The panic wave

 

Hear, hear

The king of panic and fear!

it’s Monday

or Sunday

or maybe Friday

the days have departed

a mighty routine started

hours and hours,

and weeks,

a month of bacteria

no cafeteria

a deserted city

there isn’t even a kitty

a bleak soul,

Disinfect each and every bowl

breathe in, breathe out

the virus outside!

This auspicious year

has spread only fear!

Hear, hear

only time can heal.

The elusive Chronos…

he, alone, knows

how itchy is the nose.

The mask speaks

the skin’s so dry

bleach, wash, sanitize

don’t forget your eyes!

Did you order pies?

you better have some spies

if there is fever

you become a receiver.

The apocalypse, sci-fi

ghost towns, the future

Like in the movies

It’s almost quarantine

except it really is…

in Wuhan.

There’s no one around

no peace of mind to be found

Tell me, seer

all these folks

with all their jokes

were they to eat an iris

would it kill the coronavirus?

Wise poet, Su Shi

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During the Song dynasty (960-1279 AD), China experienced a flourishing period in arts, culture and poetry. The wise, multi-talented Su Shi, 蘇軾, (1037-1101 AD) was a poet, calligrapher, painter, writer and politician, who wrote many exquisite poems that deserve attention and close analysis. However, today I want to share with you a small excerpt from one of his articles, that contains the essence of Middle Ages Chinese wisdom on destiny and the infinite beauty of nature.

“In this universe everything has its rightful owner. If something does not belong to you then you shall not even have a bit of it. However, the fresh breeze over the rivers and the bright moon above the mountains are exceptions. If you can hear it, it is a sound for you. If you can see it, it is a sight for you. It never ends and it is never exhausted. It is the infinite treasure that nature has for both of us to enjoy.”

The crib of desires

 

From the moon inside your eyes

Grant me favors!

You, enchantress, with your vibes

Feed me,

Need me,

Lead me!

From the atman of the ancient,

Wise and omniscient

Tree of life,

Roots of power,

Rife…

Flood my being

Drain me whole

Shatter dreams

And tear my hopes

Of futile existence,

Of perishable resistance.

Let me sip the flavors

Escape my role of slaver!

Praised divinity,

Allow me to slumber

In the crib of desires

Allow me to savor

The creation of the saver,

Ayahuasca in the woods

Banish this world’s falsehoods

Crush the incessant routine!

From the war of jungles deep

Fashion this grey, tedious scene

Into magic green!

Bring about the fantasy, the mystery

Free me from the shackles of vanity

Stir the foreseen

The sanity, the profanity

We summon the sacred

To wonder as fated

In a maze of visions painted!

Morning Dew

 

The bliss

of having been kissed

By minuscule droplets

Of water,

the source of life.

You play hide in the night

and seek in the morning.

Hibernate,

be a chameleon.

Disguise your fragility

hide from obscurity.

Dreams bring

peace, release, giggles.

Shun the violence

Lay your eyes to rest!

Fuck opulence!

Desecrate egotism,

Ignore or abhor

The survival of the fittest,

of the ones who hold that:

The end justifies the means!

With the first rays of light

Oh, pure nature…

Your gentility awakens

joyful and balanced

to withstand

the wicked few.

Nature,

covered in morning dew.

 

Earthquake Bird. Eeerie

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Earthquake Bird is a movie directed and written by Wash Westmoreland. It has been released at the London Film Festival on the 10th of October this year. It tells the same story as the book Earthquake Bird, written by Susanna Jones.  In spite of its negative reviews and average rating, I found this movie inspiring and unsettling in an artistic manner. Right from the start, a heavy atmosphere, a sense of peculiar and tension floats in the air. The streets of a 1980s Tokyo, the faded colors with a tint of sepia transported me directly into the movie. Alicia Vikander’s character, Lucy Fly, is surrounded by an air of tragedy and guilt that accumulates slowly and stimulates curiosity. Her acting is excellent and throughout the movie she divulges fragments of information and secrets that build up this dramatic aura around her. In one of the scenes, where Lucy is with Teiji, a Japanese photographer that is equally as mysterious as her, she exclaims: ‘Death follows me!’. This proves to be a strong statement that defined her past, but also a prediction about the path of her relationship with Teiji.

