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Nota: his soil is man's intelligence.
That's better. That's worth crossing seas to find.
Crispin in one laconic phrase laid bare
His cloudy drift and planned a colony.
Exit the mental moonlight, exit lex,
Rex and principium, exit the whole
Shebang. Exeunt omnes. Here was prose
More exquisite than any tumbling verse:
A still new continent in which to dwell.
What was the purpose of his pilgrimage,
Whatever shape it took in Crispin's mind,
If not, when all is said, to drive away
The shadow of his fellows from the skies,
And, from their stale intelligence released,
To make a new intelligence prevail?
Hence the reverberations in the words
Of his first central hymns, the celebrants
Of rankest trivia, tests of the strength
Of his aesthetic, his philosophy,
The more invidious, the more desired.
The florist asking aid from cabbages,
The rich man going bare, the paladin
Afraid, the blind man as astronomer,
The appointed power unwielded from disdain.
His western voyage ended and began.
The torment of fastidious thought grew slack,
Another, still more bellicose, came on.
He, therefore, wrote his prolegomena,
And, being full of the caprice, inscribed
Commingled souvenirs and prophecies.
He made a singular collation. Thus:
The natives of the rain are rainy men.
Although they paint effulgent, azure lakes,
And April hillsides wooded white and pink,
Their azure has a cloudy edge, their white
And pink, the water bright that dogwood bears.
And in their music showering sounds intone.
On what strange froth does the gross Indian dote,
What Eden sapling gum, what honeyed gore,
What pulpy dram distilled of innocence,
That streaking gold should speak in him
Or bask within his images and words?
If these rude instances impeach themselves
By force of rudeness, let the principle
Be plain. For application Crispin strove,
Abhorring Turk as Esquimau, the lute
As the marimba, the magnolia as rose.

Upon these premises propounding, he
Projected a colony that should extend
To the dusk of a whistling south below the south.
A comprehensive island hemisphere.
The man in Georgia waking among pines
Should be pine-spokesman. The responsive man,
Planting his pristine cores in Florida,
Should ***** thereof, not on the psaltery,
But on the banjo's categorical gut,
Tuck tuck, while the flamingos flapped his bays.
Sepulchral senors, bibbing pale mescal,
Oblivious to the Aztec almanacs,
Should make the intricate Sierra scan.
And dark Brazilians in their cafes,
Musing immaculate, pampean dits,
Should scrawl a vigilant anthology,
To be their latest, lucent paramour.
These are the broadest instances. Crispin,
Progenitor of such extensive scope,
Was not indifferent to smart detail.
The melon should have apposite ritual,
Performed in verd apparel, and the peach,
When its black branches came to bud, belle day,
Should have an incantation. And again,
When piled on salvers its aroma steeped
The summer, it should have a sacrament
And celebration. Shrewd novitiates
Should be the clerks of our experience.

These bland excursions into time to come,
Related in romance to backward flights,
However prodigal, however proud,
Contained in their afflatus the reproach
That first drove Crispin to his wandering.
He could not be content with counterfeit,
With masquerade of thought, with hapless words
That must belie the racking masquerade,
With fictive flourishes that preordained
His passion's permit, hang of coat, degree
Of buttons, measure of his salt. Such trash
Might help the blind, not him, serenely sly.
It irked beyond his patience. Hence it was,
Preferring text to gloss, he humbly served
Grotesque apprenticeship to chance event,
A clown, perhaps, but an aspiring clown.
There is a monotonous babbling in our dreams
That makes them our dependent heirs, the heirs
Of dreamers buried in our sleep, and not
The oncoming fantasies of better birth.
The apprentice knew these dreamers. If he dreamed
Their dreams, he did it in a gingerly way.
All dreams are vexing. Let them be expunged.
But let the rabbit run, the **** declaim.

Trinket pasticcio, flaunting skyey sheets,
With Crispin as the tiptoe cozener?
No, no: veracious page on page, exact.
Nigel Morgan  Jan 2013
Heartstone
Nigel Morgan Jan 2013
Heartstone is a reflection in music on a ‘lost’ poem. The poem described in its two short verses a summer’s day, a landscape, a fossil found and placed in the palm of a child’s hand. The poem inspired a seven-movement work for wind, brass and percussion with solo piano. Here is its poetic programme note.

Chert

The piano draws an arc of rhythm
rising then falling.
Above
two choirs of wind and brass
exclaim, fanfare, mark out
shorter, determined
gestures of sound.

The procession, almost a march,
becomes a dance.
Alone
Two choirs of wind and brass
become four couples
whose music weaves
from complexity a simplicity:
Chromatic to Pentatonic
twelve becoming five.

