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K Balachandran May 2014
She is a character perfect
for my work of science fiction,
chosen after much research
on unreliability of reality
as one knows does exist,
it's even more true of her.
In a hurry I concluded,
"What a  luck, I chose to write her
as the character of possibility!
                              then, how quickly
                              the class I expected of her
                              went totally to seed.
                              are we opposites?
Or, is this reality not shared by both of us?
what can one say about a situation when,
my own creation fights against my writ,
No, I am not in the same league as Luigi Pirandello
this is the result when commonsense is delineated
by a hallucinating mind, caught in love net.Zilch.
Luigi Pirandello--author of absurdist metatheatrical play 'Six characters in search of an author"(Italian)
Mateuš Conrad Apr 2016
perchance an epic was necessary, to consolidate the scattered thinking, and indeed, once a certain life, and was lived with a cherishing heart, the heart broke, and life turned from adventures to a more studious approach, and in here, a comfort was found, never before imagined explorations - of course sometime a tourist in the arts does come, but such tourists quickly fade, and the pursuit becomes more enshrined - to levitated towards epics is perhaps the sole reason for the cherished memory of some - and how quickly all can revolve around a searched for theme, after many incorporations were minded - as one to have travelled the Mediterranean, another to have been eaten by the great mandarin silkworm of the library of Kangxi - heading along the silk route with spices - indeed the great mandarin silkworm of the library of emperor Kangxi; as i too needed a bearing - to inspect the trickster of lore and the godly blacksmith of the north.

by instruction - an accumulation of the the zephyrs
into a vector, headed north,
toward the gluttonous murk of ice, jesting
with aches to the bulging and mesmerised crescendo
of adrift stars captured in the tilting away -
to think of an epic, to keep out-of-time of
spontaneity and thistle like swiftness in the last
days of summer, that Mercury brings the new
tides of the tetravivaldis -
   brought by the λoγος of a γoλας -
for reasons that satisfy the suntan copper of
the ***** - the λoγος of a γoλας - yet not toward
Monte Carlo or any hideout of money well invested
and greedily spent for a charm -
no, north bids me welcome from afar -
this norðri fløkja, this    ᚾᛟᚱᛞᚱᛁ       ᚠᛚᚢᚲᛃᚨ -
by my estimate, i could not take the nonsense
of numerology of a certain specialisation,
i took what was necessary, i pillaged the temple
of Solomon, perhaps that the dome of the rock
might stand - with its glistening dome and
its sapphire mosaics - i don't belong among
palm trees and date trees - hence i turned to
deciphering and subsequently encrypting -
as i have already with *ᚱᚨᛒᛖ
:
the journey of an Æsir through a birch forest
on a horse.
                    with this method in mind:
(a) ᚾᛟᚱᛞᚱᛁ       (b) ᚠᛚᚢᚲᛃᚨ:

(a)
the need to acquire possessions accumulating
into an estate, is a journey encountered
day by day, although a journey on ice

(b)
cattle only thrive near water,
auruchs did not, and hence illuminated
their way to extinction,
         by way of the Æsirs' harvest
(to eat up diversity of life, and create
a godless world of man).

my escape route came from ᚠ - mirroring שִׂ
although the former standing, the latter sitting
down, although the former fathomable
to my pleasure, the latter unfathomable
to ascribe numbers to letters for patterns -
i seek no patterns, hence my sight turned to
the northern sights, and meanings amplified.
                
the greeks were intended to explore abstracts,
having stated a triangle
they invented the ² symbol and what not,
it was because
they didn't bother extracting a phonetic unit
from something definite,
they classified such endeavours barbarian,
what reasonable greek of 13% reason and
87% reality would extract alpha from
the sound you made when
saying ansur (ᚨᚾᛋᚢᚱ) - i.e. attention -
i.e. deriving a definite sound differentiation
for alphabetical rubrics from a definite thing
(in whatever classification that might be)?
the greeks used the alphabetical rubric of
crafting a definite sound from an indefinite thing,
so they said: acronym, aardvark, assumption,
                       α                 α      α     α,
then they said α² - there are no antonyms -
but indeed there were, hence the Trojan nation
settling in the boot, that's Italy,
the Romans escalated the greek theory
beyond taking out a definite sound distinguished
from other distinguishable sounds,
abstracting what the alphabetic sound assured
a list under alpha: assumption, advantage,
acorn, etc. -
the latins were the first atomist after the greeks,
the greeks believed in atoms, but had no
microscopes to prove atoms existed,
such scientific faith found no parallel;
the latins ensured this was true,
ending with castrato sing-along -
the latins furthered abstracting sounds from
definite orientation which the greeks did
working from ice into iota,
the latins just sang i, i, i -
of course chiral behaviourism of such dissection
emerged - hatch a plan, plan a chisel -
it's very piquant i mind to let you know -
the greeks abstracted nouns in order to create
the alphabet, the barbarians still used
proper nouns to speak proper, the greeks
thus created synonyms and antonyms to add
to the spice of life - after all,
not deriving definite alphas from
cursors that acknowledged points of origins
created diacritical stressing like comma and
semis of colon and macron, not deriving them
from definite things, shunning a helpful
vocabulary bank to an unhelpful vocabulary
banked: synonyms and antonyms the Gemini's
birth of rhetoric;
but the latins were rejected with their atomic theory
of pronunciation, since they became laden
with diacritics - punctuation marks of a different sort,
you can measure a man sprint one hundred metres,
but is that also measuring a man to say
mān or män or mán? i know that the slavic ó = u
given the scalpel opening the ensō to craft a parabola -
but it's not necessarily an accent debate
but a punctuation debate... the emergence of
the diacritic symbols above the letters is due
partly to their joy of the popes listening to
castrato operas and the fact that the romans
went too far... hence the chiral nature of certain
symbols when dittoing - the barbarians used
definite things to assert definite sounds -
the greeks used indefinite things to assert definite
sounds - mind you, if the romans became too
abstract with their little units that became engraved
with punctual accenting, then the greek letters
became laden with scientific constants as necessarily
fathered, unchanging in the pursuit of Heraclitus' flux -
for example... Pythagoras and the hypotenuse:
                            σ / κ² = α² + β² -
           or?
                             c² (ć) = a² (ą) + b² / š (bubble beep
                                                           bop barman backup hop
                                                           of shackled kakah
                                                           or systematic oscillation
                                                           for bzz via burp);
πρ² is still more stable
                                 than what the latin alphabet allows -
hence why greek phonetic encoding was used in
science, and latin phonetic encoding was used in music,
can't be one or the other - added to the fact that
latin encoding had too many spare holes with
the evolution of numbers, and greek didn't have them,
hence β-reduction in lambda calculus and F-dur and A#

the one variant of the grapheme (æ) they didn't include
among expressions: graphite and grapheme
was the variant - gravitating to an entombing
of the excess aesthetic - geresh stress -
somehow the twins match-up to a single womb:
àé vs. áè: V vs. Λ - Copernicus wrote over all
of this with the flat earth uselessness
in terms of navigation - flat earth is useless...
huh? flat earth is the only system that gave
Columbus the chance to explore the new world -
no flat earth no Columbus -
that satellite named Luna was no tool
in navigating across the Atlantic - believe me
i'm sure -
                  or that grapheme (æ) varied like statistics
or like the characters in the book of genesis
that famous adam und eve (kim and kanye):
chances came, chances went:
it was still a draw on the tongue tied decipher:
àè and áé proved another notation for plurality
was necessary, not at the beginning of the word,
but after, hence the possessive article 's,
we could have parallelism, there was a crux,
how once the chiselling of letters came about,
more economic to chisel in a V than a U,
both the same, much easier though...
almost barbaric i might say...
sigma (Σ) enigma rune e (ᛖ) - this compass
is a ******* berserker, god knows if it's
mount Everest or the Bermuda Δ

but one thing is for certain, never you mind how
a language is taught unless you mind it,
not that conversational athenian is really what
i'm aiming at - but a lesson is a lesson nonetheless,
out of interest something new,
richard von Coudenhove-Kalergi,
and what preceded him, namely pan-slavism,
just when the polish-lithuanian commonwealth
did a little Judaic trick of its own,
although snorkelling in the waters of not writing
history for less a time than israel -
you can't beat ~2000 under water - although
you could if your little tribe had an einstein
among them, or proust or spinoza, then
you could effectively become a whale, popping
an individual out from the rubble to say a polite
'hello' and 'when will the dessert be served?'
but indeed, learning a language on your own,
how to learn from scratch, the greek orthography,
and why omicron and not omega,
the give-away? sigma - purely aesthetic reason,
                             νoμισματων

                             nomismaton

omicron                                                 omega

                 you write omicron at the front
                 and omega at the back
                 pivot letter? two: σ     μ &
                 νoμι-                                -ατων
                      ­                     |
                 anything here  
                 will use o            and anything
                                              here uses ω

alike to sigma:
                          χωρας (choras, i.e. country)

sigma (ς) not sigma (σ), i.e. digitalising languages
without a clear connectivity of letters,
block-a-brick-block-a-brick-digit-digit-digit
you learn that handwriting is gone,
two options, your own aesthetic reasons now,
remember, some paired for the ease of handwritten
flow - digitalised language changes the aesthetics,
you make your own rules (considering exceptions
of oh mega mega, ergo revision -

