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I

Midwinter spring is its own season
Sempiternal though sodden towards sundown,
Suspended in time, between pole and tropic.
When the short day is brightest, with frost and fire,
The brief sun flames the ice, on pond and ditches,
In windless cold that is the heart’s heat,
Reflecting in a watery mirror
A glare that is blindness in the early afternoon.
And glow more intense than blaze of branch, or brazier,
Stirs the dumb spirit: no wind, but pentecostal fire
In the dark time of the year. Between melting and freezing
The soul’s sap quivers. There is no earth smell
Or smell of living thing. This is the spring time
But not in time’s covenant. Now the hedgerow
Is blanched for an hour with transitory blossom
Of snow, a bloom more sudden
Than that of summer, neither budding nor fading,
Not in the scheme of generation.
Where is the summer, the unimaginable
Zero summer?

              If you came this way,
Taking the route you would be likely to take
From the place you would be likely to come from,
If you came this way in may time, you would find the hedges
White again, in May, with voluptuary sweetness.
It would be the same at the end of the journey,
If you came at night like a broken king,
If you came by day not knowing what you came for,
It would be the same, when you leave the rough road
And turn behind the pig-sty to the dull facade
And the tombstone. And what you thought you came for
Is only a shell, a husk of meaning
From which the purpose breaks only when it is fulfilled
If at all. Either you had no purpose
Or the purpose is beyond the end you figured
And is altered in fulfilment. There are other places
Which also are the world’s end, some at the sea jaws,
Or over a dark lake, in a desert or a city—
But this is the nearest, in place and time,
Now and in England.

              If you came this way,
Taking any route, starting from anywhere,
At any time or at any season,
It would always be the same: you would have to put off
Sense and notion. You are not here to verify,
Instruct yourself, or inform curiosity
Or carry report. You are here to kneel
Where prayer has been valid. And prayer is more
Than an order of words, the conscious occupation
Of the praying mind, or the sound of the voice praying.
And what the dead had no speech for, when living,
They can tell you, being dead: the communication
Of the dead is tongued with fire beyond the language of the living.
Here, the intersection of the timeless moment
Is England and nowhere. Never and always.

II

Ash on and old man’s sleeve
Is all the ash the burnt roses leave.
Dust in the air suspended
Marks the place where a story ended.
Dust inbreathed was a house—
The walls, the wainscot and the mouse,
The death of hope and despair,
       This is the death of air.

There are flood and drouth
Over the eyes and in the mouth,
Dead water and dead sand
Contending for the upper hand.
The parched eviscerate soil
Gapes at the vanity of toil,
Laughs without mirth.
       This is the death of earth.

Water and fire succeed
The town, the pasture and the ****.
Water and fire deride
The sacrifice that we denied.
Water and fire shall rot
The marred foundations we forgot,
Of sanctuary and choir.
       This is the death of water and fire.

In the uncertain hour before the morning
     Near the ending of interminable night
     At the recurrent end of the unending
After the dark dove with the flickering tongue
     Had passed below the horizon of his homing
     While the dead leaves still rattled on like tin
Over the asphalt where no other sound was
     Between three districts whence the smoke arose
     I met one walking, loitering and hurried
As if blown towards me like the metal leaves
     Before the urban dawn wind unresisting.
     And as I fixed upon the down-turned face
That pointed scrutiny with which we challenge
     The first-met stranger in the waning dusk
     I caught the sudden look of some dead master
Whom I had known, forgotten, half recalled
     Both one and many; in the brown baked features
     The eyes of a familiar compound ghost
Both intimate and unidentifiable.
     So I assumed a double part, and cried
     And heard another’s voice cry: ‘What! are you here?’
Although we were not. I was still the same,
     Knowing myself yet being someone other—
     And he a face still forming; yet the words sufficed
To compel the recognition they preceded.
     And so, compliant to the common wind,
     Too strange to each other for misunderstanding,
In concord at this intersection time
     Of meeting nowhere, no before and after,
     We trod the pavement in a dead patrol.
I said: ‘The wonder that I feel is easy,
     Yet ease is cause of wonder. Therefore speak:
     I may not comprehend, may not remember.’
And he: ‘I am not eager to rehearse
     My thoughts and theory which you have forgotten.
     These things have served their purpose: let them be.
So with your own, and pray they be forgiven
     By others, as I pray you to forgive
     Both bad and good. Last season’s fruit is eaten
And the fullfed beast shall kick the empty pail.
     For last year’s words belong to last year’s language
     And next year’s words await another voice.
But, as the passage now presents no hindrance
     To the spirit unappeased and peregrine
     Between two worlds become much like each other,
So I find words I never thought to speak
     In streets I never thought I should revisit
     When I left my body on a distant shore.
Since our concern was speech, and speech impelled us
     To purify the dialect of the tribe
     And urge the mind to aftersight and foresight,
Let me disclose the gifts reserved for age
     To set a crown upon your lifetime’s effort.
     First, the cold friction of expiring sense
Without enchantment, offering no promise
     But bitter tastelessness of shadow fruit
     As body and soul begin to fall asunder.
Second, the conscious impotence of rage
     At human folly, and the laceration
     Of laughter at what ceases to amuse.
And last, the rending pain of re-enactment
     Of all that you have done, and been; the shame
     Of motives late revealed, and the awareness
Of things ill done and done to others’ harm
     Which once you took for exercise of virtue.
     Then fools’ approval stings, and honour stains.
From wrong to wrong the exasperated spirit
     Proceeds, unless restored by that refining fire
     Where you must move in measure, like a dancer.’
The day was breaking. In the disfigured street
     He left me, with a kind of valediction,
     And faded on the blowing of the horn.

III

There are three conditions which often look alike
Yet differ completely, flourish in the same hedgerow:
Attachment to self and to things and to persons, detachment
From self and from things and from persons; and, growing between them, indifference
Which resembles the others as death resembles life,
Being between two lives—unflowering, between
The live and the dead nettle. This is the use of memory:
For liberation—not less of love but expanding
Of love beyond desire, and so liberation
From the future as well as the past. Thus, love of a country
Begins as attachment to our own field of action
And comes to find that action of little importance
Though never indifferent. History may be servitude,
History may be freedom. See, now they vanish,
The faces and places, with the self which, as it could, loved them,
To become renewed, transfigured, in another pattern.

Sin is Behovely, but
All shall be well, and
All manner of thing shall be well.
If I think, again, of this place,
And of people, not wholly commendable,
Of no immediate kin or kindness,
But of some peculiar genius,
All touched by a common genius,
United in the strife which divided them;
If I think of a king at nightfall,
Of three men, and more, on the scaffold
And a few who died forgotten
In other places, here and abroad,
And of one who died blind and quiet
Why should we celebrate
These dead men more than the dying?
It is not to ring the bell backward
Nor is it an incantation
To summon the spectre of a Rose.
We cannot revive old factions
We cannot restore old policies
Or follow an antique drum.
These men, and those who opposed them
And those whom they opposed
Accept the constitution of silence
And are folded in a single party.
Whatever we inherit from the fortunate
We have taken from the defeated
What they had to leave us—a symbol:
A symbol perfected in death.
And all shall be well and
All manner of thing shall be well
By the purification of the motive
In the ground of our beseeching.

