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Ugo Mar 2013
burn the light of fire
and wax the ears of injustice.

chide the moon
and bid ado to the reckless sun.

count the blessings of misfortunes
and wave verbs in the air--
breathing the hopeful breaths of married sandals

Label the pains of a billion rain drops and fawn the feathers
of a nightingale over the glory of failed
triumphs known as yesterday.

break the hands of a wristwatch and make a ******* of time--
for through the God in Satan was how Earth was won.
Hayley Neininger Oct 2012
all the envelopes in all the worlds
will never be enough to carry my love letters
letters with headers that would be better read
dear  lover number 1,2, or 3
but the dears are really never suffixed by numbers
because the names that correspond to them
mean more than all of their sum
and fill up too many pages than I can count to
and some pages the number I can’t read at all
because I bare down too hard with my pen
and the ink seeps down onto the next letter I have to write
making page 76 look like page 48
and the periods at the end of sentences
look like misplaced and blurry hearts
it doesn’t help that I write in red
and that I only love a certain shade
it doesn’t help that I am broke
and I can’t afford ink
but rubber band are always on sale
and I can wrap them tight around my throbbing veins
to pump out the most velvet red hue
at the lowest price
but when my blood starts to bottom out I stop writing
and I start kissing the next boy who makes
my heart beat out more and more words
to write with.
Another number to start off a letter with.
Dear number 5, I’m sorry about your head but you shouldn’t
Have under judged my right hook
Dear number 7, don’t worry my body’s finally absorbed those bruises
Dear number 1, I wish you could have seen me naked I wish
It was still possible for you to see me naked.
To cut off all my rubber bands
And to burn all my stationary
Because you need to be greedy
And you need to use all the envelopes in all of the worlds
To write letters for me.
Pyrrha Jul 2018
I want
To fall in love with someones smile
To swoon under their gaze
To become dizzy with their touch

I want
To crave someone like an addiction
To nestle up to their warmth
To get an adrenaline rush from their scent

I want
To hold them and never let go
To tell them how much I love them everyday
To keep discovering them like it's my personal quest

I want
To give them my heart
To love them for all that they are
To keep them from the tainted world

I want
But what can I do with these contaminated hands?
How dare I try to hold them close with these hands of mine flowing thick with lies?
To tell them sweet nothings with my corrupted tongue?

My love
Is like a wildfire
Sudden, quick, and innocent
Without my permission my little spark turned into a flame
And consumed everything that contained a letter in your name

My love
Is like a wildfire
Untamed, ephemeral, and dangerous
It destroys all it touches,
Breaking barriers, burning bridges
It envelopes everyone in its warmth leaving no option but to run or turn to ash

Beware of my wildfire love
You cannot leave unscathed
I leave a scar

Beware of my wildfire, love
Because I'll burn enough for us both
I'll keep you warm on cold nights and dry on rainy days
I will set your heart ablaze and love you with all the force of my wildfire

Beware of my love,
It can't be forgotten nor replaced
This is the first time posting a poem on here as I am a new member, I hope whoever stumbles upon my work enjoys and relates!
hashtag1stworldproblems, but
couldn't even win a prize for reading:
'But there was no give in the cat,
no flex anywhere but his tail. And for
a moment their roles reversed, as though it were
the train facing
the inevitable cat...'
'n' dog 69er
vukojebina Tasmaniandevil in a ******
ad under/overbiting off more than I can
chew Escher's pretzel autocannibal
Prometheus in a Faustian ****
stage pacman dragon fusion starbirth centre
of the earth Bruckheimer pileup of me

Meanwhile bombs fall everywhere but here.

Singing 'Suggasuggasugga my art ***,
liggaliggaligga my art hole'

putting out the bins Insta-grommet-
ed Fama-widgetted the world but the world
is washing its ***** homme moyen sensuel
feels neither ****** nor blessed
culdesac wilderness no 'Wot no samo
©' enriches but inside my flat wypipo
surahs are basquiated alll over bones stones
& date palm fronds Newyork Paris London
Norwich supernobody supernova of purple psychology
prisoner between the lines egotistical subprime of me.

Allthewhile bombs immortalise everywhere but here.

Praying ' Ia! Shub-Niggurath! The Black Goat
of the Woods With a 1000 Young'
  yet still
the DWP send brown envelopes like post-
al millenarian sandwichboards or economic
letterbombs mash of calendars unassailable
nth mph inevitable catastrophe alazonic
file Akashic Bureau declassifies
is conceit of a train facing a rhino of a meme by
necessity a meme of a rhino gardarhino swino
my geworfen gurn of response scenarios
geworfen backatcha megillah galaxy
fillet ubeity is barrow pig cosmic bootyclap of me.

Everyday bombs bombarded the Mousetrap Theatre
but never hereatre.

Isn't everything just advanced basketmaking
everything is advanced basket-
making everything either that or egowanking
like urban legend of the Purple One ouroboros-
ing his purple one Janusjaws bittensmit-
ten by tailtaste once American sawboneses
optimised the Tom Thumb of Funk's
zeroshape with double ribectomy musta hadda sillycunt
implant ah the hiss of hubris human CMBR
soliphissing hero of selflove whited sepulchres
'This is the only musical the mouth & hopefully
the brain attached to the mouth, right?'
X-iestance of me.

The bombs they bombeth everyday, but I'm okay.

Big Gazrilo Princep Bang weltgeschichtlich pinup
modcon slave to my suprachiasmatic nucleus living
l'appel du vide in comfort fatarse sitrep
tragicecstatic bluff transparent as an exhibition-
ist pharaoh mummified in cling-
film hokeycokeying the keys till my right hand's in
court & my leftover hand doesn't count
tallies of tall realities like BasquiAT-ATs or Daliphants
skittled by Tippex the inner crickets' tip-
ple ghost grawlixes sculpsit grazes 00Q's qwerty spype
no carmen triumphale of poetical toothbrushes gets free
from chelseasmiled singularity inadequake scree of me.

But bombs being dropped is not the only way
this 40-yr-old 5'6 din of reverie will stop.
raen Jan 2012
Packed like sardines
inside a jeepney
Too full,
with a jeepney strike going on.

Rushing,
mother and child ride along.

Greasy, *****, malnourished…
The woman holds a can—
a makeshift drum.
Little boy hands out envelopes,
he looks like he's 3 years old,
he's most likely 6.

Woman beats her drum,
nobody listens
chatter drowning out the rhythm…
Invisible ears to go with
invisible envelopes

His head touches my legs,
dissipating heat—
an indicator of how long
he's been under the sun and smog
The thought chills me…

He stares at my sister's shopping bags
with searing eyes…
Windows that I can’t bear to look into,
afraid to see my reflection of clouded guilt and frustration

I shake my head, no food to share
but my hands reach out to his,
to give him some money.
My sister remembers a bottle of iced tea,
and hands it to him.

He has a hard time opening it,
and asks for help from the school girls…
Invisible again.

I reach out and get the bottle from him
Temporary refreshment
for a body that is parched,
for a soul who is thirsty for so much more.

I cannot help but gulp in guilty air.

He sits on the aisle,
savoring the tea
as his mother thumps on the can.

The little boy retrieves envelopes, all empty—
as hollow as the sound of the beating drum.

What do you do,
what can you do?

The jeepney stops.
They alight from it...
The mother looks back
and says, "Salamat."
It goes straight to my heart.

Her eyes move me most—
one eye is cloudy, grayed out,
perhaps a manifestation
of the storms in her life?

That single word seared through me,
and I felt how much she meant it…

Her thank you
made me want to give so much more,
to call out to her and give whatever I had at the moment
but they are gone...
Lost in a crowd of faceless people,
and I myself want to get lost,
hide my face in shame…

What can you do?
*jeepney*—is  a public transportation vehicle
*Salamat*  means “Thank You”
Quiet mind, immersed
in palest, warmest yellow.

Molecules within
find alignment
with infinity.

Silvery mercurial fluid
paints my bones
with gentle light.

You have come back.

Abundantly, warm salt
water envelopes me.

Even in this chair,
in this empty room.

