Katrina Brown, May 2014

Reunion

Countless, the years,
to arrive at this cliff,
weathered, like your face;
steadfast against the breakers,
unyielding to the tides.

Once, I was the albatross,
poised for flight,
needing the wide Pacific sky.

You were the toe toe,
rooted in the rocks,
content with the Coastal breeze.

Now, here we stand;
a pair of aged sycamore,
feet planted a safe distant apart,
as memories fall like helicopter seeds,
by the rivers of our youth.

Stone hands in our pockets,
we brace against the wind,
and blink back salty tears,
of impossibilities.

-Katrina A. Brown <kbtaiwan@gmail.com>

*toe toe is NZ’s tallest native grass.  It grows up to 3m in height, and is firm and strong.

Tiffany Lin, May 2014

I See and I Feel

Just Observing
I see kids at play in the park tripping on their feet 
I see dancers eyes closed grooving to the beat
I see zombies zoning out in the subway on their phones
Naturally free and empty

Just Yearning
I see the Internet and imagine lives-that-might-have-been-mine
I see people growing farther in distance spread across time
I see in multiple tabs and in alternate realities
Evolving relationships of increased intensity

Just Breathing
I see restlessness radiating from my body through scars on my journey
I see anticipation as thinking is stimulated by constant activity
I see confidence go up and down in waves and I wonder why
Fleeting emotions intensify

I see the world now realizing
Uncertainty is a way of being
And while I try and pave my own path
I feel and learn simultaneously
Just living.

Bio:
Born in Taiwan and raised in United States, Tiffany is a powerhouse of energy made up of customized Asian values, a dash of oriental zen, a twist of western creation fervor, and a sprinkling of personal philosophizing.  Tiffany seeks to cross-fertilize her many areas of interest to spread her enormous enthusiasm for life and adventure with self-expression and gratitude as pillars to her being. She envisions a future of collaboration and engages in small acts to encourage communities and people around her to thrive and grow.  An aspiring creative, she uses writing, dancing, storytelling, drawing as a way to express her “life is a series of fleeting moment” feelings.
Tiffany Lin <tiffanylin1689@gmail.com>

(c) Copyright 2014 Red Room.  Material on this site is the property of contributing members of the Red Room Community. Please do not copy any part of this publication. Thank you.

Marianne Crosskill, May 2014

march-rr-poetryDo not underestimate me

When you argue so well
and cut me to ribbons
I dissolve  into tears
and melt into nothing
staring at my old fears
but do not underestimate me

when  you scathingly criticize
I have no clever words to say
but I go all numb
I freeze in the headlights
stupidly dumb
but do not underestimate me

I have been shaped by life
broken open my life in tatters
sharpened like tempered steel
to be strong when it really matters

like when my son died
like when I walked away from love
like when I faced the dark night

so don’t you ever underestimate me


I am an English teacher and am in Taiwan for nearly 2 yrs. I love nature  and reading and music and dance. I am writing poetry with new insights and passion here in Taiwan.

marianne crosskill <marianne.dance@yahoo.com>

(c) Copyright 2014 Red Room.  Material on this site is the property of contributing members of the Red Room Community. Please do not copy any part of this publication. Thank you.

楊倩雯, Chianwen Yang, May 2014

 

 

Lolita's-poemLolita_ red room

 

 

 

 

<jnea791116@gmail.com>

(c) Copyright 2014 Red Room.  Material on this site is the property of contributing members of the Red Room Community. Please do not copy any part of this publication. Thank you.

Aside 5, a magical evening, March 2014

As I sat here contemplating about Aside 5, I realized that the definition of the title changed for me this time around. The last Aside event was simply to set “aside” the more free-spirited people and magnify my hopes in becoming one of them in the future. But in Aside 5, I felt as if the purpose of the event was, for me, to push “aside” all my expectations and stereotypes I had developed in my mind and be exposed, once more, to the necessary facets of life. It was as if I was to experience a rebirth and see the world for the first time again.

The mini-capsule of renaissance started with Josh Drye, a musician from North Carolina. When Drye came on to the stage, he simply took out his guitar and spoke a bit about the fundamentals of his music. He said that in his home region, they like to use one basic chord as the background chord. After this brief introduction, he quickly began to perform. He sang songs he composed and songs by other people—all of them were the songs of the Appalachians, best known as bluegrass. But even though they were all very pleasing to the ear, I still craved the sound of the banjo. In my mind, bluegrass just did not make sense without the sound of the banjo. It is no wonder why babies cry when they are pulled out of their mommy’s belly; the frustration at the unfamiliarity of their surroundings is so overwhelming that the only rational response is to lash out and cry.

