Monday, November 7, 2011

Dragons Kept Watch (Bilingual: English and Spanish)

By Poet Laureate, Dr. Dennis L. Siluk






(A Student of Confucianism left China, for Argentina, then on to Peru)






Chapter One



I stepped off the ship. Glaring lights from Montevideo (Uruguay), it lay at anchor in the Rio de la Plata. Then after a week, I found my way to Buenos Aires, Argentina, the city was busy, with a European carefree illumination. In the country, I had come from, the cities lights were oil lit, and only for a portion of the night, likened to in the Dark Ages. I had come from 19th Century Manchuria (China, 1898) found my way to Shanghai. The ship was a passenger vessel. When it was being loaded with fish, meat and vegetables, I found a boxed-in corner, there I hid among all the crates, and took in the drifting smells. It was a large ship. All the ships that left China in those days were large to me.


It was late at night and the hold was dark, and it seemed to me, the ship was deserted, then I heard someone pacing aimlessly about, and he lit a lantern. A moment later, I heard steps behind me. I kept silent. Then my mind started wandering here and there, especially if I was to be arrested and sent back to China—if so, I would be imprisoned.


I had come from living at a Confucius Temple one with high and thick walls, difficult to escape from, but I had climbed them nonetheless, and made my escape. I was a student of Confucianism, and not in too good a standing with the Master who did not live up to analects of Confucius—his teachings, which I believed to be back then the art of reasoning by use of the mind upon the opinions of his pupils, whom he never listened to. Logic was not the core, rather thinking clearly and to the point, clarity and honesty of thought, and expression were. Anyhow, these were my first lessons by the Master. The objective for the student was for his speech from beginning to end, the whole thing to be understood; whereas too often philosophers miss this. You see when you know a thing, it is to hold onto it, that you know it and if not simply admit it: this is knowledge. Dimness of thought, and artificial inexactness of speech, this could not be accepted—it causes misfortune.


I had escaped the torments and torrents of the Mad Master of the temple. My mother had told me more than once, ‘Son, dragons kept watch over you at birth, and they still do.’ Thus, to this day I must say, those dragons are still keeping watch.


Now the man was just above me, looking down. He was a little thinner than I was and about my height.


“Are you Chinese?” he asked in Manchurian.


I shook my head yes, and kept my silence.



“Manchuria haw!”


I did not answer. I looked up at him; I knew he was no police officer, just a deckhand of some sort, who spoke Chinese very well.


“I’m not a night watchman,” the man said.


I believed him. He was wearing plain deckhand cloths, nothing fancy. I had papers but he did not ask for them. I saw him with indifference to his face. He looked as pathetic as I did, if not homeless, surely friendless.


“Do you want to go to South America?” the man asked.


I did not reply. He already knew I did.


He jumped down off the crate and kicked over one to sit on.



“Here,” said the man, reaching into his pocket “one ticket for the boat ride.”


I saw the ticket. I could read the writing only slightly in the shabby light of the lantern some twenty-feet away. I felt safer now.


“What is all this?” I questioned him in disbelief.


“You can have it,” said the man. “I got a job on the ship, I don’t need it anymore.”


I stared at the man, I understood English and French and a little German, he spoke in both Chinese and English at the same time; I figured that if he had wanted me arrested, he need not have gone through all this trouble with such a game.


“I haven’t any money left,” I told him, although it was not true, I had yen, perhaps fifty-dollars worth.


“I didn’t say I wanted to sell it,” replied the man.


I looked back at the ticket it was real, genuine.


He handed it to me without a word, just a smile.


“I don’t understand,” I commented.


“Well, there is one condition,” he said.


“Sure” I thought, here it comes.


“It’s a long voyage, and I don’t have any friends, I want you to be my friend, no other strings attached. You have to stop and greet me, say hello to me on deck.”


“You just want me for conversations?”


“Yes, until we arrive in Montevideo.”


“That’s all?”


“Yes, that is all!”


“You sure there is nothing else?”


“I’m sure.”


I looked at him disbelievingly. On the other hand, I knew folks like him and I, if we had too much solitude we would go crazy on such a long voyage. At the temple no one talked to me, the head monk was a thief, and he knew I knew it. Therefore, I knew this dread of silence, this void one can place upon another. Moreover, here we were, two strangers, one wanting to help the other, and his reward would be to become friends. I gave him a positive gesture and took the ticket, and found the room 212.

