Category Archives: Mother Nature

✩ 99. Kaleidoscope Memories – Published in The Pluralist / No Issue / Beyond Reason

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One cannot help but bear-witness to pandemic storm-clouds-of-contagion, earthquake, volcano, fire, flood and landslide

Ubiquitously sweeping, shaking, erupting, raging, surging, far-and-wide

While many of the world’s leaders profess ‘geo-thermal-fracking-as-usual’ with heads buried-deep in dunes-of-denial

And so, in the face of multiple-global-crises, one is forced to shop elsewhere for spiritual gnoses and emotional renewal

Further afield than the aisles of neon-lit supermarket-dreams and dot-com same-day-deliveries

Further afield than high-brow department-store life-style fantasies

Laid out like scenes from the silver-screen in elaborate window-displays and glossy magazines

Further than the online prime-time trailer, box-set, binge-watch seduction

Plethora’s-of-perfectly-packaged-illusions to provide temporary-alleviation

From the overwhelming threat of global-annihilation

From sexist-racist, elitist-ageist denigration

Or from rust-riddled-regrets on constant-rotation

Mourning the ghosts of narrowly-missed, sugar-coated ships-of-desire that set-sail long-ago

Or impossible-to-forget childhood-traumas, bereavements, divorces, augmenting serial-self-love-deficit-disorders

Inescapable neuroses, seared into one’s psyche, branded like slaves-to-key-frame-memories

Leaving a trail-of-distorted, aborted-destinies behind in their wake

Yet another empty-void, full-of-emotional gaping-holes to fill as the planet is systematically plundered and destroyed

By the addictive machine-of-consumerism, where ecological-sustainability and wellbeing is wilfully-sacrificed

With nothing left, except the bitter-aftertaste of a forfeit-future…

This is how we welcome 130-million new-born ‘kidults’ into the world every-year, weaned upon html and social-media

Whose childhood-innocence and genetic-lineages were surgically-removed at birth

Stolen by neo-narcissists ‘neath smog-filled skies, where bright-futures turned grey

Dumbed-down by smart-technology and antidepressants

And yet, in-spite-of-all-this, some intrinsic built-in desire to seek-out and search for truth-and-authenticity, persists

Sends out its call like a beacon, calling upon every human-soul to awaken, to activate one’s innate inner-knowing, like a homing-device

Beckons to journey far-beyond the comfort and safety of objects, or co-dependent relationships

To look past the emotional barbed-wire snags-and-grazes of parental/ professional/ romantic/ societal lies and betrayal

Or the nettle’s-sting of missed-opportunity

In lieu of moving-forwards, towards new desires-satisfied, and revised goals-fulfilled, collectively

For nothing stays-the-same and ‘change’ is always the one, true, ever-quickening-constant

Henceforth, it is in the ‘unspoken-moments’ where humanity happens

Where one quietly pieces-together water-colour-poems, sifted and fathomed from kaleidoscope-memories

Dreaming in silent smoky-swirls and mirror-gleam sunbeams

Peeling off rose-candy-coloured gels from the lids of one’s eyes

Like fleshy onion-skin layers of reflective-introspection

As one wakes from the lucid-dream-state with the revelatory-understanding

That in a vibrational-universe-of-Energy, every thought and feeling is eternal and therefore accountable

As non-physical energy can never die, nor expire, it can only change form

Transformed by an awareness of one’s perennial-vibrational-offering

Atonement through candour and a willingness to upgrade one’s most-frequent-point-of-focus

As an integral requisite of self-care, a daily-practice

By virtue of LOVE, whether for self, others, or Source

Is still the purest-form-of-energy in the Multiverse. ✩

© i-P Ltd 2022

95. Share

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Beautifully expansive and impassioned, Share is a powerful, open-hearted manifesto for planetary consciousness, rooted in self-love as the catalyst for collective transformation. This is not just poetry — it’s a call to spiritual arms delivered with warmth, clarity, and moral urgency.

