www.1001TopWords.com |
Elephants in the Sky and Four Poems
Elephants in the Sky [1980s, Lee Evens in Mali, Timbuktu/Africa] Advance: Lee was discharged from the Army in 1980, whereupon, he traveled the world, one of those locations was in Mali, by the legendary city of Timbuktu; whereupon he found himself in the middle of a plague, a plague of locust. [Diary-review] There were swarms of locust over the top of my car, in front of me, swarms, a dark shadow covering the sky, descending, descending onto the road-in front of me, behind me, it was locusts, locusts, locusts-locusts everywhere: so thick, thick as layers that my car was slipping and sliding as if on ice. My radiator was being blocked, plugged by these finger-sized carcasses. I had to pull over to the side of the road. It was but a moment thereafter when I saw some adolescents down the road a bit, not too far, just a little ways, three of them trying to beat them off with their belts, pants belts. Then one resorted to a stick, a stick I say, would you use a stick? To be honest, I'd run I think; anyhow, he took a stick to beating them off, while the other used their hats, hands; they were dropping down like hail onto them from all sides; down and sideways: bombarding them like creatures from outer space, like in the bible, where it mentions such things happening back in the days Moses: the plagues God bequeath upon the pharaoh. This was like that; they were in their hair, noses, ears, climbing up their pants legs, flying straight for their mouths. The whole area was becoming infested with them [them: being, those locust creatures]. They were becoming as thick as the walls of Troy-twenty feet thick. I turned the engine of my rented car; it spit and sputtered a bit, then came to a dead stop, a burping stop. I could not see the boys, only a cocoon of these creatures several inches thick around them-like mummies; they now rolled about on the ground like dying lions, screaming. For a hundred miles around I had heard they were eating up the crops before anyone had time to harvest them; catastrophic damage to all the crops, as the new generation of larvae appeared-thus widening the dimensions of the one-hundred mile radius to possibly two-hundred miles (soon). But now they were on top of my car: yes, yes, yes, on top of my car; under it, all over it, and in the fields beside me, on the road. I was but twenty-five miles outside of Timbuktu. Ah! what would you do? As far as I knew, there was no means of spraying available to kill them, nor any other treatment, why that occurred to me, is beyond me, I mean who gives a shit, I'm in the middle of it; yes, yes, no equipment as supplies were of a minimum and vehicles were scarce-I was lucky to have secured a deal with this jeep. I was witnessing farmers beating the locust into trenches; what more could they do? Sweating them from all sides, and running, I mean running, like the boys should have done. Now I'm breathing in the hot air in the jeep, it seems to me I'm recycling my own air. In the five-mile area they covered most everything; there were at least, must have been at least, couldn't be less than 250-million locust I figured (insects); hoppers, yellow winged hoppers-crazy and manic hoppers, as if they were on a sugar high. That would be a weight volume of 5000-elephents dropping from the sky. I had a lot of time to figure that out, for the most part, let's say hours watching these hoppers fly and descend, trying to eat my tires-trying to get into the jeep and eat me. 'Try, try, try,' I said, '?fuck you all I said.' [Entry] "I was in Timbuktu a few days ago, on my way back to Timbuktu now, I had been in the countryside-where theses creatures were breeding, I am not sure where it was in particular, but it was in Mali where they had breed I do believe-first, someplace in Mali. I was doing what I love to do, checking out some old writings that were found in one of the old mud houses in Timbuktu; realizing at one time Timbuktu was a Mecca for learning for the Muslims, or better put, Islamic cultured; on the old Silk Road you could say. I was eager the phenomenon would move east, away from me, to Sudan or Chad, or all the way to Egypt; move away to anyplace, but out of Mali and for sure, away from Timbuktu in particular. I was surprised there was not a humanitarian crisis alert, or if there was it didn't look like it; where was the United Nation's vehicles? The trick is