Can I be graced by a kiss from your aura,
Does the same feeling reside deep down inside,
We’ve been separated for so long my friend,
It scares me to see you like this,
Abrupt erections long gone,
The insecurity of prolonged exposure,
Sequences of nausea,
Seek and destroy,
The sickening of the tunnel vision,
How strange it seems now,
To look back at you,
How amazing it is,
To be myself again,
Made different by time,
The same ****** hole,
The singular aspect of oneness,
The grand expanse seemed so small,
Ironically,
Now seems to drag on with the whistles and clangs,
The bangs the song the spiral never ends.

Somewhere a part of my innocence was left behind,
Left to wither in the shared tunnel,
The smell of the air expelled made the hairs
In my nostrils stand on end and dissolve.
Now that I think about where I came from,
What happened to me to this point,
I’m happy it didn’t end so soon,
That I’ve been reunited,
Drawing a conclusion doesn’t seem so difficult,
When the beginning is just around the corner.

He had been away. Just a few days, but long enough to feel coming home was necessary. He carried with him so many thoughts and plans, and the inevitable list had already formed itself. But the list was for Monday morning. He would enjoy now what he could of Sunday.

Everything can feel so different on a Sunday. Travel by train had been a relaxed affair for once, a hundred miles cross-country from the open skies of the Fens to the conurbations of South Yorkshire. Today, there was no urgency or deliberation. Passengers were families, groups of friends, sensible singles going home after the weekend away. No suits. He seemed the only one not fixated by a smart phone, tablet or computer. So he got to see the autumn skies, the mountain ranges of clouds, the vast fields, the still-harvesting. But his thoughts were full to the brim of traveling the previous November when together they had made a similar journey (though in reverse) under similar skies. They had escaped for two days one night into a time of being wholly together, inseparably together, joined in that joy of companionship that elated him to recall it. He was overcome with weakness in his body and a jolt of passion combined: to think of her quiet beauty, the tilt of her head, the brush of her hair against his cheek. He longed for her now to be in the seat opposite and to stroke the back of her calf with his foot, hold her small hand across the table, gaze and gaze again at her profile as she, always alert to every flicker of change, took in the passing landscape.

But these thoughts gradually subsided and he found himself recalling a poem he had commissioned. It was a text for a verse anthem, that so very English form beloved by cathedral and collegiate choral directors of the 16th C (and just that weekend he had been in such a building where this music had its home). He had been reading The Five Proofs for the Existence of God from the Summa Theologica by Thomas Aquinas, knowing this scholar to have been a cornerstone of the work of Umberto Eco, an author he admired. He had also set a poem that mentioned these Five Proofs, and had set this poem without knowing exactly what they were. He recalled its ending:

They sit by a lake where dead leaves
Float and apples lie on a table. She
ignores him and his folder of papers

but I found later the picture was called
‘In Love’, which coloured love sepia.
Later still, by the time I sat with you,

Watched your arm on the back of a chair
And your hand at rest while you told me
Of Aquinas and his proofs for the existence

Of God I realised love was not always
Sepia, that these hands held invisible
Keys, were pale because the mind was aflame.

He remembered then the challenge of reading Aquinas, this Dominican friar of the 13C. It had stretched him, and he thought of asking his wordsmith of thirty years, the mother of his daughters, to bring these arguments together in a poetic form for him to set to music. She had delivered such a poem and it took him some while to grasp it wholly. He wondered for a moment if he actually had grasped it. But there was this connection with the landscape he was passing through. She had mentioned this, and now he saw it for his own eyes. She had been to Ely for the day, to walk the length of the great Cathedral, to stare at and be amongst the visible past, the past of Aquinas. He remembered the first verse as only a composer can who has laboured over the scheme of words and rhythms:

The Argument from Motion

Everything in the world changes.
A meadow of skewbald horses grazes
Beneath a pair of flying swans
And the universe is different again.

And no sooner is potency reduced to act,
By a whisker’s twitch or a word,
A word, that potent gobbet of air
Than smiles and tears change places.

And everything has changed. Back
Go the tracks beyond seen convergence
To a great self-sufficient terminus
Which terminus we might call God.

And so it was in such a spirit of reflection that his journey passed. He had joined the Edinburgh express at Peterborough to travel north, and the landscape had subsided into a different caste, still rural, but different, the fields smaller, the horizon closer.

Alighting from the train in his home city on a Sunday afternoon the station and surrounding streets were quiet and the few people about were not walking purposefully, they strolled. He climbed the flights of stairs to his third floor studio, unlocked the door and immediately walked across the room to open the window. Seagulls were swooping and diving below him, feeding off the detritus of the previous night’s partying in the clubs and pubs that occupied the city centre, its main shopping area removed to a mall off kilter with the historic city and its public buildings. What shops there were stood empty, boarded up, permanently lease for sale.

Sitting at his desk he surveyed the paper trail of his work in progress. Once so organised, every sketch and plan properly labelled and paginated, he had regressed it seemed to filling pages of his favoured graph paper in a random fashion. Some idea for the probably distant future would find its way into the midst of present work, only (sometimes) a different ink showing this to be the case. Notes from a radio talk jostled with rhythmic abstracts. He realised this was perhaps indicative of his mental state, a state of transience, of uncertainty, a temporariness even.

He was probably too tired to work effectively now, just off the train, but the sense and the relative peacefulness that was Sunday was so seductive. He didn’t want to lose the potential this time afforded. This was why for so many years Sunday had often been such a productive day. If he went to meeting, if he cooked the tea, if he ironed the children’s school clothes for the week, there was this still space in the day. It represented a kind of ideal state in which to think and compose. Now these obligations were more flexible and different, Sunday had even more ‘still’ space, and it continued to cast its spell over him.

