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Love begets love...hate begets hate....tolerance begets tolerance.....disdain begets....disdain...respect begets respect..........it all depends on how you see things and what you put out comes back to you....every time....

Love brings love

Love begets love...hate begets hate....tolerance begets tolerance.....disdain begets....disdain...respect begets respect..........it all depends on how you see things and what you put out comes back to you....every time....

Tolerance brings tolerance

Love begets love...hate begets hate....tolerance begets tolerance.....disdain begets....disdain...respect begets respect..........it all depends on how you see things and what you put out comes back to you....every time....

Respect brings respect

Love begets love...hate begets hate....tolerance begets tolerance.....disdain begets....disdain...respect begets respect..........it all depends on how you see things and what you put out comes back to you....every time....

Gratitude brings gratitude

Love begets love...hate begets hate....tolerance begets tolerance.....disdain begets....disdain...respect begets respect..........it all depends on how you see things and what you put out comes back to you....every time....

Peace and harmony bring peace and harmony

Love begets love...hate begets hate....tolerance begets tolerance.....disdain begets....disdain...respect begets respect..........it all depends on how you see things and what you put out comes back to you....every time....

The universe is a mirror
Reflect what you want to receive

Believe and light up the world with peace and harmony
betterdays Mar 2015
love, begets love
in bundles big or small
love, begets love

joy, begets joy
bright dropping jewels
joy, begets joy

hope begets hope
ephemeral, shining light
hope, begets hope.

life, begets life
all encompassing life.
life, begets life

and so the cycle goes....
Jack Turner Nov 2010
Forgive and forgo, but never forget
Because in due time, like begets like.
Chaos begets chaos, and
Sorrow begets sorrow,
Hate begets hate, and
Boredom begets boredom, but
most of all - and most poignantly -
Love begets Love.

So in spirit of that credo,
I forgive you. I forgive you
For all you've done.
There's nothing to be done for it.
It's as the law states, and
So in your life will spawn more
Chaos breeding chaos, and
Sorrow breeding sorrow, and
Hate breeding hate, but
Since, through it all,
I still can forgive, but,
More importantly, Love you,
Love will breed and bring more Love to me.

And for that, I am content to know
That I can forgive you,
Because you've been through the Hell of your own Creation enough,
Without help from me.
IncadesentCat May 2015
As day begets day begets day
The hornier I get, the less I can wait.
Rules beget subversion.
Laws beget crime.


A begets Z.
1 begot ∞.

----- begets -----.
--- begot ---.

You fill in the blanks.
Please; i'm curious!
it was warm
for a winters eve
unusually warm
but damp very damp
birthing a persistent
midnight mist that
crawled over everything

avenging
halogen angels
flitted down from
streetlight perches
skidding through
bare limb bars
of broken trees
roped in by sagging
telephone wires

skulking
seraphs
joined
ebullient
neon auroras
laughingly
brake dancing,
jittering away on the
pock marked rims
of hip hop streets

the fine drizzle
descending from the
black urban heavens
splayed holy water
over the bodies
of anything
that moved; and
layered mounds
of transparent beads
on all inert things
chiding those yolked
to weighty burdens
to seek relief of
a much needed
breaking point

our
slouching city
mired in a cycle
of a prolonged
historical rut
beavers away
to lift the lid
on tomorrows
tipping point
in a desperate
labor to stop
tripping over
itself...

a dinged up
Sentra’s
flashing spinners
twisted round
our dark corner
nearly clipping
our troop

inside the
yakking low-riders
scuttled along,
their hidden ***** eyes
cruising the stoops
and cyclone alleys
scoping opportunities
for the next
jolly hustle
to feed
a growing
angry fix

tonight
Mother Nature was
running a *****
to the wall third shift,
manufacturing a
stationary low
of gagging precip
churning volumes
of Vulcan smoke
conjuring
convective spirits
from all the
dim places

emanations lit
the balmy January air
rising from
stubborn gray patches
of despoiled snow
and rancid ponds
organic gutter water
composting
in distilled pools
awaiting leakage
through flotsam
clogged sewage grids

Paterson’s
litter police
could close the
city’s budget deficit
if all infractions
were properly cited
and paid in this
neighborhood

this queer elixir of
rising vapors from
evaporating snow
escaping the cracks
lining the bowels of
mordant streets
joining descending
screens of billowing mists
blurs boundaries of light,
diffusing temporal time

people and things
lose precise definition
reducing sentient beings
to moving silhouettes of gray
photographic negatives
framed in dribbling palettes
of pastel hues

our
5th Ward mission
planted in the
hub of a neighborhood
still holding on...

Old WASP’s
of St. Paul’s
long ago
winged away
from this
princely
Episcopate
principality

the abandoned
conical nest, its
chambers filled with
the mud of 50 dead rectors
precariously clings
to its shivering
boulevard corner

its endowment depleted
its earthly treasure rusting
grandiose Tiffany windows
remain the last legacy of an
opulent faith now
shamefully rattling away
in moth eaten frames

once icons of
adulatory reverence
the final sparkling asset
of a distressed religion
begs to be monetized
by flummoxed vestrymen
yearning to extend
a stewardship
over a dissipating
ESL flock

distress in the hood
parades down Broadway
in all directions

a few blocks east
a shuttered
Barnert Hospital
transfigured into an
urban enterprise zone
for health-care privateers
working overtime to
extract federal
corporate welfare
rent subsidies
dutifully fulfilling
fine print obligations of
Obamacare legislation

Old Mayor Barnert’s
namesake synagogue
once hard by
City Hall
is long gone
its absent footprint
now centered by
a thriving
White Castle

near Broadway’s end
on the outskirts
of Eastside Park
Art Deco Emanuel Temple
the last anchor
for the city’s Judaism
lies vacant
awaiting a renewed
purpose

fraught with irony
a thriving Islamic Center
stands juxtaposed
across the street
from the old
Hebrew Temple

we wonder what
will emerge
from the
hallowed chrysalis
of decommissioned
Emanuel?

rumors of a
Great Falls Art Center
trickle like a leaking faucet
failure to secure a mortgage
in the post credit
bubble pop economy
dams the possibly
of a new centers
coming to fruition

will
the city’s
changing
demography of
reverent Muslim’s
genuflecting
across the street
take time away
from prayer to
patronize a venue
offering decadent
bourgeois jazz and
risqué reviews
of retro Borscht Belt
vaudeville?

when Constantinople
became Istanbul they
converted the Christian
churches into mosques

when the Inquisitioners
drove the Moors from
Granada they converted
the Grand Mosque to
the Cathedral of the
Incarnation

what incarnations
will this city’s
twilight bring?

As Byzantine
begets
Constantinople
begets
Istanbul
the links
in the Silk Road
spanned west
to the new world
of mechanized looms
powered by
Great Falls
raceway water
and a distribution
and procurement
chain anchored
by the Morris Canal

Capitalist
modernity
begets
our Silk City
it also bespeaks
its demise

in the courtyard
of St. Paul’s
a muffled chorus
trawls the thick air

a posse of pimps
done wrangling
their stables
of $5 ******
sing reveries to
the evening haul

midnight lullabies
of corner crooners
lift a Capella hosannas
from the dark armpit
of an alley behind
the Autozone

“i said
you say
what can make
me feel this way
my girl”

juiced pimps
cashin in
livin large on
a skanks
50 cent haul

the trade in flesh
of distressed
human capital
remains a
growth industry

Music Selection:  
Temptations, My Girl

jbm
3/1/13
Oakland
Part 1 of extended poem Silk City PIT.  PIT is an acronym for Point In Time.  PIT is an annual census American cities conduct to count the homeless population.  Paterson NJ is nick named The Silk City.
Cvash May 2018
I used to hate your healthy avocados...until I had one
Not that your coffee tasted superior to my tea
But what's taste when you season mine with gun powder?
Yes, In case you did not detect
There is a lot of hate in this one
Call me aggressive and spiteful
Whilst holding your rifle
They say hate begets hate begets hate begets hate
So for you to understand
I put aside my ignorance and try to walk in your shoes

OK, let's start:

A lot of trees
Beautiful sky, delightful breeze
A rich land where tenants are a many and they shun the proprietor
I know I promised to be nice
But let's face it for that white picket fence, someone had to pay the price.

Start again:

Sunny coasts
Bacon, eggs on toast
Walk the dog in the park, life is not all that hectic here.
To make it clear, running out of coffee is my basic fear.

