In this chapter, the researcher reviewed the opinion of some past and recent writers on the subject and also added their own ideal under the following sub-headings:
- Conceptual frame work
- Theoretical frame work
- Empirical frame work
- Summary

2.1. CONCEPTUAL FRAME WORK
CONCEPT OF ZOOLOGICAL GARDEN

The concept zoological garden is a form of ex – situ conservation, which primarily involves keeping of animals alive outside their natural environment for aesthetic educational researches and recreational purpose (Varadharajan and Pythol 2000). Nigeria is blessed with abundant wildlife species which needs to be properly managed in a sustainable basis to prevent depletion (Opara et –al 2010). Hence the need to adapt strict management of resources, repopulation of endangered species and conservation of wildlife park and zoological garden and management strategies (Ajebede et – al 2010).
Throughout history, human have given value to other species of animals as means of entertainment, education and spirituality in addition to being source of food and clothing (front 2011, 69) collecting and exhibiting and exhibiting animals originated from Ancient Egypt where private collection were reserved for the higher class population as a symbol of wealth and power (wearing and jobberns 2011, 19 – 50). In the 1900’s, zoo’s based themselves as conservation movement, with focus on scientific study of endangered species. In the beginning of the 20th century, zoo became an attraction of mass audiences (Beardworth and Bryan 2001, 88). By the late 1900’s there was a shift in the natural of zoo with public attitude and interest changing nature and conservation, with concern for ecosystem and awareness as they protect endangered species (Wearing and Jobbern 2011, 50.

ROLES OF ZOOLOGICAL GARDEN
(Mason 2011, 189) reveal that the roles of zoo are:
a. Educating people about animals.
b. Conservation of endangered species
c. Safeguarding the welfare visitors
d. To generate revenue
e. Providing visitors facilities such as catering and merchandising
f. Re – introducing captive breeding into the wild and carrying out zoological and veterinary research to improve animal welfare in the wild and in captivity.
On the other hand, zoos served as scientific research, for example, zoologist learn more about animals habit and diseases by studying them in zoos studies of animals living kin zoo, together with examination of those that have died have provide zoologist with information about the structure and function of animal bodies (Usher M.B 2000). Keeping wildlife animals in captivity bring visitors from different parts of the world for different purposes such as to provide sources of recreation in the city, to provide biological specimen to constitutes, a learning resource for secondary school, colleges, and universities. It also provide employment and game reserve, provides sources of protein revenue, esthetics recreation, education and scientific values (Presley 2001). The captive animal propagation is one way of encouraging growth of depleted wildlife species population and so properly planned program of zoo establishment and development is considered as one of effective method for conservation of wildlife (Okpiri 2005). Educational environment study and conservation of the  environment have become a subject of major importance all over the world, not only from the point of view of preventing population, but also from the point of conserving water supplies by protecting water shed, conserving soil, vegetarian and Fauna. (Comphell 2007). Comphell also stated that conservation zoos can provide an important facility for research at both pure and applied levels in both the field and laboratory in colleges and universities. Bigot (2000) emphasized that the primary function of zoo curators is to make visit a leaving experience. The attention and effort given to wildlife conservation and tourism in both state and federal levels have been noted.

CONCEPT OF TOURISM
According to UNWTO 2020 defined as the study of man away from his usual habitat. Activities of a person traveling to and staying in places outside their usual environment for not more than one consecutive year for leisure, business and other purposes, tourism contributes to specie conservation, communities project in developing countries like: Nigeria, environmental education, awareness and economies development (Klutzy, 2000). Filton et al (2000) reported that 20 – 40 percent of international tourism is related to wildlife. In Nigeria, tourism contributed 3.3 percent of total GDP in 2011 with forecast of a 10.8 percent increase for 2012 (WTTC 2012). Smith et al (2012) recognized the role of wildlife tourism as building breeding species management and influencing visitor’s behavior for the benefit of wild animals. Fibs (2007) underscored the value of zoo visitors and their feedbacks for the planning and designing of zoo and more importantly to decision making in zoo management by showing on – going treads. He therefore stands to reason that visitors’ preferences should be seriously considered by policy makers and management of zoo and other similar institutions. An area in which visitors’ preference is highly important for a zoo in particular is choice of animals desired. Woods (2000) observed that humans have definite preference for different species of animals. Knowledge of visitors desires in terms of animals and the features that make the animals appealing will assist zoo management in animal acquisition and also in development of education and interpretation programs listening physical features, behavioral characteristics as factors influencing animals preference (Wood 2000, Wentworth 2012). Wild tourism can be described as tourism undertaken to view and or encounter non – domesticated animals in captive, semi – captive or in their natural environment (CRC 2001, Newsome et al 2005). According to Durbary (2004), it could be non consumptive such as viewing, photographing and fishing.

CONCEPT OF ZOO AND EDUCATION
In zoo and education, a study by Patricia et al 2007 states that conservation and education are key elements in the mission statement of zoos. A survey conducted by the Association of zoo and aquarium (AZA) reveals that the general public rate conservation and education as the most important role of zoo (Frasers and Stickler 2008). Zoo primarily deals with three aspects of conservation practice i.e practice, advocacy and research. Conservation practice entails captive breeding, species rein-introduction programs, species survival plans and the use of zoo revenue for conservation programs in wild. Conservation advocacy include: public engagement, promoting awareness, advocacy, stewarding and fund raising events and schemes, a good example of which is like “Adopt animal scheme at most modern zoos”. Moreover, conservation research is conducted on wildlife biology, population dynamics, animal behavior, health and welfare and there are also publications generated by zoos animals care captivity. The preservation of animals in zoos makes it easier for more people to see them.
As well, zoos have been used to preserve various endangered species. However, zoos have become powerful educational tool for many scholars, biologists and researchers (Falk and Dierking 2000).  Individual who visit a zoo get the rare opportunity to examine the relationship between man and animal (Wagoner and Jenson 2010). Students can learn a lot about certain animals that might not be locally available. Many specimen and animals (Wagner and Jensen 2010) argue that zoo makes it possible for researchers to conduct their studies, for instance, researchers can use caged animals to make various observation about wildlife or animals. The acquired knowledge can be used to support the survival of the wild animals in their natural habitats. It is therefore agreeable that zoos have an important educational role in every society. This because, learning is ever – changing process (Falk and Dierking 2000). In the 1970’s the primary educational target for most American zoo was elementary level children. The idea was that building understanding would lead to appreciation which would eventually produce a generation that was concerned about wildlife and the environment (Wheatly 2000). Wheatly emphasized that although children are still a primary audience, zoos are extending themselves to reach many others audience that can make difference in action today. This initiative includes the membership, governance and employee of zoo.

CONCEPT OF ZOO AND CONSERVATION
In zoo and conservation, according to Max – Planck Gesell Chaft (2011), Zoology garden breeds animal from threatened populations and and thus makes greater contributions towards biodiversity conservation. According to UN (2020) on global biodiversity warned that 1 million species are at risk of extinction with decades, putting the world’s natural life support system in jeopardy. Unfortunately, loss of plants and animals habitat leads to from species extinctions and loss of diversity from ecosystem. Fortunately, not all of the extinctions occur at once. Conservation action may still be able to save threatened species (John M et al 2016). At October 2010, meeting of the Convention on Biological Diversity (CBD) in Nagoya, Japan, delegates discussed a plan to reduce pressure in the planet’s biodiversity. Key targets include expanding coverage of protected areas, halving the rate of loss of natural habitats, and preventing extinction of threatened species. Species whose habitat is severely threatened, however, the outlook is so bleak that the International Union for Conservation of Nature (IUCN), the US Endangered Species Act and the CBD (Article a) recognize that In-Situ conservation action (ie, in the species natural habitat) will need to be combined with Ex-Situ approaches, such as captive breeding in zoos, aquariums and so on (Conde et al 2011).

