I wrote these poems while still quite young, and very much in love, and loving the way our bodies “meet and mingle” when making love. I loved the “lean lines” and “anxious angles,” the patterns we made spread across the bed.
I was fascinated by how the masculine and feminine forms complemented each other. It inspired the following drawing, something I was playing around with at the time, enjoying the lean look of pen on paper.
A Pleasing Design
I find satisfaction in form,
In bare geometric patterns,
In line upon line bisecting line,
In spacious planes spread out and open.
I like this silky stretch of skin,
Simple curves and supple cones,
I like the firm feel of your flesh,
Swollen contours, anxious angles.
Mostly I like the intricate pattern
We create, stripped bare and essential
The piling planes and lacing lines,
The way we meet and mingle,
When one fine ray of you cuts
Clean through me, and within that
intersecting interlude we come
To a common and satisfying point.
By Deborah J. Brasket
Since I wrote this poem, I’ve learned something of “Sacred Geometry,” which seeks to synthesize the feminine and masculine principles of the discipline.
Medieval representation personified Geometry as a seated woman surrounded by the implements of her art, as depicted in some of the artwork shown here.
“Geometry as a contemplative practice is personified by an elegant and refined woman, for geometry functions as an intuitive, synthesizing, creative yet exact activity of mind associated with the feminine principle. But when these geometric laws come to be applied in the technology of daily life they are represented by the rational, masculine principle: contemplative geometry is transformed into practical geometry.”
Several love poems I wrote at the time involves the “topography” or “geography” of love, exploring each other’s bodies as if exploring an intimate landscape, with all its hills and streams, forests and caves, and vast flowing deserts.
Even then, so long ago, I was fascinated by how the human and natural worlds interconnect, and seem to complement each other.
I like the lay of your land.
You stretch before me
in large and rugged proportions.
The sheer volume of your mass
with its vast and varied landscape
is an irresistible invitation
to explore you.
You are shaped of firm and fertile earth
pressed lovingly round solid granite.
I lay my face close to smell
the sweet and salty scent of you
And there I hear
low, deep rumblings
of subterranean waters.
I trace you with my finger to find
Sudden softness, deep impenetrable forests,
and parts of you so finely chiseled
I must stop and marvel.
When I touch you my hand spans continents,
for there’s no lusher garden,
no sweeter field,
no depth more resounding,
nor peak more pure
than what I find in touching you.
I rise and hover over you like a cloud
then slowly, gently, cover you with my body.
I feel the touch of skin on skin,
your warmth rising through me
and press so near I hear
Your heartbeat in my body.
I am spilling with the rich fill of you,
Knowing all my sweet and wild secrets lie
Ever open to the finger of exploration.
Then I find within the far-off orb of your eye
a space so vast and distant,
and long to explore
the intangible reaches of your mind.
By Deborah J. Brasket
NOTE: This post was part of a series that originally were supposed to be part of a series of love poems to celebrate April as National Poetry Month. Eventually it morphed into something else–a memoir of our marriage, or an anatomy of love as it evolves over time. Below are all five posts in the series, which seem to cover married love in all of its manifestations: Innocent love, erotic love, disappointed love, love lost, love renewed, and love that lasts. The last one was Freshly Pressed.