Submit your work, meet writers and drop the ads. Become a member
 Jan 2020
Aaron E
Art is working within a frame. Knowing and exploring that frame, using contrast, drawing attention across the field.

It’s an extension of language. Which is metaphor. The default art of language is the frame we operate from within. The words we collect along the way, to place along the veritable canvas of open air.

You need the frame to create context, but it’s also limiting. And it’s only when we understand where our context collides with other broader or more pervasive contexts that we can reconstruct our frame. Transcend it, and paint a newer, more comprehensive picture within a newer, more robust, frame.

So how big should your canvas be. Smaller frames require concision. Bigger frames allow more expansive exploration.

One would think, by those descriptions alone that a larger canvas is better, but it also requires more discipline. We can easily lose ourselves in the expanse and be left with nothing but irreducible chaos. Jungle. Space. Ocean. Not because these expanses are truly irreducible, but because we haven’t developed enough to place any kind of conceptual frame around them. We can’t place them into a useful metaphorical context, besides pointing into the void and reveling in its mystery.  Dreaming up monsters or messiahs that only reflect our fears and ignorance.

But this isn’t a canvas it’s a concept  and it’s hopefully a clear description of why overconfidence in our understanding can lead us to creating a frame larger than we can effectively navigate. Painting ourselves into the void, swallowed by reflections of our own shortcomings.

It’s not pessimism.

Each person is a natural artist gifted with the capacity for communication and supreme adaptation. Very fortuitous developments compared to say; ******* ants out of a tunnel with an incredibly well adapted snout, or establishing mate worthy dominance by bludgeoning a competing male with large outcroppings of bone. Music, written word, spoken language these are the result of our creativity. Our propensity to shift the scope of our picture. Capture understanding from depth by reducing it.

Language only has the frames we construct within it. We must place the borders around our picture somewhere, and playing within each arbitrary space is what creativity is. The self limited but transcendental use of ones space or time.
While this isn’t what I consider “poetry” working through it helped me get some peace from my pessimism, which I thought was poetic.

Digging through this tangent really has stumped me in a way that makes it difficult to reduce into some coherent poem with any kind of resolution, but in this case I’m not as frustrated as I normally would by that.

Spinning these particular wheels has been a fruitful experience in its self.

Cheers.
 Jan 2020
TOD HOWARD HAWKS
We are all prophets, first to ourselves,
then to all others. Our prophecy is love,
and then from love to all other feelings
and forms of love. But to love, one first
must be loved:  We can only give what
we have received. Billions of us over mil-
lennia were never loved, so we fought wars
and killed untold others in our heart-blindness.
If ever we are loved, we shall give birth
to kindness that we then can wrap around
others writhing in pain, an anodyne of
yours and mine, a gift that is at once precious
and free.

Now Earth is captive to false notions,
pseudo-values that twist truth into lies, money
over magnanimity, contumely over compassion,
wealth over worth. We wear straight jackets of
self-worth, forgetting we share our real worth,
our spiritual worth, with all other creations
in infinite Cosmos. Our prophecies have been
perverted into profanities. We need to find
courage enough to find love and those who
will imbue us with this all-powerful, healing
force. Otherwise, we are doomed to destruction
and death, along with tulips, tigers, whales,
and hawks.

Copyright 2020 Tod Howard Hawks
A graduate of Andover and Columbia College, Columbia University, Tod Howard Hawks has been a poet and human-rights advocate his entire adult life. He recently finished his first novel, A CHILD FOR AMARANTH.
 Jan 2020
Steph Portuguez
On the castrated futuristic **** a jump had been executed. I witnessed it, he adjusted his boots, felt like vanishing, the leaving of pure prudence.

Nothing makes any sense when the revision turns into continuity. The dawn is inexpedient to the lousy recumbent and its prosperities. The unawareness has made it to the core, therefore, the nightfall passes its independence and unfairness to our own.


Oh! My irrelevant donkey, that one, to whom I've seen tumble down and not approaching a grip. To his uncovered castration had been given a hopeless drop of newly celebration. That the donkey responsible for the path, the vintage tumbril cannot allow him to surpass.

Suspiciously probable for the conscious well wrapped up in the voluminous indifference, a conjugated apathy choir with granted presence and simplicity.

For him, that was, the moment, the freeze, the calendar date, the burial, call it a day. Of this cursed sequence, uncertain, an emerged insomnia confined in a sepulcher of paranoia.

It has torn, that liberty of unknown. His frozen bowels, it spans, a recommended dealer, I now ingest the syrup, it has darkened a bit in this limbo. The glucose did not annihilate the glutton, enough insulin was more as to come to delicacy, the quadruple figure does not reflect with no lens nor ability.

A hanging genital, fully outworn, in debt to the swelling and proceeding bomb. The ****** hole has been closed to the visitor in roll. A relic since conception, sodden with my self-distrust, muzzled to the art of action and disrupt. Poor dehydrated, yet to inaugurate, an everlasting sedateness of demising absoluteness and abundance of self-reproach.

I **** you! You irreverent donkey, to a steady furore and irrelevance, quite a damaging endorphin. Your tutelage did never flood me with yearness, it had to disguise with this sugar barrel of stupidity and clenching. This untainted audacity will never lift a curtain hiding the unseen and revolting... thing.

The mentioned tumbril and diluge of fresh sweat, a dryed armpit but a head transpiring with a tiny leap. An immense extension awaits for the indolent sailor, outstanding intentions to be a renegade, but somehow those rails just... get to him.

Hallucinogens of the stepmother earth, it is time for the urged recess. Bell, bell! I beg you to blare. Esoteric prairies dance to the classic and strange macarena, transported plebs by European train, to Trainspotting it reflects. That turbulent, nostalgic and wondrous effect.

Oh! My irrelevant donkey, all you see and will come to see, will puff out as everyone ticks. Your indignated throbbing will pace as impatient as you may. Your pant for conclude, but also recapture will barely endure. Nevertheless, your undoing will bash up all you never cared to do and take.
Next page