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Montag, 12. August 2024

Nin Ereshkigal-me-en

22:04

Nin Ereshkigal-me-en or Casting the Circle

/nin e.reʃ.ki.gal-me-en/

 

Chorus 1:

Nin Ereshkigal-me-en, I say,

The sister of Irkalla’s dark domain,

To whom the weary soldiers find their way,

And rest in peace, no longer wrought with pain.

 

Verse 1:

My beauty, vast beyond all words can tell,

My strength, a force that crushes skulls of foes,

Ascend my mountain, where true love doth dwell,

But dare not call me down, for wrath then shows.

 

Chorus 2:

Nin Ereshkigal-me-en, in might,

The sister to the Queen of Earthly sphere,

With power o’er the cosmos’ boundless light,

Sing praise to me, and let my wisdom steer.

 

Verse 2:

Below the void ‘twixt Kur and earthly ground,

He channeled seas primeval, life’s first breath,

Where flows of Dilmun’s rivers spread around,

Bringing both life and plague, the twin of death.

 

Chorus 3:

Nin Ereshkigal-me-en, I reign,

The sister of Kur’s sovereign, dark and deep,

I balance hearts with justice, true and plain,

In my embrace, the weary souls do sleep.

 

Verse 3:

My charm did win the ninety-four great Me,

From Enki’s hands, the elements of life,

Yet Irkalla’s depths remain a mystery,

Though Me I hold, I know not death’s cold strife.

 

Chorus 4:

Nin Ereshkigal-me-en, I stand,

The sister of the keeper of the dead,

I bring the souls to their eternal land,

Unite with me, and reign where none have fled.

 

Verse 4:

The source of all by Nergal’s seal is bound,

He who laid low the serpent’s deadly brood,

The ninth head severed, brought down to the ground,

Thus, justice in the darkest place accrued.

 

Chorus 5:

Nin Ereshkigal-me-en, sister of the Mother of the Snake,

She who bears the burden of hidden fate,

I who saved Enki's tree from flood’s intake,

And bring wisdom to the living’s gate.

 

Verse 5:

The vessel breaks by hands of wicked men,

Who slayed the bull of heaven in their pride,

Brought low by sky’s decree, to earth again,

Their lust for power crushed, their lives denied.

 

Chorus 6:

Nin Ereshkigal-me-en, I call,

The sister of the night’s eternal queen,

To cosmic laws, my soul must humbly keep,

Submissive to the order of the dead.

 

Verse 6:

Three days I hung, by death’s cold hand suspended,

But Enki’s touch revived me on the fourth,

From netherworld, new life was thus extended,

And death gave birth to all that walks the earth.

 

Chorus 7:

Nin Ereshkigal-me-en, I reign,

The sister of the queen who rules below,

In me all realms united shall remain,

Now and for all eternity’s long flow.

 

Verse 7:

And in my vessel shines the thirteenth moon,

Between the light of life and shadow’s shade,

Yet when illusion’s gate is opened soon,

The vessel’s crushed, and all its dreams do fade.

 

(A hymn as Propaedeutics for Ritual Invocation, 12/08/2024)

Dienstag, 6. August 2024

Cenotaph for the unworthy

04:48

Farah Rud Valley

 

The kitchen smells of kidney pie, mother cooks, relieved, 

Sixteen thousand for enduring freedom die, 

The TV recites the newest lie, another fifteen grieved, 

Winning hearts and minds, checks unpaid, I sigh.

 

Open doctor's bills, endless dollars for a B1 Lancer, 

At cenotaphs, flags and trumpets laud the gain, 

Holds many secrets, peace rules out any answer, 

Not part of remembrance, a whole world’s pain.

 

Birds sing in a blossom spring at the Farah Rud, 

Under endless sky, a young couple swears a bond, 

Farmers bring iris and roses, somewhere plays a flute, 

Still unsanctioned, their sole property, until bombed.

 

Outside the mosque, a huge crater, spread corpses, 

False intelligence, the first strike, the TV speaks, 

The bride hurries with the youngest to the safe north, 

All will be killed, by accident, someone leaks.

 

Silence, after two thousand-pound Mark 84 payload, 

Pungent smell from the unworthy victims, flags of truce, 

Indistinct bodies in mass graves along the road, 

Their liberators played the deuce.