IV

The dove descending breaks the air
With flame of incandescent terror
Of which the tongues declare
The one discharge from sin and error.
The only hope, or else despair
     Lies in the choice of pyre of pyre—
     To be redeemed from fire by fire.

Who then devised the torment? Love.
Love is the unfamiliar Name
Behind the hands that wove
The intolerable shirt of flame
Which human power cannot remove.
     We only live, only suspire
     Consumed by either fire or fire.

V

What we call the beginning is often the end
And to make and end is to make a beginning.
The end is where we start from. And every phrase
And sentence that is right (where every word is at home,
Taking its place to support the others,
The word neither diffident nor ostentatious,
An easy commerce of the old and the new,
The common word exact without vulgarity,
The formal word precise but not pedantic,
The complete consort dancing together)
Every phrase and every sentence is an end and a beginning,
Every poem an epitaph. And any action
Is a step to the block, to the fire, down the sea’s throat
Or to an illegible stone: and that is where we start.
We die with the dying:
See, they depart, and we go with them.
We are born with the dead:
See, they return, and bring us with them.
The moment of the rose and the moment of the yew-tree
Are of equal duration. A people without history
Is not redeemed from time, for history is a pattern
Of timeless moments. So, while the light fails
On a winter’s afternoon, in a secluded chapel
History is now and England.

With the drawing of this Love and the voice of this Calling

We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
Through the unknown, unremembered gate
When the last of earth left to discover
Is that which was the beginning;
At the source of the longest river
The voice of the hidden waterfall
And the children in the apple-tree
Not known, because not looked for
But heard, half-heard, in the stillness
Between two waves of the sea.
Quick now, here, now, always—
A condition of complete simplicity
(Costing not less than everything)
And all shall be well and
All manner of thing shall be well
When the tongues of flame are in-folded
Into the crowned knot of fire
And the fire and the rose are one.
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
Austin Heath Jun 2014
I want to get hit by a BMW.
I want to get hit by a Mercedes.
I want to get run over by a Porsche.
Something big.
I want to get smeared against the pavement
by a Cadillac Escalade.
I want to get hit by one of those big *******
who drag gasoline across the continent,
but I want the driver to be a manic psychopath.
I want him to stalk me on the sidewalk
and then run me over slowly.
He's not any coward, not like those bald patriarchal
Corvette drivers in polo shirts tucked into khakis.
No, he's a great fat man, a hairy beast with
a crooked stare that slows the pulse on impact.
I want the police to cringe or get scared interrogating him,
and haul his truck somewhere to be inspected.
I want the price of gas in nearby areas to go up
by at least fifteen cents for two weeks.
I want to get hit by a BMW.
I want to roll over the windshield,
and drag under the bottom for about ten yards.
I want to separate at the middle and leave organs on his
left side view mirror and hanging on his hood ornament.
I want to seep blood deep into his car,
and when he turns on his heat,
he'll smell my blood full blast in his face
burning.
I want to wreck the car inside and out.
I want to get hit by a car with a McCain sticker on the bumper.
I don't want to get hit by some middle class Ford or Honda,
or someone's ****-level Chevy or beat up jalopy.
I want to get hit by a BMW.
I want the driver to make his tires scream like banshees,
and leave four long streaks of rotten burned rubber on the asphalt.
I want him to step out in business attire, and gasp, inwardly.
I want to flip off the sky, because my aim is bad,
and call him a coward for hitting the brakes.
I want him to think,
"What did I do?
Is he Okay?
What am I going to do?
What if I lose my license?
How will I get to work?
How will I pay for this.
Does my insurance cover
vehicular manslaughter?
I'm not alone right?
I'll get through this.
I'll survive.
I'll just be another statistic.
That's all."
Michael R Burch Sep 2020
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
mark john junor Feb 2017
he was a tin man
ever shy in the shadow of snow
and the asphalt encrusted with salt.
i am a deaf mute in its cold sunshine thru the bare trees
i am the writers reader caught up in the manyfold words
bright and crisp on my stuttering tongue
caught up in the beauty of the phrase
wishing only for its tender workings on my pale lips
caught in the web of light falling thru the bare trees
by the christmas tree so forlorn in febuary wind...
he was a soft spoken tin man
ever shy in the shadow of snow
and the asphalt encrusted with salt
the turbulent sea of my dreams
lashes line and sail with its icebound hand
as i stray between the vision you wept in ink on page
and the words you spoke
soft as a kittens fur
into my sleeping ear
a spun tale
thrashing against me
i am shy with my eyes flirting with yours
look away and recapture your gaze
the asphalt at my feet stained with winters salt
i leave my footprint behind
and wander away into the field of rye
swaying under a cold sun
never to hear the tin man sing again
after he was caught by the catcher in the rye
(i didnt hear of John Lennon's death till the morning after his death)
David Jul 2013
Stranded in a car,
Parking lot castaway,
Babylonian sunset,
A star sleeping on regret,
The cold street lights now casting spells,
Down upon a pale face with these eyes painted,
With their shadows

The rain soldiers are marching in,
They'll crown me with their arrows,
I am the queen of the orphans,
A city for a throne,
And heartless chest for a scepter,
It is rumored that there was a cool of the day,
But it is not found here,
If birds had songs then,
They choke and spit out cruel laughter now,
Therefore the gulls migrated to die on asphalt,
To collect the filth I leave upon the earth,
I have sticky fingers on me you see,
Attached to soggy gloves

The rats keep eating at my bed,
The rats keep eating at my bed,
The rats keep eating at my bed,

I cannot sleep tonight,
The rats keep eating at my bed,
But feed the rabbits,
Feed the rabbits,
Feed the rabbits,
Feed the rabbits
,
The Commercialized Army is pressing in,
Following the systematic skein of procedure,
Knit the net,
Produce,
Consume,
Expire,
Produce,
Consume,
Expire,
Knit the net,
Catch me,
Catch me,
Catch me,
Knit the net



I shouldn't be here
                  Where can I find it?
I shouldn't be here
                  Where can I find it?
                                   Will I stop myself?
I shouldn't be here
                  Where can I find it?
                                    Will I stop myself?
                                                      *­Time moves too slow

I shouldn't be here,
                  Where can I find it?
                                    Will I stop myself?
                                                      Ti­me moves too slow
I shouldn't be-





                                                       ­                        And The Sun Goes



Down,
In,
My,
Brown,
Eyes,
Twilight fixation,
The orange star sleeps in the smog,
My mind in its fog,

Here comes the pale ghost eye,
Peaking through his veil,
Midnight fixation,
Staring down,
On my brown eye island

Where I washed ashore
Cunning Linguist Jun 2014
Most urgent:
First we debase this worthless currency,
To usher in impending new world order
Imprisoning the globe
Then bathed in ignorance
(
Fluoridation* retarding cognitive development)

More the merrier but I transcend borders
because my mind has no barriers
Spinning diction with volatile volition
Enchanting your brain into submission

A cheese-grater to the pineal gland
Inhibiting ability to dream,
Impassioned creativity &
inquisitiveness at an impasse,
Expertly contrasting
Inquisition with inability to produce
dimethyltriptamine
Because the pacified sheep
can't sleep away their passiveness
Mass devastation for the kids & family!