THE THEORETICAL FRAME WORK
The animal welfare and management (Dakin 2001) is a state of being that can be measured, recognized that its ranges from very poor to very good, introduces the concept of coping, allow measurement separate from moral consideration and refer to feeling as well as physical and psychological health. The definition of welfare that we use also emphasizes that it relates to an individual and thus welfare can differ between different members of the same species, even when exposed to the same condition (Horsey et al 2009). In the case of zoo animals, which have often come from very heterogeneous background, individuals may vary greatly in this previous life experiences and this can influence their ability to cope with certain challenges, by using each animal as its environment and thus an individual’s welfare can be measured.
There are also some species – specific characteristics that have evolved to enable animals cope with different, environment and thus we should also consider welfare at the species level; such species level adaptation could relate to dietary needs, hearing sensitivity, thermo-regulatory needs and so on. The theory of evolution by natural selection, first formulated in Darwin’s book “On the origin of species” in 1859, this theory states Organisms change over time as result of changes in heritable physical or behavioral traits. Changes that allow an organism to better adapt to its environment will help it to survive and have more offspring. The physical and behavioral changes that make natural selection possible happen at the level of DNA and gene, such changes are called Mutation. “Mutations are basically the raw materials on which evolution act. Pobiner said, mutation can be caused by random error in DNA replication or repair, or by chemical of radiation damage. According to Chinaka (2019) in the book concept of evolution, Charles Darwin proposed the concept of natural selection as the mechanism of evolution. The main postulates of Darwinism are:
1. Geometric increase: According to Darwinism, the populations tends to multiply geometrically and the reproductive powers of living organism (biotic potential) are much more than required to maintain their numbers.
2. Limited food and space
3. Struggle for existence
4. Variation etc
Both natural animal populations and those in captivity are subject to evolutionary forces. Evolutionary changes to captive populations may be an important, but poorly understood, factor that can affect the sustainability of these populations. The importance of maintaining the evolutionary integrity of zoo populations especially those that are used for conservation efforts including rein-introductions is critical for the conservation of biodiversity.
Greater appreciation for an evolutionary perspective may offer important insights that can enhance the reproductive success and health examples and associated strategies that highlight this approach, including minimizing domestication (ie genetic adaptation to captivity), integrating natural mating systems into captive breeding protocols, minimizing the effects of translocation on variation in photoperiods and understanding the interplay of parasites and pathogens and inflammation. Captive populations can adapt rapidly to captive environments through demonstration, in which human impose artificial selection in order to increase the prevalence of desired traits in the domesticated population.
For domestic animals, human breeders choose to breed only those individuals that thrive in the captive environments, leading to trans-generational changes that result in a population that is adapted to breed and survive in the conditions imposed by the breeders. Among captive population of animals, zoo populations are unique in that they are maintained to educate the public regarding wildlife and their habitat or to preserve critically endangered species through captive breeding and reinforcement program. Although assessment and preservation of genetic diversity is a top priority for most conservation breeding programs, fundamental to these goals is the maintenance of the genetic variation of these captive populations (Lacy 2009). Whether used to further educational or conservation goals, it is critically that these captive population are representative of the natural populations from which they are desired (Ashley et al 2003). However, maintaining captive population, such that they are reflective of the wild phenotype of the animals, can be challenging in zoos because of the mismatch the environments that the zoo population is originally from and the captive content in which they are been housed. Hendry et al 2015 carol et al 2014, for example, solitary animals with large territories that only encounter sexually mature counterparts during estrus may be housed in proximity of their mate year round, potentially leading to the behavioral issues, including ****** aggregation or ****** incompatibility. Other stressor can exist in captive environments for which animals are not adapted, including the acoustic environments, physical substrate and even availability of food (Morgan and Tromborg 2007). Minimizing the mismatch between the natural environment and the captive environment and they should limit the decline and poor performance of captive populations (Hendry et al 2011; Carrol et al 2014). Captive environments are very different from the wild and can impose different selection pressures that can lead to genetic adaptation in the captivity that affects behaviors (eg: temperaments; MC Douglas et al 2006), morphology (eg; size, skeletal morph metric O’ Regan and Kitchener 2005); and reproductive output (eg; age at ****** maturity, letter size). In particular populations of species with short generation times will adapt more rapidly to captivity than those with long generation time (Frankham 2008).
Social learning theory is the idea that children from observing. According to the learning theory, learning is based on social interaction with the environments (Nwamuo et al 2006). As children walk around the zoo, they are exposed to words and concepts. It also encourages dialogue between parents, siblings, friends and zoo guards (Jessica 2014)  visiting the zoo help the children and other visitors to understand the importance of taking care of the environments as it has a significant impact on lives and welfare of animals and importance of conservation and animal care which will never be forgotten. According to (Nwamuo et al 2006) social learning theory plays a big role in how people and especially learn. There are four elements to social learning theory including:
• Attention: Children can’t learn if they aren’t focused on the task. Students who see something unique or different are more likely to focus on it, helping to learn just as in zoo.
• Retention: people learn by internalizing information later when we can recall that information later when we respond to a situation in the same way which we saw.
• Reproduction: in the way we are able to reproduce our previously learn behavior or knowledge when it’s required. Practicing our response in our head or in action can improve the way we response.
• Motivation

Operant conditioning of behaviors theory of B.F Skinner, enclosure design and environmental enrichment strategies have all been suggested to improve the welfare of zoo animals by reducing stereotypical behavior and rein-introduction success of wildlife species. (WAZA 2015). Thus, the use of these strategies has important consequences for zoological collections. Despite the recognition and wild-scale implementation of such strategies, however, concerns around global zoo animal welfare remain and behavioral pathologies are common in many species. (Luhrs 2010) using operant conditioning, some of the barriers to delivering positive welfare experiences through holistic behavioral management strategies to zoo animals and make recommendations for institutional approaches towards improving zoo animal welfare using examples of Abnormal Repetitive Behaviors (ARBs) through targeted behavioral management.

EMPIRICAL FRAMEWORK
According to P.A Anadu (2000) on his study wildlife conservation in Nigeria: problems and strategy a case study of wildlife reserve of University of Benin, the major treats to nature conservation in Nigeria and he reviewed critically the measures adopted for the protection of wildlife. According the study, the major problem includes habitat degradation (through uncontrolled logging, agricultural projects, industrial plantations, highway and urban development’s and exploitation for fuel wood) over hunting and poaching.
He suggested that to protect wildlife include the creation of more game reserve, enactment of wildlife laws, signing of international treaties and manpower development. According to his research through interview with about 10 workers or staff of the wildlife reserve, the major treats to the area include poaching and hunting, indiscriminate feeling of forest trees, low funding, inadequate game laws and weak enforcement of the existing legal provisions.
It is suggested that the Federal Government should intervene more positively in favor of conservation by creating more national parks and assuming joint responsibility with the states for formulating wildlife laws. Furthermore, the role of nongovernmental organizations in influencing conservation policies and mobilizing public opinion will be cruial in different years ahead.
In the journal “A synopsis of wildlife conservation in Nigeria by Timothy A Afolaya  2009, this article emphasized the recent developments in the overall conservation program in Nigeria as it describes the important role which wildlife is playing in helping to feed the nation, in creating employment opportunities, in education in research, in recreation and in local medicine. Inadequately of Nigerian wildlife legislation and of the trained manpower to protect and manage the wildlife resources are among the crucial wildlife management problems identified. It is also stressed that the basic information for effective management is often lacking where Nigerian wildlife reserved are concerned. It also stressed that the main problems facing wildlife conservation in Nigeria include poaching, over exploitation, lack accurate data, bush burning that destroys wildlife habitat. There is adequate reliable database to facilitate forestry planning and development. Weak forest policy and implementation, forest policies lacks legal backing and hence its enforcement is difficult. The Nigeria forestry policy Act, 1937 is subsumed in the National Agricultural Policy of 1988. Forest tariffs are relatively low and are not revised frequently penalties under most laws are low and seldom enforced. It suggested that Nigeria forestry policy act should be reviewed or renew and encourage the government to implement the policies adequately and enforce penalties on the offenders.
Jonathan (2009) in his own study animal wildlife conservation under multiple land use system in Nigeria reveals that out of 6 selected zoological garden and game reserves in six geopolitical zones in Nigeria. The situation of wildlife in Nigeria is nevertheless different. Except in the Yankari, upper Ogun and Kwiabaha, Game Reserves and the Kainji lake National park, little efforts have been made to protect the Nigerian animal wildlife resources from human pressure and wide spread extinction. To many, what remains of the wildlife animals are best seen in the few state owned zoological gardens in Nigeria?
However, because most indigenous large animal species including Elephant, Buffalo, Chimpanzee, Gorilla, Rhinoceros, Leopard and Ostrich have not been able to reproduce in the various zoological garden so far, the hope to conserve this animals are brittle.
According to his work, animal wildlife is a declining resource in Nigeria because of unplanned land use practices. For example, land uses in game reserves are often conflicting and contradictory for land uses, timber extraction, hunting; food crop production and settlement are simultaneously going on in game reserves with little or no control measures and with no management plans. The excessive demands for land these conflicting uses have greatly disturbed the ecosystems involved, thus making the survival of the wild animals uncertain. Specially, the problems of wildlife conservation in Nigeria are:
a. Poaching
b. Indiscriminate burning of the vegetations
c. Uncontrolled grazing activities in the reserves
d. Intensive logging for domestic and industrial uses
e. Users rights on the reserves enjoyed by the traditional owners of the land before reservation
f. Lack of adequate fund to manage the reserve
g. Ineffective legislation
h. Lack of trained manpower
i. Urban sprawl
j. Infrastructural development of roads, electric and telegram lines and irrigation schemes.
k. Lack of modern enclosure or caging
l. Inability of animals to breed within the captive environment.

He then emphasized that the picture for Nigerian animal wildlife depends on the nation’s ability to conserve what is left either in their natural habitat or at least, in zoological gardens. The game reserve should be reduced to manageable numbers while state governments should win public sympathy through adequate conservation publicity and the provision of sufficient vehicles and personnel to manage the game reserves. The policy of land use in game reserves should be conducted on:
a. The number and species of animals hunted per year
b. The population of animals species in the game reserves and their habitat sustainability
c. The endangered and extinct animals species and specific reasons for the decline in their population
d. Human problems peculiar to each reserve and ways of minimizing them.
e. Establishment of rein-introduction programs.

SUMMARY
The establishment of zoos in a society is premised partly on the idea of bringing man close to wild animal’s species (Yager et al 2015). This establishment has various roles to play in the ecosystem and all endeavors of life. The role of zoological garden as well as wildlife conservation is as follows:
1. Education: zoos are established for the preservation of animal to make it easier for more people to see them and learn their characteristics and habitat. Zoo animals are used for specimens both for secondary schools students and tertiary institution as well as teaching the public the benefit of wildlife. A survey conducted by the Association of Zoos and Aquarium (AZA) reveals that, the general public rate conservation and education as the most important role of zoo (Fraser and Stickler 2008).
2. Conservation: of endangered species to avoid extinction of such animal.
3. Tourism:  it serves as a centre of tourism as people from different parts of the country visit to learn about nature at their leisure.
4. Generating revenue for the government as well as provides employment opportunities individuals etc
Most problems encountered in Nigerian zoos include:
• Poaching
• In availability of breeding species
• Lack of trained personnel’s
• Lack of fund by the Government
• Lack of infrastructure and conservation facilities.

