the sensation of knowing has faded

Pablo Saborio Poetry

the sensation of knowing
has faded
the congealing cement
our last coverture

ugly, reeking
and already alone
with a bullet of important birth

have the notes in the eyes
a melody of face and terror

the philosophers
have turned to the poetic
in depiction
the overt sorrow
of crocodile skins

this task of surveying
bland vast infinite
words not even mountains
to rest the moon
on their slopes

death and terror
sustained by repetitious
creation, a blind fountain
speaking for the absence

I
supplant
meaning
to extinguish
consolation

representation having failed
we rely on the cruel instant
.
.
.
.
.
.
.

Nihilism Poetry

otherness

Otherness Modern Acrylic Art
I am drenched in words
like skin that covers my intellect
while sitting here
I do not feel like any word
neither floating nor sinking
in between two nondescript states
perhaps more
plucking my names
           human, animal, person, soul, pablo
petals – I exist or I exist not
an empty receptacle
in my hand
or a savory thought
or gone with the wind.

Nihilistic poetry

A word with myself

Being Poem

I drag
the whole compass
with its north and whereabouts
to the lyrical center called
           I
I cannot praise beauty
      only the mysterious
I summon the elements
         of my destitute body
I speak to this world only
               – my own
who else stands here
             – a dead poet or a mystic perhaps –
I am the masturbation of my own language
these are no longer words
they become
     the flesh of
 this Being.

Nihilistic Poetry

The beautiful irrelevance of language.

Limitations to discourse and knowledge.


The
undeniable reality of language,

the sounds inside our heads,

the discourse within our skulls,

the rigorous mathematics of our technologies,

is a matter of great uncertainty.


The fact that
we rely so deeply in the functions of language

seriously undermines our attempts

at concrete knowledge.

The discovery that knowledge is portrayed by language

or symbols

and that linguistic symbols are inappropriately

capable of representing perceived reality

is an astounding obstacle to our assessment

of an objective reality.
 

 

In more simple and human terms,

the realization that we obtain “acceptable” knowledge

in any form by its communication

either by mathematical symbol or linguistic form,

already makes it clear that we are submitting ourselves

to an established norm.
 

 

This norm is adopted,

valued

and protected

by the establishment,

namely,

Science,

but once this establishment is submitted to the scrutiny of doubt,  

we realize that Science or concrete, irrefutable knowledge  

depends, and in fact,  

survives on language and symbol,  

thus we can begin doubting the certainty  

and accuracy of its claims.

The first undeniable doubt is the perception

of the incapacity of language

or any symbol

of portraying reality.

Language is by its own nature, rigid, stiff and linear.

No matter how prodigious the scientist

or philosopher is,  

the fact that he or she describes reality  

by communicating a symbol,  

already contributes to our suspicion:

the use of a rigid tool (language) to describe  

a fluidly ungraspable perceivable reality.
 

 

The proof that language is inadequate to describe accurately reality  

is in no way possible of being proved by language itself.

It must be realized, perceived, experienced by the thinker.

Just as Science seems to be the absolute truth to the world today,

we must never forget that Science is not an entity by itself;

it is preached and believed by humans.
 

 

Any human, no matter how committed to objectivity,

will still be influenced by subjective impulses, personal past experiences

and biased ideologies.
 

 

Science has by this account two main weaknesses.

It utilizes linguistic symbol to portray an un-symbolic phenomenon;

and secondly, it is sustained by humans which are never unbiased.
 

 

Nihilistic Poetry

The oppression of language (two poems)

 

 

 

 

The following two poems explore the human need to express everything we experience and the impossibility of absolute correspondence between lived experience and our descriptions.  I wonder why we cannot contain the purity of experience in ourselves without exchanging it for the artificial-reality of words and symbols. Wouldn’t it be better to leave the flux to itself while we join in its silent (nonverbal) dance in an ahistorical frenzy? For what are our conversations but a miniature-history of the world and our lives? Must mankind be forever trapped in the webs of a descriptive situation? What’s the need to define place, time, mood, thoughts, hopes and expectations?

 

 

Is life too great for anyone to bear alone that we must reduce its intensity and infinity to the limited bounds and finiteness of language? 

 

If we cease to communicate (purge) life could we die from an overdose of life itself?

 

 

 

 

 

These are the dry leaves of the 21st century
Falling upon our feet that coil
A path as snakes on a dune of sand

These are the subway noises
Under the surface of our routine
Where are our shouts of ecstasy?

These are the ripples of passion
Unborn embrace of earthly bliss
We are one catastrophe away from paradise

These are the memoirs of all power-lines
Showering us with light of illusion
Approaching twilight for today’s relics 

These are the end-products of pleasure
Fascination with the wonders of plastic
And a what-for question left unanswered

 These are the dry days of the 21st century

 

 

 

 

 Fetch me nature’s product in a plastic bag
While this blue-eyed kid stares at me
As I dance to the melody of pure purposelessness 

 Talk to me about an Asian photograph
While this train takes me to your hometown
As I write lines of life’s ineffability

Promise me there is a higher plan
While I grow old with laughter
As I adjust my twisted underwear

Abandon me for taking the trivial for the profound
While the grass is still wet outside
As I swear life’s grandeur is best unexpressed