Just hanging out
Getting ready for work
Maybe I’m too happy to be a poet
Maybe I’m too pretty to be good
Rub some lotion on my hands
Pick my teeth
Don’t use a comb
Life is sweet

7/22/09

i comb my hair
with my fingers
because honestly,
who am i
trying to impress?

let the free wind comb your dark hair with  the  inquiring eye  watch the  Nile flow slowly in the mind take my reaching hand and walk through the green swaying grass let the warmth of beating sun warm city skin stare into the mirror of standing truth and know beauty as Nations come forth from your ***** do not flee the hurricane of unchecked hate for we will face it together under skies of unmoving blue

Do you remember the sweetness long ago
The sweet sweet Ambrosia that used to flow
Way back in the beginning, in the very early years of your life
Sweeter than the sweetest Honey off the comb
That used radiate like living colours inside of you
That used fill your mind and all your senses
Giving you a huge natural high
Leaving you in awe and in Wonderland.
Can you remember...can you remember back that far ?

Do you remember your parents trying to coax you to eat
Your carrots and your greens, saying
"Eat up now, they'll make you big and strong"
And do you remember you resisting, thinking
"I don't want to eat this stuff, it has no taste, it's like eating cardboard"
There was only one thing the very young child wanted to eat
Yeah! Sugar and other sugary things, sweets, chocolate and ice cream...
Anything to remind him of that sweet Ambrosia inside
Of that wondrous world within, where he came from.

Do you remember being out all day playing
And then being called in for your dinner
And how you felt - Dinner, huh! it was nothing but a tiresome chore
You felt you didn't even need it
That you could easily do without it
That you had something else inside that was worth much much more.

A lady I knew died, she used feel very empty inside
She used eat sugary things all the time
But sadly she learned to her cost
The sugar of this world is no Ambrosia.

don't speak, even if spoken to
2. don't listen or attempt to empathize
3. don't comb your hair
4. don't shave
5. don't give your time to past lovers
6. turn off your computer and phone
7. tell your mother you aren't coming home
8. blow up your bridges
9. forget your name and friends as they were as synthetic as television sets.
10. and never ever smile

the weepies and worrieds will tell you there is a bible.
there is comfort in god.
and all you think is,
yeah, i already tried that scene.

the relatives and the rationals will tell you life is only as good as you make it.
perhaps when you fake it.

the lustful and the clinging ex-lovers will tell you they have seen beauty in you,
remind them of damage done.

go on solo strolls.
read poetry that
deals solely with
fire and brimstone.
and never ever smile.

and you will be just as satisfied with your plight,
as this vapor,
who already took his flight.

Just past dawn
She toddles out in
A flour-sack apron,
A hatchet in her
Pocket.

Beside the upright
Log, its bark aging,
Leans a potato sack
With one white
Cackling hen inside.

The woman is all
Business, this job
Nothing new,
Dinner comes soon.

The log is capped
With two rusty nails
About 2 inches apart.

The hen continues
Her song, ignorant
Of her fate.

The woman grabs
The hen in her left
Hand, the hachet
In her pocket.

With deft attention,
The woman places
The hen’s neck between
The nails.

The cackling becomes
A maniacal squawk,
But no one is there
To grieve.

One quick stroke
Is all it takes, and
The hen’s head is
On the ground.

The stump is full
Of blood, and the
Proverbial body
Is running around,
Minus the squawk.

The woman grabs
The hen and shoves
Her back into the
Potato sack, minus
Its head.

The task is done,
Five minutes max.

Time to take her
To the kitchen for
The plucking of
Feathers and the
Saving of edible
Internal organs.

The woman and her
Hen are ready for
The family’s Sunday
Dinner, only hours
Away.

The hen’s head
Rests outside, its
Comb, beak and
Wattle the worse
For wear.

The woman sings,
Rehearsing:
Komm, Herr Jesu,
Sei unser Gast….


© Lewis Bosworth, 2016

I’m chilling and doing homework tonight. Leaning into it.

Last night one of our suitemates (Julia) turned 21 - she’s barable. Not that we get carded anywhere - I’ve never had trouble getting into clubs or ordering drinks - I mean never have I ever.

She had her birthday party at a place called Mory’s, in New Haven, which is very Yale themed. We ate dinner in the “captain’s room,” where every picture on the wall is a Yale team captain of some sort. They even have a whiffenpoof plaque. It’s so Yale-core it’s funny.

Have you ever heard of a drink called a “Singapore Sling?” Me neither, until last night. Then, somehow, there were undrinkable oceans of it. I had six of them, sitting at a bar and I felt nothing. Then I stood up and my bones seemed to liquify. Leong and Anna reeled me in.

I was hangin this morning though, I mean rocky-socks drunkover. My senses seemed sharper, my optical nerves dialed up all the way. The air seemed bright and I swear I could’ve heard the sun burning if people would’ve just stopped all that annoying breathing.

I had a biochemistry quiz at 9am and I can’t wait to see how I did. Later, at breakfast (I had a piece of toast), Peter felt free to offer his sensible, 26-year-old, bropinion. I said, “You’re so wise,” as I steel-eyed him, “I-guess-you-never.”

By the afternoon I was back on my toes. Almost every night my roommates and I sit around a low table in the common room of our suite, crossed legged, on cushions and do our homework. It’s less claustrophobic than sitting in our rooms alone and we usually have some music on, lowkey, in the background.
We’d just heard “Love Story,” by Taylor Swift.

“I like songs that make love sound easy.” I stated.
“Oh, because it IS easy,” Anna says sarcastically, “grab yourself a physicist and make a TikTok song.”

“Hey! I’ve got a beef with TikTok artists, I said. “At first, they release these stripped down, intimate, acoustic songs that feel personal, and then, if a song hits, they put out a new version that’s totally overproduced.”
“Right.” Leong agreed.  
“Oh, yeah,” Sophie said, putting her hair back out of her face with a comb, “and some artists' voices are suited to simple accompaniment and the newer versions just don’t hit as hard.”

“I think Phoebe Bridgers is an example of production done right.” Anna said. “Her material continues to sound intimate and stripped down even though it’s no longer just her and a guitar,”

“On Tiktok,” Lisa adds, “when a new song works, I feel a connection, like it could be me recording a song with my guitar - so, I support them.”

“Don’t get me wrong,” I updogged, “there’s a place for overproduction but sometimes the instruments don’t even sound real, like when they go all out electronic - then they lose me.”

“The big-music might drown-out the artistry we liked,” Anna opined, “but maybe that’s how they heard it, as songwriters, in their imagination, but they couldn’t afford it - the new version rectifies it.”

Today you left memories in our minds and love in our hearts,
in fact, looking around the room that's only the start.
You left behind grandkids, sons, close friends, and a wife,
who is probably the reason you made it this long in life.

Today you left behind houses that families call home,
and plenty of pictures reminding us how you never needed a comb.
You left tearful prayers on Christmas Day, hearty chuckles and grins,
You, the trunk of the tree where all these branches begin

Today you left and that's ok, we know you had to go,
to fulfill God's plan that we can only wish to know.
I may know the burglar, but it still feels like theft.
I guess you were a guest in this world, and today you left.

Thank you for teaching these hands of mine to try,
and fix, and care, and build, and now wave goodbye.
Of all the lessons you taught me, this one hurts to know  
Sometimes your favorite people at a party still have to go.

That day, woke up,  stood, stumbled,
There was blood

This day, took a trip, the rain came,
Stuck in mud

A day in March,  bank man came,
Took my home

A day in April, bad hair day,
Lost my comb

I drank too much, on day in  May
The next day,
paid the price

Was in the dark, on day in June,
Electric off,
Not so nice

A year from hell? I guess,
... But not

The Lessons learned, learned well
Have not forgot

Oh, those winding curves and me with no brakes.
Oh, those long legs and me with no reaching arms.
Oh, those pearly whites and me with no available floss.
Oh, those voluptuous locks and me with no comb.
Oh, those big revealing eyes and me with just a windowless soul.
Oh, those velvet hands and me with not even cotton fingers.
Oh, that woman of absolute perfection and me with no way to contain her.

Self containing vessles, not a few,
were gathered to be filled from one
small cruse of golden oil, pure as time.

Invitations echo, "Come ye, buy from me,
without money, without cost." Freedom from

cultural constraints, traditional right privileges,
customary tribute due the mightiest military mind.
----------------------------

Whistling editor of all of us,
in these and other words,
insert myself among
those entering the container
nearest you, be the self most honed.

--------- art's sakes alive,
no jive cat act, you know, this takes all day.

Sinking hope weights our bait,
dropping down to Cod level,
deeper than
our cultural bouyancy, sinking

through time climbing down
an actual ladder that was, that is
rusted to uselessness now, you see,

you fell, I climbed. Missed concepts
can take your breath away.
Sudden wisdom is not cheap thrills.
Same gravity, same air, same words.

We may imagine we form another mind,
we, you and me, combined, a new mind,
we, in an awesome state of knowing access.

Holy days, sanctified by family traditions,
expanding in the age of printing machines,
exploding in the age
of mass media via
psuedo infinite compute.

Science used to fool the foolable, magicians
all agree to be discrete, the enter-dance
is keyed to the most discerning
exercise of image forming,
will you, won't you,
join the dance
thinking seeing is the act of acceptence,
not thinking taking the act in conception.

He does not steal from me, who lights
his smoke from mine.

I arrive late. It is my way. I do use vegetables.
Excuses and excauses, we have in abundance.
When killing the opposition was first response,
we passed through a hisseephit pfft phaze.

The first thing. The Principal Thing. Peace
upon the figurative brow of the frustrated one thing.

The terror of ever being one thing and no thing more;
God's own dread, we may imagine, feels like ours,
boredom becomes insanity and insanity is mortal hell.

Wisdom, offered in doses from ancient runes,
discerned from evil uses of knowledge, actual useable
Wisdom is first sensed peaceable, then gentle, not wild
skittish, gotta be tamed and mastered to be used, no,no, no

First peaceable, no push toward your opposite bias,
no feeling of imbalence down in you guts,
no angry creator jealous of the tempting knowledge.
Forest copious abundance, with know how.
Use of good,
and useless destruction of ancient good sense.
Who lies about you.
Personally, what living hate do you appropriate?

