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wes parham Dec 2016
Back at the shore, on my own this time,
I'm free now, yes, but alone.
I'm left with nothing,
No pain,
No rhyme,
On a beach less sand than stone.


The tide still licks the shore for crumbs,
But nothing hides beneath.
No voice calls out in dark, feigned scorn,
No stoic secretly cries for release.


The world outside worked magic for real,
It promised us strength in identity,
But now I'm just beginning to feel,
There's actually something wrong with me.


I can't go back until I know,
That your death has served some purpose.
What chance is there, to survive and grow,
When even ghosts can hurt us?


"Perhaps", I said, "it's all unspoken", aloud,
To myself, discovering,
How words can wound but silence drowned,
A heart that's still recovering.
A follow-up to my poem, "the Unbroken"...
I wanted to revisit "the interface" once more, where our traveler seeks new insights.  Poor *******... Nothing significant here, honestly, the concepts are off-the-cuff, almost random, but the mood I wanted was one of placing the reader on the cusp of despair and a subsequent hopefulness as we try to make sense out of life's pains.
wes parham Dec 2016
Seventeen years old and troubled, I took walks in the woods to sort out my mind.  There were miles of it behind the old neighborhood.
I could meditate on thoughts and walk down paths, off paths, for miles if I wished.  My forest grew in semi-rural suburbia of my hometown, just a thirty minute drive east from Atlanta.
I'd like to think it grows there still...  

   One could walk a mile or two through untamed, mostly coniferous, forest but suddenly step out onto a clearing of uninterrupted rock, desolate and pocked like the surface of the moon.  A moonscape bounded by trees.  An anomalous break in the journey of green.  A massive plane of granite lies, apparently, beneath much of our state.  The woods in my area had this unique feature...  Patches where the granite was exposed to the surface.  Some were the size of a small city park.  Others were the size of multiple football fields.  Those accessible by bicycle were especially fun.  They would be explored thoroughly as I jostled and bounced my mountain-bike over the irregular surfaces.  Others lay deep in the woods.  I would walk as much as I could or just lie on the solidness of that ground and look at clouds.

   As pressures in my heart and mind increased, I would come to these woods angry and frustrated.  Pent-up emotions had few outlets.  Poetry was there, a kind of constant companion of the day,  but sometimes I just needed to run.
   Something felt primal and therapeutic about it.  One day, in a lot of frustration and anger, I made up this stupid game.   It was simple.
1: Run.  Immediately.  North.
2: Don't stop. Don't stop.  Don't stop.  Unless stopped involuntarily.

   I leapt off the trail and ran.  Though I felt despairing, the freedom was liberating.  Constantly, there were split-second decisions to make...  Over or under?  Left or right? More often than not, it just had to be "through" and, in my determination and stupid teen nihilism, I plowed through lots of tangles and thorns, scratching up my ankles in the process.  I didn't care and, stupidly, welcomed the blood until a stronger patch of thorns held fast to my ankle. My running speed slammed me to the ground.  I think I laughed, then, like a ******* crazy person.  I saw myself and felt foolish.  I laughed at the sad sight of this broody kid, breathless and bleeding on the forest floor, who actually had life pretty good.  My troubles aren't even worth recalling, they were that trivial, even in the moment.  I picked myself up as if I were happily helping a friend.  I was feeling pretty good and helped him walk, carefully, back south again.
This is a memory piece about an odd time.  ******* ADOLESCENCE. Ha.
wes parham Jul 2016
One day I broke down, I took the job.

"I just wanted to destroy something beautiful..."                    
     "Yeah, beautiful and toxic. what were you thinking?"
"who are you?"         
   "I'm your ******* muse, *******"
"no, no, no. just, please... leave me alone?"       
    "nope"    
"****"          
   "do you love me?"
"how could-  i mean, what...."          
   "touch me"
" god.   ******...."
It was going to be a long, long day.
Who's going to get anything done with her around?
.
.
wes parham Jun 2016
The reflecting pool lay long and flat, a massive mirror door...
I stepped up to it's concrete edge, and looked down to it's floor.
I saw pale tiles beneath the water, some pennies, a dime, a nail.
I dropped my thoughts beneath this sea, which quickly grew in scale.

One foot of water became, thus, ten... A hundred... thousand... more.
My view was that of one who's soaring many miles above some shore.
I was, at once, consumed with fear at how this made me feel,
That is to say, I convinced myself that this height was truly real.

That was when I dreamed I fell, but before I'd be no more,
I had much time to think awhile on what had come before.
I had much time to regret the past, and dread what was yet to be,
Saw images of fortune, ruin, the dust of you; the ashes of me.