Chapter Two

Manuel Garcia looked at me. “I know the feeling, so you changed your name to Asunción Peñaloza, after the family you’ve lived with these past several years?”


I now got the jitters, and felt a tightening in my stomach.


“I want to know everything, why did the family you lived with tell you to leave?”


It appears to be a reproach, as if I had done wrong again, but I had not. However, I did not have a passport, and the detective knew it.


“It didn’t help,” I told the Buenos Aires, detective, “when the children of the family got married; they blamed me for everything that went wrong in that big house. For a few years, they were obsessed with the thought that their parents might leave me a great sum of money, because they had often confided in me.”



“It didn’t help in the long run I see. You knew their affairs too well.”


“Yes,” I said, adding, after I felt his human warmth again, and a lowered voice, I had gotten rid of that ugly feeling.


“I had to leave but I had no place to go. In addition, I did not want to go back to China, god forbid. And I knew the family was a powerful family in Argentina, so I left and just slept in the park these past few days.”


The detective looked at my papers, and then he handed them back to me.


“What did the children do, or say to make you leave?” he asked.


“‘ You got to stop sneaking about the house, checking out my father’s papers looking for his will,’ said the older brother at the dinner table to me once when I was working in the kitchen helping the cook, and serving them food.


“The sister smiled. ‘Oh yes, father, he must stop that romping about at night.’


“‘And exactly what were you looking for Asunción?’ said the father.



“‘No. I wasn’t looking for anything; I was in my room all those nights, every night.’



“Then the father stood up and left the table, as if I was defying him, not his children. Then it occurred to me, they were setting me up.”


“I was alone again. They avoided me as if I had been a thief. Moreover, I could not explain it to anyone, no one in the family would listen to me. Do you know what I mean?”


He nodded. “The world never looks worse than when you’re being set up, thinking you had friends.”


His eyes were devouring me; pupils dilated, with long, very long stares, rigid, as if he should or should not believe me. My insides were frantic. The officers at a nearby table stood up, looked across several desks, “Manuel, we’re going to lunch!” He nodded his head, as if to say okay.
“If I could only stay here,” I said, “I don’t feel a bit like going back to China.”

Chapter Three

The police held me over for the following day, and night. However, it was a hard night for me. I was afraid they would send me back to China. In the following afternoon, I was calmed down, and the same detective called me over to his desk.


“I’ve decided to let you go, are you familiar with the way to Peru?” he asked.


Actually, I felt the boarders were not all that guarded, nobody really wanted to get into Peru, so I figured. On the other hand, Buenos Aires had been my home for several years, but sleeping on benches, were no good, and the family that had employed me would only cause more trouble for me in the future. As I sat there, I was already planning my attempt to cross the boarders. I would have liked best to wait, but I assured Manuel I would leave that night, for fear that too long a stay in the city would attract attention.

I shall never forget that night; my body was alert, in every way. My sense were sharp, I was prepared for anything, without fear, and when I started my journey to cross the boarders into Bolivia and then into Lima, Peru, I felt as if I was crossing Manchuria all over again, into Shanghai. However, this would be my home, and I would never return to China or Argentina.
It was hot the first few nights in Lima, and I slept naked in the parks. The nights were black and very cool that way. In addition, nearby I would plunge into the river, and it struck me as symbolic of my past, washing away everything—I had felt like driftwood for so long, but not anymore. I dried myself, and got on my way looking for a job picking fruit. For a long while, I met no one. I worked until twilight, and started back up again at dawn, watching men and women, children—families meeting each other on the way back home after a twelve hour work day. Everything to me that was the real meaning of revulsion was behind me now. I would tell my story to my son Fidel,

…he in turn, would—in his old age, tell it to his son Augusto, and he to his daughter Rosa and her husband (son-in-law) a gringo from Minnesota, in the United States of America, and someday it would be retold, written down for posterity, hence, becoming history (as it is now).


No. 832 (10-24-2011) Historical Fiction; although, inspired by actual events
Original name “Driftwood’ changed to “Dragons Kept Watch”
Dedicated to Augusto Peñaloza’s grandfather



Spanish Version

Los Dragones Continúan Vigilando
(Un estudiante de Confucionismo dejó China, hacia Argentina, luego a Perú)

Capítulo Uno

Bajé del barco, había luces brillantes en Montevideo (Uruguay), anclamos en el Río de La Plata. Después de una semana, encontré la forma de llegar a Buenos Aires, Argentina—la ciudad era muy concurrida, con una iluminación europea libre. En el país del que vine, las luces de la ciudad eran encendidas con aceite y sólo por unas cuantas horas en la noche, similar a la Alta Edad Media. Yo vine de Manchuria del siglo XIX (China, 1898) había encontrado la forma de ir a Shanghai. El barco en el que vine era una nave de pasajeros. Cuando estaban cargándolo con pescado, carne y vegetales, encontré una esquina encerrada, allí me escondí entre las cajas y soporté los olores flotantes. Era un barco largo; para mí todos los barcos que salían de China, en aquellos días, eran largos.



