Three is a war

Recently, I have become a member of Global Poets. Here is my latest posting to this site: http://globalpoets.org/community/Embellish4art

(You need to click the image twice to read the poem without distortion.)

Blind's Eye

'Blind's Eye' is work created after experiencing temporary blindness in my right eye. The work below is the feeling of sight impairment. The work to the right is the affect of that temporary condition - sight has been restored, more or less.

Muse

You are the grit

in my oyster.

You cause ideas

to Pearl.

Some things that influence me during my formative years...

Formative Years

Birth – Born 5 August after 6 extra weeks gestation, with umbilical cord wrapped around my neck, by Cesarean section; bottle fed with Carnation evaporated milk.

Age 1– Father, aged 32, decapitated when exiting vehicle in a snowstorm at a railway crossing, when confronted by an oncoming train; played in playpen made from wood planks, large enough for an adult to recline in.

Age 2– Daycare provided by grandparents, Icelandic settlers to the Interlake that did not speak English; became bilingual, learned to write with pen and ink – first letter: T.

Age 3 – Companion to my grandfather while planting the garden with potato pieces, sharpening tools in barn, drinking with buddies – was the camouflage to prevent discourse/reprimand on evils of drink by grandmother, singer of sagas; mother remarried.

Age 4 – Moved to small village of 600 people into a white, rented house; played in coal bin – fuel for house. Sister born prematurely; we started being cared for by a Polish nanny. Went to kindergarten, learnt about and delighted in using hands in flour paste to make art. Friends with first love, Ernie.

Age 5 – Moved to newly built house on river in same village; boated in container for mixing plaster on flooded fields. Saw Rodin at Winnipeg Art Gallery, and escorted from premises when found stroking statue’s penis; started making forts in river willows. Fed my sister black chalk, to see what would happen, and waited.

Age 6 – Witnessed step-father, planner, (vodka) and grandfather, builder, (rum) reciting poetry while playing chess, each intoxicated; observer of project development and completion: landscaping, breezeway, interior waterfall, plant conservatory. Saw first movie – ‘Swiss Family Robinson’, with mother - cost: 25 cents; started piano lessons. Constantly ill with 'childhood diseases - mumps, measles, rubella, whooping cough; read Nancy Drew books and learned to love to colour with Crayola crayons.

Age 7 – Spent school year with teacher that was cruel; spent many hours at principal’s office after being ‘strapped’. Grandparents were care givers during holidays when parents went on exotic holidays; given loose change to placate spirit. Learned to skate, and participated in winter carnivals with hair coiffed with rags into ringlets – got first ‘Barbie’, a clone – Oleg Cassini doll. Witnessed mother’s desolation after after death of 4th child, a brother who died hours after birth – saved from immediate death by breathing device designed and employed by step-father.

Age 8 – Was tortured in school with yardstick smacks, writing ‘lines’ and holding encyclopedias with arms outstretched - always had name in ‘black book’; “Strapping” was abolished; watched grandfather save house during brush fire. Played in mountain of sand dropped on neighbour’s yard. Watched mother ‘Roto-till’ and plant garden, feed it fertilizer; watched kingfishers and sandpipers on the riverbed flats; crossed footbridge over river. Drew murals of the Amazon.

Age 9 – Grandfather died of tetanus after amputating toe in lawnmower (he laughed walking to the hospital across the lawn for treatment) – nurse did not administer tetanus shot; grandmother sold house and moved to apartment above a store; started organ and ballet lessons; saved from step-father’s belt beatings at home by dog, an overweight golden lab named Bunsy; started to be administered Dial soap after swearing at parents.

Aged 10 – Learned to love science. Wanted to be a nuclear physicist; bought taxidermy animals from teacher. Won public speaking prize; won 4-H photography demonstration prize. Learned to volunteer through mother’s activities – Women’s Hospital Auxiliary, School Board trustee. Caught on fire while burning garbage in the incinerator – rolled to stifle fire. Began to cut grass for 3 hours a day every summer on a Toro sit-down mower.

Age 11 – Suffered loss of hearing from multiple ear infections while learning to swim off docks where boats dumped raw sewage. Wrote poems on top of parents’ roof, at the riverside while sitting on concrete slaps that were dumped to prevent flooding of the river – trees along the embankment had been removed to ‘beautify’ the village. Wrote a poem for the teacher at the end of school – he cried.

