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Staring at nature , dreams are near
Right in front of me
Life storms by like a hurricane
When life gives no answers
Ask nature to help
Animals listen
Fresh air, cool breeze
Warm days, different ways
Staring off in space
Feeling calm, quiet solitude
Watching baby bird
Build her nest
Sweet, sweet
Little bird
I can’t believe, I can see
All these animals
In these woods
Staring at nature
I


Careered  


            Along


                    The


                       Narrow


                               Roads


                                        I

              ­                            Never


                                           Considered

                          What


                                          I’m  


                                   Doing


                                              I

                                                   Just


                                                Considered

                                The


                         ­     Inertia


                               Of


                              The


                        ­      FALL




Inspired song

Free Falling
By Tom Petty 1989
BLT Webster’s Word of the day challenge
3-6– 25 Career
To career is to go at top speed, especially in a headlong manner
 Apr 27 Joss Lennox
badwords
Chapter 1: Red Dust and Neon Ghosts

Mars had been humanity’s first dream of escape.
By 2133, it was little more than a cosmic cul-de-sac — a cracked monument to ambition, left to collect dust and bad poetry.

The Youngston Gate had changed everything. Now ships skimmed the edges of the solar system in days, not years. Stars called louder than Mars ever could. The Red Planet, once sacred, became a punchline.

Mann’s Olympus Casino and Hotel clung to the slopes of Olympus Mons like a bad tattoo nobody could laser off, buzzing defiantly under a layer of drifting rust.

Named after Robert J. Mann — a man whose ego once rivaled the mountain itself — the casino was now a hospice for broken dreams. Its letters flickered in and out: “M _ _ N’S OL _ _ P _ _”, blinking like tired eyelids trying to stay awake during a boring sermon.

Inside, the smell of old synthetic whiskey, burnt insulation, and Red Velvet opioids poisoned the recycled air. Gravity stuttered just enough to make every step feel like drunken prayer. The carpet peeled, the walls wept condensation, and the neon wept more quietly still.

Most of Mars' remaining human inhabitants weren’t here for the scenery.
They lingered like soggy parade confetti — forgotten, grimy, and too much trouble to sweep away.

The last act of the night was a woman whose name had once meant something —
Elaine Moon.

Chapter 2: Reflections in a Cracked Mirror

Elaine Moon sat backstage under a bank of vanity lights that buzzed like tired flies.
The mirror showed not a starlet, not even a relic — but something more stubborn.

She was fifty-something — she'd stopped counting when years became background radiation.
Her fingers ached with old betrayals: high kicks performed for half-interested audiences, songs mouthed for drunk nostalgics, bows for ghosts.

Once, when Mars still sold dreams, Elaine had been electric — breathing messy life into AI legends who had been programmed to shine but never sweat.
She had been a bridge, a mockery, a prayer disguised as a punchline.

But nostalgia rots faster than hope on a dying planet.

Tonight, staring into the cracked mirror, she realized something different.
Elaine Moon had been a necessary lie.

Beneath the layer of foundation and forced grins, the truth stirred:

Sarah Glover.

She wiped away the makeup — not neatly, not delicately. Just wiped. Like peeling away a dead skin.

Sarah.
Who once sang real songs in ***** crater bars, drunk on cheap wine and younger lungs.
Who once believed her voice could make the stars ache.

She had been buried beneath years of survival.
Not tonight.

Sarah Glover stood up from the chair.
No fanfare.
No safety net.

Just her own cracked voice waiting to be used honestly, one last time.

Chapter 3: The Last Song on Mars

The stage was a rectangle of failing light floating above a swamp of dim, unbothered shadows.
Gravity sighed at every step, pulling unevenly at her boots.
The air smelled like old plastics trying to pretend they were still new.

Sarah — not Elaine, never again Elaine — stepped into the wan spotlight.

No announcement.
No persona.

She leaned into the mic, rough and real:

"I'm Sarah."

A few heads lifted, blinking slowly as if trying to remember if they should care.

