Dear Poet Friends, being fond of Art, I wanted to compose on
this topic for a long time in a simplified form! Egyptian Art and
Architecture influenced the Early Greeks, who in turn influenced the Romans and other civilizations! Initially Art and architecture, religion and culture, were all closely inter-related! Real distinction emerged with the Italian Renaissance. Here I have used only a portion of my personal notes. Hope you find this interesting to read! Sorry for the length! Kindly give Comments after you have managed to read the entire portion in your spare time. Thanks, -Raj

INTRODUCTION TO THE STORY
OF WESTERN ART IN VERSE:
          PART ONE
    * BY RAJ NANDY

INTRODUCTION
Art over the centuries has been variously defined,
But an all embracing definition is rather hard to find!
Ayn Rand defined Art as a recreation of reality according to
artist’s values, his view of existence, and choice;
Who recreates by a selective rearrangement of the elements
of reality, and not simply out of a void!
Study of Art History is a study of man’s creative evolution;
A progress of his wakened consciousness, and a restless
striving towards perfection!
The progress of his mind, taste and skill, which has gradually
evolved through past traditions;
Finding ultimate expression in his multi-faceted creations!
I commence this story from its earliest days, and mention those
Ancient Civilizations which influenced Art in many ways.
Art has been greatly influenced by religion, culture and history;
Therefore, knowing these aspects becomes necessary to
fully appreciate this Art Story!

PREHISTORIC STONE AGE ART:
Let us take a ride on the magic carpet of History, down
past millenniums to begin our Art Story;
Right into the ancient Paleolithic, Mesolithic and Neolithic
Eras of the Stone Age,
When early humans left their creative imprints on rock
surfaces and on walls of caves!
Long before the evolution of any proper coherent speech
or communication,
In some 350 caves of France and Spain are seen paintings
of large wild animals like horses, antelopes and bison;
Bearing witness to the story of gradual human evolution!
The cave paintings of Chauvet, Cosquer, and Lascaux, date
between 8000 and 1700 BC,
Drawn by nameless and faceless people who emerged from
an inhospitable Ice Age;
Those nomadic tribes who were hunter-gatherers living in
pre-historic caves!
The Story of Art therefore begins before recorded History,
Pieced together by scholars with the help of science and
archeology!
During the Neolithic Period beginning around 8,000BC,
Ancient man became gradually sedentary, engaging in
agriculture and animal husbandry!
With these nomads settling down in small communities,
Art became mystical and monumental in range;
As seen in the megalithic (large stone) structures of the
famous Stonehenge!
This type of post and lintel structure is also found in ancient
Egyptian architecture, and later in Greece as its special
feature!
Art History spans the entire history of mankind,
Right from the pre-historic days, up to our modern times!
Man’s everlasting quest for immortality lies etched on
rocks and raised stone edifices, defying marauding Time!

MESOPOTAMIAN ART (3500-300BC) :
Let us now travel fast forward on our magic carpet to reach
the Fertile Crescent,
Where the Tigress and the Euphrates Rivers flow, to the
Ancient Civilization of the Sumerians! (3500-2300BC)
The birth of civilization has been traced to Southern
Mesopotamia, where the Sumerians built their first cities,
As the earliest River Valley Civilization around 3500 BC!
It was a period when writing got invented in its earliest
Cuneiform form;  (around 3400 BC)
When Patriarch Abraham established the worship of a Single
God, in a revolutionary religious reform! (Judaism)
Mesopotamian Civilization as the source of our earliest
surviving Art dates back to 3500BC;
When major civilizations like the Sumerian, Akkadian,
Babylonian, Hitties, Assyrian, and the Persians, in this
chronological sequence, contributed to Art History!
Mesopotamian Art in general glorified their powerful rulers
and their connection with divinity;
Reflected on their city gates, palace complexes and ziggurats,
are scenes of both victorious wars and their prosperity!
Art was then highly functional and repetitive; depicting
love of beauty, a sense of order, and power of hierarchy,
- in their sculptures and motifs.
However, no signatures were ever found bearing the name
of the Artist!
It is interesting to note that both the potter’s wheel and the
cart wheel, made their first appearance around 3500 BC
and 3200 BC respectively;
With the Sumerians contributing to art and culture, and the
progress of Human Civilization immensely!
(Ziggurats are semi-pyramid like structures with steps, a temple complex located in the center of all ancient Sumerian cities-states! Saragon the Great of Akkad from the North, defeated the Sumerians in the South, & united entire Mesopotamia around 2300 BC, for the first time in Mesopotamian History, & they ruled for 200 years.)

ANCIENT EGYPTIAN ART :(3000 BC -500BC)
Next we travel to an isolated area of north-east Africa,
Where the White Nile flows down from Lake Victoria.
The Nile enters Upper Egypt traveling through Sudan,
Is joined by the Blue Nile at Khartoum to become one!
Continues its flow north through Egypt Lower, flowing
into the Mediterranean as the World’s longest river!
Historian Herodotus had called Egypt ‘the gift of the Nile’;
Ancient Egypt became a rich treasure trove of art and
architecture for all times!
The Nile valley area was protected by the desert on its
east and the west;
In the north by the Mediterranean, and towards the
south by a rugged mountainous terrain!
Annual flooding of the Nile along with an effective
irrigational network,
Ensured Egypt’s prosperous stability, congenial for her
many innovative architectures and art works!
Egyptian Art got shaped by her geography, mythology
and her polytheistic religion;
Also by their preoccupation with after-life and belief in  
the immortal soul’s continuation;
Thus elaborate funeral rites were performed by priests for  
the body’s preservation by mummification! *
(’KA’= was a real astral twin or stellar double of an Individual, which continued to exist even after death, requiring the same sustenance as the humans, so food offerings were made in the coffins! ‘BA’= shaped like a human-headed bird, composed of non-physical attributes of an Individual. ‘BA’ collected the deceased’s personality after death from the mummified remains & united it with the ‘KA’, making a person complete; thereby making it possible for the person to be reborn as ‘AKH’ (Star), - in its ultimate unchanging form, to join Osiris in the ‘Happy Fields’! Since this journey to the next world was fraught with danger, magical funerary spells & rites were performed by the priests, with incantations from the ‘Book of the Dead’, inside the funeral chamber of the Pyramid!)

