Remember from the ember

Remember from the ember

25 June 2017

Sirens snow tarakini centerblog net 2
Courtesy tarakini on


Grant me strides

To edge of morrows

Taking sides

No option

In mind the heart’s adoption

A play of two rides


The moon spills

Honey of the thought

We forgot

In token

The chime of heart awoken

From remorseless spells


Delve in wells

Bathe in the red glow

Blaze to show

Under snow

Remember from the ember

Of seeds that we sow


Reading of the poem: 

Sirens snow tarakini centerblog net
Courtesy tarakini on

Bindweed above the water – Stive Morgan

Redress of Human

Redress of Human

8 March 2017

Redress youtube com - Copy



Relieves the offals

Acting out


The greatest comedy made

Unintended shade


They play grounds

Of staged inventions

Oscar to knave

Eyesight gave

On cowardly acting brave

For mind frame to pave


Changing Times

Caution to spaces

Between Core

And places

Where I teach my Self lessons

Redress of Human



Reading of the poem: 

redress pinterest com (2)

Virus – Björk

Vertebrae By Vertebrae – Björk

Triumph of a Heart – Björk

Rat tat tat

Rat tat tat (a short stand-up sit down comedy)

24 September 2016


Cast : Mary (lead actress) Jonathan (small role)


Female voice (Mary) in the darkness


I can’t believe that director. Sitting there on his fat arse asking us to devote ourselves, to give ourselves up entirely to the art and quit thinking about anything else.

Well I’ll give you quit thinking about anything else. Like I did not see you leave from time to time. Every hour in fact. I know what you were doing Mister Director (sarcastic). Well we’re not made of the same stuff Mister Director. We can’t just rush behind some random …… or just use some…….


Lights come up. A sink on one side and Mary is sitting on a toilet. She’s got her panties down with her skirt covering the front part.


What? Even actors pee you know? (addressing the audience). You’ve never seen an actor pee? Well, it sure looked like that fat arse director never saw one pee either. He was bent on going on and on with the play like we could hold our bladders for more than 5 hours in a row. With a play where I’m supposed to gulp down a glass of water every 15 minutes because I’m nervous. How’s that for a challenge? Challenge yourself he says. Challenge yourself. Challenge smallenge. Well challenge your little …… (gestures with pinkie rather than say the word) Mister Director. Like we don’t know what you were running to that tree for, like a little doggie.


Someone knocks on the door

Busy! (addressing audience) You can’t even pee in peace when you’re an actor. You have to share the loo with at least 8 other women.(addressing herself, almost muttering) There are so many women in this field, it’s amazing! And of course, we all have the same problem. (addressing the audience) Did you ever pause to think about it? Men can do it anywhere. All they have to do is run behind a tree, open their fly (makes the gesture) and then go like a machine gun (shows with hand a gesture of spraying everywhere) rat tat tat, absolutely everywhere! Or even a wall with people behind them. I’ve seen it in some countries. They don’t care! They just open their fly again and go rat tat tat. (Pause) They can do it! You just see their backs, nothing more, no bottom showing, no other trace than the understanding that they must be doing it because you actually see something all over the wall then. We women can’t do that. (louder in a sarcastic note and addressing the door) We can’t do that Mister Director! (addressing the audience) We sadly have to actually remove our whole pants if we are wearing any or lift our skirts and remove our… (gestures towards her panties). That’s where the problem lies, the corpus delicti, otherwise known as the infamous (pause) panties!


Lights go out and come back on Mary washing her hands at the sink

(addressing self) When you think about it, that’s another thing. They never wash their hands (addressing audience) I don’t mean you Sir and you Sir and you Sir (half muttering to herself half stage whisper) although I’m not sure I’d have those peanuts after you in a bar (winks towards other women in the audience). Bernard (addressing just one part of the audience) my husband (Pause, makes a face and then frowns) ex-husband actually and you’ll know why in a second washed his hand always even though (violently shaking hands) he would always, just always go behind the tree. It was his favourite tree! It was mine too except it was his favourite for (she makes the gesture and nods towards audience) yes, you guessed it, rat tat tat and for me it was for the gardenias!


Pause. Lights go out and come back on her in another spot of the stage … or she can just move towards another corner of the stage

When we first moved into the house, I just loved that tree. It seemed like the perfect spot for a lovely bunch of gardenias so I weeded the whole place (addressing the audience) alone of course! Bernie could not be bothered. The only thing he could do was (gesturing) mow the lawn (makes the noise of a lawnmower) just on and on like a zombie. Then of course, all he could think of doing when he had to go was just run towards that tree and go … (points towards a random woman in the audience) yes, you guessed it honey, rat tat tat. (to self) In the beginning I could not figure out why my gardenias were looking so strange and withered (addresses audience) then I caught him right in the act when I watched him from the balcony. I mean, who goes behind a tree when his house is just a few meters away from the spot?! He could have gone inside the house. Not that it would have been so much better because then he would have gone rat tat tat on the toilet seat everywhere (addressing particularly women in the audience) I can see that that one brings out some memories ladies. (addressing all audience again) I can’t imagine when you have a precision tool that you can actually hold and direct, why you can’t just aim. Aim! For Pete’s sake. Aim! Not so hard is it? You do everything in the same way, the fly opening and everything but you just point it! How difficult is that? Just think of it as another finger. (sniggering and addressing women) Hopefully for you a bit bigger than a finger but … yeah, figuratively speaking of course (a short laugh) Whatever! Just point it! Just point the darn thing! (scratching side of face) Not so hard you know. I mean we can hardly point anything and yet we get it straight (addressing random male member of audience) What Sir? You would be able to do the same if you were sitting? Well by all means do that! I’m sure your wife would appreciate that you’re not going rat tat tat all over the toilet seat and the ground and sometimes the blasted bathtub (seems lost in thought all of a sudden) I can’t tell you about how many times I missed having a nice warm bath in the upstairs bathtub because it simply would not lose that (wrinkles nose and makes a disgusted expression) smell! I mean try imagining the scent of patchouli blending in with a two-day old pee scattered on the side. You don’t want to imagine trust me!

Person knocks on the door more insistently

Okay, okay okay! I’m coming out (goes towards door – fictional or real – and opens. Jonathan enters)

Mary: This is the women’s loo

Jonathan: (effeminate, throws hands up) Yeah, I know but the men’s busy. Besides, I prefer the ladies’ loo. The men’s always a bit… (throws hands up again) you know… (throws hands up) They go all over the place

Mary: You mean Rat tat tat

Jonathan: Yes (sizes her up puzzled) something like that.

(they switch places. Mary is closing the door behind her. Staged sound of peeing in the background)

Mary (addressing audience) You hear that? You hear that? That my friends is no rat tat tat. That is no random machine gun! That is a laser. Precision technique. Unfortunately, you can’t have them all. The precision comes with other disadvantages… (addressing random members of male audience) not saying you’re not a laser, just, you know…. Most of the time you know how it is. Come on… admit it! There goes that director again (listening to the director seemingly yelling) Coming! Coming! No Prima donna here, not at all! Yes… I know there are many women who would be happy to take the role. (more vehemently addressing the imaginary director at the back) I said coming! (addressing the audience) Can’t even pee in peace! What? Never heard of an actor peeing?

Light goes out

You can’t touch this – MC Hammer

Birthday party

Birthday party

A short (10 min play) play by Geetha Balvannanathan (

17 September 2016

NGS Picture ID:1041366
Courtesy National Geographic






Setting: A bar initially and then a room which is dark and small.

