When blood runs into your eyes
It doesn't turn your vision crimson,
It doesn't make you think of red and hate
It blurs your view to whatever comes next.

Regret. The act of doing something and feeling remorse later on; the act of wanting to take something back; the act of wishing something didn’t happen. I regret ever making the joke that when my sister and I fought; it was like World War 3. I regret not telling my brother how much he meant to me and how proud I was that he was serving our country. I regret falling in love with a man that would be forced to go into the military.

Ayden received the letter in the mail two weeks ago, informing him that he would be expected to be at the airport, to involuntarily serve our country. Something bad was going to happen. Something no one was prepared for. We were only eighteen, just seniors in high school since our birthdays took place in the summer. We had been dating one year. The thought of him going half way around the world to fight in a war that came out of nowhere, scared me half to death. It wasn’t just the fact that I was losing my boyfriend who I was incredibly in love with; It was the fact that all in one day, I would be losing my boyfriend, and my best friend. No one to share my secrets with, no one to wrap me in his arms and tell me that everything was going to be okay. Just like he had done the night before when he had finally worked up the courage to tell me what had happened. My jaw hit the floor, my eyes watered up, and I may or may not have started trembling. We had been sitting on the couch when he squeezed my hand a little tighter.

“I have to tell you something.” He said.

I turned toward him with a smile on my face, which quickly faded when I saw that his own eyes had started to tear up.

“What’s wrong?” I asked immediately.

“In a week, I won’t see you. I don’t know for how long, I don’t know when I’ll be back.” He started to explain.

“Where are you going?” I asked impatiently.

“I don’t know.”

“You have to know.”

“There’s going to be a war.” He said. “A big one.” He whispered.

“There was a draft?”

He nodded his head slightly.

“When did you find out?” I asked.

“About a week ago.”

“And you didn’t tell me?”

“I didn’t know how.”

“You didn’t know how?” I whispered.

“Ava. This hurts more than if I was breaking up with you.” He said. “I’ve wanted to tell you. I have. But I didn’t know how. How do you tell someone you’re completely in love with, that you’re going off to fight in a war? That you don’t know if you’ll be coming back?”

“You certainly don’t hide it from that person.” I whispered.

“I might not be coming back.”

“Don’t say that.” I interrupted. “Don’t ever say that again.”

I let a few tears slip down the side of my cheek. He raised his hand to my face and slowly swiped them away with his thumb. He pulled me closer into his arms and kissed my forehead.

“I love you.” He whispered into my ear.

“I love you too.” I said.

Those were the last words we said to each other a week later while standing in the airport. His parents were there too .He had already hugged them and his dad had ushered his mom out to the parking lot in order to keep her from having a panic attack. Ayden and I had stood there awkwardly for a few minutes. After all, what do you say to someone when there’s a possibility you might not ever see them again? That had been when he out of nowhere grabbed me and pulled me against his chest. Wrapping me tightly in his arms, I buried my nose into the sleeve of his jacket and savored the sweet scent of his cologne.

I stood in the window of the airport, watching planes take off after he had given me a final hug and had left to board the plane. Already, I felt like I had something missing from me. Like there was a big hole in my heart. I felt empty. After some time, I decided I should probably go home.

I didn’t cry myself to sleep last night like I thought I would’ve. Instead, I just lay in bed, looking up at the ceiling, not knowing what to think. Tomorrow would be so much different than all my other days at school. No one to hold my hand while walking down the hallway, no one to go out to lunch with, and no one to look forward to so bright and early in the morning. After what seemed like forever, I drifted off to sleep, images of Ayden appearing in my dreams.

The sound of my alarm clock woke me in the morning. And all at once, it hit me, everything that I had been thinking of before drifting off to sleep the night before. Everything that had happened yesterday hadn’t been just a dream. It had been reality and it was finally starting to set in. I threw the covers off of me and started my day like any other, minus the ‘good morning beautiful’ text that I had been so used to receiving.

When I was finally ready for school, I grabbed my keys and headed out the door. The weather fit my mood perfectly. Cloudy, dark, damp, awful weather. Unlike most days that usually occurred here in California. I was used to the sun, the nice warm breeze, not this ‘Seattle like’ weather. Driving to school, I wasn’t sure if the raindrops falling on my windshield made it blurry to see, or if it was my own tears welling up in my eyes. I pretended for it to be the first option, all the while knowing it was the second. Staying strong had been one of my traits. When things got tough, I wasn’t one to run from my problems. No, I faced those dead on. Mom always said I got that from Dad.

It’d been a long time since I’d last thought about him. He was tall, strong, and stubborn. He died serving our country. Maybe that’s what scared me most about Ayden having to go fight. I’d experience death through the military too many times in my book. My grandpa had served our country and had also died in military combat, then Dad. Maybe, it was just my family. Luck just didn’t play on our side. When my brother was finally old enough to join, he surprised us all at dinner one night.

“Have you thought anymore about that business degree you want to get?” Mom had asked.

“Well, yeah. Actually, no. I’ve decided against the business degree.” Ethan had said.

“Honey, you’re almost ready to graduate. You’re changing your mind in the blink of an eye and at possibly, the last minute?”

I had sat silently, not saying a word. Ethan had told me a few months before what he’d been thinking. He knew my opinion, but didn’t know Mom’s. I wasn’t happy with what he was deciding, but I was almost willing to support him. We were close, and I didn’t want to lose him like I had lost Dad, who I’d also been so close to.

“I want to join the military.” He said quietly, and calmly.

I remember Mom’s reaction almost perfectly. She didn’t say a word at first, just looked down at her plate. When she lifted her head a minute later, tears had begun to form in her eyes, ones she blinked away quickly, not letting them spill over onto her cheeks.

“When did you, decide this?” she asked quietly.

“I’ve thought about it for a long time. My choices were either, business, or military.” He explained. “And Mom, the business thing just isn’t working out.”

“Of all things to choose.” She whispered.

She shook her head slightly and I saw a tear fall onto the table by her plate.

“Mom, things are different these days. It’s not like when Dad fought.” He explained. “Ava supports me.” He slipped.

Mom’s head snapped up and looked at me. My head bent down, looking at the spaghetti on my plate.

“You knew?” she asked quietly.

I said nothing. Absolutely nothing. Telling Mom that I had known his decision all along wasn’t part of the plan when the three of us sat down for dinner that night.

“I thought there were no secrets in this house?” she asked.

“There isn’t.” Ethan chimed in. “Anymore.” He whispered.

Mom breathed in a deep breath and let it escape.

“Ethan, I love you. And I support whatever you choose to do. You know that. But I am telling you right now, I will be ****** if I lose another important man in my life.” She said, sternly, while looking deep into his eyes.

“Dad would’ve wanted this.” Ethan said, plainly.

“I know.”

And with that, she had excused herself and left the table. Walking down the hallway, I heard her sniffle a couple times.

The fact of those two simple words stung but as the saying goes, “the truth hurts.” Mom was a runner. She was the one who would always run from her problems instead of confronting them. The one thing that she had always said and will continue to always say, she didn’t want Ethan going into the military. Ever since Dad had died, she’d stuck to her word. Even though, we all knew Dad would’ve wanted Ethan to follow in his steps and be a commanding officer, it’d be the one thing Mom would continuously disagree on. I guess you could say I was the same way. After Ayden had told me that he had been signed for the draft, my breath had caught and I had the same reaction as Mom would’ve had. I would’ve wanted him to do anything, anything, besides go into the military. But I guess it was different this time. No one really had a say in who was on the list and who was absent. My bad luck had just started to shine through.

School dragged on. As normal. But it was different now. Ayden wasn’t there to hold my hand. He wasn’t there to greet me after my classes, wasn’t there to walk me to my car, wasn’t there to just be in my presence. It was like he had died. And just the thought of that alone, brought tears to my eyes. I wasn’t the only one whose boyfriend had been called off for the draft. No, there were others, but none of those other couples had been like Ayden and I. We weren’t just a couple. We weren’t just homecoming king and queen. No, we were best friends. I’d known him since first grade when he’d transferred to my elementary school. I had been the one assigned to show him around the school. We became friends, and later on, best friends. Freshman year of high school, Ayden and I had gone to homecoming together. Not as a couple but just as friends because neither of us had a date. Sophomore year, we had gone together again. Not because we didn’t have a date, but because we wanted to go with each other. I’ll never forget that night, because that was the night Ayden had told me he wanted to be more than friends. I had never actually thought about being more than just his friend until he had brought it up. That night, I didn’t just fall in love with a guy; I fell in love with my best friend.

The final bell rang for school to be dismissed. Once again, I felt emptiness inside while walking through the hallway. Blurs of kids rushing past me kept me from allowing my tears to spill over onto my cheeks, but that was the only thing that stopped them. After getting into my car, I put the key into the ignition but didn’t start it; I didn’t even turn the key. I put my head in my hands and took a deep breath. In my head, I thought, “One day down.”

After sitting for a few minutes in my quiet car, and letting other vehicles exit the parking lot, I finally turned the key and started my car. Hearing the soft music come on the radio, I turned it down so I could only hear the engine running. Putting my car into reverse, I wasn’t exactly sure where I was going to go. I just wanted to drive. Halfway home, I changed directions and headed to what seemed like my second house, my best friend’s house.

I knew his Mom would be off work by now and would be there to let me in. I found it ironic, as I always have that when you’re in a hurry to get somewhere; you stop at every red light possible. Red lights, stop signs, and slow moving cars in general were the only obstacles in my way that afternoon. Finally, when I was out of the traffic and almost to Ayden’s house, I pushed my foot a little harder on the gas to gain some speed. Driving up over the gravel road, I could see in the distance his Mom’s small car parked in the driveway; along with Ayden’s. Just seeing it there, gave me false hope that maybe this was all a dream and he was actually at his house, waiting for me.

Pulling into the driveway, his Mom came out onto the porch. Ayden lived in a house that you see in the movies. A tall, white one with a wraparound porch, the swing out front. I loved spending time in that house. Putting the car in park, I slowly got out and walked up to the porch.

“How did it go?” his Mom asked.

I shrugged my shoulders, while walking up the stairs. She pulled me into her arms and hugged me. Rubbing my back, she whispered,

“It’ll be okay. He’ll be coming home sooner than you know it.”

“Can I just go up to his room?” I asked.

“Of course.”

She released me from her arms and I opened the screen door to head inside while she remained on the porch. I walked up the stairs and to the right. Ayden’s door was closed. That was unlikely. He never kept his door shut just for the sake of it being shut. It was always opened. I pushed it open and walked inside. All his stuff was where he had left it. His bed was unmade, his closet doors standing open. I walked to his closet and ran my hands over his shirts, His scent filled my nose and I just wanted him home. I grabbed a button down, blue and white, thin striped shirt. He had worn it to school a couple times. I put it up to my nose, taking in faint bit of cologne that you could still smell on it, even after it going through the wash. I walked over to his bed, sitting down on the edge. With his shirt still pressed close to my face, I breathed in a heavy breath and let everything go. The tears started coming and I didn’t stop them. I started sobbing but I didn’t care. It seemed like everything that I’d ever loved, was gone. Because technically, it was, for the time. Ayden leaving to go fight in a war half way across the country scared me more than life itself, and hurt more than if he had broken up with me. I felt alone, even when there were dozens of people around me. I felt as if Ayden was dead when he was actually alive and well, as far as I knew. He’d only been gone one day and it felt like three years. Losing Ayden to the war efforts showed the true meaning in the saying, “you never really know what you have until it’s gone.” But really, the truth was, I knew what I had. I knew exactly what I had. I just took it for granted and didn’t think I’d ever lose it. And now all I wanted was Ayden back in the same country as me, back in the same house as where I was. In his room, watching a movie, playing a game, anything. That’s all I wanted at that exact moment.

I jumped up out of my sleep, my heart beating faster than a race car zooming around a track. I looked at my alarm clock, the red digits glaring, 2:33 back at my face. I swallowed and took a few more deep breaths before kicking the covers off and walking to the bathroom. I turned the light on and splashed some cool water over my face. Looking up into the mirror, I took one final deep breath and walked back to my room. Grabbing my phone from my nightstand next to my bed, I unplugged it and ran my finger over the touch screen. Reaching Ayden’s name, I touched the screen where it said to call. Holding the phone up to my ear, I waited for Ayden’s voice to answer. After about five rings and silence, his voice answered through his voicemail.

“Hey, it’s Ayden. I’m a little busy at the moment, but leave a message, and I’ll make sure to get back to you.”

My tears broke out all over again, my already swollen eyes releasing more sobs. I pulled my covers up to my chest and buried my face in them. My sobs grew a bit louder, and I heard footsteps coming from outside my bedroom door. I tried to stop, and after sniffling a couple times, the white door opened slowly.

“Honey,” Mom said, coming over to the bed.

“I can’t do this, Mom.” I sobbed.

She pulled me into her arms and rested her chin on my head while softly rubbing my back.

“It gets better.” she whispered. “It gets better.” she paused. “I promise.”

“I don’t know.” I said.

“I do.” she replied. “I went through this. You seem to keep forgetting. But I went through this exact same thing.”

I took a deep breath. “How long?” I asked. “How long does this last? This loneliness, this emptiness?”

“Too long.” she whispered.

She pulled me into her arms even more, holding me tighter, until I slowly laid down on my bed, my tears falling to my pillow. She sat on the edge of my bed, rubbing my back. It reminded me of all the times when I had been sick and she’d s

In the stands, down 35-3 with two minutes left in the fourth,
Fred Carson picks at the sticky, white remnants of a Coke bottle's label.
He leans over to me,
"Do you mind if I talk to you again?"
I don't, and haven't since kickoff.

"You know, I played running back on this same field."

"Oh yeah?" I say, allowing the story to commence.

"Started all four years. Rushed 1,000 yards as a freshman."

"Wow."

"It took five guys to bring me down by my senior year."

"That's insane."

"I probably still hold the record for most rush yards,
but I doubt they keep up with things like that."

He takes a sip from his drink. It's half empty.
His hair -- greasy, most likely on its third unwashed day --
parts to the left and clings to his skull.
He's wearing a long sleeve, plaid dress shirt.
The shirt is buttoned to the top.

"Hell, that was back in 1968," slows, "I graduated in 19-68. Jesus."

Fred retired from the post office six years back.
He claims he's never missed a game of Blue Jay football since 1970.
The high school band starts playing in the section next to us --
a misshapen cover of "Louie, Louie".
Fred raises his voice,

"You know, I've been to every football game since 1970."