                                       χoρας,

but still the sigma rule, others esp. o mega
you stamp on them like βλαττια, i.e. cockroaches -
κατσαρίδα                 not         κατςαρίδα

all perfectly clear when you explore plato's
dialogue from the book Θηαετητυς (as you might
have noticed, the epsilon-eta project is still
in the storage room of my imagination) -
but indeed in the dialogue, between socrates
and the "hero" of the book theaetetus -
a sample, without an essay on the theory
of knowledge -
socrates: ...'tell me theaetesus, what is Σ O?'
theaetetus: yes, my reply would be that it is
                    Σ and O.
socrates: so there's your account of the syllable,
                isn't it?
theaetetus: yes.
socrates: all right, then: tell me also what your
                  account of Σ is.
                                                             ­   (etc.
or as some might say, a shrug of the shoulders,
a hmmpf huff puff of hot air, impractical interests
and concerns - well, better the impractical
problems than practical problems, less feet
shuffling and nail-biting moments with your
tail between your legs and an army of
intellectuals working out what went wrong
and how history will solve everything by
the practical problems repeating themselves) -
you know that inane reaction - others would just say
Humphrey Bogart and nonetheless get on with it.

some would claim i was begot a second time,
not in the sixth month period of the aqua-flesh,
how did i actually related to the life aquatic,
for nine months i was taught to hold my breath,
however did this happen?
a miracle of birth? ah indeed the miracle of
a crutch for a woman - spinal deformities -
9 months, sort to speak, in water or some other
fluid - merman - a beastly innovation -
next you'll be telling me beyond this life
we turn into centaurs, given the Koran's promise -
you'd need the appetite of a breeding horse
to satiate the 72 - or thereabouts - martyr or
no martyr - 72? that's pushing it -
or as they say among children - a chance playground
without swings or sandpits, but very careless
gravitational pulling toward a certain direction;
nonetheless, they might have that i did indeed
settle of a sáttmáli                  ᛋᚨᛏᛏᛗᚨᛚᛁ
                  við         ­                  Vᛁᛞ
                  tann                         ᛏᚨᚾᚾ
                  djevul                      ᛞᛃᛖVᚢᛚ -
the hands you see, fidgety -
     hond handa grammur burtur    úr   steðgur
     ᚻᛟᚾᛞ  ᚻᚨᚾᛞᚨ  ᚷᚱᚨᛗᛗᚢᚱ   ᛒᚢᚱᛏᚢᚱ  ᚢᚱ   ᛋᛏᛖᛞᚷᚢᚱ
         the hands give an ardent pursuit
                                                 away from rest -
well not that my poems will ever reach
the islands in question - and indeed an
uneducated guess propels me - what does it matter,
λαλος babbler meant anything, indeed λαλος,
language as my own, is a language that i can
understand - and should anyone omit
disparities - a welcome revision would never tease
nor burn my eyes - but the phonetic omission
peeved me off: woad in water, ventricles in a
variety of entanglements - it's just not there -
and indeed, orthographically, if there are no more
optometric involvements of omicron's twin -
then the stance is with you to use whichever pleases,
i can't tell the difference, unless i was a pedantic
student, aged 70, with a granddaughter i wanted
to be wed teasing a millimetre's worth of
phonetic differentiation between the two -
POTATO PA'H'TAYTOE TOMATO TA'H'MAYTOE -
linguistically one's american and the other
is british, which looks like greek and latin
upside-down and in a mirror: pəˈteɪtəʊ, təˈmɑːtəʊ;
or as the spaghetti gobblers would put it:
the tetragrammaton is working on their
texan drawl (dwah! ripples in china) -
or the high-society new england ******* *******
coo with a cuckoo's load of clocks -
before being sent off to england for a respectable
education, something en route Sylvia Plath -
but not to ol' wee scoot land - ah nay - well
perhaps for a year and then talk of north european
barbarism of a deep friend pizza and mars bar.

and when descartes finished with christina
queen of sweden, she became an animate portrait
of feminine attempts at philosophising,
she was basically ostracised from society,
well, not society per se, she didn't become a stray
dog, but she forgot certain functions of
the upper tier - lazily modern man decides
to hide phenomena from understanding
individual instances, with the kantian guise
of a noumenon, hence cutting his efforts short -
indeed queen christina of sweden was ostracised
by society - only after descartes finished educating her;
and indeed to most people a little bit of sloth
equates to an amputation of some sort -
yet only with the x-files' season 2 episode 2
i've learned of the effects of prolonged alcohol
"misuse", that little boxing match in my liver?
it's not a pain as such, it's actually a hardening
of soft tissue - with prolonged alcohol exposure
soft tissue organs harden, notably the liver -
and it's not a pain, it's a hardening.
but indeed queen christina of sweden was ostracised
by her tier of socialites - i'm glad diogenes
didn't get to her, but then again a bit of cloth
goes a long way this far north -
yet unlike the encounter with napoleon by hegel
diogenes' encounter with alexander lasted longer -
which tells you the old method does no service
to a little bit of material accumulation -
but perhaps the acumen was briefer when you were
ably living in a barrel - and to think, as only
that being the sole expression, not so much
a body without organs as stated in the thesis
of anti-oedipus by deleuze and guattari -
a consideration for a body without limbs - prior
to a footprint an imprint on the mind -
carelessly now, a diarrhoea of narration -
how rare to find it - perhaps this idea of epic
poetry is a default of writing per se -
with this my whatever numbered entry i seize
to find escape in it - a lack of ambition -
a loss of spontaneity that's a demanded mechanisation -
by volume, by inaneness - to reach a single
technique accumulative zenith, and then back
into the ploughing, rustic scenery and the
never-bored animals - i rather forget such escapades -
and there i was dreaming of a grand
runic exploration - some imitable game -
some scenic routes - yet again -
Firefly Oct 2014
I saw thee once- once only- years ago:
I must not say how many- but not
many.
It was a July midnight; and from out
A full-orbed moon, that like thine own
soul soaring,
Sought a precipitate pathway up through
heaven,
There fell a silvery silken veil of light,
With quietude, and sultriness and
slumber,
Upon the upturn'd faces of a thousand
Roses that grew in an enchanted garden,
Where no wind dared to stir, unless on
tiptoe-
Fell on the upturn'd faces of these
roses
That gave out, in return for the love-
light,
Their odorous souls in an ecstatic
death-
Fell on the upturned faces of these
roses
That smiled and died in this parterre,
enchanted
by thee, and by the poetry of thy
presence.
Clad all in white, upon a violet bank
I saw thee half-reclining; while the
moon
Fell on the upturn'd faces of the roses,
And on thine own, upturn'd- alas, in
sorrow!
Was it not Fate, that, on this July mid-
night-
Was it not Fate (whose name is also
Sorrow),
That bade me pause before that garden-
gate,
To breathe the incense of those slum-
bering roses?
No footstep stirred: the hated world
all slept,
Save only thee and me. I paused- I
looked-
And in an instant all things disap-
peared.
(Ah, bear in mind this garden was
enchanted!)
The pearly lustre of the moon went
out:
The mossy banks and the meandering
paths,
The happy flowers and the repining
trees,
Were seen no more: the very roses'
odours
Died in the arms of the adoring airs.
All- all expired save thee- save less
than thou:
Save only the devine light in thine
eyes.
I saw but them- they were the world
to me.
I saw but them- saw only them for
hours-
Saw only them till the moon went
down.
What wild heart-histories seemed to lie
enwritten
Upon those crystalline, celestial spheres!
How dark a woe! yet how sublime a
hope!
How silently serene a sea of pride!
How adoring an ambition! yet how
deep-
How fathomless a capacity for love!
But now, at length, dear Dian sank
from sight,
Into the western couch of a thunder-cloud;
And thou, a ghost, amid entombing
trees
Didst glide away. only thine eyes
Remained.
They would not go- they never yet
have gone.
Lighting my lonely pathway home that
night,
They have not left me (as my hopes have) since.
They follow me- they lead me through
the years.
They are my ministers- yet I their
slave.
Their office is to illuminate and enkindle-
My duty, to be saved by their bright
light
And purified in their electric fire,
And sanctified in their elysian fire.
They fill my soul with Beauty (which
is Hope.)
And are far up in Heaven- the stars
I kneel to
In the sad, slient watches of my night;
While even in the meridian glare of day
I see them still- two sweetly scintillant
Venuses, unextinguished by the sun!
I can't believe I couldn't find this on HP!
JR Rhine Oct 2018
High above dear Maple Street
There looms a cold iron curtain of fear
That dares to drop and let all the monsters
Unleash their dreaded promise of chaos
As in Europe despots gift a new World War
Trembling parlors hug the radio

