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Joy Apr 10
My corset of secrets
Is growing tighter
What was once a hug
Has become a noose
Tight
Too tight
I can't
B  R  E  A  T  H  E


Where some wear their corset
For the world to see
So that others may take some of their secrets
And loosen the strings,
I hide mine beneath my skin
And instead of giving the
S  T  R  A  N  G  U  L  A  T  I  O  N
To others,
I simply try to shrink my own lungs to make room


But sometimes
When I take too deep a breath
And my corset has become just a little
Tight
Too tight
I find that it may squeeze out my blood
And make my veins twist and shriek
Until they rip free of my body
And reach for a paper


Then my veins,
Bursting with secrets too tight,
Dance across the paper and
My blood forms words that my mouth never could
And all the secrets my corset held
Are released in a flurry of pain and
P  A  S  S  I  O  N


For that corset of mine
Has become just a bit
Tight
Too tight
To escape from
So it has tattooed my body with secrets
So hard to keep
And sometimes, when I climb into bed
And my ribs are cracking
It's easier to let my blood loose
Than to shed that cursed corset


The words of red
That stain the paper,
That's what I call poetry
That's what I call art
A way for  me to cut the strings
Even if only a little bit


Poetry comes from my
V  E  I  N  S
It comes pouring from my
B  L  O  O  D
Late at night
When my corset's too tight
Terry Collett Jan 2013
Tommy passing Nana’s room
hears her say
can you help me
with my corset?

sure
he says
walking into her room
a cigarette hanging

from the corner
of his mouth
what do you want doing?
he asks

can you pull it tight for me?
and she offers him
the two corset strings
and he take them

between his fingers
and gives a pull
she breathes in
and holds it there

her arms by her side
her face vacant
as if she’s awaiting
something to happen

her mouth slightly open
he holds the strings tight
studies her eyes
the curl of hair

the way her mouth is open
her arms by her side
thinking how beautiful she is
how he’d not noticed before

smelling her perfume
trying to place
the make and kind
that’s it

she says
can you tie it there?
sure
he says and ties the strings

behind her back
his nose a few inches
from her naked shoulder
breathing in her scent

wanting to kiss the flesh
the neck
the ear
to put his hands

upon her hips
that’s done
he says
tight as a miser’s purse

thank you
she says
that’s much better
and kisses his cheek

and says
aren’t you the man
from upstairs?
yes that’s right

he says
do you play the saxophone
that I hear?
yes the alto sax

he mimics a saxophone
with his hands
and runs his fingers
along imaginary keys

usually I’m taking a bath
when I hear you
she says
or lying in bed

your sounds sinking
through the ceiling
oh sorry if it disturbs
he says

gazing at her small ****
under the cloth
I love the haunting sounds
she says

they sound so sad
as if your soul
were speaking
or calling from across

an abyss
he gazes at her neck and chin
her moving mouth
the pink of tongue

the sparkling eyes
yes
he says
that wide abyss

wanting to hold her tight
and place
upon her moving lips
a hot lips kiss.
Robin Carretti Aug 2018
Something is
simmering  *  
  ****      
His spice the stars*
His cologne heat up the
woods
Lips and taste boiling
The Green Irish Tweed
Epicurean love at
the Italian
Spice Epic Stadium

Here comes the
Sun the__?
Royal Mayfair

strikingly
My Fair Lady
The spice diction of words
Her name is Sage Lady Bird
You could feel her smile
shimmering

Carnal spice knowledge
Savory animalistic
Spice culture ******
Citrusy fancy dress
Not to panic
His Sunday gravy
Italian sauce garlicky  
She could win so pungent
Spicy lady Pagent

The poor stealing the
rich culture
Sage surrender like the Oz
Like Robin Hood

Spice of life this is our life
Top of the sea salt Spy
scouring
You better have a love
Like a deep pouring
Her Sage Genie bottle
on the stove

Her sheerness lascivious robe

The Meditteranean sea with
Four leaf clovers
freeloaders
These cultures and eyes of
strength feature
There is no time to
break up for the love of a spice
Is this the human race
Fresh linens better company
What a primary
Oh! Hail Mary

Those ethnic spices
what a sensual smell
Sage pretty coffee cup show and tell
What a razzle top of her cake
The media takes over all
painted and swirled
Baked spicy finger she dialed

Through her locket heart sake
Recovered love reconciled
The Teddy Rosevelt or Chicago Bears
tight hugs of cultures


Hairy chest his smooth gestures
Culture rough and tough exterior

Like the smile beautiful mind
creature
Beyond to be seen
The Spices computer
world of devices
Strawberry fields forever
But what is forever more love
Crises

Do we always lose our stripes
Feeling layered with her cereal
Tony the tiger
Whats great about curses
Sage speechless can feel the
roar spicy mouth
Going South or North
Victorian corset sensual
Guity spice dark side of Goth
Hot desire from both
The pine needles
Christmas time
The mistletoe kissing pointing to the star

Wearing herself out with her
pointed pump shoe*
But losing her spirit what to
endeavor
*The Blue Horizon Spice Rub

The  pub the sky has no limits
to the Stars that twinkle
The Gods to their *****
Rip Van Winkle
Dry Vermouth or the Russian Roulette
French spice Crepe Suzette

"Adam I Apple Dante Jubilee
Eve was more like a neigh
Horse spicy slide Colonel Spicy mustard
Meeting General Lee Sage custard

Her handkerchief
with sage cut leaves
Hearing echoes what gives
Anyone's spice rack
of shoes engraves Sage leafs

Noone really knows for sure
She wore spice deep blue velvet
Jade Ring Brittish Colony
Stuck to her beliefs like a magnet

Eating vegetable and fish
Her best China ever find her dish

How the jade chandelier twisted
Became laughing like two musketeers
New York City love Serendipity
The Queen chair so domineer
'What Debutants"
Crazed like spices of mutants
The anger management getting
the evil out
The shoutbox strong clove spice
Sage was never outfoxed
Her **** jaded uniform
The firefighter Smoky the bear
  eyes of candlelight storm
didn't make it this year
Torn to tears like two
vultures of
the haunted night
He peddles fast
But the fear needs to disappear

Fresh lake smells fresh
as her breath
The culture and media
make tons of mistakes
She knows what she wants
Not a jungle of
poisonous snakes
He knows what he doesn't want
to tell her
Perhaps losing his
bark dog naps
The best part engage her on
Sage with a heart
The fruit her
flesh and blood
The blood on his finger
Her medicinal herbs
of China
The mason spice jar is empty
The full heart needs his half
Cream of the crop
Careless love accidentally
spice dropped
Sensual Chin like pine needles
The exception to the rule more leaders
Remember Every September
to leave your scent
We all have needs we want
Drinking all the flavors of Snapple
*Big waves of the ripple don't you
love her amazing dimples
Sage spice mighty divine but when its mixed love can be jinxed watch out. But just keep singing her "Sage way" her garden is magnificent in every way just pray
Mikaila Sep 2018
It’s just easy for them
Isn’t it?
This couple on the train.
They walked on laughing together
Holding hands
And I felt that familiar something-
Not jealousy
Not envy
But...
Chagrin.
Astonishment.
Incredulity.
Incomprehension.
Looking at them feels like looking at one of those
Impossible pictures
Where the stairs keep going forever in a loop.
It’s just
Easy for them.

It doesn’t hurt anymore, that thought,
But thinking it feels so odd in my mind
When I can’t imagine loving someone without
Shame,
Without pain.
They fit.
These people,
They fit without having to carve anything out.
They fit without punishing each other.
They fit like puzzle pieces cut from the same board-
No worries, they just go together, and that
Is that.
They fit like
“Of course.”
Like breathing.
Neatly.
Simply.
Carelessly.

I can’t imagine what it’s like
I can’t comprehend it-
To fit
Somewhere
Much less to fit somewhere
With someone.
I am always trying to corset myself into this world,
Lungs burning,
Trying to remain small enough to squeeze by
Catching myself by the wrist to keep from reaching
For anything.
And if there seems to be a spot where I might be able to exist as I am

It is always

Occupied.

Like a shiny pinprick
That thought hurts-
Not like the others it is newly cut
And still ******.
The idea that maybe there is a home for me
And that maybe I was too late for it.

They’re laughing.
He says something clever,
Passes a hand along the small of her back
And she leans into it,
Smiling because she loves that he wants to touch her innocently.
They seem to exist behind glass.
Not for the first time I wonder
If I could just slip into that life
Like a drop into an ocean
I want it badly
I want it stupidly
And I examine all the parts of myself,
All the edges and cracks,
All the things I’ve worked so hard to protect and repair.
It is not a welcome sight-
I am not a home
I am like an old ruin
Full of murmurings and cold spots
Full of dusty sunlight.
I sigh,
Knowing the secret I keep so poorly-
That if I really had a choice to be otherwise
I would have already made it.

I couldn’t reach them if I ran for a thousand years,
They are too far away.
They walk off the train, arms linked
Talking about nothing
And I watch them go
Like a hallucination,
Like a mirage in the desert.

Her perfume smells like forgetfulness
And it lingers.
This is a poem about how it feels as a gay woman to see a straight couple on the subway.
A pair of stays to bind in fashion,

Stiff bodice lift those ample *******,

French sophistication and ***** south,

Linen lines taken from the robin's nests.




Once seen in times known to all Baroque,

Steel cages more true to the name,

Renaissance blushed at the very sight,

This hidden and blustering shame.




Georgian era was always that late,

Yet women united to sheer the skin,

Frills and cuffs were the new bloom,

The dowdy apron given to the bin.




Victorian, Edwardian seen a rise of empire,

When romance boasts the whale bone done,

Now scattered in all weddings and burlesque,

Dear Corset is set in memory to run and run.
a look at the binds of fashion
NeroameeAlucard Dec 2014
I was in trouble
And oh boy did I know it
I came home drunk last night
the hangover showed it

As I crawled out of bed, headache splitting my eyes
I saw my wife with that "I love you but I'm going to **** you" vibe,
but she held it in and on her face a look of concern was her guise

I hurled for about an hour
then my stomach settled down
I looked for my wife
but she was nowhere to be found
I drank some water, and soon after hit the floor
before I slipped into unconsciousness
I saw my wife come through the door

I woke up, and took in my surroundings
I was in a dark , medium sized room
caged in, and the floor was concrete..
And in walked my wife, with a crop and a corset on that hourglass body, she looked ready for a pounding

I wondered.. what the hell was going on?
how did she know I wanted to try this...
when did I let it on?
She walked into the room, I was tied to the bed,
but before whacking me, she surveyed me instead
She walked slowly around me
My eyes drinking in her features,
She whacked me in my chest and said
Look here boy, I'm going to tease you

She slid the corset down, showing one ****** off,
I was now hard where I once was soft
She licked herself slowly
Me getting aroused all the more
I knew my wife was the experimental type
but even she didn't know what was in store

She slid those ******* down
My God she was so wet
She slid her finger inside and said
"Nope, you can't have this yet"
I shook with anticipation. Pleading with her through my eyes
She remained adamant and continued weaving an arousing web, all truth here, I can't tell any lies.

She slid my pants off my legs
And threw them to the floor
She got on top of me and yelled
today you're my personal manwhore!
with that I found myself inside,
bouncing on my cxck
I had never seen her this aggressive
it came off as quite a shock

After an hour and hundreds of welts later
it Appeared she was done with me
that's when she layed next to me and whispered

"Happy Anniversary"!
Hmmm ;) one hell of a gift!
Mateuš Conrad Nov 2016
.i. if Kant could have his von Kleist... well... who else to juggle juggernauts if not me? as a task of redeeming that poor soul who succumbed to the terminator of all poetic ambitions, with his systematisation off-the-page, as eccentric and punctual as a sunset on a sundial at 16:11... and in case either the spring of sunrise, or the autumn of sunset... but so many hours after exacting a sunset... that gluttony of the eyes to stare at it... 16:11 is the zenith of a sunset in november the 15th... much prolonged when warmer... supersized sun when setting in summer, and all that whiskey-copper wiring for the eyes to stare at it: oh for goodness sake, who really cares for Ikea likened assembling of words... we're not putting together a coffee table, we're looking for Darwinistic entrapment, we're scared of the aeons and yawns... we're trying to create a Darwinistic entrapment saying what segregates us from apes! that's how anti-Darwinism works - if they can easily call you a poet and a technophobe... then that hardly makes you a merchant with a Quran... to encapsulate the language of our modernity we're doing everything against writing the onomatopoeia of our beginning... monkey ooo! monkey ooo ah ah! or a gorilla grunting and then snorkeling... we're encapsulating our language more and more... because beginning with ape and then looking at history, and then looking at the consensus of the contemporary: Darwinism's greatest enemy is not theology... it's history... Darwinism and history are not compatible... oddly enough Darwinism and theology are compatible, simply because they are dynamically equal for the case of furthering both arguments in debate... but Darwinism is an odd starting point to argue, given that physicists argue from the perspective of prior to dinosaurs, prior to all things formed.

how can i begin this? it will leave me having to
write it for two days,
the anti-narrative sketch first, then filling in
the gaps sober... just to get second opinions...
i might have to cook a quasi-Hungarian borscht
and fry up a few potato flattenings to a crispy
yum... first the narrator comes in to describe what's
in store, a bit like a translator comes in and says
of Joyce: that's Irish... well, yeah.
               hence the italic preface...
as some would say, the person who wrote these
sketches worked quicker that an algorithm in asking
and also quicker to copy & paste the required
atomic encoding... e.g. ч and ch
                   э and euro and epsilon...
      once upon a time there was nothing prior
to Copernicus, then the somersaults came,
    h ч y        what coordinates where?
    well of course perfecting the encoding of something,
if things weren't stated awry there would be
no optometrists either...
                  it's not hard to read, it's hard to
remember how to read, given that being literate reached
the omnipresent velocity, the new powers had to
include some new power struggle...
mingling Latin and Runes, Greek and Cyrillic...
     and the proto-Latin of additional diacritical marks...
they exposed the entirety of humanity to literacy
within the framework of post-industrial society,
after hitchhiking a ride on the 19th century donkeys
they suddenly had to reveal their power-secret of
being literate, and by the account of women:
corset bound and bored in salons...
      but something else appeared that didn't really fascinate
them: that over-complication of Latin with
punctuation marks above letters: or diacritical
distinction, crowns over letters, subatomic particularisation
of once favoured: universal applicability...
as a narrator? i have to make a complicated
introduction, the sketch lends itself to do so,
it suggests that not all writing can be as simple as
a nursery rhyme, not all writing can actually
    **** memory, not all writing desires being remembered,
not all writing can be remembered,
                in the mediation of the two chiral opposites
there's fiction, which is suspended in an armchair of
pleasurability... but on the opposite side of a nursery rhyme
or a well versed poem? writing akin to arithmetic...
  something truly painful for those competent with
lettering, but not really competent with ten digits...
      as a narrator who has already read the sketch,
i'm trying to not write a "filling in the gaps" to the sketch
like an art-critic might do to a painting deviating from:
brushstrokes were employed. well... d'uh!
variation of italics as in transcending the pause that
implies a condescending variation of taking a pause,
also excluded are: dot, comma, hyphen, semicolon
and colon.                         dot-dot-dot is not joining up
the dots: it implies a variation of how to anticipate
a punchline: drummed: tu-dum wet snare!
     i am actually a narrator who is trying to find
that other part of me that might digest this sketch properly,
     and return fully competent to pick up another
sketch... if ever there was a narrator in this sketch,
it has to be me, after the sketch has been scripted,
and i am left to suggest a need for a dot-dot-dot connectivity
of the strokes of the pen...
i warned myself: do not overdo the introduction in italics,
you know how picky people are...
whether pickled pineapple of cucumber...
i swear Turks invented pickling chillies...
         oh look! an inflatable gazebo filled with helium!
no one's laughing: only because i didn't mention vegina.
narrative puritanism? you get distracted a lot...
but this sketch is really a thesis for narration,
all i have to do is find the antithesis of narration in it:
an actual narrative!          it stretches for ~30 pages...
   well that's me turned archaeologist with a Grecian urn
with a snap of the finger... because that's how this
sketch looks like: ancient -
                         but understandably modern.
              so .  ,  - and ;
        were racing... out came the world record
             9.58(0)         the full-stop is the bracket-bound
0... i.e. it actually happened: hence the pinpoint...
or in Formula 1 a timed nonsense of ave. m/ph
     noted to three decimal points: 130.703...
                                    or chicane cha chicane cha cha!
as said, this is an actual representation of a narrator
encountering this sketch: so before you lose your head...
i've lost mine!
  look at the correlation though!
we've gone way past atoms with the atomic bomb
and encountered subatomic particles...
    we're not going to get beyond subatomic particles
because we're going to encounter the already apparent
reality of obatomic particle: namely our bodies,
   the perceived ******* (ob- is the antonym
                                                  prefixation of sub-):
             that's were the microscope adventure ends,
    and this is parallel to cutting up a second with
three decimal points, as the safetynet suggests:
                                                              π / 3.14;
yep, the obstructive - hence we can't spontaneously
combust... but then again Goethe's Werther did:
  out of love... down the spiral: you sweet little *******.

