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CK Baker Oct 2017
they’re pouring out of the
those pretentious machiavellians
in ailing albino frames
eccentric masked figures
milling about the glow light
like night moths
in a cold london fog

lunatic gazers
with seeping moles
pinned by frogmen and twine
spider climbers
on **** fire
splitting seams
in the fading
and hideous ink

guards of the perch
stand on hades hand
monsters and demons
with severed limbs
taunting the condemned
and wanting
souls of the ******

cauldron fire
in blood red sky
silent screams
hack and wheeze
gas lines broken
words unspoken
teetering backward
on the dark shadows
of the phantom abyss
Kaitlyn Jun 2018
(an ekphrastic poem based on the painting Nighthawks by Edward Hopper)

solemn faces,
doused in gold,
like moths to flame,
seek warmth from the cold.
Darkness leers, but harsh light shields
these lonely creatures from their feelings untold.

diner desolate,
a waiter old,
and three weary visitors
are portrayed. The scene unfolds.
Most eat under the sunlight, unlike
these nighthawks who flocked from their households.

loneliness darkens
hearts like blindfolds;
nighthawks’ hearts aren’t exceptions.
The woman red and bold,
the man in shadows, and another
man with a cigarette in his hold

isolated together.
They are controlled
and defined by solitude.
They don’t belong. No mold
fits them. They only have a
diner, each other, and lonesome souls unconsoled.
Cat May 2018
What is it about the water?
Like misshaped tiles the ripples scatter;
shifting at every swift motion and quake,
staring back at a man lost in a reflective gaze
Lost in a pool of his own thoughts;
He recognizes the drowning body
that sinks deeper as his mind descends

Should he linger behind inches of safety;
or should he let himself fall into ponderous
depths of transparent glass;
Eyes closed, he lets go and joins his enemy,
like a sail his body floats, effortlessly.
"Portrait of an Artist (Pool with Two Figures)" by David Hockney
These mountains are but a stand of trees
to the man astride that horse;
dark eyes are
massive storm clouds
or shadows cast
by towering presence
hidden in the folds
of an otherwise ordinary
brain. Power? There
is no end to this man's power
except the end
that will always march
shattering sheets of glass ice
with hooves so hard
they weather mountains.

Does he see it? The horse,
whose everyday hooves *****
one film of ice among many,
sees it; has a face
- most expressive beast on earth -
that speaks aloud
against the cold that runs fingernails along
the raw interior of her throat.

Yes, this man, like so many men,
make choices, and choices
have troubling consequences.

There is darkness
in these mountains;
because mountains stand taller
than the common countryside.
Sometimes, their height brings them closer
to the sun. At midnight, their peaks
are more distant than the depths of a gorge.

See the deeply set, tempered soul
ensconced in that man's eyes?

The horse is very,
very tired, and sees more
than mountains, icicles,
wisps of frozen cloud -
she sees beyond these and
beneath these, to a destination
frozen shut in the folds of an
otherwise ordinary brain.
Power? The horse sighs
and drips chilled mucus
on snow. Her humanity
she pours out and only a
frozen peak can see.

*There are humans
making choices
always leading
to the cold.
For the painting, see
PH Apr 2015
perpetual expeditions amidst this hazy twilight,
periwinkled vistas ensnaring me in

the sound penetrates my ear drum

black and yellow rabble-rouser
this rambunctious little menace

a pomegranate
eternally ripe, giving me life

gilled, scaled, underwater creature
emerging from the deep, boundless rift

two tantalizing tigers
troublesome, treacherous

and she laid there—
undisturbed, unaware

jabbed in her side by a M1903 Springfield
soothed state rattled, shattered

wincing from the poke of the blunt end of the gun
the sleeping lady slept no more

poor fellows,
how were they supposed to hold on to it without opposable thumbs?
the distressed damsel appeared grotesque,
flailing and fidgeting at the sight of her surroundings

surface rocking beneath my feat,
my trusty elephant’s weak ankles shattering my already shattered stability

i had no more time for such nonsenses
buzzing sounds burned deep into my psyche

the soft-spoken horizon called out to me
calling for me to continue on into the enigmatic expanse
Marieta Maglas Nov 2014
Van Gogh wanted to mix a material rainbow of colors
From primary red, yellow and blue in the sense of divine.
In the Holy Light, the love time of the flower clock discolors.
The empty glasses on the tables lack the Holy wine.