Hallows Eve: the radio
Begins to sing throughout dear Maple Street
The Seventh Trumpet declares all out war
And that heavy iron curtain of fear
Eclipses the sun and invites chaos
In vacant hearts of men into monsters

Halloween Night: the monsters
Now dance to the tune of the radio
Raiding the stores, jumping bridges, chaos
Entombing the stretch of this blood strewn street
Parlors gorging on endless waves of fear
Riding hysteria, imminent war

O great catalyst of war
Twisting the minds of men into monsters
Diving your hands in that great pit of fear
Now throbbing with screams from the radio
No fences nor faces can save Maple Street
Now plunged in the throes of sweet sultry Chaos

And we call it Chaos
This boiling of minds all stewing with war
Once masked with humanity on this street
Now reveals good neighbors make great monsters
Skies of martians (n)or men, the radio
Hissing, twists the knobs and tunes in to fear

And when that curtain of fear
Draws, and shadeless light casts on the chaos
And the broadcast fades on the radio
And mere fiction rescinds the throne of war
What will we make of all of these monsters
Scattered about in a daze through the street

Where there are minds of fear and war,
Chaos reigns and calls to the sleeping monsters;
Tune in to Welles’s radio on Sterling’s street.
All Hallow's Eve, 80 years ago today, Orson Welles gave his "War of the Worlds" radio broadcast to an America terrified of war, enveloped in fear. I tied it into one of my favorite episodes of the Twilight Zone by the same name, where a neighborhood becomes engrossed in fear, resorting to an animal-like defense that eventually tears apart their humanity.
Jesse stillwater Nov 2018
Flaming bridges up in smoke—
ashes scattered in the wind
Requiem to passing yesterdays;
vestige of all that’s lost —
bestrewn in prevailing currents
amongst the drifting autumn leaves

No smoke on rising waters
— lingers between
growing distant shores
Untamed rivers rising
rinse away
the taste of sparks
spake from silent tongues

Portaging all that once was
with all that could never remain, 
back to the briny deep 
An uncontainable
rivers pilgrimage —
entombing reverently
ancient fractals of being

Sowing feral rivers' ashes —
sacrificial scatterings of destiny
washed afar unto the flotsam
on shoreless stormy  seas


Jesse Stillwater
November 2018

Mused by a poem by melissa rose

"Spreading my ashes"
https://hellopoetry.com/poem/2808566/spreading-my-ashes/
O happy rose-bud blooming
  Upon thy parent tree,--
Nay, thou art too presuming;
For soon the earth entombing
  Thy faded charms shall be,
And the chill damp consuming.

O happy skylark springing
  Up to the broad blue sky,
Too fearless in thy winging,
Too gladsome in thy singing,
  Thou also soon shalt lie
Where no sweet notes are ringing.

And through life's shine and shower
  We shall have joy and pain;
But in the summer bower,
And at the morning hour,
  We still shall look in vain
For the same bird and flower.
Maryam
turned,
moving
away
from the
caravans of
bulldozers
entering
Homs.

She
could
not bear
to look
upon the
the teeth
of steel
tracks
sloshing
through
puddles
of blood,
plowing
the rubble,
burying the
mush,
coolly
covering the
fingerprints of
criminals.

Maryam
beheld the
conquering
soldiers
standing
atop piles
of shrapnel
marked and
launched by
Syria’s finest
artillery officers.

She
remained
within ear shot
to hear the
victor’s
orator,
recite the
history of
the conquest,
carefully
spinning
suspicion,
and casting
blame
for the
devastation
onto the
vanquished.

The speaker
lauded the
efforts of
esteemed
comrades
commanding
black regiments
chasing the
last rats still
lapping at
the edges
of the red
pools;
hieing to
the dead
catacombs
as sanctuaries
of salvation.

The barker
goads other gangs
to commence a
surgical search
of hospitals to
root out wounded
insurgents. He
suggests they be
removed from
their recovery
beds and thrown
atop the piles of refuse
where the busy tractors
will push the rubble
into the far corners
of the mind where
obfuscation and
forgetfulness
blissfully anoints
unsettled memory.

Alarmed,
Maryam breaks
for the hospital,
to nurse the
injured.

She moves with
tealth through
the broken city’s
debris strewn streets.

Maryam eyes the
inert concrete,
blasted into
ghastly shapes,
burying secrets,
concealing terrible
stories of what
transpired
during the
pacification of
Baba Amr.

These
grotesque
gargoyles,
sculpted by the
mangled hand
of a deranged
sociopath
will hold their
silence for
only so long.

Dark secrets
never live
forever.

The distended heaps
of jangled rebar
pokes through
broken chunks
of concrete
like rib cages
picked clean by
the jackals
of war.

The pulverized
concrete forms
telling Mandalas
giving voice to
the stained
stones crying
the secrets of
terrible truths that
unmarked graves
never keep
silent.

Maryam
is desperate
to find the
lost children.

She knows
the ungodly
conquerors
eagerly
hunt them.

The subjugators
are drunk from the
draughts of blood
they profanely quaff.

They thirst
for more and
have set
their sight on
the children.

The crucifiers
kiss the sword
to cleanse
the insurgent
city of its
youngest
citizens.

Bashar has
condemned
a generation
to death.

He desires
to purge Syria
of a heinous
memory stored in
the ripening minds
of Homs’ children.

They stand in  
witness to
the ******
of their
childhood.

Righteous
indignation
breeds a
long  memory
nursed by the
vanquished as
a cherished gift;
bestowed to
successive
generations
like a valuable
family heirloom;
but
resentment
makes for
a monstrous
coat of arms
vanquishers
bequeath to
the defeated.

Maryam
crosses over
the scattered
stones
incapable
of bleeding
one more
drop of blood.

She hears
the howling
spirits calling
from the broken
ruins.

She glimpses
the dark silhouettes
of fleeting apparitions
moving through
the upper floors
of flame stained
buildings.

The ghostly
shadows of
lost children
wander, seeking
the rest of an
expired future
sired by their
state sanctioned
execution.

Maryam
grows anxious
as she
approaches
the hospital.

She arranges
her silk scarf.
She examines
her calloused
hands. The lines
of her palms
are soiled,
cakes of dirt
have settled
under her
fingernails;
yet sufficient
strength remains
in her arms
to roll away
the large stones
entombing
revelations
of love and
miracles of
deliverance.

The pock
marked
hospital now
in sight,
Maryam
enters the gate
of a ancient
graveyard;
clambering
over burial
mounds
of her dead
ancestors.

She remembered
a placard hanging
in the hospital’s
waiting room.

“Art is long; life is short;
opportunity is fleeting;
judgment is difficult;
experience is deceitful.”
Hippocrates.

As Maryam
neared the
graveyard exit
she was
overtaken by
Syrian soldiers
brandishing AK’s.

One stuck a
dusty barrel
into Maryam’s
face while
the other tapped
the back of her
head from behind.

A weeping
Maryam
knelt before
her captors.

She
washed
the dust
from their
boots with
flowing tears
and wiped
them clean
with her hair;
praying for
the power
of love
to once
again
overcome
the stalk
of death.

Prostrate
and prone
Maryam
waited to
accept the
shaft of
recrimination
through her
bleating gums.

If recollection is long
in the living,
memory is eternal
in the dead generations.

The only known cure
for the disease of acrimony
is the strong balm of love.

Maryam would
never again nurse
the wounded
children of
Homs.

Music Selection:
Chanticleer & Yvette Flunder
There is a Balm in Gilead

Oakland
3/12/12
jbm
harlon rivers Aug 2017
He knew the ache could not be recompensed
they knew it too the moment echoes fell silent
There was already not enough love
in a world grown dark as darkest past

It wasn't the color of his skin nor dialect
or the  journey of a  thousand  miles
Not the place that he'd come from
       back when ―  left behind

             nor a heart of gold,  
      that never became a home

The colour of  unwritten silence
had  eclipsed  the waning  light
On the run from who he'd become;
     ashamed for all he was,  
couldn't erase a lifetime that felt a waste ―
               trying to untie a Gordian knot

He saw his body as an entombing barbwire cage
    imprisoning  a  wellspring  of  love writhing deep therein

Immured at arms length from the outside world
    where  the soul of a teardrop  abides  within
                         its insignificance

Shielding the  inherent  maelstrom
                          from the innocent passersby
Buried thoughtfully for the greater good of all ―
for the unsatiated dream boundless love betides

Written  artifacts  exhumed  like  ***** secrets
a lifetime of stigma's stain swept under the rug;
just whispered words written from an unfinished life
few ever really looked deeply between the twisted lines
arising from the soul of just another passing stranger

The long road begets a suffocating silence
choking out,           extinguished love inhumed
Ashes  of what once had been life aglow of light
               forevermore shrouded
          like the dark side of the moon



rivers
August 20, 2017
Em Nov 2015
Her kind of lonely wasn't the kind you just feel
It was the kind of lonely she went searching to resolve

It wasn't out of the ordinary to find her roaming around
looking for traces of him in the dust on the china cabinet
or in inanimate objects around the house

it wouldn't be peculiar to hear the lull of his favorite love songs playing through the thin walls of her one room apartment.
or to see her wipe away a tear as she opened the door
and invited you inside

