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RAJ NANDY Feb 2015
AN INTRODUCTION TO INDIAN ART IN VERSE  
By Raj Nandy : Part One

INTRODUCTION
Background :
The India subcontinent and her diverse physical features,
influenced her dynamic history, religion, and culture!
The fertile basin of the Sapta-Sindu Rivers* cradled one of
world’s most ancient civilization, (seven rivers)
Contemporary to the Sumerians and the Egyptians, popularly
known as the Indus Valley Civilization!
The Sindu (Indus), Jhelum, Chenab, Ravi, Sutlej, Bias, along
with the sacred river Saraswati, shaped India’s early History;
Where once flourished the urban settlements of Harappa and
Mohenjodaro, which lay buried for several centuries;
For our archaeologists and scholars to unravel their many
secrets and hidden mysteries!
Modern scholars refer to it as ‘Indus-Saraswati Civilization’;
By interpreting the text of the Rig Veda which mentions
eclipses, equinoxes, and other astronomical conjunctions,
They date the origin of the Vedas as earlier as 3000 BC;
Thereby lifting the fog which shrouds Ancient History! +
(+ Two broad schools of thoughts prevail; Max Mullar refers
to 1500 BC as the date for origin of the Vedas, but modern scientific findings point to a much earlier date for their Oral composition and
their long oral tradition!)

On the banks of the sacred Saraswati River the holy sages
did once meditate, *
When their third eye opened, as all earthly bonds they did
transcend !
From their lips flowed the sacred chants of the Vedas, as
they sang the creator Brahma’s unending praise!
These Vedic chants and incantations survived many
centuries of an oral tradition,
When Indian Art began to blossom into exotic flowers like
Brahma’s divine manifestations;
With all subsequent art forms following the model of
Brahma’s manifold creations!
The Vedas got written down during the later Vedic Age
with commentaries and interpolations,
And remain as India’s indigenous composition, forming a
part of her sacred religious tradition! *
(
Rig Veda the oldest, had hymns in praise of the creator;
Yajur Veda spelled the ritual procedures; Sama Veda sets
the hymns for melodious chanting, & is the source of seven
notes of music; Artha Veda had hymns for warding off evil
& hardship, giving us a glimpse of early Vedic life.)

IMPACT OF FOREIGN INVASIONS:
Through the winding Khyber Pass cutting through the rugged
Hindu Kush Range,
Came the Persians, Greeks, Muslims, the Moguls, and many
bounty hunters storming through north-western frontier gate;
Consisting of varied racial groups and cultures, they entered
India’s fertile alluvial plains!
Therefore, while tracing 5000 years of Art Story, one cannot
divorce Art from India’s exotic cultural history.
From the Cave Art of Bhimbetka, to the dancing girl of Harappa,
To the frescoes and the evocative figures of Ajanta and Ellora;
Many marvelous and exquisitely carved temples of the South,
And Muslim and Mogul architecture and frescoes along with
India’s rich Folk Art, enriched her artistic heritage no doubt!
Yet for a long time Indian Art had been the least known of
the Oriental Arts,
Perhaps because from Western point of view it was difficult
to understand the spirit behind Indian Art!
For Indian Art is at once aesthetic and sensual, also passionate,
symbolic, and spiritual !
It both celebrates and denies the individual’s love of life,
where free instinct with rigid reason combine !
These contradictory elements are found side by side due to
her culturally mixed conditions, as I had earlier mentioned!
Now, if we add to this the constant religious exaltation,
With the extensive use of symbolic presentation, from the
early days of Indian civilization;
We have the basic elements of an Art, which has gradually
aroused the interest of Western Civilization!

The further we get back in time, we only begin to find,
That religion, philosophy, art and architecture,
Had all merged into an unified whole to form India’s
composite culture!
But while moving forward in time, we once again find,
That art, architecture, music, poetry and dance, all begin to
gradually emerge, with their separate identities,
Where Indian Art is seen as a rich mosaic of cultural diversity!

(NOTES:-In the ancient days, the Saraswati River flowed from the Siwalik Range of Hills (foothills of the Himalayas) between Sutlej & the Yamuna rivers, through the present day Rann of Kutch into the Arabian Sea, when Rajasthan was a fertile place! Indus settlements like Kalibangan, Banawalli, Ganwaiwala, were situated on the banks of Sarsawati River, which was longer than the Indus & ran parallel, and is mentioned around50 times in the Rig Veda! Scientists say that due to tectonic plate movements, and climatic changes, Saraswati dried up around 1700BC ! The people settled there shifted east and the south, during the course of history! Some of those Indo-Aryan speaking people were already settled there, & others joined later. Max Muller’s theory of an Aryan Invasion which destroyed the Indus Valley Civilization during 1500BC, supported by Colonial Rulers, was subsequently proved wrong ! Indo-Aryans were a Language group of the Indo- European
Language Family, & not a racial group as mistaken by Max Mullar! Therefore Dr.Romila Thapar calls it a gradual migration, & not an invasion! The Vedas were indigenous composition of India. However, they got compiled & written down for the first time with commentaries, at a much later date! I have maintained this position since it has been proved by modern scholars scientifically!)

SYMBOLISM IN INDIAN ART
From the ancient Egyptian hieroglyphic to the Cretan Bull
of Greece,
Symbols have conveyed ideas and messages, fulfilling
artistic needs.
The ‘Da Vinci Code’ speaks of Leonardo’s art works as
symbolic subterfuge with encrypted messages for a secret
society!
While Indian art is replete with many sacred symbols to
attract good fortune, for the benefit of the community!
The symbols of the Dot or ‘Bindu’, the Lotus, the Trident,
the Conch shell, the sign and chant of ‘OM’, are all sacred
and divine;
For at the root of Indian artistic symbolism lies the Indian
concept of Time!
The West tends to think of time as a dynamic process which
is forward moving and linear;
Commencing with the ‘Big Bang’, moving towards a ‘Big
Crunch’, when ‘there shall be no more time’, or a state of
total inertia !
Indian art and sculpture is influenced by the cyclic concept
of time unfolding a series of ages or ‘yugas’;
Where creation, destruction and recreation, becomes a
dynamic and an unending phenomena!
This has been artistically and symbolically expressed in the
figure of Shiva-Nataraja’s cosmic dance,
Which portrays the entire kinetic universe in a state of
eternal flux!
The hour-glass drum in Nataraja’s right hand symbolizes
all creation;
Fire in his left hand the cyclic time frame of destruction!
The raised third hand is in a gesture of infinite benediction;
And the fourth hand pointing to his upraised foot shows the
path of liberation!

It was easier to teach the vast untutored population through
symbols, images, and paintings in the form of Art;
For a picture is more effective than a thousand words!
The Dot or ‘bindu’ becomes the focus for meditation,
Where the mental energies are focused on a single point of
creation,
As seen in the cotemporary art works of SH Raza’s
artistic representations!
Yet the same dot when expanded as a circle becomes
wholeness and infinity;
The shape of celestial bodies of the cyclic universe in its
creativity!
The Lotus seen in many sculptures, on temple walls, and
majestic columns, denotes purity;
A symbol of non-attachment rising above the muddy waters,
retaining its pristine color and beauty!
The Lotus is a powerful and transformational symbol in
Buddhist Art,
Where pink lotus is for height of enlightenment, blue for
wisdom, white for spiritual perfection, and the red lotus
symbolizing the heart!
This Lotus symbol also finds a place in Mughal sculptural
carvings and miniatures;
The inverted lotus dome resting on its petals, forms the
crown of Taj Mahal’s white marble architecture!
The trident or ‘trishul’ symbolizes the three god-heads
Brahma, Vishnu and Shiva;
As the Creator, Preserver and Destroyer, in that cyclic
chain which goes on forever!
The ***** stone of Shiva-lingam surrounded by the oval
female yoni symbolizes fertility and creation,
Usually found in the inner sanctuary of Hindu temples!
Finally, the symbol of ‘OM’ and its vibrating sound,
Echoes the primordial vibrations with which space and
time abounds!
All matter comes from energy vibrations manifesting
cosmic creation;
Also symbolized in Einstein’s famous matter-energy equation!
The Conch Shell a gift of the sea when blown, sounds the
ancient primordial vibration of ‘OM’!
It’s hallowed auspicious sound accompanies marriage
ceremonies and rituals whenever occasion demands;
And pacifies mother earth during Shiva-Nataraja’s sudden
seismic dance! (earthquakes)
Dear readers the symbols mentioned here are very few,
Mainly to curb the length, while I pay Indian Art my
artistic due!

A BRIEF COMPARISON OF ART:
Despite the many foreign influences which entered India
through the Khyber and Bholan pass,
India displayed marvelous adaptability and resilience, in
the development of her indigenous Art!
The aesthetic objectivity of Western Art was replaced by
the Indian vision of spiritual subjectivity,
For the transitory world around was only a ‘Maya’ or an
Illusion,- lacking material reality!
Therefore life-like representation was not always the aim
of Indian art,
But to lift that veil and reveal the life of the spirit, - was
the objective from the very start!
Egyptian funerary art was more occupied with after-life
and death;
While the Greeks portrayed youthful vigor and idealized
beauty, celebrating the joys of life instead!
The proud Roman Emperors to outshine their predecessors
erected even bigger statues, monuments, and columns
draped in glory;
Only in the long run to drain the Roman treasury, - a sad
downfall story!
Indian art gradually evolved over centuries with elements
both religious and secular,
As seen from the period of King Chandragupta Maurya,
Who defeated the Greek Seleucus, to carve out the first
united Indian Empire ! (app. 322 BC)

SECULAR AND SPIRITUAL FUSION IN ART:
Ancient Indian ‘stupas’
and temples were not like churches
or synagogues purely spiritual and religious,
But were cultural centers depicting secular images which
were also non-religious!
The Buddhist ‘stupa’ at Amravati (1stcentury BC), and the
gateways at Sanchi (1stcentury AD), display wealth of carvings
from the life of Buddha;
Also warriors on horseback, royal procession, trader’s caravans,
farmers with produce, - all secular by far!
Indian temples from the 8th Century AD onwards depicted
images of musicians, dancers, acrobats and romantic couples,
along with a variety of Deities;
But after 10th Century ****** themes began to make their mark
with depiction of sensuality!
Sensuality and ****** interaction in temples of Khajuraho and
Konarak has been displayed without inhibition;
As Tantric ideas on compatibility of human sexuality with
human spirituality, fused into artistic depictions!
Religion got based on a healthy and egalitarian acceptance
of all activities without ****** starvation;
For the emotional health and well-being of society, without
hypocritical denial or inhibition!
(’Stupas’= originated from ancient burial mounds, later became devotional Buddhist sites with holy relics, & external decorative gateways and carvings!)

KHJURAHO TEMPLE COMPLEX (950 - 1040 AD) :
Was built by the Chandela Rajputs in Central India,
When Khajuraho, the land of the moon gods, was the first
capital city of the Chandelas!
****** art covers ten percent of the temple sculptures,
Where both Hindu and Jain temples were built in the north-Indian
Nagara style of Architecture.
Out of the 85 temples only 22 have stood the vagaries of time,
Where a perfect fusion of aesthetic elegance and evocative
Kama-Sutra like ****** sculptural brilliance, - dazzle the eyes!

KONARAK SUN TEMPLE OF ORISSA - EAST COAST:
From the Khajuraho temple of love, we now move to the
Konark temple of *** in stones - as art!
Built around 1250 AD in the form of a temple mounted on
a huge cosmic chariot for the Sun God;
With twelve pairs of stone-carved wheels pulled by seven
galloping horses, symbolizing the passage of time under
the Solar God !
Seven horses for each day of the week, pulls the chariot
east wards towards dawn;
With twelve pairs of wheels representing the twelve calendar
months, as each cyclic day ushers in a new morn !
The friezes above and below the chariot wheels show military
processions, with elephants and hunting scenes;
Celebrating the victory of King Narasimhadeva-I over the
invading Muslims!
The ****** art and voluptuous carvings symbolizes aesthetic
bliss when uniting with the divine;
Following yogic postures and breathing techniques, which
Tantric Art alone defines!
(
Both Khjuraho & Konark temples were re-discovered by the
British, & are now World Heritage Sites!)

Artistic invention followed the model of cosmic creation;
Ancient Vedic tradition visualized the spirit of a joyous
self-offering with chants and incantations!
The world was understood to be a structured arrangement
of five elements of earth, water, fire, air, and ethereal space;
Where each element brought forth a distinct art-expression
with artistic grace!
Element of Sculpture was earth, Painting the fluidity of water,
Dance was transformative fire, Music flowed through the air,
and Poetry vibrated in ethereal space!

