Submit your work, meet writers and drop the ads. Become a member
Three thousand feet up! Up the side of Mount Crumpit,

He rode to the tiptop to dump it!

"Pooh-pooh to the Whos!" he was grinch-ish-ly humming.

"They're finding out now that no Christmas is coming!

"They're just waking up! I know just what they'll do!

"Their mouths will hang open a minute or two

"All the Whos down in Who-ville will all cry BOO-HOO!"...



At the top of the mountain he untied his dog

From the sleigh. And the valley was filling with fog

As thick as the Who Hash he'd grinched just before.

He chuckled with glee at what was in store.

Now the Grinch grabbed the sacks from the top of the sleigh,

And with a mighty "HEAVE **!" he shoved them away.

The bags filled with toys well they weaved and they shook

With the weight of the things he so sneakily took.

Until finally momentum made things far less slow.

They fell 3000 feet to the jagged rocks below.

A sickening crunch and several sharp cries

At first startled the Grinch but caused him to realize

When he stole from the Whos down in Whoville his pride

Had gotten the best of him; he'd thrown some children inside.

He giggled maliciously, grabbed his dog Max

And got back in the sleigh, for he couldn't relax.

He had to go back, for his job wasn't done.

All the Whos down in Whoville, every last one

Every man, every woman, every daughter and son

Would be dead in their beds by the dawn of the sun.

The trip down Mount Crumpit was faster than up

As he growled to himself, "where's that ***** with the cup?"

He jumped off the sleigh, machete in hand

And marched straight into Whoville, whose gates could not stand

For the rage made him strong. How he hated the Whos

With their **** cheesy smiles, and their dumb pointy shoes,

Turned up noses and pigtails and hideous songs,

THE SONGS, THE SONGS, HOW HE HATED THE SONGS.

And now he'd make sure that the Whos sang no more...

At Cindy Lou Who's house he kicked down the door

And strode into the bedroom of Cindy Lou Who.

She woke with a start, murmured "Santa? That you?"

The Grinch, with a sneer, grabbed Lou Who by the hair,

****** her out of bed seven feet in the air,

And with two sharp knives pinned her arms to the wall.

Her screams roused her parents just down the hall.

They ran to their child to save her from harm.

The mistake that they made cost them each their right arm.

Writhing on the floor in their own ****** mess,

They looked at the Grinch in a state of distress.

"Why would you do this?" they managed to hurl,

"Please, you can **** us, just not our little girl!"

He listened to their pleas with a wry little smile,

He patiently heard them, then after a while,

He cut out their tongues with another sharp knife,

First of the husband, and then of the wife.

Then he turned to young Cindy with glee,

And hissed in her ear, "you'll do something for me..."

Cindy shook her head violently, but to no avail,

For the Grinch had the tongues on a rusty old nail.

He shoved them down her gullet. She started to choke,

Then she finally died, for the rusty nail broke.

He stepped over the body of mother Lou Who,

And the Grinch slithered over to house #2.

With this house he made quick work of the Whos.

He set them on fire to cure them of the "blues."

The blaze that resulted would spread down the street,

Drawing Whos from their houses like flies to dead meat.

A grenade waited for them in center of town.

A click, then a boom mowed, like, half of them down.

The other half attempted a weak attack.

With a Type-67 the Grinch kept them back.

The little Who children could do nothing but stare

In open-mouthed horror as the Grinch, without care,

Shot them down one by one till the snow was stained red,

And he would not stop firing till they were all dead.



And as the sun rose oe'r the grisly scene,

The Grinch drenched in blood of adult, child, and teen,

With a pentagram smack in the center of town,

And the tree in the middle would slowly burn down.

With the scalps of the Whos down in Whoville in hand,

The Grinch called his dog Max, who could barely stand

Because he was violently shaking in shock.

He could not even whimper, let alone walk.

Not a Who was left standing, not a song to be heard,

Save for that of a single Who bird

Which was quickly snuffed out by a single pistol round.

And after that there was not a sound.

The Grinch, his work finished, got back in the sleigh,

Cracked the whip over Max, and slithered away.

The last thing the poor town of Whoville would hear:

"If there's anyone left, well, I'll come back next year!"
Keith W Fletcher Oct 2016
I thought about this and around this for a long time, so I guess it's time to write it down.

THE NATURAL ORDER.

