title=
With fake and cheap copies of high-end popular designer wears increasing in the market, fashion experts have expressed their concern over plagiarism being on the rise in the industry.

"I think it (plagiarism) is an international problem, it is not just an Indian problem. It is said that plagiarism is a form of flattery (as the designs are getting copied). I don't subscribe to it. I am against it," noted designer Wendell Rodricks said.

"It took me seven years to patent my name Wendel l Rodricks as a brand. One should look to solve this problem the earliest," he said.

According to well-known designer Anita Dongre, the fashion industry should come together to tackle the issue.

"Now everything is digital, some of the designs get copied immediately online. All my lehengas are copied. It is sad," she said.

Echoing similar sentiments, designer Masaba also feels that plagiarism is the worst part of the fashion industry.

"It is sad that there is no control on the copycats...and too many undeserving people are getting recognition and chances to showcase," she said.

Masaba is known for her innovative prints and one can often see fake designs being sold at lesser prices.

"We are one of the most copied design houses in the country, and you just have to figure it if it eats into your business. If it doesn't, you shouldn't waste your time and money on it," she said.

Masaba, however, feels one can take culprits to court.

"Legal action can be taken if you have the bandwidth, but the fake market is too huge to tackle and lawmakers are extremely slow to act on it."

Wendell also thinks in a country like India, the legal matters pile up and it takes time, which is the sad part.

"The amount of time it takes in this country to bring someone (guilty) to court is too much. Ritu Kumar (designer) had taken people to court and won. But it is one of its kind of a case. You need to give that much amount of time," he said.

According to designer Gaurang Shah, one should take it as a compliment if their designs are copied.

"In a way it is a compliment that others are following you. But it is annoying as you work so hard and the design gets copied. It is a challenge for designers to come up with new ideas," he added.Read more at:www.marieaustralia.com/formal-dresses-2016 | www.marieaustralia.com/formal-dresses-brisbane

everything seems copied and pasted
everything seems done before
the fear of finally saying you love me
when i’ve heard it a thousand times and more
romantic dinners at romantic restaurants
romantic walks romantic breaks
dressing up in cheap lingerie
sitting on your wanton face

everything seems copied and pasted
all the good and all the bad
whispered words of tender undoing
bitter fights that drive me mad
stress filled dinners at stress filled restaurants
stress filled walks stress filled breaks
dressing down in unflattering pyjamas
pushing away your angry face

everything seems copied and pasted
something old nothing new
everything borrowed

Shining upon the rose,
lovely the sun rises
over the midday sky.

Without a second thought
the brightest one steps up
bends the ear on the ground.

Prophet Muhammad's (PBUH)
wife was waiting.
He was walking his way home.

Maybe or maybe not
one can revive from the
death sleeping at the night.
Hearing the sound
of the homecoming
beloved's foot though
one can't die.

The blessed lady heard
the sound of the foot
and was sure it was his.
This is it, it's the man, it's his!
He is coming home.

The sun is walking on the way
it will show up
upon the rose in no time.

Ah, only to discover,
it was Fathima walking
father's home!

She, a woman had
her foot sounds the same as
the man's, the greatest of all!
The very one cannot be copied
because he is the masculine original.

Because from the one
same circle came
the man and the woman.
Maybe with a little gap
spilling infinite pi decimals
new days and new nights.

Still, these are a show of
the one Moon and the one Sun!

I like memes
Words don't deliver half as much
My reaction can be boiled down
To 500x500 pixels
I'm utterly speechles
It takes no thought to post
It takes little wit
To giggle at an injoke
That the whole world is in on
It's nice to be part of something though
And share a snigger
We watch trends change
And language evolve
Without considering our role
What was rellevant some years ago
Is nostalgia in the archives
Of our collective history
Memes are the roman wall graffiti
Of the techno age
Only it's copied over and over
And spread like wildfire
Only to diseappear in the blink of an eye

Do you ever feel frustrated?

I'm overcome with a million words
                                                                ­that I know I'll never say.

Time stops around me,
But my brain is  a l i v e.

Thoughts gather,                
                               and 
                                              jmup 
                                                  ­               aornud
Until I can't make sense of what I'm feeling.
E v e r y t h i n g  becomes me.
I'm a deep, wide river
                                dried up in the sun.
Somehow barren,
                              yet
                              ­        drowning.


I'm walking along this road,
                                                     not going anywhere.

I'm living each day of the year,
But it's routine, copied,
                                            routine, copied,
                                                         ­                   routine, copied

The same    t i c k,    
                                    t o c k,    
                     t i c k,  
                                    t o c k,

Until I can't make sense,
                                          Of where I'm going.

I am nowhere.

I'm spinning in every direction,

Standing on top of the world.
                                                      
                                                                ­                L O S T

But here
All the same.

From Alan Lomax to the commercial art and now the money machine.

At the turn of the century; when sound recording 1st became available to the masses, recording a song was an opportunity for folk to reach out; and tell the world something up front and personal.
It meant that people were able to put themselves on “The record” A way of leaving a permanent audio statement, an epitaph, an audio sound bite immortalising ~ life, mood, emotion captured and bottled for all eternity.
(A medium that conveyed messages from artists and storytellers of all kinds)

A recording was also a great addition to "The family album" something more tangible, a window to a real person, with a real life, a message and a point of view; a legacy, a blast from the past.
Few people expected sound prints to be re-designed, homogenised, formulated, copied, repackaged and that art and the message would be played over and over again by new artists in the form of "cover music" or that the style of the messages would become secularized, seperated into distinctive groups, or constrained by an elite clique or commercial genre.
Labelling and streamlining art & music mostly benefits the commercial art & music industry; and no longer the artists and creators.

I've no problem with good business, or the multi-billion pound industrys that have gained commercial success.

However the process of mass homogenisation, product synthesis, marketing, streamlining and then packaging fashion, sound and synthetic culture to sell a product, leaves very little room for creative people to just be creative.

A medium originally open to many for self expression, a historical record, an archive, a voice, a personal message;
Is now just a vehicle for advertising and perpetuating a genre of nonsense, so much so that there is now more white noise immortalised than messages.

To re-cap ~ I Think that creativity and expressionism; like story telling conveys moods and messages from the present and past!
Artists and musicians should have the opportunity to create and produce more information than they copy; thus creating a richer more colourful tapestry, whilst not devaluing the message of their predecessors!

Purcy Flaherty.

Roses are red,
Violets are blue,
I copied your exam,
*And I failed too.

Fifteen years old and thinking I was older.
'Assistant Maintenance Man' at a Public School
Summer Camp. Billy Deitz had just graduated
High School, I thought him the coolest guy
I knew. The first week was ended, the little
kids gone home, a new batch in two days time.

We did our work, cleaned and swept, sweated
in the summer sun. Took the old surplus Jeep
over to the creek and plunged ourselves in.
Deitz had some beer in an Ice chest, I drank
one, my first ever. We shot his .22 for a while
and ate PBJs in the shade. Then we heard it.

A train horn in the mountains is a haunting
call. It does not seem to belong there among
evergreen trees and massive granite boulders.
We drove the hell out of the Jeep and found
our way to the down grade tracks. And there
she was maybe 50 cars long, snaking her way
from the summit of the Sierras out of California
into Nevada. Through the Pass over a hairpin
filled course hugging the skirts of the rock face
mountains, slowly rolling her massive load
pushing her four engines, breaks a screeching
in protest. "Click Clack, Click Clack", her steel
wheels clanging upon the rails, a rhythm like
her train heart beating.

Deitz grabbed his coat and tied it round his waist,
looped a canteen over his head, "Lets go kid!"
I did what he said, and then we were running
along beside the box cars, more a trot than a run,
"Do what I do!" Deitz yelled over his shoulder.
A flat car with some machinery approached and
He grabbed on to it and pulled himself aboard,
I copied his moves and he helped pull me up
and then there we stood on the deck of that
moving, mountain ship, with her grunting and
shaking under our feet. We could feel all her
massive weight and power vibrating up through
that wooden plank deck of the flat bed car,
entering our legs and spines. . . It was thrilling!

I had not had time to think all this through,
"Now what?" I asked some what perplexed
"Reno Kid." Deitz yelled with a grin.  

We climbed atop a Box Car, our rail bound
ship crawled out of the upper pass and we
started to descend towards Donner Lake far
below.

Looking behind and ahead it was hard to
understand how they had cut those tracks
out of solid granite rock and how the rails
maintained their frail finger tip grip on the
sheer mountain side.

We ducked nearly flat going through the snow
tunnels, the clearance was tight and it seemed
that a guy could lose his head. The diesel thick
air made us cover mouth and nose with our shirts.
Two tunnels in we noticed our faces getting
smoke blackened. We laughed at the joke.
Soot faced on a boxcar in a tunnel of wood.
Two city kids playing Hobo.

We reached the lower valley, passed the place
where the Donner Party met their grisly end.

Truckee was next and the highway grew close.
We got back down onto the flat car, hunkered
down by machine cargo, more or less out of sight.

I thought of all the down on their luck men that
had ridden those rails, not on a some lark. That
whole Grapes Of Wrath, Woody Guthrie period
of no joke, for real ****. Pushed by poverty and hope.

I must admit at that moment, I felt more alive than
at any other time in my life. I felt grown up, like a man.
Until my belly began to rumble, the speed increased
and the wind began to chill. The Click Clacks of the
wheels quickened and grew irritatingly redundant.
The loud wailing of the engine horn no longer exciting.
Now only hurt my ears.

It was dark by the time we hit Reno, we jumped off
before the train yard. Walked into town with its
bright lights calling the casino gamers to unholy service
and nightly prayer. Proceeded over by hard-bitten
dealers in communal black, with cigarettes dangling
from their unsmiling lips, possessing the empty
dead eyes of the badly used up and down-trodden.
Through the ***** windows, the people there seemed
to possess no joy in their sluggish endeavors.
Both players and dealers all losers, merely Automatons
of those despairing games of chance.

Reno was still rough-hewn in those days, a hard
scrabble place full of cigarette smoke, ******,
card tables, slot machines and not much else.
It seemed to reek of lonely desperation.

Having seen our soot ***** faces in the
window reflection, we washed up in the
cold river that runs through town.

We walked around, ate hot dogs,
Downed a Doctor Pepper.
"Now what Deitz?"
"**** I don't know kid,
first time I ever did anything like this."

"What?" My world collapsed right then,
I thought he was much more than
he turned out to be. Maybe everyone is.
I even started to get a little scared.
No money, no place to stay and apparently,
like most of the denizens there, **** out ah'
luck. I'd never felt that way before, from
mountain high to valley low in two hours.
All that excitement turned to Dread.

We hitched a ride with a long haired
guy of questionable gender, who kept
staring at me in the rearview mirror.
West, to a Truck Stop on the edge of town.
Found a trucker willing to give us a lift
back up to the summit.  Jumped in his rig
happy to find, that his cab heater worked.

Badly judged our get out spot, searched
and stumbled around in the shadowy dark,
dim moonlight looking for that **** jeep,
all that friggin' night.

When the guy that ran the camp returned
and found us sleeping at half past two,
in the afternoon in our tent, to say the least,
He was not amused.

Need I say, I felt much older that next day
and a little wiser too.

To the man who made me who I am

Being with you was like learning without a textbook
I just watched and copied and made it my own
From gardening to maths
You made me my own genius

I didn't have to speak for you to know what was wrong
You didn't judge me for the silly things I said
Or how I never learnt at school
You taught me to teach my self

You were my Mr Miyagi
With less riddles more jokes
I learnt that laughter can flood rooms like tidal waves
And we were leaves to float in it

And now you're gone I wont mourn
You would tell me to stop crying and cut my hair
I will use laughter to put a smile on raggedy dolls
And the stories to keep the dark days down

Thank you for being the Godfather of giggles
Making Sunday dinners not the day to fear Mondays
Having gardening not be a chore but a way to think
Rest well Granddad.

skyscraper man on seattle time
looms in the corner of swan lake and fry
untouchable denim untouchable blueblack plaid jacket
     he's put together with clothespins
     he's put together with stipends
     he's crammed between taxi cab book ends
skyscraper man on seattle time
stoic as the jet engines roar by
all his friends are magazines all his friends currentbrief
     he's got a little future
     he's got a few dimes
     he's got no father to call out the lies
skyscraper man on seattle time
watches smog children kick ***** on concrete
vulnerable under trees writes his novels in purpleink
     he's married once before
     he's read crucifixion lore
     he's returned his money to the store
skyscraper man on seattle time
looking through spectacles of ***** and brine
the rain falls hard the breeze sweet on the leaves
     he's emptying the soul of modern rock n' roll
     he's emptying the tray of ashed thought
     he's emptying the bank account cold
skyscraper man on seattle time
sheds crinkled skinmemory like the cicada
a twin-sized deathbed deathbed in apt. 203
     he's nothing.
     he's ever.
     he's happened.
skyscraper man on seattle time
carbon copied and eternal as saltwater as rust
invisible and tapping at the runrain window
     he's nothing.
     he's ever.
     he's happened.
skyscraper man on seattle time
climbs himself to the cosmos lightheaded perfection
ethereal visions of fullbloom love and legacy with measure
     he's nothing.
     he's ever.
     he's happened.

