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Nat Lipstadt Jan 2014
One evening with a few friends in a borrowed minivan, we got a flat tire.   Changing the tire was so complicated (like PhD. complicated), we finally had the owner of the van drive over to finish the job while three other men stood and watched.   This poem came out of that night.



I think you become
a grownup
the moment,
the very second,
you realize at
some very, very
early age,
you have
limitations.

Perhaps not quite
a total grownup,
mature like,
but some
irreversible threshold crossed on
a life long voyage,
a descent of no return,
a Checkpoint Charlie crossed.

You will never be all you
want to be.

Some will disagree.

the day of maturation,
they'll claim,
comes on that day,

when clouds
of different shapes
call out your name,
raining saturation
of responsibilities,
(feed your family, son).

you
initial your acceptance
by quenching thirst by
drinking 'free' raindrops.

ain't arguing,
the when exactly,
for this highway-journey has
so many rest stops.

But
when your body
cracks with disappointment,
harvests the bitter knowing
that
can't,
means there will be no defying this truth, now self-evident:

there are somethings
you ain't gonna ever be,
or never be able to do.

here's the rub awful.

the street called
Recognition Rue
is the longest road to
a dead end
you are forced to travel,

and the cruelest part
of this joke is
you rue the day
and the next day
and the very next day,
when, each time,
the Dead End sign
moves along all by itself,
another block or two,
with you following,
behind by a
block or two.

after awhile,
you cease to curse,
satisfied with the certainty of discontent
you and your
bag of tools,
cannot have every,
will always be lacking,
the precise instrument
to do
every job right.

half good is likely
your total best,
so sadly shuffle along
at the bequest of
the little voice insisting, whining,
have to, gotta go...

You
want to jack me up
on a cross of
protestations,
words like learning,
and
promises to teach,
no limitations,
words that overreach
and hint of
lesson recitation.

I can't change a tire
but don't give a ****.

this is not how
I measure my self worth.

the sadness that prevails,
that contaminates my brow,
ain't mastery of survival skills
likely I'll never need again
don't need your
complementation/approbation
of what I can,
or rants
why I can't.

For nothing will ere exceed
the exasperation,
chest ripping
agony of frustration,
that one single poem
worthy of saving
has ever,
nor will yet,
never, will
leave my fingertips.


It is
forever detained
in the prison of my limitations.

now that's worth
acknowledging,
now that's worth asking
now that's worth
answering -

why, why, then,
grown up you,
keeps on trying,
surely sure,
that looking back
regretfully,
is useless,

(and you have heard
the lock click thunderous clap of:
"sorry son,
your presence is...
not needed,
no worries, we won't
ask you to do
when better
surrounds us everywhere").

Answer is:
that it is worth trying,
writing,
a poem about why,
I can't change a tire
and it don't matter,
just so I can say
to myself,

*I'll never be all the way grown up.
clmathew Nov 2021
Why there are cicadas - a tinnitus story
written November 1st, 2021

One day there was a small child
who woke up in the night
to the sound of cicadas.
Her grownup comes in to check on her.
The small child doesn't talk very much.
She looks at the grownup and rubs her ears.

Her grownup asks, "Does the noise bother you?"
The small child nods yes.
The small child's eyes ask...
Why is it there?
What does it mean?
Why does it never stop?

Her grownup smiles and tells her...
Those are cicadas dear one
they knew that sometimes
you were lonely and afraid
so they came
hundreds of them
thousands of them
to keep you company
so you would never be alone.

If you wake up
and wonder if you are safe
just listen for the cicadas.
I know they are loud sometimes
they just want to be sure
you know they are there
so relax into the sound
float on it knowing
you are not alone
and go back to sleep dear one.
Tinnitus *****, but mine sounds like cicadas, which is a sound I have always loved. This story is a way to try to make the cicadas a positive thing.
Dead Rose One Mar 2018
nobody gets the cancer twice.  
(a blues guitar riff)

blood in the stool
ain’t nobody’s fool,
whent to high school
did not graduate,
but know it wasn’t no thing I ate

scale greets me friendly like,
long lost buddy from yesterday morn,
‘let get right down to it,
let’s see how much less of you borne
leftover alive from the prior day’

spirit spit blood from my gums,
got me a woman, she’s way over town,
woman said I’m brushing with
too hard a brush, alright, alright,
make no fuss, she’s good to me

nobody’s fool whent to school,
though I did not graduate,
a mean riff is better than a
slow moving woman blues cry,
got the strings to do my screaming

doctor is a fan, name is Jimmy,
played music like last time round,
Jimmy-jamming, dancing in the waiting room,
“that cancer got kick, it’s gonna get ya,
think I told ya that about hunner times before”