"Yeah, you mentioned that last week."

"I apologize. Yeah, if it wasn't for that first year of college.
I got a scholarship to play ball at Florida State.
Couldn't be there and here at the same time, you know? Kinda hard."

He runs his big-knuckled right hand along his khaki'd thigh, checking his pocket.
He checks the left thigh -- nothing.
Reaches into his shirt pocket and reveals a lighter.
Then a soft pack of Marlboro Lights emerge.

"You know, I ran the fifty in less than five seconds."

To the dismay of cheerleader moms sitting behind us,
he lights the cigarette.
He stares at the Bic lighter with some NASCAR driver -- number 88 --
I don't recognize.
The cutout of the NASCAR driver's scraggly face
sits atop a navy blue and spiraling purple backdrop.
He starts to scratch at the label on the lighter.
A screech from a clarinet rises above the rest of the band,
Fred grimaces, takes a drag, continues,

"The coach at Florida State said I was the fastest boy he'd ever seen.
He said I was going to go pro. Sure thing, he said. I rushed for nearly
300 yards in the first game my freshman year. After the game,
the coach was like, see boy, I told you. You are going to tear it up
this season."

The NASCAR decal comes completely off. Under that purple and blue label,
Fred uncovers a white lighter.

"Would you look at that. I wouldn't have bought the **** thing if
I knew it was a white lighter. That's bad luck, you know. Hendrix and
that--uh--Janis Joplin lady both died with a white lighter in their hand.
Bad luck. A white lighter is bad luck."

"What happened at Florida State?" I ask.

"Well, we were playing Notre Dame during the second game that season.
Down by five with three seconds left on the clock.
We were on our own thirty, and the coach of Florida State was like,
run the hail mary play. But in the huddle, I look the quarterback
square in the eyes, and I say to him, captain -- he was team captain --
I say, captain, I'm hungry for that ball. He knew I could do it.
He took the snap, the receivers rushed down field, and I bolted toward
that line of scrimmage, took the handoff and I was gone, baby."

The crowd begins to cheer as the Blue Jay quarterback throws a long pass
to a wide open receiver. Fred freezes mid-story.
The cheer blurs into a silence, as each person in the bleachers
watches the ball ascend.

For the first time all night, the band lowers their instruments from their lips.
Just a ball floating.
The buzz from the stadium lights becomes audible.
One person gasps.
Then like dominoes the stadium follows suit.

The high arc of the ball betrays the distance,
and the pigskin plummets sharply.

"Interception!" the announcer cries through the speakers.

"That's a **** shame. I thought he was going to have it.
What were we talking about?" Fred asks as he drops his
finished cigarette into the nearly empty, naked Coke bottle.

"You were talking about Florida State. You were down five and--"

"That's right. So, I break up the middle. I dust that noseguard.
I stiff arm a linebacker. I looked like a Heisman trophy in motion.
I travel 69-yards down the field. I'm slowing down at the endzone,
thinking nobody is around, and sure enough -- plow -- the cornerback
dives right into my leg. I broke all kinds of bones and tore all kinds
of muscles. The doctor told me, he'd never seen anything like it."

The band plays the fight song as the clock winds down and the Blue Jays lose.
I try to disappear in the sea of blue and silver exiting t-shirts,
but Fred slows me down,

"It sure was good talking to you. I'll have to tell you more about Florida State
next week. Be sure to sit by me."

"I will," I say as the band director, Mr. Morton, steps in front of me.

"Hey, Fred," Mr. Morton says. He looks at me, then back to Fred.
He's trying to decide whether or not I'm of relation.
"Son, I went to Seminole State Junior College with Fred here
when we got out of high school."

"Really? Did you guys play football together?" I ask with innocent inquisitiveness.

"No, we weren't really into that. Though, we were at all the games.
We were in band together. Until Fred's wild streak got the best of him,"
Mr. Morton laughs, "am I right, Fred?"



The fight song came to a close.
With a lowered head, Fred walked into the silver, blue crowd
with a plaid dress shirt buttoned to the top.

The big city blurs

what is dark, with lots of light --


Is heaven like that?

If only sleeping didn’t bring out the demons in me

Dark and darker entities popping stopping staring at me for what seems like eternity maybe higher than that maybe in my mind no reality of me living where I am supposed to be.
I see eyes that’s always the beginning they take me inside I overthink the circumstance where I’m the pupil but I’m always sacrificing myself to be the victim.
Flashbacks possibilities deja vus of me disconnections disconnects its blocks of memories.
Stagnant thinking it’s the brinking of uncertainties and the insomniac tendencies left beneath me by my depressive states I question its beginnings.
Where the pain lies in my side every time I wanna die and think back to why it confuses me.
Waking up buried in ***** dust though sometimes sparkly is always as terrifying as the last time.
Even when you get out you’re never truly free in such a dark city.
Let’s try howling like our pets tried when our neighbors died when I wake up I hear her scream.
No clocks ticking it’s just the doorbell ringing and the death chimes on and on.
We’re tearing through the jungle book of matrix look a green computer screen but it’s all black and brown they throw some color red in it.
But it just blurs and blurs and you’re not sure, you just let yourself fade into the chaotic white buzz instead of letting yourself looking at the bigger picture.
It’s on a ladder it’s so confusing every rail means something monkey bars leading seemingly nowhere that’s where the blur starts that’s where my heart dies that’s where I go blind.
Entities blurring creation forget your dreams why have we forgotten where we’ve come from

There was no before or after you
You didn't cut my life in half
You were just a blur
and a blur can't be loved or hated
blurs can barely be seen
blurs have no definitions
blurs are forgotten with ease
So don't worry stay calm
Don't pity me
Don't feel like you need to apologize
Because there is no need
I have already made peace with myself
And you are not in it
So, Blur away... Blur away

There is pleasure's sigh, there is despair's sigh,
Adorned with a sweet smile or a sour cry,
Screaming both in the night with no reply,
Under the glamorous buildings up high,
Who are standing under the blue night sky.

All places of Tokyo change at night,
Streets are flowing rivers of gleamy light,
Lit-neon signs glowing at every sight,
Under the glamorous buildings up high,
Who are standing under the blue night sky.

More footsteps have been set in these lit-streets,
Than the words have been said in these lit-streets,
Or the numbers of debt in these lit-streets,
Under the glamorous buildings up high,
Who are standing under the blue night sky.

Glamorous in the busy night like pearls,
Hostess girls show to men a sight like pearls,
With smiles and teeth who're white like pearls,
Under the glamorous buildings up high,
Who are standing under the blue night sky.

Girls who're shining like jewels are adored,
Who quickly by empty wallets get bored,
By the men who these sweet gems can afford,
Under the glamorous buildings up high,
Who are standing under the blue night sky.

As long as bars shine with signs of neon,
The crowds in this city are going on,
Until they are put out at times of dawn,
Under the glamorous buildings up high,
Who are standing under the blue night sky.

Lights are reflected as blurs in each pool,
Who distort the sights like the alcohol,
Who is served in passionate bars as cool,
Under the glamorous buildings up high,
Who are standing under the blue night sky.

Water's flowing in the water business,
Who's to the old days a reminiscences,
Where the thin rules of the night are boundless,
Under the glamorous buildings up high,
Who are standing under the blue night sky.

Unlike the tradition of the flower,
Here they paint faces to take a powder,
And then embrace the ones with much power,
Under the glamorous buildings up high,
Who are standing under the blue night sky.

The alcohol is poured down like the rain.
How hide drunkenness from whiskey and champagne,
They put powders on the face to look plain,
Under the glamorous buildings up high,
Who are standing under the blue night sky.

Adored, desired and loved is every star,
Who strolls around or drinks in every bar,
By each man with a luxuriant car,
Under the glamorous buildings up high,
Who are standing under the blue night sky.

Mâhî's still to Tokyo a stranger,
Both to its pleasure and to its danger,
Where the eyes at night only see a blur,
Under the glamorous buildings up high,
Who are standing under the blue night sky.

The Lonely Earth
by Kajal Ahmad, a Kurdish poet
loose translation/interpretation by Michael R. Burch

The pale celestial bodies
never bid her “Good morning!”
nor do the creative stars
kiss her.
Earth, where so many tender persuasions and roses lie interred,
might expire for the lack of a glance, or an odor.
She’s a lonely dusty orb,
so very lonely!, as she observes the moon's patchwork attire
knowing the sun's an imposter
who sears with rays he has stolen for himself
and who looks down on the moon and earth like lodgers.

Keywords/Tags: Kajal Ahmad, Kurd, Kurdish, lonely, Earth, stars, moon, sun, rays, lodgers, tenants, boarders, renters, mrbch



Mirror
by Kajal Ahmad, a Kurdish poet
loose translation/interpretation by Michael R. Burch

My era’s obscuring mirror  
shattered
because it magnified the small
and made the great seem insignificant.
Dictators and monsters filled its contours.            
Now when I breathe
its jagged shards pierce my heart
and instead of sweat
I exude glass.



Kurds are Birds
by Kajal Ahmad, a Kurdish poet
loose translation/interpretation by Michael R. Burch

Per the latest scientific classification, Kurds
now belong to a species of bird!
This is why,
traveling across the torn, fraying pages of history,
they are nomads recognized by their caravans.
Yes, Kurds are birds! And,
even worse, when
there’s nowhere left to nest, no refuge for their pain,
they turn to the illusion of traveling again
between the warm and arctic sectors of their homeland.
So I don’t think it strange Kurds can fly but not land.
They wander from region to region
never realizing their dreams
of settling,
of forming a colony, of nesting.
No, they never settle down long enough
to visit Rumi and inquire about his health,
or to bow down deeply in the gust-
stirred dust,
like Nali.



Bi Havre (“Together”)
possibly the oldest Kurdish poem
loose translation/interpretation by Michael R. Burch

I want us to be together:
we would eat together,

climb the mountain together,
sing songs together, songs of love,

songs from the heart, sung from above.
I want us to have one heart, together.

Many words in this ancient poem are in doubt, so I have excerpted what I grok to be the central meaning.



Birdsong
by Rumi
loose translation by Michael R. Burch

Birdsong relieves
my deepest griefs:
now I'm just as ecstatic as they,
but with nothing to say!
Please universe,
rehearse
your poetry
through me!



First They Came for the Muslims
by Michael R. Burch

after Martin Niemoller

First they came for the Muslims
and I did not speak out
because I was not a Muslim.

Then they came for the homosexuals
and I did not speak out
because I was not a homosexual.

Then they came for the feminists
and I did not speak out
because I was not a feminist.

Now when will they come for me
because I was too busy and too apathetic
to defend my sisters and brothers?

Published in Amnesty International’s Words That Burn anthology, and by Borderless Journal (India), The Hindu (India), Matters India, New Age Bangladesh, Convivium Journal, PressReader (India) and Kracktivist (India). It is indeed an honor to have one of my poems published by an outstanding organization like Amnesty International. A stated goal for the anthology is to teach students about human rights through poetry.



Uyghur Poetry Translations

With my translations I am trying to build awareness of the plight of Uyghur poets and their people, who are being sent in large numbers to Chinese "reeducation" concentration camps.

Perhat Tursun (1969-????) is one of the foremost living Uyghur language poets, if he is still alive. Unfortunately, Tursun was "disappeared" into a Chinese "reeducation" concentration camp where extreme psychological torture is the norm. According to a disturbing report he was later "hospitalized." Apparently no one knows his present whereabouts or condition, if he has one. According to John Bolton, when Donald Trump learned of these "reeducation" concentration camps, he told Chinese President Xi Jinping it was "exactly the right thing to do." Trump’s excuse? "Well, we were in the middle of a major trade deal."

Elegy
by Perhat Tursun
loose translation/interpretation by Michael R. Burch

"Your soul is the entire world."
―Hermann Hesse, Siddhartha

Asylum seekers, will you recognize me among the mountain passes' frozen corpses?
Can you identify me here among our Exodus's exiled brothers?
We begged for shelter but they lashed us bare; consider our naked corpses.
When they compel us to accept their massacres, do you know that I am with you?

Three centuries later they resurrect, not recognizing each other,
Their former greatness forgotten.
I happily ingested poison, like a fine wine.
When they search the streets and cannot locate our corpses, do you know that I am with you?

In that tower constructed of skulls you will find my dome as well:
They removed my head to more accurately test their swords' temper.
When before their swords our relationship flees like a flighty lover,
Do you know that I am with you?

When men in fur hats are used for target practice in the marketplace
Where a dying man's face expresses his agony as a bullet cleaves his brain
While the executioner's eyes fail to comprehend why his victim vanishes, ...
Seeing my form reflected in that bullet-pierced brain's erratic thoughts,
Do you know that I am with you?

In those days when drinking wine was considered worse than drinking blood,
did you taste the flour ground out in that blood-turned churning mill?
Now, when you sip the wine Ali-Shir Nava'i imagined to be my blood
In that mystical tavern's dark abyssal chambers,
Do you know that I am with you?

TRANSLATOR NOTES: This is my interpretation (not necessarily correct) of the poem's frozen corpses left 300 years in the past. For the Uyghur people the Mongol period ended around 1760 when the Qing dynasty invaded their homeland, then called Dzungaria. Around a million people were slaughtered during the Qing takeover, and the Dzungaria territory was renamed Xinjiang. I imagine many Uyghurs fleeing the slaughters would have attempted to navigate treacherous mountain passes. Many of them may have died from starvation and/or exposure, while others may have been caught and murdered by their pursuers. If anyone has a better explanation, they are welcome to email me at mikerburch@gmail.com (there is an "r" between my first and last names).



The Fog and the Shadows
adapted from a novel by Perhat Tursun
loose translation/interpretation by Michael R. Burch

“I began to realize the fog was similar to the shadows.”

I began to realize that, just as the exact shape of darkness is a shadow,
even so the exact shape of fog is disappearance
and the exact shape of a human being is also disappearance.
At this moment it seemed my body was vanishing into the human form’s final state.

After I arrived here,
it was as if the danger of getting lost
and the desire to lose myself
were merging strangely inside me.

While everything in that distant, gargantuan city where I spent my five college years felt strange to me; and even though the skyscrapers, highways, ditches and canals were built according to a single standard and shape, so that it wasn’t easy to differentiate them, still I never had the feeling of being lost. Everyone there felt like one person and they were all folded into each other. It was as if their faces, voices and figures had been gathered together like a shaman’s jumbled-up hair.

