David Wood, June 2012

Song of the Muse

I’ve looked for you on balconies,
between the linens hung out on the line.

In the morning light on a kitchen floor
stenciling the frame of a wood
screen-door.

In spiderwebs on the dusty shelves
of a writing desk, set
behind the house, growing out of
its usefulness.

In the open gutter, where dish water runs
stealing ribbons of sun,
weighted down in bits of food
scraped from the plates of children.

I’ve looked for you in shadows and shapes
and the cracks in faces,
mirrors and pavements,
puddles, ponds, people
and the moments they cling to.

On falling horizons and crescent moons
and setting sun’s silhouette.
In the darkest hollows of hills,
listening for you in echos.
In alley ways and cardboard boxes
plastic bags and newspapers turned over
and over and over again.

In the embers of the fire, I’ve waited
between the grinding teeth
of party people, stoking it through
pit of night, scowling at the dawn.

I’ve chased you bleeding
out across delta flats,
rolling down off mountains’ backs,
reaching for the sea
and salted wind.

In the mended nets and tattered tarps
and winches and tackle and tool boxes
on weather-bent rigs of fishing boats,
moored and whining along the wharf.

I’ve watched for you on the shoulders
of slouching roads, hitching west
with anyone who cares
to stop.

In passing towns, I’ve looked for you.

In taxi cabs and street cars,
I’ve looked for you.

In empty bird cages,
barbed wire fences,
damp warehouses and factories.

Where wind chimes play on
fire escapes and the deathless ivy
threads its way to rooftops
of potted plants and rotting mops,
I’ve looked for you
in song,
perched on window sills.
In tea houses and temples.

In barber shops and parking lots.
Brothels, bars and billiard halls.
I’ve entered them all,
looking for you.
Below the kites and trees,
on white park benches
where strange old men tell
strange old stories to anyone
who smiles their way.

In the folds of a drunkard’s winter
coat picked clean of it’s crumbs
by pigeons in the courtyard,
I’ve looked for you.

In the long shady grass by the overpass
where vagabonds write lullabies
and sing themselves to sleep.

Below the sewer grates,

I’ve looked for you where marbles
and coins and rings wait out
the lives of those
who’ve lost them.

In the attics and the cellars
and the backs of dead people’s closets.
In the dried leaves gathered on the curb
and the laughter of little ones who
love to run through them,
dragging their feet as they go.
I’ve looked for you
in shiny things
and dirty things and broken, dying,
living, littered lost and
found-later things

On the wet painted lips and fake
eye lashes of prostitutes,
staggering from lamp post
to lamp post.

On the tongues of lovers,
I’ve looked for you
reaching for the light switch
so they may find each other
in softer shades of night,
and become whomever
they wish to be.

In promises made,
I’ve looked for you.

Secrets betrayed,
I’ve looked for you
at intersections where schizophrenics
stammer through shopping lists
and scripture.

In the eyes of a child
on market street
who’s lost hold of father’s hand
crying in the crowd,
I’ve looked for you.

David Wood is a 29 year old Canadian Poet currently based out of Central Taiwan.  For the past five years he has been traveling and writing his way through Europe and East Asia.  His poetry and short stories have been published in poetry journals and magazines in Canada, England and most recently, Taiwan.

Feel free to contact David at:  davidwood2811@gmail.com

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Manav Mehta, June 2012

Stage time and wine

I thank you all for coming tonight, on behalf of the community and i
Say something about a stage time and wine poem..
Moments where we analyze what to do, and what not to do..
Well, screw explaining that I’m up here so that’s what I’m going to do.

