1
I celebrate myself, and sing myself,
And what I assume you shall assume,
For every atom belonging to me as good belongs to you.

I loafe and invite my soul,
I lean and loafe at my ease observing a spear of summer grass.

My tongue, every atom of my blood, form’d from this soil, this air,
Born here of parents born here from parents the same, and their
parents the same,
I, now thirty-seven years old in perfect health begin,
Hoping to cease not till death.

Creeds and schools in abeyance,
Retiring back a while sufficed at what they are, but never forgotten,
I harbor for good or bad, I permit to speak at every hazard,
Nature without check with original energy.

2
Houses and rooms are full of perfumes, the shelves are crowded with
perfumes,
I breathe the fragrance myself and know it and like it,
The distillation would intoxicate me also, but I shall not let it.

The atmosphere is not a perfume, it has no taste of the
distillation, it is odorless,
It is for my mouth forever, I am in love with it,
I will go to the bank by the wood and become undisguised and naked,
I am mad for it to be in contact with me.

The smoke of my own breath,
Echoes, ripples, buzz’d whispers, love-root, silk-thread, crotch and
vine,
My respiration and inspiration, the beating of my heart, the passing
of blood and air through my lungs,
The sniff of green leaves and dry leaves, and of the shore and
dark-color’d sea-rocks, and of hay in the barn,

The sound of the belch’d words of my voice loos’d to the eddies of
the wind,
A few light kisses, a few embraces, a reaching around of arms,
The play of shine and shade on the trees as the supple boughs wag,
The delight alone or in the rush of the streets, or along the fields
and hill-sides,
The feeling of health, the full-noon trill, the song of me rising
from bed and meeting the sun.

Have you reckon’d a thousand acres much? have you reckon’d the
earth much?
Have you practis’d so long to learn to read?
Have you felt so proud to get at the meaning of poems?

Stop this day and night with me and you shall possess the origin of
all poems,
You shall possess the good of the earth and sun, (there are millions
of suns left,)
You shall no longer take things at second or third hand, nor look
through the eyes of the dead, nor feed on the spectres in
books,
You shall not look through my eyes either, nor take things from me,
You shall listen to all sides and filter them from your self.

3
I have heard what the talkers were talking, the talk of the
beginning and the end,
But I do not talk of the beginning or the end.

There was never any more inception than there is now,
Nor any more youth or age than there is now,
And will never be any more perfection than there is now,
Nor any more heaven or hell than there is now.

Urge and urge and urge,
Always the procreant urge of the world.

Out of the dimness opposite equals advance, always substance and
increase, always ***,
Always a knit of identity, always distinction, always a breed of
life.
To elaborate is no avail, learn’d and unlearn’d feel that it is so.

Sure as the most certain sure, plumb in the uprights, well
entretied, braced in the beams,
Stout as a horse, affectionate, haughty, electrical,
I and this mystery here we stand.

Clear and sweet is my soul, and clear and sweet is all that is not
my soul.

Lack one lacks both, and the unseen is proved by the seen,
Till that becomes unseen and receives proof in its turn.

Showing the best and dividing it from the worst age vexes age,
Knowing the perfect fitness and equanimity of things, while they
discuss I am silent, and go bathe and admire myself.

Welcome is every ***** and attribute of me, and of any man hearty
and clean,
Not an inch nor a particle of an inch is vile, and none shall be
less familiar than the rest.

I am satisfied - I see, dance, laugh, sing;
As the hugging and loving bed-fellow sleeps at my side through the
night, and withdraws at the peep of the day with stealthy
tread,
Leaving me baskets cover’d with white towels swelling the house with
their plenty,
Shall I postpone my acceptation and realization and scream at my
eyes,
That they turn from gazing after and down the road,
And forthwith cipher and show me to a cent,
Exactly the value of one and exactly the value of two, and which is
ahead?

4
Trippers and askers surround me,
People I meet, the effect upon me of my early life or the ward and
city I live in, or the nation,
The latest dates, discoveries, inventions, societies, authors old
and new,
My dinner, dress, associates, looks, compliments, dues,
The real or fancied indifference of some man or woman I love,
The sickness of one of my folks or of myself, or ill-doing or loss
or lack of money, or depressions or exaltations,
Battles, the horrors of fratricidal war, the fever of doubtful news,
the fitful events;
These come to me days and nights and go from me again,
But they are not the Me myself.

Apart from the pulling and hauling stands what I am,
Stands amused, complacent, compassionating, idle, unitary,
Looks down, is *****, or bends an arm on an impalpable certain rest,
Looking with side-curved head curious what will come next,
Both in and out of the game and watching and wondering at it.

Backward I see in my own days where I sweated through fog with
linguists and contenders,
I have no mockings or arguments, I witness and wait.

5
I believe in you my soul, the other I am must not abase itself to
you,
And you must not be abased to the other.

Loafe with me on the grass, loose the stop from your throat,
Not words, not music or rhyme I want, not custom or lecture, not
even the best,
Only the lull I like, the hum of your valved voice.

I mind how once we lay such a transparent summer morning,
How you settled your head athwart my hips and gently turn’d over
upon me,
And parted the shirt from my *****-bone, and plunged your tongue
to my bare-stript heart,
And reach’d till you felt my beard, and reach’d till you held my
feet.

Swiftly arose and spread around me the peace and knowledge that pass
all the argument of the earth,
And I know that the hand of God is the promise of my own,
And I know that the spirit of God is the brother of my own,
And that all the men ever born are also my brothers, and the women
my sisters and lovers,
And that a kelson of the creation is love,
And limitless are leaves stiff or drooping in the fields,
And brown ants in the little wells beneath them,
And mossy scabs of the worm fence, heap’d stones, elder, mullein and
poke-****.

6
A child said What is the grass? fetching it to me with full hands;
How could I answer the child? I do not know what it is any more
than he.

I guess it must be the flag of my disposition, out of hopeful green
stuff woven.

Or I guess it is the handkerchief of the Lord,
A scented gift and remembrancer designedly dropt,
Bearing the owner’s name someway in the corners, that we may see
and remark, and say Whose?

Or I guess the grass is itself a child, the produced babe of the
vegetation.

Or I guess it is a uniform hieroglyphic,
And it means, Sprouting alike in broad zones and narrow zones,
Growing among black folks as among white,
Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I
receive them the same.

And now it seems to me the beautiful uncut hair of graves.

Tenderly will I use you curling grass,
It may be you transpire from the ******* of young men,
It may be if I had known them I would have loved them,
It may be you are from old people, or from offspring taken soon out
of their mothers’ laps,
And here you are the mothers’ laps.

This grass is very dark to be from the white heads of old mothers,
Darker than the colorless beards of old men,
Dark to come from under the faint red roofs of mouths.

O I perceive after all so many uttering tongues,
And I perceive they do not come from the roofs of mouths for
nothing.

I wish I could translate the hints about the dead young men and
women,
And the hints about old men and mothers, and the offspring taken
soon out of their laps.

What do you think has become of the young and old men?
And what do you think has become of the women and children?

They are alive and well somewhere,
The smallest sprout shows there is really no death,
And if ever there was it led forward life, and does not wait at the
end to arrest it,
And ceas’d the moment life appear’d.

All goes onward and outward, nothing collapses,
And to die is different from what any one supposed, and luckier.

7
Has any one supposed it lucky to be born?
I hasten to inform him or her it is just as lucky to die, and I know
it.

I pass death with the dying and birth with the new-wash’d babe, and
am not contain’d between my hat and boots,
And peruse manifold objects, no two alike and every one good,
The earth good and the stars good, and their adjuncts all good.

I am not an earth nor an adjunct of an earth,
I am the mate and companion of people, all just as immortal and
fathomless as myself,
(They do not know how immortal, but I know.)

Every kind for itself and its own, for me mine male and female,
For me those that have been boys and that love women,
For me the man that is proud and feels how it stings to be slighted,
For me the sweet-heart and the old maid, for me mothers and the
mothers of mothers,
For me lips that have smiled, eyes that have shed tears,
For me children and the begetters of children.

Undrape! you are not guilty to me, nor stale nor discarded,
I see through the broadcloth and gingham whether or no,
And am around, tenacious, acquisitive, tireless, and cannot be
shaken away.

8
The little one sleeps in its cradle,
I lift the gauze and look a long time, and silently brush away flies
with my hand.

The youngster and the red-faced girl turn aside up the bushy hill,
I peeringly view them from the top.

The suicide sprawls on the ****** floor of the bedroom,
I witness the corpse with its dabbled hair, I note where the pistol
has fallen.

The blab of the pave, tires of carts, sluff of boot-soles, talk of
the promenaders,
The heavy omnibus, the driver with his interrogating thumb, the
clank of the shod horses on the granite floor,
The snow-sleighs, clinking, shouted jokes, pelts of snow-*****,
The hurrahs for popular favorites, the fury of rous’d mobs,
The flap of the curtain’d litter, a sick man inside borne to the
hospital,
The meeting of enemies, the sudden oath, the blows and fall,
The excited crowd, the policeman with his star quickly working his
passage to the centre of the crowd,
The impassive stones that receive and return so many echoes,
What groans of over-fed or half-starv’d who fall sunstruck or in
fits,
What exclamations of women taken suddenly who hurry home and
give birth to babes,
What living and buried speech is always vibrating here, what howls
restrain’d by decorum,
Arrests of criminals, slights, adulterous offers made, acceptances,
rejections with convex lips,
I mind them or the show or resonance of them-I come and I depart.

9
The big doors of the country barn stand open and ready,
The dried grass of the harvest-time loads the slow-drawn wagon,
The clear light plays on the brown gray and green intertinged,
The armfuls are pack’d to the sagging mow.

I am there, I help, I came stretch’d atop of the load,
I felt its soft jolts, one leg reclined on the other,
I jump from the cross-beams and seize the clover and timothy,
And roll head over heels and tangle my hair full of wisps.

10
Alone far in the wilds and mountains I hunt,
Wandering amazed at my own lightness and glee,
In the late afternoon choosing a safe spot to pass the night,
Kindling a fire and broiling the fresh-****’d game,
Falling asleep on the gather’d leaves with my dog and gun by my
side.

The Yankee clipper is under her sky-sails, she cuts the sparkle
and scud,
My eyes settle the land, I bend at her prow or shout joyously from
the deck.

The boatmen and clam-diggers arose early and stopt for me,
I tuck’d my trowser-ends in my boots and went and had a good time;
You should have been with us that day round the chowder-kettle.

I saw the marriage of the trapper in the open air in the far west,
the bride was a red girl,
Her father and his friends sat near cross-legged and dumbly smoking,
they had moccasins to their feet and large thick blankets
hanging from their shoulders,
On a bank lounged the trapper, he was drest mostly in skins, his
luxuriant beard and curls protected his neck, he held his bride
by the hand,
She had long eyelashes, her head was bare, her coarse straight locks
descended upon her voluptuous limbs and reach’d to her
feet.

The runaway slave came to my house and stopt outside,
I heard his motions crackling the twigs of the woodpile,
Through the swung half-door of the kitchen I saw him limpsy and
weak,
And went where he sat on a log and led him in and assured him,
And brought water and fill’d a tub for his sweated body and bruis’d
feet,
And gave him a room that enter’d from my own, and gave him some
coarse clean clothes,
And remember perfectly well his revolving eyes and his awkwardness,
And remember putting piasters on the galls of his neck and ankles;
He staid with me a week before he was recuperated and pass’d north,
I had him sit next me at table, my fire-lock lean’d in the corner.

11
Twenty-eight young men bathe by the shore,
Twenty-eight young men and all so friendly;
Twenty-eight years of womanly life and all so lonesome.

She owns the fine house by the rise of the bank,
She hides handsome and richly drest aft the blinds of the window.

Which of the young men does she like the best?
Ah the homeliest of them is beautiful to her.

Where are you off to, lady? for I see you,
You splash in the water there, yet stay stock still in your room.

Dancing and laughing along the beach came the twenty-ninth
bather,
The rest did not see her, but she saw them and loved them.

The beards of the young men glisten’d with wet, it ran from their
long hair,
Little streams pass’d all over their bodies.

An unseen hand also pass’d over their bodies,
It descended tremblingly from their temples and ribs.

The young men float on their backs, their white bellies bulge to the
sun, they do not ask who seizes fast to them,
They do not know who puffs and declines with pendant and bending
arch,
They do not think whom they ***** with spray.

12
The butcher-boy puts off his killing-clothes, or sharpens his knife
at the stall in the market,
I loiter enjoying his repartee and his shuffle and break-down.

