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st64 Jun 2020
Why do I live, why do I die?
Why do I live, why do I cry?
Here is the SOS of a man in distress:

I've never had both feet upon the ground.
I'd rather be a bird,
I don't fit into this skin.
I'd like to see the world turned upside down;
If ever it were beautiful -
It's lovelier from above, from above.

I've always confused life
with the comic strips,
Even wished I could transform.
I feel something -
That draws me
That draws me
That draws me up.
Into the great lotto of the universe,
I don't have the right numbers;
I don't fit into this skin.
I don't want to be a robot -
Eating, working, sleeping.
Why do I live, why do I die?
Why do I live, why do I cry?
I think I'm catching waves
From another world.

I've never had both feet upon the ground;
I'd rather be a bird.
I'd like to see the world turned upside down -
I'd rather be a bird.

Sleep, child, sleep.

"Turandot" by Giacomo Puccini

None shall sleep! None shall sleep!
Not even you, oh Princess,
in your cold bedroom,
watching the stars
that tremble with love, and with hope!

Ma il mio mistero è chiuso in me;
il nome mio nessun saprà!
No, No! Sulla tua bocca,
lo dirò quando la luce splenderà!

But my secret is hidden within me;
no one will know my name!
No, no! On your mouth,
I will say it when the light shines!

Ed il mio bacio scioglierà
il silenzio che ti fa mia!

And my kiss will dissolve
the silence that makes you mine!

st64 May 2020
My glass shall not persuade me I am old,
So long as youth and thou are of one date;
But when in thee time's furrows I behold,
Then look I death my days should expiate.
For all that beauty that doth cover thee,
Is but the seemly raiment of my heart,
Which in thy breast doth live, as thine in me:
How can I then be elder than thou art?
O! therefore, love, be of thyself so wary
As I, not for myself, but for thee will;
Bearing thy heart, which I will keep so chary
As tender nurse her babe from faring ill.
   Presume not on thy heart when mine is slain,
   Thou gav'st me thine not to give back again.
Sonnets 20 - 32 present an ocean of relative tranquility, in which some minor matters of social difference appear to darken the horizon momentarily, and then pass away. Apart from that, the love which has been declared in 13, 15 and 19 But, love, you are etc.; dear my love, you know; 13. And all in war with time for love of you etc.; 15. my love's fair brow; My love shall in my verse ever live young; 19, is allowed to develop to full maturity. In this sonnet it is as if the point of no return has been reached. The expressions of care and tenderness, of love's togetherness and the prospect of youth growing old, of two hearts united in one, of the commitment of love until the severance of death, combine to make this a rare moment in the heart's history. Love triumphs over age and death. Yet in the background there is always the looking in the glass, the reflections in the mirror, so often evoked in these sonnets, which cast back one's own face beated and chopped with tanned antiquity, and the fair youth's face which must go the same way in the end.

There may well be a significance in the number alone of this sonnet, since multiples of 11 seem to exercise some sort of fascination for the writer. Thus 77 and 88 both step aside to look into the future, 66 renounces the world completely, 55 takes a grand and distant view of the passage of time. Although 33, 44 and 99 do not seem to have any special significance, (but see the commentary to 99 for its dating significance), it may be simply that we fail to see it, or that these numbers are not deemed to be as critical as the others and the various climacteric ones, such as 63, 70 and 81.


"Asleep at the wheel" - T. Coraghessan Boyle
st64 Aug 2018

My eye has acted like a painter and engraved your beautiful image on the canvas of my heart.
My body is the frame that holds this picture; to draw that picture with perspective, realistically representing depth, is the highest skill a painter could have.
Only via this painter—my eye—can you find the image of you that dwells continually in my heart:
Your own eyes are the windows into my heart.

Now look at the favors our eyes have done for each other:
My eyes have drawn your shape, and your eyes are windows into which I can look to see my own heart, into which the sun also likes to look, taking a peep at your reflection.

Yet my eyes lack a certain skill that would grace the others they already have:
They can only draw what they see; they don’t see into your heart.
Sonnet 24 is very difficult to follow even when translated. We are meant to picture the speaker and the addressee staring into each other’s eyes and each seeing his own reflection. The speaker is able to see through the eye of his own reflection into his own heart, where the image of the addressee is enshrined.
st64 Jan 2018
When I went out
The sun was hot
It shone upon
My flower ***.

And there I saw
A spike of green
That no one else
Had ever seen!

On other days
The things I see
Are mostly old
Except for me.

But this green spike
So new and small
Had never yet
Been seen at all!
Sweet chilli tea and Danish cookies.

Illegitimi non carborundum.
st64 Jul 2016
Little Box talks back
With a new set of teeth
And pink gums
A fake nose and a wax mustache
She disguises her voice
To sound like Groucho

Little Box opens up
And cries to her psychiatrist
I don’t know why they hate me
I’m such a sweetheart
I volunteer at the zoo
And teach Mandarin
To their bratty children

Little Box is not happy to see you
So she closes herself up for months
Years, decades, and two millennia!
She tacks up a sign that says

Little Box is undead
She sleeps all day in a coffin
Hands over chest
At night she cruises the mall
For juicy victims

She prefers type A
But AB if she has to
What can you say
Vampires can’t be choosy
She likes your stupid brother

Little Box is on the psychiatry couch
Everybody hates me
Nobody loves me
Little Box lies on her side
And spills her guts

What’s in Little Box
A perfect orchid
A chocolate-covered strawberry
A new iPhone
With a glittery sleeve
Amber earrings from Pushkin

Keys to a new Porsche
A retro Chanel brooch
A Getty scion’s left ear
A Czar’s *****
Gifts so rare
Please don’t stare

What’s in Little Box
Rancid chow mein
A sliver of cold pizza
Last week’s hummus
You’re a starving orphan
From East Brooklyn
And you’ll eat it

So you want to **** Little Box
You want to know her secret
She won’t open up
She won’t give it up
And you are genuinely repelled
By her filthy ribbon

You want to DO the Little Box
You are a sorry story
You big creep
Why don’t you get off the couch and find
A real girlfriend!

Boss Box
White, square, and without a soul!

Please don’t analyze Little Box
She’s just cardboard clogging the landfill
Her mother Precious Jade Purse
Has been regifted
howdy :)
Feb 2015 · 4.1k
To love (R. Arundhati)
st64 Feb 2015
To love. To be loved. To never forget your own insignificance. To never get used to the unspeakable violence and the ****** disparity of life around you. To seek joy in the saddest places. To pursue beauty to its lair. To never simplify what is complicated or complicate what is simple. To respect strength, never power. Above all, to watch. To try and understand. To never look away. And never, never to forget.

                       - *Arundhati Roy
blessed be.
Dec 2014 · 2.7k
not enough cake
st64 Dec 2014
on windy plains
flattened panels beneath tight-pressed scarves, they stand
on the edge of the highway
seeking the last streaks of eve's sun
bodies on windy plains where, in the lap of poverty, kids play and listen
the ***** little words mothers spill
a hapless world in flats steep, laundry billows on higher
than most dreams can possibly reach

song to be sung, yet youth's golden mouth swift-ripped away
by hungry-crones topped in white hats and over-spiffed lines
poor boy couldn't hold it together, they fell apart
scatter the crowd in fold-up chairs to make it look less empty
spread the tea-garden in the hall, circulate those tiny packets
so much **** noise, is that all we waited for?

revolutions were built on disparity's hand ****** in the face of the poor
pity the drug of current day keeps all so well glued to the system
somebody wise once said that royalty awards knighthood
                                                *exactly for the same reason

to keep gentry where they are seen fit to belong: below
                                                           ­                   the swirl of understanding
so, there won't be enough cake for everyone.

when saviours ring in the new, for a short while
and new heads bring down the old names
and gut the bastions of the past
surely, when we destroy the ugly parts of history, we conceal truth
with pompous new plaques and road names for petty achievers
even bad press is held up as recognition these days
and too many are numbed, hopelessly foiled by the feed
peck, peck.. nice, little chikken
                         (mind stuffed with trash, mouthpiece occupied)

some content to catch a few crumbs on the way down
while others tread lightly on their way out the back exit
the more we so blindly buy into the whole mess
the less we see the big pic
                           (the real one)
nebulous covers the screen so well: away from organic life
life on a farm, growing your own stuff
       needing less of plug-in
       more of play
I steadily tire of the filthy streams we're led to wade in
thick and viscous with the stench of decay
and no way out but the meeting with barbed-wire walls

oh, for days of simple pleasures.. walking in the park
                                                      swingi­­ng high into the blue sky

with eyes on the rim of the planet
a ten-cents pineapple-popsicle
and no fear of the unknown
       but beautiful discoveries, good and not-so-good

now, a man will die in the hands of a stranger's care
at the mercy of their kin's timetable
busy, busy, busy.. loved ones moving on
ah, no time to enjoy a tot, some oenomel.

say, God.. you got a moment? I'd like to address a grievance or two
are we forgetting what you told us?
what was it again -- on the day, we tried to understand your identity
                                    in a tongue this world's memory suffered lapse
there was a time we understood your meaning
today, I hear your voice in the rustle out my meadow
right here
in the green leaves

I think I can hear you right
loving your remembrances.