There is a natural balance in Earths history and mankind's tentative balance along the scale.
  When humans began to band together and create communities, control of fire / light created a need for oil . Eventually settling on whale oil.
   So it was by the grace of whatever one might want to attribute it to,that let petroleum come into play at a time when whales are in danger of being annihilated and dead horses were clogging the streets of cities in the east, left dead or dying by the Cartmen who simply unstrapped the sick or dead animal and moved on.
  .Oil / petroleum led to the creation of the internal combustion engine.
   So again a hand stirred the ***.                
  Consider these improvements( if such they were )created rapid growth and burgeoning cities . Again Providence stepped in to create radio , telephone and airplanes, essentially at a time when growth of humanity was so great , that new ways of farming , new ways of seeing the world-  were  becoming more and more necessary to a shrinking world.
   Unfortunately, at a time when we, the American initiative creators of so many trends, ideas ,Innovations and inspirations around the world, were suddenly slammed a blow that at this point, 40 years later; it's very reverberations are still being felt.
   Consider if big oil and trickle-down had not ,for spiteful and greedy involution, taken down the solar panels from the White House roof, that Jimmy Carter had installed in 1977.
  How far ahead would we be now ,in clean energy and how much less damage to the ice cap and the atmosphere would have been done??  To date... my guess is that it is incomprehensible.
  So if nature does create a balance, it seems we are coming to a critical Junction.

Right now -metaphorically speaking- we are riding shotgun in a car with a driver ,who like us ,sees cars up ahead disappearing around the curve and all hitting  their brake lights. Now any reasonable driver at highway speeds is 65 - 80 miles an hour would at least take the foot off the gas in preparation of  tapping the brakes.
  So many politicians right now are refusing to accept the brake lights... see no reason to tap the brakes to interrupt cruise control, in all actuality, completely refusing to do anything except go around the curve at full speed.
   Around that curve we may find nothing but smooth sailing ,  or we may find a catastrophe in the making.
   Nature will accept the cruise Interruption now (maybe) brakes absolutely, but Full Speed Ahead will lead to the sickening crunch of seawater rising and  spilling salt water into the lands that are used for growing crops and food -  leading to millions , maybe billions of refugees with nowhere to go.

Or we will reach critical mass of sheer ignorant arrogance and nuke ourselves into a situation that does not have the technology or population to hammer at the planet so freaking hard.

Most likely the first scenario would instigate the 2nd and those of us who crawl up out of the ashes will start the evolution to revolution journey all over again.

Ain't nature Grand ???
King Panda Jul 2017
a haw and saw.
a thorn.

fruit: it is ecstasy
never bit and
undeniable.

you slurp—a cat licking
its paws
ruby and clear.
moth and cloud
drape over fruit,
make up sparkling nectar.

love is sickening.
you spend five dollars on
a rose at a bar for
a girl you will never see
again.

she will take the flower and
throw it in the trash
outside with the hundreds of
other roses.

no matter.
they have fruit, and fruit
concludes. it is life
cut with claws.
their beauty, seemingly to
be always in the clusters above.

*******, rose. **** your dew.

they seem to say. that’s when
the light hits and microbial
bleeds to miss ruby.

JAZZ!

at night retrains
beauty, makes it edible.
the rose, changing the color
of its dew—black pearl in
this drape of mystery-shaped
night.
Alexander K Opicho
(Eldoret, Kenya;aopicho@yahoo.com)

Here is a toast for valentine
Valentine in all seasons perennial
Where angst of money for love  
Cradled utopian capitalism,
It is once again in the city of Omurate
In the south most parts of Ethiopia
On the borders of Kenya and Ethiopia
Where actually the river Ormo enters Lake Turkana,
There lived a pair of lovers
With overt compassion for one another
The male lover was an origin of Nyangtom,
A cattle rustling Nilotic kingdom
While the female lover was a descendant of King Solomon
The Jewish children which King Solomon aborted
Because their mother was an Ethiopian African
They now form substantial part of the Ethiopian population
Their clan is known as Amharic, they speak subverted Yiddish,
These lovers were good to one another
Sharing secrets and all other stuffs that go with love.

Both the lovers were fatherless
They had lost their fathers through early death
They only had the mothers, who were again sickly
Their mothers coughed a whole night with whoops
And when in the wee of the night, when temperatures go low
The mothers breathe with wheezing sound
Like peasant music from African violin,
They didn’t eat with good appetite
They always left irritating chunks on the plates,
But they all puked mucus from their mouths
And of course with a very sickening regularity.

The menace of sick mothers intervened with love freedom
Among the inter-compassionate lovers
They did not have time for real active love
I will not mention recurrent missing of ceremonies
Fetes that are bound to go with valentine day
The lovers were bored to their teeth
They don’t knew when gods will come to unyoke them.

