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Rolling down St. John's Heritage Highway
after Sean, my grandson's birthday party
I belt out my pioneer song with vigor
echoing across the vast beauty,
wide open, sacred spaces
pristine vistas

Norman Rockwell cows grazing
in bygone pastures happily
moo along

Driving past the yellow deer crossing sign
Florida woodlands giddyap near the edge of the road
long brown antlers prancing to
a timeless rhythm

I hope and pray that I can somehow
kindle a spark of appreciation
in my niece and grandsons
so that they may behold
the baffling greatness
and mystery that is our universe

These young'uns are mighty attached to the
virtual reality, world and landscape
of computer technology

A sprinkling of cowboy stars flash
an omnipresent wink
Sunset bonfire explodes across
the frontier horizon

Turning the corner onto Emerson Drive
smoldering scarlet orange embers
reflecting lights
shoot fireworks, launch rockets
through an ever expanding field of vision
Allie Nov 2017
You stand here kissing the light.
A halo of red leaves fall past your head
Your lips leave sparks on my cheek
Your eyes are as steady as tree trunks
The touch of your hand,
Makes the wind roar.
Will you catch me if I fall?
I already am.
My shirt ripples like waves in the  sea,
I wish to fall forever.
Because your mountain lion purr is my new favorite song,
I feel that your mysterious mind is made of music,
Each breath is a tune, each word is a melody,
You smell like brown cabins and daisies,
Your naked feet are the mud I am stuck in.
H e l p
I'm going to hit the ground and disappear into your orange hands.

You stand here kissing the light.
The gray skies are meant to be your background
Your rosy cheeks look far too kissable,
While you dance as if it's all you know how to do.
Every glance you grant me is a blessing and a  s i n,
Memories of lip balm and car rides flood my brain.
My dress is soaked, I'm drowning in you,
I wish you were lost in me too.
Your baffling blonde hair blinds me,
I can no longer see where I step.
Caught in a whirlpool, drinking all your thoughts,
Cold evenings, sweaty bodies,
You smell like blue trampolines and bubblegum.
This love is a shipwreck,
Oh God, This daydream has an expiration date,
I can't live off empty kisses and blue eyes.

You stand here kissing the light.
And breathing burgundy words.
Your hands are searching for a spark,
But your touch is as light as a bumble bees.
When you laugh, I no longer feel alone,
Because you make my heart beat again.
I stand on tiptoe and kiss your habitual hat,
Wishing I could be happy in your arms.
You are a sunny serene statue
In this seriously fast-paced fast-racing world.
But, notes passed and dying embers won't save me from
H o l l o w  car rides home.
You smell like warm blankets and hot sauce.
I warn you not to drink me,
I am spoiled milk.
Get out, before it's too late,
I don't love your yellow mind like I should.

You stand here kissing the light.
A rainstorm strikes when you laugh,
Your bare back is the sturdy ship,
I am stranded on in this wide ocean.
I'm stuck in the jungle of your mind,
The story of you is locked in my bones,
You're wild, green, and reckless,
I'm etranced.
Our various vivacious ventures leave me in    r e v e r i e,
craving something I can't quite name.
Yet, smoky rooms and video games
can't protect me from these
black thoughts.
You smell like cinnamon and *****,
In this moment, that feels like home.
But god, I can't tell if I'm healing or hurting,
And I don't know if you'll survive
the hole in my heart,
Still, I'll kiss your brown lips,
and hope that you do
A poem about the three girls and one guy in my life I've loved
Scott M Reamer Apr 2013
Man life know just set eyes way like young world soul day hunger space mouth earth thoughts ignorance blind things mind knew final moment human creation kind creatures souls high forgotten dream love spoke self existence face holy deep bound think home void say surrender ear forever called held ephemeral red state end shall heed hope edge living waking fall sea wake garden need February thought past wanderer got men page colored tepid terrible **** proudly untitled features point painted faceless box forgot render wild spring splendor  handfuls looking half brain lost torn ancestral  unseen vision inner summer honor mister owned banner save today fear groans wasn't smoke  street fable strange year contrast black years  able pain body spoken word known motion  palpitate reeling nature culture disclaimers  cancer beg attentive frames ****** base profound double remember wholly finger death token  cries continue folk oh fishing form broken true  divides spread ah twas away breathe wait warning hallowed wish closer lens turn eye live  constant current author hung theory dangle  bramble chemical new force changes adderall  anymore giving beneath possess pardon commentaries eternity internal walk reason  long change does idea glimpse consciousness  wandering simply wonder physical dreams war  sleep told rest benign prior begging truth little  2012 born tale crow bowels allegory animal rule  exasperate making horse curse hands ones read  rearrange capture doing command fail awake  aperture seedlings shift steely sir nap spead ****** demons slits clever telling loud spits la-la-di-dah killing slip game reflected nameless ask  lovers rabid bear salivate plunder shameless  famously savior mint rides menthol bully fate traded melodies play misunderstand mammals gentle witless fine utterly savage silt tongue-less  dirt dilutes pure non-sensory taste briefly ravage dismember it''ll shedding ruined curtain  knots offers plot fulfills munificent two-act  relegates boxz bug altruistic wintergreen tossing  callously guise grovels one's singers treachery ashes mid-life mutter fashion parading  ambiguity separatist liars staple steeping neath  guidelines scoffing stitch moans civil wrote  Fictitious undoing fables table effigies serve  sonnets staged remark psalm swoll praise harken  beggar verse bread lines heavily electricity detection snow sack-happy preaching credit  spotted wicked best gravity gun campaign owe  barge choir revelry celebratory satiated sinking  headline pack hound persistently propaganda  gentlemen excluding diminished ******* run idles  occupied levies wolfishly honestly misinformation cuba vehemently dumb grace spectator erasing  toned sage crowded secrets inter-connectivity  loaned prayer hymns grave mistaken magnified  vandals selective jump leak escapes says minister  buckle mass honesty shut tar children's hats  monument doping long-lived electrical ladle  exaggerated cartoons address seconds cool cradle bleak yang's mind-framed hypnotic  walker caps folly treble claim streaks mixtures  swelled interstate elapse teasing spoon mobile  succulent witchcraft borderline fatal 99 temple stacks sups plastics creeps neurotic ills tossed  meek sipping old crack interlock wax alleyway  coughing blown freak clock birthdays societies  slow flashing viscous candy argument toothless  pills cerebral rapt wall bisect lives wheezing  photo kid starter foiled pair saturated self-castrating pre-packed naked uncertainly pill  used came chaos coated reprisal fells wrack  irreverent mirth sickly disinherited proudest  collate wheeze appearance palette disharmony  discontented bastardized emotive bio inhale diction beat spoiled reclamation loudest tempo  totally disembodied matte imperfect shells flat  struck sounding imparts flak origin severance remarked bone walls snared leaflets mocking  hot scripting adjective noun agape seemingly  resistant gawk calamity passage paintings wind  trashcans signings sits cheap makers poetry persist scrap slipping individual talk wonders  leaving questions fold actor fancy parchment  fates engenders flown jaws stripped longer music  sacrifice fakers book boldly frown sigh atop patient hang trade occupation blows spectacular  whispers worthy backward waving certainty danced suppose needn't ‘drawkcab’ second-guessing  boys forget marched motto heads tightly lies two-tone earthbound harp twice turns goodnight  lying ***** internally indiscriminate nickname  drunk convictions myth steep  in-consumption  fitting artist **** universal sick expressions bad  du spell melody big siphon proud learn sprawls song spastic something temperaments utter check  fissures stomp totality blend definitely thrall sing rug voice shade pestilence ties commiserate round devil steady brains emotional certain gate  suckling gates dearth decay weight bounce pound  carrier pangs glass startle contest earthen web  tug pressed air patience flush amassed guest gone apprehension staring empathize captain believe fading in-perceivable deathbed guarder makes surrounds scatter drooling ebb blink cob tome  venom near door lair derision draws host stairs scent parts curiosities spider webbing surprise wares tips stepping ascetics starkness realize picture surroundings dictations grand pillars  deaf limited comparisons greet visual residents  personal settings dismiss alien law stability common earthly shiftless places prelude  understanding mosaic keen trifling embodiments  geared inception whisper visible jowls kiss murky  puddle rank dawn dichotomy single faithful fraying pays tailor veil climb mores pence whim  breath wellspring samara god stony pear  shadows fruiting forebodes moonlit looming  shown passed bog gold wracked faint tongues  noble preachers mirror shifting layered depth  threads jungle narcissus bemused seamstress self-worshiping architect's wore slumber anomalous  opened barren seam lip caustic scene coupled brick gardener's clenches -with forms idle breed  embodied lore starving empathy design illusion  tree coat fabricate lucid mason scatter-all  narrative seeking imbued 16th shivering chemicals 17th 15thrisk improperly dare  deliberate plan purge try brought chapter speed  aide utmost spirit leading intervention felt  recall recent advent sincerity times diary  lackluster piously lasting happy holding hear  stem tasteless whimpers wet spine monstrosity  dripping causes position quite softly claws pallet  answer digging tearing beast satiating circle breaks skips redwoods beckoning rotted hushed  gray lapsing monoliths deities creborus  imbuement hand stroll paradigm rendered chorus shy whispering forest residual tension  surrenders tolerance lull anew sentenced  bearing tide birds dirge divergent rim joined  cogs wood hesitant mist emergent towering offer  awareness confinement inverted faultier stowed  plane sanctified blanketing trusting memory fossil flash twists laden self-indulgent fleeting invitation agony grip shore impetus lingering  crows promise gift union swallowing endless floor supposed ecstasy sensory intent  psychotropic cradling placement interned  jagged connectivity exchange congenial begun  summons singular spiral assumes ambient reciprocates re-entry fruition reached aggregate lifetime limbs birthed instinct  frightening tarry proper entire light  boundaries innocence pursuit ago discover left  youth's unknowing sacred time place meager  simple fact cast ceaseless wide-eyed literal  apparent coincidence create boldness morphed  crooked kempt mere stumble buried shutter fairy  pivotal definitive months worth shear ambition sound required journeyed self-reflections title  facets vague restless intimation gut wanderer's  leap motivate path account boy soon bears faith  question tripped reasons uproot awaited confronted days step heal provocations wisps crushing transcend chronicles instance  directness raw drove occurrence objective-less  real enters slightest confident nondescript  typify  foreshortened interment paradox bitter heart  devoid jeopardy angry sensation confidential guilty arrogance mercy compliance reprieve  vincent deadening factual sign emotion awe  inhibition shackled butterflies absence actual sciences acknowledgement violent stagnant  spiritual American doors roots lack matted fore  gestures society cause streams intensity hair impossible discord lonely hearts resounding  jest  what's flavored pains closed toxic contented  happenstance scientific knowledge yeah  wizardry shaking stifled withdrawn bloom  jitter dreads settle asocial hulton make  predisposed figurative reflections demeanors  wondered affect hulton's projected sense  morning industry arrays ghosts feeling  certainly endomorphic where's partially wrath  passer mornings jovial unease advertized asking  trash onward wished tempers media mentality connect pasts sharp-toothed scramble great colours trial test salvation continually lent  degree secretly subjection social waned  disconnected colors grimly intellectual civilization cash trading baffling particular  digest myths monumental ending seasons winter  repetition introducing agent everlasting  shoulders delivered honestly-- possession funny  continence history unsightly function suffering propulsion profession divulge familiar tugs era  importance capability perpetuation spite inventory words entirety leveling fray insight  date record continues writer getting evermore fellow tongue possessions identical proof accuracy education similar sack admittance  favor unravel conveyance guilt gives beginnings  predicting audacity definition bobby heady eaters frameless learned release stone grandeur sang  speak molds sleeps split built seats people folded  sheer pour evoked playhouse liquid boring  tellers frayed stark walked reality pleas doth  preformed shows beak pride squawks opinions  greatest bold stunning sightings he'd loudly slain  sunk watch legend precipice theater deeper compound commentator civility justly silly sin  reverent seen prophetic moral confounds notion  lacking explain attempt prolific viral estrange proclivity scorn hide blur pious strung eden's  horror cut skin arch cruel twig mother vile  pass lend woods peach shrunken trail man's canopy worn 434 eat warm limb familiar father delete.

