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Path Humble Jun 2018
left my phone unlocked
on the taxi’s back seat,
won't be the last time

called it a few times
finally, the driver picked up

he had a fare immediately after mine,
and was now headed way downtown,
and would call later
when fate returned him nearer my office

and so it came to pass,
very shortly thereafter,

we met on the street,
he rolled down  the window
and with the greatest smile of pleasure,
as if he had won the lottery
beaming,
handed me my phone

I had two $20's to cover any expense he might have incurred,
neatly folded in my hand  
and offered it right up, right away;
but the driver repeatedly pushed my hand away
as I insisted,
saying:

"No sir, no no, not necessary!

Allah sent me a fare
that took me soon back close to you, so,
  no loss of time did I suffer,
so your offer is kindly unnecessary!"


to which I replied,

"exactly!
Allah sent you to me
so I could reward you!"


and with an equally, beaming smile I continued,

"our ride and meeting today,
together was pre-ordained it was


Inshallah!" ^

something he could not dispute...
or my knowledge thereof and it’s
proper pronouncement,
nor
his amazement,
to disguise!

  we parted ways
   each believing,
   each receiving,
a heavenly check plus,
each, credited with a mitzvah^^
on our
respective trip logs,
our humanly divine balance sheets,
kept by the
single
supreme taxi dispatcher
Arabic for ^"God/Allah willing" or "if God/Allah wills," frequently spoken by a Muslim


^^a meritorious or charitable act in the Jewish tradition

FYI,
NYC taxi cab drivers are suffering economically by the explosion of ride hailing app cars, many unable to pay their bills, earn a living, have committed suicide over the past few months
https://www.nbcnews.com/news/us-news/sixth-new-york-city-cab-driver-dies-suicide-after-struggling-n883886

true story, poetry is there for the taking
Sam Conrad Dec 2013
So I've got this story...
And it goes a little something like this-

There's a girl that I hurt really bad on way too many occasions that I love more than anything. Pretty much everything I write on here is about her. She became the love of my life, and I told myself she was the one I wanted to spend my life with. Except I was a ****. She was going somewhere to an event that lasted 2 weeks and was really important to her and let's just say I ****** it all up really really bad. She made a lot of friends there and it was a great experience for her, kind of like camp is for some people, how boy/girl scouts are for some people, and she learned a lot there, and had lots of fun too. I was so horrible to do what I did.

At least we're young though, and there's still time to grow...right? I'm only 18, she's almost 18, and we both have lives to live ahead of us. I feel like I need her though. She treated me perfectly in our relationship. I mean, looking back, there's nothing I can fault her for, at all. I just got ****** at stupid crap that doesn't even matter.

Except, she's into somebody else now and probably thinks I'm no good for her. She doesn't talk to me anymore. Anyway, I'm rambling, I haven't gone to bed, I took a bunch of pills, am getting sick, and it's 7 AM...so here goes. This story is somewhat censored, though.

_________________­___________
"The Worst Weeks of Our Lives"

I met this girl and she became the love of my life. She took me places I'd never gone before and her and I fell in love like some people wouldn't believe. Ask my friends. Ask her friends. No, her friends probably wouldn't admit to it anymore. But I choose to remember the things they said. Kids were like totally rooting for us all day every day. We were so perfect. It was great.

So with a few mistakes here and there, (mostly me...all me, really) we realized we weren't perfect. But it didn't hamper out love. Nobody is perfect, right? We realized that. Overcame.

But then, we went too far. Her parents drew lines we weren't supposed to cross. Oopsies. Her mom really put me in my place. I'll just leave it at that. Asked me when my 18th birthday was, so she could mark her calendar as the "day she could touch me". Told me I was a liar. Husband in the background drunk and screaming, as usual. Except screaming "that ***** ain't sorry. He ain't ******* sorry, ******* ******* marking up my ******* daughter I can show him how to be ******* sorry"

Lots more. I'll go crazy if I speak the rest. It was a hickey on her neck. We didn't do much more.

I got really scared. I mean, they were brutal. I wasn't used to that kind of brutal. Psychotic levels of brutal. All of the sudden I became numb. I stopped being so intimate with my girlfriend. They told me not to come around their house anymore. I started doubting myself. If I was any good for her. She cried and cried. Told me how sorry she was. For getting us in trouble, and for what her parents did. But it wasn't her fault. After all, I am the vampire that bit her neck.

After a few weeks, her parents dropped it completely. I didn't though. I was so traumatized. I'd been getting flashbacks. Nightmares. So scared, I was. I kept avoiding her, not only her parents. I mean, I didn't have a car anyways, so the only place I could go to see her was at her house. She reassured me I was allowed. But with no contact with her parents since the phone call that changed my life I was reluctant.

This was around 2 months before she was going to go to a 2 week event. A special event to her. One I'd even wished I'd gotten involved in. Really, I did wish. I just missed the application deadline. Throughout the next two months, we grew more and more distant. I was harsh on her. I hurt her. I'd get mad at her and then call her and talk to her until 3 in the morning. I made her hate herself, and then she felt bad about me feeling sorry too. "You always force yourself to be nice to me just so I feel better, but I'm ****, I'm trash, I'm nothing, I'm so sorry" she would say. Most of the time, she didn't even do anything wrong. One of my best friends died at the same time her parents killed me inside, I spent all my days sleeping and crying and when I wasn't doing that, I was getting angry at her (and quickly regretting it), manufacturing conflicts that were completely unnecessary. Not to mention I'd had health issues, and my parents kicked me out of my house a few months beforehand.

In the time before she left to her special event, I really tore her up. I said the dumbest things I've ever said to someone in my life. I'd never even said such dumb things to even an object, or myself. Why I would say them to a girl who saved me from suicide (I was very unstable and depressed when coming out of a bad relationship, and getting kicked out of home) and why I said it all to someone I wanted to spend my life with I'll never know.

The dumbest things I'll ever say to anything that breathes in my lifetime. I told her one night that the "only reason I was still with her was because if I left she'd hurt herself" (she had a history of self harm, even though she's the sweetest girl I've ever met) and another night I told her "If only she were going somewhere important I'd understand" and lots of other insensitive and selfish things that I can't even believe came out of my mouth. I mean, the whole basis of it was that her and I hadn't spent much time together (really because of my own selfish fears) and I was going all *** on her testosterone-fueled-rage style for days over and over and over.

Don't I sound like a horrible person? I was. I was horrible to her. As much as I hate to say it, I'll probably make similar mistakes again someday - It's like relapsing - but I'll make every effort I can to learn from my horrible past and never be that person again.

So when she went to the event, I was with my grandparents out of state and I downloaded my favorite sad playlist (Staind, great band) to listen to on the trip.

Yes, seriously. I told her that stuff and called her event unimportant and then I went away too. How stupid I was for what I said. I should have been slapped or something.

A day or two after I'd left, I realized how stupid it was of me. For the whole thing. That whole time. That whole span, those two months where I not only neglected her, but emotionally ****** her.

There's a song called "Tangled Up In You" that has the most wonderful and intimate lyrics and I listened to it and sung to it over and over and over late into the morning (I'm talking 3-4 in the morning) every night for like 10 days and along with a song called "Right Here" by the same band. I cried myself to sleep so extremely ashamed of what I'd just done to her.

I knew I was wrong, but what I didn't know was that she was crying her eyes out wrapped up in (someone else)'s arms at that event...
I didn't know she was getting all kinds of love and support.
I had no idea...not that it was bad, it was good because she needed it.

But it got her to thinking about me, what kind of person I was.
When we both got back, I started making more of an effort to spend time with her and go out of my way to talk to her, make her happy, and basically, stop being such a ****.
Except she just got confused and conflicted because she was numb and falling out of love, because I was nothing that anyone should love, to her, over that prior time.

Her mom broke us up about a month later, after some...you know what, I'll just leave that bit out...
I told you how the first phone call went. The phone calls I got from her and her husband in the end were just so much worse. I don't even want to think about them. I went into convulsions and kept dropping the phone.