 

Casualties of their inconvenient defiance, 

No space in the memory of the enduring empire, 

For those outside a lucrative alliance, 

Not part of remembrance in a world on fire.

 

In Remembrance of the victims of Granai: May 4th, 2009

 

Note:

Based on the video interview with Guy Smallman, he discussed the tragic events of May 4, 2009, in Granai, Afghanistan, during which a B-1B bomber dropped bombs resulting in significant civilian casualties. Smallman, the only Western journalist to visit the site shortly after the incident, recounted the harrowing details of the bombing. He described how the villagers were unaware of the impending attack and how the airstrikes led to the death of many civilians, including children. He emphasized that the villagers reported no Taliban presence within the village, contradicting the US military's claims that the Taliban were using civilian compounds for cover. Smallman also highlighted the tragic aftermath, including a mass grave where the remains of 54 individuals were interred due to the inability to identify the fragmented bodies.

 

References:

Sinclair, I. (2016, December 12). The Granai massacre: Interview with Guy Smallman. Ian Sinclair Journalism. Retrieved from https://ianjsinclair.wordpress.com

ZNetwork. (n.d.). Granai massacre: Interview with Guy Smallman. Retrieved from https://znetwork.org

YouTube. (2023, July 20). Guy Smallman interview [Video]. YouTube. https://youtu.be/5mDuxFnn2RY?si=EeV9Cq5zMWRcbJJH (Time mark: 45:45).

 


Freitag, 8. März 2024

Jenseits aller Wege

20:07

 Jenseits aller Wege

 

Das Wiedersehn, gefeiert laut und froh,

Das Wandervolk, das kennt kein langes Leiden,

In ihrem Gang, nehmen sie leicht das Scheiden,

Gewiss, man trifft sich wieder irgendwo.


Ein stetes Wandern, unser Dasein war,

Ein Forschen, unersättlich und gewagt,

Es bleibt die Hoffnung, dass noch vieles mag,

Vor uns zu liegen, hell und wunderbar.


Doch ahnen wir, die Zeit, sie schwindet schnell,

Die größte Furcht: des anderen Wort zu missen,

Fragen kommen wo Gespräche fließen,

Beim Plaudern, Schachspiel, zwischen Hundegebell.


Im Garten beim Tee unterm Laubendach,

Auf Kutschenfahrt, wo Träume flüchtig schwirren,

Wie Fliegen, die sich zwischen Kirschblüten verirren

kommt bald der letzte Tag, der letzte Schach.


„Ich liebe dich“ – oft überflüssig, tönt zu unbedacht,

Und doch, macht es aus wenig mehr

unausgesprochen, wiegt es schwer.

Erst in dem Schweigen zeigt sich seine Macht.


Ich fürcht' den letzten Tag, den wir teilen,

Ist's Trauer, die spricht, dass wir selten weilen?

Die kurzen Treffen, halten kaum die Zeit,

Versuche nur, in Eile stets bereit.


Verschwendet sind die Tage, voll Routine,

Der Alltag – ein Gefäß für unser Sein,

Doch in ihm liegt verborgen, fein und klein,

Der Sinn, wie in der Torte die Rosine.


Dein Abenteuergeist, in uns lebt er fort,

Selbst eine Seuche wird zur neuen Reise,

Dass Schaffen uns verbindet, in einz’ger Weise,

Mit Deiner Kunst und Technik im Seelenhort.


In ewig vereint durch den Höh'ren Sinn,

Tragen wir Deine Liebe in uns weiter

Durch Dein stetes Forschen, so stark und heiter

dient auch der letzte Tag zum Guten und Gewinn.

 

08/03/2024 

Montag, 30. Januar 2023

This and That

09:26

This is here.
And that is there.
They never meet anywhere.


This has a brother.
“These!” calls their mother.
When one is with the other.


That lives far.
Next to a star.
That can’t be reached by car.


This once goes
Comes that close.
And together they are “Those”.

Likes and Dislikes Limerick

09:24

 

I like this. And you like that.

That is, well, a simple fact.

 


Some prefer to be there

Were others don’t,

Believe me sir!

 


They do love, what is here

Do prefer what is near.