Slam it down with a gra(in/m) of (bath) salt
Better yet, sugar and McDonald's
Let Ronald wash your mind in city water
Dang, there's nothing outrageous
about meandering naked
Lusting to eating someone's face
these days, is there?
(Passed out on the asphalt)

Who bares the fault,
Who cares the most?
I know you planned it Mr. President,
take your nuclear launch codes
Atop your throne with your Zionist cohorts
Fake a breath, then flip the switch
Now you am become Death
3.  
2.  
1...
Default the planet

Where's your ******* conviction?
Digest my words and eat your fat *** to death Amerika

Mind your fate
The Devil's gates
Just a step away

So take the chip beneath skin
6 6 6
Pick up sticks,
Gather a whole bundle
& Light yourself on fire (******)

Crackpot conspiracy
How can you not see
Our country's interests inherently
sit in the pockets of Nazis?

Don't even get me started on television;
hypnotized sheep
mass-media gives me aneurysms
Is the Lord truly your shepherd
or do you always stumble so blindly?

Military-Industrial-Machine
Gobbling resources at breakneck speed
CONSUME CONSUME CONSUME
FAT CAPITALIST PIGS!!

You make me feel like vomiting.

Simply waiting for the bomb
to come bump uglies with the ***** of Babylon

NOW WATCH ME GET
~ULTRASONIC~
AS I DROP
ATOMIC ELBOWS
FROM THE TOP ROPE
TO THE THROAT
IN HOPES YOU CHOKE


Leaves a bad taste in your mouth,
did I tell a ***** joke?
(Haha-ha)
GARGLE SOAP *****,
YOUR LIFE'S HOPELESS

If you like beer & NASCAR gimme a hell yeah!*  (hell yeah!)
If you like bacon & pole-dancing gimme a hell yeah!

**** THIS REPUBLIC
DYSTOPIAN,
FLOWING WITH
NECRO-DESPOTISM
A COY ACT OF VENTRILOQUISM,
ON THE WORLD'S STAGE

Tangled like a marionette in its strings,
An insect in spiderwebs
Festering infection
Just keep using band-aids ;)

Take these cocktails
of famine, death, pestilence + plague
Questionably mixed with a little apathy
and self-delusion it's all the rage

The miasma of death
Clung and hung to their silhouettes
like cigarettes
The hands of the clock
tick-tocking away the seconds toward oblivion
In which I carry, reckless abandonment

*insert some wrath of God,
explosions of nuclear & biblical proportions,
then apportion some cataclysm
Sit back,
Listen to the wailing screams of panicking children
******* lay waste to this rock already,
this organic prison
And each and every organism
that dwells within it's ecosystems


All this to bring
A radical new utopia
not for you & me
but them, the Elite
and their heathen families


Behold a new dawn;
On the verge of 100% synthetic conversion
Mind, body, & soul as pawns
Data corrupted, perverted by total divergence
Illusion of free-will ruptured and gushing,
until microscopic then atrophied

Misanthropic singularity
Quantum computing
and nanotechnology
Existentially creating cyborg zombies
& Making gods rise from machines
Kinda deus ex machina style,
But nothing Isaac Asimov could machinate even in his wildest dreams

To me, a fitting end to humanity
The Great White Ape silently weeps
Still waiting for a Messiah
*a refined repost of an earlier draft

If this poem provokes interest I strongly recommend you research the long term effects of water fluoridation, the role it plays in calcification of the pineal gland, as well as the role it played in **** concentration camps.
The **** agenda is alive and well carried out in the 20-21st century through puppet America.
Society is the world's grandest pyramid scheme.
Open your mind, and open your eyes
http://en.m.wikipedia.org/wiki/Operation_Paperclip
Acina Joy Sep 2023
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.
Midnight thoughts
Paths have been laid
   far and short
   narrow and wide
   coarse and moist
   brown from dirt
   gray with asphalt.

Spiders lurk and creep about
   legs poised and fangs ready
   craving another injection
   to feast just a little
   further, just a little
      longer.

We are the prey they seek
   stuck in their strands
   reaching everywhere we walk
   catching us as we tumble and fall
   not for comfort nor salvation
   just the cold strings of wrapture
   before the color of blood
      the color of life
   is taken from us.
Latiaaa Mar 2014
It was the midsummer of the 50’s and my girls and I went out for a bite. Jimmy’s Burgers was a block away and boy were we hungry! We could eat a cow for all we know. Jimmy’s jukebox can play music day in and day out.

My girls and I parked our blue Thunderbird Convertible, and hopped on in Jimmy’s. That place is always filled with younglings like us. You can smell the fresh potato cut fries fryin’ up in the greasers. The burgers are always my fave! I would beg to just get a bite out of those succulent, juicy ground babies.

Everyone in this joint always seems to be dancing their little feet off, the girls with their casual oxfords and pastel loose skirts; the guys wearing leather, pompadours, and their high-wasted pants. I love to crank that jukebox with only my quarters and dimes I have left in my purse. The girls and I sat on down in one of the red booths. A young waiter came over with bottles of coke with his pen and paper.

“May I take ya’ll lovely ladies’ order?” He was chewing on that mint gum.

Boy was he handsome! That sweet southern twine had me going bonkers. He looked all fancy in his all white uniform; his apron had ice cream stains and fry grease. His sandy brown hair was cascading behind his ears. I loved his paper hat too. His big brown eyes were looking into mine as he was getting our orders. I couldn’t help but stare back. He gave us our cokes and gave me a little wink behind his thick black glasses. I really didn’t care bout’ those pimples, his face made a girl melt like Texas asphalt on a hot beach afternoon!

I made myself look sweeter than a peach. I fluffed my hair and fancied my outfit, hoping for that rascal to come on back. The jukebox was still kicking tunes in the back, that’s when the cute waiter came back.  His tall, slender, perfect body walked on over and sat our tray of burgers down. My face was red hot like the time I first took a bite out of a chili pepper. The waiter got close to my ear and whispered,

“You wouldn’t mind if I take your sweet self on the dance floor for a second would you?”

Wasn’t that boy supposed to be working? I didn’t care. That rascal waiter grabbed my hand and swung my little waist on the dance floor. We twist, kicked, and shimmied. I was having the time of my life! I didn’t know my girls were staring at me, cheering on. Too bad the cutie had to go back to work. I walked over and sat back in the booth.

My girls were giving me the, you’re his sugar girl look. Not my fault he was sweeter than maple syrup!
The girls and I were finished at Jimmy’s Burgers, so we started to head out. Before I even opened the door, that waiter grabbed me by the waist and said,

“Hey sweet thing, leaving too soon? I didn’t catch your name?”

I looked into those eyes again; I felt my heart skip a beat like the jukebox when there’s a bug in it. His southern twine again,

“My name’s Robert James, but you can call me RJ.”

