Submit your work, meet writers and drop the ads. Become a member
Born at the age of sixteen
To again experience the cusp of noon sun
At the bottom of orangeade syrup
Indelible on your tongue, permanent
In a mid-summer twilight
At the touch of sweat skin and wet ears
On maple arms and black foot night
Singing to the will o’ the wisp
(Leather bound a thought
They will read it, perhaps pay
And take pleasure in your hymn
As verse of summer knows the animus
Which lightens the load of e’ryone)

Ineffable are his hands on terra cotta walls
A hot whisper in the ear and cotton lips
Which press the skin on beachy nocturne
To the ocean, the unforgiving expanse
That vomits all my woes
Which I throw back into it
To again experience the cusp of heat
And boiling blood and salty extravagance
The emotion at an apogee
That makes the world a rumination of wonder
(Not to live without fault
But to thrive in its decadence)

The heat of twilight cakes my legs in shorts
On yellow sunspots, glowing in his amber eyes
Soon, to appear on the cusp of gothic moor
During the late ombre effect of dusky sky
When its nighttime cataract reveals, the moon
A pitted moonscape
The moor is silent and whispers to its dwellers
If I were to find him there, in the fresco
Etched into the crystal caverns of night
Would he respond in the marsh
With the crickets between the reeds
Or the owl on the ground mole
As the whispers of naiads?
That dog
sat outside that house
for two and a half years.
It sat through snow and rain.
One year there was a tornado, and it was only half a mile away.
And it sat through that.
Houses suggest the idea there's a family inside them,
and this one suggested a very loving one.
That dog believed in his heart of hearts
that one day
the door would open
and these children
wonderful, laughing children
would love him and pet him
and so he sat.
and waited.
Sometimes, he would lay down,
and he slept a lot.
Sometimes, there would be days
where he really,
really thought
that those laughing children could burst out at
any
moment,
and he would pace
back and
forth
on those days.
It was like the world was black and white,
and the music playing was low and quiet and thin.
And that dog was waiting for
that glorious moment.
When suddenly, in a crescendo of happiness,
the world would fill with color
and the music would become full and thick.
And so he waited.
There was a long period, when that dogs faith
in the laughing children, almost faded.
His belief had almost worn out,
but then he thought that maybe he
had possibly heard the faintest sound,
and maybe even a chuckle.
Even if it was just a baby's gentle gurgle.
And so he paced
and he paced.
And after a while he lay down,
and then he slept.
and that dog didn't wake up
for a long time.

That dog opened his eyes,
immediately he knew something was different.
The light was on,
the light was on in the house.
He stood up.
At the edges of his world,
color started to fill in,
and the music
started to grow.
And the door **** turned,
and it was bright gold.
Yell,
yell so they notice you.
And when the door opened, there were people.
But there were no children.
There was no laughing.
The color faded out, and the music
stopped playing
all together.
These people were far to old,
the time when they had been children was gone,
it had left long ago.
So timidly, that dog stepped inside.
And wrinkled, softly wise people
touched his head
and scratched him.
It wasn't amazing,
it wasn't laughing children,
but maybe it had been, years ago.
Either way, he knew that this was right.
And he looked at himself,
and realized how long it had been,
and realized how old he himself was.
And he stood up, and he paced,
and he lay down.
And that dog slept,
and he didn't wake up.
© Benjamin H. Anthony 2010
I ain’t got no intimate, ain’t got no stiletto heels
Ain’t got no Lsd, ain’t got no smack
Ain’t got no partners, ain’t got no drill
Ain’t got no slapstick, ain’t got no hanky—panky
Ain’t got no Lsd, no slot to mount

Ain’t got no castrato, ain’t got no crumpet
Ain’t got no conjoined twins, ain’t got no nuns or eunuchs
Ain’t got no whipcord, ain’t got no adoration
Ain’t got no *******, ain’t got no stimulant
Ain’t got no ******

Ain’t got no oscillation, no shags
No uniform, no parts
No smack, no drill
No partners, no peccadillo
Ain’t got no stimulant

Ain’t got no whipcord, no propagators
No titbits, no intimate
I jabbered, I ain’t got no uniform, no hanky—panky
No peccadillo, ain’t copulated till one is blue in the face to have a funny feeling
And I ain’t got no ******

Oh, but what have I copulated, oh, what have I copulated
Let me tell what I copulated and nobody’s going to enlarge telescopic