Answering my own questions - some...

I realized at least one archetype is dominant in each figure.

Some figures can be construed to reveal more than one archetype...
The spiral in the central configuration is an archetypal symbol...

The shapes that each figure is composed of are abstracted primal symbols – triangular, circular and square.

• 
  

Some hieroglyphics, pictograms, marks representing sacred iconography are in the lines of the figures.

“Archetypes provide the deep structure for human motivation and meaning. When we encounter them in art, literature, sacred texts, advertising—or in individuals or groups—they evoke deep feeling within us.
These imprints, which are hardwired in our psyches, were projected outward by the ancients onto images of gods and goddesses.
Plato disconnected these from religion, seeing them in philosophical terms as "elemental forms."
Twentieth-century psychiatrist C.G. Jung called them archetypes.”

'The Fan Blade is often an archetype reflecting rotating, spinning movement through consciousness, time and dimension. "

Afterthoughts - 'Congregation'

In my opinion, artists create self portraits, no matter what the original intention – the outcome of the work reveals self. Try as we might, we reveal our identity, our uniqueness, a signature of our soul. This is how I view one aspect of my recent installation. I did not consciously set out to do this. Once the work was presented, I was struck by several levels of interpretation the work may be subject to or clarification the sculpture would explain, and especially, how it revealed who I am and how I think of myself.

First I realized at least one archetype was dominant in each figure. Some figures could be construed to reveal more than one archetype – or if I think about it some more, maybe more than two... Even the spiral in the central configuration was an archetypal symbol... And further, the shapes that each figure was composed of were abstracted primal symbols – triangular, circular and square. I even began to see some hieroglyphics, pictograms, marks representing sacred iconography in the lines of the figures.

After digesting that revelation, I realized I was describing life stages. Simplification of life stages - but surely they were there. And more, the stages were equal to the next, none more prominent, as if there was a balance. Each was interconnected with the other, and each was blatantly important as the next. –Interestingly, I did not order them sequentially. What did that mean?

Now my questions for myself...

1. So what does this say about me, how does it portray my character, my personality?



2. Why did I call the work Congregation, when none of the figures actually meet? Why do the figures only connect by the spiral, the whirling...?
   
   

Then I need to understand and explain the shrouding, the emptiness within the figures, the broken fragility of the sculpture, the facelessness.

So what does this say about me, how does it portray my character, my personality?

1. Why did I call the work Congregation, when none of the figures actually meet? Why do the figures only connect by the spiral, the whirling...?
   
   
2. Then I need to understand and explain the shrouding, the emptiness within the figures, the broken fragility of the sculpture, the facelessness.



3. And finally, the cluster of apple branches placed in the middle of the spiral centre must be clarified, which can be described as the only congregated gathering of any kind in this show.
   
   
   
   
   

Kazakhstan Exhibition

Please check out my Flickr account for more photos...

Here is the installation of "Congregation".

ARTIST STATEMENT

30 October – 1 December 2008

National Museum of Art, Almaty, Kazakhstan.

Title: Congregation

This exhibition will be comprised of 5 over life sized abstracted human forms depicting the monumentality of human alliance and our large capacity for responsiveness to each other. This work will be displayed on the 2nd floor, Gallery 11, A. Kasteev State Museum of Arts on 30 October – 1 December 2006. Congregation is inspired by the momentous Kazakhstan historical works displayed in the gallery. More, as the work depicts people convening, the sculpture is about gathering – an assembly of people, a collection of perspectives, exchange.

Canadians are known as travellers. We explore our own nation and love to visit other countries. Kazakhstan has a history of nomadic existence, and some citizens describe themselves as part of a nomadic culture. Whether on a customary journey or because of a particular adventure, meeting new, companionable people is a wonderful opportunity to impart stories, commune, and interconnect. This work will show how amity and fellowship is universal, and how the act of congregating with each other enlarges each person, our communities, and our dimensionality.

New Residency

Just waiting for my Visa to Kazakhstan...


View Larger Map

New residency, new thoughts and feelings to aquire, new work to be done... New show to produce... new friend to make. ADVENTURE!

The Word of the Day:

peregrination \pehr-uh-gruh-NAY-shun\, noun:
A traveling from place to place; a wandering.

