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Grahame Jun 2014
’Twas in the nineteen-twenties, when young people were bright and gay,
A flapper left Southampton, on a cruiser bound for Bombay.
Her fiancé was a subaltern, in India, in the cavalry,
And she had taken passage there, intending, him to marry.

She shared a cabin with a girl, ’cause money was quite tight,
And though they had met as strangers, they were getting on all right.
The flapper had met some nice people, and things were going fine,
Until they reached the equator, and had to ‘cross the line’.

People who before, had never the equator crossed,
Paraded around in fancy dress, and some into the pool were tossed.
The crew were dressed as pirates, and one as King Neptune,
And some of the passengers ‘walked the plank’, it was all done in fun.

During the proceedings, cocktails and champagne were drunk,
And the pirates, lots of passengers, into the pool did dunk.
The flapper’s chosen costume was that of a mermaid,
And with her legs placed in the tail, she hopped in the parade.

Because of her restricting costume, she hadn’t been tossed in the pool,
Now eventime was coming on, the air was turning cool.
She thought she’d look at the wake of the ship, so she hopped to the after-rail,
And stood there drinking a Planter’s Punch, whilst balancing on her tail.

Standing there, under the stars, she gazed down at the sea,
And saw something jump out of the water and wondered what it could be.
Then, leaning over further, to try to make it out,
She lost her balance and fell overboard, no time to even shout.

She crashed to the water on her front, and couldn’t clearly think.
She was winded and rather drunk, because of all the drink.
She struggled hard to keep afloat, her arms were all a-flail,
And for a time she was helped by air trapped in the tail.

Back on board the ship, her cabin-mate was drunk,
And didn’t think that she’d be able to get back to her bunk.
She went to a saloon, and stretched out on a sofa,
Then closed her eyes and went to sleep, the drunken little loafer.

In the morning she awoke and staggered to her berth,
With a frightful headache, no longer full of mirth.
She took some Alka Seltzer, in a glass of water,
Then slept again, not missing the flapper, although she should have ought to.

In the sea the flapper was floundering and thought that drowned she’d be.
The ship showed no sign of turning back, and went on its way steadily.
Her tail was slowly losing air and filling up with sea,
Her last thoughts, as she started to sink, were, “Why is this happening to me?”

Her past life flashed before her eyes, it didn’t take too long.
She’d really led a quiet life, and had done nothing wrong.
“That, I’ll rectify,” she thought, “if ever I get back.”
Then the air bubbled out of her lungs, and everything went black.

“Am I in heaven?” were her first thoughts, assuming she was dead.
When she heard a quiet voice, which unto her, it said
“I thought you were a mermaid, now I think you’re a mortal,
If I’d known, I never would have brought you through my portal.”

The flapper struggled to sit up straight, ’cause her legs were still in the tail.
She opened her eyes, tried to see in the gloom, and then she started to wail.
“Please tell me just where I am, whatever is this place?”
Then she tried hard not to scream, when in front of her eyes loomed a face.

In the dark it seemed to glow with a phosphorescent light,
And this was the reason it had given her such an awful fright.
Then, as she scrutinised it, she thought it did look kind,
So asked, “Why did you think me a mermaid? Are you out of your mind?”

The face moved back and regarded her, and then to her it said,
“Aren’t you at all curious to find you are not dead?
Luckily for you I was on the surface, looking at your ship,
When I saw you standing staring down, and then I saw you slip.”

“I swam back under the water, so I would not be seen,
And heard you splashing in the water, and wondered what it did mean.
Then, looking at you from beneath, as you your arms did flail,
I saw to my surprise, that instead of legs, you’d a tail!”

“I could not work out why a mermaid was on that boat,
Nor why you seemed to not be able to swim or even float.
Then you started sinking and your gills I couldn’t see,
And you obviously weren’t breathing, so you needed help from me.”

“Then I thought of the quickest way that your life I could save.
I towed you to the sea-bed, and brought you to my cave.
There is lots of air in here and I saw to my relief,
When I laid you on my bed, you started then to breathe.”

The flapper was quite shocked at this and couldn’t believe her ears.
She thought she was trapped with a lunatic and her mind was filled with fears.
So sitting up, she undid the belt that held her tail on tight,
Then wiggled a bit and pulled it off so her legs were now in sight.

“There are no such things as mermaids!” the flapper then did shout.
“Why are you keeping me captive? Oh won’t you let me out?”
“You really are then human,” the mermaid, startled, said,
“And I brought you here inside my home! I really feel afraid.”

“I don’t believe in mermaids,” the flapper again did wail.
“So far I’ve only seen your face, I haven’t seen a tail.”
The mermaid said, with trembling voice, “If that is what you wish.”
She then lay back upon the bed, and gave her tail a swish.

“No, no, it’s just your fancy dress, like mine for the parade,”
The flapper said, and like the mermaid, she was sore afraid.
They both sat up and looked at each other,  tears running down their faces,
And each, feeling sorry for the other, each, the other embraces.

As they hugged together, they started to calm down,
And the flapper said to the mermaid, “I think that you have shown
Great compassion in saving me and bringing me safely here.”
And though overcome by emotion, she managed to sound sincere.

The mermaid said, “You’re trembling, may I be so bold
As to ask if you’re still frightened?” The flapper said, “I’m cold.
I’m shivering to warm myself, my clothes are chilly and wet.”
The mermaid told her, “I know what, some dry clothes I will get.”

Sliding down from off the bed, into a pool she slipped,
And swam to the far side of the cave, and there a case she gripped.
Rolling over onto her back, she balanced it on her chest,
Then swam back to the flapper, who hoped it hadn’t squashed her breast.

The flapper helped to lift the heavy case onto the bed.
“I hope you haven’t hurt yourself bringing it here,” she said.
“Oh no,” replied the mermaid, “I’m stronger than I look,”
Then she opened it, and from the inside, several garments took.

The flapper then looked thoughtful and said, with a little frown,
“I hope this case hasn’t come from someone who did drown.”
“Oh no!” said the mermaid, as she that thought abhored,
“I often find stuff from ships that has fallen overboard.”

The flapper quickly then took off all her sodden clothes,
And picked up a lace hankie, and on it blew her nose.
She dried herself upon a towel, and sorting out clothes to wear,
Picked out some silken knickers and a strapless brassiere.

Then the flapper noticed that the mermaid was quite bare.
She obviously wouldn’t wear knickers, so she held out the brassiere.
“What is that?” the mermaid asked, “Do you wear it on your head?”
“Turn around, lift up your arms and I’ll show you,” the flapper said.

The mermaid swivelled round and raised her arms up high,
While the flapper knelt behind her, putting her arms round her to try
To fit her with the brassiere, and though she did her best,
She managed, inadvertently, in each hand to clasp a breast.

The flapper and the mermaid both froze there in that place.
The flapper felt a crimson flush, blush across her face.
The mermaid slowly lowered her arms, each covered a flapper’s hand,
And she murmured, “What are you doing? I just don’t understand.”

The flapper’s arms were locked in place and the mermaid she leant back.
The flapper felt her ***** flattened as the mermaid squashed her rack.
The mermaid muttered, “Don’t get dressed, I’ve a better idea instead.
Why don’t we lie down together? I’ll warm you up in bed.”

