Earthquake Poem
3/5/2014

What do you suppose an earthquake does?

Sure, there are the shakes and scares,
Seismic shifts accompanied by tectonic tears.
But ditch this global perspective,
Figure out what rips those ripples, detective.

Let’s see you pound at the ground.
Hit it hard, ‘til you hear a heavy sound.
Is that enough to fissure some asphalt?
Tell me, could you bring this spinning planet to a sudden halt?

I can’t say for sure, what an Earth-quake does.
Though I’ve been a victim,
Earth isn’t where my quake was.
An Earth-less earthquake,
On a planet whose name I’ve learned to forsake.

Wynn’s world wandered ‘round someone else’s orbit:
Drawn to its gravity like grapes grow on a vine;
Brightened by its solar system’s shining smile, so divine;
Emotional tides tugged in and out;
Guided by its mysterious moon’s midnight meandering about.

That’s right – an orbit with its own time flow.
Time that could stomp its heels and steal a spotlight,
Time that could manipulate a moment like jello, mayonnaise, or some other squishy substance,
Time that could crash course, while standing still,
Time that could reveal something you never knew.

What do you suppose an earthquake does?

A quake could be anything that makes you shake.
Think of quaking in fear, as an unknown figure draws near.
Think of a jittery heart, that’s been bit by a bullet.
Internal tears,
think of organs bleeding,
Think of needing,
solid ground,
but falling and time keeps stalling.

When a quiet little quiver promises to deliver,
its slight shock signal straight through the middle.
When a molten magma core fizzes its manic madness,
like a shaken soda.
When an epic eruption carries out its upward excelsior,
Rejecting the spinning without a stop.

Oh, the mountains will tumble,
The hills and valleys, they’ll crumble,
And gurgle in the raging rivers’ rumble,
As volcanoes churn out violent bubbles,
Stirring up all kinds of troubles,
For one person’s personal planet.

For one person’s personal planet,
These violent forces of nature can’t compare to an Earth-quake,
When the ground you stand on begins to break,
When you realize your senseless stability is fake.
When that little quake knocks your Earth awake,
It’s reality coming alive to take, and take, and take,
Because for love, you put everything at stake.

What do you suppose an earthquake does?
I’ll tell you – it leaves a wrecked world with a cracked core and scorched surroundings.
Just because.
Just because, love on Earth always comes with a quiet little quake.

Here's your letter.
Not the one you deserve, because I already left that one for you in the rain outside your mom's house.
But here's the letter you were wanting. The one that explains what I was feeling when I didn't have the courage to tell you.

When I left you in December, I meant it.
I no longer wanted to be in a relationship with you. I wanted to have you still in my life, but not like how we were. I craved your companionship. You craved so much more out of me. You craved my love, my happiness, my family, and my life. You craved everything I could no longer offer you. When things turned sour in December and January, I knew that we were not meant to last forever. I needed you in my life. You were my relief from anxiety. No one understood me and could help me like you did. I needed your friendship.

When we started to see each other again for coffee dates, you would calm me down from my anxiety by climbing ontop of me in the backseat of your mom's car. I never asked for that. I never even wanted that. But I could never resist your touch or the feeling of your soft lips and warm breath gliding across my skin. Your physical touch became the thing I craved most. I was addicted to the feeling of your skin on mine and I needed it more than the air we breathed.

When things escalated from meeting up for coffee, curled up in the backseat to dinner dates and seeing your friends again, I knew I was in too far. I knew there was no going back to being just friends. I knew that wasn't an option with you. I felt trapped into this relationship I didn't want. I stopped talking to everyone because I was embarrassed at the fact that I got myself back into this abusive relationship with you again. I was ashamed to tell people you were mine again.

That's when I reached out for help again. I reached out to my previous ex. He had always been there for me and I knew he would listen and try to help me without getting my parents involved. I needed away from you because you weren't making me feel the way you used to. I felt horrible. I was filled with negative thoughts about not being good enough, or being a "monster" and a "*****" because I was no longer happy with you. I was holding onto the hope that we would be back to the way we were before my grandfather died. But after countless nights of feeling suicidal, I knew I had to cut you out. You were a toxic menace in my life.

Then one night, everything was going okay. You were in a good mood and I was trying to suppress my thoughts when you took my phone and found the message that led to the final downfall. I had never seen you like that before and it is still to this day the thing that haunts me. You parked in an empty parking lot and sat on the asphalt looking the opposite direction of my car. I got out and tried to explain it to you that I wasn't happy like I was and I was done. But the only thing I remember getting out was the word "toxic."

You know what happened after that. You yelled at me that I was a ***** and a monster and that you could finally **** yourself now that you no longer had me to live for. You have to think about how this made me feel. The way you leaned in while I was driving down a windy road in the pitch black, tears in my eyes, making it impossible to see and yelling profanities and whispering threatening things in my ear. I was terrified. I was convinced you were going to hit me. I wanted you to hit me. In my thoughts I pleaded for you to hit me and to end it all. At one point, the suicidal thoughts were so loud, that I almost crashed my car with you in it. But I couldn't do that with someone else in the car. If I could just get you out of the car...

When we finally reach Michael's and you weren't sorry at all about some of the mean things you said, I vowed I would never do this to myself again. I would never put myself in this situation again. I was done with you. But I couldn't tell you that without having another meltdown like that one. So when I left you at Michael's, I called Dempsey crying and told her everything. She then told my parents before I was going to that night. When I got home they told me they were sending me off to my mom's because they were done dealing with me. I cried and begged them to help me and get me out. And as you know, that's when dad called you.

That's the story. I just laid everything out for you and if you still don't understand then you're just blind to your abusive behavior. I think about you everyday and the terrible things you did. I just hope that you don't do this to somebody else. Nobody deserves to be treated that way.

Hope this gives you the answers you were looking for.

The Ache is leaving. Three years languished by dead end jobs, drugs and friends. Last week above a bagel store, the sun morphs mute amidst travelling clouds, indifferent fluctuations of light on an otherwise featureless day.

You arrive a tight knot of anxieties over a moment in time that could only have arrived after its departure. The Ache welcomes you into their sparse interior. You trace last month’s 21st across the black mould complex; navigate piles of stacked boxes, unsure if anything is inside of them.

“I always make the best friends in departure,” the Ache says, flipping a plushy up and down by the waist.

“Maybe you can only love that which is already lost,” you reply, with an insight a friend will give you a week later.

The acid tastes bitter under your tongue. Small marks your body bursting, a glowing radiance of interconnections you’d always had but only now begun to feel. The Ache follows suit and you sit on the couch together to watch .hack//Legend of the Twilight. The come up entangles you in the spectacle; the screaming boy protagonist, the chipped tooth gag, the moe sister in need of saving from the liminal space of dead code. You take part in it; you revel in it. Bodies morph on the surface of the screen in hyperflat obscenity, their parts interchangeable to the affect of the drama. Faces invert, break and disfigure, before reformation into the self-same identity form.

A month earlier, you’d hosted a house show at your flat. Too anxious to perform you’d dropped a tab as you’ve done now. An overbearing sensation of too-much-ness — of sickening reality — washed through the nexus of your being. You writhed on the ground screaming into a microphone as a cacophony of sounds roiled through you. Everyone cheered.

The floor rose later that night. A damp, disgusting intensity that triggered contractions in your throat and chest. Pulled to the ground, you fought off your bandmate’s advances, too shocked to express your revulsion and horror, to react accordingly, to reconstitute a border of consensual sociality. You broke free and slurred “I’m no one’s! I’m no one’s!” before running out of the room. Hours later, you tried to comfort them. Weeks later, you realised how ******* ******* that had been. Months later, you learnt their friend had committed suicide days before the show.

Back in the lounge, a prince rides onto the screen on a pig. You turn to the Ache and say “This is ******* awful.”

The Ache responds “I know right?”

Outside the world burns blue with lustre. The Ache trails you and falls onto their stomach. “Oh my god,” the Ache blurts, “this is why I love acid. Everything just feels right.” They gaze wistfully at the grasses and flowers before them; catch a whiff of asphalt and nectar, intermingled. “Like, gender isn’t even a thing, you know? Just properties condensed into a legible sign to be disciplined by heteronormative governmentality.”

“Properties! Properties!” You chant, stomping around the Ache with your arms stretched out. You wave them in the air like windmills. You bare your teeth. “Properties! Properties!”

“You know what I mean, right?” The Ache asks, pointedly. “You know what I mean?”

You continue chanting “Properties!” for another minute or two, before spotting a slug on a blade of grass beneath your feet. You fall to your knees and gasp “It’s a slug!”

You and the Ache stare at the tiny referent for an indefinite period of time, absorbed in its glistening moistures. Eventually, the Ache says “I think it’s actually a snail.”

You used to read postmodern novels on acid. You loved their exploration of hyperreality; their dissection of culture as a system of meaning that arises out of our collective, desperate attempts to overcome the indifference of facticity. Read symptomatically, culture does not reveal unseen depths in the world, but rather, constitutes shallow networks of sprawling complexity — truth effects — illusions of mastery over an, otherwise, undifferentiated and senseless becoming.

Then one day, the world overwhelmed you. Down the hall, your flatmates sounded an eternal return. As they spoke in joyous abandon you traced the lines from their mouths — found their origin in idiot artefacts of Hollywood Babylon. The joy of abstraction you once relished in your books took on an all too direct horror. You recoiled. You bound your lips in hysteria, for fear of becoming another repeating machine of an all too present culture industry. Better dumb than banal — better to say nothing at all, than everything that already was and would ever be. You cried and cried until everyone left — until you were alone with your silence and your tears and your nonexistent originality.

Dusk falls in violet streaks. You reach your room on the second floor of the building, open the bedside window and stick your legs out into a cool breeze. The Ache joins you. Danny Burton, the local MP, arrives in his van, his smiling bald face plastered on its side like an uncanny double enclosing its original.

“Hey look, it’s Danny Burton, the local MP.” Danny Burton turns his head. He glares at your dangling feet for a few seconds before entering his house. “You know, this is the first time in three years he’s looked at me and it’s at the peak of my degeneracy.” You turn to the Ache. “One of my favourite past times is watching him wander around the house at night, ******* and unsure of himself. He always goes to check on his BBQ.” You bounce on the bed in mania.

“See this is what people do, right?” the Ache says, mirroring your excitement. “Like, look at that lady walking her dog.” The Ache motions, with a cruel glint in their eyes, to the passerby on the fast dimming street. “What do you think she gets out of that? Doing that every night?” Without waiting for you to respond, the Ache answers, in a low, sarcastic tone “I guess she gets enjoyment. Doing her thing. Like everyone else.” The lady and the dog disappear beyond the curve of the road. Another pair soon arrives, taking the same path as the one before.

A few months back, you’d met an old friend at an exhibition on intersectional feminism. After the perfunctory art, wine and grapes, she drove you home, back to your run down flat in an otherwise bourgeois neighbourhood. She sat silent as the sun set before the dashboard, then asked how anyone could live like this; how anyone could stand driving out of their perfect suburban home, at the same time every morning, to work the same shift every day, for the rest of their stupid life. The dull ache of routine; the slow, boring death. You said nothing. You said nothing because you agreed with her.

“Life began as self-replicating information molecules,” you reply, obliquely. “Catalysis on superheated clay pockets. Repetition out of an attempt to bind the excess of radiant light.”

It is dark now; a formless hollow, pitted with harsh yellow lamps of varying, distant sizes. The Ache flips onto their stomach and scoffs “What’s that? We’re all in this pointless repetition together?”

You respond, cautiously “I just don’t think that being smart is any better than being stupid; that our disavowed repetitions are any worthier than anyone else’s.”

The Ache returns your gaze with an intensity you’ve never seen before. “Did I say being smart was any better? Did I say that? Being smart is part of the issue. There is no trajectory that doesn’t become a habitual refrain. When you can do anything, everything becomes rote, effortless and pointless.

“But don’t act as if there’s no difference between us and these ******* idiots,” the Ache spits, motioning into the blackness beyond your frame. “I knew this one guy, this complete and utter ****. We went to a café, and he wouldn’t stop talking about the waitress, about how hot she was, how he wanted to **** her, while she was in earshot, because, I don’t know, he thought that would get him laid.

“Then we went for a drive and he failed a ******* u-turn. He just drove back and forth, over and again. A dead, automatic weight. A car came from the other lane, towards us, and waited for him to finish, but he stopped in the middle of the street and started yelling, saying **** like, ‘what does this ******* want?’ He got out of his car, out of his idiot u-turn, and tried to start a fight with the other driver — you know, the one who’d waited silently for him to finish.”

You don’t attempt a rebuttal; you don’t want to negate the Ache’s experience. Instead, you ask “Why were you hanging out with this guy in the first place?”

The Ache responds “Because I was alone, and I was lonely, and I had no one else.”

It is 2AM. Moths dance chaotic across the invisible precipice of your bedside window, between the inner and outer spaces of linguistic designation. There is a layering of history here — of affects and functions that have blurred beyond recognition — discoloured, muted, absented.

In the hollow of your bed, the Ache laughs. You don’t dare close the distance. Sometimes you find the edges of their impact and trace your own death. All your worries manifest without content. All form and waver and empty expanse where you drink deeply without a head. Because you have lost so much time already. And nothing keeps.

Months later, after the Ache has left, you will go to the beach. You will see the roiling waves beneath crash into the rocky shore of the esplanade, a violence that merges formlessly into a still, motionless horizon, for they are two and the same. You will be unable to put into words how it feels to know that such a line of calm exists out of the pull and push of endless change, that it has existed long before your birth and will exist long after your death.

The last lingering traces of acid flee your skin. Doused in tomorrow’s stupor, you close your eyes. You catch no sleep.

A hammer upon the landscape.
Thunder like a toppling mountain.

Flashes like x-ray explosions.
Supernova surprise.

Sheets of rain.
Glistening-rebar javelins
Pierce the asphalt
Shatter the concrete.

Long shards of glass
From the grey
Steel-wool clouds.

The mug stains leapfrog a linoleum asphalt countertop, sunbathing in the breakfast nook.
A magazine proofreads a hole in a bagel. Scanning for clues to the whereabouts
Of a Jewish heart. Beads of Oolong tea archipelago from a resting kettle
All the way to the 'good ' China. A cup on a pearl, laying flat… ear to the ground.
Listening to the stories only Formica can tell. Deciphering the steam
Rising from a steep. Curling whiskers into omens, embroidered upon a shaft of light
Heaven sent. Postage dew. Gilding quaint luxuries, tucked in a cozy roost
Smelling of oak musk and slow roasted dreams, evaporating before memory may lay claim
To the riddles of Morpheus. There’s an aire of Return.  
It molts in the bacon fats hovering in the strata unique to kitchen islands lousy with active volcanoes that shuffle in stocking feet and terry cloth bathrobes. Restless and foggy minded.
Looking for the keys. And...
Chewing a thumbnail. Staring out the window. Where there used to be a car in the driveway. But the officer flagged a taxi. Explains the migraine, like a Vulcan; stoically flipping switches in a fuse box wired to a vague recollection of a soiree.
All the while holding a pitchfork and today's horoscope.
For irony and street cred.

{ But out of cream cheese. }

Concurrently... This part of the house still has the rustic naivete of a celibate beatnik picking teeth with a signature pen presenting an Hawaiian girl with a vanishing skirt; blinking in and out of Vaud-villainy, like Erwin Schrödinger’s Cat. A kind of hole in a barge with an ornate cubby; loitering with sugar cubes and a bendy plastic fern.
Like the foyer to a room, still under construction.
      A busy little metaphor, lounging around the east wing of a humble abode… like news clippings in a mason jar… it’s superfluous handle threading a ceramic eye.
Like a stainless steel joke under a refrigerator magnet, pinned to a plate in your forehead. As any lamp-shade with ambition.  
      Playing to a rough Cloud, hung over an ashtray; that has seen Better Days - envy the baroque occlusion of monotony and routine, merging a hangover - into morning traffic. Replete with modest gains.
And Horizons that stab bleary eyes that would know a gypsy
By the weight of her purse…
     When the day begins, it gains a foothold by the spine of an overdue book, reclining adjacent runcible spoons and antique kitche. As a bathroom light squeaks between a door and a frame.
As ancillary and precise as a beacon for a blindfold.

Like turpentine palming a brick. And Wagner.

I used to step on the solid ground
The grey asphalt with li'l pebbles in black in it
I used to walk with cemented pavement
Where no one hinders me to enjoy the tack I'm in.

You led me to the boat
And together, we left the crowd
My knees are shaking, as if I'm freezing
You guided me to enter that narrow boat
And I had nothing but myself to bring
For it may sink with tons of extra things.

We started sailing
The curtained sky was the scene
With lil stars painted on it
And the depth of the ocean was present
It bounces the crescent up there.

I felt the wind brushed my hair
He sounds so mad with the clouds supporting him
My feet trembles with fear as my faith does.

You are with me, oh Jesus
And I asked you if you care
For I may fall from where we are
And you may not see it and forget I was there at all.

Words come from your mouth
And the wind listened with your sweet voice
You brought peace and calmed my raging seas.

I trust no one but You
Even if I don't know how far but I'm ready though
Oh held my hands indeed,
Let my grip be frozen upon your hands.

I'll sit and take a look at the vistas
And move the boat as we sail
You'll teach me how to act
And wherever we'll go, You are with me.

(6/4/2014 @xirlleelang)

My Heart Was Saying One Thing, My Mind Another ...

Some things you just know — like the feeling I get when looking at my children or the way I felt the first time I looked into the Grand Canyon. Some experiences are too strong for reason or words. There are some things, that even though they defy all conventional wisdom in your heart and your mind — you just know.

Never dying on a motorcycle is one of those things. I can’t explain it rationally, it’s just something that I’ve always known. It’s a feeling that has been deep inside of me since I first threw my right leg over the seat of that old powder blue moped. I knew I was never going to die as the result of a motorcycle crash. In many ways, I feel safest when I’m back on two-wheels and headed for points previously unknown.