Peregrination comes from Latin peregrinatio, from peregrinari, "to stay or travel in foreign countries," from peregre, "in a foreign country, abroad," from per, "through" + ager, "land."

http://dictionary.reference.com/wordoftheday/archive/2008/08/26.html

Past Reviews - Some Published - Some Not

Hello readers of Embellish4art blog.

I have decided to post some of my art criticism - some articles were kindly published, others live here only. The published reviews' publishers are noted. All work is copywrite protected. If you want to use anything, please write me first for permission: d_alanna@yahoo.ca
If you would like to refer to them, kindly post my URL in your work. Thank you.

Debora Alanna.



The National Gallery of Modern Art (NGMA) Sculpture Retrospective 1996
Published in Asian Sculpture News 1996, Editor – Ian Findlay-Brown. http://www.iht.com/articles/1995/06/26/magcon.php
http://www.worldsculpturenews.net/


By Debora K-M (aka Debora Alanna/ Miss Debora)


PLEASE NOTE: The links below seldom refer to the specific work described in this review.


The National Gallery of Modern Art (NGMA) http://www.ngmaindia.gov.in/about_ngma.asp invited Latikat Katt http://www.dosco.org/news/2006/02/lalita_katt_holds_art_exhibiti.html#more , professor at the Jamia Millia Islamia University Jamia Nagar, New Delhi to curate an ambitious show of sculpture with work from the HGMA dating from 1833 to the present. The exhibition has revealed an extensive sculpture collection. The last comprehensive sculpture show the NGMA presented was in 1953 when the museum was inaugurated. Professor Katt, an instructor at the Jamil University successfully shows she understands the importance of revitalizing the public’s awareness of its modern sculptural heritage.


Intrinsically steeped in tradition, the consistent theme of this show as revealed in the sculpture is the artists’ experience that they are part of society that can draw from tradition but also must create something new for the world. This show is an overview of work from the last 50 years, produced in various materials and genres. The artists evoke pride in the crafts of the past, traditional materials, as well as show an evolution of sensibilities that sculptors are concerned with this century.


There are some stars in this show.


Abanindranath Tagor carved Personage in wood in 1940. http://www.sciy.org/blog/_archives/2005/10/3/1275976.html His playful yet austere miniature is an icon that pays homage to the complexity of the Indian character.
The wistful harlequinade-like work called Musical Construction (’67) by Dhanraj Bhagat combines the understanding of an Indian musical heritage with that of the experimentation of the 60’s international analytical musical musings.
http://www.hinduonnet.com/fline/fl1422/14220980.htm


Balbir Singh Katt’s (’67) piece When Man and Woman Perverted from His Glory (wood and stone) is the first work in the collection that used two disparate materials. The strength of this juxtaposition indicates the lead given to the blunt inception of the idea of self consciousness. http://www.lalitkala.gov.in/golden_jubilee/arties/view_large.asp


Several sculptures in the show exemplify India’s concern with the animal world. The carved Animal by Nagi Patel (’74) attends to India’s devotional ancestry to the animal realm. In Memory of the Lost Cow by Rajinder Tikki (’91) is most poignant; it is a testament to the future of India.


The developmental change in social history is perceived by S.G. Vidya Saakar in Mgail (’89) where an ornamental metal tree supports a woman on a swing. The hands of the swinger are dismembered.


The Pink Marble by Ramesh Pateria is a vertically positioned stone that is gouged, sawn, worn – evident is the pain of technological penetration, the affects mechanism has on traditional material and philosophy of art practise. http://www.lalitkala.gov.in/golden_jubilee/arties/view_large.asp


1994 Emerging by Gyan Singh adeptly addresses the theme of autonomy. http://www.lalitkala.gov.in/golden_jubilee/arties/view_large.asp


Deity by J. Swarminathan elegantly and poetically discloses spiritual wisdom. http://ezinearticles.com/?The-Everlasting-Beauty-of-Sculptures&id=1229436


View Through Emotion (’95) explicitly orders the chaos that this emerging national character is experiencing. Mrigendra Pratap Singh, with objectivity and gentility puts a rational matrix on intense disorder. http://www.financialexpress.com/news/Art-Of-Our-Times-Cheaper-And-Better/102786/


Madan Lal’s untitled marble and Brij Mohan Sharma’s untitled work acknowledges the consistent Indian capacity for sensuality and exoticism.


