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In a quiet, pleasant meadow,
Beneath a summer sky,
Where green old trees their branches waved,
And winds went singing by;
Where a little brook went rippling
So musically low,
And passing clouds cast shadows
On the waving grass below;
Where low, sweet notes of brooding birds
Stole out on the fragrant air,
And golden sunlight shone undimmed
On all most fresh and fair;--
There bloomed a lovely sisterhood
Of happy little flowers,
Together in this pleasant home,
Through quiet summer hours.
No rude hand came to gather them,
No chilling winds to blight;
Warm sunbeams smiled on them by day,
And soft dews fell at night.
So here, along the brook-side,
Beneath the green old trees,
The flowers dwelt among their friends,
The sunbeams and the breeze.

One morning, as the flowers awoke,
Fragrant, and fresh, and fair,
A little worm came creeping by,
And begged a shelter there.
'Ah! pity and love me,' sighed the worm,
'I am lonely, poor, and weak;
A little spot for a resting-place,
Dear flowers, is all I seek.
I am not fair, and have dwelt unloved
By butterfly, bird, and bee.
They little knew that in this dark form
Lay the beauty they yet may see.
Then let me lie in the deep green moss,
And weave my little tomb,
And sleep my long, unbroken sleep
Till Spring's first flowers come.
Then will I come in a fairer dress,
And your gentle care repay
By the grateful love of the humble worm;
Kind flowers, O let me stay!'
But the wild rose showed her little thorns,
While her soft face glowed with pride;
The violet hid beneath the drooping ferns,
And the daisy turned aside.
Little Houstonia scornfully laughed,
As she danced on her slender stem;
While the cowslip bent to the rippling waves,
And whispered the tale to them.
A blue-eyed grass looked down on the worm,
As it silently turned away,
And cried, 'Thou wilt harm our delicate leaves,
And therefore thou canst not stay.'
Then a sweet, soft voice, called out from far,
'Come hither, poor worm, to me;
The sun lies warm in this quiet spot,
And I'll share my home with thee.'
The wondering flowers looked up to see
Who had offered the worm a home:
'T was a clover-blossom, whose fluttering leaves
Seemed beckoning him to come;
It dwelt in a sunny little nook,
Where cool winds rustled by,
And murmuring bees and butterflies came,
On the flower's breast to lie.
Down through the leaves the sunlight stole,
And seemed to linger there,
As if it loved to brighten the home
Of one so sweet and fair.
Its rosy face smiled kindly down,
As the friendless worm drew near;
And its low voice, softly whispering, said
'Poor thing, thou art welcome here;
Close at my side, in the soft green moss,
Thou wilt find a quiet bed,
Where thou canst softly sleep till Spring,
With my leaves above thee spread.
I pity and love thee, friendless worm,
Though thou art not graceful or fair;
For many a dark, unlovely form,
Hath a kind heart dwelling there;
No more o'er the green and pleasant earth,
Lonely and poor, shalt thou roam,
For a loving friend hast thou found in me,
And rest in my little home.'
Then, deep in its quiet mossy bed,
Sheltered from sun and shower,
The grateful worm spun its winter tomb,
In the shadow of the flower.
And Clover guarded well its rest,
Till Autumn's leaves were sere,
Till all her sister flowers were gone,
And her winter sleep drew near.
Then her withered leaves were softly spread
O'er the sleeping worm below,
Ere the faithful little flower lay
Beneath the winter snow.

Spring came again, and the flowers rose
From their quiet winter graves,
And gayly danced on their slender stems,
And sang with the rippling waves.
Softly the warm winds kissed their cheeks;
Brightly the sunbeams fell,
As, one by one, they came again
In their summer homes to dwell.
And little Clover bloomed once more,
Rosy, and sweet, and fair,
And patiently watched by the mossy bed,
For the worm still slumbered there.
Then her sister flowers scornfully cried,
As they waved in the summer air,
'The ugly worm was friendless and poor;
Little Clover, why shouldst thou care?
Then watch no more, nor dwell alone,
Away from thy sister flowers;
Come, dance and feast, and spend with us
These pleasant summer hours.
We pity thee, foolish little flower,
To trust what the false worm said;
He will not come in a fairer dress,
For he lies in the green moss dead.'
But little Clover still watched on,
Alone in her sunny home;
She did not doubt the poor worm's truth,
And trusted he would come.