Prase

Four stopped horns,
five extended tonalities.
Together they wander
a maze of Pentatonic paths;
alone, and in pairs, as a quartet
they discover within
a measured harmonic rhythm.
Tension: resolution

. . . and surrounding
their every move
the piano
insists an obligato,
a continuum of phrases,
absorbing into itself
the warp and weft of horn tone.

Sard

Oscillating
in perpetual motion
the full ensemble
occupies a frame
of time and space.

Flutes, reeds,
double-reeds
brass, piano,
percussion
mirror-fold on mirror-fold
layer upon layer
overlapping.

Yarns of threaded sound.

Tuff

Without a break
the mirrored oscillations
patter pentatonics
on tuned percussion
of marimba and vibraphone

whilst
a *batterie
of drums
lays down
shards of beaten rhythm
against this onward
folding of tonality change.

In the background
a choir of winds
flutes and single reeds
waymark this recursive journey
gathering together
cadential moments and the
necessary pause for breath.

Marl

Relentlessly, the motion is sustained,
piano-driven,
a syncopated continuo,
rhythm-sectioned
amidst layers of percussion.

Adding edge,
a choir of brass and double reeds
amplify the piano’s jagged rhythms
providing impetus for
phrases to become longer and longer,
ratching up the tension,
ever-denying closure
until the batterie
delivers
a conclusive flourish.

Paramoudra

Pulse-figures of winds.
Motific cells of brass.
Both
negotiate a stream of
fractal-shaped tonality
expanding: contracting.
A blossom of fanfares

folding into
pulsating layers
of tuned percussion,
flutes and reeds.
A dance-like episode

absorbs a chorale.
Four horns in close harmony
against the continuing dance.
A duet of differences

flows into a cascade of chords
in closed and open forms.
The piano supports
brass-flourishing figures
before a final stillness.

Heartstone

In gentle reflection
the solitary piano –
a figure in a landscape
of collapsed harmonic forms -
presents in slow procession
the essence of previous music.
Find out more about the music of Heartstone here: http://www.nigel-morgan.co.uk
L B Dec 2017
from a dream*

...My student's name is Ari
and he's dying...

“No serious talk today!” he warns
He wants to laugh –
and so we do

He wants the Patriarchs and Prophets
on this tropical island
He names them doing something funny
and I pick up where he leaves off--
with the second line:

      “Elijah, with his ravens on a blow-up raft...”
     “...Ascends with ham sandwich, sipping wine!”

    “Jeremiah throwing mud *****...”
    “...at Zedekiah's white garage!”

We rewrite the Old Testament
laughing till we cry

“Now that's what I'm talkin' about!”
He's pumped
and kicks that rebel trashcan 'cross the room
...and suddenly shouts out--

“For everything there is a season...!”

I do not finish this one....

“I'll tell Solomon you said Hi”
____

...and in that moment half aware...

_____

I'm wearing a grass skirt
in someone else's dream

I'm on Instagram
and I don't know how I got there

I have coconut halves for my ****
but for the life of me –
can't figure
how to keep them on

So I let them sway with my grasses
to the languid freedom of marimba music
toes clutching warmth of sand
No one here to see
but Instagram?

Nagging in the background:
How did I ever get here?

Dreaming like this... right?
Thanks to Anon for the suggestion to switch the order of the two pieces to this dream.  Yes, definitely makes it more sensible.

These two different dreams just somehow blended together.

I have never been to the tropics, but it's nice to dream, seein' as how it'll be
3 degrees here tonight.  I've worked with kids and as a teacher in public schools, so I guess that's where the rest comes from--that, and I've read the Old Testament.
David Nelson May 2013
While My Guitar Gently Sleeps

boogie woogie is on my mind
my toe tapping a thousand times
slapping snare and top hat crash
back to sleep dreamy night fade away

is it a festival of jazz marching by
raz-ma-taz New Orleans style
clarinet and trumpet and tuba blow
blind melon singing do-dah do-dah-day

Latin fever makes me thrash
trying to remember the tricky steps
the cha-cha of the island girls
watching how the shapely hips sway

Spanish marimba mambo twist
taps clacking as the flamenco flies
big box acoustic cat gut strings
fingers twitching wanting to play

square dance cowgirls and dudes strut
thumbs in their pockets stomping boots
fiddles and steel race through my heart
gonna do it all do it all someday

roll over and change the world another day
dreamy night fade away once again
screaming guitars in triple tones
while my guitar gently sleeps away

Gomer LePoet...
no rest for the weary frustrated musician :)
[On my birthday]
                