*silent anger brews in the streets, common folk took enough
tired of threats and crumbs left by chunks others gorged on
retaliatory mountains grow, a surge in march
a touch too late to retract some acts.. for haste & judgment hurt
where many struggle to breathe, so hatred cements its template
slowly, time may crumble them to stones, then dust
            or hope build a rope from heart's twine
            or love blow breezes of care on this fiery circle
faraway, where queens live on ginger cakes and ale
on windy plains.
is there really not enough cake for all?
odd how easily media OVERcrops reality.. perhaps a slice if that pie is bein' filtered down, after all.. who knows.

welllllllllll, perhaps a li'l look-see back into the annals of history to remind us how greed will end in a head-chopping.. or two.

sub-entry: drumstick

I hold up high.. parapum, pum-pum
the banner we swore in.. parapum, pum-pum
but we do not know how.. parapum, pum-pum
drumsticks and games got shoved in
to keep us quiet and busy

surely, the graves of liberty-warriors TURN
in horror
at the grand-scale daylight-robbery
we allow and DEFEND.. parapum-pum-pum!
Nov 2014 · 1.6k
break me
st64 Nov 2014
it saws old rain in my skull
and your thoughts take a tour; wet and heavy
and quietly, the dirt shifts in the metal tracts

you break me every single time
my internal spilling is entangled

my summer-psyche enmeshed in your season
and forever swallows a few more ribs
don't wake the children of the light
for their feathers will burn beneath my nails

a storm hangs patiently on the wall
like a delighted painting made from frantic crystals
and I skitter from your towering moods
yet the moon dances in and out of every calm abyss

the lid is no more vacant than my veins cursed with
your silence
like algae, I slip on

my terror squeaks like a vehicle possessed
cheeks go ashen in my gay smiles
you will blush, in secret at what I will do
to you

sails lift on garlicky air in a port where ships don't wait
and my tongue loosens another melody only doubt hears
I'm completely in your hands
and willing for that crush

my acts for coins fall meaningless in embedded frustration
       don't come to the table, then
       keep the shades drawn
only the sense of phantoms
will be hanging in my smoke
intoxicating me to radiance
racing through to the ripples in your day

I'll keep lancing pebbles across the ocean's surface
they will never really reach the riverbed
frosty comes in agonising diamonds
a feast of distress sitting urgently
a shudder flutters through me, imperceptible

reduction of sweetness
a date with the cherubs from a netherworld
my nose feels the snows you carry
and I know you constrict still
my language falters and thinking shatters
and although slumped and vulnerable, it flourishes.
May 2014 · 3.0k
Piano (by D. H. Lawrence)
st64 May 2014
Softly, in the dusk, a woman is singing to me;
Taking me back down the vista of years, till I see
A child sitting under the piano, in the boom of the tingling strings
And pressing the small, poised feet of a mother who smiles as she sings.

In spite of myself, the insidious mastery of song
Betrays me back, till the heart of me weeps to belong
To the old Sunday evenings at home, with winter outside
And hymns in the cosy parlour, the tinkling piano our guide.

So now it is vain for the singer to burst into clamour
With the great black piano appassionato. The glamour
Of childish days is upon me, my manhood is cast
Down in the flood of remembrance, I weep like a child for the past.
D. H. (David Herbert) Lawrence

English writer D.H. Lawrence’s prolific and diverse output included novels, short stories, poems, plays, essays, travel books, paintings, translations, and literary criticism. His collected works represent an extended reflection upon the dehumanizing effects of modernity and industrialization.
In them, Lawrence confronts issues relating to emotional health and vitality, spontaneity, human sexuality and instinct. After a brief foray into formal poetics in his early years, his later poems embrace organic attempts to capture emotion through free verse.

Lawrence's opinions earned him many enemies and he endured official persecution, censorship, and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile he called his “savage pilgrimage.”
At the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. E. M. Forster, in an obituary notice, challenged this widely held view, describing him as, “The greatest imaginative novelist of our generation.”
Later, the influential Cambridge critic F. R. Leavis championed both his artistic integrity and his moral seriousness, placing much of Lawrence's fiction within the canonical “great tradition” of the English novel.
st64 May 2014
How it is fickle, leaving one alone to wander
the halls of the skull with the fluorescents
softly flickering. It rests on the head
like a bird nest, woven of twigs and tinsel
and awkward as soon as one stops to look.

That pile of fallen leaves drifting from
the brain to the fingertip burned on the stove,
to the grooves in that man's voice
as he coos to his dog, blowing into the leaves
of books with moonlit opossums
and Chevrolets easing down the roads
of one's bones. And now it plucks a single
tulip from the pixelated blizzard: yet

itself is a swarm, a pulse with no
indigenous form, the brain's lunar halo.

Our compacted galaxy, its constellations
trembling like flies caught in a spider web,
until we die, and then the flies
buzz away—while another accidental
coherence counts to three to pass the time
or notes the berries on the bittersweet vine

strewn in the spruces, red pebbles dropped
in the brain's gray pool. How it folds itself
like a map to fit in a pocket, how it unfolds
a fraying map from the pocket of the day.
Joanie Mackowski (b. 1963)

Joanie Mackowski’s collections of poems are The Zoo (2002) and View from a Temporary Window (2010). She received a BA from Wesleyan University, was a Stegner Fellow in Poetry at Stanford University, and received a PhD from the University of Missouri.

Her poetry is marked by precise details and attention to the sounds of language; the lines of her poems echo with slant and internal rhymes. Sometimes eerie and often grounded in scientific facts, her poetry scrutinizes insects, plants, animals, and the self.
Of her work, Mackowski has said, “I try to ask questions about what makes us separate individuals and also about what brings us together, in love or in community.” She lives in upstate New York.
st64 Apr 2014
Heaven and Hell: The Parable of the Long Spoons
Post written by Sofo

What is heaven? What is hell? The parable of the Long Spoons explains very well what heaven and hell truly are.
One day a man said to God, “God, I would like to know what Heaven and Hell are like.”

God showed the man two doors. Inside the first one, in the middle of the room, was a large round table with a large *** of stew. It smelled delicious and made the man’s mouth water, but the people sitting around the table were thin and sickly. They appeared to be famished. They were holding spoons with very long handles and each found it possible to reach into the *** of stew and take a spoonful, but because the handle was longer than their arms, they could not get the spoons back into their mouths.
The man shuddered at the sight of their misery and suffering. God said, “You have seen Hell.”
Behind the second door, the room appeared exactly the same. There was the large round table with the large *** of wonderful stew that made the man’s mouth water. The people had the same long-handled spoons, but they were well nourished and plump, laughing and talking.
The man said, “I don’t understand.”

God smiled. It is simple, he said. Love only requires one skill.
These people learned early on to share and feed one another. While the greedy only think of themselves… [Author unknown]

Sometimes, thinking of our personal gratification, we tend to forget our interdependence with everyone and everything around us. Not to help our fellow human beings simply means harming our very selves, since we are all connected on a very deep level.
If you want others to be happy, practise compassion. If you want to be happy, practise compassion.
~Dalai Lama

               *by Sofo
sub-entry: no slime

if Dolores had to hang those sheets upon a sunny breeze
far on below, tracing treacherous steps to a lawn so green
your soles could find no slime deep enough to match

that patch of green where I'd sit
with my pipe blowing out clouds serene
for the sky to make friends with
and face that roar of waves
on the ocean my soul has dipped into
so many times..

st64, 28 April 2014
Apr 2014 · 2.9k
Swifts (by Anne Stevenson)
st64 Apr 2014
Spring comes little, a little. All April it rains.
The new leaves stick in their fists; new ferns still fiddleheads.
But one day the swifts are back. Face to the sun like a child
You shout, 'The swifts are back!'

Sure enough, bolt nocks bow to carry one sky-scyther
Two hundred miles an hour across fullblown windfields.
Swereee swereee. Another. And another.
It's the cut air falling in shrieks on our chimneys and roofs.

The next day, a fleet of high crosses cruises in ether.
These are the air pilgrims, pilots of air rivers.
But a shift of wing, and they're earth-skimmers, daggers
Skilful in guiding the throw of themselves away from themselves.

Quick flutter, a scimitar upsweep, out of danger of touch, for
Earth is forbidden to them, water's forbidden to them,
All air and fire, little owlish ascetics, they outfly storms,
They rush to the pillars of altitude, the thermal fountains.

Here is a legend of swifts, a parable —
When the Great Raven bent over earth to create the birds,
The swifts were ungrateful. They were small muddy things
Like shoes, with long legs and short wings,

So they took themselves off to the mountains to sulk.
And they stayed there. 'Well,' said the Raven, after years of this,
'I will give you the sky. You can have the whole sky
On condition that you give up rest.'

'Yes, yes,' screamed the swifts, 'We abhor rest.
We detest the filth of growth, the sweat of sleep,
Soft nests in the wet fields, slimehold of worms.
Let us be free, be air!'

So the Raven took their legs and bound them into their bodies.
He bent their wings like boomerangs, honed them like knives.
He streamlined their feathers and stripped them of velvet.
Then he released them, Never to Return

Inscribed on their feet and wings. And so
We have swifts, though in reality, not parables but
Bolts in the world's need: swift
Swifts, not in punishment, not in ecstasy, simply

Sleepers over oceans in the mill of the world's breathing.
The grace to say they live in another firmament.
A way to say the miracle will not occur,
And watch the miracle.
Anne Stevenson (b. 1933)

Born in Cambridge, England, Anne Stevenson moved between the United States and the United Kingdom numerous times during the first half of her life.
While she considers herself an American, Stevenson qualifies her status: “I belong to an America which no longer really exists.”
Since 1962 she has lived mainly in the U.K., including Cambridge, Scotland, Oxford, and, most recently, North Wales and Durham.

Intersections and borders are common emblems in Stevenson’s work, though the land on which they are drawn is often mutable or shrouded in mist.
She is as comfortable in strict form as she is in free verse, and her poetry, according to poet George Szirtes, is “humane, intelligent and sane, composed of both natural and rational elements, and amply furnished with patches of wit and fury.”

Initially a student of music, Stevenson earned her undergraduate and master’s degrees at the University of Michigan, where she studied with Donald Hall, who encouraged her to pursue poetry.
Resistant to connections with any particular school of contemporary poetry, Stevenson has honed her art apart from many of her peers but within the larger conversation of the form.
As she says, “If I couldn’t overhear the rhythms and sounds established by the long, varied tradition of English poetry—say by Donne, Blake, Keats, Dickinson, Whitman, Frost—I would not be able to hear what I myself have to say. Poems that arise only from a shallow layer of adulterated, contemporary language are rootless. They taste to me like the mass-produced vegetables grown in chemicals for supermarkets.”

Stevenson slowly lost her hearing years ago, though her poetry continues to come first from sound.
In a 2007 essay, Stevenson wrote, “Although I rarely write in set forms now, poems still come to me as tunes in the head. Words fall into rhythms before they make sense. It often happens that I discover what a poem is about through a process of listening to what its rhythms are telling me.”