The mermaid released the flapper’s hands and slowly turned around.
Then she saw the flapper’s eyes looking down upon the ground.
The flapper spoke. “I know you meant the offer kindly, though
While I’m really flattered, in India, I’ve a beau.”

“I was on my way to meet him at Bombay, to be married.
I’d still be on my way there, if the cruise had not miscarried.
You have been so kind to me and managed to save my life,
Now will you help me on my way so I can be a wife?”

The mermaid looked unhappy, however, she concurred,
Albeit quite reluctantly, and then spoke so she’d be heard,
“I will try to help you, though yet we must delay.
There will be many sharks outside at this time of day.”

“If I take you outside now, to try to get you back,
There’s a real chance that the sharks they will attack.
Why don’t you finish drying yourself and find clothes to get dressed,
Then lie back down upon the bed and try to get some rest?”

The flapper started dressing and put on the brassiere,
And helped the mermaid put one on, who felt awkward not being bare.
When the flapper stood up, and stepped into the knickers,
The mermaid couldn’t help but stare, her eyes made up-and-down flickers.

“Please show me how you use your legs,” the mermaid did implore,
“It’s strange to see you standing up,  not lying on the floor.”
The flapper bent and stretched her knees to show how they did work.
Then turned around and squatted down and got her *** to twerk.

Then as the flapper, legs apart, upon the bed did kneel,
The mermaid, stretching out her arm, between those legs did feel.
And then very slowly, rubbed her hand forth and back,
And murmured, “It must feel very strange, because a tail you lack.”

The flapper, with a quavering voice, said, “It’s quite normal for me.
Now, though, what about you? May I your tail closely see?”
And with that, the flapper stretched out flat upon the bed,
Then on the mermaid’s tail, gently rested her head.

She put her hand upon the tail and stroked it up and down,
And feeling it crissate, gave a little frown.
It felt smooth when caressed downwards and rough the other way,
And then the mermaid arched her back and suddenly did spray.

From somewhere at the tail’s front squirted forth a spout.
That the mermaid did enjoy it, the flapper was not in doubt.
The liquid jet subsided and the mermaid gave a moan,
And a quite delightful odour suffused throughout the room.

The fluid showered the flapper, who wasn’t sure what to do.
Though when she wiped her hair, it foamed up like shampoo.
She rubbed it to a lather, and washed her body too,
And felt totally refreshed, as though she had washed in dew.

She stood, removed her underwear, because she thought she ought to
Rinse off the mermaid’s glorious shower by washing in some water.
She walked to a fissure in the cave where the water ran down in rills,
And as she rinsed her face and neck, she felt a pair of gills.

In shock she stumbled backwards and fell upon the floor,
Where her legs fused into a tail, which wasn’t there before.
She looked at it in horror and then with fear she cried,
When instantly, the mermaid lay down by her side.

The mermaid clasped her in her arms and rolling across the floor,
Pulled the flapper to the edge of the pool and pushed her in, before
Sliding in to the water herself, and pulling the flapper under,
Where, to her surprise, the flapper could breathe, it really was a wonder.

The flapper hung suspended, floating there in shock,
Then gradually realising she was all right, started to take stock.
Thinking that now, perhaps, she could swim just like a fish,
She gathered up her strength, and gave her tail a swish.

Unwittingly, she flapped her tail with all the strength she’d got,
And happening to be facing the cave door, right through it she shot.
Then coming out in daylight, she stared in disbelief
At all the spectacular marine life round about the reef.

There was coral in profusion, as far as the eye could see,
Of many shapes and colours, like a garden beautifully
Laid out on the sea-bed, with fishes swimming round,
Each of them making it their home; the sea-life did really abound.

The mermaid caught up with the flapper and took her by the hand,
Then said to her, “I’m confused, I just don’t understand
How you became a mermaid, then I saw you couldn’t breathe,
So I pushed you underwater, to try to give you ease.”

“I realised that you’d grown gills and couldn’t breathe in air,
So I thought that being in water was best, because it’s where
We mermaids live, so that is the place you had better be.”
“Thank you, you’ve saved my life again,” said the flapper gratefully.

Then, although still puzzled, they swam on, hand-in-hand,
The mermaid helping the flapper, ’til she could understand
How to use her tail well, to control where she did swim,
And to make fine adjustments, by using the tail’s fin.

Eventually the flapper grew tired, so to the cave they both swam back,
The flapper taking the lead, because she’d got the knack
Of how to control her tail, and adjust direction and speed,
Then a thought suddenly struck her, in air, her lungs she would need.

They reached the cave and while in the pool, the flapper to the mermaid said,
“How am I going to breathe back in air? I can’t get it into my head.”
The mermaid replied, “I think you should try, we mermaids can manage ok.
Just try to do what comes naturally, that will be the best way.”

“In for a penny, in for a pound,” bravely declared the flapper.
She hauled herself out, then she choked, the mermaid, on her back did slap her.
The flapper coughed, and gave a gasp, then shouted in relief,
“I think I’m going to be all right, my lungs have started to breathe.”

They both lay there in silence, thinking of what had passed.
Then the flapper turned to the mermaid, and she said, “These last
Few hours I’ve spent with you have been just like a dream.
Now I’m tired, shall we go to bed? I think you know what I mean!”

They pulled themselves into the bed, and together they did huddle.
The mermaid put her arms round the flapper and together they did cuddle.
And this time, as the two of them laid together in rest,
It was now the mermaid who cupped the flapper’s breast.

The mermaid asked, “Remember when you stroked my tail and I gushed?”
The flapper felt embarrassed and again on her face she blushed.
The mermaid said, “It was really nice, wouldn’t you like to try?”
The flapper replied, “I’m afraid it’s too late, and here’s the reason why.”

“That would be an experience I’d really like to try.
However, it is too late now, ’cause as my tail got dry,
I felt it metamorphosise, have a feel, I beg.”
The mermaid reached down with her hand, and felt the flapper’s leg.

Nevertheless, she stroked it, and rubbed it up and down,
And accidentally touched some hair, which caused her then to frown.
“I think you’ve got a problem, you’d best hear it from me.
Stuck between your legs, I think there’s a sea anemone.”

The flapper remembered the last time that the mermaid there had felt.
She’d had on silken *******, so had seemed smooth and svelte.
Now, she’d got her legs back which were absolutely bare,
And of course, instead of feeling silk, the mermaid felt her hair.

“That’s not an anemone, in fact, it is my......frizz.
I am used to it being there, that’s just the way it is.
I try to keep it neatly trimmed, so there is not a lot,
Besides, I think it’s there to protect the entrance of my grot.”

“When you say you’ve got a grot, I assume you mean a cave.
Is it as big as this one, holding all the treasures you have?”
The flapper answered the mermaid, “Oh no, it’s very small,
And held safe within it is my most precious possession of all.”

“I have carefully guarded it so that it won’t get lost.
I expect my husband to have it soon, a few weeks at the most.
And so, my dearest mermaid, until I am a bride,
Nobody will ever know just what I keep inside.”

The mermaid gently smoothed the ‘frizz’, and said, “I understand.
Now, don’t you think it’s time we got you back to land?”
I would like to help you, and I think I know a way
Of quickly getting you safely all the way to Bombay.”

