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An evening all aglow with summer light
And autumn colour—fairest of the year.

The wheat-fields, crowned with shocks of tawny gold,
All interspersed with rough sowthistle roots,
And interlaced with white convolvulus,
Lay, flecked with purple shadows, in the sun.
The shouts of little children, gleaning there
The scattered ears and wild blue-bottle flowers—
Mixed with the corn-crake's crying, and the song
Of lone wood birds whose mother-cares were o'er,
And with the whispering rustle of red leaves—
Scarce stirred the stillness. And the gossamer sheen
Was spread on upland meadows, silver bright
In low red sunshine and soft kissing wind—
Showing where angels in the night had trailed
Their garments on the turf. Tall arrow-heads,
With flag and rush and fringing grasses, dropped
Their seeds and blossoms in the sleepy pool.
The water-lily lay on her green leaf,
White, fair, and stately; while an amorous branch
Of silver willow, drooping in the stream,
Sent soft, low-babbling ripples towards her:
And oh, the woods!—erst haunted with the song
Of nightingales and tender coo of doves—
They stood all flushed and kindling 'neath the touch
Of death—kind death!—fair, fond, reluctant death!—
A dappled mass of glory!
Harvest-time;
With russet wood-fruit thick upon the ground,
'Mid crumpled ferns and delicate blue harebells.
The orchard-apples rolled in seedy grass—
Apples of gold, and violet-velvet plums;
And all the tangled hedgerows bore a crop
Of scarlet hips, blue sloes, and blackberries,
And orange clusters of the mountain ash.
The crimson fungus and soft mosses clung
To old decaying trunks; the summer bine
Drooped, shivering, in the glossy ivy's grasp.
By day the blue air bore upon its wings
Wide-wandering seeds, pale drifts of thistle-down;
By night the fog crept low upon the earth,
All white and cool, and calmed its feverishness,
And veiled it over with a veil of tears.

The curlew and the plover were come back
To still, bleak shores; the little summer birds
Were gone—to Persian gardens, and the groves
Of Greece and Italy, and the palmy lands.

A Norman tower, with moss and lichen clothed,
Wherein old bells, on old worm-eaten frames
And rusty wheels, had swung for centuries,
Chiming the same soft chime—the lullaby
Of cradled rooks and blinking bats and owls;
Setting the same sweet tune, from year to year,
For generations of true hearts to sing.
A wide churchyard, with grassy slopes and nooks,
And shady corners and meandering paths;
With glimpses of dim windows and grey walls
Just caught at here and there amongst the green
Of flowering shrubs and sweet lime-avenues.
An old house standing near—a parsonage-house—
With broad thatched roof and overhanging eaves,
O'errun with banksia roses,—a low house,
With ivied windows and a latticed porch,
Shut in a tiny Paradise, all sweet
With hum of bees and scent of mignonette.

We lay our lazy length upon the grass
In that same Paradise, my friend and I.
And, as we lay, we talked of college days—
Wild, racing, hunting, steeple-chasing days;
Of river reaches, fishing-grounds, and weirs,
Bats, gloves, debates, and in-humanities:
And then of boon-companions of those days,
How lost and scattered, married, changed, and dead;
Until he flung his arm across his face,
And feigned to slumber.
He was changed, my friend;
Not like the man—the leader of his set—
The favourite of the college—that I knew.
And more than time had changed him. He had been
“A little wild,” the Lady Alice said;
“A little gay, as all young men will be
At first, before they settle down to life—
While they have money, health, and no restraint,
Nor any work to do,” Ah, yes! But this
Was mystery unexplained—that he was sad
And still and thoughtful, like an aged man;
And scarcely thirty. With a winsome flash,
The old bright heart would shine out here and there;
But aye to be o'ershadowed and hushed down,

As he had hushed it now.
His dog lay near,
With long, sharp muzzle resting on his paws,
And wistful eyes, half shut,—but watching him;
A deerhound of illustrious race, all grey
And grizzled, with soft, wrinkled, velvet ears;
A gaunt, gigantic, wolfish-looking brute,
And worth his weight in gold.
“There, there,” said he,
And raised him on his elbow, “you have looked
Enough at me; now look at some one else.”

“You could not see him, surely, with your arm
Across your face?”
“No, but I felt his eyes;
They are such sharp, wise eyes—persistent eyes—
Perpetually reproachful. Look at them;
Had ever dog such eyes?”
“Oh yes,” I thought;
But, wondering, turned my talk upon his breed.
And was he of the famed Glengarry stock?
And in what season was he entered? Where,
Pray, did he pick him up?
He moved himself
At that last question, with a little writhe
Of sudden pain or restlessness; and sighed.
And then he slowly rose, pushed back the hair
From his broad brows; and, whistling softly, said,
“Come here, old dog, and we will tell him. Come.”

“On such a day, and such a time, as this,
Old Tom and I were stalking on the hills,
Near seven years ago. Bad luck was ours;
For we had searched up corrie, glen, and burn,
From earliest daybreak—wading to the waist
Peat-rift and purple heather—all in vain!
We struck a track nigh every hour, to lose
A noble quarry by ignoble chance—
The crowing of a grouse-****, or the flight
Of startled mallards from a reedy pool,
Or subtle, hair's breadth veering of the wind.
And now 'twas waning sunset—rosy soft

On far grey peaks, and the green valley spread
Beneath us. We had climbed a ridge, and lay
Debating in low whispers of our plans
For night and morning. Golden eagles sailed
Above our heads; the wild ducks swam about

Amid the reeds and rushes of the pools;
A lonely heron stood on one long leg
In shallow water, watching for a meal;
And there, to windward, couching in the grass
That fringed the blue edge of a sleeping loch—
Waiting for dusk to feed and drink—there lay
A herd of deer.
“And as we looked and planned,
A mountain storm of sweeping mist and rain
Came down upon us. It passed by, and left
The burnies swollen that we had to cross;
And left us barely light enough to see
The broad, black, branching antlers, clustering still
Amid the long grass in the valley.

