Frail Envelope of Flesh
by Michael R. Burch

for the mothers and children of Gaza

Frail envelope of flesh,
lying cold on the surgeon’s table
with anguished eyes
like your mother’s eyes
and a heartbeat weak, unstable ...

Frail crucible of dust,
brief flower come to this—
your tiny hand
in your mother’s hand
for a last bewildered kiss ...

Brief mayfly of a child,
to live two artless years!
Now your mother’s lips
seal up your lips
from the Deluge of her Tears ...

Note: The phrase "frail envelope of flesh" was one of my first encounters with the power of poetry, although I read it in a superhero comic book as a young boy (I forget which one). More than thirty years later, the line kept popping into my head, so I wrote this poem. I have dedicated it to the mothers and children of Gaza and the Palestinian Nakba. The word Nakba is Arabic for "Catastrophe."



Epitaph for a Palestinian Child
by Michael R. Burch

I lived as best I could, and then I died.
Be careful where you step: the grave is wide.



Autumn Conundrum
by Michael R. Burch

for the mothers and children of Palestine

It’s not that every leaf must finally fall,
it’s just that we can never catch them all.



For a Palestinian Child, with Butterflies
by Michael R. Burch

Where does the butterfly go
when lightning rails,
when thunder howls,
when hailstones scream,
when winter scowls,
when nights compound dark frosts with snow ...
Where does the butterfly go?

Where does the rose hide its bloom
when night descends oblique and chill
beyond the capacity of moonlight to fill?
When the only relief's a banked fire's glow,
where does the butterfly go?

And where shall the spirit flee
when life is harsh, too harsh to face,
and hope is lost without a trace?
Oh, when the light of life runs low,
where does the butterfly go?



Such Tenderness
by Michael R. Burch

for the mothers of Gaza

There was, in your touch, such tenderness—as
only the dove on her mildest day has,
when she shelters downed fledglings beneath a warm wing
and coos to them softly, unable to sing.

What songs long forgotten occur to you now—
a babe at each breast? What terrible vow
ripped from your throat like the thunder that day
can never hold severing lightnings at bay?

Time taught you tenderness—time, oh, and love.
But love in the end is seldom enough ...
and time?—insufficient to life’s brief task.
I can only admire, unable to ask—

what is the source, whence comes the desire
of a woman to love as no God may require?



"War" is a poem I wrote in my teens that mentions the Jordan River and wars waged with axes in ancient Palestine.

War
by Michael R. Burch

lysander lies in lauded greece
and sleeps and dreams, a stone for a pillow,
unseeing as sunset devours limp willows,
but War glares on.

and joab's sightless gaze is turned
beyond the jordan's ravaged shore;
his war-ax lies to be taxed no more,
but War hacks on.

and roland sleeps in poppied fields
with flowers flowing at his feet;
their fragrance lulls his soul to sleep,
but War raves on.

and patton sighs an unheard sigh
for sorties past and those to come;
he does not heed the battle drum,
but War rolls on.

for now new heroes grab up guns
and rush to fight their fathers' wars,
as warriors' children must, of course,
while War laughs on.



War is Obsolete
by Michael R. Burch

War is obsolete;
even the strange machinery of dread
weeps for the child in the street
who cannot lift her head
to reprimand the Man
who failed to countermand
her soft defeat.

But war is obsolete;
even the cold robotic drone
that flies far overhead
has sense enough to moan
and shudder at her plight
(only men bereft of Light
with hearts indurate stone
embrace war’s Siberian night).

For war is obsolete;
man’s tribal “gods,” long dead,
have fled his awakening sight
while the true Sun, overhead,
has pity on her plight.
O sweet, precipitate Light! —
embrace her, reject the night
that leaves gentle fledglings dead.

For each brute ancestor lies
with his totems and his “gods”
in the slavehold of premature night
that awaited him in his tomb;
while Love, the ancestral womb,
still longs to give birth to the Light.
So which child shall we ****** tonight,
or which Ares condemn to the gloom?