Especially the male lover, was most perturbed
His mother looked sorriest
With a scrofulous look on her old aged African face
She looked like a forlorn erstwhile cattle rustler
She ever whined in pain like a trapped hyena
Her son the male lover even began apologizing
To the female lover for such environmental upsets
Hence an African proverb that;
No love is possible with impaired judgment.

One day in the wee of the night
With no electricity nor any source of light
Darkness engulfing each and every aspect of the city
Confirming the hinterland of Africa
The female lover woke up from the sleep
And she never heard the usual wheezing breathes
That her mother often made in such hours,
Feat of suspicion gripped her
She jumped out of her bed to where her mother was
On feeling her, she found her dead, cold like a black member
She was already past the rigor mortis stage of death process
African chilliness had frozen her like a poikilothermic creature.

She wept but not in the uproarious groan
In that instinctive Jewish shrewdness
She did not announce nor inform her lover of her mother’s death
She only washed and groomed the cadaver of her mother
She made a headscarf around the head of dead mother
She even placed reading glasses on her face
On her mother’s dead torso she wrapped a dress
The most expensive of all bought from Egypt,
In the same wee of the night
She carried cadaver of her mother on her shoulders
The way a poor Nigerian farmer would carry a stem of banana
And walked slowly by slowly for a distance of a hundred kilometers
Down ***** into Kenya towards the city of Todanyang in Turkana County
Todanyang was a busy city, but silent and minus people in the night
The king of this city was called Lapur the son of Turkanai
And the law that Lapur passed in this city was archaic
It was; an eye for an eye, a tooth for a tooth, a Jew for a Jew
A pokot for a pokot, a samburu for a samburu
It was simply the law with nothing else
Other than clauses of measure for measure
And clauses of *** for tat instantaneously administered,
On reaching the market she placed her mother standing
Being supported on a sign post at the bus stage
In pose similar to that of an early morning traveler,
She sat a side like a prowling spider awaiting foolish fly
They way an African ***** exposes its red ****
And when the hen comes to peck
It traps and closes the head of the hen
Deeper into its ****,
At that bus stage there was a hotel
Owned by a Rwandese refugee
From the foolish clan of the Hutu
He had ran away from the genocide
In his country, he was also the perpetrator
And thus he was a runaway from the law *** hotelier
His name was Chapuchapu, meaning the quick one,
When Chapuchapu opened the hotel for the early customers
The female lover walked into the hotel
With innocence on her face like all the Jews
She placed an order for two mugs of coffee
And two pieces of bread
When Chapuchapu had placed food on the table
The female lover shrewdly instructed Chapuchapu
To go and hold the hand of the woman standing at the sign post
To bring her into the hotel for morning tea,
Chapuchapu in his unsuspecting charisma
With a mad drive to make money that morning
He dashed out as instructed with his foolish notion
That the customer is the queen, which is not
He grapped the standing cadaver with force
On pulling her to come along
The cadaver tumbled down like a marionette
Everything falling away; headscarf and glasses
Chapuchapu was overtaken by awe
The female lover was watching
Like the big brother in the Orwellian satire, 1984.
When the cadaver of her mother fell
She came out of the hotel
Screaming like a hundred vehicles
Of St John Ambulance
And two hundred Kenyan vehicles of fire brigade
And three hundred Kenyan cash transfer vehicles,
She was accusing Chapuchapu for being careless
Careless in his work that he had killed her mother,
Swam of armed humanity in Turkana loinclothes
Began pouring in like waters of Nile into Mediterranean
Female lover improved the scale of her screaming
Chapuchapu like a heavyweight idiot was dumbfounded
Armed people came in their infinite
Finally king Lapur arrived on his royal donkey
That his foot soldiers had only rustled
From Samburu land a fortnight ago,
The presence of the king quelled the hullabaloo
The king asked to find out what had happened
Amid sops the female lover narrated how
Chapuchapu the hotelier had killed her mother
Through his careless helter skelter behaviour
The king sighed and shouted the judgment
To the mad crowd; an eye for a……….!?
The crowd responded back to the King
In a feat of amok value;
For an eye you mighty Lapur son  ofTurkanai,
The stones, kicks, jabs began rainning
In volleys on an innocent Chapuchapu
Amid shouts that **** him, he came here to **** people
The way he killed a thousand fold in Rwanda.

The sopping female lover requested the king
That his people wait a bit before they continue
Then the king waved to the people to stop
Chapuchapu was on the ground writhing in pain
When the King asked the female lover what was the concern
She requested for pay from Chapuchapu not people to **** him
Chapuchapu accepted to pay whatever the price that will be put
Female lover asked for everything in hundreds;
Carmel, money, Birr, sheep, goats, donkeys, cows
Name them all they were in hundreds
Chapuchapu and his family were saying yes to every demand
And they rushed to bring whatever was said
The payments exhausted Chapuchapu back to square zero
The female lover carried everything away
The cadaver of her mother on her shoulder
She disappeared into the forest
and buried her mother there.