~ii. i'm actually too lazy to write the sketch and fill
in the blanks... so i'm going to fill in the blanks as i go along,
  or that's what's called the rebellious stance of narrator: mmm,
work in progress, could you see that coming?


ii. a beer in between glugs of whiskey - runes
combined in the ******* / sigma, variant of agliz or
the rune-zeta extended toward a dark shadow of the rebirth
of Ishrael: zoological enclosure; sigma *******
sigma ******* sigma *******, sigma *******...
rune-zeta... we cannot say there are ******
mathematicians and poets akin,
not then one optic encoding states
     a b c d e
         another states f u þ a r
yet another а б (ρ) в г
  α β γ δ:
for worth of gamma into a trill only because of
   a wave, that's ~ approx. on the side of the letter
   e.g. г & r.
   or rho upside down? what the ****?
did Voltaire write this? reading Candide,
i hope he ****** did!
you the problem is pixelated paper? if you know
how you enter a deciphering mode...
                    but you require a personal library to boot,
all that dos formatting,
                       well there's formatting in the humanity
outstretch of this white medium too...
after it isn't all ******* white when all the psychiatric
pills are white too... i have really found something better
than the Bermuda Δ...
       Greek, Latin, Cyrillic and Runes...
i could say neo or proto otherwise,
but i still haven't unearthed the sketch, that
is probably puzzling the Danes, with Cnut on the forefront...
                    but the arrangement of numbers is universal,
but it's not universal, given the particularity of
how language is encoded and why some people are
richer than others...
            but it's still a beer between glugs of whiskey that
makes more sense...
i said, retype the sketch and go to bed...
and i figured: that's probably the wisest of all possible
events stemming from this...
    that's ~27 pages of notes to retype... and i'm already
in a disclosure mode as to expect what's to be jargoned...


p. 1        cкεтч       /      σкεтχ
   necessity of                        (acute
a-       -the           (ism)
is that of language structure,
          only from the use of one's language does
a deity present itself: from within the noumenon
ground work, not the reverse, as in from
(pp. 2, 3)
                 a phenomenological exercise in
the use of language: Islam, Christianity, Buddhism, (etc.)...
       e.g. Islam is a phenomenon,
  it's not a noumenon: or a thing-in-itself...
  for the Islamic god to emerge from Islam's-in-itself
Islam will have to prevent itself from being-outside-itself...
or overpowering other in-itself contentions
but still: to no apparent success narrative of true intention
as satisfactory appropriation and hence lending itself
to a widespread nod of approval.
  challenging space: word compounding, or the space
between conjunctional deficiencies: nod-of-approval (e.g.).

p. 2    concussion (great film, Alec and Will, 2015, NFL)
concussion... Blitzkrieg Alzheimer's....
brain is fat.... dementia = attacking proteins...
  steroids... the noumenological use of language:
e.g. that ****** is an enigma,
therefore his views will not go viral,
and he'll not become fashion trendy...
it's not individualistic idealism, it's reality.
as will die sonne satan - orbis reach more than 5K
views... so... clap clap... clap, clap.
           what i meant about the a-     and -the
and the ism is following a sentence that sort of
does away with conjunctional fluidity,
apart from the big words, i treat all minor words as
categorically conunctional... and, the, a, is, to, too...
given the sentence: brain fatty *****,
brian organic giraffe wall... ******* hieroglyphic...
           stood above the rest, rest assured.
  dementia: invading protein cells
   (bulging prune of the opportune: purely
digestion?) no thought to eat or eat itself like,
cannibalistically. the brain is fatty...
not fat in muscle for mmm, schmile and flex
for the selfie. how about a protein inhibitor?
(by now, rewriting the sketch, i've lost the page count,
it's actually p. 5 of note paged toward 27).
how about the explanation that we're living in
times of post-industrialisation and thanksgiving
feminism? to me post-industrialisation has created
a class of meaningless white-collar workers
and no blues... it's what the Chinese blues call
the Amazonian nomads: ******* happy...
no amount of crosswords or sudoku will exert
your body to do things for others...
   no amount of mind games will actually tell your
brain to be equipped with: a bunch of hyenas... run!
dementia is a result of creating too many
white-collar jobs (thanks to feminism)
and exporting the blues to China (thanks to feminism
and: oh i broke a nail, can i get a Ching plumber to
fix my heating while i get a ****** to **** me up my
****?!) - maybe i'm just dreaming...
it's great to censor dreaming, i mean: you stop dreaming,
you get to see reality, and you don't even need to
read Proust on a ricochet.
  - so we have brain as fat, and invader cells as protein...
protein digests fat... and creates cucumbers out
of people... where do the carbohydrates come into play?
it can't be at the point of a.d.h.d., can it?
     i'm blaming post-industrialisation, the complete
disappearance of the blues (formerly known as the reds,
in the east) for the whites...
or that old chestnut of: my god you're goon'ah luv it!
   to till for worth from the sweat of yer brow -
funny funny funny... to earn your loaf of bread
you will toil...
                   and toil until you are physically assured
that not ghostly / mental life can enter your world /
books... that went well... didn't it?
   i should be tilling a potato plateau rather than
be bound to be writing this epic (by modern standards)
poem...
             but that's the curse of exporting all the blue
collar jobs to China, then importing mindless
white collar jobs to the west, what the hell do you think
would happen, not the pandemic of dementia?
if you do not exert the body, and then you do not
exert / exhaust the mind... do you think
you can secure a narrative with a post-industrial
westerner on the premise of that person simply being
able to solve a crossword? well... i believe in santa
claus too... but i don't believe in him giving out
presents... because to me, in my oh-so-called maturity
that's called an anagram of satan's clause: which is a legal
term for: i can turn civilisation into shrapnel
of what's said and what's to be said: and what's not to be
said. people can't expect to turn honest labour
for the recreational run on the treadmill in a gym...
and they can't expect photocopying in an office space
to replace Newton's curiosity, and then compensate
all this distraction with mind-games...
          can they? well... they did!

poets are gagged by writers of prose,
no wonder they write so sparingly,
      they are gagged in the sense that they write
as if asphyxiated: they need breathing room.


well sure, if he can revive the Polish steel industry
and i can go back to steel plates and pillars,
then the rust belt will get a polishing also.

or what's called: shrapnel before the waterfall of
narration: darting eyes, and poncy **** all the way through...

     muse... muse...

        well, how about we take the fluidity out of language?
declassify certain words into one grammatical broth,
say words like i and they
                              a  and the    are all conjunctions?
how about that? let's strip it bare, after all: what categories
of words exist for us to primarily speak (let alone think)?
     nouns, verbs, adjectives... adverbs?
       but all those words in between are so jungly classified
into a tangle that i'm about to sprout a handshake
          of a Japanese vine grip: and never let go...

an actual extract from the sketch:

      https that doesn't recognise UCS
                   and insists on IPA cannot be deemed
       encyclopaedic


              i need runes for this! i need runes for this idea!
i don't need transliteration right now...
                but hey! that's an idea, etymological transliteration...
bugly term, sure, but the previous night i was thinking
  of transcendental etymology, as you do, likened to
carbohydrates... so it was transliteration after all...
but a dead end when it comes to geometry and Pythagoras...
      
    three words... and they are computerised (i guess you
have to buy a decent book to decode this), a bit like
buying paint in a d.i.y. shop...
       16DE (dagaz / d) 16DC (ingwaz / ŋ / grapheme of n & j)
                  16DF (ōþala / Valhalla / o / ō = oo),
in total d'njoo / d'nyoo - even i concede the fact that this
is a ******* mind-******... it's a ****** congregation of
four optic encodings of phonos... i moved away from
the ancient greek fetish for the logos... i'm looking at
the phonos... not the logos with Heraclitus et al.
               φº θ þ фª f

ªgreek
  ºcyrillic                ever see a prettier pentagram?
                      i haven't.

(false original title:
škic / cкэтч / φº θ þ фª f: thespian pandemic - pending)

looking at the phonos is painful, actually painful,
it's like reading a book with a myopic pair of glasses:
a ******* aquarium blurry right there, befor...

- - - - - - - - - - - - - - - - - - - -

'e'? were you: was i, looking for an 'e'?

i can say this much...
what do you get when you mix a shot
of whiskey with a shot of bourbon:
i'm moving between bottles...
it's nearing christmas eve and i'm a ripe
taoist... i.e. i better this world:
by not having the world mind me...
on the odd occasion: oh... you're still here?!

yeah... i'm still here... i have glued-to-fascination
with my shadow... i'm just waiting
for the atom bomb to relieve me of a body
but ensuring my shadow is kept intact...
as if it were a Monet signature on a wall...

but i lament... the momentum has vanished...
i don't even know why i'm so idiotic as
to presume that: from the hour 22:00GMT
to the hours 00:00 circa 00:30GMT...
something will land into my lap,
my lisp... my cranium the oyster shell
my tongue the oyster...

it will not... i can't simply **** anything into
an existence that doesn't want to exist...
perhaps lurking in a canvas of:
"lost luggage" in an airport...
perhaps "there"...
i could be excused my... lethargy...

when was this written? back in 2018?
so i was thinking about teasing cyrillic even then?
wasn't i?
sketch cкэтч or?

what do you get when you mix a shot of whiskey
with some bourbon?
a Burguandian whisker...
i am not going to sound witty...
Ron's key...

that's still a cyrillic "or"... isn't it?
шкиц: škic...

i'm... deflated... nothing "new" has come my way...
i would have thought that...
reading some Knausgård would have /
could have... invigorated me:
reading him was supposed to be my:
dialysis my transfusion!
my zombie-go-to-literature...
it has proven an exhaustive enterprise
to begin writing again:
i became too comfortable
in reading - i almost forgot
the agony of writing...

alas... a contemporary of mine...
and someone well adjusted to prose...

notably: who would have thought
that death in june - the calling (MK II)
was something to be recorded in 1985...
for one: i wouldn't...

but i did begin: back in november 2016...
begin what? to tickle the cyrillic alphabet...
which is way before i discovered my reply
to the runes... to the ancient greek...
and this... "ancient", ahem... still in use...
latin script...

that script that went into the molloch couldron
of being invested in to code...
pristine as the hebrews cited:
how many holes in it?
to write onto a canvas of 0?
q Q R O o p P A a D d g b B...
which leaves...
W E T Y U I S F H J K L
Z X C V N and M "out of the equation"...

škic / cкэтч / φº θ þ фª f: thespian pandemic (pending):
i better rename it as... circa 2016...
that's way before i even acknowledged
the cyrillic text applying diacritical markers...
i thought them too crude at the time...

beside borrowing outright from greek...
the already at hand oddities of glagolitic,
notably: Ⱎ...Ⱋ...

it's only a single word i'm using...
i have abandoned all notions of metaphysics
in favor for orthography...
i'm not going to burden myself
with: what's after the physics...
i'm after: what's now...
in the respective tongues...
2 tongue deviations from
the original latin and greek...

what came with the runes and what
came with the glagolitic scripts...
what was ****** and had to succumb
to inter-breeding...

come 2020... i will have one clarification
to base my existence on...
pronouncing the growth of my ****** hair...
i will hope to aim at a length of beard
that will forever hide the neck...
i will aim at... somewhere to the level
of my heart... when i will then manage
to turn my beard into an orchestra's
nieche of violins when i procrastinate with it...

since 2016...
i have identified russian in ******...
i've seen it... finally!
зъaрт... i.e. żart
and the "hard sign" becoming a "soft sign"
in źrenica: зьрeницa...

i still think the russian orthography
is... as... primitive as the western slavic...

after all... зъ = ż...
зь = ź...
the balkan slavs have a caron...
which is neither a hard or a soft sign / acute...

their caron is... ч (č) or cz...
CHeaper in english...
and their caron is ш (š) or sz...
SHeep...
or the two together...
and always шч (šč): szczekam...
i'm barking...

pu-shch-air... a rare example in english
of the puщair...
but then lookie lookie 'ere:

CZACHA... skull...
ЧAХA...

perhaps this is my "revenge ****" on russia?
hey! boris the kremlin mascoot...
come and 'ave a look...
with how i disect your orthography
on the / with the language that asks
too many metaphysical questions and no
orthographic curiosities!

i'll meet you in Warsaw... given that you're
probably moving from Novosibirsk...
and i'm either in Stockholm...
Edinburgh or the outskirts of London:
Warsaw will be halfway for both of us...
you don't have to like Warsaw...
i only like it when the Ukrainian smugglers
and the Mongols appear
in the West Warsaw coach station...

smart as who? i am discovering this for
the first time myself...
i was only teasing it back in 2016...
way before i found the right sort of accents
in mother russian...

i do know that that crescent oddity:
above the ja: йa... is what it is...
if you only cut off the head in english... ȷ...
again: it's я given that most russians
are pulled toward an anglophile world-view...
they all see the window to europe...
the baltic and st. petersburg is somehow...
London... and the atlantic...
like hell it is...

i guess i feel it was a waste of time to
have re(a)d Kant, simply because:
i'm not here for the schematics...
i want to know how my thought my labyrinth
building architecture is coming along...
but with no one to talk to about it?

i found the categorical imperative most
dissatisfying... i didn't want to abide by universal laws...
poetry is already shoved out of waiting room
of the republic...
if my "poetry" is not a categorical imperative...
and it's not quiet a a hypothetical imperative...
it needs to be sharpened on a thesaurus
and some grammar...

categorical (adjective)... imperative (adjective)...
well two adjectives never imply much
if there's no noun involved...
and i'm pretty sure that... if i sharpen
the next word i'll compound with categorical-
in that hyphen construct that's only
allowed in oxford dictionary english:
since it's not: propergermannonhyphenfaustian:
i.e. carboxylic (carbo-xylic) acidity...

poetry doesn't belong in either
the categorical imperative focus...
nor the hypothetical imperative focus...

i.e. i must write a poem... to feel better...
i must write a poem... to organise my thoughts...
no! a poem is not a maxim is not a categorical
imperative! a language of poetry is not
a language of morality: it's a language
of experience - or a lack / a lackey's "sentiment"...

i need a... categorical: impetus!
it's not enough to have read kant's critique of pure
reason... it must also involved
having re(a)d the: groundwork of
the metaphysics of morals...
but i'm a democratic reader...
i need to hear the other voices...
i can't be a kantian scholar...
a snippet 'ere, a snippet v'ere (funny how
THETA disappears when making the posit:
THERE - ver!)

who needs metaphysical absolutes...
when orthography (or a lack of it)
in english... spreads open its legs...
and the tongue remembers its tongue-brain-phallus
stage of co-existence in the oyster?!

i'm pretty sure that a categorical imperative
is by no means a categorical impetus...
this had to be written,
but it had to be written in order to disregard
anything a priori... prior to it...
a poem is a shady concern for action or inaction...
it's a deviation from the cartesian crux:
res cogitans (thinking thing)...
into the cartesian levy (res extensa)...
it's an action of inactivity...
as much as it's an inactive activity...
"the rest"...

impetus is not an imperative...
an impetus sources its meaning in a per se
investement... of itself - in itself - for itself...
an imperative?
in pronouns... impetus: i want... i will...
imperative? you want... you will...

an impetus is self-dictative...
an imperative is: indicative...
someone would rightly claim...
those that mourn indicatively...
will don the right garments for the process
of mourning...
which is indicative and devoid of
the per se manifestation of mourning...
it is an imperative when compared to
the impetus to mourn -
which is self-dictative...
which does now shallow itself in
grief by making a socially agreed to fiasco
of a very specific choice of wardrobe...

basically: however you like it...
an IMPERATIVE ≠ IMPETUS...
the year is almost over and i want to break-off
the dust from the thoughts that fudge-packed themselves
as worthy of occupying the minor instance
of having to count a depth of:
not dead within the year of being written.
judy smith Dec 2015
As a Sports Illustrated model it's no secret that she has the ability to turn heads.

