you are essentially an object to me.

no one dare invent words that pick and **** and litter our ears
with shards of doubt, dismissive declarations.

the victorious are those who cover their ears and screen their eyes from
someone else's misery: bruised knuckles and a wall that wouldn't budge.

but all I see is a woman crumpled on the floor, her pride
posed like a crow on a branch in the open window frame,
mocking her failing strength and shattered resolve;
someone's fist tingles with accomplishment
for putting that Thing in her place,
close to her true place,
on the shelf
she dusts and polishes fastidiously,
lest he call her out on her "half-assed attempt,"

no one dare invent words

that limit little girls to the plastic boxes
for their plastic dolls
with plastic smiles.

when the seed grows buds,
that become flourishing leaves on a solid stem,
reaching up, up, up
can they see me yet?*
but all they want is the fruit.

I am pure subjectivity
I am objectivity contained by a brain
I am an entity
Inside a body
I control my limbs
And my organs control me
The apparatus for my entity

I am a being that seeks understanding
While remembering who I stand under
Those who sneakily seek to plunder
The developing enigmatic wonder
In my mind's torturous tundra

My mind uses my body as a slave
But is also a slave to the shame
Of my body's interactions
Within marginalized factions
There is a fight between the two
Like the fights between me and you
My body won't quit when my mind is through
And my mind stays conscious while my body is blue
So I'm stuck in a deadlock
With a mentality of bedrock

Once I cease to be human
I can be the perfect judge
When my emotions won't budge
I'll see things the way most organisms do
Inside this zoo
Animals have the flu
And give it to each other
When we communicate through pain
The flu actually seems tame
Compared to your game
Of taking humanity
And leaving an entity
After you entered me
My somber soul left
Because of personality theft

My mind moves my arms
To block the pain
My mind moves my feet
To do the same
Yet I lost these advantages
When I had to walk too far
My life only got more hard
After experiencing your entropy
I became a disembodied entity

Lying with you in black and white,
I wonder the significance of a mouth,
hands, fingertips.
grazing skin. mere body mechanics,
or a vessel for a spiraling kinetic?
how we become weak to emotion, seemingly pathetic,
clinging to eachother
leeching off one another's need.
I stare into your eyes
unabashed. I smile.
I wonder how it is that I stare on
and be ever taken by the arrangement of your eyelashes,
the curve of your lips. My lips are wilted leaves,
cracking against the flow of your rejuvenation.
my eyes feel heavy and dry but I stare on,
alive. the shadows take away hesitation
as it shades your words
black and white, sepia, blue.
your hands of ginger, hot and sweet,
melt the frost clinging to my back
created by the rush
turning my gut
as I ache toward dark whiperings.
I want to utter the same, but I know
I can never replicate your dulcet timbre.
I sound so plain. Instead I trickle my lips across your face.
My soul cries out,
Ours are made for love antique
In an instant world.  
It pains me to budge
from this bind.

I wonder how fingertips may convey
what in the light we scarcely can define.

Wild winds pushed my hair back
I had no compass to keep me on track
The winter's cold has swallowed my legs
Through the wastes of snow;
World, may I be your scuffled window.

Dry air feeds my lungs.
Ice has taken over where I left my guns
Traveling night and day;
Through the dreams and throughout my soul
The road's path began with a hole.

There's no way to look back
Any distraction will throw you off track
Through the icy scapes of the heart;
I made this path on my own,
To turn it into frozen stone.

Fire.
Eyes.
Feeling.                                gone.­
Freezing, but warm to the touch.
I thought I had pulled my heart through too much.

Now frozen in my own path.
Icicle beard man I am.
Frozen in place, my legs will not budge.
I went too far from the fire didn't I?
And now I know, I'll never make it back alive.

There once was a ***** old sailor

Who's ship he began to abhore

The sails wouldn't budge

They moved like a sludge

Until a maid handed him an oar

The sleet had piled high up on the side of the road, spraying the brownish gray over the pedestrians. Sharlesburg was far out on the Pennsylvania country side, and the town was choked by trucks hauling by and the smells of dairy farms. No one really stayed there long, aside from the clerks in the little stores, maybe a few waitresses, and none of them wanted to stay around. No, the waitresses all wanted to move to the city and get their big time jobs, and the clerks wanted to move down somewhere warmer to retire. Maybe to the lake, but that was too rough in the winters. Well, the Summers were gorgeous, and so maybe that would work. The only ones who wanted to hang around were the farmers.

     Life was slow, and the farmers knew the land. Time there plodded away slower than the cows grazing on the moors. As one year grew into two and two into six, not much ever really changed for them. The land would go from muddy and torn to green and sparkling, gold and cracked, and again to the mud, smeared with the white from the snow. And all the while, the animals paced, and so did the farmers, wandering deeper and deeper into the rut.

     Tyler sat by the window, watching the cattle huddle together out in the mud, her tea and her breath fogging the window. Her father was out at town for the weekend, though she never really asked why. Monday he would probably stagger home reeking of a medicine cabinet. Another cow might die this winter, she was sure, because she had never learned how to deal with a cow in labor, and the vet didn't like to come by any more. That Tyler wasn't sure of why, but her father was almost certainly the blame for that.

Her mother wasn't around anymore; she left with a furniture salesman to live on the lake.

The television glowered in the corner, the same four channels playing the same four things. Tyler switched them off, but wanted the noise, and turned on the radio.

"REPENT SINNERS REPENT SINNERS! FOR THE FIERY HELL AWAITS YOU! I MEAN YOU, YOU WITH YOUR ****** MUSIC AND YOU JEAN SHORTS! HAVE YOU SEEN THE TV? THOSE GIRLS, WITH THEIR EXPOSED CHESTS AND GOING TO WORK-,"

Tyler switched it off again.

Something had fluttered outside. What really caught her eye was that it wasn't white, like the sky, it wasn't the snow, it wasn't the mud or a black back of a cow. It was something red and shiny.

The snow was falling pretty hard though. She couldn't be sure.

In the quiet, Tyler could discern the mooing yelps of one of the cows. She pulled on her yellow winter coat and scrambled outside. The air was cold and sharp against her nose, ripping away the smells of manure and filth. Even the tobacco from the ashtray was blank; the landscape was nothing but sound and snow and the ******* cold.

      The cows stood in a brace, black bodies radiating heat in the January snow. Tyler shoved them aside, though they hardly budged. Saliva dripped onto her shoulders and onto the ground, little pits in the mud. One cow groaned again, and as she got closer, she saw it was laying on its side in the middle of the brace. A pregnant cow, heaving under the pain of labor.

    She guffawed, trying again to shove the onlookers aside, but it seemed as though they merely packed closer together, and she could hardly get an arm through. As Tyler watched, the cow shrieked in pain.  Cows clamored tighter in the bunch and their eyes swallowed the sight as dully as cud.
"Please, move! get out of the way!"
     Of course, the beasts, they paid no mind. The heifer shrieked again as blood began to spout heavily fourth. The Cows did not even step back. They did not budge as Tyler beat on their rumps, not a flinch. The cries of pain grew weaker and weaker and the legs went from their horrible flailing to the slow movements of a dying moth.
When the scene ended, the cows were no longer amused, and passed on. The heifer was dead. Tyler scrambled forward in hopes of saving maybe the calf.
It was only a ****** rag , hanging sadly from the mother's bowels. no life had touched the wretched thing.
Tyler sighed.
And went back inside.

Poems about Leaves and Leave Taking (i.e., leaving friends and family, loss, death, parting, separation, divorce, etc.)


Leave Taking
by Michael R. Burch

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

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

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

have learned what it means to say
"goodbye."

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

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



Autumn Conundrum
by Michael R. Burch

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

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



Something

for the children of the Holocaust and the Nakba

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

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

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

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



Leaf Fall
by Michael R. Burch

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

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

Originally published by The Neovictorian/Cochlea



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

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

Originally published by Measure



Flight
by Michael R. Burch

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

Originally published by Hibiscus (India)



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

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

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

Published by Lighten Upand in Potcake Chapbook #7



escape!

for anaïs vionet

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

Published by Andwerve and Bewildering Stories



Love Has a Southern Flavor

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

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

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

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

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



Daredevil
by Michael R. Burch

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

Daredevil, dry your eyes.

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

Daredevil, dry your eyes.

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

Daredevil, dry your eyes.

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

Daredevil, dry your eyes.

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

Daredevil, dry your eyes.

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

Daredevil, dry your eyes.

