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@sylvia-de-silva

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It.
"Trauma"
is the word.
T
r
a
u
m
a.
Six.
little letters
–ripped–
from the page
safe
and secret
on my lap.
The Story
.....searches.....
—puzzled
...where did—
it
go?
...huh
Well.
Must not matter then.
paper flowers
hide in my hand
quiet.
b
l
e
e
e
e
d
i
n
g.
Dust if you must, by Rose Milligan (September 1998)
Dust if you must, but wouldn't it be better
To paint a picture, or write a letter,
Bake a cake, or plant a seed;
Ponder the difference between want and need?
Dust if you must, but there's not much time,
With rivers to swim, and mountains to climb;
Music to hear, and books to read;
Friends to cherish, and life to lead.
Dust if you must, but the world's out there
With the sun in your eyes, and the wind in your hair;
A flutter of snow, a shower of rain,
This day will not come around again.
Dust if you must, but bear in mind,
Old age will come and it's not kind.
And when you go (and go you must)
You, yourself, will make more dust.
i will never stop thinking about this poem my greek professor showed us
Carlo Michelstaedter, Persuasion and Rhetoric

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— eternaldroplets on X
— @jadedmaule *
— author unknown
— @endlessnamelesseternity
— deadmortty on Instagram**
— Norwegian Wood, Haruki Murakami
— @heavensghost on Tumblr **
— When Love Arrives, Sarah and Phil Kay
— Ghinaraihanah on Medium
— Bianca Sparacino
— moonmusing.s on Instagram
— Aristos: The Musical, Muse Lee
— Your Native Land, Your Life, Adrienne Rich
*post not found
**source uncertain
they told me my job description but i think i’ve got it wrong. they said i was supposed to man the lighthouse and save lost ships from going down. but every time i saw the ships i forgot about the light. i dove headfirst into the sea and swam to save their life. i drowned us both in the process; the ships never found the shore. i ended up helping less when i meant to be helping more. i think when they told me to save people with my light, i mistook their words and tried to save people with my life. i know i should have turned the light on, i know i should have taken their advice, but i don’t know what love is if it is not sacrifice.
— Climate, Whitney Hanson
Your Halcyon Gold Is Piss
Stop telling me stories
of your Good Old Days
that weren't like this.
They weren't like this
for you, and those others like you.
But the small folk, women
of small houses, children
without shoes,
the human press,
crowding on the margins
of newspapers,
and portraits,
forever out of frame,
their days were the same
As the Now Days,
the Young Days.
When you have nothing,
time is just a procession;
You cannot substract
from zero.
Evil is not new. Nor rot
and ravage.
They are not young,
not transplanted
with coffee bushes
or rolled out with
the new generation
of smartphones.
It is old.
Old as you.
Old as your father,
and every ancestor
however illustrious
that dropped from your tree
to rot and mulch and fertilize
its roots.
They illustrate nothing.
Not the cracks
from old earthquakes
and faultlines that ran
unhealed,
widened and rumbled
beneath their marble floors.
Not the earth
that ate their acres
of noxious leaves
to bud poison-tipped lotuses
they admired in lilting songs.
Not the scores of lean-ribbed
labourers that brought them
tea clutched in shrivelled,
sun-scorched, hands
like bones.
Your mother's pearl strings
tied a noose
around your grandson's neck.
Your grandfather's cane
still bears down on the back
of an old estate man;
a thousand tractors
make him no less a bullock
yoked to your cart.
The sepia of your photographs
fade the colours of burning huts,
bigoted bile and blood-
-soaked machetes
and silences their screams.
Don't tell me about
The Good Old Days
when you pissed and defecated
in the corners of your house.
Turns out, the gutter
eventually overflows;
it is not our fault we all now
have hi-definition video.
But we know colour
existed before pictures,
and so did the reek
without your records.
There will always be enough
and more who remember
and lie in wait
for the dogs
to have their Day.
Good Friday, 1975 // Richard de Zoysa
Hot wind, humming through the trees Stirring up the red dust, making sluggish ripples On the surface of the stagnant pools Peace, be still We who would recapture the agony Of the blood that flowed in the desert And seek the answers to our questions Bid you hold your peace. The blood flows murmuring, congeals, turning black upon the purpling flesh. Petrified, great trees halted by the march of time, blasted by the fierce lightning, the three crosses stand against the sun. Three naked broken bodies, three little Jews set out in a row to dry, sag, taut arms bearing the bundles of screaming flesh and nerves. The soldiers stand; men of steel and rawhide, forcing hoarse laughter from parched throats, pouring rancid wine into churning bellies and eyeing the crowd uneasily. Oh my people, what have I done to thee? Sullen-eyed, they wait. You cannot blame us, they tell posterity. We are justice, dreadful, implacable, terrible in our righteousness. Shout it down the generations! In accord with our consciences, we acted - How to know, how to foresee the multiplication, the spread, more inexorable than themselves, of my following? Oh my people, what will I do to thee? In London and in Leipzig, Warsaw and Vienna, Charred flesh, smoking ruins, stones, water, fire and Adolf my boy, well done thou good and faithful servant ………… The flies are everywhere. The collapse of bowels and the blood brings them, and they stay Their buzzing soporofic and soothing, the clammy touch of their feet failing to evoke a twitch from the splitting skin And the baking afternoon grinds on. Father, forgive them, for I will never. Later, in the cool of the tomb, with the dirt and the sweat and the blood washed off, cooled with myrrh, wrapped in linen and darkness there will be time to think. Time to forgive or time to plan. There will be weeping in Rama. Rachel mourning for her children. Oh God, save these thy people. Eli, Eli ………… Hear, O Israel. It is finished Selah. It is begun. You have asked the questions You have had your answers Go forth into the world And hum, hot wind, again.
Alice Te Punga Somerville, Always Italicise: How to Write While Colonised - Kupu rere kē
[ID: A poem titled: Kupu rere kē. [in italics] My friend was advised to italicise all the foreign words in her poems. This advice came from a well-meaning woman with NZ poetry on her business card and an English accent in her mouth. I have been thinking about this advice. The convention of italicising words from other languages clarifies that some words are imported: it ensures readers can tell the difference between a foreign language and the language of home. I have been thinking about this advice. Marking the foreign words is also a kindness: every potential reader is reassured that although you’re expected to understand the rest of the text, it’s fine to consult a dictionary or native speaker for help with the italics. I have been thinking about this advice. Because I am a contrary person, at first I was outraged — but after a while I could see she had a point: when the foreign words are camouflaged in plain type you can forget how they came to be there, out of place, in the first place. I have been thinking about this advice and I have decided to follow it. Now all of my readers will be able to remember which words truly belong in -[end italics]- Aotearoa -[italics]- and which do not.
Next image is the futurama meme: to shreds you say…]
(Image ID by @bisexualshakespeare)

