big sweaters, ghibli, acrylic paint, cafes, knit blankets and unplanned afternoon naps on the couch, gardens, bananas, vanilla almond milk, soft yarn to crochet into ****** scarves, candles after midnight, the big trees with bulky roots, patio furniture, pianos in random buildings, the internet, manatees, the boundless colours of nail polish, peanut butter & honey, rubber boots, pens that write well, fresh new notebooks, skylights, american netflix, mothers that understand, tête à têtes, one glass of sweet white wine, awkward eye contact that turns into comfortable kissing, airplanes, fresh air, baseball caps, the female collective, the really good dark chocolate, flowers, pumpkin spice lattes and ***** chai lattes, candid laughter, yoga, oceans, high waisted shorts, striped t-shirts, docile cats, playful pups, french presses, integrity, sunscreen, meerkats, penguins, chameleons, autumn leaves, fall fashion, ruby woo mac lipstick, osho, dynamic meditation, compassion, siblings, scrambled eggs, smart phones, garageband, metronomes, hot glue guns, quinoa, ferry boats, soft hands, bicycles, real people, fat snowflakes in ample, graceful *******, backpacks that don't hurt your shoulders, hair conditioner, multi-vitamins, soft sand under bare feet, people that own up to lies, clarity, samsara, satori, samasati, visions, echinacea, lavender oil and frankincense, ambrosia apples and ripe avocados, authenticity, Morgan Freeman's voice, good kissers, *******, iced tea on a hot day, curtains, the smell of beeswax, art galleries, hand massages and foot massages, reiki, plums, mild thunderstorms, soccer *****, good surprises, when birds don't **** on your head.

An illusionist by trade, he
Could transport her from where she stands
To a magical spring rumored
To harbor manatees that turn
Into mermaids under the sun.

He needs only one volunteer
To help him spin the great machine
Until its wheels move too quickly
To see the metal spokes between
Its three hubs and rotating rims.

Two persons, four legs, and three wheels,
Travel through time and cross the space
Between the parking lot and springs –
Voila! All appear safe and sound
At the edge of Wakulla’s gem.

And in a moment – close your eyes!
Now open them to see the sun
Shining for the first time all day,
All the way down to the bottom
Where the manatees swim and dream.

The mammoth manatees awake
And begin to grow back their scales.
They transform and wait patiently
For the human girl to toss her
Wished-upon shell into the spring.

She finds the one and makes a wish,
Then closes her eyes once again,
While the practiced illusionist
Works his magic hidden by smoke,
And the shell falls from her fingers.

It floats to the coldest waters,
Slowly shifting back and forth as
Though it were swimming – and it is!
Transformed into a mystical
Creature, it sets the mermaids free.

The human girl jumps up and down
With glee at the beautiful sight:
Shimmering scales and flowing hair
Dart through water in their delight
And invite her to join and play.

The girl jumps in and kicks her feet
But must come up for air to breathe.
The illusionist watches this
From the sandy shore and he – ****!
Bubbles at her feet slowly form

Into one glittering green tail
And her hair grows several feet,
Turning to gold under water.
The girl smiles wide and dives to
Join the joyful, playful mermaids.

They jump and swim and practice tricks,
Splashing around under the sun,
But the girl missed her life on shore
And looked longingly at the sand.
The illusionist saw this, too.

Since she had been the one to free
The mermaids from their trapped bodies,
He thought to grant her one last wish
And with a puff of brim fire smoke,
She was transported back to shore.

Her adventure complete, she spun
The wheels of the illusionist’s
Magic machine and was brought home
With the help of her companion,
The great entertainer himself.

Hoes
Outing
Mostly
Everything
Cause
Our
Manatees
Instant message them
Nudes

January Colours

In the winter garden
of the Villa del Parma
by the artist’s studio
green grass turns vert de terre
and the stone walls
a wet mouse’s back
grounding neutral – but calm,
soothing like calamine
in today’s mizzle,
a permanent dimpsey,
fine drenching drizzle,
almost invisible, yet
saturating skylights
with evidence of rain.

February Colours

In the kitchen’s borrowed light,
dear Grace makes bread  
on the mahogany table,
her palma gray dress
bringing the outside in.

Whilst next door, inside
Vanessa’s garden room
the French windows
firmly shut out this
season’s bitter weather.

There, in the stone jar
beside her desk,
branches of heather;
Erica for winter’s retreat,
Calluna for spring’s expectation.

Tea awaits in Duncan’s domain.
Set amongst the books and murals,
Spode’s best bone china  
turning a porcelain pink
as the hearth’s fire burns bright..

Today
in this house
a very Bloomsbury tone,
a truly Charleston Gray.

March Colours

Not quite daffodil
Not yet spring
Lancaster Yellow
Was Nancy’s shade

For the drawing room
Walls of Kelmarsh Hall
And its high plastered ceiling
Of blue ground blue.

Playing cat’s paw
Like the monkey she was
Two drab husbands paid
For the gardens she made,
For haphazard luxuriance.

Society decorator, partner
In paper and paint,
She’d walk the grounds
Of her Palladian gem
Conjuring for the catalogue
Such ingenious labels:

Brassica and Cooking Apple
Green to be seen
In gardens and orchards
Grown to be greens.

April Colours

It would be churlish
to expect, a folly to believe,
that green leaves would  
cover the trees just yet.

But blossom will:
clusters of flowers,
Damson white,
Cherry red,
Middleton pink,

And at the fields’ edge
Primroses dayroom yellow,
a convalescent colour
healing the hedgerows
of winter’s afflictions.

Clouds storm Salisbury Plain,
and as a skimming stone
on water, touch, rise, touch
and fall behind horizon’s rim.
Where it goes - no one knows.

Far (far) from the Madding Crowd
Hardy’s concordant cove at Lulworth
blue by the cold sea, clear in the crystal air,
still taut with spring.

May Colours

A spring day
In Suffield Green,
The sky is cook’s blue,
The clouds pointing white.

In this village near Norwich
Lives Marcel Manouna
Thawbed and babouched
With lemurs and llamas,
Leopards and duck,
And more . . .

This small menagerie
Is Marcel’s only luxury
A curious curiosity
In a Norfolk village
Near to Norwich.

So, on this
Blossoming
Spring day
Marcel’s blue grey
Parrot James
Perched on a gate
Squawks the refrain

Sumer is icumen in
Lhude sing cuccu!
Groweþ sed and bloweþ med
And springþ þe wde nu,
Sing cuccu!

June

Thrownware
earth red
thrown off the ****
the Japanese way.
Inside hand does the work,
keeps it alive.
Outside hand holds the clay
and critically tweaks.
Touch, press, hold, release
Scooting, patting, spin!
Centering: the act
precedes all others
on the potter’s wheel.
Centering: the day
the sun climbs highest
in our hemisphere.
And then affix the glaze
in colours of summer:
Stone blue
Cabbage white
Print-room yellow
Saxon green
Rectory red
And fire!

July Colours

I see you
by the dix blue
asters in the Grey Walk
via the Pear Pond,
a circuit of surprises
past the Witches House,
the Radicchio View,
to the beautifully manicured
Orangery lawns, then the
East and West Rills of
Gertrude’s Great Plat.

And under that pea green hat
you wear, my mistress dear,
though your face may be April
there’s July in your eyes of such grace.

I see you wander at will
down the cinder rose path
‘neath the drawing-room blue sky.

August Colours

Out on the wet sand
Mark and Sarah
take their morning stroll.
He, barefoot in a blazer,
She, linen-light in a wide-brimmed straw,
Together they survey
their (very) elegant home,
Colonial British,
Classic traditional,
a retreat in Olive County, Florida:
white sandy beaches,
playful porpoises,
gentle manatees.

It’s an everfine August day
humid and hot
in the hurricane season.
But later they’ll picnic on
Brinjal Baigan Bharta
in the Chinese Blue sea-view
dining room fashioned
by doyen designer
Leta Austin Foster
who ‘loves to bring the ocean inside.
I adore the colour blue,’ she says,
‘though gray is my favourite.’

September

A perfect day
at the Castle of Mey
beckons.
Watching the rising sun
disperse the morning mists,
the Duchess sits
by the window
in the Breakfast Room.
Green leaves have yet to give way
to autumn colours but the air
is seasonably cool, September fresh.

William is fishing the Warriner’s Pool,
curling casts with a Highlander fly.
She waits; dressed in Power Blue
silk, Citron tights,
a shawl of India Yellow
draped over her shoulders.
But there he is, crossing the home beat,
Lucy, her pale hound at his heels,
a dead salmon in his bag.

October Colours

At Berrington
blue, clear skies,
chill mornings
before the first frosts
and the apples ripe for picking
(place a cupped hand under the fruit
and gently ‘clunch’).

Henry Holland’s hall -
just ‘the perfect place to live’.
From the Picture Gallery
redolent in portraits
and naval scenes,
the view looks beyond
Capability’s parkland
to Brecon’s Beacons.

At the fourteen-acre pool
trees, cane and reed
mirror in the still water
where Common Kingfishers,
blue green with fowler pink feet
vie with Grey Herons,
funereal grey,
to ruffle this autumn scene.

November Colours

In pigeon light
this damp day
settles itself
into lamp-room grey.

The trees intone
farewell farewell:
An autumnal valedictory
to reluctant leaves.

Yet a few remain
bold coloured

Porphry Pink
Fox Red
Fowler
Sudbury Yellow

hanging by a thread
they turn in the stillest air.

Then fall
Then fall

December Colours*

Green smoke* from damp leaves
float from gardens’ bonfires,
rise in the silver Blackened sky.

Close by the tall railings,
fast to lichened walls
we walk cold winter streets

to the warm world of home, where
shadows thrown by the parlour fire
dance on the wainscot, flicker from the hearth.

Hanging from our welcome door
see how incarnadine the berries are
on this hollyed wreath of polished leaves.

Villanelle: The Divide
by Michael R. Burch

The sea was not salt the first tide...
was man born to sorrow that first day,
with the moon―a pale beacon across the Divide,
the brighter for longing, an object denied―
the tug at his heart's pink, bourgeoning clay?

The sea was not salt the first tide...
but grew bitter, bitter―man's torrents supplied.
The bride of their longing―forever astray,
her shield a cold beacon across the Divide,
flashing pale signals: Decide. Decide.
Choose me, or His Brightness, I will not stay.

The sea was not salt the first tide...
imploring her, ebbing: Abide, abide.
The silver fish flash there, the manatees gray.

The moon, a pale beacon across the Divide,
has taught us to seek Love's concealed side:
the dark face of longing, the poets say.
The sea was not salt the first tide...
the moon a pale beacon across the Divide.

"The Divide" is essentially a formal villanelle despite the non-formal line breaks.



Villanelle: Ordinary Love
by Michael R. Burch

Indescribable―our love―and still we say
with eyes averted, turning out the light,
"I love you," in the ordinary way

and tug the coverlet where once we lay,
all suntanned limbs entangled, shivering, white...
indescribably in love. Or so we say.

Your hair's blonde thicket now is tangle-gray;
you turn your back; you murmur to the night,
"I love you," in the ordinary way.

Beneath the sheets our hands and feet would stray
to warm ourselves. We do not touch despite
a love so indescribable. We say

we're older now, that "love" has had its day.
But that which Love once countenanced, delight,
still makes you indescribable. I say,
"I love you," in the ordinary way.

"Ordinary Love" was the winner of the 2001 Algernon Charles Swinburne poetry contest. It was originally published by Romantics Quarterly and nominated by the journal for the Pushcart Prize. It is missing a tercet but seemed complete enough without it.―MRB



Villanelle: Because Her Heart Is Tender
by Michael R. Burch

for Beth

She scrawled soft words in soap: "Never Forget,"
Dove-white on her car's window, and the wren,
because her heart is tender, might regret
it called the sun to wake her. As I slept,
she heard lost names recounted, one by one.

She wrote in sidewalk chalk: "Never Forget,"
and kept her heart's own counsel. No rain swept
away those words, no tear leaves them undone.

Because her heart is tender with regret,
bruised by razed towers' glass and steel and stone
that shatter on and on and on and on,
she stitches in wet linen: "NEVER FORGET,"
and listens to her heart's emphatic song.

The wren might tilt its head and sing along
because its heart once understood regret
when fledglings fell beyond, beyond, beyond...
its reach, and still the boot-heeled world strode on.

She writes in adamant: "NEVER FORGET"
because her heart is tender with regret.



Because Her Heart is Tender (II)
by Michael R. Burch

Because her heart is tender
there is hope some God might mend her, …
some small hope Fates might relent.

Because her heart is tender
mighty Angels, come defend her!
Even the Devil might repent.

Because her heart is tender
Jacob’s Ladder should descend here,
the heavens open, saints assent.

Because her heart is tender
why does the cruel world rend her?
Fix the world, or let it end here!



Villanelle: Hangovers
by Michael R. Burch

We forget that, before we were born,
our parents had “lives” of their own,
ran drunk in the streets, or half-******.

Yes, our parents had lives of their own
until we were born; then, undone,
they were buying their parents gravestones

and finding gray hairs of their own
(because we were born lacking some
of their curious habits, but soon

would certainly get them). Half-******,
we watched them dig graves of their own.
Their lives would be over too soon

for their curious habits to bloom
in us (though our children were born
nine months from that night on the town

when, punch-drunk in the streets or half-******,
we first proved we had lives of our own).



Double Trouble
by Michael R. Burch

The villanelle is trouble:
it’s like you’re on the bubble
of beginning to see double.

It’s like you’re on the Hubble
when the lens begins to wobble:
the villanelle is trouble.

It’s like you’re Barney Rubble
scratching itchy beer-stained stubble
because you’re seeing double.

Then your lines begin to gobble
up the good rhymes, and you hobble.
The villanelle is trouble,

just like getting sloshed in the pub’ll
begin to make you babble
because you’re seeing double.

Because the form is flubbable
and is really not that loveable,
the villanelle is trouble:
it’s like you’re seeing double.



Villanelle Sequence: Clandestine But Gentle
by Michael R. Burch

Variations on the villanelle. A play in four acts. The heroine wears a trench coat and her every action drips nonchalance. The “hero” is pallid, nerdish and nervous. But more than anything, he is palpably desperate with longing. Props are optional, but a streetlamp, a glowing cigarette and lots of eerie shadows should suffice.

I.

Clandestine but gentle, wrapped in night,
she eavesdropped on morose codes of my heart.
She was the secret agent of delight.

The blue spurt of her match, our signal light,
announced her presence in the shadowed court:
clandestine but gentle, cloaked in night.

Her cigarette was waved, a casual sleight,
to bid me “Come!” or tell me to depart.
She was the secret agent of delight,

like Ingrid Bergman in a trench coat, white
as death, and yet more fair and pale (but short
with me, whenever I grew wan with fright!).

II.

