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  Feb 2016 Nat Lipstadt
v V v
If I were only me I would drive to San Francisco
and jump off the big orange bridge.

I might do it if I knew it
wouldn’t hurt them,
but I can't because it would
so I keep fighting all
this **** that haunts me.

I have eleven reasons not to do it,
eleven people I will not name,
eleven reasons

not to hit the water at 86 mph,
eleven reasons to avoid massive internal bleeding,
to avoid broken ribs and punctured lungs,
to avoid …telescoping fractures……
asphyxiation by blood and……
….telescoping fractures……..
Eleven reasons to avoid 4 seconds
of second guessing.....and telescoping fractures…..
 
Eleven reasons…… …....................OK twelve.
 
Eleven people in my life I couldn’t do it to.
Twelve including me because I know I won’t like
the sound of what it might sound like,
the difference in my mind between the sound
of fractures and the sound of telescoping fractures,
a terrifying sound, enough to keep me away from
San Francisco, not to mention the big orange bridge.

I lie awake at night with numbers racing around inside
my head, 60 seconds in a minute, 60 minutes in an hour,
4 seconds from rail to water, 220 feet to fall,
24 hours in a day, 86 miles per hour at impact.

I keep counting and sleeping fitful frightening sleep,
endure nightmares of falling, flying off the big orange bridge,
reaching upward, the bridge getting smaller and smaller,

and every morning I wake before impact still a martyr

for all of us.
Nat Lipstadt Feb 2016
~~~

"all poetry is confessional, whether written in the first person or not. If nothing else, it is a homing device to our souls, telling any who read where we stand, what we see from our perspective and our poet's eye. When enough of us speak of what we perceive,
perhaps someday we'll understand that the tree, the snake, and the rope are indeed an elephant."

Joel Frye



perhaps
the essential modifier of our lives,
or as one of the greatest philosopher reprised,
Professor Alfred E. Doolittle,


"Oh, you can walk the straight and narrow;
But with a little bit of luck,
(perhaps)
you'll run amuck!"^

this thence,
one more mine true
confession,
so many discoursed, cursed

have seen the
roped wrapped tree
firmly snaking around its cored trunk,
issuing forced strangling sounds,
the musical product of its own
umbilical chord

still and yet,
the jungled elephants,
from my visionary,
remain ghostly hidden,
stolid solid doesn't not comport with the
hallucinogenic jive of running
amuck!

limitations shun my expectations,
abilities misrule hide my
hoped-for-destination of hopes,
my elephants,
still and yet,
elude the grasp of exhausted roving eyes

undeterred and reaffirmed,
until and then,
when the elephants come to me
on bended knee,
can understanding be
perhaps
pronounced,
as being blessed with best satisfaction,
with the finest of
illuminating,
most-happy-fella,
well known,
elephantine-humantine-pink
combine
phrases

A Happy Ending
After All


















^My Fair Lady - With A Little Bit O' Luck Lyrics
two - 13 - sixteen
San Franciso, Ca.
Nat Lipstadt Feb 2016
I used to think
I can’t be a poet
because a poem is being everything you can be
in one moment,
speaking with lightning protest
unveiling a fiery intellect
or letting the words drift feather-soft
into the ears of strangers
who will suddenly understand
my beautiful and tortured soul.
But, I’ve spent my life as a Black girl
a *****-headed, no-haired,
fat-lipped,
big-bottomed Black girl
and the poem will surely come out wrong
like me.

And, I don’t want everyone looking at me.
Chirlaine McCray is the First Lady of New York City, wife of Mayor De Blasio.

http://www.nytimes.com/2016/02/14/magazine/chirlane-mccray-and-the-limits-of-first-ladyship.html?rref=collection%2Fsectioncollection%2Fmagazine&action;=click&contentCollection;=magazine®ion;=rank&module;=package&version;=highlights&contentPlacement;=4&pgtype;=sectionfront
Nat Lipstadt Feb 2016
"Taking It Home to Jerome"**
by David Kirby


~~~

In Baton Rouge, there was a DJ on the soul station who was
always urging his listeners to ‘‘take it on home to Jerome.’’

No one knew who Jerome was. And nobody cared. So it
didn’t matter. I was, what, ten, twelve? I didn’t have anything

to take home to anyone. Parents and teachers told us that all
we needed to do in this world were three things: be happy,

do good, and find work that fulfills you. But I also wanted
to learn that trick where you grab your left ankle in your

right hand and then jump through with your other leg.
Everything else was to come, everything about love:

the sadness of it, knowing it can’t last, that all lives must end,
all hearts are broken. Sometimes when I’m writing a poem,

I feel as though I’m operating that crusher that turns
a full-sized car into a metal cube the size of a suitcase.

