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Nigel Morgan Dec 2012
He said I’m the wrong shape. I could do with putting on a few pounds and, almost as an after thought he said, you’ll have to cut your hair – yourself.  I know she was an artist, and a mother, and a gardener. I had to admit to him I didn’t know any painters. My cousin Julie’s a sculptor – same thing he said – but I had to tell him I hadn’t yet looked at her painting, only what he showed us in his presentation.  He then told me exactly where in the National Museum of Wales I could see one of her paintings – Gallery 14 – and its from this period, a Parisiene picture. He suggested I might go to Cambridge and spend a day at a place called Kettles Yard. There are more Winifreds there than anywhere else in the UK, and many pictures by her close friend Christopher Wood.
 
Oh dear. This is difficult. The only thing going for me seems I’m about the right age and I’ve have children, though mine are older than hers in the production. I was so surprised to get this part, but as Michael said over the phone, your profile fits. Except for the weight and the hair, and I know nothing about painting. Why should I? Jeff told me, the composer Morton Feldman once said if you haven’t got a friend whose a painter, you’re in trouble. I’m in trouble. But he has very kind eyes and when he touched me gently on the shoulder after Lizzie and I sung that shells duet I had to look away.
 
Reaching down arm-deep into bright water
I gathered on white sand under waves
Shells, drifted up on beaches where I alone
Inhabit a finite world of years and days.
I reached my arm down a myriad years
To gather treasure from the yester-millennial sea-floor,
Held in my fingers forms shaped on the day of creation….
 
They sleep on the ocean floor like humming-tops
Whose music is the mother-of-pearl octave of the rainbow,
Harmonious shells that whisper for ever in our ears,
‘The world that you inhabit has not yet been created’

 
Mind you, I don’t envy Lizzie being Kathleen Raine. Now that is a difficult part, even though she’s only in Act 2. Raine was definitely odd. He says I have to understand their friendship, because there was something about it that made them both more than they were. I don’t understand that.
 
Jane and the children are amazing already. Martin (my ‘other’ half Ben Nicholson) said they’d been rehearsing with Robert because his wife (Robert’s wife Debbie) is at WNO and they were scared about this one. I’ll say this for him he knows exactly how children interrupt, constantly. It’s clever the way he uses the interruptions to change direction of the dialogue. Conversations are often left unfinished. The bit when that ***** Barbara visits the apartment unexpectedly is brilliant. She’s completely demolished by these kids of her lover.
 
But those letters . . . he said, can you imagine your husband writing to you over a period of 40 years? Quite a thought that. David wrote to me a few times when I was in Madrid for Cosi just after we’d met, but it was all telephone calls after that. Why waste paper, time and a stamp. But I take his point – their letters are so beautiful – and they were separated for God’s sake. He’d gone off with another woman, and even brought her to Paris. And you could not have two totally different women – she ,slight, chain-smoking, work-a-holic, sharp-tongued with that Yorkshire edge, and me with ‘a quiet voice, trying always to be gentle and kind ‘– W would be called an earth-mother these days. She was a kind of hippie, only she had money – mind you most of those hippies of the 60s had money otherwise they couldn’t have done drugs (heard that on Radio 4 last week in a programme about Richard Brautigan). But they wrote to each other almost every day.
 
Dear Ben,.
            Do you know there are several kinds of happiness, and there is one sort which I have found. It is the sort that is within oneself, enjoying fresh promise, and taking all the experiences of life that one has been through, so-called sad ones and so-called happy ones, to make up understanding that is further on than joy or sorrow. I have been extremely lucky – I have had ten years of companionship with an ‘all-time’ painter, working in the medium of classic eternity and that has been better than a lifetime with any second-class person – isn’t it - I have found it so…
 
Best love Winifred

 
What’s clever about the letter sequences is the way the two-way correspondence is handled as a duet and right in the middle of it you’ll get a flashback – like Winifred suddenly remembering her first meeting with Ben.
 
I heard this voice
In the room next door
I couldn’t breath, I couldn’t move
I knew, I knew for certain
This was the man I would marry.
And when we were introduced
He seemed to know this too.