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

Daredevil, dry your eyes.



Talent
by Michael R. Burch

for Kevin Nicholas Roberts

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

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

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



Davenport Tomorrow
by Michael R. Burch

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

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

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

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

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

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



Desdemona
by Michael R. Burch

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

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

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

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

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

and strangled hope, where love dies too.

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



Ordinary Love
by Michael R. Burch

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

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

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

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

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

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



Are You the Thief
by Michael R. Burch

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

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

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

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



At Tintagel
by Michael R. Burch

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

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

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

and Gorlois lay dead?

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



Isolde's Song
by Michael R. Burch

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

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

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

Originally published by The Raintown Review



The Wild Hunt
by Michael R. Burch

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

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

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

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

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



Morgause's Song
by Michael R. Burch

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

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

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

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

Originally published by Celtic Twilight as "The First Time"



Pellinore's Fancy
by Michael R. Burch

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



The Last Enchantment
by Michael R. Burch

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

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

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



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

"Get thee to a nunnery..."

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

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

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

Originally published by Rotary Dial



Lance-Lot
by Michael R. Burch

Preposterous bird!
Inelegant! Absurd!

Until the great & mighty heron
brandishes his fearsome sword.



Truces
by Michael R. Burch

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

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

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

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

Originally published by Neovictorian/Cochlea, then by Celtic Twilight



Midsummer-Eve
by Michael R. Burch

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

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

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

when a star
appears in heaven
and the raven
cries;

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

if nevermore again.

Originally published by Penny Dreadful



The Pictish Faeries
by Michael R. Burch

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

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



The Kiss of Ceridwen
by Michael R. Burch

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

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



Merlyn, on His Birth
by Michael R. Burch

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

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

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

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



Merlyn's First Prophecy
by Michael R. Burch

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

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

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

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

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

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

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

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

Published by Celtic Twilight



It Is Not the Sword!
by Michael R. Burch

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

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

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

But none could budge it from the stone.

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

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

and so became their king.



Uther's Last Battle
by Michael R. Burch

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

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

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

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

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



Small Tales
by Michael R. Burch

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

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

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



The Song of Amergin
by Michael R. Burch

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

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

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

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

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



Stonehenge
by Michael R. Burch

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

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



The Celtic Cross at Île Grosse
by Michael R. Burch

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

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

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

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

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

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

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



At Cædmon's Grave
by Michael R. Burch

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

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

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

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

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

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

Originally published by The Lyric



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

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

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



Habeas Corpus
by Michael R. Burch

from “Songs of the Antinatalist”

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



Villanelle: Hangovers
by Michael R. Burch

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

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

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

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

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

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



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

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



Haunted
by Michael R. Burch

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

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

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

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

Published by Romantics Quarterly



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

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

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



Insurrection
by Michael R. Burch

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

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

Originally published by The Chained Muse



Success
by Michael R. Burch

for Jeremy

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

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

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

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



Sappho's Lullaby
by Michael R. Burch

for Jeremy

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

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

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

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



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

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

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

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

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



Piercing the Shell
by Michael R. Burch

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



Premonition
by Michael R. Burch

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

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

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

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

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

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

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

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



Survivors
by Michael R. Burch

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

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

a shiver of “empathy.”

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

like a turtle retracting its neck.



Child of 9-11
by Michael R. Burch

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

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

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

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

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

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

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



The Locker
by Michael R. Burch

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

reproved
adulation or sentiment,
left with the pungent darkness

as remembered as the sudden light.



Tremble
by Michael R. Burch

Her predatory eye,
the single feral iris,
scans.

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

Her hard talon,
clenched in pinched expectation,
waits.

Her clipped wings,
preened against reality,
tremble.



Day, and Night
by Michael R. Burch

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

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

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



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

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

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

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

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

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

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

the lost gold of vanished stars.

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



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

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

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

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

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

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



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

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

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

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

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

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

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

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

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

Shouldn't these ancient sufferings become fruitful for us?

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

Voices! Voices!

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

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

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

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

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

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

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

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

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

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

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



Precipice
by Michael R. Burch

for Jeremy

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

Do not believe them.

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



Love’s Extreme Unction
by Michael R. Burch

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

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



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

Published as the collection "Leave Taking"

Their lives bleed into mine
What am I becoming?
As long as I'm bleeding in line
I can hear war drums drumming
I feel my purity and youth leave me
As their lack of couth feeds me
And their sweet tooth bleeds me
Until eventually I too am greedy

In this ****** atmosphere
Our ***** past is clear
Inspiring future fears
And hardened tears
Drowned by beers
And empty cheers
Through the years
Until we're here
As a ****** stranger
Head banger
Teenager
In Jesus' manger

This blight
Of life
As a simulation
Of assimilation
Into a nation
Of incineration
In a ****** mire
Lit by the fire
Positioned higher
I call my sire

I fidget in the cage
Of this pivotal maze
Called the Digital Age
I'm in need of healing
From this dark feeling
That I'm an innocent child reading
A book about a grown man bleeding
Always met with a hateful greeting
While sympathy is fleeting
Being replaced by our own jadedness
After living with those who hated us
We develop defensive thorns
Resembling demonic horns
To match public scorns

My first love
Drew first blood
And I couldn't halt the blood loss
Exacerbated by the mud toss
Of the sinister town crier
Exposing my heart's desires
So I said never again
For the bleeding to stop
When dealing with men
Is like meeting the cops
Aware that I'm defenseless
They start beating me senseless
So I become a judge myself
Part of the sludge for my health
I won't budge unless it's for wealth
Accepting the cards I was dealt

They bled into me
Now red is all I see
No way to get free
So I follow their lead
And choose to bleed
As they pray and plead
It becomes my turn
To cause the burns
That I had learned
When I was spurned
And lost my purity
Now blood cures me

I just want to play along
I just lost my train of thought
Maybe this hiccup they forgot
The spoon full of sugar we gaze upon
Not to be noticed 
Is the coldest
Time of year
Set of scenery
I'm not at a loss of words
I just heard them all 
To keep from the intent to ****
I have to try real real hard 
But someone is going to play my card
Call my bluff
Like I ain't tough
I bend not budge 
With every nudge
 the knife gets closer
They made me
This way that I am
A personified monster
Man made cluster
But with every ounce of strength
I hang on
But why restrain
what's killing me to contain
Why should I refrain
What's doesn't **** you makes you stronger 
But I can't hold on any longer

So what the **** am I suppose to do

Momma said don't let them see you break
Momma said don't let them see you cry
Momma said keep pushing life is hard
Momma said it's alright
But Momma isn't here to kiss my head and tuck me in at night

It's midnight another day I made it 
So in my room I cry
Momma said don't show them mercy
So tomorrow is the time I try 

How sad that every morning
I keep on mourning
The journey the my day should bring
It's as plain as 
The same old story
We tend to hear
And the hardest part is I want to run away
But I'm suppose to take everything with a grain of salt

/ because such examples have to, have to(!) be perpetuated, reiterated, perpetuated, reiterated... these... "things"... these minor quests of establishing being - against, the authoritarian rule of the democracy of beings.

you don't shout,
you don't disturb the "social", "peace",
of proverbial english society...
nope...
   shouting does not good,
akin to:
   silent water eats
         away at the shorelines...
what you do...
is akin to what birds do...
you don't gnash your teeth:
i.e. clench them molars...
gnashing means clenching
your molars -
a gnashing a gnarling,
a pestle & mortar scenario...
no...
    no shouting...
silent movie era of hollywood
translated...
   you... simply... chatter...
you strike incissor teeth against
each other... crafting a lightling storm
like crackling sound,
  like corn flakes...
    in a bowl of milk...
   you... chatter...
                 inspiration? birds...
bird calls...
    you... chatter...
    mind you, unlike the english,
looking into my mouth...
    the jaw should fit within the confines
of the skull...
    the upper set of teeth
should accommodate the jaw's
line of teeth...
   but you simply... chatter...
which is embodied by attempting
to take a phantom bite at "something"...
you...
          echo:
   central incisors against
              the lateral incisors...
you subsequently: chatter (χατερ)...
   i missed the eta (η): given that i also
missed the excess of tau - in what isn't,
a translation - other than a phonetic
equivalent of putting on sunglasses...

because, when your neighbour,
tells you... that you can't smoke...
in your own home, perched on a windowsill,
out of the window,
implying that the smoke is
vacuumed into his bedroom?
   and somehow, the law,
and the air, we share, is somehow his,
and his alone?
    and i can't do, what he can,
within the confines of his property?