“Thank you,” responded the flapper, “however, if we may,
I’d like to go to another port, one before Bombay.
Then, if at all possible, I can rejoin my cruise ship there,
And may I take some of your clothes, so I’m not on
It's just a New York night in lower manhattan
nineteen twenty nine december time
this place has been dry for over eight years
but for the last two months the bars have opened
and oh boy do they sell some crisp cold beers

There I meet my girl
her with the sparkles in her eyes
that crazy girl
who loves so well
my flimflam flapper

She is a goddess of con tricks
a purveyor of ***** play
yet she is near freedoms reach
she does not care if you call her
by her flapper name
queen *****

By Christos Andreas Kourtis aka NeonSolaris
For years, Tim had the visions
Seeing things that no one could
If he spoke of them, he's crazy
He kept quiet, like he should
Just normal, little, visions
Of people who were dead
Just wandering in places
He knew weren't in his head

It started on vacation
He saw the "grey lady" in a room
At first, he thought the lighting
made what he saw there in the gloom
But, later, in his bedroom
while reading pamphlets on the place
she appeared there in his bedroom
But, he couldn't see her face

He kept his little secret
Not telling people she was there
She was mentioned by no others
So, he didn't really care
An undigested bit of beef
A piece of moldy bread
Like Dicken's Scrooge before him
She wasn't real, because she's dead

While still on his vacation
He saw two more, this time more clear
He saw one upon a staircase
And the other, much more near
They never interacted
Didn't know that he could see
But, he wondered "why could no other"
"see them 'cept for me?"

Two years had passed, he was at home
He was living on the coast
When one day he saw the woman
And he knew she was a ghost
The house was large, and gothic
With a widows walk on top
It was there he saw the woman
He shut his eyes to make it stop

She walked upon the rooftop
Looking out over the waves
Her dog was there beside her
Looking for someone to save
He walked away in silence
Turned to look, she was not there
He knew better than to think that
It was a trick of light and air

Turns out the spirit walker
Lost her husband in a wreck
He was a whaler, up in Portsmouth
He drowned and broke his neck
A wave came out of nowhere
Sank his boat, "The Lucky Hoof"
Now, his widow walks and watches
She is a fixture on the roof

He's seen children in the bushes
Not quite sure if they were real
But, could he talk about his visions ?
His dark secret to reveal
They never seemed to notice
That he saw them, they just were
So he'd watch them and he'd listen
Till the day that he saw her

She was sitting in the corner
Of a restaurant, alone one night
But as he watched a little closer
He saw no shadow from the light
She sat alone in silence
No one ventured where she sat
She was dressed in twenties clothing
A classy dress and flapper hat

Two nights went by, he saw her
Sitting exactly as before
When he asked about the table
He saw the table was no more
He had to find this woman
find out why she showed up here
He would investigate the building
But, first he'd have a beer

Turns out her name was Maisy
At least that's what he found out
She went missing from the building
Of this there was no doubt
No one knew which way she travelled
No one ever saw her go
But, the stories, oh the stories
Maisy, turns up...don't you know

The corner with the table
Was just a bricked up wall, that's all
It was constructed when she left here
By the old owner Joe Paul
There never was a reason
For the wall, it had no use
There could only be one reason
And I think you can deduce

Maisy never went and left here
Joe killed her late one night
It was an accident of passion
He had to hide her out of sight
But like Poes tale "The Telltale Heart"
She would show up in her seat
Only Joe could ever see her
No one else would Maisy meet

Tim went to the new owner
Told him of Maisy and her tale
Told him of The Widow Hanker
And her husband and his whale
Was he crazy ? or a mystic ?
The owner said "you are no clown"
And he said tonight at closing
The wall is coming down

They found dear Maisy waiting
In her dress and flapper hat
She was sitting at the table
She was dead, and that was that
The owner, shocked to silence
Stood and watched our mystic Tim
As he stood there while Maisy's spirit
Left this world and passed through him

Tim still has the visions
Still sees the woman and her hound
Still watching for her husband
Tim knows he won't be found
He knows which ones he's needed
To investigate, set free
And the rest of all the spirits
Well, Tim knows what is meant to be
Eleni Jun 2017
Friday- the most promising day of all.
The beginning of the weekend, but the one day that will spark appall.

Down on Mainstreet all the girls
In their fringed dresses, pouting their foxy lips and their hair waving in short messes.

The hags frown as the winged ladies pass by- displaying their carriages a little sly.

Oh, but Jane's favourite speakeasy was 'The Back Room' down on Norfolk Street: the place where the lost creatures meet.

Tin ceilings, velvet wallpaper, plush thrones and back in that dark corner, there is the sound of low moans.

'A whiskey, neat, please' as a shadow in a tuxedo walked towards her and he whispered 'Hi,' in a sensual purr.

'Who are you?' he stirred,
'Oh, I'm Miss Doe' and he lept into the stool with a swift flow.

And the jazz trumpets married the spontaneous harmonies and the saxophone created sublime melodies.

So they sat as idle as ghouls in the dim spotlights, until Jane asked Mr Buck:

'D'you fight in the war?' And he whined 'Cambrai, Amiens and Lys' - his lips seemed a little sore.

'I'm sorry - do I know you?' His face looked as familiar as Jay to Nick. A brief pause in time at that smile.

That was the final chord to the "lick".
He drove her down to Roslyn- to his replica of Versailles and Jane looked intensely shy.

'Oh, do come in,' the desperado soughed. And she walked into the gilded palace which Cupid's presence bowed.

'I have a favour to ask of you, Miss Doe. Would you be as kind to wash away my woe?'

And as they congressed under diamond chandeliers, his comrades gathered around the bed in amorphous silhouettes; watching disgustedly.

As for Mr Buck he was an alien, skin-to-skin with a haunted beauty and Miss Doe- a labourer on duty.
A story based on the aftermath of the First World War, the birth of a "lost generation" and the excess of the 1920s.

1 'Miss Doe...Mr Buck' referring to a mature female of mammals of which the male is called 'buck'. This further adds to the animalistic imagery of their encounter.

2 'Cambrai, Amiens and Lys' battles of the First World War which the United States was comprised of the allied effort.

3 'Jay to Nick... that smile' an allusion of 'The Great Gatsby' when Gatsby and Nick meet for the first time at one of his lavish parties. Nick romanticises Gatsby's understanding smile.

4 'Lick' a jazz term for a repeating pattern or phrase in music.

5 'Replica of Versailles' a regal palace in France in this poem representing the wealthy individuals of 1920s America in New York.
Tallulah Mar 2013
I am a walking glass
Transparent
An overflowing rim
I hope it’s not too apparent

Don’t tip me
I might just spill
Was it one drink or three?
I’ve drunk my fill

I’m your whiskey girl
Bubbling over
A sequined, beaded twirl
another lover
"Angels of the love affair, do you know that other,
the dark one, that other me?"

1. ANGEL OF FIRE AND GENITALS

Angel of fire and genitals, do you know slime,
that green mama who first forced me to sing,
who put me first in the latrine, that pantomime
of brown where I was beggar and she was king?
I said, "The devil is down that festering hole."
Then he bit me in the buttocks and took over my soul.
Fire woman, you of the ancient flame, you
of the Bunsen burner, you of the candle,
you of the blast furnace, you of the barbecue,
you of the fierce solar energy, Mademoiselle,
take some ice, take come snow, take a month of rain
and you would gutter in the dark, cracking up your brain.

