~
I felt a funeral
between the timid breaths
of ruination, we plucked
to death the melancholic florals
called time flowers,
translucent growths
with crystal hearts,
gifted them to someone else's children,
placed them around the waist
of everyone else's wives.

When plucked,
that crystal core dissolves,
emitting the light trapped within.
perpetual splendor or
the endless cycles of death?
do the normal rules
of chronology apply?

Look now! here comes
the great unwashed riot,
we live in an age of visual saturation,
where tragedy and beautiful
distractions crowd in on all sides,
clamoring for our attention.

Perhaps the dystopian premise
is part of a fiendish plan,
becoming the backdrop
to a fluttering cornucopia
of florals, each outfit paraded
in the beginning of May,
a blooming display of finery
hiding a complex
network of roots –
sponsorship deals,
brand calculations,
dedicated craftsmanship,
exposure opportunities
– beneath its pretty skirts.
~

There was a homeless lady,
one afternoon, outside the hospital.
Was she homeless? I don’t know.
She had a ladened shopping cart,
which, on TV, is kind of a signature.
We were inside, waiting for an Uber.

She was outside, in chiaroscuro relief.
Dressed in bright, multilayered, mismatched
florals and brocades, she reminded me
of a gypsy. There are still gypsy caravans
in France. Are there gypsies in America?

She wore boots and long strings of beaded jewelry.
They would have had to have been glass, I supposed,
but tinseled with the glitter of those pop spangles,
she looked, en bloc, the richest and the poorest of us.

She wasn’t young and she wasn’t old. She sat alone,
on a short retaining wall, her cart within guarded reach.
I noticed her because every time I glanced over, she
was watching me with the dark unblinking eyes of a bird.

She had an easy confidence, in the wild, sitting safe
and protected by her clam, obstinate shell of boredom.

What must I look like to her - with her tangled hair
and unwashed face? Me in my permanent pressed
hospital wear, diminished by over-washing. A doll
behind glass, whose whole life is patterned by plans?

Our Uber pulled up, the number matched and as Lisa
opened the car door, I gathered my things and looked
back but the gypsy lady was gone, leaving a blank space.

For many couples, planning the perfect wedding it isn't just about food, flowers and invitations. These days, it's also about going green and protecting the environment as well.

"Every single part of the wedding process can be eco-friendly, and not necessarily the color green," says Katie Martin, wedding planner and editor-in-chief of "Eco-Beautiful Weddings Magazine."


photo:www.marieaustralia.com/long-formal-dresses
She said keeping things close to home is the first step.

"It's all about going local. The more local you have your vendors, the better you are at being sustainable and having your wedding be less wasteful," Martin said.

That includes local florals and local favors.

"Pick something seasonal. Pick something that comes from local farms. An easy thing to do is to go to the farmers markets and see what's happening in season now. That way you still have something beautiful that will actually be at its peak. So you're being eco-friendly but you're also going to get a better product from that," said Annee Gillett, the Director of Catering for Hotel Monaco in Alexandria, Virginia.

Items that are in season often have a lower price tag.

Greener Planning, Party Favors

Couples can also come up with greener alternative for items at the reception, such as fewer wedding programs, or having only one menu per table. Martin also suggests using recycled or seeded paper as another good idea.

"It basically has seeds from wildflowers and herbs woven within it. So the guests can actually take that home and plant it and then have a little memory of your wedding of their own when their wildflowers grow," Gillett said.

That same idea can translate to greener party favors such as a packet of seeds that can be planted or something edible. Either way, there is no waste.

For couples who want a more eco-savvy celebration, but don't know where to start, Martin says to just ask.

"It begins with you as the consumer, to say, You know what, I want a wedding that gives back to the community, and I want to know what my vendors are going to do about it," Martin said.

