Clothes

Caught In-between Toxic Thoughts

 

 

 

 

 

 

 

Caught In-between Toxic Thoughts

 

Please don't fade away

the Color of jet-black shirts

Tumbling through washes

Forever stressed, stretched, laundered

Just to clean impurities








Author's Notes/Comments: 

 Reedited 07.11.2019, 07.08.2019; 07.03.2019; 07.02.2019; 06.26/27.2019 (for general grammatical &/or semantical errors, misspelled words, & ambiguities/clarifications):  

 

This is, indeed, just another "tanka" exercise.  Like most of the other tankas that have been published here, for the same stated purposes, they were also primarily intended for me to learn from the get-go.  That was the surface reason:  in understanding my own notions of the poetical distinctions between a tanka & a haiku (&/or/versus other poetical forms, their fundamental use as a vehicle for expression in classic/modern/postmodern literature; still considered as modes of expression anyhow despite the varying adaptations even up to now, especially in my investigations of the "indeterminacy of translation", Quine).  Nonetheless, I do not intend to make anything more out of them other than that which was stated, i.e., the didactic part of it.  It neither means anything more than that which was implicitly explained nor anything else that may possibly be assumed (assumptions that may also be expected, which might precede these developments as they get showcased or self-published).—Because it is also a learning experience, so to speak a synonymy of a learning objective, I solely wanted to learn (& relearn the essences) about how language(s) (or theories of language, in general) are distinguished in respect to its many contradistinctions/aspects/properties/use/etc., ie., descriptivism vs prescriptivism, how those [said features] interrelate to meaningfulness/meaninglessness to either myself or others, & penultimately how the Japanese, themselves, supposed to have intended their own expressions/ideas to mean—in relation to my "own" usage).  Of course, that could still mean going to back to historical accounts of their own systematized body of knowledge in its foundational knowledge (as pertains to literature & those multifarious factors that have mainly contributed to those movements (i.e., in their art forms).  I know of the basic premises..that there must exist, either metaphysically or empirically, a divide between two cultural traditions and how my poems could be considered too synthetic, by comparison.  An intellectual's pursuit (e.g., his intellectualisation about anything, or for the matter at hand) can be only deemed so (a so-called "claim", even by him); one may even seem to appear megalomaniac, because like a maxim, that's how intellectualizing may look like (e.g., that's how it may appear to work within a particular linguistic/phenomenological/logical system).  But more than this, there is still an overriding principle which is my aim, i.e., to further analyze the philosophical distinctions between them, as well (when observed through a wide-ranging lens or purview/scope which also could mean its "analyticity" in regards to theoretical analyses that span intersubjectively, e.g., trans-/inter-/multi-/cross-disciplinarity).  Pretty much how Quine have been said to have arrived at one of his theses about translation &/or his ideas on synonymy—as by having his pragmatic stance on one of those said theses (versus, in what I've studied so far, e.g., logicists/logical positivists vs. the continental philosophers' take on Linguistic Philosophy & other sociolinguistical concepts and theories which I will mention in the next instance when given a chance).  There is no definite goal to be achieved right now, but for my own self-discovery of my casual use of language by its direct/indirect applications (about effective communication/communicative action) and for enhancing my unripe understanding of the dichotomies involved in  semantics/pragmatics/syntactics/semiotics which could be one instance alone of that exercise in my daily application.  It is, in fact, a part of current curricula in Sociology & Psychology (according to one of my co-workers).  In an English-speaking world, where English is predominantly taught as primary subject matter in most learning institutions, my self-directed studies may be deemed significant by my own standard of measure due to it has given me a good start to align certain variables versus many other linguistic factors/phenomena (social phenomena) & other traditions in the Western analytic tradition (in Philosophy, as by the use of the English language or its translations from German & French or Latin/Greek for use in both Continental & Analytic Philosophy).  Howsoever, this concept that I just had formed here may be deemed insignificant by others, e.g., in another [specified] way or contrastingly. It is both a phenomenon and a noumenon (e.g., if one should go by Kant's basic descriptions of such).

Forgive God

Folder: 
Forgiving

 

user img

FORGIVE GOD


How could God

countenance that?

 

God sees into the future

beyond our earthling attachments

to our body cages

 

and knows that those who

send us into the theatre

wings from the stage

may look like foes

but are Love in

different clothes

-saiom shriver-

 

Footnote:

The actor who slaps you on stage waits

behind the curtain to congratulate you

on your performance.

-Sai Baba-

http://www.sathyasai.org/discour/content.htm

fenixdefogo.wordpress.com

View saiom2's Full Portfolio

Hollywood Girl

(Verse 1)

A Attempting resistance 

D Refusing assistance

F#m Is the grass greener on the D other side

F#m P..p..p..please tell me why you E run and hide 

 

A Frivolous not serious 

D Hungry for attention 

F#mThinks the world revolves D around her

Or did I forget to E mention

 

(1st Chorus)

 

F#m Well Hollywood girl you should know things aren't D always about you

 If it A weren't for the money tell me E what would you do

F#m What are you good for  tell me D what's the use 

A Why should I bother no need to E introduce...Hollywood A girl...E Hollywood A girl 

 

(Verse 2)

 

A Rude and inconsiderate 

D Doesn't give a damn

F#m Yes no maybe I'm sick of it 

E Girl you're just a sham

 

A The truth is in your eyes 

D so you hide behind your shades 

F#m It's not Halloween so what's with the disguise 

E You're like a waking masquerade

 

(Bridge)

 

A Ready to change this time D aroundddd

F#m Seem so lost waiting to be E foundddd 

A Please tell me what I should D do 

F#m Cause my mind goes blank when it comes to E you  

 

(2nd Chorus)

 

F#m Well Hollywood girl you should know D things aren't always about you

A If it weren't for the money tell me E what would you do

F#m Dressed in designer clothes wearing D fancy shoes 

 A Driving around in whatever car E you choose 

 

F#m Yeah you might be a star but that's D old news 

F#m What are you good for D tell me what's the use 

A You know that you don't have a D purpose 

F#m You know you just aren't E worth it 

A Why should I bother no need to E introduce...Hollywood A girl...E Hollywood A girl 

 

E Hollywood girl A Hollywood A Girl