Blacksmiths with grimed and hairy chests environ the anvil,
Each has his main-sledge, they are all out, there is a great heat in
the fire.

From the cinder-strew’d threshold I follow their movements,
The lithe sheer of their waists plays even with their massive arms,
Overhand the hammers swing, overhand so slow, overhand so sure,
They do not hasten, each man hits in his place.

13
The ***** holds firmly the reins of his four horses, the block swags
underneath on its tied-over chain,
The ***** that drives the long dray of the stone-yard, steady and
tall he stands pois’d on one leg on the string-piece,
His blue shirt exposes his ample neck and breast and loosens over
his hip-band,
His glance is calm and commanding, he tosses the slouch of his hat
away from his forehead,
The sun falls on his crispy hair and mustache, falls on the black of
his polish’d and perfect limbs.

I behold the picturesque giant and love him, and I do not stop
there,
I go with the team also.

In me the caresser of life wherever moving, backward as well as
forward sluing,
To niches aside and junior bending, not a person or object missing,
Absorbing all to myself and for this song.

Oxen that rattle the yoke and chain or halt in the leafy shade, what
is that you express in your eyes?
It seems to me more than all the print I have read in my life.

My tread scares the wood-drake and wood-duck on my distant and
day-long ramble,
They rise together, they slowly circle around.

I believe in those wing’d purposes,
And acknowledge red, yellow, white, playing within me,
And consider green and violet and the tufted crown i

Could be I’m on a mission:
Convince the entire world
I am the World's Greatest Living
English Language poet;
Of course, genius such as mine
Goes generally unrecognized until
The posthumous crowd weighs in.
And yet, wouldn’t it be nice?

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Yes, wouldn’t it be nice?
(The Nobel Prize,
Tribute at the Kennedy Center,
A MacArthur Grant,
The Presidential Medal of Honor,
Reverent BJs from hipster groupies . . .
The Poet Laureate in his vicarage,
Enjoying my sweet twilight celebrity.)

(Cue “Guys & Dolls” soundtrack: “What's in the daily news?
I'll tell you what's in the daily news.”)
23: Beheaded at Nigerian Election Rally!
Amanda Knox Gets Away with ****** Again in Italy!
Kung Pow: Silicon Valley Penisocracy Crushes Ellen Pao
German Crash Dummy Co-pilot Flies Jet into the Alps!
Hilary’s Emails Are *****!
Sierra Leone Ebola Lockdown!
Iran: Kooks with Nukes!
Sri Lankan President’s Brother Dies from Ax Wounds!
Saudi Diplomats Evacuate Yemen!
Stampede at Hindu Bathing Ritual, Bangladesh Kills at Least 10!
Simply put:  THE WORLD IS IN A STATE OF ****.

Perhaps it’s time we turn again.
Seek solace in poetry—
“Yeah, chemistry,” insists my Sky Masterson,
My “Guys & Dolls” alter ago.
Surprised? You shouldn’t be.
All poets are gamblers & moonshiners.
We polish our chemical craft,
Sweet-talking the distillation apparatus,
Getting us, getting at linguistic essence.
Cunning linguists are we.
(Colonel Angus, are you back?)
Oyez! Oyez! The gavel raps:
“The Curious Case of Sam Hayakawa.”
We open this hearing to determine
Whether or not S.I. Hayakawa—guilty of
Numerous crimes against humanity & other
Professional Neo-Fascist “entrechats.”--
Whether or not he merits a kinder, gentler
Wikipedia BIO.
(Wikipedia ( i/ˌwɪkɨˈpiːdiə/ or  i/ˌwɪkiˈpiːdiə/ WIK-i-***-dee-ə) Wikipedia)
We open this forum, focusing on his
Courageous stand against the
SDS & Black Panthers, part of
An unlikely coalition: The Worker-Student Alliance
& It’s rival, Joe Hill Caucuses.
Da Name of the Place:
(“I like it like that!” Hot Chelle Rae-“I Like It Like That” lyrics| Metro Lyrics www.metrolyrics.com Lyrics to 'I Like It Like That' by Hot Chelle Rae. “Let's get it on, yeah, y'all can come along/Everybody drinks on me, buy out the bar /Just to feel like I'm.”)
The name of the place: San Francisco State,
1968-69, the longest student strike in U.S. history,
Led successfully to the creation of
Black & Other Ethnic studies programs
On campuses across the country,
And, one could argue,
Gave the green light to
Osama Hussein Obama,
Our first Uncle Tom President.
But I digress.

ACTING SFSU President, Dr. Hayakawa—
Perpetual audition, the pressure on,
Feisty, independent-minded & combative,
Screaming at that skeevy student mob:
(Skeevy as in “He bought the thing from
Some skeevy dude in an alley.")
Declaring “A State of Emergency,”
Calling in the SFPD, whose
Inexplicable slogan says”
“Oro en Paz,
Fierro en Guerra.”
Archaic Spanish for
Gold in peace,
Iron in war, by the by,
For you holdouts,
Those of you who still
Think the “English First Movement”
Breathes life still.
I’ve got more news for you:
That crusade died long ago,
Locked up, dark & shuttered,
Bank Repo thugs, their thick
Neck muscles flexing from side to side,
Sashaying across the parking lot,
Like John Wayne on steroids,
Right up to the front door.)
The SFPD: San Francisco city fuzz,
(As they were known at the time) &
The California National Guard, as well,
Obstreperously, generously catered by
Governor Ronald Wilson Reagan,
(Early stage, Alzheimer’s at the time.
But still very much “The Gypper,”
Still chipper in Sacramento.)
Ronnie--keenly interested in
The Eureka State’s congressional clout,
Lassoes a seat in the U.S. House of Lords:
AKA: The U.S. Senate, SPQR.
It’s still hard . . .

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Still hard to believe that California was once
Rock solid in the clutches of the GOP,
Gripped tightly in the Party’s
Desperate talons. But the grip slipped,
Slipped in the slip-sliding 1970s.
It got harder and harder . . .

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Harder and harder to remind
Leroy & the rest of his ebony posse,
That it was Abraham Lincoln—
“The Great Emancipator” himself—who was,
Our first Republican President.
The Emancipation Proclamation:
That toothless rhetorical flourish,
Based solely on Abe’s
Constitutional authority as
Commander-in-Chief,
Not on a law passed by Congress.
It was just Abe blowing smoke
Up their ***** again,
Just an egalitarian blast from
His Old Kentucky past,
A youth spent splitting rails,
Busting his *** just like
Any plantation ******,
A stark plebeian commonality,
Too deeply etched to be ignored.
Poor Abraham Lincoln:
Probably a **** Creek crypto-Jew,
Neutered by the opposition:
His very own Republican majority Congress,
Another example of the GOP
Shooting off its own foot, right up there
With Mitt Romney’s "47 percent of the people,”
The rhetorical gaffe which cost him his
Second & final shot at the White House.
But I digress.

Senator Sam S.I. Samuel Hayakawa:
That inscrutable Asian fixer, is now U.S. Senator,
Republican, California, 1976-83
Pulpit-bullying his Senate colleagues,
Fiercely opposed to transfer of the
Panama Canal & Panama Canal Zone to
Panama: a diplomatic no-brainer; Duh?
Their freaking name is on both of them.
Senator Sam, obstinate & blustering:
"We should keep the Panama Canal.
After all, we stole it fair and square.”
And Hayakawa, later the driving impetus
Behind the Far Right “English Only” movement.
His co-founding an "Official English"
Advocacy group, U.S. English;
Their party line summarizes their belief:
“The passage of English as the official language will help to expand opportunities for immigrants to learn and speak English, the single greatest empowering tool that immigrants must have to succeed."
That’s how they sold it, anyway.
In sooth: just old-fashioned nativist
Anti-immigration hysteria.

Hayakawa: always the high achiever.
Hayakawa: The Great Assimilator,
Preaching his xenophobic Gospel:
“Immigration Must Be Reduced!”
Aryan rhetoric, of course,
A bi-product of radical authoritarian nationalism,
A movement with deep American roots.
Senator Sam: a Japanese-Canadian-American,
Always tried too hard to fit in.
Sam, comfortable in Chicago during WWII,
Not personally subject to confinement,
Advocated that Japanese-Americans
Submit to FDR’s 1942, Executive Order 9066.
“Time in camp, will eventually work to Japanese advantage."
Later, during the Congressional debate over
The Civil Liberties Act of 1988 . . .
(Passed the House on September 17, 1987 (243–141)
Passed the Senate on April 20, 1988 (69–27, in lieu of S. 1009)
Reported by the joint conference committee on July 26, 1988,
Agreed to by the Senate on July 27, 1988 (voice vote) and
By the House on August 4, 1988 (257–156,
Signed into law by President Ronald Reagan 8/10/88.
He opposed $reparations for WWII internment:
“Japanese-Americans should not
Be paid for fulfilling their obligations."
Some guys, I guess, would say, or
Do anything for Bohemia Club membership.
Plagued by night terrors, nonetheless,
His Manzanar nightmares, his vivid
Imaginary experience at other Japanese
Internment Sites: Tule Lake & Camp Rohwer.
Stalag (German pronunciation: [ˈʃtalak])
Stalags, infamous still,
“Stalags ‘R Us,”
Still palpable memories for
Issei ("first generation")
& Nisei ("second generation").
See: 323 U.S. 214. Korematsu v. United States
(No. 22: Argued: October 11, 12, 1944.
Decided: December 18, 1944.140 F.2d 289.
The opinion, written by Hugo Black,
Chief Justice Harlan Stone, Presiding.)

Hayakawa: a strange duck, of course,
But we mustn’t ignore his strong credentials,
And I’d like to disabuse anyone here
Of the notion that it was anything
Other than his academic record
That got his case to this Forum.
Oyez! Oyez! The gavel raps:
“The Curious Case of Sam Hayakawa.”
So begins this fractured Pardoner’s Tale,
This petition for forgiveness,
The Capo di Tutti Capi,
Presiding: the original Italian mafioso,
His Eminence--the Vicar of Jesus Christ,
The Supreme Pontiff
Pope Paparazzi of Rome!
Roma: the only venue large enough to
Dispense dispensation of this magnitude.

Hayakawa: everyone says his C.V. is “impeccable.”
But did anyone ever freaking Google it?
Just where did Professor Sam go to school?
Undergrad? The University of Manitoba,
Truly, by any Third World Standard
A great bastion of intellectual rigor;
Grad school? McGill and U Wisconsin-Madison.
He was a Canadian by birth,
His academic discipline was Semantics.
(As in “That’s just semantics,”
That all-purpose rejoinder in any argument.)
Professor Hayakawa, The Semanticist,
He taught us: “All thought is sub-vocal speech.”

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Hmmm? We think in words.
The medium of thought is language.
If you grok this for the first time,
Let’s stop to celebrate our enlightenment,
With a cultural nod of respect,
We salute our Islamic brethren.
Radical Islam: the new bogeyman,
Responsible for keeping lights on in Alexandria,
Paying the defense & intelligence bills,
Sustaining that sinister
Military-Industrial complex
Ike warned us about.
Hang in there, Mustafa, old buddy.
Like the Cold War, this insanity
Will eventually blow over.
Orwell’s Oceania will reshuffle
Its deck of global grab-***, and a
New enemy will suddenly appear.
Big Brother, as always,
In the full-control mode,
Simply put: on top of the situation.
So Hurrah!
Allāhu Akbar. “God is Great!
The Takbīr (the term for the
Arabic phrase: usually translated as
"God is [the] greatest.")

“All thought is sub-vocal speech.”
What a simple, yet profound insight!
Just a short hop, skip & jump to the
Realization that, perhaps, the clarity
& Power of our minds can be groomed,
Improved upon by mastery of—
In Sam’s case, anyway--the English Language.
Was this, perhaps, the germ of U.S. English,
The political lobbying organization
He co-founded, dedicated to making
English, the official language of the United States.
Hayakawa: a wooly conservative of his own design;
No wonder Governor Reagan loved him.

Dr. S.I. Hayakawa, a colorful and polarizing
Figure in California politics during the 1960s and 70s.
Can we forgive his daily afternoon naps.
Asleep on the floor of the U.S. Senate,
Leaving California so pathetically,
So ostensibly under-represented.
Senator Sam’s comatose presence at
Washington-on Potomac; the
District of Columbia.
A long time ago,
In a distant galaxy . . .
Far, far away.

