Wednesday, May 23, 2012


To love you is to burn myself
Not just in words
But with fire from a dying stove
Trace a line of aftershave
On my wrist
Hoping to scar the places where
You love me the most.


I have often wondered how your moans would sound
Neglected after many years of my heart breaking indifference
A quick shove of despair between your swollen thighs
Or nights spent in vain confessing my adolescent lies.

I wonder, would the moans of love and despair be different?
Or would they also, like our bodies, face different sides?

Your moans at night are heard across the deep black skies,
They reach my ears, they question my lies
You lie in your bed covered in blood
Ovulating, pulsating;
And all I do is write dark stained free verse lines. 

Wednesday, May 16, 2012

Promises Foretold

I want to find the scars you hide
The ones on your body,
The ones inside.

Embrace me for a day or two
Whisper love in your ears
Hold my hand tightly
And I'll fight your fears.

I am mistaken for a man of words
My actions are mostly mum
Patience my loveliest
Your lover shall come.

Tuesday, May 15, 2012

White Floor

My house is tired of my being
My everyday rants, broken lines of ants
And I lie on the white of the marble
Scattered everywhere, everyday
Licking it bereft of dust, of color
Thinking of it as your white bare body.
My tongue drags on and on
Splintered with lies, both black and white
Leaving behind the trail of red
On a passage of pure white,
And like an artist possessed by love
I paint the floor pure red, the red of my
Heart, the red from your body, into
The white sands of my house.

Monday, May 14, 2012

A Study In The Life Of An Artist: Critical Perspectives From Marginalized Voices

There exists almost no distinction between critical postmodern art and the emergence of the neo-proletariat ideals that have begun to (re)populate the world in small measures. Both work on the singular premise of dismantling existing structures of form and power by subtle rearrangements in societal plateaus. For instance, we can observe non-linear ideological shifts in the way the West is engaging itself with the rest of the global community compared to the half a century back when capitalism as a tool of coercion had gained incredible universal momentum. Art and resistance evolve in similar ways, and share a common ground when to comes to (de) idealogizing the present. That is what art truly represents, resistance/persistence, and the Artist becomes the first and final martyr in the entire process. The Artist which indulges in postmodern art also willingly/unwillingly engages with the war of the neo-proletariat. Power is what the Artist despises and what he ironically comes to use when the dismantling of structures begins. Unlike a mythical context of literature or art, the Artist employs present day tools to create an alternate universe of possibilities, which in turn aims to depopulate the present world of stagnant ideas. This circle of reluctant but inevitable martyrdom repeats itself universally in both time and space. What is interesting to note is the demystifying effect of critical postmodern art on present day power mongers. I do not argue about the absolute possibility of artistic utopia but rather the changing nature of the Artist in today's time and age. An artist whose work I'm intimately familiar with argues that it is not possible to reconcile the difference between a falsified grandiose history and present day post critical nuances of art. A painting cannot be traditional when it comes to form and progressive when it comes to the object simultaneously, it must choose either of the two. Cubism and Dadaism were two such defined centers of artistic gravity, both existed only to inspire and recreate the circular representation of artistic utopia. But neither one of them 'began' with such specific goals, like most movements captured in homogenized nomenclature, these two were also results of pedantic and pedagogic classifications.

fig. 1. Roger Brown. Talk Show Addicts, 1993. Etching and aquatint, 22 1/4 x 29 ¾ in.
(Courtesy of the School of the Art Institute of Chicago)

In the above picture, 'Talk Show Addicts' by Roger Brown, there is a frightening yet prophetic view of urban degeneration via the medium of television. Proximity among neighbors is only possible through a medium controlled by a select few. The dystopia of the Artist is the utopia of the Capitalist. The Artist of today's age has been entrusted with the humongous task of (re) creating 'Art' in a controlled environment of 'mass media', herein lies the ultimate contradiction, for the medium is both the 'enemy' and the 'tool'. This negotiation of being mesmerized and being disillusioned comes at a mental toll for the Artist whose purpose is validated by the very presence of what it seeks to 'destroy'. The products of coercive ideologies such as capitalism are puppets in response to an artistic vision that seeks universal fulfillment. The Marxist philosophy of socialist possibilities is mere lip service to any individual who seeks institutionalized anarchy, another contradiction that the Artist must deal with in order to create parallel self flagellating universes.