He kissed my hand and gave me that wink again. I gave him a smile and went outside. My face was peachy like a baby’s bottom! I didn’t even tell him my name, dog-gon shame.  From now on, I’m hittin’ Jimmy’s Burgers just so I can see that waiter.
I'm obsessed with the 50's era lol. Had to write this <3
Nat Lipstadt Oct 2017
once upon a wrote


here and there, in fables and tales,
some in no guile and others
in chancier disguises,
some sine-known and some sign-unknown,
some dead in stillbirth,
some penned these words,
some a few decades old,
some of but a moment ago eyelash distant,
making me think that
someday I will scribe,
cobble some truths and
some falsehoods into one
leaping heaping melting scoop,
letting you decide,
which for better,
which for worse...


<•>

"No matter that plain words
are my ordinary tools,
With them I shall scribe the small,
Cherish the little, grab the middle,
Simplicity my golden rule,
Write they say,
about what you know best,
Surely in the diurnal motions,
The arc of daily commotion,
Do we not all excel?"

<•>

the reason we say so oft,
in whispers emboldened,

I love you

to our children
is not the utility of
its summarizing brevity

no, no.
it is because
the eloquence of simplicity
supersedes any other poem
any of us could ever write...

<•>

is this craft that chose you,
not defined by machine millimeters,
precision absolute,
curvatures, so eye-pleasing,
they demonstrate no tolerance
for tolerance of the ordinary?

the skill of words, too, cut so fine,
find the  extraordinary within,
refine, refine, refine,
shave away the trite,
the reused,
discard the instant recognition,
unusable

<•>

There are natural toxins in us all,
if you wish to understand the
whys, the reasons,
of the nearness of taking/giving away
what soully belongs to you,
do your own sums,
admit your own truths,
query not the lives of others,
approach the mirror...

<•>

The Truth Burden
is the accursed need obligatory,
the sacred sanctity requisitioned,
when the whenever,
chooses to drop in and upflag the mailbox,
an uninvited invitation,
announcing with precise bluntness,
that precisely now,
is the tool crafted moment
and you fool,
the selected tool

you must render unto Ceaser,
by your own hand,
render your own rendering,
do your own undoing,
go forth and in haste,
will thyself into the cauldron of the
Great Mystery of Creation

you cannot lie in poetry

<•>

come, sit for awhile, in poet's nook,
soft pillows for our hard Adirondack chairs,
situe hard by the bay, if too hot, we'll slow
drift to the sun room of
lace curtains and suicide poems,
still we'll observe the water, the rabbits, the cacophony low,
listening to all the noisier, nosier
creatures asking themselves,
and the trees and leaves,
where did all those poets come from?

<•>

to the interior delve,
via brush or limb,
pen or music,
the exposition, the exploration,
the reconstruction of composing
one's self, creation and destruction
of your own myths

movement of arms and legs,
sparseness of simplicity,
subsidiaries of centricity,
tributaries of complexity

<•>

how cold are the carpenter's hands,
the weather, but an added obstacle,
this heat, makes dying different difficult,
the wood bearing cross requires additional nails
and flesh, for the extra load he's bearing,
when it snows blood in Jerusalem

the whole world can transition
when one man dies and another is risen,
where oh where lies then, the juxtaposition?

there is none, for man is man,
his divine spark, embedded,
to his maker's mark, welded and wedded,
neither snow or sun,
can ever extinguish


<•>

now I ken better distance 'tween
artist and art,
I, a workingman's
daily dallying in simplistic machine craft,
my works deservedly lost in
the water-falling
of the endless also rans

non-nebulous distances.between skies of
Oregon country blue and
the worldy worn asphalt grayed words of
a graying man aging,
then let clarity speak, in plainest harmony,
know my deference’s soars to the high above,
one of us at birth, god gifted,
was not I,
it ain't me babe, but
one of us, his tongue,
like Moses-stung
with a hot coal
of language's divinity


<•>
Rick Jul 2018
My intake took your fuel and ran it threw
to this carburetor and disguised itself as a brain.
It took all the information thrown at it and combined it together, then a little spark caused an explosion, which led me here:

I stood idle and held myself in the ice cold rain,
Water began dripping down on my shivering frame.
Each drop adding a beat like a song’s surrounding pound,
Running thoughts drown out into a long forgotten sound.

Pulling the handle I choose to release this body's soul.
And I strike solid like a nut whose free from the tool,
And land with a force derived from deep set desires.
Finally free from the strong grips of deadly pliers.

My soul is free, therefore it no longer seems to mind
That I drove away and left my lonely nut behind
And there it remains in the heat of the black asphalt
Sinking into the earth because of mine own ****** faults.
Kyle Kulseth May 2014
A day recedes,
     I'll chase down one more night
A lamed and hobbling Spring
     tries to outrun the tide
of all the misspent months
and all this wasted time

          The northern breeze sings cold,
          it sighs through tattered topsails
          sea of questions waits.
          schools of unanswered voicemails

My footfalls share the sidewalks,
                                          steady,
sure­. Still young but glimpsing old and stumbling

Walking outside
soaked lungs need some new air
I'm nervous and shaking
fold the map, don a blank stare
my days wearing on
               fill 'em up with a fool's words
               I'm saltwashed, stuck and
               peeling paint off my memory
               for now.

A day's been seized--
          a metered length of life
Can't place a price on Fall
          and can't outrun the tide
of these layered seasons
as his time unwinds

          The eastern wind comes hard
          and shreds through mended mainsails
          river of answers dried
          so ask the waving cattails.

His footfalls know the sidewalks
                                        leaking
down sidestreets' asphalt tributaries

Walking around
A hitch in his slow gait
A ghost of our town
shuffles on with a fixed gaze,
his days playing out,
               As he strides down the sidewalks
               his life plays a film,
               flashing bright on glazed eyeballs

And I'm southbound,
4 p.m. driving Orange Street
completely drowned--
               --swore I woke up in Gimli,
                Manitoba January
                seared into my youthful memories
I'm freezerburnt
                Autumn heat, don't leave me
I'll hold your hair if you're feeling sickly,
then drive back home.
                Autumn heat, don't leave me now.

                ...Autumn heat, don't leave me now.
RKM Feb 2012
In September, we missed the bus
And walked for miles
In the Cornish rain.

We laughed as it licked every
Square on our bodies
And squelched into our shoes

Turning our socks to flannels.

The asphalt had become beautiful
- it had drunk the sky
And rehearsed the whispers
Of the sea.

We were the only humans in Cornwall
As the sun went down
And you put on your head torch

We climbed through mirrors
Of trees and bends.