Professor Katt’s vision of India’s contemporary sculptural astuteness is not only evident from work chosen from the NGMA but is revealed in her own work, also part of the collection. Growth (’80) signifies the struggle and frustration of independence from preconceptions is experience, a challenge to all artists of the 21st century. A stunning, wood and leather bound catalogue, designed by Professor Katt, accompanies this show.


I highly recommend this exhibition.
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1996 Thiruvananthapuram, India

Sculptor Aryanad Rajendram is a 35-year-old Thiruvananthapuram artist that has recently carved a meticulously realistic portrait of the father of Greek medicine, Herodotus for the Medical College of Thiruvananthapuram. He has an additional commission there to carve another portrait, which he has begun with a more geometric panache than the highly graphic Herodotus bust. The second work is organized with exactitude, the rectangularity is precise. Yet this diversion of style cannot prepare the viewer for Rajendram’s contribution to the group show at the Thiruvananthapuram Museum Auditorium this past November. The transformation, a sculpture titled We, Leaders and Money is 3 feet of green coloured plaster of Paris, and exorcized tirade on the artist’s relationship to those artists that have (the money).

The murky green of this piece is the colour of resent, of jealousy. The leaders are watchful of their bounty, ‘We’ are resentful of their spoils.

The colour of the work can also be interpreted as the raw greenness that the work also projects – the easily deceived, inexperienced public, the unprepared, culturally untrained politicians, the artist’s new practice of emoting.

‘We’ (that don’t have the money) are heads squashed by a hierarchy of totemically arranged leaders. The totem also extends to protrusions that effectively look like an orthodox crucifix. An upwards growth and extension of power of the leaders is an affliction to be borne.

A moneybag, larger than any head, balances on the contorted upper most head of the ‘leaders’. The features of the leaders become more gargoyle-like as they move up to the top. The head directly under the money is almost unrecognizable in its twisting out from human shape. Money is in their domain, high above ‘we’, and the weight of it distorts their vision, their intelligence. Justification has influenced and depressed the attributes the leaders once had.

The thrust of the manipulation of the contorted faces, the abandon of craft and precision for volatile expressiveness makes the viewer wonder whether the same sculptor produced the stone and the plasterwork. There is no dispute that he did. The question is, is the subject of the plaster the reason the stone sculpture does not render more exuberance? The stone carving is of the utmost sincerity, the control exercised is not ridged – the features are exquisite.

There is an obvious restraint in the artist’s stone output. He surges to embody his frustrations, such as those exhibited in We the Leaders and Money. For example, although the work visually describes the significance of money, poised at the top of the sculpture, the artists’ anger prohibits a consistent fluidity of spirit in his work. Yet knowing the sculpture this artist has previously executed, one can only applaud the vivacity he has allowed himself to display and hope the lively energy will extend to his carving endeavours.

We, Leaders and Money is currently on display at the Salyan Art Gallery, Thiruvananthapuram.

Slideshow of Work

http://www.flickr.com/photos/embellish4art/show/

Some Photos of Artwork on Flickr

http://www.flickr.com/photos/48600079099@N01/sets/

As He Lay Sleeping - Introduction

THis is a draft of a collection of poetry and stories I have written for the past 10 years.

As He Lay Sleeping
Introduction

Figuration dominates. A form of a human being shapes itself under the covers, reclining into dreams. There are times when a wink is a sigh, and feigning sleep when none is to be experienced becomes a ritual or habit, of life as a lie. A simple thing as pretending to be sleeping, yet remaining in repose anyway can dissolve away desire for life’s pleasures. Insomnia becomes a sleeping soul.

There are those that give us solace, and resistance to their power is futile. That comfort and acceptance will drive us to accept ourselves, believe in ourselves, and work miracles with our talents. Ignoring our gifts creates weight of frustrating circumstances. Lying to ourselves and to others covers our feelings of inadequacy. On-going deceit generates a need to doze, to lie down and sink into the console of a sofa or bed. The stories need consistency, plausibility, and especially, a degree of excitement to grab the listener, a story to convince the listener, which benefits the teller by releasing doubt. When these lies are told for years, the succour that was once found in a willing, kind believer is desecrated. Laying down a friendship to support a habit of deceit is a tragedy.

Here, is a tale, a story of transition and love, of worship chained to greed, and affection transformed. Questions are unanswerable, as the questions are vague transitory emotions that explode into events. The questioned becomes inventive in order to answer with élan, leading with a lie, preventing a truth from holding him, imprisoning him.