Something
by Michael R. Burch

for the children of the Holocaust and the Palestinian Nakba

Something inescapable is lost—
lost like a pale vapor curling up into shafts of moonlight,
vanishing in a gust of wind toward an expanse of stars
immeasurable and void.

Something uncapturable is gone—
gone with the spent leaves and illuminations of autumn,
scattered into a haze with the faint rustle of parched grass
and remembrance.

Something unforgettable is past—
blown from a glimmer into nothingness, or less,
which finality has swept into a corner ... where it lies
in dust and cobwebs and silence.

Keywords/Tags: Frail, envelope, flesh, Nakba, Gaza, Jordan, Palestine, Palestinian, children, mothers, tiny, hand, kiss, mayfly, deluge, tears, epitaph, grave, butterflies



The childless woman,
how tenderly she caresses
homeless dolls ...
—Hattori Ransetsu, loose translation/interpretation by Michael R. Burch



Clinging
to the plum tree:
one blossom's worth of warmth
—Hattori Ransetsu, loose translation/interpretation by Michael R. Burch



One leaf falls, enlightenment!
Another leaf falls,
swept away by the wind ...
—Hattori Ransetsu, loose translation/interpretation by Michael R. Burch



Advice to Young Poets
by Nicanor Parra Sandoval
loose translation/interpretation by Michael R. Burch

Youngsters,
write however you will
in your preferred style.
Too much blood flowed under the bridge
for me to believe
there’s just one acceptable path.
In poetry everything’s permitted.



Pan
by Michael R. Burch

... Among the shadows of the groaning elms,
amid the darkening oaks, we fled ourselves ...
... Once there were paths that led to coracles
that clung to piers like loosening barnacles ...
... where we cannot return, because we lost
the pebbles and the playthings, and the moss ...
... hangs weeping gently downward, maidens’ hair
who never were enchanted, and the stairs ...
... that led up to the Fortress in the trees
will not support our weight, but on our knees ...
... we still might fit inside those splendid hours
of damsels in distress, of rustic towers ...
... of voices heard in wolves’ tormented howls
that died, and live in dreams’ soft, windy vowels ...



First Steps
by Michael R. Burch

for Caitlin Shea Murphy

To her a year is like infinity,
each day—an adventure never-ending.
She has no concept of time,
but already has begun the climb—
from childhood to womanhood recklessly ascending.

I would caution her, "No! Wait!
There will be time enough another day ...
time to learn the Truth
and to slowly shed your youth,
but for now, sweet child, go carefully on your way! ..."

But her time is not a time for cautious words,
nor a time for measured, careful understanding.
She is just certain
that, by grabbing the curtain,
in a moment she will finally be standing!

Little does she know that her first few steps
will hurtle her on her way
through childhood to adolescence,
and then, finally, pubescence . . .
while, just as swiftly, I’ll be going gray!



Everlasting
by Michael R. Burch

Where the wind goes
when the storm dies,
there my spirit lives
though I close my eyes.

Do not weep for me;
I am never far.
Whisper my name
to the last star ...

then let me sleep,
think of me no more.

Still ...

By denying death
its terminal sting,
in my words I remain
everlasting.



I have the most childlike heart ...
—Sappho, fragment 120, loose translation by Michael R. Burch

Awed by the moon’s splendor,
stars covered their undistinguished faces.
Even so, we.
—Sappho, fragment 34, loose translation by Michael R. Burch

Those I most charm
do me the most harm.
—Sappho, fragment 12, loose translation by Michael R. Burch

Even as their hearts froze,
their feathers molted.
—Sappho, fragment 42, loose translation/interpretation by Michael R. Burch

Your voice beguiles me.
Your laughter lifts my heart’s wings.
If I listen to you, even for a moment, I am left speechless.
—Sappho, fragment 31, loose translation by Michael R. Burch



Sappho, fragment 138, loose translations/interpretations by Michael R. Burch

1.
Darling, let me see your face;
unleash your eyes' grace.

2.
Turn to me, favor me
with your eyes' indulgence.

3.
Look me in the face,
           smile,
reveal your eyes' grace ...

4.
Turn to me, favor me with your eyes’ acceptance.



Sappho, fragment 52 (Voigt 168B / Diehl 94 / *** 48)
loose translation/interpretation by Michael R. Burch

1a.
Midnight.
The hours drone on
as I moan here, alone.