Even the men and women seemed identical.
You could only tell them apart by stripping off their clothes and examining them.
The men’s faces were beardless like women’s and their skin was very delicate and unadorned.
I was always surprised that they could tell each other apart.
Later I realized it wasn’t just me: many others were also confused.

For instance, when we went to watch the campus’s only TV in a corridor of a building where the seniors stayed when they came to improve their knowledge. Those elderly Uyghurs always argued about whether someone who had done something unusual in an earlier episode was the same person they were seeing now. They would argue from the beginning of the show to the end. Other people, who couldn’t stand such endless nonsense, would leave the TV to us and stalk off.

Then, when the classes began, we couldn’t tell the teachers apart.
Gradually we became able to tell the men from the women
and eventually we able to recognize individuals.
But other people remained identical for us.

The most surprising thing for me was that the natives couldn’t differentiate us either.
For instance, two police came looking for someone who had broken windows during a fight at a restaurant and had then run away.
They ordered us line up, then asked the restaurant owner to identify the culprit.
He couldn’t tell us apart even though he inspected us very carefully.
He said we all looked so much alike that it was impossible to tell us apart.
Sighing heavily, he left.



The Encounter
by Abdurehim Otkur
loose translation/interpretation by Michael R. Burch

I asked her, why aren’t you afraid? She said her God.
I asked her, anything else? She said her People.
I asked her, anything more? She said her Soul.
I asked her if she was content? She said, I am Not.



The Distance
by Tahir Hamut
loose translation/interpretation by Michael R. Burch

We can’t exclude the cicadas’ serenades.
Behind the convex glass of the distant hospital building
the nurses watch our outlandish party
with their absurdly distorted faces.

Drinking watered-down liquor,
half-****, descanting through the open window,
we speak sneeringly of life, love, girls.
The cicadas’ serenades keep breaking in,
wrecking critical parts of our dissertations.

The others dream up excuses to ditch me
and I’m left here alone.

The cosmopolitan pyramid
of drained bottles
makes me feel
like I’m in a Turkish bath.

I lock the door:
Time to get back to work!

I feel like doing cartwheels.
I feel like self-annihilation.



Refuge of a Refugee
by Ablet Abdurishit Berqi aka Tarim
loose translation/interpretation by Michael R. Burch

I lack a passport,
so I can’t leave legally.
All that’s left is for me to smuggle myself to safety,
but I’m afraid I’ll be beaten black and blue at the border
and I can’t afford the trafficker.

I’m a smuggler of love,
though love has no national identity.
Poetry is my refuge,
where a refugee is most free.

The following excerpts, translated by Anne Henochowicz, come from an essay written by Tang Danhong about her final meeting with Dr. Ablet Abdurishit Berqi, aka Tarim. Tarim is a reference to the Tarim Basin and its Uyghur inhabitants...

I’m convinced that the poet Tarim Ablet Berqi the associate professor at the Xinjiang Education Institute, has been sent to a “concentration camp for educational transformation.” This scholar of Uyghur literature who conducted postdoctoral research at Israel’s top university, what kind of “educational transformation” is he being put through?

Chen Quanguo, the Communist Party secretary of Xinjiang, has said it’s “like the instruction at school, the order of the military, and the security of prison. We have to break their blood relations, their networks, and their roots.”

On a scorching summer day, Tarim came to Tel Aviv from Haifa. In a few days he would go back to Urumqi. I invited him to come say goodbye and once again prepared Sichuan cold noodles for him. He had already unfriended me on Facebook. He said he couldn’t eat, he was busy, and had to hurry back to Haifa. He didn’t even stay for twenty minutes. I can’t even remember, did he sit down? Did he have a glass of water? Yet this farewell shook me to my bones.

He said, “Maybe when I get off the plane, before I enter the airport, they’ll take me to a separate room and beat me up, and I’ll disappear.”

Looking at my shocked face, he then said, “And maybe nothing will happen …”

His expression was sincere. To be honest, the Tarim I saw rarely smiled. Still, layer upon layer blocked my powers of comprehension: he’s a poet, a writer, and a scholar. He’s an associate professor at the Xinjiang Education Institute. He can get a passport and come to Israel for advanced studies. When he goes back he’ll have an offer from Sichuan University to be a professor of literature … I asked, “Beat you up at the airport? Disappear? On what grounds?”

“That’s how Xinjiang is,” he said without any surprise in his voice. “When a Uyghur comes back from being abroad, that can happen.”…



This poem helps us understand the nomadic lifestyle of many Uyghurs, the hardships they endure, and the character it builds...

Iz (“Traces”)
by Abdurehim Otkur
loose translation/interpretation by Michael R. Burch

We were children when we set out on this journey;
Now our grandchildren ride horses.

We were just a few when we set out on this arduous journey;
Now we're a large caravan leaving traces in the desert.

We leave our traces scattered in desert dunes' valleys
Where many of our heroes lie buried in sandy graves.

But don't say they were abandoned: amid the cedars
their resting places are decorated by springtime flowers!

We left the tracks, the station... the crowds recede in the distance;
The wind blows, the sand swirls, but here our indelible trace remains.

The caravan continues, we and our horses become thin,
But our great-grand-children will one day rediscover those traces.



My Feelings
by Dolqun Yasin
loose translation/interpretation by Michael R. Burch

The light sinking through the ice and snow,
The hollyhock blossoms reddening the hills like blood,
The proud peaks revealing their ******* to the stars,
The morning-glories embroidering the earth’s greenery,
Are not light,
Not hollyhocks,
Not peaks,
Not morning-glories;
They are my feelings.

The tears washing the mothers’ wizened faces,
The flower-like smiles suddenly brightening the girls’ visages,
The hair turning white before age thirty,
The night which longs for light despite the sun’s laughter,
Are not tears,
Not smiles,
Not hair,
Not night;
They are my nomadic feelings.

Now turning all my sorrow to passion,
Bequeathing to my people all my griefs and joys,
Scattering my excitement like flowers festooning fields,
I harvest all these, then tenderly glean my poem.

Therefore the world is this poem of mine,
And my poem is the world itself.



To My Brother the Warrior
by Téyipjan Éliyow
loose translation/interpretation by Michael R. Burch

When I accompanied you,
the commissioners called me a child.
If only I had been a bit taller
I might have proved myself in battle!

The commission could not have known
my commitment, despite my youth.
If only they had overlooked my age and enlisted me,
I'd have given that enemy rabble hell!

Now, brother, I’m an adult.
Doubtless, I’ll join the service soon.
Soon enough, I’ll be by your side,
battling the enemy: I’ll never surrender!

Keywords/Tags: Uyghur, translation, Uighur, Xinjiang, elegy, Kafka, China, Chinese, reeducation, prison, concentration camp, desert, nomad, nomadic, race, racism, discrimination, Islam, Islamic, Muslim, mrbuyghur



Mehmet Akif Ersoy: Modern English Translations of Turkish Poems

Mehmet Âkif Ersoy (1873-1936) was a Turkish poet, author, writer, academic, member of parliament, and the composer of the Turkish National Anthem.



Snapshot
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

Earth’s least trace of life cannot be erased;
even when you lie underground, it encompasses you.
So, those of you who anticipate the shadows,
how long will the darkness remember you?



Zulmü Alkislayamam
"I Can’t Applaud Tyranny"
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

I can't condone cruelty; I will never applaud the oppressor;
Yet I can't renounce the past for the sake of deluded newcomers.
When someone curses my ancestors, I want to strangle them,
Even if you don’t.
But while I harbor my elders,
I refuse to praise their injustices.
Above all, I will never glorify evil, by calling injustice “justice.”
From the day of my birth, I've loved freedom;
The golden tulip never deceived me.
If I am nonviolent, does that make me a docile sheep?
The blade may slice, but my neck resists!
When I see someone else's wound, I suffer a great hardship;
To end it, I'll be whipped, I'll be beaten.
I can't say, “Never mind, just forget it!” I'll mind,
I'll crush, I'll be crushed, I'll uphold justice.
I'm the foe of the oppressor, the friend of the oppressed.
What the hell do you mean, with your backwardness?



Çanakkale Sehitlerine
"For the Çanakkale Martyrs"
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

Was there ever anything like the Bosphorus war?―
The earth’s mightiest armies pressing Marmara,
Forcing entry between her mountain passes
To a triangle of land besieged by countless vessels.
Oh, what dishonorable assemblages!
Who are these Europeans, come as rapists?
Who, these braying hyenas, released from their reeking cages?
Why do the Old World, the New World, and all the nations of men
now storm her beaches? Is it Armageddon? Truly, the whole world rages!
Seven nations marching in unison!
Australia goose-stepping with Canada!
Different faces, languages, skin tones!
Everything so different, but the mindless bludgeons!
Some warriors Hindu, some African, some nameless, unknown!
This disgraceful invasion, baser than the Black Death!
Ah, the 20th century, so noble in its own estimation,
But all its favored ones nothing but a parade of worthless wretches!
For months now Turkish soldiers have been vomited up
Like stomachs’ retched contents regarded with shame.
If the masks had not been torn away, the faces would still be admired,
But the ***** called civilization is far from blameless.
Now the ****** demand the destruction of the doomed
And thus bring destruction down on their own heads.
Lightning severs horizons!
Earthquakes regurgitate the bodies of the dead!
Bombs’ thunderbolts explode brains,
rupture the ******* of brave soldiers.
Underground tunnels writhe like hell
Full of the bodies of burn victims.
The sky rains down death, the earth swallows the living.
A terrible blizzard heaves men violently into the air.
Heads, eyes, torsos, legs, arms, chins, fingers, hands, feet...
Body parts rain down everywhere.
Coward hands encased in armor callously scatter
Floods of thunderbolts, torrents of fire.
Men’s chests gape open,
Beneath the high, circling vulture-like packs of the air.
Cannonballs fly as frequently as bullets
Yet the heroic army laughs at the hail.
Who needs steel fortresses? Who fears the enemy?
How can the shield of faith not prevail?
What power can make religious men bow down to their oppressors
When their stronghold is established by God?
The mountains and the rocks are the bodies of martyrs!...
For the sake of a crescent, oh God, many suns set, undone!
Dear soldier, who fell for the sake of this land,
How great you are, your blood saves the Muslims!
Only the lions of Bedr rival your glory!
Who then can dig the grave wide enough to hold you. and your story?
If we try to consign you to history, you will not fit!
No book can contain the eras you shook!
Only eternities can encompass you!...
Oh martyr, son of the martyr, do not ask me about the grave:
The prophet awaits you now, his arms flung wide open, to save!



W. S. Rendra translations

Willibrordus Surendra Broto Rendra (1935-2009), better known as W. S. Rendra or simply Rendra, was an Indonesian dramatist and poet. He said, “I learned meditation and the disciplines of the traditional Javanese poet from my mother, who was a palace dancer. The idea of the Javanese poet is to be a guardian of the spirit of the nation.” The press gave him the nickname Burung Merak (“The Peacock”) for his flamboyant poetry readings and stage performances.

SONNET
by W. S. Rendra
loose translation/interpretation by Michael R. Burch

Best wishes for an impending deflowering.

Yes, I understand: you will never be mine.
I am resigned to my undeserved fate.
I contemplate
irrational numbers―complex & undefined.

And yet I wish love might ... ameliorate ...
such negative numbers, dark and unsigned.
But at least I can’t be held responsible
for disappointing you. No cause to elate.
Still, I am resigned to my undeserved fate.
The gods have spoken. I can relate.

How can this be, when all it makes no sense?
I was born too soon―such was my fate.
You must choose another, not half of who I AM.
Be happy with him when you consummate.

THE WORLD'S FIRST FACE
by W. S. Rendra
loose translation/interpretation by Michael R. Burch

Illuminated by the pale moonlight
the groom carries his bride
up the hill―
both of them naked,
both consisting of nothing but themselves.

As in all beginnings
the world is naked,
empty, free of deception,
dark with unspoken explanations―
a silence that extends
to the limits of time.

Then comes light,
life, the animals and man.

As in all beginnings
everything is naked,
empty, open.

They're both young,
yet both have already come a long way,
passing through the illusions of brilliant dawns,
of skies illuminated by hope,
of rivers intimating contentment.

They have experienced the sun's warmth,
drenched in each other's sweat.

Here, standing by barren reefs,
they watch evening fall
bringing strange dreams
to a bed arrayed with resplendent coral necklaces.

They lift their heads to view
trillions of stars arrayed in the sky.
The universe is their inheritance:
stars upon stars upon stars,
more than could ever be extinguished.

Illuminated by the pale moonlight
the groom carries his bride
up the hill―
both of them naked,
to recreate the world's first face.

Keywords/Tags: Rendra, Indonesian, Javanese, translation, love, fate, god, gods, goddess, groom, bride, world, time, life, sun, hill, hills, moon, moonlight, stars, life, animals?, international, travel, voyage, wedding, relationship, mrbtran



Death Fugue
by Paul Celan
loose translation/interpretation by Michael R. Burch

Black milk of daybreak, we drink you come dusk;
we drink you come midday, come morning, come night;
we drink you and drink you.
We’re digging a grave like a hole in the sky;
there’s sufficient room to lie there.
The man of the house plays with vipers; he writes
in the Teutonic darkness, “Your golden hair Margarete...”
He composes by starlight, whistles hounds to stand by,
whistles Jews to dig graves, where together they’ll lie.
He commands us to strike up bright tunes for the dance!

Black milk of daybreak, we drink you come dusk;
we drink you come dawn, come midday, come night;
we drink you and drink you.
The man of the house plays with serpents; he writes...
he writes as the night falls, “Your golden hair Margarete...
Your ashen hair Shulamith...”
We are digging dark graves where there’s more room, on high.
His screams, “Hey you, dig there!” and “Hey you, sing and dance!”
He grabs his black nightstick, his eyes pallid blue,
screaming, “Hey you―dig deeper! You others―sing, dance!”

Black milk of daybreak, we drink you come dusk;
we drink you come midday, come morning, come night;
we drink you and drink you.
The man of the house writes, “Your golden hair Margarete...
Your ashen hair Shulamith...” as he cultivates snakes.
He screams, “Play Death more sweetly! Death’s the master of Germany!”
He cries, “Scrape those dark strings, soon like black smoke you’ll rise
to your graves in the skies; there’s sufficient room for Jews there!”

Black milk of daybreak, we drink you come midnight;
we drink you come midday; Death’s the master of Germany!
We drink you come dusk; we drink you and drink you...
He’s a master of Death, his pale eyes deathly blue.
He fires leaden slugs, his aim level and true.
He writes as the night falls, “Your golden hair Margarete...”
He unleashes his hounds, grants us graves in the skies.
He plays with his serpents; Death’s the master of Germany...

