The Song of Love & Torcher


And then I confess that I tortured the dress that you wore for the world to look through.

To be honest; I must thank MIKE STEEDEN for his wonderful works which mostly have a touch of Leonard Cohen, to learn me, learn me to remember one of my favourite songwriters and poet of my youth. He came to us; my brother and me, in the early seventies when we were in our most melancholic time in Tehran, Iran those days and were trying to separate us from the society, the society in which you’ve got the feeling that you’ve never belonged and it’s sad! and the only way to escape was the help with drugs. one friend, a professional bassist, came in an evening of a cold winter day and showed us his new discovery which was “the songs of love and hate” by L. Cohen.

I’ve put the vinyl record on the gramophone and it began with the song; Avalanche

Well, I stepped into an avalanche,
It covered up my soul;
When I am not this hunchback that you see,
I sleep beneath the golden hill.
You who wish to conquer pain,
You must learn, learn to serve me well.

Anyway, it was the beginning of a long friendship. But now I wanted to tell about a song by him which is not so current by some people who know Cohen but not aware of this of: “One of Us Cannot Be Wrong”

 “New Skin for the Old Ceremony” 

it is the last song of the album; New Skin for the Old Ceremony if I do not mistake 😉 and when one listens to it, can find a universe inside of it! I mean that’s Poem, you can fly in throughout the whole universe with never-ending. { oh please let me come into the storm }

I suppose that he froze when the wind took your clothes and I guess he just never got warm. But you stand there so nice, in your blizzard of ice, oh please let me come into the storm.

It is a fascinating art to write a poem, and make a song; I hope you’d enjoy it.
just lets your soul fly with. ❤

I lit a thin green candle, to make you jealous of me. But the room just filled up with mosquitos, they heard that my body was free. Then I took the dust of a long sleepless night and I put it in your little shoe. And then I confess that I tortured the dress that you wore for the world to look through. I showed my heart to the doctor: he said I just have to quit. Then he wrote himself a prescription, and your name was mentioned in it! Then he locked himself in a library shelf with the details of our honeymoon, and I hear from the nurse that he’s gotten much worse and his practice is all in a ruin. I heard of a saint who had loved you, so I studied all night in his school. He taught that the duty of lovers is to tarnish the golden rule. And just when I was sure that his teachings were pure he drowned himself in the pool. His body is gone but back here on the lawn his spirit continues to drool. An Eskimo showed me a movie he’d recently taken of you: the poor man could hardly stop shivering, his lips and his fingers were blue. I suppose that he froze when the wind took your clothes and I guess he just never got warm. But you stand there so nice, in your blizzard of ice, oh please let me come into the storm.

And here is the Avalanche;

Well, I stepped into an avalanche,
It covered up my soul;
When I am not this hunchback that you see,
I sleep beneath the golden hill.
You who wish to conquer pain,
You must learn, learn to serve me well. You strike my side by accident
As you go down for your gold.
The cripple here that you clothe and feed
Is neither starved nor cold;
He does not ask for your company,
Not at the centre, the centre of the world.When I am on a pedestal,
You did not raise me there.
Your laws do not compel me
To kneel grotesque and bare.
I myself am the pedestal
For this ugly hump at which you stare. You who wish to conquer pain,
You must learn what makes me kind;
The crumbs of love that you offer me,
They’re the crumbs I’ve left behind.
Your pain is no credential here,
It’s just the shadow, shadow of my wound. I have begun to long for you,
I who have no greed
I have begun to ask for you,
I who have no need.
You say you’ve gone away from me,
But I can feel you when you breathe. Do not dress in those rags for me,
I know you are not poor
You don’t love me quite so fiercely now
When you know that you are not sure,
It is your turn, beloved,
It is your flesh that I wear.

Thank you again

PS: You, the dear friends and followers who might look at my posting, may wonder why I post mostly in the weekend, it is because of my hard working all through the week, it is a kind of working in which you’d not have to use your brain, the job itself does not need any, but I can not without, therefore, I must suffer, but at the weekend I’m alive again!!

If you really want to know my kind of job, you might watch Woody Allen’s Radio Days, then you can find the solution 🤣🤣


Erman Essen: “66 Daily Sophia Lessons”


It is a true word by Dr Jung which we know it through history and unfortunately, nowadays it gets stronger and popular between the public to how easily open the mouth and show off the opinion basic on unknowing, but man must tell something, otherwise, the others think one knows nothing!

