I’m from the city where jacaranda trees light up the streets with their purple blooms.
I’m fascinated by spring, jacaranda petals and the countless anthologies that Mother Nature continues to write.
Without a sound, the city’s jacaranda petals fall effortlessly onto the ground.
As they fall, I begin to realise that we are all living in a world where the minutes are working overtime.
I’m reminded of the days when you and I devoted our time to the art of rhyme.
I no longer know where you are in the city but I hope you’re doing just fine.
I’m not where I want to be at this current moment but please give me time.
It’s within our simplicity where I discovered how beautifully complex we are.
Our circles might be smaller but our hearts are much bigger now.
The circumference might have drastically changed but the love hasn’t.  
It’s no mystery why my aura will always long for the company of yours.
Even though I’ve got two left feet, I still want to slow dance to the rhythm of spring’s heartbeat.
In the capital city, October skies glow with a shade of purple.
Went from breaking up, breaking through to breaking new ground.
So even though I’m hurting now I know I’ll eventually be safe and sound when summer comes around.
These pages do not have enough space to describe how phenomenal we are.
It has been a while since we’ve seen each other so where are you now?
I value all you taught me about life and the importance of true friendship.
The circumference might have changed but the love between us hasn’t.

I’m from the city where jacaranda trees light up the streets with their purple blooms.
I’m reminded of the days when you and I devoted our time to the art of rhyme.
I no longer know where you are in the city but I hope you’re doing just fine.
I’m fascinated by spring, jacaranda petals and the countless anthologies that Mother Nature continues to write.

Two Bulgarian poets entered “The Second Genesis” – Anthology of Contemporary World Poetry – India’2014
Poems of the Bulgarian poets Bozhidar Pangelov and Mira Dushkova are included in the Indian project “The Second Genesis: An Anthology of Contemporary World Poetry”. Bozhidar Pangelov’s poems are: “Time is an Idea” and “…I hear” translated by Vessislava Savova; as for Mira Dushkova’s poems – “Beyond”, “Sozopolis” and “The Girl”, they were translated by Petar Kadiyski.


For the authors:
Bozhidar Pangelov was born in the soft month of October in the city of the chestnut trees, Sofia, Bulgaria, where he lives and works. He likes joking that the only authorship which he acknowledges are his three children and the job-hobby in the sphere of the business services. His first book Four Cycles (2005) written entirely with an unknown author but in a complete synchronous on motifs of the Hellenic legends and mythos. The coauthor (Vanja Konstantinova) is an editor of his next book Delta (2005) and she is the woman whom “The Girl Who…” (2008) is dedicated to. His last (so far) book is “The Man Who…” (2009). In June 2013 a bi lingual poetry book A Feather of Fujiama is being published in Amazon.com as a Kindle edition. Some of his poems are translated in Italian, German, Polish, Russian, Chinese and English languages and are published on poetry sites as well as in anthologies and some periodicals all over the world. Bozhidar Pangelov is on of the German project Europe takes Europa ein Gedicht. “Castrop Rauxel ein Gedicht RUHR 2010” and the project “SPRING POETRY RAIN 2012”, Cyprus.
Mira Dushkova (1974) was born in in Veliko Tarnovo, the medieval capital of Bulgaria. She earned a MA degree from the University of Veliko Tarnovo, and later on a PhD in Modern Bulgarian Literature, from Ruse University Angel Kanchev, in 2010, where she is currently teaching literature courses.
Her writing includes poetry, essays, literary criticism and short stories. She has published several poetry books in Bulgarian: “I Try Histories As Clothes“ (1998), „Exercise On The Scarecrow” (2000), „Scents and Sights“ (2004), literary monograph “Semper Idem : Konstantin Konstantinov. Poetics of the late stories“ (2012, 2013) and the story collection „Invisible Things“ (2014).
Her poems have been published in literary editions in Bulgaria, USA, Sweden, Hungary, Croatia, Romania, Turkey and India. Some of her poems and essays have been first prize winners of different Bulgarian contests for literature.
She has attended poetry festivals in Bulgaria, Croatia (Zagreb) and Turkey (Istanbul and Ordu).
She lives in Ruse – Bulgaria.

For the Antology “The Second Genesis”:
In the anthology titled „The Second Genesis“ are published the poems of 150 poets from 57 countries. All poems are in English. The Antology consists of 546 pages. “The Second Genesis” includes authors’ and editors’ biographies and three indexes: of the authors; of the poem titles and an index based on the first verses. It is issued by “A.R.A.W.LII” (Academy of ‘raitɘ(s) And Word Literati) – an academy, which encourages literature and creative writing and realizes cultural connections between India and the other countries. Four times a year ARAWLII publishes in India the international magazine for poetry and creative writing „Prosopisia“. Its Chief Editor and President of A.R.A.W.LII is Prof. Anuraag Sharma. He is also author of Antology’s Introduction.
Participating Countries:
Albania, Argentina, Armenia, Australia, Belgium, Bosnia and Herzegovina, Brazil, Bulgaria, Albania, Great Britain, Germany, Greece, Denmark, Egypt, Estonia, India, Iran, Iraq, Ireland, Israel, Spain, Italy, Jordan, Canada, Cyprus, China, Kosovo, Cuba, Macao, Macedonia, Niger, Norway, Pakistan, Palestine, Poland, Puerto Rico, Romania, Russia, Saudi Arabia, USA, Singapore, Syria, Serbia, Taiwan, Tunis, Turkey, Fiji, Philippines, Finland, France, Holland, Croatia, Montenegro, Czech Republic, Chile, Sweden, Switzerland, Scotland, South Africa, Japan
For the editors:
Anuraag Sharma – editor and president of A.R.A.W.LII
Poet, critic, author of short stories, translator and playwrighter, Anuraag has to his credit the following publications: “Kiske Liye?”, “Punarbhava”, “Audhava”, Dimensions of the Angel: A Study of the poetry of Les Murray’s Poetry “Iswaswillbe” – a collection of short stories, “Setu” (“The Bridges”). He has also co-editor the volume of conference papers: ”Caring Cultures: Sharing Imaginations. Some of his recent publications include: “A Trilogy of plays”, “Mehraab” (“The Arch”) – translations of selected poems of four Canberra Poets, “Papa and Other Poems”, “Sau Baras Ka Sitara Eik” – translation of Andrew Parkin’s “A Star of Hundred Years”, “As if a wooden house I am”- translations of Surendra Chaturverdi, “Satish Verma: The Poet” and “Tere Jaane ke Baad Tere Aane as Pehle”. He is also editor-in-chief of two international journals – “Lemuria” and “Prosopisia”. Currently he is working as a Professor in English at Govt. College “Kekri” Ajmer, India.

Moizur Rehman Khan – co-redactor, project manager, secretary of A.R.A.W.LII
He studied Urdo and Persian Literature in college and later on competed his master degree in English literature from “Dayanand” College, Ajmer, India. He completed his research dissertation under the supervision of Anuraag Sharma on “Major themes in the poetry of Chris Wallas-Crabbe”. He is a creative writer. His poems and articles have been published in various magazines and journals. Currently he is teaching English at DMS, RIE, Ajmer, India.
References for the Antology:
“No middle no end, the poems in The Second Genesis have been speaking to you long before the beginning and will continue without you…don’t worry, its binding has long since unglued, its pages, worn and disheveled, will always be speaking to you, they’ve been compiled this way, to be read out of order, backwards, shelved or scattered in an attic between the coffee and greasy finger stains…The Second Genesis is the history of the Book where you become its words, ink and pulp.”
Craig Czury

“The Second Genesis is at the crossroads of a new poetic becoming. a poetry claiming its second beginning not only for art but the heart pulsating and feeding the entire body. This anthology is a successful fusion of unique, inimitable and polyphonic poetry, a well-organized improvisation with a solid and flexible structure.”

Dalia Staponkute

“The Second Genesis, a compendium of world poetry which is also a poetry of the world, suggests so much a new beginning as it does a recognition of the ongoing creation that continues to animate our collective existence. Our precarious era requires a global affirmation that we are all in this together. Poetry has always said as much, and here it says it again, in the idioms of our time.”
Paul Kane
**
“Visionary and international, The Second Genesis, introduced and edited by Anuraag Sharma, sparkles with poetry of insight, intelligence and feeling and is an indispensable reminder of our human aspirations and experience in the early 21st century. Poets from nearly sixty countries rub shoulders in this ambitious and wide-ranging collection, and their poems resonate and mingle in a multi-layered voice. It is the voice of our humanity.
In his Introduction, Dr. Sharma points to the invaluable importance of poetry in what he calls our destructive Lear era:
Beyond the Lear Century, across the 21st Century lies the island of Prospero and Ariel and Miranda and Ferdinand – the region of faith, hope and innocence, the land of virtue, and all forgiveness sans grievances, sans regrets, sans curses. The doleful shades lead to pastures new.
We must weigh our hopes. The Second Genesis is at hand….”
Diana Sampey

POETRY AND ITS IMPACT ON HUMANITY

Today the word poetry evokes images of love and sentimentality, but the term romanticism has a much wider meaning. It covers a choice of developments in art, literature, music, dance and philosophy, spanning the late 20 th and early 21 st centuries.

The romantics would not have used the term themselves and the label was applied retrospectively, from around the middle of the 20 th century. Man was born free in this virtual environment of real life but, everywhere he is in chains. During the romantic period major transitions took place in culture, as dissatisfied intellectuals and artists challenged the establishment.

Almost all the romantic poets were at the very heart of this movement. They were inspired by a desire for liberty, and they denounced the misuse of the poor.There was a highlight on the significance of the individual; a conviction that people should follow ideals rather than imposed conventions and rules. The romantics renounced the rationalism and order linked with the preceding clarification era, stressing the importance of expressing authentic personal feelings.

They had a real sense of responsibility to their fellow men: they felt it was their duty to use their poetry to inform and inspire others, and to change the humanity and their social attitude. Poet Rumpa Ray Ghosh believe in this theory on life and poetry of this time.

A PASSIONATE POET OF THIS TIME

For Poet Rumpa Ghosh, even a quatrain is what in a verse, which makes someone to cry or to laugh, or just be silent, makes your twinkle, makes you want to do this or that or nothing, makes you know that you are alone in the unknown world, that your bliss and suffering is forever shared and forever all your own.
Poetry is taking at the heartstrings, and making music within our solitude in life. Rumpa Ray Ghosh is a poet of profound obsession towards composing lyrical form of poetry. Her poetic enthusiasm makes her verses, extremely impressive and highly alluring. She is fast budding poetess of wisdom and emotional response. She had completed her Masters degree from University of Calcutta, though she is from Calcutta currently living in Mumbai.She started composing poems since her young age.

Intentionally or innocently, many of the poets are most often trying to fill a vast space with things that cannot satisfy fully. We look forward to fill the void with our own possessions for comfort, but unfortunately we normally end up wanting more and more. We try to fill it with relationships or pleasures, but we end up feeling even more empty and further more depressed than from the point where and when we commenced the discontentment as these thoughts were well presented by Rumpa Ray Ghosh in her poems, namely, “ The Roof”, “ The broken house “.
The only place that we can really find true fulfilment and gratification is in the hands of divine God. We need to recall and allow our convictions, not in circumstances, to govern our sense of contentment. The anthology freshly illuminates many excellent lyrics and short poems and are highly valued regardless of its freestyle genre.
For both the poet’s, self-consciousness is connected to the new eminence established to poetry by the feelings of the self, which truly resembles the title of the anthology, “ The Musical Marvels of Self “. Her poems are lyrical, close to heart, soft and romantic. The scrupulous flow in her rhyme magnetizes the readers. Her works were widely published in many national and international journals. She is a regular blogger. She takes the images of her writing from simple every day incidents, uses metaphors and imagery to add grace in her skill of presentation.
Her language is simple, easily understood by lay man, quite touching and heart rendering. Her first book " Musical Marvels of Self ", an anthology of 43 poems came out through Zorba publishers.

