THUNDERMOON 2016: Social Media and Soul-making

BLOOD TO INK

television social media takes us places shows us peoples worlds lives we cannot in our bodies visit;  [1 ] we dine amiss.

dynamis, the word, a feminine Greek noun for force or power reminds me of that enlivener leading the mind’s heart to god…that is,

to god
beyond god
                                                  ~

Think of it, that moment;  Anima Mundi connecting to Great Spirit, that mysterious phrase referencing the totality encompassing

both conscious and unconscious knowing.
What of it?

Think of it; on the one hand, the world’s psyche & pneuma, on the other hand, spirit & cosmos the former, a voluptuous

rounding expanse,  the latter
continuously expanding.
                     ~

This is our spiralic gesture, a centerlessly centered dynamic level.  What is must mature for us to grow cosmically conscious?

Wonder do I if a mysterious unknowable beyond conscious & unconscious knowing—god

(the one who is the other of two)
may hear  this weeping  in our vale

listening behind (or down in and through)
our own conscious ear

                     ~
May this uncommon sense for the totality of god awaken god to how earth suffers.

A sensing of this quality of omniscience my poor movements may not muster but my heart, my heart to this mystery awakens, too.

                                                         ~

And, I can imagine how moved is god when god looks round upon us this deserted and weeping. I meditate then

what likeness is the like in which god shall next take form? Pray what, at the moment of its incarnation here, such totality in god Xpressed

may mean to our world
soul—a psyche of god at work

whose likeness imitates everywhere
the psyche of cosmos.



©2016 Tweeting Graffito stephaniepope mythopoetry.com




notes

graf·fi·to

[gr uh- fee-toh] NOUN [PLURAL GRAF·FI·TI]

In archaeology, an ancient drawing or writing scratched on a wall or other surface.

---

[1] The original line using the word “television” being quoted in the opening line of the poem first appears in a poem, ‘What Else Can We Do?” by Ric Scow Williams.  This poem is sent to me in an email dated July 10, 2016 at 1:51pm

THUNDERMOON 2016: Social Media and Soul-making

BLOOD TO INK

television social media takes us places shows us peoples worlds lives we cannot in our bodies visit[1] & we dine amiss.

dynamis, the word, a feminine Greek noun for force or power reminds me of that enlivener leading the mind’s heart to god…that is,

to god
beyond god
                                                  ~

Think of it, that moment;  Anima Mundi connecting to Great Spirit, that mysterious phrase referencing the totality encompassing

both conscious and unconscious knowing.
What of it?

Think of it; on the one hand, the world’s psyche & pneuma, on the other hand, spirit & cosmos the former, a voluptuous

rounding expanse,  the latter
continuously expanding.
                     ~

This is our spiralic gesture, a centerlessly centered dynamic level.  What is must mature for us to grow cosmically conscious?

Wonder do I if a mysterious unknowable beyond conscious & unconscious knowing—god

(the one who is the other of two)
may hear  this weeping  in our vale

listening behind (or down in and through)
our own conscious ear

                     ~
May this uncommon sense for the totality of god awaken god to how earth suffers. 

A sensing of this quality of omniscience my poor movements may not muster but my heart, my heart to this mystery awakens, too. 
And, I can imagine how moved is god when god looks round upon us this deserted and weeping.  I meditate then

what likeness is the like in which god shall next take form? Pray what, at the moment of its incarnation here, such totality in god Xpressed

may mean to our world soul—a psyche
of god at work

whose likeness imitates everywhere
a psyche of cosmos.


©2016 Tweeting Graffito stephaniepope mythopoetry.com


notes

graf·fi·to

[gr uh- fee-toh] NOUN [PLURAL GRAF·FI·TI]

In archaeology, an ancient drawing or writing scratched on a wall or other surface.

---

[1] The original line using the word “television” being quoted in the opening line of the poem first appears in a poem, ‘What Else Can We Do?” by Ric Scow Williams.  This poem is sent to me in an email dated July 10, 2016 at 1:51pm

THE ANARCH FIGURE #ohjdailyWords

BEFORE THE GATE

“The anarchic remains, at the very bottom, as a mystery, usually unknown even to its bearer. It can erupt from him as lava, can destroy him, liberate him….the free human being is anarchic, the anarchist is not.”    ~Ernst Jünger, Eumeswil


"The flute of the Pied Piper of Hamelin has never left us and it is essential that we train our ear to detect its false notes because in our case the flute is being played by the rats."  ~Dimitris Mita, author

Purification, Piper
plays of light
a pibroch art

©2016 The Piper’s Art stephaniepope mythopoetry.com


notes

Jünger, Ernst. Eumeswil.  Joachim Neugroschel, trans. Marsilio Publisher. New York: 1981. p. 41.

A ROMANTIC PANTOMIME, A DERELECT STATUS #vss #5words #writingprompt

A VERY SHORT STORY
      La vita è una combinazione di magia e pasta
                 – Federico Fellini, Italian film director 

holocaust a
pick o' pasta


©2016 Zymarikaphobia stephaniepope mythopoetry.com
#VSS #5WORDS #WRITINGPROMPT

IN A CAREFULLY EXERCISED CARING EXERCISE, PATTERNS

BY ALL DESIGN, A TRACE OF THEE
        ~For Ric

Breakage
consumption
displacement—this

intense situation
concerned with
“Mine!”

Slippage
invasion
erasure—this!

