Señor Despaïr
Against a Hopeless Time
A Poem by Christopher Bernard
3. The Angel
I waited for the old man
to answer, but all I heard was waves,
suddenly distant, as though withdrawing with
the tide.
Then I saw a dim glow above the horizon
and watched as it grew stronger, felt my shadow
deepen with the appearance of the light.
The sky grew dull and stretched with cloud ribbons
and flattened out. The sea looked like pewter.
Then an edge of startling brightness
appeared beneath the scrambled glow,
and the sun edged upward, red and gold.
I turned to look at the old man,
but there was no one there. I was alone on the beach.
Had he walked away in disgust at my last speech?
Had he given up on someone so incorrigibly naive?
Had he even been there at all? No, he’d been there,
of that I was sure. Perhaps he had thrown himself
back into the sea from which he had come.
I watched as the sun rose like a head or like an eye
staring across a world that was all sky.
And a form broke from the sun and the far
calling of the waves. Nebulous as fog or cloud,
it seemed to step toward me over sand
brilliant and slippery as glass,
and I saw behind it a throng
of brilliant, smiling – were they angels? –
misty and fragrant as the breeze
that lifted from the sea.
The glowing form seemed to speak,
and it was the voice inside me,
bright and soft as an angel’s,
or as I would imagine an angel’s.
“Know this,” it spoke, as if close to my ear,
almost a whisper, and I strained to hear.
“Know this: we are perpetual creation.
Know this: we are the infinite world.
Time wee enter to work out the possible,
which knows no end and no beginning.
Know this: your task on earth
is to build possibility.
Know this: we are nature,
nature is ourselves.
Just as you are nature,
nature is you.
You are our hands and eyes
as we are yours in all that is.
The power of evil and good
is in your eyes and hands.
The ultimately beautiful is the ultimately real.
Know this: You are free. So: choose.”
And the smile of the diaphonous glowing figure
burned my face.
Suddenly the throng of angels,
and the sea and the shore and the sky
rang, like all the bells in all the cities
of the earth.
Though how could that be? How could any of this
be?
And I was surrounded by the flocking and singing of
many birds.
And the waves glittered before me,
and I heard enchanting laughter.
And the air smelled of shells and brine and roses
and smoke, perfume, wine, and brandy and
apples.
And a crab made mock with a clam, and a blade of
grass
traced in the dunes the outline of the loveliest of girls
to the dip of a breeze and a turn of a sun ray. And a
falcon
traded mysteries with a dove. And wind
swept up the sand in a glory of wind devils
swirling in shapes of Carmen, Venus, Tamara,
formed in a moment, in the next cast back
to sand and wind. And whiteness throned in clouds
above,
and wind and galleons moved across the blueness
like a sea,
a moment hoped for, lost, here, once, forever.
And the sun as it rose opened and filled the sky
for a moment that passed like a breath
with a beauty that was infinite
and a love that was for all time.
_____
Christopher Bernard’s most recent collection of poems is titled The Beauty of Matter, “A Pagan’s Verses for a Mystic Idler.” Señor Despaïr will appear in book form from Real Magazine Productions, a publisher based in India, later this year.
Category Archives: CHAOS
Poetry from Ri Hossain

We Haven’t Met Yet
We haven’t met yet,
We were supposed to go to war together;
Yet, you went to battle alone, becoming my very adversary.
Still, we haven’t met yet,
Because I never went to war.
A black cat blocked my path,
Facing the movement of the parrots,
I have withdrawn my weapons.
The sissoo trees have welcomed me into their fold—
Whose shadows fall even in the sun, like a drizzling rain.
There is no wailing in the sound of the wind,
Only the eternal friendship of sunlight, breeze, and leaves.
I am now with the fish, we do not have to go to war…
Even then, we are marked for slaughter…
Since we haven’t met yet,
You haven’t been able to kill me.
To destroy me, you are building heavy missiles,
Warplanes, even nuclear bombs;
While I am weaving a net of sky-blue dreams.
If we ever meet, I will give you the messages of the birds,
I will take flight with you like wild geese,
I will build nests on new islands;
If we ever meet, I will give you love.
We haven’t met yet;
You are searching for me to kill,
And I am searching for you to love.
Poetry from Virginia Aronson

Flight of Bones
The spell of the red flowers
in the nursery seeds planted
in World War Two Japan
in the afternoon shadow
of the Japanese Alps
in the personality shade
of a troubled family
a berating mother
sending the child to spy
on the playboy father
sexual obsession and fear
sitting side by side by
the smooth white river
stones, flowers speaking
of the war lingering
in the blackout factory
thinking of hanging
herself throwing herself
in front of a train
a shrink called her
a genius helped her
gain recognition
planning her escape
from self-obliteration
from endless revolving
in the infinity nets
the absoluteness
of reality
and unreality
a proliferation
of talking pumpkins
only to be reduced
to nothingness.
Yayoi Kusama grew up in a small mountain town west of Tokyo in a wealthy, high society family, owners of successful wholesale seed nurseries. As a child she had asthma and a partial hearing loss, and she suffered from hallucinations and periods of depersonalization. Her domineering mother forced her to spy on her father and his geishas, ripped up her artwork and tried to marry her off.
Infinity Nets

