Almost
by Michael R. Burch

We had—almost—an affair.
You almost ran your fingers through my hair.
I almost kissed the almonds of your toes.
We almost loved,
                            that’s always how love goes.

You almost contemplated using Nair
and adding henna highlights to your hair,
while I considered plucking you a Rose.
We almost loved,
                            that’s always how love goes.

I almost found the words to say, “I care.”
We almost kissed, and yet you didn’t dare.
I heard coarse stubble grate against your hose.
We almost loved,
                            that’s always how love goes.

You almost called me suave and debonair
(perhaps because my chest is pale and bare?).
I almost bought you edible underclothes.
We almost loved,
                            that’s always how love goes.

I almost asked you where you kept your lair
and if by chance I might ****** you there.
You almost tweezed the redwoods from my nose.
We almost loved,
                            that’s always how love goes.

We almost danced like Rogers and Astaire
on gliding feet; we almost waltzed on air ...
until I mashed your plain, unpolished toes.
We almost loved,
                            that’s always how love goes.

I almost was strange Sonny to your Cher.
We almost sat in love’s electric chair
to be enlightninged, till our hearts unfroze.
We almost loved,
                            that’s always how love goes.

Keywords/Tags: Almost, love, lost love, loss, lost, relationship, relationships, hesitation, procrastination, hesitancy, vacillation, near, near miss, nearly, close call, miss you, missing you, missing, loneliness, lonely

All the More Human, for Eve Pandora
by Michael R. Burch

a lullaby for the first human Clone

God provide the soul, and let her sleep
be natural as ours, unplagued by dreams
of being someone else, lost in the deep
wild swells of losing all that "human" means ...

and do not let her come to doubt herself—
that she is as we are, so much alike
in frailty, in the books that line the shelf
that tell us who we are—a rickety ****

against the flood of doubt—that we are more
than cells and chance, that love, perhaps, exists
because of someone else who would endure
such pain because some part of her persists

in us, and calls us blesséd by her bed,
become a saint at last, in whose frail arms
we see ourselves—the gray won out of red,
the ash of blonde—till love is safe from harm

and all that "human" means is that we live
in doubt, and die in doubt, and only love
the more because we only know to strive
against an end we loathe and fear. What of?—

we cannot say, imagining the Night
as some weird darkened structure caving in
to cold enormous pressure. Lacking sight,
we lie unbreathing, thinking breath a sin ...

and that is to be human. You are us—
true mortal, child of doubt, hopeful and curious.

Keywords/Tags: Eve, Pandora, human, clone, humanity, human being, human condition, evolution, birth, death, life and death, soul, soulmate, saint, youth

This is my modern English translation of Paul Valéry's poem “Le cimetière marin” (“The graveyard by the sea”). Valéry was buried in the seaside cemetery evoked in his best-known poem. From the vantage of the cemetery, the tombs seemed to “support” a sea-ceiling dotted with white sails. Valéry begins and ends his poem with this image ...

Excerpts from “Le cimetière marin” (“The graveyard by the sea”)
from Charmes ou poèmes (1922)
by Paul Valéry
loose translation/interpretation by Michael R. Burch

Do not, O my soul, aspire to immortal life, but exhaust what is possible.
—Pindar, Pythian Ode 3

1.
This tranquil ceiling, where white doves are sailing,
stands propped between tall pines and foundational tombs,
as the noonday sun composes, with its flames,
sea-waves forever forming and reforming ...
O, what a boon, when some lapsed thought expires,
to reflect on the placid face of Eternity!

5.
As a pear dissolves in the act of being eaten,
transformed, through sudden absence, to delight
relinquishing its shape within our mouths,
even so, I breathe in vapors I’ll become,
as the sea rejoices and its shores enlarge,
fed by lost souls devoured; more are rumored.

6.
Beautiful sky, my true-blue sky, ’tis I
who alters! Pride and indolence possessed me,
yet, somehow, I possessed real potency ...
But now I yield to your ephemeral vapors
as my shadow steals through stations of the dead;
its delicate silhouette crook-*******, “Forward!”

