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Sag May 2015
LSD
I want you to put me on your tongue and let me dissolve into you like the tiny white squares that turn those glossy hazel marbles into black holes and intense stares. I want you to kiss me and see negative colored rulers in the corner of your vision and I want you to have trouble making a decision between kissing me and observing me while I'm sitting on your chest and I want you to laugh like you did with your cherry colored lip curled over your childish grin over and over and over again and I want you to forget the conversation topic every time you close your eyes because the world inside of your mind is filled with blinking images that you can't quite explain aloud so you settle for little talks about Rosa Parks and Indian style kisses and how the ocean is the Earth's thing or the complexity of butterfly brains and whether or not they remember their caterpillar memories (they do). Describe to me the first time you saw your favorite color and what developed the affinity for it: yours, a glacier blue toy that resembled the ocean and mine, a lavender Easter dress that twirled when I spun. Tell me about your school crushes when you were four and what you got your clothespin moved to the sad face for and I'll write it all in ink on my knee caps because "God, we're such writers" and you'll check the clock in the gaps and search for tunes or lighters and I'll want time to slow down because the nights spent with you usually seem as though minutes are just a few seconds shy of sixty, which turns the little hand pretty quickly.
I want hours, weeks, decades, to analyze the freckles on your face or the pace at which you move your tongue and precisely how it tastes.
I want you to tell me that your brother would like me and about the mountains in Tennessee and maybe next time I'll try to stay awake, unless you want to listen to the way I breathe so fully when I dream.

When I close my eyes, I want to be able to see what you see.
I want you to keep burying the numb parts of you into the warm parts of me.
Hairline cracks are breaking through
the slough I'm about to shed.
Dry and dysfunctional
as the neuron sac in my skull.

I'll change my hat and change my ammo
honeysuckle artillery polished,
waiting in my drawer.

Sliding an empty coffee mug
back and forth along a counter
like a puck preparing for a slapshot.

Paper matches in colourful books
pressed between the pages
found leaves for child arsonists.

Takeout boxes filled with poems
are sold as artefacts
Don't be silly, poetry comes in plastic bags,
not styrofoam.
To keep ideas hot, wrap them in tinfoil.
But don't forget to leave a hole at the top for steam
or your fresh concepts will get soggy.

Equipped with tennis *****,
spandex suits picket office blocks
standing on chairs and voicing nearly racist remarks
making health and safety inspectors nervous.

Out of control students
launch dictionaries out of third story windows,
donning 21st century masks.

I left my patience beside my keys, on the kitchen table.
Waiting in line for obsolete phone booths
as movie stars soundlessly mouth slang into a receiver.

Nearly responsible
nearly nine
nearly time for bed

I resolve again
that I’ll resolve more
but this time write it down.
Folding kamikaze paper planes
to hide behind park benches, fly into trees.
Let the sun fade the pencil crayon.
I can't run from this blasé gangrene that’s taken my toes.
fray narte Sep 2021
Eyes. Heartbreak is her sunlit memory barely held by a wooden clothespin. It hangs and glares before your eyes, mocking as it fades into an empty filmstrip. Heartbreak is a lost soul left to perish in her ghost-town, and warmer sunsets are lifetimes away. A wonderwall left standing, pinned polaroids, desperate scratches. You had fought hard and long, for this, but homes are made for breaking and crumbling and leaving, especially in the losing side.

Mouth. Heartbreak is a paper-tag of a goodbye caught in her lips. It is a metaphor that melts at the soft space under your tongue, a certain bittersweet taste made for drowning with a cold lager, a stranger’s whispers, and the perils of his unfiltered cigarette kiss. Heartbreak is taming a manic scream into a delicate, defeated sigh, out of sync with the way she breathed. But then sighing still hurts, and breathing still hurts because you’re alive – you’re so ******* alive for this unbuffered pain.