But, myth suspects
all othering; in a myth
there is no other side

     ***

One’s origin
is
a native

always-already
hidden
contra-diction—this

one, marked (by gods)
is the other
of two; this

way-making
discovers violence is
on its way to perdition.

So, way-making now
carries our differences
as differ/ance (Derrida)

way-making
the ance-nature

our emptiness

her mask
slips
in

a little
logos & the
three bears


©2016 The Costume stephaniepope mythopoetry.com

FAITH, KNOWLEDGE & DEATH BY FANTASY

TO STARDUST GO LIGHTLY

            Lasciate ogni speranza, voi ch'entrate.
                               
                                    ~Dante, Canto III, line 9

"Our earth in which we take root is faith. The water
by which we are nourished is hope. The air by which
we grow is love. And the light is aquaintance (gnosis),
by which we ripen to maturity"
                                    ~ Gospel of Philip, 79:25-32

Wretched apart in the art—fall
heaped like an ab-sensed hope
(t)racing the hoop of heaven 

©2016 Verloren Hoop stephanie pope mythopoetry.com
            Prompt 136 #SenseWrds @SemperSum @PromptAttn



 NOTES


1. Dante senses in Canto III, line 9 the kind of hope one has must deepen in/to a new mode of seeing the world: “Abandon all hope ye who enter here.” This awareness becomes a little clearer in the next few lines of Canto III.


Qui si convien lasciare ogni sospetto;
ogni viltà convien che qui sia morta. Lines 14-15

Here must all distrust be left behind;
all cowardice must be ended.

Variant translation: Here one must leave behind every image of hope for such images double as a defense against a pneumatic experience  or “knowing”of divine nature or what Derrida calls “metaphysics of pure presence”. Avoiding this leave-taking amounts to an act of cowardice; such defense must meet its death Dante’s poem says.

So a deepening inward means first an imaginal act whereby all images have no outer reference and secondly, to achieve an entirely new way of seeing, at the same time one is crossing over the inner threshold, one must accept a specific death by fantasy.  Death by fantasy means from here onward Dante will be soul or psyche lead.

And yet, Dante is carrying a kind of negative hope, a forlorn hope, a verloren hoop, as he begins his inner journey toward a poetic mode of seeing. This mode of seeing is the always and already “first way” and the always already forgotten and/or abandoned and/or lost world of the infant soul yet to ignite in Dante’s own heart. The image, "infant soul" signs a kind of present yet to presence or reveal itself.

To understand this poetic insight one must understand what it means to be forlorn.  One way to look more deeply is to consider the etymology of the word, “forlorn”.  It is here you will find the image of the verloren hoop.


2.  For the notion of the trace racing the design, see the writings of Jacques Derrida. Wiki provides the following picture of what is meant by (t)race: “ ‘the always-already hidden’ contradiction”

Trace can be seen as an always contingent term for a "mark of the absence of a presence, an always-already absent present", of the ‘originary lack’ that seems to be "the condition of thought and experience". Trace is a contingent unit of the critique of language always-already present: “language bears within itself the necessity of its own critique”.[3] Deconstruction, unlike analysis or interpretation, tries to lay the inner contradictions of a text bare, and, in turn, build a different meaning from that: it is at once a process of destruction and construction. Derrida claims that these contradictions are neither accidental nor exceptions; they are the exposure of certain “metaphysics of pure presence”, an exposure of the “transcendental signified” always-already hidden inside language. This “always-already hidden” contradiction is trace.
 

3.  More lines from Dante

4. More on the discourse between psyche and pneuma, faith and gnosis

5.  The fantasy image that helped write this poem is never mentioned in the poem; it is that of  a forlorn wing. This is the same image in active imagination that helped write the poem, Ad Mortuos. (2010)  This poem was made into song and incorporated into dance in a Brainwave Performance April 26, 2015

MAKING A LIVING LIVING A MAKING: The Story of Old Woman

Diego VELÁZQUEZ - Vieja Friendo Huevos  Image in Public Domain
(Old Woman Cooking [i.e. ‘frying”] Eggs )
National Galleries of Scotland, 1618.    

LIVING BEYOND A MENSTRAL CYCLE
    Psyche-making is living-making. –Stephanie Pope

Something more nonhuman
than a period of adjustment
enflames and flares
blood to ink; it is
something more real
because it’s been lived within
and recognized consciously
rendered conscious in language.

Once upon a time not of the times
nor time’s infinity, a time far beyond
life and death, no outer life to where
this wears upon an outer life; it, a
eukaryotic space in folded eons long
living low and lowing,
changed the story.

Once upon a time, Old Woman,
(Old Woman, the egg maker)
suddenly enflamed and flared
& into that space sang she life—life
more than human, boiled; life
shimmering in spreading skirts
about to lift, did so on the brink of opacity.

Such moments engulf us, soul

eats death. In such moments
something more real points to
where X marks the spot―death
itself dies here each time
such a story is retold.

There was a hole in infinity, always

(a deeply creative one.) It continues
to (t)race a design and bring to life
something more human outliving us.
Can we bring it to life in our own?


That’s it then; no outer life to the trace
racing the design, an inner image
rises up, attempts embodiment
in a timely tale―not  of times

but of a kind of timing, shaped.

For all time and times here now
forever after, Old Woman tends
to this work lowing in the animal.


Imagine it! Old Woman cooking away
a chef in the kitchen of no common thing,
she, a maker of things uncommon
we share in common.

©2016 Something More Real stephanie pope mythopoetry.com