Tuesday, March 23, 2010

Rahebar Khan Means Business

Rahebar Khan our Municipal councilor supervising the gutter cleaning and upgrading the drainage network.. and he means business , he has not left this on any overseer , he is supervising it himself , moving up and down the gutters giving advise and seeing that the stipulated work undertaken for out beleaguered area , that gets flooded during the monsoons is completed in time before the rains come in.

He has done this single handedly and all the three lanes the work continues Jain Mandir Road Chinchpokli and Ice Factory Lane,..

He has done a work which should have been done several years back by the earlier councilor and the MP and the MLA of this area.. so this is the truth of the travesty of a political system of apathy and neglect on the part of his political predecessors.

Windows of Pain

the windows
of my mind
lies a world
where she lives
i deleted her
from my
its pain
more pain
that she gives
a hard stone woman
a stolen moment
in her glance furtive
on the mountain peak
where we met
my soul
she held captive
mesmerized moments
poetically i relive
she is in
the arms
of another man
a thought
being human
i am ready
to forgive
falling in love
with her
was the most
fucked motive
but poets are
born bachelors
worldly pain
they outlive

Battis Shirala Nag Panchami

I was inspired to shoot this after seeing a photo exhibition of the Nag Panchami festival shot by photo journo Nitin Sonawane at Battis Shirala , Nitin was the lamp of light that shed its life on my soul, I personally have nothing against photo journalists , they are the need of the hour , they show us a world we would have never seen , my teacher was Shreekant Malushte Anil Bhartiya both photo journalists too.

What really hit me was the pompous attitude of the few I met at various photo shoots at one time I was everywhere including the train serial blasts that I shot barefeet on the tracks of Bandra Mahim and Matunga, ,

Their conceit their arrogance their heavy duty cameras man I saw it all, and at the end of the day , they might have got a picture published , but I in sheer humility barefeet had already posted on the internet an eternity on the same subject.

I have no problem in reiterating I learnt grass root photography from pictures I saw on Times of India the only paper we subscribe to along with Mumbai Mirror , I kept evolving myself ..I became poetic I began poetizing what I shot and my pictures became a poetry of Life..I am an ordinary point and shoot photographer but I shoot poetry not pictures..

Some of the pictures I see on Times of India make me groan and almost puke, the journos a few of them are still where they are , no makeover no further involvement..into the soul of what they shoot.Bam Wham Fuck you Maam kind of pictures soiling the seminal soul of poetry.

One thing I am sure my grand daughter Marziya 2 year old who is learning street photography from me will one day shoot better pictures than them... perhaps better than me and my Gurus too.. she is beyond Fuck F stops and other shit that I was made to suck along with the cock of the old fathers of photography ..

When I shot the snake festival it was banned in Battis Shirala I came barefeet15 km at a place called Suryagaon and was warned only to take a few shots, I took a few on slide an analogue camera..

I was a whisker away from the cobra and more interesting than this puja is the time they return the snake back to its natural surroundings , they asked me to join them but my feet was badly cut up, I had a broken hand and a lot of equipment on my person.. and I had to return to Mumbai.

So this was my tryst with photography..


Nāga Panchamī (Sanskrit: नाग पंचमी) is a Hindu festival celebrated by Hindus in most parts of India. It is celebrated on Panchami in Shravan month. On this day, people worship Nāga Devata (Cobras). People go to temples and snake pits and worship the snakes. They offer milk and silver jewelry to the Cobras to protect them from all evils. They also fast. This festival is to celebrate the day Lord Krishna defeated the serpent Kalia. On this day swings are put up in the village and people enjoy themselves. The married girls visit their parents during this occasion.

The festival of Nāga Panchami is celebrated by Hindus to pay respect to Nāgas. The five Nāgas worshipped on Nag Panchami are Ananta, Vāsuki, Taxak, Karkotaka and Pingala. According to a Puranic myth Brahma’s son Kashyapa had four wives. Kashyapa’s first wife gave birth to Devas, second to Garudas, third to Nāgas and fourth to Daityas. (Dainik Jagran, 25 July 2006). The third wife of Kashpa was called Kadroo, who gave birth to Nāgas. So Nāgas are also known as Kadroojā. They were the rulers of Pātāl-Loka. There is a Sanskrit shloka to remember important nine Nāgas as under: (Dainik Bhaskar 30 July 2006)