The idea that Christ, that word, holds a preconceived
story hook to a promise, an other word, progressively
pulling the thread through gnosis knots too tight to comb,
so we twist dreads into fashionable cool.

Truth in numbers is easier than truth
in otherwords aligned,

listening to everything, once, in a while.

Understand, when we conserve a westate, you and me,
we are the medium we exist to conceptualize in, within.

When the best combined minds in Mathematics
do agree, rarely, but when that instance of truth,
pops
backed by the Universe in which we live,
and, truly astoundingly, do breathe and have being,
ex nihilo as far as we may know right,
now
we as a whole, the species adapted to the times
we were born to mature through, to this end.



OK, in that curious bubble…
dear reader, this novel event is recorded,
to flashback in the future you need directed

steps, ah, nexts, in time, is one way,
memory is all over the place, but next
is always toward the not known yet.
---------------
Found a four meter San Pedro,
on Craig's list, free, some may say

it is a sign, some message to a shaman
of the original dreamtime rerouted to now.

Some how we affect world peace, taking parts
less likely to effect fame and fortune, fool's roles
local poet
and studio talent anonymity,
aficionados only, olé.

A story genisisatates, blooming possibilities unimagined,
yet, apparently blooming in my neuronic memory,

Barrio Logan, boom, there it is, the real deal

achuma wachuma, calling my curiosity, come see.

You have heard the adage, "what you see Is what you get."

What you believe you get, you get, once you see you got it.

This life, our combined realities, as bubbles in the human foam,
rising on the surface of Earth's dry places… the we we form

can be led to lieve being true, stranger things than oath chains
that turn to torqs and eventually to full Windsor knotted ties.

The collar of the loyal oppostion, turns fashionable,
included in the mindset finding fashion cycles
common since the distinction was made.

Many long times and wars and running aways ago,
we learn to be us, the holders of these truths from them
who begot us in this land.

-----------
Nah, Eve, she was not the culprit, truth be told.

Have a little talk with your Jesus, there in your core,
if you have formed a concept you hold true, Christmas
Peace on Earth, good will toward mankind, good news,
causal inferential essential entity, in a word, a little leaven.

Turn off the music,
stop that constant doing.
Look it in its bloodied teeth:
This broke us.
This was far too much.
We don't know how to be a person after this.
We can't even seem
to comb our hair.

All we have now
are all these pieces.
We kneel in the shards,
and feel the remnants cut,
and wail about our scarred images
and cancelled plans.

We don't know what to do
when we're shattered,
but maybe if we can just
feel this breaking,
without lusting for
the once-****** whole,
we can grow quiet enough
to hear the laughter:

for the neighbor kids
have already begun
stringing our pieces
into bracelets that say Love.

An old man is scattering
our fragments in the park.
People delight
as the pigeons descend.

A salesman peddles our scraps
door to door,  and makes enough
to finally pay the bill
that turns the lights back on.

A tailor makes a sweater
of our mistakes, while a baker
turns our heartbreaks into bread
for a different kind of breaking.

Come to the window,
these new friends call.
See what our brokenness has become.
Our pieces are raining from the sky
and quenching this parched earth.
People are dancing  in the streets.

Close your eyes and listen
to the laughter and the rainfall
of what our pieces teach.

I don't have a clue what to write in this song
the chorus is fine but the words are all wrong
although it's been said that these lines should be read
thought it best if you sung them instead, dear Ed,
drag a comb through your darling bedhead

Well I came home to find you asleep on the couch
and tiptoed around you my big hungry slouch
if I knew you were home I'd a planned something nice
but this chicken's still frozen on ice, anyway
let us pray that you'll take my advice.

Don't say you do when you don't
Ed I'm talking to you honey
Don't say you will when you won't
you know it really isn't funny
Don't say you'll come when you know that you can't
and I won't say a word when you rant
no I shan't, not a whisper from me when you rant!

Last month I told you my car's rather beat
the muffler that's hanging? it dropped in the street
the cops heard me coming and followed me home
on the back of my ticket, your poem- it's a tome
on the lips of my lover is foam

Paint me a picture, I'll pay for your time
Inspire one stanza, I'll write the last line
if you'd bring me some hope for I'm failing to cope
we could spice up our rhythm with rhyme, one more time
give me something worth more than a dime

Don't say you do when you don't
Ed, I'm talking to you honey
Don't say you will when you won't
you know it really isn't funny
Don't say you'll come when you know that you can't
and I won't say a word when you rant
no I shan't, not a whisper from me when you rant

Ha!
Just hitched my pants
Above the waistline;
Added a tight notch.
What's to become of me.
Should I consider
Knee-high socks,
With Bermuda shorts
To match
My peppered stubble.
Perhaps man-scaping
And Botox,
A ****** moustache
And comb-over,
Or live life
Like Benjamin Button.

