Kintsugi of the heart

What would you be if you were never broken?
Ordinary, Safe, Prosaic
What would you feel if there were no cracks to let life breach through you?
Birthing innovation.
Shattered we become, sometimes; it’s true.
Some people stay that way and some people build a new.

Some damaged people cry not knowing what for;
lash out at those that would hear their plight
challenge their state
We become dependent of the surety of staying desolate
demons never abandon;
Nothing seems more terrifying than becoming,
a little death waiting at the end of each journey
and then what?

Defective Foundations built upon other defective foundations;
giving to sweet collapse
A little bottle of lovers tears
left in lieu
of a courage to endure that couldn’t be given…


So why not be broken for a while?
Clean up and then restore

Leave. No. Trace.

Infrastructure clear of shrapnel; it’s body
beautified by blemish
Mended – not perfect, you’ll never be the same
Good gods why would you want to be?

Breakage and repair; These cracks are our history
Let your seams tear, let your safety fall away;
you were never meant to be NORMAL anyway
Golden joinery; silver and gold dancing through fractures
embroidering your soul with imperfect perfection.

Everyone forgets,
How; to act, to let go; to exist
to love
It’s okay.
Perhaps these moments of shattering
are just the reminders we need
to continue on.

“Kintsugi is the Japanese art of fixing broken pottery with lacquer resin dusted or mixed with powdered gold, silver, or platinum. As a philosophy it speaks to breakage and repair becoming part of the history of an object, rather than something to disguise.

Not only is there no attempt to hide the damage, but the repair is literally illuminated… a kind of physical expression of the spirit of mushin….Mushin is often literally translated as “no mind,” but carries connotations of fully existing within the moment, of non-attachment, of equanimity amid changing conditions. …The vicissitudes of existence over time, to which all humans are susceptible, could not be clearer than in the breaks, the knocks, and the shattering to which ceramic ware too is subject. This poignancy or aesthetic of existence has been known in Japan as mono no aware, a compassionate sensitivity, or perhaps identification with, outside oneself. ”


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