testpiece

The Smell of Bog

 

 

 

 

 

 

The Smell Of Bog

 

 

Old ways, olden days

Can it impart wisdom now?

Peats, earthworms, rhizomes—

 

 

 

 

 

 

 

Author's Notes/Comments: 

Reedited 07.17.2019 (italicization of a phrase "Old ways" in the first line of the poem), 06.26.2019 (misspelling of occurring, a single "r" in occuring was changed to occurring):  



Once more, I've come up with a practice haiku to reflect upon something naturally occurring.  It may even be seen as rather banal (and/or clichéd) that it might sound as if drawn out from a science textbook explanation.  However, if you like the natural sciences (or if you are in love with nature), then you probably have heard of boggy wetlands & seen swampy marshes.  Until then, I would suppose you could relate to this particular haiku.  My real reason for composing this is quite a private one, for it was coming from the sheer original intentionality of recording just another mental note (& its relevancy to me, hence).  It is definitely not an aspect of an autobiographical note, it just seems that I have slipped into a kind of a reverie, whereof I have contemplated on a "correlative" about the earth/soil & the smell of turd one night.  It is a basic assumption to an end to every supposed life cycle.  Which is why I thought of its gravitas, that despite being imminent in this correlation to the undoubtable reality of his or her temporal existence, that is a paradox in itself.  Therefore my poem, in this manner of a haiku, is intended to also be reflective of old age & the ageing process—& its trappings.  Yet due to the mysterious properties of time, there is always a particular wisdom that is being imparted or shared wherever/whenever there's an unwarranted rumination (such as this, whence).  Some could have referred to an event and equate it to indirect learning (versus a self-directed one); but, as to learning experiences, in the circle of life, if constantly passed onwards, every imaginable generation espouses the same kind of conditioned existence (as regards to Media Cultures and the whole of humanity).  It need not be a catechismal byproduct of a certain religious order because we are cultural products in ourselves.  Like, perhaps, looking intently at the prominence of our public intellectuals, with their erudition & elucidations (e.g., in their online presences in social media), the same could be my theme.  In one's own right, there seemed to be a historical perspective which is to be conveyed here.  My poem could also be a reminder that they, too, have once lived throughout their youth; for that reason, someone (or something) has to have also taught them something (or anything/about something).  It is a sort of a passed on wisdom.  It is a recurring process.

Emily's Social Identity

 

 

 

 

 

 

Emily's Social Identity

 

Do you see frogs there?

How about smaller frogs, too?—

Please don't step on them.








Author's Notes/Comments: 

Ditto.

View tula's Full Portfolio

Orchestrated Flowers

 

 

 

 

 

 

Orchestrated Flowers

 

There are fake people

in terms of situations,

and the way they live








Author's Notes/Comments: 

This is just another of my haiku practice poems that I've decided to compose one time.  The theme could be as clear as day & has an equally clear metaphor if not in your face, crystal clear allusion to social realities (or, at least, the conscious thought of it).  The simple goal was to enrich my poetic know-how in terms of understanding both the deep and surface aspects of language & meaning (in light of some of Chomsky's take on Linguistics vs. other theories of language).  The English words could involve various elements/parts from my general use and those might include the semantic & semiotic relationships.  Simplistic and shallow as it may seem, with my learning objectives in mind, to capture the real essence of a haiku (while I'm on this undertaking) could be deemed worthwhile even though I pretty much have believed beforehand that I have not even gotten closer to my goals, as far as how the Japanese poets have done their haikus is concerned (the original Japanese approach to poetry).  The reason, I have always believed it to be, was about my turn of mind (as compared to theirs, the very Japanese people/poets/artists)..or other influential factors within one's own mental environment.  Thank you for looking on!


Night And Day And Night

 

 

 

 

 

 

Night And Day And Night

 

Only the dark sky

can show a sheen like velvet

during the nighttime








Author's Notes/Comments: 

Ditto.