Chest. Heartbreak is begging your chest not to break amid a listzomaniac rush. Heartbreak is a prosaic throbbing, a treacherous ***** stuck in your ribs, begging to be held like it doesn’t hurt. Heartbreak is a site of buried lavender lithiums, asking for a eulogy; but silence is equally as oppressive. It is your body betraying you, like a city undone by its smokes. It is a quiet word – not a poem, because poems are beautiful despite the pain, and this isn’t. This isn’t.

Hands. Heartbreak is your shaky hand flipping through the last three pages of a tragedy — a heroine dies, a stray star falls, a maiden leaves on a horse-drawn carriage. There is no changing of the ending. Heartbreak is reaching for the empty space in bed, leaving your fingers in technicolored bruises. How can emptiness break one’s bones? Heartbreak is scrubbing your skin dry, raw, and untouchable where she once laid her kisses. Heartbreak is your nails digging through her letters in utter despair — for invisible ink, a promise in the postscript, an estranged lover in familiar flesh, only to find torn sheets, spilled wine, and finality.

Legs. Heartbreak is coming home to ***** laundry all over these cold, wistful floors. Heartbreak is walking in hushed tiptoes only to trip and fall down a memory lane – a kaleidoscope of all the wounds that can possibly hurt. It is catching an empty train to somewhere unloving her is possible – doable. Heartbreak is teaching your legs to run away from the chaos of her naked skin, and not to fall at her feet. But still, you fall and you fall and you break what’s left of your bones chasing after something that’s already gone – long before it has said goodbye. So turn your back and hold your heart — it breaks harder, louder, and worse before it settles down and sits as quiet aching: a forgotten filmstrip, a soundless breath, a calm poem, a serene night.
L B Oct 2017
Andi Balise combined a half page of a short story, “Thanks Going Without Saying” by Liz Balise, with half a page of an essay by Klee, “On Modern Art”, from a book called Modern Artists on Art, 10 Unabridged Essays, edited by Robert L. Herbert. With some small edits and line-breaks comes this miracle of a poem:

Painting a Function Different

I peek out over the railing of reality’s magic
Beyond the porch-floor
Minerva hangs her wash
making the invisible visible
Eighty two and three quarters deaf
she doesn’t notice  
But this is, in fact, reality
Has always been this way—
Bent and bird-like existence  
Balanced on two twigs—always busy—

Her task, is the ******* of space  
Cutting coupons, crushing aluminum cans, ironing
The three phenomena which I must....

Things no one notices—
climbing on the abstract surface of a picture
Switching the curtains  
God! I wish from the infinity of space..she wouldn’t…!

It figures that—
Rusty, her cat, is weaving in fortune or misfortune  
I try to fix them—
Her ankles now
And she curses at accidental quality
from the corner of her mouth
which has only one form
Clothespin or cigarette?  
Long johns and animals and men in heaven
and bureau scarf and sheets—all, non-infinite deities
surround us translucent, contained
  
I decide what to get for her birthday—

We are good friends
through painting a function different

For me?
Predestined necessity.

Minerva?
forgets her manners
and eats like a survivor—

Thanks going without saying.
Thank you to my friend, Minerva for those years we shared living by the river.  And thanks, to my daughter, Andi, for seeing this poem in an academic assignment.

Art is what it is, imploring us to touch its experience.... It asks no approval.  It seldom gives reasons.
Felicia C Jul 2014
the cab drivers always look hopeful
and the bicyclists always seem scared
but it feels like my ribcage birdhouse could stay

it’s my version of home that lives in my chest
past the honor of winters plaid sleeves and silver glasses
it’s room for just me and my clothespin wrists fold up to fit inside
and my braids tickle my nose while i’m there

i can get anywhere from there
and it’s exactly where i always return

there’s a dinosaur on the corner of my favorite place
and all his friends remind me to stay happy
as they stand by and good bye the places i need to go


and i walk up the thousand and six stairs to the top
more alone than i wanted to be
and i am quiet
and i listened but that was the day that the city shut up

and i’m always looking for motorcycles out of the corner of my eye because you pause conversation to watch them fly by
and i know for a moment there your head gets lost

just exactly where you like it


or at least i think you like it
September 2013
First Draft
Felicia C Jul 2014
I write too many poems about my body.