I was already screaming like a maniac inside (“Where the heck is the banjo?!”) when comedian/storyteller, Charlie Storrar, confided in the audience, “I went through a process of rebirth myself.” It was as if Storrar’s message was directed at me. For a second, I saw a halo light up above Storrar’s head. But then, he said, “I am a Reborn Sinner.” And poof, there goes the halo. Before Storrar became the man he is today, he was Celibate Charlie. Storrar was trying to woo a girl with a box of cheap chocolates at fifteen. And to please her even more, he followed her into her Christian faith—but the moment he stepped foot inside the church, he decided to fall in love with Jesus instead.

Storrar loved being a Christian, but he also admitted that dedicating himself to God did not help him get over his need to “fill that void” and he constantly needed to patch it up “with his right hand.” And so at around the age of thirty, he decided to leave the Christian faith and finally will himself to sin again. Storrar’s story sounded too much like a bad joke to be true—“a British walks into a church with a box of cheap chocolates in attempt to seduce a girl, but was, instead, seduced by Jesus the man Himself.” All that is missing here is a rabbi.

I was having difficulty wrapping my head around the concept of being seduced by something abstract and conservative when Tina Ma, the Red Room Muse, walked in gracefully with a gu zheng and helped to demonstrate this seduction right away. The beginning of Ma’s music was very meditative. But as she began to pepper in a narrative about spring—“the mating season,” all one could think about was “sex.” It was as if Ma had grinded up all the Viagra she could find in the drug stores and just decided to sprinkle all the love dust onto the Red Roomers while casually playing her gu zheng.

Tina Ma’s performance was very creative, but I would have to say nothing could be more creative than what the Radio Redux group had to bring us that night at Aside 5. The Red Room Radio Redux group (R4) had always presented spectacular dramas in the past. But this time, the writer of R4 transformed T. S. Eliot’s poem “Wasteland” into drama form. Four actors—Marc Anthony, Adrianna Smela, Charlie Storrar, and Pat Woods—whispered, and shouted, and danced, and raged throughout the entire poem. R4’s mission is to introduce Western canon to its audience; not only have they done a great job this time, they have changed my perception about how a poem should be read. By having four people act out “Wasteland,” the R4 group had successfully portrayed the diverse themes of confusion and personas in the poem.

R4, Tina Ma, Charlie Storrar, and Josh Drye—seeing these four amazing artists at Aside 5 was like seeing a big yellow submarine in a bottle. And after this thought came to my head, I had one final revelation. I am very thankful that I had discovered the Red Room; because of the Red Room, I would not have to travel very far to see the world, the world would all be there with me in this one cozy space.

Wendy Wan Yi Chen
Class of 2014
Department of Foreign Languages and Literature National Taiwan University

(c) Copyright 2014 Red Room.  Material on this site is the property of contributing members of the Red Room Community. Please do not copy any part of this publication. Thank you.

Tai Mesches, January 2014

Fireflies

in a poet’s realm of tender azaleas ‘n’ timid twilight surroundings
only does one slightly recognize the fireflies around him
but to be kind ‘n’ not to frighten with love, is a practice at best
to softly spark the creatures’ heart that brightens their chests
a delicate rhapsody painted in a scene of midnight navy blue
where spray paint ‘n’ poetic pages set the stages for me-muse
with a tongue coated in venomous desire ‘n’ a serene drip of intrigue
the fireflies ignite my static mind ‘n’ rev up my electricity
my pen extends a breath, under their fragile-flapping wings
just enough to express, the brightness they be craving
by saying laced fragrant phrases ‘n’ explaining my motives
the fireflies shine in my rhyme, earning this poet’s devotion
so slow they coast to my riveting lips, imprinting an impression
forever melting my dark silence away with their romantic connection
the setting blushed with stark urgency, yet to unfold at a steady flow
only to test my stretched penmanship, as each one, with me, glows
the fireflies of my dreamy being, compete to sit in my hands
for the ones i catch, the ones i select, are the ones that want to land
to stand still ‘n’ just radiate my euphoria, captures their curiosity
as their bodies shake for attention, love is what they want from me
my pockets full with already kidnapped sirens ‘n’ melodies of throats
only do the most beautiful fireflies, fly to what this poet has wrote
i don’t know if they know, but it’s my choice to choose
which bright-winged insect today, i choose to seduce
the fireflies come smooth to me, as i stick out my tongue
‘n’ let their glow follow my poetry, for this is where they belong…

Tai Mesches <prosperus11@gmail.com>

(c) Copyright 2014 Red Room.  Material on this site is the property of contributing members of the Red Room Community. Please do not copy any part of this publication. Thank you.