I want to tell you all what’s been going on in my mind..
Crunching new grooves with a 19 year old grind..
It gives me headaches, awkwardly personal “proud moment” smiles..
An unorganized database, receiving an endless number of untitled files..
You gel up your hair, your hat cries out “STYLE”
Your body type comes with a variable list of numbers to dial..
I’m working on mine! Jogging mile to mile..
A combined effort at a developing mentality, with assorted perspectives-

Stage time and wine, is a place of…
Well wine-
Something that makes it special..special is what you’ll find..
The word artist holds no boundaries, its not marked by a mustache or a hat…
Those who have both are simply gifted, and well..i didn’t get it so screw THAT!
According to me here, once you’ve entered the red room..planet earth is flat..
The ultimate symbol indicating that we’re all equal ..were all artists here- how about that?

It’s a time for us to share! BYOB should change to BYOSOMETHING TO SAY
Everyone has something to share, its usually the ones who are shy..who sit back and compare..
C’mon guys, that simply isn’t fair- but don’t go as far as saying “I CAN say anything..its not like they care”
WE’RE here to listen, to enjoy, to emotionally react the way you do biting into a sweet chocolate eclaire..

I wake up with theories, which are completely genius..
But as the day ticks along, it deteriorates to something meaningless..
This random rambling is an example of that- but I love the act of performing..(AND YES THIS IS CONSIDERED A PERFORMANCE..).

That’s a fact

Art comes in all different shapes and forms..the ones labeled eccentric or exotic-
Are just ones there are no real words for..
Ever notice the lack of vocabulary we hold to describe certain things of wonder..
Beauty..stimulating and depressing – sigh..
We use our bodies, the tone of voice, our facial expressions-
I was gifted with the control of my eyebrow muscles..and so..tonight I will take the role of goofy.

Stage time and wine..
Time for all of us to shine..
Hence the much brighter lighting –to symbolize the divine..
Bring out the person inside of you tonight- do so through the love for the spoken word..
Mimes are allowed as well..
Like I said artist holds no boundaries or lines..
There are beverages in the back, grapey wine with some chai-ey chai.
Let us all enjoy the night-
In hopes for more random ramblings in sight.

Manav Mehta

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Summary by Nate Murray, May 2012

Shakespeare sonnets. Classical poems. Indian ragas. And then there’s the new material: original songs, stories, and comedies. And filmmakers showing us their latest ideas. The Red Room is a place where you can come and enjoy both classical favorites and the newest creative innovations in Taiwan and (due to the number of nationalities represented every month) around the world. All in one open, friendly environment. There is simply no other place like it.

莎士比亞十四行詩、古典詩、印度拉格。接著還有新的元素誕生:原創的歌曲、故事和喜劇、以及製片人們展現了他們最新的作品。紅屋是一個可以讓你來參與且享樂體驗於經典中的古典、前衛創新的創作。每個月都來自於臺灣以及其他多個國家參與者。全部都在一個開放式、親和力的環境裡頭。真的沒有別的地方可以跟它一樣了
(Chinese translation by Edward Chiang)

(c) Copyright 2012 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.

Mark Caltonhill, May 2012

Mark Caltonhill performed an extract from his poetry/stand-up routine, including the following new sonnet on one downside of aging:

Who will rid me of these meddlesome hairs,
sprouting ungodly from within my ears,
so dark and flagrant while all around greys,
yet hidden from my presbyopic eyes?
“Excuse me, not I, a thousand times no,”
my tantrumic coiffeur won’t snip so low;
“With hirsute auricles I can’t compromise,”
my barb’rous barber refuses to rise;
“The hand’s my domain, I’ll not pass the wrist,”
dogmatic’ly says my manicurist;
“And don’t look at me, I only do skin,”
my dermatologist’s excuse sounds thin.
“I’ll cut those hairs, clip your nails, paint your tan,
and then close your eyes,” smiles the mortician.

(c) Copyright 2012 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.

Matthew Purpura, May 2012

Matthew Purpura  (sang an original song, accompanying himself on guitar)

please click on the MPEG file below. the text to his tune follows:
Matt Purpura – Touch the Ground

I just want to touch my feet to the ground.
Stuck in motion, between the ocean and the air.
Salt is the only thing we share.
Darkness falling, even the moon is scared.
Fields and pastures, dreams and laughter disappear.
Where is my golden mare,
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Timothy Nathan Joel, May 2012

RED READING RED
(version 2).