On dry land.
©Elisa Maria Argiro
Curt A Rivard Sr Jan 2015
They were first used by the Aborigines who lived in the outback
Made out of a hard wood, if it is thrown just right it will return, come right back.
When molded out of plastic it then takes on the shape of a playful toy
Being a witness and unto all it's magic, children in amazement are now filled with joy.
As for me, I make mine out of a three by seven inch prison commissary envelope. I throw with all my might- praying that you receive all my beautiful heart felt words that are written, that's all I hope.
Envelopes soaring high and into the heavenly sky I want you to know, no longer will they ever have to take me again away and nor no longer will you ever have to cry.
Thank you so much for filling me with your loving hope,
owe it all to you-because, you threw back to me a love filled boomerang envelope.
jane taylor Jun 2016
fly
born in illusory chains
gnarled metal
encrusted in my broken skin
the copper colored dust
of rusted steel
infectiously envelopes

shaving off antiquated layers
of fundamentalist religion
encrusted for generations
unpeeled until raw
an unsophisticated method
unveiling
ancient lodged glass shards
colored with deceit

brought before their court
interrogated
unfathomably skewered
an eerie salem witch trial
in modern times

barbarically they shun me
banished
i wander aimlessly
smelling the rotten decay of deceased community
as splinters pierce my feet
from the crooked wooden plank
i walk alone now

an unfathomable inner ache
kindled a residue within
igniting a wildfire from the darkest shadows
uncontainably erupting
i dance savagely
naked in the orange moonlight
and in every shaded edge
lit my soul ablaze

i am a nomad sheep
‘tho not one of their color
no pasture to contain me
no shepherd i can follow
theological safety nets
no longer there to catch me
bohemian-like
i plunge

free falling
plummeting
stripped wide open
magically
fearlessness
reverses gravitation

floating
untethered
i soar amongst
apricot tinged clouds
my skin still wet from rebirth
and rise with the flaming coral sun

you cannot destroy me
i twisted in your decrepit pencil sharpener
and with fresh mettle
cut through the chains that bound

you can have my ego
but you cannot have my soul

dismantling domestication
transcending limitation
wildly untamed
i fly

©2016janetaylor
my husband and i left the mormon church and lost many friends, family, and community
Nigel Morgan Nov 2012
She said, ‘You are funny, the way you set yourself up the moment we arrive. You look into every room to see if it’s suitable as a place to work. Is there a table? Where are the plugs? Is there a good chair at the right height? If there isn’t, are there cushions to make it so? You are funny.’
 
He countered this, but his excuse didn’t sound very convincing. He knew exactly what she meant, but it hurt him a little that she should think it ‘funny’. There’s nothing funny about trying to compose music, he thought. It’s not ‘radio in the head’ you know – this was a favourite expression he’d once heard an American composer use. You don’t just turn a switch and the music’s playing, waiting for you to write it down. You have to find it – though he believed it was usually there, somewhere, waiting to be found. But it’s elusive. You have to work hard to detect what might be there, there in the silence of your imagination.
 
Later over their first meal in this large cottage she said, ‘How do you stop hearing all those settings of the Mass that you must have heard or sung since childhood?’ She’d been rehearsing Verdi’s Requiem recently and was full of snippets of this stirring piece. He was a) writing a Mass to celebrate a cathedral’s reordering after a year as a building site, and b) he’d been a boy chorister and the form and order of the Mass was deeply engrained in his aural memory. He only had to hear the plainsong introduction Gloria in Excelsis Deo to be back in the Queen’s chapel singing Palestrina, or Byrd or Poulenc.
 
His ‘found’ corner was in the living room. The table wasn’t a table but a long cabinet she’d kindly covered with a tablecloth. You couldn’t get your feet under the thing, but with his little portable drawing board there was space to sit properly because the board jutted out beyond the cabinet’s top. It was the right length and its depth was OK, enough space for the board and, next to it, his laptop computer. On the floor beside his chair he placed a few of his reference scores and a box of necessary ‘bits’.
 
The room had two large sofas, an equally large television, some unexplainable and instantly dismissible items of decoration, a standard lamp, and a wood burning stove. The stove was wonderful, and on their second evening in the cottage, when clear skies and a stiff breeze promised a cold night, she’d lit it and, as the evening progressed, they basked in its warmth, she filling envelopes with her cards, he struggling with sleep over a book.
 
Despite and because this was a new, though temporary, location he had got up at 5.0am. This is a usual time for composers who need their daily fix of absolute quiet. And here, in this cottage set amidst autumn fields, within sight of a river estuary, under vast, panoramic uninterrupted skies, there was the distinct possibility of silence – all day. The double-glazing made doubly sure of that.
 
He had sat with a mug of tea at 5.10 and contemplated the silence, or rather what infiltrated the stillness of the cottage as sound. In the kitchen the clock ticked, the refrigerator seemed to need a period of machine noise once its door had been opened. At 6.0am the central heating fired up for a while. Outside, the small fruit trees in the garden moved vigorously in the wind, but he couldn’t hear either the wind or a rustle of leaves.  A car droned past on the nearby road. The clear sky began to lighten promising a fine day. This would certainly do for silence.
 
His thoughts returned to her question of the previous evening, and his answer. He was about to face up to his explanation. ‘I empty myself of all musical sound’, he’d said, ‘I imagine an empty space into which I might bring a single note, a long held drone of a note, a ‘d’ above middle ‘c’ on a chamber ***** (seeing it’s a Mass I’m writing).  Harrison Birtwistle always starts on an ‘e’. A ‘d’ to me seems older and kinder. An ‘e’ is too modern and progressive, slightly brash and noisy.’
 
He can see she is quizzical with this anecdotal stuff. Is he having me on? But no, he is not having her on. Such choices are important. Without them progress would be difficult when the thinking and planning has to stop and the composing has to begin. His notebook, sitting on his drawing board with some first sketches, plays testament to that. In this book glimpses of music appear in rhythmic abstracts, though rarely any pitches, and there are pages of written description. He likes to imagine what a new work is, and what it is not. This he writes down. Composer Paul Hindemith reckoned you had first to address the ‘conditions of performance’. That meant thinking about the performers, the location, above all the context. A Mass can be, for a composer, so many things. There were certainly requirements and constraints. The commission had to fulfil a number of criteria, some imposed by circumstance, some self-imposed by desire. All this goes into the melting ***, or rather the notebook. And after the notebook, he takes a large piece of A3 paper and clarifies this thinking and planning onto (if possible) a single sheet.
 
And so, to the task in hand. His objective, he had decided, is to focus on the whole rather than the particular. Don’t think about the Kyrie on its own, but consider how it lies with the Gloria. And so with the Sanctus & Benedictus. How do they connect to the Agnus Dei. He begins on the A3 sheet of plain paper ‘making a map of connections’. Kyrie to Gloria, Gloria to Credo and so on. Then what about Agnus Dei and the Gloria? Is there going to be any commonality – in rhythm, pace and tempo (we’ll leave melody and harmony for now)? Steady, he finds himself saying, aren’t we going back over old ground? His notebook has pages of attempts at rhythmizing the text. There are just so many ways to do this. Each rhythmic solution begets a different slant of meaning.
 
This is to be a congregational Mass, but one that has a role for a 4-part choir and ***** and a ‘jazz instrument’. Impatient to see notes on paper, he composes a new introduction to a Kyrie as a rhythmic sketch, then, experimentally, adds pitches. He scores it fully, just 10 bars or so, but it is barely finished before his critical inner voice says, ‘What’s this for? Do you all need this? This is showing off.’ So the filled-out sketch drops to the floor and he examines this element of ‘beginning’ the incipit.
 
He remembers how a meditation on that word inhabits the opening chapter of George Steiner’s great book Grammars of Creation. He sees in his mind’s eye the complex, colourful and ornate letter that begins the Lindesfarne Gospels. His beginnings for each movement, he decides, might be two chords, one overlaying the other: two ‘simple’ diatonic chords when sounded separately, but complex and with a measure of mystery when played together. The Mass is often described as a mystery. It is that ritual of a meal undertaken by a community of people who in the breaking of bread and wine wish to bring God’s presence amongst them. So it is a mystery. And so, he tells himself, his music will aim to hold something of mystery. It should not be a comment on that mystery, but be a mystery itself. It should not be homely and comfortable; it should be as minimal and sparing of musical commentary as possible.
 