He put his latest sketches into a sequential form, editing on the computer then printing them out, listening acutely, wholly absorbed. Only a text message from his beloved (picking blackberries) brought him back to the time and day. There was a photo: a cluster of this dark, late summer fruit, ripe for picking framed against a tree and a white sky. Barely a week ago they had picked blackberries together with friends, children and dogs and he had watched her purposely pick this fruit without the awkwardness that so often accompanied bending over brambles. He wondered at her, constantly. How was this so? He imagined her now in her parents’ garden, a garden glowing in the late afternoon light, as she too would glow in that late-afternoon light . . . he bought himself back to the problem in hand. How to make the next move? There was a join to deal with. He was working with the seven metrics of traditional poetry as the basis for a rhythmic scheme. He was being tempted towards committing an idea to paper. He kept reminding himself of the music’s lie of the land, the effectiveness of it so far. It was still early days he thought to commit to something that would mark the piece out, produce a different quality, would declare the movement he was working on to be a certain shape.

And suddenly he was back on the train, looking at the passing landscape and the next verse of that Aquinas poem insisted itself upon him with its apt description and tantalising argument:

The Argument from Efficient Causality

We are crossing managed washlands.
Pochards so carefully coloured swim
Where cows ruminated last summer
In a landscape fruit of human agency.

And I think of the heavenly aboriginal
Agent of all our doings in this material
Playground of earth I can pick up,
Hold and crumble and cultivate

And air that is mine for the breathing
And the inhabited waters that cling
As if by magic to a sphere. What cause
Sustains the effects we live among?

For there is no smoke without fire
And as we sow, thus we reap. Nihil
Ex nihil, therefore something Is,
Some being we might call God.

So ‘nothing out of nothing, therefore something is’.  Outside in the city the Cathedral bells were ringing in Evensong. The sounds only audible on a Sunday when the traffic abated a little and the sounds in the street below were sporadic. He thought of going out into the Cathedral precinct and listening to the bells roll and rhythm their sequences, those Plain-Bob-Majors and Grand-Sire-Triples. But he knew that would further break the spell, the train of thought that lay about him.

He sketched the next section, confidently, and when he had finished felt he could do know more. There it was: a starting point for tomorrow. He could now go towards home, walk for a while in the park and enjoy the movements of the wind-tossed trees, the late roses, the geese on the lake. He would think about his various children in their various lives. He would think about the woman he loved, and would one day assuage what he knew was a loneliness he could not quench with any music, and though he tried daily with words, would not be assuaged.

He said I’m the wrong shape. I could do with putting on a few pounds and, almost as an after thought he said, you’ll have to cut your hair – yourself.  I know she was an artist, and a mother, and a gardener. I had to admit to him I didn’t know any painters. My cousin Julie’s a sculptor – same thing he said – but I had to tell him I hadn’t yet looked at her painting, only what he showed us in his presentation.  He then told me exactly where in the National Museum of Wales I could see one of her paintings – Gallery 14 – and its from this period, a Parisiene picture. He suggested I might go to Cambridge and spend a day at a place called Kettles Yard. There are more Winifreds there than anywhere else in the UK, and many pictures by her close friend Christopher Wood.
 
Oh dear. This is difficult. The only thing going for me seems I’m about the right age and I’ve have children, though mine are older than hers in the production. I was so surprised to get this part, but as Michael said over the phone, your profile fits. Except for the weight and the hair, and I know nothing about painting. Why should I? Jeff told me, the composer Morton Feldman once said if you haven’t got a friend whose a painter, you’re in trouble. I’m in trouble. But he has very kind eyes and when he touched me gently on the shoulder after Lizzie and I sung that shells duet I had to look away.
 
Reaching down arm-deep into bright water
I gathered on white sand under waves
Shells, drifted up on beaches where I alone
Inhabit a finite world of years and days.
I reached my arm down a myriad years
To gather treasure from the yester-millennial sea-floor,
Held in my fingers forms shaped on the day of creation….
 
They sleep on the ocean floor like humming-tops
Whose music is the mother-of-pearl octave of the rainbow,
Harmonious shells that whisper for ever in our ears,
‘The world that you inhabit has not yet been created’
 
Mind you, I don’t envy Lizzie being Kathleen Raine. Now that is a difficult part, even though she’s only in Act 2. Raine was definitely odd. He says I have to understand their friendship, because there was something about it that made them both more than they were. I don’t understand that.
 
Jane and the children are amazing already. Martin (my ‘other’ half Ben Nicholson) said they’d been rehearsing with Robert because his wife (Robert’s wife Debbie) is at WNO and they were scared about this one. I’ll say this for him he knows exactly how children interrupt, constantly. It’s clever the way he uses the interruptions to change direction of the dialogue. Conversations are often left unfinished. The bit when that ***** Barbara visits the apartment unexpectedly is brilliant. She’s completely demolished by these kids of her lover.
 
But those letters . . . he said, can you imagine your husband writing to you over a period of 40 years? Quite a thought that. David wrote to me a few times when I was in Madrid for Cosi just after we’d met, but it was all telephone calls after that. Why waste paper, time and a stamp. But I take his point – their letters are so beautiful – and they were separated for God’s sake. He’d gone off with another woman, and even brought her to Paris. And you could not have two totally different women – she ,slight, chain-smoking, work-a-holic, sharp-tongued with that Yorkshire edge, and me with ‘a quiet voice, trying always to be gentle and kind ‘– W would be called an earth-mother these days. She was a kind of hippie, only she had money – mind you most of those hippies of the 60s had money otherwise they couldn’t have done drugs (heard that on Radio 4 last week in a programme about Richard Brautigan). But they wrote to each other almost every day.
 
Dear Ben,.
            Do you know there are several kinds of happiness, and there is one sort which I have found. It is the sort that is within oneself, enjoying fresh promise, and taking all the experiences of life that one has been through, so-called sad ones and so-called happy ones, to make up understanding that is further on than joy or sorrow. I have been extremely lucky – I have had ten years of companionship with an ‘all-time’ painter, working in the medium of classic eternity and that has been better than a lifetime with any second-class person – isn’t it - I have found it so…
 
Best love Winifred
 
What’s clever about the letter sequences is the way the two-way correspondence is handled as a duet and right in the middle of it you’ll get a flashback – like Winifred suddenly remembering her first meeting with Ben.
 