“Your golden hair Margarete...
your ashen hair Shulamith...”



O, Little Root of a Dream
by Paul Celan
loose translation/interpretation by Michael R. Burch

O, little root of a dream
you enmire me here;
I’m undermined by blood―
made invisible,
death's possession.

Touch the curve of my face,
that there may yet be an earthly language of ardor,
that someone else’s eyes
may somehow still see me,
though I’m blind,

here where you
deny me voice.



You Were My Death
by Paul Celan
loose translation/interpretation by Michael R. Burch

You were my death;
I could hold you
when everything abandoned me―
even breath.



Wulf and Eadwacer
ancient Anglo-Saxon poem, circa 960 AD
loose translation/interpretation by Michael R. Burch

My clan's curs pursue him like crippled game;
they'll rip him apart if he approaches their pack.
It is otherwise with us.

Wulf's on one island; we're on another.
His island's a fortress, fastened by fens.
Here, bloodthirsty curs howl for carnage.
They'll rip him apart if he approaches their pack.
It is otherwise with us.

My heart pursued Wulf like a panting hound,
but whenever it rained—how I wept! —
the boldest cur grasped me in its paws:
good feelings for him, but for me loathsome!

Wulf, O, my Wulf, my ache for you
has made me sick; your seldom-comings
have left me famished, deprived of real meat.

Have you heard, Eadwacer? Watchdog!
A wolf has borne our wretched whelp to the woods!
One can easily sever what never was one:
our song together.

Keywords/Tags: Anglo-Saxon, Old English, England, translation, scop, female, women, ****, ******, ***, ****** abuse, ******, lament, complaint, tribalism, tribe, clan, pack, chauvinism, war, wolf, wolves, dog, dogs, hound, hounds, cur, curs, whelp, baby, offspring, island



I Have Labored Sore
anonymous medieval lyric (circa the fifteenth century)
loose translation/interpretation by Michael R. Burch

I have labored sore / and suffered death,
so now I rest / and catch my breath.
But I shall come / and call right soon
heaven and earth / and hell to doom.
Then all shall know / both devil and man
just who I was / and what I am.

NOTE: This poem has a pronounced caesura (pause) in the middle of each line: a hallmark of Old English poetry. While this poem is closer to Middle English, it preserves the older tradition. I have represented the caesura with a slash.



A Lyke-Wake Dirge
anonymous medieval lyric (circa the sixteenth century)
loose translation/interpretation by Michael R. Burch

The Lie-Awake Dirge is "the night watch kept over a corpse."

This one night, this one night,
every night and all;
fire and sleet and candlelight,
and Christ receive thy soul.

When from this earthly life you pass
every night and all,
to confront your past you must come at last,
and Christ receive thy soul.

If you ever donated socks and shoes,
every night and all,
sit right down and put pull yours on,
and Christ receive thy soul.

But if you never helped your brother,
every night and all,
walk barefoot through the flames of hell,
and Christ receive thy soul.

If ever you shared your food and drink,
every night and all,
the fire will never make you shrink,
and Christ receive thy soul.

But if you never helped your brother,
every night and all,
walk starving through the black abyss,
and Christ receive thy soul.

This one night, this one night,
every night and all;
fire and sleet and candlelight,
and Christ receive thy soul.



This World's Joy
(anonymous Middle English lyric, circa early 14th century AD)
loose translation/interpretation by Michael R. Burch

Winter awakens all my care
as leafless trees grow bare.
For now my sighs are fraught
whenever it enters my thought:
regarding this world's joy,
how everything comes to naught.



How Long the Night
(anonymous Middle English lyric, circa early 13th century AD)
loose translation/interpretation by Michael R. Burch

It is pleasant, indeed, while the summer lasts
with the mild pheasants' song...
but now I feel the northern wind's blast:
its severe weather strong.
Alas! Alas! This night seems so long!
And I, because of my momentous wrong
now grieve, mourn and fast.



Adam Lay Ybounden
(anonymous Medieval English lyric, circa early 15th century AD)
loose translation/interpretation by Michael R. Burch

Adam lay bound, bound in a bond;
Four thousand winters, he thought, were not too long.
And all was for an apple, an apple that he took,
As clerics now find written in their book.
But had the apple not been taken, or had it never been,
We'd never have had our Lady, heaven's queen and matron.
So blesséd be the time the apple was taken thus;
Therefore we sing, "God is gracious! "

The poem has also been rendered as "Adam lay i-bounden" and "Adam lay i-bowndyn."



Excerpt from "Ubi Sunt Qui Ante Nos Fuerunt? "
anonymous Middle English poem, circa 1275
loose translation/interpretation by Michael R. Burch

Where are the men who came before us,
who led hounds and hawks to the hunt,
who commanded fields and woods?
Where are the elegant ladies in their boudoirs
who braided gold through their hair
and had such fair complexions?

Once eating and drinking made their hearts glad;
they enjoyed their games;
men bowed before them;
they bore themselves loftily...
But then, in an eye's twinkling,
their hearts were forlorn.

Where are their laughter and their songs,
the trains of their dresses,
the arrogance of their entrances and exits,
their hawks and their hounds?
All their joy is departed;
their "well" has come to "oh, well"
and to many dark days...



Westron Wynde
(anonymous Middle English lyric, found in a partbook circa 1530 AD, but perhaps written much earlier)
loose translation/interpretation by Michael R. Burch

Western wind, when will you blow,
bringing the drizzling rain?
Christ, that my love were in my arms,
and I in my bed again!

NOTE: The original poem has "the smalle rayne down can rayne" which suggests a drizzle or mist, either of which would suggest a dismal day.



Pity Mary
(anonymous Middle English lyric, circa early 13th century AD)
loose translation/interpretation by Michael R. Burch

Now the sun passes under the wood:
I rue, Mary, thy face: fair, good.
Now the sun passes under the tree:
I rue, Mary, thy son and thee.

In the poem above, note how "wood" and "tree" invoke the cross while "sun" and "son" seem to invoke each other. Sun-day is also Son-day, to Christians. The anonymous poet who wrote the poem above may have been been punning the words "sun" and "son." The poem is also known as "Now Goeth Sun Under Wood" and "Now Go'th Sun Under Wood."



Fowles in the Frith
(anonymous Middle English lyric, circa 13th-14th century AD)
loose translation/interpretation by Michael R. Burch

The fowls in the forest,
the fishes in the flood
and I must go mad:
such sorrow I've had
for beasts of bone and blood!

Sounds like an early animal rights activist! The use of "and" is intriguing... is the poet saying that his walks in the wood drive him mad because he is also a "beast of bone and blood, " facing a similar fate?



I am of Ireland
(anonymous Medieval Irish lyric, circa 13th-14th century AD)
loose translation/interpretation by Michael R. Burch

I am of Ireland,
and of the holy realm of Ireland.
Gentlefolk, I pray thee:
for the sake of saintly charity,
come dance with me
in Ireland!



The Love Song Of Shu-Sin
(the earth's oldest love poem, Sumerian, circa 2,000 BC)
loose translation/interpretation by Michael R. Burch

Darling of my heart, my belovéd,
your enticements are sweet, far sweeter than honey.
Darling of my heart, my belovéd,
your enticements are sweet, far sweeter than honey.

You have captivated me; I stand trembling before you.
Darling, lead me swiftly into the bedroom!
You have captivated me; I stand trembling before you.
Darling, lead me swiftly into the bedroom!

Sweetheart, let me do the sweetest things to you!
My precocious caress is far sweeter than honey!
In the bedchamber, dripping love's honey,
let us enjoy life's sweetest thing.
Sweetheart, let me do the sweetest things to you!
My precocious caress is far sweeter than honey!

Bridegroom, you will have your pleasure with me!
Speak to my mother and she will reward you;
speak to my father and he will award you gifts.
I know how to give your body pleasure—
then sleep, my darling, till the sun rises.

To prove that you love me,
give me your caresses,
my Lord God, my guardian Angel and protector,
my Shu-Sin, who gladdens Enlil's heart,
give me your caresses!
My place like sticky honey, touch it with your hand!
Place your hand over it like a honey-*** lid!
Cup your hand over it like a honey cup!

This is a balbale-song of Inanna.

This may be earth's oldest love poem. It may have been written around 2000 BC, long before the Bible's "Song of Solomon, " which had been considered to be the oldest extant love poem by some experts. Shu-Sin was a Mesopotamian king who ruled over the land of Sumer close to four thousand years ago. The poem seems to be part of a rite, probably performed each year, known as the "sacred marriage" or "divine marriage, " in which the king would symbolically marry the goddess Inanna, mate with her, and so ensure fertility and prosperity for the coming year. The king would accomplish this amazing feat by marrying and/or having *** with a priestess or votary of Inanna, the Sumerian goddess of love, fertility and war. Her Akkadian name was Istar/Ishtar, and she was also known as Astarte.



War is Obsolete
by Michael R. Burch

Trump’s war is on children and their mothers.
"An eye for an eye leaves the whole world blind." ― Gandhi

War is obsolete;
even the strange machinery of dread
weeps for the child in the street
who cannot lift her head
to reprimand the Man
who failed to countermand
her soft defeat.

But war is obsolete;
even the cold robotic drone
that flies far overhead
has sense enough to moan
and shudder at her plight
(only men bereft of Light
with hearts indurate stone
embrace war’s Siberian night.)

For war is obsolete;
man’s tribal “gods,” long dead,
have fled his awakening sight
while the true Sun, overhead,
has pity on her plight.
O sweet, precipitate Light!―
embrace her, reject the night
that leaves gentle fledglings dead.

For each brute ancestor lies
with his totems and his “gods”
in the slavehold of premature night
that awaited him in his tomb;
while Love, the ancestral womb,
still longs to give birth to the Light.
So which child shall we ****** tonight,
or which Ares condemn to the gloom?

Originally published by The Flea. While campaigning for president in 2016, Donald Trump said that, as commander-in-chief of the American military, he would order American soldiers to track down and ****** women and children as "retribution" for acts of terrorism. When aghast journalists asked Trump if he could possibly have meant what he said, he verified more than once that he did. Keywords/Tags: war, terrorism, retribution, violence, ******, children, Gandhi, Trump, drones



In My House
by Michael R. Burch

When you were in my house
you were not free―
in chains bound.

Manifest Destiny?

I was wrong;
my plantation burned to the ground.
I was wrong.
This is my song,
this is my plea:
I was wrong.

When you are in my house,
now, I am not free.
I feel the song
hurling itself back at me.
We were wrong.
This is my history.

I feel my tongue
stilting accordingly.

We were wrong;
brother, forgive me.

Published by Black Medina



Elegy for a little girl, lost
by Michael R. Burch

. . . qui laetificat juventutem meam . . .
She was the joy of my youth,
and now she is gone.
. . . requiescat in pace . . .
May she rest in peace.
. . . amen . . .

I was touched by this Latin prayer, which I discovered in a novel I read as a teenager. I later decided to incorporate it into a poem. From what I now understand, “ad deum qui laetificat juventutem meam” means “to the God who gives joy to my youth,” but I am sticking with my original interpretation: a lament for a little girl at her funeral. The phrase can be traced back to Saint Jerome's translation of Psalm 42 in the Vulgate Latin Bible (circa 385 AD).



The Children of Gaza

Nine of my poems have been set to music by the composer Eduard de Boer and have been performed in Europe by the Palestinian soprano Dima Bawab. My poems that became “The Children of Gaza” were written from the perspective of Palestinian children and their mothers. On this page the poems come first, followed by the song lyrics, which have been adapted in places to fit the music …



Epitaph for a Child of Gaza
by Michael R. Burch

I lived as best I could, and then I died.
Be careful where you step: the grave is wide.



Frail Envelope of Flesh
by Michael R. Burch

for the mothers and children of Gaza

Frail envelope of flesh,
lying cold on the surgeon’s table
with anguished eyes
like your mother’s eyes
and a heartbeat weak, unstable ...

Frail crucible of dust,
brief flower come to this―
your tiny hand
in your mother’s hand
for a last bewildered kiss ...

Brief mayfly of a child,
to live two artless years!
Now your mother’s lips
seal up your lips
from the Deluge of her tears ...



For a Child of Gaza, with Butterflies
by Michael R. Burch

Where does the butterfly go
when lightning rails
when thunder howls
when hailstones scream
while winter scowls
and nights compound dark frosts with snow?

Where does the butterfly go?

Where does the rose hide its bloom
when night descends oblique and chill
beyond the capacity of moonlight to fill?
When the only relief's a banked fire's glow,
where does the butterfly go?

And where shall the spirit flee
when life is harsh, too harsh to face,
and hope is lost without a trace?
Oh, when the light of life runs low,
where does the butterfly go?



I Pray Tonight
by Michael R. Burch

for the children of Gaza and their mothers

I pray tonight
the starry Light
might
surround you.

I pray
by day
that, come what may,
no dark thing confound you.

I pray ere tomorrow
an end to your sorrow.
May angels' white chorales
sing, and astound you.



Something
by Michael R. Burch

for the mothers and children of Gaza

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,
and finality has swept into a corner where it lies
in dust and cobwebs and silence.



Mother’s Smile
by Michael R. Burch

for the mothers of Gaza and their children

There never was a fonder smile
than mother’s smile, no softer touch
than mother’s touch. So sleep awhile
and know she loves you more than “much.”

So more than “much,” much more than “all.”
Though tender words, these do not speak
of love at all, nor how we fall
and mother’s there, nor how we reach
from nightmares in the ticking night
and she is there to hold us tight.

There never was a stronger back
than father’s back, that held our weight
and lifted us, when we were small,
and bore us till we reached the gate,

then held our hands that first bright mile
till we could run, and did, and flew.
But, oh, a mother’s tender smile
will leap and follow after you!



Such Tenderness
by Michael R. Burch

for the mothers of Gaza

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

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

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

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



who, US?
by Michael R. Burch

jesus was born
a palestinian child
where there’s no Room
for the meek and the mild

... and in bethlehem still
to this day, lambs are born
to cries of “no Room!”
and Puritanical scorn ...

under Herod, Trump, Bibi
their fates are the same―
the slouching Beast mauls them
and WE have no shame:

“who’s to blame?”



My nightmare ...

I had a dream of Jesus!
Mama, his eyes were so kind!
But behind him I saw a billion Christians
hissing "You're nothing!," so blind.
―The Child Poets of Gaza (written by Michael R. Burch for the children of Gaza)



I, too, have a dream ...