TEAR GAS.
Alas, long before he got to Washington,
Long before ever setting foot off campus,
He called for tear gas to
Disperse those pesky college kids.
I repeat myself for emphasis:
He authorized the use of tear gas at SF State.
Tear gas: a lachrymatory agent?
Actually, a potentially lethal
Chemical agent . . .
(Yeah, Chemistry!
To wit: Sgt. Sara Brown,
Referencing “Guys & Dolls” again.)
Outlawed for use during wartime,
Banned in international warfare
Under both the 1925 Geneva Protocol; & the
Chemical Weapons Convention;
“Tear gas:  a weapon of war against
The people. We believe that
Tear gas remains a chemical weapon
Whether used on a battlefield, or city streets.”

Thus, history will be your judge,
You unleashed tear gas on college kids,
So I wouldn’t expect a rep makeover
Any time soon, Ichiye-san, my ichiban friend.

The first settlers to the area called the Lumber River Drowning Creek. The river got its name for its dark, swift-moving waters. In 1809, the North Carolina state legislature changed the name of Drowning Creek to the Lumber River. The headwaters are still referred to as Drowning Creek.

Three p.m. on a Sunday.
Anxiously hungry, I stay dry, out of the pool’s cold water,
taking the light, dripping into my pages.
A city with a white face blank as a bust
peers over my shoulder.
Wildflowers on the roads. Planes circle from west,
come down steeply and out of sight.
A pinkness rises in my breast and arms:
wet as the drowned, my eyes sting with sweat.
Over the useless chimneys a bank of cloud piles up.
There is something terrible in the sky, but it keeps breaking.
Another is dead. Fentanyl. Sister of a friend, rarely seen.
A hand reaches everywhere to pass over eyes and mouths.
A glowing wound opens in heaven.
A mirror out of doors draws a gyre of oak seeds no one watches,
in the clear pool now sunless and black.

Bitter water freezes the muscles and I am far from shore.
I paddle in the shallows, near the wooden jail.
The water reflects a taut rope,
feet hanging in the breeze singing mercy
at the site of the last public hanging in the state.
A part-white fugitive with an extorted confession,
loved by the poor, dumb enough to get himself captured,
lonely on this side of authority: a world he has never lived in
foisting itself on the world he has -
only now, to steal his drunken life, then gone again.

1871 - Henderson Oxendine, one of the notorious gang of outlaws who for some time have infested Robeson County, N. C., committing ****** and robbery, and otherwise setting defiance to the laws, was hung at Lumberton, on Friday last in the presence of a large assemblage. His execution took place a very few days after his conviction, and his death occurred almost without a struggle.

Today, the town square collapses as if scorched
by the whiskey he drank that morning to still himself,
folds itself up like Amazing Grace is finished.
A plinth is laid
in the shadow of his feet, sticky with pine,
here where the water sickens with roots.
Where the canoe overturned. Where the broken oar floated and fell.
Where the snake lives, and teethes on bark,
waiting for another uncle.

Where the tobacco waves near drying barns rusted like horseshoes
and cotton studs the ground like the cropped hair of the buried.
Where schoolchildren take the afternoon
to trim the kudzu growing between the bodies of slaves.
Where appetite is met with flood and fat
and a clinic for the heart.
Where barges took chips of tar to port,
for money that no one ever saw.

Tar sticks the heel but isn’t courage.
Tar seals the hulls -
binds the planks -
builds the road.
Tar, fiery on the tongue, heavy as bad blood in the family -
dead to glue the dead together to secure the living.
Tar on the roofs, pouring heat.
Tar is a dark brown or black viscous liquid of hydrocarbons and free carbon,
obtained from a wide variety of organic materials
through destructive distillation.
Tar in the lungs will one day go as hard as a five-cent candy.

Liberty Food Mart
Cheapest Prices on Cigarettes
Parliament $22.50/carton
Marlboro $27.50/carton

The white-bibbed slaughterhouse Hmong hunch down the steps
of an old school bus with no air conditioner,
rush into the cool of the supermarket.
They pick clean the vegetables, flee with woven bags bulging.
What were they promised?
Air conditioning.
And what did they receive?
Chickenshit on the wind; a dead river they can't understand
with a name it gained from killing.

Truth:
A man was flung onto a fencepost and died in a front yard down the street.
A girl with a grudge in her eyes slipped a razorblade from her teeth and ended recess.
I once saw an Indian murdered for stealing a twelve-foot ladder.
The red line indicating heart disease grows higher and higher.
The red line indicating cardiovascular mortality grows higher and higher.
The red line indicating motor vehicle deaths grows higher and higher.
I burn with the desire to leave.

The stories make us full baskets of dark. No death troubles me.
Not the girl's blood, inert, tickled by opiates,
not the masked arson of the law;
not the smell of drywall as it rots,
or the door of the safe falling from its hinges,
or the chassis of cars, airborne over the rise by the planetarium,
three classmates plunging wide-eyed in the river’s icy arc –
absent from prom, still struggling to free themselves from their seatbelts -
the gunsmoke at the home invasion,
the tenement bisected by flood,
the cattle lowing, gelded
by agriculture students on a field trip.

The air contains skin and mud.
The galvanized barns, long empty, cough up
their dust of rotten feed, dry tobacco.
Men kneel in the tilled rows,
to pick up nails off the ground
still splashed with the blood of their makers.

You Never Sausage a Place
(You’re Always a ****** at Pedro’s!)
South of the Border – Fireworks, Motel & Rides
Exit 9: 10mi.

Drunkards in Dickies will tell you the roads are straight enough
that the drive home will not bend away from them.
Look in the woods to see by lamplight
two girls filling each other's mouths with smoke.
Hear a friendly command:
boys loosening a tire, stuck in the gut of a dog.
Turn on the radio between towns of two thousand
and hear the tiny voice of an AM preacher,
sharing the airwaves of country dark
with some chords plucked from a guitar.
Taste this water thick with tannin
and tell me that trees do not feel pain.
I would be a mausoleum for these thousands
if I only had the room.

I sealed myself against the flood.
Bodies knock against my eaves:
a clutch of cats drowned in a crawlspace,
an old woman bereft with a vase of pennies,
her dead son in her living room costumed as the black Jesus,
the ***** oil of a Chinese restaurant
dancing on top of black water.
A flow gauge spins its tin wheel
endlessly above the bloated dead,
and I will pretend not to be sick at dinner.

Misery now, a struggle ahead for Robeson County after flooding from Hurricane Matthew
LUMBERTON
After years of things leaving Robeson County – manufacturing plants, jobs, payrolls, people – something finally came in, and what was it but more misery?

I said a prayer to the city:
make me a figure in a figure,
solvent, owed and owing.
Take my jute sacks of wristbones,
my sheaves and sheaves of fealty,
the smell of the forest from my feet.
Weigh me only by my purse.
A slim woman with a college degree,
a rented room without the black wings
of palmetto roaches fleeing the damp:
I saw the calm white towers and subscribed.
No ingrate, I saved a space for the lost.
They filled it once, twice, and kept on,
eating greasy flesh straight from the bone,
craning their heads to ask a prayer for them instead.

Downtown later in the easy dark,
three college boys in foam cowboy hats shout in poor Spanish.
They press into the night and the night presses into them.
They will go home when they have to.
Under the bridge lit in violet,
a folding chair is draped in a ***** blanket.
A grubby pair of tennis shoes lay beneath, no feet inside.
Iced tea seeps from a chewed cup.
I pass a bar lit like Christmas.
A mute and pretty face full of indoor light
makes a promise I see through a window.
I pay obscene rents to find out if it is true,
in this nation tied together with gallows-rope,
thumbing its codex of virtues.

I

Wonderlandia, torn off the submerged lung
of a daydream diary.                   Reoccurs
as she does with silver eyes, weary Alice
during tea time--bullets burning past her
                                     like flowing nations.
Everyday similar tsunamis fund
                                     the lack of 20/20.
Nose to tail--the surge of angry engines
splits the ends of her blonde strands.
    Each one the last witness to maddening hospitality
--utopia never sweats as it talks and withers.
Amnesia blots,
new aspirin machines
vaporize apples and ***
on the other end of spectrum,
                                                     trans-positional labels--

Guillotine gargling teapots
       have no patience
         to the bushes of Olympus opiates
                                      bound in yellow barrier tape,
                     five o' clock traffic
               welcomes her back to what we are facing.


II


Dreary weather of late fall                       and her beautiful,
              powdered face

great mouth of atomic hell,
         when she speaks--80,000 deficiencies boil alive
                                                   --Trinity's teething test
                                                           on the tired bones
                                                   of a story-teller's raspy cards--

"None the wiser," she speaks,
                                "during the transition of ships
                   vermin turn into krakens culturing
                               on the surface of a raindrop.
    Heroes, villains, animals frozen together
                 after now eating for four days.
     The transition of one genocide
                                                        ­  to the other,
                the delineation of cat-and-mouse,
   mingle too long
   with the dead
   and its necrophilia."

                 Blind Alice wanders off the highway,
leaves her brewed cup of steamy static
on top of the unimportant saucer, sticks pins in her *******,
             and enjoys the sound of Cleopatra
             rolling over in reincarnation.


III

      Dear Alice smells
sunbathing, studded tangerines
                      assimilating liquor within the vast,
       empty, glowing nausea that is--
                        the warm germ

Oil                                    and                 ­          water
               rippled glass too silly for skulls
              made humid by distant salt water,

blood, acid, enzymes,
cheating probability
that runners with drunk kids
have blood between their toes.
                                                      Death­ to the distillation within
                                                    --the chronic diamond too polished
                                                       in *** to see the roses in her *****
    She curses these wood songs,
             heritage patriots with the pelts of wild lions
             with antlers over their heads,
                                                  faces advertising war paint
                                                applied by gargoyle hands
                    --sad memoirs always drink people
                                                  that use God as a cookie jar.


IV


  Gorgeous names
  on graffiti institutions give her a home
                                                         a market
                                                         a nickname
           still                  Alice only accepts Alice.

Grace periods where she misses tyranny
                  rise and fall like endorsed breathing.
    Now Alice feels her dress fall off,
                                  extinct years message future occupancy
                                  about what to wear.
New era, this era, past eras plead guilty
in a      clinic museum
             of forcing demons
              down the medical
              throats
of first graders. Court adjourns at 9:01 PM, Saturday

             The populus can sleep now,
                          but not her.
                 No one gave her clothes
                 to cover up the drained monochrome.


V

Instead she celebrates her flesh,
                                        the broken glass,
   and quakes and leads off to expose
           others to its potential vital prosperity.

         Instead
                     headlines like bumper cars read
                     about the beheading of weeks,
                     failing rescue missions,
                     and debates on teenage tolerance.

Nicotine intoxication points Alice
to over-extended memories--wards of music
sequenced to point out the extinction of marble tigers.
                        Only 550 expected to understand
                         tethered to millions able to survive.

  Flood waters look at moral standards, a mean hurricane
                                   that collapses the death toll
     all patented 50 states
     have a dating service
     and huff paint as a way
                              to pray to art.
                                                      Double­-canvas faces
                                                      dyed in pixel     hope
                                                       that the media levees hold,
             but volunteer to herd sheep into poppy seed fields.
                                            She refuses to stay,
                    to watch the long night
                    of castration on men with mud-covered ankles.
                                      Television says eunuchs want
                                       to be prodigal's children,
                                       everyone wants to come back home
                                       to mom and dad, safe zones, away
                                       from themselves.
                                                     ­                 It says our ancestors want
                                                            ­          this for all of us. They worked
                                                          ­            so hard to tie up the hair
                                                            ­          out of Aphrodite's face.

                                     They treasure the silver eyes of Alice,
                                          but call them blue,
                                                  they issue her high cholesterol
                                          but pump sweet ****** into he stomach,
                                                  they tell her to put down the drill,
                                            so she can finish their orchestra--

her lightning
    is
     a
  string
     of
  souls



VI


     She decides to depart Sunday,
to discover the ordinary beginning,
                        painting WHY? on its delirium.
re-arrangeable viewers become
                      inserted sounds under percussion and piano.

       Caging various important charts
                                          undetermined
   ­                           as finished attention.
                                                      ­              Three movements in flux
open end the people                     vacuuming
                            craftsmanship blocks
                   from                                dogs and zen.

                                                 The
                                 suspended letter               is happening in 1951
   drenched in existential white                                            spacing
        ­                                                   the viewer
                        from integrated architecture.

Down
the
bell is a structure called
"the quarantined wheelchair."
                               Dead ignorance changes pattern
                               after six movements of the second hand.
Alice speaks, "To you all, know
                                       that this is an un-dramatic situation.
          Everyday windows with the same
           participants have girls drinking
                                                     orange juice, activate fluid,
                    both exist as objects
                    and caught propaganda."

