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Anoushka B  Nov 2014
Sex
Anoushka B Nov 2014
***
Through the naked crest of your back
The dips above your clavicles
And the way I lunge at your jaw.

Through pale hands and swollen lips
And heavy eyes

It echoes

Resonates through thin air
And seeps into the cracks of the walls
The way it collides with your skin
And buries through the flesh

That moment, awakening, I got through
You know now how much I love you
Brad Lambert Oct 2013
(I)

Whose coat is this? Sure as hell isn't my coat. I ain't got no coat with this parka ****, it's *******. I ain't no furry flamin' ******. I ain't no ****** chochy Molly-May-Ze-**** chokin' down chickens and nasalin' a'sniffin' snortin' nasty-*** choch; that ain't me. That ain't me. Look at this coat– I'm like an Eskimo *****. I'm like a butch-**** bull-**** crotch-lappin' a'swimmin' laps in that guy's swimmin' pool. Who's that guy? Who owns that guy? 'Ey, anyone here the owner of this guy– guy ain't got no owner? Whose coat is this? It's nice, real nice. Bet she said, "Does it come from France? Where do I buy one?" I want to buy one, I think I need to buy **** more. I sure as hell need to buy one of these. "And I need one these too and one of them too and I need a petticoat and a tipper-tapper and a whimpratic garfielder and one of them new bartlemores, I need more of them bartlemores. I need more, more, more, more, more, more..." That ain't enough. ****'s from France. ****'s from Paris, that's romantic. You think I'm romantic? I eat hearts for dinner, I chew down nails like nuts for my midnight snack. I smoke cigarettes and spit on concrete slabs, you think that's ****? I'll show you ****. I'll show you Paris, New York City, Rome, romance you in Rome. I'll get real ******' Roman. I'll take you to the desert and make love to you. That's how a free man does a woman, and I'm a real free man. Who's ownin' this guy? It ain't you, it ain't me. I don't own you, you don't own me. I'm a free man:

I said,
"Fire and wood, fire and wood, fire and wood. It is late, it is late, it is far, far too late."

I set
fire to wood, fire to wood; feel that fire fired fresh from that firewood.

I dug the pit,
he gathered the wood,
she started the fire.

She really does make that fire start.

O' how she makes that fire burn,
O' how the wood's wrapped in white hots,
O' how they smoke their smokestacked pipes,
O' tobacco teeming teenagers, tormented by and through youth,
O' adolescence, trending topics, and forget-me-not flowers,
O' old age, Floridan coffins, and coughing  cancers,
O' writers in the mountains writing to be,
O' painters and **** bodies in studies by the sea,
O' thinkers in their mindset, mindsetting the table for dinner,
O' tables set to bursting,
O' wallets so thick,
O' community,
O' society, our social games,
O' hope,
O' peace,
O' that I may be at peace,
O' that I may be content and pray only for peace,
O' how about them true believers,
O' how about that love at first sight,
O' sandstone. My sandstone. That guy sittin' on sandstone.

That's my guy. That's my guy. I own this ****.

Is a man breathing on a mirror the sum of his breaths?
Breaths foggin' a'mistin' my view,
my view of a body and that face,
you're a body.
You're a workin' day's bell,
you're my chill in an Icelandic draft,
you're my spare in a Middle Eastern draft,
you're my pawn in chest-to-chest chess.

You've got this. You've got this. You own this ****.

And it is ****, too. I'd be set, real ******' set, with someone like you. I'll make you a woman, check this parka ****. Coat's mine. I'm a classy igloo runner, runnin' a'ragin' a'czebelskiin' meriteratin', I'll be reiteratin' your points. Check the time, it's late! It's late! ***** was in the grassy knoll turnin' trap tunes on her turntable. Would you listen to that? She sounds late to me, does she sound late to you? I like the music; I like the music. What happened to Woodstock? Where's my watergate, Nixon? Where's my generation, Ginsberg? Where's the meaning? This music's too loud! We're so profound! O' profundity!

Tell me something I didn't know, I'm craving' the new.
Give me the new while I spit on the old,
while I spit on this fine art finely art'd by and for fine artists–
******' fine artists. ******* fine artists.

(You can realize radical-realist realism but you can't be real with me?)