NOW WE HAVE A PROPER SHITSHOW!

some english are ******* backward
hardly insulting the ****** community,
with some succumbing to prosopagnosia,
while some (notably down syndrome)
actually having a memory capacity...
that curious look and a familiar expression
waiting for a smile...

i basically live next to a mental illness
example, par uno...
          and englishman who "thinks"
he's king, rather than a convenient
citizen...
                       ****** won't budge...
guess all i'm equipped with is
                          my chatter remedy;
and english society still "thinks"
that i'm the "mad" one.
    
    - because it's like...
  how can you dictate, what someone can,
or cannot do, on their property?!
like smoking a cigarette,
     perched on a windowsill, outside a window,
with the accusation:
   the smoke is coming into my bedroom...
oh right...
   so...
          erm...
                you own the dynamic of air
to suggest such a bias?

Dawn has yet to approach.
And it seems it’s endlessly far off.
If I didn’t know any better,
I’d think the hands of time have been caught.

I’d say they went willingly.
Just upped and quit.
Laying down their weaponry,
After taking so many a hit.

It’s been rumored around
They have quite the grudge.
They’re tired of being wasted,
They’re refusing to budge.

The hands of time you see,
Have been ******* quite tight.
Against this ungrateful mass,
They’re taking a stand to fight.

They're refusing to be wasted
They won't take such treatment no more
Until people learn to make the most of them
They refusing to move to four.

And so I’m stuck at 3:47
And my heart’s still breaking
And I’ve apologized to time,
For all the moments I've been wasting.

But the hands still won’t budge,
And it’s perpetually dark.
And I’m certain for sure,
This loveless war will leave great scars on my heart.

It feels like I’m stuck in an elevator. Neither going up nor going down. Stuck in the middle. Stuck in between floors. Stuck between levels. Not going anywhere. Just stuck there. Not moving forward. Not going back. Just stuck. I keep pressing the alarm button but no one hears. I’m alone here. Why is no one around? I’m getting claustrophobic. I’m banging the doors. No one is here. I wish I could get out. I wish I could go up. If not up then at least down. I just wish to go somewhere. I just wish to do something. But the doors won’t budge; the doors won’t open. Why won’t they open? Why won’t the elevator move?
I’m stuck in an elevator. In between levels. Levels being the stages of my life and the elevator, me.
And me being stuck here as I wish to move but I can’t. I’m just stuck not moving anywhere. I hope I move. I hope I go up. I hope I’m not stuck anymore in the elevator of life.

That unforgiving metal.
Within that unforgiving metal lies all the things you cannot forgive about yourself.
Those freckles on your chin that you wish would expand into a constellation so that you may give them names and so that you may give them meaning,
within that unforgiving metal.

The Greeks threw their hands towards the heavens
and deemed cosmic accidents worthy of the names of gods,
although within them lie no gifts.
Like a bedazzled and jaded Tiresias impostor one stumbles upon
on their way home,
who sees nothing but the tangible
and tells all but the truth.
Still, he is clad in diamonds and gold
and thus has value in trade.
Beauty triumphs over mendacity
and mendacity over reality.

But the freckles that mar your skin,
that you cannot transfigure into the most meaningless of stars or the crudest of answers,
sit there defiantly,
waiting to be acknowledged and waiting to be named.

You lean your forehead forward to rest against the cool smoothness of its idle twin.
You could swear you saw her sneer at you.
The freckles do not budge—they will consume you whole.

Our politicians preach hope
While our nation struggles to cope
Stacking woman into binders
Deaf to all but hired reminders
Treaties & agreements for peace
While riots rage on in Greece
Told that we are doing just fine
As more join the food stamp line
American banks engorged with greed
Planting in free soil a debt ridden seed
The next Great Depression has already begun
& It matters not which candidate has won
With our cancer ridden healthcare
Attempts like duc-tape to repair
Voting to raise the debt ceiling
An American father kneeling
Praying to God to find a job
While outside “we the people” form a mob
The 99% chanting in the streets
Stubborn legislatures don’t budge from seats
C-span listens to recipes from cookbooks
A dull murmur of televised crooks
Unemployment continues to rise
Prophets sure of the world’s demise

Forever unhappy.
These words echo throughout my mind searching for a landing spot
as if my mind was made up of cliffs, instead of a straight cave.
                         Damage done throughout the years
      has broken off
                           pieces
                                 of matter
                                             from the sides,
seemingly making me unstable
when in reality each groove offers security to those
brave enough to enter my darkness and venture forth.
                  Forever unhappy
has become the theme of my penitentiary.
He wrote it as I felt it,
                    but when the earth shook with our last kiss it still didn’t budge.  
Emancipation- if there is such a thing- has failed to find me
                                                             despite the fact that I left.
I took a liberty walk into a straightjacket because the truth is:
                          I cannot escape him.
Since his absence, I have lost feeling. If I’m not preoccupied, I’m numb.
I press through the day normally
                 except for the occasional external
                                  faltering to submission
                                                    in doses of anxiety attacks
where my hyperventilation becomes a rhythm of its own
until I find myself distracted once again.
I’m forcing myself to be more involved with life, but it’s false hope.
                                  I know he resides in me,
waiting rather impatiently for my return. Lurking like a demon,
yet shadowed to preserve innocence
so when the light renders him different, we can both blame my vision.

It is four in the morning and I'm alone
It's dark out
The city lays quiet and sullen with sleep
I'm awake
Awake

Still awake
The sun has yet to rise and won't for another two hours
I move with such grace and ease that the grass doesn't have to strain against my weight
I hear a vehicle fast approaching
A shed to my right
Silently duck behind it
Security van passes by
My heart is pounding in my ears
My breath has never sounded so loud
So utterly loud
So ******* loud
Can't stand it
Security must have heard
But I really know they didn't

I fall to my hands and knees and crawl out from my temporary shelter
The morning dew stains my hands and pants
Don't notice
Don't think

There are bundles of old plywood tied with twine that border the asylum drive
Crawl behind them
Streetlights illuminate my way
They deliver a soft, humming sound that enters through every pore on my body
It's loud
So ******* loud
Hands to ears
Doesn't stop
Won't stop
Keeps ******* humming
Ignore it
I learn to ignore it
Don't hear
Don't think

I position myself in front of the plywood bundles
Asylum drive
Fifteen foot mesh link fence
It's 4 am
I know
I'm awake

Fifteen feet of fence
Steel mesh
Steel mesh so tight, I can barely stick my pinky finger through a hole
There are three horizontal metal bars placed at five foot intervals on the opposite side of the fence
No way up
No way down
The gate is locked and closed
No way in
No way out

I know better
There are a few sturdy looking metal hinges on the massive gate
My hands are laced with sweat
Start to shake
My limbs vibrate in rhythm with my heart
It's compulsive
Compulsive
I stand in front of the gate and look up
It reaches to the heavens
Too tall
Can't climb
The steel is cool and wet to the touch
Can't climb
The bottom of my shoes are slippery
Slippery on the metal
Can't climb
My left foot misses and finds air
I reach, straining myself
Expand
My mind is breaking, seeping strength
Sweat burns my eyes
It hurts
It ******* hurts
Twitch
Can't climb
Mind slips
Slips away
Blood
On
Me
Don't feel a thing
Can't

I'm straddling the top bar of the fence
Until now, I've never been afraid of heights
I stare at the ground, fifteen feet below me
My head is spinning
Look up
Spinning
Panic is settling inside of me
Paralyzed with fear
Paralyzed
Can't move
Breathe
Think
Feel
It's so slippery
Don't want to fall
Don't want to die
Scared
Can't go down
Can't

I let go
I slipped and fell
Falling
Fell
Hit
Ground
Face
First
I'm cold and numb
It hurts
It ******* hurts

My left eye is cold
My eyelashes have been ripped out
My eyelid is a ******, fleshy mess
Bleeding profusely
It's sticky
Wet
Gross
My mind is racing
I'm soaked
Soaked in sweat
Dew
Thoughts
Pain
Time
I'm gross
Awake

The facade of the building is straight ahead
I move numbly towards the entrance
The doorknob is lifeless and still in my grasp
It doesn't move or budge
Door is locked
Back away
Have to get in
Calling for me
Waiting for me
Beckoning
Persuading
Wanting me
Needing me
I must
No
I need to get in.