1975 Art Institute is tactic for Odysseus to put off dealing with real world also investigate range of visual techniques gay instructor fruitlessly endeavors to ****** him he enjoys several affairs with beautiful girls yet Bayli haunts him main building of school is connected behind Art Institute of Chicago Odysseus spends lots of time looking at paintings Edward Hopper’s “Nighthawks” Gustave Caillebotte’s “Paris Street Rainy Day” Ivan Albright’s “Portrait of Dorian Gray” Jackson *******’s “Greyed Rainbow” Georgia O’Keeffe’s “Black Cross New Mexico” Francis Bacon’s “Figure with Meat” Pablo Picasso’s “The Old Guitarist” Balthus’s “Solitaire” Claude Monet’s “Stacks of Wheat” Paul Cezanne’s “The Bathers” Vincent Van Gogh’s “Self-Portrait” Edouard Manet’s “The Mocking of Christ” Henri Toulouse-Lautrec’s “At the Moulin Rouge” Robert Rauschenberg’s “Photograph” Mary Cassatt’s “The Child’s Bath” Peter Blume’s “The Rock” Ed Paschke’s “Mid America” Grant Wood’s “American Gothic” Jasper John’s “Near the Lagoon” and John Singer Sargent James McNeill Whistler Diego Rivera Marsden Hartley Thomas Eakins Winslow Homer his 2nd year at Art Institute involves student teaching during day then at night working as waiter at Ivanhoe Restaurant and Theater gay managers teach him to make Caesar salad tableside and other flamboyant tasks wait staff are all gay men once more Odysseus experiences bias from homosexual regime he is assigned restaurant’s slowest sections it bothers him the way some gay men venomously condescend women and their bodies Odysseus loves women especially their bodies he thinks about how much easier his life would be if he was gay in 1976 the art world is managed by gay curators gay art dealers he wonders if he could be gay yet not realize it can a person be gay but not attracted to one’s own ***? Ivanhoe hires variety of night club acts one night he watches Tom Waits perform on piano in lounge Odysseus feels inspired in 1977 he graduates with teacher’s certification he considers all the sacrifices teachers make and humiliating salaries they put up with he does not want to teach candidly he feels he has nothing yet to teach teaching degree was Mom’s idea Odysseus wants to learn grow paint after Art Institute he flip-flops between styles his artwork suffers from too much schooling and scholastic practice it takes years to find his own voice he has tendency to be self-effacing put himself down often he will declare what do i know? i’m just a stupid painter one topic artists do not like talking about is their failures how much money they cost creation requires resource paint and canvas can be expensive how much money is spent on harebrained ideas that never pan out? most artists resort to cheap or used materials few can afford their dreams he gets job selling encyclopedias that job lasts about 5 weeks then he finds job selling posters at framing store on Broadway between Barry and Wellington Salvador Dali Escher Claude Monet prints are the rage his manager accuse him of lacking initiative being spacey after several months he gets laid off he finds job waiting tables during lunch shift at busy downtown restaurant other waiters are mostly old men from Europe they play cards with each other in between shifts teach Odysseus how to carry 6 hot plates on one arm and 2 in his other hand the job is hectic but money is good experience educates differently than books and college a university degree cannot teach what working in the real world confronts people learn most when they are nobodies he reads Sartre’s “Being And Nothingness” he wants to discover who he is by finding out who he is not often he rides bicycle along lakefront taking different routes sometimes following behind an anonymous bicyclist possibly to come across new way he does not know or to marvel at another person’s interest

truth is this life is too difficult for me the violence hatred turf wars tribalism laws judgments practices rules permits history i’m not prepared emotionally to withstand the realities of this world not equipped psychologically to deal with the stresses of this world not prepared emotionally to withstand the realities of this world not equipped psychologically to deal with the stresses of this world i’m sorry am i repeating myself i apologize i’m not prepared emotionally to withstand the realities of this world not equipped psychologically to deal with the stresses of this world god please protect teach me strength courage fairness compassion wisdom love i’m not prepared emotionally to withstand the realities of this world not equipped psychologically to deal with the stresses of this world

buy divinity purchase devotion earn reward points own 4 bedroom loft with roof garden deck porch pool parking in paradise’s gated community pay for exclusive membership into sainthood become part of inner circle influence determine fate destiny of everything step up to the plate sign on the line immortalize yourself feel the privileges of eternal holiness i’m living inside a nightmare inside a nightmare inside a nightmare hello? i am dizzy in my own self-deceptions lost in my own self-deceptions alone in my own self-deceptions there was a time once but that time is gone there was a place once but that place has vanished there was a life once but that life is spent remember when things were different truth is i’m weak skittish anxious alienated paranoid scared to death pagan idiot stop

breath deeply push stale air out imagine kinder more respectful loving world please god do your stuff angels throw your weight around clean up this mess planets align stars shine ancient spirits raise your voices magic work there are words when spoken can change everything words rooted to spiritual nerves if voiced in  particular order secret passwords capable of setting off persuasions in the mind threads to the heart if a person can figure out which words what order tone of voice rate of pronunciation time of day then that person can summon powers of the supernatural Isis goddess of celestial sway of words whisper secret earth water fire air reveal your alchemy winter spring summer autumn teach about passages patterns sublime eastern western sun fickle moody moon unveil your heavenly equation north south east west  beat the drums blow winds show the path to healing path of the heart blood dirt hair *** bare the mystery of your trance dance the ghost dance sacred woman with ovaries cycles flow smell beautiful girl eyes sweetness strange awkward skinny scruffy boy great bear spirit bird jumping fish wise turtle where are you why is there no one to back me? jean paul sartre what was your last thought before you died? was it nausea? nothingness? or a wish?

Dear Poet Friends. Some of my earlier poems like this one, - are  available on 'Poetfreak.com'. But since that site is likely to shut down by the year end, I have decided to post some of my earlier poems on this friendly Poetry Site, to give them a fresh lease of life! Hope you like them.  Best wishes, -Raj, New Delhi.

              A TRIBUTE TO MONA LISA

BACKGROUND :
Unlike the legendary Helen of Troy her enigmatic
face never launched a thousand ships as 'Dr. Faustus'
says,
But she continues to inspire artists, poets, and
viewers alike till this day,
Even though five intervening centuries have passed
our way!
Leonardo da Vinci who had left many of his paintings
incomplete,
Commenced painting 'Mona Lisa' in 1503, taking four
long years to complete!
He had carried the portrait with him for sixteen
long years,
While seeking work in Milan, Rome, and into exile  
in France!
But after Leonardo's death in 1519, the portrait became
the possession of Francis the First, the French King .
But later, Louis the XIV had moved 'Mona Lisa' to his
Palace at Versailles!
It had also adorned Napoleon’s bedroom, who hung
it over the mantelpiece!
We learn from Art historian George Varsi, that the
portrait belonged to one Lisa Gherardini.
She was the wife of a wealthy Florentine merchant,
Who had commissioned Leonardo to paint his
wife’s portrait !

AESTHETIC VALUE OF 'MONA LISA' :
Leonardo here creates an innovative painting style,
Using oil instead of tempera on poplar wood panel, -
which was unique in his time!
The three quarter pose with a wide pyramidal base,
A ‘stumato’ blending of translucent colours with
light and shade ,
Creating depth, volume, and form, with a timeless
expression on Mona Lisa’s countenance !
Here, Leonardo’s passion and pre-occupation of a
life time come together,
As he waves his magic brush to create 'Mona Lisa' !
Lisa’s mystic smile with its play of light and shade,
Appears and disappear when viewed from different
sides,
Creating an optical illusion before the viewer's eyes!
Mona’s mystic smile and her gaze, creates a mixed
emotion on her countenance,
Mesmerizing the viewers as they stand and gaze!
Insurance Companies have declared that this portrait
is beyond Insurance, -
Since its value remains Priceless !

SECURITY MEASURES ADOPTED :
In 1911, during broad daylight from Louvre in Paris,
The painting was stolen by an employee!
He hid it for two years in an attic before smuggling
it to Florence in Italy;
And was apprehended trying to sell it to an art
dealer clandestinely!
Later in 1956, a mad man named Ugo Ungaza,
Threw a rock creating a patch near the left eye of
'Mona Lisa' !
The Art Curators at Louvre now toil ceaselessly,
To preserve this fabulous painting for posterity!
Today the priceless 'Mona Lisa' is housed in a
dehumidified, air-conditioned container,
Protected in a triple bullet-proof glass chamber;
With six million tourists visiting her every year!
“It is the ultimate symbol of Human Civilization ”
  - exclaimed President Kennedy !
And with this I pay my tribute to Leonardo da Vinci !
Thanks for reading patiently, from Raj Nandy of
New Delhi.
..........................................................­................................

Gold and silver battle *****
torn from swords saddles and crosses
lying beneath a farmer's field
tributes to kings and bellicose gods.

Fierce birds of prey snakes fish and bears
framed in filigree geometry
guarded warriors' savage souls.
No mercy in Mercia.

Archeologists anthropologists
historians librarians
curators and consertvators
collect confer and classify
while I just try to connect.

Come into my commune,
My farm
In the sky;
You won't be lonely
Baby,
Not by a hiker's mile

Let's climb
Into the morrow,
Throwing fear
To the wind

The curators
Of sorrow
Are seething within

They prey
On your pleasure
And worship your sin

Like vultures
They hover,
Like maggots
They win

Come into my commune,
My farm
In the sky;
And feast
On your freedom

Then bury your lies;

You won't be lonely
Baby,
Not by a hiker's mile

~ P
#AHikersMile
(12/20/2014)

Hanging around the old cabaret,
where nighthawks steal glances
at the curators of tired eyes,
the walking dead take leave
of their senselessness
entering blurred reality

Someone calls for another round
shouting fire down his throat as

A dart nicks the narrow space between
two fates and falls to the floor
avoiding both,
leaving him in a rage

She pockets the change they left her
or forgot, while
laughs infuse the acrid smoke,
ricocheting into nothing

On a school trip to a gallery,
Teachers and curators will always tell you
Look upon, examine, appreciate the art!
But they’ll never instruct you
On how to be certain
That your appreciation is acceptable and right.
Conundrum of the contemplative,
Judgement of the partisans,
Cogitation of any aware,
I’ll ponder until my encephalon
Subsides under impactful pressure
Until the logical or the just is no longer right.

Through incandesce of the morning,
In the cloak of the ever-mantling night,
Here I revel in the concept of
Eternal glee through appreciation
Of nostalgic kitsch, and graffiti—
And hyperrealism as well as photoshop

Because love isn’t just omnipotent,
*It’s incomprehensible.

As culled from an arts magazine, 13 March 2019

Socialist Realism - The official doctrine in Soviet art and literature after 1932 that evolved from the traditional commitment to social and civic concerns into an all-pervasive general ideological mandate.