Art During Old, Middle, and New Kingdom Period:
Egyptian Art was concerned with ensuring continuity of the
universe, their Gods, the King and the people;
A projection into eternity a version of reality pure and free
from all earthly evil!
Therefore in ancient Egyptian society, conformity over
individuality was always encouraged;
Artists worked in groups with conservative adherence to
rules, order and form,
And all individual artistic initiatives strictly discouraged !
Their earliest pyramids the Mastaba, the Step, and the Bent
Pyramids were all prototypes;
While the Great Pyramid of Giza built for Pharaoh Kufu,
- was the first true pyramid which still survives!
Art comes down to us as ‘funerary art’ designed for the tombs,
Which was to accompany the royalty in their journey to an
afterlife, with its symbolic forms!
This symbolism is seen in their paintings, statues and architecture;
In vibrant color codes of their paintings as a special feature!
Where White was the symbol of purity, Black for death and night;
Green for vegetation or new life, Blue for water and the sky;
Red for life and victory, and Yellow like Gold as the flesh of the
Gods and also the Sun God ruling the sky!
Thanks to Jean-Francois Champollion’s translation of the Rosetta
Stone, (1822)
We are able to decipher many mysteries of the Ancient Egyptian
with the cracking of the Hieroglyphic Code!
Larger than life statues with poise and austere harmony at the
Luxor Temple complex survive;
Symbolic of the individual’s status, while creating zones of
strangeness for imagination to thrive!
(’Matsaba’= Egyptian for ‘bench’, referred to bench shaped pyramids;
“Step Pyramids” = were like benches placed one on top of the other in
a tapering form going up vertically!)

The Old Kingdom Period covers a five hundred years span
of Ancient Egyptian History, (2686-2181BC)
Known as the ‘Age of Pyramids’, with Pharaohs from the
Third to the Sixth Dynasty!
“The World fear Time, but Time fears only the Pyramids”,
- is an Ancient Egyptian Proverb;
Whose ‘heterogeneous structure’ made it earthquake
proof, making Time to reluctantly serve! #
Here we find formalized figures with long slender bodies,
idealized proportions and large staring eyes;
Where Kufu’s Great Pyramid of Giza raises its mighty head
as the highest, on the west bank of the Nile;
And the mighty Sphinx guard the entrance to those ancient
royal tombs, though defaced, still survive!
These pyramids were like Pharaoh’s getaways to eternity,
An insurance to an afterlife of peace and prosperity!
(# Pyramids with stone blocks of different sizes & shapes made them
Earthquake resistant; & use of pink granite in the inner chambers
made them erosion resistant against Time!)

The Middle Kingdom Period (2040-1650 BC) :
Following 150 years of civil disorder Theban ruler Mentuhotep
the Second, reunified Egypt and ruled up to Nubia, (Sudan)
And began the Classical Era when Block Statues appear,
indicating political stability;
When artisans worked with bronze and copper alloys, designing
exquisite jewelry!
Kings now preferred to be buried in secret tombs, Pyramids
having lost their appeal,
And work began on the west bank of the Nile, in the Valley of
Kings!
(Inside those rock cut ‘funerary temples’ on the East bank of the
Nile, opposite Ancient Kingdom of Thebes ; Pharaohs from the
Early and Late New Kingdom Periods were buried, including
Tutemkhamen.)

Early New Kingdom Period (1550 -1295 BC):
Between the Middle Kingdom and this Era, Art remained
static for almost a hundred years,
When the Hyksos from the Near East fought the weak Theban
Rulers!
In 1550 BC Theban Prince Ahmose reunited Egypt, and was
succeeded by able rulers, who ushered in the Golden Age!
Art works continued to maintain its basic traditional style,
With successive Kings from the 18th Dynasty consolidating
their kingdom’s wealth and power all the while!
But Egypt witnessed a change with an innovative style in Art,
When Amenhotep IV in 1353 BC became King, initiating a
fresh start!
This king changed his name to ‘Akhenaten’, the spirit of Aten,
-- ‘The disk of the Sun’;
Abandoned the pantheons of Gods with Aten as the ‘sole God’,
and a religious revolution had begun!
His new capital city of Amarna, 200 miles north of Thebes,
Got decorated with a new kind of art work to make it complete!
The statues now appear more realistic displaying emotions,
With fluidity of movement, unlike those rigid earlier creations!
The artistic talent of this Amarna Period gets best exemplified,
In the exquisite bust of Nefertiti, Akhenaten’s Great Royal Wife!
Regarded as ‘icon of international beauty’, a great archeological
find ! **
(Discovered by a German team of Archeologists in 1912 at Amarna! This 19 inch long limestone Nefertiti statue weighs around 20 kg, now housed in Berlin Museum; comparable only to the artistic Golden Mask of Tutankhamen!)

King Tutankhamen (1336-1327 BC):
Akhenaten’s unpopular rule was short-lived, with those humiliated
Theban priests calling him the ‘Heretic King’!
A nine year old boy Tutankhamen (‘The living image of Amun’),
was next to succeed him!
King Tut restored the worship of Amun, in a back-lash against
Akhenaten;
Shifted the royal palace back to Thebes, with the religious center
at Karnak once again!
King Tut’s short ten year’s rule remained buried in 3000 year’s
of Egyptian History,
Till Howard Carter found his richly laden intact tomb, in the
Valley of the Kings! (1922)
King Tut’s priceless and exquisitely carved golden face mask,
reflected the exalted standard of art work;
Weighing ten kilos, inlaid with semi-precious stones, and eyes
made of obsidian and quarts!
With the King’s early death, the 18th Dynasty of Pharaohs came
to an abrupt end,
And the 19th and 20th Dynasties of the Late Kingdom Period
commenced!
The famous rock temple of Abu Simbel now got built, under the
warrior and builder Ramses II, one of Egypt’s greatest Kings!


