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R E Sadowski Mar 2013
We are the duet
Of water meets dust
Sky meets ground
Heaven meets earth

We are the duet
Of a mucky dance
Crying over the crops
Stepping upon the seeds

We are the duet
Invented from the mess
Of creation, turning
Into devastation
By the hands of the
Coalition

We are the duet
Pouring hands and feet
And cranking necks
And exposing wrists
And lengthening legs
And loosening tongues.

We are the duet
For the dried up leaves
In need of a drink
For the endless fields
Silent in their thirst

We are the dance

To grow and harvest
That will give and give and give
And keep feeding and keep feeding and
Keep feeding
Both types of souls:
Those who believe the duet is worthwhile
And those who believe they can live
Without the smallest amount of rain.
WARNER BAXTER Apr 2014
(Her)
staring up at the darkened sky
stars come out lighting it up so bright
who knew I'd be standing here alone
after all we had, now you're gone
you took my heart when you fled
now I'm broken and empty you left me in shreds
why did you choose to go
guess that's the answer I'll never know

(Him)
staring up at your darkened eye
scars come out cutting it up so tight
who knew I'd be standing here alone
after all went bad, now you've won
you tore me apart with words you said
now I'm broken and empty you left me for dead
why did you choose to go
guess that's the answer We'll never know

Chorus

(Duet) our love will last longer, together we're stronger
we can turn back the time and change the past
(Her)  can we turn back the time
(Him)  can we turn back the time
(Her)  can we turn back the time
(Him)  can we turn back the time


(Her)  staring out at the sparkling sky
stars come out to our hearts delight
(Duet)  who knew we'd be standing together
we have a love that lasts forever
(Him)  you fill me up with love in my heart
your hand in mine never far apart
(Duet)  that's why I chose you
love is the answer we'll always know

Chorus X2

(Her)  can we turn back the time
(Him)  can we turn back the time
(Her)  can we turn back the time
(Him)  can we turn back the time
(Duet)  can we turn back the time

repeat



written by
Warner Baxter and Elizabeth McBride
One Knight Stand Productions
all rights reserved
allissa robbins Aug 2014
We have
A pair
Of demons
That constantly
Cover our
Eyes and
Rip open
Our chests.
They wrap
Us up
In chains
And yank
On our
Throats. We
Are always
In a
Duet with
Our devils,
And they
Know every
Step. We
Trip and
Fall, but
I will
Not hide.

My devils'
Duet will
Not be
My death.

I will
Not let
Them push
Me. I
Will not
Fall down.

The duet
is over.

*I win
lucy anne Mar 2013
we never finished writing our duet.
i don't mean that figuratively.
we were writing a duet
and we never finished it.

we had our two separate melodies strung
the lyrics were quaint but true

but we could never seem to piece them together.

you couldn't quite harmonize pleasantly
our voices didn't blend nicely

maybe i could have taken it as a sign.

we just didn't take enough time
didn't have enough patience

i've always been more of a soloist myself.

we never finished writing our duet.
it doesn't get more poetic than that.
Cné Sep 2017
Let me mold my body along your curves; trickle yourself into my entire being

Vulnerable, ****, my heart exposed, palpably we connect across the starry sky; you ... within me

I want your intimacy to linger along the edges of my lips hours after you've gone

I ache to be consumed by your eyes, intense with emotions, long after the dawn

Take me to your intimate chambers where hearts race; the rhythm of our silhouettes melded on satin sheets

Leisurely feel your way; a slow descend along the avenue of my rhythmic swell; forgive me of my quivering wanton needs

Allow me to graze at the gates of your femininity, drinking the honey from your pink walls; to feel your crowning point between my lips

How can I resist those wandering lips that stirs the curtains of my garden alcove; perfectly painted in honey dew, I throb for the touch of your kiss

Drape your thighs upon my shoulders; let the waves of satisfaction cascade up your spine

I beg to be released, dear God, of this intoxicating spell; I submit myself, heart laid bare; oceans of emotions no longer can I hide.

Find your eyes locking with mine; my torso parallels yours, my body pressed to you; equal in ferocity and tenderness

Mesmerize by your burning eyes in our melting flesh, so strong your hold; yet so tender your caress

Utter our names in fiery moans both whispered and screamed in heated breaths on our solitary night

Vile obscenities float out on heated breath, as cool air kiss our molded skin on the evening our time takes flight

Take me to your heart & cast away the flesh; allow our souls to weave in the throes of passion as our bodies mix into one; slow-motion ecstasy

A longing deep inside, the locked chambers of my soul to exotic places beyond our imaginationsyou sneak into my heart to fulfill my every fantasy 

Feed me the lullabies you paint on your canvas; orgiastic symphony we conduct in cascading tides; trembles throughout our bodies when our fluids mix

Let me paint upon your heart a ballet of our duet; the crescendo palette of my tide drown you in the spirit of our lyrics

Your ripe fruit quivers tenderly while our union completes; take my hands and let me be yours

Hold my sated body that tremors from the wake; a union of our souls ensnare a bond secure
~
A Collaboration with Jack Jenkins.
https://hellopoetry.com/jack-jenkins/
John Stevens Sep 2010
This was written in 1998 by my daughter as a comparative study in her 11th grade English class. Her instructor said it was the best piece she had ever received in the thirty some years of teaching.
-------------------------------------------------------­-----------------------
Beowulf or Christ?

by
Kristen Stevens

Two Standards are raised on the field of battle. The armies rush forward knowing there can be no middle ground, no halfway assault. Each knows only one can leave the battlefield the victor. In the epic tale of Beowulf , good and evil clash in the forms of Beowulf, Grendel, Grendel’s mother and the dragon.

Beowulf journeys to Herot in order to free King Hrothgar’s kingdom from the grip of the monster Grendel. Beowulf is a problem solver and Grendel is the problem. “The monster’s thoughts were as quick as his…claws: He…snatched up thirty men, smashed them…and ran out with their bodies” (119-122) Beowulf portrays Christ. He leaves his home for one purpose; to withstand evil. Christ left Heaven and went out into the wilderness to withstand the devil’s temptation. Beowulf and Christ both wrestle with the dark forces but in different ways. Beowulf used his hands “That mighty protector of men meant to hold the monster til its life leaped out”(791-792). Christ uses scripture to beat back His opponent.

Man does not live on bread alone, but on every word
that comes from the mouth of God (Duet. 8:3).

Do not put the Lord your God to the test (Duet. 6:16).

Worship the Lord your God, and serve Him only (Duet. 6:13).



Neither opponent could break free without losing something.

Beowulf and Christ are both more than human. Beowulf has phenomenal strength and Christ is God’s son. Christ “came to save the world” (John 3:18). Beowulf leaves his home of comfort and peace to save his neighbors. “Beowulf…heard how Grendel filled nights with the horror…proclaiming that he’d go to …Hrothgar”(194-200). No man alive could match Beowulf and no man can ever match Christ.

Both of them go through a change. Each is “baptized”. Beowulf is baptized twice: once, when he jumps in the lake and once again by fire. When he comes out of the lake he is a changed man. He initially goes for fame but not the reason anymore when he heads home. “So…proved myself…guarding God’s gracious gift” (2177-2181). He is baptized the second time by fire from the dragon’s mouth. The first baptism is a wash or a cleansing. The second is a purifier. Fire refines. Beowulf is refined into a better man for eternity when he fights his last battle. “Beowulf fell back; its breath flared and he suffered, wrapped around in swirling flames” (2593-2595). Christ was baptized so that He could begin His work on Earth. “Then Jesus came from Galilee to the Jordan to be baptized by John” (Mat. 3:13). Before Beowulf’s baptism people see him as just a great man, but after people see him as a king. Christ was just a carpenter’s son, until he was baptized and became the King of Kings.

To compare Beowulf and Christ’s last battles, you have to look at what they were fighting. Beowulf fights the dragon. The dragon symbolizes death and our own reluctance to die. “The gold and jewel she had guarded for so long could not bring him pleasure much longer” (2239-2240). Dying means man has to leave behind all his material wealth. Beowulf is old when he fights the dragon. He is coming close to his death and it frightens him. He wants to protect his people. He is willing to lay down his life for them. Just like Christ laid down his life to save us from our dragon. When faced with death, Beowulf and Christ rise above human expectations. Beowulf defeats death - he killed the dragon. Christ overcame death and rose three days later. Both act as an intermediary between danger and their people. Beowulf stands before the dragon. He blocks the path to his people. Christ stands between humans and God. Through Him God sees us as pure. Christ blocks the judgment that mankind deserves.

The last similarity between Beowulf and Christ is what happened after their deaths. After Christ died and rose, God’s chosen people went into a decline. They rejected Him and brought misery upon themselves. For two centuries they were persecuted by Rome. For two millennia they have been shoved aside and animated many times. Beowulf’s people took the treasure and the curse that came with it. “The spell…solemnly laid…was meant to last…Whoever stole their jewels…would be cursed” (3068-3070). Beowulf’s people have misery awaiting them.

As the army retreats, their brave general having fallen, they know they have won. The cost is great, but it had to be paid. Even today the battle rages on and the war will not end until the last enemy falls. Beowulf and Christ, both paid the price for their people’s protection and freedom. The enemy exacted its toll, but it was not enough. The hero and the Savior live on today.
Äŧül Apr 2015
Male:
Main tennu eevein chaahnda,
<Yo baby! I love you like this,>
Jeevein Mor koi Morni nu - haaye...
<Like a peacock loves a peahen, yeah...>

^^

Together:
Saath poori jindadi daa...
<Well we'll be togetha foreva...>
Ehi saddaa vaada hai - haaye...
<Yea this is our commitment - yo...>

^
^

Male:
Jadon tu kitey meri jindadi vich jaaye, haaye...
<If you go away from my life someday, may mercy be upon me...>
Naal meri jindadi v jaaye, haaye...
<Along may go my life too, yea...>

^^

Female:
*Ke main tennu eevein chaahndi,
<That I love you like this,>
Jeevein Mor nu koi Morni ** - haaye...
<Like a peahen loves a peacock, yeah...>

Jadon main tennu kadi mildi haan,
<When I meet you,>
Bol paendiyaan akkhaan teriyaan, haaye...
<Your eyes start talking, yea...>

Main tennu eevein chaahndi,
<I love you like this,>
Jeevein Mor nu koi Morni **, haaye...
<Like a peahen loves a peacock, yea...>*

^
^

Male:
Main tennu eevein chaahnda,
<Yo baby! I love you like this,>
Jeevein Mor koi Morni nu - haaye...
<Like a peacock loves a peahen, yeah...>

^^

Female:
*Main tennu eevein chaahndi,
<I love you like this,>
Jeevein Mor nu koi Morni **, haaye...
<As if a peahen loves a peacock, yea...>*