Clandestine but gentle, veiled in night,
she was the secret agent of delight;
she coaxed the tumblers in some cryptic rite

to make me spill my spirit.
Lovely ****!
Clandestine but gentle, veiled in night

―she waited till my tongue, untied, sang bright
but damning strange confessions in the dark...

III.

She was the secret agent of delight;
so I became her paramour. Tonight
I await her in my exile, worlds apart...

IV.

For clandestine but gentle, wrapped in night,
she is the secret agent of delight.



Villanelle: Hang Together, or Separately
by Michael R. Burch

“The first shall be last, and the last first.”

Be careful whom you don’t befriend
When hyenas mark their prey:
The odds will get even in the end.

Some “deplorables” may yet ascend
And since all dogs must have their day,
Be careful whom you don’t befriend.

When pallid elitists condescend
What does the Good Book say?
The odds will get even in the end.

Since the LORD advised us to attend
To each other along the way,
Be careful whom you don’t befriend.

But He was deserted. Friends, comprehend!
Though revilers mock and flay,
The odds will get even in the end.

Now infidels have loot to spend:
As ****** as Judas’s that day.
Be careful whom you don’t befriend:
The odds will get even in the end.

NOTE: This poem portrays a certain worldview. The poet does not share it and suspects from reading the gospels that the “real” Jesus would have sided with the infidel refugees, not Trump and his ilk.



Villanelle: The Sad Refrain
by Michael R. Burch

O, let us not repeat the sad refrain
that Christ is cruel because some innocent dies.
No, pain is good, for character comes from pain!

There’d be no growth without the hammering rain
that tests each petal’s worth. Omnipotent skies
peal, “Let us not repeat the sad refrain,

but separate burnt chaff from bountiful grain.
According to God’s plan, the weakling dies
and pain is good, for character comes from pain!

A God who’s perfect cannot bear the blame
of flawed creations, just because one dies!
So let us not repeat the sad refrain

or think to shame or stain His awesome name!
Let lightning strike the devious source of lies
that pain is bad, for character comes from pain!
Oh, let us not repeat the sad refrain!



Villanelles by Michael R. Burch

The modern formal villanelle is a poetic form with a double refrain, although in early incarnations it was simply a pastoral poem with a refrain. The villanelle is related other poetic forms with refrains, such as the rondel, the roundel and the rondeau.



Villanelle: The Divide
by Michael R. Burch

The sea was not salt the first tide...
was man born to sorrow that first day,
with the moon―a pale beacon across the Divide,
the brighter for longing, an object denied―
the tug at his heart's pink, bourgeoning clay?

The sea was not salt the first tide...
but grew bitter, bitter―man's torrents supplied.
The bride of their longing―forever astray,
her shield a cold beacon across the Divide,
flashing pale signals: Decide. Decide.
Choose me, or His Brightness, I will not stay.

The sea was not salt the first tide...
imploring her, ebbing: Abide, abide.
The silver fish flash there, the manatees gray.

The moon, a pale beacon across the Divide,
has taught us to seek Love's concealed side:
the dark face of longing, the poets say.
The sea was not salt the first tide...
the moon a pale beacon across the Divide.


'The Divide' is essentially a formal villanelle despite the non-formal line breaks.



Villanelle: Ordinary Love
by Michael R. Burch

Indescribable―our love―and still we say
with eyes averted, turning out the light,
'I love you, ' in the ordinary way

and tug the coverlet where once we lay,
all suntanned limbs entangled, shivering, white...
indescribably in love. Or so we say.

Your hair's blonde thicket now is tangle-gray;
you turn your back; you murmur to the night,
'I love you, ' in the ordinary way.

Beneath the sheets our hands and feet would stray
to warm ourselves. We do not touch despite
a love so indescribable. We say

we're older now, that 'love' has had its day.
But that which Love once countenanced, delight,
still makes you indescribable. I say,
'I love you, ' in the ordinary way.

'Ordinary Love' was the winner of the 2001 Algernon Charles Swinburne poetry contest. It was originally published by Romantics Quarterly and nominated by the journal for the Pushcart Prize. It is missing a tercet but seemed complete enough without it.―MRB



Villanelle: Because Her Heart Is Tender
by Michael R. Burch

for Beth

She scrawled soft words in soap: 'Never Forget, '
Dove-white on her car's window, and the wren,
because her heart is tender, might regret
it called the sun to wake her. As I slept,
she heard lost names recounted, one by one.

She wrote in sidewalk chalk: 'Never Forget, '
and kept her heart's own counsel. No rain swept
away those words, no tear leaves them undone.

Because her heart is tender with regret,
bruised by razed towers' glass and steel and stone
that shatter on and on and on and on,
she stitches in wet linen: 'NEVER FORGET, '
and listens to her heart's emphatic song.

The wren might tilt its head and sing along
because its heart once understood regret
when fledglings fell beyond, beyond, beyond...
its reach, and still the boot-heeled world strode on.

She writes in adamant: 'NEVER FORGET'
because her heart is tender with regret.



Villanelle: Because Her Heart is Tender (II)    
by Michael R. Burch

Because her heart is tender
there is hope some God might mend her, …
some small hope Fates might relent.

Because her heart is tender
mighty Angels, come defend her!
Even the Devil might repent.

Because her heart is tender
Jacob's Ladder should descend here,
the heavens open, saints assent.

Because her heart is tender
why does the cruel world rend her?
Fix the world, or let it end here!



Remembering Not to Call
by Michael R. Burch

a villanelle permitting mourning, for my mother, Christine Ena Burch

The hardest thing of all,
after telling her everything,
is remembering not to call.

Now the phone hanging on the wall
will never announce her ring:
the hardest thing of all
for children, however tall.

And the hardest thing this spring
will be remembering not to call
the one who was everything.

That the songbirds will nevermore sing
is the hardest thing of all
for those who once listened, in thrall,
and welcomed the message they bring,
since they won’t remember to call.

And the hardest thing this fall
will be a number with no one to ring.

No, the hardest thing of all
is remembering not to call.




Villanelle of an Opportunist
by Michael R. Burch

I'm not looking for someone to save.
A gal has to do what a gal has to do:
I'm looking for a man with one foot in the grave.

How many highways to hell must I pave
with intentions imagined, not true?
I'm not looking for someone to save.

Fools praise compassion while weaklings rave,
but a gal has to do what a gal has to do.
I'm looking for a man with one foot in the grave.

Some praise the Lord but the Devil's my fave
because he has led me to you!
I'm not looking for someone to save.

In the land of the free and the home of the brave,
a gal has to do what a gal has to do.
I'm looking for a man with one foot in the grave.

Every day without meds becomes a close shave
and the razor keeps tempting me too.
I'm not looking for someone to save:
I'm looking for a man with one foot in the grave.



Villanelle: An Ode to the Divine Plan
by Michael R. Burch

This is how the Universe works:
The rich must have their perks.
This is how the Good Lord rolls.

Did T-Rexes have souls?
The poor must live on doles.
This is how the Universe works.

The rich must have their dirks
to poke serfs full of holes.
This is how the Good Lord rolls.

The despot laughs and lurks
while the Tyger slaughters foals.
This is how the Universe works.

What are the despots' goals?
The poor must mind, not shirk.
This is how the Good Lord rolls.

Trump and Putin praise the kirks
while the cowed mind ancient scrolls.
This is how the Universe works.
This is how the Good Lord rolls.



Ars Brevis
by Michael R. Burch

Better not to live, than live too long:
this is my theme, my purpose and desire.
The world prefers a brief three-minute song.

My will to live was never all that strong.
Eternal life? Find some poor fool to hire!
Better not to live, than live too long.

Granny ******* or a flosslike thong?
The latter rock, the former feed the fire.
The world prefers a brief three-minute song.

Let briefs be brief: the short can do no wrong,
since David slew Goliath, who stood higher.
Better not to live, than live too long.

A long recital gets a sudden gong.
Quick death’s preferred to drowning in the mire.
The world prefers a brief three-minute song.

A wee bikini or a long sarong?
French Riviera or some dull old Shire?
Better not to live, than live too long:
The world prefers a brief three-minute song.



The vanilla-nelle
by Michael R. Burch

The vanilla-nelle is rather dark to write
In a chocolate world where purity is slight,
When every rhyming word must rhyme with white!

As sure as night is day and day is night,
And walruses write songs, such is my plight:
The vanilla-nelle is rather dark to write.

I’m running out of rhymes and it’s a fright
because the end’s not nearly (yet) in sight,
When every rhyming word must rhyme with white!

It’s tougher when the poet’s not too bright
And strains his brain, which only turns up “blight.”
Yes, the vanilla-nelle is rather dark to write.

I strive to seem aloof and recondite
while avoiding ancient words like “knyghte” and “flyte”
But every rhyming word must rhyme with white!

I think I’ve failed: I’m down to “zinnwaldite.”
I fear my Muse is torturing me, for spite!
For the vanilla-nelle is rather dark to write
When every rhyming word must rhyme with white!
I may have accidentally invented a new poetic form, the “trinelle” or “triplenelle.”



Why I Left the Right
by Michael R. Burch

I was a Reagan Republican in my youth but quickly “left” the GOP when I grokked its inherent racism, intolerance and retreat into the Dark Ages.

I fell in with the troops, but it didn’t last long:
I’m not one to march to a klanging gong.
“Right is wrong” became my song.

I’m not one to march to a klanging gong
with parrots all singing the same strange song.
I fell in with the bloops, but it didn’t last long.

These parrots all singing the same strange song
with no discernment at all between right and wrong?
“Right is wrong” became my song.

With no discernment between right and wrong,
the **** marched on in a white-robed throng.
I fell in with the rubes, but it didn’t last long.

The **** marched on in a white-robed throng,
enraged by the sight of boys in sarongs.
“Right is wrong” became my song.

Enraged by the sight of boys in sarongs
and girls with butch hairdos, the clan klanged its gongs.
I fell in with the dupes, but it didn’t last long.
“Right is wrong” became my song.



What happened to the songs of yesterdays?
by Michael R. Burch

Is poetry mere turning of a phrase?
Has prose become its height and depth and sum?
What happened to the songs of yesterdays?

Does prose leave all nine Muses vexed and glum,
with fingers stuck in ears, till hearing’s numbed?
Is poetry mere turning of a phrase?

Should we cut loose, drink, guzzle jugs of ***,
write prose nonstop, till Hell or Kingdom Come?
What happened to the songs of yesterdays?

Are there no beats to which tense thumbs might thrum?
Did we outsmart ourselves and end up dumb?
Is poetry mere turning of a phrase?

How did a feast become this measly crumb,
such noble princess end up in a slum?
What happened to the songs of yesterdays?

I’m running out of rhymes! Please be a chum
and tell me if some Muse might spank my ***
for choosing rhyme above the painted phrase?
What happened to the songs of yesterdays?



Trump’s Retribution Resolution
by Michael R. Burch

My New Year’s resolution?
I require your money and votes,
for you are my retribution.

May I offer you dark-skinned scapegoats
and bigger and deeper moats
as part of my sweet resolution?

Please consider a YUGE contribution,
a mountain of lovely C-notes,
for you are my retribution.

Revenge is our only solution,
since my critics are weasels and stoats.
Come, second my sweet resolution!

The New Year’s no time for dilution
of the anger of victimized GOATs,
when you are my retribution.

Forget the ****** Constitution!
To dictators “ideals” are footnotes.
My New Year’s resolution?
You are my retribution.



Rondels, Roundels and Rondeaux are poetic forms with refrains that are related to the Villanelle.



Rondel: Merciles Beaute ("Merciless Beauty")
by Geoffrey Chaucer
loose translation/interpretation Michael R. Burch

Your eyes slay me suddenly;
their beauty I cannot sustain,
they wound me so, through my heart keen.

Unless your words heal me hastily,
my heart's wound will remain green;
for your eyes slay me suddenly;
their beauty I cannot sustain.

By all truth, I tell you faithfully
that you are of life and death my queen;
for at my death this truth shall be seen:
your eyes slay me suddenly;
their beauty I cannot sustain,
they wound me so, through my heart keen.



Rondel: Rejection
by Geoffrey Chaucer
loose translation/interpretation by Michael R. Burch

Your beauty from your heart has so erased
Pity, that it’s useless to complain;
For Pride now holds your mercy by a chain.

I'm guiltless, yet my sentence has been cast.
I tell you truly, needless now to feign,―
Your beauty from your heart has so erased
Pity, that it’s useless to complain.

Alas, that Nature in your face compassed
Such beauty, that no man may hope attain
To mercy, though he perish from the pain;
Your beauty from your heart has so erased
Pity, that it’s useless to complain;
For Pride now holds your mercy by a chain.



Rondel: Escape
by Geoffrey Chaucer
loose translation/interpretation by Michael R. Burch

Since I’m escaped from Love and yet still fat,
I never plan to be in his prison lean;
Since I am free, I count it not a bean.

He may question me and counter this and that;
I care not: I will answer just as I mean.
Since I’m escaped from Love and yet still fat,
I never plan to be in his prison lean.

Love strikes me from his roster, short and flat,
And he is struck from my books, just as clean,
Forevermore; there is no other mean.
Since I’m escaped from Love and yet still fat,
I never plan to be in his prison lean;
Since I am free, I count it not a bean.



Rondel: Your Smiling Mouth
by Charles d'Orleans (c. 1394-1465)
loose translation/interpretation/moderniz  ation Michael R. Burch

Your smiling mouth and laughing eyes, bright gray,
Your ample ******* and slender arms’ twin chains,
Your hands so smooth, each finger straight and plain,
Your little feet―please, what more can I say?

It is my fetish when you’re far away
To muse on these and thus to soothe my pain―
Your smiling mouth and laughing eyes, bright gray,
Your ample ******* and slender arms’ twin chains.

So would I beg you, if I only may,
To see such sights as I before have seen,
Because my fetish pleases me. Obscene?
I’ll be obsessed until my dying day
By your sweet smiling mouth and eyes, bright gray,
Your ample ******* and slender arms’ twin chains!



Oft in My Thought
by Charles d'Orleans (c. 1394-1465)
loose translation/interpretation/moderniz  ation Michael R. Burch

So often in my busy mind I sought,
Around the advent of the fledgling year,
For something pretty that I really ought
To give my lady dear;
But that sweet thought's been wrested from me, clear,
Since death, alas, has sealed her under clay
And robbed the world of all that's precious here―
God keep her soul, I can no better say.

For me to keep my manner and my thought
Acceptable, as suits my age's hour?
While proving that I never once forgot
Her worth? It tests my power!
I serve her now with masses and with prayer;
For it would be a shame for me to stray
Far from my faith, when my time's drawing near―
God keep her soul, I can no better say.

Now earthly profits fail, since all is lost
And the cost of everything became so dear;
Therefore, O Lord, who rules the higher host,
Take my good deeds, as many as there are,
And crown her, Lord, above in your bright sphere,
As heaven's truest maid! And may I say:
Most good, most fair, most likely to bring cheer―
God keep her soul, I can no better say.