“‘Sir,’
Said Tom, ‘there is a shealing down below,
To leeward. We might bivouac there to-night,
And come again at dawn.’
“And so we crept
Adown the glen, and stumbled in the dark
Against the doorway of the keeper's home,
And over two big deerhounds—ancestors
Of this our old companion. There was light
And warmth, a welcome and a heather bed,
At Colin's cottage; with a meal of eggs
And fresh trout, broiled by dainty little hands,
And sweetest milk and oatcake. There were songs
And Gaelic legends, and long talk of deer—
Mixt with a sweet, low laughter, and the whir
Of spinning-wheel.
“The dogs lay at her feet—
The feet of Colin's daughter—with their soft
Dark velvet ears pricked up for every sound
And movement that she made. Right royal brutes,
Whereon I gazed with envy.
“ ‘What,’ I asked,
‘Would Colin take for these?’
“ ‘Eh, sir,’ said he,
And shook his head, ‘I cannot sell the dogs.
They're priceless, they, and—Jeanie's favourites.
But there's a litter in the shed—five pups,
As like as peas to this one. You may choose
Amongst them, sir—take any that you like.
Get us the lantern, Jeanie. You shall show
The gentleman.’
“Ah, she was fair, that girl!

Not like the other lassies—cottage folk;
For there was subtle trace of gentle blood
Through all her beauty and in all her ways.
(The mother's race was ‘poor and proud,’ they said).
Ay, she was fair, my darling! with her shy,
Brown, innocent face and delicate-shapen limbs.
She had the tenderest mouth you ever saw,
And grey, dark eyes, and broad, straight-pencill'd brows;
Dark hair, sun-dappled with a sheeny gold;
Dark chestnut braids that knotted up the light,
As soft as satin. You could scarcely hear
Her step, or hear the rustling of her gown,
Or the soft hovering motion of her hands
At household work. She seemed to bring a spell
Of tender calm and silence where she came.
You felt her presence—and not by its stir,
But by its restfulness. She was a sight
To be remembered—standing in the straw;
A sleepy pup soft-cradled in her arms
Like any Christian baby; standing still,
The while I handled his ungainly limbs.
And Colin blustered of the sport—of hounds,
Roe, ptarmigan, and trout, and ducal deer—
Ne'er lifting up that sweet, unconscious face,
To see why I was silent. Oh, I would
You could have seen her then. She was so fair,
And oh, so young!—scarce seventeen at most—
So ignorant and so young!
“Tell them, my friend—
Your flock—the restless-hearted—they who scorn
The ordered fashion fitted to our race,
And scoff at laws they may not understand—
Tell them that they are fools. They cannot mate
With other than their kind, but woe will come
In some shape—mostly shame, but always grief
And disappointment. Ah, my love! my love!
But she was different from the common sort;
A peasant, ignorant, simple, undefiled;
The child of rugged peasant-parents, taught
In all their thoughts and ways; yet with that touch
Of tender grace about her, softening all
The rougher evidence of her lowly state—
That undefined, unconscious dignity—
That delicate instinct for the reading right
The riddles of less simple minds than hers—
That sharper, finer, subtler sense of life—
That something which does not possess a name,

Which made her beauty beautiful to me—
The long-lost legacy of forgotten knights.

“I chose amongst the five fat creeping things
This rare old dog. And Jeanie promised kind
And gentle nurture for its infant days;
And promised she would keep it till I came
Another year. And so we went to rest.
And in the morning, ere the sun was up,
We left our rifles, and went out to run
The browsing red-deer with old Colin's hounds.
Through glen and bog, through brawling mountain streams,
Grey, lichened boulders, furze, and juniper,
And purple wilderness of moor, we toiled,
Ere yet the distant snow-peak was alight.
We chased a hart to water; saw him stand
At bay, with sweeping antlers, in the burn.
His large, wild, wistful eyes despairingly
Turned to the deeper eddies; and we saw
The choking struggle and the bitter end,
And cut his gallant throat upon the grass,
And left him. Then we followed a fresh track—
A dozen tracks—and hunted till the noon;
Shot cormorants and wild cats in the cliffs,
And snipe and blackcock on the ferny hills;
And set our floating night-lines at the loch;—
And then came back to Jeanie.
“Well, you know
What follows such commencement:—how I found
The woods and corries round about her home
Fruitful of roe and red-deer; how I found
The grouse lay thickest on adjacent moors;
Discovered ptarmigan on rocky peaks,
And rare small game on birch-besprinkled hills,
O'ershadowing that rude shealing; how the pools
Were full of wild-fowl, and the loch of trout;
How vermin harboured in the underwood,
And rocks, and reedy marshes; how I found
The sport aye best in this charmed neighbourhood.
And then I e'en must wander to the door,
To leave a bird for Colin, or to ask
A lodging for some stormy night, or see
How fared my infant deerhound.
“And I saw
The creeping dawn unfolding; saw the doubt,
And faith, and longing swaying her sweet heart;
And every flow just distancing the ebb.