Flat stomachs
In fact, six packs!
Cupboard full of knick-knacks
and plenty of time to kick back and relax
Never-ending supply of niceties

Calm waters
Long walks along the harbor
and perhaps a tall pint of lager at the pub

Throw some juicy ones on the barbie mate!
Who cares if 6.2 mil in Somalia are starving mate?
You say to me:
"survival of the fittest, Darwin mate"
"It's so difficult to fit in" I say; so tiring MATE
Did I say that right?
I'm Mohammad, as James in a play called "Aussie Catch Up"
and I don't know how to play that part

What else can I say? they gave me a voice (although in English)
between the self deprecating migrant and the middle eastern rag head, the gave me a choice

And by the way my boss tried to anglicize my name
Said Sebastian had a nice ‘ring’ to it
Well go ahead, march to your colonial tune and have me sing to it

Oh healthy avocados, you're too ripe for my liking
Maybe I'm just used to a bit of rawness in my diet
To be honest
I have a heavy heart, a dark one
Maybe to reconcile, you should take a step
a very very very very very very long one
Curing Feb 2015
I look out from this little world
with all it's dancers dancing

Mighty trees tickle the sky
The birds in them romancing

If we but stop and listen
we'll hear the music playing

Stop a while and close your eyes
exhale the troubles weighing

Down around your shoulders
Thoughts that cloud your heart

We're only here but for a while
Before we drift apart

Like clouds across the silver moon
we're here and gone far too soon

Then pass into the inky night
Still around, yet out of sight

Some of our clouds stretch for miles
Others stacked in fragile piles

Some full and dark and hanging low
Filled with tears they can't let go

Some so wispy and so light
Their presence a mere oversight

Some whose wrath begets a name
Who form a mighty hurricane

Some who rumble in the night
Hurling lightening left and right

Some dark and brooding, filled with snow
Dumping ice on all below

Some that twist right to the ground
Violently they spin around

Some collide, some drift away
Some prefer night, some prefer day

So let us stop and gaze up high
To find ourselves within the sky
Just looking out the window, yearning to be free
Nigel Morgan Nov 2012
She said, ‘You are funny, the way you set yourself up the moment we arrive. You look into every room to see if it’s suitable as a place to work. Is there a table? Where are the plugs? Is there a good chair at the right height? If there isn’t, are there cushions to make it so? You are funny.’
 
He countered this, but his excuse didn’t sound very convincing. He knew exactly what she meant, but it hurt him a little that she should think it ‘funny’. There’s nothing funny about trying to compose music, he thought. It’s not ‘radio in the head’ you know – this was a favourite expression he’d once heard an American composer use. You don’t just turn a switch and the music’s playing, waiting for you to write it down. You have to find it – though he believed it was usually there, somewhere, waiting to be found. But it’s elusive. You have to work hard to detect what might be there, there in the silence of your imagination.
 
Later over their first meal in this large cottage she said, ‘How do you stop hearing all those settings of the Mass that you must have heard or sung since childhood?’ She’d been rehearsing Verdi’s Requiem recently and was full of snippets of this stirring piece. He was a) writing a Mass to celebrate a cathedral’s reordering after a year as a building site, and b) he’d been a boy chorister and the form and order of the Mass was deeply engrained in his aural memory. He only had to hear the plainsong introduction Gloria in Excelsis Deo to be back in the Queen’s chapel singing Palestrina, or Byrd or Poulenc.
 
His ‘found’ corner was in the living room. The table wasn’t a table but a long cabinet she’d kindly covered with a tablecloth. You couldn’t get your feet under the thing, but with his little portable drawing board there was space to sit properly because the board jutted out beyond the cabinet’s top. It was the right length and its depth was OK, enough space for the board and, next to it, his laptop computer. On the floor beside his chair he placed a few of his reference scores and a box of necessary ‘bits’.
 
The room had two large sofas, an equally large television, some unexplainable and instantly dismissible items of decoration, a standard lamp, and a wood burning stove. The stove was wonderful, and on their second evening in the cottage, when clear skies and a stiff breeze promised a cold night, she’d lit it and, as the evening progressed, they basked in its warmth, she filling envelopes with her cards, he struggling with sleep over a book.
 
Despite and because this was a new, though temporary, location he had got up at 5.0am. This is a usual time for composers who need their daily fix of absolute quiet. And here, in this cottage set amidst autumn fields, within sight of a river estuary, under vast, panoramic uninterrupted skies, there was the distinct possibility of silence – all day. The double-glazing made doubly sure of that.
 
He had sat with a mug of tea at 5.10 and contemplated the silence, or rather what infiltrated the stillness of the cottage as sound. In the kitchen the clock ticked, the refrigerator seemed to need a period of machine noise once its door had been opened. At 6.0am the central heating fired up for a while. Outside, the small fruit trees in the garden moved vigorously in the wind, but he couldn’t hear either the wind or a rustle of leaves.  A car droned past on the nearby road. The clear sky began to lighten promising a fine day. This would certainly do for silence.
 
His thoughts returned to her question of the previous evening, and his answer. He was about to face up to his explanation. ‘I empty myself of all musical sound’, he’d said, ‘I imagine an empty space into which I might bring a single note, a long held drone of a note, a ‘d’ above middle ‘c’ on a chamber ***** (seeing it’s a Mass I’m writing).  Harrison Birtwistle always starts on an ‘e’. A ‘d’ to me seems older and kinder. An ‘e’ is too modern and progressive, slightly brash and noisy.’
 
He can see she is quizzical with this anecdotal stuff. Is he having me on? But no, he is not having her on. Such choices are important. Without them progress would be difficult when the thinking and planning has to stop and the composing has to begin. His notebook, sitting on his drawing board with some first sketches, plays testament to that. In this book glimpses of music appear in rhythmic abstracts, though rarely any pitches, and there are pages of written description. He likes to imagine what a new work is, and what it is not. This he writes down. Composer Paul Hindemith reckoned you had first to address the ‘conditions of performance’. That meant thinking about the performers, the location, above all the context. A Mass can be, for a composer, so many things. There were certainly requirements and constraints. The commission had to fulfil a number of criteria, some imposed by circumstance, some self-imposed by desire. All this goes into the melting ***, or rather the notebook. And after the notebook, he takes a large piece of A3 paper and clarifies this thinking and planning onto (if possible) a single sheet.
 
And so, to the task in hand. His objective, he had decided, is to focus on the whole rather than the particular. Don’t think about the Kyrie on its own, but consider how it lies with the Gloria. And so with the Sanctus & Benedictus. How do they connect to the Agnus Dei. He begins on the A3 sheet of plain paper ‘making a map of connections’. Kyrie to Gloria, Gloria to Credo and so on. Then what about Agnus Dei and the Gloria? Is there going to be any commonality – in rhythm, pace and tempo (we’ll leave melody and harmony for now)? Steady, he finds himself saying, aren’t we going back over old ground? His notebook has pages of attempts at rhythmizing the text. There are just so many ways to do this. Each rhythmic solution begets a different slant of meaning.
 
This is to be a congregational Mass, but one that has a role for a 4-part choir and ***** and a ‘jazz instrument’. Impatient to see notes on paper, he composes a new introduction to a Kyrie as a rhythmic sketch, then, experimentally, adds pitches. He scores it fully, just 10 bars or so, but it is barely finished before his critical inner voice says, ‘What’s this for? Do you all need this? This is showing off.’ So the filled-out sketch drops to the floor and he examines this element of ‘beginning’ the incipit.
 
He remembers how a meditation on that word inhabits the opening chapter of George Steiner’s great book Grammars of Creation. He sees in his mind’s eye the complex, colourful and ornate letter that begins the Lindesfarne Gospels. His beginnings for each movement, he decides, might be two chords, one overlaying the other: two ‘simple’ diatonic chords when sounded separately, but complex and with a measure of mystery when played together. The Mass is often described as a mystery. It is that ritual of a meal undertaken by a community of people who in the breaking of bread and wine wish to bring God’s presence amongst them. So it is a mystery. And so, he tells himself, his music will aim to hold something of mystery. It should not be a comment on that mystery, but be a mystery itself. It should not be homely and comfortable; it should be as minimal and sparing of musical commentary as possible.
 
When, as a teenager, he first began to set words to music he quickly experienced the need (it seemed) to fashion accompaniments that were commentaries on the text the voice was singing. These accompaniments did not underpin the words so much as add a commentary upon them. What lay beneath the words was his reaction, indeed imaginative extension of the words. He eschewed then both melisma and repetition. He sought an extreme independence between word and music, even though the word became the scenario of the music. Any musical setting was derived from the composition of the vocal line.  It was all about finding the ‘key’ to a song, what unlocked the door to the room of life it occupied. The music was the room where the poem’s utterance lived.
 
With a Mass you were in trouble for the outset. There was a poetry of sorts, but poetry that, in the countless versions of the vernacular, had lost (perhaps had never had) the resonance of the Latin. He thought suddenly of the supposed words of William Byrd, ‘He who sings prays twice’. Yes, such commonplace words are intercessional, but when sung become more than they are. But he knew he had to be careful here.
 
Why do we sing the words of the Mass he asks himself? Do we need to sing these words of the Mass? Are they the words that Christ spoke as he broke bread and poured wine to his friends and disciples at his last supper? The answer is no. Certainly these words of the Mass we usually sing surround the most intimate words of that final meal, words only the priest in Christ’s name may articulate.
 