The anthology was a combined effort in association with honourable poet Dr Ujjwala Kakarala during September 2017 Besides, being a talented poetess of lyrics, she was an excellent singer Proficient in Bengali folksongs, Rabindra Sangeet and Nazrulgeeti and ghazals and has sung in numerous local stage shows. Rabindra Sangeet merge gracefully into Tagore's literature, most of which—poems or parts of single scene plays alike—were beautifully transformed or converted to lyrical formats. Influenced by the “ Thumri “ style of classical vocal music, this has made the entire scope of human emotion, ranging from his early songs-like Brahma devotional hymns to human soul.
This has emulated the tonal color of classical “ragas “to varying extents.
Earlier, She had also the chance to attain a position as Quarter-finalist in BBC Mastermind Family Quiz competition aired on Disney Channel.Poet Rumpa Ray Ghosh, an Indian by nationality, she hails from West Bengal, the “ City of Joy “, but currently living in Mumbai, Maharashtra, India. She is by occupation a teacher, content writer and a blogger. By obsession she is a poetess and a singer. She has completed her post-graduation and B.Ed. from the University of Calcutta. She has worked as a teacher in St. Thomas School, Mumbai, as a content-writer for ‘Pratham’ (NGO) and as an English curriculum developer in Vibgyor High School in Mumbai.
She publishes her writings on her own blog with a name ( fragmentofimagination). She is also a writer for some literary groups. Some of her poems have been published in national anthologies. Recently one of her poems has been published in a US e-magazine "Beyond Borders” in a popular poetry site. She has also participated in an open-mic poetry reciting performance in the Prithvi theater arena in Mumbai. Being Proficient in classical vocal music, she had the opportunity to perform in classical vocal music on various musical events. She is a Sangeet Visharad from Bhatkhande Sangit Vidyapith, Lucknow and is trained under Late Pandit Vinayak Vohra. More tha a Poetess having a deep passion in writing, she enjoys dance, music and teaching his students as part of her professional skills. Stay blessed in all ways at all times.

WILLIAMSJI MAVELI

I lived my half dictionary life before I could
comprehend compulsory compromises.
Collectors arise, disguises and devices beeping,
chastising my blindness.

Gather geography from Afghanistan and Myanmar
graciously growing gold gilded gift horses,
gleefully gloating about floating far away.
My hoof beats above concrete match my heart’s defeat
across borders and mountains
embroidering cardboard cut-outs
calling deserts, decorating front covers.
Exhaling handcrafted letters for my missing half,
half demanding highest caliber commanders and half commanding completion.

Jade jays joyfully lay arrays of bouquets
fragile flowers decay faraway
in jawbones and jail cells.
Begging farewells in a hotel’s lobby
began my hobby,
early morning coffee and carbon copies
concurringly cocky around his dead body.
Gang ciphers for cartels are
Christmas bells hissing at collars,
half dollars embellishing bar crawlers
godfathers hollering at car haulers.

Atrocities across cities attack,
attachable atrophies audibly ambush arthritic anthologies.
Anomalies begin apologies between apostrophes,
advancing autonomy arousing ancient animosities.
All eluding Antarctica,
giant frozen crests, multi-coloured ice
hidden in my illustrations
anxious for my distant half.

Friday cassettes and cigarettes
deliberately making bets following “M”.
Breaking bindings and finding “beta” in alphabet,
may feasibly end in debt.

this is for the Dreamers, Lovers, and Surgeons

for the Hopeless Stargazer who immortalized his Subject with one hundred and eight sets of fourteen lines in iambic pentameter

for ***** tight clad teenage boys who envied frisky fleas, struggling to make holy ungodly passions with cheap arguments and metaphysical pick up lines

for Disillusioned City Dwellers, who, wandering lonely as clouds, stopped to quietly reflect upon wind-beaten moss-covered crags, and heard God’s whisper thunder from petals and blades of grass

this is for the Dreamers, Lovers, and Surgeons

for Bespectacled Slave Drivers who submersed idle minds in anthologies,  forcing them to **** neon yellow on dreams deferred and rivers;  slicing and dicing Grecian urns with red ball point pens; bruising and battering, in blue ball point, roads not taken; scalding supermarkets in California with pyroclastic flows of graphite  

for those pushing to tear apart lines and letters, reconstructing ,deconstructing, agonizing, imaginizing, bullshitting, and brooding on to crisp white sheets in times new roman twelve point font

for the Monsters and Lollipops that exist in the millimeters between a skull and a brain

this is for the Dreamers, Lovers, and Surgeons slumbering beneath Restless Leaves Under the Moon

The toughest problem we face
Is that we can't put faith in people
They only leave us feeling out of place
Sooner or later let us down it's so evil
I'm no better I'm no saint
Though I feel I give my all
With the emotions I use to paint
The detailed images of my everyday fall
I've lost all my faith in humanity
Just pathetic people making every excuse
I'm content here in my insanity
Happy to hide away as a recluse
Sorry world but ******* in every way
I have no regrets no apologies
I've tried each and every day
As is written here in my anthologies

They only use Latin to scribe what is true,
Every thought that they thought was an epic breakthrough.
Unravel the universe and earn a statue!
(They question their gods and so do you)
But they know more about reality than you.
 
Some bearded Romantics held meetings (sans you)
To compete so politely for highest IQ.
They poured out their hearts and they thought that was new.
(They want revolution the same as you)
But they know more about fighting the system than you.
 
They recite their own words in an unknown venue,
They sunglass their eyes and dress in bleak hue,
They do all the drugs that the world has to do.
(They smoke and want peace and you do too)
Yet they know more about levels of consciousness than you.
 
In thousands of years, there emerged just a few,
Good enough to be published in a book of who’s who,
They died for their art, or a cause, or virtue.
(At least that’s what’s written, it could be untrue)
Still, they know more about everything than you.
 
What makes you think you can borrow their pen?
You’re alive and well, and Now is not Then.
You’ve not been to war; you have rights like the men.
Apply once you’re dead and we’ll let you know then.

Ono no Komachi translations

These are my modern English translations of the ancient Japanese poems of Ono no Komachi…

As I slept in isolation
my desired beloved appeared to me;
therefore, dreams have become my reality
and consolation.
―Ono no Komachi, loose translation by Michael R. Burch

Submit to you, is that what you advise?
The way the ripples do
whenever ill winds arise?
―Ono no Komachi, loose translation by Michael R. Burch

Watching wan moonlight flooding tree limbs,
my heart also brims,
overflowing with autumn.
―Ono no Komachi, loose translation by Michael R. Burch

If fields of autumn flowers
can shed their blossoms, shameless,
why can't I also frolic here ...
as fearless and as blameless?
―Ono no Komachi, loose translation by Michael R. Burch

So cruelly severed,
a root-cut reed ...
if the river offered,
why not be freed?
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

I had thought to pluck
the flower of forgetfulness
only to find it
already blossoming in his heart.
―Ono no Komachi, loose translation by Michael R. Burch

The wildflowers and my love
wilted with the rain
as I idly wondered
where in the past does love remain?
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

I nodded off thinking about you
only to have you appear in my dreams.
Had I known that I slept,
I'd have never awakened!
—Ono no Komachi (KKS XII:552), loose translation/interpretation by Michael R. Burch

That which men call "love" ...
is it not merely the chain
preventing our escape
from this world of pain?
―Ono no Komachi, loose translation by Michael R. Burch

Did you appear
only because I was lost in thoughts of love
when I nodded off, day-dreaming of you?
(If I had known that you
couldn't possibly be true,
I'd have never awakened!)
―Ono no Komachi, loose translation by Michael R. Burch

Sad,
the end that awaits me ...
to think that before autumn yields
I'll be a pale mist
shrouding these rice fields.
―Ono no Komachi, loose translation by Michael R. Burch

In this dismal world
the living decrease
as the dead increase...
oh, how much longer
must I bear this body of grief?
―Ono no Komachi, loose translation by Michael R. Burch

Once-colorful flowers faded,
while in my drab cell
life's impulse also abated
as the long dismal rains fell.
―Ono no Komachi, loose translation by Michael R. Burch

Now bitterly I watch fall winds
battering the rice stalks,
suspecting I'll never again
find anything to harvest.
―Ono no Komachi, loose translation by Michael R. Burch

This abandoned mountain shack ...
how many nights
has autumn sheltered there?
―Ono no Komachi, loose translation by Michael R. Burch

Am I to spend the night alone
atop this summit,
cold and lost?
Won't you at least lend me
your robes of moss?
—Ono no Komachi (GSS XVII:1195), loose translation by Michael R. Burch

Two things wilt without warning,
bleeding away their colors:
a flower and a man's heart.
—Ono no Komachi (KKS XV:797), loose translation/interpretation by Michael R. Burch

Alas, the beauty of the flowers came to naught
as I watched the rain, lost in melancholy thought ...
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

Watching the long, dismal rains
inundating the earth,
my heart too is washed out, bleeds off
with the colors of the late spring flowers.
―Ono no Komachi, loose translation by Michael R. Burch

Wretched water-**** that I am,
severed from all roots:
if rapids should entice me,
why not welcome their lethal shoots?
―Ono no Komachi, loose translation by Michael R. Burch

Though I visit him
continually in my dreams,
the sum of all such ethereal trysts
is still less than one actual, solid glimpse.
―Ono no Komachi, loose translation by Michael R. Burch

I feel desire so intensely
in the lily-seed darkness
that tonight I'll turn my robe inside-out
before donning it.
—Ono no Komachi (KKS XII:554), loose translation/interpretation by Michael R. Burch

This vain life!
My looks and talents faded
like these cherry blossoms inundated
by endless rains
that I now survey, alone.
―Ono no Komachi, loose translation by Michael R. Burch

Autumn nights are "long"
only in verse and song:
for we had just begun
to gaze into each other's eyes
when dawn immolated the skies!
―Ono no Komachi, loose translation by Michael R. Burch

I think of you ceaselessly, with love...
and so... come to me at night,
for in the flight
of dreams, no one can disapprove!
―Ono no Komachi, loose translation by Michael R. Burch

On nights such as these
when no moon lights your way to me,
I lie awake, my passion blazing,
my breast an inferno wildly raging,
while my heart chars within me.
―Ono no Komachi, loose translation by Michael R. Burch

Since my body
was neglected by the one
who had promised faithfully to come,
I now lie here questioning its existence.
―Ono no Komachi, loose translation by Michael R. Burch

Since there's obviously nothing to catch
in this barren bay,
how can he fail to understand:
the fisherman who persists in coming and going
until his legs collapse in the sand?
―Ono no Komachi, loose translation by Michael R. Burch

What do I know of villages
where fisherfolk dwell?
Why do you keep demanding
that I show you the seashore,
lead you to some pearly shell?
―Ono no Komachi, loose translation by Michael R. Burch

Yielding to a love
that recognizes no boundaries,
I will approach him by night ...
for the world cannot despise
a wandering dreamer.
―Ono no Komachi, loose translation by Michael R. Burch

Now that I approach
life's inevitable winter
your ardor has faded
like blossoms devastated
by late autumn rains.
―Ono no Komachi, loose translation by Michael R. Burch

Am I to spend another night alone
atop this ice-crag,
cold and lost?
Won't you at least lend me
your robes of moss?
―Ono no Komachi, loose translation by Michael R. Burch

"It's over!"
Your words drizzle like dismal rains,
bringing tears,
as I wilt with my years.
—Ono no Komachi (KKS XV:782), loose translation/interpretation by Michael R. Burch

