Field Goals

Each generation resurrects 

“kicking down” from Hierarchy Heights.

The brainstem budges the boulder

from the cave mouth: “Says Me.”

Out the windows kindness

heads for the valleys at each birth.

Punching up lacks in distinction

and swings at boots without knuckles

blackening an eye, bloodying a nose.

Evolution, the great master teacher,

gets into the egg and sperm classroom first.

Lifetime courage courses require

that no self show up for short bursts,

live-round, experience training.

Only charity and cowards give up a hoot.

Citizens measure against debt,

bank accounts, and stock portfolios

to decide whether to can-can

or goose step to the market.

White Washers

White washers scrub at history 

books until “Indians” and slaves

vanish with erasers that bristle.

The back hairs on any reader

without memory don’t stand on end.

Tainting paint with Klan hands,

eyedroppers dispense from schools

the color knowledge needed 

for blindness in day-to-day life.

Palettes dilute into dumb palates.

Masked street sweepers dust up

into unmarked cars and warehouse

immigrants until jets return, while

forklifting denial into news outlets

contradicting pedestrian cameras.

At the liberty library for the right

descendants, the empty reading 

room speaks without a murmur:

Vacant, any volume doesn’t mutter, 

doesn’t echo, doesn’t matter. 

Handkerchief Waves

What remains in the international 

intelligence pool that tooled a nation 

and world drains through a sieve

to home countries sweeping

hometown brain trusts elsewhere also.

Bye-bye free thought exceptionalism.

The seepage around universities

muddies so that second and third

class studies pass for good reasoning

while wearing out erasers and patching

over with makeshift information.

A first generation suffers from a setback

in understanding other peoples

while losing footholds in knowing

a planet and the atmosphere.

Each culture returns to a scapegoat

including at the meeting place

where local boredom whets tongues

prepping for action from the herd.

After the global sharing strategy

for living in one solar system

what remains calculates poorly

as though thrashing in a maelstrom.

Rich Murphy’s latest collections, Elephant by Bass Clef Books, Storage Shed and Inside Stories by Resource Publications and Mind of Europe: A Genealogy to The Fat Man and Susan Constant by Cyberwit were published 2024-2025, following First Aid and Footholds (2023). Asylum Seeker (2018) was published by Press Americana. His poetry won The Poetry Prize at Press Americana twice for Americana (2013), The Left Behind (2021), and Gival Press Poetry Prize for Voyeur (2008). His first book was The Apple in the Monkey Tree by Codhill Press (2007).

Generous King

Long ago, there lived a just and kind king. He always tried to keep his kingdom intact, but the grime and old traditions in the palace troubled him.

One day, he gathered his troops and decided to go on a short foray. “Let us not remain only in the palace; we must go and see our people,” he said. On the way, they passed through many villages and saw people rummaging to clean the streets but living in ruined houses. Some had poor dwellings, while others had no shelter at all.

This sight left a very poignant mark on the king’s heart. “My old policy was only about collecting taxes and maintaining order,” he thought. “Now I will begin a new way.”

He announced a decree: the poor would be given estates, and those who lost their homes would be helped to build new houses. To support these works, he ordered that unnecessary trees be pruned and lands be cleared. Soon every village began to prosper, and people started to live in peace.

The king looked at his son and said,

— My son, life is not always predictable. Sometimes people drift adrift in the current. Our duty is to lend them a hand. These good deeds will remain our greatest legacy.

Years passed. When the king died, his son continued his father’s noble work. He created fair policies, never marginalized anyone, and the palace continued to flourish with beauty and honor.

The people were grateful and said,

— Our king not only built a state but also warmed our hearts. The name of the Generous King will live forever!

My Dear Father

I have witnessed much in life,

Seen both good and strife.

Yet a hero like you,

I have never met, dear dad.

You spared nothing for me,

Gave all your love freely.

You ate less to feed us more,

You sacrificed, dear dad.

I always hold my head up high,

Proud among every crowd.

I walk my path with strength,

Because of your era, dear dad.

To reach this very day,

To grow and find my way,

To live without want or lack,

You are the reason, dear dad.

You never said “no” to me,

Always kind and caring.

You looked into my heart,

A true hero, dear dad.

Always supporting me,

Urging me to move ahead.

Thinking not of yourself,

You bear our worries, dear dad.