Write out the words of the Mass that represent its collective worship and what do you have? Rather non-descript poetry? A kind of formula for collective incantation during worship? Can we read these words and not hear a surrounding music? He thinks for a moment of being asked to put new music to words of The Beatles. All you need is love. Yesterday all my troubles seemed so far away. Oh bla dee oh bla da life goes on. Now, now this is silliness, his Critical Voice complains. And yet it’s not. When you compose a popular song the gap between some words scribbled on the back of an envelope and the hook of chords and melody developed in an accidental moment (that becomes a way of clothing such words) is often minimal. Apart, words and music seem like orphans in a storm. Together they are home and dry.
 
He realises, and not for the first time, that he is seeking a total musical solution to the whole of the setting of those words collectively given voice to by those participating in the Mass.
 
And so: to the task in hand. His objective: to focus on the whole rather than the particular.  Where had he heard that thought before? - when he had sat down at his drawing board an hour and half previously. He’d gone in a circle of thought, and with his sketch on the floor at his feet, nothing to show for all that effort.
 
Meanwhile the sun had risen. He could hear her moving about in the bathroom. He went to the kitchen and laid out what they would need to breakfast together. As he poured milk into a jug, primed the toaster, filled the kettle, the business of what might constitute a whole solution to this setting of the Mass followed him around the kitchen and breakfast room like a demanding child. He knew all about demanding children. How often had he come home from his studio to prepare breakfast and see small people to school? - more often than he cared to remember. And when he remembered he became sad that it was no more.  His children had so often provided a welcome buffer from sessions of intense thought and activity. He loved the walk to school, the first quarter of a mile through the park, a long avenue of chestnut trees. It was always the end of April and pink and white blossoms were appearing, or it was September and there were conkers everywhere. It was under these trees his daughter would skip and even his sons would hold hands with him; he would feel their warmth, their livingness.
 
But now, preparing breakfast, his Critical Voice was that demanding child and he realised when she appeared in the kitchen he spoke to her with a voice of an artist in conversation with his critics, not the voice of the man who had the previous night lost himself to joy in her dear embrace. And he was ashamed it was so.
 
How he loved her gentle manner as she negotiated his ‘coming too’ after those two hours of concentration and inner dialogue. Gradually, by the second cup of coffee he felt a right person, and the hours ahead did not seem too impossible.
 
When she’d gone off to her work, silence reasserted itself. He played his viola for half an hour, just scales and exercises and a few folk songs he was learning by heart. This gathering habit was, he would say if asked, to reassert his musicianship, the link between his body and making sound musically. That the viola seemed to resonate throughout his whole body gave him pleasure. He liked the ****** movement required to produce a flowing sequence of bow strokes. The trick at the end of this daily practice was to put the instrument in its case and move immediately to his desk. No pause to check email – that blight on a morning’s work. No pause to look at today’s list. Back to the work in hand: the Mass.
 
But instead his mind and intention seemed to slip sideways and almost unconsciously he found himself sketching (on the few remaining staves of a vocal experiment) what appeared to be a piano piece. The rhythmic flow of it seemed to dance across the page to be halted only when the few empty staves were filled. He knew this was one of those pieces that addressed the pianist, not the listener. He sat back in his chair and imagined a scenario of a pianist opening this music and after a few minutes’ reflection and reading through allowing her hands to move very slowly and silently a few millimetres over the keys.  Such imagining led him to hear possible harmonic simultaneities, dynamics and articulations, though he knew such things would probably be lost or reinvented on a second imagined ‘performance’. No matter. Now his make-believe pianist sounded the first bar out. It had a depth and a richness that surprised him – it was a fine piano. He was touched by its affect. He felt the possibilities of extending what he’d written. So he did. And for the next half an hour lived in the pastures of good continuation, those rich luxuriant meadows reached by a rickerty rackerty bridge and guarded by a troll who today was nowhere to be seen.
 
It was a curious piece. It came to a halt on an enigmatic, go-nowhere / go-anywhere chord after what seemed a short declamatory coda (he later added the marking deliberamente). Then, after a few minutes reflection he wrote a rising arpeggio, a broken chord in which the consonant elements gradually acquired a rising sequence of dissonance pitches until halted by a repetition. As he wrote this ending he realised that the repeated note, an ‘a’ flat, was a kind of fulcrum around which the whole of the music moved. It held an enigmatic presence in the harmony, being sometimes a g# sometimes an ‘a’ flat, and its function often different. It made the music take on a wistful quality.
 
At that point he thought of her little artists’ book series she had titled Tide Marks. Many of these were made of a concertina of folded pages revealing - as your eyes moved through its pages - something akin to the tide’s longitudinal mark. This centred on the page and spread away both upwards and downwards, just like those mirror images of coloured glass seen in a child’s kaleidoscope. No moment of view was ever quite the same, but there were commonalities born of the conditions of a certain day and time.  His ‘Tide Mark’ was just like that. He’d followed a mark made in his imagination from one point to another point a little distant. The musical working out also had a reflection mechanism: what started in one hand became mirrored in the other. He had unexpectedly supplied an ending, this arpegiated gesture of finality that wasn’t properly final but faded away. When he thought further about the role of the ending, he added a few more notes to the arpeggio, but notes that were not be sounded but ghosted, the player miming a press of the keys.
 
He looked at the clock. Nearly five o’clock. The afternoon had all but disappeared. Time had retreated into glorious silence . There had been three whole hours of it. How wonderful that was after months of battling with the incessant and draining turbulence of sound that was ever present in his city life. To be here in this quiet cottage he could now get thoroughly lost – in silence. Even when she was here he could be a few rooms apart, and find silence.
 
A week more of this, a fortnight even . . . but he knew he might only manage a few days before visitors arrived and his long day would be squeezed into the early morning hours and occasional uncertain periods when people were out and about.
 
When she returned, very soon now, she would make tea and cut cake, and they’d sit (like old people they wer
K Balachandran Apr 2014
A melancholy ***** we came to adore
in mournful tone, finish the tale abruptly
and sob, uncontrollably;
"Memories of my melancholy ******'
including "Love in the times of cholera"
are now part of our folklore, this land
of cashew groves and banana plantations
in  Indian landscape, far far away from Latin American shores.

Her lascivious days are over
death visits the house of love, blood splattered
and a haunt of dark happenings, that begets children with tails,
shame, honor and secrets creep out of manuscripts.
Gabo is no more, no more"Living to tell the tale"
the Part Two, promised before.

Gabriel Garcia Marquez, after three false starts
goes to his final abode for rest, now.

A coded manuscript, written in
in classical Sanskrit,
(the language of all divine texts
of Indian sages of yore)
scripted by the mysterious gypsy,Melquiades
predicts the wipe out of Buendia clan
of five generations

Torrential rain and deluge engulf Macondo,
ends "One hundred years of solitude".
Gabo you point towards east
what is the answer to the conundrum of Buendias?

In Mexico city
they were preparing to take  Gabo to his last ride
to the origin of all magical realism he'd return

In a land far away,
yet exactly the same landscape as Latin Americas
we grieve his death as that of one of our own
Gabo, in past thirty years, you mysteriously taught us
to discern the magical realism of cosmos
World famous Colombian novelist Gabriel Jose de la Concordia Garcia Marquez ,(Gabo/el maesto to millions of fans of his writing) who died in Mexico city on Thursday is as much popular in Malayalam, the language of southern Indian state of Kerala,as the most popular contemporary writerwhere millions of copies of his novals are sold in Translation.News papers brought out special feature pages in honor of Gabo yesterday.
Philosophies generalise the feelings of love. Too many people talk about how to feel. Famous people give quotes out like Kleenex and we 'the beloved' faint under the weight of them. Each awakened person seeking the truth from those who have experienced every human fear rationally. Love begets love. Hatred begets hatred. My mind begets my mind.  I am like a heat seeking Labrador, seeking the truffles in the forest. Simple love appears to be simple. Nevermoreso that which a mother can give to a child. Even a child that doesn’t appear to be wanted or loved; the one that hides in the depths of our belittled subconscious. Rejectionment is a term that I have coined from the philosophy of modern society. Abandonment is a drug that we steadily take and fail to acknowledge the buzz of, buying more 'things' to fill a anxious fear filled void. We are the lovers, we are the thinkers, we, are the walkers of this earth; unimaginable freedoms we destroy.

How can one love oneself amongst the unimaginable pathetic existence we carve out, we bleed out and we live? I am because I feel. I follow because I was led, I fall because my feet catch me. I love, I love because this is what Disney stories and fairytales have taught us. I fear the heart that beats so deeply within this body. Detached, I feel from reality, because the stark realisation is too heavy to bear. That some lover will not think i am quite the picture of lover; that i do not feel to love myself equally. Yet I carry my arms; I have ammunition strapped to my chest; those that get clear have to sign treaties and pacts. Linguistics fail me; they speak unapproachable truths. A meaning is much better conveyed in silence, without looking into one another’s eyes.