At last the small cell opened wide,
And a glittering butterfly,
From out the moss, on golden wings,
Soared up to the sunny sky.
Then the wondering flowers cried aloud,
'Clover, thy watch was vain;
He only sought a shelter here,
And never will come again.'
And the unkind flowers danced for joy,
When they saw him thus depart;
For the love of a beautiful butterfly
Is dear to a flower's heart.
They feared he would stay in Clover's home,
And her tender care repay;
So they danced for joy, when at last he rose
And silently flew away.
Then little Clover bowed her head,
While her soft tears fell like dew;
For her gentle heart was grieved, to find
That her sisters' words were true,
And the insect she had watched so long
When helpless, poor, and lone,
Thankless for all her faithful care,
On his golden wings had flown.
But as she drooped, in silent grief,
She heard little Daisy cry,
'O sisters, look! I see him now,
Afar in the sunny sky;
He is floating back from Cloud-Land now,
Borne by the fragrant air.
Spread wide your leaves, that he may choose
The flower he deems most fair.'
Then the wild rose glowed with a deeper blush,
As she proudly waved on her stem;
The Cowslip bent to the clear blue waves,
And made her mirror of them.
Little Houstonia merrily danced,
And spread her white leaves wide;
While Daisy whispered her joy and hope,
As she stood by her gay friends' side.
Violet peeped from the tall green ferns,
And lifted her soft blue eye
To watch the glittering form, that shone
Afar in the summer sky.
They thought no more of the ugly worm,
Who once had wakened their scorn;
But looked and longed for the butterfly now,
As the soft wind bore him on.

Nearer and nearer the bright form came,
And fairer the blossoms grew;
Each welcomed him, in her sweetest tones;
Each offered her honey and dew.
But in vain did they beckon, and smile, and call,
And wider their leaves unclose;
The glittering form still floated on,
By Violet, Daisy, and Rose.
Lightly it flew to the pleasant home
Of the flower most truly fair,
On Clover's breast he softly lit,
And folded his bright wings there.
'Dear flower,' the butterfly whispered low,
'Long hast thou waited for me;
Now I am come, and my grateful love
Shall brighten thy home for thee;
Thou hast loved and cared for me, when alone,
Hast watched o'er me long and well;
And now will I strive to show the thanks
The poor worm could not tell.
Sunbeam and breeze shall come to thee,
And the coolest dews that fall;
Whate'er a flower can wish is thine,
For thou art worthy all.
And the home thou shared with the friendless worm
The butterfly's home shall be;
And thou shalt find, dear, faithful flower,
A loving friend in me.'
Then, through the long, bright summer hours
Through sunshine and through shower,
Together in their happy home
Dwelt butterfly and flower.
Àŧùl  Jan 2017
Thankless
Àŧùl Jan 2017
Just some words of gratitude,
Or few actions of graciousness,
Followed by the ****** of love,
Deem you as a person thankless.
Yes she assassinated my feeling,
A dove of love just got sadness.
From an ungrateful person...
My HP Poem #1364
©Atul Kaushal
We were teammates
We suited up
We showed up

We weren't stars
But we rolled in the dirt
With the best of them

Our blood ran red
Like the rest of them

Our sweat tasted salty
As the most athletic of them

Wounds and bruises
Ached like the most
Stalwart of them

We were Bulldogs!
We anted up our
Gifts and talents to
Forge a winning season

A flair for humor
Wry observation,
Encouragement, fortitude
And intelligence were as
Valuable as speed,
Agility and strength

We all pined for the
Affection of cheerleaders,
Bandmembers and the
Adoration of fans

We equally joined
In the chorus of
locker room banter
And honored the
Confidence of camaraderie
Such intimacy bares

We endured thankless
Adversity, while wending
through anonymous toil

As brothers
We grudgingly drank
From the vile cup of defeat

And passed the chalice
Of victory among us
To share the savory
Taste of triumph
As champions

The Duke of Wellington
Said “the battle of Waterloo
Was won on the fields of Eton”

