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Brittany Hesse Mar 2015
With the wind under my wings I soar
I see the west Canadian shore
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
Nuu-chan-nulth – A caring and nurturing people are thee
Small families among the mountains, rivers, and sea
Vancouver Island’s west coast is where you reside
Awaiting your canoes on evenings incoming tide

Your men are fishing in the ocean’s secret places
Worry and hope etched in their weathered faces
Each man knowing the days hunting success must provide
For many wives, children, and elders the spoils they must divide

Your rhythm and harmony with the ocean is strong
Whale hunts and oceans spirits intertwined through your song
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
I hear the east call, and open my wings to take flight
The distant drum’s heartbeat calls from the suns rising light
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
Coast Salish – You know how the sea dances and quivers
As you watch the expanse from your inlets, and rivers
Vigilance is needed in case a Storm approaches
To mount a defence if an enemy encroaches.

Your wise headmen lead with such divine humility
Your family life embodies true equality
Your features are defined by a broad face and flat brow
Your girls with plucked brows, braided hair prepare for their vow

You seasonally harvest your rivers resources
Spawning Eulachon and sturgeon complete their courses
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
As I leave your forests of tall cedars and aged fir
The drumming beckons me up the wild Fraser River
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war


Okanagan – You survive in the Valley and slopes
In a legend of a coyote you set your hopes
He educated you how to live off the hard land
Your very own lives you bestowed in his paw like hand

Your offspring, your joy, your future you know must be taught
So at an early age, to the elders they were brought
Your youths are handpicked and taught the roll they shall assume
If a warrior shall fall another shall resume

Your seasonal harvest of forest meadows and marsh
Will insure you survival when the winters are harsh
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
With the updrafts I glide over the dry desert plains
I hear the drum call from a land where it hardly rains
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
Secwépemc – your men come out through the eastern sunrise’s door
Your women’s entrance faces the stream to ease her chore
In seasonal cozy houses built into the ground
In a secret place your spoils and possessions are found

Your request for spawning salmon grows louder each day
The messenger crickets announce salmons on their way
You hunt with arrows and spears you crafted from strong stone
Needles and jewelry you made from animal bone

You patiently, wait in the winter’s silent brisk eve  
For the deer’s stealthy approach from the snow covered trees  
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
The drum it beckons from the land of river crossroads
The land where men come to bring and trade their canoes loads
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war


Dakelh – You are the people who learned how to barter
You are known as the people who travel on water
With gathered roots you weave fish weirs in the evening air
And you set your high hopes in the chanted salmon prayer

Your children learn from the oral traditions you tell
Chinlac massacres, caves where dwarves shooting arrows dwell
Your widows carry ashes of the husband they held dear
Their Mourning and sadness that will last over a year

The respect for the land for everything you have gain
Though much, and bountiful your harvest some shall remain
The drum it echoes, echoes, echoess, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
A plume of smoke and drum beat come from the distant Northwest
Echoing from the place where the Skeena River rests
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war

Gitxsan –Your Home is surrounded by snow tipped glaciers
Forests of spruce, hemlock, cedars, and subalpine firs
Your chieftain name and duties you hold for a short time
Other Wilp members are only ‘children’ in their prime

Like the rivers your families closely intertwine
Each account told is a lesson that is sublime
Each Wilp has your story told by a tall totem pole
Your History affects and moves you deep in your soul

Deer, Moose, and small mammal in the wild woodlands you stalk
You pursue the Mountain goat through rugged peaks of rock
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
The drums incessantly pounds as I take to the sky
Urgently calling from remote islands of Haida Gwaii
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war

Haida - You live in the pacific northern islands
Your fam’lies Belong to the eagle or raven clans
You watch the tide rise and fall over the rocks and sand
Great mighty sculptures you have created with your hand

With strong healthy cedar trees you made your long dwellings
The entrance way totem your history is telling
Your warrior canoes glide through the rolling waves
Through victories and battles you have prisoner slaves


The sound of the drum beat is mixed in saltwater spray
To Vancouver Island’s west shore I must fine my way
The drum it echo, echo, echo’s, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
As I leave your vast, and memorable territory
In the soft twilight air I watch the sunset’s glory
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war

