Running amok black bellies of hail-clouds
divest their hard cargo
on near-ready harvest and thunder claps
in spiteful applause.

Scudding sails of racing white galleons
arrive to the rescue
and change weather's position as quiet
breaches gale's disorder.

Setting the sun throws magenta feathers
across dark horizon
and to settle the issue parades jade tints
as the landscape transforms.

Waiting small boats plod homewards in
fish-laden formation
while wives run to stoke hot-kettled fires
of ready bath water.

Lighting a pathway half-moon winks as
heavier catches in
hauled nets silver the harbour and men
start night's final performance.

Sating hunger with coming and going
sow-and-reap women know
the meaning of sharing male labour in
scaling and salting chores.

Fisher-folks' world begins and ends
with the vagaries and quirks of weather.

this whole human race is crazy
I walk upon a ground that craves me
no one ever said that this world would please you
and no one sees you

it really isn't hard to please me
but the beginning or the end ain't easy
just a due to be paid to the ground that craves you
and no one saves you

The way I'm going now,
I'd probably crash into your living room:
tearing apart the art-deco set up
with my red car,
mashing art and steel into a subculture
of hate, and the unrequitedness of love.

Baby,
I'm rocketfuel and bedding-
I'm churning up the cotton into kindling
and I'm burning so bright
I don't think I'll be able to top this.
I won't be able to top this.

I'm swallowing air and the sea,
the sea can wait a little while,
I'm yelling so hard at the waves my
throat has more salt than your tears,
listen

you don't need conch shells to hear
me pleading for you; strumming six songs a second
and wailing into a chorus of
"I'm sorry" and "I love you";

it almost sounds like

I'm apologising.

I.

I’ve swallowed too many I love you’s
to be afraid of coughing up blood.
They cut you on secret.
Who knew it was drinking gasoline
and sawdust and every little inflammable thing
and then sitting down cross-legged
in the heart of a howitzer; soft.

II.

You are a soft explosion.
You are streaks of a rebel orange
in a sky that is supposed to be blue.
You are steel rods in the curve of my spine,
holding me straight.

III.

I love you’s are like death notes written in ash:
you’ll have to smoke your way to it.
Smoke cigarettes, journals, curtains,
and yourself to get that much ash in your lungs;
trying to blow smoke rings into your finger;
my ceiling knows more about my sadness than you do.

IV.

Saying an I love you once will have you
chanting “don’t leave me” on a rosary;
love will take your bones and leave you
lusting for somebody whose back
is the last thing you’ll see, and whose
skin you’ll think you left your keys in:
and now you’ve locked yourself out
of your own house, in a storm
whose sirens wail in your ears and remind
you, you’re hopeless and homeless.

V.

I love you’s leave no exit wounds,
no shell casings, and when the time comes
you’ll be telling them all how his bullet
ricochets in your ribs,
but emotion never made up for evidence
in the court of settlements for a broken heart.

VI.

Telling someone you love them is like cutting your jugular
and not expecting to bleed out.

VII.

I love you like the pages of a mad girl’s journal.

VIII.

The moon turns from an ally
to the haunting image of science and realisation:
you share the same sky, but no longer the same bed.
And astronomy keeps ******* you over
when you look up at the sky
and no longer understand constellations.

IX.

Love makes it more getting-back-at-you
than getting-back-together-with-you.

X.

Every time you taste blood,
you’ll know you kissed somebody
with teeth like needles
and they cut you everywhere; they
bit you, they bit you, they bit you
and you kept letting them.