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15. Is Not Is
14. Women’s Appreciation
Women’s Appreciation is a direct and purposeful poem that honours the formative, often overlooked role of women—particularly mothers—as foundational figures in shaping not only individuals, but society at large. The poet draws a clear and vital connection between women’s emotional wellbeing and the health of future generations, advocating for a culture of recognition, empathy, and emotional support.
From its opening line, “Women need to be appreciated,” the poem adopts an unambiguous, declarative tone. This simplicity is not reductive, but intentional—anchoring the piece in clarity and urgency. The poet’s approach is didactic in the best sense of the word: it seeks to teach, not through abstraction, but through a plainspoken truth that invites reflection on deeply ingrained social patterns.
The poem unfolds in a linear progression, tracing the generational cycle from mothers to daughters, and from daughters to the children of the future. This lineage is not merely biological but symbolic of how belief systems, emotional patterns, and attitudes are unconsciously transmitted. The statement that mothers are “responsible / For all our inherited attitudes and beliefs / About ourselves and the world” expands the scope of the poem beyond familial appreciation to a broader cultural and psychological awareness.
The poet gently but firmly underscores the impact of maternal wellbeing: “So show empathy and consideration to a woman / So that she may appreciate herself.” This moment is central. It shifts responsibility outward—to society, partners, families—to recognise that a woman’s ability to see her own worth is often shaped by how she is treated by others. This social mirroring is depicted not as a weakness but as an interdependent truth of human development and identity formation.
Stylistically, the poem uses free verse and simple, unembellished diction to deliver its message. There is no ornamentation or flourish—only a sincere, measured cadence that suits the subject matter. The lack of punctuation invites the reader to experience the poem as a continuous stream of thought, mirroring the continuity of generational influence the poem describes.
The closing lines are particularly effective in linking the personal to the collective. The poem proposes a vision of future generations as “emotionally well-balanced adults / Projecting their enthusiasm and joy / Positivity and effectiveness into this world.” These qualities are presented not as idealised abstractions, but as the practical outcome of nurturing and valuing women. In contrast, the consequences of failing to do so—“resentment, regret, or lament”—are mentioned quietly but powerfully, a subtle reminder of the social cost of emotional neglect.
In conclusion, Women’s Appreciation is a quietly powerful call to action, grounded in compassion and social insight. It invites the reader to consider the ripple effects of emotional support, generational influence, and the importance of validating women’s roles—not just in the private realm of motherhood, but in the shaping of collective consciousness. The poem’s strength lies in its clarity, sincerity, and its refusal to separate personal healing from social change.
13. Forest
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.
12. Australian Legacy
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Australia Legacy is a lyrical and deeply personal reflection on displacement, transformation, and the enduring imprint of place upon the self. Through its meditative tone and evocative imagery, the poem charts an inner landscape shaped by contrast—between belonging and alienation, between memory and present reality, between the self before and after a pivotal journey.
The poem opens with a decisive line: “The window of opportunity closed behind me / When I left London for Australia.” It introduces a tone of quiet finality and signals a turning point not only in geography, but in identity. This is not simply a poem about travel—it is a poem about metamorphosis. The speaker returns from Australia changed, internally expanded, only to find that the external world has remained static and unaccommodating: “Now I’m back and nothing here has changed / Only me, on the inside.”
This contrast—between inner growth and outer familiarity—forms the emotional tension at the heart of the poem. The speaker’s sense of estrangement from London is articulated with understated melancholy: “I feel less like I belong here than before.” Yet this dissonance is not framed as a failure, but as evidence of evolution. The emotional centre of gravity shifts toward Australia, which is evoked not as a distant place, but as an intrinsic presence—“in my blood / My bones / My breath.” These lines are delivered with rhythmic conviction, echoing the physicality of the connection, and building to the powerful affirmation: “You are my soul / Within and without.”
The language is intimate and unadorned, yet rich in feeling. The poem’s structure—a single flowing stanza without punctuation—mirrors the stream of consciousness through which memory and present experience blend. This fluid form allows the reader to move with the speaker through reflections on place, self, and longing, without interruption or pause. There is a natural rhythm that builds steadily from nostalgia to a gentle resolve.