I went back to these two songs to help keep my sanity and I belted out "Tangled Up In You" every day in my car... so loud I was losing my voice.

I'd had some communication with her, surprised her at her work one night, bought her flowers, wrote her my true feelings on some napkins, showed up when she got out of school one day, when she was deathly afraid, and surprised her with a smile and drew a heart on her hand...

Her and I were on the same page. She still loved me. She was just hurt. I still loved her. I was just trying to make up for the compromised mental state I spent so much time in. I had compromised hers too. I needed to get her out of it. She told me she would wait for me. That we were in a speed bump, that it would all be okay.

So some weeks passed, a month, and she still had my back. As strong as ever. Her parents found out I bought the flowers. They found out I'd been talking to her. But...

Knowing she still had my back, that she still loved me, and that she would wait for me...she called what her mom did (in breaking us up, in our break) a "speed bump"...I was okay with it. I mean, I really wanted to be a part of her life, but man, her parents HATED ME! (In retrospect, probably with good reason. Shame on me for the things I did to her. Really.)

We had some major issues (mostly due to my inability to shut my stupid mouth) and I decided that maybe some time to ourselves to focus on ourselves and think was a good thing. She could focus on loving herself again and I could focus on becoming a better person.

I mean, when her parents found out her and I were still talking to each other after they broke us up, they blocked my number on her phone, went to my church and made up extra stories to my pastor, (told him I'd came and banged on their door at one in the morning one night), when I called to apologize to them they didn't pick up, called me back later to cuss me out and hang up on me, logged into their daughters facebook account and blocked me, then told their daughter that I had called them when she was sleeping and cussed them both out, and that she was to have nothing to do with me again. They threatened legal action against me, too. Tried to make my life hell. They didn't want me around their daughter, ever again. A blind rage that went on for a very long time until every communication route was blocked.

She went to school and told her friends the false stories her parents told her, and her friends already didn't like me...I mean just look at what I had done before...it wasn't good. Not for me, anyway. Also her. She felt duped. Used. By her parents. She didn't know who to trust or what was real. Everyone was telling her how horrible I was.

I got a chance to talk to her one day. We talked for hours, face to face. Sat in the cold and talked. It was an amazing talk. We caught each other up completely on our lives. We talked about our love. Our past. Our emotions. All of them. Good and bad. But we told each other we'd always love each other. She stuck by me, and also reassured me that she always would. I left that conversation feeling so secure. The most I'd felt since way before I'd become a total **** to her. When her and I were so deep in love.

She's always wanted to go far away from college. She told me stories of her past and what her parents did to her, what she did to herself that were not good. Not good at all. She wanted to get away from her parents.

Meanwhile I was so caught up in the feelings she gave me when I was in her arms, I almost couldn't handle the fact that she wanted to leave. I pleaded for her to stay, in a time that her and I were both unstable and it was already taboo that we were even on the same property. But still, she said "she wanted to stay" because her and I work so well together...when we work together, that is, and I and her were both determined to work together. I told her I would do anything for her. In all of it though, I told her that the decision was in her hands and I would still love her the same if she left, and that I would wait for her. Because I loved her more than anything.

After that talk, things got quiet. I guess, too quiet. I was legally bound to stay away from her. I talked to someone she worked with and asked them to tell her hello for me. I thought though, we were on good terms following the talk, I thought she'd be elated to hear from me.

She never responded.

One day, a couple weeks later, she told me I really needed to get over her. That she didn't love me like that anymore. She told me she'd been falling out of love since the summer, and she'd gone crazy and needed space. She said she wanted to be friends, but no relationship. No relationship anymore. She said she couldn't handle it. She said she couldn't handle a relationship in general.

She made that message a bit accusatory. I'd been talking to two friends, one who I'd known for years and a new one I'd just made. Both overlapping friends with hers. Those two helped keep me sane.

She started that message with "I heard you've been messaging my friends, and to be honest, I haven't had the heart to message you back." She repeated multiple times that I needed to get over her. She told me that it wasn't anyone else's influence too. She even listed people. People who'd separated us. Hurt me. Hurt her, in a way, but encouraged her in others.

At the same time, she blocked me on facebook again. She had unblocked me when she found out her parents did it for her. Odd though...I thought she wanted to be friends. I mean, it was like the only way I was able to have her in my life at all. To read her facebook posts and her read mine. To have discussions with friends. We have a lot of overlapping friends.

Man, she killed me. One second I thought she was my soul mate and the next I was in the bathroom puking my guts out because she was telling me we'd never be together again.


So fast forward to today...I still love her. And she's basically in a relationship with someone else. She's also either on the fence about her sexuality, or decided she doesn't like boys anymore. I feel bad about that too. Its like I ruined male relationships for her. It's only been a few weeks since she told me I needed to get over her. She doesn't talk to me anymore. I go to high school events even though I graduated last year just to see her. When I don't approach her, she ignores me. I'm just another person in the room. When I do approach her, she has such a scared look on her face. She doesn't want to talk to me, but she can't be mean to me. She's falling in love with someone else and she's getting happier. She doesn't need me showing up everywhere just to depress her.

Yet I keep bothering her. Because I'm a sucker for her. I can't help it. I love her. I want her to be my future. But at this point I'm grasping at straws. So hard. I shouldn't be trying anymore. But I'll end up trying until the day I die. And only then will I stop believing in her and I. I know it's a pipe dream. But I'll hold onto it. Because it's the only thing I have left of myself now.

Last night, (I mean, right before I wrote this around 5 AM, it is now 8 AM) I played those two songs again. I forgot they were at the end of my playlist and I started shivering and crying my eyes out. I got chills. I got so cold. The tears just ran. They ran down my face faster than I've cried in a long, long time.

I'm only okay right now because I took a bunch of pills. Pills that have this kind of effect on me. They make me kind of numb. Kind of happy. Upper and downer both.

That's pretty much, my sad ending to a sad story.
I'm living the kind of life that only people like Shane Koyczan know how to explain to people.

Ironically, she loves Shane Koyczan.
I do too.
We grew up in broken homes and lived broken lives until we found each other.
Then we broke each other.

But she's falling for someone else, because I wasn't what I should have been to her, and she knows
But she doesn't believe in me anymore, the way I believe in her...because I wasn't what I should have been to her, and she can't hold onto me when I'm a 50/50 chance, of bringing her down again.
If only she would let me hug her again, kiss her one more time...I could die happy, knowing I poured all my heart and soul out into that last kiss.
But I'm a gamble. And she can't put her heart out on the line for someone who wasn't always good to her. She used to call me her "sweet boy" and she still tells me I'll always be her "sweet boy", but the fact of the matter is, it doesn't cut it to only be sweet s
I needed to write this. I've been going crazy. I told her I needed to talk to her but she's been avoiding me. If she reads this, I know its hard for her. There are more explanations I need to give her, I hope she will let me speak to her someday. I've found out a lot about myself in just the last few weeks. Stuff I don't talk about in this story. To you, my dear...if you read this, I'm sorry. I know it's tough. Its very tough. But look at the positive, dear. I'll keep living. Maybe I'll be okay someday. Your happiness is what matters to me. If you're happy, I'll keep myself going. I'm going to go to sleep now. Finally, I have some peace.
zebra Oct 2017
Here is a primer on the history of poetry

Features of Modernism

To varying extents, writing of the Modernist period exhibits these features:

1. experimentation

belief that previous writing was stereotyped and inadequate
ceaseless technical innovation, sometimes for its own sake
originality: deviation from the norm, or from usual reader expectations
ruthless rejection of the past, even iconoclasm

2. anti-realism

sacralisation of art, which must represent itself, not something beyond preference for allusion (often private) rather than description
world seen through the artist's inner feelings and mental states
themes and vantage points chosen to question the conventional view
use of myth and unconscious forces rather than motivations of conventional plot