Era muy de noche, la bodega estaba oscura y me parecía que el barco estaba desierto; luego oí a alguien caminar sin rumbo fijo y encender una linterna. Un momento más tarde, escuché pasos detrás de mí, yo me mantenía en silencio. Luego mi mente empezó a divagar de aquí para allá, especialmente si me iban a arrestar y enviarme de vuelta a China—si fuera así, sería encarcelado.


Yo había vivido en un templo de Confucio, uno con paredes altas y gruesas, difícil de escapar, pero, de todas formas, yo la había trepado, e hice mi escape. Era un estudiante de Confucionismo y no con buena reputación con el maestro, quien no vivía según las memorias de Confucio—según sus enseñanzas, que yo creía era en esos tiempos el arte de razonamiento usando la mente tras las opiniones de los pupilos, a quienes él nunca los escuchaba. La lógica no era lo principal, más bien el pensamiento claro y sobre el punto, claridad y honestidad de ideas y la expresión lo eran. De todos modos, éstas eran mis primeras lecciones por el maestro. El objetivo de los estudiantes era que su discurso entero, fuera entendido, desde el comienzo hasta el fin, lo que los filósofos muy frecuentemente omitían esto. Imprecisión de pensamiento e inexactitud artificial de discurso, no podía ser aceptado—esto causaba mala suerte.


Había escapado de los tormentos y torrentes del Maestro Loco del templo. Mi madre me había dicho más de una vez, “Hijo, los dragones te vigilaron al momento de tu nacimiento, y todavía lo hacen”. Así, en este día debo decir, aquellos dragones todavía se mantienen vigilando.

Ahora el hombre estaba justo arriba de mí, mirando abajo. Él era un poco más delgado que yo y casi de mi estatura.


¿Eres chino? Me preguntó en Manchurian.


Moví mi cabeza afirmativamente, y me mantuve en silencio.


“Manchurian, ¡aja!”


No respondí, lo miré; sabía que no era un policía, sólo una clase de marinero, quien hablaba muy bien el chino.


“No soy un vigilante nocturno”, el hombre dijo.


Yo le creí. Él usaba ropa simple de marinero, nada complicado. Yo tenía documentos, pero él no me los pidió. Lo miré con indiferencia a la cara. Él lucía tan patético como yo, sino desposeído, de seguro sin amigos.


“¿Quieres ir a Sudamérica?”, el hombre preguntó.


No le respondí. Él ya sabía que sí.


Él saltó hacia abajo fuera de la caja y pateó sobre una para sentarse encima.


“Aquí” dijo el hombre, metiendo la mano en su bolsillo: “un boleto para el viaje en el barco”.


“Vi el boleto, pude leer lo escrito sólo ligeramente con la poquita luz de la linterna a unos seis metros de distancia. Ahora me sentía seguro.


“¿Qué es todo esto?” Le pregunté incrédulo.


“Puedes quedarte con éste”, dijo el hombre. “Conseguí un trabajo en el barco, ya no lo necesito”.
Miré fijamente al hombre, yo entendía inglés y francés y un poco de alemán; él hablaba en chino e inglés al mismo tiempo; pensé que si quería arrestarme, él no necesitaba pasar por todo este problema con tal juego.


“No me queda dinero”, le dije, sin embargo no era cierto, yo tenía yenes, talvez valorados en cincuenta dólares americanos.


“No dije que lo quería vender” respondió el hombre.


Miré nuevamente al boleto, éste era real, genuino.


Él me lo entregó sin una palabra, sólo con una sonrisa.


“No entiendo”, comenté.
“Bien, hay una condición”, él dijo.
“Seguro”, pensé, “aquí viene”.


“Es un viaje largo, y no tengo amigos; quisiera que tú seas mi amigo, nada más, no hay otras condiciones. Tú tienes que detenerte y saludarme, visitarme en la cubierta”.


