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zebra Oct 2017
Here is a primer on the history of poetry

Features of Modernism

To varying extents, writing of the Modernist period exhibits these features:

1. experimentation

belief that previous writing was stereotyped and inadequate
ceaseless technical innovation, sometimes for its own sake
originality: deviation from the norm, or from usual reader expectations
ruthless rejection of the past, even iconoclasm

2. anti-realism

sacralisation of art, which must represent itself, not something beyond preference for allusion (often private) rather than description
world seen through the artist's inner feelings and mental states
themes and vantage points chosen to question the conventional view
use of myth and unconscious forces rather than motivations of conventional plot

3. individualism

promotion of the artist's viewpoint, at the expense of the communal
cultivation of an individual consciousness, which alone is the final arbiter
estrangement from religion, nature, science, economy or social mechanisms
maintenance of a wary intellectual independence
artists and not society should judge the arts: extreme self-consciousness
search for the primary image, devoid of comment: stream of consciousness
exclusiveness, an aristocracy of the avant-garde

4. intellectualism

writing more cerebral than emotional
work is tentative, analytical and fragmentary, more posing questions more than answering them
cool observation: viewpoints and characters detached and depersonalized
open-ended work, not finished, nor aiming at formal perfection
involuted: the subject is often act of writing itself and not the ostensible referent

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Expressionism

Expressionism was a phase of twentieth-century writing that rejected naturalism and romanticism to express important inner truths. The style was generally declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that belong to all men, and which European civilization had rendered effete or inauthentic. The movement drew on Rimbaud and Nietzsche, and was best represented by German poetry of the 1910-20 period. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm, Schnack and Werfel are its characteristic proponents, {1} though Trakl is the best known to English readers. {2} {3}

Like most movements, there was little of a manifesto, or consensus of beliefs and programmes. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order". Expressionism was very heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early Surrealism, many of which crop up in English, French, Russian and Italian poetry of the period. Political attitudes tended to the revolutionary, and technique was overtly experimental. Nonetheless, for all the images of death and destruction, sometimes mixed with messianic utopianism, there was also a tone of resignation, a sadness of "the evening lands" as Spengler called them.

Expressionism also applies to painting, and here the characteristics are more illuminating. The label refers to painting that uses visual gestures to transmit emotions and emotionally charged messages. In the expressive work of Michelangelo and El Greco, for example, the content remains of first importance, but content is overshadowed by technique in such later artists as van Gogh, Ensor and Munch. By the mid twentieth-century even this attenuated content had been replaced by abstract painterly qualities — by the sheer scale and dimensions of the work, by colour and shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering the horrors of the First World War, and ineffectual governments afterwards, fragmented into violently opposed political movements, each with their antagonistic coteries and milieu. The painting of these groups was very variable, but often showed a mixture of aggression and naivety. Understandably unpopular with the establishment  — denounced as degenerate by the Nazis — the style also met with mixed reactions from the picture-buying public. It seemed to question what the middle classes stood for: convention, decency, professional expertise. A great sobbing child had been let loose in the artist's studio, and the results seemed elementally challenging. Perhaps German painting was returning to its Nordic roots, to small communities, apocalyptic visions, monotone starkness and anguished introspection.

What could poetry achieve in its turn? Could it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of poetry, and to the exclusion of content? Poetry can never be wholly abstract, a pure poetry bereft of content. But clearly there would be a rejection of naturalism. To represent anything faithfully requires considerable skill, and such skill was what the Expressionists were determined to avoid. That would call on traditions that were not Nordic, and that were not sufficiently opposed to bourgeois values for the writer's individuality to escape subversion. Raw power had to tap something deeper and more universal.

Hence the turn inward to private torments. Poets became the judges of poetry, since only they knew the value of originating emotions. Intensity was essential.  Artists had to believe passionately in their responses, and find ways of purifying and deepening those responses — through working practices, lifestyles, and philosophies. Freud was becoming popular, and his investigations into dreams, hallucinations and paranoia offered a rich field of exploration. Artists would have to glory in their isolation, moreover, and turn their anger and frustration at being overlooked into a belief in their own genius. Finally, there would be a need to pull down and start afresh, even though that contributed to a gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an elaborate body of theory to justify, support and overtake what might otherwise appear infantile and irrational. And if traditional art cannot be pure emotional expression, then a new art would have to be forged. Such poetry would not be an intoxication of life (Nietzsche's phrase) and still less its sanctification.  Great strains on the creative process were inevitable, moreover, as they were in Georg Trakl's case, who committed suicide shortly after writing the haunting and beautiful piece given below

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SYMBOLIST POETS
symbolism in poetry

Symbolism in literature was a complex movement that deliberately extended the evocative power of words to express the feelings, sensations and states of mind that lie beyond everyday awareness. The open-ended symbols created by Charles Baudelaire (1821-67) brought the invisible into being through the visible, and linked the invisible through other sensory perceptions, notably smell and sound. Stéphane Mallarmé (1842-98), the high priest of the French movement, theorized that symbols were of two types. One was created by the projection of inner feelings onto the world outside. The other existed as nascent words that slowly permeated the consciousness and expressed a state of mind initially unknown to their originator.

None of this came about without cultivation, and indeed dedication. Poets focused on the inner life. They explored strange cults and countries. They wrote in allusive, enigmatic, musical and ambiguous styles. Rimbaud deranged his senses and declared "Je est un autre". Von Hofmannstahl created his own language. Valéry retired from the world as a private secretary, before returning to a mastery of traditional French verse. Rilke renounced wife and human society to be attentive to the message when it came.

Not all were great theoreticians or technicians, but the two interests tended to go together, in Mallarmé most of all. He painstakingly developed his art of suggestion, what he called his "fictions". Rare words were introduced, syntactical intricacies, private associations and baffling images. Metonymy replaced metaphor as symbol, and was in turn replaced by single words which opened in imagination to multiple levels of signification. Time was suspended, and the usual supports of plot and narrative removed. Even the implied poet faded away, and there were then only objects, enigmatically introduced but somehow made right and necessary by verse skill. Music indeed was the condition to which poetry aspired, and Verlaine, Jimenez and Valéry were among many who concentrated efforts to that end.

So appeared a dichotomy between the inner and outer lives. In actuality, poets led humdrum existences, but what they described was rich and often illicit: the festering beauties of courtesans and dance-hall entertainers; far away countries and their native peoples; a world-weariness that came with drugs, isolation, alcohol and bought ***. Much was mixed up in this movement — decadence, aestheticism, romanticism, and the occult — but its isms had a rational purpose, which is still pertinent. In what way are these poets different from our own sixties generation? Or from the young today: clubbing, experimenting with relationships and drugs, backpacking to distant parts? And was the mixing of sensory perceptions so very novel or irrational? Synaesthesia was used by the Greek poets, and indeed has a properly documented basis in brain physiology.

What of the intellectual bases, which are not commonly presented as matters that should engage the contemporary mind, still less the writing poet? Symbolism was built on nebulous and somewhat dubious notions: it inspired beautiful and historically important work: it is now dead: that might be the blunt summary. But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now. The contents of consciousness were the concern of Edmund Husserl (1859-1938), and he developed a terminology later employed by Heidegger (1889-1976), the Existentialists and hermeneutics. Current theories on metaphor and brain functioning extend these concepts, and offer a rapprochement between impersonal science and irrational literary theory.

