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Leigh May 2015
The tide collects it all by morning;
The drama and the ***** napalmed across the path.
The scenes at second warning for most had been swept away
Before they wiped the sand from their shoes.

Empty cans of Dutch and Tuborg slouched on the dunes
Are tight-lipped about the Velvet Strand's secret ecosystem;
An underground microcosm;
A peripheral cluster of seething emotions drowned.

Memories of those years - although some expired,
The vestiges take pride of place - hold a cosmic clump of smells,
Tastes, firsts, goosebumps, hangovers, and ends.
I never before understood what I was holding on to.

Winters down in the shelters nearly killed us but we
Huddled through the cold, lit cheap firelogs and
Found our oblivion. It didn't take much for me to develop  
A stagger - tolerance for a lot of things was learned later.

I narrowly recall my first taste of poor judgement and
Hazy-headed stargazing. Six cans of Stonehouse
Dry cider - most of which ended up on the hillside -
Was a ridiculous endeavour that will always be sublime.

At the heart of it, I did it to impress a girl;
The one every boy has or has had that sticks;
Who holds your firsts and your hands and makes
Things simple if only for her complexity;

The one that never fails to bring upon digression when
Pens are involved. Revisiting reminiscence on a jarring note,
I think of my Junior Cert exams and a cross-dressed man
Exposing himself to two uniformed boys behind the public toilets.

This one doesn't stir the joy of the others.
This one I wish would dissolve;
An ugly, awkward blotch on a childhood.

Luckily fondness trumps disgust when recalling that place
Because of sunrises and sunsets absorbed from the roof.
The Summers spent jumping the gap and drowning in the
Heat of the sun were everything.

The fugitive sand between our toes and under finger nails
Became an accepted nuisance, a part of the territory;
A lingering grain or two to drag you back.
I miss waking up with the smell of last night's faded fire.
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Some weird and wonderful memories of my teenage years.

100 points if you catch the Derek Mahon reference.


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Leigh Apr 2015
The hourglass spills days while penning insides and outcries
leaking content soaking pages; infecting woven fibril.
Using sharp fragments of semi-coherent tangents I scrape away
the leftovers:

Scraps of unfit metaphors fed to mounds of misshapen sentiment
Rusted similes left strewn on margins like impotent flotsam
Sampled words that don't quite capture the yaw, pitch,
angle, vibe, or taste I'm gunning for.

All tossed - Useless on paper, but useful as a dense foundation
of nonsense to bolster my intent.
The scribbled-out waste; the deep black marks between the final
cut are the raw outpouring I can't let you see.

The mess is too mottled for exhibition
Too fragile and too honest to absorb the stones.
.



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Leigh Apr 2015
.
Muddled senses in honest circles;
simply delightful,
like a lobotomy.
.
.


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Leigh Apr 2015
.
Cardboard mattresses lining doorways;
a warning to avert your eyes
lest you be caught off-guard by throwaways
or made to squirm because you empathise.

A pinched sneaky glance at a sleeping bag
to see if a wayward vagabond there lies
A woman and child, or a greasy toerag
Probably a ****** laying vacant on high.

It is with pacified ignorance you accept this -
society's stunted stereotype, which offers no prize
for presuming your time's of more value than his
hers or theirs, a lost cause - the shivering exiles.

A person cold and damp remains a person
whether they smile or they stifle their cries
upon losing their place when matters worsen;
we can help, we can acknowledge they're alive.
.
.

I'm not usually one for rhymes but here we are.

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Leigh Apr 2015
Yoi
Settle your head, slow your breath and take a moment,
take a few and listen to the sound of your body.
Slowly close your eyes and marvel at the shapes snaking their
way across your inner lids; watch them paint the room
within a room as they pulse; fading and then leaping back in time -
a strobe diminishing with every slowing beat, eventually melting to static.
Breathe slowly in through your nose and out through your mouth.
Squeeze your knuckles tight and then relax once again. Focus on the
wave of tension momentarily created, coursing like lightening
up your arms and back, to your shoulders, your neck, and then feel it
dissipate as you exhale, spreading new energy to every nerve in your body.
Now open your eyes and find yourself
here
a heartbeat
in a shell.

This is what it feels like to be ready.
This is where you need to be if you mean to begin.
This is clarity.

"Hajime!"
.


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Leigh Apr 2015
Holding back is an impulse for those of us
who spell 'happy' with a question mark.

We are the restless, thinking deeply;
trained to accept a consuming plateau.

We follow theories in patterns so as to clumsily grasp at
a conclusion to poke holes in and a reason to follow it
around again - the upended bicycle wheel spins and
we push ever harder - desperate to find something new;

Words to write or notes to piece together on a
set of strings or keys to show we're here and happy?

A little grain of our forever-doubt to leave behind
after spending lives tracing a question mark;

Weaving a pen around the joy that grows in the
middle of our road to arrive at an empty point.

?
.

Happy?

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Leigh Apr 2015
For Idil Ibrahim
In memory of Tim Hetherington - 1970 - 2011

I cannot stay and speak my truth while the front line has no voice.
The carpet doesn't share substance with the blood-clumped
dust of Liberia; Red wine doesn't stain nations and it hasn't
changed the world.

I cannot stay and walk these steps while the fragile youth stand.
Our Sunday morning route doesn't cover landscapes of wounds
and bodies; Central Park has never felt a thousand welted
feet march for death.

I cannot stay and see your face while molten plastic scars her world.
Your delicate eyes have never seen the darkness of a child's grief;
Our democracy cannot fathom the searing, slow drip after a family
massacred.

I cannot stay and feel worthy of your love while injustice goes unseen.
My lens has immortalised what we held dear, but is yet to capture
the human condition; I spoke to you like I spoke to them;
Through decades of mortar fire I spoke to them.
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Inspired by the life of Tim Hetherington, a frontline war photographer and journalist. His story is well told in 'Which way is the front line from here?' A truly remarkable person.

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