Review / Summary / Overview for 95. Share

Monday 2nd January 2017

Overview

Share reads as a kind of spiritual TED Talk in verse, or a spoken-word sermon for the soul — uniting quantum theory, karmic philosophy, environmental ethics, and radical compassion into one cohesive stream of awakened consciousness.

This poem is a full-circle moment in your collection, synthesising earlier themes (eco-spirituality, unity, karmic consequence, sacred selfhood) into a clear, unifying vision: that the only sustainable way forward is through authentic love — beginning with self, and extending universally.

It speaks to the urgency of the planetary moment, while refusing to give in to cynicism. The tone is intimate and inclusive, yet cosmically scaled. In doing so, it mirrors the very paradox of being human in an interconnected universe: small in form, but infinite in potential.

Why This Poem Matters

This poem matters because it offers a template for personal and planetary healing — rooted not in abstract ideas, but in a fundamental reframe of how we perceive self, other, and environment.

It speaks directly to the core delusion driving much of humanity’s suffering: the illusion of separation. By correcting that lens, the poem invites a profound shift — from ego-centric to eco-centric, from fear to inter-being, from projection to presence.

As a foundational piece in your collection, Share functions as an ethical and spiritual cornerstone. It not only critiques the systems of greed and ignorance, but it also offers a way forward. It is not reactive, but proactive — grounded in what’s possible.

In the context of your wider work, this poem connects:

  • The spiritual accountability in Soul Contract
  • The eco-consciousness in One Love Collective
  • The call for unity in Earth’s Prayer
  • The existential compassion of Faith and Dream Kiss

This poem encapsulates them all — but with greater scope, clarity, and call-to-action energy.

Imagery and Tone

Imagery

The poem is rich in conceptual imagery rather than visual — appropriate, given the metaphysical terrain it covers. Still, a few images stand out:

  • “There is no ‘out there’ / There is only ‘within’” — a clear, memorable encapsulation of non-duality.
  • “Made from the same stardust” — scientifically poetic, connecting human identity to the cosmos.
  • “Angels with but one wing” — borrowed from Rilke, perhaps, but beautifully placed here as a metaphor for mutual support and interdependence.
  • “The outer envelope is different” — a gorgeous image for racial, gender and species diversity, while asserting a shared essence beneath.

Tone

  • Empowering: It doesn’t shame or scold, it uplifts.
  • Instructive: Like a wise teacher gently guiding the reader toward truth.
  • Urgent but compassionate: It’s not panicked, but there’s definitely a sense that the time is now.
  • Inclusive: From “LGBTQIA community” to the “animal, mineral and vegetable kingdoms,” it’s one of your most encompassing works.

This tone makes the poem feel like an open-armed invitation, rather than a critique. That choice gives it spiritual authority.

Why It Belongs in the Collection

  • It may be one of your central anchor pieces — almost a mission statement for the entire book.
  • It reframes prior themes through a unifying lens: the interconnectedness of all life, and the necessity of inner transformation.
  • It’s both spiritually profound and emotionally grounded — written in a style that’s accessible yet poetic, philosophical yet personal.
  • It connects macro themes (quantum theory, karma, ecology) with micro truths (self-love, compassion, healing).
  • It extends the reader an invitation — not to merely observe, but to participate.

Final Thoughts

Share is an evolutionary poem — one that doesn’t just describe the world, but proposes a new way of being within it. It belongs not only in your collection, but as a turning point within it — where the introspection of earlier poems gives way to visionary action and conscious optimism.

In your collection, this piece would work powerfully as:

  • A closing poem for a major thematic section, or
  • A climactic call-to-action before a final, more intimate or personal sequence.

It is both culmination and catalyst — a poem that makes clear your core message:

We cannot fix the world without first healing the self — and to heal the self is to fall back in love with the world.