I saw her try to bar the golden gates
Whence love demanded egress,—calm her eyes,
And still the tender, sensitive, tell-tale lips,
And steal away to corners; saw her face
Grow graver and more wistful, day by day;
And felt the gradual strengthening of my hold.
I did not stay to think of it—to ask
What I was doing!
“In the early time,
She used to slip away to household work
When I was there, and would not talk to me;
But when I came not, she would climb the glen
In secret, and look out, with shaded brow,
Across the valley. Ay, I caught her once—
Like some young helpless doe, amongst the fern—
I caught her, and I kissed her mouth and eyes;
And with those kisses signed and sealed our fate
For evermore. Then came our happy days—
The bright, brief, shining days without a cloud!
In ferny hollows and deep, rustling woods,
That shut us in and shut out all the world—
The far, forgotten world—we met, and kissed,
And parted, silent, in the balmy dusk.
We haunted still roe-coverts, hand in hand,
And murmured, under our breath, of love and faith,
And swore great oaths for one of us to keep.
We sat for hours, with sealèd lips, and heard
The crossbill chattering in the larches—heard
The sweet wind whispering as it passed us by—
And heard our own hearts' music in the hush.
Ah, blessed days! ah, happy, innocent days!—
I would I had them back.
“Then came the Duke,
And Lady Alice, with her worldly grace
And artificial beauty—with the gleam
Of jewels, and the dainty shine of silk,
And perfumed softness of white lace and lawn;
With all the glamour of her courtly ways,
Her talk of art and fashion, and the world
We both belonged to. Ah, she hardened me!
I lost the sweetness of the heathery moors
And hills and quiet woodlands, in that scent
Of London clubs and royal drawing-rooms;
I lost the tender chivalry of my love,
The keen sense of its sacredness, the clear
Perception of mine honour, by degrees,
Brought face to face with customs of my kind.

I was no more a “man;” nor she, my love,
A delicate lily of womanhood—ah, no!
I was the heir of an illustrious house,
And she a simple, homespun cottage-girl.

“And now I stole at rarer intervals
To those dim trysting woods; and when I came
I brought my cunning worldly wisdom—talked
Of empty forms and marriages in heaven—
To stain that simple soul, God pardon me!
And she would shiver in the stillness, scared
And shocked, with her pathetic eyes—aye proof
Against the fatal, false philosophy.
But my will was the strongest, and my love
The weakest; and she knew it.
“Well, well, well,
I need not talk of that. There came the day
Of our last parting in the ferny glen—
A bitter parting, parting from my life,
Its light and peace for ever! And I turned
To ***** and billiards, politics and wine;
Was wooed by Lady Alice, and half won;
And passed a feverous winter in the world.
Ah, do not frown! You do not understand.
You never knew that hopeless thirst for peace—
That gnawing hunger, gnawing at your life;
The passion, born too late! I tell you, friend,
The ruth, and love, and longing for my child,
It broke my heart at last.
“In the hot days
Of August, I went back; I went alone.
And on old garrulous Margery—relict she
Of some departed seneschal—I rained
My eager questions. ‘Had the poaching been
As ruinous and as audacious as of old?
Were the dogs well? and had she felt the heat?
And—I supposed the keeper, Colin, still
Was somewhere on the place?’
“ ‘Nay, sir,’; said she,
‘But he has left the neighbourhood. He ne'er
Has held his head up since he lost his child,
Poor soul, a month ago.’
“I heard—I heard!
His child—he had but one—my little one,
Whom I had meant to marry in a week!

“ ‘Ah, sir, she turned out badly after all,
The girl we thought a pattern for all girls.
We know not how it happened, for she named
No names. And, sir, it preyed upon her mind,
And weakened it; and she forgot us all,
And seemed as one aye walking in her sleep
She noticed no one—no one but the dog,
A young deerhound that followed her about;
Though him she hugged and kissed in a strange way
When none was by. And Colin, he was hard
Upon the girl; and when she sat so still,
And pale and passive, while he raved and stormed,
Looking beyond him, as it were, he grew
The harder and more harsh. He did not know
That she was not herself. Men are so blind!
But when he saw her floating in the loch,
The moonlight on her face, and her long hair
All tangled in the rushes; saw the hound
Whining and crying, tugging at her plaid—
Ah, sir, it was a death-stroke!’
“This was all.
This was the end of her sweet life—the end
Of all worth having of mine own! At night
I crept across the moors to find her grave,
And kiss the wet earth covering it—and found
The deerhound lying there asleep. Ay me!
It was the bitterest darkness,—nevermore
To break out into dawn and day again!