When, as a teenager, he first began to set words to music he quickly experienced the need (it seemed) to fashion accompaniments that were commentaries on the text the voice was singing. These accompaniments did not underpin the words so much as add a commentary upon them. What lay beneath the words was his reaction, indeed imaginative extension of the words. He eschewed then both melisma and repetition. He sought an extreme independence between word and music, even though the word became the scenario of the music. Any musical setting was derived from the composition of the vocal line.  It was all about finding the ‘key’ to a song, what unlocked the door to the room of life it occupied. The music was the room where the poem’s utterance lived.
 
With a Mass you were in trouble for the outset. There was a poetry of sorts, but poetry that, in the countless versions of the vernacular, had lost (perhaps had never had) the resonance of the Latin. He thought suddenly of the supposed words of William Byrd, ‘He who sings prays twice’. Yes, such commonplace words are intercessional, but when sung become more than they are. But he knew he had to be careful here.
 
Why do we sing the words of the Mass he asks himself? Do we need to sing these words of the Mass? Are they the words that Christ spoke as he broke bread and poured wine to his friends and disciples at his last supper? The answer is no. Certainly these words of the Mass we usually sing surround the most intimate words of that final meal, words only the priest in Christ’s name may articulate.
 
Write out the words of the Mass that represent its collective worship and what do you have? Rather non-descript poetry? A kind of formula for collective incantation during worship? Can we read these words and not hear a surrounding music? He thinks for a moment of being asked to put new music to words of The Beatles. All you need is love. Yesterday all my troubles seemed so far away. Oh bla dee oh bla da life goes on. Now, now this is silliness, his Critical Voice complains. And yet it’s not. When you compose a popular song the gap between some words scribbled on the back of an envelope and the hook of chords and melody developed in an accidental moment (that becomes a way of clothing such words) is often minimal. Apart, words and music seem like orphans in a storm. Together they are home and dry.
 
He realises, and not for the first time, that he is seeking a total musical solution to the whole of the setting of those words collectively given voice to by those participating in the Mass.
 
And so: to the task in hand. His objective: to focus on the whole rather than the particular.  Where had he heard that thought before? - when he had sat down at his drawing board an hour and half previously. He’d gone in a circle of thought, and with his sketch on the floor at his feet, nothing to show for all that effort.
 
Meanwhile the sun had risen. He could hear her moving about in the bathroom. He went to the kitchen and laid out what they would need to breakfast together. As he poured milk into a jug, primed the toaster, filled the kettle, the business of what might constitute a whole solution to this setting of the Mass followed him around the kitchen and breakfast room like a demanding child. He knew all about demanding children. How often had he come home from his studio to prepare breakfast and see small people to school? - more often than he cared to remember. And when he remembered he became sad that it was no more.  His children had so often provided a welcome buffer from sessions of intense thought and activity. He loved the walk to school, the first quarter of a mile through the park, a long avenue of chestnut trees. It was always the end of April and pink and white blossoms were appearing, or it was September and there were conkers everywhere. It was under these trees his daughter would skip and even his sons would hold hands with him; he would feel their warmth, their livingness.
 
But now, preparing breakfast, his Critical Voice was that demanding child and he realised when she appeared in the kitchen he spoke to her with a voice of an artist in conversation with his critics, not the voice of the man who had the previous night lost himself to joy in her dear embrace. And he was ashamed it was so.
 
How he loved her gentle manner as she negotiated his ‘coming too’ after those two hours of concentration and inner dialogue. Gradually, by the second cup of coffee he felt a right person, and the hours ahead did not seem too impossible.
 
When she’d gone off to her work, silence reasserted itself. He played his viola for half an hour, just scales and exercises and a few folk songs he was learning by heart. This gathering habit was, he would say if asked, to reassert his musicianship, the link between his body and making sound musically. That the viola seemed to resonate throughout his whole body gave him pleasure. He liked the ****** movement required to produce a flowing sequence of bow strokes. The trick at the end of this daily practice was to put the instrument in its case and move immediately to his desk. No pause to check email – that blight on a morning’s work. No pause to look at today’s list. Back to the work in hand: the Mass.
 
But instead his mind and intention seemed to slip sideways and almost unconsciously he found himself sketching (on the few remaining staves of a vocal experiment) what appeared to be a piano piece. The rhythmic flow of it seemed to dance across the page to be halted only when the few empty staves were filled. He knew this was one of those pieces that addressed the pianist, not the listener. He sat back in his chair and imagined a scenario of a pianist opening this music and after a few minutes’ reflection and reading through allowing her hands to move very slowly and silently a few millimetres over the keys.  Such imagining led him to hear possible harmonic simultaneities, dynamics and articulations, though he knew such things would probably be lost or reinvented on a second imagined ‘performance’. No matter. Now his make-believe pianist sounded the first bar out. It had a depth and a richness that surprised him – it was a fine piano. He was touched by its affect. He felt the possibilities of extending what he’d written. So he did. And for the next half an hour lived in the pastures of good continuation, those rich luxuriant meadows reached by a rickerty rackerty bridge and guarded by a troll who today was nowhere to be seen.
 
It was a curious piece. It came to a halt on an enigmatic, go-nowhere / go-anywhere chord after what seemed a short declamatory coda (he later added the marking deliberamente). Then, after a few minutes reflection he wrote a rising arpeggio, a broken chord in which the consonant elements gradually acquired a rising sequence of dissonance pitches until halted by a repetition. As he wrote this ending he realised that the repeated note, an ‘a’ flat, was a kind of fulcrum around which the whole of the music moved. It held an enigmatic presence in the harmony, being sometimes a g# sometimes an ‘a’ flat, and its function often different. It made the music take on a wistful quality.
 
At that point he thought of her little artists’ book series she had titled Tide Marks. Many of these were made of a concertina of folded pages revealing - as your eyes moved through its pages - something akin to the tide’s longitudinal mark. This centred on the page and spread away both upwards and downwards, just like those mirror images of coloured glass seen in a child’s kaleidoscope. No moment of view was ever quite the same, but there were commonalities born of the conditions of a certain day and time.  His ‘Tide Mark’ was just like that. He’d followed a mark made in his imagination from one point to another point a little distant. The musical working out also had a reflection mechanism: what started in one hand became mirrored in the other. He had unexpectedly supplied an ending, this arpegiated gesture of finality that wasn’t properly final but faded away. When he thought further about the role of the ending, he added a few more notes to the arpeggio, but notes that were not be sounded but ghosted, the player miming a press of the keys.
 
He looked at the clock. Nearly five o’clock. The afternoon had all but disappeared. Time had retreated into glorious silence . There had been three whole hours of it. How wonderful that was after months of battling with the incessant and draining turbulence of sound that was ever present in his city life. To be here in this quiet cottage he could now get thoroughly lost – in silence. Even when she was here he could be a few rooms apart, and find silence.
 
A week more of this, a fortnight even . . . but he knew he might only manage a few days before visitors arrived and his long day would be squeezed into the early morning hours and occasional uncertain periods when people were out and about.
 
When she returned, very soon now, she would make tea and cut cake, and they’d sit (like old people they wer
She saw my flaws… she saw me raw, vulnerable… naked from the inside out
She saw me and I was scared, frighten by how the truth was coming out, how I couldn’t hide it any longer…

I thought I was pretending so well that everything was fine;
I was trying to pretend that I had forgotten about my past, about those stupid envelopes that kept on showing up at my door…
I was pretending… but the truth was sitting right there on my desk, piling up… just exposing my truth…

I had tried to forget; I just left it there pretending it didn’t exist… but I felt anxious… my past looking at me from my desk… I tried hoarding it in my trunk, but I couldn’t stop it from showing up at my door… month by month, the reminder was there…

The reminder of a life I used to have with someone else for so many years, kept on showing up… I did not want to acknowledge that life any longer… I wanted to pretend that it had vanished…
But she, took a hold of that life… and as she saw me panicked she assured me that it was ok…
One by one she made me open the envelopes, she made open up and face the truth…
She ripped up papers that didn’t matter, made me look at the ones that did…
She kissed me and looked at me with kindness and love…
I felt naked… did not know what was going to come of this… I was ******* scared, anxious, vulnerable… but once she started… I just let her take over… the bandied had to ripped off with one pull… So…with every opened envelope she helped me face the truth…

My desk… I could start seeing the shiny brown wood that had been hidden for months once again…
White ripped up piles of paper on the floor… my past… my life… ripped up, thrown, crumbled … it looked back at me …
But it was done. She sat next to me as I looked to the ground… She sat next to me… she understood.