It wasn't a rare sight to see her folding up the clothes he had left behind
Or typing paragraphs upon paragraphs of things she wished she would've said
Unfolding his clothes
bunching them up
throwing them in the corner

I can still see her hiding that stuffed animal he won for her at the fair
stuffing it in her closet
burying it under a pile of clothes and her own broken promises
entombing it deep enough to forget

Similarly, I still see her hiding the guilt she had found
I see her shoving it under her pillow
burying it under stardust and her own nightmares
keeping it close enough to remember

It wouldn't be bizarre if you caught her refolding his clothes
just 'one more time'
Putting them back in their drawers
Texting him
deleting the text before it sent
debating throwing out his old toothbrush

I remember quite clearly a time when she drank twenty bottles of water
all in succession
just to feel full again
I remember her holding her breath
until she'd turn blue
claiming she missed the way he took her breath away

Her kind of lonely wasn't the kind you just feel
it was the kind of lonely that drove her to insanity.
Mateuš Conrad Nov 2016
some say it's called dart-eyes, a kaleidoscopic venture
that might leave you myopic, oddly enough i know
that people say a lot of far fetched things,
   and the excuses are usually metaphors,
there's the literal cardinal,
the literal spanish inquisition,
  and metaphors of demons in the bible -
          i still want to experience a fully
theocratic world: where man's words come
forth from man, and god's words come from
the mouth of god... again: poetry without
a god is like biology without chlorophyll,
   no one even suggested a kneeling process and
ardent prayer to be invoked,
     all it took was a spare thought away from
the daily commute and the daily invigoration
from some sort of ethic, oddly enough it always
ends up being an ethic of work...
   i guess that's why in the west everyone is
nearing an addiction thoroughly apparent that's
named workaholism... once the relationships
fail, the only saving string of hope is work,
an absurd work ethic, because wouldn't you
take a syringe filled with ink and do shifts in an
office beyond the norm, thus entering the world
of night shifts and anything else antisocial?
   people can't really be friends, we're fired up
toward formal relationships and what's guiding us
to these relationships is hierarchy...
              oddly enough the Aztec or Mayan
pyramids don't have that sort of feel to them,
they don't prescribe interpretations of hierarchy,
quite the opposite,
     ask someone who doesn't have a conquistador
heritage to explain that they are:
  the gallows... guillotines... the tyrant is not
buried within, these aren't caves to entombing a
tyrant with all his riches...
      there are no chambers in these structures...
they were intended as architectural symbols of
common law... those presumptions European
*******... human sacrifice? a myth...
these were sights of capital punishment,
you stepped out of line: you'd get your heart
carved out and your body would drop from
the execution altar down the steps for
           the scavenger mob to tear you apart
even further: had you transgressed communal
consent... justice has to become overpowering
but that does not mean we carve a mount
Rushmore akin to the statues of the valley of
the kings of enthroned pharaohs...
  much of ancient Egypt lingers in what we
call "modernity"... esp. in America...
             and the world is currently establishing
itself into cold war ii (i said that once,
can't remember when)... and until this is firmly
established, that it's clearly accepted that we're
dealing in a cold / intellectual war, then
we'll pass all that intelligence and engage in a hot war /
and emotional war, as characteristic overflowing
of populism, which at present times: has
all the coordinates, but no proper vector to
allow a congregational march toward impeding
dangers... but better a second cold war than
a third world war... so much of ancient Egypt
in America... the washington memorial for one...
what's the other name for it? ah... obelisk;
or what the pagans built to counter the fear of
impotence: well... we've established a bountiful
supply of humans... can we do a floral pattern
now? oddly enough we embraced tomb-pyramid
builders from the north-eastern side of
Africa's brain-dead region, and trusted
conquistadors wiping out a people that used
pyramids to stress the importance of law:
i can't see no reason to think that those pyramids
were intended for human sacrifice...
capital punishment? well, d'uh... because wasn't
Golgotha so unspectacular as to be less
than what it was? had they crucified him in private,
in some back-alleyway crucified to a door,
would history open its doors to the advent of
Christianity? don't think so.
what i'd really love to see is people with
necklaces of silver, and the thing dangling on them
would be a different torture mechanism...
an iron maiden... it's like prescribing pain is
necessary... it's a dogmatic ruling on a once upon
a time
(even the briefest) chance of happiness...
but even then certain philosophers say:
why be happy, when you can be interesting?
how interesting do you have to be so many times over
to not even wish for a stillness of neither want
nor drive to go beyond what you already have?
i don't know if this is an adequate comparison,
but in terms of interesting...
   a movie (side effects, 2013) utilises only two songs
in its official title:
   the focal point of a ******
       is staged to a "sleepwalking" woman preparing
a dinner for three (only two people are in the apartment),
the song? thievery corporation's the forgotten people...
i knew the band prior, and i've seen the film
before... but i never bothered to watch the credits...
i remember the odd couple who'd sit in cinemas and
engage in watching the end-credits, always the one
odd bunch: as if saying thank you to all the people
involve... a quick stroll through a graveyard is probably
comparably akin....
   and the other song? Bach's
   orchestral suite no. 2 in B minor, bwv 1067 -
     but i can't remember whether it's actually featured
in the film, simply because there's no focal moment
in the film where it can be heard as prominently as
the first song... and then there's thomas newman in
between (no surprise);
but a film like that is a meditation...
             if only two songs are used, chances are
the dialogue will have many strengths, because there
will be a multiplicity of consistent reinterpretation,
a bit like talking into a Tate Modern and seeing
Rodin's the kiss statue (inspired by Dante's divine
comedy), sketching it from the northern perspective,
the southern, western and eastern perspectives...
    i've seen few films that accredit a very minimalistic
soundtrack... on that note, how songs could literally
be translated into film titles: side effects - the forgotten people,
  dead poets' society - carpe diem, american beauty -
any other name, are there others? there probably are.

but that's nothing compared to last night's antics...
   some people climb the Everest... clap clap clap...
some people design super-suction vacuum cleaners...
clap clap clap...
                    from time to time i solve sudoku drunk
(no clapping)... but there's a narrative involved,
the narrative goes when you try to map out solving
one of these 81 "rubic" squares... applause for
speed with these babies like applause for premature
*******... aren't they compatible?
   we all have limitations, mine came yesterday,
when i allocated superscript numbers to the journey,
quiet literally an optical tangle, i should have used
       things like ª ' “ ‘ ¨ † above the plotted line...
but it only takes one mistake to ground you
   and then you have to go back and make minute corrections,
as the notes themselves suggest (crazy eyed darting):

exhibit a.

0    0    0    0    0    2    7    0    0
0    0    0    0  ­  4    0    0    2    0
2    0    5    1    0    7    0    0    8
0    9    0    0    0 ­   0    2    0    1
7    0    0    8    0    0    0    6    0
0  ­  0    6    0    7    0    5    0    0
4    0    8    7    0    0­    1    0    0
0    1    0    0    0    5    0    0    0
0    0 ­   9    0    1    0    3    0    0

   exhibit b. html that doesn't allow subscript
            or superscript notation, hence the brackets
   denoting movement (pending)


9 (24)    0          3 (23)    0    8 (5)    2    7    1 (2)    0
1 (12)    8 (8)    7 (9)      0    4          0    0    2          0
2            0         5            1    0          7    0    3 (13)   8
8 (7)       9        4 (18)     0 5 (33) 0    2    7 (1)      1
7            5 (16) 1 (14)     8   2 (20)   0    0    6           3 (21)
3 (19)    2 (17)  6            0   7           1 (15)  5           8 (6)    0
4            3 (27)  8           7   0            0         1            5 (28)    2 (26)
6 (30)    1          2 (22)   4 (31)    3 (32)    5    8 (3)    0    7 (11)
5 (29)    7 (10)    9    2 (25)    1    8 (4)    3    0    0

      it is no surprise that the notation played a key part
in having failed to map out the route taken,
       when you're using numbers in a puzzle
  it's almost an inevitable path to failure,
since you're making superscript "bookmarks" at
high concentration, and without any distinction to
what the puzzle demands, hence you go "cross-eyed"
  in solving the puzzle, and superscripting your progress
using the same symbols that are required to solve it,
but given that the puzzle involves 81 slots
  with 9 x 9 identical components (only so rearranged
  to be not contradict the rule of the puzzle
i.e. 9 symbols in each square of the nine in total,
   with a 9 x 9 variation on all linear arrangements not
involving two similar symbols, i.e.
   1 2 3 4 5 6 7 8 9, rather than 1 2 2 3 4 5 6 7 8) -
what became a hope to correct the mistake, but given
the intricacies of the progress, all the more harder to
recount steps and subsequently move forward with
   the spotted error...
hence a refresh, and the need for schematic,
given that there are 81 slots in total, with
     27 already in place, and given that there are 26
units of alphabet... how handy to actually persist in
using these characters, but adding diacritical variations
to make up 54 necessary, without invoking
      a 10 or a sz...

exhibit c.

