Simon Mol

BEFORE DAWN

It should be a Dream. Isn’t it?

And when, Chloe, will I alter?

Tell me it is and I will soundly sleep.

Pray, promise I will soar… someday hear the bombs weren’t rained

that these dehumanised remains were instead reflections of rain-clouds

in temporary grotesque shapes before Thor laughed them away.

Will I one morning, upon rising, hear babies’ cries call warriors to rescue?

-- perhaps on a nearby Sphere…

If ever, will I, on a gentle morning find my trodden Humanity gently clasped in the folds of my arms as on that day a dead while ago, before I was born?

I wonder Chloe… Chloe I wonder.

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The Chief Refugee

To jest test

"New Warsaw Express"

Poland is not known as a very welcoming place for immigrants, but Simon Mol is among those working hard to change things. A published poet, journalist and the chairman of the Association of Asylum Seekers in Poland, he's been striving to get local bureaucracy to alter its generally unsympathetic treatment of refugees for almost five years now.

AND THE CITY SPOKE’ at HAMPSTEAD

Yes Cities do speak! They did at Hampstead theatre, London —October 29th-30th, 2004. I never thought this was possible until me and Vietnamese poet resident in Warsaw, Nguyen Dinh Dung joined other fellow exile writers and poets in London for a cutting edge theatre production featuring our works neatly knitted together by German-born theatre director Ernst Fischer, now resident in London.

Simon Mol at the Hampstead Theatre, London - II

A piece of the play: The Poem that rocked Hampstead Theatre

Performed by Simon Mol and Senaite Golo (Eritrea)

Scene opens with fast drumming in the background. Lights fade out. Senaite, dressed in black from head to toe, is sitting on a chair under a spotlight light. As the drumming gathers momentum Mol rushes from behind the curtain. As he shouts ‘Africa’, the sound of the drum reduces. As he repeats, ‘Oh Africa!’, he removes his cap and throws it to the floor. He spirals around with an undulating voice that vibrates with each word according to its significance. At the line, ‘When will Ashanti drums scare the foe’, he pauses so the audience can hear the drum speaks for itself. Getting to ‘Arise Might One!’, Senaite rises slowly from her sitting position and joins Mol under his own spotlight. She undulates to his tune and emotion. At the last line, ‘Africa!’… Mol drops on his knees, pauses, is joined by Senaite who stoops as well, a dramatic pauses ensues before the last two words are completed; ‘… My Africa’. With both of them still on their knees, overpowered by emotion, the lone spotlight slowly fades out.

Simon Mol at the Hampstead Theatre, London - III

Simon Mol’s Script performed at Hampstead Theatre (London), Oct’ 29/30. 2004; (based on a true story).

BLACK-OUT

In the court room/waiting room(Night of Dec. 16, 2003)

Dream

I was the last mourner to board a flight that was carrying a corpse home. The corpse was that of a young Cameroonian. Under the circumstances of dream reality, I didn’t know what had caused the death of the deceased except that he had died tragically.