Pharaoh Ramses-II of the Late Kingdom Period :
Here I sweep across centuries of Egyptian History, to mention
King Ramses-II’s contribution to our Art Story!
In Shelly’s famous poem titled “Ozymandias of Egypt” he is
immortalized; (Greeks called Ramses-II “Ozymandias”!)
And as the Pharaoh associated with Moses in the movie “The
Ten Commandments”, he is popularized!
Egyptian Art is intrinsically bound with its religion, pyramids,
hieroglyphs, and architecture;
With a concentrated focus on ‘afterlife’ as its special feature!
In 1270 BC young Ramses took over from Seti the First,
And his rule for a period of 66 long years did last!
As the third Pharaoh of the 19th Dynasty, he had ruled with a
firm hand;
Recovered lost territories from the Hittites and the Nubians,
- earlier captured Egyptian lands!
He enlarged the territories of Egypt ensuring prosperity and
stability;
Became renowned as the famous Warrior and Builder King
of Ancient Egyptian History!
Ramses-II had expanded most of the temples, as recorded in
the artistic motifs and hieroglyphic symbols;
Here a special mention must be made of the Temples of Luxor,
Karnak, and Abu Simbel !

Temples of Luxor and Karnak in Ancient Thebes:
Ancient Thebes was located on the eastern bank of the Nile,
where the modern City of Luxor stands;
Thebes was once the capital of the 11th and 18th Dynasties,
And the power and religious center of all Egyptian land!
Gets mentioned in the 9th Book of Homer’s ‘Iliad’ where “heaps
of precious ingots gleam, the hundred-gated Thebes”!
Excavation work began in Thebes during the late 19th century;
And the gradual unearthing of the Temples of Luxor and
Karnak, added a new dimension to Egypt’s Art Story!
It must be remembered always, that the Ancient Egyptians in
those early days,
Structured their temple architecture to the point of ‘Sacred Art’!
With their knowledge of astronomy and geometry, they
aligned their temples so perfectly,
That the light of the rising sun fell on the temple’s innermost
sanctuary! (Temple of Abu Simbel is a great example,)
Where the Egyptian priests, who were also the artists, healers,
mathematicians, astronomers and scribes;
In dimly lit incense-filled sanctuaries performed the sacred rites!
The temples symbolized the cross roads of the cosmos, where
the divine and the mortal met in perpetual harmony!
These divine scenes were integrated into the very fabric of the
Egyptian society through chants and rituals;
With cosmological symbols of magical hieroglyphs, which
priests alone could transcribe in those days!
(Thebes began to decline rapidly after Alexander the Great
established the port-city of Alexandria as Egypt’s new Capital
around 332 BC !)

Luxor Temple built by Amenhotep-III, was dedicated to God
Amun, his wife Mut and son Khonsu, - the Theban Triad;
Tutankhamen and Ramses-II expanding the temple during the
New Kingdom Period!
Creator God Amun became assimilated with the Sun God Re;
Was worshipped in Thebes, and in the cult centers of Luxor and
Karnak, - as Amun-Re!
The walls and columns of these cult temples were decorated
with carved and painted relief,
Depicting the interaction with Gods, and military exploits of
Egyptian Pharaohs and Kings!
The sun temple of Amenhotep-III at Luxor has many columns
resembling papyrus bundles,
Symbolic of the primeval marsh from where Creation was
believed to have unfolded !
A Sphinx Alley excavated between Luxor an

From the ripple in a glass of water
to the sonic boom of this internal
Pompeii, the erosion
of her etymology is the only
sense of movement in her
dilated, cave-pupil eyes, those
two ghost towns spanning
and encircling all the way back,
stretched like an elastic blindfold
past the moment the first brick was laid,
perhaps her first vivid memory,
or anecdote, or first word uttered
in a Cuban slum.

There are mountains of tumbleweed
over the once thriving metropolis
that expanded towards America;
who threw herself into
the architecture of seven pillars,
borne from her land and
minerals. Gone are the
huts that housed her
knowledge of basic motor skills.

The women who once imagined
Mami and Mima as her birth
name now scrub off
the graffiti of her excrement;
they saw a swarm of pink moons
the day she told the same story
to every visitor that came
their way, each day then becoming
a missing surveillance tape, a sinkhole
dismantling the awareness
in her bones and stubborn will,
until she became
these dust-engulfed plains with
a daughter and granddaughter
archeological in their efforts
to chase down the remains
of a girl still breathing in
those eyes from time to time.

Every other ten-millionth blink of
the eye rides the silhouette of a post-infant girl
on the high tides of her quick visit,
looking in horror
as the nation of her life's nightmares,
heartaches, broken promises, romances,
spiritual breakthroughs, life-changing seconds
drowns with morbid unity en cien fuegos,
desperately attempting to assemble
the remnants of her psyche
past her cognitive bloodclots
with the awareness of one
who speaks no languages.

Gone is the moment
she first learned
to feed her several children
before the slip of sunset.

One of seven pillars remain intact,
the others long dismantled of their
stick and straw infrastructures.

One pillar remained,
housed her own colony
for nine months,
and now both descendants
travel the mind of their
greatest influence
with perplexed dedication,
caustic humor the decoy
for swarms of exhaustion
and asphyxiation
from the truthful atmosphere,
reveling in the seconds
of humanity lurking
in an abandoned etymology.

It could have been a pleasant Monday.
We sat outdoors and ate our sandwiches.
It was crisp October, and we were on a dig.
Earlier, we had used the transit to measure
teepee rings from the nomad Cree tribe
that once lived and loved here.
You'd found the marker stones.
I'd found a stone tool.