Kwakwakawakw- So proud you are of your mother tongue
Born in this beautiful land your ancestors came from
Noblemen, Aristocrats, commoners and your slaves
Your narrative exists among your forefathers graves

Your canoes bow is carved into animal features
The whale, otter, salmon and other sea creatures
You hunt with such heroic assurance all year round
In the shapes of well carved masks their likeness will abound

Your long homes are protected by the oceans embrace
First nations, my people, you are a amazing race
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
I leave your land of legends in a misty gray veil
And on the horizons comes change’s white sail
The drum it echoes, echoes, echoes, the drum it echoes through my core
Whispering a haunting rhythm of time, change, and war
The Europeans came into your isolated lands
Dividing your people into tribes, reserves, and bands
Before their arrival you lived mighty, strong, and free
Now your children fight to reclaim their identity

The drum will echo, echo, echo through time’s core
It will whisper a rhythm of time, change, and war
The drum will echo, echo, echo through your core
It will whisper a rhythm of time, change, and war
Sea Sep 2016
Autumn encroaches
and one year ago
you met a girl
she owned the hot glue gun
and I held the hammer
she may well be the one
and I’ve felt no love for anyone
since it was my cheek
that your lips touched
she fixed the heart I shattered
and I was left with
no pieces to hang on to
in memoriam

she can keep yours and
I will hold my own
(twas where aye met thee missus, but mooch as a natural euphoria experienced, i rarely returned to said venue, especially for many years when thy now na grown lovely lasses merely toddlers).
- - - - - - - - - - - - - - - - - - - - -

Go ahead and AskJeeves (or another available partner yea, that lonely looking gal or guy in mom genes), who can never refuse to kick up heals in this rollicking shenanigan – the rumor holds that said activity the most fun one can have with being clothed to another.
- - - - - - - - - - - - - - - - - - - - -