but it’s the only house my spirit knows

and the only movement is my own

I could write you a love poem

or one about the way the kids in my hometown

used to walk the traintracks like they led somewhere

but i’m completely obsessed with this idea of entrapment

that i could be more than skin and bones that i could be made of

ink blotch shoulderblades

ribbon ribcages

clothespin wrists

and ruby lips

that i could abandon myself and get out of this cage

that’s too big or too small or whatever the **** they tell me this week.
June 2012
it's ok May 2014
simple enough
If I wanted to, I could
I could dissect every word
you ever said
Take off the fabric that surrounds--
I would never, I told you,

I want to taste your skin,
after it's been hung on the clothespin
in the sun too long
If you heard this, you'd take it the wrong way

you want to taste me
because that little kiss,
you knew what you were doing
and now your hands know every inch of me

so ******* now
Stanley R Larson Jan 2012
My neighbor and I still hang out our wash,
(I, each Thursday, taking my chances.
She, according to weather forecasts, I think,
or maybe by what she feels in her bones).
We laugh at StarTribune's report of some suburban bans
against clotheslines.
We wonder out loud whose tomatoes will first turn red,
and whether cucumbers will make it at all;
this year, it's been too cool and dry
for normal progress to the fall.

Tenacious dandelions, spread as stars across green-earth skies,
drive in spike-like roots, take hold of earth, and won't let go.
Kids squeeze bunches of stems in tight fists
that will open only to release the buttery bouquet to Mom
who hurries to put them in water, in a crystal vase,
wondering how soon she might mourn both flower and child.

While hanging bright, white unmentionables (some somewhat tattered)
on our clothesline, I, unembarrassed, remember my mother:
   with one clothespin held in her mouth
   and half a dozen more in her apron pocket,
   (thus needing not to walk over and over again
   the east-west path to the back door  
   where full supply of pins hangs on the ****)
   she does her woman's task with flair,
   spacing each garment so as not to block the sun or air.

You'd think she'd held some tool to calculate
where the sheet would best allow the breeze to circulate
or where to place each pillow case and sock,
so each would recognize and meet their mates!
And I know she theorized regarding how to hang those socks,
always with the toe pointed upward, so as not to show,
when dried and worn, a crease or ever-so-slight evidence
of the pin's pressure displayed for all to see
on the exposed ankle,
as if that might be a matter
worthy of shame.
Ana Leejay Aug 2013
dear friend,

I sit criss-crossed on my bed, trying to
think of a way to start this poem my
mouth fidgets like some nervous kid's
fingertips right before a test. Or like a
coke addict inside an elevator. I don't
know how to say it. But
I hope we're friends long enough I'm
the first person you call when you get
a boyfriend. When you're waiting for
the bus, or as you're walking down the
construction jammed block, I hope you
want to tell me first.
I hope we're friends long enough I can
watch you evolve. Cutting your clean cut
corners and bending every straight edge
in your book because you love him, I hope
I see you lose your mind and find it in him.
Irrational or emotional, up or down I hope
I'll be there. In the corner of your peach
room, scared as hell.
I hope we're friends long enough I can
watch your music change. Your hair, the
way you do your make up.
I hope we're friends long enough to see
more presidents be elected,
I hope we're friends long enough we share
more Christmases, more birthdays, more
first days of school. Like a timeline of
pictures hanging from a clothespin, I hope
our memories extend around the equator.
I hope we're friends long enough I'm there
when you're dog dies, or when there's
another hurricane or tornado. Play card
games through the phone remind ourselves
all we have is trust.

and if not,
if time, or distance, or other people or even
just ourselves get in the way. Stretches us
out like an orange rubber band rusting to
snap. If we can't survive the grip of fate.