‘nobody gets the cancer twice,’
an old wives tale for unlucky po’ somofabitches,
do you some tests, tell ya the specifics,
right now, lay, lay down them new tracks,
no quitting time less the good lord comes a-calling’

blues guitar makes a man
cry shiver scream and shake,
progressions licks and tricks,
so you can’t tell what’s making
a grownup man cry and laugh louder

bring me my medicine
bring me my guitar
all I know is how it makes me feel,
oh baby once a night it’s true,
nobody gets the cancer twice
A Lopez Aug 2015
Me and the familia had a huge picnic today
Peanut butter and jelly
Spanish rice for dad
Mom had a jelly sandwich to
And the little ballerina, her dress again ripped from new
As mommy had to change her for the third time
In two day's.
She's a little messy, but who isn't? Even grownup's are
Nigel Morgan May 2014
She opened the door of the gallery and there it was, there it lay, before her, nearly perfect: her exhibition. The opening was an hour or so away and there were, naturally, a few adjustments to make, but in essence it was right, and as she walked to the middle of the rectangular space (to survey the full effect ) she felt held by the quiet wonder of it all; that she had made all this and with ‘the quality control of nature’s accidents’. He’d written those words some years previous when a solo show was but a dream she would enter between sleep and wakefulness, when she would think of the west coast of Scotland and the poetry of its seashore, the infinite variety in the seashore strand between sand and sea. It was such natural accidents of form and transformation by nature’s hand that had guided her imagination into rightness and towards this exhibition.

At breakfast that morning she had come to the table dressed to greet her audience, and for the first time as a featured artist in a festival of some repute. She had felt the quiet joy of choosing the right combination of clothes to be the public person she had now become. He had loved the new dress she had bought to clothe her gallery persona. She had been conscious of his eyes following the lines this frock so generously drew around her body’s shape and form, the way the material fell across her *******, lay smoothly on her thighs.  It was a very grownup frock and with the jacket and scarf made her look purposeful, confident. His looking made such confidence possible, his admiration and what she could tell was that coming together of love and passion that, her being dressed in this formal way, so often evoked.

In the gallery she had worried over the lighting, climbed up the metal ladder with the fluffy green glove thoughtfully provided to enable those small adjustments of direction to be made on a hot spotlight. There were four large pieces flanking a corner that had embossed lines running across their surfaces, lines that needed oblique light to reveal the shadowing of this effect of swirls and marks of a retreating tide on sand.  Two smaller pieces needed rearranging; she’d placed them, late the evening before, in the wrong sequence. Poster boards were to be filled with her poster and put outside on the pavement by the gallery entrance. She opened the main door, a very green door with its top and bottom bolts and black-painted handle ring. The street outside was a welcoming mix of 18th and 19th C buildings, hardly one the same, the sort of three storey buildings that had simple plaques prominently placed into the brickwork from a distant past when proud builders would describe a structure’s use or ownership with a title and date. By ten o'clock this one-way street was lined with parked cars, but now there was little traffic. It was a quiet sunny morning in a market town.

‘Don’t mind the dog, ‘ he said. ‘He’s used to coming in here.’ It was a long-haired verging on the side of scruffy sort of dog, used to keeping its own counsel, probably used to being taken to exhibitions. ‘Just popping in,’ he said, this man who, and she couldn’t help noticing this, seemed to hold much in common with his dog; the long, but retreating on the forehead, hair, slightly scruffy from the want of a comb or a good brush (like his dog), he had dressed without much thought (because who dressed thoughtfully to walk a dog?), and that’s what he was doing, walking the dog and, seeing the Gallery open, thought he ought to look in.

Giving him her brightest smile, she embarked on performing the artist’s music of conversation, that score holding gentle melodies and welcoming harmonies. Although she had become quite practised in talking to her audience there was always the challenging inquiry that would catch her off guard.

‘Well, are you finished with the seashore now?’ said the man with the look-alike dog. For a moment a half dozen possible answers seemed possible. ‘Could one ever finish with something so extraordinary and various as that hinterland between land and sea?’ No, that was seemed a mite critical and clever. ‘Oh, I’ve hardly started’ was tempting, but rather smug and too confident by half. ‘I just love the seaside’ would probably do, as no one else was listening. ‘Merleau-Ponty says the complexity of the seashore is a metaphor in the search for self-identity’. She did wonder what he’d make of that, but finally decided on ‘It’s such a rich source of ideas and images I’m sure there’s a lot more I want to do with the subject.’