8.
... My soul still awaits reports of its nothingness ...

9.
... What corpse compels me forward, to no end?
What empty skull commends these strange bone-heaps?
A star broods over everything I lost ...

10.
... Here where so much antique marble
shudders over so many shadows,
the faithful sea slumbers ...

11.
... Watchful dog ...
Keep far from these peaceful tombs
the prudent doves, all impossible dreams,
the angels’ curious eyes ...

12.
... The brittle insect scratches out existence ...
... Life is enlarged by its lust for absence ...
... The bitterness of death is sweet and the mind clarified.

13.
... The dead do well here, secured here in this earth ...
... I am what mutates secretly in you ...

14.
I alone can express your apprehensions!
My penitence, my doubts, my limitations,
are fatal flaws in your exquisite diamond ...
But here in their marble-encumbered infinite night
a formless people sleeping at the roots of trees
have slowly adopted your cause ...

15.
... Where, now, are the kindly words of the loving dead? ...
... Now grubs consume, where tears were once composed ...

16.
... Everything dies, returns to earth, gets recycled ...

17.
And what of you, great Soul, do you still dream
there’s something truer than these deceitful colors:
each flash of golden surf on eyes of flesh?
Will you still sing, when you’re as light as air?
Everything perishes and has no presence!
I am not immune; Divine Impatience dies!

18.
Emaciate consolation, Immortality,
grotesquely clothed in your black and gold habit,
transfiguring death into some Madonna’s breast,
your pious ruse and cultivated lie:
who does not know and who does not reject
your empty skull and pandemonic laughter?

24.
The wind is rising! ... We must yet strive to live!
The immense sky opens and closes my book!
Waves surge through shell-shocked rocks, reeking spray!
O, fly, fly away, my sun-bedazzled pages!
Break, breakers! Break joyfully as you threaten to shatter
this tranquil ceiling where white doves are sailing!

*

“Le vent se lève! . . . il faut tenter de vivre!
L'air immense ouvre et referme mon livre,
La vague en poudre ose jaillir des rocs!
Envolez-vous, pages tout éblouies!
Rompez, vagues! Rompez d'eaux réjouies
Ce toit tranquille où picoraient des focs!”



PAUL VALERY TRANSLATION: “SECRET ODE”

“Secret Ode” is a poem by the French poet Paul Valéry about collapsing after a vigorous dance, watching the sun set, and seeing the immensity of the night sky as the stars begin to appear.

Ode secrète (“Secret Ode”)
by Paul Valéry
loose translation/interpretation by Michael R. Burch

The fall so exquisite, the ending so soft,
the struggle’s abandonment so delightful:
depositing the glistening body
on a bed of moss, after the dance!

Who has ever seen such a glow
illuminate a triumph
as these sun-brightened beads
crowning a sweat-drenched forehead!

Here, touched by the dusk's last light,
this body that achieved so much
by dancing and outdoing Hercules
now mimics the drooping rose-clumps!

Sleep then, our all-conquering hero,
come so soon to this tragic end,
for now the many-headed Hydra
reveals its Infiniteness …

Behold what Bull, what Bear, what Hound,
what Visions of limitless Conquests
beyond the boundaries of Time
the soul imposes on formless Space!

This is the supreme end, this glittering Light
beyond the control of mere monsters and gods,
as it gloriously reveals
the matchless immensity of the heavens!

This is Paul Valery’s bio from the Academy of American Poets:

Paul Valéry
(1871–1945)

Poet, essayist, and thinker Paul Ambroise Valéry was born in the Mediterranean town of Séte, France, on October 30, 1871. He attended the lycée at Montpellier and studied law at the University of Montpellier. Valéry left school early to move to Paris and pursue a life as a poet. In Paris, he was a regular member of Stéphane Mallarmé's Tuesday evening salons. It was at this time that he began to publish poems in avant-garde journals.