Lately Though, I’ve Been Made To Feel Differently

I now had my daughter on the back of the bike with me. I’ve started to wonder whether my premonition covers just me, or does it also protect all who ride as co-pilot and passenger? Would the same Gods of 2-wheeled travel, who have watched over me for so long, also extend their protection to those I love and now share my adventures with?

Our flight from Philadelphia had arrived in Idaho Falls five days ago. We hurried to the dealership, picked up our beloved Yamaha Venture Royale, and then began our quest of another ten-day odyssey through the Rocky Mountain West. This was Melissa’s third tour with her dad, and we both shared the intense excitement of not knowing what the next week would hold. We had no specific destination or itinerary. This week would be more important than that. Just by casting our fate into the winds that blew across the eastern slopes of the great Rocky Mountains, we knew that all destinations would then be secure.

Then We Almost Hit Our First Deer

Three days ago, just South of Dupoyer Montana, two doe’s and a fawn appeared out of nowhere on the road directly in front of us. Melissa never saw them as I grabbed ******* the front brake. The front brake provides 80-90% of all stopping power on a motorcycle but also causes the greatest loss of control if you freeze up the front wheel. As the front wheel locked, the bike’s back tire swerved right and we moved violently into the left oncoming lane just narrowly missing the three deer.

They Never Moved

The old axiom that goes … Head right for the deer, because they won’t be there when you get there, wouldn’t have worked today. They just watched us go by as if it happened to them every day. Judging by the number of dead deer we had seen along highway #89 coming South, it probably did.

Strike One!

We pulled into Great Falls for the night and over dinner relived again how close we had actually come — so close to it all being over. Collisions with deer are tragic enough in a car or SUV, but on a motorcycle usually only one of the unfortunate participants gets up and walks away — and that’s almost always the deer. The rider is normally a statistic. We thanked the Gods of the highway for protecting us this day, and after a short walk around town we went back to the motel for a good (and thankful) night’s sleep.

The next morning was another one of those idyllic Rocky Mountain days. The skies were clear, there was no humidity, and the temperature was in the low 60’s with a horizon that stretched beyond forever. If we were ever to forget the reason why we do these trips just the memory of this morning would be enough to drive that amnesia away forever. We had breakfast at the 5th Street Diner, put our fleece vests on under our riding jackets, and headed South again.

We had a short ride to Bozeman today, and my daughter was especially excited. It was one of her all-time favorite western towns. It was western for sure, but also a college town. Being the home of Montana State University, and she being a college student herself, she felt particularly at home there. I loved it too.

We stopped mid-morning for coffee and took off our fleece vests. As I opened the travel trunk in the rear to put the vests away, I noticed that two screws had fallen out of the trunk lid. These were the screws that secured the top lid to the bottom or base of the trunk. I had to fix this pretty quickly, or we were liable to have the top blow off from the strong winds as we made our way down the road. We spent most of that afternoon at Ackley Lake, in the Lewis and Clark National Forest, before continuing South on Rt #89 towards Bozeman. I was still worried about the lid falling off and was using a big piece of duct tape as a temporary fix.

It was about 5:45 p.m. when we entered the small Montana town of White Sulphur Springs. They had a NAPA automotive store and by luck it was still open until six. I rushed inside and found the exact size screws that I needed. Melissa then watched me do my best ‘shade tree mechanic’ impersonation. I replaced the two missing screws while the bike was sitting in the parking lot to the left of the store. We then had fruit drinks, split a tuna salad sandwich from the café across the street, and were again on our way.

The sun was just starting to descend behind the mountains to our west, and we both agreed that this was truly the most beautiful time of day to ride. We were barely a mile out of town when I heard my daughter scream …

DAAAAAD !!!

At that moment, I felt the back of the bike move as if someone had their hand on just the rear tire and was shaking it back and forth. Then I saw it. An elk had just come out of the creek bed below, and to our right, and had misjudged how long it would take us to pass by. It darted across the highway a half second too soon brushing the back of the bike with its right shoulder and almost causing us to fall.

This time my daughter saw it coming before I did, and I’ll never forget the sound of her voice coming across the bike’s intercom at a decibel level I had never heard from her before. She is normally very calm and reserved.

We had actually made contact with the elk and stayed upright. If it had happened in front of the bike, we wouldn’t have had a chance. Thank God, with over forty years of experience and some luck, I didn’t lock up the front brake this time. That would have caused us to lose control of the front tire and as we had already lost control of the one in the back, it would have almost guaranteed a crash to our left.

Strike Two!

We rode slowly the rest of the way to Bozeman. We convinced each other that two near misses in less than a week would be enough for five more years of riding based on the odds. At the Best Western Motel in Bozeman, we unloaded the bike and went to my daughter’s favorite restaurant for Hummus. As the waitress took our order and then left, Melissa stared at me across the table with a very serious look in her eyes. “Dad, I don’t think we should ride anymore after about four o’clock in the afternoon. The animals all seem to drink twice a day, (the roads following the rivers and streams), and it’s early in the morning and later in the evening when we’re most at risk.” I said I agreed, and we made a pact to not leave before 9:30 in the morning and to be off the road by 4:00 in the afternoon.

This meant we wouldn’t be riding during our favorite part of the day which was dusk, but safety came first, and we would try as hard as we could to live within our new schedule. Our next stop tomorrow would be Gardiner Montana which was the small river town right at the North entrance (Mammoth Hot Springs) to Yellowstone National Park. There were colder temperatures, and possibly snow, in the forecast, so we put our fleece vests back on before leaving Bozeman. At 9:30 a.m. we were again headed South on Rt. #89 through Paradise Valley.

After a few stops to hike and sightsee, we arrived in Gardiner at 4:10, only a few minutes beyond our new maxim. It had already started to snow. It was early June, and as all regular visitors to Yellowstone know, it can snow in the park any of the 365 days of the year. We hoped it wouldn’t last. There was not much to do in Gardiner and as beautiful as it was here, we wanted to try and get to West Yellowstone if we were going to be stuck in the snow. We had dinner at the K-Bar Café and were in bed at the motel by the bridge before nine. All through the night, the snow continued to fall intermittently as the temperature dropped.

When we awoke the next morning, the snow had stopped but not before depositing a good two to three inches on the ground. The town plow had cleared the road, and the weather forecast for southern Montana said temperatures would reach into the high 40’s by mid-afternoon. The Venture was totally covered in snow and seemed to be protesting what I was about to ask it to do. I cleaned the snow off the bike and rode slowly across the street and filled it up with gas. I then came back to the motel, loaded our bags, and Melissa got on the bike behind me.

“Are we gonna be alright in the snow, Dad?” she asked. As I told her we’d be fine if it didn’t get any worse than it was right now, I had the ******* crossed on my left hand that was controlling the clutch.

We swung around the long loop through Gardiner, went through the Great Arch that Teddy Roosevelt built honoring our first National Park, and entered Yellowstone. As we approached the guard shack to buy our pass, the female park ranger said, “You’re going where? There’s four inches of snow at the top. We plowed it an hour ago, but you never know how it’s going to be until you get over it.”

‘OVER IT,’ is where we were headed, and then down toward the Madison River where we would turn right and continue on to West Yellowstone. Even though the Park is almost 100% within the state of Wyoming, two of its entrances (North and West) sit right inside the border of the great state of Montana.

“If you keep it slow and watch your brakes, you’ll probably be fine.” “Two Harley riders came through an hour ago, and I haven’t heard anything bad about them. They were headed straight to Fishing Bridge and then to the Lodge at Old Faithful.” “Well, If the Harleys can make it we certainly can” I told my daughter, as we paid the $20.00 fee and headed up the sloping, and partially snow-covered, mountain.

We made it over the top which was less than a ten-mile ride headed South through the park. This part of the trip didn’t require braking and would be easier than the descent on the backside of the mountain. As we started our way down, I noticed the road was starting to clear. Within ten minutes, the asphalt on this side of the mountain was totally dry and our confidence rose with each bend of the road. It was just then that my daughter said, “Dad, I need to stop, can you find me a restroom?” A restroom in Yellowstone, not the easiest thing to find. If I did find one, at best it would be a government issue outhouse, but I told her I’d try. “Please hurry, Dad,” Melissa said.

In another mile, there was a covered ‘lookout’ with three port-a-potties off to the right. I pulled over quickly, and my daughter headed to the closest one on the left. I then walked over to the observation stand and looked out to the East towards Cody. As most Yellowstone vistas, the beauty was beyond description, but something wasn’t quite right, and …

Something Felt Strange

I looked off in the distance at Mt. Washburn. The grand old mountain stood majestic at almost 10,000 feet, and with its snow-capped peak, it looked just like the picture postcards of itself that they sold in the lodge. I still felt strange.

Then I Understood Why

As I looked off to my right to walk back to the bike, I saw it.

Standing to the left of my motorcycle, and less than thirty yards in front of me, was the biggest silver and black coyote I had even seen. Many Park visitors mistake these larger coyotes for wolves, and this guy was looking straight at me with his head down. As I walked slowly back to the bike, he never took his eyes off me with only his head moving to follow my travel. I got to the bike and wondered if I should shout to my daughter. I knew if I did, it would probably scare the Coyote away, and this was shaping up to be another of those seminal Yellowstone moments. I wanted to see what would happen next.

I slowly opened the trunk lid on the back of the bike. We always carried two things in addition to water — and that was fig-newtons and beef jerky. The reasoning was, that no matter what happened, with those three staples we could make it through almost anything. I took a big piece of beef jerky out of the pouch and showed it to the hungry Coyote. His head immediately rose up and he pointed his nose in the air while taking in the aroma of something that he had probably never smelled before.

I don’t normally feed any of the animals in Yellowstone, but this encounter seemed different. This animal was trying to make contact and on instinct alone I reacted. As I walked slowly to the front of the bike, I ripped off a small piece of the beef jerky and threw it to the coyote. He immediately jumped backwards (coyotes are prone to jumping) while keeping his head and eyes focused on me. He then took two steps forward, sniffed the processed beef, picked it up in his jaws, and in one swallow it was gone. He now looked at me again.

This Time I Was Two-Steps Closer

He was now less than fifteen feet away with his head once again down. He was showing no signs of aggressive behavior, and as I still had my helmet and riding suit on, I felt like I was in no danger. I didn’t think a fifty-pound coyote could bite through Kevlar and fiberglass, and I was starting to feel a strange connection with this animal that was getting a little closer all the time. I threw him another piece.

Was It About The Beef Jerky, Or Was It Something More?

Again, he took two steps forward to retrieve the snack and then raised his eyes up to look at me. At this close range I started questioning myself. What if it is a Wolf I asked, and then once again I looked at his tail. Nope, it’s a Coyote, I convinced myself, as I held my ground and continued to extend my hand out in the direction of my new friend. This time he didn’t move. It was now my turn. I was down on both knees in the leftover snow from last night and started to inch my way forward by sliding one knee in his direction and then the other. He took a small step back.

I then started to talk to him in a low and hushed tone. He moved one step closer. The beef jerky at the end of my hand was now less than five feet from his mouth. We stayed in this position for the longest time until I heard a loud “DAD!!!” coming from the direction of the port-a-potties. My daughter was finished and saw me kneeling down in front of the ‘Wolf.’

When she screamed, the Coyote bounded (jumped) again and ran off in the opposite direction (East) from where I was kneeling. He ran about fifty yards and then turned around to take one more look at me. He then slowly entered the tree line that bordered the left side of the road up ahead.

“Dad, what were you doing?” my daughter asked. “Do you think you’re Kevin Costner in Dances With Wolves?” I laughed and said no, “just trying to communicate with a new friend.” My daughter continued to shake her head in my direction as she put on her helmet. I started the bike, put it in gear, and we headed again South down the park mountain road.

We had gone less than a quarter of a mile when something darted right out in front of the bike. It was that same Coyote that I had tried to feed just minutes before. He was about twenty yards in front of me and thank God I didn’t have to do any fancy maneuvering to miss him. I didn’t even have to use the brakes.

Still, this was now three encounters in less than a week. Or was it three? I convinced myself that running over a Coyote wouldn’t have been fatal. Painful maybe, but we would have survived it.

Strike Two And A Half!

We couldn’t help but laugh as we wondered if the Coyote had done it on purpose. Was he trying to scare us for not leaving the rest of the beef jerky or just saying goodbye? We’d never know for sure, but I wanted to believe that the latter was true. I will always wonder about how close he may have come.

As we got to the bottom of the long mountain descent, the sign announcing the Madison River and the road to West Yellowstone came up on the right. We made the turn and then spent what seemed like forever marveling at the beauty of the Madison River. It looked like an easy ride into West Yellowstone until it started to snow again. We crested a large hill with only ten miles left to go. At the bottom of the hill was what looked like a lake covering the entire road. The bottom of the road where the hill ended was lower than the surrounding ground and was acting like a reservoir for the melting snow from the hills that surrounded it.

This Low Spot Was Right In The Middle Of The Road

We approached slowly and stopped to survey the approaching water. We needed to decide the right thing to do next. The yellow line that divided the road was barely visible through the water, and we both guessed that it couldn’t be more than twelve to fourteen inches deep. I decided guessing wasn’t good enough and put the kickstand down on the bike. Melissa held the clutch in to allow the motor to keep idling. I then walked into the water in my waterproof riding boots. The boots were over sixteen inches high. “Yep, no more than six or eight inches,” I yelled back to Melissa. “It just looks deeper. If we go slow, we’ll be fine to go through.”

I walked back, got on the bike, and retracted the kickstand and then put it in first gear. Just as I started to approach the pool, I noticed a huge shadow to my right. Two large Moose were standing just off the apron on the right side of the road. It looked like they either wanted to cross the flooded asphalt, or drink, as they stood less than twenty-five feet away from where we now were. Every time I moved closer to the water, they did the same thing. Three times we did this, and a Broadway choreographer couldn’t have scripted it better. The two Moose moved in concert with our timing getting closer to not only the water, but to us, each time we moved.

Moose, like Grizzly’s, have no real natural enemies except man, and unlike all other members of the deer family, they have a perpetually bad disposition. They seem to be permanently in a bad mood and are not to be trifled with or approached. Even the great Grizzly gives the Moose a wide berth. I stopped the bike again unsure of what to do next.

It Was A True Mexican Standoff In The Woods Of Wyoming

“Melissa then said, “Dad; Let’s try banging on the tank and blowing the horn like we do with Buffalo. Maybe then they’ll cross in front of us, and we can get outta here.” I thought it was a good idea and worth a try. I again put the kickstand down and told Melissa that if they charged us not to run but to get down low beneath the left side of the bike. That way, the Venture would hopefully take the brunt of their charge. I started banging on the tank, as I pushed the horn button with my other hand …

Nothing, Nada!

Both Moose just held their ground stoically looking at the water. It was a true ‘Mexican standoff,’ where we were Speedy Gonzalez faced off against the great Montezuma. No matter how much noise we made, the Moose never budged an inch. After fifteen minutes of this, we decided to go for it. I put the bike back into gear, and going faster than I normally would, I entered the reservoir on top of the still visible yellow line. With a rooster tail of water shooting out from behind the bike over twenty-feet long, we crossed the flooded road.

Once across, we went fifty yards past the water and then stopped to look back. Both Moose had turned around and were headed back into the woods from where they had come. They either had no more interest in traversing the water or had been playing with us making our crossing difficult, while at the same time memorable, and another great story to tell.

Strike Three!

We pulled into West Yellowstone, and the snow was coming down in blizzard like sheets. We spent the next two days touring the shops and museums and even visited the Grizzly Bear ‘Habitat,’ which neither of us will ever do again. Grizzly Bears belong in the wild and not in some enclosure to be gawked at by accidental tourists. We also talked about our past four days ‘communing’ with the animals. We both agreed that we had been lucky and that we would continue to live within our 9:30 to 4:00 schedule as we continued our trip.

I lay in bed that night both thankful and in wonder of all that had happened. I thought about the deer, elk, coyote, and moose that had crossed over into our world. As hair-raising as it had been at the time, I wouldn’t have a changed a thing. I also thought about my over forty years of motorcycle riding. It was just then that a familiar maxim was once again forefront in my mind — as well as my heart. I repeated the familiar words over to myself as I slowly drifted off to sleep …

“When I Die, It Will Never Be On A Motorcycle”

I navigated my
way along the
narrow path
ways  that had been
forever inbedded
by the
footsteps of the
young who've
cut
their path
throughout their
years,venturing as I
once did throughout
these ruins.
The narrow trails
from brave riders
who pedal their way
through the past
and in between all that
has been ruined
snaked all around
and in between
this broken
part of the
city.

I approached the
edge of the world with
caution even though
I feared not death.
I listened to the sound
of the Grand Pacifics anger
as it pounded away
at the end of the earth
a deaths
flight  below me.
Visions of the past
when I was that
braver soul
than I am now
crept up on me.
I took them in
then
put them away
in that dark
corner of my
mind where the
good times
are kept.
I laughed it
all off
and continued on.

I made my way
past the remnants
of all that was
once here before
the sea decided to
take it away.
The only signs left
now are just pieces
of crumbling
asphalt and
graffiti covered
ruins.
These cliffs and
these remnants
of a long ago
sunken part of
this city served
as the untamed
and mostly
unsupervised
playground of
my youth.
I played hard
as that young
adventurous
boy who
I miss so much.
Drank even
harder as a
stubborn  young
and unsure
man along these
cliffs.

I stopped and
took in the
tainted
air.
The smell of the fuel and the city
for now wiped away by
the rolling winds
coming in from the west.
The night was alive
with smaller forms of life,
crickets,barking dogs,
spatting feral cats and
the moans of a beaten man
seeking shelter in a hole
beneath a
broken slab of asphalt.
  The sage bush filled
the nightime air
with blessings.
The salt from
the sea almost
tickled
the nose.

Somewhere
in the
distance a ship
sounded its horn.
Sea lions
barked
in time with the
uneven ringing of
the ancient bell
on the ancient
Red buoy
as it rose and chimed
along with  
the swells
somewhere
in that sea
of darkness.

