asks putting charcoal to
Paper his fingers blackening.
Lisbeth says just as we are?
The artist nods. His grim
Features express do not disturb.
The youngest sister plays
Ignoring the artist her eyes set
On the game at hand. The girls
In shadow turn their profiles
Set to mystery their hands on
Their abdomens like guardians
Of virtue. Lisbeth wonders as
She watches the artist's stiff
Moustache and beard the slow
Movement of his mouth as he
Mouths words and stares hard.
The last artist employed some
Year before younger and less
Brutal in expression and manner
Had drawn them each in private
Rooms and set them down on couch
Or bed and kept their images inside
His head. He was dismissed and the
Drawings destroyed and nothing said.
Lisbeth had thought it just a game
Something done as lover might in
Private corners or lonely spots on
Quiet nights. The artist sketches.
His blackened fingers move and
Made their mark. Their images
Captured. The scene set. One sister
In the shadows yawns the other
Stares in still contempt. Lisbeth
[...] Read more
poem by Terry Collett
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Psychological Warfare
This above all remember: they will be very brave men,
And you will be facing them. You must not despise them.
I am, as you know, like all true professional soldiers,
A profoundly religious man: the true soldier has to be.
And I therefore believe the war will be over by Easter Monday.
But I must in fairness state that a number of my brother-officers,
No less religious than I, believe it will hold out till Whitsun.
Others, more on the agnostic side (and I do not contemn them)
Fancy the thing will drag on till August Bank Holiday.
Be that as it may, some time in the very near future,
We are to expect Invasion ... and invasion not from the sea.
Vast numbers of troops will be dropped, probably from above,
Superbly equipped, determined and capable; and this above all,
Remember: they will be very brave men, and chosen as such.
You must not, of course, think I am praising them.
But what I have said is basically fundamental
To all I am about to reveal: the more so, since
Those of you that have not seen service overseas—
Which is the case with all of you, as it happens—this is the first time
You will have confronted them. My remarks are aimed
At preparing you for that.
Everyone, by the way, may smoke,
And be as relaxed as you can, like myself.
I shall wander among you as I talk and note your reactions.
Do not be nervous at this: this is a thing, after all,
We are all in together.
I want you to note in your notebooks, under ten separate headings,
The ten points I have to make, remembering always
That any single one of them may save your life. Is everyone ready?
Very well then.
The term, Psychological Warfare
Comes from the ancient Greek: psycho means character
And logical, of course, you all know. We did not have it
In the last conflict, the fourteen-eighteen affair,
Though I myself was through it from start to finish. (That is point one.)
I was, in fact, captured—or rather, I was taken prisoner—
In the Passchendaele show (a name you will all have heard of)
And in our captivity we had a close opportunity
(We were all pretty decently treated. I myself
Was a brigadier at the time: that is point two)
An opportunity I fancy I was the only one to appreciate
Of observing the psychiatry of our enemy
(The word in those days was always psychology,
A less exact description now largely abandoned). And though the subject
[...] Read more
poem by Henry Reed
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Tom Zart's 52 Best Of The Rest America At War Poems
SONS AND DAUGHTERS OF WORLD WAR III
The White House
Washington
Tom Zart's Poems
March 16,2007
Ms. Lillian Cauldwell
President and Chief Executive Officer
Passionate Internet Voices Radio
Ann Arbor Michigan
Dear Lillian:
Number 41 passed on the CDs from Tom Zart. Thank you for thinking of me. I am thankful for your efforts to honor our brave military personnel and their families. America owes these courageous men and women a debt of gratitude, and I am honored to be the commander in chief of the greatest force for freedom in the history of the world.
Best Wishes.
Sincerely,
George W. Bush
SONS AND DAUGHTERS OF WORLD WAR III
Our sons and daughters serve in harm's way
To defend our way of life.
Some are students, some grandparents
Many a husband or wife.
They face great odds without complaint
Gambling life and limb for little pay.
So far away from all they love
Fight our soldiers for whom we pray.
The plotters and planners of America's doom
Pledge to murder and maim all they can.