^
^

Together:**
Saath poori jindadi daa...
<Well we'll be togetha foreva...>
Ehi saddaa vaada hai - haaye...
<Yea this is our commitment - yo...>
My HP Poem #842
©Atul Kaushal
by
Alexander K Opicho

(Eldoret, Kenya;aopicho@yahoo.com)

When I grow up I will seek permission
From my parents, my mother before my father
To travel to Russia the European land of dystopia
that has never known democracy in any tincture
I will beckon the tsar of Russia to open for me
Their classical cipher that Bogy visoky tsa dalyko
I will ask the daughters of Russia to oblivionize my dark skin
***** skin and make love to me the real pre-democratic love
Love that calls for ambers that will claw the fire of revolution,
I will ask my love from the land of Siberia to show me cradle of Rand
The European manger on which Ayn Rand was born during the Leninist census
I will exhume her umbilical cord plus the placenta to link me up
To her dystopian mind that germinated the vice
For shrugging the atlas for we the living ones,
In a full dint of my ***** libido I will ask her
With my African temerarious manner I will bother her
To show me the bronze statues of Alexander Pushkin
I hear it is at ******* of the city of Moscow; Petersburg
I will talk to my brother Pushkin, my fellow African born in Ethiopia
In the family of Godunov only taken to Europe in a slave raid
Ask the Frenchman Henri Troyat who stood with his ***** erected
As he watched an Ethiopian father fertilizing an Ethiopian mother
And child who was born was Dystopian Alexander Pushkin,
I will carry his remains; the bones, the skull and the skeleton in oily
Sisal threads made bag on my broad African shoulders back to Africa
I will re-bury him in the city of Omurate in southern Ethiopia at the buttocks
Of the fish venting beautiful summer waters of Lake Turkana,
I will ask Alexander Pushkin when in a sag on my back to sing for me
His famous poems in praise of thighs of women;

(I loved you: and, it may be, from my soul
The former love has never gone away,
But let it not recall to you my dole;
I wish not sadden you in any way.

I loved you silently, without hope, fully,
In diffidence, in jealousy, in pain;
I loved you so tenderly and truly,
As let you else be loved by any man.
I loved you because of your smooth thighs
They put my heart on fire like amber in gasoline)

I will leave the bronze statue of Alexander Pushkin in Moscow
For Lenin to look at, he will assign Mayakovski to guard it
Day and night as he sings for it the cacotopian
Poems of a slap in the face of public taste;

(I know the power of words, I know words' tocsin.
They're not the kind applauded by the boxes.
From words like these coffins burst from the earth
and on their own four oaken legs stride forth.
It happens they reject you, unpublished, unprinted.
But saddle-girths tightening words gallop ahead.
See how the centuries ring and trains crawl
to lick poetry's calloused hands.
I know the power of words. Seeming trifles that fall
like petals beneath the heel-taps of dance.
But man with his soul, his lips, his bones.)

I will come along to African city of Omurate
With the pedagogue of the thespic poet
The teacher of the poets, the teacher who taught
Alexander Sergeyvich Pushkin; I know his name
The name is Nikolai Vasileyvitch Gogol
I will caution him to carry only two books
From which he will teach the re-Africanized Pushkin
The first book is the Cloak and second book will be
The voluminous dead souls that have two sharp children of Russian dystopia;
The cactopia of Nosdrezv in his sadistic cult of betrayal
And utopia of Chichikov in his paranoid ownership of dead souls
Of the Russian peasants, muzhiks and serfs,
I will caution him not to carry the government inspector incognito
We don’t want the inspector general in the African city of Omurate
He will leave it behind for Lenin to read because he needs to know
What is to be done.
I don’t like the extreme badness of owning the dead souls
Let me run away to the city of Paris, where romance and poetry
Are utopian commanders of the dystopian orchestra
In which Victor Marie Hugo is haunted by
The ghost of Jean Val Jean; Le Miserable,
I will implore Hugo to take me to the Corsican Island
And chant for me one **** song of the French revolution;


       (  take heed of this small child of earth;
He is great; he hath in him God most high.
Children before their fleshly birth
Are lights alive in the blue sky.
  
In our light bitter world of wrong
They come; God gives us them awhile.
His speech is in their stammering tongue,
And his forgiveness in their smile.
  
Their sweet light rests upon our eyes.
Alas! their right to joy is plain.
If they are hungry Paradise
Weeps, and, if cold, Heaven thrills with pain.
  
The want that saps their sinless flower
Speaks judgment on sin's ministers.
Man holds an angel in his power.
Ah! deep in Heaven what thunder stirs,
  
When God seeks out these tender things
Whom in the shadow where we sleep
He sends us clothed about with wings,
And finds them ragged babes that we)

 From the Corsican I won’t go back to Paris
Because Napoleon Bonaparte and the proletariat
Has already taken over the municipal of Paris
I will dodge this city and maneuver my ways
Through Alsace and Lorraine
The Miginko islands of Europe
And cross the boundaries in to bundeslander
Into Germany, I will go to Berlin and beg the Gestapo
The State police not to shoot me as I climb the Berlin wall
I will balance dramatically on the top of Berlin wall
Like Eshu the Nigerian god of fate
With East Germany on my right; Die ossie
And West Germany on my left; Die wessie
Then like Jesus balancing and walking
On the waters of Lake Galilee
I will balance on Berlin wall
And call one of my faithful followers from Germany
The strong hearted Friedrich von Schiller
To climb the Berlin wall with me
So that we can sing his dystopic Cassandra as a duet
We shall sing and balance on the wall of Berlin
Schiller’s beauteous song of Cassandra;

(Mirth the halls of Troy was filling,
Ere its lofty ramparts fell;
From the golden lute so thrilling
Hymns of joy were heard to swell.
From the sad and tearful slaughter
All had laid their arms aside,
For Pelides Priam's daughter
Claimed then as his own fair bride.

Laurel branches with them bearing,
Troop on troop in bright array
To the temples were repairing,
Owning Thymbrius' sovereign sway.
Through the streets, with frantic measure,
Danced the bacchanal mad round,
And, amid the radiant pleasure,
Only one sad breast was found.

Joyless in the midst of gladness,
None to heed her, none to love,
Roamed Cassandra, plunged in sadness,
To Apollo's laurel grove.
To its dark and deep recesses
Swift the sorrowing priestess hied,
And from off her flowing tresses
Tore the sacred band, and cried:

"All around with joy is beaming,
Ev'ry heart is happy now,
And my sire is fondly dreaming,
Wreathed with flowers my sister's brow
I alone am doomed to wailing,
That sweet vision flies from me;
In my mind, these walls assailing,
Fierce destruction I can see."

"Though a torch I see all-glowing,
Yet 'tis not in *****'s hand;
Smoke across the skies is blowing,
Yet 'tis from no votive brand.
Yonder see I feasts entrancing,
But in my prophetic soul,
Hear I now the God advancing,
Who will steep in tears the bowl!"

"And they blame my lamentation,
And they laugh my grief to scorn;
To the haunts of desolation
I must bear my woes forlorn.
All who happy are, now shun me,
And my tears with laughter see;
Heavy lies thy hand upon me,
Cruel Pythian deity!"

"Thy divine decrees foretelling,
Wherefore hast thou thrown me here,
Where the ever-blind are dwelling,
With a mind, alas, too clear?
Wherefore hast thou power thus given,
What must needs occur to know?
Wrought must be the will of Heaven--
Onward come the hour of woe!"

"When impending fate strikes terror,
Why remove the covering?
Life we have alone in error,
Knowledge with it death must bring.
Take away this prescience tearful,
Take this sight of woe from me;
Of thy truths, alas! how fearful
'Tis the mouthpiece frail to be!"

"Veil my mind once more in slumbers
Let me heedlessly rejoice;
Never have I sung glad numbers
Since I've been thy chosen voice.
Knowledge of the future giving,
Thou hast stolen the present day,
Stolen the moment's joyous living,--
Take thy false gift, then, away!"

"Ne'er with bridal train around me,
Have I wreathed my radiant brow,
Since to serve thy fane I bound me--
Bound me with a solemn vow.
Evermore in grief I languish--
All my youth in tears was spent;
And with thoughts of bitter anguish
My too-feeling heart is rent."

"Joyously my friends are playing,
All around are blest and glad,
In the paths of pleasure straying,--
My poor heart alone is sad.
Spring in vain unfolds each treasure,
Filling all the earth with bliss;
Who in life can e'er take pleasure,
When is seen its dark abyss?"

"With her heart in vision burning,
Truly blest is Polyxene,
As a bride to clasp him yearning.
Him, the noblest, best Hellene!
And her breast with rapture swelling,
All its bliss can scarcely know;
E'en the Gods in heavenly dwelling
Envying not, when dreaming so."

"He to whom my heart is plighted
Stood before my ravished eye,
And his look, by passion lighted,
Toward me turned imploringly.
With the loved one, oh, how gladly
Homeward would I take my flight
But a Stygian shadow sadly
Steps between us every night."

"Cruel Proserpine is sending
All her spectres pale to me;
Ever on my steps attending
Those dread shadowy forms I see.
Though I seek, in mirth and laughter
Refuge from that ghastly train,
Still I see them hastening after,--
Ne'er shall I know joy again."

"And I see the death-steel glancing,
And the eye of ****** glare;
On, with hasty strides advancing,
Terror haunts me everywhere.
Vain I seek alleviation;--
Knowing, seeing, suffering all,
I must wait the consummation,
In a foreign land must fall."

While her solemn words are ringing,
Hark! a dull and wailing tone
From the temple's gate upspringing,--
Dead lies Thetis' mighty son!
Eris shakes her snake-locks hated,
Swiftly flies each deity,
And o'er Ilion's walls ill-fated
Thunder-clouds loom heavily!)

When the Gestapoes get impatient
We shall not climb down to walk on earth
Because by this time  of utopia
Thespis and Muse the gods of poetry
Would have given us the wings to fly
To fly high over England, I and schiller
We shall not land any where in London
Nor perch to any of the English tree
Wales, Scotland, Ireland and Thales
We shall not land there in these lands
The waters of river Thames we shall not drink
We shall fly higher over England
The queen of England we shall not commune
For she is my lender; has lend me the language
English language in which I am chanting
My dystopic songs, poor me! What a cacotopia!
If she takes her language away from
I will remain poetically dead
In the Universe of art and culture
I will form a huge palimpsest of African poetry
Friedrich son of schiller please understand me
Let us not land in England lest I loose
My borrowed tools of worker back to the owner,
But instead let us fly higher in to the azure
The zenith of the sky where the eagles never dare
And call the English bard
through  our high shrilled eagle’s contralto
William Shakespeare to come up
In the English sky; to our treat of poetic blitzkrieg
Please dear schiller we shall tell the bard of London
To come up with his three Luftwaffe
These will be; the deer he stole from the rich farmer
Once when he was a lad in the rural house of john the father,
Second in order is the Hamlet the price of Denmark
Thirdly is  his beautiful song of the **** of lucrece,
We shall ask the bard to return back the deer to the owner
Three of ourselves shall enjoy together dystopia in Hamlet
And ask Shakespeare to sing for us his song
In which he saw a man **** Lucrece; the **** of Lucrece;

( From the besieged Ardea all in post,
Borne by the trustless wings of false desire,
Lust-breathed Tarquin leaves the Roman host,
And to Collatium bears the lightless fire
Which, in pale embers hid, lurks to aspire
  And girdle with embracing flames the waist
  Of Collatine's fair love, Lucrece the chaste.