3. individualism

promotion of the artist's viewpoint, at the expense of the communal
cultivation of an individual consciousness, which alone is the final arbiter
estrangement from religion, nature, science, economy or social mechanisms
maintenance of a wary intellectual independence
artists and not society should judge the arts: extreme self-consciousness
search for the primary image, devoid of comment: stream of consciousness
exclusiveness, an aristocracy of the avant-garde

4. intellectualism

writing more cerebral than emotional
work is tentative, analytical and fragmentary, more posing questions more than answering them
cool observation: viewpoints and characters detached and depersonalized
open-ended work, not finished, nor aiming at formal perfection
involuted: the subject is often act of writing itself and not the ostensible referent

............
Expressionism

Expressionism was a phase of twentieth-century writing that rejected naturalism and romanticism to express important inner truths. The style was generally declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that belong to all men, and which European civilization had rendered effete or inauthentic. The movement drew on Rimbaud and Nietzsche, and was best represented by German poetry of the 1910-20 period. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm, Schnack and Werfel are its characteristic proponents, {1} though Trakl is the best known to English readers. {2} {3}

Like most movements, there was little of a manifesto, or consensus of beliefs and programmes. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order". Expressionism was very heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early Surrealism, many of which crop up in English, French, Russian and Italian poetry of the period. Political attitudes tended to the revolutionary, and technique was overtly experimental. Nonetheless, for all the images of death and destruction, sometimes mixed with messianic utopianism, there was also a tone of resignation, a sadness of "the evening lands" as Spengler called them.

Expressionism also applies to painting, and here the characteristics are more illuminating. The label refers to painting that uses visual gestures to transmit emotions and emotionally charged messages. In the expressive work of Michelangelo and El Greco, for example, the content remains of first importance, but content is overshadowed by technique in such later artists as van Gogh, Ensor and Munch. By the mid twentieth-century even this attenuated content had been replaced by abstract painterly qualities — by the sheer scale and dimensions of the work, by colour and shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering the horrors of the First World War, and ineffectual governments afterwards, fragmented into violently opposed political movements, each with their antagonistic coteries and milieu. The painting of these groups was very variable, but often showed a mixture of aggression and naivety. Understandably unpopular with the establishment  — denounced as degenerate by the Nazis — the style also met with mixed reactions from the picture-buying public. It seemed to question what the middle classes stood for: convention, decency, professional expertise. A great sobbing child had been let loose in the artist's studio, and the results seemed elementally challenging. Perhaps German painting was returning to its Nordic roots, to small communities, apocalyptic visions, monotone starkness and anguished introspection.

What could poetry achieve in its turn? Could it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of poetry, and to the exclusion of content? Poetry can never be wholly abstract, a pure poetry bereft of content. But clearly there would be a rejection of naturalism. To represent anything faithfully requires considerable skill, and such skill was what the Expressionists were determined to avoid. That would call on traditions that were not Nordic, and that were not sufficiently opposed to bourgeois values for the writer's individuality to escape subversion. Raw power had to tap something deeper and more universal.

Hence the turn inward to private torments. Poets became the judges of poetry, since only they knew the value of originating emotions. Intensity was essential.  Artists had to believe passionately in their responses, and find ways of purifying and deepening those responses — through working practices, lifestyles, and philosophies. Freud was becoming popular, and his investigations into dreams, hallucinations and paranoia offered a rich field of exploration. Artists would have to glory in their isolation, moreover, and turn their anger and frustration at being overlooked into a belief in their own genius. Finally, there would be a need to pull down and start afresh, even though that contributed to a gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an elaborate body of theory to justify, support and overtake what might otherwise appear infantile and irrational. And if traditional art cannot be pure emotional expression, then a new art would have to be forged. Such poetry would not be an intoxication of life (Nietzsche's phrase) and still less its sanctification.  Great strains on the creative process were inevitable, moreover, as they were in Georg Trakl's case, who committed suicide shortly after writing the haunting and beautiful piece given below

................
SYMBOLIST POETS
symbolism in poetry

Symbolism in literature was a complex movement that deliberately extended the evocative power of words to express the feelings, sensations and states of mind that lie beyond everyday awareness. The open-ended symbols created by Charles Baudelaire (1821-67) brought the invisible into being through the visible, and linked the invisible through other sensory perceptions, notably smell and sound. Stéphane Mallarmé (1842-98), the high priest of the French movement, theorized that symbols were of two types. One was created by the projection of inner feelings onto the world outside. The other existed as nascent words that slowly permeated the consciousness and expressed a state of mind initially unknown to their originator.

None of this came about without cultivation, and indeed dedication. Poets focused on the inner life. They explored strange cults and countries. They wrote in allusive, enigmatic, musical and ambiguous styles. Rimbaud deranged his senses and declared "Je est un autre". Von Hofmannstahl created his own language. Valéry retired from the world as a private secretary, before returning to a mastery of traditional French verse. Rilke renounced wife and human society to be attentive to the message when it came.

Not all were great theoreticians or technicians, but the two interests tended to go together, in Mallarmé most of all. He painstakingly developed his art of suggestion, what he called his "fictions". Rare words were introduced, syntactical intricacies, private associations and baffling images. Metonymy replaced metaphor as symbol, and was in turn replaced by single words which opened in imagination to multiple levels of signification. Time was suspended, and the usual supports of plot and narrative removed. Even the implied poet faded away, and there were then only objects, enigmatically introduced but somehow made right and necessary by verse skill. Music indeed was the condition to which poetry aspired, and Verlaine, Jimenez and Valéry were among many who concentrated efforts to that end.

So appeared a dichotomy between the inner and outer lives. In actuality, poets led humdrum existences, but what they described was rich and often illicit: the festering beauties of courtesans and dance-hall entertainers; far away countries and their native peoples; a world-weariness that came with drugs, isolation, alcohol and bought ***. Much was mixed up in this movement — decadence, aestheticism, romanticism, and the occult — but its isms had a rational purpose, which is still pertinent. In what way are these poets different from our own sixties generation? Or from the young today: clubbing, experimenting with relationships and drugs, backpacking to distant parts? And was the mixing of sensory perceptions so very novel or irrational? Synaesthesia was used by the Greek poets, and indeed has a properly documented basis in brain physiology.

What of the intellectual bases, which are not commonly presented as matters that should engage the contemporary mind, still less the writing poet? Symbolism was built on nebulous and somewhat dubious notions: it inspired beautiful and historically important work: it is now dead: that might be the blunt summary. But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now. The contents of consciousness were the concern of Edmund Husserl (1859-1938), and he developed a terminology later employed by Heidegger (1889-1976), the Existentialists and hermeneutics. Current theories on metaphor and brain functioning extend these concepts, and offer a rapprochement between impersonal science and irrational literary theory.

So why has the Symbolism legacy dwindled into its current narrow concepts? Denied influence in the everyday world, poets turned inward, to private thoughts, associations and the unconscious. Like good Marxist intellectuals they policed the area they arrogated to themselves, and sought to correct and purify the language that would evoke its powers. Syntax was rearranged by Mallarmé. Rhythm, rhyme and stanza patterning were loosened or rejected. Words were purged of past associations (Modernism), of non-visual associations (Imagism), of histories of usage (Futurism), of social restraint (Dadaism) and of practical purpose (Surrealism). By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational. Even Postmodernism, with its bric-a-brac of received media images and current vulgarisms, ensures that gaps are left for the emerging unconscious to engage our interest

......................

.
IMAGIST POETRY
imagist poetry

Even by twentieth-century standards, Imagism was soon over. In 1912 Ezra Pound published the Complete Poetical Works of its founder, T.E. Hulme (five short poems) and by 1917 the movement, then overseen by Amy Lowell, had run its course. {1} {2} {3} {4} {5} The output in all amounted to a few score poems, and none of these captured the public's heart. Why the importance?

First there are the personalities involved — notably Ezra Pound, James Joyce, William Carlos Williams {6} {7} {8} {9} — who became famous later. If ever the (continuing) importance to poets of networking, of being involved in movements from their inception, is attested, it is in these early days of post-Victorian revolt.