I hope through all your boyfriends, all the
hair cuts, all the make up experiments, all
the hard times and especially the best
times, if I couldn't be there
I just hope someone is.
Joe Cottonwood Feb 2017
flapping on a line
                faded like a hazy sky
        once bright as bluebirds
How I miss your threads
        pale pink
                once scarlet as a rose

Belly to belly
        sheets are packaged
                in pairs
We could frolic
        in puffs
                of air

My clothespin
        to your rope
Come clean
        sweet cotton
                for romance
Laundry
        let’s dance
SilentCry Aug 2014
Yesterday I wrote a note
On a tiny piece of white paper
It read this: ‘I love you’
Then I went outside
And pinned it with a clothespin
On the clothesline
© SilentCry
Liam Oct 2015
the clothespin is growing full
time for hanging out to dry
initially the tears gone by
followed by freshly inked pages

words beyond lyrics escape me
sounds without notes are tuned out
a brand of merciful oblivion
melodic morphing of the moment

having forsaken reconciling past
having abandoned present rationale
the future becomes mine to ignore
merely rogue feelings incarnate
I talked with you on the phone the other day.
You were telling me how you visited the zoo;
spent an afternoon watching the zebra graze
and the lions lazily roar at civilians with digital cameras.

I talked with you on the phone the other day.
You were visiting the zoo, crying on the phone—
How can they keep them in cages
Locked away as if they don't feel like we do

You forget
there are people in cages without keyholes
there are blistered eyeballs scanning a lightless horizon for a lock pick or a clothespin
that may allow them to puzzle their way into the gears
There are people who die searching

I talked with you on the phone the other day.
We chit-chatted about sunbeams and lawnmowers.
We were happy, careless.
There are no cages here.

Only keys.
Jeremy Betts Feb 2018
No place for me to fit in, sometimes not even my own skin
The 65th crayon on the floor next to the 64 count special edition tin
The two dollar DVD bin is even out of reach, at a loss as to where else to begin
I guess it's back to the drawing board to start over once again
Not a chance of bein' normal as an outcasted heathen
But that's never been a why for me, to fit in is not a win
I've been sittin' in this same place like a mannikin with a phoney grin
A clothespin holdin' together the fabric of my being with such discipline
But a strong gust of wind tears through like blowing your nose into a cheap napkin

Patched together like a quilt of sin read like a story board of which I'm a star in
Stitched together by not giving in, givin' it all I can, taking every shot to the chin
But life's not getting the win by KO or even by decision
I'm gonna need to be taken out the ring on a stretcher with blue skin
But the goal isn't really to win but to survive this doomed zeppelin
I start thinking maybe I can take this aggression and passion and turn it in...
...to a winnin' combination and spread it through the nation
Empower an entire generation, awaken an entire population

But all they'll see is Frankenstein's monster

©2018
Sag Jun 2015
oxymoron overdose
deadbolt atriums
intersected playlists
the unluckiest clothespin

a mailbox full of compliments
wallowing asterisks
carpeted portraits and
unearthed apologies

it all stemmed from backseat rattling complexity

lighthouse morphine
seventeen somber ached explosions
sipping acrylic reveries
cleverly blossomed illusions

thigh stumbling permission
clumsy german metaphors
thirsty chapter jigsaw keys
worried cities newfound screams

vision confusion and pity bottles
poisoned school affection
oh christ, darling
a deaf chorus

thoughtless phantom
seed eyed stranger
road scarred sighs
***** locked moths
velvet butterflies

a sweeter sleeping spine

growing began expression

storms lack protection
yesterday placed comfort in salvation

the vast presence of a strong man's island mother

hazel vacations
a shattered soldier

trembling girls in sorry gardens, limbs in full bloom

naive humming mirrors

children having mistook living

trees half known

whispered smiles and mattress lullabies

cigarette stories firework insecurities

books begging

floor stopping feeling
"None of this makes sense. What are these words?"
just words. do any of these phrases mean anything to you?
they just might.


this was inspired by the link on my hellopoetry profile that lists all of the words I've used in my poems, and I just skimmed and found different jumblings of words that sounded aesthetically pleasing, and then realized that they were totally random, however to some people each phrase may mean a different thing, or spark a specific memory, or catch their attention, and I think that makes words so powerful.
so give it a go.
When I was a child, Monday was ‘Wash Day’.  Not Laundry Day - that was fancy talk. In our house, it was wash day.
On the back porch of our tiny house in a little town in Washington State, was a wringer washing machine. That’s not a brand name, it describes the two rubber rollers that squeeze water out of clothes fed between them when turning.  In the back yard was a weathered wooden bench, turned gray with age and water.  Stored in the garage out beyond that were two big galvanized tubs, one round and one square, with handles on the sides.  This was the necessary equipment to do the washing.

