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Iska Oct 2017
A puppet girl, all dressed up, with painted lips and lined eyes, stands on her toes as she spins and glides.
Guided by her puppet strings she swirls and twirls around the ring.
Round and round this dusty stage she gets up and dances day after day.
The hands that hold her gentle yet firm show her just how much she must learn.
The hands grow fierce, music harsh,as they pull and push her into a perfect arch.
A string then snaps, poor puppet goes loose, abandoned and alone as they tie her a noose.
A puppet girl, all banged up, with chipped paint and bleary eyes, slumps alone as she starts to cry.
Musical laughter fills the ring, as she hears someone begin to sing.
Clanking clattering across the stage, she drags her limbs out of her cage.
She topples and falls tangled in string, trying to find the source of the singing.
Kneeling before her, with beautiful wings, is another girl living her dreams.
A puppet girl, just like her, moving with ease, unburdened by the need for strings.
"Are you an angel?" she rubs her eyes trying to see if this girl is a lie.
the girl before her smooths over her dress, before gliding into a curtsy and saying "yes."
"I wish to be an angel like you, then I could be free to move."
The angel tilts her head, her smile sly, before opening her mouth to reply,
"As you wish it, it shall be so."
then with terrible grace and ease, she cuts off the strings...
and with it she holds the Poor Puppet Girl's head,
her body lays crumpled up,
shes.... dead.
"Shh." she whispers as she cradles the head,
she spins and glides claiming shes been naughty,
and attaches the puppet girls head on an angels body.
And as the puppet girl blinks her eyes,
she realizes she's back to life.
in a form now free of strings,
she can dance and spin as she may please.
then she sees her body crumpled where it now lies,
and with a shuddering sob she begins to cry.
the angel takes her hand in hers
and with a crazy smile and mad glint in her eyes
she starts to sing:
"hush little one,
now we are the same.
don't worry baby,
no more pain.
Now listen to me child,
let blood fall like blissful rain,
and we shall free those who remain,
free them from these awful chains."
beware the puppet masters.
for they will drive the puppets to the edge of the stage,
until they snap,
and the puppets lie dead
on top of the body pile.
Megan L Oct 2015
Nothing compares
To shaking on top of an old
Broken down windmill
With you.

Nothing compares
To silent summers
Sweating in the sweltering heat
Of love.

Nothing compares
To bright blue brick walls
Bringing about a brightening of bleary bland feelings.

Nothing compares
To dark auburn dreams
Drifting down my darling's cheek.

Nothing compares
To radical rants
On ruined romances
raining rivulets of righteousness
Upon those rotten adolescents.

Nothing compares
To myriads of murals
Of most moved men
Materializing
Meandering
In the fields below.

Nothing compares
To falling flat to fear
Fretting and fanning
To finish off
This fantasy.
#t #k
Maria Rose Aug 2012
crushed up
our love, a cloud in the air
like the death of a moth
crumpled in a child's palm,
all passion, all blood
turned to dust

in my heart an absence,
memories snatched;
little silk pieces strung like spider webs
across my chest:
amnesiac
you sob red rain
for love's lack, nothing left
except
that stabbing pain.

But in this bleary life there's billions
left to gain.
Stuck in my head like music,
like lyrics that flow and move
and have meaning.
Like lines from a movie, that
voice is so clear.
over and over in loops,
cartwheeling between my
hemispheres, until,
bleary-eyed,
I rise before the sun, not
exhausted
but
excited!

Wanting more; hungering after it.
Surely it will come;
Surely I can appease my anticipation with some fanciful dream
or maybe the passing of time
will help to curb the realized enthusiasm.

But when poetry flows so
freely and necessarily from
my pen, such energy
cannot be destroyed, so much as
misdirected.
Michael Briefs Aug 2017
I.
The black ruin exploded
on that cold night,
A drenching rain hid a peril,
unseen.
With lighting strikes
a thunderous white,
we drove in that hour late,
lost and wandering.
The dark road
stretched like a tight rope,
with twisted, wooded boughs
cloaked around.  
We searched the thick shadows
and kept hope,
but chaos is all we found.
Praying for safe passage,
clutching the wheel in fear,  
clinging to the way forward,
but the way was still unclear…
Suddenly
the elements flashed a
dagger of jagged disaster --  
we veered violently,
with vertiginous swerve and swallow.
sheer horror revealed
a visage, eviscerated –
eyes of deep pitch
and bone, hollow.  
Broke and black marrow, portends
no tomorrow;
shattering glass,
splintering wood,
shredding tires,
spilling blood.
Both of us cast into crushing trauma.
…I faded into a murk of the mind,
of Stygian sentience,
slipping beyond, resigned…

II.
Emerging back from a
wild twilight,
where I lingered,
drifting in a diffuse dusk
of a subconscious
dream…
with a flood
of shock sensations!
I awoke to a world of
twisted metal and wicked pain,
extreme.
…“This is really happening?!”
flashed across my mind,
as I struggled to free myself from
the maw of debris.
I could not tell the time or location
of place or friend, but there came
flashing lights and helpful
souls, rushing to attend.
In and out of temporal existence,
my eyes dreary --
heart beat shallow,
impressions of
people and rooms
were bleary.
Numb in my safety,
skating on the surface of an
induced calm, I thought,
“I am in their care.  I can only let go and
let someone else steer.”  
But I waver to explore
the depths of the well
in which I fell;
I can’t yet grasp what transpired,
and I recoil from the traps --
I resist,
I deny,
I withdraw,
I collapse.  

III.
The wet, dark, twisted
walls rise,
reaching high
and ringed around.
she sheltering shock
subsides, and in this
well of pain I drown.
It was only after many hours,
from the moment of
impact,
the difficult work
finally began.
To try to come to terms with
the meaning of this hard fact,
to wash the fear from my heart
and the blood from my hands.
With bracing clarity
I realized
how close to death
I had wandered.
All that my life stood for
and meant was crystallized,
and yet
there was so much weakness
and Fear I had not
conquered.
…And the tears rained down,
drenching my face…
I reeled in despair, clutching
in anguish at the reality,
my mind was white
with grief.
My short life had conceived no honor,
no art,
no lasting vitality!
A legacy of wisdom and
love was imperiled,
nearly stolen by that
phantasmal and cloaked thief.  

IV.
Reaching out through the tears,
calling on my savior for help,
I cried out for a way through
the shadow, clinging to
a hope.
Through the blur
of hot sadness came
a human face, with eyes
sending love, healing, empathy, and care…
Her voice and presence was
as an angel from above.
Her tender heart
struck like a thunderbolt
of compassion.  
I was instantly drawn out
from the deathly well,
and the darkness was
dissolved;
I was saved from Hell.  
this Motherly embrace
came and whispered soft
words of consolation,
as she held my soul aloft.  
I felt my hope
returning, I saw my
life revived.
This dawn,
I was thankful that
from black ruin
I survived.
This is auto-biographical.
LDuler Mar 2013
Sugar and spice
And everything nice
A delicate blush, a secret crush
Rings, white wings and other fine things
Ribbons and laces, tender embraces
Elegant grace and a sweet pretty face
Cheeks of pink, colorful drinks
Holding hands and fluttering fans
Smiles sweet, small and petite
Soft, luscious hair and a whispered prayer
Ballroom dancing, timid glancing

Liqueur and ****
Jealousy, greed
In dark rooms, kneeling and wasted
Under the sheets, squealing, getting tasted
Smeared lipstick, hair mussed, no longer slick
Bleary red lips, curvy hips
Tattoos and lingerie see-through
Heavy petting, getting drunk and forgetting
Ripped tights, endless nights
Coke and hazy smoke
Expensive drugs and sweaty hugs
Twisted lies, glazed eyes,
Strong musky perfumes, dark rooms
Sketchy guys, spread thighs
Broken trust, humid lust
Mindless fornication, empty stimulation,
With bated respiration, nothing but degradation
*****-cherry shots and hazy thoughts
Dancing, grinding, lights all blinding
Backstabbing, hands jabbing
Dark magic, endings tragic
Secrets revealed, wounds opened or healed
Girls by Geneviève Pardoe Macchiarella is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Michael R Burch Apr 2020
Poems about Leaves and Leave Taking (i.e., leaving friends and family, loss, death, parting, separation, divorce, etc.)


Leave Taking
by Michael R. Burch

Brilliant leaves abandon
battered limbs
to waltz upon ecstatic winds
until they die.

But the barren and embittered trees
lament the frolic of the leaves
and curse the bleak
November sky.

Now, as I watch the leaves'
high flight
before the fading autumn light,
I think that, perhaps, at last I may

have learned what it means to say
"goodbye."

Published by The Lyric, Mindful of Poetry, There is Something in the Autumn (anthology). Keywords/Tags: autumn, leaves, fall, falling, wind, barren, trees, goodbye, leaving, farewell, separation, age, aging, mortality, death, mrbepi, mrbleave

This poem started out as a stanza in a much longer poem, "Jessamyn's Song," which dates to around age 14 or 15, or perhaps a bit later. But I worked on the poem several times over the years until it was largely finished in 1978. I am sure of the completion date because that year the poem was included in my first large poetry submission manuscript for a chapbook contest.



Autumn Conundrum
by Michael R. Burch

It's not that every leaf must finally fall,
it's just that we can never catch them all.

Originally published by The Neovictorian/Cochlea, this poem has since been translated into Russian, Macedonian, Turkish, Arabic and Romanian.



Something

for the children of the Holocaust and the Nakba

Something inescapable is lost—
lost like a pale vapor curling up into shafts of moonlight,
vanishing in a gust of wind toward an expanse of stars
immeasurable and void.

Something uncapturable is gone—
gone with the spent leaves and illuminations of autumn,
scattered into a haze with the faint rustle of parched grass
and remembrance.

Something unforgettable is past—
blown from a glimmer into nothingness, or less,
which finality swept into a corner... where it lies
in dust and cobwebs and silence.

Published by There is Something in the Autumn, The Eclectic Muse, Setu, FreeXpression, Life and Legends, Poetry Super Highway, Poet's Corner, Promosaik, Better Than Starbucks and The Chained Muse. Also translated into Romanian by Petru Dimofte, into Turkish by Nurgül Yayman, turned into a YouTube video by Lillian Y. Wong, and used by the Windsor Jewish Community Centre during a candle-lighting ceremony



Leaf Fall
by Michael R. Burch

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

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

Originally published by The Neovictorian/Cochlea



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

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

Originally published by Measure



Flight
by Michael R. Burch

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

Originally published by Hibiscus (India)



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

"****** most foul! "
cried the mouse to the owl.

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

Published by Lighten Upand in Potcake Chapbook #7



escape!

for anaïs vionet

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

Published by Andwerve and Bewildering Stories



Love Has a Southern Flavor

Love has a Southern flavor: honeydew,
ripe cantaloupe, the honeysuckle's spout
we tilt to basking faces to breathe out
the ordinary, and inhale perfume...

Love's Dixieland-rambunctious: tangled vines,
wild clematis, the gold-brocaded leaves
that will not keep their order in the trees,
unmentionables that peek from dancing lines...

Love cannot be contained, like Southern nights:
the constellations' dying mysteries,
the fireflies that hum to light, each tree's
resplendent autumn cape, a genteel sight...

Love also is as wild, as sprawling-sweet,
as decadent as the wet leaves at our feet.

Published by The Lyric, Contemporary Sonnet, The Eclectic Muse, Better Than Starbucks, The Chained Muse, Setu (India) , Victorian Violet Press and Trinacria



Daredevil
by Michael R. Burch

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

Daredevil, dry your eyes.

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

Daredevil, dry your eyes.

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

Daredevil, dry your eyes.

There were nights our hearts conceived
dawns’ indiscriminate sighs.
To dream was our consolation.

Daredevil, dry your eyes.

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

Daredevil, dry your eyes.

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

Daredevil, dry your eyes.

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

Daredevil, dry your eyes.



Talent
by Michael R. Burch

for Kevin Nicholas Roberts

I liked the first passage
of her poem―where it led
(though not nearly enough
to retract what I said.)
Now the book propped up here
flutters, scarcely half read.
It will keep.
Before sleep,
let me read yours instead.

There's something like love
in the rhythms of night
―in the throb of streets
where the late workers drone,
in the sounds that attend
each day’s sad, squalid end―
that reminds us: till death
we are never alone.

So we write from the hearts
that will fail us anon,
words in red
truly bled
though they cannot reveal
whence they came,
who they're for.
And the tap at the door
goes unanswered. We write,
for there is nothing more
than a verse,
than a song,
than this chant of the blessed:
"If these words
be my sins,
let me die unconfessed!
Unconfessed, unrepentant;
I rescind all my vows!"
Write till sleep:
it’s the leap
only Talent allows.



Davenport Tomorrow
by Michael R. Burch

Davenport tomorrow ...
all the trees stand stark-naked in the sun.

Now it is always summer
and the bees buzz in cesspools,
adapted to a new life.

There are no flowers,
but the weeds, being hardier,
have survived.

The small town has become
a city of millions;
there is no longer a sea,
only a huge sewer,
but the children don't mind.

They still study
rocks and stars,
but biology is a forgotten science ...
after all, what is life?

Davenport tomorrow ...
all the children murmur through vein-streaked gills
whispered wonders of long-ago.



Desdemona
by Michael R. Burch

Though you possessed the moon and stars,
you are bound to fate and wed to chance.
Your lips deny they crave a kiss;
your feet deny they ache to dance.
Your heart imagines wild romance.

Though you cupped fire in your hands
and molded incandescent forms,
you are barren now, and―spent of flame―
the ashes that remain are borne
toward the sun upon a storm.

You, who demanded more, have less,
your heart within its cells of sighs
held fast by chains of misery,
confined till death for peddling lies―
imprisonment your sense denies.

You, who collected hearts like leaves
and pressed each once within your book,
forgot. None―winsome, bright or rare―
not one was worth a second look.
My heart, as others, you forsook.

But I, though I loved you from afar
through silent dawns, and gathered rue
from gardens where your footsteps left
cold paths among the asters, knew―
each moonless night the nettles grew

and strangled hope, where love dies too.

Published by Penny Dreadful, Carnelian, Romantics Quarterly, Grassroots Poetry and Poetry Life & Times



Ordinary Love
by Michael R. Burch

Indescribable—our love—and still we say
with eyes averted, turning out the light,
"I love you," in the ordinary way

and tug the coverlet where once we lay,
all suntanned limbs entangled, shivering, white ...
indescribably in love. Or so we say.

Your hair's blonde thicket now is tangle-gray;
you turn your back; you murmur to the night,
"I love you," in the ordinary way.