                                                   ­                      Six tunnel
                                                          ­      audiences are watching
                                                        ­        drown in the plastic silk
   her                                                       built by the motorized collage
                                                         ­                                        spider.

          Alice, a kinetic mannequin pop star
                        is limp in the glass point.
             Rhythmic flux is objectified war torture
                         censored in fitness magazines
by simple toilet literature.

                                        Six tunnels worth of eyes
                                 latch to the *******
                                           as a way to bury **** protesting.
                                  A coat of pepper spray
                                   works in front of the exhibition.
This stage is shaded by moans.


VII


      Alice the female, has a door-to-door friend
                                                          ­    over the sea
of the cathedral's ceiling               who died of disemboweled
pulchritude             at the mutilated nuclear other-place.
                     Her friend was a synthesized example
                     of staged catastrophes. Her friend is her, silver-eyed
                                                     ­                                             Alice.

            ­                     She performs herself and herself
                                 but they are played by polished, scored poets.

Everyone of them incorporates the events
                                 of a dancing gunshot. Everything rests
                                                           ­ at an intermission

               but after fifty minutes of pondering,
          the lost audience remembers
         her name is Alice.
                   So it comes back on with a shower of sweat
                  and this clear
                                  substance
               ­                                 called
                         ­                              patience.
       This composing, peering vulnerability
                        psychologically destroys the flux tension
              like analog genocidal dictators.
                                   Ultimately this is dream liquor

     commentating war to the war tree
      using trauma and chairs as humor.



VIII


               Patience on the water level lives translucent
                                            on networks that brand flesh
                                            with displaced identity.
Alice convinces us all that pickled ***
                                                             ­               takes eight years
                     to ****** and we accuse it
                                         of being fake. Afterwards, her character dies
in confident silence.


IX


     Not majestic, but she does cough
                  to mock the earth.
        The seeds of Alice are ripe,
                        harvested early, and now her children come out and dine
        like speaking tongues on gibberish.
                          The room is fat with hair

and kindness. Feeble, mundane hands chew on each other,
                                                         feet stand proud.
We even call her Alice or "the beautiful *******,
                                             a black cloud feasting
                                             in orange."
                       Everyone feasts on the nectar
                                                         she has, but never the rye
which makes her round. Juice is squeaking and her children laugh
                         as in competition.

     It's a distinguishable game as the mixed
                                                           ­      couple up front
              begin to play whistles as
                                         everyone eats
                   the pride of the silver-eyed Alice's children.


X

                                                ­ The children's souls
                                                       bow and say
                                           "Thank you for barely growing."
                                                   and dissipate after five minutes.

          "Curiouser                                   ­                                      and
           Curiouser"                                                       ­                   they
           say                                                              ­                        as
           they                                                             ­                       leave
           this                                                             ­                         homage.
                  The decimal backbone
                     of each of sweet Alice's
                                   blonde strands
                   divorced by the gust/ of a green light's/ allowance.


XI Epilogue*


  The day crawls away
                   a vigilant pest
     of the nocturnal project
                   --suns beam down still, like
                  stomachs of grinning felines
                           at Valentine's day.

toxic-dyed fingers
                        soldered
to bodies pittering across rainy streets

--legionnaires with hearts on stones
                         we are waiting for her orders,

     thistled-teeth clench,
                                         but did she
                                          actually
          ­                                ever come?

A duality of elan vital, two people
Spectres of emotion
Intertwined by a fuselage of bruised skin & tendon
Tissues become orbital, gushing towards grafts
Helixes of snot, **** and lymph
Boy & girl
As they embrace the animating principle and eachother, they fuse
A one piece tapestry adorned seamless with no hem, beginning or end
Always was, always is
Patiently turning to liquid as their being unzips
Lying figures of runny makeup and genetic *****
Quintessence, a texture of synaptic potential
Corpus Callosum
An entirety of self, lost in imbued disintegration
Theory of mind, looped & bound
I will water the thought
Roots envisaged in dystopian amygdala
Piercing data packets with a frost-like intensity
Forgetting our obsolescence moments ago
A neuron dipped in nylon
Theta waves and the non-euclidean crux of dissociation
Ghosts in the machine, your macro god
The sympathies of fractional distillation
Digitised/assimilated unto the nanosphere
Cold hands and brass backs galvanised in oscillated tears
Commodified, sold out and bought
Stretching, from purple, white and black
slowly losing its colour, amorphous in shape
brushed across a smudge, ambiguously chromatic
Monetised flesh god
An eternity bathed in starlight
Cutting an incision in the sky to allow entropy
Divided dimensions of energy
Fleeting and intangible
No longer a delirium of seperation
All semantics become light
As a rusted vehicle passes overhead
And all the worlds questions fade out of existence
Flutters of red tape and foregone growth of practice
Sinew flayed, integrated towards information
Our minds shared
In circuits and resistors
Photons and electrons
We radiate

When Pigs Fly
by Michael R. Burch

On the Trail of Tears,
my Cherokee brothers,
why hang your heads?
Why shame your mothers?
Laugh wildly instead!
We will soon be dead.

When we lie in our graves,
let the white-eyes take
the woodlands we loved
for the *** and the rake.
It is better to die
than to live out a lie
in so narrow a sty.

In October 1838 the Cherokees began to walk the "Trail of Tears." Most of them made the thousand mile journey west to Oklahoma on foot. An estimated 4,000 people, or a quarter of the tribe, died en route. The soldiers "escorting" the Cherokees at bayonet point refused permission for the dead to be buried, threatening to shoot anyone who disobeyed. So the living were forced to carry the corpses of the dead until camp was made for the night. Years after the Cherokees had been rounded up and driven down the Trail of Tears, John G. Burnett reflected on what he and his fellow soldiers had done, saying, "Schoolchildren of today do not know that we are living on lands that were taken from a helpless race at the bayonet point, to satisfy the white man's greed... ****** is ****** and somebody must answer, somebody must explain the streams of blood that flowed in the Indian country... Somebody must explain the four thousand silent graves that mark the trail of the Cherokees to their exile." Keywords/Tags: Cherokee, Native American, Trail of Tears, Ethnic Cleansing, Genocide, ******, Evil, Death, March, Death March, Infanticide, Matricide, Racism, Racist, Discrimination, Violence, Fascism, White Supremacists, Horror, Terror, Terrorism, Greed, Gluttony, Avarice, Lust, ****, mrbpig, mrbpigs



Cherokee Prayer
loose translation/interpretation by Michael R. Burch

As I walk life's trails
imperiled by the raging wind and rain,
grant, O Great Spirit,
that yet I may always
walk like a man.

This prayer makes me think of Native Americans walking the Trail of Tears with far more courage and dignity than their “civilized” abusers.



Native American Prayer
loose translation/interpretation by Michael R. Burch

Help us learn the lessons you have left us
in every leaf and rock.



Native American Travelers' Blessing
loose translation/interpretation by Michael R. Burch

Let us walk together here
among earth's creatures great and small,
remembering, our footsteps light,
that one wise God created all.



Sioux Vision Quest
by Crazy Horse, Oglala Lakota Sioux, circa 1840-1877
loose translation/interpretation by Michael R. Burch

A man must pursue his Vision
as the eagle explores
the sky's deepest blues.



Cherokee Travelers' Blessing I
loose translation/interpretation by Michael R. Burch

I will extract the thorns from your feet.
For yet a little while, we will walk life's sunlit paths together.
I will love you like my own brother, my own blood.
When you are disconsolate, I will wipe the tears from your eyes.
And when you are too sad to live, I will put your aching heart to rest.

Published by Better Than Starbucks and Cherokee Native Americans



Cherokee Travelers' Blessing II
loose translation/interpretation by Michael R. Burch

Happily may you walk
in the paths of the Rainbow.
                  Oh,
and may it always be beautiful before you,
beautiful behind you,
beautiful below you,
beautiful above you,
and beautiful all around you
where in Perfection beauty is finished.

Published by Better Than Starbucks



Cherokee Travelers' Blessing III
loose translation/interpretation by Michael R. Burch

May Heaven’s warming winds blow gently there,
where you reside,
and may the Great Spirit bless all those you love,
this side of the farthest tide.
And wherever you go,
whether the journey is fast or slow,
may your moccasins leave many cunning footprints in the snow.
And when you look over your shoulder, may you always find the Rainbow.

Published by Better Than Starbucks



What is life?
The flash of a firefly.
The breath of the winter buffalo.
The shadow scooting across the grass that vanishes with sunset.
―Blackfoot saying, loose translation/interpretation by Michael R. Burch



Warrior's Confession
loose translation/interpretation by Michael R. Burch

Oh my love, how fair you are—
far brighter than the fairest star!



Cherokee Proverb
loose translation/interpretation by Michael R. Burch

Before you judge
a man for his sins
be sure to trudge
many moons in his moccasins.



Cherokee Prayer
loose translation/interpretation by Michael R. Burch

As I walk life's trails
imperiled by the raging wind and rain,
grant, O Great Spirit,
that yet I may always
walk like a man.

When I think of this prayer, I think of Native Americans walking the Trail of Tears.



The Receiving of the Flower
excerpt from a Mayan love poem
loose translation/interpretation by Michael R. Burch

Let us sing overflowing with joy
as we observe the Receiving of the Flower.
The lovely maidens beam;
their hearts leap in their *******.

Why?

Because they will soon yield their virginity to the men they love!



The Deflowering
excerpt from a Mayan love poem
loose translation/interpretation by Michael R. Burch

Remove your clothes;
let down your hair;
become as naked as the day you were born—

virgins!



Prelude to *******
excerpt from a Mayan love poem
loose translation/interpretation by Michael R. Burch

Lay out your most beautiful clothes,
maidens!
The day of happiness has arrived!

Grab your combs, detangle your hair,
adorn your earlobes with gaudy pendants.
Dress in white as becomes maidens ...

Then go, give your lovers the happiness of your laughter!
And all the village will rejoice with you,
for the day of happiness has arrived!



The Flower-Strewn Pool
excerpt from a Mayan love poem
loose translation/interpretation by Michael R. Burch

You have arrived at last in the woods
where no one can see what you do
at the flower-strewn pool ...
Remove your clothes,
unbraid your hair,
become as you were
when you first arrived here
naked and shameless,
virgins, maidens!



Native American Proverbs

The soul would see no Rainbows if not for the eyes’ tears.
—loose translation/interpretation by Michael R. Burch

A woman’s highest calling is to help her man unite with the Source.
A man’s highest calling is to help his woman walk the earth unharmed.
—loose translation/interpretation by Michael R. Burch

When you were born, you cried and the world rejoiced.
Live your life so that when you die, the world cries and you rejoice.
—White Elk, loose translation/interpretation by Michael R. Burch

What is life?
The flash of a firefly.
The breath of a winter buffalo.
The shadow scooting across the grass that vanishes with sunset.
—Blackfoot saying, translation by Michael R. Burch

Speak less thunder, wield more lightning. — Apache proverb, translation by Michael R. Burch

The more we wonder, the more we understand. — Arapaho proverb, translation by Michael R. Burch

Adults talk, children whine. — Blackfoot proverb, translation by Michael R. Burch

Don’t be afraid to cry: it will lessen your sorrow. — Hopi proverb

One foot in the boat, one foot in the canoe, and you end up in the river. — Tuscarora proverb, translation by Michael R. Burch

Our enemy's weakness increases our strength. — Cherokee proverb, translation by Michael R. Burch

We will be remembered tomorrow by the tracks we leave today. — Dakota proverb, translation by Michael R. Burch

No sound's as eloquent as a rattlesnake's tail. — Navajo saying, translation by Michael R. Burch

The heart is our first teacher. — Cheyenne proverb, translation by Michael R. Burch

Dreams beget success. — Maricopa proverb, translation by Michael R. Burch

Knowledge interprets the past, wisdom foresees the future. — Lumbee proverb, translation by Michael R. Burch

The troublemaker's way is thorny. — Umpqua proverb, translation by Michael R. Burch



Earthbound
an original poem by Michael R. Burch

Tashunka Witko, better known as Crazy Horse, had a vision of a red-tailed hawk at Sylvan Lake, South Dakota. In his vision he saw himself riding a spirit horse, flying through a storm, as the hawk flew above him, shrieking. When he awoke, a red-tailed hawk was perched near his horse.

Earthbound,
and yet I now fly
through the clouds that are aimlessly drifting ...
so high
that no sound
echoing by
below where the mountains are lifting
the sky
can be heard.