 
We gaily call this an opera, but it’s not. It’s something else. It simply doesn’t do what you think it’s going to do. Even when you do something for a second time the accompaniment doesn’t do what you expect and remembered. It’s this open-form business. Something else I know nothing about. He mentioned Umberto Eco – now I’ve read Name of the Rose. When Braque or Mondrian or Jan Eps visit unannounced I have no idea which one it’s going to be – these guys just used to turn up. Sometimes two at once. W didn’t invite them. They came for her English hospitality (home baking I think) and her beautiful apartment come studio – beautiful, because she made it so. Her French was appalling, and this is difficult because I speak quite well, and now I have to speak like an idiot. Bridget  (playing Cissy the Cumbrian nanny) having her French lesson is a hoot, and with the children correcting her all the time, it’s lovely.
 
He was very sweet when we broke for lunch. Sara, he said, as I collapsed into an auditorium seat to find my bag and mobile, Sara, we’ve got to find you a painter to spend a day with . . . so you’ll know how to stand in front of an easel.  I phoned Sarah Jane Brown who has a studio in Cardiff and she’d love to meet you. Here’s her number. She paints flowers and landscapes – as well as the abstract stuff - just like Winifred. Her tutor at the RCA actually knew Winifred. And with that he disappeared to a dark corner of the theatre and unwrapped his sandwiches. You can tell he’s not into break discussions with Julian or Michael. I think he’s terribly shy. He’s interested in the cast and so he picks them off one by one. Julian I know doesn’t like this. I think everything needs to go through me, he said at the end of yesterday’s rehearsal. Who does he think he is?! Lizzie reminded Julian he was the composer and what he doesn’t know about this whole period and its characters isn’t knowledge. Liz thinks he’s a sweetie – and she’s sung his Raine settings at Branwyn Hall last year – with Robert who was his MD with BBCNOW. Liz knows Julian hasn’t done his usual homework because he’s got this production in Birmingham on the boil. Unknown Colour is a distraction he can do without.
 
This afternoon it’s back to the mayhem of those ensemble scenes in Act 1. They’re quite crazy, but I’m already beginning to feel I can start to be someone other than me. Did you know I have this lovely song? It’s quite Sondheim . . .
 
*I like to have a picture in my room.
Without one, my room feels bare
however much furniture is there;
Pictures play so many roles.
My room has too much going on in it
for something extravagant.
In the morning it is a sanctuary,
in the daytime a factory,
in the evening a place of festivity,
and through the night a place of rest.
 
I want a window in it,  
And a focal point, something alive and silent.
A bunch of flowers on the window sill?
Yes, but they will wither.
A cat curled up on the hearth?
Yes, but it will go away and prowl upon the rooftops.
 
A picture will always be there.
It will make no sound. It will wait.
If it is true I shall never grow tired of it.
I shall see something fresh in it
when I glance at it tomorrow.
It will always be my friend.
Sam Conrad Nov 2013
Raine...
What's in a name?
We long knew of our downfall
Our star-crossed love.
As our minds combined,
And our bodies mingled,
We joked we were doomed.

Raine,
What's in a name?
We fell into untouchable love
Our star-crossed love.
As our minds intrigued,
And our bodies harmonized,
We knew we were doomed.

Raine,
What's in a name?
You fell out our wonderful love
Our star-crossed love.
As my mind pleaded,
And my hands entreated,
I found *I was doomed.
You're going to read this wrong,
Every single one of you.
Because you are not me,
And you cannot see what I'm saying.

No amount of stressed syllables in these lines can
ever describe what it means.
To me.
Why I wrote it.
Why I let you read it.

You will never understand
My understanding.

And that's okay.
It's a long list.
raine cooper  Oct 2015
love
raine cooper Oct 2015
i think how we need to be loved as adults stems from our childhood (or lack thereof).

if you were abandoned, you need to be smothered, to know every second that you're adored. but as a child you were always alone, so the very love you crave makes you feel suffocated and crawling white knuckled to get out.

and so this war rages inside of us, until we have exhausted ourselves & perhaps those who were brave enough to extend their hands.

©raine cooper
Nigel Morgan Apr 2013
after the painting by Mary Fedden

I kept seeing her around and about, but mostly on the beach. This is a small community and after five years or so I know who everyone is, except those who visit in the summer, though I am getting to know some of the regulars. I reckon she’s my age. When she looks at me in the store, and I look at her and smile, her smile tells me these things.