to kill them before new generations developed, thus stopping them in their tracks from breaking into other places-countries, and a new cycle starting. The crops I knew would be gone soon in the south and now in this area as well, if they were not yet, and should they go east-well, let them worry about that." They leaped like little elephants on the hood now, hood of, of my car; they looked, looked into my windows, deep into my windows, nose against the glass, as if I was eatable, somehow I got the sense (Note: they had the scent I suppose) they knew I was trapped in the car, for I was for sure. But I remember what Solomon told me in Egypt, Cairo a few months back, should something like this occur-so it was somewhat forecasted-and it was now developing: anyhow he said, "('?should this occur?') Try to make it till morning, when everything cools down." I figured the wingless 'hoppers' the new breed, were developing now in the fields around me as the adult yellow ones could be seen flying about eating, and killed by whomever (the farmers and gosh, that was about it for now). [The Big Hopper: diary entry] One big hopper gazed through my window, must be the size of a sparrow-(I'm writing this down as he's looking at me). At its sight I saw its milky eyes, they followed me, then I realized it was somewhat blind, I mean, its eyes gave out a yellowness to it, as if it had cataracts, its lips trembled from old age, it mumbled something, as if talking to itself, then it stood aside to let the younger ones peer in on me. "Come?súh!" (Note: the author translates for the bug) the big one said (smiling an amiable grin). Thus, with apprehensiveness my eyebrows were quivering with my nervous system was wacky. Panting like a dog, I was. I was so bewildered?! I ended up looking out the window for the longest time?blankly; then turning my head demurely to see if any of those hoppers where in back of me-sneaking up on me; were getting inside the jeep. My eyes could not relax from this insidious invading force, if anything was quite disarming?this was, but then what would you expect, harmony in the middle of an earthquake? What would you expect? I found myself drifting at times, but I knew I couldn't go to sleep. I mean who could? There I sat behind the wheel, crouched forward to peer through the blinding storm of locust; these hoppers were like rain sheets hitting the windshield quicker than the wipers could fan it clean. My palm and forehead had a glossy mist to it. It was now mid-afternoon, and they were hot, it was hot, I was hot, everything, even the car was hot, and thus, morning would be my best time to make my move, when they'd be cooled down, down in the crops around me-quiet. Hence, I had turned my car off and I'd leave my car off, the suspense would come in the morning when I'd have to try and start it again. -[2:00 AM] I must had fallen to sleep, and an automatic clock in my head woke me up, it was inky dark out there, outside my windows, hence, I started my car up, it choked a bit, but it started, and I noticed my water gage going up, as if a water hose was plugged or ripped. I turned the car off. I didn't want to make too much noise, just get out of here and get back to Timbuktu: I figured they'd follow the crops, and bypass the city; oh possibly a few million might divert themselves to the city, but that is not bad; I mean, what is a million when you got 249-million more. I knew they were all on the cool ground and in a few hours they'd be in the air again-over me again; and should they decide to stick around I'd die of a heat stroke I figured, sooner than later that is, sooner than they'd get a chance to eat me. I opened my car door slowly, pacifying the moment; shinned a flashlight on the road beside me, there were many about-sleeping, quiet, almost stone-still-could I have hummed them to oblivion, I would have; but I could walk around them for the most part I figured, and I did, did just that, then I opened the hood of the car, slowly, quietly, with more gentleness then I ever knew I had, as if it was a woman, looked at the hose, and several hoppers flew in my face, I had glasses on, they poked at my eyes nonetheless, I said nothing, nothing at all, just swatted them away with the rag I had in my hand-and I didn't use much force in doing that. One hose had a small crack in it. I knew I'd lose water, all the water I had in the car in about five miles should I not prepare