I left the broken
ruins behind
and made
my way toward
the Park
that had been
brilliantly positioned
along the
rim of
the world.
The memories
of happy times
struggled with
my sadness.
The images of better
times demanded
to be remembered.

I started across the
tear soaked grass
as I walked beneath
beautiful ancient Eucalyptus
and Sycamore trees.
Pine trees that
stood slumped over
like the ancient old
men they were.
I stopped half way
to the middle
as a one eyed calico feral
crossed my path .

I've foraged many
a happy memory
with old
forgotten friends
and long departed
lovers within this park.
Drank when the drinking
was done for fun,
and laughed that
care free laugh
I'll never hear again.
Fought a good mans
fight when the
odds were all
against me.
Evened  it out with
a tool made for killing.
Just one more memory
I now live with.

Now after so
many years
and so much
of what this
life has thrown
before me.
I now come
here only
at night,
alone.
When its only me
the feral cats
and the
thieving raccoon's.
Often times,
I'm comforted
by the
old worn
coat I refuse
to replace,
a cheap bottle
dressed in a brown
paper bag and
a mind still alive
with visions
of other times
than these.

I forget
those horrors
that still force
me out into
the night.
And take a lonely
pull
beneath the
Moons silent
glow.
I toast the night
and those
who dwell
within it.
I worked on the
bottle
while staring
into the
darkness at
nothing.

A smile breaks
free across my
tired face as I
 look to the moon
and realize.
This same sacred
Moon light
that shines upon me
is the same
distant glow
that I know
shines somewhere
upon her.

Millions of babies watching the skies
Bellies swollen, with big round eyes
On Jessore Road--long bamboo huts
Noplace to **** but sand channel ruts

Millions of fathers in rain
Millions of mothers in pain
Millions of brothers in woe
Millions of sisters nowhere to go

One Million aunts are dying for bread
One Million uncles lamenting the dead
Grandfather millions homeless and sad
Grandmother millions silently mad

Millions of daughters walk in the mud
Millions of children wash in the flood
A Million girls ***** & groan
Millions of families hopeless alone

Millions of souls nineteenseventyone
homeless on Jessore road under grey sun
A million are dead, the million who can
Walk toward Calcutta from East Pakistan

Taxi September along Jessore Road
Oxcart skeletons drag charcoal load
past watery fields thru rain flood ruts
Dung cakes on treetrunks, plastic-roof huts

Wet processions   Families walk
Stunted boys    big heads don't talk
Look bony skulls   & silent round eyes
Starving black angels in human disguise

Mother squats weeping & points to her sons
Standing thin legged    like elderly nuns
small bodied    hands to their mouths in prayer
Five months small food    since they settled there

on one floor mat   with small empty ***
Father lifts up his hands at their lot
Tears come to their mother's eye
Pain makes mother Maya cry

Two children together    in palmroof shade
Stare at me   no word is said
Rice ration, lentils   one time a week
Milk powder for warweary infants meek

No vegetable money or work for the man
Rice lasts four days    eat while they can
Then children starve    three days in a row
and ***** their next food   unless they eat slow.

On Jessore road    Mother wept at my knees
Bengali tongue    cried mister Please
Identity card    torn up on the floor
Husband still waits    at the camp office door

Baby at play I was washing the flood
Now they won't give us any more food
The pieces are here in my celluloid purse
Innocent baby play    our death curse

Two policemen surrounded     by thousands of boys
Crowded waiting    their daily bread joys
Carry big whistles    & long bamboo sticks
to whack them in line    They play hungry tricks

Breaking the line   and jumping in front
Into the circle    sneaks one skinny runt
Two brothers dance forward    on the mud stage
Teh gaurds blow their whistles    & chase them in rage

Why are these infants    massed in this place
Laughing in play    & pushing for space
Why do they wait here so cheerful   & dread
Why this is the House where they give children bread

The man in the bread door   Cries & comes out
Thousands of boys and girls    Take up his shout
Is it joy? is it prayer?    "No more bread today"
Thousands of Children  at once scream "Hooray!"

Run home to tents    where elders await
Messenger children   with bread from the state
No bread more today! & and no place to squat
Painful baby, sick **** he has got.

Malnutrition skulls thousands for months
Dysentery drains    bowels all at once
Nurse shows disease card    Enterostrep
Suspension is wanting    or else chlorostrep

Refugee camps    in hospital shacks
Newborn lay naked    on mother's thin laps
Monkeysized week old    Rheumatic babe eye
Gastoenteritis Blood Poison    thousands must die

September Jessore    Road rickshaw
50,000 souls   in one camp I saw
Rows of bamboo    huts in the flood
Open drains, & wet families waiting for food

Border trucks flooded, food cant get past,
American Angel machine   please come fast!
Where is Ambassador Bunker today?
Are his Helios machinegunning children at play?

Where are the helicopters of U.S. AID?
Smuggling dope in Bangkok's green shade.
Where is America's Air Force of Light?
Bombing North Laos all day and all night?

Where are the President's Armies of Gold?
Billionaire Navies    merciful Bold?
Bringing us medicine    food and relief?
Napalming North Viet Nam    and causing more grief?

Where are our tears?  Who weeps for the pain?
Where can these families go in the rain?
Jessore Road's children close their big eyes
Where will we sleep when Our Father dies?

Whom shall we pray to for rice and for care?
Who can bring bread to this **** flood foul'd lair?
Millions of children alone in the rain!
Millions of children weeping in pain!

Ring O ye tongues of the world for their woe
Ring out ye voices for Love we don't know
Ring out ye bells of electrical pain
Ring in the conscious of America brain

How many children are we who are lost
Whose are these daughters we see turn to ghost?
What are our souls that we have lost care?
Ring out ye musics and weep if you dare--

Cries in the mud by the thatch'd house sand drain
Sleeps in huge pipes in the wet ****-field rain
waits by the pump well, Woe to the world!
whose children still starve    in their mother's arms curled.

Is this what I did to myself in the past?
What shall I do Sunil Poet I asked?
Move on and leave them without any coins?
What should I care for the love of my *****?

What should we care for our cities and cars?
What shall we buy with our Food Stamps on Mars?
How many millions sit down in New York
& sup this night's table on bone & roast pork?

How many millions of beer cans are tossed
in Oceans of Mother? How much does She cost?
Cigar gasolines and   asphalt car dreams
Stinking the world and dimming star beams--

Finish the war in your breast    with a sigh
Come tast the tears    in your own Human eye
Pity us millions of phantoms you see
Starved in Samsara   on planet TV

How many millions of children die more
before our Good Mothers perceive the Great Lord?
How many good fathers pay tax to rebuild
Armed forces that boast    the children they've killed?

How many souls walk through Maya in pain
How many babes    in illusory pain?
How many families   hollow eyed  lost?
How many grandmothers    turning to ghost?

How many loves who never get bread?
How many Aunts with holes in their head?
How many sisters skulls on the ground?
How many grandfathers   make no more sound?

How many fathers in woe
How many sons   nowhere to go?
How many daughters    nothing to eat?
How many uncles   with swollen sick feet?

Millions of babies in pain
Millions of mothers in rain
Millions of brothers in woe
Millions of children    nowhere to go

                                        New York, November 14-16, 1971

Sonnets

For this collection I have used the original definition of "sonnet" as a "little song" rather than sticking to rigid formulas. The sonnets here include traditional sonnets, tetrameter sonnets, hexameter sonnets, curtal sonnets, 15-line sonnets, and some that probably defy categorization, which I call free verse sonnets for want of a better term. Most of these sonnets employ meter, rhyme and form and tend to be Romantic in the spirit of the Romanticism of Blake, Keats, Shelley, Wordsworth and Dylan Thomas.




Auschwitz Rose
by Michael R. Burch

There is a Rose at Auschwitz, in the briar,
a rose like Sharon's, lovely as her name.
The world forgot her, and is not the same.
I still love her and enlist this sacred fire
to keep her memory exalted flame
unmolested by the thistles and the nettles.

On Auschwitz now the reddening sunset settles;
they sleep alike―diminutive and tall,
the innocent, the "surgeons." Sleeping, all.

Red oxides of her blood, bright crimson petals,
if accidents of coloration, gall my heart no less.
Amid thick weeds and muck
there lies a rose man's crackling lightning struck:
the only Rose I ever longed to pluck.
Soon I'll bed there and bid the world "Good Luck."

Originally published by The Neovictorian/Cochlea



In Praise of Meter
by Michael R. Burch

The earth is full of rhythms so precise
the octave of the crystal can produce
a trillion oscillations, yet not lose
a second's beat. The ear needs no device
to hear the unsprung rhythms of the couch
drown out the mouth's; the lips can be debauched
by kisses, should the heart put back its watch
and find the pulse of love, and sing, devout.

If moons and tides in interlocking dance
obey their numbers, what's been left to chance?
Should poets be more lax―their circumstance
as humble as it is?―or readers wince
to see their ragged numbers thin, to hear
the moans of drones drown out the Chanticleer?

Originally published by The Eclectic Muse and in The Best of the Eclectic Muse 1989-2003



Discrimination
by Michael R. Burch

The meter I had sought to find, perplexed,
was ripped from books of "verse" that read like prose.
I found it in sheet music, in long rows
of hologramic CDs, in sad wrecks
of long-forgotten volumes undisturbed
half-centuries by archivists, unscanned.
I read their fading numbers, frowned, perturbed―
why should such tattered artistry be banned?

I heard the sleigh bells’ jingles, vampish ads,
the supermodels’ babble, Seuss’s books
extolled in major movies, blurbs for abs ...
A few poor thinnish journals crammed in nooks
are all I’ve found this late to sell to those
who’d classify free verse "expensive prose."

Originally published by The Chariton Review



The Forge
by Michael R. Burch

To at last be indestructible, a poem
must first glow, almost flammable, upon
a thing inert, as gray, as dull as stone,

then bend this way and that, and slowly cool
at arms-length, something irreducible
drawn out with caution, toughened in a pool

of water so contrary just a hiss
escapes it―water instantly a mist.
It writhes, a thing of senseless shapelessness ...

And then the driven hammer falls and falls.
The horses ***** their ears in nearby stalls.
A soldier on his cot leans back and smiles.

A sound of ancient import, with the ring
of honest labor, sings of fashioning.

Originally published by The Chariton Review



For All That I Remembered
by Michael R. Burch

For all that I remembered, I forgot
her name, her face, the reason that we loved ...
and yet I hold her close within my thought.
I feel the burnished weight of auburn hair
that fell across her face, the apricot
clean scent of her shampoo, the way she glowed
so palely in the moonlight, angel-wan.

The memory of her gathers like a flood
and bears me to that night, that only night,
when she and I were one, and if I could ...
I'd reach to her this time and, smiling, brush
the hair out of her eyes, and hold intact
each feature, each impression. Love is such
a threadbare sort of magic, it is gone
before we recognize it. I would crush
my lips to hers to hold their memory,
if not more tightly, less elusively.

Originally published by The Raintown Review



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



Isolde's Song
by Michael R. Burch

Through our long years of dreaming to be one
we grew toward an enigmatic light
that gently warmed our tendrils. Was it sun?
We had no eyes to tell; we loved despite
the lack of all sensation―all but one:
we felt the night's deep chill, the air so bright
at dawn we quivered limply, overcome.

To touch was all we knew, and how to bask.
We knew to touch; we grew to touch; we felt
spring's urgency, midsummer's heat, fall's lash,
wild winter's ice and thaw and fervent melt.
We felt returning light and could not ask
its meaning, or if something was withheld
more glorious. To touch seemed life's great task.

At last the petal of me learned: unfold.
And you were there, surrounding me. We touched.
The curious golden pollens! Ah, we touched,
and learned to cling and, finally, to hold.

Originally published by The Raintown Review



See
by Michael R. Burch

See how her hair has thinned: it doesn't seem
like hair at all, but like the airy moult
of emus who outraced the wind and left
soft plumage in their wake. See how her eyes
are gentler now; see how each wrinkle laughs,
and deepens on itself, as though mirth took
some comfort there and burrowed deeply in,
outlasting winter. See how very thin
her features are―that time has made more spare,
so that each bone shows, elegant and rare.

For loveliness remains in her grave eyes,
and courage in her still-delighted looks:
each face presented like a picture book's.
Bemused, she blows us undismayed goodbyes.

Originally published by Writer's Digest's: The Year's Best Writing 2003



In the Whispering Night
by Michael R. Burch

for George King

In the whispering night, when the stars bend low
till the hills ignite to a shining flame,
when a shower of meteors streaks the sky,
and the lilies sigh in their beds, for shame,
we must steal our souls, as they once were stolen,
and gather our vigor, and all our intent.
We must heave our bodies to some violent ocean
and laugh as they shatter, and never repent.
We must dance in the darkness as stars dance before us,
soar, Soar! through the night on a butterfly's breeze:
blown high, upward-yearning, twin spirits returning
to the world of resplendence from which we were seized.

Published in Songs of Innocence, Romantics Quarterly and Poetry Life & Times. This is a sonnet I wrote for my favorite college English teacher, George King, about poetic kinship, brotherhood and romantic flights of fancy.



The Toast
by Michael R. Burch

For longings warmed by tepid suns
(brief lusts that animated clay),
for passions wilted at the bud
and skies grown desolate and gray,
for stars that fell from tinseled heights
and mountains bleak and scarred and lone,
for seas reflecting distant suns
and weeds that thrive where seeds were sown,
for waltzes ending in a hush,
for rhymes that fade as pages close,
for flames' exhausted, drifting ash,
and petals falling from the rose, ...
I raise my cup before I drink,
saluting ghosts of loves long dead,
and silently propose a toast―
to joys set free, and those I fled.



Second Sight (II)
by Michael R. Burch

(Newborns see best at a distance of 8 to 14 inches.)

Wiser than we know, the newborn screams,
red-faced from breath, and wonders what life means
this close to death, amid the arctic glare
of warmthless lights above.
Beware! Beware!―
encrypted signals, codes? Or ciphers, noughts?

Interpretless, almost, as his own thoughts―
the brilliant lights, the brilliant lights exist.
Intruding faces ogle, gape, insist―
this madness, this soft-hissing breath, makes sense.
Why can he not float on, in dark suspense,
and dream of life? Why did they rip him out?

He frowns at them―small gnomish frowns, all doubt―
and with an ancient mien, O sorrowful!,
re-closes eyes that saw in darkness null
ecstatic sights, exceeding beautiful.



Archaischer Torso Apollos (“Archaic Torso of Apollo”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

We cannot know the beheaded god
nor his eyes' forfeited visions. But still
the figure's trunk glows with the strange vitality
of a lamp lit from within, while his composed will
emanates dynamism. Otherwise
the firmly muscled abdomen could not beguile us,
nor the centering ***** make us smile
at the thought of their generative animus.
Otherwise the stone might seem deficient,
unworthy of the broad shoulders, of the groin
projecting procreation's triangular spearhead upwards,
unworthy of the living impulse blazing wildly within
like an inchoate star―demanding our belief.
You must change your life.

TRANSLATOR'S NOTE: This is a Rilke sonnet about a major resolution: changing the very nature of one's life. While it is only my personal interpretation of the poem above, I believe Rilke was saying to himself: "I must change my life." Why? Perhaps because he wanted to be a real artist, and when confronted with real, dynamic, living and breathing art of Rodin, he realized that he had to inject similar vitality, energy and muscularity into his poetry. Michelangelo said that he saw the angel in a block of marble, then freed it. Perhaps Rilke had to find the dynamic image of Apollo, the God of Poetry, in his materials, which were paper, ink and his imagination.―Michael R. Burch



Komm, Du (“Come, You”)
by Ranier Maria Rilke
loose translation/interpretation by Michael R. Burch

This was Rilke’s last poem, written ten days before his death. He died open-eyed in the arms of his doctor on December 29, 1926, in the Valmont Sanatorium, of leukemia and its complications. I had a friend who died of leukemia and he was burning up with fever in the end. I believe that is what Rilke was describing here: he was literally burning alive.

Come, you―the last one I acknowledge; return―
incurable pain searing this physical mesh.
As I burned in the spirit once, so now I burn
with you; meanwhile, you consume my flesh.

This wood that long resisted your embrace
now nourishes you; I surrender to your fury
as my gentleness mutates to hellish rage―
uncaged, wild, primal, mindless, outré.

Completely free, no longer future’s pawn,
I clambered up this crazy pyre of pain,
certain I’d never return―my heart’s reserves gone―
to become death’s nameless victim, purged by flame.

Now all I ever was must be denied.
I left my memories of my past elsewhere.
That life―my former life―remains outside.
Inside, I’m lost. Nobody knows me here.



Der Panther ("The Panther")
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

His weary vision's so overwhelmed by iron bars,
his exhausted eyes see only blank Oblivion.
His world is not our world. It has no stars.
No light. Ten thousand bars. Nothing beyond.
Lithe, swinging with a rhythmic easy stride,
he circles, his small orbit tightening,
an electron losing power. Paralyzed,
soon regal Will stands stunned, an abject thing.
Only at times the pupils' curtains rise
silently, and then an image enters,
descends through arrested shoulders, plunges, centers
somewhere within his empty heart, and dies.



Liebes-Lied (“Love Song”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

How can I withhold my soul so that it doesn’t touch yours?
How can I lift mine gently to higher things, alone?
Oh, I would gladly find something lost in the dark
in that inert space that fails to resonate until you vibrate.
There everything that moves us, draws us together like a bow
enticing two taut strings to sing together with a simultaneous voice.
Whose instrument are we becoming together?
Whose, the hands that excite us?
Ah, sweet song!



Sweet Rose of Virtue
by William Dunbar [1460-1525]
loose translation by Michael R. Burch

Sweet rose of virtue and of gentleness,
delightful lily of youthful wantonness,
richest in bounty and in beauty clear
and in every virtue that is held most dear―
except only that you are merciless.