0    0    0    0    0    2    7    1ą    0
0    0    0    0 ­   4    0    0    2    0
2    0    5    1    0    7    0    0    8
0    9    0    0    0 ­   0    2    7α    1
7    0    0    8    0    0    0    6    0
0 ­   0    6    0    7    0    5    0    0
4    0    8    7    0    ­0    1    0    0
0    1    0    0    0    5    0    0    0
0    0­    9    0    1    0    3    0    0

exhibit d.

nb. α = 1, ą (ogonek) = 2, á (acute) = 3, à (grave) = 4,
â (circumflex) = 5, ä (umlaut) = 6, cedilla missing,
   ã (tilde) = 7, b = 8, c = 9, ć = 10, č (caron) = 11,
ĉ (circumflex) = 12, ā (macron) = 13, ç (cedilla) = 14,
d = 15, e = 16, é = 17, è = 18, ê = 19, ě = 20, ë = 21,
f = 22, g = 23, ǧ = 24, ḡ = 25, ĝ = 26
         (now i figure, could have used Greek... d'uh!
ahh, i'll use it for the finishing touches),
        h = 27, i = 28, ı = 29, í = 30, î = 31, ï = 32, μ = 33
j = 34, δ = 35, k = 36, λ = 37, ł = 38, τ = 39, n = 40,
ń = 41, ñ = 42, o = 43, ō = 44, ø = 45, p = 46,
q = 47, r = 48, s = 49, γ = 50, φ = 51, χ = 52, ψ = 53, ω = 54.

before i begin the puzzle... there's a reason why a caron
g (ǧ) might exist, and why a grave z might not...
   and why there's a piquant difference between
an acute z (ź) and ż - depending on the aesthetician,
who decides to move away from the national linguistico-aesthetic
dogma... for example the name George,
orthodoxy states you must learn the aesthetic version
of Grze'gosz... but you would also be able to write
the alternative: Ǧegoš - given that rz is equivalent to ż,
    and given that there is no grave accenting of z,
but there is the acute (ź), perhaps you could consider
the dot a convergence point that could assimilate
sound, immediately over the caron g... of course none
of these remarks are intended for application: because
they would never reach a consideration in a learning
curriculum of any nation, a whimsical idea derived from
the remnants of the esperanto experiment...
  from what i can see, ǧ would equal grz, and
the reason that rz exists at all, and it equivalent to ż
is because a grave version of z is missing, and that
the acute z (ź) exists, and there is no point of balance
that otherwise is the foundation of the caron...
  i wouldn't have thought focusing on such "trivial"
signs above letters provided so much pecking-orders.

exhibit e. focal points in greek notation

9ǧ    4ñ    3g    6o    8â    2    7    1ą    5τ
1ĉ   ­ 8b    7c    5p    4    3q    6ń    2    9ł
2     6γ     5      1      9r    7    4n    3ā    8
8ã    9    4è    3s      5ψ   6ω    2    7α    1
7    5e    1ç    8      2ě    4ø    9ō    6    3ë
3ê    2é    6    9λ    7    1d      5    8ä    4k
4    3h     8    7     6χ    9φ    1    5i    2ĝ
6í    1    2f    4î     3ï      5     8á   9μ    7č
5ı    7ć    9    2ḡ    1     8à     3     4j     6δ

thus completed: there's a reason why the majority
of the narrative is done utilising diacritical marks,
i could have used many more distinct symbols,
but the point is: there are very few focal points
that can be ascribed distinct markings,
most of the puzzle is done on the basis of "crazy eyes",
i.e. darting eyes - focal points do emerge after
much darting about the squares, notably when
a linear sequence is completed, or whenever one of
the 9 squares is completed, or when all nine squares
contain nine 7s or 8s...
      or that's one way to go about not having any whiskey,
the rain pouring outside, and the night stretching
into a near eternity -
            
exhibit f. narrative of correction, actual excerpt

it began at h, i.e. labyrinth corner no. 27,
******* trainspotting! this is going to be like reading
the time for the next train to arrive at Waterloo!
  5(28), 5(33)?, 5(28),
  6(30), 4(31), 3(22), 5(33), 33? 9(38), 4(34),
  6(35), 4(36)...
6(41) < 4(40) < 5(39) < 9(38) < 9(37)....
       4(42) < 6(43) < 9(44) < 4(45) < 5(46) < 3(47) < 9(48) < 3(49) <...>
   6(58) > 9(51) < 6(52)...
        longest period spent on 3(13) / ā -
   and the notation that gave way to this spiral?
5(33), which actually ended up being 5(53) / ψ.
I saw thee once—once only—years ago:
I must not say how many—but not many.
It was a July midnight; and from out
A full-orbed moon, that, like thine own soul, soaring,
Sought a precipitate pathway up through heaven,
There fell a silvery-silken veil of light,
With quietude, and sultriness and slumber,
Upon the upturn’d faces of a thousand
Roses that grew in an enchanted garden,
Where no wind dared to stir, unless on tiptoe—
Fell on the upturn’d faces of these roses
That gave out, in return for the love-light,
Their odorous souls in an ecstatic death—
Fell on the upturn’d faces of these roses
That smiled and died in this parterre, enchanted
By thee, and by the poetry of thy presence.

Clad all in white, upon a violet bank
I saw thee half-reclining; while the moon
Fell on the upturn’d faces of the roses,
And on thine own, upturn’d—alas, in sorrow!

Was it not Fate, that, on this July midnight—
Was it not Fate (whose name is also Sorrow),
That bade me pause before that garden-gate,
To breathe the incense of those slumbering roses?
No footstep stirred: the hated world all slept,
Save only thee and me—(O Heaven!—O God!
How my heart beats in coupling those two words!)—
Save only thee and me. I paused—I looked—
And in an instant all things disappeared.
(Ah, bear in mind this garden was enchanted!)
The pearly lustre of the moon went out:
The mossy banks and the meandering paths,
The happy flowers and the repining trees,
Were seen no more: the very roses’ odors
Died in the arms of the adoring airs.
All—all expired save thee—save less than thou:
Save only the divine light in thine eyes—
Save but the soul in thine uplifted eyes.
I saw but them—they were the world to me.
I saw but them—saw only them for hours—
Saw only them until the moon went down.
What wild heart-histories seemed to lie unwritten
Upon those crystalline, celestial spheres!
How dark a woe! yet how sublime a hope!
How silently serene a sea of pride!
How daring an ambition! yet how deep—
How fathomless a capacity for love!

But now, at length, dear Dian sank from sight,
Into a western couch of thunder-cloud;
And thou, a ghost, amid the entombing trees
Didst glide away. Only thine eyes remained.
They would not go—they never yet have gone.
Lighting my lonely pathway home that night,
They have not left me (as my hopes have) since.
They follow me—they lead me through the years.

They are my ministers—yet I their slave.
Their office is to illumine and enkindle—
My duty, to be saved by their bright light,
And purified in their electric fire,
And sanctified in their elysian fire.
They fill my soul with Beauty (which is Hope),
And are far up in Heaven—the stars I kneel to
In the sad, silent watches of my night;
While even in the meridian glare of day
I see them still—two sweetly scintillant
Venuses, unextinguished by the sun!
Mateuš Conrad Jun 2016
ᚠ                       Φ

             F

Θ                       ᚦ

                                     no explanations
exist within a geometry outside
the circle, only architecture, sole,
yet the sole geometry of architecture
is an encircling, a lifting,
and had i wrote my poetry
in the comfort of rising beyond Marx
is socio-political schematic i would,
but i rather talk to scaffolders than to poets,
i'd rip my heart through enough thin
veil to prove it so that i shared an entombing of lips
wholly bodied with one! i rather!
care for this ******* Parisian princess
in your divorce as best you can...
i kept a cat for seven years before my neighbour
decided it was time to un-wed affection
to an animal neither tilling for ably feeding
to instead choose his daughter as my wife:
i rejected feeling no compass of conversation...
the cat died, i went into the graveyard and dug
a gravestone out and buried my cat in
the moonlight: don't ever come across me and my pet!
you killed half the intelligence that was me!
*******! humanity engaging with humanity
it plagiarises as itself an ownership to suit puppet
strings like it might tailoring,
POLAND ****** EUROPE!
POLAND ****** EUROPE!
POST COLONIAL NATIONS SEEK NEW *******
TO CRAFT THE LOST COTTON BUDS INTO
GRANULE CEMENT SET! POLAND ******
EUROPE! POLAND ****** EUROPE!
POLAND ****** EUROPE! POLAND ****** EUROPE!
MAMA RUSSIA! PAPA PRUSSIA! HOSANNA! HOSANNA!
LAUREL LEAFS AS I SAT ON THEM! THE CROWN
OF KING TU-154...
ROMANIA DONKEY DON QUIXOTE!
WHOOP WHOOP! WHOOP WHOOP GREK IZLAND
CORFU! then the postman comes with my jealousy
as within reach of hope to attain old age...
(snigger)... i hope i don't... i want million
dollar baby's truth to wake me.
Sia Jane Nov 2014
The denouncement of
                                         human history
Men bartering dollar bills
                                                waging a money war.
How those business men flee
                                                     bank notes blown to smithereens
Battling dusts of torment
                                              acceptance of surrender.
Sparks burning a hollow nest
                              in the shadows a fallen angel
Cinders & ashes
                               a maleficent phoenix rises.
Diabolical legacies of past
                                                armoured; bow & arrow
Punctured wounded broken heart
                                                               wings disallow flight.
Stumbling a splintered hip
                                                  reborn a chance
Freedom, autonomy, independence
                                                                  of personal desires.
La Cuesta Encantada she
                                              falls at the gates
The Enchanted Hill
                                     San Simeon seeking redemption.
Death awaits her
                                Santa María Maggiore

Of Roman baroque temples
                                                   small cascading waterfalls
Her body released
                                  eternal rest.
She floats without dissension
                                                      The Neptune pool
She begins to sink
                                 in grace
                                                 in all her glory.


release release release


Hearst Castle entombing
                                               body, soul, memories
The peace which passeth understanding.