I pursue you ceaselessly in my dreams ...
yet we've never met; we're not even acquainted!
—Ono no Komachi, loose translation by Michael R. Burch

Like flowers wilted by drenching rains,
my beauty has faded in the onslaught of my forlorn years.
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

Fiery coals searing my body
hurt me far less than the sorrow of parting.
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

Love is man's most unbreakable bond.
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

This moonless night,
with no way to meet him,
I grow restless with longing:
my breast’s an inferno,
my heart chars within me.
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

How brilliantly
tears rain upon my sleeve
in bright gemlets,
for my despair cannot be withstood,
like a surging flood!
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

This flower's color
has drained away,
while in idle thoughts
my life drained away
as the long rains fall.
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

Fatal reality!
You must do what you must, I suppose.
But even hidden in my dreams
from all prying eyes,
to watch you still pains me so!
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

In eye-opening daylight
much stands revealed,
but when I see myself
reflected in hostile eyes
even dreams become nightmares.
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

I would meet him tonight
but the moon shows no path;
my desire for him,
smoldering in my breast,
burns my heart to ash!
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

Sleepless with loneliness,
I find myself longing for the handsome moon.
—Ono no Komachi, loose translation/interpretation by Michael R. Burch

Sotoba Komachi is a modern Noh play by Yukio Mishima (1925-1970). Mishima's play is based on an ancient work by Kan'ami Kiyotsugu (1333-1384). The first kanji means "stupa" (the dome of a shrine) while the second kanji means "belle" or "beautiful woman." So the title may be interpreted as something like "Beauty's Shrine" or "Shrine to Beauty." Kan'ami was the first playwright to incorporate the Kusemai song and dance style and Dengaku dances into plays. He founded a sarugaku theater group in the Kansai region of Honshu; the troupe later moved to Yamato and formed the Yuzaki theater company, which would become the school of Noh theater.

Excerpts from SOTOBA KOMACHI
by KWANAMI
loose translation/interpretation by Michael R. Burch

Priest of the Koyasan:

We who have built our homes on shallow slopes
now seek solitude in the heart's deep recesses.

Second Priest:

This single thought possessed me:
How I might bring a single seed to flower,
the wisdom of Buddha, the locus of our salvation,
until in despair I donned this dark cassock.

Ono no Komachi:

Lately so severed,
like a root-cut reed,
if the river offered,
why not be freed?

I would gladly go,
but here no wave stirs ...
I was once full of pride
now fled with the years,

gone with dark tresses
and with lustrous locks;
I was lithe as a willow
in my springtime frocks;

I once sang like a nightingale
sipping dew;
I was wild as the rose
when the skies shone blue ...
in those days before fall
when the long shadows grew.

But now I’ve grown loathsome
even to ******;
even urchins abhor me;
men treat me with scorn ...

Now I am nothing
but a poor, withered bough,
and yet there are wildflowers
in my heart, even now.

Only my body lingers, for my heart left this world long ago!

Priests (together):

O, piteous, piteous!
Is this the once-fabled flower-bright Komachi,
Komachi the Beautiful,
whose dark brows bridged eyes like young moons;
her face whitest alabaster forever;
whose many damask robes filled cedar-scented closets?



Ono no Komachi wrote tanka (also known as waka), the most traditional form of Japanese lyric poetry. She is an excellent representative of the Classical, or Heian, period (circa 794-1185 AD) of Japanese literature, and she is one of the best-known poets of the Kokinshu (circa 905), the first in a series of anthologies of Japanese poetry compiled by imperial order. She is also one of the Rokkasen — the six best waka poets of the early Heian period, during which poetry was considered the highest art. Renowned for her unusual beauty, Komachi has become a synonym for feminine beauty in Japan. She is also included among the thirty-six Poetry Immortals. It is believed that she was born sometime between 820-830 and that she wrote most of her poems around the middle of the ninth century. She is best known today for her pensive, melancholic and ****** poems. Keywords/Tags: Ono no Komachi waka tanka translation Japanese love women womanhood feminist feminism

A shadowy shop with
Shelves that bend and buckle
Under the weight of years.

The dust of  the decade
Lies undisturbed

Volumes lined in motley ranks
Anthologies, albums and almanacks
Heaped in
Precarious stacks.
A few flaking pamphlets.

Dream-like sepia images
Dog-eared and damp
Bulge from mildewed and
Musty manilla.

Some are excited by
The acrid smell
Of old books.

Not sure that I am.

A bargain box or a treasure chest
Who cares.

Festered and forgotten
Between the yellowing pages of
A railway timetable
Lie someone's drawings.

Quite clever.
A little deranged, if you ask me.
Nice colours

But you wouldn't want them on your wall.

it dawned on me as i
brushed my teeth this
cold and frigid Sunday morning
that Christianity is predicated on
caricatures of morality and desiccated
imagery guilt-tripping and manipulating
the emotionally malleable with sycophantic
fantasies of sempiternal enmity
simmering infernally within dogmatic
magma melting mundane minds

we aren't made in the
image of the invisible
and the more i study
the face looking back
in the mirror i can't seem
to find a single similarity
between you and me

you've spent nearly fifty years
in service to a deity Nietzsche buried
half a century bent-kneed but
somehow i'm the one who
needs to try an open mind

in the face of such
deafening and deadly hypocrisy
is it any surprise i rose
in revolt against this
putrid apparatus of control

it's sad
you see
you fancy yourself an image
of the Nazarene but you're
so unlike your savior
a Sadducee dancing like a cobra
to the whimsical melodies of
snake-oil peddlers so

by all means
pray for me
the clouds can't hear
your desperate pleas this
galaxy is apathetic to our
finite and fragile existence
a momentary blip on the radar of
a fourteen billion year old universe

yet you possess the audacity
to believe an intergalactic being
instilled you with predestiny so
you can judge and condemn just
like the villains in
your beloved fairy tales

tell me the truth
do you even read
the lines of red bled
across the ancient pages
of your gospels or do
you just pretend that
Jesus said whatever
makes you happy

clearly you fancy yourself
the center of the universe but
as much as i hate to be
the bearer of bad news
the world revolves around the sun
not the Son of Man

i'd rather brave the depths of hell
than grovel before your
narcissistic King of Kings
i will never beg for
you to forgive me
i freed my mind and like
a canary in a coal mine i'm
insistently pointing towards the exit
so crucify me if you will
even you couldn't escape the irony

abandon your holy text for works
of art and philosophy and science
your scriptures are a tale
told by an idiot
full of sound and fury
signifying nothing

i will not relent in my
blasphemous semantics
nor repent for my perceived iniquity
your Christ is interned within
an unmarked grave outside Jerusalem  
and before long now we
will all join him
though admittedly not in
the fashion you'd imagined

there is no feast prepared
for my inevitable homecoming
so keep your ring
a golden band reminding
those who read the
anthologies of history of
property and slavery

i'll deny until i die
i won't bind my mind to
your tepid theology
i am not the prodigal son

Our little collegetown is a jungle tonight,
with the deafening, staticky drone of locusts constituting
its own kind of warm gravity,

sidewalks drenched and carpeted with a rotting mess of
blood-red maple leaves, and

thousands of spiders the size of human eyes, glaring
down from the dead-center of their backlit, dew-drizzled webs.

I always thought that I'd never be loved enough.

In crafting anthologies on the angles of my favorite noses,
I pretended I didn't want someone else’s protractor on my own,
and prepared for a life sentence as the uncharted geometer,
the invisible painter, the secret poet,
the immortalizer, rather than the immortalized.

I find myself, now, to be a poem––
your poem––
etched into the curvature of your jungle-green eyes.

But walking home in our jungle tonight, I feel sick.
Your ears distort my hesitant laughter
into a dissonant, deafening euphoria, and

when I lay my head on your heated chest, I can feel the blood
gushing underneath your skin,
surging through your veins, storming, drowning
you, and I feel sick because all this love you pump for me--
all this love you are drowning in--
only rots in my guilty stomach...

When my memory is watching me
with her thousands of glaring eyes,
she will always mourn the breaking of a beautiful heart.

25 | 31 Poems for August 2016

A few months ago you didn't know that I could write or recite like that.
My notebook is full of broken masterpieces that fail to come together like contour lines.
If my art goes unappreciated, unnoticed, unloved and unpublished then just know that I wrote from the heart.
I know that love is a beautiful thing but sometimes I feel like its main intention is to tear me apart.
So don’t be too surprised when I tell you that I’m slowly falling to pieces.
The ocean in my muse’s eyes reminds me of the colour of the sky and how I want to dive into the depths of who she is.
The world has made her feel like an abandoned church but in my eyes she’ll always be a cathedral.
She will always be a cathedral and you can say hallelujah or amen to that.
We are from the city where jacaranda trees light up the streets with their purple blooms.
Went from breaking up, breaking down, breaking through to finally breaking new ground.
So even though I’m hurting now I know I’ll eventually be safe and sound when a new season comes around.
I’m still fascinated by spring, jacaranda petals and the countless anthologies that Mother Nature continues to write.
Reading the lines on a woman’s skins is poetry and too many men are illiterate.
So they will never truly understand the fact that liberty begins with literacy.
My notebook is full of broken masterpieces that fail to come together like contour lines.
Even if my art goes unappreciated, unnoticed, unloved and unpublished I will always write from the heart.

Daredevil
by Michael R. Burch

There are days that I believe
(and nights that I deny)
love is not mutilation.

Daredevil, dry your eyes.

There are tightropes leaps bereave—
taut wires strumming high
brief songs, infatuations.

Daredevil, dry your eyes.

There were cannon shots’ soirees,
hearts barricaded, wise . . .
and then . . . annihilation.

Daredevil, dry your eyes.

There were nights our hearts conceived
untruths reborn as sighs.
To dream was our consolation.

Daredevil, dry your eyes.

There were acrobatic leaves
that tumbled down to lie
at our feet, bright trepidations.

Daredevil, dry your eyes.

There were hearts carved into trees—
tall stakes where you and I
left childhood’s salt libations . . .

Daredevil, dry your eyes.

Where once you scraped your knees;
love later bruised your thighs.
Death numbs all, our sedation.

Daredevil, dry your eyes.

Keywords/Tags: Daredevil, love, mutilation, tightrope, high, wire, acrobatic, tumble, bruised, fall, sedation, death, mrbdare, mrbch



Passionate One
by Michael R. Burch

for Beth

Love of my life,
light of my morning―
arise, brightly dawning,
for you are my sun.

Give me of heaven
both manna and leaven―
desirous Presence,
Passionate One.

My wife Beth has been a Daredevil for Love, sometimes engaging in high-wire acts that defied gravity. At times her acrobatic moves resulted in tumbles, falls, and bruises, but she never stopped loving her family and friends. Thus, the first two poems are related, although the woman in the first poem is imaginary.



In My House
by Michael R. Burch

When you were in my house
you were not free―
in chains bound.

Manifest Destiny?

I was wrong;
my plantation burned to the ground.
I was wrong.
This is my song,
this is my plea:
I was wrong.

When you are in my house,
now, I am not free.
I feel the song
hurling itself back at me.
We were wrong.
This is my history.

I feel my tongue
stilting accordingly.

We were wrong;
brother, forgive me.

Published by Black Medina. This is poem about a different kind of high-wire act, a different kind of tension, and a different kind of fall, bruising and mutilation. At the time I wrote this poem, I had hired two fine young black men as programmers and they had keys to my house, where I was the minority on work days.



Less Heroic Couplets: ****** Most Fowl!
by Michael R. Burch

“****** most foul!”
cried the mouse to the owl.

“Friend, I’m no sinner;
you’re merely my dinner!”
the wise owl replied
as the tasty snack died.