On December the tenth day
When it was night, down I lay
Right there as I was wont to do
And fell asleep wondrous soon,
As he that weary was as who
On pilgrimage went miles two
To the shrine of Saint Leonard,
To make easy what was hard.
But as I slept, I dreamed I was
Within a temple made of glass
In which there were more images
Of gold, tiered in sundry stages,
And more rich tabernacles,
And with more gemmed pinnacles,
And more curious portraiture,
And intricate kinds of figure
Of craftsmanship than ever I saw.
For certainly, I knew no more
Of where I was, but plain to see
Venus owned most certainly
That temple, for in portraiture
I at once saw her figure
Naked, floating in the sea.
And also on her head, indeed,
Her rose garland white and red,
And her comb to comb her head,
Her doves, and her blind son
Lord Cupid, and then Vulcan,
Whose face was swarthy brown.
And as I roamed up and down,
I saw that on a wall there was
Thus written on a piece of brass:
‘I will now sing, if that I can,
The arms, and also the man
Who first, pursuing destiny,
Fugitive from Troy’s country,
To Italy, with pain, did come,
To the shores of Lavinium.’
And then begin the tale at once,
That I shall tell to you each one.
First I saw the destruction
Of Troy, through the Greek Sinon,
Who with his false forswearing
And his outward show and lying,
Had the horse brought into Troy
By which the Trojans lost their joy,
And after this was engraved, alas,
How Ilium assailed was
And won, and King Priam slain,
And Polytes his son, for certain,
Cruelly by Lord Pyrrhus.
And next to this, I saw how Venus
When that she saw the castle’s end,
Down from the heavens did descend
And urged her son Aeneas to flee;
And how he fled, and how that he
Escaped from all the cruelties,
And took his father Anchises
And bore him on his back away,
Crying, ‘Alas!’ and ‘Well-away!’
That same Anchises, in his hand,
Bore the gods of the land,
Those that were not burnt wholly.
And I saw next, in this company,
How Creusa, Lord Aeneas’ wife,
Whom he loved as he did his life,
And their young son Julus,
Also called Ascanius,
Fled too, and fearful did appear,
That it was a pity them to hear;
And through a forest as they went,
At a place where the way bent,
How Creusa was lost, alas,
And died, I know not how it was:
How he sought her and how her ghost
Urged him to flee the Greek host,
And said he must go to Italy,
Without fail, it was his destiny;
That it was a pity thus to hear,
When her spirit did appear,
The words that to him she said:
Let him protect their son she prayed.
There saw I graven too how he,
His father also, and company,
In his fleet took sail swiftly
Towards the land of Italy,
As directly as they could go.
There I saw you, cruel Juno,
That is Lord Jupiter’s wife,
Who did hate, all their life,
All those of Trojan blood,
Run and shout, as if gone mad,
To ******, the god of winds,
To blow about, all their kinds,
So fierce, that he might drench
Lord and lady, groom and *****,
Of all the Trojan nation
Without hope of salvation.
There saw I such a tempest rise
That every heart might hear the cries
Of those but painted on the wall.
There saw I graven there withal,
Venus, how you, my lady dear,
Weeping with great loss of cheer,
Prayed to Jupiter on high
To save and keep the fleet alive
Of the Trojan Aeneas,
Since that he her son was.
There saw I Jove Venus kiss,
And grant that the tempest cease.
Then saw I how the tempest went,
And how painfully Aeneas bent
His secret course, to reach the bay
In the country of Carthage;
And on the morrow, how that he
And a knight called Achates
Met with Venus on that day,
Going in her bright array
As if she was a huntress,
The breeze blowing every tress;
How Aeneas did complain,
When he saw her, of his pain,
And how his ships shattered were,
Or else lost, he knew not where;
How she comforted him so
And bade him to Carthage go,
And there he should his folk find
That on the sea were left behind.
And, swiftly through this to pace,
She made Aeneas know such grace
Of Dido, queen of that country,
That, briefly to tell it, she
Became his love and let him do
All that belongs to marriage true.
Why should I use more constraint,
Or seek my words to paint,
In speaking of love? It shall not be;
I know no such facility.
And then to tell the manner
Of how they met each other,
Were a process long to tell,
And over-long on it to dwell.
There was graved how Aeneas
Told Dido everything that was
Involved in his escape by sea.
And after graved was how she
Made of him swiftly, at a word,
Her life, her love, her joy, her lord,
And did him all the reverence
Eased him of all the expense
That any woman could so do,
Believing everything was true
He swore to her, and thereby deemed
That he was good, for such he seemed.
Alas, what harm wreaks appearance
When it hides a false existence!
For he to her a traitor was,
Wherefore she slew herself, alas!
Lo, how a woman goes amiss
In loving him that unknown is,
For, by Christ, lo, thus it fares:
All is not gold that glitters there.
For, as I hope to keep my head,
There may under charm instead
Be hidden many a rotten vice;
Therefore let none be so nice
As to judge a love by how he appear
Or by speech, or by friendly manner;
For this shall every woman find:
That some men are of that kind
That show outwardly their fairest,
Till they have got what they miss.
And then they will reasons find
Swearing how she is unkind,
Or false, or secret lover has.
All this say I of Aeneas
And Dido, so soon obsessed,
Who loved too swiftly her guest;
Therefore I will quote a proverb,
That ‘he who fully knows the herb
May safely set it to his eye’;
Certainly, that is no lie.
But let us speak of Aeneas,
How he betrayed her, alas,
And left her full unkindly.
So when she saw all utterly
That he would fail in loyalty
And go from her to Italy,
She began to wring her hands so.
‘Alas,’ quoth she, ‘here is my woe!
Alas, is every man untrue,
Who every year desires a new,
If his love should so long endure,
Or else three, peradventure?
As thus: from one love he’d win fame
In magnifying of his name,
Another’s for friendship, says he;
And yet there shall a third love be,
Who shall be taken for pleasure,
Lo, or his own profit’s measure.’
In such words she did complain,
Dido, in her great pain
As I dreamed it, for certain,
No other author do I claim.
‘Alas!’ quoth she, ‘my sweet heart,
Have pity on my sorrow’s smart,
And slay me not! Go not away!
O woeful Dido, well-away!’
Quoth she to herself so.
‘O Aeneas, what will you do?
O, now neither love nor bond
You swore me with your right hand,
Nor my cruel death,’ quoth she,
‘May hold you here still with me!
O, on my death have pity!
Truly, my dear heart, truly,
You know full well that never yet,
Insofar as I had wit,
Have I wronged you in thought or deed.
Oh, are you men so skilled indeed
At speeches, yet never a grain of truth?
Alas, that ever showed ruth
Any woman for any man!
Now I see how to tell it, and can,
We wretched women have no art;
For, certainly, for the most part
Thus are we served every one.
However sorely you men groan,
As soon as we have you received
Certain we are to be deceived;
For, though your love last a season,
Wait upon the conclusion,
And look what you determine,
And for the most part decide on.
O, well-away that I was born!
For through you my name is gone
And all my actions told and sung,
Through all this land, on every tongue.
O wicked Fame, of all amiss
Nothing’s so swift, lo, as she is!
O, all will be known that exists
Though it be hidden by the mist.
And though I might live forever,
What I’ve done I’ll save never
From it always being said, alas,
I was dishonoured by Aeneas
And thus I shall judged be:
‘Lo, what she has done, now she
Will do again, assuredly’;
Thus people say all privately.
But what’s done cannot be undone.
And all her complaint, all her moan,
Avails her surely not a straw.
And when she then truly saw
That he unto his ships was gone,
She to her chamber went anon,
And called on her sister Anna,
And began to complain to her,
And said that she the cause was
That made her first love him, alas,
And had counselled her thereto.
But yet, when this was spoken too,
She stabbed herself to the heart,
And died of the wound’s art.
But of the manner of how she died,
And all the words said and replied,
Whoso to know that does purpose,
Read Virgil in the Aeneid, thus,
Or Heroides of Ovid try
To read what she wrote ere she died;
And were it not too long to indite,
By God, here I would it write.
But, well-away, the harm, the ruth
That has occurred through such untruth,
As men may oft in books read,
And see it everyday in deed,
That mere thinking of it pains.
Lo, Demophon, Duke of Athens,
How he forswore himself full falsely
And betrayed Phyllis wickedly,
The daughter of the King of Thrace,
And falsely failed of time and place;
And when she knew his falsity,
She hung herself by the neck indeed,
For he had proved of such untruth,
Lo, was this not woe and ruth?
And lo, how false and reckless see
Was Achilles to Briseis,
And Paris to Oenone;
And Jason to Hypsipyle;
And Jason later to Medea;
And Hercules to Deianira;
For he left her for Iole,
Which led to his death, I see.
How false, also, was Theseus,
Who, as the story tells it us,
Betrayed poor Ariadne;
The devil keep his soul company!
For had he laughed, had he loured,
He would have been quite devoured,
If Ariadne had not chanced to be!
And because she on him took pity,
She from death helped him escape,
And he played her full false a jape;
For after this, in a little while,
He left her sleeping on an isle,
Deserted, lonely, far in the sea,
And stole away, and let her be,
Yet took her sister Phaedra though
With him, and on board ship did go.
And yet he had sworn to her
By all that ever he might swear,
That if she helped to save his life,
He would take her to be his wife,
For she desired nothing else,
In truth, as the book so tells.
Yet, to excuse Aeneas
Partly for his great trespass,
The book says, truly, Mercury,
Bade him go into Italy,
And leave Africa’s renown
And Dido and her fair town.
Then saw I graved how to Italy
Lord Aeneas sailed all swiftly,
And how a tempest then began
And how he lost his steersman,
The steering-oar did suddenly
Drag him overboard in his sleep.
And also I saw how the Sibyl
And Aeneas, beside an isle,
Went to Hell, for to see
His father, noble Anchises.
How he there found Palinurus
And Dido, and Deiphebus;
And all the punishments of Hell
He saw, which are long to tell.
The which whoever wants to know,
He’ll find in verses, many a row,
In Virgil or in Claudian
Or Dante, who best tell it can.
Then I saw graved the entry
That Aeneas made to Italy,
And with Latinus his treaty,
And all the battles that he
Was in himself, and his knights,
Before he had won his rights;
And how he took Turnus’ life
And won Lavinia as his wife,
And all the omens wonderful
Of the gods celestial;
How despite Juno, Aeneas,
For all her tricks, brought to pass
The end of his adventure
Protected thus by Jupiter
At the request of Venus,
Whom I pray to ever save us
And make for us our sorrows light.
When I had seen all this sight
In the noble temple thus,
‘Oh Lord,’ thought I, ‘who made us,
I never yet saw such nobleness
In statuary, nor such richness
As I see graven in this church;
I know not who made these works,
Nor where I am, nor in what country.
But now I will go out and see,
At the small gate there, if I can
Find anywhere a living man
Who can tell me where I am.’
When I out of the door ran,
I looked around me eagerly;
There I saw naught but a large field,
As far as I could see,
Without town or house or tree,
Or bush or grass or ploughed land;
For all the field was only sand,
As fine-ground as with the eye
In Libyan desert’s seen to lie;
Nor any manner of creature
That is formed by Nature
Saw I, to advise me, in this,
‘O Christ,’ I thought, ‘who art in bliss,
From phantoms and from illusion
Save me!’ and with devotion
My eyes to the heavens I cast.
Then was I aware, at the last,
That, close to the sun, as high
As I might discern with my eye,
Me thought I saw an eagle soar,
Though its size seemed more
Than any eagle I had seen.
Yet, sure as death, all its sheen
Was of gold, it shone so bright
That never men saw such a sight,
Unless the heavens above had won,
All new of gold, another sun;
So shone the eagle’s feathers bright,
And downward it started to alight.

There’s a man been hung at the old crossroads
In the village of Little Deeping,
And in his pockets a couple of toads
That were there when they caught him, creeping,
They bound his arms and they hung him high
On the bough of a mystic rowan,
And filled his stuttering mouth with straw
To quell the spell of his going.

The village is set in a mystery
That was old when the world was growing,
Three thousand years of its history
Is lost to the world, unknowing,
The valley’s not in the land of them
Who are yet to stumble upon it,
For men live now as they once lived then
With their wives in a primrose bonnet.

And superstition is rife down there
In the village of Little Deeping,
Where women never reveal their hair
With men in the meadow, reaping,
They take their water deep from a well
And light each cottage with lamplight,
Using a primitive type of oil
That seeps from the soil, in moonlight.

Their brides leap over a witches broom
When the harvest grain is swelling,
Under the beams of a crescent moon
With a bonfire near their dwelling,
They change their partners every year
If their bellies haven’t swollen,
Or hang their charms up over the door
So their offspring won’t be stolen.

They live their lives by the Druid gods
Who would bring about the seasons,
And never question the rights and wrongs
For nature has its reasons,
Their days began at the break of dawn
To the sound of the cockerel crowing,
An ancient bird with its comb and spurs
That would bring the sun up, showing.

But Tam Eilann was a surly man
Who would often lie in, sleeping,
Dreaming away the early day
While the rest were out there, reaping,
He hated hearing the cockerel crow
As it bid the sun, its rising,
When he said, ‘that cockerel has to go,’
He was more than just surmising.

One autumn night, he snuffed his light
Went out in the darkness, creeping,
And caught the only cockerel left
In the village of Little Deeping,
His knife flashed once in the cold moonlight
And left the cockerel dying,
His neighbours hurried to see the sight
Of their only cockerel, lying.

‘You’ve shamed the gods and must pay the odds,’
They said as they bound him, crying,
Then hung him high on the rowan tree
And cursed, as they watched him dying.
The cattle low in the byre still
And the bees, they stay in the hive,
For there’s not been a single sunrise there
Since the day the cockerel died.

David Lewis Paget

Annalisa, you have forgotten me
And left me with a shred of hope and dignity
For years, I had to fend for my own
I've had to feed myself and clean my hair with a comb
I will always come back to you but I don't know when
Because I always have constant demons to defend
I cherish the moments in vivid Technicolor
I get weak to my knees and barely speak to one other
You told me a lot of useful things that I will use in my later career
If I go down that destined road, things will be all clear

When Zuo Fen woke day was well advanced into the Horse hour. In her darkened room a frame of the brightest light pulsed around the shuttered window. A breeze of scents from her herb garden brought sage, motherwort and lovage to cleanse the confined air, what remained of his visit, those rare aromatic oils from a body freed from its robes. Turning her head into the pillow that odour of him embraced her once more as in the deepest and most prolonged kiss , when with no space to breathe passion displaces reason in the mind.
 
The goat cart had brought him silently to her court in the Tiger hour, as was his custom in these summer days when, tired of his women’s attention, he seeks her company. In the vestibule her maid leaves a bowl of fresh water scented with lemon juice, a towel, her late uncle’s comb, a salve for his hands. Without removing his shoes, an Emperor’s privilege, he enters her study pausing momentarily while Xi-Lu removes himself from the exalted presence, his long tail *****, his walk provocative, dismissive. Zuo Fen is at her desk, brush in hand she finishes a copy of  ‘A Rhapsody for my Lord’. She has submitted herself to enter yet again that persona of the young concubine taken from her family to serve that community from which there seems no escape.
 
I was born in a humble, isolated, thatched house,
And was never well-versed in writing.
I never saw the marvellous pictures of books,
Nor had I heard of the classics of ancient sages.
I am dim-witted, humble and ignorant,
But was mistakenly placed in the Purple Palace . . .
 