CONCLUDING INTRODUCTION TO INDIAN ART:

Indian Art is like a prism with many dazzling facets,
I have only introduced the subject with its symbolism,
- without covering its complete assets!
After my Part Three on ‘Etruscan and Roman Art’,
Christian and Byzantine Art was to follow;
But following request from my few poet friends I have
postponed it for the morrow!
Traditional Indian Art survives through its sculptures,
architecture, paintings and folk art, ever evolving with
the passing of time and age;
Influenced by Buddhist, Jain, Muslim, Mogul, and many
indigenous art forms, enriching India’s cultural heritage!
While the art of our modern times constitutes a separate
Contemporary phase !
The juxtaposition of certain concepts and forms might
have appeared a bit intriguing,
But the spiritual content and symbolism in art answers
our basic artistic seeking!
The other aspects of Indian Art I plan to cover at a later
date,
Hope you liked my Introduction, being posted after
almost forty days!
ALL COPY RIGHTS ARE WITH RAJ NANDY
E-Mail: rajnandy21@yahoo.
    FEW COMMENTS BY POETS ON 'POETFREAK.COM' :-
I have a vicarious pleasure going through your historical journey of Indian art! Thanks for sharing this here! 2 Mar 2013 by Ramesh T A | Reply

The prism of Indian Art is indeed has myriads of facets and is an awesome mixture of many influences some of which you list here so clearly - a very understandable presentation of symbolism too - -thank you for your fine effort Raj. 2 Mar 2013 by Fay Slimm | Reply

Oh what an interesting read with immense information capturing every single detail. You painted this piece of art with utmost care. Truly, it's works Raj…tfs 2 Mar 2013 by John Thomas Tharayil | Reply

First, I have to say, the part about the lotus symbolism reminds me – My name ‘NILOTPAL’ can be split into ‘NIL’ meaning BLUE and ‘UTPAL’ meaning LOTUS. So my name represents wisdom (although it contradicts ME.. LOL). A lot of things were mentioned in the veda and other ancient Indian texts that were way ahead of the time Like the idea of ‘velocity of light’ got considerable mention in the rig veda-Sahan bhasya, ‘Elliptical order of planets, ‘Black holes’ , although these are the scientific aspects. The emphasis on contradictory elements or even the idea of opposites in Indian art is interesting because India developed the mathematical concept of ‘Zero’ and ‘infinity’. Hard to believe Rajasthan was a fertile place but now it possesses its own beauty. It was great to read about the Natraja, ‘OM’ and the trident(Trishul). Among symbolisms, Lord Ganseha is my favorite because a lot is portrayed in that one image like the MOOSHIK representing
When I composed the History of Western Art in Verse & posted the series on 'Poetfreak.com', few Indian poet friends requested me to compose on Indian Art separately. I am posting part one of my composition here for those who may like to know about Indian Art. Thanks & best wishes, -Raj
Nigel Morgan Nov 2012
As a woman, and in the service of my Lord the Emperor Wu, my life is governed by his command. At twenty I was summoned to this life at court and have made of it what I can, within the limitations of the courtesan I am supposed to be, and the poet I have now become. Unlike my male counterparts, some of whom have lately found seclusion in the wilderness of rivers and mountains, I have only my personal court of three rooms and its tiny garden and ornamental pond. But I live close to the surrounding walls of the Zu-lin Gardens with its astronomical observatories and bold attempts at recreating illusions of celebrated locations in the Tai mountains. There, walking with my cat Xi-Lu in the afternoons, I imagine a solitary life, a life suffused with the emptiness I crave.
 
In the hot, dry summer days my maid Mei-Lim and I have sought a temporary retreat in the pine forests above Lingzhi. Carried in a litter up the mountain paths we are left in a commodious hut, its open walls making those simple pleasures of drinking, eating and sleeping more acute, intense. For a few precious days I rest and meditate, breathe the mountain air and the resinous scents of the trees. I escape the daily commerce of the court and belong to a world that for the rest of the year I have to imagine, the world of the recluse. To gain the status of the recluse, open to my male counterparts, is forbidden to women of the court. I am woman first, a poet and calligrapher second. My brother, should he so wish, could present a petition to revoke his position as a man of letters, an official commentator on the affairs of state. But he is not so inclined. He has already achieved notoriety and influence through his writing on the social conditions of town and city. He revels in a world of chatter, gossip and intrigue; he appears to fear the wilderness life.  
 
I must be thankful that my own life is maintained on the periphery. I am physically distant from the hub of daily ceremonial. I only participate at my Lord’s express command. I regularly feign illness and fatigue to avoid petty conflict and difficulty. Yet I receive commissions I cannot waver: to honour a departed official; to celebrate a son’s birth to the Second Wife; to fulfil in verse my Lord’s curious need to know about the intimate sorrows of his young concubines, their loneliness and heartache.
 
Occasionally a Rhapsody is requested for an important visitor. The Emperor Wu is proud to present as welcome gifts such poetic creations executed in fine calligraphy, and from a woman of his court. Surely a sign of enlightment and progress he boasts! Yet in these creations my observations are parochial: early morning frost on the cabbage leaves in my garden; the sound of geese on their late afternoon flight to Star Lake; the disposition of the heavens on an Autumn night. I live by the Tao of Lao-Tzu, perceiving the whole world from my doorstep.
 
But I long for the reclusive life, to leave this court for my family’s estate in the valley my peasant mother lived as a child. At fourteen she was chosen to sustain the Emperor’s annual wish for young girls to be groomed for concubinage. Like her daughter she is tall, though not as plain as I; she put her past behind her and conceded her adolescence to the training required by the court. At twenty she was recommended to my father, the court archivist, as second wife. When she first met this quiet, dedicated man on the day before her marriage she closed her eyes in blessing. My father taught her the arts of the library and schooled her well. From her I have received keen eyes of jade green and a prestigious memory, a memory developed she said from my father’s joy of reading to her in their private hours, and before she could read herself. Each morning he would examine her to discover what she had remembered of the text read the night before. When I was a little child she would quote to me the Confucian texts on which she had been ****** schooled, and she then would tell me of her childhood home. She primed my imagination and my poetic world with descriptions of a domestic rural life.
 
Sometimes in the arms of my Lord I have freely rhapsodized in chusi metre these delicate word paintings of my mother’s home. She would say ‘We will walk now to the ruined tower beside the lake. Listen to the carolling birds. As the sparse clouds move across the sky the warm sun strokes the winter grass. Across the deep lake the forests are empty. Now we are climbing the narrow steps to the platform from which you and I will look towards the sun setting in the west. See the shadows are lengthening and the air becomes colder. The blackbird’s solitary song heralds the evening.  Look, an owl glides silently beneath us.’
 
My Lord will then quote from Hsieh Ling-yun,.
 
‘I meet sky, unable to soar among clouds,
face a lake, call those depths beyond me.’
 
And I will match this quotation, as he will expect.
 
‘Too simple-minded to perfect Integrity,
and too feeble to plough fields in seclusion.’
 
He will then gaze into my eyes in wonder that this obscure poem rests in my memory and that I will decode the minimal grammar of these early characters with such poetry. His characters: Sky – Bird – Cloud – Lake – Depth. My characters: Fool – Truth – Child – Winter field – Isolation.
 
Our combined invention seems to take him out of his Emperor-self. He is for a while the poet-scholar-sage he imagines he would like to be, and I his foot-sore companion following his wilderness journey. And then we turn our attention to our bodies, and I surprise him with my admonitions to gentleness, to patience, to arousing my pleasure. After such poetry he is all pleasure, sensitive to the slightest touch, and I have my pleasure in knowing I can control this powerful man with words and the stroke of my fingertips rather than by delicate youthful beauty or the guile and perverse ingenuity of an ****** act. He is still learning to recognise the nature and particularness of my desires. I am not as his other women: who confuse pleasure with pain.
 
Thoughts of my mother. Without my dear father, dead ten years, she is a boat without a rudder sailing on a distant lake. She greets each day as a gift she must honour with good humour despite the pain of her limbs, the difficulty of walking, of sitting, of eating, even talking. Such is the hurt that governs her ageing. She has always understood that my position has forbidden marriage and children, though the latter might be a possibility I have not wished it and made it known to my Lord that it must not be. My mother remains in limbo, neither son or daughter seeking to further her lineage, she has returned to her sister’s home in the distant village of her birth, a thatched house of twenty rooms,
 
‘Elms and willows shading the eaves at the back,
and, in front,  peach and plum spread wide.
 
Villages lost across mist-haze distances,
Kitchen smoke drifting wide-open country,
 
Dogs bark deep among the back roads out here
And cockerels crow from mulberry treetops.
 
My esteemed colleague T’ao Ch’ien made this poetry. After a distinguished career in government service he returned to the life of a recluse-farmer on his family farm. Living alone in a three-roomed hut he lives out his life as a recluse and has endured considerable poverty. One poem I know tells of him begging for food. His world is fields-and-gardens in contrast to Hsieh Ling-yin who is rivers-and-mountains. Ch’ien’s commitment to the recluse life has brought forth words that confront death and the reality of human experience without delusion.
 
‘At home here in what lasts, I wait out life.’
 
Thus my mother waits out her life, frail, crumbling more with each turning year.
 
To live beyond the need to organise daily commitments due to others, to step out into my garden and only consider the dew glistening on the loropetalum. My mind is forever full of what is to be done, what must be completed, what has to be said to this visitor who will today come to my court at the Wu hour. Only at my desk does this incessant chattering in the mind cease, as I move my brush to shape a character, or as the needle enters the cloth, all is stilled, the world retreats; there is the inner silence I crave.
 
I long to see with my own eyes those scenes my mother painted for me with her words. I only know them in my mind’s eye having travelled so little these past fifteen years. I look out from this still dark room onto my small garden to see the morning gathering its light above the rooftops. My camellia bush is in flower though a thin frost covers the garden stones.
 
And so I must imagine how it might be, how I might live the recluse life. How much can I jettison? These fine clothes, this silken nightgown beneath the furs I wrap myself in against the early morning air. My maid is sleeping. Who will make my tea? Minister to me when I take to my bed? What would become of my cat, my books, the choice-haired brushes? Like T’ao Ch’ien could I leave the court wearing a single robe and with one bag over my shoulders? Could I walk for ten days into the mountains? I would disguise myself as a man perhaps. I am tall for a woman, and though my body flows in broad curves there are ways this might be assuaged, enough perhaps to survive unmolested on the road.
 
Such dreams! My Lord would see me returned within hours and send a servant to remain at my gate thereafter. I will compose a rhapsody about a concubine of standing, who has even occupied the purple chamber, but now seeks to relinquish her privileged life, who coverts the uncertainty of nature, who would endure pain and privation in a hut on some distant mountain, who will sleep on a mat on its earth floor. Perhaps this will excite my Lord, light a fire in his imagination. As though in preparation for this task I remove my furs, I loose the knot of my silk gown. Naked, I reach for an old under shift letting it fall around my still-slender body and imagine myself tying the lacings myself in the open air, imagine making my toilet alone as the sun appears from behind a distant mountain on a new day. My mind occupies itself with the tiny detail of living thus: bare feet on cold earth, a walk to nearby stream, the gathering of berries and mountain herbs, the making of fire, the washing of my few clothes, imagining. Imagining. To live alone will see every moment filled with the tasks of keeping alive. I will become in tune with my surroundings. I will take only what I need and rely on no one. Dreaming will end and reality will be the slug on my mat, the bone-chilling incessant mists of winter, the thorn in the foot, the wild winds of autumn. My hands will become stained and rough, my long limbs tanned and scratched, my delicate complexion freckled and wind-pocked, my hair tied roughly back. I will become an animal foraging on a dank hillside. Such thoughts fill me with deep longing and a ****** desire to be tzu-jan  - with what surrounds me, ablaze with ****** self.
 
It is not thought the custom of a woman to hold such desires. We are creatures of order and comfort. We do not live on the edge of things, but crave security and well-being. We learn to endure the privations of being at the behest of others. Husbands, children, lovers, our relatives take our bodies to them as places of comfort, rest and desire. We work at maintaining an ordered flow of existence. Whatever our station, mistress or servant we compliment, we keep things in order, whether that is the common hearth or the accounts of our husband’s court. Now my rhapsody begins:
 
A Rhapsody on a woman wishing to live as a recluse
 
As a lady of my Emperor’s court I am bound in service.
My court is not my own, I have the barest of means.
My rooms are full of gifts I am forced barter for bread.
Though the artefacts of my hands and mind
Are valued and widely renown,
Their commissioning is an expectation of my station,
With no direct reward attached.
To dress appropriately for my Lord’s convocations and assemblies
I am forced to negotiate with chamberlains and treasurers.
A bolt of silk, gold thread, the services of a needlewoman
Require formal entreaties and may lie dormant for weeks
Before acknowledgement and release.
 