The poem reaches a quiet crescendo in its final lines, shifting from inward reflection to an outward gesture of encouragement. The speaker’s internal affirmation becomes a message of resilience and inspiration: “Do not let this world crush your spirit / Endeavour to shine.” These lines transcend the autobiographical and speak universally to anyone who has felt displaced, dimmed, or disconnected. The metaphor that follows—“Don’t let the London grey / Stick to your butterfly wings”—is vivid and delicate, contrasting the dull weight of conformity with the fragile brilliance of individual spirit. The image of “iridescence” in the final line is especially resonant, suggesting an innate beauty that shifts and reveals itself only in the right light.
In conclusion, Australia Legacy is a heartfelt and finely tuned meditation on identity, belonging, and inner transformation. The poet succeeds in capturing the intangible yet profound ways in which place can shape selfhood, and how returning home can sometimes mean confronting the limits of familiarity. Through spare, evocative language and a deeply personal voice, the poem honours both the loss and the legacy of becoming oneself in a new landscape.
✩ 11. Joy Smile
You don’t have to defend
Your right to be
When you’re in my company
I want what you want for you
For me too
The joy in your smile
Makes it all worthwhile
Is what I want to do
It’s about you being happy as can be
Just the way you are
When you’re with me
Is my gift to you
To me too
Just want to love you
Is all I can do
Just want to love you
Is all I can do
Just want to love you
Is all I can do
Just want to love you
Is all I can do
___
Available for instant download from Bandcamp
___
Joy Smile is an intimate, heartwarming poem that radiates affection, presence, and unconditional acceptance. The poet explores the essence of love and companionship through simple, direct language, emphasising the joy found in shared moments and mutual happiness. The work conveys a sense of vulnerability and openness, celebrating the beauty of being together without the need for pretense or defence.
The opening lines, “You don’t have to defend / Your right to BE / When you’re in my company,” immediately set the tone of safety and acceptance. The poet offers a space where the other can simply exist, free from judgment or the pressure of self-justification. This establishes an emotional foundation for the poem, rooted in the understanding that love and connection do not require validation—they simply are.
The poem’s structure is conversational and intimate, marked by a rhythmic flow that mirrors the natural cadence of affection. Short, declarative sentences build into a cumulative expression of shared joy: “The joy in your smile / Makes it all worthwhile.” The repetition of “I want, what you want for you / For me too!” further reinforces the poem’s message of reciprocal love, where the happiness of one is inherently tied to the happiness of the other. There is a beautiful equality embedded here, an understanding that love is not about possession or sacrifice, but about shared joy and mutual benefit.
The imagery of the “joy in your smile” acts as a central, tender symbol in the poem. Smiles are often associated with openness and warmth, and here, the smile represents both the physical and emotional connection between the two individuals. This image anchors the poem in simplicity and sincerity, reinforcing the theme that happiness does not have to be complicated—it can be found in the smallest, most authentic expressions of being.
Stylistically, the poem uses repetition to strengthen its emotional core. The line “Just want to love you / Is all I can do” serves as a simple, humble declaration of intent. It’s a statement of pure affection, with no demands or expectations—just the desire to give love freely. The lack of ornate language further supports the idea of love as something uncomplicated and natural.
The closing lines, “Is my gift to you, to me too,” encapsulate the reciprocal nature of the bond. Love, in this poem, is not a one-way offering, but a shared experience that enriches both individuals. This exchange is the poet’s gift, highlighting how joy and love multiply when freely given.
In conclusion, Joy Smile is a tender and uncomplicated meditation on love and companionship. Its simplicity is its strength, offering a sincere expression of mutual respect and affection. Through its gentle language and rhythmic flow, the poem invites the reader to reflect on the beauty of unconditional love—a love that is not about achieving or gaining, but about being present, being happy, and sharing in joy together.