“¿Sólo me quieres para conversar?”
“Si. Hasta que lleguemos a Montevideo”.
“¿Eso es todo?”
“Si, eso es todo”.
“¿Estás seguro que no hay algo más?”
“Estoy seguro”.


Lo miré recelosamente. Por otra parte, conocía a gente como él y como yo, si teníamos mucha soledad nos volvíamos locos en viajes tan largos. En el templo nadie me hablaba, el monje superior era un ladrón, y él sabía que yo lo sabía. Consecuentemente, ya conocía de este silencio de horror, este vacío que uno puede poner sobre otro. Más aún, aquí estábamos dos extraños, uno tratando de ayudar al otro, y su recompensa sería hacernos amigos. Lo miré con un gesto positivo y tomé el boleto, y encontré el cuarto 212.

Capítulo Dos

Manuel García me miró. “Sé cómo te sientes. ¿Así que te cambiaste de nombre a Asunción Peñaloza, por la familia donde viviste estos pasados años?”


Empecé a temblar y ahora sentía una contracción en mi estómago.



“Quiero saberlo todo, ¿porqué la familia con la que vivías te pidió que te fueras?”


Parecía que era una reprimenda, como si hubiera hecho algo malo de nuevo, pero no lo había hecho. De todas formas, no tenía pasaporte y el detective sabía esto.


“No se pudo evitar” le dije al detective de Buenos Aires, “cuando los hijos de la familia se casaron; ellos me echaban la culpa por todo lo que salía mal en esa mansión. Por varios años, ellos estaban obsesionados con la idea de que sus padres talvez me dejarían una gran suma de dinero; porque ellos frecuentemente confiaban en mi”.


“Veo que a la larga esto no te ayudó. Tú conocías sus asuntos muy bien”.


“Si”, agregué, luego de haber sentido este calor humano de nuevo, y luego de oír una voz baja, me había deshecho de ese sentimiento feo.


“Tenía que irme pero no tenía lugar a dónde ir. Además, no quería volver a China, Dios no lo permita. Y yo sabía que la familia era muy influyente en Argentina, por eso salí y sólo dormía en los parques estos pasados días”.


El detective revisó mis documentos, y luego me los devolvió.


“¿Qué hicieron los hijos, o qué dijeron, que te hizo dejar la casa?” él preguntó.


“Cuando yo estaba ayudando al cocinero y sirviéndoles la comida, el hijo mayor me dijo: ‘Tienes que dejar de estar espiando en la casa, revisando los documentos de mi padre, buscando su testamento’”.


“Su hermana sonrió y dijo: ‘Oh, si papá, él debe dejar de husmear en las noches’”.



"Y exactamente qué estabas buscando Asunción", dijo el padre.


“No. Yo no he buscado nada; he estado en mi cuarto todas estas noches, cada noche”.



“Luego el padre se paró y abandonó la mesa, como si yo lo hubiera estado desafiando, no sus hijos. Luego se me ocurrió que ellos me estaban tendiendo una trampa. Estaba solo nuevamente; ellos evitaban hablarme como si hubiera sido un ladrón. Más aún, no podía explicar esto a nadie, nadie en la familia me escucharía. ¿Sabes a lo que me refiero?”


Él asintió. “El mundo nunca parece peor que cuando te están tendiendo una trampa, y tú piensas que tienes amigos”.



Sus ojos me devoraban; sus pupilas estaban dilatadas, con largas, muy largas miradas fijas, rígido, como si él quisiera creerme, o como si no debería creerme. Mis intestinos estaban revueltos. Los policías en una mesa cercana se pararon, miraron a través de varias mesas y dijeron: “Manuel, estamos yendo a almorzar”. Él movió su cabeza, como si para decir, ‘esta bien’.
“Si sólo pudiera quedarme aquí” dije, “no deseo ni un poquito de querer volver a China”.


Capítulo Tres

La policía me detuvo hasta la noche del siguiente día. De todas formas había sido una noche dura para mí. Estaba con miedo de que me regresaran a China. Al día siguiente, por la tarde, estaba más calmado, y el mismo detective me llamó a su escritorio.


“He decidido dejarte ir, ¿estás familiarizado con el camino a Perú?” él preguntó.


En realidad, sentía que las fronteras no estaban tan resguardadas, nadie realmente quería ir a Perú, eso pensaba. Por otra parte, Buenos Aires había sido mi hogar por muchos años, pero dormir en las bancas no era bueno, y la familia con la que yo había vivido sólo me causaría problemas en el futuro. Mientras estaba sentado allí, ya estaba planeando en cruzar las fronteras. Me hubiera gustado mejor esperar, pero le había asegurado a Manuel de que me iría esa noche, por temor a que estar por más tiempo en la ciudad podría llamar la atención.