Mother of fire, let me stand at your devouring gate
as the sun dies in your arms and you loosen it's terrible weight.



2. ANGEL OF CLEAN SHEETS

Angel of clean sheets, do you know bedbugs?
Once in the madhouse they came like specks of cinnamon
as I lay in a choral cave of drugs,
as old as a dog, as quiet as a skeleton.
Little bits of dried blood. One hundred marks
upon the sheet. One hundred kisses in the dark.
White sheets smelling of soap and Clorox
have nothing to do with this night of soil,
nothing to do with barred windows and multiple locks
and all the webbing in the bed, the ultimate recoil.
I have slept in silk and in red and in black.
I have slept on sand and, on fall night, a haystack.

I have known a crib. I have known the tuck-in of a child
but inside my hair waits the night I was defiled.



3. ANGEL OF FLIGHT AND SLEIGH BELLS

Angel of flight and sleigh bells, do you know paralysis,
that ether house where your arms and legs are cement?
You are as still as a yardstick. You have a doll's kiss.
The brain whirls in a fit. The brain is not evident.
I have gone to that same place without a germ or a stroke.
A little solo act--that lady with the brain that broke.

In this fashion I have become a tree.
I have become a vase you can pick up or drop at will,
inanimate at last. What unusual luck! My body
passively resisting. Part of the leftovers. Part of the ****.
Angels of flight, you soarer, you flapper, you floater,
you gull that grows out of my back in the drreams I prefer,

stay near. But give me the totem. Give me the shut eye
where I stand in stone shoes as the world's bicycle goes by.



4. ANGEL OF HOPE AND CALENDARS

Angel of hope and calendars, do you know despair?
That hole I crawl into with a box of Kleenex,
that hole where the fire woman is tied to her chair,
that hole where leather men are wringing their necks,
where the sea has turned into a pond of *****.
There is no place to wash and no marine beings to stir in.

In this hole your mother is crying out each day.
Your father is eating cake and digging her grave.
In this hole your baby is strangling. Your mouth is clay.
Your eyes are made of glass. They break. You are not brave.
You are alone like a dog in a kennel. Your hands
break out in boils. Your arms are cut and bound by bands

of wire. Your voice is out there. Your voice is strange.
There are no prayers here. Here there is no change.



5. ANGEL OF BLIZZARDS AND BLACKOUTS

Angle of blizzards and blackouts, do you know raspberries,
those rubies that sat in the gree of my grandfather's garden?
You of the snow tires, you of the sugary wings, you freeze
me out. Leet me crawl through the patch. Let me be ten.
Let me pick those sweet kisses, thief that I was,
as the sea on my left slapped its applause.

Only my grandfather was allowed there. Or the maid
who came with a scullery pan to pick for breakfast.
She of the rols that floated in the air, she of the inlaid
woodwork all greasy with lemon, she of the feather and dust,
not I. Nonetheless I came sneaking across the salt lawn
in bare feet and jumping-jack pajamas in the spongy dawn.

Oh Angel of the blizzard and blackout, Madam white face,
take me back to that red mouth, that July 21st place.



6. ANGEL OF BEACH HOUSES AND PICNICS

Angel of beach houses and picnics, do you know solitaire?
Fifty-two reds and blacks and only myslef to blame.
My blood buzzes like a hornet's nest. I sit in a kitchen chair
at a table set for one. The silverware is the same
and the glass and the sugar bowl. I hear my lungs fill and expel
as in an operation. But I have no one left to tell.

Once I was a couple. I was my own king and queen
with cheese and bread and rose on the rocks of Rockport.
Once I sunbathed in the buff, all brown and lean,
watching the toy sloops go by, holding court
for busloads of tourists. Once I called breakfast the sexiest
meal of the day. Once I invited arrest

at the peace march in Washington. Once I was young and bold
and left hundreds of unmatched people out in the cold.
Elissa Coady Sep 2011
Chime, clatter, clank, ring,

Clink, dream, shuffle, rub

What’s that you say?

Where’s that racket coming from?

Why, it’s the wings on my heart, a flappin’ together

Having one hell of a party

Watchin’ all the pretty people go by.

Red and blue figures running strait out of the aorta

With flashing clappers in their hands.

What racket? It’s a celebration!

Watch the jumpers swirl,

The tumblers whirl,

My own arms flap as I want to hurl

Up all my faults to make room for more joy

To allow my body the ability to express,

That which it cannot.

What is a skeleton?

Just take it away! And my limbs can join the heart runners

A wobblin’ and bendin’ and flappin’ each way

Kiss the day, kiss, kiss the day

What are my innards?

Just take em’ right out!

I’ll have more room

For the smiles of children,

Golding leaves,

And black ambition.

I’ll be able to **** in the morning air with all my being

And fill the cavity where my intestines once were

With real soul soup—savory sweet

And people say there’s no heaven?

This I’ll never believe.
Geno Cattouse Oct 2013
not since nor silk.
Mother's milk for the generations.. yes she was .

Greeted Lindbergh on touchdown.
Society clone. Rich ******* could not leave her alone. Tall tale teller.Paperback
construct. Stepping into the ball with no invitation and stopped the music and conversation.
Pale skinned poser.
Gettin over.
Her daddy was a man of means.
Hired by the Majesties to count jellybeans.
He loved the local **** to the tune of
Poppa was a rollin stone.

The magistrates and potentates in the republic of bananas. Pinkys up tea sippers .
Could not get hold of collective zippers.

Faded portrait. long dead poser.ball buster. Pretty as crystal.Tough as pig iron.
She was high flying flapper. Cutting a rug. Charleston,Jitterbug. Short skirt flirt. Grandma ?

Smokin hot and  smokin when women did not dare. C.O.P.D. and a hacking cough came the pipers toll.                                                            ­       The Wages.
                                                                ­                           Just keeping it real.
                                                           ­                                                               Sl­ip sliding away.

Drove a Jalopy.
Aiee Pahpi chulo. Bestin May West with a smaller life jacket.

                                                        ­                  Turn the century.
                                                                ­          Trench warfare.
Over the top.The war to end all ? shiiiit.  Great Grandma
was a show stopper. To the very end.
Retrospective on my great grandmother in Belize In the early nineteen hundreds. She was an extremely beautiful woman who was independent and bold in Colonial British Honduras. She was a ground breaker and fearless. Had wealth and lost it all. But remained strong.
Erini Katopodis Aug 2012
there is an orange jungle,
where the concrete meets the grass.
And the women, walk
on all fours
and the men, bloodthirsty, crass
crouch behind trees
wearing top hats-
wearing neckerchiefs and gloves,
with dirt beneath their fingernails,
crouched in a feral stance.

The ladies have around their necks
dangling diamond gems,
and golden rings with emeralds
and rubies they defend,
and hanging from the mud-smeared chests,
the exposed ribs, the thighs and *******,
are strings of torn-up flapper dress.