1b.
Midnight.
The hours drone.
I moan,
alone.

2.
The moon has long since set;
the Pleiades are gone;
now half the night is spent
and yet
here I lie—alone.



Sappho, fragment 24, loose translations/interpretations by Michael R. Burch

1a.
Dear, don't you remember how, in days long gone,
we did such things, being young?

1b.
Dear, don't you remember, in days long gone,
how we did such things, being young?

2.
Don't you remember, in days bygone,
how we did such things, being young?

3.
Remember? In our youth
we too did such reckless things.



Sappho, fragment 154, loose translation/interpretation by Michael R. Burch

1.
The moon rose and we women
thronged it like an altar.

2.
Maidens throng
at the altar of Love
all night long.



Once again I dive into this fathomless ocean,
intoxicated by lust.
—Sappho, after Anacreon, loose translation/interpretation by Michael R. Burch

Did the epigram above perhaps inspire the legend that Sappho leapt into the sea to her doom, over her despair for her love for the ferryman Phaon? See the following poem ...

The Legend of Sappho and Phaon, after Menander
loose translation/interpretation by Michael R. Burch

Some say Sappho was an ardent maiden
goaded by wild emotion
to fling herself from the white-frothed rocks of Leukas
into this raging ocean
for love of Phaon ...
but others reject that premise
and say it was Aphrodite, for love of Adonis.

In Menander's play The Leukadia he refers to a legend that Sappho flung herself from the White Rock of Leukas in pursuit of Phaon. We owe the preservation of those verses to Strabo, who cited them. Phaon appears in works by Ovid, Lucian and Aelian. He is also mentioned by Plautus in Miles Gloriosus as being one of only two men in the whole world, who "ever had the luck to be so passionately loved by a woman."



You ask me why I've sent you no new verses?
There might be reverses.
—Martial, loose translation/interpretation by Michael R. Burch

You ask me to recite my poems to you?
I know how you'll "recite" them, if I do.
—Martial, loose translation/interpretation by Michael R. Burch

You ask me why I choose to live elsewhere?
You're not there.
—Martial, loose translation/interpretation by Michael R. Burch

You ask me why I love fresh country air?
You're not befouling it, mon frère.
—Martial, loose translation/interpretation by Michael R. Burch

You never wrote a poem,
yet criticize mine?
Stop abusing me or write something fine
of your own!
—Martial, loose translation by Michael R. Burch

He starts everything but finishes nothing;
thus I suspect there's no end to his f---ing.
—Martial, loose translation by Michael R. Burch

You alone own prime land, dandy!
Gold, money, the finest porcelain—you alone!
The best wines of the most famous vintages—you alone!
Discrimination and wit—you alone!
You have it all—who can deny that you alone are set for life?
But everyone has had your wife—she is never alone!
—Martial, loose translation by Michael R. Burch

You dine in great magnificence
while offering guests a pittance.
Sextus, did you invite
friends to dinner tonight
to impress us with your enormous appetite?
—Martial, loose translation/interpretation by Michael R. Burch

1.
To you, my departed parents, dear mother and father,
I commend my little lost angel, Erotion, love’s daughter.
who died six days short of completing her sixth frigid winter.
Protect her now, I pray, should the chilling dark shades appear;
muzzle hell’s three-headed hound, less her heart be dismayed!
Lead her to romp in some sunny Elysian glade,
her devoted patrons. Watch her play childish games
as she excitedly babbles and lisps my name.
Let no hard turf smother her softening bones; and do
rest lightly upon her, earth, she was surely no burden to you!
—Martial, loose translation/interpretation by Michael R. Burch