So why has the Symbolism legacy dwindled into its current narrow concepts? Denied influence in the everyday world, poets turned inward, to private thoughts, associations and the unconscious. Like good Marxist intellectuals they policed the area they arrogated to themselves, and sought to correct and purify the language that would evoke its powers. Syntax was rearranged by Mallarmé. Rhythm, rhyme and stanza patterning were loosened or rejected. Words were purged of past associations (Modernism), of non-visual associations (Imagism), of histories of usage (Futurism), of social restraint (Dadaism) and of practical purpose (Surrealism). By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational. Even Postmodernism, with its bric-a-brac of received media images and current vulgarisms, ensures that gaps are left for the emerging unconscious to engage our interest

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.
IMAGIST POETRY
imagist poetry

Even by twentieth-century standards, Imagism was soon over. In 1912 Ezra Pound published the Complete Poetical Works of its founder, T.E. Hulme (five short poems) and by 1917 the movement, then overseen by Amy Lowell, had run its course. {1} {2} {3} {4} {5} The output in all amounted to a few score poems, and none of these captured the public's heart. Why the importance?

First there are the personalities involved — notably Ezra Pound, James Joyce, William Carlos Williams {6} {7} {8} {9} — who became famous later. If ever the (continuing) importance to poets of networking, of being involved in movements from their inception, is attested, it is in these early days of post-Victorian revolt.

Then there are the manifestos of the movement, which became the cornerstones of Modernism, responsible for a much taught in universities until recently, and for the difficulties poets still find themselves in. The Imagists stressed clarity, exactness and concreteness of detail. Their aims, briefly set out, were that:

1. Content should be presented directly, through specific images where possible.
2. Every word should be functional, with nothing included that was not essential to the effect intended.
3. Rhythm should be composed by the musical phrase rather than the metronome.

Also understood — if not spelled out, or perhaps fully recognized at the time — was the hope that poems could intensify a sense of objective reality through the immediacy of images.

Imagism itself gave rise to fairly negligible lines like:

You crash over the trees,
You crack the live branch…  (Storm by H.D.)

Nonetheless, the reliance on images provided poets with these types of freedom:

1. Poems could dispense with classical rhetoric, emotion being generated much more directly through what Eliot called an objective correlate: "The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." {10}

2. By being shorn of context or supporting argument, images could appear with fresh interest and power.

3. Thoughts could be treated as images, i.e. as non-discursive elements that added emotional colouring without issues of truth or relevance intruding too mu
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PROSE BASED POETRY
prose based poetry

When free verse lacks rhythmic patterning, appearing as a lineated prose stripped of unnecessary ornament and rhetoric, it becomes the staple of much contemporary work. The focus is on what the words are being used to say, and their authenticity. The language is not heightened, and the poem differs from prose only by being more self-aware, innovative and/or cogent in its exposition.

Nonetheless, what looks normal at first becomes challenging on closer reading — thwarting expectations, and turning back on itself to make us think more deeply about the seemingly innocuous words used. And from there we are compelled to look at the world with sharper eyes, unprotected by commonplace phrases or easy assumptions. Often an awkward and fighting poetry, therefore, not indulging in ceremony or outmoded traditions.
What is Prose?

If we say that contemporary free verse is often built from what was once regarded as mere prose, then we shall have to distinguish prose from poetry, which is not so easy now. Prose was once the lesser vehicle, the medium of everyday thought and conversation, what we used to express facts, opinions, humour, arguments, feelings and the like. And while the better writers developed individual styles, and styles varied according to their purpose and social occasion, prose of some sort could be written by anyone. Beauty was not a requirement, and prose articles could be rephrased without great loss in meaning or effectiveness.

Poetry, though, had grander aims. William Lyon Phelps on Thomas Hardy's work: {1}

"The greatest poetry always transports us, and although I read and reread the Wessex poet with never-lagging attention — I find even the drawings in "Wessex Poems" so fascinating that I wish he had illustrated all his books — I am always conscious of the time and the place. I never get the unmistakable spinal chill. He has too thorough a command of his thoughts; they never possess him, and they never soar away with him. Prose may be controlled, but poetry is a possession. Mr. Hardy is too keenly aware of what he is about. In spite of the fact that he has written verse all his life, he seldom writes unwrinkled song. He is, in the last analysis, a master of prose who has learned the technique of verse, and who now chooses to express his thoughts and his observations in rime and rhythm."

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OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition
Alyssa Underwood Jul 2017
There are times when the Lord will take from us every familiar thing and send all the others away to have us to Himself, uprooting and dismantling our earthly anchors until we find no safe place of attachment but to Him alone. And though we search feverishly to secure another, He will faithfully cut off our efforts at every pass and every attempted by-pass, almost as though we could see them being escorted out the door, marching one after the other in file and possibly taking our sanity with them. “No, not another one! Where are they all going and why am I not invited?” But it is His alone to give or not to give, to give and take away.

The One Who took up the cross and took the cup of the Father’s wrath for us has the absolute right to take anything and everything from us at any time for whatever reasons might please Him. But know this for certain: concerning His redeemed, those reasons will always involve two things—glory and intimacy. They are the overriding answers to every lingering question of “Why?”.

But if we fail to understand His glorious and intimate intentions we may misconstrue our losses to be a sign that He is actually withdrawing His affection from us. The very things which He is doing for love’s sake to perfect our pathway to intimacy might be taken instead for obstacles blocking it, causing us to doubt His love. We could not be more wrong, but sometimes it's so hard to see through the veil of pain.

For it's a strange and bewildering thing to feel that you belong to no place and no person in this world, to have nowhere to call home and no one to share it with if you did. A severe untethering indeed that though meant to prepare us for flying can seem to us more like drowning. The sobering truth is that none of us belong to this life or the things of this earth; all sense of it is only an illusion, and pain and loss are simply the dispelling of the myth—the rude awakening from a bewitching dream we once had. But oh how we fight the disillusionment.

Maybe we remember a time when we had prayed to be refined, to be made more like Jesus, but we didn’t know it would have to hurt so bad and take so long and look so dark and feel so lonely. Even if we have understood and embraced His call to deeper intimacy we may after a while, when nothing seems improved either around us or in us, start to resent our belonging to such a determined and jealous Lover, though He is doing exactly what we had once asked Him to. We may start to think we can no longer bear anything except that which superficially distracts us from our grief. We may even start to give up hope, for if not anchored exclusively “behind the curtain” and if repeatedly crushed it threatens to **** our hearts for good should we have to face one more disappointment.

We may feel very much like we are flailing around in a deep and darkening ocean, repeatedly pulled under by the powerful tow and thrashing waves of overwhelming emotion and continuously knocked back by the brutal winds of confusion. Yet we can still see the unshakable boat of faith and truth standing solidly only a small distance away. We know it is real and that if we could just reach it we would be safe. We hear someone shouting through the din, “Just hold onto the boat! The boat will save you. Look beyond your feelings and walk by faith. Hold onto truth!” But can’t they see that as hard as we may try we have no strength to swim to the boat? Can’t they see that we are sinking?

And so we are left with nothing but to cry out to Jesus, to cry out to Him to bring the boat to us, to come Himself and rescue us. Do we have that much faith? Enough to just say, “Jesus, help me! I’m drowning!”? Enough to see that He is our only hope and nothing else matters apart from Him?

Because when we do, we will understand that this hope in Him alone is the very lifeline by which He will pull us to safety—back to faith, back to truth, back into His intimate arms of love, back into a peace which passes all understanding and into a joy that gives us strength for the journey.

As difficult as it can be in our grief to hear the Lord whispering truth to our hearts above the constant clanging of our feelings, we must now more than ever choose to take the time to be still and seek our soul’s rest in Him and in His promises. But how amidst such clamor and confusion?