At other times, I’m just a secretary: the world has so much
to say, and I’m writing it down. This great tenderness.



---


A professor at Florida State University, David Kirby is the author of 12 collections of poetry, including ‘‘Get Up, Please,’’ which will be published next month by LSU Press.
Nat Lipstadt Feb 2016
Flight #177 / Seat #7C - where I'm bound/I have been released

the final part of the trilogy,
re broken lives,
some finalized,
some revitalized,
some, their score,
incomplete

~~~


on the road again,
crossing the continent,
from sea to shining sea,
from one set of Eastern grandkids,
off to see the wizardry
of the West Coast variety

six hours six minutes,
flying high time, weather's fine,
a voices inform us, that will be
our mutual time of peaceful co-existence,
on this particular traversée journey

I've done harder time,
30 years ++ with no parole,
except for poetic verse,
them words,
I learned to parlez-vous parlay

never been afeared of flying high,
even amidst the wickedest black pitch,
tar and feathered thick, which is all the
ovaltine shaped window of the
exterior world, cares to reveal
at thirty thousand feet

the oxygen level in the cabin,
as it usually does,
says hey!
feeling heady boy,
so get good, so get ready,
write us a poem, a new shiny toy,
another of your airborne verbal medley

I've got little upon
to expound,
currently limbo'd
tween fresh, death-revived,
past memories of imprisonment and release,
by the jailers of L'Ancien Régime
and
the soon to feel,
happy anticipation of
Frisco fresh young lives re-greeting us,
long distance visitors with joyous screams,
loud, clear and that may cut
the muddied gloom internal,
like a pair of welcoming,
gleeful, liberating scissors

my windowed widowed refraction,
directs my carpaccio-thin guise
to pierce onwards a well trod state of
deeper reflection

noting that we will soon be flying over
water poisoned Flint,
in the state of Michigan,
just missing by an inching,
Paul Simon's sung request,
his "all come to Saginaw" dare

yet, I don't know where I am,
though the course trajectory
pilot-officially programmed and set,
ticketed firect  through to
San Francisco

nonetheless, my internal organs all feel lost,
misplaced and turned down around,
passing directly over cities heard of
and yet never seen or footed,
can I still claim to have been there?

same question differently couched,
providing this passenger's headache,
I was there, of this world,
for the almost forty years plus,
though I wasn't really present,
merely accounted for,
finally learning that "freedom"
is just another word

and though the Angel of Death,
scheduled, made a pre-flight pick up,
he left part of me behind
and on board,
to pick up after,
steward some of his and my
messes

the eyes, the brain, the whole noggin,
search for secret signs,
potent portents, turn indicators,
that this gloomy doom,  cloud thicket,
this too shall pass,
this last shared repast of shards,
this,
my so long now song
an au revoir to
"sad eyed lady of the lowlands"

noting that I am outbound and seated,
on a bunch of lucky sevens, flight and seat,
could be my luck is youthful changing?

where I'm bound
I can't tell,
I'll let you know when I get there
when I know, how I'll know,
I don't know, maybe some
extrusion of new words will speak,
at landing time, a different voice,
where and when I'm bound,
that will cry out


"now unbound,
at last,
at last,
I have been released"
**

~~~
2/11~12/2016
started while over the Great Lakes, Michigan, and Wisconsin;
completed over Tahoe, Carson City, & Sacramento
"With your childhood flames on your midnight rug,
And your Spanish manners and your mother's drugs,
And your cowboy mouth and your curfew plugs,
Who among them do you think could resist you?
Sad-eyed lady of the lowlands,

Where the sad-eyed prophet says that no man comes,
My warehouse eyes, my Arabian drums,
Should I leave them by your gate,
Or, sad-eyed lady, should I wait?


Oh, how could they ever mistake you?

They wished you'd accepted the blame for the farm,
But with the sea at your feet and the phony false alarm,
And with the child of a hoodlum wrapped up in your arms,

How could they ever, ever persuade you?
Sad-eyed lady of the lowlands,
Where the sad-eyed prophet says that no man comes,

My warehouse eyes, my Arabian drums,
Should I leave them by your gate,
Or, sad-eyed lady, should I wait?

With your sheet-metal memory of Cannery Row,
And your magazine-husband who one day
just had to go,
And your gentleness now, which you just can't help but show,
Who among them do you think would employ you?