In 1892, while visiting relatives in Genoa, Valéry underwent a stark personal transformation. During a violent thunderstorm, he determined that he must free himself "at no matter what cost, from those falsehoods: literature and sentiment." He devoted the next twenty years to studying mathematics, philosophy, and language. From 1892 until 1912, he wrote no poetry. He did begin, however, to keep his ideas and notes in a series of journals, which were published in twenty-nine volumes in 1945. He also wrote essays and the book "La Soirée avec M. *****" ("The Evening with Monsieur *****," 1896).

Valéry supported himself during this period first with a job in the War Department, and then as a secretary at the Havas newspaper agency. This job required him to work only a few hours per day, and he spent the rest of his time pursuing his own ideas. He married Jeannie Gobillard in 1900, and they had one son and one daughter. In 1912 Andre Gide persuaded Valéry to collect and revise his earlier poems. In 1917 Valéry published "La Jeune Parque" ("The Young Fate"), a dramatic monologue of over five-hundred lines, and in 1920 he published "Album de vers anciens," 1890-1920 ("Album of Old Verses"). His second collection of poetry, "Charmes" ("Charms") appeared in 1922. Despite tremendous critical and popular acclaim, Valéry again put aside writing poetry. In 1925 he was elected to the Académe Francaise. He spent the remaining twenty years of his life on frequent lecture tours in and out of France, and he wrote numerous essays on poetry, painting, and dance. Paul Valéry died in Paris in July of 1945 and was given a state funeral.
Along with Paul Verlaine and Stéphane Mallarmé, Valéry is considered one the most important Symbolist writers. His highly self-conscious and philosophical style can also been seen to influence later English-language writers such T. S. Eliot and John Ashbery . His work as a critic and theorist of language was important to many of the structuralist critics of the 1960s and 1970s.

#VALERY #MRB-VALERY #MRBVALERY

Keywords/Tags: Paul Valery, French poem, English translation, sea, seaside, cemetery, grave, graves, graveyard, death, sail, sails, doves, ceiling, soul, souls, dance, sun, sunset, dusk, night, stars, infinity

These are my modern English translations of sonnets by the French poet Stephane Mallarme.

The Tomb of Edgar Poe
by Stéphane Mallarmé
loose translation/interpretation by Michael R. Burch

Transformed into himself by Death, at last,
the Bard unsheathed his Art’s recondite blade
to duel with dullards, blind & undismayed,
who’d never heard his ardent Voice, aghast!

Like dark Medusan demons of the past
who’d failed to heed such high, angelic words,
men called him bendered, his ideas absurd,
discounting all the warlock’s spells he’d cast.

The wars of heaven and hell? Earth’s senseless grief?
Can sculptors carve from myths a bas-relief
to illuminate the sepulcher of Poe?

No, let us set in granite, here below,
a limit and a block on this disaster:
this Blasphemy, to not acknowledge a Master!

The original French poem appears after the translations

"Le Cygne" ("The Swan")
by Stéphane Mallarmé
this untitled poem is also called Mallarmé's "White Sonnet"
loose translation/interpretation by Michael R. Burch

The virginal, the vivid, the vivacious day:
can its brilliance be broken by a wild wing-blow
delivered to this glacial lake
whose frozen ice-falls impede flight? No.

In past reflections on its thoughts today
the Swan remembers freedom, but can’t make
a song from its surroundings, only take
on the winter's ghostly hue of snow.

In the Swan's white agony its bared neck lies
within a guillotine its sense denies.
Slowly being frozen to its inner being,
the body ignores the phantom spirit fleeing...

Cold contempt for its captor
is of no use to the raptor.