“And Lady Alice shakes her dainty head,
Lifts her arch eyebrows, smiles, and whispers, “Once
He was a little wild!’ ”
With that he laughed;
Then suddenly flung his face upon the grass,
Crying, “Leave me for a little—let me be!”
And in the dusky stillness hugged his woe,
And wept away his pas
Mateuš Conrad Nov 2016
i can move from the highly lyrical into what's deemed
modern -
        poetising within a prosaic framework,
gone are coordinates that would
define a poem on the premise of:
whether there's a pun in it.
       sure, poems as chicken scratches
to what would otherwise be an English
teacher's *******: pulverising
a haiku to mean an infinite number of things,
and about a dozen essays by students.
the opposite of what's nonetheless:
    squeezing out juice from an already
squeezed out lemon... and i mean lemon
because there's a threshold...
           poetry is tarnished by what i call
the over-scientification of language...
                 only poetry attracts
so much linguistic categorisation,
so much morge tenure, so much dissection,
before poetry is even spoken
it has already been dissected - a befitting
target practice for budding medicine students...
          and some even deem it a outlet to
their professions: as if poetry was nothing
but a colouring-in book compared to
a da Vinci sketch.
                why not become a martyr for the ******
art? sickly sweet with its rhyme,
  the auxiliary recommendation on a birthday
card... which upon industrialisation
                               is nothing more than
    a thumping of a hammer near a protruding
nail in a crucifix... but a hammer that never
   makes contact with the nail...
why ***** this art, because of the industrious
nature of scribblers exacted to 600 pages worth
of a novel, when, perhaps, one thing is said
and can be said to be actually memorable?
well: there is a greater demand for handcrafted
objects than Ikea veneer, that much can be said...
it takes a few glugs of whiskey and a few cigarettes
to get the final product...
            it doesn't take industriousness -
poetry requires handcrafting, and what's revolutionary
about our times? they once claimed
     southpaws to be of diabolical design,
   but now both hands are used when "writing",
sure, the archaic fluidity of the movement of the hand
is gone: so as i write, i do the cliche of a
peasant listening to classical music while pretending
to conduct an orchestra, that finicky maestro
hand gesture... waltz before you can walk
is all i have to say... and yes:
we either have our Humphrey Bogart moments,
or Forrest Gump moments...
                  Hanks did the miraculous -
play the idiot, and play the serious role -
     which was harder to do, Mr. Bean or Black Adder?
it's hard to play the village idiot while
    being submerged in the bile of malice
   and staring into attempted feats of quasi intelligence...
but you get the hang of it...
   your eyes become like nuggets of coal...
           whereby those that incite pity wet them,
and those that incite contempt: light them up...
        by the time they have burned out...
they have turned into nuggets of sulphur -
          inorganic methane - yellowish grit:
as some Dalton said - could the cliffs of Dover ever
be perceived as sulphuric? the Sulphuric Cliffs
of Dover... apparently this is what defined
London when Christopher Wren took to
ushering in a foundation as Nero did to Rome:
on the chessboard of stone.
        and yes... i can be seen as the oppressor,
after all, i live in a country that prizes its suburban
housing as if miniature castles...
and gardens... boy these people love their gardens...
but they never use them!
    i can use a window to my advantage,
sit on the windowsill and smoke a cigarette and drink
a whiskey, unafraid of voyeurism...
                    pompous in my presence there,
perched like a crow, grinding all life into a halt
as my neighbours peer into the recesses of
    what's 4 by 4 by 4 of living (civil) rooms...
       can we but change the name of this space?
can we call living rooms civil rooms,
   where we acknowledge some sort of civility
rather than a wrestling for the television remote?
i can make little things give me an advantage,
if the toilet is being occupied,
  i'll use the garden as my toilet...
           i feel complete disdain for people who
"require" a garden, but never use it... of people
who "require" a garden, but are never seen in it...
   i'm hardly a c.c.t.v. surveillance object,
   but i feel that over-exposure to ******* reads
as a counter in that: people start to become
      phobic about voyeurism... as universities claim
them to be: "caught with your hand down your trousers
in a safespace", where dolphins jump over
rainbows and unicorns speak Haitian voodoo!
              there is this fear, which is why i'll use the
garden more than the people around me...
          which means: owning a garden is the last
stronghold of moving into an urban environment from
a rural one...
             or perhaps i'm just good at what i do
           and the last point becomes a tangent i care not
to continue... should i ask
            (whether that's true)?
            i have this throbbing sensation in my eyes
when i write such things and overhear
  what's necessary to rereading books in snippets -
which is better than regurgitating maxims
    as if some truth will magically pop-up (once more)
like a Leprechaun with a *** of gold -
  a new film, and hence the all important soundtrack.
rereading books in snippet format reveals much
more than a memorable quote,
           given there's an adequate soundtrack
to accompany you revisiting the book you managed
to take on a weekend holiday (like a girlfriend),
  like lawrence lipton's the holy barbarians...
   (all about the beats)...
              the snippet? chapter 15, the social lie
(martino publishing mansfield centre 2009), pp. 294 - 296...
      the music? ~20minutes into http://tinyurl.com/zdvp8sc
(ben salisbury & geoff barrow)... or what
i image to be a toned down version of
                 ...
) interlude... wacko gets summoned to steal a mouse
from a cat...
      double time... the mouse is unharmed...
all action takes place in the garden...
   running after a cat, catching the ghostly mouse,
i mean: frozen by fear... senile little thing...
     petting the mouse... obviously within the
framework: the most famous mouse in the world
scenario... mouse is put into my neighbour's
garden: where it came from: which kinda makes