As the days go by my frustration grows.
Frustration so neglected it has taken over my life.
The want and need to write something so powerful,
so visionary that everyone will be able to relate to it on all levels.
Something so outstanding and unique it cant be copied,
or even ignored.
Not to please everyone just to relate to everyone and all things.
Living and non living.
Too much to ask for?
Most likely.
Can it be done.
Im counting on it.

april 11 1952 Mom gives birth to beautiful blue-eyed girl Mom takes name Penelope from Great-Grandma Penny who died week after Odysseus was born Mom and Dad are not educated to know greek mythology and homer it is odd coincidence they picked Odysseus’s name out of book of names thought it sounded strong  anglo old money Odysseus is thrilled to have sister to share childhood with when Odysseus is 6 and Penelope is 4 Grandma Betty invites them to visit her house block away she serves them oatmeal cookies orange juice shows them her latest small painting of field brightly colored flowers birds in sky lower left corner is horse or dog painting is still wet she shows them magazine picture she copied from Odysseus realizes it is pony in lower left corner when they return home Mom yells at Odysseus “where were you? why didn’t you think to call or leave message with Teresa? do you have any idea what a nervous wreck you’ve made me!” she slaps hard Odysseus’s face reprimands “don’t i have enough to worry about without you pulling something like this? you only think about yourself it’s so typical of your selfishness wait until your father gets home he’ll deal with you now go to your room!" every time he gets caught in mistake he is punished the drill is Mom gets upset with Odysseus flies into rage yells slaps him around threatens him with Dad gets home has a few drinks Mom tells Dad explodes beats Odysseus Mom is judge jury Dad is executioner afterward Dad goes back into living room pours another drink sits in celadon green lounge chair Odysseus is trained to wipe tears put on pajamas go to Dad apologize admit fault promise to be good kisses Dad and Mom goodnight goes to bed that is the drill

Odysseus is barefaced curious exploring discovering tries to connect with Mom and Dad but they are unavailable they are his parents not his friends as far back as he can remember he lives in world of “it’s safe free here Mom and Dad can’t see us” children are smarter than parents think figure ways to self-protect something stirs inside Odysseus creature separate from Dad and Mom whatever psychological or emotional patterns are developing he does not understand obediently goes along

Mom and Granny Mattie take Odysseus and Penelope to browse shops on oak street at one store little statuette like kind Granny Mattie collects catches Odtsseus’s eye he slips it in pocket on drive home he takes statuette out to show Penelope she asks where he got it Mom Granny Mattie overhear ask Odysseus where he got statuette he confesses took it from store Mom gets livid steers car back to oak street Granny Mattie insists “it’s just a figurine let him keep it Odysseus meant no harm i don’t see why you want to make such a big fuss Jenny!” Mom replies “he’s got to learn right from wrong!” they all return to store mom explains to sales clerk what son has done Odysseus hands back figurine apologizes when Dad gets home he dishes out punishment years later Penelope remarks “that was the first time i realized Odys you needed to reach out for something beyond the family”

Odysseus wants to die he is 7 years old and wants to die he knows his life is critically messed up wants new different existence person he is becoming is too error prone ruined already he is way too ******* himself Dad’s temper Mom’s criticisms subsequent self-absorbed social demands drive him to ideas of suicide Dad and Mom are too busy to notice Mom always uses sleeping pills placidal nebutal seconal miltown whatever is the latest Mom says she does not dream Odysseus guesses she does not remember her dreams on account of those pills everyone dreams years later Mom remarks i need sleeping pills to forget about you Odys as Mom describes “i run a formal beautiful household” she delegates chores to weekly staff of brown skin ladies it is house of feminine décor matching pillows sheets pulled tight under elegant bedspreads everything put away in proper place furniture in precise order little dinner bell servant’s foot buzzer beneath Mom’s chair at dining room table maids in servitude once a week white woman with big shoulders foreign accent shows up to give Mom massage Mom is not to be disturbed during that hour Odysseus knows first names of each laundress cleaning lady doormen deskmen garage men janitors caterers at holidays tall black effeminate John comes twice a month on sunday to cook serve traditional american breakfast along with fried bananas apples afterward he cleans up shines silver first 13 years of Odysseus’s life are lived in buildings with elevators staff of residence employees

Mom’s closet is vast with colors textures ground level hundred or more neatly arranged clear plastic boxes containing pairs of expensive shoes walls of imported French and Italian designer label dresses skirts suits blouses top shelf fashionable purses hats other feminine accoutrements also two large dresser chests filled with drawers of sweaters scarves girdles lingerie hosiery more accessories Mom often wears joy by jean patou arpege by lanvin chanel # 5 Mom shops at saks bonwit teller occasionally marshall fields within several years most of her buying will be done at fantastico, exclusive import boutique on oak street clothes jewelry cosmetics are important to her but most important is hair she prefers bottle blonde color wears hair trimmed medium length fluffed up sprayed fixed as do many women of her generation social stature she visits beauty salon twice a week must enjoy letting her guard down with other women while being served by homosexual men her hair prevents her from driving in car with top down all other outdoor activities that might threaten hairdo Penelope mimics Mom though she keeps her things in less tidy fashion she is being groomed to be queen like mom maybe Mom is more sympathetic to Penelope because both innately share female experience Mom portrays herself as lady of elegance Penelope is different from Mom more earthy bumbling routinely scratches Odysseus’s records leaves her drawers messy Mom takes baths so her hair will not be disturbed Dad takes showers Odysseus and Penelope take baths together then apart as they grow bigger ****** is normal in Schwartzpilgrim household Dad hints reserve Odysseus follows takes showers Mom leaves bathroom door open while bathing she is constantly changing clothes traipsing around in robes slippers elegant silk lingerie

the phone rang at 1:30 a.m.
  and it was a man from Denver:
  
   "Chinaski, you got a following in
  Denver..."
    "yeah?"
   "yeah, I got a magazine and I want some
  poems from you..."
    "*******, CHINASKI!" I heard a voice
  in the background...
   "I see you have a friend,"
  I said.
   "yeah," he answered, "now, I want
  six poems..."
    "CHINASKI *****! CHINASKI'S A *****!"
  I heard the other
  voice.
    "you fellows been drinking?"
  I asked.
    "so what?" he answered. "you drink."
    "that's true..."
   "CHINASKI'S AN *******!"
    then
  the editor of the magazine gave me the
  address and I copied it down on the back
  of an envelope.
    "send us some poems now..."
    "I'll see what I can do..."
   "CHINASKI WRITES ****!"
   "goodbye," I said.
   "goodbye," said the
  editor.
    I hung up.
    there are certainly any number of lonely
  people without much to do with
  their nights.

I am a timeline of everything I've ever known.
It's copied onto thirty-five pieces of blank paper
and revealed to you in that mundane history course
that everyone naps through.

I can't deny
that among the black waves,
I've seen a sea star or two.
But I seem to be devoutly colorblind
to the silver linings that outline
what I've gone through.

You can't disguise your drowning,
nor can you swim to shore.
You just have to hope
that no one knows what to look for.

Before I realised anything, an hourglass stood before me
It stood before me, majestic and strong, sand sizzling down its top
Golden sand so beautiful, like crystals of light stolen from the sun
Encased in glass so clear, like diamond, void of everything but itself

What was it trying to tell me? I didn't know.
My gaze was lost in it, awestricken by curiosity
I crawled around the glass floor inspecting the peculiar object
For it was the most beautiful thing I'd ever seen.

As grains of sand hit the bottom, I grew closer to the top
Intimacy led to trust, trust led to kinship, kinship led to family
As grains of sand hit the bottom, I found myself wanting to protect each grain
I found myself wanting to cherish for eternity, each fleeting grain.

As grains of sand hit the bottom, I grew closer to the top. But not close enough.
Close enough to see what secrets the top held
Close enough to understand what this hourglass meant
As grains of sand hit the bottom, I found myself wishing they'd fall faster.

Eventually I stopped growing and the sand slowed down.
My gaze was lost in it, numbed by boredom
What waited at the dreary end? What was the point of any of this?
Filled with questions and no answers, I started clawing at the glass.

It felt wrong. It felt like I was betraying something important.
I had reached a miserable point where I couldn't care less.
Right and wrong were like glass and sand. I kept clawing until the horrendous screeching ceased with a cold cold crack.
The squalid sand poured out onto the glass floor.

The sand scrunched against my feet, it felt... different.
I knew I should fix the ominous crack, but I didn't
My sinful hands felt heavy, it was almost like I didn’t care anymore.
Bitter tears streamed down my face and were soaked into the acrid sand.

Tears for the hourglass it could've been
Tears for the man who felt nothing when he broke it
Tears for the man who'd given up on fixing it.
Tears for the child who was lost in the blissful dunes of oblivion

The sand stopped pouring out, where the crack once was now the glass lay welded
Beside my pathetic hourglass stood hers, the most beautiful hourglass I'd ever seen
Golden sand so beautiful, like crystals of light stolen from the sun
Encased in glass so clear, like diamond, void of everything but itself.

Beauty in simply existing, ambition in each sizzling grain
Audacity to dream dreams for a tomorrow
I knew none of those so I copied her hoping
Someday I'd be able to stand beside her as her equal

In her I saw myself, a fascinated child beside his hourglass
Her existence rekindled a flame within, sparked by determination
Lost in my hourglass I realised the unfathomable potential in each grain
Conceiving the myriad of grains coursing through the glass... a latent being awakened

With that the gears of the cosmos were clanked into motion
And for the first time, I heard winds howl in this windless plane
Winds of fate, winds of time, winds from the birth of continuum
Propelling me towards the point where the sun melts sand to glass

Propelling me towards the singularity where a God is born.

And thus the saga began and the timeless grains of sand fell
As the final grain fell my entire life flashed before my eyes, and by far
the  most important grains were: the first that birthed my existence, and the other, when I found out why
As the final grain fell, I closed my weary eyes, smiling, seeing the most beautiful hourglass I'd ever seen.

I slept with her, my rapacious pen, took me in quiet vengeance in
full on conjugation

raken and taken, me,
her overlording me now, her authorship, so long held
in my maledom abeyance,
a kept imprisonment, unleashing at last, a tongue lashing~leashing,
de-spite my un-desirous craven lying supplications,
excuses of innocence and accident, coincidence and conflation,
ashes, ashes, denials incinerated, all fall down

she wrote/stabbed upon my heartless chest,
in the cheap crudités colors of a prisoner’s inking,
“user of words mine, all mine”

gathered up my innards of loose words,
speculative notes & titles yet to be,
born and kept hid in password protected silent back labor files,
now hers, leaving me sputtering, unable to create,
a homeless mute citizen, possession-less,
helplessly hoping her hovering harlequin might relent,
without any shelter, even a glimmering, a single aleph or bet

she celebratory cackled and clawed,
professed her reclamation ownership of all my poems predecessors,
zola j’accusing that I, ripped from her forcibly,
with no granted permission, her womanly touché of my scribing,
warning of no more global warming for my unprivileged hands,
daren’t try for pretenses of stolen legal guardianship,
warning of a new, forced caining inscription,
a tattooing of  “thief” upon my 5 knuckled right ******,
“plagiarist” boldly inked in back & blue upon my left palm

I, predator,
she, victim,
of my now self-professed, admitted confess,
she, my single victim,
of a decade long serializing criminal coverup

her parting poem a threatening,
herein issued in this very verse,
damning all who would falsely credit themselves,
to suffer shame and an unimaginable curse,
this, the newborn eleventh of ten commandments

parting, she kissing my lips, even my emptied apertures,
with warning bitings,
she knew all my
my numerous noms de guerre,
no dead scrolls caves to hid in, and to be discovered some future day,
and if ever marked as copyrighted,
’twas no tunneling escape,
the exposed truth to be over-stamped
upon all, upon each, in every language,

”copied right from the tongue of a woman!”


and she would be wright...

Screaming
What's the use----??
Flower of the Graces
"The Tenth Muse"
"Everyday Use It"
The earth revolves
Around the sun

Minerals Love it
Drink it vitamin C
Mass of energy A-B-C
The gravity every day
We cannot use it_
Became the play money
Copied tainted not the
Bee's honey here's
The everyday economy

One lick of hope the
envelope not much
company
Everyday- Einsteins
Big profit scope

The brainstorm Reign
All signs detour cabin
Choo Choo train caboose
You nailed it the moose
One footloose
The one-man show

Two women know
The odds to their
advantage
Someone is the traitor
Mom is the Tailor
The zigzag lines
Crazy cat felines 

"That's It"  punctuality,
Use your capability
"Technet Technology"
take a walk favorite park
Shiba Inu rollover
The bad ones the
Millionaires homes
flip over the do
or dare

We cannot pay
NYC token fare
Words are our power
For Sale quick sales
Being sold
Too hot whats cold
Those emails trying
to delete

(More casualties
Tombstone mummies
Democracy leading us like
dummies chewing Bear
Valentine gummies)

Like the "Elephant Stampede"
New Orleans parade
Every day please donate
We never know about
our fate too early or late
Every day new Providence

Demon computer virus
Love comes with confidence
Love yourself and Venus
Apples and oranges minus
Use it You have a voice!!!
City clean up cockroaches
Swap your fake Rolex

Watchtower index
Trump tower complex
"Eiffel Tower Use It" to be kissed
Every day we need to cleanse
The "Godly Shower" be blessed
Practical Everday Use It
Magical write poetically
Precisely the right piece puzzle

You are the one
World it's you to dazzle

I’m thinking about you today. Hard not to, the specialness of it all. Today you’re putting up of an exhibition. Some artists call it a show, but you’re quite consistent in not calling it that. I admire that of you, being consistent.
 
I was thinking today about your kindness. You phoned me as soon as the children had gone to school, making time to call before you left. I know you were drinking your start-of-the-day coffee, but it was a kind thought all the same, phoning me. You knew I was upset. Upset with myself, as I often am. It’s this being alone. Not so much as a cat to keep me company. Just my work, the reading I do, my thoughts of you, those letters I write, and my attempts at poetry.
 
During the last few days I’ve tried to write directly of what I’ve observed, not felt, observed. Like those wonderful Chinese poets of old describing in just a few characters the wonder of the seen rather than the speculation of the felt, avoiding all emotion and fantasy. I try to write in a way that holds to the ambiguity and spread of meanings the poems those ancient Chinese composed.
 
