Monday, February 14, 2011

How to spell 'Melancholy'

by E. Wong Martin
for Mitsiku



Our lesson for today is about happiness
and how one writes it with a capital letter,
perhaps bold, or do you prefer
italics? The principal says
that it may be found among the piles
of unread books, or the mouldy sandwiches
from the canteen. Now we will give you
ten seconds
and ten years to spell it correctly,
and when in doubt, you may consult
our school janitor—just please do not insult
him on how he always stinks of beer
because it is not alcohol you smell
but the long years of sweeping,
and waiting, and weeping, and cleaning off
semen or dried tears on the floor.
You are not required to turn
to your science books, as they don’t yet
have a theory on fireworks and sex,
or forgiveness
and loss. But when you say
‘one,’ it means ‘two-halves’—simple
as that, really. Do not tell anybody,
but math is the secret spouse
of grammar. Probability (or is it
statistics?) has it:
One day, someday,
you can write it again, perhaps faster,
perhaps with bigger letters, perhaps
in Bisaya or French, or even sign
language.
Remember, left or right
hand, it doesn’t matter, for as long
as you have an eraser ready.
Remember, wrong or right,
we do not deduct points for as long
as you do not cheat.
Do not put any period, too—
now this is very important in all writing.
Most of all, when you do,
close your eyes, but keep
that thing in your chest open…
now what’s that called again?

.

Saturday, February 12, 2011

Joni Mitchell's "A Case of You"



You're in my blood like holy wine
You taste so bitter and so sweet
Oh I could drink a case of you
And I would still be on my feet
.

Friday, February 11, 2011

The Village (II)

by E. Wong Martin



And just like that, without any need
for laborious introductions, the hands
of time shake the hands—or what
could be considered hands—of the village’s
two escaped livestock, both beauteous
and precious—goats, or are they sheep?
They are too gorgeous to be called goats,
and their sheepish smiles are so lovely
you will not need to drink milk
in the morning. But now, only one
of them relishes this nocturnal
freedom, as if the other is just waiting
for a scapegoat in the farm. One eats
grass, while the other just sniffs it.

The happy sheep quips: I could eat
this grass forever! But the other sheep—
not happy, but not sad either—
does not recognise the words,
despite being the smartest sheep
in the village. The happy sheep,
despite not being the smartest,
is not stupid either. So he stops
chewing and lays himself beside
the other. The sky is too starry

for them to worry about snoring,
but the happy one knows this much:
when dawn breaks, the lamb
of some god will take away
the sins of the village, and only one
of them furry fugitives will be
pardoned. So while the night
is young and their flesh warm,
the happy sheep gets up slowly,
stares at his partner in crime,
and before running off, he licks
the other’s cheek and says:
this is the taste of sweet grass.

_______________________________________
Artwork: "Two Sheep Under a Mountain" (1988, Thorfinnur Sigurgeirsson)
Read also: "The Village"

Thursday, February 10, 2011

Prayer

by E. Wong



On the day that the cottony clouds in the sky
were actually made of cotton, I saw a grasshopper
looking up, not at me, but to his god above,
perhaps my God, too, there, in the city’s final
green field, staring at the heavens in a regal
posture, and at that moment I thought he was
not the usual crickety creature—my prey—
but a mantis, that bizarre insect bestowed
with the licence for supplication, and so
I told him without hesitation, Hey, Mister,
would you be so kind and pray for me?

‘And what would you like me to pray about,
dear lady?’ the little insect enquired in his ancient
voice. I would certainly hope that it rains today,
so that this heaviness upon me may be washed
away. He shook his tiny head, ‘it cannot be prayed
for as today the clouds are made of cotton.’
He said god, or God, has not yet invented
cotton rain. But it is not a lovely day, I retorted,
despite all those cottony clouds above. I pleaded:

I need rain! ‘It cannot be done,’ the old grasshopper
insisted. ‘It’s a beautiful day, just as when you first
hopped past these grasslands a hundred years ago.’
I started to cry, but without tears, as the sun
was too bright and intimidating in the sky.
Then in my frail frog voice: Can you pray then
on my behalf for the sun to bleed today so the world
can bathe in red with me? But the insect made

no further rebuttal; instead, he chewed on the green
and turned his back towards me, jointed. I jumped off
in defeat towards the core of the city, broken.
But in my deep frog hunger, I leaped back to eat
the insect’s head. But the old praying imposter
had hopped away before I could catch him.


.

Wednesday, February 9, 2011

Damien Rice's "Elephant"



This has got to die
This has got to stop
This has got to lie down
With someone else on top
.