The caller will usually do a walk thru, which begins with the first two couples closest to the stage crew of lively musicians (frequently filling the makeshift hall with music aligned the genre of irish jigs and reels) beginning to pair off.
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After couples one and two (nearest the band) complete their quartet, this process (sans participants coupling off) continues until the foot of the line.
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Actually each duo of dancers within the foursome nearest or furthest from the podium dons the role of “first and second” couple respectively.
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The walk thru can be helpful, especially for those unfamiliar with this social activity, which encroaches on the ordinary comfort zones because eye contact plus physical hand to hand fusion necessary.
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Many of the routines utilize various combinations of approximately a couple dozen unique moves, where each distinct extemporaneously choreographed fancy footwork utilizes a unique variation of such movements.
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The most frequent array of moves comprises the following terms, which I located at hyperlink - www.theyken.net/don/PDF/Glossary.pdf
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Glossary of Contra Dance Figures:
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Allemande Left - Two dancers join left hands about shoulder height with elbows bent down and walk a circular path.
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Allemande, Mirror - Two couples, facing, starting with one couple going between the other couple. Give the person you are starting to pass your most convenient hand, right for two dancers and left for the other two, and turn as described in the allemande right and left.
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Allemande Right - Two dancers join right hands about shoulder height with elbows bent down and walk a circular path.
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Balance – The simplest balance is a step forward and backs. Another type of balance is a step on your right foot and swing your left foot over your right foot and then step on your left foot and swing your right foot over your left foot.
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Balance and Swing - Face other dancer, take both hands, balance (as above) and swing the other dancer.
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Baskets - More that two dancers, step in so all the dancers are in a very tight circle, place your hands behind the backs of the dancers next to you and join hands. Put your right foot in closer to the center of the circle and start to turn this basket by pushing with your left foot (like in a buzz step swing).
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Box the Gnat - Partners (usually) join right hands, raise joined hands above the woman’s head, she walks under the joined hands, as the man walks around behind her. The dancers not only change positions but they end facing in the opposite direction.
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Cast Down – The dancer faces up and turns away from the center of the set and walks down the outside of the set.
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Cast Off, Assisted - Two dancers, facing the same direction, put an arm around the other dancers waist, one dancer moves forward while the other dancer moves backwards.
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Cast Off, Unassisted - One dancer, usually moving up the center or up the outside of the set, walks around an other dancer until they stand next to that dance facing the same direction.
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Cast Up – The dancer faces down and turns away from the center of the set and walks up the outside of the set.
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Circle Left – More than two dancers join hands and form a circle. Hands are joined at a height somewhere between you waist and shoulders. Dancers walk around in a circle to the left or counter- clockwise.
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Circle Right – More than two dancers join hands and form a circle. Hands are joined at a height somewhere between you waist and shoulders. Dancers walk around in a circle to the right or clockwise.
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Contra Corners - This figure is done in proper sets. The first couple turns each other by the right hand until they can turn their first corner, The person who was standing on the left side of your partner. The first couple then turns their first corners by the left hand, until they see the partners. The first couple again turn each other by the right hand and then turn their second corners, the person who was standing on the right side of your partner, by the left hand.
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Courtesy Turn – Two dancers with right hands joined and left hands joined, about waist height, facing the same direction, woman on the man’s right. The woman walks forward while the man backs-up until they are facing the opposite direction.
Cross-Over or Pass Thru – Two-dancer walk by each other passing right shoulders.
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Cross-Over is usually across the set. While Pass Thru is usually up and down the set.
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Do-Si-Do – Two dancers walk forward pass each other right shoulders, pass behind the other dancer, and backup, passing left shoulders into the place where you started.
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Do-Si-Do, Left Shoulder (also known as a See Saw) - Two dancers walk forward pass each other left shoulders, pass behind the other dancer, and backup, passing right shoulders into the place where you started.
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Do-Si-Do, Mirror - Two couples, facing, starting with one couple going between the other couple. Then dance a do-si-do, the two dancers who pass right shoulders dancing right shoulder do-si-do the other two dancers who pass left shoulders dance a left shoulder do-si-do.
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Down the Center, Turn Alone – Two dancers, usually a couple, walk down the center of the set, turn toward each other and return to the place where they started.
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Down the Center, Turn As a Couple – Two dancers, usually a couple, walk down the center of the set.
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Turn as a couple, the woman walks forward as the man backs up, until the couple is facing back in the direction they came from. Then return to a place across the set from where they started.
Figure of Eight – Two consecutive Half Figures of Eight (see below)
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Forward and Back – Dancers join hands with the dancer next to them and move forward four steps and back four steps.
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Gate and Post - Two dancers facing in the same direction, join most convenient hands, right to left, keep hands about shoulder height, one dancer will walk forward in a circular path as the other dancer walks backward in a circular path.
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Grand Chain - Three or more woman, make a right hand star, and turn the star until you meet the third (or designated) man, join left hands with the man and courtesy turn.
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Grand Right and Left - Two dancers, join right hands, pull by and give left hands to the next dancer, pull by, and continue this until you meet the person you are told to meet or until the caller tells you to stop. Can be used in squares, contras, and circles.
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Gypsy - a couple, walk once around each other, clockwise, and end where they started while looking wistfully into each others ' eyes.
Half Figure of Eight – Two dancers across from each other, in a contra, cross over while moving through the couple below (or above), the woman in the lead, they then cast up (down) to end in their partners original place.
Hey for Four – Two couples, facing, usually starting with the women moving to the center and passing right, then pass the opposite man who is moving forward by the left, the two men pass right in the center while the two women do a small loop to the left to face in, again the women pass right in the center as men do a small loop to the left to face in, women pass the men by the left, men pass right in the center and all return to original place.
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Honor - Bow to your partner.
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Improper – In a contra, when a man is in the women’s line and/or a woman is in the Mens' line. The women’s line is the line on the left when viewed from the caller’s position.
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Ladies Chain – Two couples facing, the women join right hands and pull by each other, then give their left hands to the opposite man, finishing with a courtesy turn to face the other couple.
Lead Through - Two dancers facing in the same direction, join most convenient hands, right to left, and walk between the two dancers they are facing. Often followed by a cast to original place.
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Pass Thru - Two couples facing, both couples walk forward, passing the person you are facing by the right shoulder and ending in their place (do not turn around).
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Promenade – A couple, with the man’s right arm around the woman’s waist and her right hand in his right hand, and left hands joined in front of them, move in a forward direction, sometimes ending with a courtesy turn.
Promenade, Single File - All of the dancers in a single file or circle, facing the same direction, follow the dancer in front of you.
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Proper – In a contra, the men are in the mens' line and the woman are in the women’s line. The mens line is the line on the right when viewed from the caller’s position
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Right and Left – Two couples, take right hands with the person across the set and pull by, on the opposite side of the set courtesy turn the person next to you.
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Roll Away - A couple, both facing in the same direction, woman’s left hand in the man’s right hand, the man assists the woman, who rolls across in front of him, as he moves to his right. They both end facing the same direction as they started but they are in each others' place
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Star, Left Hand – Two couples, take left hands with the person diagonally across, then they all walk forward in a circular path.
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Star, Right Hand – Two couples, take right hands with the person diagonally across, then they all walk forward in a circular path.
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Swing – A couple, in a position similar to ballroom position, except the man and woman are right hip to right hip. The simplest descriptions I have heard is assume the above position and then try to walk behind your partner. The dancers can use a simple walking step or a buzz step.
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Turn - See allemande for right and left hand turn. A two hand turn - two dancers, facing, take the other dancers right hand in your left and their left hand in your right. Pull back slightly and both dancers walk clockwise until you get back to where you started.
1.