“Ever since I can remember, I have been aware of living at what E.M. Forster called ‘a slight angle’ to the universe,” she says.
“I have always had to create my own angular environment or perish. But that’s the whole point about borders. It’s the best place from which to be able to see both sides.”
st64 Apr 2014
The poverty of yesterday was less squalid than the poverty we purchase with our industry today.
Fortunes were smaller then as well.
(The Elderly Lady)

After a while you learn the subtle difference
Between holding a hand and chaining a soul,
And you learn that love doesn’t mean leaning
And company doesn’t mean security.

And you begin to learn that kisses aren’t contracts
And presents aren’t promises,
And you begin to accept your defeats
With your head up and your eyes open

With the grace of a woman, not the grief of a child,
And you learn to build all your roads on today
Because tomorrow’s ground is too uncertain for plans
And futures have a way of falling down in mid-flight.

After a while you learn…
That even sunshine burns if you get too much.
So you plant your garden and decorate your own soul,
Instead of waiting for someone to bring you flowers.

And you learn that you really can endure…
That you really are strong
And you really do have worth…
And you learn and learn…

With every good-bye you learn.


As I think of the many myths, there is one that is very harmful, and that is the myth of countries. I mean, why should I think of myself as being an Argentine, and not a Chilean, and not an Uruguayan.
I don't know really.
All of those myths that we impose on ourselves — and they make for hatred, for war, for enmity — are very harmful.
Well, I suppose in the long run, governments and countries will die out and we'll be just, well, cosmopolitans.*    --J. L. Borges
Jorge Luis Borges (24 August 1899 – 14 June 1986) was an Argentine writer who is considered one of the foremost literary figures of the 20th century.
Most famous in the English speaking world for his short stories and fictive essays, Borges was also a poet, critic, translator and man of letters.

Words by Jorge Luis Borges

"All things have been given to us for a purpose, and an artist must feel this more intensely. All that happens to us, including our humiliations, our misfortunes, our embarrassments, all is given to us as raw material, as clay, so that we may shape our art." ----- J.L. Borges

"Doubt is one of the names of intelligence."

"May Heaven exist, even if my place is Hell.
Let me be tortured and battered and annihilated,
but let there be one instant, one creature,
wherein thy enormous Library may find its justification."

"Dictatorships foster oppression, dictatorships foster servitude, dictatorships foster cruelty; more abominable is the fact that they foster idiocy.
(Statement to the Argentine Society of Letters, c.1946)

I would define the baroque as that style that deliberately exhausts (or tries to exhaust) its own possibilities, and that borders on self-caricature.
The baroque is the final stage in all art, when art flaunts and squanders its resources.
(A Universal History of Iniquity, preface to the 1954 edition)

Do you want to see what human eyes have never seen?
Look at the moon.
Do you want to hear what ears have never heard?
Listen to the bird's cry.
Do you want to touch what hands have never touched?
Touch the earth.
Verily I say that God is about to create the world.
(The Theologians)

Years of solitude had taught him that, in one's memory, all days tend to be the same, but that there is not a day, not even in jail or in the hospital, which does not bring surprises, which is not a translucent network of minimal surprises.
(The Waiting)

Being with you and not being with you is the only way I have to measure time.
(The Threatened)

Truly fine poetry must be read aloud. A good poem does not allow itself to be read in a low voice or silently. If we can read it silently, it is not a valid poem: a poem demands pronunciation.
Poetry always remembers that it was an oral art before it was a written art. It remembers that it was first song.
(The Divine Comedy) (1977)

Time carries him as the river carries
A leaf in the downstream water.
No matter. The enchanted one insists
And shapes God with delicate geometry.
Since his illness, since his birth,
He goes on constructing God with the word.
The mightiest love was granted him
Love that does not expect to be loved.
(Baruch Spinoza)
st64 Apr 2014
This is an excerpt of exquisite letter that Kerouac sent to his first wife, Edie Kerouac Parker, in late January of 1957, a decade after their marriage had been annulled.*

The world you see is just a movie in your mind.
Rocks don't see it.
Bless and sit down.
Forgive and forget.
Practice kindness all day to everybody
and you will realize you’re already
in heaven now.
That’s the story.
That’s the message.

Nobody understands it,
nobody listens, they’re
all running around like chickens with heads cut
off. I will try to teach it but it will
be in vain, s’why I’ll
end up in a shack
praying and being
cool and singing
by my woodstove
making pancakes.
In the mid-1950s, literary iconoclast and beat icon Jack Kerouac (March 12, 1922–October 21, 1969) became intensely interested in Buddhism, which began permeating his writing.
st64 Apr 2014
At my side the Demon writhes forever,
Swimming around me like impalpable air;
As I breathe, he burns my lungs like fever
And fills me with an eternal guilty desire.

Knowing my love of Art, he snares my senses,
Appearing in woman's most seductive forms,
And, under the sneak's plausible pretenses,
Lips grow accustomed to his lewd love-charms.

He leads me thus, far from the sight of God,
Panting and broken with fatigue into
The wilderness of Ennui, deserted and broad,

And into my bewildered eyes he throws
Visions of festering wounds and filthy clothes,
And all Destruction's ****** retinue.
Charles Baudelaire

Charles Baudelaire is one of the most compelling poets of the nineteenth century. While Baudelaire's contemporary Victor Hugo is generally—and sometimes regretfully—acknowledged as the greatest of nineteenth-century French poets, Baudelaire excels in his unprecedented expression of a complex sensibility and of modern themes within structures of classical rigor and technical artistry.
Apr 2014 · 7.9k
Homework (by Allen Ginsberg)
st64 Apr 2014
If I were doing my Laundry I'd wash my ***** Iran
I'd throw in my United States, and pour on the Ivory Soap, scrub up Africa, put all the birds and elephants back in the jungle,
I'd wash the Amazon river and clean the oily Carib & Gulf of Mexico,  
Rub that smog off the North Pole, wipe up all the pipelines in Alaska,  
Rub a dub dub for Rocky Flats and Los Alamos,
Flush that sparkly Cesium out of Love Canal

Rinse down the Acid Rain over the Parthenon & Sphinx, Drain Sludge out of the Mediterranean basin & make it azure again,
Put some blueing back into the sky over the Rhine, bleach the little Clouds so snow return white as snow,
Cleanse the Hudson Thames & Neckar, Drain the Suds out of Lake Erie  

Then I'd throw big Asia in one giant Load & wash out the blood & Agent Orange,
Dump the whole mess of Russia and China in the wringer, squeeze out the tattletail Gray of U.S. Central American police state,
& put the planet in the drier & let it sit 20 minutes or an Aeon
till it came out clean.

                                                     Allen Ginsberg
                                                    Bou­lder, 26 April, 1980

Allen Ginsberg (1926–1997)

One of the most respected Beat writers and acclaimed American poets of his generation, Allen Ginsberg enjoys a prominent place in post-World War II American culture.
He was born in 1926 in Newark, New Jersey, and raised in nearby Paterson. The son of an English teacher and Russian expatriate, Ginsberg’s early life was marked by his mother’s psychological troubles, including a series of nervous breakdowns.
In 1943, while studying at Columbia University, Ginsberg befriended William Burroughs and Jack Kerouac, and the trio later established themselves as pivotal figures in the Beat Movement. Known for their unconventional views, and frequently rambunctious behavior, Ginsberg and his friends also experimented with drugs.

On one occasion, Ginsberg used his college dorm room to store stolen goods acquired by an acquaintance. Faced with prosecution, Ginsberg decided to plead insanity and subsequently spent several months in a mental institution. After graduating from Columbia, Ginsberg remained in New York City and worked various jobs.

Ginsberg first came to public attention in 1956 with the publication of Howl and Other Poems.
“Howl,” a long-lined poem in the tradition of Walt Whitman, is an outcry of rage and despair against a destructive, abusive society.
Kevin O'Sullivan, writing in Newsmakers, deemed “Howl” “an angry, sexually explicit poem”, considered by many to be a revolutionary event in American poetry.
The poem's raw, honest language and its “Hebraic-Melvillian bardic breath,” as Ginsberg called it, stunned many traditional critics.

Richard Eberhart, for example, called “Howl” “a powerful work, cutting through to dynamic meaning…It is a howl against everything in our mechanistic civilization which kills the spirit…Its positive force and energy come from a redemptive quality of love.”
Appraising the impact of “Howl,” Paul Zweig noted that it “almost singlehandedly dislocated the traditionalist poetry of the 1950s.”
In addition to stunning critics, Howl stunned the San Francisco Police Department. Because of the graphic ****** language of the poem, they declared the book obscene and arrested the publisher, poet Lawrence Ferlinghetti.

Ginsberg's political activities were called strongly libertarian in nature, echoing his poetic preference for individual expression over traditional structure.
In the mid-1960s he was closely associated with the counterculture and antiwar movements. He created and advocated “flower power,” a strategy in which antiwar demonstrators would promote positive values like peace and love to dramatize their opposition to the death and destruction caused by the Vietnam War. The use of flowers, bells, smiles, and mantras (sacred chants) became common among demonstrators.

Sometimes Ginsberg's politics prompted reaction from law-enforcement authorities. He was arrested at an antiwar demonstration in New York City in 1967 and tear-gassed at the Democratic National Convention in Chicago in 1968.
In 1972 he was jailed for demonstrating against then-President Richard Nixon at the Republican National Convention in Miami.
In 1978 he and long-time companion Peter Orlovsky were arrested for sitting on train tracks in order to stop a trainload of radioactive waste coming from the Rocky Flats Nuclear Weapons Plant in Colorado.
Ginsberg's political activities caused him problems in other countries as well.