I heard this voice
In the room next door
I couldn’t breath, I couldn’t move
I knew, I knew for certain
This was the man I would marry.
And when we were introduced
He seemed to know this too.
 
We gaily call this an opera, but it’s not. It’s something else. It simply doesn’t do what you think it’s going to do. Even when you do something for a second time the accompaniment doesn’t do what you expect and remembered. It’s this open-form business. Something else I know nothing about. He mentioned Umberto Eco – now I’ve read Name of the Rose. When Braque or Mondrian or Jan Eps visit unannounced I have no idea which one it’s going to be – these guys just used to turn up. Sometimes two at once. W didn’t invite them. They came for her English hospitality (home baking I think) and her beautiful apartment come studio – beautiful, because she made it so. Her French was appalling, and this is difficult because I speak quite well, and now I have to speak like an idiot. Bridget  (playing Cissy the Cumbrian nanny) having her French lesson is a hoot, and with the children correcting her all the time, it’s lovely.
 
He was very sweet when we broke for lunch. Sara, he said, as I collapsed into an auditorium seat to find my bag and mobile, Sara, we’ve got to find you a painter to spend a day with . . . so you’ll know how to stand in front of an easel.  I phoned Sarah Jane Brown who has a studio in Cardiff and she’d love to meet you. Here’s her number. She paints flowers and landscapes – as well as the abstract stuff - just like Winifred. Her tutor at the RCA actually knew Winifred. And with that he disappeared to a dark corner of the theatre and unwrapped his sandwiches. You can tell he’s not into break discussions with Julian or Michael. I think he’s terribly shy. He’s interested in the cast and so he picks them off one by one. Julian I know doesn’t like this. I think everything needs to go through me, he said at the end of yesterday’s rehearsal. Who does he think he is?! Lizzie reminded Julian he was the composer and what he doesn’t know about this whole period and its characters isn’t knowledge. Liz thinks he’s a sweetie – and she’s sung his Raine settings at Branwyn Hall last year – with Robert who was his MD with BBCNOW. Liz knows Julian hasn’t done his usual homework because he’s got this production in Birmingham on the boil. Unknown Colour is a distraction he can do without.
 
This afternoon it’s back to the mayhem of those ensemble scenes in Act 1. They’re quite crazy, but I’m already beginning to feel I can start to be someone other than me. Did you know I have this lovely song? It’s quite Sondheim . . .
 
*I like to have a picture in my room.
Without one, my room feels bare
however much furniture is there;
Pictures play so many roles.
My room has too much going on in it
for something extravagant.
In the morning it is a sanctuary,
in the daytime a factory,
in the evening a place of festivity,
and through the night a place of rest.
 
I want a window in it,  
And a focal point, something alive and silent.
A bunch of flowers on the window sill?
Yes, but they will wither.
A cat curled up on the hearth?
Yes, but it will go away and prowl upon the rooftops.
 
A picture will always be there.
It will make no sound. It will wait.
If it is true I shall never grow tired of it.
I shall see something fresh in it
when I glance at it tomorrow.
It will always be my friend.

It is so measured that rising arpeggio, only to fall and rise again in quicker values, through the dominant seventh to the heartache moment of that minor ninth, a very apogee of dissonance. Then it goes higher still to the fifth, holding to that Phrygian harmony before returning to the tonic minor and a measured fall in the bass. This is a deliberate descent to the sub-mediant, and Bach’s touch of magic, the equivalence with the dominant minor ninth. But then he gives us hope: an extended and joyful play through sequences that rise and fall within each bar, to rest finally on the mediant’s echo of that opening, that measured rise and the quickening fall. We have hardly smiled with relief when Bach pulls us back into the insecurity of the dominant of the subdominant, that V of IV acting like a bridge to a long, long discourse in the dominant, a pedal E holding firmly to itself whilst rising arpeggios and falling decorations and sequences pull and pull through innocently related keys. Longer and longer play the rising passages until short motives of imitation interrupt, treble to bass, tenor to alto, until:  a first inversion arpeggio of the dominant seventh measures out the opening rhythm. This happens twice in short succession, as though holding the progress of the music to account. A questioning perhaps before a four-fold sequence asserts the dominant and a chorded caesura. There is a pregnant, though faintly resonant silence as Bach spins the dice of tonality and chooses the subdominant to bring the music towards a waiting Allemande. The music moves through a play of subdominant to dominant, minor to major, the mix of flattened fifth and flattened ninth. It is those intervals that determine Bach as the father of ambiguity in the 20C school of jazz harmony, Arpeggio then a falling scale, and repeat and repeat again, but moving ever higher by sequence. At last five chords – merely a shorthand for closure via the expectation of a right display of the performer’s improvisatory prowess. They prepare us reverently for the tonic minor before the stately Allemande leads the music into the elegant steps of its walking dance.

You aren't going to **** yourself tonight because, in one of the

spun sugar fragile sequences of the events in your life, it works

out. There is a place, somewhere amidst star stuff and cosmic

collisions, where you are not the problem daughter or the

biggest disappointment or the most regretted kiss. There is a

place where you sink into a desk in your eight a.m. class and

a boy with bags under his eyes and a hole-y sweater pulled

over his knuckles says, "hi." There is a place where your father

comes back from the war with sand grit in his eyes, blood

under his fingernails and lets you save him.  There is a place

where you live in India, where you aren't afraid to love, where

everything hurts less, where you stopped punishing yourself for

the faults of your parents. You are a girl. Not a dart board or a guilty

verdict or the final, desperate ****** of a sword through

someone's chest. You are made of the same stuff as Marie

Antoinette and Catherine the Great and Elizabeth, and you

can command the winds too. You aren't going to **** yourself

tonight because no one ever asked you about the scars on your

thighs but that doesn't make them nonexistent or unimportant.