Beneath the sheets our hands and feet would stray
to warm ourselves. We do not touch despite
a love so indescribable. We say

we're older now, that "love" has had its day.
But that which Love once countenanced, delight,
still makes you indescribable. I say,
"I love you," in the ordinary way.

Winner of the 2001 Algernon Charles Swinburne poetry contest; published by The Lyric, Romantics Quarterly, Mandrake Poetry Review, Carnelian, Poem Kingdom, Net Poetry and Art Competition, Famous Poets and Poems, FreeXpression, PW Review, Poetic Voices, Poetry Renewal and Poetry Life & Times



Are You the Thief
by Michael R. Burch

When I touch you now,
O sweet lover,
full of fire,
melting like ice
in my embrace,

when I part the delicate white lace,
baring pale flesh,
and your face
is so close
that I breathe your breath
and your hair surrounds me like a wreath...

tell me now,
O sweet, sweet lover,
in good faith:
are you the thief
who has stolen my heart?

Originally published as “Baring Pale Flesh” by Poetic License/Monumental Moments



At Tintagel
by Michael R. Burch

That night,
at Tintagel,
there was darkness such as man had never seen...
darkness and treachery,
and the unholy thundering of the sea...

In his arms,
who is to say how much she knew?
And if he whispered her name...
"Ygraine"
could she tell above the howling wind and rain?

Could she tell, or did she care,
by the length of his hair
or the heat of his flesh,...
that her faceless companion
was Uther, the dragon,

and Gorlois lay dead?

Originally published by Songs of Innocence, then subsequently by Celtic Twilight, Fables, Fickle Muses and Poetry Life & Times



Isolde's Song
by Michael R. Burch

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

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

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

Originally published by The Raintown Review



The Wild Hunt
by Michael R. Burch

Near Devon, the hunters appear in the sky
with Artur and Bedwyr sounding the call;
and the others, laughing, go dashing by.
They only appear when the moon is full:

Valerin, the King of the Tangled Wood,
and Valynt, the goodly King of Wales,
Gawain and Owain and the hearty men
who live on in many minstrels' tales.

They seek the white stag on a moonlit moor,
or Torc Triath, the fabled boar,
or Ysgithyrwyn, or Twrch Trwyth,
the other mighty boars of myth.

They appear, sometimes, on Halloween
to chase the moon across the green,
then fade into the shadowed hills
where memory alone prevails.

Originally published by Celtic Twilight, then by Celtic Lifestyles and Auldwicce



Morgause's Song
by Michael R. Burch

Before he was my brother,
he was my lover,
though certainly not the best.

I found no joy
in that addled boy,
nor he at my breast.

Why him? Why him?
The years grow dim.
Now it's harder and harder to say...

Perhaps girls and boys
are the god's toys
when the skies are gray.

Originally published by Celtic Twilight as "The First Time"



Pellinore's Fancy
by Michael R. Burch

What do you do when your wife is a nag
and has sworn you to hunt neither fish, fowl, nor stag?
When the land is at peace, but at home you have none,
Is that, perchance, when... the Questing Beasts run?



The Last Enchantment
by Michael R. Burch

Oh, Lancelot, my truest friend,
how time has thinned your ragged mane
and pinched your features; still you seem
though, much, much changed—somehow unchanged.

Your sword hand is, as ever, ready,
although the time for swords has passed.
Your eyes are fierce, and yet so steady
meeting mine... you must not ask.

The time is not, nor ever shall be.
Merlyn's words were only words;
and now his last enchantment wanes,
and we must put aside our swords...



Northern Flight: Lancelot's Last Love Letter to Guinevere
by Michael R. Burch

"Get thee to a nunnery..."

Now that the days have lengthened, I assume
the shadows also lengthen where you pause
to watch the sun and comprehend its laws,
or just to shiver in the deepening gloom.

But nothing in your antiquarian eyes
nor anything beyond your failing vision
repeals the night. Religion's circumcision
has left us worlds apart, but who's more wise?

I think I know you better now than then—
and love you all the more, because you are
... so distant. I can love you from afar,
forgiving your flight north, far from brute men,
because your fear's well-founded: God, forbid,
was bound to fail you here, as mortals did.

Originally published by Rotary Dial



Lance-Lot
by Michael R. Burch

Preposterous bird!
Inelegant! Absurd!

Until the great & mighty heron
brandishes his fearsome sword.



Truces
by Michael R. Burch

We must sometimes wonder if all the fighting related to King Arthur and his knights was really necessary. In particular, it seems that Lancelot fought and either captured or killed a fairly large percentage of the population of England. Could it be that Arthur preferred to fight than stay at home and do domestic chores? And, honestly now, if he and his knights were such incredible warriors, who would have been silly enough to do battle with them? Wygar was the name of Arthur's hauberk, or armored tunic, which was supposedly fashioned by one Witege or Widia, quite possibly the son of Wayland Smith. The legends suggest that Excalibur was forged upon the anvil of the smith-god Wayland, who was also known as Volund, which sounds suspiciously like Vulcan...

Artur took Cabal, his hound,
and Carwennan, his knife,
    and his sword forged by Wayland
    and Merlyn, his falcon,
and, saying goodbye to his sons and his wife,
he strode to the Table Rounde.

"Here is my spear, Rhongomyniad,
and here is Wygar that I wear,
    and ready for war,
    an oath I foreswore
to fight for all that is righteous and fair
from Wales to the towers of Gilead."

But none could be found to contest him,
for Lancelot had slewn them, forsooth,
so he hastened back home, for to rest him,
till his wife bade him, "Thatch up the roof! "

Originally published by Neovictorian/Cochlea, then by Celtic Twilight



Midsummer-Eve
by Michael R. Burch

What happened to the mysterious Tuatha De Danann, to the Ban Shee (from which we get the term "banshee") and, eventually, to the druids? One might assume that with the passing of Merlyn, Morgause and their ilk, the time of myths and magic ended. This poem is an epitaph of sorts.

In the ruins
of the dreams
and the schemes
of men;

when the moon
begets the tide
and the wide
sea sighs;

when a star
appears in heaven
and the raven
cries;

we will dance
and we will revel
in the devil's
fen...

if nevermore again.

Originally published by Penny Dreadful



The Pictish Faeries
by Michael R. Burch

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

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



The Kiss of Ceridwen
by Michael R. Burch

The kiss of Ceridwen
I have felt upon my brow,
and the past and the future
have appeared, as though a vapor,
mingling with the here and now.

And Morrigan, the Raven,
the messenger, has come,
to tell me that the gods, unsung,
will not last long
when the druids' harps grow dumb.



Merlyn, on His Birth
by Michael R. Burch

Legend has it that Zephyr was an ancestor of Merlin. In this poem, I suggest that Merlin was an albino, which might have led to claims that he had no father, due to radical physical differences between father and son. This would have also added to his appearance as a mystical figure. The reference to Ursa Major, the bear, ties the birth of Merlin to the future birth of Arthur, whose Welsh name ("Artos" or "Artur") means "bear." Morydd is another possible ancestor of Merlin's. In Welsh names "dd" is pronounced "th."

I was born in Gwynedd,
or not born, as some men claim,
and the Zephyr of Caer Myrrdin
gave me my name.

My father was Madog Morfeyn
but our eyes were never the same,
nor our skin, nor our hair;
for his were dark, dark
—as our people's are—
and mine were fairer than fair.

The night of my birth, the Zephyr
carved of white stone a rune;
and the ringed stars of Ursa Major
outshone the cool pale moon;
and my grandfather, Morydd, the seer
saw wheeling, a-gyre in the sky,
a falcon with terrible yellow-gold eyes
when falcons never fly.



Merlyn's First Prophecy
by Michael R. Burch

Vortigern commanded a tower to be built upon Snowden,
but the earth would churn and within an hour its walls would cave in.

Then his druid said only the virginal blood of a fatherless son,
recently shed, would ever hold the foundation.

"There is, in Caer Myrrdin, a faery lad, a son with no father;
his name is Merlyn, and with his blood you would have your tower."

So Vortigern had them bring the boy, the child of the demon,
and, taciturn and without joy, looked out over Snowden.

"To **** a child brings little praise, but many tears."
Then the mountain slopes rang with the brays of Merlyn's jeers.

"Pure poppycock! You fumble and bumble and heed a fool.
At the base of the rock the foundations crumble into a pool! "

When they drained the pool, two dragons arose, one white and one red,
and since the old druid was blowing his nose, young Merlyn said:

"Vortigern is the white, Ambrosius the red; now, watch, indeed."
Then the former died as the latter fed and Vortigern peed.

Published by Celtic Twilight



It Is Not the Sword!
by Michael R. Burch

This poem illustrates the strong correlation between the names that appear in Welsh and Irish mythology. Much of this lore predates the Arthurian legends, and was assimilated as Arthur's fame (and hyperbole)grew. Caladbolg is the name of a mythical Irish sword, while Caladvwlch is its Welsh equivalent. Caliburn and Excalibur are later variants.

"It is not the sword,
but the man, "
said Merlyn.
But the people demanded a sign—
the sword of Macsen Wledig,
Caladbolg, the "lightning-shard."

"It is not the sword,
but the words men follow."
Still, he set it in the stone
—Caladvwlch, the sword of kings—
and many a man did strive, and swore,
and many a man did moan.

But none could budge it from the stone.

"It is not the sword
or the strength, "
said Merlyn,
"that makes a man a king,
but the truth and the conviction
that ring in his iron word."

"It is NOT the sword! "
cried Merlyn,
crowd-jostled, marveling
as Arthur drew forth Caliburn
with never a gasp,
with never a word,

and so became their king.



Uther's Last Battle
by Michael R. Burch

When Uther, the High King,
unable to walk, borne upon a litter
went to fight Colgrim, the Saxon King,
his legs were weak, and his visage bitter.
"Where is Merlyn, the sage?
For today I truly feel my age."

All day long the battle raged
and the dragon banner was sorely pressed,
but the courage of Uther never waned
till the sun hung low upon the west.
"Oh, where is Merlyn to speak my doom,
for truly I feel the chill of the tomb."

Then, with the battle almost lost
and the king besieged on every side,
a prince appeared, clad all in white,
and threw himself against the tide.
"Oh, where is Merlyn, who stole my son?
For, truly, now my life is done."

Then Merlyn came unto the king
as the Saxons fled before a sword
that flashed like lightning in the hand
of a prince that day become a lord.
"Oh, Merlyn, speak not, for I see
my son has truly come to me.

And today I need no prophecy
to see how bright his days will be."
So Uther, then, the valiant king
met his son, and kissed him twice—
the one, the first, the one, the last—
and smiled, and then his time was past.



Small Tales
by Michael R. Burch

According to legend, Arthur and Kay grew up together in Ector's court, Kay being a few years older than Arthur. Borrowing from Mary Stewart, I am assuming that Bedwyr (later Anglicized to Bedivere)might have befriended Arthur at an early age. By some accounts, Bedwyr was the original Lancelot. In any case, imagine the adventures these young heroes might have pursued (or dreamed up, to excuse tardiness or "lost" homework assignments). Manawydan and Llyr were ancient Welsh gods. Cath Pulag was a monstrous, clawing cat. ("Sorry teach! My theme paper on Homer was torn up by a cat bigger than a dragon! And meaner, too! ")Pen Palach is more or less a mystery, or perhaps just another old drinking buddy with a few good beery-bleary tales of his own. This poem assumes that many of the more outlandish Arthurian legends began more or less as "small tales, " little white lies which simply got larger and larger with each retelling. It also assumes that most of these tales came about just as the lads reached that age when boys fancy themselves men, and spend most of their free time drinking and puking...

When Artur and Cai and Bedwyr
were but scrawny lads
they had many a ***** adventure
in the still glades
of Gwynedd.
When the sun beat down like an oven
upon the kiln-hot hills
and the scorched shores of Carmarthen,
they went searching
and found Manawydan, the son of Llyr.
They fought a day and a night
with Cath Pulag (or a screeching kitten),
rousted Pen Palach, then drank a beer
and told quite a talltale or two,
till thems wasn't so shore which'un's tails wus true.

And these have been passed down to me, and to you.



The Song of Amergin
by Michael R. Burch

Amergin is, in the words of Morgan Llywelyn, "the oldest known western European poet." Robert Graves said: "English poetic education should, really, begin not with The Canterbury Tales, not with the Odyssey, not even with Genesis, but with the Song of Amergin." Amergin was one of the Milesians, or sons of Mil: Gaels who invaded Ireland and defeated the mysterious Tuatha De Danann, thereby establishing a Celtic beachhead, not only on the shores of the Emerald Isle, but also in the annals of Time and Poetry.

He was our first bard
and we feel in his dim-remembered words
the moment when Time blurs...

and he and the Sons of Mil
heave oars as the breakers mill
till at last Ierne—green, brooding—nears,

while Some implore seas cold, fell, dark
to climb and swamp their flimsy bark
... and Time here also spumes, careers...

while the Ban Shee shriek in awed dismay
to see him still the sea, this day,
then seek the dolmen and the gloam.



Stonehenge
by Michael R. Burch

Here where the wind imbues life within stone,
I once stood
and watched as the tempest made monuments groan
as though blood
boiled within them.

Here where the Druids stood charting the stars
I can tell
they longed for the heavens... perhaps because
hell
boiled beneath them?



The Celtic Cross at Île Grosse
by Michael R. Burch

"I actually visited the island and walked across those mass graves of 30, 000 Irish men, women and children, and I played a little tune on me whistle. I found it very peaceful, and there was relief there." - Paddy Maloney of The Chieftans

There was relief there,
and release,
on Île Grosse
in the spreading gorse
and the cry of the wild geese...

There was relief there,
without remorse
when the tin whistle lifted its voice
in a tune of artless grief,
piping achingly high and longingly of an island veiled in myth.
And the Celtic cross that stands here tells us, not of their grief,
but of their faith and belief—
like the last soft breath of evening lifting a fallen leaf.

When ravenous famine set all her demons loose,
driving men to the seas like lemmings,
they sought here the clemency of a better life, or death,
and their belief in God gave them hope, a sense of peace.

These were proud men with only their lives to owe,
who sought the liberation of a strange new land.
Now they lie here, ragged row on ragged row,
with only the shadows of their loved ones close at hand.

And each cross, their ancient burden and their glory,
reflects the death of sunlight on their story.

And their tale is sad—but, O, their faith was grand!



At Cædmon's Grave
by Michael R. Burch

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

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

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

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

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

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

Originally published by The Lyric



faith(less), a coronavirus poem
by Michael R. Burch

Those who believed
and Those who misled
lie together at last
in the same narrow bed

and if god loved Them more
for Their strange lack of doubt,
he kept it well hidden
till he snuffed Them out.