Heart, passion, love – this is what I have to give – money, reliability, profession, friendship; this is all learnt. True love from ones’ mind is a given. Fear is learnt; hurt is learnt; embarrassment is learnt. Stories I have, tales I can tell, counsel I can give. I am NOT finished. I am NOT done.Thank-ing you. Flying free as a bird in flight; it's inside my soul - but my body is wrapped around capitalist chains – should, must, need, want; pleases, thankyous – a vicious cycle to make oneself feel worthy of the very being we fail to allow ourselves to believe in. We are not pretty, we are not amazing, we are not worthy unless we allow ourselves to be justified by something outside of ourselves.

So what can I do? Having an indomitable tower of strength inside this soul, face the world, against bombardment, against attainment and loss, figures and acceptance, congratulations and detachment. Music clears me, air clears me, understanding clears me. The world clears me. You clear me. Love, blinds me.  See this, these words? This me thinking, this is me feeling, this is me. Love me, just me, I dare......
Yenson Sep 2018
The clone walks and enjoys such wrongful adulation,
Urban myths, falsehoods, lies, such awful fabrications
Knowledge is power make sure its transmogrification
Smears and stench is vital to put our clone in isolation
Defamation and slander in abundance not in moderation

The real man looks awestruck at this nefarious transformation
Sees truth murdered and honesty and decency held in toxic strangulation
Humans have a greater propensity for lies, its has much richer fascination
Lower minds desires basic mental gratification not tedious logical education
They want no news about joy and do-gooders, more about sick disfiguration

The Real Man sees his unblemished life soiled and tainted to sorrowful extinction
To look innocently becomes wantonly ******* women and gals, a ridiculous insinuation
Innocent speech to primed recipients takes on salacious unintended
bent and corrosive modifications
His just and precise actions mangled and their gross interpretations begets their erroneous  illustrations
Clone now walks with character traits and form  far from nothing like The Real Man's true disposition

Then news by lovers now state the Man is the best ever ***** passions without constatation
Not one or two or three ex loves now talks of a smooth hard soft Dolphin and swimming in hot magical elation
Passion, style, rhythm, rock and roll unsurpassed in lustful cool sexxy celebrations
Alas, We can't damage this real prowess so just demonize and ******* and ruin his physical reputation
Talk dirt, turds, talk stupidly about water and no *****, angry little men scream  and stomped in exasperations

Well, Clone shares same as the Man's famed ding ****, and even though hated lives in some females imaginations
And became a guilty secrets and fantasy lover for some knowing ladies when in relaxations
Think of that Charismatic clone with that  magnificent hard pole close and tight in amourous actions
All ready a bone of envy and dread for their menfolk, their worst fears now lives in their women's vivid minds realisations
My clone now makes sweet passionate love with my tool to different moisty **** ladies with my deft cool moves in delightful motions.
While the real Man is banned to loneliness and sentenced to involuntary abstention
My lucky clone is rampantly *******, licking and ******* in fantasy lands from imaginations to vivid imaginations

There you go Clone..Yeah!..move it..darling, yah! move it!....that's it! Wow!!...Oh..Oh...Oh.....,!
Throw me to the wolves and I will return leading the pack.

The world breaks everyone and afterward many are strong at the broken places.

It’s not the strength of the body that counts, but the strength of the spirit.

You have power over your mind, not outside events. Realize this, and you will find strength.
Dan Hess Feb 2014
Happenstance to the melancholic gives leave the sin of pride.
Inbound reconnaissance tells not the bearer of influence.
Squeamish at first: a foreshadowing of calamitous bonding.

A space between the mark of corporeal and the ethereal; a stringent hiatus
That which rattles the concrete foundation of morality is scarcely a malleable recourse.
Regret stains the unfounded soul: an enigma of ephemeral perforations.

A separation of the unmitigated humanities; misandry topples the writhing snake.
Impact; a cleansing of the maker's flaws integrated solemnly.
Complacency arrests the administration of the abhorred; unbridled is the autonomy of a guru.  

Ambivalent giftedness burdens the reliant and haughty.
A flick of the tongue brings forth the cinema mortem.
Castaway: alone to wade in the sea of obscenities.

A temporal causality allows no mourning to abscond.
Negligence is not the enemy, but indulgent wrath.
Hesitant: a stroke of qualia begets the end of a maiden.
Omar Kawash Dec 2014
Magnets;
lock and key;
and, the unsubtle,
bolt
and *****.
These are things that collide harmoniously and do not dispute

We are not such an archaic, mechanized metaphorical construct.

I feel us as primal,
torrid decadence;
a deliberate impassioned vulnerability:
an animalistic exposé.

Unfocused, infinite black holes
expanding
to be lost within

Quivering circle of solicitous, engorged fuchsia
steaming harsh,
needy
attempts of oxygen recovery

Soft powder snow
melting over olive tree trunks,

quaking with endless echoes resonating from beyond the hills above

A thunderous harbinger centers chaos,
rampaging gust-like vibration through taut roots,

a volcanic eruption.
Lava geyser

blazing till all energy
enthralls the earth.

What I see for us is a metaphor in nature.
I will be the seismic activity
and you
will dance above me.

Your world will collapse against me

in my relentless motions.

And when you stand again,
I will bring you to
your knees

in my aftershock
and show you strength that will move you mountains.
I
Ribb at the Tomb of Baile and Aillinn
BECAUSE you have found me in the pitch-dark night
With open book you ask me what I do.
Mark and digest my tale, carry it afar
To those that never saw this tonsured head
Nor heard this voice that ninety years have cracked.
Of Baile and Aillinn you need not speak,
All know their tale, all know what leaf and twig,
What juncture of the apple and the yew,
Surmount their bones; but speak what none ha've
heard.
The miracle that gave them such a death
Transfigured to pure substance what had once
Been bone and sinew; when such bodies join
There is no touching here, nor touching there,
Nor straining joy, but whole is joined to whole;
For the ******* of angels is a light
Where for its moment both seem lost, consumed.
Here in the pitch-dark atmosphere above
The trembling of the apple and the yew,
Here on the anniversary of their death,
The anniversary of their first embrace,
Those lovers, purified by tragedy,
Hurry into each other's arms; these eyes,
By water, herb and solitary prayer
Made aquiline, are open to that light.
Though somewhat broken by the leaves, that light
Lies in a circle on the grass; therein
I turn the pages of my holy book.
II
Ribb denounces Patrick
An abstract Greek absurdity has crazed the man --
Recall that masculine Trinity.  Man, woman, child (a
daughter or a son),
That's how all natural or supernatural stories run.
Natural and supernatural with the self-same ring are
wed.
As man, as beast, as an ephemeral fly begets, Godhead
begets Godhead,
For things below are copies, the Great Smaragdine
Tablet said.
Yet all must copy copies, all increase their kind;
When the conflagration of their passion sinks, damped
by the body or the mind,
That juggling nature mounts, her coil in their em-
braces twined.
The mirror-scaled serpent is multiplicity,
But all that run in couples, on earth, in flood or air,
share God that is but three,
And could beget or bear themselves could they but
love as He.
III
Ribb in Ecstasy
What matter that you understood no word!
Doubtless I spoke or sang what I had heard
In broken sentences.  My soul had found
All happiness in its own cause or ground.
Godhead on Godhead in ****** spasm begot
Godhead.  Some shadow fell.  My soul forgot
Those amorous cries that out of quiet come
And must the common round of day resume.
IV
There
There all the barrel-hoops are knit,
There all the serpent-tails are bit,
There all the gyres converge in one,
There all the planets drop in the Sun.
V
Ribb considers Christian Love insufficient
Why should I seek for love or study it?
It is of God and passes human wit.
I study hatred with great diligence,
For that's a passion in my own control,
A sort of besom that can clear the soul
Of everything that is not mind or sense.
Why do I hate man, woman Or event?
That is a light my jealous soul has sent.
From terror and deception freed it can
Discover impurities, can show at last
How soul may walk when all such things are past,
How soul could walk before such things began.
Then my delivered soul herself shall learn
A darker knowledge and in hatred turn
From every thought of God mankind has had.
Thought is a garment and the soul's a bride
That cannot in that trash and tinsel hide:
Hatred of God may bring the soul to God.
At stroke of midnight soul cannot endure
A ****** or mental furniture.
What can she take until her Master give!
Where can she look until He make the show!
What can she know until He bid her know!
How can she live till in her blood He live!
VI
He and She
As the moon sidles up
Must she sidle up,
As trips the scared moon
Away must she trip:
"His light had struck me blind
Dared I stop'.
She sings as the moon sings:
"I am I, am I;
The greater grows my light
The further that I fly'.
All creation shivers
With that sweet cry
VII
What Magic Drum?
He holds him from desire, all but stops his breathing
lest
primordial Motherhood forsake his limbs, the child no
longer rest,
Drinking joy as it were milk upon his breast.
Through light-obliterating garden foliage what magic
drum?
Down limb and breast or down that glimmering belly
move his mouth and sinewy tongue.
What from the forest came? What beast has licked its
young?
VIII
Whence had they come?
Eternity is passion, girl or boy
Cry at the onset of their ****** joy
"For ever and for ever'; then awake
Ignorant what Dramatis personae spake;
A passion-driven exultant man sings out
Sentences that he has never thought;
The Flagellant lashes those submissive *****
Ignorant what that dramatist enjoins,
What master made the lash.  Whence had they come,
The hand and lash that beat down frigid Rome?
What sacred drama through her body heaved
When world-transforming Charlemagne was con-
ceived?
IX
The Four Ages of Man
He with body waged a fight,
But body won; it walks upright.
Then he struggled with the heart;
Innocence and peace depart.
Then he struggled with the mind;
His proud heart he left behind.
Now his wars on God begin;
At stroke of midnight God shall win.
X
Conjunctions
If Jupiter and Saturn meet,
What a cop of mummy wheat!
The sword's a cross; thereon He died:
On breast of Mars the goddess sighed.
XI
A Needle's Eye
All the stream that's roaring by
Came out of a needle's eye;
Things unborn, things that are gone,
From needle's eye still goad it on.
XII
Meru
Civilisation is hooped together, brought
Under a mle, under the semblance of peace
By manifold illusion; but man's life is thought,
And he, despite his terror, cannot cease
Ravening through century after century,
Ravening, raging, and uprooting that he may come
Into the desolation of reality:
Egypt and Greece, good-bye, and good-bye, Rome!
Hermits upon Mount Meru or Everest,
Caverned in night under the drifted snow,
Or where that snow and winter's dreadful blast
Beat down upon their naked bodies, know
That day brings round the night, that before dawn
His glory and his monuments are gone.
For certain he hath seen all perfectness
Who among other ladies hath seen mine:
They that go with her humbly should combine
To thank their God for such peculiar grace.
So perfect is the beauty of her face
That is begets in no wise any sigh
Of envy, but draws round her a clear line
Of love, and blessed faith, and gentleness.
Merely the sight of her makes all things bow:
Not she herself alone is holier
Than all; but hers, through her, are raised above.
From all her acts such lovely graces flow
That truly one may never think of her
Without a passion of exceeding love.
PrttyBrd Dec 2012
Stuck in a time long since passed. Heart emptied hopeless. Faces blur along with the days. Nights linger incessantly, haunting all that ever was.  Dreams tease happy.  Sun kills dreams. Time makes scars. Distance allows the fallacy to continue.  The lies turn daily mantra.  The mantra into perceived reality. Reality into dreams, the dreams into nightmares.  Sun cannot **** nightmares.