 


All these likes and dislikes

I could write many sides.

 


They build fences, funny tenses

Yet preferences give references.

Donnerstag, 11. August 2022

Dance to Death (Interpretation)

13:21

"Dance to Death" is based on Alexander Nikolaevich Afanasyev's rendition of the fairy tale with the same title, also recognized as "The Midnight Dance," or in the version conveyed by the Grimm Brothers as "The Twelve Dancing Princesses".

The following is an interpretation of this tale aimed at providing a deeper insight into my poem, "Dance to Death".

 

This fairy tale holds a special place in my heart, brimming with enchanting imagery and profound allegorical elements.

 

Within its narrative, three prominent themes emerge:

  1. The allure and perils of early sexual experience; it's worth noting that an orgasm is often metaphorically referred to as "la petite mort" in French, translating to "the little death."

  2. The romantic entanglement surrounding the concept of death, portraying it as a realm of perfection and fulfillment that entices many young individuals to either challenge their existence or actively seek out death. This theme calls to mind figures like Romeo and Juliet, who deemed "unification in death" more valuable than remaining alive.

  3. The growing emancipation of young girls from the constraints imposed by their parents, particularly their fathers and mothers. In this context, the tale's conclusion is especially poignant. A vivid illustration of this theme can be seen in the 2015 film "Mustang."

     

Additionally, an often-overlooked aspect is the bond of sisterhood, which plays a subtle yet significant role. Nell Greenwood draws parallels here with the film "The Virgin Suicides. 

 

How to approach the story

This narrative is not merely a depiction of young girls within an oppressive culture, although it could be interpreted as such. The key to comprehending this tale lies in recognizing that these girls reside within an exceptionally beautiful, nurturing, and caring environment. Picture a father observing his daughters constantly fatigued, gradually losing weight. Those who have encountered a loved one afflicted by anorexia can relate to this situation. In today's world, we tend to swiftly search for signs of abuse, an overly restrictive upbringing, or similar factors. We might even attribute their condition to the girls' individualism or a pursuit of perfectionism, which we perceive as detrimental. To illustrate this, I recommend viewing the film "The Black Swan." The characteristic of perfectionism will be explored further in this article, but for now, let's focus on the initial scenario.

While all the reasons caregivers and psychologists mention may indeed play a role, and they may even be involved, I believe they miss the fundamental point. Therefore, I encourage you to envision this situation within the context of a nearly flawless world, where nothing genuinely adverse occurs. Just as in the film "Mustang," the parents adore their children, the family enjoys joyful moments, and there are celebrations and good times aplenty. There appears to be no requirement to delve into the realm of the dark and mysterious. However, there is one exception—the girls, often educated in a liberating and carefree manner, suddenly discover that their behavior is deemed unacceptable, inappropriate, and even offensive. It is this deeply ingrained, instinctual behavior tied to their blossoming femininity that comes into question, prompting them to question their very existence. This feeling of being somehow flawed, of not quite fitting in, drives them to seek a world that embraces their unique essence, their thirst for exploration.

To delve further into this topic, I recommend reading Nell Greenwood's articles, particularly "A New Twist on an Old Fairytale."

 

Rituals of transition

By the way, it's important to note that boys also undergo a similar experience, though this aspect is explored in other contexts. In both scenarios, a significant contributing factor to the various adolescent pathologies is the absence of meaningful transitional rituals that can genuinely address the needs of these young individuals.

In some respects, we can draw upon ancient rituals within our own cultures, often centered around our connection to the transcendent aspects of life, death, and our fears, viewing them as integral elements of our existence that can be managed.

However, I must admit that I am unaware of any truly effective rituals that specifically tackle the complex tensions that modern societies create concerning our sexuality, femininity, masculinity, and fertility.

 

The golden apple

Golden apples hold a remarkably specific significance in Eurasian symbology, tracing its roots back to the ancient Sumerian tale of Gilgamesh. What makes it even more intriguing is that the father remains entirely oblivious to his daughters' concealed secrets. It is only another man who can unearth this hidden truth. This individual is typically of noble birth but finds himself in impoverished circumstances or emerges from the crucible of war, depending on the rendition of the story. Moreover, his determination to unveil the secret is so unwavering that he is willing to stake his own life on the endeavor. In his aid, he possesses a magical cap that bestows upon him the gift of invisibility, enabling him to pluck a golden apple as irrefutable evidence of his successful discovery of the twelve girls.