When I praise her, or hear her praises raised,
I recall how recently she brought me pleasure;
Then my heart floods like an overflowing bay
And makes me wish to dress for my own bier―
God keep her soul, I can no better say.



If
by Michael R. Burch

If I regret
fire in the sunset
exploding on the horizon,
then let me regret loving you.

If I forget
even for a moment
that you are the only one,
then let me forget that the sky is blue.

If I should yearn
in a season of discontentment
for the vagabond light of a companionless moon,
let dawn remind me that you are my sun.

If I should burn―one moment less brightly,
one instant less true―
then with wild scorching kisses,
inflame me, inflame me, inflame me anew.



Recursion
by Michael R. Burch

In a dream I saw boys lying
under banners gaily flying
and I heard their mothers sighing
from some dark distant shore.

For I saw their sons essaying
into fields―gleeful, braying―
their bright armaments displaying;
such manly oaths they swore!

From their playfields, boys returning
full of honor’s white-hot burning
and desire’s restless yearning
sired new kids for the corps.

In a dream I saw boys dying
under banners gaily lying
and I heard their mothers crying
from some dark distant shore.



I AM!
by Michael R. Burch

I am not one of ten billion―I―
sunblackened Icarus, chary fly,
staring at God with a quizzical eye.

I am not one of ten billion, I.

I am not one life has left unsquashed―
scarred as Ulysses, goddess-debauched,
pale glowworm agleam with a tale of panache.

I am not one life has left unsquashed.

I am not one without spots of disease,
laugh lines and tan lines and thick-callused knees
from begging and praying and girls sighing "Please!"

I am not one without spots of disease.

I am not one of ten billion―I―
scion of Daedalus, blackwinged fly
staring at God with a sedulous eye.

I am not one of ten billion, I
AM!



This World's Joy
(anonymous Middle English lyric)
loose translation by Michael R. Burch

Winter awakens all my care
as leafless trees grow bare.
For now my sighs are fraught
whenever it enters my thought:
regarding this world's joy,
how everything comes to naught.



Elegy for a little girl, lost
by Michael R. Burch

... qui laetificat juventutem meam...
She was the joy of my youth,
and now she is gone.
... requiescat in pace...
May she rest in peace.
... amen...
Amen.



How Long the Night
anonymous Middle English lyric, circa early 13th century AD
loose translation/interpretation by Michael R. Burch

It is pleasant, indeed, while the summer lasts
with the mild pheasants' song...
but now I feel the northern wind's blast,
its severe weather strong.
Alas! Alas! This night seems so long!
And I, because of my momentous wrong
now grieve, mourn and fast.



Fowles in the Frith
anonymous Middle English lyric, circa 13th-14th century AD
loose translation/interpretation by Michael R. Burch

The fowls in the forest,
the fishes in the flood
and I must go mad:
such sorrow I've had
for beasts of bone and blood!



I am of Ireland
anonymous Medieval Irish lyric, circa 13th-14th century AD
loose translation/interpretation by Michael R. Burch

I am of Ireland,
and of the holy realm of Ireland.
Gentlefolk, I pray thee:
for the sake of saintly charity,
come dance with me
in Ireland!



Whan the turuf is thy tour
(anonymous Middle English lyric, circa the 13th century AD)
loose translation/interpretation by Michael R. Burch

1.
When the turf is your tower
and the pit is your bower,
your pale white skin and throat
shall be sullen worms’ to note.
What help to you, then,
was all your worldly hope?

2.
When the turf is your tower
and the grave is your bower,
your pale white throat and skin
worm-eaten from within...
what hope of my help then?


Ech day me comëth tydinges thre
anonymous Middle English lyric, circa the 13th to 14th century AD
loose translation/interpretation by Michael R. Burch

Each day I’m plagued by three doles,
These gargantuan weights on my soul:
First, that I must somehow exit this fen.
Second, that I cannot know when.
And yet it’s the third that torments me so,
Because I don't know where the hell I will go!



Ich have y-don al myn youth
anonymous Middle English lyric, circa the 13th to 14th century AD
loose translation/interpretation by Michael R. Burch

I have done it all my youth:
Often, often, and often!
I have loved long and yearned zealously...
And oh what grief it has brought me!



I Sing of a Maiden
anonymous Medieval English Lyric, circa early 15th century AD
loose translation/interpretation by Michael R. Burch

I sing of a maiden
That is matchless.
The King of all Kings
For her son she chose.
He came also as still
To his mother's breast
As April dew
Falling on the grass.
He came also as still
To his mother's bower
As April dew
Falling on the flower.
He came also as still
To where his mother lay
As April dew
Falling on the spray.
Mother and maiden?
Never one, but she!
Well may such a lady
God's mother be!



Regret
by Michael R. Burch

Regret,
a bitter
ache to bear...

once starlight
languished
in your hair...

a shining there
as brief
as rare.

Regret...
a pain
I chose to bear...

unleash
the torrent
of your hair...

and show me
once again―
how rare.



Enigma
by Michael R. Burch

O, terrible angel,
bright lover and avenger,
full of whimsical light
and vile anger;
wild stranger,
seeking the solace of night,
or the danger;
pale foreigner,
alien to man, or savior...

Who are you,
seeking consolation and passion
in the same breath,
screaming for pleasure, bereft
of all articles of faith,
finding life
harsher than death?

Grieving angel,
giving more than taking,
how lucky the man
who has found in your love,
this, our reclamation;

fallen wren,
you must strive to fly
though your heart is shaken;

weary pilgrim,
you must not give up
though your feet are aching;

lonely child,
lie here still in my arms;
you must soon be waking.



The Effects of Memory
by Michael R. Burch

A black ringlet
curls to lie
at the nape of her neck,
glistening with sweat
in the evaporate moonlight...
This is what I remember

now that I cannot forget.

And tonight,
if I have forgotten her name,
I remember:
rigid wire and white lace
half-impressed in her flesh...

our soft cries, like regret,

... the enameled white clips
of her bra strap
still inscribe dimpled marks
that my kisses erase...

now that I have forgotten her face.



The Quickening
by Michael R. Burch

for Beth

I never meant to love you
when I held you in my arms
promising you sagely
wise, noncommittal charms.

And I never meant to need you
when I touched your tender lips
with kisses that intrigued my own:
such kisses I had never known,
nor a heartbeat in my fingertips!



Ah! Sunflower
by Michael R. Burch
after William Blake

O little yellow flower
like a star...
how beautiful,
how wonderful
we are!



Published as the collection "Villanelles"

Keywords/Tags: villanelle, refrain, repetition, chorus, rhyme, sea, tide, moon, heart, love, rondel, roundel, rondeau, poetic form, poetics, poetic expression, Chaucer, Orleans, love, art, beauty, mercy, merciless, words, heart, hearts, pity, pride, prison, mrbvill, mrbrondel

There are not enough
   poems about manatees
If you are interested in human
   rights being kicked like a dog
   and justice being dragged
   through mud, you can find it
If you are interested in love
   that aches with a “burning
   heart” or a “bleeding soul”
   you can find it
If you are interested in death
   that holds out its hand
   to you like relief, or takes
   one too early, you can find it
But where, I ask, do you find
   a badger in a turtleneck?
Or a cup of coffee that doesn’t
   sound so self important?    
If you’re interested in the
   ocean or the sea or maybe
   a single “crushing wave
   of emotion,” you can find it
If you’re interested in God
  dying to save you, or God
  abandoning you to the darkness
  you can find it
If you’re interested in athletics—
   especially running towards
   dreams and horizons—and
   losing and winning, you can find it
But where, I ask, do you find
   a good left-handed centipede?
Or a wonderful, ice cold beer that
   doesn’t turn into alcoholism?
If you want to find a poem about
   how the “gray rain spills from
   the clouds like the pain”
   you can find it
If you don’t want to find a poem
   about rain you’ll still find it
   (cause those rain poems
   are everywhere)
If you’re looking for a poem
   about regret and forgiveness
   and cruel mercy making false    
   promises, you can find it
But where, I ask, do you find
   a barbarian ballerina?
Or a cigarette whose smoke doesn’t
   outline the shadows of a lost soul?  
Show me these things, show me
   a fat manatee, and I will finally
   take a deep breath and smile

You've asked me how can I see a future when love, in all
Its numinous beauty, is waning?
I reply, the immortal stars still shine above the veil of clouds.
You say, why are the salmon swimming to their pools of origin
Only to die as they spawn?  Only to die?
I tell you their love is unconditional, like mine.
You ask me did the giant sequoia know it was shelter for the burning grasses
When they walked from the seas?  I reply yes they knew.
You question me about the lofty snow cranes that fly over the Himalayas
And I reply by describing
How the priestly flocks, chanting on their mission, honk—
Announcing the mantle steps to the heavens.
You inquire about the elephantine manatees gracing the shallow banks
And wonder if the sea mermaids remember their lives beyond the latitudes
Of capricorn and cancer?
Or you’ve discovered in the wind a new reasoning as to why
The talons of the paired eagles lock in midair as they court?
You want to understand the nimbus garden, ocean slate, of lake Titicaca
Where resides the Andean sea horse gliding above the clouds?
The whales that circle dance in unison collecting krill?
The noetic display of the birds of paradise, the songs of nameless creatures
Playing in the wilderness like a forgotten melody only lovers lips remember?

I want to tell you that true love knows this, that life in its
Prismatic shimmer is all the myriad colours of infinite existence wrapped
In time to the sublime structure of white and bones.  I must tell you
That the flower is mighty in its opening, the humming bird is a sorcerer
Who needles ambrosia with vortex wings weaving his way to the Gods.

But I am nothing beside your disbelief which has arrived, before
I can even imagine the sweet awakening, like doom, my shell is the iridescent
Hollow of the one eyed Abalone, discarded in the deep fathoms
Of the ocean pressures.

I swim the tides as you do, investigating
The endless tendril seas,
And in my chest, during the night, I woke up empty,
The only thing treasured, a golden face
Trapped inside my dreams.

                                                        ­          
                                                             ­­                       — after Neruda

You've asked me how can I see a future when love, in all
Its numinous beauty, is waning?
I reply, the immortal stars still shine above the veil of clouds.
You say, why are the salmon swimming to their pools of origin
Only to die as they spawn?  Only to die?
I tell you their love is unconditional, like mine.
You ask me did the giant sequoia know it was shelter for the burning grasses
When they walked from the seas?  I reply yes they knew.
You question me about the lofty snow cranes that fly over the Himalayas
And I reply by describing
How the priestly flocks, chanting on their mission, honk—
Announcing the mantle steps to the heavens.
You inquire about the elephantine manatees gracing the shallow banks
And wonder if the sea mermaids remember their lives beyond the latitudes
Of capricorn and cancer?
Or you’ve discovered in the wind a new reasoning as to why
The talons of the paired eagles lock in midair as they court?
You want to understand the nimbus garden, ocean slate, of lake Titicaca
Where resides the Andean sea horse gliding above the clouds?
The whales that circle dance in unison collecting krill?
The noetic display of the birds of paradise, the songs of nameless creatures
Playing in the wilderness like a forgotten melody only lovers lips remember?

I want to tell you that true love knows this, that life in its
Prismatic shimmer is all the myriad colours of infinite existence wrapped
In time to the sublime structure of white and bones.  I must tell you
That the flower is mighty in its opening, the humming bird is a sorcerer
Who needles ambrosia with vortex wings weaving his way to the Gods.

But I am nothing beside your disbelief which has arrived, before
I can even imagine the sweet awakening, like doom, my shell is the iridescent
Hollow of the one eyed Abalone, discarded in the deep fathoms
Of the ocean pressures.

I swim the tides as you do, investigating
The endless tendril seas,
And in my chest, during the night, I woke up empty,
The only thing treasured, a golden face
Trapped inside my dreams.

                                                                   
                              ­                                                      — after Neruda

He asked if I'd stay,
and my silence trapped him
like a mosquito in amber.
The seconds rumbled past, unhurried glaciers,
two hurricanes, a drought, and a war came
and he was still rolling his joints,
tapping on shoulders, asking soldiers for a light.
When the sea rose and flooded the town,
he sat in his swollen armchair
exhaling smoke bubbles,
while parrotfish gnawed at the carpet, and later,
his eyes glazed with a tired sort of expectation
when the manatees swam past
in their solemn triumph over the suburbs,
as if any one of the lumbering sea cows
might come bearing my yes.

You've asked me how can I see a future when love, in all
Its numinous beauty, is waning?
I reply, the immortal stars still shine above the veil of clouds.
You say, why are the salmon swimming to their pools of origin
Only to die as they spawn?  Only to die?
I tell you their love is unconditional, like mine.
You ask me did the giant sequoia know it was shelter for the burning grasses
When they walked from the seas?  I reply yes they knew.
You question me about the lofty snow cranes that fly over the Himalayas
And I reply by describing
How the priestly flocks, chanting on their mission, honk—
Announcing the mantle steps to the heavens.
You inquire about the elephantine manatees gracing the shallow banks
And wonder if the sea mermaids remember their lives beyond the latitudes
Of capricorn and cancer?
Or you’ve discovered in the wind a new reasoning as to why
The talons of the paired eagles lock in midair as they court?
You want to understand the nimbus garden, ocean slate, of lake Titicaca
Where resides the Andean sea horse gliding above the clouds?
The whales that circle dance in unison collecting krill?
The noetic display of the birds of paradise, the songs of nameless creatures
Playing in the wilderness like a forgotten melody only lovers lips remember?

I want to tell you that true love knows this, that life in its
Prismatic shimmer is all the myriad colours of infinite existence wrapped
In time to the sublime structure of white and bones.  I must tell you
That the flower is mighty in its opening, the humming bird is a sorcerer
Who needles ambrosia with vortex wings weaving his way to the Gods.

But I am nothing beside your disbelief which has arrived, before
I can even imagine the sweet awakening, like doom, my shell is the iridescent
Hollow of the one eyed Abalone, discarded in the deep fathoms
Of the ocean pressures.

I swim the tides as you do, investigating
The endless tendril seas,
And in my chest, during the night, I woke up empty,
The only thing treasured, a golden face
Trapped inside my dreams.

                                                        ­­          
                                                             ­­                       — after Neruda

love  
dove
bird
hurt pain rain
washing laundry dryer  shrunk
too hot   summer  beach  tanned skins
bikini girls   lifeguards  bodybuilders  
Schwarzenegger
robocop criminals politicians votes
lobbyists corporations   special interests
stock exchange oil price pipelines
pollution profits   leaded water   oily shores
banking wall street   99percent
wealth CEOs distribution education defloration
exploitation union struggle macjobs
Walmart amazon   tax evasion    offshore banking
islands caimans reptiles alligators walruses
snapping turtles  manatees  albatrosses
birds
dove
love

I’m always falling
and I often end up drained.
I wish instead of tumbling that
I could fly on my paper cranes.

On my paper cranes
I’d fly over cardstock trees,
to land inside an origami garden
and sit on folded peonies.

