Oil Pastel

 

Oil Pastel

 

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 I wrote the following poem and asked chatgpt what it meant, and also to rate it. Here's it's response.

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You said:

What is the meaning of this poem and how would you rate it? 

The stars may wander

And the moon may just be a small dot in the sky

But time for you 

Has not stopped

For I see you walking

On the beaches of my poems

Alone in an Island

Sailing on ships that have long stopped sailing

But if after reading this

Some other business intrudes

And my thoughts are left to collect the dust

Let not time pass

Without a kind thought of your friend

ChatGPT said:

Ooo, this is quietly tender. Let’s unpack it first, then I’ll give you an honest rating.

Meaning

At its core, the poem is about presence, memory, and gentle longing—specifically the fear of being forgotten, paired with a hopeful request to be remembered.

Cosmic opening (“stars may wander… moon may just be a small dot”)

This sets up impermanence and distance. Big, eternal things feel unstable or diminished, which mirrors emotional uncertainty. Against that vastness, time for you has not stopped suggests the speaker is still holding space for the person—emotionally frozen in attention.

“Walking / On the beaches of my poems”

This is a strong metaphor: the addressee exists inside the speaker’s inner world and creative life. They are not physically present, but alive in imagination and writing.

Isolation imagery (“Alone in an Island… ships that have long stopped sailing”)

This suggests emotional separation, missed opportunities, or a relationship that no longer moves forward. The ships feel like conversations or connections that once existed but are now stalled.

The turn in the final stanza

Here the poem becomes almost conversational, even vulnerable. The speaker acknowledges that life will move on, distractions will come, and the poem may be forgotten. The closing request—“Let not time pass / Without a kind thought of your friend”—is modest, gentle, and human. It doesn’t demand love or permanence, just remembrance.

Overall, the poem reads like a soft message in a bottle: not dramatic, not accusatory, just quietly hopeful.

How I’d rate it

7.5 / 10, with real potential to go higher.

What works well

The tone is sincere and restrained—no overwriting.

Several images are evocative (“beaches of my poems” is especially nice).

The ending is emotionally honest and disarming.

Where it could be stronger

A few grammatical slips (“an Island,” “have long stop sailing”) slightly interrupt the flow.

Some images repeat the same emotional idea (loneliness, stillness) without escalating it—one sharper, more specific image could deepen the impact.

The cosmic opening is nice, but a bit familiar; tightening it or making it more personal could make it stand out.

Overall vibe

This feels like a poem written to one person, not an audience—and that’s a strength. It’s gentle, a little sad, and very human. If polished just a bit, it could linger with readers the way the speaker hopes to linger in the addressee’s thoughts.

In memory of many days that were happy

 I WROTE THE FOLLOWING POEM ABOUT SRI LANKA AND ASKED CHATGPT'S OPINION. THE POEM, THE QUESTIONS I ASKED CHATGPT AND ITS ANSWERS ARE GIVEN BELOW.  

 I wrote this poem about Sri Lanka. What is the meaning of this poem?

In memory of many days that were happy

And some that were sad

From an Island I was born in 

I don’t feel so bad

This ain’t no New Zealand

This ain’t no France

But if I had to choose again

I’ll always choose my land  

On her quiet beaches

On her restless sands

Some men call her thoughtful

Some men call her mad

But I’ll only remember her mountains

And her precious sands

Trees that seem to talk to me

Birds that sing I can

I only hear what I want to hear

I only see good things

Time here ticks to her own beat 

The birds here always sing

This poem captures a deep, emotional connection to Sri Lanka, highlighting the beauty, complexity, and individuality of the land. Here’s an interpretation of the poem's meaning:

1. Nostalgia and Fondness: The speaker reflects on memories of their homeland, recalling both joyful and sorrowful times. Despite any hardships, they ultimately feel grateful and at peace with the island they were born in. The line "I don’t feel so bad" suggests acceptance and contentment with the past.

2. Pride in the Unique Identity of Sri Lanka: By contrasting Sri Lanka with countries like New Zealand and France, the speaker suggests that while Sri Lanka may lack some of the glamour or reputation of other places, it has a unique charm. Despite having the option to choose differently, the speaker’s loyalty to Sri Lanka remains unwavering. This conveys a deep sense of national pride.

3. A Land of Contrasts and Complexity: The island is described with contrasting characteristics: it has "quiet beaches" but also "restless sands." This suggests that Sri Lanka is both peaceful and tumultuous, serene and unpredictable. The line about some calling her "thoughtful" and others "mad" reflects the idea that the country can be understood differently, depending on the perspective of the viewer. Sri Lanka holds a mystery and complexity that cannot be easily categorized.