These golden apples originate from one of the three distinct realms or kingdoms that both the girls and the prince must traverse: the silver, gold, and diamond realms. This bears a striking resemblance to the narrative of "The Three Kingdoms."


Cloak of invisibility

The Cloak of Invisibility holds a prominent role in this narrative. In "The Three Kingdoms," as the prince embarks on his quest to find his mother, he acquires a unique garment described as "without measurements." Similarly, in our tale, the male protagonist requires a cloak of invisibility to clandestinely follow the princesses without detection.

Delving into the full connotations of this mystical garment would be an extensive undertaking. It's noteworthy that throughout these narratives, it is consistently a male hero who necessitates this accessory. The archaic German term "hehlkappe," occasionally used, carries a linguistic link to the word "hehl" (to hide), which bears phonetic resemblance to "Hel" (the goddess of the underworld) and "hell" (the realm of the underworld).

The invisibility cloak extends beyond mere concealment from the girls' sight; it also symbolizes their father's inability to access their inner world. In a psychological sense, their father has lost the ability to connect with their inner thoughts and feelings. Their mother, seemingly absent, only an archaic woman intervenes, guiding the story toward a harmonious conclusion by providing sage advice and this extraordinary cloak to the man. While he becomes invisible to the girls, vanishing as a potential dance partner or marriage candidate, he gains the ability to perceive the concealed entrances leading to the enigmatic underworld.

Interpreting the invisibility coat as a "measureless" garment, as seen in analogous narrative patterns, we can view it as a metaphor for the capacity to transcend predefined norms and judgments. It signifies the openness to perceive things and people as they truly are, without imposing interpretations or restrictions—simply listening and observing.

In this dynamic between young girls and experienced men, a unique attraction exists, harboring significant potential if the man can resist becoming entangled in the underworld's dances and losing himself to its allure.

 

The poem

Returning to my poem, the initial stanza seeks to evoke a profound emotion. The girls are engrossed in an activity that gradually appears to consume them, yet they remain blissfully unaware. Something exerts an inexorable pull on them, seducing them into this self-destructive pursuit.

The second stanza delves into the yearning for perfection. While psychological analyses often depict perfectionism as a form of relentless competition, where one must always be the best and come first, I've found such traits rarely lead to true perfection. When I contemplate perfection, I envision Zen artists meticulously crafting a flawlessly round, hand-made pottery or expressing an idea through the meticulous design of their gardens. To me, it represents an aspiration to reach the transcendent, not a god with a surname or a ten-point program. It embodies a profoundly erotic desire that seeks to merge the realms of death and life into a singular existential experience. This concept of the divine does not equate to the "perfect" or the "hero" archetype. Instead, it mirrors Inanna's journey to reconcile with her sister, Ereshkigal, where she humbles herself at each of the seven gates, surrendering her divine powers. Each time she confronts her sister, the goddess of the underworld, she is reminded to remain silent and that she cannot stay. Ultimately, she is even stripped of her "ladyhood."

The third stanza intertwines with another tale of mine, one I hope to explore further someday. It embodies the imagery of a voyage into a colorless underworld, where the female hero possesses only a box of colored pencils to paint this monochromatic world. Through this act, she transforms war-ravaged landscapes into resplendent gardens. I penned this story in 1989/90 but never published it. However, there is a short film, "Evergreen" by Ushuaïa, which encapsulates the core idea quite effectively.

In the final stanza, the narrative's protagonist is revealed, not the prince who claims the prize and weds the eldest princess. While this alternative reading could offer a captivating narrative of malehood, my focus lies on the female perspective. Having succeeded in conveying their experiences and finding acceptance in their entirety through the prince, these young women can remain in the overworld. Their encounter with the "God of death" leaves them intimately aware that, like all living beings, they too will face mortality when their time comes. Yet, they also grasp the eternal nature of life. This realization empowers them to embrace motherhood, which embodies the deeper meaning of "getting married" in fairy tales.