(only the best) these rags of dress
that trail through the mud and grime
that reminisce of ***** and drinks
and girls with pearls, and girls with minx
and men in dapper suits and ties-
and then the vision flits and dies
when in the orange jungle deep
where the grass meets the gray concrete
a tiny clan of humans sleep-

the masquerade
that they betrayed
that last swing-dance
that took a trance
and led them to an un-rest sleep,
where they run in a jungle deep
from eras that left them behind
now feral, now, inhuman, blind
the orange jungle swallows whole
the tiny people its time stole.
judy smith Jul 2015
Getting married on a beach, mountaintop, remote villa or rustic rural setting is a romantic ideal for many brides.

But what does that mean for the wedding dress?

Should you go formal or footloose? Will your gown fit in your suitcase?

A bride having a "destination wedding" should think about versatility when choosing a gown. She must be "concerned about being comfortable, more so than your typical bride. She has to contend with weather and terrain, making her gown choice critical to how at-ease she feels on her special day," says Lori Conley, senior buyer for David's Bridal.

Christine Pagulayan of Toronto and her fiancé, Ian McIntyre, jetted to Costa Rica in 2013 for a resort wedding.

"I had a (dress) style in mind: strapless, low back, white with ruching. Initially, I thought about going short, since we were going to get married on a beach, but I then realized that even if it may be heavy or sweaty, I wanted a real wedding dress. So we found one that had a gorgeous train, but it also had a bustle so I could dance," Pagulayan says.

Some dress trends for destination brides:

• LIGHT FABRICS AND SHORT HEMS: Many traveling brides favor lightweight, airy fabrics.

"Chiffon and organza are always favorites. Full trains can be cumbersome if you're navigating sand or grass," says Conley, of David's.

"A lot of brides opt for the ease of a sweep train," which just grazes the floor.

David's destination-friendly dresses include styles in full or tea-length tulle, soft lace or chiffon, Conley says. Fabrics that travel well for brides wanting a more structured gown include silk gazar, georgette and crepe, which are "lighter-weight versions of silk faille and Mikado," says Carrie Goldberg, associate fashion editor for Martha Stewart Weddings.

J. Crew's Karina short dress, for instance, has a flapper-esque fringe, and is covered in corded lace. • SEPARATES: "Tops and bottoms are not only easier to pack, they allow for mixing and matching fabric and fit to get a silhouette that feels unique to your personal style," says Goldberg.

Separates work for any destination, she says: "A full organza skirt may appeal to a bride getting married on the beach; pairing it with a delicate silk camisole suits the location. The same skirt would suit a mountaintop affair when paired with a fur bolero or a fine knit."

J.Crew's Sloane poly-cotton long skirt has a simple, draped profile; a silk cami top embellished with beads, crystals, sequins and paillettes in a floral motif creates a dressy look.

At David's Bridal, there's the crisp Mikado cropped top balanced by a flowing, organza ball-gown skirt, creating a modern silhouette.

• COLOR: Let the venue inform your choice of hue, Goldberg says.

"A sunset wedding in Napa pairs beautifully with a blush gown, while the colors of an Amalfi Coast wedding may inspire the bride to opt for something blue."

• VERSATILITY: For bridesmaids — or perhaps even the bride — White House Black Market has a clever option: a short or long pull-on gown with a customizable top. You can adjust the straps on the "Genius" dress to make a halter, one-shoulder or cap-sleeved version. Easy to pack, affordable and available in a range of colors, these might be a good option for a group of bridesmaids.

• FOOTWEAR: Flats or wedges are ideal for beach or garden: "The more surface area the sole of your shoes have, the easier it will be to walk," says Conley.

Keep in mind that satin or grosgrain might get stained by grass or sand.

Another option for beach brides is "foot jewelry," an accessory that does away with the need for an actual shoe.

read more:www.marieaustralia.com/formal-dresses-adelaide

www.marieaustralia.com/plus-size-formal-dresses
Nora Mar 2017
Little girl with wide blue eyes
Dreams as boundless as the skies
Surrounded by dust and dead ends
Waltzing in a land of make pretend

Freckled, fervent and coy
Twirling past the neighbor boys
When she moves, she slips away
Lost in a smile and a happy place

Left to wander the desert dry
Alone and forgotten no matter what she tries
Looking for affection in an empty well
Fading echoes of forgotten church bells

With her reveries she swiftly dropped
A leap of faith and the whole world stopped
Warm blood and dampened grass,
A mangled foot and a binding cast

In dark days she prayed for help
Wanting to step and perform
Not ready to give up her last chance
To take the stage by way of dance

Ten years later, she's swaying
and twice as stunning as before
Sculpted cheekbones and brooding eyes
Grabbing audiences by surprise

She's reborn a star of the movies,
With a new name and tiny waist
Pretty young flapper with a striking face
The little girl has finally found her place
Happy birthday, Joan Crawford (1906-1977). You are sorely missed and your legacy continues to live on. <3
Michael W Noland Jun 2013
Timmy the tortoise shell
Lived a tortured hell
When he fell
And cracked his shell

As Timmy tortoise
Had a timid soul
That would spill
From the cracks
And stack in tow

But Timmy was a loner

Quick to ******
Closed the traps
Of deviants and attackers
With his snapper

Even happier
He'd turtle slap ya

But Tim's dapper days
Were done

He was a flapper in the ****
Of an overly populated pond

Technologicalcated and wrong

And it tinied t
Under its beams
Of ruining

Until he
Eventually

Was gone
She never wore nylons,
preferred stockings instead.

Her hair
coloured blue and her
lips violent red.

She said it's the new thing
this queen's for a fit king
I never said anything.

And time only told when
she got very old and
the lines that were drawn out
and borne out
in her fragility.

She mentioned me once
in an ambulance,
'Save me'
but she never gave me
a look when she looked
like a princess.

it's how we look at and take it
that we manage to make it
and the ones who can fake it
seem to go far.
Jessica Thompson Apr 2013
He gave me a ring
With its facets glazed and cracked
Insisting it was once his great-grandmother's
She who
In rot-edged vintage photos
Wore a mink stole and flapper beads.
_____________

She pulls at seams
Takes up and brings down hems,
The stole pushed to the back
Of a web festooned attic
In a steamer trunk slapped with decals:
Moscow
Austria
Monte Carlo
Rio de Janeiro.
On cold days she wears it again
Dancing to old melodies on rough boards
And when she hears the front door slam
It's made to disappear in haste,
Her engagement ring clacking
Against the trunks flip locks.
That night as she makes biscuits
For her breadwinner she sees
The crack, the chip
Through a glaze of milked flour.
Lyn Senz Nov 2013
I knew a lady trapper
who would trap out in the styx
she used to be a flapper
back in nineteen twenty-six

I met her in a diner
well not really just a bar
and I told her I'm a miner
as she puffed on her cigar

She said 'Gus your kinda ugly
and your breath stinks awful bad
but I been fussin with my fugly
so I'll tell you why I'm sad

See I love to hunt for ******
it's my passion I can't lie
but I left my love's receiver
cuz she won't eat ****** pie

Now I could have dried some jerky
guess I should have fried some pork
but my ****** tastes so perky
fugly wouldn't touch her fork

Gus I miss her I'm so lonely
she's my only, what a dish
I can't leave her over ******
so from now on tuna fish!"


