what else can one do when the whole world falls apart,you just start on something new.
It's a bit of knitting one's own view with breaks to take your breath away.
She,
knits me one view everyday and my world is quite complete.
She is a goddess this I know for 'round her feet the tributes grow,
I also think she knows it too for she has started something new
Each morning when I wake she stakes her claim,calling me by name,
I can't resist
I have to go
pay tribute where the tributes grow and
she knits me in her knowing smile,knits me wandering a while then knits me back,
she knits me something that I lack and lack no more,she knits me everything I need,she knits the seeds,the beads,then leads me to the tribute tree,
she knits everything for me.

There's an old lady in your neighborhood who sits.
She knits and knits and knits.
And knits herself into existence,
She knits her aching wrists.

Her circumstance of birth
Is not like yours and mine
And the alarm of this discrepancy
Is sealed in strands of time.

It's odd, she never had
A mother, or a dad
But she knits them as she knits herself
And knits her seven kids.

Oh, ain't it strange?
Oh ain't life absurd?
It all checks out and comes around
But we only shared a word.

There's a man in Andromeda's sea
He's not like you or me
Because being that far changes you
Into something you can't be

But our thoughts could make him dance
On a giant knot of chance
And maybe all that space is full
Of books and beams of trance.

A tangent needs a touch,
And what could matter more?
Some dreams fall to obscurity
Cause no one's keeping score.

Oh, ain't it so weird?
Oh, but normalized!
Abstraction crumbled instantly
When it was realized.

NOTE TO THE READER – Once Apun a Time

This yarn is a flossy fabric woven of several earlier warped works, lightly laced together, adorned with fur-ther braided tails of human frailty. The looms were loosed, purling frantically this febrile fable...

Some pearls may be found wanting – unwanted or unwonted – piled or hanging loose, dangling free within a fuzzy flight of fancy...

The threads of this untethered tissue may be fastened, or be forgotten, or else be stranded by the readers and left unravelling in the knotted corners of their minds...

'twill be perchance that some may  laugh or loll in loopy stitches, else be torn or ripped apart, while others might just simply say “ ’tis made of hole cloth”, “sew what” or “cant seam to get the needle point”...,

yes, a proper disentanglement may take you for a spin on twisted twines of any strings you feel might need attaching or detaching…

picking knits, some may think that
       such strange things ‘have Never happened in our Land’,
       such quaint things ‘could Never happen in our Land’’,
       such murky things ‘will Never happen in our Land’’…

and this may all be true, if credence be dis-carded…

such is that gooey gossamer which vails the human mind...

and thus was born the teasing title of this fabricated Fantasy...

                                NEVER LAND

An ancient man named Peter Pan, disguised but from the past,
with feathered cap and tunic wrap and sabre’s sailed his last.
Though fully grown, on dust he’s flown and perched upon a mast
atop the Walls around the sprawls, unvisited and vast -
and all the while with bitter smile he’s watching us aghast.

As day begins, a spindle spins, it weaves a wanton web;
like puckered prunes, like midday moons, like yesterday’s celebs,
we scrape and *****, we seldom hope - he watches while we ebb:

The ***** grinder preaches fine on Sunday afternoons -
he quotes from books but overlooks the Secrets Carved in Runes:
“You’ve tried and toyed, but can’t avoid or shun the pale monsoons,
it’s sink or swim as echoed dim in swinging door saloons”.
The laughingstocks are flinging rocks at ball-and-chained baboons.

While ghetto boys are looting toys preparing for their doom
and Mademoiselles are weaving shells on tapestries with looms,
Cathedral cats and rafter rats are peering in the room,
where ragged strangers stoop for change, for coppers in the gloom,
whose thoughts are more upon the doors of crypts in Christmas bloom,
and gold doubloons and silver spoons that tempt beyond the tomb.

Mid *** shots from vacant lots, that strike and ricochet
a painted girl with flaxen curl (named Wendy)’s on her way
to tantalise with half-clad thighs, to trick again today;
and indiscreet upon the street she gives her pride away
to any guy who’s passing by with time and cash to pay.
(In concert halls beyond the Walls, unjaded girls ballet,
with flowered thoughts of Camelot and dreams of cabarets.)

Though rip-off shops and crooked cops are paid not once but thrice,
the painted girl with flaxen curl is paring down her price
and loosely tempts cold hands unkempt to touch the merchandise.
A crazy guy cries “where am I”, a ****** titters twice,
and double quick a lunatic affects a fight with lice.

The alleyways within the maze are paved with rats and mice.
Evangelists with moneyed fists collect the sacrifice
from losers scorned and rubes reborn, and promise paradise,
while in the back they cook some crack, inhale, and roll the dice.

A *** called Boe has stubbed his toe, he’s stumbled in the gutter;
with broken neck, he looks a wreck, the sparrows all aflutter,
the passers-by, they close an eye, and turn their heads and mutter:
“Let’s pray for rains to wash the lanes, to clear away the clutter.”
A river slows neath mountain snows, and leaves begin to shudder.

The jungle teems, a siren screams, the air is filled with ****.
The Reverent Priest and nuns unleash the Holy Shibboleth.
And Righteous Jane who is insane, as well as Sister Beth,
while telling tales to no avail of everlasting death,
at least imbrue Hagg Avenue with whisky on their breath.

The Reverent Priest combats the Beast, they’re kneeling down to prey,
to fight the truth with fang and tooth, to toil for yesterday,
to etch their mark within the dark, to paint their résumé
on shrouds and sheets which then completes the devil’s dossier.

Old Dan, he’s drunk and in a funk, all mired in the mud.
A Monk begins to wash Dan’s sins, and asks “How are you, Bud?”
“I’m feeling pain and crying rain and flailing in the flood
and no god’s there inclined to care I’m always coughing blood.”
The Monk, he turns, Dan’s words he spurns and lets the bible thud.

Well, Banjo Boy, he will annoy with jangled rhymes that fray:
“The clanging bells of carousels lead blind men’s minds astray
to rings of gold they’ll never hold in fingers made of clay.
But crest and crown will crumble down, when withered roots decay.”

A pregnant lass with eyes of glass has never learned to cope.
Once set adrift her fall was swift, she slid a slipp’ry ***** -
she casts the Curse, the Holy Verse, and shoots a shot of dope,
then stalks discreet Asylum Street her daily horoscope -
the stray was struck by random truck which was her only hope.

So Banjo Boy, with little joy, he strums her life entire:
“The wayward waif was never safe; her stars were dark and dire.
Born midst the rues and avenues where lack and want aspire
where no one heeds the childish needs that little ones require;
where faith survives in tempest lives, a swirl within the briar,
Infinity grinds as time unwinds, until the winds expire.
Her last caprice? The final peace that no one could deny her -
whipped by the flood, stray beads of blood cling, splattered on the spire;
though beads of sweat are cool and wet, cold clotted blood is dryer.”

Though broken there, she’s fled the snare with dying thoughts serene.
And now she’s dead, the rumours spread: her age? a sweet 16,
with child, *****, her soul dyed red, her body so unclean.
A place is sought where she can rot, avoiding churchyard scenes,
in limey pits, as well befits, behind forbidding screens;
and all the while a dirge is styled on tattered tambourines
which echo through the human zoo in valleys of the Queens.

Without rejoice, in hissing voice, near soil that’s seldom trod
“In pious role, God bless my soul”, was mouthed with mitred nod,
neath scarlet trim with black, and grim, behind a robed facade -
“She’ll burn in hell and sulphur smell”, spat Priest and man of god.

Well, angels sweet with cloven feet, they sing in girl’s attire,
but Banjo Boy, he’s playing coy while chanting in the choir:
“The clueless search within the church to find what they desire,
but near the nave or gravelled grave, there is no Rectifier.”
And when he’s through, without ado, he stacks some stones nearby her.

The eyes behind the head inclined reflect a universe
of shanty towns and kings in crowns and parties in a hearse,
of heaping mounds of coffee grounds and pennies in a purse,
of heart attacks in shoddy shacks, of motion in reverse,
of reasons why pale kids must die, quite trite and curtly terse,
of puppet people at the steeple, kneeling down averse,
of ****** tones and megaphones with empty words and worse,
of life’s begin’ in utter sin and other things perverse,
of lewd taboos and residues contained within the Curse,
while poets blind, in gallows’ rind, carve epitaphs in verse.

A sodden dreg with wooden leg is dancing for a dime
to sacred psalms and other balms, all ticking with the time.
He’s 22, he’s almost through, he’s melted in his prime,
his bane is firm, the canker worm dissolves his brain to slime.
With slanted scales and twisted jails, his life’s his only crime.

A beggar clump beside a dump has pencil box in hand.
With sightless eyes upon the skies he’s lying there unmanned,
with no relief and bitter grief too dark to understand.
The backyard blight is hid from sight, it’s covered up and bland,
and Robin Hood and Brother Hood lie buried in the sand.

While all night queens carve figurines in gelatine and jade,
behind a door and on the floor a deal is finally made;
the painted girl with flaxen curl has plied again her trade
and now the care within her stare has turned a darker shade.
Her lack of guile and parting smile are cutting like a blade.

Some boys with cheek play hide and seek within a house condemned,
their faces gaunt reflecting want that’s hard to comprehend.
With no excuse an old recluse is waiting to descend.
His eyes despair behind the stare, he’s never had a friend
to talk about his hidden doubt of how the world will end -
to die alone on empty throne and other Fates impend.

And soon the boys chase phantom joys and, presto when they’re gone,
the old recluse, with nimble noose and ****** features drawn,
no longer waits upon the Fates but yawns his final yawn
- like Tinker Bell, he spins a spell, in fairy dust chiffon -
with twisted brow, he’s tranquil now, he’s floating like a swan
and as he fades from life’s charades, the night awaits the dawn.

A boomerang with ebon fang is soaring through the air
to pierce and breach the heart of each and then is called despair.
And as it grows it will oppose and fester everywhere.
And yet the crop that’s at the top will still be unaware.

A lad is stopped by roving cops, who shoot in disregard.
His face is black, he’s on his back, a breeze is breathing hard,
he bleeds and dies, his mama cries, the screaming sky is scarred,
the sheriff and his squad at hand are laughing in the yard.

Now Railroad Bob’s done lost his job, he’s got no place for working,
His wife, she cries with desperate eyes, their baby’s head’s a’ jerking.
The union man don’t give a ****, Big Brother lies a’ lurking,
the boss’ in cabs are picking scabs, they count their money, smirking.

Bob walks the streets and begs for eats or little jobs for trying
“the answer’s no, you ought to know, no use for you applying,
and don’t be sad, it aint that bad, it’s soon your time for dying.”
The air is thick, his baby’s sick, the cries are multiplying.

Bob’s wife’s in town, she’s broken down, she’s ranting with a fury,
their baby coughs, the doctor scoffs, the snow flies all a’ flurry.
Hard work’s the sin that’s done them in, they skirmish, scrimp and scurry,
and midnight dreams abound with screams. Bob knows he needs to hurry.
It’s getting late, Bob’s tempting fate, his choices cruel and blurry;
he chooses gas, they breathe their last, there’s no more cause to worry.

Per protocols near ivied walls arrayed in sage festoons,
the Countess quips, while giving tips, to crimson caped buffoons:
“To rise from mass to upper class, like twirly bird tycoons,
you stretch the treat you always eat, with tiny tablespoons”

A learned leach begins to teach (with songs upon a liar):
“Within the thrall of Satan’s call to yield to dim desire
lie wicked lies that tantalize the flesh and blood Vampire;
abiding souls with self-control in everyday Hellfire
will rest assured, when once interred, in afterlife’s Empire”.
These words reweave the make believe, while slugs in salt expire,
baptised in tears and rampant fears, all mirrored in the mire.

It’s getting hot on private yachts, though far from desert plains -
“Well, come to think, we’ll have a drink”, Sir Captain Hook ordains.
Beyond the blame and pit of shame, outside the Walled domains,
they pet their pups and raise their cups, take sips of pale champagnes
to touch the tips of languid lips with pearls of purple rains.

Well, Gypsy Guy would rather die than hunker down in chains,
be ridden south with bit in mouth, or heed the hold of reins.
The ruling lot are in a spot, the boss man he complains:
“The gypsies’ soul, I can’t control, my patience wears and wanes;
they will not cede to common greed, which conquers far domains
and furtive spies and news that lies have barely baked their brains.
But in the court of last resort the final fix remains:
in boxcar bins with violins we’ll freight them out in trains
and in the bogs, they’ll die like dogs, and everybody gains
(should one ask why, a quick reply: ‘It’s that which God ordains!’)”