Into your garden, today, I followed you;
there I saw flowers of freshest hue,
both white and red, delightful to see,
and wholesome herbs, waving resplendently―
yet everywhere, no odor but bitter rue.

I fear that March with his last arctic blast
has slain my fair rose of pallid and gentle cast,
whose piteous death does my heart such pain
that, if I could, I would compose her roots again―
so comforting her bowering leaves have been.



Ebb Tide
by Michael R. Burch

Massive, gray, these leaden waves
bear their unchanging burden―
the sameness of each day to day

while the wind seems to struggle to say
something half-submerged planks at the mouth of the bay
might nuzzle limp seaweed to understand.

Now collapsing dull waves drain away
from the unenticing land;
shrieking gulls shadow fish through salt spray―
whitish streaks on a fogged silver mirror.

Sizzling lightning impresses its brand.
Unseen fingers scribble something in the wet sand.

This is a free verse sonnet originally published by Southwest Review.



Water and Gold
by Michael R. Burch

You came to me as rain breaks on the desert
when every flower springs to life at once,
but joy's a wan illusion to the expert:
the Bedouin has learned how not to want.

You came to me as riches to a miser
when all is gold, or so his heart believes,
until he dies much thinner and much wiser,
his gleaming bones hauled off by chortling thieves.

You gave your heart too soon, too dear, too vastly;
I could not take it in; it was too much.
I pledged to meet your price, but promised rashly.
I died of thirst, of your bright Midas touch.

I dreamed you gave me water of your lips,
then sealed my tomb with golden hieroglyphs.

Originally published by The Lyric



The City Is a Garment
by Michael R. Burch

A rhinestone skein, a jeweled brocade of light,―
the city is a garment stretched so thin
her festive colors bleed into the night,
and everywhere bright seams, unraveling,

cascade their brilliant contents out like coins
on motorways and esplanades; bead cars
come tumbling down long highways; at her groin
a railtrack like a zipper flashes sparks;

her hills are haired with brush like cashmere wool
and from their cleavage winking lights enlarge
and travel, slender fingers ... softly pull
themselves into the semblance of a barge.

When night becomes too chill, she softly dons
great overcoats of warmest-colored dawn.

Originally published by The Lyric



The Folly of Wisdom
by Michael R. Burch

She is wise in the way that children are wise,
looking at me with such knowing, grave eyes
I must bend down to her to understand.
But she only smiles, and takes my hand.

We are walking somewhere that her feet know to go,
so I smile, and I follow ...

And the years are dark creatures concealed in bright leaves
that flutter above us, and what she believes―
I can almost remember―goes something like this:
the prince is a horned toad, awaiting her kiss.

She wiggles and giggles, and all will be well
if only we find him! The woodpecker’s knell
as he hammers the coffin of some dying tree
that once was a fortress to someone like me

rings wildly above us. Some things that we know
we are meant to forget. Life is a bloodletting, maple-syrup-slow.

This is a free verse sonnet originally published by Romantics Quarterly.



The Communion of Sighs
by Michael R. Burch

There was a moment
without the sound of trumpets or a shining light,
but with only silence and darkness and a cool mist
felt more than seen.
I was eighteen,
my heart pounding wildly within me like a fist.
Expectation hung like a cry in the night,
and your eyes shone like the corona of a comet.

There was an instant . . .
without words, but with a deeper communion,
as clothing first, then inhibitions fell;
liquidly our lips met
―feverish, wet―
forgotten, the tales of heaven and hell,
in the immediacy of our fumbling union . . .
when the rest of the world became distant.

Then the only light was the moon on the rise,
and the only sound, the communion of sighs.

This is one of my early free verse sonnets but I can’t remember exactly when I wrote it. Due to the romantic style, I believe it was probably written during my first two years in college, making me 18 or 19 at the time.



Abide
by Michael R. Burch

after Philip Larkin's "Aubade"

It is hard to understand or accept mortality―
such an alien concept: not to be.
Perhaps unsettling enough to spawn religion,
or to scare mutant fish out of a primordial sea

boiling like goopy green tea in a kettle.
Perhaps a man should exhibit more mettle
than to admit such fear, denying Nirvana exists
simply because we are stuck here in such a fine fettle.

And so we abide . . .
even in life, staring out across that dark brink.
And if the thought of death makes your questioning heart sink,
it is best not to drink
(or, drinking, certainly not to think).

This is a free verse sonnet originally published by Light Quarterly.



Free Fall
by Michael R. Burch

These cloudless nights, the sky becomes a wheel
where suns revolve around an axle star ...
Look there, and choose. Decide which moon is yours.
Sink Lethe-ward, held only by a heel.

Advantage. Disadvantage. Who can tell?
To see is not to know, but you can feel
the tug sometimes―the gravity, the shell
as lustrous as damp pearl. You sink, you reel

toward some draining revelation. Air―
too thin to grasp, to breath. Such pressure. Gasp.
The stars invert, electric, everywhere.
And so we fall, down-tumbling through night’s fissure ...

two beings pale, intent to fall forever
around each other―fumbling at love’s tether ...
now separate, now distant, now together.

This is a 15-line free verse sonnet originally published by Sonnet Scroll.



Once
by Michael R. Burch

for Beth

Once when her kisses were fire incarnate
and left in their imprint bright lipstick, and flame,
when her breath rose and fell over smoldering dunes,
leaving me listlessly sighing her name . . .

Once when her ******* were as pale, as beguiling,
as wan rivers of sand shedding heat like a mist,
when her words would at times softly, mildly rebuke me
all the while as her lips did more wildly insist . . .

Once when the thought of her echoed and whispered
through vast wastelands of need like a Bedouin chant,
I ached for the touch of her lips with such longing
that I vowed all my former vows to recant . . .

Once, only once, something bloomed, of a desiccate seed―
this implausible blossom her wild rains of kisses decreed.

Originally published by The Lyric



At Once
by Michael R. Burch

for Beth

Though she was fair,
though she sent me the epistle of her love at once
and inscribed therein love’s antique prayer,
I did not love her at once.

Though she would dare
pain’s pale, clinging shadows, to approach me at once,
the dark, haggard keeper of the lair,
I did not love her at once.

Though she would share
the all of her being, to heal me at once,
yet more than her touch I was unable bear.
I did not love her at once.

And yet she would care,
and pour out her essence ...
and yet―there was more!

I awoke from long darkness,
and yet―she was there.

I loved her the longer;
I loved her the more
because I did not love her at once.

Originally published by The Lyric



Twice
by Michael R. Burch

Now twice she has left me
and twice I have listened
and taken her back, remembering days

when love lay upon us
and sparkled and glistened
with the brightness of dew through a gathering haze.

But twice she has left me
to start my life over,
and twice I have gathered up embers, to learn:

rekindle a fire
from ash, soot and cinder
and softly it sputters, refusing to burn.

Originally published by The Lyric



Moments
by Michael R. Burch

There were moments full of promise,
like the petal-scented rainfall of early spring,
when to hold you in my arms and to kiss your willing lips
seemed everything.

There are moments strangely empty
full of pale unearthly twilight―how the cold stars stare!―
when to be without you is a dark enchantment
the night and I share.



The Harvest of Roses
by Michael R. Burch

I have not come for the harvest of roses―
the poets' mad visions,
their railing at rhyme ...
for I have discerned what their writing discloses:
weak words wanting meaning,
beat torsioning time.

Nor have I come for the reaping of gossamer―
images weak,
too forced not to fail;
gathered by poets who worship their luster,
they shimmer, impendent,
resplendently pale.

Originally published by The Raintown Review



Distances
by Michael R. Burch

Moonbeams on water―
the reflected light
of a halcyon star
now drowning in night ...
So your memories are.

Footprints on beaches
now flooding with water;
the small, broken ribcage
of some primitive slaughter ...
So near, yet so far.

NOTE: In the first stanza the "halcyon star" is the sun, which has dropped below the horizon and is thus "drowning in night." But its light strikes the moon, creating moonbeams which are reflected by the water. Sometimes memories seem that distant, that faint, that elusive. Footprints are being washed away, a heart is missing from its ribcage, and even things close at hand can seem infinitely beyond our reach.



A Surfeit of Light
by Michael R. Burch

There was always a surfeit of light in your presence.
You stood distinctly apart, not of the humdrum world―
a chariot of gold in a procession of plywood.

We were all pioneers of the modern expedient race,
raising the ante: Home Depot to Lowe’s.
Yours was an antique grace―Thrace’s or Mesopotamia’s.

We were never quite sure of your silver allure,
of your trillium-and-platinum diadem,
of your utter lack of flatware-like utility.

You told us that night―your wound would not scar.

The black moment passed, then you were no more.
The darker the sky, how much brighter the Star!

The day of your funeral, I ripped out the crown mold.
You were this fool’s gold.



Songstress
by Michael R. Burch

for Nadia Anjuman

Within its starkwhite ribcage, how the heart
must flutter wildly, O, and always sing
against the pressing darkness: all it knows
until at last it feels the numbing sting
of death. Then life's brief vision swiftly passes,
imposing night on one who clearly saw.
Death held your bright heart tightly, till its maw―
envenomed, fanged―could swallow, whole, your Awe.

And yet it was not death so much as you
who sealed your doom; you could not help but sing
and not be silenced. Here, behold your tomb's
white alabaster cage: pale, wretched thing!
But you'll not be imprisoned here, wise wren!
Your words soar free; rise, sing, fly, live again.

A poet like Nadia Anjuman can be likened to a caged bird, deprived of flight, who somehow finds it within herself to sing of love and beauty. But when the world finally robs her of both flight and song, what is left for her but to leave the world, thus bereaving the world of herself and her song?



Come Down
by Michael R. Burch

for Harold Bloom

Come down, O, come down
from your high mountain tower.
How coldly the wind blows,
how late this chill hour ...

and I cannot wait
for a meteor shower
to show you the time
must be now, or not ever.

Come down, O, come down
from the high mountain heather
now brittle and brown
as fierce northern gales sever.

Come down, or your heart
will grow cold as the weather
when winter devours
and spring returns never.

NOTE: I dedicated this poem to Harold Bloom after reading his introduction to the Best American Poetry anthology he edited. Bloom seemed intent on claiming poetry as the province of the uber-reader (i.e., himself), but I remember reading poems by Blake, Burns, cummings, Dickinson, Frost, Housman, Eliot, Pound, Shakespeare, Whitman, Yeats, et al, and grokking them as a boy, without any “advanced” instruction from anyone.



Such Tenderness
by Michael R. Burch

for the mothers of Gaza and loving, compassionate mothers everywhere

There was, in your touch, such tenderness―as
only the dove on her mildest day has,
when she shelters downed fledglings beneath a warm wing
and coos to them softly, unable to sing.

What songs long forgotten occur to you now―
a babe at each breast? What terrible vow
ripped from your throat like the thunder that day
can never hold severing lightnings at bay?

Time taught you tenderness―time, oh, and love.
But love in the end is seldom enough ...
and time?―insufficient to life’s brief task.
I can only admire, unable to ask―

what is the source, whence comes the desire
of a woman to love as no God may require?



In this Ordinary Swoon
by Michael R. Burch

In this ordinary swoon
as I pass from life to death,
I feel no heat from the cold, pale moon;
I feel no sympathy for breath.

Who I am and why I came,
I do not know; nor does it matter.
The end of every man’s the same
and every god’s as mad as a hatter.

I do not fear the letting go;
I only fear the clinging on
to hope when there’s no hope, although
I lift my face to the blazing sun

and feel the greater intensity
of the wilder inferno within me.

This is a mostly tetrameter sonnet with shorter and longer lines.



Mare Clausum
by Michael R. Burch

These are the narrows of my soul―
dark waters pierced by eerie, haunting screams.
And these uncharted islands bleakly home
wild nightmares and deep, strange, forbidding dreams.

Please don’t think to find pearls’ pale, unearthly glow
within its shoals, nor corals in its reefs.
For, though you seek to salvage Love, I know
that vessel lists, and night brings no relief.

Pause here, and look, and know that all is lost;
then turn, and go; let salt consume, and rust.
This sea is not for sailors, but the ******
who lingered long past morning, till they learned

why it is named:
Mare Clausum.

This is a free verse sonnet with shorter and longer lines, originally published by Penny Dreadful. Mare Clausum is Latin for "Closed Sea." I wrote the first version of this poem as a teenager.



Redolence
by Michael R. Burch

Now darkness ponds upon the violet hills;
cicadas sing; the tall elms gently sway;
and night bends near, a deepening shade of gray;
the bass concerto of a bullfrog fills
what silence there once was; globed searchlights play.

Green hanging ferns adorn dark window sills,
all drooping fronds, awaiting morning’s flares;
mosquitoes whine; the lissome moth again
flits like a veiled oud-dancer, and endures
the fumblings of night’s enervate gray rain.

And now the pact of night is made complete;
the air is fresh and cool, washed of the grime
of the city’s ashen breath; and, for a time,
the fragrance of her clings, obscure and sweet.

Published by The Eclectic Muse and The Best of the Eclectic Muse 1989-2003



Fountainhead
by Michael R. Burch

I did not delight in love so much
as in a kiss like linnets' wings,
the flutterings of a pulse so soft
the heart remembers, as it sings:
to bathe there was its transport, brushed
by marble lips, or porcelain,―
one liquid kiss, one cool outburst
from pale rosettes. What did it mean ...

to float awhirl on minute tides
within the compass of your eyes,
to feel your alabaster bust
grow cold within? Ecstatic sighs
seem hisses now; your eyes, serene,
reflect the sun's pale tourmaline.

Originally published by Romantics Quarterly



Pan
by Michael R. Burch

... Among the shadows of the groaning elms,
amid the darkening oaks, we fled ourselves ...

... Once there were paths that led to coracles
that clung to piers like loosening barnacles ...

... where we cannot return, because we lost
the pebbles and the playthings, and the moss ...

... hangs weeping gently downward, maidens’ hair
who never were enchanted, and the stairs ...

... that led up to the Fortress in the trees
will not support our weight, but on our knees ...

... we still might fit inside those splendid hours
of damsels in distress, of rustic towers ...

... of voices of the wolves’ tormented howls
that died, and live in dreams’ soft, windy vowels ...

Originally published by Sonnet Scroll



The Endeavors of Lips
by Michael R. Burch

How sweet the endeavors of lips: to speak
of the heights of those pleasures which left us weak
in love’s strangely lit beds, where the cold springs creak:
for there is no illusion like love ...

Grown childlike, we wish for those storied days,
for those bright sprays of flowers, those primrosed ways
that curled to the towers of Yesterdays
where She braided illusions of love ...

"O, let down your hair!"―we might call and call,
to the dark-slatted window, the moonlit wall ...
but our love is a shadow; we watch it crawl
like a spidery illusion. For love ...

was never as real as that first kiss seemed
when we read by the flashlight and dreamed.

Originally published by Romantics Quarterly (USA) and The Eclectic Muse (Canada)



Loose Knit
by Michael R. Burch

She blesses the needle,
fetches fine red stitches,
criss-crossing, embroidering dreams
in the delicate fabric.

And if her hand jerks and twitches in puppet-like fits,
she tells herself
reality is not as threadbare as it seems ...

that a little more darning may gather loose seams.

She weaves an unraveling tapestry
of fatigue and remorse and pain; ...
only the nervously pecking needle
****** her to motion, again and again.

This is a free verse sonnet published by The Chariton Review as “The Knitter,” then by Penumbra, Black Bear Review and Triplopia.



If You Come to San Miguel
by Michael R. Burch

If you come to San Miguel
before the orchids fall,
we might stroll through lengthening shadows
those deserted streets
where love first bloomed ...

You might buy the same cheap musk
from that mud-spattered stall
where with furtive eyes the vendor
watched his fragrant wares
perfume your ******* ...

Where lean men mend tattered nets,
disgruntled sea gulls chide;
we might find that cafetucho
where through grimy panes
sunset implodes ...

Where tall cranes spin canvassed loads,
the strange anhingas glide.
Green brine laps splintered moorings,
rusted iron chains grind,
weighed and anchored in the past,

held fast by luminescent tides ...
Should you come to San Miguel?
Let love decide.



A Vain Word
by Michael R. Burch

Oleanders at dawn preen extravagant whorls
as I read in leaves’ Sanskrit brief moments remaining
till sunset implodes, till the moon strands grey pearls
under moss-stubbled oaks, full of whispers, complaining
to the minions of autumn, how swiftly life goes
as I fled before love ... Now, through leaves trodden black,
shivering, I wander as winter’s first throes
of cool listless snow drench my cheeks, back and neck.

I discerned in one season all eternities of grief,
the specter of death sprawled out under the rose,
the last consequence of faith in the flight of one leaf,
the incontinence of age, as life’s bright torrent slows.

O, where are you now?―I was timid, absurd.
I would find comfort again in a vain word.

Published by Chrysanthemum and Tucumcari Literary Review



Chloe
by Michael R. Burch

There were skies onyx at night ... moons by day ...
lakes pale as her eyes ... breathless winds
******* tall elms; ... she would say
that we loved, but I figured we’d sinned.

Soon impatiens too fiery to stay
sagged; the crocus bells drooped, golden-limned;
things of brightness, rinsed out, ran to gray ...
all the light of that world softly dimmed.

Where our feet were inclined, we would stray;
there were paths where dead weeds stood untrimmed,
distant mountains that loomed in our way,
thunder booming down valleys dark-hymned.

What I found, I found lost in her face
while yielding all my virtue to her grace.

Originally published by Romantics Quarterly as “A Dying Fall”



Aflutter
by Michael R. Burch

This rainbow is the token of the covenant, which I have established between me and all flesh.―Yahweh

You are gentle now, and in your failing hour
how like the child you were, you seem again,
and smile as sadly as the girl (age ten?)
who held the sparrow with the mangled wing
close to her heart. It marveled at your power
but would not mend. And so the world renews
old vows it seemed to make: false promises
spring whispers, as if nothing perishes
that does not resurrect to wilder hues
like rainbows’ eerie pacts we apprehend
but cannot fail to keep. Now in your eyes
I see the end of life that only dies
and does not care for bright, translucent lies.
Are tears so precious? These few, let us spend
together, as before, then lay to rest
these sparrows’ hearts aflutter at each breast.