You say, “Don’t lose heart,

I am always by your side.

Hold your head high with pride,

I will shed my blood for you.”

Every moment showing trust,

Making me smile when I’m sad,

Filling my life with happiness,

You are my greatest fortune, dear dad.

La Belle et la Bête

Opera Parallèle

Zellerbach Hall

Berkeley, California

Beast Against Beauty

A review by Christopher Bernard

Over a recent weekend in March, Cal Performances hosted an original production by the local company Opera Parallèle, combining movie and stage, of Philip Glass’s uniquely beautiful conversion of Jean Cocteau’s classic film La Belle et la Bête into a cinematic opera.

The original “Beauty and the Beast” was written by the eighteenth-century French novelist Gabrielle-Suzanne Barbot de Villeneuve and appeared in her book La Jeune Américaine, et les Contes marins. The story, set in a romanticized High Renaissance France of François Premier and Diane de Poitiers, was later revised and abridged by Jeanne-Marie Leprince de Beaumont in the version best known down the generations. The story’s magnetic appeal has never weakened; in the age of toxic masculinity, it has never been, in some ways, more timely.

To say nothing of the aggression inherent in all masculine sexuality: Has there ever been a sensitive young man in love with a beautiful woman who did not, at some time, darkly suspect that, in reality, he was ugly, disgusting, unworthy of either loving or being loved—a beast indeed? Has there ever been a woman who wasn’t afraid at some point of bringing out the beast in the man who claimed he loved her? And, the claims in the fairy tale notwithstanding, how often has it occurred, not that the beast turned into Prince Charming, but that Prince Charming turned into the Beast?

Cocteau’s film, a masterpiece of French surrealism from the middle of the last century, contains some of cinema’s most famous sequences: the line of chandeliers held by disembodied arms protruding from a corridor’s halls, the moving eyes in the faces carved into a mantel above a blazing chimney fire, a pearl necklace turning into a writhing snake in the hands of a wicked sister, the dissolves from beast to human and from human to beast, and Belle’s gliding down a night-time hallway with windblown curtains without apparently stirring a foot, to name only a few.

The original script, itself rich with poetry yet containing enough realism to empower the magic, and Georges Auric’s film score work with these magical images to create a world of consummate fantasy speaking the curious truths poetry is uniquely capable of expressing. Philip Glass’s decision, half a century after the film’s release, to strip out and replace not only the soundtrack and sound design but all the dialogue as well into an immense musical fabric proved to be, not only as provocative as any surrealist gesture, but brilliantly successful and entirely aligned with the soul of the work. Unlike the notorious mustache on the Mona Lisa, Glass’s gambit enhances and even completes the work in a way one can only feel the original artists (with, of course, the possible exception of the silenced M. Auric) would have completely approved. It doesn’t displace the original but provides a perfectly viable alternative.

When I heard about Opera Parallèle’s production, I imagined one of three possibilities: a straight screening of a silent version of the film, with sound provided by live singers and instrumentalists, much like what I was lucky to experience on my first exposure to Glass’s setting. Or it might be an entirely live staging, with a few discreet bows to the film. Or it might be the most interesting but most perilous of the three: a fusion of the film with live action. But if they tried the latter, how would they solve the problem at the heart of any such attempt: how integrate the two without their blundering regularly and clumsily into each other? Because if staging and film weren’t merged into a seamless whole, it could be, indeed would be fatal: the genius of the film would require equal genius, above all in judgment, taste, and tact, in the staging, otherwise it would be in danger of overbalancing, then irretrievably sinking, the performance.

If this third choice were attempted, surely (I thought) the director would realize that film and staging would need to alternate; presenting them both at the same time would have to be generally avoided, for obvious reasons: the audience would not know which one to watch, the staging or the screen (or if two screens were used, which screen?). Staging theater is not like staging a dance or a concert, where multiple strands of movement or sound can be processed by the human mind without what is aptly called brain freeze.

One of the main problems was that some in the audience might resent any attempt to deflect their attention from the brilliance of Cocteau’s film. Concentrating the audience’s focus is, of course, one of any stage director’s primary responsibilities; diffusing attention must be avoided except for brief periods and for reasons that are perfectly clear to the audience as well as emotionally telling, whether dramatic or comic. And deliberately dividing their attention can court disaster.