My mind snaps back to reality
There's an open basement window to my left
I climb in without any hesitation
Dark
Dank
Damp
I lean heavily against a firm wall
I cannot see my own hand in front of my face
Eyes don't adjust
Eyes close
Collapse
Asleep
Unconscious

Awake
Time passed
It's daylight
I've lost sense and track of time
I smell like my surroundings
I'm moldy
It's moldy
I'm damp
It's damp
Stand
Fall down
Stand again
Light pours through several basement windows
The room is empty
The light turns grey walls shades of the sun
It's bright
Awake

I begin to wander
I touch my face
Still here
My eye is still cold, but the bleeding has stopped
My eyelid is chunky with dried blood
It still ******* hurts
Scab picker
Pain oozes through my face
A couple flakes of skin float to the ground
Sickening
I can feel the dried blood on my fingers
Chapped
Pick more
Pick more
More pieces of blood-dried skin detach from the remainder of my eyelid and float to the ground
I step on them
Bury them into the dust
My hand is stained red
Blood red
My eye begins bleeding again
I tear a piece of my shirt and press it to my wound
Leave it there
Leave it to soak

I wander in a daze until I find a staircase
Ascend
Many flights of stairs
So it seems
Until I reach the second floor
My legs are weak and numb
Weak and numb
Mouth is dry
Tastes like sand
I move my tongue around and can't feel a thing
Mind is clear
I don't like it much
Search for thoughts
Any thoughts
Nothing comes
Don't think
Press on

What am I searching for
Can't answer
Don't know
Others have answered
I don't change
I'll know when it's found

Awake
I enter into a long hallway
On either side there are empty, window-lit rooms
Rooms that are filled with chairs
Rooms that are filled with desks
Rooms that are filled with papers
Files
Curtains
Shoes
Bed frames
Electric chairs
Operation tables
Iron lungs
Toilets
Sinks
Wheelchairs
Dust
Dust
Dust
Rooms that were once filled with love
Rooms that were once filled with hate
Rooms that were once filled with laughter
Tears
Pain
Prayer
Loss
Hope
Fear
Terror
Longing
Wonder
W­orry

I remember
Each room, a name
Each name, letters
An object of identity
Object of terror
Destruction
Hate

Awake
At the end of the hall, I face a door
An illegible name continues rusting
I don't care
A light is on
It's bright
Blinding
Coming for me
Coming to get me
Wraps itself around me
Can't breathe
Chokes me
Gag
*****
Stomach contents and blood escalate up my throat and onto the cracking tile
It hurts
It ******* hurts
My throat burns acid
Spit
Stays
I cry
It stings
Tears burn my face
My eyes
Sniffle
I wipe my mouth
Taste nothing
Feel nothing

Sick
The light brings me back
I let it
Eyes remain half closed
My sight skips around and lands on a waiting chair in the middle of the room
It looks so inviting
So ******* inviting
I don't trust it
Hates me
Wants me
Wants to feed off of me
Wants to be fulfilled
I don't trust it
My legs and body ache
Wobble

Sit
The room is bright and bare
Bare walls
Bare floors
Bare ceilings
Bare emptiness
This is my room
This is my name
Mine
Sit
Don't think
Don't move
I clutch my hands together
My palms are sweaty
My feet brush the floor
They swing
I lean my head back and stare at the ceiling
Damp
Sick
Don't see
Don't hear
Don't feel
Taste
Smell
I smile
Smile a true, deep, loving smile
A smile that generates warmth
A smile that knows where it belongs
I'm home now
Home
I'm alone
Awake
Alive

I'm alive.

The light
Blessed by its radiant warmth
It wraps it self around my flesh
Lips are as warm as its hue
Yet as soft and the blooming petals
That say good morning
I love you

The light
runs and drips through the scene
Making its way through the seems
Finding its access to room where
I yawn and great its touch with a grunt
My own (caveman language) good morning
I love you

The light
Like the beach reaches the shores of your image
Receding and retreating as you move
Nudging you, trying
Unsuccessful to budge you
We conspire against you (the light and I)
Feel my wet tongue and sticky lips
Trailing from shoulders to your hip.
You up yet? No?
I'll  kiss you good morning some more
Open those sleepy eyes for my
"I love you"

-Alexis J Meighan-

Limericks III - Grab Bag

Being a peace activist, I once wrote a limerick in an attempt to stop needless wars:

Of Tetley’s and V-2's
(or "Why Not to Bomb the Brits")
by Michael R. Burch

The English are very hospitable,
but tea-less, alas, they grow pitiable ...
or pitiless, rather,
and quite in a lather!
O bother, they're more than formidable.



I have even written a double limerick about writing limericks:

The Better Man
by Michael R. Burch
　
Dear Ed: I don’t understand why
you will publish this other guy—
when I’m brilliant, devoted,
one hell of a poet!
Yet you publish Anonymous. Fie!

Fie! A pox on your head if you favor
this poet who’s dubious, unsavor
y, inconsistent in texts,
no address (I checked!):
since he’s plagiarized Unknown, I’ll wager!



I have written one of the few, if not the only, antinatalist limericks:

The Heimlich Limerick
by Michael R. Burch

for T. M.

The sanest of poets once wrote:
"Friend, why be a sheep or a goat?
Why follow the leader
or be a blind *******?"
But almost no one took note.



I have tried to clear up obvious misconceptions about our feathered friends by other limerick writers:

The Pelican't
by Michael R. Burch

Enough with this pitiful pelican!
He’s awkward and stinks! Sense his smellican!
His beak's far too big,
so he eats like a pig,
and his breath reeks of fish, I can tellican!



At times I have distilled longer poems down to the approximate size of a limerick:

*******
by Michael R. Burch

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



I have even tried to reform our political system with limericks, without success:

15 Seconds
by Michael R. Burch

Our president’s *** life―atrocious!
His "briefings"―bizarre hocus-pocus!
Politics―a shell game.
My brief moment of fame?
It flashed by before Oprah could notice!



Rallying the Dupes
by Michael R. Burch aka "The Loyal Opposition"

after Anaïs Vionet

Houston, we have a problem:
the virus is multiplying;
meanwhile, our Demander-in-Chief
keeps lying, lying, lying.

Houston, we have a problem:
the Astros are now the Nau(gh)ts,
but Tweety will still pack the ’Dome
untroubled by actual thoughts.

Originally published by LIGHT



While most limericks are humorous, the form can been adapted for more serious purposes. Here's a poem of mine that can be shared with anyone it might help . . .

Self Reflection
by Michael R. Burch

for anyone struggling with self-image

She has a comely form
and a smile that brightens her dorm . . .
but she’s grossly unthin
when seen from within;
soon a griefstricken campus will mourn.

Yet she’d never once criticize
a friend for the size of her thighs.
Do unto others—
sisters and brothers?
Yes, but also ourselves, likewise.



This limerick more or less sums up my approach to writing limericks:

Grave Thoughts
by Michael R. Burch

as a poet i’m rather subVerse-ive;
as a writer i much prefer Curse-ive.
and why not be brave
on my way to the grave
since i doubt that i’ll end up reHearse-ive?

NOTE: “Subversive,” “cursive” and “rehearse-ive” are double entendres: subversive/below verse, cursive/curse, rehearsed/recited and re-hearsed (reincarnated to end up in a hearse again).



The Bachelor Spectacular

One heart? Tossed aside.
The other? A bride’s.
In all his great wisdom, the bachelor decides.

Eeenie, mean-ie, mine-y, mo’,
one gal must stay and one must go.
If she hollers? That’s the show!

No heart can handle such despair!
But hearts get broken, hearts repair.
Next season? The treasoned will rule the air.

Originally published by Light



Low-T Hell
by Michael R. Burch

I’m living in low-T hell ...
My get-up has gone: Oh swell!
I need to write checks
if I want to have ***,
and my love life depends on a gel!



Ribbing Adam
by Michael R. Burch

“Dear Lord,” fretted Adam, depressed,
“did that **** really rupture my chest?”
“Yes she did,” piped his Maker,
“but of course you can’t take her,
or I’d fry you in hell, for ******!”