When we got back to the cottage
We did a funny dance
To peel free of our clothes.
Then we toasted our bodies
And watched television.
Akira Chinen Sep 2018
A blood red sunset drips over
the black asphalt city skyline
somewhere in a lost part of America

where the dream has
long been dead and buried
and hate and fear rule
the rural streets that are protected
by peace keepers
that practice ******
more often than upholding the law

It has been declared open season
on any crow the color
of a starless night sky
and the dove has become
a symbol of
to protect and serve
their own kind
birds of a feather
that cover for one another

justice is blinded
by the snow covered truth
and the color of corruption
is coincidentally the same
as the color of money

the poor have little choice
but to trade their bones
and their hopes
to the corporations
of the new land
of the free
to be owned by
and controlled by
a minimum wage
that only guarantees
to keep the poor
poor enough
  to work another day
    and another day
      and another day

until there bones are
nothing but powder
and their beds
are nothing but coffins
for the barely living

and life somewhere
in a lost part of America
at the end of everyday
the sky turns red
and the color of blood
runs through the streets
as the doves go along
with their business
of the murdering of crows
Olivia Sica Dec 2014
It’s the kind of subtle trickle
That turns the asphalt into a glassy mirror
Ripples, ripples, ripples
Over it like a black pond
The silver lining of each little droplet
Streaking the sky with shades of gray
The streetlights cast an amber glow
Upon the shimmering mist
Hiss, hiss, hiss
Against your stinging flesh
Turn your face up towards the darkened sky
Let the rainfall and streetlights wash away the dust
The dust of the souls you carry on your lips and cheeks
Etched into your back and palms
Their burdens may cause you aches and pains
Let the rainfall and streetlights wash them away
Rainfall and streetlights
Rainfall and streetlights
An urban confessional
Where the sky leans in to listen
As every perfect drop of water hits your skin
It’s the sound of a cleansing
Only you can comprehend
And although the hope of purity may have been swept away
by the wind of unfixable mistakes
It’s still the belief alone in possible redemption
That keeps you from relenting to temptation
Drink up the tears of the sky, child
You are forgiven
You were always forgiven
After all
Paths were made to be strayed from
Straight lines are mundane, they all look the same
And never give a little boy glass when you haven’t taught him
how to grasp what’s right in front of him
When he drops it
It’s a dangerous job
Picking up the sharp shattered pieces
Do not make him do it all alone
Yes, inevitably you will cut yourself
On the broken shards
Crimson teardrops
If they tumble from you
Do not distrust your calluses
You made them through your own hard work and suffering
But they can only do so much for you
Remember your skin is a shell not impenetrable armor
So it’s best to avoid the things you know will cut unnecessarily deep
Bleeding is just another way your body assures you that your heart is still beating
Looking up from the gutter the universe awaits you child
Do you not realize what’s at your fingertips?
Infinity
So don’t give in just yet
Let the rainfall and streetlights heal you
Drip drop, drip drop
Let them bathe you in warmth
Radiating
Let the rainfall and streetlights take you away
To a better place
Wherever that may be
This poem was written to be read aloud and is still going through some edits to make it flow better.
Tanisha Jackland Dec 2015
Just enough to
Pave your heart
frost bit cold

Where are the wild
Things compelling you
to search your own Sun
and the stray wind that
will carry you home

We cannot live on cement alone
Though we’ve covered
the Earth with toxic stones
that do not breathe
And trash that will never perish

It may be our undoing
What we’ve done to ourselves
To die upon this heap
To suffer the bloodstains
on the asphalt
Yep. It's a song go check it.
https://soundcloud.com/ladyofire/asphalt
Monique Clavier Apr 2022
you caused this fire
with a dimpled smile and a plane ticket
can’t suffocate a blaze with a match
petrol running down my legs
wanna watch me burn at the stake?
7,000 miles of wildfires called me by your name

like a moth drawn to a flame
we kissed on the light up floor
your fingers inside of me, it was divine to me
surrendering my soul to my god
left my lipstick scars all over you

i ate the apple from the softness of your hand
our garden of eden was no holy land
i let you knock at the door of my spine
no malice in my voice, come inside
but baby, you weren’t expecting
me to multiply

like a moth drawn to a flame
i bit your tongue in the break of day
wanted to taste your blood for a change
nothing like a little emotional
devastation to get me through it

yell it más, señor
til your vocal cords are ******
oath taken in sacred silence
tragedy and insanity and is
it all a game to you?
because you hid while i sought
yell it más, señor
yell it más

and when i told you of the flower blossoming within
you cried like a boy for his mother
you see, there’s no way we can keep it
not for your career

and the next day on the 405
my soul wrung empty inside
suffocating loneliness, all-consuming
75mph, nearly opened my door
told my therapist i wanted the asphalt to eat me alive

they took me to the madhouse
while you had a pint and a laugh miles from my hospital bed
they said
“she wants to end her life with a baby inside, oh, what a terrible state she’s in”

the doctor watched me as i cried
with cigarette breath and roaming hands
forced the wand inside of me
at the same time i jumped over the ledge
and did you know i laid in silence
while he whispered in my ear

“good girl, it’s a girl”, you see, oh?
can’t you feel the joy?
of creating something like God herself?
like vines sprouting from the soil?
but Oceania, so much panic, yeah
too far, didn’t wanna come near
my ash-strewn wreckage

like a moth drawn to a flame
blazing light, burned just right
i wanted you to suffocate my pain
pretended it didn’t exist for our

transpacific love games
i’ll be Marilyn and you be Errol
the actor who can’t survive any longer
and the one who devoured a woman whole

yell it más, señor
oh god i’m bleeding on the bathroom floor
so much sacrifice for paradise
but isn’t this what it’s for?
tragedy and insanity and
oh no, it’s all a game, i see
yell it más, señor
yell it más

aliel
enaj
yell it mas, señor. a poem adaptation of a song of the same name that i wrote. also hello again hellopoetry!
CW: abortion, coerced abortion, abortion guilt, suicidal ideation, ****** assault by a medical professional

certain verses/choruses/phrases were changed in their entirety. this was completely a vent piece that i basically vomited onto my keyboard about an international long-distance, long-term relationship i was in, an unexpected fluke of a pregnancy, medical negligence/****** harassment, an abortion, the dissipation of his love for me, and the guilt that haunts me. not exactly a light read. BTW i’m 1000% pro-choice and am blessed that i was able to have safe and relatively easy access to a clinic following my termination. the guilt i feel for my abortion is normal for certain folks and does not mean that i did anything wrong. it was correct but the situation was traumatic
jimmy tee Nov 2013
walking out of the liquor store
wine bottles double ******

asphalt concrete curb stone
the great expanse of the universe

the mundane
welded water tight

that Escher print
of ribboned minds

personal accounting
money as abstraction

automobile documents
layers of bureaus

the great and powerful
realm of ideas

shared fallen history
the strike of the pen

ideals ethics
the avoidance of sin

cold is coming
warmth is rare

plug into existential wetness
yet suffer banality



Friday, November 1, 2013
Lau Bowcock Apr 2018
All the ghosts / who never sinned

Are gossiping up in heaven again

They say Michael has been visiting Lucifer’s wings again

They say it’s the anniversary / it’s a spring ritual

From when Michael cast off his own dark parts

And Lucifer abandoned his angel wings  

-

The grave / in modern day / is now half lit by the Denny’s open sign

Buzzing like neon only half the lights are broken

And Michael himself

Is half shadowed by his cigarette / he tells himself he’s not sinning

Because this drug isn’t against the law / and he can’t ever **** himself

-

The drag pulls at the place humans have hearts

And it hurts like a flaming sword

His hand hasn’t stopped shaking / by the time he breathes all the tar out

He breathes out again and again / like there might still be smoke in his lungs

And is he wrong?