But now we sit having lunch in the tepid sun.
I looked at you and saw a young man
who swaggered with false confidence.
You wore an army jacket,though we were just 16.
Your hair was red, and a little curly.
Your eyes melted me, -robin's egg blue.
I looked at your hands still holding the paper
and I saw between the freckles on your wrist
a blue vein.

Without ability to stop myself I touched you there.
And then my mind whirled.
For the first time-
suddenly, I was in your blood,
your heart, your mind!
You were just as jolted as I was,
and we have never been the same.

40 years later. We write on your birthday.
You ask about my mother.
Do you ever say my name?

Good on You (a love poem),
this one, is, good, on you.  

phrase uttered, measured, apace,
each comma,
a paused breath of:

admiration, enveloped by
a secret pleasure coating,
saucier prepared,
the base, the pleasured secret in this
mans minds eye unseen.

each comma,
precisely the carbon copy of the
comma curve of dark hair that
falls from a forehead down to the chin,
in a museum quality photograph,
as if it was intended to hold, contain,
your sly blunt moody,
and full plated whimsy,
when that half-smile poesy is in place.

good on you,
slow please,
not
goodonyou.

did you think, I did not have, a special bottle,
a Grand Cru,
a pinot noir, in the reserve,
inside the locked cellar of me,
to be used to anoint mine own
English Duchess of Burgundy?

well and proper aged,
but unlabelled,
till you provided
the appelation, the domaine,
good, on, you.  

the bottle dusty, the feelings, not.
if we never meet, matters not,
the gentility, tous les bons mots,
good in you,
hid in in all of the
astounding incredible poems
I well-addicted need,
those archeological mounds of a life,
I excavate and well heed,
going from one to the next,
me, the bumbling bee,
pollenating, following the path of the
watermarked tracks of
the King's Cross,
alas, they do not offer a couchette,
from Terminal 4 to London Bridge

unlike a teenager
happy to confess,
I am even younger,
an old fool, a geezer,
in love with a museum quality smile,
as he totters down to the Tottenham Hale station,
to catch the blue colored line, to the station after Vauxhall)
(oh dear, what's it called again?)
walking 10 to 2, saying ta to all
who assist his
two hands on an old man's bent feet,
steering the wheelhouse heart through its tubes

this is an undedicated poem,
retuned and returned,
addressee unknown, yet I know
by the greening dew droplets decorating faces,
that come so easy,
not a one wrung out,
you know
the who's of the true ownership,
the clarification,
in the bread crumbs,
fully disclosed,
left by me,
but for me,
in order to retrace my steps,
to find the railing,
when the steady on need arises

some Tuesday next,
will disembark from a riverboat,
at the old Tate,
spending my afternoon,
staring at an imaginary museum quality photograph,
till the guard surly reminds the pesky Yank,
its past closing time,
the man who will not be moved,
for already he, past overcome,
so why be thinking on why leaving,
for he will only be back again tomorrow.

so different.

mine, simple declarative sentences,
typically matter of fact,
so **** presumptuous,
those ill mannered,
know it all Ameddicans.

yours, lace doilles,
in a pub, with Hilda and Bill,
drinking pale ale,
from a porcelain cup,
and I am laughing,
Why?

It is all,
Good on Us,
a, love, poem,
indeed,
no kidding kid.

Suddenly I am but an artifact
My bones are brittle, they crumble back to earth with the slightest breeze
Where there was once flesh is now non-existent
The heart that urgently pumped blood, the veins and arteries that carried it, the lungs that drew desperate breaths, the brain that ordered them to do so; all gone
Let my room become a museum of the only joys that never left me
Every corner of my room filled with something that temporarily filled my heart
The rocks, dried plants, mass printed fortune cookie fortunes, cat whiskers, miniature clothes pins, small pieces of pretty string and little baggies, things given and things found, the empty lighters, the scraps of paper I deemed pretty enough to keep, the unfinished sketchbooks and old paint brushes, the books that broke my heart and the ones that helped it heal, the collage of pictures of my childhood where all our eyes looked so empty, the vinyl records, the small old stuffed animals, the few objects from my infancy, the knives that cut my wrists and legs
Let all these things fill the silence or emptiness that I may have left
Cling to them like I did, find comfort in their stationary presence
or is it better to let it be another closed door, another empty room
Where you swear if you're quiet enough, you can hear my laughter and faint emo music
A room where my cats wander in circles crying out for me, wondering when I'll come home
Make a home within the ache like I did
Let the pill bottles tell the story of me slowly wasting away

The irony of the UNITED STATES OF AMERICA
As being a European, a foreigner to this land
Not a native, as the original people who art still here,
I shalt speaketh truth, on a topic, the European's here
Don't speaketh of;

I seeith politician's, speaketh of building a higher wall
As tis their art already wall's, lining Mexico and the united states,
I seeith wall's, to tryeth and keepeth out, the original people's.
As tis so many I'll heareth, so many sayeth the quote: ( illegal alien's, art coming over here stealing work) huh? Illegal alien's didst thou sayeth? As if their from another land? Or planet?......

Yet the fact is;
Who art the real quote: ALIENS!!!!
Us, the European's, as tis not mine fault mine parents hath cometh here, as not the other European's fault
That their parent's hath cometh here,
As tis I hath Cherokee in mine blood as well, from mine mother;

Though fact is, here's the truth;
The disgusting fact, noone want's to speaketh of, in
Politic's, in religion, in media, nowhere, is this fact..........

