Art enriches the experience of a poetical vision, to take you on a journey of the soul and colour your imagination to experience the wisdom that each poem brings.
SEVEN LUMINOUS PATHS presents author Tom Rubens at his most creative. His unique voice, that performs such original and distinctive poetic manoeuvres, will delight and fascinate readers. Tom’s works will unravel the intricacies of the secret mind and declare to the reader their inner self through poems that reveal life-meaning to ourselves living within a bewildering, wider world.
Panoramas of the mind
Art enriching the experience of a poetical vision, to take you on a journey of the mind and colour your imagination, to experience the wisdom that each poem brings.
Themes of the book
- Clear path from present to past
- Human beings are creative—artistically and technologically
- Reflecting on the powers of the natural world
- Recalling at the mental perspective of our early years
- Examining the difficulties of being in love
- Thoughts on mortality
- Different scenes, different lights: a synthesis of the author’s experiences and lines of reflection
Narrative arc of the book
Each poem has its own purpose—which is to frame and present a mindset, leading to a new path of self awareness in the reader. Some poems leave the audience with a lasting and powerful single thought to ponder on, whereas others encourage the reader to interpret in his/her own way
Compelling features of the book
- Art with poetry is an unusual combination to appeal to a broad creative market, which also appeals to museums, galleries, gift shops and independent bookshops.
- Specific interest to Humanist and Philosophical groups
- Discussion of the relationship between the current affairs of today and their connections to historical knowledge
- The combination art and words will appeal across multiple generations
- Insights into emotional states, particularly relevant with respect to anxiety and depression due to coronavirus lockdown requirements
- This work enriches English contemporary poetry by revealing the pleasures, consolations and sense of wonder that the author’s words bestow
Sample poem from the collection
Watching Los Olvidados
( A Mexican feature film about urban poverty and delinquency, made in 1950, directed by Luis Bunuel)
The heavy black and glaring white
of monochrome nearly 60 years old
Still emits the naked quickness
in shout and sprint
Of school-less boys and youths:
Miniature lords of unpaved, dusty
and low-roofed streets
Far from the city’s opulent, hazy towers.
Also from the celluloid
Teems the heat of Mexican noon
Continuously gripping the maze of
Fissured house-walls and makeshift
doors and fences.
Beneath sub-tropical sky,
The young are encaved
In urban hinterland which
Induces raw whim to
strike and grasp,
And stifles thought of what
May lie beyond the current minutes.
Almost encaved are we too,
The viewers plushly seated;
But, of course, not quite, as
we inevitably ponder
The twisting of the young vitality
we see depicted:
The muddying of the streamlet,
The encrusting of the petal—
All, again, of six decades ago.
‘The Illumination’ trilogy:
Harvest the Light: A young man’s enlightenment and reactions
Wide Illumination: A university student’s encounters
Into Full Sunlight: A Romantic novel
Essays (on political, economic and social issues)
The Spirit of Meliorist Reform
Progressive Secular Society: And other essays
Global Modernity: And other essays
Tom Rubens says…
I have been writing poetry for a long time, and have had work published in anthologies and in booklet form. Because my other (and extensive) work is in prose, I find poetry composition a huge release from the various sober conventions which prose-writing imposes. untrammelled experimentation in vocabulary, syntax, textual form and extensive use of figurative expression, these are the things which the writer is liberated into when s/he makes the foray into poetry.
Also, I see the poem as achieving a more concentrated impact on the reader than is possible in prose. This is because the poem generally requires much more verbal economy, and therefore less physical space, than does prose. The combination of brevity and expressive force is, I think, always the mark of a good poem.
Through attendance at poetry-group meetings and public events, I have met leading poets such as Danny Abse and John Heath-Stubbs, I have been especially influenced by the philosophical frame of mind in which Heath-Stubbs wrote. However, I’d hesitate to call any poem ‘philosophical’ in any strictly formal sense, since I don’t think the word points to any one specific genre of poem.
As regards novels that have influenced me, one cornerstone is W. Somerset Maugham’s ‘Of Human Bondage’ (1915)