Ode to the Eggs

Fields,
beaches,
ponds,
and trees
sing
as you
fall
on twigs
and bridles,
feathers,
moss,
sludge,
and sandbanks.
You hug
in groups
of seven,
thirteen,
or fifty-three.
Fragile
and immobile,
you lie
side by side,
defying
your
hungry
predators.
Brown
patches
or turquoise
patterns
become
a soft
embrace,
an act
of camouflage
that protects
your
burgeons
of life
from
our greedy
hands
and
growling
stomachs—
nothing
can stop
our appetite
for
the
vital
protein
running
inside
the elliptical
shape
of your chalky
beige
shells.
In the protected
space
of your
nesting
nature,
your viscous
substance
creates—
a
beating
heart,
followed
by
blood
vessels,
a tail bud,
wings and legs,
eyes,
brains,
beaks and claws,
feathers and scales.
After days
or weeks
or months,
you crack—
in the fields,
and in the trees,
on beaches
and in the reeds,
creatures
crawl,
squawk
and walk
tasting
the air
and the
nourishing
juice
of
food.
Now
rack
and ruin
you stay
behind
as little
dirty
white dots,
composing
compost,
sand
and soil.
Carried
along by
flowing
water,
you become
fertile
ground,
sediments,
and the source
of a new
cycle
of
life.

London. September 2020. 
Inpired by Pablo Neruda’s Ode to the Tomato and Ode to a Large Tuna in the Market.

Personea

Photo © Bart Koetsier

I wrote this poem after attending the social dreaming matrix of 30 April, 2020, in the context of Tavistock Institute’s Deepening Creative Practice Programme.

Medea

I wrote this poem looking 
at Eugène Delacroix’s painting 
of Medea (see below), and then 
I saw women who had left their 
homes to join ISIS taking their 
children with them, and Medea 
became uncannily modern… 


 
 Medea
  
 look!
 how tender the touch
 how in full light
 i hold my children tight
 naked
 my breasts engorged with milk
  
 the cave was our refuge
 on this sunny day
 the wind blowing softly
  
 they were taking a bath
 look!
 those chubby legs 
 bare-bottomed
 little creatures
 naked innocence
  
       —i heard nothing
  
 look!
 how tender
  
 i hold my children 
 tight
  
       —the sword is gold
  
 furious and fierce
 i held them in my flight
Medea, by Eugène Delacroix

Meditation on the Archive

Photo credits Marie Beauchamps
 You take in
the tables
the light
damped atmosphere
no voices
but whispers
the boxes
rust and dust
the smell of
old paper
ancient times
coming back
after long years of
just staying
un-allowed to
speak.
 
Most people come  
to find traces
of family members,
genealogy of blood
ties is a popular
activity, spicing the
banality of
existence with
ancient roots, hoping to
find traces of
nobility, salvaging
a life almost
passed with the
graciousness
of a name
to be added to
the tree of relatives
that no one
has known
—loneliness
has many ways to
make us move.
 
You are here
to uncover
but all you feel
is burden
the piles of
history
do not ease
they confuse
it’s a fuss
your hands moist
at the beginning
dry and itchy
when you leave.
 
A train passes
outside and you look
at traces
of someone
who made
the ministry of justice
become
the ministry of fools
Bureau du Sceau
changed into
Bureau des Sots
the sounds stay
but the orthography
becomes
critique.
 
You take notes
your pencil
sharpened
and you think of
the language
making up
the people —Albert
leaving again
and again, walking
into fugues
his urge
to travel
and come back
trapped in
the language
of medical
science, labels of
multiple
personality
disorder in
the order of
things.
 
And you start
to understand why
genealogy
does not lead to
graciousness
but to the existential
quest
to reconnect
what has been
disconnected.

Amsterdam | London, Autumn 2019