                
At low tide like this how sheer the water is.
White, crumbling ribs of marl protrude and glare
and the boats are dry, the pilings dry as matches.
Absorbing, rather than being absorbed,
the water in the bight doesn't wet anything,
the color of the gas flame turned as low as possible.
One can smell it turning to gas; if one were Baudelaire
one could probably hear it turning to marimba music.
The little ocher dredge at work off the end of the dock
already plays the dry perfectly off-beat claves.
The birds are outsize. Pelicans crash
into this peculiar gas unnecessarily hard,
it seems to me, like pickaxes,
rarely coming up with anything to show for it,
and going off with humorous elbowings.
Black-and-white man-of-war birds soar
on impalpable drafts
and open their tails like scissors on the curves
or tense them like wishbones, till they tremble.
The frowsy sponge boats keep coming in
with the obliging air of retrievers,
bristling with jackstraw gaffs and hooks
and decorated with bobbles of sponges.
There is a fence of chicken wire along the dock
where, glinting like little plowshares,
the blue-gray shark tails are hung up to dry
for the Chinese-restaurant trade.
Some of the little white boats are still piled up
against each other, or lie on their sides, stove in,
and not yet salvaged, if they ever will be, from the last bad storm,
like torn-open, unanswered letters.
The bight is littered with old correspondences.
Click. Click. Goes the dredge,
and brings up a dripping jawful of marl.
All the untidy activity continues,
awful but cheerful.
mûre  Nov 2012
Blurry Love
mûre Nov 2012
With my heart I picture you in polaroids
tinted blue by my eyes, surrounded by crushed leaves.
In the skipping track of my inner eye
your mouth, the way it moves when you focus
the open-palmed reaching of marimba chorale
and softening of your brow from the vines
of midnight-colour hair.
From many perspectives, again and again,
in the skipping track of my inner eye,
photographs shot with love.
Faeri Shankar  May 2012
Medley
Faeri Shankar May 2012
Stomach full of liquid.

Black eyed peas

And obsession with relish

Finally paying off.

Trees

Collages

Dancing

Seductress.

Knowledge

Healing

­Three small boys dressed as their fathers

Playing checkers

Giggling

Marimba chops

Echoing

Twice stolen earphones

Volume control

Old south

1933

Shallow grave

Shallow sleep

Fresh cars

First to drive

Survive.

Sonic

Pescetarianism.

Cherry Lime-ade

Walking on the

Green grass

REM interrupted

Curious hands

Laced between

Fingers

Three sizes smaller

Sinking

unbiased truth

peeking an ugly face

around her corner.

Talk of mustaches and

****** orientation

The price of documentation.

Embrace

certainty within confusion.

Tuesday.
Anne Scintilla  Nov 2019
Marimba
Anne Scintilla Nov 2019
every time my phone dings that chime I set,

our patterend steps have been
evenly paced
but sometimes i miss
a few, just so our hands won’t
graze
— a metronome
back and forth.

though I’d still steal
a glance from it: soft
fingers on keys, light wrist
on the right beat,
slender
palms fit
in my sweater sleeve.

wondering, how
quickly it can
thaw the frost in mine;
and before my boiling belly
boil over  
surrendering the
mistletoe nose;

how many are missing the same warmth I have yet to hold.
so much warmth in for the last days of autumn.
it’s my favorite season despite not experiencing it in my country.
i guess we can really miss the things that was never ours— or not yet, at least.

thanks for reading
a.s.
Thomas W Case  Feb 2021
Algebra
Thomas W Case Feb 2021
I sit at my window and look out at the
snowflakes; they fall vertically, horizontally under
the grey black sky. I watch the dog break open the
bone and lick the marrow out. I watch the
big white cat sleep, snore, maybe dreaming of
a fat sparrow in his mouth. I think of taking
a bite of the sunset, living in a cave; the way
a marimba sounds when I’m haunted,
how Hamsun took bites of his hand in hunger.
My mind drifts to Van Gogh’s potato eaters,
the ***** that rejected his ear, Lautrec’s withered
legs and beautiful heart. I think of the falcon in
the city, the stranger in the mirror, the brutality
of man and the wonder in the doe’s eyes.

Anything but algebra, I took the compass test for
college, 99% in writing, 96%.in reading and 17% in math.
I have to retake the math and score a 25% or better.
I despise math, my girlfriend says, “You love math, it
gets you loans and grants.”
My brain bleeds with numbers and equations,
but she’s right,
I like loans and grants.

So I’m back at it, like a kid to
the dentist, and math does its job,
it pushes me back to
the word, the line, my dirt road
through the madness.

— The End —