3 haiku on heavenly bodies
1.
shooting star
sneaks into my darkness–
your laughter
2.
the Milky Way–
the arc of an embrace
on emptiness
3.
red–
can it possibly be the color
for a star?
solstice (a tanka*-ish reflection for One Shot Wednesday)
only in fullness
am I still–
i cast no shadow
as a rendezvous
dissipates into a sob
the wind flails
hapless
in the gingko twigs–
where perfection
encases feelings
if punctured
fibres
of wombs burst
water before blood
into birthing
a cry of rage
flags what a heart
hoards–
peace when it settles
lines its chambers
nothing like a Nautilus
the heart is but a pump
the fist opening
and closing
for fluids to flow
red colors
a river the heart
conjures–
layers of molecules
veil its nature
until the solstice
skids past its point
of stillness
wholeness is truth
until
a heart breaks
until a birthing point
reverts
to that first sound
that cry of rage
*tanka, sometimes known to be the precursor of haiku, is a 5-line Japanese poetic form used by court poets of ancient Japan. Scroll down for my post on this form in February.
Posted for One Shot Wednesday at On Stop Poetry where poets and artists of the most inimitable talents gather to share and support each other. Check it out!
red (for One Shoot Sunday)
photo prompt by Walter Parada
the truth about red:
my heart is like a man’s
although it flickers not throbs
as the Sun I am absent at the zenith
but in living things i lend my flare
my color is red not gold
as Red i seep in or withdraw
i blossom vermillion in camellias, azaleas,
or metamorphose into the rose
when blossoms shed petals,
leaving a litter of brown scraps
i desert the flowers
or blaze in berries, persimmons—
when juiced i spurt red
after coupling with Earth
i, as the Sun, leave it with
fire for smoldering births
find me, Red,
on chipped off terra cotta bricks
a mitt of rust on stray feet
a red organdy dress
to lift the shroud off grieving
i drip red on tubs of basi
shared after evening prayers
flaring on a monsignor’s cheeks
chanting a Te Deum
i pull Red out of my chest
to cloak archbishops
in carmine the color of fresh blood
the blaze of martyrs
who bleed for others
drain their heart out
but locked in self
i dry out a heart turn it black
blood when it dries up
that’s me, a two-faced Diablo
the apparition sneaking in at night
death masquerading as love
a bouquet of red carnations on Fridays
seething trees through bumpy rides
a stone in the moonlight rooting on a mango tree
a branch for a splint on broken bones
a face bruised by kisses
scarlet spears in childhood dreams
your name on my breath
a deep breeze
i, Red, am also the Sun swirling down
on a violent hand
but soften on pink tulle over the fields
coaxing you to reach up to me
scooping you to turn in my arms
switch off your fears
to smoother you with my most tender tinge
i, the Diablo slung in your heart:
you‘re freed
*basi, fermented sugar cane, native wine in the northernmost edge of the Philippine archipelago.
Posted for One Shoot Sunday at One Stop Poetry where I can’t resist the challenge as the other poets and artists who congregate to share their love of art and poetry in this site. Check us out!
About
autumn wind
wondering about lilies
in a mountain pond
Tell me a writer who really gets a satisfying jornal, in Spanish a daily wage or its equivalent, and I’ll bare a spirit in constant bouts of doubtfulness. Does a writer earn more because of what he writes and how he does it? Or is a writer paid more or less because of who he is? Is it money or honor he expects to receive?
Ahhh … but money as wage, and praise or honor as reward would be too predictable, too common as Job lamented in the Book of Job. It is in these lines that read: “Is not man’s life on earth nothing more than pressed service, his times no better than hired drudgery? Like the slave, sighing for the shade, or the workman with no thought but his wages, months of delusion I have assigned to me, nothing for my own but nights of grief. Lying in bed I wonder, ‘When will it be day?’ Risen I think, ‘How slowly evening comes!’
Restlessly I fret till twilight falls. Swifter than a weaver’s shuttle my days have passed, and vanished, leaving no hope behind. Remember that my life is but a breath, and that my eyes will never again see joy.”
Not money but joy is the ultimate wage as the passage implies. And joy is not hard to earn for it is in everyday life if we have eyes to see, a nose to smell, fingers to touch, ears to hear–a heart beating. This to me, is how a writer earns a daily wage. His wages then take the guise of treasures his heart can transfigure into a universe of thought that taps into other hearts, that causes a swirl in the depth of other souls, or that makes wings to sprout on leaden heels.
Sometimes not joy but rueful, poignant moments are my pick. Take what I earned once: On my walk home in my neighborhood, I caught two clumps of snowdrops–such tiny blossoms smaller than fingertips that do not look up but shyly droop close to black patches on the ground winter has frozen. That afternoon in the frosty wind, they trembled as if ready to turn away and run but how could they? For that poignant moment on seeing the wintry rain beat on the fragile snowdrop–as if pushing it to go home now, go to sleep–I earned my jornal, my daily wage.
Once on summer walk, the crackle of dried leaves just hit me both like the laughter of children and sobs long suppressed. Neither one of them would resolve the dryness, but I recalled how each does bring tears: laughter for joy, sobs for healing that comes with the release of a dammed-up pain. My jornal that day came as two haiku.
Fall has since shortened the day and the heart begins to crave for lost space that it doesn’t even recall which or where. I feel that most treasures have turned into mush so much so I wouldn’t be able to sift them off the ground. Yet I caught the dying day yesterday–so glorious in the gold of autumn it opened a flip side of serene heaven. Blades of grass coated in diadems of rain that carpet the lawns render royal walks poor by imitation. A burst of red maple against an inky blue sky humbled me, a soul bragging about her skill to recreate beauty in words.
I suppose I’m taking Job’s reflections to heart. I’d rather not gloss over each day and look beyond what’s there, right before me, or else fragile as is my breath one day “my eyes may never again see joy” to write. With what then will I compare the eternal joy, the ultimate wage I await?
Yet for now, as other eyes hanker to make the invisible visible, I put a tag on some moments of joy. Like on seeing the snowdrops, I paid myself $200 as my jornal.
What could have been yours?
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