O' fine art!
What fine art!
Which fine artists are dead?



(II)

Looks like they're dead.

Looks like them ******* choked out all them ghettos, choked out all them rednecks, chokin' a'stranglin' by-God-oh-God straddlin' the breeders. I sure did like them babes– babes with their laughin' a'lackin' o' cynicism. They don't know the word "****."

I sure am forgetful–
I forgot that smoke doesn't dissipate,
I forgot how to smell autumn leaves,
I forgot to check the heart against the fingertips,
I forgot why my fingertips went numb,
I forgot to cue in the meaning when the sentence was complete,
I forget to complete my sentences,
I forget who you were wanting when you said, "I want you."

I got as much depth as an in-depth discussion, high hats and electropercussion have got me going. I'm goin' downtown, uptown bourgeois tricked me out, johns and yellow Hummers laid me down and cussed me out. That's not a discussion. That's not my scent scenting my towel, this breath reeks of wintry air– my fingertips went numb.

"I want you."

"Oh would you look at that moon?
Take a look at that moon.
Look at that moon with the ******' mountains.
I love that moon.
That's my moon."

I love darin' a'dusty dareelin' derailin' your dreams, whose dreams are these? They ain't my dreams– ain't no dream derailin' a'nileerad radiatiatin' some hint of joy or Jamison Scotch Liqueur. Drink that ****. That's my ****, I own that ****.
I'm sittin' on this stoop like I own this ****, like this **** owns me; I owed me. I don't own me, you owe me:

Pay up man, feet off the stoop.
Pay up man, be real with me.
Pay up man, you ever thought of a man as a man?
Pay up man, give it in.
Pay up man, give in.
Pay up man, I need you to do me a solid. Do me solid from crown-to-toe, we're toe-to-toe let's do-si-do bro-to-** I'm ready go, **, jo, ko, lo, get low… Now I'm ramblin'. You say, "Ramble in to the stoop and tell me a story."

What's a stoop– who's a stoop? That **** ain't stoop– you ain't stoop. You're stupid. You're a joke, check out the joke. Hey ladies, you seen this joke– joke ain't been seen by them ladies? I'm a joke. We ain't laughin' with you, they're laughin' at you.

O' hilarity!
Such hilarity!
What hilarious histories have passed?



(III)*

"I said I loved him once. I only loved him once."
(
And how long once has been...)

I sure did like them hand-holdins,
them star-gazin' moments,
them moon phasin' nighttime nuances,
them fingertip feelin' a'findin',
them sessions o'meshin' limber legs unto steadfast *****,
heads cocked like guns toward the sky,
beyond the horizon
but well
below the belt.

Them star-gazing moments seeing stars seemin' small, I love how they gleam- gleamin' a'glarin' comparin' shine to shine, shimmerin' a glimmer shone stumblin' her way home from the bar. She's drunk. She's brilliant, brilliance of whit and wantin' a'wanderlustin' gypsy nomads- that ***** gyp'd me, no mad man would take a cerebral slam to the face lest them moving pictures are involved. Read a ******' book, it'll last longer. Kiss me on the collar bones, clavicles shone shining with slick saliva pining for my affections. You're clammerin' to feel me, clammin' up (Just feel me.) I want to run my hands through long hair and peg the nausea nervosa to the wall. The writing's on the wall:

The sun bent over so the moon could rise, chanting,
"Goodbye and good riddance,
I never wanted to shine down
on them seas o' tranquilities anyhow."*

O' what a day. What a day.

And the wind ruffles leaves and it ruffles feathers on birds eating worms in brown soil.

What a day. What a day.

And the men under the bridge gather in traitorous conversation of governments overthrown and border dissolution and poetry with meters bent out of tune.

What a day. What a day.

And the billboards are dry for all the consumers to consume, use, and review.

What a day. What a day.

And hearts break messiest when you're not looking.

What a day. What a day.

And the ego and the id and the redwood trees are talking. They're sitting **** in the marshes, bathing in the bogwater while fondling foreign fine wines and whisperin' a'veerin' conversations towards topics kept well out of hand, out of the game, nontobe racin' in races, rampant radical racists betting bets on bent, bald Bolshevik racists wagging Marxist manifestos in the bourgeois' faces, yes. Make it be. Nontobe sanity as the captain creases his pleats, pleasin' her creases and the dewdrops of sweat trailing down the small of her back– down the ridge of her spine forming solitary springs of saline saltwater in the small of her back. Aye-aye, guy's pleasin' a'makin' choices a'steerin'– government's a'veerin' a hard left into the ice.