Absolution.

    
   © Sia Jane
Sarina Feb 2013
I would want you to have these machines
breathe for me if I forgot your name
and spill memories back into the blank spaces
from which you ebb and flow, going home –
because it could not have been I who
destroyed the person that I require so close.

In every language, I love you
and te amo
and je t’aime and
ich liebe dich and jag älskar dig and miluji tě:
let your city flood my insides, then bleed.

If I could, I would shout from the moon
to make sure the other men know I love you
and though they are beautiful,
their names do not matter nearly as much
to my brain, nor bring goosebumps to
the small of my back and top of my bottom.

My ******* fill your shirts just right –
they do, they do.
I am meant to be inside them
and you are meant to be within me, like air
******* from a windpipe to areolas’ pink.

I would throw my head forward like I do
when I am sad and settle in your lap
entombing my five senses in an aroma of love
we just made. I would lay myself in that
coffin again and again until I recalled
the exact elocution I used to form your name.
M Harris Feb 2017
Spectral & Whites,
She shoots liquid kryptonite,
Forming civil twilights,
Lighting up satellites,

Effusive she moves in crowds,
Vetting the loud,
Entombing in her vortex clouds,
Fiction stitched exclusive to her shroud,

Translucent transcendence,
Sinking in ascendance,
Obscured abundance,
Her celestial dependence,

Mutating sacraments,
Dissolving electrolytic laments,
Decaying she resents,
Her serene blood stains,
Choking reckless intents,

Torrential far cry,
Of her desecrated lullabies,
Edging serrated highs,
Triggering sulphur lies,

Profanity in her transmits,
Photonic duality she emits,

Fluttering in trance,
Her psychopathic stance,
Initiating empathetic dance,


Seductive incandescence,
Buffering her schizophrenic vehemence,
Veiling the era of repentance,
By unveiling spiritual severance,
And pseudo sacrosanct irreverence,

The future’s here,
Nuclear souvenir,

She past my prime,
When the evidence realigned,
Confiscating her downtime,
She committed my crime,


Make amends… We are designed to be outlived….

03:22AM
I see the emerald hills of Toledo draped in a golden sunrise,
A cold morning breeze is blowing past the trees on the outskirts of Cordoba.
I walk down the white marble entombing the streets of Old Madrid,
The fluorescent lights of nocturnal Paris still dance around me,
As I pour myself a cold beer under a clear Berlin sky.

I fly over and find you walking under a Pennsylvania fall,
Getting ready to play in the Jersey snow.
We go down south, almost to the border,
To have a prime rib eye Texas steak for lunch;
And for dessert we share a kiss that tastes like New York.

You hold my hand as we walk through the Peruvian border,
And take my picture as I pose next to Machu Picchu.
I smile as you play with the llamas we found on the edge of the Titicaca Lake,
And together we look down on the ruins found on the Sun Island,
Before we end up gasping for air on the roof of the world 5,000 meters above the sea.

Climbing down we take a walk under the fading Bolivian sky,
We see luxurious office buildings on the right and brick and mud huts on the left.
The narrow streets of La Paz beaming with life as the sun creeps over the hills,
We walk to our favorite taco stand across from the Cathedral,
And on the last night we have in the land of my birth,
We share a kiss that tastes just like New York.
Nat Lipstadt Feb 4
a quote from Samuel Johnson, or Dr. Johnson, the storied eighteenth-century poet and essayist who once said:

“The sole aim of writing is to enable readers a little better to enjoy life, or a little better to endure it.”

<>
our “sole aim,”

Oh what burden the doctor places on our shoveling pens,
to be earthmovers
that dig trenches, uproot earth,
that lies and hides our faces, entombing our hearts,
eliciting and erupting emotions that cannot be contained,  
nor controlled,
indeed, deserving of replanting in
our shared selves, transplanted into a communal flowerpot
of our multi bursting colored commonality

lift my composing tools,
peer into
winter blue skies guarding the towers of
Manhattan isle, longing for guidance.
lusting for specificity of direction,
how,
how, to easy our burdens
with carefully selected and
careless wonderful words,
words that deal out caring uncarefully,
with a graceful recklessness of abandon
that open thy tears,
lift up the edges of your lips,
so that my duality is your duality,
the burden shared.
the burden eased…

to cry and laugh simultaneous,
lift and lighten,
a momentary distraction,
a cut flower in our vase,
that lasts but brief,
yet with each gaze repeated and
repeatedly,
well stains us with
eyes uplifting
8:03am Feb 4th, 2024
how quickly the new year molts into a
normality, resolutions tarnishing but still intact,
and any blue shade of sky, even the least
baroque and most pale, hints that summer warmth
is nearly visible…
Kayleigh Redwine May 2010
He turns his cheek against the sun,
washing his palms of the birth he stole.
Not a care for the womb undone,
entombing her in her homely hole.

He smooths his hair and rubs his eyes,
shoveling the house to his new debris.
For today alone he is satisfied,
tomorrow shall feed his heart's disease.
© Kayleigh Redwine May 11th, 2010
JP Goss Jan 2015
—To me, a dream, in which she came: Mistwalker
—And I, a vessel, rose in her womb, bear this, to me, a dream.

Say, on this, untoward, the spiced breezes with salt
Came, if all, the light enkindled like whetted steel
Morning star through the mournful faces above
Rejected, yes, by their mothers, of past and now,
A cold came ashore, ancient besieged accounts
Wilted the pregnant vines of yesterday, sure to
The next, as gods turn to myths, stories to the dying young.

She stared, of memorials in print
Off into the terrible morning, gossamer filament
Swaddled at the breast, a tight form slack
In the great divorce of sea and sky,
Standing, contemplative, shouts and echoes crack
Unheard, discarded: sweets to the profane
Sedately, to that dark curve: a canvas was lain
Adrift on aether, drowned bones of Atlas,
Emerge on drift of the everlasting, there at world’s end
In curved states between:
Hell broods in the burgs of ice, Providence
Forsaken of she who becks on the entombing sands.
Thus, prayers come whetted
With none to brush the stray hairs from those astray
Men conceiving valleys, their mountains,
Structures, are we, to eternally pass the course of solitude
Under cross-borne tuitions, marbled elders’ auspice
Embossed of the very tongue spoken
Once in high infant chambers, Omnis Ipse?

I, too, was born beneath the hero’s breath,
Taken by the glimmering sheath and steeds
To the awful wiles of merciful truth,
She to the enemy of standing beyond, within.

If ever a summer had kissed the city where cold descends
Or snow reminisced stars in the eve,
I, I—she hurts in the mists—have only tasted, bitter,
Sketches, between them, the finitude of their light,
That of warmth, of compassion
Man fall distracted from, therefrom grace,
A beast shed of its other back, hubris of its wing—
Am I the maiden of its song? But it’s maiden?—
One season, ever-aged, harbinger of this isolation
What is the ****** ewe years of searching for I,
Is sacrifice, thus becomes the phantom, the slave
Of that distant black, the sullied mark, consumptive
Unremitting arms of purpose, of man’s calling.

These hands are spelled, veined by charcoal dust
Adversarial oaths kept close, of myself, in idle play
Where what I will, wills but a will
Where none are to come, but the mast of a hero
Whom she is tied, of those winds
Seminal of her words—I shall be the breath
The cusp of every storm which blights the high waves,
The knife of sheer walls of stone,
Moments of oblivion which rend the heroes, ill-stayed.

Eyes burned holes for the starlight of awe
Pouring o’er the wastes of her paper skin
But, that she overturns the rueful words
Again, again, again, cycled in the oceans,
Where gardens of kelp revile the current
Strands, becoming of the arms she wishes to hold—
To write myself out of comprehension
Is to risk the very marrow has I obeisant,
These lusts of the greater body, those of the Mother
Clad in jewels and customs, as wave desires sky;
A journal I’ve become.