Arrayed in shawls with crystal *****, and gazing at the moons,
wiled women tease with melodies and spooky loony tunes
while making toasts to holey ghosts on rainy day lagoons:
“Well, here’s to you and others too, embedded in the dunes,
avoid the stares, avoid the snares, avoid the veiled typhoons
and fend your way as every day, ’gainst heavy heeled dragoons.”

The birds of pray are on their way, in every beak the Word
(of ptomaine tomes by gnarly gnomes) whose meaning is obscured;
they roost aloof on every roof, obscene but always herd,
to tell the tale of Jonah’s whale and other rhymes absurd
with shifty eyes, they’re giving whys for living life deferred.

While jackals lean, hyenas mean, and hungry crocodiles
feast in the lounge and never scrounge, lambs languish in the aisle.
The naive dare to say “Unfair, let’s try to reconcile.
We’ll all relax and weigh the facts, let justice spin the dial.”

With jaundiced monks and minds pre-shrunk, the jury is compiled.
The Rulers meet, First Ladies greet, the Kings appear in style.
Before the Court, their sins are short, they’re swept into a pile;
with diatribes and petty bribes, the jurors are beguiled.

The Herd entreats, the Shepherd bleats the verdict of the trial:
“You have no face. Stay in your place, stay in the Rank and File.
And wait instead, for when you’re dead, for riches after while”;
Aristocrats add caveats while sailing down the Nile:
“If Minds are mugged or simply drugged with philtres in a vial,
then few indeed will fail to feed the Pharaoh’s Crocodile.”
The wordsmiths spin, the bankers grin and politicians smile,
the riff and raff, they never laugh, they mark a martyred mile.

The rituals are finished, all, here comes the Reverent Priest.
He leads the crowds beneath the clouds, and there the flock is fleeced
(“the last are first, the rich are cursed” - the leached remain the least)
with crossing signs and ****** wines and consecrated yeast.
His step is gay without dismay before his evening feast;
he thanks the Lord for room and, bored, he nods to Eden East
but doesn’t sigh or wonder why the sins have not decreased.

The sinking sun’s at last undone, the sky glows faintly red.
A spider black hides in a crack and spins a silken thread
and babes will soon collapse and swoon, on curbs they call a bed;
with vacant eyes they'll fantasize and dream of gingerbread,
and so be freed, though still in need, from anguish of the dead.

Fat midnight bats feast, gnawing gnats, and flit away serene
while on the trails in distant dales the lonesome wolverine
sate appetites on foggy nights and days like crystalline.
A migrant feeds on gnats and weeds with fingers far from clean
and thereby’s blessed with barren breast (the easier to wean) -
her baby ***** an arid flux and fades away unseen.

The circus gongs excite the throngs in nighttime Never Land –
they swarm to see the destiny of Freaks at their command,
while Acrobats step pitapat across the shifting sands
and Lady Fat adores her cat and oozes charm unplanned.
The Dwarfs in suits, so small and cute when marching with the band,
ask crimson Clowns with painted frowns, to lend a mutant hand,
while Tamers’ whips with withered tips, throughout the winter land,
lure minds entranced through hoops enhanced with flames of fires fanned.
White Elephants in big-top tents sell black tusk contraband
to Sycophants in regiments who overflow the stands,
but No One sees anomalies, and No One understands.
At night’s demise, the dither dies, the lonely Crowd disbands,
down dead-end streets the Horde retreats, their threadbare rags in strands,
and Janes and Joes reweave their woes, for thoughts of change are banned.

The Monk of Mock has fled the flock caught knocking up a tween.
(She brought to light the special rite he sought to leave unseen.)
With profaned eyes they agonise, their souls no more serene
and at the shrine the flutes of wine are filled with kerosene
by men unkempt who once had dreamt but now can dream no more
except when bellowed bellies belch an ever growing roar,
which churns the seas and whips a breeze that mercy can’t ignore,
and in the night, though filled with fright, they try to end the War.

The slow and quick are hurling bricks and fight with clubs of rage
to break the chains and cleanse the stains of life within a cage,
but yield to stings of armoured things that crush in every age.

At crack of dawn, a broken pawn, in pools of blood and fire,
attends the wounds, in blood festooned (the waves flow nigh and nigher),
while ghetto towns are burning down (the flames grow high and higher);
and in their wake, a golden snake is rising from the pyre.
Her knees are bare, consumed in prayer, applauded by the Friar,
and soon it’s clear the end is near - while magpie birds conspire,
the lowly worm is made to squirm while dangling from a wire.

The line was crossed, the battle lost, the losers can’t deny,
the residues are far and few, though smoke pervades the sky.
The cool wind’s cruel, a cutting tool, the vanquished ask it “Why?”,
and bittersweet, from  Easy Street, the Pashas’ puffed reply:
“The rules are set, so don’t forget, the rabble will comply;
the grapes of wrath may make you laugh, the day you are to die.”

The down and out, they knock about beneath the barren skies
where homeward bound, without a sound, a ravaged raven flies.
Beyond the Walls, the morning calls the newborn sun to rise,
and Peter Pan, a broken man, inclines his head and cries...

It was always going to be black and white
that's the typeface on my preference of late
defining day and night with your choice of tights
those fine dividing lines on your partnered limbs
wrapped tall in belts daring as a Lara Croft climb
a silky striped raggedy ann gone neat sensuous
tight strapped to a two striking sinuous princess
committed to lodge sins inside my Loveland challenge
hemmed in round towers together to never-never unhinge

at home we horse around and rub along together
boosted by the interplay between cotton twill gathered
pulled low one side then canter balance riding high
as you level up to a line up of outbound thigh
saddled with a lovely leg stirrup over here
and a lean waist wobble to match up there
eyebrow lifts to starch arrowroot attention
over the swings and sway of every action
so swift I play catch-up each morning
delayed by fumbling for ones gone matching
it's a wonder you don't just wander away
in a daze from my one legged hopping display

then I would travel far as a bee
long-legged as stilts could be
to sing to your nails and feet
and be spun free flaunting
our google
a red white and blue
pair of giggles unfurled like flags
in your slim line dancers' legs
dangling ideas like fair weather socks
to goggle one direction behind your back
unique like nobody else contains within
thin licked then rolled back ciggie skins
so I pinch holes in the bacci parts
sinking into slats like leaky wooden boats
your avoiding tiptoes gadfly and curl in return
my feet undoing knits with swats and swirls
toeing tinkling notes like piano keys
undertones pink tinged with tingling knees
and when a jukebox plays
my coins are there always
for I've got your pop socks in motion
your vox populi's united under my skin
with impressive pulled tight bands
embedding imprint elastic rings
inky red slinking down
leaving parallel links


ignore my pins and needles
alone in dead of night
longing for your leggings
luminous stripe tights
today it's all me put on the spot
today it's music you might hate
biographies of people you don't like
subtitled movies too deep to bother
blue jeans dull dyed against your garter belt
a one man team can't DIY a drill majorette
spiralling shafts that come to a threaded point
enthralling with alternating knee bend bit pants
so pretty poly soft I'm pulled up like a fool
fully mixed up by your weaving cotton wool
wave me down in your way of sweet patter feet
a patterned cakewalk for you to catwalk sock it
to me in a stand in posey kind of way
this way to stand outs knitted to fancy
uncross your legs and cross-stitch
my path with gaited kisses
closely

i can't help what i am...
but what i am not is a spoken word
poet: with that generic exasperation
technique of speaking -
as if, on the verge of crying...

but what i can tell you...
i am a rigid person,
there are 3/4 of me that should
have enlisted in the army,
and only a 1/4 that went to
university...

so... given that i'm such a rigid ******...
i thought i'd tell you about
linear and vertical rhyming...
linear?
oh, that's neat & easy:

.................................... end
.................................... bend
..................................... send
..................................... wend....

basically suffix rhyming...
but! but... what Sylvia Plath
introduced?
   oh, my, god...
      transcendent of
the conceptualization of
"the" box...

her rhyme? alphabetical...
sort of...

        it's more than that...
she didn't pay due diligence on
suffix rhyming -end,
   -ing
    you name it...

you want to know what her rhyme
concept implies?

   **** me, it's sassy...

she was a rhyming weaver...
an interloper...
    words didn't have to necessarily
end in the same boundary
of an echo... echo rhyming
by the standard bearers is one thing...
she made tartan rhymes...

tartan rhyming...
kilt rhyming...

                  and it looked something
equivalent to, this:

  ceremony or Potent -
Still sky, obtuSe -
   one might Say love -
  Suddenly,
        black featherS,
black reSpit -
Season of fatigue,
SpaSmodic,
  deScend...
   Stolidly...
       no effigy... Seem...
pompouS...
                         coarSe copy...
      Bell tongue BirdS...
    Shrined on her SHelf...
too Tough to Finish...
  Seize my Senses...
ToTal neuTrality...
   deScent...
                Sanguine...
  bRick dusk...
Prose...
              plaCe...
            pompouS...
Ne­at kNits...
    weedS obScured...
SHe blenched,
miMic...
   deSpite...
baniSH...
    ******...
too tough for knife to finiSH...

      Head...
so profoundly muCH...
       piN legs...
               thoughtS...
So departS...
       S(h)eets...
Sanity...
      Tongue...
Printed Page...
  Twelve...
Sick man's Eye...
nEVER nEVER found
anyWHERE...

goodbye goodbye...
      eXclamation...
the First point...
            GHost...
   Signify...
cuckoo-land of color fields,
CRisp CUsp...
    
        the girl's dancing!
she's dancing barefoot...
no, i can't fall in love with her...
she's, dead!

    but can you see
rhyming vertically?
   all the lettering,
in capital letters?
  deviancy...
   it doesn't agree to your
box standard form of
rhyme, linearly...
  it's vertical rhyming,
it's juxtapositions on a scale
that might elongate
the winding tongue of a snake
in, anything but maracas
rattling...
sssssssssssssssssssssss.....
a wet snare...
   she's teasing...
she has escaped
the tradition of
the traditional guise of rhyme...
she has invoked
rhyme, but as an intermediating
attachment...
          forget the rigid
end-
                   -ing
with a "worthy"
   sympathiz-
                                        -ing...

what a gall...
she makes the housewives of America's
1950s twice as vampire-like,
and thrice as Stepford material...
   lucky blond to leave so much
"crap" behind...
   i could pick the maggots
from her head and make it
a day's worth of fishing
on the banks of Vistula...

she's dancing in the rain,
and all i have is my Cameo cinema
moment
with my cousin, Justine,
running barefoot where
i grew up on the cement...
and then cuddling together,
getting warmer
over one worth of an afternoon...

last time i heard...
her son Leo was born on
the 15th of May,
my birthday...
  but we've fallen out...
when her husband
put a **** under my father's
self-employment
enterprise...
   and undertook
a practice of stealing workers
from him...
great move... when you join
a family...

        nice memory though...
wish my cousin Justin all the luck
she can muster...
but when it comes to family
friendliness?
none....
                 went to her brother's
wedding... was interrogated by
her brother's best man...

   Polish drunk talk...
let's just say...
his date?
   was flashing her underwear
at me from under her magic carpet
ride of a skirt while we
smoke cigarettes and finished
off drinks, being accused of...
trying... to seriously...
hide her... exhibitionism...

   so i started punching myself
in the face to find target practice
should i ever come across
any more Polacks, drunk,
at a family wedding...
   you never know...

           hell... if ******* wanna tango...
we'll... ******* tango! ha ha.
now all i need is the raw
material... my knuckles
are either furry...
or they're itchy...
  can't exactly knock-out
my neighbors dog...
   i need a ******* mug of
a mouthwash advert...
with a grin that's, seriously
asking for a few missing teeth
to rekindle a smile!

Paris has traditionally been the city where inter­national designers – from Australia and England to Beirut and Japan – opt to unveil their collections. However, Karen Ruimy, who is behind the Kalmar label, chose the runways of Milan Fashion Week for her debut showcase in September.