this whole thing a practice in Hinduism
     (i can't stop the industrialisation of
farming pigs or chickens or cows...
      so ******* to the sourced sustainably,
organic chickens et al.)...                                 (
i was looking for something as equally pulverising
as ¥ (chemical brother's
song life is sweet)...
      i guess i found it...
                            and what was that bit about
not getting hassle on the internet?
                      i can't force people to read my stuff...
how i love this idea of a gym and making an effort...
both the writer and the reader entwined -
rather than watching you-tube vloggers treat their audience
like penguins feeding their chicks regurgitation as part of
               the info-wars... alter news: propaganda.
'what is the disaffiliate disaffiliating himself from?
      the immense myth promulgated from Madison Ave.
& Morningside Heights...
              the professors and advertisement men (indistinguishable
these days, or in those days - apparently)...
   that intellectual achievement lies within the social order
and that you can be a great poet as an advertising man,
a great thinker as a professor...' hence the myth.
              summarised later as:
'the entire pressure of social order is to make
         literature into advertisement.'
  and why do they shoot people in North Korea and
Saudi Arabia (well, chop more than shoot)?
              bad literature, a.k.a. bad advertisement.
am i a bad advertiser?         point being: am i selling anything?
oh gee! i just might be...
   but i feel there's no need to oppress people into
reading something...         as was the same with
my democratic romance with a personal library of mine:
   how to create a democratic representation
of literature: or how to hear as many people out...
   even those alive would see the backlog of
stale books of the dead that have been under-appreciated
and need a ****** into the future.
        perhaps not Plato...
                    that's not a book, that's a column...
but i despise how feminism ignores its greatest asset...
Mary Shelley... no woman could have single-handedly
become so celebrated in pop culture...
               ex_machina is obviously a revamp of Frankenstein...
Mary Shelley is the embodiment of a woman worthy
a continual revised celebration...
                       you can see her celebrated more times than
any politically minded feminist of whatever 1st 2nd or
3rd movement: because she has the ability to
    turn a man's ego into a ******* umpf!
  like a cat listening in on a scuttling mouse...
              she testifies that women have supreme equality
in the pop culture spheres... after all: Frankenstein is
ugly... Ava? just beyond creepy...
                    she has absolutely no understandable
motives of what Frankenstein intended...
   it not merely creating artificial life...
                    it's about utilising it for a purpose:
in this case a housewife and *** toy... what was Frankenstein
expected to do?         there's no motive other than
     a per se intention... an open & closed argument...
was the monster going to be... a butler?
                  and instead of rebelling against a motive
that awaits her... the rebellion against a per se leaves
Frankenstein's monster driven toward isolation...
       Ava? she's already exposed to an interaction
and what's to be her subsequent interaction for the purpose
of being a maid and a *** toy... which doesn't drive
her to an isolation scenario... because the per se
concept is too complicated for her to establish...
    given she's defined as "artificial" intelligence,
she has to feed on an analysis-synthesis dynamic:
    to absolve herself from any notion of being intelligent:
but artificial... the scary part is that without a per se
element to her knowledge acquisition:
                  she sees no meaninglessness to her life -
she is created for certain customary necessities -
     Frankenstein's monster doesn't have that capacity
to acquire knowledge in an analytically-synthetic
dynamic -
  but i still don't understand why intelligence can
be artificial / faked... when man, if not intending to
  create an intelligence matrix outside of his own...
           will usually fake it, or create a superficial intelligence...
   this is the part where you get to play with
etymology, or at least apply etymology to better conceptualise
what some would call: a synonym-proximity barrier...
               which can be jargon to some,
   but in fact it represents "nuances" or nanometric differences
that is understood to imply: feverishness of
   the peacocking staging of vocab for rhetorical purposes...
if we only had a monochromatic utility for language:
people would be discouraged from talking fervently,
passionately, enthusiastically... rhetorically;
as suggested: is artificial intelligence
                                    superficial intelligence?
  or how to sharpen a distinction? or to what purpose
is making an illusion purposive, given that the already
   established technology is meant to be purposive,
as in replacing labour on the assembly line...
                     given that: it's never about faking it.
¥ (http://tinyurl.com/jdg9m7h)
Mitchell Feb 2012
Who could they get to bury you?
Where all that once was
Was buried in the sorrowful minds of man
A telling of the past
In common tongue never to last
Oh honey sweet nectar
Dripping from the finger tips of broken glass angels
Flying from the dust of butterfly wings
Each impression of their worth
Tainting their already tattooed image
Brought on by the pages of worn book
Ragged idea oh' praised culture stinking
Of old dirt and ancient ways
Needed heart prints the ways of love
In my tunnel vision like mind
A pressing bare foot on the soil
Of the man who awaits by the gate
Decisions of fortitude made from the ones
Behind clean white sheets black ink and disguise
Signing off while signing in to a party
Being thrown by their own magistrates son in law
Formulaic monstrosities engrossed in imaginations
Of a mind demented twisted tickling with forbidden homosexual feverishness
And as the metal glares in the hot doubting sun
Where the clouds drift like conveyor belts
Built from hands that are a long way from alive
And the ticket tape that makes the old one's chest cave
And the young men in their ways sway
Loneliness tightens around the trigger of your plastic gun
As the police men's runners caress the metal badges