Habeas Corpus
by Michael R. Burch

from “Songs of the Antinatalist”

I have the results of your DNA analysis.
If you want to have children, this may induce paralysis.
I wish I had good news, but how can I lie?
Any offspring you have are guaranteed to die.
It wouldn’t be fair—I’m sure you’ll agree—
to sentence kids to death, so I’ll waive my fee.



Villanelle: Hangovers
by Michael R. Burch

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

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

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

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

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

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



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

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



Haunted
by Michael R. Burch

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

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

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

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

Published by Romantics Quarterly



Have I been too long at the fair?
by Michael R. Burch

Have I been too long at the fair?
The summer has faded,
the leaves have turned brown;
the Ferris wheel teeters ...
not up, yet not down.
Have I been too long at the fair?

This is one of my earliest poems, written around age 14-15 when we were living with my grandfather in his house on Chilton Street, within walking distance of the Nashville fairgrounds. I remember walking to the fairgrounds, stopping at a Dairy Queen along the way, and swimming at a public pool. But I believe the Ferris wheel only operated during the state fair. So my “educated guess” is that this poem was written during the 1973 state fair, or shortly thereafter. I remember watching people hanging suspended in mid-air, waiting for carnies to deposit them safely on terra firma again.



Insurrection
by Michael R. Burch

She has become as the night—listening
for rumors of dawn—while the dew, glistening,
reminds me of her, and the wind, whistling,
lashes my cheeks with its soft chastening.

She has become as the lights—flickering
in the distance—till memories old and troubling
rise up again and demand remembering ...
like peasants rebelling against a mad king.

Originally published by The Chained Muse



Success
by Michael R. Burch

for Jeremy

We need our children to keep us humble
between toast and marmalade;

there is no time for a ticker-tape parade
before bed, no award, no bright statuette

to be delivered for mending skinned knees,
no wild bursts of approval for shoveling snow.

A kiss is the only approval they show;
to leave us―the first great success they achieve.



Sappho's Lullaby
by Michael R. Burch

for Jeremy

Hushed yet melodic, the hills and the valleys
sleep unaware of the nightingale's call,
while the pale calla lilies lie
listening,
glistening . . .
this is their night, the first night of fall.

Son, tonight, a woman awaits you;
she is more vibrant, more lovely than spring.
She'll meet you in moonlight,
soft and warm,
all alone . . .
then you'll know why the nightingale sings.

Just yesterday the stars were afire;
then how desire flashed through my veins!
But now I am older;
night has come,
I’m alone . . .
for you I will sing as the nightingale sings.

NOTE: The calla lily symbolizes beauty, purity, innocence, faithfulness and true devotion. According to Greek mythology, when the Milky Way was formed by the goddess Hera’s breast milk, the drops that fell to earth became calla lilies.



The People Loved What They Had Loved Before
by Michael R. Burch

We did not worship at the shrine of tears;
we knew not to believe, not to confess.
And so, ahemming victors, to false cheers,
we wrote off love, we gave a stern address
to things that we disapproved of, things of yore.
And the people loved what they had loved before.

We did not build stone monuments to stand
six hundred years and grow more strong and arch
like bridges from the people to the Land
beyond their reach. Instead, we played a march,
pale Neros, sparking flames from door to door.
And the people loved what they had loved before.

We could not pipe of cheer, or even woe.
We played a minor air of Ire (in E).
The sheep chose to ignore us, even though,
long destitute, we plied our songs for free.
We wrote, rewrote and warbled one same score.
And the people loved what they had loved before.

At last outlandish wailing, we confess,
ensued, because no listeners were left.
We built a shrine to tears: our goddess less
divine than man, and, like us, long bereft.
We stooped to love too late, too Learned to *****.
And the people loved what they had loved before.



Piercing the Shell
by Michael R. Burch

If we strip away all the accouterments of war,
perhaps we’ll discover what the heart is for.



Premonition
by Michael R. Burch

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

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

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

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

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

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

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

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



Survivors
by Michael R. Burch

for the victims and survivors of 9/11 and their families

In truth, we do not feel the horror
of the survivors,
but what passes for horror:

a shiver of “empathy.”

We too are “survivors,”
if to survive is to snap back
from the sight of death

like a turtle retracting its neck.



Child of 9-11
by Michael R. Burch

a poem for Christina-Taylor Green, who
was born on September 11, 2001 and who
died at age nine, shot to death ...

Child of 9-11, beloved,
I bring this lily, lay it down
here at your feet, and eiderdown,
and all soft things, for your gentle spirit.
I bring this psalm ― I hope you hear it.

Much love I bring ― I lay it down
here by your form, which is not you,
but what you left this shell-shocked world
to help us learn what we must do
to save another child like you.

Child of 9-11, I know
you are not here, but watch, afar
from distant stars, where angels rue
the evil things some mortals do.
I also watch; I also rue.

And so I make this pledge and vow:
though I may weep, I will not rest
nor will my pen fail heaven's test
till guns and wars and hate are banned
from every shore, from every land.

Child of 9-11, I grieve
your tender life, cut short ... bereaved,
what can I do, but pledge my life
to saving lives like yours? Belief
in your sweet worth has led me here ...

I give my all: my pen, this tear,
this lily and this eiderdown,
and all soft things my heart can bear;
I bring them to your final bier,
and leave them with my promise, here.



The Locker
by Michael R. Burch

All the dull hollow clamor has died
and what was contained,
removed,

reproved
adulation or sentiment,
left with the pungent darkness

as remembered as the sudden light.



Tremble
by Michael R. Burch

Her predatory eye,
the single feral iris,
scans.

Her raptor beak,
all jagged sharp-edged ******,
juts.

Her hard talon,
clenched in pinched expectation,
waits.

Her clipped wings,
preened against reality,
tremble.



Day, and Night
by Michael R. Burch

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

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

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



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

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

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

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

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

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

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

the lost gold of vanished stars.

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



Komm, Du ("Come, You")
by Rainer Maria Rilke
loose translation by Michael R. Burch

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

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

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

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

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



This is my translation of the first of Rilke’s Duino Elegies. Rilke began the first Duino Elegy in 1912, as a guest of Princess Marie von Thurn und Taxis, at Duino Castle, near Trieste on the Adriatic Sea.

First Elegy
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Who, if I objected, would hear me among the angelic orders?
For if the least One pressed me intimately against its breast,
I would be lost in its infinite Immensity!
Because beauty, which we mortals can barely endure, is the beginning of terror;
we stand awed when it benignly declines to annihilate us.
Every Angel is terrifying!

And so I restrain myself, swallowing the sound of my pitiful sobbing.
For whom may we turn to, in our desire?
Not to Angels, nor to men, and already the sentient animals are aware
that we are all aliens in this metaphorical existence.
Perhaps some tree still stands on a hillside, which we can study with our ordinary vision.
Perhaps the commonplace street still remains amid man’s fealty to materiality—
the concrete items that never destabilize.
Oh, and of course there is the night: her dark currents caress our faces ...

But whom, then, do we live for?
That longed-for but mildly disappointing presence the lonely heart so desperately desires?
Is life any less difficult for lovers?
They only use each other to avoid their appointed fates!
How can you fail to comprehend?
Fling your arms’ emptiness into this space we occupy and inhale:
may birds fill the expanded air with more intimate flying!

Yes, the springtime still requires you.
Perpetually a star waits for you to recognize it.
A wave recedes toward you from the distant past,
or as you walk beneath an open window, a violin yields virginally to your ears.
All this was preordained. But how can you incorporate it? ...
Weren't you always distracted by expectations, as if every event presaged some new beloved?
(Where can you harbor, when all these enormous strange thoughts surging within you keep
you up all night, restlessly rising and falling?)

When you are full of yearning, sing of loving women, because their passions are finite;
sing of forsaken women (and how you almost envy them)
because they could love you more purely than the ones you left gratified.

Resume the unattainable exaltation; remember: the hero survives;
even his demise was merely a stepping stone toward his latest rebirth.

But spent and exhausted Nature withdraws lovers back into herself,
as if lacking the energy to recreate them.
Have you remembered Gaspara Stampa with sufficient focus—
how any abandoned girl might be inspired by her fierce example
and might ask herself, "How can I be like her?"

Shouldn't these ancient sufferings become fruitful for us?

Shouldn’t we free ourselves from the beloved,
quivering, as the arrow endures the bowstring's tension,
so that in the snap of release it soars beyond itself?
For there is nowhere else where we can remain.

Voices! Voices!

Listen, heart, as levitating saints once listened,
until the elevating call soared them heavenward;
and yet they continued kneeling, unaware, so complete was their concentration.

Not that you could endure God's voice—far from it!

But heed the wind’s voice and the ceaseless formless message of silence:
It murmurs now of the martyred young.

Whenever you attended a church in Naples or Rome,
didn't they come quietly to address you?
And didn’t an exalted inscription impress its mission upon you
recently, on the plaque in Santa Maria Formosa?
What they require of me is that I gently remove any appearance of injustice—
which at times slightly hinders their souls from advancing.

Of course, it is endlessly strange to no longer inhabit the earth;
to relinquish customs one barely had the time to acquire;
not to see in roses and other tokens a hopeful human future;
no longer to be oneself, cradled in infinitely caring hands;
to set aside even one's own name,
forgotten as easily as a child’s broken plaything.

How strange to no longer desire one's desires!
How strange to see meanings no longer cohere, drifting off into space.
Dying is difficult and requires retrieval before one can gradually decipher eternity.

The living all err in believing the too-sharp distinctions they create themselves.

Angels (men say) don't know whether they move among the living or the dead.
The eternal current merges all ages in its maelstrom
until the voices of both realms are drowned out in its thunderous roar.

In the end, the early-departed no longer need us:
they are weaned gently from earth's agonies and ecstasies,
as children outgrow their mothers’ *******.

But we, who need such immense mysteries,
and for whom grief is so often the source of our spirit's progress—
how can we exist without them?

Is the legend of the lament for Linos meaningless—
the daring first notes of the song pierce our apathy;
then, in the interlude, when the youth, lovely as a god, has suddenly departed forever,
we experience the emptiness of the Void for the first time—
that harmony which now enraptures and comforts and aids us?



Precipice
by Michael R. Burch

for Jeremy

They will teach you to scoff at love
from the highest, windiest precipice of reason.

Do not believe them.

There is no place safe for you to fall
save into the arms of love.
save into the arms of love.



Love’s Extreme Unction
by Michael R. Burch

Lines composed during Jeremy’s first Nashville Christian football game (he played tuba), while I watched Beth watch him.

Within the intimate chapels of her eyes—
devotions, meditations, reverence.
I find in them Love’s very residence
and hearing the ardent rapture of her sighs
I prophesy beatitudes to come,
when Love like hers commands us, “All be One!”



Keywords/Tags: Rilke, elegy, elegies, angels, beauty, terror, terrifying, desire, vision, reality, heart, love, lovers, beloved, rose, saints, spirits, souls, ghosts, voices, torso, Apollo, Rodin, panther, autumn, beggar

Published as the collection "Leave Taking"
Annabel Lee May 2014
[Disclaimer: this is quite long, but bear with me]

Depression is a shape-shifting, ever-present monster. It is a monster that many battle; some slay the beast, others are swallowed whole, sacrificing life and limb to its gaping jaws, but most are stuck in an eternal stalemate, neither winning nor losing.

It takes a different form for everyone. Mine was a deep black bottomless lake that I was trapped in, the dark waves lapping at my neck, threatening to submerge me. It was a dense grey fog, obscuring all of my senses and causing me to heave and choke, unable to catch my breath. It was a python as thick as a tree, squeezing the life out of me, tightening with every move I made. It was a cancer in every one of my cells; a dull ache that couldn't be numbed. It was every one of my worst fears realized, ready to pounce as soon as I woke every morning. It was a constant IV drip paralysing every muscle that I couldn't rip out of my arm.

But despite all the imagery, it was not poetic. It was not lyrical. It wasn't a heroic effort to maintain a grip on reality and sanity; it wasn't a single tear falling onto a love letter. It wasn't how it’s been artfully depicted in movies and songs. There was no plot twist, no knight on a white horse, no epiphany followed by an orchestral swell and rolling credits. It wasn't poetic – it was ***** and lonely and terrifying.

It was dealing with the crippling knowledge that I was absolutely worthless, that if I was to fall off the edge of the earth, it really would not matter; that though people would be sad for a little while if I died, I would eventually be forgotten because in light of Eternity, my existence was truly meaningless. It was night after night of restless, soul consuming insomnia paradoxically paired with bone-deep exhaustion. It was struggling to get out of bed the next morning because the monster was sitting on my chest, weighing me down and grinning evilly in my face. It was giving up – on friends, family, school-work, because I was wearing these blinders that forced me to only see myself and my unworthiness. It was second-guessing my every move, terrified that I would do or say the wrong thing, and people wouldn't like me any more. It was withdrawing into the prison in the depths of my mind, trying to peek out the bleary windows of my eyes but only seeing the monster, pacing and drooling and growling at me.

I contemplated suicide countless times but only attempted it once. It wasn't from a sense of self-loathing or unworthiness, it was because I couldn't bear the ache inside of me, I couldn't bear looking in the mirror every morning, I couldn't bear going out and having to spend time with happy people. I couldn't bear feeling like I didn't matter, that I was only a feeble shadow floating throughout my day. Sometimes I would feel sick, physically sick with the anxiety of having to interact with people, and knowing that I would have to pretend to be okay. And it was hiding, choking, suffocating, pressing down the gaping raw hole inside of me – because, for me, the worst thing about depression is not being depressed – it’s the fear that someone will find out. I was suffering, but there was no way any one could know, I could not would not would never ever let anyone know that I was drowning in a black lake and there was no one to save me. It was no one's burden to bear but my own. My suicidal thoughts weren't about the morbidity of death, they were about the freedom and release from my self-inflicted suffering. Because depression is self-inflicted, whether we like to admit it or not. It is a battle of our soul against our mind.