Like a bird,
but not meek,
like a hawk from a distance regarding its prey,
I will shriek,
not a word,
but a screech,
and my terrible clamor will turn them to clay—
the sheep,
the earthbound.



Years after the Cherokees had been rounded up and driven down the Trail of Tears, John G. Burnett reflected on what he and his fellow soldiers had done, saying, "Schoolchildren of today do not know that we are living on lands that were taken from a helpless race at the bayonet point, to satisfy the white man's greed ... ****** is ****** and somebody must answer, somebody must explain the streams of blood that flowed in the Indian country ... Somebody must explain the four thousand silent graves that mark the trail of the Cherokees to their exile."

In the same year, 1830, that Stonewall Jackson consigned Native Americans to the ash-heap of history, Georgia Governor George Gilmer said, "Treaties are expedients by which ignorant, intractable, and savage people are induced ... to yield up what civilized people have the right to possess." By "civilized" he apparently meant people willing to brutally dispossess and **** women and children in order to derive economic benefits for themselves.

These nights bring dreams of Cherokee shamans
whose names are bright verbs and impacted dark nouns,
whose memories are indictments of my pallid flesh . . .
and I hear, as from a great distance,
the cries tortured from their guileless lips, proclaiming
the nature of my mutation.
―Michael R. Burch, from "Mongrel Dreams" (my family is part Cherokee, English and Scottish)

After Jackson was re-elected with an overwhelming majority in 1832, he strenuously pursued his policy of removing Native Americans, even refusing to accept a Supreme Court ruling which invalidated Georgia's planned annexation of Cherokee land. But in the double-dealing logic of the white supremacists, they had to make the illegal resettlement of the Indians appear to be "legal," so a small group of Cherokees were persuaded to sign the "Treaty of New Echota," which swapped Cherokee land for land in the Oklahoma territory. The Cherokee ringleaders of this infamous plot were later assassinated as traitors. (****** was similarly obsessed with the "legalities" of the **** Holocaust; isn't it strange how mass murderers of women and children can seek to justify their crimes?)

Native Americans understood the "circle of life" better than their white oppressors ...

When we sit in the Circle of the People,
we must be responsible because all Creation is related
and the suffering of one is the suffering of all
and the joy of one is the joy of all
and whatever we do affects everything in the universe.
—"Lakota Instructions for Living" by White Buffalo Calf Woman, translated by Michael R. Burch



Veiled
by Michael R. Burch

She has belief
without comprehension
and in her crutchwork shack
she is
much like us . . .

tamping the bread
into edible forms,
regarding her children
at play
with something akin to relief . . .

ignoring the towers ablaze
in the distance
because they are not revelations
but things of glass,
easily shattered . . .

and if you were to ask her,
she might say:
sometimes God visits his wrath
upon an impious nation
for its leaders’ sins,

and we might agree:
seeing her mutilations.

Published by Poetry Super Highway and Modern War Poems.



Ali’s Song
by Michael R. Burch

They say that gold don’t tarnish. It ain’t so.
They say it has a wild, unearthly glow.
A man can be more beautiful, more wild.
I flung their medal to the river, child.
I flung their medal to the river, child.

They hung their coin around my neck; they made
my name a bridle, “called a ***** a *****.”
They say their gold is pure. I say defiled.
I flung their slave’s name to the river, child.
I flung their slave’s name to the river, child.

Ain’t got no quarrel with no Viet Cong
that never called me ******, did me wrong.
A man can’t be lukewarm, ’cause God hates mild.
I flung their notice to the river, child.
I flung their notice to the river, child.

They said, “Now here’s your bullet and your gun,
and there’s your cell: we’re waiting, you choose one.”
At first I groaned aloud, but then I smiled.
I gave their “future” to the river, child.
I gave their “future” to the river, child.

My face reflected up, dark bronze like gold,
a coin God stamped in His own image―BOLD.
My blood boiled like that river―strange and wild.
I died to hate in that dark river, child,
Come, be reborn in this bright river, child.

Originally published by Black Medina

Note: Cassius Clay, who converted to Islam and changed his “slave name” to Muhammad Ali, said that he threw his Olympic boxing gold medal into the Ohio River. Confirming his account, the medal was recovered by Robert Bradbury and his wife Pattie in 2014 during the Annual Ohio River Sweep, and the Ali family paid them $200,000 to regain possession of the medal. When drafted during the Vietnamese War, Ali refused to serve, reputedly saying: “I ain't got no quarrel with those Viet Cong; no Vietnamese ever called me a ******.” The notice mentioned in my poem is Ali's draft notice, which metaphorically gets tossed into the river along with his slave name. I was told through the grapevine that this poem appeared in Farsi in an Iranian publication called Bashgah. ―Michael R. Burch



evol-u-shun
by Michael R. Burch

does GOD adore the Tyger
while it’s ripping ur lamb apart?

does GOD applaud the Plague
while it’s eating u à la carte?

does GOD admire ur intelligence
while u pray that IT has a heart?

does GOD endorse the Bible
you blue-lighted at k-mart?



Enheduanna, the daughter of the famous King Sargon the Great of Akkad, is the first ancient writer whose name remains known today. She appears to be the first named poet in human history and the first known author of prayers and hymns. Enheduanna, who lived circa 2285-2250 BCE, is also one of the first women we know by name.

Lament to the Spirit of War
by Enheduanna
loose translation by Michael R. Burch

You hack down everything you see, War God!

Rising on fearsome wings
you rush to destroy the land,
descending like a raging storm,
howling like a hurricane,
screaming like a tempest,
thundering, raging, ranting, drumming,
whiplashing whirlwinds!

Men falter at your approaching footsteps.

Tortured dirges scream
on your lyre of despair.

Like a fiery Salamander you poison the land:
growling over the earth like thunder,
vegetation collapsing before you,
blood gushing down a mountainside.

Spirit of hatred, greed and vengeance!

******* of heaven and earth!

Your ferocious fire consumes our land.

Whipping your stallion
with furious commands,
you decide our fate.

You triumph over all human rites and prayers.

Who can explain your tirade,
why you go on so?



Temple Hymn 15
to the Gishbanda Temple of Ningishzida
by Enheduanna
loose translation by Michael R. Burch

Most ancient and terrible shrine,
set deep in the mountain,
dark like a mother's womb...

Dark shrine,
like a mother's wounded breast,
blood-red and terrifying...

Though approaching through a safe-seeming field,
our hair stands on end as we near you!

Gishbanda,
like a neck-stock,
like a fine-eyed fish net,
like a foot-shackled prisoner's manacles...
your ramparts are massive,
like a trap!

But once we’re inside,
as the sun rises,
you yield widespread abundance!

Your prince
is the pure-handed priest of Inanna, heaven's Holy One,
Lord Ningishzida!

Oh, see how his thick, lustrous hair
cascades down his back!

Oh Gishbanda,
he has built this beautiful temple to house your radiance!
He has placed his throne upon your dais!



The Exaltation of Inanna: Opening Lines and Excerpts
by Enheduanna, the daughter of Sargon I of Akkad and the high priestess of the Goddess Inanna
loose translation/interpretation by Michael R. Burch

Lady of all divine powers!
Lady of the resplendent light!
Righteous Lady adorned in heavenly radiance!

Beloved Lady of An and Uraš!
Hierodule of An, sun-adorned and bejeweled!
Heaven’s Mistress with the holy diadem,
Who loves the beautiful headdress befitting the office of her own high priestess!

Powerful Mistress, seizer of the seven divine powers!
My Heavenly Lady, guardian of the seven divine powers!
You have seized the seven divine powers!
You hold the divine powers in your hand!
You have gathered together the seven divine powers!
You have clasped the divine powers to your breast!

You have flooded the valleys with venom, like a viper;
all vegetation vanishes when you thunder like Iškur!
You have caused the mountains to flood the valleys!
When you roar like that, nothing on earth can withstand you!

Like a flood descending on floodplains, O Powerful One, you will teach foreigners to fear Inanna!

You have given wings to the storm, O Beloved of Enlil!
The storms do your bidding, blasting the unbelievers!

Foreign cities cower at the chaos You cause!
Entire countries cower in dread of Your deadly South Wind!
Men cower before you in their anguished implications,
raising their pitiful outcries,
weeping and wailing, beseeching Your benevolence with many wild lamentations!

But in the van of battle, everything falls before You, O Mighty Queen!

My Queen,
You are all-conquering, all-devouring!
You continue Your attacks like relentless storms!
You howl louder than the howling storms!
You thunder louder than Iškur!
You moan louder than the mournful winds!
Your feet never tire from trampling Your enemies!
You produce much wailing on the lyres of lamentations!

My Queen,
all the Anunna, the mightiest Gods,
fled before Your approach like fluttering bats!
They could not stand in Your awesome Presence
nor behold Your awesome Visage!

Who can soothe Your infuriated heart?
Your baleful heart is beyond being soothed!

Uncontrollable Wild Cow, elder daughter of Sin,
O Majestic Queen, greater than An,
who has ever paid You enough homage?

O Life-Giving Goddess, possessor of all powers,
Inanna the Exalted!

Merciful, Live-Giving Mother!
Inanna, the Radiant of Heart!
I have exalted You in accordance with Your power!
I have bowed before You in my holy garb,
I the En, I Enheduanna!

Carrying my masab-basket, I once entered and uttered my joyous chants ...

But now I no longer dwell in Your sanctuary.
The sun rose and scorched me.
Night fell and the South Wind overwhelmed me.
My laughter was stilled and my honey-sweet voice grew strident.
My joy became dust.

O Sin, King of Heaven, how bitter my fate!

To An, I declared: An will deliver me!
I declared it to An: He will deliver me!

But now the kingship of heaven has been seized by Inanna,
at Whose feet the floodplains lie.

Inanna the Exalted,
who has made me tremble together with all Ur!

Stay Her anger, or let Her heart be soothed by my supplications!
I, Enheduanna will offer my supplications to Inanna,
my tears flowing like sweet intoxicants!
Yes, I will proffer my tears and my prayers to the Holy Inanna,
I will greet Her in peace ...

O My Queen, I have exalted You,
Who alone are worthy to be exalted!
O My Queen, Beloved of An,
I have laid out Your daises,
set fire to the coals,
conducted the rites,
prepared Your nuptial chamber.
Now may Your heart embrace me!

These are my innovations,
O Mighty Queen, that I made for You!
What I composed for You by the dark of night,
The cantor will chant by day.

Now Inanna’s heart has been restored,
and the day became favorable to Her.
Clothed in beauty, radiant with joy,
she carried herself like the elegant moonlight.

Now to the Noble Hierodule,
to the Wrecker of foreign lands
presented by An with the seven divine powers,
and to my Queen garbed in the radiance of heaven ...

O Inanna, praise!



The Exaltation of Inanna: Opening Lines, an Excerpt
Nin-me-šara by Enheduanna
loose translation by Michael R. Burch

Lady of all divine powers,
Lady of the all-resplendent light,
Righteous Lady clothed in heavenly radiance,
Beloved Lady of An and Uraš,
Mistress of heaven with the holy diadem,
Who loves the beautiful headdress befitting the office of her high priestess,
Powerful Mistress who has seized all seven divine powers,
My lady, you are the guardian of the seven divine powers!
You have seized the divine powers,
You hold the divine powers in your hand,
You have gathered up the divine powers,
You have clasped the divine powers to your breast!
Like a dragon you have spewed venom on foreign lands that know you not!
When you roar like Iškur at the earth, nothing can withstand you!
Like a flood descending on alien lands, O Powerful One of heaven and earth, you will teach them to fear Inanna!



Temple Hymn 7: an Excerpt
to the Kesh Temple of Ninhursag
by Enheduanna
loose translation by Michael R. Burch

O, high-situated Kesh,
form-shifting summit,
inspiring fear like a venomous viper!

O, Lady of the Mountains,
Ninhursag’s house was constructed on a terrifying site!

O, Kesh, like holy Aratta: your womb dark and deep,
your walls high-towering and imposing!

O, great lion of the wildlands stalking the high plains!...



Temple Hymn 17: an Excerpt
to the Badtibira Temple of Dumuzi
by Enheduanna
loose translation by Michael R. Burch

O, house of jeweled lapis illuminating the radiant bed
in the peace-inducing palace of our Lady of the Steppe!



Temple Hymn 22: an Excerpt
to the Sirara Temple of Nanshe
by Enheduanna
loose translation by Michael R. Burch

O, house, you wild cow!
Made to conjure signs of the Divine!
You arise, beautiful to behold,
bedecked for your Mistress!