-

All the humans / who were sinning when lucifer fell

Were gossiping on earth

And Michael’s hearing the story again / through the ***** Denny’s window

Some kid who lives off / ego / drugs / and subreddit pages

Tells another around a mouthful of pancakes

“When Lucifer fell he cried and his tears scared his face,”

And Michael who couldn’t watch then / doesn’t know if this rumor is true now

And the other kid in the booth / thinks the boy is a philosophical genius

Just grins around his own pancakes and drugs / says “everything tastes like chalk.”

-

Michael’s stuck on asphalt

Digging his toes hard into his shoes and / his whole foot lays flat pushing into the ground

But he wants to take his own head off

To let it spin away

Or maybe he just needs to lose pieces of himself / let the roses blooming beneath the skin

Cut away at the bone until he’s bleeding enough to be mortal

And sit with the two kids who don’t know themselves
blushing prince Oct 2018
morning dew drops on your collar
impressing me with the zealous way the seasons drastically measure the moment it takes me
to reach forwards and brush it off
liquid winter falling onto a ***** cement
the initials 'F T' written jaggedly into the cold stone of asphalt
i wait for it to disappear, for the flicker of everything gone to fade from my vision
but it passes too quickly
i look back up and there's no one around
the street is empty and the capricious wind has ceased
a sucker for patterns i walk into a fabric store and feel my hand linger on the erratic linens
fingers paused on the peach organza sprawled like a pink bubblegum sea
and i am swept into the manic fantasies of wearing the sheer tissue-like textile into
the abdomen of your sweaty palm and sinking like a sticky sweet stripe
until you put your hand in your pocket and i spend a year inside melting
into the every thread and curve of your jean until it is nothing but disgusting sugar
everything i could be when i am hidden from sight in the dark caverns of denim pants
who knew the tongue in cheek joke would be nothing but my tongue in your mouth
touching all the way up your gums  
find me sweltering beneath the uvula wondering if i could go back
to the time i found that girl with the mountain logo sweatshirt who whistled between her teeth and hummed all the reasons i should skin my knee and kiss the salty wound because there's no greater pleasure than knowing you don't have to wait for that morning dew drop to fall from their ******* collar
Ray Dunn Apr 2019
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...
This is about how whoever I get extremely suicidal I go for a drive around my town just to think about driving and the road instead of literally anything else
spysgrandson Nov 2011
you see through me
and I through you
and father, too
has always been that way
the limits of my sight
being cradled in the Shanghai night
when
outside, teeming masses flowed through
the black wet shine of asphalt
like ants en route to the mound they cannot see
…while you and father created me
after,
with the curtains tipping on the sill
and the warm wind calling
but not knowing your names
he blew smoke into the Asian night
while you watched the grey placentate plumes
swirl sweetly to the stained ceiling
adorning its placid plaster with mystic memories
and the forbidden scents I will never smell
for you and he would never tell
what rhythmic rhymes you made
with the masses plodding along
oblivious to your milky movements
while they stirred in another darkness
Gabriel burnS Dec 2018
The light tail of the tail light leaves me blue in the dark hues
… when it carries away what I belong to…
Unfolding the tar-black sky of asphalt, the longest arm of missing you…
My body is now the distance between us, big and empty,
The bigger, the emptier, thinner than air…
As time piles up, my ladders turn into pointless meters
Measuring the ratio of nothing in everything
...telltale
Kelley A Vinal Apr 2015
Dimly dreaming of bright lights
Crave glimmers of ascension
Freeze, question
Interrogate and turn this way
To boat around this fence
As for the distance, straight line
Asphalt is bent
Gated at night and locked all day
The password worked yesterday
Everyone loses senses slowly
But this is just too far
yellah girl Sep 2017
the circus train comes to town once a year,
carrying Russian ballerinas & corporate America dropouts.
she brings an irresistible bouquet of
caramel apples & greasepaint, of
cotton candy & mechanical smoke.
the circus is a seductive beast, she'll grab your heart
between her teeth & she won't let go, like a
rabid dog.

when the show begins on opening night,
you'll be sure to grab a front row seat, right in the
Grand Stand, among the soccer moms & their sticky-faced toddlers.
you'll feel the childish delight bubble
in your chest when the music swells, when the elephants march
& the clowns tumble out in garish colors.

after the show, you'll stumble to the three rings with the
toddlers & their tired moms, right to the center ring, don't be
shy when the clown dressed in yellow & black,
like a bumblebee, comes towards you, a devilish grin on
his painted coal black lips.
your knees will tremble, you'll turn as red as his big nose, when he pulls your back to his solid chest, & he begins to juggle right in front of you.

"stick around, after closing" he murmurs in your ear, "that's when the real circus begins."

the circus is painted bright, a swirling mass of
red & blue, with sparks of yellow, ribbons of pink.
even when the show is over, the mystery is still
there, the sweet seduction lingers, like an old lover's fingers can trace circles on your skin in the dead of night.

when the bumblebee clown drags you around town that night,
as if he lives there & not you, you'll go along with him,
your heart racing fast, as fast as the girl dressed in
pink spandex flew from the cannon across the circus ceiling,
how could you have forgotten that?

he'll take you to McDonald's, ask you to pay for the meal, he's broke until Thursday at 2. of course. you split a small
fry and a chocolate shake, by then it's midnight,
he performs some simple magic tricks, balancing a
chair on the edge of his chin, snagging a shining quarter
from your brunette curls, watch out, girl, he's reeling you in,
he's as seductive as the circus.

he will walk you back to your college dorm &
he's sure to mention how it's been years since he has
been inside a dormitory, since clown college, yes it's real.
your roommate is gone & you're not ready to say goodbye
just yet, so you'll sign him in & guide him to your third floor
room.

he marvels at your textbooks & cuddles your teddy bear
brought from home, while you drink him in, solid, squat,
a true Texican, his skin is brown as caramel, & you wander
if he will taste just as sweet. he'll notice your blush, & pull
you close, pinch your hips, nuzzle your neck & kiss you hard,
maybe a bit too hard.

he lays you on your back, & you're naked, you're scared,
vulnerable, you watch him dip his head & kiss you, nibble you in that sweet, sweet forbidden spot. there's a black coal
in your chest, in the pit of your stomach, you're disgusted,
you're curious, you taste the circus firsthand, gagging.

the circus will remain in town for
an entire week, & for an entire week you have a
circus clown as a boyfriend.
you take him on adventures around your college campus,
to your favorite burger spot, to the big water balloon fight
& he'll show you the circus world, you'll hug
an elephant, you'll drink your first beer in Clown Alley,
& you'll watch the show a dozen times.

he'll write you a love letter on your skin, caramel drips on
China porcelain, he'll leave bruises in the shapes of hearts,
& you'll cry when he leaves, it's only been a week, but
it's been a lifetime. he'll hold you tight, too tight, and he'll whisper,