The European's and rich men now leading the country
From the quote: founding Father's, which may be other's founding father's, verily not mine!!!!!! Hath built wall's,
To keepeth out the alien's as many calleth them, in actuality us European's art the alien's, the one's who stole their land, built walls, and fences, and hath polluted their water, wherein water was once blue and green here in the river's and stream's,
As for example; in the town I'm in now, Rossford Ohio, some left from the older generation around here in their nineties Or 80's told me and mine family, the river that sit's behind mine place, native river called the ( maumee river) one fifty years ago people swam in, it was blue they told us, thou couldst seeith the fish inside of it, as children wouldst swim it... Guess what? Now that same river, is brown, is polluted, is poisoned, with the glass factories mess , and dump from work site's, into that river..... It's sickening... As tis the land once was open, free, no border's, no fences, here's the good part, see, the chief's all along this great nation, they all hadst vision's, vision's of these white men coming, as they saw it in spiritual shamanic ceremonies, as they saw the land being stolen, their people murdered by the thousand's, they saw destruction, from what? Men thou calleth thine founding father's? Thieves that hadst cometh here, to build walls? And killeth the native people's who were slaughtered, brought disease, and put on plot's of land a mile big? If even that... As tis they used to roam free, now forced into gvt debt, and the quote founding father's ancestor's and politician's hath given them medal's, as if that wouldst healeth them? No!!! As tis even the natives won't speaketh on this topic much. Though some will.... Fact is , àll went downhill, since the quote: founding Father's raised their flag... On a land not their's, on a land, not mine....though noone speaketh of this harsh truth... History channel hath now shown, with other archeologists, that the original people, now in southern Mexico, the Aztec people, once cameth from the north... Northern America, as in Wisconsin, see, in Wisconsin, their art pyramid's down below a certain lake, rock lake is it's name... The pyramids match the Aztec style as tis there art writings to showeth their presence their.. As come to findeth out; there is a map, sent into a famous Mexican archeological historical advocate, the map showeth on it something the u s gvt hath hid, as they do such much hiding from all of us... The map showeth on salt like, in Utah, is known place for the original Aztec people, purely factual, the story was told, the chief of his clan Aztecs, told his people, that he kneweth the men wouldst cometh to steal the land, so he told them they wouldst stop where the eagle eats the head of the snake...... Wanna know something ironic about that? Well here's proof of that, where the Aztecs now reside, southern Mexico, well Mexico hath a flag, like all have flags... Guess what is on Mexico's flag? An eagle eating a snake head... As chief saidst.... As in old map found in Spanish letters written next to salt lake Utah, read the words ( aztec territory) yet hidden in history purposely, these are harsh truth's, some may not be able to handle this, but when thou calleth one an illegal alien, thinketh who thou art... We art the aliens... as we aren't meant for this land... Though not our fault we were born here... As we must go with the flow as they say... As I loveth this great land, though reality is, I don't belong here.... As tis mine religious  beliefs state anyways, this world is just temporary anyways, noone owns this planet... God does..  Not man...its sickening seeing seeing mine own leader's, building walls to keepeth out ( illegal aliens) as they calleth them, yet were the aliens.... The irony... All for their greedy purposes and power control trip....as the native population hath decreased over fifty percent..Or more then.... Yet we tend to think, this is our place.. . as tis the u.s gvt hath stolen native gold, from their sacred places.... Places not meant to be touched, or dug into, though it's the good warrior's like Geronimo who decided and decides to stand against more such thing's..... As a European, it saddens me to seeith what mine kind hath done... And in this great beautiful sacred land what they still do....... That's harsh truth.... Much truth noone sais . yet I'm one who will......as the man who hath received that map of the Aztec's didst sayeth, he put it perfectly, he saidst ( border's art imaginary, border's art only in ourn mind's) how such truth..... And we wonder why there is differences....

That's harsh honesty.....



©Brandon nagley
©Lonesome poet's poetry

Do not bother me with your absurd theories;
Reason, logic, and evidence have no place
In the heart of the true and righteous believer.
Faith in holy texts should be your guide,
Your faith should be blind, unadulterated, and quintessential, or
Risk a dreadful and eternal damnation.

If Einstein knew so much
Why do they call his premise the “Theory of Relativity”?
If Darwin was so sharp, why is it the most
He could up with was the “Theory of Evolution”?
The answer is simple, they really had no clue,
They simply did some scientific research and, in the end,
They came up with nothing more than theories.
And, what about all those archeologists
Claiming the earth is billions of years old, or
Cosmologists with their “Big Bang Theory.”
Everything is nothing more than
Theories, theories, theories.

Turn your back on these absurdities;
Trust, instead, the ancient, sacred texts
That offer immutable, unquestionable truths.
How ludicrous the idea that
The world is more than 10,000 years old,
(Carbon dating of fossil rocks is just mambo-jumbo)
The universe and all creation
Were made in six days,
God, tiring after all that work,
(Wouldn't you after working 24/6?)
Rested on the seventh day.
It's there in black and white,
For everyone to see.
(Assuming you've read the right version)
Men were created from a clod of clay,
(Or mud, but you get the point)
Women from the rib of man
(Which is why they should be subservient to men).

What nonsense from biologist and paleontologist
That claim we evolved from micro-organisms and apes,
This notion is total sacrilege, a blasphemy.
Life is too complicated, too complex to just evolve,
Intelligent Design is the only answer,
All the talk to the contrary is nonsensical hyperbole.  
God made everything happen.
Read the holy texts, the truth is as obvious,
As plain as the tip of your nose.
Everyone knows that all the anthropological data,
All the purported archeological digs,
With reports of dinosaurs and missing links,  
Are fabricated to fit nerd scientists' preconceived notions of
What they would like everyone to believe.

When in doubt, refer to the holy texts,
You will see all the unsubstantiated, ludicrous claims
For what they really are:
Trash, trash, and more trash.
Do not bother me with your facts, or
Your scientific data or findings;
In the end, everything boils down to more idiotic theories.
Have unquestioning, blinding, and total faith,
Read the holy texts and they will set you free.
So, the next time someone questions your beliefs,
Claiming there is no merit or facts to support them,
Remind them that to question the word of God
Will send them, along with their theories,
Straight to hell.

Amen!