Small joys helped to bridge the gaps where fear eroded hope,
The terror of  my empty room, the makeshift hanging rope.
My thoughts of death reminded me that the moment should be much more,
I opened my eyes to the rushing air, my throat felt raw and sore,
Looked down to see a blaze of leaves and the fast approaching forest floor.

Asleep, I fell, through sunlit leaves that seemed to fill the space,
Awake, I stood beside the pool when you had touched my face.
Something in your eyes was telling me you were concerned,
You somehow knew the man who left was not the man who returned.

We stood at the shore then, you and I, expressing futures yet to pass,
Fishing out mythologies and illusions that might last.
Our mouths were full of histories and secrets that we bared,
The reassuring comfort that illusions can be shared.

Look east and see the brightening sky, but not yet see the sun,
Look west and see the shrinking black,
The place where last night's stars have run.

Look up and see the limbs and leaves of the high forest canopy,
The ones above the gloom that's half obscuring you and me...
A bright gold glow suffuses them, but only way up high,
Where they already see the dawn, and the guiding star that fills their sky.

I'm reminded by these tall trees rising high into the air,
When shadow darkens my small world, but light is everywhere,
You do not need to see the sun to know that it is there.

So as I lifted up my face,
To where sunlight paints the highest tree,
In this expansive time and place,
I felt the same; beautiful and free.
Read here by the author:
http://wesparham.tumblr.com/post/145722638622/tell-me-what-this-poem-means-to-you-this-is-a

This is a collaboration with a poet friend.  We have traded original titles and tasked each, the other, with writing anything at all under that title.  No rules, just the title as a touchstone; a point of departure.  My friend's titles are sometimes long and descriptive. This one made me think of a sensory experience I have had in dreams and waking hours, too, where I play with the reference of world scale inside of my head, my relative spatial perception becoming expansive and colossal.    The title evoked the memory of this feeling, so I set about describing it in verse.
wes parham Jan 2016
In a room full of people, you're reading our words,
Silent, to yourself, alone.
Because bearing the stress of talking aloud,
Is much harder than sitting on your own.

And when we let you in, it's all the way.
We keep ourselves safe, but we have to say,
The ideas from within, the shadow or light,
Can comfort a stranger or set things right.

Our words have reached you,
       they've made you see more,
And understand better than you could before,
In a form that can never completely remain,
       untouched by the heart of it's writer,
We share this very real part of ourselves,
While the audience glows, ever brighter.
And vulnerability opens a door,
pulling strength on the strings of a lyre.
Our melody and lyric, not wanting for more,
Can raise each of our readers up higher.
A message, musings, on the power of words and poetry in particular.
In the time it takes to read a poem, the writer can deliver a powerful message of empathy and understanding.  Drawing on very personal observations, the writer can be instantly intimate with their audience, display a certain vulnerability, break down the barriers that keep people from connecting on a real and human level.
wes parham Oct 2015
We took a drive. I had things to say.
My heart was aching, shattered.
I rehearsed the words throughout the day,
Believing that it mattered.

I met you then but I only saw,
The mask you chose to show.
If you were suffering underneath,
Then how was I to know?

I said,
" Your grey facade hides worlds so vast,
Naked flesh of fruit, beneath the rind.
Your future's informed by its turbulent past,
Full understanding; when you look behind."

You said,
" You try too hard, you think too much.
You never live for now.
Wrapping words around the wrong ideas,
You miss the point somehow."
"Stuck in place, because it's safe,
You're too afraid to grow.
If you had begun to change your fate,
Then how was I to know?"

You saw me within a grey facade.
I saw you within a grey facade.

We could not say more, it seemed sufficient,
That love is patient.
Love is kind.
Love is ignoring all that came before,
Loving only the moment.
That coin of the realm: elusive, bright.
Your grey facade hides
Such a beautiful light.
Love has many names.
Call any one aloud and I will answer.
I will come.
You will see.
You'll see me clearly, even behind this grey facade.
I took on a second spoken word collaboration with a composer in the Netherlands I met through SoundCloud.com.  The track was titled "Grey Facades" and, so, I gravitated toward this theme...  exploring the differences between our outer, public personae and our inner, personal lives. In this case, the mask is harsh but conceals kindness and life.  The speaker, themself, seems to have a thin mask and an analytical nature.  They wear their beauty and darkness right on their sleeve but still remain obscured in other ways.

This is a collage of stanzas written independently over many months, but tending to relate to the one theme.  When I simply stacked them up and read them, cold, against the track, most of it's parts just clicked right with the changes.  I was surprised and really like how it's going.  Will post the final mix when it's done.
Update:   A final mix now exists..  Give a listen:
https://soundcloud.com/flowermouth/grey-facades-feat-warmphase
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