Simply decide to cast your cares on Him, if only for the moment, by climbing into His Shepherd’s lap to look and loiter and listen. And if you have no energy to climb up, then just lift your arms and ask Him to pick you up. And if you haven’t the strength even for that, only raise your eyes toward Him and you will soon find your sanity restored as you behold His love for you. Ask Him earnestly to let you see it afresh, for perhaps you have been temporarily blinded from recognizing it.

Stop everything; cease just for this minute from all worry, anxiety, fear and anger. Forget the past and do not look toward the future. Focus only on this moment right now, as if you knew it would be your last, as if it were the very one to lead you into eternity. Inhale like fresh air the powerful promises of God’s Word. Soak in their grace and drink in their healing, keeping your eyes fixed on Jesus’ face. Can you see Him longing for you? Exhale every distraction, conflict and uncertainty of this world. Then listen... What is He saying to you right now? Wait for it, then let your soul rest in it, and let go of everything else. Rest in the grace of this present moment and in His strong, sure arms. Let Him take care of you, wounded one, for you are His beloved, and He longs to tend your broken and needy heart.
~~~

"Find rest, O my soul, in God alone;
    my hope comes from Him.
He alone is my rock and my salvation;
    He is my fortress, I will not be shaken."
~ Psalm 62:5-6

"The LORD is my rock, my fortress and my deliverer;
    my God is my rock, in whom I take refuge,
    my shield and the horn of my salvation, my stronghold.
I called to the LORD, who is worthy of praise,
    and I have been saved from my enemies.
The cords of death entangled me;
    the torrents of destruction overwhelmed me.
The cords of the grave coiled around me;
    the snares of death confronted me.
In my distress I called to the LORD;
    I cried to my God for help.
From His temple He heard my voice;
    my cry came before Him, into His ears...
He reached down from on high and took hold of me;
    He drew me out of deep waters.
He rescued me from my powerful enemy,
    from my foes, who were too strong for me.
They confronted me in the day of my disaster,
    but the LORD was my support.
He brought me out into a spacious place;
    He rescued me because He delighted in me."
~ Psalm 18:2-6,16-19

"We have this hope as an anchor for the soul, firm and secure. It enters the inner sanctuary behind the curtain, where Jesus, who went before us, has entered on our behalf..."
~ Hebrews 6:19-20a
jane taylor May 2016
and there i am in the midst of it all, conscious of what appears to be existent, yet knowing it is illusory.  and if time is occurring synchronously then how can i look back with contrition?  for if i have the capacity to move backwards and forwards in quantum leaps, i can erase the past like pastel chalk on an antique blackboard, then start anew.  is not the sky my canvas and the arc of the rainbow my palette?  and the stars in lustrous luminosity light my way so that ev’n at dusk I can paint.  yet pain ne’er ceases to hollow me out.  then through a barren vessel i catch more rain, and pour it out upon the parched terrain.  just when i thought enlightenment was nigh, a sharp edge is discovered.  must it necessitate additional sandpapering from the wind?  when will the gemstone sparkle without further pressure?  does it lie in its power to simply shimmer sans duress?  perhaps it was dazzling at its inception, relinquishing its luster upon domestication.  with this proviso, as it nears twilight i shall tarry and blend with the night.  i’ll dance with a moonbeam knowing the jewel will glisten afresh upon the rise of the golden sun.

@2016janetaylor
I

My love, this is the bitterest, that thou
Who art all truth and who dost love me now
As thine eyes say, as thy voice breaks to say—
Shouldst love so truly and couldst love me still
A whole long life through, had but love its will,
Would death that leads me from thee brook delay!

II

I have but to be by thee, and thy hand
Would never let mine go, thy heart withstand
The beating of my heart to reach its place.
When should I look for thee and feel thee gone?
When cry for the old comfort and find none?
Never, I know! Thy soul is in thy face.

III

Oh, I should fade—’tis willed so! might I save,
Galdly I would, whatever beauty gave
Joy to thy sense, for that was precious too.
It is not to be granted. But the soul
Whence the love comes, all ravage leaves that whole;
Vainly the flesh fades—soul makes all things new.

IV

And ’twould not be because my eye grew dim
Thou couldst not find the love there, thanks to Him
Who never is dishonoured in the spark
He gave us from his fire of fires, and bade
Remember whence it sprang nor be afraid
While that burns on, though all the rest grow dark.

V

So, how thou wouldst be perfect, white and clean
Outside as inside, soul and soul’s demesne
Alike, this body given to show it by!
Oh, three-parts through the worst of life’s abyss,
What plaudits from the next world after this,
Couldst thou repeat a stroke and gain the sky!

VI

And is it not the bitterer to think
That, disengage our hands and thou wilt sink
Although thy love was love in very deed?
I know that nature! Pass a festive day
Thou dost not throw its relic-flower away
Nor bid its music’s loitering echo speed.

VII

Thou let’st the stranger’s glove lie where it fell;
If old things remain old things all is well,
For thou art grateful as becomes man best:
And hadst thou only heard me play one tune,
Or viewed me from a window, not so soon
With thee would such things fade as with the rest.

VIII

I seem to see! we meet and part: ’tis brief:
The book I opened keeps a folded leaf,
The very chair I sat on, breaks the rank;
That is a portrait of me on the wall—
Three lines, my face comes at so slight a call;
And for all this, one little hour’s to thank.

IX

But now, because the hour through years was fixed,
Because our inmost beings met amd mixed,
Because thou once hast loved me—wilt thou dare
Say to thy soul and Who may list beside,
“Therefore she is immortally my bride,
Chance cannot change that love, nor time impair.

X

“So, what if in the dusk of life that’s left,
I, a tired traveller, of my sun bereft,
Look from my path when, mimicking the same,
The fire-fly glimpses past me, come and gone?
- Where was it till the sunset? where anon
It will be at the sunrise! what’s to blame?”

XI

Is it so helpful to thee? canst thou take
The mimic up, nor, for the true thing’s sake,
Put gently by such efforts at at beam?
Is the remainder of the way so long
Thou need’st the little solace, thou the strong?
Watch out thy watch, let weak ones doze and dream!

XII

“—Ah, but the fresher faces! Is it true,”
Thou’lt ask, “some eyes are beautiful and new?
Some hair,—how can one choose but grasp such wealth?
And if a man would press his lips to lips
Fresh as the wilding hedge-rose-cup there slips
The dew-drop out of, must it be by stealth?

XIII

“It cannot change the love kept still for Her,
Much more than, such a picture to prefer
Passing a day with, to a room’s bare side.
The painted form takes nothing she possessed,
Yet while the Titian’s Venus lies at rest
A man looks. Once more, what is there to chide?”

XIV

So must I see, from where I sit and watch,
My own self sell myself, my hand attach
Its warrant to the very thefts from me—
Thy singleness of soul that made me proud,
Thy purity of heart I loved aloud,
Thy man’s truth I was bold to bid God see!

XV

Love so, then, if thou wilt! Give all thou canst
Away to the new faces—disentranced—
(Say it and think it) obdurate no more,
Re-issue looks and words from the old mint—
Pass them afresh, no matter whose the print
Image and superscription once they bore!

XVI

Re-coin thyself and give it them to spend,—
It all comes to the same thing at the end,
Since mine thou wast, mine art, and mine shalt be,
Faithful or faithless, sealing up the sum
Or lavish of my treasure, thou must come
Back to the heart’s place here I keep for thee!

XVII

Only, why should it be with stain at all?
Why must I, ‘twixt the leaves of coronal,
Put any kiss of pardon on thy brow?
Why need the other women know so much
And talk together, “Such the look and such
The smile he used to love with, then as now!”