She helped put what was left of the papers in the trash… and helped me realize it was over. That part at least… was over…
She saw me vulnerable… raw, naked from the inside out… She saw me.
She said she knew… and that it was ok.

After all, she is my mirror… walls do not exist between us… not even glass… just those eyes that always look at mine… just a smile… waiting for mine. Just warm touch, gentle kisses… no judgment, but strength.

She saw me… just like I see her.
madison curran Feb 2015
there's a house at the
corner of misery boulevard,
and heartbreak avenue,
that i call home.
& i can't count on my left hand
how many times,
those sand tinted rooms
with decaying light bulbs
have overheard
through paper walls,
the sound of that rose coloured capsule
embracing the floor,
only to find itself in pieces.
my mother always
hid that in a cage,
locked tight.
never did that stop my father
from finding the key,
she always slipped under the door mat.
like she wanted him to find it.
and you could hear it shatter,
into glass fragments,
that she was always left to clean up
by herself.
because he never stayed
to watch her pick up the pieces,
he didn't want to cut his life line
on her fragmented heart.
- or the time when my mother,
stained my ear drums,
and sold residence to a ghost
who now haunts the walls of my mind,
with words,
she'll claim her tongue never dismissed.
but ten years later,
and i still think i'm that painting,
in monochromatic shades,
that no one ever bothers
to glance at.
when they're gliding
down a vacant hallway.
more empty than the emotion
in this house.
but i still call it home,
because the walls have been
infected with sadness,
because there aren't enough vitamins,
to cure all this sickness,
released through
hatred hymns.
but those melancholy rhythms,
can't compete with the
floorboards that still sing me to sleep,
or the elation that fills
my lungs when i breathe,
because this house
still smells like mourning
the old flames,
from vanilla candle wicks
my ninth birthday knew so well.
& yes, there is no place
that sends fragile shivers
down my spine
when crossing the paths
of gloomy road,
and loathing crescent
but this is home,
this house is just like the cerulean tide,
because it always finds a way to
pull me back to shore.
& then i met you,
promenading down
hope street,
making empty prayers
to god
with a dry tongue and
waterlogged eyes.
another dawn spent
searching for the light -
in coffee shop windows
or even the stars.
something -
to guide me home.
and you taught me that
home isn't always a place,
you can find on a map.
sometimes,
it's two eyes and a heart beat.
it's love entangled words,
uttered through a pair of crimson lips.
& you showed me,
that ruby tinted vases,
look best when
they're not placed on shelves,
but rather granted as gifts,
sealed in envelopes,
with kisses painted
in scarlet lipstick.
& ghosts can be put to sleep,
by a lullaby,
you whispered in my ear
seven times a day.
i love you
has a ring to it,
but it's been six months and
that ghost sold his house,
to a boy who
told me i'm a composition
of colours.
that an artist painted me
in gold, because he sees it in
my eyes when i smile.
- i swear to god,
four walls and a front door,
build a house,
you'll always turn to
when the sky's crying, or when
you tear your jeans
on the wire fence
down the road.
and that boy
who is a composition of wonder,
possesses no door,
and the only window,
is the amber iris
that feels like the ocean
when he looks at me.
because,
he's just like the tide.
& i can still smell vanilla every time
i kiss him.
every single time.
K G May 2017
The basin drains her polluted blood as wine envelopes morose
Every minute is a memory, onset of her blanketed comatose
Vying in a fog of icons and myths, words always fail them
From every misread evil that is disposed of improperly
From every neighbor or friend eternally mute again
From every gilded pattern that leaves a cuff for the eyes
From every fetching barroom, where all such nadir lies
KG
Ashley Chapman Sep 2018
Past our past,
Yours and mine,
My soul yearns,
As I walk by silver clad trees; 
A favourite parked orange vintage Saab;
And memories newly raw, too.


I

Then quite extraordinarily,
The Cosmic Whale,
Stirs in my solar-plexus,
And my objectivity dissolves,
As conscious consciously hears:
The song of my inner Gypsy,
And look!
My Narwhal,
Up among the stars,
Beyond days and nights,
Roaming free,
Scything milky ways in half,
Fireballs disrupting,
In infinite timelessness,
Beyond the pull of gravity,
Where no vortex holds:
The 'othering' whirlpool,
That keeps us compressed
- as a collapsed star -
Gone!
At last my Cosmic Leviathan blows
- ALL is released and falls away.

II

Such is my Cosmic Behemoth:
The funnel *****
And inside out,
Is turned.
As at last on course;
Whoo! Whoo! Whoo?
But no-one replies!
The navigation station is empty:
This is motion without traction,
And no acceleration,
Slipping atoms would only slow!
The flow,
No windows either on the view,
As even visual truths are but fleeting,
And words muddy the clear unconscious streaming,
As the journey beyond mind begins.

III

The worldly maze recedes,
A bird's-eye vision steers the empty ship;
No harbours are plotted,
From here on
- endless flight in night,
Without end,
Wings blaze occasionally nearby,
A host of fireflies pattern the cosmic pool,
A whole immensity in which to dance.
Space,
Growing,
Stretching,
Expanding outward,
Not as we would have it, but as it is beyond our eyes.
Where space is born,
Again and again,
And so!
Exults in nothing,
A self beyond understanding,
In silence thrives,
Where sense logic makes no waves.

IV

The Cosmic Whale is off,
All attachments gone,
Like a flake of skin,
A fold in time -
Falls off.
The anchor dropped,
Is not retrieved,
What use is I -
When the clock's monotony no longer counts!

V

The surface disappears,
The ocean depth submerges,
In the cabin
The lights are dimmed to monochrome,
As navigators know,
Blind sees the furthest.
Charts are soon forgotten,
The imagination leads:
Ueah, the Cosmic Mind,
Vast and free
In all directions!
No need to plot a line,
Instead like the humble earthworm,
Who in darkness fertilises:
Beauty, how unimaginable, how unknowingly,
Is by all that envelopes guided,
As from the cracked ***!
Which in Reality was suffocated,
The source is nourished.

VI

As my Cosmic Whale plunges the deeps,
Look to the expanse:

     The eternal behemoth whose flight
     Everywhere provides,
     Guileless and unobjectified.
     A subjectivity that knows no
     bounds,
     Is unto itself unknowable.

In brushstrokes.
The universe,
Is as it rolls Created.
Where logic has little to do,
As all,
Already simply is.
This poem is actually about the ego's death. How I will mourne it, and how the fight to let it go will be immense as it is for us all. Death in life comes in many shapes, not ultimate death, but our relationships, *le petite mort*. Of course, there is life beyond relationship death. Beyond a sense of end; and yes, ultimately all is good preparation for that all consuming final death. This poem was inspired by untenable love for another; by the paintings in bold, almost lurid, but zen-like brushstrokes of a fellow Tunnel member, Genevieve Leavold; and by my mate Chris Godber who alluded to whales. It also has to do with my Gypsy heart and Celine's Salon, in Soho at Troy 22, where we celebrated the traveller's soul. Finally, a YouTube clip of a talk given by Guru Mooji in which awareness is being conscious of conscious.