Another continuing concern reflected in Ginsberg's poetry was a focus on the spiritual and visionary. His interest in these matters was inspired by a series of visions he had while reading William Blake's poetry, and he recalled hearing “a very deep earthen grave voice in the room, which I immediately assumed, I didn't think twice, was Blake's voice.”
He added that “the peculiar quality of the voice was something unforgettable because it was like God had a human voice, with all the infinite tenderness and anciency and mortal gravity of a living Creator speaking to his son.”
Such visions prompted an interest in mysticism that led Ginsberg to experiment, for a time, with various drugs.
After a journey to India in 1962, however, during which he was introduced to meditation and yoga, Ginsberg changed his attitude towards drugs. He became convinced that meditation and yoga were far superior in raising one's consciousness, while still maintaining that psychedelics could prove helpful in writing poetry.

Ginsberg's study of Eastern religions was spurred on by his discovery of mantras, rhythmic chants used for spiritual effects.
During poetry readings he often began by chanting a mantra in order to set the proper mood.
In 1972 Ginsberg took the Refuge and Boddhisattva vows, formally committing himself to the Buddhist faith.

In 1974 Ginsberg and fellow-poet Anne Waldman co-founded the Jack Kerouac School of Disembodied Poetics as a branch of Trungpa's Naropa Institute.
“The ultimate idea is to found a permanent arts college,” Ginsberg said of the school, “sort of like they have in Tibetan tradition where you have teachers and students living together in a permanent building which would go on for hundreds of years.”

Ginsberg lived a kind of literary “rags to riches”—from his early days as the feared, criticized, and “*****” poet to his later position within what Richard Kostelanetz called “the pantheon of American literature.”
He was one of the most influential poets of his generation and, in the words of James F. Mersmann, “a great figure in the history of poetry.”
Because of his rise to influence and his staying power as a figure in American art and culture, Ginsberg's work was the object of much scholarly attention throughout his lifetime.

In the spring of 1997, while already plagued with diabetes and chronic hepatitis, Ginsberg was diagnosed with liver cancer.
After learning of this illness, Ginsberg promptly produced twelve brief poems. The next day he suffered a stroke and lapsed into a coma. Two days later, he died.

How would Ginsberg have liked to be remembered?
“As someone in the tradition of the oldtime American transcendentalist individualism,” he said, “from that old gnostic tradition…Thoreau, Emerson, Whitman…just carrying it on into the 20th century.”
Ginsberg once explained that among human faults he was most tolerant of anger; in his friends he most appreciated tranquility and ****** tenderness; his ideal occupation would be “articulating feelings in company.”
“Like it or not, no voice better echoes his times than Mr. Ginsberg's,” concluded a reviewer in the Economist.
“He was a bridge between the literary avant-garde and pop culture.”
Apr 2014 · 2.2k
st64 Apr 2014
dive.. dive..

I am eating fog on this pre-dawn bridge
an overcoat of no particular mood
     keeping intact considered-sincerity of warmth
     inhaling air tight with thin droplets
the c-cold of someone's click-clack in the distance
only an echo of studious-oblivion
glancing over the rail as the water swirls, dense

the silent hum of a slow-passing vehicle
windows darkly stare
I wonder who'd possibly be passing by here
and would they be connecting with that swirl, too

there must be a walrus under there
         (shrinking-violet, that it is)
its projections long and probably needing plumbs
the departing fingers of night gnaw
attempt to steal what little shelters here
consent delayed by vertical-curses in bloom
and I'm thinking of a cat I used to have
who certainly didn't favour water

protests become latent-airborne, take off
as screeching squawks swoop by
hungry heartbeats gurgle, drip valiant
station within view.. phew, made it!

an accordion starts to play..
an elegy fit
for a dive.

st64, 3 April 2014
lovely weather these days.

sub-entry: goad-change

nothing like lifting the lid
insects swarm
sun exposing
giving rays

(thanks forever.. for all the help)

change is so good
change is healthy
what a goad-change!
Mar 2014 · 1.6k
Fugue in a Glass Bell-Jar
st64 Mar 2014
plea of oddities: bring the tinkling back
its bell lies silent

Existing (not entirely) alone
entertaining itself with nightmares witnessed from long ago
It waited and waited
until the neighbour-orb grew to a level sophisticated enough
to house that lovely assortment of fine specimens.. of females
       that flock of dusted-crystals so long dreamt of
       that mould of sensibility, that plug of warmth
       that banner of softness
which all mirrored the opposite of their ways

they fled in quiet-rebellion from inhospitable hands of the boor-males
altogether, in a ship.. down into the bowels of their breaking planet
subtleties long abandoned by the barbed-wire handling of  rough hands
these gentles could take no more and *uncoupled
themselves for good
burning, like the bridges behind them
               they disconnected and slid into a nether-sphere

When the males woke in stupor to find them gone
                 they flipped and fed in anger
and with access to goodness gone and unplaced voracious appetites
It decided to encase them.. in a giant glass-jar, preserving them in ire
until the time was right.. like a tea awaiting perfect steeping
In stasis, they remained for what seemed aeons
the glass-jar which held this army of men, was reduced
became small, like a coin.. which Foog summarily swallowed
and waited . . .  

The sun turned its face in blank-horror of severe sights
                                                               splayed across the surface
forests shrank to toothpicks and died
         blue seas curled and dried
                                 meadows melted to greyish slush
every flying creature lost gravity and got ****** away, too high..
                                                        into harsh deafening-holes
when the tall sentries of oxygen.. twisted and became wiry-distorted
the sky sank and folding itself up.. hid in a black corner
                               behind the crumbling mountains

Foog hid beneath a crater made of ice, on the dark side of said planet
and once every millennium
        it felt the colliding-smack of a passing planetessimal
and it swore that somewhere, somehow..
        that punishment awaited new life

So, it shut its senses to the bay of life
       while hankering viciously for the scream of warm blood
The bell-jar inside, silent and
                        also somehow.. obscenely waiting in its oblivion

Then, came Earth spinning round in flourish.. oh, the day on hand
Yet, veryyyyy far away.. an eye slowly opened
                      / /  roused by the smell of fressshhh life . . . / /

A popping sound and the bell-jar was birthed from a slit on its forehead
It looked nearly quizzically at this odd creation beneath the silent-glass
this assortment of creatures trapped in the folly of Foog:
                                                                ­     oh, shall I, or not?
A cosmic joke, almost.. with so few revisions
The lid lifted and with proportion righted once more..
                                they came, oozing out in droves
Roaring from their milleniac-slumber,
                               crazed in half-remembered wounds
But alive with burning-purpose - - to find the equivalent
those soft-crystals

To melt the iron.. inside.

(unsolicited but self-warranted visitations:
camouflaged abductions.. secret prodding..
subtlety re-learnt.. poverty rehashed..
Fugue in a glass bell-jar.. unleashed)  

But alas, when sweet-sounds are closed again
see at whose smart-hands calamity befalls Life
Yet.. who are ultimately the ones
picking up the pieces after devastation wrought?

st, 27 march 2014
woke from nightmare.. to find this on my waking-plate.

sub-entry: day to dawn

It came in a dream.. and told me so
a day to dawn
for reckoning.
st64 Mar 2014
I learnt to tie my shoes
I learnt to ride my bike
I learnt to smoke
I learnt the vulnerability of fully exposing an idea
I learnt to tie my shoes
I learnt to adapt my behavior in the light of others' actions.
I learnt the difficulty of sustaining the hopes of youth.

I remember a French girl with an English name.
'Leave me now, return tonight,' she told me every morning, and I did.

I remember an English girl with an French name.
We were the circle that no one could break, or so I thought.

Yesterday I was there.
Today I am here.
The two are light years apart.

I dance with a friend,
holding her hand realize,
how disconnected I have become,
from the simple beauty of touch.

I return and sense,
that things are not the same as before,
but feel had I stayed,
everything would likely seem the same.

Your words touch me.
Your thoughts excite me.
I want to try all that.
Explore everything with you.

All one.

If and but and maybe and whatever.
I hate those words.

Everything doesn't have to be perfect.
To idealize is also a form of suffering.

                                             ------ by Julian Hibbard

st...26 march 2014
Julian Hibbard is an English-born fine art photographer.

His enigmatic, award winning images have been exhibited in London, New York, Los Angeles, Scotland, Santiago de Chile and at the prestigious Fundación RAC Gallery in Spain.

Editorial assignments and profiles include: Afterimage,, Surface Magazine, Elle, Label, Dpict, Victor by Hasselblad, Wallpaper, The Huffington Post, Observor Life, Popular Mechanics, Honey, Blink, Pictured, Spin, Antenna, The New York Times Style Magazine, Sony Music and Bliss Lau.

His first book, "The Noir A-Z", a visual alphabet to accompany dominant terms from the noir universe, was published in 2009.

A second title - "Schematics: A Love Story" - a diagrammatical mapping of love, loss, time and memory, was released in December 2011.
st64 Mar 2014
When the night wind makes the pine trees creak
And the pale clouds glide across the dark sky,
Go out my child, go out and seek
Your soul: The Eternal I.

For all the grasses rustling at your feet
And every flaming star that glitters high
Above you, close up and meet
In you: The Eternal I.

Yes, my child, go out into the world; walk slow
And silent, comprehending all, and by and by
Your soul, the Universe, will know
Itself: the Eternal I.
Dame Jane Morris Goodall, DBE (born Valerie Jane Morris-Goodall on 3 April 1934) is a British primatologist, ethologist, anthropologist, and UN Messenger of Peace.
Considered to be the world's foremost expert on chimpanzees, Goodall is best known for her 45-year study of social and family interactions of wild chimpanzees in Gombe Stream National Park, Tanzania.
She is the founder of the Jane Goodall Institute and the Roots & Shoots program, and she has worked extensively on conservation and animal welfare issues. She has served on the board of the Nonhuman Rights Project since its founding in 1996.

Goodall is the former president of Advocates for Animals, an organization based in Edinburgh, Scotland, that campaigns against the use of animals in medical research, zoos, farming and sport.

Goodall is a devoted vegetarian and advocates the diet for ethical, environmental, and health reasons. In The Inner World of Farm Animals, Goodall writes that farm animals are "far more aware and intelligent than we ever imagined and, despite having been bred as domestic slaves, they are individual beings in their own right. As such, they deserve our respect. And our help. Who will plead for them if we are silent?”
Goodall has also said, “Thousands of people who say they 'love' animals sit down once or twice a day to enjoy the flesh of creatures who have been treated so with little respect and kindness just to make more meat."