I got my ***** on my face
My extra—sensory perceptions, my knobs
My ******, peckers and my *******
I got my stuck—out tongue

I got my tentacle, my proboscis
My *****, my *******
My thingummies, my cockles of the heart and my posterior
I got my *******

I got my thingummies, my talons
My ball and socket joints, my forelegs
My hooves, my pincers and my snorker
Got my crest

I got *****, I’ve inseminated cheerleaders
I’ve got bottomgremlins and hacksawhoodoo
And Mephistophelian juggernauts too like you

I got my *****, my pistil
My ESP, my knobs
My vaginas, my peckers and my *******
I got my stuck-out tongue

I got my tentacle, my proboscis
My ***** and my *******
My *****, my ***** and my posterior
I inseminated my ****** sorbet

I got my thingummies, my talons
My ball and socket joints, my forelegs
My hooves, my pincers and my snorker
Got my crest

I got my *****, I got my slipperiness, my *****
I got *****
Copyright © Irma Cerrutti 2009
 Dec 2010 Emily Fay D
Jay Dread
Life gives my stomach knots
Dread conquers my thoughts
I am weak, for I can take it no longer
As life goes on, it gets wronger and wronger

I look to the pills; I look to the bottle
They are kind and act as my throttle
Uppers and downers
My friendly encounters

People: my enemies
Hates and jealousies
They are all better than I could ever be
They have more than I could ever see

So what will I take today?
What will make these thoughts go away?
But they'll be back, just  like a pest
What I need is eternal rest
Copyright. Jay Dread. 2010.
I just wanna say
How unlikely  you are
Hey, boy, but I like you
And the stretch from truth ain't far

Multicolored lights
Dancing on the wall
Hey boy, but you fascinate
And that's just overall

How about you and me
Take a waltzy twirl
Hey boy, but it's wonderful
And I love the way you curl
Between my finger and my thumb
The squat pin rest; snug as a gun.

Under my window, a clean rasping sound
When the ***** sinks into gravelly ground:
My father, digging.  I look down

Till his straining **** among the flowerbeds
Bends low, comes up twenty years away
Stooping in rhythm through potato drills
Where he was digging.

The coarse boot nestled on the lug, the shaft
Against the inside knee was levered firmly.
He rooted out tall tops, buried the bright edge deep
To scatter new potatoes that we picked,
Loving their cool hardness in our hands.

By God, the old man could handle a *****.
Just like his old man.

My grandfather cut more turf in a day
Than any other man on Toner's bog.
Once I carried him milk in a bottle
Corked sloppily with paper.  He straightened up
To drink it, then fell to right away
Nicking and slicing neatly, heaving sods
Over his shoulder, going down and down
For the good turf.  Digging.

The cold smell of potato mould, the squelch and slap
Of soggy peat, the curt cuts of an edge
Through living roots awaken in my head.
But I've no ***** to follow men like them.

Between my finger and my thumb
The squat pen rests.
I'll dig with it.
1

Senlin sat before us and we heard him.
He smoked his pipe before us and we saw him.
Was he small, with reddish hair,
Did he light his pipe with a meditative stare
And a twinkling flame reflected in blue eyes?
'I am alone': said Senlin; 'in a forest of leaves
The single leaf that creeps and falls.
The single blade of grass in a desert of grass
That none foresaw and none recalls.
The single shell that a green wave shatters
In tiny specks of whiteness on brown sands . . .
How shall you understand me with your hearts,
Who cannot reach me with your hands? . . .'

The city dissolves about us, and its walls
Are the sands beside a sea.
We plunge in a chaos of dunes, white waves before us
Crash on kelp tumultuously,
Gulls wheel over foam, the clouds blow tattered,
The sun is swallowed . . . Has Senlin become a shore?
Is Senlin a grain of sand beneath our footsteps,
A speck of shell upon which waves will roar? . . .
Senlin! we cry . . . Senlin! again . . . no answer,
Only the crash of sea on a shell-white shore.

Yet, we would say, this is no shore at all,
But a small bright room with lamplight on the wall;
And the familiar chair
Where Senlin sat, with lamplight on his hair.