2.
To you, my departed parents, with much emotion,
I commend my little lost darling, my much-kissed Erotion,
who died six days short of completing her sixth bitter winter.
Protect her, I pray, from hell’s hound and its dark shades a-flitter;
and please don’t let fiends leave her maiden heart dismayed!
But lead her to romp in some happy Elysian glade
with her cherished friends, excitedly lispingly my name.
Let no hard turf smother her softening bones; and do
rest lightly upon her, earth, she was such a slight burden to you!
—Martial, loose translation/interpretation by Michael R. Burch

Martial wrote this touching elegy for a little slave girl, Erotion, who died six days before her sixth birthday. The poem has been nominated as Martial’s masterpiece by L. J. Lloyd and others. Erotion means “little love” and may correspond to our term “love child.” It has been suggested that Erotion may have been Martial’s child by a female slave. That could explain why Martial is asking  his parents’ spirits to welcome, guide and watch over her  spirit. Martial uses the terms patronos (patrons) and commendo (commend); in Rome a freed slave would be commended to a patron. A girl freed from slavery by death might need patrons as protectors on the “other side,” according to Roman views of the afterlife, since the afterworld houses evil shades and is guarded by a monstrous three-headed dog, Cerberus. Martial is apparently asking his parents to guide the girl’s spirit away from Cerberus and the dark spirits to the heavenly Elysian fields where she can play and laugh without fear. If I am correct, Martial’s poem is not just an elegy, but a prayer-poem for protection, perhaps of his own daughter. Albert A. Bell supports this hypothesis with the following arguments: (1) Martial had Erotion cremated, a practice preferred by the upper classes, (2) “he buried her with the full rites befitting the child of a Roman citizen,” (3) he entrusted her [poetically] to his parents, and (4) he maintained her grave for years.



Catullus I (“cui dono lepidum novum libellum”)
loose translation/interpretation by Michael R. Burch

To whom do I dedicate this novel book
polished drily with a pumice stone?
To you, Cornelius, for you would look
content, as if my scribblings took
the cake, when in truth you alone
unfolded Italian history in three scrolls,
as learned as Jupiter and acing the course.
Therefore, this little book is yours,
whatever it is, which, O patron Maiden,
I pray will last more than my lifetime!



Catullus LXXXV: “Odi et Amo”
loose translation/interpretation by Michael R. Burch

I hate. I love.
How can that be, turtledove?
I wish I could explain.
I can’t, but feel the pain.



Catullus CVI: “That Boy”
loose translation/interpretation by Michael R. Burch

See that young boy, by the auctioneer?
He’s so pretty he sells himself, I fear!



Catullus LI: “That Man”
This is Catullus’s translation of a poem by Sappho of ******
loose translation/interpretation by Michael R. Burch

I’d call that man the equal of the gods,
or,
could it be forgiven
in heaven,
their superior,
because to him space is given
to bask in your divine presence,
to gaze upon you, smile, and listen
to your ambrosial laughter
which leaves men senseless
here and hereafter.

Meanwhile, in my misery,
I’m left speechless.

Lesbia, there is nothing left of me
but a voiceless tongue grown thick in my mouth
and a thin flame running south...

My limbs tingle, my ears ring, my eyes water
till they swim in darkness.

Call it leisure, Catullus, or call it idleness,
whatever it is that incapacitates you.
By any other name it’s the nemesis
fallen kings, empires and cities rue.



Catullus XLIX: “A Toast to Cicero”
loose translation/interpretation by Michael R. Burch

Cicero, please confess:
You’re drunk on your success!
All men of good taste attest
That you’re the very best—
At making speeches, first class!
While I’m the dregs of the glass.



The famous Roman orator Cicero employed “tail rhyme” in this pun:

O Fortunatam natam me consule Romam.
O fortunate natal Rome, to be hatched by me!
—Cicero, loose translation/interpretation by Michael R. Burch



The Latin hymn "Dies Irae" employs end rhyme:

Dies irae, dies illa
Solvet saeclum in favilla
***** David *** Sybilla

The day of wrath, that day
which will leave the world ash-gray,
was foretold by David and the Sybil fey.
—attributed to Thomas of Celano, St. Gregory the Great, St. Bernard of Clairvaux, and St. Bonaventure; loose translation by Michael R. Burch



I must admit I’m partial
to Martial.
— Michael R. Burch



Did Sappho write the world's first "make love, not war" poem, more than 2,500 years ago? This poem has been variously titled “The Anactoria Poem,” “Helen’s Eidolon” and “Some People Say.”