From early childhood they are taught
To kill is to become a man.
They exploit their young as weapons of choice
Teaching in heaven, virgins will await.
Destroying lives along with their own
To learn of their falsehoods too late.
The fearful cry we must submit
And find a way to soothe them.
Where defenders worry if we stand down
The future for America is grim.
[...] Read more
poem by Tom Zart
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Be My Enemy
Well the dawn is howling
And the mainframe shakes
Feel like Ive been sleeping in a
Cellar full of snakes
My wings have been clipped
My shoes have been stuck with glue
Well if youll be my enemy
Ill be your enemy too
Now Ive got goons on my landing
Thieves on my trail
Nazis on my telephone
Willing me to fail
They were all sent by someone
(obviously/well I know it was) you!
Well if youll be my enemy
Ill be your enemy too
Ive a bucketful of babylon
I got a handful of lead
Im gonna put them in a gun man
Point it at your head
Because you stole all my friends
And you gave me the buffalo blues
Well if youll be my enemy
Ill be my enemy too
Now from the slime on your tongue
To the nails on your toes
From the scales on your skin
To the stains on your clothes
Youre gonna have to make me do something
That I do not want to do
But if youll be my enemy
Ill be your enemy too
My hands are tied
Im nailed to the floor
Feel like Im knocking on the
Unknown door
Theres a gun at my back
A blade at my throat
I keep finding hate mail
In the pockets of my coat
Well Ive been trying to grow
I been cooling my heels
Ive have been working the treadmill
Ive been working in the fields
And I cant get to sleep
I cant catch my breath
I cant stop talking and i
Look like death
But I will put right this disgrace
I will rearrange you
[...] Read more
song performed by Waterboys
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Joseph's Gloss On God
When Joseph tells his brothers: “I
am not God, ” he perhaps implies
that unlike God he sometimes lies,
and unlike Him, is doomed to die.
The words that Joseph never said
are wrong, as we find out when burned;
God often lies, a lesson learned
from history, and God is dead.
Inspired by a review by Paul Buhle of R. Crumb’s The Whole Book of Genesis, in Forward, October 10,2009 (“In the Image of God: The Ambition of R. Crumb’s Graphic Genesis”:
To say this book is a remarkable volume or even a landmark volume in comic art is somewhat of an understatement. It doesn’t hurt that excerpts of the book appeared during the summer in the New Yorker and that the Hammer Museum in Los Angeles is opening an exhibit of the original drawings from which the book’s contents were adapted. “The Book of Genesis, ” Robert Crumb’s version, nevertheless stands on its own as one of this century’s most ambitious artistic adaptations of the West’s oldest continuously told story.
No comic artist has been more influential than Crumb. In terms of sales, his work is dwarfed by the superheroes and, in comic art prestige. Art Spiegelman, and a short list of others including Alison Bechdel and Marjane Sartrapi may have displaced Crumb. But Crumb’s influence abides and endures in his occasional LP/CD covers, in his volumes of collected work (16 volumes so far and counting) , his artistic prizes and a generation of artists who have incorporated his particular view of humanity.
Surprisingly, his best work in 20 years has actually been in the genre of adaptation, specifically an adaptation of Franz Kafka, dating to the mid 1990s. On that highly curious point, any consideration of this “Genesis, ” as a highly personal comic art, properly begins. Notoriously, Crumb is a gentile who fled from his deeply dysfunctional Delaware family to the Cleveland neighborhood of Harvey Pekar and the arms of the first of two Jewish wives. “Crumb, ” the 1994 film documentary, was in many ways about emotional pain (including a brother doomed to suicide) and his craving for a certain kind of woman, who, although possibly any female with a bemuscled backside, was in fact most likely to be Jewish. She, reality and image, was his consolation. The strips that he drew of Jewish-American life, nevertheless, reworked stereotypes, some funny (he visits Florida with his second wife, and holds a tiny grandfather on his knee) , and some, doubtless, insulting to many readers.