In April 2008, Goodall gave a lecture entitled "Reason for Hope" at the University of San Diego's Joan B. Kroc Institute for Peace & Justice Distinguished Lecture Series.
Mar 2014 · 1.1k
Hun (by Nathaniel Bellows)
st64 Mar 2014
“The *** or ethereal soul is associated with the Liver System, and is the aspect of consciousness that continues to exist—in more subtle realms—even after the death of the body.”*

When *** walks, I walk. When he wanders, untethered, I go with him. With her. My eyes close, and ***’s will be wide. He leads the way.
She leads me, away from my bed to stand at window, which I open.

*** will lift the sash so I can lean out over the street where someone is screaming.
Always screaming.
Known to walk after the body dies, *** is roused by this call.
But the chill, the smell of the distant river, wakes me. And *** retreats.

I’ve been told to put bells on my window so I will wake when it’s opened. When I open it.
The bells of the Cathedral ring in the dark hours of all this animation: wandering spirit of my organs, custodial ghost of my art.
He wants me grounded. She wants me flown.

I am here, I tell him—her: not lost. Aloft.
A-sleep or awake, I am led, leashed, walking in the wake of our odd arrangement.

                                               -- by Nathaniel Bellows

st.. 25 march 2014
American author of "On this Day" a well-received first novel, published in February 2003.

The son of a physician, he chose instead the artistic path. He began his career as a visual artist and had his poems published in prestigious literary magazines before his work of fiction was published.
Mar 2014 · 1.1k
To The Fallen - Vasto Grom
st64 Mar 2014
Upon this beautiful web of lies
I sleep and rest my head
Unbeknownst to all the others
That the me they knew is dead
He died nearly five years ago
In the exact spot that I lay
And the last words he uttered were
I shall find peace upon this day

Vasto Grom
Mar 2014 · 2.2k
st64 Mar 2014
journey slow
and so we go

donkey carriage over cobblestone
cool morning air, crisp in purpose

head-cap on driver, huddling on whip
daisies on open field, bright faces up

sky still closed ere the eye of dawn
hot perils on heels towards that spot

baker shakes apron.. tiny particles
chemistry bursts into a rolling sun

I swear it feels familiar
have you been here before?
only wish I could recall
what comes next..*

(hark.. nematoblast-pain!)

but how can one remember that

st - 22 march 2014
never mind.. need to go away.
just.. thank heavens for nature.
face of daisy, petals fall...... head of daisy, full of seeds :)

sub-entrée: paisley-town

I dream of a town
I must've been before
once, so long ago

my feet carry me places
they don't feel strange
I must've been here

this town with faceless owl-calls
sends contours, hoots my name
in a tongue my cells ken poorly

I forget of centuries we shared
they melted into many an hour
you're so beautiful to me.. always

a sweeping maze floors me and then, it
opens up a begging-corridor downward
I follow crumbs left by your residual-fire

onto another level
another level of you
to discover well-hid..

sweet.. I can't wait to feel wordless
keep all the paisley-riddles high
slide your repertoire in my pocket

you twist my synapse into knots
and turn me outside of galaxies
and I reel away.. floating until..

your next coming
on a wave so wild
ruddy implosion

my hands grip your ankles, um tight
releasing milk into your svelte way
torn effortless open, redirected sun
st64 Mar 2014
When she was seven, my grandmother suffered from fever and swollen glands. The doctors believed her tonsils were inflamed, that she needed surgery. Instead, she went to a curandera. The curandera divined that a jealous relative had cast a curse on her and, now, her language of kindness was bound to her throat, the unspoken swelling her glands.

As a child my grandmother spoke to santitos with a voice like a chestnut: ruddy and warm, seeds dropping from her mouth. The santitos would take her words into themselves, her voice growing within them like grapevines.

During the tonsillitis, when the words no longer fell like seeds from her lips, the santito's vineyards of accent and voice grew vapid, dry as a parched mouth. They went to her tongue and asked why silence imprisoned the words of the child, why lumps were present under her chin, why tears drew channels down her cheeks.

I asked my grandmother how her tongue replied. After touching my cheek, she told me she had a dream that night: She was within her lungs and she rose like breath through the moist of her throat. She remembered her tonsils swinging before her like fleshy apples, then a hand taking them into a fist, harvesting their sound. She told me her throat opened in two spots like insect eyes and the names of her children came flying through her wounds like peacocks.

Patting my thigh, she said, "That is why the name of your mother is Maria, because she is a prayer, a song of praise to the Holy Mother."
She told me this, then showed me two scars on her throat—tiny scars, like two eyelids stitched closed.

st - 20 mar 14
what a day for grapes in the sun.. to aspire to be raisin' a merry storm (later)..
pecans but not almonds.. will do.

sub-bent-tree: full two trie

how liberating.. wen a hart passes in the woulds
here, can the ****** of attempts be crack'd?

a wholly marvellous case of the best
full to trie.. drink it slow.
st64 Mar 2014
Pack, clouds away! and welcome day!
    With night we banish sorrow;
Sweet air, blow soft, mount larks aloft
    To give my love good-morrow!
Wings from the wind to please her mind,
    Notes from the lark I’ll borrow;
Bird, prune thy wing, nightingale, sing,
    To give my love good-morrow;
    To give my love good-morrow;
    Notes from them both I’ll borrow.

Wake from thy nest, Robin Redbreast,
    Sing birds in every furrow;
And from each hill, let music shrill
    Give my fair love good-morrow!
Blackbird and thrush in every bush,
    Stare, linnet, and ****-sparrow!
You pretty elves, amongst yourselves,
    Sing my fair love good-morrow;
    To give my love good-morrow,
    Sing birds in every furrow.
Thomas Heywood (early 1570s – 16 August 1641) was a prominent English playwright, actor, and author whose peak period of activity falls between late Elizabethan and early Jacobean theatre.

He wrote for the stage, and (perhaps disingenuously) protested against the printing of his works, saying he had no time to revise them.
Johann Ludwig Tieck called him the "model of a light and rare talent", and Charles Lamb wrote that he was a "prose Shakespeare"; Professor Ward, one of Heywood's most sympathetic editors, pointed out that Heywood had a keen eye for dramatic situations and great constructive skill, but his powers of characterization were not on a par with his stagecraft.
He delighted in what he called "merry accidents", that is, in coarse, broad farce; his fancy and invention were inexhaustible.

Heywood's best known plays are his domestic tragedies and comedies (plays set among the English middle classes); his masterpiece is generally considered to be A Woman Killed with Kindness (acted 1603; printed 1607), a domestic tragedy about an adulterous wife.
Also, a widely admired Plautine farce The English Traveller (acted approximately 1627; printed 15 July 1633), which is also known for its informative "Preface", giving Heywood an opportunity to inform the reader about his prolific creative output.
His citizen comedies are noteworthy because of their physicality and energy. They provide a ******-geography of the sights, smells, and sounds of London's wharfs, markets, shops, and streets which contrasts with the more conventional generalisations about the sites of commerce, which are satirised in city comedies.

sub-entry: bird in the hand

(open the furrow --------------)

and let loose
bird in the hand

(close to flying)

to measure what's worth of sharing
desire in a play on a midnight-watch

(all familiar with the adage)

good love on the wing of morrow
unpunctuated, leaves option wide open

(let bird sing you sweet-song.. love)
Mar 2014 · 1.3k
Tuning (by Keith Waldrop)
st64 Mar 2014
Herr Stimmung—purblind—moves in corporeal time.

    Think how many, by now, have escape the world's memory.

    Think, how all his wandering is only thought. Having once tried to
live in the quasi-stupor of sensation, now he picks his way through
areas of spilth, seeking the least among infinite evils.

    His hope: intermittent.

    To a person so little conscious, what would it mean to die? Though
he feels, true enough, death's wither-clench. Thinking always of
something permanent, watching the while how everything goes on

    He has seen where Speed is buried. Eyes exorbitant.

    He has the tension of male and female: active, divided. Anger and
lust. What he eats tastes exactly like real food.

    He would search out interphenomena, if he could decipher the
interstices. The broken line. Immediate havoc. Circular heaven.
Square earth. He cries world world, and there is no world.

    He claims superiority over the other animals, being the only one
who can talk, the only one to have doubts.

    Herr Stimmung knows a whale is big. Its skeleton might shelter a
dozen men.

    Not existing, not subsisting—insisting. Not object, not subject—
eject. (He works within opposed systems, every one of them opposed
to system.)

    "Fillette"—in confusion he addresses himself—"n'allez pas au bois

    He knows who is allowed to wear what kinds of beads. He knows
how fruit trees are inherited. All his self-objects lie in the inoperative

    Herr Stimmung springs from a long undocumented ancestry.

    He has a special attitude towards terror.
Keith Waldrop
b. 1932

Keith Waldrop, who was awarded the 2009 National Book Award for poetry for Transcendental Studies: A Trilogy, has been a prominent voice in American poetry for over forty years.  He is the author of over a dozen books of poetry, prose, and translations.

Waldrop was born in Emporia, Kansas in 1932. He enrolled in the pre-med program at Kansas State Teacher’s College, but his studies were interrupted in 1953 when he was drafted into the US Army.
While stationed in Germany during the 1950s, Waldrop met his wife, the poet and translator Rosmarie Waldrop. He earned a PhD in comparative literature in 1964 from the University of Michigan and has taught at Brown University since 1968.  

In addition to being an internationally celebrated poet, Waldrop is a respected translator of French literature.
Waldrop’s poetry navigates concerns that are at once personal and philosophical by representing a world that is endlessly strange and fascinating.
There is, in Waldrop's work, a steady thought directed to the way that we make our way in the world by thinking and speaking. Where Wallace Stevens gave us the portrait of a man bothered by the march of ants through his shadow, Waldrop gives us the disturbances of the world in its representations.