You are what your reading lady. Now would you hold this gun?
1
I sing the body electric,
The armies of those I love engirth me and I engirth them,
They will not let me off till I go with them, respond to them,
And discorrupt them, and charge them full with the charge of the soul.

Was it doubted that those who corrupt their own bodies conceal themselves?
And if those who defile the living are as bad as they who defile the dead?
And if the body does not do fully as much as the soul? And if the body
were not the soul, what is the soul?

2
The love of the body of man or woman balks account, the body itself
     balks account,
That of the male is perfect, and that of the female is perfect.

The expression of the face balks account,
But the expression of a well-made man appears not only in his face,
It is in his limbs and joints also, it is curiously in the joints of
     his hips and wrists,
It is in his walk, the carriage of his neck, the flex of his waist
     and knees, dress does not hide him,
The strong sweet quality he has strikes through the cotton and broadcloth,
To see him pass conveys as much as the best poem, perhaps more,
You linger to see his back, and the back of his neck and shoulder-side.

The sprawl and fulness of babes, the bosoms and heads of women, the
     folds of their dress, their style as we pass in the street, the
     contour of their shape downwards,
The swimmer naked in the swimming-bath, seen as he swims through
     the transparent green-shine, or lies with his face up and rolls
     silently to and from the heave of the water,
The bending forward and backward of rowers in row-boats, the
     horse-man in his saddle,
Girls, mothers, house-keepers, in all their performances,
The group of laborers seated at noon-time with their open
     dinner-kettles, and their wives waiting,
The female soothing a child, the farmer’s daughter in the garden or
     cow-yard,
The young fellow hosing corn, the sleigh-driver driving his six
     horses through the crowd,
The wrestle of wrestlers, two apprentice-boys, quite grown, *****,
     good-natured, native-born, out on the vacant lot at sundown
     after work,
The coats and caps thrown down, the embrace of love and resistance,
The upper-hold and under-hold, the hair rumpled over and blinding the eyes;
The march of firemen in their own costumes, the play of masculine
     muscle through clean-setting trowsers and waist-straps,
The slow return from the fire, the pause when the bell strikes
     suddenly again, and the listening on the alert,
The natural, perfect, varied attitudes, the bent head, the curv’d
     neck and the counting;
Such-like I love—I loosen myself, pass freely, am at the mother’s
     breast with the little child,
Swim with the swimmers, wrestle with wrestlers, march in line with
     the firemen, and pause, listen, count.

3
I knew a man, a common farmer, the father of five sons,
And in them the fathers of sons, and in them the fathers of sons.

This man was a wonderful vigor, calmness, beauty of person,
The shape of his head, the pale yellow and white of his hair and
     beard, the immeasurable meaning of his black eyes, the richness
     and breadth of his manners,
These I used to go and visit him to see, he was wise also,
He was six feet tall, he was over eighty years old, his sons were
     massive, clean, bearded, tan-faced, handsome,
They and his daughters loved him, all who saw him loved him,
They did not love him by allowance, they loved him with personal
     love,
He drank water only, the blood show’d like scarlet through the
     clear-brown skin of his face,
He was a frequent gunner and fisher, he sail’d his boat himself, he
     had a fine one presented to him by a ship-joiner, he had
     fowling-pieces presented to him by men that loved him,
When he went with his five sons and many grand-sons to hunt or fish,
     you would pick him out as the most beautiful and vigorous of
     the gang,
You would wish long and long to be with him, you would wish to sit
     by him in the boat that you and he might touch each other.

4
I have perceiv’d that to be with those I like is enough,
To stop in company with the rest at evening is enough,
To be surrounded by beautiful, curious, breathing, laughing flesh is enough,
To pass among them or touch any one, or rest my arm ever so lightly round
     his or her neck for a moment, what is this then?
I do not ask any more delight, I
     swim in it as in a sea.
There is something in staying close to men and women and looking on them,
     and in the contact and odor of them, that pleases the soul well,
All things please the soul, but these please the soul well.

5
This is the female form,
A divine nimbus exhales from it from head to foot,
It attracts with fierce undeniable attraction,
I am drawn by its breath as if I were no more than a helpless vapor,
     all falls aside but myself and it,
Books, art, religion, time, the visible and solid earth, and what
     was expected of heaven or fear’d of hell, are now consumed,
Mad filaments, ungovernable shoots play out of it, the response
     likewise ungovernable,
Hair, *****, hips, bend of legs, negligent falling hands all
     diffused, mine too diffused,
Ebb stung by the flow and flow stung by the ebb, love-flesh swelling
     and deliciously aching,
Limitless limpid jets of love hot and enormous, quivering jelly of
     love, white-blow and delirious nice,
Bridegroom night of love working surely and softly into the
     prostrate dawn,
Undulating into the willing and yielding day,
Lost in the cleave of the clasping and sweet-flesh’d day.

This the nucleus—after the child is born of woman, man is born
     of woman,
This the bath of birth, this the merge of small and large, and the
     outlet again.

Be not ashamed women, your privilege encloses the rest, and is the
     exit of the rest,
You are the gates of the body, and you are the gates of the soul.

The female contains all qualities and tempers them,
She is in her place and moves with perfect balance,
She is all things duly veil’d, she is both passive and active,
She is to conceive daughters as well as sons, and sons as well as
     daughters.

As I see my soul reflected in Nature,
As I see through a mist, One with inexpressible completeness,
     sanity, beauty,
See the bent head and arms folded over the breast, the Female I see.

6
The male is not less the soul nor more, he too is in his place,
He too is all qualities, he is action and power,
The flush of the known universe is in him,
Scorn becomes him well, and appetite and defiance become him well,
The wildest largest passions, bliss that is utmost, sorrow that is
     utmost become him well, pride is for him,
The full-spread pride of man is calming and excellent to the soul,
Knowledge becomes him, he likes it always, he brings every thing to
     the test of himself,
Whatever the survey, whatever the sea and the sail he strikes
     soundings at last only here,
(Where else does he strike soundings except here?)

The man’s body is sacred and the woman’s body is sacred,
No matter who it is, it is sacred—is it the meanest one in the
     laborers’ gang?
Is it one of the dull-faced immigrants just landed on the wharf?
Each belongs here or anywhere just as much as the well-off, just as
     much as you,
Each has his or her place in the procession.

(All is a procession,
The universe is a procession with measured and perfect motion.)

Do you know so much yourself that you call the meanest ignorant?
Do you suppose you have a right to a good sight, and he or she has
     no right to a sight?
Do you think matter has cohered together from its diffuse float, and
     the soil is on the surface, and water runs and vegetation sprouts,
For you only, and not for him and her?

7
A man’s body at auction,
(For before the war I often go to the slave-mart and watch the sale,)
I help the auctioneer, the sloven does not half know his business.

Gentlemen look on this wonder,
Whatever the bids of the bidders they cannot be high enough for it,
For it the globe lay preparing quintillions of years without one animal or plant,
For it the revolving cycles truly and steadily roll’d.

In this head the all-baffling brain,
In it and below it the makings of heroes.

Examine these limbs, red, black, or white, they are cunning in tendon and nerve,
They shall be stript that you may see them.
Exquisite senses, life-lit eyes, pluck, volition,
Flakes of breast-muscle, pliant backbone and neck, flesh not flabby, good-sized
     arms and legs,
And wonders within there yet.

Within there runs blood,
The same old blood! the same red-running blood!
There swells and jets a heart, there all passions, desires, reachings,
     aspirations,
(Do you think they are not there because they are not express’d in
     parlors and lecture-rooms?)

This is not only one man, this the father of those who shall be fathers
     in their turns,
In him the start of populous states and rich republics,
Of him countless immortal lives with countless embodiments and enjoyments.

How do you know who shall come from the offspring of his offspring
     through the centuries?
(Who might you find you have come from yourself, if you could trace
     back through the centuries?)

8
A woman’s body at auction,
She too is not only herself, she is the teeming mother of mothers,
She is the bearer of them that shall grow and be mates to the mothers.

Have you ever loved the body of a woman?
Have you ever loved the body of a man?
Do you not see that these are exactly the same to all in all nations and
     times all over the earth?

If any thing is sacred the human body is sacred,
And the glory and sweet of a man is the token of manhood untainted,
And in man or woman a clean, strong, firm-fibred body, is more beautiful
     than the most beautiful face.
Have you seen the fool that corrupted his own live body? or the fool
     that corrupted her own live body?
For they do not conceal themselves, and cannot conceal themselves.