I was chosen for my literary skills, my prestigious memory,
Not for my ****** beauty, though I have been called
‘Lady of the most gracious movement’ and
My speaking voice has clarity and is capable of many colours.
I sing, but plainly and without passion
Lest I interfere with the truth of music’s message.
 
Since I was a child in my father’s library
I have sought out the works of those whose words
Paint visions of a world that as a woman
I may never see, the world of the wilderness,
Of rivers and mountains,
Of fields and gardens.
Yet I am denied by my *** and my station
To experience passing amongst these wonders
Except as contrived imitations in the palace gardens.
 
Each day I struggle to tease from the small corner
Of my enclosed eye-space some enrichment
Some elemental thing to colour meaning:
To extend the bounds of my home
Across the walls of this palace
Into the world beyond.
 
I have let it be known that I welcome interviews
With officials from distant courts to hear of their journeying,
To gather word images if only at second-hand.
Only yesterday an emissary recounted
His travels to Stone Lake in the far South-West,
Beyond the gorges of the Yang-tze.
With his eyes I have seen the mountains of Suchan:
With his ears I have heard the oars crackling
Like shattering jade in the freezing water.
Images and sounds from a thousand miles
Of travel are extract from this man’s memory.
 
Such a sharing of experience leaves me
Excited but dismayed: that I shall never
Visit this vast expanse of water and hear
Its wild cranes sing from their floating nests
In the summer moonlight.
 
I seek to disappear into a distant landscape
Where the self and its constructions of the world may
Dissolve away until nothing remains but the no-mind.
My thoughts are full of the practicalities of journeying
Of an imagined location, that lonely place
Where I may be at one with myself.
Where I may delight in the everyday Way,
Myself among mist and vine, rock and cave.
Not this lady of many parts and purposes whose poems must
Speak of lives, sorrow and joy, pleasure and pain
Set amongst personal conflict and intrigue
That in containing these things, bring order to disorder;
Salve the conscience, bathe hurt, soothe sleight.
Senteno Oracle Of The Shadows: So Aziel what's your plan with Frank?
Aziel: Well he is going to help me destroy the Order Of The Silver Knights and in return I shall help him get the Witch who cursed the Forest Of Whispers.
Senteno Oracle Of The Shadows: Well I'll give you some valuable information who your looking for is Bethilda N. Lement. She is a very powerful Witch who with her Elemental Plowness is able to obtain what she wants.
Aziel: Well well ...so the Old Hag still holds the grip over the Forest doesn't she
Senteno Oracle Of The Shadows: Indeed she isn't someone to take lightly now she is well rounded and knows how to fight. She controls The Tavern Of Doom Dragons. In her possession are 3 fully grown Dragons. Blair the Oldest Dragon Claire The Mother Dragon and Aurora the youngest one of them three.
Blair the Black Dragon Claire The White Dragon and Aurora the Stone/Lighting Dragon. Many have meet their doom entering in her territory Cyclop Human and Vampire Alike.
Aziel: I don't have anything to fear.

~Meanwhile...~

Bethilda Lement: Adreanna I want you to learn more about my Dragons start training with Aurora but be cautious she may be only three years old but she is powerful and robust. Lement screeches then Aurora hovers over the Mountain Of Shen* where the Tavern Of Doom Dragons is located. Adrianna Develve places a strong spell in the Dragon Aurora she finally succumbs to her authority.
Adrianna and Aurora go take down the Golem Of Steel  in the Hidden Ruins Of Odom.* The Golem stands 15 ft high weighs 2,500 pounds. Holding a crest of an almost impenetrable diamond in the middle of his chest. Emanating from the Crystal comes all his power and it's his only weak spot. Then Aurora and Adrianna make an impressionable entrance to the ruins and attack the Golem head on. Golem Of Steel: Here stands the infamous Adrianna Develve...well isn't  this a surprise.  I see that you have grown some and are able to maintain your powers well to face me. I know what you want you want the Crystal in my chest...that will be over my dead body. Audon's Crystal* is powerful enough to consume 1000 Well Trained Witches therefore young Witch you don't scare me. Now as for that Dragon well ... perhaps you stand a chance after all.  Adrianna Develve: I usually don't pick fights with powerful DemiGods like yourself but I  am in desperate need for your Crystal. Therefore, you will hand it over or I'll take it by force.  Golem Of Steel:  Good Luck.
Aurora shields herself with Stone Armor and goes head on collision with the Golem. He dodges the attack and  counterattacks with a strong fist to the  Dragons body and knocks Aurora down cracking part of her Stone Armor. The young female Dragon counterattacks with a powerful lighting blast hitting The Steel Golem in the right shoulder injuring him. Develve attacks with a powerful mind blast knocking down the Golem Of Steel on it's back. The Golem Of Steel bleeds blue blood out of his shoulder blade and runs full force towards Adrianna Develve.  She  dashes the attack and counterattacks  with a Shadow Ball attack hitting him in the chest and expanding all over its body. It's a possession Ninjutsu technique making him practically paralyzed for about 2 minutes till he breaks free from the technique but sustains a considerable amount of damage. Adrianna Develve seeing that the Golem Of Steel is showing a sign of weakness she takes advantage to try to inflict him with a spear of lighting into the chest impairing him and he bleeds out the mouth but as the last resolution The Golem Of Steel punches the Audon Crystal shattering it into 5 individual pieces him losing his life in the process however what he didn't know is that Adrianna Develve collected all the pieces however there was a violent explosion at the site shattering huge boulders of steel and inflicting Aurora gravely. Adrianna Develve  hurries and performs a powerful healing spell leaving her drained of all power. Adrianna Develve hurries to get out of the ruins because they are crumbling down. She manages to recover Aurora briefly from there they fly to The Tavern Of Doom Dragons Of Doom Dragons right when she pulls in with Aurora who is injured from the boulders hitting her body and face at high velocity even the Rock Armor was perforated. The Dragon lands barely with Adrianna Develve who gets the Wrath of Granny Bethilda N. Lement. Aurora breathing heavily and bleeding out the mouth slipping in and out of consciousness ...Adrianna Develve barely getting off the Dragon.
Bethilda Lement: What the hell  happened to Aurora she is in really bad shape. Adrianna your completely drained I see you did good by healing her however, she must rest for about 3-4 days now and fully recover from that gruesome fight with that **** Golem Of Steel. Adrianna are you Ok darling? Go get some rest I see you used the forbidden technique of Soul Healing Transfer. Well now you'll live 12 years less thanks to your little sharede. Develve I am thankful that you saved my Dragon from dying but hell consequences are quite dire.
Develve: Here Granny Lement I got Audon's Diamond however it's shattered in 5 separate pieces.
Bethilda N. Lement:  Let me guess the Golem Of Steel did not want this to fall under the wrong hands for it is a powerful relic. Smart move buying time however, useless due to the fact that we got the diamond under our possession. Adrianna we are going to search the Master Forger Of Relics* who can aid us recover this valuable relic to it's original state. It's said that he resides in one of the headquarters of the Order however, he has worked with Witches, Pagans and Nacromancers before so am sure that as long as we provide the right monetary value to repair the relic he'll work for us.
Develve: Why don't we just kidnap him and make him do the work or he pays with his life?
Lement:  Good objective it may have to work that way for us.
Develve: Im aware that the Cyclop population in the Village Of Chalekathan are not taking your threats seriously well ElderLord Gromm has not paid his fee from allowing them to live and not be consumed by the curse itself.
Lement: By killing him we can set an example of what can happen to them if they don't cooperate with our cause.
Develve: It dangerous though he is a strong Leader with lots of powerful influences. Plus he is a highly skilled Witch Doctor/Shaman able to manipulate the forces of nature. Known to use 3 Godly Deities Aikune Chalekathan & Eion. Aikune the cherubim of the Northern Side Of Heaven. Chalekathan the Spirit God embodiment of The Forest Of Whispers and last but not least Eion the mythical creature with an Eagle face 6 wings and the body of a Lion. Embuted with heavenly essence making him a very formidable foe.
Develve:  We will take care of our responsibilities soon but our primary mission is to talk Ayeiton Balderoux III* the Master Forger Of Relics.
: Whoa had no idea he was The Kings kin.
Lement: Indeed he is now go and lay your head and recover some energy because we need to practice your magical plowness.
Adrianna heads towards the Guest Room.

~Meanwhile in The Forest Of Whispers~
Frank Deltoro gets introduced to Gromm ElderLord Of Chalekathan by Jhino.  He also introduces Navarro Castleworth who is pleased to meet the famous Elder.
Gromm: Hello young man I am the protector of this village which has sustained numerous attacks by Lement's Dragons. Develve also partook enthusiastically with her Grandmother in attacking innocent hard working Cyclops. Making them slaves of the Curse which drives them mad and homicidal attacking friends brothers and family so we had to do the inevitable put them down.
Nevertheless, I pray to Deynave Dion High Saint/Priestess Queen Of All Shamanism to protect the lost souls of them Cyclops who fought the curse till the very end but unfortunately lost the fight and in turn lost their lives.
Frank: My condolences to your friends ElderLord Gromm.Am sure they in a better place now at least not suffering. However, I have a personal matter to score with Lement. She kidnapped and murdered my only daughter 10 years ago she was a...his voice gets trembly and he lightly clears his throat..at the same time a solid solo tear drops from his only Eye symbolizing a Fathers great pain and suffering from such an atrocious act." Gromm regains his composure. I got a personal score to settle with Mrs.Lement due to the fact that she took a piece of my heart and soul she killed my daughter. Develve played her part in the kidnapping of my baby girl 10 years ago she would be 18 years old today if Shaila Dair Sultran were alive...her appointed time to be brutally killed by my hand is coming...Bethilda N. Lement has been suppressing her powers for the last 300 years I believe she has some sort of powerful anti-chi barrier put up extending tremendous lengths so even if she is active in The Forest Of Whispers we wouldn't know how to tell due to this **** barrier.
Frank: So your bloodline comes from the Ancient times from the powerful Cyclop Of Royal Priests/Witch Doctors family Sultran.
"A gentle wind blows and Aziel telepathically communicates with Frank.  Aziel: Frank, be careful where you thread I been informed that Lement's Grand-Daughter Adrianna Develve recently gathered Audon's Crystal a powerful diamond known to give its user Bending Steel abilities and higher sustainability. Adrianna Develve has plans to use the Crystal to fully cover the Forest Of Whispers covering every inch of Forest with the Curse which drives all living creatures with a conscious mad totally subseptable to their influence.
However, to you those must be terrible news so my question is...you been in Chalekathan Village for 1 hr and a half you have 5.3 hrs till daylight removing the Darkness powers you currently control.
Frank: I am aware of this Aziel don't worry I'll take care of business.
Aziel: Keep an eye out Navarro I don't  trust him I don't know what intentions he has...plus he is part  of that shady Tower Of Frejoird but perhaps you can use his hatred towards the Order Of The Silver Knights. He can maybe be a reliable source. Be careful Frank.