There were people who would occasionally notice I was "feeling down", or "under the weather" and would ask me if I was okay. And I would always say Yes, though inside my prison I would be screaming and rattling the bars of my cage, yelling No, Help Me, Please. And once in a while I would be given a little note, a syringe of words, Scripture to inject in my veins and chase away the numbness. Still others would tell me “it’s all in your head”, and that was when I wanted to scream YES IT IS BUT YOU DON’T UNDERSTAND.  People would try to fix me, but I didn't need fixing. (This isn't something you can fix; I was not broken)

I needed someone to lie with me in bed and hold me until I could breathe. I needed someone to hold my hand and never ever let go of me. I needed someone to sit silently with me in the dark, just so I could know I wasn't alone. I needed someone to trust me to be able to fight this monster.
I fight, day in and day out, against the black waters ******* me down. I accept that depression is something that isn't going away right now, and might not ever go away. But I've also come to realize that though this monster may be bigger and stronger and even smarter than me, I am not helpless.
Trying to explain something that millions of people struggle with, something that gets ignored and swept under the rug, labelled as "self-centred", "self-pitying", and "it's all in your head".
There was quite a crowd gathered when I reached my apartment building that morning.
Lots of cops and Emergency Medical personnel gathered everyone was just standing around.
I asked Wild Bill what happened?
Not sure, think it came out apartment five.
What?
A blood-curdling scream, and long wailing, unnatural sounds.
Right then I knew it was bad.
The apartment was occupied by cutthroat junkies and their infant daughter.
Tony “The Hulk” came out first, bloodied, bleary eyed, staring at the ground
Rosalie “The Muse” came next, screaming hysterically in Spanglish... muttering broken Catholic novenas
last soaked in solemn silence, Inca “The Baby”,
covered in a sheet, silent, never to speak again, forgotten.
Aseh Jan 2013
i am sick, mad, crazy
still in love with you
always thinking about not thinking about you
and whenever you incessantly creep in-
to my thoughts i scold myself
it's too late--
i haven't crossed his mind in ages


and i drive myself to tears at night lying awake,
feeling far too naked next to him
(who i can't stop comparing to you--
how mediocre he seems after you,
how everyone likely will be)
and i suffer in silence
from the dreadful
chill of lingering
hope
a hope
that maybe
you and I
just might...

it's like
how i can't forget
that summer afternoon when we were
sun-drunk and
bleary-eyed in your hammock and you
put your hand on my stomach and said,
one day, we'll have a baby in there
and i was stilled; i loved so profoundly then
i had thought,
one day
we could be magical

and every part of me hates how cliche this all sounds,
and how our stupid tragedy has turned me into a cliche
but it's true
every single day
my raw hungry love, still alive
looms over me,
plagues me,
decays me,
i try to push it away but
it lingers like a nightmare
that will not go away

i know we exploded, turned to
shattered glass,
smoky ash but
i still yearn to know why
and so every time
someone dies in the newspaper
or i read a line in a book that moves me
or our song
comes on the radio
or someone mentions your name
in passing, with painful casualty
or worse-- nauseating familiarity,
i feel a sharp pang, with every
accidental glimpse of a photograph
i still can't bring myself to throw away,
my heart sinks deeper down
into my stomach
and once more,
i am sure
i will never truly feel again
without you

sometimes i have the urge to stand on a
pedestal somewhere,
high and tall and proud,
in front of a
bustling crowd like
in the movies
and scream to the universe
i would still do anything
to be with you

and wait for you to run so fast towards me that we
crash and then you pull back, hold my face and say
shut up, i had you at hello, or something

i've tried so hard for so long not to feel any of this
to numb the breaking-away pain with
blue, white, green, orange pills and
sweet smoke
i've tried so hard to detach myself from the reality
of our tragedy
to avoid responsibility
for feeling anything at all

but my new year's resolution is to be clean
so now i am finally letting myself
feel
it
all
from my mind through
my cold meaningless fingertips
all the hurt

now i know
the darkest face of sadness
is regret

and i want you to know
that even though i pretended not to,
i heard you and
i'm trying to change
and that i hope one day you will actually
forgive me
for doing that awful thing i did to you
last spring
and that
i'm scared i will love you forever

but if there is a chance
you feel something too,
why have we wasted
so much time
not together?
Lauren Sage Jan 2014
If there's one thing I fear will always be a mystery to me, it is with the ease that some people fall asleep.

Like, seriously just lie down and that's it. That's it?

That's it.


It's 4am and when I lie down my mind is still racing a million miles an hour, even when I'm so tired I can't even walk straight. And I check every limb for a sense of weighted-down, for that sleepy-fuzzy feeling in my knees and calves, tense abdomen, fixed shoulders, arms crossed like a saint, or flung up, whatever feels right, trying to find the holy grail of comfort that may or may not exist depending on what night and how long until I have to get up. 5 hours. 4 hours. 2 hours and 46 minutes.


It's the sound of an entire town sleeping, the privilege of hearing the secret noises that houses make when nobody else is lucid, praying your mind will wander, willing yourself to wander into it, setting traps, trying to find solace when you're left out of sleep, when everyone else sleeps, and it's tantamount to the feeling of being picked last for a soccer game in elementary school.


I used to imagine making soup. I would imagine my feet on the ground, planted firmly, gravity on me vertically instead of horizontally. The gritty tile, barefoot. Savor every step to the drawer, rummage for the can opener. On your tip-toes to reach the can of mushroom soup on the second-highest shelf, turn the can around to see the label and make sure it's the right one. Get a pan out. Scratch a flake of dried food off the metal side. Open the can, pull the little slice of paper off the jagged rim, pour in the water and mash the solid with a fork. Turn on the stove. I would be asleep by now. Or I would have wandered into a variant scenario. The saucepan was full of water and dead flies. I had to drive to Giant Tiger for more dish soap. I was a kid again, when I was wearing a swimsuit and anxious they wouldn't let me in. I needed a watergun. It was summer. It was finally a dream. Free of reality.


But it isn't. I feel my head heavy, the grinding feeling on the inside of my forehead. I ease myself with facts that hold little solace. Insomniacs have higher IQs. Insomniacs function better. Insomniacs succeed. You know what? Insomniacs have higher rates of breast cancer. Insomniacs have frighteningly higher rates of depression, anxiety, memory problems, automobile accidents, functional issues, all because they soup trick didn't work one time cause I tried it with tomato, all because I woke up too late this morning, it's 4:30 and I have 2 hours and 30 minutes to sleep and is it even worth it?


When your head falls back into the pillow and you feel the muscle unfurl, the slight pain that loosens into nothing, warm legs, heavy knees, weighed at your ankles, arms crossed like a saint, flung up, fetal with your knees grinding into each other, your hips off-kilter, and your mind still races a million miles a minute, dances around every trap you set, your stomach clenches in panic at nothing, you hear the secret noises that houses make when nobody else is lucid, you see the orange haze of the sky from the streetlights of the city next over, you've seen so much half-light the color is saturated into the skin under your eyes, bleary blue, sharp blue, blue raspberry kool-aid powder, half-everything and you know you've lost the fight, it's over, it's morning.



Can you dream during the day?
Can you stop your head from lolling on the desk?
Can you finish the assignment when you're ankle-deep in IQ?
Can you simply get into bed and go to sleep?


That has to be the worst advice I've every gotten from multiple people.


"Just go to sleep."

I can't describe the dark, moreso how it fades away to blue or hazy orange depending on whether we're rural or urban. I've not slept in a hundred places. I've not slept while a thousand different birds chirped and it blended into some sort of organized chaos and I can still hear the most persistent of them to this day. I've not slept in light-polluted cities where the falling snow was tinted orange and the closest thing to a star was the airplane that I mistaked for Venus. I've not slept in my boyfriend's bed where I woke him up to half-stroke my hair at 2am when he'd been asleep since 12. I've not slept in camp rooms where I  lay there in the darkness, scared to wake them up, surprised when the prettiest girl snored the loudest. I've not slept on couches, after ***, before scaling 30 foot poles in some version of a trust exercise, above and all else in my own bed, and you can just lie there and go to sleep?


You can just lie there and miss all that?
Stephen Parker Aug 2011
Little Red Riding Hood's Last Stroll

Twas the darkest of nights in the prarie woodland
Little Red Riding Hood walked the raven strand
Her beaten path was strewn with briar and thistle band
Losing her way, she stumbled into the murky lowland
   
A steamy fog cut through the bleary bog
The rancid odor of vaporous springs did the air clog
A venomous frog full of spite sat on a jagged log
Vampire bats with their ebony capes the putrid air did flog

A Hoot owl from overhead bellowed out a dolesome refrain
Sprightly shadows followed forming a loathsome train
Every few seconds, an eery howl filled the air with a portentous strain
Creepy, crawling insects fiddled a tune of disdain

Little Red Riding Hood's heels became mired in the porous, sandy soil
Discarding her sandals, she screeched; slimy leeches clasped each, bleached sole
Thirsty, Vampire bats veered all about seeking her ****** blood to spoil
Frightened to her wits' end, she sat down on a log to weigh her dreary toll

Unbeknownst to her, the spiteful toad for a wary companion did troll
Taking aim, that malicious toad took a gleeful caper landing on her ****** mole
Discharging his vitriolic potion, Little Red Riding Hood screamed as the pain through her blanched tissue did roll
A minute later, her callous mole was transformed into a pusy, seething boil

Leaping from her bartered stool, she ran into the foreboding wood
Her homely cape snagged on an extended limb and from her fragile arm  spilt blood
The whiff of fresh, warm blood was immediately sensed by a wolf pack brood
Hearing the howling pack approaching, she froze right where she stood

Remembering Grandmother's wise advice, she climbed the nearest tree
Not realizing therein lay a poisonous snake perched so sprightly
Arriving on the scene first, the Druid lapped up the trail of blood that gushed from her wound so freely
To placate the menacing brood, she tossed down some of grandmother's crumpets briskly

A second later, the coiled up snake lunged at its helpless target with lightning speed 
Alarmed, Little Red Riding Hood whirled about wrapping around her the flailing snake like a nimble reed
Losing her balance, she fell headlong into the hungry jaws of gluttonous greed
That ravenous brood lapped up the crumpets, diced up the snake, and did the nimble limbs of Little Red Riding Hood knead

A word of caution to every rambling, ambling tite
If ever you venture into the perilous copse at night
Beware of the spiteful vermin that scour and stalk with stealthy might
And never from the beaten trail stray or malicious malcontents will your innocence spite
untitled Mar 2015
short breaths squeezing between
your slightly parted lips unknowingly
harmonize with my nervous heart
and the ticking of the
clock in the hallway.
Ellie Elliott Jan 2018
My mistakes go retro, I’ve made them before
sometimes I think being forced to talk through lightbulbs would maybe stop it all
all the awkward hello-I-exist moments all the overreactions all the irritated snaps when I can’t snap out of it all the times I didn’t mean to cry out *******,
no, with that limitation I’d only say what I needed to

It’s not like I’m living upside down but it sure does feel like it
hidden away in my head so much that the outside world feels eerie
daylight is bright white and reality is my Demogorgon
I’m too tired to fight it, and standing in supermarkets, bleary-eyed
feels unreal, like a fake body in a quarry
I just wish love was enough to overcome worry

My dungeons are four cream walls closing in on me, infecting me with black slime that weighs me down too much to move
My dragons are adrenaline and exhaustion, they take turns attacking me,
these demons keep trapping me, and I keep getting told it’s too soon
It’s too soon for this, I’m just a kid
lost in the forest, upside down and off-grid
I’m off-kilter, with a faulty brain-filter and my squirming blue fingers
are gripping bike handles and trying to rebuild her

The ******* the wire, the girl with inner fire whose eyes shined like the lights I wish I had to communicate with
that girl would have slain the Demogorgon with idealism and defiance,
now I wish it away in the pretense that it’s a myth
She could whisk objects away into a magical space, a deep forest of brave faces,
seeing beauty in all things through summer dazed rays of romance
skipping along rivers, hair fair and careless, daring to dream of daisies gleaming, just on the lookout for the next rhyme,
unaware that this was the strongest she’d ever be, the least cowardly, unaware that she’d one day be me.

Locked up in the four walls with no fairy lights or lyrics,
Joyce Byers without a reason,
crazy with no spirit.
Months on end immersed in dungeons, fighting dragons,
only to escape and be faced with this deadly Demogorgon:
life without eleven lenses of hope. A life cynical and devoid of magic,
less nightmarish than the upside down but just as bleak,
this is the monster that makes me weak

it’s not the upside down, but my own reality.

I’m still waiting for my sling-shot, sleeping until my powers are restored,
there’s nothing worse than seeing the world and being bored,
in eleven days I’ll try again,
I have at least eleven days of hope left,
I’ll get out of this swimming pool, hop over the barbed wire,
eleven days to find that girl again and turn my gasoline fire inwards,
to escape the wasteland once and for all,
for the world to be big enough that I don’t hear the Demogorgon through the walls,

Eleven days to fix my sanctuary in the forest,
so I can light up both my outward-looking eyes like the aurora borealis.
ellie elliott
Alysha L Scott Aug 2012
As the apple

bursting bellies
beryl tides and

as the apple

lucid blue, a
wasted gut and

as the apple

a stitch of skin
of rude thoughts and
obscene gestures of
****** fingers of smiley
lies of cats in graveyards
and bleary eyes
of ***** misers
of the foolish ***** of
the four-legged wanton
silver tongued and

as the apple

a boy sits
and worries after
my ugly twin.
"Now you're weeping shades of cozened indigo,
got lemon juice up in you're eye--
When you ****** all over my black kettle,
you must've been so high."
Reece Oct 2013
Oh such lonesome lives in the west
When the sunshine stings bleary eyes
and telephones receive no calls
How does one survive in the city
When the angular buildings suppress creativity
and free-thought is despicable

See the man, laying in bed for days at a time
With ASMR videos playing on a smartphone propped against a pillow
and his arm draped over that pillow, imagining a body
Bob Ross love affair, the television drones
Each night spent alone, praying for passion, or acceptance, or anything
and joyous noise when paintbrushes glide evenly

A collective of poets, posing as one man
Fraudulent minds, each with distinctive style
and all with crooked broken teeth
Trumpets in the jukebox, cat-calls in the world
Outside the window children are playing
and he cries, for the years are growing weary

She peels skin from her fingernails, mindless on morning commutes
He stares from bus stops, train stations and runways
and never blinking, never blinking, never blinking
The intrinsic value of repetition falling short of artistry
Given that metal machines are perpetual
and when the crow lands on fences in the morning dew,
there is no more life in Ironville, not for me, not for you
“We are all actors in an idiots play A tale of sound and fury,
meaning naught. Yet who would care to be a wise man's pawn
Where every twist of fate is well deserved And where a single flaw
could ruin lives? Far better to be in a madman's mind At least for
those (and are we all not so?) Whom fate has smiled on more than
we deserve If life were fair, earth would be hell indeed.”

“Macbeth” William Shakespeare.