Temple Hymn 26: an Excerpt
to the Zabalam Temple of Inanna
by Enheduanna
loose translation by Michael R. Burch

O house illuminated by beams of bright light,
dressed in shimmering stone jewels,
awakening the world to awe!



Temple Hymn 42: an Excerpt
to the Eresh Temple of Nisaba
by Enheduanna
loose translation by Michael R. Burch

O, house of brilliant stars
bright with lapis stones,
you illuminate all lands!

...

The person who put this tablet together
is Enheduanna.
My king: something never created before,
did she not give birth to it?



Update of "A Litany in Time of Plague"
by Michael R. Burch

THE PLAGUE has come again
To darken lives of men
and women, girls and boys;
Death proves their bodies toys
Too frail to even cry.
I am sick, I must die.
Lord, have mercy on us!

Tycoons, what use is wealth?
You cannot buy good health!
Physicians cannot heal
Themselves, to Death must kneel.
Nuns’ prayers mount to the sky.
I am sick, I must die.
Lord, have mercy on us!

Beauty’s brightest flower?
Devoured in an hour.
Kings, Queens and Presidents
Are fearful residents
Of manors boarded high.
I am sick, I must die.
Lord, have mercy on us!

We have no means to save
Our children from the grave.
Though cure-alls line our shelves,
We cannot save ourselves.
"Come, come!" the sad bells cry.
I am sick, I must die.
Lord, have mercy on us!

NOTE: This poem is meant to capture the understandable fear and dismay the Plague caused in the Middle Ages, and which the coronavirus has caused in the 21st century. We are better equipped to deal with this modern plague, thanks to advances in science, medicine and sanitation. We do not have to succumb to fear, but it would be wise to have a healthy respect for the nasty bug and heed the advice of medical experts.--MRB



Regret
by Michael R. Burch

Regret,
a bitter
ache to bear . . .

once starlight
languished
in your hair . . .

a shining there
as brief
as rare.

Regret . . .
a pain
I chose to bear . . .

unleash
the torrent
of your hair . . .

and show me
once again―
how rare.

Published by The HyperTexts and The Chained Muse



The Stake
by Michael R. Burch

Love, the heart bets,
if not without regrets,
will still prove, in the end,
worth the light we expend
mining the dark
for an exquisite heart.

Originally published by The Lyric



If
by Michael R. Burch

If I regret
fire in the sunset
exploding on the horizon,
then let me regret loving you.

If I forget
even for a moment
that you are the only one,
then let me forget that the sky is blue.

If I should yearn
in a season of discontentment
for the vagabond light of a companionless moon,
let dawn remind me that you are my sun.

If I should burn―one moment less brightly,
one instant less true―
then with wild scorching kisses,
inflame me, inflame me, inflame me anew.

Originally published by The HyperTexts



The Effects of Memory
by Michael R. Burch

A black ringlet
curls to lie
at the nape of her neck,
glistening with sweat
in the evaporate moonlight ...
This is what I remember

now that I cannot forget.

And tonight,
if I have forgotten her name,
I remember:
rigid wire and white lace
half-impressed in her flesh ...

our soft cries, like regret,

... the enameled white clips
of her bra strap
still inscribe dimpled marks
that my kisses erase ...

now that I have forgotten her face.



Villanelle: Because Her Heart Is Tender
by Michael R. Burch

for Beth

She scrawled soft words in soap: "Never Forget,"
Dove-white on her car's window, and the wren,
because her heart is tender, might regret
it called the sun to wake her. As I slept,
she heard lost names recounted, one by one.

She wrote in sidewalk chalk: "Never Forget,"
and kept her heart's own counsel. No rain swept
away those words, no tear leaves them undone.

Because her heart is tender with regret,
bruised by razed towers' glass and steel and stone
that shatter on and on and on and on,
she stitches in wet linen: "NEVER FORGET,"
and listens to her heart's emphatic song.

The wren might tilt its head and sing along
because its heart once understood regret
when fledglings fell beyond, beyond, beyond ...
its reach, and still the boot-heeled world strode on.

She writes in adamant: "NEVER FORGET"
because her heart is tender with regret.



To the boy Elis
by Georg Trakl
translation by Michael R. Burch

Elis, when the blackbird cries from the black forest,
it announces your downfall.
Your lips sip the rock-spring's blue coolness.

Your brow sweats blood
recalling ancient myths
and dark interpretations of birds' flight.

Yet you enter the night with soft footfalls;
the ripe purple grapes hang suspended
as you wave your arms more beautifully in the blueness.

A thornbush crackles;
where now are your moonlike eyes?
How long, oh Elis, have you been dead?

A monk dips waxed fingers
into your body's hyacinth;
Our silence is a black abyss

from which sometimes a docile animal emerges
slowly lowering its heavy lids.
A black dew drips from your temples:

the lost gold of vanished stars.

TRANSLATOR'S NOTE: I believe that in the second stanza the blood on Elis's forehead may be a reference to the apprehensive ****** sweat of Jesus in the garden of Gethsemane. If my interpretation is correct, Elis hears the blackbird's cries, anticipates the danger represented by a harbinger of death, but elects to continue rather than turn back. From what I have been able to gather, the color blue had a special significance for Georg Trakl: it symbolized longing and perhaps a longing for death. The colors blue, purple and black may represent a progression toward death in the poem.



Turkish Poetry Translations

Attilâ İlhan (1925-2005) was a Turkish poet, translator, novelist, screenwriter, editor, journalist, essayist, reviewer, socialist and intellectual.

Ben Sana Mecburum: “You are indispensable”
by Attila Ilhan
translation by Nurgül Yayman and Michael R. Burch

You are indispensable; how can you not know
that you’re like nails riveting my brain?
I see your eyes as ever-expanding dimensions.
You are indispensable; how can you not know
that I burn within, at the thought of you?

Trees prepare themselves for autumn;
can this city be our lost Istanbul?
Now clouds disintegrate in the darkness
as the street lights flicker
and the streets reek with rain.
You are indispensable, and yet you are absent ...

Love sometimes seems akin to terror:
a man tires suddenly at nightfall,
of living enslaved to the razor at his neck.
Sometimes he wrings his hands,
expunging other lives from his existence.
Sometimes whichever door he knocks
echoes back only heartache.

A screechy phonograph is playing in Fatih ...
a song about some Friday long ago.
I stop to listen from a vacant corner,
longing to bring you an untouched sky,
but time disintegrates in my hands.
Whatever I do, wherever I go,
you are indispensable, and yet you are absent ...

Are you the blue child of June?
Ah, no one knows you―no one knows!
Your deserted eyes are like distant freighters ...

Perhaps you are boarding in Yesilköy?
Are you drenched there, shivering with the rain
that leaves you blind, beset, broken,
with wind-disheveled hair?

Whenever I think of life
seated at the wolves’ table,
shameless, yet without soiling our hands ...
Yes, whenever I think of life,
I begin with your name, defying the silence,
and your secret tides surge within me
making this voyage inevitable.
You are indispensable; how can you not know?



Fragments
by Attila Ilhan
loose English translations/interpretations by Michael R. Burch

The night is a cloudy-feathered owl,
its quills like fine-spun glass.

It gazes out the window,
perched on my right shoulder,
its wings outspread and huge.

If the encroaching darkness seems devastating at first glance,
the sovereign of everything,
its reach infinite ...

Still somewhere within a kernel of light glows secretly
creating an enlightened forest of dialectics.

In September’s waning days one thinks wanly of the arrival of fall
like a ship appearing on the horizon with untrimmed, tattered sails;
for some unfathomable reason fall is the time to consider one’s own demise―
the body smothered by yellowed leaves like a corpse rotting in a ghoulish photograph ...

Bitter words
crack like whips
snapping across prison yards ...

Then there are words like pomegranate trees in bloom,
words like the sun igniting the sea beyond mountainous horizons,
flashing like mysterious knives ...

Such words are the burning roses of an infinite imagination;
they are born and they die with the flutterings of butterflies;
we carry those words in our hearts like pregnant shotguns until the day we expire,
martyred for the words we were prepared to die for ...

What I wrote and what you understood? Curious and curiouser!



Mehmet Akif Ersoy: Modern English Translations of Turkish Poems

Mehmet Âkif Ersoy (1873-1936) was a Turkish poet, author, writer, academic, member of parliament, and the composer of the Turkish National Anthem.



Snapshot
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

Earth’s least trace of life cannot be erased;
even when you lie underground, it encompasses you.
So, those of you who anticipate the shadows,
how long will the darkness remember you?



Zulmü Alkislayamam
"I Can’t Applaud Tyranny"
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

I can't condone cruelty; I will never applaud the oppressor;
Yet I can't renounce the past for the sake of deluded newcomers.
When someone curses my ancestors, I want to strangle them,
Even if you don’t.
But while I harbor my elders,
I refuse to praise their injustices.
Above all, I will never glorify evil, by calling injustice “justice.”
From the day of my birth, I've loved freedom;
The golden tulip never deceived me.
If I am nonviolent, does that make me a docile sheep?
The blade may slice, but my neck resists!
When I see someone else's wound, I suffer a great hardship;
To end it, I'll be whipped, I'll be beaten.
I can't say, “Never mind, just forget it!” I'll mind,
I'll crush, I'll be crushed, I'll uphold justice.
I'm the foe of the oppressor, the friend of the oppressed.
What the hell do you mean, with your backwardness?



Çanakkale Sehitlerine
"For the Çanakkale Martyrs"
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

Was there ever anything like the Bosphorus war?―
The earth’s mightiest armies pressing Marmara,
Forcing entry between her mountain passes
To a triangle of land besieged by countless vessels.
Oh, what dishonorable assemblages!
Who are these Europeans, come as rapists?
Who, these braying hyenas, released from their reeking cages?
Why do the Old World, the New World, and all the nations of men
now storm her beaches? Is it Armageddon? Truly, the whole world rages!
Seven nations marching in unison!
Australia goose-stepping with Canada!
Different faces, languages, skin tones!
Everything so different, but the mindless bludgeons!
Some warriors Hindu, some African, some nameless, unknown!
This disgraceful invasion, baser than the Black Death!
Ah, the 20th century, so noble in its own estimation,
But all its favored ones nothing but a parade of worthless wretches!
For months now Turkish soldiers have been vomited up
Like stomachs’ retched contents regarded with shame.
If the masks had not been torn away, the faces would still be admired,
But the ***** called civilization is far from blameless.
Now the ****** demand the destruction of the doomed
And thus bring destruction down on their own heads.
Lightning severs horizons!
Earthquakes regurgitate the bodies of the dead!
Bombs’ thunderbolts explode brains,
rupture the ******* of brave soldiers.
Underground tunnels writhe like hell
Full of the bodies of burn victims.
The sky rains down death, the earth swallows the living.
A terrible blizzard heaves men violently into the air.
Heads, eyes, torsos, legs, arms, chins, fingers, hands, feet ...
Body parts rain down everywhere.
Coward hands encased in armor callously scatter
Floods of thunderbolts, torrents of fire.
Men’s chests gape open,
Beneath the high, circling vulture-like packs of the air.
Cannonballs fly as frequently as bullets
Yet the heroic army laughs at the hail.
Who needs steel fortresses? Who fears the enemy?
How can the shield of faith not prevail?
What power can make religious men bow down to their oppressors
When their stronghold is established by God?
The mountains and the rocks are the bodies of martyrs! ...
For the sake of a crescent, oh God, many suns set, undone!
Dear soldier, who fell for the sake of this land,
How great you are, your blood saves the Muslims!
Only the lions of Bedr rival your glory!
Who then can dig the grave wide enough to hold you. and your story?
If we try to consign you to history, you will not fit!
No book can contain the eras you shook!
Only eternities can encompass you! ...
Oh martyr, son of the martyr, do not ask me about the grave:
The prophet awaits you now, his arms flung wide open, to save!



Sessiz Gemi (“Silent Ship”)

by Yahya Kemal Beyatli
loose translation by Nurgül Yayman and Michael R. Burch

for the refugees

The time to weigh anchor has come;
a ship departing harbor slips quietly out into the unknown,
cruising noiselessly, its occupants already ghosts.
No flourished handkerchiefs acknowledge their departure;
the landlocked mourners stand nurturing their grief,
scanning the bleak horizon, their eyes blurring ...
Poor souls! Desperate hearts! But this is hardly the last ship departing!
There is always more pain to unload in this sorrowful life!
The hesitations of lovers and their belovèds are futile,
for they cannot know where the vanished are bound.
Many hopes must be quenched by the distant waves,
since years must pass, and no one returns from this journey.