I have trouble with my hair. It’s thinned and doesn’t grow quite as it should. When I was pregnant and then nursing my children it was positively luxuriant. But later, and despite medical advice (and treatment I was unsure about and abandoned) it became an embarrassment, until he reassured me (just once) and I became an ‘adored woman’. He never ever spoke of it again and loved me so wholly and beautifully I had no reason for it to matter in his company, in his arms.

But seeing her, and often on the beach, more and more regularly, seeing her with her mane of strong dark brown hair flowing behind her in the wind, I felt a curious desire for such a wealth of hair. In fact, I began to feel something stir in me that was desire of a different kind. I can’t think I had ever looked at a woman in quite that way in any previous life. It was always men I sought, I wanted.

Her name is Sara, no h, just an A at the end. She said that when I eventually introduced myself. We were walking towards each other, barefoot both on that glistening skin of water the sea creates between the tides coming and going. It was about midday and I was, I was thinking and walking. I do this now. I don’t bring my sketchbook, I don’t look everywhere I can and more so, I have begun to retreat into my most private self. Perhaps it’s my age and so many years of feeling I had to be wholly attentive and active. Being in this remote place, almost permanently, has slowed me down, and I have begun to dream, to see beyond what I usually would have seen moment to moment. I’ve been re-reading the prose and poetry of Kathleen Raine, who understood this sea-swept place and was haunted by its ghosts, and who dreamed.

Never, never, again
This moment, never
These slow ripples
Across smooth water,
Never again these
Clouds white and grey
In sky crystalline
Blue as the tern’s cry
Shrill in the light air
Salt from the ocean,
Sweet from flowers

Oh yes,  
‘the sun that rose this morning from the sea will never return . . .’* I have become a watcher, no longer an observer. I put my camera away last winter and now hold moments in my memory. Here I can sketch. I can have all the time I need, and more. And I knew when I began to talk to Sara I wanted beyond anything else to sketch her, to know her line by line with the pen, and later bring the texture of her into paint.

Painting is where I am now. It’s direct, mesmeric, challenging, wholly absorbing. My needles and thread only deal with our clothes, my clever printing and collaging lies dormant in my studio, a studio I rarely enter now. I have a room upstairs in the loft that is all light and sky. There’s just an easel, a table, a chair, a small bookcase, a trolley-thing of paints and brushes. Even that’s too much. I always collected things around me. I brought so much in from outside and now I’m trying, trying to have as little as possible. This is where I will paint Sara. I’m already thinking this as we take the first tentative steps towards knowing one another. Names, where we live, (we both know). Partners, family, children? I have all this, but not here, only my companion, my love who caresses me with such care and attention. There are my cats and my hens. She has no one, or rather she talks of no one. She asks the questions and avoids giving answers. She just nods and doesn’t answer. Otherwise, she’s a straight yes / no person. She doesn’t feel she has to qualify anything.

We’re standing together. We’re intent on looking at each other. Words seem a little unnecessary because what we both want to do is look. ‘I can tell you paint’, she says, ‘It’s your finger nails’. My perfect nails and the pads of my fingers hold the evidence of a morning at my easel. ‘I have seen your work’, she says, ‘One could hardly not. You’re well known beyond these shores.’ I feel myself blushing slightly. I thought blushing had stopped with the menopause, not that it troubled me much, the menopause that is. Blushing though was a torturous part of my adolescence, but let’s not go into that.

‘Your husband,’ she says, ‘he’s up very early. I see him sometimes here, on the beach.’
‘Do you get up at five?’ I am surprised. My husband gets up before five.
‘Sleep is difficult sometimes. I walk a lot. I need to be out, and walk.’

Her face, her head is larger than mine. She is a larger woman altogether, bigger *****, long-legged, but with youthful ******* that seem taut and well-rounded under her brown frock, no, her brown dress. I only think frock because that’s what he says – ‘I love that frock.’ And he means usually whatever I am wearing now that’s old and rich in memories of his hands knowing me through a dress, sorry a frock, which remains for me (and possibly for him) the most sensuous of sensations, still. Au nature has its place, and I love the rub of his skin and body hair. But when we are lovers, and we are still lovers and usually when travelling, in hotel rooms or borrowed cottages, or visiting friends and dare I say it, staying with our various children. Last autumn in Venice, in this large, amazing marble-tiled room, with this huge bed, he undressed me in front of a window opening onto our own terrace, and I was beside myself with passion, desire, oh all those wonderful things. And for months afterwards I would return to that early evening, remembering the lights coming on all over the watered city as he kissed and stroked and brushed my body through my Gudrun Sjödén frock. I would replay, find again over and over, those exquisite moments of such joyful touching as he then undressed me, and with such care and tenderness I felt myself crying out. Well, he says I did. In one of his poems (for your eyes only, he had whispered) he admits to his own celebration of those moments again, again.