I, too, have a dream ...
that one day Jews and Christians
will see me as I am:
a small child, lonely and afraid,
staring down the barrels of their big bazookas,
knowing I did nothing
to deserve their enmity.
―The Child Poets of Gaza (written by Michael R. Burch for the children of Gaza)



Suffer the Little Children
by Nakba

I saw the carnage . . . saw girls' dreaming heads
blown to red atoms, and their dreams with them . . .

saw babies liquefied in burning beds
as, horrified, I heard their murderers’ phlegm . . .

I saw my mother stitch my shroud’s black hem,
for in that moment I was one of them . . .

I saw our Father’s eyes grow hard and bleak
to see frail roses severed at the stem . . .

How could I fail to speak?
―Nakba is an alias of Michael R. Burch



Here We Shall Remain
by Tawfiq Zayyad
loose translation/interpretation by Michael R. Burch

Like twenty impossibilities
in Lydda, Ramla and Galilee ...
here we shall remain.

Like brick walls braced against your chests;
lodged in your throats
like shards of glass
or prickly cactus thorns;
clouding your eyes
like sandstorms.

Here we shall remain,
like brick walls obstructing your chests,
washing dishes in your boisterous bars,
serving drinks to our overlords,
scouring your kitchens' filthy floors
in order to ****** morsels for our children
from between your poisonous fangs.

Here we shall remain,
like brick walls deflating your chests
as we face our deprivation clad in rags,
singing our defiant songs,
chanting our rebellious poems,
then swarming out into your unjust streets
to fill dungeons with our dignity.

Like twenty impossibilities
in Lydda, Ramla and Galilee,
here we shall remain,
guarding the shade of the fig and olive trees,
fermenting rebellion in our children
like yeast in dough.

Here we wring the rocks to relieve our thirst;
here we stave off starvation with dust;
but here we remain and shall not depart;
here we spill our expensive blood
and do not hoard it.

For here we have both a past and a future;
here we remain, the Unconquerable;
so strike fast, penetrate deep,
O, my roots!



Enough for Me
by Fadwa Tuqan
loose translation/interpretation by Michael R. Burch

Enough for me to lie in the earth,
to be buried in her,
to sink meltingly into her fecund soil, to vanish ...
only to spring forth like a flower
brightening the play of my countrymen's children.

Enough for me to remain
in my native soil's embrace,
to be as close as a handful of dirt,
a sprig of grass,
a wildflower.



Palestine
by Mahmoud Darwish
loose translation/interpretation by Michael R. Burch

This land gives us
all that makes life worthwhile:
April's blushing advances,
the aroma of bread warming at dawn,
a woman haranguing men,
the poetry of Aeschylus,
love's trembling beginnings,
a boulder covered with moss,
mothers who dance to the flute's sighs,
and the invaders' fear of memories.

This land gives us
all that makes life worthwhile:
September's rustling end,
a woman leaving forty behind, still full of grace, still blossoming,
an hour of sunlight in prison,
clouds taking the shapes of unusual creatures,
the people's applause for those who mock their assassins,
and the tyrant's fear of songs.

This land gives us
all that makes life worthwhile:
Lady Earth, mother of all beginnings and endings!
In the past she was called Palestine
and tomorrow she will still be called Palestine.
My Lady, because you are my Lady, I deserve life!



Distant light
by Walid Khazindar
loose translation/interpretation by Michael R. Burch

Bitterly cold,
winter clings to the naked trees.
If only you would free
the bright sparrows
from the tips of your fingers
and release a smile—that shy, tentative smile—
from the imprisoned anguish I see.
Sing! Can we not sing
as if we were warm, hand-in-hand,
shielded by shade from a glaring sun?
Can you not always remain this way,
stoking the fire, more beautiful than necessary, and silent?
Darkness increases; we must remain vigilant
and this distant light is our only consolation—
this imperiled flame, which from the beginning
has been flickering,
in danger of going out.
Come to me, closer and closer.
I don't want to be able to tell my hand from yours.
And let's stay awake, lest the snow smother us.

Walid Khazindar was born in 1950 in Gaza City. He is considered one of the best Palestinian poets; his poetry has been said to be "characterized by metaphoric originality and a novel thematic approach unprecedented in Arabic poetry." He was awarded the first Palestine Prize for Poetry in 1997.



Excerpt from “Speech of the Red Indian”
by Mahmoud Darwish
loose translation/interpretation by Michael R. Burch

Let's give the earth sufficient time to recite
the whole truth ...
The whole truth about us.
The whole truth about you.

In tombs you build
the dead lie sleeping.
Over bridges you *****
file the newly slain.

There are spirits who light up the night like fireflies.
There are spirits who come at dawn to sip tea with you,
as peaceful as the day your guns mowed them down.

O, you who are guests in our land,
please leave a few chairs empty
for your hosts to sit and ponder
the conditions for peace
in your treaty with the dead.



Existence
by Fadwa Tuqan
loose translation/interpretation by Michael R. Burch

In my solitary life, I was a lost question;
in the encompassing darkness,
my answer lay concealed.

You were a bright new star
revealed by fate,
radiating light from the fathomless darkness.

The other stars rotated around you
—once, twice —
until I perceived
your unique radiance.

Then the bleak blackness broke
and in the twin tremors
of our entwined hands
I had found my missing answer.

Oh you! Oh you intimate, yet distant!
Don't you remember the coalescence
Of our spirits in the flames?
Of my universe with yours?
Of the two poets?
Despite our great distance,
Existence unites us.



Nothing Remains
by Fadwa Tuqan
loose translation/interpretation by Michael R. Burch

Tonight, we’re together,
but tomorrow you'll be hidden from me again,
thanks to life’s cruelty.

The seas will separate us ...
Oh!—Oh!—If I could only see you!
But I'll never know ...
where your steps led you,
which routes you took,
or to what unknown destinations
your feet were compelled.

You will depart and the thief of hearts,
the denier of beauty,
will rob us of all that's dear to us,
will steal our happiness,
leaving our hands empty.

Tomorrow at dawn you'll vanish like a phantom,
dissipating into a delicate mist
dissolving quickly in the summer sun.

Your scent—your scent!—contains the essence of life,
filling my heart
as the earth absorbs the lifegiving rain.

I will miss you like the fragrance of trees
when you leave tomorrow,
and nothing remains.

Just as everything beautiful and all that's dear to us
is lost—lost!—when nothing remains.



Identity Card
by Mahmoud Darwish
loose translation/interpretation by Michael R. Burch

Record!
I am an Arab!
And my identity card is number fifty thousand.
I have eight children;
the ninth arrives this autumn.
Will you be furious?

Record!
I am an Arab!
Employed at the quarry,
I have eight children.
I provide them with bread,
clothes and books
from the bare rocks.
I do not supplicate charity at your gates,
nor do I demean myself at your chambers' doors.
Will you be furious?

Record!
I am an Arab!
I have a name without a title.
I am patient in a country
where people are easily enraged.
My roots
were established long before the onset of time,
before the unfolding of the flora and fauna,
before the pines and the olive trees,
before the first grass grew.
My father descended from plowmen,
not from the privileged classes.
My grandfather was a lowly farmer
neither well-bred, nor well-born!
Still, they taught me the pride of the sun
before teaching me how to read;
now my house is a watchman's hut
made of branches and cane.
Are you satisfied with my status?
I have a name, but no title!

Record!
I am an Arab!
You have stolen my ancestors' orchards
and the land I cultivated
along with my children.
You left us nothing
but these bare rocks.
Now will the State claim them
as it has been declared?

Therefore!
Record on the first page:
I do not hate people
nor do I encroach,
but if I become hungry
I will feast on the usurper's flesh!
Beware!
Beware my hunger
and my anger!

NOTE: Darwish was married twice, but had no children. In the poem above, he is apparently speaking for his people, not for himself personally.



Passport
by Mahmoud Darwish
loose translation/interpretation by Michael R. Burch

They left me unrecognizable in the shadows
that bled all colors from this passport.
To them, my wounds were novelties—
curious photos for tourists to collect.
They failed to recognize me. No, don't leave
the palm of my hand bereft of sun
when all the trees recognize me
and every song of the rain honors me.
Don't set a wan moon over me!

All the birds that flocked to my welcoming wave
as far as the distant airport gates,
all the wheatfields,
all the prisons,
all the albescent tombstones,
all the barbwired boundaries,
all the fluttering handkerchiefs,
all the eyes—
they all accompanied me.
But they were stricken from my passport
shredding my identity!

How was I stripped of my name and identity
on soil I tended with my own hands?
Today, Job's lamentations
re-filled the heavens:
Don't make an example of me, not again!
Prophets! Gentlemen!—
Don't require the trees to name themselves!
Don't ask the valleys who mothered them!
My forehead glistens with lancing light.
From my hand the riverwater springs.
My identity can be found in my people's hearts,
so invalidate this passport!



Fadwa Tuqan has been called the Grand Dame of Palestinian letters and The Poet of Palestine. These are my translations of Fadwa Tuqan poems originally written in Arabic.



Labor Pains
by Fadwa Tuqan
loose translation/interpretation by Michael R. Burch

Tonight the wind wafts pollen through ruined fields and homes.
The earth shivers with love, with the agony of giving birth,
while the Invader spreads stories of submission and surrender.

O, Arab Aurora!

Tell the Usurper: childbirth’s a force beyond his ken
because a mother’s wracked body reveals a rent that inaugurates life,
a crack through which light dawns in an instant
as the blood’s rose blooms in the wound.



Hamza
by Fadwa Tuqan
loose translation/interpretation by Michael R. Burch

Hamza was one of my hometown’s ordinary men
who did manual labor for bread.

When I saw him recently,
the land still wore its mourning dress in the solemn windless silence
and I felt defeated.

But Hamza-the-unextraordinary said:
“Sister, our land’s throbbing heart never ceases to pound,
and it perseveres, enduring the unendurable, keeping the secrets of mounds and wombs.
This land sprouting cactus spikes and palms also births freedom-fighters.
Thus our land, my sister, is our mother!”

Days passed and Hamza was nowhere to be seen,
but I felt the land’s belly heaving in pain.
At sixty-five Hamza’s a heavy burden on her back.

“Burn down his house!”
some commandant screamed,
“and slap his son in a prison cell!”

As our town’s military ruler later explained
this was necessary for law and order,
that is, an act of love, for peace!

Armed soldiers surrounded Hamza’s house;
the coiled serpent completed its circle.

The bang at his door came with an ultimatum:
“Evacuate, **** it!'
So generous with their time, they said:
“You can have an hour, yes!”

Hamza threw open a window.
Face-to-face with the blazing sun, he yelled defiantly:
“Here in this house I and my children will live and die, for Palestine!”
Hamza's voice echoed over the hemorrhaging silence.

An hour later, with impeccable timing, Hanza’s house came crashing down
as its rooms were blown sky-high and its bricks and mortar burst,
till everything settled, burying a lifetime’s memories of labor, tears, and happier times.

Yesterday I saw Hamza
walking down one of our town’s streets ...
Hamza-the-unextraordinary man who remained as he always was:
unshakable in his determination.

My translation follows one by Azfar Hussain and borrows a word here, a phrase there.



Autumn Conundrum
by Michael R. Burch

for the mothers and children of Gaza

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



Piercing the Shell

for the mothers and children of Gaza

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



Sunset
by Michael R. Burch

for my grandfather, George Edwin Hurt Sr.

Between the prophecies of morning
and twilight’s revelations of wonder,
the sky is ripped asunder.

The moon lurks in the clouds,
waiting, as if to plunder
the dusk of its lilac iridescence,

and in the bright-tentacled sunset
we imagine a presence
full of the fury of lost innocence.

What we find within strange whorls of drifting flame,
brief patterns mauling winds deform and maim,
we recognize at once, but cannot name.



Water and Gold
by Michael R. Burch

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

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

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

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

Published by The Lyric, Black Medina, The Eclectic Muse, Kritya (India), Shabestaneh (Iran), Anthology of Contemporary American Poetry, Captivating Poetry (Anthology), Strange Road, Freshet, Shot Glass Journal, Better Than Starbucks, Famous Poets and Poems, Sonnetto Poesia, Poetry Life & Times



Winter Thoughts of Ann Rutledge

Ann Rutledge was apparently Abraham Lincoln’s first love interest. Unfortunately, she was engaged to another man when they met, then died with typhoid fever at age 22. According to a friend, Isaac Cogdal, when asked if he had loved her, Lincoln replied: “It is true―true indeed, I did. I loved the woman dearly and soundly: She was a handsome girl―would have made a good, loving wife … I did honestly and truly love the girl and think often, often of her now.”

Winter Thoughts of Ann Rutledge
by Michael R. Burch

Winter was not easy,
nor would the spring return.
I knew you by your absence,
as men are wont to burn
with strange indwelling fire―
such longings you inspire!

But winter was not easy,
nor would the sun relent
from sculpting ****** images
and how could I repent?
I left quaint offerings in the snow,
more maiden than I care to know.



Ann Rutledge’s Irregular Quilt
by Michael R. Burch

based on “Lincoln the Unknown” by Dale Carnegie

I.
Her fingers “plied the needle” with “unusual swiftness and art”
till Abe knelt down beside her: then her demoralized heart
set Eros’s dart a-quiver; thus a crazy quilt emerged:
strange stitches all a-kilter, all patterns lost. (Her host
kept her vicarious laughter barely submerged.)

II.
Years later she’d show off the quilt with its uncertain stitches
as evidence love undermines men’s plans and unevens women’s strictures
(and a plethora of scriptures.)

III.
But O the sacred tenderness Ann’s reckless stitch contains
and all the world’s felicities: rich cloth, for love’s fine gains,
for sweethearts’ tremulous fingers and their bright, uncertain vows
and all love’s blithe, erratic hopes (like now’s).

IV.
Years later on a pilgrimage, by tenderness obsessed,
Dale Carnegie, drawn to her grave, found weeds in her place of rest
and mowed them back, revealing the spot of Lincoln’s joy and grief
(and his hope and his disbelief).

V.
Yes, such is the tenderness of love, and such are its disappointments.
Love is a book of rhapsodic poems. Love is an grab bag of ointments.
Love is the finger poised, the smile, the Question ― perhaps ― and the Answer?

Love is the pain of betrayal, the two left feet of the dancer.

VI.
There were ladies of ill repute in his past. Or so he thought. Was it true?
And yet he loved them, Ann (sweet Ann!), as tenderly as he loved you.