'Berg! 'Berg!
Danger in the icy 'berg!
None too soon a 'berg!
Bound to bump a 'berg!
O' inevitably unnerving 'berg!
Authoritative 'berg!
Totalitarian 'berg!
Surveillance of *** and the sexes 'berg!
O' fatalist fetishist 'berg!
Benevolent big brother 'berg!
Homosocial socialization 'berg!
Romanticized Roman 'berg!
O' virginal mother 'berg!
City on a hill on a 'berg!
Subtly socialist 'berg!
Nongovernmental 'berg!
O' illustrious libertine 'berg!
Freedom of the people 'berg!
Water privatization 'berg!
Alcohol idolization 'berg!
O' corrupt and courageous 'berg!
Church and a stately 'berg!
Pray to your ceiling fan 'berg!
Biblically borne 'berg!
O' godly and gorgeous 'berg!
Ferocious freedom fighters launching lackluster demonstrations far too post-demonstration feeling liberty and love, la vie en rouge, revolving revolutionist ranting on revolution tangible as
an ice cold 'berg.

'Berg! 'Berg!
O' the 'berg, the ****** iceberg–
You'll be the death of me.
Tom Leveille Feb 2014
you are inches
measured by miles away
bulldozing oriental food
you don't intend on eating
around your plate
and i am imagining
the translation of asking
for a broom in a foreign language
for when you shatter over small talk
or the first sentence to start with "so"
breaks you into shaking
that i can feel from across the table
and i am thinking now
about tectonics and how you must be daydreaming of being submerged in a book
back home or gripping tightly
to bedsheets begging for familiar warmth
i can tell by the way you are looking at me
that you are feigning our salutation embrace
seconds drowned in ankle deep water and i wonder if you see my hands
as jackhammers and if the reason
why you hug so hard
but only for a moment
is to be as sharp as possible
so that i do not smell your perfume
or notice that you aren't wearing any and why
there are few suprises
in the safe you claim is a mouth
where shades of plush pink
hide a sickly pallor
and i continue to look over
brick & mortar borders
and think how maybe
she is thinking of kissing
but certainly not me
not these apologies nailed to my face
i give myself a moment
of benefitted doubt that you sometimes
picture your frame under mine
and if your clavicles would crack
if i were to touch them
i am sorry that i am a victim of imagination
but i swear i chalk it up
as the forgotten feeling
for when you look up
and the person you are looking
at is gazing directly at you
you have painted yourself
as a mosaic in my mind
as a mess of dust & incoherent words
that all sound like please in my ears
but that doesn't explain why
my hands are the ones that are shaking
when i imagine you
imagining me
in the spaces of yourself
where you've forgotten
you could put someone
Patrice A Mar 2021
Unravel me.
Plunge your fingers into the depths
of my anatomy-
wade into my rufescent flesh,
strum my fibers,
find me in the fissures
of my ivory bones---
then come back to the surface,
cling to the brims of my clavicles,
and tell me how
beautiful I am.
Donall Dempsey Aug 2016
YADA TASHY ( "Originator Stone" )

Outside the first snow falls.

Her wounds are photographed.

Spoken of.

Described in detail.

Technical.

The overhead microphone
takes it all in.

Being dead she is
more naked

than she ever was.

Stripped of her
humanity.

She had ceased to be
who she used to be.

She is now
merely a cadaver.

The autopsy can not tell
her name.

She is Kuzuku.

Her mother called her
KuKu.

She had been born
with a caul.

KuKu was pregnant.

She was going to call
the child if it was a girl

. . .Yuki.

She couldn't conceive what
she would call it if a boy?

It was always going to be
a girl.

She liked candyfloss
and her hair up.

Now her hair is down.
It touches her shoulders.

As if her hair were
still alive.

The autopsy
wound by wound

tells of the hell
of her dying.

The voice is
deadpan.

Mechanical.

The coroner
breaks for coffee.