This is a poem about a couple committing suicide together. The “eerie pact” refers to a Bible verse about the rainbow being a “covenant,” when the only covenant human beings can depend on is the original one that condemned us to suffer and die. That covenant is always kept perfectly.



To Flower
by Michael R. Burch

When Pentheus ["grief'] went into the mountains in the garb of the baccae, his mother [Agave] and the other maenads, possessed by Dionysus, tore him apart (Euripides, Bacchae; Apollodorus 3.5.2; Ovid, Metamorphoses 3.511-733; Hyginus, Fabulae 184). The agave dies as soon as it blooms; the moonflower, or night-blooming cereus, is a desert plant of similar fate.

We are not long for this earth, I know―
you and I, all our petals incurled,
till a night of pale brilliance, moonflower aglow.
Is there love anywhere in this strange world?
The Agave knows best when it's time to die
and rages to life with such rapturous leaves
her name means Illustrious. Each hour more high,
she claws toward heaven, for, if she believes
in love at all, she has left it behind
to flower, to flower. When darkness falls
she wilts down to meet it, where something crawls:
beheaded, bewildered. And since love is blind,
she never adored it, nor watches it go.
Can we be as she is, moonflower aglow?

Originally published by The Neovictorian/Cochlea



Flight 93
by Michael R. Burch

I held the switch in trembling fingers, asked
why existence felt so small, so purposeless,
like a minnow wriggling feebly in my grasp ...

vibrations of huge engines thrummed my arms
as, glistening with sweat, I nudged the switch
to OFF ... I heard the klaxon-shrill alarms

like vultures’ shriekings ... earthward, in a stall ...
we floated ... earthward ... wings outstretched, aghast
like Icarus ... as through the void we fell ...

till nothing was so beautiful, so blue ...
so vivid as that moment ... and I held
an image of your face, and dreamed I flew

into your arms. The earth rushed up. I knew
such comfort, in that moment, loving you.

This is a free verse sonnet originally published by The Lyric.



Oasis
by Michael R. Burch

I want tears to form again
in the shriveled glands of these eyes
dried all these long years
by too much heated knowing.

I want tears to course down
these parched cheeks,
to star these cracked lips
like an improbable dew

in the heart of a desert.

I want words to burble up
like happiness, like the thought of love,
like the overwhelming, shimmering thought of you

to a nomad who
has only known drought.

This is a mostly hexameter sonnet with shorter and longer lines.



Melting
by Michael R. Burch

Entirely, as spring consumes the snow,
the thought of you consumes me: I am found
in rivulets, dissolved to what I know
of former winters’ passions. Underground,
perhaps one slender icicle remains
of what I was before, in some dark cave―
a stalactite, long calcified, now drains
to sodden pools, whose milky liquid laves
the colder rock, thus washing something clean
that never saw the light, that never knew
the crust could break above, that light could stream:
so luminous, so bright, so beautiful ...
I lie revealed, and so I stand transformed,
and all because you smiled on me, and warmed.



Afterglow
by Michael R. Burch

The night is full of stars. Which still exist?
Before time ends, perhaps one day we’ll know.
For now I hold your fingers to my lips
and feel their pulse ... warm, palpable and slow ...

once slow to match this reckless spark in me,
this moon in ceaseless orbit I became,
compelled by wilder gravity to flee
night’s universe of suns, for one pale flame ...

for one pale flame that seemed to signify
the Zodiac of all, the meaning of
love’s wandering flight past Neptune. Now to lie
in dawning recognition is enough ...

enough each night to bask in you, to know
the face of love ... eyes closed ... its afterglow.



All Afterglow
by Michael R. Burch

Something remarkable, perhaps ...
the color of her eyes ... though I forget
the color of her eyes ... perhaps her hair
the way it blew about ... I do not know
just what it was about her that has kept
her thought lodged deep in mine ... unmelted snow
that lasted till July would be less rare,
clasped in some frozen cavern where the wind
sculpts bright grotesqueries, ignoring springs’
and summers’ higher laws ... there thawing slow
and strange by strange degrees, one tick beyond
the freezing point which keeps all things the same
... till what remains is fragile and unlike
the world above, where melted snows and rains
form rivulets that, inundate with sun,
evaporate, and in life’s cyclic stream
remake the world again ... I do not know
that we can be remade―all afterglow.



These Hallowed Halls
by Michael R. Burch

a young Romantic Poet mourns the passing of an age . . .

A final stereo fades into silence
and now there is seldom a murmur
to trouble the slumber of these ancient halls.
I stand by a window where others have watched
the passage of time alone, not untouched,
and I am as they were―unsure, for the days
stretch out ahead, a bewildering maze.
Ah, faithless lover―that I had never touched your breast,
nor felt the stirrings of my heart,
which until that moment had peacefully slept.
For now I have known the exhilaration
of a heart that has leapt every pinnacle of Love,
and the result of all such infatuations―
the long freefall to earth, as the moon glides above.



Come!
by Michael R. Burch

Will you come to visit my grave, I wonder,
in the season of lightning, the season of thunder,
when I have lain so long in the indifferent earth
that I have no girth?

When my womb has conformed to the chastity
your anemic Messiah envisioned for me,
will you finally be pleased that my *** was thus rendered
unpalatable, disengendered?

And when those strange loathsome organs that troubled you so
have been eaten by worms, will the heavens still glow
with the approval of God that I ended a maid―
thanks to a *****?

And will you come to visit my grave, I wonder,
in the season of lightning, the season of thunder?



Erin
by Michael R. Burch

All that’s left of Ireland is her hair―
bright carrot―and her milkmaid-pallid skin,

her brilliant air of cavalier despair,
her train of children―some conceived in sin,

the others to avoid it. For nowhere
is evidence of thought. Devout, pale, thin,
gay, nonchalant, all radiance. So fair!

How can men look upon her and not spin
like wobbly buoys churned by her skirt’s brisk air?
They buy. They ***** to pat her nyloned shin,
to share her elevated, pale Despair ...
to find at last two spirits ease no one’s.

All that’s left of Ireland is the Care,
her impish grin, green eyes like leprechauns’.



The Composition of Shadows
by Michael R. Burch

“I made it out of a mouthful of air.”―W. B. Yeats

We breathe and so we write; the night
hums softly its accompaniment.
Pale phosphors burn; the page we turn
leads onward, and we smile, content.

And what we mean we write to learn:
the vowels of love, the consonants’
strange golden weight, each plosive’s shape―
curved like the heart. Here, resonant,

sounds’ shadows mass beneath bright glass
like singing voles curled in a maze
of blank white space. We touch a face―
long-frozen words trapped in a glaze

that insulates our hearts. Nowhere
can love be found. Just shrieking air.



The Composition of Shadows (II)
by Michael R. Burch

We breathe and so we write;
the night
hums softly its accompaniment.

Pale phosphors burn;
the page we turn
leads onward, and we smile, content.

And what we mean
we write to learn:
the vowels of love, the consonants’

strange golden weight,
the blood’s debate
within the heart. Here, resonant,

sounds’ shadows mass
against bright glass,
within the white Labyrinthian maze.

Through simple grace,
I touch your face,
ah words! And I would gaze

the night’s dark length
in waning strength
to find the words to feel

such light again.
O, for a pen
to spell love so ethereal.



To Please The Poet
by Michael R. Burch

To please the poet, words must dance―
staccato, brisk, a two-step:
so!
Or waltz in elegance to time
of music mild,
adagio.

To please the poet, words must chance
emotion in catharsis―
flame.
Or splash into salt seas, descend
in sheets of silver-shining
rain.

To please the poet, words must prance
and gallop, gambol, revel,
rail.
Or muse upon a moment, mute,
obscure, unsure, imperfect,
pale.

To please the poet, words must sing,
or croak, wart-tongued, imagining.



The First Christmas
by Michael R. Burch

’Twas in a land so long ago . . .
the lambs lay blanketed in snow
and little children everywhere
sat and watched warm embers glow
and dreamed (of what, we do not know).

And THEN―a star appeared on high,
The brightest man had ever seen!
It made the children whisper low
in puzzled awe (what did it mean?).
It made the wooly lambkins cry.

For far away a new-born lay,
warm-blanketed in straw and hay,
a lowly manger for his crib.
The cattle mooed, distraught and low,
to see the child. They did not know

it now was Christmas day!

This is a poem in which I tried to capture the mystery and magic of the first Christmas day. If you like my poem, you are welcome to share it, but please cite me as the author, which you can do by including the title and subheading.



The Lingering and the Unconsoled Heart
by Michael R. Burch

There is a silence―
the last unspoken moment
before death,

when the moon,
cratered and broken,
is all madness and light,

when the breath comes low and complaining,
and the heart is a ruin
of emptiness and night.

There is a grief―
the grief of a lover's embrace
while faith still shimmers in a mother’s tears ...

There is no emptier time, nor place,
while the faint glimmer of life is ours
that the lingering and the unconsoled heart fears

beyond this: seeing its own stricken face
in eyes that drift toward some incomprehensible place.



Lozenge
by Michael R. Burch

When I was closest to love, it did not seem
real at all, but a thing of such tenuous sweetness
it might dissolve in my mouth
like a lozenge of sugar.

When I held you in my arms, I did not feel
our lack of completeness,
knowing how easy it was
for us to cling to each other.

And there were nights when the clouds
sped across the moon’s face,
exposing such rarified brightness
we did not witness

so much as embrace
love’s human appearance.

This is a free verse sonnet originally published by The HyperTexts.



The Princess and the Pauper
by Michael R. Burch

for Norman Kraeft in memory of his beloved wife June Kysilko Kraeft

Here was a woman bright, intent on life,
who did not flinch from Death, but caught his eye
and drew him, powerless, into her spell
of wanting her himself, so much the lie
that she was meant for him―obscene illusion!―

made him seem a monarch throned like God on high,
when he was less than nothing; when to die
meant many stultifying, pained embraces.

She shed her gown, undid the tangled laces
that tied her to the earth: then she was his.
Now all her erstwhile beauty he defaces
and yet she grows in hallowed loveliness―
her ghost beyond perfection―for to die
was to ascend. Now he begs, penniless.



Album
by Michael R. Burch

I caress them―trapped in brittle cellophane―
and I see how young they were, and how unwise;
and I remember their first flight―an old prop plane,
their blissful arc through alien blue skies ...

And I touch them here through leaves which―tattered, frayed―
are also wings, but wings that never flew:
like insects’ wings―pinned, held. Here, time delayed,
their features never changed, remaining two ...

And Grief, which lurked unseen beyond the lens
or in shadows where It crept on feral claws
as It scratched Its way into their hearts, depends
on sorrows such as theirs, and works Its jaws ...

and slavers for Its meat―those young, unwise,
who naively dare to dream, yet fail to see
how, lumbering sunward, Hope, ungainly, flies,
clutching to Her ruffled breast what must not be.



Because You Came to Me
by Michael R. Burch

Because you came to me with sweet compassion
and kissed my furrowed brow and smoothed my hair,
I do not love you after any fashion,
but wildly, in despair.

Because you came to me in my black torment
and kissed me fiercely, blazing like the sun
upon parched desert dunes, till in dawn’s foment
they melt, I am undone.

Because I am undone, you have remade me
as suns bring life, as brilliant rains endow
the earth below with leaves, where you now shade me
and bower me, somehow.



Break Time
by Michael R. Burch

for those who lost loved ones on 9-11

Intrude upon my grief; sit; take a spot
of milk to cloud the blackness that you feel;
add artificial sweeteners to conceal
the bitter aftertaste of loss. You’ll heal
if I do not. The coffee’s hot. You speak:
of bundt cakes, polls, the price of eggs. You glance
twice at your watch, cough, look at me askance.
The TV drones oeuvres of high romance
in syncopated lip-synch. Should I feel
the underbelly of Love’s warm Ideal,
its fuzzy-wuzzy tummy, and not reel
toward some dark conclusion? Disappear
to pale, dissolving atoms. Were you here?
I brush you off: like saccharine, like a tear.



911 Carousel
by Michael R. Burch

“And what rough beast ... slouches towards Bethlehem to be born?”―W. B. Yeats

They laugh and do not comprehend, nor ask
which way the wind is blowing, no, nor why
the reeling azure fixture of the sky
grows pale with ash, and whispers “Holocaust.”

They think to seize the ring, life’s tinfoil prize,
and, breathless with endeavor, shriek aloud.
The voice of terror thunders from a cloud
that darkens over children adult-wise,

far less inclined to error, when a step
in any wrong direction is to fall
a JDAM short of heaven. Decoys call,
their voices plangent, honking to be shot . . .

Here, childish dreams and nightmares whirl, collide,
as East and West, on slouching beasts, they ride.



At Cædmon’s Grave
by Michael R. Burch

“Cædmon’s Hymn,” composed at the Monastery of Whitby (a North Yorkshire fishing village), is one of the oldest known poems written in the English language, dating back to around 680 A.D. According to legend, Cædmon, an illiterate Anglo-Saxon cowherd, received the gift of poetic composition from an angel; he subsequently founded a school of Christian poets. Unfortunately, only nine lines of Cædmon’s verse survive, in the writings of the Venerable Bede. Whitby, tiny as it is, reappears later in the history of English literature, having been visited, in diametric contrast, by Lewis Carroll and Bram Stoker’s ghoulish yet evocative Dracula.


At the monastery of Whitby,
on a day when the sun sank through the sea,
and the gulls shrieked wildly, jubilant, free,

while the wind and time blew all around,
I paced those dusk-enamored grounds
and thought I heard the steps resound

of Carroll, Stoker and good Bede
who walked there, too, their spirits freed
―perhaps by God, perhaps by need―

to write, and with each line, remember
the glorious light of Cædmon’s ember,
scorched tongues of flame words still engender.

Here, as darkness falls, at last we meet.
I lay this pale garland of words at his feet.

Originally published by The Lyric



Radiance
by Michael R. Burch

for Dylan Thomas

The poet delves earth’s detritus―hard toil―
for raw-edged nouns, barbed verbs, vowels’ lush bouquet;
each syllable his pen excretes―dense soil,
dark images impacted, rooted clay.

The poet sees the sea but feels its meaning―
the teeming brine, the mirrored oval flame
that leashes and excites its turgid surface ...
then squanders years imagining love’s the same.

Belatedly he turns to what lies broken―
the scarred and furrowed plot he fiercely sifts,
among death’s sicksweet dungs and composts seeking
one element that scorches and uplifts.



Downdraft
by Michael R. Burch

for Dylan Thomas

We feel rather than understand what he meant
as he reveals a shattered firmament
which before him never existed.

Here, there are no images gnarled and twisted
out of too many words,
but only flocks of white birds

wheeling and flying.

Here, as Time spins, reeling and dying,
the voice of a last gull
or perhaps some spirit no longer whole,

echoes its lonely madrigal
and we feel its strange pull
on the astonished soul.

O My Prodigal!

The vents of the sky, ripped asunder,
echo this wild, primal thunder—
now dying into undulations of vanishing wings . . .

and this voice which in haggard bleak rapture still somehow downward sings.



Huntress
by Michael R. Burch

after Baudelaire

Lynx-eyed, cat-like and cruel, you creep
across a crevice dropping deep
into a dark and doomed domain.
Your claws are sheathed. You smile, insane.
Rain falls upon your path, and pain
pours down. Your paws are pierced. You pause
and heed the oft-lamented laws
which bid you not begin again
till night returns. You wail like wind,
the sighing of a soul for sin,
and give up hunting for a heart.
Till sunset falls again, depart,
though hate and hunger urge you―"On!"

Heed, hearts, your hope―the break of dawn.

Published by The HyperTexts, Dracula and His Kin and Sonnetto Poesia (Canada)



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.



Because She Craved the Very Best
by Michael R. Burch

Because she craved the very best,
he took her East, he took her West;
he took her where there were no wars
and brought her bright bouquets of stars,
the blush and fragrances of roses,
the hush an evening sky imposes,
moonbeams pale and garlands rare,
and golden combs to match her hair,
a nightingale to sing all night,
white wings, to let her soul take flight ...

She stabbed him with a poisoned sting
and as he lay there dying,
she screamed, "I wanted everything!"
and started crying.



Caveat
by Michael R. Burch

If only we were not so eloquent,
we might sing, and only sing, not to impress,
but only to enjoy, to be enjoyed.

We might inundate the earth with thankfulness
for light, although it dies, and make a song
of night descending on the earth like bliss,

with other lights beyond―not to be known―
but only to be welcomed and enjoyed,
before all worlds and stars are overthrown ...

as a lover’s hands embrace a sleeping face
and find it beautiful for emptiness
of all but joy. There is no thought to love

but love itself. How senseless to redress,
in darkness, such becoming nakedness . . .

Originally published by Clementine Unbound



To the Post-Modern Muse, Floundering
by Michael R. Burch


The anachronism in your poetry
is that it lacks a future history.
The line that rings, the forward-sounding bell,
tolls death for you, for drowning victims tell
of insignificance, of eerie shoals,
of voices underwater. Lichen grows
to mute the lips of those men paid no heed,
and though you cling by fingertips, and bleed,
there is no lifeline now, for what has slipped
lies far beyond your grasp. Iron fittings, stripped,
have left the hull unsound, bright cargo lost.
The argosy of all your toil is rust.

The anchor that you flung did not take hold
in any harbor where repair is sold.

Originally published by Ironwood



Wonderland
by Michael R. Burch

We stood, kids of the Lamb, to put to test
the beatific anthems of the blessed,
the sentence of the martyr, and the pen’s
sincere religion. Magnified, the lens
shot back absurd reflections of each face―
a carnival-like mirror. In the space
between the silver backing and the glass,
we caught a glimpse of Joan, a frumpy lass
who never brushed her hair or teeth, and failed
to pass on GO, and frequently was jailed
for awe’s beliefs. Like Alice, she grew wee
to fit the door, then couldn’t lift the key.
We failed the test, and so the jury’s hung.
In Oz, “The Witch is Dead” ranks number one.