In the pages of “Introducing Kafka, ” Crumb became his fictional protagonist with such depth of insight into the logic of the doomed writer, as well as of Kafka’s famed works, that many readers were simply astonished, this reviewer among them. Kafka is the exemplar par excellence of a type of ambiguous, tortured mittel European Jewish personality as it hovered between faith and uncertainty, shortly before the Holocaust. Not Spiegelman, not Ben Katchor, nor Sharon Rudahl, nor others who drew historical or quasi-historical strips about Jewish history, had taken the characterization as far as Crumb. An earlier escape from Middle American culture had propelled Crumb toward his satirical protagonist Mister Natural, a Zen-like, robed quasi-prophet of the 1970s-80s. Three decades later, Crumb’s robed prophets are far from Zen.
Crumb’s “Genesis” is then perfectly serious and the author wants us to know it. As he says on the cover, “Nothing Left Out! ” Every “beget” from the King James Bible can be found here, along with plenty of scenes censored from previous graphic adaptations. And more prose, in the final “Commentary” segment of the book, than non-writer Crumb may have put on the page anywhere, aside from his published letters. More striking for anyone but the seasoned Crumb fan: unlike previous Biblical comic adaptations, including some published and drawn by Jews, Crumb’s characters actually look Jewish, the women even more than the men. The contrast to the classic work, EC Comics’ “Picture Stories from the Bible” (1945) in that respect is most illuminating. But more recent works like the best-selling “Manga Bible” (2000) are not much different (nor was the “The Wolverton Bible” by one of the strangest of comic artists Basil Wolverton) . Close readers will see Crumb’s wife Aline Kominsky, to whom the book is dedicated, again and again, in various guises; perhaps only Chagall drew his beloved wife so often and with such varied imagination.
Not only are the characters Jewish here, they are all ages and sizes. If, for instance, there are more drawings of Jewish elders in any single volume of comic art anywhere, I have never seen them. The women here are beautiful when young, heavily busted with large, muscular thighs. The men are strong, their beards full and noble. The deity has a really big beard and retains his notoriously bad temper, as well as his commanding presence, and absolute demand for loyalty. The animals of Genesis (in Noah’s ark and elsewhere) may be where Crumb is most similar to earlier comic art adaptations of Biblical texts, but they are drawn, like everything else, with such loving care that they are special and demand repeated viewing.
In those extensive notes at the end, Crumb comes as close as he is ever likely to revealing the sources and depth of his commitment to the text. He had been puzzling, no doubt under a wave of feminist criticism, about the gender struggle, until Torah scholar Savina Teubel’s “Sarah the Priestess” (1984) gave him new insight: a matriarchal background, female deities and actual female power, in a society turning toward patriarchy but retaining some elements of women’s prehistorical strength and centrality to the direction of early civilization. If anything is reinterpreted purposefully in “Genesis, ” it is in gender, and Crumb does so not by scoring points but by rearranging the visual subtext. Gender issues also help him reframe somewhat the class dimension of tribal society, which endures not through brute force but because of the strength of its women.
The commentary on his visual choices and his broader interpretations explores and explains his few intentional deviations, not only in the name of narrative clarity but artistic intent. Mainly, his notes drive home how he struggled to interpret the text in suitable graphic form, chapter by chapter, sometimes even character by character. There is no doubting the artist’s integrity or hard work, in no small part because he redrew again and again, trying to find historically accurate clothing and scenery. The Old Testament of cinematic Charlton Heston, so to speak, became the Genesis of lived and perceived experience, socially real and super-real. Clues are provided with translations of specific Hebrew names within the visual text, essentially metaphorical in meaning. These clues may be the closest to footnotes that Crumb has ever provided.
Comics scholar Jeet Heer, has noted in “Bookforum” that Crumb’s biblical characters, with the exception of the deity, have no internal lives: only the deity has depth and personality. As with the original text, much more is implied in Crumb’s visual text than can be stated, because scenes rush by so fast and because the artist forever works out, pen or brush in hand, a unique meaning that escapes easy interpretation. Even closer to the mark, Heer argues that above all, this is a book about bodies, the natural expression of an artist whose work has, possibly more than any other master of comic art, been concerned with body structure and expression.