Bitter.  Black.

"Ya da!"
as the Turks say.

"...with nothing..."

*

Kuzuku was named after the flowering plant/rampant ****. Her mother always drank a tea made from it. Only her mother called her her pet name; "Kuku!" Her blacker than black hair always seemed like a living entity in itself as it danced upon her shoulders or splashed over her clavicles. She always wore off the shoulder dresses or tops even in winter cold. I once told her she had the cutest clavicles( "rekishi no naka de kawaī sakotsu" )in history which....always made her laugh. I told her she had well tempered clavicles and she laughed even more when the pun was explained to her. She had been born with a caul...a red caul. She it was who told me the Turkish tale or the Yada Daşı and of the Yadachy.

She had just met the man who would eventually stab her to death and she was greatly in love with him and his culture.

All these little scraps of humanity could not be disclosed by the autopsy which could never tell of how beautiful she was and what a joy she was to be around.

Her death was a horror tale told by a friend of a friend of a friend and hard to comprehend or believe.
Yada Tashy (Turkish: Yada Taşı; Bashkort: Йәй Ташы, Azerbaijanese: Yada Daşı, means "Originator Stone" or "Rain Stone") is a legendary folkloric substance said to be capable of summoning rain. For many centuries, it was the single most sought-after item in Turkic folk legends. Yada Tashy was a central symbol to the mystical terminology in Turkic mythology, symbolising interference to and control over natural phenomena.

Yadachy (Turkish: Yadacı/Yadaçı) in Turkic tradition, were men believed to have an inborn supernatural ability to protect their estate, village, or region against destructive weather conditions, such as storms, hail, or torrential rains. It was believed that the souls of these men could leave their bodies in sleep, to intercept and fight with demonic beings imagined as bringers of bad weather. Having defeated the demons and taken away the stormy clouds they brought, the protectors would return into their bodies and wake up tired.

Yadachy of an area usually fought together against the attacking Yadachy of another area who were bringing a storm and hail clouds above their fields. The victorious Yadachy would loot the yield of all agricultural produce from the territory of their defeated foes, and take it to their own region. Although Yadachy could be women and children, most were adult men. Their supernatural power was thought to be inborn. In many regions it was regarded that the Yadachy were born with a caul—white or red, depending on the regional belief. The mother would dry the caul and sew into a piece of garment always worn by the child, such as a pouch attached under the child's armpit. Adverse weather such as a storm or hail could devastate crop fields and orchards, and thus jeopardise the livelihood of farmers in the affected area. A role of Yadachy, according to folk tradition, was to lead storms and hail clouds away from their family estates, villages, or regions, to save their crops. A Yadachy could take the storms and hail clouds over the territory of another Yadachy to destroy its crops. The other Yadachy would fly up to confront the bringer of bad weather, and there would be a fight between the Yadachy.
kellie scranton May 2017
When you can't go outside in the cold
Cause it hurts your bones;
And you've caused self inflicted mayhem
On every surface of your skin
When the night is your only cherished friend
It comforts your deceiving soul
And sings you a fast tempo lullaby

-Kellie A Scranton
Diary of a night owl
Janette Sep 2012
Hush, my heart, for something is done...




Watch for the night
to lay our vows
over the wild parable of gardens
and over the wet lessons of the moon,
that give us prophecy in whispers
of dream, elope, and leave,
the absence of still rooms,
soothing, the svelte lips
descending upon my neck
in the seance of evening,
you soak calla lilies
of our red earth oils
and ***,
and with them
draw me a nuptial bath,

unbind the taupe soles
I have kept with the grace
of a concubine, sold
into the dark alcoves,
beyond the value of reticence,
you find me in rainstorms,
and wrap me in the flesh

and fabric of your hands,
behind silk walls,
with the ardour of Rapunzel's deliverance,
let down over the clavicles,
as fists unclench
in their exhaustion,

baby roses quiver this night, I keep
in pecan skin and votive eyes,
dip the Fahrenheit of your glance,
as it strays over my lips, your tongue
whips of mustard weeds,
seed your voice, sinks
into the garden's cleavage

as its lit pink tapers
spill their desperate midnights
and abandoned mornings,

ache under the arthritic, thick cedar
addictions to the milkflower
of a presence painted in clay glyphs,
stay the sinew and ******
of my body, a madrigal
upon our Indian Summer bed,

bled in a chorus of cicadas....