When she arrived home she found the male lover
He looked at her overnight change in fortune in stupefaction
He didn’t believe his eyes, it was a dream
Sweetheart, where have you gotten all these?
Questioned the male lover
Sweetie darling there is market for dead women
At Todanyang in the Turkana County of Kenya
I killed my sickly mother and carried her cadaver
As a trade ware to Todanyang
Whatever I have that you are looking at is the proceed,
Can my mother fetch the same? Asked the male lover
Of course yes, even more
Given the Africanness of your mother
African cadavers fetch more than the Jewish ones
At Todanyang market,
The male lover was now overtaken
By strong urge for quick riches
Was not seeing it getting evening
That day for him was as long as a whole century
He was anxious and restless more tired of a sickly mother
When evening fell he was already ready with the butcherer’s tools
He didn’t have nerves to wait till the wee of the night
As early as eleven in the evening he axed his mother’s head
Into two chunks of human skull spilling the brains in stark horror
Blood streaming like a rivulet all over the house
The male lover was nonchalant to all these
He was in the full feat of determination
To **** and sell his mother to  get the proceeds
With which he could foot the bills of valentine day.

He stuffed the headless blood soaked torso
Of his mothers cadaver in the sisal bag
He threw it to his bag
And began going to Todanyang
The market for human dead bodies
He went half running and half walking
With regular whistling of his favourite poem;
Ode to my Jewish lover
He reached Todanyang in the wee of the night
No human being was in sight
All people had gone as it was late in the night
He then slept in the open with dead body of his mother
Stuffed in the sisal bag beside him
Wandering night dogs regularly disturbed him
As they came to bite at smelling curdled blood
But he always scared them away.
As per the male lover he overslept till five in the morning
But when he woke up he unhesitatingly began to shout
Advertising his ware of trade in foolish version;
Am selling, the body of my mother, I have killed,
I killed her myself, it is still fresh, come and buy,
I will give you’re a bargain price,

When the morning came
People began crowding around him
As he kept on shouting his advertisement
Also Lapur the king came
He was surprised with the situation,
He asked the male lover to confirm
Whatever he was shouting
The male lover vehemently confirmed,
Then the law of an eye for an eye
Effortlessly took its course
Lapur  ordered his people, in a glorious royal decree
To stone the male lover to death
And bury him away without ceremony
Along with his mother in the sisal bag
In the wasted cemetery of villains
The same way Pablo Neruda
Had to bury his dead dog behind the house,

On hearing the tidings
About what had befallen her lover
The female lover had to send out a long giggle
Coming deep from her heart with maximum joy
She took over the estate of the male lover
Combined with hers,
All the animals and everything she took,
She made her son the manager
The son whom she immaculately conceived
Without any nuptial experience in the usual Jewish style
And their wealth multiplied to vastness
And hence toxic valentine gave birth to capitalism
Daniel Samuelson May 2014
A final inhalation, farewell to oxygen
submitting to oblivion
a conscious lack of everything.
The very absence of air, sickening and
desolate, destitute, despairing
tearing at my aching lungs,
my vacant mind.
Call me a vagabond, a wanderer
entrapped in the extrasensory.

My breath escapes. 

The empty core within myself rings in tune with the extant and extinct.
Neck arching, mouth agape
a single note transcends my lips of stone
unadulterated, unwavering, a melodious sound 
building and joining in harmony to create a symphony of
life, of
death, of
everything we cannot comprehend. 
Sonorous and assonant
my soul cries out
at ever-growing volumes.
My eyes begin to flicker and fade away.

God, can You hear my screams in space
in this vacuum, void of sound?
The final thoughts of an astronaut removing his helmet while in space. Inspired by and written to a track called Suicide by Star by post-rock group God is an Astronaut. The band name, oddly enough, didn't influence this poem at all. Didn't think of it. Seems fitting, though. Check it out.

I think I'm gonna be off HP for a little while, but I'll definitely be back. Just not feeling super inspired lately. This has been a great community and I've truly enjoyed it, though. Thanks to all of you, especially Daniel Lockerbie. You are a rad man.