©2011 Lyn
Brent Kincaid Mar 2016
I poeticize, proselytize
Punctuate and pontificate.
I write couplets and rhymes
And I really do it all the time.
I exacerbate and exaggerate
With no desire to intimidate.
I make similes and metaphors
Indoors and even out of doors.

There’s cussing and discussion
And sharp literary impressions
Through diversions, conversions
Allusions as well as conclusions.
And with luck, no delusions.
Just syllabically deft fusions
Of some deferential references
With a deft touch of reverence.

I rhyme thyme with fresh lime
And cardamom with cinnamon.
Sweetbreads and shortbreads.
Chicken bones and licking scones.
Rhyming pumpkins with dumplings
And matching up filets with filberts
Just as cocoa goes well with Kona.
Marmalade can be a good marinade.

I rhyme chrome wheels and automobiles,
Freeway off-ramps and Tiffany lamps.
Cellophane and vintage airplanes.
Flapper vamps and streetwalking tramps.
Also Cinderella coaches and cockroaches,
Nothing is unfair game to a busy poet.
As well as RCA Victors and boa constrictors.
Since I’m a poet, everyone should know it.
A Mareship Oct 2013
Table,

My father and I sat
In our timeless silence
That brewed away beneath the lights
Like a sweat that never breaks.

Sister and the Stranger
Sat flanked by pillars,
With two full glasses of
Blood-lit wine
Simmering warmly like
Lamb's hearts
Dropped into bowls.

Never do I love my sister more
That when she wears that little fishhook
Of a smile,
A grim refusal of her lips to flicker down,
Making mincemeat of photographers,
Men in bad jumpers,
And garrulous psychopaths.
It was crueler than any frown.
Far more efficient.

The Stranger buttered her bread-roll all at once,
(A damning thing to do this afternoon)
And dinner turned to coffee
Without a hitch.
I noticed that the whole evening was
Done in a deliberately cut-glass way -
Two siblings painting themselves
Into the people they never wanted to be,
To make a ******-minded point.

She’s not one of us.
She’s nothing like us.
She’s nothing like mother -
Absolutely nothing like mother!


And as we stood waiting for the car
My sister turned to me and said –
“I thought my expectations of daddy were low.”
She swiped at her flapper-girl haircut,
“Turns out my expectations
Have a basement.”

We only notice class
When we need to shut someone
Out.
We only notice class

When it's all we've got.
Mitchell Duran Oct 2012
When the titles turn to grey
Each bitter ash a story untold
A breaking mold on the fray
Your a big girl all the way

But what do I need that I don't have?
Each breath a sin, each exhale a salutation
We are God's unwanted children
There on the horizon is our unholy pollution

When I knew my mind I knew myself
But the press of the matter is not there where it starts
I have a room and it is mine, but the key
Is nowhere in a place that I can rightly see

Listen to the blows of the wind without your ears
A children's scream echoes, so rightly near
Poe danced in the asylum's of madness and its prayers
But whose to say that love also doesn't Fear?

I can hear the whip of the way
The way our forefather's used to play
And of course our skin tingles as we mingle
With the one's we used to enslave

I wear the cloak of eternity
You see my eyes but lo', they are not mine
I dance beneath your very veins
And the pen is where I hold my flaming reins

I ask only for bread
I ask only for butter and
Water that tastes like the tears of mother
All others should be left by the door, unbothered.

Take me for what I am
A mule with only a man's mind
A body that one day will break,
A recognition that I - not myself - keep in repression

For the sunset keeps me amused
The tools of my own body screams
And as I watch the cream of the scheme rise
To the tip top, I inhale to make time stop

I've got my hat on, but where's my love?
I see a bed, but the sheets are made of lead
I need a road, a story untold
A life whose line will never run cold

I see where the line is supposed to end
When the words end n' you've got nothing else to send
But whose words are these if I've got nothing to lend?
My rose bushes are fine, I've got nothing in this world to tend

Each lonesome note
Across this valley of tears
Is what is just too hard to bear

A turn in the tide
Time in my own memory
Too tough to tear and throw away
A thorn I'm forced to hold near

One day I'll see clear
Why it was even there

Minutes on minutes of minute time
In pendulum we justify each step
Our heart beat is our unrest
The beat of our neighbor's walls our anxiety

There are no more blankets to cover the world
We are out of detergent to keep ourselves clean
The lines of the supermarket are too long and
Were out of cream to keep our girls rightly esteemed

I'm headed out of this place
But no time soon
As for the weather
Ask for the flapper's in the smoky ballroom
judy smith Mar 2016
If you had to pick one adjective to sum up Michael Kors' collection at last month's New York Fashion Week, a good bet might be "feathery."

The designer was going for "the flirty freedom of things that move," to quote his production notes, and there were flirty feathers on at least 10 of the looks he sent down the runway - starting with feathers adorning a pair of jeans, and moving to feathers on a houndstooth tweed coat, on a denim or tweed skirt, and on black silk for ultimate evening effect.

There also were plenty of sequins, adding a very bright sheen to some of the fashions, especially a silver sequin embroidered "streamer" dress, with the hem cut into strips that indeed looked like streamers, and also a pair of seriously glistening silver metallic stretch tulle pants.

This is Kors' flagship collection, not his more accessibly priced secondary line.

Kors always has a healthy celebrity contingent at his fashion shows, and February's event was no exception: Blake Lively and Jennifer Hudson were among the front-row guests. They were there to witness an anniversary of sorts for Kors.

"I'm not one for anniversaries and I'm really not a big kind of looking-over-my-shoulder kind of guy," Kors said in a backstage interview. "But when I started designing this I realized, oh my God, this is my 35th fall collection. That's crazy!"

Kors added that as he reflected on the milestone, he realized the most important thing was to keep his fashion fun.

"I wanted this to be full of fun and charm," he said. "So it's very flirty, short, leggy, not a gown in sight. All the rules are broken because stylish people break the rules ... The seasons are crazy anyway. So when the weather's terrible, don't you want to put on a fabulous apple green coat to change your spirits? Don't you want to wear tweed with flowers? Don't you want to put feathers on flannel? Wear flats at night? Wear metallic for a day?"

From his sunglasses to his gold glitter pumps, Kors' collection exuded fun, not fuss. Even a denim skirt is luxe, when covered in feathers. A hoodie adds reality to a silver sequin cocktail dress. And who doesn't love handbags the colors of jelly beans.

CAVALLI'S DECADENCE

MILAN - Even while venturing back in time to the Belle Epoque era, Peter Dundas' latest collection for Roberto Cavalliremains rooted in the rock 'n' roll '60s and '70s. His collection bowed during Milan Fashion Week last month.

The languid looks were strong on glamour and workmanship, from the ephemeral sheer beaded evening dresses in pale shades to the colorful patchwork fur coats worthy of any rock star: art nouveau meets Janis Joplin.

''Decadence, superstition, mysticism, Gustav Klimt, Aubrey Beardsley - things that give me a kick," Dundas said backstage, describing his inspirations.

He said the Roberto Cavalli woman for the season is ''a little wild and instinctive."

The Cavalli animal print for next winter is tiger, in long skirts and short bomber jackets, while denim gets its due with a long trailing coat and flared embroidered jeans. Looks were finished with long scarves tied casually around the neck, makeup hastily done and hair loose and natural.