9
O my body! I dare not desert the likes of you in other men and women,
     nor the likes of the parts of you,
I believe the likes of you are to stand or fall with the likes of the
     soul, (and that they are the soul,)
I believe the likes of you shall stand or fall with my poems, and
     that they are my poems,
Man’s, woman’s, child, youth’s, wife’s, husband’s, mother’s,
     father’s, young man’s, young woman’s poems,
Head, neck, hair, ears, drop and tympan of the ears,
Eyes, eye-fringes, iris of the eye, eyebrows, and the waking or
     sleeping of the lids,
Mouth, tongue, lips, teeth, roof of the mouth, jaws, and the
     jaw-hinges,
Nose, nostrils of the nose, and the partition,
Cheeks, temples, forehead, chin, throat, back of the neck, neck-slue,
Strong shoulders, manly beard, scapula, hind-shoulders, and the
    ample side-round of the chest,
Upper-arm, armpit, elbow-socket, lower-arm, arm-sinews, arm-bones,
Wrist and wrist-joints, hand, palm, knuckles, thumb, forefinger,
     finger-joints, finger-nails,
Broad breast-front, curling hair of the breast, breast-bone, breast-side,
Ribs, belly, backbone, joints of the backbone,
Hips, hip-sockets, hip-strength, inward and outward round, man-*****, man-root,
Strong set of thighs, well carrying the trunk above,
Leg-fibres, knee, knee-pan, upper-leg, under-leg,
Ankles, instep, foot-ball, toes, toe-joints, the heel;
All attitudes, all the shapeliness, all the belongings of my or your body
     or of any one’s body, male or female,
The lung-sponges, the stomach-sac, the bowels sweet and clean,
The brain in its folds inside the skull-frame,
Sympathies, heart-valves, palate-valves, sexuality, maternity,
Womanhood, and all that is a woman, and the man that comes from woman,
The womb, the teats, *******, breast-milk, tears, laughter, weeping,
     love-looks, love-perturbations and risings,
The voice, articulation, language, whispering, shouting aloud,
Food, drink, pulse, digestion, sweat, sleep, walking, swimming,
Poise on the hips, leaping, reclining, embracing, arm-curving and
     tightening,
The continual changes of the flex of the mouth, and around the eyes,
The skin, the sunburnt shade, freckles, hair,
The curious sympathy one feels when feeling with the hand the naked
     meat of the body,
The circling rivers the breath, and breathing it in and out,
The beauty of the waist, and thence of the hips, and thence downward
     toward the knees,
The thin red jellies within you or within me, the bones and the
     marrow in the bones,
The exquisite realization of health;
O I say these are not the parts and poems of the body only, but of
     the soul,
O I say now these are the soul!
zebra Oct 2017
Here is a primer on the history of poetry

Features of Modernism

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

1. experimentation

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

2. anti-realism

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

3. individualism

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

4. intellectualism

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

............
Expressionism

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

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

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

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

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

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

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

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SYMBOLIST POETS
symbolism in poetry

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

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

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

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

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

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

......................

.
IMAGIST POETRY
imagist poetry

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

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

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

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

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

Imagism itself gave rise to fairly negligible lines like:

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

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

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

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

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

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

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

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

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

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

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OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition
Here rests a future
Untouched and eager
for light
Wanting to exude its aromas
of which I neither looked
nor cared.

She handed me the match
fresh, burning bright,
a new sense in my familiar room.

Baffling confusion
overtook as I blew her match
so stubborn
to extinguish
in a faint stream of
smoke still thinning.

Was I
the stubborn?

Subsequent darkness
overtaking
Once a sweet home
Now a paralyzing loneliness.

Match burnt, candle gone
future still…

Will another offer to
light my dark corners
--myself willing,
with a newfound scent?

A day may come
to end my night,
but I only care to see
the one I once hid from.
Derrick Twidwell Jul 2014
Why please tell me why
I fell two thousand story's for you
You caught me, and dropped me
But yet I'm still falling fast

My reality is such a baffling one
One day I can be happier than ever
Another spiraling down an endless pit
I'm so done with this pain so tired

Walk away just do it
I can not move
So It seem I'm frozen in memories off the past
Never to thaw to a new future

Try again and again no luck
I've been stuck here for to long
Please break the ice that silhouettes my body
Set my mind and heart free

My reality is such a baffling one
One day I can be happier than ever
Another spiraling down an endless pit
I'm so done with this pain so tired

What was your reaction to my statement
"I can't be friends with someone I'm in love with"
Was it a chill to your spine
Was it not a single phase of heart

Can you just walk away from me
Then to just come back to my life a year later
Not to expect a vast amount of confusion
I'm sure all you want is a friendship

My reality is such a baffling one
One day I can be happier than ever
Another spiraling down an endless pit
I'm so some with this pain so tired

I can't be friends with someone I'm in love with
I'll not be apart of a one sided love
Still I cannot walk away with not a single tear in my eye
Tell me now how can I drop this all

My reality is such a baffling one
One day I can be happier than ever
Another spiraling down an endless pit
I'm so some with this pain so tired
Ree Bunch Mar 2016
Your lies were dipped in bittersweet chocolate;
with a heaping amount of caramel sauce drizzled on top.
I gobbled up more than I care to openly admit;
in fear of what others will think and say.
After enjoying your momentary treats;
came the truth;
with so much salt, it was baffling to eat.

A.K.A

(10 w)

The lies I ate, but
the truth I couldn’t take.
Sean M O'Kane Sep 2018
“Oh you’re Irish?” he said.
“Did you learn the language much?” he said.
Honestly, what can I tell him? I was raised in the North - a ****** wasteland for such a naïve question.
Vague memories of fumbled classes where our secret history was ditched just to get straight into the basics (Cad é mar atá tú?)
No – seriously - I was not tied to it – it was anonymous to me at that age.
Forgotten like some distant echo of once visiting Coole House as a child.
Sure, we knew it was “important”, “our national language”, “heritage” etc. and we were warned it was quickly slipping into the drain of Western hegemony.
But it was baffling, unsexy and only the blunt-faced humorless IRA thugs amongst us were in any way keen.
Then it was gone, just like the faded memories of “The Children of Lir” from my primary school.

Looking back I wonder, what was the point?
A half-full measure paying lip service to our identity.
Teachers and headmasters terrified of the grand colonial reveal that the lessons might have hinted at (were they trying to stop us being Provos-in-waiting?).
And all of this against the awful shame of a common tongue that had no foe yet was slowly vanquishing from our shores.
It could have all been so different.
Rather than rushing to get something in our empty skulls, they could have given us a sense of joy, pride & belief in our own culture.
Calling on Yeats, Behan, Heaney and others to drown us in the language of our ancestors.
Telling the stories of old that only the academics & hippies were keeping from us then.
You know, it might kept us all on the same beautifully illuminated page.
We might have been comfortable in our skins and open to others,
not looking deep into our worthlessness and lashing out at them.
Language is being and language is connecting, I’ve learnt.
But that’s not something I got from my secondary school.

June-July 2018
Obviously, Teanga is the Irish word for language. "Cad é mar atá tú" is a basic phrase every Irish child would remember from the limited experience of the language that we had then - "how are you?".  I did visit Coole House around 1980 (when I was 10)  but had no idea at the time of its significance as the 'petri dish' of modern Irish culture - the home of Lady Gregory whose influence on many of our great writers was fundamental to their survival & their continuing importance today. "The Children of Lir" is an old fantastical Irish myth that was often read to very  young children during their  "story time".
The stars still shone last night, and tasted pretty like my last sonnet;
And I still loved thee; and imagined thee 'fore I retreated to bed.
Ah, but thou know not-thou wert envied by t'at squeaking trivial moon;
It seduced and befriended thee; but took away thy sickly love too soon.
Ah, t'at moon which was burnt by jealousy, and still perhaps is,
Took away thy love-which, if only willing to grow; couldst be dearer than his.
But too thy love, which hath-since the very outset, been mostly repulsive and arduous;
And loving thee was but altogether too customary, and at gullible times, odious.
Ah, but how I was too innocent-far too innocent, was I!
Why didst I stupidly keepeth loving thee-whose soul was but too sore, and intense-with lies?
And at t'is very moment, every purse of stale dejection leapt away from me;
Within t'eir private grounds of madness; but evaporating accusations.
Ah, so t'at thou desired me not-and thus art deserving not of me;
But why didst I resist not still-thy awkwardness, and glittering sensations?
Oh, I feeleth uncivil now-for I should hath been too mad not at the moon;
For taking away thy petty threads, and curdling winds, out of me-too soon.
And for robbing my gusts, and winds, and pale storms of bewitching-yet baffling, affection;
But in fact thrusting me no more, into the realms of death; and t'eir vain alteration.
Ah, thee, so how I couldst once have awaited thee, I never knoweth;
For perhaps I shall be consumed, and consequently greeteth immediate death; within the fatal blushes of tomorrow.
But still-nothing of me shall ever objecteth to t'is tale of blue horror, and chooseth to remain;
And I shall distracteth thee not; and bindeth my path into t'at one of thy feet-all over again.
Once more, I shall be dimmed by my mirthlessness and catastrophes and sorrow;
Yet thankfully I canst becometh glad, for all my due virtues, and philanthropic woes.

I shall be wholly pale, and unspeaking all over me-just like someone dead;
And out of my mouth wouldst emergeth just tears-and perhaps little useless, dusty starlings;
I shall hath no more pools or fits or even filths of healthy blood, nor breath;
I shall remembereth not, the enormous fondness, and overpowering passions; for our future little darlings.
For my love used to be chilly, but warm-like t'ose intuitive layers behind the sky;
But thou insisted on keeping silent and uncharmed-a frightfulness of sight; I never knew why.
Now t'at I hath returned everything-and every single terseness to my heart;
I shall no more wanteth thee to pierce me, and breaketh my gathered pride, and toil, apart.
For I am no more of a loving soul, and my whole fate is bottomless and tragic;
I canst only be a lover for thee, whenst I am endorsed; whenst I feeleth poetic.
I shall drowneth myself deep into the very whinings of my misery;
I shall curseth but then lift myself again-into the airs of my own poetry.
For the airs of whom might only be the sources of love I hath,
For t'is real world of thine, containeth nothing for me but wrath;
Ah, and those skies still screameth towards me, for angering whose ****** foliage;
Whenst t'ose lilies and grapes of my soul are but mercifully asleep on my part.
I wanteth to be mad; but not any careless want now I feeleth-of cherishing such rage;
For I believeth not in ferocity; but forgiveness alone-which rudely shineth on me, but easeth my painful heart.
I hath ceased to believe in my own hand; now furnished with discomfort;
But still I hath to fade away, and thus cut t'is supposedly long story short.
I hath been burned by thee, and flown wistfully into thy Hell;
But so wisheth me all goodness; and that I shall surviveth well.
And just now-at t'is very moment of gloom; I entreateth t'at thou returneth to her, and fasteneth yon adored golden ring;
For it bringst thee gladness, which is to me still sadly too dear, everything.