Hollow glass hearts bleed
Puddle will evaporate
To exist no more


Joy-filled memories leach all hope for future joy.  Heart crushed to powder. Powdered hearts cannot bleed.  Dead hearts cannot feel. Memories, overflow with the shadow of love's embrace. Pain jabs the senses like lightning.  Still, the heart has ceased to exist.  Calluses fill the space that scars cannot.  False emotion permeates the truth.  Future acquaintances see beauty behind dead eyes.  As they close in, icy breath freezes long enough to drain their heart to beat some life into the one lost. Walking away with minimal pulse as their heart is hollowed and bleeding.  Soon too, that puddle with cease to exist.  

**Life's casualties
Joy begets pain begets joy
Hope dies most quickly
Copyright©PrttyBrd 20\12\12
while humanity lay sleeping
a subtle sound came creeping
a tiny muffled murmur
of the drums  

it crept into our valley
a quiet distant sally
the reverberating tapping
of the drums

oh the drums drums drums
foretell the things to come
the tapping beat calls
hearts and minds to stir

awakened from dear sleep
we discern the growing creep
the mounting host of warriors
tramping on
      
the fifers next came peeling
the swooning mass was kneeling
the flash of brass and horns
enthralled us all

the salute of rifles thundered
leaving all of us to wonder
what this show of force
would mean for you and me

oh the drums drums drums
the flash and crack of guns
the might and mien of country
on display

yes we howl a raucous cheer
as we shout we raise a beer
the march of shock and awe
is on its way

the thundering timpani                                  
soul of a nation's symphony
united in common purpose
all in step

pressing on to foreign fields
with armies, tanks and shields
we offer sons and daughters
to the lords of war

sleek missiles flew and flashed
buildings crumble and crash
the righteous right of the stronger
proved again

but blood will wash the ground
wails of mourning will sound
dead soldiers and civilians
on all sides

percussive cannon blasts
bursts eardrums kills you fast
the awful smashing and the
bashing of the bombs

the popping flap of flags
assure a profiteers swag
much riches to be made
through the spoils of war

filthy lucre that is earned
the value of life is spurned
hoards of begotten treasure
condemns its lord

so spend it if you must
for your gold will turn to rust
and dust to dust your
soul shall return

oh the drums drums drums
calls our sisters and our sons
to step and march along
a deathly roll

constant war begets a madness
unhealed wounds endless sadness
friends and lovers sadly perish
families destroyed

oh the drums drums drums
once so stirring like a sun
the rattling snare of drumsticks
a hissing asp

oh the drums drums drums
we whistle through our gums
past the midnight graveyards
hallowed for our youth

so listen for the drums
the droning of the guns
stand firm for peace
and walk its blessed way

or you can yell yell yell
marching onward straight to hell
where death will greet you
with the devils kiss

he’ll sing you bitter taps
the music that entraps
and commends the young
to the wretched earth

or play Djembe for peace
witness all conflict cease
bongo bops for peace
may it always increase

yes the drums drums drums
the resounding joyful strums
a mirthful dance of peace
may it always increase

so play Djembe for peace
our song will never cease
our dance will be
a whirling prayer of grace

Music Selection:
Fela Kuti & Afrika 70, Zombie

jbm
3/9/12
Oakland
Pearson Bolt Jul 2016
it's true
the revolution will not be televised
but the fascist revival premiered
on all the major networks' corporate channels
in 1080p HD at prime-time hours

with perfect clarity
viewers could see
an oompa loompa
with an orange toupee
a xenophobe
spewing violence and vitriol
peddling snake oil while spitting venom
stirring a bubbling cauldron
spilling over in fear-mongering demagoguery
served like crack candy to the Republican elite
reveling in their privilege
cheering white supremacy

a tyrant
tirading behind a polished wooden podium
flanked by hues of red white blue and gilded gold
like some comic strip super-villain
but this obtuse excuse for human refuse
is not some Saturday morning cartoon
defeated by the heroes after 30 minutes
of selfless feats and epic deeds
a death dirge plays on repeat in the background

you can't always get what you want

meanwhile
we're holding silent vigils back home
carving the sigil of Orlando's skyline into our skin
while a snake slithers into a City Beautiful
bedecked in her $3k pressed pant-suit
leering wolfishly at a local club for LGBTQ+ youth
the downtown heartbeat
of outcasts and misfits
a Pulse
that bigotry and self-hatred couldn't *****

but tragedies are converted to cheap currencies
in the clawed hands of dynastic oligarchs
sporting the support of billionaires and super-PACs
she knows the Establishment has got her back
she'll shed crocodile tears
just in time for the photo-ops

violence begets violence begets violence
humanity's universal language
a tongue shared by despots and presidents
in the wake of stolen sanctuaries
she'll justify razing Syrian children
beneath a barrage of hellfire missiles
and predator drones targeting cell-phone signals
under the pretense of bringing the terrorists
to some sycophantic mirage of justice

we're manufacturing new soldiers
for the Caliphate to brainwash with promises
of dead gods and seventy-two virgins
machine-fed by automatic weapons
to the toothy jaws
that bottomless maw
of endless ******* war
which always vaunts
profit over people

the conceptual construct of gender binarism
becomes an imperceptible selling point
in the incomprehensible and reprehensible rhetoric
issuing from either side of the political aisle
but what will it matter
either way
an egoistic megalomaniac
has his or her finger poised over the trigger
a neoliberal warmonger and hypocritical fraud
or a reality TV star who lauds the KKK on Twitter

our only hope is found in the streets
unchained by compassion's transformative capacity
freed to utilize our minds
humanity's indomitable faculty
nurturing a community that seizes life
in anthems of liberty equality and solidarity
anarchic manifestoes penned in lines
of red and black ink

progressives will insist otherwise
they'll declare emphatically that our only choice
lies in selecting the lesser of two evils
to lead us to the brink of oblivion
but Orwell wrote the future of humanity
looked like a boot crushing our heads
that either way we'd all be dead
and the harsh reality is that the soot-stained sole
curb-stomping this country
fits both the left and right foot
The world has been on fire recently. I woke last night from dreams of hellish landscapes reflecting on two photographs I saw from the past 24-hours. One depicted Trump on stage at the RNC, looking like some Capitol stooge from "The Hunger Games." The other was of Clinton in my city, pretending to care for the LGBTQ+ youth murdered at Pulse. I wrote this in a frenetic fit of ire and outrage.
Lou Costello’s
bronze semblance
dipped and danced atop
his granite pedestal
spinning miasmatic tales
of enigmatic hope and
resplendent labor