Bon Voyage!
Nicole Eden Oct 2018
HE GIVES THE BEST HUGS
"you like long hugs don't you"
he knows i do
so he envelopes me in his warmth
and squeezes me till i feel giddy like a little girl
and sometimes
he even rests his chin on my head
and i wonder if he is memorizing what my shampoo smells like
and it's for this exact moment that i push through my workload each day and
it's for this exact moment that i walk through the rain each night
his evening smile is tattoed in my mind so i can dream peacefully
and he never fails to follow up with a simple love you snap
HE GIVES THE BEST GOODNIGHTS
R K Hodge Apr 2014
Place silhouette pieces or outlines of my heart in thirty or more envelopes.
Paste each one with a new soft paintbrush which clean cream bristles. Push them into torn up fragments of clean new watercolour paper. The sharp edges feel through onto the wooden table leaving mistaken, accidental grooves. Glimmers of sawdust are ****** up into the pockets of your lungs, where they contaminated and will permanently sit.
It was a small heart, the colour of grey sky reflected on seas and carried in bloated raindrops. The texture of diamond. Carved up as easily as wax by a blunt butter knife.
The envelopes are neatly labelled with white tailors chalk powders.
Edward Coles Jul 2014
“You know the worst thing I ever saw?” He asked.

I sighed to myself, took another gulp of beer and fixed him with a look of half-interest. He was drunk. A complete ****-up and a bore when he's drunk. I don't know why I drink with him. That said, he probably thinks the same.

“What's that?”
“Bedsheets over the benches in the church yard.”
“Ye-what?”
“Bedsheets over the benches in the church yard. For the homeless.”
“The homeless. Right.”
“I'll get us another drink.” he says, “then I'll start where I left off.”
“Oh, good.”

He comes back with two bottles. We drink and we start talking about football. We're just about getting by before he raises his palm to his face.
“Aw, ****. I forgot, yeah. The worst thing I ever saw. I never told you.”
“You did. Bedsheets over the benches in the church yard. For the homeless.”
“Yeah yeah, but that doesn't really say much, does it? You're probably wondering to yourself why that would **** me off so much?”

Not really. He's the type of no-action, all-caring, bleeding heart that sits on his fattening **** every day, 'liking' rhetorical captions over pictures, and signing petitions to axe some ***** politician or other.
“I guess. Shoot.”

He shoots.
“I wanna burn down the churches. Seriously. Stupid ******* religious folk. I bet they go home and post pictures up of themselves, all busy in the soup kitchen, ladling minestrone into some poor *******'s styrofoam bowl.
“They'll never touch them. Always at arm's length. You don't wanna breathe in the pathogens of the anti-people...”
He slurred a little, went to carry on, but took another gulp of beer instead.
“What does that have to do with bedsheets over the benches in the church yard?” I took a gulp myself, this time watching him with a little more interest. Probably just because he looks like he could spew at any moment.
“You're not letting me finish...”
He finishes his beer, gets up, almost bumping into his piano-***-keyboard. He's off to the fridge again. I have a look around while he's out of the room. I can hear him ******* in the kitchen sink.

I've seen the place a million times before but it always has a whole bunch of new **** tacked up on the wall or else bundled in the corner. He's no hoarder, just gets bored and throws out all the stuff he bought the year before.
There's a framed picture of himself on the wall, cradling his Fender as if he's a master of the arts. It's signed, too.
I've seen him play. Probably will tonight. Wouldn't be surprised if he's written a protest song called: bedsheets over the benches in the church yard. The old **** can't even hit an F major with regularity.
He'd decided to put up his vinyl sleeves on the wall like a 17 year old would with an array of **** pop-punk band posters.
Blink and you might think he's the new John Peel or Phil Spector. Stare, and you'll realise he's twice as crazy, yet half as talented and half as interesting to listen to.
His room is like a CV to show to interesting, young indie women. Shame he's hitting forty now,and hasn't been to a club in about 3 months.
Last time we went he just sulked in the corner and got too drunk. He cried in the smoking area about his job before going round and asking attractive girls whether they think he's too old to be out. Most didn't even bother to give an answer. Probably best.

He comes back in with more beer.
“A-anyway...” He says, groaning a little like an old man as he settles back into the chair. “As I was saying...” he sloshes beer on the carpet, rubs it in with the heel of his shoe. He spits on the mark and then rubs again.
“What I was saying was that the church would be a whole lot more useful to the homeless if it was burned down. A condemned building is a whole lot more useful than being looked down on by holier-than-thou, middle-class, white Christians.
“They go home after an hour, bolt the church doors, and then watch TV in their brand new conservatories that they spend several thousands on. Just give the losers a place to shoot up and sleep in safety. That makes sense, right?”
“I guess so.”
I couldn't think of a change of conversation. So I just drank some more and pulled out a cigarette. It's nice to smoke inside for a change.

“It's a ****** ******* awful thing. If people were actually religious, they'd throw open their ******* doors for everyone. It's what Jesus would do, right?”
“Right.”
“He'd have all the **** in his bedsit, piled in like sardines, spreading TB like wildfire.”
“And that's a good thing?”
“Well, it can't be any worse, right? Sleep's important. I learned that the hard way.”

He didn't learn it the hard way. Not really. He's a self-motivated, self-harming insomniac. He spent his teenage years listening to bad music and staying up too late ******* over his French teacher. I should know, I mostly did the same.
He hit the **** pretty hard during college. Never really looked back until recently. ****** him up worse than you'd reckon. He couldn't sleep without the stuff. Man, if you'd have seen the poor guy whenever he couldn't get hold of some for the night. Eesh.

“...you know what I mean though? I'm sick of charity. Those fun-runs you get. A load of women in pink pretending that they care about breast cancer, before posting a million and one pictures up of them in ankle warmers and a kooky hat...”
“**** of the Earth.”
“Yup. Right up there with the women who have 'mummy' as their middle name on Facebook.”
“Yeah.”
“Honestly though, it's the laziest form of charity. Throwing a couple old, mouldy bedsheets out on some bird-**** bench made of wood and ancient farts...”
“It is pretty lazy.” I drank some more.

It was getting late. We swallowed three temazepams each, moved onto the cheap shiraz once we ran out of beer. We leant back in our chairs, barely talking and letting Tame Impala supply the conversation for us.

“You know what?” I ask, pretty much out of nowhere. His eyes have narrowed. He's not sleepy, just ****** on ***** and tranquillizers. He takes a moment.
“Huh?”
“From what you were saying earlier... you know, about the bedsheets over the benches in the church yard. For the homeless.”
“Yeah?”
“Well, why don't you?”
“Why don't I what?”
“Burn it down.”
“The church?”
“Well, you go on about being lazy and ****. Here's your chance. Help the homeless. Break the locks, pour the petrol, take out a few bottles of wine if you find any...”
“Now?”
“I guess so. Homeless folk are dying of pneumonia out there. Not a second can be wasted.”
“I dunno. I didn't mean I had to do it. I was just saying...”
“I guess they were just saying too.” I felt like I was being a ****, so I changed the subject to women I haven't laid.

I stumbled home leaning on my bicycle all the way. Daylight was just about visible off in the distance. I passed two homeless guys on the way back, gave one of them a fiver, the other one my big mac and the last of my cigarettes (well, leaving a couple for myself).
They said thanks, god bless you, etc, etc. I carried on walking.

I woke up the next afternoon with a mouthful of sand and in desperate need of a hangover ****. I hadn't shaved in about two weeks and there were dark circles under my eyes. I thought about going out to the diner for a full breakfast, but strange people were beyond me.
I ordered a pizza full of meat and grease and garlic sauce instead. I text him to see if he wanted to come over and nurse the hangover with a little ****. Watch a film. Get drunk again. He still smokes it on special occasions, and this ******* of a hangover was pretty **** special.
No reply, and I end up rolling up a joint for myself, smoking it by the window and watching the magpies peck around the grass. It's nice out.

The pizza guy comes. He's holding the pizza up like a map, calls out in a bored sort of voice: “Hello sir. I've got a large Palermo Pizza here, with a side of chicken strips and a can of Dandelion and Burdock?”
I say yes and he hands it over.

I tip him with the coins still left in my wallet from the night before, and he sheepishly says he picked up my post for me as well.
I look down at the pizza I'm holding, and there's a few envelopes that look suspiciously like bills, rival takeaway leaflets, and the local paper. I say thanks, give him the best sort of smile I could, and then close the door.
I turn on the TV. I forgot the England match was on. I turn over to something more interesting. There's nothing, so I switch back over. Before I open up the pizza, I take the paper. A small-town existence, nothing ever happens, but I could do with a new job.