You aren't going to **** yourself tonight because you've grown:

stronger in some ways and weaker in others, but you are still

a result of rhapsodies in violet and trees bowed to the sea

and soldiers with wind burn on their cheeks. Tonight, you are

going to wrap your own arms around your own chest and

breathe, swaying silently to no music. You are going to

memorize the sound of silence, and you are going to listen hard

for the even, jagged, pitter patter of your heart. You are going

to thank your body for waging war against itself, you are going

to apologize to your head for bruising your heart. You are going

to feel the roughness of the floor and the vastness of the entire

world and all of the eventualities spread before you. You are

going to remember that this is only one, that atoms and

molecules are flighty, whimsical, prone to selfishness and

longing for the promise of stability. You are going to press your

lips to your own wrists and know, as surely as Anne Boleyn

knew when she walked to the guillotine, that no one can save

you but yourself. You aren't going to **** yourself tonight

because you are not an accident of the multiverse. You are

purposeful and beautiful and young and reckless with your

feelings, but you are not a mistake. Listen to the trembling

of your heartbeat and breathe. You aren't going to **** yourself

tonight.

Dream sequences
Made up of random patterns
So many faces
The rhythm of many heartbeats
So many minds
So many thoughts- conscious or sub-conscious
What is their origin?
Only source from within us?
Maybe thoughts are planted
While we are asleep
Played to us like a dream film
Some we remember
Others we forget
Yet, they may be residing somewhere
Where do lost dreams go?
Or, maybe it’s not meant for us
Expunged from our subconscious
Our every move has a meaning
We may not know the origins
For all we know
Or actions are mirrored

Math
Numbers
The only things everyone
And everything have in common
You can find mathematical proofs written
In between the stars
Numerical sequences hiding beneath a fern
That unfurls to reach the heavens
No one can deny, one will always equal one
And the sum of two numbers will never change
Truths remain truths no matter the language
I can't see how my friends can say 'I hate math'
Or how people say 'numbers are stupid'
Numbers and math comprise the essence of life
On another planet the number pi and
Sierpinski's triangle may have different names
But their rules remain the same
Math and numbers make up geometry
Which is full of tesselations, and fractals
And beautiful diagrams and principles
How can you not love something like the
Golden Ratio, or the Fibonacci sequence?
They provide the curl of a fern, the twist of
A snail's shell, the spiral of a pineapple
And rotation of axial leaves
Such a beautiful, never changing system
That appears in so so many forms
Why be bored when you can play with fractal-y
Tesselating doodles?
And don't even get me started on science...

Tattoo

The universe
Captured
At the ends of fingertips
Like gentle tattooing needles
Synnapses firing
Chemical arrows
In sequences
Drawing patterns
tattoos
On receptive skin
Mapping new sensory
territory
memory
Tattooing eternity
In a dream

Staring at the ceiling sky
Past lover's faces
Eyes
Dotting
The midnight moonless skies

Stars twinkling
Their light having been cast
Many light years ago

Each one for their time
Had in their eyes - for me -
The golden glow

Meteor showers of montage sequences
faces
scenes
times
fly by
Trailing ribbons in the ceiling skies

The dots when taken together
Tho eons passed and separated
Pieces and bits form constellations

Eros
Aphrodite
The Mother
Sancho Panza in drag disguise
A female Damocles and her sword
The Companion Star, still glowing here in the Western sky

Looking backwards in time
Their presence was once present
Now, all have vanished
Moved on to other places in space and time

Aware of all I have been given
All I've learned

Remembering I loved each one
And when the moon is right
and the ceiling is dark
and there is no sleep
for me tonight
Their light still shines
On my ceiling night sky.

Sunshine arises a delightful smile on my face
For the time of twilight compassionate and sweet
The darkness of the night escorts an exotic trance
Where music titillates and tingles the tolerant minds

We trip the light fantastic ceasing in the catnap room
Reach for dreams as hypnotic states are entered
To the other side of the tunnel
Sequences continue like trees do through seasons

At dawn I will laugh from the salty raindrops
That declared war to my skin
Clouds shooting never ending water molecules
Ocean flavoured waterfalls drip down my lips

When the sun is sublime
The world makes me laugh
For people are odd and reality is unsurprising
The clock ticks life away as it puts life in time

When birds abandon sweet lullabies
Sunflowers wind their heads away from the sun
And tranquil colours paint the abstract sky
My heart is in peace and butterflies tickle my tummy

Manitoban Skies

Clouds are the mountains of the prairies
Towering cumulonimbus masses
Incredible backdrops across an otherwise plain blue sky
Warning call that rainstorms may approach
Vertical reminders of atmospheric instability
Jetted upwards into vast formations stretching miles and miles
Promises of unrelenting lighting and thunder
Cinematic sequences is country folk are lucky to view
Humidity in the summer, ah
What would we do without you?
Rolling clouds are a fair trade for the lack of rolling hills
Clouds are the mountains of the prairies.

We find bottomless holes
In our mentalized theories
Local logical postulations
Cause-and-effect sequences
Perceived chain reactions
And medical research findings.
All those are quintessentially
Protein specs floating freely
Our words float like protein
Fondly called lewy bodies
Colorless and unsubstantial
Dreams in shreds floating
As in amniotic fluid like then.

A certain woman of less virtue
Was not fit for our society
She embraced men in dark
In dreams and art and thought.
Fuzzy scenes of yesteryears
Floated into the present
Including ego and power games.

Let me know who is this professor-
The man who brought it all up.
Our language loses meaning.
We do not agree you are you.
Actually you cease to be a son
A brother ,a person ,a human
You are a hand or a stone
Just a broken splinter for a whole .
My part becomes a whole
A thing is a word, an idea,an event
A daughter-in-law is a hand
A son a stone in the wilderness.


There is sorrow swirling in the belly
The anguish of a human existence
The pain in the bloated stomach
These forced feet take you nowhere
Men came with tails in their necks
Forcing down tiny white universes
When they go into the nether world
There is only a swirl in the belly.

“He doesn’t even care to keep the knowledge of her possessions a secret, not the least worried about it being stolen”
“What’s worse, is that everyone knows his treasure exists. It’s common knowledge in town”
“How long will it take to get stolen?”
“It’s a matter of days, if you ask me.

