Joined again one -
each powerfully aware,
tiny enormous.
Eyes scaly - wings dry spread
tasting awake hungry to feed



.

A ravaged beauty -
long threatened tired life,
riding appreciated  


Friday’s  off-road cycle ride started late with a heart-choking chill head-wind blown rain - blurring my glassed vision, so I trusted into the triple lanes of colours slicing through the Vale of Neath.   Here a builder’s ladder jumped boomeranging off it's white van - attempting to decapitate me - behind me it’s miss was announced by squealing brakes and crunching impacts,  scaring alive splattered visions of a flat-end and being posted within a near drain.     Surviving today's devilled ribbon of the dangerous windscreen imprisoned - sitting with pub bound murderous cohorts - I found off-road safe solitude’s mountain bike path East to Coelbren - joining new, a fine yet unsigned cycle route curling around Mynydd y Drum, to open views of Cwm Tawe as I pass hunting twisting through woods a single Red Kite.   Then  gravities speed, circles barriers into Ystradgynlais top - a narrow ribboned descent, hemmed by cars and paved children to the rugby fields.

Senses travelogue -
previously un-experienced,
time spins slower

Here the trails old section points to Swansea - winding lost betwixt fields, paths, trees and roads to Cwmtawe Cycleway proper, there to pedal beside and across Afon Tawe with repeated special offers of  child saddled exhaust roaring  kamikazes, bicycle maiming broken glass, proudly owned attack dogs, branch hung ball-sacks of excrement, visions of the lost ripped-away steel gated stops, hacked-off wooden fences and never-there deceitful dreams of red doggy bins all disguised what passed for hidden beauty, which he called lovely ugly.    Backing-into Pontardawe to crawl away below the dark bridge, past a single inviting  pub - I accompany the Tawe and it's twin a decrepit polished canal through ***** alleys - until our hero stutters, gapes then tunnels under great noisious noxious ribbons of hurtling tired....

Pressured paced life -
impossible  commitments,
Living organic**

.

Eye lashes flicker
a shared urgent interest
parting - dancing smile

My first inspiration was ***, passionate life squeezing screaming ***, the thumping wall musicality of ***, exhaustingly inventive sweaty and wet.

I wanted to make it a senryu but for duality the female characterisation demanded two more lines each extending to seven syllables.  

Arousing images captured her moaning splashing loneliness in unusual collocation.

I was first excited by the placement of a hovering extended enjambement to give life to my final line, whilst also considering the satisfaction in using noisy mouthed rhythms.  

I believe I easily hid the wet aroused context with a watery semantic field, that suggested she would choke and drown.

So in my last line I had ‘pleasures’ as a cutting keriji to make clear the dominating ****** context, having previously used a preposition and determiner to maintain duality!


Exhausted shivers
in windowed naked currents
unfolding sinking
then surfing vital wavelets
drowning screams - pleasures wet bite


.

Hi, below I copy a humorous hiabun, which I shared as an exercise to mentor enquiring and inspired poets to learn, so they might adopt and try different techniques and then give critique together with awesome comments... Yes, I used the words ***, ****** and **** for context the rest was left to an individual imagination as in good poetry!

It included reflective commentary encompasses innocent classification terminology used in the critique, reading, examining, appreciating, understanding and writing of poetry for example: POETIC DEVICES (enjambement, duality, keriji, images, collocation, semantic, oxymoron, repetition, listing etc.), STORY (personification, characterisation, subject, context, voice etc.), IMAGERY (synaesthesia), STRUCTURE ( lineation, breaks, syntactic etc.), SOUNDS (syllables, rhyme, alliteration, pace, musicality, phrasing, beat, assonance, onomatopoeia, mouthed rhythms, patterned) and WORDS (preposition, determiner, verbs, adverbs, lexical, nouns, adjectives) used by poets, critics and academics...

And here it is :

****** tongue-in-cheek haibun - a reflective commentary on writing a popular tanka

Eye lashes flicker
a shared urgent interest
parting - dancing smile


My first inspiration was ***, passionate life squeezing screaming ***, the thumping wall musicality of ***, exhaustingly inventive sweaty and wet.

I wanted to make it a senryu but for duality the female characterisation demanded two more lines each extending to seven syllables.  

Arousing images captured her moaning splashing loneliness in unusual collocation.

I was first excited by the placement of a hovering extended enjambement to give life to my final line, whilst also considering the satisfaction in using noisy mouthed rhythms.  

I believe I easily hid the wet aroused context with a watery semantic field, that suggested she would choke and drown.

So in my last line I had ‘pleasures’ as a cutting keriji to make clear the dominating ****** context, having previously used a preposition and determiner to maintain duality!


Exhausted shivers
in windowed naked currents
unfolding sinking
then surfing vital wavelets
drowning screams - pleasures wet bite

******* -
thoughts sought, taught and wrought,
aggressive games.
Fighting clubbing sick,
Afghanistan camouflage.


.