Keywords/Tags: Abraham Lincoln, Ann Rutledge, history, president, love, lover, mistress, paramour, romance, romantic, quilt, Dale Carnegie



evol-u-shun
by Michael R. Burch

does GOD adore the Tyger
while it’s ripping ur lamb apart?

does GOD applaud the Plague
while it’s eating u à la carte?

does GOD admire ur intelligence
while u pray that IT has a heart?

does GOD endorse the Bible
you blue-lighted at k-mart?



Stay With Me Tonight
by Michael R. Burch

Stay with me tonight;
be gentle with me as the leaves are gentle
falling to the earth.
And whisper, O my love,
how that every bright thing, though scattered afar,
retains yet its worth.

Stay with me tonight;
be as a petal long-awaited blooming in my hand.
Lift your face to mine
and touch me with your lips
till I feel the warm benevolence of your breath’s
heady fragrance like wine.

That which we had
when pale and waning as the dying moon at dawn,
outshone the sun.
And so lead me back tonight
through bright waterfalls of light
to where we shine as one.

Originally published by The Lyric



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



What the Poet Sees
by Michael R. Burch

What the poet sees,
he sees as a swimmer
~~~underwater~~~
watching the shoreline blur
sees through his breath’s weightless bubbles ...
Both worlds grow obscure.

Published by ByLine, Mandrake Poetry Review, Poetically Speaking, E Mobius Pi, Underground Poets, Little Brown Poetry, Little Brown Poetry, Triplopia, Poetic Ponderings, Poem Kingdom, PW Review, Neovictorian/Cochlea, Muse Apprentice Guild, Mindful of Poetry, Poetry on Demand, Poet’s Haven, Famous Poets and Poems, and Bewildering Stories



The Octopi Jars
by Michael R. Burch

Long-vacant eyes
now lodged in clear glass,
a-swim with pale arms
as delicate as angels'...

you are beyond all hope
of salvage now...
and yet I would pause,
no fear!,
to once touch
your arcane beaks...

I, more alien than you
to this imprismed world,
notice, most of all,
the scratches on the inside surfaces
of your hermetic cells ...

and I remember documentaries
of albino Houdinis
slipping like wraiths
over the walls of shipboard aquariums,
slipping down decks'
brine-lubricated planks,
spilling jubilantly into the dark sea,
parachuting through clouds of pallid ammonia...

and I know now in life you were unlike me:
your imprisonment was never voluntary.



escape!
by michael r. burch

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.



Escape!!
by Michael R. Burch

You are too beautiful,
too innocent,
too inherently lovely
to merely reflect the sun’s splendor ...

too full of irresistible candor
to remain silent,
too delicately fawnlike
for a world so violent ...

Come, my beautiful Bambi
and I will protect you ...
but of course you have already been lured away
by the dew-laden roses ...



In Praise of Meter
by Michael R. Burch

The earth is full of rhythms so precise
the octave of the crystal can produce
a trillion oscillations, yet not lose
a second's beat. The ear needs no device
to hear the unsprung rhythms of the couch
drown out the mouth's; the lips can be debauched
by kisses, should the heart put back its watch
and find the pulse of love, and sing, devout.
If moons and tides in interlocking dance
obey their numbers, what's been left to chance?
Should poets be more lax―their circumstance
as humble as it is?―or readers wince
to see their ragged numbers thin, to hear
the moans of drones drown out the Chanticleer?

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



Finally to Burn
(the Fall and Resurrection of Icarus)
by Michael R. Burch

Athena takes me
sometimes by the hand

and we go levitating
through strange Dreamlands

where Apollo sleeps
in his dark forgetting

and Passion seems
like a wise bloodletting

and all I remember
,upon awaking,

is: to Love sometimes
is like forsaking

one’s Being―to glide
heroically beyond thought,

forsaking the here
for the There and the Not.



O, finally to Burn,
gravity beyond escaping!

To plummet is Bliss
when the blisters breaking

rain down red scabs
on the earth’s mudpuddle ...

Feathers and wax
and the watchers huddle ...

Flocculent sheep,
O, and innocent lambs!,

I will rock me to sleep
on the waves’ iambs.



To sleep's sweet relief
from Love’s exhausting Dream,

for the Night has Wings
gentler than moonbeams―

they will flit me to Life
like a huge-eyed Phoenix

fluttering off
to quarry the Sphinx.



Riddlemethis,
riddlemethat,

Rynosseross,
throw out the Welcome Mat.

Quixotic, I seek Love
amid the tarnished

rusted-out steel
when to live is varnish.

To Dream―that’s the thing!
Aye, that Genie I’ll rub,

soak by the candle,
aflame in the tub.



Riddlemethis,
riddlemethat,

Rynosseross,
throw out the Welcome Mat.

Somewhither, somewhither
aglitter and strange,

we must moult off all knowledge
or perish caged.

*

I am reconciled to Life
somewhere beyond thought―

I’ll Live the Elsewhere,
I’ll Dream of the Naught.

Methinks it no journey;
to tarry’s a waste,

so fatten the oxen;
make a nice baste.

I’m coming, Fool Tom,
we have Somewhere to Go,

though we injure noone,
ourselves wildaglow.

Published by The Lyric and The Ekphrastic Review



Chit Chat: In the Poetry Chat Room
by Michael R. Burch

WHY SHULD I LERN TO SPELL?
HELL,
NO ONE REEDS WHAT I SAY
ANYWAY!!! :(

Sing for the cool night,
whispers of constellations.
Sing for the supple grass,
the tall grass, gently whispering.
Sing of infinities, multitudes,
of all that lies beyond us now,
whispers begetting whispers.
And i am glad to also whisper . . .

I WUS HURT IN LUV I’M DYIN’
FER TH’ TEARS I BEEN A-CRYIN’!!!

i abide beyond serenities
and realms of grace,
above love’s misdirected earth,
i lift my face.
i am beyond finding now . . .

I WAS IN, LOVE, AND HE ******* ME!!!
THE ****!!! TOTALLY!!!

i loved her once, before, when i
was mortal too, and sometimes i
would listen and distinctly hear
her laughter from the juniper,
but did not go . . .

I JUST DON’T GET POETRY, SOMETIMES.
IT’S OKAY, I GUESS.
I REALLY DON’T READ THAT MUCH AT ALL,
I MUST CONFESS!!! ;-)

Travail, inherent to all flesh,
i do not know, nor how to feel.
Although i sing them nighttimes still:
the bitter woes, that do not heal . . .

POETRY IS BORING.
SEE, IT *****!!!, I’M SNORING!!! ZZZZZZZ!!!

The words like breath, i find them here,
among the fragrant juniper,
and conifers amid the snow,
old loves imagined long ago . . .

WHY DON’T YOU LIKE MY PERFICKT WORDS
YOU USELESS UN-AMERIC’N TURDS?!!!

What use is love, to me, or Thou?
O Words, my awe, to fly so smooth
above the anguished hearts of men
to heights unknown, Thy bare remove . . .



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.



faith(less)
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.

ah-men!



honeybee
by michael r. burch

love was a little treble thing—
prone to sing
and (sometimes) to sting



honeydew
by michael r. burch

i sampled honeysuckle
and it made my taste buds buckle!



Kissin’ ’n’ buzzin’
by Michael R. Burch

Kissin’ ’n’ buzzin’
the bees rise
in a dizzy circle of two.
Oh, when I’m with you,
I feel like kissin’ ’n’ buzzin’ too.



Huntress
Michael R. Burch

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



Ibykos Fragment 286 (III)
loose translation by Michael R. Burch

Come spring, the grand
apple trees stand
watered by a gushing river
where the maidens’ uncut flowers shiver
and the blossoming grape vine swells
in the gathering shadows.

Unfortunately
for me
Eros never rests
but like a Thracian tempest
ablaze with lightning
emanates from Aphrodite;

the results are frightening—
black,
bleak,
astonishing,
violently jolting me from my soles
to my soul.

Originally published by The Chained Muse



Ince St. Child
by Michael R. Burch

When she was a child
in a dark forest of fear,
imagination cast its strange light
into secret places,
scattering traces
of illumination so bright,
years later, she could still find them there,
their light undefiled.

When she was young,
the shafted light of her dreams
shone on her uplifted face
as she prayed ...
though she strayed
into a night fallen like woven lace
shrouding the forest of screams,
her faith led her home.

Now she is old
and the light that was flame
is a slow-dying ember ...
what she felt then
she would explain;
she would if she could only remember
that forest of shame,
faith beaten like gold.

This was an unusual poem, and it took me some time to figure out who the old woman was. She was a victim of childhood ******, hence the title I eventually came up with.



Lullaby
by Michael R. Burch

for Jeremy

Cherubic laugh; sly, impish grin;
Angelic face; wild chimp within.

It does not matter; sleep awhile
As soft mirth tickles forth a smile.

Gray moths will hum a lullaby
Of feathery wings, then you and I

Will wake together, by and by.

Life’s not long; those days are best
Spent snuggled to a loving breast.

The earth will wait; a sun-filled sky
Will bronze lean muscle, by and by.

Soon you will sing, and I will sigh,
But sleep here, now, for you and I

Know nothing but this lullaby.



Remembrance
by Michael R. Burch

Remembrance like a river rises;
the rain of recollection falls;
frail memories, like vines, entangled,
cling to Time's collapsing walls.

The past is like a distant mist,
the future like a far-off haze,
the present half-distinct an hour
before it blurs with unseen days.



Righteous
by Michael R. Burch

Come to me tonight
in the twilight, O, and the full moon rising,
spectral and ancient, will mutter a prayer.

Gather your hair
and pin it up, knowing
that I will release it a moment anon.

We are not one,
nor is there a scripture
to sanctify nights you might spend in my arms,

but the swarms
of bright stars revolving above us
revel tonight, the most ardent of lovers.

Published by Writer’s Gazette, Tucumcari Literary Review and The Chained Muse



R.I.P.
by Michael R. Burch

When I am lain to rest
and my soul is no longer intact,
but dissolving, like a sunset
diminishing to the west ...

and when at last
before His throne my past
is put to test
and the demons and the Beast

await to feast
on any morsel downward cast,
while the vapors of impermanence
cling, smelling of damask ...

then let me go, and do not weep
if I am left to sleep,
to sleep and never dream, or dream, perhaps,
only a little longer and more deep.

Originally published by Romantics Quarterly



The Shape of Mourning
by Michael R. Burch

The shape of mourning
is an oiled creel
shining with unuse,

the bolt of cold steel
on a locker
shielding memory,

the monthly penance
of flowers,
the annual wake,

the face in the photograph
no longer dissolving under scrutiny,
becoming a keepsake,

the useless mower
lying forgotten
in weeds,

rings and crosses and
all the paraphernalia
the soul no longer needs.



I Know The Truth
by Marina Tsvetaeva
loose translation by Michael R. Burch

I know the truth―abandon lesser truths!

There's no need for anyone living to struggle!
See? Evening falls, night quickly descends!
So why the useless disputes―generals, poets, lovers?

The wind is calming now; the earth is bathed in dew;
the stars' infernos will soon freeze in the heavens.
And soon we'll sleep together, under the earth,
we who never gave each other a moment's rest above it.



I Know The Truth (Alternate Ending)
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

I know the truth―abandon lesser truths!

There's no need for anyone living to struggle!
See? Evening falls, night quickly descends!
So why the useless disputes―generals, poets, lovers?

The wind caresses the grasses; the earth gleams, damp with dew;
the stars' infernos will soon freeze in the heavens.
And soon we'll lie together under the earth,
we who were never united above it.



Poems about Moscow
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

5
Above the city Saint Peter once remanded to hell
now rolls the delirious thunder of the bells.

As the thundering high tide eventually reverses,
so, too, the woman who once bore your curses.

To you, O Great Peter, and you, O Great Tsar, I kneel!
And yet the bells above me continually peal.

And while they keep ringing out of the pure blue sky,
Moscow's eminence is something I can't deny ...

though sixteen hundred churches, nearby and afar,
all gaily laugh at the hubris of the Tsars.

8
Moscow, what a vast
uncouth hostel of a home!
In Russia all are homeless
so all to you must come.

A knife stuck in each boot-top,
each back with its shameful brand,
we heard you from far away.
You called us: here we stand.

Because you branded us criminals
for every known kind of ill,
we seek the all-compassionate Saint,
the haloed one who heals.

And there behind that narrow door
where the uncouth rabble pour,
we seek the red-gold radiant heart
of Iver, who loved the poor.

Now, as "Halleluiah" floods
bright fields that blaze to the west,
O sacred Russian soil,
I kneel here to kiss your breast!



Insomnia
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

2
In my enormous city it is night
as from my house I step beyond the light;
some people think I'm daughter, mistress, wife ...
but I am like the blackest thought of night.

July's wind sweeps a way for me to stray
toward soft music faintly blowing, somewhere.
The wind may blow until bright dawn, new day,
but will my heart in its rib-cage really care?

Black poplars brushing windows filled with light ...
strange leaves in hand ... faint music from distant towers ...
retracing my steps, there's nobody lagging behind ...
This shadow called me? There's nobody here to find.

The lights are like golden beads on invisible threads ...
the taste of dark night in my mouth is a bitter leaf ...
O, free me from shackles of being myself by day!
Friends, please understand: I'm only a dreamlike belief.



Poems for Akhmatova
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

4
You outshine everything, even the sun
at its zenith. The stars are yours!
If only I could sweep like the wind
through some unbarred door,
gratefully, to where you are ...

to hesitantly stammer, suddenly shy,
lowering my eyes before you, my lovely mistress,
petulant, chastened, overcome by tears,
as a child sobs to receive forgiveness ...



This gypsy passion of parting!
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

This gypsy passion of parting!
We meet, and are ready for flight!
I rest my dazed head in my hands,
and think, staring into the night ...

that no one, perusing our letters,
will ever understand the real depth
of just how sacrilegious we were,
which is to say we had faith,

in ourselves.



The Appointment
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

I will be late for the appointed meeting.
When I arrive, my hair will be gray,
because I abused spring.
And your expectations were much too high!

I shall feel the effects of the bitter mercury for years.
(Ophelia tasted, but didn't spit out, the rue.)
I will trudge across mountains and deserts,
trampling souls and hands without flinching,

living on, as the earth continues
with blood in every thicket and creek.
But always Ophelia's pallid face will peer out
from between the grasses bordering each stream.

She took a swig of passion, only to fill her mouth
with silt. Like a shaft of light on metal,
I set my sights on you, highly. Much too high
in the sky, where I have appointed my dust its burial.



Rails
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

The railway bed's steel-blue parallel tracks
are ruled out, neatly as musical staves.

Over them, people are transported
like possessed Pushkin creatures
whose song has been silenced.
See them: arriving, departing?

And yet they still linger,
the note of their pain remaining ...
always rising higher than love, as the poles freeze
to the embankment, like Lot's wife transformed to salt, forever.

Despair has arranged my fate
as someone arranges a wedding;
then, like a voiceless Sappho
I must weep like a pain-wracked seamstress

with the mute lament of a marsh heron!
Then the departing train
will hoot above the sleepers
as its wheels slice them to ribbons.

In my eye the colors blur
to a glowing but meaningless red.