The front page is on fire. A church has been burned down in the early morning. A forty-something man has been arrested and then taken to hospital for severe burns to the face. A load of children's art has been lost, along with countless Bibles, prayer cushions, and vaults of cash.
“****.”
I read through the article. The whole place was gutted. Nothing could be salvaged. Nothing could be redeemed. In the corner of the picture, through the red, green, and blue dots, I could just make out some bedsheets over the benches in the church yard. For the homeless.
I apologise profusely for posting up a short story instead of a poem. I wrote this in one go tonight and haven't proofread it. I had no plan, I just wrote until there was -something- there. I just wanted to try something different.

C
At night-the light turned off, the filament
Unburdened of its atom-eating charge,
His wife asleep, her breathing dipping low
To touch a swampy source-he thought of death.
Her father's hilltop home allowed him time
To sense the nothing standing like a sheet
Of speckless glass behind his human future.
He had two comforts he could see, just two.

One was the cheerful fullness of most things:
Plump stones and clouds, expectant pods, the soil
Offering up pressure to his knees and hands.
The other was burning the trash each day.
He liked the heat, the imitation danger,
And the way, as he tossed in used-up news,
String, napkins, envelopes, and paper cups,
Hypnotic tongues of order intervened.
Tom McCone Jan 2014
starlight,
i won't forgive you,
for you haven't done a single thing wrong.

and you don't have to say
anything, i can hear
your heartbeat through the sheaves
of grass that grow back in
small increments:
i know you're there,
no matter how invisible you may
find yourself feeling, late at
nights you can't sleep to
be more like my consistencies, you never knew.

so show me a freckle on your arm,
or the breadth of the world,
or nothing at all. you've
already collected my insides.

love, life is meaningless, but perhaps
with some time and another place,
we could still find purpose. my hopes
are wearing thin, but i'm hardly dead
yet.

so, don't cry. it's okay to hurt,
like i understand you do. i'm
hurt too, but i can lick clean
all your wounds. i could be
yours
if you wanted
me to.

in dreams, i
hear the sea on your
mind, once again, and build
catamarans we'll sail out of this
disjoint union of townships and countrysides
on; and i'll gouge my heart out and pour it into the
ocean, so with each swell and retreat of the waves you can
hear how many of its contractions are dedicated to the lights in your eyes.
The Judge Dec 2015
The darkness envelopes the night,
the stars in the sky dissapear.
Leaving a stranded knight,
with nothing to fear.

He's all alone in this world,
with nothing but a sword.
His hopes are curled,
for he thinks there is no lord.

But right as he is about to give up,
a lightness embraces him.
It fills his almighty cup,
it takes away all his sin.

He feels like a god reborn.
He throws his sword to the ground.
His world has been torn,
never to be found.

He is the only ruler now,
Only he can judge you now.

The knight in the sky,
the one who learned how to fly.
Eve Redwater Jan 2012
How long the day,
Delivering letters to friends,
And cranky, bald dog feeders. Home
Is forward, past those poplars.
Always I’ve been in love with
Their almond scent, just as I catch
Past, dragging feet and who knows
How many heartfelt "Thank-you's".
Home is... where the wife is sitting.
She's not keen on laundry, but,
I’m an exception.
Always are my blue shirts blue,
She likes to make sure. Just in case I meet
With him; that carrion shaker,
Mr. Reaper.
“Hello.” I'd say, and tip my cap,
Along my silent nightly rounds;
Perhaps he'd humour me, if he could
See me. He's searching. For me? No.
That’s not right.
The lamps are thickest
In the dark, and that's just how
he likes it.
Even if I tip-toe, tip-toe, tip-toe around
Him, he'll still turn his hood toward me.
A courteous, creaking greeting.
That chill I get.
Matches only the fear
From losing fingers, as I push envelopes,
Catalogues, and restless dreams
Through many metal slats.
But even I, can't quite see,
When the sky turns milky-grey...
That perching, questioning hand
Placed gently on my shoulder;
Pushing down as I bend my back,
Kicking over milk-bottles, sometimes
accidentally. I shake it off.
Get to bed! I say to myself, mostly
Always, to myself.
Slap on some cream
And
Get to bed.
A Dec 2012
There is no one, other than you
Who think of you,
There are no memories, only
Your own mirror image,
This loneliness is born out of infidelity
I found empty envelopes in my letter box
And you can find words running through my nerves
Now I can fill up the sky with verses
But beloved soil,
I have lost your address
Osiria Melody Feb 2019
Gray, lifeless desk of blank vastness
Reserved for papers scattered
across its cool surface,
Like a disarray of blankets, leaving
unsuspecting feet neglected

[write]

Writing utensils yearning to
engage in a race of writing,
Cannot take off from a jar of
confinement: mini-prison
Liberated from their incarceration,
I pick up a writing utensil and write
Freedom, at last, to write without the
worry of apoplectic judgement

Writing is conversing with yourself,
No fear of judgement except from
your own doing
Lingering for hours like a tree
that's  trying to pull itself
out from the ground

[writer's block]

Black coffee envelopes the room
with a smoky touch
Atrocious LED lamp light glares at me
hard enough to hurt my eyes
Dissonance resonates beyond my
window, a border of security from
letting my creative thoughts
wandering too much
Car music blaring with
Doppler Effect (dissonance)

[write]
[write]

Frustration, more wary than my
stomach growls, signals that
I've been "out-of-it" for too long
Thought that my work
would be appreciated,
Only to get blank stares as lifeless
as the deceased that repose beneath me
(I hope that I've made them happy)

writer's block?

'Tis nothing eccentric about
being a poet, suppose I

i write in SOLITUDE



Melody
2/23/19
My eyes are like camera lenses.
Emmalee May Aug 2014
i look at you and hot blood rushes through my veins,
making me weak,
thrumming with energy, excitement,
thrilling me to my core,
warning dangerous dangerous dangerous
the sensation envelopes my body as thoughts of you envelope my mind
you're dangerous and not good for me, but
my heart melts and I can't help but want you
Steve D'Beard Jun 2013
Farewell Govan -
bathed in a baking sun
littered with betting shops
and no win/no fee criminal lawyers
and a myriad of pubs caked in years of libation
steeped in history of industry and shipbuilding
blackened smoked walls etched with gangland symbols:
tooled-up local carnivores who ride shotgun on a BMX
swapping discrete envelopes for indiscreet wads of cash.

Farewell Govan -
you fractured my ribs once in a moment of mistaken identity
I didn't heed the advice to not walk through the park at night
I didn't hear the pitter-patter of adolescent feet
speeding my way in brand new trainers across the grass
but I did feel the clunk of something solid on my head
as the ground rushed up to meet me in a concrete embrace
and watched as 4 bags of overladen shopping spewed out
lying face up spread-eagle in Lilliput fashion
and a mobile torch-app in my face with the repeating words
“Ima tellin’ you man its naw him, its naw him”
I reassured them frantically that I was definitely not him!
as the hooded troupe picked up what was left of my shopping
and even gifted me a couple of cans of super strength lager,
a cube of dubious council estate hash
and an usher to leave immediately
(and think myself lucky).

Farewell Govan -
you got me blazing on cheap beer at the local pub
which had recreated a holiday beach scene
with a hand-written sign that read: Better than Ibiza!
awash with carefree children
and pit-bull terriers wearing bespoke Barbour dog jackets
and brand spanking new Adidas white trainers
purchased from Tam out of a nondescript blue plastic bag
who always passes the day's pleasantries
while topping up his pension
chatting with auld Billy who was in the war (don’t you know)
via the Merchant Navy
and the version of how he was gunner on an oil boat in Vietnam
via the umpteenth pint that afternoon.

Farewell Govan -
your late night shadows harbour an underlying tension
masked with comic humour only if you can understand the lingo
words that are distasteful anywhere else are in fact a term of endearment here
I shall miss the odious vernacular and doth my cap to your spirit
the Salt of the Earth and the Lifeblood of the Community
with at least 40% proof liquids mixed with Irn Bru
purchased at the 24/7 corner store along with a can of processed peas;
one of your five a day.