Haply that name of chaste unhapp'ly set
This bateless edge on his keen appetite;
When Collatine unwisely did not let
To praise the clear unmatched red and white
Which triumph'd in that sky of his delight,
  Where mortal stars, as bright as heaven's beauties,
  With pure aspects did him peculiar duties.

For he the night before, in Tarquin's tent,
Unlock'd the treasure of his happy state;
What priceless wealth the heavens had him lent
In the possession of his beauteous mate;
Reckoning his fortune at such high-proud rate,
  That kings might be espoused to more fame,
  But king nor peer to such a peerless dame.

O happiness enjoy'd but of a few!
And, if possess'd, as soon decay'd and done
As is the morning's silver-melting dew
Against the golden splendour of the sun!
An expir'd date, cancell'd ere well begun:
  Honour and beauty, in the owner's arms,
  Are weakly fortress'd from a world of harms.

Beauty itself doth of itself persuade
The eyes of men without an orator;
What needeth then apologies be made,
To set forth that which is so singular?
Or why is Collatine the publisher
  Of that rich jewel he should keep unknown
  From thievish ears, because it is his own?

Perchance his boast of Lucrece' sovereignty
Suggested this proud issue of a king;
For by our ears our hearts oft tainted be:
Perchance that envy of so rich a thing,
Braving compare, disdainfully did sting
  His high-pitch'd thoughts, that meaner men should vaunt
  That golden hap which their superiors want)

  
I and Schiller we shall be the audience
When Shakespeare will echo
The enemies of beauty as
It is weakly protected in the arms of Othello.

I and Schiller we don’t know places in Greece
But Shakespeare’s mother comes from Greece
And Shakespeare’s wife comes from Athens
Shakespeare thus knows Greece like Pericles,
We shall not land anywhere on the way
But straight we shall be let
By Shakespeare to Greece
Into the inner chamber of calypso
Lest the Cyclopes eat us whole meal
We want to redeem Homer from the
Love detention camp of calypso
Where he has dallied nine years in the wilderness
Wilderness of love without reaching home
I will ask Homer to introduce me
To Muse, Clio and Thespis
The three spiritualities of poetry
That gave Homer powers to graft the epics
Of Iliad and Odyssey centerpieces of Greece dystopia
I will ask Homer to chant and sing for us the epical
Songs of love, Grecian cradle of utopia
Where Cyclopes thrive on heavyweight cacotopia
Please dear Homer kindly sing for us;
(Thus through the livelong day to the going down of the sun we
feasted our fill on meat and drink, but when the sun went down and
it came on dark, we camped upon the beach. When the child of
morning, rosy-fingered Dawn, appeared, I bade my men on board and
loose the hawsers. Then they took their places and smote the grey
sea with their oars; so we sailed on with sorrow in our hearts, but
glad to have escaped death though we had lost our comrades)
                                  
From Greece to Africa the short route  is via India
The sub continent of India where humanity
Flocks like the oceans of women and men
The land in which Romesh Tulsi
Grafted Ramayana and Mahabharata
The handbook of slavery and caste prejudice
The land in which Gujarat Indian tongue
In the cheeks of Rabidranathe Tagore
Was awarded a Poetical honour
By Alfred Nobel minus any Nemesis
From the land of Scandinavia,
I will implore Tagore to sing for me
The poem which made Nobel to give him a prize
I will ask Tagore to sing in English
The cacotopia and utopia that made India
An oversized dystopia that man has ever seen,
Tagore sing please Tagore sing for me your beggarly heat;

(When the heart is hard and parched up,
come upon me with a shower of mercy.

When grace is lost from life,
come with a burst of song.

When tumultuous work raises its din on all sides shutting me out from
beyond, come to me, my lord of silence, with thy peace and rest.

When my beggarly heart sits crouched, shut up in a corner,
break open the door, my king, and come with the ceremony of a king.

When desire blinds the mind with delusion and dust, O thou holy one,
thou wakeful, come with thy light and thy thunder)



The heart of beggar must be
A hard heart for it to glorify in the art of begging,

I don’t like begging
This is knot my heart suffered
From my childhood experience
I saw my mother
Tommy Randell Jan 2019
ONE

"Stopping the flow of our music was like stopping time itself - All that promise, all that light, and the quality of the shadows we cast, was gone."

I hear a Drum calling out to me,
Though the Drum hasn't been played
At all recently to my mind,
Certainly, as they say, not in haste.
I hear too a flute, rising to the beat,
But haven't witnessed one of those being played
Also it seems in some considerable time -
I admit then it must be my mental state.

The world is shrinking, as Time fades for me
The more often I tell visitors not to come.
But I do treasure those far away days when
The drumming made all worries disappear
And the quality of shadows in the room
Was lighter as the flute played inside my head
And the shadows outside in the world
Held less fear.

TWO

"Making music in a duet was like layering shadows -
Where the negative spaces dappled and flickered with our fire."

In the quality of life's shadows now
Memory gets dimmer the thinner it spreads -
The counting down of opportunities
Dwindling ahead.

We have lived years
Of distant knowing from afar,
Each of our lives lived out
Beneath independent stars.

A friendship of opposites,
In many ways
Non-touching parallels
In the straight-line choices made.

Rare days together we played music,
Sometimes, played at being in love -
But I wonder whether, if ever,
Either was enough?

Is it in the quality of such shadows now
Time too gets thinner the dimmer days become
And there are gathering ambiguities
In the failing light of love?

THREE

"In our duets music was built from silence in a very special way - It was like drawing curtains in a room to make people look more closely into the shadows."

I have too few souvenirs of you -
But more might only rankle now,
Like a list of things I have to do
To uphold some long forgotten vow.

Empty shelves are better
In matters of the heart -
I mean, If I had a box of your letters
Where precisely would I start?

I haven't played my drum
Since you have stayed away,
Yet I know it was my silence
Caused you not to come and play.

My fault then, to be so self conflicted,
To say I miss our music so,
Yet it was me that killed it -
Though why I still don't know.


FOUR

"Like looking into a river where the light cannot penetrate, it is in the quality of such shadows, insight and harmony are perceived, and so one sees one's own part in the music."

Together we made a river
When we played -
Downhill, always downhill
The beauty that we made.

From some locus between us
There would form a phrase,
A ripple in the stillness,
Making a sense of place.

At best, Time was created
Where rhythm found a name -
At most, sound was celebrated
In the artistry of embrace.

From a duet of plaited silver
Playful knots and shapes,
A cascade always tumbling -
Like beauty being explained.

Always that tension between us,
Always that twilight of dawn,
Always that quality of shadows,
Where some new purpose was born.

And if now the river has run
And what was travelled is lost,
If now the flute and the drum are gone
And the reality of shadows is dust,

No worries, no river is gone forever,
No music is ever complete,
In time, again, the shadows will gather
And our music will flow through the streets.

As life is all about the shadows within
So music is all about the flow of time.
As love is all about two hearts' rhythms
So our duet is not for me alone to decide.

"Many play duets all their lives without realising it is not the music they are searching for! - I was the lucky one then."
Not playing duets anymore after 25years.
Robin Carretti Jul 2018
The burr shaking in a
Bohemian Awakening
(Long) vintage stare how
her words were spelled
out snake tongue (Short)
The Death
Whats Up* Chap of a sport
Whats Up Doc
Going tick tock Mr. Rick
Don't trick this document
Oh! where did it drop
What!! He made the drop
dead gorgeous dress?

Born to die last lip of the spoonfuls
Cut to the chase with my chap lips
More deaths on the rise to deliver 
 
How love was the
mind controller
Hands out of the grave
couldn't hold her
Like the Boulder Chief head
Hothead on her shoulder
The better herbs of medicine
His racing car hot flame
gasoline

The Rapsody of her melody
holding on to her life
What a unique wife
Until time changes her moods
Opening up her world of flower buds
A different silence of home goods
We do believe we can be

The Champions

But the fallout of promises
Or jobs never big advances

Oh! Christ
Her chapped lips needed some
time to heal where is her next meal
The heat catching a death of cold
But staying alive the second
wind hot Ferrari Italian drive
Feeling deathly-sick faking
your death was no trick


Who disappeared never
really certain
if it was truly their
Building the fire mountain
Don't keep complaining
where the time went
Death of a cold wishes
not to die
where is our youth
Only takes one amazing birth
Lips kissing the fountain
The fortune teller booth

Who would want her chapped lips
Baby Ruth crunchy bar
down the mountain
The love confused her the
death would be
faster going once or twice up
Guilty trip or the graveyard shift
Hangover ski lift with her
Beeswax for chap lips
Taxman on the number rise flirting
What a good chap
In her coffee cup a little Robin birdie
told you

You made your own grave
time on my side or hanging
by a thread of stitches
Hats off up and away
Getting a green facelift of witches
You lived so far the good life
Feeling so wanted
he cooked your meals
He cleaned up your mess wearing
The Chef Apron 
 *He's Wanted
the sign
All over the world,
his face is wanted
The fool lips the fuller up lips
The heart went out of touch a deathly cold
She is wearing her heart-shaped lips
Doing what she is told
How the world has been
smudged with
rules
Noone knows where here

All her cracks of her lips
The cute button nose
Not Rudolph the Reindeer
The hunt for the ****** nose
Up close and personal
Lip to his lip journal
Such odds of numbers
So many even deaths
like tumblers
Through the loopers
Love and resentment
The world is a village commitment
Mcdonald Man beef and the
melted lady
cheese
whooper
You got an alert notice
The cast of spells the
fire went high
You couldn't even put it out
The death of a Salesman novice
Papercut snip computer nasty chip
The charcoal grill felt like it burned you
The fires new hires of California
The peace sign
Imagine people with no

Holy water
Whose mind is in order
The Dementia patients
Your own flame so many hot flames
The rest of the world caught a death
of a cold like an old flame

*The Goddess of Venus

The darker edge his cool hummer
Going on a shoot with chapped lips
Who is really keeping tabs

There was nothing to believe in to hold
To restore how do we balance the world
But we are not Gods
Chapped lips caused
such an alarm
All things take time then
it's in harm's way
Someone will understand to pay
Like a settlement
Deathly gray hairs on the pavement
Getting hurt but the best Godly soil
is still their like dirt
There was no reception hell broke
loose riot
Everything was naked sound
No time to sing a duet to
feet on the ground love couplet

That snow drift fall on your face
Who will be where you are in
the next century place

Perhaps your last picture
before you die
How the singer live on
to be remembered
  Why are we not discovered
Can we be saved from redemption
Like you have been squirted on
Like Heinz Ketchup did you catch up
To get his kiss did he feel your death of cold
But never to exist
What is on our bucket list?
This was something I thought of not everything we breath is pure that we adore
times are changing don't you feel your getting a death of a cold to think about it
Ira Aug 2018
The day is bright and blue,
While the night hails the universe's true view.