let the hymn be heard
over all these broken vows
and shattered pledges, speak
from the ruined marriage of flesh,
as I kneel in our earth,
in the sere, and seek in myself
that measure of peace, I know
is not there, without you,

to writhe in the throes
of exquisite anguish,

I give

my mouth in dream,
between your thighs
where the river runs fierce,
under the lithe sapling root
of my tongue, as it runs
the swift currents
and golden eddies
of inebriate skin, puckers
over the Inulin of the ****
and begins its swelling,
down the trellis of bones,
and the ******* of limbs
beneath the black monsoon
of the soul, as it perishes

in the engorged maw
of the split body, blades
of shoulders, soaked in the myrrh
of our rapture, fading
lifelines engraved on the back
of the hand you hold soft,
against me,

as my throat buries its moan
swallowed by your own, for solely
in you is it silenced, quelled
by the swells of song
you reign in the jugular
and soothe, a balm
for all my body, burning

its defiance, taken
to the limits of this,
our savage garden,
in the pilgrimage
to such lavish boundaries,
held abeyant, the cadence
of candles and solemn vows
sound the rhythm of our slow deaths,
writ in the lush psalm of the handsome earth,

our love, engulfed
in the wells of a sole desire,
I give you this,
my body's silkwhite harvest of faith,
driven fast with nails

into the exquisite wrists of the Christflesh,
shivering under the furtive delirium
of these, our fevers,
severed from body to body: twain,
that is now one ardent sorrow of flesh,
this is my body,
this is my blood,

I have given,
vows to bind our words, my love,
to the vigilance of night, that lives
and dies with the fall and rise of you breath,
one muslin depth,
relinquished to the white earth,
over an eternity of deliverance...
Janette Sep 2012
So
from your hand,
I learned to drink the light...



A residue of dahlias
in their late summer blood,
rimmed white with the fluid evening,
the soul, some wild falcon
folded in golden lullabies
of nightingale acoustics...



Eclipsed by the gentle pathos
of the body, shining
as I leave it behind,
crying in its dark thorns,
some forlorn fragment shudders
in the silver embrace you lace with calm...



As it laps
into that crumpled karma
and dreams it was once
a jaguar of dark passages,
held in the long hands of sorrow,
see, these clavicles emerge through orchids...



And a liquid resurrection
envelope the earth you bathe
from the fugitive gesture of wings,
so, it was in these black,
grim prairies of the soul...



Where I
at last learned
to drink the light from your hand....
Brad Lambert  Jul 2012
Moles
Brad Lambert Jul 2012
I see the mole.

It lies just south of his petite clavicles,
parenthesizing his fragile neck.

I'd like to find the others.

Moles dotting his figure,
beacons on his frame.

Showing me where to touch.

I'll map them all out,
every last speck.

Just call me the cartographer.

I'll connect the dots, drawing lines,
building routes with my fingertips.

Your body will be mapped like the Silk Road.

But no ideas will be exchanged, nor words spoken.
No empires will be connected across this globe.

Only moles.
My first tumblr crush.
PK Wakefield Oct 2011
like thighs

                   (shes got 'em)

them thick as ******* thighs
all skin and creamy
and the backs o' her knees taste
so good
                      (like sugar shes got 'em)

and that dark little spider web
o' ink shes got coming up her
shoulders out over her clavicles
shes got her neat little muscles
under it all bunching and loosing
muscles when she's (head down
biting 300 thread count) her hands
don't lie gripping and grabbing
snaring sheets and,
  

