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I swear I had snus
Sorely missin my chew
Well ding dang
I got myself the Copenhagen blues

Guess I'll run to the store
Cuz I just ain't sane
Without a little Copenhagen
I might forget my name

Looks like I'm makin a ***** run
I love Cope so much so
I gotta go get some

But when I ask for a can
The clerk says sorry sweetie
Just sold my last to that man
Kirsty  Feb 2015
COPENHAGEN
Kirsty Feb 2015
youcouldhearourflesh                                 rip
                                                                ­                apart.

(as though it had ever beentogether
as though we were ever
                                                            ­             more
than car crashes
than house fires.

I held onto your address, you know
when you held on to my hand;
when you held up the traffic;
when you                                                        left
 ­                                                                 ­                  me
and drank
                                                           ­     
                                                           ­               Copenhagen
through a paper straw.


The whetted splendour of it all:
I wonder if the drowned ever
noticed
how the sun kisses                                     The Sea?
                                                            ­                                
down
                           ­                                  
                              ­                      we
                                        ­                                                  
sank.

Did your feet touch the bottom or
did you                                                              ­ swim
to the sound of -

to the sound of br ea k ing vi oli  n s ?
I snapped each string
like I was                                         pulling teeth.


Your address  folded into
                                                         wav­es,
your house burned to
                                                         dust,


the kind god                     keepssafe -
“one last
                                                        keep sake”
in his pockets.



If I tightened my hands,
doyouthinkicouldchokeonthis
                              ­                                      cable?
Wouldthatstop                              time or
your voice or
my voice;                                       the voicemails;
the answer machine that
no one                                            ever
                                                                ­  answered?


My blueeyed boy was born in              goodbyes
he sleeps in seas                        
                                    ­                            irrevocable:
and The Tide washes him home to me
                                                              ­  every day.)

it sounded like                             fingers
tangled in                                             phone wire
and br ok e nv io l in  s.
Copenhagen is a movie that greatly parallels my relationship
Yet the more I saw them thrive the lonelier I felt
The lonelier I felt the more space I seemed to occupy in my bed

Near the last quarter of the movie there was a scene
That made me think to myself
"Effy is the only woman that can slap a man then make him dance"
And I took up more of my bed
r  Feb 2015
copenhagen
r Feb 2015
everyone's talking
about freedom of speech

as if it should come at no cost
like something you teach

it's never been that way
and it never will be

we need to be reminded
of what it means to be free.
r ~ 2/15/15
Terry Collett Dec 2015
She's back,
said Dalya,
the skinny Yank dame
is back, and shares my tent
with her perfume and talk;
her tales of whom she's had
and whom she's slept with
and how much they spent
on her and why and where.

Benny met me by the bar
in the Copenhagen base camp,
beers and smokes
and burgers and fries,
and me telling him
about the dame
and what she says
and does, and o that perfume
enough to drown in,
and he laughed
and said he heard
the Yank dame was after
the Aussie guy who
he shared a tent with
and the Aussie guy
was hot for her.

The base camp speakers
were pumping out Deep Purple,
high guitars
and bellowing vocals,
and Benny said when will
you and I get together again?
and I said
as soon as the dame goes
or leaves or shacks up
with another.  

We went into the City
and saw some sights,
the Tivoli Gardens,
the Little Mermaid statue,
and had a few more beers
and smokes
and he kissed me
and it was a hot kiss,
and I wanted him,
but there was no where to go,
so I just carried
the image of him
back to my tent
and where I,
well you know.
A WOMAN AND MAN IN COPENHAGEN IN 1974 AND AN IMAGE.
Lendon Partain Apr 2013
I.
AM.
A.
*******.

Here's how i roll.
I plop the excrement, directly in the pool.
I **** on chairs,
This is where i place stool.

Plip plob drop loads,
Crenated blood cells and lymphatic drool.
Hurt my kidneys in a fight with truth the other night.
7 brutal, flooring uppercuts to the Latisimus dorsi....