Time: Beginning of evening



Opening scene in a dim lit bar. Eric is seated alone under a spotlight and drinking and then all of a sudden he drops face first on the table.

Lights go out.

Lights come back again only on Eric.

He is confused and trying to look all around him but can barely see anything.


ERIC:      (SPEAKING TO HIMSELF) Man, that was one heck of a drink. The doctors said I should not have anymore but I can still stomach a good one. And that stupid bartender. Well, that’s what happens when you become a creature of habit. You go to the same old bar and the barman starts to get chummy and the next thing you know he’s the preacher from the church doubled with your step-mother from hell freshly out of her grave with that pointing finger telling you not to drink or it’ll be the death of you.

(looks alarmed at something on his right) what the… who are you? Angels? You don’t look very much like Angels and what the heck… I’m dead? I’m dead! It’s my birthday. Christ! I cannot be dead! (turns back to the two angels and turns back to the audience) I’m dead! Just a drink or two and wham! I’m dead. Now what? You’re going to withdraw my license or ask me to walk on the straight line in the dark (snickering to himself)

What? I can keep the humour for later? Oh come on lads, you can take a good joke, can’t you? Can’t you? I mean come on Gabriel, Gab! I am sure you must have a great sense of humour…No… OK so where am I? Huh? In purgatory? Why purgatory? What am I doing here and why am I not in heaven? My wife and my mother always told me I was a good man. A good man who had gone wrong sometimes but a good man all the same.

What? I have to think of three good deeds during my lifetime and then I get to go to Heaven? Only three good deeds? You are sure? Three good deeds. Okay, okay. Three good deeds. I have done three good deeds. No problem. Three good deeds….

When you say three good deeds, you mean good as in good for whom. Huh? Good deeds are something that you do for someone else? Ok.. Three good deeds… Three good deeds…. Three good deeds. One two, three…. Three good deeds… Yeah coming coming. Geeze calm down. I’m getting there. Don’t worry, I’ll find three good deeds to talk about in those 8 minutes left. I thought in eternity you had no time and now you’re counting the minutes? What? This is purgatory, not heaven? It has almost the same rules as on Earth. Okay, okay okay. I am getting there.

(Scratches head, keeps thinking over and over but cannot find anything to say). Whaaaat? You’re already fed up? I’m just starting! One good deed is enough? Okay okay okay. I’m sure I’ve done one good deed in my life (raises voice again addressing the angels) I can hear you snickering over there. I really don’t find you very angel-like you know. You strike me rather as two gossiping women getting their back on someone. I did nothing to you fellas, why’re you taking it out on me. If you have a problem with your boss for overtime, take it out on him, not on me.

OK here we go. It was in 2011, 15 years ago. My 25 year-old nephew came to me and talked to me about this beautiful girl whom he loved dearly. She was such a poor and delicate thing. She was working very hard at Wallmart, was underpaid and was trying to graduate at the same time. I took pity on her and funded her so that she could be able to finish her education without having to go work at Wallmart anymore. How’s that for a good deed.

What do you mean that was not exactly a good deed? Okay okay okay. I slept with her but no harm in that. What do you mean I did give her the money but only because I made her my mistress. Why is that a bad thing? She had a sugar daddy taking care of her what else could she wish for? She did not have to work anymore and I gave her money for her siblings too… What do you mean I should have given him the money so that he could marry her and they would have both been happy. I had no problem with her marrying him at all. She could have married him if she wanted to. I was not the jealous type. After all, I was married myself so I would not blame her for being married. He neither. After all, he found her first (snickering to himself). What? He killed himself? Roger? Na… you got it all wrong. He killed himself way after she became my mistress and it was an accident, his car drove off the road, skid right off the road because of the ice on the road I think. It had nothing to do with me at all…What do you mean it had everything to do? What? He tried to kill himself many times and only succeeded that Christmas eve? I remember thinking how odd that he should have just drove off the road, it was not even a difficult bend for Roger who was such a great driver (his voice trails off)

I guess that one’s completely out, right?

Okay okay One good deed, one good deed, one good deed. Yes, got it. I remember the summer of 1983 Helen was giving birth to our first baby and I was of great help that night. What do you mean how? I gave energy and vigor to the midwife who helped Helen deliver. A wham slam in the pantry is hardly a good deed? Why not? She was energized, I was energized and God knows Helen was energized when I went to the room and took care of her and of our baby daughter. What the midwife? She delivered my child? Yes, my child so what? She delivered mine and Helen’s child. Not our child? Not Helen’s and mine but hers and mine? The midwife’s and mine? We had a child together? 7 years of trying to get Helen pregnant naturally and then another 5 long years with in vitro and with that one night wham bam the midwife had my child? Okay okay okay, that has to be a good deed right? You’re the ones that keep saying that children are a gift of God and have only good in their heart. If I brought that into the world then that must count as a good deed. She killed herself? Oh come on man. Gabriel? Gab! She killed herself? Why would she do that? The guilt?`! She was married? So what? I was married too.. She had a conscience. Oh please, don’t give me that conscience smoncience thing… (shakes his head as apparently the angels are not happy). Not a good deed….

Okay okay okay I got one. It was the spring of 1959 and there was this young thing. She was selling two different sets of cookies one to sponsor her scout club trip to Canada and the other one to contribute a gift for her mother’s wedding. I took both sets of cookies and she didn’t even have to beg me to. What do you mean I did not pay for them properly? She did not ask me to pay something specific. She just said give what your heart guides you to. Well my heart did not guide me to anywhere else than a penny at the time. She should have been more specific. Anyway, it is not like I stole them from her. That does count as a good deed doesn’t it? No? No! Okay. Okay. Okay.

Winter of 1969. I remember my fiancée Amy, she was crying. I really wanted to have some good time but her dad had just died a week ago and she was not in the mood and she started crying so I sat there listened to her cry and then consoled her. There, that is your good deed. Me, Eric, I triumphed over my bestial instincts and did a selfless act for another. What? It was not me? It was not me! You’re right! It was Philip, our neighbor. He had always been a good bloke. Always happy to help others. Even his wife, she was a very good woman. It was not me. I had left the apartment. I was angry she was not giving in and was upset. I remember… Amy.. I listened to her sobs from behind the door. I wanted to go in and take her in my arms and console her, tell her everything would be alright but I didn’t. I was just angry she could not put a lid on her feelings and be the sexy woman I had always known. I failed miserably. Amy… Then I went to the bar to drink. That’s how I started drinking every other day. The bartender sent me off saying I was too young to spoil my night drinking myself silly. I went back to the apartment and Philip was there consoling her. At the time I was too drunk. I thought he was seducing her. I was hateful. I told her so many awful things. Amy… I do not deserve to go to heaven. I think you should put me straight in hell. That’s all I deserve. I cannot think of one good deed that I did. Amy….Why? Amy.. If only…What? You can’t decide? Another test? Go back? Go back where?


Lights go off, thunder resounds. Lights come back and Eric finds himself back in the bar with the same bartender


Back here with him. What use. Stirring up all those feelings and coming back to this lonely birthday party with no party in it. What do you mean what birthday party young man. Can’t you see? It’s the old villainous Eric as you usually say. What do you mean what old. It’s me! Eric! Sir? Sir? You’re calling me sir? You’ve lifted my old carcass off the floor so many times and thrown me out of here and you’re calling me sir. What old? Me! (turns towards the mirror at the bar) Oh my oh my! Yes! (addresses himself). You sexy beast! (runs out of the bar yelling at the top of his lungs) Amyyyyy… here I come!!!