Nunca olvidaré esa noche; mi cuerpo estaba alerta, en todas las formas. Mis sentidos eran claros, estaba preparado para todo, sin temores, y cuando empecé mi viaje para cruzar las fronteras hacia Bolivia y luego hacia Perú (a Lima la capital), sentí que estaba cruzando Manchuria todo de nuevo, hacia Shangai. Sin embargo, éste sería mi hogar y nunca regresaría a China o Argentina.


Las primeras noches en Lima, eran muy calurosas, y yo dormía desnudo en los parques; las noches eran oscuras y muy frescas de esa forma. Además, cerca, me zambulliría en el río, y esto se me pegaría como algo simbólico de mi pasado, llevándose todo—Me había sentido como una pieza de madera a la deriva en el océano por mucho tiempo, pero ya no. Me sequé, y me fui a buscar trabajo como recogedor de frutas. Por mucho tiempo no conocí a nadie; trabajaba hasta el crepúsculo y empezaba nuevamente en la madrugada, viendo a los hombres, mujeres y niños—familias— encontrarse uno con el otro en su camino a casa luego de doce horas de trabajo. Para mi era que todo el significado real de revulsión pertenecía ahora al pasado. Yo le contaría mi historia a mi hijo Fidel,


…él en su momento—en su vejez— le contaría a su hijo Augusto, y él a su hija Rosa y a su esposo (su yerno) un gringo de Minnesota, Estados Unidos, y algún día ésta sería recontada, escrita para la posteridad, así, volviéndose una historia (como lo es ahora).

Nro. 832 (24-Octubre-2011); Inspirado en la realidad.
Dedicado al abuelo de Augusto Peñaloza.

Tuesday, September 27, 2011

House of the Falcon

(In the Valley of Canipaco)

By Poet Laureate, Dennis L. Siluk, Ed.D.


Prologue: Land of the Chankas (or the Parkos’ Kingdom) in the time of the Wari and prior, all ancient settlements in the Peruvian Andes, they were an ethnic group that roamed and settled within the region of Huancavelica and part of Junin, all the way to what is know known as the Mantaro Valley (100 BC to 700 AD), they expanded beyond these boundaries, but what this brief is concerned with, is that they settled in the Canipaco Valley, built a stone like fortress, with thick walls that stands to this very day (near the district of Colca) a three hour drive by car to the site, from Huancayo, Peru.

During their ongoing development, the Chankas, created an autonomous culture, and a variant language, the name of their capital (‘Waman Karpa’) in English would be translated to mean “House of the Falcon”. Up to the time of the Incas, they showed a high reverence for their mummified, ancient grandparents, and in a similar manner, venerated the catlike figure ((in the capital, Uscovilca, the founder of the Uran Chanka was worshiped, his remains) (and Ancovilca, was the founder of the Hanan Chanka)). I admit, this all can get confusing, because we must not combine both groups into one, this has been done in the past, and too often, misunderstood, for the Uran group joined another group, which built a federation (Pocra-chanka); thus, for the sake of clarity, we will try to stick to the Canipaco Valley expanse, and the Chanka race in general as a whole. As a result they had built villages within these populations in the Canipaco Valley, with burials, which often were in caves or rock crevasses.

The Chankas were not rivals to or of the Incas per se, although they were warlike people (the Hanans while in combat, were a bloodthirsty group of warriors, hanging their enemy upside down; cutting them so they’d slowly bleed to death in the fingers and feet, and they’d peel the skin off the prisoners, and from a skull cup, drank the blood of the enemy); and they were farmers too, and lived to the height of the 11th to 13th Century. It would seem at different times throughout their existence, they had small to large or larger populations (depending). In the case of the fortress we are about to reveal, perhaps 100-souls, existed within this fortress.

And so I hope this brief-prologue, has brought you to a wider understanding of this ancient culture (of which research will benefit the curious mined person, if indeed he can find any, there is very little on the Chankas, that is why I have went to the actual site of one of their fortresses and talked to the village people, among others for their understanding of this race that once lived where now they sand), and now for the poetic voice:

Fortress, within the:
House of the Falcon


Part One

The Chanka Warriors

Even the finest of the Chanka warriors, contained darkness
All their language, woven from two-thousand years packed
Together—as they grew larger in the Valley of Canipaco

The Hanan Chankas soaked up the stain of their enemy’s blood
Drank it from their skull caps, hanging them upside down
These old thinkers, of the House of the Falcon, remind us

Battle and death to those throats open to invasion.
They built stone fortresses in the District of Colca—buried
Their kind, in caves, rock crevasses, mausoleums.