And offending the deity? Crumb treads with a caution all the more remarkable for an artist, who, short decades ago, allowed himself the full run of his imagination, heedless of the consequences. Crumb’s innovation might be summed up in his characterization of Joseph, brilliant in subjugating Egypt but weary of his own powers. In the final phrases of the book, the artist suggests a radical view several thousand years previous to Jewish Karl Marx. “In the very last chapter, when his obstreperous brothers fling themselves at this feet and proclaim, ‘Here we are, your slaves, ’ he says to them, “I am not God, am I’ Joseph has learned a much finer humility than the fear-driven kind shown by his barbaric brothers.” So says a humble Crumb.
10/22/09
poem by Gershon Hepner
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Hudibras: Part 1 - Canto III
THE ARGUMENT
The scatter'd rout return and rally,
Surround the place; the Knight does sally,
And is made pris'ner: Then they seize
Th' inchanted fort by storm; release
Crowdero, and put the Squire in's place;
I should have first said Hudibras.
Ah me! what perils do environ
The man that meddles with cold iron!
What plaguy mischiefs and mishaps
Do dog him still with after-claps!
For though dame Fortune seem to smile
And leer upon him for a while,
She'll after shew him, in the nick
Of all his glories, a dog-trick.
This any man may sing or say,
I' th' ditty call'd, What if a Day?
For HUDIBRAS, who thought h' had won
The field, as certain as a gun;
And having routed the whole troop,
With victory was cock a-hoop;
Thinking h' had done enough to purchase
Thanksgiving-day among the Churches,
Wherein his mettle, and brave worth,
Might be explain'd by Holder-forth,
And register'd, by fame eternal,
In deathless pages of diurnal;
Found in few minutes, to his cost,
He did but count without his host;
And that a turn-stile is more certain
Than, in events of war, dame Fortune.
For now the late faint-hearted rout,
O'erthrown, and scatter'd round about,
Chas'd by the horror of their fear
From bloody fray of Knight and Bear,
(All but the dogs, who, in pursuit
Of the Knight's victory, stood to't,
And most ignobly fought to get
The honour of his blood and sweat,)
Seeing the coast was free and clear
O' th' conquer'd and the conqueror,
Took heart again, and fac'd about,
As if they meant to stand it out:
For by this time the routed Bear,
Attack'd by th' enemy i' th' rear,
Finding their number grew too great
For him to make a safe retreat,
[...] Read more
poem by Samuel Butler
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Living With The Enemy
I gave you all that you wanted
and still you come back for more
You say that you're brokenhearted
but then you walk out the door
Maybe it is time for us to say goodbye
Where are the tears you never cried?
Hey baby what you got on your mind
are you looking for some sympathy?
I can tell you if it's a truth or a lie
'Cos it's just like living,
living with the enemy
You got me going in circles,
I'm slowly loosing my head
What did I do to deserve this,
you make me wish I was dead
Tell me I'm wrong and I'll be on my way
See you around another day
Hey baby what you doin' tonite?
Are you giving me the perfect dream
I'm so tired and I don't wanna fight
'Cos it's just like living,
living with the enemy, enemy
Living with the enemy, living with the enemy, enemy
Living with the enemy,enemy
Living with the enemy, living with the enemy, enemy
song performed by Ozzy Osbourne
Added by Lucian Velea
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The Battle of Cuito Cuanavale
I. Outnumbered by armour (A reply to William Shakespeare)
Outnumbered by armour
and by men we met the enemy,
FAPLA and Cubans under Russian leadership
and the men accompanying me
was very worried
and wished for the whole
of the seventh armoured division
to have been deployed.
I said to the men
in the armoured car with me
that if we must die here in vain,
the fewer men it be
but if we grasp the victory
the world will know
that we are brave and honourable men
capable of destroying whatever faces us.
Weary I told them that our ancestors
faced a outnumbering enemy
against Dingaan and won effectively
as they were in the hand of God
and so were we.
Colonel Deon Ferreira send us straight in,
from Rundu
(heading north-west after crossing the border)
to intercept the 47th enemy FAPLA / Cuban (armoured) brigade.