Now you stand with your thief, you're on his parole
With your holy medallion which your fingertips fold,
And your saintlike face and your ghostlike soul,

Oh, who among them do you think could destroy you?

Sad-eyed lady of the lowlands,
Where the sad-eyed prophet says that no man comes,

My warehouse eyes, my Arabian drums,
Should I leave them by your gate,
Or, sad-eyed lady, should I wait?


Read more: Bob Dylan - Sad - Eyed Lady Of The Lowlands Lyrics | MetroLyrics
Nat Lipstadt Feb 2016
criss·cross  (krĭs′krôs′)

~~~
verb:  
criss·crossed, criss·cross·ing, criss·cross·es
1. To mark with crossing lines.
2. To move back and forth through or over:
noun:
1. A mark or pattern made of crossing lines.
2. *A state of being at conflicting or contrary purposes.

~~~


Oh Steve,
you nailed me
one mo' time,
to this cross of mine,
it's composition,
wood of linear mish mash, and the
nails, of a clear liquid substance,
drops of contradictory emotions

insight inside,
your practiced spécialité,
disarming the self-arming, harming,
we let our minds assemble reasons why,
in order to ourselves
dissemble

I keep hammering myself

unsure why, unclear the charge,
unknown the inevitable outcome

but the lines are continuously crossing, indeed,
but the intersections dissatisfying, in deed,
which is why theses words sores,
seeded by your words,
both burst and languish,
taking to the limitless limit,
of deep water oil exploration

unsure if I want to discover,
unknown if I want to uncover

the essential oils,
the caustic causing lyes,
that anoint these graying hairs,
blind his eyes,
both resting upon a furrowed, burrowed,
a puzzled forehead expression of
confusion about such simple line items as

life everlasting

out of bounds,
out of town,
writing poetry,
down by Richie Haven's San Francisco Bay,
listening to Norah Jones, wailing plaintive,
another Pandora perfect choice
"Don't Miss You At All"

am I stuck on an endless, repeating rifle
firing blanks of repetitious, line life patterns,
or worse,
forever trapped in the colorless
spaces between,
wondering if I can answer-handle
Stevie Nick's pre-vision precsion
pinpricking, questioning,
about the seasons of our life


" but time makes you bolder,
even children get older,
I'm getting older too...
and if you see my reflection in the snow covered hills,
well, well, the landslide will bring it down"

so in this out of state, out of mind,
drinking up these meandering ramblings,

experiential wondering not,
if
the summer sunshine,
only the
when,
it will return,
and the lines drawn upon my face
sun burnt,
cease their
meaning meandering
re life's line items such as

life everlasting*


~
Market Street
San Francisco,
two thirteen two thousand sixteen
given and gifted to me by my
dear fellow poet
Sjr1000 ›

Re:  Part II: She's Dead (Don't Think Twice, It's All Right)

Moving beyond moving, heart wrenching heartfelt, worthy of a moment of total silence. Life and death in all of its
criss-crosses
Nat Lipstadt Feb 2016
ABRAHAM LINCOLN’S FAMOUS CIVIL WAR CONDOLENCE LETTER TO YOUNG ***** MCCULLOUGH ABOUT DEATH, LOSS AND MEMORY**

Executive Mansion,
Washington, December 23, 1862.

Dear *****

It is with deep grief that I learn of the death of your kind and brave Father; and, especially, that it is affecting your young heart beyond what is common in such cases. In this sad world of ours, sorrow comes to all; and, to the young, it comes with bitterest agony, because it takes them unawares. The older have learned to ever expect it. I am anxious to afford some alleviation of your present distress. Perfect relief is not possible, except with time. You can not now realize that you will ever feel better. Is not this so? And yet it is a mistake. You are sure to be happy again. To know this, which is certainly true, will make you some less miserable now. I have had experience enough to know what I say; and you need only to believe it, to feel better at once. The memory of your dear Father, instead of an agony, will yet be a sad sweet feeling in your heart, of a purer, and holier sort than you have known before.

Please present my kind regards to your afflicted mother.

Your sincere friend

A. LINCOLN.
A Common Bond of Grief

By
Harold Holzer

Feb. 12, 2016 4:24 p.m. ET
“We can not escape history,” Abraham Lincoln warned in his annual message to Congress on Dec. 1, 1862. Just four days later, as if to prove Lincoln’s point, an obscure Union cavalry commander lost his life battling a nighttime ambush deep behind Confederate lines at Coffeeville, Miss. The remote dust-up at which Lt. Col. William McCullough died heroically earned scant notice in Washington—except from the president himself.