The sun, hailed as the giver of all life and the first true fire,
As the moon is considered all of death's lyres.

While life is given power by the sun,
The moon is the cloak for all of its assassins.

As the sun is fiery and passionate,
Our moon is quiet and loves maleficence.

As the day gives only the bare truth,
The night covers all that who are to sleuth

Sun and moon,
God and Satan,
Earth and sky,
Truth and jive,
Life and death,
Fire and water,
Dusk and dawn
Diverting Martyrs

Oppositions of our humainty,
Sun and moon,
Balance our reality...
I Don't Care Jul 2013
I'm sick of singing alone.
I want harmony,
And I crave your voice.
Sounds a bit more forceful than the original thought...
allissa robbins Jul 2016
we have
a pair
of demons
that constantly
cover our
eyes and
rip open
our chests.
they wrap
us up
in chains
and yank
on our
throats. we
are always
in a
duet with
our devils,
and they
know every
step. we
trip and
fall, but
i will
not hide.

my devils'
duet will
not be
my death.

i will
not let
them push
me. i
will not
fall down.

the duet
is over.

i win.
Nigel Morgan Oct 2012
There was a moment when he knew he had to make a decision.

He had left London that February evening on the ****** Velo Train to the South West. As the two hour journey got underway darkness had descended quickly; it was soon only his reflected face he could see in the window. He’d been rehearsing most of the afternoon so it was only now he could take out the manuscript book, its pages full of working notes on the piece he was to play the following afternoon. His I-Mind implant could have stored these but he chose to circumvent this thought-transcribing technology; there was still the physical trace on the cream-coloured paper with his mother’s propelling pencil that forever conjured up his journey from the teenage composer to the jazz musician he now was. This thought surrounded him with a certain warmth on this Friday evening train full of those returning to their country homes and distant families.

It was a difficulty he had sensed from the moment he perceived a distant gap in the flow of information streaming onto the mind page

At the outset the Mind Notation project had seemed harmless, playful in fact. He allowed himself to enter into the early experiments because he knew and trusted the research team. He got paid handsomely for his time, and later for his performance work.  It was a valuable complement to his ill-paid day-to-day work as a jazz pianist constantly touring the clubs, making occasional festival appearances with is quintet, hawking his recordings around small labels, and always ‘being available’. Mind Notation was something quite outside that traditional scene. In short periods it would have a relentless intensity about it, but it was hard to dismiss because he soon realised he had been hard-wired to different persona. Over a period of several years he was now dealing with four separate I-Mind folders, four distinct musical identities.

Tomorrow he would pull out the latest manifestation of a composer whose creative mind he had known for 10 years, playing the experimental edge of his music whilst still at college. There had been others since, but J was different, and so consistent. J never interfered; there were never decisive interventions, only an explicit confidence in his ability to interpret J’s music. There had been occasional discussion, but always loose; over coffee, a walk to a restaurant; never in the lab or at rehearsals.

In performance (and particularly when J was present) J’s own mind-thought was so rich, so wide-ranging it could have been drug-induced. Every musical inference was surrounded by such intensity and power he had had to learn to ride on it as he imagined a surfer would ride on a powerful wave. She was always there - embedded in everything J seemed to think about, everything J projected. He wondered how J could live with what seemed to him to be an obsession. Perhaps this was love, and so what he played was love like a wilderness river flowing endlessly across the mind-page.

J seemed careful when he was with her. J tried hard not to let his attentiveness, this gaze of love, allow others to enter the public folders of his I-Mind space (so full of images of her and the sounds of her light, entrancing voice). But he knew, he knew when he glanced at them together in darkened concert halls, her hand on J’s left arm stroking, gently stroking, that J’s most brilliant and affecting music flowed from this source.

He could feel the pattern of his breathing change, he shifted himself in his chair, the keyboard swam under his gaze, he was playing fast and light, playing arpeggios like falling water, a waterfall of notes, cascades of extended tonalities falling into the darkness beyond his left hand, but there it was, in twenty seconds he would have to*

It had begun quite accidentally with a lab experiment. J had for some years been researching the telematics of composing and performing by encapsulating the physical musical score onto a computer screen. The ‘moist media’ of telematics offered the performer different views of a composition, and not just the end result but the journey taken to obtain that result. From there to an interest in neuroscience had been a small step. J persuaded him to visit the lab to experience playing a duet with his own brain waves.

Wearing a sensor cap he had allowed his brainwaves to be transmitted through a BCMI to a synthesiser – as he played the piano. After a few hours he realised he could control the resultant sounds. In fact, he could control them very well. He had played with computer interaction before, but there was always a preparatory stage, hours of designing and programming, then the inevitable critical feedback of the recording or glitch in performance. He soon realised he had no patience for it and so relied on a programmer, a sonic artist as assistant, as collaborator when circumstances required it.

When J’s colleagues developed an ‘app’ for the I-Mind it meant he could receive J’s instant thoughts, but thoughts translated into virtual ‘active’ music notation, a notation that flowed across the screen of his inner eye. It was astonishing; more astonishing because J didn’t have to be physically there for it to happen: he could record I-Mind files of his thought compositions.

The reference pre-score at the top of the mind page was gradually enlarging to a point where pitches were just visible and this gap, a gap with no stave, a gap of silence, a gap with no action, a gap with repeat signs was probably 30 seconds away

In the early days (was it really just 10 years ago?) the music was delivered to him embedded in a network of experiences, locations, spiritual and philosophical ideas. J had found ways to extend the idea of the notated score to allow the performer to explore the very thoughts and techniques that made each piece – usually complete hidden from the performer. He would assemble groups of miniatures lasting no more than a couple of minutes each, each miniature carrying, as J had once told him, ‘one thought and one thought only’.  But this description only referred to the musical material because each piece was loaded with a web of associations. From the outset the music employed scales and tonalities so far away from the conventions of jazz that when he played and then extended the pieces it seemed like he was visiting a different universe; though surprisingly he had little trouble working these new and different patterns of pitches into his fingers. It was uncanny the ‘fit’.

Along with the music there was always rich, often startling images she conjured up for J’s compositions. At the beginning of their association J initiated these. He had been long been seeking ways to integrate the visual image with musical discourse. After toying with the idea of devising his own images for music he conceived the notion of computer animation of textile layers. J had discovered and then encouraged the work and vision of a young woman on the brink of what was to become recognised as a major talent. When he could he supported her artistically, revelling in the keenness of her observation of the natural world and her ability to complement what J conceived. He became her lover and she his muse; he remodelled his life and his work around her, her life and her work.

When performing the most complex of music it always seemed to him that the relative time of music and the clock time of reality met in strange conjunctions of stasis. Quite suddenly clock time became suspended and musical time enveloped reality. He found he could be thinking something quite differently from what he was playing.

Further projects followed, and as they did he realised a change had begun to occur in J’s creative rationale. He seemed to adopt different personae. Outwardly he was J. Inside his musical thought he began to invent other composers, musical avatars, complete minds with different musical and personal histories that he imagined making new work.

J had manipulated him into working on a new project that had appeared to be by a composer completely unknown to him. L was Canadian, a composer who had conceived a score that adhered to the DOGME movie production manifesto, but translated into music. The composition, the visuals, the text, the technological environment and the performance had to be conceived in realtime and in one location. A live performance meant a live ‘making’, and this meant he became involved in all aspects of the production. It became a popular and celebrated festival event with each production captured in its entirety and presented in multi-dimensional strands on the web. The viewer / listener became an editor able to move between the simultaneous creative activity, weaving his or her own ‘cut’ like some art house computer game. L never appeared in person at these ‘remakings’, but via a computer link. It was only after half a dozen performances that the thought entered his mind that L was possibly not a 24-year-old woman from Toronto complete with a lively Facebook persona.

Then, with the I-Mind, he woke up to the fact that J had already prepared musical scenarios that could take immediate advantage of this technology. A BBC Promenade Concert commission for a work for piano and orchestra provided an opportunity. J somehow persuaded Tom Service the Proms supremo to programme this new work as a collaborative composition by a team created specially for the premiere. J hid inside this team and devised a fresh persona. He also hid his new I-Mind technology from public view. The orchestra was to be self-directed but featured section leaders who, as established colleagues of J’s had already experienced his work and, sworn to secrecy, agreed to the I-Mind implant.

After the premiere there were rumours about how the extraordinary synchronicities in the play of musical sections had been achieved and there was much critical debate. J immediately withdrew the score to the BBC’s consternation. A minion in the contracts department had a most uncomfortable meeting with Mr Service and the Controller of Radio 3.

With the end of this phrase he would hit the gap  . . . what was he to do? Simply lift his hands from the keyboard? Wait for some sign from the I-Mind system to intervene? His audience might applaud thinking the piece finished? Would the immersive visuals with its  18.1 Surround Sound continue on the five screens or simply disappear?

His hands left the keyboard. The screens went white except for the two repeats signs in red facing one another. Then in the blank bar letter-by-letter this short text appeared . . .


Here Silence gathers
thoughts of you

Letters shall never
spell your grace

No melody could
describe your face

No rhythm dance
the way you move

Only Silence can
express my love

ever yours ever
yours ever yours



He then realised what the date was . . . and slowly let his hands fall to his lap.
Charlene Tatenda Aug 2013
cigarette duet,
alcohol waltz,
in each other’s wounds
we toss handfuls of salt.

the sandcastles
we build alone are regal,
but together our
ocean waves are lethal.

in the pills we find thrills,
in broken hearts we find art.

we scar our skin
and stain our teeth
so we can feel
somewhat complete.

drink my poison
and I’ll down yours,
so we can live with a
temporary cure.

we are each other’s downfall,
the source of all our pain,
but we’ll keep returning to each other
again and again.
Nigel Morgan Dec 2012
He said I’m the wrong shape. I could do with putting on a few pounds and, almost as an after thought he said, you’ll have to cut your hair – yourself.  I know she was an artist, and a mother, and a gardener. I had to admit to him I didn’t know any painters. My cousin Julie’s a sculptor – same thing he said – but I had to tell him I hadn’t yet looked at her painting, only what he showed us in his presentation.  He then told me exactly where in the National Museum of Wales I could see one of her paintings – Gallery 14 – and its from this period, a Parisiene picture. He suggested I might go to Cambridge and spend a day at a place called Kettles Yard. There are more Winifreds there than anywhere else in the UK, and many pictures by her close friend Christopher Wood.
 