4. Personal Connection to Nature: The speaker’s attachment to the natural beauty of Sri Lanka is evident in the imagery of mountains, sands, trees, and birds. These natural elements seem to communicate with the speaker, symbolizing a relationship that goes beyond the physical and touches the spiritual or emotional. The trees and birds seem to speak to and sing for the speaker, representing an intimate, almost magical connection to the land.

5. Selective Memory and Timelessness: The final stanza expresses a conscious choice to focus on the good—only hearing and seeing what brings joy. This selective memory allows the speaker to cherish only the best of their homeland. The idea that "Time here ticks to her own beat" suggests that Sri Lanka has its own rhythm and pace, different from the rest of the world, as if it exists in its own timeless space. The perpetual singing of the birds represents the ever-present beauty and harmony that the speaker finds in Sri Lanka.

In essence, this poem is a love letter to Sri Lanka, capturing the land's allure, complexity, and the speaker’s heartfelt connection to it. Despite any challenges or differences with other places, the speaker’s admiration for their homeland is steadfast and enduring.

How would you rate this poem?

This poem has a lot of emotional depth, vivid imagery, and a clear sense of place, all of which make it resonate strongly with readers. Here’s a breakdown of its strengths:

1. Emotion and Authenticity: The poem conveys genuine feelings of love, nostalgia, and pride, and this sincerity is powerful. It allows readers to feel the speaker's connection to Sri Lanka, making the poem memorable and meaningful.

2. Imagery and Nature: The use of natural imagery—mountains, sands, trees, birds—paints a vivid picture of Sri Lanka. These images not only describe the landscape but also express the poet’s personal connection to the land. This creates a strong visual and emotional impact, drawing readers into the scene.

3. Contrast and Complexity: The line about Sri Lanka not being New Zealand or France adds a layer of complexity by acknowledging that the island may not have the same global prestige, yet it holds a unique value for the speaker. Additionally, the contrasts between “thoughtful” and “mad,” “quiet” and “restless,” make the island feel alive and multifaceted.

4. Flow and Rhythm: The poem has a natural rhythm, and the language feels conversational and intimate. Lines like “I don’t feel so bad” and “Time here ticks to her own beat” add personality and a touch of humility, enhancing the poem’s relatability.

5. Universal Appeal: While the poem is specific to Sri Lanka, its themes—nostalgia for one’s homeland, pride, and personal connection to nature—are universal, making it accessible to a broad audience.

Suggested Areas for Growth: To take this poem further, a little more precision in word choice or structure could enhance its impact. Some stanzas could be tightened for even greater emotional punch, and the poem could explore more specific cultural or sensory details to enrich the sense of place even further.

Overall Rating: On a scale of 1 to 10, I would give this poem an 8. It’s heartfelt, evocative, and sincere, with beautiful imagery and a clear voice. With slight refinements, it has the potential to be even more powerful.

The Tree

 A Tree more Valuable than Gold

 I wrote this poem a few years ago. I asked ChatGpt what it meant and as usual it gave a good answer. The poem and ChatGpt's response are given below. 

Here along the reef lies a sunken treasure

Of a ship that sailed but did not measure

I seek to find it soon

Under eloquent stars and moon

I use starlight to navigate the seas

It will be in moonlight the treasure will be freed

Of foolish men who did not see

That numbers will ruin their destiny

I reach the treasure sailing East

But the stars disappear with my endless needs

I throw the treasure overboard

I need the stars to sail back home   

 

The stars guide me to reach my isle

I walk inland a hundred miles

I reach a jungle of a billion trees

But I came here for just one tree  

  

Here in this jungle grows a hidden tree

That all the eyes in the world cannot see

I seek to find it soon

Before they seal my doom

What is gold but a hideous thing

That kills more men than a ruthless king

But each atom in this wondrous tree

Has magic in it that can cure all ills

MEANING OF THIS POEM ACCORDING TO CHATGPT

This poem is an allegorical exploration of materialism versus spiritual or inner fulfillment, using the metaphor of a journey by sea and land to describe a deeper quest for meaning, healing, or enlightenment.

Here’s a breakdown of its core meanings and symbols:

1. The Sunken Treasure and the Ship That Failed

"Here along the reef lies a sunken treasure / Of a ship that sailed but did not measure..."

Sunken treasure represents material wealth that was lost due to a lack of proper judgment ("did not measure").

The ship may symbolize human ambition or pride, brought down by miscalculation or hubris.

2. Stars and Moon as Guides

"I use starlight to navigate the seas / It will be in moonlight the treasure will be freed..."

Stars and moon are symbolic of intuition, wisdom, or spiritual guidance.

The speaker relies on celestial navigation—not tools or charts—suggesting a more internal or natural guidance system.