”It’s all the same colour”. She’d had that one a few times. ‘When I’m on the beach I’m fascinated as much by the texture and shape of what I see  and feel than the colour. I like the subtlety of the colours in the sand. I think my pieces – and she waved her hand towards what she had titled her Sand Marks pieces – show so many of the different shades of colours you find on the seashore.’

Those Sand Marks, a collection of variously dyed and marked two metre plus linen-lengths, dominated one wall of the gallery. They floated a few centimetres from the white wall, and when people moved past them the slight shadows cast by the linen lengths seemed to ripple in the human-made breeze. She could never look at them without thinking how their very accidental making – binding a linen cloth with inner placed objects and using the natural dye of tea – could create such absorbing results. She would follow with her gaze one of the linen-lengths from bottom to top (or top to bottom) and find herself walking on the wet sand of a Scottish beach, overwhelmed by the clear light and space with only the sea sound surrounding. He would tell her, had told her often, how moved, how affected he had been when he first saw them hung. To him, these ‘marks’ carried an essence of this aesthetic she now owned and for which had become recognised.

Even on this, her first day, she had been visited by a small number of admirers and supporters, some travelling distances to see her work with the aura of the original, a truer view than that possible on the back-lit screen of their computer monitors. Ladies who loved textiles, the containment and privacy to sew and stitch secured in their busy lives. These friendly and smiley women (the comfortable side of sixty) understood something of what she was doing here, and perhaps imagined themselves as thirty-somethings walking Scottish beaches free from children and the relentless list-making of house and home and occupation, able to create imaginary worlds of marks and folds, pleats and textures. Full of enthusiasm for the medium, what they perhaps didn’t have was the skill of seeing, a skill she had grown up with, had always owned to some degree: found, fostered, honed, developed into a second-nature activity of always looking.

There would be the occasional brief lull when the gallery was empty or close to empty, as though needing the space to come up for breath after being occupied by people and their movement. She would then walk slowly around the long well-lit room viewing her pieces and her arrangements of pieces from different angles. She would look at his poems placed antiphonally between her work, commissioned for her catalogue, her book of images of the sea shore paired with, incorporating even, her made pieces. She’d chosen a favoured few she’d felt caught the essence of being in the sea’s company, in the sand and shore’s domain. Like everything he did it had been undertaken with the utmost intensity of purpose. She saw him now in her mind’s eye with his notebook sitting against rocks, paddling in the great shallow pools, walking head down along the tide line, those bright days on a Scottish island and before, before on that ellipse of beach by the fishing station.

He would tease out an idea formed from a little motif of words, perhaps like the very music that was his private territory: here, alone, apart we are marked by the tide’s turn. Yes, we are marked by being solitary in such unconfining space, the marks at our feet become the lines, the mounts, the fingers, those interruptions, breaks and blockages found in the tridents, chains and crosses of the art of palmistry. We read the seashore as a psychic oracle reads the hand, hoping, as Kathleen Jamie so rightly says, for the marvellous. And marvellous it so often is.

Standing in this gallery was like being gathered about by the seashore. It was a short jump in the imagination’s miracle to hear the soft breathing of the sea, the wind caressing the face, the warmth of the afternoon sun on the freckled cheek.

See how those we love are transformed
when the sea is their only boundary

a figure stands before a sand bar
in a crescent of water left by the tide
an affecting geometry of solitude
. . .


These words had always stopped her in her perambulating tracks. She thought of her son, far distant on the beach, at rest for once, still, motionless within the confluence of the elements of the beach, at the epicentre of her gaze, all things flowing to and from his tiny, far-away figure.
Eliza Bennett  Jun 2013
Cabin
Eliza Bennett Jun 2013
When I'm a grownup,
I would like a home away from home.

A cabin, perhaps, isolated from the world,
where there would be a lake in my backyard.

Maybe I will also have a treehouse, or a hammock,
where I would read and watch my children play in the water.

Then we would roast marshmallows and make s'mores,
and catch fireflies in the bushes.

My husband would sing silly songs and play his guitar,
and make my children blush with fiery laughter.

When the kids would fall asleep in the bunks,
a cuddle would be awaiting in front of the fireplace.

Where we would watch sappy old movies,
and savor our salty popcorn and sweet milk chocolate.

Together, we would laugh and cry.
Together, we would have escaped the world.
Together, we would have been happy.
Amber Blank Feb 2015
As a child the frustration and aggravation we caused our parents counting down the days until Christmas or our Birthday.