View tula's Full Portfolio

Sociology of Modern Soil

 

 

 

 

 

 

 

Sociology of Modern Soil

 

A normal, steep path

Could be a wet, stony ground

Where seeds would not grow







Author's Notes/Comments: 

Reedited (06.08.2019)/major grammatical errors/semantical errors:


This is a "haiku" that I've been inspired to write (to type, actually) in addition to some that were already exampled here (as practice haikus, if you will).  I seem to have had several disjointed little musings at certain periods in time (especially during the past week or so); an end result would seem to be the catharses at the outset (as the culmination of these).  I was just suddenly/momentarily finding myself in the mood to write/type something up (in this instance/in the spur).  It could really be pertaining to life in general; or something work-related as it relates to my critique of media culture & its direct influences to human behavior or just anybody's psychological makeup.  Rather, they could be reflections in where every aspect of it were deemed to be specifically subsumed under such interconnected/interrelated subjects: The Humanities, Politics, Economics & those complex theories of value (the ones established within our current corporate world or to its so-called "social relations", e.g., in Marxism/Capitalism/Advanced Capitalism/Technological Nationalism/Techno-populism/et al).  Please kindly bear with my philosophical note/comment at the moment, though quite a long one, because I tend to explain the idea behind the haiku (e.g., an underlying reason). The impetus could still be compelled by my sociological observations (e.g., a "sociological imagination", C. Wright Mills, 1959) or it could be merely a critique, as well.  It could be even much deeper, depending on one's sensibilities on the symbolisms applied altogether.  Yet again, on the surface, these 'language texts' are merely insightful/introspective notes.  I sincerely appreciate those who may have an affinity to haiku poems.  I thank you, for reading on, anyway!  At the end of the day, what one might deem that goes on within these texts were thought to simply have been based on the sheer empirical data that were also implied (i.e., not necessarily an original transcript).  The substance whereof are coming from my initial "thoughts"/"thought forms" on its possible factual contents or basis/subjects/topics/et al (as mental concreta/abstracta themselves).  In connection with these, it's not that I naturally have been able to collate those translatable elements of my experiences, but the recognition of differences in linguistic patterns in every theory of language  (or any other turn for that matter, e.g., Derrida's Differance or perhaps Wittgenstein's, Russell's, etc.) whose social explanation may not even be really intelligible/recognizable in any other type of a particular ordinary language (to connote Philosophical Linguistics/Linguistic Philosophy/Philosophy of Linguistics/Language/etc.) due to what's currently in use.  A language created may not at all correspond to those subjective thoughts (cultural perspective/-ism/cultural values/Culture Theory).  I have had taken some of these things into careful consideration due to its relative meaningfulness or meaninglessness (which are all valuable with respect to comparative analyses).  Those justifications were also due to the sentence structures that I used which were collectively based on certain paradigms that, at first I thought, as if I were alienated/defamiliarized/depersonalized to begin with (as I was uncomfortable at a time when using it, e.g., because of the said perspectivism that's applied to a rather general linguistic theory).  As if it were inhering to myself at a time, by being affected subtly, first of all, in an English-speaking world, & where its usage is subject to grammar rules; yet also (by any chance) a subconscious assimilation of certain external influences which constrainedly affects its supposed free creation.  But, at this point, as any sentence structure may still involve thematic relations, or themes, what could have necessitated my eventual critique (i.e., my criticism vs. my acceptance of the turn of the century—which could really be my possible main theme), in itself, is a cultural value, also emphasized earlier.  Something that which one may factor by, e.g., either socially manifesting as postmodernism, consumer behavior, or comprising social theories/theories of value, & other multifarious social factors within the purview of Critical Consciousness (e.g., Friere, P.).  Moral Philosophy may, at best, be a relevant/significant part of it.  Therefore, that being said, the decision point may either be a good thing or a bad thing (if I may begin moralizing, by the extension of many moralizing agents/factors).  Also, while one may have decided on these (i.e., writing/typing something up about Postmodern Thought or Critical Thought), he/she may either have started to become more culturally sensitive or culturally aware (as a learner of intercultural studies).  Just maybe.—If that is, indeed, or, is in fact, a politically correct statement (or if that was the case).  

