Submit your work, meet writers and drop the ads. Become a member
 
Paul Jun 3
In the quiet of her chamber, Olympia,
propped on one elbow, one breast hung
toward the bed; unkempt, untended,
unmade. No fruit, flowers, or servant
bending to her needs, but the noon sun
reaching through the window with shafts
that baste her soft flesh gold. She exhales, listless as the breeze that moves
the curtains, lifts her tussled hair.
after Manet's Olympia
Paul Apr 8
First, a tundra in stasis;
a white-*****, emptied book
whose unmade letters sleep:
icy, furled, and blank. Then,

breath; a near audible thawing
of unbridled shapes and mute
fire; now, the bright stampede
of hooves breaking into the field. Next,

words.
a poem about the process of conceiving and writing a poem. hope you like it.
Paul Apr 2
coffee
acrid and black
i love you

struggle
unending
you school me

life
acrid and black
i love you
Paul Mar 22
A weight bearing down
on the yellowed bed, in the used room
indelibly,

the way memory indelibly shapes
judgement and its content.
And by the bed, a yellow daisy

capturing sunlight, mourns
its brief and trembling time
as if its vase were an urn
and now, despite the brilliance, were ashes.
Paul Mar 13
Over the bed, a ceiling fan revolves
elliptically. The yellowed walls speak
of anxieties archived by the lungful.
From his fingers the snaking upward blue
smoke of burning tobacco describes tumult.
She has gone back into the world. Alone
in their aftermath he inhales like a figure
growing distant in a cinema purged
of heroes. The worn sheets rope about
his ankles and recall an inmate’s noose.
She'd been inside. And for years. How she assumed
her role in the act, face to the wall, silent, work-like.
It was a thing they laughed about. Her parting
glance was inscrutable.

He drew deeply, and a ring
of orange fire bloomed, briefly proclaiming love
remained a chance. Who could know? The arhythmic
rocking of the fan beat the hot air back
onto him, the lone smoker, smoking blankly.
The curtains billowed into the parking lot
like some great tongue, wildly, mute. And under
the window, in the shadowless heat, a dog,
limp with thirst, laps at the drips that drip from a pipe.
a re-write and re-post. I've strived for meaningful enjambments and a sense of metre while attempting to sound contemporary
Paul May 2017
By Carrie Fountain


Just now it has come
to me again: the sudden
knowledge of everything
that remains to be done
though I worked my *** off
this week, doing things, doing
things. What is my style?
is a question I have never
asked until now, in the waiting
room at my dentist’s,
when this article in O Magazine
encouraged me so cunningly
to do so. Maybe it is not
my job to surprise you, not
anymore, says the spirit.
O.K., I say. O.K. But still,
I want one more crisp
image, just one, though I know
I don’t deserve it, I want it
to appear the way money once
or twice in my life has appeared
in my line of vision on
the street: some bill, nearly
alive, green god, its skin
giving off evergreen light,
unaccounted for and then
immediately mine, no
questions asked.
Paul Nov 2014
Not less because in purple I descended
The western day through what you called
The loneliest air, not less was I myself

What was the ointment sprinkled on my beard?
What were the hymns that buzzed beside my ears?
What was the sea whose tide swept through me there?

Out of my mind the golden ointment rained,
And my ears made the blowing hymns they heard.
I was myself the compass of that sea:

I was the world in which I walked, and what I saw
Or heard or felt came not but from myself;
And there I found myself more truly and more strange.
Wallace Stevens, Tea at the Palaz of Hoon first published in Harmonium (1921)
Next page