अनन्तं वासुकिं शेषं पद्मनाभं च कम्बलम् । Anantam Vāsukim Shesham Padmanābham cha Kambalam

शंखपालं धार्तराष्ट्रं तक्षकं कालियं तथा ।। Shankhapālam Dhārtarāshtram Taxakam Kāliyam tathā

एतानि नवनामानि च महात्मनाम् । Etāni navanāmāni cha mahātmanām

Naga Panchami is also celebrated in Nepal and the story is a little different than in India. Naga Panchami is a festival that is held in Nepal and literally translated means the “Festival of Snakes”. It is a festival that originates from deep within the Nepali culture and its rich traditions, rituals and myths that have survived for thousands of years and which have played a significant role in the lives of the ancient people of Nepal.

Ancient Nepalese civilizations worshiped the Nagas, or Serpent Kings, and believed that their relationship with the gods and nature would secure their survival. The myths and legends surrounding the Nagas have a few versions of the story that led to a creation of the festival. In one story version, it is said that the Kathmandu Valley used to be a vast lake. As the story goes, when humans started to drain the lake to make space for villages and settlements the Nagas became enraged. To protect themselves against the wrath of the Serpent Kings, the humans gave the Nagas certain areas as pilgrimage destinations and that through these actions harmony was restored to nature.

Another popular tale is one of a Tantric King that used the powers he possessed to force the Nagas to return the rain to the land which they had taken away. The Nagas did give in to the King’s amazing powers, but he also recognized their powers. To honor the power of the Nagas, the King created the Naga Panchami festival to honor the Gods. As the serpents were believed to be capable of controlling the rains, it is important to the people of Nepal to show their respect during the festival to insure that they do not offend the Gods.

The festival usually takes place in the month of August and as part of the celebration, residents post pictures of serpents above the doors to their home to ward off the evil spirits. Prayers are said during the festival while people wearing demon masks, dance in the streets entertaining festival participants. It is also believed that offerings should be given to the Serpent Kings during the festival and residents leave food items such as milk and honey in their gardens for the Nagas, or snakes. The offerings and prayers are then honored by the Serpent Kings by ensuring rain and protection for the people of Nepal.

Naga Panchami is an ancient tradition and festival, that is a truly amazing ritual to experience and the perfect time to hear the various stories, myths and legends that have been passed down to Nepal’s present generation. |}

Goddess Kali

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I received this as forward mail and share it with all of you..

Goddess Kali and her Avatars

In the Tantric pantheon, Kali is mentioned as the first of the ten Great Cosmic Powers, because in a certain way she is the one who "spins the wheel of the universal time".On the other hand, at the end of the manifested world, time (in Sanskrit Kala) devoured all the universes of the three plans of the creation: the physical, the astral and the causal universes.The Great Cosmic Power Kali finally devours the time itself, which is Kala, and this is the very reason for which Kali is viewed as the primordial cause of the creation and destruction of the universe.

Kali's dance signifies the dynamic, active aspect of the Divine, and the dark Color of her skin indicates that the processes of the creation are disolved in Kali.
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Kali is also the creator of the universes, as they come to life from the ashes of the Divine Consciousness' purifying fire. Consequently, Kali's action is deeply evolutionary, as she impels the human beings towards evolution.
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Shiva is white because he signifies the infinite divine light (prakasha), inert because The absence of movement and action reveals the consciousness pure, homogenous and compact.
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Kali performs her actions in the divine light and harmony, knowing that this is the best thing to Do. Those who manage to pass all the tests and go through all the stages are in truth spiritual heroes, And they will be rewarded with Kali's spiritual grace.
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Kali is also named ADYASHAKTI, in her quality of energy and terrible Cosmic Power who impels humankind towards action and the universe towards manifestation.
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The description of the Great Cosmic Power Kali describes her as being dark as the night, dancing Over Shiva's inert, white body. This representation reveals the significance of the two fundamental Aspects of Reality: on one hand there is the dynamic, imanent aspect of God (Kali's dance) and
On the other the static, transcendent aspect of consciousness (identified with Shiva).
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The sadhana or spiritual practice recommended for the worship of the Great Cosmic Power Kali implies the effort of purifying and activating the centers of force, so that the fundamental Energy Kundalini ascends from Muladhara chakra to Sahasrara.