it, with twenty miles left to go should I not fix it-I'd be worse off than now, I'd be stranded right in their pathway. The engine was covered with the winged hoppers, I want to say answer swear word but I can't, I'd wake them creatures up surely; I had waked them up-a few of them up already, and they started to fly out and about clearing a passage to my hose. They were not jumping on me, just a few, trying to crawl up my pants legs-tickling me here and there: attacking my glasses though; I think they like glass, but just a few, nothing to get alarmed about I told myself. I tried not to open my mouth, a few seemed to spot it when I took in a deep breath of air-as if they had radar, consequently, they zoomed right at it, I had to spit them out as when they hit my face their legs seemed to have found their way into the crevice of my mouth. Then I got an idea, I opened my trunk up, took out a five gallon can of gasoline, in this country you always carry extra gas, water and food, always lest you find yourself in some deserted location, as I have at this very moment; I poured it on the side of the road, up about two-hundred-feet leading into the fields, then on my way back I took my first aid kit, put the white tape-normally used for bandaging wounds-put it around the hole in the hose (not making a sound), and started my car up, at the same time I lit the gasoline by throwing a match out of the window onto the road, and I hit the accelerator to fifty-miles an hour (its as fast as my jeep would go ((it was an old US Army jeep they must had purchased it from some Army surplus garage)) and I watched the road and fields explode with lightening-like fire behind me. Yes, yes, yes, behind me was a windless fire breeding into the fields, eating hoppers while sleeping, roasted grasshoppers: yes, yes, yes they woke up, this horde of hoppers woke up to a French-fired position I'm sure; to them I expect it was their 'Pompeii,' and shall talk about it for a thousand years to come in this region of the world; to me it was salvation; oh yes, it is what legends are made out of in the hopper-world, I'm sure-I got a mouth full of toxic fumes which was the only curse of the predicament for me, and a bonfire galore as I raced to Timbuktu. When I got to the city, it was locked up tight, everyone afraid to come out of their mud huts. I knew I couldn't tell them I had lit the fire-for my sake; they'd make me pay for the corps I suppose (after the crisis was over I'm sure; for humanity has a short memory when it comes to thank-you's and money). But I think they were happy to see it was all over, and a few heard my jeep motor, for slowly one by one, a few came out of their shops until the whole main street was out looking about with their doors open, ready to run back in a moments notice. I had expected them to invade the city somewhat-somewhat expected to, as did the residents, but none did; and they did head east. Hence, had I told them about me lighting the fire, they'd have roasted me in it, so my silence, or intuition was right on. Four Poems by D.L. Siluk Just a quick word on the poetry you are about to read: sounds and images appeal to the mind, they have overtones. As every poem I do believe is a short story, and every short story is a novel, and every novel has a song to it, these you are no different here. The other good thing about poetry, I do believe is, is that it is personal, so you get to know the author a little. Extract the poetry you extort the heart, mind and soul of the author. Each idea within the poem, is in essence, an experience. Sinking to the Ground I became like a bird I became part of the loneliness I became part of the sky; When it rained, I became When it thundered, I became That is the path one takes Slowly one sinks into As you wait, and wait #595 [3/25/05] Topsy-turvy Drinking is the subject. #594 Raped Moan When the mind has no discipline Satan understands this poem He cries for rage to be free #593 [3/25/04] Burnt-Out Cars rust, building decay, roads break, People starve the world round That's just the way it is for us. Look how the birds, deer live #592 [3/26/05] This story and these poems will be featured in future books of the author; this is the first time seeing them in print. Dennis Siluk lives with his wife Rosa in Minnesota, and Peru. His website is: http://dennissiluk.tripod.com. His books can be seen on amazon.com, bn.com abe.com Alibris.com etc.