He loves to hear her read such words, to imagine this fragile girl, and see her life at court described in the poet’s elegant characters. Zuo Fen’s scrolls lie on his second desk. Touching them, as he does frequently, is to touch her, is to feel mystery of her long body with its disregard of the courtly customs of his many, many women; the soft hair on her legs, the deep forest guarding her hidden ***, her peasant feet, her long fingers with their scent of ink and herbs.
 
He kneels beside her, gradually opening his ringed hand wide on her gowned thigh, then closing, then opening. A habit: an affectation. His head is bent in an obeisance he has no need to make, only, as he desires her he does this, so she knows this is so. She is prepared, as always, to act the part, or be this self she has opened to him, in all innocence at first, then in quiet delight that this is so and no more.
 
‘A rhapsody for me perhaps?’
‘What does Liu Xie say? The rhapsody is a fork in the road . . .
‘ . . . a different line’, he interrupts and quotes,’ it describes people and objects. It pictures appearance with a brilliance akin to sculpture or painting.’
‘What is clogged and confined it invariably opens. It depicts the commonplace with unbounded charm.’
‘But the goal of the form is beauty well-ordered . . . . as you are, dearest poet.’
‘You spoilt the richness of Lui Xie’s ending . . .’
‘I would rather speak of your beauty than Xie’s talk of gardening.’
‘Weeding is not gardening my Lord.’
 
And with that he summons her to read her rhapsody whilst his hands part her gown . . .
 
Over the years since he took her maidenhead, brusquely, with the impatience of his station, and she, on their second encounter deflowered him in turn with her poem about the pleasure due to woman, they had become as one branch on the same tree. She sought to be, and was, his equal in the prowess of scholastic memory. She had honed such facility with the word: years of training from her father in the palace archives and later in the mind games invented by and played with her brother. Then, as she entered womanhood and feared oblivion in an arranged marriage, she invented the persona of the pale girl, a fiction, who, with great gentleness and poetry, guided the male reader into the secrets of a woman’s ****** pleasure and fulfilment. In disguise, and with her brother’s help, she had sought those outside concubinage - for whom the congress of the male and female is rarely negotiable. She listened and transcribed, then gradually drew the Emperor into a web of new experience to which he readily succumbed, and the like of which he could have hardly imagined. He wished to promote her to the first lady of his Purple Chamber. She declined, insisting he provide her with a court distant from his palace rooms, yet close to the Zu-lin gardens, a place of quiet, meditation and the study of astronomy.
 
But today, this hot summer’s day, she had reckoned to be her birthday. She expected due recognition for one whose days moved closer to that age when a birthday is traditionally and lavishly celebrated. Her maid Mei-Lim would have already prepared the egg dishes associated with this special day. Her brother Zuo-Si may have penned a celebratory ode, and later would visit her with his lute to caress his subtle words of invention.
 
Your green eyes reflect a world apart
Where into silence words are formed dew-like,
Glistening as the sun rises on this precious day.
As a stony spring washes over precious jade,
delicate fishes swim in its depths
dancing to your reflection on the cool surface.
No need of strings, or bamboo instruments
When mountains and waters give forth their pure notes . . .
 
Her lord had left on her desk his own Confucian-led offering, in brushstrokes of his time-stretched hand, but his own hand nevertheless, and then in salutation the flower-like character leh (joy)
 
‘Wheresoever you go, go with all your heart’.
 
Meanwhile Xi-Lu stirred on the coverlet reminding Zuo Fen that the day was advancing and he had received no attention or conversation. It was whispered abroad that this lady spoke with her cat whom each afternoon would accompany his mistress on a walk through the adjacent gardens. It was true, Zuo Fen had taught Xi-Lu to converse in the dialect of her late mother’s province, but that is another story.
 
Lying on her back, eyes firmly shut, Zuo Fen surveyed the past year, a year of her brother’s pilgrimage to the Tai Mountains, his subsequent disappearance at the onset of winter, her Lord’s anger then indulgence as he allowed her to seek Zuo Si’s whereabouts. She thought of her sojourn in Ryzoki, the village of stone, where she discovered the blind servant girl who had revealed not only her brother’s whereabouts but her undying love for this strange, ungainly, uncomfortably ugly man who, with the experience gained from his sister’s persistent research had finally learned to love and be loved in equal measure for his gentle and tender actions. And together, their triumph: in ‘summoning the recluse’, and not one alone but a community of five living harmoniously in caves of the limestone heights. Now returned they had worked in ever secret ways to serve their Emperor in his conflict against the war-lord Tang.
 
She now resolved to take a brief holiday from this espionage, her stroking of the Emperor’s mind and body, and those caring sisterly duties she so readily performed. She would remove herself and her maid to a forest cabin: to lie in the dry mottled grass of summer and listen to the rustle of leaves, the chatter of birds, the sounds of insects and the creak-crack of the forest in the summer heat. She would plan a new chapter in her work as a poet and writer: she would be the pale girl no longer but a woman of strength and confidence made beautiful by good fortune, wise management and a generosity of spirit. She needed to prepare herself for her Lord’s demise, when their joyful hours living the lives of Prince and Lady of Xiang, he with his stallion gathering galingales, she with her dreams of an underwater house, would no longer be. She would study the ways of the old. She would seek to learn how peace and serenity might overcome those afflictions of age and circumstance, and when it is said that love’s chemistry distils pure joy through the intense refinement of memory.

The Original Sin: Rhyming Haiku!

Haiku
should never rhyme:
it’s a crime!
―Michael R. Burch

The herons stand,
sentry-like, at attention ...
rigid observers of some unknown command.
―Michael R. Burch

Late
fall;
all
the golden leaves turn black underfoot:
soot
―Michael R. Burch

Dry leaf flung awry:
bright butterfly,
goodbye!
―Michael R. Burch

A snake in the grass
lies, hissing
"Trespass!"
―Michael R. Burch

Honeysuckle
blesses my knuckle
with affectionate dew
―Michael R. Burch

My nose nuzzles
honeysuckle’s
sweet nothings
―Michael R. Burch

The day’s eyes were blue
until you appeared
and they wept at your beauty.
―Michael R. Burch

The moon in decline
like my lover’s heart
lies far beyond mine
―Michael R. Burch

My mother’s eyes
acknowledging my imperfection:
dejection
―Michael R. Burch

The sun sets
the moon fails to rise
we avoid each other’s eyes
―Michael R. Burch

brief leaf flung awry ~
bright butterfly, goodbye!
―Michael R. Burch

leaf flutters in flight ~
bright, O and endeavoring butterfly,
goodbye!
―Michael R. Burch

The girl with the pallid lips
lipsticks
into something more comfortable
―Michael R. Burch

I am a traveler
going nowhere,
but my how the gawking bystanders stare!
―Michael R. Burch



Here's a poem that's composed of haiku-like stanzas:

Haiku Sequence: The Seasons
by Michael R. Burch

Lift up your head
dandelion,
hear spring roar!

How will you tidy your hair
this near
summer?

Leave to each still night
your lightest affliction,
dandruff.

Soon you will free yourself:
one shake
of your white mane.

Now there are worlds
into which you appear
and disappear

seemingly at will
but invariably blown
wildly, then still.

Gasp at the bright chill
glower
of winter.

Icicles splinter;
sleep still an hour,
till, resurrected in power,

you lift up your head,
dandelion.
Hear spring roar!



Unrhymed Original Haiku and Tanka
by Michael R. Burch

These are original haiku and tanka written by Michael R. Burch, along with haiku-like and tanka-like poems inspired by the forms but not necessarily abiding by all the rules.

Dark-bosomed clouds
pregnant with heavy thunder ...
the water breaks
―Michael R. Burch

one pillow ...
our dreams
merge
―Michael R. Burch



Iffy Coronavirus Haiku

yet another iffy coronavirus haiku #1
by Michael R. Burch

plagued by the Plague
i plague the goldfish
with my verse

yet another iffy coronavirus haiku #2
by Michael R. Burch

sunflowers
hang their heads
embarrassed by their coronas

I wrote this poem after having a sunflower arrangement delivered to my mother, who is in an assisted living center and can’t have visitors due to the coronavirus pandemic. I have been informed the poem breaks haiku rules about personification, etc.

Homework (yet another iffy coronavirus haiku #3)
by Michael R. Burch

Dim bulb overhead,
my silent companion:
still imitating the noonday sun?

New World Order (last in a series and perhaps a species)
by Michael R. Burch

The days of the dandelions dawn ...
soon man will be gone:
fertilizer.



Variations on Fall

Farewells like
falling
leaves,
so many sad goodbyes.
―Michael R. Burch

Falling leaves
brittle hearts
whisper farewells
―Michael R. Burch

Autumn leaves
soft farewells
falling ...
falling ...
falling ...
―Michael R. Burch

Autumn leaves
Fall’s farewells
Whispered goodbyes
―Michael R. Burch



Variations on the Seasons
by Michael R. Burch

Mother earth
prepares her nurseries:
spring greening

The trees become
modest,
coy behind fans



Wobbly fawns
have become the fleetest athletes:
summer



Dry leaves
scuttle like *****:
autumn

*

The sky
shivers:
snowfall

each
translucent flake
lighter than eiderdown

the entire town entombed
but not in gloom,
bedazzled.



Variations on Night

Night,
ice and darkness
conspire against human warmth
―Michael R. Burch

Night and the Stars
conspire against me:
Immensity
―Michael R. Burch

in the ice-cold cathedral
prayer candles ablaze
flicker warmthlessly
―Michael R. Burch



Variations on the Arts
by Michael R. Burch

Paint peeling:
the novel's
novelty wears off ...

The autumn marigold's
former glory:
allegory.

Human arias?
The nightingale frowns, perplexed.
Tone deaf!

Where do cynics
finally retire?
Satire.

All the world’s
a stage
unless it’s a cage.

To write an epigram,
cram.
If you lack wit, scram.

Haiku
should never rhyme:
it’s a crime!

Video
dumped the **** tube
for YouTube.

Anyone
can rap:
just write rhythmic crap!

Variations on Lingerie
by Michael R. Burch

Were you just a delusion?
The black negligee you left
now merest illusion.