“the sweet
unbounded
expectation of
hope once
surged down
this city’s streets”
... said Lou

"I was a self made man
until someone thought up
the idea to cast a bronze
caricature of me and
bolt it to this grand rock”

nostalgia
is the boldest form
of fiction
culling from the past
the things hoped for
in the now

“growing up
here
I clipped school,
played ball,
rolled drunks
and fought
nickel ante
prize fights
to get my
daily bread,
I literally
punched my
way out
of this town”

a smith smelts a
batch of liquid bronze
pouring molds full of
a fervent wish
a madman's delusion
a priestly promise
a Pollyannaish illusion?

baskets overflowed
gushing hope, offered
at the holy altars by
honorable workers

it was said that
a morsel of labor
could feed 5000
starved families
breeding hopes as large
as a half cup of water

hope
the size of a
mustard seed sparked
recovery of 1000 sick children
dying from the Asian Flu
at St. Joe's

hope
willed an end to war’s slaughter
which ironically was bad for
Paterson's war profiteers
forcing layoffs
sparking labor actions

hope
ignited conflagrations firing
the resurrection of dead industries
lately there is a lot of hope
circling this one

miracles spring
from the pronounced
lips of trembling hearts

the hopeful amassed
slogging forth on bloodied toes
along razor thin slices
of expectation
hoping to begin again
eager to build anew

new starts sometimes
grow old fast soon
hope expires
winging back home
on broken wings of
misspent labor

hoping for the snow to stop
a lump of coal to last
the labor of a budding crocus
rewarded, breaking through
the hard crust of winters end
blooms for a day then expires

hope is a beggars wish
gods give yearnings heft
prayers earnestly chanted
willing paradigm shifts

prayers of absolution
play the angles
calculating odds
of probabilistic mathematics
a sure thing long shot
the prayers of the
righteous availeth much

we hoped for jobs
we hoped for leisure
we hoped for love
we hoped for labor
we hoped for rest
we hoped for luck
we hoped for a life
wealth health blest

laughing at our follies
crying over defeats
our city a tragic star
a comedy of schemes

our
hope and labor
is the keystone of
our self construction
cornerstone of
a grand city’s edifice
its negation our
deconstruction

tragedy and comedy
invested and spent
falling and laughing
foibles and faith

belief trumps evidence
happenstance slays surety
horror and beauty
compose a life's mural
nothing happens
by mistake

learning and ignorance
fate and chance
the risk of randomness
expiration dates arrive fast

predetermination a bold
conviction, suspicion,
intention a splendid  
kismet  

banality becomes
sublime  
laughter is ******

...the mystery is in
the loam... says WCW
...the finished product
is what I’m after...

“what the
**** are you
doing here?"
the bronzed Louis
gagged

"Hey Abbott
look at these clowns
in the yellow plastic
garbage bags!

bobbing in a sea of
midnight mist

a posse of
neon clowns
donning glad bags
on the most dismal
night of the year

twinkling under the
gloom of my playgrounds
faltering streetlamps

“twinkling targets
easily tracked,
a trained eye,
a steady hand
could pick you off
at a thousand paces
what gives?

“what the **** are
you doing here?

“what the **** am I doin
here for that matter?”

“the second question
is easy to answer,

“I’m Paterson’s
finest son....

...“Wherever he is tonight, I want him to hear me," and went on with the show. No one in the audience knew of the death until after the show when Bud Abbott explained the events of the day, and how the phrase "The show must go on" had been epitomized by Lou that night....

"Mr. Bacciagalupe
he use to live on
Cianci Street

“who’s on first?
what’s on second?
I don’t know is on third?
was a riddle one recited
to get into his speak

“his Ginnie Red was legendary
and no one was ever known to
die from drinking his bathtub gin”

the old world ways
are made new
by the arrival of
new old worlds
supplanting old Italiano

“where is all the goodwill capital
we invested in this place?”

successive generations
thought it best to export
the capital of the
expired generations
elsewhere

it was ferried
across the river,
crossed the
city boundaries,
leaving for Wayne
and the fairer lawns
of Wyckoff and the
greener grasses of
Franklin Lakes

all the old wise guys
died off or were sentenced
to life by their children,
some still doin time in
old age homes in
Rockaway

all the sport clubs
boarded up but their spirit
lingers like an espresso
ring on a post slurp
demitasse cup

“hell my body is buried
in Hollywood but here
I am, holding court in
Costello Park
talking with you
knuckleheads
a baseball bat
my royal scepter
a brown derby
my crown, truly a
King of Nothing,
Lord of All

“the soul of my city is
eternal,  like the comedy
of tragedy or is it
tragic comic?

“here I remain
omnipresent,
spinning about
frozen forever
in a magnificent
bronze age,
erected to my likeness
beholding me
to stand witness
to this litter strewn park
decorated with corrugated
Big Mac boxes, plastic
Big Gulp tops and discarded
rubbers bagging the ****
of this cities arrested
citizenry”

never actualized
never naturalized
citizenship denied
at the commencement
of ejaculatory flows
of joy

unfulfilled spirit
of citizenship
never to experience
the splendor
of yesterday’s
modernist
metropolis and
Lou’s stand up
routines

“look at that John
over there, that guy
wheezing like a
ruptured blacksmith’s
billow, pounding away
laboring to get off

“the poor little
******* just hopes it
will end soon

it does
**** he’s done

I” knew that guys
grandfather,
getting off
runs in the family
and remains one
of the few things
that draws the progeny back
to the old neighborhood

“you can still glimpse
snippets of the old ways
rising in new ways

“an Armenian
sports club
around the corner
is a new
incarnation of
the old Neapolitan
social clubs that
once demarcated the
neighborhoods

“these days
great grandsons
of once proud
Sons of Italy
come back to the
old neighborhoods
begging for hand-jobs
from crack ******

“welcome to my
burlesque world

“since the Gumbas
moved to Franklin Lakes
the wannabe wise guys
became ***** whipped
dumb *****
making ***** of
themselves with
their painted ****-job
Jersey Housewives

“they ***** their families
out for a bit parts on
MTV and a free lunch
at the Brownstone

“their grandfathers
labored long hours
to assure the well being
of their families in the expectant
hope of a better shot at life
but the children squandered
the hard earned bequest lovingly
bequeathed by reverent forebears

“in the wee hours
one can sometimes hear
a weeping chorus
of concrete Madonnas
musing melodious lullabies
to the sleeping
Lombard's lying
in uneasy repose at
Holy Sepulchre Cemetery

“they twist in their graves
dreaming of a last dance with the
Lady of Unending Sorrows
at weddings for unrepentant
wayward daughters and prodigal sons

“its small
recompense for a
lifetime of an
honest day’s work”

the dashed hope
of squandered labor
begets a city of ruin”

at the
parks northern corner
the Salvation Army’s
rumbling bivouac rests
in a dreamless sleep
its residents
patiently waiting to
inherit this city
abandoned by
nuevo wise guys

this tragedy
is all comedy
the comedic hope
of tragic labor
buried snoring
the millenniums away
awaiting resurrection
day

Lou was getting ******...
“get outta my park

“the artists
in the rehabbed
factories across
the street
are resting

“nothing much
going on there

“if you're hoping
to find some
homeless slogs
head over to the river
you should find some there”....

Music Selection:
Frank Sinatra, High Hopes

jbm
Oakland
3/26/13
Part 5 of extended poem Silk City PIT.  PIT is an acronym for Point In Time.  PIT is an annual census American cities conduct to count the homeless population.  Hope and Labor is the city motto of Paterson NJ, nick named The Silk City.
THE Roaring Tinker if you like,
But Mannion is my name,
And I beat up the common sort
And think it is no shame.
The common breeds the common,
A lout begets a lout,
So when I take on half a score
I knock their heads about.
From mountain to mountain ride the fierce horsemen.
All Mannions come from Manannan,
Though rich on every shore
He never lay behind four walls
He had such character,
Nor ever made an iron red
Nor soldered *** or pan;
His roaring and his ranting
Best please a wandering man.
From mountain to mountain ride the fierce horsemen.
Could Crazy Jane put off old age
And ranting time renew,
Could that old god rise up again
We'd drink a can or two,
And out and lay our leadership
On country and on town,
Throw likely couples into bed
And knock the others down.
From mountain to mountain ride the fierce horsemen.