I’d go on a newspaper sailboat
and float over the tissue sea
to visit cardboard whales
and foam board manatees

I wish that all my troubles,
were made of paper too,
and that I could solve them
by folding a world for you.

You've asked me how can I see a future when love, in all
Its numinous beauty, is waning?
I reply, the immortal stars still shine above the veil of clouds.
You say, why are the salmon swimming to their pools of origin
Only to die as they spawn?  Only to die?
I tell you their love is unconditional, like mine.
You ask me did the giant sequoia know it was shelter for the burning grasses
When they walked from the seas?  I reply yes they knew.
You question me about the lofty snow cranes that fly over the Himalayas
And I reply by describing
How the priestly flocks, chanting on their mission, honk—
Announcing the mantle steps to the heavens.
You inquire about the elephantine manatees gracing the shallow banks
And wonder if the sea mermaids remember their lives beyond the latitudes
Of capricorn and cancer?
Or you’ve discovered in the wind a new reasoning as to why
The talons of the paired eagles lock in midair as they court?
You want to understand the nimbus garden, ocean slate, of lake Titicaca
Where resides the Andean sea horse gliding above the clouds?
The whales that circle dance in unison collecting krill?
The noetic display of the birds of paradise, the songs of nameless creatures
Playing in the wilderness like a forgotten melody only lovers lips remember?

I want to tell you that true love knows this, that life in its
Prismatic shimmer is all the myriad colours of infinite existence wrapped
In time to the sublime structure of white and bones.  I must tell you
That the flower is mighty in its opening, the humming bird is a sorcerer
Who needles ambrosia with vortex wings weaving his way to the Gods.

But I am nothing beside your disbelief which has arrived, before
I can even imagine the sweet awakening, like doom, my shell is the iridescent
Hollow of the one eyed Abalone, discarded in the deep fathoms
Of the ocean pressures.

I swim the tides as you do, investigating
The endless tendril seas,
And in my chest, during the night, I woke up empty,
The only thing treasured, a golden face
Trapped inside my dreams.

                                                        ­­­          
                                                             ­­                      *— after Neruda

Dark death skirts beaches in blood red,
as coffee colored swells wash in more
carnage to the shores;
we are blindly poisoning our waters.

Toxic plumes of red tide cover the seas,
beaching whales and seals,
manatees, and fishes;
we indiscriminately **** our sea life.

The brisk breeze off the Gulf
brings the smell of rotting death
that is all around;
we are blindly killing ourselves.

Our lifeblood,
the seas and its inhabitants,
slowly slip away;
we disrespect nature.

Mother earth mourns
as we continue
to ****** its inhabitants;
we are dying.

with eyes still closed, my mind awakes
to the ocean upon my door,
it knocks with salty insolence,
my land locked soul to lure.

the thought of coral in chandeliers,
tempts my feet from bed to floor,
but twas the sound of kelp being plucked,
that enticed me to explore.

a tidal wave is just outside,
where mackerel dance and more,
schools of sea-life swim upstairs,
to feed off shipwrecked floors.

with eyes wide open, my mind asleep,
my skin drops on the shore,
my hands scale through my algae hair,
and i hear the turtles lore.

the manatees discuss it too,
a tale of souls at war,
who hear the knock and find reprieve,
in an oceans wandering floor.

You've asked me how can I see a future when love, in all
Its numinous beauty, is waning?
I reply, the immortal stars still shine above the veil of clouds.
You say, why are the salmon swimming to their pools of origin
Only to die as they spawn?  Only to die?
I tell you their love is unconditional, like mine.
You ask me did the giant sequoia know it was shelter for the burning grasses
When they walked from the seas?  I reply yes they knew.
You question me about the lofty snow cranes that fly over the Himalayas
And I reply by describing
How the priestly flocks, chanting on their mission, honk—
Announcing the mantle steps to the heavens.
You inquire about the elephantine manatees gracing the shallow banks
And wonder if the sea mermaids remember their lives beyond the latitudes
Of capricorn and cancer?
Or you’ve discovered in the wind a new reasoning as to why
The talons of the paired eagles lock in midair as they court?
You want to understand the nimbus garden, ocean slate, of lake Titicaca
Where resides the Andean sea horse gliding above the clouds?
The whales that circle dance in unison collecting krill?
The noetic display of the birds of paradise, the songs of nameless creatures
Playing in the wilderness like a forgotten melody only lovers lips remember?

I want to tell you that true love knows this, that life in its
Prismatic shimmer is all the myriad colours of infinite existence wrapped
In time to the sublime structure of white and bones.  I must tell you
That the flower is mighty in its opening, the humming bird is a sorcerer
Who needles ambrosia with vortex wings weaving his way to the Gods.

But I am nothing beside your disbelief which has arrived, before
I can even imagine the sweet awakening, like doom, my shell is the iridescent
Hollow of the one eyed Abalone, discarded in the deep fathoms
Of the ocean pressures.

I swim the tides as you do, investigating
The endless tendril seas,
And in my chest, during the night, I woke up empty,
The only thing treasured, a golden face
Trapped inside my dreams.

                                                        ­­          
                                                             ­­                       — after Neruda

Cossack Cowboys
Riding Llamas
That they dress
In pink pajamas
Teeny boppers
Blowing bubbles
Biker chicks
Causing trouble
Nuns in Habits
Punks in chains
One or two
Of the deranged
Rubbing Buddha belly
Cravers
And the band
Harvey Danger
David Bowie
Elton John
Both of them
With Spacesuits on
Vegetarians
Eating chicken
Love it fried
Finger licking
In a line to
Meet and greet Obama
Now I wish
I'd brought my Mama
On the T.V.
Slicing, Dicing
Infomercials
Are enlightening
Lindsey Lohan
There's more trouble
Send the Police
On the double
Michael Jackson
With his monkey
Chandelier
Swinging junkies
Bottle Rocket
Ridding crickets
Dolly Parton
Doing dishes
Tubs of Crisco
Set for wrestling
Bee Gees do be
Disco dancing
With Bruce Jenner
Wearing makeup
Dolly's kitchen
Filled with soap suds
Rubber band
Bumper babies
Call me odd
Don't call me crazy
Shooting stars
Carry Uzis
Washed up stars
Drink beer in Koozies
Donnie Osmond
Singing show tunes
As Marie blows
Animal balloons
Circus Barkers
And their Minions
Waylon left us
Shooter Jennings
Heidi Klum
Without makeup
To say the least
She looks a bit rough
American flags
As rainbow banners
Peal, scratch, and sniff
Talking bananas
Hookha smoking
Manatees
Oh yea...
and then there's me
These are just a few of the things that lean
On the lamp post of my dreams

You've asked me how can I see a future when love, in all
Its numinous beauty, is waning?
I reply, the immortal stars still shine above the veil of clouds.
You say, why are the salmon swimming to their pools of origin
Only to die as they spawn?  Only to die?
I tell you their love is unconditional, like mine.
You ask me did the giant sequoia know it was shelter for the burning grasses
When they walked from the seas?  I reply yes they knew.
You question me about the lofty snow cranes that fly over the Himalayas
And I reply by describing
How the priestly flocks, chanting on their mission, honk—
Announcing the mantle steps to the heavens.
You inquire about the elephantine manatees gracing the shallow banks
And wonder if the sea mermaids remember their lives beyond the latitudes
Of capricorn and cancer?
Or you’ve discovered in the wind a new reasoning as to why
The talons of the paired eagles lock in midair as they court?
You want to understand the nimbus garden, ocean slate, of lake Titicaca
Where resides the Andean sea horse gliding above the clouds?
The whales that circle dance in unison collecting krill?
The noetic display of the birds of paradise, the songs of nameless creatures
Playing in the wilderness like a forgotten melody only lovers lips remember?

I want to tell you that true love knows this, that life in its
Prismatic shimmer is all the myriad colours of infinite existence wrapped
In time to the sublime structure of white and bones.  I must tell you
That the flower is mighty in its opening, the humming bird is a sorcerer
Who needles ambrosia with vortex wings weaving his way to the Gods.

But I am nothing beside your disbelief which has arrived, before
I can even imagine the sweet awakening, like doom, my shell is the iridescent
Hollow of the one eyed Abalone, discarded in the deep fathoms
Of the ocean pressures.

I swim the tides as you do, investigating
The endless tendril seas,
And in my chest, during the night, I woke up empty,
The only thing treasured, a golden face
Trapped inside my dreams.

                                                                   
                              ­                               ­                       — after Neruda

warm water a must
the teddy bears of the seas
sea cows, manatees

I'm nibbling sunshine fantasies on psychedelic manatees
as I swim through formalities and mudpits of vanity
while temper approaches maximum capacity
I pray for no casualties

I'm dribbling periwinkle moonshine daffodils
as I crawl through sweltering deserts of dis-ease and sunchills
they're a bothersome blister singing softly to a dragon
they're a kaleidescope periscope horoscope for the dead

You've asked me how can I see a future when love, in all
Its numinous beauty, is waning?
I reply, the immortal stars still shine above the veil of clouds.
You say, why are the salmon swimming to their pools of origin
Only to die as they spawn?  Only to die?
I tell you their love is unconditional, like mine.
You ask me did the giant sequoia know it was shelter for the burning grasses
When they walked from the seas?  I reply yes they knew.
You question me about the lofty snow cranes that fly over the Himalayas
And I reply by describing
How the priestly flocks, chanting on their mission, honk—
Announcing the mantle steps to the heavens.
You inquire about the elephantine manatees gracing the shallow banks
And wonder if the sea mermaids remember their lives beyond the latitudes
Of capricorn and cancer?
Or you’ve discovered in the wind a new reasoning as to why
The talons of the paired eagles lock in midair as they court?
You want to understand the nimbus garden, ocean slate, of lake Titicaca
Where resides the Andean sea horse gliding above the clouds?
The whales that circle dance in unison collecting krill?
The noetic display of the birds of paradise, the songs of nameless creatures
Playing in the wilderness like a forgotten melody only lovers lips remember?

I want to tell you that true love knows this, that life in its
Prismatic shimmer is all the myriad colours of infinite existence wrapped
In time to the sublime structure of white and bones.  I must tell you
That the flower is mighty in its opening, the humming bird is a sorcerer
Who needles ambrosia with vortex wings weaving his way to the Gods.

But I am nothing beside your disbelief which has arrived, before
I can even imagine the sweet awakening, like doom, my shell is the iridescent
Hollow of the one eyed Abalone, discarded in the deep fathoms
Of the ocean pressures.

I swim the tides as you do, investigating
The endless tendril seas,
And in my chest, during the night, I woke up empty,
The only thing treasured, a golden face
Trapped inside my dreams.

                                                                  
                                                             ­­                       — after Neruda

Rondels, Roundels and Rondeaux

These are poetic forms similar to villanelles, with refrains (repeated lines) and sometimes double refrains.



Rondel: Merciles Beaute ("Merciless Beauty")
by Geoffrey Chaucer
loose translation/interpretation Michael R. Burch

Your eyes slay me suddenly;
their beauty I cannot sustain,
they wound me so, through my heart keen.

Unless your words heal me hastily,
my heart's wound will remain green;
for your eyes slay me suddenly;
their beauty I cannot sustain.

By all truth, I tell you faithfully
that you are of life and death my queen;
for at my death this truth shall be seen:
your eyes slay me suddenly;
their beauty I cannot sustain,
they wound me so, through my heart keen.



Rondel: Rejection
by Geoffrey Chaucer
loose translation/interpretation by Michael R. Burch

Your beauty from your heart has so erased
Pity, that it’s useless to complain;
For Pride now holds your mercy by a chain.

I'm guiltless, yet my sentence has been cast.
I tell you truly, needless now to feign,―
Your beauty from your heart has so erased
Pity, that it’s useless to complain.

Alas, that Nature in your face compassed
Such beauty, that no man may hope attain
To mercy, though he perish from the pain;
Your beauty from your heart has so erased
Pity, that it’s useless to complain;
For Pride now holds your mercy by a chain.



Rondel: Escape
by Geoffrey Chaucer
loose translation/interpretation by Michael R. Burch

Since I’m escaped from Love and yet still fat,
I never plan to be in his prison lean;
Since I am free, I count it not a bean.

He may question me and counter this and that;
I care not: I will answer just as I mean.
Since I’m escaped from Love and yet still fat,
I never plan to be in his prison lean.

Love strikes me from his roster, short and flat,
And he is struck from my books, just as clean,
Forevermore; there is no other mean.
Since I’m escaped from Love and yet still fat,
I never plan to be in his prison lean;
Since I am free, I count it not a bean.



Rondel: Your Smiling Mouth
by Charles d'Orleans (c. 1394-1465)
loose translation/interpretation/modernization Michael R. Burch

Your smiling mouth and laughing eyes, bright gray,
Your ample ******* and slender arms’ twin chains,
Your hands so smooth, each finger straight and plain,
Your little feet―please, what more can I say?

It is my fetish when you’re far away
To muse on these and thus to soothe my pain―
Your smiling mouth and laughing eyes, bright gray,
Your ample ******* and slender arms’ twin chains.

So would I beg you, if I only may,
To see such sights as I before have seen,
Because my fetish pleases me. Obscene?
I’ll be obsessed until my dying day
By your sweet smiling mouth and eyes, bright gray,
Your ample ******* and slender arms’ twin chains!



Oft in My Thought
by Charles d'Orleans (c. 1394-1465)
loose translation/interpretation/modernization Michael R. Burch

So often in my busy mind I sought,
Around the advent of the fledgling year,
For something pretty that I really ought
To give my lady dear;
But that sweet thought's been wrested from me, clear,
Since death, alas, has sealed her under clay
And robbed the world of all that's precious here―
God keep her soul, I can no better say.

For me to keep my manner and my thought
Acceptable, as suits my age's hour?
While proving that I never once forgot
Her worth? It tests my power!
I serve her now with masses and with prayer;
For it would be a shame for me to stray
Far from my faith, when my time's drawing near―
God keep her soul, I can no better say.

Now earthly profits fail, since all is lost
And the cost of everything became so dear;
Therefore, O Lord, who rules the higher host,
Take my good deeds, as many as there are,
And crown her, Lord, above in your bright sphere,
As heaven's truest maid! And may I say:
Most good, most fair, most likely to bring cheer―
God keep her soul, I can no better say.

When I praise her, or hear her praises raised,
I recall how recently she brought me pleasure;
Then my heart floods like an overflowing bay
And makes me wish to dress for my own bier―
God keep her soul, I can no better say.



Villanelle: The Divide
by Michael R. Burch

The sea was not salt the first tide ...
was man born to sorrow that first day,
with the moon―a pale beacon across the Divide,
the brighter for longing, an object denied―
the tug at his heart's pink, bourgeoning clay?

The sea was not salt the first tide ...
but grew bitter, bitter―man's torrents supplied.
The bride of their longing―forever astray,
her shield a cold beacon across the Divide,
flashing pale signals: Decide. Decide.
Choose me, or His Brightness, I will not stay.