The song plays in the background “I believe in miracles, you sexy babe, you sexy babe”…


You Sexy Thing (I Believe in Miracles) by Hot Chocolate



Blending in

Blending in

A short play by Geetha Balvannanathan ( 

September 2016



MARIA: A very stout frightful nun who has seen the world and will take no nonsense. See detailed character description at end of play for more information

MAURIZIO: A small man of Italian descent; was once handsome, now slightly balding. See detailed character description at end of play for more information

ARSENE: A professional thief of French origin. Kept a very strong French accent. Stealing amounts to an art for him. See detailed character description at end of play for more information

MAHA: Subdued Indian woman. Obsessed with cooking. See detailed character description at end of play for more information

GERTRUD: A tall thin spinster who is of English and German descent. Likes to think of herself as mainly German. See detailed character description at end of play for more information

VOICE OFF: Person who has put the cast together. Female. Sister Maria was a teacher at her school.

CHILD: Quiet child with strange behaviour. Not clear whose child it is.


Setting: A closed room with walls that keep closing in on the actors.

Time: Beginning of evening


Bright-lit stage opens on Maria, MAURIZIO, ARSENE, MAHA and Gertrud looking bewildered at each other. The child is playing in a corner of the stage by himself.


Voice off: Now you’re wondering why I brought you here. Well I had to write a play in 10 minutes and all I could think of was you from my childhood so I brought you here and you’ll have to come up with a play in 10 minutes that has a bit of each of you. That’s the only way I can get you all out of my head.


MARIA (in a thick Hispanic/Italian accent) : What do you meeeaan each of ussse. You meanne  ah me and that good for nothing Maurizio in the same play. My Lord does not go with the things he likes. The big boobies, the thin very thin panties, the skirts (gestures at each point mimicking the word she pronounces for boobies, panties, skirts). No no no no no. I don’t know you child but this cannot happen. This make no sense.


Voice off: Remember what you said sister Maria when I came crying to you and complained that the girls were teasing me because of my accent. You said, we always need to blend in one way or another well now YOU blend in. You’ve got 9 minutes left to sort that out.


MARIA (crossing herself) : Ay Santa Maria Virgen madre de todo, bendita y pura, protect us Mother Mary. Stuck here and with that good for nothing lady’s man, always running around skirts all the time. I see you Mister Maurizio (points towards her eyes and then towards him to show that she is watching him closely). I see you all the time with your gomina hair and smooth moves a drooling. Your wifea, she has the stomuck, another baby. You’re rabbits or? Or mice maybe? Think once. Think twice. So many babies, not very nice. You have nothing else to do Maurizio? Every time? Every time? How many babies you have? I can’t count them on two hands (beats one hand’s knuckles on the other hand’s palm). And the other ones, not from your wife…I don’t know…


MAURIZIO: Ma che sister Maria.. You don’t understand. This is the way of the world. Good wine. Good women –


GERTRUD: Oh Mister Morris one could hardly call a woman good if she is willing to bear the ill gotten fruit of the loins of a man who is not her lawfully wedded husband. I prese..eerved myself for that beautiful day


MARIA (in aparté): You preserved too much my girl. Maybe you had to take out the naphataline before. Some years back. (addresses the audience) When I see her grey hair I think many years back.


MAURIZIO (closing in on GERTRUD): Oh, I’ve missed out one beautiful flower out of this sunny basket in Sanremo. How could I have ever missed you my little English rose –


GERTRUD (laughing nervously and flattered): German actually. Funny, my mother almost called me Rose. She said I was so fresh / and pink I made her think of one.

MARIA: (in aparté addressing the audience) The fresha. I think not a rosa but a dandelion now. (to GERTRUD) Whata Rose? He will pluck all the petalsa off you and then bye bye Rosa Adios. Ay Madre. Ay senora protect us.


Voice OFF (with the walls closing in): You have 7 minutes left.


Meanwhile ARSENE, the thief has been going about stealthily stealing items from everyone on stage and he is trying to take off the rosary around Maria’s neck and she stops him.


MARIA: Aoo (turning towards ARSENE, then turning back to the audience) Ay a maniac, a half wit and a thief. How I can blend with any of you. Then with all of you I have to blend? You’re too far, too far from me but these walls… you see these walls? They are coming too close (turning towards ARSENE) What will you bring to the play? Only stealing every thing? You’re good for nothing like this one (points towards MAURIZIO)


ARSENE (Still trying to deftly remove the rosary from Maria’s neck): Ohhhhh… au contraire mon amie. I will bring many things, anything as long as it is shiny and bright and catches the light. I’ll have a go at it. It is all in ze fingers. The play has to be very tactile, very subtle. You must approach it with – (pauseS and gasps) doigté! The touch (dramatic pause) Very important! My skill will contribute everything smooth and sensually slick / you barely feel it, like the wind, floating through the corridors, removing prized Toulouse Lautrec’s off their frames without even sounding the alarms.


MAURIZIO: Arsène, please, sensual, that is me by definition. It is all about grabbing the heart (shows the sign of boobs) of the audience, grasping it with power and lust, squeezing it, feeling something grow, grow inside you (starts looking lecherous and starts making a larger swaying motion) …


The child is very interested at this point and comes towards MAURIZIO to listen more intently but Maria and GERTRUD rush towards him and stop him, covering his ears while MAHA and ARSENE try to calm MAURIZIO down. MAURIZIO is now raving about female breasts and keeps doing the gesture of him squeezing big boobs while he adlibs a psalmodic “grow, grow” before he calms down.


Child: What grows? What grows?


MAHA: I don’t know about all your nonsense na (shaking her head the indian way). We need to get out of here. If we have to blend in, we have to think of ourselves as spices. After all taste is in everything init? This play got to taste something good. I mean it’s ok if Gertrud is only parsley and she’s not coriander. We can add some chilly with Maurizio here. Some paprika with Maria here, some Rosemary with Arsine here I’ll be the brinjal na and this fella here he will be the garlic. We just mix (emphasis on mix) that together and you have a good dish. The play is the same thing. And these walls, forget them. Or think of them as the pressure cooker only. It’s all in the minutes.


VOICE OFF : You have 5 minutes left.


MARIA (shrieking and looking out for her rosary to pray but ARSENE has stolen it so she snatches it back from him as he hands it back apologetically): The walls, the walls Ay Maria!


ARSENE (with a sheepish look): Mes excuses ma soeur. Very sorry, it slipped into my pocket, it must have fallen from your neck direct into my pocket. I barely felt it before or would have given it back to you. (He is drawn to the shiny end of the rosary which he caresses lovingly) Did you say this was a diamond?