Alas, this production did not solve the problem described, mostly because it did not seem to realize there was a problem to solve in the first place. The film and the staging stubbornly refused to combine; at times, they even stood in hostile and irreconcilable opposition: the concept for the piece was often at war with the piece’s aesthetic, with frustrating consequences.

Almost all of Cocteau’s film was screened on a darkened wall placed mid-stage as part of the handsomely designed and lit set (kudos to the unnamed set designer). At apparently random moments, live singers, in full costume, walked onstage and, distractingly, more or less imitated what appeared on film. In a few instances the film was paused and the action of the story was given entirely by live singers on stage. These few scenes were the most effective in the performance; effective enough for one to wish there had been more.

To add to the problem of divided attention, there were also a (gratefully) few attempts to screen a second film, which again imitated the action in the Cocteau. The concluding scene of the production abandons Cocteau’s film entirely, replacing it with a shot-by-shot imitation of the film’s famous concluding sequence, this time of the singers we had seen live onstage. If this was meant to bring all of the elements of the performance together in a transcendent conclusion, it was only partly successful.

It is always dangerous to fiddle with a masterpiece once; to fiddle with it twice can be fatal.

Fortunately, the musical elements of the evening came off, for the most part, very well: Hadleigh Adams was in excellent form in multiple roles, including the Beast, as was Chen Kang as Belle. Sophie Delphis did fine double duty as both of the evil sisters, and Aurelien Mangwa was strong-voiced in three well-differentiated roles. Nicole Paiement conducted the small but powerful ensemble, perhaps pressing too hard at times on the volume. The wonderful costumes were designed by Natalie Barshow, and not to be forgotten, given the opulence of the era in which the story takes place, were the hair and makeup designs by Y. Sharon Peng.

_____

Christopher Bernard is an award-winning novelist and poet. His most recent book is the poetry collection The Beauty of Matter.

Regular contributor Bill Tope has launched a new literary magazine, Topiary, which is now accepting submissions! Please send short stories to billtopiary1950@gmail.com.

In March we will have a presence at the Association of Writing Programs conference in Baltimore which will include a free public offsite reading at Urban Reads on Friday, March 6th at 6 pm. All are welcome to attend!

So far the lineup for our reading, the Audible Browsing Experience, includes Elwin Cotman, Katrina Byrd, Terry Tierney, Terena Bell, Shakespeare Okuni, and our editor, Cristina Deptula. If there’s time, an open mic will follow.

Our next issue, Mid-March 2026, will come out Sunday March 22nd.

Yucheng Tao announces the winners of his poetry competition, Steve Schwei and Mark DuCharme. We’ve invited both winners to submit their poetry to Synchronized Chaos for everyone to read!

Now, for March’s first issue! This issue, Fingering the Spines, pays homage to our annual in-person reading, the Audible Browsing Experience. It’s a visual metaphor for looking through various titles in a global bookstore or library.

Genevieve Guevara rings in the dynamic energy of the Fire Horse for Chinese New Year.

Odiljonova Mohlaroyim Iqboljon qizi celebrates the many styles of Uzbek spoken word art. Umarova Gulsevar Ubaydullo qizi highlights the rich semantic and lexical expressiveness of the Uzbek language. Shuhratova Mohinur Abbosjon qizi explores the layered meaning of “k’o’ngil” (heart) in the Uzbek language.

Jesus Rafael Marcano celebrates the beauty of France, likening the nation to butterflies. Timothee Bordenave honors the beauty and majesty of Christian faith, as shown through Notre Dame. Su Yun’s abstract work reflects a meditative, spiritual sensibility. Soumen Roy describes a physical and mental journey towards spiritual inspiration.

Abdumajidova Zuhroxon Ibrohimjon qizi explores themes of hardship and endurance, destiny, faith, patriotism, and loyalty in Shuhrat’s classic Uzbek novel Oltin Zanglamas. Iroda Ibragimova explores themes of resilience and human dignity through oppression in Shukrullo’s novel Buried Without a Shroud. Bakhtiyorova Zakro Farkhod qizi speaks to the role of the short story in Uzbek literature. Ro’zimatova Madinaxon Sherzod qizi analyzes themes of strength, weakness and humanity in Abdulla Qahhor’s story “Ming bir jon.” Anvarova Mohira Sanjarbek qizi contributes a heartfelt poem from the perspective of Gulchehra, a character in O’lmas Umarbekov’s “Being Human is Hard.”