The Morocco-born, London- based designer hosted an intimate al fresco event in a private palazzo to launch her holiday line of fine cotton and silk jumpsuits, breezy kaftans, long skirts, playsuits and off-the-shoulder tops in tropical prints.

Ruimy had a career in finance before moving into the arts – she owns a museum of photography in Marrakech – and has become increasingly involved in fashion and beauty, thanks to her personal interest in holistic therapies.

These are clothes, she explains, that marry luxury and wellness, and are the things she would wear when she wants quality time by herself. The fact that they are made in Italy, convinced her that Milan was the right place for her debut – where she showed alongside the likes of Gucci, Prada, Verscae and Marni.

On fashion calendars, Milan has conventionally been the place where the runways confirm the trends and themes hinted at ­earlier, in New York and London. However, this season, the Italian designers did not speak with one voice, making Milan Fashion Week all the more refreshing for it.

Often, there might be an era or style of design that dominates the runways during a particular season, but for spring/summer 2017 in Milan, there was a standout showing of techno sportswear and techno fabrics employed in updated classics such as coats and box-pleat skirts, or with references to north African and Native American themes.

The Italian designers sent looks that would appeal to everyone, from the haute bohemian and athletic woman, to the cool sophisticate and the art crowd, as well as – as in the case of Moschino – to the iPhone generation.

Only three seasons ago, Gucci’s creative director Alessandro Michele was lauded for his complicated maximalist styling. Yet in Milan, Gucci channelled a dreamlike vibe with Victoriana, denim, athletic apparel and oversized accessories, thrown together in delightful chaos, making it difficult to predict the direction Michele is taking Gucci in.

Currently he seems to be in a holding pattern, hovering at once over 1940s Hollywood glamour, 1970s flared pantsuits, and ruffled party dresses from the 1980s, in a cacophony of ­colours and fabrics.

The feeling of joyous madness continued at Dolce & Gabbana, where street dancers emerged from the audience to start the party in the designers’ tropical-themed show. The clothes used some of their familiar tropes, such as military jackets, corseted black-lace dresses miniskirts. New, however, were the baggy tapering trousers redolent of jodhpurs, and the lavish and detailed embellishment the designers used to sell their story.

Wanderlust dominated the moodboards at Roberto Cavalli – rich patterns, embroidery and patchworks inspired by Native Americans – and Etro with its ­tribal themes on kaftans, duster coats and Berber-style capes.

Giorgio Armani, Agnona Tod’s, Bottega Veneta and Salvatore Ferragamo – with its stylish twisted leather dresses and crisp athletic sportswear designed by newcomer Fulvio Rigoni – all answered the call of women who want stylish but undemanding clothes.

Marni would appeal to the art world for its graceful, pioneering ideas. The label’s finely pleated dresses displayed a life of their own, and its micro-printed dresses were gathered, folded and distorted to walk the line between stylish and quirky.

In contrast, the sportswear at MaxMara and Donatella Versace targeted the dynamic generation of athletic women, with sleek leggings, belted jackets, power suits and anoraks. Versace has made it clear that she thinks this is the only way forward. She may be right, but there’s always room for the myriad styles displayed at Milan Fashion Week in all our wardrobes.

It was feathers with everything at Prada. Silk pyjamas, boldly coloured and mixed checks, cardigans and wrap skirts with Velcro fasteners show Miuccia Prada reinventing the classics. Most glamorous was the series of evening dresses and pyjamas with jewelled embroidery and feathers, worn with kitten heels that married sporty straps with heaps of crystals. Prada’s must-have bag of the season is a bold clutch with a long strap fastener, that comes in a multitude of geometric and daisy patterns.

Versace

Over the past three seasons, Donatella Versace has been carving out a new image for her brand – a shift from the luxe glam of red carpets and superyachts, although the inhabitants of that world will be sure to buy into the new Versace vibe. Donatella’s girls are both glamorous and empowered. The sporty look is tough, urban and energetic, judging by the billowing ultra-thin high-tech nylon parkas and blousons, stirrup trousers and dresses (the shapes of which are manipulated by drawstrings). Dresses, skirts and tops are spliced at angles and studded together. Swishy pleated dresses and silky slit skirts gave energy when in movement, and were as soft as the look got.

Bottega Veneta

Model Gigi Hadid and veteran actress Lauren Hutton walked arm in arm down the Bottega Veneta runway, illustrating the breadth of the Italian maison in Tomas Maier’s hands. This was a double celebration of the Bottega’s 50th ­anniversary and Maier’s 15th as its creative director. Menswear and womenswear were combined, and the focus was on easy, elegant clothes in luxurious materials, such as ostrich, crocodile and lamb skin for coats; easy knits and cotton dresses worn with antique-style silver jewellery; and wedge heels. Fifteen handbag styles debuted along with 15 from the archive.

Fendi

Silvia Venturini’s new Kan handbag was a star turn at Milan. The stud-lock bag dotted with candy-coloured studs, rosette embroidery and floral ribbons couldn’t help but charm every woman in the audience. It was the perfect joyful accessory for Karl Lagerfeld’s feminine vintage romp through the wardrobe of Marie Antoinette, with sugary colours, bows, big apron skirts and crisp white embroidery juxtaposed with sporty footballer-stripe tops – effectively updating a historical look.Read more at:http://www.marieaustralia.com/formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

The universe embraces
As the world spits you out
The earth it braces
As society knits you out

“Please bleed for me,”
We know you have a disease”
Shouts the eyes of twelve cobras
Leaning in their courtroom seats

Volcanic
Androgynous
Raunchy
Delicate
Torment
Ecstasy
Free

I would not always reason. The straight path
Wearies us with its never-varying lines,
And we grow melancholy. I would make
Reason my guide, but she should sometimes sit
Patiently by the way-side, while I traced
The mazes of the pleasant wilderness
Around me. She should be my counsellor,
But not my tyrant. For the spirit needs
Impulses from a deeper source than hers,
And there are motions, in the mind of man,
That she must look upon with awe. I bow
Reverently to her dictates, but not less
Hold to the fair illusions of old time--
Illusions that shed brightness over life,
And glory over nature. Look, even now,
Where two bright planets in the twilight meet,
Upon the saffron heaven,--the imperial star
Of Jove, and she that from her radiant urn
Pours forth the light of love. Let me believe,
Awhile, that they are met for ends of good,
Amid the evening glory, to confer
Of men and their affairs, and to shed down
Kind influence. Lo! they brighten as we gaze,
And shake out softer fires! The great earth feels
The gladness and the quiet of the time.
Meekly the mighty river, that infolds
This mighty city, smooths his front, and far
Glitters and burns even to the rocky base
Of the dark heights that bound him to the west;
And a deep murmur, from the many streets,
Rises like a thanksgiving. Put we hence
Dark and sad thoughts awhile--there's time for them
Hereafter--on the morrow we will meet,
With melancholy looks, to tell our griefs,
And make each other wretched; this calm hour,
This balmy, blessed evening, we will give
To cheerful hopes and dreams of happy days,
Born of the meeting of those glorious stars.

  Enough of drought has parched the year, and scared
The land with dread of famine. Autumn, yet,
Shall make men glad with unexpected fruits.
The dog-star shall shine harmless: genial days
Shall softly glide away into the keen
And wholesome cold of winter; he that fears
The pestilence, shall gaze on those pure beams,
And breathe, with confidence, the quiet air.

  Emblems of power and beauty! well may they
Shine brightest on our borders, and withdraw
Towards the great Pacific, marking out
The path of empire. Thus, in our own land,
Ere long, the better Genius of our race,
Having encompassed earth, and tamed its tribes,
Shall sit him down beneath the farthest west,
By the shore of that calm ocean, and look back
On realms made happy.

                        Light the nuptial torch,
And say the glad, yet solemn rite, that knits
The youth and maiden. Happy days to them
That wed this evening!--a long life of love,
And blooming sons and daughters! Happy they
Born at this hour,--for they shall see an age
Whiter and holier than the past, and go
Late to their graves. Men shall wear softer hearts,
And shudder at the butcheries of war,
As now at other murders.

                          Hapless Greece!
Enough of blood has wet thy rocks, and stained
Thy rivers; deep enough thy chains have worn
Their links into thy flesh; the sacrifice
Of thy pure maidens, and thy innocent babes,
And reverend priests, has expiated all
Thy crimes of old. In yonder mingling lights
There is an omen of good days for thee.
Thou shalt arise from midst the dust and sit
Again among the nations. Thine own arm
Shall yet redeem thee. Not in wars like thine
The world takes part. Be it a strife of kings,--
Despot with despot battling for a throne,--
And Europe shall be stirred throughout her realms,
Nations shall put on harness, and shall fall
Upon each other, and in all their bounds
The wailing of the childless shall not cease.
Thine is a war for liberty, and thou
Must fight it single-handed. The old world
Looks coldly on the murderers of thy race,
And leaves thee to the struggle; and the new,--
I fear me thou couldst tell a shameful tale
Of fraud and lust of gain;--thy treasury drained,
And Missolonghi fallen. Yet thy wrongs
Shall put new strength into thy heart and hand,
And God and thy good sword shall yet work out,
For thee, a terrible deliverance.

Pity would be no more,
If we did not make somebody Poor;
And Mercy no more could be.
If all were as happy as we;

And mutual fear brings peace;
Till the selfish loves increase.
Then Cruelty knits a snare,
And spreads his baits with care.

He sits down with holy fears.
And waters the ground with tears:
Then Humility takes its root
Underneath his foot.

Soon spreads the dismal shade
Of Mystery over his head;
And the Caterpillar and Fly
Feed on the Mystery.

And it bears the fruit of Deceit.
Ruddy and sweet to eat:
And the Raven his nest has made
In its thickest shade.

The Gods of the earth and sea,
Sought thro’ Nature to find this Tree
But their search was all in vain:
There grows one in the Human Brain

Poor stone. You’ve wrapped it, hidden its serene and uncomplicated self. I can no longer feel its smoothness, its emptiness embodied in touch. You have brought it in from the beautiful silence of its solitary state and covered it around: a net, a bag, a coverlet, a coating of thread through which we can only see something of itself.

There is a consistency here: in this doing, a reflective doing as much as conscious making. You’ve moved from the mending of damaged acorns, splintered leaves, forlorn detritus gathered off the sea strand to making tiny homes, shelters, enclosures, that sometimes have no perceivable openings; so some stones are wholly netted, completely wound and threaded around so there is no escape. But some, it needs to be said, are like the lasts of the cobbler, there to provide a form to hold the stone shoe firm, in place, and around which the woven thread in your hand can ply and knit . . . and then it is sometimes cast away, this last of stone, having only provided a stone shape; so only its shape-memory persists for the viewer. And when touched - this garment, this cloak of thread is pliable, and moves with the fingers’ touch and press.

I should like to capture this stone in the process of its enclosing; what seems to be from a viewer’s stance a not wholly planned journey with the needle - around and about, in and out and under. So I imagine a stop-motion sequence of photographs, beginning with the lonely undressed stone in your hand. As time lapses we watch the intricate play of your hand, your deft fingers, that particular pinching and holding to place the thread here and here and here, the pulling through, the special holding in place while one thread knits together with another thread by going underneath and up and along, and all the time the hand turning, the fingers dancing in the hand.

Then will come moments of rest where the stone moves from the hand to a still surface. It regains its shadow - and rests. The hand moves away and we are left with the silent stone, the journey of its dressing interrupted by life’s necessities. The maker’s hand moves to other tasks; the preparation of food, the writing of notes, the tapping of virtual symbols on the mobile phone (now there’s a surface that shares with the stone a hardness and smoothness – once we held stones for comfort in the pocket – now we stroke the mobile to remind us that we’re safe in the dark street, not ever alone, connected to our thousands of followers, admirers, friends, our loved ones, and that repository of what is and where to go, and the whole world of music and photographs - of woven stones).

Let’s go back to this stop-motion. To lift the stone from its precious private place, usually alone (no other stones around), index finger and thumb come together to lift our stone from its shadow – a shadow that disappears, magically, into the surrounding light. Oh surely no more, the stone cries in its shadowless voice. No more of this twisting turning, upside downing, the sense of the stone recalling a time beyond time when in a storm-laden sea one dark winter’s night it, and countless companions, were lifted from the sea bed and rolled round, around, round, and swept, afloat in a turmoil of waves that break and break and break until finally onto the sloping beach - where the stone is left – alone, motionless – at rest - to dry in the morning sun.