Oh dear. This is difficult. The only thing going for me seems I’m about the right age and I’ve have children, though mine are older than hers in the production. I was so surprised to get this part, but as Michael said over the phone, your profile fits. Except for the weight and the hair, and I know nothing about painting. Why should I? Jeff told me, the composer Morton Feldman once said if you haven’t got a friend whose a painter, you’re in trouble. I’m in trouble. But he has very kind eyes and when he touched me gently on the shoulder after Lizzie and I sung that shells duet I had to look away.
 
Reaching down arm-deep into bright water
I gathered on white sand under waves
Shells, drifted up on beaches where I alone
Inhabit a finite world of years and days.
I reached my arm down a myriad years
To gather treasure from the yester-millennial sea-floor,
Held in my fingers forms shaped on the day of creation….
 
They sleep on the ocean floor like humming-tops
Whose music is the mother-of-pearl octave of the rainbow,
Harmonious shells that whisper for ever in our ears,
‘The world that you inhabit has not yet been created’

 
Mind you, I don’t envy Lizzie being Kathleen Raine. Now that is a difficult part, even though she’s only in Act 2. Raine was definitely odd. He says I have to understand their friendship, because there was something about it that made them both more than they were. I don’t understand that.
 
Jane and the children are amazing already. Martin (my ‘other’ half Ben Nicholson) said they’d been rehearsing with Robert because his wife (Robert’s wife Debbie) is at WNO and they were scared about this one. I’ll say this for him he knows exactly how children interrupt, constantly. It’s clever the way he uses the interruptions to change direction of the dialogue. Conversations are often left unfinished. The bit when that ***** Barbara visits the apartment unexpectedly is brilliant. She’s completely demolished by these kids of her lover.
 
But those letters . . . he said, can you imagine your husband writing to you over a period of 40 years? Quite a thought that. David wrote to me a few times when I was in Madrid for Cosi just after we’d met, but it was all telephone calls after that. Why waste paper, time and a stamp. But I take his point – their letters are so beautiful – and they were separated for God’s sake. He’d gone off with another woman, and even brought her to Paris. And you could not have two totally different women – she ,slight, chain-smoking, work-a-holic, sharp-tongued with that Yorkshire edge, and me with ‘a quiet voice, trying always to be gentle and kind ‘– W would be called an earth-mother these days. She was a kind of hippie, only she had money – mind you most of those hippies of the 60s had money otherwise they couldn’t have done drugs (heard that on Radio 4 last week in a programme about Richard Brautigan). But they wrote to each other almost every day.
 
Dear Ben,.
            Do you know there are several kinds of happiness, and there is one sort which I have found. It is the sort that is within oneself, enjoying fresh promise, and taking all the experiences of life that one has been through, so-called sad ones and so-called happy ones, to make up understanding that is further on than joy or sorrow. I have been extremely lucky – I have had ten years of companionship with an ‘all-time’ painter, working in the medium of classic eternity and that has been better than a lifetime with any second-class person – isn’t it - I have found it so…
 
Best love Winifred

 
What’s clever about the letter sequences is the way the two-way correspondence is handled as a duet and right in the middle of it you’ll get a flashback – like Winifred suddenly remembering her first meeting with Ben.
 
I heard this voice
In the room next door
I couldn’t breath, I couldn’t move
I knew, I knew for certain
This was the man I would marry.
And when we were introduced
He seemed to know this too.

 
We gaily call this an opera, but it’s not. It’s something else. It simply doesn’t do what you think it’s going to do. Even when you do something for a second time the accompaniment doesn’t do what you expect and remembered. It’s this open-form business. Something else I know nothing about. He mentioned Umberto Eco – now I’ve read Name of the Rose. When Braque or Mondrian or Jan Eps visit unannounced I have no idea which one it’s going to be – these guys just used to turn up. Sometimes two at once. W didn’t invite them. They came for her English hospitality (home baking I think) and her beautiful apartment come studio – beautiful, because she made it so. Her French was appalling, and this is difficult because I speak quite well, and now I have to speak like an idiot. Bridget  (playing Cissy the Cumbrian nanny) having her French lesson is a hoot, and with the children correcting her all the time, it’s lovely.
 
He was very sweet when we broke for lunch. Sara, he said, as I collapsed into an auditorium seat to find my bag and mobile, Sara, we’ve got to find you a painter to spend a day with . . . so you’ll know how to stand in front of an easel.  I phoned Sarah Jane Brown who has a studio in Cardiff and she’d love to meet you. Here’s her number. She paints flowers and landscapes – as well as the abstract stuff - just like Winifred. Her tutor at the RCA actually knew Winifred. And with that he disappeared to a dark corner of the theatre and unwrapped his sandwiches. You can tell he’s not into break discussions with Julian or Michael. I think he’s terribly shy. He’s interested in the cast and so he picks them off one by one. Julian I know doesn’t like this. I think everything needs to go through me, he said at the end of yesterday’s rehearsal. Who does he think he is?! Lizzie reminded Julian he was the composer and what he doesn’t know about this whole period and its characters isn’t knowledge. Liz thinks he’s a sweetie – and she’s sung his Raine settings at Branwyn Hall last year – with Robert who was his MD with BBCNOW. Liz knows Julian hasn’t done his usual homework because he’s got this production in Birmingham on the boil. Unknown Colour is a distraction he can do without.
 
This afternoon it’s back to the mayhem of those ensemble scenes in Act 1. They’re quite crazy, but I’m already beginning to feel I can start to be someone other than me. Did you know I have this lovely song? It’s quite Sondheim . . .
 
*I like to have a picture in my room.
Without one, my room feels bare
however much furniture is there;
Pictures play so many roles.
My room has too much going on in it
for something extravagant.
In the morning it is a sanctuary,
in the daytime a factory,
in the evening a place of festivity,
and through the night a place of rest.
 
I want a window in it,  
And a focal point, something alive and silent.
A bunch of flowers on the window sill?
Yes, but they will wither.
A cat curled up on the hearth?
Yes, but it will go away and prowl upon the rooftops.
 
A picture will always be there.
It will make no sound. It will wait.
If it is true I shall never grow tired of it.
I shall see something fresh in it
when I glance at it tomorrow.
It will always be my friend.
poe Jun 2014
I sing my lonesome song
Calling for someone else who knows these words
I used to be in a choir of voices
Many like mine

Now?

A Lonely soloist
Acapella in my solitude
Far and wide these lyrics travel
No one ever completes my duet
But that won't stop me from trying

The ghosts that muted the songs of many try and mimic my melody

Hoping to entice me to them

they will cut me open and tear me apart

Ignoring my cries and pleads as they carry on their experiments

Vivisected

Stripped of all emotion

They will steal my voice

My breath

Use me as a slave before I am thrown away

Useless

They rendered many speechless

But not me

I'll not be fooled

Their webs stole everyone away

Why I'm alone is them

Those ghosts laugh

Awful voices

Winey

Nothing important to say

I'll swim through this vast sea

alone

For however long I need

Before I find that one

That completes my harmony
1st verse:

I know what it's like
To be completely
Incomplete

But I don't completely
Know what it's like
To be with me

But I know it's hard
And you do it well

Yeah I know it's hard
And you do it well

Chorus:

And I can't stop
The tears
From rolling
Down
Your face

But I can
Catch
Them all
Inside
Our Teardrop
Vase

And when the
Tears have
Finally
Stopped

We won't
Have to
Pull out
The mop

We'll just
Go to
Our special place
And see the flowers
In our
Teardrop
Vase

Our
Tear
Drop
Vase

2nd verse (her):

I know that it's harder
Than its ever been
before

I knew it when I saw
You lying curled up
On the floor

And though it's hard
What I've learned

Yeah though it's hard
What I've learned

Chorus
1st verse and 2nd verse
Old song of mine
Feeling relevant
...
Mindy Gledhill
betterdays May 2014
i eat the wind and sky,
as i walk along the shifting sands.
the waves roar,
profane curses,
in my left ear.
and at my feet
leave, monuments and epitaphs
of their destructive fury.
to my right the sand
sails, from the dunes
in bereft drifts
leaving the long sedge grasses sighing
heartfelt goodbyes.
i head toward the
rusted hulk,
that howls and sings
a furious duet,
with the wind.
i stand with my hands
over my ears and lean backwards,
so my spine makes contact with the derelict ship's hull. my body vibrates,
with the power
of this angry world.
and i rejoice,
in it's soulful serenade.
Cory Ellis Jun 2013
Hey guys. This isn't truly a poem but a paper I wrote for English class. I wanted to share this view with people and this is the only vehicle I knew to use. So here it is. I hope you enjoy it.
-------------------------------------------------------------­--------------------------------------------------


The amplifiers were turned up to ten. The young and fresh crowd looked at us with anticipation.

What were they waiting for? As the music began I noticed the subtle movements and growing tension in

the crowd. Men shook their heads and we shook ours in a violent duet between the crowd and

performer. Women and men flailed their limbs as they awaited the ******. We knew when it was

coming; they did not. When we decided to let it all go I witnessed something crazy! There was a brief

pause in the music and when it began again we kicked it into overdrive. We shook our heads with a

more frantic pace. We jumped about like madmen. The crowd erupted; it became its own entity. You

could feel the heat and power of this new creature. We were locked in a violent psychic-sphere of

crazed young teens and when the ****** was over there seemed to be a sense of relief and happiness

in the crowd. Had my after school hobby become a healing agent, even if only temporary, in society?

This papers purpose is an attempt at piecing together the phenomena of catharsis by merging

philosophy, psychology, history and spirituality.



First, to understand the psychology of catharsis we must think back to the roots of this behavior. Since

human life has existed we’ve formed crowds for various reasons. The first reason held the sole purpose

of protection. Tribes of people, men as hunters and women as gatherers, teamed up for the benefit of

human survival. Erich Fromm says that “the meaning of life is not to be found in its fullest unfolding but

in social service and social duties; that the development, freedom, and happiness of the individual is

subordinate or even irrelevant in comparison to the welfare of the state.”(Fromm, 1947, page 51) This

states that a crowd is actually very necessary to the function of human life. The second reason crowds

gathered was in form of revel, shamanistic healing and worship of deities (Ehrenreich, 30). Men and

woman would often enter trances, speak in tongues and become involved in a collective ecstasy while in

worship of their God. In later years, politics, entertainment and rebellion or protest was a main factor in

the gathering of people (Ehrenreich, 102). People gathered at Festivals that were in the midst of being

suppressed and would dance in mockery of their Kings or leaders.