Farewell Govan -
I go to the sunny side of the Clyde
where it rains just as much
but you don’t get mugged for carrying an umbrella
or asked for the time from a watch-wearing tattooed sailor
and joy-of-joys there will be actual fruit & veg shops
where I don’t have to explain what fresh coriander is
and what you use it for, other than on a pizza;
I was offered dried bottled parsley instead.

Farewell Govan.
Govan - shipbuilding heartland of Glasgow, a hard-man reputation but if you look under the surface you find good people with stories to share
Too many expectations that too from humans
Bring miseries to life with lot of sheer remorse
Movements are disjointed with strayed actions
A whirlwind where one loses path in discourse

Downtrodden rascals play with norms of society
Uprights are loser at times just on certain stages
But fortune determines their path being fair and free
The bad ones with their tricks earn ***** and wages

A drama is being staged a circus is being played
Like monkeys people are on just different ropes
Justice is prevalent justice denied is justice delayed
Some humans are open and some are in envelopes

Col Muhammad Khalid Khan
Copyright 2016 Golden Glow
Wk kortas Nov 2017
Three days, is what the HR rep said, somewhat sheepishly,
As if she was fully aware that boxing up one’s grief
In a span of a few dozen hours
Is a matter of wishful thinking
And certainly she sympathizes
(Indeed, as she speaks,
She spreads her hands in such a way
As you half expect doves to come forth in full flight)
Empathy being their stock in trade,
But the law and the handbook say three days,
And then you need to have your head
******* back on and looking forward.

Eventually, the mail brings fewer envelopes
Marked with embossed flowers
And subdued and tasteful stamps,
The usual flow of solicitous inquiries,
Pre-stamped and pre-sorted,
Inquiring as to your credit needs,
The condition of your windows and siding,
Resumes apace, and more than once,
In fits of inappropriate black humor and frustration,
You scribble, in bold thick strokes of a marker,
The addressee no longer resides at this location.

You return to nine-to-five,
Though your ghosts keep their own hours,
Stopping by to visit on their own schedule alone,
Prompted by the tiniest of things:
The dog scampering to its feet in a hurry,
As if someone was at the door,
The discovery of a long-unused pitching wedge
Standing expectantly in the back of the closet,
A song from long ago which was beloved
When you lived in the pairing mandated by Noah
Before you entered the shadow world of ones and nones.
Sometimes you give into the giddy madness,
And rise to waltz around the room,
Careening about unsteadily, clumsily
As you have yet to completely master
The difference in weight shift and distribution
That is required of a solo act.
The timing of these visitations
Often disrupts your schedule and sleep patterns,
And you think that perhaps tomorrow you’ll call in.
Y Rada Oct 2015
I buried him somewhere…
When I go to bed at night,
I checked the closet and he’s not there,
I tried under my bed and he’s not there.

Surely he’s dead for I buried him somewhere,
I am a woman now and not a frantic child,
It’s been a long while since I have not visited his grave,
Pray then, why must he appear now?

I tried hard to move on with life,
I persevered to love and accept myself,
I opened my heart to forgive my own,
My being is as wide as the skies.

I found solace in the plateau of my existence,
Why must he visit now?
Truly, I buried him somewhere,
And I swore he’ll never see me again.

He’s there trying to taunt and torture me,
He’s the one who mocks me,
He scoffs me when I search for happiness,
He laughs when I try beating myself.

Nightmares haunt me even at day,
He was the devil himself,
He, a vile and a disgusting man,
Who touched and fondled me in my innocent years.

He violated my freshness to rotten,
And it took me years to pick up the pieces,
Now that I’m almost whole I couldn’t understand,
Why must he resurrect in my dreams?

I am a woman and I still live,
Yet fear still envelopes my being,
I can never forgive and I will never forget,
But surely, I buried him somewhere…
Dedicated to the abused (sexually or other) females around the world
Taylor Cuomo Jun 2014
I feel it surround me
holding me in my place.
It hovers around me
like humidity on a hot day.

I take deep breaths
but that never seems to help.
I try not to succumb but the
deep
burning
anger
envelopes me until I see red.
Jordan Harris Jun 2014
Every brush is a first as a spark to a fire;
though the ashes still fall from limb and leaf,
each blaze sizzles an original melody:
forever unique and soulfully sole.

A delicate comfort envelopes me,
wreathing my pieces with a gentle autumn breeze,
mending me whole when I was never broken.

Her ambiance dances as rays of shattered moonlight,
slipping beneath a sky of the arctic dawn.
She gathers my fragments,
even when they had never been chipped away.

I lay unprotected, yet entirely safe.

She bends until the space separating us is airless with tender yearning.
I taste a thin sea-foam of maple sugar.
Dyspnoea remains fluid in our slumberous desire.

When I close my eyes, submitting to the quiet rush,
I am welcomed by an island universe.
Stardust spirals as the cosmos beams above our heads.

A sylvan petrichor swirls about the fall
as I am consumed with pure euphoria.
Greg Obrecht Jan 2014
The lone wolf sits under the full moon of a winter's night.
His eyes focused forward, the grit of the desert whips him.
Slowly he lifts his head and emits his solitary howl.
The night echoes a response back on its icy breeze.
Roaming packs move close as they corner a helpless prey.
Their presence doesn't pull him away from his true love.
The isolated night envelopes his mind and eases his soul.
Alone but connected as the star dust flows through his veins.
Lucas Keith Jul 2013
The Sun sinks in an ocean of red-orange,
   finger-painted clouds wisp skyward like
     a crown along the horizon.

The breeze coming East off the lake flirts with
   the transitional line into light wind, caressing,
     then pushing the waves to the shore,
       capping them with foam and bravado.

As the water continues its advance and retreat
   maneuvers, the ever-changing line of damp
     sand eventually gives way to dry granules.

They gather loosely but build and construct
   their tiny selves into a quickly gradient hill,
     reaching up in defiance of the water below.

To further their illusion and separate from
   their desert cousins, dune grass soon secedes
     to towering White Pines, who's darkened implacable
       stare is only softened by their swaying and the
   translucent white halo given by the nearly
     full moon.

Paying little attention to the tides she tugs to
   and fro, Luna stares solemnly west toward
     Venus who shines piercingly alone in the
       darkening sky.

A thigh thick sand-covered driftwood log
   imitating a bench rests peacefully, poised for
     company to sit down and enjoy the perfect
       panorama.

So I sit, and feel small, even as a sand spider
   skitter bursts past my feet and the insects fight
     the breeze that would seem a maelstrom if I
       were as tiny as they.

Calm becomes an essence in the air much
   like the sixth sense of foreboding, every breath
     an aeon, every blink a motion capture shutter
       speed.

The heads of swimmers that bob betwixt the
   waves like human fishing lures burned to my
     memory, the scent of water meeting earth
       coats the interior of my nose.

The world envelopes my ears, as I close my eyes;
   distant laughter, splashes of cloven waves, branches
     brushing in sober communion, the wind touching
       every tangible entity.