Max Farrell, December 2013

Dreamland Pieces, Ch. 05

excerpted from the private journal of Carl Parker, written shortly after one of his exits and returns to the institution

Once I lived in a mansion where almost every wall was lined with portraits of revered ancestors.  It was a Maltese family, and most of them looked more than a bit like me; so standing in one end of a corridor and looking across was like looking down a weather-beaten picket fence made out of anachronistic resemblance.  Here was the same person, a million times over off into infinity.

I wondered if I was anything like them.  I, somewhat hopefully, doubted it, because it was stunning to think anyone that close could have gone through what I was going through without leaving some sort of help, some sort of instruction to future generations.  At least a note.  I can imagine myself finding such a treasure stashed away somewhere in the miscellaneous artifacts of these past lives.  I’ve never found such a thing outside of particularly hopeful dreams, assuming one doesn’t count the contents of more recently deceased relatives’ liquor cabinets.

One summer, during evening rain, I received a waxy envelope from a return address in Rouen, France.  As was usual for me, I was incapable of getting the envelope open in the usual way and wound up tearing my way in through two sides.  Inside were three dried leaves, two partially disintegrated from the pressures of shipping and one perfectly fine (which i stuck between the two sliding glass doors on my cupboard for luck).  There was also a letter, on cream-colored paper, written in dark blue acrylic ink with a fountain pen.

It was from a relative who needed someone to look after their chateau and their six chihuahuas of differing age and temperament (Peter, Mary, Matthew, Paul, Simon and Bart) for two weeks while they honeymooned in Africa.  After a few frustrated phone calls — there was no one else to do it, there just wasn’t — and no small amount of sulking I went there, over the sea, on a hot-air balloon basket ride that came up peppered with sharks’ teeth every time it dipped low in the water.  Every night I followed a carefully-chosen star to the east, and every day I made my best guesses.  On occasion, I consulted a chart or two.

A half-day out to sea a lightning storm came in the night, and so my basket bucked and pitched in the all-encompassing bitter sheet of dense precipitation.  Rips and tears bit the sky, lighting up the world for the instant before plunging it back into total darkness.  I felt strangely safe in it, as though the storm were a close friend who would never harm me no matter how it might terrorize my neighbors.

At times I almost fooled myself into thinking I would tumble from my little basket as it twisted in the air so as to be perpendicular to the ocean, my little net bags of peaches and bottled water almost lost to the abyss before I caught them by their strings with my brittle fingers and pulled them back to safety, clutching them to my chest for the rest of the night.  The book I had been reading (Hemingway’s Old Man and the Sea) was saved only by its soaked first-edition pages sticking to the side of my basket.

The night before closing in on land I encountered another traveler.  They were in a much newer model than mine, much more high-tech, bigger and capable of going much faster.  It moved skyward with the aid of a perfectly snow-white balloon that looked to be made from that high-tech modern fabric that could keep you afloat if you went down in the sea, deflect bullets, make you coffee and look after your kids.    They were far away from me, but it seemed like it would be bad luck to pass another at sea without making some attempt at contact, so I sent a flare off into the sky.  It was a pathetic, low-budget sort of signal flare, absolutely the bare minimum to attract the attention of some sort of rescue mission.  There was no response, the other traveler just kept moving right on by.I first touched shore in Portugal, and then, taking to the sea again, found myself somehow in Wales — twice — before finally reaching France.  After that it was the relatively simple matter of asking the right people for directions to find my way to Rouen.  Meeting and interacting with my living relatives always reminds one of an autopsy on a drowned cat that had been, in life, well-loved by the local public.  I sorted things out as they needed to be sorted out and served my two weeks looking after the estate.  After my relative’s return home, they insisted on buying me a first-class ticket home on an airplane.  After much curiosity and interest on my part I found the plane ride home to be completely unremarkable — full of slightly stale air and aging tourists.

Ch.21

James started dedicating his late nights to reading Walter’s notes, in spite of the risk that this might attract the attention of the lurkers or something much worse.  He was seeing them more often now, freakishly peripheral visions crossing just out of sight or standing in doorways looking down at him, or worse, just gazing endlessly at something that couldn’t be discerned.  James quickly learned that the lurkers would be drawn to the book if he left it anywhere out in the open.

They would gather around it and stare, they would walk past more often, they would turn up nearby.  But as he read, what had once unfolded began to bloom in him.  As he saw the lurkers more often, he began to understand them the way an infant left alone with a mirror will eventually identify themselves within it.