Le tombeau d’Edgar Poe
by Stéphane Mallarmé

Tel qu’en Lui-même enfin l’éternité le change,
Le Poète suscite avec un glaive nu
Son siècle épouvanté de n’avoir pas connu
Que la mort triomphait dans cette voix étrange!
Eux, comme un vil sursaut d’hydre oyant jadis l’ange
Donner un sens plus pur aux mots de la tribu,
Proclamèrent très haut le sortilège bu
Dans le flot sans honneur de quelque noir mélange.
Du sol et de la nue hostiles, ô grief!
Si notre idée avec ne sculpte un bas-relief
Dont la tombe de Poe éblouissante s’orne
Calme bloc ici-bas chu d’un désastre obscur
Que ce granit du moins montre à jamais sa borne
Aux noirs vols du Blasphème épars dans le futur.



Le Cygne
by Stéphane Mallarmé

Le vierge, le vivace et le bel aujourd'hui
Va-t-il nous déchirer avec un coup d'aile ivre
Ce lac dur oublié que hante sous le givre
Le transparent glacier des vols qui n'ont pas fui !
Un cygne d'autrefois se souvient que c'est lui
Magnifique mais qui sans espoir se délivre
Pour n'avoir pas chanté la région où vivre
Quand du stérile hiver a resplendi l'ennui.
Tout son col secouera cette blanche agonie
Par l'espace infligée à l'oiseau qui le nie,
Mais non l'horreur du sol où le plumage est pris.
Fantôme qu'à ce lieu son pur éclat assigne,
Il s'immobilise au songe froid de mépris
Que vêt parmi l'exil inutile le Cygne.

Stephane Mallarme was a major French poet and one of the leading French symbolist poets.

Keywords/Tags: Stephane Mallarme, France, French poet, symbolism, symbolist, symbolic, poetry, Edgar Allan Poe, grave, tomb, sepulcher, memorial, elegy, eulogy, epitaph, sonnet

The Story
by Kamal Nasser
translation by Michael R. Burch

I will tell you a story ...
a story that lived in the dreams of my people,
a story that comes from the world of tents.
It is a story inspired by hunger and embellished by dark nights of terror.
It is the story of my country, a handful of refugees.
Every twenty of them have a pound of flour between them
and a few promises of relief ... gifts and parcels.
It is the story of the suffering ones
who stood waiting in line ten years,
in hunger,
in tears and agony,
in hardship and yearning.
It is a story of a people who were misled,
who were thrown into the mazes of the years.
And yet they stood defiant,
disrobed yet united
as they trudged from the light to their tents:
the revolution of return
into the world of darkness.

Kamal Nasser was a much-admired Palestinian poet and Palestinian Christian, who due to his renowned integrity was known as "The Conscience." He was a member of Jordan's parliament in 1956. He was murdered in 1973 by an Israeli death squad whose most notorious member was future Israeli Prime Minister Ehud Barak. Barak (born Ehud Brog) later ruled as Israel’s tenth Prime Minister from 1999 to 2001. His adopted Hebrew name Barak means "lightning." As a younger man, Brog/Barak was a member of a secret assassination unit that liquidated Palestinians in Lebanon and the occupied territories. In the 1973 covert mission Operation Spring of Youth in Beirut, which was part of the larger Operation Wrath of God, he disguised himself as a woman in order to assassinate Palestinians. The raid resulted in the deaths of two women, one of them an elderly Italian. Two Lebanese policemen were also killed, along with the poet Kamal Nasser.

Nasser was the PLO's most prominent Christian and he enjoyed "great appeal" in Lebanon, Syria, and Iraq "both as a distinguished poet and likeable personality." He was the “conscience of the Palestinian revolution,” according to Nazih Abul-Nidal, who worked with him on the magazine Filastin al-Thawra. Nasser “had the most democratic outlook of all Palestinian leaders at the time,” he recalls. He respected opposing views, admired the commitment of young people, and was a major recruitment asset for the Palestinian revolution. “That is why he was put high on the hit-list.” The previous year, the Israelis had murdered another renowned Palestinian writer and activist in Beirut, Ghassan Kanafani, by *****-trapping his car. Nasser’s successor, Majed Abu Sharar, was also assassinated by Israelis, in Rome in 1981 while attending a conference in solidarity with the Palestinian people.