|
RELATED ARTICLES
Getting the Most From Your Digital Camera Memory Card Imagine taking your new digital camera on a vacation and then realizing that you can barely click 20-30 images at a go. So, what do you do to avoid such a situation? The answer to this question lies in the purchase of an extra memory card or two. How To Reduce Red Eye The Easy Way With Any Pro Or Point & Shot Camera There is one simple technique any body can do to eliminate red eye. It can be done with any type of flash on any camera because red eye only happens when using flash. Red eye is the result of a burst of light causing the reflection from the back of the eye blood vessel. I'm not a doctor or an expert on eyes but you get the idea. Home Run Baseball Photography Tips Strike one! Strike two! Strike three! Things You Should Know Before Buying A Digital Camera In a traditional camera, the lens was king. If the lens delivered a decent image, exactly that image would be recorded on the film. As the original image size was limited by the film size (35mm having become the standard), you would then have to enlarge it to get any size of print. If the original was at all blurred this would be exaggerated by the enlarging process. How to Take Better Photos of Your Baby or Toddler Every Mom wants to take great photos of their babies and toddlers. We all want professional looking photos for our children without paying a fortune! This better baby photo article will help you take the best photos you can and you don't even have to own an expensive camera. Kodak CX7300 Digital Camera Quality digital cameras are becoming affordable for just about everyone these days. Kodak's entry into the low cost end of the market is their CX7300 3.2 mega pixel model. You just may be surprised at what a terrific value it is. Please read on. How To Become A Digital Photography Pro Being a professional digital photographer is a dream many people have but most lack the ambition to follow through. Still, you want to take the best digital pictures you can without forking over the cost of a photography degree. So, here are some tips to help you find the best digital photographer in you. The Arizona Desert Museum The vast beauty and richness of the desert can be easily seen in one place in Tucson, Arizona. Known as the Arizona Sonora Desert Museum ["Desert Museum"], this gorgeous and convenient site is host to a cornucopia of plants, birds and animals native to the desert. Home to more than 300 animal species and 1200 plants in natural settings, it is a photographer's paradise. Digital Camera Bags - Purchasing and Using Some compact cameras are small enough to fit in your handbag or pocket, but I still recommend purchasing a camera case. It will save your camera from unnecessary wear and tear. 9 Tips For Taking Great Digital Photos Introduction Digital RAW Workflow for Beginners Having an efficient work flow is essential for photographers. In the days of film, many of the tasks in the film work flow were handled by the lab. Now, more and more photographers are switching to digital and have to handle many of these tasks themselves. The purpose of this document is to provide a basic digital work flow for working with RAW images that is camera and system independent.Most modern digital SLR cameras, and some point and shoot models, have the ability to record the RAW data from an exposure, allowing the photographer to process the images as they see fit. This can be a daunting task, especially for those who don't have a work flow in place to handle the images from the camera. The following steps will take you through the process of setting up your own RAW digital work flow.Work flow Step 1: Compose and ExposeYour digital work flow begins before you ever sit down at yourcomputer. One of the best things you can do to make your work flow more efficient is to get as much of your image perfect in the camera as possible. Many digital photographers have fallen into the "I can fix it on the computer" trap. This costs you time and money. The more time you spend "fixing" a photo after you've tripped the shutter, the less time you are spending with clients.Here are a few tips to help reduce your workload from the time you make your exposure:Set your white-balance to match your scene. If you get the proper white-balance in the camera, you won't have to adjust it later on the computer. See your camera documentation for how to set a custom white-balance. Remember to set your white balance whenever you change lenses, or the quality of light. If you change modifiers, or lenses, change your white-balance as well.Expose for the highlights. Since digital acts similar to slide film, its easy to accidentally blow your highlights. By exposing for the hot parts of the image, you'll save yourself some time in the long run.Scan your frame. Get in the habit of doing a top-to-bottom scan of your frame before you trip the shutter. This will help you avoid stray hairs, lights in your frame, reflectors being visible, and anything that you might have to clone out of the image later.Work flow Step 2: Importing and Backing Up Your ImagesThere are many ways to get your images from your camera to yourcomputer. Some people use a card reader that will read the images off the memory card from the camera. Others connect the camera directly to the computer and import the images directly. No matter how you get the images to the computer, your first step is to setup an organizational structure for the images and create a