Notwithstanding the labor involved in his creations, Dundas says he would like to see his collections get into stores more quickly than the current system permits.

''I wish I could. I am working on it," Dundas.

DIOR'S PARISIENNE

PARIS - Vogue fashion doyenne Anna Wintour, former French first lady Bernadette Chirac and Chinese actress Liu Yifeiwere among the celebrities on the front row of the Dior show held in an annex inside the picturesque Rodin Museumgardens in January.

In the clothes, the "spontaneous, relaxed Parisienne of today" mixed with the iconic styles of the 1940s and 1950s.

High-cut post-War shoes with occasional retro ankle bows accessorized embroidered silk gowns in freestyle volumes - often with "sensual, bare" accentuated shoulders. A couple of flapper-style lace, chiffon and tulle look also evoked the joyful feeling of the 1920s - the period between the two World Wars.

Dior's studio team of designers also set about experimenting with the famed "bar jacket" - it "changes appearance depending on whether it is worn closed or loose," said the program notes.

It thus came in myriad forms: in tight, embroidered black wool, loose and white, open to expose the breast sensually, oversized and masculine, or as a beautiful dark navy wool coat.

There were also traces of the historical musings of past creative directors - such as Galliano and Simons - set off nicely in one look off-white wool "bar" jacket interpretation with flappy 18th-century cuffs.Read more at:www.marieaustralia.com/bridesmaid-dresses | www.marieaustralia.com/short-formal-dresses
Medusa Jun 2018
my grandmother typed poems out for me,
she was almost 100 years old, and still the women
lashed to the mast, half-naked, screaming in lust
in pain, in poetry from Anamae's imagination

straight to my brain, turning me into a flapper childe
wanting gin and jazz, I did, wanted to wear her skin
even at 6 years old, she knew what she was making of me
Anamae was proud of me, in a way my mother could

never have imagined
OnwardFlame Apr 2016
Reckon this is just kinda how it's gonna roll, roll down the rainy Windows outside the worm hole cafe

Every weekend gonna be big
It was so much easier to just
Hold the camera in my hands
Just my 3 sisters and me
But it's about scope
I urge and persuade
I nod and calm my nerves
To Animal Collective
Sitting in a blue lounge chair

Probably just need to get ****** pretty soon.

But I feel so, feel so
Asexual.

Backless dress, so inviting
We hum across ocean waves
What makes me special?
Does anything I do actually matter?
I turn my music up louder.

Nod. Nod. Remember remember.
I don't know
I don't know
Early 20s.
Modern day flapper
Movie maker.

I went from dedicating poetic words
To him
Nope scoot over
Him
Door shut so unexpectantly
Him
Nope. He's gone too.
Bye. Bye. Bye. Bye. Bye.
Cya.

I give away charms and gems
Like the facade of espresso I drank
It tasted so bad
But I bought a beautiful necklace
A treat a treat a treat.

Let's go.
In time.
My prince will come
I'm Cinderella at the ****** ball
But my shoes
I never lose any of them.
Introducing an ickle intellectual,
a firehearted, foxhaired tomboy geek called
Miss Eloise Agatha Emerald.

Who's sharp as a button, who's bright as a whip
(a button sharpened upon flint of print,
& fairylights 'round such a whip would twist)!

So Weeze Emerald whiled away summer hols,
reading loony tome by a man named Carroll
Mrs.Emerald bought from a shop called Jarrolds.  

Dumbing up on a smartphone the modern joy,
but imagination Eloise's neverending toy,
tho' she didn't dream up the chipmunkish 'Oi'

interrupting her reading in the garden.
She put down her book and begged the pardon
of indeterminate orator th'Oi had come from.

She searched side to side, her red bob flicked;
she looked under her ***, her red bangs dipped;
she shook her red head - did she daydream  it?          

'Oi, Orange Bonce, giantess, over here!
Atop the 5th daisy to your left, my dear,'
squeaky cheeky buzz buzzed somewhere near.

Eloise Emerald had a snout about
- 1 daisy, 2 daisy, 5 flowers the count
whereupon she spied source of the mouth.

Highpitched purr far from chippurr
the chipmunkish hum of gauzy-wing-flapper,
uncommon bluebottle showing little stiff upper    

proboscis.
Who'd Oi'd Eloise at top of his 'Oice
sported tiddlywink shields over his joints
& did stew as blue as a ballpoint,            

black as a biro, on daisy 5 dancing vexed
(if an ant didn't span one of his legs,
& if he wore pants, most impudent insect

in 'em would 'ave angsty ants.
                           Natural Brownie,
it displeased Weeze to witness
fellow lifeform frowny,
so w/ bookmark she bimbled, then put down her copy

of 'Alice' on the staining grass,  at her place ajar anyway.
' Now, Mr. Fly, all atizz you buzz! Are you, yunno, okay?'
- coz you're mad as monkeybats her rolled eyes
                                                                           conveyed.

'Well, duh! Were I acting out an inner glow,  
would I oi for assist from ginger giantess? No,
so seeing that I have no chOIce...
How do you do, I'm Ludo!'

'There's no need to be uncouth, Ludo the Fly,
Eloise A. Emerald at your service, but I
advise you buzz w/ decorum should you seek an ally.'  

But Eloise A.Emerald didn't hold grudges
(anymore than she'd wear hair up
in foxtail bunches)
& tho' mucky flies strode upon her school lunches,

forthcoming her aid  for new housefly homie,
whose latticed eyes bulged w/ rare mute 'holy-moly'
for thanks.
Ludo's lament: 'O no more to flit free

upon summer breeze from dogpoop to fruitbowl
about my buzziness, for I've stepped in this tangle...'
- he gestured to chequered fetter about his ankle.      

'I's grounded by this strand from who-knows-where,
thread of black 'n' white-squared gungey gossamer.'
'Woz ye not,' Eloise consoled, 'I'll yank it offa yer!'

'Up your nelly, ginger giantess! Dem galumph-
ing thumbs will pluck off one of my limbs
before the squillion vermillion honeycoombs

of my compound eyes bawled w/ 1 wince.
No, p'haps
bookworm like you can better flex her thinking cap
at close quarters. Can you sing a shrinking rap?'

He instructed Eloise to repeat after him:
' Yoyoyo! If you wanna get down
where the grass ain't strimmed,
do da kreepykrawly krump wit' no need to squinge;

if you want da title of 'Titch'  in Lilliput,
if you wanna measure up to underfoot,
gotta spit dis shrinking rap and shake your, er, boot!'

As he rapped, Ludo busted out some breakdancing moves
only 6 legs could really pull off. Eloise mused
it was prolly a good job she hadn't ripped 1 of them loose,

echolaling along to resizing rap craptacular.
' If you wanna hi-5, erm, hi-40 a spider;
get stuffed on single sweetcorn kernel for supper;

if you wanna bants with a Borrower, 'Fanx for the lend,
but I fear your cargopants won't fit me, my friend',
sing Ludo's shrinking rap right thru to da end!

Deez dinkifying rhymes, repeat to go to
a destination w/ a stunning worm's eyeview!
Ginger giantess, now Thumbelina No.2 !'

At shrinking rap's finale (phew!), Eloise
shuddered w/ migraine of submolecular squeeze.
There was nauseous flash, then g-force of more Gs

than Mr. & Mrs.G & their large family in every seat
of rollercoaster whose carnie controller fell asleep,
save it was reverse g-force for her mass decreased.