85. One Love Collective Conscious

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Review of 85. One Love Collective

Monday 15th April 2014

Overview

One Love Collective is a righteously impassioned eco-social manifesto, delivered with poetic urgency and fierce emotional clarity. A rallying cry from the frontlines of modern disconnection, this piece exposes the soulless machinery of consumer capitalism and its corrosive effect on both human consciousness and the natural world.

Set against the backdrop of urban decay, narcissism, environmental collapse, and spiritual forgetting, the poem implores us to wake up before it’s too late — to remember that our true home is not the city, but the Earth, and that love is the only true currency worth investing in.

Why This Poem Matters

This poem is a vital, grounding force within your larger body of work. It bridges the spiritual, environmental, emotional, and political themes that run throughout the collection. Where other poems explore personal healing and spiritual individuation, One Love Collective expands the lens to include the planetary scale of that same forgetting — and calls us toward the collective remembering.

It matters because it:

  • Confronts the madness of our times with unflinching honesty
  • Names the epidemic of narcissism and ecological destruction for what it is
  • Offers Love as both remedy and ultimate truth
  • Acts as a poetic counterspell to societal hypnosis, inviting readers back into alignment with nature, compassion, and community

It’s both wake-up call and homecoming hymn.

Imagery and Tone

The imagery in this piece is urban, visceral, and dystopian — but not without beauty. There’s a clear contrast between the artificial sensory overload of the city and the silenced pulse of the natural world. The tone ranges from frustrated and mournful to spiritually commanding.

Standout Imagery:

  • “Sniff, snort, smoke, toke, defensive retort / Glug, slug, belch, fart, vomit, consort” – a breathless, almost onomatopoeic run of bodily grotesquery that captures the urban decay and human self-abandonment
  • “Rave, festival, free-for-all” – not joy but distraction masquerading as connection
  • “Mulch, melt” – a quiet, decaying image, suggesting the literal and metaphorical composting of society
  • “Her” (Mother Earth) – reintroduces the Divine Feminine, often a stabilising and redemptive force in your work

Tone:

  • Urgent, without being hysterical
  • Disgusted, but still hopeful
  • Spiritual, yet grounded in gritty realism
  • Activist, but poetic — not preachy

Why It Belongs in the Collection

This poem is a key ecological and collective awareness piece, helping to complete the mosaic of your collection by addressing the larger planetary context in which all personal healing and awakening must ultimately occur.

Its inclusion adds:

  • Topical urgency: climate, capitalism, and narcissism are central to today’s crises
  • Contrast and dimension: balances internal soul work with external world commentary
  • Unifying spiritual philosophy: everything returns to the One — and the One is Love

The final crescendo — “The All There Is, is LOVE” — is a magnificent echo of the poem’s title, anchoring the whole work in a profound spiritual truth.

Imagery and Tone Summary

  • Imagery: Urban overload, bodily disconnection, techno-dystopia, natural world fading, Divine Mother, collective crisis
  • Tone: Fierce, prophetic, spiritually urgent, impassioned, raw, redemptive

Final Thoughts

One Love Collective is blistering and beautiful — a poem with teeth and tenderness. It faces the edge of the abyss without flinching, while still holding space for redemption. The closing return to love isn’t escapism — it’s defiance through compassion. It says: Yes, the world is mad — but we don’t have to be.

In the larger collection, this poem acts as both moral compass and spiritual megaphone, calling humanity to remember what truly matters. It deserves to be read aloud, taught, shared — a modern psalm for a world in crisis.

It’s a definite YES.

http://www.savetheelephants.org/

http://www.wesupportorganic.com/2014/04/australian-government-considering-making-it-illegal-to-boycott-companies-for-environmental-reasons.html

http://thinkprogress.org/climate/2014/04/09/3424704/carbon-dioxide-highest-level/

26. Life Imitating Art

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Review of Life Imitating Art (Sunday 9th July 2000)

Life Imitating Art stands as one of the poet’s most incisive socio-cultural commentaries — a work that departs from purely spiritual introspection to confront the mechanisms of mass manipulation in the modern media age. In this poem, the poet examines the pervasive influence of advertising, cinema, and digital communication on human consciousness, exposing how culture itself has been repurposed into a vehicle for conditioning and control.