Upon receiving the National Book Award, the judges said of Waldrop’s poetry: “If transcendental immanence were possible, it would be because Keith Waldrop had invented it; he’s the only one who could—and in Transcendental Studies he has.
These three linked series achieve a fusion arcing from the Romantic to the Postmodern that demonstrates language’s capacity to go to extremes—and to haul daily lived experience right along with it: life imitates language, and when language becomes these poems, life itself gets more various, more volatile, more vital.”
st64 Mar 2014
This morning, between two branches of a tree  
Beside the door, epeira once again
Has spun and signed his tapestry and trap.  

I test his early-warning system and
It works, he scrambles forth in sable with  
The yellow hieroglyph that no one knows  
The meaning of. And I remember now
How yesterday at dusk the nighthawks came  
Back as they do about this time each year,
Grey squadrons with the slashes white on wings  
Cruising for bugs beneath the bellied cloud.  

Now soon the monarchs will be drifting south,  
And then the geese will go, and then one day  
The little garden birds will not be here.  

See how many leaves already have
Withered and turned; a few have fallen, too.  

Change is continuous on the seamless web,  
Yet moments come like this one, when you feel  
Upon your heart a signal to attend
The definite announcement of an end
Where one thing ceases and another starts;  
When like the spider waiting on the web  

You know the intricate dependencies  
Spreading in secret through the fabric vast  
Of heaven and earth, sending their messages  
Ciphered in chemistry to all the kinds,
The whisper down the bloodstream: it is time.
Howard Nemerov

Howard Nemerov was a highly acclaimed poet often cited for the range of his capabilities and subject matter, "from the profound to the poignant to the comic," James Billington remarked in his frequently quoted announcement of Nemerov's appointment to the post of United States poet laureate.
A distinguished professor at Washington University in St. Louis from 1969 to 1990, Nemerov wrote poetry and fiction that managed to engage the reader's mind without becoming academic, many reviewers reported. Though his works showed a consistent emphasis on thought—the process of thinking and ideas themselves—his poems related a broad spectrum of emotion and a variety of concerns.

As Joyce Carol Oates remarked in the New Republic, "Romantic, realist, comedian, satirist, relentless and indefatigable brooder upon the most ancient mysteries—Nemerov is not to be classified."
Writing in the study Howard Nemerov, Peter Meinke stated that these contrasting qualities are due to Nemerov's "deeply divided personality."
Mar 2014 · 2.0k
The Border
st64 Mar 2014
step this side..
no, you.. that side!
in a line, in a line.. quiet now – get ready for fire.. no miss!
please line up the children in neat rows, get them ready…………………..

eyes are misted over – something happened in the gap
hooking-up strangely with estranged sons lost in custodial-wrangles
alienated values;
family-core defunct like a super-shiny apple with putrescent-flesh
long-beard wants a son after so many daughters, sits unwashed in the smoke
gender-penalty –  sorry, sister.. you chose the wrong straw
you remain in that cage till we say come out

bread-basket filled with stealth-grenades
rights and benefits squirm in slick-oil of rules
peasant skirting the limits of the city; even rats fare better
cloak of goat-skin, the shield hides serpents beneath
the hunter will aim for the head, land in the centre..
                           yet an inch or two too high
sentry, close the gates and bar the window-frames!

inadvertent greed and control; aggressive power
news-man dies for feed that’s untrue, anyway
picture-man twists an image to suit the viewer
all kinds of lines disappear so quick – ******, jokes, theatre, life, even poems
and if you’ve never had the sad combo of sick and homeless,
                                                                ­           famished and cold,
                                                                ­           tired with sores
oh, war will be courteous enough to bring you all these, *on a platter

and more..

there is no border when we all roam in hunger and in fear
like the orphans in crowded-camps
high-rankers sit far away.. ominously "well-off"
                                               chew on hard-cheese
                                               gulp down red wine
but the throat still feels parched, and that bayonet is too short
its fear will kick in.. on a day least anticipated
would you be shocked if it is a child who will drive that wedge-stick home?

st – 14 march 2014
oh, politrix, politrix….man, we're messing up this globe!

something amiss in the vision.. all so acquisitive -- my land, my car, my this, my that.. aahh, we miss the grand pic of all ---------- OUR Earth??
nay, friend.. we must leave here, in any case, one day.. what and how we do here, is the grand-query!

sub-entry: mess-up
always mess up things
with that big mouth - shudup!
st64 Mar 2014
Roselva says the only thing that doesn't change  
is train tracks. She's sure of it.
The train changes, or the weeds that grow up spidery  
by the side, but not the tracks.
I've watched one for three years, she says,
and it doesn't curve, doesn't break, doesn't grow.

Peter isn't sure. He saw an abandoned track
near Sabinas, Mexico, and says a track without a train  
is a changed track. The metal wasn't shiny anymore.  
The wood was split and some of the ties were gone.

Every Tuesday on Morales Street
butchers crack the necks of a hundred hens.  
The widow in the tilted house
spices her soup with cinnamon.
Ask her what doesn't change.

Stars explode.
The rose curls up as if there is fire in the petals.  
The cat who knew me is buried under the bush.

The train whistle still wails its ancient sound  
but when it goes away, shrinking back
from the walls of the brain,
it takes something different with it every time.
happy birthday, antonio -- may your soul-seasons exceed four :)

Naomi Shihab Nye
b. 1952

Naomi Shihab Nye was born in St. Louis, Missouri in 1952. Her father was a Palestinian refugee and her mother an American of German and Swiss descent, and Nye spent her adolescence in both Jerusalem and San Antonio, Texas. Her experience of both cultural difference and different cultures has influenced much of her work. Known for poetry that lends a fresh perspective to ordinary events, people, and objects, Nye has said that, for her, “the primary source of poetry has always been local life, random characters met on the streets, our own ancestry sifting down to us through small essential daily tasks.”

A contributor to Contemporary Poets wrote that she “brings attention to the female as a humorous, wry creature with brisk, hard intelligence and a sense of personal freedom unheard of” in the history of pioneer women.

Nye received her BA from Trinity University in San Antonio, Texas and continues to live and work in the city. “My poems and stories often begin with the voices of our neighbors, mostly Mexican American, always inventive and surprising,” Nye wrote for Four Winds Press. “I never get tired of mixtures.”

In Hugging the Jukebox (1902), Nye continues to focus on the ordinary, on connections between diverse peoples, and on the perspectives of those in other lands. She writes: “We move forward, / confident we were born into a large family, / our brothers cover the earth.” Nye creates poetry from everyday scenes throughout Hugging the Jukebox in poems like “The Trashpickers of San Antonio” and the title poem, where a boy is enthusiastic about the jukebox he adopts and sings its songs in a way that “strings a hundred passionate sentences in a single line.”

Nye is a fluid poet, and her poems are also full of the urgency of spoken language. Her direct, unadorned vocabulary serves her well:
‘A boy filled a bottle with water.
He let it sit.
Three days later it held the power
of three days.’
Such directness has its own mystery, its own depth and power, which Nye exploits to great effect.

Fuel (1998) is perhaps Nye’s most acclaimed volume. The poems range over a variety of subjects, settings and scenes. Reviewing the book for Ploughshares, Victoria Clausi regarded it as, above all, an attempt at connection: “Nye’s best poems often act as conduits between opposing or distant forces. Yet these are not didactic poems that lead to forced epiphanic moments. Rather, the carefully crafted connections offer bridges on which readers might find their own stable footing, enabling them to peek over the railings at the lush scenery.”

As a children’s writer, Nye is acclaimed for her sensitivity and cultural awareness.
Nye told Contemporary Authors: “I have always loved the gaps, the spaces between things, as much as the things. I love staring, pondering, mulling, puttering. I love the times when someone or something is late—there’s that rich possibility of noticing more, in the meantime…Poetry calls us to pause. There is so much we overlook, while the abundance around us continues to shimmer, on its own.”
st64 Mar 2014
Adjectives continue
their downward spiral,
with adverbs likely to follow.

Wisdom, grace, and beauty
can be had three for a dollar,
as they head for a recession.

Diaphanous, filigree,
, and love
are now available
at wholesale prices.

Verbs are still blue-chip investments,
but not many are willing to sell.

The image market is still strong,
but only for those rated AA or higher.
Beware of cheap imitations
sold by the side of the road.

Only the most conservative
consider rhyme a good option,
but its success in certain circles
warrants a brief mention.

The ongoing search for fresh
metaphor has caused concern
among environmental activists,
who warn that both the moon and the sea
have measurably diminished
since the dawn of the Romantic era.

Latter-day prosodists are having to settle
for menial positions in poultry plants,
where an aptitude for repetitive rhythms
is considered a valuable trait.

The outlook for the future remains uncertain,
and troubled times may lie ahead.
Supply will continue to outpace demand,
and the best of the lot will remain unread.
Alexa Selph, a freelance editor in Atlanta, teaches a class called "The Pleasure of Reading Poetry" as part of the adult education program at Emory University. She has contributed poems to Georgia State University Review, Habersham Review, and Blue Mesa.
st64 Mar 2014
By the time he'd hit eighty, he was something out of Ovid,
his long beak thin and hooked,
                                            the fingers of one hand curled and stiff.
Still, he never flew. Only sat in his lawn chair by the highway,
waving a *** wing at passing cars.

I was a timid kid, easily spooked. And it seemed like touchy gods
were everywhere—in the horns
and roar of diesels, in thunder, wind, tree limbs thrashing
the windows at night.

I was ashamed to be afraid of my grandfather.
But the hair on his ears!
                                    The cackle in his throat!
Then on his birthday, my mother coaxed me into the yard.
I carried the cake with the one tiny candle

and sat it on a towel in the shade.
I tried not to tremble,
but it felt like gods were everywhere—in the grimy clouds
smothering the pine tops, the chainsaw
in Cantrell's woods—everywhere, everywhere,
and from the look of the man
in the lawn chair, he'd ****** one off.
David Bottoms was born in Canton, Georgia in 1949. He earned an MA from the University of West Georgia and a PhD from Florida State University. In 1979, Bottoms won the prestigious Walt Whitman Award from the Academy of American Poets for his collection Shooting Rats at the Bibb County Dump.
The book—filled with bars, motels, pawnshops, truckers, waitresses, and vandals—was recognisably Southern in tenor and landscape.