All young women, at times,
are tempted by such a bed!



Every Poem is a Child of Love
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

Every poem is a child of love,
A destitute ******* chick
A fledgling blown down from the heights above―
Left of its nest? Not a stick.
Each heart has its gulf and its bridge.
Each heart has its blessings and griefs.
Who is the father? A liege?
Maybe a liege, or a thief.



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.



Hearthside
by Michael R. Burch

“When you are old and grey and full of sleep...” ― W. B. Yeats

For all that we professed of love, we knew
this night would come, that we would bend alone
to tend wan fires’ dimming bars―the moan
of wind cruel as the Trumpet, gelid dew
an eerie presence on encrusted logs
we hoard like jewels, embrittled so ourselves.

The books that line these close, familiar shelves
loom down like dreary chaperones. Wild dogs,
too old for mates, cringe furtive in the park,
as, toothless now, I frame this parchment kiss.

I do not know the words for easy bliss
and so my shriveled fingers clutch this stark,
long-unenamored pen and will it: Move.
I loved you more than words, so let words prove.

This sonnet is written from the perspective of the great Irish poet William Butler Yeats in his loose translation or interpretation of the Pierre de Ronsard sonnet “When You Are Old.” The aging Yeats thinks of his Muse and the love of his life, the fiery Irish revolutionary Maude Gonne. As he seeks to warm himself by a fire conjured from ice-encrusted logs, he imagines her doing the same. Although Yeats had insisted that he wasn’t happy without Gonne, she said otherwise: “Oh yes, you are, because you make beautiful poetry out of what you call your unhappiness and are happy in that. Marriage would be such a dull affair. Poets should never marry. The world should thank me for not marrying you!”



Yahya Kemal Beyatli translations

Yahya Kemal Beyatli (1884-1958) was a Turkish poet, editor, columnist and historian, as well as a politician and diplomat. Born born Ahmet Âgâh, he wrote under the pen names Agâh Kemal, Esrar, Mehmet Agâh, and Süleyman Sadi. He served as Turkey’s ambassador to Poland, Portugal and Pakistan.



Sessiz Gemi (“Silent Ship”)
by Yahya Kemal Beyatli
loose translation by Nurgül Yayman and Michael R. Burch

for the refugees

The time to weigh anchor has come;
a ship departing harbor slips quietly out into the unknown,
cruising noiselessly, its occupants already ghosts.
No flourished handkerchiefs acknowledge their departure;
the landlocked mourners stand nurturing their grief,
scanning the bleak horizon, their eyes blurring...
Poor souls! Desperate hearts! But this is hardly the last ship departing!
There is always more pain to unload in this sorrowful life!
The hesitations of lovers and their belovèds are futile,
for they cannot know where the vanished are bound.
Many hopes must be quenched by the distant waves,
since years must pass, and no one returns from this journey.



Full Moon
by Yahya Kemal Beyatli
loose translation by Nurgül Yayman and Michael R. Burch

You are so lovely
the full moon just might
delight
in your rising,
as curious
and bright,
to vanquish night.

But what can a mortal man do,
dear,
but hope?
I’ll ponder your mysteries
and (hmmmm) try to
cope.

We both know
you have every right to say no.



The Music of the Snow
by Yahya Kemal Beyatli
loose translation/interpretation by Michael R. Burch

This melody of a night lasting longer than a thousand years!
This music of the snow supposed to last for thousand years!

Sorrowful as the prayers of a secluded monastery,
It rises from a choir of a hundred voices!

As the *****’s harmonies resound profoundly,
I share the sufferings of Slavic grief.

Then my mind drifts far from this city, this era,
To the old records of Tanburi Cemil Bey.

Now I’m suddenly overjoyed as once again I hear,
With the ears of my heart, the purest sounds of Istanbul!

Thoughts of the snow and darkness depart me;
I keep them at bay all night with my dreams!

Translator’s notes: “Slavic grief” because Beyatli wrote this poem while in Warsaw, serving as Turkey’s ambassador to Poland, in 1927. Tanburi Cemil Bey was a Turkish composer. Keywords/Tags: Beyatli, Agah, Kemal, Esrar, Turkish, translation, Turkey, silent, ship, anchor, harbor, ghosts, grief, Istanbul, moon, music, snow



Shadows
by Michael R. Burch

Alone again as evening falls,
I join gaunt shadows and we crawl
up and down my room's dark walls.

Up and down and up and down,
against starlight―strange, mirthless clowns―
we merge, emerge, submerge . . . then drown.

We drown in shadows starker still,
shadows of the somber hills,
shadows of sad selves we spill,

tumbling, to the ground below.
There, caked in grimy, clinging snow,
we flutter feebly, moaning low

for days dreamed once an age ago
when we weren't shadows, but were men . . .
when we were men, or almost so.



Recursion
by Michael R. Burch

In a dream I saw boys lying
under banners gaily flying
and I heard their mothers sighing
from some dark distant shore.

For I saw their sons essaying
into fields—gleeful, braying—
their bright armaments displaying;
such manly oaths they swore!

From their playfields, boys returning
full of honor’s white-hot burning
and desire’s restless yearning
sired new kids for the corps.

In a dream I saw boys dying
under banners gaily lying
and I heard their mothers crying
from some dark distant shore.



To Have Loved
by Michael R. Burch

"The face that launched a thousand ships ..."

Helen, bright accompaniment,
accouterment of war as sure as all
the polished swords of princes groomed to lie
in mausoleums all eternity ...

The price of love is not so high
as never to have loved once in the dark
beyond foreseeing. Now, as dawn gleams pale
upon small wind-fanned waves, amid white sails, ...

now all that war entails becomes as small,
as though receding. Paris in your arms
was never yours, nor were you his at all.
And should gods call

in numberless strange voices, should you hear,
still what would be the difference? Men must die
to be remembered. Fame, the shrillest cry,
leaves all the world dismembered.

Hold him, lie,
tell many pleasant tales of lips and thighs;
enthrall him with your sweetness, till the pall
and ash lie cold upon him.

Is this all? You saw fear in his eyes, and now they dim
with fear’s remembrance. Love, the fiercest cry,
becomes gasped sighs in his once-gallant hymn
of dreamed “salvation.” Still, you do not care

because you have this moment, and no man
can touch you as he can ... and when he’s gone
there will be other men to look upon
your beauty, and have done.

Smile―woebegone, pale, haggard. Will the tales
paint this―your final portrait? Can the stars
find any strange alignments, Zodiacs,
to spell, or unspell, what held beauty lacks?

Published by The Raintown Review, Triplopia, The Electic Muse, The Chained Muse, The Pennsylvania Review, and in a YouTube recital by David B. Gosselin. This is, of course, a poem about the famous Helen of Troy, whose face "launched a thousand ships."



Lines for My Ascension
by Michael R. Burch

I.
If I should die,
there will come a Doom,
and the sky will darken
to the deepest Gloom.

But if my body
should not be found,
never think of me
in the cold ground.

II.
If I should die,
let no mortal say,
“Here was a man,
with feet of clay,

or a timid sparrow
God’s hand let fall.”
But watch the sky darken
to an eerie pall

and know that my Spirit,
unvanquished, broods,
and cares naught for graves,
prayers, coffins, or roods.

And if my body
should not be found,
never think of me
in the cold ground.

III.
If I should die,
let no man adore
his incompetent Maker:
Zeus, Jehovah, or Thor.

Think of Me as One
who never died―
the unvanquished Immortal
with the unriven side.

And if my body
should not be found,
never think of me
in the cold ground.

IV.
And if I should “die,”
though the clouds grow dark
as fierce lightnings rend
this bleak asteroid, stark ...

If you look above,
you will see a bright Sign―
the sun with the moon
in its arms, Divine.

So divine, if you can,
my bright meaning, and know―
my Spirit is mine.
I will go where I go.

And if my body
should not be found,
never think of me
in the cold ground.



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 "Kajal"

It started with a phone call.

Sweat drips down my forehead
my mind is jumbled
my
pulse races
irr  e  gu  l  a  rl  y
and my heart is
its competitor.

The room feels smaller
and the faces around me
b
l
u
r
into nothing.

What is happening?
Why can’t I breathe?

I can’t stand up right,
my palms too sweaty
to grasp
the
nearest
surface.

It started with a phone call,
and it ended with a hard
crash
to the floor.

White, my hands of ice
Warmed by the chilled blade upon my palm.
A touch of red
Blurs pink.
No light,
Just white, and fade
The frozen air begins to warm
as the water drips from my soul
onto the bedroom floor.

Standing here at the pier,
I take in my surroundings,
trying to keep my heart steady and my mind clear.

A crowd envelopes me as we all wait for that one person.
Men are holding flowers,
Women holding children,
Children holding signs.

Standing here at the pier,
I hold nothing but my heart in my hands,
Waiting until we may embrace again.

My mouth waters while my stomach twists into knots.
The air tastes of candy scented perfume.
Trying to get rid of the taste,
I take a swig of cold, refreshing water that also helps ease my stomach

Standing here at the pier,
My stomach ties in knots,
Waiting to see your face again.

Figures start to head my way.
I gasp.
Frantically, my eyes search the crowd,
Searching for just a glimpse of you.

Standing here at the pier,
My heart will not steady,
My mind hectic with just wanting to see you.

The crowd starts to disappear,
They've found they're family
They're heading home
With their family, and I'm

Standing here at the pier,
Longing to find you,
Wishing to find you soon.

A tall figure starts heading in my direction.
I squint to see
Is that you?
My lungs fill with air and I run.

My vision blurs, but its okay.
I know where I'm going.
I'm running.
Running home to my family.

Our bodies collide in a warm embrace,
I'm lifted up off the ground and swung around,
"I've missed you so much, Dad."
I tell him through sobs.

"I've missed you too baby girl.
Lets go home."
Linking our pinkies together, we walk

Together again.
We're headed home.

you’re the light
radiating from a light bulb,
in a dark dust-filled room,
the molecules of air
become visible
when you look their way,

they appear as floating
clouds of pixels,
as though we’ve discovered
the software room
of existence
---
you look away
on the wall,
and I hope you realize
darling, I see none
but what your eyes
view, because light
still radiates from you
in this room,

you see a wall
cracked, grey, with Roman letters,
and I see
the Trevi fountain of Rome,
perhaps a little romance
would do us no harm  
---
you look my way,
with eyes so bright,
and my vision deteriorates
unable to see anything
like a car nearing
in the middle of the night,
and its head lights flashing,
blinded I become.

possibly looking into your eyes
blinds me,
and white all I see--
darkness.
---
I blink, once and again,
now,
I see vivid purple and blue
figures, faint
from looking your side for far too long.

(Ajna)

and perhaps,
this is how I love you,
everything I see
beams with happiness
as though the only Chakra
elevated is Anahata,
but when you leave,
my vision blurs,
and I never see the same again.

I didn't sleep again last night
my yesterday is still taking place
as my fingers gently press these keys
so as to not wake my brother
restless,
I realized,
I've seen a sunset
but never a sunrise

the streets were still asleep
the only ones about
only the down and out
the poor black folk
the aimless hipsters
the homeless
the single mothers with three jobs
who wait alone
under a flickering street light
for the bus which will take them
to their deadpan jobs
the puddles from last night's storm
rest with not a ripple
and the pretty little birdies
start finding their voice
restless,
I realized,
after the sunsets
the world opens up her eyes

periwinkle horizons
blend easily with the grey skyline
and the line between man and God blurs
the sky is tropical mango cocktails
and pillows of white Caribbean sand
the smell is left -
like a residue -
chasing after the tail of a storm
but the air is wet to the touch
hinting at repeat of the downpour
and I would've sat on the arm of that denim sofa
hour after hour
until the world was ready to wake up
giving me a chance to sleep off their insecurities,
only,
I felt like writing this poem
only,
I felt like a sunrise
or maybe a sunset?
or just maybe
a ******* supernova
I felt good
brimming with peace in my gut
like a warm fire
restless,
I realized,
that after all is set
I will still love the sunrise

in between my eyes
my pointed nose
sniffs nothing but you...
alcoholic unpleasant breaths...

Alcoholic visions
sigh across screens
as language blurs
Talking nothing but nonsense

***** vision violently
soaks rough atmosphere,
heads explode, chaotic manners

Alcoholic dreams
travels around the globe
in similar destinations..
the filthy old bars...

The sweetest red wine
soon sours and rot
under an icy glare.

a shot of *****
allows sanity to sharpen
it's dainty claws
feasting on thoughts

How is alcohol good?

My legs carry me mindlessly through the white-washed walls of the intensive care unit. I am stuck in a labyrinth in which there is no end, there is merely alcoves on either side which take you even further into the maze. Nurses with faces as pale as their uniforms pass me like zombies, their minds calculating numbers on charts which directly correlate to a list of symptoms that equate to something less than diagnosable. I am nothing more than a distant shadow in their busied brains.
Unknowingly, I begin counting the rooms after I pass through the double doors, remembering that yours is the ninth on the right. My heart rate steadily increases, no longer in tune with the clicking monitors that surround me like locusts, calling out to those just as alive and lonely.
I rest my hand on the doorframe of room number ninety-four as I attempt to collect myself. Just as I inhale a deep breath, my vision blurs and every emotion I have (until now) successfully shoved into the deep recesses of my chest now rises up my stomach and into my mouth. I press my lips together, holding back the bile that has taken up unwanted residence on my tongue. Warm tears squeeze their way out from behind my eyes as I swallow it back down, suppressing it once more. I attempt another deep breath, and another, until I realize I am unable to procrastinate any longer.
I hear the rustling of stiff sheets and the slight give of a hard mattress. You're awake.
I clear my throat softly, wanting you to be aware of my presence, although I am certain that the heartbeat that reverberates my eardrums must have given me away miles ago.
A white curtain hangs from the tiled ceiling, held up by metal clamps looped around a pole for easy accessibility and I can't help but wonder if that pole would be strong enough to hold me. But just as I begin planning what sheet and what knot I would use around the pole, I step into view of you.
My hand is pulled to my lips like a magnetic force that is out of my control as I take in the sight of you. Your left eye, which once shone a more brilliant blue than the clear waters of the Caribbean, is now bloodshot and swollen. The left side of your head is bandaged and half of your pale blonde hair is shaved down to your bruised scalp. Your lips, which were once so thin and precious, are now bloodied and blown-up like red balloons. Your bones jut out from beneath your skin, as though your collarbone is rejecting you and begging to be freed. Down your arms I notice the scabs and scars and marks from unsuccessful attempts to hook you to an IV. But there is more than just one bag hanging beside you, and I realize that the other is Morphine.