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.



130 Refuted
by Michael R. Burch

My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
―Shakespeare, Sonnet 130

Seas that sparkle in the sun
without its light would have no beauty;
but the light within your eyes
is theirs alone; it owes no duty.
And their kindled flame, not half as bright,
is meant for me, and brings delight.

Coral formed beneath the sea,
though scarlet-tendriled, cannot warm me;
while your lips, not half so red,
just touching mine, at once inflame me.
And the searing flames your lips arouse
fathomless oceans fail to douse.

Bright roses’ brief affairs, declared
when winter comes, will wither quickly.
Your cheeks, though paler when compared
with them?―more lasting, never prickly.

And your cheeks, though wan, so dear and warm,
far vaster treasures, need no thorns.

Originally published by Romantics Quarterly



Love Sonnet LXVI
by Pablo Neruda
loose translation/interpretation by Michael R. Burch

I love you only because I love you;
I am torn between loving and not loving you,
between apathy and desire.
My heart vacillates between ice and fire.

I love you only because you’re the one I love;
I hate you deeply, but hatred makes me implore you all the more
so that in my inconstancy
I do not see you, but love you blindly.

Perhaps January’s frigid light
will consume my heart with its cruel rays,
robbing me of the key to contentment.

In this tragic plot, I ****** myself
and I will die loveless because I love you,
because I love you, my Love, in fire and in blood.



Love Sonnet XI
by Pablo Neruda
loose translation/interpretation by Michael R. Burch

I crave your mouth, your voice, your hair.
I stalk the streets, silent and starving.
Bread does not satisfy me; dawn does not divert me
from my relentless pursuit of your fluid spoor.

I long for your liquid laughter,
for your sunburned hands like savage harvests.
I lust for your fingernails' pale marbles.
I want to devour your ******* like almonds, whole.

I want to ingest the sunbeams singed by your beauty,
to eat the aquiline nose from your aloof face,
to lick your eyelashes' flickering shade.

I pursue you, snuffing the shadows,
seeking your heart's scorching heat
like a puma prowling the heights of Quitratue.



Love Sonnet XVII
by Pablo Neruda
loose translation/interpretation by Michael R. Burch

I do not love you like coral or topaz,
or the blazing hearth’s incandescent white flame;
I love you as obscure things are embraced in the dark ...
secretly, in shadows, unguessed & unnamed.

I love you like shrubs that refuse to blossom
while pregnant with the radiance of mysterious flowers;
now, thanks to your love, an earthy fragrance
lives dimly in my body’s odors.

I love you without knowing―how, when, why or where;
I love you forthrightly, without complications or care;
I love you this way because I know no other.

Here, where “I” no longer exists ... so it seems ...
so close that your hand on my chest is my own,
so close that your eyes close gently on my dreams.



Sonnet XLV
by Pablo Neruda
loose translation/interpretation by Michael R. Burch

Don't wander far away, not even for a day, because―
how can I explain? A day is too long ...
and I’ll be waiting for you, like a man in an empty station
where the trains all stand motionless.

Don't leave me, my dear, not even for an hour, because―
then despair’s raindrops will all run blurrily together,
and the smoke that drifts lazily in search of a home
will descend hazily on me, suffocating my heart.

Darling, may your lovely silhouette never dissolve in the surf;
may your lashes never flutter at an indecipherable distance.
Please don't leave me for a second, my dearest,

because then you'll have gone far too far
and I'll wander aimlessly, amazed, asking all the earth:
Will she ever return? Will she spurn me, dying?



Imperfect Sonnet
by Michael R. Burch

A word before the light is doused: the night
is something wriggling through an unclean mind,
as rats creep through a tenement. And loss
is written cheaply with the moon’s cracked gloss
like lipstick through the infinite, to show
love’s pale yet sordid imprint on us. Go.

We have not learned love yet, except to cleave.
I saw the moon rise once ... but to believe ...
was of another century ... and now ...
I have the urge to love, but not the strength.

Despair, once stretched out to its utmost length,
lies couched in squalor, watching as the screen
reveals "love's" damaged images: its dreams ...
and ******* limply, screams and screams.

Originally published by Sonnet Scroll



Mayflies
by Michael R. Burch

These standing stones have stood the test of time
but who are you
and what are you
and why?

As brief as mist, as transient, as pale ...
Inconsequential mayfly!

Perhaps the thought of love inspired hope?
Do midges love? Do stars bend down to see?
Do gods commend the kindnesses of ants
to aphids? Does one eel impress the sea?

Are mayflies missed by mountains? Do the stars
regret the glowworm’s stellar mimicry
the day it dies? Does not the world grind on
as if it’s no great matter, not to be?

Life, to be sure, is nothing much to lose.
And yet somehow you’re everything to me.

Originally published by Clementine Unbound



Artificial Smile
by Michael R. Burch

I’m waiting for my artificial teeth
to stretch belief, to hollow out the cob
of zealous righteousness, to grasp life’s stub
between clenched molars, and yank out the grief.

Mine must be art-official―zenlike Art―
a disembodied, white-enameled grin
of Cheshire manufacture. Part by part,
the human smile becomes mock porcelain.

Till in the end, the smile alone remains:
titanium-based alloys undestroyed
with graves’ worm-eaten contents, all the pains
of bridgework unrecalled, and what annoyed

us most about the corpses rectified
to quaintest dust. The Smile winks, deified.



Modern Appetite
by Michael R. Burch

It grumbled low, insisting it would feast
on blood and flesh, etcetera, at least
three times a day. With soft lubricious grease

and pale salacious oils, it would ease
its way through life. Each day―an aperitif.
Each night―a frothy bromide, for relief.

It lived on TV fare, wore pinafores,
slurped sugar-coated gumballs, gobbled S’mores.
When gas ensued, it burped and farted. ’Course,

it thought aloud, my wife will leave me. ******
are not so **** particular. Divorce
is certainly a settlement, toujours!

A Tums a day will keep the shrink away,
recalcify old bones, keep gas at bay.
If Simon says, etcetera, Mother, may
I have my hit of calcium today?


Mother of Cowards
by Michael R. Burch aka "The Loyal Opposition"

So unlike the brazen giant of Greek fame
With conquering limbs astride from land to land,
Spread-eagled, showering gold, a strumpet stands:
A much-used trollop with a torch, whose flame
Has long since been extinguished. And her name?
"Mother of Cowards!" From her enervate hand
Soft ash descends. Her furtive eyes demand
Allegiance to her ****'s repulsive game.

"Keep, ancient lands, your wretched poor!" cries she
With scarlet lips. "Give me your hale, your whole,
Your huddled tycoons, yearning to be pleased!
The wretched refuse of your toilet hole?
Oh, never send one unwashed child to me!
I await Trump's pleasure by the gilded bowl!"

Originally published by Light



Premonition
by Michael R. Burch

Now the evening has come to a close and the party is over ...
we stand in the doorway and watch as they go―
each stranger, each acquaintance, each unembraceable lover.

They walk to their cars and they laugh as they go,
though we know their warm laughter’s the wine ...
then they pause at the road where the dark asphalt flows
endlessly on toward Zion ...

and they kiss one another as though they were friends,
and they promise to meet again “soon” ...
but the rivers of Jordan roll on without end,
and the mockingbird calls to the moon ...

and the katydids climb up the cropped hanging vines,
and the crickets chirp on out of tune ...
and their shadows, defined by the cryptic starlight,
seem spirits torn loose from their tombs.

And I know their brief lives are just eddies in time,
that their hearts are unreadable runes
to be wiped clean, like slate, by the dark hand of fate
when their corpses lie ravaged and ruined ...

You take my clenched fist and you give it a kiss
as though it were something you loved,
and the tears fill your eyes, brimming with the soft light
of the stars winking gently above ...

Then you whisper, "It's time that we went back inside;
if you'd like, we can sit and just talk for a while."
And the hope in your eyes burns too deep, so I lie
and I say, "Yes, I would," to your small, troubled smile.

I rather vividly remember writing this poem after an office party the year I co-oped with AT&T (at that time the largest company in the world, with presumably a lot of office parties). This would have been after my sophomore year in college, making me around 20 years old. The poem is “true” except that I was not the host because the party was at the house of one of the upper-level managers. Nor was I dating anyone seriously at the time.



Your e-Verse
by Michael R. Burch

for the posters and posers on www.fillintheblank.com

I cannot understand a word you’ve said
(and this despite an adequate I.Q.);
it must be some exotic new haiku
combined with Latin suddenly undead.

It must be hieroglyphics mixed with Greek.
Have Pound and T. S. Eliot been cloned?
Perhaps you wrote it on the ***, so ******
you spelled it backwards, just to be oblique.

I think you’re very funny, so, “Yuk! Yuk!”
I know you must be kidding; didn’t we
write crap like this and call it “poetry,”
a form of verbal exercise, P.E.,
in kindergarten, when we ran “amuck?”

Oh, sorry, I forgot to “make it new.”
Perhaps I still can learn a thing or two
from someone tres original, like you.



http://www.firesermon.com
by Michael R. Burch

your gods have become e-vegetation;
your saints―pale thumbnail icons; to enlarge
their images, right-click; it isn’t hard
to populate your web-site; not to mention
cool sound effects are nice; Sound Blaster cards
can liven up dull sermons, [zing some fire];
your drives need added Zip; you must discard
your balky paternosters: ***!!! Desire!!!
these are the watchwords, catholic; you must
as Yahoo! did, employ a little lust :)
if you want great e-commerce; hire a bard
to spruce up ancient language, shed the dust
of centuries of sameness; lameness *****;
your gods grew blurred; go 3D; scale; adjust.

Published by: Ironwood, Triplopia and Nisqually Delta Review

This poem pokes fun at various stages of religion, all tied however elliptically to T. S. Eliot's "Fire Sermon: (1) The Celts believed that the health of the land was tied to the health of its king. The Fisher King's land was in peril because he had a physical infirmity. One bad harvest and it was the king's fault for displeasing the gods. A religious icon (the Grail) could somehow rescue him. Strange logic! (2) The next stage brings us the saints, the Catholic church, etc. Millions are slaughtered, tortured and enslaved in the name of religion. Strange logic! (3) The next stage brings us to Darwin, modernism and "The Waste Land.” Religion is dead. God is dead. Man is a glorified fungus! We'll evolve into something better adapted to life on Earth, someday, if we don’t destroy it. But billions continue to believe in and worship ancient “gods.” Strange logic! (4) The current stage of religion is summed up by this e-mail: the only way religion can compete today is as a form of flashy entertainment. ***** a website before it's too late. Hire some **** supermodels and put the evangelists on the Internet!



The State of the Art (?)
by Michael R. Burch

Has rhyme lost all its reason
and rhythm, renascence?
Are sonnets out of season
and poems but poor pretense?

Are poets lacking fire,
their words too trite and forced?
What happened to desire?
Has passion been coerced?

Shall poetry fade slowly,
like Latin, to past tense?
Are the bards too high and holy,
or their readers merely dense?



Plastic Art or Night Stand
by Michael R. Burch

Disclaimer: This is a poem about artificial poetry, not love dolls! The victim is the Muse.

We never questioned why “love” seemed less real
the more we touched her, and forgot her face.
Absorbed in molestation’s sticky feel,
we failed to see her staring into space,
her doll-like features frozen in a smile.
She held us in her marionette’s embrace,
her plastic flesh grown wet and slick and vile.
We groaned to feel our urgent fingers trace
her undemanding body. All the while,
she lay and gaily bore her brief disgrace.
We loved her echoed passion’s squeaky air,
her tongueless kisses’ artificial taste,
the way she matched, then raised our reckless pace,
the heart that seemed to pound, but was not there.



“Whoso List to Hunt” is a famous early English sonnet written by Sir Thomas Wyatt (1503-1542) in the mid-16th century.

Whoever Longs to Hunt
by Sir Thomas Wyatt
loose translation/interpretation/modernization by Michael R. Burch

Whoever longs to hunt, I know the deer;
but as for me, alas!, I may no more.
This vain pursuit has left me so bone-sore
I'm one of those who falters, at the rear.
Yet friend, how can I draw my anguished mind
away from the doe?
                                   Thus, as she flees before
me, fainting I follow.
                                     I must leave off, therefore,
since in a net I seek to hold the wind.

Whoever seeks her out,
                                         I relieve of any doubt,
that he, like me, must spend his time in vain.
For graven with diamonds, set in letters plain,
these words appear, her fair neck ringed about:
Touch me not, for Caesar's I am,
And wild to hold, though I seem tame.



Alien Nation
by Michael R. Burch

for J. S. S., a "Christian" poet who believes in “hell”

On a lonely outpost on Mars
the astronaut practices “speech”
as alien to primates below
as mute stars winking high, out of reach.

And his words fall as bright and as chill
as ice crystals on Kilimanjaro―
far colder than Jesus’s words
over the “fortunate” sparrow.

And I understand how gentle Emily
felt, when all comfort had flown,
gazing into those inhuman eyes,
feeling zero at the bone.

Oh, how can I grok his arctic thought?
For if he is human, I am not.



Keywords/Tags: sonnet, sonnets, meter, rhythm, music, musical, rhyme, form, formal verse, formalist, tradition, traditional, romantic, romanticism, rose, fire, passion, desire, love, heart, number, numbers, mrbson

i am running down
a straight asphalt road fast

that's a one-way road,
so i don't get lost...
nor get stuck 'cause it's also
a highway

unlike others
who drive through unpaved roads

or be jammed on curved streets

i run this asphalt road laid down
by my wealthy parents

I want to ride with the van doors open.
I want you and you, and you, and you and you and you and you and you in there.
I want the wind to storm its way through the doors, and make it hard for us to breathe.
I want us to sing and laugh so loud, we can't seem to hear each other.
I want the ***** soles of your shoes against my shin, my hair in your open mouth and your shoulder molding painfully into my arm.
I want to see your shirt ride up your belly; I want to see the scars there before I eat you alive.
I want your neck on my tongue and my heart in your hands;
I want to pool in between your fingers so you'd have to skin yourself alive just to scrape me off.

I want to fall out of a moving car and be on the news.
I want my flesh to grate the asphalt so hard, you could look for me in between the cracks.
I want to slip off in a blur and taste the colors in the air;
I want you to know what my blood is like on your teeth and what my eyes look like on the pavement.
I want you to have my soul in your hands and to own me like I can't be robbed of my grave.
I want to be tattooed into the back of your eyes and see me in the darkness there.
I want to own what's been yours for so long.

I want you to wear my shirt when you go to sleep.
I want people to mourn then ask you what it was like to know me.
I want you to tell them I haunt you. That you love me. Despise me.
That they locked the casket cause they never found me.
That the truth is, I'm inside of you, every moment, awake and alive, breathing and not.
Buried where I'd never be found—that if they'd have to pay respects, they'd go to you instead.

I want to be rotting next to you so you're never alone.
Keeping you awake if you dare try to leave the thought of me.
Be the weight that pulls you back to bed; the curse that forces you into mourning.

I want you to ride up and down the road at night, so we can both be alone.
Lie down where you could find me, outlined and marked up from:

Marker 1, marker 2, and marker 3: past the corner, down the blind turn, scattered across a corn field.

You'd remember what shoes I had on.

You'd be wearing the necklace I always kept.

You'd know I smiled too much. Way too often.

You'd look at the ground in contempt before lying there, hoping I'd die. Just one more time. Praying that you could hate me.

Leave me there.

But you'd be laying in a field where our friend's van no longer returns.

You'd get up, dusting your jeans, sour-mouthed and empty. Shirt ***** from the muck, the asphalt glittering with me inside of it.

I want you to walk down the middle of the road where they placed lights to guide you. There can never be another me down that road again.  They hope not.

And you hope not too.

I want you to think of your soul left behind with me, where I lay scattered on the field.

I want you to know, even in pieces, we're happy.

That the world is willing to forget, and move on.

And you're trying. Always trying.

And I want that.

I want you to join me, because it wasn't  really me who died.

The Checkout Line

I wish to speak with you
ten years from now, you'll be ten years behind.

The words and meanings you carry in your pants, the pick-pocket steals your hopes from time.
and the visions of empty trash receptacles
with their late evening drunken lovers' bouts, at restless end tables. And the bums with their ******* attitudes **** covered clothes, and soiled minds

the clarity of the curbside drunk, picking up shades of filtered cigarettes of twilight scandalous
pickup lovers in their evening best.

And to talk with you ten years from now, you'll be ten years behind.

They're Green Beret head ornaments
detailing the porcelain platforms of Delft
Lining up for one last line to carry them into another faded sunrise at dawn's forgotten memory of yester night
and they walk their gallows holding pride fully their flags of exalted countrymen.

The republic of teacups of literary proficiency.
Wearing the necklaces of paid tolls to an afterlife they find in the miniscule car crashes of engagement with a grinless driving mate in a neighboring car in its pass into the forethought of turned corners.
Where they befell the great disappointment of failure in the frosted eyes of their fathers' expectations.

Who carried the shame of their mother's incessant discontent through short skirts, and high heels.

Who disapproved of the **** whom wore the sneak-out-of-the-house-wear clothing line, and traveled by night over turbulent asphalt by way of sidecar through turn and turnabout hand-over-hand contracts of lover's affection, and slept in tall grasses of wet nightfall with views of San Francisco, and were trapped in the inescapable Alcatraz and Statesville of unconsenting parents and their curfews,

through trials and trails of Skittles leading to after school Doctor visits in the basement of a doting mother, whilst she sits quietly in her exclusive quilting parties with noble equities of partners in knowledge, listening to Edith Piaf and the like,

All the while condemned to time, trapped in the second hand, hand me downs of the 21st century, decades of decadent introverts with their table top unread notebooks, and old forgotten score cards, and the numbers of scholars of years past,

and to talk with you ten years from now will be my greatest pleasure, for you will be....ten year's behind.