10. Swan
Swan is a poignant and compact poem that examines the dynamic between love and fear through a symbolic, almost fable-like lens. Inverting the familiar adage “love is blind,” the poet opens with a striking declaration: “It’s not love that’s blind, it’s fear.” This reversal sets the tone for a deeply empathetic reflection on the emotional and psychological immaturity of fear, and the redemptive, guiding presence of love.
The poem’s strength lies in its conceptual clarity and emotional subtlety. Fear is not demonised but personified as a young, undeveloped force—one that “has not yet learned how to recognise / It’s true self.” This choice to characterise fear as a being in the process of becoming rather than as an antagonist imbues the work with compassion and psychological insight. Love, in turn, is depicted as the mature counterpart, capable of recognising fear and looking upon it “with eyes of compassion.”
The central metaphor—fear’s potential to become “a beautiful Swan of love”—is both gentle and transformative. It evokes the archetype of the Ugly Duckling, reimagined here within a spiritual and emotional framework. The swan becomes a symbol of realised potential, a state that fear might attain once it surrenders its attachment to guilt and shame. The metaphor is understated but effective, capturing the poem’s message of inner evolution and self-acceptance.
Formally, the poem is written in free verse, with a natural, conversational rhythm. The short lines and enjambment give the poem a reflective tone, while the lack of punctuation enhances its flow, allowing thoughts and feelings to unfurl gently. This stylistic lightness supports the emotional nuance of the piece, mirroring the quiet patience love must extend toward fear.
One of the poem’s more affecting moments is the subtle critique of fear’s defence mechanisms: “fear will not let love get close / Instead preferring the companionship / Of guilt and shame.” These lines speak to emotional self-sabotage and the habitual patterns that prevent healing. The poet does not moralise here, but observes with a calm, knowing voice—highlighting the tragedy of fear’s isolation while still holding space for its eventual transformation.
In summary, Swan is a tender and psychologically astute meditation on emotional growth. It offers a clear and compassionate message: that love, by its very nature, seeks to embrace and heal fear, but can only do so when fear is ready to see itself differently. Through elegant metaphor and careful emotional pacing, the poet communicates a vision of transformation grounded not in confrontation, but in patient, unconditional acceptance.
✩ 9. Love Is
‘Love Is’ forms the opening track of my album ‘Love Made Visible,’ in which I frame love not as a personal emotion, nor as a romantic concept, but as a universal frequency, a vibrational current that underlies all consciousness, matter and form. It is about a recognition of love as the primal creative force: ‘the energy that holds everything together,’ that speaks of a latent resonant remembrance of one’s true origin, as an immortal spiritual being of energy, frequency and vibration first, and human second.
Love is the energy
That holds everything together
The glue of the Universe
By loving ourselves
We may learn to recognise
The divinity in all things
In all beings
All creatures
And all plant life
♥
For we are all divine expressions of The Source
We ARE The Source
We already have the power
To transmute all negative energy into positive
All war into peace
All hate into love
Simply
By recognising
The divinity within Ourselves
♥
For we are all divine expressions of The Source
We are ONE
Although individuals
We are from the same source of creation
Infinite beings
Squashed into tiny little bodies
Incarnated onto Earth
So that the source may KNOW itself
Know itself, by loving itself
♥
Love is letting go of fear
Love is non-attached giving
Love is freedom
It does not mean being in a ‘relationship’
It means: ‘The Source, loving itself
Through infinite manifestations of itself’
Love is life
Love IS!
♥
Love Is is a declarative and expansive affirmation of love as a universal principle rather than a personal or romantic construct. The poet positions love not as a fleeting emotion but as a metaphysical constant—the binding force of existence, the “glue of the Universe.” Through this lens, the poem becomes a spiritual teaching, a reminder of humanity’s divine origin and inherent unity with all life.
Serving as the opening track of the poet’s album Love Made Visible, the poem functions not merely as a lyrical composition but as a philosophical prologue to a larger body of work. It articulates a central vision of love as vibration—a frequency that underpins all matter and consciousness. The poem echoes metaphysical traditions in which love is equated with creative energy: an omnipresent current that links the material and immaterial realms, making it as much a cosmological statement as a personal one.