I trust my teammates and
Not forgotten friends
Tasted sweet victories of
Happiness and success
As they coursed through
Their prodigious fields of life

And at games end
I hope their heart swelled
With pride to know they were
A beloved and Valiant Bulldog

David Irving Korsh #75
BCSL Champion 1973
Rutherford Bulldogs

Well done Valiant Bulldog

God bless and Godspeed

Music Selection:
Bruce Springsteen
Thunder Road

5/5/18
Puyallup
jbm
the passing of a former teammate
Ashwin Kumar Dec 2022
Recruitment is an utterly thankless job
Especially if you are handling an Investment Banking role
That too when working in a startup
You spend hours and hours
Searching frantically for candidates
Who possess the requisite skills and experience
Followed by days and days
Speaking to a plethora of candidates
Facing rejection after rejection
Watching your own confidence nosedive
After almost every conversation
And then gritting your teeth and continuing to burn the midnight oil
After you finally manage to share a few relevant resumes
By the skin of your teeth
You breathe a sigh of relief
Knowing that your job is half done
Everything runs smoothly from thereon
Till the offer stage
When the candidate decides to back out
Having received a better offer elsewhere
And you are back to square one
However, you resume the search
With a renewed vigour
And put your heart and soul
Into finding a suitable replacement
Your efforts are duly rewarded
However, misfortune strikes again
The candidate develops cold feet
And gets retained by his present company
You have to go back to the drawing board, yet again
However, you refuse to give up
And work harder than ever
Determined to be third time lucky
Alas! Fate turns its back on you, yet again
The client proves to be a tad too miserly
Thus pushing your candidate away
However, you continue to resist bravely
Against all odds
Determined to prove a point
More to yourself, than anyone else
However, history repeats itself
For the fourth time in a row
And you are left bruised and battered
In the face of a year full of bad luck
Which has brought you a record seven backouts
And all you can do now
Is to pray, and keep praying
For 2022 to end as soon as possible
Recruitment, is indeed an utterly thankless job
Self-explanatory!!
D.H. Lawrence  Nov 2010
Snake
A snake came to my water-trough
On a hot, hot day, and I in pyjamas for the heat,
To drink there.
In the deep, strange-scented shade of the great dark carob-tree
I came down the steps with my pitcher
And must wait, must stand and wait, for there he was at the trough before
me.

He reached down from a fissure in the earth-wall in the gloom
And trailed his yellow-brown slackness soft-bellied down, over the edge of
the stone trough
And rested his throat upon the stone bottom,
And where the water had dripped from the tap, in a small clearness,
He sipped with his straight mouth,
Softly drank through his straight gums, into his slack long body,
Silently.

Someone was before me at my water-trough,
And I, like a second comer, waiting.

He lifted his head from his drinking, as cattle do,
And looked at me vaguely, as drinking cattle do,
And flickered his two-forked tongue from his lips, and mused a moment,
And stooped and drank a little more,
Being earth-brown, earth-golden from the burning bowels of the earth
On the day of Sicilian July, with Etna smoking.
The voice of my education said to me
He must be killed,
For in Sicily the black, black snakes are innocent, the gold are venomous.

And voices in me said, If you were a man
You would take a stick and break him now, and finish him off.

But must I confess how I liked him,
How glad I was he had come like a guest in quiet, to drink at my water-trough
And depart peaceful, pacified, and thankless,
Into the burning bowels of this earth?

Was it cowardice, that I dared not **** him? Was it perversity, that I longed to talk to him? Was it humility, to feel so honoured?
I felt so honoured.

And yet those voices:
If you were not afraid, you would **** him!

And truly I was afraid, I was most afraid, But even so, honoured still more
That he should seek my hospitality
From out the dark door of the secret earth.

He drank enough
And lifted his head, dreamily, as one who has drunken,
And flickered his tongue like a forked night on the air, so black,
Seeming to lick his lips,
And looked around like a god, unseeing, into the air,
And slowly turned his head,
And slowly, very slowly, as if thrice adream,
Proceeded to draw his slow length curving round
And climb again the broken bank of my wall-face.