Keywords/Tags: Kamal Nasser, Palestinian, Palestine, PLO, Conscience, Ramallah, Christian, religion, poet, Arab, Arabic, Arab Spring, betrayal, conflict, courage, devotion

Hymn to an Art-o-matic Laundromat
by Michael R. Burch

after Richard Thomas Moore’s “Hymn to an Automatic Washer”

O, terrible-immaculate
ALL-cleansing godly Laundromat,
where cleanliness is next to Art
—a bright Kinkade (bought at K-Mart),
a Persian rug (made in Taiwan),
a Royal Bonn Clock (time zone Guam)—
embrace my *** in cushioned vinyl,
erase all marks: ****, vaginal,
******, inkspot, red wine, dirt.
O, sterilize her skirt, my shirt,
my skidmarked briefs, her padded bra;
suds-away in your white maw
all filth, the day’s accumulation.
Make us pure by INUNDATION.

Published by The Oldie, where it was the winner of a poetry contest. This poem was inspired by the incongruence of discovering "works of art" while doing laundry at a laundromat with coin-operated washers and dryers. I was reminded of the experience while reading Richard Moore’s “Hymn to an Automatic Washer.” Keywords/Tags: hymn, art, America, Americana, laundry, laundromat, washer, dryer, appliances, clean, cleaning, cleanliness, clothes, clothing, underwear, god, godly, godliness, water, baptism, inundation, sonnet, analogy, humor

These are early poems of mine, written as a high school student in the 10th grade.

as Time walked by
by Michael R. Burch

yesterday i dreamed of us again,
when
the air, like honey,
trickled through cushioning grasses,
softly flowing, pouring itself upon the masses
of dreaming flowers...
then
the sly impish Hours
were tentative, coy and shy
while the sky
swirled all its colors together,
giving pleasure to the appreciative eye
as Time walked by.

sunbright, your smile
could fill the darkest night
with brilliant light
or thrill the dullest day
with ecstasy
so long as Time did not impede our way...
until It did,
as It did.

for soon the summer hid
her sunny smile...
the honeyed breaths of wind
became cold,
biting to the bone
as Time sped on,
fled from us
to be gone
Forevermore.

this morning i awakened to the thought
that u were near
with honey hair and happy smile
lying sweetly by my side,
but then i remembered—u were gone,
that u'd been toppled long ago
like an orchid felled by snow
as the bloom called “us” sank slowly down to die
and Time roared by.

This poem appeared in my high school literary journal and was probably written around age 15-16, or thereabouts. This was during my 'cummings period, ' which started after I/i discovered e.e. cummings in an English textbook. "as Time walked by" and the next poem "hymn to Apollo" are companion poems, written around the same time and perhaps even on the same day.



hymn to Apollo
by Michael R. Burch

something of sunshine attracted my i
as it lazed on the afternoon sky,
golden,
splashed on the easel of god . . .

what,
i thought,
could this elfin stuff be,
to, phantomlike,
flit through tall trees
on fall days, such as these?

and the breeze
whispered a dirge
to the vanishing light;
enchoired with the evening, it sang;
its voice
enchantedly
rang
chanting “Night!” . . .

till all the bright light
retired,
expired.

This poem appeared in my high school literary journal; I believe I was around 15 or 16 when I wrote it.



Have I been too long at the fair?
by Michael R. Burch

Have I been too long at the fair?
The summer has faded,
the leaves have turned brown;
the Ferris wheel teeters ...
not up, yet not down.
Have I been too long at the fair?

This is one of my early poems, written around age 15 and published in my high school literary journal.



When last my love left me
by Michael R. Burch

The sun was a smoldering ember
when last my love left me;
the sunset cast curious shadows
over green arcs of the sea;
she spoke sad words, departing,
and teardrops drenched the trees.

This poem was published by my college literary journal, Homespun, issue 1976-1977. I believe I wrote the original version around age 16.



Flight
by Michael R. Burch

Eagle, raven, blackbird, crow . . .
What you are I do not know.
Where you go I do not care.
I’m unconcerned whose meal you bear.
But as you mount the sun-splashed sky,
I only wish that I could fly.
I only wish that I could fly.