Some Say
Sappho, fragment 16 (Lobel-Page 16)
loose translation/interpretation by Michael R. Burch

Warriors on rearing chargers,
columns of infantry,
fleets of warships:
some call these the dark earth's redeeming visions.
But I say—
the one I desire.

And this makes sense
because she who so vastly surpassed all other mortals in beauty
—Helen—
seduced by Aphrodite, led astray by desire,
lightly set sail for distant Troy,
abandoning her celebrated husband,
leaving behind her parents and child!

Her story reminds me of Anactoria,
who has also departed,
and whose lively dancing and lovely face
I would rather see than all the horsemen and war-chariots of the Lydians,
or all their infantry parading in flashing armor.

Druid is Derwydd
in our tongue
the Welsh of my fathers

Our land is called Cymru
and we have thrived here
since ancient times

We live by our cattle
first
our hearts and families
second
and our crops a poor third

We are taught that
a mist descended on our land
in the before times
and cleansed the earth of life

And that a new people came
our people
and brought with them
cattle
all of the trades
and a gift for song

We were called Celts
but now we are proudly
Welsh
the dragon is our badge
and red war our way of life

The Derwydd
are our guides
they follow the stars
know the mystic tides
teach our young
and ease our old
into the afterworld

Never cross a Druid
they say
or feel your tongue
curl into burnt leather
in your mouth

Please a Druid
and luck will
lay by your side

I am called Caedmon
wise warrior
son of Lhur
born in the shade
of a great oak

I was taught all of the high arts
poetry
music
and war

If ever you travel
through our fortress-locked land
you will be welcome
at my hearth

Come
bring your sweet pipes
and play
bare your sword arm
and raid with us

When we return
cattle rich
then the feast will begin
then the bards will sing
and poetry will open your mind
to the harmonies of heaven.

Rolling down the road, in a sunset town
A pop from the tailpipe and a rumbling sound.
Never before have you seen the town like this.
Friendly faces, children running. Bliss.

A sweet voice, humming over the airwaves
Sultry and definite, like the end of this day.
It's stampeding to a hault, to an end of days.
It should have always ended this way.

The raccoon, his days of mischieve cut short,
Forever stagnant and flat on the black.
No one will build him his tomb, an animal mosoluem, no funeral fort.
What will happen when I die, what will be lax?

We all stride to and fro,
Oscillatory on this wavelength God-given.
What happens when we finally go,
When our own life is not living?

Men may say that life is long for fear of the afterworld,
For that untrodded territory in which we know not of
But I say that life is too fleeting,
For the fish which swim, the birds above.

What is life, when put to music?
Can you hear it better when the melodies mix?
Is the world more rustic?
Are we fools to its tricks?

Sunset falling on faces of a sprawl,
One day over, one to end them all.
I feel an ocean rushing over me
I find myself floating at sea