MARIA (glaring at him as she starts using the rosary): Santa Maria, santa Maria, the walls are closing in and we have no blended yet. Ay Madre. Ay Madre che pena! How to blend in with all of you. (Turns towards MAURIZIO who has been chatting up GERTRUD in aparté) MAURIZIO! Think of your 12 children and I don’t know how many more you have all around the country. What are you thinking? Look at her! She is (waves her hand up and down) Asparagus (turns towards MAHA) Maha, what a parsley? (turning back to MAURIZIO) and look at you (turning towards MAHA) Chilly? (turning back towards MAURIZIO) OK but the small piri piri chilly eh! (wagging her pinkie on piri piri and then doing the hand gesture of the Italians to say what on Earth)


GERTRUD: Oh please sister Maria. You must not say that. That is not very Christian of you! Oh please Mister Morris. I know you’re only being kind. I was once pretty –


MARIA: Once, yes. Once upon a time (waves her hand to make the audience understand that it must have been very long ago)


MAURIZIO: Don’t listen to her my little Germanic flower. She knows nothing about beauty. Look at her! (turns towards MAHA) what paprika Maha? She is the pumpkin. Hallloween pumpkin and there is more left after the cooking…There is so much everywhere, you don’t even know where to go in from / no wonder she’s a nun because aaah (waves his hand and shakes his head knowingly)/


Child (very interested): / Go in where?


MAHA: Nowhere child. Don’t listen to them na`? I’ll tell you something. You want to know what goes in well with pumpkin. In the west they say cream. I say what are you talking about na what cream shreem kleem. Best thing with pumpkin is some dal makni, some roasted cashew nuts on the side.


VOICE OFF: You have short of three minutes left


GERTRUD: Oh Mister Morris. Don’t say that about sister Maria. I’m sure she did not mean to be nasty.


MARIA (threateningly advancing on MAURIZIO who runs and hides behind GERTRUD): What pumpkin? Come say that in my face. I’ll show you pumpkin, you piri piri.


GERTRUD: Sister Maria I’m sure Mister Morris did not mean what he said. Sister Maria (MAURIZIO is hiding behind GERTRUD as Maria tries to scuff him on the ear and he keeps ducking behind). Sister Maria please…The lord says love one another


MARIA: I’ll show you love Gomina piri piri. I will put your gomina hair the right way round


GERTRUD: Sister Maria, the Lord asks to present the other cheek


ARSENE (trying to get the rosary off): Ma soeur. I think you are better off with this weight off you. I will keep it very safely for you ma soeur. I will forget even where it is (MARIA glares back at him while he is removing the rosary so he quickly and smoothly adds) until you need it again of course ma soeur. I’m a big défenseur of the church and its many accumulated treasures from foreign countries of course. I will steal them as they stole them. I mean eh… I will treasure them and preserve them as they have. I will give them in time to their rightful owner always! In time…


MAURIZIO: Take it! What does she need diamonds for in front of that thing. There is nothing to decorate. There is so much you don’t know what it is for anymore. And down there I don’t even want to imagine and this is me MAURIZIO I have tried everything in a dress.


CHILD (comes forward and looks like he wants to poke sister MARIA’s breasts when MAURIZIO says anymore): What’s that thing?


MAHA intervenes and pulls him away and closes his ears when MAURIZIO starts saying and down there.


GERTRUD: Oh please Mister Morris. Don’t be rude to sister Maria. She’s devoted her life to our Lord and savior. Oh please sister Maria. I beg you! Remember, only the strong forgive.


MARIA: You don’t worry! I will forgive him after I’ve knocked a tooth or two so he can learn how to speak to sister Maria (she is getting closer to MAURIZIO and GERTRUD while ARSENE is getting closer trying to empty all their pockets while they are busy fighting)


ARSENE: I don’t think you will be needing that and you will not be needing that and you my darling will not be needing that and that (to himself) ooooh la laaaaa… quelle splendeur! Un lalique


MAHA (running around them yelling): Not all together, not all together! That spoils the flavours. Each item has to exhale its own flavour. The taste of each item has to come out na? You must blend in but… not blend in na?


MAURIZIO (running around GERTRUD – who keeps shrieking from time to time as sister Maria’s hand falls here and there near her – and hiding from Maria who is trying to whack him turns towards MAHA as she ends and shaking his hand): Ma vaaaaa….


They come closer and closer and fall in a pile on the floor.


Voice OFF: You have 10 seconds left but what are you doing?


Child: /They’re Blending in…







16 September 2016


Sister Maria :

A large and rather tall red-faced matron with a huge chest that looks more like the dome of a cathedral than a woman’s breasts. She talks with a very strong Hispanic/Italian accent as she is of both Hispanic and Italian descent. She has grown up in the streets of Rome and takes no nonsense from anyone. She has strong views on most things and does not keep her views to herself. She does not believe in discretion or tact but thinks that one should always say what one thinks as only the Truth can be good.

She was not always a nun but decided to become one after her husband was one of the lawyers killed in the 1977 Massacre of Atocha. She was in her late twenties and he was barely older and they had hardly lived a married life together before he was killed. She spends her time in prayers and trying to save souls and although she has a good heart, she is very quarrelsome and has kept some of her street ways.

She keeps from the time of her marriage a diamond pendant offered to her by her husband and it is now attached to a rosary that hangs from her neck. She never removes it as it is the most precious thing to her after her Lord. Other than that, her demeanour is marked with austerity. She wears long black gowns and only the small bit of white in her headscarf brings any colour to her outfit. The only other colour in her apart from her accent is her language which is not quite commensurate with her vocational choice.



A smooth talker who thinks of himself as a great latin lover, Maurizio is a rather small man who does not look very meaningful but he has very powerful eyes and a charming voice and ways that mesmerise the ladies. He has a very strong Italian accent and speaks a lot with his hands . He loves the ladies of course and prides himself to have conquered all of the town where he lives (San Remo) together with his wife who is yet again pregnant and his 12 official children and his numerous other children of whom he barely knows anything most of the time.

Maurizio cannot stop himself from getting carried away when triggered by anything that has a potential sexual innuendo and most people think of him as a sex maniac. He is not actually a sex offender as all his women are consenting and he never goes out with too young girls. He sees it beneath him to seduce girls who have no clue on how to defend themselves, his targets are the women who seem tough but whom he senses could have something very sensual to them and he is interested in exploring that latent sensuality in every woman he meets. Like sister Maria, he sees himself on a mission which is to convert others but only women to the art of loving. Loving him of course, not anyone else. Maurizio is known for his hair which is always sleek and shining with the gomina that he lays on thick all over it as he is convinced it is a must for getting the look of the latin lover. He dresses up in a suit a tad old-fashioned and a bit ridiculously assorted to his surroundings and he has a big gold chain that you can see dangling on his bare chest as he always keeps the five first buttons of his shirt unbuttoned.



She is a very tall and thin spinster. Though she has an English grandmother who was the main person who brought her up when she was a young girl and taught her perfect English, Gertrud sees herself as German because of her citizenship and the name her parents chose. She is younger than Maria but looks almost older because she is extremely thin and wrinkled and all her hair is grey. Her physical appearance is marked by her sickness, anorexia, as she does not eat enough for her traits to be normal. Despite that, she has some sort of faded beauty as she has very large liquid blue eyes, like those of a child, a thin nose and lips which could have been plump if she did not keep them pressed together so hard all the time.

She speaks with a very shrill voice, is very nervous, apologetic and is very much of a goodie two shoes. She is a devout woman who likes to quote ideas from the bible and always tries to be a pacifier so she appears to change her mind very often. She is timid and wears mainly vintage clothes as that is the only romantic thing she has left now that her fiancé is no more and she had chosen to preserve herself for the D-day but realised it would actually never materialize. She spends her time daydreaming and trying to make opposite viewpoints match or at least stop trouble from brewing.