Ah! Look! Look still-at t'ose streaks of blueness-which are still within my poetry on thee;
But I shall removeth them, and blesseth them with deadness; so that thou shalt once more be young, and free.
For what doth thee want from me-aside from unguarded liberty, and unintimate-yet wondrous, freedom?
For thou might as well never thinketh of me during thy escape;
And forever considereth me but an insipid flying parachute-to thy wide stardom;
Which deserveth not one single stare; as thou journeyeth upon whose dutiful circular shape.
And a maidservant; a wretched ale *****-within thy inglorious kingdom;
Which serveth but soft butter and cakes, to her-thy beloved, as she peacefully completeth her poem.
The poem she shall forceth to buy from me-with a few stones of emerald;
To which I shall sternly refuseth-and on which my hands receiveth t'ose climactic bruises.
For she, in her reproof-shall hit me thereof, a t'ousand times; and a harlot me, she shall calleth;
And storm away within t'at frock of endless purpleness; and a staggering laugh on her cheeks.
And I-I shall be thy anonymous poet, whose phrases thou at times acquireth, at nighttime-but never read;
A bedroom bard, in whose poetry thou shalt not findeth pleasures, and to which thou shalt never sit.
A jolly wish thou shalt never, in thy lifetime, cometh anyhow-to comprehend-nor appreciate;
But should I still continueth my futility; for poetry is my only diligent haven, and mate.
In which I shall never be bound to doubteth, much less hesitateth;
For in poetry t'ere only is brilliance; and embrace in its workings of fate.
And sadly, a servant as I am-on her vanity should I needst to forever wait, and flourish;
To whom my importance, either dire profoundness-is no more t'an a tasty evening dish.
And my presence by thee is perhaps something she cannot relish;
I know not how thou couldst fall for a dame-so disregarded and coquettish!
To whom all the world is but hers; and everything else is thus virtual;
So t'at hypocrisy is accepted, as how glory is thus defined as refusal.
But sometimes I cometh to regret thy befallen line of glory, and untoward destiny;
I shall, like ever, upon which remembrance, desireth to save thee, and bringst thee safely, to eternity.
But even t'is thought of thee shall maketh me twitch with burning disgust;
For I hath gradually lost my affection for thee; either any passion t'at canst tumultously last.
And shall I never giveth myself up to any further fatigue-nor let thy future charms drag me away;
For I hath spent my abundant time on thy poetry-and all t'ose useless nights and days;
As thou shalt regard me not-for my whole cautiousness, nor dear perseverance-and patience;
Thou shalt, like ever, stay exuberant, but thinketh me a profound distress-a wild and furious, impediment.
Thou hath denied me but my most exciting-and courteous nights;
And upon which-I shall announce not; any sighs of willingness-to maketh thee again right;
nor to helpeth thee see, and obediently capture, thy very own eager light.

And when thy idiocy shall bringst thee the most secure-yet most amatory of disgrace, turn to me not;
I hath refused any of thine, and wisheth to, perfunctorily-kisseth thee away from my lot,
I shall writeth no more on thy eloquence-for thou hath not any,
As nothing hath thou shown; nothing but falsehood-hath thou performed, to me.
Thou hath given none of those which is to me but virulent-and vital;
Thou art not eternal like I hath expected-nor thy bitter soul is immortal.
Thou art mortal-and when in thy deft last seconds returneth death;
Thou, in remorse, shalt forever be spurned by thy own deceit, and dizzily-spinning breath,
And after which, there shall indeed be no more seconds of thine-ah, truly no more;
Thou shalt be all gone and ended, just like hath thou once ended mine-one moment before.
All t'at was once unfair shall turneth just, and accordingly, fair;
For God Himself is fair-and only to the honest offereth His chairs;
But the limbs of Heaven shall not be pictured, nor endowed in thee;
To thee shall be opened the gate of fires, as how thou hath impetuously incarnated in me.
No matter how beautiful they might be-still thy bliss shall flawlessly be gone,
Thou shalt be tortured and left to thy own disclosure, and mock discourses-all alone.
For no mortality shall be ensured foreverness-much less undead togetherness;
As how such a tale of thy dull, and perhaps-incomprehensible worldliness.
By t'at time thou shalt hath grown mature, but sadly 'tis all too late;
For thou hath mocked, and chastised away brutally-all the truthful, dearest workings of fate.
And neither shalt thou be able to enjoy-the merriments of even yon most distant poetry;
For unable shalt thou be-to devour any more astonishment; at least those of glory.
And thus the clear songs of my soul shall not be any of thy desired company;
Thy shall liveth and surviveth thy very own abuse; for I shall wisheth not to be with thee;
For as thou said, to life thou, by her being, art the frequented life itself;
Thus thou needst no more soul; nor being bound to another physical self;
And t'is shall be the enjoyment thou hath so indolently, yet factually pursued-in Hell;
I hope thou shalt be safe and free from hunger-and t'at she, after all, shall attendeth to thee well.

And who said t'at joys are forbidden, and adamantly perilous?
For t'ose which are perilous are still the one lamented over earth;
For in t'ose divine delights nothing shall be too stressful, nor by any means-studious;
For virtues are pure, and the walls of our future delights are brighter t'an yon grey hearth;
And be my soul happy, for I hath not been blind; nor hath I misunderstood;
I hath always been useful-by my writing, and my sickened womanhood;
Though I hath never possessed-and perhaps shall never own, any truthful promise, nor marriage bliss;
Still I longeth selfishly to hear stories-of eternal dainty happiness, for the dainty secret peace.
Ah, thee, for after thee-there shall perhaps no being to be written on-in yon garden;
A thought t'at filleth me not with peace, but shaketh my whole entity with a new burden.
Oh, my thee, who hath left me so heartlessly, but the one whom I hath never regarded as my enemy-
The one I hath loved so politely, tenderly, and all the way charmingly.
Ah! Ah! Ah! But why, my love, why didst thou turn t'is pretty love so ugly?
I demandeth not any kind purity, nor any insincere pious beauty,
But couldst thou heareth not t'is heart-which had longed for the one of thine-so subserviently and purely?
For I am certainly the one most passionately-and indeed devotedly-loving thee,
For I am adorable only so long as thou sleepeth, and breatheth, beside me,
For I am admired only by the west winds of thy laugh, and the east winds of thy poetry!
Ah, but why-why hath thou stormed away so mercilessly like t'is;
And leaving me alone to the misery of this world, and my indefinite past tears?
Ah, thee, as how prohibited by the laws of my secret heaven,
Thus I shall painteth thee no more in my poesies, nor any related pattern;
There, in t'is holy dusk's name, shall be spoiled only by the waves of God's upcoming winters,
In the shapes of rain, and its grotesque, ye' tenacious-and horrifying eternal thunders.
And thus t'ese lovesick pains shall be blurred into nothingness-and existeth no more,
But so shall thy image-shall withereth away, and reeketh of death, like never before.
For I shall never be good enough to afford thee any vintage love-not even tragedy,
For in thy minds I am but a piece of disfigured silver; with a heart of unmerited, and immature glory;
Ah, pitiful, pitiful me! For my whole life hath been black and dark with loneliness' solitary ritual,
And so shall it always be-until I catch death about; so grey and white behind t'ose unknown halls.
And shall perhaps no-one, but the earth itself-mourneth over my fading of breath,
They shall cheereth more-upon knowing t'at I am resting eternally now, in the hands of death.
And no more comical beat shall be detected, likewise, within my poet's wise chest;
For everything hath gone to t'eir own abode, to t'eir unbending rest.
But I indeed shall be great-and like an angel, be given a provisionary wing;
By t'is poetry on thee-the last words of mouth I speaketh; the final sonata I singeth.

Thus thou art wicked, wicked, wicked-and shall forever be wicked;
Thou art human, but at heart inhuman-and blessed indeed, with no charming mortal aura;
Thou wert once enriched indeed-by my blood, but thy soul itself is demented;
And halved by its own wronged purity, thou thus art like a villainous persona;
Thou art still charmed but made unseeing, and chiefly-invisible;
Unfortunately thou loathe scrutiny, and any sort of mad poetry;
Knowing not that poetry is forever harmless, and on the whole-irresistible;
And its tiny soul is on its own forgiving, estimable, and irredeemable.
Ah, thee, whose soul hath but such a great appeal;
But inanely strained by thy greed-which is like a harm, but to thee an infallible, faithful devil.
Thou art forever a son of night, yet a corpse of morn;
For darkness thriveth and conquereth thy soul-and not reality;
Just like her heart which is tainted with tantrum, and scorn;
Unsweet in her glory, and thy being-but strangely too strong to resist-to thee.
Ah, and so t'at from my human realms thou dwelleth immorally too far;
As art thou unjust-for t'is imagination of thine hath left nothing, but a wealth of scars;
I used to recklessly idoliseth thee, and findeth in thy impure soul-the purest idyll;
But still thou listened not; and rejected to understandeth not, what I wouldst inside, feel.
After all, though t'ese disclaimers, and against prayers-hath I designated for thee;
On my virtues-shall I still loyally supplicate; t'at thou be forgiven, and be permitted-to yon veritable, eternity.
Onoma Feb 2016
With baffling reticence these limbs pour--
were they the scream of their creation...
space would about-face.
A clarion call issued them as stars to
constellate a soul.
Secure a God's temperament--and of the
mind given them, what to derive therefrom?
Their wound is not wide from their reticence,
the presentiment of their journey is a steady
creeping...the inching forth of termless conscription.
As pastoral confines bled out the lamb by the
Hand of necessity, these limbs have so
gathered to impart their sacrifice.
A single push of an unfathomable nature sees
them thus and thus.
What center they contrive's amiss...one
cannot take hold the Agony and Ecstasy
handed by One so great.
in a dark of frenzy it boils up inside
until summarily and inexplicably
see the colour between brown and blue
more than see it, immerse myself in it
swimming slowly in its clouds
see the colour between brown and blue
everywhere votive candles light
the colour between brown and blue
with slender tapers that touch a life
any life, your life
casting strange shadows, loose shadows
between the colour of brown and blue
children swarm, children with bright white
starvation hair, children with hands
like small worn mittens
who raise red swarms in hot worn out
death laden dust
dust that cauterizes the nostrils
with the stench of penurious insanity
the colour between brown and blue
that inveigles a purchase of flies
bottle blue, black blue, green blue,
swarming blue, swirling whirling blue
a black and blue confetti of flies
then the sudden zero of the
colour between brown and blue
hair raising, command faith
willed, willing, mumbling, murmuring
the excitement of writing between
the colour of brown and blue
trees shake and tremble
words regurgitate themselves like hot
food, the bark, write
now fully electrically charged
seized by the colour between brown and blue
forget everything else, write, write more, more, write
trembling with sudden shudders of merciless
vowels, madness penurious pencil
moves across, demanding paper
pushing worn words, worthy words whittled by use
words not yet written, words of wonder
oh what words
beautiful, baffling,baleful, words
with beastly beatitudes, words that conjure the mind
words between brown and blue
that leave you skinny like a stray dog
words so demanding leave you shut up in an
airless abattoir of high energy and low residue
the colour between brown and blue
where everywhere is everywhere else
touched by the flames of the colour between brown and blue
Kate Little Jan 2011
With generosity of time and care
He teaches her about the things he knows.
Such as a couplet is a rhyming pair
And how a sonnet ought to be composed.
Pentameter iambic is the key
With accents, syllables and scansion too.
It seems a huge and baffling mystery
But bit by bit he gives a hint. A clue.
“It helps to tap your fingers on the desk
To count the syllables and hear the beat.
For some this seems bizarre and quite grotesque
But listen hard and count along. It’s sweet!”
          A teacher true who cares for flawless rhyme
          I thank you friend for giving me your time.
A Sonnet