II
My name is Henry Middleton,
I have a small demesne,
A small forgotten house that's set
On a storm-bitten green.
I scrub its floors and make my bed,
I cook and change my plate,
The post and garden-boy alone
Have keys to my old gate.
From mountain to mountain ride the fierce horsemen.
Though I have locked my gate on them,
I pity all the young,
I know what devil's trade they learn
From those they live among,
Their drink, their pitch-and-toss by day,
Their robbery by night;
The wisdom of the people's gone,
How can the young go straight?
From mountain to mountain ride the fierce horsemen.
When every Sunday afternoon
On the Green Lands I walk
And wear a coat in fashion.
Memories of the talk
Of henwives and of queer old men
Brace me and make me strong;
There's not a pilot on the perch
Knows I have lived so long.
From mountain to mountain ride the fierce horsemen.

III
Come gather round me, players all:
Come praise Nineteen-Sixteen,
Those from the pit and gallery
Or from the painted scene
That fought in the Post Office
Or round the City Hall,
praise every man that came again,
Praise every man that fell.
From mountain to mountain ride the fierce horsemen.
Who was the first man shot that day?
The player Connolly,
Close to the City Hall he died;
Catriage and voice had he;
He lacked those years that go with skill,
But later might have been
A famous, a brilliant figure
Before the painted scene.
From mountain to mountain ride the fierce horsemen.
Some had no thought of victory
But had gone out to die
That Ireland's mind be greater,
Her heart mount up on high;
And yet who knows what's yet to come?
For patrick pearse had said
That in every generation
Must Ireland's blood be shed.
From mountain to mountain ride the fierce horsemen.
Indie Rodriguez Nov 2012
Fear burns; enlightenment is reborn.
Depression burns; pride is reborn.
Anxiety burns; confidence is reborn.
Anger burns; forgiveness is reborn.
Prejudice burns; compassion is reborn.

The ignition:
Love of knowledge.
Ignorance prevents
Love of self.
Self hatred prevents
Love of humanity.
Erenn Dec 2014
As I lie on pastures 
Along the grimes of these woods
Breathing in the morning dew
I feel awakened and anew
Past sins washed away like the streaming river
Wondering if I've live till forever.

But then I look up to you. 
Your face looks shiny and 
new. The angels are gathered 
around you with their harps 
and violins. Singing that I’m free 
of my past sins. I think this is 
the beginning of something 
beautiful and not the end. Hand 
me my pallet and set the canvas 
up for I will paint a portrait of us. 
While the winds ruffle through the 
curls of your hair and the leaves of
the big old oak tree. I try to speak 
up words of love but it almost seems 
that the morning dew has set a flood 
from within. Come over dear and rest 
your bones with me while I draw this
portrait using my blood and tears. Oh 
darling won’t you rest your bones over 
here next to me under this big old oak tree
.

Your beauty akin to the moon
Forever gleaming in her prowess
Shadows mortify at the thought of you
Your light begets hope thrusting miracles I've been praying all my life
Stay with me my dear as these woods as our witnesses 
We vow to be forever rooted from the veins to our beating hearts.
Now come closer dear and dance 
with the ventricles of my heart*
~
Erenn Italics
Carolin Bold
Our fifth collab!!!
I can't expressed more how amazing carolin is. I just sync with her in poetry. Really love doing collabs with her.
And I really love this piece!
Do like or repost guys:)
And check out her account:)
http://hellopoetry.com/carolin/
PrttyBrd Oct 2010
In an instant
The question is gone
Choices made
One action begets another
No turning back
We move in time
Lead by forces unseen
We pass each other
Perhaps only briefly
Perhaps for longer
Tiny acts of kindness
Heartfelt words
A hand reaches out
Grabs the heart
Expectation of the harsh
Receiving gentle strokes of caring
Words of wisdom shared
Hugs sent along
Unknown prayers answered
Gratitude and friendship
The depths of which remain untold
Yet moved to tears of thanks
Friends for an instant
Marks the soul eternally
Never to be forgotten
Only to be cherished
Always
copyright©PrttyBrd 15/10/2010
Blood Word Jul 2012
Words fall from mouths and die on the ground.
Lips turn sour from the filth pouring across them.
Ears clog up and hear what was never there.
Communication is a ritual each performs
To feel good about, to protect himself.
There was never anything to feel good about, to protect.

All feel the pull from their chest, the urges, desires.
They give in and never control it.
Haughty are they!
For they look to the heart for guidance
It laughs to itself and prances them around on puppet strings
(Cleverly named “heart strings”)
Gaining delight with each fall man makes.
He cannot remove the cords within.

Admiration has always been on “love”.
Hate is self-love, and that is lust.
Lust and love became one when man grabbed it.
Love is hate in its purest form, yet none ever see this.
They will forever hate, unwittingly.

When a pebble is falling through the sky,
It cannot stop itself.
So is man.
Flapping his arms to stop the fall.
Pulling up on his feet to fly.
Of course, they are only weak, and need to flap faster, pull harder.
The origin of East cannot be reached by walking “more East”.
Perfection cannot be achieved by trying harder.
And what are we if not perfect?
Falling. Like a pebble.

Man lives in a dark room.
He picks up shadows and throws them on the wall to improve his situation.
Black begets black. Evil begets evil.
No matter his feigned intentions, this is the way man kills himself.
I decided to write a poem refuting some of the major kinds of empty encouragement we receive from the media. What is assumed in this poem (but deliberately not clearly stated) is that this is man's condition without God. The media tells us we can do so much good if we only try, but they always fail to mention that good can only come from God, and man is hopeless without Him.

This poem was written July 06, 2012.
TLK May 2013
The atheist awoke clutching a nightmare of a new Messiah. This one would invoke terror and burning with such a simple message. Turning water into blood -- all the better to keep them sober -- so that the thickness would bond all men as brothers and all women as equals. And the Old Order would build crucifixes skyscraper tall, collecting clouds at the apex, because centuries of money begets power and power begets self-interest and self-interest begets a ruthless rage.
Ghazal Jun 2014
He used a nice word for it-
Emulate
"Oh! Look how her imagination glides
From glorious skies to
Eerie depths, no hesitation
Dropping from resounding thunder
To dead silence that shatters asunder
All that is sensate
And that, my friend,
Is what I'm trying to emulate!"

With such shameless eagerness
He shifted styles,
A form-changing, chameleon of a poet
Ever so often devouring a new set of words
Like rich, delicious wine
And fashioning his words into
The poetess' writing style,
And crooning with her tunes
For as long or short a while
As his lecherous dog of a heart pleased,
Then letting himself be afflicted
With yet another poetic disease.

I rolled my eyes, yet silently asked
Him- the Casanova of verse-
*When will you stop falling in love?
When will you stop drowning into
Another woman's words?
Think about me,
Struggling to keep up,
Changing tracks with you,
Climbing up and down
Ballads-Sonnets-Haikus-Epics-and free verse
With you,
Watching you enamoured by her,
Still trying to emulate you
For the most vain of reasons there is-
Hope.
Zero the Lyric Feb 2013
Galaxies, solar satellites, the very Earth and its plates.
Whatever matter spins the reality, each one rotates.
Every unique universe growing its own ebb and flow,
Same as an ocean shall pummel shores then pull undertow.
When is the time? Are you a counter of clockwork?

Backwater cementing a new variant of tributary,
Friends become fish in this river of machinery.
The roiling rubber current proves to combust with currency.
Success succumbs to numbers as the economist counts me.
When is the time? Are you a counter of clockwork?

Gingko trees employed rats until society's reaction
Assimilated this lineage and reset its traction.
A different dispersal mechanism does not merit lament,
The managed are mute within the worker's woeful testament.
When is the time? Are you a counter of clockwork?

Sometimes a quest of faith begets a set from a cartomancer,
What good would it do to bribe the tarot and fake her answer?
For doctrine to deprive a man of god's hero in himself,
To trial and tribute his death to ascend on our caste shelf.
When is the time? Are you a counter of clockwork?

Your cards at hand, as is any fact of fortune, are from you.
All around are landmarks to map your light, vibration, and hue.
A presence is an action amongst quintessential stage props,
Weathered roles rehearse their sonorous loves watching ripples drop.
When is the time? Are you a counter of clockwork?

Turbid fury has no footholds on the great movement in your mind,
Gears that we hear were once a pursuit to prosper as mankind.
To disarm the victim's rights and loosen all nooses may seem odd,
Yet Devil deviates design and is forgiven by God.
When is the time? Are you a counter of clockwork?

Cities yearn to scrape skies built on products at the world's splendor.
Though trinkets become trite as we glorify a greedy vendor.
How could one commend such a clear farce for the multitude?
Selling milk to children's bones while our livestock store false fortitude.
When is the time? Are you a counter of clockwork?

Lifespans expand within this ****** twilight of barbarism.
History obscures so we light turned pages with euphemism.
Often forgotten is that our memory is amorphous,
Generating our boldest fears and cheers to those beyond us.
When its the time? Are you a counter of clockwork?