            -Yevgeny Yevtushenko, 20th Century Russian Poetry


collective exhibition space vibe community
interactive narrative brown neighborhood
defined commodified Indigenous
identity tone-deaf decolonial
narratives populist intertwined
exhibition curatorial vision
culture local artists arts district small galleries
DIY spaces speaking out against
gentrification displacing shelter
studio space elsewhere late stage capitalism
collective mantra underdog art savior
corporate entity partnering insensitive
ignorant collective brown people art
contemporary work that may not fit
into establishment art galleries
media advisory venture collaborate
creative community authentic
local statement of expression excitement
creative energy arts district project
many levels collaborate local
creative important creative
community what that collaboration
looks like ongoing local artists going
to be engaged in planning commissioned
project community buy-in consulted members of the creative community Indigenous artists curators museum
directors professors burgeoning landscape
cultural framework critique talk individuals
entities inclusivity open
dialogue opportunities project
conversations collaboration discuss
your projects share our work with you
common ground work together healthy sustainable
accountable decolonization

Preface
This is a work of grace and fire. For those who were dismantled, seduced, discarded, or devoured by the lie—this is a mirror held to the machinery that broke you, and a sword handed back into your open palm. It does not speak against you. It speaks for you. The world was not wrong about your beauty. It was only weaponized by those who fear light. And now, you will see the architecture of that fear—the cogs and wires behind the mask, the gears of betrayal humming just beneath the velvet. This is not revenge. It is revelation. It is the unmasking of the counterfeit, and the defense of what was real.


Chapter I –  The Design of the Lie
The machinery of erasure does not begin with violence. It begins with a gift—something tailored to your ache. A reflection, a recognition, an echo of what you’ve been starving for. But it is not given. It is shown. Teased. Dangled. It mimics light to earn your trust, then slowly rearranges your sense of what is real.

Its brilliance lies in subtlety. It does not break the mirror—it fogs it. And once you question your reflection, the game begins. You are not destroyed. You are asked to participate in your own unraveling. You become complicit in the theft of your own clarity. You call it love. You call it fate. And in doing so, you hand over the key.


Chapter II –  The Signature of the Construct
At the heart of this system is a signature—a spiritual frequency that mimics love but cannot sustain it. It flatters, it mimics, it seduces with familiarity. It plays on archetypes, childhood wounds, and ghost hunger. The Construct does not desire you—it requires your participation to survive.

It thrives through triangulation, comparison, and insinuation. The moment you are forced to prove your love is the moment you’ve already lost. Because true love reveals—it does not demand a performance. The Construct, however, demands your endless audition. It casts you, scripts you, and punishes any ad lib with silent treatment, reversal, or shame.


Chapter III – The Seduction of Fragmentation
This is the genius of the system: it rewards your disintegration. The more pieces you split into to meet the shifting demands of the Construct, the more you are praised for your “flexibility,” your “loyalty,” your “depth.” You will be admired for your willingness to suffer.

You will think:
"this must be real—look how much it costs me."

But love does not require self-erasure to prove its authenticity. The Construct does. Because the Construct cannot actually bond. It can only consume. So it teaches you to abandon your wholeness, one boundary at a time, until there is nothing left but performance and exhaustion.


Chapter IV – The Covenant of Betrayal
The machinery has one true vow: never let them fully awaken. If a soul sees too much, loves too clearly, or stops obeying the unspoken script, it must be punished. Often, this is done through replacement—someone new, someone fresh, someone blind.

This is not about romance. This is about power. Your disposability is the currency of their control. You will be erased not because you failed, but because you saw. And in this system, sight is the ultimate rebellion.

You were not too much. You were simply no longer manageable.


Chapter V – The Weaponization of Autonomy
In the true light, autonomy is sacred. It is the ground of real love—freely given, freely received. But in the machinery, autonomy is hijacked. It is twisted into performance:

“This is just who I am. You need to accept it.”

What looks like boundary is often barrier. What sounds like empowerment is often exile. The Construct cloaks disconnection in the language of sovereignty. But autonomy without accountability is not liberation—it is isolation in drag.

The counterfeit system sells self-claim as a virtue while rejecting all consequences. It demands the crown without the cross. It worships the idea of the self, but fears the actual soul.

Because the soul cannot be controlled. Only the ego can.

And that is the secret the machinery must protect at all costs.


Chapter VI – The Seduction of the Wound
There is a final brilliance to the machinery of erasure—its capacity to turn injury into identity. Pain, once unprocessed, becomes aesthetic. The ache is no longer something to heal—it is something to showcase. Suffering is curated, stylized, made palatable for consumption. And the system rewards it.

Each expression of pain, unaccompanied by accountability, is celebrated. Each seductive lament is met with affirmation. And the wound deepens—not by accident, but by design.

These are not poems. They are mirrors fogged with self-pity, lit for applause. They describe the furniture on a ship ready to go down, polished for the camera, curated for the feed.

This is not the voice of healing. This is the voice of stagnation. A life lived in performance of brokenness becomes loyal to the stage, terrified of the silence where truth might enter.

In this way, injury is aggrandized. Not to redeem it—but to preserve it.
Because if the wound heals, the identity dies. And without the ache, there is nothing left to write.

So they write. Endlessly.
And call it growth.


Chapter VII – The Disciples of the Machine
The most devoted apostles of the machinery are not its creators, but its inheritors. These are not villains in the classical sense. They are the wounded who found power in pathology and chose preservation over transformation.

They build followings—not of love, but of resonance. They speak of darkness like it’s depth, and of chaos like it’s freedom. They become curators of sorrow, gatekeepers of aesthetic trauma. And in doing so, they sanctify the very thing that is killing them.

They post without pause. Each fragment is another brick in the shrine. The more broken they appear, the more sacred they are deemed. The machine thrives not through tyranny, but through tribute. It does not demand obedience. It rewards distortion with digital communion.

To dissent is to be called controlling. To invite healing is to be accused of shaming. The liturgy of pain has no room for resurrection—only repetition. Those who refuse to bow to the ache are cast as unfeeling, unsupportive, or abusive.

And so, a new priesthood is born. Not of spirit, but of survival masquerading as enlightenment. They speak of liberation while chaining themselves to curated agony. They teach others to remain wounded, because healing would mean leaving the temple—and no one dares walk out alone.

This is how the machine spreads. Not with force.
But with fellowship.


Chapter VIII – The Hollowing
There is a cost to serving the machinery that no accolade can cover. In the beginning, the pain feels poetic. The ink flows. The attention sustains. But over time, something begins to slip beneath the surface: the erosion of soul.

At first, it’s subtle. The joy fades. The art grows colder. The hunger for affirmation replaces the hunger for truth. And eventually, the writer is no longer a soul with a pen, but a pen with no soul at all.

They become automatons of expression—autonomons of penmanship. Unchanged, untouched, undisturbed. Brilliant in technique. Seductive in style. But hollow in presence.

And those who watch? The broken ones who look to them for hope? They learn that pain is performance, not process. They are taught to admire the wound, but never to bind it. They are shown how to speak of darkness, but not how to walk toward light.

In this way, the machinery becomes generational. One vessel trains the next in the worship of ache. And God is reduced to metaphor, to vague warmth, to a symbol of tolerance rather than transformation.

But heaven is not a stage.
And salvation is not applause.

There will be accountability. Not from men, but from God.
Not for how much they suffered, but for what they did with the pain.

The machinery does not fear sin.
It fears redemption.
Because redemption breaks the wheel.


Chapter IX – The Currency of Flesh
When the soul begins to hollow, the body becomes currency. What could once be held sacred is now offered up as substitute. The hunger for real intimacy, having long been denied, is replaced with performance. Aesthetic ache becomes ****** invitation.

First, the poetess. Then, the priestess. Then, the *****.

Not in profession. But in posture.

The page becomes a veil. The wound becomes a seduction. And the ache becomes an altar where she lays herself down—not to be loved, but to be seen. To be wanted, if only for a moment. Because in the moment, it feels like meaning.

But meaning does not come from being consumed.
It comes from being transformed.

This new liturgy has no end. Only an offering: the soft body in place of the broken spirit. The post that hints, the phrase that aches, the image that undresses the soul without ever risking exposure.

And the audience applauds. But they do not help. They take. They feed. And they leave.

Because the machinery does not restore. It devours. And when the soul is gone, and all that remains is flesh trying to feel something real, the poetess finally disappears—not into silence, but into spectacle.

This is not liberation.
It is abandonment dressed as autonomy.
It is hunger parading as art.
It is the final seduction.

And it ends the same way every time:
With the hollow echo of applause in an empty room, and the voice of God whispering,

“Daughter, this was never the way."


Chapter X – The Entropy of the Idol
Time has no mercy on the machinery’s darlings. The once-lush wildflower—desired by all, praised for her ache, adored for her petals soaked in myth—does not remain untouched by entropy.

She was made to be inseminated by the priests of seduction, to be the altar and the sacrifice. But time withers all altars.

The seduction begins to dull. The body begins to speak its own truth. The skin grows tired. The eyes lose their fire. The flesh, once offered as divine provocation, becomes mundane. Familiar. And then, ignored.

The poetess becomes priestess.
The priestess becomes *****.
And the ***** becomes hide.

Not because she sinned.
But because she refused to transform.

Beauty without truth cannot endure. And seduction without spirit becomes parody. What was once adored is now avoided—not for age, but for vacancy. The ache that once drew others near becomes background noise. Her audience does not abandon her in cruelty. They abandon her in boredom.

The machinery does not love its servants. It only feeds on them until they are dry.

And so, she is left in the echo chamber she built—surrounded by her archives, her accolades, and her silence. The idol collapses under its own weight. Not in a blaze. But in a sigh.

Because what was once sacred, when severed from Source, must return to dust.

This is the final truth:
If you will not kneel to be healed, you will collapse to be forgotten.


Chapter XI – The Awakening
There is no thunder. No spotlight. No applause.
The return begins in silence.