Azimov Mirsaid draws on Ray Bradbury and traditional Uzbek crafts and hospitality to illustrate the value of human warmth and imperfection. Dr. Jernail Singh Anand urges humanity to look into the words of our past and present writers and philosophers for wisdom in this age of great technological advancement. Dr. Jernail Singh Anand also expresses hope for the continuance of human creativity in the age of artificial intelligence. Daniela Chourio-Soto renders all-too-human morning sleepiness with lively humor. Eva Petropoulou Lianou explores the feelings and inspirations of emerging Greek painter Vivian Daouti.

Author Victoria Chukwuemeka discusses her creative journey towards exploring psychology and the subconscious, becoming deeper and more straightforward in her words. Kassandra Aguilera’s work mourns her speaker’s incompleteness, probing whether we need observers to fully realize ourselves. Ananya S. Guha reflects on distance, separation, and reunion, how roads can both bring us apart and together.

Emeniano Somoza poetically compares creative writing and glassblowing: arts where creators shape, rather than force, their materials. Poet Su Yun collects a set of poems from children at the East-West Public School in Bangalore on the theme of “the power of the pen vs the sword.” Taylor Dibbert’s short piece is almost anti-poetry, suggesting without communicating a metaphor.

Stephen Jarrell Williams’ poetry speaks to the risks and joys of openness to emotion and experience. Komilova Parizod reminds us to make the most of our lives and appreciate the joy around us. Priyanka Neogi urges us to act with wisdom and restraint. Boymirzayeva Dilrabo highlights the importance of motivation and discipline in reaching one’s goals.

Sobirova Oydinoy Nozimjon qizi discusses symptoms and types of neurosis. Mashhura Ochilova speaks with poignance and grace of a young woman’s inner battle with depression. Graciela Noemi Villaverde speaks to gaining wisdom through life’s losses. J.J. Campbell’s voice is older, raw, bruised, with hard-won exhaustion and experience.

Axmedova Gulchiroyxon expresses her tender love and concern for her mother. Nurmurodova Masrura Xurshedovna honors the patient, dedicated, behind-the-scenes love of her father. Gulsanam Sherzod qizi Suyarova explicates the value of friendship and how to be a good friend. Aminova Feruza Oktamjon kizi celebrates the beauty and innocence of young love. Qozoqboyeva Husnida yearns with devotion for her soulmate’s arrival. Mesfakus Salahin falls into a reverie about a fanciful love that exists between his imagination and his memory. Prasanna Kumar Dalai smiles through a delicate and tender love. Joeb expresses his hopes for personal and global love and peace. Lan Xin celebrates transcendent union with all others and the universe, with the world as her homeland, in her fanciful dinner piece. Husanxon Odilov laments a love which he acknowledges will never return. Nicholas Gunther reflects on a high school lost love or friendship through a casual ghazal. Bill Tope and Doug Hawley present an unusual relationship arrangement that seems to make several older people happy. Masharipova Yorqinoy Ravshanbek qizi celebrates the tenderness of a mother’s love. Brian Barbeito’s gentle childlike piece creates a surreal atmosphere rich in memory and care. Orzigul Sharobiddinova Ibragimova versifies her love and longing for her Uzbek homeland.

Zarifaxon Nozimjon Odilova qizi highlights the historical contributions of Uzbek statesman and humanist leader Zahriddin Muhammad Babur. Toshkentboyeva Xumora outlines the contributions of Amir Temur to modern Central Asian statecraft. Poet Lan Xin highlights the wisdom and compassion of Chinese Dongba cultural leader Wan Yilong. Abdusaidova Jasmina explicates themes of spirituality, heritage, and love in Alisher Navoiy’s writing. Abduxalilova Shoxsanamxon Azizbek qizi celebrates the benefits of reading culture for society.

Murodova Zarin Sherali qizi explicates the importance of language learning in world communication and international and intercultural relations. Khusanjonova Mukhtasarhkon Khamdamjon qizi discusses how podcasts can help those learning English as a foreign language. Turdimuradova Zulfera Sattor qizi analyzes the use of blended learning in teaching English as a foreign language. Suyunova Zuhra Oybekovna speaks to the importance of writing skills to language learning.

