Flowers of Jasmine

How do I know you – rather, how have I not known you
We share breaths of jasmine, and I’m certain these atoms
were once yours as mine
If we kiss, is it the kiss between sexes?
Or do I, divine brother, kiss myself?

Does the sex of my thigh excite you so
being my atoms?
Do your particles recall the pleasure of my now absent
I smell your perfume, that divine jasmine –
recalling my smell that was once yours

The blades of grass glide in subtle agreement
remembering our bodies
Pressed lips – the atoms mix and entwine
Your breath again mine
Is this not love? Or communion?

I feel my brother interposed between my mind
our consciousness
There shall I dwel – safe inside
your beautiful flowers of jasmine


8 thoughts on “Flowers of Jasmine

  1. I love language, the fluidity of words marked up and mixed to form true self with inward strength, and right here I find that same language in the way you express and keep each respected note and quality to every word. It is also in the way you write above, in the responses to your poetry, it is quite captivating really.

    • Wow, I wish I knew how to respond other than “I am humbled.” I feel that you are describing your poetry, not mine. However, I am hued crimson by your words. Every comment here is special to me, so your presence is most welcome and deeply appreciated.


    • Ah, Ginsberg… Please see my The Importance of Obscenity in Allen Ginsberg’s Poem “Howl.” 🙂 I’ve wrestled with loving and loathing Ginsberg, but I feel it’s because I didn’t fully understand the importance of the obscenity at the time he wrote it. During my American Lit II class, I singled out Ginsberg for one of my research papers specifically because I didn’t get it. I probably still don’t, but the research helped me understand the “loving” that I felt towards him.

      If you have a few, check it out; it’s in the “Literary Analysis” section on here (this was written early in my studies, so it’s a bit… unruly).

    • I just did some quick research on that book and it is very intriguing. I will need to pick it up after I finish these “Leaves of Grass.”

      And thank you so much for your comment! It’s nice to know that we are not screaming into the void. 🙂

      • you’re right – it’s very nice indeed.

        Re Ghazals: Robert Bly has also written several books of them in the past few years. The nice thing about Ali’s “Ravishing DisUnities” is his being a real stickler for what the traditional form actually is – Bly trys to at least approximate it, but many English-speaking poets tackling the form do not.

      • Re Ghazals:

        The one critique on Amazon was that the poems adhered too strictly to the form, but that doesn’t worry me much. I can see the disregarding of form from English speakers, particularly when borrowing forms not native to English. This is something I’ve noticed with the haiku poets as well.

        As for me, I’ve been enjoying working with meter and form a lot recently. Most of my recent poems were common meter with variations where I thought they enhanced the meaning of a line. How do we know that we’re breaking rules when there are none to break!?

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