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

you're painting
the kitchen walls
baby duck
yellow.

you have houseplants
despite the lack of
sunlight
but i don't
think you know how
dark it really is.

you painted
my bedroom walls
dark green
i guess you covered
up the words i once
carved in the wall.

florals and snowflakes
now you get the
keyring and
i promise we won't
accidentally break in
like we did to him.

i might be an
incurable cynic
(which i know you
never know how to take)
but i sincerely hope
you're happy here.

i sincerely hope
my pessimism is not
cooling down your
prewarmed house.

i sincerely hope
you never become
jaded by who you
learn people truly are.

and i sincerely hope that
whatever darkness you may
or may not find never dims
your new living room light
or the radiance you've
always carried with you.

fast cars,
and dreams of pretty girls driving them.
i'm reckless as i hold onto the "oh ****" handle,
my hands shake and my hair
whips behind me,
like i'm underwater and i'm swimming down.
a blur of tan skin and dark hair and washed-out florals.
we slow,
and i tap my mint-colored nails on the side of
the bright red convertible.
i look at my companion,
a girl, but that's all i know.
her hair changes every time, one night it's black the next it's blue,
she wears a white sundress, with red heart-shaped sunglasses shielding her eyes.
eyes are the window to the soul,
and i can't see hers.
sometimes she smiles at me,
her lips are blood red,
and her mouth is indifferent.
i smile back, my probably
pink
lipstick smeared on.
i don't know who she is.
i don't know who she is.
i'm riding in a red convertible with a girl
on a road i don't know in a place i've never seen.
i don't know who she is or why i'm in her car.
but it's a dream and it's over in
a few minute's time.

Raised in So. Cali.
Those early 80's on the beach,
When reggae birthed the bass
Subwoofer heart beats
And poetry woven into the flow
Open mics
Yo Spoken Word!
Rap as verse to mTVs

Bittersweet symphonies

When brothers were too heavy
Living in the hood,
And my friends
Ricky and Richy
And Ricks
Richard
****
Have no riches / wealth
Drawing blondes
For non
boys
In the cartoon
Landscape of generation
gap
Not so trendy cool
Unless master Richy
Loud animated riches
Mr. Rich
If I only knew
If richness
Lets you

Then Come be one of every

Minority
Say they can see

His friends-collection
From unique
Reserves
The wild
Child
Around the world
each birthday party here

His pals his country
Their diversities not his equal
As stereotypes
Subterfuge

Cliche
Equality pursuant to Freedom
So says the people

This that is
Priceless,

Enjoying tangerine days
Sinking in the golden
Tropicana
And cold colbalt

Blue bloods
In a darkening sea

The sky bleeding
Only with the life of the sun,
Where in spirit

Oh summer Lovin' nights

Cooling the boardwalks
dynomite!
Beach kin
skins
A many golden
Tans and the scent of
Paradise
Florals and cocoa butter
brine...
Tight fit bodies
Chrome shiney
Tanning oils

The summer wafting

Sensual
Through our basking
In rhythmic sync

From early days
Those happy days
Then when I was tween
On my Schwinn

Gliding
like the wind

Dollar movies
Sand and some kind
Of wonderful

The most radical arcade!
Raised a native son

By marriage
I am a mix into one
A people
My face
Has a race,
I am islander
Fisher King

Golden lion with
Interstellar wings

Please Call me Fishsparrow's
Dreaming

Though summer hues
My skin accused
Unmoved
Unclaimed
I'm a Golden Mango

Among the Californication-Ing

Indian Summer's with a
Torquois bottom pool
I could pass for Hawaiian
Most dark Mistiso do...

Raised in California
We are as golden
As the landscape

Americana

I'm laid back
As California as the cheese
We got the beef cake
80s to 90s to Kpop to Goa

The flavoring
Of caramel flesh
Sweet sweat
Footloose
Skinny jeans
**** undulations
Body
Surfing
Those summer waves

Toward our Nuevo
Fluorescent future
Opulence
So free and quite
Brilliant

The light
With life experienced

Fearless with Midnights
We Conqueror sunrise

The days I reminisce
When childhood bliss
did not die
Just down for a nap

New cats' days
Turning tomorrow making
bacon
Brown skin
My Soleils
Beaches
Soothing Mists

Breath of Suns' kisses:
Wakes of oceans
Peace

Oh

Now I lay me down to dream
I pray the Lord
To help me wake...