Saturday, February 5, 2011

Hands

by E. Wong Martin



Big
Are my hands
Sturdy as a farmer’s
Precise as a surgeon’s
Flexible yet controlled—

Perfect for driving you home,
or where you want to be
But tonight, sweet stranger,
Would you please drive me
Crazy?

Long
Are my fingers
Deft as an artisan’s
Swift as a plumber’s
They’re sharp yet graceful—

Perfect for a Russian ballet
Or late night Thai massage
My fingers like exploring, too:
Could I possibly make a map
Of you?

Wide
Are my palms
On which can perfectly fit
A burger, or credit card,
An apple, your heart…

My palms, my fingers,
They are all yours now
As I wish yours are mine
Is it okay if I hold your hand
Just for a time?

_____________________________________
Artwork: "Holding Hands" by Angela D. Mathew

Thursday, February 3, 2011

Time

by E. Wong Martin



(1) There was once a story that starts with something like once upon a time.
(2) But I’ve forgotten what comes next…
(3) There are too many once upon a time’s, that’s why.
(4) Or too many princes and princesses. And knights-in-shining-armour and damsels-in-distress.
(5) One of these days, they should all meet up and drink all night until they couldn’t recall anymore who their destined partners were.
(6) There are too many storytellers, too. I am not one of them.
(7) Storytellers are liars. I am not one of them.
(8) They always have ulterior motives beyond the glorification of fiction.
(9) Or fictionalisation of glory.
(10) Storytellers don’t always tell stories about others; sometimes it's about themselves. This is not one of them.
(11) There was once an old woman who lived in a brick tower who had never heard of any of those storytellers’ stories.
(12) Well, okay, let’s say that she had been told just one single tale.

(13) This particular story tells of a young soldier who has won countless battles for his mighty king.
(14) Well, let’s say that the woman was one hundred years old. But she didn’t know it because there was no calendar in the tower, only a clock that had been ticking for a hundred years as well.
(15) Because she was very old, she couldn’t remember the exact tale. Her memory so muddled, she owned the story as about herself.
(16) One of these days, the young soldier would rescue her. But from what?
(17) The old woman thought again, she had lived a whole century just fine, so what on earth would the young soldier save her from?
(18) In the recesses of her mind, she discovered an ancient word: loneliness.
(19) One of these days, she said to herself.
(20) But the days had already turned into months. Years. Decades.
(21) She fumbled that part between her wrinkled breasts, the place that, as far as she could remember, held her heart inside. Where are you, my sweet soldier?
(22) I have been waiting too long, she cried.
(23) With what remains of her strength, she grabbed the clock off the wall and threw it out the window.
(00) The tower was too high for her to hear it break.

.
_______________________________________
Artwork: "Dein Aschenes Haar Sulamit," (1981, Anselm Kiefer)

Wednesday, February 2, 2011

Decaf

by E. Wong Martin



You are such a sad drink,
my hot friend decaf, why
did you let them take

your soul just like that?
Now you do not taste as sincere
or sensual; do you even hear

the protestations of the cup?
You may have earned some
finesse, but baby, you reek

of false bitterness! Swirl
with as much sugar as you can,
but never will you ever be sweet

again. So now, sleep, forever
if you want, I'd rather stay up
with my chocolatey friend.
.

Monday, January 31, 2011

The Village (I)

by E. Wong



The village slumbers in anticipation,
without malice but full of lust, awaiting
the onslaught of desires—dams
need to unload their waters, jungles

must shed off dead leaves: Dream,
you sleeper, as your sleep begins.

The elders wouldn’t concur, but the shade
of poison trees feels like home, doesn’t it?
And would it be too much for one night
to be weaving tapestry that might as well
serve as blanket over feverish bodies?

Now, you may not need to consider
exchanging your sly wakefulness
for the furtive wisdom of the village
idiot. But you must envy him,
nonetheless, as on nights like this,
he is happier than everyone else.

This is not the time to think about drought,
you curious cat, for the dogs are friendly
tonight, as all the members of the Kingdom.
Matriarch also lost her knife in the kitchen,
and so for now, and just for now, your tongue
may speak of any profanity it wishes to tell

the ears, neck, breasts, and other distant
relatives. You may not have enough time,
but you can always say ‘I’ll be sailing off
in an hour,’ yet stay docked in this town
until all drowns in your gentle hands.

The village resists the rising of the light,
but the sun has its age-old job to do.
Won’t you shine a while longer, O shadow
safely obscure in the night? Yet the day

does not forget the dusk: Sleep,
you dreamer, while your dream lasts.


_________________________________________
Artwork: "The Starry Night" (1889, Vincent van Gogh)

Thursday, January 27, 2011

Belle and Sebastian's "Funny Little Frog"



*Para Kay B(arbie)