Wooden Swing Blueprints

Barbara Korun


On the night of the summer black

I stepped out into the garden
to pick a flower for you -

he shook the leaves on my face, repelling
stubborn,
scratched with its thorns.


Now you look at the corner of the house,
I'm still there and I feel



shake the rose in my hand,
is hot, black blood flows

darkness.


*


Two Of

I.

that god is huge and heavy

gone so far

angel from heaven with a powerful
an angel whispering in my ear bud

bent over me, and I whispered shining



all the way so many years lost

destroyed everything you have is this moment

this only when you whisper
're nothing nothing
powder forgettable
and I love you I love you



angel angel
with a sprout pierces my heart burning



II.


this God is dwelling in the darkness from under


from inside the golden robes of icons
by dark veins pulsing

is lit by candles on

thin hair


this god lives in the holy
underground rivers
entries in temporary
and faith

rises in the sky directly


with a fragile breath
with the softest breeze
speaks to me


*



white room A room, then, a white room ,
light walls washed with lime,
white panels, wood floor naked
there is a bed in this empty room
and, in the distance, two bags of garbage. Through the window fully open

breaks the smell of the pines.

The song of the cicadas flying away.
One bed in this room, this white room,
a couple is sitting there in the broken white robe,
looking toward the sky so blue
they are drowning in the distance.
Feet, hips, hearts are touching -
but their eyes are turned towards the high blue
, were kidnapped in the infinite.
This is like the touch of anime, as they go

each other under the skin and deeper still.

I cover, in one piece?
find shelter here?

Here in the quiet, silence
in their souls to each other, linked
filament light.
There are models of the rainbow on the ceiling
milky
soft explosions of color.

There's something softer than the tips of your fingers?
What flavor are your lips?
Let me taste your heartbeat, let me
feel the flow of blood in your veins.

I'd stop here for hours motionless in silence, just listening
.

The world breaks in the white area of \u200b\u200bthe South. All
withdraws, only your close
ever closer, ever more present and yes,
it is powerful, yes, I'm too afraid, so I'm

careful not to hurt you, not to hurt me.

Slowly now, no need to hurry,
the time he retired, the space falls away,
now there is only you.
Like this, the opening of the sea before Moses.
Like this, the opening of world before me.
Everything pulsates in your body,
that beats in your heart.
Let me be even closer, let me
be deeply, completely into you. Let me be you.

And then the miracle. In a word, a touch,
you take me in your shadow of the moon. Can I watch
through the undergrowth of your groin,
rest in the soft nest of your navel,
I can lick the hollow of your arms like a deer licking her cub,
can I touch your ears small,
can pierce my tongue in your spiral heart.
gentle shaking chills my body, too,
I can taste your every perception, every thought.
membrane expands and bursts of solitude,
are submerged in your order.

What a wonderful playground, your body,
a surprise at every step. We are like children playing
each other, playing in the endless sea.
not worry yet. No shame again.
Everything here is one: you himself, myself, the sea, the sea.


*


breathing together


You can reach me anywhere

deep as you can;

in pleasure, in pain


slips away from you;

in language, in the words
,
here

you breathing inside me, I inhale
entirely.


*

Birth of an angel

I gave birth to a swelling on my breast, my third breast
want hidden under scarves and shawls. It hurts like it came from.
He helped me with his big hands, he peels the faces of souls.
I saw a small creature, the size of a fist, covered everywhere,
white and sticky. You have to let it dry, he said, warming
the creature in his big fingers. I can see how this
be very little was taken with much larger wings
himself. He did not live, he could not, he did not want to live.
vision, sea-foam, merged into our hands.


(English translations of Anila Resul)

*

Korun Barbara, born in 1963 in Ljubljana, is among the leading figures in the generation of contemporary poets in Slovenia. He is the author of Ostrinia Milina (`the edge of tolerance ', Mladinski Knjiga, 1999), with whom he received the national award for the first work published.
His poems have been published in many anthologies and magazines, in twelve languages.
works in publishing houses and literary publications Apokalipsa NOVA Revija .