Robin, hawk or whippoorwill . . .
Should men care if you hunger still?
I do not wish to see your home.
I do not wonder where you roam.
But as you scale the sky's bright stairs,
I only wish that I were there.
I only wish that I were there.

Sparrow, lark or chickadee . . .
Your markings I disdain to see.
Where you fly concerns me not.
I scarcely give your flight a thought.
But as you wheel and arc and dive,
I, too, would feel so much alive.
I, too, would feel so much alive.

I think this poem was written around age 16.



Damp Days
by Michael R. Burch

These are damp days,
and the earth is slick and vile
with the smell of month-old mud.

And yet it seldom rains;
a never-ending drizzle
drenches spring's bright buds
till they droop as though in death.

Now Time
drags out His endless hours
as though to bore to tears
His fretting, edgy servants
through the sheer length of His days
and slow passage of His years.

Damp days are His domain.

Irritation
grinds the ravaged nerves
and grips tight the gorging brain
which fills itself, through sense,
with vast seas of soggy clay
while the temples throb in pain
at the thought of more damp days.
I wrote the first version of this poem around age 16.



El Dorado
by Michael R. Burch

It's a fine town, a fine town,
though its alleys recede into shadow;
it's a very fine town for those who are searching
for an El Dorado.

Because the lighting is poor and the streets are bare
and the welfare line is long,
there must be something of value somewhere
to keep us hanging on
to our El Dorado.

Though the children are skinny, their parents are fat
from years of gorging on bleached white bread,
yet neither will leave
because all believe
in the vague things that are said
of El Dorado.

The young men with the outlandish hairstyles
who saunter in and out of the turnstiles
with a song on their lips and an aimless shuffle,
scuffing their shoes, avoiding the bustle,
certainly feel no need to join the crowd
of those who work to earn their bread;
they must know that the rainbow's end
conceals a *** of gold
near El Dorado.

And the painted “actress” who roams the streets,
smiling at every man she meets,
must smile because, after years of running,
no man can match her in cruelty or cunning.
She must see the satire of “defeats”
and “triumphs” on the ambivalent streets
of El Dorado.

Yes, it's a fine town, a very fine town
for those who can leave when they tire
of chasing after rainbows and dreams
and living on nothing but fire.

But for those of us who cling to our dreams
and cannot let them go,
like the sad-eyed ladies who wander the streets
and the junkies high on snow,
the dream has become a reality
—the reality of hope
that grew too strong
not to linger on—
and so this is our home.

We chew the apple, spit it out,
then eat it "just once more."
For this is the big, big apple,
though it is rotten to the core,
and we are its worm
in the night when we squirm
in our El Dorado.

This is an early poem of mine. I believe I wrote the first version during my “Romantic phase” around age 16 or perhaps a bit later. It was definitely written in my teens because it appears in a poetry contest folder that I put together and submitted during my sophomore year in college. Keywords/Tags: El Dorado, big apple, worms, New York City, junkies, streetwalkers, hookers, prostitutes, actors, actresses, hustlers, conmen




Easter, in Jerusalem
by Michael R. Burch

The streets are hushed from fervent song,
for strange lights fill the sky tonight.
A slow mist creeps
up and down the streets
and a star has vanished that once burned bright.
Oh Bethlehem, Bethlehem,
who tends your flocks tonight?
"Feed my sheep,"
"Feed my sheep,"
a Shepherd calls
through the markets and the cattle stalls,
but a fiery sentinel has passed from sight.

Golgotha shudders uneasily,
then wearily settles to sleep again,
and I wonder how they dream
who beat him till he screamed,
"Father, forgive them!"
Ah Nazareth, Nazareth,
now sunken deep into dark sleep,
do you heed His plea
as demons flee,
"Feed my sheep,"
"Feed my sheep . . ."