Every new day
So thankfully
Experience every divinity

That thou love
Doth make

Alive without regret
Of and by the sea
I'm raised

I grew up
California
                  golden
As is
silence

And Making love  

With You
Early morning.... On the beach

Life arisen.
For light means Day!
Good morning
Glory

A louder Grace
Beloved
Will
Shall listen...

Turn the lights down
and remember me....
Aren't we still the same--?
in shadows
of incoherent innocence and beauty?
In the soft and limpid
florals of the spring?
Am I not the same--?
still warm, somehow?

My love--

Can we not, still make it here?
In ancient fires?
Turn me toward you, in your mind--
Wanting--
Erase the blight
with lips still seeking mine
Hair has drifted off--
the years
to catch the moonlight on a shoulder
as nothing else    will

ever

With something mined
from hearts and minds  

Touch me!
Make me forget!

time

Big ideas and big plans often yield grand results for the nation’s most prominent African Americans of influence. In the complex world of high society, often viewed as one of privilege, there is more to being a socialite or a “black socialite” than a strong fashion sense or having a triple-booked social calendar—true philanthropic efforts are often involved. The philanthropic season, in full swing twice a year—generally March to May and again from August to December—equals no more than six to eight months total. The entire high society and or philanthropic calendar can often appear overwhelming. However, giving, and getting others to give, is the name of the game and it takes more than one would imagine to make the magic happen.

In New York City, the noteworthy names such as Alicia Bythewood, Kathryn Chenault, Susan Fales-Hilland Grace Hightower De Niro immediately come to mind. On the West Coast, by way of San Francisco, it’s Pamela Joyner who dominates both the society and philanthropic circles with her art world successes—which often make national headlines. We recently consulted Ivy Leaguer, Delta Sigma Theta sister, and Links member Helen Shelton of Finn Partners, a well-seasoned PR expert. Additionally, we spoke with rising New York socialite Dr. Shirley Madhere, a highly regarded cosmetic surgeon and lady of leisure on her favorite philanthropic causes. Each provide valuable insight and key elements we all must concentrate on should we wish to head up our own charitable event.

How long have you been involved with charitable events? What aspects of planning events do you enjoy most? How do you determine which organizations to devote your time to?

HS: Professionally, 15 years; personally all of my life. From a professional standpoint, my favorite aspect of production has always been the creative process. I am always thrilled to see an actual campaign I’ve created come to life.

SM: The cause must resonate with me with substance on many levels: the people. the purpose, and the spirit.

What are a few of your favorite African American organizations?

HS: I am a proponent of what I call “mothership” organizations, such as the NAACP and the New York Urban League. I’m a board member of ColorComm, the national organization that advances women of color in the communications industry.

SM: The Studio Museum in Harlem and various Haiti-related organizations.

What host committees have you been part of? If applicable, how does it differ from working from the PR side?

HS: ColorComm, The Links. In my personal charity work I somehow end up playing the role of communications chair, on top of the duties of actually facilitating the event and working on behind-the-scenes production aspects, such as video production.

SM: I must admit, the recent Youth America Grand Prix an event that I co-chaired at BAM (Brooklyn Academy of Music) was breathtakingly inspiring. I have supported, ABT, Beauty 4 Empowerment, and the Smart Woman Project.

What prominent African American women do you feel are true leaders in a hosting/socialite capacity now? And who are historically influential?

HS: Dr. Marcella Maxwell (a Delta Sigma Theta member like myself), Alma Rangel (wife of Charles Rangel), Kathryn Chenault, Leslie Lewis Sword, Susan Fales-Hill, Pamela Joyner, Desirée Rogers, Cathy Hughes, and Sylvina Shelton, wife to Charles E. Shelton formerly of The New York Times.

SM: My mother, my aunts, fashion designer Stella Jean, Oprah, Beyoncé, have influenced me positively. Numerous other women of various other cultures who have created, disrupted, fallen then risen, enhanced the game, shifted paradigms, and continue to astound with their contributions to humanity.

How can YOU be a success heading up your own charitable event?

When it comes to successfully heading up your own charitable event, Madhere suggests you “become engaged, committed, and excited.” According to PR expert Shelton, follow these essential steps to be a success heading up your OWN charitable event…

Have a great cause that people can relate to. This is a competitive environment and every sponsorship dollar or investment needs to be accounted for. Accountability, is of the utmost importance so delivering on return for your sponsors is essential.