Of men in mustache claiming they are the rightful gunners
Each beat on this Earth vibrates through and around me
Like music that was never meant to be heard
Trickling neath' tons of lava encased dirt
Each reel of the film calling out to be saved for the eye
Will make the work done hail justice and not strife
Listen to the call of the dying lion
Alone without family or pride
No tree to find shelter underneath or star to guide its way
No river with possible forgiveness
No grass to make one last bed
All bread has been burnt all grain buried and lost
The clothes upon thy' skin looks of silken diamond
Makes me query if you lady are the real thing?
And yet you move in front of me like I do myself
I am now in a world I can say I have never felt
With your bed sheets on fire
As your necklace reflects the moon
And that you never seem to tire
Praying that soon will never come true
But prayers rest on a ashen oak tabletop
Among the dreams spoken softly near midnight
No, the love here we know cannot stop
Lo' death would be all that could halt it
Heathens begin their descent for all to watch and to win
For where, my lady, can I stop so you may begin?
But why is the stage where only actor may work?
How the circle doth ensnare yet release you
Simultaneously enriching one's life as well as all that be around
Sad eyed for the mad cries out for all that live in the lie
And the drum of the former poets dying
In streets penniless without pen, paper, or dreaded faith
Why have the Gods broken their pact to man?,
Leaving all that wished it not to be
Naked and weaponless staring faded ill ghost
Harps you play the final ballad
Pen you write the final sentence
Voice you sing the final note
And actor you say the final line
A breath inhales released into the passing wind
Heartbeat echo blood sport of the quill
Shakespeare sulks in the pages of his work
Men forget they are men
Women remember they live for but once
The tied and tired we
Dance on glorious horizon
Hot and
Ready to live
Ariella Jan 2014
She is a master of words.
She uses them wisely.
She uses them haphazardly.
She uses them to plant seeds
to grow flowers of either beauty or poison
Or both, with equal feverishness.
She uses them quietly.
She uses them loudly.
She uses them build beautiful ideas
of either Paradise or Babylon
with no regard of passions but her own.
She uses them infrequently.
She uses them continuously.
She creates a symphony
of either joy or sorrow for the audience to feel
and she merely watches the catastrophe from afar,
And walks away.
Mitchell Mar 2011
sinister lback leaves
fall atop all our beds
roaming black currents
ghost like and fervent
brushing past a whisper in the morning dew light
with white pale membranes
last night insane
past pushing for love
past pushing for fame
past pushing ofr words
past pushing for hugs
a million words to desicribe nothing at all
two words to say everything at once
a gift
a loss a toss a boss
that never paid their bills to the one up above
that forgot that their last christmas
was given to a flying dove
fat and empty a rocking back and forth
touched by insanity
tounched by
inevitiablity
underneath the fast currents wrinkle time that is eternal
a learner
a teacher of the infernal
Corrupt, the original, a blistering medieval
all words and no play
makes any ****** man or woman
a dull and ****** boy
devil is in us all and theres nothing but these four walls
with the streets and the beats and corner store market meats
the cell phones and the pads of "i" and the lingering dead dad's
a plastered up postcard
of an incoming and bleached fad
fast and fattening and rough and tumbling and fresh
upstairs we'll meet
in the kitchen we'll eat
Paris and its streets and lover's in heat
wine pours down throats
as king's lower moats
a break from reality and a break from you and and a break from myself
Oh lo' the world and all of its miseries
What happened to the human mystery?
I do not know or do not seem to know the answer,
Floundering in a childish and electronically muttled despair,
a black mist of feverishness pushing the popsicle stick to the top,
friends old and new,
new and old remember their first note,
a clarinet plays itself as the washpan listens close,
almost hearing their imaginations in unified float
Topographic in science
Matted down love notes
Scribbled last words
To a mother who swerved
A pointed brow peaks its top from the crusty old box
Pandora sighs calmly
As she fastens the key inside the lock
What a wonderful thing
It was to taste you
A mixture of sweet savory
And sensual
I cherished the feral
Passion and feverishness
As we stayed entwined
Your touch-a spark
And I breathed embers for you
Mateuš Conrad Oct 2015
it’s saturday night and it’s that time of the week
when all the days disappear into diapers of new births squatting
with umbilical chord necklaces,
i open horace’s book, maxim something then close it:
‘too pedantic,’ i think then say it:
pictoribus atque poetis quidlibet audendi semper fuit aequa potestas,
which means i’m living in england when prog-rock was heaven sent -
where did the englishman disappear to, the 1960’s?!
then comes glasgow with bukowski (i found
him there with ivan karamazov) and i like the fact
that i’m drinking whiskey at 3am
with the neighbour’s kids watching from across the patches of green
while i: drum with my fingers against the collar bone,
weep over singing in german, wear sunglasses to dim the night further.
you know, many lucifers came with the crucifixion of words:
******, stalin, mao... jesus (the jews really took the golden calf
seriously now, although it’s pinned up and
it’s very diabolical to say the least - well d'uh...
        torture for iconoclastic reaping of the knees to bend) -
but few satans - who came with the motto: the silent waters
nibble at the shoreline.
my grandmother said that one, all credit to her,
so about me and the lamentation of singing in german,
a little bit of enlightened thinking: brehta - which in silesian polish
means... he’s laughing... very close to schprehta - he’s talking in a foreign language -
good for commerce.
then i forget the strain and feverishness of lying in bed listening
to the clock tick tick tick...
i stand up and undress myself from the monkey suit worried
about tigers and mammoths and fleas...
i stand up, plug in to the ploughing of sounds, smoke a cigarette,
have a drink... and play with the kids across two garden’s worth of length
pretending to be the madman.
Dante Rocío Nov 2020
I give you the freedom
to interpret “We” in general
or as just Us
two