Here I share a wonderful post by Searching The Meaning Of Life! (STMOL) with many wise words as I know him as a Wiseman 🙂 with many Thanks ❤

By SearchingTheMeaningOfLife

The German writer of the “Steppe Wolf” delivers life lessons …

 “Every man’s life is a way to himself, the model of a road, the draft of a path. No man has come to be completely himself, however, everyone aspires to succeed, others to the blind, others to more light, everyone as he can “

One forgets to judge and criticize others when it is full of doubts about themselves: “Making the judge alive is the perfect excuse to not analyze your own. If we observe the people who are turning here and thereby making a verdict about what they are doing well and what the others are bad about, we will find a great lack of self-criticism. They are not conscious of their actions and their reasons because they focus their attention on the lives of others.

And they behave that way because they are afraid to radiograph themselves and be disappointed. “

When we hate someone, we hate the image of something inside us: “When we think we are hurt with someone, it is because it possesses something that touches us deeply and causes us discomfort. This one becomes a mirror of something inside us and we do not want to admit it. Otherwise, it would not bother us so much. Thus, the stingy man endures the stinging of the others with more intensity than anyone, and the indiscretion is overpowered when there is indiscretion. The person we hate is our mirror and, therefore, a spiritual master we should not underestimate. “

When we are afraid of someone is why we have given him power over us. “Often others or who have an opinion about us. We ourselves are blinded by the fury to learn what they will think … “

The tender is stronger than the hard, the water stronger than the rock, the love stronger than the violence. “The power of love, like water, lies in its adaptability to the medium where it lives. If this is transposed into everyday life, the ability to love – not just another person but a design – is confronted with the difficulties to get the best out of every situation. “

Some that are perfect are perfect because they have fewer demands than themselves: “A simple yet very effective exercise: it has been a goal of improvement for each week, and in one year your quality of life will be upgraded in a way that you can not even imagine “.

The bird breaks the shell. The egg is the world. The one who wants to be born has to break a world: “The child must abandon his childhood, his innocence in this way transform into an adult. These transition rituals always lead to the elimination of his earlier ego to allow the new ego to be born. “

Sometimes enemies are more useful than friends since windless winds do not turn: “The enemy forces us to act and get out of the comfort that made us soft. It forces us to make the best, as well as our worst self. If we can see our reactions from a distance and with a little humour, in every conflict, there is a great lesson about our own and our weaknesses. “

The school does not teach the skills and abilities that are necessary for life:   “As Esse writes in his tale” Under the Wheel “:” The school teacher prefers to have a few strands in his class rather than a single genius student. And deep down he is right because it is not his duty to form extremely brains but good philologists, mathematicians, and useful people. “

Again and again, one is thrown into the things he has loved and he thinks it is a faith while it is just laziness: “Children scare the dark because they think that there is a monster hidden among the shadows, something unknown that can attack them. In the same way, adults frighten the unknown because it involves change, risk, uncertainty. We are afraid of the new one because if we fail we know that we will hear the phrase: “I told you”.

Without personality there is no love, there is no real love deeply: “Many people are trying to show something they are not, either because they think that this is what others want or why they do not like what they are like. They are dependent on the opinion of others and desperately need their approval. However, true love is not born out of deprivation by waiting for the other to fill our inner voids or to tell us what to do. We really love something only by accepting what it is. “

Source: /

Moments experienced intensely: photography of Sebastião Salgado


The coloured photos, in some situation, might be nice but I love the B&W ones. They show the truth of the soul. 🙂
Sebastião Salgado, “From my Land to the Planet. a great Photographer

By symbolreader http://symbolreader With a great Thank ❤ ❤

“All my photos correspond to moments that I have experienced intensely.”

Sebastião Salgado, “From my Land to the Planet,” Kindle edition


The movie Salt of the Earth (2015) directed by Wim Wenders and dedicated to the life and work of a renowned photographer Sebastião Salgado begins with a reflection on the origins of the word “photographer,” as “the one who writes and rewrites the world with light and shadow.” I was deeply touched by the exhibition of Salgado’s photography project “Genesis,” which I have recently seen in Zurich. His reverential method of working made a deep impression on me. A true artist is indeed the one who writes and rewrites our world, deepening and expanding our vision. I had seen his photos before and adored them but I had never taken the time to look deeper into the ways they were created.