                                          ,
                   ­                                                              ,
I am not ashamed to love you
As i sit here and cry
I am not ashamed to have love-d you.
No I am not ashamed to cry for you.
I am not ashamed to love you.
With every fibre of my being.
With every sin, with every moral
with every, ****** hair on my head.
I am not afraid to love you.
I am more afraid of not loving you, than loving you.
I am afraid of you loving me.
I am more afraid of you loving me more than i have even been afraid in my life.
Because than that makes love real.
I lost my love a long time way back when.
It's not important.
There's details in the details.
But my faith in loving you will not wane, falter, stop or die.
I am not ashamed to cry waterfalls of salty tears into my hands for you.
I am not ashamed of messaging you 3am in the morning to see how you are.
and getting no reply.
I am not ashamed to know that my attempts to love you are futile.
Yes, you.
You who would want to punch me in the face, the throat, the clavicles of my heart
to stop me, from loving, you.
I am not ashamed to love you like you were my only love.
I will sing for you in the car my love, i will hold your hand, i will bake you muffins,
My love.
And you would want to **** my very smile with your eyes.
I am not ashamed to lie on my bathroom floor with arms in my chest, with pain in my stomach, and my eyes blind,
from loving, you.
I am not.
I am not.
I am not.
I am not ashamed to be the laughing stock of my friends, family and lovers past;
for loving losers like you,
for loving someone like you,
for loving someone who didn't deserve me,
treated me like ****,
beat me,
use me, washed me up and dried me out, hung me out.
No i am not ashamed.
I am not ashamed to cry these tears because i lost you.
I am not ashamed to cry these tears because i am not in your arms.
For my heart beats strong.
For all these years,
through all these lovers,
through all these partners,
through all these ******, *******, tears.
For i love you more, each day.
For in this world where there is more hatred, pain, sorrow, suffering and loss
I would rather be ashamed for loving you,
than hating you for loving you once.

'We can only truly hate something we once also loved'
Logic eh? What else makes sense in this world?
theresa the tree Jun 2014
“you shall carry my bones up from here” (Genesis50:25)
yea Little nymph of numbers has six teeth each with ******-chic epiphanies
protrusion of epiphyses thirsty for a fresh bonejuice deathblast
stringy strung theoroized skelecoded out arieal fractal sonix
lix hits antigravity dreambeats chew on infra-red-infractures
to explosively burn constellations out into dust bowls all heavily cranio-******
up with a soul narrowed down to a skelleconex technoillogical prototype
a freshly teased nanoNymph_2.0 osteo-tissue paper thin prototype
designed to bemuse, amuse and be a muse to forgotten infinite epiphanies
endlessly download digitisternums, clavicles whatever desired by the cranio- ******-
enough to risk phantom organic pain in time to playback biofeedback turnt up to deathblast
It’s the artificial cardiaudio arteries show featuring manibrium marrow leakage from infra—red-infractures
and six skinny feminine femora to sing blackened covers of diva demeter love sonix
diamond data mapped thick with smokey persephone bloodkiss shadow sonix
peruse the meanderings of the nanoNymp2.0 a double(triple) pianissimo prototype
fragile: prone to falling (ie) misunderstanding sharp blades pulled from infra-red-infractures
***** bonebuzzed off nothingness nectar numb drunken epiphanies
triangulated ossification between 1st 2nd and 3rd eyes lead up to deathblast
fossilized iconoclastic forethought will achieve status of cranio-******
this poem has no need to lobotomize fetal craniotomies; it’s all cranio-******
betwixt BANG BANG banging is clatter clix scatter bone-dance sonix
electricity sings in the key of major deathblast
crack open a bone on a nanoNymph skelleconex system and a replacement will be sent of the latest prototype
well calculated little nanoNymph’s all programmed  to know as why approached one, X approached ∞ -of cracked open epiphanies
triangle shaped fire, ▲shaped heart, equilateral to a dead sea, sacred geometric infraRed-infractures
biowired endless visions of these infraRed-infractures
Anthrenusverbasci (carpet beetles) eat away at bleached bone clean cranio-******
vertebrae of the Ouroboros eating itself epiphanies
grinding jaws brittle scurvy romantic-suicide die sonix
son of nyx an erubus have mercy installation psychopomp prototype
bring on one more broken septum to end =sempiternal deathblast
“bone of my bones” (genesis2:23) indeed; bring on an ablazed deathblast
fragmented spiraled and inside out infraRed-infractures
every one ends up broken, every bone of every prototype
smashed open coronal suture in everyone cranio-******
thanatos shadow between eros supraorbital sonix
godless and wandering without but epiphanies
soulless nanoNymph burns into dusty nothingness of a prototype
and the emptiness of silence is the deathblast sonix
some exposed spine litter vallies of dry bone epiphanies

— The End —