2

Senlin, alone before us, played a music.
Was it himself he played? . . . We sat and listened,
Perplexed and pleased and tired.
'Listen!' he said, 'and you will learn a secret--
Though it is not the secret you desired.
I have not found a meaning that will praise you!
Out of the heart of silence comes this music,
Quietly speaks and dies.
Look! there is one white star above black houses!
And a tiny man who climbs toward the skies!
Where does he walk to? What does he leave behind him?
What was his foolish name?
What did he stop to say, before he left you
As simply as he came?
"Death?" did it sound like, "love and god, and laughter,
Sunlight, and work, and pain . . .?"
No--it appears to me that these were symbols
Of simple truths he found no way to explain.
He spoke, but found you could not understand him--
You were alone, and he was alone.

"He sought to touch you, and found he could not reach you,--
He sought to understand you, and could not hear you.
And so this music, which I play before you,--
Does it mean only what it seems to mean?
Or is it a dance of foolish waves in sunlight
Above a desperate depth of things unseen?
Listen! Do you not hear the singing voices
Out of the darkness of this sea?
But no: you cannot hear them; for if you heard them
You would have heard and captured me.
Yet I am here, talking of laughter.
Laughter and love and work and god;
As I shall talk of these same things hereafter
In wave and sod.
Walk on a hill and call me: "Senlin! . . . Senlin! . . ."
Will I not answer you as clearly as now?
Listen to rain, and you will hear me speaking.
Look for my heart in the breaking of a bough . . .'

3

Senlin stood before us in the sunlight,
And laughed, and walked away.
Did no one see him leaving the doors of the city,
Looking behind him, as if he wished to stay?
Has no one, in the forests of the evening,
Heard the sad horn of Senlin slowly blown?
For somewhere, in the worlds-in-worlds about us,
He changes still, unfriended and alone.
Is he the star on which we walk at daybreak,
The light that blinds our eyes?
'Senlin!' we cry. 'Senlin!' again . . . no answer:
Only the soulless brilliance of blue skies.

Yet we would say, this was no man at all,
But a dream we dreamed, and vividly recall;
And we are mad to walk in wind and rain
Hoping to find, somewhere, that dream again.
Marooned

Vapid beauty of this room
Frothing carpet, ocean blue
One wall me, the other you
What lies between is residue

Scribed on soggy, shipwrecked parchment
Questions asked, time forgotten
Who are we?
What do we know?
Into these questions Summer flows
And thrashes at your Autumn’s brinks
Yearlong they torment my brain
Infringing on every season

If not for the manic scheme
To love and having loved be loved
This correspondence to a distant land
With stars, more numerous and brightly lit
Than my burgeoning highway exit
Would by no means have left my hand

But if, against all odds, it will prevail
Extolling truth’s folly, my sorrowful tale
Quells with reason my groundless pride
At having docked on your passionless harbor
Unloading platonic cargo during our youth’s ebbing tide
Must not create union of body or mind
You swallow my horizon, like the sun twilight
Though, one need not chase that orange orb for tomorrow

In this night without fortitude, lewd humor consumes me
Singing with the mouth on my head and your voice inside
I plunge into darkness
Skimming its silky surface
Before zipping it behind me

Shall I drown, as I have lived?
In vain, my dreams your subjects
Taken for ransom in your heart’s Tripoli
Not surmising recompense, I forfeit this
A note belying resonance
Of my heart’s last echoed throe
One desperate effort, giving up
Feed every vestige to the void
Wading, torso encumbered
Each sullen relic of your memory
Falls to the deep’s frigid ebony
Then, only too late am I cognizant
That my own breath is tribute yet spent
Therefore if I were to float or swim
I’d give you every ounce of who I am
Convince you to relinquish me
From your tepid, spurning sea
Then lying beneath moist underbrush
Slowly, breathe no more
MMX

This is basically a revision of my poem Anstoss

My recitation here:
http://youtu.be/v7LdsUwUCEM
What a misfortune, although you are made
for fine and great works
this unjust fate of yours always
denies you encouragement and success;
that base customs should block you;
and pettiness and indifference.
And how terrible the day when you yield
(the day when you give up and yield),
and you leave on foot for Susa,
and you go to the monarch Artaxerxes
who favorably places you in his court,
and offers you satrapies and the like.
And you accept them with despair
these things that you do not want.
Your soul seeks other things, weeps for other things;
the praise of the public and the Sophists,
the hard-won and inestimable Well Done;
the Agora, the Theater, and the Laurels.
How can Artaxerxes give you these,
where will you find these in a satrapy;
and what life can you live without these.
Next page