They push the sterile elevator buttons, and descend upon the floor of scents flourishing from their crowded family rooms, only aware of distinctive flavors, in their middle eastern shades of desert gumbo,

Who speak ribbit and alfalfa until midnight of the afternoon, sharing fables of slaughtered giraffes and camels that walked from Kiev to Baghdad in a fortnight,

Who are aware the power is out, but continue to scour for candles in a dark room where candles once burned, where candle wax seals the drawers of where candles can be found. Where once sat gluttonous kings and queens in Sunday attire waiting for words of freedom from the North.

of Florence, Sochi,Shanghai
of Dempster, Foster, Lincoln
of Dodge, Ford, Shelby

Of concrete fortune tellers in 2nd story tenement blocks with hairy legs, and head lice, wearing beautiful sachets of India speaking ribbit and alfalfa.

On their unbirthdays they walk the fish tanks wearing their birthday suits to remind them who serves the food on the floors of the family room fish mongers tactics.

The old men wear gargoyles on their shoulders.

Lo! Fear has crept the glass marbles of their wisdom and fortune, blearing rocket ships and kazoos on the sidewalks of their Portuguese forefathers.

Where ancestry burns cigarette holes in the short-haired blue carpet, where Hoover breaks flood waters of insignificance across hard headed Evangelical trinities.

Who share construction techniques one early morning at four, where questions of Hammer and **** build intelligence in secondary faces of nameless twilight lovers, who possess bear blankets, and upheavals, finely wired bushes of ***** maturity. Eating *** and check, tongue and pen.

Where police caress emergency flame retardants over the fire between their legs, wielding the chauvinistic blade of comfort in the backseat of a Yellow faced driving patron.

With their innocent daughters with their nubile thighs, and malleable personalities, which require elite words and jewelry. Wearing wheat buns, Longfellow, and squire.

Holding postmarked cellular structure within their mobile anguish.

Who go curling in their showers, pushing afternoon naps and pretentious frou-frou hats over tainted friendships with their girlfriend's brothers with minimum paychecks'.

Through their narcissus and narcosis, their mirrored perceptions of medicinal scripture of Methamphetamine and elegant five-star meat.

Who amend their words with constitutional forgiveness, in their fascist cloth rampages through groves of learning strategies. And the closets, cupboards, and coins
with rubber hearts, steel *****, and gold *****,

Tall-tales of sock puppet hands with friendly sharing ******* techniques, dry with envy, colorful scabs, and coagulation of eccentric ****** endeavors, With their social lubricants and their tile feet wardrobes with B-quality Adidas and Reeboks gods of the souls of us. Who possess piceous syndromes of Ouiji boards in their parent’s basements.

When will fire burn another Bush? Spread the fire walls of Chicago, and part grocery store fields of food. Wrapping towels under the doors of smoke filled lungs, on the fingernails of a sleepover between business executives with the neoprene finish of their sons and daughters who attend finishing school, with resumes of oak furnishings,

And I long to talk with you ten years from now,
For you'll be talking ten years behind.

Who profligate their padded inventories breaking Mohammed and Hearst,
laying the pillows of cirrus minor
waiting for the rain to paint the eyes of the scriptures which waft through concrete corridors,
and scent the air with their exalted personas,

With the different channels of confusions, watching dimple past freckle, eating the palms of our tropical mental vocations to achieve purity from the indignation of those whom are contemptuous for lack of innocence in America,
this America, of lack of peace,
of America hold me,
Let me be.

Whom read the letters off music, blearing Sinatra and Krall, Manson where is your contempt?

Manson where is your manipulation of place settings?, you deserve fork and knife, the wounded commandments that regretfully fall like timber in an abandoned sanctuary of Yellowstone,
Manson, with your claws of the heart.
Manson, with your sheik vulgarity of **** cloaks exposing your ladies undercarriage,

Those who take their pets to walk the aisles of famished eyes,
allowing the dorsals of their backsides to wonder aimlessly through Vietnam and Chinaman,
holding peace of mind aware of their chemical leashes and fifteen calorie mental meals, holding hands, unaware of repercussion,

With their vivid recollections of sprinkler and slide, through dew and beyond,
Holding citrus drinks to themselves, apart from pleasure, trapped with excite from sunsets, and in-between.

Withholding reservation of tongue to lung.
Flowing ribbit and alfalfa, in the corridors of expected fragrance.

and to speak with you of ten years from now, will be a pleasure all my own, for you will be talking ten years behind.

They walked outside climbing over mountains of shrapnel, popped collars
and endless buffets of emotion,
driving Claremont all the way to art gallery premiers
and forever waited for plane crash landings
and the phone calls that never came

Glowing black and white cameras
giving modelesque perceptions to all-you-can-eat eyes
giving cigarettes endless chasms of light

Colored pavement trenches and divots
cliff note alibis
and surgery that lasted until the seamstress had gone into an
endless rest
and
empty cupboards

Classic stools painted with sleepless white smoke and bleached canvas rolling tobacco with the stained yellow window panes of feral tapestry and overindulgent vernacular

Like a satiated cheeseburger weeping smile simple emotion
on November the 18th celebrations
and Wisconsin out of business sales

Too much comfort, stealing switchboards from the the elderly, constantly putting gibberish into
effortless conversation.

Dormant doormats, with the greetings that never
reached as far as coffee table favelas,
arriving to homes of famished
furniture, awaiting temperate lifestyles and the window sill arguments from pedantic literacy

Silver shillings and corporate discovery clogged the persuasive
push and shove
to and from

Killing enterprise
loquacious attempt at too soon
much too soon
too soon for forever

Wall to wall post-card collages
happy reminders of the places never visited by drinks in the hands of
those received

Registered to the clouded skies of clip board artists
this arthritis of envy
of bathtub old age
wrinkled matted faces
logged with quick-fixes, anemia, and heart-break

disposed of off the streets
of youth, wheeling and wailing
rolling down striped stairs
of shock and arraignment
holding the hand rails of a wheelchair
suitcase
packed away in a life

Down I-37
into the ochre autumn fallen down leaves
and left memories behind
their green Syphilis eyeglasses

weeping tumuli
recalcitrant
mulish, furrow of beast and beyond

yelling, screaming, howling
at the prurient puerile tilling
of sheets

****** the voices of words
and vomiting the mind into the pockets of the turbulent perambulations
expelled from meat-packing
whispering condescension
and coercing adolescent obsessions
with fame, glamour, and *****

Creeping out into the naked
light of the Darger scale janitorial
closets, carrying the notorious gowns
of red wine spells, backpacks, and pins

henchmen, plaintiff, and youth

All the while
ripping at the incantations of the soul
whispering ribbit and alfalfa
in the guard-rail scars
of the dawns decadent forgotten

The great New York metropolitan
stretching its  vibrancy
trafficking its wears.
Car horns combating in contemptuous arguments
habituated eardrums unwittingly pulsating

Great buildings upward; towering behemoths in grandiose splendor
This great asphalt jungle sprawling its electricity for blocks,
for miles
The jazz of the city continues the chanting; the sounds of bass and the blowing of the **** sax, the horn, the piano
and the drums drumming on its rhythmical beat

Beating hearts feeling the vibrancy; the shock waves of nuances echoing the great hustle
Multitude of voices singing praise to the different tongues;
vibrant in diverse rejoicing, the poetry of men and women
Metropolitans claiming the world condensing into small
blocks and listening to its RHAPSODY.

In a museum, or forgotten barn,
A small red twelve inch two wheeler
Hangs on invisible wires,
Or is covered in pigeon droppings and dust.
But Tannehill rode it once,
Like something in a dream.
He was too long-framed for it.
He controlled it, rounded the corner,
Pedalling hard down the sidewalk,
Across the street from our new house.
I gawked from the front yard:
He was a boy with his bike,
Like The ****** on T.V.
It was the first I learned to ride,
And the falls were magnificient,
On grass or asphalt.
Girls' bikes were easy,
One size fits all.
Then I learned to pedal
Beneath the cross bar of the big boys'.
Push the pedals,
Shift the midrift, and be gone.
Always from somewhere
To somewhere else,
Far from the soft front lawn.

Behind my old house
once grew a mango tree;
last year they chopped it down
to build a highway, toll free.

It never inspired much awe or poetry
it was like other mango trees,
under which I played since I was three
and was home to some possessive bees.        

When strong winds blew
it never bowed,
its branches somehow grew
that is until now.

The ground on which it stood
is now covered with asphalt,
and it will never be understood
as to who was really at fault.

And as for the bees
well, I never did like them,
but then you see
they were here longer than I am.

My neighbors and cousins
with whom I had lots of fun,
seek all sorts of reasons
why now we have none.

I can only say, for what's worth
when the Almighty does an inventory,
He may label planet Earth
"An old cemetery".

Pennsylvania, 1948-1949

The garden of Nature opens.
The grass at the threshold is green.
And an almond tree begins to bloom.

Sunt mihi Dei Acherontis propitii!
Valeat numen triplex Jehovae!
Ignis, aeris, aquae, terrae spiritus,
Salvete!—says the entering guest.

Ariel lives in the palace of an apple tree,
But will not appear, vibrating like a wasp’s wing,
And Mephistopheles, disguised as an abbot
Of the Dominicans or the Franciscans,
Will not descend from a mulberry bush
Onto a pentagram drawn in the black loam of the path.


But a rhododendron walks among the rocks
Shod in leathery leaves and ringing a pink bell.
A hummingbird, a child’s top in the air,
Hovers in one spot, the beating heart of motion.
Impaled on the nail of a black thorn, a grasshopper
Leaks brown fluid from its twitching snout.
And what can he do, the phantom-in-chief,
As he’s been called, more than a magician,
The Socrates of snails, as he’s been called,
Musician of pears, arbiter of orioles, man?
In sculptures and canvases our individuality
Manages to survive. In Nature it perishes.
Let him accompany the coffin of the woodsman
Pushed from a cliff by a mountain demon,
The he-goat with its jutting curl of horn.
Let him visit the graveyard of the whalers
Who drove spears into the flesh of leviathan
And looked for the secret in guts and blubber.
The thrashing subsided, quieted to waves.
Let him unroll the textbooks of alchemists
Who almost found the cipher, thus the scepter.
Then passed away without hands, eyes, or elixir.


Here there is sun. And whoever, as a child,
Believed he could break the repeatable pattern
Of things, if only he understood the pattern,
Is cast down, rots in the skin of others,
Looks with wonder at the colors of the butterfly,
Inexpressible wonder, formless, hostile to art.


To keep the oars from squeaking in their locks,
He binds them with a handkerchief. The dark
Had rushed east from the Rocky Mountains
And settled in the forests of the continent:
Sky full of embers reflected in a cloud,
Flight of herons, trees above a marsh,
The dry stalks in water, livid, black. My boat
Divides the aerial utopias of the mosquitoes
Which rebuild their glowing castles instantly.
A water lily sinks, fizzing, under the boat’s bow.


Now it is night only. The water is ash-gray.
Play, music, but inaudibly! I wait an hour
In the silence, senses tuned to a ******’s lodge.
Then suddenly, a crease in the water, a beast’s
black moon, rounded, ploughing up quickly
from the pond-dark, from the bubbling methanes.
I am not immaterial and never will be.
My scent in the air, my animal smell,
Spreads, rainbow-like, scares the ******:
A sudden splat.
I remained where I was
In the high, soft coffer of the night’s velvet,
Mastering what had come to my senses:
How the four-toed paws worked, how the hair
Shook off water in the muddy tunnel.
It does not know time, hasn’t heard of death,
Is submitted to me because I know I’ll die.


I remember everything. That wedding in Basel,
A touch to the strings of a viola and fruit
In silver bowls. As was the custom in Savoy,
An overturned cup for three pairs of lips,
And the wine spilled. The flames of the candles
Wavery and frail in a breeze from the Rhine.
Her fingers, bones shining through the skin,
Felt out the hooks and clasps of the silk
And the dress opened like a nutshell,
Fell from the turned graininess of the belly.
A chain for the neck rustled without epoch,
In pits where the arms of various creeds
Mingle with bird cries and the red hair of caesars.


Perhaps this is only my own love speaking
Beyond the seventh river. Grit of subjectivity,
Obsession, bar the way to it.
Until a window shutter, dogs in the cold garden,
The whistle of a train, an owl in the firs
Are spared the distortions of memory.
And the grass says: how it was I don’t know.


Splash of a ****** in the American night.
The memory grows larger than my life.
A tin plate, dropped on the irregular red bricks
Of a floor, rattles tinnily forever.
Belinda of the big foot, Julia, Thaïs,
The tufts of their *** shadowed by ribbon.


Peace to the princesses under the tamarisks.
Desert winds beat against their painted eyelids.
Before the body was wrapped in bandelettes,
Before wheat fell asleep in the tomb,
Before stone fell silent, and there was only pity.


Yesterday a snake crossed the road at dusk.
Crushed by a tire, it writhed on the asphalt.
We are both the snake and the wheel.
There are two dimensions. Here is the unattainable
Truth of being, here, at the edge of lasting
and not lasting. Where the parallel lines intersect,
Time lifted above time by time.


Before the butterfly and its color, he, numb,
Formless, feels his fear, he, unattainable.
For what is a butterfly without Julia and Thaïs?
And what is Julia without a butterfly’s down
In her eyes, her hair, the smooth grain of her belly?
The kingdom, you say. We do not belong to it,
And still, in the same instant, we belong.
For how long will a nonsensical Poland
Where poets write of their emotions as if
They had a contract of limited liability
Suffice? I want not poetry, but a new diction,
Because only it might allow us to express
A new tenderness and save us from a law
That is not our law, from necessity
Which is not ours, even if we take its name.


From broken armor, from eyes stricken
By the command of time and taken back
Into the jurisdiction of mold and fermentation,
We draw our hope. Yes, to gather in an image
The furriness of the ******, the smell of rushes,
And the wrinkles of a hand holding a pitcher
From which wine trickles. Why cry out
That a sense of history destroys our substance
If it, precisely, is offered to our powers,
A muse of our gray-haired father, Herodotus,
As our arm and our instrument, though
It is not easy to use it, to strengthen it
So that, like a plumb with a pure gold center,
It will serve again to rescue human beings.


With such reflections I pushed a rowboat,
In the middle of the continent, through tangled stalks,
In my mind an image of the waves of two oceans
And the slow rocking of a guard-ship’s lantern.
Aware that at this moment I—and not only I—
Keep, as in a seed, the unnamed future.
And then a rhythmic appeal composed itself,
Alien to the moth with its whirring of silk:


O City, O Society, O Capital,
We have seen your steaming entrails.
You will no longer be what you have been.
Your songs no longer gratify our hearts.


Steel, cement, lime, law, ordinance,
We have worshipped you too long,
You were for us a goal and a defense,
Ours was your glory and your shame.


And where was the covenant broken?
Was it in the fires of war, the incandescent sky?
Or at twilight, as the towers fly past, when one looked
From the train across a desert of tracks

To a window out past the maneuvering locomotives
Where a girl examines her narrow, moody face
In a mirror and ties a ribbon to her hair
Pierced by the sparks of curling papers?


Those walls of yours are shadows of walls,
And your light disappeared forever.
Not the world's monument anymore, an oeuvre of your own
Stands beneath the sun in an altered space.


From stucco and mirrors, glass and paintings,
Tearing aside curtains of silver and cotton,
Comes man, naked and mortal,
Ready for truth, for speech, for wings.


Lament, Republic! Fall to your knees!
The loudspeaker’s spell is discontinued.
Listen! You can hear the clocks ticking.
Your death approaches by his hand.


An oar over my shoulder, I walked from the woods.
A porcupine scolded from the fork of a tree,
A horned owl, not changed by the century,
Not changed by place or time, looked down.
Bubo maximus, from the work of Linnaeus.


America for me has the pelt of a raccoon,
Its eyes are a raccoon’s black binoculars.
A chipmunk flickers in a litter of dry bark
Where ivy and vines tangle in the red soil
At the roots of an arcade of tulip trees.
America’s wings are the color of a cardinal,
Its beak is half-open and a mockingbird trills
From a leafy bush in the sweat-bath of the air.
Its line is the wavy body of a water moccasin
Crossing a river with a grass-like motion,
A rattlesnake, a rubble of dots and speckles,
Coiling under the bloom of a yucca plant.


America is for me the illustrated version
Of childhood tales about the heart of tanglewood,
Told in the evening to the spinning wheel’s hum.
And a violin, shivvying up a square dance,
Plays the fiddles of Lithuania or Flanders.
My dancing partner’s name is Birute Swenson.
She married a Swede, but was born in Kaunas.
Then from the night window a moth flies in
As big as the joined palms of the hands,
With a hue like the transparency of emeralds.


Why not establish a home in the neon heat
Of Nature? Is it not enough, the labor of autumn,
Of winter and spring and withering summer?
You will hear not one word spoken of the court
of Sigismund Augustus on the banks of the Delaware River.
The Dismissal of the Greek Envoys is not needed.
Herodotus will repose on his shelf, uncut.
And the rose only, a ****** symbol,
Symbol of love and superterrestrial beauty,
Will open a chasm deeper than your knowledge.
About it we find a song in a dream:


Inside the rose
Are houses of gold,
black isobars, streams of cold.
Dawn touches her finger to the edge of the Alps
And evening streams down to the bays of the sea.


If anyone dies inside the rose,
They carry him down the purple-red road
In a procession of clocks all wrapped in folds.
They light up the petals of grottoes with torches.
They bury him there where color begins,
At the source of the sighing,
Inside the rose.


Let names of months mean only what they mean.
Let the Aurora’s cannons be heard in none
Of them, or the tread of young rebels marching.
We might, at best, keep some kind of souvenir,
Preserved like a fan in a garret. Why not
Sit down at a rough country table and compose
An ode in the old manner, as in the old times
Chasing a beetle with the nib of our pen?

One word is all it takes
To explode a seemingly
Perfect output

Smashed! One nose
Dive after the other

Straight as a pole turned,
Askew with every turn.