From out of the darkness I can see an ever increasing
glow. Intensifying with luminosity as it gets closer and closer.
The blinding eye of fate is upon me. I am thrown with
tremendous vigour. Into where? I have no idea! Surrounded now,
by the blackest of blacks. I can only liken it to a bubble in a pool
of crude that flows wherever the black tide takes me. All I have is
the familiar company of my own voice. A continual narration that
one could expect from a television documentary. The life and
death situ of Michael Simon Jones, filmed in black surround
vision. It reminds me of oh so many nights, when all I wanted to
do is sleep. My mind just wants to stay awake, spouting that
continuous torturous soundtrack into the early hours of the
morning.

Through the darkness a piercing light, coming to me and
then gone, to me then gone. Do I dream? Perhaps of the high
seas. I picture a large tower, It protrudes out of a vast nothing.
The only safe path to steer by is a beam of light, cast down upon
me, from up high. Its beam Revolves continually around, a never
sleeping sun. A light that prevents many flimsy craft, from
grounding onto the craggy rocks that are hidden in the darkness
of the stormy oceanic swells, that roar below.

Again the quiet is shattered, am I not to be allowed to
sleep.
It can only be a dream, for through my bleary eyes I see a figure
of a man, sporting a bright yellow helmet. He seems to be
holding a huge lobsters claw, it is chewing its way through shards
of steel that seem to imprison me. His mouth moving, but I hear
nothing. I half expect to see subtitles appear below him, like an
old Buster Keaton movie. Then he is gone and once more I drift
into that blackened void.

Now a shadowy figure appears. Bending over me his hands
are holding something over my face. I think I can feel myself
struggling against his advances. He is too strong, I can’t breathe,
is he is killing me?

What sort of nightmare is this? Flat on my back in the
darkness, I am gliding speedily along the ground. Intermittent
lights flash past my closed eyes. I recall the deep red on-off glow
of the light, diffused by the blood that rushes through my closed
lids. Can somebody turn the ******* light off, I’m trying to sleep.

Gaaaaa………… I am blinded by the worlds brightest
light! Where am I? The light subsides and I can see, but nothing
is clear. It is like looking through a frosty glass window. There is
movement below me and the bleeding blurs of colours finally
evolve into recognition. What is this? What’s going on down
there?

Rather, what the hell is going on up here? How did I get up here?
I am suspended in mid air. Look I can move my legs. Holy Mary
mother of God, I’m naked! Naked and floating around what looks
to be a hospital operating theatre. Hovering above several
gowned professionals in the toil of their labour.

A naked satellite orbiting above the planet NHS.

Now tell me if there is something wrong with this scenario, but
this is totally not normal is it? I just hope I don’t need to have a
****. I believe that there can only be two possible answers for my
predicament. First is that I am in fact having one totally out of
my head dream.

Second, that I am experiencing some sort of out of body
experience. If that is so, then I can only assume, that the person
lying on that operating table, somewhere under the mass of green
hat and gowns spread eagled on that table below, is me! If only
that fat doctor would move his head out of the way.
Bah! Only so another head can immediately take its place. I think
I now know how a ****** feels when he cant get a clear shot. Oh!
Hang on a second, the assassination can go ahead. I can see!
No that don’t help, I can’t tell who the guy is, he has a mask
covering most of his face and more tubes coming out of him than
a Scottish pipe band. Oh my God! Who else do you know with
that tattoo? I should of known that an indelible red cartoon of the
devil would not be the luckiest thing to have etched into my skin.
I wish now that I’d gone for the Sacred Heart. That might have
been the healthier option and may just of tipped the scales in my
favour. I can’t really see Saint Peter letting me through those
pearly gates with a picture of Beelzebub brandished for all and
sundry to see. Oh ****! That’s me okay, and from this position I
don’t look at all in a healthy state. Can a spirit or whatever I am,
throw up?

But how did I get here? I can’t remember anything that could of
led to this. I do remember going to bed last night, I had an early
night, don’t know why though cause I never get to sleep before
4am. Its a bit laughable I suppose, an Insomniac reading a book
called Insomnia. Perhaps a novel called sleeping tablet would be
more apt?

Unless of course…………… If I can’t remember anything since I
went to sleep then perhaps it’s because I’m still asleep and that
this is merely a dream. That makes more sense, doesn’t it? What’s
happening down there? Something doesn’t look right, things
seem very intense. If only I could make out what they were
saying, everything is silent.

“Hello! What is happening down there? Hello! Hello! Can you
hear me?”

They can’t hear me, no, of course they can’t but why can’t I hear
them? What if this is no dream? What if I am really dying on that
table down there? I can’t make out what they are doing to me but
it doesn’t look good.

There’s a lot of blood.

I wish I had taken more notice when ER was being aired on
television. The only thing I know for sure is, that is a scalpel the
surgeon is holding. The guy at the head of the table should be the
anaesthetist? the woman to the left whom looks like a nurse and
is passing the instruments, is a nurse. But the others I don’t have
a clue.

If only I could hear what they were saying. ****. This is a
nightmare, I can’t believe this. I can see them, why can’t they see
me? Oh please God let them hear me.

“I’m up here, listen to me you death ******* I’m up here.”

So close yet so far away. This can’t be real, this can’t be
happening, not to me. I’ve, never done anyone harm, I've worked
hard all my life. Always been a popular guy, never had a problem
mixing with people. What’s that the nurse is pushing around on
the trolley. I think its one of those crash box things. That’s it, a
defibrillator! *******! I don't think I'm breathing. Look at the
screen, I’ve seen enough movies to know that the green line
should not be one continuous solid.

Oh no, I’ve flat lined! I’m dead! Oh God no, not like this. Looks
like they are going to try and defib me. Here they go.

BAM!

Oh no, the line is still flat. They’re going at it again.

BAM!

****! Still nothing. What they doing now? No don’t stop!
What are they talking about? What have you got to discuss? Just
get on with it, this isn’t a ******* seminar. I’m dying down there.
Just crank that hunk of scrap iron up and send some volts through
me. God, I sound like ******* “Frankenstein,”

That’s it, he’s greasing up the connectors, here we go, here we
go.

_When I came back to the real world I had been in the land
of Coma-City for almost three months and for all of that time it
had been touch and go. It was later explained to me that I had
been involved in a RTA.

It had been surmised that due to my sleeping disorder I had fallen
asleep at the wheel of my car (A classic American 1950’s plated
Cadillac) and had veered into the oncoming traffic. Hitting at
least one vehicle and careering off road and down an
embankment. Finally coming to rest three parts of the way
through a brick built structure, this in turn supported a steel
constructed dome. Used as a point for ramblers trekking high
above Sheermont Cove and offering excellent views across the
horizon and out to sea. An ideal location in particular for budding
photographers to shoot the best possible images of Sheermont
Bay Lighthouse. The Caddie precariously balanced with its long
bonnet hanging over the edge of the cliff top.

In fact I believe that it was the domes heavy steel frame that
secured my fate. The brick walls now demolished beyond
recognition caused the now unsuspended dome to fall onto the
roof of my vehicle. Pinning it solidly to the spot, it crushed the
roof in on top of me, also saving me from plunging to the depths
below and almost certain death. I was trapped under the structure
for almost six hours. I remember very little of the ordeal as I
tripped in and out of consciousness. My rescuers had to cut me
out of the vehicle, with a tool commonly referred to as the Jaws
of Life and I was flown to hospital by air ambulance.

And here I am to tell the tale. But!

Did this metallic redeemer smile on me that fateful night? Saving
me from that almost certain death, on the rocks below Sheermont
Cove?

I think not.

The Dome. It saved my life I know this but the price I would
have to pay was far to high a toll. As I spend the rest of my days
drinking my food through the proverbial straw with only my own
mindful narration forever keeping me company.

I pray to die.
2012
Zac Hill May 2015
The warmth of her body numbs my nerves
The soft feeling of her skin against mine
Suddenly all the worries in the world seem to disappear
Holding me tight as I feel her chest move slowly with each breath
How I wish I could of stayed in her arms
To remain in that moment forever and ever
Her eyes are bluer than the sky and ocean combined
Her black hair waves like a silky night
Though sassy at times I still see her beautiful soul
How can one person make me feel so wanting
Wanting to be with her for as long as my heart beats
I want to be one with her and share all my secrets
To experience new things by her side
She makes my bleary thoughts clear from the sound of her laugh
Her smile boils my blood as it takes away the sadness
She was named after the moon
And I a warrior
She comes from the South
And I the North
Yet so far apart we share so much
Take me away my sweet
For I will always promise to love your beautiful presence
And forever whisper your name in my dreams
Luna
So yeah... There's this girl I met ten years ago who moved to Argentina back in 2008 and she is the most beautiful girl I've met. I don't know if we'll ever be together but I can't deny the feelings I get when I think about her. She's perfect in my eyes and I long to see her one day.
Terry O'Leary Jan 2019
.             <Well, ShallowMan’s ne’er at a loss>
              <for voicing shallow thoughts that gloss.>
              <With trenchant wit he reaps the dross>
              <when seeking sense in applesauce.>

              <But to his aid flies FactoidMan>
              <who always has a Fact at hand;>
              <with him, who needs a whether-man>
              <to answer “if?” or “but?” or “and?”?>

“Oh ShallowMan, let me explain
the Facts of life to you, so plain,
yet flush with truthful thoughts arcane.
When understood, you won’t maintain
that callowness you think urbane.”

                              “Oh FactoidMan, give benedictions,
                              save me from all contradictions
                              with your knowledge, no restrictions
                              finding Facts, avoiding fictions.”

“Well, when in doubt, you always may
request my help to find your way
through shades of black and white and gray,
and from the Facts you’ll never stray.
Yes, ShallowMan, I’ll make your day.”

                              “Since yesteryear I’ve wondered why
                              I’m served a piece of humble pie
                              whene’er attempting to descry
                              just what’s a Fact, and what’s a lie,
                              and which be Facts one can’t deny.
                              With candor, can you edify
                              me with some recondite reply?”

“Well, as you know, my Facts are Facts
which naught nor nothing counteracts
and things that do, mere artifacts
in dim myopic cataracts.”

“A lie’s a thing which disagrees
with Facts I utter, if you please,
and hides the forest from the trees
ignoring all my verities.”

“And this reminds me of my youth,
with axioms defined as truth
which I selected as a sleuth
(abetted by a sweet vermouth);
I being now so long of tooth,
to contradict me’s hardly couth.”

                              “That certainly helps me clarify
                              whom I can trust: yeah, you’re the guy!  
                              Now, furthermore I’ve wondered why
                              the moon can’t fall and clouds can fly.  
                              What’s called that law those facts defy?
                              And mightn’t I just give a try
                              to make a guess to verify?”

“If you link your facts to law
(ah, please excuse a gruff guffaw)
you’ll certainly flaunt a flimsy flaw
that strains belief and breaks the straw
of what you’ve heard and thought you saw.
(I‘ll leave you with some bones to gnaw
that leave you holding me in awe
when once you’ve grasped and gasped ‘aha’).
So tell me now your ideas, raw,
but keep it short, your blah, blah, blah.”

                              “Umm, could it be just gravity
                              (well, something like a theory
                              that some call Relativity)
                              which pulls the apple from the tree
                              and puts a strain upon my knee;
                              or is that fact absurdity?”

“Ahem, a theory’s just a theory,
not a Fact, it’s all so eerie,
something which should make you leery
as explained until I’m weary.”

                              “If Relativity’s a theory,
                              and a theory’s not a Fact,
                              is it a fiction I can query
                              when I’m falling, ere I’m whacked?”

“Though theories might be based on Fact,
a theory is, in fact, not backed
by any cause, effect or act
which might be salvaged when attacked.
For you, this Fact may seem abstract,
plumb depths where shallow thoughts distract.”

“Yes, what goes up must soon come down
is quite a Fact of world renown.
But theory’s just a heathen gown
to deck the naked King in town,
and when he falls, he breaks his crown
which leaves him wearing but a frown.”

“It surely should be obvious,
the property of Heaviness
(like Godliness and Heaven-ness)
defines the cosmic edifice,
refuting Newton’s flakiness
and Einstein’s spooky emphasis  
on space-time’s 4-D flimsiness.
Yes, Facts like these are copious
(I count them with my abacus);
to argue would be blasphemous
displaying mental barrenness
about the push and pulling stress
when bouncing ***** rebound, unless
one views elastic laziness
as evil Satan’s stubbornness.”

                              “Well now I think I understand,
                              that gravity seems somewhat grand,
                              but’s just, in fact, a rubber band
                              that stretches through our earth-bound-land
                              constricting us when we expand.”

“Yes, ShallowMan, you finally got it,
just as I’ve long preached and taught it.
I’m so happy that you’ve bought it.
(Not a question nor an audit -
you’re so shallow, who’d have thought it?)”

              <Once ShallowMan dipped into science>
              <seeking FactoidMan’s alliance>
              <gaining, hence, a strong reliance>
              <on the Facts and their appliance,>
              <justifying strong compliance,>
              <turning down those in defiance.>

                              “Hey, FactoidMan, another topic
                              leaves me reeling, gyroscopic,
                              dealing with the microscopic
                              in a world kaleidoscopic.”

                              “Within the realm of vacuum loops
                              Dark Energy in quantum soups
                              of anti-matter sometimes swoops
                              across inflation’s Big Bang stoops
                              where space-time ends and matter droops.
                              Do you believe, or just the dupes?

“It’s nothing but a passing phase,
(a theory that in fact betrays
obscure occult communiqués
that fevered fantasy conveys)
of those who thump creation days.
Just check! The vacuum state portrays
perfection in your shallow ways
reflected in that vacant gaze
you cast upon the dossiers
of all my Facts that so amaze.”

                              “And what about the quantum theory?
                              Particles not hard but smeary,
                              just like waves? It’s kinda eerie!
                              Facts could not be quite so bleary
                              leaving Bohr, well, sad and teary.
                              FactoidMan, just tell me, dearie,
                              what the Facts are, bright or dreary.”

                              “And then again what are those holes
                              (as black as ravens bathed in coals)
                              wherein the past and future strolls
                              exploiting fields that Higgs controls
                              beneath the shady shallow shoals
                              between magnetic monopoles.”

“The science lab’s a ‘fact’ory
concocting stuff that cannot be
(like unknown realms and notably
those tiny things NoMan can see
with naked eye on bended knee
neath microscopic scrutiny)
and claim they’ve found reality;
they call their god a ‘Theo’ry
(a fig-ment of the Yum-Yum tree)
that leads them to hyperbole
about the singularity
that’s dipped in dazed duplicity
denying all eternity.”