The clothesline
quivers,
ripe with unmentionables.

The clothesline quivers:
wind,
or ghosts?



Variations on Love and Wisdom
by Michael R. Burch

Wise old owls
stare myopically at the moon,
hooting as the hart escapes.

Myopic moon-hooting owls
hoot as the hart escapes

The myopic owl,
moon-intent, scowls;
my rabbit heart thunders ...
Peace, wise fowl!



Original Tanka

All the wild energies
of electric youth
captured in the monochromes
of an ancient photobooth
like zigzagging lightning.
―Michael R. Burch

The plums were sweet,
icy and delicious.
To eat them all
was perhaps malicious.
But I vastly prefer your kisses!
―Michael R. Burch

A child waving ...
The train groans slowly away ...
Loneliness ...
Somewhere in the distance gusts
scatter the stray unharvested hay ...
―Michael R. Burch

How vaguely I knew you
however I held you close ...
your heart’s muffled thunder,
your breath the wind―
rising and dying.
―Michael R. Burch



Miscellanea

Childless
by Michael R. Burch

How can she bear her grief?
Mightier than Atlas, she shoulders the weight
of one fallen star.

sheer green stockings
queer green beer
St. Patrick's Day!
―Michael R. Burch

cicadas chirping everywhere
singing to beat the band―
surround sound
―Michael R. Burch

Regal, upright,
clad in royal purple:
Zinnia
―Michael R. Burch

Love is a surreal sweetness
in a world where trampled grapes
become wine.
―Michael R. Burch

although meant for market
a pail full of strawberries
invites indulgence
―Michael R. Burch

late November;
skeptics scoff
but the geese no longer migrate
―Michael R. Burch

as the butterfly hunts nectar
the generous iris
continues to bloom
―Michael R. Burch



Haiku Translations of the Oriental Masters

Grasses wilt:
the braking locomotive
grinds to a halt
― Yamaguchi Seishi, loose translation by Michael R. Burch

Oh, fallen camellias,
if I were you,
I'd leap into the torrent!
― Takaha Shugyo, loose translation by Michael R. Burch

The first soft snow:
leaves of the awed jonquil
bow low
― Matsuo Basho, loose translation by Michael R. Burch

Come, investigate loneliness!
a solitary leaf
clings to the Kiri tree
― Matsuo Basho, loose translation by Michael R. Burch

Lightning
shatters the darkness―
the night heron's shriek
― Matsuo Basho, loose translation by Michael R. Burch

One apple, alone
in the abandoned orchard
reddens for winter
― Patrick Blanche, loose translation by Michael R. Burch

The poem above is by a French poet; it illustrates how the poetry of Oriental masters like Basho has influenced poets around the world.



I remove my beautiful kimono:
its varied braids
surround and entwine my body
― Hisajo Sugita, loose translation by Michael R. Burch

This day of chrysanthemums
I shake and comb my wet hair,
as their petals shed rain
― Hisajo Sugita, loose translation by Michael R. Burch

This sheer kimono—
how the moon peers through
to my naked skin!
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

These festive flowery robes—
though quickly undressed,
how their colored cords still continue to cling!
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

Chrysanthemum petals
reveal their pale curves
shyly to the moon.
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

Loneliness —
reading the Bible
as the rain deflowers cherry blossoms.
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

How deep this valley,
how elevated the butterfly's flight!
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

How lowly this valley,
how lofty the butterfly's flight!
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch

Echoes from the hills—
the mountain cuckoo sings as it will,
trill upon trill
—Hisajo Sugita (1890-1946), loose translation by Michael R. Burch



This darkening autumn:
my neighbor,
how does he continue?
― Matsuo Basho, loose translation by Michael R. Burch

Let us arrange
these lovely flowers in the bowl
since there's no rice
― Matsuo Basho, loose translation by Michael R. Burch

An ancient pond,
the frog leaps:
the silver plop and gurgle of water
― Matsuo Basho, loose translation by Michael R. Burch

The butterfly
perfuming its wings
fans the orchid
― Matsuo Basho, loose translation by Michael R. Burch

Pausing between clouds
the moon rests
in the eyes of its beholders
― Matsuo Basho, loose translation by Michael R. Burch

The first chill rain:
poor monkey, you too could use
a woven cape of straw
― Matsuo Basho, loose translation by Michael R. Burch

This snowy morning:
cries of the crow I despise
(ah, but so beautiful!)
― Matsuo Basho, loose translation by Michael R. Burch

Like a heavy fragrance
snow-flakes settle:
lilies on the rocks
― Matsuo Basho, loose translation by Michael R. Burch

The cheerful-chirping cricket
contends gray autumn's gay,
contemptuous of frost
― Matsuo Basho, loose translation by Michael R. Burch

Whistle on, twilight whippoorwill,
solemn evangelist
of loneliness
― Matsuo Basho, loose translation by Michael R. Burch

The sea darkening,
the voices of the wild ducks:
my mysterious companions!
― Matsuo Basho, loose translation by Michael R. Burch

Will we meet again?
Here at your flowering grave:
two white butterflies
― Matsuo Basho, loose translation by Michael R. Burch

Fever-felled mid-path
my dreams resurrect, to trek
into a hollow land
― Matsuo Basho, loose translation by Michael R. Burch

Too ill to travel,
now only my autumn dreams
survey these withering fields
― Matsuo Basho, loose translation by Michael R. Burch; this has been called Basho's death poem

These brown summer grasses?
The only remains
of "invincible" warriors...
― Matsuo Basho, loose translation by Michael R. Burch

Graven images of long-departed gods,
dry spiritless leaves:
companions of the temple porch
― Matsuo Basho, loose translation by Michael R. Burch

See: whose surviving sons
visit the ancestral graves
white-bearded, with trembling canes?
― Matsuo Basho, loose translation by Michael R. Burch

An empty road
lonelier than abandonment:
this autumn evening
― Matsuo Basho, loose translation by Michael R. Burch

Spring has come:
the nameless hill
lies shrouded in mist
― Matsuo Basho, loose translation by Michael R. Burch

This world?
Moonlit dew
flicked from a crane's bill.
—Eihei Dogen Kigen (1200-1253) loose translation/interpretation by Michael R. Burch

Seventy-one?
How long
can a dewdrop last?
—Eihei Dogen Kigen, loose translation/interpretation by Michael R. Burch

Dewdrops beading grass-blades
die before dawn;
may an untimely wind not hasten their departure!
—Eihei Dogen Kigen, loose translation/interpretation by Michael R. Burch

Dewdrops beading blades of grass
have so little time to shine before dawn;
let the autumn wind not rush too quickly through the field!
—Eihei Dogen Kigen, loose translation/interpretation by Michael R. Burch

Outside my window the plums, blossoming,
within their curled buds, contain the spring;
the moon is reflected in the cup-like whorls
of the lovely flowers I gather and twirl.
—Eihei Dogen Kigen, loose translation/interpretation by Michael R. Burch



The Oldest Haiku

These are my translations of some of the oldest Japanese waka, which evolved into poetic forms such as tanka, renga and haiku over time. My translations are excerpts from the Kojiki (the "Record of Ancient Matters"), a book composed around 711-712 A.D. by the historian and poet Ō no Yasumaro. The Kojiki relates Japan’s mythological beginnings and the history of its imperial line. Like Virgil's Aeneid, the Kojiki seeks to legitimize rulers by recounting their roots. These are lines from one of the oldest Japanese poems, found in the oldest Japanese book:

While you decline to cry,
high on the mountainside
a single stalk of plumegrass wilts.
― Ō no Yasumaro (circa 711), loose translation by Michael R. Burch

Here's another excerpt, with a humorous twist, from the Kojiki:

Hush, cawing crows; what rackets you make!
Heaven's indignant messengers,
you remind me of wordsmiths!
― Ō no Yasumaro (circa 711), loose translation by Michael R. Burch

Here's another, this one a poem of love and longing:

Onyx, this gem-black night.
Downcast, I await your return
like the rising sun, unrivaled in splendor.
― Ō no Yasumaro (circa 711), loose translation by Michael R. Burch



More Haiku by Various Poets

Right at my feet!
When did you arrive here,
snail?
― Kobayashi Issa, loose translation by Michael R. Burch

Our world of dew
is a world of dew indeed;
and yet, and yet...
― Kobayashi Issa, loose translation by Michael R. Burch

Oh, brilliant moon
can it be true that even you
must rush off, like us, tardy?
― Kobayashi Issa, loose translation by Michael R. Burch

Standing unsteadily,
I am the scarecrow’s
skinny surrogate
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Autumn wind ...
She always wanted to pluck
the reddest roses
―Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Issa wrote the haiku above after the death of his daughter Sato with the note: “Sato, girl, 35th day, at the grave.”



The childless woman,
how tenderly she caresses
homeless dolls ...
—Hattori Ransetsu, loose translation/interpretation by Michael R. Burch

Clinging
to the plum tree:
one blossom's worth of warmth
—Hattori Ransetsu, loose translation/interpretation by Michael R. Burch

One leaf falls, enlightenment!
Another leaf falls,
swept away by the wind ...
—Hattori Ransetsu, loose translation/interpretation by Michael R. Burch

This has been called Ransetsu’s “death poem.” In The Classic Tradition of Haiku, Faubion Bowers says in a footnote to this haiku: “Just as ‘blossom’, when not modified, means ‘cherry flower’ in haiku, ‘one leaf’ is code for ‘kiri’. Kiri ... is the Pawlonia ... The leaves drop throughout the year. They shrivel, turn yellow, and yield to gravity. Their falling symbolizes loneliness and connotes the past. The large purple flowers ... are deeply associated with haiku because the three prongs hold 5, 7 and 5 buds ... ‘Totsu’ is an exclamation supposedly uttered when a Zen student achieves enlightenment. The sound also imitates the dry crackle the pawlonia leaf makes as it scratches the ground upon falling.”