And as he put his head into that dreadful hole,
And as he slowly drew up, snake-easing his shoulders, and entered farther,
A sort of horror, a sort of protest against his withdrawing into that horrid black hole,
Deliberately going into the blackness, and slowly drawing himself after,
Overcame me now his back was turned.

I looked round, I put down my pitcher,
I picked up a clumsy log
And threw it at the water-trough with a clatter.

I think it did not hit him,
But suddenly that part of him that was left behind convulsed in undignified haste.
Writhed like lightning, and was gone
Into the black hole, the earth-lipped fissure in the wall-front,
At which, in the intense still noon, I stared with fascination.

And immediately I regretted it.
I thought how paltry, how ******, what a mean act!
I despised myself and the voices of my accursed human education.

And I thought of the albatross
And I wished he would come back, my snake.

For he seemed to me again like a king,
Like a king in exile, uncrowned in the underworld,
Now due to be crowned again.

And so, I missed my chance with one of the lords
Of life.
And I have something to expiate:
A pettiness.

Taormina, 1923
He slumped onto the barbedwire
thinking of the end in no man's land
his uniform grey with ash
his army colours now blind to all

From out of a trench he had dashed
but dying no hero by the call of a whistle
just a name in a thankless world war
that in a thousand more years
will have tragically so many tears

No Poppy will grow here
whilst the bombs and gunfire go on
this land will not settle
with killing machines of metal

So he is dying with his blood and pride
yet not in a land for butterflies
he looks at his loves stained photograph
in his last breath gasps, Poppy my Poppy

By Christis Andreas Kourtis aka NeonSolaris
It is not the sun that lights my path.
It never will and never has.
And as age slowly cripples me
I realize, without the sun I'll ever be.

In this time of plastic body parts,
A culture with no concept of art,
Lit by the fake and fluorescent suns,
Where the only language heard comes from the mouth
                                                    ­                               of a gun

I am not alone in this dark and natural dankness.
We are children who grow|and are thankless.
We cannot even dream of open spaces.
The television reflects a bleak reality on our faces.

It's a time of war|the enemy is everyone.
Time has stopped in this world void of sun.
All that's left is the intent to ****.
And our only way out is to simply stand still.
Written as I worked at Subway..
Mr Incognito Jan 2015
You were wailing like a wounded puppy
Your voice was craving for love and sympathy
It appealed to my dormant magnanimity
And thus for you I opened my heart’s door
Least did I know you were an ugly *****.

I stood beside you at your one call
Your tantrums, your malice I bore ‘em all.
To make you smile daily became my life’s goal
But you were so thankless it shook me to the core
I should have known earlier, you were an ugly *****

Though my knowledge about love was low
Yet at times I wondered if you really know
so much definitions of it and the metaphors bestowed
then why did your breakup happen once before
perhaps because he too knew, you were an ugly *****

What I thought was your love with glee
Was actually an act of backstabbing me.
You betrayed in the first chance given to thee
Now I shall give you chances no more
Because now I know that you are an ugly *****.
Dedicated to all the ******* who betrayed their lover.
Emeka Mokeme Feb 2019
What truths
will you
set free
before you
are set free.
Do you
think you
could actually
discern and
figure this out.
That we
have no
forever because
our heart
will meet
next to never.
I have
fought vehemently
to become
the emissary
of truth
all my life.
It’s a
burden and
a curse
that i
wish no man.
It's a
thankless errand
for only
the called.
The road
within that
leads to
a lonely path.
A road
less travelled.
But what
really is the
actual truth.
Truth it
seems eludes man,
for the
mind of
man is
weak and
not made
up and not
so good.
Even though
the consciousness
of the
mind of
man cannot
be deceived
for man
is born
in soul goodness.
Some of
the acts
of man
are a
disappointment
and disheartening.
And man
at the
final stage
will find
out that
he is
an exulted
and an
enlightened being.
©2019,Emeka Mokeme. All Rights Reserved.
LJW Feb 2014
I've given poetry readings where less than a handful of people were present. It's a humbling experience. It’s also a deeply familiar experience.

"Poetry is useless," poet Geoffrey ****** said in a 2013 interview, "but it is useless the way the soul is useless—it is unnecessary, but we would not be what we are without it."