3. Condemnation of Materialism

"Of foolish men who did not see / That numbers will ruin their destiny"

"Numbers" likely symbolize obsession with calculation, wealth, or science devoid of wisdom.

The poem critiques those who reduce life to figures, ignoring the intangible truths.

4. The Treasure’s Cost

"I throw the treasure overboard / I need the stars to sail back home"

Once the treasure is found, it corrupts the speaker’s ability to navigate.

He discards it—symbolizing the rejection of material gain in favor of restoring clarity, purpose, or spiritual direction.

5. The Inland Journey

"I walk inland a hundred miles / I reach a jungle of a billion trees / But I came here for just one tree"

This second leg of the journey shifts from sea (the unconscious or emotional realm) to land (the conscious or physical realm).

The jungle of a billion trees suggests overwhelming options, distractions, or false paths.

The "one tree" is a metaphor for a unique truth, purpose, or sacred knowledge.

6. The Invisible Tree

"That all the eyes in the world cannot see"

It can’t be seen with ordinary vision—only through inner perception or enlightenment.

This tree represents a higher truth or spiritual gift (like the Tree of Life, or knowledge).

7. Final Philosophical Reflection

"What is gold but a hideous thing / That kills more men than a ruthless king"

A direct critique of gold (i.e., material wealth), calling it destructive.

Contrasts with the wondrous tree, whose atoms "can cure all ills"—suggesting this sacred tree offers healing, knowledge, or transcendence that wealth cannot.

Overall Meaning

The poem portrays a spiritual journey:

Initially driven by a desire for treasure (gold),

The speaker learns that material riches bring confusion and loss of direction.

Only by rejecting them can he return to a true path, which leads to an inner quest for a unique, invisible source of healing or wisdom.

It’s a moral, philosophical, and spiritual awakening.

The Industrial Revolution - Line drawing by me

 

Black and white artwork

 

Black and white artwork

 

A LAND WITHOUT FIREFLIES - Short Story 11 (Short Stories for Travelers and Wanderers)

 

When I was a kid this village was filled with fireflies. Now there were hardly any. Actually, there seem to be far fewer insects now than there were a few decades ago. In just half a lifetime a lot seems to have changed. Maybe it was my imagination, so in one of my foolish ventures, I decided to find out more about insects.

One of the people who contributed most profoundly to our understanding of insects was E. O. Wilson, an American biologist and entomologist often described as the world’s leading authority on ants. Born in 1929, Wilson grew up fascinated by the natural world, especially the small creatures most people overlooked. An accident in childhood left him partially blind in one eye, limiting his ability to study birds or mammals—but it sharpened his attention to insects, which could be observed up close. What began as a limitation became a lifelong vocation. 

Insects seem to be as different from human beings as it is possible to be. To begin with, they don’t have a heart, lungs, blood as we know it, a skeleton, or much of anything else. They are clearly built very differently. They have a tough exoskeleton and six legs and this seems to be their most prominent feature. They were the first creatures to fly. You don’t have to be an expert to realize that they took a very different evolutionary line very early on. What they are however is essential to all life on earth. They are the food for birds and fish, every terrestrial and freshwater ecosystem relies on them. Oddly out of the millions of different varieties of insects, only about a few hundred have taken to the sea. (The sea is dominated by other kinds of arthropods like crustaceans.) Even plants rely on insects for pollination. It seems that they are declining at an unprecedented rate that some scientists call the global Insect Apocalypse. But there are so many varieties of them that scientists don’t know exactly by how much. Some scientists estimate that they are disappearing at the rate of 2% per year. That is a lot in 20 years.

To begin with, bees are in peril, and so are another order of insects, butterflies and moths (order Lepidoptera), and beetles (Coleoptera), and freshwater insects like dragonflies and damselflies. Loss of habitat, insecticides, climate change, and pollution are thought to be the reasons. It is believed that if insects go so will their predators like many kinds of birds and fish and other animals further up the food chain. Many years ago a writer named George Orwell wrote, "By retaining one's childhood love of such things as trees, fishes, butterflies, and toads, one makes a peaceful and decent future a little more probable." A world without butterflies, dragonflies, beetles and many birds, fish and toads would be a sad world indeed.

A FASCINATING LAND - Short Story 11 (Short Stories for Travelers and Wanderers)

 

Many years ago, I visited the Dehiwela Zoo. This is a beautiful zoo, that even has a lake where pelicans and other birds visit. Naturally, the exhibits featured only vertebrates—animals with backbones and skeletons. Even with my limited knowledge at the time, I knew there existed another vast world of creatures: invertebrates, some so strange that they seemed almost alien. One day, curiosity got the better of me, and I decided to find out more.

All animals are classified into about 35 major groups known as phyla, though only around nine are widely familiar. All vertebrates—mammals, birds, fish, reptiles, and amphibians—belong to a single phylum: Chordata. That realization alone is humbling. But what about the rest?