Disdaining grass,
the firefly nibbles nettles—
this is who I am.
—Takarai Kikaku (1661-1707), loose translation/interpretation by Michael R. Burch

A simple man,
content to breakfast with the morning glories—
this is who I am.
—Basho, loose translation/interpretation by Michael R. Burch
This is Basho’s response to the Takarai Kikaku haiku above

The morning glories, alas,
also turned out
not to embrace me
—Basho, loose translation/interpretation by Michael R. Burch

The morning glories bloom,
mending chinks
in the old fence
—Basho, loose translation/interpretation by Michael R. Burch

Morning glories,
however poorly painted,
still engage us
—Basho, loose translation/interpretation by Michael R. Burch

I too
have been accused
of morning glory gazing ...
—original haiku by by Michael R. Burch

Taming the rage
of an unrelenting sun—
autumn breeze.
—Basho, loose translation/interpretation by Michael R. Burch

The sun sets,
relentlessly red,
yet autumn’s in the wind.
—Basho, loose translation/interpretation by Michael R. Burch

As autumn deepens,
a butterfly sips
chrysanthemum dew.
—Basho, loose translation/interpretation by Michael R. Burch

As autumn draws near,
so too our hearts
in this small tea room.
—Basho, loose translation/interpretation by Michael R. Burch

Nothing happened!
Yesterday simply vanished
like the blowfish soup.
—Basho, loose translation/interpretation by Michael R. Burch

The surging sea crests around Sado ...
and above her?
An ocean of stars.
—Basho, loose translation/interpretation by Michael R. Burch

Revered figure!
I bow low
to the rabbit-eared Iris.
—Basho, loose translation/interpretation by Michael R. Burch

Come, butterfly,
it’s late
and we’ve a long way to go!
—Basho, loose translation/interpretation by Michael R. Burch

Nothing in the cry
of the cicadas
suggests they know they soon must die.
—Basho, loose translation/interpretation by Michael R. Burch

I wish I could wash
this perishing earth
in its shimmering dew.
—Basho, loose translation/interpretation by Michael R. Burch

Dabbed with morning dew
and splashed with mud,
the melon looks wonderfully cool.
—Basho, loose translation/interpretation by Michael R. Burch

Cold white azalea—
a lone nun
in her thatched straw hut.
—Basho, loose translation/interpretation by Michael R. Burch

Glimpsed on this high mountain trail,
delighting my heart—
wild violets
—Basho, loose translation/interpretation by Michael R. Burch

The bee emerging
from deep within the peony’s hairy recesses
flies off heavily, sated
—Basho, loose translation/interpretation by Michael R. Burch

A crow has settled
on a naked branch—
autumn nightfall
—Basho, loose translation/interpretation by Michael R. Burch

Except for a woodpecker
tapping at a post,
the house is silent.
—Basho, loose translation/interpretation by Michael R. Burch

That dying cricket,
how he goes on about his life!
—Basho, loose translation/interpretation by Michael R. Burch

Like a glorious shrine—
on these green, budding leaves,
the sun’s intense radiance.
—Basho, loose translation/interpretation by Michael R. Burch



Yosa Buson haiku translations

A kite floats
at the same place in the sky
where yesterday it floated...
― Yosa Buson, loose translation by Michael R. Burch

On the temple’s great bronze gong
a butterfly
snoozes.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Hard to describe:
this light sensation of being pinched
by a butterfly!
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Not to worry spiders,
I clean house ... sparingly.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Among the fallen leaves,
an elderly frog.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

In an ancient well
fish leap for mosquitoes,
a dark sound.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Flowers with thorns
remind me of my hometown ...
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Reaching the white chrysanthemum
the scissors hesitate ...
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Picking autumn plums
my wrinkled hands
once again grow fragrant
―Yosa Buson, loose translation/interpretation by Michael R. Burch

A silk robe, casually discarded,
exudes fragrance
into the darkening evening
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Whose delicate clothes
still decorate the clothesline?
Late autumn wind.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

An evening breeze:
water lapping the heron’s legs.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

gills puffing,
a hooked fish:
the patient
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The stirred morning air
ruffles the hair
of a caterpillar.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Intruder!
This white plum tree
was once outside our fence!
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Tender grass
forgetful of its roots
the willow
―Yosa Buson, loose translation/interpretation by Michael R. Burch

I believe the poem above can be taken as commentary on ungrateful children. It reminds me of Robert Hayden's "Those Winter Sundays."―MRB

Since I'm left here alone,
I'll make friends with the moon.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The hood-wearer
in his self-created darkness
misses the harvest moon
―Yosa Buson, loose translation/interpretation by Michael R. Burch

White blossoms of the pear tree―
a young woman reading his moonlit letter
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The pear tree flowers whitely:
a young woman reading his letter
by moonlight
―Yosa Buson, loose translation/interpretation by Michael R. Burch

On adjacent branches
the plum tree blossoms
bloom petal by petal―love!
―Yosa Buson, loose translation/interpretation by Michael R. Burch

A misty spring moon ...
I entice a woman
to pay it our respects
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Courtesans
purchasing kimonos:
plum trees blossoming
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The spring sea
rocks all day long:
rising and falling, ebbing and flowing ...
―Yosa Buson, loose translation/interpretation by Michael R. Burch

As the whale
  dives
its tail gets taller!
―Yosa Buson, loose translation/interpretation by Michael R. Burch

While tilling the field
the motionless cloud
vanished.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Even lonelier than last year:
this autumn evening.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

My thoughts return to my Mother and Father:
late autumn
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Late autumn:
my thoughts return to my Mother and Father
―Yosa Buson, loose translation/interpretation by Michael R. Burch

This roaring winter wind:
the cataract grates on its rocks.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

While snow lingers
in creases and recesses:
flowers of the plum
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Plowing,
not a single bird sings
in the mountain's shadow
―Yosa Buson, loose translation/interpretation by Michael R. Burch

In the lingering heat
of an abandoned cowbarn
only the sound of the mosquitoes is dark.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The red plum's fallen petals
seem to ignite horse dung.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Dawn!
The brilliant sun illuminates
sardine heads.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The abandoned willow shines
between bright rains
―Yosa Buson, loose translation/interpretation by Michael R. Burch

Dew-damp grass:
the setting sun’s tears
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The dew-damp grass
weeps silently
in the setting sun
―Yosa Buson, loose translation/interpretation by Michael R. Burch

White plum blossoms―
though the hour grows late,
a glimpse of dawn
―Yosa Buson, loose translation/interpretation by Michael R. Burch

The poem above is believed to be Buson's jisei (death poem) and he is said to have died before dawn.

Lately the nights
dawn
plum-blossom white.
―Yosa Buson, loose translation/interpretation by Michael R. Burch

This is a second interpretation of Buson's jisei (death poem).

In the deepening night
I saw by the light
of the white plum blossoms
―Yosa Buson, loose translation/interpretation by Michael R. Burch

This is a third interpretation of Buson's jisei (death poem).

Our life here on earth:
to what shall we compare it?
Perhaps to a rowboat
departing at daybreak,
leaving no trace of us in its wake?
—Takaha Shugyo or Yosa Buson, loose translation by Michael R. Burch



I thought I felt a dewdrop
plop
on me as I lay in bed!
― Masaoka Shiki, loose translation by Michael R. Burch

We cannot see the moon
and yet the waves still rise
― Shiki Masaoka, loose translation by Michael R. Burch

The first morning of autumn:
the mirror I investigate
reflects my father’s face
― Shiki Masaoka, loose translation by Michael R. Burch



Wild geese pass
leaving the emptiness of heaven
revealed
― Takaha Shugyo, loose translation by Michael R. Burch

Inside the cracked shell
of a walnut:
one empty room.
—Takaha Shugyo, loose translation by Michael R. Burch

Bring me an icicle
sparkling with the stars
of the deep north
—Takaha Shugyo, loose translation by Michael R. Burch

Seen from the skyscraper
the trees' fresh greenery:
parsley sprigs
—Takaha Shugyo, loose translation by Michael R. Burch

Are the geese flying south?
The candle continues to flicker ...
—Takaha Shugyo, loose translation by Michael R. Burch

Still clad in its clown's costume—
the dead ladybird.
—Takaha Shugyo, loose translation by Michael R. Burch

A single tree,
a heart carved into its trunk,
blossoms prematurely
—Takaha Shugyo, loose translation by Michael R. Burch



Silently observing
the bottomless mountain lake:
water lilies
― Inahata Teiko, loose translation by Michael R. Burch

Cranes
flapping ceaselessly
test the sky's upper limits
― Inahata Teiko, loose translation by Michael R. Burch

Falling snowflakes'
glitter
tinsels the sea
― Inahata Teiko, loose translation by Michael R. Burch

Blizzards here on earth,
blizzards of stars
in the sky
― Inahata Teiko, loose translation by Michael R. Burch

Completely encircled
in emerald:
the glittering swamp!
― Inahata Teiko, loose translation by Michael R. Burch

The new calendar!:
as if tomorrow
is assured...
― Inahata Teiko, loose translation by Michael R. Burch



Ah butterfly,
what dreams do you ply
with your beautiful wings?
― Fukuda Chiyo-ni, loose translation by Michael R. Burch

Because morning glories
hold my well-bucket hostage
I go begging for water
― Fukuda Chiyo-ni, loose translation by Michael R. Burch



Spring
stirs the clouds
in the sky's teabowl
― Kikusha-ni, loose translation by Michael R. Burch

Tonight I saw
how the peony crumples
in the fire's embers
― Katoh Shuhson, loose translation by Michael R. Burch

It fills me with anger,
this moon; it fills me
and makes me whole
― Takeshita Shizunojo, loose translation by Michael R. Burch

War
stood at the end of the hall
in the long shadows
― Watanabe Hakusen, loose translation by Michael R. Burch

Because he is slow to wrath,
I tackle him, then wring his neck
in the long grass
― Shimazu Ryoh, loose translation by Michael R. Burch

Pale mountain sky:
cherry petals play
as they tumble earthward
― Kusama Tokihiko, loose translation by Michael R. Burch

The frozen moon,
the frozen lake:
two oval mirrors reflecting each other.
― Hashimoto Takako, loose translation by Michael R. Burch

The bitter winter wind
ends here
with the frozen sea
― Ikenishi Gonsui, loose translation by Michael R. Burch

Oh, bitter winter wind,
why bellow so
when there's no leaves to fell?
― Natsume Sôseki, loose translation by Michael R. Burch

