Fragments of Existence Unveiling Grably’s Poetic Gem

 “I see the hill - Remembering love - I see a hot air balloon - Then remember the key - And life is like a ladder, in a never ending climb - I remember the inside of a watermelon - That stinking smell of red - The same colour as our lives - The same colour of the years - And the curtain rises slowly - And the star is dying out - And the lights are turned off - And they are asleep - I think I am red - I think I am orange - I think I am a God - I think I am a flute - And he thinks he's a singer - And he thinks he's everyone - And he thinks he's the centre - I think he's a coordinator - Everyone told him he's like that - And he thought he was thin - The lamb in me, - Ate all the poisonous grass, - And died, - All that's left - Is the splash of spit - And all his money - Was invested against the law - And every night, - I return to my death, - And die - At first with heavy breathing, - Until my soul soars, - Through my bones. - And only the undertakers live - And miss out on their day of birth - In the mere act of sleep - Man returns to the essence of his being, to his birth - My heart gave out 7 throbs, - And died. - I took it out with trembling hands, - And buried it. - Dripping its blood, - I set out on my way, to the wars.”

Ehud Grably 1977

This is a remarkably visceral and haunting poem written by Ehud Grably at the astonishingly young age of sixteen in 1977. Despite his youth, the piece already exhibits Grably’s profound preoccupation with the existential themes of life, death, identity and the fragility of human existence through surreal, symbolic imagery and an unflinching perspective. The cyclical motifs of life blossoming and then dying or expiring permeate the poem. The “hot air balloon” giving way to the “dying star,” the repetitive cycle of nightly deaths before rebirth each morning. There is a sense of the human spirit making peace with its own mortality. Grably uses vivid colour associations, such as “I think I am red” and “I think I am orange,” as well as varied personifications, such as “a God,” “a flute,” and “a singer” to convey a restless struggle with defining one's essential self against social projections of identity. Highly visceral, unsettling images recur, such as the “stinking smell of red” watermelon flesh, the lamb eating “poisonous grass” until death, the vivid depiction of Grably’s heart expiring with a final “7 throbs” that he then buries with “trembling hands.”. There is no shying away from the corporeal truth in Grably’s poetry. Despite the philosophical depth, there remains a strain of adolescent angst and nihilism in Grably’s poem, like the anarchic line “all his money was invested against the law,” and the closing image of permanently setting out for “the wars,” while leaving his metaphorical death behind. Grably's poem remarkably distills many of the powerful themes, such as a confrontation with mortality, alienation, self-searching, and dark humour, that would come to define Grably's avant-garde artworks years later. Even at the age of sixteen Grably evinced the same boldness and discomfort with surface realities that produced his later challenging artworks. Grably’s 1977 poem serves as an invaluable window into the philosophical origins of his transgressive creative mindset.

Grably’s poem is a profound meditation on life, death, identity, and existential struggle, resonating deeply with various philosophical and jurisprudential themes. Drawing parallels between this poem and existential and ontological themes also provides a nuanced understanding of Grably’s existential inquiries and their broader moral, ethical and legal implications. The poem's imagery aligns with existentialist themes of absurdity and the search for meaning in an indifferent universe. The constant return to death and the fleeting moments of life highlight the existential angst and the struggle to find purpose. The poem delves into metaphysical questions about being and the essence of life. The references to “Gods” and the act of dreaming versus reality suggest a contemplation of higher powers and the nature of consciousness. Jean-Paul Sartre's “Being and Nothingness” explores the existence of consciousness and freedom, and can provide a philosophical backdrop to Grably's poem, emphasising themes of identity and the human condition. Albert Camus’s “The Myth of Sisyphus”on the absurdity of life and the search for meaning parallels the poem's depiction of the endless climb and the struggle for understanding. T.S. Eliot's “The Love Song of J. Alfred Prufrock” provokes vivid imagery and existential questioning that can offer insights into the symbolic elements of Grably's poem. John Donne’s metaphysical explorations of life, death, and the divine in his “Holy Sonnets” resonates with the themes in Grably's work as well. 

The surreal imagery in Grably’s poem aligns with the surrealist movement's emphasis on the unconscious mind and the exploration of dreams and reality. Artists like Salvador Dalí and René Magritte offer visual parallels to the poem's symbolic content. The emotional depth and abstract symbolism in Grably's poem can further be compared to the works of abstract expressionist painters like Jackson Pollock and Mark Rothko, who sought to convey profound existential and emotional experiences through abstract forms. Grably's 1977 poem is a rich tapestry of existential and metaphysical themes, expressed through vivid and often unsettling imagery. The poem's exploration of identity, the search for meaning, and the transient nature of life aligns with the broader philosophical inquiries of existentialism and the abstract symbolism in contemporary art. By delving into these themes, Grably's work invites readers to reflect on their own existence and the deeper truths that lie beneath the surface of everyday life.