Create a fabulous environment and offer a wonderful experience. Sometimes less is more , so it is not always necessary to have champagne flowing—as an example—if you have beautiful florals, delicious food, and wonderful entertainment, you can’t go wrong. If people are having a great time, they have no problem returning and becoming long-term supporters of your cause.

Set realistic fundraising goals and have a sponsorship package that is appealing to a cross-section of interests and above all, network, network, network!Read more at:http://www.marieaustralia.com/formal-dresses-adelaide | www.marieaustralia.com/formal-dresses-perth

The streets of Paris were clogged by rallies and demonstrations on the Sunday of fashion week. At the Trocadero, a pro-rally for embattled French conservative presidential candidate Francois Fillon, blocking the route between the Valentino and Akris shows; at Bastille, an anti-Fillon demonstration.

The French elections — and ever-increasing security — were providing a tense backdrop to the autumn-winter collections, much like Donald Trump, Brexit and Matteo Renzi did on the fashion circuit of New York, London and Milan this season. Politics and the changing of the guard, women’s rights and diversity may make fashion seem irrelevant until you add up the value of the industry to the world economy. In Britain it is £28 billion ($45bn) — and that is small fry next to France and Italy.

Perhaps politics and social change have influenced the French designers for there was much less street style this season and a lot more tailored, working clothes on the catwalk. They used mostly masculine fabrics but worked in such a graceful way. You need only look at Haider ­Ackermann, Chanel, Alexander McQueen, Christian Dior, Lanvin, Akris and Ellery to see this — lots of great wearable clothes.

Karl Lagerfeld wanted to fly us to other worlds (to abandon the mess here perhaps) in his Chanel space rocket. There were checks, cream, silvery white and grey tweeds, for suits and shorts and dark side of the moon print dresses that cleverly avoided the 60s’ ­futuristic cliches. Silver moon boots, space blanket stoles and rocket-shaped handbags were as space-age-y as it got. There was quiet, seductive tailoring at Haider Ackermann — tapered silhouettes in black wool and leather softened with a knit or the fluff of Mongolian lamb for a blouson or skirt. At McQueen the asymmetric lines of a black coat or pantsuit were ­inspired by the fluid lines of ­Barbara Hepworth’s sculptures, whereas David Koma reclaimed the soaring shoulderline of Mugler’s 80s silhouette for pantsuits and mini-dresses for the brand.

Christian Dior’s uniform-inspired daywear was produced in tones of navy blue with 50s-style navy belted skirts suits, long pleated skirts and some denim workwear. “I wanted my collection to express a woman’s personality, but with all the protection of a ­uniform,” explained Maria Grazia Chiuri before the show.

There was more suiting at ­Martin Grant with voluminous trousers, cummerbunds and men’s shirting. The cut was more mannish at Ellery and Celine with ­Ellery balancing her masculine oversized jacket looks with feminine bustier tops with giant puff sleeves. The mannish look at ­Celine was styled with sharp ­lapels, slim-cut trousers under crushed textured raincoats, whereas ­double-breasted jackets (a trend) and peacoats over loose-cut trousers appeared at John Galliano.

Checks jazzed up the tailoring at Akris where there were more sophisticated double-breasted jackets and swing coats, and at ­Giambattista Valli from among the flirty embroidered dresses a dogtooth coat emerged with a waspie belt and a suit with a peplum skirt.

Stella McCartney displayed her Savile Row skills in heritage checks for her equestrian-themed show. Of course, she is crazy about riding and her prints featured a famous painting by George Stubbs, Horse Frightened by a Lion. It turns out Stubbs was another Liverpudlian, like her dad Sir Paul.

Of course Hermes’s vocabulary started with the horse and there were leather-trimmed capes and coats that fitted an equestrian, or at least country theme worn with woollen beanies and big sweaters, offering a different way of tailoring, in an easier silhouette with a soft colour palette.