Dearest Red Room,

It’s been a painting since we last spoke. I trust you’re as healthy as ever
And getting accustomed to the freedom we seek.
My prose has been lacking, being away from you like this.
My painting on the other hand, is never without its purpose.
Feeling in the dark as it does, knowing the truth is out there.

What it feels suggests there is a roulette at play during all parts of our day.
Every now and then I take a risk and gamble,
Much to the dismay of Winston, Sophia and Loren (my dogs).
Like the night my motorbike rode me into a blossom tree.
Leaving me stunned on the ground then spinal tap bound.
An episode resulting in a true love found (my nurse).

Tell me Red Room, with all one’s rehearsing, ranting, ravings and romanticizing.
What do those people in front of you, who so kindly un-shingle their chastised feet for you, have to say about where we are?
Is the enclosed writer free to read your mind? Does the view seem real to you?
What would you hear if we remain silent?

I am without a doubt a very naïve post modern expressionist by day
And a surreal impressionist by night.
A midnight toker, a self critical insomniac and a red wine prophet in need.
A thinker, a lover, a dreamer, a doer and a prover.
Am I talking to myself again or are you there with me?

A dead man once told me “Be accommodating to all those souls, but always allow time for your own.” Red to me is the colour of the soul.
It is that which flows throughout us and came from a place we have no fine knowledge of.
Knowledge these days is over stated. It is tainted.
It is steered with its horns by invisible clutches.
It is a rooftop with no visible ledge. It is outside this space.

Red Room, you are coursing through all our veins. You are always here when we appear. We won’t forget to lend an ear. What we learn from you is nothing new.
We come here because of you.

And if every generation has its beat, then why wait for the stomp of feet.
Or the climate change to raise the heat.
Are we here to raise a glass?
Are we here to stop a farce? Are you the one to ask?
Should we treat your stage as our mask?
Is your wine table there to help us read our line?
All these questions are answered in time, and time is all it takes.
Once you’ve realized what time takes from you.
The anagram emit shows clearly what we miss.

 But back to the point and the point being sharp.
All the world is a stage and all in the world light up their rightful time.
Yet when the world whines not all of us hear in time.
Is this why when I need water all I want is wine?
Is it darkest just before the dawn? How would so many know,
Lost in their cities of polluted night.

Red Room, must we come here to be read?
What if I am blue and know not what to do?
What if I am green with envy?
What if my words have a silver lining?
What if my golden tongue knows no rest?
And if from darkness comes the light, then one’s truth must surely be revealed.
At which point, as a soul would state, there is no turning back.
There exists no choice.

 Alive is felt once out of one’s hive.
There is more than one sky in which one must try.
Blake noted all men seeing life through narrow chinks of his cavern.
May we not let that happen.
The dead man is me, I just like projecting ahead.
And here resides my biggest clue to each and every red rumor of you.

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Nate Murray, April 2012

Radicofani

The vast, green Tuscan hills stretched out for miles in all directions. Directly above me, a cobblestone bell tower chimed off some hour in the midafternoon, though which hour exactly, it really didn’t matter. Much farther above me, the clouds formed a gray sheet across the sky. But it was not the monochrome gray which would indicate a bleak day. Rather, it was a vibrant quilt of many shades of gray, which kept the temperature at a comfortable cool. I could practically taste the air’s freshness.

Later, I walked at steep inclines through the few streets of the town. The homes were knit tightly together, much like the people. On a previous trip, I had met the manager of the town’s only bank, and he had proudly talked about his home and some of its history. Incidentally, he was also the mayor. After revisiting him, I found myself in the mood for a coffee, and I strode into a café to order a cappuccino. Embarrassingly, ordering a cappuccino after mid-morning was taboo and clearly marked me as a tourist, of which I was the only one here. But I enjoyed it all the same.

