some of the poems i read i'm afraid of, someone crude would call them mediocre, but i don't have a heart for such words, i'm afraid of them for a simple reason: they're so fragile - it's like handling porcelain with these miner's doughnut hands and thick hotdog fingers, you really don't know what to do with such poems, it's the body undressed, covered in goosebumps and very little else.

sure, you can experience love, the love that's
you and her back in Eden,
maddened, raw, you can experience that,
but such love exists between a boy who
has two years past the teens, and a girl
in her teens, the boy had to invest almost
the same amounts of slush puppy **** as she,
music wise, literature wise, ideals upon ideals,
love is idealised, *** is perfected,
you'll end up gravitating to other people's
expression whether true or fictional,
akin to *kisses sweeter than wine,
stop draggin' my heart around,
fade to black, it's all there, bloodhound
soppy eyes - a variation of some sort of psychic
awakening in alter-psychosis - the variation of
a juggernaut moving about, it's love pristine,
not the love we call petting and paying the bills,
it's a butterfly's wing caressing your ear
while it flutters - it doesn't last once truths
enter and realities condense to custard -
the paint dries on the wall, the Antarctic tundra
freezes and polar bears start hunting (well, you
could call them loan sharks if you wanted) -
when Adam's tonic turns into Sioux's anodyne -
Apache Sioux knew the deal, while others
use the anodyne for parties and uninhibited social
interactions, others sedate - a good enough
reason to forget that ol' wives tale of: better have
love and lost than not have loved at all -
yes, it's there, a bit like first impressions of
a poem for dada day at the place, april 1, 1958,
poems tell a different story, novels tell a different story,
movies tell a different story, asylum Hollywood
captures the imagination, but not necessarily the memory,
music tells a different story - and all converge and
diverge within geometry of circa - so love, mm,
barefooted going to the mosque for curry at the height,
scuttling like a **** head down Nicholson St. (Edinburgh),
past the music shop where once it was all smiles
and approving gestures while buying an album,
what was it? reggae k.k.k., ah right, steel pulse!
handsworth revolution - the same shop months later,
the same attendant of the pulse of music - the words
'if you want to find love, go to Germany', me guess that's
'cos of the accent, he Scot and me chameleon -
Heraclitus knew this flux, changes and changes -
all that and the creeping to the zenith before tumbling
into Milton's opening of satanic inquiry via
fleetwood mac's the chain - bass guitar the real star,
mirage of former glories of solo guitars - bass guitar
the conductor of rhythm - and in so writing, a fly
attracted to my "idle" hands - as they say, the devil
makes work of idle hands - the bass sets the rhythm,
the drums hush for a moment so the bass can be
protruding - great admiration for bands that allow
the bass a ray of sunshine - tool, schism; so yeah,
you can experience this fable of ancient greek
hierarchy - lovers poets prophets - but you have to
invest prior, and by way of chance you might -
slush puppy pop and ideals and ideals and ideals -
i could have went to Bristol, Warwick, Cardiff or Brighton,
instead, thanks to Mr. Thomas Boon'tss (wet snare tss,
sweat from a drummer, instigator of poet in me,
the observer, the shut-up guy, played a jailor in an adaptation
of the Merchant of Venice - skylock shy, frozen in
the reminder on v.h.s.) off to Haggis-land we went,
and found love there, and found inspiration,
and found an iron maiden for our head there too,
and found madness with a keen eye for tomorrow.