XVIII

Might I die last and shew thee! Should I find
Such hardship in the few years left behind,
If free to take and light my lamp, and go
Into thy tomb, and shut the door and sit
Seeing thy face on those four sides of it
The better that they are so blank, I know!

XIX

Why, time was what I wanted, to turn o’er
Within my mind each look, get more and more
By heart each word, too much to learn at first,
And join thee all the fitter for the pause
’Neath the low door-way’s lintel. That were cause
For lingering, though thou called’st, If I durst!

**

And yet thou art the nobler of us two.
What dare I dream of, that thou canst not do,
Outstripping my ten small steps with one stride?
I’ll say then, here’s a trial and a task—
Is it to bear?—if easy, I’ll not ask—
Though love fail, I can trust on in thy pride.

XXI

Pride?—when those eyes forestall the life behind
The death I have to go through!—when I find,
Now that I want thy help most, all of thee!
What did I fear? Thy love shall hold me fast
Until the little minute’s sleep is past
And I wake saved.—And yet, it will not be!
Faint as a climate-changing bird that flies
All night across the darkness, and at dawn
Falls on the threshold of her native land,
And can no more, thou camest, O my child,
Led upward by the God of ghosts and dreams,
Who laid thee at Eleusis, dazed and dumb,
With passing thro' at once from state to state,
Until I brought thee hither, that the day,
When here thy hands let fall the gather'd flower,
Might break thro' clouded memories once again
On thy lost self. A sudden nightingale
Saw thee, and flash'd into a frolic of song
And welcome; and a gleam as of the moon,
When first she peers along the tremulous deep,
Fled wavering o'er thy face, and chased away
That shadow of a likeness to the king
Of shadows, thy dark mate. Persephone!
Queen of the dead no more--my child! Thine eyes
Again were human-godlike, and the Sun
Burst from a swimming fleece of winter gray,
And robed thee in his day from head to feet--
"Mother!" and I was folded in thine arms.

Child, those imperial, disimpassion'd eyes
Awed even me at first, thy mother--eyes
That oft had seen the serpent-wanded power
Draw downward into Hades with his drift
Of fickering spectres, lighted from below
By the red race of fiery Phlegethon;
But when before have Gods or men beheld
The Life that had descended re-arise,
And lighted from above him by the Sun?
So mighty was the mother's childless cry,
A cry that ran thro' Hades, Earth, and Heaven!

So in this pleasant vale we stand again,
The field of Enna, now once more ablaze
With flowers that brighten as thy footstep falls,
All flowers--but for one black blur of earth
Left by that closing chasm, thro' which the car
Of dark Aidoneus rising rapt thee hence.
And here, my child, tho' folded in thine arms,
I feel the deathless heart of motherhood
Within me shudder, lest the naked glebe
Should yawn once more into the gulf, and thence
The shrilly whinnyings of the team of Hell,
Ascending, pierce the glad and songful air,
And all at once their arch'd necks, midnight-maned,
Jet upward thro' the mid-day blossom. No!
For, see, thy foot has touch'd it; all the space
Of blank earth-baldness clothes itself afresh,
And breaks into the crocus-purple hour
That saw thee vanish.

Child, when thou wert gone,
I envied human wives, and nested birds,
Yea, the cubb'd lioness; went in search of thee
Thro' many a palace, many a cot, and gave
Thy breast to ailing infants in the night,
And set the mother waking in amaze
To find her sick one whole; and forth again
Among the wail of midnight winds, and cried,
"Where is my loved one? Wherefore do ye wail?"
And out from all the night an answer shrill'd,
"We know not, and we know not why we wail."
I climb'd on all the cliffs of all the seas,
And ask'd the waves that moan about the world
"Where? do ye make your moaning for my child?"
And round from all the world the voices came
"We know not, and we know not why we moan."
"Where?" and I stared from every eagle-peak,
I thridded the black heart of all the woods,
I peer'd thro' tomb and cave, and in the storms
Of Autumn swept across the city, and heard
The murmur of their temples chanting me,
Me, me, the desolate Mother! "Where"?--and turn'd,
And fled by many a waste, forlorn of man,
And grieved for man thro' all my grief for thee,--
The jungle rooted in his shatter'd hearth,
The serpent coil'd about his broken shaft,
The scorpion crawling over naked skulls;--
I saw the tiger in the ruin'd fane
Spring from his fallen God, but trace of thee
I saw not; and far on, and, following out
A league of labyrinthine darkness, came
On three gray heads beneath a gleaming rift.
"Where"? and I heard one voice from all the three
"We know not, for we spin the lives of men,
And not of Gods, and know not why we spin!
There is a Fate beyond us." Nothing knew.

Last as the likeness of a dying man,
Without his knowledge, from him flits to warn
A far-off friendship that he comes no more,
So he, the God of dreams, who heard my cry,
Drew from thyself the likeness of thyself
Without thy knowledge, and thy shadow past
Before me, crying "The Bright one in the highest
Is brother of the Dark one in the lowest,
And Bright and Dark have sworn that I, the child
Of thee, the great Earth-Mother, thee, the Power
That lifts her buried life from loom to bloom,
Should be for ever and for evermore
The Bride of Darkness."

So the Shadow wail'd.
Then I, Earth-Goddess, cursed the Gods of Heaven.
I would not mingle with their feasts; to me
Their nectar smack'd of hemlock on the lips,
Their rich ambrosia tasted aconite.
The man, that only lives and loves an hour,
Seem'd nobler than their hard Eternities.
My quick tears ****'d the flower, my ravings hush'd
The bird, and lost in utter grief I fail'd
To send my life thro' olive-yard and vine
And golden grain, my gift to helpless man.
Rain-rotten died the wheat, the barley-spears
Were hollow-husk'd, the leaf fell, and the sun,
Pale at my grief, drew down before his time
Sickening, and Aetna kept her winter snow.
Then He, the brother of this Darkness, He
Who still is highest, glancing from his height
On earth a fruitless fallow, when he miss'd
The wonted steam of sacrifice, the praise
And prayer of men, decreed that thou should'st dwell
For nine white moons of each whole year with me,
Three dark ones in the shadow with thy King.

Once more the reaper in the gleam of dawn
Will see me by the landmark far away,
Blessing his field, or seated in the dusk
Of even, by the lonely threshing-floor,
Rejoicing in the harvest and the grange.
Yet I, Earth-Goddess, am but ill-content
With them, who still are highest. Those gray heads,
What meant they by their "Fate beyond the Fates"
But younger kindlier Gods to bear us down,
As we bore down the Gods before us? Gods,
To quench, not hurl the thunderbolt, to stay,
Not spread the plague, the famine; Gods indeed,
To send the noon into the night and break
The sunless halls of Hades into Heaven?
Till thy dark lord accept and love the Sun,
And all the Shadow die into the Light,
When thou shalt dwell the whole bright year with me,
And souls of men, who grew beyond their race,
And made themselves as Gods against the fear
Of Death and Hell; and thou that hast from men,
As Queen of Death, that worship which is Fear,
Henceforth, as having risen from out the dead,
Shalt ever send thy life along with mine
From buried grain thro' springing blade, and bless
Their garner'd Autumn also, reap with me,
Earth-mother, in the harvest hymns of Earth
The worship which is Love, and see no more
The Stone, the Wheel, the dimly-glimmering lawns
Of that Elysium, all the hateful fires
Of torment, and the shadowy warrior glide
Along the silent field of Asphodel.
seasonalskins May 2014
i wish to unmeet you
         only to meet you again.
The trees are coming into leaf
Like something almost being said;
The recent buds relax and spread,
Their greenness is a kind of grief.

Is it that they are born again
And we grow old? No, they die too.
Their yearly trick of looking new
Is written down in rings of grain.

Yet still the unresting castles thresh
In fullgrown thickness every May.
Last year is dead, they seem to say,
Begin afresh, afresh, afresh.
You were forever finding some new play.
So when I saw you down on hands and knees
I the meadow, busy with the new-cut hay,