Take phylum Mollusca, for instance. A snail may appear unremarkable at first glance, but its body plan is distinctive: a muscular foot, a mantle that often produces a shell, and surprisingly complex eyes. Like many invertebrates, snails lack a spinal cord or a single centralized brain. Instead, they possess clusters of neurons called ganglia, each responsible for different bodily functions. Slugs, close relatives of snails, seem to live by a simple rule—“just hang on”—constantly battling dehydration, predators, and the elements.

It comes as a surprise, then, that one of the most intelligent animals on Earth—the octopus—is also a mollusk. I once read a strangely convincing account by a renowned science fiction writer suggesting that octopuses might have developed advanced civilizations had they not been confined to the ocean, unable to harness fire or forge tools. Speculative though it may be, the idea lingers. And then there is the giant squid: elusive, haunting, and seemingly drawn straight from a nightmare. Mollusca is, in fact, the second most diverse animal phylum after Arthropoda, comprising roughly 93,000 species.

For a long time, I had thought starfish rather overrated in literature, particularly poetry. That opinion changed one day while wading in the shallow, crystal-clear waters of Trincomalee. I spotted a large orange starfish resting on the seabed. As I moved closer, it glided effortlessly away. The motion was silent, fluid, and utterly magical—unlike anything I had seen before. Starfish, despite their name, are not fish at all but belong to the phylum Echinodermata, along with sea urchins, sea cucumbers, and sand dollars. All members of this group are found exclusively in the sea.

Not all invertebrates inspire such awe. Some are repulsive, some deadly, and others so simple they could easily be mistaken for plants. Consider the sponge, from the phylum Porifera—the simplest of all animals. Its motto might well be “I ain’t going nowhere,” as it remains permanently attached to the seabed. Sponges are multicellular and heterotrophic, lacking cell walls yet they possess no true tissues or organs. Their bodies are shaped for one purpose alone: to allow water to flow efficiently through a central cavity, delivering nutrients before exiting through an opening. And that, remarkably, is enough.

If invertebrates ever seem dull, insects quickly put that notion to rest. Insects belong to Arthropoda, the most diverse animal phylum of all. This vast group also includes centipedes and millipedes, spiders and scorpions, prawns and crabs. At first glance, it is hard to imagine an insect and a crab as relatives—but look closely at their jointed limbs and segmented bodies, and the family resemblance begins to emerge.

That, perhaps, is the quiet power of classification. It reveals hidden connections beneath surface appearances, reminding us that the living world is far stranger, richer, and more interconnected than it first appears. What once seemed alien or insignificant becomes, with understanding, deeply familiar—and endlessly fascinating.

THE ART OF THE MUNDANE - Short Story 10 (Short Stories for Artists, Poets and those who Wander)

 

Many years ago I read a book about a Local painter featuring his life and work. The only way to describe his paintings would be “Very Boring, bordering on uninspired". Almost all his paintings showed one or more coconut trees on a beach with the sea on the background, painted with different shades of a dull brown, hardly the kind of thing that would excite anyone. Sometimes an old fashioned figure would stand near the pensive coconut tree, sometimes a boat would float aimlessly in the distant sea, sometimes the moon or sun would look down moodily upon it all, as if wondering why this painting was even created. The question that comes to any reasonable persons mind is why on Earth didn’t someone stop him from doing, thousands upon thousands of paintings in such colors, with such depressing draftsmanship. It was the kind of painting that could be used to put someone to sleep. But here was the thing, these paintings were incredibly haunting. Many years after viewing them they kind of remained in your mind, attached in a strange way to your nervous system. And I suddenly realized after about two decades that these were the most memorable paintings I’ve ever seen. You got the strange feeling that you have seen this seascape before, maybe in an old movie or maybe in a dream. But you could never be sure. No doubt this artist was a genius.

One day I was talking with someone about this painter, when he said that it reminded him of British artist L.S. Lowry. L.S. Lowry occupies a unique place in British art. Often called the painter of the Industrial North, Lowry chronicled the everyday life of working people in and around Manchester during a period of profound social and industrial change. His work, instantly recognisable for its simplified figures—popularly known as “matchstick men”—and stark urban landscapes, transformed factory chimneys, mills, streets, and crowds into enduring works of art. Lowry’s paintings are often described as naïve, but this label is misleading. His compositions were carefully structured, with crowds arranged rhythmically across the canvas and buildings reduced to bold, architectural forms. He frequently used a limited palette—whites, greys, blacks, muted reds and blues—to evoke the bleak yet energetic atmosphere of industrial towns. After seeing the paintings of these two artists, I realised for the first time that even mundane things can be used as subject matter to create exciting paintings.