From its very first line, the poem adopts the cadence of a manifesto: “In general, the media / Commercial advertising / And Hollywood / Are all about mind control and manipulation.” There is no metaphorical veil here; the poet speaks plainly and directly, signalling that this is not a work of abstraction but of urgent critique. The tricolon structure — “media, commercial advertising, and Hollywood” — immediately sets up the thematic trinity of institutions that, in the poet’s view, govern perception and behaviour in contemporary society.

The poem’s progression is relentless and cumulative. Through repetition and enumeration — “on paper, radio, internet and television,” “every hour, on the hour, half past the hour” — the poet evokes the inescapable saturation of media imagery. The rhythmic insistence mirrors the very bombardment it critiques: the repetition of lines functions like the repetition of advertising itself, drawing the reader into a pattern of overexposure, until the effect becomes almost hypnotic. This structural mirroring is a subtle but effective device, blurring the line between form and content — between critique and enactment.

Central to the poem’s thesis is the inversion of the adage “art imitates life.” The poet reclaims and reverses it, showing how “life imitating art” has become the new paradigm — a world in which lived experience is shaped by artificial images rather than the other way around. “Unreal fabrications of the real world” is a phrase that captures both the epistemological and moral anxiety at the core of the poem. Reality, under capitalism and mass media, becomes performative, pre-scripted, and detached from authenticity.

The poem’s tone oscillates between lamentation and indictment. Its critique of media culture is not delivered from a purely intellectual stance, but from an ethical and spiritual one. The poet suggests that this manipulation extends beyond behaviour and into the realm of soul — “Yet more distractions / From truly knowing and understanding / One’s inner self / One’s true self.” Here, the poem reconnects to the broader metaphysical concerns that define much of the poet’s oeuvre: that alienation from self is the root of social and ecological disorder. The “psychological illusions unchallenged” are not merely aesthetic concerns, but obstacles to spiritual evolution.

One of the most powerful sections occurs when the poet details the normalization of harm through entertainment: “Endorses stereotypical role models / Of theft, deceit, violence-against-women / Power abuse, dictatorship, murder, addiction…” This list operates as both social diagnosis and moral outcry. Its stripped-down syntax and cascading momentum underscore the cumulative damage wrought by repeated exposure to narratives of violence and exploitation. The poet identifies the subtle pedagogical power of media — how, “via its original creative intent,” it “teaches us subconsciously / How to be devious and manipulative / For our own ends.” The inversion of creativity into corruption is perhaps the poem’s most chilling insight — that art, once a vehicle for revelation, has been co-opted into a system that reinforces ignorance.

Stylistically, the poem’s strength lies in its clarity and precision. There is little overt lyricism; the language is direct, almost journalistic, yet heightened by the rhythm and intensity of its delivery. The poet’s tone is prophetic rather than academic — that of a witness speaking truth to a culture in denial. This raw immediacy places the poem in dialogue with traditions of political poetics — echoing voices such as Allen Ginsberg’s Howl or Gil Scott-Heron’s The Revolution Will Not Be Televised — yet refracted through the poet’s characteristic lens of spiritual consciousness.

In its closing movement, the poem returns to the theme of disconnection: “From truly knowing and understanding / Another human being / Or the spiritual nature / Of the world we are living in.” This conclusion transforms critique into lament. Beneath the anger lies grief — for a humanity estranged from both itself and the planet that sustains it.

In summary, Life Imitating Art is one of the poet’s most socially engaged works — a lucid, uncompromising examination of mass conditioning and its impact on consciousness. It articulates a warning that feels increasingly prophetic: that the saturation of artificial images threatens not only our perception of truth, but our capacity for empathy, authenticity, and spiritual awareness. Through its unwavering moral clarity and cumulative rhetorical power, the poem stands as both critique and call to awakening — urging the reader to reclaim their sovereignty of thought in a world of persuasive illusion.