In antiquity, if you really pissed off the wrong person and that wrong person happened to be the supreme power in the area at the time, they might declare a damnatio memoriae upon you.  Eyes might be gouged out of statues and paintings, the faces removed entirely, or the works themselves completely destroyed.  People would be forbade from ever mentioning your name again.  The Egyptians might have mutilated your cartouche, a little oval with a hieroglyphic writing of your name, and in so doing would have destroyed you — if you had your name written down somewhere, you wouldn’t disappear after you died.  Your soul had an anchor.

The first wandering souls were Egyptian in origin.  The Egyptians, for a long time, kept the souls of the dead hanging around their temples and tombs by feeding them a constant stream of sacrifices and offerings, which came to dominate and eventually skeletonize their economy.  When their diet of willingly provided sustenance was ceased, the deprived spirits of the ancient fallen became hungry and filled the night in their search for other forms of energy.  First they would sink to swarming lost blood or urine, things with the remnants of life force still scattered inside or around them, and — eventually — they slowly began to prey on the vitality of those who were left defenseless in the dark.

This is a story that starts a year before the big collapse, when all the bridges burned and it rained brackish water for two years.  Carl was getting sick.  This was the beginning of the cracks that eventually spread into every aspect of him, creating a solid year of memory gaps and migraines.

He moved into a spare room a friend had in the apartment she shared with her girlfriend.  One spent most of her free time hoarding her artistic influences because she was terrified someone else might look at or study them and in so doing make her obsolete, and the other dedicated her significant energy to mixing alcohol with pharmaceutical drugs and taking her clothes off for the internet.

He was fond of them regardless, which is in retrospect kind of self-defeating — something must have already turned off the evolutionarily instinctive common sense that keeps most people safe from people like this.  Carl’s sickness got worse, progressively, as maintaining his presence in classes became more troubling and everything started to go downhill.  He had started to unravel.

As their behavior became more strange and erratic, Carl was consumed by his affliction.  The ailing eye of an ailing storm.  His roommates bickered, fought and had tantrums over food.  If someone misplaced an orange or cut of meat or if someone cleaned some rotten thing from the back of the fridge, loud words would be had.  Carl slept without resting.

“Being here really sucks,” said Tabitha.  “I can’t check any of my accounts or commissions.  I hope my clients all understand that I’m just indisposed for the time being.”
“That it’s unavoidable?” asked Abel.
Carl interjected.  “I’m sick of seeing people who want to be artists or, worse, think they already are, scrounging and fighting for scraps of attention wherever they go.  Doesn’t that seem unsophisticated to you?”
“No.  It’s just a way to make a living doing something most people can’t.”
“If you want to make art, get a job you can stand then dedicate your free time to your practice.  And what makes you think you’re so special?”
“There’s nothing wrong with wanting to be a success,” retorted Tabitha.
“Sip urine, drink blood.  Prey on the weak.  Whatever scraps you can get your hands on.” said Abel.

When Carl despises something, he won’t acknowledge it.  A public persona he thinks is despicable?  He won’t talk about them.  The ultimate punishment to an entity that is completely and perfectly reliant on attention is refusing them any kind of acknowledgement.  This isn’t to say he hasn’t made his share of political actions against the would-be powers he resents — actions, not gestures, the difference between going to a major protest and having an argument with your dad.  There’s clearly a modicum of strategy and thought to this, like there is to anything else of worth in the world, the punishment of social icons via personally enforced condemnation of their memory.

Inexorably, this began to evolve to include people who did things that were wrong.  A particularly nasty ex-girlfriend, for example — he stripped her of her name, severed all ties, ceased to acknowledge her, and went on with life, missing a few pieces of himself and bleeding from the gut but wiser for it, or at least he would be wiser for it after he clawed and climbed his way out of the pit the whole situation left him in.  There’s a story about two frogs that fall in a bucket of cream, but most the time we land somewhere strange, cream isn’t in the picture.  When someone helps you into a bad place, damn them out of every cell of your body.  These people, they do not exist, they might as well never exist.

Allow their memories to remain.  The best way to torment someone is to make off with every scrap of useful information they ever provided and outdo them in whatever areas they believe themselves to excel in.  This is what Carl does, the revenge recovery program, punishment through excellence.

The paint on the wall in James and Carl’s room had always been badly cracked.  Carl was trying to tape up a charcoal drawing of overlapping hands when a piece of paint fell away.  A spot on the wall the size of the palm of your hand was revealed, full of sweeping black strokes of paint.  With a little work, a message painted across the entirety of the room’s left wall (facing from the door) revealed itself.

It was a message to someone, anyone, from the deep past.  An echo check, measuring signal to noise, and a wish that whoever’s finding this note is doing okay.  It was signed with the initials ‘F.H.’.