Moth wings fluttering against my cheekbones
you are warmth
you are light

I am standing at the edge of this ocean
watching the galaxy pool around me

I do not care if it is a halo or horns
you have hiding out beneath your hat

It does not matter to me if you have shoulder blades
where your wings should be

We can press our bones together for all of eternity
We can be an archeological discovery

Love buried in ash
You are forever all I will need

Séraphine, Vignette nº 7, Le Cercueil

I was on the phone talking to the museum. Ground-penetrating radar had found what looked like a coffin at the Lutetian layer, and they were in the process of digging down to it. I was telling Sylvain to use the new 4K video cameras to record every detail when the doorbell rang. I’d left the door ajar, knowing Madame Pinard, the concierge was bringing by an adjuster to inspect and cut a check for the repair of the leak in the ceiling that had washed away chunks of plaster, now laying on the hardwood floor in the bedroom, exposing the wooden rafters of the attic.

“May we come in Monsieur,” she shouted from down the hall in the foyer. “Yes, Madame, please come in,” I shouted back, with more exasperation in my voice than I wanted to express. “I am on the phone with the musee Madame, please show him to the bedroom.”

I saw Madame and the adjuster come in out of the corner of my eye and turned my head to see them as they walked the stairs to the bedrooms. The adjuster was not a man, but a woman, which was surprising in France. The first thing I noticed about her, was her wide round birthing hips, what the kids, called thick. She wore a long-sleeve white silk blouse, black pencil skirt, and the traditional, obligatory Parisian back seamed stockings. I didn’t make out her face but caught sight of her red hair tied in a tight bun on the back of her head, and the milky white skin of her neck.

“Damien, are you listening,” said Sylvain, the dig manager on the other end of the line. “Yes, I replied, “l was distracted by my landlady bringing an adjuster into the apartment. Yes, I’ll come down as soon as they leave.”

After a few minutes, Madame and the adjuster came back down. The adjuster walked into the foyer to wait. Madame came into the living room and said she’d have a crew out tomorrow to start repairs. As madame turned and walked down the hall, I got a better look at the adjuster. She was pure Celt, with red hair, white skin, dark brown doe eyes that looked black, high cheekbones, and the sharp straight nose of a Greek statute.

Besides her stunning beauty, I noticed her necklace, a traditional golden Celtic torc, which signified the wearer as a person of high rank. I’d never seen a person wearing one. I’d only seen one on a statue, The Dying Gaul in Le Louvres. How so very interesting I thought to myself.  

As she was talking to Madame and turning to leave, she made eye contact. She tilted in acknowledgment and goodbye. I nodded back and she was gone. I wished I could have gotten a chance to talk to her, maybe even ask her for an aperitif at the corner bistro. Oh well, c’est la vie.

-------

I went to the dig at the La Crypt at 12:30-ish talked to Sylvain for a bit and went down to the lower levels to see it for myself. The area was gridded out and several cameras on tripods were recording. The team was within centimeters front the top, and so put down their trowels and used a high-pressure water and suction hoses to remove the rest of the topsoil. The top came into view, the excess water was ****** away. Sponges were used to clear and clean away the mud.

The stone was obviously Lutetian limestone, finely sanded and polished. The lid was craved, which first glance, looked like Norse runes and one Celtic knot. “Take pics and send them to religious studies,” I said half to myself, half to Sylvain. How strange to have Norse and Celt iconography together I thought to myself.

It was late when I exited the metro station. The air was bitterly cold, my breath appearing and disappearing around me like a mystic cloud.

I was tired, exhausted from digging, and was seeing things in the corner of my eye that I chalked up to aberrations of a fatigued mind. That is until I walked past the Boise de Boulogne. In a dark recess, along the tree line, I saw what looked like a faintly glowing woman in a white dress. My first reaction was horror, remembering all the monster movies I’d seen as a child. Then quickly, my adult mind kicked in and rationalized it away as an artsy late night photography session, which is common around Paris. The sting of the cold refocused my attention and I hurriedly resumed my walk home.

I was tired, muddy, and had to take a shower before throwing myself into bed. I showered, dried off, and pulled back the new, thick duvet I’d bought for winter. The moon was full, beaming softly, barely illuminating the dark bedroom, as I cracked opened a window to let a small amount of fresh cold air into the humid stale room.

I slid under the duvet. I liked the cold, it reminded me of camping in the mountains with my old man and being snug in our down sleeping bags as we talked half the night away. I quickly fell asleep.

I half awoke, sensing a presence. I opened my eyes and saw a woman, ****, standing at the end of my bed, enveloped in a faint blue luminescence. She looked at me with big doe eyes. I watched her watching me, trying to figure out if I was dreaming or not.

She crawled on to the bed. I couldn’t feel her as she made her up the bed. She straddled me. I saw glint around her neck and saw she was wearing a torc, and realized who she was.

Her face was centimeters from mine. Her eyes burned with ferocity, intensity, and anger. I looked back up at her, fear welling up inside of me. She looked down at me. Her penetrating eyes, looking into my soul. I could feel her in my head, my mind.

She felt my fear, and without a word, just the look in her eyes, reassured me, calmed me, and my body and mind relaxed as if a nurse had given me a shot of morphine.

She touched her lips to mine, and felt the heat of her beath, smelled her dewy scent. I didn’t move. I knew I was prey. I knew what she wanted, and let her take it.

She slid her tongue into my mouth, and I gently ****** on it. She ****** up my lower lip, biting it playfully. She tasted sweet, fresh, like spring water. I couldn’t get enough of her. I wanted more. I kissed her harder, deeper, and felt myself slide to the edge of sleep, no longer sure what was a dream, or what was real.

She pulled back the duvet, grabbed my ****, and stroked it till it was painfully hard. She kissed it, put it in her mouth, and ****** it. Her head bobbing up and down. She’d stop, bite the head, and use her teeth to scrape up and down the shaft till I winched and yelled out in pain.

I started to moan, my body tightening, and arched, thrusting deeper into her mouth, coming as she raked her nails hard down the side of my chest. To my surprise, she didn’t spit out but swallowed my ***, licking excess from around her lips.

--------

I opened my eyes and was blinded by sunlight streaming in through the open windows and curtains. What the ****, I thought to myself, I never sleep this late. It was always dark when I wake. And the birds, chirping in the trees outside my window, were loud, and grating on my nerves.  

