The grapes haven't spoiled yet, but
will now never be tasted.
The cut flowers
still have some perplexing
life in them.
Hanging from a
tree branch, I find a message
written by a dead woman.
There's a bookmark
embedded between the
pages of a hardback, like
Excalibur lodged in
stone, and I
cannot pull it out.
It hurts to walk along
certain corridors,
past certain doors, with
no one behind them
calling to me.  
The radio is tuned to Ghost FM,
and nobody with a pulse
gets airtime.  
Digital photographs of
fading analogue memories.

Yet still small shoots persist
in breaking through this dark, cold dirt, and
inexplicably blossoming.

I was overwhelmed by the enthusiastic response this poem received when I posted it last month.  As it seemed to resonate with the current prevailing mood, I figured I'd try a quick spoken word video to go with it.  

Thank you again to everyone who commented on, liked, added and reposted the written version.

https://youtu.be/wGxRvuMWCig

Credit for filming and editing goes to Cornelius Something of Manufacturing Content  
manufacturingcontent.co.uk

If only, on that fateful day,
my Draft Board had been on LSD.

They might have sent me to Wonderland
to explain croquet and the proper pouring of tea;

they might have sent me to OZ
to get into Dorothy's pants or train flying monkeys;

they might have sent me to Hogwarts
to get an advanced degree in something useful;

they might have sent me to Narnia
in search of ****** pelts and talking mice;

they might have sent me to Never Land
to counsel Captain Hook on anger management;

but no, instead, imagination failed utterly,
and those patriotic imbeciles sent me to Vietnam.

If only, on that fateful day,
my Draft Board had been on LSD.

The Culture twists and shrieks, wracked by
violent spasms of regression, recoiling in
pain and terror, contracting inwards
like some giant spider god dying.

Maybe snake oil will
offer a cure.
Perhaps we can
purge the demons
by drilling the right
holes in the right
skulls.  We could try
electro-shocking our way
back to 'normal'.  We
might even rediscover
the benefits
of leeches.  

We're building walls
and burning bridges.
We're forgetting the
lessons we never quite
learned.  We're watching
ourselves watching ourselves
watching ourselves on
an endlessly repeating loop
of tiny glowing screens.  We
willingly downsize our
worlds until we have to make
ourselves smaller, just
so we can still fit.

The future is closer
than we realise.  It's just
not as big as we
thought it would be.

Never enough.
Never enough of anything.
It's always running low,
running out.
Money, energy, time.

The fuel gauge
threatens empty.
The bank balance
teeters and tips
into the red.
Almost out of smokes, and there's
one last shot
in the bottle.
The car tax expires
in two days.

You've been
exhausted
since forever.
You can't kid yourself
that you're young any more.
Clocks tick
just to **** with you.
It's dark, but
not as dark
as it gets.

We really didn't need
another study
into the Placebo Effect,
but it
made the researchers
feel better.

Not real people,
just characters,
defamiliarized,
playacting through
the stage dressing
of their
unconvincing, plywood
lives.
In one small spotlight,
one character
is deciding
not to call
the other character,
and a
second spotlight
picks out a
telephone
not ringing, and
the second character,
who could
call the first,
but doesn't.
Between them,
the few metres of
darkened stage
represent the cold,
separating sea, or
their emotional
estrangement, or
the shadowy uknowability of
the inner self, or
something.
They don't elicit sympathy,
these characters, only perhaps
an intellectual empathy,
critical and objective.
They are devices
by which we might learn
some abstract lesson about
the human condition.
They cry, or don't,
soliloquise about their fears,
their guilts and their woundings,
or are silent;
they damage each other,
themselves, and seem
incapable of learning
from pain.
But they are not
real people,
only symbols,
only the roles
they occupy:
Father,
Daughter.
It might be heartbreaking,
if it wasn't all so
far away.