Gradually the movement in her fingers becomes slower, even sporadic. She is looking at this stone with her grey-blue eyes, intently. There are pauses; moments of reflection where our stone is set down and viewed, picked up again and moved into a different light (its shadow returns momentarily, fitfully, knowing perhaps any stasis is only temporary). The camera keeps clicking; stop, a 300th of second motion, stop for a second. Already there are thousands of images collected in the camera’s silicon memory chip.

And so movement gradually becomes stillness. The light changes. The camera’s incessant stop-motion ceases. The stone is placed on a white surface for a final photo-call – a single click. Once naked; now clothed. There is no longer the possibility of return to its original stoniness. It becomes an ‘object’ to place on a surface for wonder and admiration – not the stone of course but its clothing, its covering, its embodied shape in thread, perhaps that thread soaked in mud that in itself holds a distance memory of water, even water that has moved from sea to the coastal strip, the estuary, the river’s bank.

Later, after being wrapped in tissue paper, perhaps boxed, and moved into a total darkness, the stone is brought again into the light. It finds itself placed among other stones, stones and shells, rusty objects even, and laid out variously on a pristine white surface. Its stoniness is now shadowed with words: a description, a title, its ‘found’ location, a date of finding – a date of making. That this stone, once beached, and picked from the sand, from amongst so many other stones, and thought unique and carrying potential as a last, a shoe-maker’s frame, a steady 3-dimensional surface for wrapping, now becomes something more that a solitary stone. It has been given a new life, a life of an object imbued with the thread of a maker’s curious mind; that in so threading has come to know this stone so intimately, and with so much love and care that its clothing, whilst having no pre-formed pattern, becomes something in its maker’s eyes that seems  - meaningful, poetic, ‘right’?

Through this stone-weaving with thread, this stone-covering and describing in thread, you have made a poem of the nature of stoniness. Your fingers now know this stone, and perhaps, if we can in our imagination follow that partly accidental / partly planned journey, we can read your poem – of touch, of turning, of minute viewing, of so careful observation of every millimetre of its surface. Yes, perhaps that’s it, what this is all about . . . only our stone has had its wonderful serenity and solitariness, its smoothness and surface taken from us. It will no longer lie in the pocket to comfort the hand. It will no longer lie on the desk to be a tangible remembrance of a place and time, treasured.

                                                       ------

‘And now I remember a poem, portraying a stone, a pebble placed in a child’s hand, picked up on a pebble ridge. A pebble to place in the pocket where we finger it until it becomes warm. Its shape and certain¬ty is firm and sure. It consoles us. And, as we change and decay, it remains lodged with us: *a thing that contains nothing save the mystery of life.’

I call it poison, but perhaps you won't. These cold pressed apples, pineapples, and spearmint only paste more modge podge over my face as I schlack it on...gritting my teeth I light yet another cigarette, now that's 2 packs of Marlboro Red Labels now onto American Spirits Light Blue. Cancer isn't coming fast enough. I wish I would at least be ******* out my innards by now, I haven't even vomited, maybe I'll take that toothbrush I bought for you to use when you would stay the weekend, that I haven't gotten around to whitening the sink with. Maybe I can do that Sunday. FUUUUCCK!!!! I am not praying I make till then. I don't know if I can even breathe another hour like this. I haven't drawn a sober breath in years- I'm on the wagon, but I was just transferred from a wheel into the **** bag for a horse. Being ****- at least it's something I am used to (a sigh of temporary relief washes over me. Or is it finally the Nicotine buzz I've been hoping for since I escaped to the forest with an airplane bottle of Southern Comfort[Brainstem: South to the **-femalien crease that's been comforting all these years, where are you now?] , and a pack of my Uncle's cigarettes to find out the first time how to make the pain she's gave me go away.

Men drink essentially because they can no longer illicit their needs.

You who I wasn't even attracted to at first, where together we barely called [Brainstem: this is where I construct a motive for using a chainsaw to pick my nose with] . You who I can now remember the way a mixture of your hair, body spray, sweet sweat, and vintage knits began leading my nose and my memory towards one of the greatest happinesses and darkest times I have EVER had.

[Brainstem: I just hate him. The kind of hate you have for a mosquito, a person who encourages you to speed up while they're walking without reflectors or night-lights in the middle of the road at night with their dog- that kind of hate. The hate that has me smoking my cigarettes to their orange and gold filters, that has me staying awake, unable to touch my own **** because it's already started staying at someone else's place and looks like two Californian Prunes and a shriveled overcooked mini-hotdog does. The kind of hate that has me burping up what smells like rotten eggs or bial.

....Out of nowhere without anything but the image of a virginate 21 year old casing around my aorta, lying in my bed in just a pair of her Fuschia & White Victoria Secret striped 100% cotton ******* that ever so slightly crease inward into the creases where her skinny young legs meet the ever-so-bite-worthy crease....After our first official date where we knew we weren't going to **** each other but rather she was focused on her breathing hoping I wouldn't be able to notice how excited she was [Crime: #4] then step away and find an imaginary monster that challenges every thought I have, conversations and incidents and challenges and givers and receivers and lines and dots, darts, knives, life, and *** and blood faintly stained onto the bottom of the that 1 1/2" piece of fabric which is the biggest obstacle between us.

While I write, recall, remember and dictate and draft up this piece, I realize that I am not the lawyer visiting the killer in prison OR even the killer cruising around in a slightly rusted robin's egg blue Volkswagen Anti-Climaxer, I am not even part of the story anymore, after you decided it was acceptable to be so graphically forward with me (I take another Xanax that's beginning to be two an hour that I avoid taking) Interspliced are scenes from Dexter, versions of serial killer life, visions of this fake superstar with his **** out flailing around spurting a little streaky one shot of *** onto your tongue and in your mouth, or maybe you were plastered with it.

I just know it's good I don't have a gun, I could go for a bullet sandwich 9 times over about now. I never touched, discussed, abused, misused, lead on, flirted with; I never did anything unattractive with the exception of being a heavy smoker and a low-earner right now, but I see women even younger than you make better choices than you. In fact right now I believe you will not even breathe on me. But it's no matter I have the reconstructed skeleton of his severed body parts I let soak in hydrofluoro until I could pick away what little gum-like pieces of pink sinew are still left. (Dexter: The Sarge and The Lieutenant walk  out of the precinct at the same noticing each other.

Do you believe that I really handed over the upper-hand to you? I've never had someone begging to **** my **** on a Thursday and getting a fake celebrity ****** from an awesome artist. And what really ***** the hammer and lifts my limp **** and ****-ticket up to your pretty little mouth, is knowing that eventually you will have to be alone again, and the shine of this excitement will wear off, and then I TOO CAN PLAY THE GAME.

1. Time to light the cigars.
2. I present the Nicaruagan landscapers' body, George Marshall, who is better known as 'The Skinner."
3. I accept that you're going to think being honest about your most promiscuous moments is attractive to talk about. I certainly thought that, up until you That is.
4. No more chocolate cake, again.
5. Throw out the soda.
6. Start taking Amphet Salts and running away from home and into everyone I would've liked to kick with my foot, bare, filthy, and furious into their cheekboned. Then smear the bottom of my oily and baby-***, **** and inviting foot into your Hood until you spray like the five hundred other times you tell me you didn't. But even all this. This cell phone, this furniture, the awful sound of the train all night, the illusion and total manic state that puts diplopic faces of imaginary people between me and the rest of the world.

I need to know, do you even want to here this? Are you confused? What led you to come over or invite yourself here?

Pills, blade, play, or having that kid. But putting up with his ******* to be in the background of thought as someone while I was at home with his four kids. And I just relax then because, while I thought organizing the tower room to serve our primary guest of action was necessary when I looked at it so lit up by the buildings across the way shining their light through its atrium making all of the room much more suited for making art, writing and dancing. This is a huge handful of good-naturedness in a friend that can't seem to get off the phone and I must have to hid the monkey. I have to go to Walmart and return the monkey. I will...... and this is the biggest luxury, the hotel maintenance will even cover up my own series of murders or Dexters.

You believe me right sweetheart. You're my closest friend, but she is worn together and I just like the rings I own to be worn by you so that you don't get the idea to slip up and not just give me more anneurisms for my ****** up already head, or cancel the party, but really play that game and seee them cased out, otherwise I could be...a? A Cosmetic Manufact- "I believe in Freedom." You said.
"hahahaha", I can see that got you where you are today, postulating my grief by throwing self-care out the window and just judging me based on what you don't relate to instead of what you do relate to.

PS I know you didn't have time to let anyone know I was coming already? Until I snuck a peak and figured out you had been casing me the whole time from beginning to end to break me. But I'm not broken. I'm just not eager to be touched by anyone else of the ** form other than you for a minute. I also have time believing that while you were scared of me giving you your first ***-to-mouth experience while I stand you up in a skirt in the back of the school bus. And I can recognize tears of someone around us, and so I stand up and I recognize that it's my friend Stephen who is really (...is really, an imagined hologram of myself I invent to learn about myself in dreams, and other horrific events that my mind shuts down for, and no you're not the only 5' foot and 5" inch blonde haired ex of mine that performs from the camera but not for the eye. It will all come out in the wash regardless. I better to get goin.....I could write on and on and on and on about all of these multi-secular, uninhibited, depressing suggestions from the same bill my sister has to pay her Electric and Water monthly on, but I need to not sleep to make the need more. And even though I say the photo of her touching a single toe with a dead boring hell bent nobody Phillistine that could care less about her Grandfather being sick or her getting an STI or STD or if she is taken care of. But I do. I will. I don't stop being the good natured caring and and passionate person I am just because someone I really thought was going to take me an honest man, just taught me to be more meticulous in making sure I dispose of the body properly... But maybe she isn't playing pretend, maybe she's just another Fake Prada caught up in the mix.

O, the Horror! Halloween Poetry!

Halloween Poetry: Dark, Eerie, Haunting and Scary poems about Ghosts, Witches, Vampires, Werewolves, Reanimated Corpses and "Things that go Bump in the Night!"



Thin Kin
by Michael R. Burch

Skeleton!
Tell us what you lack...
the ability to love,
your flesh so slack?

Will we frighten you,
grown as pale & unsound,
when we also haunt
the unhallowed ground?



The Witch
by Michael R. Burch

her fingers draw into claws
she cackles through rotting teeth...
u ask "are there witches?"
… pshaw! …
(yet she has my belief)



Vampires
by Michael R. Burch

Vampires are such fragile creatures;
we dread the dark, but the light destroys them...
sunlight, or a stake, or a cross ― such common things.

Still, late at night, when the bat-like vampire sings,
we shrink from his voice.

Centuries have taught us:
in shadows danger lurks for those who stray,
and there the vampire bares his yellow fangs
and feels the ancient soul-tormenting pangs.
He has no choice.

We are his prey, plump and fragrant,
and if we pray to avoid him, he earnestly prays to find us...
prays to some despotic hooded God
whose benediction is the humid blood
he lusts to taste.



Styx
by Michael R. Burch

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

Charon, the ferrymen who carried the dead across the River Styx to their eternal destination, has been portrayed by artists and poets as a vampiric figure.



Revenge of the Halloween Monsters
by Michael R. Burch

The Halloween monsters, incensed,
keep howling, and may be UNFENCED!!!
They’re angry that children with treats
keep throwing their trash IN THE STREETS!!!

You can check it out on your computer:
Google says, “Please don’t be a POLLUTER!!!”
The Halloween monsters agree,
so if you’re a litterbug, FLEE!!!

Kids, if you’d like more treats this year
and don’t want to cower in FEAR,
please make all the mean monsters happy,
and they’ll hand out sweet treats like they’re sappy!

So if you eat treats on the drag
and don't want huge monsters to nag,
please put all loose trash in your BAG!!!

NOTE: If you recite the poem, get the kids to huddle up close, then yell the all-caps parts like you’re one of the unhappy monsters, and perhaps "goose" them as well. They'll get the message.



It's Halloween!
by Michael R. Burch

If evening falls
on graveyard walls
far softer than a sigh;

if shadows fly
moon-sickled skies,
while children toss their heads

uneasy in their beds,
beware the witch's eye!

If goblins loom
within the gloom
till playful pups grow terse;

if birds give up their verse
to comfort chicks they nurse,
while children dream weird dreams

of ugly, wiggly things,
beware the serpent's curse!