Somnambulist? No. The sleeper is conscious. But as he lay sleeping...

From there to here...

The last time I wrote here, I was struggling with producing a show. Now, having produced and exhibited 3 solo shows and been in one group show this year, I needed to decompress. Can Serrat is a residency near El Bruc, around 40 km from Barcelona. It seems to an ideal place to get reaquainted with myself, rest, and get spiritually centred. I feel that next year will be a gargantuan whirlwind of activity, although I have no idea why I say this.

Venice Show

23/10/2007 -

Canal – Ebb and Flow, is a sculpture installation at Associazione Culturale Spiazzi by Debora Alanna. The work is about a concept of passage, and the oscillation between waning energy and fluidity in uninterrupted movement of conscious and unconscious thought. Inspired by the wake from the vapporetti, and gondolas on the canals of Venice, the movement of the boats breaking the water‘s stillness, unrelenting, moving forward distorting surfaces; the water remains unchallenged. The canal holds all surface warps and entwining penetrations, and remains an unaffected system, a way to and from somewhere. Coming or going, the surface is thrust into undulating forms. The work is a steadfast concentration on forms that do not fluctuate, that are statuesque, in that they impose stillness upon the viewer, requiring concerted enquiry. There is no geography or architecture to give it reference. This work is about movement, but does not move. It is ceremonious as a meditative offering, discovering form and content, allowing the undulations of ebbs and flows to be still for sustained viewing. The canal is the emotional space that is created by the expectant forms that have optimistically emerged as sculpture. d_alanna@yahoo.caper saperne di più sul lavoro di Debora AlannaGli eventi sono organizzati in collaborazione con il Comune di Venezia – Assessorato alla Produzione Culturale/ Cultura e Spettaco Associazione Culturale Spiazzi Castello 386530122 Venezia infospiazzi@libero.itwww.spiazzi.info Tel. +39 041 5239711

Creating Quality of Being... d_alanna@yahoo.ca

Embellish4art Canal: Ebb and Flow
Exhibition of Sculpture Friday, 26th of October, 2007 6pm
Debora Alanna



Ass.ne Culturale Spiazzi, VeneziaCanal - Ebb and Flow - Canale - Flusso e Riflusso Istallazione dell‘artista canadese Debora Alanna nella corte interna di SpiazziDal 26 Ottobre al 21 Novembre - Vernissage venerdì 26 Ottobre alle 18.30Un’installazione dell’artista canadese Debora Alanna. Il lavoro esplora il concetto di passaggio, e l’oscillazione fra il descrescere dell’energia e la fluidità in un ininterrotto movimento fra pensiero conscio ed inconscio. Tutto prende ispirazione dalla scia che le barche lasciano sui canali veneziani, quel movimento che provoca una “rottura” nell’immobilità dell’acqua, che sposta e distorce la sua superficie; un’acqua che anche se provocata non accetta la sfida. Il canale trattiene tutto l’intreccio simile ad un ordito che vi si specchia mantenendo però la sua pura inalterabilità, una via per e da qualche parte. Da o verso la superficie viene spinta nella direzione delle forme ondulate.Il lavoro è una concentrazione costante di forme non fluttuanti, statuarie, in questo esse svelano a colui che le guarda nella loro immobilità.Non c’è alcun riferimento alla geografia o all’architettura. Questo è un lavoro sul movimento ma non si muove. E’ come se scaturisse da un’offerta cerimoniale, che scopre forma e contenuto e che permette alle ondulazioni del flusso e riflusso di placarsi davanti ad un intenso sguardo. Il canale può considerarsi lo spazio emozionale che si crea dalle speranzose forme che ottimisticamente emergono e diventano scultura.

Canal

This is some work in progress for my show at Spiazzi (Associazione Culturale Spiazzi) in Venice, Italy. It will likely take place on the 26th, a Friday. I am calling the work Canal - Ebb and Flow.

The reason for this title, besides the obvious geographical reference, is the concept of passage, and the oscillation between waning energy and fluidity in uninterrupted movement of conscious and unconscious thought. The wake from the vapporetti, the movement of the gondolas breaking the water's stillness, unrelenting, moving forward with surfaces changed, but the water remains unchallenged.

The canal contains all penetration, and remains a way to and from somewhere. Coming or going, the surface is thrust with undulating forms. This is where the inspiration for my series here comes from.