Trying, I thought, to set it up on end,
I went to show you how to make it stay,
If that was your idea, against the breeze,
And, if you asked me, even help pretend
To make it root again and grow afresh.
But ’twas no make-believe with you today,
Nor was the grass itself your real concern,
Though I found your hand full of wilted fern,
Steel-bright June-grass, and blackening heads of clovers.
’Twas a nest full of young birds on the ground
The cutter-bar had just gone champing over
(Miraculously without tasking flesh)
And left defenseless to the heat and light.
You wanted to restore them to their right
Of something interposed between their sight
And too much world at once—could means be found.
The way the nest-full every time we stirred
Stood up to us as to a mother-bird
Whose coming home has been too long deferred,
Made me ask would the mother-bird return
And care for them in such a change of scene
And might out meddling make her more afraid.
That was a thing we could not wait to learn.
We saw the risk we took in doing good,
But dared not spare to do the best we could
Though harm should come of it; so built the screen
You had begun, and gave them back their shade.
All this to prove we cared. Why is there then
No more to tell? We turned to other things.
I haven’t any memory—have you?—
Of ever coming to the place again
To see if the birds lived the first night through,
And so at last to learn to use their wings.
anastasiad Apr 2016
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Read More:
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judy smith Dec 2016
She has dressed Oscar-winning actress Lupita Nyong'o and Uganda's chess Woman Candidate Master Phiona Mutesi for the premiere of 'Queen of Katwe'. She has also designed several Miss Uganda and Miss Tourism contestants among others.

Yet Brenda Niwagaba Maraka, who is undoubtedly among Uganda's top fashion designers, describes herself as "just a simple person who loves work and fashion". She is also quick to recognise people who have inspired her, including renowned fashion designer and artist Stella Atal and Xenson Samson Ssenkaaba

In January 2007, Maraka officially launched 'Brendamaraka' as a fashion label.

"I work to represent Uganda as a tropical country through fashion and also extend Kampala's position as a fashion hub," said Maraka.

For the love of developing and inspiring others through her fashion skills, Maraka grooms two talented and interested students in fashion and design every year.

Come next year January, Maraka is set to showcase at her own fashion show marking ten years in the industry.

It will be the highest point for a woman who from way back, as a young girl, has loved being artistic. It was no surprise that she concentrated on art in school and one of her fondest memories as a student is designing costumes for school plays and beauty pageants.

"That confirmed my goal in life of creating designs through my own fashion label," she says, "I love to create new things."

At 13 years old, after completing primary education, Maraka proceeded to Namasagali College in Kamuli for O-level and these to her were years of fun and building character. She then left to a new environment of only girls at Trinity College Nabbingo for A-level and by the time she left she had forged a career path.

"It was a totally different and harder experience. However, by the time I completed Form six, I knew what I was meant to be a fashion designer courtesy of the school's arrangement on career guidance," says Maraka.

She was offered several opportunities including one on government sponsorship at Makerere University all of which were meant to grow her fashion career but Maraka settled for a fashion design program at the London Academy of Design and dress making where she completed in 2005.

Maraka chose exposure to international fashion trends at the London school at a cost rather than free education in Uganda. She rates it as a priceless decision that has paid off.

In 2014 as part of her internship program, Maraka made a maiden runaway showcase during the Uganda International Fashion Week and since then she has not looked back. She has participated in a number of fashion events both in Uganda and UK.

In comparing London's fashion industry to Uganda, Maraka says London has already established big brands and it is close to impossible for anyone starting out.

"The industry is faster, bigger and people produce too many new collections every year as the market demands," she says.

By contrast, she says, Uganda offers limitless opportunities are limitless or, in her words, "There is room to define who you are".

Maraka was born in Soroti-Teso, Eastern Uganda in 1981. She was raised by a single mother Elizabeth Maraka who worked long at the Soroti Flying School and she says is her great inspiration. She used to make dresses for her and remains her stylist to date. Maraka grew up as an only child because her twin siblings died. It is the reason she is also called Akello, meaning 'follower of twins'.

Liteside

Any three things we don't know about you?

I am an only child of my mother. I really love sports to the extent that I train for kickboxing. I had a dream of representing Uganda for RIO 2016 though it didn't come to pass. When I am confident enough to have my face punched, I will get to the ring.

I love to travel and for this year, I chose to visit every part of Uganda that I had never visited. One of them was Kidepo and it was a breathtaking experience where I realised I had made it. I also visited the pyramids in Cairo.

What is your idea of perfect happiness?

Doing what you love. If you think you can regret doing it, then it's not worth doing. Even when you fail to achieve at something you loved doing, you gain satisfaction.

What is your greatest fear?

I have a phobia for rodents. I can face anything in life but not them.

What is the trait you most deplore in yourself?

I am not a confrontational person yet sometimes I wish I could be one to give my all. It makes people walk all over me.

What is the trait you most deplore in others?

I just don't like dishonest people. I appreciate honesty.

Which living person do you most admire?

My Mother, Elizabeth Maraka; she taught me to be a strong person, believe in myself and to see good in people. I am privileged to live with her even as an adult.

What is your greatest extravagance?

Everything about improving my fashion and design career.

What is the greatest thing you have ever done?

I still have to do it and I am planning on how to achieve it.

What is your current state of mind?

I am at peace and love my life.

What do you consider the most overrated virtue?

That whole saying of 'Government should help us' or 'government has not done much' just breaks my heart. How I wish the same people would ask themselves what they have done for government as well. Anyone can start small and grow big.

What does being powerful mean to you?

Being able to make a difference in someone's life or inspire someone. It can also mean being well connected in society.

On what occasion do you lie?

I like to be real.

What do you most dislike about your appearance?

When I was young I was chubby and I didn't like it but I have since found peace in myself.

Which living person do you most despise?

Even when I see the worst in a person, I don't destroy bridges because I might need them tomorrow.

What is the quality you most like in a man?

Having a plan or purpose in life.

What is the quality you most like in a woman?

Having a purpose in life.

Which words or phrases do you most overuse?

I like saying 'you know' and 'yeah'.

What or who is the greatest love of your life?

I guess it is my Mum but there are so many other people I love.

When and where were you happiest?

There is no one single moment because there are so many things I do that bring happiness to me. Finishing School in 2006 was a happy moment but also each time I remember when I had my first fashion show during my internship in 2004, I am fulfilled.

Which talent would you most like to have?

I love music and may be one day I hope I will drop an album. I used to play a violin and hope that one day I will do it once more.

If you could change one thing about yourself, what would it be?

I am just in love with myself.

What do you consider your greatest achievement?