If spirits scream
in haunted dreams
while ancient sibyls rise

to plague nightmarish skies
one night without disguise,

while children toss about
uneasy, full of doubt,
beware the Devil's lies...

it's Halloween!



Ghost
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.



All Hallows Eve
by Michael R. Burch

What happened to the mysterious Tuatha De Danann, to the Ban Shee (from which we get the term “banshee”) and, eventually, to the Druids? One might assume that with the passing of Merlyn, Morgan le Fay and their ilk, the time of myths and magic ended. This poem is an epitaph of sorts.

In the ruins
of the dreams
and the schemes
of men;

when the moon
begets the tide
and the wide
sea sighs;

when a star
appears in heaven
and the raven
cries;

we will dance
and we will revel
in the devil’s
fen...

if nevermore again.



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...



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
and 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.

Held in their arms, enchanted,
we feel their lips, so old!,
till with their gorging kisses
we warm them, growing cold.



Solicitation
by Michael R. Burch

He comes to me out of the shadows, acknowledging
my presence with a tip of his hat, always the gentleman,
and his eyes are on mine like a snake’s on a bird’s ―
quizzical, mesmerizing.

He ***** his head as though something he heard intrigues him
(although I hear nothing) and he smiles, amusing himself at my expense;
his words are full of desire and loathing, and while I hear everything,
he says nothing I understand.

The moon shines ― maniacal, queer ― as he takes my hand whispering

Our time has come... And so we stroll together creaking docks
where the sea sends sickening things
scurrying under rocks and boards.

Moonlight washes his ashen face as he stares unseeing into my eyes.
He sighs, and the sound crawls slithering down my spine;
my blood seems to pause at his touch as he caresses my face.
He unfastens my dress till the white lace shows, and my neck is bared.

His teeth are long, yellow and hard, his face bearded and haggard.
A wolf howls in the distance. There are no wolves in New York. I gasp.
My blood is a trickle his wet tongue embraces. My heart races madly.
He likes it like that.



Sometimes the Dead
by Michael R. Burch

Sometimes we catch them out of the corners of our eyes ―
the pale dead.
After they have fled
the gourds of their bodies, like escaping fragrances they rise.

Once they have become a cloud’s mist, sometimes like the rain
they descend;
they appear, sometimes silver like laughter,
to gladden the hearts of men.

Sometimes like a pale gray fog, they drift
unencumbered, yet lumbrously,
as if over the sea
there was the lightest vapor even Atlas could not lift.

Sometimes they haunt our dreams like forgotten melodies
only half-remembered.
Though they lie dismembered
in black catacombs, sepulchers and dismal graves; although they have committed felonies,

yet they are us. Someday soon we will meet them in the graveyard dust
blood-engorged, but never sated
since Cain slew Abel.
But until we become them, let us steadfastly forget them, even as we know our children must...



Polish
by Michael R. Burch

Your fingers end in talons—
the ones you trim to hide
the predator inside.

Ten thousand creatures sacrificed;
but really, what’s the loss?
Apply a splash of gloss.

You picked the perfect color
to mirror nature’s law:
red, like tooth and claw.

Published by The HyperTexts



Siren Song
by Michael R. Burch

The Lorelei’s
soft cries
entreat mariners to save her...

How can they resist
her faint voice through the mist?

Soon she will savor
the flavor
of sweet human flesh.



How Long the Night (anonymous Old English Lyric)
loose translation 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.



The Wild Hunt
by Michael R. Burch

Near Devon, the hunters appear in the sky
with Artur and Bedwyr sounding the call;
and the others, laughing, go dashing by.
They only appear when the moon is full:

Valerin, the King of the Tangled Wood,
and Valynt, the goodly King of Wales,
Gawain and Owain and the hearty men
who live on in many minstrels’ tales.

They seek the white stag on a moonlit moor,
or Torc Triath, the fabled boar,
or Ysgithyrwyn, or Twrch Trwyth,
the other mighty boars of myth.

They appear, sometimes, on Halloween
to chase the moon across the green,
then fade into the shadowed hills
where memory alone prevails.



The Vampire's Spa Day Dream
by Michael R. Burch

O, to swim in vats of blood!
I wish I could, I wish I could!
O, 'twould be
so heavenly
to swim in lovely vats of blood!

The poem above was inspired by a Josh Parkinson depiction of Elizabeth Bathory up to her nostrils in the blood of her victims, with their skulls floating in the background.



Nevermore!
by Michael R. Burch

Nevermore! O, nevermore!
shall the haunts of the sea
― the swollen tide pools
and the dark, deserted shore ―
mark her passing again.

And the salivating sea
shall never kiss her lips
nor caress her ******* and hips,
as she dreamt it did before,
once, lost within the uproar.

The waves will never **** her,
nor take her at their leisure;
the sea gulls shall not have her,
nor could she give them pleasure...
She sleeps, forevermore!

She sleeps forevermore,
a ****** save to me
and her other lover,
who lurks now, safely smothered
by the restless, surging sea.

And, yes, they sleep together,
but never in that way...
For the sea has stripped and shorn
the one I once adored,
and washed her flesh away.

He does not stroke her honey hair,
for she is bald, bald to the bone!
And how it fills my heart with glee
to hear them sometimes cursing me
out of the depths of the demon sea...

their skeletal love ― impossibility!



Dark Gothic
by Michael R. Burch

Her fingers are filed into talons;
she smiles with carnivorous teeth...
You ask, “Are there vampires?”
― Get real! ―
(Yet she has my belief.)



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.


Athenian Epitaphs (Gravestone Inscriptions of the Ancient Greeks)

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


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



Passerby,
tell the Spartans we lie
lifeless at Thermopylae:
dead at their word,
obedient to their command.
Have they heard?
Do they understand?
― Michael R. Burch, after Simonides



Completing the Pattern
by Michael R. Burch

Walk with me now, among the transfixed dead
who kept life’s compact and who thus endure
harsh sentence here―among pink-petaled beds
and manicured green lawns. The sky’s azure,
pale blue once like their eyes, will gleam blood-red
at last when sunset staggers to the door
of each white mausoleum, to inquire―
What use, O things of erstwhile loveliness?


Reclamation
by Michael R. Burch

after Robert Graves, with a nod to Mary Shelley

I have come to the dark side of things
where the bat sings
its evasive radar
and Want is a crooked forefinger
attached to a gelatinous wing.

I have grown animate here, a stitched corpse
hooked to electrodes.
And night
moves upon me―progenitor of life
with its foul breath.

Blind eyes have their second sight
and still are deceived. Now my nature
is softly to moan
as Desire carries me
swooningly across her threshold.

Stone
is less infinite than her crone’s
gargantuan hooked nose, her driveling lips.
I eye her ecstatically―her dowager figure,
and there is something about her that my words transfigure
to a consuming emptiness.

We are at peace
with each other; this is our venture―
swaying, the strings tautening, as tightropes
tauten, as love tightens, constricts
to the first note.

Lyre of our hearts’ pits,
orchestration of nothing, adits
of emptiness! We have come to the last of our hopes,
sweet as congealed blood sweetens for flies.

Need is reborn; love dies.



Deliver Us ...
by Michael R. Burch

The night is dark and scary―
under your bed, or upon it.

That blazing light might be a star ...
or maybe the Final Comet.

But two things are sure: your mother’s love
and your puppy’s kisses, doggonit!



the Horror
by Michael R. Burch

the Horror lurks inside our closets
the Horror hides beneath our beds
the Horror hisses ancient curses
the Horror whispers in our heads

the Horror tells us Death is coming
the Horror tells us there’s no hope
the Horror tells us “life” is futile
the Horror beckons, “there’s the Rope!”



Belfry
by Michael R. Burch

There are things we surrender
to the attic gloom:
they haunt us at night
with shrill, querulous voices.

There are choices we made
yet did not pursue,
behind windows we shuttered
then failed to remember.

There are canisters sealed
that we cannot reopen,
and others long broken
that nothing can heal.

There are things we conceal
that our anger dismembered,
gray leathery faces
the rafters reveal.



Duet
by Michael R. Burch

Oh, Wendy, by the firelight, how sad!
How worn and gray your auburn hair became!
You’re very silent, like an evening rain
that trembles on dark petals. Tears you’ve shed
for days we laughed together, glisten now;
your flesh became translucent; and your brow
knits, gathered loosely. By the well-made bed
three portraits hang with knowing eyes, beloved,
but mine is not among them. Time has proved
our hearts both strangely mortal. If I said
I loved you once, how is it that could change?
And yet I watch you fondly; love is strange . . .

Oh, Peter, by the firelight, how bright
my thought of you remains, and if I said
I loved you once, then took him to my bed,
I did it for the need of love, one night
when you were far away. My heart endured
transfigurement―in flaming ash inured
to heartbreak and the violence of sight:
I saw myself grow old and thin and frail
with thinning hair about me, like a veil . . .
And so I loved him for myself, despite
the love between us―our first startled kiss.
But then I loved him for his humanness.
And then we both grew old, and it was right . . .

Oh, Wendy, if I fly, I fly beyond
these human hearts, these cities walled and tiered
against the night, beyond this vale of tears,
for love, if it exists, dies with the years . . .

No, Peter, love is constant as the heart
that keeps till its last beat a measured pace
and sets the fixtures of its dreams in place
by beds at first well-used, at last well-made,
and counts each face a joy, each tear a grace . . .



Horror
by Michael R. Burch

What I ache to say is beyond saying―
no words for the horror
of not loving enough,
like a mummy half-wrapped in its moldering casements
holding a lily aloft.

No, there are no words for the horror
as a tormented wind howls through the teetering floes
and the cold freezes down to my clawed hairy toes ...

What use to me, now, if the stars appear?
As I moan
the moon finds me,
fangs goring the deer.



Strange Corps(e)
by Michael R. Burch

We are all dying, haunted by life―
dying, but the living will not let us go.
We are perishing zombies, haunted by the moonglow.

With what animation we, shuffling, return
nightly, to worry Love’s worm-eaten corpse,
till, living or dead, she is wholly ours.

We are the dying, enamored of “life”―
the palest of auras, the eeriest call.
We stagger to attention ... stumble ... fall.

We have only one thought―Love’s peculiar notion,
that our duty’s to “live,” though such “living” means
night’s horrific wild hungers, its stranger dreams.

We now “live” on the flesh of eroded dreams
and no longer recoil at the victims’ screams.



Love, ah! serene ghost
by Michael R. Burch

Love, ah! serene ghost,
haunts my retelling of her,
or stands atop despairing stairs
with such pale, severe eyes,
I become another pallid specter.

But what I feel
most profoundly is this:
the absolute lack of her kiss,
the absence of her wild,
unwarranted laughter.

So that,
like a candle deprived of oxygen,
I become mere wick and tallow again.
Here and hereafter ...
gone with her now, in the darkest of nights, the flame!

I lie, pallid vision of man―the same
wan ghost of her palpitations’ claim
on my heart
that I was before.

I love her beyond and despite even shame.



Eden
by Michael R. Burch

Then earth was heaven too, a perfect garden.
Apples burgeoned and shone―unplucked on sagging boughs.
What, then, would the children eat?
Fruit indecently sweet,
redolent as incense, with a tempting aroma ...



Outcasts
by Michael R. Burch

There was a rose, a prescient shade of crimson,
the very color of blood,
that bloomed in that garden.

The most dazzling of all the Earth’s flowers,
men have forgotten it now,
with their fanciful tales of apples and serpents.

Beasts with lips called the goreflower “Love.”

The scribes have the story all wrong: four were there,
four horrid dark creatures―chattering, bickering.
Aduhm placed one red petal in Ehve’s matted hair;

he was lost in her arms
till dawn sullen and golden
imperceptibly streaked the musk-fragrant air.

Two flared nostrils quivered, two eyes remained open.

Kahyn sought me that evening, his bloodless lips curled
in a grimacelike smile. Sunken-cheeked, he approached me
in the Caverns of Similitudes, eerie Barzakh.

“We are outcasts, my brother!, God quickly deserts us.”
As though his anguish conceived in insight’s first blush
might not pale next to mine in Sheol’s gray realm.

“Shining Creature!” he named me and called me divine
as he lavished damp kisses upon my bright scales.
“Help me find me one rare gift to put Love’s gift to shame.”