She keyed the battered synth, its panels held together by duct tape and stubborn hope.
It coughed out a C-major chord like a mechanical death rattle.

And Sarah sang.

Her voice cracked like dry riverbeds.
It floated unevenly, stuttering against the stale casino air.
But it was alive.

"Dust forgets the footprints it holds.
Stars bleed themselves dry for nothing.
And still, we sing."

Her fingers fumbled the bridge, and she laughed — a real, sharp, unsweetened laugh — before weaving her voice back into the crumbling melody.

The casino lights dimmed as she finished —
like dying fireflies giving up the fight.

A single clumsy clap echoed from somewhere in the back, colliding awkwardly with the silence.

Sarah bowed — not to the burnouts, not to the ruins, not to the drunk ghosts of memory —
but to the stubborn ember inside herself that had refused to go out.

Behind her, Elaine Moon crumbled like the dust she had always imitated.

Ahead of her, Mars stretched on — empty, tired, waiting for nothing.

Sarah Glover stepped into the neon-soaked dark, the hum of dying signs trailing behind her like a broken lullaby.

Somewhere beyond the Youngston Gate, humanity sprinted into new mistakes.
But here, on a broken rock under a leaking sky,
one true voice had risen, trembled, and vanished.

And for once,
that was enough.
"Even ruins deserve a second song."
— Old Martian Saying

Read the companion piece:
https://hellopoetry.com/poem/5044828/dust-forgets/
He had wings that
gave him flight.
The sun was
beautiful and bright.
It melted into the ocean.

But there is danger in
flying too low as well,
just ask the mermaids in
the depths of hell.
The seawater screws
up the lift.

Fly to safety and
peace,
not the
fantastical or
far-fetched.
You don't need to
have it all.
Beware of

too

much



ambition.
https://www.youtube.com/watch?v=8k5NY8ZMx3I

Check out my YouTube channel where I read from my recently published books, Seedy Town Blues Collected Poems and It's Just a Hop, Skip, and Jump to the Madouse Poems, both available on Amazon.

www.thomaswcase.com
Without poetry, we'd all
be chained to fences of time.
locked in,
torn apart,
played with by the
cosmic dance.

Don't get me wrong,
the poems can't
cure cancer, or heal the
lame dog's leg.
But, they might give
the ****** hope, and the
hobos a home.

Poetry tricks the mind
into seeing things,
like woolfhounds with
bagpipes playing an
Irish jig, far away from
the ferryman and his ride
across the river.

Without poetry, about now,
my skull
would be a home for beetles
and worms, turning
ever so slowly into
dust.
Here's a link to my you tube channel where I read my poetry. https://www.youtube.com/watch?v=8k5NY8ZMx3I
It's a different
day and age now.
I used to write my
poetry on scraps of
paper or napkins,
paper sacks, whatever
was handy.
One time, I wrote
a poem
on a paper plate--around in
a circle.
I get dizzy thinking about it.
They always got lost, or beer
spilled on them.
My girlfriend blew her
nose on a sonnet.

Now, I keep all my
poetry and short stories on
the computer.
A file for this.
A folder for that.
I have to use a password, and
PIN.
It has to be something important to
me or I will forget it.
Lower case.
Upper case.
Symbols.
Numbers.
It's enough to drive me
batty.
Actually, it's a short putt.
Summer is coming soon, so I
thought some golf humor would
be appropriate.

The things that used to be
important to me aren't anymore.
*****.
Drugs.
Having a woman around
constantly.
I like to think I've gained some
wisdom with age.

Passwords, ugh!
I can't tell you what's important
to me now.
You might hack into my
computer and steal all my
pretty posey.
https://www.youtube.com/watch?v=CEeNcBC_mnM
Here is a link to my YouTube channel where I read my poetry from my recently published books, Seedy Town Blues Collected Poems and It's Just a Hop, Skip, and Jump to the Madhouse, available on Amazon.com
In the wounds of woman and the steadfastness of man,
   Eden remembers.



Movement One: The Celebration of the Wound

He does not bring the scalpel
because he despises her wound..
   he brings it

because he loves her glory too much
to leave it buried beneath the scar.