I mention the "God of death" in this manner due to the rhyme pattern, although some cultures depict it as a female entity. I consider such anthropomorphizations as mere folly. The divine transcends human form, just as the measureless coat does. But that discussion warrants its own occasion. Additionally, I refrain from mentioning the golden apples and instead allude to the cup, aligning with a slightly different story version that resonates with the object's more explicit connotations, relating it to the sacred feminine.


Sonntag, 19. Dezember 2021

Sternschnuppen

11:18

Lange schon ging der farbenfrohe Tag in eine klare, kalt Winternacht über. In der eisigen Schneelandschaft ist Ruhe eingekehrt. 

Nur leise weht der Nordwind in geisterhaftem Singen über die Ebene - sonst Stille. 

Weit in der Ferne steht ein einzelner Baum. Er ist alt. Bald so alt, wie dieser Tag es ist. Ein einzelner Baum - doch nicht allein! Unter ihm steht ein Mensch, auch er ist alt. Doch das Kind, dessen Hand er hält, es ist jung. Jung wie der Neuschnee, der gefallen ist. Die beiden stehen da und schauen. Sie reden nicht. Sie haben auch nicht kalt. Sie stehen nur da und blicken in den sternenklaren Himmel. Wieviel Zeit mag wohl vergangen sein? Ob der Morgen schon naht? Es berührt sie nicht.


Doch da! Ein Stern, er leuchtet viel heller, viel klarar als alle anderen! Er dreht sich, schnell, schneller, immer schneller. Er löst sich vom Firmament und fällt weit in die Tiefe der dunklen Nacht - und erlischt. Das Kind drückt die Hand fester und spricht in hauchendem Ton: "Was ist geschehen? Ein Licht stürzt in die Dunkelheit! Viel dunkler ist es jetzt!"

Der alte Mund des Menschen öffnet sich, und die rauhen Lippen formen jedes Wort langsam und deutlich. Die Stimme, kräftig und fein zugleich: "Der Himmel ist Spiegel dieser Welt, der weisse Strasse der Weg, den das Leben sich bahnt. Die Sterne gleichen den Menschen; einige stehen in grossen Gruppen, manche in kleinen und einzelne - allein. Diese leuchten hell, jene sind kaum zu sehen. Einer ist gross, ein anderer klein, und manche erlöschen, wie dieser, welcher zuvor zur Erde fiel. Jedes Licht muss die Gelegenheit haben zu leuchten so langes es kann und es ihm bestimmt ist. ein Stern darf nicht versuchen mit seinem Licht einen anderen zu erlöschen. Das darf niemals geschehen. Denn der wird verscuhen, heller zu leuchten als ihm möglich ist und sich daran erschöpfen und untergehen. Und dann, wenn das letzte Licht erlöscht ist, wird es sehr dunkle und kalt werden auf dieser Welt. Viel dunkler als jede Nacht und kälter als jeder Winter.

Doch es ist bereits geschehen, und das Unvermeidbare wird eintreffen. Ein Stern nach dem anderen wird erlöschen und auch der grösste Stern, unsere Sonne, wird verglühen".

Die Lippen schliessen sich, und das Kind blickt mit angstvollen Augen zu den Sternen empor. Für kurze Zeit ist alles still. 

Nur leise weht der Nordwind in geisterhaftem Singen über die Ebene - sonst Stille.

Dann öffnen sich die Lippen wieder, die trockene Zunge stösst gegen die schäbigen Zähne, um den ersten Laut zu formen: "Du brauchst Dich nicht zu ängstigen, mein Kind, denn was stirbt, ist nicht zu Ende, es ist tod und leben zugleich. Dieser Baum hier wird sterben , doch im Frühjahr wir eine neuer an seiner statt wachsen, reifen - und sterben. Denn nur was reift und stirbt wird Frucht bringen. -- Hoffen wir, die Frucht dieser Welt wird gut! -- 

So bist auch Du die Frucht der Menschheit und meine Frucht. Ich werde wohl sterben, aber niemals werde ich tod sein!"

Nach einer Atempause erhellt sich die Stimme und sagt: "Hör zu! Hörst Du den Wind? Den eisigen Nordwind? Den Tod? Er singt das Lied des Lebens". Wieder kehrt Stille ein.

Nur leise weht der Nordwind in geisterhaftem Singen über die Ebene - sonst Stille.