He was, however, smiling in the corner. He coerced the enemy into being his friend.  This is why he doesn’t actually disclose himself to anyone, because she might be misunderstood, like what was unravelling right before his eyes. This time however, the misunderstanding just helped him protect his real treasure, something he thought no one could possess because……………

What if you need to think a certain way to know something; and you can’t think that way without feeling or experiencing something else. If that’s true, so much of this world remains hidden in sight, and we don’t even know its hidden.

You can, to an extent, disguise what arises from material belongings immaterially. That’s what makes the key to your locked doors. The keys to your secrets and trust. Our experiences may dictate the way we feel. Look closer however, and there will always be these cracks on the edges of interpretation, these nuances in feelings, small differences that stem out into larger and larger branches until you have at your disposal- uniqueness.

So, here is a complex network of questions and possible answers deconstructed to portray different perspectives of personality, trust and secrets.

Let’s start with trust. It should ideally start with mutual respect and admiration.   Most things fade away, so in reality you are not trusting the other person, you trust yourself to be hopeful enough to believe trust will not wither through time, which is why it may seem like it’s your fault or centered towards you when you are betrayed of trust.

Even the reasons for choosing why we trust others is vastly different for each person. It goes to show how ephemeral our mind is at the microscopic level., almost like no one can truly know us. The reaction of others and their understanding of you may be an external input. But after that the interpretation is yours. And interpretation is slowly built over cycles of overlapping feelings and subtle thoughts.
Can we use this as a “key” to explore parts of ourselves whilst keeping them invisible to others? Can we recover old feelings or find out what means a lot to us, but we remain ignorant to?

Many things that matter deep inside, tend to have a personal lock, like an unspoken connection, or a bittersweet memory we like to visit. The most interesting part about these is that the key for some of these is unpredictable! Any future incident could somehow serve as an access to it, which is what makes personal locks so magical. No one can possess it because of no one, sometimes not even yourself, knows it's meaning to you. Such a key is truly unique, two people may go through the same thing, but for one person alone, that experience could serve as a key.  Here, an experience from the outside world can awaken memories, thoughts that we inadvertently treasured. It can, in a sense, almost transport us to a different timeline.

The phenomenon of getting goosebumps from listening to a piece of music (called frisson), and experiencing a surge of sensory feeling could be a doorway to some great things and could be a sign of higher levels of creativity. When you re-listen to a song you hadn’t listened to in many years, you can relive the time you originally heard it to startling detail. You may notice newer things about memories, be aware of nuanced feelings. Essentially, it becomes something that’s only yours, because you can’t predict how you yourself will be. The only key for such a secret is a unique reaction to an external input.

When you listen to this song, even ambiguously (not attaching it to any particular person or experience), even then when you later hear it, it will be infused with meaning. Why? Because the environment around you at that time possessed some emotional meaning, even if you didn’t know it. It became like recovering a part of you. Like recovering your own perspective on what’s in front of everybody.

Suppose instead of attaching significance, you simply create scenarios in your mind. You just imagine instances and do this repeatedly. Over time, the song’s original meaning will tarnish away. Such imagination gives temporary satisfaction, and even though one can imagine a variety of different scenes and emotions; imagination itself, feels the same. It does not carry any value by itself. It would seem that listening to a song a couple of times and then years later seems to be the world’s best time machine, but when we overplay it, and tamper it using imagination, neural networks get diluted and may not be serve as a very effective train of reminiscence anymore. *^


Mulling things over in our mind in loops can change almost everything about it- it may change a happy sentence into a sad one, a normal experience into a special one, and now these emotions that have been created by you, are like small filters that complicate further experiences.
Consider that two people go through the same experiences from birth. They may not feel each experience to the same degree. The second point is that subtler feelings are experienced by each of them. One may react more heavily, and the other may have auxiliary feeling in more magnitude than the other. Though these differences may be minimal at the start, these subtle thoughts become triggers, just like the initial experience.
Look at what’s happened. Now the seed of subsequent thoughts and emotion is no longer EXTERNAL. Its internalized. As they grow, though material interactions give rise to initial waves of thoughts, our lives are culminated by infinite intertwined feelings and emotions- so for each material interaction, a hundred immaterial ones are processed subconsciously. A symphony can’t be broken down to violins, piano, and drums separately. The feeling that arises when they are played in unison is simply “different” though its just a conglomeration of its parts. This is similar to our mind, and the concept of “The whole is greater than its parts”. What’s more is that the thoughts occurs in different order, and a different order creates a different story.
The concept of “personality” is viewed as abstract sometimes”.  Like character is something that describes the mind, rather than the experience. But this is contradictory, as “Personality” is immaterial, while the experience, the derivative, is material. So, there is a possibility that during this invisible conversion process, our internal reactions and what we make of things in our mind may gradually shape our personality more than the experience itself.


In a strange way, that makes us original. Perhaps not completely original, but it’s possible that no two people are the same, even if they have gone through the same things.
But since the development of originality is subconscious, let us look at conscious examples to put it into application:

Often, there is a part of a song that appeals to us, a favorite part.  When we ask ourselves why that particular melody appeals to us, it may be hard to pinpoint the source of what produced your liking in that part.  Sure, it may mean something like “freedom” or “joy” of remind you of a memory. But why does it mean a specific emotion to you? This is an example of how something that has no direct connection with a memory could possibly trigger a feeling. This is a magical occurrence. It’s extraordinary that a melody can awaken in you a unique emotion, that others may not react to in the same way. It goes to portray how subtly different our minds are. Furthermore, when we create things out of that feeling we derive from the music- make a story based on the feeling, write a new song, or even play it on an instrument- now you have made something that is unique from the depths of your mind. Your own subconscious interpretation.  
Frequency of frisson was positively correlated with overall Openness to Experience, as well as five of its six sub facets: Fantasy, Aesthetics, Feelings, Ideas, and Values. *This may also mean that extensive feeling, or sensing is related to creativity.