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Lucy Fly is a complex character that has definitely not been explored enough. She is an introvert person that carries an overwhelming feeling of guilt. She escaped Sweden to forget, to start anew, but she never managed to do so. Japan was supposed to be her second chance, but bad luck followed on her footsteps to the new, faraway land. Lily, the new girl in town, vibrant, naive in a way, but also a bit mischievous, is the opposite of Lucy. She seems to be quite superficial at the beginning, and Lucy considers her a burden. However, she somehow manages to get under Lucy’s skin. She starts to reveal details about herself, but everything is cut short by a speeded up twist and her being suddenly murdered. Her character is and could have been more complex, but the director chose to keep her as a standard antagonist, a woman who simply betrays her friend in search for intense, momentary passion. During her friendship with Lily, Lucy has an amalgam of mixed emotions towards her. She starts to like her as a friend, she is intrigued by her energy, by her contrasting persona and is at the same time, subconsciously fantasizing about closer, physical touches. All these contradictory emotions are mixed in the end with unbearable envy and Lucy’s desire to kill Lily. The intolerable urge to have Lily removed from her and Teiji’s lives stems from the fact that Lucy considers Teiji to be the only person that saw her for who she really was and Lily is a threat to her connection with the photographer.

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Teiji, the photographer that documents the scenes and objects in the city and nature, maintains that he does not photograph people. He starts taking photos of Lucy and brings her back to his small studio apartment in an old, rusty, rundown building. His creativity, his silent nature, his good looks, his special enjoyment in photographing Lucy charm her. Teiji requires from the beginning that there be no pretense between them. He is a mysterious character that does not reveal much about his life. He definitely does not like small talk and is extremely private about his collection of photography. Lucy seems to be a photographic object for him, not a real person with feelings and desires. He is more stimulated by her images in the dark room, rather than by the real Lucy. He keeps all his photography in a locked drawer, which suggests that he is hiding either some dark secret or puzzle pieces from a traumatic past that he would rather dump in a locked drawer, but also in an imaginary, sealed safebox inside his mind. Teiji is a criminal and his photographs document the transformation of the victims, the paths of the murdered women and their final grimace and body posture after they have been murdered. Teiji murders Lily and only his sudden shift in passion possibly saves Lucy’s life. The movie cuts short any explanations or details of Teiji’s murderous instincts and motives.

 

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The love triangle between Lucy, Lily and Teiji is part of  a plot that blends in several spicy themes: love, shifting passion, twists of life, betrayal, guilt, death, murder, art, bad luck and peculiar circumstances. In spite of the fact that the second half of the film is rushed, and that the characters could have been developed more, the beauty of the scenes, the photographic facial expressions, the passive, faded warm colors, the eerie mystery, the build up of tension sprinkled with random, shocking exposes, the black and white photography collections, the old film camera, the rhythm and sound of the camera clicks, Lucy’s dark, timid and shaky personality, her longing for company, for love, her submissiveness to a tall, dark, mysterious and cold stranger and Lily’s unconstrained nature make up an exquisite, dreamy movie.

 

Horror Story

 

Once upon a time,

There was a gory, hoary dime

With a scary costume,

Promising doom,

A Halloween creature,

In a monochrome feature.

Living in a chocolate ball

Too frightened to fall.

The dime and his shawl

Were playing a role!

Sad and alone,

All they wished for…

Was  a doll!

To whisper some eerie tunes

and climb on some bleary dunes.

The dime and his friends,

All Halloween threads

Special,

with a hint of peculiar,

Were crawling in the sewer

Scheming to murder

The prehistoric hotelier

with his own mortar!

It’s all too familiar!

It’s all getting clearer!

A living dime, some rags and a killer

It’s a Halloween story thriller!

Fancy Pantsy and Company!

 

 

 

Bubble wrap,

Wrap your head

In tin foil and fish oil!

Cook your smile

For a little while

In scented candles

Cinnamon sticks,

And all that crap!

Bourgeois baloney.

Swim in a whim

Become a shark’s fin!

4D, 10D, 107 million D

Immerse yourself,

Forget the spirit.

5G and a pumped-up

Steroids-full, plastic-looking geezer.

His name is Deezer

Just swallowed

A few dozen of Hello-Kitty

Fig-wine flavoured Xanax.

The Rhythm of ‘Requiem for a dream’

Causes anxiety

Women wanna be equal

But women wanna be slim.

Your grandma’s underwear,

VR, trendy HR

Neurotic creatures, empty-headed ghosts

All those highly functional

Individuals.

Zombies, feeding on residuals.

Ingesting, digesting, dependent on

Life coaches, hogwash success stories

Drown in consumption.

Too much information,

The pace is the race!

Forget the assumption

That life is deduction.

Goods and goals

Kill our souls!