So as Hannah Ferguson marked day 30 of LOVE magazine's video advent she did so in smouldering fashion to ensure her debut was not easily forgotten.

Showing off her moves to the sound of Drake's Hotline Bling, the 23-year-old owned the shoot as she cavorted in a slashed corset dress.

Whipping her hair back and forth, Ferguson appeared to forego underwear beneath the daring form fitted number.

Becoming the definition of sensual, a pair of sheer stockings and Giuseppe Zanotti black patent leather lace-up stilettos completed the cover girl's look.

With her hair worn in its natural state, the beautiful blonde's striking blue eyes are lined with kohl liner while her pout is coated in a shade of **** lipstick.

Preened to perfection, the two minute clip is formatted in slow motion as the Texan beauty, who resides in the Big Apple, seductively gyrated on the floor.

In the film Hannah also displays her comical side as she flashed her pearly white while attempting to do the 'Stanky Leg' dance.

Ferguson's debut sees her join the likes of Kendall Jenner, Cara Delevingne, Rita Ora and Adriana Lima who all featured in the 2015 edition of the online countdown to the new year.

The LOVE magazine advent calendar, now in its fifth year, has seen an influx of 8.2 million views since launching on December 1.

read more:http://www.marieaustralia.com

www.marieaustralia.com/formal-dresses
A pair of stays to bind in fashion,

Stiff bodice lift those ample *******,

French sophistication and ***** south,

Linen lines taken from the robin's nests.




Once seen in times known to all Baroque,

Steel cages more true to the name,

Renaissance blushed at the very sight,

This hidden and blustering shame.




Georgian era was always that late,

Yet women united to sheer the skin,

Frills and cuffs were the new bloom,

The dowdy apron given to the bin.




Victorian, Edwardian seen a rise of empire,

When romance boasts the whale bone done,

Now scattered in all weddings and burlesque,

Dear Corset is set in memory to run and run.
Just my take on women's fashion through the ages, well one small part of it anyway - have fun!
judy smith Sep 2016
WHEN Kylie Minogue began the process of tracking down 25 years of costumes and memorabilia for an exhibition on her (literally) glittering stage career, she had one crucial call to make.

“There were a few items the parentals were minding,” laughs Minogue. “I, too, do the same thing as everyone else: ‘Mum, Dad, can you just hold onto a few things for me?’ It’s just lucky they weren’t turfed out from under their watchful eye.”

Kylie On Stage is the singer’s latest collaboration with her beloved hometown’s Arts Centre Melbourne. She’s previously donated a swarm of outfits to the venue, going all the way back to the overalls she wore as tomboy mechanic Charlene on Neighbours.

This new — and free — exhibition rounds up outfits starting from her first-ever live performances on 1989’s Disco in Dream tour. Still aged just 21 and dismissed by some as a soap star who fluked a singing career, Minogue found herself playing to 38,000 fans in Tokyo, where her early hits “I Should Be So Lucky”, “The Loco-motion”, “Got To Be Certain” and “Hand On Your Heart” had made her a superstar.

“From memory, I was overexcited and didn’t really know what I was doing. I just ran back and forth across the stage,” says Minogue of her debut tour.

Disco in Dream also premiered what would become a Kylie fashion staple: hotpants. “Those ones were more like micro shorts, not quite hotpants, but they started it,” she admits. “There were also quite a few bicycle pants being worn around that time, too, I’m afraid.”

That first tour stands out for one other reason: Minogue officially started dating INXS’s Michael Hutchence at some point during the Asian leg.

“I had met Michael previously in Australia, but he was living in Hong Kong [at the time] and I met him again there. The tour went on to Japan and he definitely came to visit me in Japan.”

Fast-forward from Minogue’s very first tour to her most recent, 2015’s Kiss Me Once, and the singer performed a cover of INXS’s “Need You Tonight”. She remembers first hearing the song as a teenager. “I don’t think I really knew what **** was back then,” notes Minogue. “But that’s a **** song.”

Before the Kiss Me Once tour kicked off, the Minogue/Hutchence romance had been documented in the hit TV mini-series Never Tear Us Apart: The Untold Story Of INXS. Minogue said then it felt like Michael was her “archangel” during the tour — “I feel like he’s with me.”

Her “Need You Tonight” costume was also deliberately chosen to reflect what Minogue used to wear when she was dating the rockstar. “It was a black PVC trench coat and hat,” she says. “I loved that. It just made so much sense for the connection to Michael. I literally used to wear that exact same kind of thing, except it was leather, not PVC.”

By 1990, Minogue’s confidence had grown, something she’s partially attributed to Hutchence’s influence. Before her first Australian solo tour, she performed a secret club show billed as The Singing Budgies — reclaiming the derisive nickname the media had bestowed on her. It would be the first time her success silenced those who saw her as an easy target. Next year marks her 30th anniversary in pop; longevity that hasn’t happened by accident.

Minogue’s career accelerated so quickly that by 1991 she was on her fourth album in as many years and outgrowing her producers, Stock Aitken Waterman, who wanted to freeze-frame her in a safe, clean-cut image.

On 1991’s Let’s Get To It tour of the UK, Minogue welcomed onboard her first major fashion designer — John Galliano. He dressed her in fishnets, G-strings and corsets; the British press said she was trying too hard and imitating Madonna at her most sexed-up.

“Of course those comparisons were made, and rightly so. Madonna was a big influence on me,” says Minogue. “She helped create the template of what a pop show is, or what we came to know it as, by dividing it up into segments. And if you’re going to have any costume changes, that’s inevitable.

“I was finding my way. I don’t think we got it right in some ways, but if I look back over my career, sometimes it’s the mistakes that make all the difference. They allow you to really look at where you’re going. I’m fond of all those things now. There was a time when I wasn’t.

“Now I look back at the pictures of the fishnets and G-strings I was wearing ... Maybe the audience members absolutely loved it, maybe they were going through the journey with me of growing up and discovering yourself and your sexuality and where you fit in the world.”

As the ’90s progressed, Minogue started experimenting with the outer limits of being a pop star, working with everyone from uber-cool dance producers to indie rocker Nick Cave.

Her 1998 Intimate And Live tour cemented her place as the one thing nobody had ever predicted: a regular, global touring act. Released the year prior, her Impossible Princess album had garnered a credibility she’d never before enjoyed. But more credibility equalled fewer record sales.

The tour was cautiously placed in theatres, rather than arenas. Yet word-of-mouth led to more dates being added — she wound up playing seven nights in both Melbourne and Sydney, and tacking on a UK leg. All received rave reviews.

The production was low-key and DIY: Minogue and longtime friend and stylist William Baker were hands-on backstage bedazzling the costumes themselves. The tour’s camp, Vegas-style showgirl — complete with corset and headdress — soon became a signature Kylie look, but it was also one they stumbled across.

“I remember the exact moment: the male dancers had pink, fringed chaps and wings — we’d really gone for it. I was singing [ABBA’s] “Dancing Queen”. I did a little prance across the stage and the audience went wild. I thought, ‘What is happening?’ That definitely started something.”

Then came the “Spinning Around” hotpants. Minogue couldn’t wear the same gold pair from the music video during her 2001 On A Night Like This tour — they were too fragile — but another pair offered solid back-up.

“That was peak hotpant period,” says Minogue. “Hotpants for days.”

After the robotic-themed Fever 2002 tour (featuring a “Kyborg” look by Dolce & Gabbana), 2005’s Showgirl tour was Minogue’s long-overdue greatest hits celebration.

Following a massive UK and European run, her planned Australian victory lap was derailed by her breast-cancer diagnosis that May. Remarkably, by November 2006, Minogue was back onstage in Sydney for the rebooted Showgirl: The Homecoming tour.

“I look at that now and I’m honestly taken aback,” she admits. “It was so fast — months and months of those 18 months were in treatment.”

Minogue now reveals her health issues meant she had to adjust some of the Showgirl outfits: “I was concerned about the weight of the corset and being able to support it. I was quite insecure about my body, which had changed. For a few years after that I really felt like I wasn’t in my own body — with the medication I was on, there was this other layer.

“We had to make a number of adjustments,” she adds. “I had different shoes to feel more sturdy ... It was pretty soon to be back onstage. But I think it was good for me.”

The singer’s gruelling performances involved dancing and singing in corsets, as well as ultra-high heels and headdresses that weighed several kilos.

“A proper corset, like the Showgirl tour one, is like a shoe,” she explains. “It’s very stiff when you first put it on. By the end of the tour it was way more comfortable. The fact it made it quite hard to breathe didn’t seem to bother anyone except for me. But it was absolutely worth it. I felt grand in it.

“It took a while to learn how to walk in the blue Showgirl dress,” she continues. “I had cuts on my arms from the stars that were sticking out on pieces of wire. You’re so limited in what you can do. You can’t bend your head to find your way down the stairs.

“Whether it was the Showgirl costume or the hotpants, or the big silver dress from the Aphrodite tour [in 2011] that was just ginormous, they all present their own challenges of how you’re going to move and how you’re going to do the choreography. There are times the costume can do that [figuring out] for me; other times I really have to wrestle with it to do what I need to do.

“But you’re not meant to know about that,” she adds, “that’s an internal struggle.”

Minogue has spent much of 2016 happily off the radar, enjoying the company of fiancé Joshua Sasse, 28. She gets “gooey” talking about her future husband, whom she met last year when she was cast opposite him in the TV musical-comedy series Galavant. He proposed to Minogue last Christmas.

Just like the “secret Greek wedding” that was rumoured but never happened, reports of summer nuptials in Melbourne are also off the mark.

“I hate to let everyone down, but no,” she says. “People’s enthusiasm is lovely, we appreciate that, but there are no wedding plans as yet. I’m just enjoying feeling girly and being engaged.”

Minogue will be in Queensland next month filming the movie Flammable Children. The comedy, set in 1975, features her former Neighbours co-star Guy Pearce and is written and directed by Stephan Elliott (The Adventures Of Priscilla: Queen Of The Desert ).

“It’s Aussie-tastic,” laughs Minogue. And she is also planning a sneaky visit to check out her own exhibition when she’s back in Melbourne.

“I’ll probably try to move things around the exhibition,” she says. “And they’ll probably tell me off: ‘Who’s that child playing with the costumes?’”Read more at:http://www.marieaustralia.com/formal-dresses-sydney | www.marieaustralia.com/formal-dresses-2016
Corset Sep 2015
Candle Magick
A Poem by Corset


My Latina Coworker
sat across from my desk;
heartbroken that her lover
wanted to try again with his wife;
pulled out a brown paper sack
and asked me if I believed
in hummingbird candle magick,
and then proceeded to tell me
how to cast a love spell.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

I told her I believed
in the power
of mind to shape her
universe.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Two days later she's snap
chatting her married lover
again, has been unblocked
and has now switched
to candles of *******.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

My dog has diarrhea
and is blowing holes
through the walls of her
crate,
I must have lit the
wrong kind or color
of candles.

© 2015 Corset
Truth is sometimes stranger than fiction
tufa alvi Jun 2014
This corset of mine, keeps on to
stick, pounce, slip over me..
This drape of mine,
keeps slipping of my body..
Cinzia Mar 2018
I'm trapped in the rhythm of the sonnet
a partnership I chose all by myself
I found the bard's hat and chose to don it
but did not see his shackles on the shelf

of all the paths I've chosen and regretted
I feel this should be easiest to fix
by me this road is only lightly treaded
old mangy dog learning still older tricks

I care no more for forms which close my heart
I'd rather open up and set it free
this stricture doesn't merely stifle art
it's suffocating what's inside of me

even this couplet seems to have a cost
the corset is pulled tight and I am lost
Wrote this some time ago after a year of writing only sonnets. You'd think I'd do better after a whole year, but there you have it!
Angela Alegna Oct 2012
I am carved in scars
In stretches,  in mars and imperfections
Blood, sweat, thick skin.
Roots of strength and passion and pride
I will not trade my high mentality for your low approval
I am a queen of Africa

Untamed, ****** hair, color: opaque
Killed, straightened, whitened
Westernized, hypnotized, it's this way or the highway.
Bleached skin, egotistical chocolate, pale skin
Contacts in shades of green, blue, hiding murky eyes
Size 0, size 1, size 3, stop. Hips do lie, only flat and thin.
Push up bras, Barbie *******, corset waists.
Bikinis, mini skirts, cleavage, to hell with tradition.

I am carved in makeup
In luster, attention and perfection
No longer, blood, sweat, thick skin
Lost roots of strength and passion and pride
I have traded my high mentality for your low approval
I am no longer queen of Africa,
No longer queen of me.
judy smith Apr 2017
So you know you’re looking at two very different styles of dress, here. But precisely what decades? When did that waistline move back down? What details are the defining touches of their era? How long were women actually walking around with bustles on their backsides?

Lydia Edwards’s How to Read a Dress is a detailed, practical, and totally beautiful guide to the history of this particular form of clothing from the 16th to the 20th centuries. It tracks the small changes that pile up over time, gradually ******* until your great-grandmother’s closet looks wildly different than your own. As always, fashion makes for a compelling angle on history—paging through you can see the shifting fortunes of women in the Western world as reflected in the way they got dressed every morning.

Of course, it’ll also ensure that the next lackadaisically costumed period piece you watch gives you agita, but all knowledge has a price.

I spoke to Edwards about how exactly we go about resurrecting the history of an item that’s was typically worn until it fell apart and then recycled for scraps; our conversation has been lightly trimmed and edited for clarity.

The title of the book is How to Read a Dress. What do you mean by “reading” a dress?

Basically what I mean is, when you are looking at a dress in an exhibition or a TV show, reading it in terms of working out where the inspirations or where certain design choices come from. Being able to look at it and recognize key elements. Being able to look at the bodice and say, Oh, the shape of that is 1850s, and the design relates to this part of history, and the patterning comes from here. It’s looking at the dress as an object from the top down and being able to recognize different elements—different historical elements, different design elements, different artistic elements. “Read” is probably the best word to use for that kind of approach, if that makes sense.

It must send you around the bend a little bit, watching costume adaptations where they’re a bit slapdash. The one I think of is the Keira Knightley Pride and Prejudice, which I actually really enjoy, but I know that one’s supposed to have all over the place costuming-wise.

Yeah, it does. I mean, I love the BBC Pride and Prejudice one, because they kept very specifically to a particular era. But I can see what they did with the Keira Knightley one—they were trying to keep it 1790s, when the book was written, as opposed to when it was published. But they’ve got a lot of kind of modern influences in there and they’ve got a lot of influences from 30, 40 years previously, which is interesting to an audience and gives an audience I suppose more frames of reference, more areas to think about and look at. So I can see why they did that. But it does make it more difficult if you’re trying to accurately decode a garment. It’s harder when you’ve got lots of different eras going on there, but it makes it beautiful and interesting for an audience.

The guide spans the 16th to the 20th century. Why start with the 16th century?

Well, partly because it’s where my own interest starts, in terms of my research and the areas I’ve looked at. But more importantly in terms of audience interest, we get a lot of TV shows, a lot of films in recent years—things like The Tudors—that type of era seems to be something that people are interested in. That time is very colorful and very interesting to people.

And also because in terms of thinking about the dress as garment, obviously people wore dresses in medieval times, but in terms of it being something that specifically women wore, distinct from men’s clothes, I really think we start to see that more in the 15th, 16th century onwards.

Where do you go to get the historical information to put together a book like this? What do you use as your source material? Because obviously the thing about clothing is that it has to stand up to a lot of wear and tear and a lot of it doesn’t survive.

This is the other thing about the 16th century stuff—there’s so little surviving. That’s why that chapter was a lot shorter and also that’s why I used a lot of artworks rather than surviving garments, just because they don’t exist in their entirety.

But wherever possible, you go to the garments themselves in museum collections. And then if that’s proving to be difficult, you go to artworks or images, but always bearing in mind the artist will have had their own agenda, so they won’t necessarily be accurate of what people were actually wearing. So then you have to go and look up written source material from the time—say, diaries. I like using letters that people have written to each other over the centuries, describing dress and what they were wearing on a daily basis. Novels can be good, as well.

Also the scholarship that has come before, the secondary sources, works by people like Janet Arnold, Aileen Ribeiro. Really well researched scholarly books where people have used primary sources themselves and put their own interpretation on it can be really, really helpful. Although you take some of it with a pinch of salt, and you put your own interpretation on there, as well.

But always to the dress itself wherever possible.

What are some of the challenges you face, or the constraints on our ability to learn about the history of fashion?

