A Poetry Prose Story Poem An Epitaph For Charlie Phillips by Richard Lloyd Cederberg

Poetry-prose Story-Poem
As good as talking is,
Silence is better
Now for me…
If you don’t mind,
I’ll just sit here quietly,
Thinking of an old man’s life,
And how, with his great loud eyes,
He would clatter frequently
Of being wrongly seen,
His lessening sentience, and
The joy he’d feel writing piecemeal
Poems for those few who cared…

Intercourse was tentative at first… And

With a certain regard
I’d listen (a bit) cautiously,
To Charlie’s weird ramblings about
How imperceptible he thought his life had started,
But how it had developed into something larger,
And more meaningfully oriented, despite
How hopelessly frayed he felt,
It seemed, from
One issue to another,
He speculated often why (so many)
Efforts of his had sunk (so often) into doom,
And sinking still were sunk despite his best attempts,
And the piety he displayed towards those who
Construed his life with contempt…

As I came to learn;
Something ate at Charlie always…

Of vain conceit,
His shifting moods
Began to wear on me,
Particularly those times he
Would lash out, cussing bitterly,
Because of some notion he had that
I wasn’t listening properly…
And always then
I could hear the knot
In his throat quavering as
He yanked-on his old Army boots
And stomp away into the mud, blood,
And urine of another timeworn battle…

Despite all sincerity,
There was seldom any clarity
(With him)
And the same
Behavior played-out
With exhausting regularity…
But always, after his huff, he would find
Me without fail, (no matter where)
And approach me nervously,
At first,
But after a few swigs
(From his tarnished old flask)
He would relax, and
Being more confident then,
I would see (deep in his eyes)
A nub of a thought
Rising up slightly
But it wouldn’t be clear until
The booze had had its effect and then
He would look me in the eyes, apologize, and
Petition Jesus earnestly for words to share…

And when the words came,
(Which they always seemed to do)
He would scribble them down
And speak them aloud,
As his eyes
Glistened with
Newfound joy, and
His heart burst with hope.
But then, always,
(As the effects
Of the whiskey lessened)
A dark gloom would fall upon him,
And he would ramble bitterly about the
Details of his life as if they were vanishing…

Out of the blue one evening

A police officer contacted me;
They’d found Charlie
And, from all appearances,
Robbed by a thug, on the very
Bench he claimed his own.
So I threw on a coat
And rushed out to see,
If there was something I could do…
Maybe, I thought, he was distraught, or bruised,
Or somewhat confused, and just needed help from me…

But what I’d thought was for naught…

What I was shown,
After being ushered in,
Was a man lying on a gurney–
Drawn and raddled– in a frigid room,
And ‘round his arm the plastic tag read
Nodding nonchalantly,
The attendant handed me
A plastic bag with his personals
And a dog-eared notebook of poetry;
Uneasily, with a welling emotion,
I thumbed through
And was shocked to see
The last entry was written for me.

It read:

Our friendship never once decreed
A friend in need a friend indeed
An honest friend who sees a need
Will not impede a friendly deed
To pettiness we won’t accede
An honest friend will force no creed
And so it was for you and me
Your friendly deeds did all succeed.
Remember me.

So let the night sky cover you
Now that you’re gone Charlie, and let
Your poetry weave a bridge to heaven’s gate.
Take heart, old friend, because of what you believed, the
Higher mercies will take both your hands now and usher you
Into the happy life you were never given on this Earth…