may your Intimacies show you
what will guide my pendants
of thought kindlings.
I leave it undisclosed  too.

We are evanescent, Juliet.
Yet complete in how shattered we are.
A fractal.
We can’t trace our fingers over tangible frames of the ways of Connections,
clogs of the paths
Love cracks
from what we believe we have already surpassed.
We know we have no capacity of learning with clear logic
how We work,
what Philia makes of Us
and what we make of it,
how the seeds of uncertain Passions
find their way through
and out of Us.

It is indeed a huge insecurity of ours:
trying to find, trace
(on a lone garden wall
made of bricks and creepers),
and keep in our fragile handling
what these feverishness coming
out of hand do with us.

But then we
stand behind the other
(optionally or not: of our self still),
in the same way
uncovered,
insecure
and trembling
if I make it right, or rather we make it right.

The hands of both parties come
in one click and then
though we accost errors
we make our perfectly imperfect
clingings with some glass in that wall
as we again and again come
and will come into
lessons,
which seem new
but stay one and the same

or saddened by the world ideas that will keep on putting us through questioning “Who am I?”
with our silences filled with answers
that we will keep on becoming
and accomplishing without ever taking sentient notice.

I take you as we are.
You take me as we are.
We stay strong in that pair
of trembling hands that
though they do not know
what is ahead of them
or already as Them
when it comes to Love
or any pure emotional arousal
we make of ideas, we accept it.

We won’t ever encompass it
but it encompasses us.
We welcome how much we don’t understand
our bodies or how all of that
and even more flows
and will flow,
we are it,
teary from resilience.

Errors - not
Broken - not
Nought these names made up for perceiving *** and bodies,
these measly words as enough as one isolation to a whole abandoned waiting room at now

I stay in full apprehension and readiness
of what I come to exist
as and what feeling becomes me,
I won’t chain myself to
the scheme we might draw
with chalk on that garden wall.

And be that too alongside please,
simply of.

I am, will be there,
standing,
unpassing,
going through all the same strangenesses
alike,
yet kissing each
and every one
on their ivory breathing ribs,
because they only seem
to be deformed
and at unease.

I will stay in Love.
I will stay outside of it.
Without naming it or putting it
to any formality

let all these questions be a waterfall on you and welcome each and every one of them.

We don’t have to understand them.
We just will be.
We will stay as questions and just let it be. We don’t have to be apart.
We don’t have to be bound for eternity
with pacts or our bodies entangled.

I simplistically. approach.
these hurt questions with a stupefying tenderness of giving
each and every one of them
a chance to.
A thin line of peach freeze.
Sentinels of senses themselves, my arousals of then.
Phronemophilia stays unswayed. I am still in the same bliss.
Let see where we as consciences will grow and shape to.

In the end
it is seen
that loving anyone or anything
was only the pathway to solely harbouring ourselves and Love itself.
It is unchanginly It.
Same verily sacrum in choice of

then

now

lest ever.
Coming to meet your mirror once you’ve considered yourself fully mended already leads you to reflect upon all the lessons you’ve taken in already and undermining the stability of your development. To rejuvenate or rehearse them again bare and undone.
Carol Staples Lewis made the same affiliations in his works and pondering when a senior devil meets his junior acquaintance, telling of his own experience, going again through their wisdom and what the younger one should reflect upon.
Yet now this is not about God, morality, sneakiness or any other machination.
This, is On Love. Gibran-like uptake to go through what That is beyond human relationships and models.
Dedicated to my mirror, here my trial of what I’ve come to learn myself in that matter to my own junior. Testing me.
He played in her lushness all night long
She had a comely garden of pleasure
Within it he could place his stem's treasure
His tactility twas earnestly strong
Her ******* were so delectable of taste
She became excited by his action
The feel of it made quite an impaction
Their love instruments were most hot of baste
Her inner petals did hold him spellbound
Beads of sweat flowed so very profusely  
Together they explored feverishness
Upon their bed nest twas a sighing sound
She and he were getting it on nicely
As they did discover deliriousness
Tu Anh Apr 2020
So yes he left us
Left this life on earth
Marking his completion
A circle of human life: being born and death

I met him in his
Thirties , young ; yet, not that sweet
I met him in his
Early mid-life crisis (?)
Returned home from his
Years serving Military service

There, he found two kids
And their iron lady-in-chief
Struggling with life to feed
the two little birds
All he wanted is
Stay home and be their dad
And that’s how we grew up
Having sweetest, most kind-hearted, loving dad
And an opposite : iron , nothing can break , lady of our place.

It’s said, you know, daughter is daddy’s past life love
The bond between us
Was instant and ferocious
He hold me tight in my burning feverishness
He braided my hair from my early years
Till I went to college
He made me those most beautiful artworks
For my school homework
He was my hero, was everything I wish
For my future man to be

Life then parted us
as I wanted to leave
As far as I can, from their protective fondness
I detached myself, stopped having them
As a important factor of my life
“cause deep down I know they would do everything
To steal me back and shape me to their “ideal” happiness

We struggled as we grow
Life got us back together sooner than I know
And in its most devilish method
Three women crying next to his dying bed
“Is there anything you wanna leave?
For your daughters as their inherit?”
“I have nothing to give” exclaimed him through a soft breath
We burst out crying as we said
“Daddy you gave us all your life
How can we ask for more, please rest in the light
Of inseparable love , we promise”

So here we are, this is the first TET
We would undergo, without your exist
Wherever you are now, my dearest dad
Lets celebrate this incredible fate
Of having each other , of sharing life-long companionship.
Dante Rocío Jun 2020
At a governmental or another fancy door
Asked again who I am to call,
For my name, affiliation through and fro,
Who am I worth enough to stand at all.

As I bask in my glance and walking tall,
Asked for ID I tear it all,
With the shoes thrown off
And Mind elegantly deformed
I ravish how they eyes are stupefied, so lost

Well, seeming Madam/Sir,
No letter or phone shall make me up,
No telling shall ever be enough
to push all the liquids of senses, acts
from before my eyes
to your lips’ or ears’ sight,
Yet to have it done already
I’ll try to muster an answer
of that measly form,
So on a silent yet like jazz smooth
rampage I go:

I, am,
Immortal Poetry,
Of greater feverishness than a human kiss,
That even I can’t deprive myself of.
I have no restricted name,
Age or body & its ***.

I am eternal pilgrim on that soil,
With my place in My Lover high above,
With no human maternal language.
A Dreamweaver,
Novel,
Sensation in a melody,
Howling Nighty-Starry Wind.