On Mondays, the wash machine came in first.  It was positioned in the center of the little kitchen’s linoleum floor and filled with very hot water from the kitchen sink via a rubber hose that fitted over the hot water faucet.  

Next came the heavy wooden bench, placed between the wash machine and the sink.  Both of the wash tubs were brought in and placed on it and also filled with hot water from the sink.

Into the water in the square tub, Mom swirled Mrs Stewarts bluing, until the water was bluer than the sky.  This helped make the white things whiter and colors brighter.  
Into the round tub went Purex bleach, enough to scent the water and your hands.

Then came the first load of clothes.  With three kids who played outside all day, the pile was big. A measure of White King laundry soap let the clothes be agitated in hot soapy water for 15 minutes.  Then the wringer that topped the electric washing machine would be swiveled to the round tub and the clothes dipped out of the hot water with tongs and fed through it into the bleach water.  clothes with grass stains would get a session on the good old fashioned wash board; scrubbed up and down across those galvanized ridges with Fels Naptha bar soap.  The toughest stains soon gave way, and that item joined the others in the bleach water.

After all the clothes were in the bleach water, the next load went into the wash machine.  After another 15 minutes, the wringer would swivel and the clothes in the bleach would be fed through the wringer into the bluing.

Then with another swivel of the wringer, the clothes in the wash machine would be fed into the bleach, and another load of ***** clothes started their journey.

All the tubs were full now and it became an assembly line.
When the next 15 min were up, the line went in reverse and the wringer swiveled back and forth as needed.  The clothes in the bluing went through the wringer into a large oval wicker basket with handles on each end, ready to be hung with clothes pins on the lines out in the back yard.

The clothes in the bleach went into the bluing and the clothes in the wash machine went into the bleach. Then the washer was loaded again and the process began anew.
This process took most of the day, with the only breaks occurring while the washer did its thing and the two tubs soaked.

Mom used a metal dish pan to make a solution of Argo Starch and water. Things that needed body went into that for a quick dip before being hung up outside, where they became somewhat stiff as they dried.  They would need to be sprinkled with warm water and rolled up to dampen evenly before ironing. Most things washed in those days before Perm Press would need to be ironed.

The clotheslines were thin wire cable, strung up in the back yard.  One set of four lines were attached to the crossbars of 2 sturdy metal poles, sunk into the ground by the Rhubarb bushes and the hen house (we raised a few chickens) and the other two lines ran from the back porch to the garage wall. Before using them, Mom would wrap a damp rag around the wire and wipe each one from one end to the other to be sure they were clean.

Clothes would then be hung up with spring-type wooden clothes pins, taken from a home made cloth bag sewn over a wire coat hanger, so it could hang on the clothesline and slide along as the clothes were being hung up. There was a certain skill in knowing which clothes hung right-side-up and which went upside-down, as there was no fabric softener in those days and clothes tended to take the shape they hung in.

When all the clothes were hung up, the rubber hose was used in reverse to empty the two tubs and the wash machine into the sink. Then the tubs and bench were taken back to their spots in the garage and the wash machine rolled back onto the back porch.  When everything was put away, the wet kitchen floor was mopped dry with a rag mop.

All the neighbors said Mom hung out the cleanest, whitest wash on the block. She was proud of that, though she’d never admit it.