Since Shooting Rats at the Bibb County Dump, Bottoms has continued to write poems that “communicate the implications of experiences” through clear narratives, natural and animal imagery, and influences that range from church and blue-grass music to the work of James Dickey, who was a close friend.
Speaking to William Walsh, Bottoms commented on his affinity for church hymns and spirituals: “There's so much water imagery in those hymns. It's the whole beautiful notion of crossing over, of getting to the other side. This imagery, of course, is ancient, and not uniquely Christian, but I suppose Sunday school largely accounts for my love of it. Also, as you know, lakes and rivers make such wonderful metaphors for the psyche—the conscious mind and the unconscious, the surface and that hidden realm below the surface. I keep coming back to that, I guess.”

Concerned with apocalyptic “endtime” prophecies, and delving deeper into autobiography, his poems circle and fracture around central narratives,
always filled with Bottoms's very own voice, his gift for evocative images, searching irony, and meditative poise.
David Bottoms has won many awards and honours for his work.
Mar 2014 · 1.2k
Lupita, Lupita
st64 Mar 2014
you are so beautiful

such grace
in your words, power spills forth
with magnitude

you are so beautiful

may your light shine
all boundaries

YOU are so beautiful

st - 5 mar
so inspiring.. humanity at work.
such finesse.. wow!

sub-entry: beauty in / / beauty out

what is it?
is it upon the rags of your face.. ?
or is it the ***** you flaunt?

where is beauty?
perhaps.. in the things
we do not see.
Mar 2014 · 2.5k
smiles on paper-boat
st64 Mar 2014
keep folding your cool designs
they hold afloat all your dreams
waiting on that raft
to it all

how I marvel at your vigour to grab any sheet of paper
to create shapes to your fancy
your vision sees further-use in adverts and pamphlets
so creative and undaunted by the wide-ocean
windy-rains may come, whip away your lovely paper-boats
but you set forth fleet-footed in salt-spray
your eyes follow their route on bobbing-smiles
you watch their trail and scout over rocks
yes, they sink soon.. yet, you don't cry
how you run ruddy your cheeks -- oh, how you do inspire!

I didn't mean to silence you
when you sang your song
it's just.. I had a headache
(but you know -- that is poor excuse!)
may the lilt in your voice carry so high
and I pray that grace be mine
when you speak your thoughts

black wings with orange-beaks congregate on the shore
beauty untold when they all take flight
high up in the sky -- what a sight
a flock of blessings in the rain
flying over smiles on paper-boat

with every flap, thunder rolls its power
and there's little place for lightning to hide
its splendour
it crashes smack-bang within
the silent-blubbering
of sightless-whales*

may dreams land sweetly
and yours..
come true

S T - on 2 march 2014
me lad at paper-boats at the sea-side today :)

sub: sailor-boy

how I marvel that you don't trip
over rocky shores
as you hop and skip
and play with waves

(such aliveness)

so undeterred by the mess of life
sailor-boy, hoist high that flag
my reward sits in your smile

thank you :) so much
Mar 2014 · 1.4k
the imp of wisdom
st64 Mar 2014
he who knows..
he who speaks..

laughing all the time
disobeying every law
even the great-king laughed
till he retired for five centuries
to meditate

the imp of wisdom
with coat of gold-brocade and mint-lining
never crawled but crashed
all parties with *ephemerated
with banner held high, he spread mirth
but the jay-lord's son was not amused
and challenged the magic-monkey
who blew but one hair-strand to duplicate the view
and the foe fought hard against the wind
which made one **** and disappeared

there he was.. up on the beam
munching joyful an apple to the core
and ire met his glaring eyes
he lifted a large vase and forced fire inside
and sent it forth
but excellent skills of the hermit shone
until deception caught him by surprise
ugly lies and secret art sent the baton flying
into malingering-oblivion
and left the imp banished into stone
mockery petrified
and the staff traveled on, alone
where it spins to this day
until it finds a worthy-hand
to catch its portent, embossed with ancient-lore

but the player of the lyre spun a thread to turn all heads upside-down
spinning a feline-twist
smacks them with tight silver-aglet'd tresses
and sends the hunters onto a new trail
of unspeakable dangers on the Fifth-Pathway
a hooded rider on a steed so fast
outruns the stallion over a cawing-hill
a silent-temple starts humming olden-prayers in tongues-forgot
to a drunken-master
calabash-mug in the hand of an expert
pretense hard at work in the grey-dust

both holding onto the same thing
makes sharing one swish of a horse's tale
a miniature-masterpiece sways obstinacy
interceptor-serpent too languid to trap the crab
silent riddles stretch learning to land at the waterfall's feet
its power majestic, yet freeing

empty your cup
pour anew
there's half a shadow beneath the bridge
the one you must cross
take finest-care now

S T, 1 march 2014
just a silly piece..

sub-entry: protect yourself

read the letters on the wall
now.. duck!
st64 Feb 2014
I ran up six flights of stairs
to my small furnished room  
opened the window
and began throwing out
those things most important in life.

First to go, Truth, squealing like a fink:
"Don't! I'll tell awful things about you!"
"Oh yeah? Well, I've nothing to hide ... OUT!"

Then went God, glowering & whimpering in amazement:  
"It's not my fault! I'm not the cause of it all!"

Then Love, cooing bribes: "You'll never know impotency!  
All the girls on Vogue covers, all yours!"
I pushed her fat *** out and screamed:
"You always end up a ******!"

I picked up Faith, Hope, Charity
all three clinging together:
"Without us you'll surely die!"
"With you I'm going nuts! Goodbye!"

Then Beauty ... ah, Beauty—
As I led her to the window
I told her: "You I loved best in life
... but you're a killer; Beauty kills!"  

Not really meaning to drop her
I immediately ran downstairs
getting there just in time to catch her  
"You saved me!" she cried
I put her down and told her: "Move on."

Went back up those six flights
went to the money
there was no money to throw out.

The only thing left in the room was Death  
hiding beneath the kitchen sink:
"I'm not real!" It cried
"I'm just a rumor spread by life ... "  

Laughing I threw it out, kitchen sink and all  
and suddenly realized Humor
was all that was left—

All I could do with Humor was to say:  
"Out the window with the window!"
Gregory Corso (1930–2001)

Gregory Corso was a key member of the Beat movement, a group of convention-breaking writers who were credited with sparking much of the social and political change that transformed the United States in the 1960s. Corso's spontaneous, insightful, and inspirational verse once prompted fellow Beat poet Allen Ginsberg to describe him as an "awakener of youth." Although Corso enjoyed his greatest level of popularity during the 1960s and 1970s, he continued to influence contemporary readers and critics late into the twentieth century. Writing in the American Book Review, Dennis Barone remarked that Corso's 1989 volume of new and selected poems was a sign that "despite doubt, uncertainty, the American way, death all around, Gregory Corso will continue, and I am glad he will."

Born in 1930 to teenaged parents who separated a year after his birth, Corso spent his early childhood in foster homes and orphanages. At the age of eleven, he went to live with his natural father, who had remarried. A troubled youth, Corso repeatedly ran away and was eventually sent to a boys' home. One year later he was caught selling a stolen radio and was forced to testify in court against the dealer who purchased the illegal merchandise. While he was held as a material witness in the trial, the twelve-year-old boy spent several months in prison where, as he wrote in a biographical sketch for The New American Poetry, the other prisoners "abused me terribly, and I was indeed like an angel then because when they stole my food and beat me up and threw *** in my cell, I . . . would come out and tell them my beautiful dream about a floating girl who landed before a deep pit and just stared." He later spent three months under observation at Bellevue Hospital.

When Corso was sixteen, he returned to jail to serve a three-year sentence for theft. There he read widely in the classics, including Fyodor Dostoevsky, Stendahl, Percy Bysshe Shelley, Thomas Chatterton, and Christopher Marlowe. After his release in 1950, he worked as a laborer in New York City, a newspaper reporter in Los Angeles, and a sailor on a boat to Africa and South America. It was in New York City that he first met Ginsberg, the Beat poet with whom he was most closely associated. The pair met in a Greenwich Village bar in 1950 while Corso was working on his first poems. Until then he had read only traditional poetry, and Ginsberg introduced him to contemporary, experimental work. Within a few years Corso was writing in long, Whitmanesque lines similar to those Ginsberg had developed in his own work. The surreal word combinations that began to appear in Ginsberg's work about the same time may in turn suggest Corso's reciprocal influence.

Corso once explained his use of rhythm and meter in an interview with Gavin Selerie for Riverside Interviews: "My music is built in—it's already natural. I don't play with the meter." In other words, Corso believes the meter must arise naturally from the poet's voice; it is never consciously chosen.

Corso shaped his poems from 1970 to 1974 into a book he planned to call Who Am I—Who I Am, but the manuscript was stolen, and there were no other copies. Aside from chapbooks and a few miscellaneous publications, he did not issue other work until 1981 when Herald of the Autochthonic Spirit appeared. Shorter than any of his major books since Gasoline, it contains several critically acclaimed poems, many of them written in clipped, almost prosaic lines more reminiscent of William Carlos Williams than of Whitman. "Return" deals with barren times in which there had been no poems but also asserts that the poet can now write again and that "the past is my future." The new poems, however, are generally more subdued than the earlier ones, though there are surreal flights, as in "The Whole Mess . . . Almost," in which the poet cleans his apartment of Truth, God, Beauty, Death, and essentially everything but Humor.
Feb 2014 · 149.2k
st64 Feb 2014
“I know you're tired but come, this is the way...

In your light, I learn how to love.
In your beauty, how to make poems.
You dance inside my chest where no-one sees you,
but sometimes I do, and that sight becomes this art.”*        ― Rumi

“You and I have spoken all these words, but for the way we have to go, words are no preparation. I have one small drop of knowing in my soul.
Let it dissolve in your ocean.

