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My thoughts are crabbed and sallow,
My tears like vinegar,
Or the bitter blinking yellow
Of an acetic star.

Tonight the caustic wind, love,
Gossips late and soon,
And I wear the wry-faced pucker of
The sour lemon moon.

While like an early summer plum,
Puny, green, and ****,
Droops upon its wizened stem
My lean, unripened heart.
"I shut my eyes and all the world drops dead;
I lift my lids and all is born again.
(I think I made you up inside my head.)

The stars go waltzing out in blue and red,
And arbitrary blackness gallops in:
I shut my eyes and all the world drops dead.

I dreamed that you bewitched me into bed
And sung me moon-struck, kissed me quite insane.
(I think I made you up inside my head.)

God topples from the sky, hell's fires fade:
Exit seraphim and Satan's men:
I shut my eyes and all the world drops dead.

I fancied you'd return the way you said,
But I grow old and I forget your name.
(I think I made you up inside my head.)

I should have loved a thunderbird instead;
At least when spring comes they roar back again.
I shut my eyes and all the world drops dead.
(I think I made you up inside my head.)"
The lilt of your sea
Is a mystery to me,
The form of your lips
A vast calligraphy.

The shape and stem
Of your new world,
Impregnated with maudlin and marrow,
And how it curled, instead of set.

You are remarkably
Cloud-hidden,
Less an end to everything,
More a furtive wellspring.

O sweet custodian of paradise,
Please measure out your turn of phrase
In the language of light,
As we enter into the uncreated night.
They are dying in our pointed cameras
Culled like vermin; dressed in plastic shrouds.
Droves of dead among more dead's hammered howls.

And cynical politics is now a clamor of
Writhing noise masking bombs that pound.
They are dying. In our pointed cameras.

And putrid politicians bare the hammer of
Genocide, fixing nothing, the bodies mound
Droves of dead, among more dead's hammered howls.

A broken cry is stunted by spilling bowels
Blasted into broken bits never found.
They are dying in our pointed cameras.

We are blinded; they are executed like savages
And we pretend the oppressor has not bound
Droves of dead among more dead's hammered howls.
First attempt at a villanelle. I realized halfway that I messed up the rhyme scheme but I decided to finish it anyway.
When nature's inhalation
whips up storms,
  We are set in stone monoliths.

Carefully carved intricate marks
decorate our walls; unfinished
since we must finish etching them
   Together.

Heed lightning cracks its
own violent tremor into
   Our stone walls.

Still! Winds will tear and maul
rains will erupt and slaughter
then give way to bright sky
   and deadly clear horizons;

reflecting back to us
our own trailing ripple
   of increasingly clear syllables.

Each etched now in our walls.
Mother printed the first
symbol, a delicate addition
first of many, now forming
sprawling racing lines.
Strung together, from the
    inside.

And the monoliths stand tall
and we bare storm
   and choose together.
Side B
The reality is that
our causality
determines our existence.

'Our', is meant literally
in that we also partially
determine our causality
  together.

  This is co-constitutive in nature.

However, this power to create
our own destiny is always within
the limits of our own contexts:
our past choices,
our environment,
our language;

the people around us,
the history within which
our identity emerges
and the current modes open to us
to be different
(or the same).

So, we are here.
And we will be there.
And we have
somewhat of a choice.
Side ***
When sun's breath fires
  wire frame.
Displayed behind
  flat sparkling gravity.
Moon's light casts
  dark mist over murky waters.
Ushering the ark
  gliding over crescent waves:
On raging towers of indignant froth
  not serene silk smooth vast ocean.
    It reaches the dove, carrying branch;
     Holding it aloft as it is
      The     Saint    of the sentence.
The following is written prose. It is intended to convey with clarity and accuracy. It is not intended to convolute or confuse. Therefore, it should flow with precision: focus on what it ought to, not what it ought not to. This rule of prose is absolute; it is the saint of the sentence.
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