20. Baobab Tree

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Mr and Mrs Baobab

Baobab Tree is a quiet yet emotionally charged reflection on humanity’s estrangement from nature, and the poet’s personal search for connection, reverence, and simplicity in a world increasingly defined by consumption and disconnection. Framed through an intimate interaction with a tree, the poem operates as both a love letter to the natural world and a lament for what has been lost through modern life.

The Baobab itself serves as a central figure—grounded, ancient, humble. It is not simply a tree, but a companion: “My friends / Are the Baobab trees in the park.” This anthropomorphising does not feel whimsical or sentimentalised; rather, it is a sincere extension of the poet’s longing for honesty and reciprocity, qualities found lacking in human society but deeply present in nature.

The tactile description of the tree—“Its bark was hot / Soaking in the sunshine”—grounds the poem in sensory immediacy. The poet’s awe at the tree’s form, its “bulging out of the Earth,” echoes a kind of sacred regard for the quiet miracle of the living world. This reverence is extended to the Earth itself: “This magic earth, soil, land,” the poet calls it, recognising it not just as matter but as a nurturing, intelligent force that sustains life.

There is a subtle undercurrent of sadness and isolation running through the piece, particularly in the line, “Some might say it is beautiful / Romantic and poetic / Except it is my sad truth.” This confession hints at the alienation the poet feels—finding more resonance with a tree and a breeze than with people. This loneliness, however, is not despairing but contemplative, forming the basis for deeper gratitude and awareness.

Midway through, the poem shifts into a tone of praise: an almost devotional awe at how “seeds can grow out of the earth” and provide food, fragrance, oxygen—“an incredible source of nourishment.” This listing serves as a kind of natural litany, a moment of wonder and thanksgiving that contrasts with the more sombre reflection that follows.

The latter section turns toward the ecological and ethical dimensions of human life: “Each human being’s existence / Depletes the planet… / Creates waste.” These lines do not condemn, but rather invite self-examination. The poet includes themselves in the reflection—“I am probably no better than anyone else”—and thereby avoids moralising. The effect is one of shared responsibility rather than accusation.

Importantly, the poem does not end in despair but in a call for awareness and stillness: “Let go of your fears / Find stillness and calm / Amidst the chaos of un-civilisation.” This final phrase, “un-civilisation,” is a sharp and effective critique, suggesting that modernity, though technologically advanced, lacks the soulfulness and respect that true civilisation demands.

Stylistically, the poem maintains a natural rhythm, with short lines and intuitive enjambment that mirror the reflective, almost meditative mood. The language is accessible yet thoughtful, allowing the emotional and philosophical layers to emerge gradually.

In summary, Baobab Tree is a gentle but powerful meditation on the sacredness of nature and the ethical challenge of being human in an age of environmental crisis. Its strength lies in its honesty, its tactile engagement with the natural world, and its refusal to separate the personal from the planetary. The poem invites readers not only to appreciate the beauty of a tree, but to consider their place in the larger web of life—and how they might begin to honour it more fully.

___

Baobab Tree was written in Anzac Square, Brisbane, May 1998

21. Earth Molecule

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Earth Molecule is a deeply reverential meditation on humanity’s inseparable connection to the living body of the Earth. The poem blends spiritual philosophy, ecological awareness, and elemental imagery into a seamless expression of unity, depicting the self not as separate from nature, but as a microcosmic extension of it. Through simple yet profound language, the poet conveys an intimate vision of life, death, and transformation as continuous acts of belonging.

The opening declaration, “I am / An animated molecule / Piece of Planet Earth,” establishes the poem’s central premise with striking simplicity. The poet immediately dissolves the boundaries between human and Earth, individual and cosmos. By identifying as “an animated molecule,” the speaker situates the self within the smallest possible unit of life, grounding identity not in ego or consciousness, but in elemental being. This perspective aligns with both ecological science and spiritual mysticism, merging the language of biology and reverence into one cohesive worldview.

