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Tim Kavi begins his mountain journey to find the Goddess, and encounters Her everywhere in Emerging Goddess (2011). From the ruins of ancient Greece, to the Holy Mountains, and out in the everyday world--his poetry encounters the Sacred Feminine. These love poems celebrate the Goddess in a stand alone collection that was followed by ...
Tim Kavi begins his mountain journey to find the Goddess, and encounters Her everywhere in Emerging Goddess (2011). From the ruins of ancient Greece, to the Holy Mountains, and out in the everyday world--his poetry encounters the Sacred Feminine. These love poems celebrate the Goddess in a stand alone collection that was followed by Ascending Goddess (2012) and will be followed by the forthcoming titles: Revealed Goddess and The Early Goddess Poems of Tim Kavi.
Table of Contents for Emerging Goddess
Love Among the Ruins
Graceful Appearing sweet goddesses (you are everywhere)
Angels at Night
The Mighty Writer
Night and Day
Gentle Rain, She is You
Sacred Goddess sweet goddess, making haste to you
Goddesses Revealed in Nature and Art goddess lies sleeping teachers of love
Sirens of Love
Some Dreams are Real
Artemis the bridge
Coming There destiny's twisted roads; love's triumphant will
Goddess of the Lake
Dreams of Love
Lovely Woman: what goddess you are!
Gentle Loving One
The Completed You and Me
The Goddess in You
About the Author
Posted March 20, 2013
Tim Kavi's Emerging Goddess offers an extended poetic engagement with the sacred feminine on a variety of existential planes. Many of the shorter poems swirl recursively around the long poem "twisted roads; love's triumphant will," an emotional core of the work in which the speaker narrates the process and motivation for his acceptance of the Goddess. In this poem and others--like "Goddess of the Lake"--the poet plays with his intimate knowledge of the face of China's landscape and incorporates its mythology into the structure of his song. Kavi also blends Greek, Japanese (see "Benzaiten Aphrodite"), Abrahamic, and Mayan mythologies into a truly pantheistic and cosmopolitan vision of acceptance.
Many of Kavi's poems are paratactic in structure, analogic of the speaker's desire to shed ego and converse with his Muse sans artificiality or a restrained movement of thought. The octave of couplets in "Gentle Loving One," however, demonstrates a tightening up and is indicative of the book's range and variety. Perhaps recalling Keats on rhyming as mimetic of the mirroring that takes place during a kiss, in "the bridge" Kavi uses a triad of stanza-ending rhyme to emphasize the Goddess's unifying capacity: "walking/ across/ the abyss// was more/ precarious/ than the/ surety/ of your kiss// that/ brought/ me across/ the oceans/ to your bliss" Each stanza walks across the white space--mimic of the abyss--to find completion in thought and sound. In "Romantic Poets" the speaker declares "I am only a poet/ in your embrace . . . for without you/ there is no rhyme."
Embraced by the Goddess, "all/ former/ dualities/ pass away" ("Lovely Woman: what goddess you are!"). In Emerging Goddess, Kavi implicitly takes his place among monistic artists like Whitman, Nietzsche, and Robert Graves. He may tip his hat to Whitman's "I Sing the Body Electric" at the start of "Goddess in You," as the speaker watches a singing manifestation of the divine. One of Kavi's strengths is his ability to occupy all registers of meaning, and poems like "Beautiful dresses" offer earthly, lustful, unabashed complements to the platonic ones. Indeed, throughout the book Kavi creates a dialectical interplay between Goddess/goddesses, spirit/body, myth/history, time/space, etc., and then entertains as he transcends the dichotomies. These poems are palliative and hopeful, moved by a sensitive and loving mind