Then there are the manifestos of the movement, which became the cornerstones of Modernism, responsible for a much taught in universities until recently, and for the difficulties poets still find themselves in. The Imagists stressed clarity, exactness and concreteness of detail. Their aims, briefly set out, were that:

1. Content should be presented directly, through specific images where possible.
2. Every word should be functional, with nothing included that was not essential to the effect intended.
3. Rhythm should be composed by the musical phrase rather than the metronome.

Also understood — if not spelled out, or perhaps fully recognized at the time — was the hope that poems could intensify a sense of objective reality through the immediacy of images.

Imagism itself gave rise to fairly negligible lines like:

You crash over the trees,
You crack the live branch…  (Storm by H.D.)

Nonetheless, the reliance on images provided poets with these types of freedom:

1. Poems could dispense with classical rhetoric, emotion being generated much more directly through what Eliot called an objective correlate: "The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." {10}

2. By being shorn of context or supporting argument, images could appear with fresh interest and power.

3. Thoughts could be treated as images, i.e. as non-discursive elements that added emotional colouring without issues of truth or relevance intruding too mu
...............
PROSE BASED POETRY
prose based poetry

When free verse lacks rhythmic patterning, appearing as a lineated prose stripped of unnecessary ornament and rhetoric, it becomes the staple of much contemporary work. The focus is on what the words are being used to say, and their authenticity. The language is not heightened, and the poem differs from prose only by being more self-aware, innovative and/or cogent in its exposition.

Nonetheless, what looks normal at first becomes challenging on closer reading — thwarting expectations, and turning back on itself to make us think more deeply about the seemingly innocuous words used. And from there we are compelled to look at the world with sharper eyes, unprotected by commonplace phrases or easy assumptions. Often an awkward and fighting poetry, therefore, not indulging in ceremony or outmoded traditions.
What is Prose?

If we say that contemporary free verse is often built from what was once regarded as mere prose, then we shall have to distinguish prose from poetry, which is not so easy now. Prose was once the lesser vehicle, the medium of everyday thought and conversation, what we used to express facts, opinions, humour, arguments, feelings and the like. And while the better writers developed individual styles, and styles varied according to their purpose and social occasion, prose of some sort could be written by anyone. Beauty was not a requirement, and prose articles could be rephrased without great loss in meaning or effectiveness.

Poetry, though, had grander aims. William Lyon Phelps on Thomas Hardy's work: {1}

"The greatest poetry always transports us, and although I read and reread the Wessex poet with never-lagging attention — I find even the drawings in "Wessex Poems" so fascinating that I wish he had illustrated all his books — I am always conscious of the time and the place. I never get the unmistakable spinal chill. He has too thorough a command of his thoughts; they never possess him, and they never soar away with him. Prose may be controlled, but poetry is a possession. Mr. Hardy is too keenly aware of what he is about. In spite of the fact that he has written verse all his life, he seldom writes unwrinkled song. He is, in the last analysis, a master of prose who has learned the technique of verse, and who now chooses to express his thoughts and his observations in rime and rhythm."

.............
OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition
M Seifert M  Mar 2013
I ____ You
M Seifert M Mar 2013
I want you
I want someone to want me
but
you don't want me

please want me

don't!
I'm broken
you don't want a leaky faucet
that
self repairs
with duct tape and silly putty

I'll recite you the backs of cereal boxes
and
throw away the locks on the doors of our common places
I'll keep a smile on mine if your face feels too tired from the weight of what your mind is speaking out your eyes

Everything.
Every string
that hangs off of well worn sweaters
snags on finger nails and pealing calluses.

I'll draw the curtains
if
and ONLY
IF
you first admit that you
are
BEAUTIFUL.
and i know it.

Your doubt should drown.
We'll drink it down.
Sipping wine only to set the scene
because
WE
already ditched our inhibitions
and
we decided that what was best for each other was to feeds each other's needs with the other's body.

This letter.
This note.
To you.
The long lost women of my dreams
the shape shifting goddess
who floats freely through the open windows of my memories.
Will this be enough to summon spirits to lift me to your level without being beaten to life by a trigger happy judge's gavel?

I built my prison to your specifications.
The measurements may be off
but
the bed...
The bed is warm
and cozy.
And
it fills my heart to see your cheeks turn that rosy
rosy red
that same
rosy red
that fills my heart
and
flows through yours.
Kept inside
but
peaking out in moments of vulnerability.
Shed your false
heavy
layers of security
toss them in the water and...

Flush skin of lips and finger tips
other places where my mind can only wander
wondering where in the world we will
meet again.

It's half past ten or some other hour,
I don't know and you don't mind
because
we're alive!
and our heart beats will set the pace
keeping time in place.

THE STORM IS LOUD
MY VOICE
is softer
now...

Okay--

Alright--

*
I'll give you your space{













But
YOU
BETTER FLY.
And NO MATTER HOW HIGH
NOW IS YOUR CHANCE TO SHOW
to TRULY KNOW the color of your wings.

And
I'll continue singing
because
someone else may be listening.
And
although these tears won't quench my thirst
I'm learning more about myself through my time searching
through my ***** laundry:
Bags of rags
and forgotten junior high and high school notebooks.

Failed jokes took to heart
the stinging silence of laughter kept inside.

Broken funny bones
NUMBED by repetition [repetition]
DUMBED down
COMFORTABLE BEING SUBMISSIVE

Well, I'm not sorry
NOT SORRY
to tell you
this mouse
whose mouth you shut is now stirring

Stirring the ***
Kept at temperature
All the right spices and slices and dices to enlighten you as to what the taste of life is.
.............................................................­.................................................
Please sit, here is your chair.
I love what you've done with your hair!
let me know if you would like seconds
but
that depends on if you brought your appetite.
I know I'M Hungary [hungry]
but
I won't slurp my soup if it offends you.

We'll take it slow
because
I know that
I still don't know you that well yet.
And I think we both could cool it down on the unnecessary judgement.
I'd really like to know you well, so I won't try to sell you anything that you're not buying.
And call me out if you think I'm lying, but I promise to be as honest as you want.

But it's a two way street
and I know you're probably tired from running down it so long
in which case I would gladly rub your feet
or your shoulders if you'd like to be a bit more discrete.

However, it still may be too soon for that
in which case I'll take a couple steps back.

Do you like music?
How bout dancing?
It doesn't have to be romantic
I just enjoy the feeling when I'm moving to the rhythm in time with other bodies.

Does you mind maybe feel clearer now that your body's moving free
or
are you holding back because you falsely feel that you lack the ability to let the music move

Your soul's of you feet.

Let go
and hold on to me.
I won't let you fall unless you're ready
but I'll catch you
please don't worry.

We are free
here.

Let's just be
here.

Forget fear
and see where that takes us
in a year.

Or more
Or less
Or until you decide
that your dress
is not
the most comfortable thing
you
could be wearing...

I'm just glad we can share the same air
and not care that our hair's getting messy.

But...
This...
is the best I've felt.

In a loooong while...