Is it a will o' the wisp, or is dawn breaking,
That our horizon wears so strange a hue?
Is it but one more dream, or are we waking
To find at last that dreams are coming true?

2.

Far off and faint, a golden line is streaking
The cloudy night that shrouds the life of man;
It is the sun that dim eyes have been seeking,
Through all blind pathways, since the world began.

3.

The sign to weary heart and waiting nation
That day will come to bring them their release
That, late or soon, through storm and tribulation,
Or with slow change, the earth shall rest in peace.

4.

That One, invoked, with half- despairing passion.
Through years and years of wrong, will right us then;
Will take away, in rude or gentle fashion,
The curse that man has laid on brother- men.

5.

Ah, blessed One! our souls go out to meet thee,
At whose feet Hope will fold her tired wing;
And yet we know not how we ought to greet thee,
And take the gifts thy bounteous arms will bring.

6.

Come not, O friend! with vengeful weapons, borrowed
Of them that warred against thee — sword and flame;
For all alike have suffered and have sorrowed,
And all alike have sinned against thy name.

7.

Come thou to men who groan in sore affliction
A breathing spirit of new life and grace;
Come in thy robes of light and benediction,
That all may recognize thy perfect face.

8.

Yet, as thou must, come soon, for them than need thee —
And thou wilt come — Deliverer great and strong!
Brighten, O tender dawn, though few may heed thee,
And bring the day that we have sought so long!

9.

No class strife then, each man against his neighbour,
No waste, no want, to breed the plague of crime;
No insolent pomp, no hard and sordid labour,
No wars, no famines, in that happier time!

10.

But pleasant homes, and good days growing better;
Contented hearts throughout the tranquil land,
That keep the law, in spirit and in letter,
Which we have been so dull to understand.

11.

And fruitful work, instead of barren duty,
With fruitful rest and leisure interweaved;
And life made bright with plenty and with beauty,
And souls made strong with noble aims achieved.

12.

Great Art, no more the plaything of the idle,
But nurse and handmaid to all human needs;
Great Nature, curbed no more with bit and bridle,
Nor men's religion crushed in bitter creeds.

13.

Nor sacred Love a crime, a jest, an error,
To keep or lose, to give or to suppress,
A secret shame, an anguish and a terror,
A curse to them that it was meant to bless.

14.

All round our narrow lives the tide encroaches,
Distant and dim, but spreading far and fast.
O Liberty, thy longed- for reign approaches
That is to give man's birthright back at last!
vasts;

15.

And must we go, who see the new age dawning,
While yet we suffer in the pangs of birth,
Nor breathe one breath of the divinest morning
That yet has come to bless our waiting earth?

16.