The sea was not salt the first tide ...
imploring her, ebbing: Abide, abide.
The silver fish flash there, the manatees gray.

The moon, a pale beacon across the Divide,
has taught us to seek Love's concealed side:
the dark face of longing, the poets say.
The sea was not salt the first tide ...
the moon a pale beacon across the Divide.

"The Divide" is essentially a formal villanelle despite the non-formal line breaks.



Villanelle: Ordinary Love
by Michael R. Burch

Indescribable―our love―and still we say
with eyes averted, turning out the light,
"I love you," in the ordinary way

and tug the coverlet where once we lay,
all suntanned limbs entangled, shivering, white ...
indescribably in love. Or so we say.

Your hair's blonde thicket now is tangle-gray;
you turn your back; you murmur to the night,
"I love you," in the ordinary way.

Beneath the sheets our hands and feet would stray
to warm ourselves. We do not touch despite
a love so indescribable. We say

we're older now, that "love" has had its day.
But that which Love once countenanced, delight,
still makes you indescribable. I say,
"I love you," in the ordinary way.

"Ordinary Love" was the winner of the 2001 Algernon Charles Swinburne poetry contest. It was originally published by Romantics Quarterly and nominated by the journal for the Pushcart Prize. It is missing a tercet but seemed complete enough without it.―MRB



Villanelle: Because Her Heart Is Tender
by Michael R. Burch

for Beth

She scrawled soft words in soap: "Never Forget,"
Dove-white on her car's window, and the wren,
because her heart is tender, might regret
it called the sun to wake her. As I slept,
she heard lost names recounted, one by one.

She wrote in sidewalk chalk: "Never Forget,"
and kept her heart's own counsel. No rain swept
away those words, no tear leaves them undone.

Because her heart is tender with regret,
bruised by razed towers' glass and steel and stone
that shatter on and on and on and on,
she stitches in wet linen: "NEVER FORGET,"
and listens to her heart's emphatic song.

The wren might tilt its head and sing along
because its heart once understood regret
when fledglings fell beyond, beyond, beyond ...
its reach, and still the boot-heeled world strode on.

She writes in adamant: "NEVER FORGET"
because her heart is tender with regret.



Double Trouble
by Michael R. Burch

The villanelle is trouble:
it’s like you’re on the bubble
of beginning to see double.

It’s like you’re on the Hubble
when the lens begins to wobble:
the villanelle is trouble.

It’s like you’re Barney Rubble
scratching itchy beer-stained stubble
because you’re seeing double.

Then your lines begin to gobble
up the good rhymes, and you hobble.
The villanelle is trouble,

just like getting sloshed in the pub’ll
begin to make you babble
because you’re seeing double.

Because the form is flubbable
and is really not that loveable,
the villanelle is trouble:
it’s like you’re seeing double.



Villanelle: Hangovers
by Michael R. Burch

We forget that, before we were born,
our parents had “lives” of their own,
ran drunk in the streets, or half-******.

Yes, our parents had lives of their own
until we were born; then, undone,
they were buying their parents gravestones

and finding gray hairs of their own
(because we were born lacking some
of their curious habits, but soon

would certainly get them). Half-******,
we watched them dig graves of their own.
Their lives would be over too soon

for their curious habits to bloom
in us (though our children were born
nine months from that night on the town

when, punch-drunk in the streets or half-******,
we first proved we had lives of our own).



Villanelle Sequence: Clandestine But Gentle
by Michael R. Burch

Variations on the villanelle. A play in four acts. The heroine wears a trench coat and her every action drips nonchalance. The “hero” is pallid, nerdish and nervous. But more than anything, he is palpably desperate with longing. Props are optional, but a streetlamp, a glowing cigarette and lots of eerie shadows should suffice.

I.

Clandestine but gentle, wrapped in night,
she eavesdropped on morose codes of my heart.
She was the secret agent of delight.

The blue spurt of her match, our signal light,
announced her presence in the shadowed court:
clandestine but gentle, cloaked in night.

Her cigarette was waved, a casual sleight,
to bid me “Come!” or tell me to depart.
She was the secret agent of delight,

like Ingrid Bergman in a trench coat, white
as death, and yet more fair and pale (but short
with me, whenever I grew wan with fright!).

II.

Clandestine but gentle, veiled in night,
she was the secret agent of delight;
she coaxed the tumblers in some cryptic rite

to make me spill my spirit.
Lovely ****!
Clandestine but gentle, veiled in night

―she waited till my tongue, untied, sang bright
but damning strange confessions in the dark . . .

III.

She was the secret agent of delight;
so I became her paramour. Tonight
I await her in my exile, worlds apart . . .

IV.

For clandestine but gentle, wrapped in night,
she is the secret agent of delight.



Villanelle: Hang Together, or Separately
by Michael R. Burch

“The first shall be last, and the last first.”

Be careful whom you don’t befriend
When hyenas mark their prey:
The odds will get even in the end.

Some “deplorables” may yet ascend
And since all dogs must have their day,
Be careful whom you don’t befriend.

When pallid elitists condescend
What does the Good Book say?
The odds will get even in the end.

Since the LORD advised us to attend
To each other along the way,
Be careful whom you don’t befriend.

But He was deserted. Friends, comprehend!
Though revilers mock and flay,
The odds will get even in the end.

Now infidels have loot to spend:
As ****** as Judas’s that day.
Be careful whom you don’t befriend:
The odds will get even in the end.

NOTE: This poem portrays a certain worldview. The poet does not share it and suspects from reading the gospels that the “real” Jesus would have sided with the infidel refugees, not Trump and his ilk.



Villanelle: The Sad Refrain
by Michael R. Burch

O, let us not repeat the sad refrain
that Christ is cruel because some innocent dies.
No, pain is good, for character comes from pain!

There’d be no growth without the hammering rain
that tests each petal’s worth. Omnipotent skies
peal, “Let us not repeat the sad refrain,

but separate burnt chaff from bountiful grain.
According to God’s plan, the weakling dies
and pain is good, for character comes from pain!

A God who’s perfect cannot bear the blame
of flawed creations, just because one dies!
So let us not repeat the sad refrain

or think to shame or stain His awesome name!
Let lightning strike the devious source of lies
that pain is bad, for character comes from pain!
Oh, let us not repeat the sad refrain!

NOTE: An eternal hell cannot be justified. Nothing can be learned from eternal suffering except that the creation of life was the ultimate act of evil. The creator of an eternal hell would be infinitely cruel and should never have created any creature that might possibly end up there. That so many Christians do not understand this suggests they lack the knowledge of good and evil and were rooked by their "god" in the Garden of Eden or have been bamboozled by heartless and mindless theologians.



If
by Michael R. Burch

If I regret
fire in the sunset
exploding on the horizon,
then let me regret loving you.

If I forget
even for a moment
that you are the only one,
then let me forget that the sky is blue.

If I should yearn
in a season of discontentment
for the vagabond light of a companionless moon,
let dawn remind me that you are my sun.

If I should burn―one moment less brightly,
one instant less true―
then with wild scorching kisses,
inflame me, inflame me, inflame me anew.

Originally published by The HyperTexts



Recursion
by Michael R. Burch

In a dream I saw boys lying
under banners gaily flying
and I heard their mothers sighing
from some dark distant shore.

For I saw their sons essaying
into fields―gleeful, braying―
their bright armaments displaying;
such manly oaths they swore!

From their playfields, boys returning
full of honor’s white-hot burning
and desire’s restless yearning
sired new kids for the corps.

In a dream I saw boys dying
under banners gaily lying
and I heard their mothers crying
from some dark distant shore.



I AM!
by Michael R. Burch

I am not one of ten billion―I―
sunblackened Icarus, chary fly,
staring at God with a quizzical eye.

I am not one of ten billion, I.

I am not one life has left unsquashed―
scarred as Ulysses, goddess-debauched,
pale glowworm agleam with a tale of panache.

I am not one life has left unsquashed.

I am not one without spots of disease,
laugh lines and tan lines and thick-callused knees
from begging and praying and girls sighing "Please!"

I am not one without spots of disease.

I am not one of ten billion―I―
scion of Daedalus, blackwinged fly
staring at God with a sedulous eye.

I am not one of ten billion, I
AM!



This World's Joy
(anonymous Middle English lyric)
loose translation by Michael R. Burch

Winter awakens all my care
as leafless trees grow bare.
For now my sighs are fraught
whenever it enters my thought:
regarding this world's joy,
how everything comes to naught.



Elegy for a little girl, lost
by Michael R. Burch

. . . qui laetificat juventutem meam . . .
She was the joy of my youth,
and now she is gone.
. . . requiescat in pace . . .
May she rest in peace.
. . . amen . . .
Amen.

I was touched by this Latin prayer, which I discovered in a novel I read as a teenager. I later decided to incorporate it into a poem. From what I now understand, “ad deum qui laetificat juventutem meam” means “to the God who gives joy to my youth,” but I am sticking with my original interpretation: a lament for a little girl at her funeral. The phrase can be traced back to Saint Jerome's translation of Psalm 42 in the Vulgate Latin Bible (circa 385 AD).



How Long the Night
anonymous Middle English lyric, circa early 13th century AD
loose translation/interpretation by Michael R. Burch

It is pleasant, indeed, while the summer lasts
with the mild pheasants' song ...
but now I feel the northern wind's blast,
its severe weather strong.
Alas! Alas! This night seems so long!
And I, because of my momentous wrong
now grieve, mourn and fast.



Fowles in the Frith
anonymous Middle English lyric, circa 13th-14th century AD
loose translation/interpretation by Michael R. Burch

The fowls in the forest,
the fishes in the flood
and I must go mad:
such sorrow I've had
for beasts of bone and blood!

Sounds like an early animal rights activist! The use of "and" is intriguing ... is the poet saying that his walks in the wood drive him mad because he is also a "beast of bone and blood," facing a similar fate?



I am of Ireland
anonymous Medieval Irish lyric, circa 13th-14th century AD
loose translation/interpretation by Michael R. Burch

I am of Ireland,
and of the holy realm of Ireland.
Gentlefolk, I pray thee:
for the sake of saintly charity,
come dance with me
in Ireland!



Whan the turuf is thy tour
(anonymous Middle English lyric, circa the 13th century AD)
loose translation/interpretation by Michael R. Burch

1.
When the turf is your tower
and the pit is your bower,
your pale white skin and throat
shall be sullen worms’ to note.
What help to you, then,
was all your worldly hope?

2.
When the turf is your tower
and the grave is your bower,
your pale white throat and skin
worm-eaten from within ...
what hope of my help then?

NOTE: The second translation leans more to the "lover's complaint" and carpe diem genres, with the poet pointing out to his prospective lover that by denying him her favors she make take her virtue to the grave where worms will end her virginity in macabre fashion. This poem may be an ancient precursor of poems like Andrew Marvell's "To His Coy Mistress."



Ech day me comëth tydinges thre
anonymous Middle English lyric, circa the 13th to 14th century AD
loose translation/interpretation by Michael R. Burch

Each day I’m plagued by three doles,
These gargantuan weights on my soul:
First, that I must somehow exit this fen.
Second, that I cannot know when.
And yet it’s the third that torments me so,
Because I don't know where the hell I will go!



Ich have y-don al myn youth
anonymous Middle English lyric, circa the 13th to 14th century AD
loose translation/interpretation by Michael R. Burch

I have done it all my youth:
Often, often, and often!
I have loved long and yearned zealously ...
And oh what grief it has brought me!



I Sing of a Maiden
anonymous Medieval English Lyric, circa early 15th century AD
loose translation/interpretation by Michael R. Burch

I sing of a maiden
That is matchless.
The King of all Kings
For her son she chose.
He came also as still
To his mother's breast
As April dew
Falling on the grass.
He came also as still
To his mother's bower
As April dew
Falling on the flower.
He came also as still
To where his mother lay
As April dew
Falling on the spray.
Mother and maiden?
Never one, but she!
Well may such a lady
God's mother be!



Regret
by Michael R. Burch

Regret,
a bitter
ache to bear . . .

once starlight
languished
in your hair . . .

a shining there
as brief
as rare.

Regret . . .
a pain
I chose to bear . . .

unleash
the torrent
of your hair . . .

and show me
once again―
how rare.

Published by The HyperTexts and The Chained Muse



Enigma
by Michael R. Burch

O, terrible angel,
bright lover and avenger,
full of whimsical light
and vile anger;
wild stranger,
seeking the solace of night,
or the danger;
pale foreigner,
alien to man, or savior ...

Who are you,
seeking consolation and passion
in the same breath,
screaming for pleasure, bereft
of all articles of faith,
finding life
harsher than death?

Grieving angel,
giving more than taking,
how lucky the man
who has found in your love,
this, our reclamation;

fallen wren,
you must strive to fly
though your heart is shaken;

weary pilgrim,
you must not give up
though your feet are aching;

lonely child,
lie here still in my arms;
you must soon be waking.



Floating
by Michael R. Burch

Memories flood the sand’s unfolding scroll;
they pour in with the long, cursive tides of night.

Memories of revenant blue eyes and wild lips
moist and frantic against my own.

Memories of ghostly white limbs ...
of soft sighs
heard once again in the surf’s strangled moans.

We meet in the scarred, fissured caves of old dreams,
green waves of algae billowing about you,
becoming your hair.

Suspended there,
where pale sunset discolors the sea,
I see all that you are
and all that you have become to me.

Your love is a sea,
and I am its trawler ...
harbored in dreams,
I ride out night’s storms.

Unanchored, I drift through the hours before morning,
dreaming the solace of your warm *******,
pondering your riddles, savoring the feel
of the explosions of your hot, saline breath.

And I rise sometimes
from the tropical darkness
to gaze once again out over the sea ...
You watch in the moonlight
that brushes the water;

bright waves throw back your reflection at me.

This is one of my more surreal poems, as the sea and lover become one. I believe I wrote this one at age 19. It has been published by Penny Dreadful, Romantics Quarterly, Boston Poetry Magazine and Poetry Life & Times. The poem may have had a different title when it was originally published, but it escapes me ... ah, yes, "Entanglements."



Sonnet: Water and Gold
by Michael R. Burch

You came to me as rain breaks on the desert
when every flower springs to life at once,
but joy's a wan illusion to the expert:
the Bedouin has learned how not to want.

You came to me as riches to a miser
when all is gold, or so his heart believes,
until he dies much thinner and much wiser,
his gleaming bones hauled off by chortling thieves.

You gave your heart too soon, too dear, too vastly;
I could not take it in; it was too much.
I pledged to meet your price, but promised rashly.
I died of thirst, of your bright Midas touch.

I dreamed you gave me water of your lips,
then sealed my tomb with golden hieroglyphs.