The first thing that strikes about his photography is, of course, the fact that the images are black and white. Genesis is Salgado’s latest project in which he photographed the unspoilt areas of the planet; all of his previous works were photos of people, often suffering, dying or toiling for little reward but nevertheless displaying striking dignity. The effect of the black and white, to my mind, is rendering the images more hauntingly archetypal, and thus touching the very core of our being. In the book From my Land to the Planet, in which the journalist Isabell Francq lends voice to the photographer, he also refers to the choice of black and white for his photos:

“… with black and white and the entire range of greys, I can concentrate on people’s intensity, their attitude, their gaze, without all this being disturbed by colour.

Of course, reality is not like this, but looking at an image in black and white, it gets inside us, we digest it and, subconsciously, we colour it. Black and white, this abstraction, is thus assimilated by the viewer, who then appropriates it. I find its power extraordinary.”

Precisely, each photo of his seeps into the unconscious, transforming the viewer from within. Once you let his alchemy work on you, you will keep seeing the images in your mind’s eye. At least that is what happened to me. The Daily Telegraph wrote that he is a God’s eye view of the planet. In Wender’s movie, a South American native was convinced that Salgado is, in fact, an incarnation of Jesus who came back to the earth to be a witness of this native’s life and determine whether he is worthy of going to heaven or hell. This was told as a humorous anecdote but Salgado’s godlike perspective is an accurate description of his art. Another important element is the absolute totality of his images. I find these words of his striking in this respect:

“Totally integrated with his surroundings, the photographer knows that he is going to witness something unexpected. When he merges into the landscape, into that particular situation, the construction of the image eventually emerges before his eyes. But in order to see it, he has to be part of what is happening. That’s what photography is. At a certain moment, all the elements are connected: the people, the wind, the trees, the background, the light.”

Kalema camp, Ethiopia 1985

What I find particularly fascinating is Salgado’s own way from darkness to light during the span of his career. His initial projects showed famine, war, diseases, suffering, genocide and hard manual labour. Witnessing the genocide in Rwanda was his own “nigredo”, the dark night of the soul. He got depressed and lost his faith in humanity but he explained that he took these images because of a moral obligation to do so. In the project “Workers” he tracked manual labour all across the planet. Here is what he witnessed on Java:

“On Java, in a little paradise of beauty, I watched men cover fifty kilometres on foot, there and back, across rice paddies, clove-growing plantations and the tropical jungle, before climbing to an altitude of 2,300 metres, then descending another 600 metres on the other side, and going down into the crater of the Kawah Ijen volcano, a great producer of sulphur. Due to the toxic emissions, veritable clouds of poison, it was necessary to breathe entirely through the mouth and not the nose. As their sole defence, the workers stuffed a piece of material into their mouth; in the course of time, their teeth were completely ruined. Even though none of them weighed more than 60 kilos, each filled a basket with 70 to 75 kilos of minerals. They fixed two baskets at either end of bamboo cane and then climbed the 600 metres separating them from the exit to the crater. This took them about two hours, then they hurtled down the slopes of the volcano, to avoid being crushed by the weight of the baskets. It was extremely dangerous. Some of them dislocated their kneecaps. At the time, they received about $3.50 per journey. Afterwards, they rested for a couple of days in order to recover physically, so that by the end of the month, they pocketed just enough to survive.”

The Sierra Pelada Mines, 1980s

The Genesis project was his way of healing the wounded soul. “After having witnessed so much horror, I was now seeing so much beauty,” he says. Humans have managed to colonize more than half of the planet, yet still, 46 per cent of the Earth has remained in the same state as at the time of the creation, almost intact. He did not work in Europe because here human intervention has been too extensive and too visible. Salgado’s aim was to show “the dignity and the beauty of life in all its forms and show how we all share the same origins.”

He travelled to Galapagos to trace the footsteps of Darwin and witness the land where the theory of evolution was born. There he had a moment of illumination looking at an iguana:

“… one day I was watching an iguana, a reptile that, a priori, appears to have little in common with our own species. But, looking closely at one of its front feet, suddenly I saw the hand of a Medieval knight. Its scales had made me think of a suit of chain mail, under which I saw fingers similar to my own! I had before my eyes the proof that we all come from the same cell, each species having then evolved in the course of time in its own way and in conformity with its own ecosystem.”