“Here’s my advice that seems to work:
ignore the ones with ‘facts’ that lurk
behind their ‘proofs’ (which always irk),
and being challenged have the quirk
of stepping back within the murk
(indulged, I chuckle, smile or smirk).”

              <Now ShallowMan is quite content>
              <receiving FactoidMan’s consent>
              <to quibble and express dissent>
              <as long as keeping covenant>
              <with fingers crossed and belfry bent>
              <when viewing Facts in sealed cement:>

                               “The Facts you give me circumvent
                               those ‘truths’ your chuckles supplement;
                               although they might disorient
                               they can’t be wrong, I won’t dissent,
                               just using ones which you invent.“
“(No need of source in that event).”

                               “Your wise advice is simply sound
                               in cases where a game is bound
                               to parcel points out round by round
                               or else on verbal battleground
                              where know-it-alls are duly crowned.”

              <Though ShallowMan is kinda slow>
              <he still takes time to learn and throw>
              <his facts and theories to and fro,>
              <amazing facts which seem to show>
              <that theories sometimes come and go,>
              <returning strengthened with the glow>
              <of new found facts (for which to crow)>
              <that fill the gaps of long ago.>

                               “Oh FactoidMan, just tip your cap!
                               I’ve found a piece to fill the gap
                               that simplifies a mouse’s trap:
                               if triggerless, it still will clap
                               to give the mouse a mighty zap
                               that makes its tiny back bone snap.”

                               “With mousetrap type simplexity,
                               reducible complexity
                               helps arguments’ duplexity
                               with twists of crude convexity.”

“Ha-ha! That serves to prove my case:
for each gap filled, two in its place,
each growing at the doubled pace;
for unfilled gaps, I’m saying grace
(they help, indeed, for saving face)
Trying to get out of neutral....
don't know whether I'm in first or reverse...
PJ Poesy Nov 2015
If she sang the way she looked,
you might expect Kate Smith
singing "God Save The Queen."
That *** Pistol'***** did not
come out, more voice pixieish,
a song unknown. Words were
bleary but delish were notes.

Complete meaning lost,
her elfin aria enchanted us. Indeed
there were whispers, "What is it
she's singing?" Then shushes
from those already spun
in her spell. We drifted into
her Mother Goose downy lullaby.

Fattened by unexpected
mellow mouthwatering coos,
her taken audience drank it in
and from beginning to end
were somehow morphed into
fuzzy waddling fans.
I enjoy when something so unexpected changes my view.
Michael R Burch Apr 2020
iou
iou
by michael r. burch

i might have said it
but i didn’t

u might have noticed
but u wouldn’t

we might have been us
but we couldn’t

u might respond
but probably shouldn’t

Keywords/Tags: iou, chit, debenture, bill, debt, relationship, lovers, impasse, silence, golden, I, owe, you, borrower, lender, Polonius, collectible, mrbiou



Passionate One
by Michael R. Burch

for Beth

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

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



Talent
by Michael R. Burch

for Kevin Nicholas Roberts

I liked the first passage
of her poem―where it led

(though not nearly enough
to retract what I said.)
Now the book propped up here
flutters, scarcely half read.
It will keep.
Before sleep,
let me read yours instead.

There's something like love
in the rhythms of night
―in the throb of streets
where the late workers drone,
in the sounds that attend
each day’s sad, squalid end―
that reminds us: till death
we are never alone.

So we write from the hearts
that will fail us anon,
words in red
truly bled
though they cannot reveal
whence they came,
who they're for.
And the tap at the door
goes unanswered. We write,
for there is nothing more
than a verse,
than a song,
than this chant of the blessed:
"If these words
be my sins,
let me die unconfessed!
Unconfessed, unrepentant;
I rescind all my vows!"
Write till sleep:
it’s the leap
only Talent allows.



Burn
by Michael R. Burch

for Trump

Sunbathe,
ozone baby,
till your parched skin cracks
in the white-hot flash
of radiation.

Incantation
from your pale parched lips
shall not avail;
you made this hell.
Now burn.



Burn, Ovid
by Michael R. Burch

“Burn Ovid”—Austin Clarke

Sunday School,
Faith Free Will Baptist, 1973:
I sat imagining watery folds
of pale silk encircling her waist.

Explicit *** was the day’s “hot” topic
(how breathlessly I imagined hers)
as she taught us the perils of lust
fraught with inhibition.

I found her unaccountably beautiful,
rolling implausible nouns off the edge of her tongue:
adultery, fornication, *******, ******.
Acts made suddenly plausible by the faint blush
of her unrouged cheeks,
by her pale lips
accented only by a slight quiver,
a trepidation.

What did those lustrous folds foretell
of our uncommon desire?
Why did she cross and uncross her legs
lovely and long in their taupe sheaths?
Why did her ******* rise pointedly,
as if indicating a direction?

“Come unto me,
(unto me),”
together, we sang,

cheek to breast,
lips on lips,
devout, afire,

my hands
up her skirt,
her pants at her knees:

all night long,
all night long,
in the heavenly choir.

This poem is set at Faith Christian Academy, which I attended for a year during the ninth grade. Another poem, "*** 101," was also written about my experiences at FCA that year.



*** 101
by Michael R. Burch

That day the late spring heat
steamed through the windows of a Crayola-yellow schoolbus
crawling its way up the backwards slopes
of Nowheresville, North Carolina ...

Where we sat exhausted
from the day’s skulldrudgery
and the unexpected waves of muggy,
summer-like humidity ...

Giggly first graders sat two abreast
behind senior high students
sprouting their first sparse beards,
their implausible bosoms, their stranger affections ...

The most unlikely coupling—

Lambert, 18, the only college prospect
on the varsity basketball team,
the proverbial talldarkhandsome
swashbuckling cocksman, grinning ...

Beside him, Wanda, 13,
bespectacled, in her primproper attire
and pigtails, staring up at him,
fawneyed, disbelieving ...

And as the bus filled with the improbable musk of her,
as she twitched impaled on his finger
like a dead frog jarred to life by electrodes,
I knew ...

that love is a forlorn enterprise,
that I would never understand it.



Styx
by Michael R. Burch

Black waters, deep and dark and still . . .
all men have passed this way, or will.

I wrote the poem above as a teenager in high school. The lines started out as part of a longer poem, but I thought these were the two best lines and decided to let them stand alone on the principle that "discretion is the better part of valor."



Medusa
by Michael R. Burch

Friends, beware
of her iniquitous hair:
long, ravenblack & melancholy.

Many suitors drowned there:
lost, unaware
of the length & extent of their folly.

Originally published by Grand Little Things



At Cædmon’s Grave
by Michael R. Burch

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

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

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

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

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

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

Originally published by The Lyric



Cædmon's Hymn (circa 658-680 AD)
loose translation/interpretation by Michael R. Burch

Humbly now we honour heaven-kingdom's Guardian,
the Measurer's might and his mind-plans,
the goals of the Glory-Father. First he, the Everlasting Lord,
established earth's fearful foundations.
Then he, the First Scop, hoisted heaven as a roof
for the sons of men: Holy Creator,
mankind's great Maker! Then he, the Ever-Living Lord,
afterwards made men middle-earth: Master Almighty!



Cædmon’s Face
by Michael R. Burch

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

while the wind and Time blew all around,
I paced that dusk-enamored ground
and thought I heard the steps resound

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

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



He wrote here in an English tongue,
a language so unlike our own,
unlike—as father unto son.

But when at last a child is grown.
his heritage is made well-known:
his father’s face becomes his own.



He wrote here of the Middle-Earth,
the Maker’s might, man’s lowly birth,
of every thing that God gave worth

suspended under heaven’s roof.
He forged with simple words His truth
and nine lines left remain the proof:

his face was Poetry’s, from youth.



Song from Ælla: Under the Willow Tree, or, Minstrel's Song
by Thomas Chatterton, age 17 or younger
modernization/translation by Michael R. Burch

O! sing unto my roundelay,
O! drop the briny tear with me,
Dance no more at holy-day,
Like a running river be:
My love is dead,
Gone to his death-bed
All under the willow tree.

Black his crown as the winter night,
White his skin as the summer snow,
Red his face as the morning light,
Cold he lies in the grave below:
My love is dead,
Gone to his death-bed
All under the willow tree.

Sweet his tongue as the throstle's note,
Quick in dance as thought can be,
Deft his tabor, cudgel stout;
O! he lies by the willow tree!
My love is dead,
Gone to his death-bed
All under the willow tree.

Hark! the raven ***** his wing
In the briar'd dell below;
Hark! the death-owl loudly sings
To the nightmares, as they go:
My love is dead,
Gone to his death-bed
All under the willow-tree.

See! the white moon shines on high;
Whiter is my true love's shroud:
Whiter than the morning sky,
Whiter than the evening cloud:
My love is dead,
Gone to his death-bed
All under the willow tree.

Here upon my true love's grave
Shall the barren flowers be laid;
Not one holy saint to save
All the coolness of a maid:
My love is dead,
Gone to his death-bed
All under the willow tree.

With my hands I'll frame the briars
Round his holy corpse to grow:
Elf and fairy, light your fires,
Here my body, stilled, shall go:
My love is dead,
Gone to his death-bed
All under the willow tree.

Come, with acorn-cup and thorn,
Drain my heart’s red blood away;
Life and all its good I scorn,
Dance by night, or feast by day:
My love is dead,
Gone to his death-bed
All under the willow-tree.

Water witches, crowned with plaits,
Bear me to your lethal tide.
I die; I come; my true love waits.
Thus the damsel spoke, and died.

The song above is, in my opinion, competitive with Shakespeare's songs in his plays, and may be the best of Thomas Chatterton's so-called "Rowley" poems. The fact that Chatterton wrote it in his teens is astounding.



An Excelente Balade of Charitie (“An Excellent Ballad of Charity”)
by Thomas Chatterton, age 17
modernization/translation by Michael R. Burch

As wroten bie the goode Prieste
Thomas Rowley 1464

In Virgynë the swelt'ring sun grew keen,
Then hot upon the meadows cast his ray;
The apple ruddied from its pallid green
And the fat pear did extend its leafy spray;
The pied goldfinches sang the livelong day;
'Twas now the pride, the manhood of the year,
And the ground was mantled in fine green cashmere.

The sun was gleaming in the bright mid-day,
Dead-still the air, and likewise the heavens blue,
When from the sea arose, in drear array,
A heap of clouds of sullen sable hue,
Which full and fast unto the woodlands drew,
Hiding at once the sun's fair festive face,
As the black tempest swelled and gathered up apace.

Beneath a holly tree, by a pathway's side,
Which did unto Saint Godwin's convent lead,
A hapless pilgrim moaning did abide.
Poor in his sight, ungentle in his ****,
Long brimful of the miseries of need,
Where from the hailstones could the beggar fly?
He had no shelter there, nor any convent nigh.

Look in his gloomy face; his sprite there scan;
How woebegone, how withered, dried-up, dead!
Haste to thy parsonage, accursèd man!
Haste to thy crypt, thy only restful bed.
Cold, as the clay which will grow on thy head,
Is Charity and Love among high elves;
Knights and Barons live for pleasure and themselves.

The gathered storm is ripe; the huge drops fall;
The sunburnt meadows smoke and drink the rain;
The coming aghastness makes the cattle pale;
And the full flocks are driving o'er the plain;
Dashed from the clouds, the waters float again;
The heavens gape; the yellow lightning flies;
And the hot fiery steam in the wide flamepot dies.

Hark! now the thunder's rattling, clamoring sound
Heaves slowly on, and then enswollen clangs,
Shakes the high spire, and lost, dispended, drown'd,
Still on the coward ear of terror hangs;
The winds are up; the lofty elm-tree swings;
Again the lightning―then the thunder pours,
And the full clouds are burst at once in stormy showers.

Spurring his palfrey o'er the watery plain,
The Abbot of Saint Godwin's convent came;
His chapournette was drenchèd with the rain,
And his pinched girdle met with enormous shame;
He cursing backwards gave his hymns the same;
The storm increasing, and he drew aside
With the poor alms-craver, near the holly tree to bide.

His cape was all of Lincoln-cloth so fine,
With a gold button fasten'd near his chin;
His ermine robe was edged with golden twine,
And his high-heeled shoes a Baron's might have been;
Full well it proved he considered cost no sin;
The trammels of the palfrey pleased his sight
For the horse-milliner loved rosy ribbons bright.

"An alms, Sir Priest!" the drooping pilgrim said,
"Oh, let me wait within your convent door,
Till the sun shineth high above our head,
And the loud tempest of the air is o'er;
Helpless and old am I, alas!, and poor;
No house, no friend, no money in my purse;
All that I call my own is this―my silver cross.

"Varlet," replied the Abbott, "cease your din;
This is no season alms and prayers to give;
My porter never lets a beggar in;
None touch my ring who in dishonor live."
And now the sun with the blackened clouds did strive,
And shed upon the ground his glaring ray;
The Abbot spurred his steed, and swiftly rode away.

Once more the sky grew black; the thunder rolled;
Fast running o'er the plain a priest was seen;
Not full of pride, not buttoned up in gold;
His cape and jape were gray, and also clean;
A Limitour he was, his order serene;
And from the pathway side he turned to see
Where the poor almer lay beneath the holly tree.

"An alms, Sir Priest!" the drooping pilgrim said,
"For sweet Saint Mary and your order's sake."
The Limitour then loosen'd his purse's thread,
And from it did a groat of silver take;
The needy pilgrim did for happiness shake.
"Here, take this silver, it may ease thy care;
"We are God's stewards all, naught of our own we bear."

"But ah! unhappy pilgrim, learn of me,
Scarce any give a rentroll to their Lord.
Here, take my cloak, as thou are bare, I see;
'Tis thine; the Saints will give me my reward."
He left the pilgrim, went his way abroad.
****** and happy Saints, in glory showered,
Let the mighty bend, or the good man be empowered!

TRANSLATOR'S NOTES: It is possible that some words used by Chatterton were his own coinages; some of them apparently cannot be found in medieval literature. In a few places I have used similar-sounding words that seem to not overly disturb the meaning of the poem. ― Michael R. Burch



***** Nilly
by Michael R. Burch

Isn’t it silly, ***** Nilly?
You made the stallion,
you made the filly,
and now they sleep
in the dark earth, stilly.
Isn’t it silly, ***** Nilly?

Isn’t it silly, ***** Nilly?
You forced them to run
all their days uphilly.
They ran till they dropped—
life’s a pickle, dilly.
Isn’t it silly, ***** Nilly?

Isn’t it silly, ***** Nilly?
They say I should worship you!
Oh, really!
They say I should pray
so you’ll not act illy.
Isn’t it silly, ***** Nilly?