I was raised a Roman Catholic, and though I don’t go to Mass regularly anymore, I still remember early mornings during Advent when I went to liturgies at my parochial school. It was part of my offering—the sacrifice I made to honor the impending birth of the Savior—along with giving up candy at Lent. So few people attended at that hour that the priest turned on only a few lights near the altar. Approaching the front of the church, my plastic book bag rustling against my winter coat, I felt as if I were nearing the seashore at sunrise: the silhouettes of old widows on their kneelers at low tide, waiting for the priest to come in, starting the ritual in plain, unsung vernacular. No organist to blast us into reverence. No procession.

Every day, all over the world, these sparsely attended ceremonies still happen. Masses are said. Poetry is read. Poems are written on screens and scraps of paper. When I retire for the day, I move into a meditative, solitary, poetic space. These are the central filaments burning through my life, and the longer I live, the more they seem to be fused together.

Poetry is marginal, thankless, untethered from fame and fortune; it's also gut level, urgent, private yet yearning for connection. In all these ways, it's like prayer for me. I’m a not-quite-lapsed Catholic with Zen leanings, but I’ll always pray—and I’ll always write poems. Writing hasn’t brought me the Poetry Jackpot I once pursued, but it draws on the same inner wiring that flickers when I pray.        

• • •

In the 2012 collection A God in the House: Poets Talk About Faith, nineteen contemporary American poets, from Buddhist to Wiccan to Christian, discuss how their artistic and spiritual lives inform one another. Kazim Ali, who was raised a Shia Muslim, observes in his essay “Doubt and Seeking”:

[Prayer is] speaking to someone you know is not going to be able to speak back, so you're allowed to be the most honest that you can be. In prayer you're allowed to be as purely selfish as you like. You can ask for something completely irrational. I have written that prayer is a form of panic, because in prayer you don't really think you're going to be answered. You'll either get what you want or you won't.

You could replace the word "prayer" with "poetry" with little or no loss of meaning. I'd even go so far as to say that submitting my work to a journal often feels like this, too. Sometimes, when I get an answer in the form of an acceptance, I'm stunned.

"I never think of a possible God reading my poems, although the gods used to love the arts,” writes ***** Howe in her essay "Footsteps over Ground." She adds:

Poetry could be spoken into a well, of course, and drop like a penny into the black water. Sometimes I think that there is a heaven for poems and novels and music and dance and paintings, but they might only be hard-worked sparks off a great mill, which may add up to a whole-cloth in the infinite.

And here, you could easily replace the word "poetry" with "prayer." The penny falling to the bottom of a well is more often what we experience. But both poetry and prayer are things humans have learned to do in order to go on. Doubt is a given, but we do get to choose what it is we doubt.

A God in the House Book Cover
Quite a few authors in A God in the House (Howe, Gerald Stern, Jane Hirschfield, Christian Wiman) invoke the spiritual writing of Simone Weil, including her assertion that "absolutely unmixed attention is prayer." This sounds like the Zen concept of mindfulness. And it broadens the possibility for poetry as prayer, regardless of content, since writing poetry is an act of acute mindfulness. We mostly use words in the practical world to persuade or communicate, but prayers in various religious traditions can be lamentations of great sorrow. Help me, save me, take this pain away—I am in agony. In a church or a temple or a mosque, such prayerful lamentation is viewed as a form of expression for its own good, even when it doesn't lead immediately to a change of emotional state.

Perhaps the unmixed attention Weil wrote of is a unity of intention and utterance that’s far too rare in our own lives. We seldom match what we think or feel with what we actually say. When it happens spontaneously in poetry or prayer—Allen Ginsberg's "First thought, best thought" ideal —it feels like a miracle, as do all the moments when I manage to get out of my own way as a poet.

Many people who pray don’t envision a clear image of whom or what they’re praying to. But poets often have some sense of their potential readers. There are authorities whose approval I've tried to win or simply people I've tried to please: teachers, fellow writers, editors, contest judges—even my uncle, who actually reads my poems when they appear in the Pittsburgh Post-Gazette, where he used to work.