The highlight of the week for Natalie Kingham, buying director at MatchesFashion.com was ­Balenciaga. “Great accessories, great coats and great execution of ideas,” she says of Demna Gvasalia’s off-kilter buttoned coats, stocking boot and finale of nine spectacular Balenciaga couture gowns reinterpreted in a contemporary way. “It was wearable, modern and the must-see show of the week.” It was also, she pointed out “the must-have label off the runway with every other person on the front row decked out in the spring collection”.

Although tailoring worked its subtle charms on the catwalk, there were flashes of brightness, graceful beauty and singularity. Particularly bright were Miu Miu’s psychedelic prints, feathered and jewelled lingerie dresses and colourful fun fur coats with furry baker boy hats. Then there was the singular look evoked by Austrian-born Andreas Kronthaler in his homage to his roots, with alpine flowers, Klimt-style artist smocks and bourgeois chintz florals worked in asymmetric and padded silhouettes for Vivienne Westwood — some of it modelled by the Dame herself.

Pagan beauty, the wilds of Cornwall, ancient traditions such as the mystical “Cloutie” wishing tree led to Sarah Burton’s enchanting Alexander McQueen show, which was another of Kingham’s favourites with its unfinished embroideries inspired by old church kneelers and spiritual motifs. “I loved the artisanal threadwork and the spiritual message that was woven throughout,” she says. The artisanal and spiritual she considers an emerging trend around the shows. “It had a slight winter boho vibe but much more elevated.”

Chitose Abe shared that mood for undone beauty with her Sacai collection of hybrid combinations of tweed and nylon for an anorak, and deconstructed lace for a parka, and puffers with denim re-worked with floral lace for evening.

There was more seductiveness at Valentino and Issey Miyake. The latter’s collection shown in the magnificent interiors of Paris’s Hotel de Ville, shimmered with the colours of the aurora borealis and used extraordinary fabric technology to create rippling movement as the models walked.

Valentino was a high point. On a rainswept Sunday Pierpaolo Piccioli cheered us with high-neck Victoriana silhouettes and long swingy dresses in potentially (but not actually) clashing combinations of pink and red in jazzy patterns of mystical motifs and numerology inspired by the Memphis Group of Pop Art. The sheer loveliness of the collection was enough to drown out the world of politics only a few blocks away.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/blue-formal-dresses

A dire il vero .il mio unico rammarico matrimonio non riesce a prenotare i ritratti nuziali .E 'tempo che oh-così- speciale per volteggiare intorno nel



vostro abito e la cattura che addirittura gorgeous " glow" prima del grande giorno .ma per fortuna ora arriva a vivere indirettamente attraverso i germogli come questa bellezza da Feather \u0026Spago .E ' tutto una sessione da sposa dovrebbe essere.e si può cliccare qui per mooooolto molto di più.
Condividi questa splendida galleria

Da Sposa .Non sono mai stata la ragazza che sognava il suo matrimonio crescita .Iè èterribile a decisioni e riviste di nozze me sottolineare fuori.ma quando mi sono fidanzato e ' come qualcosa alterato il mio DNA e sono diventato la abiti da sposa on line sposa più decisivo l'uomo conosca !** visto un vestito su Pinterest .inseguito i collegamenti fino a quando ** trovato il progettista .chiamato un negozio e pochi giorni dopo l'** comprato .

Quando ** messo su dopo la mia ultima prova .mi sentivo meraviglioso.Era così confortevole e civettuolo .Io amo la vita all'aria aperta .così ** capito che volevo fare i miei bridals qualche unico e nella natura .Abbiamo optato per vestiti da sposa una riserva naturale a Plano e aveva il giorno più bello .Il mio desiderio per il giorno può essere riassunta in tre parole: naturali .preziosi e divertenti.Kelsey e Talon reso questo e molto di più.Sì.era ventoso e mi è stato mangiato vivo da pulci penetranti .ma era il primo giorno mi sono sentito davvero come una sposa .