Are You the Thief
by Michael R. Burch

When I touch you now,
O sweet lover,
full of fire,
melting like ice
in my embrace,

when I part the delicate white lace,
baring pale flesh,
and your face
is so close
that I breathe your breath
and your hair surrounds me like a wreath...

tell me now,
O sweet, sweet lover,
in good faith:
are you the thief
who has stolen my heart?

Originally published as “Baring Pale Flesh” by Poetic License/Monumental Moments



Children
by Michael R. Burch

There was a moment
suspended in time like a swelling drop of dew about to fall,
impendent, pregnant with possibility ...

when we might have made ...
anything,
anything we dreamed,
almost anything at all,
coalescing dreams into reality.

Oh, the love we might have fashioned
out of a fine mist and the nightly sparkle of the cosmos
and the rhythms of evening!

But we were young,
and what might have been is now a dark abyss of loss
and what is left is not worth saving.

But, oh, you were lovely,
child of the wild moonlight, attendant tides and doting stars,
and for a day,

what little we partook
of all that lay before us seemed so much,
and passion but a force
with which to play.



Davenport Tomorrow
by Michael R. Burch

Davenport tomorrow ...
all the trees stand stark-naked in the sun.

Now it is always summer
and the bees buzz in cesspools,
adapted to a new life.

There are no flowers,
but the weeds, being hardier,
have survived.

The small town has become
a city of millions;
there is no longer a sea,
only a huge sewer,
but the children don't mind.

They still study
rocks and stars,
but biology is a forgotten science ...
after all, what is life?

Davenport tomorrow ...
all the children murmur through vein-streaked gills
whispered wonders of long-ago.



Dawn
by Michael R. Burch

for Beth, Laura, and all good mothers

Bring your peculiar strength
to the strange nightmarish fray:
wrap up your cherished ones
in the golden light of day.

Amen

Originally published by The Lyric



Twice
by Michael R. Burch

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

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

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

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

Originally published by The Lyric



Pale Though Her Eyes
by Michael R. Burch

Pale though her eyes,
her lips are scarlet
from drinking of blood,
this child, this harlot

born of the night
and her heart, of darkness,
evil incarnate
to dance so reckless,

dreaming of blood,
her fangs―white―baring,
revealing her lust,
and her eyes, pale, staring ...



Vampires
by Michael R. Burch

Vampires are such fragile creatures;
we dread the dark, but the light destroys them ...
sunlight, or a stake, or a cross―such common things.
Still, late at night, when the bat-like vampire sings,
we shrink from his voice.

Centuries have taught us:
in shadows danger lurks for those who stray,
and there the vampire bares his yellow fangs
and feels the ancient soul-tormenting pangs.
He has no choice.

We are his prey, plump and fragrant,
and if we pray to avoid him, the more he prays to find us ...
prays to some despotic hooded God
whose benediction is the humid blood
he lusts to taste.

Published by Monumental Moments (Eye Scry Publications), Weirdbook, Gothic Fairy, Dracula and His Kin, NawaZone and Raiders’ Digest



The Vampire's Spa Day Dream
by Michael R. Burch

O, to swim in vats of blood!
I wish I could, I wish I could!
O, 'twould be
so heavenly
to swim in lovely vats of blood!

This poem was inspired by a Josh Parkinson depiction of Elizabeth Bathory up to her nostrils in the blood of her victims, with their skulls floating in the background.



For All That I Remembered
by Michael R. Burch

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

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

Originally published by The Raintown Review



Ode to the Sun
by Michael R. Burch

Day is done...
on, swift sun.
Follow still your silent course.
Follow your unyielding course.
On, swift sun.

Leave no trace of where you've been;
give no hint of what you've seen.
But, ever as you onward flee,
touch me, O sun,
touch me.

Now day is done...
on, swift sun.
Go touch my love about her face
and warm her now for my embrace,
for though she sleeps so far away,
where she is not, I shall not stay.
Go tell her now I, too, shall come.
Go on, swift sun,
go on.

Published by The Tucumcari Literary Review. I believe I wrote this poem toward the end of my senior year in high school, around age 18, during my early Romantic Period. Keywords/Tags: Ode, Romantic, Love, Lover, Sun, Time, Night, Sleep, Dreams, mrbiou



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

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

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

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

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

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

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

the lost gold of vanished stars.

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



Resemblance
by Michael R. Burch

Take this geode with its rough exterior—
crude-skinned, brilliant-hearted ...

a diode of amethyst—wild, electric;
its sequined cavity—parted, revealing.

Find in its fire all brittle passion,
each jagged shard relentlessly aching.

Each spire inward—a fission startled;
in its shattered entrails—fractured light,

the heart ice breaking.

Originally published by Poet Lore as “Geode”



Geode
by Michael R. Burch

Love—less than eternal, not quite true—
is still the best emotion man can muster.
Through folds of peeling rind—rough, scarred, crude-skinned—
she shines, all limpid brightness, coolly pale.

Crude-skinned though she may seem, still, brilliant-hearted,
in her uneven fissures, glistening, glows
that pale rose: like a flame, yet strangely brittle;
dew-lustrous pearl streaks gaping mossback shell.

And yet, despite the raggedness of her luster,
as she hints and shimmers, touching those who see,
she is not without her uses or her meanings;
in all her avid gleamings, Love bestows

the rare spark of her beauty to her bearer,
till nothing flung to earth seems half so fair.



What Goes Around, Comes
by Michael R. Burch

This is a poem about loss
so why do you toss your dark hair—
unaccountably glowing?
How can you be sure of my heart
when it’s beyond my own knowing?
Or is it love’s pheromones you trust,
my eyes magnetized by your bust
and the mysterious alchemies of lust?
Now I am truly lost!



PLATO TRANSLATIONS

These epitaphs and other epigrams have been ascribed to Plato...

Mariner, do not ask whose tomb this may be,
But go with good fortune: I wish you a kinder sea.
—Michael R. Burch, after Plato

We left the thunderous Aegean
to sleep peacefully here on the plains of Ecbatan.
Farewell, renowned Eretria, our homeland!
Farewell, Athens, Euboea's neighbor!
Farewell, dear Sea!
—Michael R. Burch, after Plato

We who navigated the Aegean's thunderous storm-surge
now sleep peacefully here on the mid-plains of Ecbatan:
Farewell, renowned Eretria, our homeland!
Farewell, Athens, nigh to Euboea!
Farewell, dear Sea!
—Michael R. Burch, after Plato

This poet was pleasing to foreigners
and even more delightful to his countrymen:
Pindar, beloved of the melodious Muses.
—Michael R. Burch, after Plato

Some say the Muses are nine.
Foolish critics, count again!
Sappho of ****** makes ten.
—Michael R. Burch, after Plato

Even as you once shone, the Star of Morning, above our heads,
even so you now shine, the Star of Evening, among the dead.
—Michael R. Burch, after Plato

Why do you gaze up at the stars?
Oh, my Star, that I were Heaven,
to gaze at you with many eyes!
—Michael R. Burch, after Plato

Every heart sings an incomplete song,
until another heart sings along.
Those who would love long to join in the chorus.
At a lover's touch, everyone becomes a poet.
—Michael R. Burch, after Plato

NOTE: I take this Plato epigram to be an epithalamium, with the two voices joining in a complete song being the bride and groom, and the rest of the chorus being the remainder of the wedding ceremony.

The Apple
ascribed to Plato
loose translation/interpretation by Michael R. Burch

Here's an apple; if you're able to love me,
catch it and chuck me your cherry in exchange.
But if you hesitate, as I hope you won't,
take the apple, examine it carefully,
and consider how briefly its beauty will last.



Bubble
by Michael R. Burch

...…..….........Love
..…......fragile elusive
.......if held ... too closely
....cannot............withstand
..the inter..................ruption
of its............................…bright
..unmalleable.............­tension
....and breaks disintegrates
..…...at the............touch of
....…....an undiscerning
.....................hand.



Breakings
by Michael R. Burch

I did it out of pity.
I did it out of love.
I did it not to break the heart of a tender, wounded dove.

But gods without compassion
ordained: "Frail things must break!"
Now what can I do for her shattered psyche’s sake?

I did it not to push.
I did it not to shove.
I did it to assist the flight of indiscriminate Love.

But gods, all mad as hatters,
who legislate in all such matters,
ordained that everything irreplaceable shatters.



Break Time
by Michael R. Burch

for those who lost loved ones on 9-11

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



Dream House
by Michael R. Burch

I have come to the house of my fondest dreams,
but the shutters are boarded; the front door is locked;
the mail box leans over; and where we once walked,
the path is grown over with crabgrass and clover.

I kick the trash can; it screams, topples over.
The yard, weeded over, blooms white fluff, and green.
The elm we once swung from leans over the stream.
In the twilight I cling with both hands to the swing.

Inside, perhaps, I hear the telephone ring
or watch once again as the bleary-eyed mover
takes down your picture. Dejected, I hover,
asking over and over, “Why didn’t you love her?”



“Was gesagt werden muss” (“What must be said”)
by Günter Grass
loose translation/interpretation by Michael R. Burch

Why have I remained silent, so long,
failing to mention something openly practiced
in war games which now threaten to leave us
merely meaningless footnotes?

Someone’s alleged “right” to strike first
might annihilate a beleaguered nation
whose people march to a martinet’s tune,
compelled to pageants of orchestrated obedience.
Why? Merely because of the suspicion
that a bomb might be built by Iranians.

But why do I hesitate, forbidding myself
to name that other nation, where, for years
―shrouded in secrecy―
a formidable nuclear capability has existed
beyond all control, simply because
no inspections were ever allowed?

The universal concealment of this fact
abetted by my own incriminating silence
now feels like a heavy, enforced lie,
an oppressive inhibition, a vice,
a strong constraint, which, if dismissed,
immediately incurs the verdict “anti-Semitism.”

But now my own country,
guilty of its unprecedented crimes
which continually demand remembrance,
once again seeking financial gain
(although with glib lips we call it “reparations”)
has delivered yet another submarine to Israel―
this one designed to deliver annihilating warheads
capable of exterminating all life
where the existence of even a single nuclear weapon remains unproven,
but where suspicion now serves as a substitute for evidence.
So now I will say what must be said.

Why did I remain silent so long?
Because I thought my origins,
tarred by an ineradicable stain,
forbade me to declare the truth to Israel,
a country to which I am and will always remain attached.

Why is it only now that I say,
in my advancing age,
and with my last drop of ink
on the final page
that Israel’s nuclear weapons endanger
an already fragile world peace?

Because tomorrow might be too late,
and so the truth must be heard today.
And because we Germans,
already burdened with many weighty crimes,
could become enablers of yet another,
one easily foreseen,
and thus no excuse could ever erase our complicity.

Furthermore, I’ve broken my silence
because I’m sick of the West’s hypocrisy
and because I hope many others too
will free themselves from the shackles of silence,
and speak out to renounce violence
by insisting on permanent supervision
of Israel’s atomic power and Iran’s
by an international agency
accepted by both governments.

Only thus can we find the path to peace
for Israelis and Palestinians and everyone else
living in a region currently consumed by madness
―and ultimately, for ourselves.

Published in Süddeutschen Zeitung (April 4, 2012). Günter Wilhelm Grass (1927-) is a German-Kashubian novelist, poet, playwright, illustrator, graphic artist, sculptor and recipient of the 1999 Nobel Prize in Literature. He is widely regarded as Germany's most famous living writer. Grass is best known for his first novel, The Tin Drum (1959), a key text in European magic realism. The Tin Drum was adapted into a film that won both the Palme d'Or and the Academy Award for Best Foreign Language Film. The Swedish Academy, upon awarding Grass the Nobel Prize in Literature, noted him as a writer "whose frolicsome black fables portray the forgotten face of history."



Starting from Scratch with Ol’ Scratch
by Michael R. Burch

for the Religious Right

Love, with a small, fatalistic sigh
went to the ovens. Please don’t bother to cry.
You could have saved her, but you were all *******
complaining about the Jews to Reichmeister Grupp.

Scratch that. You were born after World War II.
You had something more important to do:
while the children of the Nakba were perishing in Gaza
with the complicity of your government, you had a noble cause (a
religious tract against homosexual marriage
and various things gods and evangelists disparage.)

Jesus will grok you? Ah, yes, I’m quite sure
that your intentions were good and ineluctably pure.
After all, what the hell does he care about Palestinians?
Certainly, Christians were right about serfs, slaves and Indians.
Scratch that. You’re one of the Devil’s minions.



Love Unfolded Like a Flower
by Michael R. Burch

Love unfolded
like a flower;
Pale petals pinked and blushed to see the sky.
I came to know you
and to trust you
in moments lost to springtime slipping by.

Then love burst outward,
leaping skyward,
and untamed blossoms danced against the wind.
All I wanted
was to hold you;
though passion tempted once, we never sinned.

Now love's gay petals
fade and wither,
and winter beckons, whispering a lie.
We were friends,
but friendships end . . .
yes, friendships end and even roses die.



Orpheus
by Michael R. Burch

for and after William Blake

I.
Many a sun
and many a moon
I walked the earth
and whistled a tune.

I did not whistle
as I worked:
the whistle was my work.
I shirked

nothing I saw
and made a rhyme
to children at play
and hard time.

II.
Among the prisoners
I saw
the leaden manacles
of Law,

the heavy ball and chain,
the quirt.
And yet I whistled
at my work.

III.
Among the children’s
daisy faces
and in the women’s
frowsy laces,

I saw redemption,
and I smiled.
Satanic millers,
unbeguiled,

were swayed by neither girl,
nor child,
nor any God of Love.
Yet mild

I whistled at my work,
and Song
broke out,
ere long.



The Quickening
by Michael R. Burch

for Beth

I never meant to love you
when I held you in my arms
promising you sagely
wise, noncommittal charms.

And I never meant to need you
when I touched your tender lips
with kisses that intrigued my own—
such kisses I had never known,
nor a heartbeat in my fingertips!



Ah! Sunflower
by Michael R. Burch

after William Blake

O little yellow flower
like a star ...
how beautiful,
how wonderful
we are!



Published as the collection "IOU"
Zoe Aug 2011
"O, to be a whirling dervish,"
I think to myself
as I drunkenly stumble to the bedroom
and collapse, naked,
slurring bleary hate speech
to a god
I don't believe in.
Julian Mullins Jul 2010
A dark river flows like liquid night,
Though it’s slick with shadowed fright.
I fail to flee from its grave hold,
For darkness is my calming light.

The winds of sorrow wind past me,
Going by that river free.
I know not else what life could tell,
For cold flowing water is all I see.