Full Moon
by Yahya Kemal Beyatli
loose translation by Nurgül Yayman and Michael R. Burch

You are so lovely
the full moon just might
delight
in your rising,
as curious
and bright,
to vanquish night.

But what can a mortal man do,
dear,
but hope?
I’ll ponder your mysteries
and (hmmmm) try to
cope.

We both know
you have every right to say no.



The Music of the Snow
by Yahya Kemal Beyatli
loose translation/interpretation by Michael R. Burch

This melody of a night lasting longer than a thousand years!
This music of the snow supposed to last for thousand years!

Sorrowful as the prayers of a secluded monastery,
It rises from a choir of a hundred voices!

As the *****’s harmonies resound profoundly,
I share the sufferings of Slavic grief.

My mind drifts far from this city, this era,
To the old records of Tanburi Cemil Bey.

Now I’m suddenly overjoyed as once again I hear,
With the ears of my heart, the purest sounds of Istanbul!

Thoughts of the snow and darkness depart me;
I keep them at bay all night with my dreams!

Translator’s notes: “Slavic grief” because Beyatli wrote this poem while in Warsaw, serving as Turkey’s ambassador to Poland, in 1927. Tanburi Cemil Bey was a Turkish composer.



Thinking of you
by Nazim Hikmet
loose translation/interpretation by Michael R. Burch

Thinking of you is beautiful, hopeful―
like listening to the most beautiful songs
sung by the earth's most beautiful voices.
But hope is insufficient for me now;
I don't want to listen to songs.
I want to sing love into birth.



I love you
by Nazim Hikmet
loose translation/interpretation by Michael R. Burch

I love you―
like dipping bread into salt and eating;
like waking at night with a raging fever
and thirstily lapping up water, my mouth to the silver tap;
like unwrapping the unwieldy box the postman delivers,
unable to guess what's inside,
feeling fluttery, happy, doubtful.
I love you―
like flying over the sea the first time
as something stirs within me
while the sky softly darkens over Istanbul.
I love you―
as men thank God gratefully for life.



Sparrow
by Nazim Hikmet
loose translation/interpretation by Michael R. Burch

Little sparrow,
perched on the clothesline,
do you regard me with pity?
Even so, I will watch you
soar away through the white spring leaves.



The Divan of the Lover

the oldest extant Turkish poem
loose translation/interpretation by Michael R. Burch

All the universe as one great sign is shown:
God revealed in his creative acts unknown.
Who sees or understands them, jinn or men?
Such works lie far beyond mere mortals’ ken.
Nor can man’s mind or reason reach that strand,
Nor mortal tongue name Him who rules that land.
Since He chose nothingness with life to vest,
who dares to trouble God with worms’ behests?
For eighteen thousand worlds, lain end to end,
Do not with Him one atom's worth transcend!



Fragment
by Prince Jem
loose translation/interpretation by Michael R. Burch

Behold! The torrent, dashing against the rocks, flails wildly.
The entire vast realm of Space and Being oppresses my soul idly.
Through bitterness of grief and woe the sky has rent its morning robe.
Look! See how in its eastern palace, the sun is a ****** globe!
The clouds of heaven rain bright tears on the distant mountain peaks.
Oh, hear how the deeply wounded thunder slowly, mournfully speaks!



An Ecstasy of Fumbling
by Michael R. Burch

The poets believe
everything resolves to metaphor—
a distillation,
a vapor
beyond filtration,
though perhaps not quite as volatile as before.

The poets conceive
of death in the trenches
as the price of art,
not war,
fumbling with their masque-like
dissertations
to describe the Hollywood-like gore

as something beyond belief,
abstracting concrete bunkers to Achaemenid bas-relief.



Excerpts from “Travels with Einstein”
by Michael R. Burch

for Trump

I went to Berlin to learn wisdom
from Adolph. The wild spittle flew
as he screamed at me, with great conviction:
“Please despise me! I look like a Jew!”

So I flew off to ’Nam to learn wisdom
from tall Yankees who cursed “yellow” foes.
“If we lose this small square,” they informed me,
earth’s nations will fall, dominoes!”

I then sat at Christ’s feet to learn wisdom,
but his Book, from its genesis to close,
said: “Men can enslave their own brothers!”
(I soon noticed he lacked any clothes.)

So I traveled to bright Tel Aviv
where great scholars with lofty IQs
informed me that (since I’m an Arab)
I’m unfit to lick dirt from their shoes.

At last, done with learning, I stumbled
to a well where the waters seemed sweet:
the mirage of American “justice.”
There I wept a real sea, in defeat.

Originally published by Café Dissensus



The Leveler
by Michael R. Burch

The nature of Nature
is bitter survival
from Winter’s bleak fury
till Spring’s brief revival.

The weak implore Fate;
bold men ravish, dishevel her . . .
till both are cut down
by mere ticks of the Leveler.

I believe I wrote this poem around age 20, in 1978 or thereabouts. It has since been published in The Lyric, Tucumcari Literary Review, Romantics Quarterly and The Aurorean.



The Hippopotami
by Michael R. Burch

There’s no seeing eye to eye
with the awesomely huge Hippopotami:
on the bank, you’re much taller;
going under, you’re smaller
and assuredly destined to die!



Ballade of the Bicameral Camel
by Michael R. Burch

There once was a camel who loved to ****.
Please get your lewd minds out of their slump!
He loved to give RIDES on his large, lordly lump!



The Echoless Green
by Michael R. Burch

for and after William Blake

At dawn, laughter rang
on the echoing green
as children at play
greeted the day.

At noon, smiles were seen
on the echoing green
as, children no more,
many fine vows they swore.

By twilight, their cries
had subsided to sighs.

Now night reigns supreme
on the echoless green.



Unlikely Mike
by Michael R. Burch

I married someone else’s fantasy;
she admired me despite my mutilations.

I loved her for her heart’s sake, and for mine.
I hid my face and changed its connotations.

And in the dark I danced—slight, Chaplinesque—
a metaphor myself. How could they know,

the undiscerning ones, that in the glow
of spotlights, sometimes love becomes burlesque?

Disfigured to my soul, I could not lose
or choose or name myself; I came to be

another of life’s odd dichotomies,
like Dickey’s Sheep Boy, Pan, or David Cruse:

as pale, as enigmatic. White, or black?
My color was a song, a changing track.



Spring Was Delayed
by Michael R. Burch

Winter came early:
the driving snows,
the delicate frosts
that crystallize

all we forget
or refuse to know,
all we regret
that makes us wise.

Spring was delayed:
the nubile rose,
the tentative sun,
the wind’s soft sighs,

all we omit
or refuse to show,
whatever we shield
behind guarded eyes.

Originally published by Borderless Journal



The Shijing or **** Jing (“Book of Songs” or “Book of Odes”) is the oldest Chinese poetry collection, with the poems included believed to date from around 1200 BC to 600 BC. According to tradition the poems were selected and edited by Confucius himself. Since most ancient poetry did not rhyme, these may be the world’s oldest extant rhyming poems.

Shijing Ode #4: “JIU MU”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

In the South, beneath trees with drooping branches
thick with vines that make them shady,
we find our lovely princely lady:
May she repose in happiness!

In the South, beneath trees with drooping branches
whose clinging vines make hot days shady,
we wish love’s embrace for our lovely lady:
May she repose in happiness!

In the South, beneath trees with drooping branches
whose vines, entwining, make them shady,
we wish true love for our lovely lady:
May she repose in happiness!

Shijing Ode #6: “TAO YAO”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

The peach tree is elegant and tender;
its flowers are fragrant, and bright.
A young lady now enters her future home
and will manage it well, day and night.

The peach tree is elegant and tender;
its fruits are abundant, and sweet.
A young lady now enters her future home
and will make it welcome to everyone she greets.

The peach tree is elegant and tender;
it shelters with bough, leaf and flower.
A young lady now enters her future home
and will make it her family’s bower.

Shijing Ode #9: “HAN GUANG”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

In the South tall trees without branches
offer men no shelter.
By the Han the girls loiter,
but it’s vain to entice them.
For the breadth of the Han
cannot be swum
and the length of the Jiang
requires more than a raft.

When cords of firewood are needed,
I would cut down tall thorns to bring them more.
Those girls on their way to their future homes?
I would feed their horses.
But the breadth of the Han
cannot be swum
and the length of the Jiang
requires more than a raft.

When cords of firewood are needed,
I would cut down tall trees to bring them more.
Those girls on their way to their future homes?
I would feed their colts.
But the breadth of the Han
cannot be swum
and the length of the Jiang
requires more than a raft.

Shijing Ode #10: “RU FEN”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

By raised banks of the Ru,
I cut down branches in the brake.
Not seeing my lord
caused me heartache.

By raised banks of the Ru,
I cut down branches by the tide.
When I saw my lord at last,
he did not cast me aside.

The bream flashes its red tail;
the royal court’s a blazing fire.
Though it blazes afar,
still his loved ones are near ...

It was apparently believed that the bream’s tail turned red when it was in danger. Here the term “lord” does not necessarily mean the man in question was a royal himself. Chinese women of that era often called their husbands “lord.” Take, for instance, Ezra Pound’s famous loose translation “The River Merchant’s Wife.” Speaking of Pound, I borrowed the word “brake” from his translation of this poem, although I worked primarily from more accurate translations. In the final line, it may be that the wife or lover is suggesting that no matter what happens, the man in question will have a place to go, or perhaps she is urging him to return regardless. The original poem had “mother and father” rather than “family” or “loved ones,” but in those days young married couples often lived with the husband’s parents. So a suggestion to return to his parents could be a suggestion to return to his wife as well.

Shijing Ode #12: “QUE CHAO”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

The nest is the magpie's
but the dove occupies it.
A young lady’s soon heading to her future home;
a hundred carriages will attend her.

The nest is the magpie's
but the dove takes it over.
A young lady’s soon heading to her future home;
a hundred carriages will escort her.

The nest is the magpie's
but the dove possesses it.
A young lady’s soon heading to her future home;
a hundred carriages complete her procession.

Shijing Ode #26: “BO ZHOU” from “The Odes of Bei”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

This cypress-wood boat floats about,
meandering with the current.
Meanwhile, I am distraught and sleepless,
as if inflicted with a painful wound.
Not because I have no wine,
and can’t wander aimlessly about!

But my mind is not a mirror
able to echo all impressions.
Yes, I have brothers,
but they are undependable.
I meet their anger with silence.

My mind is not a stone
to be easily cast aside.
My mind is not a mat
to be conveniently rolled up.
My conduct so far has been exemplary,
with nothing to criticize.

Yet my anxious heart hesitates
because I’m hated by the herd,
inflicted with many distresses,
heaped with insults, not a few.
Silently I consider my case,
until, startled, as if from sleep, I clutch my breast.

Consider the sun and the moon:
how did the latter exceed the former?
Now sorrow clings to my heart
like an unwashed dress.
Silently I consider my options,
but lack the wings to fly away.



The Drawer of Mermaids
by Michael R. Burch

This poem is dedicated to Alina Karimova, who was born with severely deformed legs and five fingers missing. Alina loves to draw mermaids and believes her fingers will eventually grow out.

Although I am only four years old,
they say that I have an old soul.
I must have been born long, long ago,
here, where the eerie mountains glow
at night, in the Urals.

A madman named Geiger has cursed these slopes;
now, shut in at night, the emphatic ticking
fills us with dread.
(Still, my momma hopes
that I will soon walk with my new legs.)

It’s not so much legs as the fingers I miss,
drawing the mermaids under the ledges.
(Observing, Papa will kiss me
in all his distracted joy;
but why does he cry?)

And there is a boy
who whispers my name.
Then I am not lame;
for I leap, and I follow.
(G’amma brings a wiseman who says

our infirmities are ours, not God’s,
that someday a beautiful Child
will return from the stars,
and then my new fingers will grow
if only I trust Him; and so

I am preparing to meet Him, to go,
should He care to receive me.)

Keywords/Tags: mermaid, mermaids, child, children, childhood, Urals, Ural Mountains, soul, soulmate, radiation



On the Horns of a Dilemma (I)
by Michael R. Burch

Love has become preposterous
for the over-endowed rhinoceros:
when he meets the right miss
how the hell can he kiss
when his horn is so ***** it lofts her thus?

I need an artist or cartoonist to create an image of a male rhino lifting his prospective mate into the air during an abortive kiss. Any takers?



On the Horns of a Dilemma (II)
by Michael R. Burch

Love has become preposterous
for the over-endowed rhinoceros:
when he meets the right miss
how the hell can he kiss
when his horn deforms her esophagus?