As did her height, from current stature aged 11
to shorty she was at 7, pipsqueak at 6,
pipsqueakier even
at 6 months, to once-upon-a-bun-in-Mrs.Emerald's-oven,                    
  
til­l, sultanasize, her meagrements matched the flyrical fly's.
Unkempt green blades now bowed high
above her red head. Weeze saw red too, no way would she occupy

the bottom of the bottom of the garden forever,
facedown 'Alice' unfinished if its spine-ridge were shelter!  
'Ludo,' she grrred, 'I'll pluck that leg off now, GRRR!'

'Ah c'mon, Ginger Gian...  oh riiiiiight, I need to come up
with some new materi...'ELP!!!!!!!!'  
Before Weeze got more bugged,
                                 Ludo was dragged off
                                 when legature on his lig,
I mean ligature on his leg, was dealt                     distant tug.
Illustrated version: http://chirpydirges.co.uk/eloise-1/
Latreece Rose Jan 2015
His body was taint
craved desire yet lethal
mercy lost, tasteless.

****** lustful
he kissed my tender moist lips
and caressed my waist.

I was a ******
though I thought of *** often
and prayed for my prince.

The boy touched the girl
smooth and inappropriate
her tummy tickling.

I arrived home late
cannabis calming my thoughts
liquor my lover.

I smoked cigarettes
and thought about his soft touch
him an addiction.

He would say my name
murmur low “Evangeline”
and control my youth.

Wanna-be poet
eighteen and always failing
haikus a joy.

I write in my mind
the 5-7-5 a puzzle
sleepless nights my friend.

All artists are poor
embracing weirdness, difference
rebellious baby cubs.

I am a panda
elephant or an ant queen
maybe a mermaid.

Not so little now
but exploring earth and sea
born in the 90s.

The Holy Spirit,
it resides in my body,
my body its own.

God said, “Let us make”
stating he was not alone,
that God is of three.

He is the Father,
The Creator of mankind
and all creeping things.

Jesus is the Son,
born to humanly connect
and die for our sins.

The Holy Spirit,
it is our heavenly soul
and image of God.

And Lucifer fell
God saying to go away
his beauty erased.

Daddy told me “pray,
and beauty will not leave you
and love will remain”.

Mommy is gone, dead
her voice and whispers a corpse
her skull remaining.

A pencil took love
American love too good
and of much horror.

Not ****** and cruel
but psychological pain
of regret and doubt.

My love was fire
illicit and illegal,
robbery of trust.

As if in prison
I was a caged animal
howling to escape.

His tongue, it danced slow
waltzing a tango flapper
in the loud 2os.

He approves of tears,
mine an arousal of sight
and he enters me.

He is my neighbor
about thirty or forty
who likes to smoke ****.

He would lure me in,
asked if I liked poetry,
a warm, young poet.

He read me sonnets
while I decoded couplets
his breath on my face.

Like strong peppermint
or cinnamon or maple
I was like a treat.

Milk chocolate delight,
a chai tea latte invite,
vanilla frosting.

I could have said no,
pushed him away and ran home,
but I liked his house.

Wanna-be poet
wasting time on a high man
Europe to explore.

He was not Britain
Nor was he Italy or
Switzerland or France.

He could not be Greece
nor Ireland or Norway
or Sweden or Spain.

He was Nevada
or Wyoming or Kansas
even Nebraska.

California sun
Washington and Oregon rain,
west coast was he not.

He himself was taint
saying “my love, my dear love,
my Evangeline.”

“My Evangeline,
my poet, my lover…young,
oh Evangeline”.

I think of Jesus,
the Holy Spirit and God,
fallen Lucifer.

An angel so bright
He could not let go of pride
And I’m falling, too.

Asleep I fall to
a song behind his split tongue
agony inflamed.

So I write of this,
an affair of poetry
spectacular, no.

She wishes for death
haikus of religion
and of sweet taint love.

Oh Evangeline,
The Holy Spirit weeps, too
your tears its own tears.
Sander Mar 25
A piano glissando started the jazz

There she was, the flapper,
She flew on her crooked dancing heels,
Tweeted a light hedonistic tune,
Her airy short fringed gown
Exposed her rouged knees and her naked thighs

A feather boa crawled on her pallid collar bones,
Her heels tapped on the snake’s every slither

The taste of whiskey masked the flavour of her
promiscuity,
A scandal
The scent of morphine wafted around her,
A mirror to her unsettled hoedown

The flapper’s onyx bob,
Embellished with vibrant ostrich plumes
Her hair’s band,
Glittered with sequins and diamantes

Cigarette incense framed her,
clouded the marquee background
Soft lilac light embraced the musical band
But the spotlight was hers

Jazz and drink,
The ingredients for her burlesque conduct

The laughs of audience members
Chorused with her haughty charleston

The trombone climaxed
The cymbals crashed

Her dance was dying
Along with the grins of men clad in black

and on her last step,
The night dissolved
Paul Rousseau May 2014
“Why can’t I see you every night?”
When I’m still afraid of dying, you should know better
-The show feather with a 1920’s twist.
A flapper, with someone who slaps her
But only her closest friends know.
In unapplauded tones they tell her to split
While she’s ahead
What’s in her head is:
1. Chewing gum
2. Her finger and thumb
Calling for a cab.
deanena tierney Oct 2015
I believe in my delusion.
By definition...its real to me.
I am sleek, mysterious, sought.
grand piano, flapper dress, long cigarette sought.
Unseen but expected garter holding me together.
Perhaps the only thing holding me together.
Scoffing advances because I have that liberty.
Cognac ..no champagne.
No mother to advise proper.
No need for etiquette when I intimidate so well.
The quiet masterpiece in the room.
Their whispers make me
And I love me
Not adored but renowned
I shade my eyes and exit
Taking all of the air with me
Sam Temple Apr 2015
call me MCDJpjs
one you can look too these days
keep ya kids out the muthafukkin freeways
see a roof and I give that ***** a raise

see I’m not
a traditional rapper
ima ex-trapper
spend too much time on the crapper
wannbe flapper
but not with birds wings
I wanna go dancing
in a 20’s gin ring
drunk with a tommy gun
come and get ya some
I might come undone
I’m just havin fun
see I like to smoke ****
grow it out with no seeds
give it away freely
destroy the system completely
**** capitalism its
causing a schism and
how you livin cause
I was born for given
natural social-ist
creating my own religion
******* wanna front like pigeons
actin like they grantin wishes
still sharing, but not an Osborn
I’m the new norm
At least in Ore-gon
Call me MCDJpjs

call me MCDJpjs
one you can look too these days
keep ya kids out the muthafukkin freeways
see a roof and I give that ***** a raise

Homeboy I tell the truth
to today’s youth
like a real sooth
let me show you proof
see I don’t pull punches
about GMO lunches
and throwin punches
putting fools in the crunches
slammin cell doors at my 9 to 5
watchin young lives
be hypnotized
by the flawed system
one that lets them
keep coming back to prison
instead of giving them a vision
of success and grace
as part of the race
that we all belong
ya’ll sing my song!

Call me MCDJpjs
w.i.p. as always

— The End —