Posts Tagged ‘ breath ’

Francesco Balsamo e Luc Ferrari – vengodalmare

devo starmene come una piega del foglio
così è la testa al mattino

ancora rivolta
al muro di ieri

aiutare il cielo a sillabbare l’azzurro
e il bianco

con una parola che sta
tra il berretto e la testa

con un fazzoletto
dobbiamo fare una risposta

devo starmene come un nodo a una parola


il cielo
su una candela
adesso ha
l’età di una candela
e la candela ha
un suo odore di diluvio


così ci siamo acquattati
in un angolo

senza intenzione di fare discorsi
solo la comprensione dell’abbraccio


abbiamo il mare appena fuori casa
e tutto è lontano e vicino
e siamo e non siamo sicuri,

ma pensa a tutto il mare,
basta trattenere il respiro –

sempre oggi, oggi sempre
terra terra del mai –
qui tutti insieme facciamo una brezza

da Tre bei modi di sfruttare l’aria –
Francesco Balsamo


Source: Francesco Balsamo e Luc Ferrari – vengodalmare

Breathe. Exhale. Repeat: The Benefits of Controlled Breathing – The New York Times

Andrew Rae

Paul Celan and the Meaning of Language – An Interview with Pierre Joris

Paul Celan

Paul Celan and the Meaning of Language – An Interview with Pierre Joris.

flowerville: leaf of my spoken thoughts: one’s own inner other actuality (jellema xi )

flowerville: leaf of my spoken thoughts: one’s own inner other actuality (jellema xi ).

3 poems by Donna Fleischer | Solitary Plover, issue 19, winter 2014

on a breath,
purple finch

hummingbird stops
at me in a pink tee seeing
how Bosch saw

13 ways
(through the blackbird’s eyes)
of snow

(Zen Space, winter 2014)

– Donna Fleischer
Solitary Plover Issue 19

Prayer, by Scott Watson


Too old to breathe,
hook me up to
a poem. No
please. Let me breathe
poems, let poems
breathe me. Let light,
darkness, settle
as all-embracing
clarity. Let
there be song when
there is no me.

Scott Watson

Charles Sandison: Language as a mirror of the world / Kiasma, Helsinki, 2010

~ to see the letters in white (instead of the conventional black on white) in streams of smoke capsizing the invisibility of the air itself, in capillary action of blood & breath is to hear the sounds of which they are merely ghosts, before we speak. ~ yours truly, df written to Geof Huth, today

twilight hovers

over the misty field,

my breath


Donna Fleischer
October 23, 2010

Fiona Apple, Elvis Costello / “I Want You”

Alan Watts on Haiku

1.  artlessness – looks like a work of nature
2.  excels in the virtue of knowing when to stop (the secret of art and of life)
3.  zen-inspired
– complete lack of the inessential
– astonishing directness
– no ideas, beliefs, doctrines or symbolism
– haiku and zen share same view that is a moment of intense perception; vivid.
4.  life reveals itself most plainly when you do not clutch at it — touch and go
5.  everything is momentary
6.  mooshin – state of no mind
7.  not reactions but an integral part of the experience
8.  literary form
– 17 syllables*
– in current season
– of flowers, trees, insects, animals, festivals, landscapes
– a strict form to see how much can be done with so little
– tension is created between the rigidity of the form and the depth of the poetic feeling; haiku   is the practice of restraint:
– suggests, doesn’t describe
– indicates, does not explain
– involves reader’s imagination
– restraint prevents showing off
– primativity and unfinishedness of expression that is socially understood
– the reader is almost as important as the poet—both share the same poetic
experience that  is never explicitly stated
– listener must be in the know about life, of the thusness  of things, not of their   goodness or badness but of their concrete thingyness
– the quality of thusness
* clarification: Japanese and English languages of course are not of equivalent syllabication. So, it’s better to count the duration of a full breath in and out. Some American haiku poets are now writing poems that last for a breath. ~ yours truly, df