On the Horns of a Dilemma (III)
by Michael R. Burch

A wino rhino said, “I know!
I have a horn I cannot blow!
And so,
ergo,
I’ll watch the lovely spigot flow!



The Horns of a Dilemma Solved, if not Solvent
by Michael R. Burch

A wine-addled rhino debated
the prospect of living unmated
due to the scorn
gals showed for his horn,
then lost it to poachers, sedated.



The Arrival of the Sea Lions
by Michael R. Burch

The sound
of hounds
resounds in the sound.



Hounds Impounded
by Michael R. Burch

The sound
of hounds
resounds
in the pound.



Prince Kiwi the Great
by Michael R. Burch

Kiwi’s
a ***-wee
but incredibly bright:
he sleeps half the day,
pretending it’s night!

Prince Kiwi
commands us
with his regal air:
“Come, humans, and serve me,
or I’ll yank your hair!”

Kiwi
cries “Kree! Kree!”
when he wants to be fed ...
suns, preens, flutters, showers,
then it’s off to bed.

Kiwi’s
a ***-wee
but incredibly bright:
he sleeps half the day,
pretending it’s night!

Kiwi is our family’s green-cheeked parakeet. Parakeets need to sleep around 12 hours per day, hence the pun on “bright” and “half the day.”



Ah! Sunflower
by Michael R. Burch

after William Blake

O little yellow flower
like a star ...
how beautiful,
how wonderful
we are!

Published as the collection "When Pigs Fly"

A little bird tried to fly through the screen door and I thought, 'if only there were more air up here'.

The view from the second story deck encompassed miles of low scrub hills, piñon, and was daily growing less hazy as the fires subsided. The little bird was dead. Was not even twitching or rolling or whatever idiot birds do to fight or hold onto life. Or maybe it was unconscious. If it was a head impact, it could just be out cold. I could take it in for a bit, see if it revives. But the brains of birds are very small... maybe not large enough to switch out of consciousness without damaging the whole system. It could wake up brain damaged: amnesic, whistling gibberish, unable to collaborate or co-worm-locate or sit on eggs or whatever other higher functions birds perform. Angry, all the time. Likely a burden and a danger to the community. Condemned to either death or a life of lonely suffering. I'd rather not be culpable for that.

Prospective buyers are arriving at four, the realtor as well, for a tour, so I grabbed a broom and swept the quiet body into the shaggy juniper that surrounded the house. Swept up with maple leaves that had settled on the porch since this time yesterday, together a mass of decomposing matter, under the railing and into the dark.

I'd spent a lot of time alone in the house on Grand. Watched nature slowly creep through the iron fence and into the faux-pond, up under the patio bricks, purple flowered and needley plants growing taller and more hostile daily. Increasing numbers of little brown birds mistaking the reflected sunset in the plate glass doors for real sky.

"If only there were more air up here." A little joke I repeat out loud while sweeping broken bodies into shrubs. The thickest places, where they wouldn’t be seen when (if) someone ever dropped by to view the house.


I don't live here, the house is soon to be foreclosed. But a friend of mine knew I needed a place to stay and offered this, his third home, empty of everything except a coffee maker, some landscaping tools, a few boxes that had yet to be moved. I have a twin sized mattress in what must have been a child's room: a strip of Denver Broncos wallpaper runs the circumference, every other surface painted complimentary blue.


The couple arrived at five. She wears a salmon coloured shawl over a white blouse. They’re performing the theatric act of young couples in love (with the idea of a larger house): she ecstatic over the seven jets in the master Jacuzzi tub, he hesitant about the people-paths in the wall-to-wall-carpet, the everpresent pastels we know were once in vogue but will take weeks and at least two layers of base to fully eradicate. It’s the realtor’s job to showcase the place but I often stand outside the plate glass windows of the living room, keeping an eye. Playing the role of groundskeeper because hitchhiker is so much less glorious.

So far it’s been the same. Always she with a genuine smile that will be gone forty minutes after she’s left the driveway. He, always in t-shirt and “trying to be casual” jacket calculating the square footage of each room, the viability of the fireplace. Opening cabinets, but not concerned with storage space. He wants to see if the brass hinges really have brass pins. Is it wood, linoleum? Look closely at his eyes and watch them dance across a virtual blackboard, adding up the gallons of primer and paint needed to cover up the colour mistakes of a before-his-decade.

  2

You can almost watch his eyes dart across the blackboard. A house is a house but the home must be shredded, burned, before making it yours.


But they all do this. A dozen or so now, this summer. And I spend a lot of time alone. Injecting my thoughts into people who think they know what they need next, before getting in a small car and checking out a properly closer to town. Making little jokes to myself as I sweep the porch. The isolation even maybe altering small parts of my self. The social parts, perhaps. I feel good, most days, but find myself repeating the same phrases: “****. Shower. Shave”, “If only there were more air up here.”, “I could learn to love a leopard”, even recently a little Old Testament, which like a ******* I’ve been taking to bed with increasing frequency and a growing selfish guilt, repeating,

“As the sun was setting, Abram fell into a deep sleep, and a thick and dreadful darkness came over him.”


They won’t be back, but for the first time now there’s a deer in the yard. Meaning there must be a hole in the fence. A doe, and fawn too, and I can sit and stare with my broom in hand because my job is to sweep the deck. Dead birds and maybe rats, leaves of course, but with all the water the bank is wasting on this waste of a lawn, come deer: come all ye deer, come and eat. Maybe you will even eat the frighteningly thistly things. Regardless, in exchange for this room I was given a broom and deer are far too large to sweep.



When my student visa expired in Canada I left the country with no identification, five Canadian dollars, a five litre backpack mostly occupied by a camera, and in my mind some distillation of the romanticism from On The Road that I’d managed to power-read in a Heathrow bookstore four years before (lacking the pounds to actually purchase the book). I crossed the border via ferry, and entered the country without identification. I thought this was impossible but it turns out that when you have no time but your whole future ahead of you, and nowhere to get to anyway, insisting “I am a U.S. citizen and you need to let me into this country” does in fact work, if you repeat it enough, and are willing to wait. In my case border patrol even gave me a twenty note and a pat on the back before sending me on my way.


How I ended up sitting on the floor watching birds die, backlit by a desert sunset, in the mountains of New Mexico, is a long story, and to be honest the details have largely escaped me. I do remember I was reading Hemingway. “The Innocents Abroad”, and trying to find myself in any character I could lay my hand on. The word “Innocent” in the title, I suppose, far moreso any actual character, struck the most.


It’s the middle of The Great Recession. Or The Great Depression. The Great Compression. I can’t remember any longer which economic period this particular episode occupied (why can’t they name them more sensibly, like hurricanes?) Call it, then, The Great Introspection, as I narrated myself through the dozen rooms of a million-dollar house: the material self still alive and thriving inside in a self-congratulatory spiral over the personal ROI that left Canada on five dollars and put me, rent free, in a home worth that multiplied 200,000 times. The home where I first had my own key. The home where I learned to drink a glass of water before my morning coffee.

(Five years and $98,000 in college expenses later that was, easily, the best advice I’ve ever received.)


Eventually the phone was disconnected, the water, the power. The jacuzzi, though dry, was still a good place to lie and read. And the piñon and snakes, cacti and juniper, then inklings of pine trees came in steadily. When you would look at them they would freeze. But every morning something new was growing, some new pink flower popped up promisingly to crack the mortar in front of the door. Sweetly at first, then growing thorns, and I walking the perimeters saying “if only there were more air out here”, saying, “can not feel her anymore”, as if the decadent madness of the lawn could be silenced by speaking out loud. Trying to walk the edge of the fence, increasingly losing it in the encroaching bush, then resigning myself to the living room, the **** carpet flattening into a forest path while I impressed miles into that offensive floor.



words. seeds. thistles. marvin morales.


Sleeping on that filthy mattress, the Denver Broncos looking down, still optimistic about their upcoming trophy, or cup. Whatever it was that a bunch of cartoon horses could win. But the sweeping gave me solace, even though the growing thistles made the bricks uneven and caught in the bristles of the broom, leaving little shards of transplanted pink flowers emedded in the yellow polyethylene. I loathed them, but looking back I can see I played straight into their plan. Transplanting little seeds to new weak places in the cement, where they could grow tall again and **** up what little good was left of the land. Bring deer to eat them. Bring little idiot birds to pick the seeds out of the faeces, recycling with pure intent, and flying off into the bright light of sunset. Then crashing broken to the floor.

And like the lawn, like the porch, like what happens when you read Twain, something in me changed. “If only there were more air”, yes, but there is never enough air. Piling up among the deer, among the doe, among my now all-consuming pacing and talking to ghosts who don’t live here anymore, among the many birds who ate their worms and went on to hatch a dozen more, flew into a plate glass sunset, and were ignored.

The literati are moaning
about the crowning
of a comical smiley-face
with tears of joy
springing from its eyes
as Oxford Dictionaries 2015
"Word of the Year"

it's historic
indicative of a generation
raised on media shorthand
though some people think
the distillation of thought
to acronyms, symbols, emoji
is a bad thing too

but in these icons
heavy black heart
face throwing a kiss
reversed hand with ******* extended
even the simple : )
I see emotion
stripped bare

the whole gorgeous
heart-rending, horrible
hateful range of it
illustrating the dark
and light
of who we are
as a human race

So I say hail and welcome
to the "tears of joy" emoji
may his vivid counterpoint
shine around the world
eclipsing all the words
we've learned this year
for hate.

I am water. And you a salt. You see me clear and crystal, flowing and deep. You dissolve yourself in me. I flow on, with you, indistinguishable, but for a slight haze and the weight you bear me. But I remain untethered; the day is inevitable that I distill myself from you, you, a granular residue, clear, crystal. Stationary. I float away to join the clouds, but never clearer, never lighter, my essence untarnished.

the dead re-materialise by the side of the roadside
they are visible as though seen through a spotlight
it is a brutally interrogative light
that magnifies these corpses
makes them resemble the fragments
of suicidal terracotta pots
it magnifies them as symbolic equivalents
of their real image
its beam dazzles broken glass on the pavement
the breakage an impersonation of their cataclysm
causing the edges of seeing to hurt
and hearing to submerge itself
in a turquoise blue aquarium in fear
as speech sounds a primitive retreat
in its atavistic echoes of inveterate distraction
there is a disorder of blood stains on the road
where all emotional impulse is volatilised
causing a wild distillation of programmed anxiety
which in a different vocabulary becomes
a figment of somebody else's imagination
causing a sinister, stuporous, stagnancy of sound
in palpitations, dropped heartbeats, nausea, headaches
and a foul change in bowel function

A drugstore pallid in waning light, always illuminated in halogen halos.
I am earless with music.
Black metal loud in clanging sets and blows-
foreshadowing the smell of cleaning solution,
air freshener and the outside
sweet at my back
all steeped deep in the rip roaring undertone torrent of cigarette smoke
blended with cheap perfume until I cannot tell the difference.
There is a limp familiarity to the underlying odor
born partially of personal encounter and-
nestled in the hive mind of social experience.
A distillation of regret and remorse,
of lonely,
of irrelevance;
this black hole swallows my voice the way of my ears,
eaten by rust.

Four cans of beans,
kidneys,
in cans squeezed without any power against sagging swells
melting into other curves
and I swerve close and around guiltily,
noting you only as the source of this pungent spring.
You are smiling apologies
ignorant of my apparent inhumanity-
blind to my selfish hands..

Pinioning belly flesh,
flattening,
reaching
and gaining attendance from a better man
retrieving every dropped can.
I’m retreating,
shaken,
tense to alternatively slacken.
My sweat slippery palms with whitened red sharp fingers feel foreign
and I am surrounded by razors then shaving cream,
moving from shampoo to conditioner,
the whole store is infected with smell.
Staring at nail clippers/snipers clipping touch smooth sooth my tense mind-
don’t look
don’t
look
I can sense little else but dread
drawing closer
you are now crouched so close I’m gagging,
taken forcefully-swept away in an olfactory flood
roiling in rot,
currents of solitude exude from your smiling sullen appearance when I turn to you
fumbling
with my electric ears,
surfacing
in a breath of Amish silence
broken with simple request
and I want to scream at you that I am not a man to ask opinions of
that it does not matter what fake nails she glues to her body
that she is excluded and I don’t know why.


I choose swirls of cream suspended within watery milk,
over childish lady bugs framed by yellow
or dots of red alternating to black,
an epitaph to a lifelike effigy.