At the same time UNITA were repulsing
the16th FAPLA (infantry) brigade
north of the Lomba River
that was trying to take Cunjamba.
We were hitting hard directly from the south,
surprising the 47th enemy (armoured) Brigade,
virtually destroying it
at the junction
of the Lomba and Cuzizi Rivers
fighting with armoured cars
against tanks
hitting fast and then driving away at speed,
like on commando our ancestors did
during the Anglo Boer war
fighting day and night
till the field, the air was filled with gore
[...] Read more
poem by Gert Strydom
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Fifth Book
AURORA LEIGH, be humble. Shall I hope
To speak my poems in mysterious tune
With man and nature,–with the lava-lymph
That trickles from successive galaxies
Still drop by drop adown the finger of God,
In still new worlds?–with summer-days in this,
That scarce dare breathe, they are so beautiful?–
With spring's delicious trouble in the ground
Tormented by the quickened blood of roots.
And softly pricked by golden crocus-sheaves
In token of the harvest-time of flowers?–
With winters and with autumns,–and beyond,
With the human heart's large seasons,–when it hopes
And fears, joys, grieves, and loves?–with all that strain
Of sexual passion, which devours the flesh
In a sacrament of souls? with mother's breasts,
Which, round the new made creatures hanging there,
Throb luminous and harmonious like pure spheres?–
With multitudinous life, and finally
With the great out-goings of ecstatic souls,
Who, in a rush of too long prisoned flame,
Their radiant faces upward, burn away
This dark of the body, issuing on a world
Beyond our mortal?–can I speak my verse
So plainly in tune to these things and the rest,
That men shall feel it catch them on the quick,
As having the same warrant over them
To hold and move them, if they will or no,
Alike imperious as the primal rhythm
Of that theurgic nature? I must fail,
Who fail at the beginning to hold and move
One man,–and he my cousin, and he my friend,
And he born tender, made intelligent,
Inclined to ponder the precipitous sides
Of difficult questions; yet, obtuse to me,–
Of me, incurious! likes me very well,
And wishes me a paradise of good,
Good looks, good means, and good digestion!–ay,
But otherwise evades me, puts me off
With kindness, with a tolerant gentleness,–
Too light a book for a grave man's reading! Go,
Aurora Leigh: be humble.
There it is;
We women are too apt to look to one,
Which proves a certain impotence in art.
We strain our natures at doing something great,
Far less because it's something great to do,
Than, haply, that we, so, commend ourselves
As being not small, and more appreciable
To some one friend. We must have mediators
[...] Read more
poem by Elizabeth Barrett Browning from Aurora Leigh (1856)
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Economy, A Rhapsody, Addressed to Young Poets
Insanis; omnes gelidis quaecunqne lacernis
Sunt tibi, Nasones Virgiliosque vides.
~Mart.
Imitation.
--Thou know'st not what thou say'st;
In garments that scarce fence them from the cold
Our Ovids and our Virgils you behold.
Part first.
To you, ye Bards! whose lavish breast requires
This monitory lay, the strains belong;
Nor think some miser vents his sapient saw,
Or some dull cit, unfeeling of the charms
That tempt profusion, sings; while friendly Zeal,
To guard from fatal ills the tribe he loves,
Inspires the meanest of the Muse's train!
Like you I loathe the grovelling progeny,
Whose wily arts, by creeping time matured,
Advance them high on Power's tyrannic throne,
To lord it there in gorgeous uselessness,
And spurn successless Worth that pines below!
See the rich churl, amid the social sons
Of wine and wit, regaling! hark, he joins
In the free jest delighted! seems to show
A meliorated heart! he laughs, he sings!
Songs of gay import, madrigals of glee,
And drunken anthems, set agape the board,
Like Demea, in the play, benign and mild,
And pouring forth benevolence of soul,
Till Micio wonder; or, in Shakspeare's line,
Obstreperous Silence, drowning Shallow's voice,
And startling Falstaff, and his mad compeers.