Words by K A Little 2011
All Rights Reserved
BazzaroODST127 Dec 2014
No more than a rumor
Or a legend spoken in whispers
Mischievous folklore
Foretold around campfires

About a man
Skin black, birthed under an Eclipse
Who stalks the dark forces
Casting his might over them

Fending off the evil
Which festers across the land
Bleeding gold ink
That soils the crop and livestock

Wherever life thrives
Evil musters its footprints
But wherever it may be
He is there

Baffling their kin
Striking like thunder
Swift and silent
Like the humming katana

Making clean kills
And fading back into thin air
Being seen as a ghost
When more is known of him

For he is flesh
Great in heart
And vibrant in sight
As the father of judgment

Carrying out his given cases
That are closed by his steel hands
Diverseman2020 Jan 2010
A lather of impeccable ingredients
I encompass myself bathing in natural soil
If a mole tunnels the earth's crust
I said to myself just yesterday
Combining the affects to a sensitivity tease
Why have I not lost oomph?
Within the puzzles of a common mind
That burns a light with no stroke
What does make a person full of energy?
Finding myself loose
Which I don't know
What addiction can cause everything so natural?
A day and life of a babbling fool
A mystery to solve in a famous frame
Smiling from canvas a story to tell
Oh lady of the portrait oh lady of fame
The painter captured your face so well
Those who study art ponder and ruminate
The enigmatic pose that doth beguile
No brush strokes convey your mind state
All angels inspected of daubed smile
Yet the secret stays ever concealed
Baffling them all lady you assuredly do
Nothing of the puzzle is revealed
So well hidden and never in view
Leonardo da Vinci yielded not a clue
When he masterfully conceived of you
Third Eye Candy Sep 2012
the grass, leaning in the south wind , seeming
              as if emeralds,   had sent tendrils up
              to suckle at the yellow breast, now,   high above     inflamed....
              over soft new
              grass  
            
              like
              strands of green gemstone,
              as delicate as humming-bird tongues
              teasing nectar
              from a titan,
              in the sky
                        
              triumphant in the void,

              a golden bead in the baffling blue !

              cattails, curling in sway...and two brown eyes bob upon the surface
                          of a myriad fertilities.
              as if
                        nature itself had known, one day
                       a poet would come ~
              to roam the rambling renascence of these remote ramparts
                     in awesome humility ~ and so prepared
              a path afflux
                that ambled near

              and yes !

              an
                        anonymous nomad
              with nicotine skin and a scabbard of scandalous quills
              would indeed
              stumble in      as if returning home
              to a mansion restored to glory
              and seraphic randomness....
              a place
              that in youth, sustained a quiet, soulful troubadour
              by gospels of granite and grain,  grass finch
              and faun - ennobling an oracle ... but now
              enticed a scholar  from his cot
              to jot ephemera
              of outlasting spark
              before dark-fall

        
              and so... there

              amid all allurement   and soft machines

              a word-smith gathered
              poesy and prose.
            
              muse-driven
              this one served
              an invisible
              sovereign
            
              one  

              of unsurpassed virility
              who charms       kaleidoscopes
              with  offhand sketches    
              rescued
              from
              a landfill
            
              a basket weaver,  
              that unravels to
              achieve pure
              forms
            
              a wineskin was decanted in dianthus and hollies -
              as ampules of anagrams
              were sold unscrambled, to dyslexics
              without hope
            
              a falcon   frolicked above the lowborn lilies...  
            
              with eyes  
              too keen
              to see a
              blur
              as the hand
              of god
            
              or a vole
            
              as a lifeline
              on his
              palm.
some aesthetic modifications and heartfelt snipping. like a bonsai. i like it better.
judy smith Sep 2016
When I was chief creative officer for Liz Claiborne Inc., I spent a good amount of time on the road hosting fashion shows highlighting our brands. Our team made a point of retaining models of various sizes, shapes and ages, because one of the missions of the shows was to educate audiences about how they could look their best. At a Q&A; after one event in Nashville in 2010, a woman stood up, took off her jacket and said, with touching candour: “Tim, look at me. I’m a box on top, a big, square box. How can I dress this shape and not look like a fullback?” It was a question I’d heard over and over during the tour: Women who were larger than a size 12 always wanted to know, How can I look good, and why do designers ignore me?

At New York Fashion Week, which began Thursday, the majority of American women are unlikely to receive much attention, either. Designers keep their collections tightly under wraps before sending them down the runway, but if past years are any indication of what’s to come, plus-size looks will be in short supply. Sure, at New York Fashion Week in 2015, Marc Jacobs and Sophie Theallet each featured a plus-size model and Ashley Graham debuted her plus-size lingerie line. But these moves were very much the exception, not the rule.

I love the American fashion industry, but it has a lot of problems and one of them is the baffling way it has turned its back on plus-size women. It’s a puzzling conundrum. The average American woman now wears between a size 16 and a size 18, according to new research from Washington State University. There are 100 million plus-size women in America, and, for the past three years, they have increased their spending on clothes faster than their straight-size counterparts. There is money to be made here ($20.4 billion (U.S.), up 17 per cent from 2013). But many designers — dripping with disdain, lacking imagination or simply too cowardly to take a risk — still refuse to make clothes for them.

In addition to the fact that most designers max out at size 12, the selection of plus-size items on offer at many retailers is paltry compared with what’s available for a size 2 woman. According to a Bloomberg analysis, only 8.5 per cent of dresses on Nordstrom.com in May were plus-size. At J.C. Penney’s website, it was 16 per cent; Nike.com had a mere five items — total.

I’ve spoken to many designers and merchandisers about this. The overwhelming response is, “I’m not interested in her.” Why? “I don’t want her wearing my clothes.” Why? “She won’t look the way that I want her to look.” They say the plus-size woman is complicated, different and difficult, that no two size 16s are alike. Some haven’t bothered to hide their contempt. “No one wants to see curvy women” on the runway, Karl Lagerfeld, head designer of Chanel, said in 2009. Plenty of mass retailers are no more enlightened: under the tenure of chief executive Mike Jeffries, Abercrombie & Fitch sold nothing larger than a size 10, with Jeffries explaining that “we go after the attractive, all-American kid.”

This a design failure and not a customer issue. There is no reason larger women can’t look just as fabulous as all other women. The key is the harmonious balance of silhouette, proportion and fit, regardless of size or shape. Designs need to be reconceived, not just sized up; it’s a matter of adjusting proportions. The textile changes, every seam changes. Done right, our clothing can create an optical illusion that helps us look taller and slimmer. Done wrong, and we look worse than if we were naked.

Have you shopped retail for size 14-plus clothing? Based on my experience shopping with plus-size women, it’s a horribly insulting and demoralizing experience. Half the items make the body look larger, with features like ruching, box pleats and shoulder pads. Pastels and large-scale prints and crazy pattern-mixing abound, all guaranteed to make you look infantile or like a float in a parade. Adding to this travesty is a major department-store chain that makes you walk under a marquee that reads “WOMAN.” What does that even imply? That a “woman” is anyone larger than a 12 and everyone else is a girl? It’s mind-boggling.

Project Runway, the design competition show on which I’m a mentor, has not been a leader on this issue. Every season we have the “real women” challenge (a title I hate), in which the designers create looks for non-models. The designers audibly groan, though I’m not sure why; in the real world, they won’t be dressing a seven-foot-tall glamazon.

This season, something different happened: Ashley Nell Tipton won the contest with the show’s first plus-size collection. But even this achievement managed to come off as condescending. I’ve never seen such hideous clothes in my life: bare midriffs; skirts over crinoline, which give the clothes, and the wearer, more volume; see-through skirts that reveal *******; pastels, which tend to make the wearer look juvenile; and large-scale floral embellishments that shout “prom.” Her victory reeked of tokenism. One judge told me that she was “voting for the symbol” and that these were clothes for a “certain population.” I said they should be clothes all women want to wear. I wouldn’t dream of letting any woman, whether she’s a size 6 or a 16, wear them. Simply making a nod toward inclusiveness is not enough.

This problem is difficult to change. The industry, from the runway to magazines to advertising, likes subscribing to the mythology it has created of glamour and thinness. Look at Vogue’s “Shape Issue,” which is ostensibly a celebration of different body types but does no more than nod to anyone above a size 12. For decades, designers have trotted models with bodies completely unattainable for most women down the runway. First it was women so thin that they surely had eating disorders. After an outcry, the industry responded by putting young teens on the runway, girls who had yet to exit puberty. More outrage.

But change is not impossible. There are aesthetically worthy retail successes in this market. When helping women who are size 14 and up, my go-to retailer is Lane Bryant. While the items aren’t fashion with a capital F, they are stylish (but please avoid the cropped pants — always a no-no for any woman). And designer Christian Siriano scored a design and public relations victory after producing a look for Leslie Jones to wear to the “Ghostbusters” red-carpet premiere. Jones, who is not a diminutive woman, had tweeted in despair that she couldn’t find anyone to dress her; Siriano stepped in with a lovely full-length red gown.

Several retailers that have stepped up their plus-size offerings have been rewarded. In one year, ModCloth doubled its plus-size lineup. To mark the anniversary, the company paid for a survey of 1,500 American women ages 18 to 44 and released its findings: Seventy-four per cent of plus-size women described shopping in stores as “frustrating”; 65 per cent said they were “excluded.” (Interestingly, 65 per cent of women of all sizes agreed that plus-size women were ignored by the fashion industry.) But the plus-size women surveyed also indicated that they wanted to shop more. More than 80 per cent said they’d spend more on clothing if they had more choices in their size and nearly 90 per cent said they would buy more if they had trendier options. According to the company, its plus-size shoppers place 20 per cent more orders than its straight-size customers.

Online start-up Eloquii, initially conceived and then killed by The Limited, was reborn in 2014. The trendy plus-size retailer, whose top seller is an over-the-knee boot with four-inch heels and extended calf sizes, grew its sales volume by more than 165 per cent in 2015.