Published by The Lyric, Black Medina, The Eclectic Muse, Kritya(India), Shabestaneh (Iran), Anthology of Contemporary American Poetry, Captivating Poetry (Anthology), Strange Road, Freshet, Shot Glass Journal, Better Than Starbucks, Famous Poets and Poems, Sonnetto Poesia, Poetry Life & Times



Righteous
by Michael R. Burch

Come to me tonight
in the twilight, O, and the full moon rising,
spectral and ancient, will mutter a prayer.

Gather your hair
and pin it up, knowing
that I will release it a moment anon.

We are not one,
nor is there a scripture
to sanctify nights you might spend in my arms,

but the swarms
of bright stars revolving above us
revel tonight, the most ardent of lovers.

Published in Writer’s Gazette and Tucumcari Literary Review



R.I.P.
by Michael R. Burch

When I am lain to rest
and my soul is no longer intact,
but dissolving, like a sunset
diminishing to the west ...

and when at last
before His throne my past
is put to test
and the demons and the Beast

await to feast
on any morsel downward cast,
while the vapors of impermanence
cling, smelling of damask ...

then let me go, and do not weep
if I am left to sleep,
to sleep and never dream, or dream, perhaps,
only a little longer and more deep.

Originally published by Romantics Quarterly



Burn, Ovid
by Michael R. Burch

“Burn Ovid” - Austin Clarke

Sunday School,
Faith Free Will Baptist, 1973:
I sat imaging watery folds
of pale silk encircling her waist.

Explicit *** was the day’s “hot” topic
(how breathlessly I imagined hers)
as she taught us the perils of lust
fraught with inhibition.

I found her unaccountably beautiful,
rolling implausible nouns off the edge of her tongue:
adultery, fornication, *******, ******.
Acts made suddenly plausible by the faint blush
of her unrouged cheeks,
by her pale lips
accented only by a slight quiver,
a trepidation.

What did those lustrous folds foretell
of our uncommon desire?
Why did she cross and uncross her legs
lovely and long in their taupe sheaths?
Why did her ******* rise pointedly,
as if indicating a direction?

“Come unto me,
(unto me),”
together, we sang,

cheek to breast,
lips on lips,
devout, afire,

my hands
up her skirt,
her pants at her knees:

all night long,
all night long,
in the heavenly choir.

This poem is set at Faith Christian Academy, which I attended for a year during the ninth grade, in 1972-1973. While the poem definitely had its genesis there, I believe I revised it more than once and didn't finish it till 2001, nearly 28 years later, according to my notes on the poem. Another poem, "*** 101," was also written about my experiences at FCA that year.



*** 101
by Michael R. Burch

That day the late spring heat
steamed through the windows of a Crayola-yellow schoolbus
crawling its way up the backwards slopes
of Nowheresville, North Carolina ...

Where we sat exhausted
from the day’s skulldrudgery
and the unexpected waves of muggy,
summer-like humidity ...

Giggly first graders sat two abreast
behind senior high students
sprouting their first sparse beards,
their implausible bosoms, their stranger affections ...

The most unlikely coupling:

Lambert, 18, the only college prospect
on the varsity basketball team,
the proverbial talldarkhandsome
swashbuckling cocksman, grinning ...

Beside him, Wanda, 13,
bespectacled, in her primproper attire
and pigtails, staring up at him,
fawneyed, disbelieving ...

And as the bus filled with the improbable musk of her,
as she twitched impaled on his finger
like a dead frog jarred to life by electrodes,
I knew ...

that love is a forlorn enterprise,
that I would never understand it.

This companion poem to "Burn, Ovid" is also set at Faith Christian Academy, in 1972-1973.



The Shape of Mourning
by Michael R. Burch

The shape of mourning
is an oiled creel
shining with unuse,

the bolt of cold steel
on a locker
shielding memory,

the monthly penance
of flowers,
the annual wake,

the face in the photograph
no longer dissolving under scrutiny,
becoming a keepsake,

the useless mower
lying forgotten
in weeds,

rings and crosses and
all the paraphernalia
the soul no longer needs.



The Stake
by Michael R. Burch

Love, the heart bets,
if not without regrets,
will still prove, in the end,
worth the light we expend
mining the dark
for an exquisite heart.

Originally published by The Lyric



The Effects of Memory
by Michael R. Burch

A black ringlet
curls to lie
at the nape of her neck,
glistening with sweat
in the evaporate moonlight ...
This is what I remember

now that I cannot forget.

And tonight,
if I have forgotten her name,
I remember:
rigid wire and white lace
half-impressed in her flesh ...

our soft cries, like regret,

... the enameled white clips
of her bra strap
still inscribe dimpled marks
that my kisses erase ...

now that I have forgotten her face.



in-flight convergence
by michael r. burch

serene, almost angelic,
the lights of the city ――― extend ―――

over lumbering behemoths
shrilly screeching displeasure;
they say
that nothing is certain,
that nothing man dreams or ordains
long endures his command

here the streetlights that flicker
and those blazing steadfast
seem one: from a distance;
descend,
they abruptly
part ――― ways,

so that nothing is one
which at times does not suddenly blend
into garish insignificance
in the familiar alleyways,
in the white neon flash
and the billboards of Convenience

and man seems the afterthought of his own Brilliance
as we thunder down the enlightened runways.

Originally published by The Aurorean and subsequently nominated for the Pushcart Prize



Absence
by Michael R. Burch

Christ, how I miss you!,
though your parting kiss is still warm on my lips.

Now the floor is not strewn with your stockings and slips
and the dishes are all stacked away.

You left me today ...
and each word left unspoken now whispers regrets.



The Quickening
by Michael R. Burch

for Beth

I never meant to love you
when I held you in my arms
promising you sagely
wise, noncommittal charms.

And I never meant to need you
when I touched your tender lips
with kisses that intrigued my own:
such kisses I had never known,
nor a heartbeat in my fingertips!



Ah! Sunflower
by Michael R. Burch
after William Blake

O little yellow flower
like a star ...
how beautiful,
how wonderful
we are!



Published as the collection "Rondels"

Keywords/Tags: rondel, roundel, rondeau, villanelle, refrain, repetition, poetic form, poetics, poetic expression, Chaucer, Orleans, love, art, beauty, mercy, merciless, words, heart, hearts, pity, pride, prison

You've asked me how can I see a future when love, in all
Its numinous beauty, is waning?
I reply, the immortal stars still shine above the veil of clouds.
You say, why are the salmon swimming to their pools of origin
Only to die as they spawn?  Only to die?
I tell you their love is unconditional, like mine.
You ask me did the giant sequoia know it was shelter for the burning grasses
When they walked from the seas?  I reply yes they knew.
You question me about the lofty snow cranes that fly over the Himalayas
And I reply by describing
How the priestly flocks, chanting on their mission, honk—
Announcing the mantle steps to the heavens.
You inquire about the elephantine manatees gracing the shallow banks
And wonder if the sea mermaids remember their lives beyond the latitudes
Of capricorn and cancer?
Or you’ve discovered in the wind a new reasoning as to why
The talons of the paired eagles lock in midair as they court?
You want to understand the nimbus garden, ocean slate, of lake Titicaca
Where resides the Andean sea horse gliding above the clouds?
The whales that circle dance in unison collecting krill?
The noetic display of the birds of paradise, the songs of nameless creatures
Playing in the wilderness like a forgotten melody only lovers lips remember?

I want to tell you that true love knows this, that life in its
Prismatic shimmer is all the myriad colours of infinite existence wrapped
In time to the sublime structure of white and bones.  I must tell you
That the flower is mighty in its opening, the humming bird is a sorcerer
Who needles ambrosia with vortex wings weaving his way to the Gods.

But I am nothing beside your disbelief which has arrived, before
I can even imagine the sweet awakening, like doom, my shell is the iridescent
Hollow of the one eyed Abalone, discarded in the deep fathoms
Of the ocean pressures.

I swim the tides as you do, investigating
The endless tendril seas,
And in my chest, during the night, I woke up empty,
The only thing treasured, a golden face
Trapped inside my dreams.

                                                                  
                                                             ­­                       — after Neruda

.
You've asked me how can I see a future when love, in all
Its numinous beauty, is waning?
I reply, the immortal stars still shine above the veil of clouds.
You say, why are the salmon swimming to their pools of origin
Only to die as they spawn?  Only to die?
I tell you their love is unconditional, like mine.
You ask me did the giant sequoia know it was shelter for the burning grasses
When they walked from the seas?  I reply yes they knew.
You question me about the lofty snow cranes that fly over the Himalayas
And I reply by describing
How the priestly flocks, chanting on their mission, honk—
Announcing the mantle steps to the heavens.
You inquire about the elephantine manatees gracing the shallow banks
And wonder if the sea mermaids remember their lives beyond the latitudes
Of capricorn and cancer?
Or you’ve discovered in the wind a new reasoning as to why
The talons of the paired eagles lock in midair as they court?
You want to understand the nimbus garden, ocean slate, of lake Titicaca
Where resides the Andean sea horse gliding above the clouds?
The whales that circle dance in unison collecting krill?
The noetic display of the birds of paradise, the songs of nameless creatures
Playing in the wilderness like a forgotten melody only lovers lips remember?

I want to tell you that true love knows this, that life in its
Prismatic shimmer is all the myriad colours of infinite existence wrapped
In time to the sublime structure of white and bones.  I must tell you
That the flower is mighty in its opening, the humming bird is a sorcerer
Who needles ambrosia with vortex wings weaving his way to the Gods.

But I am nothing beside your disbelief which has arrived, before
I can even imagine the sweet awakening, like doom, my shell is the iridescent
Hollow of the one eyed Abalone, discarded in the deep fathoms
Of the ocean pressures.

I swim the tides as you do, investigating
The endless tendril seas,
And in my chest, during the night, I woke up empty,
The only thing treasured, a golden face
Trapped inside my dreams.

                                                        ­­­          
                                                             ­­                       — after Neruda

You've asked me how can I see a future when love, in all
Its numinous beauty, is waning?
I reply, the immortal stars still shine above the veil of clouds.
You say, why are the salmon swimming to their pools of origin
Only to die as they spawn?  Only to die?
I tell you their love is unconditional, like mine.
You ask me did the giant sequoia know it was shelter for the burning grasses
When they walked from the seas?  I reply yes they knew.
You question me about the lofty snow cranes that fly over the Himalayas
And I reply by describing
How the priestly flocks, chanting on their mission, honk—
Announcing the mantle steps to the heavens.
You inquire about the elephantine manatees gracing the shallow banks
And wonder if the sea mermaids remember their lives beyond the latitudes
Of capricorn and cancer?
Or you’ve discovered in the wind a new reasoning as to why
The talons of the paired eagles lock in midair as they court?
You want to understand the nimbus garden, ocean slate, of lake Titicaca
Where resides the Andean sea horse gliding above the clouds?
The whales that circle dance in unison collecting krill?
The noetic display of the birds of paradise, the songs of nameless creatures
Playing in the wilderness like a forgotten melody only lovers lips remember?

I want to tell you that true love knows this, that life in its
Prismatic shimmer is all the myriad colours of infinite existence wrapped
In time to the sublime structure of white and bones.  I must tell you
That the flower is mighty in its opening, the humming bird is a sorcerer
Who needles ambrosia with vortex wings weaving his way to the Gods.

But I am nothing beside your disbelief which has arrived, before
I can even imagine the sweet awakening, like doom, my shell is the iridescent
Hollow of the one eyed Abalone, discarded in the deep fathoms
Of the ocean pressures.

I swim the tides as you do, investigating
The endless tendril seas,
And in my chest, during the night, I woke up empty,
The only thing treasured, a golden face
Trapped inside my dreams.

we left early
couldn't've been half-past
6 o'clock in the morning
the dawn gray left dew-dripped
melancholy on the foggy front lawn
beyond your mother's portable home
we drove down I-4 singing Anberlin's "A
Day Late" and took the back route down
A1A to the secret place where

the waves whispered languid lullabies
as heat rays traced your skin and harmonized
with the ancient anthems of the Atlantic
as it hummed its gentle cadences

beams of light filtered through sandy
tresses on that solitary beach in the
middle of April
lens flares immortalizing sly grins in ways
i thought only celluloid could deliver
yet you were corporeal and immediate
a fragment of an inch from me

film clumped in loose spools around us
wasted shots used and then discarded
we lay on our sides
exchanging joy in silence
and mirth in sideward glances

barefoot along the boardwalk
beneath the shadows of mangroves
trespassing in the backyards of the bourgeoisie
feet kicking toes dipping minnows nibbling
in the brackish Indian River

J.B.'s Fish Camp was slow
that time of year
we gave manatees fresh water
watched the dolphins' distant dance as
i debated whether or not  
i should try to hold your hand

you drank lukewarm beer as our star
sank over your sunburnt shoulders
and a blues musician played
somber tunes of lust and loss that
carried us away as we ate coconut shrimp
and the breeze blew in from the bay

you wore a baseball cap with
the Atlanta Braves' crimson A and
sported a matching jersey of your
little league softball team and though i may
not quite remember every little thing you said i
can't shake the way you caught
my eye and blushed before turning your head

boats drifted past and
the sun tucked itself to sleep
and you made me promise
to let you read every ****** poem i'd ever
breathe into existence

you said you'd value them more than gold
prize them always cherish the memories
even when you grew older but
the sun had already set
its absence left a chill in my bones

Very near the she-bear lumbers
Past the sharp palmettos
Paw prints on the garbage can
Under star-filled skies
She walks silently
Obscured by the quiet night
Leaving scant paw prints on the path
While we slumber
Crickets serenade us
Three manatees see
Bright moon, darting gar
Cold springs empty of visitors
I walk in the dark dreamworld
And move without sight
Surrounded by sure feet and wings
Stillness finds darkness throbs and sings

~

You've asked me how can I see a future when love, in all
Its numinous beauty, is waning?
I reply, the immortal stars still shine above the veil of clouds.
You say, why are the salmon swimming to their pools of origin
Only to die as they spawn?  Only to die?
I tell you their love is unconditional, like mine.
You ask me did the giant sequoia know it was shelter for the burning grasses
When they walked from the seas?  I reply yes they knew.
You question me about the lofty snow cranes that fly over the Himalayas
And I reply by describing
How the priestly flocks, chanting on their mission, honk—
Announcing the mantle steps to the heavens.
You inquire about the elephantine manatees gracing the shallow banks
And wonder if the sea mermaids remember their lives beyond the latitudes
Of capricorn and cancer?
Or you’ve discovered in the wind a new reasoning as to why
The talons of the paired eagles lock in midair as they court?
You want to understand the nimbus garden, ocean slate, of lake Titicaca
Where resides the Andean sea horse gliding above the clouds?
The whales that circle dance in unison collecting krill?
The noetic display of the birds of paradise, the songs of nameless creatures
Playing in the wilderness like a forgotten melody only lovers lips remember?

I want to tell you that true love knows this, that life in its
Prismatic shimmer is all the myriad colours of infinite existence wrapped
In time to the sublime structure of white and bones.  I must tell you
That the flower is mighty in its opening, the humming bird is a sorcerer
Who needles ambrosia with vortex wings weaving his way to the Gods.