Well, the very practical issue of trying to see garments—some of them I did see here in Australia, but a lot of them were in the States, in Canada, in New Zealand, so it’s hard to physically get there to see them. And often, even when you can get to the museum, garments are out on loan to other exhibitions or other museums. That’s a practical consideration.

But also, especially when I’m talking about using artworks and things, which can be really helpful when you’re researching, but as I’ve said they do come from a place where there’s more interpretations and more agendas. So if someone’s done a portrait and there’s a beautiful 1880s dress in it, that could have been down to the whims of the person who was wearing it, or the artist could have changed significantly the color or style to suit his own taste. Then you have to do extra research on top of that, to make sure that what you are seeing is representative.

It’s a fascinating area. There’s a lot of challenges, but for me, that’s what makes it really exciting as well. But it’s really that question of being able to trust sources and knowing what to use and what not to use in order to make things clear for the audience.

Obviously many of these dresses were very expensive and took a lot of labor and it wasn’t fast fashion—people didn’t just give it away or toss it when it fell out of season. A lot of times, you did was you remade it. When you’re looking at a dress that’s been remade, how do you extract the information that you need as a historian out of it?

I love it when something like that comes up. I’ve got a couple of examples in the book.

Well, it can be quite challenging, because often when you’re first looking at a piece it’s not obvious that it’s been remade. But if you’re lucky enough to look inside it and actually hold it and turn it round different angles, there’ll be things like the placement of a seam, or you’ll see that the waist has been moved up or down according to the fashion. And that’s often obvious when you’re looking inside. You can see the way the skirt’s been attached. Often you can tell if a skirt’s been taken off and then reattached using different pleats, different gatherings; that can give you a hint that it’s then been remade to fit in with a different fashionable ideal.

One of the key ways is fabric. You can often see, especially in early 19th century dresses when they’ve been made of these beautiful 18th century silks and brocades. That’s nice because it’s the first obvious clue that something’s been remade or that an old dress has been completely taken apart and it’s just the fabric that’s been used. I find it particularly interesting when the waist has been moved or the seams have been taken off or re-sewn in a different shape or something like that. It can be subtle but once your knowledge base grows, that’s one of the most fascinating areas that you can look at.

You page through the book and you watch these trends unfold and there are occasional sea changes will happen fairly quickly, like when the Regency style arises. But how much change year-to-year would a woman have seen? How long would it take, just as a woman getting dressed in the morning, to see styles just radically alter? Would you even notice?

Well, this is the thing—I think it’s very easy, when we’re looking back, to imagine that in 1810 you’d be wearing this dress and then all the frills and the frouf would have started to come in the late 1810s and the 1820s, and suddenly you would have had a whole new wardrobe. But obviously, unless you were the very wealthiest women and you had access to dressmakers who had the absolute newest patterns and newest fabrics then no, you wouldn’t have seen a massive change. You wouldn’t have afforded to be able to have the newest things as they came in. You would have maybe remade dresses to make them maybe slightly more in line with a fashion plate that you might have seen, but you wouldn’t have had access to new information and new fashion plates as soon as they came. To be realistic, there would have been very little change on a day to day level.

But I think also, for us now—it’s hard to see it without hindsight, but we feel like we’re fairly fluid in wearing the same kind of styles, but obviously when we look back in 20 years, we’ll look at pictures of us and see greater changes than we’re now aware. Because it happens on a slow pace and it happens on such a subconscious level in some ways.

But actually, yeah, it’s to do with economics, it’s to do with availability. People living in towns where they couldn’t easily get to cities—if you were living in a country town a hundred miles away from London, there’s no way that you would have the resources to see the most recent fashion plates, the most recent ideas that were developing in high society. So it was a very slow process in reality.

If you have a lot of money you can change out your wardrobe quicker and wear the latest styles. And so the wealthiest people, their clothes were what in a lot of case stood the best chance of surviving and being in modern collections. So how do we know what working women would have worn or what middle class women would have worn?

Yeah, this is hard. I do have some more middle class examples, because we’re lucky in that we do have quite a few that have survived, especially in smaller museums and historical collections, where people have had clothes sitting in their attics for years and have donated them, just from normal families over the years.

But, working women, that’s much more difficult. We’re lucky from the 19th century because we have photographic evidence. But really a lot of it will come down to written descriptions, mainly letters, diaries, not necessarily that the people themselves would have kept, but there’s examples of people that worked in cotton mills, for instance, and people that ran the mills and their families and wives and friends who had written accounts of what the women there were wearing. Also newspaper accounts, particularly of people who would go and do charity work and help the poor. They often wrote quite detailed descriptions of the people that they were helping.

But in terms of actual garments, yeah, it’s very difficult. Certainly 18th century and before, it’s really, really hard to get hold of anything that gives you a really good idea of what they wore. But in the 18th century—it’s quite interesting, because then we get examples of separate pieces of clothing worn by the upper classes, like a skirt with a jacket, which was actually a lower middle class style initially and then it became appropriated by the upper classes. And then it became much fancier and trimmed and made in silks and things. So then, we can see the inspiration of the working classes on the upper classes. That’s another way of looking at it, although of course that’s much more problematic.

It’s interesting how in several cases you can see broader historical context, or other stories happening through clothes. Like you point out that the rise of the one-piece dresses is due to the rise of mantua makers, who were women who were less formally trained who were suddenly making clothing. Are there any other interesting stories like that, that you noticed and thought were really fascinating?

There’s a dress in the book that a woman made for her wedding. I think she was living on her own, or she was living with a servant and her mother or something. She made the dress and then turned up to her wedding and traveled quite a long way to get there, and when she arrived, the groom and all the guests weren’t there. There was nobody. So she went away and came back again a week later, and everyone was there. And the reason that no one was there before was that a river had flooded in the direction that they were all coming from. She had obviously no way of finding out about this until after the fact, and we have this beautiful dress that she spent ages making and had obviously gone to a lot of effort to try and work out what the latest styles were, to incorporate it into her wedding dress.

Things like that, I find really interesting, because they talk so much about human and social history as well as fashion history, and the garment is the main way we have of keeping these stories alive and remembering them and looking into the kind of life and world these people lived, who made these garments.

Over the centuries, how does technology affect fashion? Obviously, we think of the industrial revolution as really speeding up the pace of fashion. But are there other moments in the history of fashion where technology shapes what women end up wearing?

One example is where I talk about the Balenciaga dress from the early 1950s—with a bubble hem and a hat and she would have worn these beautiful pump shoes with it—with the introduction of the zipper. Which just made such a huge difference, because it suddenly meant you’d have ease and speed of dressing. It meant that you didn’t have to worry about more complicated ways of fastening a garment. I think the zipper made a massive change and also in terms of dressmaking at home, it was a really quick and simple way that people had of being able to create quite fashionable styles on a budget and with ease and speed at home.

Also, of course, once women’s dress started to become simpler and they did away with the corset and underwear became a lot less complicated, that made dressing a lot easier, that made the introduction of the bias cut and things that sit very closely to the natural body much more widely used and much more fashionable.

I would say the introduction of machine-made lace as well, particularly from the late 19th, early 20th century onwards where it was so fashionable on summer dresses and wedding dresses. It just meant that you could so much more easily add this decadent touch to a garment, because lace would have been so much more expensive before then and so time-consuming to make. I think that made a huge difference in ordinary women being able to attain a kind of luxury in their everyday dress.

That actually makes me think of something else I wanted to ask you, which is you point out in your intro the way we casually use this word “vintage.” I think about that with lace. Lace is described as being a “vintage” touch but it’s very much this question of when, where, who, why—it’s a funny term when you think about it, the way we use it so casually to describe so much.

Oh, yes. It’s crazy. I used to work in a wedding dress shop and I used to make historically inspired wedding dresses and things. And brides used to come in and say, “Oh, I want something vintage.” But they didn’t really know what they meant. Usually what they meant is they wanted something with a bit of lace on it, or with some sort of pearls or beading. I think it’s really inspired by whatever is trending at the time. So, you know, Downton Abbey became vintage. I think ‘50s has always been kind of synonymous with the word vintage. But what it means is huge,
Robin Carretti Jul 2018
What is so important to address
something to react to the illumine
fruity to their balance sips like
a goldmine
He sways passed you and trips
Rose Poumedeur right near your* lips

Both stumbling and boasting over her
imported wine dress

The swinging parasol his cork topped
delights
Those imported by his number nights
Cabernet Sauvignon
Hooked to there eyes
Million stars to lift
Her petite waistline
Like heartline of Valentine
wine felt dresses

Outnumbered you by four words
The strenuous tiresome love-wine
Be mine the stargaze* dazing inside the sunsets
So bottled inside her mission
His love how it aged in her
in  a good retrospect like
Deep cherry confessions

The import from a trade surplus
She got overlooked got flown in place
like a sticker
The smart star- reservation 
 high-demand book
To seek her

What a chemistry  love- hands creation
She's the many vintage dresses A plus
The pouring of wine of many fusions
The cloudy dress is a minus illusion

She learned her entire lesson
How many times she was moved
around like musical  I tunes of wine
CD collection of Rennaisance
Battling like the fort chair
But someone was moved by her Jazz
type of hair
My lesson my wish was on hold
the mission cruise of the impossible dress
Getting weaved inside someone's
powerful suite but the best suite
and stay
The Fort William Henry until this day
The Fort William Henry Hotel like no
other sorts and what sports

Japan imports 77.8 billion exports
more than imports
Lackadaisical called the
breath of sunshine
The daisy sundress sitting on the
veranda with Fort Williams and the
Henry the eight I am children

I've been sunbathing looking at the boat
The Minne Haha thinking of MaMa
Someone was singing like Lady GAGA

The matter of great expression of words
Hummingbirds at Lake George
Picking the best birth of seeds
Imported wine what our heart needs
Rising demands of the meat
like the paradise of lovebirds
Her dress was to heal the world
Those wildflowers were the
sort of thing silence is the  best thing
Somehow not the hype of the bling
or diamond ring
Sometimes the Goddess
sun shines more

Making her feel loved to sing
Her dress had the gimmick to move
What a rural fun tree orange grove
Like the referee wine shopping spree
Everyday people were moved by her
gift of imported wines
Her gravity of smiles he's mine
Her face steams like the highest
light beam very well bred and fine
The long winding trail her
corset gown
Started to make head waves to the
higher forces
So enlightening the lakes
such cascades
Those wine deep waves romantic
To prelude to a kiss the Cosmic
The Islander-border lace her face
To love and honor her more

Not necessarily less that
divine moment
We should never miss
Lake George rippling waves
On her outskirts

Princess Kelly cheese Italian wine
Naples deserts
The evergreen  long dress
Shined your Highness the
Roman pillars
How he grabbed her waist dancing
like the Gatsby
Gave her such splendor everlasting sip
But the imported wine was deeper

To Set up the date
To Make- the wine up
In the cellar aged hours to perfect
What a stir over her dress-up deep ruby
wine start to pour end
of a new beginning
subject
To book the trip Lake George New York
All you had to do

Go to the Fort William Henry
Hotel like a home with family
So many friendly faces with smiles
All you have to do is show up
This is about imports but I love the Fort William Henry in Lake George is a great place to stay on vacation I sort of tied it in ribbon-like gifts of imported wines tell me what you think
Moon Humor Oct 2014
I woke up to the sound of a train and it was raining. I might be dreaming.
My mom has always loved
the sound of a train and here I am in someone else’s bed thinking
about how much I love the taste of blood and the smell of sweat.
My plant has a pulse but my eyes might
be playing tricks on me, I have a way of forgetting to separate my dreams
from reality. Sometimes
I share too much of myself with people too soon. I told
him that my grandma had green eyes
and that’s where I got mine and that I’ve got nightmares that test
my patience night after night
with grotesque new realities on display before my eyes
and that my nails are stained from pomegranate and that
I got straight As and I told him to bite me because
I like it
but I shouldn’t have said it all so soon.
When I’m hurtling home in my metal death trap
powered by explosions I take pictures of the sky to show myself that
I’m alive and beauty is only here now and a deer
could leap or someone could swerve and ****
me or the airbag could rip off my jaw and I’ll
spend my life bearing my ******* way that I didn’t intend. I’m the writer
with no jaw that everyone reads out of pity and to get a glance
in the windows of a ******’s life.
When I wake up my jaw is still there
but I’ve been clenching it again.
No adderall, no *******, no caffeine, just the pressure
I put on myself and the weight of life knotting up the muscles in my back
until my ribs start to tighten and constrict my breathing so I pull at the ribbons
laced up and down my sternum
but it is too late and the bone corset pulls me in,
pulling pulling pulling until
my organs burst out of my skin.
He tells me,
“You’re hard to read, you know.” I giggle
but I find it tough to explain the rich cascade of emotions that are tied
to the lunar tides and make me crave coffee at midnight in terms
that don’t make me sound completely crazy.
Well, tonight I am eating dinner and attempting to read while the television
babbles at me from another room
about something I don’t need to hear but I hear
a cracking sound and my teeth are sharp and jagged and crumbling
as I run my tongue across them. I wake up sweating.
When it was sunny I bought socks from the little girl section and I drenched myself in perfume. Later on we were drinking chai tea
and getting *****, so I **** on your fingers
while you choke me and in the morning you make pancakes
and I eat it
but I’m afraid of the flour and the substance because it rises up
under my skin and collects in unwanted pools on my body.
I shouldn’t have drank any beer but
I had three
and I spilled my secrets the second I felt the warmth of trust.
God ******* ****.
I drive in silence.
The poster’s eyes have been following me
all night and I don’t know if it is a matter of perspective
or some delusion convincing me that I’m not alone
word vomiting on notebooks and textbooks and gushing
piles of words onto my comforter. I pictured
growing a human being inside of me and my heart
started trying to run from my chest
I scared myself into an anxiety attack
picturing years flashing before me. Before I told him
that I’m not like most girls
he kissed my forearms
and then he kissed my neck. Maybe I’m crazy for believing in astrology but
last night I was hearing your moans
as roars like the lion you are purring, nuzzling me
until you fell asleep and I remembered
being five and wishing I was Belle, marrying the beast. I don’t know.
I don’t know if I’m crazy.
I kept losing my earring in your bed like I secretly wanted to leave something more tangible than my scent or stray blonde hairs for
you to find and remember me by. I think you like me too much and I’m
afraid of what you’ll find when you get in my mind and see the battlefield
that rages inside of a pretty head.
I used to see the world with the eyes of a child but today I feel like I’m senile and looking at the world from the future and dissecting the past
because I lost track of time again and no one knew where I was for seven hours. I might have been wandering but I think I was asking
a fruit fly for directions when she flew into my pupil and laid eggs on my optic nerve causing the light to fraction
and my thoughts to be projected onto the wall ahead.
People passing by could see it all streaming out of me,
every emotion, every desire, every fear and every image,
even the smoking **** on the cement
from when he left got stuck on my screen
and the dream I had the night before
about a man with gigantic hands
and a woman shielded her eyes
as I thought about the way you use your tongue on me. When I finally
stumbled home the projection had stopped
but the maggots had started and I stared at the mirror
and branded myself with the word ugly.
The pill is folded in the dollar and I whack it with a lighter,
the white shards scatter out and I lay the bill flat and crush crush crush
until the powder is free of chunks. One two three
making ten perfect lines, five on each side and my nostrils are on fire.
I **** smoke from a pipe and get so high that my entire face feels like melting
off and I’m so determined to sleep that I can’t
and I anticipate
gritty dreams but I never drift off.
Three glasses of white wine later I drive to his house and I can hear the train hitting the breaks while we throw empty beer bottles at the moving cars
from the roof of a crooked house. And then, the willow tree
draped over the train tracks
grabs the wind with her branches and she summons
sheets of rain that come blasting down.
I’m afraid of heights and I’m not sure why but I think falling
from the apple tree at age thirteen was the first time I realized that
bones break and they never heal the same way and my hands are shaking but

I stay on the wet roof with you and I let myself melt into this
momentary reality.
One of the most personal poems I've ever written. Thank you for reading.
*revised 10/3
Dawn Treader Jan 2017
If only your skin was a lighter shade
Here, this bleach might come to your aid
If only your lips weren't so full
Maybe the boys would like you at school
If only your hair wasn't so *****
Here's some caustic chemicals to make it more slinky
If only your ******* weren't so large
Here's the number to a surgeon, call and see what they charge
If only your waist was smaller (just a few inches)
Here's a corset, see how tiny it cinches?
If only your *** wasn't so round
How 'bout you run some laps to lose a few pounds?
If only you'd get your nose out of books
I bet you'd garner more stares for your looks
If only you'd change your curious personality
I hear the masses prefer banality

If only you'd see me for me
Do you know how content I'd be?
If you can't do that
Then leave me be.
A collection of things people have said to me over the years. I have developed a cynical complex because of it.
firexscape Jul 2014
With control, I bind my ribcage tighter and tighter
Because if I don't lace up
My porcelain-bone corset
Tight enough
They will reach in
And grab my heart.
I don't build walls but
Stalingrad- Germany wanted control,
But they weren't going to get it. Silly men,
Unaware that they would freeze to the bone
In those harsh Russian mountains.
Is oil worth it?