I am still a work in progress; I haven't yet reached there.

If you were to die and come back as a person or a thing, what would it be?

As me and fix everything I didn't do from as far as a child.

Where would you most like to live?

Uganda but particularly in Karamoja and Kidepo; the landscape and weather are amazing. It can rain so heavily and dry up so fast.

What is your most treasured possession?

I never got to see my grandfather but I was given a crucifix from his things. It has that sentimental value and makes me relate with him. But even when everything is taken away from me, I can start afresh and build-up.

What do you regard as the lowest depth of misery?

Suffering from cancer; I visited Mulago Cancer ward and witnessed people suffer in too much pain. Things like broken heart can be amended but not cancer.

What is your favorite occupation?

I always wanted to be a fashion designer.

What do you most value in your friends?

Honesty

Who are your favorite writers?

I am not a fan of any particular person but I love to read inspirational pieces.

Who is your hero of fiction?

I like Superman and how he comes in to rescue at the right time. I wish there were true supermen.

Which historical figure do you most identify with?

I may model myself to Mother Theresa but I can't come even an inch to who she was and what she did.

What is your greatest regret?

I don't regret anything.

How would you like to die?

I want to die of old age on my bed with my grand children all looking and smiling at me.

What is your motto?

Always make sure you are climbing the right hill.Read more at:www.marieaustralia.com/backless-formal-dresses | http://www.marieaustralia.com/long-formal-dresses
Paras Bajaj Jan 2019
I am starting afresh, starting new,
not with the many, only with a few.
I left behind what did not grow,
held the door open, asked them to go.

For this year, my head is very clear,
who doesn't uplift you, really ain't your dear.
For this year, my heart is very aligned,
who is not kind, really ain't worth your time.


-Paras Bajaj #PoetrybyParas
Instagram : @mr.parasbajaj
Here come I to my own again,
Fed, forgiven and known again,
Claimed by bone of my bone again
And cheered by flesh of my flesh.
The fatted calf is dressed for me,
But the husks have greater zest for me,
I think my pigs will be best for me,
So I’m off to the Yards afresh.

I never was very refined, you see,
(And it weighs on my brother’s mind, you see)
But there’s no reproach among swine, d’you see,
For being a bit of a swine.
So I’m off with wallet and staff to eat
The bread that is three parts chaff to wheat,
But glory be!—there’s a laugh to it,
Which isn’t the case when we dine.

My father glooms and advises me,
My brother sulks and despises me,
And Mother catechises me
Till I want to go out and swear.
And, in spite of the butler’s gravity,
I know that the servants have it I
Am a monster of moral depravity,
And I’m ****** if I think it’s fair!

I wasted my substance, I know I did,
On riotous living, so I did,
But there’s nothing on record to show I did
Worse than my betters have done.
They talk of the money I spent out there—
They hint at the pace that I went out there—
But they all forget I was sent out there
Alone as a rich man’s son.

So I was a mark for plunder at once,
And lost my cash (can you wonder?) at once,
But I didn’t give up and knock under at once,
I worked in the Yards, for a spell,
Where I spent my nights and my days with hogs.
And shared their milk and maize with hogs,
Till, I guess, I have learned what pays with hogs
And—I have that knowledge to sell!

So back I go to my job again,
Not so easy to rob again,
Or quite so ready to sob again
On any neck that’s around.
I’m leaving, Pater.  Good-bye to you!
God bless you, Mater! I’ll write to you!
I wouldn’t be impolite to you,
But, Brother, you are a hound!
brandon nagley Feb 2017
Tis I am just a man, a boy if thou want to sayest, a foolish lad; who hast hurt his blessing of a queen.

Tis I am just a man, a sinner, a prehistoric bringer; of sorrows
Where bird's dont sing.

O' wretched man I am; overlooking this perfect flower, she's arrayed as a petal neath the tropical hours.

O' im just the rain that brings the flood of many woes.

I wish, O' how I wish, I couldst pour all contentment and merriment into her lonesome soul.

Tis she's the rainbow, I the dusky storm. O' how her glow maketh mine day's liveable; O' how her voice is opulent galore.

If only she knew, she is mine better, mine best; mine breath of yellow dew.

Though I've not shown her the worth that she is; mine trials and tribulations hast become
mine abyss.

Though I shalt get through
This passage of gloom.

With God All is possible;

Even being set free from this tomb.

Tis I am just a man, a boy if thou want to sayest, a foolish lad.

Who if couldst wouldst start all afresh; re-giving mine love, and to get all mine best.

How a simpleton ive been;

To not seest heaven's eastern gem, glimmer her perfect wing's, for mine foolishness, these word's shalt I sing.

(Goes into song form, words "I love you jane, please forgive me" sung in spanish, greek, cebuano, tagalog/filipino).......

(Spanish)
Te amo jane,
por favor perdoname.

(Greek)
Se 'agapó Jane,
Se parakaló synchóresé me.

(Cebuano)
ako nahigugma kanimo Jane,
palihug pasayloa ako.

(Tagalog/filipino)
Mahal kita jane,
patawarin mo ako.


©Brandon nagley
©lonesome poets poetry
©earl Jane nagley dedication (agapi mou dedicated)
This is not a normal poem dedicated to Jane of course all my works are archaic/ancient style as truly you can say im not one from this millennial time or even this century or past centuries time,  but this is a poem until it gets to the last four lines which are not spoken but sung by me as its a poem yet a song at the end where I use the words ( I love you Jane, please forgive me) I sing those four dialects in spanish tongue, greek tongue, cebuano tongue (in Philippines) and janes main tongue tagalog (Filipino dialect) if want to hear poem as is can hear on sound cloud, under my name Brandon nagley and under this poem title: her worth is worth more than a poem.

Word meanings:
Tis:it is
Thou:you
Sayest: say.
Hast: has.
Couldst: could.
Maketh) makes or make ( I use it as makes).
Mine: my.
Wouldst: would.
Simpleton: foolish person.
Seest: see.

Wrote this few days back finally did rest of it (:
If wanna hear actual version hear on soundcloud under my name the spoken/sung version of it under its title,
Akhil Bhadwal Mar 2015
Sky, giving the possibility to fly
Like a hovercraft, every time in my eye
Endless, it seems as seen every time
Timeless, drawn with a blue line

Thoughts, giving the possibility to think
Transforming, into ideas that act like an ink
To write, the clean sheet of Karma
With, ecstasy(ies) and trauma(s)

End, gives the possibility to start
Afresh, anew, straight from the heart
Waves, the brain continuously sends
Possibility, it never ends


|AB|
Follows a a b b rhyme scheme. Possibility explores the numerous combinations of discrete ideas and actions.
Tanya Chaudhary Jan 2015
We can be strangers again.
Laugh again. Flirt again.
Cry again. Smirk again.
Create memories afresh.
When in doubt, hit refresh.

But memories, they are tricky.
The moments that you love or hate,
simply go away in time-lapse
and somehow become the scars in your heart
that seem to define you.
© TanyaC. 2015.
https://www.youtube.com/watch?v=RB-RcX5DS5A
1.

Each of us like you
has died once,
has passed through drift of wood-leaves,
cracked and bent
and tortured and unbent
in the winter-frost,
the burnt into gold points,
lighted afresh,
crisp amber, scales of gold-leaf,
gold turned and re-welded
in the sun;

each of us like you
has died once,
each of us has crossed an old wood-path
and found the winter-leaves
so golden in the sun-fire
that even the live wood-flowers
were dark.

2.

Not the gold on the temple-front
where you stand
is as gold as this,
not the gold that fastens your sandals,
nor thee gold reft
through your chiselled locks,
is as gold as this last year's leaf,
not all the gold hammered and wrought
and beaten
on your lover's face.
brow and bare breast
is as golden as this:

each of us like you
has died once,
each of us like you
stands apart, like you
fit to be worshipped.
Nico Reznick Mar 2016