I take a step closer to you, waiting for your eyes to flutter open like they did so many mornings when I'd wake you with your favorite breakfast (two plain pancakes and a cigarette). Your head tilts slightly to the right but your eyes remain closed. I take another small step, and another, until my waist is just inches from the seemingly disjointed hand hanging limply from the edge of the bed. I reach out and press my shaking fingertips to the hard palm that faces me, hoping for your hand to turn and clasp around mine, silently accepting my every apology.
But your hand remains stiff against my touch.
I memorize the new lines on your hand, the crescent-shaped bruises on your palm and the shallow scratches on the back of your hand where I pressed my lips more times than I could ever possibly count. I trace my way up your arm, my fingertips traveling over the hills of your veins, a familiar territory, and the streams of tubes filled with fluid, an uncharted area. Just as my hand begins the climb up your forearm and into the crease of your elbow, I feel your arm move. But rather than moving towards me, an invitation to venture even closer, it is pulled away from me, a protest.
I take a step back and inhale a deep breath, feeling the rush behind my eyes again, as I notice your right eye is now looking right at me, into me. I search the depths of your gaze in the hope that I will resurface with a strand of hope or affection that I can hold on to for the rest of the day, but I come up empty-handed. All that I can find in your eyes is a direct reflection of the pain that both your heart and body are enduring.  
"I'm so, so, so-"
But before I can even begin to utter my sincerest of apologies, your hand is held inches above the mattress, silencing me. I dive into your eyes again, deeper and deeper, realizing that if I can't find any form of redemption, then I'd rather just drown in them. But you **** me back to reality with only two words.
"Please leave."
I feel the tidal wave crash into my chest as I take another step back.
My worst fear has been realized - you don't want me here.
Suddenly every argument, every fight, every "I'm sorry," every "you don't mean that," every "I love you," every "don't say that," was another wave throwing my helpless body against the cliffs and coral reefs. I am lifeless, my body thrashed beyond recognition, my heart ripped to shreds.
Tears gather behind my eyes and burst through, falling upon my cheeks as though the depths that I have drowned in have finally consumed me.
I reach out once more, my shaking hand yearning for the touch of your skin.
But you pull your head from me, wanting nothing to do with me.
An earthquake shakes my chest and threatens to pull me in half as I backpedal out of the room, temporarily getting wrapped up in the white curtain that I had admired just minutes before.
The rush returns to my head and I can no longer see anything but frothy waves that continue to pull me under, and I can no longer hear anything but the sound of water filling my ears.
My shoulder connects with a sturdy boulder and I fall to the ground, collapsing into nothing more than a puddle, the aftermath of the hurricane that has wrecked my body, and you are no longer able or willing to save me.

We drifted through the grey stones,
Looking left.
Looking right.
Always looking wrong.
43 women with your name lie here,
amongst the trim green grass and dried, bunched flowers.
43 women who share a name.....
Do you all begin to blur in memories,
as time blurs days of childhood ?
Or are you still sharp in someones mind, as you are sharp in the picture in my hand.
All those women who shared your name,
and we could find only two.
And neither of them was you.

it seeps like sap down the spine
this tar, or fear, or hate of mine
beads opaque and thick and full of sin
i pick and peel
but they get in

i still dream
but blue, it blurs to black
deep seascape of a tormented hand,
i bind, am bound, to the things i pretend i understand
circle of a girl
eyeing squares of man

light is the letting go
hoping you pull, forgetting you won't
each time i forget, i melt and i drip,
a bad trip.

but when i think of teeth
discerning meat from bone
alone,
i float back with loose palms,
a calm.

I look in my reflection
And in the mist I see
A completely unknown person
To which the world calls “she.”

Her long hair a dark brown,
Eye color? Hard to tell
Her chest fully unbound
Says she’s doing well

I grasp onto my face
Staring into hers
The world has picked up pace
And all my vision blurs

But her face is not mine
To the mist I’m not confined

I sit and I listen to the sound of the rain on the window's glass.
I stare, in wonder, because it looks the same as me.
Rain falling from my eyes like the water from a tempest with a stretch of a thousand miles.
I sit and I listen to the sound of the rain and think of the grass.

We once sat in a field, as soft as a child's melody.
Our hearts beating as one, together.
The sound of your voice was poison in my veins.
Our heart was a ticking time bomb of ecstasy, jealousy.

When you loved me, it was like no other.
Our bodies moving like a dance we knew all to well.
Discovering new ways to make the dance our own.
I wish I'd known you were loving another.

I sit and I listen to the sound of the rain.
Its pounding becomes overwhelming in my mind.
My breath slows, my heart stops.
How many medicine drops was I supposed to take, to heal this heart break?
One too many, my vision blurs. I smile I slip away to where there is no pain.

What a rash of time we've wasted.
Drunken, displaced it all.
The hiking trails up solemn, summer
ridge lines. Jagged arrowheads lifted
out toward the sky and we feel gifted.

A crack in the rock a millennia old.
The dangers of going it alone;
the spy who came in from the cold.

Two open throated eulogies and scatter her ash.
Two years of time spent together, now memorized pash.

Sifting through sight lines of our mediocre city streets.
Sweating up the summertime together-alone,
and getting twisted as we jam to louder growing beats.

We took our hands and divined a place on the timeline.
Steady rocking for two revolutions until
she set over the horizon beyond the sunshine.
Look for her and see her in every which place.
It's never her figure and never her face, but
shower curtain blurs and the curls in hair of other girls.
She exists as every brunette that I'll never forget.
Not that I'd want it.

They say, "She loved you. That much is clear."
What a romantic gesture to abandon me here.

If you can read this from your heavenly repose. My heart has grown fonder and still it grows. I'm sure you can see me,
the struggle of having to be anything at all.
Your number is somebody else's now. There's nobody to call.
Summertime gives way to Autumn,
I'm sorry if you hurt having to see what I do now.
The glyphs in my mountain roots.
My rotting bark and lost spark.
My constant stops and false starts.
My swelling, my welts, the harm I cause.
You're not to be blamed, darling.
Not a single word from my tongue nor do I entertain
the thought of others who wish you disdain.
I've lost a bit of myself in the guilt and the shame.
Truth be told, I'm not sure I'll recover and be the same.
A jilt is one thing, a turn down is fine.
But I lost who told me she was mine.
I should've doted more and been more attentive.
You fell in love with me because I was romantic.
So where did I fail you and how can I improve?
I just want to make you happy,
I just want to show you.
There was no need to quit the way that you did.
We could have taken a break,
you could have hibernated, hid.
But it's fine you chose the way you did.
Now you're the punchline of my dark jokes.
"Oh, I'm sorry, no, I only kid."
Repeating myself like I've forgotten what I even said.
Loving is hard when you've never felt it.
But it's harder than that when you feel it and lost it like I did.
Do you think you can forgive me?
I don't know if promises will be kept forever.

I sit
   all by myself
   again
and look out
   down upon the streets
cigarette in hand
a glass of wine upon the table
love's sweet exhaustion lingering in my bones
   and smell upon my skin
feeling so young and yet somehow so old

A late night bus drones by
and takes strange people
   to their desired stops
in a city
where I know only few
that could say
  yes  
  it's him

a woman with unsteady midnight gait
secretly walks her dog
into the public park
   both little more than blurs
   of bluish white and brown
   in the half-shadow
   of forbidden bushes

a couple leans entwined
   forever in a parting kiss
   upon the doorstep
unmindful of the plane
   that comes in low and loud
   before the landing

why is it that these moments
   seem eternal and yet
I sense the rush of time go fast
   and pass me by
   and her
   who sleeps next door

and leave us lost among our memories
of what was lovely
   and so beautiful
   before

          * *

Drive me to the edge of the earth;
You're in control.

I've been reading the dictionary lately,
A little something to pass the time
As I melt into the passenger seat,
With the world just ebbing on by.
Blurs bend the visible light;
We're going the wrong way.

Am I really here at all?
These thoughts are hard to handle.
What happens next I'm not sure,
But I'm willing to take a gamble.

Would you please pass me a needle,
With thread that blends to this flesh of mine.
I've been reading the dictionary lately,
And it turns out to have been a complete waste of time.
Blurs burn all things to white;
We're going the wrong way.

Drive me off the end of the earth;
You're in control.

Life is a tiny black x on the calendar,
Wedged between play dates and rescheduled doctors appointments.
2:00 floods into 4:00, until the entire day lies crumpled at the foot of the bed,
Lifeless except for the coffee stain memories of yesterday.
Nothing happens here.
Self questions self, and we all sit criss cross apple sauce on the linoleum floor;
Is this what it means to be alive?
Red and blue parachute above our tiny shoulders,
Mixing with green, yellow, and orange wedges
The same as pizza or convenience store cheesecake.
Outside, noisy blurs of grey and black whir by
Full of passengers too preoccupied with routine to venture
Into the far off world of innocence
That softly plagues everything detached enough to feel it.
Covered in paintings of a reality that's missing all of it's fingers.
Nothing lives here- beyond the faint ripple
Of three o'clock snack time:
Rosy cheeks and small, stubby fingers concealed by apple sauce,
The preservative of youth, it slowly takes on the texture
Of dad's lung cancer-
Dying pigeons rest nostalgically upon city rooftops,
As strangers stop to admire their stagnant beauty,
Crying out acclaim for the regal presence of those
Who can bear to sit still amidst the chaos of an hour:
Cigarette and polyester feathered Madonnas of the modern world-
Installation art at its finest.
Face paint and spaghetti hair
Are only tangible until replaced with something a little closer to
Reality. The American dream sinks to the bottom of a hollow mason jar, as preservatives soak the bones
Of every tiny heart, alive enough to give out at the faintest malfunction.
Dilapidated, our heavy feet tread over spare Lego pieces,
The tiny rectangles push up against our translucent flesh-
Leaving abstract indentations of a city that never was.
Images of the earth projected upon tiny marble surfaces,
Fallen from a cardboard box that was once on isle five,
Impress upon the weary feet
Of strangers, running to throw up beneath the red, green, and yellow windows
Of a Target grocery store.
Nothing grows here, yet we eagerly pluck our wilted produce
From the clammy hands of a metal machine
Programmed one, two, three
To dilute our logic with an even mist of something
Almost like water, but with more promise.
Until, we can easily swallow the bitter pill that
Holds the secrets of the world.

By day the skyscraper looms in the smoke and sun and
     has a soul.
Prairie and valley, streets of the city, pour people into
     it and they mingle among its twenty floors and are
     poured out again back to the streets, prairies and
     valleys.
It is the men and women, boys and girls so poured in and
     out all day that give the building a soul of dreams
     and thoughts and memories.
(Dumped in the sea or fixed in a desert, who would care
     for the building or speak its name or ask a policeman
     the way to it?)

Elevators slide on their cables and tubes catch letters and
     parcels and iron pipes carry gas and water in and
     sewage out.
Wires climb with secrets, carry light and carry words,
     and tell terrors and profits and loves--curses of men
     grappling plans of business and questions of women
     in plots of love.

Hour by hour the caissons reach down to the rock of the
     earth and hold the building to a turning planet.
Hour by hour the girders play as ribs and reach out and
     hold together the stone walls and floors.

Hour by hour the hand of the mason and the stuff of the
     mortar clinch the pieces and parts to the shape an
     architect voted.
Hour by hour the sun and the rain, the air and the rust,
     and the press of time running into centuries, play
     on the building inside and out and use it.

Men who sunk the pilings and mixed the mortar are laid
     in graves where the wind whistles a wild song
     without words
And so are men who strung the wires and fixed the pipes
     and tubes and those who saw it rise floor by floor.
Souls of them all are here, even the hod carrier begging
     at back doors hundreds of miles away and the brick-
     layer who went to state's prison for shooting another
     man while drunk.
(One man fell from a girder and broke his neck at the
     end of a straight plunge--he is here--his soul has
     gone into the stones of the building.)

On the office doors from tier to tier--hundreds of names
     and each name standing for a face written across
     with a dead child, a passionate lover, a driving
     ambition for a million dollar business or a lobster's
     ease of life.

Behind the signs on the doors they work and the walls
     tell nothing from room to room.
Ten-dollar-a-week stenographers take letters from
     corporation officers, lawyers, efficiency engineers,
     and tons of letters go bundled from the building to all
     ends of the earth.
Smiles and tears of each office girl go into the soul of
     the building just the same as the master-men who
     rule the building.

Hands of clocks turn to noon hours and each floor
     empties its men and women who go away and eat
     and come back to work.
Toward the end of the afternoon all work slackens and
     all jobs go slower as the people feel day closing on
     them.
One by one the floors are emptied... The uniformed
     elevator men are gone. Pails clang... Scrubbers
     work, talking in foreign tongues. Broom and water
     and mop clean from the floors human dust and spit,
     and machine grime of the day.
Spelled in electric fire on the roof are words telling
     miles of houses and people where to buy a thing for
     money. The sign speaks till midnight.

Darkness on the hallways. Voices echo. Silence
     holds... Watchmen walk slow from floor to floor
     and try the doors. Revolvers bulge from their hip
     pockets... Steel safes stand in corners. Money
     is stacked in them.
A young watchman leans at a window and sees the lights
     of barges butting their way across a harbor, nets of
     red and white lanterns in a railroad yard, and a span
     of glooms splashed with lines of white and blurs of
     crosses and clusters over the sleeping city.
By night the skyscraper looms in the smoke and the stars
     and has a soul.

Light drunkenly reels into shadow;
Blurs, slurs uneasily;
Slides off the eyeballs:
The segments shatter.

Tree-branches cut arc-light in ragged
Fluttering wet strips.
The cup of the sky-sign is filled too full;
It slushes wine over.

The street-lamps dance a tarentella
And zigzag down the street:
They lift and fly away
In a wind of lights.