Silent Wood ~ Poem By Elizabeth Siddal
O silent wood, I enter thee
With a heart so full of misery
For all the voices from the trees
And the ferns that cling about my knees.
In thy darkest shadow let me sit
When the grey owls about thee flit;
There will I ask of thee a boon,
That I may not faint or die or swoon.
Gazing through the gloom like one
Whose life and hopes are also done,
Frozen like a thing of stone
I sit in thy shadow – but not alone.
Can God bring back the day when we two stood
Beneath the clinging trees in that dark wood?

Photo of Elizabeth Siddal  ca. 1860
Elizabeth Eleanor Siddal (25 July 1829 – 11 February 1862) was an English artists' model, poet and artist who was painted and drawn extensively by artists of the Pre-Raphaelite Brotherhood, including Walter Deverell, William Holman Hunt, John Everett Millais (including Millais' 1852 painting Ophelia) and most of Dante Gabriel Rossetti's early paintings of women.   (Wikipedia)
Mirage ~ Poem By Christina Rossetti
The hope I dreamed of was a dream,
Was but a dream; and now I wake
Exceeding  comfortless, and worn, and old,
For a dream's sake.

I hang my harp upon a tree,
A weeping willow in a lake;
I hang my silenced harp there, wrung and snapt
For a dream's sake.

Lie still, lie still, my breaking heart;
My silent heart, lie still and break:
Life, and the world, and mine own self, are changed
For a dream's sake.

Mirage
Charles Conder (1889)
Akosah Kwadwo ~ The Heart Is Not Yet Sweet
And then we added the colors in the rain
The hundred pins in the skeletons of dust
In the dawn and evening
Of the wedding of mourning
In the earth of the harsh country
But if the sun falls
Within you in the years
And the heart is not yet sweet
Let no one touch it
In the how many years of the sun…
Akosah Kwadwo
2012
Painting is A Summer Night, 1890 by Winslow Homer
Daniil Kharms ~ On Poetry
“One must write poetry in such as way that if one threw the poem in a window, the pane would break.”
― Daniil Kharms
(1905-1942)


Daniil Ivanovich Yuvachev(Даниил Иванович Юёв) was born in St. Petersburg, into the family of Ivan Yuvachev, a well known member of the revolutionary group, The People's Will. By this time the elder Yuvachev had already been imprisoned for his involvement in subversive acts against the tsar Alexander III and had become a religious philosopher, acquaintance of Anton Chekhov during the latter's trip to Sakhalin.

Daniil invented the pseudonym Kharms while attending high school at the prestigious German "Peterschule". While at the Peterschule, he learned the rudiments of both English and German, and it may have been the English "harm" and "charm" that he incorporated into "Kharms".rs. It is rumored that he scribbled the name Kharms directly into his passport.

In 1924, he entered the Leningrad Electrotechnicum, from which he was expelled for "lack of activity in social activities". After his expulsion, he gave himself over entirely to literature. He joined the circle of Aleksandr Tufanov, a sound-poet, and follower of Velemir Khlebnikov's ideas of zaum (or trans-sense) poetry. He met the young poet Alexander Vvedensky at this time, and the two became close friends and inseparable collaborators.

In 1927, the Association of Writers of Children's Literature was formed, and Kharms was invited to be a member. From 1928 until 1941, Kharms continually produced children's works and had a great success.

In 1928, Daniil Kharms founded the avant-garde collective OBERIU, or Union of Real Art. He embraced the new movements of Russian Futurism laid out by his idols, Khlebnikov, Kazimir Malevich, and Igor Terentiev, among others. Their ideas served as a springboard. His aesthetic centered around a belief in the autonomy of art from real world rules and logic, and the intrinsic meaning to be found in objects and words outside of their practical function.

By the late 1920s, his antirational verse, nonlinear theatrical performances, and public displays of decadent and illogical behavior earned Kharms — who always dressed like an English dandy with a calabash pipe — the reputation of being a talented but highly eccentric “fool” or “crazy-man” in Leningrad cultural circles.

Even then, in the late 20s, despite rising criticism of the OBERIU performances and diatribes against the avant-garde in the press, Kharms nurtured a fantasy of uniting the progressive artists and writers of the time (Malevich, Filonov, Terentiev, Vladimir Mayakovsky, Kaverin, Zamyatin) with leading Russian Formalist critics (Tynianov, Shklovsky, Eikhenbaum, Ginzburg, etc.,) and a younger generation of writers (all from the OBERIU crowd—Alexander Vvedensky, Konstantin Vaginov, Nikolai Zabolotsky, Igor Bakhterev), to form a cohesive cultural movement of Left Art. Needless to say it didn't happen that way.