Spinning out of control
Lying
With you here next to me.
Wk kortas Jul 2018
He has taken rake and shovel in hand,
Taking advantage of the light,
Rare in these climes this time of year,
Still welcomed, though rendered severe
By the sun's reluctant trudge above the horizon,
The type which, sauntering through a window pane
(Falling upon a crucifix anchored above a cradle
Or some ancient, gilded frame
Containing a photo of some grandparent's wedding day,
Exploding into full undifferentiated diffusion)
May possess a dram of warmth, albeit resigned, nostalgic
A bittersweet reminder of what has gone by
(And in the shade, the air is filled
With the portentous chill of what lies a few months hence)
But there nonetheless as he tends to those final farewells
From the trees bowing to December's inevitability,
The droppings not the *******-esque bursts of October
(Those having been collected and consigned
To the normal corner of the back lot)
But dreary brown-hued things, not welcomed by eye nor heart,
Simply corralled perfunctorily and dismissed.
One could contend that such activity is unnecessary,
The mere vanity of all endeavor,
As the snow will come soon, and steady as well,
Performing the seasonal, cyclical function in its own time,
But he soldiers on nonetheless, a unseen one-act nearly-farce,
Painstakingly raking and bending and scraping
To leave his patch of green uncovered for a little while
Until the locking time comes to seal the earth's secrets once more,
To be revealed to those
Who shall receive the teasing ministrations
Of the fickle, fitful March equinox.
Nigel Morgan Oct 2012
The courtesan and poet Zuo Fen had two cats Xe Ming and Xi Ming. Living in her distant court with only her maid Hu Yin, her cats were often her closest companions and, like herself, of a crepuscular nature.
      It was the very depths of winter and the first moon of the Solstice had risen. The old year had nearly passed.
      The day itself was almost over. Most of the inner courts retired before the new day began (at about 11.0pm), but not Zuo Fen. She summoned her maid to dress her in her winter furs, gathered her cats on a long chain leash, and walked out into the Haulin Gardens.
      These large and semi-wild gardens were adjacent to the walls of her personal court. The father of the present Emperor had created there a forest once stocked with game, a lake to the brim with carp and rich in waterfowl, and a series of tall structures surrounded by a moat from which astronomers were able to observe the firmament.
      Emperor Wu liked to think of Zuo Fen walking at night in his father’s park, though he rarely saw her there. He knew that she valued that time alone to prepare herself for his visits, visits that rarely occurred until the Tiger hours between 3.0am and 6.0am when his goat-drawn carriage would find its way to her court unbidden. She herself would welcome him with steaming chai and sometimes a new rhapsody. They would recline on her bed and discuss the content and significance of certain writings they knew and loved. Discussion sometimes became an elaborate game when a favoured Classical text would be taken as the starting point for an exchange of quotation. Gradually quotation would be displaced by subtle invention and Zuo Fen would find the Emperor manoeuvring her into making declarations of a passionate or ****** nature.
       It seemed her very voice captivated him and despite herself and her inclinations they would join as lovers with an intensity of purpose, a great tenderness, and deep joy. He would rest his head inside her cloak and allow her lips to caress his ears with tales of river and mountain, descriptions of the flights of birds and the opening of flowers. He spoke to her ******* of the rising moon, its myriad reflections on the waters of Ling Lake, and of its trees whose winter branches caressed the cold surface.

Whilst Zuo Fen walked in the midnight park with her cats she reflected on an afternoon of frustration. She had attempted to assemble a new poem for her Lord.  Despite being himself an accomplished poet and having an extraordinary memory for Classical verse, the Emperor retained a penchant for stories about Mei-Lim, a young Suchan girl dragged from her family to serve as a courtesan at his court.
      Zuo Fen had invented this girl to articulate some of her own expressions of homesickness, despair, periods of constant tearfulness, and abject loneliness. Such things seemed to touch something in the Emperor. It was as though he enjoyed wallowing in these descriptions and his favourite A Rhapsody on Being far from Home he loved to hear from the poet’s own lips, again and again. Zuo Fen felt she was tempting providence not to compose something new, before being ordered to do so.
      As she struggled through the afternoon to inject some fresh and meaningful content into a story already milked dry Zuo Fen became aware of her cats. Xi Ming lay languorously across her folded feet. Xe Ming perched like an immutable porcelain figure on a stool beside her low writing table.
Zuo Fen often consulted her cats. ‘Xi Ming, will my Lord like this stanza?’

“The stones that ring out from your pony’s hooves
announce your path through the cloud forest”


She would always wait patiently for Xi Ming’s reply, playing a game with her imagination to extract an answer from the cinnamon scented air of her winter chamber.
      ‘He will think his pony’s hooves will flash with sparks kindling the fire of his passion as he prepares to meet his beloved’.
      ‘Oh such a wise cat, Xi Ming’, and she would press his warm body further into her lap. But today, as she imagined this dialogue, a second voice appeared in her thoughts.
      ‘Gracious Lady, your Xe Ming knows his under-standing is poor, his education weak, but surely this image, taken as it is from the poet Lu Ji, suggests how unlikely it would be for the spark of love and passion to take hold without nurture and care, impossible on a hard journey’.
       This was unprecedented. What had brought such a response from her imagination? And before she could elicit an answer it was as though Xe Ming spoke with these words of Confucius.

“Do not be concerned about others not appreciating you, be concerned about you not appreciating others”

Being the very sensible woman she was, Zuo Fen dismissed such admonition (from a cat) and called for tea.

Later as she walked her beauties by the frozen lake, the golden carp nosing around just beneath the ice, she recalled the moment and wondered. A thought came to her  . . .
       She would petition Xe Ming’s help to write a new rhapsody, perhaps titled Rhapsody on the Thought of Separation.

Both Zuo Fen’s cats came from her parental home in Lingzhi. They were large, big-***** mountain cats; strong animals with bear-like paws, short whiskered and big eared. Their coats were a glassy grey, the hairs tipped with a sprinkling of white giving the fur an impression of being wet with dew or caught by a brief shower.
       When she thought of her esteemed father, the Imperial Archivist, there was always a cat somewhere; in his study at home, in the official archives where he worked. There was always a cat close at hand, listening?
       What texts did her father know by heart that she did not know? What about the Lu Yu – the Confucian text book of advice and etiquette for court officials. She had never bothered to learn it, even read it seemed unnecessary, but through her brother Zuo Si she knew something of its contents and purpose.

Confucius was once asked what were the qualifications of public office. ‘Revere the five forms of goodness and abandon the four vices and you can qualify for public office’.
       For the life of her Zuo Fen could not remember these five forms of goodness (although she could make a stab at guessing them). As for those vices? No, she was without an idea. If she had ever known, their detail had totally passed from her memory.
       Settled once again in her chamber she called Hu Yin and asked her to remove Xi Ming for the night. She had three hours or so before the Emperor might appear. There was time.
        Xe Ming was by nature a distant cat, aloof, never seeking affection. He would look the other way if regarded, pace to the corner of a room if spoken to. In summer he would hide himself in the deep undergrowth of Zuo Fen’s garden.
       Tonight Zuo Fen picked him up and placed him on her left shoulder. She walked around her room stroking him gently with her small strong fingers, so different from the manicured talons of her colleagues in the Purple Palace. Embroidery, of which she was an accomplished exponent, was impossible with long nails.
       From her scroll cupboard she selected her brother’s annotated copy of the Lun Yu, placing it unrolled on her desk. It would be those questions from the disciple Tzu Chang, she thought, so the final chapters perhaps. She sat down carefully on the thick fleece and Mongolian rug in front of her desk letting Xe Ming spill over her arms into a space beside her.
       This was strange indeed. As she sat beside Xe Ming in the light of the butter lamps holding his flickering gaze it was as though a veil began to lift between them.
       ‘At last you understand’, a voice appeared to whisper,’ after all this time you have realised . . .’
      Zuo Fen lost track of time. The cat was completely motionless. She could hear Hu Yin snoring lightly next door, no doubt glad to have Xi Ming beside her on her mat.
      ‘Xe Ming’, she said softly, ‘today I heard you quote from Confucius’.
      The cat remained inscrutable, completely still.
      ‘I think you may be able to help me write a new poem for my Lord. Heaven knows I need something or he will tire of me and this court will cease to enjoy his favour’.
      ‘Xe Ming, I have to test you. I think you can ‘speak’ to me, but I need to learn to talk to you’.
      ‘Tzu Chang once asked Confucius what were the qualifications needed for public office? Confucius said, I believe, that there were five forms of goodness to revere, and four vices to abandon’.
       ‘Can you tell me what they are?’
      Xe Ming turned his back on Zuo Fen and stepped gently away from the table and into a dark and distant corner of the chamber.
      ‘The gentle man is generous but not extravagant, works without complaint, has desires without being greedy, is at peace, but not arrogant, and commands respect but not fear’.
      Zuo Fen felt her breathing come short and fast. This voice inside her; richly-texture, male, so close it could be from a lover at the epicentre of a passionate entanglement; it caressed her.
      She heard herself say aloud, ‘and the four vices’.
      ‘To cause a death or imprisonment without teaching can be called cruelty; to judge results without prerequisites can be called tyranny; to impose deadlines on improper orders can be thievery; and when giving in the procedure of receipt and disbursement, to stint can be called officious’.
       Xe Ming then appeared out of the darkness and came and sat in the folds of her night cloak, between her legs. She stroked his glistening fur.
       Zuo Fen didn’t need to consult the Lu Yu on her desk. She knew this was unnecessary. She got to her feet and stepped through the curtains into an antechamber to relieve herself.
       When she returned Xe Ming had assumed his porcelain figure pose. So she gathered a fresh scroll, her writing brushes, her inks, her wax stamps, and wrote:

‘I was born in a humble, isolated, thatched house,
and was never well versed in writing.
I never saw the marvellous pictures of books,
nor had I heard of the classics of earlier sages.
I am dimwitted, humble and ignorant . . ‘


As she stopped to consider the next chain of characters she saw in her mind’s eye the Purple Palace, the palace of the concubines of the Emperor. Sitting next to the Purple Chamber there was a large grey cat, its fur sprinkled with tiny flecks of white looking as though the animal had been caught in a shower of rain.
       Zuo Fen turned from her script to see where Xe Ming had got to, but he had gone. She knew however that he would always be there. Wherever her imagination took her, she could seek out this cat and the words would flow.

Before returning to her new text Zuo Fen thought she might remind herself of Liu Xie’s words on the form of the Rhapsody. If Emperor Wu appeared later she would quote it (to his astonishment) from The Literary Mind and the Carving of Dragons.

*The rhapsody derives from poetry,
A fork in the road, a different line of development;
It describes objects, pictures and their appearance,
With a brilliance akin to sculpture and painting.
What is clogged and confined it invariably opens up;
It depicts the commonplace with unbounded charm;
But the goal of the form is of beauty well ordered,
Words retained for their loveliness when weeds have been cut away.
Ayad Gharbawi Jan 2010
Hi;

This is not a poem.

But given the infernal catastrophe that has befallen, I just think it is time for you Americans to listen to us people living 'out there'.

Here are my thoghts, that I submit to you with respect;


HAITIAN EARTHQUAKE: A HISTORIC MOMENT FOR AMERICA TO CHANGE ITS MISSION

Ayad Gharbawi

January 19, 2010 – Damascus, Syria


The recent Haitian earthquake is unusual in that it has destroyed the entire meagre ‘infrastructure’ of a so-called nation.
In fact, this 2010 earthquake succeeded in showing the world that the so-called ‘country’ of Haiti is nothing more than another piece of estate/land/property for a select, few oligarchs.
Anyway, the US response to this ecological/environmental holocaust that has befallen upon Haiti has been unprecedented.
America, under President Barack Hussein Obama, has behaved impeccably in Haiti.
The brilliance in Obama’s aid for Haiti is successful precisely because he has avoided previous attempts by the US to help on the basis of ‘humanitarian’ grounds, when those grounds happened to also include conflicts raging within them.
Obama avoided the mistake of getting America involved in a humanitarian crises that existed within a civil war – like what happened in Lebanon (1982-83), Somalia (1991-3), Bosnia (1995), Kosovo (1999).
I write this article because I, as an outsider, wish ardently, to speak to you Americans.
Today, you Americans have the choice: either to follow the militaristic, expansionist policies of the US President, Theodore Roosevelt, or you may follow the path of the first morally-guided President of the US - Woodrow Wilson.
I urge you Americans to leave all countries where there are civil wars – such as in Iraq, Afghanistan, Yemen and so on.
Let these countries do whatever their people wish to do against each other.
Instead, allow your great arsenal of democracy to help and intervene on humanitarian missions – in countries wherein there are no civil wars – such as you have been doing so magnificently in Haiti.
Use your power, your wealth, your US Army, Air Force, and Navy to help humans who need the helping hand of succour.
I tell you, that you Americans, once you adopt this peaceful, moral foreign; policy, you shall see that your enemies will fade.
Taleban have told you repeatedly, and have repeatedly contacted to you, telling you that they are engaged in an Afghani civil war. So why do you intrude?
Al Qaeda have told you repeatedly if you leave the Middle East, then they have no quarrel with you.
Why can you Americans not accept or understand that so long as you do not invade, occupy or create military bases in foreign lands, no one, and no organization and no party and no country will see you as an enemy?
This is a moment for you Americans do finally break off from the Theodore Roosevelt Principle (TRP) which is to attack, ****, slaughter and occupy any country you think is ‘worth it’.
And, at the same time, it is also a moment in history, when you can fully embrace the Woodrow Wilson Principle (WWP) of a foreign policy that is based on morality.
What you have done and what you are doing in Haiti is a pure act of WWP.
I believe the entire Third World applauds you and loves you for what your men and women are doing for the innocent victims of Haiti.
But, then, when other men and women, scream and shriek, saying: “Look at what these Americans are doing! They ****, butcher and ****** Afghans in order to support corrupt, drug dealing gangsters such as Hamid Karzai who, themselves, cannot control and, in any case, are not interested in ‘controlling’ their own country! So what else can you think of America’s real intentions?”
And what a good emotion-fuelled question, indeed.
What are you Americans doing fighting, losing American and Afghani blood in order to basically prop up and support criminal regimes such as the Karzai regime, whose only raison d’etre is to make profits through their various ‘business’ activities?
The more you Americans fight what are perceived as unjust, colonialist wars, the more you will create terrorists. It is a never ending cycle!
I argue and I passionately believe, that you Americans can do this. If only you US statesmen and stateswomen finally decide to adopt the beautiful, clean mantle of morality in your foreign policy.
Obviously, I do not have enough space to express my ideas and reasons. So, let me be clear: I am not advocating a slavish enactment of Wilsonian principles.
For, as an example, when Iraq invaded Kuwait in 1990, the US had to make a military move, because no country can allow a sick dictator to control so much of the world’s oil. There are clear instances when aggression abroad can seriously threaten US interests. But, in truth, the vast majority of the wars you Americans entered, were unnecessary: you did not need to go beyond the Yalu in 1950 in Korea; you did not need to enter the North-South Vietnamese Civil War.
Take Kosovo: yes massacres were committed on all sides. But you did not need to bomb Serbia. First and foremost, that should and must have been a problem for European powers to solve. Secondly, Kosovo was never vital for US interests. And the fact is, Kosovo could never be a so-called ‘state’. Today, it is nothing more than a geographical area run by warlords, drug dealers and other gangsters who each carve out their own territory. Was that piece of gangster-run land worthy of killing Serbians? No!
Take North Korea: let Russian, South Korea and Japan deal with that abnormal so-called state. Why do you spend money on your troops and camps there? It is not in your interests and yes, North Korea does not threaten you Americans!
The same goes for Iraq in 2003 – you did not need to invade that country for the simple reason that Baghdad posed no threat to its neighbours, and certainly no threat to Europe or to the US.  Again, you should have let the Iraqis themselves solve whatever problems they have on their fragmented plate.
You must see and feel that US lives are not expendable for pointless and futile foreign adventures.
America should help those who have suffered environmental catastrophes and who are in a war-free zone.
America should help stable, developing nations where accountability starts from Washington and right back in – Washington.
And yes, of course, America should only use its military might if it is directly threatened by any person, nation or organization.
And to reduce this hatred that has spawned against you: I tell you, a voice from a wilderness, one mute krill from amongst billions yearning for exactly what I yearn for, I tell you: remove your military bases from Europe, Japan, South America, the Gulf, and anywhere else. These military bases are seen by people as ‘evidence’ of occupation. You do not need to keep these costly outposts. Remove them. Reduce your military presence that, in any way, has no effect, except to increase fanaticism and anger amongst your people. This is especially so in the Gulf, where your presence angers the people – leave those countries and yes, you will then reduce your costs, which is obviously beneficial to you Americans.
Instead of military compounds and bases, why not enthusiastically create consortiums of companies to build American schools, universities, hospitals, housing projects and get involved in building infrastructure projects in nations that have good accountability, so no money is wasted and so can never go, instead, straight to the pockets of the leaders.
Build the world; use your superpower might to create hope in broken nations, and that effort will, in turn, build love and you shall see, your enemies shall decrease and your military costs will decrease and your building projects will bring you greater revenues.
The choice is yours: follow a Wilsonian foreign policy or a Theodore Roosevelt foreign policy.
I hope the Haitian earthquake catastrophe has shed some light on which path US foreign policy should take.