Originally published by Lighten Up Online and in Potcake Chapbook #7. In an attempt to demonstrate that not all couplets are heroic, I have created a series of poems called “Less Heroic Couplets.” I believe even poets should abide by truth-in-advertising laws! Mice are acrobatic little daredevils. ― MRB



Leaf Fall
by Michael R. Burch

Whatever winds encountered soon resolved
to swirling fragments, till chaotic heaps
of leaves lay pulsing by the backyard wall.
In lieu of rakes, our fingers sorted each
dry leaf into its place and built a high,
soft bastion against earth's gravitron―
a patchwork quilt, a trampoline, a bright
impediment to fling ourselves upon.

And nothing in our laughter as we fell
into those leaves was like the autumn's cry
of also falling. Nothing meant to die
could be so bright as we, so colorful―
clad in our plaids, oblivious to pain
we'd feel today, should we leaf-fall again.

Originally published by The Neovictorian/Cochlea. This is a poem about yet another kind of fall and the kind of bruising that increases with advancing age.



Herbsttag ("Autumn Day" or "Fall Day")
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Lord, it is time. Let the immense summer go.
Lay your long shadows over the sundials
and over the meadows, let the free winds blow.
Command the late fruits to fatten and shine;
O, grant them another Mediterranean hour!
Urge them to completion, and with power
convey final sweetness to the heavy wine.
Who has no house now, never will build one.
Who's alone now, shall continue alone;
he'll wake, read, write long letters to friends,
and pace the tree-lined pathways up and down,
restlessly, as autumn leaves drift and descend.

Originally published by Measure. This is one of my favorite Rilke poems, about the feelings of loneliness a fall day can inspire.



To the boy Elis
by Georg Trakl
translation by Michael R. Burch

Elis, when the blackbird cries from the black forest,
it announces your downfall.
Your lips sip the rock-spring's blue coolness.

Your brow sweats blood
recalling ancient myths
and dark interpretations of birds' flight.

Yet you enter the night with soft footfalls;
the ripe purple grapes hang suspended
as you wave your arms more beautifully in the blueness.

A thornbush crackles;
where now are your moonlike eyes?
How long, oh Elis, have you been dead?

A monk dips waxed fingers
into your body's hyacinth;
Our silence is a black abyss

from which sometimes a docile animal emerges
slowly lowering its heavy lids.
A black dew drips from your temples:

the lost gold of vanished stars.

TRANSLATOR'S NOTE: I believe that in the second stanza the blood on Elis's forehead may be a reference to the apprehensive ****** sweat of Jesus in the garden of Gethsemane. If my interpretation is correct, Elis hears the blackbird's cries, anticipates the danger represented by a harbinger of death, but elects to continue rather than turn back. From what I have been able to gather, the color blue had a special significance for Georg Trakl: it symbolized longing and perhaps a longing for death. The colors blue, purple and black may represent a progression toward death in the poem.



I Loved You
by Alexander Sergeyevich Pushkin
translation by Michael R. Burch

I loved you ... perhaps I love you still ...
perhaps for a while such emotions may remain.
But please don’t let my feelings trouble you;
I do not wish to cause you further pain.

I loved you ... thus the hopelessness I knew ...
The jealousy, the diffidence, the pain
resulted in two hearts so wholly true
the gods might grant us leave to love again.



Wulf and Eadwacer
ancient Anglo-Saxon/Old English poem, circa 960 AD
loose translation/interpretation by Michael R. Burch

My clan's curs pursue him like crippled game;
they'll rip him apart if he approaches their pack.
It is otherwise with us.

Wulf's on one island; we're on another.
His island's a fortress, fastened by fens.
Here, bloodthirsty curs howl for carnage.
They'll rip him apart if he approaches their pack.
It is otherwise with us.

My heart pursued Wulf like a panting hound,
but whenever it rained—how I wept! —
the boldest cur grasped me in its paws:
good feelings for him, but for me loathsome!

Wulf, O, my Wulf, my ache for you
has made me sick; your seldom-comings
have left me famished, deprived of real meat.

Have you heard, Eadwacer? Watchdog!
A wolf has borne our wretched whelp to the woods!
One can easily sever what never was one:
our song together.



Hymn for Fallen Soldiers
by Michael R. Burch

Sound the awesome cannons.
Pin medals to each breast.
Attention, honor guard!
Give them a hero’s rest.

Recite their names to the heavens
Till the stars acknowledge their kin.
Then let the land they defended
Gather them in again.

When I learned there’s an American military organization, the DPAA (Defense/POW/MIA Accounting Agency) that is still finding and bringing home the bodies of soldiers who died serving their country in World War II, after blubbering like a baby, I managed to eke out this poem.



Attilâ İlhan (1925-2005) was a Turkish poet, translator, novelist, screenwriter, editor, journalist, essayist, reviewer, socialist and intellectual.

Ben Sana Mecburum: “You are indispensable”
by Attila Ilhan
translation by Nurgül Yayman and Michael R. Burch

You are indispensable; how can you not know
that you’re like nails riveting my brain?
I see your eyes as ever-expanding dimensions.
You are indispensable; how can you not know
that I burn within, at the thought of you?

Trees prepare themselves for autumn;
can this city be our lost Istanbul?
Now clouds disintegrate in the darkness
as the street lights flicker
and the streets reek with rain.
You are indispensable, and yet you are absent ...

Love sometimes seems akin to terror:
a man tires suddenly at nightfall,
of living enslaved to the razor at his neck.
Sometimes he wrings his hands,
expunging other lives from his existence.
Sometimes whichever door he knocks
echoes back only heartache.

A screechy phonograph is playing in Fatih ...
a song about some Friday long ago.
I stop to listen from a vacant corner,
longing to bring you an untouched sky,
but time disintegrates in my hands.
Whatever I do, wherever I go,
you are indispensable, and yet you are absent ...

Are you the blue child of June?
Ah, no one knows you―no one knows!
Your deserted eyes are like distant freighters ...

Perhaps you are boarding in Yesilköy?
Are you drenched there, shivering with the rain
that leaves you blind, beset, broken,
with wind-disheveled hair?

Whenever I think of life
seated at the wolves’ table,
shameless, yet without soiling our hands ...
Yes, whenever I think of life,
I begin with your name, defying the silence,
and your secret tides surge within me
making this voyage inevitable.
You are indispensable; how can you not know?



Fragments
by Attila Ilhan
loose English translations/interpretations by Michael R. Burch



The night is a cloudy-feathered owl,
its quills like fine-spun glass.

It gazes out the window,
perched on my right shoulder,
its wings outspread and huge.

If the encroaching darkness seems devastating at first glance,
the sovereign of everything,
its reach infinite ...

Still somewhere within a kernel of light glows secretly
creating an enlightened forest of dialectics.



In September’s waning days one thinks wanly of the arrival of fall
like a ship appearing on the horizon with untrimmed, tattered sails;
for some unfathomable reason fall is the time to consider one’s own demise―
the body smothered by yellowed leaves like a corpse rotting in a ghoulish photograph ...



Bitter words
crack like whips
snapping across prison yards ...

Then there are words like pomegranate trees in bloom,
words like the sun igniting the sea beyond mountainous horizons,
flashing like mysterious knives ...

Such words are the burning roses of an infinite imagination;
they are born and they die with the flutterings of butterflies;
we carry those words in our hearts like pregnant shotguns until the day we expire,
martyred for the words we were prepared to die for ...



What I wrote and what you understood? Curious and curiouser!



escape!
by michael r. burch

to live among the daffodil folk . . .
slip down the rainslickened drainpipe . . .
suddenly pop out
the GARGANTUAN SPOUT . . .
minuscule as alice, shout
yippee-yi-yee!
in wee exultant glee
to be leaving behind the
LARGE
THREE-DENALI GARAGE.



Escape!!
by Michael R. Burch

You are too beautiful,
too innocent,
too inherently lovely
to merely reflect the sun’s splendor ...

too full of irresistible candor
to remain silent,
too delicately fawnlike
for a world so violent ...

Come, my beautiful Bambi
and I will protect you ...
but of course you have already been lured away
by the dew-laden roses ...



Dream of Infinity
by Michael R. Burch

Have you tasted the bitterness of tears of despair?
Have you watched the sun sink through such pale, balmless air
that your soul sought its shell like a crab on a beach,
then scuttled inside to be safe, out of reach?

Might I lift you tonight from earth’s wreckage and damage
on these waves gently rising to pay the moon homage?
Or better, perhaps, let me say that I, too,
have dreamed of infinity... windswept and blue.

This poem was originally published by TC Broadsheet Verses. I was paid a whopping $10, my first cash payment. It was subsequently published by Piedmont Literary Review, Penny Dreadful, the Net Poetry and Art Competition, Songs of Innocence, Poetry Life & Times, Better Than Starbucks and The Chained Muse.



Heat Lightening
by Michael R. Burch

Each night beneath the elms, we never knew
which lights beyond dark hills might stall, advance,
then lurch into strange headbeams tilted up
like searchlights seeking contact in the distance . . .

Quiescent unions . . . thoughts of bliss, of hope . . .
long-dreamt appearances of wished-on stars . . .
like childhood’s long-occluded, nebulous
slow drift of half-formed visions . . . slip and bra . . .

Wan moonlight traced your features, perilous,
in danger of extinction, should your hair
fall softly on my eyes, or should a kiss
cause them to close, or should my fingers dare

to leave off childhood for some new design
of whiter lace, of flesh incarnadine.



Winter Thoughts of Ann Rutledge

Ann Rutledge was apparently Abraham Lincoln’s first love interest. Unfortunately, she was engaged to another man when they met, then died with typhoid fever at age 22. According to a friend, Isaac Cogdal, when asked if he had loved her, Lincoln replied: “It is true―true indeed, I did. I loved the woman dearly and soundly: She was a handsome girl―would have made a good, loving wife … I did honestly and truly love the girl and think often, often of her now.”

Winter Thoughts of Ann Rutledge
by Michael R. Burch

Winter was not easy,
nor would the spring return.
I knew you by your absence,
as men are wont to burn
with strange indwelling fire―
such longings you inspire!

But winter was not easy,
nor would the sun relent
from sculpting ****** images
and how could I repent?
I left quaint offerings in the snow,
more maiden than I care to know.



Ann Rutledge’s Irregular Quilt
by Michael R. Burch

based on “Lincoln the Unknown” by Dale Carnegie

I.
Her fingers “plied the needle” with “unusual swiftness and art”
till Abe knelt down beside her: then her demoralized heart
set Eros’s dart a-quiver; thus a crazy quilt emerged:
strange stitches all a-kilter, all patterns lost. (Her host
kept her vicarious laughter barely submerged.)

II.
Years later she’d show off the quilt with its uncertain stitches
as evidence love undermines men’s plans and unevens women’s strictures
(and a plethora of scriptures.)

III.
But O the sacred tenderness Ann’s reckless stitch contains
and all the world’s felicities: rich cloth, for love’s fine gains,
for sweethearts’ tremulous fingers and their bright, uncertain vows
and all love’s blithe, erratic hopes (like now’s).

IV.
Years later on a pilgrimage, by tenderness obsessed,
Dale Carnegie, drawn to her grave, found weeds in her place of rest
and mowed them back, revealing the spot of Lincoln’s joy and grief
(and his hope and his disbelief).

V.
Yes, such is the tenderness of love, and such are its disappointments.
Love is a book of rhapsodic poems. Love is an grab bag of ointments.
Love is the finger poised, the smile, the Question ― perhaps ― and the Answer?

Love is the pain of betrayal, the two left feet of the dancer.

VI.
There were ladies of ill repute in his past. Or so he thought. Was it true?
And yet he loved them, Ann (sweet Ann!), as tenderly as he loved you.