“Who do you think ‘F.H.’ is?”

“Hook.”

max farrell <seenerie@gmail.com>
 
(c) Copyright 2014 Red Room.  Material on this site is the property of contributing members of the Red Room Community. Please do not copy any part of this publication. Thank you.

Tai Mesches, December 2014

Fireflies

in a poet’s realm of tender azaleas ‘n’ timid twilight surroundings
only does one slightly recognize the fireflies around him
but to be kind ‘n’ not to frighten with love, is a practice at best
to softly spark the creatures’ heart that brightens their chests
a delicate rhapsody painted in a scene of midnight navy blue
where spray paint ‘n’ poetic pages set the stages for me-muse
with a tongue coated in venomous desire ‘n’ a serene drip of intrigue
the fireflies ignite my static mind ‘n’ rev up my electricity
my pen extends a breath, under their fragile-flapping wings
just enough to express, the brightness they be craving
by saying laced fragrant phrases ‘n’ explaining my motives
the fireflies shine in my rhyme, earning this poet’s devotion
so slow they coast to my riveting lips, imprinting an impression
forever melting my dark silence away with their romantic connection
the setting blushed with stark urgency, yet to unfold at a steady flow
only to test my stretched penmanship, as each one, with me, glows
the fireflies of my dreamy being, compete to sit in my hands
for the ones i catch, the ones i select, are the ones that want to land
to stand still ‘n’ just radiate my euphoria, captures their curiosity
as their bodies shake for attention, love is what they want from me
my pockets full with already kidnapped sirens ‘n’ melodies of throats
only do the most beautiful fireflies, fly to what this poet has wrote
i don’t know if they know, but it’s my choice to choose
which bright-winged insect today, i choose to seduce
the fireflies come smooth to me, as i stick out my tongue
‘n’ let their glow follow my poetry, for this is where they belong…

Tai Mesches
prosperus11@gmail.com

CB Leeuwenhoek, November 2013

CB had an amazing summary rap he performed at the November ST&W and here is the text

Watching the red class, through rapid release glass.
Hiding behind a lens while kids sing, laugh and dance.
Three ancestral aunts are acknowledge through interpretive dance, cash is hurting , please step away from the ledge.
The ghost of Christmas past, all chained up and obsessed, while monopoly is blast for capitalism in the past.
Today celebrating four years of the Mehta clan being obsessed with performance in the class where Aveda hosts it’s guests.
We’ve come together at last with shakers and percussion all performers and all artists on stage without repercussions.
A free space for all, no need to worry, the crowd’s got your back, all fear should be buried.
And never forget, cause the memories of a geisha can make you feel strong cause nobody can replace ya on this stage or time, the wine flowing in cups, but beware of that mountain dew, that piss ruins more than your guts.

But let’s change.

Art done by kids can put a grown man to shame but inspires to persevere and keep going despite how lame you might think you are on stage you keep going until it’s over cause you might spark a flame in whoever’s hiding for cover from their own talent, cause everybody’s got something for the table to bring, next red room they might be up here doing their thing.
Inspired by a gentle stranger last time, I found the courage to top off this stage time and wine.
That stranger, from the top of his mind he could read and recite an entire passage, waiting for Manny to provide a beat.
But we’re not strangers here, we’re all given a beat, cause we’re not strangers here, we’re all friends who’ve yet to meet.

-CB

(c) Copyright 2013 Red Room.  Material on this site is the property of contributing members of the Red Room Community. Please do not copy any part of this publication. Thank you.

Stage Time & Juice, October 2013

Letter from Katrina Brown to Ping Chu about the Stage Time and Juice experience:

The children had a wonderful time at Stage Time and Wine.  Performing at Stage Time and Juice and Stage Time and Wine has boosted Kyle and Hannah’s confidence a lot.  The impact on Hannah was striking.  She has been singing her own songs since that evening, and has instructed me to figure out how to have her record her original work. Working on the table and being treated so nicely by all the people that came in also broke down her own idea that she is “shy”, and I can see the difference in the way she goes confidently to school everyday.  Last night, Kyle told me he wants to “work hard” on his presentations at Red Room, so he can get better and better.  He saw that there are many different ways to express your creativity, and would like to pursue some of these. As adults, I think we can underestimate the value of this kind of experience for children, and even for ourselves.

I truly, from the bottom of my heart, want to thank you for having this vision of community for all of us.  Our family is very lucky to be part of it.

Regards,
Katrina

 

The Awesome Playgroup News published an article on Stage Time and Juice. Here is an excerpt from the latest publication.

You can also download the entire publication here.

youblisher.com-745862-Awesome_Playgroup_News_Autumn_2013 2