Sensory influx, the visual imagery, nostalgia, all point towards creativity, and many renown creative geniuses draw on their sensitivity to fuel creative processes.

Highly sensitive people tend to be more creative, as the depth of feeling offers scope for exploration. The interpretation and emotion felt greatly corresponds to the creation of ideas, and is similar to how interpretation even creates association between senses, or synesthesia.
Infact, drawing on nostalgia can increase imaginative processes

You might have heard of the term “synesthesia”, where sensory experiences get interconnected. A person with grapheme synesthesia, for example, associates letters and numbers with colors. A person with musical synesthesia sees colors effuse out of musical notes. Some synesthetes taste words, smell numbers, etc. It is also a fact* that Synesthetes don’t necessarily share the same sensory experience-though there are commonalities ( ex: most synesthetes associate either black or white with zero), the difference in perception is linked to the environment of growth, childhood*, and if its occurrence is natural, then synesthesia is developed in childhood or at birth.

A Symptom of synesthesia is also reading sentences that seem personified, as though a stranger with different personalities are narrating them. It is interesting to relate this to how there might be different personas in our own head, and sometimes constantly make commentary on our life! It’s like seeing yourself through different perspectives, except these perspectives have defined forms, which makes it easier to assign little quirks to them. If this helps us sense and perceive the world better, and makes us see through multi-colored glasses, it can be very creatively satisfying to have internal conversations, in a positive and uplifting way. We can be a stranger to our own experience, and wouldn’t a change of view be enlightening?

Synesthesia also, may be linked to creativity and metaphors, * and is in a way a example of consciously coming up with original sensory interconnections, a creative process that becomes part of character.  It's connecting something unrelated and different, and an original combination of connection.

So the rearrangement of feelings, and extent to which people sense and feel can contribute to original creations. It is no surprise that many artists and musicians have synesthesia.

Such experiences, with music, nostalgia and conditions like synesthesia are examples of a how we interpret and sense can consciously contribute to originality.


The bottom line is that synesthesia obtains its roots from childhood, but morphs into something complex enough to blur lines of emotion. The proportion of how things are mixed is unique. That proportion is the starting line for all character, and the proportion can be random and unique.
Thoughts feel so diverse and interwoven, that experiencing different facets of it itself can seem synesthetic. Seeing a neon sky, for instance, may not just bring happiness or excitement, but very specific sentience, and a connection to memory, even if it has never been a part of your life at any point of time. The neon sky could mean regret and eccentricity, and flashes of senses may correspond to it. You may feel the aesthetic of a place to strange degrees, and sometimes a simple scenery can seem “wrong” or “sinister”.


  “Why does the neon sky seem eccentric?” “why are roses connected to a past memory that had nothing to do with roses?”

These questions have some intangible meaning behind them. So, it’s not just that people perceive things differently, it’s that their reality itself, a culmination of perceptions is unique, and so are thoughts. And don’t thoughts and ideals shape character in some way? Don't these interpretations become a part of you? A filter for how you perceive the world?


Some song forms a golden thread link with some intense feeling which is connected to a memory you never knew you possessed (this memory may be fictional even) which is linked to a whole little city in your world.  Everything means differently. And as we think and think, these meanings become fine-tuned, and create emotions, thoughts and perspectives that shape our individuality. The essence is that your character may have obtained its roots from the world, but your proceedings, both on the inside and outside, are truly yours. And gradually, proceedings reflect character. More than the roots. It’s a many layered mind that could seem impossible to strip down.

Memories can be similar, but the sequence of memories and thoughts, will likely not be the same.


Here we gently skim the daunting surface of the philosophical idea of “Fictional realism”. A main idea here is to try and question what the definition of something has to be to be considered real. We say “It was a dream, not reality” But did it not feel real? When we read a book, or a movie, and voraciously delve into fictional landscapes, does it not truly feel like we are integrated into it, or rather, it is integrated into us? In that case, since we are real and it is now a part of us, can it be real too? Or can it be real, simply because it exists in our minds? Love and loathing also exist in our minds, but we regard them as a real thing, pulsating with its repercussions. Do we regard something as real only if it has a scope for action? Or if it’s something we can touch or see? In that case, the world will be limited, and there would be a loss of explanation for what gives rise to those actions. It would be like saying “imagination seeds reality”.

Memories and thoughts can be similar, but the sequences of them, even if  slightly  different can grow to be hugely dissimilar. If we can consciously create things when exposed to sensory information, why can't we consider the possibility of subconscious creation of individual character?

Accept this
And another
Amazing adventure
Awaits you
Aboard an
Alternative alphabet
Ark

Begin believing
Building a barge
And a bridge
To beauty
In the blooming back yard
Of your brain
I bid you

Climb!
This creation
My careless challenge
To charge
Chivalrously
into cosmic chaos

I dare you!
Devote yourself
to dream
dizzy, delusional
dazzling deep deceptions
of dormant demons

Elevate!
Ego
Exciting emancipation
To encompass eternity
Everlasting ecstasy
Escape
With ethereal
Energy
Emitted from
Evasive effervescence
Of Eden

Fly!
Feel the fantastic fires
The fury in the furnace
Fed and fortified by
Fantasy
Forming, freeing
Freaks
Flamboyant figures
And flittering fairies

Glow!
Give me a grin
A gaze
A gift of gorgeous
Glimpses of golden gardens
With glaciers of
Gargantuan greatness

Hesitate!
No!
Hesitate not!
Hurry, make haste
Take no heed
Of heaven nor hell
Hear my heatbeat
My heart
Hear it!
Do not hinder it
With your head

Indulge!
I invite you
I insist
Insinuating
Irresistible improprieties
Idolatry
Impertinence
Improvised imperfections
On thin ice

Jest!
Play the joker
Squeeze it, juice it
Just don’t be the joke
Be a jazz piece
Juggle tones
In life’s jive
Juggle life

Kneel!
Know thy mistress
Know that she is knowledge
Knock on her door
Her knickers
Until your knuckles bleed
And know
That knowledge will keep you

Linger!
Let the longing of your *****
Linger a little
Allow your lust
To lift you
Illuminate you
Let you levitate
In liquid lucidity
Leaving the low lands
Of the ludicrous living

Move!
Make magic
Moving
Me
More
Make me
Mimic
Magnificence
Make me move

Now!
Need me
Nothing else
Near
Nobody
Now need me
Naked

Orchestrate!
Organize an ouverture
Of ******* oblivion
Obsess over the opening
Obsess, occupy
The opening
Oh!