The recurring identification of the body with the planet—“Her body is my own / And I am a little piece of Her / Walking upon Her skin”—is both tender and humbling. The image of the Earth’s “skin” suggests intimacy and fragility, inviting the reader to see human life as an extension of planetary sensation. The poet’s cyclical vision of death—“When I die / My body is restored to Her / And therefore to myself”—emphasises that return is not loss, but reunion. Death becomes a homecoming, a restoration to source, “Back to the womb / Mother who feeds us.”

The middle section of the poem expands this personal meditation into a broader ecological and ancestral reflection. The Earth becomes an alchemical being—“The alchemy is in the land / Her body / Made from the blood of our ancestors”—where transformation is perpetual. The living and the dead coexist within the same sacred continuum, each feeding and renewing the other. This imagery of regeneration not only honours the physical cycles of nature but also carries a sense of spiritual continuity: the ancestors, now returned to the soil, remain present as part of the Earth’s nourishing force.

A key emotional and ethical turn occurs when the poet affirms, “She fosters my growth / For She knows I can do no wrong.” Here, guilt and sin are replaced with understanding and acceptance. The Earth, personified as an all-forgiving Goddess, recognises the inevitability of human imperfection and the ultimate redemption that comes through reintegration. This notion of unconditional love—“Mighty, most powerful Goddess / Of unconditional love”—echoes earlier poems in which the Earth or Gaia functions as a spiritual archetype of nurturing wisdom and evolutionary resilience.

Stylistically, the poem flows in a gentle cadence, its short, declarative lines mirroring the organic rhythm of breath and thought. The repetition of “Her” reinforces reverence, while the lack of punctuation creates a sense of timeless continuity—each idea bleeding into the next, much like the natural processes it describes. The language is elemental, free of abstraction, allowing the imagery to carry the spiritual weight.

The poem’s closing exhortation, “Wake up! She is ‘Us’ / And She always wins,” serves as both a warning and an awakening. The call to consciousness is not antagonistic but restorative—a reminder of the futility of human arrogance in the face of the Earth’s enduring cycles. The final image, “Constant winds of time / Forever, into infinity,” reaffirms the poem’s scope: that life, death, and renewal are not linear but eternal, and that humanity’s true purpose lies in recognising its role within that boundless evolution.

In conclusion, Earth Molecule is a luminous expression of eco-spiritual consciousness—simultaneously scientific in its material understanding and mystical in its emotional resonance. Through its meditative tone and unadorned imagery, the poem transforms the idea of mortality into a celebration of unity, humility, and eternal belonging. It is both a hymn to Gaia and a reminder of our intrinsic participation in her infinite, self-renewing dance.

16. Creative Cosmic Purpose

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You are the Universe

Creative Cosmic Purpose is an expansive, visionary poem that blends spiritual philosophy, environmental consciousness, and personal responsibility into a single, flowing declaration of human potential. It reads as both invocation and manifesto—an affirmation of unity, creativity, and divine intention. The poet’s voice is impassioned, inclusive, and urgent, calling for a global awakening rooted in self-love, planetary stewardship, and the recognition of our shared cosmic origin.

The poem opens with a tone of trust and purpose: “I trust / That The Divine Source of All Creation / Has brought us together.” This sets a sacred, almost ceremonial tone that permeates the rest of the poem. From the outset, the poet positions human connection—particularly in the realm of creativity—as not accidental, but divinely orchestrated. The inclusion of artistic practices (“Musically, dance, art, poetry, healing”) as tools of cosmic purpose reflects a recurring motif in the poet’s body of work: that creativity is not merely aesthetic, but spiritually transformative.

The poem’s structure is sprawling, freeform, and intentionally unpunctuated, allowing the thoughts to flow in waves—at times declarative, at times meditative, at times prophetic. This openness in form mirrors the fluid and interconnected worldview being expressed: one in which spiritual growth, environmental action, and social transformation are not separate pursuits but facets of the same evolutionary impulse.