Sara’s dress is calf-length. There’s nothing else. As the breeze wraps itself around the loose-fitting brown cotton her naked figure is revealed inside itself. No ring, no jewellery, nothing to hold her hair now flowing behind her. She has positioned herself so it does; flow out behind her. This is so strange. Am I dreaming this? We have become silent and together look in silence at the sea. I can hear her short breathes. She turns to me with a smile and looks straight into my eyes – and says nothing – and then walks backward a few steps – still with her warm smile – turns and walks away.

I tell him I met Sara today and ask if he sees her on the beach in the early mornings. Yes, he has, in the distance, mostly. He has said good morning to her on a few occasions, but she has smiled and said nothing. Five o’clock is far too early to say anything, he says. She swims occasionally. I keep my distance, he says with a grin.

I tell him I would like to paint her. I should, he says, You should go and ask her, do it, get it done and out of your system. It’s time you stopped being afraid of the face, the portrait, the figurative. I’d give so much to have been able to paint you, he says ruefully, my darling, my dearest. And he strokes my arm, kisses my cheek, then, he slowly and carefully kneels down beside my chair, places his arm across the top of my thighs so when I bend to kiss him his bare forearm touches the edge of my *******. He puts his head in my lap, and I caress his ears, his quite white hair.

Sara’s door is open. She’s living in Ralph’s cottage, a summer-let habitable (just) in the nearly autumn time it is. I call, ‘Sara, it’s me’, thinking she’ll recognize my voice, not wishing to say my name. She appears at the door. ‘I have the kettle on, she says, ‘I had a feeling you might be by.’ Her accent is, like mine, un-regional, carefully articulated, a Welsh tinge perhaps. There’s an uplift and a slowness in some of the vowels. ‘You will come in’, she says, more a statement than a question. It’s rather dark inside. There’s a reading lamp on, but she has the chair, her chair, close by the window. There are letters being written. There are books. Not Ralph’s, but what she has brought with her. Normally, I would be hopelessly inquisitive, but I can’t stop myself looking at her, wondering even now, in these first few moments in this dark room, how I will position her to paint her form, her face, her nature. What will I paint? I look at her still-bare feet, her large hands.

And so, with mugs of tea, Indian tea I don’t drink, but here, as her guest I do, but without milk, we sit, I on the only other chair (from the kitchen) she on the floor. And she watches me look about, and look at her.

‘I’m rather done with talking, with polite conversation. That’s why I’m here to be done with all that for a while.’
‘I came to ask you to sit for me. To let me draw you, paint you even. You can be completely quiet. I won’t say a word. I’ve never, ever asked anyone to sit for me. I’m not that sort of painter. But when I saw you on the beach it was the first thing that came into my head.’
‘I should be flattered. Though I have sat for artists before, when I was a little younger,’ surprisingly she mentions two names I know, both women. ‘I know how to be still. But, those are days in a different life.’
‘I only want to paint you in the life you have now.’ And I realise then that what I want to paint was Sara’s ‘aloneness’. I think then I have never been truly alone since he came into my life and took any loneliness I had from me. Whenever we are apart, and still there are times, he writes to me the tenderest letters, the most touching poems, he quotes his Chinese favourites down the telephone. We always, always speak to each other before bed, even when we are on different continents and time-zones. He told me I was always his last thought before sleep. And I wonder if I would be his last thought . . .

‘Do you want to do this formally?, said Sara.
‘I don’t know. Yet. I’d like to draw you first, be with you for a little while, perhaps to walk. A little while at a time. Whatever might suit you.’
‘Would you pay me? I have little money. It would be useful.’
‘Of course’, I say this directly, having no idea about what one pays a model. He will know though. He knew Paula Rego and didn’t she have a female model? I think of those large full-length figures rendered in pastels. Her model’s name was Lila, who for more than 25 years, had sat for her, stood for her, crouched for her, hour after hour and day after day. I remember a newspaper piece that went something like this: since 1985 Lila has helped to give life, in paint, and pastel, and charcoal, to the characters in Paula Rego's head. Lila was all Paula Rego’s women.