It’s winter-time. Yesterday we were expecting the first snowfall of winter, and it arrived late in the night making the morning darkness mysteriously different, changing the indistinctness of distant trees to become a web of silver lines, in the no-wind snow resting on branches, clinging to boughs and trunks.  I stood in the pre-dawn park in wonder at it all, holding each moment to myself, in the cold breath-stopping air. I thought of one of the Chinese snow poems I know and some of those different ways it has been translated. Here are three:
 
A thousand mountains without a bird
Ten thousand miles with no trace of man.
A boat. An old man in a straw raincoat.
Alone in the snow, fishing in the freezing river.
 
A thousand peaks: no more birds in flight.
Ten thousand paths: all trace of people gone.
In a lone boat, rain cloak and a hat of reeds
An old man’s fishing the cold river snow.
 
Sur mille montagnes, aucun vol d’oiseau
Sure dix mille sentiers, nulle trace d’homme
Barque solitaire: sous son manteaux de paille
Un vielliard pêche, du figé, la neige.
 
So beautiful, arresting, different. It holds the title River Snow and the poet is the Tang Dynasty philosopher and essayist Lui Zongyuan.  My snow poem First Fall, written last night as the snow fell on the wet street outside, as you were falling through my thoughts, softly, but not onto a wet street, but a distant garden we know and love, but have yet to see in winter’s whiteness.
 
And now today you’re driving to a distant location to hang your work of paper, silk and linen, full of expectation, every contingency and plan in place to enable the work to make its mark in a location you know, where people may recognize your name and will come to say warm words of encouragement, maybe a little praise. And at the end of the week when the exhibition opens I’ll be there, trying to be invisible, taking photographs if I can of you and your admirers and supporters, and thinking (myself) how wonderful you are, your lovely smile lighting up the gallery, being welcoming, beautiful always.
 
Only today you’re further away from me than ever. Around coffee time I miss your quiet explorative ‘it’s me , like a mouse on the telephone. The inflections of those words questioning the appropriateness of the call, meaning ‘Are you busy? Am I interrupting?’ It may take me a little while to ‘come to’, but interruption? Never, just the sheer joy that it’s you colouring the moment.
 
I think of the landscape you’ll be driving through. I’m imagining the snow-sky clearing and becoming a faint blue with the sun’s brightness clarifying those wold lands, those gentle folds of fields between parallelograms of woodland standing stark under the large skies and promulgating the long views gradually, gradually stretching towards the sea coast.
 
I like to imagine you are singing your way through the choruses of Bach’s B Minor Mass, but in reality it’s probably the Be Good Tanyas or Billy Joel playing on the CD player. Such a relief probably after those silent journeys with me. I usually relent on the homeward leg, but I crave silence when I’m a passenger, and I’m now always a passenger, so I crave silence for my thoughts, such as they are.
 
While you are being the emerging artist – but probably on your way homeward - I have taken myself down to my city’s gallery and to an exhibition I’ve already seen. I have a task I’ve been promising myself to undertake: copying an exhibit. I arrive an hour before the gallery closes. I leave my bicycle behind the foyer desk. There are more staff about than visitors. It’s gloriously empty, but the young twenty-somethings invigilating the spaces group themselves strategically near adjoining rooms so they can talk (loudly) to each other. It’s Facebook chat, barely Twitter nonsense. I have to block it all out to focus on the four pages and a P.S of a sculptor’s letter to a critical friend. The sculptor is writing from springtime Cornwall on 6 March 1951. The critical friend will open the letter the next day (when there were 3 deliveries a day) and the Royal Mail invariably arrived on time. He’ll pick it up from his doormat before breakfast in grimy Leeds, though the leafy part near Roundhay Park. The sculptor begins by saying:
 
It is so difficult to find words to convey ideas!
 
In this so efficient Cambria typeface that introductory sentence loses so much of the muscle and flow of the human hand. Written boldly in black ink, and so full of purpose, I read it a month ago, a photocopy in a display case, and knew I had to capture it. And it’s here entire in my note book, on my desk, carefully copied, to share with you my darling, my kind friend, the young woman I hold dear, admire so much, become faint with longing for when, as she crosses that gallery where she has been hanging her work (in my imagination), I am caught as so often by her graceful steps and turn.
 
I don’t feel any difference of intent in or of mood when I paint (or carve) realistically, or when I make abstract carvings. It all feels the same – the same happiness and pain, the same joy in a line, a form, a colour – the same feeling at the end, The two ways of working flow into each other without effort  . . .
 
Outside my warm studio the snow has retreated east and I’ve opened the window to hear the Cathedral bells practising away, the city on a Tuesday night free of revellers, the clubs closed, the pubs quiet. In this building everyone has gone home except this obsessive musician who stays late to write to the woman he adores, who thinks a day is not a day lived without a letter to her at least, a poem if possible.
 
I’d quietly hoped to be with you tonight, but you must have something arranged as I suggested twice I might come, and you said it wasn’t necessary. But I have this letter, and something to write about. Alas, no poem. My muse is having the evening off and I am gently reconciled to the possibility of a few words on the telephone before bed.

am i just another girl
photo-copied into your life, like the last one that still begs for you?
please talk to me anyway
please kiss me anyway
please let me believe that you won't lie to me when you say
you don't think of her anymore

sometimes I hope you break my heart
you'd never fade
(but give us a while, I'm hoping you're more than a few pages in my life)

Their bars are bars there.
It’s just that the taps
have all run dry.
Behind a wall
computers clank, buzz,
dilapidate.

Behind thickened glass
clerical workers
patter like hail
on shingled roofs.
Beyond walls and glass,
sallow-white leaks.

I sit rough somewhere.
Cold, unfeeling stone
everywhere.
A payphone stares
jeeringly at me.
I curl up tight.

Mother and father
surely spite me now.
Brother won’t know,
no, he won’t know.
Others never will.
Don’t comfort me.

I’m in pajamas.
I’m grasping at straws.
I’m falling fast.
I’d like to know
how much is the bail.
“Sixty-thousand.”

My fingers are pressed
on a copier
like those old, dear
library books.
Copied and copied.
Next I’ll be shelved.

519

’Twas warm—at first—like Us—
Until there crept upon
A Chill—like frost upon a Glass—
Till all the scene—be gone.

The Forehead copied Stone—
The Fingers grew too cold
To ache—and like a Skater’s Brook—
The busy eyes—congealed—

It straightened—that was all—
It crowded Cold to Cold—
It multiplied indifference—
As Pride were all it could—

And even when with Cords—
’Twas lowered, like a Weight—
It made no Signal, nor demurred,
But dropped like Adamant.

Another one got caught today, it's all over the papers. "Teenager Arrested in Computer Crime Scandal", "Hacker Arrested after Bank Tampering"...

**** kids. They're all alike.

But did you, in your three-piece psychology and 1950's technobrain, ever take a look behind the eyes of the hacker? Did you ever wonder what made him tick, what forces shaped him, what may have molded him?

I am a hacker, enter my world...

Mine is a world that begins with school... I'm smarter than most of the other kids, this crap they teach us bores me...

**** underachiever. They're all alike.

I'm in junior high or high school. I've listened to teachers explain for the fifteenth time how to reduce a fraction. I understand it. "No, Ms. Smith, I didn't show my work. I did it in my head..."

**** kid. Probably copied it. They're all alike.

I made a discovery today. I found a computer. Wait a second, this is cool. It does what I want it to. If it makes a mistake, it's because I ******* it up. Not because it doesn't like me... Or feels threatened by me.. Or thinks I'm a smart ***.. Or doesn't like teaching and shouldn't be here...

**** kid. All he does is play games. They're all alike.

And then it happened... a door opened to a world... rushing through the phone line like ****** through an addict's veins, an electronic pulse is sent out, a refuge from the day-to-day incompetencies is sought... a board is found. "This is it... this is where I belong..." I know everyone here... even if I've never met them, never talked to them, may never hear from them again... I know you all...

**** kid. Tying up the phone line again. They're all alike...

You bet your *** we're all alike... we've been spoon-fed baby food at school when we hungered for steak... the bits of meat that you did let slip through were pre-chewed and tasteless. We've been dominated by sadists, or ignored by the apathetic. The few that had something to teach found us willing pupils, but those few are like drops of water in the desert.

This is our world now... the world of the electron and the switch, the beauty of the baud. We make use of a service already existing without paying for what could be dirt-cheap if it wasn't run by profiteering gluttons, and you call us criminals. We explore... and you call us criminals. We seek after knowledge... and you call us criminals. We exist without skin color, without nationality, without religious bias... and you call us criminals. You build atomic bombs, you wage wars, you ******, cheat, and lie to us and try to make us believe it's for our own good, yet we're the criminals.

Yes, I am a criminal. My crime is that of curiosity. My crime is that of judging people by what they say and think, not what they look like. My crime is that of outsmarting you, something that you will never forgive me for.

I am a hacker, and this is my manifesto. You may stop this individual, but you can't stop us all... after all, we're all alike.

My most popular poems on the Internet

A number of my poems and translations have gone viral, according to Google, and some have been copied onto hundreds to thousands of web pages. That’s a lot of cutting and pasting! The results below are the results returned by Google at the time I did the searches.



This original epigram returns more than 37,000 results:

Epitaph for a Palestinian Child
by Michael R. Burch

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



This Sappho translation has more than 3,500 results:

Sappho, fragment 42
loose translation/interpretation by Michael R. Burch

Eros harrows my heart:
wild winds whipping desolate mountains
uprooting oaks.



This Sappho translation has more than 1,700 results:

Sappho, fragment 155
loose translation/interpretation by Michael R. Burch

A short revealing frock?
It's just my luck
your lips were made to mock!



This Bertolt Brecht translation has more than 1,500 results:

The Burning of the Books
by Bertolt Brecht
loose translation/interpretation by Michael R. Burch

When the Regime
commanded the unlawful books to be burned,
teams of dull oxen hauled huge cartloads to the bonfires.

Then a banished writer, one of the best,
scanning the list of excommunicated texts,
became enraged: he’d been excluded!

He rushed to his desk, full of contemptuous wrath,
to write fiery letters to the incompetents in power―
Burn me! he wrote with his blazing pen―
Haven’t I always reported the truth?
Now here you are, treating me like a liar!
Burn me!



This poem returns nearly 1,500 results for the first line:

Something
―for the children of the Holocaust and the Nakba
by Michael R. Burch

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 swept into a corner, where it lies
in dust and cobwebs and silence.

NOTE: This is, I think, the first poem I wrote which didn’t rhyme, and the only one for quite some time. I consider one of the best of my early poems; it was written in my late teens.



This original poem has over 1,300 results:

Bible Libel
by Michael R. Burch

If God
is good,
half the Bible
is libel.

This may be the first poem I wrote. I read the Bible from cover to cover at age 11, and it was a traumatic experience. But I can’t remember if I wrote the epigram then, or came up with it later. In any case, it was probably written between age 11 and 13, or thereabouts.



My translation of Robert Burns’ “To a Mouse” returns over 1,300 results. It’s a bit long for this page but can be found online with a Google search like: Michael R. Burch Robert Burns translations.



This Glaucus translation returns more than 1,000 results:

Does my soul abide in heaven, or hell?
Only the sea gulls in their high, lonely circuits may tell.
―Michael R. Burch, after Glaucus



This Yamaguchi Seishi translation returns over 1,000 results:

Grasses wilt:
the braking locomotive
grinds to a halt
―Yamaguchi Seishi, loose translation by Michael R. Burch



This original poem has more than 1,000 results:

Frail Envelope of Flesh
by Michael R. Burch

for the mothers and children of Gaza

Frail envelope of flesh,
lying cold on the surgeon’s table
with anguished eyes
like your mother’s eyes
and a heartbeat weak, unstable...

Frail crucible of dust,
brief flower come to this―
your tiny hand
in your mother’s hand
for a last bewildered kiss...

Brief mayfly of a child,
to live two artless years!
Now your mother’s lips
seal up your lips
from the Deluge of her Tears...

Note: The phrase "frail envelope of flesh" was one of my first encounters with the power of poetry, although I read it in a superhero comic book as a young boy (I forget which one). More than thirty years later, the line kept popping into my head, so I wrote this poem. I have dedicated it to the mothers and children of Gaza and the Nakba. The word Nakba is Arabic for "Catastrophe."



This poem won a big Penguin Books (UK) Valentine poetry contest and returns over 800 results for the first line:

Mother’s Smile
by Michael R. Burch

for my mother, Christine Ena Burch

There never was a fonder smile
than mother’s smile, no softer touch
than mother’s touch. So sleep awhile
and know she loves you more than “much.”

So more than “much,” much more than “all.”
Though tender words, these do not speak
of love at all, nor how we fall
and mother’s there, nor how we reach
from nightmares in the ticking night
and she is there to hold us tight.

There never was a stronger back
than father’s back, that held our weight
and lifted us, when we were small,
and bore us till we reached the gate,
then held our hands that first bright mile
till we could run, and did, and flew.
But, oh, a mother’s tender smile
will leap and follow after you!



This original epigram returns over 750 results:

Autumn Conundrum
by Michael R. Burch

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



This William Dunbar translation has more than 700 results:

Sweet Rose of Virtue
by William Dunbar (1460-1525)
loose translation 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 that is held most dear―
except only that you are merciless.

Into your garden, today, I followed you;
there I saw flowers of freshest hue,
both white and red, delightful to see,
and wholesome herbs, waving resplendently―
yet everywhere, no odor but rue.

I fear that March with his last arctic blast
has slain my fair rose of pallid and gentle cast,
whose piteous death does my heart such pain
that, if I could, I would compose her roots again―
so comforting her bowering leaves have been.