He owns 'tis prudence, ever and anon
To smooth his careful brow, to let his purse
Ope to a sixpence's diameter!
He likes our ways; he owns the ways of wit
Are ways of pleasance, and deserve regard.
True, we are dainty good society,
But what art thou? Alas! consider well,
Thou bane of social pleasure, know thyself:
Thy fell approach, like some invasive damp
Breathed through the pores of earth from Stygian caves
Destroys the lamp of mirth; the lamp which we,
Its flamens, boast to guard: we know not how,
But at thy sight the fading flame assumes
A ghastly blue, and in a stench expires.
True, thou seem'st changed; all sainted, all enskied:
The trembling tears that charge thy melting eyes
[...] Read more
poem by William Shenstone
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Original - Time, My Worst Enemy
Time, My Worst Enemy
Keeping me away from you
Time, My Worst Enemy
Moving slowly when we’re apart
Time, My Worst Enemy
Fleeting when you are near
Time, My Worst Enemy
Battling with it daily
Time, My Worst Enemy
Stealing moments from the clock
Time, My Worst Enemy
Until you are in my arms again
Time, My Worst Enemy
Rapidly chasing us down
Time, My Worst Enemy
He will not take you this time
Time, My Worst Enemy
You are in my arms to stay
Time, My Worst Enemy
Has Lost!
poem by Don Haney
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A Enemy / A Friend.
a enemy will always snitch,
a friend likes you wether your poor or rich,
a enemy won't help you in a fight,
a friend is there wether you're wrong or right,
a enemy hurts you day and night,
a friend is like family you're always tight,
a enemy wont catch you if you fall,
a friend is someone you can always call,
a enemy doesn't care if you stay alive,
a friend doesn't let you drink and drive,
a enemy doesn't care if you feel sad,
a friend is there thru good and bad,
a enemy is not a friend hes fake,
a friend will give but not take,
a enemy will try to hit up your girl,
a friend will help you confront the world,
a enemy borrows money and doesn't pay you back,
a friend will always have your back,
a enemy to hurt you will always find a way,
but a friend will always be there until your last day.
01/23/2009
Copyright ©2009 Jose Murguia
poem by Jose Murguia
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Pharsalia - Book IX: Cato
Yet in those ashes on the Pharian shore,
In that small heap of dust, was not confined
So great a shade; but from the limbs half burnt
And narrow cell sprang forth and sought the sky
Where dwells the Thunderer. Black the space of air
Upreaching to the poles that bear on high
The constellations in their nightly round;
There 'twixt the orbit of the moon and earth
Abide those lofty spirits, half divine,
Who by their blameless lives and fire of soul
Are fit to tolerate the pure expanse
That bounds the lower ether: there shall dwell,
Where nor the monument encased in gold,
Nor richest incense, shall suffice to bring
The buried dead, in union with the spheres,
Pompeius' spirit. When with heavenly light
His soul was filled, first on the wandering stars
And fixed orbs he bent his wondering gaze;
Then saw what darkness veils our earthly day
And scorned the insults heaped upon his corse.
Next o'er Emathian plains he winged his flight,
And ruthless Caesar's standards, and the fleet
Tossed on the deep: in Brutus' blameless breast
Tarried awhile, and roused his angered soul
To reap the vengeance; last possessed the mind
Of haughty Cato.
He while yet the scales
Were poised and balanced, nor the war had given
The world its master, hating both the chiefs,
Had followed Magnus for the Senate's cause
And for his country: since Pharsalia's field
Ran red with carnage, now was all his heart
Bound to Pompeius. Rome in him received
Her guardian; a people's trembling limbs
He cherished with new hope and weapons gave
Back to the craven hands that cast them forth.
Nor yet for empire did he wage the war
Nor fearing slavery: nor in arms achieved
Aught for himself: freedom, since Magnus fell,
The aim of all his host. And lest the foe
In rapid course triumphant should collect
His scattered bands, he sought Corcyra's gulfs
Concealed, and thence in ships unnumbered bore
The fragments of the ruin wrought in Thrace.