 

Paraphrasing that:  Could one be certain that he/she is, in fact, anti-establishment so far, i.e., for deciding on writing/typing about Postmodern Thought & Critical Thought?  Or, just maybe, could he be just becoming more culturally sensitive or culturally aware (as a learner of intercultural studies)? 

 

 

In the same vein, as one might get prejudged (e.g., ..because of prejudgements, snap judgements, cultural biases, assumptions, apperception, misidentification, misrecognition, misconception, misunderstanding, preconceived notions, presuppositions,  et al), can he/she also be easily called (or, can he even call himself/herself) a nonconformist (for his/her possible or assumed/presumed nonconformity)?  

 

 

 

Wind I (A Haiku About The Wind)







Wind I

(A Haiku About The Wind)

 

 

 

The wind gusts through me

As was on a street corner 

But not on branches








Author's Notes/Comments: 

This is a haiku about winds and or wind gusts.  It is primarily composed for recording actual experiences about nature.  Its working title was formerly "A Haiku About Wind Gusts" that was later changed to "Winds I" (which was hoped to denote my first haiku about the subject).  There is an obvious "ontological commitment" (as for whenever I noted something up to this extent, 
in this type of entry field provided (for the author's notes/comments).  This time, the rest of the commentary would be truly personal (as it relates to one's own "value commitments" in recording events that which were thought to be influenced by supernatural/metaphysical agencies (on
an externalist lens/outside looking in).  A possible antecedence, or observed instantiation in such
similar instances/experiences, was also taken into consideration (while I recount them).  Even if it was said to be a metaphysical synonymy, this claim could still be highly debatable because of it being a philosophical argument.

 

Animalism

 

 

 

 

 

 

Animalism


 

The garrulous birds

Looking down on the pantry

Where there is no food








Author's Notes/Comments: 

This is a "haiku" with a vague reference to superordinate things, really.  That a previous overlap of theoretically unrelated experiences, whereby a topic/subtopic might be inferred in this instance, can be a primary cause of its creation/composition.  Primary attitudes were evoked in some way and that could have impelled me (from which those could have denoted its possible thematic relations, too, if one should go to semantics—that was probably an informed decision to this).  I may not know for sure due to hermeneutics, hermeneutic phenomenology, epistemology, metaphysics (including related philosophies) since this was only the first-order logical statement that I had made (which alludes to its spontaneous study, a pattern of its discovery).  Please kindly consider my psychobabble at the moment.

Forest I

 

 

 

 

 

 

 

Forest I

 

 

Sleeping while awake

A log must notice mushrooms

Feeding off of him








Author's Notes/Comments: 

A "haiku" that emerged from this unholy time of day (wee hours) which must be a direct result of an experience or, maybe, just another well-constructed, affected poem to depict or evoke something that is yet to be discovered or untangled (all according to time).  It could be a philosophically directed theme since it is using vague references (my unusual metaphors) despite the use of ordinary language.


Trees On Here (First Haiku, ca. '19)




Trees On Here (First Haiku of 2019)

 

Raindrops have been drained

Taking things with it on earth

Life demystified









Author's Notes/Comments: 

This is just a first ever attempt at composing a "haiku" (a Japanese poem/poetic style or form, described as traditionally evoking nature—according to my mobile device's built-in definition).  It is, in fact, my first ever haiku this year (the year 2019).  The poem was meant to be an affected poem, since it was originally done with little clue about the Japanese mindset & was considered to be a practice poem batched with another similar poem (my first ever "tanka" composition: Trees In The Green).  The motivation for it was neither considered meaningful nor entirely meaningless, also (to be quite descriptive about its neutralist view of the whole process).  Not meaningful in that the metaphor might not really consist a significant/insignificant part among the majority of my entry posts; but just by virtue of, admittedly, trying to make this type of a poem for its objective praxis.  Therefore my compositional skills is on its experimental stages.  Please kindly bear with me.


View tula's Full Portfolio