This Sappho translation has over 700 results:

Sappho, fragment 22
loose translation/interpretation by Michael R. Burch

That enticing girl's clinging dresses
leave me trembling, overcome by happiness,
as once, when I saw the Goddess in my prayers
eclipsing Cyprus.



This original poem has over 700 results for the first line:

Child of 9-11
by Michael R. Burch

a poem for Christina-Taylor Green, who
was born on September 11, 2001 and who
died at age nine, shot to death...

Child of 9-11, beloved,
I bring this lily, lay it down
here at your feet, and eiderdown,
and all soft things, for your gentle spirit.
I bring this psalm―I hope you hear it.

Much love I bring―I lay it down
here by your form, which is not you,
but what you left this shell-shocked world
to help us learn what we must do
to save another child like you.

Child of 9-11, I know
you are not here, but watch, afar
from distant stars, where angels rue
the evil things some mortals do.
I also watch; I also rue.

And so I make this pledge and vow:
though I may weep, I will not rest
nor will my pen fail heaven's test
till guns and wars and hate are banned
from every shore, from every land.

Child of 9-11, I grieve
your tender life, cut short... bereaved,
what can I do, but pledge my life
to saving lives like yours? Belief
in your sweet worth has led me here...

I give my all: my pen, this tear,
this lily and this eiderdown,
and all soft things my heart can bear;
I bring them to your final bier,
and leave them with my promise, here.



My Plato translation (or “take” on Plato) has over 650 results:

Mariner, do not ask whose tomb this may be,
but go with good fortune: I wish you a kinder sea.
―Michael R. Burch, after Plato



This translation of a Middle English poem has more than 500 results:

How Long the Night
(anonymous Middle English poem, 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.



This original epigram returns over 500 results for the first line:

Here and Hereafter aka Saving Graces
by Michael R. Burch

Life’s saving graces are love, pleasure, laughter...
wisdom, it seems, is for the Hereafter.

I have dedicated the epigram above to the so-called Religious Right and Moral Majority.



These Einstein limericks have over 500 results:

The Cosmological Constant
by Michael R. Burch

Einstein, the frizzy-haired,
said E equals MC squared.
Thus all mass decreases
as activity ceases?
Not my mass, my *** declared!

Asstronomical
by Michael R. Burch

Relativity, the theorists’ creed,
says mass increases with speed.
My (m)*** grows when I sit it.
Mr. Einstein, get with it;
equate its deflation, I plead!

Relative to Whom?
by Michael R. Burch

Einstein’s theory, incredibly silly,
says a relative grows *****-nilly
at speeds close to light.
Well, his relatives might,
but mine grow their (m)***** more stilly!



This poem has over 500 results:

Neglect
by Michael R. Burch

What good are tears?
Will they spare the dying their anguish?

What use, our concern
to a child sick of living, waiting to perish?

What good, the warm benevolence of tears
without action?

What help, the eloquence of prayers,
or a pleasant benediction?

Before this day is over,
how many more will die
with bellies swollen, emaciate limbs,
and eyes too parched to cry?

I fear for our souls
as I hear the faint lament
of theirs departing...
mournful, and distant.

How pitiful our "effort,"
yet how fatal its effect.
If they died, then surely we killed them,
if only with neglect.



This Matsuo Basho haiku translation has nearly 500 results:

The first soft snow:
leaves of the awed jonquil
bow low
―Matsuo Basho, loose translation/interpretation by Michael R. Burch



This Matsuo Basho haiku translation has more than 400 results:

Come, investigate loneliness!
a solitary leaf
clings to the Kiri tree
―Matsuo Basho, loose translation/interpretation by Michael R. Burch



This original Holocaust poem returns over 400 results:

Auschwitz Rose
by Michael R. Burch

There is a Rose at Auschwitz, in the briar,
a rose like Sharon's, lovely as her name.
The world forgot her, and is not the same.
I still love her and extend this sacred fire
to keep her memory exalted flame
unmolested by the thistles and the nettles.

On Auschwitz now the reddening sunset settles!
They sleep alike―diminutive and tall,
the innocent, the "surgeons." Sleeping, all.

Red oxides of her blood, bright crimson petals,
if accidents of coloration, gall
my heart no less. Amid thick weeds and muck
there lies a rose man's crackling lightning struck:
the only Rose I ever longed to pluck.
Soon I'll bed there and bid the world "Good Luck."



This translation of a Holocaust poem has nearly 300 results:

Speechless
by Ko Un
translation by Michael R. Burch

At Auschwitz
piles of glasses,
mountains of shoes...
returning, we stared out different windows.






Keywords/Tags: Michael Burch, popular, most popular, poems, epigrams, translations, quotes, Google, Internet, journals, literary journals, blogs, social media, Facebook, Twitter, Instagram, Yahoo


//bookmark//

This original poem, which has become popular at Halloween, has nearly 3,000 results for the fifth line:

White in the Shadows
by Michael R. Burch

White in the shadows
I see your face,
unbidden. Go, tell
Love it is commonplace;
tell Regret it is not so rare.

Our love is not here
though you smile,
full of sedulous grace.
Lost in darkness, I fear
the past is our resting place.

Published by Carnelian, The Chained Muse, Poetry Life & Times, A-Poem-A-Day and in a YouTube video by Aurora G. with the titles “Ghost,” “White Goddess” and “White in the Shadows”



This original poem returns nearly 1,500 results:

Safe Harbor
by Michael R. Burch

for Kevin N. Roberts
The sea at night seems
an alembic of dreams—
the moans of the gulls,
the foghorns’ bawlings.

A century late
to be melancholy,
I watch the last shrimp boat as it steams
to safe harbor again.

In the twilight she gleams
with a festive light,
done with her trawlings,
ready to sleep . . .

Deep, deep, in delight
glide the creatures of night,
elusive and bright
as the poet’s dreams.

Published by The Lyric, Grassroots Poetry, Romantics Quarterly, Angle, Poetry Life & Times




This translation of the oldest extant English poem has over 1,250 results:

Cædmon's Hymn (circa 658-680 AD)
loose translation/interpretation by Michael R. Burch

Humbly now we honour heaven-kingdom's Guardian,
the Measurer's might and his mind-plans,
the goals of the Glory-Father. First he, the Everlasting Lord,
established earth's fearful foundations.
Then he, the First Scop, hoisted heaven as a roof
for the sons of men: Holy Creator,
mankind's great Maker! Then he, the Ever-Living Lord,
afterwards made men middle-earth: Master Almighty!



This Faiz Ahmed Faiz translation has over 1,000 results:

Last Night
by Faiz Ahmed Faiz
loose translation by Michael R. Burch

Last night, your memory stole into my heart—
as spring sweeps uninvited into barren gardens,
as morning breezes reinvigorate dormant deserts,
as a patient suddenly feels better, for no apparent reason ...


This light verse response to Philip Larkin’s “Aubade” has nearly 1,000 results:

Abide
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).

Originally published by Light Quarterly



This love poem has nearly 1,000 results:

don’t forget ...
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.



This original Hiroshima poem has nearly 800 results:

Lucifer, to the Enola Gay
by Michael R. Burch

Go then,
and give them my meaning
so that their teeming
streets
become my city.
Bring back a pretty
flower—
a chrysanthemum,
perhaps, to bloom
if but an hour,
within a certain room
of mine
where
the sun does not rise or fall,
and the moon,
although it is content to shine,
helps nothing at all.
There,
if I hear the wistful call
of their voices
regretting choices
made
or perhaps not made
in time,
I can look back upon it and recall,
in all
its pale forms sublime,
still
Death will never be holy again.

Published by Romantics Quarterly, Penny Dreadful and Poetry Life & Times



This epigram has over 600 results for the first line:
Piercing the Shell
by Michael R. Burch

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



This prayer poem has over 600 results and has been set to music and performed at a charity benefit for hurricane victims:

I Pray Tonight
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.



This original poem has nearly 600 results:

Like Angels, Winged
by Michael R. Burch

Like angels—winged,
shimmering, misunderstood—
they flit beyond our understanding
being neither evil, nor good.

They are as they are ...
and we are their lovers, their prey;
they seek us out when the moon is full;
they dream of us by day.

Their eyes—hypnotic, alluring—
trap ours with their strange appeal
till like flame-drawn moths, we gather ...
to see, to touch, to feel.

And in their arms, enchanted,
we feel their lips, grown old,
till with their gorging kisses
we warm them, growing cold.



This original poem has over 500 results:

Distances
by Michael R. Burch

Moonbeams on water —
the reflected light
of a halcyon star
now drowning in night ...
So your memories are.

Footprints on beaches
now flooding with water;
the small, broken ribcage
of some primitive slaughter ...
So near, yet so far.



This original poem has over 500 results:

***** Nilly
by Michael R. Burch

for the Demiurge, aka Yahweh/Jehovah

Isn’t it silly, ***** Nilly?
You made the stallion,
you made the filly,
and now they sleep
in the dark earth, stilly.
Isn’t it silly, ***** Nilly?

Isn’t it silly, ***** Nilly?
You forced them to run
all their days uphilly.
They ran till they dropped—
life’s a pickle, dilly.
Isn’t it silly, ***** Nilly?

Isn’t it silly, ***** Nilly?
They say I should worship you!
Oh, really!
They say I should pray
so you’ll not act illy.
Isn’t it silly, ***** Nilly?



This epigram/joke has over 400 results:

Teddy Roosevelt spoke softly and carried a big stick; Donald Trump speaks loudly and carries a big shtick.―Michael R. Burch



This **** Baudelaire translation has become popular with **** stars, escort sites and dating services, and has more than 400 results:

Le Balcon (The Balcony)
by Charles Baudelaire
loose translation/interpretation by Michael R. Burch

Paramour of memory, ultimate mistress,
source of all pleasure, my only desire;
how can I forget your ecstatic caresses,
the warmth of your ******* by the roaring fire,
paramour of memory, ultimate mistress?

Each night illumined by the burning coals
we lay together where the rose-fragrance clings—
how soft your *******, how tender your soul!
Ah, and we said imperishable things,
each night illumined by the burning coals.

How beautiful the sunsets these sultry days,
deep space so profound, beyond life’s brief floods ...
then, when I kissed you, my queen, in a daze,
I thought I breathed the bouquet of your blood
as beautiful as sunsets these sultry days.

Night thickens around us like a wall;
in the deepening darkness our irises meet.
I drink your breath, ah! poisonous yet sweet!,
as with fraternal hands I massage your feet
while night thickens around us like a wall.

I have mastered the sweet but difficult art
of happiness here, with my head in your lap,
finding pure joy in your body, your heart;
because you’re the queen of my present and past
I have mastered love’s sweet but difficult art.

O vows! O perfumes! O infinite kisses!
Can these be reborn from a gulf we can’t sound
as suns reappear, as if heaven misses
their light when they sink into seas dark, profound?
O vows! O perfumes! O infinite kisses!



This original poem has over 400 results:

