A ******* the train with witch's hair and dark eyes
Stared at me as if I was hiding a secret in the curve of my lip
Or the space between my eyebrows
Or in whirlpool-pupils
I wonder if there is something of the occult in the way I walk
Like a dead woman who adores the crows that pick at her bone marrow
Is there something in the hollows of my eyes that suggests
I am not afraid of the demons summoned to hunt me down
On my morning commute?
This girl was staring at me really weirdly on my way to work the other day. (This is a recent poem) she had witchy kind of hair and as soon as I found myself thinking that I knew I'd write a poem about her. Enjoy.
What makes a good poem?
Is it the rhythm? The structure? The carefully placed similes like dog treats and the restricted use of rhetorical questions?
If that's the case,
I think I failed the test.
Oh please! Don't leave! Let me try this again!
(A cough to clear the throat)
When one writes iambic pentameter
Doth that make his good prose the worthier then?
If I write a witty couplet in a rhyme
Does that make this utter **** more worth your time?
Have I got the tempo right?
I need an exclamatory tone!
Rhyming feels better somehow
But it doesn't make trombone.
My jittery jilted stream-of-consciousness different-line-length punctuation-less word-***** onto a page-
Pause for breath-
Can never match the likes of Donne or Keats;
But I've bled my soul and fire onto this page
And surely, that is worth more than conceits?
This is my attempt at humour. Apologies. The title is a play on 'A Good Friday, 1613, riding Westward', a poem by John Donne, who I was studying at the time. This was prompted by reading all the great poets and realising that, technically, I will never be as 'good' as them. But I like to think that art isn't quantifiable, and that so long as you write with truth and emotion, you'll create something beautiful.
— The End —