Farewell, friends! Until next time! (which, knowing me, won't be long).
Cameron Crew  Jul 2014
Violence
Cameron Crew Jul 2014
VIOLENCE,
Nothing is as beautiful and as disgusting

To see MEN and WOMEN strike and grapple on UFC is wonderful
leaving everything they have out there with respect
only their technique and skill to speak for them
in the name of martial arts

To see "men" and "women" scrap and stomp on worldstar is sickening
leaving no downed alone,no honor nor respect
only their cowardice and anger speak for them
in the name of Violence.
sash sriganesh Feb 2015
The air thick with dust
Cows roaming the streets,
Flashing lights and loud noises,
Children laughing an playing.
Houses painted in sickening colors
sarees tumbling from the waists of women.
Amazing, flavorful, mouthwatering food.
Family and friends, celebrating festivals
color in the sky and all around
Though there are things both good and bad,
I love my homeland and I stand proud.
In winter I bundle up tight in layers of warmth
Like a love I've never felt
Draping scarf over hoody over sweater over skivvy
The wind bites my button nose and reminds me of a love
A love I know too well
Bitter cold brief sickening and harsh
I catch my eye in an ice smitten mirror and I'm torn
My eyes look like hell
How could anyone love me like warmth and fall
For this fat face of shame, tears and freckles
Even if they do
They'll never tell.
Akemi Jan 2019
The Ache is leaving. Three years languished by dead end jobs, drugs and friends. Last week above a bagel store, the sun morphs mute amidst travelling clouds, indifferent fluctuations of light on an otherwise featureless day.

You arrive a tight knot of anxieties over a moment in time that could only have arrived after its departure. The Ache welcomes you into their sparse interior. You trace last month’s 21st across the black mould complex; navigate piles of stacked boxes, unsure if anything is inside of them.

“I always make the best friends in departure,” the Ache says, flipping a plushy up and down by the waist.

“Maybe you can only love that which is already lost,” you reply, with an insight a friend will give you a week later.

The acid tastes bitter under your tongue. Small marks your body bursting, a glowing radiance of interconnections you’d always had but only now begun to feel. The Ache follows suit and you sit on the couch together to watch .hack//Legend of the Twilight. The come up entangles you in the spectacle; the screaming boy protagonist, the chipped tooth gag, the moe sister in need of saving from the liminal space of dead code. You take part in it; you revel in it. Bodies morph on the surface of the screen in hyperflat obscenity, their parts interchangeable to the affect of the drama. Faces invert, break and disfigure, before reformation into the self-same identity form.

A month earlier, you’d hosted a house show at your flat. Too anxious to perform you’d dropped a tab as you’ve done now. An overbearing sensation of too-much-ness — of sickening reality — washed through the nexus of your being. You writhed on the ground screaming into a microphone as a cacophony of sounds roiled through you. Everyone cheered.

The floor rose later that night. A damp, disgusting intensity that triggered contractions in your throat and chest. Pulled to the ground, you fought off your bandmate’s advances, too shocked to express your revulsion and horror, to react accordingly, to reconstitute a border of consensual sociality. You broke free and slurred “I’m no one’s! I’m no one’s!” before running out of the room. Hours later, you tried to comfort them. Weeks later, you realised how ******* ******* that had been. Months later, you learnt their friend had committed suicide days before the show.

Back in the lounge, a prince rides onto the screen on a pig. You turn to the Ache and say “This is ******* awful.”

The Ache responds “I know right?”

Outside the world burns blue with lustre. The Ache trails you and falls onto their stomach. “Oh my god,” the Ache blurts, “this is why I love acid. Everything just feels right.” They gaze wistfully at the grasses and flowers before them; catch a whiff of asphalt and nectar, intermingled. “Like, gender isn’t even a thing, you know? Just properties condensed into a legible sign to be disciplined by heteronormative governmentality.”

“Properties! Properties!” You chant, stomping around the Ache with your arms stretched out. You wave them in the air like windmills. You bare your teeth. “Properties! Properties!”

“You know what I mean, right?” The Ache asks, pointedly. “You know what I mean?”

You continue chanting “Properties!” for another minute or two, before spotting a slug on a blade of grass beneath your feet. You fall to your knees and gasp “It’s a slug!”

You and the Ache stare at the tiny referent for an indefinite period of time, absorbed in its glistening moistures. Eventually, the Ache says “I think it’s actually a snail.”

You used to read postmodern novels on acid. You loved their exploration of hyperreality; their dissection of culture as a system of meaning that arises out of our collective, desperate attempts to overcome the indifference of facticity. Read symptomatically, culture does not reveal unseen depths in the world, but rather, constitutes shallow networks of sprawling complexity — truth effects — illusions of mastery over an, otherwise, undifferentiated and senseless becoming.