Winter waves
roil
their own shadows
― Tominaga Fûsei, loose translation by Michael R. Burch

No sky,
no land:
just snow eternally falling...
― Kajiwara Hashin, loose translation by Michael R. Burch

Along with spring leaves
my child's teeth
take root, blossom
― Nakamura Kusatao, loose translation by Michael R. Burch

Stillness:
a single chestnut leaf glides
on brilliant water
― Ryuin, loose translation by Michael R. Burch

As thunder recedes
a lone tree stands illuminated in sunlight:
applauded by cicadas
― Masaoka Shiki, loose translation by Michael R. Burch

The snake slipped away
but his eyes, having held mine,
still stare in the grass
― Kyoshi Takahama, loose translation by Michael R. Burch

Girls gather sprouts of rice:
reflections of the water flicker
on the backs of their hats
― Kyoshi Takahama, loose translation by Michael R. Burch

Murmurs follow the hay cart
this blossoming summer day
― Ippekiro Nakatsuka (1887-1946), loose translation by Michael R. Burch

The wet nurse
paused to consider a bucket of sea urchins
then walked away
― Ippekiro Nakatsuka (1887-1946), loose translation by Michael R. Burch

May I be with my mother
wearing her summer kimono
by the morning window
― Ippekiro Nakatsuka (1887-1946), loose translation by Michael R. Burch

The hands of a woman exist
to remove the insides of the spring cuttlefish
― Sekitei Hara, loose translation by Michael R. Burch

The moon
hovering above the snow-capped mountains
rained down hailstones
― Sekitei Hara, loose translation by Michael R. Burch

Oh, dreamlike winter butterfly:
a puff of white snow
cresting mountains
― Kakio Tomizawa, loose translation by Michael R. Burch

Spring snow
cascades over fences
in white waves
― Suju Takano, loose translation by Michael R. Burch



Tanka and Waka translations:

If fields of autumn flowers
can shed their blossoms, shameless,
why can’t I also frolic here —
as fearless, and as blameless?
—Ono no Komachi, loose translation by Michael R. Burch

Submit to you —
is that what you advise?
The way the ripples do
whenever ill winds arise?
—Ono no Komachi, loose translation by Michael R. Burch

Watching wan moonlight
illuminate trees,
my heart also brims,
overflowing with autumn.
—Ono no Komachi, loose translation by Michael R. Burch

I had thought to pluck
the flower of forgetfulness
only to find it
already blossoming in his heart.
—Ono no Komachi, loose translation by Michael R. Burch

That which men call "love" —
is it not merely the chain
preventing our escape
from this world of pain?
—Ono no Komachi, loose translation by Michael R. Burch

Once-colorful flowers faded,
while in my drab cell
life’s impulse also abated
as the long rains fell.
—Ono no Komachi, loose translation by Michael R. Burch

I set off at the shore
of the seaside of Tago,
where I saw the high, illuminated peak
of Fuji―white, aglow―
through flakes of drifting downy snow.
― Akahito Yamabe, loose translation by Michael R. Burch


Haiku Translations

As the monks sip their morning tea,
chrysanthemums quietly blossom.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

The fragrance of plum blossoms
on a foggy path:
the sun rising.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

The sea darkens ...
yet still faintly white
the wild duck protests.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

Pear tree blossoms
whitened by moonlight:
a young woman reading a letter.
—Yosa Buson, loose translation/interpretation by Michael R. Burch

Outlined in the moonlight ...
who is that standing
among the pear trees?
—Yosa Buson, loose translation/interpretation by Michael R. Burch

Your coolness:
the sound of the bell
departing the bell.
—Yosa Buson, loose translation/interpretation by Michael R. Burch

As the moon flies west
the flowers' shadows
creep eastward.
—Yosa Buson, loose translation/interpretation by Michael R. Burch

By such pale moonlight
even the wisteria's fragrance
seems distant.
—Yosa Buson, loose translation/interpretation by Michael R. Burch

Leaves
like crows’ shadows
flirt with a lonely moon.
Kaga no Chiyo, loose translation/interpretation by Michael R. Burch

Let me die
covered with flowers
and never again wake to this earthly dream!
—Ochi Etsujin, loose translation/interpretation by Michael R. Burch

To reveal how your heart flowers,
sway like the summer grove.
—Tagami Kikusha-Ni, loose translation/interpretation by Michael R. Burch

In the thicket's shade
a solitary woman sings the rice-planting song.
Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Unaware of these degenerate times,
cherry blossoms abound!
Kobayashi Issa, loose translation/interpretation by Michael R. Burch

These silent summer nights
even the stars
seem to whisper.
Kobayashi Issa, loose translation/interpretation by Michael R. Burch

The enormous firefly
weaves its way, this way and that,
as it passes by.
Kobayashi Issa, loose translation/interpretation by Michael R. Burch

Composed like the Thinker, he sits
contemplating the mountains:
the sagacious frog!
Kobayashi Issa, loose translation/interpretation by Michael R. Burch

A fallen blossom
returning to its bough?
No, a butterfly!
Arakida Moritake, loose translation/interpretation by Michael R. Burch

Illuminated by the harvest moon
smoke is caught creeping
across the water ...
Hattori Ransetsu, loose translation/interpretation by Michael R. Burch

Fanning its tail flamboyantly
with every excuse of a breeze,
the peacock!
Masaoki Shiki, loose translation/interpretation by Michael R. Burch

Waves row through the mists
of the endless sea.
Masaoki Shiki, loose translation/interpretation by Michael R. Burch

I hurl a firefly into the darkness
and sense the enormity of night.
—Kyoshi Takahama, loose translation/interpretation by Michael R. Burch

As girls gather rice sprouts
reflections of the rain ripple
on the backs of their hats.
—Kyoshi Takahama, loose translation/interpretation by Michael R. Burch



NEW ORIGINAL HAIKU ADDED 7-25-2025



Such a frigid winter day,
our words
also icy
—Michael R. Burch

Her love,
sheer and queer as gossamer,
did not adhere...
—Michael R. Burch

I dream of love
as bankers dream
of repossessing Ferraris.
—Michael R. Burch, after Anais Vionet

The hummingbird fans an iris:
myriad acts of kindness
go unnoticed.
—Michael R. Burch

Sun sinking into the sea
who taught you
how to swim?
—Michael R. Burch

Yet another leaf
assumes its autumnal splendor
then falls.
—Michael R. Burch

Fireflies
thinking to illuminate the darkness:
poets.
—Michael R. Burch

Stars conspire
astral mischief
but only the silent moon witnesses.
—Michael R. Burch

Chickadees squabbling,
denying each others’ rights:
another unholy war.
—Michael R. Burch

Licentious breezes
whisper intimations to quivering leaves:
nightfall.
—Michael R. Burch

Late autumn:
fleeting words increasingly
missing syllables.
—Michael R. Burch

Life
insists on pruning
its gaudiest wildflowers.
—Michael R. Burch

Her lips
extravagant embers
smoldering beneath my kiss.
—Michael R. Burch

The bees have returned
along with the rebellious butterflies:
Spring!
—Michael R. Burch

Sudden snowfall:
all traces of you
erased.
—Michael R. Burch

A leaf falls
—disaster!—
until it ***** its wings.
—Michael R. Burch

At the end of a long day
my pillow
gently embraces me.
—Michael R. Burch

The tyrant’s statue:
dubious accolades,
doves deposit denials.
—Michael R. Burch

Silence is golden
especially to the younger
when you’re olden.
—Michael R. Burch

Baby blues?
My checkbook boo-hoo-hoos.
They keep outgrowing their shoes!
—Michael R. Burch

They’ll pick up and move on,
Soon forgetting I’m gone.
—Michael R. Burch

Deer still sporting their winter coats?
Spring’s delinquent!
—Michael R. Burch

The most likely cause
of gauze
is dandelion “ahs!”
because
they shed applause.
—Michael R. Burch

The pregnant mother’s
belly swells
in concert with the fulling moon.
—Michael R. Burch

Live among the blossoms while you can;
grow straight and tall and fairer than them all...
Oh, never fall!
—Michael R. Burch, "Exhortation"

So many snowflakes
whirling a-swirl:
confusion
—Michael R. Burch

Starlight evening:
the universe
twinkles its mysteries...
—Michael R. Burch

Another New Year...
the fireworks,
followed by real explosions
—Michael R. Burch

Venus,
flirting with the Moon and Mars?
Fickle gods!
—Michael R. Burch

should the sky fall,
let my last breath
praise Your existence
—Michael R. Burch

It ever was night,
yet in the darkness I found you,
shining, bright.
—Michael R. Burch

a last leaf
clinging to life
declines to fall...
—Michael R. Burch

the Universe,
dazzled by her beauty,
swoons.
—“Eclipse” by Michael R. Burch

Anxiety surrounds me
like an immense night
void of stars.
—Michael R. Burch

Loneliness engulfs me
like an immense night
void of stars.
—Michael R. Burch

Crow
perched quizzically on scarecrow:
natural comedian!
—Michael R. Burch

Autumn leaves
swirling:
dreams aloft & imperiled
—Michael R. Burch

struggle to fit
into cramped too-small shoes:
tiny haiku
—Michael R. Burch

your easy smile
brightens the day
natural as wildflowers
—Michael R. Burch

a single silver leaf
on the old oak tree:
autumn moon
—Michael R. Burch

The Ultimate Haiku Against God
by Michael R. Burch

Because you made a world
where nothing matters,
our hearts lie in tatters.