backup copy of the RAW files for safety.First, create a folder to store your image files. In our studio, we use the folder name to organize our images. For instance, let's say we are importing images from a portrait session with Jane Doe that took place on January 1st, 2005. Our folder name for this session would be P_2005_DoeJane_0101. If we also did a portrait session with John Doe on the same date, our folder would be named P_2005_DoeJohn_0101. This allows us to keep our images organized in a way that we are familiar with. Use whatever folder structure you like, as long as it helps you keep things organized.Next, we will create the folders under our P_2005_DoeJane_0101 folder that we will use during the course of processing the images. We create the following folders: RAW, WORK, and JPEG. The final file structure looks like this:-+P_2005_DoeJane_0101-|-RAW-|-WORK-|-JPEGThe RAW folder holds our RAW image files, the WORK directory holds the processed TIFF files where we will do all of our editing, and the JPEG folder holds the completed files, ready to be uploaded to the lab.Copy the images from your camera to the RAW folder using whichever method you prefer. As soon as this initial copy is complete, make a backup copy of these images. Some photographers backup to writable CD-ROM or DVD discs. Other photographers backup to a separate backup hard drive. No matter what method you choose for your backups, they are CRITICAL. Make sure you can recover your images if something should happen to your memory card.Work flow Step 3: Verify Your BackupYour backup copy of the RAW images files is important. Take a moment to verify that you can read the images you copied to your backup medium. Once you have verified your backup medium, you may proceed with the work flow.Work flow Step 4: Culling the HerdConverting the images you never want the client to see wastes time and money. Use your preferred image browser to go through the RAW images and delete any that you know you won't use. Don't worry about deleting the wrong file, that is why we made a backup. If you delete a file you wanted, just bring it back from your backup.Once you have selected your "keepers" from the RAW images, it is time to move on to the next step.Work flow Step 5: File ConversionMost cameras come with software specifically designed to convert the RAW image data from its native format into TIFF files, JPEG files, or some other format that is compatible with the popular image editing software.At our studio, we convert the RAW images into 16-bit TIFF files,because we like to have the maximum amount of data available forediting and processing. Your needs may vary. There are many articles on the Internet that deal with the different file formats and the pros and cons of each. For the purpose of this tutorial, we are going to assume that the files are being converted to 16-bit TIFF files.We now open the software that came with our camera and set it toconvert our RAW image data to 16-bit TIFF files, and save them in the TIFF folder we created in Work flow Step 2. This step can be time consuming, so we often go out to eat while the images from a session are converting.Once the conversion is finished, you will have a folder of 16-bit TIFF files to do editing and retouching on. We use TIFF at our studio because it is a loss less format. That is, we can save the file as many times as we like without degrading the image quality. JPEG is a lossy format, every time you save a JPEG file, you lose a little more data to compression.Work flow Step 6: Editing and RetouchingThis step of our work flow is where the real work is done. You will open each TIFF file in the image editor of your choice and make sure your colors and exposure are correct, the crop is the way you want it, and the image is ready for printing. At this point you will make any edits to the image, such as changing the crop, converting it to black and white, or doing any needed retouching.If you use the TIFF file format, you can save as many times as you need to during this process without having to worry about losing image quality.Once editing and retouching is done, save your work file and move on to the next step.Work flow Step 7: Saving the Production FileOne of the cons to working with 16-bit TIFF files is that they take up an incredible amount of disk space. Once we have reviewed the images with the client and ensured that no further edits/retouching need to be made, we convert the TIFF file to a JPEG production file for archive purposes and sending to the lab.Open the TIFF file in your preferred image editor and save your file as a Baseline Level 10 JPEG in the JPEG folder we created earlier. Why not save as a Level 12 JPEG, you might ask. When printing your image, there is no discernible difference between a level 10 JPEG and a level 12 JPEG. Try it for yourself and see.Once your files are saved as JPEGs, move on the the next step.Work flow Step 8: Backup Your Production FilesThis is a good time to make a backup (either to CD/DVD, or to another hard disk) of your JPEG production files. This ensures that you have a copy of all your hard work and if something should happen to the original files, you know you have a good backup.Work flow Step 9: Cleaning Up the RAW and Work FilesOnce we know we have a good backup of our production JPEGs, we delete the entire WORK folder and the entire RAW. This frees up the large amount of space that TIFF files require and leaves us with a manageable set of files from