There were numerous memorable photos I would love to write about. The photos of the Nenets, an ethnic group native to northern arctic Russia, who live in a very harsh climate and have very few possessions, leading a nomadic life with their reindeer, arrested me for long minutes. Salgado observed: “These people who live in cold climates survive with very little, yet their lives are as intense, rich and full of emotions as our own, perhaps even more so, as we multiply our material goods in an attempt to protect ourselves, so much so that we forget to live.”

The Nenets

Salgado was almost 70 when he finished the project, Genesis. Despite his age, he had not stopped to throw himself physically into his subjects, notwithstanding the limitations of harsh weather conditions or in the case of all the previous projects grave physical danger. His passion and devotion were always maximal. He concludes:

“First of all, I encountered the planet. I had already travelled round the world, but this time I felt that I was entering inside it. I have seen the world from its highest points to its lowest, I have been everywhere. I discovered minerals, plants and animals, and then I was able to look at us, the human race, as we were at the dawn of man. This gave me much comfort, because going back to its origins, humanity is very strong, especially rich in something that we have now lost after becoming city-dwellers: instinct. The modern, urbanized world, with its rules and regulations, is constraining. It is only in nature that we can find a little freedom.”

There is something godlike about this man, who set out to replant the entire forest on the damaged land that he had inherited from his parents. Everybody said it was a crazy venture but together with his wife Leila he actually created the first national park in Brazil- the Instituto Terra. At the end of Wender’s movie, Salgado blissfully explains how his life has turned full circle. When he was a boy the land in Brazil where he grew up was rich and fertile with extensive areas of forests and beautiful rivers. At the end of his father’s life, the land was barren and damaged, but he breathed new life into it, bringing the original native forest back to life.

Salgado and his wife at the Instituto Terra


The Birthday



dorothea-tanning-birthday-1942[1] The Birthday-Dorothea Tanning 1942 Max Ernst was intrigued when he first saw Dorothea Tanning’s enigmatic self-portrait, which he suggested should be called TheBirthday; she agreed that it was an apt choice. After playing chess they fell in love, as Surrealist’s were wont to do. They married in 1946 in a joint wedding with Man Ray and Juliet Browner. They remained together until Ernst’s death in 1976. She would outlive Ernst by a further 36 years, living to the grand old age of 102, the last of the Surrealists.

A writer as well as a painter, Tanning’s memoir is entitled Birthday.

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The dream digger


Lance Sheridan

A window traces the night where a sleeper lies.
The air is winnowed by a stranger, he has come
To a barren field by the sea, scathed by winter,
Stained by the tedious pilgrimage of snow.

Barefoot, he stands, in a narrow crack of light
Sloped seaward to a cliff plunge, fed upon by whitecaps;
Odors of frozen earth arise, burnished by ice-
The dead snails leave a silver track.

High against the moon shadows, gull wings bend muted
Over tidal-flats where the ghost of a child played
Silent and cold, old memories bedded in mud;
Her youthful days ended, rusting like a scythe.

Shovel squatting grim as a sea witch at coffin’s border
In wait amid snarled wind and crack of wave
To trap the wayward stiff at a move of temper and disdain,
Now with flint eyes he digs deeper, fixed upon a dream.

Plucked from a deep…

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Prudence and Obedience



Was parenting much simpler once? Who knows? But one thing I can say for sure, roles were more defined.Letter XVI from Richardson’s Clarissa is a proof of what I am saying. Clarissa has understood to be promised to old and odious Mr Solmes, a rich man, whose marriage with the girl would satisfy the social ambitions of Clarissa’s father. When the girl understands that everything has been settled, she tries  to do whatever is in her power to avoid her sad fate and decides to speak to whom she believes to be the weaker of her two parents, that is her mother, as she had found her particularly condescending at breakfast, while her father had left the house early with a “positive, angrydisposition“. So much the better. Clarissa sends quickly a note to her mother to inform her that she needs to talk to her:

“I had…

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The Inner Wisdom


The knowledge of the heart is in no book and is not to be found in the mouth of any teacher, but grows out of you like the green seed from the dark earth.

C.G. Jung

Happy Eros Day…

by Catrin Welz-Stein

Via Midwives of the Soul