Keywords/Tags: haiku, tanka, oriental, masters, translation, Japanese, nature, seasons, Basho, Buson, Issa, waka, tanka, mrbhaiku

between the crevices of my lips,
there is orange soda no longer carbonated, hibernating
until i wipe it off with my sleeve.
sometimes i like myself, when the caffeine dissipates
and my anxiety subsides.
are you loving yourself? are you taking care of yourself?
i didn't shave in the right places,
i didn't comb my hair this morning.
i've grown fond of my ***** roots or at
least that's what i've been told.

i touched myself this evening. i caressed every fold
and counted the lightning bolts to help me sleep.
masculinity is torturing. the bed springs attach to
my spine, embracing my face. there are no second chances
in heaven; in purgatory we have no one. cuts under my eyelid
tell me i'm ageing, but this is what happens
at the edge of history.

i can no longer pretend or hide. the newports grapple
my esophagus and i have been pinned.
why this and not that?
tomorrow is our spring awakening, and whether i'm up or down
or left or right - my sense of direction is permanently broken.
tonight.
i know one thing is certain. there is no love, no harmony.
i touch myself.
for a chance at true intimacy.

i fell in love when you drove me home
the world outside so monochrome
we listened to your favorite songs
and i watched you sing along

we drove and drove so fast we flew
i turned my head to look at you
i've never seen you look so free
and then you smiled back at me

we laughed for hours on end
down every turn and every bend
had no idea how far we'd roam
i fell in love when you drove me home

you are so beautiful
i'm noticing more than usual

you are so smart
just trust yourself, sweetheart

you are so kind
you shine so bright i might go blind

you heart is bigger than the moon
i hope you realize that soon

i fell in love when you drove me home
you used your fingers as a comb
i used your jacket as a pillow
we watched the sunset through the window

we talked about our favorite poetry
and how we think that the world should be
we sat there for hours
i've wished so long for a love like ours

i hope you see how great you are
i've have the best times in your car
you are so sweet like honeycomb
and i fell in love when you drove me home

As my mind,
fades away from the day...

And the night sets in,
diffetent things will soon begin...

A splash of water,
to clean the skin....

A bite to eat,
before i begin my feat...

I'll comb my hair,
so girls beware...

I'll hop in my car,
no need to go far....

A ******* around the block,
that's right were I'll stop...

My favorite stipper,
Cinnamon beware....

A gorgeous black girl,
man i swear...

The color of her skin,
gives her her name...

A body so fine,
she needs to be all mine...

With a sent of Jasmine,
is what keeps me swearing...

I love her so,
will she be mine...

The one thing i know,
it will take money and time...

To learn to
Live to find
Happiness where
There once was
Misery and to
See when once was blind

To hate to love through
The thick and thin of
It all and to breath the
Same air as thine enemy

To trample of angelic
Dirt, touching the soft
Face of a child who was
Born to die in a world
Where sadness is a by-product
Of legislative necessity

To break minds and hearts in
Spite of all the civil wars and
Civil liberties movements, songs
Played and lost in crumpled
Sheet music of time

Pressing a hand onto
Prison glass while there
Are only nightmares behind
The frozen steel bars of the imagination

Our sons and our daughters
Linger on the brink of
Insanities leash and
I am one of them

The glass shatters as
Mismatched celebrity lovers
Entertain us with their
Mundane lives and their
Soft core ***** re-enactments
Of the human condition

I pass by the lepers
Of television, swearing that
The good times were the best
Times in the past, yet I see only
The burning history books
Upon their shelves, weeping
As they comb their hair for the last time

Smelling the sulfur upon
My fingernails
Rotting to the core of it
Trickling cool blood in the
The devil's dandruff
A former president smiling
Making up for all the wrong
By doing now, all the right

We are in constant remorse
This American land
We were born on a graveyard
Of the gentle and peaceful

Our dreams will
Stir and writhe with
The ghosts of the past

Our children will forget
About the beauty of the ocean
And the serene simplicity
Of mother wind

Tossed in the grotto of anonymity
We will lose our names
We will lose our faces
We will lose our throne of thievery
Justifying all that we have done
On the basis of Darwin

The clock will turn
The loser becomes the winner

And the winner
Melts like

Wet ashes
At a

Deserted
               Campfire

Your long fingers tap on my nervous heart.
I love your fickle soul
and freckled shoulders.

You say you won't find peace of mind
in a cinderblock room
or on a piece of notebook paper,
so you crumple up your doubts
and hide your body with mine.

My shrunken lungs cannot draw breaths
not used to say your name.
I will be a blanket to warm your bones
from your downdraft hopes.
I will comb your hair with my fingers
on the days you don't wake.

But my heart breaks
on battlefields you will never hear of.
I lick wounds
you will never know to see.
I train my trembling hands
so they may gently soothe you in sleep.

I can love you better than I can fix myself.
I will fight becoming what I fear
in order to be all that you need.

JIMMY large nose natural hipster totally informed clever funny sincere yet aloof

JOEY tall tan lanky physique long thick brown hair in braid striking good looks yet self-unaware

SHANNON athletic build attractive brunette accomplished poet so good she doesn’t need to prove it emotional sensitive tough

ANNE Joni Mitchell good looks bohemian self-effacing impulsive submissive *****

ACT 1 scene 1

a deserted chic indie reception area somewhere present 8:30 PM

JIMMY (singling out Anne) you’re so beautiful i want you so bad

ANNE oh yeah you’re sweet to say that

JIMMY i mean it you symbolize hope inspiration in me

ANNE hope? oh god

Anne looks away runs fingers through her hair

JIMMY hear that song over the speakers?

ANNE yeah

JIMMY it’s “Home” Edward Sharpe and the Magnetic Zeroes very cool check out rough trade east version on youtube

ANNE yeah right

Anne blows air out her nose looks away in Shannon’s direction

SHANNON (singling out Joey) do you read?

JOEY yeah some

SHANNON what are you currently reading?

JOEY uh a text about economic international relations

SHANNON hmmm interesting do you ever read literature or poetry?

JOEY nah not much

SHANNON like movies?

JOEY yeah sure some

SHANNON what’s you’re favorite movies?

JOEY “The Devil Wore Prada” “Eddie” “I’m Not There” i don’t know there are tons of movies i enjoy

SHANNON interesting

JOEY i need to ask Jimmy something excuse me

Joey walks across area to Jimmy

JOEY that western shirt looks so cool on you

JIMMY thanks yeah it’s a hip shirt what up dude?

JOEY oh god Shannon is hitting on me she’s way too full of herself way too available

JIMMY hmmm nice toned body bet she’s a tiger in the hay

JOEY not interested

JIMMY me neither but i could be persuaded honestly i’m blown away with Anne

Anne approaches Shannon

ANNE Jimmy is a conceited **** he thinks he’s so cool Shannon you look so beautiful this evening your hair complexion

SHANNON funny I felt so blah all day what did Jimmy say to you? he’s not my type but not so bad if only he had Joey’s looks Joey’s shy sweetness look at Joey over there his eyes lips he’s so **** I think I’m falling in love and yet i recognize falling in love requires a huge territory of untried tolerance

Anne’s fingers stealthily pocket Shannon’s tortoise-shell comb while Shannon observes Joey fawning over Jimmie across room

ACT 2

refer to ACT 1 scene 1

"That's it! I'll take it to the scissors myself!"
Mangled, wrangled, tangled mess,
meandering tendrils coil and cross, clump.

Split ends,
knots so impossibly tied the eagle scout is left bewildered,
sun damage: fried, frizzled, frazzled, frayed.

Broken teeth in a gasping comb,
choking brushes enveloped in the furling mess,
hairspray, fruitless, face it:
(Another) Bad Hair Day.

"That's it! Today's the day!"
The call is made, the appointment scheduled,
you sit and wait.

X's mark the calendar, the day is nigh,
your do's judgement day is at hand.
It's time to settle this.

The day before, you wake up,
absentmindedly getting dressed, drudging through routine,
mirror's the last thing you see.

Crusty eyes suddenly open wide,
as split ends seal and knots unfurl,
sun damage heals and combs sing ceaselessly.

The day is met with a new life,
and the dark days of yore seem like a past life,
as this sunny day seems like all there is.

You laugh at what now appears to be such trivialities,
"Twas a bad hair day! And merely so!"
You allow yourself such a shallow deception.

Your hand grabs the phone, your fingers make the call,
your voice makes the cancellation--
"How could I have been so foolish to resort to such measures?!"

You hang up and scoff at yourself,
a hearty laugh in jest at such hastiness,
tossing and swishing your luscious mane to and fro.

You allow it to slip through your fingers,
on the cusp of the cure,
as the bad hair days truly outnumber the good (you know it to be so).

For the next day will come--
You'll greet the mirror with that heart-wrenching sigh,
in visible anguish at the chaotic mess that encroaches upon your head.

          Don't let a good hair day fool you;
                                                        make the call.

from day one he held her fragile hand
tugged her along the cliff's edge
watched her through even the longest of days
or peered throughout the green garden's hedge
he tugged a bit harder the older she got
until her skin drooped like elastic torn apart
fed her alcohol like a bottle to a baby
popped her pills till it paused her heart
As he'd comb his hands though her soft brown hair
streaks of gray followed the strands he once brushed
he'd press his black lips on her sun spotted cheeks
and place a rotten finger over her mouth whispering, "hush"
he tugged her night gown once more in the rocking chair
as wind from the open window brushed by with a chill
he held the jagged dagger up to her neck
although his intention was not to ****
as he sliced her open, the scythe hit the ground
her eyes of glass finally stood still
he brushed her hair behind her ear and whisperd
"i promise, my intention was not to ****."
They walked away from the old rocking chair
hand in hand like it was from the start
because although life gives you your pulse
the reaper steals your beating heart

Start by caaaaarefully removing your outermost layer of flesh - lather generously; rinse passionately; re-evaluate your life with a fine-toothed comb and carefully remove the parasites of your predetermined partiality
- String them up with clothespins to wither and flake in a badly scorched sky

- Acquire an ice pick of high quality, frosted on memories of all your ex-lovers and their numbing tongues. Begin to chisel at your own very delicate bone structure. Cease action only when the jawbone resembles the claws you disregarded in your 3 AM awakening punctured with crrreeeeaks and hazy in a soft red fog

- Dust your eyelid with arsenic until they're heavy enough to crush a small child. Tell a good joke, or two - which part of a vegetable are you not supposed to eat again? Might as well eat all of it, him, her, them - but not the wheelchair. In retrospect, pull all of your eyelashes out as well - no sense in prolonging the sought-after blackness

- Tie your lover's ruptured spleen around your waist to add a few pounds - god forbid you get too twiggy and crackle and fall into an inevitable pit of self-loathing. Stick straws through puke green nostrils and **** maggots out of gaping eye sockets. Line your lips in borrowed blood.

- Embroider your initials onto my skin and never forget where you came from.