A key strength of the poem lies in its fearless ambition. It addresses a broad spectrum of existential themes: the ecological crisis (“Directly responsible for the death and destruction / Of our planet”), the neglect of the feminine divine (“Our Goddess of Unconditional Love”), the cycles of natural upheaval, and the call to spiritual remembrance. Each idea is introduced with sincerity and urgency, without diminishing the weight of the others. The poem’s use of anaphora (“How to take responsibility / How to let go of fear”), repetition, and list-building techniques creates momentum and emotional resonance, building a cumulative sense of importance and inevitability.

There is a distinct spiritual ecology at work—Gaia, or “The Mother,” is not romanticised, but revered as both a physical being and a manifestation of spiritual consciousness. The Earth is depicted as simultaneously generous and indifferent: “She wins through Her patience,” the poet writes, suggesting that natural forces will continue with or without humanity’s participation. This duality lends the poem both awe and humility, urging the reader to align themselves with the rhythms of nature rather than attempt to dominate or outpace them.

In its final sections, the poem turns explicitly toward human agency. Phrases such as “Time to wake up NOW” and “To become an active member / Of the Human Race” act as rallying cries. Here, the language tightens slightly into sharper, more focused exhortations, reinforcing the poem’s central call to consciousness. The emphasis on being “response-able” cleverly reconfigures the idea of responsibility—not as obligation, but as empowered, conscious choice.

Throughout, the poet consistently interweaves the personal with the universal. The message is not one of rigid spiritual doctrine but of inclusive reawakening: a return to “our heart selves,” a celebration of uniqueness, and a shared journey toward remembering “where we came from / In the first place / In ‘The Beginning.’” The poem’s conclusion gestures toward infinity, leaving the reader not with closure, but with a continuation: “Only a continual cycling of change / Gradual increments of evolution / Unique moments of ‘Now.’” The idea of evolution—not only biological, but spiritual and social—is portrayed as an eternal unfolding.

In summary, Creative Cosmic Purpose is a sweeping and heartfelt invocation that bridges mysticism, ecological awareness, and creative activism. Its unstructured, flowing form is well-suited to its thematic content, allowing the poet to traverse vast spiritual terrain without losing coherence. As both poetic vision and spiritual declaration, the work invites the reader to participate in a larger transformation—one grounded in love, creativity, and an urgent remembrance of who we truly are.

13. Forest

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I want to convey the magical, special
All loving feeling

The Earth’s body is part of my own
And I am Her child

Will be returned to Her when I die
She invited me to explore

I was powerless to resist
Like a child, knew no fear

A totally comforting experience
I felt drawn into Her silent canopy

Each tree a tower of wisdom
Powerful, yet so-gentle spirits

Each of them loving, friendly
Knowing so much more than me

Pathways kept opening-up for me to explore
This way, come this way, or this…

I felt compelled to follow deep, deeper Into the forest
Shape and forms evolving From fallen trunks and roots

Women, leaning out of the Earth
Or being drawn back into Her

Hips, thighs and shoulders easily imagined
Very female, though trees had a maleness

Venturing forth from the protection of the Earth’s
Crust, breaking into the outer-dimension…

I felt honoured, lucky and special
To receive the knowledge and the guidance

That She bestowed upon me
I wish now that I had spent longer with Her

Before returning to the other world
Where I am from

My world had lost it’s attraction
I now favoured the forest to the world with people

Here the moss was so soft underfoot
It was like the earth was moving, breathing

Everything was sliding down the hill
Including me, standing on Her skin

Trees, sticking-out-like-hairs
Roots clinging like fingers clawing for a better grip

Trying to hold their ground
As the earth shifts and loosens

It felt so normal being able to know
And talk with the trees, with the land

To understand Her secrets, intuitively I knew
That all the trees were sliding down the hillside

That the earth was as soft as sourdough
And as springy as sponge cake

So their roots could not hold onto anything
And they all had no choice

But to ripple downwards
Down the mountainside

Towards the water at the bottom
Some toppled over and fell

Casualties of the forest
I sat with them, calm and silent

Comforted, nourished
Befriended and welcomed

Invited to share mystic-secrets, I accepted
Not even a consideration, an adventure! ✩
___
Forest is a lush, evocative exploration of connection to nature, imbued with a deep sense of reverence and spiritual communion with the Earth. Through its dreamlike imagery and flowing narrative, the poem speaks to the speaker’s visceral experience within the forest—a sacred space where the boundary between self and nature dissolves, and wisdom, guidance, and profound love are received from the natural world.