I am > "this girl"
That one that's taken more hits in the face than Tyson.
The one that makes Jenna and Sunni Leone look like pre-school dropouts of ****.

Guys say.
"She"
"got the,"
"best head."

She has nothing in it though.
Her brain's finished by the time words leave her lips whole.
thats as far as it gets
the words pass her **** then she falls, grab her hips.

Prepare the sword for the stone.
The one with the baby whole in her dome.

She's not good, much else.
Her black hair and wisdom lines go bout as deep as her shirt.
Depending on the day.
Pervert.

Lets do ANOTHER line.
"Oh My GOD!" "We did so much *******...."
Coke in cans.
Filled with whiskey flask-hand.

"This night's gunna be one to remember",
if his member is inside, that's my gender,
Blend it with all the worst intentions,
Use the worst intentions.
Stab the heart of conviction.
Tear it to tethers with tension.
Rip the strings of friendship.
Tease the knots of frayed linen,
Like its the only thing ya got.

"I am so high right now."
I forgot what earth looks like.
Probably like my town.

Only place I've been.
I'm 17 ya see.

Its the only thing you got.
You don't deserve roses, flowers, Laurels.
No trees.
No dime bags, no speed, no crying hag.

I can sure **** 25 yearolds.

Saying your better never sounded more like a lie.
Worst thing is you have that prevarication internalized.

I have a god complex...
Wanna save em all...
Can't save a ******* one...