~Meanwhile in Aziel Castle~
Isis: Well...Aziel aren't  you such a concerned individual...I didn't  know you had a soft spot towards mere humans.
Aziel: I usually don't...but Frank is different from the rest. He is courageous trustworthy and he put his life at risk by helping me regain all my vampiric power. I am in much debt to him...am having second thoughts on your plans to **** him after he completes his assignments that we have agreed upon. If he makes it out alive after all this...he at least deserves a reward and to live.
Isis: Chuckles at Aziel Aziel looks at the Empress with great focus.
Isis: C'mon I'll just have some fun with Frank I wasn't planning to ****** him.
Aziel: I'll  think about it now leave me be I got couple of things I need to take care of.
Isis: Fine Darling I'll  leave you be. You know you are the handsomest of all the brothers you have.
Aziel: Well now Isis you flirting with me...I doubt you'll want my erected tool up your stash. Don't you remember am a Vampire?
Isis: I'm aware of that. Adventure sounds fun plus I never had *** with a hot vampire like yourself.
Isis: Well Doll that is going to be some other time I am working against the clock right now.
Isis: Fine you *****...I'll leave. However, keep in mind that Im watching you closely. Plus remember I still keep contact with DarkLord for soon your Father will be back in this plane of reality.
Aziel: So I have heard.
Isis: Well I have found some juicy
Information about Uriels wereabouts he is in a Modern Castle in America. Amelia St and Cross. Residency 106. He is a huge celebrity in Russia and Germany. Keeps his bloodlust at check with fresh blood always for him to self medicate. Looking only 19 years old he is quite the chick magnet though not my taste his Gothic Progressive Horror Rock made him quite famous. Got 5 albums however kept his personal life well hidden from his fans. Many fake and supportive accounts claiming to know the real Uriel Governale. Though no one truly knows he is a vampire for certain. I know because I searched the private records and found out that he belongs to a High Ranking Secret Society known as Maximillion Vampire Clan. Which performs innocent human babies to be given as a sacrifice towards Baphomet and Azmodeus* 2 Of the Demon Lords of Hell. Your brother belongs to this hidden organization that operates in the Shadows but their latest project is to revive your Father the Progenitor most infamous VampireLord of all time. Dracula! Humanity will cease to exist if he were to be revived. All they need is a vial of blood from all of the current 8 saints and they have their eye on Saint Lauren Glennwald from the Eastern Side of Germany from a small rural community town known as Hertzentmort. She currently 25 years old is on a mission to collect Papal papers for the Order for you know they are closely tied to the papalcy. However, she got body guards that are Elite Knights with very powerful Anti-Witch spells and very accurate at pinpointing weak points in any battle with powerful Witches. So going alone isn't very advisable.<br>
Aziel: I greatly appreciate your information I'll take a look on what my little brother is looking to do. I'll take care of him. Don't you worry I'll be seeing you later. <br>
Isis: Alright..."She steps towards Aziel and rubs his chest and says...my reward is waiting for me...and looks down his pants" <br>
Aziel:  Now your tempting me to destroy that *****... but here this is what you'll get "he shows her his ****"<br>
Isis: Mmmm I can't wait baby...well that's a massive apparatus you got in there just hiding.<br>
Aziel: Hahaha...right. Soon enough I'll be all yours to play with. No leave me.<br>
Isis transforms to a cloud of dark myst and leaves the premises of the Castle.<br>
<br>
~Meanwhile in Uriel's Castle~<br>
<br>
The Maximillion Vampire Club had a secret meeting in the Uriel's Castle. There where many prestigious and famous guests there and so was the Highest Ranking Vampire of the Club Maximillion Virgil Vann himself. Inside the Castle where also uninvited guests from The Order Of The Silver Knights pretending to be Vampires. His name Michael Neil Stalwart & his partner Aalyaah Black. Both of them infiltrated the party somehow the Order Of The Silver Knights caught wind of shady operations in the occult club and decided to check it out. Michael & Aalyaah belong to Stealth/Infiltration part of the Order known as The Dark Ones
. Even the last 5 remaining Dark Priests from the Cathedral Of Skylor* where 13 years ago Baphomet was revived and mortalized to walk upon humans granting favors for a price. Ultimately the price Demon Lords require of humans is their souls to consume them and become more powerful. This 5 Dark Priests where very important in the ceremony taking place because tonight at 3 a.m. they will unify their powers to revive Azmodeus. They were successful on bringing back Baphomet back to life so they are trying to revive another Demon Lord. In Baphomet's revival they used 666 unborn fetuses with 6 babies 3 male and 3 female all born under the sign of Capricorn and all must be 3 months premature. With this requirements met...Baphomet was revived to this plane of existence, however since he was violent and still hellbent from transitioning from the hellish plane to a mortal one he killed and consumed 3 Dark Priests in the process of fully coming to his senses and being able to recognize them and thank them for what they done. Baphomet promised that he would aid them 5 Dark Priests revive all 13 Demon Lords and in turn 2 Of the 5 remaining Dark Priests must sacrifice themselves to the Demon Lords for the strongest remaining 3 get a extraordinary reward.
Sat on a sedan
Spiderman took her hand.

Went down on one knee
And said
Will you marry me?

I cannot face
The rest of eternity
With each generation's
Take on modernity.

It's old fashioned values
I look for and see -

Your confidence,
Common sense,
Your honesty,
Sincerity,
Your quirkiness
And peacableness.

But most of all
Your peerless take on life
Is what does it for me.

Will you be my wife?

Spiderman, Spiderman,
How you do woo!
And you have such qualities
That draw me to you -

Your patience,
Respect,
Your considerable intellect,
Your gentleness,
Strength of mind -

I could go on at length and find
You could  be my cobweb?
I could  be your fly?

Could you  be the man for me
Until the day I die?

What more can I say than
You may have concurred
That I do things my own way.

So can you guess?

Little Miss Muffet Said Yes!

And do you know what?

As they lay there
On that Le Corbusier chair
Without a care in the world -

And you know it's not novel
To be graphic -

They were not afraid at all.
The third of a trilogy about Little Miss Muffet and Spiderman. If you read the other two this will make even more sense. Little Miss Muffet Meets Spiderman  is first and then An Omega Male's Graphic And Novel Ode To Little Miss Muffet.
kevin morris  Jan 2014
The Abused
kevin morris Jan 2014
This is a fictional account of the abuse suffered by a young boy. Any resemblance to persons either living or dead is purely coincidental.
Chapter 1

Lady Macbeth remarked “Tis the eye of childhood that fears a painted devil”. All children have their terrors. The bogeyman who lurks in dark corners patiently waiting to harm the unwary child. The ghost who haunts the attic where, even on a bright sunny day the child fears to go alone or some unspeakable terror, a horror with no name which lies just below the surface of every day life. In my case the ghoul who cast an all pervasive shadow over my childhood was Colin, a man small in stature but, to a child a monster of epic proportions.
I have, on occasions tried to comprehend why my abuser acted as he did. As a boy I had no desire to understand Colin. I hated him with an all consuming loathing. He was the devil incarnate who, if it had been in my power to do so I would have destroyed with as little compunction as a man would show when exterminating a rat. As an adult the hatred remains although now tempered with a desire to understand why Colin abused a small, defenceless child, physically and mentally over a prolonged period.
Was Colin abused by one (or both) of his parents? And, if so does this help to explain (but in no way excuse) why he took such great delight in inflicting pain on me? I met both of Colin’s parents and stayed with them on several occasions. At no time during those visits was I subjected to any kind of abuse. This does not of course prove that Colin’s mother and father where not abusers. It demonstrates that they did not abuse me, no more, no less. However, looking back at my visits to their home and, in particular the fact that neither of Colin’s parents abused me, I am inclined to believe that he was not ill treated by either of them. So what turned Colin into the monster who took delight in twisting my arm so hard behind my back that I thought it would break? The answer is, I have no idea. What turned apparently normal Germans into mass murderers in ******’s *****? The answer is the same, I don’t know. As with the concentration camp guards who committed mass ****** I can speculate that some where subjected to abuse as children and that this led to them becoming psychopathic killers. However not all of those abused in childhood go on to commit abuse, while many in the SS experienced apparently happy childhoods untroubled by abuse. Colin may have been abused by someone other than his parents but even if this is the case this does not explain or justify why he became an abuser.

Chapter 2

I was born on 7 February 1971 in the north of England. Soon after my birth it became apparent that all was not right with Donald Myers. I cried far more than any normal child ought to. In addition I banged my head against hard surfaces on a frequent basis which, obviously gave rise to concern. My mum, as any good mother would took me to the hospital only to be told that there was nothing amiss. However a mother’s instinct told her that something was terribly wrong with her son. She refused to leave the hospital and demanded a second opinion. This was provided by a Polish doctor who, having examined me diagnosed a blood clot on the brain. My distraught family was informed that I required an urgent operation and even if the blood clot was successfully removed I was likely to be severely mentaly disabled. Fortunately the blood clot was removed and I am not mentally deficient. The clot did, however leave me with very poor vision (I am registered blind and use a guide dog as a mobility aid although I possess useful vision which assists with orientation).

Chapter 3

As a young boy I spent a great deal of time with my grandfather. This was due to my sister, Janet being ill and my mum not being able to look after 2 young children simultaneously.
I have fond memories of playing in what I called “the patch”, a piece of the garden which my grandfather allowed me to do with as I chose. I recall making mud pies and coming into the house caked in mud literally from head to toe.
Being blind I relied on my grandfather to read to me. Most weekends found us in a book shop. Whenever I walk into W H Smiths the scent of books brings back happy memories of time spent with my grandfather, me sitting on his knee as he read to me.
My grandfather was a dear, kind gentle man. Had he known how Colin was abusing me he would, I am sure have gone straight to the nearest police station to report him. However he never knew and, being a small child I never confided in him.
I am amazed when I hear people ask “why didn’t so and so report the abuse?” As a small child I was terrified of Colin. Had I told anyone I was sure that he would deny everything and the abuse would intensify. I was not aware of the existence of the National Society For The Prevention Of Cruelty To Children (NSPCC) and even had I known of their existence I would, as a frightened little boy have lacked the courage to pick up the phone and call. Colin would, no doubt have accused me of lying and in the 1970’s and 1980’s children where rarely believed when making alegations of abuse.

Chapter 4

I used to dread leaving the safety of my grandfather’s home to spend time with Colin and my mother. My heart would sink when Colin or my mum came to collect me from my grandfather’s. On one occasion I deliberately dropped the car keys behind the kitchen worktop in the forlorn hope this would prevent my mum taking me to stay with her and Colin. Oh vain hope, the keys where discovered and I found myself in the lair of the abuser.
Colin took care never to abuse me in the presence of others. He was, however adept at tormenting me when my mum or other people where nearby but couldn’t see what he was doing. One incident is indelibly etched on my memory. I was sitting on the sofa, in the living room. The room opened straight out into the street and I was seated close to the front door. My mum called to me from outside asking whether I wanted to accompany her to the supermarket. I replied “yes” but before I could leave to join her Colin, who was sitting on the same sofa twisted my arm behind my back and whispered that I should tell my mum that I had changed my mind. I continued to attempt to leave but Colin increased the pressure saying that if I didn’t inform my mum that I had changed my mind he would break my arm. Naturally I called to my mum that I no longer wished to go with her and she left without me.
Being outside my mum did not see the abuse taking place a mere few feet from where she was standing.
On another occasion, while Colin and I where sitting in the living room, he forced a chipped mug into my lip which drew blood. Again my mum was present in the kitchen, which was located next to the living room but did not observe the abuse. On entering the living room and noticing the scar a few minutes later she enquired what had caused it. At this point in time I don’t recollect whether Colin put the lie into my mouth or whether I concocted the story in order to avoid further abuse. In any case I informed my mum that I had cut myself with a chipped mug, a version of events she accepted.  
At times I thought that I was going to die. No small boy likes washing but I used to dread bathing due to Colin’s own unique method of assisting me to wash. This consisted of holding my head under the water so that my nose and mouth filled and I felt as though I was going to die. I would emerge, terrified coughing and spluttering.
Colin obviously derived tremendous pleasure from half suffocating me. On numerous occasions he would place a cushion or pillow over my face and hold it there until I felt that I was about to die. Years later when I attended counselling with the mental health charity Mind, the counsellor asked me why I thought that Colin had not killed me? I replied that he probably derived more pleasure from having a living child to torment than he would have gained had he murdered me. Also, had he murdered me the prospect of detection and Colin spending a long period in prison would, I said have acted as a disincentive to  him taking my life. .  
Colin was a sadist. In adition to systematically abusing me he also abused my mum. I remember him hitting her on a regular basis and on at least one occasion pushing her down the stairs. He was (and is) a ******* of the first order.
Colin didn’t confine his cruelty to people. I recall him flinging the family cat at me. The poor animal stuck out it’s claws to gain purchase with the result that it scratched my face badly. Like all bullies Colin was, at bottom a coward. I never once saw him abuse the family dog. I am sure that this was not out of any affection for the animal, rather it stemmed from the fear that had he done so the dog would, quite naturally have bitten it’s tormentor in self defence. Oh how I wished that the dog had sunk his teeth into Colin.          

Chapter 5

We all have nightmares. As a young boy one of my recurring bad dreams concerned being chased by a hoover. To anyone unfamiliar with the abuse inflicted on me the relating of my dream will, no doubt result in mirth. However my nightmare was no laughing matter as to me the vacuum cleaner was a thing of terror. We owned an upright hoover which Colin would, periodically place on my head while the motor was running. I well recall the terror as the wheels of the machine ran across my head. Colin was nothing if not inventive as in addition to putting a working vacuum cleaner on my head he also made me hold the machine above my head. My arms would ache terribly but I dare not put the hoover down until ordered to do so by Colin. For many years following the ending of the abuse “the chasing hoover dream”, as I refered to it stubbornly refused to go away. While the nightmare no longer plagues my sleeping brain, whenever I use a vacuum cleaner the recollection of a terrified little child being tortured by a hoover comes back to me.
In another of my childhood nightmares I would enter the spare bedroom only to be grabbed by a clicking monster which wrapped it’s hands around my neck attempting to strangle me.
Colin choked me on numerous occasions. One incident remains vividly imprinted on my memory. It was evening and my mum, sister, Colin and I sat in the living room. All of the family accept for me where watching television. I was listening to a talking book about a footballer which contained many amusing stories. I laughed uproariously throughout much of the book. Later on that evening, following the departure of my mum and sister to bed Colin choked me telling me never to laugh like that again as I had “disturbed” people. As I recall Colin’s strangling of me the old terrors reassert themselves. At the time I felt that I had, perhaps done something wrong. However the logical part of my brain told me that I had done nothing whatever to justify Colin’s barbaric treatment of me. He ought to have gone to prison for that incident alone. He was (and remains) the personification of evil to me. To this day I can, on occasions feel self conscious about giving in to the natural desire to laugh at a great joke when in the company of friends. I can (and do) let myself go and laugh uproariously but Colin remains in the background, like Banquo’s ghost putting a dampener on the feast.