Who in such mighty armament had thought
A routed army sailed upon the main
Thronging the sea with keels? Round Malea's cape
And Taenarus open to the shades below
And fair Cythera's isle, th' advancing fleet
[...] Read more
poem by Marcus Annaeus Lucanus
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Value Fever Pitch: An Artist’s Time
Bhoman F Jamhari said
'I am an artist - This does not
mean I will work for free.
I have bills just like you.
Thank you for understanding.'
Polite and to the problematic point.
Anyone who thinks believes
an artist’s time is worthless,
is definitely a person an artist
should avoid; such individuals
cannot comprehend
or remotely understand
aesthetic value of art.
Art takes time to produce.
Vision and artistic skill takes
even longer to realize to attain
expanding horizons. Time costs.
Artists of differing genre value
appreciate each other and art
which suits their temperament.
To create art
is the life blood
of an artist.
The air we breathe
is the home of art.
Creativity is our fevered mind songs
we sing in a legacy of image visions.
What kind of a con artist wants
to steal bread from an artist’s mouth;
therefore limiting the quality quantity
of future works of art, to be produced
by that artist. Answer an enemy of art.
poem by Terence George Craddock
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Trivia ; or, the Art of Walking the Streets of London : Book III
Of Walking the Streets by Night.
O Trivia, goddess, leave these low abodes,
And traverse o'er the wide ethereal roads,
Celestial queen, put on thy robes of light,
Now Cynthia nam'd, fair regent of the night.
At sight of thee the villain sheaths his sword,
Nor scales the wall, to steal the wealthy hoard.
O may thy silver lamp from heaven's high bower
Direct my footsteps in the midnight hour!
When night first bids the twinkling stars appear,
Or with her cloudy vest enwraps the air,
Then swarms the busy street; with caution tread
Where the shop-windows falling threat thy head;
Now labourers home return, and join their strength
To bear the tottering plank, or ladder's length;
Still fix thy eyes intent upon the throng,
And as the passes open, wind along.
Where the fair columns of St. Clement stand,
Whose straighten'd bounds encroach upon the Strand
Where the low pent-house bows the walker's head,
And the rough pavement wounds the yielding tread;
Where not a post protects the narrow space,
And strung in twines, combs dangle in thy face;
Summon at once thy courage, rouse thy care,
Stand firm, look back, be resolute, beware,
Forth issuing from steep lanes, the collier's steeds
Drag the black load; another cart succeeds,
Team follows team, crowds heap'd on crowds appear,
And wait impatient, 'till the road grow clear.
Now all the pavement sounds with trampling feet,
And the mixt hurry barricades the street;
Entangled here, the waggon's lengthen'd team
Cracks the tough harness; here a ponderous beam
Lies overturn'd athwart; for slaughter fed
Here lowing bullocks raise their horned head.
Now oaths grow loud, with coaches coaches jar,
And the smart blow provokes the sturdy war;
From the high box they whirl the thong around,
And with the twining lash their shins resound;
Their rage ferments, more dangerous wounds they try,
And the blood gushes down their painful eye,
And now on foot the frowning warriors light,
And with their ponderous fists renew the fight;
Blow after blow, the cheeks are smear'd with blood,
Till down they fall, and grappling roll in mud.
So when two boars, in wild Ytene bred,
Or on Westphalia's fattening chestnuts fed,
Gnash their sharp tusks, and rous'd with equal fire,
Dispute the reign of some luxurious mire;
[...] Read more
poem by John Gay
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Cassinga
Just like spring when the blue sky is full of falling leaves,
there are three hundred and seventy parachutes that decent,
on a ominous day
with enemy AA-guns reporting
and the enemy are more
than a thousand and a half in number.
The barrels of the enemy AA-guns are lowered,
to break us
and the enemy tries to sow havoc
and to decimate us.
Enemy snipers are shooting from trees
and from everywhere
there are shots being fired,
that munches pieces from us
From behind ruins
we fire almost endlessly
at trenches where some enemy soldiers hide
and launch mortar bombs
all over the place,
while bullets are coming down like rain.