I recently had the great privilege of editing Mike Essig's latest poetry collection, THE BIOLOGY OF STRANGENESS, and I'm honoured to have been entrusted with such fantastic material. Putting together a book like this is every poetry geek's dream.

It's a beautifully textured assortment of poems, earthy yet lyrical, narrated by a voice that's uniquely grained with experience. There are pieces that will make you smile, think, wince; there are pieces that hit you in the gut out of nowhere; there are pieces that welcome you into them like old, worn-in shoes; there are pieces you will remember late some night when you're by yourself, and remembering them will make you feel less alone.

This collection of poetry makes you look at the banal and the everyday afresh; it finds magic and mystery in the mundane, and even Hawaiian shirts are poem-worthy when Mike Essig's writing about them.

The Kindle version is already available through Amazon.

A paperback edition is due out next month, and I can't wait to have a copy of this book on my shelf as well as on my e-reader.

Mike's previous poetry books, Never Forgotten and Huck Finn Is Dead are also available through Amazon and are excellent.  

From his author profile on B Star Kitty Press:

"Mike Essig is a veteran of Vietnam and a retired English teacher. He’s also been recruited by the muse as a poet, like he hadn’t already been through enough."

Sample poems, links to sales pages and more info can be found at the B Star Kitty Press website.  www(dot)bstarkittypress(dot)com.

Please do support this very talented indie author.
Raj Arumugam Oct 2010
Ah, my feet hurt these days
walking on these hills and slopes
and it’s been seven days
since my straw shoes were thinned and with holes
and become tattered and absolutely useless.
I remember I was walking in the fields and
I could feel my feet touch the ground and I said:
Curse you, you silly straw shoes!
Is that how long you last?
Is that how you let me down
when I need you most?
Well, like humans I have known,
and so my straw shoes;
they too tire of their friends and relatives
and they too feel the burden
and inconvenience
of serving an old parent.
But I’ve just thrown old shoes away
as one throws old memories and the past away .
Let me make myself new straw shoes
as I sit below these trees and away from the crowd
and with a little peace
for an old man like me
I can be quiet in this shade
perhaps talk to myself or sing some far-off song
and make myself
straw shoes, new ones
and I’ll walk again with new shoes
as one may drop, discard
and put away all old memories
and walk afresh and anew
with no shadow of the past over one’s head.
Let me make simple straw shoes;
that will suffice, just for the purpose;
nothing fancy, just so to be able to walk comfortably
as I go about my work
on the hills and slopes and the fields…
that is all one needs…
…an old man like me just making his own straw shoes…
companion painting: Old Man Making Shoes by Yun Duseo (Korea, Joseon dynasty, late 17th ~ early 18th century)
Judgson blessing Aug 2015
Lets sail way hence .
about tempest gale , away from all glance .
for you are my Kaye and i your Blessing .
lets go by air or ocean.
and the sweep of our love will protect and govern.
come Kaye where there's no evil but cheer blessing.
            lets move where fire doesnt hurt .
a place there is none to see but Kaye and Blessing's heart.
an empty land that belongs to two Blessing and Griser
            lets move to place of no suffering .
a region where moon and stars do not set their racing .
that is a place where only love is the ever early riser .
lets join into eternity kiss .
arm in arm its Kaye and Blessing stepping into bliss .
where sun will not dull our beauty but keep us afresh .
        Kaye hears the tune of Blessing .
the only that loves you more as your sweetest dreaming.
reach me over my flowery bed and lets unit into one flesh.
Marshal Gebbie May 2010
Have you wondered how tomorrow looks
When you've lied about today ?
Have you squandered opportunities
When you've refused to play ?
Have you sought the possibilities ?
Have you broken through the ruse ?
Have you shed your limitations
And tried to fill some bigger shoes ?


Will you spread your wings to fly
Across the chasm in your life ?
Have you shared your closest fears
With the one you call your wife ?
Do you long to break the mold
And try to start the day afresh ?
Is there courage there to stride out,
Have you the will to make it mesh ?


Is there a shade of self deception,
Is a colour bar installed ?
Are there feelings of inadequacy
Has your darling not yet called ?
Does your flacid nature falter
When pinned against the wall ?
Have you moments of reluctance
To recall it all, at all ?


Does it all really matter
That your world is locked within,
That the things which hold you back
Are simply things you revel in ?
That the greatest limitations
Are the ones you self impose,
That the key which locks the door
Is locked outside the door you close ?


Marshalg
reflecting@theBach
Mangere Bridge
28 July 2009
Tom Lefort Jul 2023
The magic of summer twilight casts a spell
In ink blue incantations and honeysuckle dew.

Each shadow stretched out like the years,
That spread deeper and darker, stronger too.

As the mystery of day's last light is cast afresh,
Gentle glows, fearfully goes our sacred time.

Hidden there we lose and find ourselves,
In the murmur of the evening breeze, our lullaby.

It sends us, brings us to a mystic place
In which we all relive each memory's hew.


Tom Lefort July 2023
pcbzzzt Sep 2009
Softly she tiptoes across the lawn
Warm muffin hand snuggled in mine
Off we go to watch the sunrise
see the dawn get born

Hungrily I turn for more of the dream
Another re-run - my favorite one
Wide-eyed she tastes the fresh new air
Dips her piggies in the stream

Why does it smell so different dad?
Willow trees heave a sigh and blink
Frogs smile and wink in the sparkly dew
Well you see darling... gone! begad!

Don't stop now! More I implore
Play how she skated to me down the hill
long before she learned to drive
the thrills, the spills, kissing her sore
Now the  **** crows a new dawn, fresh
Someday soon I'll see what she saw
Return O Lord! restore shalom
as it was in the beginning - afresh
When to the sessions of sweet silent thought
I summon up remembrance of things past,
I sigh the lack of many a thing I sought,
And with old woes new wail my dear time’s waste.
Then can I drown an eye, unused to flow,
For precious friends hid in death’s dateless night,
And weep afresh love’s long since cancelled woe,
And moan th’ expense of many a vanished sight.
Then can I grieve at grievances foregone,
And heavily from woe to woe tell o’er
The sad account of fore-bemoanèd moan,
Which I new pay as if not paid before.
    But if the while I think on thee, dear friend,
    All losses are restored and sorrows end.
I work all day, and get half-drunk at night.
Waking at four to soundless dark, I stare.
In time the curtain-edges will grow light.
Till then I see what's really always there:
Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify.
The mind blanks at the glare. Not in remorse
- The good not done, the love not given, time
Torn off unused - nor wretchedly because
An only life can take so long to climb
Clear of its wrong beginnings, and may never;
But at the total emptiness for ever,
The sure extinction that we travel to
And shall be lost in always. Not to be here,
Not to be anywhere,
And soon; nothing more terrible, nothing more true.

This is a special way of being afraid
No trick dispels. Religion used to try,
That vast, moth-eaten musical brocade
Created to pretend we never die,
And specious stuff that says No rational being
Can fear a thing it will not feel, not seeing
That this is what we fear - no sight, no sound,
No touch or taste or smell, nothing to think with,
Nothing to love or link with,
The anasthetic from which none come round.

And so it stays just on the edge of vision,
A small, unfocused blur, a standing chill
That slows each impulse down to indecision.
Most things may never happen: this one will,
And realisation of it rages out
In furnace-fear when we are caught without
People or drink. Courage is no good:
It means not scaring others. Being brave
Lets no one off the grave.
Death is no different whined at than withstood.

Slowly light strengthens, and the room takes shape.