He is a French middle-aged thief who does not steal for selling to others but mainly for himself. Occasionally he might steal something to sell off but he mainly steals prized art for his own private enjoyment. He grew up in the suburbs of Paris and learnt to steal from a very young age as that was the only way he could make ends meet as his father had left his mother and him and run away with a younger woman.

Arsène has a very pronounced French accent and although he moved to Sanremo quite a while ago, he never gave up his very particular French accent and is quite proud of it. He thinks of himself as the last gentleman cambrioleur and compares his knack of stealing surreptitiously to the eighth art in the world and thinks of it as a very sacred practice. He sees himself as a man on a mission which is being the preserver of human treasures and beauty, a sort of mega curator of all things beautiful, pricy and as shiny as possible most of the time. This obsession comes to him from his childhood when he had to steal bright coins off the less able to defend themselves (other children or young teenagers) when he had to fend for himself and his mother. He is very sleek, smooth and always dresses very smartly. He has no interest in women (or men for that matter) but is only interested in art for which he has a very keen eye and hand…



She is a subdued indian woman who only gets animated once she starts talking about cooking. Her hair is very dark and profuse and she often sports the sari. She is married but does not like to think of her husband as he is shameful to her because he loves cooking and won’t let her cook at home. She feels the whole neighbourhood ridicules her because she does not get to cook at home although she is a recognized chef everywhere else. Her specialty is in finding the right time for each time to be cooked without losing its flavor and she has written a cookbook called “Cooking to the clock” of which she is very proud.

She punctuates almost all her sentences with na and thinks that all of life is one big cooking event where everything can be interpreted according to the code of cooking. Like Maria, Arsène and Maurizio, she too feels she has a mission in life and that is to make the art of cooking accessible to everyone. Not just accessible, she actually wants to communicate her passion of cooking to others as she thinks of it as a noble art, especially her recipes, that must be perpetuated beyond her life.



Nobody knows where he came from or whose child he is. Nobody even knows what his name is and it is hard to give him a definite age although he cannot be more than 9 years old. He is quite passive although he might all of a sudden become animated to the point of agitation. Most of the time, though, he just sits there sometimes playing and sometimes listening keenly to the others. It looks like he could be autistic because of some of his behaviours. He does not seem to know some of the most basic things in life yet has a strange fascination for Maurizio’s maniac phases which he follows closely.

He stays most of the time in the background and speaks rather slowly in a very inquisitive voice.

Chaplin Modern Times-Factory Scene (late afternoon)

BigFoot Sliding Downhill

BigFoot Sliding downhill

12 November 2016

A short play (Wordcount: 2065)

(This was the fourth play I wrote and was part of a 48 H theater experiment where the play was based on two draws of items to define character and two draws of items to describe backdrop for situation. I drew 1. BigFoot and 2. A secret in character’s past and for the situation I drew 1. Aquarium and 2. handcuffs. The play had to be written in 24 hours but I only got 3 hours to do it as I was very busy that weekend and the directing – which I did myself as my play was quite wacky and lacked the right instructions as we had a 2000 wordcount restriction initially – had to happen over 24 hours too with actors selected by random draw and not chosen by the director. A fantastic human experiment )


Setting: Underground cellar with giant aquarium in the middle and stairs on the side

Time: Indistinct


Confined cellar space with a giant aquarium in the middle. Time indistinct


Voices in the dark comprising that of MACK, a young skinhead, TOBY, a mentally challenged young man, NAYAL, a girl in her twenties who looks like she has just been beaten up.

Away from this huddled group is ROWLAND, a young philippino lying handcuffed in front of the aquarium

NAYAL: Please, I don’t want to do this. Please don’t do this

MACK:  Shut ya trap and get the lights back on

NAYAL: Please Mack, please. I promise I will stay indoors. I’ll never go out again if that’s what you want

MACK:  (SOUNDING MURDEROUS) I said shut ya trap and get em lights on. Now!

TOBY:    (WHIMPERING) I say Mack. Don’t do bad Nayal Mack. Don’t correct her face. She all ok Mack, please. She ok with face Mack



Lights come up on MACK and TOBY who is holding MACK’s sleeve with one hand and wiping muck of his face with another. They are standing a few feet away from ROWLAND who is on the ground, bleeding from gashes in his face. NAYAL is walking back towards them trying to avoid looking at ROWLAND.

MACK:  (SHAKING OFF TOBY AND WALKING BACK AND FORTH) Stop whimpering like a baby and get him up right now. I’ll show him how I crush roaches like him. Clean them up and then crush them. Just let them all understand what it is like to mess around with my sister. And you (POINTS FINGER TOWARDS NAYAL) you better get that slut paint off your face or I will thump it off like dad thumped momma’s face until she came off her high horses and knew where her place was

NAYAL: (CRYING AND WIPING MAKE-UP OFF HER FACE) I’m sorry Mack. I promise I’ll behave. Just don’t hurt him –

MACK: What did you say? You having feelings for this roach ay Nayal? I knew dad should never have taken you in with us, you and your prostitute mother.

NAYAL: She was your mother too!

MACK:  (MOVING TOWARDS NAYAL THREATENINGLY) I said shut ya trap. You speak again, you’re going in the tub with your roach boyfriend here.


ROWLAND:         (ADDRESSING NAYAL) Please help me. Nayal, don’t let him do this, please. Nayal

                NAYAL keeps her head away from ROWLAND and scurries towards the wall near the stairs


TOBY:    Please Mack, I can no do it alone. Toby can no hold Rowland. Rowland slipping. Rowland biting Toby (YOWLS AS ROWLAND RESISTS AND BITES HIM AGAIN. ADDRESSING ROWLAND). Why you bite Toby? Toby put you to wash. Clean you up. Then if you good wash, stay quiet, Big Foot come. Big Foot only come when good wash. Mack, help Toby…

MACK:  Ask Nayal to help you-


TOBY:    (OVERLAPPING) No! No good

MACK:  (OVER THE TOP) Shut ya traps!

NAYAL: Don’t ask me to do that. I can’t! I can’t! I helped you bring him down here but I won’t do more.

TOBY:    You says girls ain’t cut for them boy things Mack. I need you. Help Toby Mack. Mack help Toby

MACK:  (SNARLING) Fine, I’ll help you. What use you are to me, huh? A big guy like you. All these years with me you ain’t learnt nothing. All those roaches crushed. I told you how to do it but you ain’t got no light up there and you ain’t freaking made for your bulk. (GOES TOWARDS TOBY AND TAPS ON HIS HEAD) It’s in there that you ain’t made for this (POINTS TOWARDS TOBY’S HUGE BODY) You’re huge but useless. Soft. Remember Nick?

Projector:            BigFoot Sliding Downhill Projector 0


TOBY:    Please no say about Nick when Nayal here. Please Mack. She like Toby. If you say for Nick Nayal she no like Toby no more

MACK:  Ain’t this a plan! Toby and Nayal. You got the hots for her big fella? (SNICKERING) Nayal and Toby. The prostitute and Dumbo

NAYAL: (OVERLAPPING) I’m not a prostitute

TOBY:    (OVERLAPPING) Toby is Dumbo.

MACK:  You’re a slut like momma been. You ain’t got one minute alone and ya shooting off with some fella around the block

NAYAL: I’m not. I only had one boyfriend before Rowland.

TOBY:    Toby is Dumbo. Big Foot come and Toby fly high like Dumbo. Toby fly high (CLAPS HANDS EXCITEDLY)

NAYAL: There was only Nick. (PAUSES AS SHE RECOLLECTS) What was that you and Toby said about Nick?