What exactly is catharsis? Catharsis is a purging of emotional tension brought out in a crowd through

the viewing of a tragedy or tragic play. In the article “The Power of Catharsis” Kearny says the following

More specifically he (Aristotle) defined

the function of catharsis as 'purgation of pity and fear'. This comes

about, he explains, whenever the dramatic imitation of certain actions

arouses pity and fear in order to provide an outlet for pity and fear.

The recounting of experience through the formal medium of plot,

fiction or spectacle permits us to repeat the past forward so to speak.

And this very act of creative repetition allows for a certain kind of

pleasure or release. In the play of narrative re-creation we are invited

to revisit our lives — through the actions and personas of others — so

as to live them otherwise. We discover a way to give a future to

the past. (Kearny 1)

I figure that, even though he states that it is a purgation of pity and fear, it could also be involved with

many other suppressed emotions. Take my introduction for example. These kids were not releasing

pity and fear, they were releasing their angst! They were releasing their desire for competition.

They were making up for the violent feelings of agression they felt in their body that had been

suppressed by society for so long! They were revolting! Could catharsis also be used to purge other

emotions as well such as ****** suppression or communicative issues?





How would one come about actually attempting this catharsis that I speak of? We need to first look at

some ways in which people have controlled crowds in the past and realize that crowds form by

themselves but often look for leadership due to what Nietzche called that “herd mentality.”

In the article “Seducing the Crowd” by Urs Staheli it mentions that repetition is a key factor in beginning

to control the crowd. (Staheli, 69) This means that through repetition you can get the crowd to side with

your beliefs. The crowd could begin to think about what your suggesting and potentially be swayed by

the other people that are now following your ideas. It could also be repetition of body movements as

well. What better vehicle is there to sway a crowd than music? It’s repetitive in instrumental and lyrical

form!



Another way to “******” a crowd is to act like a madman! Specifically how I stumbled upon this in

the first phenomena place.

The leader himself is possessed and hypnotized by the ideas

and visions he holds, obsessed to such an extent that he cannot rationally exercise

control over the crowd. Instead, he devotes himself to fascinating the

crowd by more ecstatic means.8 He often resembles a madman but fascinates

by the mere power of his determination. What distinguishes the leader from

the rest of the crowd is his will alone, not any particular intellectual capacity

or a superior morality. (Staheli, 68)

The theory is that through mythological story telling or acting tragically and in a spectacle, we can

actually release negative emotions and potentially even heal neuroses or psychic ailments. Later in the

article he goes on to say that a shaman was actually documented to have cured a woman with a blocked

birth canal and in labor by telling her a story about a warrior trying to exit a cave that had monsters on

the outside trying to get in.

The function of a shaman is to heal his tribe. He uses drugs or plants to change his state of mind and

then by going over to the other side of reality he invokes spirits that help to heal.

In the séance, the shaman led. A sensuous panic, deliberately evoked through drugs, chants,

dancing, hurls the shaman into trance. Changed voice; convulsive movement. He acts like a

madman. These professional hysterics, chosen precisely for their psychotic leaning, were once

esteemed. They mediated between man and spirit world. Their mental travels formed the crux

of the religious life of the tribe. (Morrison 1967 pg. 71)

This shows an ecstatic crowd dancing and chanting while one man acts out a tragic spectacle. Through

this spectacle the shaman acts like a madman. This causes wild emotions within the crowd and allows it

to release their built up and suppressed emotions. Also, the dance and chants bring them to a feeling of

unity and oneness!



One may not believe in the spiritual shaman because of their own beliefs about God and religion. Some

may not believe in the other world that parallels our own.  It is a skeptical concept without a doubt and

there are probably many people who disagree with the legitimacy of the shaman. Is there a way that we

could think of the phenomena in a psychological sense rather than strictly spiritual? The answer lies in

Carl Jung’s theory of the unconscious mind and dream therapy as well as in Nietzche’s philosophy on art

and aesthetics.  



Carl Jung believed that there is a conscious mind and an unconscious mind. The conscious mind is the

everyday mind that occurs in waking life. It is rational and helps us survive. The unconscious mind can

be found in dreams or whenever you experience a déjà vu (Jung 1964 21).  He also believed that through

the study of dreams you could heal certain aspects of your psyche that have been altered by neuroses.

Symbols and archetypes make up dreams and the unconscious, and often you will find that archetypes

appear in the form  of people. Jung believes that through living in society that men and women have lost

touch with their feminine or masculine characteristics depending on their gender. Dreams can help us

get back into union with these lost roles through connecting us with our anima(female) or animus

(male) through symbols in our dreams or unconscious minds. Jung wrote that when society was

formed people took on roles and caused a dissociation in their psyche and caused a duality rather

than a unity when they suppressed one side of their mind.  He mentioned that at all times the

unconscious mind is connecting us on a psychic level.



How does this tie into shamans and catharsis? It seems like something completely different all together

right? My theory is that the shaman or crowd leader brings forth a forgotten union of the masculine and

feminine forces in the universe. Nietzche believed that there are two polar forces that are natural in this

world and in art. These forces are given the names of deities in his book “The Birth of Tragedy.”

The first is the Apollonian force that is masculine. This force in art governs form and dreams. The

Apollonian artist directly takes ideas from his dreams and brings them to life whether it is in form

sculpture or poetry. Apollo appears through an oracle often in tragedy or in visions of the waking life.

The second force is the Dionysian which is feminine. This force governs intoxication, revel and ecstasy.

Dionysian artists are improvisers and dancers and are usually tragic figures. Nietzche believed there are

three different types of artists: Apollonian, Dionysian and the fusion of both (Nietzche 1872 14). This

latter artist is what I believe the shaman is.



Through connecting these polarizing forces he fixes the psychic neuroses in his own mind. He becomes

a unified artist, or a magician of duality. The shaman, as stated above, takes drugs to intoxicate himself.

Often the drug of choice is wine or alcohol though it could be hallucinogenic drugs as well. This tied with

repetitive revel is the Dionysian side of the spectrum and also helps draw the crowd’s attention through

spectacle and repetition. Everybody is ecstatic and experiencing the collective vibrations of the crowd.

Through his intoxication he is able to go into the unconscious mind and produce dream symbols in

reality! The crowd follows the leader into this unconscious mind and brings back forgotten wisdom of

mythology and archetypes. This is the Apollonian side of the spectrum because it deals with the

unconscious mind and dream images. It also could be this “other world” that traditional shamans speak

of. Now the psychic duality is merged and a tie is formed between the masculine and feminine forces of

nature! People feel at one with themselves and the crowd and the societal suppression is vanished

briefly. All the neuroses caused by the suppression fades away in the ecstatic revel. This is the appeal of

the rock concert. Notice how many leading figures of rock bands have androgynous features and

shamanistic nature. This is because they have fixed the psychic neuroses in their own mind and become

at peace with the masculine and feminine duality of their psyche.



Stumbling upon this phenomena in my rebellious youth was very eye opening. Ever since I have been  

very excited about this theory and I’ve been trying to piece it together. It seems to be coming along

further and further in my study of this. What exactly this ancient wisdom is; I don’t entirely know. I

do know that I have witnessed this in reality and the subject is interesting and fascinating. My theory

still has a lot of work before it is completed but I think that within this article I’ve given a decent

amount of history about the topic as well as my own thoughts. Whether this phenomena is true or

not, we can leave that up to the psychologists and philosophers to decide, though I think many may

agree. Either way, catharsis surely does exist and it is a fun way of entertainment as well as a

therapeutic option for many stressed out individuals out there
TinaMarie Mar 2012
Be my novel tonight
Allow me to navigate the depths of your thoughts
and journey through the pathways of your mind while
merging in my imagination and infusing in my wildest
poetic fantasies.  Inscribing in our bedpost an
unforgettable bestseller.

Be my music tonight
Let me groove to the beat of your heart picking up pace
as I explore new ways to invoke melodious outbursts. I
want to sing a duet with you of synchronized moans and
pleasurable sighs.  Culminating with you belting out my
name in one final perfect note.

Be my masterpiece tonight
Permit me to trace my fingertips across every inch of
your frame as I find your sensually stimulating spots.
Armed with new knowledge and intent, sit back as I
stroke you with my brushes of desire and take you on a
creative adventure of twists and turns as I bring to life my finest
work of art and watch with all anticipation your love erupt.

© Tina Thompson
Chris Apr 2015
-

Harmonic dreams
in slow dance tempos,
melodically sing to you
the music of my heart

Performed whispers
in the key of love
echo from a twilight sky
of stardust concertos

On gossamer strings
upon a moonbeam guitar
tuned to the symphony
of your serenade smile

As mesmerizing lyrics
of forever poetic promises
resonate from our heavens
*creating the perfect duet
Thank you for reading
How you move so fluidly
I’ll never know how
All I have are my eyes
Trying desperately to take as much of you in as I can

I want to be what inspires you
What you dance to in the morning while the coffee is brewing
And our bed is still warm

I’ll share with you every word I have
Nearly every one will be about you
Even if we should come to an end
I know I could never stop what pours from this bleeding heart

If you keep rhythm in your feet
I’ll keep lyrics in my lungs
So we may constantly be what the other needs
To keep going
Emily Mar 2014
How lucky am I to live in a reality
One where my best friendship
Grew into a fantasy relationship
One where laughs and shooting the ****
Grew into something more
Something passionate
Deep and special
Conversations about the future
Talks about our love
Living in harmony
A beautiful duet
I follow you wherever you lead
Our hearts belong together
You're my sun
You're my sky
You're the flowers
You're the memories
The images in my head
You're the beauty
In everything I see
Thank you for being with me
© Willa 2014
Brandon Mar 2012
I'll see her soul floating in thin space surrounded by adoring faces
of grotesque amusement. And I'll be there for her, through
the nova to super. A sparkle in the stars of a
goddess that sees all
and accepts the fate that she has chosen, beaming in the orange
afterglow of knowing that you'll continue onward with her through
her journey

An intertwining entanglement twisting spiral of
emotion spoken verse through shreds
of hair overlapping ears enveloped in the mind
of a poet the paper queen and razor king
the light plays a soulful time stretched across harpsichords
of ****** bone she stands amidst the destruction. A beauty of
*******
tainted blood running in rivulets down her thighs. Looking at her vile
nameplate in the mirror. The object of her hatred her own soul.
Betrayed easily by a lovers hand

A lovers love convulsing putrid green from behind her eyes
a demon that's been awakened a last call for a feeling long since
forgotten but longed for breathlessly
yearning to feed on her hardened heart. Cold and barren
from years of other diversions besides blowing her
calming storm over it. A festering wound from whence came
her own destruction.