Keywords/Tags: Abraham Lincoln, Ann Rutledge, history, president, love, lover, mistress, paramour, romance, romantic, quilt, Dale Carnegie



Shattered
by Vera Pavlova
loose translation/interpretation by Michael R. Burch

I shattered your heart;
now I limp through the shards
barefoot.



Warming Her Pearls
by Michael R. Burch

for Beth

Warming her pearls, her *******
gleam like constellations.
Her belly is a bit rotund...
she might have stepped out of a Rubens.

Published by Erosha, The Eclectic Muse, Muse Apprentice Guild, Nisqually Delta Review, Erbacce, Poetry Life & Times and Brief Poems



Squall
by Michael R. Burch

There, in that sunny arbor,
in the aureate light
filtering through the waxy leaves
of a stunted banana tree,

I felt the sudden monsoon of your wrath,
the clattery implosions
and copper-bright bursts
of the bottoms of pots and pans.

I saw your swollen goddess’s belly
wobble and heave
in pregnant indignation,
turned tail, and ran.

Published by Chrysanthemum, Poetry Super Highway, Barbitos and Poetry Life & Times



Villanelle: Hangovers
by Michael R. Burch

We forget that, before we were born,
our parents had “lives” of their own,
ran drunk in the streets, or half-******.

Yes, our parents had lives of their own
until we were born; then, undone,
they were buying their parents gravestones

and finding gray hairs of their own
(because we were born lacking some
of their curious habits, but soon

would certainly get them). Half-******,
we watched them dig graves of their own.
Their lives would be over too soon

for their curious habits to bloom
in us (though our children were born
nine months from that night on the town

when, punch-drunk in the streets or half-******,
we first proved we had lives of our own).



NOTE: The Natchez Trace is the Nashville bar where I met my future wife Beth. We invented a game called "twister pool" which involved billiards, drinking and a fair bit of physical contortion ...

At the Natchez Trace
by Michael R. Burch

for Beth

I.
Solitude surrounds me
though nearby laughter sounds;
around me mingle men who think
to drink their demons down,
in rounds.

Beside me stands a woman,
a stanza in the song
that plays so low and fluting
and bids me sing along.

Beside me stands a woman
whose eyes reveal her soul,
whose cheeks are soft as eiderdown,
whose hips and ******* are full.

Beside me stands a woman
who scarcely knows my name;
but I would have her know my heart
if only I knew where to start.

II.
Not every man is as he seems;
not all are prone to poems and dreams.
Not every man would take the time
to meter out his heart in rhyme.
But I am not as other men—
my heart is sentenced to this pen.

III.
Men speak of their "ambition"
but they only know its name . . .
I never say the word aloud,
but I have felt the Flame.

IV.
Now, standing here, I do not dare
to let her know that I might care;
I never learned the lines to use;
I never worked the wolves' bold ruse.
But if she looks my way again,
perhaps I will, if only then.

V.
How can a man have come so far
in searching after every star,
and yet today,
though years away,
look back upon the winding way,
and see himself as he was then,
a child of eight or nine or ten,
and not know more?

VI.
My life is not empty; I have my desire . . .
I write in a moment that few man can know,
when my nerves are on fire
and my heart does not tire
though it pounds at my breast—
wrenching blow after blow.

VII.
And in all I attempted, I also succeeded;
few men have more talent to do what I do.
But in one respect, I stand now defeated;
In love I could never make magic come true.

VIII.
If I had been born to be handsome and charming,
then love might have come to me easily as well.
But if had that been, then would I have written?
If not, I'd remain; **** that demon to hell!

IX.
Beside me stands a woman,
but others look her way
and in their eyes are eagerness . . .
for passion and a wild caress?
But who am I to say?

Beside me stands a woman;
she conjures up the night
and wraps itself around her
till others flit about her
like moths drawn to firelight.

X.
And I, myself, am just as they,
wondering when the light might fade,
yet knowing should it not dim soon
that I might fall and be consumed.

XI.
I write from despair
in the silence of morning
for want of a prayer
and the need of the mourning.
And loneliness grips my heart like a vise;
my anguish is harsher and colder than ice.
But poetry can bring my heart healing
and deaden the pain, or lessen the feeling.
And so I must write till at last sleep has called me
and hope at that moment my pen has not failed me.

XII.
Beside me stands a woman,
a mystery to me.
I long to hold her in my arms;
I also long to flee.

Beside me stands a woman;
how many has she known
more handsome, charming,
chic, alarming?
I hope I never know.

Beside me stands a woman;
how many has she known
who ever wrote her such a poem?
I know not even one.

Keywords/Tags: Natchez, Trace, love, relationship, relationships, pool, billiards, rhyme, hope, pain, painful, solitude, drink, drinking, enigma, angel, stranger, ambiguity, woman



Happily Never After (the Second Curse of the ***** Toad)
by Michael R. Burch

He did not think of love of Her at all
frog-plangent nights, as moons engoldened roads
through crumbling stonewalled provinces, where toads
(nee princes) ruled in chinks and grew so small
at last to be invisible. He smiled
(the fables erred so curiously), and thought
bemusedly of being reconciled
to human flesh, because his heart was not
incapable of love, but, being cursed
a second time, could only love a toad’s . . .
and listened as inflated frogs rehearsed
cheekbulging tales of anguish from green moats . . .
and thought of her soft croak, her skin fine-warted,
his anemic flesh, and how true love was thwarted.



Haunted
by Michael R. Burch

Now I am here
and thoughts of my past mistakes are my brethren.
I am withering
and the sweetness of your memory is like a tear.

Go, if you will,
for the ache in my heart is its hollowness
and the flaw in my soul is its shallowness;
there is nothing to fill.

Take what you can;
I have nothing left.
And when you are gone, I will be bereft,
the husk of a man.

Or stay here awhile.
My heart cannot bear the night, or these dreams.
Your face is a ghost, though paler, it seems
when you smile.

Published by Romantics Quarterly



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 earliest poems, written around age 15 when we were living with my grandfather in his house on Chilton Street, within walking distance of the Nashville fairgrounds. I remember walking to the fairgrounds, stopping at a Dairy Queen along the way, and swimming at a public pool. But I believe the Ferris wheel only operated during the state fair. So my “educated guess” is that this poem was written during the 1973 state fair, or shortly thereafter. I remember watching people hanging suspended in mid-air, waiting for carnies to deposit them safely on terra firma again.



Her Preference
by Michael R. Burch

Not for her the pale incandescence of dreams,
the warm glow of imagination,
the hushed whispers of possibility,
or frail, blossoming hope.

No, she prefers the anguish and screams
of bitter condemnation,
the hissing of hostility,
damnation's rope.



hey pete
by Michael R. Burch

for Pete Rose

hey pete,
it's baseball season
and the sun ascends the sky,
encouraging a schoolboy's dreams
of winter whizzing by;
go out, go out and catch it,
put it in a jar,
set it on a shelf
and then you'll be a Superstar.

When I was a boy, Pete Rose was my favorite baseball player; this poem is not a slam at him, but rather an ironic jab at the term "superstar."



Nevermore!
by Michael R. Burch

Nevermore! O, nevermore
shall the haunts of the sea―
the swollen tide pools
and the dark, deserted shore―
mark her passing again.

And the salivating sea
shall never kiss her lips
nor caress her ******* and hips
as she dreamt it did before,
once, lost within the uproar.

The waves will never **** her,
nor take her at their leisure;
the sea gulls shall not have her,
nor could she give them pleasure ...
She sleeps forevermore.

She sleeps forevermore,
a ****** save to me
and her other lover,
who lurks now, safely covered
by the restless, surging sea.

And, yes, they sleep together,
but never in that way!
For the sea has stripped and shorn
the one I once adored,
and washed her flesh away.

He does not stroke her honey hair,
for she is bald, bald to the bone!
And how it fills my heart with glee
to hear them sometimes cursing me
out of the depths of the demon sea ...

their skeletal love―impossibility!

This is one of my Poe-like creations, written around age 19. I think the poem has an interesting ending, since the male skeleton is missing an important "member."



Day, and Night
by Michael R. Burch

The moon exposes pockmarked scars of craters;
her visage, veiled by willows, palely looms.
And we who rise each day to grind a living,
dream each scented night of such perfumes
as drew us to the window, to the moonlight,
when all the earth was steeped in cobalt blue―
an eerie vase of achromatic flowers
bled silver by pale starlight, losing hue.

The night begins her waltz to waiting sunrise―
adagio, the music she now hears;
and we who in the sunlight slave for succor,
dreaming, seek communion with the spheres.
And all around the night is in crescendo,
and everywhere the stars’ bright legions form,
and here we hear the sweet incriminations
of lovers we had once to keep us warm.

And also here we find, like bled carnations,
red lips that whitened, kisses drawn to lies,
that touched us once with fierce incantations
and taught us love was prettier than wise.



Flight
by Michael R. Burch

It is the nature of loveliness to vanish
as butterfly wings, batting against nothingness
seek transcendence ...

Originally published by Hibiscus (India)



in-flight convergence
by michael r. burch

serene, almost angelic,
the lights of the city                  extend
over lumbering behemoths shrilly screeching displeasure;
they say
that nothing is certain,
that nothing man dreams or ordains
long endures his command

here the streetlights that flicker
and those blazing steadfast seem one
from a                distance;
           descend?
they abruptly
part                    ways,

so that nothing is one
which at times does not suddenly blend
into garish insignificance
in the familiar alleyways,
in the white neon flash
and the billboards of Convenience

and man seems the afterthought of his own Brilliance
as we thunder down the enlightened runways.

Originally published by The Aurorean and nominated for the Pushcart Prize, then published by Grassroots Poetry, Unlikely Stories, Bewildering Stories, Scarlet Leaf Review, Famous Poets & Poems and Inspirational Stories



The Pictish Faeries
by Michael R. Burch

Smaller and darker
than their closest kin,
the faeries learned only too well
never to dwell
close to the villages of larger men.

Only to dance in the starlight
when the moon was full
and men were afraid.
Only to worship in the farthest glade,
ever heeding the raven and the gull.



Chit Chat: in the Poetry Chat Room
WHY SHULD I LERN TO SPELL?
HELL,
NO ONE REEDS WHAT I SAY
ANYWAY!!! :(

Sing for the cool night,
whispers of constellations.
Sing for the supple grass,
the tall grass, gently whispering.
Sing of infinities, multitudes,
of all that lies beyond us now,
whispers begetting whispers.
And i am glad to also whisper . . .

I WUS HURT IN LUV I’M DYIN’
FER TH’ TEARS I BEEN A-CRYIN’!!!

i abide beyond serenities
and realms of grace,
above love’s misdirected earth,
i lift my face.
i am beyond finding now . . .

I WAS IN, LOVE, AND HE ******* ME!!!
THE ****!!! TOTALLY!!!

i loved her once, before, when i
was mortal too, and sometimes i
would listen and distinctly hear
her laughter from the juniper,
but did not go . . .

I JUST DON’T GET POETRY, SOMETIMES.
IT’S OKAY, I GUESS.
I REALLY DON’T READ THAT MUCH AT ALL,
I MUST CONFESS!!! ;-)

Travail, inherent to all flesh,
i do not know, nor how to feel,
although i sing them nighttimes still:
the bitter woes, that do not heal . . .

POETRY IS BORING!!!
SEE, IT *****!!! I’M SNORING!!! ZZZZZZZ!!!

The words like breath, i find them here,
among the fragrant juniper,
and conifers amid the snow,
old loves imagined long ago . . .

WHY DON’T YOU LIKE MY PERFICKT WORDS
YOU USELESS UN-AMERIC’N TURDS?!!!

What use is love, to me, or Thou?
O Words, my awe, to fly so smooth
above the anguished hearts of men
to heights unknown, Thy bare remove . . .