Chapter 6

Colin possessed considerable charm which is, perhaps how he came to entrap my mum into marrying him. I remember sitting around the dinner table with guests present and Colin holding forth on Charles Darwin amongst other topics. Although not university educated Colin was by no means unintelligent and could, if one was unfamiliar with his propensity to abuse, appear to be charm itself, a man whom it would be a pleasure to have over for dinner.      

Colin possessed the capacity to make people laugh which he used to devastating effect when making barbed comments at the expense of my mum. I hated him for his comments but laughed none the less which is proof of the idea that hostages frequently try to please their captors by forming some kind of relationship with them. I can not at this juncture in my life recall in detail how, precisely Colin undermined the confidence of my mum, I suspect that this inability on my part stems from the fact that I was, quite naturally concerned with my own suffering and the abuse perpetrated on my mum was of secondary concern. My own pain preoccupied me. I had little time for that of others.

Chapter 7

My counsellor and my dear friend, Barry have raised the issue as to whether my mum was aware of the abuse to which Colin was subjecting me. I have thought about this question long and hard and I still can not provide a categoric answer. I am sure that my mum never actually observed Colin in the act of abusing me. She was, as explained in the forgoing chapters, never in the same room when the abuse took place. The fact that her son showed a profound disinclination to be alone with Colin should though have caused alarm bells to start ringing. Colin was clever. The only time I can recollect when he caused me to bare a physical manifestation of abuse was the incident of the chipped cup related earlier. On all other occasions the marks where deep psychological wounds not visible to the casual observer.
I have tried discussing the abuse with my mum. Her reaction has osilated between stating that the abuse occurred a long time ago and that I ought to forgive and forget, to questioning whether it did, in fact take place. My gut feeling is that my mum does not doubt my veracity. The anger she manifested on discovering that I had informed my wife of the abuse perpetrated by Colin demonstrates that she does not doubt me.
Shortly prior to my wife and I separating we went to stay with my mum and sister. One morning my mum, my daughter and I went for a walk during the course of which my mum received a call from my sister. Janet said that my wife, Louise had told her that I had informed Louise of the abuse to which I had been subjected to by Colin. My mum rounded on me asking “why the hell I had told Louise about the abuse”. There ensued a blazing argument during which my mum hit me. On returning home the argument continued with Janet stating that I should talk to Colin about the situation. The fact that Janet did not defend Colin and state that he couldn’t, possibly have abused me indicates that she was, to some extent aware of the abuse.
I love my mum deeply and have no doubt that she loves me. Yet whenever we are together the elephant in the room (Colin) stands between us, seen by both but mentioned by neither. In my case I fear the eruption of a blazing argument. I have always shyed away from arguments which is, I suspect down to me having grown up in a family in which vilence and arguments where commonplace. As a small boy I developed strategies for minimising the likelyhood of being abused. My main strategy was to make myself as inconspicuous as possible. I became a master at sitting quietly, not speaking unless I was spoken to and doing everything in my power not to antagonise Colin. While I don’t fear being physically abused by my mum I shrink in terror at the prospect of a verbal tyraid eminating from her.
In my mum’s case she does, I believe feel guilty due to her not having protected her son from Colin. The fact that she refuses to discuss the abuse to which I was subjected shows her inability to acknowledge to me her own sense of culpability at her failure to prevent Colin’s behaviour. On at least one occasion my mum has told me that the abuse could not have taken place as, if it had she would have been aware of it. This is contradicted by her statement (refered to earlier) that it was a long time ago and I ought to “forgive and forget”. Both statements can not be correct and in her heart of hearts my mum knows that I am telling the truth, she lacks the courage to admit her own failings and apologise to me.      

Chapter 8

At this distance in time I can not pinpoint the precise point at which the physical abuse stopped. At some indeterminate point (I think during my early teens) I began to challenge Colin’s behaviour. I remember wishing to join a social club and Colin informing me that I could not do so. Full of fear and trepidation I said that I would join to
zebra Oct 2017
Here is a primer on the history of poetry

Features of Modernism

To varying extents, writing of the Modernist period exhibits these features:

1. experimentation

belief that previous writing was stereotyped and inadequate
ceaseless technical innovation, sometimes for its own sake
originality: deviation from the norm, or from usual reader expectations
ruthless rejection of the past, even iconoclasm

2. anti-realism

sacralisation of art, which must represent itself, not something beyond preference for allusion (often private) rather than description
world seen through the artist's inner feelings and mental states
themes and vantage points chosen to question the conventional view
use of myth and unconscious forces rather than motivations of conventional plot

3. individualism

promotion of the artist's viewpoint, at the expense of the communal
cultivation of an individual consciousness, which alone is the final arbiter
estrangement from religion, nature, science, economy or social mechanisms
maintenance of a wary intellectual independence
artists and not society should judge the arts: extreme self-consciousness
search for the primary image, devoid of comment: stream of consciousness
exclusiveness, an aristocracy of the avant-garde

4. intellectualism

writing more cerebral than emotional
work is tentative, analytical and fragmentary, more posing questions more than answering them
cool observation: viewpoints and characters detached and depersonalized
open-ended work, not finished, nor aiming at formal perfection
involuted: the subject is often act of writing itself and not the ostensible referent

............
Expressionism

Expressionism was a phase of twentieth-century writing that rejected naturalism and romanticism to express important inner truths. The style was generally declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that belong to all men, and which European civilization had rendered effete or inauthentic. The movement drew on Rimbaud and Nietzsche, and was best represented by German poetry of the 1910-20 period. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm, Schnack and Werfel are its characteristic proponents, {1} though Trakl is the best known to English readers. {2} {3}

Like most movements, there was little of a manifesto, or consensus of beliefs and programmes. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order". Expressionism was very heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early Surrealism, many of which crop up in English, French, Russian and Italian poetry of the period. Political attitudes tended to the revolutionary, and technique was overtly experimental. Nonetheless, for all the images of death and destruction, sometimes mixed with messianic utopianism, there was also a tone of resignation, a sadness of "the evening lands" as Spengler called them.

Expressionism also applies to painting, and here the characteristics are more illuminating. The label refers to painting that uses visual gestures to transmit emotions and emotionally charged messages. In the expressive work of Michelangelo and El Greco, for example, the content remains of first importance, but content is overshadowed by technique in such later artists as van Gogh, Ensor and Munch. By the mid twentieth-century even this attenuated content had been replaced by abstract painterly qualities — by the sheer scale and dimensions of the work, by colour and shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering the horrors of the First World War, and ineffectual governments afterwards, fragmented into violently opposed political movements, each with their antagonistic coteries and milieu. The painting of these groups was very variable, but often showed a mixture of aggression and naivety. Understandably unpopular with the establishment  — denounced as degenerate by the Nazis — the style also met with mixed reactions from the picture-buying public. It seemed to question what the middle classes stood for: convention, decency, professional expertise. A great sobbing child had been let loose in the artist's studio, and the results seemed elementally challenging. Perhaps German painting was returning to its Nordic roots, to small communities, apocalyptic visions, monotone starkness and anguished introspection.

What could poetry achieve in its turn? Could it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of poetry, and to the exclusion of content? Poetry can never be wholly abstract, a pure poetry bereft of content. But clearly there would be a rejection of naturalism. To represent anything faithfully requires considerable skill, and such skill was what the Expressionists were determined to avoid. That would call on traditions that were not Nordic, and that were not sufficiently opposed to bourgeois values for the writer's individuality to escape subversion. Raw power had to tap something deeper and more universal.

Hence the turn inward to private torments. Poets became the judges of poetry, since only they knew the value of originating emotions. Intensity was essential.  Artists had to believe passionately in their responses, and find ways of purifying and deepening those responses — through working practices, lifestyles, and philosophies. Freud was becoming popular, and his investigations into dreams, hallucinations and paranoia offered a rich field of exploration. Artists would have to glory in their isolation, moreover, and turn their anger and frustration at being overlooked into a belief in their own genius. Finally, there would be a need to pull down and start afresh, even though that contributed to a gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an elaborate body of theory to justify, support and overtake what might otherwise appear infantile and irrational. And if traditional art cannot be pure emotional expression, then a new art would have to be forged. Such poetry would not be an intoxication of life (Nietzsche's phrase) and still less its sanctification.  Great strains on the creative process were inevitable, moreover, as they were in Georg Trakl's case, who committed suicide shortly after writing the haunting and beautiful piece given below

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SYMBOLIST POETS
symbolism in poetry

Symbolism in literature was a complex movement that deliberately extended the evocative power of words to express the feelings, sensations and states of mind that lie beyond everyday awareness. The open-ended symbols created by Charles Baudelaire (1821-67) brought the invisible into being through the visible, and linked the invisible through other sensory perceptions, notably smell and sound. Stéphane Mallarmé (1842-98), the high priest of the French movement, theorized that symbols were of two types. One was created by the projection of inner feelings onto the world outside. The other existed as nascent words that slowly permeated the consciousness and expressed a state of mind initially unknown to their originator.

None of this came about without cultivation, and indeed dedication. Poets focused on the inner life. They explored strange cults and countries. They wrote in allusive, enigmatic, musical and ambiguous styles. Rimbaud deranged his senses and declared "Je est un autre". Von Hofmannstahl created his own language. Valéry retired from the world as a private secretary, before returning to a mastery of traditional French verse. Rilke renounced wife and human society to be attentive to the message when it came.

Not all were great theoreticians or technicians, but the two interests tended to go together, in Mallarmé most of all. He painstakingly developed his art of suggestion, what he called his "fictions". Rare words were introduced, syntactical intricacies, private associations and baffling images. Metonymy replaced metaphor as symbol, and was in turn replaced by single words which opened in imagination to multiple levels of signification. Time was suspended, and the usual supports of plot and narrative removed. Even the implied poet faded away, and there were then only objects, enigmatically introduced but somehow made right and necessary by verse skill. Music indeed was the condition to which poetry aspired, and Verlaine, Jimenez and Valéry were among many who concentrated efforts to that end.

So appeared a dichotomy between the inner and outer lives. In actuality, poets led humdrum existences, but what they described was rich and often illicit: the festering beauties of courtesans and dance-hall entertainers; far away countries and their native peoples; a world-weariness that came with drugs, isolation, alcohol and bought ***. Much was mixed up in this movement — decadence, aestheticism, romanticism, and the occult — but its isms had a rational purpose, which is still pertinent. In what way are these poets different from our own sixties generation? Or from the young today: clubbing, experimenting with relationships and drugs, backpacking to distant parts? And was the mixing of sensory perceptions so very novel or irrational? Synaesthesia was used by the Greek poets, and indeed has a properly documented basis in brain physiology.

What of the intellectual bases, which are not commonly presented as matters that should engage the contemporary mind, still less the writing poet? Symbolism was built on nebulous and somewhat dubious notions: it inspired beautiful and historically important work: it is now dead: that might be the blunt summary. But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now. The contents of consciousness were the concern of Edmund Husserl (1859-1938), and he developed a terminology later employed by Heidegger (1889-1976), the Existentialists and hermeneutics. Current theories on metaphor and brain functioning extend these concepts, and offer a rapprochement between impersonal science and irrational literary theory.

So why has the Symbolism legacy dwindled into its current narrow concepts? Denied influence in the everyday world, poets turned inward, to private thoughts, associations and the unconscious. Like good Marxist intellectuals they policed the area they arrogated to themselves, and sought to correct and purify the language that would evoke its powers. Syntax was rearranged by Mallarmé. Rhythm, rhyme and stanza patterning were loosened or rejected. Words were purged of past associations (Modernism), of non-visual associations (Imagism), of histories of usage (Futurism), of social restraint (Dadaism) and of practical purpose (Surrealism). By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational. Even Postmodernism, with its bric-a-brac of received media images and current vulgarisms, ensures that gaps are left for the emerging unconscious to engage our interest

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IMAGIST POETRY
imagist poetry

Even by twentieth-century standards, Imagism was soon over. In 1912 Ezra Pound published the Complete Poetical Works of its founder, T.E. Hulme (five short poems) and by 1917 the movement, then overseen by Amy Lowell, had run its course. {1} {2} {3} {4} {5} The output in all amounted to a few score poems, and none of these captured the public's heart. Why the importance?

First there are the personalities involved — notably Ezra Pound, James Joyce, William Carlos Williams {6} {7} {8} {9} — who became famous later. If ever the (continuing) importance to poets of networking, of being involved in movements from their inception, is attested, it is in these early days of post-Victorian revolt.