Goddess Kali

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Kali is a ferocious form of the Divine Mother, who sent her Shakti, the Mother Gauri, to free the gods from the dominion of the demonic forces Shumbh and Nishumbh, who had conquered the 3 worlds of earth, the astral plane and the celestial plane.

Kali is the goddess of time and of the transformation that is death (Kala). Lord Shiva and Mother Gauri in their destructive form are known as Mahakala and Mahakali or Kali.

Kali is the Kundalini energy that paralyses the attachments produced by the solar and lunar currents (both demons mentioned above). This attachment causes fear of death. In the ignorant ones she creates fear, while for others Kali removes the avidya (ignorance) that makes us fear death, the basic insecurity of the First Chakra , a fear rooted in the brain stem or primitive brain.

The Hindu goddess Kali is the first of the ten Mahavidyas - the others are Tara, Shodashi, Bhuvaneshwari, Bhairavi, Chinnamasta and Dhumavati, Matangi, Kamala and Bagla Mukhi. Therefore Kali is also known as Adya, the firstborn.

ollowing is a Kali mantra for worship :



Goddess Kali

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Kali (Sanskrit: काली, Bengali: কালী, both Kālī), also known as Kalika (Bengali: কালিকা, Kālikā), is the Hindu goddess associated with eternal energy. The name Kali means "black" but has, by folk etymology, come to mean "force of time (kala)." Kali is today considered the goddess of time and change. Although sometimes presented as dark and violent, her earliest incarnation as a figure of annihilation still has some influence. More complex Tantric beliefs sometimes extend her role so far as to be the "ultimate reality" or Brahman. She is also revered as Bhavatarini (literally "redeemer of the universe"). Comparatively recent devotional movements largely conceive Kali as a benevolent mother goddess.

Kali is represented as the consort of god Shiva, on whose body she is often seen standing. She is associated with many other Hindu goddesses like Durga, Bhadrakali, Sati, Rudrani, Parvati and Chamunda. She is the foremost among the Dasa-Mahavidyas, ten fierce Tantric goddesses.[1]

Kālī is the feminine of kāla "black, dark coloured" (per Pāṇini 4.1.42). In the Mundaka Upanishad Kali is mentioned as one of the seven tongues of Agni, the Rigvedic God of Fire (Mundaka Upanishad 2:4), thus giving rise to Kali's tongue, seen in images. It appears as the name of a form of Durga in the Mahabharata 4.195, and as the name of an evil female spirit in Harivamsa 11552.

The homonymous kāla, "appointed time", which depending on context can mean "death", is distinct from kāla "black", but became associated with it through folk etymology. The association is seen in a passage from the Mahābhārata, depicting a female figure who carries away the spirits of slain warriors and animals. She is called kālarātri (which Thomas Coburn, a historian of Sanskrit Goddess literature, translates as "night of death") and also kālī (which, as Coburn notes, can be read here either as a proper name or as a description "the black one").[2]

Kali's association with blackness stands in contrast to her consort, Shiva, whose body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) in which he meditates, and with which Kali is also associated, as śmaśāna-kālī.
[edit] Origins

According to David Kinsley, Kali is first mentioned in Hinduism as a distinct goddess, related to war, around 600 CE. Scriptures like Agni Purana and Garuda Purana describe her terrible appearance and associate her with corpses and war. The oldest mention of Kali dates back to Rigvedic age. The 'Ratri Sookta' in rigveda actually calls her as Goddess 'Ratri' and regards Ratri as the Supreme force in the universe. In the Tantras, she is regarded as the Shakti (Power) of The Great Mahakala(a form of Lord Shiva). Her portrayal on dead bodies in crematorium symbolizes her presence in the hearts of devotees who have killed their Earthly desires and want Supreme Consciousness in the lap of the Ultimate Mother, Kali. In another form, she is regarded as the destroyer, the Mahakali as Kali Tantra says-"kali kalanat" meaning Kali is the one who finishes. Kalika Purana depicts her as the "Adi Shakti" (Fundamental Power) and "Para Prakriti" or beyond nature.

Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva's wisdom in the form of Tantras, it is Kali who seems to dominate much of the Tantric iconography, texts, and rituals.[3] In many sources Kali is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kali's mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kali vidyas (manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of the Mahadevi.[4]

In the Mahanirvana-tantra, Kali is one of the epithets for the primordial sakti, and in one passage Shiva praises her:

At the dissolution of things, it is Kala [Time] Who will devour all, and by reason of this He is called Mahakala [an epithet of Lord Shiva], and since Thou devourest Mahakala Himself, it is Thou who art the Supreme Primordial Kalika. Because Thou devourest Kala, Thou art Kali, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [primordial Kali]. Resuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art.[3]

The figure of Kali conveys death, destruction, and the consuming aspects of reality. As such, she is also a "forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation.[5] This is clear in the work of the Karpuradi-stotra[6], a short praise to Kali describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)

He, O Mahakali who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. 0 Kali, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Sakti [his female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.[5]

The Karpuradi-stotra clearly indicates that Kali is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, who is said to be her spouse, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation.[7] In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.[8]

Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva's consort, Kali is rarely pictured in Hindu mythology and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengali tradition her appearance and habits change little, if at all.[9]

The Tantric approach to Kali is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kali's teachings, adopting the attitude of a child. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Ramprasad's work.[10]

Ramprasad comments in many of his other songs that Kali is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin. He also states that she does not behave like a mother should and that she ignores his pleas:

Can mercy be found in the heart of her who was born of the stone? [a reference to Kali as the daughter of Himalaya]
Were she not merciless, would she kick the breast of her lord?
Men call you merciful, but there is no trace of mercy in you, Mother.
You have cut off the heads of the children of others, and these you wear as a garland around your neck.
It matters not how much I call you "Mother, Mother." You hear me, but you will not listen.[11]

To be a child of Kali, Ramprasad asserts, is to be denied of earthly delights and pleasures. Kali is said to not give what is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.[11][12]

A significant portion of Bengali devotional music features Kali as its central theme and is known as Shyama Sangeet. Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyama Sangeet is Pannalal Bhattacharya.

In Bengal, Kali is venerated in the festival Kali Puja - the new moon day of Ashwin month which coincides with Diwali festival.
[edit] Mythology
[edit] Slayer of Raktabija

In Kali's most famous myth, Durga and her assistants, Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons, in an attempt to destroy him. They soon find that they have worsened the situation, as for every drop of blood that is spilt from Raktabija, the demon reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates.[13] Durga, in dire need of help, summons Kali to combat the demons. It is also said that Goddess Durga takes the form of Goddess Kali at this time.

The Devi Mahatmyam describes:

Out of the surface of her (Durga's) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger's skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.[14]

Kali destroys Raktabija by sucking the blood from his body and putting the many Raktabija duplicates in her gaping mouth. Pleased with her victory, Kali then dances on the field of battle, stepping on the corpses of the slain. Her consort Shiva lies among the dead beneath her feet, a representation of Kali commonly seen in her iconography as Daksinakali.[15]

In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda.[16] Chamunda is very often identified with Kali and is very much like her in appearance and habit.[17]

High Contrast

Sometimes I Shoot Flowers Too

flowers that
kiss the feet of mankind
flowers that all Hindu
gods goddesses
round their necks find
flowers entwined
cleanses the human soul
the spiritual mind
flowers that will soon die
but on a hope of eternity

fragrance beauty
as a poem defined
they also see read it
who are born
broken hearted and blind

as an after thought
alas no more flowers
only currency notes
as garlands
on political necks find
with Rs 1000 notes
totaling 5 crores
artistically beautifully
a maya jal
to spellbind
politics that
kisses you from
the front stabs
you from behind

Jain Sadhvi

Through 'the serenity
of Lord Mahaveera
amrut flows
a path of peace
a path
the soul
of humanity
she chose
a walk
of Life
up close
a touch
of love
all worldly

Namo Arihantanam: I bow down to Arihanta,

Namo Siddhanam: I bow down to Siddha,

Namo Ayariyanam: I bow down to Acharya,

Namo Uvajjhayanam: I bow down to Upadhyaya,

Namo Loe Savva-sahunam: I bow down to Sadhu and Sadhvi.