“There is a dark rose with a bittersweet fragrance
as pungent as cloves: only man knows its name.
Clinging and cloying, it destroys all it touches . . .”

“But red is Ehve’s preference; while Envy is green.”
He was downcast a moment, a moment, a moment . . .
“Ah, but red is the color of blood!”

Disagreeable child, far too clever for his own good.

Published in The Bible of Hell (anthology)



No One
by Michael R. Burch

No One hears the bells tonight;
they tell him something isn’t right.
But No One is not one to rush;
he lies in grasses greenly lush
as far away a startled thrush
flees from horned owls in sinking flight.

No One hears the cannon’s roar
and muses that its voice means war
comes knocking on men’s doors tonight.
He sleeps outside in awed delight
beneath the enigmatic stars
and shivers in their cooling light.

No One knows the world will end,
that he’ll be lonely, without friend
or foe to conquer. All will be
once more, celestial harmony.
He’ll miss men’s voices, now and then,
but worlds can be remade again.



Bikini
by Michael R. Burch

Undersea, by the shale and the coral forming,
by the shell’s pale rose and the pearl’s white eye,
through the sea’s green bed of lank seaweed worming
like tangled hair where cold currents rise . . .
something lurks where the riptides sigh,
something old and pale and wise.

Something old when the world was forming
now lifts its beak, its snail-blind eye,
and with tentacles about it squirming,
it feels the cloud above it rise
and shudders, settles with a sigh,
knowing man’s demise draws nigh.



Ceremony
by Michael R. Burch

Lost in the cavernous blue silence of spring,
heavy-lidded and drowsy with slumber, I see
the dark gnats leap; the black flies fling
their slow, engorged bulks into the air above me.

Shimmering hordes of blue-green bottleflies sing
their monotonous laments; as I listen, they near
with the strange droning hum of their murmurous wings.

Though you said you would leave me, I prop you up here
and brush back red ants from your fine, tangled hair,
whispering, “I do!” . . . as the gaunt vultures stare.



Contraire
by Michael R. Burch

Where there was nothing
but emptiness
and hollow chaos and despair,

I sought Her ...

finding only the darkness
and mournful silence
of the wind entangling her hair.

Yet her name was like prayer.

Now she is the vast
starry tinctures of emptiness
flickering everywhere

within me and about me.

Yes, she is the darkness,
and she is the silence
of twilight and the night air.

Yes, she is the chaos
and she is the madness
and they call her Contraire.



Dark Twin
by Michael R. Burch

You come to me
out of the sun―
my dark twin, unreal . . .

And you are always near
although I cannot touch you;
although I trample you, you cannot feel . . .

And we cannot be parted,
nor can we ever meet
except at the feet.



East End, 1888
by Michael R. Burch

Past darkened storefronts,
hunched and contorted, bent with need
through chilling rain, he walks alone
till down the glistening cobblestones
deliberate footsteps pause, resume.

He follows, by a pub confronts
a pasty face, an overbright smile,
lips intimating easy bliss,
a boisterous, over-eager tongue.

She barters what she has to sell;
her honeyed words seem cloying, stale―
pale, tainted things of sticky guile.



A rustle of her petticoats,
a flash of bulging milk-white breast
. . . the price is set: a crown. “A tip,
a shilling more is yours,” he quotes,
“to wash your privates.” She accepts.
Saliva glistens on his lips.



An alley. There, he lifts her gown,
in answer to her question, frowns,
says―“You can call me Jack, or Rip.”



East End, 1888 (II)
by Michael R. Burch

He slouched East
through a steady downpour,
a slovenly beast
befouling each puddle
with bright footprints of blood.

Outlined in a pub door,
lewdly, wantonly, she stood . . .
mocked and brazenly offered.

He took what he could
till she afforded no more.

Now a single bright copper
glints becrimsoned by the door
of the pub where he met her.

He holds to his breast the one part
of her body she was unable to *****,
grips her heart to his wildly stammering heart . . .
unable to forgive or forget her.

Originally published by Penny Dreadful



Evil, the Rat
by Michael R. Burch

Evil lives in a hole like a rat
and sleeps in its feces,
fearing the cat.

At night it furtively creeps
through the house
while the cat sleeps.

It eats old excrement and gnaws
on steaming dung
and it will pause

between odd bites to sniff through the ****,
twitching and trembling,
for a scent of the cat ...

Evil, the rat.



Temptation
by Michael R. Burch

Jesus was always misunderstood . . .
we have that, at least, in common.
And it’s true that I found him,
shriveled with hunger,
shivering in the desert,
skeletal, emaciate,
not an ounce of fat
to warm his bones
once the bright sun set.

And it’s true, I believe,
that I offered him something to eat―
a fig, perhaps, a pomegranate, or a peach.

Hardly the great “temptation”
of which I’m accused.

He was a likeable chap, really,
and we spent a pleasant hour
discussing God―
how hard He is to know,
and impossible to please.

I left him there, the pale supplicant,
all skin and bone, at the mouth of his cave,
imploring his “Master” on callused knees.

Published in The Bible of Hell (anthology)



Role Reversal
by Michael R. Burch

The fluted lips of statues
mock the bronze gaze
of the dying sun . . .

We are nonplused, they say,
smacking their wet lips,
jubilant . . .

We are always refreshed, always undying,
always young, forever unapologetic,
forever gay, smiling,

and though it seems man has made us,
on his last day, we will see him unmade―
we will watch him decay
as if he were clay,
and we had assumed his flesh,
hissing our disappointment.



Excelsior
by Michael R. Burch

I lift my eyes and laugh, Excelsior . . .
Why do you come, wan spirit, heaven-gowned,
complaining that I am no longer “pure?”

I threw myself before you, and you frowned,
so full of noble chastity, renowned
for leaving maidens maidens. In the dark

I sought love’s bright enchantment, but your lips
were stone; my fiery metal drew no spark
to light the cold dominions of your heart.

What realms were ours? What leasehold? And what claim
upon these territories, cold and dark,
do you seek now, pale phantom? Would you light

my heart in death and leave me ashen-white,
as you are white, extinguished by the Night?



Liar
by Michael R. Burch

Chiller than a winter day,
quieter than the murmur of the sea in her dreams,
eyes wilder than the crystal spray
of silver streams,
you fill my dying thoughts.

In moments drugged with sleep
I have heard your earnest voice
leaving me no choice
save heed your hushed demands
and meet you in the sands
of an ageless arctic world.

There I kiss your lifeless lips
as we quiver in the shoals
of a sea that endlessly rolls
to meet the shattered shore.

Wild waves weep, "Nevermore,"
as you bend to stroke my hair.

That land is harsh and drear,
and that sea is bleak and wild;
only your lips are mild
as you kiss my weary eyes,
whispering lovely lies
of what awaits us there
in a land so stark and bare,
beyond all hope . . . and care.

This is one of my early poems, written as a high school sophomore or junior.



The Watch
by Michael R. Burch

Moonlight spills down vacant sills,
illuminates an empty bed.
Dreams lie in crates. One hand creates
wan silver circles, left unread
by its companion—unmoved now
by anything that lies ahead.

I watch the minutes test the limits
of ornamental movement here,
where once another hand would hover.
Each circuit—incomplete. So dear,
so precious, so precise, the touch
of hands that wait, yet ask so much.

Originally published by The Lyric



Keywords/Tags: Halloween, dark, supernatural, skeleton, witch, ghost, vampire, monsters, ghoul, werewolf, goblins, occult, mrbhalloween, mrbhallow, mrbdark

Published as the collection "Halloween Poems"

An old man sits
on the edge of the bed
just after he's tucked in his grandson
He fiddles and fits
While his old gal, she knits
And his boy sleeps, soft and handsome

But what is this?
He can't help but think
As his grandson rolls restlessly round
What sort of ploy
May claim my boy
When his pops is dead in the ground?

His wife, she shakes head
All afluttered and red
Claiming that he's been a fool
For Death, he comes
For every which ones
As sure as summers for school

But wife, he cries
With tears in his eyes
As his boys turns roughly about
"What will become
Of my dear grandson
When a grandfather he is without?"

His wife, she smiles
Is silent awhile
As her needles go clickity-clack
"This boy, you see
Is our legacy
And a family he never shall lack."

Mother knits scarves in soft wool.
Daddy creates suits in steel.
Auntie makes a mess of strings.
Played with a bow, a twiddle, a fiddle a serious riddle.
Uncle strums his guitar, while  he's coughing catarrh.
From the **** he smokes.
While playing with kippers and older men's zippers.
Pretensions of kindness, while fetching their slippers.
Money hunting, baby bunting, wrapped in boas of stripy snakes that choke, crush and strangle, dangling lust on a string, it's his sort of thing.
Uncle carbuncle, peril to both pusillanimous child and men of great age.
Daddy knows and  he's so enraged, steel suits beat the outrage of misuse and abuse, through the family and mummy knits more scarves in soft fluffy wool. ****** old fool, never does anything by halves, it's all covered up by soft fluffy wool scarves.
(C) LIVVI

384

No Rack can torture me—
My Soul—at Liberty—
Behind this mortal Bone
There knits a bolder One—

You cannot ***** with saw—
Nor pierce with Scimitar—
Two Bodies—therefore be—
Bind One—The Other fly—

The Eagle of his Nest
No easier divest—
And gain the Sky
Than mayest Thou—

Except Thyself may be
Thine Enemy—
Captivity is Consciousness—
So’s Liberty.

A golden thread connects us
Although it seems impossible it could be that long
It seems to stretch across continents
It joins up the water and land that lie between us
Threaded through airports and harbour walls
It effortlessly knits up plains and cities

A golden thread connects us
Although it seems impossible it could be that strong
It sketches a random pattern, known only to us
Disparate, otherwise unconnected backpages
Mississipi, Dallas, Mountain View, Santa Barbra
Stoneybatter, Skerries, Paris, Milan

A golden thread connects us
Although it seems impossible to think for how long
It stitches and gathers up time; so when you said
"It could be a thousand years or five minutes since we met"
I knew we both thought that forever is possible  
That everything previous would make sense of our present

A golden thread connects us
Although it seems impossible to see how it could
From a distance I saw you go through revolving doors
The golden hair caught my eye, flowing as you walked
I was a man trapped, saved only by one fact
That a golden thread had snagged on my clothes

No time for having

withdrawals_
All friendship
click
Lets 
 Click-bank it

Gratitude
so thanks

Just mail it
My mind
chocolate
clustered
Wounded
like a
bullet_
Postcard
Like
E- Allen Poe
related

Polluted by
Naked Gun
My heart was
fully loaded

"My Psyche"

Glossinidae so
****** "Red"

Women Wartime
she knits

Wildflowers
in her bed
He was more
worried
about the
postcard

Split Banana
personality
Plain Monkey
***
Crazy on Sunday

Sundae's
on Fridays
Yes we have no
bananas
Postcards laid
T-L-C cared for
cabana

But Gina
Loco?
Crazy bridge
Lollobrigida
Postcards
Just
Like Lazy
Susans
Georgiana
Or Brianna
Bella Bella

Leaving notes
with few
good men
Nicholsons
Nicole with
her Kidman

Construction
hard paper
Snip here
Pulled into his
psyche
All cliche's
The fondue
French talk
face to face
Jack snapped
beanstalk

In front, words
fingered
Her words
of roue'
Catch up with
Ketchup
Pretty but Petty
petticoats
"Billy Goats"
Titanic ships
Beguiled
by
him

Cottage home
bacon bits
of
Salad postcards
from
Egypt
The holy land of
Mohammid
Dancing like an
Egyptian

Rumi
of all
Gods
in vain
Your so
vain I betcha
you think
the
postcards
about ya

"Psyche Monday"
Coming to grips
(Girl Friday)
versus
(Man Friday)
with his lips,

The Postcard
postpartum
depression
((What Moves))
on my hips
Strawberry
jam and
my biscuit
"His Girl Scout"
recruit
Being pursued
shortcake
So ironed
longed for

Postcards
floating
through
"Spa dream"

Highlighted*
Crazy in love
hallucinating
being flirtatious

Oneself
But she doubted
therefore
My psyche
wanted more
(Danger=Hunger)
after you
Darling
Civil war
Loves don't finally
meet someone
They are in each other
all the time-----

Double crossed-Star

Trying to pass the bar

Fair lady or the
distinguished
Gentleman

"Aircraft"
Postcards came with
ownership
Bombs stay funds

So Psyche
The future
Be smart
"Smartphone"
Like a rope and
silvered computer
links
The chain- chain gang

The train blue-skying
Crazy skywriting
A strange device
(UFO) now BOO
requiem in a dream
Royal lips
A plus postcard
Deeply within
The hundred's
of lovers tongue
Going once but twice,
The Postman stamps
psychic
"Auction house
My postcard
Peanuts and
Charmed by Charlie
Brown
The Tarot elephant
pants
Double talk Parrot
Superbowl
the postcard
intellectual

"Hallucination Beware"
Strong accusation to
compare

An app "Activation"
Star Wars  may the force
be with you one and
only card
British fine tea guards

The love red tip
matches
The new
postcard
the
new black
Mary Mack
Stamped and
smacked
Smashbox eyes
like crazy lunatic

(Dora Explorer)
New Orleans
Nasty stickers
Richness of bourbon
Sweet Caroline
Graphic art turban
8 sides
of the moon
Such
consequences?

