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Sin Feb 2016
With every dawn that rises
I find myself
suspended in normality,
scrambling to scavenge some sort
of beauty in the bleakness.

My own past, passes me by.
those who were once called lovers
all love another,
(someone who had always been
desperate to reach the foreground)

So many times have I wished
that I could split myself-
send each piece sailing into the sky
and see which road leads me to destiny.

But- I am whole.
with this, I must decide upon a single path-
accept normalitys cold, clammy palms
gripping my thighs, holding my waist.

The only reason we feel
a way towards something
is because we've been trained to.
it is valid for flowers to be putrid,
and hell to be heavenly,
if we so wish it to be.
the most twisted of things in your mind,
lie in my own morning routine.

You've never met a wanderer like me.

Countless pathways and I remain
barefoot and bleeding along the same trail,
knowing **** well it will **** me;
glass hidden between pebbles,
ghosts kissing my heels,
my own self, blind to the foreground.
JJ Hutton Jun 2010
I'd like to think that she's thinking:

"How far have I fallen?"

As she sits on the corner of her bed,

Listening to the soft buzz of his battery-powered toothbrush.

I imagine her,

Running her fingers through her clumsy, coagulated hair.

Glancing at her chipped, crimson toe nails,

Then looking to her class ring,

Made entirely of imitation ingredients,

Wondering when is the proper time to trash it.


When she was still a friend of mine,

I never saw her wear make up,

I never saw her show off in tight jeans

or low-cut tees.


But as he spews the toothpaste into the sink,

Skinny jeans lay tussled on the floor,

Next to the side door

that leads to his sister's side room.

The make up she wears

is from the night before.

It's skewed and shows evidence of running,

Like a wasted watercolor.


I'd like to think he isn't that handsome,

And that he's obsessed with Paul Walker.

I'd like to think when he re-enters the room,

He's in grey sweatpants,

He's wearing a black tank top,

With a Confederate flag backdrop,

With two barely dressed babes looking ******

in the foreground.


His hair, unwashed and greasy.

He rubs his belly,

And bears an idiot grin

on his face.

Looking like he just learned how to smile

at this pace.

"Did it feel good?"

feel good.

After he asks, he scans her body,

Beginning at those crimson toes,

And Ending at that clumsy hair.

Every second he scans,

He still wears that drawn-on

Idiot grin.


I'd like to think at this point she thinks of me.

Of my warnings and prophesy.

Her eyes start at the chipped toe nails,

Course over her tanning bed-inspired legs.

And finally reach the only thing she has on,

A t-shirt that belongs to his sister.

A t-shirt, when given by him,

It was mentioned, "thanks, mister".


Though she didn't satisfy all his redneck intentions,

During last night's expedition.

He still paid her back with a morning

one-sided session.

"It felt good" she says.

In reference to the ten minute *******,

When her body was strummed and plucked,

Underneath his sister's Terri Clark T-shirt.


As she sits in the filth and the ****** fallout,

On a bed that is six days *****,

While he is grinning,

Being everything but wordy.

I'd like to think she's thinking:

"How far have I fallen?"
Copyright 2009 by Joshua J. Hutton
English Jam Jun 2018
The air is perfumed with fresh rosemary's
And the wild springs with lush berries
Their presence colours the nursery with a sweet loom
It bleeds into the forecast for tomorrow's gloom
Nostalgia hits hard, heartbreaking and eerie
For a day when I wasn't paranoid and weary
Well, I'll be down by the Brighton pier
Watching birds float past in lonely fear
I'd love to turn away

The pristine sun shines like Hades
The outside scent is yellow, maybe
Little daises laugh in the foreground
Gardens sow a loving sound
Once I could see hope in the trees
And the love that whispered on the breeze
Now the trees foreshadow longing
And the gale howls with wronging
I'd love to turn away

The intimacy in my yellow tinted flowers seems to have faded
And the soft orchards have been invaded
My words burnt in a smouldering pile of dust
And steaming with the heat of my lust
I told a crowd I had something to say
But the people turned away
away
away...
A rose in the high garden that you desire.
A wheel in the pure syntax of steel.
The mountain stripped of impressionist mist.
Greys looking out from the last balustrades.

