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orchids exotic captured
the man's botanical eye
they were so beautiful
in display
with delicate petals
and a scent
of heady romance


the wheelchair bound New York
cop saw defining evidence
of the exquisite
bloom
his heart elated
by the flower's
gorgeous
loom

there under his real
name of Raymond Burr
he established
an orchid garden
on a Fiji island
the climate perfect
for growing
and nurturing
the plant species
arresting of sight
so sublime
its vision's delight
http://www.tropicalfiji.com/sights_and_activities/scenic_highlights/garden/
JayneDoh May 2017
Hollow and empty within
Scattered leaves, on crimson ground
Horror waiting to begin

Closed door, cracked and chipped
Building from a ruin
Beating, bleeding, ripped

Screams shatter the silence
Inside the mind, they rage outwards
Dwelling and feasting on violence

The evolution of agony
Sinister but regal I reign
Waves on contempt wash over me

Who am I, you say
I am the abyss
And this is the only way
https://www.wattpad.com/story/94248267-abyss-at-the-bottom-of-the-sea
Chris Thomas Apr 2017
Part I

There is a trail that I've walked a time or two
Wearing heavy shoes made of crackling fire
I've left behind only a charred unrecognizable road
And a sunrise as bitter as its roots

The trail parts swiftly, cleaving me as it cleaves itself
My route is camouflaged in winter's blanket
I spin on heels that have worn their welcome
And I walk beyond the borders of this dream

There's an old woman in a cottage
Who tells me I have a mist behind my eyes
"Brown is the color of failure," I tell her as I pass
And she flashes a half-smile that chills me to my bones

Part II

Late to rest, yet early to rise
Quarrelsome images tirelessly haunt my sleep
The old lady waves from the bottom of the hill
But it's too late to turn back now

I see a saddle of good weight resting against birchwood trees
Yet no sign of steed for miles around
As calloused palms meet calloused leather
I sense the spirit of its rider wash over me

The path now winds like a time traveling clock
My breathing hastens as my feet carry on
I hear whistling but I'm unsure of the source
Is it me?  Or is it something out of sight?

Part III

I come to a clearing at long last
Blistered feet have taken me far, just not far enough
My pupils sense a brightness I haven't encountered before
Instinctively, my hands shield my cowering eyes

The old woman is there, whispering to lilies
In a language my mind has no hope of comprehending
She pays no heed to my presence at all
Yet she knows that I linger in my bewilderment

She plucks a lily from the unblemished earth
And I see a brilliant steed at the center of the shimmering field
"Brown is the color of failure," she says with a parched grin
And suddenly my path becomes very clear

Part IV

I flinch as the light overwhelms my perception
Evolving now into an ethereal embrace
Though blind, my feet move without my mind's approval
And suddenly I am mounted upon the majestic horse

Like a snare drum, its gallop is steady and gallant
My sense of direction in disarray as I'm carried through the woods
I hear the woman's hands wringing at weeds in the distance
Despite how far from the clearing I should be by now

The horse tenses and sneers as momentum careens to a halt
I feel myself being thrown through air, time, and space
My brown eyes blink as oxygen floods my rested lungs
Gasping, I realize I'm as awake as I have ever been

End.
This work is the result of two weeks of writing, which seems like a long time for a piece of this length.  But each time I sat down to work on it, something else just called to me to either write or re-write.  

This piece is focused on the substance of my dreams; how quickly they seem to unfold in my mind, and how deeply they seem to point to something in my heart that is unsatisfied with its condition.
rose Apr 2017
dried up skulls
with motionless eyes
pulled out of their sockets
lie about on forgotten land
as more are placed in
the jars, already filled with other
dusty, dirt covered eyeballs.
the strangely clean glass containers
in which the eyes are placed
stand on wood shelves,
calling,
              b e g g i n g,
to be set free
from the trap of the elderly,
blind man's clutches.
Martin Narrod Mar 2017
Heaps of her across the deserted plains, oily fingers reaching up and over the horizon until all of the numbers fill her pockets, her father worried, and her muses covered with goat-head's thorn. Where does she start to fuse her needs with the weapons in their suburban corolla of lilacs and wanton redolence? It's the opacity in her finger nibs and the dozens of names she felt closing over her legs sideways, until she awakens in the night to take the blood dripping cotton tissues off of her face, off of her bed-side dresser table. She can't even paw forward or undress her wetness in haiku. Everyone she knows doesn't know her. Everything she's seen, doesn't seem to be there for her anymore. That's the trade they told her to barter for, the golden seals and vitamin needs she's gobbling up by the palmful every morning by seven.

Seven for the circus or the mimes, seven for the cloves hanging from the door and seven for the queries that strike back her abcesses and cost her seven by the quart and seven for the plastics. Seven dancing backwards towards a rook or a *****, seven inside her chest playing guitar with David Bowie, seven at the doggerel, and seven for the stitch and the obtuse- only a creature of seven might go for her, in a spot of doves, crank, and soda it is poison, seven is her ***** line, her sexuality, her sinfulness, and her latitude over and over again. Seven makes her want for tomorrow, seven takes tomorrow and throws itself up against the wall, pledging a game in the summer, seven to a trip of caramel and dukes, seven for the prince and the painting of the two of them, seven for the winter, and for the shadows that stretch curiosity past the breath of a summons', seven for the day and seven for the evening, seven scratches her ears and pulls out her hair, seven is the ring and the blue phantom buried somewhere far, far away, green is what's left, but seven knows which way the rain comes and who is going to follow it through.

There is a numbness that radiates on the fringe, a tickly discomfort not even a narrator could let out or down to a name on the mountains near the **** plateau that conquers her nuance, and shakes the both of them to core of the fight. This is not a flag that costs us in coins or in dollars. This is the worry chiseling our shapes and our buttery hips, a stacked set of crazy in a photograph off the leash of only a few. And it calls them to the night when it's only three of us left, until every cord is untied, until every verb is set in its caste, or ringing out to the tremolos of rapture, and the musicianship of pepper-jacked sneezes in the ambers and umbers that although startling, we've all learned to convert our averages in order to swing under the storm, and baby each of us with an elixir of myriad captures, images, and violent abuse.

While the words can yield, and the festivities can hoard each of the simple new experiences against travels of women, and pictures from Mussorgsky riling up soft drinks and evocations towards the center where all of us sometimes will let ourselves, let loose. Something horrendous and cold plugging into the sugars, something quiet, nearly a friend of reminders, crustaceans and ocean making this top-down beach of faces for all to shake and roll with or set forward a cacophony of abuse. Until in a breath she calls for the infinite intuition sheltering her and our window from the pain of misuse.

That is the photograph where we have been looking to live, here is the memory we spent our minds trying desperately to relive in the shade and in the snafu, against the bark and the piano keys treating our rise. Within our skin and our pupils, our silver bookends and/or the mammals we don't use names for but for whom we've been introduced to.
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