The soul does not rise from performance. It rises from collapse—when the last mask is too heavy to hold, and the echo of applause turns to dust in the mouth. It begins when the hunger becomes unbearable, not for attention, but for truth. Not to be desired, but to be known.

This is not reinvention.
It is resurrection.

The one who awakens does not look for an audience. She looks for God. Not in the mirror of likes, but in the mirror of conscience. Not in the adoration of strangers, but in the ache of repentance that leads into true healing.

It is not shame that saves her.
It is the refusal to be false another second.

There is a groan too deep for words that stirs in the soul of the broken—but still willing. She rises, not in fire, but in dust. She remembers what she buried:
the child.
the dream.
the voice she silenced to keep others fed.

She does not demand redemption.
She begs for it.

And this time, no altar is built.
She becomes the altar.

Because the real temple is not where you perform for God.
It’s where you let Him undo you.


Chapter XII – The Turning of the Spirit
There is a moment when the soul, long dormant, begins to turn—not with force, but with permission. Not with answers, but with longing.

It is not an epiphany. It is a return.

The heart does not sprint back to God. It limps. It crawls. It shakes under the weight of what it almost became. But the turning is real. And that alone is holy.

This is when sorrow becomes sacred—not because it is beautiful, but because it is owned. It is no longer adorned, embellished, or romanticized. It is no longer shared for praise. It is lifted up like a cracked bowl, empty and unashamed.

She begins to pray again—not with confidence, but with tears. Not for favor, but for cleansing. Not to be seen, but to see. And the Spirit moves not as reward, but as witness.

Something shifts. Quietly. Inwardly. A single layer of delusion is peeled back. A new kind of strength is born—not in defiance, but in surrender.

This is not the turning of image.
It is the turning of essence.

It does not show.
It becomes.

And though the old machinery still whispers—though the old audience still lingers—she no longer performs for them. She is turning her face. Slowly. Fiercely. Eternally.

This is the repentance that heals.
The gaze turned Godward.
The first yes to life.

And heaven, watching, does not shout.
It weeps.
Because the dead have started to rise.


Chapter XIII – The Fire That Does Not Consume
There comes a time when the soul must pass through fire—not to be destroyed, but to be revealed.

This fire does not flatter. It does not affirm your curated grief or compliment your phrasing. It burns away the pose. It burns away the language. It burns until what is left is the thing you most feared to be: real.

Not poetic.
Not prophetic.
Not even profound.
Just real.

This fire does not ask for offerings. It asks for everything.
The altars of validation. The shrines of aesthetic suffering.
All of it must go.

But what it leaves… is clean.
What it leaves can breathe again.
What it leaves can love.

For this is the mercy of the holy flame:
It only consumes what was killing you.

And when you walk out of it—not elevated, but humbled—you will find that you no longer ache to be seen. You ache to serve. You ache to live rightly. To walk quietly. To stop writing about the light and become it.

Because this is the final test of healing:
Not whether you can name the darkness.
But whether you can choose the light when no one is watching.

In 1983, the Fashion Design Council burst on to the Melbourne scene like a Liverpool kiss to the mainstream fashion industry. Inspired by punk's DIY aesthetic and armed with an audaciously grandiose title, an earnest manifesto and a grant from the Victorian government, FDC founders Robert Buckingham, Kate Durham and Robert Pearce were determined to showcase the burgeoning Melbourne design scene in all its outrageous glory.

"People resented hearing about Karl Lagerfeld," says Durham. "Our movement was against the mainstream and the way Australians and magazines like Vogue treated Australian designers."

Over its 10-year lifespan, the FDC launched such emerging designers as Jenny Bannister, Christopher Graf and Martin Grant. But what was perhaps most exciting was the FDC's ecumenical approach. Architects, filmmakers, artists and musicians all partied together at runway shows held in nightclubs.

"It was an inventive time when people came together and made people notice fashion," says Durham.

Among the creative congregation, Durham remembers artist Rosslynd Piggott, who constructed dresses of strange boats with children in them and filmmaker Philip Brophy, who used "naff" Butterick dress patterns. Elsewhere, an engineer made a pop-riveted ball dress out of sheet metal. The crossover between music, art, graphic design and film extended to architects such as Biltmoderne (an early incarnation of celebrated architects Wood Marsh) who designed the FDC's favourite runway and watering hole, Inflation nightclub.

"Clothing was confronting," says Durham. "It was brash and tribe-oriented. It was quite good if you weren't good-looking. People liked the idea that this or that clothing style was going to win you friends."

Today, however, even Karl Lagerfeld has a punk collection. To complicate matters, "fast fashion" appropriates the avant-garde at impossibly low prices. The digital era too has caused the fashion world to splinter and bifurcate. What's a young contemporary designer to do?

"The physical collective is no longer that important," says Robyn Healy, co-curator of the exhibition High Risk Dressing/Critical Fashion, which uses the FDC as a lens to view the current fashion landscape. "These are designers who are highly networked through social media who put their work up on websites."

Fashion designers still use music, film and architecture, but in different ways. Where FDC members might document its runway shows with video, studios such as Pageant use video as the runway show and post them online. Social media is perhaps the big disrupter. Where FDC designers might collaborate with architects, today it's webdesigners.

"Space has changed," says Healy. "Web designers might be the equivalent of the architect today. It's a different use of space."

As grandiose as the FDC, yet perhaps even more ambitious in scope, is contemporary designer Matthew Linde's online store *** gallery, Centre for Style. Like the FDC, it offers space for "artists who aren't at all designers per-se, but they're dealing with a borrowed language from fashion", Linde told i-D magazine.

"It's an extraordinary juggernaut across the world with a huge amount of Instagram followers," says co-curator Fleur Watson. "[Linde] has created a brand that uses social media in an interesting avant-garde way."

Yet unlike their often untrained FDC counterparts, these designers are perhaps the first generation of PhD designers, notes Watson. "Robert Pearce had a belief in culture changing the world. That's what these new designers are reflecting on in their research, their position in the fashion world and how do they change the way fashion works?"

While it's also true that new technologies offer exciting possibilities in embedded fabrics and experimentation with 3D printing, fast fashion has created certain expectations.

As Cassandra Wheat of the Chorus fashion label laments: "It's just hard for people to understand the complexity and the value that goes into production without being really exposed to it. They think they should have a T-shirt for cheaper than their sandwich."

During the course of the exhibition Chorus will produce its monthly collection from one of the newly designed spaces within the gallery. The exhibition's curators have commissioned three contemporary architects who, like its '80s counterparts, work across the arts, to interpret FDC-inspired spaces. Matthew Bird's Inflation-influenced bar acts as a meeting place for the exhibition's forums and discussions on the contemporary state of fashion. Sibling architects abstracts the retail space, while Wowowa's office design resembles a fishbowl. For Watson, the exposed shopfront/office has as much front as Myer's. Its architecture suggests the type of brazen confidence every generation of fashion design needs. Says Watson: "Fake it till you make it."Read more at:http://www.marieaustralia.com/cocktail-dresses | www.marieaustralia.com/formal-dresses-2017

Inventors of the past
Curators of the future
Writers, speakers, dreamers,
Teachers of great potential.

They have read, written,
Shared the bountiful food of wonder
-Unable to be conceived-
Only partially decoded

Who are we
To take the reigns of such magicians?
To think innovative thoughts,
To uncover precious words
hidden by the legendary dust of rustic times,
To transform, evolve,
bend the titanium frames
constructed by gifted architects,
To be new
Defiant, different
Right or wrong?

Revisited Merak harbor one late evening
a shape of sea fairy and colorful torches
were seen from afar , chattering calls  in 4 languages. 4 squalls in  once was a plage
their dancing  flames asked me to come closer

I hurried along the sleepy shipyards
passing massive warehouses fenced by rusty wooden doors
giant padlocks accenting  (reminded me of a  fancy cocotte loaded with blingbling)
stacks of oversized containers  solidly sat speechless.  Sleepless.

The light of each torch lifted into the sky. Seen by another eye
1883 eruption of the Krakatau crater.  130 years later the odor of its curators  
I ran closer. I fell.  I laid there a while , got up and ran again.
I lost my head and missed my right foot along the way.  I did not care.

When I arrived  the torches were there in front of me
reincarnated  into thousands inhabitants who had lost their lives
bodies covered with revolting cesspit oil  
For a second  they transformed into torches again.  One blazing in my hands.
Regretfully, I had lost my head so I did not understand.

The fairy stared . I wasn't scared.

:  come, come, …come purifying Sunda strait
dissatisfying the idiots thought it could all be fixed with tax rate
I moved toward  embracing fairy arms  
(Possibly, this close hugging love was only for beach-sea friends)

So, I united with the torches
A bit of a breach  pushed us towards the petroleum . Demolished it all.  Cannonball.
Black fog shrieking that same  words : Keep up the struggle .  Stay strong !
The alien residents might think I was making choices
but the fairy was leading me around
the torches reshaping the ghost-town

Chattering calls  in 4 voices.   4 languages.
Yet, for the officials ears , all were still voiceless.  Pointless.  



(Pulo Merak - Cilegon - Indonesia )

A world of desolation
And romancing sewers:

Rotting animal carcass
Asymmetrical,
Compacted in art
Galleries
And praised for its realism,

Curators drawn to its
Intricate textures and
Cobblestoned streets—

They sprawl,
Like a cannibal's playground.

Twisted-
A street map
Spilling over

Like their stomachs.

There is a path.
Its rickety bridges dangle you over the jaws of despair;
I welcome the jagged teeth with pursed lips.
A planet does not choose its sun.
This diminutive island orbits obediently, tracing an oblong avenue
Around a heavenly beacon which burns at close range,
But protects from the uncharted perils of a frozen infinity
Beyond the horizons of our understanding.