the job. However, we have already made backup copies of the RAW files and the JPEG files, so if we ever need to re-edit an image, we have the materials to do so.Work flow Step 10: Final TouchesAt this point our production JPEG images are ready to print or send to the lab. Make any final adjustments to the image size and print or upload your images.Final ThoughtsWith an efficient digital work flow, handling large amounts of digital images is easy and relatively stress free. I hope this tutorial has given you some ideas on how to best setup your own RAW digital work flow. Picture Framing for Photographers - Part 1 Imagine being able to frame all your own photographs just as well as a professional. You can save enough money to easily pay for all the necessary tools, and the convenience of being able to do it yourself frees you from having to get someone else do it. If you're an amateur a mount cutter, a frame clamp and a hand-operated frame joining tool is all the equipment you need to make professional looking frames. These days the tools are easy and safe to operate, inexpensive, and give you a good result. Picture framing can be divided into four areas. Cutting the bevel mount, cutting and joining the frame, mounting the photograph, and fitting and finishing the job. The tools required to perform each one of these functions are as follows. Traveling to Europe with Your Digital Camera? The Vacation Season is fast approaching and naturally you will be taking your digital camera along for the journey. After all your vacations are far and few between and it is nice to look back on those memories as you slave away at your job. However, when you travel with a digital camera, it is a completely different experience from that of traveling with a film camera. This is a lesson that far too many travelers seem to be learning the hard way, especially if you're traveling to Europe. After a couples years of relying solely on digital camera for taking photos when I travel, there are things you should consider before you head off on your next trip. Tiny Cameras, Big Pictures and Make Your Photos Great! The path to picking a digital camera usually leads to a fork in the road. On one side is the small camera that's convenient to carry but doesn't take the sharpest pictures; on the other, a camera that crisply catches all the details and color but is comparatively bulky. Sometimes it's our fault that our photos didn't work out; we didn't notice distracting, extraneous objects in the image or forgot to ask for a certain pose. Sometimes it's the camera's fault; as impressive as many of today's cameras are, they're not perfect. And sometimes it's no one's fault; some lighting situations are just plain impossible to control. The Beauty of Nature Photography Nature is all around us, and its beauties are unlimited. In this fast-paced world of mocha-lattes and traffic jams at rush hour, too many of us take the beauty of nature for granted. Luckily, there are still people in the world who see this beauty and choose to share it with those of us that are too busy to normally take notice. Poets and photographers are great at this. They take what seems like the ordinary and present it to us in a way that shows us the elegance, the magnificence and the amazing that is on this rock we call Earth. Disposable Underwater Cameras Disposable digital and film cameras (also called single-use cameras) provide a cheap and easy alternative for photographers. They offer an option for times when you don't want to risk your expensive equipment but you do want to take some photographs. For example, what could be a scarier combination for a photographer than an expensive piece of camera equipment and water? While professional underwater photographers (or serious hobbyists) are willing to spend a lot of money on their underwater cameras, what about the rest of us? Disposable underwater cameras offer an inexpensive alternative. After all, we may only want to take pictures one time on a snorkeling vacation. Why should we have to buy or rent a lot of expensive equipment? How Can I Preserve My Lifetime of Memories in Photographs? Like most folks you have probably have organized and sorted your photos atleast once. The problem is they never seem to stay organized no matter how hard you try, and even if they do they seem to lack that original impact that they had shortly after you took them or if they do, you never drag them out until sadly, someone passes on. Sepia Toned Prints from Your Colour or Black and White Photos ? 5 Minute Digital Fix Quite often I will have clients bring in old photographs of their "elder" relatives that were taken before colour photography was around. How to Easily Select the Important Photography Category for Your Home Based Business You may have already started to make money from your photography, but if you are still a gifted amateur, then there are effective methods you can use to kick start your chances of making a profit. At the present time there has never been more opportunities for the photographer. New technologies in the form of digital cameras are changing the face of the industry. However that has always been the case for photographers, and it is no reason to get discouraged. Your Mobile Digital Darkroom ? Five Tools of the Trade While digital photography offers you the ability to review photograph instantaneously, it also offers you the added convenience of editing photos on the fly as well. |
© Athifea Distribution LLC - 2013 |