I post this picture with the caption
"Where do unsent texts go?"
This guy comments "maybe there's an afterworld for them.
Maybe
Maybe."
Maybe is a hopeful word
All my poems are an extended version of "maybe", maybe
See,
Maybe I didn't love you
Maybe you loved me too
Maybe the last time you kissed me,
You were drunk on someone else's memory
Maybe the last time I said 'closure'
I didn't really know what it meant
My tongue is a ****** up pretentious wannabe dictionary
I say things I don't really understand
So I write **** lamenting the same **** in ten thousand different ways
'Cause **** me
I don't drink but I visit bars
I met this guy in the bar and he told me he killed his lover
I asked him how and he said
He wrote poems
He wrote poems like 'you're an *******'
Poems like 'my beer tastes ******* better than you'
Poems like 'who the **** waits for your texts'
Poems like 'I hate you'
Poems like 'I hate you but I miss you'
The guy said "never trust a poet when he's drunk and never trust a lover when he's sober,
Better, never trust them at all
Especially when both of 'em are the same person"
The guy said "I'm no walking talking renaissance tragedy
And you should stop writing me like one"
I said I haven't
And he said that I surely would 'cause I'm in a bar drinking nothing
But listening to his ****
I said maybe
I forgot him and read plath this entire January
Quoting plath from her journal
"Not to be sentimental, as I sound, but why the hell are we conditioned into the smooth strawberry-and-cream mother-Goose-world, Alice-in-Wonderland fable, only to learn that love can never come true, because the people you admire like Perry are unattainable since they want someone like P.K, to learn that you only want them because you can't have them, to learn that you can't be a revolutionary."
But see, my love for you was revolutionary
I died choking myself on all the unsaid, unsent things
I took birth again only to love you in this smooth strawberry-and-cream mother-Goose-world,
Alice-in-Wonderland fable
I brought the sun to its knees, again and again
I ate it up
But maybe sylvia was right
Maybe
I only wanted you 'cause I couldn't have you
Maybe the boy who lived 100 years ago
Was a ******* romantic
Who didn't know how to love without lamenting, so he died
100 years fast forward
The boy still doesn't know how to keep his emo **** together
He wears pyjamas with big pockets
He hides himself in
On weekdays,
He cries and fills up buckets on weekends, He does laundry
This whole thing is a big rant
And not a poem
Because I don't know how to write poems like 'my beer tastes ******* better than you'
Cause I don't know how a beer tastes like
So if I ever taste beer (I probably won't), I'll gather the courage to text you up
And say 'my beer tastes ******* better than you'
But just learn that 'never trust 'em at all'
I know it sounds cliché
But you're Perry
And I hope you find your P.K
And I hope your P.K isn't looking for some other Perry
Who's looking for some other P.K
Cause girl,
That ****
hurts
And there's no "maybe"
in hurt.

So I can sigh eternally,

~for Lori Jones McCaffery~

Lori Jones McCaffery commenting on
“a new time (poetry in the time of pandemic)”^
“Tender and brutal at the same time. Like the times.”*

                                                     ­          <>
your observation, a commission, opens an incision,
bleeding out a Noah flood vision:

                                                        ­        <>

when we begin, to compare and contrast the movable tender and the unstoppable brutal, the poetry must rise to equalize the pressure of unbalanced times, the tender, and the brutal in an uneasy peaceful coexistence, at the same time, same place
                                                           ­     
                              
                              
                            
The Brutal                                              The Tender
—————                                             —————
life in the epicenter, the greatest,       in the darkened bedroom,
noisiest city, now landscape               she awakens, her hand quick
painting quiet,                                      comes to rest on my chest,
one lives/writes/eyesights thru       the quality of motion+volume
pink mask + a minimum six              of heartbeats, is it loud enough,
feet of separation,                                steady on, no need to dial 911!
a citified tableau of macro wave       she unaware that I can hear
forces in crashing collision, upon     her loud, tender exhalation
your skin’s cells                                   celebrating surviving day#?

newspaper images of Death’s            many volunteer, food delivery,
ministers applauding the newly        though I am asymptomatic
arrived mobile morgues, for 100        my request tenderly, firmly
died yesterday,                                      denied, for I meet too many
their brutal death rattles                      of the vulnerable criteria,
overwhelmed  the super-surround.   instead, offering food to me,
sound silences of                                   to deliver to me, to deliver me,
brutal emptiness of millions of           tenderly I say, no thanks,
sacrificial                                             ­    my tour of duty, almost done
                              
                                all of us isolate lambs, in day jailed,
                                for we still breathing the maybe tainted,                
                                oxygen molecules of no safe surety      

a consummate perfection,                    the same, taming words I tell  
the holy quietus of                                 my son, young father,
those no longer breathing,                   tender me necessary tasks that
they now rest up above,                        require outside journeys, say I
hid in a white cumulus                         send me into the red hot areas
cloud cover, a noise suppressing         insert me into the front line,
sky coverlet, moving across a               militarized zones, he replies,
bright blue pure background,              ”you’re too old, part and
a train of funeral caissons,                     parcel of the most vulnerable,
brutal noisy hooves clacking             better-write-you tender-poems”

daily, hourly, the statistical alerts,         why so hard, to write tender
brief résumés delivered,                         so easy of the brutal, their
drumbeating, look now!                         curses so readily supplied,
are you up to date?                                  is tenderness short supplied?

