For Kundalini One to Three, click there.
Yes, of course I know I posted something else again tonight.
But I am also mindful of the fact that most of my subscribers discern. That’s my polite way of saying they are not interested in Katrina.
Some, likewise, are only interested in the Classified K stuff. That’s the ‘conspiracy theory’ hole, for those of you who didn’t know.
Then there are the spec fic fans who may be liking my Katy stories but may be a little indifferent to poetry.
But you know, all of you, I don’t mind. Honestly. I don’t.
Different people have different tastes and the thing you will have noticed about me by now, I am sure, is just how wildly and madly eclectic I am. Most people aren’t.
Most people are not like me, for which they should be fortunate!
Like I said, they discern.
But it is true that I am grateful to each and every one of you.
But hey, this is why I can post more than one thing at a time, knowing full well that most will simply ignore this or that and focus on what they love of me. Which alter, that is.
Well, here we are with my poetry alter.
This is my Kundalini, poems four, five, and six.
The more I read them, the better they get.
So if you don’t click the like button, let alone comment or share, I shall not be offended, or unhappy. Because only I know how much I love them.
Of course, for sure, it would be lovely if others did too, but in the end, when it comes to real poetry, it doesn’t really matter.
I think that’s something which readers of poetry and critics of poetry and literature students and all the rest of them don’t truly understand.
From the poet’s point of view, it doesn’t matter what you think.
What does matter, though, is love.
In the end, that’s the only thing that ever matters.
So here is Kundalini, poems four to six.
Without comment.
Ah - again, the titles in [ brackets ] are the alt.titles as given in the table of contents in my original format - see the intro to Kundalini One to Three for further info, as it were. Intriguingly, I have decided to think more about the alt.titles for the Great Image Generator.
With a little creative license, you know.
[Gaia]
Sanctity Earth
Foul up your frenzied life With loving hands Can do no wrong And left your bearings in a specious frame of mind You sometime scare me scratching Walls of my time Scrying straight at me in your frame of criminal minding Bury those rats you’re some bachelor cave All caged up and frightened, envisioned and lasting Into new aeons, casting sorcerous words and cravings, It’s so simple this way We get ourselves lost and forgetting When we dreaming fall Into scorched out hysterical forced out worlds As we orbit and monitor, Greet our speckled friends and laugh like lizards For none of them can ever be Arbiters of our drastic arrangements Or ever cause our faltering course to terminus. Proxima is vague – she laughs And courses through our vanity, Rains down upon us And scars our veins Like dragons fly. Painful sanity. Hearts and I know harsher sounds, Buttresses and boundary stones. But not in this life.
[Christianity, derailed]
In your village country house, honey
I am not alone. In thinking this way I feel Sensitive and open, Wounded. Stop the pealing bells And the sharpness, my mind etched Into my heart, my heart Etched into mind, and far reaching, As if I can tell when you are listening. Across the days I run, Bridge the gaps unseen, You and I are single now And few and far between. I am suffering, when life Slows down, catches a trail And the train screeches its own end And it is me. I am etched in the landscape As if an ancient wind, an atavist, eroder of monuments, Of relics, a relic. Petrified circle. Screaming. Across these streams and incense, On fire, a fly, stuck magnified and caught In glass, and sun as time seems slow and I, All eyes and feelers, driven under ground For sensing your atmosphere far Too much, for me it is a comfort, This knowing zone, For you a scar. Insensitive touch. As something crawls across your field you take flight, You feel the whiteness in your engine eyes A vision etched in time’s throes, these purring thighs, these reproducing hills With their festering wholesome scrags and scrying sex And sex and secrets and sex. Lies. Little swimming things, sea horses, I see it in your garden house Every naked night. In the country. In the insight. And in the killing jar there, is honey.
[Octopus]
Octopus
All this philosophy I spout I am black And you see Will I ever change or be a turret And trust A light that revolves And never goes out And you will follow but not I give up sometimes When others die In their mind And understanding Is it strange? Some see differently These things inside My mind being samely And changed as if Again the same words But none respond as if None are me. So I am a lighthouse lonely And pretending Waiting for the sea And the cliff to drown And fall, Upside down and into the waters And all these other thoughts They crave you, they crave you Some magick man in some winsome cave There are my eyes, fall into them again. I substance am no more, When you are gone, changeling, A personality who lost to self is unsure And dead and deathly clinging Youth, to youth, like a walk along cliffs That never stops, as gulls swoop And scream and dive As you I mean you your soul dives and swoops Like a submarine in a wartime harbour unfathomed Unfinished and uncertain, some comfort now And now that you are decided, and I am none, Not gone, please you nothing I know We feel, perhaps the same. Fishes in these strange moments, when I glimpse this lost sight of the lost you, I recover these feelers, these eyes, These desires and as you wishes, You know they seek only you. Only yours.
There will be more. Of course you don’t need to listen! Of course you don’t!
But when there is, there shall a link be also.
These are very evocative. They all speak to me of a difficult love affair or a foundering damaging relationship. perhaps I am wrong. The references to caves, trapped things... speak to me of sex imbalance and frustration the references of the sea speak to me of hopelessness and wishes for resolution and pain to be gone.
I like the fleeting asymmetric rhyming that appears here and there, hinting at structure and meter but which the absence of punctuation and jarring grammar never quite lets take hold if the poem and the reader... leaving lines with several possible meanings.