There once was a poet from Nashville
which hockey fans rechristened Smashville,
but his odd limericks
pulled so many weird tricks
it’s lately been called Ogden Gnashville.
—Michael R. Burch



There once was a poet from Tennessee
who was known to indulge in straight Hennessey
for his heart had been broken
and cruelly ripped open
by an icy-hearted Lady of Paree.
—Michael R. Burch



There once was a girl with small *****
who would only go out with young rubes,
but their c-cks were too small
so she sentenced them all
to kissing her fallopian tubes.
—Michael R. Burch



A coquettish young lady of France
longed to have men in her pants,
but in lieu of real joys
she settled for boys,
then berated her lack of romance.
—Michael R. Burch



A virginal young lady of France
longed to have c-cks in her pants
but in lieu of real boys
she settled for toys
& painted pinkies to make her bits dance.
—Michael R. Burch



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

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

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



Light verse and nonsense verse …

Less Heroic Couplets: Mini-Ode to Stamina
by Michael R. Burch

When you’ve given so much
that I can’t bear your touch,
then from a safe distance
let me admire your persistence.



The Trouble with Elephants: a Word to the Wise
by Michael R. Burch

An elephant never forgets
which is why they don’t make the best pets:
Jumbo may well out-live you,
but he’ll never forgive you
so you may as well save your regrets!



The Beat Goes On (and On and On and On ...)
by Michael R. Burch

Bored stiff by his board-stiff attempts
at “meter,” I crossly concluded
I’d use each iamb
in lieu of a lamb,
bedtimes when I’m under-quaaluded.



Trump’s real goals are obvious
and yet millions of Americans remain oblivious.
—Michael R. Burch



Cover Girl
by Michael R. Burch

Cunning
at sunning
and dunning,
the stunning
young woman’s in the running
to be found **** on the cover
of some patronizing lover.

In this case the cover is a bed cover, where the enterprising young mistress is about to be covered herself.



First Base Freeze
by Michael R. Burch

I find your love unappealing
(no, make that appalling)
because you prefer kissing
then stalling.



Paradoxical Ode to Antinatalism
by Michael R. Burch

A stay on love
would end death’s hateful sway,
someday.

A stay on love
would thus BE love,
I say.

Be true to love
and thus end death’s
fell sway!



Less Heroic Couplets: Funding Fundamentals
by Michael R. Burch

"I found out that I was a Christian for revenue only and I could not bear the thought of that, it was so ignoble." — Mark Twain

Making sense from nonsense is quite sensible! Suppose
you’re running low on moolah, need some cash to paint your toes ...
Just invent a new religion; claim it saves lost souls from hell;
have the converts write you checks; take major debit cards as well;
take MasterCard and Visa and good-as-gold Amex;
hell, lend and charge them interest, whether payday loan or flex.
Thus out of perfect nonsense, glittery ores of this great mine,
you’ll earn an easy living and your toes will truly shine!



Less Heroic Couplets: Crop Duster
by Michael R. Burch

We are dust and to dust we must return ...
but why, then, life’s pointless sojourn?



Less Heroic Couplets: Shady Sadie
by Michael R. Burch

A randy young dandy named Sadie
loves ***, but her horse neighs “She’s shady!”



The couplet above is based on the limerick below:

Shady Sadie
by Michael R. Burch

A randy young dandy named Sadie
loves ***, but in forms fancied shady.
(I cannot, of course,
involve her poor horse,
but it’s safe to infer she’s no lady!)



Less Heroic Couplets: Just Desserts
by Michael R. Burch

“The West Antarctic ice sheet
might not need a huge nudge
to budge.”

And if it does budge,
denialist fudge
may force us to trudge
neck-deep in sludge!

The first stanza is a quote by paleoclimatologist Jeremy Shakun in Science magazine.



The Limerick as Parody

Marvell-Less (I)
by Michael R. Burch

Mr. Marvell was ill-named? Inform us!
Alas, his crude writings deform us:
for when trying to bed
chaste virgins, he led
off with his iron ***** ginormous!



Marvell-Less (II)
by Michael R. Burch

Andrew Marvell was far less than Marvellous;
indeed, he was cold, bold, unchivalrous:
for when trying to bed
chased/chaste virgins, he led
off with his iron ***** ginormous!

When reading the second version of the poem, the reader can select “chased” or “chaste” or read them together, quickly.



I Learned Too Late
by Michael R. Burch

“Show, don’t tell!”

I learned too late that poetry has rules,
although they may be rules for greater fools.

In any case, by dodging rules and schools,
I avoided useless duels.

I learned too late that sentiment is bad—
that Blake and Keats and Plath had all been had.

In any case, by following my heart,
I learned to walk apart.

I learned too late that “telling” is a crime.
Did Shakespeare know? Is Milton doing time?

In any case, by telling, I admit:
I think such rules are ****.



Limericks

There was a young lady of France
Who’d let cute boys root in her pants:
Where they'd give her the finger
And she'd let them linger
because that's the point of romance!
—Michael R. Burch

A germane young German, a dame
with a quite unpronounceable name,
gave me a kiss;
I lectured her, "Miss,
we haven't been intro'd, for shame!"
—Michael R. Burch

A germane young German, a dame
with a quite unpronounceable name,
Frenched me a kiss;
I admonished her, "Miss,
you’ve left me twice tongue-tied, for shame!"
—Michael R. Burch

A germane young German, a dame
with a quite unpronounceable name,
French-kissed me and left my lips lame.
I lectured her, "Miss,
That's a premature kiss!
We haven't been intro'd, for shame!"
—Michael R. Burch

Although I prefer
onions
to bunions,
I still primarily defer
to legal ******.
—Michael R. Burch

Cancun Cruz
by Michael R. Burch

There once was a senator, Cruz,
whose whole life was one pus-oozing schmooze.
When Trump called his wife ugly,
Cruz brown-nosed him smugly,
then went on a sweet Cancún cruise!

Anchors Aweigh!
by Michael R. Burch

There once was an anchor babe, Cruz,
whose deployment was Castro’s bold ruse.
Now the revenge of Fidel
has worked out quite well
as Cruz missiles launch from his caboose!

Canadian Cruz
by Michael R. Burch

There was a Canadian, Cruz,
an anchor babe with a bold ruse:
he’d take Texas first
and then do his worst
to infect the whole world with his views.



Trump Limericks aka Slimericks



The Nazis now think things’re grand.
The KKK’s hirin’ a band.
Putin’s computin’
Less Ukrainian shootin’.
They’re hootin’ ’cause Trump’s win is planned.
—Michael R. Burch



Trump comes with a few grotesque catches:
He likes to ***** unoffered snatches;
He loves to ICE kids;
His brain’s on the skids;
And then there’s the coups the fiend hatches.
—Michael R. Burch



Trump’s Saddest Tweet to Date
by Michael R. Burch

I’ve gotten all out of kilter.
My erstwhile yuge tool is a wilter!
I now sleep in bed.
Few hairs on my head.
Inhibitions? I now have no filter!



the best of all possible whirls, for MAGA
by Michael R. Burch

ive made a mistake or two.
okay, maybe quite more than a few:
mistakes by the millions,
the billions and zillions,
but remember: ur LORD made u!

where were u when HEE passed out brains?
or did u politely abstain?
u call GAUD “infallible”
when HEE made u so gullible
u cant come inside when Trump reigns.



Scratch-n-Sniff
by Michael R. Burch

The world’s first antinatalist limerick?

Life comes with a terrible catch:
It’s like starting a fire with a match.
Though the flames may delight
In the dark of the night,
In the end what remains from the scratch?



Time Out!
by Michael R. Burch

Time is at war with my body!
am i Time’s most diligent hobby?
for there’s never Time out
from my low-t and gout
and my once-brilliant mind has grown stodgy!



Waiting Game
by Michael R. Burch

Nothing much to live for,
yet no good reason to die:
life became
a waiting game...
Rain from a clear blue sky.



*******' Ripples
by Michael R. Burch

Men are scared of *******:
that’s why they can’t be seen.
For if they were,
we’d go to war
as in the days of Troy, I ween.



Devil’s Wheel
by Michael R. Burch

A billion men saw your pink ******.
What will the pard say to you, Sundays?
Yes, your ******* were cute,
but the shocked Devil, mute,
now worries about reckless fundies.



A ***** Goes ****
by Michael R. Burch

She wore near-invisible *******
and, my, she looked good in her scanties!
But the real nudists claimed
she was “over-framed.”
Now she’s bare-assed and shocking her aunties!



MVP!
by Michael R. Burch

Will Ohtani hit 65 homers,
win the Cy Young by striking out Gomers,
make it cute and okay
to write KKK
while inspiring rhyme-challenged poemers?

Will Ohtani hit 65homers,
win the Cy Young by striking out Gomers,
prove the nemesis
of white supremacists
while inspiring rhyme-challenged poemers?