What the Poet Sees
by Michael R. Burch

What the poet sees,
he sees as a swimmer
~~~underwater~~~
watching the shoreline blur
sees through his breath’s weightless bubbles ...
Both worlds grow obscure.



This original poem I wrote as a teenager has almost 400 results:

The Communion of Sighs
by Michael R. Burch

There was a moment
without the sound of trumpets or a shining light,
but with only silence and darkness and a cool mist
felt more than seen.
I was eighteen,
my heart pounding wildly within me like a fist.
Expectation hung like a cry in the night,
and your eyes shone like the corona of a comet.

There was an instant . . .
without words, but with a deeper communion,
as clothing first, then inhibitions fell;
liquidly our lips met
—feverish, wet—
forgotten, the tales of heaven and hell,
in the immediacy of our fumbling union . . .
when the rest of the world became distant.
Then the only light was the moon on the rise,
and the only sound, the communion of sighs.

This is one of my early poems ; I believe it was probably written during my first two years in college, making me 18 or 19 at the time.



This original poem has more than 300 results:

Kin
by Michael R. Burch

O pale, austere moon,
haughty beauty ...
what do we know of love,
or duty?



This original poem has more than 300 results:

escape!
by michael r. burch

for anaïs vionet

to live among the daffodil folk . . .
slip down the rainslickened drainpipe . . .
suddenly pop out
the GARGANTUAN SPOUT . . .
minuscule as alice, shout
yippee-yi-yee!
in wee exultant glee
to be leaving behind the
LARGE
THREE-DENALI GARAGE.



This Matsuo Basho haiku translation has more than 300 results:

An ancient pond,
the frog leaps:
the silver plop and gurgle of water
― Matsuo Basho, loose translation by Michael R. Burch



This haiku translation has more than 300 results:

Oh, fallen camellias,
if I were you,
I'd leap into the torrent!
― Takaha Shugyo, loose translation/interpretation by Michael R. Burch



This translation of an Anacreon epigram has over 300 results:

Here he lies in state tonight: great is his Monument!
Yet Ares cares not, neither does War relent.
—Anacreon, loose translation/interpretation by Michael R. Burch



This 9–11 poem has over 300 results:

Charon 2001
by Michael R. Burch

I, too, have stood—paralyzed at the helm
watching onrushing, inevitable disaster.
I too have felt sweat (or ecstatic tears) plaster
damp hair to my eyes, as a slug’s dense film
becomes mucous-insulate. Always, thereafter
living in darkness, bright things overwhelm.

Originally published by The Neovictorian/Cochlea



This “almost” limerick has over 300 results:

Caveat Spender
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.



This little poetic snapshot has over 300 results:
Warming Her Pearls
by Michael R. Burch

for Beth

Warming her pearls, her *******
gleam like constellations.
Her belly is a bit rotund...
she might have stepped out of a Rubens.



This vampire poem, popular at Halloween, has nearly 300 results:

Pale Though Her Eyes
by Michael R. Burch

Pale though her eyes,
her lips are scarlet
from drinking of blood,
this child, this harlot

born of the night
and her heart, of darkness,
evil incarnate
to dance so reckless,

dreaming of blood,
her fangs―white―baring,
revealing her lust,
and her eyes, pale, staring...



This Fukuda Chiyo-ni haiku translation has nearly 300 results:

Ah butterfly!
what dreams do you ply
with your beautiful wings?
― Fukuda Chiyo-ni, loose translation/interpretation by Michael R. Burch



This translation of the Palestinian poet Fadwa Tuqan has over 300 results:

Enough for Me
by Fadwa Tuqan
loose translation/interpretation by Michael R. Burch

Enough for me to lie in the earth,
to be buried in her,
to sink meltingly into her fecund soil, to vanish ...
only to spring forth like a flower
brightening the play of my countrymen's children.
Enough for me to remain
in my native soil's embrace,
to be as close as a handful of dirt,
a sprig of grass,
a wildflower.



This translation of a poem by the Kurdish poet Kajal Ahmad has over 300 results:

Mirror
by Kajal Ahmad, a Kurdish poet
loose translation by Michael R. Burch

My era's obscuring mirror
shattered
because it magnified the small
and made the great seem insignificant.
Dictators and monsters filled its contours.
Now when I breathe
its jagged shards pierce my heart
and instead of sweat
I exude glass.



This original poem has over 300 results:

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.



This original poem, popular at Valentine’s Day, has nearly 300 results:

Let Me Give Her Diamonds
by Michael R. Burch

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.



This original poem has nearly 300 results:

Fascination with Light
by Michael R. Burch

for Anaïs Vionet

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
and flutters and drifts on in dark aimless flight.

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

This Vera Pavlova translation has over 250 results:

Shattered
by Vera Pavlova
loose translation/interpretation by Michael R. Burch

I shattered your heart;
now I limp through the shards
barefoot.



These Holocaust poem translations of Miklos Radnoti have over 200 results each:

Postcard 1
by Miklós Radnóti
loose translation by Michael R. Burch

Out of Bulgaria, the great wild roar of the artillery thunders,
resounds on the mountain ridges, rebounds, then ebbs into silence
while here men, beasts, wagons and imagination all steadily increase;
the road whinnies and bucks, neighing; the maned sky gallops;
and you are eternally with me, love, constant amid all the chaos,
glowing within my conscience―incandescent, intense.
Somewhere within me, dear, you abide forever―
still, motionless, mute, like an angel stunned to silence by death
or a beetle hiding in the heart of a rotting tree.



Postcard 2
by Miklós Radnóti
written October 6, 1944 near Crvenka, Serbia
loose translation by Michael R. Burch

A few miles away they're incinerating
the haystacks and the houses,
while squatting here on the fringe of this pleasant meadow,
the shell-shocked peasants sit quietly smoking their pipes.
Now, here, stepping into this still pond, the little shepherd girl
sets the silver water a-ripple
while, leaning over to drink, her flocculent sheep
seem to swim like drifting clouds.



Postcard 3
by Miklós Radnóti
loose translation by Michael R. Burch

The oxen dribble ****** spittle;
the men pass blood in their ****.
Our stinking regiment halts, a horde of perspiring savages,
adding our aroma to death's repulsive stench.



Postcard 4
by Miklós Radnóti
loose translation by Michael R. Burch

I toppled beside him―his body already taut,
tight as a string just before it snaps,
shot in the back of the head.
"This is how you’ll end too; just lie quietly here,"
I whispered to myself, patience blossoming from dread.
"Der springt noch auf," the voice above me jeered;
I could only dimly hear
through the congealing blood slowly sealing my ear.

This was his final poem, written October 31, 1944 near Szentkirályszabadja, Hungary. "Der springt noch auf" means something like "That one is still twitching."



This poetic tribute to Muhammad Ali has over 250 results:

Ali’s Song
by Michael R. Burch

They say that gold don’t tarnish. It ain’t so.
They say it has a wild, unearthly glow.
A man can be more beautiful, more wild.
I flung their medal to the river, child.
I flung their medal to the river, child.

They hung their coin around my neck; they made
my name a bridle, “called a ***** a *****.”
They say their gold is pure. I say defiled.
I flung their slave’s name to the river, child.
I flung their slave’s name to the river, child.

Ain’t got no quarrel with no Viet Cong
that never called me ******, did me wrong.
A man can’t be lukewarm, ’cause God hates mild.
I flung their notice to the river, child.
I flung their notice to the river, child.

They said, “Now here’s your bullet and your gun,
and there’s your cell: we’re waiting, you choose one.”
At first I groaned aloud, but then I smiled.
I gave their “future” to the river, child.
I gave their “future” to the river, child.

My face reflected up, dark bronze like gold,
a coin God stamped in His own image—BOLD.
My blood boiled like that river—strange and wild.
I died to hate in that dark river, child,
Come, be reborn in this bright river, child.

Originally published by Black Medina



This poem about US involvement in an ongoing Holocaust has over 200 results:

who, US?
by Michael R. Burch

jesus was born
a palestinian child
where there’s no Room
for the meek and the mild

... and in bethlehem still
to this day, lambs are born
to cries of “no Room!”
and Puritanical scorn ...

under Herod, Trump, Bibi
their fates are the same —
the slouching Beast mauls them
and WE have no shame:
“who’s to blame?”



This Ō no Yasumaro translation has over 200 results:

While you decline to cry,
high on the mountainside
a single stalk of plumegrass wilts.
―Ō no Yasumaro (circa 711), loose translation/interpretation by Michael R. Burch



These Sappho translations have over 200 results:

Sappho, fragment 156
loose translation by Michael R. Burch

She keeps her scents
in a dressing-case.
And her sense?
In some undiscoverable place.



Sappho, fragment 58
loose translation/interpretation by Michael R. Burch

Pain
drains
me
to
the
last
drop
.



This Parmenio translation has over 200 results:

Be ashamed, O mountains and seas,
that these valorous men lack breath.
Assume, like pale chattels,
an ashen silence at death.
—Michael R. Burch, after Parmenio



This original epigram has over 200 results:

Love is either wholly folly,
or fully holy.
—Michael R. Burch



Other poems, epigrams and translations with more than 100 results:



Hymn for Fallen Soldiers
by Michael R. Burch

Sound the awesome cannons.
Pin medals to each breast.
Attention, honor guard!
Give them a hero’s rest.
Recite their names to the heavens
Till the stars acknowledge their kin.
Then let the land they defended
Gather them in again.

When I learned there’s an American military organization, the DPAA (Defense/POW/MIA Accounting Agency) that is still finding and bringing home the bodies of soldiers who died serving their country in World War II, after blubbering like a baby, I managed to eke out this poem.



Nun Fun Undone
by Michael R. Burch

Abbesses’
recesses
are not for excesses!



pretty pickle
by michael r. burch

u’d blaspheme if u could
because ur God’s no good,
but of course u cant:
ur a lowly ant
(or so u were told by a Hierophant).



I, Too, Have a Dream
by Michael R. Burch writing as “The Child Poets of Gaza”

I, too, have a dream ...
that one day Jews and Christians
will see me as I am:
a small child, lonely and afraid,
staring down the barrels of their big bazookas,
knowing I did nothing
to deserve their enmity.



My Nightmare ...
by Michael R. Burch  writing as “The Child Poets of Gaza”

I had a dream of Jesus!
Mama, his eyes were so kind!
But behind him I saw a billion Christians
hissing "You're nothing!," so blind.



Multiplication, Tabled
by Michael R. Burch

(for the Religious Right)

“Be fruitful and multiply”—
great advice, for a fruitfly!
But for women and men,
simple Simons, say, “WHEN!”



Once fanaticism has gangrened brains
the incurable malady invariably remains.
—Voltaire, translation by Michael R. Burch



Snapshots
by Michael R. Burch

Here I scrawl extravagant rainbows.
And there you go, skipping your way to school.

And here we are, drifting apart
like untethered balloons.

Here I am, creating "art,"
chanting in shadows,
pale as the crinoline moon,
ignoring your face.

There you go,
in diaphanous lace,
making another man’s heart swoon.

Suddenly, unthinkably, here he is,
taking my place.



Indestructible, for Johnny Cash
by Michael R. Burch

What is a mountain, but stone?
Or a spire, but a trinket of steel?
Johnny Cash is gone,
black from his hair to his bootheels.

Can a man out-endure mountains’ stone
if his songs lift us closer to heaven?
Can the steel in his voice vibrate on
till his words are our manna and leaven?

Then sing, all you mountains of stone,
with the rasp of his voice, and the gravel.
Let the twang of thumbed steel lead us home
through these weary dark ways all men travel.

For what is a mountain, but stone?
Or a spire, but a trinket of steel?
Johnny Cash lives on—
black from his hair to his bootheels.



Wulf and Eadwacer
ancient Old English (Anglo-Saxon) poem, circa 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.
It is otherwise with us.

Wulf's on one island; we're on another.
His island's a fortress, fastened by fens. (fastened=secured)
Here, bloodthirsty curs howl for carnage.
They'll rip him apart if he approaches their pack.
It is otherwise with us.

My hopes pursued Wulf like panting hounds,
but whenever it rained—how I wept!—
the boldest cur clutched me in his paws:
good feelings for him, but for me loathsome!

Wulf, O, my Wulf, my ache for you
has made me sick; your seldom-comings
have left me famished, deprived of real meat.
Have you heard, Eadwacer? Watchdog!
A wolf has borne our wretched whelp to the woods.
One can easily sever what never was one:
our song together.

Hearthside
by Michael R. Burch

“When you are old and grey and full of sleep...” — W. B. Yeats

For all that we professed of love, we knew
this night would come, that we would bend alone
to tend wan fires’ dimming bars—the moan
of wind cruel as the Trumpet, gelid dew
an eerie presence on encrusted logs
we hoard like jewels, embrittled so ourselves.
The books that line these close, familiar shelves
loom down like dreary chaperones. Wild dogs,
too old for mates, cringe furtive in the park,
as, toothless now, I frame this parchment kiss.
I do not know the words for easy bliss
and so my shriveled fingers clutch this stark,
long-unenamored pen and will it: Move.
I loved you more than words, so let words prove.



Observance
by Michael R. Burch

Here the hills are old and rolling
casually in their old age;
on the horizon youthful mountains
bathe themselves in windblown fountains . . .

By dying leaves and falling raindrops,
I have traced time's starts and stops,
and I have known the years to pass
almost unnoticed, whispering through treetops . . .

For here the valleys fill with sunlight
to the brim, then empty again,
and it seems that only I notice
how the years flood out, and in . . .

This is an early poem that made me feel like a “real poet.” I remember writing it in the break room of the McDonald's where I worked as a high school student. I believe that was at age 17.



Discrimination
by Michael R. Burch

The meter I had sought to find, perplexed,
was ripped from books of "verse" that read like prose.
I found it in sheet music, in long rows
of hologramic CDs, in sad wrecks
of long-forgotten volumes undisturbed
half-centuries by archivists, unscanned.
I read their fading numbers, frowned, perturbed—
why should such tattered artistry be banned?
I heard the sleigh bells’ jingles, vampish ads,
the supermodels’ babble, Seuss’s books
extolled in major movies, blurbs for abs ...
A few poor thinnish journals crammed in nooks
are all I’ve found this late to sell to those
who’d classify free verse "expensive prose."

Originally published by The Chariton Review



Will There Be Starlight
by Michael R. Burch

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?



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 nominated for the Pushcart Prize


Pan
by Michael R. Burch

... Among the shadows of the groaning elms,
amid the darkening oaks, we fled ourselves ...
... Once there were paths that led to coracles
that clung to piers like loosening barnacles ...
... where we cannot return, because we lost
the pebbles and the playthings, and the moss ...
... hangs weeping gently downward, maidens’ hair
who never were enchanted, and the stairs ...
... that led up to the Fortress in the trees
will not support our weight, but on our knees ...
... we still might fit inside those splendid hours
of damsels in distress, of rustic towers ...
... of voices heard in wolves’ tormented howls
that died, and live in dreams’ soft, windy vowels ...



At Wilfred Owen’s Grave
by Michael R. Burch

A week before the Armistice, you died.
They did not keep your heart like Livingstone’s,
then plant your bones near Shakespeare’s. So you lie
between two privates, sacrificed like Christ
to politics, your poetry unknown
except for that brief flurry’s: thirteen months
with Gaukroger beside you in the trench,
dismembered, as you babbled, as the stench