Mist came, froth, the spiral of wars inside the heart
They inveigled her, to my dismay, to the blind air
No longer, the sweet tine of imperfection of voice,
Inspired of spoken word, recent memory took leave,
Ambivalent joys came raining on a pen,
Reluctant to write homage to freedom,
Caught in the morphless air, calcified transformations
Odes to let go. But.
Michael Marchese Jun 2016
I am a shadow of a shadow
Creeping through existence
And the bleakest realities
Of a life bereft of love

I am a faithless angel
Believing in nothing
And praying for the end
Of a life bereft of love

I am a quiet crypt
Entombing a silenced soul
And a muted mind
Of a life bereft of love

I am a vast ocean
Encapsulating emptiness
And the cold dark void
Of a life bereft of love

I am a rotten corpse
Decaying slowly to time
And mundane dreariness
Of a life bereft of love

I am a voracious vampire
Craving the night
And draining the veins
Of a life bereft of love

I am a clandestine mystery
Withholding the secrets
And worthless revelations
Of a life bereft of love

I am a cold-blooded serpent
Slithering in lies
And venomous mendacity
Of a life bereft of love

I am a grim visage
Adopting false smiles
And fallacious contention
Of a life bereft of love

I am a ghost of a phantom
Haunting the living
And those who know not
Of a life bereft of love

I am a hellish demon
Burning in impurity
And corrupted innocence
Of a life bereft of love

I am a lonesome sepulcher
Dwelling in solitude
And self-imposed isolation
Of a life bereft of love

I am a forlorn oblivion
Devouring light
And what radiance remains
Of a life bereft of love

I am a hollow shell
Resonating dins of depravity
And tortured screams
Of a life bereft of love

I am a deceitful siren
Beguiling lost passerby
And luring them to shores
Of a life bereft of love

I am a black rose
Wilting in misery
And withering beauty
Of a life bereft of love

I am a self-destructive beast
Rampaging in anger
And constant frustration
Of a life bereft of love

I am a spreading disease
Afflicting this world
And all of mankind
Of a life bereft of love
Brandon Aug 2013
The silence is maddening
The silence is deafening
The silence is teasing
The silence is treason
The silence is memories
The silence is too loud

The silence is nerve racking
The silence is numbing
The silence is unbearable
The silence is unbreakable
The silence is entombing me
The silence is too much
This is so ******* stupid. It took me longer to correctly spell unbreakable because of my stupid *** autocorrect than it took to write this crap.
Gary Robinson Jul 2014
Have you ever been love sick? Disconsolate because of unrequited love, sorrowful because of love due to you that is not forth coming?

I miss you!

I say this with weight. Although this word, in this context deems to be superficial. In fact, all words that the corporeal aspect of my being uses are superficial. Stamping upon the surface for entry, only to watch my soul embrace my feelings and emotions and utter their response in clarity.

Does it awe you that my soul is the only part of my being that explains how I feel with any real clarity?

Oh, how inadequate sometimes is this gift of the human body; entombing the essence of our being in that which dies. Unable to talk the language of the ethereal, what we say is merely symbolic to what we feel. Playing charades with a passion that often causes man to ****.

I ask, “Is this safe?”

But life is not safe. I could die as my pen massages this leaf, leaving an unfinished ode to the cause of my grief.

You must spiritually kiss me to mentally grasp what I’m trying to say. And through those lips without color or texture escape my pain.

I miss you!
thePaigebook Nov 2012
Sleeping where your heart lay
The last night you survived
The ghostly image entombing my mind
Closing my eyes
Did you know what it did to me?
Time passes, adding distance between us
I now walk in an unfamiliar place
I miss seeing your wrinkled face
The smile, plastered there by me
Your scent remains no longer
but the empty air weighs stronger
Standing where you left me behind
I looked into that room you lay
I stood, wept, and relived that night.
Diána Bósa Nov 2017
Entombing the scream
into my body to hide
the banshee
for the sake of guarding
this terra incognita;
the peacetime of ours.
Mateuš Conrad Apr 2016
a day a bit like sarah mclachlan's
thumbing toward ecstasy album,
not much too it...  some say frailty, some say the
plumbing,  some say apathy breeds no pathologies,
well, not musical enough for rhymes,
a vast vault opens, there's a piano
inside but no pianist -
let's say without education and training
in the art someone comes to the piano
and gets a natural feel for it,
feminine hands, anaemic and frail,
thin fingers, not something a labourer
could sustain his work with...
a poet became jealous of Liszt...
but no one became jealous of Chopin...
the japanese adore him more than
his fellow countrymen... after all, they
took his heart out and entombed it
saying: 'this is your place, this is our pride,
sit here, forever!'
horrid story, akin to the one where a president
in an unfortunate plane crash received
all the honours of a kingly burial in the Wawel (vavel)
castle... not in the cemetery for presidents,
perhaps near the Belvedere (the white house
of the east) - that skromny pałacyk -
an entombing procession of faithful people,
yet no crown in sight, simply a tie noose from
the political suit... and that's why a distant
voice almost wants to trip up on the question
whether there's democracy in that shady part
of the world... or as the canadians put it:
america and it's lollipop women - tartan tarts
of criss-crossing ventures back into adolescence
and opening up a macabre wardrobe -
we have the aces, they have but four queens -
the fifty five belgium sized countries in the
mid-west... open fields and tornadoes -
but these sort of moments do not come directly
from you - it's bound to happen
upon the plough of dried ink on page  525
of the LXXX... so many influenced J. Joyce,
T.S. Eliot...and his own work rather, crudely -
left to rot in the slaughterhouse,
an animal slaughtered for no reason other than
to hang and rot... sheered by neglect,
or the ad hominem principle not understood -
obstructed - a thousand black-shirts from
the Mussolini tribe left the world in lesser rags -
it takes a lot of patience to not see certain
pop-ups of words are directing, geographically
orientating in the mind - it's not an instruction
manual sometimes, there's no 4x screws of such
and such to put-together a table... sometimes
music takes over - and the sounds escape like
helium from balloons in an air-tight room -
one person in it, maybe two -
not necessarily an instruction manual, a worth
a copy manual - but still canto LXXVII or LXXVI
were overcome like his overcoming the
cage-cell he cited in at Pisa in the heat and
wet-donkey-slobbering of the snout -
they say it's all downhill after the escape from Pisa...
well... an intelligence in an asylum will hardly
make compliments on the matter, hence a second
return to the land of ice cream and Renaissance
painting galleries... where they craft a beauty from
stone like the mountains majestic... very few geometrics
were minded for the finishing touches -
they kept the buildings low on purpose,
not unlike the sky-scraping majestic but left with
a ² grid: ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢
               ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢
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               ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢
               ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢
               ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢
               ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ▢ ,
where then the Roman Belshazzar? nowhere,
not even with the first roman-jewish war,
suckling up to the **** of Nero's oblivion in song
on the lyre while comparisons were made
between him and Casimir III of Poland -
in proverb:
zastał Polskę drewnianą, a zostawił murowaną -
after the great fire of 64 a.d. -
rome, rebuilt in stone and marble...
hardly a reason to claim equal the incident of
the Reichstag fire of 1933... only in remote places
where much harvest is to be done,
does a solitary house equate itself to a city -
we'll never mind the baker,
but we might as well mind the words:
                we have a pretty witty king,
                and whose word no man relies on,
                he never said a foolish thing,
                and never did a wise one -
after all, why not insult when no one recognises
the insult - for fear of being reminded
of the guillotine... no, the guillotine was yet to
be invented... imagine all the lumberjacks of
spiny bone having to desecrate an entire host
of de Pompadour all pampered - then suddenly
without wig or perfume on the scaffold.
Mateuš Conrad Mar 2016
for indeed, the little things in life magnify, as in: how attractive is the tinniest dog, when compared to a cerberus; the tinniest dog you seem to entomb in snuggles; while before the giants, earth sun and moon, we crafted a science of understanding, as if to enlarge ourselves, and dwarf them... but the giants knew of man's schemes, and perpetuated the answer: for indeed, how the little things in life magnify.*

to feel in heart, innermost or outermost,
to the innermost zenith,
to the outermost pinnacle,
to feel in heart, a fabric akin to
a sparrow's nervous twitching,
to feel in heart more drama than
the river or the sea,
take care of the sparrow,
maybe someday one will fly from
a rosebush and sit on your hand
like one did on mine,
when i was a child - keen to remember;
if only the heart and all its turmoil
were so nervous as to constantly
imply a nervous itch -
that sparrow's twitch -
should we say any more, better a fickle
heart than a fickle mind,
better fickle emotions than fickle thinking;
for at least with fickle emotions
the many can be loved even if that be
a trivial entombing of us all,
but with fickle thinking, well,
who is there to be pleased?
Keith W Fletcher Oct 2018
Through an all consuming
ever looming
self-entombing
slow death march
they slogged along
growing strong
by right of wrong
through hate
they berate conflate inflate implicate in a quest to initiate
all those withering Souls
who follow
without reason
behind those bent
who's Soul intent.. is eradication invalidation
so that even those
who avert their eyes
from this aberration
Still follow
one step one stone
one more who does condone believing
somehow time will allow
the ability to atone
to take back
what they already own
And yet ...
by division indecision miscreant dreams seen through aberrant visions
painted on
the nonexistent headstones
Of those
deemed Unworthy of condolence

When the heavy hand of Injustice Whispers you can trust us
"listen not to the neurosyphilitic rot that the weak-minded speak
for We  Are  The  Chosen
The American creed
the annointed  Anglo breed
who have fought hard
with righteousness
Appointed
to achieve
the America that God intended
as HIS emissaries
we are the righteously pure ordained Warriors
as  WE now take..
possession
of our pure white Nation
our building Stone
to create anew
that
which is to be the new state !"