By dusk, it was time to bring all the clothes back in to the house. Sheets and towels were folded and put into dresser drawers. There was no such thing as a linen closet.  Pillow cases would later be ironed, but in my family sheets never were.  Since perm press didn’t exist yet, the cotton got a bit of a rough feel to it from the wind.  I loved crawling in between those rough sheets that smelled of the sun and wind.  Over them were 2 quilts.  One made by my Grandma and  the other by my Mom.  They weren’t showpiece designs, just  functional and warm with designs that used up bits of fabric left over from past sewing projects.

Towels were also a bit rough and got us dry and massaged at the same time

Living in Southwest Washington, legendary for it rainfall and drizzle, there was many a washday when it was all-hands-on-deck to race out and grab things off the lines as the rain began to fall.  On those days lines were attached to built-in hooks back and froth across the kitchen and things were re-hung there. There was also a folding wooden rack that went into the Front Room, which is what we called the Living Room  On those rainy days you threaded your way through rows of damp clothes to get to the sink to get a drink of water. No bottled water in those days, but our little town had very good tasting tap water.

Mom’s hands were always red and shiny by the end of the day from reaching into the various waters to fish things out to put through the wringer into the next tub.  Everything washed went through that wringer 3 different times.

There was a whole mystique about starched clothing. With no Permanent-Press in the 40’s, and the only way to make a cotton shirt or dress look smart was to starch it.  There was skill in knowing the ratio of starch powder to water so the clothes didn’t come out limp when dry or stiff as a board.

Starched clothing needed to be dampened first in order to iron properly.  It was called “sprinkling” the clothes.  A commonly used sprinkler was a tall soda bottle with a cork-stemmed metal cap with holes in it.  You could buy the sprinkler caps at the dime store. This is what Mom used.  

We kids were fascinated by the neighbor who took a mouthful of water, pursed her lips and created a misty spray onto the clothes.  We practiced it but we never figured out how she did  it. Another just dipped her hand into a bowl of water and shook it over the clothes. Pump spray bottles were years away back then. Sprinkled clothes were usually rolled up and left a while to dampen evenly. There was excitement when word got around that rolling up the sprinkled clothes and putting them in the refrigerator for an hour or two produced more even dampening, and you didn’t have to leave them overnight or risk forgetting and finding things dried into a hard ball the next day.

Even more exciting was the advent of the steam iron, which revolutionized the chore.  As a kid I used to earn dimes and nickels for ironing hankies (remember handkerchiefs?) and pillowcases for a neighbor. Kleenex didn’t totally replace cloth handkerchiefs until well into the 1950s. I still enjoy ironing today and hate the wrinkled look currently in fashion. I also have a stack of lace trimmed hankies that are now considered vintage.

I still have a soda bottle sprinkler, a clothespin bag on a hanger full of clothespins.  I also have an unopened bottle of Mrs. Wright’s Bluing, which hasn’t been on the market in years.   It reminds me of other times and other places and  how I would love to slip between those sweet smelling, wind-blown sheets one more time.
ljm
This is way too long and not really poetry, but I wrote it for a class and had no place else to put it.  Thank you for your forbearance if you read it all.
Glenn Currier Apr 2023
One of its legs was broken
right atop the spring’s coil
the edges of the old wood
rounded and stained from rain
and oils of veined hands
hands of lovers who chose to toil
for a month of years
for their sweaty families
in from fields and factories.

This fallen veteran of wars
its leg broken in battles with the wind
and the weight of wet sheets
battles for dignity and respect
walking tall in clean clothes
to Sunday church.

Church where the broken are joined
bound to brothers and sisters
in union with their God
hanging together on the silver spring of faith
and their resplendent love.
rohini singal Sep 2016
I am made of memories
Like photographs stuck on a string
With clothespin
I am a series of thoughts
One commencing from the tail-end of another
Like a giant ouroboros
I am a web of consciousness
Ensnaring, seducing
into the deepest darkest pit
Of an entangled existence
Wires crossed over
Synapses misfiring
I am made of half baked theories
And pieces of knowledge
A flawed perception
Of an equally flawed world
Graff1980 Jun 2015
Meet me down by the old creek bed
The scary rotting ligneous bridge
Rusted metal and wood warping
Dropping a man into the muddy bottom