My hair
ponytailed
You mailed
words short
Styled pixieish

Dots.....crazy points

Oh! Gosh
The
Hoarder
of
postcards
Crazy Gorilla
Mozilla
"Queen of Sheba"
I rather walk my
Shiba Inu doggy

Miss baby jane shoes
French connection my
La Femme
Oh La La
Haha
Funnybone
I refuse to be
loved like
a postcard
Self-assurance
love is frozen
and stamina
Postcards back
in the future

((Wonder all drama))
Psyche ward she got
hammered
Stacks of postcard
Her wrist got cut
Cold cuts
Irish Spring soap
VIP Postcards RIP
Replacing her hip
Her crazy lips kissed
the postcard
her bodyguard
Those maneaters
and deadly hitters
Mega babes babysitters
To be so loved and read

Postcards speak to us
listen
Glisten
Crazy Bitch__ is in
The innie or outy
Paper towels Minny
Mouse
She cleans up
her postcards
When the postman rings
twice

Pass it on

Has it troubled you
papercut you
Was this postcard
meeting
your  card
expectation

All you?

Fashion designers love foraging through the antique markets of Clignancourt in Paris and Portobello Road and Alfie’s Antiques markets in London snuffling out vintage pieces for inspiration. The flurry of romantic Victoriana on the catwalks for autumn can clearly be blamed on this obsession.

There has been an undercurrent of reserved, covered-up fashion ever since Pierpaolo Piccioli and his former co-designer Maria Grazia Chiuri introduced a more demure aesthetic to Valentino five years ago. Longer skirts, prim higher necklines and covered arms have become the slow trend of recent seasons creating a hyper-feminine look.

Riccardo Tisci at Givenchy and Sarah Burton at Alexander McQueen have long been beguiled by the Gothic romanticism of Victorian fashion with their use of corsetry and dark dramatic lace and velvet for eveningwear.

In fact, London-based vintage fashion dealer Virginia Bates admits she doesn’t remember there ever being a time when Gothic Victoriana didn’t feature in at least one designer’s collection. “The fascination with the romantics, poets, artists and even horror [classics and films] give designers a great source of inspiration,” she says. “It’s an irresistible era.”

Certainly a lot of it has appeared on the catwalks this season at McQueen, Marc Jacobs, Burberry (shown only a month ago in the see-now, buy-now collection), Simone Rocha, Preen, Bora Aksu and Temperley London, as well as at smaller brands such as Alessandra Rich, Three Floor created by Yvonne Hoang and A.W.A.K.E.

There were dark distressed Linton tweeds, unravelling knits and black tulle in Simone Rocha’s autumn collection. Rocha was pregnant when she started designing it and was inspired by Victorian dress and motherhood, in particular the nightgowns and matrons.

“All the wrapping and swaddling of babies,” she says, before elaborating on how “the Victorian ideals of properness were made perverse with the conservative and covered-up pieces contrasted by the sheer and embroidered fabrics.”These gauzy vaporous fabrics succeeded in making her eerily romantic silhouette look rather contemporary and daring.

Subversion is key to making such a prim and proper period in fashion history modern and relevant for women today. Marc Jacobs, for instance mixed long Victorian coats, ballooning crinolines and crochet doily collars with sweatshirt tops and laser-cut leather for skirts and jackets together with some scary Goth horror make-up. Nothing is, or should be literal.

As Justin Thornton of Preen says “we love the Victorians, the laces and the white shirts, but it is the vintage pieces rather than the era that inspire us”. His partner Thea Bregazzi has collected aristocratic laces and ruffly vintage shirts from Portobello Road market for as long as he has known her and these frequently find their way into their collections, “but linings would be ripped, garments will have holes in them – it is a deconstructed look”.Virginia Bates once owned a famous vintage fashion emporium in Holland Park with a client list including the biggest names in fashion from John Galliano to Donna Karan and Naomi Campbell. Now she only works with private clients and designers and they, especially, she says were looking for genuine Victorian pieces when planning their autumn collections.

“A black fitted jacket with inserts of handmade lace [that is] embellished with crystal and jet beads, ***** and silk lined ... How exciting and inspiring is that? Silk and fine lawn shirts, soft and flowing with ruffles. Don’t we all want to wear one and live the dream?”

Thankfully a few designers do right now, and there were lots of heavenly creatures in fragile asymmetric lace dresses toughened up with leather corsetry at Alexander McQueen, and richly coloured swishy dresses at Bora Aksu. While Christopher Bailey cherry-picked the centuries in his Burberry collection, lighting upon frilled white cotton shirts, nipped in jackets and military capes from the Victorian era. Given that Victoria reigned for more than 60 years there is a lot of history for designers to plunder, so this will not be the last we will see it.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

Poetry is the string
         looping through and
         weaving out
the needling pain

It knits a beautiful
         patchwork, coated with
         colorful patterns
our fingers trace

threads of our lives
         create designs
a shining::
shimmering::
or dulling
our emotions blend.

In the water
in the ocean
and in the sea
the litter that
subsists
eventually
knits together
far
in the corner
away
from the body
And while it surfaces
within the water
in the ocean
and in the sea
Litter never
rides with waves
for in our
rightful states
we ever
bind

“Ever since I started this job and anyone asks how I’m doing, I always say, ‘I’m great!’ ” Maayan Zilberman excitedly explains. And why shouldn’t she? The former Lake & Stars lingerie designer, who has since founded confections lineSweet Saba, happens to have the sweetest career around. Concocting a literal visual feast out of her Park *****, Brooklyn, kitchen and Fort Gansevoort Meatpacking pop-up shop, the Israeli-born polymath uses her background in sculpture and a biting sense of humor to create her vibrant, indulgent delicacies. Think sugarfied tubes of lipstick, rap mixtapes, and Rolex watches—with their raw handiwork and dead-on wit, these in-demand pieces match Zilberman’s equally enticing wardrobe. Hardly barefoot in the kitchen, Zilberman teeters about in her workspace in vintage Betsey Johnson Mary Janes, while throwing on a customized Adam Selman pearl-laced apron to protect her Prada skirts andProenza Schouler knits. Here, the dazzling candymaker reveals how she has always been more En Vogue than grunge, why she never forgoes a perfect press-on manicure, and her plans on taking Sweet Saba herbal.

From Jerusalem to Vancouver

I was born on a kibbutz, where the first clothing I had was a mix of unisex hand-me-downs, so I was given a pretty blank slate. When I lived in Jerusalem we were surrounded by several sects of Orthodox communities, and the fabrics associated with each group were inspiring to me. During those years, designer brands were becoming popular, and the only place I was seeing this was in the shuk [market] where one could find imitation Calvin Klein and United Colors of Benetton next to tzitzit and shawls. I think it was in the early ’90s that I first understood how to mix my ethnicity with fashion and food.

Also, one of the most influential books of my childhood was Color Me Beautiful, which the women in my family took very seriously. I learned at the age of 6 that I was a “Winter” and haven’t veered off course since. I still have the book and love to pull it out at parties. Later in high school in Vancouver, grunge was the big trend and there wasn’t much room for my sensibilities in that environment—even when I wore my Revlon Blackberry lipstick and grunged out with irony. I was always far more En Vogue and Versace than the Pacific Northwest could handle.

Taking Cues From ’90s New York City Street Style

When I first got to New York, when I was 15, one of the first things I discovered was all the music I could get on Canal Street. I used to buy mix CDs from girls in monochrome outfits and big name-plate earrings. They pointed me to Fulton Mall in Brooklyn, and that’s where I finally got pants that fit right and jewelry that reflected my personality—a departure from the stuff I’d received for my bat mitzvah.

A shift in style for me meant a tougher, more confident look, where a short skirt is a reference to an era, not a call for attention. Music and lyrics played a big part in teaching me about how to dress and how to feel feminine. I had a Versace quilted skirt that I wore a lot—it made me feel like the supermodels in the ad campaigns: Cindy, Claudia, Stephanie, et cetera. I also had a Jean Paul Gaultierdouble-breasted pinstripe suit that I’d wear casually. In fact, I’m still wearing most of my clothes from those days: Betsey Johnson floral dresses, Donna Karanbodysuits, a metallic Byblos pouf skirt, and a grommeted Pelle Pelle jacket.

Lingerie Beginnings

I studied sculpture at the School of Visual Arts, and for a year at the San Francisco Art Institute my major was “new genres,” a very ’90s thing. Right after I graduated from SVA, I did an artist residency with Ilya Kabakov at the Fondazione Antonio Ratti in Como, where they also manufactured some of the world’s most beautiful silks. A tour of their factory opened my eyes to a potential dip into fashion, but it wasn’t until I met a pair of women in New York City that same year looking to start a lingerie brand that I took a chance on garment design. I bought a bunch of bras and took them apart and figured out how they were put back together. I cofounded The Lake & Stars in 2007 with the desire to make a brand that was in line with the story I wanted to tell as an artist. Lingerie was a tool, a structure that gave me rules so I could tell a sci-fi tale while inherently delivering romance and *** appeal.

read more:http://www.marieaustralia.com

www.marieaustralia.com/short-formal-dresses

I get sent socks at Christmas,
So I can have safe walks.
When I tell my friends about this,
Everybody talks.

There is no innuendo,
Nothing to confess.
Without those cushioning blankets
My feet would be a mess.

I know a friend who knits socks,
In many different hues.
So long as she keeps knitting,
Our feet won’t have the blues.

So Wendy sock it to ‘em:
All that stitch and purl.
Make them good and roomy,
So our toes don’t have to curl.

No chance of any frostbite,
With these things on our feet.
For comfort on a cushion,
These socks just can’t be beat.

Paul Butters

Among our hills and valleys, I have known
Wise and grave men, who, while their diligent hands
Tended or gathered in the fruits of earth,
Were reverent learners in the solemn school
Of nature. Not in vain to them were sent
Seed-time and harvest, or the vernal shower
That darkened the brown tilth, or snow that beat
On the white winter hills. Each brought, in turn,
Some truth, some lesson on the life of man,
Or recognition of the Eternal mind
Who veils his glory with the elements.

  One such I knew long since, a white-haired man,
Pithy of speech, and merry when he would;
A genial optimist, who daily drew
From what he saw his quaint moralities.
Kindly he held communion, though so old,
With me a dreaming boy, and taught me much
That books tell not, and I shall ne'er forget.

  The sun of May was bright in middle heaven,
And steeped the sprouting forests, the green hills
And emerald wheat-fields, in his yellow light.
Upon the apple-tree, where rosy buds
Stood clustered, ready to burst forth in bloom,
The robin warbled forth his full clear note
For hours, and wearied not. Within the woods,
Whose young and half transparent leaves scarce cast
A shade, gay circles of anemones
Danced on their stalks; the shadbush, white with flowers,
Brightened the glens; the new-leaved butternut
And quivering poplar to the roving breeze
Gave a balsamic fragrance. In the fields
I saw the pulses of the gentle wind
On the young grass. My heart was touched with joy
At so much beauty, flushing every hour
Into a fuller beauty; but my friend,
The thoughtful ancient, standing at my side,
Gazed on it mildly sad. I asked him why.