‘Sara’, I said, ‘help me please. It’s taken more than a little courage to come to see you, to ask you. My husband says I should do this, finally get myself painting the person, the face, body, not as some exercise in a life class, but the real thing.’
‘Of course’, she says, ‘Let’s go and walk to the point.’

And we did. Not saying very much at all, but I suppose I did. She made me talk and gradually I laid my life out in front of her, and not the life she would have found in those glossy monographs and catalogue introductions, and God forbid, not in those media features and interviews that I suppose have made me a name I’d always dreamed of becoming, and now could do without.

‘I suppose you have a studio’, she said suddenly, ‘Is that where you’d want me to come?’
‘Yes, I have a studio. No, I don’t think I want you to come there. Not at first anyway.’ I was floundering. ‘ I’d like to draw you, paint you possibly on the beach, where we met, so there would be sea and sky and breeze blowing your hair.’
‘And a steamer out on the horizon belching smoke from its funnel and the sea blowing white horses and dancing about. I’d be right by the seastrand with waves and spray and foam, and under a greyish sky. Not a sunny day. A breezy day. In my brown dress, sitting on the sand by the tide marks, looking out to sea, looking at the steamer away in the distance, sitting with my left hand behind me holding myself up, and the shape of my legs akimbo bent slightly under my brown dress. How would that be?’
‘Perfect’, I said.

And it was.
Nigel Morgan Dec 2012
‘This is a pleasure. A composer in our midst, and you’re seeing Plas Brondanw at its June best.’ Amabel strides across the lawn from house to the table Sally has laid for tea. Tea for three in the almost shade of the vast plain tree, and nearly the height of the house. Look up into its branches. It is convalescing after major surgery, ropes and bindings still in place.
 
Yes, I am certainly seeing this Welsh manor house, the home of the William-Ellis family for four hundred years, on a day of days. The mountains that ring this estate seem to take the sky blue into themselves. They look almost fragile in the heat.
 
‘Nigel, you’re here?’ Clough appears next. He sounds surprised, as though the journey across Snowdonia was trepidatious adventure. ‘Of course you are, and on this glorious day. Glorious, glorious. You’ve walked up from below perhaps? Of course, of course. Did you detour to the ruin? You must. We’ll walk down after tea.’
 
And he flicks the tails of his russet brown frock coat behind him and sits on the marble bench beside Amabel. She is a little frail at 85, but the twinkling eyes hardly leave my face. Clough is checking the garden for birds. A yellowhammer swoops up from the lower garden and is gone. He gestures as though miming its flight. There are curious bird-like calls from the house. Amabel turns house-ward.
 
‘Our parrots,’ she says with a girlish smile.
 
‘Your letter was so sweet you know.’ She continues. ‘Fancy composing a piece about our village. We’ve had a film, that TV series, so many books, and now music. So exciting. And when do we hear this?’
 
I explain that the BBC will be filming and recording next month, but tomorrow David will appear with his double bass, a cameraman and a sound recordist to ‘do’ the cadenzas in some of the more intriguing locations. And he will come here to see how it sounds in the ‘vale’.
 
‘Are we doing luncheon for the BBC men? They are all men I suppose? When we were on Gardeners’ World it was all gals with clipboards and dark glasses, and it was raining for heaven’s sake. They had no idea about the right shoes, except that Alys person who interviewed me and was so lovely about the topiary and the fireman’s room. Now she wore a sensible skirt and the kind of sandals I wear in the garden. Of course we had to go to Mary’s house to see the thing as you know Clough won’t have a television in the house.’
 
‘I loath the sound of it from a distance. There’s nothing worse that hearing disembodied voices and music. Why do they have to put music with everything? I won’t go near a shop if there’s that canned music about.’
 
‘But surely it was TV’s The Prisoner that put the place on the map,’ I venture to suggest.
 
‘Oh yes, yes, but the mess, and all those Japanese descending on us with questions we simply couldn’t answer. I have to this day no i------de-------a-------‘, he stretches this word like a piece of elastic as far as it might go before breaking in two, ‘ simply no I------de------a------ what the whole thing was about.’ He pauses to take a tea cup freshly poured by Amabel. ‘Patrick was a dear though, and stayed with us of course. He loved the light of the place and would get up before dawn to watch the sun rise over the mountains at the back of us.’
 