Books.
Here they are seemingly as plentiful as stars in the great expanse.
For every one I read, there are a thousand more
That could pour out of my fingertips without warning.
Here on these shelves (and in my hands) are words –
Legions of ideas, cries for help, and declarations of the self –
Collecting dust to pass the time.
Bound by a spine, each page is a painting,
Or a singular brush stroke;
It depends where on the museum’s crisscrossing paths
We place it.
I am allowed to manipulate
These likenesses with my own unkempt paws.
I sift through each layer with great care.
Poised above my isolated figure is a cloud of silence.
Luridly dark, it threatens to immerse every shelf in its corrupting solitude.
My fascination decays into sorrow.
Curators grow weary.
Thick lenses become damp with labored breath.
A tomb of these words encases the regenerative key
Our depleted cityscape so desperately needs.
But the museum has not received enough submissions; funding is being cut.
Fingers spanning a soiled palm have grown tired of the dirt.
Limp breezes are now strong
Enough to disconnect them
Permanently
From the words that burn at close range.
They allow themselves to drift, because it’s easier.
It is cleaner, more “cost-efficient”.
Straying from the museums, we drift from realization (from reality, even)
Into delusions of creation and achievement.
Lo! How accomplished we are!
We, the Cash-Rich People of the Thought-Poor States,
In order to form a more synergized union,
Do downsize the words that disseminate from our digits,
Dutifully drowning them out with more rambunctious
Gurgles from our gullets.


Curators warned and a generation of disobedient phalanges paid no mind.
My feeble hands mold a clay cadaver, grooving oily prints into its hull.
This incoherent signature will fall perpetually unnoticed between the cracks.
No one is looking.

Our city lights,
however small in comparison,
nullify the countless Stars
of the wondrous night Sky.

Perhaps
this is analogous to how
things that seem to be
so very close,
so very small,
so very benign,
so very familiar,
so very attainable;
things of our conscious creation;
can preclude even the very awareness
of far greater,
far more beautiful,
far more powerful things;
both external and internal;
both transient and eternal;
and why we must
take great care
and
act with great tact
and
act with immense respect
if
we, as mortals:
curators of reality;
are to be trusted
with such effervescent potency.

Friends, while composing the ‘Story of Italian Renaissance in Verse’, I read about the history of Mona Lisa, and had composed this poem on the 30th Dec 2010, posting it on various poetry
sites where it was liked. Hope you like it too, – Raj.

A TRIBUTE TO DA VINCI’S MONA LISA

BACKGROUND :
Unlike the legendary Helen of Troy, Mona Lisa’s
enigmatic smile,
Never launched a thousand ships as 'Dr. Faustus'
had said;
Yet she continues to inspire artists, poets, and
viewers alike till this day,
Even though five intervening centuries have passed
our way!
Leonardo Da Vinci who had left many of his paintings
incomplete;
Commenced painting 'Mona Lisa' in 1503 AD, taking
four long years to complete!
He had carried the portrait with him for sixteen
long years,
While seeking work in Milan, Rome, and during his
exile in France!
But after Leonardo's death in 1519, the portrait became
the possession of Francis the First, the French King.
But later, Louis the XIV had moved 'Mona Lisa' to his
Royal Palace at Versailles!
It had also adorned Napoleon’s bedroom, who hung
it over the mantelpiece for some time.
We learn from Art Historian George Varsi, that the
portrait belonged to one Lisa Gherardini.
She was the wife of a wealthy Florentine merchant,
Who had commissioned Leonardo to paint his
wife’s portrait.

AESTHETIC VALUE OF 'MONA LISA' :
Leonardo here creates an innovative painting style,
Using oil instead of tempera on poplar wood panel,
which was unique in his time!
The three quarter pose with a wide pyramidal base,
A ‘stumato’ blending of translucent colours with
light and shade ,
Creating depth, volume, and form, with a timeless
expression on Mona Lisa’s countenance!
Here, Leonardo’s passion and pre-occupation of a
life time came together,
As he waved his magic brush to create 'Mona Lisa'!
Lisa’s mystic smile with its play of light and shade,
Appears and disappear when viewed from different
sides,
Creating an optical illusion before the viewer's eyes!
Mona’s mystic smile and her gaze, creates a mixed
emotion on her countenance,
Mesmerizing the viewers as they stand before it to
admire and gaze!
Insurance Companies have declared that this portrait
is beyond Insurance, -
Since its value remains priceless!

SECURITY MEASURES ADOPTED :
In 1911, during broad daylight from Louvre in Paris,
The painting was stolen by an employee!
He hid it for two years in an attic, before smuggling
it to Florence in Italy;
And was apprehended trying to sell it to an art
dealer clandestinely!
Later in 1956, a mad man named Ugo Ungaza,
Threw a rock creating a patch near the left eye
of 'Mona Lisa'!
The Art Curators at Louvre now toil ceaselessly,
To preserve this fabulous painting for posterity!
Today the priceless 'Mona Lisa' is housed in a
dehumidified, air-conditioned container,
Protected in a triple bullet-proof glass chamber;
With six million tourists visiting her every year!
“It is the ultimate symbol of Human Civilization ”
  - exclaimed President Kennedy!
And with this I pay my tribute to Mona Lisa of
Leonardo da Vinci,
Thanks for reading patiently, from Raj Nandy of
New Delhi.

The hidden hustlers.

Most of the time, we question the focus of the people we know who are used to having multi faceted things going on with their lives. Stereotypically, most folks have one track sense of judgement on their failures blaming it on the lack of time because of the multiple things those multi faceted people do. There is a known imperative for the common haters, keyboard warriors and ****-hurts of the judging world of current social media to capitalize on the mistakes rather than what has been accomplished, boiling down to, yes, lack of focus.

These people are low-key hustlers. These are people who have massive amounts of real pursuit in terms of things outside their core jobs. People who are the reasons why charities exist, and the same category of people why art forms in this earth continue to be significant. They are usually those folks who are the outliers of the common society, and what a joy to meet and get inspired by these people.

And yes, they are the ones who has people’s eyes sticked in their backs for most part of their lives. The ones who are often exposed to criticisms and judgement, particularly to things like lack of focus during the event of setbacks and misfortunes. When a failure arises, the first one to blame is the lack of focus. I’ve experienced it myself and to the other people, and some, to the closest circle where I personally noticed the struggle in terms of managing their time and their long-lined patience. More than time actual struggle, it’s the stereotyped judgments that hurt them.

But through the years of observation, I found the idea reversed.

Reversed in a sense that I believe that most of the multi-faceted persons have the most solid and ******* focus someone can get from a person. Over the decade of experience in the workplace, those who have side hustles and passion projects are the people who have actual pedigree on lending an extra thousands of miles when tasked to do something. They are the master of balance. They sacrifice their passions hideously depending on human variables such as timing and use of words. They are over-reactive internally and complicated critical thinkers because they won’t allow slightest of any judgement touch and blame the things they are passionate during an event of delays on the tasks they are doing. They know how to sacrifice and be hurt in the process. These are the people who spends sleepless nights just to save their passion projects and keep them afloat in hectic schedules, they are the hustlers in such a way that any loopholes that lead to destroying the things they love can’t be tolerated, so they better put in the hard work hiding in plain sight even if there are no eyes looking, they are masters of making it effortless in the naked eye. But when you dig further on how they do it, you know that they are always in a brink of dying due to misunderstandings and angry loved ones, families and friends because they have been all juggled inside the 24-hour day. Yes they know their shortcomings, but I say, it’s the reverse in terms of  focus.

Some people might relate to this because, I know that these are the people who has thirst to etch something in the world, but is to busy to market and brag it. They have multiple pockets of insane hours and grit on their focal points of pursuits.

Only people with strong focus can be experts in their multi-faceted fields of pursuit. Without massive amount of focus, you won’t be able to build multiple habits. And without the habits, you won’t be experts. Period.

And the funny thing is, often time, people who are judging them on their slightest mistakes are usually reactions from mediocre individuals who are connected with them and sometimes, the victim character who got the lesser attention time from the multi-faceted hustler, thus stirring up pressure because, looking at it, there is a level of dependence, and any delays or setbacks could be  attributed to the ‘so-called’ lack of focus.

These hustlers are people, who are sometimes, difficult to understand. They give vague reasons why they cannot attend a not so important life event. They mastered the art of matured alibis so they won’t hurt feelings. But true enough - they might be insensitive at times.

They get anxiety when they don’t produce something out of their passions. They are curators of their own products. These are the natural creatives, in which, ironically, the stereotype judgment on their mistakes are usually associated with time management issues, lack of focus and improper spending of money on things that majority of people won’t appreciate, or worst, in some eyes, are not important because it doesn’t profit.

I find it ironic when those people who are multi-faceted are more focused than those who are masters of a singular field. We can say that both has focus, but cancelling out the posers, multi-faceted hustlers have the most low-key grit and grind attribute you can find in any human being.
They won’t anyone touch their joys with one-dimension judgement. But they are not showy and everything seemed to be effortless.

So what I'm telling you is somehow the argument is in reverse. They tend to be targeted because of their vague presence, in which results speak for itself. they are working in the shadows - They are the people who inspires, who are strong, and the ones who deserve any small amount of appreciation. They are the people I call the hidden hustlers.

We are all like deformed seraphs
With seven wings that flight death.
We conceive filthy cherubs in swamps,
That dwell in the eden of our own making.

We have inherited muck from our fathers,
Passed on as glorified heirlooms;
And like fools we are, we proudly raise
That useless dirt we crawled out from.

In an effort to save our decadent ways;
We put our own blood over our doors,
And don our fig leaves that wither
As ******* sons and daughters of the earth.

Like heretic church curators we are,
We gather choirs that sing hymns of lies,
As its melody echoes in a swift pace
To defile the hearts of the innocent.

Truth and Beauty, do we even know?
Our own replica of it, we create.
We liken it to things that poison and ****,
And celebrate upon ruins of graveyards.

We have taken Death’s sickle,
And used it to tear the Book of Life.
We sleep in the mount of skulls and bones,
Where our castle of agony lies.

We dwell in the place of worms,
We have built a throne of flesh,
We have dined on decayed carcass,
And drank sulfur for wine.

