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Jamesb Jul 11
I have given you the bakery,
The flour mill,
The barn,
I have passed the keys and title
To these allegories of
My heart entire,
Placed them in your care,
Expecting the deeds to your
Estate at some point in return,
Your physicality,
Your romance,
Love
And your desire and yet
Your response is nary
A crumb,
Let alone a slice or a loaf
From even my own oven,
The flour that I have planted and grown,
And harvested and milled,
All counts for nowt,
So I'm folding those deeds away now,
And watching and waiting
To see what crop
You choose to reap instead,
What crop,
Which farm,
And indeed with whom.
This comes from an unexpected image arising in one of "those" conversations. As this poet at least has a habit of, I have rolled the dice beyond what actually happened. This verse is the result.
Skin needles, made from rain
threaded hope, that stitches pain
peel away the Monday morning
a coffee scented cloudy dawning,
the existential grey clad ******
of a quintessential English summer
Zywa Jul 5
Disillusionment:

seeing the ridiculous --


ignoring beauty.
Novel "De stille kracht" ("The Hidden Force", 1900, Louis Couperus), chapter 2, § 1

Collection "Thinkles Lusionless"
relahxe May 26
In the depth of the night,
when the crickets and cicadas
are holding my pain,
and they chirp as each tear wets the pillow,
I would like for you to hold it too.

To be fully seen is to be
a closed book with a lock,
for he who has the key.
He who cannot wait for the night
to come and let his pain be held
and also hold hers.

He prepares himself and reads
a page or two a day,
immersing himself more and more
in the story of her.

To be fully seen is to know well—
well,
he could grab a pen and scribble all over,
add a page or two,
write instead of you.
Yet give him the pain, and the pen and the markers,
excited to see what he'd do.

Because you have his book, too,
and all you want to do is highlight,
draw a rose or two,
plant a kiss or two,
where the scars are visible,
where the pages are torn.

When it feels like too much—
two people and two books—
to be fully seen
is what I am here for:
to open the book of my heart
and my life
with hands trembling,
with eyes caught,
with heart open.

Did you throw away the key?
Forget it...
I want to read your book, too.
For every page that ends with a question,
I'll make sure to add my answer to my book.

To be fully seen,
as a soul, naked,
floating in space,
with you,
you can let go,
with all my secrets,
with all my questions,
with my book.

You can tear it to pieces if
you so decide.
With my heart trembling,
and a bag of markers,
I'll return your book and the key
and be glad I was fully seen.
At least, I tried to be.

Sometimes, no matter how much you explain,
the person cannot read your book well,
nor remember the details
carefully underlined by you.

Maybe, just maybe, the closure is to see
it's not the quality of the book;
maybe the genre's just not his cup of tea.
Jason Adriel Apr 29
I often wonder
whether in those books you read
you ever read my name
between the lines

like an unexpected gift
or unfortunate rift
like a rifle aimed at you
or flowers handed to you

do you ever feel like I am there?
staring back at your weary eyes
do you ever stop and think back?
the love we never got to share...

a poisonous thought, come evening
I wonder and wonder and wander
to you, the birthmark on your wrist
the poems you write, the meaning you twist

between the lines
did you ever wonder?

quietude of love
everlastingly beautiful
rambunctious excitement
effervescent life
never, yet, the twain shall meet

between the lines
did you ever wonder about me?
those thoughts of the people you love (and they reciprocated) but never came to be. oh, what a tragedy.
Zywa Apr 14
Unfortunately

none of my birthday guests know --


how to celebrate.
Novel "Midnight's Children" (1981, Salman Rushdie), chapter 2-6 "My tenth birthday"

Collection "Low gear"
~
I.
Killing Mary Poppins
with a spoonful of sugar,
the sugar from the medicine
on the other side of town,
the town called Silent Hedges
And A Bit Of Fluff.


II.
Only a display model,
her name is Marmalade;
skin white like the moon,
she wears her ****** stranger dress;
one of her sisters is dying,
the other never lived;
God is a far off concept,
the fuchsia colored ball on
an overhead power grid
points her way to salvation.


III.
Morning became something else:
bright decline,
cold things start to burn,
tragic saxophone
among the beckoning,
everything's a symptom:
tax exiles, imperialists,
girls talking nitrous
--mouths full of soil,
Virginia Reel around the fountain
(do-si-do),
ready to buy up impossibles
as the dominoes fall.


IV.
Memory is a chemical
to the girl who cried champagne,
like ceiling stars
during the prodigal summer,
she played the game
on all fours,
and found a drawer
full of quarantine polaroids,
some with blood in her mouth,
others, of rain on her birthday.

~
silvervi Mar 3
1000 grains of sand in my throat
And I was so naive, yes so.
After being the most suspicious person
I chose to believe, to show my deep grief.

1500 grains in my mind,
All horrible assumptions reunite,
I gave in once again into the light,
It turned out to be buried in the night.

10.000 grains are heavy and cold,
They creep through my heart.
And I was so naive, yes so.
But I had to get hurt to finally let go.
Everyday I’m suffocating,
I’m choking on disappointment.
You really left me here waiting.
Will you ever find contentment?
Where are you now that I need you?
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