What Is An Average Bmi For Woman

Sheng Xing




One day I'm walking down the street, which can not erupt lava
to a morning sun can not fall from the sky
run to a woman who can not love
in his hand She holds a dead fish that can not be brought to life
you use a language which may not repugnant
be nice now I can not develop wings and fly above the clouds in the sky
go home in a house that can not sink
and run to my father that I can not take a long time with me
now are too big I can not

turn me into a rat crawling into my hole and quiet in a corner
tonight I'm in my bed that can transform into the open sea

now I can not die but I have a dream: the sun falls to the ground

lava flows
flight from the ground up in the sky
kissing the sweet lips of a woman
the fish holding in his hand is singing hymns
my father kneeling at the side of a ruined
and says, indicating
the sky "that great man is he"
the morning I wake from my dream
I can not believe it was real.


*


The house built in the winter

the house built in the winter
workers who take protective jackets
rocks covered with frost

timber covered in snow and lake water you can have a layer of ice breaking

addition, the black smoke from the chimney on the roof slowly advancing
women are visible through the windows to fog
but the walls remain frozen

when summer arrives
not have to worry about burning that the house
melt like ice cream under the rays of the sun cuocenti
now
workers protect themselves with a trail of trees will
rocks on a distant hill
will be buried under the forest green leaves
the lake will be subdued by the wave
there is a profound absence of all these things and
in the hottest summer sun
(or in the coldest winter)
tighter hug.


*


It 's summer here, but nothing changes

summer is here but nothing changes


caring man
can not change the fact that he died, a woman

not beautiful is one year older
is what I would call "adding insult to injury"

someone who has waited and waited
eventually became insane
unable to stand up to the end of time
someone who has lived
stirs the desire for ill
hopeless because all of the faces of remorse

for someone who is overcome by depression
jokes are a waste of time even for a idiot

the sincere advice is a waste of time

when someone takes the road to ruin is at a precipice


jumping into it without hesitation.


*


We can not remain in the sky for even a second flash of

rise into

is not a problem but we can not remain in heaven, nor can we get
supported from the air like birds because we have not

wings so we can not stay in the sky for even a second flash of
we can only fall straight down from heaven
to beat our noses and faces are swollen
never even dream of challenging the birds dream-


*


I can not wait any longer summer

is a shame, really fall in love with you
winter
undressed
thee when I saw you in the frosty air
your arms wrapped around your naked body in
a shiver when I see your face pierced with tears
treasure

're so beautiful you have to forgive my be rude, my impertinence
only wanted to see what you looked inside the shell
I can not wait any longer summer



(English translations of Anila Resul)


*

Sheng Xing was born in China in 1978. He devoted himself to publishing his poetry since childhood works of poetry in various magazines in China and mainly relying on the possibility of publication on the Web.

Two of his poems are included in the collection "2000 years of Chinese poetry" [2000 XinShi nian Zhongguo of nianjian] published by Yang Ke.

Sorry Message Looks Like Spam Or Phish To Me

The naked and the nude naked hidden

François Boucher, The Odalisque brown
" Diderot in his Salon de 1767 writes:

Have we not seen at the Salon, seven or eight years ago, a woman completely naked, lying on cushions, a leg here, another there, showing her face most sensual, the most beautiful back, the most beautiful buttocks, which calls for the pleasure and makes taking the shutter easy, the most convenient, as it says even more natural, or at least the most advantageous? If through that painting sunset [...] [for me] was innocent, was well-suited sending my son [...].

We then note a certain embarrassment of Diderot in the face of such a framework. [...]

Looking certainly no shortage on Japanese paintings and prints depicting nude women, even those in full, especially as seen from the back are going to the bathroom. But aside from these rare exceptions, the women shown in paintings are always dressed, except let see a piece of their anatomy. [...]

In Japan there is no nudity innocent nudity as a metaphorical representation of Adam and Eve before the temptation, nor as a symbol of rehabilitation of the human being in the presence of God meat and clothing of the human body are nothing more than additions to a character in everyday life in a world engaged in a continuous process of transformation. "

***

the Japanese press, so there is a relationship of great harmony between body and garment. The suit is to be designed to highlight the curves of female body.

In the case of erotic prints, for example when it comes to the sexual act as the two appear naked?

then look at one of the masterpieces of Kitagawa Utamaro ("Source of poetry": room on the first floor).