Modern painters in their black studios,
Sever the square root's sterilized flower.
In the Seine's flood an iceberg of marble
freezes the windows and scatters the ivy.

Man treads the paved streets firmly.
Crystals hide from reflections' magic.
Government has closed the perfume shops.
The machine beats out its binary rhythm.

An absence of forests, screens and brows
Wanders the roof-tiles of ancient houses.
The air polishes its prism on the sea
and the horizon looms like a vast aqueduct.

Marines ignorant of wine and half-light,
decapitate sirens on seas of lead.
Night, black statue of prudence, holds
the moon's round mirror in her hand.

A desire for form and limit conquers us.
Here comes the man who sees with a yellow ruler.
Venus is a white still life
and the butterfly collectors flee.

Cadaqués, the fulcrum of water and hill,
lifts flights of steps and hides seashells.
Wooden flutes pacify the air.
An old god of the woods gives children fruit.

Her fishermen slumber, dreamless, on sand.
On the deep, a rose serves as their compass.
The ****** horizon of wounded hankerchiefs,
unties the vast crystals of fish and moon.

A hard diadem of white brigantines
wreathes bitter brows and hair of sand.
The sirens convince, but fail to beguile,
and appear if we show a glass of fresh water.

Oh Salvador Dalí, of the olive voice!
I don't praise your imperfect adolescent brush
or your pigments that circle those of your age,
I salute your yearning for bounded eternity.

Healthy soul, you live on fresh marble.
You flee the dark wood of improbable forms.
Your fantasy reaches as far as your hands,
and you savor the sea's sonnet at your window.

The world holds dull half-light and disorder,
in the foreground humanity frequents.
But now the stars, concealing landscapes,
mark out the perfect scheme of their courses.

The flow of time forms pools, gains order,
in the measured forms of age upon age.
And conquered Death, trembling, takes refuge
in the straightended circle of the present moment.

Taking your palette, its wing holds a bullet-hole,
you summon the light that revives the olive-tree.
Broad light of Minverva, builder of scaffolding,
with no room for dream and its inexact flower.

You summon the light that rests on the brow,
not reaching the mouth or the heart of man.
Light feared by the trailing vines of Bacchus,
and the blind force driving the falling water.

You do well to place warning flags
on the dark frontier that shines with night.
As a painter you don't wish your forms softened
by the shifting cotton of unforeseen  clouds.

The fish in its bowl and the bird in its cage.
You refuse to invent them in sea or in air.
You stylize or copy once you have seen,
with your honest eyes, their smal agile bodies.

You love a matter defined and exact,
where the lichen cannot set up its camp.
You love architecture built on the absent,
admitting the banner merely in jest.

The steel compass speaks its short flexible verse.
Now unknown islands deny the sphere.
The straight line speaks of its upward fight
and learned crystals sing their geometry.

Yet the rose too in the garden where you live.
Ever the rose, ever, our north and south!
Calm, intense like an eyeless staute,
blind to the underground struggle it causes.

Pure rose that frees from artifice, sketches,
and opens for us the slight wings of a smile
(Pinned butterfly that muses in flight.)
Rose of pure balance not seeking pain.
Ever the rose!

Oh Salvador Dalí of the olive voice!
I speak of what you and your paintings tell me.
I don't praise your imperfect adolescent brush,
but I sing the firm aim of your arrows.

I sing your sweet battle of Catalan lights,
you love of what might be explained.
I sing your heart astronomical, tender,
a deck of French cards, and never wounded.

I sing longing for statues, sought without rest,
your fear of emotions that wait in the street.
I sing the tiny sea-siren who sings to you
riding a bicycle of corals and conches.

But above all I sing a shared thought
that joins us in the dark and the golden hours.
It is not Art, this light that blinds our eyes.
Rather it is love, friendship, the clashing of swords.

Rather than the picture you patiently trace,
it's the breast of Theresa, she of insomniac skin,
the tight curls of Mathilde the ungrateful,
our friendship a board-game brightly painted.

May the tracks of fingers in blood on gld
stripe the heart of eternal Catalonia.
May stars like fists without falcons shine on you,
while your art and your life burst into flower.