It stands plain as a wardrobe, what we know,
Have always known, know that we can't escape,
Yet can't accept. One side will have to go.
Meanwhile telephones crouch, getting ready to ring
In locked-up offices, and all the uncaring
Intricate rented world begins to rouse.
The sky is white as clay, with no sun.
Work has to be done.
Postmen like doctors go from house to house.
1

Suddenly, out of its stale and drowsy lair, the lair of slaves,
Like lightning it le’pt forth, half startled at itself,
Its feet upon the ashes and the rags—its hands tight to the throats of kings.

O hope and faith!
O aching close of exiled patriots’ lives!
O many a sicken’d heart!
Turn back unto this day, and make yourselves afresh.

And you, paid to defile the People! you liars, mark!
Not for numberless agonies, murders, lusts,
For court thieving in its manifold mean forms, worming from his simplicity the poor man’s wages,
For many a promise sworn by royal lips, and broken, and laugh’d at in the breaking,
Then in their power, not for all these, did the blows strike revenge, or the heads of the nobles fall;
The People scorn’d the ferocity of kings.

2

But the sweetness of mercy brew’d bitter destruction, and the frighten’d monarchs come back;
Each comes in state, with his train—hangman, priest, tax-gatherer,
Soldier, lawyer, lord, jailer, and sycophant.

Yet behind all, lowering, stealing—lo, a Shape,
Vague as the night, draped interminably, head, front and form, in scarlet folds,
Whose face and eyes none may see,
Out of its robes only this—the red robes, lifted by the arm,
One finger, crook’d, pointed high over the top, like the head of a snake appears.

3

Meanwhile, corpses lie in new-made graves—****** corpses of young men;
The rope of the gibbet hangs heavily, the bullets of princes are flying, the creatures of power laugh aloud,
And all these things bear fruits—and they are good.

Those corpses of young men,
Those martyrs that hang from the gibbets—those hearts pierc’d by the gray lead,
Cold and motionless as they seem, live elsewhere with unslaughter’d vitality.

They live in other young men, O kings!
They live in brothers, again ready to defy you!
They were purified by death—they were taught and exalted.

Not a grave of the ******’d for freedom, but grows seed for freedom, in its turn to bear seed,
Which the winds carry afar and re-sow, and the rains and the snows nourish.

Not a disembodied spirit can the weapons of tyrants let loose,
But it stalks invisibly over the earth, whispering, counseling, cautioning.

4

Liberty! let others despair of you! I never despair of you.

Is the house shut? Is the master away?
Nevertheless, be ready—be not weary of watching;
He will soon return—his messengers come anon.
Bob B Oct 2019
Once there was a president,
Cold and heartless, who set about
Finding ways to make his country
Great by keeping migrants out.

"We'll place soldiers along our southern
Border," said the nation's boss.
"That way we can easily stop
Migrants from making their way across.

"And if the migrants become unruly,
The soldiers can shoot them, one by one."
Advisers turned to the president
And said, "No, sir, that can't be done."

"Then let the soldiers shoot the migrants
Low, low, in the ankles or thighs.
We will see the unwelcome
Migrants start to drop like flies."

Advisers looked at their boss and said,
"Sir, that's also out of the question."
The president, getting angry now,
Said, "Then here's another suggestion:

"We will build a moat along
Our border wall and fill that moat
With alligators and venomous snakes."
That idea made him gloat.

"And then we'll add spikes to the wall--
Spikes that can penetrate human flesh.
Find me the cost for all of this,
Or else we'll have to start afresh."

Suddenly, he said, "I know:
We'll just change asylum laws
And separate the families.
That should give the migrants pause."

Hard, hard the administration
Worked together to find a plan,
Using words like "riff-raff," "invaders,"
"Dangerous threats," and "caravan."

The whole world watched in horror,
Lamenting how democracy fails
When an unfit elected leader
Goes completely off the rails.

-by Bob B (10-4-19)
Grace Tahiti Dec 2012
Ten years old again,
In a tree ten feet high again,
In scuffed shorts with tangled hair,
And with the boys I longed to be.

Sanctimonious girls in dresses and frills,
Boredom and constraint personified,
Stare up in incredulity
As I heave myself over mossy branches.

“Girls don’t climb trees.”
I do. I roll in mud, play racing games,
Never brush my hair.
“You’d be pretty if only you tried.”

You’d feel alive if only you tried.
The wind on my bare arms,
Dirt beneath fingernails,
Scrapes on my shins
Red and out of place
Like smudged lipstick
On children’s faces.

I’m not you. I’m me.
Boxes serve to keep us in,
Deliver us neatly packaged
To a society which cannot cope
With fluidity,
Individuality,
Uncertainty.
Boo!

She says those two misguided words:
“Make over”.
Impossible. One cannot start afresh.
This is the result of every waking moment,
Of every word heard and spoken,
Each memory joyous and painful,
A piece of art nineteen years in the making.
Not to be destroyed in one act of disguise.

Yet curiosity is my mistress.
She leads me to boundaries
I never knew existed.
Up goliath trees,
Into foreign beds,
To the brink of reality
In mind-bending worlds
Of parallels.

Like a mannequin, devoid of identity
I give my image to you
And you place yours jarringly
Onto my reticent body.

The obliging cheers
At my transformation
Into an eloquent femininity
Feel hollow and worthless.
I have done nothing of merit.

I totter like a toddler
Uncomfortable in my own skin.
I’m on stage, an act,
A project. Not a person.

How bizarre it feels
To wear a stranger’s façade
Of dresses and frills,
When you know you belong
To a different world
Of dirt, and treetops,
And freedom.
[It's]
Something like
4 a.m. on the third day of Autumn,
riding about a fifth of a gram of some ****-ing fire Sass,
drinking Lagunitas Maximus IPA from an ornate glass goblet
with two batches of homemade chocolate chunk cookies
and Gunpowder/White Peone tea steeping,
jamming some killer music with rather passionate and talented friends;
when, suddenly, a voice of reason:

"Dude, you have work at noon."

And then, it came to me:
"Everything is as it needs to be:
this and every moment is a cosmic joke
and I am laughing through it
and I am laughing with it
and I am laughing as it."


I'll just drink a fuckton of coffee (or maybe just take a nap),
and/or another tenthish of a gram at about 11, regardless;
and bust some serious ***
and confine most of my obvious ******-up-ed-ness to my head
all the while dishwashing to ******* some bomb-*** music
on some ******-*** speakers, backstage,
at a super chill restaurant in my fairly chill foothill Berg
one calm, otherwise ordinary, Autumn lunch;
and it will be so much fun,
so mercilessly ******* amazing
after this
MDA "inspired" all-nighter:

Work
at noon on Wednesday
and then
Band Practice
after work
for a show
in Sacramento
this coming Friday
(Fun Fact: my third live performance ever, second with this band).

This is a form of coping, I suppose.
Some dope-*** ******* cope.

The things I do
to make me happy:
Life is ******* amazing.
Life makes me crazy.

I do this to myself;
this is the Life.

I do this to myself;
willingly and knowingly
and I don't much care;
that is,
I certainly recognize the concept of consequence,
but I give it the one-finger salute from time to time
when the only thing it's really gunna hurt
is poor, mortal, otherwise temporary
me.

This is not self-destructive, though,
it is constructive as ****;
a means of letting go
and moving on:
Empathic, introspective, enlightening;
not to mention a shitload of fun!
Evermore, let it be known:
that in terms of Ecstasy;
moderation
truly is
key.

Don't you see?
The only way to ever know
is to ride it out and to simply be.


All in all,
what a way
to close the ******* book on this Summer
and begin afresh a new one for Autumn;

Autumn's where my Heart is.

I'd say
all that
plus change to spare and share,
is fifty bucks **** well spent,
especially now-a-days
in a place like this
and, moreover;
with friends like these.
It's good to know yourself
and to push your envelope
one iota at a time.
-

THIS MOMENT IS A COSMIC JOKE
LAUGH WITH IT

— The End —