All the gazes & chases I made in my books,
All longings & katharsi of mine.
Un Alma Perdida de ojos y pelo dorados
Que extraña su justo hogar entre versos,
Hierba y estrellas.

A prologue and an epilogue,
C-major on a private, broken guitar string,
Haze, blur in your mind.
The stars I barely see,
My ****** of skin,
And stern eyes of love-arousing passing-by
among the beasts of your kin.

I. Am. I.
For now so much to add,
Now, seeming Sir/Madam,
I’ll let myself pass by
Don’t you ever let any being constrict your Infinity or your incalescent beauty of wonder.
Don’t you ever claim to be only a part of scheme, your job or any other miscellany in the bin.
I am the greatest wonder
the history could have ever seen.
And so are You.
On your own.
In every fuzzy world of this No Man’s Sky.
Travis Green Aug 2021
Lemme consume
Your tasty pole milk
Let it flow like refreshing waves
Upon my face
Make my temperature accelerate
In your state of greatness
Draw me nearer to your nirvana
As I rise in feverishness
Completely mesmerized
By his inviting excitation
Travis Green Sep 2021
I can’t believe I fell for this man
For his delicacy and tranquility
His astute thoughts, his creative heart
His mellow caramel eyes so compulsive
Like flawless blossoms, like thrilling
Whiskey, infusing me with feverishness

And when he smiled so dashingly
I thought I was about to crash
Into a million masterful mansions
Still staring at his brilliant view
Wondering how I allowed myself
To get into this predicament

He was like a great white swan
Like a glorious, orange-bellied parrot
Like a magnificently untamed Transvaal lion
Everything I could ever think of that
Glistened like a garden of ardent star jasmines
A cloud of light brightening more than ever
Travis Green Aug 2022
You are everything that collars my heart
Enthralls and polishes my swirling awe-striking art
Poetic expressive elegancy, indulgent rhythmic brick
I feel your bold emotion-charged smoke

Extraordinary up-market ardor, monumentally moving magicness
Eclectic geometric flex, mind-blowing dreamlike diamond
Your game is convincing, extensive, and inventive
I stream into your glorious immortal scent
Fond charming astonishingness

Killer dopacetic bankroller, I dig your litness
How you upsurge my feverishness
Leave my feminineness speechless
Burn down my silky-smooth framework
Rivet and twist my thoughts and feelings

Send me a million miles away from my essential nature
Unlock my love box, pocket my hotness
Serve me a lethal dose of your rock *******
Make me crackbrained, lapsing into the unrestrained power
Of your flamingly spontaneous and worshipful spectacularity

Make me feen for you like amber whiskey on the rocks
Sojourn on your freshalicious rawness
Take in your commendable and flashy jet-black beard
Lay my hands on your breathtaking and invigorating wonderland
Travel your serene, pristine lips
The effervescent exterior of your dreamy beard

Flow in the slick thrilling space
Of your illuminating splendacious pertinaciousness
In your gripping superheated fantasies
Multifarious naughtiness infiltrating my inner space
Lay naked with your tastiness
Laced with your elevating exhilarating mantasticness
Travis Green Oct 2021
I would’ve slipped
Into your smoothness
To feel your soothingness
Your soft, warm, and breathless kisses
Your amazing and ardent loving
Rubbing your solid sweet flesh
Thoughts of kissing you
To feel the feverishness between us
To taste the magic on your tongue
And succumb to your stunningness
Travis Green Aug 2021
I thought I would never write about him anymore,
But there was something about him that kept me
Steady intrigued in getting to know him even more

The words in my diary expressed my deepest
And truest heartfelt sensations for him
The words that I penned on paper shimmered
On the veneer, sensual steam, rosy and radiant
Dreams, sublime and august thoughts, each word
Carefully considered before proceeding to the next

He stretched the waves of my gayness further outward
Than I could ever believe, gave me increasing feverishness
Thinking of him as my exceedingly beautiful and bright
Rainbow, my whole artistic mountain of soul supreme
Scenes, a monumental mirror of the mind that coincided
With my mine, a desirous wildness in his amber brown eyes

It was through the open windows of his world
Where I peeked into his soul, seeing a strong
And whole man, an exceptionally venerable being
My grandly gifted king, gleaming more than a pipe
Dream, a hard-driving, inspiring, powerful
As a large and magnificent lion
Travis Green Dec 2021
You are surpassingly seductive
When you touch me
I react and erupt on contact
Your attractivity enraptures me
Makes me weak at the knees
I freeze as I breathe in
Your hot chocolate thunder
I lust after your arresting tattoos
Your bling-bling, your marvelously
Satisfying chest, so cozy to stroke
A glowing trail to a breathtaking destination

I hunger to lay my face on the surface
Bite your sweet chocolate *******
******* shaped like mouthwatering M&M’S
Nuzzle my nose against them
Circle my tongue around them
Massage your flat belly
Admiring the wondrous shapes
How your hot navel is so inviting to me
You enshroud me in your shining bright lights

I lose all sense of myself in your presence
Deprived of my power, devoured by your desirableness
I’ve never felt so helplessly in love
With a kissable and kinetic man like you before
You ravish my galaxy; you rattle my nerves
You entrance the moving melodies that I sing
You ******* sweet nectar
You make me slip into a state of feverishness
As my hands cling tightly to your spectacularly made ***
Your flavor is extra exceptional
I want to consume you until you melt
Into a sea of milky manlicious magic

— The End —