The darkness binds me to its bay,
By the beach of its withered way.
I glimpse a whitish wave of light,
Beaming through the bleary day

It's too bright and clear, it makes me cry,
Streaming in to sting my eye.
I dive down deep into the depths,
To avoid the light though I don't know why.
I'm going to let you think about what this poem means. There's no right or wrong answer, just think about how it makes you feel.
Amanda Small Apr 2013
a brown-eyed susan deflowered in the unmade bed of a bleary eyed boy
she ***** her fists into ocean blue sheets,
she feels as if her roots are about to give
with clumsy hands, he caresses her spine

he calls her beautiful

she is awoken by a gentle beam of sunlight that sneaks through his curtains
and kisses her eyelids
her delicate petals litter the floor

she tip-toes around them

and sees herself out.
Caroline Grace Mar 2010
It comes after heavy rains.
Naked amphibious marauder
crouched beneath dampened stars
bip-bipping its personal intercom;
soporific in sleep-weary bleary-eyed dreams.

I imagine a Cop on his elbows
zig-zagging, belly-flat
under cover of darkness;
he not naked; peaked cap askew,
shoulder pips glinting in half moon;
he too,  predator on a mission -
Echo - Charlie - Zebra.

The freezer kicks in
out-droning night sounds.
Light eases between blinds.
I slurp chocolate dregs from a crazed mug.
Over and out.
copyright © Caroline Grace 2010
Valsa George May 2018
I know some deep pain saddens you now
It has been nesting in your heart for long
Breeding in the silence of your soul
It leaves your body n' mind awfully sick

It intensifies with every deepening night
Leaving the wound in your heart severely bleeding
Something that you haven’t fully divulged
Robbing you off all your cheer and ebullience,

I can feel the smoldering of your heart
How I wish I could fan away those aches
Wipe off all the pain from your body n' mind
Or at least share a bit of it, dear sweet Kim!

Even when you wear a mask impenetrable
Or sublimate your feelings through lovely verse
I can gauge the depth of despair you feel inside
And sense the rising palpitations of your heart.

When your eyes strain to read what is on the screen
You feel, you are deprived of the only pleasure you have
Though you hoped things would improve in course of time
When your eyesight got badly impaired, you sank in despair

Even when distanced, please know I am near
Somewhere so close, as an unseen presence
Staying by your side, to wipe your tears away
Praying for you ever and wishing you all good

You were the darling of this great poetry site
Your presence is sorely missed by all
We wish you to be back with your balmy words
Eager to read your lovely verse, proclaiming love

Life is strange with sudden twists and turns
But never ever give up, nor lose hope
Believe, at any time there can be a turn around
After the bleary night, comes the bright morn

Again the sun shall show up in the East
Darkness will recede and light shall descend
The meadows with dew drops shall shine
 And the woods with the song of birds will ring

Look up to God in issues you cannot handle
Call Him again to your aid when you battle with life
He cannot but yield to the voice of your calling
And instantly heal your heart, now deeply bleeding
So sorry to know that Kim Johanna Baker is so sick! She has severe eye infection and vertigo leaving her feel so desperate! Her present illness has weakened her already debilitated body further. She needs our prayers and Good wishes!
Josiah Wilson Mar 2014
Tired, eyes bleary with sleep
But I force them open again
I can't doze off just quite yet
You have to go to work at ten

Sitting in front of my screen
My mind begins to wander
But I can't sleep quite yet
'Cause I still have to call her

I can see the sun glinting
Just through the window glass
But I just want to talk to her
Five minutes, that's all I ask

Well past four in the morning
My phone lights up the room
A smile fills my face
It says, "Hey honey, I love you."
mlk Dec 2018
It's 6.30 a.m. - the tea has arrived!
I shuffle downstairs
still bleary-eyed,
pour myself a steaming cup
and sit down to watch as the world wakes up.
At the hostel on the hill
Taylor Aug 2014
I Started To Fall For You At The Same Speed She Almost Jumped From
Or,
Couldn't You Have Said Something Sooner?
Or,
The Story of An Almost

Midnight exhales, meet 1 am clavicles.
2 am blushing, meet 3 am commands.
4 am cautiousness, meet 5 am lust.
6 am, meet the one you love.
I felt comfortable with you;
There was instant trust.
I wanted your creased cheeks and bleary eyes at every hour of the late night.
I would dream about my fingertips tracing your sides in the early morning light.
I've been missing the way I could only see half of your face once the drowsiness set in, the way you lifted your chin and smiled at me.
Your eyelids never crinkled evenly.
The first night we talked, you called me cute and told me that if I wasn't going to say the flirty things, you would.
You made me nervous. People don't make me nervous.
I don't get butterflies. I don't get pink cheeks. I get sickly moths and bats flapping around inside me. I go pale from head to toe.
You brought back raw emotion like sugar. It was too much all at once; it made both of us a little sick. Neither of us were used to it.
Your mind decided to change tracks and left me behind at the station. I've still been sitting at the help desk waiting for your return.
You're not the type I go for. You're much too cautious and gentle, generic and accessible.
That's gotta mean something. I usually go for the girls who stain their cigarettes with Ruby Woo or Sin lipstick; into none of those categories do you fit. I go for girls who live halfway across the world and would rather swim in tar than fall for me again. I chase after those who'd never want me. I do it so no one gets hurt. I once burned a girl so badly she wished she could fall from red steel at 70 miles per hour just to hit the water to escape my flames.
You're nothing like anyone I've ever loved. Why is it you had to pull me in so close, thaw me so much?
My soul is of the winter; if I'm not a raging fire, I freeze at anyone's touch.
I just wish you would've realized you made me feel so much, thaw so much, ache so much.
I wish you would've realized that no matter how much you hated poetry, the honey words still spilled from your lips.
You were one of my favorite poets.
From hipbones to little sighs, stinging skin and inner thighs; you told me stories of moonlight on shoulder blades and the dream morning of a nymphomaniac.
Maybe it was a dangerous mix of lust and a little too much trust, but I miss the way you made me feel a little loved
K Balachandran Apr 2015
Gently he'll take her in his arms,"Öh! my precious orchid"
he looks deeply in to her eyes, classic lover style, it still works,
that was the hope he finally clung on,her mother would murmur
something away from  his ears,to be careful, he didn't get her point.

her eyes were bright and deceptive, his Waterloo,those two were,
eyelashes always would flutter, as if she is afraid, he would abduct her,
how romantic, his heart jumps up at once in delight,
a shipful of bounty returning after the hunt of a lifetime!

"Could I call you anytime, please let me, even if it's too late"
she would plead, too cute,then pretend dejection, ah! he  likes it
as if he'll deny it and she can't bear that thought, her heart'd break,
he'd say" Ẅhy not, I'd anticipate your call all night"

he would stand sentinel,that night, wait for her call
hell, she won't call, not a day!, still can he go and sleep?
he'd meet her with bleary eyes, the day after so apologetic,
she'd get offended at his disheveled , mad look.

"Aren't you my heart's poem, then come to me little more decently"
asking him  to keep awake all night, this wasn't her speaking!
"Come to coffeehouse, sharp at  four" she is curt this time.
then, someone will come and inform, "She won't  make it today"

And when things get muddled, she comes running
and pretend **** apologetic,"Sorry, a fool I am, to hurt you, dear"
never did he tell her what she really was, never asked her to *******
she was a shipwreck, spectacular, rescue was someone else's business..
Vivian Nov 2014
they're nothing alike, but they both rejected you in similar ways and that means that they're more alike than you'd like them to be. parallelism is everywhere and try all you want you can't avoid the syncretism of the universe, the constant assimilation and recreation, the mundane Phoenix, no ashes but still - rebirth. you know if you listen to drake right now, tucked under the covers and spooning the pillow like a lover liable to leave, you will be sad all night, possibly through the morning, bleary-eyed in chemistry and barely aware in rhetoric; you didn't do the assigned reading and haven't started looking at apartment leases yet. my roommate's shoulder is healing and mine is just now beginning to ache; parallelism is everywhere, and try as I might, I can never seem to outrun it.
Erin Doyle Apr 2011
She bobs in the water
pale cork, pale-haired
lily pad with tendrils in the
deep cold dark.
(Stones in her pockets,
they said later, a Virginia Woolf
rip-off.)
I see her from my bay window.
She gleams as she floats;
she startles the ducks.
I wait for the joggers to find her,
bouncing along asphalt until
they trip on the light slanting
off her.
It's early, though.
The sky is still bleary-eyed and bloodshot.
Red sky dances along the water.
Ashley Nicole Nov 2014
The smoke from our lungs
And incense that'd reduced to ashes
Drowned the room neck-high
With feathery, bleary tides.
My breathe stolen from
The pipe filled with cremated *****,
Collapsed my lungs, forcing them
To shrivel up like raisins.
Perhaps if I were to swim up,
Emerge through the waves,
I'd inhale a gasp of air
Then bob gently on the surface.
I'd set sail on my back
And let the opaque waters
Cradle me, rock me tenderly
And whisper cajoleries in my ear.
But at this moment, I'm ******
And like a stone
On the ocean floor,
I'll stay submerged.
So instead, I'll just watch
The light fixture's radiance
Dance along the surface
Of these smokey seas.
As if the sun's rays
Could reach down
And bless this
Basement.
Julia Mae Jul 2016
i hate it when i have to sleep without you
but i can't tell you that
because i know that you do not feel the same  
you do not miss my skin as your blanket
as i do yours
nor my chest as your pillow
yet you are my favorite pillow
i miss when i can't see your face the moment that i awake
it always gives me the best start to my day
i know that you will awake and start your day just the same
with or without my bleary eyes and sleepy face

i hate it when i have to sleep without you
because of all these tiny things
but i can't tell you that, no ...
i can't
Kyle Kulseth Mar 2015
Settle down
I'm sinking in
     to this dingy motel tub.
Stain the water
     with the paint
from my sardonic, smiling face
now, babe, I got a flower in my hatband and
a sloshing bottle in my white gloved hand.
     Do you think we'll still be laughing
                              in the morning...?

Blinking lights and bleary eyes
in a neon wash for a bloodshot lifetime,
and a swallow
     is all I wanna take.

     Besides, I'm still holding the bag.

Puddle up
pull the plug
     colors circle 'round the drain
Pollute the night
     with a laugh
from inside this facepaint bath.
And, babe, I been swirled 'round the world's full glass
and, for a bit, I guess, it was a helluva gas
but, ya know,
                  nobody makes it in the end...
                  
                  so where's the joke end or begin?

Reddened nose and ***** jokes.
Life's a vacation, I'm a pig in a poke
and a mouthful
     is all I need to take...

     We all get left holding the bag.
John F McCullagh Feb 2012
She came to me at Calvados,
A single night, without repeat.
The woman of my soul’s love longing,
to consummate with kisses sweet.

She entered in my midnight room
a simple pastel shift she wore
Smiling as she bared her shoulders,
the garment dropping to the floor.

So beautiful, this child of Gonne,
to this poet’s bleary eyes.
How often I had praised, in print,
her auburn hair and hazel eyes.

I was silent, she as well,
neither keen to break the spell.
She kissed me deeply on the lips
just as  the stroke of midnight fell.

Her fingers deeply  in my hair
she brought me to her freckled chest.
I licked and nibbled at one ******
like a baby at her breast.

She mounted me, her Rocinante,
and slowly, we began our quest.
My Willie in warm velvet wetness
wrapped as I returned her thrusts.

In spirit, we belonged together.
In truth,she’d wed another man.
A brute who’d tried to **** her sister.
She, too, had suffered at his hand.

As we played, she bent to kiss me
sweet Celtic sweat was in her hair
In another life she’d been my sister.
In this life’s love war all was fair.


She gave out with a little cry
as she took my Willie deep.
we came in unison so sweetly
but quietly, her child was asleep.

I remember, one time, Maud had asked
what type of bird I’d like to be?
Back upon the hills at Howth
when we were young and both still free.

“I think”, I said,” I’d be a gull,
playing at the shore for free.
Soaring high above the water
taking my living from the sea.”

Now we lay here in Calvados
near the town  Colleville sur Mer
Her villa was named “Les Mouettes”
For one night only, we coupled there.



It is rumored that, in the Summer of 1907, William Butler Yeats and Maud Gonne shared physical intimacy for the one and only time in their lives. He the famous Poet and Playwright, she the famous Irish nationalist.
At the time she was separated from John MacBride, but they had not divorced, being Catholic. Yeats had a belief in reincarnation and both had, at times, dabbled in the occult. See also my poem
" Making Iseult"

The child asleep in the adjoining room would be Sean MacBride, later in life a Nobel peace prize winner.

Les Mouettes is French for "the (Sea)gulls."

I have read that Yeats wrote a love poem about this night, but that it has been lost. This is my attempt to replicate that lost love poem.

I thank Patrick McFarland for helping me revise the original version of the poem. His suggestions improved the flow of the piece.  










.
It is rumored that, in the Summer of 1907, William Butler Yeats and Maud Gonne shared physical intimacy for the one and only time in their lives. He the famous Poet and Playwright, she the famous Irish nationalist.
At the time she was separated from John MacBride, but they had not divorced, being Catholic. Yeats had a belief in reincarnation and both had, at times, dabbled in the occult. See also my poem
" Making Iseult"

The child asleep in the adjoining room would be Sean MacBride, later in life a Nobel peace prize winner.

Les Mouettes is French for "the (Sea)gulls."

I have read that Yeats wrote a love poem about this night, but that it has been lost. This is my attempt to replicate that lost love poem.
Paris Adamson Dec 2012
We are lovers in color,
salted scents that stick to covers.
Splayed out on your coral-reef couch
hackneyed and bleeding,
bleary but needing,
I've settled quietly into your imprints of indifference.

Stale ***** tongue                                                           ­     I'm late for work.
      speaks insipidity:                                                      ­       Shower if you want to.
                                                            ­                                 Lock the door as you leave.
                                                         ­                                      It was nice seeing you.

I lay there greying all morning.
Soaking into everything, your carpet seas
brine my feeble, shadow-casting lesions.
                               
        Unsure if you've left me ***** or clean                 (this time)
I drag my body down your tainted hallway.
In stark fluorescence, there is no clarity
but the echoes, like reflections
of the emptiness of eve.

Blood-letter run dry
          somehow still high,
                                                ****** into the thoughtlessness
                                                 ­                                                      of
                                                              ­                                                       your
                                                                ­                                                                 ­     tides
                                                                ­                                                             (I am disregarded, but alive.)
I have recently asked a number of friends what their favorite word in the English language is. I have used each single word as a starting off point for a poem. Here is poem 1.

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