"it's only a year, i'll see you in a year."

when the circus train leaves, the asphalt lot will be
conspicuously empty, except for a trampled clown nose,
much like your aching heart. you'll feel numb & blue,
you'll cling to your phone, the clown promised you
he would call.
you fall asleep cradling your phone to your chest, startle awake when he finally calls you, it's 4 in the morning, you have an early class, but that can wait, his voice is on the other line.

you'll lose a lot more than sleep when you fall in love
with a circus clown, you have to conform to his schedule,
you see, he is the one calling the shots, not you, not we.
you'll start to slip up in your classes, all you do is stare at your phone screen, who cares about supply vs. demand, anyway?

you hitch a ride to see the clown half a year later, you could
hardly stand him being an hour away, & you'll fly into his arms
like a trapeze artist, after the show, he'll carry you like a bride
to his coffin
bed & you're naked again, scared, vulnerable, he's all the way
he's grunting and sweating, and you're cowering, numb.

you leave 15 minutes later, with shaky thighs, you're slightly
nauseated, you try to kiss him goodbye, but he pushes you away,
he's got eyes on the concession stand girl, the one with
raven black hair and a Marilyn Monroe piercing. your heart drops as you get into the car, your friend begs you to talk, but you can't,
you're confused, you're scared, you won't see the clown
for some time to come.

you try to focus on your schoolwork, but your As slip to Ds, you
try to go out with your friends, but they want to talk about
the cute guy in psychology, not about a circus clown miles away.
you forgot to do laundry, all you do is lay in bed, your dorm is
smelling moldy, your roommate starts to stay away. you're
falling, sinking into a blue sea, deep, dark, endless.

when you fall in love with a circus clown, you must know
you're just another Rube from another city, nothing special,
you see, he's got girlfriends in Florida and Las Vegas, that
concession stand girl, too, you're nothing special, girl,
not even close. you gave it all up, your love & your
bleeding heart, to a circus clown, you foolish girl, don't
you know, he'll just play you as hard as he plays in the
circus ring?
A fictitious retelling of the very non-fictitious years I spent in love with a real-life circus clown. It's been three years since my heart was broken, and I finally feel like I can tell my tale.
David Abraham Aug 2018
You are not quite yet up in years,
but to your ears:
familiar are the faded tunes, dripping from the radio like soda from bottles you didn't quite close,
tapping from your stiff foot.

On the asphalt you walk barefoot,
because we walk barefoot where we live.
You are alive where you drive.

You are not quite yet up in years,
but in your ears:
sound declines
like each hill you descend in the fifty-two miles of wild between us,
and you ignore the posted signs
telling you to quiet the roaring and whipping of wind in your busted windows,
telling you to slow the tearing and straining of your tires.

On the asphalt and off, you know how to set fires,
because your late old man and your unseen mother taught you how.
You may not know, but I see how you deepen your brow.

Old Blue has more troubles that you may care to admit,
because she can only just make it.

Neither of you are quite up in your years,
and still I have my fears,
but they are not tears,
because you
and Old Blue
take us where we can get lost
and not feel the loss.
I was listening to "Fast Car" by Tracy Chapman, and I was thinking about my dad, so I wrote this.
August, 9th 2018.
Patricia Drake Oct 2013
Our paths are paved here
with smooth black asphalt
lined with s-cut stones
so we won't have to touch
ground
between our semi-detached
houses
and our small fenced gardens.
Our paths lead to nurseries
and to school
and a medium sized supermarket
and they are all flanked with well kept
bushes and lawns
This is Suburbia Danica
Our paths are made like circles
so we stay
Our children don't get lost
and our happiness doesn't
escape.
Again, this year, Denmark has topped the list of The Happiest People in the World. The poem is a footnote...
SpiritHeart67 Jan 2021
It's funny how
You can be driving along,
Minding your own business,
When all of the sudden,
Thru the now absent front window,
Your face is introduced to the asphalt.
my son and I play this game where we each give the other 2 words and we have 5-10 minutes to create a poem with them. This one is my latest
Steele Aug 2015
Shall we lie upon an aching bed,
and speak of gentler things?
The sheets are rough on calloused hands,
broken from the onus of strangling, stifling rings.
The pillows feel like granite tombstones,
and though your cries are loud and low,
I feel us drifting apart together.
In this bed of dirt, we are alone.
hope garthwait Dec 2014
3am and I want a cigarette and for someone to hold me as I keep in mind that I will survive this, and I will never be the only one awake in the world.
it's all ******* beautiful but things are getting weird.
I spend hours imagining the perspective of how the asphalt suffers;
I would guess it feels something like I do,
or at least how I used to.
the cracks in the road expand with the frozen water.
useless and dangerous,
they are the cracks in my head.
the only one driving is insanity
I watched it crash,
**** the earth's humanity

-newportsmooths h.g. December 7, 2014 2:58 AM
Ugo Apr 2013
because we fell in love with the law
and fell out of love with ourselves.

because the ***** of great minds
wear pineapple fatigues in their fathers’ *******;

from Judas swallowing 9 bullets
to one day being a kid at heart
a symptom of some abnormality.

Ever get the feeling that you’ll die on a Tuesday?

Or one day wake up on their government bed
Screaming,
“you can blame the French Revolution
On silent reading!”

watching

as three teacups of *** plan war on the asphalt.
Nigel Morgan Dec 2012
As a child he remembered Cardiff as a city with red asphalt roads and yellow trolley busses. On a Saturday morning his grandfather used to take him in his black Sunbeam Talbot to the grand building of the Council of Music for Wales. There Charles Dixon presided over a large office on the third floor in which there were not one but two grand pianos. At seven a little boy finds one grand piano intimidating, two scary. He was made of fuss of by his grandfather’s colleagues and – as a Queen’s chorister – expected to sing. A very tall lady who smelt strongly of mothballs took him into what must have been a music library, and together they chose the 23rd Psalm to Brother James’ Air and Walford’s Solemn Melody. After his ‘performance’ he was given a book about Cardiff Castle, but spent an hour looking out of the windows onto the monkey-puzzle trees and watching people walking below.
 
50 years later as the taxi from the station took him to the rehearsal studios he thought of his mother shopping in this city as a young woman, probably a very slim, purposeful young woman with long auburn gold hair and a tennis player’s stride. He had just one photo of his mother as a young woman - in her nurse’s uniform, salvaged from his grandparents’ house in the Cardiff suburb of Rhiwbina. Curious how he remembered asking his grandmother about this photograph - who was this person with long hair?– he had never known his mother with anything but the shortest hair.
 
He’d visited the city regularly some ten years previously and he was glad he wasn’t driving. So much had changed, not least the area once known as Tiger Bay, a once notorious part of the city he was sure his mother had never visited. Now it was described as ‘a cultural hub’ where the grand Millennium Opera House stood, where the BBC made Doctor Who, where in the Weston Studio Theatre he’d hear for the first time his Unknown Colour.
 