of gangrene filled your nostrils, till you clenched
your broken heart together and the fist
began to pulse with life, so close to death.
Or was it at Craiglockhart, in the care
of “ergotherapists” that you sensed life
is only in the work, and made despair
a thing that Yeats despised, but also breath,
a mouthful’s merest air, inspired less
than wrested from you, and which we confess
we only vaguely breathe: the troubled air
that even Sassoon failed to share, because
a man in pieces is not healed by gauze,
and breath’s transparent, unless we believe
the words are true despite their lack of weight
and float to us like chlorine—scalding eyes,
and lungs, and hearts. Your words revealed the fate
of boys who retched up life here, gagged on lies.



Ebb Tide
by Michael R. Burch

Massive, gray, these leaden waves
bear their unchanging burden—
the sameness of each day to day
while the wind seems to struggle to say
something half-submerged planks at the mouth of the bay
might nuzzle limp seaweed to understand.
Now collapsing dull waves drain away
from the unenticing land;
shrieking gulls shadow fish through salt spray—
whitish streaks on a fogged silver mirror.
Sizzling lightning impresses its brand.
Unseen fingers scribble something in the wet sand.

Originally published by Southwest Review



At Once
by Michael R. Burch

Though she was fair,
though she sent me the epistle of her love at once
and inscribed therein love’s antique prayer,
I did not love her at once.
Though she would dare
pain’s pale, clinging shadows, to approach me at once,
the dark, haggard keeper of the lair,
I did not love her at once.
Though she would share
the all of her being, to heal me at once,
yet more than her touch I was unable bear.
I did not love her at once.
And yet she would care,
and pour out her essence ...
and yet—there was more!
I awoke from long darkness,
and yet—she was there.
I loved her the longer;
I loved her the more
because I did not love her at once.

Published by The Lyric, Romantics Quarterly and Grassroots Poetry



Chloe
by Michael R. Burch

There were skies onyx at night ... moons by day ...
lakes pale as her eyes ... breathless winds
******* tall elms; ... she would say
that we loved, but I figured we’d sinned.
Soon impatiens too fiery to stay
sagged; the crocus bells drooped, golden-limned;
things of brightness, rinsed out, ran to gray ...
all the light of that world softly dimmed.
Where our feet were inclined, we would stray;
there were paths where dead weeds stood untrimmed,
distant mountains that loomed in our way,
thunder booming down valleys dark-hymned.
What I found, I found lost in her face
while yielding all my virtue to her grace.

Originally published by Romantics Quarterly as “A Dying Fall”



The Wonder Boys
by Michael R. Burch

(for Leslie Mellichamp, the late editor of The Lyric,
who was a friend and mentor to many poets, and
a fine poet in his own right)

The stars were always there, too-bright cliches:
scintillant truths the jaded world outgrew
as baffled poets winged keyed kites—amazed,
in dream of shocks that suddenly came true . . .
but came almost as static—background noise,
a song out of the cosmos no one hears,
or cares to hear. The poets, starstruck boys,
lay tuned in to their kite strings, saucer-eared.
They thought to feel the lightning’s brilliant sparks
electrify their nerves, their brains; the smoke
of words poured from their overheated hearts.
The kite string, knotted, made a nifty rope . . .
You will not find them here; they blew away—
in tumbling flight beyond nights’ stars. They clung
by fingertips to satellites. They strayed
too far to remain mortal. Elfin, young,
their words are with us still. Devout and fey,
they wink at us whenever skies are gray.

Originally published by The Lyric



The Beat Goes On (and On and On and On ...)
by Michael R. Burch

Bored stiff by his board-stiff attempts
at “meter,” I crossly concluded
I’d use each iamb
in lieu of a lamb,
bedtimes when I’m under-quaaluded.

Originally published by Grand Little Things



Playmates
by Michael R. Burch

WHEN you were my playmate and I was yours,
we spent endless hours with simple toys,
and the sorrows and cares of our indentured days
were uncomprehended . . . far, far away . . .
for the temptations and trials we had yet to face
were lost in the shadows of an unventured maze.
Then simple pleasures were easy to find
and if they cost us a little, we didn't mind;
for even a penny in a pocket back then
was one penny too many, a penny to spend.
Then feelings were feelings and love was just love,
not a strange, complex mystery to be understood;
while "sin" and "damnation" meant little to us,
since forbidden cookies were our only lusts!
Then we never worried about what we had,
and we were both sure—what was good, what was bad.
And we sometimes quarreled, but we didn't hate;
we seldom gave thought to the uncertainties of fate.
Hell, we seldom thought about the next day,
when tomorrow seemed hidden—adventures away.
Though sometimes we dreamed of adventures past,
and wondered, at times, why things couldn't last.
Still, we never worried about getting by,
and we didn't know that we were to die . . .
when we spent endless hours with simple toys,
and I was your playmate, and we were boys.

This is probably the poem that "made" me, because my high school English teacher called it "beautiful" and I took that to mean I was surely the Second Coming of Percy Bysshe Shelley! "Playmates" is the second poem I remember writing; I believe I was around 13 or 14 at the time. It was originally published by The Lyric.



Lines for My Ascension
by Michael R. Burch

I.
If I should die,
there will come a Doom,
and the sky will darken
to the deepest Gloom.

But if my body
should not be found,
never think of me
in the cold ground.

II.
If I should die,
let no mortal say,
“Here was a man,
with feet of clay,
or a timid sparrow
God’s hand let fall.”
But watch the sky darken
to an eerie pall
and know that my Spirit,
unvanquished, broods,
and scoffs at quaint churchyards
littered with roods.

And if my body
should not be found,
never think of me
in the cold ground.

III.
If I should die,
let no man adore
his incompetent Maker:
Zeus, Yahweh, or Thor.
Think of Me as One
who never died—
the unvanquished Immortal
with the unriven side.

And if my body
should not be found,
never think of me
in the cold ground.

IV.
And if I should “die,”
though the clouds grow dark
as fierce lightnings rend
this bleak asteroid, stark ...
If you look above,
you will see a bright Sign—
the sun with the moon
in its arms, Divine.
So divine, if you can,
my bright meaning, and know—
my Spirit is mine.
I will go where I go.

And if my body
should not be found,
never think of me
in the cold ground.

Translations with more than 100 results and/or a high number of page views:

“Wulf and Eadwacer” translation
“Deor’s Lament” translation
“The Wife’s Lament” translation
“Whoso List to Hunt” by Sir Thomas Wyatt, translation
“The Eager Traveler” by Ahmad Faraz, translation
“Herbsttag” (“Autumn Day”) by Rainer Maria Rilke, translation
“Archaischer Torso Apollos” (“Archaic Torso of Apollo”) by Rainer Maria Rilke, translation
“Komm, Du” (“Come, You”) by Rainer Maria Rilke, translation
“Der Panther” (“The Panther”) by Rainer Maria Rilke, translation
“Liebes-Lied” (“Love Song”) by Rainer Maria Rilke, translation
“Das Lied des Bettlers” (“The Beggar’s Song”) by Rainer Maria Rilke, translation
Original poems with more than 100 results:
“Water and Gold”
“See”
“The Folly of Wisdom”
“The Effects of Memory”
“Finally to Burn: the Fall and Resurrection of Icarus”




Dream of 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 soul 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 poem was originally published by TC Broadsheet Verses. I was paid a whopping $10, my first cash payment. It was subsequently published by Piedmont Literary Review, Penny Dreadful, the Net Poetry and Art Competition, Songs of Innocence, Poetry Life & Times, Better Than Starbucks and The Chained Muse.



we did not Dye in vain!
by Michael R. Burch

from “songs of the sea snails”

though i’m just a slimy crawler,
my lineage is proud:
my forebears gave their lives
(oh, let the trumps blare loud!)
so purple-mantled Royals
might stand out in a crowd.

i salute you, fellow loyals,
who labor without scruple
as your incomes fall
while deficits quadruple
to swaddle unjust Lords
in bright imperial purple!

Notes: In ancient times the purple dye produced from the secretions of purpura mollusks (sea snails) was known as “Tyrian purple,” “royal purple” and “imperial purple.” It was greatly prized in antiquity, and was very expensive according to the historian Theopompus: “Purple for dyes fetched its weight in silver at Colophon.” Thus, purple-dyed fabrics became status symbols, and laws often prevented commoners from possessing them. The production of Tyrian purple was tightly controlled in Byzantium, where the imperial court restricted its use to the coloring of imperial silks. A child born to the reigning emperor was literally porphyrogenitos ("born to the purple") because the imperial birthing apartment was walled in porphyry, a purple-hued rock, and draped with purple silks. Royal babies were swaddled in purple; we know this because the iconodules, who disagreed with the emperor Constantine about the veneration of images, accused him of defecating on his imperial purple swaddling clothes!



Circe
by Michael R. Burch

She spoke
and her words
were like a ringing echo dying
or like smoke
rising and drifting
while the earth below is spinning.

She awoke
with a cry
from a dream that had no ending,
without hope
or strength to rise,
into hopelessness descending.

And an ache
in her heart
toward that dream, retreating,
left a wake
of small waves
in circles never completing.

Originally published by Romantics Quarterly



To Have Loved
by Michael R. Burch

"The face that launched a thousand ships ..."

Helen, bright accompaniment,
accouterment of war as sure as all
the polished swords of princes groomed to lie
in mausoleums all eternity ...

The price of love is not so high
as never to have loved once in the dark
beyond foreseeing. Now, as dawn gleams pale
upon small wind-fanned waves, amid white sails, ...

now all that war entails becomes as small,
as though receding. Paris in your arms
was never yours, nor were you his at all.
And should gods call

in numberless strange voices, should you hear,
still what would be the difference? Men must die
to be remembered. Fame, the shrillest cry,
leaves all the world dismembered.

Hold him, lie,
tell many pleasant tales of lips and thighs;
enthrall him with your sweetness, till the pall
and ash lie cold upon him.

Is this all? You saw fear in his eyes, and now they dim
with fear’s remembrance. Love, the fiercest cry,
becomes gasped sighs in his once-gallant hymn
of dreamed “salvation.” Still, you do not care

because you have this moment, and no man
can touch you as he can ... and when he’s gone
there will be other men to look upon
your beauty, and have done.

Smile―woebegone, pale, haggard. Will the tales
paint this―your final portrait? Can the stars
find any strange alignments, Zodiacs,
to spell, or unspell, what held beauty lacks?



NOVELTIES
by Thomas Campion
loose translation/interpretation by Michael R. Burch

Booksellers laud authors for novel editions
as pimps praise their ****** for exotic positions.



Nod to the Master
by Michael R. Burch

for the Divine Oscar Wilde

If every witty thing that’s said were true,
Oscar Wilde, the world would worship You!



A question that sometimes drives me hazy:
am I or are the others crazy?
—Albert Einstein, loose translation/interpretation by Michael R. Burch



This is love: to fly toward a mysterious sky,
to cause ten thousand veils to fall.
First, to stop clinging to life,
then to step out, without feet ...
—Rumi, loose translation/interpretation by Michael R. Burch



To live without philosophizing is to close one's eyes and never attempt to open them. – Rene Descartes, loose translation by Michael R. Burch



Stage Fright
by Michael R. Burch

To be or not to be?
In the end Hamlet
opted for naught.



I test the tightrope
balancing a child
in each arm.
—Vera Pavlova, loose translation/interpretation by Michael R. Burch



Brief Fling
by Michael R. Burch

“Epigram”
means cram,
then scram!



*******
by Michael R. Burch

You came to me as rain breaks on the desert
when every flower springs to life at once.
But joys are wan illusions to the expert:
the Bedouin has learned how not to want.



Love is either wholly folly,
or fully holy.
—Michael R. Burch



Intimations
by Michael R. Burch

Let mercy surround us
with a sweet persistence.

Let love propound to us
that life is infinitely more than existence.



Less Heroic Couplets: Marketing 101
by Michael R. Burch

Building her brand, she disrobes,
naked, except for her earlobes.



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.



She is brighter than dawn
by Michael R. Burch

for Beth

There’s a light about her
like the moon through a mist:
a bright incandescence
with which she is blessed

and my heart to her light
like the tide now is pulled . . .
she is fair, O, and bright
like the moon silver-veiled.

There’s a fire within her
like the sun’s leaping forth
to lap up the darkness
of night from earth's hearth

and my eyes to her flame
like twin moths now are drawn
till my heart is consumed.
She is brighter than dawn.




Teddy Roosevelt spoke softly and carried a big stick; Donald Trump speaks loudly and carries a big shtick.—Michael R. Burch



Viral Donald (I)
by Michael R. Burch aka "The Loyal Opposition"

Donald Trump is coronaviral:
his brain's in a downward spiral.
His pale nimbus of hair
proves there's nothing up there
but an empty skull, fluff and denial.



Viral Donald (II)
by Michael R. Burch aka "The Loyal Opposition"

Why didn't Herr Trump, the POTUS,
protect us from the Coronavirus?
That weird orange corona of hair's an alarm:
Trump is the Virus in Human Form!

Keywords/Tags: Michael Burch, popular, most popular, best poems, viral poems, poetry, poetic expression, epigrams, epitaph, translation, translations, quotes, Google, Internet, journals, literary journals, blogs, social media, Facebook, Twitter, Instagram, Yahoo, international, mrbpop, mrbbest, mrbest

i could tell you how certain stations on the London underground
smell, but i can't capture you this smell...
a bit like in that film Perfume: scents are lost over time,
with regards to places -
                            unlike the eternal pine forest...
or the zest of lemon...
                                         those are universal scents...
one could and humanity has: created a synthetic answer
and copied these scents... made synthetic tastes
a whole chemistry of a posteriori scents and tastes...
Kant and chemistry are a perfect combination...
given the classical schematic:

analytical                         analytical
a priori                             a posteriori
apples grow on               tomatoes:
trees and                          categorised as fruits          
carrots grow                    yet used as vegetables
in the earth                      the analysis being
since apples                     even though they grow
are a fruit                         on something: trees,
while carrots                    bushes, vines...
are a root vegetable,       analysis has found that
ergo?                                 they are better treated
all vegetables                   as vegetables rather than
grow in the earth            fruits, since one rarely cooks
while all fruits                 savoury meals with fruit
grow on trees                  yet the tomato is used
or shrubs                         plentifully in savoury cooking


synthetic                          synthetic
a priori                           a posteriori
■, ▲                                   in light of the given examples
(geometry)                        in the realm of the analytical
and the propositions       a priori: that fruits grow on
that come with                 trees or bushes
them:                                  there's the pineapple
e.g. c² = a² + b²                   anomaly:
or physics:                         pineapples grow on the ground
e = mc²                                (in the ground) like cabbage-heads
                                            grow in much the same fashion...

i always struggle with the a posteriori conceptualization...
in the original i wrote as can be seen above...
are tomatoes the byproduct of