Torch- the British thought it was a simple plan.
It was, but barely. The soft underbelly,
The Mediterranean to France, through Italy?
Kick the Axis out of North Africa?
Piece of cake.

D-Day- a finale? Maybe. The ships and planes at the ready,
A possible surprise. Parachutes
And men on foot storming the beaches of Normandy.
Shots fired, push east where they belong.
Coming from the North and South. Cinch like a corset
Strings are drawn against the axis.
Good luck holding up your empire in this day and age.
MY FROG MASTERS

How thoughtful were the rainfalls
To water our gardens and flowers
The flowers spread wide garments
To celebrate their terminal beauty

The joyful frogs occupied my pond
To orchestrate their vocal prowess
They taught me to take blind leaps
Like lightning bouncing in the skies

Squatted, stretched, beeped down
I was a millstone on the pond floor
My slippery pond mates wondered
How soft I was in the maritime arts

Mortally rescued in a muddy mood
The clouds sent in rescuing showers
To confirm my firm loss to the frogs
Like a grain of salt cast into the seas


673. MONEY BAGS IN THEIR BODY BAGS

The money bags shopping for their body bags
Waggled through the makeshift supermarkets

Their ancestral homes they plotted modernity
Like the general gathering fine forces together

To the villages they made to return with pride
Like pregnant elephants caught up in the mud

Their desolate villages are deep and sickening
Glowing flamingly in the crucibles of local gins

The dusty and gravy pathways are like furnace
Burning the leather off from their frozen souls

Traditional birth attendants cut off their cords
And zipped the money bags in their body bags

674. A GLORIOUS DAY

The new day spoke powerfully
Like a war making superpower
And his voice roared forcefully
Like the skies forced to shower

The sunrays came dynamically
Like love responding to silence
Beauty crawled in submissively
Like the mixed arts and science

One eagle soared energetically
Like lions feuding in the colony
Far clouds relocated peacefully
Like souls betrayed to harmony

The breeze sighed thoughtfully
Like horses galloping on the lea
Inspiration unfolded thankfully
Crowns monuments with a pea

675.  THE FOG BANK

The sun had gone to pay our bill in the fog bank
The world foggily crawled into the strong rooms
Darkness demonstrated her strong mindfulness
Provided for the strong gale with lurking shrieks

The black paint billers snowballed to our dreams
With the bill of exchange for wild sunny excesses
Ghostly bats emerged with the bill of indictment
In demonstration of our acrophobic dispositions

We packaged the sunrays for our folk memories
To reassure the day of our eternal followerships
We cherish our follow-throughs in our dark beat
To usher the sunlight out of the hollow fog bank

676. THE PROTRACTED INTERNECINE FEUD

These things had happened before we were born
Like sulphur deep into our fresh hearts they burn
Now we stumble on the bumpy terrains in horror
Like one frightened by ghosts in a standing mirror

The internecine feud has razed our men of valour
With their carcasses dumped in their cold parlour
Our community cattle graze in the barren pasture
Like the unrepentant sinners awaiting the rapture

For our plight the once glorious sky is grown pale
Like the ***** fetching territorial waters with pail
The storms have rolled off the catalogues for rain
All our efforts to mop up the mess end up in vain



677. THE AREA LEADERS

They cracked coconuts on the heads for the crown
And embraced our days with their castaway pollen
Sadness and sorrow have dyed our garment brown
With the strongest song sung when night has fallen

These are the blinding dusts from our barn’s grains
They breed cunning serpents in the soft pasturages
They are failed cargoes on our broad societal trains
They dedicate our common committee to outrages

Now our days seek deliverance from their tentacles
Like the colourful fields immersed in gloomy beauty
They play our eyeballs with the stenciled spectacles
With our consciences to sight and found us off duty

To rescue us the colossal clouds were born gadarene
Our communal life was willed to pageants of gaieties
Then moonlight stories held us for a larger gathering
Now all the objects we sight dress up like cold deities

678. THE LAST DESCENDANTS

The rapacious thunderstorms ***** the skies for their tears
The hot embers were born to glow mourning the late forest
The moon crawled out of the blue like a great grandmother
Cuddling her descendants wrapped up in her ancient shawls

The wild waves were weird weavers weaving withering wails
The captioned wigs gyrated on stunning shoes upon auctions
The little creatures crouched in primeval baskets of the night
To gnaw at the generational tubers in the creative farmlands

The dazzling specimens of dentitions relaxed in water basins
Like bright red artistic architectures on potent ocean boards
Golden hearts glow in the threatening prisms of the furnace
As beautiful sunset defines her beauties in her nightly corset

It had been a sweet pill for the past descendants to swallow
Depending on the colonial masters for loaves, lore and lures
Our creativity had been packaged in their mortal depravities
Like the tranquil days resting sorrowfully upon the dark oars

The centenarian thunders downgraded our minute whispers
We had been kept upon our toes by the eternally sworn foes
At last our worthy artworks have worn their wormy catwalks
The refreshed dawns greet our easting days in their greenery



679. VICTIMS IN THE VALLEY

The victims in the dark rally
Caged, dried and browning
Therein their meanings tally
With waves born drowning

In the depth of a cold valley
Horrible nobles are cultures
Like pilgrims in the dark alley
Willed to ravenous vultures

The victims all robed in tears
With hearts like potter’s clay
For pains they have no fears
Only mimed games they play

For victory awaits the victims
Alien to a blind mimed game
Glorious are eternal rhythms
For death Christ died to tame

680. THE GIANT SCARS

These are our giant threatening scars
Engraved on our demonstrative heads
Our sympathies crawled on superstars
Weeping for us on their moonlit beds

They threatened us with nasal sounds
Like thunderclouds seasoned to burst
For us their galleries are out of bounds
Behind the iron bars plagued with rust

Our patience passed their wildest tests
Like the lions roaring in the thick jungle
On the heart of the Lord our faith rests
Like numbers posted on the right angle

681.  A LADY

In a lady’s handbag
Is her hidden hunchback
Stuffed with her heart ache
For the pains relieving groom

In a lady’s tender smile
Is hidden miles of similitude
Marked with the zebra crossings
For the ever winning marathoner

In a tender lady’s heart
Is hidden her cowboy’s hat
Soaring within the white clouds
To soothe the earth with the latter rains

682. BRING BACK OUR GIRLS

Bring back our homesick girls
Their vacant cradles are bleeding
Bring back our innocent girls
On the chariots of fire descending

Bring back our suckling girls
Their feeding bottles are weeping
Bring back our infant girls
Their mothers’ ******* are heavy

Bring back our harmless girls
The united universe is thundering
Bring back our dewy girls
In the sharp sun rising in the skies

Bring back our beautiful girls
Like light plucked from darkness
Bring back our glorious girls
Aboard the shore-bound waves

Bring back our worthy girls
On their fresh faces our lights seek to glow
Bring back our living girls
Our fountains of joy are bubbling to burst

For our returned girls the skies shall bear
Roaring rivers, singing seas, chiming clouds
With gongs and songs, pianos and praises
Dulcet dulcimers and documentable dances
With healthy hymns and eloquent embraces
All nations shall into a common cathedral flow

683. ****** GENEOLOGIES

They electrify their demonic high tables with old fears
Only their ****** genealogies are bookmarked to reign
The sight of their portables whetted our eyes to tears
We are reinforced by the clouds born to the later rain

Our skins have renovated the sickening cattle wagons
With our dreams flying upon huge smokes in the skies
Beneath their tables we abridge their creaking jargons
Upon their floors with our generational landmark tiles

The dew drops dropped like old crops upon our brows
To soften the veils falling to the flaming edged swords
The flaming hearted sword of the penetrating sunrays
Born to pluck us alive from our hotly bandaged bruises

684. LET US SPEAK UP

The light is climbing downstairs
And danger is sprouting abroad
Our feet are listening for a word
Let us speak up lest they go deaf

The light is melted on the glades
And terror grazing our eyelashes
Our feet are listening for a word
Let us speak up lest they go deaf

The light is late and lately buried
The mourners are on danger list
Our feet are listening for a word
Let us speak up lest they go deaf

The light has divorced the grave
Her grave clothes are dew dyed
Our feet are listening for a word
Let us speak up lest they go deaf

Silence is a forgotten tombstone
Lost in the din of cold morticians
Our feet are listening for a word
Let us speak up lest they go deaf

685.  THE SUN

The sun smiles on all prescriptively
Like the waves spreading on shores
The green grass glows descriptively
Like the full moon upon dark sores

The sun is a tailor fixing the buttons
Preparing the sky for incoming stars
Like the weaverbird weaving cottons
To conceal the day’s damnable scars

The sun is a marker on diurnal pages
Tall grace he bestows on the flowers
The sun retains his graces for all ages
Bees and butterflies are his followers

Our common laughter is endangered
When sun bows down in big setbacks
All mortals have the starlets fingered
When the night comes on drawbacks

686. UNTIL HERE

(For Lou Lenart and his team)

Their floods came seeking Jewish bloods
Like streams they roared for our dreams
They emerged as columns of soldier ants
Like whirlwinds they zoomed towards us

Until here we were crumbs for the reptiles
Until here we were like airborne cloudlets
But here the sudden change unveiled to us
From here the elusive victory embraced us

With skeletal jets we fought like bold lions
Soared like eagles and spoke like thunders
We conquered columns of invading armies
The bleeding armies turned back and blank

From here we turned from victims to victors
From here enemies’ defeat our greatest feat
Upon this memorable bridge it all happened
Victories leapt upon our pool like joyful frogs

687.  JOY UNLIMITED

The fledging sun offers its rays
And the rays offer golden trays
For our joy a platform to spray
Rowdy paratroops like thunder
To scoop roses from pure oasis

Our joy is ripe upon celebrations
Our celebrations with decorations
Decorations with documentations
Documentations for all generations
Generations in our joyful habitations

688. ANOTER RAINING DAY

The dark clouds are wandering river basins
Spiral bounded by breakable outer casings
The rivers and the seas display empty cups
For the swift blessings descending the tops

The rains come as defense troops’ missiles
And the drowning lands look like imbeciles
Now we are groaning in the watered claws
With the liberated scales marking our flaws

The retreating clouds crawl away in a belch
Dumping the missing cargoes on the beach
The winds bow in a state of shock in a cord
Praying and fasting for a visit from the Lord

689. GRANDMOTHER

Grandmother, please wake and get up
The sky is quarreling with her husband
Soon they will spill their freezing sweat
On our bodies for us to catch dead cold

Grandmother, please sneeze not louder
The sky and her husband are quarreling
Soon they will send old floods like gales
To sweep mankind away from the world

Grandmother, you are everything I have
My moon, my sun and my morning stars
Provoke not the couples with your cough
Lest they refill their greasily wraths again

Grandmother, the big reptiles have come
With their lethal grandchildren following
They are laced with secret burial shrouds
With sympathetic tears tearing their eyes

Grandmother, I kiss you a shaky goodbye
With broken pains roaring within my soul
Grandmother, where are your groundnuts
To conduct my solo heart as you sing away

690.  A NIGHT WALK THROUGH THE FOREST

Lured away on an alluring dream by fables
I trudged along the grassy paths with fears
Upon my steps spilling the prevailing dews
The shadows bowed their heads in silence
Like the soul issued with a death sentence

The night crawlers emerged above boards
Throwing light upon contrary communities
In their hearts and eyes were painful tears
Crawling down their exaggerated eye *****
Like a handbag filled with rotten cosmetics

The shadows were bold animators’ shelves
Stage managing the horror motion pictures
In the ghostly commodities I met wild hosts
Lifeworks evaporated from my fresh breath
Like foreign tragedies in common comedies

The sorrowful shadows cast away their veils
Like the candles letting go of the weird wax
Sadly I sat in the sack for conflicting fetuses
Another sun appeared like a serial divorcee
Counting the testicles of another naked day

691.  SUBJECTIVE SUBJECTS

The sad sun descended upon her haunting melodies
Reeling from mysterious layers for electoral riggings
To harden the flowerbed for flower girls born tender
Disenfranchised voters came weeping in barren polls
Dressing the blank nest for the fat electoral parodies
With the mourners the faulty bells they came ringing
Like the angry water castigating a ****** port fender
And the smokes climbed upon their wide aerial poles
Arching over the emptied shelves with liberal singing
They subjected their subjective subjects to all objects
Jade Jul 2018
There goes Lady Fate,
donned in solar sparks
and her lace corset
whose  overt promiscuity
catches the attention of
one unsuspecting astronaut–
his helm fogs as he exhales,
his breath crude and lascivious.
Even Neptune’s eyes themselves
glitter wetly with passion
as she struts towards Polaris in
her pinprick stilettos.

She adjusts her stance accordingly:

I. Purse lips into a smoulder
(might as well look
pretty while ya get the job done.)

II. Aim for the desired target
(that there’s the bull’s eye.)

III. Wreak havoc
just as any Fate is meant to do.
(But, of course.)

She picks up her staff and fires.

The universe tremors
in an unbridled spiral
of colour and chaos
as the planets
d    a    r    t
about like billiards,                                    
                          colliding/|\with/|\ the/|\ stars

who,  in the midst of the madness,
d i v e r g e and c
r* o* s s
for fear of being vanquished.

A cluster of mismatched constellations
and forsaken cosmic particles
settle into a state of
mutual negligence and destruction.
And, together, they liquefy into
a festering pool of molten silver.

Lady Fate grins–
yes, she has the stars right
where she wants them now–
and, in a final act of defiance,
she strikes against the earth
and watches with satisfaction as
it hurtles towards the silver
and sinks down into the molten
like an eight ball.
(And everyone knows it’s
Game Over
once you’ve sunk the eight ball).

From where she stands–
bent over Polaris
in seductive pretentiousness —
she relishes
in the screams
of some wretched lover–
the first to ever be
betrayed by the stars.
In my dream,
drilling into the marrow
of my entire bone,
my real dream,
I'm walking up and down Beacon Hill
searching for a street sign --
namely MERCY STREET.
Not there.

I try the Back Bay.
Not there.
Not there.
And yet I know the number.
45 Mercy Street.
I know the stained-glass window
of the foyer,
the three flights of the house
with its parquet floors.
I know the furniture and
mother, grandmother, great-grandmother,
the servants.
I know the cupboard of Spode
the boat of ice, solid silver,
where the butter sits in neat squares
like strange giant's teeth
on the big mahogany table.
I know it well.
Not there.

Where did you go?
45 Mercy Street,
with great-grandmother
kneeling in her whale-bone corset
and praying gently but fiercely
to the wash basin,
at five A.M.
at noon
dozing in her wiggy rocker,
grandfather taking a nap in the pantry,
grandmother pushing the bell for the downstairs maid,
and Nana rocking Mother with an oversized flower
on her forehead to cover the curl
of when she was good and when she was...
And where she was begat
and in a generation
the third she will beget,
me,
with the stranger's seed blooming
into the flower called Horrid.

I walk in a yellow dress
and a white pocketbook stuffed with cigarettes,
enough pills, my wallet, my keys,
and being twenty-eight, or is it forty-five?
I walk. I walk.
I hold matches at street signs
for it is dark,
as dark as the leathery dead
and I have lost my green Ford,
my house in the suburbs,
two little kids
****** up like pollen by the bee in me
and a husband
who has wiped off his eyes
in order not to see my inside out
and I am walking and looking
and this is no dream
just my oily life
where the people are alibis
and the street is unfindable for an
entire lifetime.

Pull the shades down --
I don't care!
Bolt the door, mercy,
erase the number,
rip down the street sign,
what can it matter,
what can it matter to this cheapskate
who wants to own the past
that went out on a dead ship
and left me only with paper?

Not there.

I open my pocketbook,
as women do,
and fish swim back and forth
between the dollars and the lipstick.
I pick them out,
one by one
and throw them at the street signs,
and shoot my pocketbook
into the Charles River.
Next I pull the dream off
and slam into the cement wall
of the clumsy calendar
I live in,
my life,
and its hauled up
notebooks.
RJ Cordae Jul 2011
One
No need for an introduction,
She was ****** incarnate, volatile pandemonium.
She was always gone by the morning’s pale light,
No pins could stick her, pretty glass doll.
She was his tangible addiction,
Sweeter than any pixie sugar,
Yet poisonous as a viper.

