CCApoet

C.C. Arshagra’s Manuscript projects are some ten years in the making, His published works conprise only a small portion of C.C.’s life long artistic plan to leave this world a body of work. In the realm of books to appear in print, there are well over 15 Manuscript Projects by Arshagra on the table.

The book next to print is The Oxygen Garden / Subtitled: Love Nature Poetry. The Oxygen Garden is a collection of poetry, five years in the creation .

The next collection of poems is to be published in volumes. The first of these is Sex Comes Happily After; subtitled The Integrity of Erotic Poetry I. The second in the series is The ManWomb / The Integrity of Erotic Poetry II, The third Nothing Lies Between Us / The Integrity of Erotic Poetry III. All three books above are works in progress.

The next poetry series in Arshagra’s ever expanding manuscript collections is The Poetry of Good-Bye. Volume one’s subtitle is self-titled. Then Nothings’ Gone / The Poetry of Good-Bye II, followed by To Hear the Quiet / The Poetry of Good-bye III. All three books are works in progress. The Poetry of Good-bye series now contains a forth book title There Is No Hate.

This 4th book in the series in now on the front burner. This book will likely go to print first, do to the recording of The Jew Christian, Muslim Song. C.C. writes 'I must here acknowledge and thank my great friend Brian Haley for pioneering the manifestation of this recording.' (See the creation of C.C. Arshagra and the SAY, C.C.'s first poet band.)

Arshagra was once quoted in the press saying. “ I plan to spend my life on leaving a body of work.”

Amongst the manuscripts in progress is C.C.’s first book of mainly poetic prose titled The Shakespeare Killings and subtitled: The Macabre of Being A Writer. Within each piece of this collection a character, object, or place named Shakespeare comes to meet its end, death, ruin, or demise.

This author's most surprisingly successful, longstanding and artistic collection is named In The Key of Listen. Many lessons of writing have bore their way to the fore of his passion to write, through this collection. For each poem in ‘In the Key of Listen is about a person.

Most all of the artists portrayed have been personally known, admired and loved as a friend or fellow creative beings. Within this collection of poems are the only poems Arshagra has seriously considered destroying the original poems of. Noting: It is one action to write a poem to or about someone, but it is quite another deed to immortalizing a person.This difference brings profound responsibility to bare. The ‘In the Key of Listen’ poems are Portrait Poems.

And so, for many of these poems, they simply cannot be a poem about someone. Ultimately, such poems can not be included in this collection 's publication. And thus C.C.'s feeling on destroying them came to bare.

The trials, and tests, and lessons born here are fused to the power and responsibility of the pen. And not to forge a favorable description of ones image, or of a history of favors all less than completely true; all for some patronage of survival. It is one thing to paint a portrait of someone. But to write a portrait with words is quiet, according to this poet. A different means of both opinions and impression. Not to mention giving voice to the dead in an attempt to heal what may be an immortal wound. The prominent poems in this collection to date are Jan Kerouac / In the key of listen, The late daughter of the late Jack Kerouac, Brother Blue the Story Teller / In the key of listen, A legendary storyteller and being. A man Arshagra often refers to as his father of humility. And one of the most unsung artist in America. Multi-media pioneer Aldo Tambellini / In the key of Listen, a dear and close friend whom C.C. had befriended when Aldo was still in his early sixties. C.C. believes no poet worth the salt if his or her artistic integrity, should ever write a portrait poem of anyone by request or consignment. It should be the lone and sole decision of the artist.

The works of C.C. Arshagra are definitely not limited to the printed page.
A 1990's project style linked to an idea and dream some twenty-two years old now. Back when music videos where a new thing. It has been a part of Arshagra’s life for some time now and a strong part of his lyric writing project Raw As When A Poet Sings and The Cinema of Pen. When first written, the intention was to shoot on camera and edit to produce a film. The original idea produced poems where the subject, the characters, the dialogue, the setting, the lighting, the lighting changes, the pans and tilts and zooms and framed compositions were all written seemlessly into the poem, all directives included. But by the time the experimental style reached The Cinema of Pen # 8 some-thing happened. The piece stood alone. C.C. now plans to rewrite the early Cinema of Pen poems. Bringing the poetic gift of these poems to the previously written mini screenplay poems. He also continues writing new ones for the collection. The project manuscript titled The Cinema of Pen is subtitled: Poetry as Film.

As for some of the rest of the collections of poetry written by C.C. Arshagra, they pose the question “What to do with all the rants, and pain riddled poems, the fury of poems raging into the pit of our inhuman world, our ruined phsyhe, our criminal cizilization, our ways of war, hatred and so called justified murders. Well, these fall into the manuscripts titled Killing What You Do Not Understand / Adult poetry I , F*ck This Book – Not You. Not the Children / Adult Poetry II, Poetry In Prison / Adult poetry III, The book of Fanatical Poems / Adult Poetry III.

And then there is more and more …. The Abduction of Psyche, The Father Gander Project, PMF Prime Motivating Factor, Poems for Spare Change, Member of Society, and of course The Lyric Writer Project – a print companion to Raw As When  A Poet Sings.