Notes: Inspired by: Frank Ramirez who attended the presentation of the author’s book “The Cotton Belt” and left the author with a picture of the Chanka site, near his home township, inviting him to visit the site, meeting the author three days afterward, 9-22-2011, to allow the author to become more informed on the Chanka culture, and his particular site. Some research done by Rosa Peñaloza de Siluk, and sifted through by the Poet Laureate, whom wrote a Prologue, and part one of the Islamic style poem “House of the Falcon” on the 22nd of September, 2011. No: 3091.

Friday, September 2, 2011

Dennis L. Siluk's New Stories and Poetry for 2011: Three Dark Poems (In Parts Spanish)

Dennis L. Siluk's New Stories and Poetry for 2011: Three Dark Poems (In Parts Spanish): Song of Absence
[Dedicated to the: Raphiam Giants]

'T was far absent, 't was far missing,
Untamed aloft in a night long past!
‘T is b...

Three Dark Poems (In Parts Spanish)

Song of Absence
[Dedicated to the: Raphiam Giants]

'T was far absent, 't was far missing,
Untamed aloft in a night long past!
‘T is but a few hours left to pass,
You then will see thy face by day.

'T was long-ago, 't was long past,
We ruled thee during your untied era.
Our kind found your lot, fond and fair
Until they made us: foe and prey.

Long ago, ever since, we took our bliss
In dreams to come back, and embr

16 February 2007


Orange Timid Moon

O´er the Copan sky
an arch of shadows
weave their webs
with low-lights,
as the moon rises...
orange and timid—
as one more night
passes by...
by the shadows
of the Maya gods
de antigua Copan!...

Note: written while at the Copan Ruines, in Honduras, April, 2005.

Versión en Español
Luna Tímida Anaranjada
Por Dennis Siluk
Traducido por Rosa Peñaloza

Sobre el cielo de Copan
un arco de sombras
teje sus telas
con bajas-luces,
como la luna se levanta...
anaranjada y tímida –
como una noche
más que pasa ...
por las sombras
de los Maya dioses

de antiguo Copan!...

Nota: escrito mientras estaba en las Ruinas de Copan, en Honduras, Abril de 2005.


Nightmare Well

The night winds, hollow—deep in nightmare well, I have peered down it countless
Times, only to find, see primal creatures climb, its slimy sides…!
The horrors deep within this well are horrors before the age of man, powers from
Vast terrestrial spheres, they transverse this well with slimy nightmares,
Give an endless span—; reeking pain within their jaws, claws and gaping hands.
What waits and broods deep in this looming well, I do not know for sure, perhaps:
Monstrous hieroglyphs—dim sunsets, dreams now beastly nightmares.
Against the twilight I have seen them rise—with their vast evil that never dies.
The demons wind echoes through pipes spinning to the top of the well—:
Grim and cold, oozed through the many corridors below….Thus, only the Moon
Sees what legends talk about; ages gone, and to come; hence, if you are sane,
Do not look down the well, unless you cannot help it: what a pity!...

17 September 2006

Thursday, September 1, 2011

Midnight Poems V

Midnight Poems V

1

Beasts,
Inside the Vietnam War (1969)

All around me men are protesting;
but I am stubborn, I take no part.
Here is the difference:
I welcome the Beasts of war!

—Mr. Before

I went to war completely clothed,
and I have returned half naked.
The Beast gave, and the Beast took,
I am part of the Beast.
—Mr. After

No: 3043 (8-29-2043) Midnight Poems V


Brief commentary: like all wars, the war in Vietnam was costly for its time, $220-billion dollars. The U.S. Military dropped 6.5 million tons of bombs on Vietnam. It killed two-million Asians, and we lost 58,000 men and women (and it created neurological issues for soldiers for the following half century, not to mention maimed soldiers). The United States Government airlifted some 10-million military personnel, by commercial aircraft to the war. We lost 5000-helicopters. Millionaires because of military contracts became billionaires; one star generals became three and four star generals (that’s what the war was about).