Ayad Gharbawi
Mike Bergeron Sep 2012
There was a house fire on my street last night …well… not exactly my street, but on a little, sketchy, dead-end strip of asphalt, sidewalks, weeds, and garbage that juts into my block two houses down. It was on that street. Rosewood Court, population: 12, adjusted population: 11, characterized by anonymity and boarded windows, peppered with the swift movements of fat street rats. I’ve never been that close to a real, high-energy, make-sure-to-spray-down-your-roof-with-a-hose-so-it-doesn’t-catch­ fire before. It was the least of my expectations for the evening, though I didn’t expect a crate of Peruvian bananas to fall off a cargo plane either, punching through the ceiling, littering the parking lot with damaged fruit and shingles, tearing paintings and shelves and studs from the third floor walls, and crashing into our kitchen, shattering dishes and cabinets and appliances. Since that never happened, and since neither the former nor the latter situation even crossed my mind, I’ll stick with “least of my expectations,” and bundle up with it inside that inadequate phrase whatever else may have happened that I wouldn’t have expected.



I had been reading in my living room, absently petting the long calico fur of my roommate’s cat Dory. She’s in heat, and does her best to make sure everyone knows it, parading around, *** in the air, an opera of low trilling and loud meows and deep purring. As a consequence of a steady tide of feline hormones, she’s been excessively good humored, showering me with affection, instead of her usual indifference, punctuated by occasional, self-serving shin rubs when she’s hungry. I saw the lights before I heard the trucks or the shouts of firemen or the panicked wail of sirens, spitting their warning into the night in A or A minor, but probably neither, I’m no musician. Besides, Congratulations was playing loud, flowing through the speakers in the corners of the room, connected to the record player via the receiver with the broken volume control, travelling as excited electrons down stretches of wire that are, realistically, too short, and always pull out. The song was filling the space between the speakers and the space between my ears with musings on Brian Eno, so the auditory signal that should have informed me of the trouble that was afoot was blocked out. I saw the lights, the alternating reds and whites that filled my living room, drawing shifting patterns on my walls, ceiling, floor, furniture, and shelves of books, dragging me towards the door leading outside, through the cluttered bike room, past the sleeping, black lump of oblivious fur that is usually my boisterous male kitten, and out into the bedlam I  had previously been ignorant to. I could see the smoke, it was white then gray then white, all the while lending an acrid taste to the air, but I couldn’t see where it was issuing from. The wind was blowing the smoke toward my apartment, away from Empire Mills. I tried to count the firetrucks, but there were so many. I counted six on Wilmarth Ave, one of which was the awkward-looking, heavy-duty special hazards truck. In my part of the city, the post-industrial third-wave ***** river valley, you never know if the grease fire that started with homefries in a frying pan in an old woman’s kitchen will escalate into a full-blown mill fire, the century-old wood floors so saturated with oil and kerosene and ****** and manufacturing chemicals and ghosts and god knows what other flammable **** that it lights up like a fifth of July leftover sparkler, burning and melting the hand of the community that fed it for so many decades, leaving scars that are displayed on the local news for a week and are forgotten in a few years’ time.



The night was windy, and the day had been dry, so precautions were abundant, and I counted two more trucks on Fones Ave. One had the biggest ladder I’ve ever seen. It was parked on the corner of Fones and Wilmarth, directly across from the entrance into the forgotten dead-end where the forgotten house was burning, and the ladder was lifting into the air. By now my two roommates had come outside too, to stand on our rickety, wooden staircase, and Jeff said he could see flames in the windows of one of the three abandoned houses on Rosewood, through the third floor holes where windows once were, where boards of plywood were deemed unnecessary.



“Ay! Daddy!”



My neighbor John called up to us. He serves as the eyes and ears and certainly the mouth of our block, always in everyone’s business, without being too intrusive, always aware of what’s going down and who’s involved. He proceeded to tell us the lowdown on the blaze as far as he knew it, that there were two more firetrucks and an ambulance down Rosewood, that the front and back doors to the house were blocked by something from inside, that those somethings were very heavy, that someone was screaming inside, that the fire was growing.



Val had gone inside to get his jacket, because despite the floodlights from the trucks imitating sunlight, the wind and the low temperature and the thought of a person burning alive made the night chilly. Val thought we should go around the block, to see if we could get a better view, to satisfy our congenital need to witness disaster, to see the passenger car flip over the Jersey barrier, to watch the videos of Jihadist beheadings, to stand in line to look at painted corpses in velvet, underlit parlors, and sit in silence while their family members cry. We walked down the stairs, into full floodlight, and there were first responders and police and fully equipped firefighters moving in all directions. We watched two firemen attempting to open an old, rusty fire hydrant, and it could’ve been inexperience, the stress of the situation, the condition of the hydrant, or just poor luck, but rather than opening as it was supposed to the hydrant burst open, sending the cap flying into the side of a firetruck, the water crashing into the younger of the two men’s face and torso, knocking him back on his ***. While he coughed out surprised air and water and a flood of expletives, his partner got the situation under control and got the hose attached. We turned and walked away from the fire, and as we approached the turn we’d take to cut through the rundown parking lot that would bring us to the other side of the block, two firemen hurried past, one leading the other, carrying between them a stretcher full of machines for monitoring and a shitload of wires and tubing. It was the stiff board-like kind, with handles on each end, the kind of stretcher you might expect to see circus clowns carry out, when it’s time to save their fallen, pie-faced cohort. I wondered why they were using this archaic form of patient transportation, and not one of the padded, electrical ones on wheels. We pushed past the crowd that had begun forming, walked past the Laundromat, the 7Eleven, the carwash, and took a left onto the street on the other side of the parking lot, parallel to Wilmarth. There were several older men standing on the sidewalk, facing the fire, hands either in pockets or bringing a cigarette to and from a frowning mouth. They were standing in the ideal place to witness the action, with an unobstructed view of the top two floors of the burning house, its upper windows glowing orange with internal light and vomiting putrid smoke.  We could taste the burning wires, the rugs, the insulation, the asbestos, the black mold, the trash, and the smell was so strong I had to cover my mouth with my shirt, though it provided little relief. We said hello, they grunted the same, and we all stood, watching, thinking about what we were seeing, not wanting to see what we were thinking.

Two firefighters were on the roof by this point, they were yelling to each other and to the others on the ground, but we couldn’t hear what they were saying because of the sirens from all the emergency vehicles that were arriving.  It seemed to me they sent every firetruck in the city, as well as more than a dozen police cars and a slew of ambulances, all of them arriving from every direction. I guess they expected the fire to get really out of hand, but we could already see the orange glow withdrawing into the dark of the house, steam and smoke rippling out of the stretched, wooden mouths of the rotted window frames. In a gruff, habitual smoker’s voice, we heard

                                      “Chopper called the fire depahtment

We was over at the vet’s home

                He says he saw flames in the windas

                                                                                                                                                We all thought he was shittin’ us

We couldn’t see nothin’.”

A man between fifty-five to sixty-five years old was speaking, no hair on his shiny, tanned head, old tattoos etched in bluish gray on his hands, arms, and neck, menthol smoke rising from between timeworn fingers. He brought the cigarette to his lips, drew a hearty chest full of smoke, and as he let it out he repeated

                                                “Yea, chopper called em’

Says he saw flames.”