And yet, my most immersed writing is not done with those real faces in mind. I write to the same general entity to which I pray. It's as if the dome of my skull extends to the ceiling of the room I'm in, then to the dome of the sky and outward. It’s like the musings I had as a child lying awake at night, when my imagination took me to the farthest reaches of the galaxy. But then I emerge from this wide-open state and begin thinking about possible readers—and the faces appear.

This might also be where the magic ends.

• • •

I write poetry because it’s what I do, just as frogs croak and mathematicians ponder numbers. Poetry draws on something in me that has persisted over time, even as I’ve distracted myself with other goals, demands, and purposes; even as I’ve been forced by circumstance to strip writing poetry of certain expectations.

"Life on a Lily Pad" © Michelle Tribe
"Life on a Lily Pad"
© Michelle Tribe
At 21, I was sure I’d publish my first book before I was 25. I’m past my forties now and have yet to find a publisher for a book-length collection, though I've published more than a hundred individual poems and two chapbooks. So, if a “real” book is the equivalent of receiving indisputable evidence that your prayers are being answered, I’m still waiting.

It hasn’t been easy to shed the bitter urgency I’ve felt on learning that one of my manuscripts was a finalist in this or that contest, but was not the winner. Writing in order to attain external success can be as tainted and brittle as saying a prayer that, in truth, is more like a command: (Please), God, let me get through this difficulty (or else)—

Or else what? It’s a false threat, if there’s little else left to do but pray. When my partner is in the ICU, his lungs full of fluid backed up from a defective aortic valve; when my nephew is deployed to Afghanistan; when an ex is drowning in his addiction; when I hit a dead end in my job and don’t think I can do it one more day—every effort to imagine that these things might be gotten through is a kind of prayer that helps me weather a life over which I have little control.

Repeated disappointment in my quest to hit the Poetry Jackpot has taught me to recast the jackpot in the lowercase—locating it not in the outcome but in the act of writing itself, sorting out the healthy from the unhealthy intentions for doing it. Of course, this shift in perspective was not as neat as the preceding sentence makes it seem. There were years of thrashing about, of turning over stones and even throwing them, then moments of exhaustion when I just barely heard the message from within:

This is too fragile and fraught to be something that guides your whole life.

I didn't hear those words, exactly—and this is important. For decades, I’ve made my living as a writer. But I can't manipulate or edit total gut realizations. I can throw words at them, but it would be like shaking a water bottle at a forest fire; at best, I can chase the feeling with metaphors: It's like this—no, like this—or like this.

So, odd as this sounds for a poet, I now seek wordlessness. When I meditate, I intercept hundreds of times the impulse to shape a perception into words. Reduced to basics, the challenge facing any writer is knowing what to say—and what not to.

• • •

To read or listen to poetry requires unmixed attention just as writing it does. And when a poem is read aloud, there's a communal, at times ritualistic, element that can make a reading feel like collective prayer, even if there are only a few listeners in the audience or I’m listening by myself.

"Allen Ginsberg" © MDCArchives
Allen Ginsberg
© MDCArchives
When I want to feel moved and enlarged, all I have to do is play Patti Smith's rendition of Ginsberg's "Footnote to Howl." His long list poem from 1955 gathers people, places, objects, and abstractions onto a single exuberant altar. It’s certainly a prayer, one that opens this way:

Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy!

The world is holy! The soul is holy! The skin is holy! The nose is holy! The tongue and **** and hand and ******* holy!

Everything is holy! everybody’s holy! everywhere is holy! everyday is in eternity! Everyman’s an angel!

Some parts of Ginsberg's list ("forgiveness! charity! faith! bodies! suffering! magnanimity!") belong in any conventional catalogue of what a prayer celebrates as sacred. Other profane elements ("the ***** of the grandfathers of Kansas!") gain admission because they are swept up into his ritualistic roll call.

I can easily parody Ginsberg's litany: Holy the Dairy Queen, holy the barns of the Amish where cheese is releasing its ambitious stench, holy the Pittsburgh Pirates and the Internet. But reading the poem aloud feels to me the way putting on ritual garments must to a shaman or rabbi or priest. Watching Patti Smith perform the poem (various versions are available on YouTube), I get shivers seeing how it transforms her, and it's clear why she titled her treatment of the poem "Spell."