‘But I digress. Music, music, yes music . . . ‘ Amabel takes his lead
 
‘We’ve had concerts before at P. outside in the formal gardens by AJ’s studio.’ She has placed her hands on her green velvet skirt and leans forward purposefully. ‘He had musicians about all the time and used to play the piano himself vigorously in the early hours of the morning. Showing off to those models that used to appear. I remember walking past his studio early one morning and there he was asleep on the floor with two of them . . .’
 
Clough smiles and laughs, laughs and smiles at a memory from the late 1920s.
 
‘Everyone thought we were completely mad to do the village.’ He leans back against the gentle curve of the balustrade, and closes his eyes for a moment. ‘Completely mad.’
 
It’s cool under the tree, but where the sunlight strays through my hand seems to gather freckles by the minute. I am enjoying the second slice of Mary’s Bara Brith. ‘It’s the marmalade,’ says Amabel, realising my delight in the texture and taste, ‘Clough brought the recipe back from Ceylon and I’ve taught all my cooks to make it. Of course, Mary isn’t a cook, she’s everything. A wonder, but you’ll discover this later at dinner. You are staying? And you’re going to play too?’
 
I’m certainly going to play in the drawing room studio on the third floor. It’s distractingly full of paintings by ‘friends’ – Duncan Grant, Mondrian, Augustus John, Patrick Heron, Winifred Nicholson (she so loved the garden but would bring that awful Raine woman with her). There’s  Clough’s architectural watercolours (now collectors want these things I used to wiz off for clients – stupid prices – just wish I’d kept more behind before giving them to the AA – (The Architectural Association ed.) And so many books, first editions everywhere. Photographs of Amabel’s flying saucer investigations occupy a shelf along with her many books on fairy tales and four novels, a batch of biographies and pictures of the two girls Susan and Charlotte as teenagers. Susan’s pottery features prominently. There’s a Panda skin from Luchan under the piano.
 
These two eighty somethings have been working since 8.0am. ‘We don’t bother with lunch.’ Amabel is reviewing the latest Ursula le Guin. ‘I stayed with her in Oregon last May. A lovely little house by the sea. Such a darling, and what a gardener! She creates all the ideas for her books in her garden. I so wish I could, but there’s just too much to distract me. Gardening is a serious business because although Jane comes over from Corrieg and says no to this and no to that and I have to stand my corner,  I have to concentrate and go to my books. Did you know the RHS voted this one of the ten most significant gardens in the UK? But look, there’s no one here today except you!’
 
No one but me. And tea is over. ‘A little rest before your endeavours perhaps,’ says Clough, probably anxious to get back to letter to Kenzo Piano.
 
‘Now let’s go and say hello to the fireman,’ says Amabel who takes my arm. And so we walk through the topiary to her favourite ‘room’,  a water feature with the fireman on his column (mid pond). ‘In memory of the great fire, ‘ she says. ‘He keeps a keen eye on the building now.’ He is a two-foot cherub with a hose and wearing a fireman’s helmet.
 
The pond reflects the column and the fireman looks down on us as we gaze into the pool. ‘Health, ‘ she says, ‘We keep a keen eye on it.’
 
The parrots are singing wildly. I didn’t realise they sang. I thought they squawked.
 
‘Will they sing when I play?’ I ask.
 
‘Undoubtedly,’ Amabel says with her girlish smile and squeezes my arm.
This is a piece of fantasy. Clough and Amabel Williams-Ellis created the Italianate village of Portmeirion in North Wales. I visited their beautiful home and garden ten miles away at Brondanw in Snowdonia and found myself imagining this story. Such is the power of place to sometimes conjure up those who make it so.
Kristoffer Motil Mar 2016
which is perfect for what you did.
(what you are)
(what you always will be)
when you told me about sunflowers being your favorite
and I immediately wanted to buy all of them in the store for you –
then, and only then, I noticed how deep I was
in the storm you poured down on my world.
I was
(am)
drowning in your words,
(barbed and sarcastic)
your smile,
(mischievous)
your laugh
(oh, how it curved your face into a masterpiece).
I wanted to bottle it all up, keep it to myself;
a dragon with his hoard.
(not gold, but echoes of you)
I took all of you in,
and it nearly killed me.
(so sweetly)
but now, I know how to swim.
and you are the only sea
(storm)
I want to swim in.