The men on the roof were just silhouettes, backlit by the dazzling brightness of the lights on the other side.  The figure to the left of the roof pulled something large up into view, and we knew instantly by the cord pull and the sound that it was a chainsaw. He began cutting directly into the roof. I wasn’t sure what he was doing, wondered if he was scared of falling into the fire, assumed he probably was, but had at least done this before, tried to figure out if he was doing it to gain entry or release pressure or whatever. The man to the right was hacking away at the roof with an axe. It was surreal to watch, to see two men transformed from public servants into fingers of destruction, the pinkie and ring finger fighting the powerful thumb of the controlled chemical reaction eating the air below them, to watch the dark figures shrouded in ethereal light and smoke and sawdust and what must’ve been unbearable heat from below, to be viewing everything with my own home, my belongings, still visible, to know it could easily have gone up in flames as well.

I should’ve brought my jacket. I remember complaining about it, about how the wind was passing through my skin like a window screen, chilling my blood, in sharp contrast to the heat that was morphing and rippling the air above the house as it disappeared as smoke and gas up into the atmosphere from the inside out.

Ten minutes later, or maybe five, or maybe one, the men on the roof were still working diligently cutting and chopping, but we could no longer see any signs of flames, and there were figures moving around in the house, visible in the windows of the upper floors, despite the smoke. Figuring the action must be reaching its end, we decided to walk back to our apartment. We saw Ken’s brown pickup truck parked next to the Laundromat, unable to reach our parking lot due to all the emergency vehicles and people clogging our street. We came around the corner and saw the other two members of the Infamous Summers standing next to our building with the rest of the crowd that had gathered. Dosin told us the fire was out, and that they had pulled someone from inside the gutted house, but no ambulance had left yet, and his normally smiling face was flat and somber, and the beaten guitar case slung over his shoulder, and his messed up hair, and the red in his cheeks from the cold air, and the way he was moving rocks around with the toe of his shoe made him look like a lost child, chasing a dream far from home but finding a nightmare in its place, instead of the professional who never loses his cool or his direction.

The crowd all began talking at once, so I turned around, towards the dead end and the group of firefighters and EMTs that were emerging. Their faces were stoic, not a single expression on all but one of those faces, a young EMT, probably a Basic, or a Cardiac, or neither, but no older than twenty, who was silently weeping, the tears cutting tracks through the soot on his cheeks, his eyes empty of emotion, his lips drawn tight and still. Four of them were each holding a corner of the maroon stretcher that took two to carry when I first saw it, full of equipment. They did not rush, they did not appear to be tending to a person barely holding onto life, they were just carrying the weight. As they got close gasps and cries of horror or disgust or both issued from the crowd, some turned away, some expressions didn’t change, some eyes closed and others stayed fixed on what they came to see. One woman vomited, right there on the sidewalk, splashing the shoes of those near her with the partially digested remains of her EBT dinner. I felt my own stomach start to turn, but I didn’t look away. I couldn’t.

                                                                                It was like I was seven again,

                                in the alleyway running along the side of the junior high school I lived near and would eventually attend,

looking in silent horror at what three eighth graders from my neighborhood were doing.

It was about eight in the evening of a rainy,

late summer day,

and I was walking home with my older brother,

cutting through the alley like we always did.

The three older boys were standing over a small dog,

a terrier of some sort.

They had duct taped its mouth shut and its legs together,

but we could still hear its terrified whines through its clenched teeth.

One of the boys had cut off the dog’s tail.

He had it in one hand,

and was still holding the pocket knife in the other.

None of them were smiling,

or talking,

nor did they take notice of Andrew and I.

There was a garden bag standing up next to them that looked pretty full,

and there was a small pile of leaves on the ground next to it.

In slow motion I watched,

horrified,

as one of the boys,

Brian Jones-Hartlett,

picked up the shaking animal,

put it in the bag,

covered it with the leaves from the ground,

and with wide,

shining eyes,

set the bag

on fire

with a long-necked

candle

lighter.

It was too much for me then. I couldn’t control my nausea. I threw up and sat down while my head swam.

I couldn’t understand. I forgot my brother and the fact that he was older, that he should stop this,

Stop them,

There’s a dog in there,

You’re older, I’m sick,

Why can’t I stop them?

It was like
Akemi  Jul 2013
unnecessary
Akemi Jul 2013
What’s the difference between unwanted and unneeded?
You’re unnecessary, verging on disappointment, disgrace
Breaking faith and bond, hoarding intent and hopes false
Unnecessary child

Give me pure existence
And watch me lose my mind
Without meaning
I’m fingerless and blind
Give me pure existence
And watch me lose my heart
Without love
I’m a stringless puppet
12:06pm, July 27th 2013

sorry for the bout of emos
Realeboga M  Mar 2016
Insecurity
Realeboga M Mar 2016
"Insecurities are the worst demons to live with", she stands at the podium.
"Can anyone tell me what insecurities are?", she stares in front, looking at the ten students who were presumed to be messed up by the school board.

A boy with a blue hoodie raises his hand.
"Insecurities are our fears of our fears coming true, it's the absence of feeling safe or secure. Which leads to an emotional turmoil of trying to fix them. To ignore them but ultimately they end up taking us", he speaks confidently as his head is bowed.

"Have you had your fair share of insecurities? ", the girl walks up to him and crouches. She notices the exhaustion in his demeanour, the pain, hidden secrets. And death in his green eyes.
He stares at her brown eyes, filled with sincerity and concern along with a dose of hope. She finally found them.

"Haven't we all?", a girl with grey blonde hair speaks up.
Heads turn and look into her direction.
She plays with the hem of her shirt,
"We started off carefree. Young and willing to explore, we meet people who change our lives who make worthwhile but then others. I don't know about them but they take parts of us and play with them, they toy around with them and then drop us. Like old unwanted toys. We begin to wonder, question our hearts, search our minds trying to figure out where we went wrong and that hurts. We then build unnecessary yet necessary theories as they begin to make sense.  That's when they lurk in. That's how we get them", her voice shakes

The boy with the hoodie sighs, "And to think that's only the first part of them", he looks at the lady and croaks his head, "Studies show that we can get rid of these insecurities but I don't know. I've tried all these measures all the ways of getting rid of them but they don't ever leave. They stay, they don't even lurk in. Shucks depression is nicer than being insecure. Depression leaves for a while. But this", he shakes his head and massages his temples.

The lady walks up to the podium and sighs, "Being insecure is a painful thing to experience because with insecurities comes more demons willing to take advantages of you, willing to destroy you trust me I know"

A girl with glasses begins to laugh, "Everyone here knows that Miss, we're all insecure, this could be in terms of our grades, our love lives, our family, our lifestyle, our sexuality, we are all insecure. But the question here is how do we get rid of them? How do we feel normal? How do we get rid of this insane feeling, the hostility we feel from our own selves. How!?" She pushes her glasses.

The lady sighs once again, staring at the girl. She closes her eyes, "I don't know. I believe there's no way out with insecurities. They manifest inside us, they evolve and they become stronger. All I do is face them head first. I stopped thinking and accepted them. I am insecure and I am learning to accept that I am not perfect"

"Do you think that's the answer Miss", the boy with a red bandana scratched his head.
"Acceptance?" His voice heavy with a British accent.

"You said you learned to accept your imperfections and here you are now. Talking to us about our issues. Does this mean you're no longer insecure?" He furrowed his eyebrows.
"Does this mean there's hope for us?" He smiled exposing his pearly whites.

The lady sighed, pondering on how to answer that.
" I don't think that's what she meant", the boy with the hoodie speaks up.
"What she means is that once we learn to accept them like she did. We can learn to move on. To live with them. And truth is they won't hurt us as much as they do now. I mean we know we're not perfect and its okay. It's about acceptance and appreciation of our scars"
Dolores L Day Jan 2015
Your first word was "Watermelon"
It's funny because I'm black.
My boyfriend is wonderful and I'm ******* insane. Writing this poem helps.
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