Then there are the manifestos of the movement, which became the cornerstones of Modernism, responsible for a much taught in universities until recently, and for the difficulties poets still find themselves in. The Imagists stressed clarity, exactness and concreteness of detail. Their aims, briefly set out, were that:

1. Content should be presented directly, through specific images where possible.
2. Every word should be functional, with nothing included that was not essential to the effect intended.
3. Rhythm should be composed by the musical phrase rather than the metronome.

Also understood — if not spelled out, or perhaps fully recognized at the time — was the hope that poems could intensify a sense of objective reality through the immediacy of images.

Imagism itself gave rise to fairly negligible lines like:

You crash over the trees,
You crack the live branch…  (Storm by H.D.)

Nonetheless, the reliance on images provided poets with these types of freedom:

1. Poems could dispense with classical rhetoric, emotion being generated much more directly through what Eliot called an objective correlate: "The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." {10}

2. By being shorn of context or supporting argument, images could appear with fresh interest and power.

3. Thoughts could be treated as images, i.e. as non-discursive elements that added emotional colouring without issues of truth or relevance intruding too mu
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PROSE BASED POETRY
prose based poetry

When free verse lacks rhythmic patterning, appearing as a lineated prose stripped of unnecessary ornament and rhetoric, it becomes the staple of much contemporary work. The focus is on what the words are being used to say, and their authenticity. The language is not heightened, and the poem differs from prose only by being more self-aware, innovative and/or cogent in its exposition.

Nonetheless, what looks normal at first becomes challenging on closer reading — thwarting expectations, and turning back on itself to make us think more deeply about the seemingly innocuous words used. And from there we are compelled to look at the world with sharper eyes, unprotected by commonplace phrases or easy assumptions. Often an awkward and fighting poetry, therefore, not indulging in ceremony or outmoded traditions.
What is Prose?

If we say that contemporary free verse is often built from what was once regarded as mere prose, then we shall have to distinguish prose from poetry, which is not so easy now. Prose was once the lesser vehicle, the medium of everyday thought and conversation, what we used to express facts, opinions, humour, arguments, feelings and the like. And while the better writers developed individual styles, and styles varied according to their purpose and social occasion, prose of some sort could be written by anyone. Beauty was not a requirement, and prose articles could be rephrased without great loss in meaning or effectiveness.

Poetry, though, had grander aims. William Lyon Phelps on Thomas Hardy's work: {1}

"The greatest poetry always transports us, and although I read and reread the Wessex poet with never-lagging attention — I find even the drawings in "Wessex Poems" so fascinating that I wish he had illustrated all his books — I am always conscious of the time and the place. I never get the unmistakable spinal chill. He has too thorough a command of his thoughts; they never possess him, and they never soar away with him. Prose may be controlled, but poetry is a possession. Mr. Hardy is too keenly aware of what he is about. In spite of the fact that he has written verse all his life, he seldom writes unwrinkled song. He is, in the last analysis, a master of prose who has learned the technique of verse, and who now chooses to express his thoughts and his observations in rime and rhythm."

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OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition
howard brace Sep 2012
He'd been hanging around for some time now, indeed... he'd become rather proficient in that direction of late and although it would probably be rude to point, you could hardly accuse him of loitering... and certainly not with intent, which would have been of some considerable comfort to Norman's Mother, given his current situation, particularly since the latest complication in his otherwise dull and uneventful life, had left him predisposed towards looking a little more drawn in the face than was usual for the time of year and a decidedly deeper shade of green.

     Barely discernible, only the deeper scars now remained to  mar the roadside foliage, bearing scant witness to the motorcycle's recent and untimely misadventure... regrettably with Norman still mounted astride.  Having lost all adhesion with the freshly resurfaced country lane the motorcycle had promptly slewed sideways and across the wet grassy verge before plunging down the wooded embankment, there to encounter its own humbling demise and land in the shallow watercourse below, but it was still early Summer and already the verdant undergrowth had begun to recover.

     At the point where his motorcycle, having determined without deviation or interruption to take the most direct route to its final resting place below and follow the downwardly allure of gravity... Norman being somewhat lighter and more aerodynamic than the former had been propelled, amid a flurry of leaves and twigs headlong through the outermost branches of the nearest tree... and promptly snapped his neck... Far below a dog-eared circular proclaimed 'kidz do it better on wheelz'!!!

       In many ways it was the most handsome beech tree you could ever wish to lay eyes upon, majestic in stature and albeit stationary in nature, was full of life, contrary to its uninvited guest who decidedly was not... but who definitely was just as static as the beech tree... and which by any stretch of the imagination had far more right to be there than Norman did.
  
     The sudden and unforeseen turn of events of the previous forty eight hours had cast grievous, Holiday nullifying inevitability directly into the path of any plans Norman may have prematurely made in that direction... and for the moment at least to be left hanging high and dry in the lush, verdant canopy far above his motorcycle, currently languishing in the sparkling clear waters below... and it has to be said, without so much as a pair of galoshes between them, and having little else to do other than hang around nodding his head in the warm Summer breeze he swayed gently up and down in the light country air.

     Pausing mid-twitch on three legs between Norman's deceased neck and his equally demised shoulders, an inquisitive squirrel was now the prime mover in our eponymous hero's sudden and discontinued modus-operandi as it provoked involuntary nods from Normans head, gestures of consent as the prying rodent set itself to investigate in great detail the darkest, innermost depths of Norman's inside breast pocket.

     Norman's unintentional leave of absence had finally extinguished once and for all any further thought of future remittance towards the outstanding balance due on the motorcycle hire purchase agreement, which as luck would have it was just as well, because his equally unintended leave of absence, so it transpired, had also extinguished Norman... and thereby deprived him once and for all of any further thought of his outstanding ability to pay them or indeed, any further thought at all.

     The squirrel meanwhile, having brushed aside the meagre contents of Normans pocket finally emerged victorious into the subdued light of the dappled canopy, brandishing a hard won paper-tissue proudly clenched between its teeth... before moving on to other, far more pressing matters on the branch opposite... then paused to scratch its ear...  Now it may be of some interest to the reader at this point... or not, as the case may be, but the squirrel allegedly knew a friend of a friend, who incidentally runs the little B&B; further down the road and who would be prepared to swear on Norman's other-worldly life that she'd seen far worse looking faces peering back from the bathroom cabinet mirror of a Sunday morning after a ***** night out with the lads... than anything she could ever possibly imagine exercising squatters rights way above in the majestic beech tree.

     Flies seemed to be one of the few living creatures that morning who hadn't raised any objection to Norman's ill-mannered intrusion... indeed, were currently hatching plans of their own in that particular direction and take intimacy to the next level with regard to lunchtime seating arrangements... and who had assured him from day one, that while their long term prognosis for Norman attaining ***** and independent posture was by no means cut-and-dried, he should nevertheless be moving about, not necessarily under his own steam in no time at all... and by the look of his complexion, it would seem that in the interim period he should be thankful for the company.

     As the balmy Summer afternoon steadily drew to its own happy conclusion Norman, without a care in the world and now in the early larval stage of being in the family way, so to speak and shortly to shed a little life of his own... stared vacantly out at what had recently become his own neck of the woods, rapidly becoming a permanent fixture in the pastoral landscape... and while his sudden relocation may have been a real eye opener for some, for Norman he'd discovered the true meaning of be at one with nature, about the birds and the bees and especially the flies in the trees...  

     So there we must leave poor Norman with his recent and enduring affliction, nodding in the dappled shade of the majestic beech tree, playing host to the countryside and the following seasons crop rotation, leaving his Mum to worry as to whether her Son had fresh underwear that morning... or not as the case may be... the County Constabulary making their door to door enquiries as to Norman's current whereabouts... his former employer re-adjusting next months pay cheque... accordingly and the hire purchase company about to dispatch final demands indiscriminately left, right and centre for financial delinquency.  The only other claim you could probably make with any degree of certainty was that Norman's full-face motorcycle helmet had by no means achieved that which was expected of it for his ultimate well-being that day... and was doing little more than keep his hair dry and his spectacles from slipping further than his chin.
                                                           ­  ­                                                                ­ ­                                                                ­ ­             ...   ...   ...**

A work in progress.                                                        ­                                                     1122
El Torpedo appeared out of thin air, moving at what could only be called -by any reasonable man, considerable velocity. She crashed into her soft down bed with a force that would've concerned even the most detached of onlookers, had there been any. 'Had there been any?' she wondered, as the recoil from the impact sent her flying into the air. The young girls arms and legs flailed in all directions; her body spinning wildly through the empty space of mid-flight, until finally -THUD!

“******* it, Ghost!” she groaned, holding the back of her head with her gloved hand.
“How can that still be funny!”
There was no reply, only a faint warm breeze and the smell of freshly cut grass.
“This is no time for jokes, Ghost! I was this close to offing those *******. What the **** were you thinking letting them get away?”

For a few moments she continued on mumbling various obscenities and abuse at The Ghost, which we won't bother to detail here. El Torpedo removed herself from the floor and took a few seconds to dust off her omniverse attire.
Ghost Scarecrow replied, “I didn't let them get away.”
“Well, then where the **** are they? I don't see them anywhere!” El Torpedo spat back.
“Of course you don't. They're not within our current field of vision.”
“Very funny, you are such a ******* riot. Did they get away or not?”
“No. They did not get away.”
“Well, where are they, then?”
“Finally, you ask the right question!”
“I already asked you that!”
“Whatever. Let's go.”

At that moment, El Torpedo and the Ghost Scarecrow evaporated into the universe, their molecules became space, all of it...the entire thing all at once, allowing the duo the very useful ability to appear anywhere in the omniverse at anytime without warning. I know, it's hard to comprehend. But, as far as I can tell, and from what I've been told by those who would know, that's what happened. It was a rather difficult period for criminals like me. But that's a story for another time, back to the matter at hand.

Once their miracle of physical travel was complete, the duo found themselves floating approximately 40 feet above the Lacksdale River looking down on Tom's Bridge. Two small objects could be made out in the distance, appearing to hover just beneath.

“That's them?”
“Yep.”
“What did you do, Ghost?”
“I was just practicing my justicing...”
“That's not justice, Ghost. That's ******.”
“No Torpedo, that is art.” His playful demeanor suddenly became somber and serious. “Let's have a closer look.”

The two floated closer. As they came within range, El Torpedo felt the cold, dark energy flowing straight through her soul; Ghost had had one of his moments again. The gruesome scene came into full view: Two men hung upside down from the bridge; the chains that Ghost Scarecrow had used to secure their ankles had already begun their slow and deliberate journey through the men's flesh.





Beneath the chains were crudely fashioned trash bags secured by duct tape around the victim's ankles. Ghost wasn't a detail oriented entity, he just sort of did things in a haphazard way and called it art. Even the casual observer could tell that the job was done in haste. The plastic covered the corpses from ankle to neck. The bags were bloated, filled with the blood of the doomed souls. A few tiny streams of the red liquid made it through the duct tape and ran down the faces of the men.

El Torpedo turned away for a moment and fixed her gaze on the Scarecrow, the smile on his face was quite sinister and chilled her to the bone. She wondered what he thought was so artistic about this brutality. Then she saw their faces. They were beautiful. It must have taken him hours to carve it all.

“How did you do that? It's..beautiful.”
“I didn't do that.”
“You didn't?”
“No. I'm currently compiling a list of possible suspects.”
“Ghost, you told me that you did it.”
“I did.”
“Well, either you did or you didn't. Which is it?”
“I killed them and hung them there. I didn't do the carving. You know I can't draw...at least not like that, and certainly not in this dimension.”
“Then who did?”
“I'm not sure.” The Ghost stuttered, beginning to feel a bit sick. “This looks like the work of...”
Together they finished the sentence, “The Artist!”

For a moment they stared at each other in stunned silence, both absorbing the gravity of the situation. El Torpedo broke the silence, “It can't be, we...I..., I killed The Artist myself. I stuck the barrel to her sweaty forehead; I saw the fear in her eyes when I cocked the hammer. I saw the explosion of blood and brain matter splash against the ceiling and walls after I squeezed the trigger. I wiped her blood from MY face. It's impossible!”
The Scarecrow replied, “It could be a copy cat. The Artist is dead, Torpedo. I was there; I saw what you did to her. No one could survive that -not even her.”

“You two don't know what you saw,” boomed the unmistakable voice of the one and only. “But, I do!” She continued, “You saw what I wanted you to see. Same as now.” She drew a heavy breath, her ample ***** grew fuller. She created the illusion of oxygen intake; she was a creator, and continued her verbal assault on the Scarecrow. “And you! Strawman, or whatever you call yourself these days. To even suggest a copycat after looking at my masterpiece...I'll **** you in eight dimensions a day for the next week! Ten, if I can manage it.” El Torpedo saw the fire of  The Artist's eye flickering in the cool blue darkness. “I think I'll start with the you in this dimension.”