but, it’s over now.
and you have moved on.
and the sea is drying up.
so, what to do now?
now
it’s
my
turn
to
rain.
(for you)
For Alyssia.
unnamed  Feb 2014
Raine
unnamed Feb 2014
My name is the tears falling from heaven

Or the tears falling off your face

My name is a promise

A promise that flowers are to come

Because all this bad has a purpose

The rain will wash everything away

And that’s me

I am the rain 

I will wash away all the hurt if you let me

After all the pain has been planted

I am the flowers that grow 

I am the rainbow that paints the sky

A reminder that no matter how grey

Or how damp and unpleasant

Something good will come out of it

And something good will come out of it

If you believe that bad things happen

If you believe that rain falls from the sky

You must also believe in good things

You have to believe the flowers will grow

That the sun will come up

That the sky will be streaked with multicoloured happiness

And that’s where you’ll find me

In the rain 

And all the little things afterward
Who says this poem is about anyone? This poem is about me. Hell, it's literally about my name.
Sam Conrad May 2014
The boy inside my head remembers the girl inside yours.
He wants to tell you that he still loves you...that he'll love you forever.
He wants to tell you he's trapped and all alone.
He sits in his cell scratching the days onto the wall.
He draws pictures of your face and imagines holding your hand.
If he ever gets to talk to you again, he pictures what he'd say...
He would do anything for you to give him another chance.
He knows he's a boy and he wishes he didn't have to be.
But that boy inside his head didn't get a say on if he got to be a boy or not.
He wishes that you'd open yourself up to let him care for you again.
He wishes that you'd let yourself be the reason that he lives again.
He wishes a lot.
He wishes too much.
He fears none of them won't come true but he can't stop because it keeps him alive.
He envisions that chance. That he would take it slow and show you his love.
That it would be the deepest display of emotion ever to come from him.
He knows all too well you're not fond of boys- he's almost sorry he is one.
But he loves you. He loves you so much. You're so beautiful to him.
A beautiful person, not a beautiful girl.
He misses you.
He misses you so much.
The world stops when you hug him.
His heart flutters just thinking about it, still.
You're heavenly to him. You took him places he'd never been before.
Places he may never be again.
You see, he wishes he could put into words for you, the feeling...
He never needed anything more than your cuddles and hugs.
Like a living, breathing, soft and loving security blanket, you were...
Nothing in his life ever more peaceful than your arms or the touch of your lips.
He never needed ***...please don't make it about ***...
What he really needed was you.
He prays to a God he no longer believes in that maybe he could have a reason to believe again.
He loves you, Elizabeth Raine. He loves you so **** much.
He knows that's not enough.
He will never be enough.
You were once the reason he lived...
You're now the reason he wants to die.
You dumped him like utter trash and he still couldn't get over you.
You said things that ripped out his soul. Acted like he had no soul to begin with...
But ******, he loved you. He loves you. Like he promised, he always will.
Your girly parts play no part. He wishes you'd understand how much deeper this is than that.
How much you mean to him.
How much you'll always mean to him, how you'll always be his sweet girl.
At least, how he wishes you'd be his sweet girl once more.
He wishes he could show you...that he could find a way.
Tears roll down his face like the first rain of May.
He just wants to be enough to experience heaven one more time...
I'm afraid to inform him that heaven's long gone...
Its not even in existence to experience anymore...
But he'd **** himself...I can't push myself to let him know...
He bought a ticket to hell.
I love you. I miss you everyday. I hope you're doing fine. I hope she treats you well.
I wish I could sleep forever so I could go back to your arms again.

I hope you're not reading this. If you did, you just hugged him.
Just know it gives him the best feeling in the world, even still.
He tries so hard to forget he wants it everyday.
C E Ford Jul 2018
Your eyes are covered in smoke,
skin ashen
with the four dollar packs
You buy at the store
On the corner of Drayton
And Hall,

But my god,
You still glow and flicker
Like the first lit candle
Of the night
Warm, wild, wonderful
before 10 PM even starts.

Your lovers are glass bottles,
some full,
some empty,
some curvy.

And some broken
Shattered in your palms
And the brick wall of your apartment.

But you take pride in
the scars on your fingertips
And the nicks
From glass shards,

Because even though they’ve toughened you
to the worlds outside
your window,
they’ve made you
all the more beautiful.
I’m yearning for Savannah’s sleepy streets and a best friend to walk them.

— The End —