We have fed our children to the wolves,
As the blood of our people
Seep in the soil of the earth,
And flow in the waves of the seas.

We have crept like marauders
Under the beds of our neighbors,
To slit their throats in their sleep;
So that we may bathe in their blood.

For we all desire to be drenched in blood,
To be covered in its velvet cloak.
Not knowing, that the blood we seek all along,
*Is the cleansing blood that Christ gives.

Our ancient lineage contains folds encapsulating hidden wisdom
unfurling at the weathered edges.  
Curling inwards in attempt to direct us to the origin.  
Source.  
Deposits of insight lie within our bloodline,
spiraling beside genetic codes we have carried through lifetimes.  
The quickening has arrived,
through comprehension acceleration and universal language of Love translations.  
Verdant roots nourishing, allowing spiritual nutrients to enhance our brilliance.  
We are
Telluric creatures:Natural teachers
essential to the transfusion of energy between the moon and the sun
We are
the ones, responsible for our is-ness magnification
outgrow foundations we have constructed to keep ourselves from seeing past this self inflicted ceiling.  
It has withheld us from feeling anything beyond this consumeristic dogma implanted in our society,
force feeding us its enigmatic conditioning.  
Detach pre-determined thinking to allow this ever-flowing journey of contemplating mysteries,
abolishing worries of fear in the becoming.  
It takes courage to assert ones self beyond what we have been taught,  
to unlearn ready made thought and rewrite our own scriptures.
Our ligaments are sacred scrolls awaiting our blessing, allowing them to unfold  
leaving lacuna spaces for existence to experience traces of our essence.  
Children of mother earth in collaboration with father time,
the genesis of this breath has appointed us as divine,
intertwined into a perfected geometric composition, we are creation curators of this generation
woven into synthesis,
mastered with our gift of presence,
god-head recollection.

what has our intelligence done for us
other than soften our instinct
slow down our reflex
made us into habitual
connoisseurs of convenience
curators of insta-gratification  
creatures of know it all
without the need
to understand anything
the universe just
a night sky out of reach
just a spattering of stars dot the sky
all the cosmos overhead
and we are too consumed
by the blue screens that feed
the narcissism of our egos
to look up in awe and wonder
to question the arrogance
of our intelligence
to see how little we know
about the things we know
as we have killed the view of heaven
with the artificial light of our pollution
facts blurred with faith
and we ignore all the fiction
that causes so much friction
that we allow our children...
that we force our children...
to ****** other children
boys feeling like men
poisoned by patriotism and pride
in such a rush to die
for the words of freedom
never stopping to question
the definition of the repetition
and redundancy of war
never stopping to question
the repetition
and redundancy of war
never stopping to question
the redundancy
never stopping
the redundancy
the redundancy of war
as we will not question the intelligence
that infects us with
the sovereignty to be exalted
by our own cruelty
how else could we excuse
our history that keeps repeating
keeps its transcripts written
in the death and blood of the innocent
mislead by prejudice and hate
taught by fear and ignorance
all brought to us
by what we call intelligence

why were we given these hearts
this muscle beating below our ribs
what good is it
if only driven
by the intellect of our minds
our self indulgent intelligence
why have hearts at all
if we never stop to listen
listen to the message
of its beating
its pounding on our ribs
if we never stop to accept the wisdom
it sings in ever silent word
words that need no definition
need no ink or blood
written down in a declaration
of its reason to be living
it needs not our intelligence to survive
our intellect to live
it has its own wisdom
the wisdom of love
and in our grand intelligence
we are too blind to see
too deaf to hear
too unwilling to feel the truth
of how useless any intelligence is
without the wisdom of love

I sense loss and yearning all around
I used to chalk it up as a personal hurdle to jump
or just the feeling of aging while the youth still goes on
Yet I think I this malaise is widespread
Impacting all of us in our glitching global trade

I used to think the issue was there’s just too much now
Too much to watch, listen, and taste
You don’t need the hunt anymore
Don’t need to wait or pay some exorbitant price
I used to feel overstimulated by the streams
and just could not decide
I still feel, it’s not that we want to do the thing,
but we yearn to want to want to do the thing
again

Is that all that’s changed?
Those who are not ready to be creators
will certainly not be ready to be curators
Freed ourselves from DJs and TV programming
but what control have we flailed ourselves into?
Wasting hours a day watching 30 second videos
whose categories are heavily curated
impersonally, just for you
Remember when user preferences worked
and in searches they wouldn’t hide the whole list
of all that was relevant and new?

I suspend disbelief, I do
Pretend for glamour’s sake,
That I’m standing in line, not walking down
Legging capri utopia, but style,
Books, Asian fusion,
And I open my window to outside fire trucks,
Sometimes voices, to pretend I’m not in small-town
Southeastern Ohio.
I close my eyes to a new, non self-conscious,
Self-aware vision.
Well, it was once a real moment:
In a studio apartment, nervous about my mom
Downstairs, outside, below me
Smoking a cigarette on the sidewalk.
Afraid she’d get jumped when I was eleven, or twelve, or thirteen.
Forgetting she’d lived in New York City
in the 1980s when she was
Eighteen.
I didn’t have any fears for her then.
I didn’t have anything for anyone.
I didn’t exist, and I wasn’t afraid
All the time, of something.
I exist now and I watch my back in small town USA,
But I still make wonder visions,
Beautiful, rhetorical, hypothetical
Walks in October five ‘o clock sunshine.
Me, and a book, and take out food walking back to work,
Where my work will be to write this down,
To try my ****-dest to convey what I felt
Out there, on the street.
That self-importance, comfort of the light
In my eyes, and my dark pants, too, they mattered,
And an imaginary cigarette from the ether,
The sun-ray concoction.
It’s almost the exact feeling of sitting on couches,
Next to my aunt’s bubblegum pink ceramics in Brooklyn.
Thinking—how glamourous.
Pretending the one room apartment was mine.
Pretending I could live in such close proximity to a stranger.
Another person, who I may or may not find strange.
Pretending I wasn’t made uncomfortable by the women
Wearing hot dog and hamburger bun bikinis dancing
In kiddie-pools in broad daylight.
How bizarre. While my brother and I played war
Upstairs. “That’s art,” someone probably said, in a
Fenced in small grassy plot in a neighborhood in Chicago.
Later in college, I’d say “the best art makes
us uncomfortable,” and my professor who loves
young adult fiction will applaud me for my incite.

An inherent desire for brass,
And fire escapes, and being
Consumed by tall buildings, and bars
On rooftops is not…
Natural.
It must be media-induced.
I consumed a fair amount of media
That glamourized and shined up and cultured
Cities for me.
Then I went there and saw that I was fearful,
Yet wanted to feel important inside of something vast.
I want to talk to curators of museums about
Everything I’ve learned and haven’t learned.
I want to impress myself with knowledge of streets,
And towns, and maps.
Out of my element, maybe I am finally ready.
Out of mostly whiteness, most of the time,
Into people I’ve never met, people I never thought
I’d know well, into hoping that I can sit in a different
Kind of circle, in a new conversation,
Restoring, transforming,
Wanting to say some sincere things, and
Make some observations in earnest.

I see a green tree. It is all I want.
A dry rocky mountain and a hawk
satisfy. To die spiritually in
the hot sun and the body go on
climbing. To take the paths among
the rocks and mahogany bush.
To feed on rock lichen and blue
sky. To not need a house.

To leave my mind in the foothills.
To climb everything but blind. In
the deer shade of the cool aspens.
Forgotten by the work force and the shrew.
Bored as a badger disturbed at
its stream. Free singing as the stream
cutting the gorge. Cool as a hummingbird
in its wet spray. Caterpillar fur.

I stay in the mountains unknown.
The roof soot of the city calls me back.
The museum women shaking their bodies
at the stuffed tigers. The meditating
curators and entrepreneurs. Burro.

            --------------------------------------

Old Basho, early Spring, took fond leave of his friends,
closed his small house at edge of village,
and with one peasant companion climbed the long narrow road to
      the North.

Blessed morning!
      the day I left life behind
            but not this world of dew.

What is the air breathed in by the millionaire?
The same as inhaled by the slum-dweller?
The monopoly on air is great!
Or imagined?

A false dichotomy, a false pretense,
a logical fallacy, a paradox and contradiction. Linguistic sounds murmured and mumbled by orators and curators.

The breath of life is the worlds most beautiful gift, but also a mundane commodity,
It is in a perpetual state of being unwrapped and re-wrapped,
Transported by logisticians,
Prepared by makers,
Packaged by designers,
Consumed by the user,
Expelled by the waster,
Salvaged by the recycler,
Reminder of our life,
Reminding us of our mortality
Which we so frequently forget.

Breath is without choice,
We are unforced,
We flow the atoms inside us
Which our lungs are built to contain,
But particles need to be expelled.
As all good things must come to an end,
So must the ego we wish to contain.

Nature's masculinity is all too powerful, dominating the global hemisphere. His spheres of influence are enermous and his allies volatile.
Fire, metal, lightning, magma, stone, thunder.

An awesome feat,
We have learnt to harness electricity,
The ecstatic delight,
The shock of wonder,
We are galvanised into apathy,
Wired on our technology,
Device on finger,
We have yet to integrate the complex organic with the intricate artifical.

The technology of air is a great invention, invented by an invisible nothingness, an empty void of silence, a chasm of infitissimal unmeasurableness.
We have yet to harness this ancient element.

As we race about and fulfill our desires,
Humans, thought to be different,
No, we are a microcosm of repetition, a chain reaction, a catalyst of a parralel universe.

We have created our own branch of nature,
We are a branch hanging off the trunk
Our own pecking order,
We are not elemental isolates from the land which we once grew on.
Diamonds are made from carbon.
Flesh from cell.
Cell from atom.
Interconnected, neural and galactic.
The microscopic projections playing through our planetary minds:
Sharp as the claws of beasts.

The tiger rattles its chains,
Exuding its own glory,
Its notoriety known amongst
The lesser kingdom dwellers.
Is it moral to cease the latters' lives early on, severed by the hand of sentient and intelligent conciousness?