Then, unfortunately, it was time to go. Reluctantly, I pulled away from the map of Italy which hung from my bedroom wall. I told myself, like I did every day, that I would find a way to make it back there for real. Until then, the map would have to do. I took my backpack and walked out into the monochrome gray morning to catch the bus to work.

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Patrick Wayland, April 2012

Nuclear Family Missile

In the 1980’s my father was a senior strategist in Air Force Intelligence. He worked on a secret project to conceal nuclear missiles in the American suburban environment. I grew up with the top half of a Titan II nuclear missile sticking out of my backyard.

The aluminum cylinder rose into the air thirty feet above the cut grass. Rustic wood panel camouflage made the missile appear to be a grain silo, but with the letters U, S, and A down the side. And in the late morning the shadow of the nose cone would crawl across my bedroom floor like the finger of God reminding me of my own mortality. Every morning.

My mother and father were quite liberal in their parenting. They rarely needed to enforce rules or punish me. The monument to mass destruction in my backyard kept me guilt ridden and out of trouble during my early teens. While my friends spent Saturday night vandalizing the school, I was home watching WWII documentaries or reading Edgar Allen Poe or listening to country music. My father only spoke at length to me about two things: winning the war and the mistake Kennedy made by not invading Cuba. Whenever I felt rebellious, I’d stand against the fence on the far side of the yard with my slingshot and shoot rocks at the missile casing. The aluminum shell of the Titan II had a beautiful ring when struck. Tingggg… tingggg… tinggg. It was like the long bell in a Japanese temple surrounded by cherry blossoms, and pine trees, and ponds with those really big goldfish that they have. And then my father would run out the back door – “PATRICK! THE NUCLEAR MISSILE IS NOT A TOY!”

One could say we had three pets: a cat, a dog, and a nuclear missile. It required the same amount of involvement as a pet. I’d have to check the fuel containment twice a week, clean grass-cuttings out of the base seals, and remove leaves from the exhaust vent. The missile’s camouflage often confused our cat. He’d try to sharpen his claws on the fake wood panel. Occasionally he would run, jump, and try to climb the missile, only to slide down, legs pathetically outstretched with that claw-on-metal screech.

At school my classmates and I watched 16mm films about what to do when the attack sirens wailed. Jump into a ditch. Use your desk as cover. Only hide in abandoned refrigerators that don’t lock. But I knew better. At night, I’d covertly looked through my father’s classified damage estimation files as if they were Playboys. My father was patriotic and defiant, and his advice was to run towards the incoming missiles with arms outstretched. “Get it over with,” he’d say with tobacco pipe in hand. “At least we’ll all go down together.” How comforting.

The only thing I remember my parents fighting about was hosting backyard barbeques. Most of the day our backyard was shrouded in the missile’s shadow and my mother hated the inevitable questions about the particulars of grain storage. “Uh, would you like another hotdog?” she would nervously ask to change the subject as if hiding some family infidelity or alcoholism. After my father interrupted the dog urinating on the missile, he would give his standard reply: “It’s the new prairie home look. It’s all the rage in Wyoming.”

Growing up, I learned that telling the truth really had no value when people did not want to believe it. When I told my friends that I had a nuclear missile in my backyard, they just laughed and called me Country-boy. “It’s a nuclear missile,” I’d say. “Whatever, Country-boy,” my friends would yell back. “Country-boy! Country-boy! Why don’t you go thresh some wheat, Country-boy,” one friend would taunt. “Yeah, why don’t you go home and grind some grain into flour meal by removing the bran layer.” (My friends were a little on the nerdy side.)

But now that I’m older and living on my own, I often find myself remembering that shadow of ultimate destruction that crawled across my bedroom floor every morning; after all, it was more than just a nuclear missile. It was the comforting idea that there was some greater force looking out for me. Like a really fat kid who would beat up anyone who bothered me at school. A protector. A friend. Since I moved away from my family and the Cold War ended, I know I’ve lost something… the overshadowing presence of something greater than my own selfish needs. That and the knowledge of mutually assured destruction with my enemies. I have to admit, I miss my family’s nuclear missile.