Then it's a walk back to the car...
Glenn McCrary May 2012
Underneath a silhouette of stars
We confer futuristic forecasts
your skin blends with the ivory outline
of the constellation that envelopes our bodies.
Heard was the echo of
such an ever so pleasant sound
‘twas the rustling of sheets
to the rhythm of the rain
Sad Girl Mar 2016
Our future starts now,
have we forgotten somehow?
The pain that we endure
somehow makes us impure.
To live and let go, to love and learn...
To accept one another; expect the same in return.
To reach out to someone hurting and to try and understand, this helps us grow... After all, wasn't that the plan? Why else are we here, why else are we breathing? It's only just begun and soon we'll all be leaving.
To leave something behind that is worth your life or mine would show that we have made it, we rest with the divine.
The planets all in balance,
The souls points all aligned,
That's when the peace comes
That's when we can unwind.
We dream and we discuss a way of living that we must, but if there is no action then why all of the fuss? We have to put it out there, to live and love our best the way that we know how and spread it to the rest.
On earth there is a sadness and men with cruel intention, many of you notice what I shouldn't have to mention. At this juncture  we are falling apart, forgetting our talents, neglecting our art.
We feel the end approaching, pain envelopes all... We reach out to our brothers when we are feeling small. If you feel alone, you have to figure out- who are the people that are filling you with doubt? If it is inside of you, you have to cast it out and if it is surrounding you, find another route. Our future starts today, have we forgotten somehow? Don't let it be in vain, make a change now. ~ ©KD
Andrew Rueter Oct 2017
I live in the wilderness
The Sun shines on the trees and through the leaves
Warmth envelopes my sanctuary
Until darkness approaches like a fog
The darkness is pregnant with sounds
I hear animals snarling while bones are breaking
Whimpers turn into blood curdling gargles
As the darkness renders invisibility among predators
And the darkness engenders vulnerability among prey
I desperately want to help but there is a darkness barricade
The darkness follows everything
The darkness swallows everything

I can hear planes crash
And the passengers scream
From within the darkness
I can only see muzzle flash
And the barrel's steam
Creating hardship
The darkness converts men to shouts of agony and rage
The darkness blinds us from the writing on the page
The darkness makes us believe
That it's our reprieve

Darkness has us in it's sight
When we choose to live in light
Even when we do what is right
Darkness takes flight
Becoming our plight
We try to fight back with futility
The darkness' bite has more utility
We are engulfed by negativity
As we lose all connectivity
And our mouths begin to foam
When the darkness is our home
Jude kyrie Dec 2018
Neither one of them knew when the rivalry began.
It was certainly in their infancy.
Rachel Huntington was twenty
a star scholar at Oxford university.
Matthew fotheringham was the same age
also a star scholar  
They excelled in the study of English literature
having read all of the aincent and modern classics in high school.
It was known that saint Hilda's college at Oxford
regarded Rachel as  the most  gifted student
they had seen for years.
In his group the same was said for Matthew.

They shared the same advanced literature class
and the tension between then was palatable.
She would put forward a proposition
on Shakespeare repeated usage of
Iambic pentameter.
And Matthew would destroy her concept
with a detailed analysis of his works.

Have you been  cribbing with Cole's notes
he would add in disdain.
Rebecca hated him
calling him insufferably conceited and a total buffoon.

He once went to her dorm
to pick up an ancient script
she had borrowed from the library , the only copy.
He phoned from the hall
shall I come up to your room
And pick it up.
Rachel shouted No!
I will bring it down to you.
You are never to come up to my dorm.
It's not that I wouldn't allow a man up here
But if anyone were to see you leaving
and got the wrong idea.
I don't want them to think I have no taste
and low standards in boyfriends.
And that's how it went on.

Then the literature guilds competition had been announced
Scholars from all over Europe
were to present their essays of no less than 25 thousand words and the winner would receive 25 thousand guineas
but more importantly that opened the door
to the chairs of literature all through the continent.

The rivalry escalation was at fever pitch.
Matthew worked  75. Hour weeks on his essay
Rachelle kept up with him never wasting a single moment.
The class bookmaker has had narrow odds on the winner it one of these two.

They went to the presentation hall
and entered the book sized essays
sealed in manilla envelopes
Rachel quipped,you don't have a chance,
you couldn't copy mine.
Matthew said,
I hope they don't use the new plagiarism software
you have probably stole yours from the internet.
I already have made plans for my winnings he bragged.
What a good plated pocket protector
and  a girl friend you just add air too.
Matthew was hurt
Particularly at the insult
that he had a blow up plastic girlfriend.
He remembered humor was the best defence
it showed they could not hurt you.
I only bought her for driving
on the diamond lanes on the highway.
Anyhoo nothing happened between us
until that last night of term
When we drank too much wine.
Rachel walked off in disgust
As he yelled so all could here
She's better in bed than you will ever be .

It was two weeks to the announcement of the contest winners.
No use worrying about it Matthew said
He went for a long evening stroll by the river.
As he turned on the river bend he saw Rachel
She was crying say beneath a huge willow tree.

For once he did not have a smart quip or an insult.
He walked to her and sat down next to her.
Why are you weeping ? Rachel he asked gently.
She had never ever heard his voice so soft.
My father died last night. She sobbed.
It occurred to Matthew he knew nothing of her life.
I am so sorry what happened
He was the clergyman at Saint Monica's Anglican Church
He had cancer and never let me know.
It had taken all his savings to get me through Oxford.
And he did not want me to lose focus.
Then she wept freely
Matthew held her close to him she wept on his his shoulder
His fingers gently touched her reddish auburn hair.
It was soft she smelt of lavender soap it was nice.
I ...I have to go to Stow  on the wold, tomorrow for the funeral.
I shall take you there
Do you have a car she asked.
Yes I have a twenty year old MG convertible.
My dad bought me when I got into Oxford.
It was arranged he picked her up
and off to the funeral they went .

He never felt as comfortable
or comforting in all his life.
He was seeing her in a new light
after all the stupid years.
They arrived at the old vicarage
Mrs Evans the housekeeper hugged them both
It's about time you got your pretty nose
out of those old dusty books
And got yourself a boyfriend.
The weird part was neither one of them
corrected Mrs Evans.

The funeral took place
And they set back along the old country roads to the university.
They talked about literature art poets and writers.
Then the old engine conked out.
Miles from anywhere
You need to go get petrol she said.

But there's no station between here and Oxford said Michael.
The phone signal was not reaching them.
We have to sleep in the car for the night.
Rachel said as long as you don't get any ideas.
You are not my type.

He was going to tell her she was his type
but said nothing.
It was freezing in the night Rachel was shivering
He took off his coat and jacket
and put them over her in the back seat
As he shivered frozen in the front seat.

In the early morning they woke up
She stepped out of the car and stretched
Matthew was on one knee in front of her
What are doing she asked?
What does it look like I am doing ?
I am proposing that you become my wife.
Never! never! never !
After all the insults you have laid upon me.
Well I'm I'm sorry he whispered.
Not good enough she shouted.

Do you have the guts to make a bet with me Matthew asked.?
Her reddish hair answered the challenge
Just try me.
OK if I win the award you will become my wife.
If I win then you get lost and marry the blow up lady.she countered.
Well the challenge was a tough one
If she did not accept it it was saying he was smarter than her and she knew it.
If she accepted it was the opposite.
OK you have a deal.

A week later Matthew was working in the library
The prize winners are being posted on the notice board.
He felt a gasp in his chest
As he reached the crowd of students he saw Rachel
She even had a trace of makeup on she was now
Getting to look beautiful to him.
Good luck rachel he whispered I hope you win.
She knew he meant it but she remembered the wager.
She said softly I hope it's you that wins Mathew.
A young woman rushed out of the crowd
Rachelle you won you won.
Mathews heart sank
Congratulations Rachel I am so happy for you.
She felt a tear selling in her eye
Mathew where are you going she said.
You told me to go And marry my send away lady
that you just add air to.
If I lost the bet and you won Rachel.
And her heart sank in her chest.

Then the young woman saw him
Matthew congratulations you won.
She showed him a copy of the winners notice.
It had a note
In all the years of the competition we have never had two such magnificent essays
The adjudicator's were unable to mark one better than the other
We have shared the prize to two winners for the very first time.
Rachel held Mathew close and kissed him fully and hard.
Not caring who was watching.
He kissed her back
The crowd were astonished
their feud was legendary at Oxford.


Two years later.

Matthew strolled in the park with the twins
and his beloved wife Rachel.
She had married him
a week after the award ceremony at Oxford.
It was said in the coffee room that the university
had never had two professors
as much in love as them
they were now both  teaching in the English department
and we're already in competition for their tenure.
But they never spent a moment appart.

He picked up the twins
and shouted his love for Rachel
on the top of his voice.
The evening breeze picked up the perfume
of the fallen leaves.
Rachel smiled at him
and whispered softly
I love you too dearest.

She felt him slip into that private room in her heart
that she always saved for her soulmate
As he entered the room holding their two babies.
She locked the door behind him
with the only key that existed.
And then she threw it
into the dense woodlands of Oxfordshire
Never to found again.
Opposites yet so alike .
The best kind of connection.
Jude

— The End —