Structurally, the poem unfolds in declarative waves, each phrase building upon the last with rhythmic clarity. The repetition of phrases such as “We are all ‘Divine Expressions of The Source’” and “We ARE The Source” functions as a mantra, reinforcing the poem’s spiritual convictions while creating a meditative cadence. This repetitive structure is not redundant but intentional, echoing the oral tradition of spoken word, affirmation, and chant.
The poet’s voice is assured, confident, and inclusive. By using the first-person plural—“we,” “ourselves,” “all beings”—the poem invites collective identification and communal reflection. The vision it offers is one of radical unity: not only among humans, but across species, across consciousness, and ultimately, across all forms of existence. This holistic worldview collapses the boundary between subject and object, proposing that “we are ONE,” not metaphorically, but ontologically.
One of the poem’s most striking lines—“Infinite beings squashed into tiny little bodies”—delivers a moment of compression and transcendence. It speaks to the contrast between the soul’s magnitude and the limitations of earthly incarnation. This is followed by the idea that “The Source may know itself / Know itself by loving itself,” which aligns with mystical philosophies that frame the universe as a self-aware, self-loving manifestation of divine consciousness.
Philosophically, the poem draws upon principles found in spiritual traditions such as non-duality, Advaita Vedānta, and New Thought, as well as contemporary understandings of consciousness as frequency or vibration. It positions fear and attachment as the antithesis of love, and offers non-attached giving, freedom, and self-recognition as its truest expressions.
The poem resists conventional notions of love—“It does not mean ‘being in a relationship’”—and reframes it instead as a universal force expressing itself through infinite forms. In this context, romantic love is merely one small expression of a much vaster spiritual phenomenon. The closing line, “Love is life, Love IS!” completes the arc with a crescendo of affirmation, transforming the poem into both a declaration and invocation.
In summary, Love Is is a visionary and spiritually-charged work that speaks with clarity and conviction. Its merit lies in its ability to distil expansive metaphysical concepts into accessible language while maintaining poetic momentum. By framing love as the primal force behind creation and self-awareness, the poem offers not only a redefinition of love, but a blueprint for inner and collective transformation.
8. Forgiveness
Forgiveness is a candid and restorative poem that explores the process of healing through self-awareness, emotional release, and spiritual growth. With a tone that is both introspective and instructional, the poet articulates a personal journey from pain to empowerment, anchored by the central principle of forgiveness—not only towards others but, crucially, towards the self.
The poem begins with an essential realisation: that self-forgiveness is the foundation for healing. “I must first forgive myself for being human” is a quietly profound line that sets the emotional and philosophical tone of the piece. The poet approaches humanity not as a flaw to be corrected but as a condition to be accepted with compassion. This perspective underpins the poem’s moral clarity and emotional honesty.
The structure is conversational, with a flowing narrative voice that feels intimate and grounded. The free verse format supports the organic movement of thought and reflection, while the poem’s linear progression—from hurt, to understanding, to release—mirrors the psychological and emotional stages of healing. The inclusion of parenthetical asides, such as “(Although I may not see it that way at the time),” lends the poem authenticity, capturing the non-linear, often reluctant nature of personal insight.
A particularly effective metaphor appears in the central stanza: “Now I am planting healthy seeds in fertile soil / Pulling out the weeds and throwing them / Onto the compost heap of experience.” This image not only reinforces the theme of renewal but also reframes past pain as nourishment for future growth. It is a graceful and empowering image that suggests transformation without denial.
The poet also explores the idea of shared responsibility in emotional triggers, observing that “they must first have existed within me / In order to have been triggered by you.” This nuanced understanding moves the poem beyond victimhood and into the realm of self-knowledge and spiritual maturity. By acknowledging this dynamic, the poet dismantles cycles of blame and opens space for genuine emotional freedom.
The language throughout is plainspoken yet resonant. The poem resists poetic embellishment in favour of clarity, which suits its therapeutic intent. The tone is reflective, gentle, and resolute. The closing lines affirm a vision of abundance and self-worth: “I am now free / To enjoy all the great things this Universe / Has in store for me.” This affirmation feels earned, the result of a process rather than a platitude.