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These times begin the ending of all lies the fantasies of seasons start and stop the circle leads to no surprise for death does not bewilder only life can kill can mystify can start and stop like flowers ripening a funeral like (people) holding hands across the knife that cuts the casket to an extraordinary size
June Jordan, Who Look at Me
Bianca Stone, from What Is Otherwise Infinite: Poems; “God Searches for God”
Jennifer Huang, from Return Flight; “Customs”

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I saw a man today
Clutching two little bundles in his arms
Screaming, howling,
rolling on the floor.
“Animal grief”
The world is a agape
hull blown apart
all the air rushed through—
You can't tell if
you're drowning or burning
when your lungs are on fire,
blood gurgling where your heart had been.
There is no surface
to break through, to wake up,
to stop.
you thrash in death throes
condemned to life.
"My darling, my darling, I am so sorry
I couldn't protect you
Dear God have mercy, have mercy
take me with you."
I wonder if He misses us
wherever He is.
Whether Heaven
is an orphanage.
whether we are one too.
Whether the world
can run out of air
if it gets blown up enough times
Whether we're all
supposed to keep going,
drowning and burning
a mass extinction event
where the animals pray
for the end.
“maybe we’re tired of tragedy maybe the world said: welcome home, it’ll be a beautiful ride. maybe the world lied, maybe the lifelines on your palms are no more than some ancient tragedy dragging its teeth on your skin like an animal that refuses to die no matter how many times you shoot it. maybe i’m applying lipstick in the front seat of my car and the leather smells like my friend rushing out to throw up. we are all rushing out to throw up because we live in a time of cataclysm, every day might be a new catastrophe. nuclear apocalypse is the new black and we are already putting shotguns in the trunks of our cars. you blow a breath of smoke and i want to know why everyone tells me that cigarettes are bad for my health when the sky over my hometown is no longer the blue my grandmother remembers, and why you think that i am destroying myself when the world is being destroyed and you just throw the leaflets away. we are not trying to kill ourselves here, we were just born exhausted, and i don’t see people in the streets, i see moving muscles and bones. we all want enough breathing room but our lungs would break apart if we got oxygen. there are people who have never even seen the stars and now you tell me that elon musk wants to launch us into space. to do what? to destroy, which is the ancient tragedy, which is the only thing we know how to do right. i weep for the stars and for the galaxies and for some passengers two centuries into the future, the child with curly hair pressing her nose to the shuttle window as Earth burns burns burns, the only legacy we ever left.”
— Nuclear apocalypse is the new black by Lana Rafaela