The bracelets left by a lovers palms greased for enjoyment
a monkeys paw make a wish but be careful
wishing is for lighthearted fools. Only time can
save her now. Stitching together her spine
with rusty wire and dull needles. Hinges that are necessary to
open up the door to the fates that twist her insides. Cotton
truly makes her tick.

Made of straw old and rotten hanging on a cross
a symbol forgotten. Watch the stitches unravel
and conspire into snakes swimming the oceans miles
drowning the last visage of hope. The soft white underbelly of a
faith long ago dubbed "unreliable" who will
save them now?

A circle with Cs on either end a faith an idea the doll
deserted in the corner of a child's room that never came home
with a broken arm and a cracked porcelain face waiting for
someone to wipe off the dust, make her feel wanted again. Shell
wait until the air caves in her delicate mouth. Blowing
holes through a time faded dress. Caressing decaying eyelashes
about to fall away

Caressing the downfall outstretched hands that reach
so far the decay sets in as ****** claw regression
into obsession
yet can never make it to the other side where acceptance
rules the heart and blonde hair fades after so long leaving
the ravished ones old and worn

A tower on a hill, the hair flowing still birth into
the warm womb of a bees nest built for a porcelain doll
long since face has faded to Raggedy Ann china *****
spreading her 1950's Compton pantaloons to the masses
wondering why none of them will invite her into their hybrid
plantations of rioting smiles and half lit eyes that never seem
to stop tearing

Ripping the seems of societies blunders the under stitching that
hides the batteries of a thing not present red hair fade to gray
as times progresses the  lines fade
into a remote inkling of remembrance. The hands that covered
her existence pushing her gently yet leaving painted bruises.
An art exhibit in the making. Pay me for pleasure
I bring but leave my soul to peace

Leave my peace to suffering
This is exhibit A. witness testify to a false maker
of false hopes a dreamers dream disappearing on the lids of
a waking being. So is the theme spoken in rainbow
brilliance the soul is trapped in a toys body break me discard me
no use for this
this is exhibit B. a lifeless rendition of a restless warrior begging
to be freed from his crime in watching his own hands  children
and a pregnant woman willing to sell her soul for redemption.
Break him, discard him but never let him forget

Time elapses travel to the future, Raggedy Andy and the soul
a machine cold and calculating everyone wants one for Christmas
unwrap the gift and sell it tomorrow
wont get much out of it. Devoid of extraneous packaging
it's lost it's worth and the scars are blessed tracing them with my tongue
a willing conspirator in your lie that you live day to day. Praying to whatever
that tomorrow you won't wake up and the pain will stop. Should have never
bequeathed my soul then because now I'll never let you go

The welcomed touch of another to soothe the decay build a house of
legos galore a horror left untold but whispered in empty space someday
it will reach the ears all will be out of place the blessing of scars and the blessing
of tides. Wash the dreams into reality
yet with your eyes squeezed shut you cannot see the smiles
I flash you from across the room. Another cold winter with plastic walls,
the floor rough beneath my paper thin feet. I am getting older and your passion
still falls to ripping me open and seeing what color I am today. Your
dream is my hell. A reality we all want but some never have a blessing
of the tides for you but not the patchwork of needle veins left on my
heart

A ragdoll sows well after unthreading unraveled secrets that are being
spoken a hidden meaning in things known so well and held
so dear the addict is addicted the silver polish of another exit
and a feared exit (exist)
picking away at the surface he is relieved to see his own
reflection on fates tinderbox. Matches with his name on them and other
wealth's of knowledge he cannot comprehend. I take in his
apathy and replace him whole.

Existence is superficial floating ecstasy through a ravers midnight
meltdown the drugs that soothed soon are smoothed out of the system
a gentle touch the softest if skin paper thin paper thin
licking the edges and listening fast, a deep puff, euphorium. Wanting to
play tonight the caterpillar sees, puffing his own blue smoke fast.
bloodshot eyes hide the daylight from your stolen afternoon. The headboard begs
for some grease, let's at today, my love, let's break me again

The twins of wonderland and the cat disappearing a story
forever after faintly breathing from the lips of the souls
sought wondering
sharing a shotgun with a confidant the after taste sour and strained. Not
enough we all see into your twisted head. Plucking on my heart strings
too rough. Wanting to see me bleed. Not this time the queen of hearts will
soon beat you with a flamingo and send you flapping
through the hourglass a king of king and clams

A nursery rhyme for all children to sleep a child's toy finally
dies leaving behind soiled memories
a VERY OLD poem written long ago with Brook Ilges (Italicized.) this was a night long poetry rant. it falls into the "good for what it is" kinda category. It has no structure, no reason, no rhyme. Just hyped up teens spitting words to each other.
Richard Riddle Mar 2016
He is older-
taller
athletic
celloist

She.....
beautiful
red hair...green eyes
infectuous giggle


He wears a tuxedo(orchestra)
she straightens his tie,
picks the lint from his collar-
a kiss on his cheek


As the orchestra plays
he plays for her
she sits in awe...
Watching.....
Listening
......

"The Duet"

Evan and Emily

My Grandchildren

richard riddle: 03-17-2016
Evan is 15, Emily is 12,  They always provide me with new subject matter.
Micheal Wolf Jan 2013
A million different thoughts
What!
If!
How!
A duet it continues, a lamentation to oblivion
Assorted brain functions carry on like a clock keeping time
Not higher but primal try to carry on normality
The physical suffers as they inflict damage upon my tissues, organs and emotions
Practicality doesn't warrant candid thought
"Tell me about your childhood" Which one!!!
One battles to suppress the other and take its throne of light
It has no place in my mind in this irrelevant state of chaos
Then like a calm before a storm you could hear a pin drop in the void between my ears
They are neither here or there
The quantum moment of exchange
Everything becomes nothing
Nothing becomes everything
The dead emptiness for seconds as the transition takes place
As the vacuum of hopelessness once again ***** the lucid thoughts away
Tortuous like air from a dying man's lungs
Trying to cheat the ferry man
Not on his final journey, oh no that would be relief  and sometimes prayed for to a god I don't believe in
But my now daily fight to refrain from losing  myself into the abyss
I only focus on what I think I can balance between Rationality of day when I can maintain it
and screaming pain of turmoil at night
I live two lives split like continents, never touching again after they separated
Yet in binary to each others existence, a duet of spatial rage
It is the cold reality, my curse, my fate
Two individuals one body, arguing for supremacy
Both alert both sharp both denying the other audience
One during the waking hrs one during the slumber
A Duet of desperation as they battle to trade places
night for day, day for night
One a craftsman one a scholar
The church would call it possession
A physician a personality disorder
I call them my Daemons
Part of me yet all of me
You?
You may call us friends
Written  for the author of ITLAD  Anthony Peake

Some interesting questions been asked of me about this. In response. To my knowledge I'm not schizophrenic but thanks for the multiple diagnosis. No offence meant or taken.  Do we not all have battles that rage in our heads between what we think and say. I know I do. Read about the book and you will see my meaning I guess
I do not want the solo,
Let me duet with you my dear.
Sweet harmonies, loud soft, high low.
My heart acts as percussion with you near.
A tune so perfectly pitched,
I lose my time, breath caught in my chest.
We pick up speed, entwined and bewitched.
Forte notes echo , regardless of rests.
I feel your pulse, and you mine,
Lost in the moment, our art.
Accenting each note through bar to line,
Aching passion from the start.
There is no need for strings or timpani
For tonight, you accompany me
Akemi Oct 2013
Chapter 1

There was a woman. The cost to love her was your life. No other payment but a sending off, a revolver cocked to your temple’s side.
There was no spite in your death, just business.
Hell of a business to run.

I was protecting someone. Never been one to stick around, but this drag had carried for the past year. That gang-owned joint lay but two doors and a cold alley away. Popular place, maybe not the classiest but it had its patrons. Packed with your essentials: pool tables, dirt-licked walls and chairs, mean folk mixed in with the nice. Old fashioned joint with a history. You could almost feel it when you walked in. That small pressure when it’s about to rain? Felt like that had been building up for a decade there.
Some Madonna owned it. Names elude me, but she was just another front; as was the barkeep, the hired bouncers and those mean-eyed slingers that spoke loud in company, silent alone. Heh, almost like an old-fashioned saloon. Who the hell am I in this tale of cowboys and crooks?
I was holed up in that apartment block for the winter. Stiff drapes covering a stiff cold that seeped through the cracks anyway. Cold chills to wake to, and the whiskey don’t warm a **** thing. Maybe it was the ache of a past flame that led me to her. That old touch had languished and misted away in the night of some long dead memory, leaving an old kiss from a young lover on my shivering body. It grew faint with every year’s passing. I struggle to remember this keepsake.
Every night.
I was a no name protector protecting a no name ghost of a man. Yeah we knew each other. I’m no stranger to keep past talking terms . . . but, hell if I remember his name, how we got into this **** situation and why. Mind’s a little off. Been like that for years.

It was a stumble through the wrong door at the wrong time. Some spiteful voices in the back of the joint or the back of my mind telling me I’m headed for hell and ain’t coming back. See, every day is a crossroad, and I happened upon the worst one yet.
I remember that flaking paint; grime-covered white on a moulding door **** near off its hinges. That suited me, and I hated it. Maybe I grew sick of wandering the same way and turned my life on its spinning head. Spun me all the ways I couldn’t face. Saw a glimmer that fate had readied for me. Don’t think I’ve looked at anything with such eyes since; nor have they looked back at me.
The room was a cramped, dilapidated hellhole like every other room, but with her laying on that bed of hers . . . she was the only clean thing in the whole of this cursed city. Save, she wasn’t clean. No such thing exists; no such thing as clean since your adolescent innocence, and even that went up in flames. Hell, in a city like this I wouldn’t be surprised if the skeletons we kept so tightly locked in our closets outnumbered us ten to one.
Should have remembered that when I saw her, but my mind lay a blank canvas and I couldn’t help but fill it with all the details of this pretty bird. Even those that weren’t there.
No Name yanked me out quick. Never seen him so pale, ghosting further and further from a human being. He’d been running so long I don’t think he even knew what he was running from anymore. His past? Some cop chase from years back, ending with blood stains and shaky hands? A dead kid in the arms of a suicidal wife? Maybe he’s running from himself. Fear in the capacity we contain, and fear in the ways we unleash it around loved ones. I don’t blame him for running. If I was a worse man I’d run from him as well.
Now No Name has it all figured out, even if he won’t let on; and that bird in there ain’t part of the plan. Cash cash, first train out to some no name city for this no name man. In this together, he keeps repeating, like some broke down record player that only plays one song. Well I guess we share more similarities than I’d like to think so.