Oh, must we go, just when the day is growing?
Oh, must we waste with vast and vain desires,
Like sparks put out when viewless winds are blowing,
We, lit and quickened with supernal fires

17.

Are we to read no more the wondrous pages
Of this great tale that evermore goes on?
Will suns and stars light up eternal ages
With happier worlds — and we alone be gone?

18.

Never to learn the moral of the story —
Why we have toiled for what we must not keep,
Why we have fought to win no crown of glory,
Why we have sown what unborn hands will reap.

19.

Never to learn wherefore our Maker sent us
With these immortal passions in our breast.
Ah me! Ah me! Wherewith can we content us
To know so much, and not to know the rest!
am i ee Aug 2015
the bane of my existence
here
now
is
all of the incessant
noise.  

the city encroaches
ever outward,
gobbling up
the suburbs
like the great big
Blob

contributing
layer
after
layer
of noise.  

a new metro line
opened last year
disheartened
the morning

realized
it was the trains
i heard
as my puppy
and i
walked so early.  

trash trucks,
back up beeping noises,
leaf blowers,
mowers
and trimmers ...
all
conspiring
to drive me
mad.

the birds and owls,
snakes and deer,
hawks and rabbits
toads
and trees
and flowers,
puppies
all other creatures
divine,
tempering
this man-made chaos
this man-made
hell

keeping me hopeful
that
i
will
have some
respite
  

some respite
from this
hideous cacophony,
this man-made hell,
in the future,
not
too distant.

of course
there are
some benefits
from all
the city life

but i prefer
the silence
the solitude
of nature.


the Taoist recluses
who speak to me,
whose poems
paintings
writings
and silence
are balm
to my soul.  

some day soon,
i too
shall join
the recluses
far away
far far away
in the mountains.

but for now,
i am
only a modern day
taoist
recluse
stuck in suburbia,
doing my best,
living in this
noisy hell.
Kurt Schneider Oct 2016
The black knight encroaches
With a full metal jacket
Those that surround him made him fade into blackness
Magic
Temporary madness
Half wits
Hat tricks
Harbingers of sadness
Haters engaged in a battle of two faces
Tasteless
Morals loose like her lips spreading rumors
Fabrication
Snakes lying dormant like suspended animation
A pretty face plays the victim that's how she
manipulates them
Think you know the story but you take the word of mouth as truth.
The best alibi is when there is no proof.
She make you feel like the king but your just another pawn.
The worst of it all is that you like to play along.
Breeze bellows,
leaves echo in
quivering psithurism,
dithering like
unbroken smoke,
this approaching omen goads.

Dozing crows
slumbering in rows,
droves of locusts'
silenced drone,
almost comatose in repose;
nighttime overtones
choir of toads'
raspy croaks
answered by alto
of crickets' orchestral strokes.

Gust encroaches;
robed boughs
cloven open,
bring into
scope and focus
me juxtaposed,
suspended apropos.

Although motionless
and petrified in stone,
provoked by zephyr
coaxing to and fro;
swaying pendulous
and no longer frozen,
locus gently thrown.

Death rattle moan
evoked from throat,
reflex can't say no
to rigor rigidly posed,
final sigh in silence,
awoken vocal,
expelled and disposed.

Smote by
morose emotion,
gun loaded then exploded
by neurosis,
now bloated
necrosis decomposes
into gross ochre.

This trophy
and this ode
both an opus to
my inability to cope;
romanced i proposed,
eloped and betrothed to
my own
inappropriate composure.

Pocket full of posies
plucked when luck bestowed
and tears in a cup, a toast;
crying copiously,
tempest runneth overflowed,
eyes swollen and soaked.

Dipped my toes
in the coast
of this ocean's
amorphous folds,
gripped by undertow
holding control of my soul;
swiftly shipwrecked in
shallow shoal,
an old atoll.

On sandy floor,
water burrows roads;
digging, carving, roams
through unmarrowed
silica and sandstone
eroding into a cove.

A host for
opal geode trove,
enclosing a
technicolor rose,
from the depths
a glowing mosaic shone

Unopened lotus floats
on foam
of lapping waves,
a boat;
prone to no
grandiose notion
or motive,
adrift as wind stokes.