Will Ohtani hit 65 homers,
win the Cy Young by striking out Gomers,
cause supremacists
to cease and desist
while inspiring rhyme-challenged poemers?

Keywords/Tags: limerick, nonsense, verse, light, humorous, war, writing, poetry, poets, serious, limericks, humor, light poetry, light verse, nonsense verse, *****, salacious, ribald, risque, naughty, ****, spicy, adult, nature, politics, religion, science, relationships

i don't have a conspiracy theory... i just have an encyclopaedia of adverts... western intelligence is squandered on pub quizzes and trivia knowledge shows... spies are like magicians, although a spy's audience is a bunch of journalists high on tarantula venom, quote: (uh... what's going on?) take any stoner to speak that bracket.*

when my parents were eight, they were still
blossoming in a natural environment,
using the inherited tongue like a hammer:
here's the nail, here's a plank of wood,
now hammer that thought of yours in.
aged eight i was thrown into the deep end,
having to learn a new language, as somehow
unlearn my mother's tongue, i didn't budge,
i kept it scheming, rather than subconscious,
i didn't repress it... thrown into the deep end
i didn't become like most migrants
"assimilated", i.e. losing heritage... i kept it
(just in case)... now the chameleon of me
is about... suit & tie... then tracksuit bottoms...
no little russian kakashka (little ****)
would dare **** me, all the information i have
is useless... it's too personal...
i was supposed to be the rebound guy...
she sort of faked using anti-contraceptives...
i ended up a boomerang after seeing all
the possibilities of education...
that's the thing with the west and education,
it, just, doesn't, work... because all the menial
jobs have been exported, the west is sort
of puzzle-box tied in terms of hands able,
with hands actually disabled...
this excess outpouring of poetry is one sign,
the obvious one, excess poetry as deviation
from a chronology of illiteracy and books left
in the shadows and dust and crematoriums...
you tend to write poetry when you're either
illiterate or haven't read much that's on offer...
read the least number of books, then you get
to write poetry, simple as Victoria sponge or
bechamel sauce for a lasagne, motto being:
just keep stirring that flour into the frying butter,
just keep stirring, then slowly keep adding
onion bay leaf nutmeg infused milk slowly...
just keep on stirring...
western society likes bureaucracy, by way of
exporting the ideal that's democracy,
but it's so ******* n'ah! keep slang as an expression
of encrypted onomatopoeia, keep slang
as disguised nouns in onomatopoeias...
russians love poetry, hence they tend to send poets
into the gulag... in western society they
take poets to be raw meat and send a dozen flies in
to **** sperms into it, to clarify:
pornographic actors get paid, poets don't...
O masters of this glorious sphere, what will
this Eden Project prove? a third eye that's Voyeurism
en masse? when the blow-over fringe was running
for president i just said (no, no hindsight):
i wouldn't laugh... imagine a female pope!
women are not supposed to wear the Kippah...
western society in crisis; today i was watching the
film Cleopatra (1963) and there was so much dialogue!
take a movie from 2015 or 2016 and the dialogue
you get is: TNT BOOM BOOM BOOM!
CGI that's a fake of pixels being arable for the original
intention... the great decline... it only too one hit...
one ******* hit... and it ended up being a K.O.
you'd think they'd be able to take more... but Islam
became a Mike Tyson... *******... take one more hit!
what you're seeing now is what's called
the paradox of treating democracy as Utopia,
democracy isn't Utopia (Churchill said)...
but this is the unravelling, treat democracy as
the sole expression of utopia and then watch when
something alien hits it... one smack and you're out...
treating democracy as utopian politics is false,
too many self interests and too much bureaucracy;
or i can example my father for you...
two Lithuanian labourers employed by a company
****** up his drill... they weren't electrocuted
(the drill was wet), because if they were
the effect of electrocution would be like that of
an electron cloud the glue of keeping the proton
and neutron nucleus intact, the thing electrocuting
would be like a crocodile's jaw snap, you wouldn't
be able to let go... instead they became Lithuanian
vandals... smashed the thing... and what about
being self-employed and having his wages cut
once in a while? self-employment is the norm in western
societies... because the boss of BHS took a big fat
pay-cheque for a yacht with Kate Moss on it
while employee pensions went down the drain or
into Hawking's theory of black holes colliding...
zero hour contracts to match up the statistics...
western powers are mad to export their ideals...
i wouldn't trust them with a water-pistol,
and you know why? they'd just want an Iraqi to
wear Nike trainers and eat a Big Mac.

Inhale swiftly
come down quickly
hit the Floor
Be no more.

What a comfy Carpet,
but it ***** me under
like a tar pit.
I'm left to wonder
If it's dragging me
down to Heaven.
I've sunken seven feet under.

I see the light,
it's been lit.
Maybe this time I just might
reach for it.
Reach through the rug.
Reach down and give a tug.

But my arm won't budge.
A mortal's terror
What if he holds a grudge?
It's just not fair.
God no not like this,
Think of all the things I'll miss.
If I see the suns rays
Lord I swear I'll change my ways.

This Time...

After opening the jar, all the undoing's of mankind. I witness anxiety bring fear to mankind. As anxiety flew away I heard the bellowing cries in the distance. The bellowing sobbing and horrifying gasp from mankind they tried to pick themselves up off the ground. In my *****, I felt pain. A sharp intense pain. Like Zeus himself reached into my ***** and squeezed my beating heart. My heart filled with so much sorrow. The sorrow flowed to my eyes, warm tears trickled down my cheeks.

Evil clawed its way to the top of the jar. Evil, such a terrifying and ugly creature. It leaped from my jar and into the sky like Pegasus when he sprang from Medusa’s empty neck. Evil was swift and full of purpose as it flew into the sky. Evil looked back at me. My jaws clenched and teeth grind together. My eyes watered from dryness. I hadn’t noticed I wasn't blinking. The burn in my eyes was nothing compared to the unimaginable evil that was unleashed onto mankind. I wanted to close the jar. I couldn't disobey Zeus. If I did, it would bring me a fate far worse than Prometheus. What can be worse? What could possibly be worse than a giant eagle eating me alive for eternity?

I tried to look away. I didn't want to see the last plague on mankind. A smell filled the air and twisted my stomach. A stench of rotting flesh and death. Disease oozed out of the jar next. I dropped the jar while desperately trying to close it. Falling to my knees, breath stolen from my lungs. Gagging and gasping for air. Dark black mist filling every crack and crevice. The dark dank mist slowly crept further away spreading and consuming the light in all living things. As the plants and trees withered away, a part of me also died. I wanted so much to embrace the arms of hades, I wanted to give my light in exchange for theirs. What have I done? This is why you created me Zeus, out of spite!

Just then, I heard the jar move, I watched the jar jump and fell over. Over and over again. Something is desperately trying to escape. I remembered Zeus told me to close the jar right after disease escaped. Pushing myself from the ground I reached out for my jar. I held it close as I pried open the jar. I tried with all of my might. Clawing and prying the lid wouldn’t budge. Ignoring the demands of Zeus. No punishment, nor torture can be worse then the feelings I just felt. I’ve unleashed doom to all of mankind. I will be for eternity the one who brought doom to mankind. I lifted the jar above my head, tears streaming down my face, a fierce rage burning inside me. I yelled at the sky. Do as you will! Do as you must! Rip me apart as you were the one who put me together. I am no puppet! You will not control my fate any longer! I threw the jar to the ground, shattering into pieces.

A tiny speck of light flutters before me. It’s shining light embraces my face and I cup it in my hands. Watching it flutter, the sky grew black. The clouds rumbled, the earth shuddered. A loud crack deafens my ears, the bright light in my hands shot into my chest and then up to the sky. Zeus appeared from the clouds. Pulling my body towards him in the sky. “Why did you disobey me? Have you learned nothing from Prometheus?” The anger in his voice shook my core. I watched my feet slowly turning into ashes. A white fire slowly engulfed my limbs. Zeus screamed “do you know what you had done!” I replied “Zeus I will suffer for mankind. I will not be their undoing any longer” Zeus replied in a smug mocking tone “as you wish ephemeral”.