But I am nothing beside your disbelief which has arrived, before
I can even imagine the sweet awakening, like doom, my shell is the iridescent
Hollow of the one eyed Abalone, discarded in the deep fathoms
Of the ocean pressures.

I swim the tides as you do, investigating
The endless tendril seas,
And in my chest, during the night, I woke up empty,
The only thing treasured, a golden face
Trapped inside my dreams.

                                                        ­­­          
                                                             ­­                       — after Neruda
.

The Divide
by Michael R. Burch

The sea was not salt the first tide ...
was man born to sorrow that first day,
the moon a pale beacon across the Divide,
the brighter for longing, an object denied,
the tug at his heart's pink, bourgeoning clay?

The sea was not salt the first tide ...
but grew bitter, bitter ... man's torrents supplied.
The bride of their longing forever astray,
her shield a cold beacon across the Divide,
flashing pale signals: "Decide. Decide.
Choose me, or His Brightness, I will not stay."

The sea was not salt the first tide ...
imploring her, ebbing: "Abide, abide."

The silver fish flash there, the manatees gray.

The moon, a pale beacon across the Divide,
has taught us to seek Love's concealed side:
the dark face of longing, the poets say.

The sea was not salt the first tide ...
the moon a pale beacon across the Divide.

NOTE: "The Divide" is essentially a villanelle despite the non-formal line breaks.

Published by Neovictorian/Cochlea, The Eclectic Muse, Freshet, Better Than Starbucks, Sonnetto Poesia, The New Formalist and Pennsylvania Review

Keywords/Tags: Villanelle, sea, salt, first, tide, moon, pale, beacon, Divide, love, concealed side, dark side of the moon, longing, passion, desire, lust

'Souvenir' comes from the french word meaning remembrance. It is an almost universal behavior to collect tiny mementos while traveling, some tangible object that holds all of the intangible memories and joy that came with the moment. Souvenirs are a quite lovely sentiment when you really think about it - before the plastic and mass-production and tourism industry come into the picture. In Japan, souvenirs are called omiyage, which travelers bring back home to loved ones and friends as a sort of apology for their absence, a way of saying "sorry you couldn't make it" or "wish you were here."
Today, the top ten most popular souvenirs are ornaments, t-shirts, postcards, shot glasses, tattoos, sand in a bottle, fridge magnets, tea towels, key rings, and random gifts. My mother has chosen to cherish the seventh most popular form of souvenir: fridge magnets. Manmade refrigerator magnets were popularized in the 1960's for educational and functional purposes but very quickly evolved into fun and inexpensive decor. She has so many state shaped magnets from all around the US, and a few from outside of it.
The thing with my mother though, is that she has always been a self-proclaimed homebody. I sometimes worry that she has agoraphobia but I think most of it is just that she never really had the opportunity to explore the world outside of the dead end street she grew up on (and still lives on to this day). She was raised by her grandfather who was a merchant marine and traveled often during her childhood, but she married and had kids at a young age and never really had the time or money to go on her own adventures. She was a stay-at-home mom to my four siblings and I, as well as to all of the neighborhood kids. Her door and arms and ears were always open for them. Now those neighborhood kids are all grown and so am I and they're off having their own kids and I'm off having my own adventures, but we all make a point to bring her back a magnet from the places we visit.

The wide variety of magnets you can find in a single gift shop in every city surprised me at first. There is now an art to choosing the perfect one for my mom - I went to four different shops in Portland, Oregon trying to find the perfect one. I never found the perfect one but still, that's dedication. I stray away from the boring traditional ones with the state name and shape (although this type is one of the less creative neighborhood kids go-to) and try to find ones that will make her laugh or show her some of the culture or sights from the city instead.
A green-eyed squirrel from North Carolina, a candy skull from Cancun, the mysterious Bigfoot from Washington, a sailboat from Maryland, a front porch with a lamppost from Puerto Rico, manatees from Central Florida, and entirely too many Los Angeles cityscapes and Smoky Mountain bottle openers adorn the kitchen. So many, in fact, that she ran out of room on the refrigerator and had my dad mount a magnetic board in the kitchen hallway to fit them all.

I know it makes her happy to see all of her children having these experiences and seeing the world but most of the time it just makes me sad that she couldn't be there with me. I hate to think that she ever looks at them and feels like she's missed out on too much or that we held her back in any way, though I know she would never admit that. We bring her souvenirs so she can live vicariously through us, so that she can cherish our memories in place of her own. Even now that I've moved away, I mail her magnets from Florida as an apology for my absence.  
I rate them three out of five stars.

These are my best poems, according to Google. I let Google pick my best poems with the search:

The best poems of Michael R. Burch

The search returns 24 poems but by repeating the search a few times, I managed to come up with 35 poems...



Will There Be Starlight (#1)
by Michael R. Burch

for Beth

Will there be starlight
tonight
while she gathers
damask
and lilac
and sweet-scented heathers?

And will she find flowers,
or will she find thorns
guarding the petals
of roses unborn?

Will there be starlight
tonight
while she gathers
seashells
and mussels
and albatross feathers?

And will she find treasure
or will she find pain
at the end of this rainbow
of moonlight on rain?



I Pray Tonight (#2)
by Michael R. Burch

I pray tonight
the starry Light
might
surround you.

I pray
by day
that, come what may,
no dark thing confound you.

I pray ere the morrow
an end to your sorrow.
May angels' white chorales
sing, and astound you.



The Harvest of Roses (#3)
by Michael R. Burch

I have not come for the harvest of roses—
the poets' mad visions,
their railing at rhyme ...
for I have discerned what their writing discloses:
weak words wanting meaning,
beat torsioning time.

Nor have I come for the reaping of gossamer—
images weak,
too forced not to fail;
gathered by poets who worship their luster,
they shimmer, impendent,
resplendently pale.



Because Her Heart Is Tender (#4)
by Michael R. Burch

 for Beth

She scrawled soft words in soap: "Never Forget,"
Dove-white on her car's window, and the wren,
because her heart is tender, might regret
it called the sun to wake her. As I slept,
she heard lost names recounted, one by one.

She wrote in sidewalk chalk: "Never Forget,"
and kept her heart's own counsel. No rain swept
away those words, no tear leaves them undone.

Because her heart is tender with regret,
bruised by razed towers' glass and steel and stone
that shatter on and on and on and on,
she stitches in wet linen: "NEVER FORGET,"
and listens to her heart's emphatic song.

The wren might tilt its head and sing along
because its heart once understood regret
when fledglings fell beyond, beyond, beyond ...
its reach, and still the boot-heeled world strode on.

She writes in adamant: "NEVER FORGET"
because her heart is tender with regret.



Caveat Spender (#5)
by Michael R. Burch

It’s better not to speculate
"continually" on who is great.
Though relentless awe’s
a Célèbre Cause,
please reserve some time for the contemplation
of the perils of EXAGGERATION.



Free Fall (#6)
by Michael R. Burch

These cloudless nights, the sky becomes a wheel
where suns revolve around an axle star ...
Look there, and choose. Decide which moon is yours.
Sink Lethe-ward, held only by a heel.

Advantage. Disadvantage. Who can tell?
To see is not to know, but you can feel
the tug sometimes—the gravity, the shell
as lustrous as damp pearl. You sink, you reel

toward some draining revelation. Air—
too thin to grasp, to breathe. Such pressure. Gasp.
The stars invert, electric, everywhere.
And so we fall, down-tumbling through night’s fissure ...

two beings pale, intent to fall forever
around each other—fumbling at love’s tether ...
now separate, now distant, now together.



In Praise of Meter (#7)
by Michael R. Burch

The earth is full of rhythms so precise
the octave of the crystal can produce
a trillion oscillations, yet not lose
a second's beat. The ear needs no device
to hear the unsprung rhythms of the couch
drown out the mouth's; the lips can be debauched
by kisses, should the heart put back its watch
and find the pulse of love, and sing, devout.

If moons and tides in interlocking dance
obey their numbers, what's been left to chance?
Should poets be more lax—their circumstance
as humble as it is?—or readers wince
to see their ragged numbers thin, to hear
the moans of drones drown out the Chanticleer?



Moments (#8)
by Michael R. Burch

for Beth

There were moments full of promise,
like the petal-scented rainfall of early spring,
when to hold you in my arms and to kiss your willing lips
seemed everything.

There are moments strangely empty
full of pale unearthly twilight—how the cold stars stare!—
when to be without you is a dark enchantment
the night and I share.



Let Me Give Her Diamonds (#9)

for Beth

Let me give her diamonds
for my heart’s
sharp edges.

Let me give her roses
for my soul’s
thorn.

Let me give her solace
for my words
of treason.

Let the flowering of love
outlast a winter
season.

Let me give her books
for all my lack
of reason.

Let me give her candles
for my lack
of fire.

Let me kindle incense,
for our hearts
require

the breath-fanned
flaming perfume
of desire.



Step Into Starlight (#10)
by Michael R. Burch

Step into starlight,
lovely and wild,
lonely and longing,
a woman, a child . . .

Throw back drawn curtains,
enter the night,
dream of his kiss
as a comet ignites . . .

Then fall to your knees
in a wind-fumbled cloud
and shudder to hear
oak hocks groaning aloud.

Flee down the dark path
to where the snaking vine bends
and withers and writhes
as winter descends . . .

And learn that each season
ends one vanished day,
that each pregnant moon holds
no spent tides in its sway . . .

For, as suns seek horizons—
boys fall, men decline.
As the grape sags with its burden,
remember—the wine!



Wulf and Eadwacer (#11)
(Anonymous, circa 960-990 AD)
loose translation/interpretation by Michael R. Burch

My clan's curs pursue him like crippled game.
They'll rip him apart if he approaches their pack.
We are so different.

Wulf's on one island; I'm on another.
His island's a fortress, fastened by fens.
Here bloodthirsty men howl for carnage.
They'll rip him apart if he approaches their pack.
We are so different.

My thoughts pursued Wulf like panting hounds.
Whenever it rained and I wept,
big, battle-strong arms embraced me.
It felt good, to a point, but the end was loathsome.

Wulf, oh, my Wulf! My desire for you
has made me sick; your seldom-comings
have left me famished, deprived of real meat.

Do you hear, Heaven-Watcher? A wolf has borne
our wretched whelp to the woods.
One can easily sever what never was one:
our song together.



A Surfeit of Light (#12)
by Michael R. Burch

There was always a surfeit of light in your presence.
You stood distinctly apart, not of the humdrum world—
a chariot of gold in a procession of plywood.

We were all pioneers of the modern expedient race,
raising the ante: Home Depot to Lowe’s.
Yours was an antique grace—Thrace’s or Mesopotamia’s.

We were never quite sure of your silver allure,
of your trillium-and-platinum diadem,
of your utter lack of flatware-like utility.

You told us that night—your wound would not scar.
The black moment passed, then you were no more.
The darker the sky, how much brighter the Star!

The day of your funeral, I ripped out the crown mold.
You were this fool’s gold.



Abide (#13)
by Michael R. Burch

after Philip Larkin's "Aubade"

It is hard to understand or accept mortality—
such an alien concept: not to be.
Perhaps unsettling enough to spawn religion,
or to scare mutant fish out of a primordial sea

boiling like goopy green tea in a kettle.
Perhaps a man should exhibit more mettle
than to admit such fear, denying Nirvana exists
simply because we are stuck here in such a fine fettle.

And so we abide . . .
even in life, staring out across that dark brink.
And if the thought of death makes your questioning heart sink,
it is best not to drink
(or, drinking, certainly not to think).



Autumn Conundrum (#14)
by Michael R. Burch

It's not that every leaf must finally fall,
it's just that we can never catch them all.



Breakings (#15)
by Michael R. Burch

I did it out of pity.
I did it out of love.
I did it not to break the heart of a tender, wounded dove.

But gods without compassion
ordained: Frail things must break!
Now what can I do for her shattered psyche’s sake?

I did it not to push.
I did it not to shove.
I did it to assist the flight of indiscriminate Love.

But gods, all mad as hatters,
who legislate such great matters,
ordained that everything irreplaceable shatters.



don’t forget (#16)
by michael r. burch

for Beth

don’t forget to remember
that Space is curved (like your Heart)
and that even Light
is bent by your Gravity.



Enigma (#17)
by Michael R. Burch

for Beth
 
O, terrible angel,
bright lover and avenger,
full of whimsical light and vile anger;
wild stranger,
seeking the solace of night, or the danger;
pale foreigner,
alien to man, or savior.

Who are you,
seeking consolation and passion
in the same breath,
screaming for pleasure, bereft
of all articles of faith,
finding life
harsher than death?

Grieving angel,
giving more than taking,
how lucky the man
who has found in your love, this—our reclamation;
fallen wren,
you must strive to fly though your heart is shaken;
weary pilgrim,
you must not give up though your feet are aching;
lonely child,
lie here still in my arms; you must soon be waking.



Epitaph for a Palestinian Child (#18)
by Michael R. Burch

I lived as best I could, and then I died.
Be careful where you step: the grave is wide.




Fahr an' Ice (#19)
by Michael R. Burch

From what I know of death, I'll side with those
who'd like to have a say in how it goes:
just make mine cool, cool rocks (twice drowned in likker),
and real fahr off, instead of quicker.



For All That I Remembered (#20)
by Michael R. Burch

For all that I remembered, I forgot
her name, her face, the reason that we loved ...
and yet I hold her close within my thought.
I feel the burnished weight of auburn hair
that fell across her face, the apricot
clean scent of her shampoo, the way she glowed
so palely in the moonlight, angel-wan.

The memory of her gathers like a flood
and bears me to that night, that only night,
when she and I were one, and if I could ...
I'd reach to her this time and, smiling, brush
the hair out of her eyes, and hold intact
each feature, each impression. Love is such
a threadbare sort of magic, it is gone
before we recognize it. I would crush
my lips to hers to hold their memory,
if not more tightly, less elusively.



in-flight convergence (#21)
by Michael R. Burch

serene, almost angelic,
the lights of the city                extend
over lumbering behemoths
shrilly screeching displeasure;
                                             they say
that nothing is certain,
that nothing man dreams or ordains
long endures his command

here the streetlights that flicker
and those blazing steadfast
seem one:                from a distance;
                descend,
they abruptly
part              ways,

so that nothing is one
which at times does not suddenly blend
into garish insignificance
in the familiar alleyways,
in the white neon flash
and the billboards of Convenience

and man seems the afterthought of his own Brilliance
as we thunder down the enlightened runways.



In the Whispering Night (#22)
by Michael R. Burch

for George King

In the whispering night, when the stars bend low
till the hills ignite to a shining flame,
when a shower of meteors streaks the sky
as the lilies sigh in their beds, for shame,
we must steal our souls, as they once were stolen,
and gather our vigor, and all our intent.
We must heave our husks into some savage ocean
and laugh as they shatter, and never repent.
We must dance in the darkness as stars dance before us,
soar, Soar! through the night on a butterfly's breeze ...
blown high, upward-yearning, twin spirits returning
to the heights of awareness from which we were seized.