2

Irene (August, 2011)


The Storm goes on through North Carolina, Virginia—
My breath grows slow and heavy, in the melancholy.
Pulling up from far above, where the storm is born;
Thus, spreading ruin, tomb like ruin, on rocky shores—
My breath grows slow and heavy, in the melancholy.

No: 3037, August 27, 2011-08-29 Midnight Poems V

3


The Father Teeth of War
((Iraq and Afganistan) (commentary on Vietnam))


Let us drive those
Fighter jet bombers down
There light beams
Down
To the chambers of
Hell, and dismantle them!
And live inside of peace
For a while—
That falls on the brow
Of our president (Obama)
Tied to his desk
With empty promises,
And the whims of generals
And merchants…!
As he sits in the White House
In Washington
Watching our Nation’s Youth
Die one by one, in a crisis
That has nothing to do with the
U.S…
Bring our solders—home!
Return them to earth
As now they live
Inside of fear and sweat
Waiting to die a useless death
In the far-off deserts of Iraq
And Afganistan!

No: 3041 (8-28-2011) Midnight Poems V



4


The Farm Orphanage
((North St. Paul, Minnesota; Kiddie Corner) (Poetic Prose))


In my mind I can see-–still see—the farm (orphanage); children and adults on the side of the wooden fence standing, gossiping—where I and my brother had lived as a child ((more on than off)(for five plus years)(back in ’48 thru ’52)).

Here I am, a boy, feeding the cows and horses with grass through the fence, even giving them a delightful little tap on the snoot—in the light dusty heat of a summer’s day.

No: 3020 (8-12-2011) Midnight Poems V





5



Nothing to Something Poem

There is a bit of nothing that flies above my head
It is like a dark shadow, a condor all-encompassing
the sky—nothing distinguishable!

Something out of the fragments of my dreams
I do believe.

What amazes me is this: it was a bit of nothing that
Somehow became something (a large bird, so it seems):
once it reached my cranial…?


No: 3022 (8-17-2011) Midnight Poems V

6

First Things First


If you want to drive across the desert
you do two things: first you kill the
scorpions; second, you build the roads.


No: 600 (2004) Midnight Poems V


7

No One sees it!

It is always lighter just before the dark
There is always calmness just before the storm
Pride always comes just before destruction
A weed in a flower garden is always out of place
In all such cases, no one sees it before it comes!

No: 3024 (8-22-2011) Midnight Poems V (10:11 p.m.)



Two Poems of Vividness and Force



Ode to the Tender Grape


I am sick, of hate (and)
I am sick, of love…
I wait until day breaks
Until the shadows stray away (to go my own way)
It is safer that way—
This is the voice of a tired old man.
We look to love for everything
And when we receive it, it is less than nothing—;
The pessimist warns: “All are evil women!”
or, “All are evil men!”
Neither one knows the way of the condor in the air,
Or, the scorpion on a desert rock—
How then can either one know, ever know,
the way of the heart?
Perhaps it is better to marry than to burn
(as it has been said, and written)
And rejoice at the lack of understanding,
And let her and him love as they please! Let their
Bodies be one’s reward; relish in the day and moment
And let love and hate—bitter as they can be—
Drink early to late, staring at one another’s face—
In some lonely vineyard—with the tender grape!


Note: an ode is a lyric poem in essence, usually celebrating someone or something, often addressed to its subject. In this case exalting the grape, to keep love and hate, busy, avoiding its destructive powers. No: 3044 (8-30-2011)




America Forsaken
(In Poetic Prose)


Why does America flourish and ignore and blaspheme God? (And fitfully Europe too…) Why else do most other countries of the world eat dust, live in desolation, captivity?
Why, why, why? What can one say of such a God?

America no longer retains its piety to God; perhaps that is why He has allowed Satan to heap a variety of calamities upon her (trying to call her back!)
In time her fortitude will break (internally throughout and worldwide), she will within her inners—commit suicide, and she will bitterly reproach God, for forsaking her.

And I heard God’s words, from the echoes of His angels:

“You are the people, wisdom has died inside of. I gave you abundantly. My eyes have seen all; you are no longer of any value. There is no longer hope in that you will sprout again.
Thus, I give you over to my Adversary. If you prosper, it is by his wishes, his darkeneth counsel. Grind up now your loins, for He will soon demand of thee, he has laid the foundations—thereof, know a thick darkness has entered through your gates, and death be opened unto thee!”

No: 3045 (8-30-2011)

The Prose Poem


((Poetic prose and the Prosodic Unit) (a commentary or essay))


Part I
What is Poetic Prose?