Oh you fools !
you withering Souls
YOU who slogged along
through the swamps of intolerance toward a place ..you thought
you would belong
Unfortunately forgot
to anticipate
That the haters
will always need someone
to berate denigrate and to  Hate !

So ...who are you again ?
Emily Jones Apr 2015
My skin clings to the water
Entombing the silky moisture
Sweating out the hate
Floundering for life

I feel my heart slow
In tempo of a cursor
Some things you tell no one
Stash them in a corner

I cease to skim the surface
Returning wistfully to the depths
Air is no longer a measure
It is but a worthless element

A useless component of the slot machine
The happiness I breathe fails me once more
I cannot feel the world
I wish to touch the silence

Air thick as mud closes in
Wrapping my lungs in iridescent twine
Laughing at my empty blood
Letting memories drain away

I tried she said
The room was just too small
People closing in like animals
Spectators of the layers of time

With one who passes
The other shall rise
Or so I thought
As the fluid drips

A glow
A whisper
Perhaps a chance
To prove them wrong

However difficult
To break the grasp
A capsule of twisted ebony
Takes another victim
notification of fire evacuation 
     slated to occur 
April 12th, 2018 (between the hours 
     of 9:00 am and 12 pm) did spur
me to validate Google asper,
 
that direct object heave ving, 
     his pro noun sub bull, verb bose, 
ingenious American historical figure 
     attired in tailored clothes

careful, sans his just keen 
     liberal mien pro
     claiming maxim necessity to doze
when body politik needs to *** juiced up

     and doth need restorative source 
     analogous to drained battery expose
zing lack of electricity 
     mechanisms need did tubby supplied 
     (in one direction) flows

accorded stealing thunder and lightening 
     from Zeus where prominence glows  
vis a vis via leaving 
     his tell tale fingerprints 
     upon flame inextinguishable hose

imprimatur of renown Founding Father, 
     a one man gifted born
improved quality of life 
     during Colonial American stage 

     buttressing forlorn
during his deux score and four years 
     fledgling United States heed add horn
bequeathing blueprints 

     (functional contraptions, 
     posthumous patents procured 
     after populace did mourn
     gadgets kickstarting leveraging more novel 

     Ongepatshket prescience, 
     quietly revolutionary, 
     strikingly timesaving), 
     utilitarian value shorn
tattered stitched timeless totemic tenets torn 
     unimagined visionary watershed worn,
where underworld webbed wide world burned 
with thermal coupling that churned
ferocious infernos 
     describing how Hades learned

tubby managed 
     to maximize efficiency 
zealousness zeroed Zyder Zee 
     in said Netherlands

and hellish hot house turned
into a near utopia (More
     or less nsync) with Doubting Thomas's,
where many mortals yearned

to escape corrupt fat cats, sans
     those condemned to mortality
     found minimally a mew
zing, and doggedly trudged 10,000 leagues

     under the sea, entombing
     jewels for vernacular speaking Josephine shew
wing scars from fire 
     that threatened Philadelphians thorough

lee hence, forcing many civilians 
     to dive vining Davy Jones's locker pre view 
     in 1736 after swallowing embalming fluid 
     ha I did "FAKE" you
     tubal heave poetic pablum from human zoo!
Mikaila May 2014
No, no, that life is ended now.
This is a new one.

It ended as all lives seem to-
Suddenly, for no good reason, and without any real closure,
But it has ended.
It must be over, you must be over
Or I will be unable to go on.
So I am laying that life to rest,
The life of depending on you and letting your presence make me happy.
And if you resurrect it someday,
Clear the dirt out of my eyelashes and help me climb back up,
Then I will rejoice when the light kisses my face.
For now
It must be done with.
I want to continue.
I have no time to wait, no time to pause who I am and spend my nights wishing you'd come back.
I wish I did.
Oh, darling, I wish I could devote my life to you the way I crave to.
But you are gone,
And that life must be done with,
Tidy in my head so that I can't trip over it or cut my fingertips on its sharp edges.
If you are not here, you must be gone.
I can't spend much time in the in between if I want to survive.
I am sorry, love.
I am sorry.
This life I am entombing again, it will always be waiting for you, always willing to rise again and be tired
For the sake of loving you.
It waits.
Any time you like, it'll be there.
It waits. But I can't right now.
Title is a quote from Dreamfever by Karen Marie Moning.
Mandii Morbid Nov 2014
No flower can be fostered in this darkness, all consuming.
All alone and left to wilt, never blooming.
Each petal swept away, the face of death ever looming.
Crumbling to the earth, slowly the emptiness is so entombing.
Stef Hughart Dec 2016
Guilt awaiting beyond the threshold of passion,
Too regretful to be engulfed by devouring flames,
Burning with every ounce of blood pumped in ******,
Sensation overwhelming a morally sound reality,
entombing the moment on repeat,
reliving every touch, every secret whispered.
Broken promises gnaw at the spinal cord,
Incapacitating victims with each mouth full of deceit,
Overpowered in puddles of sensuality scattered,
Pain distributed through currents of attraction,
Smoothering the protests of anxiety with free will.
Breathing the scent of venom,
Seductive serpent offering the hungry,
garentees of release muffled by falsehoods,
Providing the fruit of past deprivation,
The sweet necture drips from supple lips,
Woven into the wounds of betrayal,
A secret to be scilenced by the embrace of guilt.
Snowblind Jul 2022
Entwined hearts in a tomb of
ten-thousand dahlias,
heavy breaths like each their last
reach longingly aloft.

Unlike every choking vine
that digs entombing claws;
their winters spent together
tethers their hearts to clouds.
Mateuš Conrad Aug 2016
when i take a ****
i feel the drag of gravity
working its way
entombing me.
then i hear a woman's
voice shout oi!, and then
i say:
this time right now,
i ought to be married,
but i'm not, and i'm not even
half of Byron entombed age...
ᚠᚨᚱᛟᛖ (FAROE) - again Copernicus
and the compass, W, M, E and ᛖ;
via X, or gott...
the mathematics, x, y, z, sine, cosine
and tangens;
as if it all meant anything to
anyone anticipating the next day.
Ryan Galloway Apr 2015
How do we fall?
This question quietly sits
In my head as
My eyes rest on your lips
It is astounding, how the air quietly closes around us
Entombing us in the time that exists between the words
That at this point seem superfluous given the state of my mind
I am currently in free fall waiting for something to catch
And I continue to grasp
Yet it is in vain
For the way your hair falls from your braid
Has dissolved all ground beneath me
How could you look at me in that way
That buckles my knees
I do not know how I am carrying on
For I am falling without hope of ever getting up
Mateuš Conrad Sep 2016
i'm nothing but Nabokov
in chase of a butterfly,
but instead: i chase moths,
and among fox cackles,
i too find a respite,
a "resurrection" might one tell...
so sun and the butterfly flutter...
so moon and the lard-fly gamma,
or bony chequers and black
void insomnia, as thus heard:
forever you entombed in
the forever said: unrest -
that the carpenter's children might
fear me...
that the carpenter alone will not:
finding his work sensible
and worthy a roof over his head...
will not fear me eavesdropping
the congratulatory meal -
when all congregate...
but as my Friday sentences me to
the tomb of my body,
i am catching moths in the night,
for the moth is Islam's
version of the butterfly -
and from Shia aversion and mere Iran,
an opus plague of wonder:
gratis chant and the solitary woman's voice:
idealism above mortgage...
if only a dream... and by dream suffice...
then the asking merger of
such hopes... and later years un-lived...
then by swarm and by no condolence
the forfeit entombing...
                 charcoal chants,
as Catholic as Satanic on the pleading
reminiscence of said creed...
                      then onto moth,
the lard-fly from the Everest of Night...
as splendid in colour...
then unto the butterfly from the Sahara of Day...
or the said compliments, dying, slowly,
arbitrarily, or as feared: thus as eaten
and packaged: industrially
                              man's limbs equal
to chicken thighs.
Suzanne S Nov 2017
Era
There is a spider on the clock face
And I cannot look away,
Staring at its journey across the hands
Horror legs scuttling through time,
Silken strands entombing the gears
Like it is a gift,
But the clock is wrong,
The calendar too young,
There is a voice in the stars telling me to come home:
I have never been so early for a reunion
That I will miss it entirely,
And the spider dangles precariously
from the corner of the five;
A pendulum swinging me farther from the stars.

— The End —