A clothespin and a playing card
A cereal box robot reflector
Dusty road that’s gravel sharp
Bled my knees and bent my bicycle wheel

I swung on the old vine tree
Playing out my Neverland fantasies
One lost boy no fairies in sight
No mermaid kisses or decent Pirate fights

White wooden saw horse
Played Battlecat to my He-man
A cracked wooden board on
A frayed twisting rope

Peppered grey house with old trimming
This is where I found my beginnings
Old man dead now the woman’s gone to
Pretty soon I’ll forget all I knew

Two miles down there’s a dead man’s farm
Row after row of white tombstone
Faded glittering grey monuments
That is where I will meet my end
Lexie Jul 2019
Scent of your sins
Woven in threads
Of my sweater
We unravel
Sometimes
Line dry, to high
Fallen to earth
Clothespin regret
Beyond simple days
Soap and water
Baptize me
Cleansing
Smell of sage
These are the days
We paint them red
Line dry, mile high
Scent of sins
It begins
campo Jan 2021
twenty one weeks
that's what it took for an acknowledgement
another 42
almost 43
to realize what you meant all along could have been the very thing i want-
now.
whether my overthinking becomes true or not
is not up to me
but the realization that came from your sunlight smile two hundred and ninety nine days later amuses me
why so long,
why so evil,
why so long,
why so painful.
i had to wait two hundred and ninety nine days to realize that-
now.
now.
now, i see the rotation of a sunflower bathing in the sun as it fades from our existence.
but this sun only fades for one night and it returns once more.
but you.
you had to wait twenty one weeks for an acknowledgement.
when that was enough then you had to wait another two hundred and ninety nine days for-
now.
for now you know what i have to you, and i know what i have done to you.
while you deal me great pain-
now.
i dealt you great pain-
before.
the clash.
the past.
the present.
but the future is what holds-
now.
the future is what contain the very essence of our actions-
now.
we build future based on tomorrow,
but what we do now builds our future.
when the now does not receive the acknowledgment it deserves we let it fade like a t shirt that was left on a clothespin, swaying with the wind and getting beat down by the rays from the sun itself.
you, you are my sun and i am your sunflower, but what i failed to realize then has come back to haunt me-
now.
i'm sorry. now it's too late.
sandra wyllie Sep 2020
than a shoestring. And tighter
than a clothespin. It’s distant
as the galaxies. And real as
make-believe. It’s elusive

as a butterfly. It landed on me
once. But I blinked and missed
it. And the crumbs it left swept
up by dancing in the wind. But it tinged

me with marigold. So, I’m
I'm bright. But I’m not too
old. I move too fast for it to sit. I’ll lay
still on the next visit.
Chia Amisola Aug 2016
i. age with every word. they always say that freedom
will come and your worries rush away in brinks and
moments but age has only brought me apathy, distance
and isolation. i am more familiar with the burning, effervescent
sun and the inner workings of its core than i am with the
gentle light that they preach of. age has made me cruel,
and forgotten meanings of kindness.
ii. i always mistake my house -- its a consistent pattern.
backseat blurs, headnod turns. ministop flashing light,
grey grotto trove, pastel houses fading to parking lot
handicapped spaces. ill lose it in time.
iii. sick of writing songs for you to slit your wrists to
iv. she calls me this number over and over,
126 cannot be sad. 126 is the most auspicious one
in the program. 126 is a soldier. 126 is another one.
instead of telling me about the world she asks if
i had ever tried hooking clothespin sheets.
v. afraid of the music and things i whisper on the
way to the end.
vi. i swear baby, only my narcissism can transcend
this ever-indulgent, self-loathing bale of blame.
ego taught me how to fight in a world of belief.
vii. promise me that you will listen when the
music starts to fade, when the water turnstile clogs
and the school speaker serenades the halls.
viii. all my wants could have been all was.
ix.we are less than we think.
x. everything i had ever loved had taught me how to die.
constant - ine, somewhere in un-italy

— The End —