The ideal round tables assume their infinite regress,
While huddling down in a stupor the lonely men around.
Their eyes do not see the sense of life and true noblesse.
From a corner view, silent colors search for the sound.

Tables for awakening, for life and for the fate's game.
In life, a complete circled awareness needs time.
In many forms, the epitome of tableness is the same.
It keeps a purple silence for the painted mother of thyme.

This irreconcilable demon -woman hung on the left wall
Needs that freedom engraved on the emerald green door.
The watch on her hand shows the time for a masked ball.
Destined never to meet are the parallel lines on the floor.

Love is for completing the time as pink is for the emerald green.
In the mirror, this nuance of green reflects the sadness of life.
Against the red, pink and white, in games, the cue tip can lean,
Because all the main complementary colors are at strife.

The white coat of the waiter is a symbol in the glow of the lamp.
The perspective looks somewhat downward toward the floor.
Extending to new dimensions, Eve sits or she just up to vamp.
The flowers wither and the life disappears after an endless war.
A couple sat embraced in the corner of the subway at 2 am,
They huddled together in their winter jackets,
Riding around to escape the bitter cold.
She had her legs in his lap and she leaned into him as if whispering a secret,
Her head was against his collarbone as she listened for agreement but was met with the steady hum of the lights overhead.
The moment was intimacy
So much so that it led to the question of how they had gotten to the point of being so intimate
On public transportation
And I felt as though it was something I had been interrupting.
But three stops later and they were off into the night at Grand Central Station.
I saw them again in late May
But now they stuck to just holding hands,
She rested her head in the same spot as last time though,
And they weren’t embracing, but the intimacy was present in the stifled giggles and stolen glances.
And forever was more than a promise,
It was a reality.
An Ekphrastic Poem (a poem about a piece of art, in this case a photograph by Gary Winegrand that was on display in the Metropolitan Museum of Art in New York City)
Daniel Samuelson May 2014
A final inhalation, farewell to oxygen
submitting to oblivion
a conscious lack of everything.
The very absence of air, sickening and
desolate, destitute, despairing
tearing at my aching lungs,
my vacant mind.
Call me a vagabond, a wanderer
entrapped in the extrasensory.

My breath escapes. 

The empty core within myself rings in tune with the extant and extinct.
Neck arching, mouth agape
a single note transcends my lips of stone
unadulterated, unwavering, a melodious sound 
building and joining in harmony to create a symphony of
life, of
death, of
everything we cannot comprehend. 
Sonorous and assonant
my soul cries out
at ever-growing volumes.
My eyes begin to flicker and fade away.

God, can You hear my screams in space
in this vacuum, void of sound?
The final thoughts of an astronaut removing his helmet while in space. Inspired by and written to a track called Suicide by Star by post-rock group God is an Astronaut. The band name, oddly enough, didn't influence this poem at all. Didn't think of it. Seems fitting, though. Check it out.

I think I'm gonna be off HP for a little while, but I'll definitely be back. Just not feeling super inspired lately. This has been a great community and I've truly enjoyed it, though. Thanks to all of you, especially Daniel Lockerbie. You are a rad man.

Farewell, friends! Until next time! (which, knowing me, won't be long).
featherfingers May 2014
Based on a painting, "Nuclear Puppies", by Julie Nagel, 2001*

You’re a mutant, you know—
got funny dog babies sprouting
out of your head like they were
ears.  Those copies of your face

look up at a sky of ashy gray,
perked and tense.  Are you listening
to yourself?  What choir
of dog-eared deformities

sings to you?  Maybe they should have
howled louder before we dropped The Bomb.
Maybe the yellow caterwaul of their
melting butter bodies would have stayed our hand.

I doubt it though.  
This is what we do. We burn things.
We tinker, adding and subtracting until
what’s left is blasphemy—until what’s left is

you.  A yellow almost-dog, a sagging
body with melted flesh where there should
be fur. Sad monster; beg your alms
from the atomic Frankensteins who made you.

Your skyward eyes are bright, still happy
anywhere but here.  But your abominable
body lies here staring into gray space with
Alpo still sticky on your nose, wet, brown snow.

— The End —