He does not cut her to own her.
He cuts her, trembling,
because he believes in what will rise
when the old blood runs clean.

It is not an act of violence.
It is an offering of celebration—
the highest kind of self-love,
the boldest kind of faith—
to believe that the Lord Himself
will bend over the wound
and pour His living water
into the brokenness.

And as the wound opens,
and the darkness spills out,
he does not recoil.
He does not rescue.
He does not preach.

He watches.
He prays.
He stands.

And when she rises,
washed and radiant,
he knows:
her rising demands his own.

There is no longer room
for smallness in him.
No longer space
for hidden shadows to cling.

For her glory will call forth his.
And his celebration of her healing
will tear open the last vestiges of his shame,
until his own light sings back to hers,
undiminished, unafraid.

This was never a conquest.
It was always a coronation.
It was always the Gospel written in flesh.

It was always love.

---

Movement Two: Standing in the Breach

He stands now,
at the trembling edge
where blood and water meet spirit.

He does not flinch at her unraveling.
He does not cover her nakedness in shame.
He does not grasp at her breaking,
nor reach to hasten her healing.

He stands.

A living shield.
A silent witness.
A priest without altar or knife.

He understands:
his strength is not proven
by his power to fix—
but by his power to wait.

To watch as Love Himself
tends the wound,
cradles the scar,
renews the soul.

To endure the terror of powerlessness
without collapsing into control.

This—
this is his glory:
that he can behold her agony,
and still believe
that the end of her suffering
will not be death,
but birth.

That the light swelling beneath her skin
will one day eclipse even the memory of the blade.

And in that waiting,
he too is cut open.

He too is pierced by the same water,
the same fire,
the same song of new creation.

And he knows:
only a man who can stand silently in the breach,
bearing her vulnerability without corrupting it,
is worthy to walk beside the woman
reborn by the touch of the Living God.

He does not steal her resurrection.
He bears it.

He does not name her rising.
He joins it.

---

Movement Three: The Ascension of Two

They do not walk out of the garden
as they once did—
naked and ashamed,
separated by fear,
carrying fig leaves sewn from survival.

They rise now
fully clothed in light—
not light borrowed,
not light stolen,
but light born from wounds
washed clean in sacred water.

She stands,
not above him,
not behind him,
but beside—

her beauty no longer weaponized,
her tenderness no longer bartered.

And he—
he no longer hides behind strength,
no longer confuses sacrifice with silence,
no longer fears her radiance
as a threat to his crown.

They do not complete one another.
They honor what was completed
before time ever breathed.

She holds the memory of Eden.
He bears the ache of its return.

And together—
they offer the altar of their becoming
to the One who formed them both.

This is not romance.
This is restoration.

This is not power.
This is presence.

This is the kind of union
that does not dim under pressure,
does not wither under attention,
does not fracture when seen.

It is the kind
that makes the darkness jealous.

Because when man and woman
stand in full light together,
wounds lanced,
glory rising—
the Garden itself begins
to hum with memory..

And God walks there once more.


This work was formed directly from the living current of four earlier poems, drawn from a journey spanning years of love, loss, battle, and breath. Each poem served as a remembered stone in the rebuilding of the sacred architecture of love between man and woman.

> Referenced works:

https://hellopoetry.com/poem/4199674/meeting-sarayu/

https://hellopoetry.com/poem/4149690/entrances/

https://hellopoetry.com/poem/4077203/perspective/

https://hellopoetry.com/poem/4275826/gloria-in-excelsis/


These poems are not mere references. They are the waters from which this offering has emerged.
[The formatting was mangled in the transfer.]

Lawrence Hall
Mhall46184@aol.com
Dispatches for the Colonial Office

                               "Your Changes Have Been Saved"

Noticed the passive voice
          the passive voice is to be noticed

You did not make changes changes were not made by you
        but changes were made

You did not save changes changes were not saved by you
         but changes were saved

If you were relevant you might have been consulted
Passive Voice
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