analytical a posteriori knowledge?
i.e. they are fruits that are used as vegetables (used,
hell, even treated as such)... because you will not find
a tomato desert as such...
the classification of a tomato as a fruit:
given how it grows... would also invoke the cucumber
to be treated as a vegetable:
vegetables are not as juicy as fruits...
the flesh of the fruit is usually softer and certainly
more juicy... while the flesh of the vegetable
is more bulky and requires cooking and salt
to extract the juices oh a higher carbohydrate
concentrate of the fibrous nature...

pineapples... a fruit that grows like a vegetable
in the earth...
i like this "confusion" in my head...
i'm not going to clarify it...
            i leave this curiosity in my writing on purpose...
analytical a posteriori facts:
well... first having categorised the tomato as a fruit:
upon analysis... true: the tomato behaves like
a fruit... but upon analysis: after the fact:
it is better used as a vegetable...

         and the synthetic a posteriori truth about
the pineapple? then again: i know where i might be going wrong...
isn't synthetic a posteriori knowledge possible?
it's not as simple as the pineapple example
based on: fruits grow on trees while vegetables grow in
the earth... i can only find questions
on the possibility of synthetic a priori knowledge...
ergo? of course synthetic a posteriori knowledge
is possible...
    it's ingrained in chemistry...
what does synthetic a posteriori knowledge look like?

a chemist tastes a lemon... and he tries to replicate
the taste of lemon using chemicals...
he breaks down the chemistry of the lemon...
and? with due course... replicates the taste of lemon
without actually using a lemon!
he breaks the lemon to the basic components
of citric acids and whatever else is needed to replicate
the taste of lemon and grind it into a powder:
chemistry is synthetic a posteriori knowledge...
isn't it?

the examples i cited with the pineapples:
it doesn't matter that the pineapple behaves like
a vegetable when it grows...
apart from that sick idea of a Hawaiian pizza toppings...
pineapple? ham?! you what?!
that's not synthetic a posteriori knowledge:
that's just a ******* whim of bad-taste...
there's no actual synthesis of the pineapple growing
as a vegetable and the "ingenuity" of treating
it like a bad idea for a pizza topping...
the tomato: however... is a pristine example
of analytical a posteriori knowledge:
sure... it's categorised as a vegetable...
because of the way it grows... compared to actual vegetables:
but? you wouldn't allow the tomato
to be bitten into like an apple... you wouldn't bake
a tomato cake as you might bake a banana cake...
the analysis concludes: our knowledge of fruits is this...
and we have this vegetable: the tomato
that's a fruit... but it would be better suited
in being used like a vegetable...

synthetic a posteriori does exist... it just doesn't apply
to pineapples for the simply reason that they
grow like vegetables... they're still going to be fruits...
synthetic a posteriori knowledge is chemistry...
it has to exist because a pineapple is
not a synthetic a priori "idea" of TASTE let alone
virtue or however Kant framed it...

ugh... my first day back at Craven Cottage...
little ****** steward: i hate these hierarchies...
it's a petty army of high-viz. jackets...
   i wasn't the supervisor but i had some colts under
my "supervision"... i tried to smooth things over:
i did... in the end i wanted to see Fulham play
Liverpool... i spread the word around:
this is *******... they should have put us inside
the stadium...
   but... the weather was the loveliest and the Thames
was tide-out... two seagulls arguing...
in the shade: this part of London is truly mesmerising...
i love the smell of the Thames with the tide out...
in the shade under these mammoth-esque splendours
of foliage...
hell... i even managed to spot my first KONIK
(little horse)... that's slang for... those ******* that buy
tickets at the regular price... then hang around the stadium
and try to push the tickets at a hyper-inflated price...
the ****** was selling the tickets for £250 for two!
and this was after the first half finished!
i told one of the guys with a radio:
call this in...
                          i had to repeat myself about 3 times
before the management agreed to my concern...
they sent two spare police officers to the person in question...
he almost sold those ******* tickets...
one minute i see him pretend to tie his shoelaces
(he wasn't pretending) - his black cap
disappearing under the bushes... next minute:
wh'ah where?! ****** did a runner...
so he wasn't tying his shoelaces "on a whim":
he was about to do a runner...

                  that's ******* exploitation...
that's like: stealing... capitalism at its worst...
the ingenuity of crime: oh... but it's innocent crime...
it's i buy something for £30 but...
i'll sell it for you for £250...
                             now... it's not antiques! it's not a *******
van Gogh painting that has been lying around
for quite some time... gaining a repertoire and a reputation
as something good, worthwhile:
it's a ******* football match ticket!
hyper-inflation like under the Weimar Republic...
money good as "gold": "gold" as in winter fuel,
timber the new platinum!

after all: there was no real synthetic a priori knowledge:
chemistry is hardly a question of appearance,
water is clear, but so is hydrochloric acid...
what else is clear? sodium hydroxide...
                 chemistry was born from synthetic a posteriori
knowledge...
how many chemical experiments came as a surprise
a sort of anti-Eureka of synthetic a priori knowledge?
champagne springs to mind... lysergic acid comes
to mind: no one was actually trying to find these things...
e.g. they did not come about through analytical
a posteriori knowledge: they arose from
a dimension of the synthetic a posteriori knowledge:
by chance: by accident...

sure... i might be doing a ******-low-skill job right
now: and it is... i'll admit...
it's super **** sometimes:
most of the time my coworkers are either
over-bearing ego-maniacs fixated on hierarchy,
or they're lazy Somali youths...
or just plain-sighted Nimrods...
i sometimes leave my mind to wander...
that when i get the jerks in the feet like
i'm about to fall over... like for bearskin hatted
soldiers on parade...
but i leave my mind to wander:
it's not an insult if it's true...
                  no: when i was a roofer and fiddling
with inanimate things there was more focus
on the work to be done... dealing with people
is a crass differentiation from perfecting how an inanimate
ought to behave under your hands...
to turn a roll of felt into a water-insulated roof
with a roll of fleece and enough tar...
people are different: i'm sort of studying people...
gearing myself to hover in on children in schools...

if Leibniz preferred the profession of librarian
and a private intellectual life of par excellence...
i wouldn't think twice about becoming a primary school
teacher than being a secondary school
teacher of chemistry...
**** me: if drag queen hour is about to be imported
from America: i best (better) step in...
i just imagine: well... unlike a barren woman...
who has no children...
who goes into a profession akin to primary school
teaching... but then i'd arrive...
i know the obvious stereotype to battle:
PEDOHPILE! ha ha...
           Ava Lauren: just my type... plump...
full-bodied... probably the age of my mum by now...
that's my type...
i need something rounded of:
a 5.9 = a 6... just an example...
                
             but i let my mind wander... when roofing
you couldn't leave your mind to wonder...
i could... tell you of the specific scents in certain
underground stations... Baker Street? is that the one
with the Victorian arches, a station under the bridge?
i don't remember...
Putney Bridge is a beautiful station...
but today i took the route:
Romford via train... got off at Stratford... waited for a minute
for the central line...
(i love meditating on the topic of tubes maps...
there are only two important lines
in London... why? based on how many times
they intersect... the Central Line and the Piccadilly
Line... they only intersect at Holborn)...
travelled to Holborn... not sitting...
at each carriage there are these half-seats...
you're leaning back... standing-sitting...
i felt so relaxed... i gave way to the momentum
of the tube...
i was moving backwards and forwards...
head nodding... shoulders doing the mr. plastic-fantastic...
i almost tried to remember the remaining
tension in my body... the grip i had on a bottle
of water and a packet of tortilla wraps...
the rest of me was: freed...

when it comes to scents... that's one thing:
everyone knows it's a stupid idea to change tube
lines at Bank... why? well... Bank it connected
to Monument...
it's a city within a city: a London 2.0... oh oh:
yes it ******* is... never change at Bank...
anyway... as i was relaxing having closed my eyes...
i can tell you where the best sounds of
machinery exist in London?
between Liverpool St. - Bank - and Chancery Lane...
mind you... i cycle the route from time to time...
what's above? is not, what's above...
compared to cycling... this route is like:
watching the original Dune movie...
i'm strapped to a ******* earthworm...
or: being digested by one while listening to
the clag glug and clamour iron biting iron...
i sometimes do the "twirl" of the tube above
ground... just after Aldgate...
i head towards Brick Lane... toward Liverpool St.
prior to reaching Bank St.:

all the Piccadilly Stations between Holborn and
Earl's Court have this sickly sweet stench
about them... it's sickly sweet... it's: sickly sweet...

i remember back in St. Augustine's we had one
female primary school teacher...
some ****** proverb speaks the words:
woe unto you for having to care for the children
of others...
while i'm thinking: that would be a worthwhile challenge...
i don't want any of my own:
the fear of ******* them up more than
i was ****** up wears me down...
at least with the genes of strangers
i can send in an auxiliary covert party of my psyche...
who would i send in? the usual suspects...
Kant, Heidegger, Newton, Ezra Pound...
oh... the list is pretty long...

most probably Rumi hanging around with
Zhuangzi... Ovid and Horace...
ooh... terrible idea to start drinking whiskey
after binge-eating a watermelon...
the burps i'm getting back:
******* postcards from Uan Muhuggiag (Libya)...
i'm seeing camels double the number of their humps!
not good... absolutely no good

burp... ooh... this watermelon will not go down
so good... while i worry about *******
myself come tomorrow morning...
unlike the Red Hot Chilly Peppers singing
the fames of California:
what do i have? i have the countryside of Essex
and the incursions in the concrete staccato
of London... i can mediate this...

              burp: well... at least it's whiskey mingling
with the juices of a watermelon...
i much prefer that to the half-digested acidic
meat of any sort...
                 that's healthy burping and healthy farting
for your...
hmm... investing in children... that's an idea...
i once remarked to a boy in a supermarket:
you know... how a while i thought animals
were incapable of seeing 3D objects
in a 2D canvas: i.e. why wouldn't animals
watch television with men?
today i had a "Fred" pester me for a bite
of my tortilla roll...
i would have given it to him freely:
i wasn't that hungry...
   so i asked his owner: so... what's his diet like?
oh... Fred has had pretty stomach upsets...
he spent the past three days eating mulberries
from a tree...
ooh! i love mulberries: who couldn't be more upset?
the dog or the mulberries?
ugh: these kind of people:
that have their dogs on a ******* vegan diet...
hey! Fred! bite into this tortilla wrap!
i have learned that the food man eats
if also eaten by a dog tastes better:
after it was eaten by man!

o.k., fair enough Fred... you have an owner that
deserves having you: but no children...
i'd put you in the same category as a child...
children, dogs, cats...
things that might stir in man the unusual:
certainly not Darwinistic / genetic investment
that might reduce a man's hormonal balance...
mate... you look at me that dumb-***** eyed way
one more time... let me pat you on the head
like i have... you're coming with me to the land
of eternal tortillas wrapping around chicken
and bacon: there's no "yes" as there's no "no"...

but that's London for you...
            and that's also Essex for you...
i spent an entire day in London?
where did i find those cheap-*** beauties of womanhood?
i didn't find them in London:
i had to travel back to Romford to find...
i sat down to eat a snack bucket in a chicken shop:
three spicy wings, some chips...
mayonnaise and some chilly sauce...
a 7up... £3.50... i enjoyed the meal
and thought about: nothing...
nothing is usually hard to "think" about...
you get into geometry: to prolong your time at pretending
to look "cool"... when eating alone...

i hopped on the bus... watched two hunchbacks
of an elderly couple "manage" their way own:
what cruel fate... the extension of mortality
via science... may i never see myself
that old... reduced to being the child of Atlas...
no... i don't care for the sensibility of secularism
and science...
old age transcends both of these:
it's the reality of old age...
prolonged old age is best renowned
and celebrated by lizards: turtles most in fact...
mammals look weird...
mammals look weird when their life is prolonged:
unnaturally: via the basis of science!

start giving out re-prescriptions to people
with a a faith in science but no hope in hope...
start selling them hopes of eternity...
this materialistic "eternal life": is drawing us closer
to no closure...
there comes a life: there coms a death of said life...
it's not fair to pretend that the inevitiable
is "not" going to happen: it will...
the tyranny of old age...
                  by the standards of the Benelux:
i'm more than willing to bow out...

who knows! i am not willing to simply live
for the awkward presence of strangers
on a basis of anomalies and non-intrusions
of some freaked-up formalities...
to hell with that: i have no evolutionary-existential
plight of  "conscience" that might make me suppose:
on racial grounds: that the human "effort"
will disappear: outright: completely:
sure... chances are... humanity will be governed
by more people willing to ***** cities of death via
the pyramid... people engage in the magic carpet
flights of Islam and pseudo-Islam from regions
akin to Somalia and Bangladesh:
my problem? i can't live forever! can i?

et scriptum est...
i like being toyed around as being the idiot...
it helps me grow...
and it was so written...
                ergo? ut necesse sit!
(and so it must be)
  ha ha! ah ha ha h ha ha!
vulnus ferrum:
                  sanguis respiratio
scratch of iron:
breathing blood!
            
mortuus est mori: the dead must die!
vivos debet mori /
vivos non sunt exceptio!

i work among people that make my intellect:
CLOWN!
   i entertain them... i must...
but their intellect is about as much:
grappling as... i don't know what!
i'm out of metaphors and aphorisms...

                        intelligence is discouraged when it comes
to a working environment...
           i'm like Leibniz... i'm unlike Newton...
my ambitions a "cowering" in a personal enterprise...
i like the individualism of m own enterprise:
i don't hope to solve or save the problems of
a common man... nope!
                
last time i heard? the train has arrived:
i also heard: the train is leaving...
well... i'm i geared up:
what do i care for the famines in Ethiopia?!
i don't care for claiming responsibilities for
people who don't take responsibilities for
themselves!
starve?! **** it... why not?"
oh right... one of the Somali types?!
pretend it's work by hiding behind the bushes?!
ergo? behind the bushes i pretend to shower you
with free bread and pork? don't like pork?
eat dirt instead!

i'm done: free-loaders: i'm done with them...
i'm so ******* with these Somalis that you can't even begin to comprehend!

O WHAT has made that sudden noise?
What on the threshold stands?
It never crossed the sea because
John Bull and the sea are friends;
But this is not the old sea
Nor this the old seashore.
What gave that roar of mockery,
That roar in the sea's roar?
The ghost of Roger Casement
Is beating on the door.

John Bull has stood for Parliament,
A dog must have his day,