Ponder!
Pick me
Place me
Put me on a pedestal
Paint me
Plate me with precious
Platinum
For preservation
Of perfect passion
For posterity

Que?
Always question
Quaint sequences
Faint frequencies
Question the questioners
And the questions they ask
Pourqui?

Rapture!
Rip the ropes
Riddled with regrets
Ravish and ****
Reality
Ransake inner rooms
For real rushes
Always risk
Ruin
For a rendezvous
With risk

Slither!
Slip secretly
into the streams
Below the surface
Sheets
Of my sanity
Slowly,
Softly,
Like a sword
Into sheath
Of satin
Or suede
No sound
Surely,
Just surrender!

Talk!
Tell me tales
Of tangible treasures
Of talents and truth
Trust me
Let me take charge
And take you on a tour
of the tower  

Use!
The ultimate utterance
“us”
Unconditionally
Under Utopian skies

Venture!
Vivify the visions
Of voluminous vaults
With velvetine varnish

Want!
To
Walk with me
Into wondrous worlds
Where wishes
Are washed in waves
Of
Wellbeing
Of
Wonders
Walk with me

eXcite!
Exaggerate extraordinary
Expertise in
Extravagant
Exhuberance

Yell!
Your
Youth
And youthful yearning
Out beyond your years
Yell yeah!

Zoom in!
Our zone
Of zen
Becomes a breeze
And a cold fizz drink
To create a buzz

A con artist scurries

In white shadows

Fickle grooves she casts

In sequences

Imprinted by vainglory

Swift she fleets

Veiled with scars that

Were sequin rich

She spoke of ideologies

Subdued by violet myths

Exuding colorful flavors

Of classic deception

Her tattoos spelled

the wistful vowels of sin

Vexed by the onslaught

Of egregious inceptions

© 2011 (All rights reserved)

I can still feel your touch
Your kisses
You......

You play my body to
A perfect consonance
Harmoniously plucking chord sequences out along my shape
Sweet music singing through my conscious as you take me on this mystical journey
Exploring my form with practiced artistry
Softly strumming my senses into an allegro of exaltation
A hedonistic fusion of bass notes felt deep inside, pulsing, stroking, pushing me towards a sublime cadence
Quietly holding me in adagio while
A delicate symphony plays within my skin

(C) Pixievic

Patterns float
obscured
by uncertain mists
recreating
a scene perceived
and painted
in washes of water colour
overlapping, merging
transfixed
fresh and timeless.

The shape
of routine activities
unpredictably change
or shatter
behind
the inexorable advance of time
as sequences
inevitably retreat
into a fading future
until the circle is complete.

The snail strolls gently
Realigning hoped moments
A slow pace of consequences
****** and placed on tables
Harped to melodic tunes
Summed in upbeat sequences
The crescendo boils to ******
The climb of beats and undertones
All exposed and overlooked
The onlookers astonished
My ribs pinned out in pain
I squeeze to the cracks of normality
Attempting to slowly leap
To see the darkness of winter
To breath the stilled air
Yet, a hope lived, a life seen
We all shall make it to the end
Crawling to cut the finish line

Each time I attempt to conclude
this equation,
I arrive at the same intersection of doubt,
as if fate sees me coming.

1) Highway ****** Crash
2) The Evasive Goings-on in The Puppy Court
3) A Picture of Susan Howe in a Man's Grey Overcoat

These sequences of event all appeared to me in dreams. The same dream, repeated, over a succession of winter nights. The first few sober, the last an alert blur, wherein the images seemed to make the most sense.

All I can be assured of is this:
because the police officer in the dream was a police officer
Not a garda síochana or police inspector
the dream was definitely set in one of the Midwest United States
where I've never been, yet oddly interests me more than Canada,
where the same applies. It was definitely  freezing
(perhaps the blanket had been pulled off me in sleep?)
and the police officer definitely spoke English and said
"Highway" Hence: American.

The first night the dream arrived
It was that time of year when the night sky
subtly tricks you into believing that
morning is imminently about to break.

Those nights
A reminder that nature
was the first coy tease of suspended disbelief
the first pay-per-view special that took its time
getting going and then ended all too soon.

Two trucks had split in two a mid-size saloon-
That was the first of the dream's episodes-
But a voice arrived like a roll call of ice before an avalanche
-whispering that it was "a setup"-
which I presumed meant "collusion."
So I had a ******, at hand, in my dream-
speaking to the mustachioed Midwestern police detective afterwards-
as mutually understanding as if we had been in the same all-boys Catholic secondary school.
He had the suspects-so we then presided unto-

"THE PUPPY COURT"

Which was-yes, a court whose racial make-up consisted of young Dogs-
(This being a dream ; Dreams which are often the dictionary definition of Surreal and often don't mean anything)
The more I consider it, the Puppies were also most likely Puppets
Acted out by humans who had fists shoved up their *****.
Perhaps this court was a speculative court-it was, most certainly,
A "Kangaroo" court
With no justice being presided over, as such.
Heckles sounded throughout most of the exhibits,
A sternly yapping Yorkshire Terrier banged the gavel to no avail-
He was consistently rudely interrupted by a cocksure Golden Retriever-
who seemed to have as his boyos most of the bench and the jurors.
I never did find out who was responsible
for the horrific collision that spelled the end for the saloon driver,
as at this point I would usually exit the court in disgust
and for some reason found myself reading a poem in front of
an audience of one-
the acclaimed Irish-American L=A=N==G=U=A=G=E (that's how they spell it..) poet Susan Howe.