Pessimism or optimism; are not rivals of ones structure
Secular submission denies despair's innate rupture
It is built by the hopeful to share love after given grace
To construct a profound unity above pride's titled race
When is the time? Are you a counter of clockwork?

We are taught to worry for unruly folk until weary.
Doctors like leaders treat symptoms not seeing sickness clearly.
They stress the distressed to disseminate imminent spines,
Shattering that last vestige of a will searching between lines.
When is the time? Are you a counter of clockwork?

The commandments should have demanded there always be one more,
As truth evolves in jollies or follies, being rich or poor.
Always a witness to your lemons that could squeeze a profit.
Limits can be more than second hands surpassing the minute.
When is the time? Are you a counter of clockwork?

Thus old cogs and smog of our familiar faculties rest
On the zealous peals of those who know at the hour of our best.
It is not easy to lift volition past sadness so steep.
As each day would raise a mile, we may grow to smile when we sleep
Now is the time, are you a counter or clockwise?
Abigail Madsen Jun 2014
I want to make the world a better place
but
Poverty is a disease on its own
the prerequisite to depression
U
S
A
only trying to stay
stay rich
and sway
sway money in front of those who are just out of its reach
and then they preach
“If we give handouts they wont know how to work and they will wait for us to do everything for them. it’s not our fault they ****** up their life, theirs.”
it’s their fault
nineteen year old mother
cares for 3 week old baby
“cut loose” for missing two nights on the street corner because she couldn’t handle selling her body when
when years from now
her daughter will call her mommy
and her **** will call her sloppy
and she
will look scrawny
and now as she puts 3 week old baby to sleep in her
cardboard box crib
and think to herself
“this is my fault, I couldn’t find any other work. So I had to sell her mother to nothing more than an object.”
well now that cardboard crib kid is
eighteen
and fresh out of school
fresh on the streets
fresh flesh enmeshed
tangled in the rich mans net
starting the cycle over again because
at eighteen
on her own
she cant afford college
at eighteen
on her own
even if she has the knowledge
at eighteen
living in the streets
at eighteen
pregnant
--------
Mommy wasn’t there when she took teenage boy in the ally for the first time
taught it was okay because they needed money
and she knew no better way
baby had nothing to say
baby just needed the pay
now there is no way
she now is her mother
and baby is now inside her
and poverty has tied her
and the government denied her
mother never to guide her
and as she lied down her her bed all she could think of is
maybe if I wasn’t so poor
the government might care about me
-------
future baby
cradled in the mind of loving mother
regretful for choice of father
hoping
“maybe this will all go away
maybe if I pray
I wont live another day”
Poverty a disease on its own
the prerequisite to depression
because
U
S
A
is the only country who has the
power
freedom and ability to change the poverty rates and chooses
to only offer jobs to those who own a house
instead of those who need them
ignored by those who could help
because they are the ones who need it
poverty is a disease
and you better believe it runs in the family
poverty begets poverty
believe me
I’m not suggesting communism
but when a man can have a ninety dollar glass of wine
but that eighteen year old can’t even afford to buy something to eat
Change is needed
people getting cheated
don’t tell me there is freedom
when I see how the poor are treated
not eating
they are human
and we pass by and ignore them like animals
tangible
pass by graves
candles
people killed by a government disease
leaving parents absent
children abandoned
and don’t tell me
there is nothing we can do
because seeing men live in 100 million dollar mansions
when someone out there
eighteen years old
is left with no more chances
chances are this wont change anything
but to stand by
and allow people to die
is ******
and poverty
is genocide
we can’t hide
the inequality
or when given the affordable health care policy
call it comedy
honestly
its time for an apology
and to stop the hypocrisy
because poverty is commonly
in large quantities
and logically
poverty shouldn’t be an unborn child’s prophecy
just because their a impoverished mothers progeny
doesn’t mean their life couldn’t be quality
so pardon me
while I speak audibly
when I say the government has no monopoly
on poverty
Francie Lynch Sep 2017
Death,
So cruel,
So kind,
Has taken my worries away;
The ones I wished would stay;
Worries, just memories.
I was left with my three,
So they obliged,
Now worries number five.
We know how worries grow,
They start so small, no worry at all,
Then they start to crawl.
We beget,
From their outset,
Worry.
Charlie Chirico Oct 2013
A vehement deity,
father of a carpenter,
and proprietor of creationism,
looked down upon his work,
both literally and figuratively.
When an ecosystem falls to the
egocentricity of man, a vessel
will be sought, and contained is
the righteousness of a mortal.

Serenity became inclination, and
with loss of the feminine beauty
came regret. For sin masqueraded
as black clouds, and whether
change occurs, torrential rain begets
growth in an environment. Wash over
the sins of the ******; what is current
can only be exposed as a fallacy when
revelation is prevalent,
and save for the innocent:
innocuous.

Even in Hell a cyprus tree would be
surrounded by wildflowers.
Noah knew not of damnation, and
with calloused hands raised to the sky,
a hammer came crashing down.

Not unlike stone tablets
etched with command,
the world lay on granite,
with a universal epitaph.
For Noah to ignore his destiny
would be blasphemous.
Brian Oarr Mar 2012
We sat in the overlook above the Serpent Mound
in the heat of that garish July afternoon,
sunlight scorching our pallid skin,
like rays through a magnifying glass,
till we could endure no more and
sought the shroud of skyscraper elms ---
halfway houses of leaf, bark and cellulose.
Minutes before we'd signed our names in the visitors book,
like giddy high-schoolers autographing a yearbook,
recording our wayward lover's sojourn
to a site the Hopewell worshipped in celebration of existence.

For what purpose do we worship this ground?
I wondered as we walked beside the curving icon,
that undulated in rolled earthen coils down the *****,
sine-waves loosed from a colossal oscilloscope.
Are these coils symbolic of our future's meandering relationship?
Her exploring hand upon my ****
drew me from thought to evaluation of this unexpected caress.
But for the heat, I'd have shown her what idle foreplay begets!
Great Serpent, this was not Eden's carnal karma
acted out in a second Genesis!
---
though a symbolic egg spews from your mouth.
Austine May 2014
Feather painted with gray
by the unlicensed hand of her lover.
She’s the beauty beyond
as his eyes stared longingly at her.
But she’s weary of the gray
and scared of his glare.
Still he painted until
the other colors decayed away.
"Ah, you were so happy, honey,
I just had to give you a little misery.”
And she never turned blue
ever again.
I precariously teeter in the morning air...
And happen chance does find me there...
On breeze...on edge...I ride the waves...
Of sunlight through the morning haze...
In noonday's glow I drift abroad...
Subdued by warmth my spirit nod's...
I search for bliss on evenings air...
It sweeps me swiftly from my cares...
Then night sweet night extends it's hand...
Invites me to another land...
Extract the stars one by one...bundle them and I'm undone...
Lasso the moon...pull it near...
A glow that has become so Dear...
Cheek to cheek...dance of delight...
Oh how indeed I love my night...who knew that it could hold such light?
And I am now the captured one...it holds me...it's forgotten sun...
And Glow begets glow begets glow...
© Nancy McGinnis - Roberts 2013
Julie Butler May 2014
Stand up for what?
To collapse back down
my ankles turn to water
whenever you're around
I can't stand up
when i don't know what i stand for
like my brain is in the clouds
but my heart is on the **** floor
or a platform
my face is in a sandstorm
and i can't form words
with my lips between your teeth
our bodies now declare war
and my throat begets a siren
that your backbones can't ignore
your shoulders hold me down
while i beg for
just
a
little
bit
more
1213

We like March.
His Shoes are Purple—
He is new and high—
Makes he Mud for Dog and Peddler.
Makes he Forests dry.
Knows the Adder Tongue his coming
And presents her Spot—
Stands the Sun so close and mighty
That our Minds are hot.

News is he of all the others—
Bold it were to die
With the Blue Birds exercising
On his British Sky.

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

 
And so, with his presentation at a close, he thanks singer and pianist and retreats to his strategically safe seat. This is what he came for, pour l’encouragement des autres by puttin.g himself on the line, that tightrope the composer walks when presenting a new work. They will have to trust him, and he has to trust them, and that, he knows, is some way away. This is not a dramatic work. Its drama is an interior one. It is a love story. It is about the friendship of artists and about their world. It is a tableau that represents a time in European culture that we are possibly only now beginning to understand as we crowd out Tate Modern to view Picasso, Mondrian, Braque and Brancusi.
The novelty of it all
Something for nothing
After busting yourself for years
The satisfaction of getting
Something back wears off
Your patience wears thin as
Boredom absorbs all ambitions
The novel lies unrealised
The lust for new language and adventure
Lost
Nothing will come of nothing
Empty.
Fatigue.
Wasted time.
Begets begets begotten
Surviving but not living.

— The End —