I slowly got out of bed. My body ached, my lower lip hurt, and my **** was sore. I grabbed my **** and immediately released it in pain. It was raw as if I’d had ***. I was definitely confused. My eyes darted from side to side as I tried to make sense and remember last night. I left the dig, came home, showered, and went to bed.

I trudged to the kitchen and made coffee, all the while, racking my brain for some clue as to why I felt like ****. I poured a cup, leaned back on the counter, and sip the coffee. I shook my head, placing my hand on my hip, and felt a sharp burning. I looked down and saw blood on my hand and side. I went to the bathroom mirror and saw fingernail marks down both sides of my chest. I just stared.

I had no idea, no clues as to how these happened. I jumped into the shower and washed off, bandaged up the bleeding scratches with paper towels and tape, dressed, and went to the cafe at the corner.

Despite the cold, I sat on the terrace, ordered coffee, bread, butter, and jam. I looked at my phone. It was 8:08. I looked at my text messages and emails for some clue as to what happened last night.

Breakfast came, and I sipped the coffee, staring out into the street. The waiter walked past me. “Oui madame, what would you like this morning,” he said. “Cafe et croissant,” she said. The waiter turned and walked back inside. I turned my head to the side for a quick look and blinked twice. It was the redheaded adjuster from yesterday.

“Bonjour M. Delacroix,” she said. “Bonjour Madame,” I instinctively replied. There was an awkward pause.  “I am Brigitte, Brigitte Dieudonné,” she said softly.

We small talked over breakfast and when I tab came, paid, and said, “I headed to the office.” “It is the weekend monsieur. “Yes,” I replied, “I work at an archeological dig on Ile de la Cite. The crypte.” “I am headed that way myself, do you mind if I walk with you,” she asked.

We walked to the metro station, down the stairs, through the turnstile, and onto the quay. The train came, the doors hissed open, and we strode in. The train was full of Chinese tourists and it was standing room only. I grab a pole and Brigitte did the same as she squeezed up beside me.

The train jolted forward and Brigitte bumped into me. As the train smoothed out, she kept leaning into me. Her derriere in my crouch. I could feel her body through her coat. I was getting turned on. As the trained curved around a curve, it rocked back and forth. Her *** bumping and grinding against my now hard ****. Could she feel my hard-on through the coats? She half-turned her head a gave me a coquettish smile. She knew I thought to myself.

We exited La Cité metro station, on to Place Louis Lépine. Before I could say anything, she said she’d like to see the dig. “Sure,” I said, and we walked to the La Crypt. We walked down the stairs to glass doors and pass the touristy exhibits and displays, to the back, behind the green painted plywood wall. Sylvain and several grad students were standing over and around the coffin. Two of them were in the pit setting up a portable x-ray machine, one with a still camera, another with a video camcorder, and the rest looking down at their tablets.

Brigitte and I walked to the edge. The coffin’s lid had been clean. The runes and Celtic knot were clearly visible. “Danger, death, mother,” Brigitte said. Sylvain turned his head, and said, “she is right, danger, death, mother according to the religious studies guys.” “How do you know that,” I asked. “It’s in all the teenage vampire movies,” she replied grinning.

“The top one is an inverse Thurisaz, which is means danger. The second one is an inverse Algiz, which means death. The knot is Celtic for mother, and the dot in the heart means she had one daughter,” Brigitte said trailing off.

“It looks you’ve got it under control Sylvain. I have an appointment. Brigitte can I walk you back to la place,” I said.

We walked to la place and stopped at the metro entrance. “Can I have your number,” I asked? “Yes, you may, if you promise to call monsieur Delacroix,” she said smiling girlishly. She took my phone from my hand and typed in her number and dialed. Her phone rang. “I have your monsieur, Delacroix. A bientot,” she said. We did la bise and she was off.

Beneath the
burning snowflakes
of my consciousness
I stand
ensconced in ice
a statue in
your garden
all the verdant,
living treasures
I have given
around you,
burst from
my womb
in volcanic fibers
molten lava
of puce
of ochre-toned
vibrancy
that pierces
through the strata
of our own
personal history
archeological insights
of who we have been
love in frequencies
that once
met their destination
echoes of fire
falling in viscous
bands of liquid
upon my outspread fingers,
uncaught
You
once loved me in parts
  My snowflowers
will stay with us
but I will not
the tenth
of me that you see
is already disappearing
worn down
from your stance
of constant dark
not the dark of richly
pungent mineral layers
of blackest black
but lackluster
in taste and texture
no match
for my warrioress heart
For deep inside
this clear glass casing
are rivulets
flash floods
about to break
the gelid frost surface
bursting through
in cracks
like end-of-winter
river rushes
like seismic explosions
sulphur-rocked
My wild totem
is emerging
antlers glowing from
my crown
They are clashing
rustling up trees
whipping winds of magic
that tumult
right past the
icicles of your posture
And the last gift
I will ever
give to you
are the shards
that have already
melted from my
own estric heat
and, even then,
you will be too numb
to understand

and now, comes
       in resonated whisper
*my soul is out the door

Open fields full of graves
some millenniums old
some newer
as we come across more bodies
is it an archeological dig
or grave robbing.
We know one thing
the millions of people
scattered about in these fields
died of war.
200 thousand years
in the history of Earth
no other species as taken more lives
than the HUMAN RACE.

Hast thou entered into the springs of the sea?
or hast thou walked in the search of the depth?
Have the gates of death been opened unto thee?
Hast thou perceived the breadth of the earth?
declare if thou knowest it all.
       Job 38: 16-18

Oh that the desert were my dwelling place,
With only one fair spirit for my minister.
That I might forget the human race,
And hating no one, love her only.
       Lord Byron,Childe Harold’s Pilgrimage

I walked alone into the waste
in search of rivers—not a taste
of water could I find
to liquidate my mind.

Under the sun in vanished lakes
alive with scorpions and snakes
I sought within my soul
her limpid watering hole.