Natural law theory posits that certain moral principles are inherent in human nature. Grably’s poem explores the most fundamental human experiences of love, life, death, and existential struggle, reflecting the natural law perspective that these themes are intrinsic to human existence. The imagery of the hill, the hot air balloon, and the watermelon evokes a sense of the natural world’s essential truths. The poem’s exploration of identity, where Grably contemplates being red, orange, a God, and a flute, reflects natural law’s emphasis on individual moral responsibility and self-understanding. Grably’s poetic contemplation of different identities suggests an inherent quest for understanding one’s moral and existential essence. Legal realism emphasises the importance of human experiences and social context in understanding law. Grably’s poem delves into the visceral aspects of human life, such as the stinking smell of red watermelon, the heavy breathing before death, the undertakers missing their birthdays, mirroring the realist view that law must be grounded in the realities of human existence. The poem’s imagery of life being a “never ending climb” and the juxtaposition of love, death, and existential struggle reflect the complex and multifaceted nature of justice. Just as legal realism argues that justice cannot be understood in isolation from social realities, Grably’s poem suggests that understanding human existence requires grappling with its inherent complexities and contradictions. 

Critical legal studies (“CLS”) examine how law perpetuates power structures and marginalises individuals. Grably’s poem, with its exploration of identity and existential angst, can be seen as a critique of societal norms and power dynamics. The imagery of the lamb eating poisonous grass and dying symbolises the destructive impact of oppressive systems on individual identity. The poem’s fluid and fragmented narrative deconstructs traditional representations of reality and identity, aligning with CLS’s approach to exposing and challenging normative assumptions. Grably’s contemplation of different identities and existential states encourages readers, and viewers alike, to question and deconstruct societal norms and legal constructs. 

Existential jurisprudence focuses on individual choice, freedom, and responsibility within the legal framework. Grably’s poem, with its introspective and existential themes, parallels this perspective. His contemplation of different identities and the existential act of “returning to my death” each night highlights Grably’s existentialist emphasis on personal responsibility and his quest for meaning. The poem’s imagery of the star dying out, the lights turning off, and the undertakers missing their birthdays evokes existential confrontation with the absurd. Grably’s exploration of life’s inherent absurdity and the struggle to find meaning resonates with existential jurisprudence’s focus on navigating the tension between meaning and chaos within the legal framework. 

Restorative justice emphasises healing, reconciliation, and addressing harm through inclusive processes. The poem’s exploration of existential struggle and the act of “burying the heart” with “trembling hands” symbolises a profoundly meaningful journey towards healing and reconciliation with oneself. Grably’s imagery of life, death, and rebirth reflects restorative justice’s emphasis on transforming harm into healing. The visceral and emotive imagery in the poem fosters empathy and understanding, essential components of restorative practices. Grably’s exploration of universal human experiences invites readers to connect with the deeper aspects of their own existence and their shared human condition. Grably’s poem, much like his “atom” analogy, highlights the duality of human existence, the potential for creation and destruction, love and death, identity and fragmentation. This duality parallels the dual nature of legal principles and their application, emphasising the need for a nuanced understanding of law and morality. The poem’s vivid imagery and existential themes resonate with the fundamental human experiences that underpin various jurisprudential theories. Whether through natural law’s intrinsic values, legal realism’s contextual understanding, CLS’s critique of power, existential jurisprudence’s focus on personal responsibility, or restorative justice’s healing processes, Grably’s poem provides a profound exploration of the human condition.

Ehud Grably’s 1977 poem is a rich tapestry of scholarly inquiry, resonating deeply with various jurisprudential theories, and existential and ontological paradigms. By exploring themes of love, life, death, identity, and existential struggle, the poem invites readers to contemplate the fundamental aspects of human existence and their broader legal and moral implications. Drawing parallels to natural law, legal realism, critical legal studies, existential jurisprudence, and restorative justice, Grably’s poem underscores the profound interconnectedness of art, philosophy, and law, offering a nuanced and cathartic exploration of the human condition. Grably's 1977 poem, much like his visual art, delves deeply into themes of existential angst, identity, and the fleeting nature of life. The poem's vivid, evocative language mirrors the bold, swirling brushstrokes of his paintings, creating a palpable sense of emotional intensity and introspection. Just as his canvases are filled with abstract forms and dynamic colour contrasts, the poem's imagery and metaphors construct a complex, layered narrative that invites readers to explore the depths of the human experience. Both his literary and visual works serve as poignant reflections of his personal and cultural journey, offering a cohesive and compelling exploration of the human condition. 

Schulman, M & Various AI GPTs

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