Olimova Marjona Ubaydullayevna celebrates the literary heritage of Zulfiya and her themes of patriotism, women’s dignity, and compassion. Munisa Yo’ldosheva highlights how Zulfiya’s life influenced her works and her contributions to supporting emerging authors. Nozigul Baxshilloyeva discusses emotional and spiritual themes within Zulfiya’s work and how they affect Uzbek readers. Sultonova Shahlo Baxtiyor qizi highlights the literary and cultural influence of Zulfiya’s poetry. Jurayeva Barchinoy does the same, while also highlighting her commitments to education and women’s rights. Nematullayeva Mukhlisa Sherali kizi relates the value of Zulfiya’s work through a narrative story. Gayratova Dilnavo highlights the enduring legacy of Zulfiya’s work, especially what it means for many Uzbek women.

Loki Nounou’s piece dramatizes a woman stripped of her individuality in a toxic marriage, becoming only a vessel to hold others’ dreams. Abigail George probes the maternal and domestic as both sacred and violent, an origin and a wound, along with critiques of colonialism and the power of self-kindness. Manik Chakraborty calls for a natural, spiritual feminine awakening. Asadullo Habibullayev warns of the dangers and social injustices young women can face in Uzbekistan, even when educated, and calls for the younger generation to respect the wisdom of their elders. Eva Petropoulou Lianou urges respect for women and for the roles women play in society, including motherhood. Maxmarajabova Durdona Ismat qizi celebrates the love and care of human mothers and the value of Mother Earth.

Zamira Moldiyeva Bahodirovna analyzes what the nature motifs in Alexander Feinberg’s work reveal about his thoughts on memory and identity. Noah Berlatsky draws on trees to illustrate our shared human heritage, how we connect to each other and hold each other up. Dilafruz Muhammadjonova presents a natural and cultural tour of Uzbekistan’s Andijan province. Suyunova Fotima Oybekovna reminds us of how crucial it is to preserve the environment. O’gabek Mardiyev outlines ways to improve the efficiency of solar power generation. Shavkatova Mohinabonu Oybek qizi urges improvements in Uzbek public transit to encourage tourism as well as benefit ecosystems. Sultonaliyeva Go’zaloy Ilhomjon qizi analyzes the social, cultural, ecological and economic aspects of tourism in Central Asia. Turgunov Jonpolat discusses the ways in which media framing of climate issues affects how people address the problem. Surayyo Nosirova highlights the need for more consistent communication from journalists to the public about climate change in Uzbekistan.

The works of primary school children in China, collected by Su Yun, reflect moments of happiness and ordinary summer fun in nature. Alan Patrick Traynor’s Irish-inspired piece becomes incantatory, mystical, inhabiting littoral and transitional zones at the ocean’s edge. Tea Russo’s spiderweb poem seeks both expansive transcendence and the peace of oblivion, melding into various aspects of nature. Turkan Ergor dreams of the permanence of the ocean’s waves. Eleanor Hill reflects on the calm strength and dignity of a whale, unbothered while creating waves and blowing bubbles. Ri Winters turns to the ocean and its kelp forests as metaphor for the deep, isolating, yet restful morass of depression.

Brian Barbeito sends up a preview of his book Of Love and Mourning, highlighting the original content and the memorials to beloved pets who have passed. Filmmaker Federico Wardal celebrates a film award for a very humane documentary about veterinary care that saved the life of a racehorse. Jerrice J. Baptiste’s piece, accompanied by gentle, colorful artwork, expresses a graceful and natural surrender to death. Sayani Mukherjee’s piece sits between devotion and restlessness, calling the sky a neighbor yet screaming at stars. Mykyta Ryzhykh crafts a fevered love elegy at the edge of war, eros, and annihilation.

Patrick Sweeney sends up a set of index cards from a memory archive. Mark Young’s altered geographies trace the outlines of innocence, memory, and rupture. John Grey’s urban character and landscape pieces show dry, unsentimental grace.

Duane Vorhees’ poetry meditates on time’s circularity, embracing contradictions and the past, present, and future. Ibrahim Honjo reflects that one day his home and everything he knows will fade into memory. Christopher Bernard continues exploring hope, ruin, and creative resilience in the second installment of his prose poem “Senor Despair.”