Camminando lungo la navata è un ricordo così chiaro e perfetto per me .Ero incredibilmente tranquillo e confortevole.che mi sorprende a questo giorno .Il vestito mi ha fatto sentire così elegante e mi ha permesso di concentrarmi vestiti da sposa su ciò che realmente importava quel giorno.Sono grato che ** trovato un vestito che era confortevole e mi ha fatto sentire come me .Sarà sempre la mia scelta vestito preferito :)

Fotografia : Feather \u0026 Twine | Dress : Mori Lee by Madeline Gardner | Florals : Gambi di Dallas | Parco : Arbor Hills Nature PreserveFeather \u0026 Fotografia Spago è un membro del nostro Little Black Book .Scopri come i membri sono scelti visitando la nostra pagina delle FAQ .Feather \u0026 Twine Fotografia VIEW
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I want a Garden of Flowers.
I want Tulips and Roses that bleed red
When the rain hits
Their petals fall on the ground
Just in time for the wind to come,
And make them dance

I want the birds and the bees
To make the most out of my fertile seeds
I want my flower’s honey to be the sweetest,
When it’s in your mouth

I want Daisies and Lavenders
That blossom under the sun
With roots so deep, they touch the earth’s crust
I want Mother Nature to call me,
Her daughter  
Yes, I want a garden of flowers

I want Asters and Chrysanthemums
That sprout when everything is gone
I want the children to marble
At how they blossom

Where wedding planners come to my door
Or mankind comes to pluck off their stems,
To give to their lover
After making them cry
Yes, I want my florals
To be a reason for someone to smile

I want Poppies that grow
On my empire of dirt
And after everything has departed,
A new cycle has started.

A dreadful
shadow
moves across the
wallpaper
its twitching
spectral
legs and wings
accenting the
delicate florals

spray it fast
with the can of
Insect Annihilant
or just
smack the ******
with a broom

The mayhem and merriment,
Of Halloween’s magic glamorizes the excitement,
As the littl’uns skitter with their bags of candy,
Whilst the old’uns sip their brandy,
Trick-or-treat bags fill with assortment.

I love the orange glow of the pumpkins on the steps,
Fanatical dreams of Schweppes,
Florals and vines exuding a mystic glimmer in any light,
Illuminating the dead night.
Frightening one another with the threat of a terrible hex!

All the ladies wear the skimpy clothes
While the dudes eat cereal oats
They party wildly, that halloween night
Watching horror movies for a good fright
As the children run away from home.

Halloween is a time of ghosts and goblins and all things scary.
Fangs and vampires that go haunting amongst trees of wild cherry,
For new flesh, raw bones, they sink their teeth
And eat you alive in your dreams.
So be careful to shut the closet door tightly!

"Can I see you yesterday?"
Kisses fall like painter's snow
On oil laced canvases of grey
On brillant blue.
"Can I see you a week ago?"
Lips on lips and breath on breath
Sunlight picks up the autumn glow
On satin skin.
"Can I see you a month before?"
Hands entwine in summer blaze
Tingling sweat trickles slow
On breast pressed
"A year, can I see you a year past?"
Springing florals dense damp earth
Neck stretched filled with scent
On nibbled kiss
Brown eyes to brown eyes
Time on time
Tell me you're mine
"I'm yours."

Hopelessly blinded by the flash of his camera,
I could pay no attention to your watercolors,
engravings, charcoal sketches, oil pastel portraits.
The stark white background of headshots
was all I could see; no room for florals and foliage.
Preserved by his image, I thought I was permanent.
You let me see that I am pastel and charcoal -
smudged, with colors distorted, but never quite destroyed,
always with original traces in the deepest layers.
He was watercolor - he could be washed away,
with only watery blotches as remnants.
But you are an engraving, on the strongest, most brilliant metal,
with your lustrous being etched into every atom of it.
You leave your mark on my skin, beneath the bruises and scrapes,
beneath the rusted appearance and tarnished memories,
down to the fragile ribs, through the recovering heart,
immortalized for centuries of admiration.

Pretty things
Like Kath kidston florals
And open fires and cheery wine
Harrowed souls are repaired by music
Minds grow hazy from *** smoking
Clean air that was dusted with magical sparkles
Now choked by perplexing precipitations…..
Atmosphere surrounded by regret
Whilst the act is still submerging from chaotic emotions
Remorseful tears do not appear until alone
Until the tide of the ocean reaches minds
When they are isolated from the world and all it brings
Nothing but sorrow consuming body and soul
Like a cantankerous person within person
Scratching from inside out
Until lyrics are sung to the world
Declarations of apologetic notions
‘Im sorry, I love you, Im sorry, I love you…’

Nothing else can be said.