“Phantasmagoria,” she’d breathe,
Her words freezing and falling, broken diamonds.

“What?” his confusion so sweet.

She cackled then,
Chaotic grins folding over gossamer silk.
He just shook his head,
Knowing she was a tragedy.

He could never hold her,
Thorns tore ragged lines into him every time he tried.
She was his to have, to gaze at,
But never to touch.
She was intransigent, lying eyes and battered lips,
Scars tugged at his heart whenever he looked,
Bleeding masquerades of perfection in her curves.

Porcelain masks adorned with crimson feathers,
So shocking against the ebony walls.
The masks were like her smile, he had decided so long ago,
Hanging a new one every six months.

He saw right through her.

Two
Malignant words bubbled from her lips,
She blew him EXPLOSIVE kisses,
Her eyes full of iridescent splendor and charm.

She gave herself to him completely,
Tired of running on the fuel of a thousand shattered hearts.


Pale like winter,
He was fierce like autumn leaves in a fiery glow.
His eyes were a swirl of blue,
So deep, hypnotic and entrancing.
His hair was black as a crow,
Soft as velvet against bare flesh.

He was beauty in a terrible splendor,
Pale, carved marble, breath-taking and alive.
His kisses were spider-silk,
Dripping venom down her throat.

“Extemporaneous,” he’d sigh,
His words left behind the after taste of chocolate.

“Everything is,” echoed her bittersweet reply.

Chemical smoke poured from his mouth,
When he parted his lips to speak.
She loved the way it danced in the glow of the fire.

Three
The curve of her smile let you see the whole asylum.
Oh how she’d laugh, broken glass in her eyes,
When he’d nibble her flesh so softly.
Her eyes flashed red,
A brief shutter speed of a moment.

He’d saunter up to her,
Leather pants worn as a second skin.
His eyes glittered in the dark,
The ocean by moonlight.
He spun her in dizzy circles.

“Vertigo baby, you spin me high with vertigo,”
He’d laugh, watching her stumble.

They were psychotic lovers in a masquerade of midnight frenzies,
Graveyard picnics and ballroom dancing the mausoleum.
They were a Gothic fairytale without the ever-after,
Kings fighting for their queens,
That and the dragon ate the kNight.

Moonlight tans and wrought-iron fences,
They kept the world at bay.

“No one needs to know,” she whispered beneath the crying tree,
“Let them wonder in solitude,” her voice soft as a feather.

The zephyr smelled of ice and heartbreak.

Four
Silver needles with glitter tips,
Pulled star-studded thread through her lips,
Anything to keep the lies from spilling out.

“Desperate hours call for drastic measures,”
Barbed-wire bled from familiar tongues.

Tiny symbols on her lover’s face,
A black mask stitched with silver Zodiac charms.
He was her hero in Venetian adornments,
If you ignored the combat boots.

SAFTEY,
An over-rated opinion.
(Throw away the key.)

The pond froze over,
Reflecting dark-eyed ghosts of glass.
The paint on the masks cracked,
The feathers faded long ago.

He held her close,
Feeling her thorns tear him o p e n.
He bled sweet metallic candy for her.

She’d be gone again in the morning.

Five
She sighed, keeping perfect rhythm with the visions in her eyes.
The cold seeping slowly into every pore,
Electrifying ever nerve and fiber.
Haunting whispers on the wind,
Reminders of another life.

I’ll love you forever; I miss you already,
She scrawled in black ink on the bathroom mirror.

He scrubbed for weeks,
But the message never faded.

Then you shouldn’t have left,
He painted in slow red cursive beneath it.

He’d always wait for her.

Six
So innocent when she pouted,
Lying little girl with a cracked doll’s mask,
Just like the faces he hung on the wall.
When she smiles, the truth comes out,
The perfect killer with the perfect guise.

She’d blow chemical rings to your heart,
Knowing how deep they’d cut.
She savored the taste so bitter and sweet,
Liquid candy, deep red cherries.

He relished the glitter in her eyes,
When she was off on another “Suicide Mission”,
As her friends so poetically dubbed them.

He bound himself to her,
With black lace chords and red wrist ribbons.
They lusted for a never-ending destruction,
No amount of chaos could sate their desire.

“You are a tragedy,” he once told her,
“A million deaths in the making.”

She always laughed at those words,
Tears stinging her face when she was away.
“I’m your tragedy, my love,” she called sweetly to the wind.

Tie the mask tight,
Check the powder around your eyes,
Lace up that corset,
This job is just a masquerade.
Shade is not your name,
And the Emancipator knows it.
He’ll keep your secret as long as you work,
Pretty little ****** doll.

“I miss him,” she whispered,
Her eyes so full of sorrow.

“Then go home,” he told her.

Simple phrases break hearts the fastest.

Seven
Her hand trembled, eyes wide, so fearful,
This homecoming no different than the dozens before it.

He opened the door before she could even caress its silver handle.

Startled, he stood there and gaped,
Trying to convince himself that she had actually come back.
“Five years is a long time to be gone without calling,” he whispered,
A shaking hand brushed the hair from her eyes.

She caught his hand,
Pressed it hard against her face,
Her tears carved shallow channels down her cheeks.

“I missed you.”

He glanced away,
His hand dropped to his side like a stone,
“Then you shouldn’t have left.”

She knew he was right when she turned to leave again,
“I’m sorry,” she murmured, almost choking on her words.

He grasped her wrist,
Pulled her into his arms, clutching her tightly,
His blue eyes deep puddles.

“I thought I’d lost you.”

Eight
She was home for a moment,
Maybe even longer,
To dance upon his paper heart.
(Look at those steep red stilettos.)

He was happy for a moment,
Maybe even longer,
To have her in his arms again.
(No matter how deep the thorns cut.)

“Aniya, my dear, you’ll be the death of me,”
He sighed, holding his lips to hers.

“I’ll be the death of myself,”
She replied sardonically, entwining her fingers in his hair.

They were restless, half crazed in the heat,
The terror mounting passion in fire,
So cold it burned flesh from the bone.
They were the purest form of calamity,
A delicate sense of fatality,
Like lightening through a sea of metal.

“Damien, my love, you are my addiction,”
She purred, her hands caressed his face.


“Likewise, my darling,” he smiled,
He pulled those pale hands to his lips.

Nine
The tension mounted outside those wrought-iron gates,
A war bubbling to the surface,
The first of many, a battle for the ages.

Lace up those ebony heels,
Tie the corset tighter and tighter,
Dizzy from the pressure.
Make sure all the swords are sleek as blood,
Clear as the freshest waters.

Slick back the hair,
Tie the mask tighter and tighter,
He was dizzy from the anticipation.
Make sure all the guns have silver bullets,
And all the spears have jagged edges.

The troops rained in,
The fire arms screamed,
Eagles of flame danced in the sky.
Celebrations started before the dust could even settle.
This is actually a relatively old piece of work. I had written it the summer before my senior year of high school. Let me know what you think? I will try to answer all comments :)
someone once said: only the natives can be designated
free speech...
the immigrants can have their dog
and let it bark, along with whatever thinking comes
their way...

exploring the last remains of thought -
well then... suit and boot me up for some "thinking"
as i extend it into writing...

if i were of the native stock... "elsewhere":
most probably h'america or australia... even in italy
having tea with mussolini i'd be:
an expat... as an outsider among outsiders
but among my sameness-namesakes of surnames
akin to jones and smith:

i will never be an "immigrant" among...
it's not even a voice of cocern, this little voice of
mine...
an englishman who decides to move
to h'america is an expatriate for the native
englishman who stayed behind...
he's never an immigrant...

perhaps other nations view the people that left
them in such a positive light?
where else to emigrate to that doesn't
speak basic english with a tinge of
a "welcoming" plethora of accents?

proudly having expatriated...
or having to have had to humbly emigrated...
bark bite and tail in tow...
my the luck of being an expatriate...
readily prepared with a francophile basis...
e.g., or some other: less frost-bitten
idealism as the work ethic of:
work work work...

we know the english immigrants
as expatriates... but i doubt that people
from where i from would call me...
an expatriate... they'd call me...
eh... hangman noose... a deserter...
god forbid the fact that i somehow managed
to integrate... but then found myself wondering...

have, have integrated into... "what"?!
today i was truly astounded...
after all... Romford, Essex... England...
can boast about a few things...
notably? it's the past place you can buy vinyl
without amazon.co.uk...
you can actually play the buyer and the person
that loiters with his shadow...
flicking through a dictionary of sorts...
finding a record...

i actually left the house for ulterior motives...
but i succumbed to the allure...
and as i walked the January 2nd 2020 highstreet
in Romford...
i heard english... as a spoken language...
twice in the pedestrian commute...
and of course when it came to a lingua franca
scenario of buying or selling something...
otherwise:

perhaps i retained my primitive instincts
and the tongue and should have left it with a ghost
of me back in the clarifying vicinity of
an airport 50 miles from Warsaw...
i have bigger things to worry about though:
how i should start learning Romanian...
even though: i thought bilingualism was a good
idea?
it's not?

not among the natives could i ever be
an expatriate...
an ever: never... like any more thesaurus
sharpening would do the trick to balance
the optics of "perspective"...

if it wasn't a mistake...
it has still been a purchase:
freddie hubbard on the trumpet,
jackie mclean on the alto sax,
kenny drew on piano,
doug watkins on bass
and pete la roca on drums...

the only reason as to why i bought
a gramaphone was to buy the only cheap vinyl
there is... jazz...
to escape the earphones...
to find the complete volume of space
that would later be deemed:
confined to a room... cell... or some alternative
variation: but... oh jeez...
how wrong it was of me...

make a note: alto sax jazz is not for you...
remember: alto sax jazz is not for you...

a sensation of being a foreigner in
an already double-dutch foreign sense of land...
anything that drops from clinching
to the London transport system
with the trains and the tubes and buses
is: england...
the england of my youth where i remained
like that... dunce in the ****** tunes cartoons
interlude...

and what of my citizenship on paper?
wave a passport around
like a benchmark or an otherwise easy
accent-identifier?
perhaps i don't even know:
Bristolian - my best guess with this acquired
tongue...

but at least buying jazz is getting easier...
freddie hubbard a known name...
but... no... alto sax jazz is not for me...
now it figures...
i can get away on a whim when
a trumpet solos... but not when an alto sax
solos... i really can't stomach it...
will i give this Bluesnik record back?
no, i need a testament -
i have bought something
but the self-reflection is free...

there's only so much classical music escapism
you can try -
before long you realise that the people
listening to classical music...
mostly... when they make requests...
want "something soothing"...
want "something jovial"...
or usually it's a piece of music that has
been attached to a movie...
classical music - apparently doesn't feed
people a subtle stream of images...
and it's obvious: those requests are not phoned
in on by blind people...

imagine... the ****** of F... when you have ⠋
to work with...
what is an sunrise... a sunset but a dash
of colour... a spring of the heavens
an autumn of the heavens...
but my my... in this inverted listening of jazz...
⠙⠑⠑⠏
⠃⠇⠥ ⠑    DEEP BLUE...

if i were blind: and came to the pearly gates...
i'd ask for letters: primo pronto!
later i'd worry about colours and shapes...
as i'd probably stick to my first passion
and hearing this fathomless shapeless
sounds that... abide to no lineage with a recant
of a triangle's use of 90°...

otherwise... what if you've been fed
the: classical music when listened to when a child
will increase your i.q. -
but what are the chances that you will:
"regress" from listening to classical
music and take to jazz?
perhaps because jazz has to be felt,
it has to be heard, first,
rather than... the silence and scribbles
of a composer at his desk -
where a classical music composition
is very much like writing:
that whole a prior shabang!
none of the a posteriori zigzagging
of impromptu and jazz?

one thing is certain... i'm not going to
be a fan of alto sax jazz...
sonny clark on piano - yes...
art blakey on drums - yes...
kenny burrell on guitar - yes...
alto sax no... ah... but give me tenor sax
and... no please no big bang jazz
equivalent to thelonious monk...
at least jazz gives you pedestrian tastes
and whims...
nothing akin to bowing at the altar
of a Beethoven: or talking lightly of
the man - "the man"...

and who the hell said that being
objectivity "works all the time"
that objectivity "runs the marathon"...
alto sax jazz is pedestrian music...
don't get me wrong...
you want to walk down a busy street
and you want to drown the sounds
of progress: no horses sneezing,
no horses' hooves playing tic-tac-toe
chess on cobweb stones...
alto sax jazz is your take-out
walk-through...
but when you're hunched in a chair
and pecking at a keyboard with
ten good beaks of the tips of your fingers...

again: how do the hands rest before
the keyboard?
the right hand:
index middle, pinky and thumb...
the ring finger is used for the: delete button...
a revision - the pinky does the enter -
and the cascade follows...
the left hand?

primarily the index and *******...
the thumb is always attached to space...
shared with the right hand's *******
to space,
i can't remember if i ever used my ring
or pinky finger of my left arm...

so much for inverted chiromancy...
the polacks will never give me the wings
to be an expatriate...
i will be forever: he who abandoned
that land running with milk and honey...
but... look at how they stand behind those
from england that decided to go "elsewhere"...
they are not immigrants...
they are... expatriates...
have nothing filthy them it comes to
the connotation...
it's not sad it's not funny it's: somewhere
"in between"...

because we know that the only russians
that ever make it out of russia
are the oligarchs... and by that standard
of "sentiment": they're always welcome...
who wouldn't welcome the pharaohs without
giza pyramid ambitions of construction?!
passing chalk as cheese -
and passing... ink for blood...
perhaps i haven't sweated enough to be allowed
to write but as little as this...

there's always this sense of alienation
among the germanic tribes of "israel":
europe... even if they are the scots or the welsh
suckling at the teats of romulus & remus' lupa...
as the old saying goes among the slavic people
when "integrating" into a germanic-esque society -
by the time you have integrated...
there's this dog-**** pile of Babylon left...
and the germans are: "nowhere"!

the saying goes via:
if you go among the crows...
you must croak their croak...

here's to flying high as an imitation seagull!
brazen: into this arable land...
that's being teased by the Thames estuary...

passing through a Warsaw train station
i noticed the immigrants / the expatriates
on the eastern front...
mostly mongols...
notably the ukrainians...
but now in england i'm starting to think
in concrete terms... better start learning
Romanians...
and on the street: you can't see a focus of
who's here and who isn't here...
back east the Roma people stood out
like a sore thumb or a voodoo plum and...
that didn't bother the locals since they were
meshed like glue...
but, here, in england?
everyone's a sore thumb a voodoo plum...
because the natives,
the blessed idiosyncratic professional
eccentrics have left and...
i'm not going to be the first chasing them down...

London the only and last bastion is
overrun with the whole lot of us...
well: the "us" vs. "them" mentality...
don't get me wrong... i'll still listen to the concerns
of the peripheries... in this cest pool
of immigrants, degenerates...
old people who "forgot" to move...
the lunatics the in-betweeners and the old guard
clinging on...
perhaps, after all... english was a very
accomodating language...
it wouldn't take a genius to learn it from scratch
being thrown into the deep end of the pool
aged 8...
who was mute aged 8 going to school
being moved from "east" europe to this island
with... no prior to linguistic connection?
moi...

and now look at me... i'm teasing myself
with... sordid welsh as if i were ever the posterboy
for welsh nationalism...
scottish nationalism? eh... if they were to retain
their gaellic roots...

expansion:
the longing for those who have left:
in the anglo-sphere - expatriate...
the abhoring sense of those who arrive -
immigrant...
otherwise... the english are always
and everywhere: welcome...
hence the expatriate status of those
who have left their native land...
even in h'america: a shared language:
to be an immigrant... while speaking
the same language?! how preposterous!

the difference between eastern style
comedy presentation and western style
comedy presentation: on stage...

the eastern folk prefer cabaret: theatre dialogue
montages...
the western folk prefer stand-up:
monologue samuel beckett esque
performances...
'woe i... stand alone in this infinite
space and... find others to laugh with...'