Yes, she was indeed wearing a Man's gray Overcoat
Resembling herself in the picture I held in my hand
Next to my own text
And as I looked toward her
The room's low lighting seem to reflect
the sparse "Black and White" filter of the photograph
and she was also wearing what looked like
the same Man's gray (Houndstooth maybe?
She Looked ALL filtered through "Black and White")

So the intention seemed to be that I was reading,
or perhaps presenting, maybe even pitching?
to Susan Howe. ("And how!"-might have been the before-or-after gag I might have used to anyone who new how it was going to go or how it happened-what gamey fun, these puns be...)
Susan looked on with penitence, as if prematurely unimpressed...
I look down to the poem I was expecting myself to read, and realised...
why the ******* did I choose that?

It was a poem I had written several years ago (well, if several means seven, lets say six)
Its subject was a young Canadian (possible Motorway Crash Link? Perhaps I misremembered her as midwestern?..) Muslim student whom I had shared a class on Hellenistic philosophy with back in the first or second year of my undergrad in Dublin (oh the hedonistic, sunsplashed, affordable Dublin of those days) and whom I had shared a flirtatious rapport with, innocent enough of course but always backdropped by a underscored leitmotif that instilled the threat of a problematic outcome across religious and possibly less so cultural divides

(Breath)

Nevertheless, she laughed at my jokes and self-deprecation and would squeeze my arm tightly when particularly amused , would hug me enthusiastically at the end of every class and although I never saw the full profile of her under that headscarf her ****** features Vogue beach fashion shoot stunning and after the module ended I never saw her again oh but how rare and strangely puritanical the lust...

Regardless, the poem began as such:

A Stir in Yemen/ must have been the catalyst for the smokey condensation/ in your gaze/ the mocha swirl in your pupils/ and the vex in your smile/ alluding to double meanings/innuendo that treads together like an Ernst canvas/ a blessed triptych/thrillingly

This poem was typed onto a model of Nokia phone which I have been made aware has since gone out of fashion, like it's producer.

Max Ernst-the surrealist painter, of course. A manual in style for most of us.

In response to my reading, Susan Howe merely nodded silently, seemingly all knowingly, as if she had thought the poem written for her or contained an interpretation that I had unintended (or, if asked by the real-life Susan Howe, would pretend to have intended all along.)

And there the Dream Triptych always ended.

As I said at the beginning I dreamt it twice more that same week, once intoxicated. It always followed the same sequence, and I don't read books on dreams so I have no idea what it meant, why it had three distinct parts or whether if most likely it was all a bit of nonsense. But at least it was INTERESTING.

Make the rest up for yourself.

If I could find a way to capture
the exact essence of you,
believe me I would.
And if I could find a way to modify the base pair sequences
which code my DNA
so that I would be
the person you wanted,
believe me I would.
But I cannot portray you,
because I do not know exactly what you are
or who you are,
or why you are.
And I cannot be the person
you wish that I would be,
because you will not let me inside the bullet proof shell
of your head.
So I will let it be enough, watching you
strut around streets pretending that these things
are really all you want,
when you are, in reality, almost dreaming of beaches and cliffs
and people
who I have never met
and who I will never be,
and I suppose
I will just have to pretend to be okay with that.

This problem has gone on so long
we always reach the same old sum

divided by lies
multiplied by my failure to learn
In division, we carried over

the sequences of your dishonesty
compounded by lack of ownership

numbers don't lie

you brought a lot of uncertainty into the equation
it played a huge factor
the lowest common denominator

I never was good at arithmetic, but something doesn't add up

subtract me

The universe and
the cosmic system
is always renewed daily
with the divine helpful
ability to heal and refresh
our bodies and all that
concerns us.
Absolutely nothing is ever
stagnant in nature.
The cloud changes itself to
beautiful sequences,
even the winds twirling and
turning in complex moves gives
freshness to change the weather
to sooth and calm our nerves.
A new door just opened up,
though old in nature.
Signifying a new way,
a new beginning unexplored,
untouched, untapped by man.
The beginning of a new dawn,
another phase of the day,
with a new law in place.
Subtly efficiently and effectively,
unshakable in its chores
and in synergy exacts its influence
powerfully in order to help our life
function without interruption.
You don't need any key but just a push.
A new door is here,but it's ever so old,
the door to your heart
with a new law on love engraved deeply
within it,
though so ancient but ever so modern.
Find it urgently please.
Would you?
©2018,Emeka Mokeme. All Rights Reserved.

Eli tossed the ****** novel aside; a radical tale
of painters in the far future when paint itself
would be illegal; arms dealers, drug traffickers,
*** workers gathering in dark interstellar holes
bored into passing comets & orbiting meteors
docking illegally at satellite ports & unloading
chemicals frozen into place by the artists
who can never let their identities be known;
all colors on earth are registered & trade marked
by the Beast's Corporation & so Space Art is
highly sought & lucrative but lethal as it can
made to explode w/ enough energy & radiation
to leave a small planet barren for millions of years;
the Beast is reasonably worried as Space Art, or
Action Painting [after the ancient school] is wildly
popular & traded openly for billions of dollars;
the Beast may be able to keep everyone stupid
& greedy but Art liberates them into heights of
ecstasy & kindled wisdom; freedom of thought
the last frontier no one suspected & so abrogated
their intelligence & imagination to fembots
     who pump their heads full of colorful action sequences;
the illegal paintings too stiff,   just stand or lean
& look back                       at one w/out blinking
& the female-computer-network unable to bear the silence,
initiates automatic shut-down of itself;         femportals
           abandoned on stations where the painted images
          projected on microcells to the clandestine buyers,
                 spread as an unseen mist through the various
                                             artificial environments;
                  the distant star                     paint miners
                  smoking up a storm & using steam-powered
                                                               fembots
                                      to mine for their oil & charcoal;
                                       Eli putting on the kettle for tea,
thinks about the fembots in the novel & calling a *******
demands she not speak; the girl arriving naked in stockings