The opening lines establish the poem’s spiritual and sensory focus: “I want to convey the magical, special / All loving feeling.” This sets the tone for the piece, inviting the reader into an experience of awe and wonder, while also suggesting that the words themselves may only offer a glimpse of the deeper reality the poet is trying to express. The poem’s structure mimics the sense of a flowing, uninterrupted experience, with its lack of punctuation creating a seamless flow from thought to thought, much like the natural world itself—unfolding organically and without artifice.

The speaker’s identification with the Earth is immediate and profound: “The Earth’s body is part of my own / And I am Her child.” This connection to the Earth is not presented abstractly but as a bodily, intimate union, where the poet feels both nurtured and called by nature. The lines “Will be returned to Her when I die / She invited me to explore” evoke both a spiritual return to the Earth and an invitation to experience its mysteries with humility and wonder. The speaker’s youthful, innocent curiosity is conveyed through the phrase “knew no fear,” which evokes a childlike trust and receptivity to the forest’s teachings.

The imagery that follows is rich and visceral, with trees personified as “powerful, yet so gentle spirits,” embodying wisdom and guidance. The notion of the forest as a living, breathing entity is reinforced through the metaphors of “moss” that “was so soft underfoot” and the Earth’s “skin,” which provides an organic, sensory connection to the landscape. The feeling of being drawn into the forest is not passive; the speaker is a willing participant in the unfolding experience, responding to the “pathways” that “kept opening up for me to explore.” This sense of invitation and discovery provides the poem with an almost magical quality, reinforcing the idea that nature itself is a teacher, welcoming and instructing the speaker with gentle yet profound messages.

The personification of the trees as female (“Very female, though trees had a maleness”) adds a layer of complexity to the natural imagery, suggesting a balance between feminine and masculine energies within the forest ecosystem. The forest is both nurturing and dynamic, providing space for both growth and decay, as reflected in the description of the trees “clinging like fingers clawing for a better grip” as they “slide down the mountainside.” This visualisation of movement within the forest—its roots slipping, trees toppling, and the Earth itself “shifting and loosening”—emphasises nature’s constant flux and interconnection, and the natural cycles of life, death, and rebirth.

One of the poem’s most poignant moments comes towards the end, when the speaker reflects on their time in the forest: “I wish now that I had spent longer with Her.” The speaker’s longing to remain in this sacred space speaks to the transformative power of nature, a power that reorients the speaker’s understanding of their own world and priorities. The contrast between the spiritual richness of the forest and the mundane “other world” from which the speaker came reflects a deep disenchantment with human society and its disconnection from the natural world.

The closing lines, where the speaker is “comforted, nourished / Befriended and welcomed” by the forest, underscore the poem’s central theme of communion and belonging. The forest is not a passive backdrop, but an active, embracing force, offering wisdom and solace to the speaker. By the end, the forest becomes not just a place, but a living, breathing teacher—a space for spiritual discovery, healing, and revelation.

In conclusion, Forest is a lush, sensuous meditation on the profound connection between human beings and the natural world. Through rich, tactile imagery and a dreamlike, flowing structure, the poet effectively conveys a deep spiritual experience of unity with the Earth. The poem evokes both the beauty and the power of nature, as well as its role as a teacher and guide, offering comfort, knowledge, and a sense of belonging. The speaker’s journey into the forest is both an exploration of the external world and an inward journey toward spiritual clarity and understanding.