The prose poem (poetic prose) is as old as the hills—well at least as old as poetry itself; that is to say, it is not a new invention as many would have you believe.
It is, in its most oversimplified definition, a short story, a fable. In its more complete form, it is an image centred, or cantered on an object. It is often expressed in layers. It nourishes the spirit, or should. To make, or create it, it is a work of art, and most difficult, more so than a metered poem—so I feel, in that a metered poem is a click to a box. Whereas, the prose poem has two tails—each different than the other; the poets mind has to adjust to this. Here the mind cannot leave the subject, and the poet’s mind cannot be concealed.



Part II
Poetic Prose Form!


Often the poetic prose poem—has the same subject throughout; it is like a one-way highway. Another form, one sets the tone in the first sentence, and then alters it as s/he descends, as the mood changes in the poem. Thus, the mind with the words is set. Let me repeat, the focus is on an unchanging element or subject—in the prosodic unit, it is not the stanza but the sentence. Let me give you an example:
A good haiku is evidence the poet has overcome polarities (large and small, human and animal, etc). Now let me create right here and now, a haiku for an example:

The wood in the hearth
this also
gave home to a bird.

‘Wood-bird ‘Haiku ((No: 3040) (8-29-2011))


The writer or poet usually uses, or writes such divisions or polarities, when creating haikus in the presence of the object—if you want to know where the bird came from, you have to know the tree it perched on; or build its nest on. Saw the branch, this kind of observation opens the mind to give human surveillance and understanding, in the right way. In this case the wood in the hearth is more than wood, it was part of a bird’s home, a tree that had life, now it warms the body and the room that the body is in. This information cannot be made up, it is processed through the mind, and a creative mind says you have an active soul. You have created something much more than what you originally had—when the mind and the soul began working together.



Part III
Creative Senses in Poetic Prose


In prose poems, the poet can stay close to his creative senses for a lengthy time, in a tranquil setting (similar to a painter, as often I’ve seen, on the bridges crossing over to Notre Dame Cathedral in Paris, painting away as if in another world) instead of a metered storm (trying to put the perfect rhyme schema to an accentual meter form or syllabic meter form; example: dimeter, trimester, tetrameter, hexameter, and so on and so forth, which refers to lines of verse based on a syllabic length or duration in time—this can be a storm…) example:



I want to say what deaths love have come and gone,
I know only, that winter sang in you
A long while, that now sings in me as well.

‘Mother’s Winter’ Accentual-syllabic meter ((No: 3041) (8-29-2011))

In the poem ‘Mother’s Winter’ one is forced to give attention to certain words, the first line for example, creates less force, because death has come and gone for many people the poet has loved—now in lines two and three, the force becomes stronger, because the poet is saying, in essence, all previous loves are nil compared to his memory of her loving mother’s love for winter (as we see in the name of the poem: in particular). And now, that memory sings in the poet as well. The lines are fixed, to a ten syllabic meter, as in a sonnet.



The prose poem helps to balance the non-figurative; there are more freedoms for detail in the prose poem, more room for description, intimacy—the object is more exposed. What metered poetry cannot do, poetic prose can. In metered poetry, the mind often gives up and accepts what it has done…

The sonnet, although lovely in its structure, is too impersonal for poetic prose. I need not explain this if you have ever written a sonnet. Thus, it has many ancestors to please.



Part IV
The Mind and Poet’s Responsibility (conclusion)



The first to second sentences of a prose poem, usually sets up the rhythm or sounds of the poem (the dynamics), the syllables are set in line, in motion. And as for reading the poem your mind expects this process to satisfy it.
The poet must pay mind to the reader, s/he expects it, and density demands it. A good poet will please the reader, or try—and in the process have an effect on the reader (is this not one of the main purposes for the poet?)

Let’s us hope no self-proclaimed mastermind or wiz-kid, tries to standardize the prose poem, with rigid patterns that may stagnate the poet’s mind, so it no longer expects excellence, and accepts mediocre: giving it boundaries and hurdles to crossover.
On the other hand, that does not give a licence for the poet to be sloppy in form, and to accept the middle-of-the-road (what we write and what the reader reads, goes into the mind and we are responsible for that, so let’s not put in garbage, or something putrid that causes a meltdown for a younger mind). The reader wants elegance and this is part of the poet’s job.


Dennis L. Siluk (Poet)
Written 8-27-2011

Article (8-282011)