Then one day, the world overwhelmed you. Down the hall, your flatmates sounded an eternal return. As they spoke in joyous abandon you traced the lines from their mouths — found their origin in idiot artefacts of Hollywood Babylon. The joy of abstraction you once relished in your books took on an all too direct horror. You recoiled. You bound your lips in hysteria, for fear of becoming another repeating machine of an all too present culture industry. Better dumb than banal — better to say nothing at all, than everything that already was and would ever be. You cried and cried until everyone left — until you were alone with your silence and your tears and your nonexistent originality.

Dusk falls in violet streaks. You reach your room on the second floor of the building, open the bedside window and stick your legs out into a cool breeze. The Ache joins you. Danny Burton, the local MP, arrives in his van, his smiling bald face plastered on its side like an uncanny double enclosing its original.

“Hey look, it’s Danny Burton, the local MP.” Danny Burton turns his head. He glares at your dangling feet for a few seconds before entering his house. “You know, this is the first time in three years he’s looked at me and it’s at the peak of my degeneracy.” You turn to the Ache. “One of my favourite past times is watching him wander around the house at night, ******* and unsure of himself. He always goes to check on his BBQ.” You bounce on the bed in mania.

“See this is what people do, right?” the Ache says, mirroring your excitement. “Like, look at that lady walking her dog.” The Ache motions, with a cruel glint in their eyes, to the passerby on the fast dimming street. “What do you think she gets out of that? Doing that every night?” Without waiting for you to respond, the Ache answers, in a low, sarcastic tone “I guess she gets enjoyment. Doing her thing. Like everyone else.” The lady and the dog disappear beyond the curve of the road. Another pair soon arrives, taking the same path as the one before.

A few months back, you’d met an old friend at an exhibition on intersectional feminism. After the perfunctory art, wine and grapes, she drove you home, back to your run down flat in an otherwise bourgeois neighbourhood. She sat silent as the sun set before the dashboard, then asked how anyone could live like this; how anyone could stand driving out of their perfect suburban home, at the same time every morning, to work the same shift every day, for the rest of their stupid life. The dull ache of routine; the slow, boring death. You said nothing. You said nothing because you agreed with her.

“Life began as self-replicating information molecules,” you reply, obliquely. “Catalysis on superheated clay pockets. Repetition out of an attempt to bind the excess of radiant light.”

It is dark now; a formless hollow, pitted with harsh yellow lamps of varying, distant sizes. The Ache flips onto their stomach and scoffs “What’s that? We’re all in this pointless repetition together?”

You respond, cautiously “I just don’t think that being smart is any better than being stupid; that our disavowed repetitions are any worthier than anyone else’s.”

The Ache returns your gaze with an intensity you’ve never seen before. “Did I say being smart was any better? Did I say that? Being smart is part of the issue. There is no trajectory that doesn’t become a habitual refrain. When you can do anything, everything becomes rote, effortless and pointless.

“But don’t act as if there’s no difference between us and these ******* idiots,” the Ache spits, motioning into the blackness beyond your frame. “I knew this one guy, this complete and utter ****. We went to a café, and he wouldn’t stop talking about the waitress, about how hot she was, how he wanted to **** her, while she was in earshot, because, I don’t know, he thought that would get him laid.

“Then we went for a drive and he failed a ******* u-turn. He just drove back and forth, over and again. A dead, automatic weight. A car came from the other lane, towards us, and waited for him to finish, but he stopped in the middle of the street and started yelling, saying **** like, ‘what does this ******* want?’ He got out of his car, out of his idiot u-turn, and tried to start a fight with the other driver — you know, the one who’d waited silently for him to finish.”

You don’t attempt a rebuttal; you don’t want to negate the Ache’s experience. Instead, you ask “Why were you hanging out with this guy in the first place?”

The Ache responds “Because I was alone, and I was lonely, and I had no one else.”

It is 2AM. Moths dance chaotic across the invisible precipice of your bedside window, between the inner and outer spaces of linguistic designation. There is a layering of history here — of affects and functions that have blurred beyond recognition — discoloured, muted, absented.

In the hollow of your bed, the Ache laughs. You don’t dare close the distance. Sometimes you find the edges of their impact and trace your own death. All your worries manifest without content. All form and waver and empty expanse where you drink deeply without a head. Because you have lost so much time already. And nothing keeps.

Months later, after the Ache has left, you will go to the beach. You will see the roiling waves beneath crash into the rocky shore of the esplanade, a violence that merges formlessly into a still, motionless horizon, for they are two and the same. You will be unable to put into words how it feels to know that such a line of calm exists out of the pull and push of endless change, that it has existed long before your birth and will exist long after your death.