Keywords/Tags: Poetry, writing, chit, chat room, forum, website, social media, workshop, mortal, mortality, grass, multitudes, Walt Whitman, love, awe, serenity, serenities, grace, heights, Parnassus, art, spelling, grammar



Renee Vivien Translations

Renee Vivien was a British lesbian and cross-dresser who wrote poems primarily in French.

Song
by Renée Vivien
loose translation/interpretation by Michael R. Burch

When the moon weeps,
illuminating flowers on the graves of the faithful,
my memories creep
back to you, wrapped in flightless wings.

It's getting late; soon we will sleep
(your eyes already half closed)
steeped
in the shimmering air.

O, the agony of burning roses:
your forehead discloses
a heavy despondency,
though your hair floats lightly ...

In the night sky the stars burn whitely
as the Goddess nightly
resurrects flowers that fear the sun
and die before dawn ...



Undine
by Renée Vivien
loose translation/interpretation by Kim Cherub (an alias of Michael R. Burch)

Your laughter startles, your caresses rake.
Your cold kisses love the evil they do.
Your eyes―blue lotuses drifting on a lake.

Lilies are less pallid than your face.

You move like water parting.
Your hair falls in rootlike tangles.
Your words like treacherous rapids rise.
Your arms, flexible as reeds, strangle,

Choking me like tubular river reeds.
I shiver in their enlacing embrace.
Drowning without an illuminating moon,
I vanish without a trace,

lost in a nightly swoon.



Veronica Franco translations

Veronica Franco (1546-1591) was a Venetian courtesan who wrote literary-quality poetry and prose.

Capitolo 19: A Courtesan's Love Lyric (I)
by Veronica Franco
loose translation by Michael R. Burch

"I resolved to make a virtue of my desire."

My rewards will be commensurate with your gifts
if only you give me the one that lifts
me laughing...

And though it costs you nothing,
still it is of immense value to me.

Your reward will be
not just to fly
but to soar, so high
that your joys vastly exceed your desires.

And my beauty, to which your heart aspires
and which you never tire of praising,
I will employ for the raising
of your spirits. Then, lying sweetly at your side,
I will shower you with all the delights of a bride,
which I have more expertly learned.

Then you who so fervently burned
will at last rest, fully content,
fallen even more deeply in love, spent
at my comfortable *****.

When I am in bed with a man I blossom,
becoming completely free
with the man who loves and enjoys me.

Here is a second, more formal version of the same poem, translated into rhymed couplets...

Capitolo 19: A Courtesan's Love Lyric (II)
by Veronica Franco
loose translation/interpretation by Michael R. Burch

"I resolved to make a virtue of my desire."

My rewards will match your gifts
If you give me the one that lifts
Me, laughing. If it comes free,
Still, it is of immense value to me.
Your reward will be—not just to fly,
But to soar—so incredibly high
That your joys eclipse your desires
(As my beauty, to which your heart aspires
And which you never tire of praising,
I employ for your spirit's raising) .
Afterwards, lying docile at your side,
I will grant you all the delights of a bride,
Which I have more expertly learned.
Then you, who so fervently burned,
Will at last rest, fully content,
Fallen even more deeply in love, spent
At my comfortable *****.
When I am in bed with a man I blossom,
Becoming completely free
With the man who freely enjoys me.

Franco published two books: "Terze rime" (a collection of poems)and "Lettere familiari a diversi" (a collection of letters and poems). She also collected the works of other writers into anthologies and founded a charity for courtesans and their children. And she was an early champion of women's rights, one of the first ardent, outspoken feminists that we know by name today. For example...

Capitolo 24
by Veronica Franco
loose translation/interpretation by Michael R. Burch

(written by Franco to a man who had insulted a woman)

Please try to see with sensible eyes
how grotesque it is for you
to insult and abuse women!
Our unfortunate *** is always subject
to such unjust treatment, because we
are dominated, denied true freedom!
And certainly we are not at fault
because, while not as robust as men,
we have equal hearts, minds and intellects.
Nor does virtue originate in power,
but in the vigor of the heart, mind and soul:
the sources of understanding;
and I am certain that in these regards
women lack nothing,
but, rather, have demonstrated
superiority to men.
If you think us "inferior" to yourself,
perhaps it's because, being wise,
we outdo you in modesty.
And if you want to know the truth,
the wisest person is the most patient;
she squares herself with reason and with virtue;
while the madman thunders insolence.
The stone the wise man withdraws from the well
was flung there by a fool...

Life was not a bed of roses for Venetian courtesans. Although they enjoyed the good graces of their wealthy patrons, religious leaders and commoners saw them as symbols of vice. Once during a plague, Franco was banished from Venice as if her "sins" had helped cause it. When she returned in 1577, she faced the Inquisition and charges of "witchcraft." She defended herself in court and won her freedom, but lost all her material possessions. Eventually, Domenico Venier, her major patron, died in 1582 and left her with no support. Her tax declaration of that same year stated that she was living in a section of the city where many destitute prostitutes ended their lives. She may have died in poverty at the age of forty-five.

Hollywood produced a movie based on her life: "Dangerous Beauty."

When I bed a man
who—I sense—truly loves and enjoys me,
I become so sweet and so delicious
that the pleasure I bring him surpasses all delight,
till the tight
knot of love,
however slight
it may have seemed before,
is raveled to the core.
—Veronica Franco, loose translation/interpretation by Michael R. Burch

We danced a youthful jig through that fair city—
Venice, our paradise, so pompous and pretty.
We lived for love, for primal lust and beauty;
to please ourselves became our only duty.
Floating there in a fog between heaven and earth,
We grew drunk on excesses and wild mirth.
We thought ourselves immortal poets then,
Our glory endorsed by God's illustrious pen.
But paradise, we learned, is fraught with error,
and sooner or later love succumbs to terror.
—Veronica Franco, loose translation/interpretation by Michael R. Burch

In response to a friend urging Veronica Franco to help her daughter become a courtesan, Franco warns her that the profession can be devastating:

"Even if Fortune were only benign and favorable to you in this endeavor, this life is such that in any case it would always be wretched. It is such an unhappy thing, and so contrary to human nature, to subject one's body and activity to such slavery that one is frightened just by the thought of it: to let oneself be prey to many, running the risk of being stripped, robbed, killed, so that one day can take away from you what you have earned with many men in a long time, with so many other dangers of injury and horrible contagious disease: to eat with someone else's mouth, to sleep with someone else's eyes, to move according to someone else's whim, running always toward the inevitable shipwreck of one's faculties and life. Can there be greater misery than this? ... Believe me, among all the misfortunes that can befall a human being in the world, this life is the worst."

I confess I became a courtesan, traded yearning for power, welcomed many rather than be owned by one. I confess I embraced a *****'s freedom over a wife's obedience.—"Dangerous Beauty"

I wish it were not considered a sin
to have liked *******.
Women have yet to realize
the cowardice that presides.
And if they should ever decide
to fight the shallow,
I would be the first, setting an example for them to follow.
—Veronica Franco, loose translation/interpretation by Michael R. Burch



Yahya Kemal Beyatli translations

Yahya Kemal Beyatli (1884-1958) was a Turkish poet, editor, columnist and historian, as well as a politician and diplomat. Born born Ahmet Âgâh, he wrote under the pen names Agâh Kemal, Esrar, Mehmet Agâh, and Süleyman Sadi. He served as Turkey’s ambassador to Poland, Portugal and Pakistan.

Sessiz Gemi (“Silent Ship”)
by Yahya Kemal Beyatli
loose translation by Nurgül Yayman and Michael R. Burch

for the refugees

The time to weigh anchor has come;
a ship departing harbor slips quietly out into the unknown,
cruising noiselessly, its occupants already ghosts.
No flourished handkerchiefs acknowledge their departure;
the landlocked mourners stand nurturing their grief,
scanning the bleak horizon, their eyes blurring...
Poor souls! Desperate hearts! But this is hardly the last ship departing!
There is always more pain to unload in this sorrowful life!
The hesitations of lovers and their belovèds are futile,
for they cannot know where the vanished are bound.
Many hopes must be quenched by the distant waves,
since years must pass, and no one returns from this journey.

Full Moon
by Yahya Kemal Beyatli
loose translation by Nurgül Yayman and Michael R. Burch

You are so lovely
the full moon just might
delight
in your rising,
as curious
and bright,
to vanquish night.

But what can a mortal man do,
dear,
but hope?
I’ll ponder your mysteries
and (hmmmm) try to
cope.

We both know
you have every right to say no.

The Music of the Snow
by Yahya Kemal Beyatli
loose translation/interpretation by Michael R. Burch

This melody of a night lasting longer than a thousand years!
This music of the snow supposed to last for thousand years!

Sorrowful as the prayers of a secluded monastery,
It rises from a choir of a hundred voices!

As the *****’s harmonies resound profoundly,
I share the sufferings of Slavic grief.

Then my mind drifts far from this city, this era,
To the old records of Tanburi Cemil Bey.

Now I’m suddenly overjoyed as once again I hear,
With the ears of my heart, the purest sounds of Istanbul!

Thoughts of the snow and darkness depart me;
I keep them at bay all night with my dreams!

Translator’s notes: “Slavic grief” because Beyatli wrote this poem while in Warsaw, serving as Turkey’s ambassador to Poland, in 1927. Tanburi Cemil Bey was a Turkish composer. Keywords/Tags: Beyatli, Agah, Kemal, Esrar, Turkish, translation, Turkey, silent, ship, anchor, harbor, ghosts, grief, Istanbul, moon, music, snow



Lines for My Ascension
by Michael R. Burch

I.
If I should die,
there will come a Doom,
and the sky will darken
to the deepest Gloom.

But if my body
should not be found,
never think of me
in the cold ground.

II.
If I should die,
let no mortal say,
“Here was a man,
with feet of clay,

or a timid sparrow
God’s hand let fall.”
But watch the sky darken
to an eerie pall

and know that my Spirit,
unvanquished, broods,
and cares naught for graves,
prayers, coffins, or roods.

And if my body
should not be found,
never think of me
in the cold ground.

III.
If I should die,
let no man adore
his incompetent Maker:
Zeus, Jehovah, or Thor.

Think of Me as One
who never died―
the unvanquished Immortal
with the unriven side.

And if my body
should not be found,
never think of me
in the cold ground.

IV.
And if I should “die,”
though the clouds grow dark
as fierce lightnings rend
this bleak asteroid, stark ...

If you look above,
you will see a bright Sign―
the sun with the moon
in its arms, Divine.

So divine, if you can,
my bright meaning, and know―
my Spirit is mine.
I will go where I go.

And if my body
should not be found,
never think of me
in the cold ground.


Published as the collection "Daredevil"

Veronica Franco translations

Veronica Franco (1546-1591) was a Venetian courtesan who wrote literary-quality poetry and prose.

Capitolo 19: A Courtesan's Love Lyric (I)
by Veronica Franco
loose translation by Michael R. Burch

"I resolved to make a virtue of my desire."

My rewards will be commensurate with your gifts
if only you give me the one that lifts
me laughing...

And though it costs you nothing,
still it is of immense value to me.

Your reward will be
not just to fly
but to soar, so high
that your joys vastly exceed your desires.

And my beauty, to which your heart aspires
and which you never tire of praising,
I will employ for the raising
of your spirits. Then, lying sweetly at your side,
I will shower you with all the delights of a bride,
which I have more expertly learned.

Then you who so fervently burned
will at last rest, fully content,
fallen even more deeply in love, spent
at my comfortable *****.

When I am in bed with a man I blossom,
becoming completely free
with the man who loves and enjoys me.

Here is a second, more formal version of the same poem, translated into rhymed couplets...