MACK:  Nothing! (ADDRESSING TOBY) Pick him up under them arms. I’ll take them legs (THEY GO BACK TO ROWLAND AGAIN, PICKING HIM UP AND AS ROWLAND RESISTS) I should have got them cuffs on his feet too. Would be easier to hold him tight (LAUGHS A WICKED CRAZY LAUGH) Would be funny, could swing the yellow sausage right into the water (LAUGHS AGAIN AND TURNS TOWARDS TOBY) What d’ya think big fella? Will this one go down quick or will we need Big Foot for him too

NAYAL: Toby, what did you say about Nick?


NAYAL: (PLEADING) Toby…Please. Tell me you didn’t…


TOBY:    (OVERLAPPING) Nayal like Toby. Toby no do nothing

NAYAL: (OVERLAPPING) Toby please. What happened to Nick?

ROWLAND:         (OVERLAPPING) Help me…

MACK:  (OVER THE TOP AND TRYING TO PIN DOWN ROWLAND) Toby, get your ass back here right now!

NAYAL: Toby?

TOBY:    Nayal like Toby? Nayal no stop like Toby? I say for Nick if Nayal promise

MACK:  Toby, shut ya trap and come help me with the roach!

NAYAL: I promise.

MACK:  She’s a liar

NAYAL: I swear I like Toby. I will always like Toby. Forever.

MACK:  (SNARLING AT NAYAL) Beat it. Get out of here woman!

TOBY:    (SQUARING SHOULDERS AND ALMOST GROWLING AT MACK) Toby no like Mack. Mack no want Nayal like Toby forever.

NAYAL: That’s right Toby, Mack does not want us to be together

MACK:  (LOOKING AT NAYAL IN DISBELIEF) You think you gonna control that thing? I been handling him for years before you turning up on our doorstep with your slut momma. Dad took his dad into business and then gave me Toby when I got ready. I learnt fast (WINKS AT NAYAL). I trained him damn well and business was good. He knows who to obey. (LOOKS BACK AT TOBY) Toby, remember, if Mack angry with Toby, Toby get no Big Foot. Toby no fly like Dumbo (LOOKS BACK AT NAYAL) I’ll sort you out later on, trying to turn my tools against me (TURNING BACK TOWARDS TOBY) Toby, Nayal no like Toby. She make believe like momma make believe with dad, remember? Woman no good. Woman no good for Toby. Nayal no good for Toby.

NAYAL: Don’t listen to him Toby. Nayal like Toby. Mack no like Toby. Mack no want Toby and Nayal happy (SHE GOES UP TO TOBY AND GIVES HIM A KISS ON THE CHEEK. TOBY TOUCHES HIS CHEEK, MARVELING AT THE FEELING) Nayal give many kiss to Toby but Toby need to stop Mack correct face Nayal

TOBY:    Nayal like Toby Mack. Mack no correct face Nayal

MACK:  What? You giving me orders big fella? (LOUDER) You giving me orders?

TOBY:    (SUBDUED) No, Mack. Toby quiet. Toby listen. Toby want to fly. Toby want Big Foot.

NAYAL: Toby, please. Nayal like Toby forever. Nayal take Toby Big Foot

MACK:  Shut ya trap slut

NAYAL: I won’t ever shut up again. You have no right over me. You will never lay a finger on me again.

MACK:  (RISING TO HIS FEET AND LETTING GO OF ROWLAND’S) You think y’all can threaten me? You think you can tell me what to do you slut!


TOBY:    Mack no shout Nayal. Nayal good. Nayal like Toby

MACK:  She’s playing you Dumbo. She’s lying

NAYAL: I’m not Toby. Nayal like Toby.


SFX1:     BigFoot sound 1


TOBY:    Blood. Oh no Blood. Too much. We can no wash clean. Mack can no help. Mack have blood now. Mack no bring Big Foot. Toby can no wash Mack alone. Toby can no fly without Mack. Mack like Nick now. Nobody pay for Nick. Nobody pay for Mack. Toby no get candy. Toby no fly. Big Foot no come. Nayal. Please. Bring Big Foot. Toby can no fly.

NAYAL: What pay? Who did not pay for Nick? What are you talking about?

TOBY:    When Toby wash and Big Foot come, Toby fly. Then small man pay. Small man pay Mack. Mack give Toby candy. Toby fly like Dumbo then eat candy. Toby want candy. Toby want big foot. Toby want Mack.


TOBY:    Mack. I be good, Mack. Please Mack. Speak Mack (TAKES MACK’S HAND AND HITS HIMSELF WITH IT) Toby sit quiet Mack. Toby listen. Please Mack, Toby want to fly. Toby want Big Foot.

NAYAL: Calm down Toby. Nayal bring Big Foot. Nayal make Toby fly.

TOBY:    (INSTANTLY CALMING DOWN, RUNS TOWARDS NAYAL) Nayal promise? Nayal bring Big Foot? Nayal make Toby fly?

NAYAL: Yes, Nayal make Toby fly but where is this Big Foot.


TOBY:    (WITH A THEATRICAL POSE) Like Mack say, Tada. Big Foot time

Projector:            BigFoot Sliding Downhill Projector 1

NAYAL: This crawler with the crane on it? That’s Big Foot?


NAYAL: So you want me to hoist you up on this crane and then you fly? (TOBY NODS AGAIN) Fly where?

TOBY:    Over the bowl Nayal! You ain’t go nothing here (COPIES MACK’S GESTURE EARLIER) but you no have big bulk. Nayal small bulk. Toby like Nayal bulk. First over the bowl then inside. After wash, Toby hold all inside bowl. Toby hold on bowl wall and Mack make pictures. Mack give pictures and small man give money. Now Mack no move. Mack no give candy. Nayal give Toby candy?

NAYAL: Sure Toby, don’t worry. Nayal will take care of you but first remove Rowland’s handcuffs and clean him up (AS TOBY IS ABOUT TO DRAG HIM TOWARDS THE AQUARIUM AGAIN, SHE REALISES AND SCREAMS) No, not that clean him up. No wash Toby. Toby no wash Rowland.

TOBY:    Nayal, Mack say wash Rowland. Wash him then Big Foot come. No small man come with money for candy but Toby need to wash Rowland.

NAYAL: Toby, Mack won’t say anything. He’s dead. Let’s wash Mack

TOBY: Dead.

Projector:            BigFoot Sliding Downhill Projector 2

SFX2:     BigFoot sound 2

Nayal:   (GETTING INTO CRAWLER AND STARTING IT) Okay, let’s move this crawler and lift this horrid aquarium to break it. We’ll wash Mack first. He’s dead but we can wash and bury him.

TOBY:    Mack dead. Nick dead. Toby wash Nick. Mack take pictures. Now Toby wash Mack


NAYAL: What did you say? Mack killed Nick and took pictures. The sick ba-

Projector:            BigFoot Sliding Downhill Projector 3

SFX3:     BigFoot sound 3




TOBY:    Nayal! Big Foot sliding. Big Foot sliding downhill. Nayal move


TOBY:    Toby no fly. Toby fall. Big Foot crush Toby…

Lights go out.