I did lie once...
It was...
When I told you that you weren't...
A *******...
Nigel Morgan Oct 2012
I can imagine her in Aarhus Kunstmuseum coming across this painting, adjusting her glasses, pursing her lips then breaking out into a big smile. The gallery is almost empty. It is early in the day for visitors, but she is a tourist so allowances are made. Her partner meanwhile is in the Sankt Markus Kirke playing the *****, a 3 manual tracker-action gem built in 1967 by Poul Gerhard Anderson. Sweelink then Bach (the trio sonatas written for his son Johann Christian) are on the menu this morning. In the afternoon she will take herself off to one of the sandy beaches a bus ride away and work on a poem or two. He has arranged to play the grand 83-voice Frobinus ***** in the Cathedral. And so, with a few variations, some illustrious fugues and medley of fine meals in interesting restaurants, their stay in Denmark’s second city will be predictably delightful.
       She is a poet ‘(and a philosopher’, she would say with a grin), a gardener, (old roses and a Jarman-blue shed), a musician, (a recorder player and singer), a mother (four girls and a holy example), but her forte is research. A topic will appear and relentlessly she’d pursue it through visits to favourite libraries in Cambridge and London. In this relentless pursuit she would invariably uncover a web of other topics. These would fill her ‘temporary’ bookcase, her notebooks and her conversation. Then, sometimes, a poem would appear, or not.
          The postcard from Aarhus Kunstmuseum had sat on her table for some weeks until one quiet morning she decided she must ‘research’ this Sosphus Claussen and his colleagues. The poem ‘Imperia’ intrigued her. She knew very little Danish literature. Who did for goodness sake! Hans Christian Anderson she dismissed, but Søren Kierkegaard she had read a little. When a student, her tutor had talked about this author’s use of the pseudonym, a very Socratic device, and one she too had played with as a poet. Claussen’s name was absent from any online lists (Were there really on 60 poets in Danish literature?). Roge appeared, and the painter Willumsen had a whole museum dedicated to his work; this went beyond his El Greco-like canvases into sculpture, graphics, architecture and photography. He looked an interesting character she thought as she browsed his archive. The one thing these three gentlemen held in common was an adherence to the symbolist aesthetic. They were symbolists.
         For her the symbolists were writers, playwrights, artists and composers who in the later years of the 19C wanted to capture absolute truth through indirect methods. They created work in a highly metaphorical and suggestive manner, endowing particular images or objects with symbolic meaning. Her studies in philosophy had brought her to Schopenhauer who considered Art to be ‘a contemplative refuge from the world of strife’. Wasn’t this what the symbolists were all about?
         Her former husband had introduced her to the world of Maurice Maeterlinck through Debussy’s Pelleas and those spare, intense, claustrophobic dramas like Le Malheure Passe. It was interesting how the discovery of the verse of the ancient Chinese had appeared at the time of the symbolist project, and so influenced it. Collections like The Jade Flute that, in speaking of the everyday and the natural world, held with such simplicity rich symbolic messages. Anyway, she didn’t do feelings in her poetry.
           When she phoned the composer who had fathered three of her children he said to her surprise ‘Delius’. He explained: C.F. Keary was the librettist for the two operas Delius composed. Keary wrote a novel called The Journalist (1898) based on Sosphus, a writer who wrote plays ‘heavily laced with symbolism’ and who had also studied art and painted in Paris. Keary knew Claussen, who he described as a poet, novelist, playwright, painter, journalist and eventually a newspaper owner. Claussen was a close friend of Verlaine and very much part of the Bohemian circle in Paris. Claussen and Delius’ circle intersected in the person of Herman Bang, a theatre director who produced Claussen’s Arbedjersken (The Factory Girl). Clauseen wrote an important poem on Bang’s demise, which Delius set to music.
          She was impressed. ‘How is it that you know so much about Delius?’, she asked. He was a modernist, on the experimental edge of contemporary music. ‘Ah’, he replied, ‘I once researched the background to Delius’ Requiem. I read the composer’s Collected Letters (he was a very serious letter writer – sometimes 10 a day), and got stuck into the letters of his Paris years when so many of his friends were Scandinavian émigrés. You once sent me a postcard of a painting by Wilhumsen. It was of Clauseen reading to two of his ‘symbolist’ colleagues. I think you’d picked it up in Denmark. You said, if I recall, that you’d found it ‘irresistible’’.
          And so it was, this painting. Irresistible. She decided that its irresistibility lay in the way the artist had caught the head and body positions of reader and listeners. The arrangement of legs, she thought, says so much about a man. Her husband had always sat with the care embedded in his training as a musician at an instrument. He could slouch like the rest of us, she thought, but when he sat properly, attentive to her words, or listening to their sweet children, he was beautiful. She still loved him, and remembered the many poems she had composed for him, poems he had never seen (she had instructed a daughter to ‘collect’ them for him on her passing). Now, it was he who wrote poetry, for another, for a significant other he had said was his Muse, his soul’s delight, his dearly beloved.
          The wicker chair Sophos Claussen is sitting in, she decided, she would like in her sitting room. It looked the perfect chair for giving a reading. She imagined reading one of her poems from such a chair . . .
 
If daydreams are wrecks of something divine
I’m amazed by the tediousness of mine.
I’m always the power behind throne.
I rescue princes to make my own.

 
‘And so it goes’, she thought, quoting that American author she could never remember. So it goes, this strange life, where it seems possible for the mind to enter an apartment in 19C København and call up the smell of brilliantined hair, cigar tobacco, and the samovar in the kitchen. This poem Imperia I shall probably never read, she thought, though there is some American poet on a Fulbright intent on translating Claussen’s work into English. In a flash of the mind’s miracle she travels to his tiny office in his Mid-West university, surrounded by the detritus of student tutorials. In blue jeans and cowboys boots Devon Whittall gazes out of his third storey window at the falling snow.
 
There is nothing in the world as quiet as snow,
when it gently descends through the air,
muffles your steps
hushes, gently hushes
the voices that speak too loud.
 
There is nothing in the world of a purity like snow's,
swan's down from the white wings of Heaven,
On your hand a flake
is like dew of tears,
White thoughts quietly tread in dance.
 
There is nothing in the world that can gentle like snow,
quietly you listen to the silent ringing.
Oh, so fine a sound,
peals of silver bells,
rings within your innermost heart.