I heard once this dumb joke
About acid taken by some bloke
And how he had a wild, wild trip
Saying that he liked long walks
On the beautiful beach
With his beautiful girlfriend
Until he finally sobered up
And was dragging a stolen mannequin
Around some three am parking lot
But that sounds pretty ideal to me
A mannequin girlrfriend
All smiles and no curves
With arms that don’t bend
And parts which are all smooth
For me to grind and groove against
Licking, *******, *******…
She sounds plastic perfect
Anyways, her name is Delores
And she likes to wear florals

I’m ribbons and lace, polka dots and florals
          Naughty and nice, femininity embraced
  I’m scars and secrets, broken hearts and hook ups
                
                       I’m exhausted

                     Defeated

      A captive of my past, uncertain of my future, longing for wholeness
   Congruence
     Afraid of who I become in survival mode

Broken.

  Praying for relief
      Unable to handle this world of political ties and lies
  Wanting to remember what air used to feel like before it was stained with despair and regret
  Hoping one of these days turns out to be better.

...as Mum taught me.



(sonnet #MMMMMMCMIX)


Did sparrows gaily call as wont, t'avail
Espresso with Dad's lecture of a sense
Long since forgotten, just where blue skies fence
Is't Sunday morning's placid airs as frail
White clouds lent April's winking eye a pale
Note of grey yonder, what? for aught intents?
How Janry owns the jest was poor as hence
These naked wastes look dead, likeas to scale.
O yes, they market florals ere March tour,
Cuz stylish girls must be the first to do
Um, April Fools a proper notice.  We're
All shivring in wool rollnecks now, but you
Just want mair golden hours to cull what'd stir
That keener sense Spring shall anon debut.

28Jan18a

Polluted precision

the calling card of mankind

Stained structures and hazmat huddles

Cluttered minds with no jurisdiction

Face mask population
black stained the blue

What was once considered unexcused is now exceptional

It slips by like a sickness

while we binge watch the bully called Hollywood

while we smear another signature on a rented luxury

Who can ever just be when so many things say why?

The natural ability for adaptation leaves room for neglect

shrugged shoulders and disconnection

We fight for air in this crowded garden

metal florals with the concrete cloves

smiles fall and we feel the weight of full corners

A slow ride may reassemble a notion of purpose

tree smoke with a tree top tincture

Still

the speed demon decides the generation

It's all so hilarious
it's all so serious
It's all so human

Nakedly bottled.
Capturing bursting seasons
here and now.

Life, delicate in its notes,  
the top notes,
lithe as youth,
citrus and bloom,  
ever briefly,
recondite pleasure,
a suppliance of time
a rush that fades away.  

Heart notes,
the flesh of our days, unfold—  
warm spices, florals, deeper and continues to exude as winter winds careless breath.

In the middle years, the scent sits and blares and mellows—a steady pulse of sandalwood and musk.  

Sultry as the scent may have lingered,
flirtatious colors in the breeze’s hair
the base notes come,
the earthier tones,  
amber and resin,
heavier on the air,  
decays a final wisp
until faint on the skin.

A memory is born.

maybe to hold
      darkly

that which loves you warm;
that which loves you warm and
     sundry.

Flesh to blade, as skin to lips.

love is a pressed handle—
love's pressed handle
        as reddish

florals.

As flush: what you
mean to hold me.

The walls
sing blue
the floors
scream orange
but in a
quiet subtle
kind of way

The bed creaks
with the window
they seem to converse
as you shift in your slumber
the way the wind
whistles past
a lullaby for dreams

The paintings talk shop
comparing, contrasting
the florals feel superior
the landscape's bored
the portrait stares out
the window dreaming
of the day when
he'll have a friend
the still lifes always gossip

The sounds of the room
are just right for
a demented mind
inspiring to the disturbed
a friend for the paranoid
a calm in the eye of
a mental storm