Zeus watched as my body turned into ashes. Before the flames embraced my face. I realized that light was hope. I released hope from her captive state. Hope is free for all of mankind to have and to hold. I fixed my last gaze upon Zeus and with my dying breath. I whispered “I know what I did. I know what it is and what it can do. I hope all of mankind will too.”

i am Rapunzel.
captured behind a stone wall
slick with acid, coated with barbed wire.
i beat and i pound at the wall, until the flesh
is torn and my bones crumble.
i scream and i cry, until my voice cracks
and my throat bleeds.
i pray and i persevere, but no matter
how much i try, the wall will not budge.

i am Rapunzel.
captured behind a stone wall,
slick with acid, coated with barbed wire.
i cut my hair and dripped it out the window
like garland, but no one climbs through.
i sing a broken hallelujah, like a songbird
with a wish bone in her throat.
i search hi and lo for the key to my tower,
but there is only stone and a locked door.

i am Rapunzel.
captured behind a stone wall
slick with acid, coated with barbed wire.
i hold the fragments of my hope in my
****** palms, i water them with my tears.
some day my prince will come, perhaps
with a silver key in one hand, and
the Promise Land in his eyes.

We’d all been out to the Carnival,
Had chilled and thrilled and cried,
And Patsy laughed that she’d wet her pants
On the killer Monster Ride,
While Orville’s face was covered in floss
In a pink and sticky goo,
And I limped past the Penny a Toss
With something stuck to my shoe.

I’d won a horrible Voodoo Doll
That I tried to pass to Kate,
She said, ‘No fear, if I took that home
I would just lie there, awake!’
We’d had our fun on the Octopus
Though the Mouse had made me sick,
And the Big Wheel stopped in a passing cloud
At the height of a laughing fit..

A spider deep in the Ghost Train came
Unstuck in Patsy’s hair,
And Kate had shrieked, for Patsy had
No clue that it was there.
We threw it one to the other, first
To Orville, then to Jack,
But then it landed on some old dear
And gave her a heart attack!

We laughed and pranced and we danced beside
The sideshows – ‘Way to go!’
But Orville fumbled the rifle and
He shot some guy in the toe,
We had to run but were laughing there
So hard, and fit to bust,
That Richard ruptured himself out there,
And now he’s wearing a truss!

The time it had come to wander home
So we wiped off Orville’s goo,
But I had trouble in walking with
That thing, still stuck to my shoe.
I slid and wiped and I scraped at it
But nothing would make it budge,
Said Jack, ‘Just what do you think it is?’
I replied, ‘some sort of sludge.’

We got to the edge of the fairground
And the others wandered home,
But I was stuck, I couldn’t move,
I was standing there, alone.
And then my foot had begun to turn
Back to the lights and sound,
I felt myself, being impelled
By my shoe across the ground.

I tried to twist and I tried to turn
But my shoe was saying, ‘No!’
I had to follow wherever it went,
Wherever it wanted to go.
It took me back through the alleyways
Still lit with a thousand globes,
I felt a bit like a Brahman Bull
With a steel ring through my nose.

It dragged my foot through the mud and slush
And the other followed too,
I didn’t have much of a choice, I thought
As long as I wore the shoe,
It led me in to a darkened tent
With a dais, up on high,
Where a shadow sat in an old top hat
With a single gleaming eye.

The shadow opened its mouth to speak
And its teeth were long and sharp,
‘What have you brought me now to eat,
Some dross you found in the park?’
The voice was deep, was a muffled growl
And it shook the earthen floor,
The shoe was dragging me forward as
I turned for the flap of a door.

I felt a wrench and the shoe came off
So I hopped and ran like mad,
The growl of the shadow had freaked me out,
It had to be more than bad!
My father gave me a hiding when
He found that I’d lost my shoe,
He wouldn’t listen when I exclaimed:
‘You would have lost it, too!’

Next day the shoe was sat at my door
Its prints deep pressed in the lawn,
I couldn’t have put that shoe back on
If the Devil had blown his horn.
I took a stick and I picked it up
And dropped it straight in the bin,
I couldn’t go near a Carnival now,
I’m too attached to my skin!

David Lewis Paget

Every employee's name was listed in the address field
Except for one
The one I never noticed
That we never noticed

We all marched into the meeting room as ordered
Found the CEO on an extra tall stage
To tell us
"Today is Emma McGurk's last day
But she says it's the first day
Of her tenure
As Director of Forecasting of Unintended Consequences
She's not going
So I need all of you, all 300 of you,
To help me terminator."
(Or was that terminate her?)

So we gave each other Brady Bunch nods
I had to look up to make eye contact (or is that I contact?) with superiors
Then we marched to
The cubicle of Emma McGurk
Me remembering what Santa Ana had said:
"With a few hundred more men like the San
Patricios, Mexico would have won the battle."

And the battle wasn't to be won by us
It was to be won by Emma McGurk
The CEO tried to move her
Ten of us tried to move her
Then one hundred
And then all three hundred
Even I made an effort
But she wouldn't budge

So we had to move...
To another building
Hearing that Emma McGurk was still ensconced
In the position existing only in her noggin
Until finally the old building had to be imploded
A fifth-grader winning the honor of triggering
That dusty downfall of Emma McGurk's cubicle
And the building that sheltered it

It wasn't until Signing Day Eve
That I saw her again
Pouring ink at a haiku-con
"The pay wouldn't be that bad," she told me.
"If it was by the snicker instead of the word."

Can anybody tell me what is Right with this world?
Even those in church refuse to budge or curse
The evil that is inside - man, woman, boy, girl

I for one, attest
That sin is at my breast
As I abandon my shame to a wicked, nasty tongue

Still I would never judge
Should plagues beckon at my door
While windows open - close no more

I've never gossipped in such a way
That threatens to destroy all a person's trust
Seemingly in righteousness, your barb has now been ******

Onto the canvas that was my soul
Now shattered, as if it never mattered
In twisted torment, in the name of your holy robe.

Deceit is in the air, beware!
the stench of dead birds,
mysteriously perished,
is it caused by the weather change?*

I witness feathers change color
beyond recognition on many birds,
both young and old,
i usually used to see on my walk
now they don't smile,
or even send a casual look as before.

Monsoon clouds, expected
aren't dark, or fat, as usual
obscene white, like cotton wool,
Had it been in other times,
i would have eulogized,
"So white and pure"

Drought is predicted,
we are living in hard times
should one remind that often?
would you hold my hand?
we need to stick together,
now, more than ever.

Luscious looking grapes, but wait,
I've seen them bath those in
thick soup of insecticides,
death lurks in salacious and sweet garbs,
eschew that grapes, they are sore,
be like foxes , that are clever.

The apples? rotten to the core,
forbidden, though entice
polished by poisonous wax,
don't eat those rotten eggs,
dame salmonella displaying her bare *******,
would be ready to ******, don't budge.
soon you will be down with illness.

Don't walk alone,
guardian angels have fallen in to bad days,
their wings are fragile,
vampires with fangs long enough
to draw blood, till the last drop
have come out in the open,
from the legends, where they slept.

The piranha, in the water closet,
has been starving for a week,
butterfly with psychedelic painted wings,
really is an evil thought,
out to attack on a masquerade,

Inside the cupboard there is a masked raider,
have you heard the hungry tiger,
growling  in your cluttered backyard?
a bear is prowling in the garden,
searching for hidden honeycombs,
did I see a python, licking a girl's naked breast?

Keep all the doors closed tight,
remain quiet inside*
               )O(

the rain pours outside, and i become compelled to
pour my own self into a ****** poem that won't cover half.
pour my own self into a ****** poem that won't cover at all.

the rain pounds outside, and i become compelled to
cower into a corner and pound against my walls that don't budge.
cower into a corner and pound against the wall with my ribs.

the rain thunders outside, and i become compelled to
thunder my way into what i think i deserve that isn't even half,
thunder my way into what i think i deserve that becomes even less.

the rain is lighting outside, and i become compelled to
be lighting and light my way through rotten magnets that easily budge,
be lighting and light my way through rotten cement that won't give.

the rain intensifies outside, and i become compelled to
twist a beating ***** until i can intensify whatever's left to feel,
twist a beating ***** until i can intensity whatever is not.

the rain dies outside, and i become compelled to die.
die into a fine mist that'll leave a mark on everyone,
die in such a fine way that i'll be able to breathe again.

the rain pours outside, and i drown.

