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Kian 1d
The clock exhales a trembling breath,
its pulse a shiver in the spine of time.
I wait,
unmoored in the ebb of minutes,
where silence holds the marrow of the night
and shadows braid themselves with longing.

The moon hangs, not as a goddess,
but as a seamstress,
stitching the veil of night with frayed intentions.
Each star—a pinprick in the fabric,
leaking a light too distant to warm.

I have heard the hymn of the ivy,
creeping on stone,
its whisper a litany of slow conquests,
its green, a defiance of winter’s gray.
And I wonder—
who will sing for me when my roots no longer hold?

Beneath my skin, rivers stall.
What was once a tempest
is now the measured drip
of something no longer daring to spill.
There is a violence in stillness,
in the way silence sharpens itself against my thoughts.

But let me tell you—
in the shadow of this unraveling,
I have made my peace
with the slow decay of mirrors,
with the fracturing of names.
The sparrow need not call itself a sparrow
to fly.

And when the end comes—
(oh, it is coming)
it will not be the roar of oceans folding into themselves,
nor the shattering of celestial harps.
It will be the sound
of a match extinguished in water,
the faint hiss
of something small,
forgotten,
forever.
Spent silverfish, massed on black
whippets at        the end of the track
cracked nut shells, lying
inflated balloons, dying.

Steel mosquitos that    tattoo poppies
shot up cartridges by    the school gate
in new mown grass    that stinks      the street.
The poem is about drug use in the area I live.
The silver fish are nitrous oxide canisters left discarded on the black streets - also known as whippets.
Steel mosquitos are syringes.
The plaster peels around the windowpane
as Virginia creeper clings, hangs low
on the old stone wall that crumbles, veined
by the cracks from the hourglass’s flow.
The weathered wood of her rafters frame
this battered house that’s fading away
like the troubles and cares she’d contained
which are silting fast into the sandy soil.
The creeper‘s five leaves grasp like a hand:
Gaia hugs this house in her tightening embrace
to fully devour all the follies of man
until only the quiet creeper remains.
Inspired by a crumbling old house overgrown with Virginia creeper.
MetaVerse Oct 23

The one flower
     Outside my window
Has turned to dust.

The village church was built to last.
It would stand until Judgement Day.
Its oak rafters would hold the roof fast
above the faithful who there prayed.

The grey stone is carved with inscriptions
of verses of scripture from Father God
who would grant the faithful benedictions
as they knelt on stone flagstones in awe.

The faithful had built for generations
and for generations still to exalt:
A gold, stone, and mortar salvation
rising up to a heavenward vault.

The stone walls were decorated, gilded,
lined with the lives of the saints
whose blessings had once gently lilted
out of the colorful daubs of paint.

The saints’ faces long faded away
and the statues have hair of green moss
while a few arches still try to stay
up like stone ribs of a body now lost.

The vault now lies open and broken
with a clear view to the old God above
and its grassy shell is now a mere token
of this cathedral built to love.

The broken flagstones are now a green mat
and the nave is barren. Its grey pall
belies the colors in abundance it once had.
There’s no more shine of gold at all.

Yet the grass that grows there is still blessed
by the faithful in ground hallowed below.
I’m touched by their hushed songs still sung, caressed
by soft breath of holy wind which there flows.
The poem is inspired by the many old churches slowly falling into ruin in our area.
The last rose petals fall to the ground
leaving the rosehips bare
as autumn’s chill again comes around
to strip blooms that had been fair
The rosehips have hairs all wiry and grey
that also break off, one by one
Her color is gone, she fades away
until this rose lady’s season is done
Her petals arrayed on frosty soil
decay gently in the cold rain
while in her hips, seeds are born
to bring forth new roses again
An autumnal poem that personifies a rose going into the winter.
Zywa Jul 8
The past heroes rest

in the dilapidated --


inn that the world is.
Collection "Rubáiyat" ("Quatrains", 1100, Omar Khayyam), quatrain "This worn caravanserai", in the 1898 version by Edward  Heron-Allen

Collection "Stream"
Alicia Moore Apr 27
to be loved
and to love
is to wilt and decay.
in a positive or negative sense —
that I am not so sure,
just take it as you may.
Malia Mar 13
Barbed wire disguised as a sanctuary.
Decay in the comfort of a garden full of foxglove.
How long have I been sitting here?
Nightshade sure looks pretty
When it’s far away.
neth jones Feb 18
a troubled little wisp of waxy death   punches from my lips
(is it the exhaust   from many thriving microorganisms ?)
there it is   a clearly visible tiny cloud formation
(is this an indication?... the breaking down my over ripened form ?)
married also is its appearance  in the bathroom mirror
(confirmation that   it is no illusion)

i was quite casual about the event (thank you)
but not enough
              to stop me noting it here ;
call it   'the death weather report'
it shall be journaled further
i already feel observed
   as though by some bored student mortician
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