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zebra  Jul 2018
How I Love You
zebra Jul 2018
like cellophane wraps hard candy
like ink loves to dry
like hot sauce drenches noodles
like sunrise casts shadows
like band-aids sooth cut flesh
like irons crease linens
like origami folds paper
like water floats boats
like a tempest loves a teapot
like syrup and bananas drench waffles
like spoons love soup
like cats love fish
like french fries love ketchup
like wild girls dance
like a crow loves road ****
like eyes love beauty
like a circle loves a square
like buttered buns fit a bikini
like a kissed mouth hungers for wet lips
like moths love a flame
like dogs love *******
and like ******* hug butts

like howling ******* pulse hearts
like vampires love blood and castles
like dark grapes ferment in bubbling cauldrons
like white loves rice
like madness loves a straight jacket
like a ***** loves a ****
and music gets you dancing

like suns fall through cobalt night all smashing diamonds
  
that's
how i love you
love
Aparna  Sep 2013
Control
Aparna Sep 2013
Handcuffed to a post, body chained to death.
Rusted irons pulling his spirit towards ****.

Shackled souls who cry in hope.
His name in blood on white-washed walls.
Pat Broadbent Apr 2018
It’s possible to speak too much to remember what your words mean.
And so is the two-fold danger faced by writers.
Danger is to pace a hole in the floor.
Danger is to stand until you can’t move anymore
like when shallow waves **** your feet into the sand.

So I try not to stand when I write.

I keep a narrow tack
without too many big words
which pedants use to dig great holes in the ground
–moats to keep others out–
or make you think they think big.

But anyone who reads knows about Icarus
and anyone with aims must beware:
to shoot directly upwards is to strike your own head
when like fate the arrow
returns to source.

You’re only as good as your mind,
your characters only as strong as you are.
—at least, this is true in so far as you know.
True in so far as they speak.
For to test them you must torque them
and twist at their cores,
and make opposing forces meet–
but only
as hard as you can.

This makes writing a hill slick with oil.
Insecure. Potential energy.
Potential failure
seated
in all of that grime
that cakes your toes like grease that coats
the teeth of great industrial gears.

So I try not to stand when I write.

But whether the better take comes when you plunge
and you slide and dissolve like so much ice,
I must say I don’t know,
the thought
seems nice.
But the same
It seems like those who let go
Are the ones
with the least to say.

I can't decide
either which way.

All I know about writing is
most sentences are punctuated wrongly.
The period is certain,
but writing is undecided.
It is the figuring-out, a quest-bound troop
that moves with all its own fanfare.
Question marks curl up—
invisible smoke on a summer coal fire:
heat twisting the air like irons in stoke
giving sign of the transformations there withheld.
For fire mediates matter,
so writing stands ever-between.

But I’ve spoken too much and I don’t know what these words mean.
And so I fold like there’s danger in writing,
while danger is imagined like borders on a continent.
Danger is thinking
I'm dangerous enough to keep silent.
Like shallow waves,
given way to sand.
So avoid letting voids form
where the mind dismisses confrontation to more capable smiths.
Writing is –at best– an attempt.
Even with shallow structures
in rhythmic din,
the silent breaks by force of pen,
and all because of the simple fact
that quiet refuses to bend.

All I can hope is my writing upholds these unknowns
while I try not to stand.

But you ask about writing?
Katey Jan 17
It's here.
All around you
Look and you'll see
It's infinite, our human brains can't understand it because of it's complexity.
The instruments we use vary widely
From burning our hair on soldering irons
To ripping it out when code doesn't work.
We are constantly trying to understand everything around us
Never lose that curiosity
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