The last lingering traces of acid flee your skin. Doused in tomorrow’s stupor, you close your eyes. You catch no sleep.
“Self-destruction is simply a more honest form of living. To know the totality of your artifice and frailty in the face of suffering. And then to have it broken.”
Faint as a climate-changing bird that flies
All night across the darkness, and at dawn
Falls on the threshold of her native land,
And can no more, thou camest, O my child,
Led upward by the God of ghosts and dreams,
Who laid thee at Eleusis, dazed and dumb,
With passing thro' at once from state to state,
Until I brought thee hither, that the day,
When here thy hands let fall the gather'd flower,
Might break thro' clouded memories once again
On thy lost self. A sudden nightingale
Saw thee, and flash'd into a frolic of song
And welcome; and a gleam as of the moon,
When first she peers along the tremulous deep,
Fled wavering o'er thy face, and chased away
That shadow of a likeness to the king
Of shadows, thy dark mate. Persephone!
Queen of the dead no more--my child! Thine eyes
Again were human-godlike, and the Sun
Burst from a swimming fleece of winter gray,
And robed thee in his day from head to feet--
"Mother!" and I was folded in thine arms.

Child, those imperial, disimpassion'd eyes
Awed even me at first, thy mother--eyes
That oft had seen the serpent-wanded power
Draw downward into Hades with his drift
Of fickering spectres, lighted from below
By the red race of fiery Phlegethon;
But when before have Gods or men beheld
The Life that had descended re-arise,
And lighted from above him by the Sun?
So mighty was the mother's childless cry,
A cry that ran thro' Hades, Earth, and Heaven!

So in this pleasant vale we stand again,
The field of Enna, now once more ablaze
With flowers that brighten as thy footstep falls,
All flowers--but for one black blur of earth
Left by that closing chasm, thro' which the car
Of dark Aidoneus rising rapt thee hence.
And here, my child, tho' folded in thine arms,
I feel the deathless heart of motherhood
Within me shudder, lest the naked glebe
Should yawn once more into the gulf, and thence
The shrilly whinnyings of the team of Hell,
Ascending, pierce the glad and songful air,
And all at once their arch'd necks, midnight-maned,
Jet upward thro' the mid-day blossom. No!
For, see, thy foot has touch'd it; all the space
Of blank earth-baldness clothes itself afresh,
And breaks into the crocus-purple hour
That saw thee vanish.

Child, when thou wert gone,
I envied human wives, and nested birds,
Yea, the cubb'd lioness; went in search of thee
Thro' many a palace, many a cot, and gave
Thy breast to ailing infants in the night,
And set the mother waking in amaze
To find her sick one whole; and forth again
Among the wail of midnight winds, and cried,
"Where is my loved one? Wherefore do ye wail?"
And out from all the night an answer shrill'd,
"We know not, and we know not why we wail."
I climb'd on all the cliffs of all the seas,
And ask'd the waves that moan about the world
"Where? do ye make your moaning for my child?"
And round from all the world the voices came
"We know not, and we know not why we moan."
"Where?" and I stared from every eagle-peak,
I thridded the black heart of all the woods,
I peer'd thro' tomb and cave, and in the storms
Of Autumn swept across the city, and heard
The murmur of their temples chanting me,
Me, me, the desolate Mother! "Where"?--and turn'd,
And fled by many a waste, forlorn of man,
And grieved for man thro' all my grief for thee,--
The jungle rooted in his shatter'd hearth,
The serpent coil'd about his broken shaft,
The scorpion crawling over naked skulls;--
I saw the tiger in the ruin'd fane
Spring from his fallen God, but trace of thee
I saw not; and far on, and, following out
A league of labyrinthine darkness, came
On three gray heads beneath a gleaming rift.
"Where"? and I heard one voice from all the three
"We know not, for we spin the lives of men,
And not of Gods, and know not why we spin!
There is a Fate beyond us." Nothing knew.

Last as the likeness of a dying man,
Without his knowledge, from him flits to warn
A far-off friendship that he comes no more,
So he, the God of dreams, who heard my cry,
Drew from thyself the likeness of thyself
Without thy knowledge, and thy shadow past
Before me, crying "The Bright one in the highest
Is brother of the Dark one in the lowest,
And Bright and Dark have sworn that I, the child
Of thee, the great Earth-Mother, thee, the Power
That lifts her buried life from loom to bloom,
Should be for ever and for evermore
The Bride of Darkness."