In this Ordinary Swoon (#23)
by Michael R. Burch

In this ordinary swoon
as I pass from life to death,
I feel no heat from the cold, pale moon;
I feel no sympathy for breath.

Who I am and why I came,
I do not know; nor does it matter.
The end of every man’s the same
and every god’s as mad as a hatter.

I do not fear the letting go;
I only fear the clinging on
to hope when there’s no hope, although
I lift my face to the blazing sun

and feel the greater intensity
of the wilder inferno within me.



Leaf Fall (#24)
by Michael R. Burch

Whatever winds encountered soon resolved
to swirling fragments, till chaotic heaps
of leaves lay pulsing by the backyard wall.
In lieu of rakes, our fingers sorted each
dry leaf into its place and built a high,
soft bastion against earth's gravitron—
a patchwork quilt, a trampoline, a bright
impediment to fling ourselves upon.

And nothing in our laughter as we fell
into those leaves was like the autumn's cry
of also falling. Nothing meant to die
could be so bright as we, so colorful—
clad in our plaids, oblivious to pain
we'd feel today, should we leaf-fall again.



Once (#25)

for Beth

Once when her kisses were fire incarnate
and left in their imprint bright lipstick, and flame,
when her breath rose and fell over smoldering dunes,
leaving me listlessly sighing her name . . .

Once when her ******* were as pale, as beguiling,
as wan rivers of sand shedding heat like a mist,
when her words would at times softly, mildly rebuke me
all the while as her lips did more wildly insist . . .

Once when the thought of her echoed and whispered
through vast wastelands of need like a Bedouin chant,
I ached for the touch of her lips with such longing
that I vowed all my former vows to recant . . .

Once, only once, something bloomed, of a desiccate seed—
this implausible blossom her wild rains of kisses decreed.



Ordinary Love (#26)
by Michael R. Burch

Indescribable—our love—and still we say
with eyes averted, turning out the light,
"I love you," in the ordinary way

and tug the coverlet where once we lay,
all suntanned limbs entangled, shivering, white ...
indescribably in love. Or so we say.

Your hair's blonde thicket now is tangle-gray;
you turn your back; you murmur to the night,
"I love you," in the ordinary way.

Beneath the sheets our hands and feet would stray
to warm ourselves. We do not touch despite
a love so indescribable. We say

we're older now, that "love" has had its day.
But that which Love once countenanced, delight,
still makes you indescribable. I say,
"I love you," in the ordinary way.



Piercing the Shell (#27)
by Michael R. Burch

If we strip away all the accouterments of war,
perhaps we'll discover what the heart is for.



Sweet Rose of Virtue (#28)
by William Dunbar
loose translation/interpretation by Michael R. Burch

Sweet rose of virtue and of gentleness,
delightful lily of youthful wantonness,
richest in bounty and in beauty clear
and in every virtue men hold most dear―
except only that you are merciless.

Into your garden, today, I followed you;
there I found flowers of freshest hue,
both white and red, delightful to see,
and wholesome herbs, waving resplendently―
yet nowhere one leaf nor petal of rue.

I fear that March with his last arctic blast
has slain my fair flower and left her downcast;
whose piteous death does my heart such pain
that I long to plant love's root again―
so comforting her bowering leaves have been.



The Divide (#29)
by Michael R. Burch

The sea was not salt the first tide ...
was man born to sorrow that first day
with the moon—a pale beacon across the Divide,
the brighter for longing, an object denied—
the tug at his heart's pink, bourgeoning clay?

The sea was not salt the first tide ...
but grew bitter, bitter—man's torrents supplied.
The bride of their longing—forever astray,
her shield a cold beacon across the Divide,
flashing pale signals: Decide. Decide.
Choose me, or His Brightness, I will not stay.

The sea was not salt the first tide ...
imploring her, ebbing: Abide, abide.

The silver fish flash there, the manatees gray.

The moon, a pale beacon across the Divide,
has taught us to seek Love's concealed side:
the dark face of longing, the poets say.

The sea was not salt the first tide ...
the moon a pale beacon across the Divide.



The Folly of Wisdom (#30)
by Michael R. Burch

She is wise in the way that children are wise,
looking at me with such knowing, grave eyes
I must bend down to her to understand.
But she only smiles, and takes my hand.

We are walking somewhere that her feet know to go,
so I smile, and I follow ...

And the years are dark creatures concealed in bright leaves
that flutter above us, and what she believes—
I can almost remember—goes something like this:
the prince is a horned toad, awaiting her kiss.

She wiggles and giggles, and all will be well
if only we find him! The woodpecker’s knell
as he hammers the coffin of some dying tree
that once was a fortress to someone like me

rings wildly above us. Some things that we know
we are meant to forget. Life is a bloodletting, maple-syrup-slow.



The Peripheries of Love (#31)
by Michael R. Burch

Through waning afternoons we glide
the watery peripheries of love.
A silence, a quietude falls.

Above us—the sagging pavilions of clouds.
Below us—rough pebbles slowly worn smooth
grate in the gentle turbulence
of yesterday’s forgotten rains.

Later, the moon like a ******
lifts her stricken white face
and the waters rise
toward some unfathomable shore.

We sway gently in the wake
of what stirs beneath us,
yet leaves us unmoved ...
curiously motionless,

as though twilight might blur
the effects of proximity and distance,
as though love might be near—

as near
as a single cupped tear of resilient dew
or a long-awaited face.



The Shrinking Season (#32)
by Michael R. Burch

With every wearying year
the weight of the winter grows
and while the schoolgirl outgrows
her clothes,
the widow disappears
in hers.



Be that Rock (#33)
by Michael R. Burch

for George Edwin Hurt Sr.

When I was a child
I never considered man’s impermanence,
for you were a mountain of adamant stone:
a man steadfast, immense,
and your words rang.

And when you were gone,
I still heard your voice, which never betrayed,
"Be strong and of a good courage,
neither be afraid ..."
as the angels sang.

And, O!, I believed
for your words were my truth, and I tried to be brave
though the years slipped away
with so little to save
of that talk.

Now I'm a man—
a man ... and yet Grandpa ... I'm still the same child
who sat at your feet
and learned as you smiled.
Be that rock.



Crescendo Against Heaven (#34)
by Michael R. Burch

As curiously formal as the rose,
the imperious Word grows
until it sheds red-gilded leaves:
then heaven grieves
love’s tiny pool of crimson recrimination
against God, its contention
of the price of salvation.

These industrious trees,
endlessly losing and re-losing their leaves,
finally unleashing themselves from earth, lashing
themselves to bits, washing
themselves free
of all but the final ignominy
of death, become
at last: fast planks of our coffins, dumb.

Together now, rude coffins, crosses,
death-cursed but bright vermilion roses,
bodies, stumps, tears, words: conspire
together with a nearby spire
to raise their Accusation Dire ...
to scream, complain, to point out these
and other Dark Anomalies.

God always silent, ever afar,
distant as Bethlehem’s retrograde star,
we point out now, in resignation:
You asked too much of man’s beleaguered nation,
gave too much strength to his Enemy,
as though to prove Your Self greater than He,
at our expense, and so men die
(whose accusations vex the sky)
yet hope, somehow, that You are good ...
just, O greatest of Poets!, misunderstood.



Desdemona (#35)
by Michael R. Burch

Though you possessed the moon and stars,
you are bound to fate and wed to chance.
Your lips deny they crave a kiss;
your feet deny they ache to dance.
Your heart imagines wild romance.

Though you cupped fire in your hands
and molded incandescent forms,
you are barren now, and—spent of flame—
the ashes that remain are borne
toward the sun upon a storm.

You, who demanded more, have less,
your heart within its cells of sighs
held fast by chains of misery,
confined till death for peddling lies—
imprisonment your sense denies.

You, who collected hearts like leaves
and pressed each once within your book,
forgot. None—winsome, bright or rare—
not one was worth a second look.
My heart, as others, you forsook.

But I, though I loved you from afar
through silent dawns, and gathered rue
from gardens where your footsteps left
cold paths among the asters, knew—
each moonless night the nettles grew

and strangled hope, where love dies too.



These are my personal picks of poems not selected by Google ...



Sunset
by Michael R. Burch

This poem is dedicated to my grandfather, George Edwin Hurt, who died April 4, 1998.

Between the prophecies of morning
and twilight’s revelations of wonder,
the sky is ripped asunder.

The moon lurks in the clouds,
waiting, as if to plunder
the dusk of its lilac iridescence,

and in the bright-tentacled sunset
we imagine a presence
full of the fury of lost innocence.

What we find within strange whorls of drifting flame,
brief patterns mauling winds deform and maim,
we recognize at once, but cannot name.



Fascination with Light
by Michael R. Burch

Desire glides in on calico wings,
a breath of a moth
seeking a companionable light,

where it hovers, unsure,
sullen, shy or demure,
in the margins of night,

a soft blur.

With a frantic dry rattle
of alien wings,
it rises and thrums one long breathless staccato

then flutters and drifts on in dark aimless flight.

And yet it returns
to the flame, its delight,
as long as it burns.



I began writing poetry around age eleven, mostly for personal amusement at first, then started to write with larger goals in mind around age thirteen or fourteen (I was very ambitious). This is one of my earliest poems, written in my teens ...

Styx
by Michael R. Burch

Black waters,
deep and dark and still . . .
all men have passed this way,
or will.



This is another early poem, written as a teenager, that made me feel like a "real poet" ...

Infinity
by Michael R. Burch

Have you tasted the bitterness of tears of despair?
Have you watched the sun sink through such pale, balmless air
that your heart sought its shell like a crab on a beach,
then scuttled inside to be safe, out of reach?

Might I lift you tonight from earth’s wreckage and damage
on these waves gently rising to pay the moon homage?
Or better, perhaps, let me say that I, too,
have dreamed of infinity . . . windswept and blue.



This is another early poem, and my first poem that didn't rhyme...

Something
by Michael R. Burch

―for the children of the Holocaust and the Nakba

Something inescapable is lost—
lost like a pale vapor curling up into shafts of moonlight,
vanishing in a gust of wind toward an expanse of stars
immeasurable and void.

Something uncapturable is gone—
gone with the spent leaves and illuminations of autumn,
scattered into a haze with the faint rustle of parched grass
and remembrance.

Something unforgettable is past—
blown from a glimmer into nothingness, or less,
which finality has swept into a corner ... where it lies
in dust and cobwebs and silence.



This is a very early poem of mine. I believe I wrote the first version around age 14 or 15 ...

Leave Taking
by Michael R. Burch

Brilliant leaves abandon battered limbs
to waltz upon ecstatic winds
until they die.

But the barren and embittered trees,
lament the frolic of the leaves
and curse the bleak November sky ...

Now, as I watch the leaves' high flight
before the fading autumn light,
I think that, perhaps, at last I may

have learned what it means to say—
goodbye.



First They Came for the Muslims
by Michael R. Burch

after Martin Niemöller

First they came for the Muslims
and I did not speak out
because I was not a Muslim.

Then they came for the homosexuals
and I did not speak out
because I was not a homosexual.

Then they came for the feminists
and I did not speak out
because I was not a feminist.

Now when will they come for me
because I was too busy and too apathetic
to defend my sisters and brothers?

"First They Came for the Muslims" has been adopted by Amnesty International for its Words That Burn anthology, a free online resource for students and educators. According to Google the poem has appeared on a staggering 691,000 web pages. That's a lot of cutting and pasting! It is indeed an honor to have one of my poems published by such an outstanding organization as Amnesty International, one of the world's finest. Not only is the cause good―a stated goal is to teach students about human rights through poetry―but so far the poetry published seems quite good to me. My poem appears beneath the famous Holocaust poem that inspired it, "First They Came" by Martin Niemöller. Here's a bit of background information: Words That Burn is an online poetry anthology and human rights educational resource for students and teachers created by Amnesty International in partnership with The Poetry Hour. Amnesty International is the world’s largest human rights organization, with seven million supporters. Its new webpage has been designed to "enable young people to explore human rights through poetry whilst developing their voice and skills as poets." This exemplary resource was inspired by the poetry anthology Words that Burn, curated by Josephine Hart of The Poetry Hour, which in turn was inspired by Thomas Gray's observation that "Poetry is thoughts that breathe and words that burn."

Keywords/Tags: best, poems, best poems, most popular poems, Burch, Michael R. Burch

Here we are,
Swimming afar from Great White Sharks
Cooling with chill manatees from Mars.

School Break has been pleasant and it has been unfortunate as a peasant
Tenth grade is all over so what will tumble to cover when the eleventh is to hover?
I am fazed to predict the outcome.

My mom is long gone
And it appears that all is lost
What shall I regain in place of this unpresent ghost?

Never realized
The ultimate surprise
Could suppress me.
Never knew I could be so encouraged
When the terrain gets tough
I am stable to be.

Time surpasses on the clock ticky ******
I remain tucked in my snuggly bed at night
Pondering,
On the thought of how it all came to flash before my eyes in a heartbeat.

Last December
What a chilly, lonesome snowed forest
Current in July
What a hilly, hotsome blown storage

Abstracted memories,
Not a topic listed in my book.
Passages of temporaries,
Fish back to my hook.

What is to uprise
What is to dubb nice
What is to enlarge size
In this life?

I do not belong to Democratic Party. I do not belong to the Republican Party. I belong to Love. I am not a citizen of the USA. I am a Citizen of Earth, as we all are, which means that all us belong to Love, whether we're conscious of it or not. There are so many ways to love, and the world need them all. The world needs as much as it can get. The air needs to be loved. The rills, the rivulets, the streams, the rivers, the lakes and ponds, all oceans need to be loved. I belong to Love. Meadows, forests, hills and mountains, deserts, all need to be loved. Dogs and cats, tigers and lions, moongooses and gorillas, all the animals need to be loved. Porpoises and whales, dolphins and seals, jellyfish and manatees, all kinds of fish and sea creatures need to be loved. I belong to Love. Bluebirds, robins, mockingbirds, hawks and eagles, all our winged friends need to be loved. Tulips and roses, the amaranthus and amaryllis, daisies and dandelions, all need to be loved. And all human beings need to be loved, all races, all people with different skin colors, people who practice all the different religions, the mentally and physically infirm, babies and toddlers and teenagers and adults and the elderly, all need to be loved. I belong to Love. We all belong to Love.

Copyright 2020 Tod Howard Hawks

Very near the she-bear lumbers
Past the sharp palmettos
Paw prints on the garbage can
Under star-filled skies
She walks silently
Obscured by the raucous night
Leaving scant paw prints on the path
While we slumber
Crickets serenade us
Three manatees see
Bright moon, darting gar
Cold springs empty of visitors
I walk in the dark dreamworld
And move without sight
Surrounded by sure feet and wings
Stillness finds darkness throbs and sings