I suppose
this only shows
the total corrosion
into which I dove,
the only foes to oppose
are those of burdens, so
only weightless can I atone-
I must let go.
Not sure how i feel about this one, just because I'm not sure if it effectively communicates what I was trying to express... tried to revisit it several times over the last few years since i wrote it (hoping to maybe revise it a bit) but every time I've come up a little short on ideas how i might do that (to the point where ive been considering just scrapping it entirely and rewriting a Part 2 from scratch lol)... still not sure though, since it *is* a fairly coherent continuation of Part 1 (and I wanted to retain that continuity) so any criticism or feedback is especially appreciated for sure!

Also just some things for context while reading:

Psithurism is the sound wind makes through the trees.

Opal is made by water running through silica and sandstone then evaporating.

Lotus has a double meaning in lotus flowers (floating on lilypads) and also its use in Greek mythology as a plant which bears a fruit that when eaten causes dreamy forgetfulness and an unwillingness to depart.
Savio Fonseca Jan 2023
Midnight encroaches like a Lion.
As Darkness swallows the Light.
Temperatures soar to new Heights,
on a Cold and Wintry Night.
She treated Me to Her Velvet Kisses,
and traced Her Lipstick on My Chest.
Her lofty Passions kept pouring.
On My Body, that was full of Zest.
I speared Her, with My Desires,
as She impaled Me, with Her Lust.
She Moaned away My Whispers,
at the end of every Golden ******.
We woke up at Dawn, next Morning.
As the Sun showed up it's Head.
The Sun, was a bit jealous of Me.
Coz at Night, I had the Moon in Bed.
Lysander Gray  May 2013
Sketch 1
Lysander Gray May 2013
The quiet servants to  a neon god
walk beneath blind stars.
The sightless man sits, as two lovers pass
him by, under his feet the ground the changes colour,
Off  time with the chatter that surrounds me.
He takes the hand of an elderly celestial
and they exit the scene
the way of waves.

Laughter explodes like a bombshell
the only casualty is silence.
Through the steel arch I watch
ivory wave burn the black
rippled
sea.

A child chases a seagull
through the slits of sea-fog
caught in the light.

The barmaid leaves and my eye follows her,
resting on the corpses  of our  modern age;
bullet ridden with boredom and the chill,
swathed in the sear cloth of modernity
and eyes glazed by ***.
They wait.
The "Sons of the Silent age"
who's thoughts are as stolen
as this line,
stolen from greater men.
The Lindbergh baby has grown up.

I bear witness to the silence and pressure
of the girl to my left, it  encroaches this space  as
her gaze encroaches the distance.

These streets were once filled with the
flotsam
of wasted  youth,
the steady stream of touristry.
Now, in the winter
they lay empty, cold and pecked
by the multitudinous hordes of bird and man alike.
Where once they writhed with life
now they sit dormant and sleep atomic
on a chill stream,
at once both mirror and glass to our
wonderous world.

If we are the dreamers and music makers,
then  our instruments sleep in dust
and our dreams walk silent in this defeat
of waking.
21/5/2013 - Surfers Paradise, 7:30 pm.
Shiv Pratap Pal May 2019
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This poem is self translated version of my Hindi language poem titled "किनारों का निश्छल प्रेम " published in anhadkriti (Dec. 2017) Can be read through the link ==>> https://bit.ly/2Ex69ip

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Only water streams of the river
meets in the Ocean
The banks of the river
never meets with each other
they always stand face to face
but do not come near

If one comes near sometimes
The other moves far and away
To maintain the Distance
It's not so, that they
do not want to meet

But if they will meet  
The river will not stay
That too will become a pond
Its water will also rot
Its continuous flow will stop

To maintain the existence
Of the free flowing river
For welfare of living beings
For quenching their thirst
Its very very important
the banks should never meet

The truth is that they are one
even if they are not able to meet
What is life? Life is love
What is love, it's Sacrifice
Without sacrifice, love is lifeless

The banks have completely understood
the essence and decided their destiny
that they shall never ever meet
For the welfare of the world
Its essential, important and mandatory