catalog the debris, organized with brutal necessary efficacy, quantify, qualify the costs, include even the tender ineffable, countdown and graph the brutal calculus of the curve infection, and you, numbed, past the point of eyes capable of what once was tender droplet tearing

highlight the unknown faraway, the tender hope of a distant apex inflection, while plotting the second derivative, the rate of change of the rate of a brutal yet trending upward *****, the ascending all-inclusive stat, infected, the rate of change of decedents, downed, descending, giving in...gowned in hospital blue, for the funeral pyre

a city of lines, crosswalks, velvet ropes, unused, unemployed, social separators, no one about to need to separate, anymore, only the living and the dead, both staying indoors, so neither in attendance, at the empty funeral services, everybody is on the out list...

the now newly indistinguishable, the irresistible collision of two one-sides polarizing poles of no longer opposites, the tender and the brutal in a single embrace, but no, not kissing, embargoed, as we are stationed from above, far, high up on the watchtower observatory, observing the contrast dye that flies so fast on people denuded grand boulevards, down narrow hospital hallways, body-lined decorated, tales of millions of lives isolatized, and don’t forget the brutalizing discovery of scores of elderly, dying alone, withering in the dark, counted, lumped in to the category of statistically irrelevant, if dead, who cares, matters not now, in the afterworld no one asks how,
                        in a fashion both tenderly and brutal,
                        what was the actual cause?

Heart uplink.. Loading love..................................
Mind uplink..  Loading memories and dreams............................
Soul transfer complete...........
Welcome to Arcadia Reverie......................

You may begin your journey..

Blackness turned into colors.. White first, Then red and yellow..
Then green and blue..
Then the aura of colors came on through..

Grass at my bare feet.. Sometimes warm and sometimes cool.. Soft to the step and calm to my senses.. I then came upon light fences..

This was the boundary to heaven..  The beginning of afterworld..  The skies were every blue I had seen in my old world..

This is the Promised land, Nirvana Elysium..  Arcadia Reverie lets me visit this Ecstasy Empyrean..

I crossed the light fence and became light.. I was now connected to every star in the sky...

They're was nowhere I couldn't visit, no place was to far away..  All were connected through lightwaves and dreams..

They're were colors I had never seen..  The color of dream, and the color of love was visible to me in this grand above..

I then got a message.. That my link was going to be broken..  The Arcadia Reverie allows me one hour in heaven and then you awaken..  

What a fantastic machine.. The Arcadia Reverie lets you visit heaven in digital dream..

Shadows lie across the moon lit
Silver dust that shapes our dreams
And darkness moves like waterfalls,
Making nothing what it seems,

The sparkle in my eye like diamonds
Or light on water, black and white,
Beauty unveiled delicately,
I'm moved to flight, maybe I might.

This is a teardrop world
Shed from an eye that can behold
Beauty before it's born, imagination
Before it rustles gentle wings and they unfold.

A dome of sky is within reach,
Dark space and twinkling stars,
Horizons so close I cannot see them
Before the glassy planet shards.

This is the place behind my eyes,
My afterworld, my peace,
This is the place I've not yet shown you,
Perhaps I will, just in my dreams...

The bath and body
Were lukewarm
And at the grave
Only five mourned
So she reached
For a bag of relief
Smack on the table
That would blow his mind
Blood under the nostril
Chest pains and a cough
All the bottles in the world
Just weren’t enough
Walking around
With eyeballs exposed
The quiet vampires
Are craving mystery
Take a swim
In the chemical ocean
Drown in your vows,
Your blood and your potions
To live in the afterworld
To die in life
To mingle with the spirits
To feed on the great light
She really needs
A bag of relief
To feel invincible
To feel at ease