And those afternoons in elementary school trying not to doze off while counting the minutes until the dismissal bell would ring.

The older I got the more I've counted my life away.
Count the years until 16 to be able to drive and be free.
Count the years until 21 to be able to drink and feel like a grownup.

Counting the months then years of the length of each relationship
Waiting to be wed.

Then counting the negative pregnancy tests over and over becoming hopeless that I would ever be able to count little toes and fingers.

Counting the tears that I shed for my husband, as the fairy tale family I dreamed of turned into a nightmare.

Counting the nights left alone, scared and waiting for him to return home.

Counting the minutes between each contraction.
Counting the moments before my miracle would arrive.
Then counting the staples in my belly where she had to be taken from my body so that we would survive.
Finally counting ten piggies and ten little fingers

Counting the hours and days daddy left us alone and scared in the hospital for him to party and drink.

Counting the paragraphs on the separation papers
Counting the steps to the court house
Counting the people watching as my romance and love was flushed away

Counting the almost endless nights praying for me and my baby
Counting her smiles, counting her wishes
Counting her Birthday's

Counting the moments I am blessed to be her mom
Counting the hours of work to be able to return home to her.
I will spend my lifetime counting.
Nat Lipstadt Apr 2014
Prosecco cocktails, être pour la danse,
cassis pour moi avec limoncello,
madame, passion fruit, and blood oranges

très grownup, breakfast at Tiffany's,
she is all sunglasses and Audreyfied,
me and George P., struggling writers,
checking if i got enough cash
or have to exit smooth, just in case,
maybe we leave our
coats behind, as ransom?

lincoln center plaza cross-dressers,
past the opera,
the sun, a balmy thirty five degrees,
laughing at us teasingly,
cause tonight and tomorrow,
******* all the day,
winter kisses
in case we forgot,
early March
first belongs to the Ides of Winter

Afternoon of a Faun,
another ballet, origin,
a Mallarmé poem.
(you begin to comprehend)
yes quite so,
a perfect synopsis of the day,
Acheron imported from Scarlett Liam
who lives in the U.K.,
but comes to choreograph here,
for gloria Americana

sundown, soul cold back,
"lest we forget,"
but the dancers bid us adieu
with a rousing waltz, frenchified,
La Valse, une poème chorégraphique,
by Ravel, bien sûr!
aroused and heart gladdened,
return home for

for veal chop love

two hours of *** banging,
kitchen banishment, (Yay!)
chanterelles steeped in red wine,
coverlet for a non-vegan tasting,
English peas, red and purple potatoes,
and for desert,
a diet dream of verbal exchanged of detailed
I love you's

He: I love you,
She (happy), replies: I love you more.
(this repartee ballet, has been rehearsal danced before)
He: Why?
She: Because you are kind and generous, to street beggars, my single friends, good and smart, love art,
and never let me down, and love my cooking, leave space for others when you park, go thru life making waiters and ticket takers smile and laugh, sleep for hours your head on my hip, write me crazy love poems about veal chops
He: What's for desert tonight?
She: A ****
Just an afternoon in the city...whatever
just a girl Jul 2014
they say i'm strong but at the same time weak
i fight my things and i don't let it bring me down
but yet it hurts me and makes me sad

they say i'm pretty but still not good enough
i look good and do everything right
but i still fail in the end when they judge me

they say i'm mature but still so childish
i take responsibility like a grownup
but my childhood was stolen so i act like a child now

*(c.m.h)
Marian Jan 2014
Childhood memories of yore
Drift through my head
As I watch that old tree swing
Many a Summer ago
I would swing there as a child
But now I am a grownup woman
But my children swing there now
Lovingly I watch
That old tree swing
And memories fond
Fill my mind
Like the rustling breeze
Making that tree swing
Rock back and forth

* * * * * * * * * * * *
My Mother is dead
And now as we fond children recall
How she loved to swing
Upon the tree swing
That is not there anymore
The tree was cut down yesterday
And the swing was destroyed
Vanishing with the swing
Are the happy golden memories
Of many happy days
Spent as children
Swinging upon the swing
That is now destroyed
Along with our Mother's
Childhood home