A jab, a punch
as scraps appear.

A pinch and a puncture
Hurts like never before.

Until blood and matter
Sprayed on the cold asphalt

While everything occurs,
You watch. Soundlessly

It takes effect but you
Just watch it happen

You realize one singular,
Grand idea whilst pain climaxes
Life goes on.

Raven screams
on stiller days
of brighter dreams
from sunlight beams
bleaching dry
newspaper reams
This air that seems
containing more
that what i breathe
echoes in the distance
just for me
jubilantly


This cracked asphalt retains heat
under the frost and angled seams

A tomboy, naturally barefoot, gingerly walks the white painted line because the asphalt is just too burning hot.  Scrubby tufts of weedy grass are welcome respites on the way, briefly cooling her steps even if they are stickery.  The ***** soles of her now calloused feet were intentionally toughened just before school got out, with mincing steps across the roughest gravel she could find.  Her mother accommodates her preference, leaving a pan of water outside for her to scrub her feet before going in.  Even then, a black path has gradually appeared leading from the front door in the old orangish carpet.  Two months of summer barefoot every day when she had the choice. Keyed roller skates clamped onto last year’s school shoes were the exception.  She can flat out run anywhere.
  
This particular expedition began like every other thing they did, which was anything to fend off boredom.  She had been sitting on a cement step shaded by an open carport, just three oil-stained parking stalls for three small apartments on the tired poor side of town.  There is a little more dirt on the street here, and grass is a little neglected.  Just like the children, but these kids prefer that anyway.  Two scruffy friends stomp on aluminum cans, brothers sporting matching buzz cuts and cut-off shorts.  They are flattening them for the recycling money by the pound, so the carport smells vaguely of stale beer.  Another boy attempts to shoot a wandering fly with a home-made rubber band gun; rings cut from a bicycle tube made the best ammo.  “What do you want to do?” …”I don’t know, what do you want to do?”  Thwack…  The only requisite for friendship here is vicinity, yet it is still true.  The idea of choosing friends is about as odd as the concept that one could chose where one lives... Strengths and shortcomings are completely accepted because it is just what it is.  

Their amazing three-story tree fort with a side look-out had been heartlessly taken down by the disgruntled property owner last week.  Two months of accumulating pilfered and scrap two-by-fours, nails, and even a stack of plywood (gasp!) from area construction sites had yielded supplies for a growing fort.  A gang-plank style entry had crossed the ditch to the first level.  Nailed ladder steps to the second offered a little more vertigo and a prime spot to hurl acorns.  Another ladder up led up to the third floor retreat, with a couch-like seating area and shoulder high walls.  A breeze reached the leaves up there.   The next tree over was the look-out, with nothing but ladder steps all the way up to where the view opened up out of the ravine.  When the wind blew, it gave merciless lessons in facing any fear of heights.  But now that was all over, discovered gone overnight.

Someone says again, “What do you want to do?” …”I don’t know, what do you want to do?”  “ 7-11? ”  Good enough, so they head out.   Distance measures time.  Ten minutes is the end of the street past the cracked basketball court in the church parking lot.  Fifteen minutes and the lawns end at the edge of the sub-division.  Half-built homes rising from bare dirt and scattered foundations could offer treasures of construction scraps, (where she suspects the stack of plywood came from.) but they keep walking.  Twenty minutes is where industry has scraped away nature, and railroad tracks form an elevated levee.  But time is meaningless if there’s a wealth of it, so there’s no going further until an informal ritual is completed.  Wordlessly they each dig around their pockets searching for equal amounts of pennies.  Each of them carefully arrange them lined up on the rounded-surface rail, and they settle in for the wait.  It could be five minutes or it could be thirty.  They all understand it’s a crap-shoot of patience waiting for the next train. It’s an unspoken test; quitting too early means losing your coins to the one who stays, so that’s not an option.

Heat presses down and the breezeless air smells like telephone-pole creosote.  She sits in a dusty patch of shade found next to an overgrown ****.  She knows it tastes like licorice and breaks off a stem to chew, but doesn’t know what it is.  The boys throw rocks randomly until she finally stands up to join in, tempted by the challenge of flight and distance.  Then she stands in the center of the tracks, looking one way then the other, searching for the first random distant glimmer of the engine’s light at the horizon.   A flash, so she places her ear to the metal Indian-style, and the imminent approach is confirmed.  She calls out, “its here!” and double checks her pennies’ alignment.  Heads up or tails, but always aligned so the building might be stretched tall or wide, or Lincoln’s face made broad or thin.  That happened only rarely, since it could only be rolled by one wheel then bounced off.  If it stuck longer, the next wheels would surely smash it into a thin, elliptical, smooth misshapen disc of shiny copper.  Its only value becomes validation of a hint of delinquency, Destroying-Government-Property.  Once she splurged with a quarter, which became smashed to just a gleaming silver, bent wafer discolored at the edge.  Curiosity wasn’t worth 25 cents again though, so she had only one of those in her collection.

The approaching engine silently builds impending size and power, so she dashes back down the rocky embankment to safety because after all, she is not a fool, tempting fate with stupid danger. She knows a couple of those fools, but she finds no thrill from that and is not impressed by them either.  Suddenly the train is here, generating astounding noise and wind, occasional wheels screaming protest on their axels.  She intently watches exactly where she placed her coins, hoping to see the moment they fly off the rails that are rhythmically bending under the weight rolling by.  It becomes another game of patience, with such a long line of cars, and she gives up counting them at 80-ish.  Then suddenly it is done and quickly the noise recedes back to heat and cicadas.  The rails are hot.  Diligently they search for the shiny wafers.  Slowly pacing each wood beam, they could have landed in the gravel, or pressed against the rail, or even lodged straight up against the square black wood yards down the tracks.  They find most of them, give up on the rest, then continue on.

She has thirty cents and at last they reach the afternoon’s destination.  7-11’s parking lot becomes a genuine game of “Lava”, burning blacktop encourages leaps from cooler white lines, to painted tire stops, to grass island oasis, then three hot steps across black lava to the sidewalk, and automatic doors swoosh open to air conditioning.  She rarely has enough money for a coke icey; she is here for the bottom shelf candy, a couple pennies or a nickel each.  Off flavors but sweet enough.  She remembered when her older brother was passing out lunchbags of candy to the neighborhood kids for free, practically littering the cul-de-sac.  She had wondered where he got enough money for all that popularity, or could he have saved that much from trick-or-treat? She wondered until he got busted shoplifting at the grocery store.  The security guard decreed that he was never allowed in there again, forever, and the disgrace of sitting on the curb waiting for the mortified ride home was enough to keep him from doing it again.

Today she picks out a few root beer barrels, some Tootsie-rolls (the smaller ones for two cents, not the large ones that divide into cubes) a candy necklace and tiny wax coke bottles, and of course a freeze-pop.   Sitting on the curb, she bites off small pieces of the freeze pop, careful not to get tooth-freeze or brain-freeze, until the last melty chunk is squeezed out the top of the thin plastic tube.

“What do you want to do now?” …”I don’t know, what do you want to do?”

I’m fascinated by the way your faulty intestines
rest on the insides of your ribs when you lay on one side
and the way my spine tries to rip its way out of my back

I want to know why my shoulder blades feel as if
one day they will become wings
and allow me to fly away

I’ve wanted to be somewhere else for a long while now
my feet don’t really seem to fully hit the ground anymore
I am a vortex gaining speed

and they say getting hit by lightning twice is so highly improbable
but what happens when I am struck by lightning every night

what does it mean when I wake up covered in blood
and desperate for something unnamed
something that hides out in my dreams

and all I’ve ever wanted was a few answers

like if there is a god why does he allow hell on earth
because I’ve been burning at the stake ever since I turned 7

and this charred flesh of mine feels like acid
and tastes like asphalt

this little body does not feel like home

there's a buzzing in this spine
and a nervous rattling in this skull

I locked eyes with the street last night
and it dared me to turn away
turn from the injustice
inequalities
ignorance
move on to some romantic scene
that lives outside the grey

I wrapped its cold wet skin
around my neck and began to shiver
as the rocks began to scrape
scratch
slither in my veins
as one hundred unknown faces
paddled their way down river

I tasted grief and empathy
and the mix was all too vile
more bitter than any sympathy
symbiotic
synergy
gears were painting machinery
cranking out disquiet and bile

It was then I found its corner
and the music it seemed to breathe
and despite my hesitation
hysteria
hellish intent on fiction
The asphalt smile began to grow
and pave my mind at ease

Plastic bags are my super villain
and no I am not Aqua Man
I am Michael a normal male civilian
of some young-adult age,
whom is still willing to inconvenience himself.

Not so old, where holding multiple objects
sounds like an obstacle too acrobatic for the limbs to handle.
One can too many knock's off the balance of the elderly
and cast them off the trapeze of a sidewalk
into a net of asphalt, where being caught is a broken hip.

No that is not me, although it does remind me
of my grandma, because to her plastic bags are her life-savers.
It is a struggle to convince my grandma that I am a great trapezist
so we can leave these bags to their solitude
and finally defeat this enemy.

Although with plastic bags it is never so easy
they have plenty of goons who are willing to do the ***** work
forcing themselves upon us at any opportunity,
even those that don't make any sense, even for my grandma.

I Went to Best Buy and bought a brand new movie,"Unfriended"
and I got it for my grandma to watch, since she's a bit technophobic.
This movie will haunt her; for ghosts **** people through the internet.
What will haunt me is Destiny, the worker, handing me a plastic bag:
with a 13-ounce, smaller than a piece of paper Blu-Ray inside
...without even asking if I wanted a plastic bag.

Drifting over asphalt,
stars slipping through the sunroof.
Full throttle.

He turned all to suddenly
(and not suddenly enough)
right into me.

Jokes on him,
he turned with plenty of room
I just never hit the break.

And as the story goes
he’s blamed as the guy
who killed my parents daughter,

when actually she slipped away,
through the sunroof and to the stars,
many years ago...

I've been driving at night
With every seat empty but the drivers
Hoping my mind and the road are the same
It seems to me I'm always in the wrong lane

Streetlights are the only illumination
On a dead and silent nation
I've never been religious
So my tires pray
And an engine's hum
To replace words I can never say

God as in asphalt ,driving to exist

Oh! Remember that time with the guy in the place?
He had a blue jacket, the one with the face?
We were walking some street, on a simple quest,
To find chicken nuggets, and a place to rest
We had just watched a tape, oh what was it called?
The guy had blond hair or brown? Or, was he bald?
People were jamming around the subway station
I wish I could remember, **** conflagration!

Or that other time, when we tried to surprise,
But clever you would already surmise
And we searched every crevice, of that jungle-y zoo
While lil’ wandering kinds came up to you
Because you had a cool t-shirt and we did not
I shall always remember that very spot.

Or that average day, specifics I’ll not say
That we were doing some papier-mâché
And days, or weeks, or months, or later
When, you had a dream about an alligator
(it was actually a crocodile)

I brought you a present, ever so small
And with a knife, shiny and tall
We designed a marvelous work of art
Who could imagine that it would explode apart?

Or that other afternoon, we spent in the prickers
Jumping over annoying brown stickers
And tossing around a-- , I’ll say no more
Who would care, we weren’t keeping score
As red, yellow, orange were falling from above
Because we made them with a shove
And bagels and comics were lying around
As TV commercials played in the background

Hey, remember those times when we were so little
At the front desk, my head came up to the middle
When there were only “original” Pokémon
And you had a different house and lawn
I miss our games of trust, they were lots of fun
When all that we did was laugh and run

I remember drinking tea in the outside air
And sitting in a big red van praying for God us to spare
I recall “Sand” and flairs and quote
As we were digging our pirate moat
I enjoy our profound discussions and your denial
Of us doing anything but homework, while
We **** each other in the asphalt road at night
Act ridiculous in all the sight
Of people at Food Max, and you are jealous
Of old guys jogging, what befell us?

When Catherine is dancing with Russians and hasn’t energy to type
I will mumble under my breath and force her to skype
I know we both suffer without her sarcasm, bright
Your melodious tone is absent where you guys used to fight
Ah! Fond remembrance of backstage flashes
Of hairspray stiff wigs, sticky floors, and sweat on mustaches

Some day we will look back on all we have done
And think of each smile, each day under the sun
We’ll tell horrid stories to all of our kids
Of hiking through snow, eating rocks and some twigs

Somewhere, in that place, where there is no time,
There still is no Starbucks to spend our dime
But I think that now will be better than then
If we only can forget the “how” and “when”

There is no one but God who gets you and me
For who would subscribe to our philosophy
As we laugh half an hour over a crime just planned
Or a stupid movie that we watch “On Demand”
I think to myself, as red eyes fill with pus
That no one else thinks quite like us.
11/13/10

So I scuttled up, until I found a voice like Japan, I read him his rights, turned out the lights, and laid right back on the sand. They said, "Sir, he was much of a father to me, but we were labeled his kin, right in our family tree." "Oh wow", I said, with a gentle, smooth voice, he went missing last August, but now he wants back you boys?" "Oh yes, he sure is a feral man. We think that's why he dried up and flew to Japan." Right then, the two of them went silent just like two second story men, so I inquired, "What happened then?" "From Monday thru Sunday he took to prayer from the bible, and on every other weeknight he watched Japan's Top Model. He threw gallant parties to a harem of wives, he read each of their palms, and looked in their eyes; some time later, when everyone was about to leave, he'd turn on Happy End and start a wild ****." By this time I was tired, the sun began to set, I grew tired of my beach patch and yearned for my bed. Although soporific, I tried to be polite, I said, "Let's finish this conversation some other time." "Of course!", they said, "We're off to bed. We'll see that you'll do the same." Then they stood up quick, and reached down and picked up my chains. The beach we laid on was black top, asphalt and tar, the bed I craved was behind a row of private bars. The two of them, them both, were children of mine, because my memory is shot, this might've been their millionth time. i got locked up in a county that's dry as a beach, like Elizabethtown, Kentucky, where I was raised till 13. No one, not even the warden, knows really why I'm here, even some man from Cell Block Five, asked me last Sunday, why was I here. My beach perhaps, it's love at last, concrete, gravel, and stone- a 6' x 10' room with bars and a porcelain throne. It's mine I cry, each night I die, with glee, with smile, with rite. But it makes the other guys run at me, and try to start random fights. I don't remember the boat I took, but I remember the tour, going to Japan at Epcot Center since I'd never gone before.

Yet I Am Ready
Watching the waves eat away the castles made of sand
Staring at the way wind is churning at infrastructure       land
like a big bad wolf who found the fear and lean foundation of a brick house
I am ready for her hand

I am all ready
Traversing fields filled with fruitless wonders
burning tundras rolling thunders
A Man attempting to put out its grand made funeral pyre
with nothing but a Jack and Jill bucket filled with reverse osmosis electrolyte infused hydrogen oxygen expired prayers
I am Ready for no man land

I have a radio already
Listening to Nokia raven chirps and bubble bee gyrations.
Evergreens whispers as wild blooms break concrete and asphalt and building plans
giving smiles to homeless man and woman
dreamers flowering in the night lights that were supposed to replace stars

I am ready
for the woods to takeover the hoods
for bear feets to take over the streets
for napkins to become extinct
to write with my god-given red ink
so that my being will dye into stone and dirt
To leave my DNA on my mothers belly and hear her cry
As she covers my mouth closes her eyes tearful from radioactive winds
let her know that I loved her and hugged her every chance I could
I am ready to give up me for we have not given back enough
We have devoured the essence and forgotten how to seed and harvest  
the nothing has become us
which is why Earths flesh is colored rust
like  blood mixed with scratching dust
we have bruised the body
and wonder if we can blame something someone else
but US
Every time the finger points the object of our deflection disappears
Rearrange the letters she was trying to help us HEARt
Rearrange the letters EARth is trying to make us Heart
I'm trying to make us Ear

These MTHFCKRS are among US.
We have bred them with our love lust
still unaware that they a fungus
These MTHRFCKRS have become US
they save a life to **** it from us.
they manufacture fakes to stunt us
These MTHRFCKRS have become US
Ideas devoid of what we need to come up
She must go now and rip it from us
We must shed our blood just to fund us
Cause these MTHRFCKRS have out done US

Before I looked forward, I looked at the sky
I looked at birds whose numbers will die
I looked at the plane threatened with tragedy
I observed the moon conquered by humanity

Before I looked forward, I looked to my right
I looked at the gas stations that filled me with fright
I saw the grass littered with trash
I looked at the stores begging for cash

And before I looked forward, I looked to the ground
I looked at the bubblegum blackened and browned
I saw the asphalt crumbling fast
I looked at the coal which once was vast

So before I looked forward, I looked right behind
I looked at the coal burnt sky drifting high
I saw the foundations of our nations
I looked at the people ignoring the implications

Then I looked up, and I looked straight forward
I looked for an end to all our horrors
I saw that soon it would all be done
And I looked forward, and I saw the sun.

Bricks and mortar, steel and boards,
Phone poles lined with power cords, on
Pothole streets, where engines roar,
'Neath smoggy skies, where jet planes soar,

Where penny merchants peddle wares,
And news reports pretend they care,
Where vagrants sleep, and children stare,
And people work for lives not theirs,

That's life in the jungle, adrift in the herd,
Where terrestrial beasts envy free flying  birds
Where the pundits stand polished, and speak empty words,
And the artists paint portraits, while posted on curbs,

Where the men push carts, full of empty cans,
And the women spend paychecks, for spray-on tans,
Where the truckers drive loads, 'cross a thousand mile span,
To appease the great gods of supply and demand,

Asphalt and tarmac, girders and glass,  
Terrarium trees in cemented sod grass,
Ripe with the stench of exhaust fumes and gas,
As the choir lines up for the 10 o'clock mass,

While the brokers all scream, at a packed stock exchange,
As the veterans in wheelchairs sit begging for change,
That's life in the jungle, it's just a big game,
But remember you're playing, lest you go insane.