Despite the huge financial potential of this market, many designers don’t want to address it. It’s not in their vocabulary. Today’s designers operate within paradigms that were established decades ago, including anachronistic sizing. (Consider the fashion show: It hasn’t changed in more than a century.) But this is now the shape of women in this nation, and designers need to wrap their minds around it. I profoundly believe that women of every size can look good. But they must be given choices. Separates — tops, bottoms — rather than single items like dresses or jumpsuits always work best for the purpose of fit. Larger women look great in clothes skimming the body, rather than hugging or cascading. There’s an art to doing this. Designers, make it work.Read more at:http://www.marieaustralia.com/cocktail-dresses | www.marieaustralia.com/black-formal-dresses
Evening was in the wood, louring with storm.
A time of drought had ****** the weedy pool
And baked the channels; birds had done with song.
Thirst was a dream of fountains in the moon,
Or willow-music blown across the water
Leisurely sliding on by weir and mill.

Uneasy was the man who wandered, brooding,
His face a little whiter than the dusk.
A drone of sultry wings flicker'd in his head.
The end of sunset burning thro' the boughs
Died in a smear of red; exhausted hours
Cumber'd, and ugly sorrows hemmed him in.

He thought: 'Somewhere there's thunder,' as he strove
To shake off dread; he dared not look behind him,
But stood, the sweat of horror on his face.
He blunder'd down a path, trampling on thistles,
In sudden race to leave the ghostly trees.
And: 'Soon I'll be in open fields,' he thought,
And half remembered starlight on the meadows,
Scent of mown grass and voices of tired men,
Fading along the field-paths; home and sleep
And cool-swept upland spaces, whispering leaves,
And far off the long churring night-jar's note.

But something in the wood, trying to daunt him,
Led him confused in circles through the thicket.
He was forgetting his old wretched folly,
And freedom was his need; his throat was choking.
Barbed brambles gripped and clawed him round his legs,
And he floundered over snags and hidden stumps.
Mumbling: 'I will get out! I must get out!'
Butting and thrusting up the baffling gloom,
Pausing to listen in a space 'twixt thorns,
He peers around with peering, frantic eyes.
An evil creature in the twilight looping,
Flapped blindly in his face. Beating it off,
He screeched in terror, and straightway something clambered
Heavily from an oak, and dropped, bent double,
To shamble at him zigzag, squat and *******.
Headlong he charges down the wood, and falls
With roaring brain--agony--the snap't spark--
And blots of green and purple in his eyes.
Then the slow fingers groping on his neck,
And at his heart the strangling clasp of death.
Melpomene Sep 2018
Say
He is desperate to settle down.
It's crystal a trick to lure me drown.

He thought
I was speaking with my heart all along,
But I was just singing along the song.

A little truth and lies,
A little tries and prise.
Building up a vivid paradise.

He seems patient,
Patient to get obsession.
Observation to his intention.

Kissing with passion,
Groping with no hesitation.
All nature mating season.

Scene like Adam and Eve,
Having fun in Eden with full incentive.
Both are full of deceptive.

Sharing juice of the forbidden fruit.
He drink without dispute,
Dying to see my attribute.

In his baffling blue eyes.
Reflection of a perfect goddess.
From the pools of lies,
Everything look fresh and nice.

I'm Lilith in disguise,
But he is too drunk to realise.
Drunk from his own pride and prejudice.
And there is where the pleasure dies.
It's about a male player that met a woman which is a player too...But he is too arrogant and over confident that this woman will fall for him like others women.
But what's in this woman mind is really clear for herself. She knows what this player wants and she was seeking a little fun at the moment so she just play along with his scenario.
And also it reminds me about a poem that I read before when I was in middle school "Two Pools of Lies".
J.
J.
Ah, J.
A love I hath excitedly longed to find,
A love t'at previously had no name.
J.
A love too thrilling for my sights to feel,
and perhaps th' only love t'at couldst make me thrilled;
A love so genuine and benevolent,
A love so talented and intelligent.
Ah, J.
A love t'at just recently landed on my mind;
And made all my lyrical days far more splendid;
A love t'at briefed, and altered me more and more;
A love so chilly and important, with subt'leness like never before.
Ah, J.
My very, very own J.
Perhaps my future king, my precious, but at times villainous-darling.
Oh, J.
And perhaps I am just not as virtuous as I might be,
But t'is poem shall still be about thee;
For thou art-within my minds, still awkwardly th' best one,
With a pair of oceanic eyes too dear; and a civil charm so fine.
J.
J, o my love.
If only thou knew-how oceans sparkles within thy eyes,
And 'tis only in thy eyes, t'at any of t'ese complications might not become eerie,
And then t'is destiny is true, as well as how truth is our destiny;
So t'at any precarious delicacy is still faint-perhaps, but not a lie.
Oh, J.
A bubble of excitement t'at my heart feelest;
But if consented not, shall be the wound no blood couldst heal;
Ah, J, if the heavens' rainbow wert fallen, t'an thou'd be purer;
Born as a sin as us all humans, thou art cleaner to my heart still, and canst but love me much better.
Ah, J.
If only thou knew-how madness floweth and barketh and drinketh from our spheres,
But even th' devil cannot spill its curse on our strangled love;
At least until everything is deaf-and we duly cannot hear,
As skies descend onto th' sore earth; and our dumb sins are t' be sent above.

J.
How pivotal thou art to me-if only yon foliage couldst understand;
If only t'ose winds were not rivals, but one-or at least wanted to be friends.
Ah, J, even only thy words filled my comical ******* to th' brim;
And as far as heavens' angels canst hear, I am no more in love with him.
Ah, J.
'Tis cause my verses are seeking thy name, and his not;
I may create th' words, but thou deviseth my plots;
Ah, and him, the bulk of egotism, and whose frank misery;
Are but too disastrous to me, and in possession of too much agony.
Oh, J.
Thus thou art th' only one who remaineth solemn;
Th' one to remain ecstatic, and as less aggressive as calmness;
But of the broad thoughts I used to think of him, I feel shame;
He is just some unborn trepidation at night-though on fine mornings, he is tame.
Ah, J.
Let me disclose th' egress of thy journey, and tellest me now-is which towards mine?
Ah, thee, thou who art so bounty, and deliciously fine;
And t'ese thoughts of thee-are often tasty, and oft'times generous;
'Ven when thou'rt mad, and thy chanting is vigorously serious.
Ah, J.
Thee, a soul of painless blood;
Whose disgrace hath been buried;
Whose vanities hath been laid off;
Whose miracles hath been lavished on.
Ah, J.
Thou art one bright portrayal of my merit;
I fell'n love with thee in a single bit.
Thou bore my tears, and scorned away my guilt;
And in th' swaying summertime, thou wert my protective shield.
Thus my, my very own J.
My gale-like, and unutterably luscious poem;
About whom my thoughts are jolly, but mindful and insensible;
Ah, J, I wish I were more frail, paler, and gullible;
Ah, but if only being so couldst make me more compatible.
Oh, J.
And compatible, compatible with thee alone;
Fleshly be thine whenst all is borne on thy own;
Be thy only trusted companion, and thy eloquently verified wife;
Be thine, and thine in wifery only, throughout and for th' rest of thy life.
J.
All Let me then guess but the tranquility of thy thoughts-hath thou gone mad?
Behind us are rainbows, and thus thy songs should not be sad;
But even though they were sad, I wouldst lend thee my heart;
So t'at no summer sunshine couldst further tear us apart.
J.
Ah, J, why are th' blue skies far too impatient in thy eyes?
Just as how thy deep scent is febrile in my air;
Thy gushes of breath are thick in my young weather;
As buoyant as yon summer itself; as voluptuous as lingering daisies.
J.
And t'is ****** scream, within my heart, needs indeed-t' be fulfilled;
And its vulnerability t'ere always, to be killed;
Ah, J, t'ere is 'finitely no poem as beautiful as thee;
T'ere is no writing yet as such, as trivial and distant-as my eyes canst see.
J.
Ah, J, darling, and my very fine darling; is chastity to thee virtuous?
About which my soul is hungered-and t'ereby curious;
But if 'tis so, I shall be merry-and ever meekly laborious;
I shall make it tender, and maketh it a reliant gift, to thee.
J.
Ah, J, and thou came to me one aft'rnoon, with a sweet muteness;
For to thee, poems are far more pivotal to a young poetess;
Yes, and far prettier t'an a beastly bunch of words;
Whose curse is whose sweetness itself-and whose whole sweetness is curse.
J.
Ah, J, so shall I be thy pure lady t'en?
For purity is a curse-and related not within t'ese walls;
Walls of discomfort-irresolute and at certain times foreign still;
Walls t'at shun us-and be ours not, due to t'eir own reserved castigations.
J.
Oh, querida, my random rainbow-but still my dearest querida;
My poetry in th' morning, and th' baffling flute, for my evening sonata;
And as it is sounded, I shall be thy private lonely prelude;
But th' one who maketh thee singular, and nevertheless, handsomely proud.
Ah, J.
And thy perfect red lips are th' stillettos of the sun;
Critical but radiant-all too agonising in t'eir inevitable shape;
So t'at kissing might be just too much fun;
And from which, o my love, t'ere is no such a famous escape.

J.
Ah, J, thou knoweth not-I am asleep only within thy remembrance;
As how I am awake only in thy life, and partake of my justice, in thy glory.
Ah, J, but if satire were the only choice we had, shalt thou be with me?
Ah, my J, for be it so-I shall never regret anything, I shall never say sorry.

J.
Ah, wherefore art thou now, my love? I am now cursed. My dreams are mad.
I am now crawling out of whose realms; I wanteth but'a stay no more in my bed.
Ah, J, but in my dream thou wert too miles and miles away, and indolently anonymous;
I hatest sleep t'ereof, for t'ey piercest me so tiringly, with a harm they deemest as humorous.

J.
Ah, sweet darling, and in our dreams, t'ere is no strain, nor piety;
Even thou-in th' last one, despised my pyramids-and my chaste poetry;
Ah, querida, I am but afraid our loneliness shall be gone 'fore long;
For its temporariness is not sick, and canst work its way along, with a belief so strong.

J.
Ah, love, but t'is loveliness itself-is indeed tyrannous,
And its frigid poetry is randomly perilous,
As how th' daydreams it bringeth forth-which are luminous,
But as love is innocent, by one second canst all turn perilous!
J.
Ah, J, thus our story is brilliant, and in any volume real' magnificent,
With curves palatable, but with some greyness too fair-and too pleasant!
Ah, J, if passion dost exist, and thus maketh it all real;
And at once I shall understand thee; and listen only, to how we both feelest.