Maja Milojkovic speaks to the implacable ticking of conscience. Mahbub Alam laments the selfishness and wickedness of humanity. James Tian dramatizes the pain of being underestimated, dismissed, and misunderstood. Mark Lipman calls for greater taxes on the wealthy and for economic egalitarianism. Jacques Fleury hoists his commentary on the fragility of modern democracy on the scaffolding of an extended construction metaphor.

Rahmatullayeva Elmira Rahimjon qizi discusses how we form the value systems that guide our lives. Abduraufova Nilufar Khurshidjon qizi outlines the national values and traditions of the Uzbek people. Islomova Maxsudaxon Axrojon qizi explores ways to inculcate values into Uzbekistan’s young people in school through exposing them to the great thinkers of their heritage. Botirova Mubina looks into ways Uzbekistan’s civil society can uplift teens and prevent delinquency through communicating their national values. Abdullayeva Ezozaxon Qobuljon qizi highlights the importance of social and financial investment in education. Ismoilova Jasmina Shavkatjon qizi highlights the importance of quality education for social progress.

Axtamova Orastaxon Salimjon qizi outlines strategies to assist autistic children’s psychological development. Rajabova Nozima highlights methods of improving young students’ reading comprehension. Dildoraxon Turg’unboyeva outlines the effectiveness of play-based learning methods in education. Sevara Tolanboy Mahmudova qizi discusses educational games for preschoolers. Turgunboyeva Dilafruzxon highlights the importance of preschool education to a child’s development. Muxlisa Olimjon qizi Tursunaliyeva and Adhamova Irodaxon Akmal qizi discuss ways to help educate children with learning disabilities. Dilnora Habibullo qizi discusses interactive methods for teaching children with and without special needs. Burhonova Lobar outlines suggestions for working with children on the autism spectrum. Hikmatova Nigorakhon Hasanboy qizi discusses how to upgrade physical education and make the activities more interactive. Turg’unova O’g’iloy Ravshanbek qizi discusses ways to incorporate physical activity into children’s academic education. Shahobiddinova Sevinch explores the use of educational games in primary education. Arziqulova Adiba details various interactive strategies for engaging young children in educational activities at school. Mashhura Kamolova analyzes the limitations of examinations in terms of measuring student capabilities.

Orinboyeva Zarina discusses how to help children psychologically and emotionally navigate their parents’ divorce. Botiriva Odinaxon elevates the teaching profession and calls for professional development and competence in those who educate young children. Nishonboyeva Shahnoza speaks to her wisdom and dedication towards her goal of becoming a preschool teacher.

Kadirova Feruzakhan Abdiyaminova discusses interactive games that could be useful in science education. Oroqova Nargiza outlines the rise of allergies in children and speculates on the causes. Umidjon Hasamov highlights the potential for artificial intelligence in medical diagnostics. Yunusova Sarvigul Siroj qizi highlights the importance of early screening for gastrointestinal cancer. Rajapova Muqaddas Umidbek qizi highlights the structure and function of the circulatory system.

Shohnazarov Shohjaxon highlights the impact of inflation on a nation’s economy and strategies for managing it. Mamadaliyev Kamronbek highlights the need for cybersecurity technology and cautions about cyberattacks as a weapon of war.

Dr. Jernail S. Anand calls out poets and academics whose lofty ideas don’t connect to present-day reality. While we are all capable of flights of fancy, we hope that this issue is grounded in our world and our humanity.

І love you more than dried pineapple

death teaches us to read sugared lips

we die near the source from which sweet syrup flows instead of water

І love you more than

death is the dried body of my beloved

every time I stand by the bridge I remember that I can’t swim

I like to drown myself but every time I accidentally swim up but alas in vain

I love

I’m learning silence to drink silence

I teach you death

І love to remember the skin and pretty ass of my lover

my memory floats in a cemetery that is not able to live without graves

I can’t live a day without flowers

standing at the grave, I can not live a single day without flowers

these flowers are for you my love

I teach all birds to turn into stones

I am learning the wind and composure

I’m dying of thirst in the rain

I die when I realize that I am standing in a cemetery

I’m dying

I’m dying

***

the sky is for the birds

the sky is meant for mosquitoes

the sky is not meant for airplanes

heaven orally pleases military pilots

***

I fucked so loud that the wall burst

I moaned so loud that my veins burst

I didn’t hear the bombs fall

our fingers were intertwined during the kiss

semen washes away any blood

nightingales outside the window sing incredibly quietly

The Love of a Colorful Envelope

‎

‎I will live without love forever

‎Without you, I am a water lotus in you

‎Like a bumblebee l won’t look for flowers

‎My addiction has evaporated since then

‎The thorns pricking the soles of my feet

‎The blood cells will not touch you

‎I will not say, embracing the body of expectation-

‎I am only yours.