At that very moment, The Ghost fired his (clever weapon name) straight through the heart of what we all, and any person worthy of being reasoned with would've thought was, The Artist. No such luck. The solid image became mist, evaporating before their eyes. I could still see her, safely tucked away. I see lots of things though; hard to keep it all straight, you know?

The Artist continued, “..to think that would work. Good Christ, Strawman! You're dumber than your name implies!”

She reappeared, snuggled closely to the back of  The Ghost Scarecrow. Her knife at his throat, her lips at his ear, she whispered, “My Turn.” She proceeded to pull the blade across Ghost's neck. Before Torpedo could even begin to think about reacting, The Ghost's blood was spraying all over the place. I actually felt bad for her at that moment. It was kind of sad, actually. Blah, rambling again. Back to it!  


“What the **** was that?” El Torpedo uttered, apparently still in shock.
“That, My Dear, is what you can expect when you **** with The Artist!” The sound of her words reminded El Torpedo of the sound of an electric can opener near the end of it's days. “I am the only force in the omniverse that you need concern yourself with, that is all you need to know. Now, Good Night!”

Blinded, but very much alive and very much paralyzed, El Torpedo could feel her limp body sinking into the dark, cold waters of the Lacksdale River. She held her breath for as long as she could, until finally, she gave. The water filled her lungs, but she did not die. A chain appeared around her ankle, it descended deep into the abyss where, presumably, it was attached to something that would keep the girl secure. I'm not sure, I couldn't see that far.

“I've secured you between dimensions, Dear. No one will find you here. Enjoy your stay.” and with that The Artist was gone. But, she'd made one, possibly fatal, mistake. She'd left a witness, ME!
Twenty two years had passed  by

She blinked, and a lifetime had passed

She started this job as a lark

She never thought it would last

Two husbands and rehab were part of this bar

The husbands...her clients all knew

But the rehab, was hers...and hers all alone

Only one in her family knew

She'd been tending bar here for 3 presidents plus

Two popes, two husbands....one queen

There were things in this bar that were secreted away

There were things just not meant to be seen

Say, 4 fights a week for 22 years

That's four thousand six hundred fights

That's more violent acts than one person should see

That's  a lot of just mind numbing sights

As a tender of bar, she was part doctor as well

Serving drinks, and giving advice

She was hit on as well, and most she turned down

But some, they succeeded....some twice

They would come with their problems

spill their guts to this girl

Who they'd probably just met that night

They would tell her their problems and drink a few ales

When they  left, they would be feeling all right

But, Mary...poor Mary would harbour their pain

She'd help them, but could not let things go

They'd cheer up with her talking and 1 or 2 beers

But she hurt, and would leave feeling low

There was always a someone on the tales other end

Who was home, maybe beaten or mad

But, Mary....she talked to the one who'd come out

And she always left feeling quite sad

The stories they told her, she never asked them to tell

But they came and they opened on up

And she as their hostess just listened and served

Whle they sat there, getting full in their cups

She married two men that she met in the bar

Both left wives, and poor Mary was blind

They both charmed this girl, till she was way too far gone

And she learned that love..yes, was blind

She had a young niece, that her sister had left

She was going to school here in town

If there was one person alive who could bring Mary up

Her niece Amber was the proverbial clown

After marrying twice and divorcing just once

Mary vowed not to do it again

But, she was hit on each night

in this bar Down the lane,

by a considerable number of men

Her first husband...a lout, for better want of a term

Was a drunkard, and jealous most days

But she fell for him hard, for his sad tale of woe

And her marriage lasted 91 days

He would come in each night after finishing work

And would berate her for flirting for tips

After leaving the bar, he would beat her at home

Hitting low, just above Mary's hips

Her boss saw her marks whens she was filling the fridge

He kept quiet, but he told her to call

A friend that he had, who would help Mary out

He knew her marks were not from a fall

Before Mary phoned she had incredible news

Her husband had been in a crash

Her problems were over and her bruises would heal

And it all happened ...****...in a flash

During this time her sister ran off

Leaving Amber for Mary to raise

Though she hated her sister for leaving

Dear Amber she loved, and she helped Mary get through the days

But eight years along, with no outlet in sight

Hearing tales and of other folks pain

Mary reached out and she found comfort in

A needle and a rock of *******

for three years she spiked, shooting up every day

spending money she stole from the till

And during this time, she got married again

He seduced her when she had no self will

He knew of her problem and joined in all the same

Just a leech come along for the ride

He would help keep her secret, never telling her boss

Never letting them know she was fried.

Poor Amber found out, she walked in one June day

there was Mary with her coke and her spoon

When she looked at young Amber, she knew she must quit

And she knew that she must do it soon

Pure heartbreak she saw in that little girls eyes

She could see how she thought she would lose

Her Aunt like her mother, gone from her life

Mary knew she would now have to choose

Rehab was chosen, and her husband he left

He found out that this train had now stopped

his free ride was over, his meal ticket gone

You could say that his bubble had popped

Two years clean celebrated, at the bar with the kid

Mary got some good news from her boss

He was retiring to Texas and was selling the bar

And he would sell it to her at a loss

She was now the proud owner of a bar all her own

Three doors down from Giannis on Hope

She would run it precisely, the way she'd been taught

She would run the bar clean, free from dope

She would meet some great people,

Some nights in for a drink

And others that she wished would just leave

She would listen to stories, some good some not quite so much

And others just to  hard to believe

She would make friends with some people  And others she'd ban,

making sure that they left with a start

She'd befriend Harry Cooper, the World War two vet

Who would imprint his soul on her heart

And Amber...yes Amber would come down to spend time

She was fine and was going to school

She was a classical ****** in the dark of her room

And I tell you this girl was just cool

Mary brought Amber up with morals and faith

She would come when her Aunt made the call

She would rather hang out at the bar every night

Than to go with her friends to the mall

Mary made peace with the demons she had

She could leave the folks tales and go home

But, now she had Amber and a reason to live

And she would not have to do it alone

the bar's past Giannias, three doors  down to the right

It's not large but she makes  it make do

There's some music out back from a bluesman as well

Come on down and be one of the few

Be a regular there, join up with the crowd

It's not big but the beer's always cold

You don't have to stay long, but you'll come back again

For it's special....or so I've been told

Tell Mary I sent you, you'll get a free drink

And a free ear to hear of your tale

But, leave your ciggies outside for you can't smoke in here

You can do it outside by the pail.
Ted Scheck Jan 2014
She visited my house, home
Wife, Boys:
Soaking up what little she could of Little Brother’s life;
And I hugged her, I put my arms around her frailty,
My big sister, now tiny and ravaged by the word
That shouldn’t rhyme with
Dancer, but
Does.

Here in her last September, last
September.
A
Final tour of her
Favorite Places, a
Preacher’s Mountain.
And looking into her
Eyes kind and squinty,
I had the feeling that
One hand held the
Times I would see her.
I was off by two,
minus the thumb.

Forward-fast to Dec.
27th, my Niece’s Wedding
I held her again, and
She was more frail
And unsteady and her
Eyes rimmed red with
Spreading Pain;
The rain relentlessly
Hammering on the roof of the
Membrane-thin
Quonset Hut-Shell.

Walking unsteadily steady back
To her Dear Friend’s car
My heart in tatters, sad, yet
Glad for her to visit that
Distant Shore
That her eyes so longed for.

And now, in this frozen January of
2014
Wintry-Mixed Nut Group
(That is my family)
I enter her ineptly-named
Living room, where she is
Laid prostrate before God
And everybody.
And I enter into such a blender of
Sweet-sour-bitter-salty
Emotional juices.

I take her hand
And kiss her cheek, and an
Eye perks up at the sight of
Little Brother.
Yet that eye is tired of
The uphill worn treadmill that
Life has turned into.

(Please God take her away
With You. Deliver my
Sister Amy
From the planet’s
Gravi-pain-tiful
Pull)
And that prayer flew out of
Me driving back to Indy
Sunday at about 2:00 pm
Central Time.

And at 11:30 pm UGT
(Universal God Time)
An Angel wakes a
Slumbering Saint.

And Amy Scheck closes her
Eye on this world
(And opens the eyes of her
SPIRIT
To the
Next)

(And we are in the presence
Of God’s Messengers,
That Warrior Race of
Angel Guardians).

He is of a height much,
Much greater than her
Small yet intensely curious
Form.

He has mysterious and utterly fabulous
Wings tucked and tightly-sprung
Beneath impossibly-broad
Shoulders; his sword
Gleams like a hundred
Suns glistening on the dew of
A thousand worlds.
Radiant! Radiant and
Mighty is he!
And he is here
For her.

A voice of velvet thunder, low
Mixed with music and fury.
“Rise, Little One.
Child of God!
Rise, and grab hold
Of my tunic!
It’s time to enter
Into the Throne Room of
The Most High!”

And, forgive me for imagining
(What cannot be imagined, but
Longed for, yes. Longed for
By countless numbers).
I write in faith, hope, and
Love for my dearly-
Departed sister.
I use the tool
God gave me
Before I was born.

I imagine the transition
Of death to life
Of life from death.

A unimaginably-large soul
Trapped in a dead husk of
A Mortal Shell
Winds down like the biological
Clocks we resemble; metering,
Measuring heart beats of time,
Of counted breaths breathing
No longer. Of pain, and suffering,
And the emotions swirling off both
Like streamers moved by the wind.

Amy Winifed Scheck
Dies. She breathes in/not out, or
Opposite so.
Her heart goes
Blub/Dub
And then stops
Forever.

But something amazing begins to happen.
In her soul is a key.

This key has a name unknown to us.
That name defines the soul of
Her New Existence.
To me - to us - it is...
UNSPEAKABLE.

The fleshy fleshly tongues
Are as worthy as uttering it
As slugs are equipped to hit
102-mph fastballs.

It’s her soulprint, though it does
Not belong to her;
It’s the print from the Soul
Of Jesus Himself.
HIS mark. HIS claim.
HIS.
It is the manifestation of
Amy’s Name
(Written in the Book of Life).
There can be no better assurance
Than to know, without that
Demon of Uncertainty, known as
(Doubt?)
That YOU are in THAT BOOK!
Are you?

So Amy’s soul is
Delivered, birthed, taken-
TRANSFORMED and
Enters the Waiting Room
Of Heaven.
Holy, Holy, Holy...

Feathers weigh millions of
Tons compared to the
Lightness of Being
Amy feels as, nearly
Transparent, she is a more
Solid creature than the largest
Pod of Blue Whales ever to
Swim and sing.

Her Angel takes Amy
To the Throne Room.
Falls prostrate for a moment,
Amy sees a burly tree
Fall, then, instantly,
Stand; the tree rumbles words.
“I have done my duty,
Precious Little One, as
Your Angel Guardian.”
He bows his head,
And then is on one knee,
So that his great shaggy head
Is nearly level with his
Little Charge.

His voice is surprisingly gentle, for
Before Amy was created:
This supernatural being was
Assigned this precious little bundle
Of joyful humanity, and he fought:
Fought! Fought the great battles
Against the ravages of the earthly
Realm; the seizures, the sickness, the
Angel Guardian was inside the baby's
Heart as it struggled to do its job, to
Deliver the blood to the extremities, to
Live, to grow, to fight, fight!
This one, in a little over half a
Century, became close to Jesus,
And, by proxy, close to the Being
Who created Angels!
Man! Woman! Child!
Did she not have the heart of a
Lion?
Did she take on the Spirit
Of a prayer Warrior?
Yes. Indeed she did.

Heaven's tears are thick, syrupy. Alive
With the Immense Sadness and
Immeasurable Joy of Christ Jesus.
They flow slowly down the shaggy
Angel's scarred face. God only
Knows how close this Angel was/
Is to Amy.

His voice is choked with emotion.
“It was my pleasure to serve and protect you,
Amy Winifred Scheck.
You must Wait."
He wipes tears from his eyes,
Knowing he has done his job,
HIS job, protecting, serving,
Ministering to this Little One,
As he soon will Minister to
The next Little One.
"You must wait. Wait upon the Lord
You heard His Call
In your life on Earth."

The Angel looks gravely
At the tiny, frightened
(Yet terribly excited)
Little Child of God.
And does something rare,
Even for the Guardians.
He spreads massively-wide arms and
Draws the trembling
Child into his protective embrace.
Her small hands grasp mountains
Masquerading as shoulders,
Hugging the Being with surprising
Might.
And Amy does quite an amazing
Thing. She senses her Angel's
Distress, and gently, lovingly,
Pats his shaggy beard, his cheek,
Praying! For the Messenger and
Deliverer!
Her little form squeezes strength
(Love)
Into her own Angel Guardian.
And Jesus, Everywhere,
Smiles and wipes tears of His own
From his face.