We return heavy fire
to the enemy at the AA-guns,
while other soldiers replace them
which keeps the battle hanging in balance
Shot after shot are being fired
and the smell of death
is strong in the air
and there’s nowhere
for the enemy to escape to.
The last resistance disappears
and there’s apparent peace
and dead enemies everywhere
and some of the bats,
get into pumas
and the rest of us wait
with nowhere to go.
The border is too far to walk
and there’s nothing to drive away with,
when Cuban tanks and armoured cars
find us there.
.
With RPG-7 iron fists
four tanks are destroyed
[...] Read more
poem by Gert Strydom
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The Cassinga jump
Fear and tension was written over the faces
of paratroopers next to,
in front and at the back of me
when the red light
began to flash in the Hercules
and we went to action stations
still skimming barely over the tops
of taller trees at about two hundred feet
and most of us had two weeks earlier
been home at our civilian jobs.
One paratrooper vomited
right over me in yellow stinking
half fermented food
and the retching smell
made me nauseas as well
while the aircraft pitched steeply
with its last-minute manoeuvres
coming to jumping height
of eight hundred feet.
Mushroom clouds left by exploding bombs
billowed up from Cassinga
and in trenches I saw
people shooting upwards at us
and suddenly bombers dived
through our formation.
The sticks in front of me jumped
and air rushed into my face
at the open door
while the pit of my stomach went numb
and I stepped into space
falling, falling and seeing
a rocket-propelled grenade exploding
near the aircraft above me
and it veering away.
While the opening parachute jerked me up
I heard the deep roar
of a anti-aircraft gun
shooting from below
and it was clear that we
had jumped later
than we were supposed to
or the dropping zone
was too small to take
a full stick
of thirty-two paratroopers at a time.
[...] Read more
poem by Gert Strydom
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A Fable For Critics
Phoebus, sitting one day in a laurel-tree's shade,
Was reminded of Daphne, of whom it was made,
For the god being one day too warm in his wooing,
She took to the tree to escape his pursuing;
Be the cause what it might, from his offers she shrunk,
And, Ginevra-like, shut herself up in a trunk;
And, though 'twas a step into which he had driven her,
He somehow or other had never forgiven her;
Her memory he nursed as a kind of a tonic,
Something bitter to chew when he'd play the Byronic,
And I can't count the obstinate nymphs that he brought over
By a strange kind of smile he put on when he thought of her.
'My case is like Dido's,' he sometimes remarked;
'When I last saw my love, she was fairly embarked
In a laurel, as _she_ thought-but (ah, how Fate mocks!)
She has found it by this time a very bad box;
Let hunters from me take this saw when they need it,-
You're not always sure of your game when you've treed it.
Just conceive such a change taking place in one's mistress!
What romance would be left?-who can flatter or kiss trees?
And, for mercy's sake, how could one keep up a dialogue
With a dull wooden thing that will live and will die a log,-
Not to say that the thought would forever intrude
That you've less chance to win her the more she is wood?
Ah! it went to my heart, and the memory still grieves,
To see those loved graces all taking their leaves;
Those charms beyond speech, so enchanting but now,
As they left me forever, each making its bough!
If her tongue _had_ a tang sometimes more than was right,
Her new bark is worse than ten times her old bite.'
Now, Daphne-before she was happily treeified-
Over all other blossoms the lily had deified,
And when she expected the god on a visit
('Twas before he had made his intentions explicit),
Some buds she arranged with a vast deal of care,
To look as if artlessly twined in her hair,
Where they seemed, as he said, when he paid his addresses,
Like the day breaking through, the long night of her tresses;
So whenever he wished to be quite irresistible,
Like a man with eight trumps in his hand at a whist-table
(I feared me at first that the rhyme was untwistable,
Though I might have lugged in an allusion to Cristabel),-
He would take up a lily, and gloomily look in it,
As I shall at the--, when they cut up my book in it.
Well, here, after all the bad rhyme I've been spinning,
I've got back at last to my story's beginning:
Sitting there, as I say, in the shade of his mistress,
As dull as a volume of old Chester mysteries,
[...] Read more
poem by James Russell Lowell
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