✩ 23. Now is the New Now

Posted on September 4, 1998 by iPoem

Now is the future

And all our future now’s

Ever again to be

By being fully present

In the magnificence of this moment

Presenting ourselves in the here and now

Where Love’s magical omnipotence resides

Time reaps the harvest of our karmic destinies 

Sewn from the seeds of integrity and truth

Planted in the pastures of this present moment

Of continuous now, is the new now

The future is in the ‘Now’

And all our future now’s

Ever again to be. ✩

In Now is the New Now, the poet returns to one of their central philosophical preoccupations: the nature of time and the transformative power of presence. This short but resonant piece functions as a contemplative meditation on the eternal “now,” blending metaphysical insight with poetic rhythm to distill a complex spiritual truth into accessible, mantra-like language.

The opening line, “Now is the future,” subverts linear conceptions of time, setting the stage for a poem that collapses past, present, and future into a single point of awareness. This inversion immediately challenges the reader to reorient their thinking, suggesting that the “future” is not an event to be awaited but a condition that is actively shaped in the present moment. The poet’s circular phrasing—“and all our future nows / Ever again to be”—reinforces the idea of continuity rather than chronology. It is an affirmation of the infinite unfolding of time within the present.

At the heart of the poem lies the imperative to be “fully present / In the magnificence of this moment.” The language here is devotional, even celebratory. The word “magnificence” elevates the present from mundane experience to sacred encounter. This is not mindfulness as a technique, but as a form of spiritual embodiment—“Presenting ourselves in the here and now” implies both vulnerability and intention: showing up, consciously and completely, to life.

The middle of the poem deepens the philosophical dimension, introducing the concept of karmic causality: “Time reaps the harvest of our karmic destinies / Sewn from the seeds of integrity and truth.” This agrarian metaphor situates ethical action in a spiritual ecosystem, where the quality of one’s present choices directly influences the texture of one’s future. The use of “sewn” (rather than “sown”) may be a typographical anomaly, but even if unintentional, it lends an interesting layer—suggesting that the threads of destiny are stitched together as much as planted. Whether deliberate or not, it works in reinforcing the interconnectedness of action, time, and outcome.

The repeated motif of “the present moment” as a fertile ground—“pastures of this present”—recalls earlier poems where Earth and growth serve as metaphors for spiritual development. Here, the present is both a field and a fulcrum: the place where time bends, and potential crystallises into reality.

Stylistically, the poem is cyclical and rhythmic, echoing its own thematic focus. The repetition of key phrases—“future nows,” “this moment,” “now”—functions almost like a chant, guiding the reader into the very state the poem describes. The lack of traditional punctuation allows for a fluid, unbroken flow of thought, reinforcing the idea of temporal continuity.

While succinct, the poem carries a meditative weight. It offers not a narrative or argument, but a distilled truth—an experiential insight into the nature of time and consciousness. The phrase “moment of continuous now, is the new now” acts as both a philosophical statement and a poetic gesture toward eternity.

In conclusion, Now is the New Now is a concise yet profound articulation of presence as both a spiritual practice and a creative act. It gently dismantles the illusion of linear time, encouraging the reader to awaken to the power of the present as the only true site of agency, transformation, and becoming. As with much of the poet’s work, the message is simple, but the implications are far-reaching: the future is not something that happens to us, but something we shape—moment by moment—through the consciousness we bring to now.

Nóēma Poēma

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21. Earth Molecule

Posted on May 24, 1998 by iPoem

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.

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✩ 9. Love Is

Posted on July 4, 1996 by iPoem

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 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 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.

Nóēma Poēma

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Stranger

Posted on June 19, 1996 by iPoem

I don’t recognise you

My soul feels dead

Can’t communicate with you

Unless it’s in bed!

The only time when you take me

Seriously

When you can see

The Deeper Me

There’s more to a Woman

Than the body you see

I make you feel like a King

But what d’you make me?

What I give to you

Don’t make me feel alive

Sex isn’t the only thing I want

Isn’t your God-given right

We could be so much more

If only you could see

The real me

The one inside

Who wants to feel alive

But I don’t know you

Who you’ve become

Some kind of stranger

Just gets stranger…

(Not included in the collection)

8. Forgiveness

Posted on June 3, 1996 by iPoem

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.

Nóēma Poēma

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7. Gift / Just Is

Posted on September 1, 1995 by iPoem

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.

Nóēma Poēma

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✩ 6. Angels on Earth

Posted on August 31, 1995 by iPoem

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

Wings with newsprint feathers featuring my poem was exhibited at the Mexican Embassy’s Camaradas MX-UK (March) 2019 and also as an installation in the MA Book Arts degree show in the Camberwell Summer Show (June) 2019.

The poem ‘Angels on Earth’ emerges from the inter-dimensional 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. This is a beautiful and tender poem that carries a really deep sense of timeless connection and longing. The use of spacing and line breaks gives it a very ethereal, almost breath-like quality.

Nóēma Poēma

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4. Stop What You’re Doing!

Posted on February 19, 1995 by iPoem

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 facilitating a sense of calm resolve. 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.

Nóēma Poēma

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2. Just Friends

Posted on May 22, 1991 by iPoem

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.