LX5:        BLACKOUT


Video of BigFoot Sliding Downhill played during the first 48H festival in Dubai

Sirens snow

Sirens snow

30 July 2016

Sirens snow tarakini deviantart com
Courtesy tarakini on

Dreaming lanes

Crossover highways

Where stars skid

Into motion

Forgotten all commotion

As the stakes renew


Redeemed boards

Players take a ride

Seek and hide

Keys to doors

Lion proud of mane roars

The fun in the slide


Kings castle

Switching their places

Towers hail

Sirens’ snow

Pitches settled in the low

By new rules abide


Reading of the poem: 

Sirens snow tarakini deviantart com 2
Courtesy tarakini on

Time Stops – Explosions in the Sky

Snow and Lights – Explosions in the Sky

Magic Hours – Explosions in the Sky

Play upon the Heart that all will believe

Play upon the Heart that all will believe

7 January 2016

fear shutterstock com


Playful ghosts of you I keep them at bay

For I skimmed the Earth drank it full never

That no thoughts untrue my still mind may sway

On moss-ridden Hearth joist fool and clever


Competition rules the minds a dark fort

Yet this kiss so wane, pray concede me now

We will dance with fools bid their ships to port

Through the toil and pain that beaded the brow


I wiped away tire that kneaded me much

While the lakes and swans would gracefully flow

In death of a fire that needed much touch

Silent lip that warns disheartened and low


Play upon the Heart that all will believe

No mirth in the part a twin I will grieve


fear tinybuddha com


Serenade – Schubert

Lacrimosa – Mozart

The Spirit Lovers – Chapter Seven: On Playgrounds and Kingdoms without a King

The Spirit Lovers

Chapter Seven: On playgrounds and Kingdoms without a King

8 December 2015


starlight mysticmedusa com Edward-Robert-Hughes

Mother came to Rita again, this time in broad daylight, her face a dark river of shimmering stars, the bluest of hues her black body.

  • What are these talks of going elsewhere?


Rita felt as always when she saw Mother torn between Shaking awe and powerful solace


  • Well you told me Mother that this place would be no more and that we would all live in another place, very different from here so I was just getting myself ready for the journey, knowing it would be long
  • It could be, yes but where do you think it is? Some distant planet that I have chosen for you? Another universe perhaps?
  • The ground shook under her step and the air vibrated with her presence as she walked, a figure of grace and power all at once
  • I don’t know Mother. Another galaxy, yes, I assumed
  • You assume a lot child. When you don’t know why don’t you just ask me?


A smile tugged at the corners of what Rita imagined were her lips. It was not really that she had a face but Rita could see in that river something that replicated an image of what she thought a human face would look like. Rita volunteered a smile back and Mother laughed so Rita laughed too, at first with a sense of guilt and then freely with the wildest of joys as the room heaved and shook with their laughter and the frames from the wall strew the grounds in fits.


  • I shall ask you next time Mother. Rita’s voice was between a hiccup and a snigger, the laughs still Shaking her uncontrollably
  • The journey within can be long but you know best what this place will be like because you will be one of the builders.
  • Me? One of which builders? How many are we? How much time do we have?
  • Oh Time, that silly notion I put in place a long time ago for us to measure the dilation of your playgrounds. I think you don’t need to worry about that anymore soon.
  • Are we going to a place of zero-point? Will we reach full stillness, no Time?

She laughed again and Rita laughed too though less heartily as she was keen on having Mother answer before she left.


  • What is zero-point? Do you still ask me really the question, child? Have I not left more impact on such matters with you before?
  • It is the point of implosion, when Time will disappear and our bodies will transform, right? It is the bridge between the playgrounds.


Mother was listening to Rita, a little twirl in her like every time Rita knew she was pleased with her response.

  • Do you know why you are changing playgrounds?
  • I think it is because we have outgrown this one. We don’t know what to do anymore here and most of us are getting bored, with some creating new games in the playground which are not to everyone’s liking or others playing the sae games that we are sick and tired of playing. Yet they don’t care much when we tell them to stop, that it is not a nice game anymore and that we are tired of it, that we want to play a nicer and more interesting game.
  • Yes, well that is the old way of the male energy. It only knows destruction and return to void, unlike what you hold and some of you have marginalised your female energy. It was not a thing of a day, it took many light travels of your Time to achieve that.
  • But why was the female energy marginalised? Why not leave us alone?
  • Do you still wonder why? It is because you are the ones who create and play the most. When you arrived here, each of you had chosen which side of the energy you would be on because full balance would take you out of the playground and those who chose the male energy lost their touch with the full creation energy because it is the female energy that stirs the void into creation. In your reality, the female energy still needs the male energy to create within physical density but it does not in the realm of dreams and art which are expressions of your eternal being.
  • But there are many male artists, not just female artists.
  • Yes, being male or female is not just a matter of external appearance. Those who thus create have not withdrawn completely from the female energy but preserved it within them. Some, though very predominantly in the male energy, thrive on the energy they draw from the females they attract around them to stir their internal voids into creation.
  • If all males know whether consciously or unconsciously that females are essential to the game, why do they suppress us so? Why not just play along with us?
  • Have you not realised child that things are changing? More males are waking up to and accepting the female energy as it returns to them.
  • But at the same time such horrors are committed against women in so many places around the world. Not just women but also children. All these wars that bring desolation to the hearts of everyone and mostly to those of women and children, so many of them abused and broken
  • Yes my child but that is soon a thing of the past. Who else, other than females is so close to creation and playing?
  • Oh yes, children of course!
  • Precisely my child, they do that because they don’t want to change playgrounds. They try to keep you in fear and in anger so that you will lose hope, love, laughter and therefore the possibility to continue creating the new playgrounds. They create a vicious circle by which you enslave yourself into this playground, forced to play with the bullies they have become and that way you would never have enough material to create another playground. By attempting to keep you in that vicious circle, they attempt to never leave this playground where they can rule like the tyrant children they have become but both father and I are tired. We have to shake all of you back into your senses and we can’t choose which ones to shake because you have all created a common playground. Your playground heaves, it is soaked in waters, it is seared by flames that all of you may finally understand that this playground is not for you anymore, that it is time to go to the new playgrounds.
  • Transform or die?
  • Not exactly my child. Understand when the game is over and move on to the new game, pick up the code and learn the new rules that you might not be taken aback but fear not, the rules are precisely those. Not to fear. Only to Love, freely, wholly and uncontrollably.
  • But what then of detachment? The wise ones speak of detachment and of not allowing oneself to get attached. How do you love wholly and uncontrollably and at the same time not get attached?
  • Well I have to say that the notion of detachment you are all playing with is not the one we had in mind when we originally set the rules of your playground. Your detachment has become a sense of nothingness, a dull grey of being while the detachment we had in mind was a shiny explosion of vibrant colours
  • How can one speak of detachment and explosion of colours. I don’t understand Mother…
  • It is simple really child. Detachment is that knowledge in you that everything you are playing with is merely a means for play and for learning something else that will help you in another playground. Nothing is for keeping forever because otherwise you would be playing all the time the same games with the same playthings. Have you not seen your children how they play with toys and then tire of them after a while and want something new to play with? Have you not noticed what they do if you force them to keep the same toys?
  • Yes, after a while they destroy them. Well actually I have noticed that it is more the boys who destroy the toys when they don’t want them anymore. The girls most of the time just go and sit by themselves or with each other if they have company, singing or playing with imaginary toys or friends.
  • Not just the girls, those boys with the female energy in them also do that.