Eso Panch Namokaro: These five bowings downs,

Savva-pavappanasano: Destroy all the sins,

Manglananch Savvesim: Amongst all that is auspicious,

Padhamam Havei Mangalam: This Navkar Mantra is the foremost.

a mantra of life
the universe echoes
as felt seen by the camera eye
of a poet photographer blogger firoze

mantra courtesy

Street Pain As Seen Through a Poets Eye

I could write a poem here
but I will let it go by..
for me the
soul of Humanity
is Amchi Mumbai

Street Pain As Seen Through a Poets Eye

Bitiya Tumne Paheli Idd Kab Manayi Thi...

kya tume
khaie thi
naye kapde
par muskuruhat aie thi
bitya tumne paheli idd
kab manayi thi

If I Did Not See This I Would Not Shoot It

I dont stalk my subjects , but they become my subjects when their fate throws itself face front on my camera , I give them money the least I can do I will pay for the picture I take of pain ..and this is not a commercial twist the poor Muslim beggars tale.

I respect her choice as a beggar , doing what is perhaps the only thing she can do, she does it with her face covered without hurting those who are responsible for her present situation , if I was a girl photographer I could have sat next to her on the street talked to her found out what blow in life bough her down tree trunk branches and all..

But god did not make me a woman, I am happy with what god made me or gave me .. he gave me foresight he gave me a mind that penetrates the pain in another persons soul..I dont take notes at all, never needed to I fill in life's bank spaces with my Sufi fortitude that I have inherited from the malangs the bawas I sat with.

Honestly I am tired writing a poem about her fall from grace she is where she is it is Islamic society that has fallen a nautch or too .. as it has no means of resurrecting their souls , it needs funds only to build new mosques and madrsaasas.. I write this with reference to what I see as a street photographer and to the subject on hand I dont speak for the rest of poor Muslim beggars all over India.

And so I shot a few frames I told her to go to the Sunni mosque in Bandra and speak to the Mullah or the trustee ..or to go to the Bandra Shia Khoja mosque.. she just said Bhai who has time to hear my story..No I did not have time either and if I sat next to her to hear her story I would be humiliating her fate further ..I moved away

I am a photo blogger I shoot pictures I have no cure I am not a doctor..I am not a social activist...I dont belong to any NGO , never was a group man I am a loner recluse and I poetize pain so you see it as real as I shot it.,..

And honestly I wont wait outside a Parsi Temple at Dadar for hours to shoot cherubic twins coming to their first Nowroze in a pram ..

I would rather shoot pain on the street veiled , and now for Gods sake dont ask me when the poor Muslim beggars daughter celebrated her first Idd Ul Fitr..

I am speechless as a photographer as a poet as a blogger and as a Muslim too.

Slum Salons of Bandra

I have a great fascination shooting street barbers , street salons, I have had haircuts and shaved at these street side salons too.

And most of these kid barbers come from towns of Uttar Pradesh and apprentice themselves to a salon , finally starting their own..this is the North Indian spirit of slogging his ass of as an Indian.

While his leaders collect currency garlands amounting to Rs 5 crore this is the power of money and the power of politics.. that makes money blindfolded , see no evil do no evil,, but yes be party to evil.India may be poor but wealth abounds politically not that I envy it , but it saddens me as it saddens you.

But I digress I am non political man a cosmic poet of failed love..a failed love makes you a better than a poet who fucks his way successfully through life ..the woman I love does not even know I love her she is blissfully unaware of my cosmic existence though we pillow talk in our dreams..my wife thinks my bed of thorns is possessed , she says she hears two sounds while I am asleep..and this is the irony of the poetry of my fucked life.

I love a woman who I have only seen in my dreams she has no form but yes she has the voluptuousness of a figure,.well I shall leave it incomplete..

So with a camera around my neck I too am on a leather hunt shooting life as I see it as blank verse sometimes as haiku short and sweet , I reiterate shooting pictures is composing a poetry of a street mans life that will further be seen and be finally read by another man .

Most of my pictures at Flickr where all my blogs originate are textless and some have text..and you can read them the way you want it , pictures interpret more eloquently in their silence..

Had I left this space blank only the barber the man getting a face job.. it would have still be ready as poetry of one mans touch on another mans face and both are not homosexuals...I am sure my mind dies not interpret this kind of touch wrongly.

So finally everything in Life is Touch ..a touch that heals a touch that feels a touch your hidden emotions your dark desires unpeels a touch that steals , a touch congeals a touch conceals a touch when touched a touch that seals.

This a poetry blog...I wrote it as a blog it swipes your soul as poetry... Touche ..