But this is more than living in Venice, and observing its functionality. The work demands a steadfast concentration on forms that do not fluctuate, that are statuesque, in that they impose upon the viewer, requiring concentrated evaluation. In the video barrage of contemporary culture, this act of concentrated viewing may be unfamiliar. There are no buildings to give it reference, such as the statues on cathedrals or cherubs on ceilingwork.

This work is about movement, but does not move. It is ceremonious as a meditative offering, discovering form and content, allowing the undulations of ebbs and flows to be still for sustained viewing.

http://www.thefreedictionary.com/canal

http://www.thefreedictionary.com/ebb

http://www.thefreedictionary.com/flow

Italy... Residency

The Venetian light was slow in appearing. Rain soaked bags up and down campos, after a ferry ride to Rialto, lugging heavy luggage up and down stairs, nearly into a canal, up narrow dead-ends and back over cobbled streets, finding 'Planet Bar', a rendezvous for the landlord... finally.


The 10 hours of travel from Casole d'Elsa

with 3 transfers prior to setting foot in this watery city proved to be eventful.

Trains changed platforms of departure continuously - while waiting for one train at #5 - it was changed to #3 and #1 within 15 minutes. One station - Pisa - had elevators. Florence, and the station on the mainland before Venice did not. Kind strangers felt inclined to assist with hoisting the heavy suitcases with me some of the time - up & down stairs, and onto and off trains, sometimes. Being a working artist, and carrying garments for 2-3 season and tools is a daunting journey, especially when there is any distance to be made en route to the destination.


The crisp autumnal air pervades, and sitting with an espresso dopio and vino rosso, there is some solace knowing where my designation is. After a 3 hr. search or the address, I found the gallery/residency/workspace, SPIAZZI.





Situated near Campo San Martino, at the end of a bridge on an estuary of a canal, it is an inauspicious doorway, signified by a fading print of its name on the side of the ancient door. The door number refers to a whole area of the Arsenale district.

Large felt curtains greet the visitor before entering the gallery.
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Sitting in a plaza opposite a naval museum, one cannot help wondering if the patio this cafe is situated on was reclaimed from the canal. Porticoes seem eroded by the former waterways. A water taxi passes under a re-articulated bridge made of wood and metal steps, easing to the plaza with rounded stone steps. Cafe dwellers shoe away the birds, which seem to b uninhibited enough to light on tables and would perch on glasses, if allowed. Vegetation is scarce in Venice. A sad tree, some pots of flowers is all that is seen of any natural foliage, and habitation for the flying creatures.

Corroded and encrusted doorways, the smell of stagnation, giant lions and shlepers of boxes, creates, pictures and bags jostle between tourists hoisting cameras and knapsacks.

A parade of people looking upward - onward, staring unabashedly, drinking in history - the marvel that this place exists at all - and I am one of these.

Verrocchio show

Restless Night

This is a view of what I see as I drive towards my studio. The Vancouver docks are a bustling place, and trains, seagulls, vehicular traffic create the cacophonous night. Sometimes there are people heard, but not to the extent heard in the 'West End', otherwise known as downtown Vancouver. This is an industrial zone, as opposed to a residential and commerical area.

But it is not the sound of the streetscape or dockside that keeps me awake. It is the dread, regret and projection of future confrontation, unresolved issues and deceit - most of all deceit, that keeps me from sleeping.

Listless

When I returned to Vancouver, just 6 weeks ago, sitting on this waterway seemed an appropriate reacquainting act. The restlessness of hands occupied with the tasks of everyday living are not yet finding materials that make this artist functional.

A studio is secured, and is currently housing remnants of other's lives; sorting, discarding and repacking are the daily activities. I can see the floor, now, and am hopeful that by months' end I shall resume my work.

Beginnings and endings. Begin again.

End with a new beginning.

Secret

Eyes averted, he spoke in vague, one syllable statements. Sometimes the shrug was enough to rotate the unspoken scenario into a new view of his situation. Unseen and unheard, but as visible and loud as a drummer beating fury on the street, the heart pounds while absorbing the selected, untold responses with the heat of the unknown memory burning through her quietude.

Tear this tear from these eyes. A soul has been peppered with secrecy and the blast of degradation. Where can a drop of loves fluidity be found? What use are the sobs where the bark of that isolation echos this night?

These sinking rebukes will loosen the skin to age.