So the Shadow wail'd.
Then I, Earth-Goddess, cursed the Gods of Heaven.
I would not mingle with their feasts; to me
Their nectar smack'd of hemlock on the lips,
Their rich ambrosia tasted aconite.
The man, that only lives and loves an hour,
Seem'd nobler than their hard Eternities.
My quick tears ****'d the flower, my ravings hush'd
The bird, and lost in utter grief I fail'd
To send my life thro' olive-yard and vine
And golden grain, my gift to helpless man.
Rain-rotten died the wheat, the barley-spears
Were hollow-husk'd, the leaf fell, and the sun,
Pale at my grief, drew down before his time
Sickening, and Aetna kept her winter snow.
Then He, the brother of this Darkness, He
Who still is highest, glancing from his height
On earth a fruitless fallow, when he miss'd
The wonted steam of sacrifice, the praise
And prayer of men, decreed that thou should'st dwell
For nine white moons of each whole year with me,
Three dark ones in the shadow with thy King.

Once more the reaper in the gleam of dawn
Will see me by the landmark far away,
Blessing his field, or seated in the dusk
Of even, by the lonely threshing-floor,
Rejoicing in the harvest and the grange.
Yet I, Earth-Goddess, am but ill-content
With them, who still are highest. Those gray heads,
What meant they by their "Fate beyond the Fates"
But younger kindlier Gods to bear us down,
As we bore down the Gods before us? Gods,
To quench, not hurl the thunderbolt, to stay,
Not spread the plague, the famine; Gods indeed,
To send the noon into the night and break
The sunless halls of Hades into Heaven?
Till thy dark lord accept and love the Sun,
And all the Shadow die into the Light,
When thou shalt dwell the whole bright year with me,
And souls of men, who grew beyond their race,
And made themselves as Gods against the fear
Of Death and Hell; and thou that hast from men,
As Queen of Death, that worship which is Fear,
Henceforth, as having risen from out the dead,
Shalt ever send thy life along with mine
From buried grain thro' springing blade, and bless
Their garner'd Autumn also, reap with me,
Earth-mother, in the harvest hymns of Earth
The worship which is Love, and see no more
The Stone, the Wheel, the dimly-glimmering lawns
Of that Elysium, all the hateful fires
Of torment, and the shadowy warrior glide
Along the silent field of Asphodel.
SophiaAtlas Mar 2019
The tendrils of my hair illuminate beneath the amber glow.
Bathing.
It must be this one.
The last remaining streetlight to have withstood the test of time.
The last yet to be replaced by the sickening blue-green of the future.
I bathe. Calm; breathing air of the present but living in the past.
The light flickers.
I flicker back.
Starin  Jul 2017
Not A Trend
Starin Jul 2017
It lies in my skin,
It makes me who I am,
It makes me beautiful,
You saw and see me as lesser,
You look down at me with displeasure,
My big lips and *** were seen as ugly,
Now seen as a trend broadly,
My natural beauty has fallen in the category of fake,
My melanin aches,
My blackness sheds tears as my sense of beauty once hated,
Now brought into the public eye, now everyone all bums and lips inflated,
Something once that was seen as characteristics of my people,
Now a trend.
So sorry if I don’t follow a trend that is sickening,
But I won’t stop my smile from glistening,
Cause there are things you can’t take from us,
Our freedom, our pride, our melanin.
my features were always beautiful
Robert Ronnow  Aug 2015
Defiance
Robert Ronnow Aug 2015
The Jewish brothers in Defiance were definitely tough.
One wanted to **** many Germans, the other to save many Jews.
The German soldiers were expendable, unmarried, unremarkable.
Each little death was very little, a little spittle in a big wind.

Fast forward to my friend's son's bar mitzvah or daughter's
coming of age ceremony. Food is abundant, the music frenetic,
the rabbi paid. Gifts generous but not obvious.
Wealth does not obviate death and we know it.

Here too we have natural leaders. Youth basketball coaches,
school principals and, again, interpreters of prayers. When
violence comes to the neighborhood they are who we'll first look to
for governance and guns. Unless have you read The Admirable
      Crichton?

Boredom, boredom conflated with loneliness, may be a sign
of good luck. To live a good length or light year away from man's
bad breath, allergenic perfumes, sickening flatulence and shed hair.
But you are drawn back into the debate about perfection by your own
      *******.

While teaching at the old city jail I have learned this: only meditation
upon the periodic table can save your soul. From itself.
Imagining the world without the self will make you whole.
What else is there to say. Do less until one thing's done well.

After the war the brothers started a small trucking company
in the Bronx. Grateful for such peace, the accounting
was relaxing. They thought back to how they met their wives, naked
before the bombs and bullets. How they lost and found themselves in
      what happened.
www.ronnowpoetry.com
Next page