In conclusion, Forgiveness is a sincere and insightful meditation on emotional healing. It succeeds in guiding the reader through the inner mechanics of letting go—without judgement, without bitterness, and with an emphasis on growth. The poet’s voice is steady and compassionate, offering a powerful reminder that self-forgiveness is not only a prerequisite for peace, but a courageous act of self-love.
7. Just Is
Gift is a reflective and impassioned exploration of love as an elemental force—beyond reason, beyond containment, and ultimately beyond full comprehension. The poet positions love not as a human invention but as a gift from a higher source, an ineffable expression of unity between the divine, nature, and the self.
From the opening line, “Love just is,” the poet asserts love’s presence as an absolute truth. The immediate questioning—“And there is no reason why?”—introduces a rhetorical tension that is quickly resolved through insistence: love exists because it exists. This tautological framing is not offered as frustration but as reverence for the unknowable. By describing love as an “eternal mystery,” the poet disarms the analytical impulse and steers the reader toward intuitive understanding.
The strength of the poem lies in its philosophical conviction. Love, the poet suggests, cannot be “rationalised / Or quantified,” and to attempt to do so is “the mistake / That everyone makes.” This warning against over-intellectualisation is a recurring theme throughout the piece, and it is conveyed with clarity and a sense of personal urgency.
The poem’s tone shifts between gentle instruction and impassioned declaration. Lines such as “True love lives / In the spontaneous intuitive” reinforce the primacy of feeling and presence. The phrase “the heart of creation / The oneness in all beings” places love within a cosmological framework, transforming it from emotion to metaphysical principle.
the poem maintains a loose, conversational structure. Its lack of strict metre or rhyme mirrors the poem’s own content: love, like the form, resists confinement. There is an intuitive rhythm, driven more by emotional cadence than by formal regularity. The repetition of phrases like “It just is” and “in the moment of our ‘Now’” reinforces the central themes of immediacy, presence, and acceptance.
The final lines return to a gentle didacticism: “Accept the challenge / Love is a gift / From a higher source / A chance to love oneself.” This closing sentiment crystallises the poem’s message—love as a spiritual opportunity, rooted in self-acceptance and higher connection. It is a fitting conclusion, affirming love not as possession or passion, but as a sacred invitation.
In summary, Gift is a sincere and contemplative poem that articulates a clear and heartfelt spiritual philosophy. Its poetic strength lies in its fusion of simplicity and depth, and its ability to communicate a universal truth through a deeply personal lens. The poet speaks with conviction, clarity, and openness, offering not a definition of love, but a vision of its liberating power.
✩ 6. Angels on Earth
Stream the album on Spotify: rb.gy/0ilm95
The song Angels on Earth emerges from the interdimensional ache of spiritual recognition and of sensing a deep soul connection to another, even when they cannot remember you in return. It speaks not only to personal longing but to a collective forgetting: the loss of our shared origin in divine unity in Source and in the primordial love from which we came. To recognise another in this context is to sense a vibration from a previous time, or dimension, a signature remembered by the heart, even when the mind resists. This ‘mediumship’ across dimensions mirrors the nostalgic lament where love, once unconditional and vast, now seems lost in this present incarnation. Yet, even in the absence of recognition, the remembering remains, subtle, aching and alive.
I recognise you
But you don’t recognise me
I knew you before
When love and light
Was all around
Before we were born
This time
♥
I recognise you
Why don’t you recognise me?
You don’t remember
The abundance of love
We once shared unconditionally
So strong we felt whole
Strong enough to choose
To be, here, now
Sharing our gift of love
With all humanity
♥
But you don’t recognise me
Our strength a distant memory
A fading dream…
When will you wake?
And see the dream is real
Maybe not, in this lifetime, I feel…
But, I can wait
For remembering ‘WHY’ we are here
Is not easy
The path of evolution
Not always fair
If, when, we meet again
Of this world, or the next
I pray that I can recognise you!
