The Gardener of Hades


*Image found HERE

The Gardener of Hades

A close friend of mine
grows flowers down in Hades –
the kind that makes your wound-ache
taste like eating fiz wiz,
like snapshots of sunflowers
turned to each other
ground into a powder
that you’d be tempted to
season the Sunday roast with.

In the future,
the techno-priests will be pinging
for our absolution,
our dreams in grocery-skin-codes,
holograms of hummingbirds
glitching against our heartbeats.
We will keep asking them
where does the water go, when we die;
they will spoon-feed us with prettiest of lies,
murmur in ASCII
as they dissolve us to compost.

We’d want to
be grown out into speaking trees;
the handsomest of alders, birches, oaks and hazels,
crops of fine, plump pumpkins,
proud corns and outstretchings of whipping wheat
and other chunks
fermenting in a lukewarm stew,
ready to be poured out and sown

Yet awake
like a dust with pulse
hoping that the sand quickens;
in riled bones,
sprouting for a chunk
of a cold, sleepy Moon
in decadent black and confident innocence
against the face
of my mentioned friend,
red and pearly;
a synthetic jewel
in the wet mud of a pigsty,
like a shy thunder
before its clumsy crackle,
heartless and with soul-wells of scars;
who ‘s been down there for a while,
with a worn-out strawhat on

clipping our dead leaves.

~ by Oloriel on July 2, 2020.

7 Responses to “The Gardener of Hades”

  1. Oh, The Garden of Earthly Delights, that panel… It was one of few visual artworks that truly stole my breath when I saw it in Prado. I’ve been to Prado thrice and it always stole my breath. He was the very pinnacle of the Flemish Primitives and I’m vividly convinced few symbolical visual creators have matched his potency since, let alone Occidental ones.
    I adore your poem beyond veritable mensuration, v.14 and 15 are delicious and the penultimate stanza is incredibly rich. What I find of interest — and I’m not here to make associative impositions — is that the poem does have this central theme of transubstantiation into verd life and be instead repurposed into the grim and dim synthetica so characteristic of our visions of future, and I find it especially interesting that The Garden of Earthly Delights was painted in an oaken panel, thus, and perhaps this is some cognitive dissonance of mine, it sorta coalesces both the want of your poem and its resolution. A natural living thing repurposed into an artificial dead thing that still, somehow, rings beautiful in its own difference.

    • Id like to extend your conclusion, beyond your last line, that it is a good purpose, as the outcome, or at least some such thing is something I hope for the resolution to be.
      The painting itself would be so interesting to me to see live, there is so many details and stories in it, including its frame and the brush type that did the strokes. One such detail was what sparked my interest to think about the painting (while procrastinating on the internet while writing; thus, this image posted alongside my own poem is both a hint and a coincidence) and if you click on the link that is the credit for where I found the painting in digital form, leads to an article about a tiny made composition turned to live sound, by following tattooed notes from the butts of one of the boys painted on the picture. If you follow the link, the read is certainly interesting.

  2. Also, how dare you, being this talented? I’m contacting the authorities.

  3. I’m very happy to see (after too many years) you are still writing, creating and wearing your heart on your sleeve, Mirjana, your imagery is still as vivid 😀 Loving the flowers of Hades description, so full of passion and unattainable beauty… Hieronymus Bosch is the perfect complement 🙂

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