Years before, as a circuit-riding lawyer, Lincoln had come to know McCullough and his family when the Bloomington, Ill., resident served as sheriff, and then as clerk of the county court. The two men had much in common. Both had served in their state militia during the Black Hawk War. Each married a woman named Mary. Both became Republicans. And each lost young children to disease.

At the outbreak of the Civil War, Lincoln had allowed his old friend to volunteer, though, at 50, the white-haired McCullough was ancient by military standards, lacked vision in one eye, and had lost his right arm to a thresher. Now Lincoln learned that, outnumbered at Coffeeville, McCullough had clenched the reins of his horse between his teeth and galloped along his lines, saber raised in his remaining hand, rallying his men to fight.

No doubt already remorseful, Lincoln became especially concerned when mutual friends reported that the hero’s 22-year-old daughter Mary Frances—known as “*****”—was grieving with alarming intensity. The “afflicted” young woman had shut herself off in her room, refusing to eat, “pacing the floor in violent grief, or sitting in lethargic silence.” Her family feared “for her consequences.”

Lincoln was no stranger to the fragile tipping point between grief and insanity. The loss of his beloved 11-year-old son Willie earlier in 1862 still haunted his dreams. His wife’s hysterical mourning had triggered a breakdown. Earlier in his life, Lincoln had grown so despondent over the death of his New Salem, Ill., sweetheart Ann Rutledge that neighbors ordered him “locked up” to “prevent derangement or suicide.”

Informed in mid-December of ***** McCullough’s “broken hearted” state, Lincoln intervened with one of the mere handful of personal condolence letters he wrote to honor war heroes and assuage their survivors. That he penned it just days after a morale-crushing Union defeat at Fredericksburg, and only days before he had to decide, amid intense pressure, whether to issue the Emancipation Proclamation, makes Lincoln’s achingly tender composition especially remarkable. The “McCullough Letter” deserves its reputation as one of the greatest condolence letters ever written, even if it remains little-known—a tour de force in a genre that arguably required more literary dexterity and delicate persuasiveness than even a great orator’s most demanding public speech.

“In this sad world of ours,” Lincoln counseled, “sorrow comes to all; and, to the young, it comes with bitterest agony, because it takes them unawares. The older have learned to ever expect it.” Here, with rare candor, Lincoln was reopening a painful old wound of his own: the loss of his beloved mother, who had suffered a horrible death before his eyes when Abe was only 9. Promising “some alleviation of your present distress,” Lincoln knowingly walks ***** through a multistep recovery program, from overwhelming sorrow to the “perfect relief” that would come only with time. “You are sure to be happy again,” he promised her. “The memory of your dear Father, instead of an agony, will yet be a sad sweet feeling in your heart, of a purer, and holier sort than you have known before.”

The original one-page, 166-word letter took a long journey to full public disclosure. In the 1950s, the reprinted text appeared in “The Collected Works of Abraham Lincoln,” but the original remained in McCullough family hands. Music executive Carl Haverlin acquired it in the ’60s for a then-record $60,000. Fortunately, it was ultimately acquired in 1997 (for $400,000) by public-spirited manuscript collector Benjamin Shapell. While the treasure now resides in the private Shapell Manuscript Foundation archive, its owner has generously made it available for public exhibition (most recently at the Library of Congress and the Morgan Library). Best of all, the scanned manuscript also lives online (www.shapell.org), where it can be rewardingly inspected in vivid close-up. Neatly penned in Lincoln’s legible hand on blue-lined Executive Mansion letterhead, still creased where it was folded twice to fit into a White House envelope, it appears nearly as crisp today as the moment ***** McCullough first opened it.

Lincoln signed his condolence message to *****, “your sincere friend,” and to many of the loyal thousands who lost fathers, brothers and sons fighting for the Union, the consoler-in-chief must have seemed so. But where ***** McCullough was concerned, one senses a closer, more unique connection: the bond between two soul mates who mourned inconsolably, suffered deeply, and needed desperately to recover in order to live—and, in Lincoln’s case, to lead.

In time, the once-irreconcilable ***** re-entered the world as well. Surely inspired by Lincoln, she recovered enough to overcome yet another staggering loss: A young soldier she fancied died in action, too. Eventually she married his brother and long endured. ***** kept the president’s condolence letter in her possession until the day she died, at the age of four score years.
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