She is leaning against the wall of tears, smelling the silence of worn walls.
She is leaning against the wall of tears, smelling the silence of worn walls.
She is leaning against the wall of tears, smelling the silence of worn walls.
She is leaning against the wall of tears, smelling the silence of worn walls.
She is leaning against the wall of tears, smelling the silence of worn walls.
She is leaning against the wall of tears, smelling the silence of worn walls.
She is leaning against the wall of tears, smelling the silence of worn walls.
She is leaning against the wall of tears, smelling the silence of worn walls.
She is leaning against the wall of tears, smelling the silence of worn walls.
She is leaning against the wall of tears, smelling the silence of worn walls.
The Poet

Integral - Poet - Jungian Thinker

“I have been writing poetry and making art since I was a little girl. I became a scholar, a wife, a mother, an old woman – and now hover in an ambiguous world of riddling opposites, which I painstakingly try to capture in lullabies of thought and image.

Like Basho, I know no other way than the way of poetry and art”.

Louisa Punt-Fouche is a poet, first and foremost. She writes poetry, prose poetry, haiku, haibun and academic writing.

She explores the mysteries of life with the mystery of us through our timeless relationship with Nature, other sentient beings, and the end of life itself. Louisa uses a stream-of-consciousness writing style. There is a resonance between her understanding of Jungian thought, Tibetan Buddhism, the Vedas, Analytic Phenomenology, Integral Reflection and Deep Ecology.

Louisa writes in Carrying Sand to the River,

The process of becoming human is reminiscent of a spiralling labyrinth (mandala) in which we experience the presence of all the structures of consciousness with ever-deepening clarity and transparency. This process is an account of the nascence of a new reality rendering transparent our origin, our entire human past, and the present, which already contains the future.”

 

For me, the process of search is laborious and painful.  At the same time, I feel that it is guided by beauty whilst being aware that the ‘product’, the incidence, is not necessarily beautiful.  Only sometimes are there glimpses of an absolute and transient reality that invokes an experience of ‘suchness’ – a feeling that the infinite has been poured into the finite yet glows with something beyond the limited.

 

In this sense, my writing is non-conceptual and intended to provoke a direct encounter in the reader. This reading causes a move from observer to ‘participant’ in the lived realities of direct encounters with the ‘living mandala’. It is intended to allow reciprocal perception and impartation of truth, developing transparency of the world and the human experience that stirs something in us”.

 

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When a word is born as a dragonfly,
it snags memories, myths and metaphors
with razor-sharp mandibles from mid-air –
in calculated aerial ambushes
with a keen stare in slow motion
and a ferocious dare to feast on gnats.
 
Oh! may my words be born as these freaky fliers
with marvellous multifaceted eyes –
to perceive the ultraviolet
on top of blue, red and green
haunting the elusive human dream
of resting in the hovering.

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Here in the forest of immediate presence, sensuousness is the language of all.
Here in the forest of immediate presence, sensuousness is the language of all.
Here in the forest of immediate presence, sensuousness is the language of all.
Here in the forest of immediate presence, sensuousness is the language of all.
Here in the forest of immediate presence, sensuousness is the language of all.
Here in the forest of immediate presence, sensuousness is the language of all.
Here in the forest of immediate presence, sensuousness is the language of all.
Here in the forest of immediate presence, sensuousness is the language of all.
Here in the forest of immediate presence, sensuousness is the language of all.
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