Although there is a set of details I do not see, the picture has a voltage that hint strongly expressed in the approach to the embrace, the faces covered to conceal the details of the bodies of lovers. Another detail is the range that marks him a Japanese poetry

Beccaria has made her a staple the beak

strongly from a clam

and effort to fly away

one autumn evening.

Thus, there is a hint of sweetness even eroticism. Other

Kitagawa Utamaro's paintings are lovers in the sexual act where the eroticism is stronger, but there are details like the modesty of women played in the attention of a closed tent that stands out the secrecy of the act, writing on the fans and the prints on the room and the woman's words "There is too much light, I am ashamed" to each other mark the contrast between hidden and revealed, among veiled and unveiled, helping all'eroticità the scene.

***

track and reflection made the basis of reading the book "Introduction to Japanese culture. Assays reciprocal anthropology" of Hisayasu Nakagawa. - Addison - 2006 Edition.

Used Mcculloch Diagram For Weedeater

The house nightingale

"We're used to seeing Japan among us every day by business people, tourists, manga, movies, cooking etc.. But the culture of this country there is often incomprehensible. Hayao Kawai, thanks to the characters of traditional fairy tales and myths, succeeds in an especially difficult: it comes with the wisdom of the riddle of that culture, and the same to be reflected in us temposollecita the western model of consciousness, which is possible only through a comparison with the difference.

The premise of this book is that the myths and stories related to folklore, such as fairy tales, are representations in which you can trace the fundamental coordinates of the psyche. However, Kawai says, is the diversity of expressions that depend on deep communication culture in which fairy tales belong to the point that can not be interpreted and understood the basic elements of Each one culture and analyze fairy tales from this point of view. The comparison of Japanese and Western fairy tales, can be traced to the difference between the two cultures. Hayao Kawai choose some shared items, such as "female figure" and the report "female-male", and also examines them in Japanese and Greek mythological motifs, in the Christian and monotheistic religion in the traditional polytheistic religion Shinto, which continues to live together without conflict to the next Buddhism. In this way, H. Kawai comes to single out the traits that characterize the two culturee segnanola that different approaches to reality and the different model of consciousness, urging the reader a subtle psychological reflection. "

*

This comment is behind the cover of the book "Little House on the bird. The women's psychological between East and West "by Hayao Kawai.

The 1982 edition of this book is worth the award to H. Kawai of the prestigious Osaragi Jirosho.

*

I highly recommend this book because it highlights how the Japanese fairy tales are constructed differently from the West, based primarily on the psychological side of the image, embodying what the Western fairy tale is certainly not obvious. The difference arises H. Kawai fact is obvious as the end of Japanese fairy tales the fairy tale does not necessarily coincide with a happy ending. Often there is a drop, leakage, and hardly a happy marriage.

The research center has made the female figure. There are in fact represented in fairy tales such as "The Home of the Nightingale," "The woman who does not eat," "Laughter Oni", "Crane Wife" and more, all on a main character and history which revolve other characters.

If a child listening to a Western tale would expect a happy ending, a woman who marries her prince and stories where the bad guys are in any case be excluded or killed, a Japanese child is faced with such a strong image that leaves you with several question marks. The Japanese fable then hesitates and plays on people's psychological edge as if to be a subjective interpretation for those who read it.

*

Born in 1928, Hayao Kawai is a graduate in Psychology at the University of Kyoto. After completing his studies in 1959 in Clinical Psychology at the University of Los Angeles, has specialized in psychotherapy at the CG Jung Institute in Zurich. Back in Japan, was the first Jungian analyst and later trainer of psychotherapy. She taught for over twenty years Clinical Psychology at the University of Kyoto. During the period 2002-2006 he was Director General of the Agency for Cultural Affair (Bunkacho). He has written and published over fifty books and numerous articles have been translated into several languages. Among his most important works is also Myoe yume Ikiru or (IEOM: A Life of Dreams) in 1987 which earned him the prize Shincho Gakusei. He currently lives and works in Nara, Kyoto and Tokyo. He has already published in Italy in 2004 at Moretti & Vitali, Buddhism and the art of psychotherapy.