‎

‎I won’t say like a grasshopper touching the sky –

‎The sky above your head is mine

‎The mind will not fly like a kite along the path, like a bird

‎I will walk like a waterfall

‎However, I will not look for footprints

‎I will not search for a lifetime

‎The love of a colorful envelope

‎My mind is incorporeal like a butterfly.

‎

‎In this city, the game of the heart is forbidden

‎Love is traded according to necessity

‎Anyone is sold as they please

‎Walking naked time north and south

‎The past hangs on the wall of distance

‎The stranger becomes familiar.

‎I won’t ask anyone to tell me

‎The juncture of love

‎I have torn my heart

‎With the sword of barren love

‎I have never forgotten

‎I love flowers.

‎

Peace and love

Peace is a natural attribute
Which merged with love solute
Invigorates life with heavenly flute
Make existence enthralling for eternal absoluteness.
Peace, I want every day and every middle night
Peace and harmony that spray like ray of light
Peace, I feel so great to live confidently on earth
With happy faces I saw a single day in good health

Love has a power for unification
Satiate mind for ultimate beautification
Complexes modified into normal condition
Pleasure takes hierarchical steps with great passion.
Love me little and I will love you more forever
Lovely days coming ahead let we be together
In dusk and dawn we think about our future
Our future blend with great saturated picture

Peace faces struggle to establish her existence
Ecstasy sprouts in negativity to realize its importance
The world is lived only to taste the nectar of peace
Sheltered in love branches and get divine bliss.
I serve you my wisdom and thought
To create things with peace & harmony that,
Will enrich the satisfaction of my people
And never relent and end with cripples.
Love is a cosy bonfire

Which invites peace in life desire
Spiritual source manifested in life situation
Splendid endeavour invokes heart palpitation.
One house and billions of loves flying in the top sky
When felt so glad and heart flabbergasting, but shy
Your heart is even purer and then clean,
And with everything you do, this purity is seen.

MOVE ON
Forget yesterday’s pain,
There is a pain in gain.

At the end of dark tunnel,
There is a light as full as the moon.
But sometimes walk along
With Torchlight,
Because it might not be a light
Cheer up and move on
Buckle up and goes on
Not everything ends in vain.

All the predicaments shall flit.
Road shall pave like a flat
And it shall be bright as light
With hope higher we shall flee.
As life move as the sky
Many thoughts I do lie
Believe has gone far away from them
Opportunity comes ones to them
And never think will happen to them
As I begin to start my journey
I stay in pains early Morning

Just to make myself feel comfortable
The time we have has durable

UNDO THE PAIN
I come to you in pieces
Since all I need is peace
Peace with my soul
Since my shoe sole is down to earth
And so worn out beyond repair.
Help me gather the pieces of my heart
I wanna make it whole again
Though it’s glassed
I believe it can be glued
Despite the visible cracks, it’ll be whole again.

All need is for you to undo the pain
The pain you caused while you walked out on me

While you lead me on as I followed blindly
Not knowing you’re walking me into a ditch
A ditch that would leave my limbs broken like bone chops.
Lift this burden, I plead,
Enough of this pain,
Cracked I was but now I’m shattered,
Battered and broken into pieces.
Before our paths crossed I was at peace,
Now you turn my once peaceful life to hell,
Now I live in pains and agony,
I wish we never met.

Lift the great burden now and let’s part ways peacefully,
Undo my pains now, tarry not and help me,
Fix me now dear, my soul is getting weak,
I’m getting frail and fragile.
I plead with you this day,
Undo this burning pain, so I can feel my limbs,
Come to my aid, my soul cries for help,
My all is almost drained,
Put my pieces in piece and let’s dwell peacefully once again.