Capitolo 19: A Courtesan's Love Lyric (II)
by Veronica Franco
loose translation/interpretation by Michael R. Burch

"I resolved to make a virtue of my desire."

My rewards will match your gifts
If you give me the one that lifts
Me, laughing. If it comes free,
Still, it is of immense value to me.
Your reward will be—not just to fly,
But to soar—so incredibly high
That your joys eclipse your desires
(As my beauty, to which your heart aspires
And which you never tire of praising,
I employ for your spirit's raising) .
Afterwards, lying docile at your side,
I will grant you all the delights of a bride,
Which I have more expertly learned.
Then you, who so fervently burned,
Will at last rest, fully content,
Fallen even more deeply in love, spent
At my comfortable *****.
When I am in bed with a man I blossom,
Becoming completely free
With the man who freely enjoys me.

Franco published two books: "Terze rime" (a collection of poems) and "Lettere familiari a diversi" (a collection of letters and poems). She also collected the works of other writers into anthologies and founded a charity for courtesans and their children. And she was an early champion of women's rights, one of the first ardent, outspoken feminists that we know by name today. For example...

Capitolo 24
by Veronica Franco
loose translation/interpretation by Michael R. Burch

(written by Franco to a man who had insulted a woman)

Please try to see with sensible eyes
how grotesque it is for you
to insult and abuse women!
Our unfortunate *** is always subject
to such unjust treatment, because we
are dominated, denied true freedom!
And certainly we are not at fault
because, while not as robust as men,
we have equal hearts, minds and intellects.
Nor does virtue originate in power,
but in the vigor of the heart, mind and soul:
the sources of understanding;
and I am certain that in these regards
women lack nothing,
but, rather, have demonstrated
superiority to men.
If you think us "inferior" to yourself,
perhaps it's because, being wise,
we outdo you in modesty.
And if you want to know the truth,
the wisest person is the most patient;
she squares herself with reason and with virtue;
while the madman thunders insolence.
The stone the wise man withdraws from the well
was flung there by a fool...

Life was not a bed of roses for Venetian courtesans. Although they enjoyed the good graces of their wealthy patrons, religious leaders and commoners saw them as symbols of vice. Once during a plague, Franco was banished from Venice as if her "sins" had helped cause it. When she returned in 1577, she faced the Inquisition and charges of "witchcraft." She defended herself in court and won her freedom, but lost all her material possessions. Eventually, Domenico Venier, her major patron, died in 1582 and left her with no support. Her tax declaration of that same year stated that she was living in a section of the city where many destitute prostitutes ended their lives. She may have died in poverty at the age of forty-five.

Hollywood produced a movie based on her life: "Dangerous Beauty."

When I bed a man
who—I sense—truly loves and enjoys me,
I become so sweet and so delicious
that the pleasure I bring him surpasses all delight,
till the tight
knot of love,
however slight
it may have seemed before,
is raveled to the core.
—Veronica Franco, loose translation/interpretation by Michael R. Burch

We danced a youthful jig through that fair city—
Venice, our paradise, so pompous and pretty.
We lived for love, for primal lust and beauty;
to please ourselves became our only duty.
Floating there in a fog between heaven and earth,
We grew drunk on excesses and wild mirth.
We thought ourselves immortal poets then,
Our glory endorsed by God's illustrious pen.
But paradise, we learned, is fraught with error,
and sooner or later love succumbs to terror.
—Veronica Franco, loose translation/interpretation by Michael R. Burch

In response to a friend urging Veronica Franco to help her daughter become a courtesan, Franco warns her that the profession can be devastating:

"Even if Fortune were only benign and favorable to you in this endeavor, this life is such that in any case it would always be wretched. It is such an unhappy thing, and so contrary to human nature, to subject one's body and activity to such slavery that one is frightened just by the thought of it: to let oneself be prey to many, running the risk of being stripped, robbed, killed, so that one day can take away from you what you have earned with many men in a long time, with so many other dangers of injury and horrible contagious disease: to eat with someone else's mouth, to sleep with someone else's eyes, to move according to someone else's whim, running always toward the inevitable shipwreck of one's faculties and life. Can there be greater misery than this? ... Believe me, among all the misfortunes that can befall a human being in the world, this life is the worst."

I confess I became a courtesan, traded yearning for power, welcomed many rather than be owned by one. I confess I embraced a *****'s freedom over a wife's obedience.—"Dangerous Beauty"

I wish it were not considered a sin
to have liked *******.
Women have yet to realize
the cowardice that presides.
And if they should ever decide
to fight the shallow,
I would be the first, setting an example for them to follow.
—Veronica Franco, loose translation/interpretation by Michael R. Burch

Keywords/Tags: Veronica Franco, France, French, courtesan, translation, poetess, poetic expression, love, virtue, desire, lyric, lyrical, gifts, rewards, cost, costs, value, fly, soar, joy, joys, beauty, heart, spirit, spirits

I want poetry to break out of it's underground cave
Break out of the solitary lonely, locked cage.


I want my poetry to be capable of inspiring change
I want to illustrate beauty in a verse beautifully maimed
I want to communicate the tender sudden pulse of a surface wound
I want my poetry to be blueprints for change, in the world, or a room
I want to connect the universal nerve of tremors and feelings
I want to connect wires and vessels, shifting cells and ceilings
I want to broadcast this current human condition,
Rewiring like a revolutionary electrician
I want to transcend my, and next time,
With my poems added to anthologies
And each of their lines
Being recited by literary scholars and dedicated readers


But I have accepted some poets are popular during their lifetimes
Like Alice Cary, and Maya Angelou
With acknowledged, renowned, printed
Published Stanzas, and lines.
I want to at the very least, be one of those who guard a hidden, folded..
[Rather than outdated, infamous, tattered and broken]
..genuis.
Or maybe an answer to some past hanging question
Found in the very letters in my words to
The trademarked inflection
Breathing a bashful verse that grew in this universe
Or the next
To strengthen roots of the beauty of language
The older, the wiser, the more interpreted complex
Not the unknown but claimed roots of American poetry
And some
May close the **** kindle. Or rip out the last page.
After I die, I might return with bones live with rage.


Because if nothing has happened, I will continue to say:
I want my poetry to be capable of inspiring change.


Because we are destroying a world we should be killing fighting to save.
(Hopefully this shan't be said again from a grave.)
Each person who has read solely to write one more page
Take your weapons, inspire, engage
None can lay bricks until a clear path is paved.

iii.viii.xii

Step one is waking up
and writing about your day.

I want to talk about language,
your mothers cheapest wine and worst blueberry jam
staining all your best clothes with verses.
Vignettes appearing all over
the rented tuxedo from the wedding.
Dark ink and oil separates in a margarita glass
soaking into the cuts on your dry lips,
dusting your hair and the spaces
between each individual vertebrae.

Syllables dripping from the tip of your nose
and fingernails
leave novels on the linoleum and
books of sentence fragments on the hardwood.
Poets bleed into cracks on fine china
pooling into poems.
Space heaters emit quotes from dead people
I sign each word when
the analogue clock ticks,
each poem adding another minute to the day.
I’m always hoping I can squeeze in a few more hours
so I can watch the ****** orange sky
with grass in my shirt,
the Pixies mumbling in the background
leaving lyrics trapped in my teeth.

Anthologies of letters
between man and his dog
hidden onomatopoeias in every backyard.
I'll write you 364 days of the year
too many paragraphs to fill the barbecue.
Burn through pages with paper matches
making enough poems to last a decade.

Transfer phrases into the soles of my shoes,
I want to walk on water,
the "W" curled up beside my baby toe.
Every inch of the fabric we call skin,
stamps and ink pads,
turn everything to poetry.
Despite seas of fog
where breathing stops the words
from forming in your throat,
the only way to express is by experience
and frantic fountain pens.
Smoke on the balcony
writes starry sonnets about the girl in your bed
lining the waxing moon with poetry,
a **** homage to Shakespeare himself.

Serendipity;
finding something good without looking for it.
A feeling I have encountered
keeping my breathing sporadic,
rarely setting me on fire.
Living Chinese finger traps
burning blue poems on my palms
splotching the back of my neck
licking up my thigh and hips.

Let me throw away my common sense,
the final step of becoming a poet.

I was gagging on poetry
And nothing could help:

I was gagging on poetry
So they let me lay my head
On Emily's desk
And her inkwell spilled.

I was gagging on poetry
And they covered me up
With Whitman's army blanket
On which I promptly threw up.

I was gagging on poetry
And the Poet Laureate
Sent me a get well bouquet
Of forget me knots.

I was gagging on poetry
And all my poems
Kept getting rejected
For Selective Service.

I was gagging on poetry
And they performed
The Heimlich maneuver

And up came
Twelve autobiographical
Sketches of poets

Thirteen anthologies

Three missing manuscripts

Two thesaurus books

One rhyming dictionary

And my good luck eraser.

Celebrate the invisible embrace.
You will be quite alone,
When the altruistic deed is done.

Content your heart in silence.
No choir will raise its voice
To sing your praises.

Consign your life to anonymity.
History no longer needs
Martyrs to fill anthologies.

Comfort your dreams in oleander.
Flowers are an appropriate caress,
For love conferred in obscurity.

Cultivate a flair for solitude.
Isolation is the purifying fire
That steels a damascene soul.

☺♥☺♥☺♥☺♥

The worst will be found toward the end of the book
When you’re scanning the lines of a weighty anthology.
Centuries have shaken what works can be shook,
and what’s old is refined – and I make no apology.

Angst-ridden ramblings, so fashionably bleak
Start appearing somewhere past the middle, I fear
With those modernist psyches, whose raggedly weak
and depressing confessions sling mud in the ear.

Like the scribblers of Suicide, brimming with bile
or the autodestructive self-pitying ******,
whose quaint observations enshrining the vile
are a crime against life – and an art for the loser.

You ideologues, with your axes to grind,
propagandizing causes in militant styles
ought to  stay in the hills, where the struggle is defined,
and spare us the old dialectical wiles.

The Feminist scribe, with her *** for a mouth,
Ever pressing her case, for fallopian reasons
Grows saggingly sterile. Her muses fly south
with the passing of harvests and goddessless seasons.

Absurdists, surrealists, and nihilist mystics
whose hymns to destruction make glory of chaos
should leave the black humor to God and ballistics.
Your poems, like Judas, are bound to betray us.

The Freudian flirt (whose neuroses abound),
And the Jungian shamans (their animas, too),
ought to rest on their couches. Why should they be found
By the wellsprings of Spirit, whose guidance is true.

The art-lover’s lines gild a frame around Knowledge.
Their poems are like an art history course.
As they flit past the idols they studied in college
their name-dropping odes are a grand tour-de–force.

Sixties drug-revelers, love beads a-jingle
And brothers dashiki-clad, howling at Nixon
no longer strike chords in my soul. Not a single sitar lick
nor visions of hippie-chick *****.

You rhymers and rappers of rhythms in sample
Whose words like a kick-drum send shock through old Whitey
Now cease from your chanting. The genre is ample.
Your gangstering paeans are too fly-by-nighty.

Revived Roman legions, who relish things Latin;
Your martial convictions inspire the hero.
But while you are looking for cities to flatten,
remember – old Julius was nobler than Nero.

The theme of World Peace –  this crops up near the ending:
a desperate hope for New-Agers and liberals,
who cherish a dream of reality-bending
Through networking, magic, and energized crystals…

But what can be shaken shall perish, forgotten.
Anthologies show us that truth is enduring.
All praises and laurels shall prove misbegotten.
The Word become flesh is the most reassuring.