- perhaps we're not being less funny because
we're lowering our "i.q.": yes, the we are...
we are... lowering...
i find lee evans to be funny...
a laurel and hardy weren't exactly funny
by modern comedy standards that:
it's only funny if it's intelligent...
if there's a crossword puzzle at the end of "it"...

perhaps pride is the shackle...
and ham... what ever happened to self-depreciating
humor that managed to somehow
elevate you as also having a sense
of humor:
do intelligent men even laugh
at something that isn't a word-play or
a corset of wit?
perhaps we're experiencing a drying of wip...
perhaps the jokes are only supposed
to come: days after as a form of
reflection on the sigma canvas:
the joke has to exist outside the performer
and the stage... it needs to be: a live-experience...
it has to take on DASEIN qualities?
it has to be internalised?

that: oh yeah... that's funny...
perhaps the same thing has to be observed
and it can't be retold in an impromptu
fashion shackled to a stage?
the stage is the new camp-fire?
i thought so too... about the television...

as: here's to slagging off everything that's
being published online bypassing
the editorial process of selection...
well... if it weren't for all the seriousness
surrounding internet banking...
and internet shopping...
pen to paper...
******* clinching a ripped roll
of cushioning paper
and a pseudo-***** imitation
for a wipe while massaging my prostate
over the enlightened prospect
of dropping the blitzkrieg plump-dump-plum
into an echoing lake in the ceramic basin...
otherwise...

a seanse with that moment of realisation:
"something is happening to us
collectively"... it's as if: we're under a spell...
oh i was under a spell today...
watching alec guinness in the fall of the roman
empire...
and as coming from a people
that were never conquered by rome?
on this fine fine island that was...
well... my hopes were also high for
the conquests of the mongol empire...
and the remains of it in the form of the tatars
in crimea...

here are my tattoos... it's hard to break from them,
it's hard to wash them away...
but at least i can attest:
my brain might be all fat and sponge and
electricity... but there's some skull and skin
to be had of it...
otherwise... why would the year 1066
be important for me... why would the magna carta
be important for me?
i too have my years in tattoos on this big brian
of mine...

otherwise there's that copernico-darwinian
surge of: journalistic science...
i still find it staggering that darwinism continues
to capture the imagination of people...
"of people"... only in Wittgenstein was left
alone in finding that Copernicus did something
astounding... this surge of "awakening"
via darwinism: this statistical bombardment
like it was some tabloid journalism:
throwing a pebble at a mountain while
also ushering in a mantra: grow by
a poppy's seed added height! grow!

perhaps i'm just jealous...
among the polacks i will never be an expatriate...
what a jealous people...
an englishman who moves to france...
comes 20 year later...
he will have never experienced
the mark of cain: immigration "humphrey bogart"...
he or she moved to france...
perhaps to italy...
i remember being in greece and...
i was nothing when i said i was ******:
but with british citizenship! to add...
so what?
well... so what greece...
i latched onto some north africans
and went to **** away the night
in some strip-bar where i had
two strippers either head o' mine...
and it was constellations galore...
grandmother Etna said:
rest here, among the smooches poor child...

i borrowed Etna from when Aeneas
"left off"...
****'s sake... this is the Meditarrean
and not the Baltic? where is the amber
the whiskey and the leverage of gratations
of time?!

i will agree. Macedonia come night traffic
of quicksilver tinging?
if the metal is cheap and you douse it in some gold?
a mountain dripping fresh from some quicksilver
from the moon peering at it?
objectivity what?

the finite plateau of snow-riddled Serbia...
and perhaps that's because these people
speak their own language...
and have so... and i'm just the next
"english" tourist...
a jack kerouac americanism and:
oh sure! sure!
spectacular fly-over country tourism!
everything's so so different!
and yet all so oh so much the same!

darwinism was going to run the 5000 meter
race... it's currently running the 10000 meter
race... god help it in running the marathon
of still pretending: old news is new news...
i can't distinguish between darwinism
and copernican discovery...
only in the english-speaking world
would this discovery not escape a criticism
from ancient greece and some, some predecesor!

wouldn't anyone just bore of darwinism
if they were told: over and over again:
the copernican "reality"?
a scientific fact is... akin to a religious dogma...
until... it becomes regurgitated with
enough time, with enough journalism and...
tabloid wind... and after a while...
it's only worthwhile to be spoken to
amnesia peoples of the world: unite!
it's hardly "stupid" or "intelligent"...
more or less overlooked...
because a pebble thrown at a mountain:
is... no added mountain to behold...
conventional wisdom is the only wisdom
that there ever was made to be made:
available...

nonetheless, the circumstance stands...
unless from the slavic hemisphere
of europe...
unlike any other circumstance: other than
the one given, among islanders...
among continent builders akin
to australia and h'america...
the post-racial societies of post-colonial
spain in south america?
ever wonder why the brazillians don't
look for inspiration from the portugese
when it comes to football?
you'd think: those yanks better have
the best football team in the world...
they haven't exactly looked back...
back at "us": oh god... tea afternoon and cricket...
baseball wha'?
basketball? "football"?
why are "we" looking forward and "they're"
looking back?
perhaps i should learn some spanish and
get some insinuation about:
the argentinian sense of lack when looking
back into spain...

or what else is there to be had?
move to Greenland... admire Denmark...
**** it: do the whole stretch and find
some locals on the Faroe Islands...
perhaps i too will find a tomorrow...
but tomorrow i will find: sobering up
and having to deal with: everything beside jazz...

mmm... "delayed gratification" prospects...
seven kings: canon palmer catholic school...
when boys are educated alongside girls...
what if i went to Ilford County High?
what if i were born to immigrant parents
and wasn't an 8 year old immigrant?
what if i went to the Ilford Ursulines?
the all-girls school... the former, Ilford County High?
what chances of me being an intellectual
******?

what, oh the chances!
perhaps praying: segregated... is a tad extreme?
but perhaps ******-exclusion policies:
teaching boys throughout their puberty
as segregated from girls in the same hormonal
development "range" is...
well! how else! you take a boy and girl
and you put them into the hormonal cocktail!
just because it's in a shared educational
environment... why these teenage pregnacies
you ask?
i wouldn't ask such blunt questions...
not since the genius of Copernicus
couldn't attract these...
psychological left-over intelligenstia clingers...
that darwinism has allowed...
what it darwinism and journalism?
everything! the ant as the ego
inside the mind of an ape...
the dormant tapeworm embryo
inside the mind of an ant:
with siesmic consequence of a disturbance
of the collective hive network...

borrow too much from an ape...
borrowing from an ape is one thing...
it's the borrowing from all other
animals: with the ape as the backdrop
that's truly bothersome!
at least religious spew the same facts
over and over again...
scientific dogma? who keeps track?
tomorrow might be the next:
butter vs. margarine controversy!
what sort of "religion" is science
(it's not a religion... if it's not...
why does it have to cohabit a bed
with journalism then, to spew "new",
"improved" facts, then?!)
when... it's so ******* finicky!

look via the ape long enough:
it won't matter whether it's a geocentric
of a heliocentric system that
reigns above your head, no torso,
a pickled spine...
legs and arms floating about like:
an octopus experiencing spasms
pickled in brine...

perhaps these are the zenith years of
darwinistic popularity...
perhaps like the copernican popularity...
there will come a time of:
fatalism... that somehow all of this
is... inevitable...

i see one answer: this cage of grammar
this cage of whatever this god made human
pressures me into complying to...
to the last typo! i will stand against it!
without caging me into a use of emoji or
some other hieroglyphic purse of:
shortened "thinking"...

the "seven silences" might have passed
around my presence that i dare not
call it: in concrete - figure...
and still my eigth silence to unmask
nothing more than a mask...

who are these immigrants, these tight brewed
broods, these furrow brows
representing the native pensive "squint":
of anything beside the eyes and a thought
of h. p. lovecraft?
perhaps inside of europe:
but as ever... without a russian passport...
without a russophobia that's
a tickling hard-on... the "in-between-land"...
perhaps the balkans...
who are we... to these germans and quasi-germans?

we use their tongue, their zunge...
their everything they will otherwise allow themselves
to deny: perhaps this is not Dublin,
this is not Glasgow this is not Cardiff...
perhaps this is not Italy,
this is not France...
perhaps this is "europe" as long as
Scandinavia is involved...

woe a we unto us: the viking Rus...
or some lent word of lost vogue...
last time i heard:
these northern ******* are in no favour
of treating the Spaniards or the Greeks
as their equals...
as long as they have rich arab pimps
race their lamborghini brute ******
down... knightsbridge...

then! and only then! iz ist europa "reconquista"!
"reconquista"... i'll defend these poor polacks
that didn't think it...
"necessary" to only learn english in order
to comply to the global dictum of neu-communist
internationalism...
- what, they didn't teach you you stupid
**** that it only took to learn from english?!
- last time i heard... not teachings polish
to a canape of anything beside the french,
the spanish... also worked!

english as a language is oh so accomodating...
the people will react like antibiotics,
naturally... enough of darwinism and you'll
be found, bound, to having to reference it...
past a de facto menu:
and more like a subjectivity...
there's only so much truth that can be stated...
before fiction has to reply...
because... how many regurgitated facts
can be regurgitated...
before the desert of fiction and...
there's only the fact of a bottle of water...
that remains...
and there's not impetus to walk toward
an oasis...
a fata morgana is hardly a scientific experience...
when experienced...
it's something associated with
a desert and within the desert must either:
live... or die...

what if etymology was to become the new
standard for journalism...
what if one were to escape this contant
bombardment of darwinism...
like it wasn't the next new vogue akin
to the copernican "revolution"?

is that even possible?
whenever i return to Poland...
esp. in Warsaw... i'm a deserter...
i'm not an expatriate...
the native english call those who left
with a sense of longing...
somehow: or at least that's the leftover...
the expatriates from the inside-out
perspective... never the immigrants...

i'm an immigrant and...
a paper citizenship is: no citizenship at all...
a passport is only worth a passport
at a border crossing...
in between the everyday daily affairs?
'where are you from?'
****... 'Bristol?!'...
i'm hardly going to speak
the cockney cockers or an essex schlang...
am i? ***!
all but ******* plumbers and church pulpit
mongers... and some over-ripe
riddle fruits: if not simply left
bottles of wine for the bears...

the first part though, bothers me...

someone once said: only the natives can be designated
free speech...
the immigrants can have their dog
and let it bark, along with whatever thinking comes
their way... in mere thinking...
and a dog barking...

the natives will only have a freedom of speech...
what if an immigrant becomes a citizen?
just asking...
what if an immigrant is granted a citizen
status?
well then... i am your humble example
of a civic nationalist...
such a confusing term...
it must be: for the natives...

oh ****... what language am i using?
the language of the... natives!
rubric civitas!
civic nationalism is reserved for:
those that came from abroad...
i guess the ethno-nationalists never made
this distinction clear:
watching their contemporaries leave their
native pit of woe...
and they would never call them:
deserters... only... only... expatriates...
after all... aren't we in the postmortem of ancient Rome?!
isn't this the time when the remnant
english come out and glorify being
the conquered people of this: lettering?

what is civic nationalism?
what is learnt, integrated nationalism...
this is civic nationalism...
how about the english forget about something,
like solving crosswords...
esp. among the middle-classes...
and let's envision their globalist dream!
let them learn a second language
and let us all become bilingual!
oh no... not polyglots... just bilingual!

i can't be an ethno-nationalist...
em... because (a) (b) and (c)?
aren't the post-colonial commonwealth
remnants of the empire the sort
civic-nationalists there's talk of?
what language am i writing in?
hebrew?! mandarin?!

ethno-natioanlism and its tribalism...
civic-nationalism and its state...
where does the church fit into all of this?
it's like not being an amuptee but
nonetheless being prescribed a "missing limb"...
the **** would i need a third arm for?
wilt the third leg allow me to run faster?!

i guess the term ethno-nationalist is
conflated with civic-nationalist in the ethno-nationalist
realm of "debate"...
a civic-nationalist is your casual parlance
h'american patriot...
patriotism in h'america: nationalism (still)...
in europe...
if we have to: hello, my name is: bob
do it all over again with the squares
and dictum assertions and what not attached...
between the ethno-nationalists and
the civic-nationalists...
the inter-nationalists...

i'm a civic-nationalist because:
i fear people need concrete examples...
i will not move back to Poland...
except on the holidays...
to visit my grandparents...
which is why i have retained the labour
of a native tongue... and "identity"...
i will remain in England...
until England becomes: Alle-Land...
and even when all these
ethno-nationalists ******* to Australia...
and become civic-nationalists over there...
well: over there good luck!

why would anyone ask an ethno-nationalist
the question: are you a civic-nationalist or?
civic- implies:
i'm a Brit from a grand "beyond":
circa 3000km away...
civic is a bewildering prefix for the nationalist
of a ethno- persuasion...
it really is... esp. when this ethno-nationalist
doesn't believe in the existence of
expatriates... that he would remain... "stuck"...
and that somehow... ethno-kin could come
and replace... those kin that left: "in good faith"...

savvy?!
Laura Ingram Mar 2012
Paper cranes, only able to fly when thrown.
My body bulging yet angular, a broken bone.
The china doll your mother always told your not to touch.
No matter what I do, it’s never good enough.
The slipper belongs to the girl like glass.
I hope my breaking upon impact has left one that lasts.
Drowning in the I-tried-to-make-you-see
Can’t swim without water, but you can go too deep.
I wish I could stuff you into my shoes.
Make you trip over you-can-knots-too.
I’m-a-whale-bone-corset laced too tight to breathe.
The silent sob song I hear every time I try to eat.
After I learned to play the scales, I wrote.
Comprised largely of passed notes.
Red-solo skin sloshes his I-don’t-drink.
My-stay-in-bed is the only place I can think.
Shape shifting twig-logs legs
I remember all the things you said.
Skeleton, Toothpick, Helium, Thread.
I am much more breakable
Than the mirror that is on my wall.
Beeswax body melts over my candle-wick spine.
Please read between the I’m-fine lines.
I’m-stuck fingers down my throat.
I won’t breathe easy until I choke.
Hungry enough to swallow me whole.
Nothing I crave so much as control.
My hummingbird pulse swings on the raised bars of my bone-cage.
Those none of the bird sort can break.
Isn’t fifty-eight a failing grade?
Words ridged in all the right places to form a fist.
It’s only so long that I can resist.
Lie-colored tendons strain against the bathroom door.
The heaviest part of an apple is the core.
Called enough names to forget my own.
I don’t mine being, but feeling alone.
Desperate kisses
Taste roses and peaches
Grips hair
Breath trembles
Desire
Lust
Craving
Yearning
Velvet bed
Tight flower
Hot sheets enchant
Untie corset
Unhook garters
Fingers dance slow circles
Pouring wax
Stroking oil
Soft hips
Tongue stroking...
Strawberry shudders
Unyielding teeth
Weak pleasures
Sultry sway
Heightens raw need, greed

Burst Cherry
Exquisite cries
Swimming body freely
Skin glides
******
Penetrate
Damp Rhythm
Primitive, Swollen, Ragged, Fevered

                                                       ­                                         ****.
Copyright © 2010 Jacqueline Ivascu
Kate Lion Jan 2013
(i)

It’s wrong of me, I know
            To wait around for you to say extraordinary things, sweetheart.
                      
But there’s something so enticing about true love
                        Wrapped up in fancy scratch paper
                        With half the lines crossed out
                                                [Those are the best kind of things to say, you know
                                                            ­‘Cause it means I’ll spend hours smashing myself
                                                          ­  Between those lines
                                                           ­ Trying to fill in the blanks
                                                          ­  About who you love,
                                                           ­                         And why.
                                                … I miss knowing those things
                                                          ­                          Just a little.]    
            All tied together with the broken guitar strings
[Where now rest those hummingbird wings?]
You’d tune for me
                        Before anybody knew who you were
                                    And I was the only one who listened.

I miss the you I knew

            The one who told me I was beautiful,
                        All mismatched and clashed,
                        Because we were the brains of this outfit,
                      
And how were we to know that
                                    Dreams and reality
                                                Can’t ever
                                                Be worn together?
                        [At least, that’s what Mother would tell me
                                    When I asked to wear her fancy pearls to bed]

I remember the day before we were expected to grow up
            [The day before the sky turned inside out
            And suddenly
                        We were expected to know why it rained sometimes,
                        Were expected to expect pneumonia if we played in the puddles too long,
                                    Were expected to know black from white
To stay indoors and turn gray overnight.
Yes, the day before all of those expectations rose to meet us,]
We were expected to go to a gaudy dinner party
To boast about ourselves.
And everything we planned to become.
            But I hated heels, and you hated lies
            So I showed up in fuzzy bunny slippers with my hair done up nice, and you-
Well.
            You didn’t go.
                        There’s something about growing up you never took a liking to.