I pray my heart may be open
To receive your love
Mine eyes able to see
The light of your soul
And so. until that day my love
Adieu
Until the next dimension…
♥
Similar to Angels on Earth :: Love IS | Elixir of Love | Holiness of the Heart
5. Environmental Awareness
Catalyst 4, 1993.
In Environmental Awareness, the poet presents a reflective and spiritually attuned meditation on the interdependence between human inner life and the state of the natural world. Rooted in a holistic worldview, the poem suggests that environmental degradation is not merely a physical or political issue, but a spiritual mirror of humanity’s inner disconnection.
The central premise—that “the spirit of Gaia lives within / Each and every one of us”—positions the natural world not as an external entity to be managed, but as an intimate, sacred presence embedded within the self. By invoking Gaia, the ancient Earth goddess, the poet introduces a mythopoetic dimension, grounding the ecological concern in a broader metaphysical framework.
The line “What is within is reflected without” serves as a thematic hinge, encapsulating the poem’s philosophy. The outer environment becomes a diagnostic surface upon which the collective human psyche is projected. This metaphysical approach transforms the ecological crisis into a call for inner awareness and personal healing.
The poem’s tone is measured and contemplative. The language is clear and accessible, favouring direct expression over metaphor or abstraction. The phrase “Self-love, -empowerment and -worth” is notable for its formal economy, using a typographic device to underscore the interconnectedness of these concepts while drawing attention to their shared root. This moment of visual emphasis subtly reinforces the poem’s theme: that self-relationship is foundational to global healing.
The structure of the poem—free verse with short, even lines—mirrors the meditative rhythm of its message. Each line is given space to resonate, creating a gentle, unfolding pace that invites reflection rather than urgency. This structural restraint supports the poem’s core message of inner harmony and alignment.
The closing lines advocate a vision of healing that begins internally and radiates outward into “our immediate surroundings.” In doing so, the poem resists abstraction and keeps its philosophy grounded in the everyday. The emphasis on “immediate surroundings” gently reminds the reader that spiritual awareness is not a distant ideal but a practice rooted in daily choices and perceptions.
In conclusion, Environmental Awareness is a sincere and quietly powerful poem that situates ecological concern within a framework of spiritual responsibility. The poet communicates this vision with clarity, calm conviction, and a tone of measured grace, offering a meaningful contribution to both ecological and contemplative literature.
***
4. Stop What You’re Doing!
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This poem is a contemplative and spiritually grounded reflection on the interconnection between the inner self and the external environment. Rooted in a holistic worldview, it offers a gentle yet profound meditation on the state of the Earth as a mirror of human consciousness.
The poet presents the concept of Gaia not simply as a mythological figure, but as a living spirit residing within all individuals. This framing elevates the poem beyond environmental commentary, positioning it within a broader philosophical and spiritual context. The central assertion—that “what is within is reflected without”—forms the thematic spine of the piece and is handled with clarity and sincerity.
The structure of the poem is spare and deliberate. The free verse form, coupled with short, measured lines, gives the work a meditative rhythm. Each line appears carefully placed to allow the reader space for reflection. This stylistic restraint enhances the contemplative tone and aligns with the poem’s themes of inner peace and environmental harmony.
Linguistically, the poem is marked by clarity and economy. The diction is simple yet resonant, avoiding ornamentation in favour of direct expression. Phrases such as “self-love, -empowerment and -worth” display an innovative use of form that visually and rhythmically connects the ideas, suggesting their interdependence. The repetition of “self-” creates a quiet insistence on personal responsibility and healing as essential steps toward environmental stewardship.
The poem’s closing lines underscore the idea that true ecological change begins within. There is a sense of calm resolve, and the final star symbol (“✩”) serves as a subtle visual coda—lightly echoing the cosmic or spiritual dimension underpinning the work.
Overall, Environmental Awareness is a poised and sincere offering that succeeds in fusing ecological awareness with inner transformation. Its strength lies in its clarity, its contemplative tone, and its unwavering belief in the power of self-healing as a pathway to planetary renewal. The poet demonstrates both restraint and depth, producing a piece that is both timeless and quietly impactful.
