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The Mirror is my forbode
It shows fragility in my face
but my mental self preservation
still resides
I am dancing with light
Rim and Refractive light interludes
bringing her reflective nature to fore


I am rewarded with both fear and delight
But I come without tears
Questions come to me
What  should and could I have been
An Academic  or A Police Officer
but my mirror comes without preconceptions
I am a drowned Man
The ghost of the future
So lucid,
so spiritual,
so warm,
and sometimes
screaming.

Joyful, humorous
caring for others,
and often fed up
with cruel meanings.

So nostalgic,
a few salty tears,
mingled self-irony.

Pulsating softly,
may these thoughts
last a little longer.
They want to live despite
the announced apocalypse.
January made any movement feel extraneous, as if something nudged to
haunting irresponse.
Sing Sing Prison was beyond all that, but
never more there--yet not even its
manifestation would have it.
The Mahicannituk (Hudson River)
followed the land two ways--to conceive
more than water.
Ruth Snyder saw that as Sing Sing walled
alive--smothered her prefume, crouched
over lights & coughed out iron.
Queens was a place, this was not--food ate her, water drank her.
A place to make out surroundings that
don't want to be seen, that are put forth
just for deprivation.
"Ruthless Ruth" appealed to her thin frame, dropped it like a hankerchief on
the cold floor.
Almost convincing herself that one's true
nature is unpunishable--as she stood up
again.
"Old Sparky" (name for the electric chair) was seated across from an indefinite coming--its unapproachable presence growing into its features.
Ruth was roaring with the twenties as her lover tried to go thru her--while her
husband wagged his tail somewhere.
So Ruth enlightened his sexless naivety,
with a couple of cold puddles outside of a
long lay.
Her lover (Judd Gray) smacking back his suspenders in answer to a Who Done It.
Their body-exploring-finallys & whispering hot sophications--saw a door
kick open to the rest of the world.
A lot came on in, Ruth needed luxuriating, to writhe on high-end furniture.
See again: "Old Sparky", now it's all about
"Old Sparky"--it was never not about
"Old Sparky".
Led by the hand to a modern-day witch burning, of course there was an audience--they arrived in cathartically shaped veils.
A latched heap, held by safety--holding their peace.
Figuring into the law, & willing to watch
a subcutaneous thunderstorm.
Especially Tom Howard of the New York Daily News, who had a camera strapped to his ankle--expressly told it was for:
Private Eyes Only.
His Life's Work was strapped to his ankle--as The Mahicannituk's current flowed.
He lifted up his trouser cuff & squeezed
the shutter buld, then ungripped it.
The room met the designated height of the switch as it was flipped, its current
flowed.
Ruth conceived something more than electricity, as she made hairpin turns--
blowing toward unsuccessful ejection.
She cocked her head calmly as she watched herself beat leathered husks,
her scalp smoking like twigs.
The witch they came for surged upward, & was restrained as if she were reacting to Latin commands.
If she had the **** for a last meal, a menu put to taste congealed & what thirst there was ran dry.
Tom got his picture, & Ruth was blurrily
venting mid-fry on the front page of The Daily News.
Which read: "DEAD!", the first public picture of its kind.
*Ruth Snyder of Queens was executed via the electric chair, in Sing Sing Prison for murdering her husband. On Jan 12, 1928.
It was only . . . a long time ago . . .

Living came easier
and harder were the mistakes . . .
or was it the other way around ?

Love was always one of those mistakes

(another after another)

Breathing is the hardest thing to do with a heart of
shattered glass

And the shards cut deeper when you try to pick up the pieces

And before you know it everybody sees you bleeding all over yourself

or is it you hope they do ?

After a long while it doesn't really matter . . . does it ?
I bleed out through my poetry.

Like little crime scenes
left behind after my
ex abused me.

The shards cuts deeper
because we loved so deeply
it soaked into the depths of
our beings until it became
a victim of lies of loves promises.

Love is not the perpetual blackness.

For it is the wilder of the sword
that cuts us deeper that
brought the perpetual blackness.

They are the damage and monster
that tries to eat what is left.

It is up to us to pickup the pen
and will ourselves above the ruins
and rebuild our lives to make room
for new relationships that grow into
possibilities for future love.

This too shall pass,
like the day into night,
rain into clear skies,
and tear soaked pillows
into fresh clean linens.

I wash my hands from my pain
by writing poetry.

©️ 2025 By Amanda Shelton
Beat, beat, beat,
boom, boom, boom,
to the beat, brains.

Drum roll please!
1
2
3
Brains,
in chains,
heart beats under ruins of loves
damage. Brains!

Zombie heart seeks?
Brains! From past love affairs.

Not revenge, just brains!

Zombie heart, beats undercover,
seeks! Brains!

Ruins, zombie heart a corpse
from a broken heart.

©️ 2025 By Amanda Shelton
I went to zombies in this one. Zombies reminds me of the damage my ex caused me because the pain keeps rising from its grave to haunt me like the living dead. Zombie Heart is a perfect name for this rised from the dead poem. Brains! You're welcome.
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