  "Well mayst thou join in gladness," he replied,
"With the glad earth, her springing plants and flowers,
And this soft wind, the herald of the green
Luxuriant summer. Thou art young like them,
And well mayst thou rejoice. But while the flight
Of seasons fills and knits thy spreading frame,
It withers mine, and thins my hair, and dims
These eyes, whose fading light shall soon be quenched
In utter darkness. Hearest thou that bird?"

  I listened, and from midst the depth of woods
Heard the love-signal of the grouse, that wears
A sable ruff around his mottled neck;
Partridge they call him by our northern streams,
And pheasant by the Delaware. He beat
'Gainst his barred sides his speckled wings, and made
A sound like distant thunder; slow the strokes
At first, then fast and faster, till at length
They passed into a murmur and were still.

  "There hast thou," said my friend, "a fitting type
Of human life. 'Tis an old truth, I know,
But images like these revive the power
Of long familiar truths. Slow pass our days
In childhood, and the hours of light are long
Betwixt the morn and eve; with swifter lapse
They glide in manhood, and in age they fly;
Till days and seasons flit before the mind
As flit the snow-flakes in a winter storm,
Seen rather than distinguished. Ah! I seem
As if I sat within a helpless bark
By swiftly running waters hurried on
To shoot some mighty cliff. Along the banks
Grove after grove, rock after frowning rock,
Bare sands and pleasant homes, and flowery nooks,
And isles and whirlpools in the stream, appear
Each after each, but the devoted skiff
Darts by so swiftly that their images
Dwell not upon the mind, or only dwell
In dim confusion; faster yet I sweep
By other banks, and the great gulf is near.

  "Wisely, my son, while yet thy days are long,
And this fair change of seasons passes slow,
Gather and treasure up the good they yield--
All that they teach of virtue, of pure thoughts
And kind affections, reverence for thy God
And for thy brethren; so when thou shalt come
Into these barren years, thou mayst not bring
A mind unfurnished and a withered heart."

  Long since that white-haired ancient slept--but still,
When the red flower-buds crowd the orchard bough,
And the ruffed grouse is drumming far within
The woods, his venerable form again
Is at my side, his voice is in my ear.

"On the seventh day of the Seventh-month, in the Palace of Long Life,
We told each other secretly in the quiet midnight world
That we wished to fly in heaven, two birds with the wings of one,
And to grow together on the earth, two branches of one tree.
Earth endures, heaven endures; some time both shall end,
While this unending sorrow goes on and on for ever."
-  Bai Juyi - A Song of Unending Sorrow - 300 Tang Poems

+++++

The first day they met he gave her the poems
he'd carried all the way from China, a young boy
with a dream and 300 poems a thousand years old

...on the seventh day of the seventh month...

How could she not fall in love with him?

And his sculpture... carved with fire,
the strong, bronze back now frozen,
arms raised in wild and sensual supplication.

Were they his arms reaching for her?

He'd kept it hidden for twenty years,
waiting for someone, the right woman to give it to
And he'd told her,"I knew it was meant for you."

How could she not fall in love with him?

Each night before she sleeps
she reads a poem and traces her fingertips down
the cold beauty of that graceful spine

Wish he were here
wish this was his back
curving around me
curving around me in my bed...
whispering the poems of his ancestors

She knits her loneliness into scarves,
soft pink wools like clouds of candy cotton,
rough mountain wools that smell of heather and winter solitude.
Years from now, she'll wrap them round her neck to remember
how he once kissed her.

Didn't she write a poem about it?

and this is her dream:
they meet when they are young,
they fall in love,
they fall in love and marry,
they fall in love and marry and have ten children,
they fall in love and marry and have ten children and grow old together,
they grow old and blind and deaf, and still in love, they fall into the final sleep together
and their children's children's children will remember their love for a thousand years.

It's just a dream.
He will have children
but not hers.
She'll die alone,
she wrote that poem, too,
thirty years ago.

karma, karma, karma
stealing heaven

she writes:
what does this world mean to me without you?*

utter loneliness

You are the star that pierces darkest night
When new moon doesn’t rise or shine her light.
You are the melody that knits night’s sweetest songs,
The resting place my lonely heart belongs.
You are the star. You are the star.

You are the juicy peach plopped in hunger’s outstretched hand.
From the ocean of my tears, you are the sight of land.
You are a mountain stream rushing through Death Valley’s thirst.
You are the biggest, fastest, slowest, best and worst.
The very end of ends, and always, Absolutely, the first.

Isn't that what it's all about,
the synthesis of
discontent and momentum?

Abandonment
defies the unity
of perception,
while time knits
atomic moments into
molecules that thread
perception's needle

The fabric of reality
should be so fortunate
to tear
that it might be patched
with a square of
Pandora's consequence

The chaotic repair
initiating
the synthesis of
inertia and bliss

and if i made any mistakes in the process... is that: sorry, or... oops?! if i were truly English i'd throw in the: dodging Badger to boot... but since aye ain't... **** it, arms in the air: the sheriff called the deputy while Honey called the Winkle and all is just a Safari gag: toothless lions, my god, talking monkeys and actual termite architects! it's one of those trips you don't take Seer Attenborough on... risk of contagion of acquiring narrative you see... finally a time when england became wholly proletariat... or simply immigrant... but is the left really left in that you mean a: slav? current year: the expression of the left in western society is alienating me from the experience of what my grandfather is: a unit of authoritarian solidification of post-scriptum **** rule; i don't understand what the current climate conceptualises as "the" left, other than the reemergence of the petty bourgeoisie... that's no "left"... well not the left i know my grandfather to be.

    - at such precise times:
   no wonder men turn to utilising colours and shapes -
     not that writing this has been
bothersome - only that:
      it's just much easier to reduce the use of
language worth asking for a pint of milk,
   thank writing a poem:
imagine having to stand naked,
  while actually being attired...
     darting to & fro when actually
standing fixed to an orbit focus -
          to have to explain the colloquial...
or to establish the colloquial...
   as if using language cannot be,
in comparison: when
paintings require the "*******"
of an art historian or an art critic...
but poetry: oh, ****, that needs
a milkman to get!
or some ****-pants 14 year old teen!

- how can you approach the modern
**** sapiens with his grasp
of technology?
     one way would be to:
    approach him like a monk,
       a puritan, or merely as an:
                                                 animal.
yet modern man doesn't
        deserve the curiosity he fashions
himself with...
            instead of watching a rex genus:
i'm watching
          a bewildering scoop of
inhibition awaiting a proper scope
to find: outlet...
          with the internet being
a minor source of said
                      context of
                    available expression...
for a long time man has lived
to appreciate yet at the same time abhor
living in a society that
hides knowledge of its technological
advances, while freely distributing
an access to them...
       simultaneously mystifying
                           the use of a it;
a ******* ape is starting to counter-perplex
itself regarding a stone,
and use it,
      while i am thinking about
a levitating keyboard!
        which is supposed to translate
into a precipitation's worth of a hammer!
collectivism is a type of
pedagogy...
         that being said: i'm no rex genus...
       i'm starting to think whether
i'm competent with language...
                  and there was a cue where
i was supposed to say: what?
- and then i retire to Samuel Beckett's
Watt* and concise myself to:
   far from *******...
             because why would a ******
concern himself with intro- or retrospect?
the "no offence" is part
of the fact that: i don't know
              how to identify a pseudo-...
                  but it's a pleasing thought,
mind you,
       that i'm as "*******" as the next person
not wishing to go to a Star Trek
convention... maybe i just like
the sliding doors, or the escalator...
or: **** me... vapping...
               i'm still going to adhere to
the mantra: smokers' cough does not
exist on continental Europe...
              this air is wet, it's foul,
    damp... a ******* mushroom incubator!
        hell-spawn of: yes, i am experiencing
excess phlegm!
                       what sort of idiot
would want to conquer this sort of place?!
******* fungus people!
           they exfoliate an aura
                     for you to need to curse!
            at least Winters on continental Europe
are dry!
            i'm sick from the damp!      
seen a wet dog before?
   England is a wet dog...
           it's like gagging watching
a video of a carrot being peeled...
              which ends up being more funny
than a Monty Python sketch.

- and what's because ******* did what?
i hate to have to reduce an art form
into a colloquial ***** to fit "purpose"...
colloquial is not a poetic technique...
    but this art is having to resort to
making itself colloquial -
   it is gagging to be written into the codex
of an IKEA manual to put
                     up a ******* chair!
        
- suddenly language can't be akin to painting...
suddenly every Kandinsky must
fit into a tight-knit paragraph...
    the sort of **** your grandma knits for
you to don a sweater and call it
                        the village bicycle gag...

- i am also supposed to feel guilt with
regards to the moral question of prostitution,
having paid a *******,
   while subsequently giving her an ******...
now that's a real
    huckleberry finn moment of:
oh, gee gosh... you think she baked an
apple pie while he was at it?

- some paint... some write...
      and some just manage to imitate marathon;
but i'm **** sure fewer have
managed to creep up to Kraszewski and
ask: so why do "they" hate you?
    which he replies with:
             so why do "they" bother reading me?

- it's worth noting that i don't
know any Ukrainian, Lithuanian,
Estonian or Latvian writers...
       so with regards to "fame"?
                   i'm trying to look for these people,
foremostly.

Metabolism consumes the wood, tree, mountain, *****.
Breath is the smoke of their togetherness.

Where can I rest myself?
Surrounded by the slow, wooden eaters of time.

Heated cedar smells sweeter than bread.

Our hearth devours the cold of separation.
Built around it are the grey boards of house.

The tree knits into the earth to hold a mountain in place.
A leaf rises from the petrified core.

So many to occupy the bald, everlasting *****,
I think I'll pause to press one into a book.

Once I tore a piece from the back of the Sunday paper.
The piece told a story of an old lady who was being kicked out of her knitting class because she insisted on bringing her cat each time.
I didn't necessarily like the story, but I heard my father, upon glancing at the title ("One cat that won't have knits"), proclaim questionably "who is going to read this crap!?".
I decided then that I would read it. I kept the story in the back pocket of my worn jeans.
I felt bad for that lady- maybe she didn't have any friends at her knitting class?
But mostly, I felt bad because I knew that no one was going to read her story.

I probably won't have a story of my own in the paper any day, and If I did, I wouldn't want it to be about bringing my cat to knitting classes. But even if that is what it was about, I would want someone to read it. I'd want someone to gasp over it, or laugh, or rip it out and keep it in their faded blue jeans. I won't have an article, but I will have a story. I just don't want to have a story that a middle aged man, sitting in his dressing gown and slippers, drinking hot coffee would scoff over, and ask "who is going to read this!?".

Hate never wins
It burns itself out on a hundred victim pyres
consuming the souls of the haters
whereas love burns eternal with the spirit light
A silver thread which knits us together
They are many, but we are one.

Love connects people
In their compassion, the knowledge of how a mother feels
When her child is taken
Lives with me, although my children are but a phone call away
I feel her pain, her loss
I want to be able to turn back time
Give those children back to their families
I don't want one to suffer as I know they are
I want to be able to hug them and say it's all right
I want to be able to step into their lives and heal it
And I can't...
But we are one, though they be many.

I can't bear to think about the sudden end
The fear, the pain, the last thoughts
I can't bear to imagine what it's like
To run for your life
I can't bear to think about the families
Learning that the goodbye they said happily
Was the last one to be said
Learning that the goodbye hug
Was the last one to be felt
and they couldn't know it.
We are one and they cannot break us.

Hate never wins
Darkness is a prelude to the light
Dawn breaks
Chasing away the night
What endures is the love,
Hate never wins,
For we are one.

Babushka doll, you're an acid vase
Empty as church mornings
Devoid of all feelings;

You unravel your sullen smiles,
Ill-bred and unclean.
You are not complete.

You lost your babies.
Now you're alone.
Darling, darling, darling, how does it feel?

To feel the root of brute in the stubby heel,
Your silly scarves lost in the wheel.
Just peel off the cabbage roses

Petal by Petal,
Dismember yourself.
What a laugh!

The air has asthma,
The sun gives it T.B.
Oh dearie me!

It wheezes kisses heavier than a lecher.
Saboteur of my days,
Why must you hurt what you can?

Because you hate me, hate me.
You are an acid vase full of hate.
I can see your ruddy heart like an X-ray.

Unstick yourself from me.
I don't want you,
Your scarlet lips

Lake Baikal eyes,
or Eastern European knits.
The rings shed their gold.

Knock knock,
Dead at 30.
The last twist of the knife.