Journey through an empty house
Emma
Your Middle name grows on the footsteps of the mice
crawling up the
neck back bone
of the chimney
a dinner table eaten by the termites
Either I or Michael the III
sits on the
window sill counting the rain drops that
tap to the syllables of your name
My typewriter sighs like your mother leaning on a wet window sill
journey through an empty house
in the middle of no where
outside rains on the fields of
tobacco stores
pastel rusted orange lipstick molded Volkswagen parts
a few
rubber tires
****** Indian Cadillac Van Nostalgia Highway Bandit
Opus Utopia
Moonlight Sonata Father Movement No. 1
and as my leather wool toes and toenails and heart and lungs and nostrils and Ceramic eye ***** painted to match the Season of Tornadoes creak through an empty house
where music is not played
and the wallpaper
is peeling off
like fake eyelashes
on a *****
stuck in driveway
Main performance
TONIGHT!
Rain and the cheap perfume of making love as the carpet doesn't move
doesn't budge like Grandmothers Tomb
Beethoven! Beethoven!
I am dipping your piano instrument notes
into the fire
Beethoven!
Beethoven!
The moon is so quiet she stares at me
and the wooden buttons of my gasoline washed swede stolen jacket
falls off
Look in here
there is nothing but hardwood floors
a few windows
letting in the
monotone gaze of the night
swaying wheat fields
crawling up the eyesight sleeve
In my peripheral

Highway
Highway
Highway
To the Ocean
To an empty house
that bends
when the sky yawns
like a dying old old old man
as he sits in his
crooked rocking chair
that a mexican Boy
welded together
with twigs and
coffee mug pieces
the empty house
its skeleton shows
like a sick dog
as it walks the endless boundless streets of a city where the lights are kept on too keep away the thieves
but the moths
and other
unidentified insects
flutter around the Bulb
like gnats
over a man's sweaty face
its skeleton shows
copper wiring
electrical entrails
the bowels the wood keeping the roof up
the insulation
the concrete and the bricks
like decapitated teeth
An empty house
is not
so empty
There is still the left-over hum
of a family
of nights
of windows open
letting in the
Summer breath
There is still
the hardwood floor that creaks like the chipping paint of an old bench painted white
There Is still
the bathroom sink
molding like the aging face of a wrinkling man
There is still
the windows
letting in a
slight breeze
you can smell the rain
the rusted locomotive limbs of discontinued Trains

i looked with
quizzical disdain
it was plain
i was not amused
as i perused
and openly confused,
i was
about to say...

she said "chill"

she stood with
stern command
glass from sand
she would not budge
(not even for fudge)
but not to judge,
she was
about to ...say...

i said "chill"

we held on
to the night
fear the light
blind to the unknown
where the winds blown
what's to be shown?
we were
about to say...

"chill"

the hairdresser used the wrong dye
       your boyfriend dumped you for a guy

all you have left is shattered dreams
      camera flash blinds you with its beams

missionaries bring word of an impending doom
    your dog snuck in and broke your fave perfume

trying to grow your hair but you have split ends
        the guy you've been eyeing wants to be just friends

your favorite jeans ripped and you don't have spares
        you would ask for a friend's but nobody cares

you're late to work and you don't know why
      you got scouted to model but you were suddenly too shy

you failed the pop quiz that everybody aced
      you got mistaken for a celebrity and brutally chased

you dropped your wallet jogging around
      you found it empty a week later in the lost and found

you forgot not to and picked a scab
       your favorite uncle's stuck in rehab

your grandmother mistook you for her son
      in reality you're female, and nowhere near fifty-one

you're a penny short but the cashier won't budge
     your mother is still holding that 10-year grudge

what can you do, what can you say?
when all you have is first world problems, today.

Sitting in the corner
by himself, no one around
Sat a man, all old and wrinkled
Lips were moving, but no sound
Came forth from this man's mouth,
his lips all cracked and dry,
You could stand right there and listen
And hear nothing if you tried

Each day I walked the prison yard
this man sat in his place
Never talking to another
Just staring off in space
He sat, just sat, and sang his silent songs
No one else could hear but him
The men around the prison said
"He's just Old Crazy...him!"

He was kept upon another block
Not the one where I made home
He'd been there for eternity
Back when cars still had big chrome
I dare not ask why he was here
Some things you didn't do
so, I sat there watching this man sing
And I thought "just who are you?'

He'd sing his songs come rain or shine
Never looked out past the fence
The world out there meant nought to him
It held no consequence
The 809 would pass each day
Whistle blowing in the air
The rest of us, stared dreamlike
And we wished that we were there

But the old man in the corner
didn't blink or even look
Even though as the '09 passed
The ground around us shook
He held his place in silence
Rheumy eyes and cracked old mouth
Held the secrets of his lifetime
A man of wisdom from the south

I got the will and walked on up
to where he sat and sang
And back behind the others stood
And I could hear a few say "Dang!"
I stood there, right in front of him
And I couldn't hear a word
Except the soft and gentle cooing
Like a tiny, baby bird

I realized the sound was him
It was his singing in my ears
It was soft and smooth and gentle
It was almost bringing me to tears
He looked clear on, right through me
Sang his songs but did not budge
I blocked his way upon his exit
And I said "It's not for me to judge"......

I could hear the loud collective gasp
From the crowd who'd formed behind
And when they saw me stop his exit
They must have thought I'd lost my mind
I asked him in a gentle voice,
so no one else behind could know
about why he sang so silently
Like an angel, soft as snow

He said, "You know, I have no name"
"I've been here long enough, it's gone
"My name now is my number
"Although they sometimes call me John"
"I just don't know, if John is me
"he was from another time"
"So, I forgot just who I used to be
"And I sing my songs and rhyme"

"I used to have a name, I'm sure"
"But, now I need it less and less"
"They only need it for my marker"
"I'm dying here I guess"
"It makes it easy to get by here"
"When they think you're mad as hell"
"They just leave me to my corner"
"And to me that's just as well"

I thought a bit and smiled
At this man, who'd shared his tale
And I hoped I never lost me
That my name was not for sale
I refused to be a number
Although I knew that in the end
That I too, would die in here
And it would be easy without friends

So, I picked myself a corner
One where the man and I could see
I would sing to him in silence
As he would sing to me
The old man died a few years back
But I still sit and sing the same
I think I know still, who I am
But I'm not sure I know my name...

Resultant from years of financial haggling
The Money Boys come to the fore
Capitalizing on predatory trading
Manipulating for profits galore.
Leveraged stocks and debt obligation
advantage producing high dividend yield,
Squeezing the borrowers mortgage commitment,
Showing the hopeless the foreclosure field.
Passionless people with passionless faces
Smiling with fathomless eyes at your plight,
Knowing that if foreclosure is pending
Return on the sale will turn out all right.

Inflationary pressures are gradually worsening
Our Treasury man is flexing his arm
He’s keeping a close eye on monetary policy
Holding the cash rate to stop fiscal harm.
Upside and downsides defy expectation,
Rampantly wobbling the real estate boom,
Uncertainties globally, holding to ransom,
That American sub prime must remedy soon.

The high Government spending and big dairy pay outs
The rocketing prices of everyday stuff
Ridiculous rules for control of emissions
And fiscal expansion that’s really too tough.
Domestic inflation is making it harder
The Treasurer’s threatening to hike it this year
Persistent uncertainties running quite rampant
And our money communities sniffing the air.

Do you have faith in the bank institution?
Do you trust them with all of your funds?
In the event of collapse do you think you’ll be honoured
With return of deposits in full total sum?
Not on your Nellie my fine young depositor
An unsecured creditor fellow are you,
You go to the back of the line if there’s failure
You’re hung high and dry at the end of the queue.
You can yell and complain till the sun sets my friend
Compose all the letters you like to the judge.
But the fact of the matter in Money Men chatter
Means IT’S LEGAL and ON THIS OUR STATE WILL NOT BUDGE!

So the money boys win, never mind about justice
Causing division right here on our plate.
There’s the rich and the poor, the haves and the have nots
Social corrosion in wealth based hate.

Extrapolate out and you witness this worldwide
The fabulous West and the destitute poor,
The pina coladas and Chevrolet excess
Thin starving kids on dirt African floors.
Indulgent young starlets with ******* teasers
Black Ethiopian mothers in rags.
The fat and the frivolous gorging on beefsteak
Filthy and homeless men begging for ****.

When you bring it all back it’s a fraudulent system
Where the money men cause a division in man
Instead of devising a planet of sharing
They grab and they gouge and they keep all they can.
The God of GET is worshipped widely,  Egocentric, selfish man
Tomorrows future hangs in the balance.
…WOULD YOU LAY ODDS ON GETS’ GREAT PLAN ?


Marshalg
Mangere Bridge
25 January 2008


  

© 2011 Marshal Gebbie