richard lloyd cederberg
__ ________________________________________

RICHARD was born in Chicago Illinois. He is the progeny of Swedish and Norwegian immigrants. Richard began his journey into the arts at age six. For twelve years he played classical trumpet. Then… the wonderful incursion of British music influenced him to put down the trumpet and take-up acoustic and electric guitar. Richard began writing songs and lyrics and poetic construct. He performed in 17 professional bands. He played clubs, halls, cabarets, and concerts in Europe, Canada, across the USA, Alaska, and even Whitehorse in the Yukon Territories. Richard’s band SECRETS was one of the top four Pop-Jazz bands in San Diego for 5 years. In 1995 Richard was privileged to design and build his own Midi-centered Recording Studio ~ TAYLOR & GRACE ~ where he worked until 2002. During that time, he composed, and multi-track recorded, over 500 compositions. Only two CD’s were compiled: WHAT LOVE HAS DONE and THE PATH. Richard retired from music in 2003…. RICHARD’S POETRY uses various inspirations: nature, history, relationships (past and present), parlance, alliteration, metaphor, characterization, spirituality, faith, eschatology, and art. He relishes the challenge of poetic stylization: Rhythmical, Poetic/Prose, Triolets, Syllable formats, Story-Poems, Freeform, Haiku, Tanka, Haibun, and Acrostic. Richard has been nominated twice for the Pushcart Prize.

PUBLISHED BOOKS: The MONUMENTAL JOURNEY SERIES integrates adventure, mystery, and historical fiction. Journey on the schooner Heimdall with Dr. Gabriel Proudmore, John, Helga, Betsy, Garrett, Captain Olaf Amundsen, Rorek Amundsen, Anders (the Norse) Vildarsen, and Rolf the Wolfhound…
5. BETWEEN THE CRACKS… a spinoff from the MJ Series…

NEW BOOKS being written or compiled:
A NEW RACE OF HuMAN’S… an eschatological drama. Follow the lives of Grant Callarman (the Christian), Peter Pegarian (the plagiarist/conman), Haddon Hathaway (the Humanist), and Professor Wilmington Jonah (the doubting intellect) as they experience the traumatizing global translation of the saints, Daniels 70th Week, and the Millennium, where they all are destined to meet once again.
UNDER SILENT BRIDGES… a diversified collection of Richard’s poetic invention, short-stories, and essays. MEC’s photography.

Abstract Paintings with No Up or Down | Jade | A Challenge of Perception

Abstract art is either contrived or discovered or both. It is often a search for what is in the stone after you carve it. Interpretation and perception, though, are determined by the viewer and the artist. If the artist paints the Mona Lisa and you buy it because it looks like your Aunt Marge, the perception of the painting is entirely different than the “intent” of the artist. Artists speak a language of intent.

The artist is Artvilla’s D M Jackson, “David Michael Jackson”.

“I seek to represent the transcendence of non-didactic line and form from intent to perception.”
Every time this painting became about something, I said, “It’s not about that.” and I painted it out. Intent? Modern art is defined by intent. Each edition of our search has been about intent. The intent was to glorify God, to capture history and reality, then to portray the moment and the changing light, then to escape the portrayal of reality, then to use pure color to elicit emotion. Modern art is about the intent as stated by the artist. I seek to have no intent, to leave interpretation to the viewer. I seek to use shapes and lines that suggest but do not represent such that I may discover meaning myself without letting the paint decide as with drip painting. I want that feeling of not quite knowing from where this painting came. That, to me, adds the mystery of the subconscious, the mystical or the spiritual. Maybe the journey went from from painting for God to letting God paint the picture?

“I’d love to do an installation where Jade is rotated by a stepper motor in increments of 90 degrees on a timer or with a remote. It took an engineer to put a motor on a painting.

Children visit Artvilla. They come for our art lessons. We have rotated the painting for them.


78″ x 49″ Oil on Canvas.

To view Jade full screen, go to our new site https://modernartby.com/d-m-jackson/jade/

Here is another example of interpretive shapes without an up or down. Again unsigned.
Abstract in Black and Red, 22″ x 30″ Watercolor and marker on Arches, 1995

Here are some D M Jackson images, some of which date to 1998 or before, where orientation was determined by the artist after the painting was completed.. Names have been omitted because those shapes may represent something other than what you see. Naming abstract art is nearly impossible. The first need for a name is usually a file name. That is a suggestion of what the form is to the artist at the moment a name was required and is, often, given reluctantly. Every painting can’t be named, “What does it mean to you?”