Out in the purple fields
of flowering spring
the blossoms sprung
tiny individual faces
opened pistil mouths
to her, to the child
the violets spoke
chasing her back
to her mother’s house
of anger, fighting
and a pencil, paper
the art supplies
her father gave
her only escape.
Her spirit floated
from her little body
wandering the border
between life and death
a thin curtain of gray
like a personal cloud
shadowing the girl
the young woman
bent over body
drawing, sketching
painting, creating
in a wild fever
born of desperation
reproducing endlessly
on the conveyor belt
to infinity, net
cast over her
life, art
her creed.
Paintbrush in hand
imagination overdrive
obsessions crawling
mind and body
working herself
away from madness
on an endless highway
of fear and visions
fleeing hallucinations
seeking obliteration
following the flowers
following red thread
on the path
to freedom
allowing her
to live.
Yayoi’s art has been called feminist. It’s been labeled pathological art brut, or outsider art. She doesn’t think it fits any category. She mixes East with West, realism with surrealism, hallucinations with humor and pathos. Her work is eclectic and electric and eccentric. It is her own, unique.
The Scandal Queen of Japan
“Ultimately, behind the impulse to fight is the simple fact that men have penises.”

Soft-sculpture figures
by the boatload
the couch load
the chair load
furniture obsessions
macaroni mannequins
overcoming fear
machine-made
naked polka dots
all the way
to her studio
across the street
her permanent residence
a psychiatric ward.
If it were not for art
I would have killed myself
a long time ago
before global fame
before legions of fans
her alter-ego pumpkin
black spots on a pier
of plastic and I’m here
but nothing
in Tokyo infinity
in mirrored rooms
dancing lights fly up
to the super-reality
to the unclothed universe
all together
in the altogether
the dissolution of self
via immersive obsessions
repetitions and intrusions
transporting us too
to another cosmos.
In the midst of the mid-century avant-garde art revolution, Kusama’s large scale paintings of nets and polka dots caught on. Critics called her work obsessional, austere, disturbing, and a tour de force. She expanded her work to include political theater, fashion design, and body art. Her clothes were sold in Bloomingdale’s, and she appeared on The Tonight Show. But in Japan she was a national disgrace and her family shamed.
Fire Burning in the Abyss

The Manhattan suicide addict
starving, suffering
the vertigo of nothingness
crawling into cold hands
no heat, no bed, no money
the downtown den of resistance
a shimmering veil across reality
fate like a chorus of violets
launching her like a moonshot
into the bright eye of acclaim
crowds at galleries, museums
drawn to her strange beauty
blending personal revelations
bare-faced self-promotions
branding the self as product
art as fiery weapon:
Go live your shining life.
Back home in Japan
the castle of shed tears
a studio down the street
from the stark white room
at the soft sculpt loony bin
in the moon dot aftermath
of obliteration
of eternity
the world’s
most successful
living artist
transcending
female Asian identity
art genres and cataloging
unnecessary boundaries
barriers and structures
dancing swarms of fireflies
fly up and out
of this universe
showing the route
to full happiness
to spending
everyday
every day
embracing red flowers.
Yayoi believed that Japan had ostracized her for her mental illness. But she returned there after 17 years in the U.S, famous and successful and so ill she chose to live in an open ward of a Tokyo mental hospital for her own safety. In the 2000s, she collaborated with several brands to share her style including polka dot Cokes and pumpkin-like BMW Minis. She continues to create at age 97 and traveling retrospectives of her work still draw massive crowds.
Poetry from Emeniano Acain Somoza, Jr.