**~Marian~
Just a random poem that I wrote in my notebook and copied here!! (: ~~~<3
Also, this is inspired by my Mom's childhood home that had to be destroyed
a few months ago!!! ~~~<3
So, here's the inspired poem!!! (: ~~~<3
Please enjoy it!!! :) ~~~~<3
Nat Lipstadt Nov 2014
the child of the child of my woman,
cries in the night,
rooming next door,
down the hall
and
he is
all children that cry in the night,
but he is
more mine
by right of quantity

numerous are the kisses lavished,
this biannual visit upon,
his four year old
oversized head,
(so full of 'bains')
his undersized,
protuberanced belly body,
a combo making him
no longer baby,
nor a grownup,
both states,
he denies accurately,
maturely in a wobbly voice
of utter certainty,
but lacking the adjectives
of what lies between,
he debates his state thoughtfully,
until distracted by other
more pressing matters of state

he is boy, little but vociferous,
quiet, pensive, his head a weapon
of...confusion and certainty that
being four years old,
he must perforce be
permanently
in skeptical awe of the world

this is the best position ever,
he has ascertained,
to filter and behold anything,
whatever newness arrives,
which is constant,
streaming and unending
until new is
fully digested, analyzed, and classified,
as if he were
a zoologist in
a wild and untamed land

only certain of what he knows
with perfect certainty,
he consults with me still,
"you kidding?"

such a sophisticated analytic interrogatory,
wise in the ways of grownups,
who, prone to deceive gleefully
his very
suspecting mind,
so much so,
they must be challenged and
rebuffed all too frequently

he cries in the night,
normal tears of discomfort,
physical or mental,
I cannot tell,
for his father
his parental hearing
more practiced, refined,
has preceded me,
such,
as it should be,
and I am dispatched back
to my 3:00am bed,
left only to ink
contemplative ruminations
on the state and nation
of being four...
and sixty,
and still uncertain, even more
than the little boy
of wizened age of annualized four,
the child of the child of my woman,
on
what is real, what is kidding,
in a quest unending
to better ascertain,
the state of my own being

and the transitory nature of
everything

all of what is thought certain,
falls aside,
under the withering,
unwavering,
critique of
"you kidding?"
and in this we are
more kin
than if our blood was
physically shared
Nat Lipstadt
     Oct 14, 2013      

"You kidding?"

Lived a long time coming,
Picked up yesterday my three year old boy,
Third of a third of a third of a third
of a notional half of me,
Who I only see once or twice a year,
And we fall in love once again,
all over as is our style,
Annually, annuellement.

We belly kiss,
Fist bump,
High five, talk jive,
Tell each other grand stories
Of dragons in pizza parlors.

Each of us,
Trying the other out,
To ascertain just what
Stuff we are made off.

I love to put him to sleep,
My fingers, rhyme writing like Pradip,
To the turning tires of mom's Toyota van,
When the tired is a steady stream
Of word mumbles of which I understand
A word here and there, but an epic poem
He recites, a verbal dream, a slippage
To that place where three year old bones
And crying go when they pass the point of
Exhaustion.

Rub his cheek with circles of forefinger,
Stroke his head with full palm of my hand,
Close his eyelashes with gentle fingertip kisses,
Take the toys from his fists without any resistance,
Sure signal time for both of us to nap.

His surprises endless,
His cunning now legend,
Alternating disguises tween
I a big boy,
I a baby,
As the situation arises that will
Get him what he wants,
A masterful manipulator.

Which is funny cause I still do that too.

But when he stops me in my tracks,
It is when somehow the brain that has
Just crossed the thousand day alive marker
Says the profound, the uncanny, the
Philosophy of the world weary that is something
That I think just about every thirty seconds.

It is when after some particularly wild reverie
I compose, of seals that swim from his Frisco bay
Around the world to mine, on Long Island
Pacific to Atlantic, and after ten minutes of
Escapading with Batman and his mates,
He looks me and takes me down with this
Almost clears spoke sabered wisdom,
But in the juvenile voice soft sleepy, of a babe of three,

you kidding

Half statement of fact, half a soulful-questioning,
How does this three year old comprehend
The essential difference between dreams
And reality, that is separated, wheat, chaff,
Milk curd, cheese, the spider silk line that differentiates
All of life essentially.

Yes kid, I am kidding,
I tell that to myself every thirty seconds,
To keep me sane, straight, true,
But I whisper it to myself grownup style,

Who ya kidding?

So it appears that when they say
Out of the mouths of babes
They were talking about adults
Who are hoping they can still be three,
When wisdom and silly are just the
Same-thing.

You kidding(?/!)

Yes I am.
Just a kid,
Kidding you, kidding himself,
Pushing his very own stroller,
Writing crazy stories he calls
Poems, lovely little things,
As soft as your skin, stories of him,
That always end,
With belly kisses and a
you kidding.

Columbus Day
Oct. 14th 1492
When I "discovered" the Americas.
You kidding?
Maybe.

— The End —