A twinkle passes through what Rita feels are her eyes. Today she is not changing into a human-type form for Rita. She seems to be very taken by this whole matter of playgrounds and Rita’s misunderstanding of them. In fact she seems so taken that she has not even waited for Kayla or Kalen to accompany her but has come herself and right in the middle of the day.

  • So do you understand better detachment now?
  • I think I do Mother. Detachment is not caring less. In fact it is caring to the maximum point but knowing all the same that you will give away these means of playing and move to another level some day and if the means of play was not capable of transforming into a means for the next level into the next playground than we will never see those means again. We can continue to care for those means but we know that we will have to leave them and be in peace with the fact of leaving them.


She smiled and stars sparkled harder within her dark river. It shimmered in places again and Rita knew she was now extremely pleased with her. She slowly started materialising into a more human-type form and this always caused Rita such joy because she could actually look into Mother’s huge beautiful eyes full of power and compassion and be submerged by their infinity.


  • Mother, please tell me and don’t be angry with me. People speak of apocalypse, of the end of Times, of retribution and of the Day of Judgement. They say that God will decide who will go to Heaven and who will go to Hell based on our deeds and that we only have this Life, that we will need to redeem ourselves in it if we had committed sins.
  • Do you believe in Heaven and Hell, in God and in the Devil?
  • Well I believe that there is an energy of Love and an opposing energy of Fear and that perhaps we can call these God and the Devil if we think in our human terms.
  • Hmmmm…. Well, for the sake of argument in the sense that you like to use, let us say that there is a Devil, one with horns and hooves and with tattered wings from the Times that he was an angel before he was cast upon the Kingdoms of Hell as it goes by the teachings that were brought to you. People have given him such great powers maKing him akin to God alone though inferior in rank to him as the belief goes. What according to you would happen to the Devil on Judgement Day?


The question took Rita by surprise. She had never thought about that and was not sure anybody had actually thought about that. Yes, true, what would happen to the Devil on Judgement Day? Rita thought to herself.

  • Well I guess he would be punished like all the evil-doers and he would be…
  • Cast to Hell?


The irony in her voice was palpable as her human-type body now clearly shook with mirth. Rita was slowly getting the point of what she was trying to say. If on Judgement Day the Devil got cast to hell, he was merely being sent back to his own Kingdom where he would reign as a King again and no subject of that Kingdom would dare question the King. So in all likelihood on Judgement Day the Devil would actually be rewarded and with royal title, just like he was while moving all those wrong-doers to carry out their ill-advised deeds. But if it was so then why would he be rewarded while they would be banished to his Kingdom and tortured while he, the one behind all their misdeeds would be thriving in a Kingdom where he could do as he please while he was the true culprit really?


Mother was watching Rita closely and this latter could feel Mother’s watchful intent eyes upon her as her face betrayed her inner turmoil and confusion of thoughts. Rita gave up at last trying to reason internally and volunteered a partial response.


  • It would not be right I presume
  • Why not? Could he not be cast to hell and not be a King there?
  • Well there cannot be a Kingdom without a King. If there is one, then he is the Devil but the old Devil would be no more because we are normally on Judgement Day where only God would be ruling. If the Devil is no more, then he would be a mortal being judged for his misdeeds and if he were a mortal then he is not to blame really because it would be the Devil who would be the true culprit but that Devil was just put in place to be the King of the Kingdom and who could be put in that place on Judgement Day if there are no more real Devils and only mortals, The Old Devil and God with his angels. Would another angel be sacrificed to play the part of the New Devil? That would be a monstrous fate and would it really be Judgement Day if we had a New Devil in place? Would God have to take that part for himself? If he did would that not be twice the monstrosity? Would those of us who carried out the misdeeds have to condemn ourselves to be the Devil and would we have to cast ourselves into Hell and torture ourselves? Would we all be the King or would we take turns in being the Devil King? If we were the King, would we not be able to do as we please within our own Kingdom?


The more Rita thought about it, the less it made sense. Mother merely smiled at her knowingly. She came closer to Rita, lifting her chin and looKing her again straight in the Eye.


  • Yes, there cannot be a Kingdom without a King and where there is no King there can be no Kingdom. So on Judgement Day as most of you would have it, there would be no Judgement and no means of executing that Judgement. Do you understand now?
  • There will be no Judgement Day. Just the Day we are all together again with the Source of all things. Is that why there are these playgrounds, so that we may slowly act out different levels of the game of life?
  • Not exactly? Father and I wanted to test various scenarios but it was not just about life, it was about life and death and everything in between. It was about creation and the transformation of the energy. How it could come about, how it would evolve and what it would evolve into. It is now Time for other playgrounds. This one is saturated by the same playing and playthings and your nimble consciousness needs novelty, new fields, new experiences, new ways of expanding. Did we not tell you before? In fact we even left it within all your textbooks as there are not just playthings for children but also things to learn from within your textbooks. We told you that we created you in our image because you are miniature representations of us. You remember the talk about the archetypes you had with Kayla and Kalen, it is precisely that. Now it is time to have those archetypes evolve further into their purer forms and this entails leaving this playground to go to the next.
  • I rather liked it here. I will miss it.
  • That is why you have to learn to detach my darling child but never stop experiencing that flow of sensations, that burst of colours within your chest and behind your eyes because it is the fabric of your future playgrounds and you will need to keep weaving it because there will be nothing left here soon.


Rita looked around, soaking in the sun far behind the houses, moving slowly towards the higher point of skies and sighed. She did not want to tell it to Mother again but she would really miss this playground. It was so beautiful and Rita was having a hard time giving up the toys she had played with here. She still felt there was so much to learn here but Mother seemed to think that it was Time for her to move to the other playground. Rita sighed again. The sun was sparkling on the small puddle in the lawn left by the rain and it made her think of Mother again as it bore the remnants of the starlight that ran through her rivers.


Rita sighed again as she looked back to the blue skies stretching in the horizons, behind Mother’s frame. She had a fleeting thought for Martin but realised that like all the other means of play in this playground, she had to let him too go. He was still so bent on playing within this playground and his main playthings were void and destruction with only distorted waves of the Love. She knew without Mother or Kayla needing to tell her that a phase in the growth of her Heart was over and Martin belonged to that phase – at least for now. He was not ready to move into the new playgrounds and kept alternating between blabbering indistinctly about the love of some of his toys, yelling sorely at Mother and Father or throwing some of his old or new toys in rage with tears of anger and madness streaming down his darkened face.


Mother merely smiled at her when she looked back to her and she knew that Mother knew so she smiled back, a smile of relief and gratitude for her caring. All Mothers always know what goes on in their children’s mind. Sometimes they pretend not to know because they want their child to feel that it has its own secret garden but Rita understood in her Heart of Hearts that Mother knew as certainly as she herself had looked upon her children’s faces in times that troubled them and knew. She just knew.




Nattura – Bjork

Tell me a Story – 1927

Children of the Earth – Josh Garrels

Break through the Heartpath

Break through the Heartpath

25 September 2015

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Remnants of the fears

Distill images of Grey

Fluttering corpses


The whole pursued void

Mindless landscapes ticked the clocks

As the now, soft, whirred


Gyrating stillness

Where movement met the frozen

That in soul pulsates

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The part pursued Heart

Dissecting pieces of Soul

Isolated play

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Hurtling witnesses

Heartbeats’ irregular stance

Oozing into change


And the edges cracked

Shattered pieces, dangers’ shards

Love gushing open


Pick up the pieces

Enter tomorrow’s bliss State

Break through the Heartpath

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