Everywhere

She's in every crossword
She haunts the radio
she's in my mind, memories blurred
Cant help but chase her shadow

I feel my heart still palpitate
With just the utterance of her name
All my life , to her , I'd gravitate
For no one else, i feel the same

She's in the stars, for each an ode
Under the moon I'd weep
I think of all the " I love you's " told
And I cry myself to sleep

She's in every, unoccupied thought
I can't help but to endear
But despite all this, its all for naught
Because she's everywhere, but here .

Well you see the thing to understand is poetry is a gospel to the world.
At first you feel as if it is oppressive chains tying you down to the soiled earth with every simplistic tick tock.
That is at least until you discover this world has no rules for an adventurer of free verse.
Your words now flow like an expeditious brook as long as you use metaphors with pretentious words.  

However rules exist it is plain to see.
Some poems go aabb.
Those are simple ones to find.
Those are the ones stuck in your mind.

Now one more step, aabbc.
Those are a little more artsy.
You draw your crowd in.
Get under their skin,
And finish a little bit different.

And now it's time for set number three.
One that can simply astound.
The great, magnificent abab.
Those make a poet nearly profound.

There are  couplets, sonnets, and monoryhms.
And now for the last one, all in good time.
I wanted you all to hear them like chimes,
But all that I had I left you in these lines.

repetition, that's a good technique, a form of
reiteration, emphasis, as you like to
move in the river of synonymousness -
i mean, plenty to choose from -
well it's a better technique than rhyming,
it's like Kaiser Karl Lagerfeld said
about Coco Chanel's legacy after she died
in 1971: 'people tend to forget, that,
once upon a time, Chanel was old hat.
it was only Parisian doctors' wives who
still wore it. nobody wanted it - it was hopeless.'
(oh i can be couture no problem,
the other side of me that's into galleries -
even though that never brought me much
luck with the ladies, Beelzebub ******* on my
face and i started to squeeze out maggots
ensuring my face was forever crater riddled
moon - yes, excess white blood cells).
that's the same with poetry, it can't be
love me doo d'ah mushy mushy candy-floss
longing crap - mate, i'm a bus ****** and
this bus is coming but it's already 20 minutes late...
and it's ******* cats, dogs, frogs... Norwegian
acid rain, my anorak is peeling like a snake
shedding its skin and you're rewriting the early
Beatles unleashed on the American public:
shaved, hair trimmed into mushroom bops
all that Rene Magritte **** 'love, love me do!'
forget it, it's not going to happen, rhyming is the last
resort, i prefer the chance rhyme, it sometimes
happens, and it's too cute when it happens randomly
rather than with premeditation;
you can also throw out all the other premeditation
of techniques that poetry is known for...
what's the point? and back concerning rhyming,
you really want your poetry to be discussed by
schoolchildren and an english teacher in between
grammar lessons
                                  rhyming schemes and all?
that's how it goes:
         her name was Dazie          (a)
         she was never lazy             (a)
         i wrote her a sonnet           (b)
         reclining on a car bonnet  (b)
                                                               that's how they
do anatomy on poetry, the forensic team will
be with you shortly, the only reason i can think of
and know of as to why people are abhorred by
poetry (it's a natural repellent, spray it on weeds
             and insects, a natural insecticide,
****, spray it everywhere) is, because people on
the academic level have scrutinised it, analysed it
to the extent that it's not even there, it gets you thinking:
so who the hell was paying attention to the mammoth
novels of Tolstoy? oh right... no one!
the forensics, the post-mortem of poetry,
it has literally been mummified - the brain came out
as porridge ****** out through the nose.
are you familiar with Tenacious D's one note song?
that's what rhyming is to me, ever hear it?
it's the -ing twang
                            it's the -ing echo echo echo echo echo...
halfwit variations, you're hitting the same note,
great if you're penetrating a girl and she's giving
you an Opera of Vowels... otherwise it ends up
in a schoolroom, with an english teacher
and the rhyming scheme of a sonnet is?
                          ABAB CDCD EFEF GG
or?
                                                              abracadabra.
personally though Tenacious D's song kiełbasa,
etymology:
                    kieł       (canine, in polish)
   -basa (i'm guessing: the base of)             -
it's a sausage                                based on canines,
kieł (insert a           w    for the         ł.. tongue tied, eh?)
is a reference to a canine, a sharp tooth anyway,
and with -basa             i just intuitively thought of how
a hebrew would write it (i.e. hiding vowels)
and therefore juggled in an      e                  for -base.
they do, even though hebrew has Aleph (א) it hides
the vowels: S VRYTHNG RDS LK S - or i might
just be bullshitting you.