Everyone knew who you were by then.
And I sat alone as they talked about you
                        And all of the wonderful things you were becoming.
                        And I just nodded, picturing the boy I once knew
                                    Yes,
The boy that no one knew
                                    With dreams so big they encompassed the entire sidewalk in chalk
                                    Whenever we sat down to visualize the future
we never really thought would come
                      
                        There was never enough room for me to color mine
                        [So I simply signed my name
                                    All small
                                    In the corner
                                    Of that sidewalk gallery of hearts and hopes]
                        And that’s the way I wanted it
                        Because-
                        Well,­
I didn’t need a dream if I had you.


(ii)

It was too perfect, really.
Well, I was, I suppose.
Perfectly innocent.

I now see how illogical it is
To assume that a heart can simply be cut away from the chest,
And given.

For it is impossible to do so
[Truly]

No,
You got so much more than my heart, my love

From the ends of my eyelashes to my fingertips
All of me was yours

Yes,
From the frantic way my heart beat against my ribcage        
[Like a tiny hummingbird
            Wanting to burst free
To taste you with my entire soul
            Swallow you whole
            Not merely glean a teasing sample with my lips]

To the way it melted through my chest
And slid softly to my fingers
Resting in your palm
Yes,
When you placed your hand in mine
            I was clutching the reality I’d only ever dreamed of
            [My heart and I were a package deal- and you held both]
            Yes, it was the closest I’ve ever been to happiness

Oh, love…
I loved,
With every part of me,
I hope you know.

But I never considered that I did
Not really

Until that moment when you led me in my fuzzy bunny slippers to the chalky sidewalk
And silently erased my name from that corner
            Whispering you were sorry all the while.
            But we were all grown up now.

[That was the day I stood with my arms outstretched
Mouth gaping open
To catch the rain
As the sky turned inside out
Because, well.
I needed new dreams if I didn’t have you]

Tears filled my eyes, then
For I felt my heart fall out of my chest
[Yes, I thought such a thing was impossible
But I’d also
(Naively)
Thought it impossible for you to ever leave]
To rest
Forever
In your hands
[A final parting gift]

What pain filled that void!
            [I would blame it on pneumonia,
                        -For I stood in the puddles forever that day
                        Making mouthfuls of promises to that empty rain-
                        But I think we both know better
                        Than to expect a little sickness to bring pain such as this]
For I was left with nothing
And you
            [You
With a tiny hummingbird you didn’t even know what to do with
                        As it lay
                        Barely breathing
                        Barely beating
                        But doing both for you]
You still had everything

From the tears that dripped from my lashes
To the tips of my fingers that brushed them away

To that empty ribcage
            [With the bones gaping open
            So barren, but for a couple feathers
            That blew about when you whispered
                        (Hanging on to a hollow kind of hope)
But fell to the bottom of my stomach once it was clear
That you were never coming back
With my little hummingbird]
And that flat thump in my chest
[From the pendulum I secured in its stead
                        Marking each moment I spent without a true heartbeat
No frenzy of feathers
No
Just a hollow, rhythmic stupor
That fell over my soul]
That reminded me
I had
Nothing to love anymore.


(iii)

            Who knows how long I stood
                        Letting the draft in through the spaces between my ribcage
                        So raw and gaping
                        My soul an empty ocean
                        Waiting
                        Wai­ting for any kind of tide to pull me in
                                                              ­            fill me up
                                                              ­            bring me out again
            I got so cold, love
            Waiting for the wind to wash up something on the brittle beaches of my bones
          
            It took forever, it seemed
            For me to swallow that mouthful of rain you left me with that day
                        [How I wish I’d known sooner that’s all it would take]
            But when I did
            It washed that pendulum straight out
                        [Oh, and how that mouthful wetted the lips of my helpless spirit
                                    Till it was chugging words I’d never been able to find
                                                And that’s why I write
                                                About you
                                                And our love
                                                That is long lost somewhere
Lost in a somewhere only you’ve ever been to]
            Into the hands of someone who thought he’d found my soul.

And how I wish he hadn’t found the counterfeit
For he shined it so pretty and neat-like
            [Oh, that it had been real]
And secured it around his neck
            I never knew I had anything worth showing off
            No
            But he made me feel that I had

Oh, but how it all was very broken
For I was very out of order, see
            Nothing to give him
            Not really
            Nothing but permission for his eyelashes to flicker at me
            For him to brush me with his lips and the tips of his fingers
                        I never backed away soon enough
                        Always left red with regrets
                        Horrific actions I’ll never forget
            [Oh, Always
                        Always
                        The­ swing of the pendulum in the back of my mind
                        Whispering we were on borrowed time
                        Because none of me was really mine
                                                But did I listen?]

He’d tell me I was lovely all the day.

So how picturesque to think of me
Standing on his porch one day
            In my fuzzy bunny slippers
            With mother’s pearls around my neck
            Expecting him to tell me once again.
But that’s when it ended
            Just like I’d wanted
            ‘Cause he claimed I was deranged for double-dipping
            Dragging dreams into the daytime
And I smiled
            ‘Cause I knew that he was wrong.
                        [Yep, you always loved my plaid pajama pants
All mud stained from puddle jumping
From the days we expected nothing but rain for us to catch]


(iv)

How horribly addictive true love is!
            Do you not agree?

For I think we both should like to be gone from each other
Forever, if we could both stand to be away that long

But as long as I live
            I shall never find someone so perfect as you
            And your eyes are the tide that draws me in time after time
            So why should I cast you out, my love?
            Tell me to go away, the way you’ve never said.
            Give me a reason to leave.
For I can’t find one at all,
Except that I love you too much to be logical
                                                     to own up to reality

--It is a sad thought
            To think you might’ve plucked the feathers from my hummingbird
            And threaded them through those broken guitar strings you tuned for me
            To make a wind chime for your porch
                        [You’re the only one who ever listened to me, anyway]
For,
            Did I not see those fancy colors hanging by your door yesterday,
            The same shade as my eyes?
I do not wish to make assumptions,
            Stop me if I’m wrong.

For,
I already know it was so wrong of me
            To think it should’ve gone differently yesterday
                        When I laced up a corset to fill that gap in my chest
                                    Donned a dress with my mother’s fancy pearls
                                    Slipped heels onto my feet
                                    And fixed my hair nice and pretty for you
Oh, love
            How quickly I found you’ve forgotten

Because when you saw me standing there on your doorstep
            All perfect
            And real
            And neat
You handed me a piece of paper
And asked about my aspirations

I could do nothing but glance at the sidewalk, surprised,
Finding nothing but gray pavement.
            For you, my love,
            Are living your dreams now
            No need to chalk them up and wish.

But my hopes haven’t changed, love
I’ve yet to live the only dream I ever wanted

And how I wished to dazzle you by saying extraordinary things
            All wrapped up in this fancy piece of scratch paper
            With half the lines crossed out
            But I don’t think you appreciate it like you used to

And how I wished to tell you that my dream could be found in the chalk dust
Still stuck to the bottoms of my fuzzy bunny slippers
I used to wear
With my mother’s fancy pearls
Until yesterday

When I tried to match everything up evenly
            And we stood on your porch
            With no one to hear us but the wind chime
                        [The feathers holding it together
                                    Just hanging on your every breath
                                                And swaying to a hollow sort of hope]
As you whispered.

You told me I was beautiful.

            And I went home and cried.
For your hand I untie the laces of my corset to disclose the eternity of my mind and body on the cold cement floor. For your eyes I remove the molds which ever so carefully holds my insides in tact and allow them to flood the careful corners of our existence. For your mind I caress your knots, untie your passions and pry at your past. For your soul I allow your mouth to wander the brief and quick passages of my short exiled being.
for your heart I cut out mine own and press both thumbs on your disjointed limbs.
Severe heads and pass into the point of no return.
Dani Huffman May 2014
You do not define my colors,
or how I see my
eyes in the mirror.
You don't pull the corset
laces to fit me into your
ideal waist size;
you don't take my brush and
smudge out my
imperfections.
I'll paint the sky and show
you who I really am.
I'll dip the brush onto my
tongue, write the words in the
clouds that I've wanted to
say since I could
formulate screams on my
baby lips.
I am not the sun,
but you are not the moon;
how can you hail
higher than I when you
are still standing on the
ground?
Can those who are
mighty sprout crowns from their
heads like a baby
bird grows the
feathers on its wings?
Do jewels fall from your
mouth like your voice is
worth more than
Mitus's gold?
Do the branches of the
trees fall to their
arches as you
pass them by?
If you are so, then
please,
take my hand and
paint me red with
all the
things you are that I'll
never be.
Cadence Musick Mar 2013
Cream colored
roses hang
daintily from hips
a ballet of
pure innocence
Christine May 2010
Pretty girls
Pretty blonde girls, pretty brown girls
Try on wedding dresses on late-night cable.
The dresses are pretty too.
Organza and flow and corset and satin.
Pretty dresses for pretty girls
Who will marry pretty boys in a pretty church.
One is less pretty
Fittingly, her dress is less pretty.
Where most have satin, she has cotton.
Eco-friendly, she says.
I like it.
She not very pretty
She's neither blonde nor brown
I wonder what her boy is
And where her wedding is
And if everything is "offbeat" in her wedding.
I hope she gets to use an adjective
Other than pretty.
In my platform boots I'm higher than
you
With my black lipstick in a dahlia
grin
I smile bigger than you
In my corset even with shallow
breathing
My soul is deeper than you
In entirely black I am brighter than
you
I am who I want to be
Carry on
You shallow minded mortal
Erin Suurkoivu Oct 2016
Her novelty has faded.
The stars hang back, distant ladies-in-waiting.
The night sky, their palace, is eclipsed by cities
Exploding with neon lights and grotesque trees.
She is too romantic.
Inch by inch, the black sheath is drawn back,
Revealing her smiling crescent.
She keeps a faithful orbit, and stirs
Blue oceans with long white fingers.

In her full sphere
She is a perfect spotlight,
Turning quiet snowy fields into
Illuminated empty stages.
She plays peek-a-boo, uncovering lovers
Gleaming whitely in the mouths
Of beds.
The beauty of entwined limbs
Exposed in her milky radiance.

She is the sun’s soft reflection.
He is never dim, and the black
Silk bag, a sort of corset,
Is ready to devour her again.
The wine is drained from the glass.
Her smile has become a slit.
The single pearl
Gulped,
Cloaked in shadow again.
"The Moon" is a poem from my poetry book, "Blood for Honey", available at Lulu.com and Amazon.
4am On the drunken floor of my Wingmans apartment I place my red solo tankard down to instigate a quest.
"ROADKILL!"
That's what we call my wingman.
"Roadkill! Lets go on an adventure to king richards faire tomorrow!"
"Sure! When do we leave?"
"Don't worry, I'll wake you up."

See. When your best friend says they need you,
you don't just call them.
You drive.
Tonight,
on the anniversary of Roadkills worst tragedies,
we are getting drunk.
In the morning,
We're going to prove that life is worth living.

7:30am our alarms go off.
"Uhhhg."
"Curse you phone."
Hands slap towards the noise,
Spilling last nights wounded soldiers.

"Roadkill your shirts inside out."
"Thanks man."
Actually, while you have it off.

Black doesn't go with brown.
Pick a whole different shirt."
"It's fine."
"*******. There's a blue shirt right here."

Belting sailor shantees
Roadkill and I adventure three hours in
My four wheeled ground Zepplin.

"A curse to you lads,
a curse on your head,
Drinking pint after pint
until I am dead
I just keep drinking
and I don't know why,
But tonight is the night
that I drink 'til I die!"

Upon arriving at the faire we spot an ocean of goregeous maidens.
The ticket booth doth not take credit cards, however.
So we needed to speak to the gatekeeper.
"Excuse me, where's the atm?" I Ask.
"it's right over there, Handsome.
I'll need your id's first, though.
Don't worry, I don't bite
... hard."

Roadkills eyes grow the size of stormwind.
"I need to bring you everywhere man.
You make everyone love us."

we return with cash in hand
The gatekeeper pulls our ID's from her corset
looks them over before handing them back.
"How are you boys younger than me?"
"It's the beard. "
I wink.
"Keep a secret?"

Swords on hips
songs in chest.
Mead was flowing
Boots were clomping

Roadkill paused to look around
Standing like a pleased statue.

I bounced excitedlly around like a child.
ROADKILL
LOOK AT ALL OF THESE GOREGEOUS OUTFITS ON THESE BEAUTIFUL WOMAN!
"Hey!"
handsome men, too.
"Thank you"
It's like we teleported to Flurb heaven!
Look!
a garb shop!
Oh my god
A boot store!
They have a whole store
for leather larpy boots!
There is a tail shop!
I could buy and wear a fuzzy furry tail!
This is amazing!
There is a giant duck
Being pushed back and forth by two huge jacked dudes.

"I need to hug everyone!"
I am in love with everything!"
"Can i please hug you?"

"I swear to god, Nick if you touch me."

We try the knife throwing challenge.
The crossbow challenge.
The dart throwing challenge.
We **** at all of it but we have a blast.

We walk into a leather shop.
A small redheaded girl dances around us. She puts fur around our necks
Her hands trace our chests as she ties them up
You boys look like the type to rock these.
She drags us by the belts to a mirror.
Look at how handsome you both are.

"Roadkill" I whisper.
He is already lost in her eyes.
I place a hand below his chin and close his mouth.
They talk about where they're from.
Their families.
What they do for fun.
"Oh you do larp? We do dagohir it's like full contact grappley shield kicking larp"

A group of customers walk in and she leaves to tend to them.
A brunette helps take off roadkills stole.
"How much are these anyway?"
Roadkill asks the brunette.
"$600" she answers.
"I feel ashamed for even trying it on"
Says roadkill slipping off the precious treasure.
"Goodbye ladies! have fun today!"
I say, pulling roadkill by the arm.
"Oh... okay then... bye."

"They seemed sad we left.
What was that about?" Asked roadkill.
"Well do you want the blunt educated version or the ignorant positive version?"

"Ignorant of coarse."
Then they're dissapointed because they were interested in us.
"Out of curiousity, what's the blunt educated version?"
"They're upset We didn't fall for their act and buy their expensive wares."
"Whelp... there goes my self confidence. Ignorance really is bliss"
"Yes it is roadkill. Yes it is."

We Travel back home.
Again, singing sailor shantees.

"A curse to you lads,
a curse on your head,
Drinking pint after pint
until I am dead
I just keep drinking
and I don't know why,
But tonight is the night
that I drink 'til I die!"

Park the four wheeled ground zeppelin in front of the Apartment.
Clonk our boots up the stairs
Grab angry orchards out of the fridge
Slunk into the beaten brown couch
raise my bottle into the air
"To living one more day exactly the way we want too, Roadkill."
Roadkill raises his bottle.
clinks it against mine.
"To living."
"I love you, Roadkill. You're the best." -Geek
JM Apr 2013
Your pale skin wrapped
only in a black corset
and ebony hair,
the welts begin their ascension
towards grace.

No need to burn when
I am around for I bring
enough pain to satisfy
all of our dark desires.

That time is dying and
I have new rituals for your
milky curves.

Tonight you crawl through me
as I bind your ankles
to your wrists,
my thoughts to
your blood.

Submission, like honey.
Slow and ageless,
forever ready for my tongue.

Tasting bliss centuries old
and loosening the knots
inside, we lick our wounds clean.

Time and distance
don't exist in our cathedral.
Sia Jane Feb 2014
not here, here, here

inside, outside, her head
bath tub, bubbles shaped
like balloons, rising
in the air,
cut open, she
precludes the secret nature
of her love,

he loved, her
every ballet she danced
pink fur, a butterfly moving,
on tips of toes,
tripping the light, en pointe
painted pale lips,
winged eyeliner, corset
silk, golden embellished,
Lacroix,
feathered tutu, romantic
Tchaikovsky's compositions,
faery tale ballets,
Swan Lake, Paris Opéra
Odette, a sorcerer's curse
falling to her fate, black
later, taxi rides home, kissing
moonlight, bedroom laughter,

KNOCK

not here, here, here

the bathroom door,
she kisses away,
her melancholy madness,
his voice; *Laurier...

her soul, punctured
by her lover...

not here, here, here

© Sia Jane
Another twenty word challenge! So much fun!

"Wanderlust" by Sia Jane Lloyd available via all Amazon stores

http://www.amazon.co.uk/Wanderlust-she-travels-her-mind/dp/1492952346/ref=sr_1_1?ie=UTF8&qid;=1392582925&sr;=8-1&keywords;=sia+jane+lloyd

Also visit:
www.facebook.com/Siajanewords
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