Don't watch the water-clock with membranous wings,
nor the harsh scythe of the allegories.
Forever clothe and bare your brush in the air
before the sea peopled with boats and sailors.
Sam Hawkins Apr 2013
What we have named Fire Escape
(an ordered, angular tangle of ladders and rail)
had made picture geometries in my west window
well-framed and flat--set foreground and background
in two dimensions, as the sun hid,
and my round eye opened.

What we have named Fire Escape
was flaked-paint brown orange, as if
first it had been born of a flame
and then had taken up living as metal--
tempered itself into usefulness,
which I should trust now, in case of the yelling
and the engines.

What we have named Fire Escape
was happy Jungle Jim or Jungle for Jane
for the sparrows I saw this morning
which flitted and wildly played
within, rising up
arched and back again.

Made of the square pairs of ladder rungs--
a tunnel entrance or ducking posts,
or highway bridges to clear;
the birds like small plane, daredevil pilots
each following each, going under.
No sparrow would ever crash.

And what is this I remember now?
How one bird eased its engine and perched there to stay?
As if to offer me, with a little turn of head gesture--
a thank you, for the bread I'd left on the sill? Or to say  
I'd better shut the curtain and make my exit?

Either prideful guess gets me nowhere fast.
Failed even is speaking in any sparrow languages
from my recline stuffed chair; again, but now imagined,
to draw beady eyes to fix on me, telling me much less.

That morning, with the very last sparrow gone,
I remember that nothing in my sight moved,
save an American flag at a distance in the wind,
with its one red-white striped wing
waving toward the cold north,
as the white church spire,
framed in open quadrilaterals,
held its position.
written and posted a few hours before the Boston Marathon Bombing, Monday April 15th, 2013
McKala Hanes Sep 2018
Outside of a bar in a North Carolina strip mall, stone cold sober because I am scared to use my fake, I feel drunk as you sit next to me. Perhaps I am. I'd have to be to think maybe, maybe, maybe, when I know, I know, I know.

Your hand brushes against mine, and you're saying the most beautiful words I've ever heard, and the fire in my heart spreads up, down, left, right. But it cannot spread just four inches outside of my body. It cannot set you on fire, too.

We listen to each other and hear two very different things. You are birdsong outside of my window that I am eager to hear; I am traffic outside of your window you've learned to tune out at bedtime.  

If there are nine million bicycles in Beijing, then Beijing is my insides and bicycles are your name, because it is written on my insides nine million times. But there are no bicycles on Antarctica. There is no use for them there, just as there's no use for my name to be perched on a straight girl's ribs.

You tell me my weird hobby of listening to French rap music is awesome, that it's so cool that I'm teaching myself three languages, and that you want to be me when you grow up - I laugh, because you're several years older than me. Selfishly I catch every droplet of your praise.  I ruminate on it for hours, for days. It means more to me than it should.

My name sounds like a compliment from your mouth. I try not to say yours too often, so you don't grow tired of me being around. If I can't set your insides on fire, I want you to want to be my friend. Even that feels like I ask for too much.

In every scene, I see you in the foreground of the narrative. For me, it would be on honor to be one of your background characters. Narratives are richer with them anyway.

I look at you and you are the Harry Potter movie marathon I wait months for. For you, I am the 2 am infomercial you fell asleep to. But I don't mind half as much as I should. Even white noise has its place in someone's life.
enjoy this poem about a one-sided summer not romance not between a bi girl and a a straight girl
Auntie Hosebag Feb 2011
“Those who do not want to imitate anything,
produce nothing”.  Salvador Dali -- Dali on Dali

Dreamrise.

The sliced steep slopes of those cliffs could be anywhere--say, Yosemite--buttered by
the same sun, not battered by these calm seas, or bothered
by melting timepieces draped about the landscape.

Why does the artist’s head melt, deconstruct, feather into foreground loam— teeth, tongue,
lips fading nearly without notice, nose pillowed on his own ear?

Is there a reason a single housefly struggles against sky-blue stickiness--imperiled heroine
awaiting the locomotive crush of the sweeping minute hand--or why the bottom
of her golden prison melts in the sepia heat, its silver sisters hung limp
from a branch long dead, or laid carefully
as a blanket over the sleeping
focal face?