Banks are disciplined
By their own self-discipline
If the river also follows discipline
Inspired by the discipline of banks
Its beauty gradually increases
Peoples bow and pray to the river
With great respect and devotion

But whenever water streams of river
Encroaches the boundary of the banks
they are criticized and reprimanded
As it betrays the love
betrays the sacrifice
betrays the benevolence of the banks

by completely forgetting and
tarnishing the efforts of banks
And Take away with them
Hundreds of homes
And finally earn disrespect

Well, the existence of the edges
is also because of the water stream
If the edges meet with each other
They will lose their own identity

So, this subtle concept needs to be
Understood clearly and deeply
'Devotion persists only uptill the
desires remain un-fulfilled'
If one is able to see the God

and gets his desire fulfilled, then
the devotee ceases to be a devotee
his devotion disappears immediately
and he often gets angry with God

So the Banks of river
always pray to god
'Our love should remain forever
But like parallel lines
We should never meet each other

Because of us the river must exist
Water streams must stay forever
And remain as a medium
for communicating our love
towards each other'

Such guileless love of the banks
Where else on earth can be seen?
God also salutes their true love
I wish their love should remain alive


It's not always like -
that the shores never meet
Yes, two banks of same river
Do not meet with each other
But a bank of a river
Sometimes manages to meet
with the bank of another river

Because in such case there is
absolutely no fear of
the water streams getting stagnant
The water stream of two rivers
joins with each other
and is called 'confluence'
Its importance increases
Its respect also increases

If one bank of first river meets
another bank of second river
then the second bank of the first river
never minds at all
and never ever gets sad
Its love remains constant as it was

unconditional and unbiased
Moment moment every moment
Second second every second
Let's bow before such
True and unconditional love
Hundred and Thousand Times
True Love Everywhere. Lets Feel It
ANH  Jul 2013
Love encroaches:
ANH Jul 2013
a well-starved leech on my
mind. An ore beating
through the tumultuous sea of
my stomach. I struggle to reach
reach out
and
lift
lift myself
to
freedom, upon that boat -
oh, almost so… tangible;
oh, almost a light at the end…
The boat pushes faster,
h
harder,
the waves licking desperately at
it’s splintered hull for just
just one
one taste
one salt-splaying,
spliced
taste
…at the end of this disembowelled
sewage pipe called love.
I lay here, paralyzed,
under the vibrant evening sky.
Clouds float on by,
this, I've never seen.

Such beauty before me,
I've only heard of in stories.
It's mesmerizing to see,
almost unbelievable.

What's inconceivable to me,
is that we're the only ones here.
There must be more out there,
in each tear in the space time continuum.

Birds fly overhead,
singing songs to the dead.
Some words are better unsaid,
her bed will be empty tonight.

Night slowly approaches,
as darkness encroaches the light,
the sunsets on another day.
Paralyzed, I close my eyes,
as I lay outside my shattered car,
only a few feet away.
Copyright Barry Pietrantonio
Michael Marchese Sep 2016
Midnight approaches
Tick tick tock
Won't someone stop
The Doomsday Clock
From striking oil
Drilling rock
Thirsting soil
Aftershock
Deserted hourglass of sand
Shifts to resource hungry hand
Tyrants of time assume command
Greed consumes
This wasted land

First come the roaches
Tick tick tock
The bugs can't stop
The Doomsday Clock
With beehive brains
No voice to talk
And droning minds
Comprise the flock
As lone wolves feast
On sheep they stalk

Then fear encroaches
Tick tick tock
Too scared to stop
The Doomsday Clock
As violence claims
Each city block
Blood drawn on streets
Like sidewalk chalk
When Hatred's loaded
Gun is cocked

Beyond reproaches
Tick tick tock
How could they stop
The Doomsday Clock
When despots trade
In human stock
Waging war
Upon this rock
As profits slaughter
More livestock

The end approaches
Tick tick tock
No hope to stop
The Doomsday Clock
As poisoned skies
Corrode this rock
With toxic lies
Controlling hourglass of sand
Clenched by Atlas choking hand
Titans of industry command
Still Chronos rules
This dying land

— The End —