A mountain keeps an echo deep inside. That's how I hold your voice.”
― Rumi

“Do not feel lonely, the entire universe is inside you.
Stop acting so small. You are the universe in ecstatic motion.

Set your life on fire. Seek those who fan your flames.”   ― Rumi

“The way of love is not
a subtle argument.

The door there
is devastation.

Birds make great sky-circles
of their freedom.
How do they learn it?

They fall, and falling,
they're given wings.”                          ― Rumi

“The morning wind spreads its fresh smell. We must get up and take that in, that wind that lets us live. Breathe before it's gone.

Sorrow prepares you for joy.
It violently sweeps everything out of your house, so that new joy can find space to enter. It shakes the yellow leaves from the bough of your heart, so that fresh, green leaves can grow in their place. It pulls up the rotten roots, so that new roots hidden beneath have room to grow.
Whatever sorrow shakes from your heart, far better things will take their
place.”                                     ― Rumi

“You are so weak. Give up to grace.
The ocean takes care of each wave till it gets to shore.
You need more help than you know.

Be a lamp, or a lifeboat, or a ladder. Help someone's soul heal.
Walk out of your house like a shepherd.”
― Rumi, The Essential Rumi

“You think you are alive
because you breathe air?
Shame on you,
that you are alive in such a limited way.
Don't be without Love,
so you won't feel dead.
Die in Love
and stay alive forever.

I want to see you.
Know your voice.

Recognise you when you
first come 'round the corner.

Sense your scent when I come
into a room you've just left.

Know the lift of your heel,
the glide of your foot.

Become familiar with the way
you purse your lips
then let them part,
just the slightest bit,
when I lean in to your space
and kiss you.

I want to know the joy
of how you whisper
“more”...                                                       ­     ― Rumi

“When you go through a hard period,
When everything seems to oppose you,
... When you feel you cannot even bear one more minute,
Because it is the time and place that the course will divert!

The cure for pain is in the pain.
In Silence, there is eloquence. Stop weaving and see how the pattern improves.

The truth was a mirror in the hands of God. It fell, and broke into pieces. Everybody took a piece of it, and they looked at it and thought they had the truth.”                                       ― Rumi

“Study me as much as you like, you will not know me, for I differ in a hundred ways from what you see me to be. Put yourself behind my eyes and see me as I see myself, for I have chosen to dwell in a place you cannot see.

Moonlight floods the whole sky from horizon to horizon;
How much it can fill your room depends on its windows.”
― Rumi, The Essential Rumi

“Keep walking, though there's no place to get to.
Don't try to see through the distances.
That's not for human beings. Move within,
But don't move the way fear makes you move.

If you are irritated by every rub, how will your mirror be polished?

Start a huge, foolish project, like Noah…it makes absolutely no difference what people think of you.”   ― Rumi

“Do you know what you are?
You are a manuscript oƒ a divine letter.
You are a mirror reflecting a noble face.
This universe is not outside of you.
Look inside yourself;
everything that you want,
you are already that.”
― Rumi, Hush, Don't Say Anything to God: Passionate Poems of Rumi

“Out beyond ideas of wrongdoing
and rightdoing, there is a field.
I'll meet you there.

When the soul lies down in that grass
the world is too full to talk about.

What you seek, is seeking you.”                             ― Rumi

“The lion is most handsome when looking for food.

Pain is a treasure, for it contains mercies.
Love comes with a knife, not some shy question, and not with fears for its reputation!

I am your moon and your moonlight too
I am your flower garden and your water too
I have come all this way, eager for you
Without shoes or shawl
I want you to laugh
To **** all your worries
To love you
To nourish you.”                                          ― Rumi

“I was dead, then alive.
Weeping, then laughing.

The power of love came into me,
and I became fierce like a lion,
then tender like the evening star.”                        ― Rumi

“Suffering is a gift. In it is hidden mercy.

Come, come, whoever you are. Wanderer, worshiper, lover of leaving.
It doesn't matter. Ours is not a caravan of despair.. come, even if you have broken your vows a thousand times. Come, yet again, come, come.

But listen to me. For one moment - quit being sad. Hear blessings
dropping their blossoms
around you.

I closed my mouth and spoke to you in a hundred silent ways.”
― Rumi

“The breeze at dawn has secrets to tell you. Don't go back to sleep!
You must ask for what you really want.
Don't go back to sleep!
People are going back and forth
across the doorsill where the two worlds touch,
The door is round and open
Don't go back to sleep!

These pains you feel are messengers. Listen to them.”
― Rumi, The Essential Rumi

“Like a sculptor, if necessary,
carve a friend out of stone.
Realise that your inner sight is blind
and try to see a treasure in everyone.”                    ― Rumi

“Let the lover be disgraceful, crazy, absent-minded. Someone sober will worry about things going badly. Let the lover be.

There are lovers content with longing.
I’m not one of them.”    ― Rumi, The Essential Rumi

“There is a secret medicine given only to those who hurt so hard they can't hope.
The hopers would feel slighted if they knew.

You were born with potential.
You were born with goodness and trust. You were born with ideals and dreams. You were born with greatness.
You were born with wings.
You are not meant for crawling, so don't.
You have wings.
Learn to use them and fly.”          ― Rumi

“Forget safety.
Live where you fear to live.
Destroy your reputation.
Be notorious.

Inside you, there’s an artist you don’t know about… say yes quickly, if you know, if you’ve known it from before the beginning of the universe.”
― Rumi

“Let yourself be silently drawn by the stronger pull of what you really love. It will not lead you astray.”     ― Rumi

"On a day
when the wind is perfect,
the sail just needs to open and the world is full of beauty.
Today is such a day.”
                                               ― Rumi

S T – 25 feb 14
Rumi - born to native Persian speaking parents in 1207.
Died 1273 AD.
Rumi (an evolutionary thinker) believed passionately in the use of music, poetry and dance as a path for reaching God.
Feb 2014 · 2.0k
Crawling in a desert
st64 Feb 2014
(Blackened tissue beside debris of bleachd cocktail
Power pundit in cubicle
A ship in shadow-pieces passing by, unnoticed

smoking water.. now costs getting kickd  out ur xafe
Your blood lies in a high-account and all the stampz areMelting
Crawling in a desert, accusations shave the top off my black land
Did failing the test lead to a power-packed punch in strands
No time for treagedies clogging up the freeway
Twenty watts up the waterfall and your ride is here
Befits a ceremonial decapping
Catch ur vogue latte on the way out
Come aboard by jet and then expect a red carpet, soaked dry from the spoils of erstwehile-smugglers
Let em bleed green notes till the moths all come round the flame
Wait for it… the flame grows hugher… and int it all…………****!

That was easy.
Don’t chuckle out loud when expletives slidie down your back
Like champagne off the shoulder of your ne-xt planet’s ride

Duck in time cos the butters hard and the toast is dry

Four friends over six decades carry grudges heavey enough to pump oil to lakes
And the unexpected happens.. the one they didn’t watch, wwent missing
All eyes on the little one.. no, you didn’t catch them all.

You became immunes to the skills you advert-tarted and sqeueamish set in
you didn’t know casn host violence in a putrid-robe?
One finger pointing out, makes at least three in.. to the pointer
How can one planet swallow so wide a dichotomy in plasticky degrees?
It’s too wide this time to make that jump  – we will ingest what weve been giving all along
And some end up well-funded while others simply dwell..  as frogs in a well.

sun can climb in sometimes, but for half an hour
their fingers are small for the mine, keep small the issue
don’t cry when it rains in expectorata
I think frogs can swim.

when do I ever learn that..  
I am simply a frog in a well
near craxks )*

cant make this jump.
Feb 2014 · 2.0k
Son of Fog (by Dean Young)
st64 Feb 2014
When the fog burns off and the air's pulverized  

diamonds and you can see beyond the islands  

of forever!—far too dramatic for me. It hurts  

something behind my eyes near the sphenoid,  

not good. I prefer fog with fog behind it,  

uninflammable fog. Then there's no competition  

for brightness, no Byron for your Shelley,  

no Juno eclisping your Athena, no big bridge  

statement about bringing unity to landmasses.  

All the thought balloons are blank. The marching  

band can't practice, even a bird's got to get  

within five feet before it can start an argument.  

Like dead flies on the sill of an abandoned  

nursery, we too are seeds in the rattle  

of mortality. A foglike baby god  

picks it up, shakes it, laughs insanely  

then goes back to playing with her feet.  

I have felt awful cold and lonely and fog  

has been blotting paper to my tears.  

My dog is fog and I don't have to scoop  

its **** with my hand in a plastic bag.  

There are sensations that begin in the world,  

the mind responding with ideas but then  

those ideas cause other sensations.  

What a mess. We stand at the edge  

of a drop that doesn't answer back,  

fog our only friend although it's hell  

on shrimpboats. There, there, says the fog.  

Where, where? You can't see a thing.

                                                      by D. Young

21 Feb 2014
Dean Young (b. 1955)

Poet Dean Young was born in Columbia, Pennsylvania, and received his MFA from Indiana University. Recognized as one of the most energetic, influential poets writing today, his numerous collections of poetry include Strike Anywhere (1995), winner of the Colorado Prize for Poetry; Skid (2002), finalist for the Lenore Marshall Poetry Prize; Elegy on Toy Piano (2005), finalist for the Pulitzer Prize; and Primitive Mentor (2008), shortlisted for the International Griffin Poetry Prize.  
He has also written a book on poetics, The Art of Recklessness: Poetry as Assertive Force and Contradiction (2010).

Strongly influenced by the New York School poets, and Surrealists such as Andre Breton, Young’s poetry is full of wild leaps of illogic, extravagant imagery, and mercurial shifts in tone. Using surrealist techniques like collage, Young’s poems often blur the boundaries between reality and imagination, creating a poetry that is enormously, almost disruptively, inclusive.
In an interview with the journal Jubilat, Young admitted of his poetry: “I want to put everything in.”

And speaking to the centrality of misunderstanding in his poetry: “I think to tie meaning too closely to understanding misses the point.”
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