Tag Archives: New Earth

27. Ablutions of Humanity

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Review of Ablutions of Humanity (Wednesday 13th September 2000)

Ablutions of Humanity is a meditative, eco-spiritual reflection that interweaves inner awareness with planetary consciousness, offering a deeply intuitive reading of the reciprocal relationship between human emotion and the natural world. Set on the shorelines of Manly Beach, this poem marks a turning point in the poet’s work — one where personal insight becomes inextricably linked with planetary healing, and where the act of observation gives way to a sense of cosmic responsibility.

The poem begins in a moment of personal stillness, with the poet standing beside the ocean, lost in thought:

“Yesterday, whilst standing by the ocean
On Manly Beach, absorbed in my thoughts…”
This quiet prelude immediately establishes a contemplative atmosphere. But what follows is not simply poetic reverie. The poet’s experience soon turns into a subtle experiment — a real-time observation of how her inner landscape appears to influence the ocean’s outward expression. She notes a mysterious, almost mystical correlation between her thoughts and the behaviour of the waves:
“I definitely observed
That the waves were responding to me!”

This intuitive insight becomes the foundation for the poem’s central thesis: that human thought and emotional resonance are not isolated phenomena but vibrationally entangled with the Earth’s own energetic systems. The ocean becomes both a metaphor and a literal participant — a responsive mirror to human consciousness, capable of reflecting inner turbulence or calm. Such an idea recalls indigenous cosmologies, animist beliefs, and holistic paradigms of interconnectedness, in which land, water, and sky are living beings — sentient and responsive to human intention.

At the heart of the poem lies the idea of the planet as a spiritual processor:

“For the Earth is constantly absorbing
All our fearful impulses, traumas and dramas…”
The poet articulates a metaphysical ecology in which the Earth, particularly its waters, functions like a collective emotional sponge — an energetic sink for humanity’s unresolved shadow. This idea deepens with references to “the saline oceans,” “ions and electrons,” and marine life like whales and dolphins, cast here not merely as animals but as custodians of vibrational harmony:
“With their global sonar communications
Frequency oscillations…”

These lines position marine life as participants in a planetary healing mechanism, echoing spiritual traditions and pseudoscientific beliefs that propose sound, vibration, and frequency as fundamental to universal balance. Through this, the poet elegantly fuses environmental awareness with energy healing, quantum resonance, and intuitive science — what could be called eco-energetic mysticism.

The poem’s title, Ablutions of Humanity, becomes a sacred metaphor. “Ablution” — meaning ritual washing or purification — frames the ocean not just as a geographical feature but as a global organ of spiritual cleansing. The ocean is portrayed as a healer, working in silent cooperation to harmonise the psychological and emotional waste that humans, often unconsciously, release. This concept is reminiscent of ancient purification rites, but rendered here on a planetary scale — an idea that draws from both esoteric traditions and postmodern ecological spirituality.

A particularly compelling strength of the poem is how it traces the link between the metaphysical and the material. Emotional disconnection is not only a spiritual issue but, as the poet suggests, manifests tangibly in ecological disturbance:

“The more negativity we put out
The more we perceive as disease
Or natural disasters…”
This culminates in the invocation of cause and effect, Hoʻoponopono, and the Butterfly Effect, drawing together Hawaiian spiritual philosophy, chaos theory, and karmic law. These frameworks are employed not as abstract concepts but as living systems of understanding — ways to interpret the world’s volatility not as randomness, but as response.

Stylistically, the poem flows with the rhythm of waves — undulating between personal confession, scientific reference, and metaphysical declaration. The language remains accessible, yet rich with meaning, mirroring the very dynamic it describes: the movement from inner thought to outer reflection. It also continues the poet’s practice of extended free verse as a vessel for consciousness-stream writing — capturing ideas in motion rather than locking them into rigid stanzas.

The final stanza anchors the message with clarity and urgency:

“Our very real and tangible contributions
Towards these occurrences
Which are merely reflections
Of our own spiritual disconnection…”
In these lines, the poet doesn’t merely lament environmental degradation but calls for spiritual reconnection — not just with the Earth, but with one’s own emotions, choices, and relationships. The poem thus becomes a ritual of remembrance, reconnecting the personal with the planetary.

Conclusion

Ablutions of Humanity is a luminous meditation on the entanglement of inner and outer worlds. Merging poetic intuition with spiritual ecology, the poem asserts that healing the Earth begins with healing the self — and that the waves we see in the ocean may well begin with ripples in the heart. Through its quiet observations and cosmic implications, the poem invites us to live more consciously, to see nature not as backdrop but as mirror, and to understand that our emotional weather may well shape the climate of the world.

We are Nature and we need regular contact with her to stay healthy and to prevent ‘Electron Deficiency Syndrome’ – a an underlying factor in chronic disease – requires direct contact with the Earth for grounding and recharging to stay healthy – read more in this free ‘Earthing’ eBook – http://mercola.fileburst.com/PDF/EarthingBook.pdf

How the Beach Benefits Your Brain, According to Science

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.