The mogollón once hunted here
as piñon pines disclosed the deer
but now not even bones
remained among the stones.

Scattered beads and the odd spearhead
my visionary soul misled;
the moment was my home
and I was free to roam.

Burial caves of ash and silence
spoke in tones of bygone violence—
grinding stones lay broken:
her archeological token.

I found a *** within a niche
still balanced well, despite the pitch
as if the owner’s urn
awaited her return.

Amidst the fragments, free at last
in potsherd patterns of the past
I followed ancient streams
through arid zones and dreams.

Exploring a dry riverbed
unraveling her golden thread
while stepping off a ledge
descending from the edge,

I almost trod upon a snake
and quick adjustment had to make.
Reluctant viper-battler,
I flinched. It was a rattler.

As my right foot continued down
I saw the scales and dusty brown;
Mere inches from its head
the imprint of my tread!

The serpent was too cold and slow
to strike a poisoned morning blow
The sun still in the east—
I swerved and missed the beast.

The desert’s charm advanced from there;
She showed me sights I barely dare
to tell lest I sound singed . . .
My mind she so unhinged.

I stood before the gate of vision
rapt in shadowed indecision
gazing in the maw,
unsure of what I saw:

A ruined mineshaft’s empty grin
that mocked and whispered: “Come within.
The words of Job are here
in wisdom born of fear.”

Necropolis; a gaping  portal…
Feeling less than weakly mortal,
deep I stared inside;
allured yet terrified.

A passage to the depths of dread:
the Book of Job, the sleeping dead.
I barely now recall
yet understood it all…

Still thirsting through her arid land
divining truths in shifting sand
I ventured on in vain,
beseeching God to reign

The javelinas mocked my quest
beguiled me onward, further west
where Dutchmen hide their gold
and Apache tears are sold.

Her rainbow shades and distant mesas
silhouetted, paint her face as
nobly as the lands
her presence still commands.

Her beauty smiled: a virtual face
of glyphic pre-Columbian grace
decentralized desire
in sublimated fire…

She led me to the springs of life
my moonlight maid and desert wife;
my nights upon the mountains
in search of spectral fountains.

Ex-nomad of the mythic west
my unfound treasure now confessed;
her deserts had me smitten…
for her my poem’s written.

With all this glacial melting, and our own East Coast meltdown from our latest blizzard,  I wonder how many  Neolithic mummies might be found entrapped within ice sheets floating along our Jersey shore? And could these preserved remains just be displaced homeless, men and likely women as well, whose failed luck at Atlantic City Casinos  left them in strange circumstance of frozen time encapsulation, only to become part of a future archeological find? To whom and to what advanced scientific methods, or perhaps retrogressive scientific methodology, will these corpses be subjects of, if found a thousand years from now? Can we predict no mix up of modern and long former species of man?Just say for instance, some pristine specimen of iceman 3,000 years or older is floating in an iceberg, down from Western Greenland and past Nova Scotia in a tidal melt that finally brings it to a flooded non-moppable place ignored by a present day, though barbaric governor. Then said governor is ambushed by its distressed and recently homeless victims mobbing and mopping on icebergs and struck by mop heads, just as this Neolithic berg is floating by with its' ancient hunter/gatherer Popsicle in tow. Who might know the difference? What future generation might be able to clarify the difference between the two, or might they even care?

Surprising azure sky....  ...
    New waves in old step stepwell
      Consciously a bitter truth rebooting


Lets forget

Walked away from dark stepwell...

With magnetizing attraction...
Drowning for anxiety n calmness...of another world
Of time and space


Let's forget n walked again but,
         Garden of leaf's...nearby wounded ...with mint of mind
May be undefined twist may surprise again...

You spread across the synapses
Resurrecting long buried mind pictures that quickly
Consume the soul in sticky, tar-like drips.
You contained pictures of my mother when she was close to me,
Holding me so she could become closer to what I was.
My mother wrote dates, numbers and letters so she could remember what you were.
You toss memories about like confetti.
Constant reminders of what “is” and what “used to be”.
Fissures between hearts and souls
Leave whimsical marks dancing on mouth corners.
You develop memories that can fill my days with bologna sandwiches and flavored tap water.
While joys of past dissolve, evaporate, & melt away
like the blizzard that was “us”.
So I sit and I stare at you,
An archeological find of what once was
But now is nothing more than heart residue.

Fragrant fields

invoke your opening shutter:

you build stamens into white resonance.



With the tilt of the lens

you hold back your breath

to halt the photo-blur.



The army of slime mold cells below

silently begins its glacial escape

as your mouth softens in anticipation

of capturing a pristine moment.



The scattered forest tops

shade your eyebrows

with the vertical upheaval

of decades-young canopy.



Can you see? In the clock-stop

stillness of a camera’s blinking eye

you tighten your grip on yourself

while still kneeling lightly

on the floors of nature.



Thus you open places that appear

all at once before you,

and culminate in the narrow beak of a winter bird

that rests momentarily on your shovel

before gratefully returning

to the archeological dig near your feet,

where it exhumes, then eats,

its breakfast of worms.

The templars took the cross
and made it a religion rose
a psychological overseen dome
of acquiesce and admiration

What if there weren't any slaves?
only mercenaries who craved
for power and a subservience rave
across the vast seas and distances

We trace the Omlec race in Americans
way before Colombus leaped his strides
as they left scented archeological remnants
of basalt and granite sculptured rights

The templars took the cross
and created glorified corded bonds
aesthetically covered with an overseer
of utter deceit and embellished conmanship

there’s been an occurrence
a robust inferno
fumes of confusion
soulful soot scattered
crayola carnage

its dark now
quiet
twisty as the infinite branches
of a willow tree
serenity seeps slowly
like the tea in my cup

rugged, jagged
cracked terrain
from which I anticipate
blooming colours
of chrysanthemums

myriad specks
settling, scattering

now recent
but soon to be archeological remnants,
my mind as matter