The temple trembles violently,
a veil lies ripped in two,
and a good man lies
on a mountainside
whose heart was shattered too.
Galilee, oh Galilee,
do your waters pulse and froth?
"Feed my sheep,"
"Feed my sheep,"
the waters creep
to form a starlit cross.

According to my notes, I wrote this poem around age 15-16.



Of You
by Michael R. Burch

There is little to write of in my life,
and little to write off, as so many do . . .
so I will write of you.

You are the sunshine after the rain,
the rainbow in between;
you are the joy that follows fierce pain;
you are the best that I've seen
in my life.

You are the peace that follows long strife;
you are tranquility.
You are an oasis in a dry land
. . . and . . .
you are the one for me!

You are my love; you are my life; you are my all in all.
Your hand is the hand that holds me aloft . . .
without you I would fall.

This was the first poem of mine that appeared in my high school journal, the Lantern, and thus it was my first poem to appear on a printed page. A fond memory, indeed! I have tried to remember when I wrote the poem, but that memory remains elusive. This one feels “younger” to me, so I will guess a composition date around age 16.



I Am Lonely
by Michael R. Burch

Oh God, I am lonely;
I am weak and sore afraid.
Now, just who am I to turn to
when my heart is torn in two?

Oh God, I am lonely
and I cannot find a mate.
Now, just who am I to turn to
when the best friend that I’ve made

remains myself?

This poem appeared in my high school journal; I believe it was written around age 15-16.



A midnight shade of blue
by Michael R. Burch

You thought you saw a shadow moving somewhere in the night—
a lost and lonely stranger searching for a little light—
so you told me to approach him, ask him if he'd like a room . . .
how sweet of you to think of one alone out in the gloom,
but he was only ...  a midnight shade of blue.

I thought I saw an answer shining somewhere in the night—
a spark of truth irradiating wisdom sweet and bright—
but when I sought to seize it, to bring it home to you . . .
it fluttered through my fingers like a wispy curlicue,
for it was only ... a midnight shade of blue.

We thought that we had found true love together in the night—
a love as fine and elegant as wine by candlelight—
but when we woke this morning, we knew it wasn't true . . .
the "love" we'd shared was less than love; I guess we owe it to
emotion ... and a midnight shade of blue.

I wrote this poem around age 16.



Paradise
by Michael R. Burch, age 15

There’s a sparkling stream
And clear blue lake
A home to ******,
Duck and drake

Where the waters flow
And the winds are soft
And the sky is full
Of birds aloft

Where the long grass waves
In the gentle breeze
And the setting sun
Is a pure cerise

Where the gentle deer
Though timid and shy
Are not afraid
As we pass them by

Where the morning dew
Sparkles in the grass
And the lake’s as clear
As a looking glass

Where the trees grow straight
And tall and green
Where the air is pure
And fresh and clean

Where the bluebird trills
Her merry song
As robins and skylarks
Sing along

A place where nature
Is at her best
A place of solitude
Of quiet and rest

This is one of my very earliest poems, written as a song. It was “published” in a high school assignment poetry notebook.



Liar
by Michael R. Burch

Chiller than a winter day,
quieter than the murmur of the sea in her dreams,
eyes softer than the diaphanous spray
of mist-shrouded streams,
you fill my dying thoughts.

In moments drugged with sleep
I have heard your earnest voice
leaving me no choice
save heed your hushed demands
and meet you in the sands
of an ageless arctic world.

There I kiss your lifeless lips
as we quiver in the shoals
of a sea that, endless, rolls
to meet the shattered shore.
Wild waves weep, "Nevermore,"
as you bend to stroke my hair.

That land is harsh and drear,
and that sea is bleak and wild;
only your lips are mild
as you kiss my weary eyes,
whispering lovely lies
of what awaits us there

in a land so stark and bare,
beyond all hope . . . and care.

This is one of my early poems, written as a high school sophomore or junior.

Keywords/tags: early, early poem, juvenile, juvenalia, child, childhood, boy, boyhood, teen, teenage, student, study, studies, high school, freshman, sophomore, junior, senior, college, first love, time