The Angel speaks in a
Whisper as gentle as a soft hush of
A breeze after the first
Spring shower.
“You will hear His Call
Again.”
And the Angel does not
Vanish comically in a puff
Of cloud; it is as if he
Fades away into the
Multitude of the
Heavenly Fold.

Seraphim, and Cherubim,
And fantastical wing’d and claw’d creatures
Amy has only dimly dreamed about,
Sing, and shout with sound-ful colors that
Could never exist on earth, for
They would melt the bonds
Of reality itself
And drive mad all the ears and eyes
Which suffered to sense it.

Off in the strange
Far-close distance
One Figure Stands
Above, Most High Above Every Thing
He created:
The Most High
Being Who Was Ever,
Is, Will Be,
And Is To Be.
It is Him

Jesus Christ
(And the people of earth,
Myself included, sing, sing! SING!
Blessed is the Name of the Lord!)

“My Child, Precious child,
Enter the Holy Throne of God.”
And in steps that cannot be
Measured by any earthly
Standard, Amy Winifred Scheck
Enters Her Savior’s Throne Room.

With her new feet, Amy
Walks bravely, surely, securely,
Eyes low, her countenance recognizable
To the One Whom it resembles;
And:
All around her is a Living
Chorus of Beings shouting
Holy! Holy! Holy is The Lord!”
Yet within the cacophony resides
The Still and Quiet Presence
Of The Lord of Lords.
The Prince of Peace.
Upon His Throne, He sits,
Waiting and Being
Waited Upon.
Worshiped.
As only God should be.
It is Through Him - Jesus Christ -
That Amy enters into the Kingdom of God,
The Presence of the King of Kings.

Amy speaks, using a voice that she never dreamed
She had with her long-gone forgotten
Vocal chords.
“Here I am, Oh Lord.
Oh Lord, I am Here!”
Her life is Measured
Judged.
Because JUDGMENT
IS HIS!

Of:
The Judgment Seat
Of Christ:
I will not insult
My Creator
By imagining the content
Of my sister’s
Heart,
Or what goes on there,
In the most important moment in the history of a human being.
I will experience it;
So shall you, Dear One,
Who reads and contemplates the meaning
Within these words.
(ALL will experience
The very same thing)
So, human beings, get
Your affairs in order, for
We know not the hour
Of our demise.
If there is any doubt about what
Happens to you when you die...
Seek Him!
Accept Jesus Christ as your
Personal Lord and Savior!

Amy Scheck
Loved Jesus, and spoke His Name
With a rare form of deep and wide
Conviction.
She was a Christian, a Child of God.
She had a smile for everyone,
And most everyone left her
Smiling.
She loved Jesus on earth.
She was an obedient servant.
And what do we take with us
To Heaven?
What is in our HEART.

Jesus loves us all, all of us.
So I will believe,
Believe, I will, that
Amy’s love for Her Savior,
And her acknowledge, public,
Amidst scorn, ridicule, love, and
Acceptance
Were the Words
That Jesus used
To write
Amy's Name in His Book
She sowed and reaped, and
Reaped and sowed, and led
Others away from sin,
And, more importantly,
To Jesus Himself.
Amy’s life was full of
Good Fruit from
The Vine.

Interlude: The Other Side of Grace
And Jesus Christ spoke to Satan,
Who said, of this new soul:
(As he says to EVERY single
New soul entering into God’s
Eternal Kingdom):
Because, you see, we are fallen...

“What of THIS one, Lord?
She is MINE, I should think!
I have a long list of her
Considerable
Sins.”

And His voice the Thunder of Heaven,
Jesus stands for Amy Winifred Scheck.
(As Amy counted times stood for Jesus)
Her love for Him in no way can equal
HIS love for HER, but that is the great
Sacrifice that Jesus took upon Himself
On the Cross-the staggering weight of
Humanity's sin.
The equation does not have to be
Equal to be right, and true, and real.

So now Jesus raises His voice, and
Speaks, and the Foundations
Of Eternity shake, and every One
Within Heaven’s Realm
Trembles at Glory
Personified in Voice,
At Love, walking upright.
“CAST YOUR GAZE AWAY FROM HER, SATAN!
GET THEE BEHIND ME!
THIS ONE BELONGS TO ME.”
And Satan slinks away, knowing,
Knowing the answer already,
Yet eagerly awaiting one of
His
Coming to him soon, soon...
Soon.
Satan is, if anything,
Patient.

“You are Amy Winifred Scheck,
Born to Ed and Mary Scheck on
January 11 of the year
1960! Your body died
January 27, 2014.”

Amy is simply in the State of
Eternal Awe.
Jesus. Is speaking. To her.
Her new tongue must not be
Functioning properly.

“Well done, good and faithful Servant!
You have been faithful with what
I bestowed upon you! I gave
You a seed, which you
Planted in good soil, and
Tended it; watered it; pruned it
So that it
Multiplied many, many times over!
The Fruit of your life resides
All around you!
You led many who were
Astray to My Kingdom!
Enter!”

“OH! MY JESUS!”
She exclaims, her voice
Accompanied by the blasts
Of trumpets and a chorus
Of Angels.

Amy runs with joy as her feet and
Hugs the shoulders
Of The Almighty, feels
Scarred hands cupping her
Tiny face, as eyes blazing
Brighter than a thousand
Stars gaze into hers.
Everything that ever mattered,
That matters now, that will
Matter on down mortality’s
Road
Resides in the Sweet, Lovely
Kind eyes of Our Savior,
Jesus Christ.
He speaks:
“I’ve a place prepared for
You, Dear One.
For there are many rooms
For the Names in the Book of Life!
I have great
Adventures planned for you!
Eternity awaits! Does your new
Spirit thirst? Are you ready for
Your celebratory banquet?”

Amy can only cry and weep and sob
With joy so pure she will have
To learn an entirely new
Vocabulary to give it substance, depth, and
Clarity.
She looks around, seemingly,
For the first time, and sees the
Familiar form of Mary Elizabeth,
Her earth mother, now
Transformed, as she herself has been
Transformed.
Amy sees her new form in
The form of her loving mother.
They embrace, Mother and
Child.
And the applause of Heaven
Is Sweet Thunder.

Amy’s earthly father,
Edward James, is there,
Joking and smiling
With his older brother
Michael and his wife,
Tess.
He sees his daughter,
And shouts with Joy.
More embraces.
Heaven is a place of
Embraces, the birth
Place of Joy itself.

“WELCOME, TO HEAVEN’S TABLE,”
And Jesus speaks Amy’s new name.
“LET US REJOICE, MY FRIENDS,
FOR AMY IS NOW,
FINALLY,
HOME.”
i was short the cash needed
for next semesters tuition

i was outta options
so i swallowed my pride
and called my father

i had’nt seen him
for a least eight years
i was busy nursing
sweet regrets
extending a prolonged
illness of resent

Halloween 1977
i borrowed my
girlfriends VW
and drove down
to Union to reunite
with Dad

his secretary
ushered me
into his C Level
office and I was
struck by
the angelic
portrait of
my half sister
adorning the
space above
his head

we shook hands
and i sat on a
chair in front of
his desk. it was
an awkward
moment of
small talk, relieved
by the passing
of a $400 check
into my just
stewardship

my father suggested
we head to lunch
where we would break
bread together for
the first time in years

it would also present
opportunities to
swallow the misgiven
years with draughts
of gin and tonics

by this time my
father was a
professional drinking
champion, quaffing
down the ***** to
drown his own
considerable
misgivings

as a young
virile turk
meeting with
his father for
the first time
in years, i was
determined
to match his skill
mano a mano

it was a foolhardy
endeavor but my
intrepidness was
unfazed as i matched
round for round
proclaiming my
arrival into
manhood

leaving the restaurant
my father suggested
we resume our drinking
at a local dive

there the velocity
of rounds accelerated
the drinking spinning
faster than the
emotions swimming
around my head

but I was determined
to prove my manhood
standing toe to toe
with my lost father
proving i was his
equal in the
endeavors
of men

don’t remember how many
rounds we downed but
it was a considerable
amount of ***** consumed

next we headed
to his friends
pizza parlor
where he could
present his long
lost son

we spoke of
my wonderful
girlfriend, and
my father suggested
i go get her so we
could all meet

he flipped me the keys
to his company car
a brand new
Ford LTD Wagon

man I was riding high
styling, livin life large
rolling up the GSP
headin to Montvale
to fetch my princess
in a royal carriage

when i got to
her house my
girlfriend and her
mother expressed
concerns about
my condition

i suavely made
the case that i was ok
to make the 40
mile trek to meet
back up with
my father

it was after all a
special occasion
an opportunity
to present my girl
to my newly
found dad

so off we went
back to Union
the drive was going
well best as i can
remember; though my
girlfriend was uneasy
as i swerved down
the parkway

in East Orange
the traffic got heavy
we were in the flow
following a station
wagon filled with
kids

my eyelids were
getting heavy
and I clipped
the railroad tie
median barrier
with the cars rear end

the wagon went into a
wobbling swerve
i fought to control
but could not

i remember my
last words
in my head
“Jesus save us”
and fell onto
the lap of my girl

the crash, the spin
the resounding din
thundered into
my last bit of
consciousness
like a tragic
Stravinsky lullaby
screaming me
to sleep

my aching head
blinked awake in
a dim lit hospital
in the wee hours of
All Saints Day

unsure where
I was but realizing
why i was there
I ardently questioned
a dismissive nurse
if any children
were hurt
and where my
girlfriend had gone

she adamantly
refused to answer
my urgent fear filled
questions; stating I had
been asking these
same questions all night

thinking about
the children
playing in the back
of the car
and my missing
girlfriend filled
me with a
shocking
dread, a
trembling
terror of what
my drinking
hath wrought

Halloween 1977
was a night filled
with frightening
realizations of
unresolved
unanswered
questions

it would be
another three
decades before
i commenced
a search to
answer these
frightening
questions
in earnest

Happy Halloween

Pat Metheny Group:
Are You Going With Me?

Oakland
10/31/13
jbm
Karen Alexander Oct 2009
There’s no other choice but to wear them,
The drawer offered nothing but these.
An odd pair of socks might be quirky,
Odd sizes don’t normally please.

The one at my ankle was spotted,
The other was striped to the knee
The latter two sizes the smaller,
The former quite large by degree.

This mismatch I thought to keep secret
And cover the dissonant pair.
I chose from the wardrobe some trousers
And shoes, with considerable care.

My ruse would conceal the divergence
From prescribed social standards of dress
And none would be any the wiser
My discomfort I’d have to suppress.

Now, it’s harder to mask discomposure
When physical pain has attacked.
The small sock had cramped my toes tightly
That blood didn’t flow, was a fact.

My colleagues regarded me strangely
For they could see nothing amiss
But I could feel cold perspiration,
Anxiety I couldn’t dismiss.

It was then that I felt a strange itching,
The striped sock began to descend
And round my right ankle it wrinkled
And bulged at the trouser leg end.

Dismayed at my great consternation
But clueless to what was awry
My friends made comforting gestures
Need of which I could only deny.

The moral of this story’s transparent
Socks are always best worn as a pair
Their nature is in the relationship
Which provides a well-balanced air.

And take the trouble to remember
Be congruent in all that you do
For disparity will often bring discord
And that path, you’ll certainly rue.
Kaitlin Collide Sep 2013
Oh sleepless night
What a trick on me you play!
For the reason I cannot sleep
Is because I anticipate the day

We build our day up
To have it elapse at night
But how too often a time I experience
A continuance through the night

Oh how unfair to me you see
For nighttime is a break much overlooked
Because I walk through the day quite sleepily
Which is difficult in a day so overbooked

Sleeping figures
Rejuvenating minds
Your mind is cultivating in peace
While my face is forming lines

Oh how I wish I didn’t get so worked up
I expected this to happen
Which ironically is the reason
My tiredness has been dampened

I lay in bed, ready
Ready to try this out
A pleasant sleep is all I wanted
Without completely passing out

How I get so jealous when
You lay there and drift to rest
While I’m dealing with two polar issues--
Either abruptly collapse into sleep or else from it slowly digress

Oh sleepless night, you tease me so
You fool with me and upset me so
For when thinking of tomorrow I surely know
I’m not going to be as lively as my potential.

It’s like I’m a hobo on Fifth Ave
Looking at the rich not realizing what they have
I get excited over spare change
While you collect your pay checks again and again

So let’s face it, tomorrow I’ll be miserable
And I’ll look forward to when the clock strikes night
But then the hours I have will become considerable
So I’ll lay there restlessly and drift away just before the light.
So I’ll get a taste of what sleeps like
But I’ll never get to experience it right.
Oh you cruel, mean sleepless night!
Where dwells your brother so known as the “Goodnight”?
written in my freshman dorm in 2011

— The End —