A parody can't do that. It can't manifest as the palpable unity of intention and utterance. It can't do what Emily Dickinson famously said that poetry did to her:

If I read a book [and] it makes my whole body so cold no fire ever can warm me I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only [ways] I know it. Is there any other way.

Like the process of prayer—to God, to a better and bigger self, to the atmosphere—writing can be a step toward unifying heart, mind, body, universe. Ginsberg's frenzied catalogue ends on "brilliant intelligent kindness of the soul"; Eliot's The Waste Land on "shantih," or "the peace that surpasseth understanding." Neither bang nor whimper, endings like these are at once humble and tenacious. They say "Amen" and step aside so that a greater wordlessness can work its magic.
From the website http://talkingwriting.com/poetry-prayer
eileen mcgreevy Dec 2009
Again the time has come for all to gather round the fire,
"That time again", we say, while we assess the money drained,
The looks of disappointment from the ***** with stupid attire,
And truth will leak from drink fuelled mouths, with need to be restrained.


Your mum is singing drunkenly, while flirting with the vicar,
And dad is out the back sneaking a joint with cousin victor,
The dog is ******* aunt Jemima's artificial leg,
And someone just had a turkey ****,the kind that makes you sicker.

The christmas lights have fused again, so grandad's on the roof,
Sheer will power keeps him up there,and of course, martini vermouth,
Grandma's lost her teeth,and someone screams near the eggnog,
They're sent flying across the room and land in the fire on a log,

You feel your patience slipping as the pandamoniem mounts,
With thankless moans of "Oh well, its the ****** thought that counts",
And not forgetting Glenn, invited by your mum, but why?
So you and he can marry, and honeymoon in Hawaii.

With no idea that Glenn is gay, i guess the joke's on her,
I mean, what straight guy wears his y fronts entirely made from fur??
The night draws to a close,as bitter, crying family leave,
And relief is all too short, as there's still new years eve!!!
Rangzeb Hussain Nov 2011
This poem is dedicated to the fallen of the First World War, and also, to all those we have lost in the years since.

- Somme Harvest -

In the early morning
Dawn of the fiery horizon,
The sea of green caresses the land
And gave it gentle kisses
Of tender sadness.

On this day many an unlived life would find
Life in Death, but first must come Death in Life,
Indeed, a bouquet of barbs grace the
Dark, dank, *****
Halls of Morningstar,
Servants go to and fro preparing the sordid feast
Of unsung heroes.

Babes in arms are they, who shall
Ever sleep till the break of the final day.

Fields of Flanders infertile,
But for the harvest to ripen
The fertilizer of life is
Scattered, battered, tattered,
Sown,
Human manure, nutrient of vitality,
It seeps into earthly soil.

In the year of our Lord,
One thousand, nine hundred and sixteen
Did the farmers collect their greatest bounty,
Not all farmers reaped massive yields,
Farmers Kultur, Sickle and Hammer
Fed their maniacal hunger with rotting corpses,
While famers Lion, Bulldog and Bald Eagle
Wept their hunger with mechanical eyes,
Farmer Scythe, steward of Morningstar,
Laughed dry, dead tears of hungry joy
And sang the golden harvest song
As his blade swam through the harvest thirstily,
For indeed, the harvest was an endless
Smoky sea of blood green
And thousands were sailing.

Twilight gleaming through the sky,
The raging war god *****’s dry thunderous wrath
And wreaks barbaric, savage, ferocious, ****** carnage below,
As sleeping
Babes in arms fly through the red twilight.

Vultures dressed in human feathers
Gather and crowd around their congealing cold feast,
With hatred sewn on their
Lifeless, lidless
Blind eyes,
They shriek their throaty, ******
Thankless prayers to idle gods.

A multitude of thousands upon thousands
Of souls sour to the heights of Mount Olympus,
Unshed tears,
My child, I saw you in that dusky evening half-light,
Flying, soaring and rising higher with your
Brothers-in-arms.

As I looked up at the darkening sky
My heart wept warm tears of ebbing love,
While my eyes forever dimmed the light,
And my baby,
My body became the Earth,

The phoenix has nested.

— The End —