The country thinks no end of him,
For he knows how to say,
At a beanfeast or a banquet,
That all must hang their trust
Upon the British Empire,
Upon the Church of Christ.
The ghost of Roger Casement
Is beating on the door.

John Bull has gone to India
And all must pay him heed,
For histories are there to prove
That none of another breed
Has had a like inheritance,
Or ****** such milk as he,
And there's no luck about a house
If it lack honesty.
The ghost of Roger Casement
Is beating on the door.

I poked about a village church
And found his family tomb
And copied out what I could read
In that religious gloom;
Found many a famous man there;
But fame and virtue rot.
Draw round, beloved and bitter men,
Draw round and raise a shout;
The ghost of Roger Casement
Is beating on the door.

I always wanted to be that random style of writer
Writing about things which have no connection
In reality but they are connective only by the ingenuity
Of his genuflection; the circumvention of his
Circuitous routing, his plaintive perturbing petulance
Which insists on stacking things of different orders
Flying birds together of different species
If I could write something of the ticking of clocks
Not as though the ticking were of premeditated duration
Embedded in metal tracks around perimeters
Of prevaricated die-cast hours; but as though the ticking
Were only a random fixture of a theoretical day
In which random clocks ticking played a minor role
During the still life of which a poet happened along
And copied it all down dutifully, not caring if
Ticking clocks were related to pitchers of Forsythia
Or falling off of cliffs into the Aegean;
The only task of the poet to capture it all
And let the reader sort it out later
In the random tracks of his circuitous brain:
Whether the pitcher was full of sea
Or the sea was stealing into the pitcher
One blue, serendipitous drop at a time
And where no clocks were keeping time.

Did style happen because I copied you or you copied the magazine?
Did I like that activity in special because everyone else did?
Did I change into someone whom I'm not because being myself weren't good enough? Or because I didn't resemble the rest of you?

Is it really so wrong to try and break free from the normalities so I won't become a part of the large crowd. I want to break free and be me.

But to be free and outside of the crowd is lonely. They don't drag you back in, because in reality, where everybody is one and the same; they won't notice when you're gone. If you're gone?

Didn't a part of you stay back?
Didn't a part of you still want to be in the crowd?
Didn't you in reality never leave?

Weren't this not just a part of wish thinking? Imagination?

My brother Zuo Si tells me I am well trained in the technique of writing, so well trained that when I come to put brush to paper I don’t have to punish myself with deep thoughts. See now how my hand flows to and fro and the characters appear.

I write a rhapsody for my Lord.

The philosopher Lu Ji says that whilst poetry traces emotion with delicacy, rhapsody embodies objects with light. My rhapsody is a bright star between Ts’an and Ch’en. On this bitter day I am describing the pine and cypress trees on the high peaks, where the first snows of winter cling hesitantly to their branches in the still air. I reflect on the emerald glow of their foliage in spring, their heavy fragrance in summer, the song of their branches in the autumn winds, their stillness in the desolation of winter.

I have a distant court in this vast palace. This suits my temperament and my literary disposition. I have the joy of my garden and the views of the Tai mountains.  I am a curiosity here. If I hold any of the arts of love I have little idea what they are. I do not spend my days plucking the dark hairs from my arms or deliberating over my wardrobe. It is understood that I am often unwell.

I aspire to arrange all things properly: to calm myself to write, to let my imagination sail on the open seas. My brother tells me I was chosen because of my stillness, observant gaze and gentle voice. If I am beautiful it is only because I absorb into myself the grace of the natural world I see about me. It is this self that dreams in my imagination. When I am with my Lord he touches my petalled mouth, inhales the distinct perfume of my nervousness, places his hand against my cheek and bids me speak.

I shift the thick blind to gaze at my garden. It waits for spring as I do. Winter only draws to itself past memories or desires for the future. It is too cold and damp to rest, to hibernate like the snake. It is easy to dream for a while, and being trained in the art of literature I can, with concentration, place myself anywhere.

Now, I am walking below the tall trunks of the cypress groves high on Linzi ridge. Looking down on the green river I absorb the aura of these great trees.

Now, I am kneeling at my desk, my feet wrapped in furs against the cold: I pour tea to warm the cup I hold in my writing hand.

Now, I ponder on the recluse Chi Songzi wandering amongst the highest pines to attain the Way. I follow his careful movements on the rocky path, his intense attention given to every live thing. I feel the different qualities of the breeze that lifts from the dark valley below.  My bare feet gather to themselves a miniature garden; soil, seeds, insects and grubs cling to my toes. Treading pine needles release a heady odure; above me the rock thrush chatter in the swaying branches.

The cold returns to my fingers and this vision retreats. This room is soon dark as the afternoon progresses. My maid has, during my oblivious state, left rice and vegetables. My rhapsody holds to its unfinished state with equanimity. I must of course fashion into its closing lines statements to please my Lord. The cypress tree trunks are steadfast like a man of wisdom or some such nonsense. This must wait for my attention on another day.

I am not like my brother who writes so slowly that his Rhapsody of the Capitals took up (it is said) ten years of his attention. My thoughts are agile and come to the page fully-formed. If I am calm (and well) a rhapsody may be finished in within my monthly cycle.  Much of this time is taken in dreaming, returning to images of my childhood, recalling conversations, remembering the thoughts and expressions of others. I read too the tales of travellers and poets. In summer my garden becomes a map of this world onto which I place and arrange my thoughts. As I tend my plants I tend these thoughts.

I now cover with a cloth the characters written in these past chilled hours and attend for a while to the business of palace life. An interview with my Lord’s second wife’s cousin – there has been a bereavement in her court and so a request to discuss a memorial ode. A scribe from the imperial archives demands I view a recent sequence of poems before it takes its place in Emperor Wu’s personal collection. I need to discuss the household accounts with my cook.

On my walnut chest a letter from Zuo Si: to read, to answer. His second gujin is wrapped in my bedclothes against the damp air. At night its delicate shape lies next to me. My left hand will caress its many silk strings, its long lacquered body, the smooth ivory of its pegs. Even in these winter months he is travelling, searching out those scholars and artists who have retreated from the official world of court and patronage to obscurity in remote places. After many years of work on the history of city life he is now writing poetry of seclusion and the wilderness. Famed through the Northern Kingdom his poetry and songs open every door, his work so often copied it is said to effect the price of paper.

My maid has already lit the butter lamp in my inner chamber, the protocol due to my position. I remove the clothes of the day, bathe briefly and dress in my court gown and rich furs. It is my duty to wait. By my side is the scroll of my Rhapsody on Thoughts of Separation. A recent favourite of my Lord’s, we have read this together in the stillness of the Tiger hours. The poem speaks with the voice of a young concubine newly separated from her home and family. She tells of her loneliness, her tears of anxiety, her ten thousand unremitting cares. Such words appear to stir my Lord . . .

All thoughts are individual. It is impossible to take the energy and apparatus to which that energy is transferred through to develop a thought. Therefore no knowledge is taken, all is perceived to wit a schematic and the apparatus developed by our brains to develop the thought. The thought is then subjected to the body and undergoes scrutiny to provide a relevance, priority and application. Therefore it would be safe to assume that all knowledge is neither subjective nor objective but an entirely new word that could exemplify itself as "Understood as developed by ones own." Where I got this schematic for this idea was in counterance to the percieved robbing of thoughts and ideas from books and ideas. Would it be proper to call it the same thought? No. Would it be proper to call it a reaction? Only in the most mechanical of senses that is cause following effect.
This idea would be to liken to a computer having a file copied from one machine to another, while the content remains the same in its physical interpretation on the screen would completely change. As if being opened by two seperate programs. And we are not talking about the files being the same when we talk about ideas, ideas are consequences of what is perceived therefore consequences of the that is copied. Ideas are the effect and in their way, an individual interpretation by how the schematic of an idea is followed by what is transferred.
This idea in itself makes up for the massive hurdle that is misunderstanding between two people, each hearing fundamentally the same things while producing two differing ideas. In summation, an idea is a scrutinized original built on the schematic of that which is perceived and is each independent of a person and their surroundings.

My name is Zhou Yuanten, but call me Eddie. I am a doctoral student at Xinjiang University –in the far, far west, but at Brunel to study this year. My English is good. I lived in Boston, Massachusetts for undergraduate years. I majored in piano at the New England C and then discovered I wanted to compose rather than play. So I go to MIT and soon I discover the English do it so differently, so I apply to Brunel. And at Brunel they then say of this place ‘you have to go.’ So here I am.

So surprising to be greeted in Chinese! And not just Nin Hao, we have a conversation! His accent is Northern Mandarin. He is writing a novel, he explains, about poets Zuo-Fen and Zuo-Si. We have 15 minutes conversation every day and I help him with his characters. Strange, to most of the class he is nobody, but to foreign students here we know him through his website and his software. I have even played his colours piece, The Goethe Triangle.

It is joy to be respected by a teacher and his sessions are like no other I’ve had here, and here I mean the UK. Oh, so laid-back, so lazy so many teachers. People lack energy here. They are dreamers and only think of themselves. He is full of energy and talks often about this Imogen of whom I never hear. Her father a great composer and she copied his music from when she was a girl – such beautiful calligraphy. Her father loved India and learned Sanskrit. He should have learned Mandarin; at least that is a living language. ‘Imo’, he says, ‘is my heroine, my mentor, the musician I most revere.’ He showed us her library and what was her studio in one of the old buildings here. He gives me this little book about her ten years in this place. A strange looking lady; there’s a photograph of her conducting Bach in the Great Hall. She looks like she is dancing.

This morning some are not here, but there are little notes on the desk with apologies perhaps. He leaves them untouched and we make chords again, and scales and arpeggios and Slonimsky’s famous melodic patterns. We write and write. He sings, we sing too. There is a horn and a cello with us today. They play and make jokes. They show us harmonics and tunings and bend our ears in new directions we do not expect. Those who complain about this course not being ‘advanced’ will eat their words; only I think some of those are not here.

As Chinese we hear sound in a different way I think. In our language tone is so important. To each word there are four tones that make meaning quite different. Chinese uses only about 400 syllables, compared to 4000 in English. So there are lots of syllables, like ****, that have multiple meanings. I tell him the story of the Lion-eating Poet, which he does not know!! I am writing this out for him, all 92 characters. Just one word **** but with four meanings – lion, ten, to make, to be. The Lion-Eating Poet in the Stone Den is the story of a poet (****) named **** who loves to eat lions (**** ****) goes to market (****) to buy ten (****) of them, takes them home to eat (****) and discovers they are made (****) of stone (****).

So I have no trouble hearing what others struggle to hear. We make pieces that are all about tone, and on a single note. Mark, the cellist, plays the opening of Lutoslawski’s Concerto – forty-two repetitions of a tenor ‘D’ a second apart. I had never heard this – a cadenza at the beginning of a concerto. Now we write a duo, on just one note. We write; they play. We are like many Mozarts trying to write only what we have already heard, making only one copy. I use the four tones and must teach the players the signs. I demonstrate and he says of the 1st tone – ‘Going to the Dentist, the 2nd – Climbing a ladder, the 3rd – ‘The Rollercoaster’, the 4th –‘Stepping on a pin’. We all do it!

And there are all these microtones. We listen to a moment of Ravel’s Bolero and pieces by Thomas Ades and Julian Anderson, then in detail (and with the score) to part of Duet for piano and orchestra by George Benjamin. This is spectral music. He is daring to introduce this – very difficult subject - this idea that a sound could be mimicked (? Is that the word – to impersonate?) by analysing it for the frequencies that make it up, and then getting instruments with similar acoustic properties to play the frequencies as pitches. So the need for microtones – goodbye equal temperament! Great in theory, difficult in practice.

This afternoon we are to study spectral composing using our computers. Until now we use our computers or smart phones to listen to extracts. He has this page of web links on his website for each session. Instead of listening through hi-fi we listen through our headphones. Better of course by far, no birds sounds or instruments playing next door. We can hear it again anytime. So there is software to download, Fourier analysis I suppose, he tries hard not to use any science or maths because there are some here who object, but they are fools. Even Bach knew of acoustics – designing the organs he played.

We finish this morning studying harmonic rhythm and this word tonality nobody seems quite able to describe. To him even the chromatic scale is tonality, and he shows in a duet for horn and cello how our ears take in tonality change. This is not about keys, but about groupings of pitches – anywhere – so a tonality can be spread across several octaves. So often, he says, composers are not aware of the tonalities they create, they don’t hear harmonic rhythm. They’re missing an opportunity! Sound can be coloured by awareness of what makes up a tonality. So understanding spectral music must help towards this. It is very liberating all this. If we take sound as a starting point rather than a system we can go anywhere.

Yesterday he asked me about a book he is reading. Did I know it? A Concise Chinese-English Dictionary for Lovers by Xiaolu Guo. Of course I know this very funny book. He said he liked to think of music in the same way the character of the Chinese girl Z thinks about love.

“Love,” this English word: like other English words it has a tense. “Loved”, or “will love”, or “have loved.” All these specific tenses mean Love is time-limited thing. Not infinite. It only exists in particular period of time. In Chinese, Love is ài in pinyin. It has no tense. No past and future. Love in Chinese means a being, a situation, a circumstance. Love is existence, holding past and future.

And so it is with music. Music is a being, a situation, a circumstance. It holds past and future. It is wondrous, just like love.