One night, about a month after settling in that old apartment, I hear raised voices. Not uncommon, but something about this still night woke some fear inside me. A fear I needed to meet with my eyes, a score to settle with myself. Sounded like some ******* outside was hoping to bring down the sky with volume alone. No type of gentleman, just a no ***** kid who doesn’t know the difference between command and screaming like a babe.
One gets you respect. Now, the other. . . .
I open those stiff drapes with stiffer fingers. Brush that layer of frozen breath and mist to find some mid-twenty good for nothing punk holding a struggling figure. The apartment ain’t exactly ground floor but even up here I can spot the difference between a gent and a sally. Some broad was in trouble.
Grab that six shooter, old man. The holster smooth from years of wear, small frays on the weathered jacket rubbing against goose-pricked skin. Comfort clothing that never really brings comfort. Not anymore. Guess I’m as bad as No Name. I’m just repeating routine.
Out the hall, no doors left in this apartment block. Stolen, broken, ain’t exactly your family fun lifestyle we’re living. No Name’s holed up in this fortress of upturned furniture and dresser-barred doorways. Lights flicker from between the cracks. The devil ain’t gonna bother with the door, I tell him. He doesn’t reply. Maybe he’s a religious man with one too many sins above his head.
There’s another yell and I feel my blood rise, hairs picking up static, a storm brewing inside that clenched stomach of mine. Take a tumble down the stairs in my haste. **** crooked balsa wood. Those stairs are gonna end me one day, I swear.
Ground floor. I slam that kitchen door and it cracks against the brick wall outside. ****. No Name’s gonna burst an artery. Call out for that ******* punk but he’s already eyeing me up. Only a few steps away and I can see the white in his eyes. No . . . those are his pupils. Wide, all cloud-like, he’s ******* dusted up. . . . Almost like looking into the past. Thrice-cursed ****. I’m in trouble.
This ain’t some lover’s quarrel, some twisted ****’s thought of a good way to end the night. This is a dusthead addict and I’m out of my league. His mid-snarl distorts and stretches past his cheeks and that devil grin sends an electric jolt from the wires of my brain to my heart.
This six shooter is as good as a pea gun against a Smiley.
He’s spouting some glossolalia drifts, layering it like an abominable duet. The coked-up boy in me yearns to understand again, but stiff joints and washed-out dreams have made me a cynic. Ain’t no beauty when you’re tearing things apart to see it. ******* Smiley’s on the edge and he’s ready to pounce right off. If that broad’s sobbing didn’t **** at those heart strings of mine I’d be running for my ******* life.
I lift that pea shooter and aim it straight at that devil smile.
He howls. Glass shatters from above. Some black monstrous thing comes speeding at me. I leap through that apartment doorway in time to see ******* Smiley consumed by it. All sharp, all solid that beast slams into Smiley, screaming loud enough to wake this dead city twice over. Smiley thrashes, he splays out to the ground, the beast’s seared flesh erupting in front of me. A piece slices past my cheek and I’m on the ground in tears. I hear No Name scream an incomprehensible curse above. I’m bawling now. Through my tears I spot that chunk of flesh. ******* balsa wood. Thrice-cursed balsa wood.
No Name had thrown a piano out that barricaded window of his. Tears of pure comedy, that’s what left my face. A Smiley taken out by No Name, I’ll never live this down. His mangled body lies under polished wood. Someone’s yearly worth gone in a second of frantic panic, reduced to twisted wires and cracked ivory. To see something so beautiful destroyed in seconds makes me wonder if the Smiley had gotten the better of us after all.
That broad’s in shock. Splinters covered every inch of ground save that around her; looked like a comet, trailing emptiness behind.  Should have noticed it then that something wasn’t right with that scene. Perfectly unscathed beauty sitting there with not a single scratch nor splinter on her, but I was too **** amazed I was alive. Knelt close to her and caught a whiff of some exotic scent on her skin. Some flower. Saw her face and it added another colour to that filling canvas of mine. This pretty bird from the joint. The one men died for. At least No Name had saved one life worth saving, funny it happened to be the one who could take yours in a night.
Names elude me, but the way I remember her . . . the way I remember her is Blossom, for when she came into my life she gave colours to my black and white memory, colours I didn’t know existed, and my black and white morals took a turn down some dawning grey-blurred alley.
So I’m a ******* gentleman and I walk Blossom home while No Name shifts furniture above us. Scrapes of hard wood against wood, filling that void in his once impenetrable bastion. I told you No Name’s got it all planned out already. Guess I’m just here for the ride.
Welcome to the paranormal neo-noir gangster world of Devil Smiles.
Nishu Mathur Jul 2016
Sweeter than the song of a nightingale 
Gentler than the whisper of a spring wind
Quieter than the murmur of  summer  grass 
Softer than the symphony of hyacinths 

Hypnotic like the splash of blue seas
Tinkling like a stream that flows 
Mesmerizing like the cadence of rain 
Enchanting like the hush  of snow 

Like the faint breath of a scarlet dawn 
The rustle of clouds on a turquoise high 
A duet of  night and an ivory moon
A Capella of  stars in the sky

A hymn, a chant, a choir of angels 
Singing  on a rainbow of time 
Celestial is the serenade of love  
A tune and a note divine.
************
Thank you for your wonderful responses and I am so happy this poem was selected today. Means a lot to me... :)
XIII Jun 2015
Ang love story natin
Ay parang kwento ng theme songs ng JaDine
Di ka fan, di mo siguro maaappreciate
Pero kinakantahan tayo ni Nadine Lustre at James Reid

Ang daming tanong nung umpisa
Ang daming pagdududa
Game na ba? Ano na? Sure na ba?
Ang hiling ko, sige na

Para ngang isang pagsusulit
Bawal magbura, one seat apart, walang kopyahan,
Right minus wrong, kung di alam 'wag hulaan,
Kumpletuhin ang patlang, bawal ang tyambahan


Para ngang isang pagsusulit
Pinag-isipang mabuti

Hanggang sa sabi mo, "Oo na.". Yes!
Oh, wala ng bawian, mamatay man, period no erase!

Matapos no'n, nagdagsaan ang mga pagsubok
Katulad din naman sa kahit kaninong relasyon
Pero dahil naniwalang sayo'y may forever
Pareho tayong hindi sumu-render


Pagkat sayo natagpuan ang ipinagkait sa akin
At sakin mo naramdaman and di mo akalain
Ipaglalaban ko
Ipaglalaban mo


Wala na tayong ****, basta bahala na
Alam lang kasi natin mahal natin ang isa't isa
At kahit pa sabihin na, tayo'y di itinadhana
Na na na na na na na na na na na bahala na


Pero katulad din ng ibang relasyon
Lumalamig, parang kapeng napaglipasan ng panahon
Tumitigas, parang pandesal na naiwan sa kahon
Tila di na alam kung san tayo paroroon

Piniling lumayo
Ngunit pilitin man ay bumabalik sayo
Di matatago kahit magpanggap
Ang iyong yakap, ikaw, ang hanap-hanap


Ikaw ang hanap-hanap
Dahil ang puso'y nangangarap
Na magsasamang muli
Na may happy ending bandang huli


Pero di pa tapos
Ang kwento natin hindi pa tapos
Sana'y hindi pa tapos
At sana'y di na matapos

Tatlong kanta pa lang naman
No Erase, Bahala Na at Hanap-hanap
Sana ay kumanta pa sila
Sana ay marami pa

At sana, kahit gaano man karami
Masayang kanta ang maiwan sa huli
Yung may forever, may happy ending
Kaya sige, mag-duet pa kayo *JaDine
Inspired by JaDine's songs, written while listening to them.
To all JaDine music fans! JaDine FTW!!!
All lyrics excerpts are © from JaDine songs: No Erase, Bahala na & Hanap-hanap.
DieingEmbers Jun 2012
Awaken my heart
with song
that I too may
sing.
Morning kisses
Morgan Mercury Sep 2013
Oh, you were a book that I never have read
and ask anyone I have read them all.
I studied your cover and fell in love with your spine.
Oh, let me read you
let me explore your mind.

You were an album
and I loved all your songs.
I could sing them none stop all day long
and they would never get old,
not a single one.

You were my favorite flower
and I was a selfish kid
that wanted to pick you,
and keep you all to myself instead.

But you were a song
I had stuck in my head
I sang along until night when I crashed in bed.
We fit together just listen to our harmony.
Come on over
and keep me company.
You can bring your guitar and I'll bring mine
we'll be an unstoppable duet
just you & I
There’s a Devil of a night each year, the night of Mr. Haim!
When the devilish and ghoulie ones come out to play their monster’s game.
And why some would seek to trick or treat on this scary day of dead?
Careful now cause gremlins, trolls …sprites and wolves, will offer up their dread!
Quiet, shush, I hear a pack of creepy-crawly boots…

Ra’atan-Zu and the Boogedy-Boo!
And the skeleton bones, clink…
And the skeleton bones, clink…
The skeleton bones clink.

That crafty-smith of horns and hooves is spying on these kiddies,
As Ra’atan-Zu and the Boogedy-Boo are hunting strays to do their dastardly-ditties.
Quiet, shush, I hear a pack of creepy-crawly boots,
And their costumes, oh-so-foul, the evilest of suits!
And there she is, that little girl who can’t keep up, in a tasty mushroom ensemble.
And the skeleton bones clink in her path to give her quite a tomble!

Ra’atan-Zu and the Boogedy-Boo!
And the skeleton bones, clink…
And the skeleton bones, clink…
The skeleton bones clink.

And Sammy Haim, that smithy-devil, a ***** hoof -igniting ghoul’s desire,
He’s howling out, demanding now, “Put that child to the fire!”
And little does he know, no little bit, not even a small clue,
Neither Ra’atan-Zu nor Boogedy-Boo intend on giving him his due!
For once a year on Halloween they get one night to spaz,
Get down and *****, wild and crazy and play a little jazz!
That little mushroom of a girl will play a tiny fiddle,
Ra’atan-Zu and the Boogedy-Boo, a jazzy duet with child in middle!'

Ra’atan-Zu, Boogedy-Boo and a little girl too as they get down actin’ a spaz! Playin’ all night, howling to the moon and kickin’ out some wicked jazz!

And the skeleton bones, clink…
And the skeleton bones, clink…
  The skeleton bones clink.

Halloween narrative rhyme.
Shalini Nayar Sep 2014
I remember the red flag symbolizing the sun,
With white and black horses running through
The meadow, their hooves destroying everything in sight.

The mist seeping into our blood,
Tingling us both.
It was the duet of our blossoming romance.

Shalini Nayar
© 2005

— The End —