The Belfry of St. Vincent Ferrer
My heart bursts into a flock of ricebirds
Each time I hear its tolling; for years
I live on the shade of its imposing
Memory – all the running & screaming
& sliding races down the hillsides, firemaking
& pissing contests, toy parades, death by voodoo
Gossip-broker Miss B. & and her rare orchids
Tonio’s mysterious death at the mangrove –
All point me to that church on top of the hill
Overlooking our town wharf that eats
And spits natives & transients alike
Where all the coming and going each
Has its own distinct ring – tintinnabulations
Of open-ended declarations, promises, affairs –
Gangrenous goodbyes on the breast of tears smothered
Or the corrosive taste of briny eyes with every furtive hello.
But time has done nothing to exempt the heart from
The onslaught of raging waves crushing into
Empty shores –like the old bell ringing
Through my ears at Angelus –
Dusk, our favorite time of day
Before you left without that anticipated
“Look, I’m sorry, okay?” backward glance.
And bells do not have a memory of tunes
For awkward silence, silence, silence.
:
Nominated for “Best of the Net 2025” for his poetry, Emeniano Acain Somoza, Jr. considers himself the official spiritual advisor of his roommates, Gordot and Dwight – the first a goldfish, the other a Turkish Van cat. His works have been published in The Poetry Magazine, Moria Poetry Journal, Fogged Clarity, Everyday Poem, Loch Raven Review, The Buddhist Poetry Review, The Philippine Graphic, The Philippines Free Press, Troubadour 21, Full of Crow, Indigo Rising, Asia Writes, Triggerfish Critical Review, Troubadors 21, Gloom Cupboard, TAYO, Haggard & Halloo, and elsewhere. His first book, A Fistful of Moonbeams, was published by Kilmog Press in April 2010. His second, Kleenex Theory, published by Createspace-Amazon, came out in 2015. He is busy anthologizing emptiness and boredom at the moment.
Poetry from Wan Yilong

About Wan Yilong
High-Dimensional Wisdom Mentor / High-Dimensional Spiritual Poet / Inheritor of Dongba Culture / Master of Traditional Chinese Culture / Great Master of World Multiculturalism / Donor and Founder, Dean of Yulong Wenbi Dongba Culture Academy / Dean of Aming Gaotu High-Dimensional Wisdom Academy / Philanthropist
Beyond the Firmament
(Homeward Chapter)
Poem By Wan Yilong
Translated By Lan Xin
When the morning star rises in the east
In the starry sky hang countless sorrowful eyes
I open my wisdom eyes and gaze
Beyond the galaxy tears have long been pouring
I whisper to the universe what happened
She unfolds a picture before me
Countless mechs overturn heaven and earth
Countless planets burn with raging war
Myriad races slaughter each other
Billions of lives wither in strife
Ruined walls and fragments turn to glaze
Dead planets only cold iron shadows remain
Surviving star people struggle to forage in black water
All I see is rotten bones
Hungry rushing here and there
Mutated beasts no longer fit to eat
They hunt in packs spread plague
Despair spreads silently in the dust
Desperate beings pray to heaven
A voice echoes slowly
We have stored food
When rows of dark caves are opened
Out step
Men women and children in swaddling clothes
All gasp in astonishment is this our food
The voice replies
They are our clones
I close my eyes in sorrow
The universe whispers admonition
All beings must awake
Every life is a child of the universe
Every soul yearns for ascension
Dark technology will eventually turn on itself
Cold power only destroys life
We are all brothers born of the same womb
Without love there is no universe
Without compassion even destruction cannot be reborn
Love and compassion are the eternal themes of the universe
With this thought even in purgatory
We can be reborn
That scene is the universe’s past
And also the mirror of the future
Mother universe is calling out
Wake up
Greed confuses the eyes
Souls sink in delusion
Love and hate are self-imposed barriers
Greed anger delusion are the cages of the heart
Every planet can be a cage for the heart
Everybody can be a dojo for awakening
Look within you are complete
Every soul yearns for light
Compassion can break the curse of all dark technology
Souls will ultimately live forever at the source of the universe
The ultimate civilization of the world is about to begin
Its name is universal harmony
We come from eternity rush to this moment
Only to wake up the sleeping beings
Live in the present change the past determine the future
The past and the future are but a single thought
I wake slowly from meditation
The morning sun illuminates the mountains and rivers and every heart
From now on I have no choice but to move forward
This is my fate
Is also your fate
And even more the common fate of all beings
Technology must ultimately serve the ascension of souls
Footnote
Taking homecoming as its central metaphor, this poem lays bare the absurdity and spiritual awakening of an age dominated by technology. Mechs and warfare, cloning and alienation unfold in layered progression, striking straight to the spiritual predicament of modern society. Breaking free from linear narrative, it employs vivid visual metaphors and interior monologue to explore the eternal themes of love and redemption, selfhood and the mirrored self. The fate and awakening revealed at its close represent the homecoming not only of the individual, but of all sentient beings.
Poetry from Ag Davis
Note on this poem’s process, from poet AG Davis:
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Poetry from Stephen Jarrell Williams
Left Alone
He was left
alone
never knowing
his mother and father
growing up
in the overhang
of dark dreams
like so many others
not understanding
the why
of conflicts
and war after war
killing
the tree
the sea
and the sky
above babies.
Stone Flower
Almost
a stone flower
lit by sun and moon
she is
almost
unfeeling
her heart
breaking
waiting
for someone
with the touch of love.
Shock Treatment
Shock treatment
no more
wars
on earth
or beyond.