 
And she imagines Helge Rode (his left arm still on his right shoulder) reading his poem Snow in the quiet of the winter afternoon at Ellehammersvej 20 Kastrup Copenhagen. ‘And so it goes,’ she thought, ‘this imagination, flowing on and on. When I am really old like my Grandmother (discharging herself from hospital at 103 because the food was so appalling) will my imagination continue to be as rich and capable as it is today?’
          Closing her notebook and shutting down her laptop, she removed her cat from its cushion on the table, and walked out into her garden, leaving three Danish Symbolists to their readings and deliberations.
LJ Jun 2016
Train spotted on ancient rail tracks
Mucks and grants on submerged pasts
Copper and ***** metal poles point
Upwards in heaven above the panelled tops
Price all  the intentional conditioning
A paradise of self sufficiency
A dew of ranting , the metal raiding
Price the substitutional compressions
A timber frame of tunnels
The heightened temperature
Price and tag her beautiful mind
An attachment of glorified plinth
The punch of the chaotic medals
Pride and rearrange her plentiful plight
Show all her cast frame in crimson and greys
Tawanda Mulalu Sep 2014
If things don't exist until we see them-
then everything must be poetry.
I know I'm totally effing with the Copenhagen Interpretation in Quantum Physics (yet another thing in the list of 'Stuff I don't understand')... but I thought this would be fun. It was.
Rachel Elizabeth Feb 2013
There is a can of cheap tobacco
Sitting patiently on your desk
Cracked open on occasion;
Ready to be chewed up
And spit back out.
I met a nice young man
Picking plastic
From a garbage can

He informed me thus:
"All American citizens are
Stupid
And degenerate"

I wished to respond in turn:
"All Americans are
Intelligent
And industrious"

But this would be equally false
Nat Lipstadt Aug 2013
Welcome Back To This, Your Isle



The rabbits beneath the deck,
Even the pesky deer who eat the shrubbery,
Sea creatures, living and spirits of the dead,
Lying on the paths and in the creeks of Silver Beach,
All inquire:

Was it better wherever you went?

Were the:

Bears, hiding in the forests outside Berlin,
Eagles, double headed, of Russia
Herring, fried, creamed, wined,
From the vendors on the docks of
Helsinki, Riga, Visby and Tallinn,
Salmon, smoked and cured in Stockholm,
More impressive,
Tastier than our striped bass,
Island cohorts of yours, who waited patiently
For their chronicler to return?

Did the Little Mermaid and her Dolphin
Guardians of the Port of Copenhagen
Welcome you more warmly than your friends,
The ospreys, lizards, turtles and owls
Who overwatch your steps and safety
When hiking in Mashomack Preserve?

Are the interlacing tidal creeks,
Woodlands, fields, salt marshes and the ragged,
Irregular but charmed coastline of this cherished island
Any lesser than those of Scandinavia?

Are the sea-going ferries that transverse the
Baltic Sea and the Gulf of Finland,
More poetic than the Menantic or the Lt. Joe,
Who carry you swiftly home to us?

The National Geographic people say that in
Tivoli Gardens, The Amerikaner (ha!) waffle ice cream cone
Is one of the ten best in the world.
Guessing they have not made it yet to the
Tuck Shop for some Moose Tracks!

Were you unaware that our isle settled before
Peter the Great ever envisioned creating the grand
Boulevards of his capitol, St. Petersburg,
Route 114 was a traveled forest path,
By settlers and Indians, not serfs.

Of the Treasures, the Gold Room of the Hermitage,
The Amber Room of Catherine's Palace,
Wrote not a single word, we observe.
Your attentions, they did not deserve?

The answers all, self evident.

Here, surrounded by the gentle breezes of
Long Island Sound and Gardiners Bay,
Sweet and salty flavors of the Peconic atmosphere,
Words unlocked, from your eyes to the page fall,
Smudged by joyous tears, for the muses of the island
Have embraced you yet again and rebirthed
Inspiration, within their comforting, sheltering grasp.


Silver Beach

July 22, 2012

— The End —