D M Jackson…….9-16-2019….dave@artvilla.com

David Michael Jackson
David Michael Jackson

Janet Kuypers’ October 2017 Book Readings in Community Poetry at Austin’s Half Price Books 10/4/17

    October 4th marked a October 2017 Book Release Reading of new books from Scars Publications, which saw the release of the books “Forbidden” from cc&d magazine and “a Finch in the Window” from Down in the Dirt magazine. In this reading event with multiple readings, Janet Kuypers read performance art poetry material from both of these books, in additional to an extra haiku from “Forbidden” and two additional poems from “a Finch in the Window”.

    Janet Kuypers also read material from her 2017 book release “(pheromemes) 2015-2017 poems” as the finale to the Community Poetry @ Half Price Books reading in Austin.

Janet Kuypers writings read from the cc&d 10/17Forbidden”:
Erasure Poems…
the Meaning of Art
Corner Stone Against Slavery
a Declaration of Female Freedom
One of the Most Hated Women in America
a Poetic History
her haiku “unbounded

Janet Kuypers writings read from Down in the Dirt’s book “a Finch in the Window”:
origin, from the macro to the micro
violence and peace both work
This Halloween
This Halloween Again

Janet Kuypers writings read rom her book “(pheromemes) 2015-2017 poems”:
One Spring
Understanding What’s Crazy

video stills

visit http://scars.tv/av/20171004October2017
for a full listing of not only these videosm but also a series of images from this live reading.

Judgement Day Drawing by Haleigh Morphis

judgement day drawing
Judgement Day

From Haleigh Morphis:

When I drew if it was supposed to be like you’re walking into judgement day and expecting something impressive and magical and it’s just three skeletons in a back room smokin’ cigs around a table who hold up your # score when you walk in. The image was hilarious to me.

The recent high prices for a Bansky and the emergence of “Street Art” has caused a refreshing upset in the art world and in our perceptions of art. This “outsider” movement brings us back to the excitement of the image itself and how it relates to culture. Bansky points to culture. Here Morphis points playfully to our beliefs.
Both are refreshing.

Art Painting Lessons

Art Painting Lessons

How to Draw like Da Vinci

How to Draw Like Leonardo Da Vinci ..

Leonardo da Vinci left far more drawings than paintings. He, Raphael and Michelangelo form our perception of classical drawing. Their people look different, more abstract in the sense than the actual person. An ideal person much in the Greek style.

How to Draw Like Raphael

how to draw like raphael

How to Draw Like Raphael ..The three artists who dominate the craft of drawing in the Renaissance style are Michaelangelo, Da Vinci and Raphael. It is Raphael who makes the best study for any student in the art of classical drawing. When it is the aim to draw the human form or elements of the human face, it is Raphael we seek to ask our “how to draw a face”, or “how to draw an eye”. Often you see a surfaced that reflects erasure and work to correct until perfect.

Silent Sonnet Poem by Janet Buck

A Silent Sonnet
by Janet Buck

Strange. It was.
Summer”s beriberi draught
with grape vines fried
in skillets of an August day.
Thorns were baby alligator teeth,
chomping straw of might have been.
Dirt stayed creases in a skirt.
Branches were a sewing kit;
we were groups of humble Adam”s
stitching nervous clothes to wear.
The lot next door–a homestead
for these early dreams.
The big tree lounging on its side:
pirate pilots at its helm.

Green Peace wasn’t politics,
but escalators to the clouds
and grass untouched by human plows.
The earth turned toast and all at once
the intangible maze of winter struck.
Brown went white. Hot suns withdrew.
We grew up faster than we planned.
The tree house leaves were
curtains frozen to the wood.
Trapdoors shut to fairy nowhere:
school pinched a nerve again.
Snowfall was a silent sonnet
sweeping attics with its hand.

***January 31, 2005….