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Kate Huang, April 2012

尊嚴

就在那,
人群熙來攘往的騎樓下,
老人坐在矮凳,
趴在自己膝上睡著;
跟前兩個塑膠臉盆,
收集著稀疏的銅板,
這麼不積極的乞討,
讓行人也不太熱衷掏錢。

兩天過去,
任何時候經過,
他總是在睡覺…

今天恰巧由他面前的商店出來,
將所剩銅板掏出,
上前放進他的盆子裡,
輕輕的,怕吵醒他,
錢剛落下,
他已抬起頭,
口罩遮蔽的臉,
一雙真誠的眼睛,
直視向我鞠躬道謝,
隨即回到他膝上的世界。

此刻我恍然大悟-
他是深感羞恥的…

那眼睛後面的靈魂裡,
藏了原本被尊重的東西,
彎下腰,
在額頭與膝頭之間的世界,
老人將它小心翼翼地保存著。

Dignity

On the busy street of Ximengding, there he was: an old man sitting on the side walk, his head resting on his knees, with 2 plastic bowls in front of him. Occasionally, people who walked by would toss some coins into the bowls. A beggar who didn’t care so much about begging, people didn’t really care about giving either.

2 days passed, any time I passed by, he was always sleeping. Morning, afternoon, or night.

One day, I happened to come out from the convenient store in front of him, there he was, sleeping still. I approached and tried place the coins in the bowls quietly so not to wake him. As the coins landed, he raised his head, face covered with mask, looked right into my eyes and said “thank you”- sincerely, and firmly. Then rest his head right back on his knees.

That moment I realized, he felt deeply ashamed…

The soul behind those eyes, something that was once respected, was hidden there. The old man kept it carefully, in the space between his forehead and his knees.

Regardless what state our life is at the current time, regardless how people see us, regardless how we view the others, if we are only willingly to go beyond our eyes and ears, see what’s not shown, listen to what’s unspoken, then we’ll see that true quality within each one of us, it is good, it is light.

Blogs: Chinese http://tw.myblog.yahoo.com/latte-kate/, English http://kattleyastudio.blogspot.com/

 

Gordon Tseng, April 2012

The link to the song, Summer Snow in Formosa : http://www.indievox.com/song/46687 

Zhuangzi
Fly with him to outer space
To view the world’s ridiculous face.
Travel with him into your inner base
To enjoy nature’s original pace.

Laozi
Real and supreme morality is to follow nature’s simple rule.
All civilized forces and artificial actions are harmful and even cruel.
So, like water, a strong and wise man may look like a weak and humble fool.
With five thousand words, he founded a religion and a philosophical school.

Confucius
Having used his thoughts for a long time to get people ethically organized,
The rulers and the elders did their best to have his teachings realized.
Sincerely making human nature and innate love morally rationalized,
This teacher had let East Asia operate in his way of being civilized.

Mencius
He held that with the four beginnings, all men are born good and kind,
This reality of human nature is just what they have to know and find,
And, people are justified to overthrow the rulers who can’t find that lost mind.
Is this why political revolutions in the Chinese empire’s history never decline?

Lipo
Born a Taoist brandishing a sword under the wild pine,
He still could not easily cut and cross the Confucian line.
Unable to bring the cloudy world his political sunshine,
He freely rowed a boat with his sword into poetry and wine. 

Fly with Me

Fly with me.
Why do you just kiss in the dark street?
Oh, fly with me.
There is more to know though the lips are sweet.

Fly with me.
Say good-bye to the bees lost in flowers and trees.
Oh, fly with me
Over the mountains, across the seas.

Fly with me
Into wherever our minds can see.
Oh, fly with me
Beyond what our present being seems to be.

– All from GOD BLESS NOT ONLY AMERICA
by Gordon Tseng