So I leave the anthology, closing its cover.
Three-quarters at least seemed like nonsense to me.
Yet still, I admit, I’m a poetry lover.
Let time do its work and in future – we’ll see…

I wanted to head to the African Union to speak my mind
So I wrote a letter so they could respect my kind
Then I thought maybe if I go to the paper they'd hear me out
Seeing as the newspaper is the bastion of the spectacle
But I got hysterical, as they told me I should come back later
So I voiced my thoughts and pulled out a hailer

Here's the story, the revolution is in labour
Africa is a child who needs hospice, he needs to go to theatre
But many would turn a blind eye so maybe this is a show that should play out in theatre
But maybe that wouldn't be enough so a black story should be told on a white sheet called the cinematic theatre
African child get your 3D glasses and take a moment for some introspection
This is a dedication which needs intrinsic meditation
So instead of fainting, here's a painting
Do you still treasure your body like the gods said you should?
Do you remember the time when the San were working on wood?
Sailing the seas and they would later be called the Grimaldi
They could sail the seas don't believe the whitewashed folly

African Child do you remember your clesetial roots?
Or have you been embossed in the culture of Timberland boots?
Do you still grow your hair for your follicles are receptors like an antenna
Or has the weave been weaved into your scalp so much that you only see white tapestries
Your afro was your beauty and now all you have in your head are glued and knitted seams
Martin Luther had a dream but the only colour that succeeds seems to be the one that gleams

Are we to remain a colonised progeny and have amnesia when it comes to our galactic ancestry
Yet we're quick to receive European ideologies
Soon after that we earnestly accepted American anthologies
And yet we know little of our African anthropology
Have the forgotten ancestors ever received an apology?
For accepting foreign religions and capitalist industry

But no they have all been reduced to slaves, what of our chiefs and sages?
No a millennium African would be quick to skip those pages
Instead we find wisdom when we're in cages
Our ancestors we've put in a box and that's not our original coffin
Through the coffers of the soul you see them in your past lives and they have been trapped in an X-box
Yes they are animated and we are left mentally incarcerated in the television plasma box
You would remember that many who still held the truth were given small pox

So I say on this day, make things of clay
And stage your play of our beginnings - breathing in sun rays
Hold onto to your dread locks for some dread that that so many uneven black threads can lock
Made to believe that whiteness is intelligence and blackness pestilence
Well spell out your excellence in trance states and let them call it deliverance
African child, wake up, the planet needs you
You have been the seed Alkebulan
Way before Scipio Africanus canned us
Rid yourself of these heinous cancers
Hear them the Martian chanters
They are ululating calling out all ascended masters
We feel the sacrifices of the yajamantas
We are one with nature and we bleed with the sun
Rise and grow to unite the world for beyond complexion we are one.

It had been four months since I started
reading his favorite poems aloud
to crack through congested silence.  

I memorized the way
his nose crinkled up when I stuttered,
his husky chuckle after I read
one of his favorite lines,
the smell of yellowed, dog-eared pages.  

I got to know this man
who had seemingly lost everything
and was just waiting
for his children to visit,
his medications to be dropped off,
to be with his wife once more.

I wore his favorite burgundy scrubs;
it was almost his birthday
and I had a new book to add
to his collection.

They didn’t tell me before I walked in.

It was bare:
the room reeked of bleach,
there were no sheets on the bed,
his few belongings were stuffed
in a cardboard box in the corner of the floor.  

I sat on the mattress and wondered
why his kids were not here  
mourning or making arrangements,
why I didn’t get to see the slight tug
of his lips to form a smirk when
I showed him the new Tennyson
that would now just gather dust.

He left me his anthologies in his will.


*Allison Sylvia
November 30, 2014
4:41:38 PM

Back in the day when I first started writing poetry
I was writing just to pass the time
Because at the time things weren't all too great
and the pressure came crumbling
What I wanted and hoped to gain from it was always there
In the subconscious of my mind
Though back then I wasn't thinking of it
Because like many others I was just writing
To relieve myself of years of emotional pain/abuse
What I really wanted from writing poetry
Wasn't just to write and never share with the world
Wasn't just to revel within fits of insecurity and manipulation
What I wanted from writing poetry was fame
That's what it's always been about for me
Though as I stated earlier I didn't know it at the time
But it was always the fame, the power, the popularity, the respect,
The admiration, the love etc...
And in my opinion poetry did bring me a small amount of it though to others it may seem like a bit of a larger slice of it but compared to other poets I really wasn't doing **** lol but yet I received numerous accolades.

MyPoetryForum Top 50 Poems Of 2013 By Rating

#13. "+ America Walking -"
#45. "Passing Clouds"

MyPoetryForum Top 50 Poems Of 2012 By Rating

#12. "Wonderwicked"
#13. "Download"
#14. "Evergreen Suite"
#15. "Pixel Juliet"
#16. "Coffee Fashion"
#28. "Vanilla Amour"

MyPoetryForum Top 50 Poems Of 2011 By Rating

#28. "When Two Poets Fall In Love Pt. 4"


MyPoetryForum Top 50 Poems Of 2010 By Rating

#41. "7 Years"
#50 "Extraordinary"

MyPoetryForum Top 50 Poems Of 2009 By Rating

#5. "Spontaneous Desires"
#13. "A Thousand Words Of Beauty Pt. 1"

Today's Writing February 2011 Black History Month Writer Of The Month (Prior to defunction)

People in different parts of the world using my poems in their videos, in their photo captions, on their blogs.

Poetry featured in a few anthologies etc...

Wrote and published my own poetry books

Ran my own poetry club at my local library

Hell, I even had subscriptions to about five different poetry/writing magazines at once with my subscription to POETRY magazine spanning nine years because I would by a ******* subscription every paycheck so I would never have to worry about renewing.

I pretty much got what I desired but then I suddenly woke up and realized that I yes I do truly and badly want the fame but I want to obtain it through another medium.

Poetry isn't my passion.
Music is my passion.

So stop ******* asking me if I'm still writing poetry!
I don't and I don't ******* desire to write!
*******!

I imagine my death a lot.

I am 28 years old
With two poetry anthologies
And a novel out
Living in New York City with a
Husband who doubles as a musician.
No kids,
Three dogs.
I laugh so hard I combust into nothingness
And my husband writes my memory
Into a song.

I am 19 years old
And looking over the edge of a
Casino building in Atlantic City.
Just last week a man
Flung himself down onto the ghost streets
Because no one told him
There’d be no gun in his game of roulette.
He had to take matters into his own hands.
The rain washed him into the ocean.
I hope it does the same for me.

I am 60 years old
And living in the New Mexico desert
Just outside of Roswell.
I look up at the night sky and
Hunt for UFOs.
I am yelling at the clouds
‘Just take me already!
Take these withered bones,
Take this soft skin!
Find me a new home!
One where I fit in!’
I have a heart attack just as they come to collect me.

I am 18 years old,
A sad girl from New Jersey.
A sad girl who grinds her teeth into stardust,
Who plays with the frayed ends of existence,
Who smiles with fury.

I imagine my death a lot.
But you see,
I’m dying.
I’m dying dying dying dying
And you are too.

There is no need for imagining.

i've been asked to be
in fancy anthologies,
be in fancy magazines.

to write freely on the page,
fill it with words,
light it up in flames.

after all,
everything i've learned to love,
vanishes in the end.

“Lucratively tedious” is what I called him.
That odd-ball collector of street-wise poets
Bulking up the lost devil anthologies while
Drowning black coffee with wordsmith stoics
Ready to deal a winning hand
at a moment’s notice.

The carnal majesty of fever blizzard erotica,
Stories penned with the sweat on oily skins.
The curtains of neon phantasmagoria
showcase psychosexual fiends and harlequins
Sing away raw vocal cord fire while I’m
dancing with Queens of glamorous sins.

He had that red tail swinging in the rain
She watched, the emissary of jaded seduction
With pale skin and leather lips abundant
Stroking hair full of snakes and destruction
With a wardrobe fit for 1980s metal scenes
As he in turn supplemented instruction.

It’s those bedlam vices creeping through the creases
Playing in our heads like a thousand movie reels
Desired fantasies mutated into corrupted realities
Shameful like the artificial chemicals we call meals
Some things need to be ruined to be appreciated
Just Like ol’ Lucy in her stiletto heels.

When first we met our words with each
Were laced with smile and touch.  Our eyes,
Confessed and broke at the closing café
And fused in joy and salt, opened up
With long, arresting arms at our sides.

You brought me to your toppled room,
I counted a number of worn, weary 
Books, various anthologies, travelogues 
And philosophers, a few fierce Poets,
Looking on, strategies for study, 
All assembled, with great measure,
It was an alternate version of my own
Battle ground library.  Then, I was yours 
But you were never mine.

                                           Your stone, 
Walled spirit encroached upon me 
And I was unset to siege at the base 
Of your winding turret and waged 
With you a fortnight of five full years
When you rushed forth on your crusades
You left me, flung, far from the holy lands.

in the shutter of my camera.
in all the worn holes in my cardigans.
in the smell of your cooking.
in the sound of cutting strawberries.
in the turning pages of all the anthologies.
in the broken windows.
in the crumbled sheets.
in all the songs I hear.
in the place where you used to sleep.

As men, we respond. With sticks, in garments wet with black anthologies of life
Which whistles out of us as thorns, and sticky eyes that point that way. Exact hours.
Despite lust, from what has taken us before- to that androgynous triumph that brings
Us tears as we undo our buttons. That rakes time over our backs with the needles of small
Trumpets the teeth of ghosts, blood on the stems, awarded to brass ballerinas dancing on
Wounds each quotient inside our breaths, terrified strips the branches from the everywhereness
In front of what we can't see. Or open our eyes. Or follow our hands. The legs that we used to know.
The pallid girl I called home, dusty eyelids with energies sharpened with the sweet water and gold Threads atop a haystack I burned in pyres of all the yesterdays.

Once I was human, but not for my breaths or my volume or my sullied attitudes. Not for the denature of
My rotten mood, or the noxious smells from some evil words, or noisome meat, or grueling and expired
Thoughts. Unrolled canvases cauterized with the silks shreds in a suitcase beyond. A caption unread Intwined at the bow of her hip, or the hems that dotted her skin. Black and blue staled songs a father Sung so long ago. The hill rolled on as our bodies clung to satchels we hid, each watery step we steeped In the mud, culms fell and I didn't think, I haven't thought; everything I forgot approaches the tines of my Nose once aching thews overcame the moors I'd undone, there acarpous hues were pried into me.

Everything I've seen, is a muse that disperses my lungs.
Is the incantation of the thoughts I don't spake. Intwined in the fingers I shook, at the people that I
Wanted to hate, I am steal the weight of their steps. This urgency, penury hides. The silt hasn't moved
From the cenacle place. While cloffined the ashes stuck to my face. An eroteme I still uphold
As if this rock inside of my chest, only wanes when I lay on her breast.

hello poetry, can you put me in the mood
give me your sacred anthologies
your oceans and rivers too

human insight seems to fail in everyone I knew
like painted sandcastles on a gravel beat
a song lyric draped in Princeton blue

don't hoard the cadavers from both of us
this is one right you cannot undo
licorice rope to tie the knot, in the coma you've slipped into

.
When first we met our words with each
Were laced with smile and touch.  Our eyes,
Confessed and broke at the closing café
And fused in joy and salt, opened up
With long, arresting arms at our sides.

You brought me to your toppled room,
I counted a number of worn, weary
Books, various anthologies, travelogues
And philosophers, a few fierce Poets,
Looking on, strategies for study,
All assembled, with great measure,
It was an alternate version of my own
Battle ground library.  Then, I was yours
But you were never mine.

                                           Your stone,
Walled spirit encroached upon me
And I was unset to siege at the base
Of your winding turret and waged
With you a fortnight of five full years
When you rushed forth on your crusades
You left me, flung, far from the holy lands.