Kharms was arrested in 1931 together with Vvedensky, Tufanov and some other writers, and was in exile from his hometown (forced to live in the city of Kursk) for most of a year. He was arrested as a member of "a group of anti-Soviet children's writers", and some of his works were used as an evidence. Soviet authorities, having become increasingly hostile toward the avant-garde in general, deemed Kharms’ writing for children anti-Soviet because of its absurd logic and its refusal to instill materialist and social Soviet values.

He continued to write for children's magazines when he returned from exile, though his name would appear in the credits less often. His plans for more performances and plays were curtailed, the OBERIU disbanded, and Kharms receded into a very private writing life.



Source ...Good Reads
Octavio Paz ~ The Love In Love
At times poetry is the vertigo of bodies and the vertigo of speech and the vertigo of death;
the walk with eyes closed along the edge of the cliff, and the verbena in submarine gardens;
the laughter that sets on fire the rules and the holy commandments;
the descent of parachuting words onto the sands of the page;
the despair that boards a paper boat and crosses,
for forty nights and forty days, the night-sorrow sea and the day-sorrow desert;
the idolatry of the self and the desecration of the self and the dissipation of the self;
the beheading of epithets, the burial of mirrors;
the recollection of pronouns freshly cut in the
garden of Epicurus, and the garden of Netzahualcoyotl;
the flute solo on the terrace of memory and the dance of flames in the cave of thought;
the migrations of millions of verbs, wings and claws, seeds and hands;
the nouns, bony and full of roots, planted on the waves of language;
the love unseen and the love unheard and the love unsaid: the love in love.”
― Octavio Paz
Oscar Wilde ~ On Poets
A poet can survive everything but a misprint.
~Oscar Wilde
Jean Genet ~ On Revolution
The main object of a revolution is the liberation of man... not the interpretation and application of some transcendental ideology.
- Jean Genet
Louise Erdrich ~ Risk Your Heart
“Life will break you. Nobody can protect you from that, and living alone won't either, for solitude will also break you with its yearning. You have to love. You have to feel. It is the reason you are here on earth. You are here to risk your heart. You are here to be swallowed up. And when it happens that you are broken, or betrayed, or left, or hurt, or death brushes near, let yourself sit by an apple tree and listen to the apples falling all around you in heaps, wasting their sweetness. Tell yourself you tasted as many as you could.”
Louise Erdrich - The Painted Drum
I ~ Poem By Tom Sheldon
Know that space dilates with your own breath;
sing out, as a bird in the desert
from the shadowy rafters of its own high perch-
Our senses cannot fathom this darkness, so
learn the transformations through and through
staving off the inevitable is futile, non-efficacious and fruitless
Be the meaning of this strange encounter;
at their crossing, be the glowing center.
Immerse yourself at the precipice
With the words: I am.
Tom Sheldon
I © Copyright Tom Sheldon
A Soul Inside ~ Poem By Monique Lucy Weberink
For sure you must have a soul
Somewhere there buried inside
With strong metal welded shut tide
You play your mister perfect role
But things are not as they always seem
Fragile are the walls that you keep up
And if I could peak through the cracks
Its all just compromises into extreme
Why don't you show your true face now
For once lower the wooden painted mask
I beg you to show me your teardrops
All I get is a lonely sounding sough
I admit when you do I might run scared
Your face forward straight and open wide
With eyes as window holes without the glass
It happened right after you no longer cared
Shadows growing on the walls and floors
The room gets dark and a struggle starts
Its following me and freaking me inside out
Paranoid trying to escape via narrow doors
Personal private sufferings took control
You committed suicide of your inner self
I know noble thoughts are fighting inside
just figure out whats wrong with your soul
I want to run away from you for good
To be the one who ditches you hard
Make you feel the same pain and anger
Being the girl who did what she could
Taken your passion and your freedom restrained
Trying to break your soul free from its cage
Bittersweet deep down up till its solid core
but the key to unlock is all that maintained
I am forced to lie, but do whatever it takes
Shorty said, exactly that and not a bit more
Every wise man should know himself to be a foul
To save you even when it takes till day breaks
Its made from paper so there is nothing to destroy
Only delineate it to get it back to the surface
Writing memories down with different colors of ink
Red curves for our love and black words to deploy
Watching the ink lines getting sucked dry
I just elegantly reclaimed my true soul mate
You are not going to take me down again
If erasing is the only option, I wonder why
Then that is what I will do.
Monique Lucy Weberink
February 2012

Odilon Redon
Silence