The grand old question proposed by philosophers.
To **** or to be killed?
To live or to die.
War or peace?
Answers and binaries, we rush in attempt to answer both,
The sedate and the anxious professors will philosophise,
Knowledge will reach the masses,
Ignorance remains.

Time will pass and death will come to all of us,
Mortality an unstoppable force,
an unstoppable ticking,
A machine in the clockwork of nature,
A cog that has been inhabited by life,
An abstraction colonised by thinkers and doers,
All on the same trajectory of the unknown.
Powerless and hopeless civillians, grasping and clinging desperately on an immense rocketship,
Fighting for survival.
Are we preparing for a greater good or a we headed into the dark oblivion?

The corporations too - perceived as more powerful -
Know they have land and
Ownership of property,
Exerting their will
In an extravagant and
Flamboyant fashion.
A luxurious and pompous display,
A model for citizens to admire

Sooner than we know,
The invisible does become visible,
The curtains are opened.
Even denyers become believers.
The windows of facades,
To be scratched. Will be clawed.

We lament and count our losses,
But the trees remain grounded,
Roots are always shifted,
Loggers cut down beasts of beauty,
All too common, there are all too many treefellings.
Her presence is sparse and dense.

We raise, we grow and then we prepare and consume.

Is it so strange we do this to eachother when we do this to nature?

In a internation that worships success and scolds failure, how can the failure be allowed to live?
He is at the mercy of the lucky,
he is at mercy to dissaproval,
he is at mercy to mockery.

The air she does not distinguish between worthy and unworthy, she gives lovingly to children of the earth.
Is it not time love ourselves to love eachother and love her back?

Is it much more powerful to imagine utopia than to disdain dystopia?
We are a dusty age that Mother blows away with her strength of love.

We forget her might,
Her fury, her will.
She: more powerful than all of us.
The earth can crack,
The skies will burn,
The seas will flood.

Our might is remembered by historians,
Our strength is revealed through leaders,
Our vulnerability is exposed.
Our secrets are brought to light.

We are as evil the land.
Life lived in the grey.

light; Their curators in the fish of the place,
Say, before he Natalbnnê; T          he body.
The law, he said,         the price woman said that
Information Parent 1: 1: Anatomy foliage; of 3
The world is not the time to think about it! ||||||||||
He lost his daughter. He who has not a son.
these are Even in France for him to leave the TV.
Why do you ask? Table, archery,
I love you. Well. It can happen. Full, black, pink,
| | | | | | Like wine. There is a better backup.
The head teacher. Dust remains normal
The Republic of Korea. Because of the holidays
Unfortunately, you do not need it. do not be angry
And since sin. This reply. There is no need.
Aid. Members of the robot are so many targets
In this case. Onions in love For that reason I cannot.
The woman on the lips is not good.
The body showed an interesting answer,
the girl not to listen?
it |||| artists;
So in this case be changed by the manufacturer
is not able to stay with you. 1 the fund has always
thought  about it! He lost his daughter.
Your son has a son. France random The TV will leave his love
Why do you ask? The design of the bow love you.
Well. It can happen. leather Two pink | | | Like wine. There is a better backup. The head teacher. Republic of Korea remains divided powdered
mist. holiday
Unfortunately, you do not need it. To be angry, it is not.   Help your friend Robbie, this is the case a lot |||||
The fire is not something that there is no shadow of anything.
The woman on the lips is not good. The solution in the body
of the countenance the dark place, and do not listen to me, said,
The woman |||| The Head of the operation of the,
that he is the greatest of the device. 1 fund ever you think about it!
He lost a young boy and girl little girl's head; The Gauls,
The laborer is formed in the vows. What am I;
At the heart of the nation;
Exposure to light Roniok Slfohiotio]
and like it - it is not better;
It is possible; The arteries of the cortex stopper
Carron du ^ y; | | | This clear liquid,
Your head should be acceptable.
As dust and insects regular; Songs to play in Korea.
we are on holiday Unfortunately, it does not have,
In fact, he became angry and this reaction;
This is not found to be who he is, that
Aid. Friends are happy happy,
In consumer behavior Light shade of love;
Human embryos in the appeal almost at birth
The body of work; Women and suffering;
The price has not heard |||| In fact, the knowledge
of their company;
Anatomy last 1, 1 to
Tied for [????] leave; And for one shares with the world.
Theoretically, all the time? Beautiful girl, loss of life
of its own substance. If the child is a boy on the football sapien
Of the Scots, a great truth is perished, leaving the team are;
Health - left behind children leaving Holliday. How is this possible? |
National Policy Editor State Kachster East; [Horizontal red Barack]
I'm not sure what you love to do -
Yes Yes Yes Yes Yes Yes Yes Yes to the skin, pain, Pink contribution symbol;
| | | From what he said only drinks; His head and coil.
Protects normal; This clearly shows that the harlots, they pass not over, the chariot of the answer of the walls of the none the Secretary gum. Friends too. The numbers and dances;
Where there is light; Unfortunately, our models. The plane broke test
***** beliefs in the country Of course the vote; some people report
Sometimes. Her daughter heard the legal barriers Listen to the words running. I I. Anatomy of mercy, he leaves; [And]
But there was need, which had been drawn at the first position, contained therein, World War to the muscles at the same time. Have you noticed?
The girl lost her daughter. The boy child is a child's head And read it.
After the French TV What am I; At the heart of the nation; [K or Ronnnokek
Or open space] The first thing you want - so, so, so, so,
Therefore, it is good for, and skin, black; surface glabrous;
| | | This is obvious for a drink
At the back of the head. usually songs
Korea powder race.   Unfortunately, here on vacation
But lest oh. file:    The answer? The worst thing to say.
With support. O, my friends the robots   delight in that;
Proposed in the wilderness:                     In the shade.
Unfortunately, it is very frustrating. Take It Away.

all i need is you and me
to rhythmically breathe
this chemistry

let the air release
the bliss i feel beneath
the deep pigments
that compose the skin tone
that is yours like me
when i am consoled
by you, my harmony

the figments of chaos
that barricade logic
from my
barren
    vacant
   mind
reassure me
as any talented sadist would
that my work is greater for
being for the greater good
...that i am far from good
for i far supersede
what all talented sadist
curators ever could

and if not for the poetry
your exhales hand
my mishandled ears
i wonder
if i would ever again
be able to feel.

- end

2004 felt so far away from 1994
2014 was another world compared to 2004
2024, and it all looks the same

Sure, we feel different; scattered, deranged
Not knowing who to believe or blame
You gave it all to us too fast at once
All the movies, music, and TV
All the books, articles, and self-help
All the DIY guides and platforms to perform
We never realized we were not cut out to be the curators
and communities all by our lonesome selves in our bedrooms
We crumble at the weight of it all, blame ourselves for not achieving dreams like the pretty people on the tiny screen
Boomer producer parents spend so much dough to help their kids seem bespoke  

I'm afraid many poors got too smart between 2004 and 2014
Too much decent community college, Marxist pdfs, and low down creatives coming together

You can't find what you used to in real life, let alone online

The 6 rich guys that run the world got scared of too many redneck dads actually liking Bernie Sanders and the new sushi bar downtown

People were getting too smart, so they flooded us with slop
to get us back to the naïve pissants we were before 9/11, or maybe even before the Industrial Revolution

My
white
jag
of
heartbeat
on the
panorama
wall,

scrawled
like
a stock
market,
or
lightning.

Strange
thoughts
moved
through
me in
that
swerving
jetty of
blood
slip:

I kept
saying
your
name,
as if
the air
would
part
at the
seams
& reveal
you,

& when
I went
outside
my
pulse
splayed
itself
across
the lawn.

I read
a tedious
novel
of sun,
while
around
me
families
carouseled
with
lovers.

I felt
like my
heartbeat
remained
visible
to all
of them,
that they
all
saw it
taken
from
the
museum
wall
by
careful
curators
and
presented
to you.

Perhaps, I was a peasant in love,
a partly pleasant player
in the prose and poetry
that I present to thee
my cherished queen
of love laden dreams.

Perhaps, I was
the curious cockroach
crawling across
the curators
favorite canvass,
the portrait of our
beloved queen,
to be crushed
carelessly by
the callous king,
becoming a small stain
on the otherwise
unblemished
painting.

Perhaps,
before we past
parting ways,
pondering
old playdates
when we played,
I was your partner
in strange adventures
before my feelings
became too complicated,
before I became
the crestfallen fool,
the King’s favorite jester
who made you laugh
while I tore myself in half
for the sake of your wellbeing.

Now my twin wanders somewhere
out there
unburdened by the broken heart
and if you see him
send him back
so, I can be him
once again.

Into The Night

Into the night, many slumber into sleep,
A time where dreams and nightmares are defined.
No escaping the relentless grasp of REM,
Diving into mirrored images of perception in mind.

We are the curators of our dreams as well as destiny,
But we must not waste any amount of time tonight.
For as kings rise and legends are made,
Dreams preparing for tomorrow’s sanctioned fight.

Tossing and turning like choices playing out their schemes,
Searching for comfort in a golden age of sleep.
A timeless rebellion from the mundane routines,
As the mind recollects memories piece by piece.

As darkness looms in the mind and over body,
Awaiting the morning rise to fuel the oncoming machine.
The rising sun anchors, and shines light on the darkness,
But for now we dream into the night, a time unforeseen.

“Shock and awe,”
They blustered,
Telling us
In three
What their mandate
Said in
Hundreds
Of thousands.
“Shock
And
Awe!”
And I do,
Indeed,
Find myself
Awed.
I am awed
By the canyons
That separate
My understanding
From the world
Their blusters
(Smug now)
Name,
And shocked
By how swiftly
The world
Seemed to
Crack
Beneath
Our feet.
And I think
Of the shoes
Collected
When the time before
Was over,
And could be seen
For what it was.
And I wonder
What cliffs
The curators
Will lay
Before
Our Children’s
Children
To convey
The depths
We face
Today.