Travelling down on the train he’d imagined arriving unannounced once the rehearsal had begun, the music covering his search for a strategic seat where he would sit in wonder.  It was not to be. As he opened the door to the theatre there was no music going on but a full-scale argument between the director, the conductor and three of the cast. The repetiteur was busy miming difficult passages. The two children sat demurely with respective mothers reading Harry Potters.
 
The next half hour was difficult as he realised that his carefully imagined stage directions were dead meat. They were going to do things differently and he had that sinking feeling that he was going to have to rewrite or at the very least reorganise a lot of music. He was then ‘noticed’ and introduced to the company – warm handshakes – and then plunged into a lengthy discussion about how the ensemble sequence towards the end of Act 1 could be managed. The mezzo playing Winifred was, he was forced to admit, as physically far from the photos of this artist in the 1930s as he could imagine. The tenor playing Ben was a little better, but taller than W – again a mismatch with reality. And the hair . . . well make up could do something with that he supposed. The baritone he thought was exactly right, non-descript enough to assume any one of the ten roles he had to play. He liked the actress playing Cissy the nurse from Cumbria. The soprano playing Kathleen and Barbara H was missing.
 
He was asked to set the scene, not ‘set the scene’ in a theatrical sense, but say a little about the background. Who were these people he and they were bringing to the stage? He told them he’d immersed himself in the period, visited the locations, spoken to people who had known them (all except Cissy and the many Parisienne artists who would ‘appear’). He saw the opera as a way of revealing how the intimacy and friendship of two artists had sustained each of them through a lifetime chasing the modernist ideal of abstraction. He was careful here not to say too much. He needed time with these singers on their own. He needed time with the director, who he knew was distracted by another production and had not, he reckoned, done his homework. He stressed this was a workshop session – he would rewrite as necessary. It was their production, but from the outset he felt they had to be in character and feel the location – the large ‘painters’ atelier at 48 Quai d’Auteuil.  He described the apartment by walking around the stage space. Here was Winifred’s studio area (and bedroom) divided by a white screen. Here was the living area, the common table, Winifred’s indoor garden of plants, and where Cissy and the children slept. As arranged (with some difficulty earlier in the week) he asked for the lights to be dimmed and showed slides of three paintings – Cissy and Kate, Flowers from Malmaison, and the wonderful Jake’s Bird and White Relief. He said nothing. He then asked for three more, this time abstracts –* Quarante-Huit Quai d’Auteuil, Blue Purpose, and ending with *Moons Turning.
 
He said nothing for at least a minute, but let Moons Turning hang in space in the dark. He wanted these experimental works in which colour begets form to have something of the impact he knew them to be capable of. They were interior, contemplative paintings. He was showing them four times their actual size, and they looked incredible and gloriously vibrant. These were the images Winifred had come to Paris to learn how to paint: to learn how to paint from the new masters of abstraction. She had then hidden them from public view for nearly 30 years. These were just some of the images that would surround the singers, would be in counterpoint with the music.
 
With the image of Moons Turning still on the screen he motioned to the repetiteur to play the opening music. It is night, and the studio is bathed in moonlight. It could be a scene from La Bohème, but the music is cool, meditative, moving slowly and deliberately through a maze of divergent harmonies towards a music of blueness.
 
He tells the cast that the music is anchored to Winifred’s colour chart, that during her long life she constantly and persistently researched colour. She sought the Unknown Colour. He suggests they might ‘get to know the musical colours’. He has written a book of short keyboard pieces that sound out her colour palette. There is a CD, but he’d prefer them to touch the music a little, these enigmatic chords that are, like paint, mixed in the course of the music to form new and different colours. He asks the mezzo to sing the opening soliloquy:
 
My inspiration comes in the form of colour,
of colour alone, no reference to the object or the object’s sense,
Colour needn’t be tagged to form to give it being.
Colour must have area and space,
be directed by the needs of the colour itself
not by some consideration of form.
A large blue square is bluer than a small blue square.
A blue pentagon is a different blue from a triangle of the same blue.
Let the blueness itself evolve the form which gives its fullest expression.
This is the starting-point of my secret artistic creation.

 
And so, with his presentation at a close, he thanks singer and pianist and retreats to his strategically safe seat. This is what he came for, pour l’encouragement des autres by puttin.g himself on the line, that tightrope the composer walks when presenting a new work. They will have to trust him, and he has to trust them, and that, he knows, is some way away. This is not a dramatic work. Its drama is an interior one. It is a love story. It is about the friendship of artists and about their world. It is a tableau that represents a time in European culture that we are possibly only now beginning to understand as we crowd out Tate Modern to view Picasso, Mondrian, Braque and Brancusi.
Meghan Nov 2011
Tommy sits on the stoop cigarette in mouth
he takes a drag, sighs, breathes out
the stars are out tonight, but these are the suburbs
they hide pretty deep in the clouds
Street lamps reflect the glitter in the asphalt
and innocence lays on the other side of the street

He knew happiness left in August with the wave of red
and green and gold just doesn't cut it
this town's boring enough as it is
worse when you're missing them

Sara sits in her bed she watches him leave
he's notch number three this week
she didn't know him, but this is college
morals and values are hazy here
an empty bed in the morning is simple
anything else just gets too complicated, for her

she left all respect for herself in that town
it's easier than working for something
that will never amount to anything
while you're missing them

Morgan steps off the platform. Train's not leaving tonight
she walks back wiping the tears she tried to fight
nothing's worse then feeling trapped
in a place you love, but just isn't home
and every time she looks forward it seems
something pushes her back

She knew that town only brought hurt
but home is home and she needed it
nothing's ever as bad as it could be
especially when you're missing them
Swanswart Aug 2016
This poem is green
Would you buy this poem?

This poem is do-it-yourself
backyard garden green.
This poem is save the world
give peas a chance green;
this poem is azure sky
squeezing the golden sun
all over the world green.
Could you buy this poem?

This poem is apples and oranges
farmer’s artist market green.
This poem has
leaves as pillows
and blankets as grass;
this poem is a lil’ patch of green
earth purchase me plot;
this poem is  
100%
recyclable
disposable,
sustainable
  (after all it has gotten this far)
You should buy this poem.

This poem is green,
its’ tyro-technics
shooting out of asphalt cracks.
This poem is a snot-nosed brat
full of SASS
(short attention span sentences)
This poem is the hope of audacity.
This poem is fumbling with bra straps
and tongue-tied techniques,
this poem isn’t old enough
to know any better, it’s wet
behind the ears green
petting zoo pellets green
willing to SCREAM green
but not part of
a gang green
this poem is all alone
with its words
Buy this poem?

This poem is green
Its envious of
solar panel studios with eyes on the price
of a venti economy
This poem is the green-eyed monster
of product placement pick-o-the profit
This poem WANTS to make
consumer obedience the easy culprit.
But really…
This poem just wishes it could sing
Won’t you buy this poem?

This poem is green.
This poem has no half-life,
shelf life or
night life.  
This poem exists solely in this moment
of your imagination.

This poem has milk carton desperation.
This poem is begging for change.
This poem was stolen from all of you.
This poem is not for sale.
Buy This Poem!

— The End —