Ah, J.
My very, very own little J.
My dearest J.
The harbour of my ultimate love.
My most cordial, and serene spring of affection.
My most veritable nirvana, my vivid curiosity-and shades of frankness.
My dream at heart, and my sustainable ferocious haste.
Th' love in which my ever fear shall subside,
And be overwhelmed by its unfearing light.
J.
Oh, J, my glossy, exuberant darling.
And as more winds sway, and amongst the green grass outside,
I canst but feel thy eyes here watching;
Thy eyes t'at widely grinneth, and flirtest with my poetry itself;
Thy eyes t'at forever invitest, yet are all more daring than myself;
Ah, J, even though t'is love may be a secret scene,
But I hath felt, even vulnerably, not any provoking passion so keen-
For though they couldst my flowed veins hear,
They were still delicately unseen-with a serenity t'at was ne'er here.
Ashmita Agrahari Apr 2013
I may not know the future
but hope not its a bizarre
I may have rescued myself
But things still are baffle
M lost in words of dilemma
Maybe true story
M done being glorious
No more analogous
Too much to peek in my shadow
And peer through my skin
But now the time has come
To be sage
And not think under others wage
To be ingenuous with myself
To seize the yen
And go for zenith
But in my comfort
Not in others thought!
Just want to be ME FOR MYSELF!
K Balachandran Jul 2015
On a crazy high, I share whole of  myself with you, gladly
your melting heart I took over fully, do you feel it as a loss?
when love makes us so insane,  we go berserk like wild fire,
avaricious kids, now we are,  usurping each other in parts,
where will it all lead, my love, baffling it is, but elating all the same
would we be just the same ,or less; perhaps more than what before?
We’ve been herded by hook and crook,
To obey convention, and read textbook.
The uniformity is maddening,
And the subjects are baffling.

The whole wide world is grand and open;
Why cordon the mind off in a tiny token?
Rules were meant to be broken,
To usher change and issue motion.

Creativity, art, they build up cultures,
Not to be picked at by robotic vultures.
They always nitpick and they scavenge,
Intent on making things a challenge.

Passion is the cornerstone of all,
It survives when things are squall.
It’s the sun that rises within you,
Makes you things you never knew.

Question everything, for your good;
You’ll find more than you ever could.
Explore everything, be curious;
For the world out there is glorious.

Challenge everything, be skeptical;
Your brain is knowledge’s receptacle.
Think outside, and break the rules;
Don’t blindly follow, like the fools.
Third Eye Candy Sep 2011
the grass, leaning in the south wind , seeming
              as if emeralds,   had sent tendrils up
              to suckle at the yellow breast, now,   high above     inflamed....
              over soft new
              grass  
            
              like
              strands of green gemstone,
              as delicate as humming-bird tongues
              teasing nectar
              from a titan,
              in the sky
                        
              triumphant in the void,

              a golden bead in the baffling blue !

              cattails, curling in sway...and two brown eyes bob upon the surface
                          of a myriad fertilities.
              as if
                        nature itself had known, one day
                       a poet would come ~
              to roam the rambling renascence of these remote ramparts
                     in awesome humility ~ and so prepared
              a path afflux
                that ambled near

              and yes !

              an
                        anonymous nomad
              with nicotine skin and a scabbard of scandalous quills
              would indeed
              stumble in      as if returning home
              to a mansion restored to glory
              and seraphic randomness....
              a place
              that in youth, sustained a quiet, soulful troubadour
              by gospels of granite and grain,  grass finch
              and faun - ennobling an oracle ... but now
              enticed a scholar  from his cot
              to jot ephemera
              of outlasting spark
              before darkfall

        
              and so... there

              amid all allurement   and soft machines

              a word-smith gathered
              poesy and prose.
            
              muse-driven
              this one served
              an invisible
              sovereign
            
              one  

              of unsurpassed virility
              who charms       kaleidoscopes
              with  offhand sketches    
              rescued
              from
              a landfill
            
              a basket weaver,  
              that unravels to
              achieve pure
              forms
            
              a wineskin was decanted in dianthus and hollies -
              as ampules of anagrams
              were sold unscrambled, to dyslexics
              without hope
            
              a falcon   frolicked above the lowborn lilies...  
            
              with eyes  
              too keen
              to see a
              blur
              as the hand
              of god
            
              or a vole
            
              as a lifeline
              on his
              palm.
Cedric McClester Apr 2015
By: Cedric McClester

She’s a Republican
In Democratic clothes
Which means - she’s beyond contempt
Someone to be loathed
An anomaly?
Well if you’re askin me
She’s what every one of ‘em
Pretends to be
A centrist
Who might go either way
On any issue
On any given day
She likes to calls it
A winning strategy
But it’s still selling out
As far as I can see

She’s a Republican
In Democratic clothes
But with the right pedigree
As everybody knows
She’s very bright
That’s obvious - it shows
Though you’ll find her
Wherever the wind blows
I often wonder
Who she really is
Behind the mask
I’m talkin ‘bout square biz
It’s hard to tell
With the naked eye
How she really feels
Though some of us do try

She’s a Republican
In Democratic clothes
Her popularity
Is always in the throes
We love her one-minute
Then hate her the next
She brings out feelings
That are that complex
She’s very hard
For us to get to know
How much is real
And how much is for show
That’s the question
On many people’s minds
What’s goin on
Behind those closed blinds

She’s a Republican
In Democratic clothes
Who’ll run for president
One day I suppose
She’s very suited
For the life she chose
A prodigy
Who won't be unopposed
There’s so much baggage
In her sordid past
The kind of thing
That usually tends to last
She’ll ascend
But then she’ll drop so fast
Say what you will
The dye’s already cast

She’s a Republican
In Democratic clothes
Who has a war chest
That grows and grows and grows
She’s courted equally
By the rich and poor
With the kind of access
That many would die for
But still she’s baffling
To say the very least
It’s hard to tell
The nature of the beast
And to add insult
Along with injury
Is we don’t know
How she's gonna be

She’s a Republican
In Democratic clothes
Who lost my vote
But that’s just how it goes
When one has trouble
Being who they are
It doesn’t matter
That they’re a rising star
I can’t support her
Under any circumstance
It would be foolish
To even take that chance
Though I do like her
I have to admit
I’ll vote against her
Or maybe I’ll just sit

© Copyright 2015, Cedric McClester - all rights reserved.
Arthur Habsburg Apr 2019
I woke up *****
And went to the shop,
I got corn, peas, chopped gherkins,
All canned,
I raided the reduced section like mad,
Got some cheese
And some ham
That I won't allow to go bad,
cause I'll make a ton of salad
Out of this myriad,
For breakfast, munch and evening feast,
It'll last a fortnight at the very least,
I can top it up with this
Foul smelling liquor I brought from the east,
Among the other mementos in my cellarette,
I could have a party in my ******
In my kitchenette,
My flat is so hot I could sign post it
'sauna to let',
But the swingers here don't speak a word of
English,
One time they took their ya-yas out
And called ME a delinquent,
As if I've got a funny kind of pigment
They can't live with,
I've tried to put my finger on it
But I don't want it to get stinky,
I think they simply haven't got an inkling
As to what and why they're thinking,
But never mind those pinkies,
Let us go back to my shopping
Just as it was getting *****:
Before my skimpy trolley glided to the checkout,
I got a ticket for my pfand,
Which measured fairly to my pleasure
Of having my alcoholism,
Which is confess is merely leisured,
Redeemed into a form of solid ******* treasure.
Throughout the years my drinking
Let me celebrate the fear
Of lack of meaning,
It made friends out of strangers,
Lovers out of friends,
Ex lovers out of lovers,
Clowns out of boring people,
It made a clown out of me too,
My drinking took my money
And gave me a suspicious act
To cling to,
It made me a legless athlete
In a race against the future,
It excited me with waterfalls of chaos
Bursting through cracked normality,
It pretended to bring Arcadia
Into the ruling technology,
It invaded Scandinavia  
With lawless Somalia,
It put peaks and crannies
Into the dull landscape of
Nord Rhein Westphalia,
I have a whole worthless encyclopaedia
Of what my drinking did to me,
Page after page of random numbers
Makes for a baffling read,
I don't know if I should frame it,
Burn it,
Or get some ****,
My drinking always gave me an excuse to smoke,
I puffed my hours into nothingness,
Laughter & loneliness,
A condition of no ambition
Made life itself seem like a superstition,
But I don't want the repetition anymore,
Boredom is but a bed sheet of a sore old *****,
A stifling breath of a handicapped mind;
But
Being now so temporarily poor
I find it easy to smile
As the cashier counts my pennies
Making the citizens in line
In their Jack Wolfskins and denims
Very uneasy,
Men & women of the Rhein get seriously queasy
When they see a foreigner like me
Simply taking it easy,
You know I had to break my piggybank just to get here,
I crossed a red light when it was all clear,
I have no bike lights - I just disappear,
Who knows what is it that I do inside the night?..
Could be something good,
Might be something bright..
Anyway,
I got my receipt,
Said my 'schön Tag' alright,
I should have said 'schön Abend'
But I guess I'm not polite,
Then I rode in the street,
My bags dangling left & right,
Balancing my act
Under the waning Eurodollar moon,
Some react badly
when they're given **** to spoon,
But my lack of money
In fact makes me feel immune
To superficial cravings like
iPhones, clothes, perfume,
shavings, shoes, tattoos;
I'd rather spend a fortnight
In the arms of David Hume,
Than stopping by at Rügen
On my way to Cameroon,
On a beastly ocean liner,
With pommes and Pauliner
Supplied ad infinitum!
I don't know my own mind,
I's time to take a trip down the ol' cerebrum,
While tickets are at a minimum
And the season is at a premium,
I'll tame my tantrums without ******,
I'll let my maelstroms guide me to a podium
Of perfect equilibrium,
I'll get a glimpse of wisdom
By watching my own delirium,
I'm serious about this.
I don't reminisce about the years
I dismissed by watching television series,
Dumbing down with the Big Bang Theory.
I feel so blessed to be weary
And out of breath
From the long hand of entertainment
That wants to tickle everyone to death,
It's an epidemic worse than crystal ****,
But it's not hard to shake the fever.
Only a ****** was born to be a ******,
Man was cursed to be a dubious believer.
So kiss my feet
Or chop me with a cleaver,
Nothing will stop me from becoming an achiever,
Nothing but the habit pattern of my own demeanour.
Nat Lipstadt Apr 2019
every poem is a test of character,
holy/profane all the same,
algorithm entirely humanized-you,
the elected words cannot be voted out of office,
by a recall petition, regardless of
constant corrected incorrectness.

sorted by size,
nocturnal alliteration,
do they sound in the dark
like your bleeding or you’re breathing?

holy/profane all the same,
Gertrude truth is a truth is truths,
you think my name matters?
Artificial Idiocy. Everyone poem faceted,
a chip off the the naming blockchain idiot.

when I imagine-lie,
it is a truth in and of its own
holy/profane.

call me baffled.
that is a god enough
one word summary.
and so true.

baffling perplexing cryptic and opaque.
in all honesty.
if you’re reading this, you are
testing my character.

what have you found, or even, lost?


in the midst of the characters is
character
10/26/@m/2019/16/april

inspired by Leonard Cohen
PNasarudheen Dec 2011
WHAT is a Hindu, a Moslem or a Christian?
    Whence he comes and where he goes?
  