3. The Path
The Path is a compact, incisive poem that grapples with the tension between inner strength and vulnerability, framing this duality as a necessary and even sacred component of human experience. In just eight lines, the poet creates a resonant meditation on the oscillation between extremes, suggesting that spiritual growth lies not in denying such polarities, but in accepting and integrating them.
The opening line—“O strength and vulnerability”—functions as both invocation and lament. It immediately sets the tone for a poem that is at once earnest and self-aware. The poet acknowledges the reality of contradiction without judgment, portraying the inner struggle as a rhythmic pendulum—“oscillating between extremes”—a metaphor that captures the instability and movement inherent in human emotional life.
There is an undercurrent of defiance in the line “As part of the WHOLE damn dream,” which injects a raw and colloquial note into the otherwise contemplative tone. The emphatic capitalisation and the use of the word “damn” break any tendency toward abstraction and ground the spiritual journey in a gritty, lived reality. It is this juxtaposition of the sacred and the profane that lends the poem its unique emotional texture.
The poet’s ambition “to manifest ‘The Spiritual’” is framed not as an ethereal escape but as a confrontation with the “human frailties we all possess.” This democratic phrasing underscores the poem’s universality, refusing to place the speaker above the shared challenges of the human condition. The final line—“Always close at hand”—acts as a quiet reminder that these frailties are ever-present, shadowing us even in our loftiest aspirations.
Stylistically, the poem is unadorned and compact, favouring direct expression over elaborate form. The irregular rhythm and line breaks support the emotional fluctuations described, while the lack of punctuation (except in the middle) adds to the sense of inner turbulence. Despite its brevity, the poem feels complete—each line contributes to its central insight without excess.
In sum, The Path is a forceful and honest reflection on the paradoxes of the spiritual journey. With both edge and humility, the poet distils a complex emotional landscape into a few carefully chosen words, leaving the reader with a sense of unresolved but vital motion—true to the path it describes.
2. Just Friends
“Just Friends” — captures an emotional scene with elegant restraint and psychological precision. It walks the delicate edge between internal vulnerability and social performance, showing rather than telling. The quiet drama simmers under the surface, and that restraint is what gives it its power.
The poem presents a familiar, achingly human moment: the uncomfortable aftermath of one person’s vulnerability being met with emotional complexity the other isn’t prepared to hold.
There’s something very early ’90s in tone — not just the interpersonal awkwardness of that time (before therapy-speak became mainstream), but also the gender dynamics and cultural expectation of emotional suppression, particularly for men.
This is a portrait of emotional dissonance: a moment when honesty collides with pride.
The poem isn’t about who’s right — it’s about the uncomfortable truth of human ego, emotional reflex, and the fragility that often hides behind defensiveness.
“…as he had originally intended to do all along”
has that overcompensating tone — like he’s trying to pretend nothing’s changed, even though everything has. It’s performative denial, which is part of the fragile male ego that is being exposed.
The ending lands cleanly: “That fragile male ego in reaction.” It’s slightly ironic, slightly compassionate — like a final exhale after the tension.
1. Yesterday’s Tomorrows
Yesterday’s Tomorrows is a beautifully nostalgic, almost cinematic opening to the collection: Nóēma Poēma. This is an evocative first piece — a sensory time capsule — that invites the reader into a personal archive with warmth and gentleness. It sets a precedent: that what follows will be emotionally honest, reflective, and deeply human.
There’s a softness in both tone and tempo that feels intimate — the kind of memory one exhales rather than recounts. The imagery evokes heat, sunlight, and stillness, paired with the sweetness of childhood unspoiled by time’s pressing grip. Lines like:
“See shadows playing / In shafts of sunlight” “Freckled noses / And crooked teeth”
…are quiet, vivid and deeply human, giving texture to memory — not only its visual imprint but its emotional weight — and that final metaphor:
“Stored like spices / In air-tight jars.”
…is a gorgeous, sensory closure. A perfect image of preservation, memory, and fragility.
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