     Ocean is a solution, salty, but-
     Corers of Suns gleam on the crest of waves-
     One, only One at the helm in the blue.
    
     Pools and streams and lakes and bays
     Wells and springs and rain and ice
     We see nothing but a drop, in them drops
     Nay, vapor condensed: Nay, H2O-right?
     Think a little straight, sit up aright
      Am I not right? -break, break that H2O
     Baffling bright white-light you can see.
    Of heat and Energy, Oh! 'Sivam'!
    You may call it 'Noor' in Arabic
    'Siv' in Sanskrit-what then-
    Releases combustion in cells?
   Nothing but very heat and Energy.
   Uranium and Thorium release the same.
   We find Energy unborn eternal
    Omnipresent, Omnipotent
   Omniscient, and Formless.
   The Almighty is Brahma,
   Paramatma and Allah.
   Jehovah may be for some,
   For some Agni, may be that-
   Radiant and resplendent Yogic Light.
   Cant you see Ocean in rain drop
   Cosmic power in a cell or shell?
   Cell or Shell-what is in a name?
   Is chariot, coat or prison of the soul.
   When walls get weak the soul will part
   Out through the vent as air off the balloon.
   Reading Holy Scriptures, not knowing the sense-
  What use? -observe the Nature and think
  Knowledge is a chain of fact as pearls
  Stringed by Reason and Faith with a Coir of the Truth.
  Tension brews as experiences tightly
   Loaded on the string, still stronger by Faith.
  Knowledge is light to enlighten the folk
  Not to ****, but for, co-existence in Peace.
                 =================
Siv(sanskrit)=light=Noor(Arabic)
Claire Waters Sep 2012
the first step to letting go is learning to exist. i admittedly, still have not completely let go. no one ever said you had to demonstrate your knowledge, although i'm working at it. when you were there, roadmaps became love letters, the songs you wrote were preludes, flight schedules became the dreams i never spoke about, no one i was close to knew you. as far as they all know, you were a figment of my imagination, and the act of knowing you itself became a test in what i could hold onto by the skins of my soft teeth even once you'd disappeared, once your friends all buried you, and you stopped writing love songs. special occasions no longer sound like your voice. the test was, could i exist without you?

i have written this a thousand times in my head. erased and arranged memories so as not to spoil us. tried to press you into the backs of my eyes like the flowers in the pages of her notebook. and a few weeks back, i stood at the very top of a rope swing, and when i jumped, i stared straight into the churning water all the way down, because all i wanted was to look at you. but this is not a story of getting the things we want so easily. this is not a story of holding your hand, or sleeping in and having late breakfast. this is the paradox of something so strong, that could be so fragile. something that is so raw the universe could only erode it. that love could exist, and disappear so quickly, and i still want to know why no one ever taught you to swim when you were young.

i am on the train. i see a picture of you. "rest in peace" it said. at first i didn't understand. i had talked to you just yesterday. then i do. the sickening sound of your voicemail on repeat. the way you used to call every night, and tonight at seven there is just a silent cell phone sitting in my lap. i think about your baby pictures. the mother and sister you sometimes talk about. the guitars collecting light layers of dust in your empty new apartment. i wonder how they got your kayak back to shore, when you didn't come up for air, and the swing became still over the foaming water. that kayak was as empty as i am. without you, that is very.

they make plans for your funeral, everything is beautiful. everything is in order for you. i get off the train at the wrong stop and run all the way to ami's house, trying to breathe. i am painfully aware of what drowning feels like. i am as transient as us; my existence is a freak accident, circumstantial evidence with a shaky conclusion, two people who can never explain the nature of their affiliation. kierkegaard believed in taking an ethically existing approach, over a cognitive subject. that all single entities can be reduced to singular universal rules. he believed that even when we didn't do it purposefully, cognitive thought forced us into patterns of universal rules. existence is a song we play on repeat, a feeling on loop in our stomachs because a couple of words sucker punched you in the head and you still don't know why. why, is the answer and the downfall. i think what kierkegaard meant is, some things are simply unexplainable, and some things explain themselves, and our very beings switch between these two rules, baffling us, because we are creatures of ethical existence and cognitive thought; we base our actions on human-established concepts of right and wrong, refer to ourselves as "I", live in the present, and yet we also have the capacity to shape ourselves in the future tense. our ability to understand lies in whether we choose to resist or flow with universal patterns as we become part of them in our ethical existence. learning to exist is nothing more than playing chess with a higher power and allowing it to take your king when you're backed into a corner, even if the queen has to play the rest of the game alone. The game has been flipped. Learn to play even when your world turns inside out. you know the queen is your ace, your you, and she has amazing potential. you were not just some figment of my imagination that convinced me to sleep at night. i am so sure of that now.
Cece Dec 2011
You are the one I wish I could love.
Flirtatious smiles, and laughs
Can never be anything above
the bond of friendship we have.

Others would disapprove in an instant.
Not only that,
But you always seem so distant.
Your feelings change at the drop of a hat.

Glances are caught,
this is anything but new.
Similar feelings? is what I thought.
But it's hard to tell with you.

One minute we're sitting, and laughing.
The next, we do anything to ignore the other.
This whole thing to me is baffling.
You will forever be, my almost lover.
Alan McClure Jan 2012
The trip would be flawless -
water splashing, echoed shrieks in chlorinated sunlight -
except for these baffling creatures
patrolling the pool

Up and down they go,
up and down,
staring daggers straight ahead
and daring you to get in their way

Rubber hats and plastic eyes,
folded skin, wrinkled
like deflated dinghies
doggedly paddling
their pointless journeys.

A bit like clockwork bath toys,
but not as entertaining.

The safety notices are wasted on them.
No petting?
I should ****** well think not.
Bombing?  Ducking?  Anything fun at all?
Up, down,
up
and down.
Relentless as the baddies
in a ZX Spectrum game,
stuck in their lanes,
joyless.

They were there when I was six
and they're still there, you know,
a few more wrinkles now,
up
(and down),
spilling out their black slick second skins.
Whatever it was they were looking for,
the search
isn't improving their moods.
JP Goss Jan 2014
A sickness, the fear
And trembling on my lips
A bearing now oh, so baffling
All these maladies seem to be wearing
Still I hear,
To abate my scaring
Wind chimes chiming
And children laughing.
Awesome Annie Jul 2014
A fortune cookie once told me, I must choose my way. It never did occur before, that it had nothing else to say.

The echoing of a voice I once knew, it bounces off my mind. Leaving me exposed and vulnerable, there's no comfort I can find.

Dip into divinity, just to find your godly right. Baffling how concepts blurred, when we all know wrong from right.

Judgment calls and everyone stares, as I kneel but never cry. Angels falter on broken wings, before they fall to earth and die.
Loki Sep 2018
Falling for a writer is a venture
Whose destination is so indeterminate , as to travel the infinity and beyond to only realise you haven't moved an inch , also to have been still and been carried to around to eternity !
As baffling my words sounds so is the very thought of falling for a writer!

They could read in between the lines yet sometimes fail to see the perceptable words in those lines,

The little things they notice are like the million piece puzzle of the alluring picture they paint!
Only to discern how much it would break them to realize a piece is missing from picture!

We don't fall for them we live through them
Most of us as a chapter in their book
Only a few to have been the witness to their exhibit!!

Don't fall for a writer as it's a venture to the unknown
Careena May 2014
Delusion
Confusion
Deception
Refusion
Hopeless
Intrusion
I am
So
**Lost
Harsh Sandhu Oct 2014
Being sums baffling
And nothing to do
It seems only that
The bird willing to fly without wing!

Later some time one thing is cent
Try, try and try again only do
Nothing better offing , pages are closing
And for all sadness and yawning is prevalent!!

If anyone of them is audacious
Leaving the condition as it is
He does somethinthing which gives pleasure
Not to be killer of time he thinks time is precious!!!
In the exam room when i fully tried but i found myself unable to solve problems i raher preffered to sketch the drawing of beautiful lady teacher which was on duty in that exam room in the back side of exam sheet , when she came to me to collect the sheet she saw that sketch and she smiled with bright eyes which gave me enough impulsion to write these lines
614

In falling Timbers buried—
There breathed a Man—
Outside—the spades—were plying—
The Lungs—within—

Could He—know—they sought Him—
Could They—know—He breathed—
Horrid Sand Partition—
Neither—could be heard—

Never slacked the Diggers—
But when Spades had done—
Oh, Reward of Anguish,
It was dying—Then—

Many Things—are fruitless—
’Tis a Baffling Earth—
But there is no Gratitude
Like the Grace—of Death—
vircapio gale Sep 2013
1)
this part sparkles -- like your smile
which sparks a grin in me
to heat the heart and ribbed
adore
the laughter waiting in the covers
from our wink and whisper
beds of personalities
spring and comfort, stain and dust
but love, sweet love to swoon away
and lust the anchorage of speaking
as we do each tone and syllable
a light, touch, tinge to waken flames
and dancing light
familiar of my origins
a conjured shape in what you single out
each focus frame of sentence what
to what we ought to do
what sunday shall we both approve?
in sync we dialogue
in mood of dire wrack of blah
in boon of happy overflow
our musing 'tra la la'
ideas, toys to turn and pirouette
or taunt the sun to match our beaming fun

2)
this part sparkles too,
but gives itself to me
so i might quench the burning
brightly lighting sultry flesh
i gaze, and overyearn
to tumble in the sheets
that billow layers--layer-winds of time
you tug and pull i toss and tear away
to open bare the inward soft
that peach-like drips from chin
in breathless constantly
voracious tonguing whim
an asterisk for starburst flick delight
salts deeply into savor sweet
the ****-surge powers me in your embrace
to deep, deep clenching ahh
our skin undone as with a solar flare
across the earth a flood of radiating us
lips and bones
coalescent sense
no match for 'bliss'
or moan moan moan
unending veins traverse to toetip axon
ancient crown of hugs from two to one

3)
this part Is the whole
unknown we meet again
again, again from words
to trusting vasts  poetic patience
chance to sound the voice of
yearning manifest from tips to core
and back again we plan on more
in hoping wonder possibles revised
the real of you too natural
to rebuke the care beyond
the searching for
to inhale sight of being there
to step from cab
and offer kindness
mystery of universe
transmuted into meeting once,
twice, every moment new
you bring an often baffling array
of sublime other than i knew
you reinvent me too

— The End —