What of the copper watch, alone in original form, though a cluster of ants spews from its center
in lieu of hands?

The artist provides no answer, perhaps presuming the question sufficient.

That dead tree—
the only thing vertical, unless you stand beneath the cliffs;
the only thing anchored, unless you allow the cliffs;
the only thing obviously dead, unless those buttered cliffs are someone’s skin—
that tree is Watcher and Scribe, the Presence of the World, and at its base
a face is embedded, of some Bosch-spawned horror, gaze trained beyond
borders, back to the Middle Ages, or maybe on its own shadow.

Straight lines are few enough to count.  The horizon is one, or four, depending on how you tally.
Plain plank painted every hue of blue on the canvas numbers ten—again, depending—could be seven.
And the platform: four, or six?  Are these tricks of the eye or the mind—or math?  By the magic
of perfect draughtsmanship it works out to just the right number.

Note the placement of pebbles—gold right, gray left—for each side of the brain, he dreams; for balance,
for focus, for scale and distortion, placed with precision to escape first notice, the better to manipulate
mind and eye to see what isn’t there:
                                                          ­          the dark,
                                                           ­                          the void,
                                                           ­                                          this universe collapsing,
                                             ­                                                                 ­                                     howling open emptiness,
no stars, no cliffs, no clocks
wormhole of sleep which draws all from there to here,
bloated, belligerent Babylon of black consumes the bottom corner, far removed from ants,
beckoning the dreamer homeward--or Hellward?

In every direction lies fear or fulfillment,
each boundary spreads wide to possibility,
from this static domain where no breeze exists
to mar the surface of an ocean
so vast.
Another ekphrasis piece, this on Dali's *Persistence of Memory*.  Yeah, the one with the melting watches.  That one.
There is no need for
discernable lines
in the moment
I am content.
there is no need for anything.
but the moment.
naked & anxiously
awaiting reawakening
& my hands betray me
by shaking & blantantly saying
you've swayed me

it's crazy.

today I created nothing
& I am wasted anything
& everything.
but it's okay.
the mosaic is
a face faded
in the foreground.
this is fair ground.

today I'll walk on air
today I'll float on clouds
today I'll foam at the mouth

then I'll roll around
in my beloved filth
that you brought about.
be proud,
I can't be without it.
Dunno how I feel about this. loveydovey ****.
Nigel Morgan Apr 2013
As he walked through the maze of streets from the tube station he wondered just how long it had been since he had last visited this tall red-bricked house. For so many years it had been for him a pied à terre. Those years when the care of infant children dominated his days, when coming up to London for 48 hours seemed such a relief, an escape from the daily round that small people demand. Since his first visits twenty years ago the area bristled with new enterprise. An abandoned Victorian hospital had been turned into expensive apartments; small enterprising businesses had taken over what had been residential property of the pre-war years. Looking up he was conscious of imaginative conversions of roof and loft spaces. What had seemed a wide-ranging community of ages and incomes appeared to have disappeared. Only the Middle Eastern corner shops and restaurants gave back to the area something of its former character: a place where people worked and lived.

It was a tall thin house on four floors. Two rooms at most of each floor, but of a good-size. The ground floor was her London workshop, but as always the blinds were down. In fact, he realised, he’d never been invited into her working space. Over the years she’d come to the door a few times, but like many artists and craftspeople he knew, she fiercely guarded her working space. The door to her studio was never left open as he passed through the hallway to climb the three flights of stairs to her husband’s domain. There was never a chance of the barest peek inside.

Today, she was in New York, and from outside the front door he could hear her husband descend from his fourth floor eyrie. The door was flung open and they greeted each other with the fervour of a long absence of friends. It had been a long time, really too long. Their lives had changed inexplicably. One, living almost permanently in that Italian marvel of waterways and sea-reflected light, the other, still in the drab West Yorkshire city from where their first acquaintance had begun from an email correspondence.

They had far too much to say to one another - on a hundred subjects. Of course the current project dominated, but as coffee (and a bowl of figs and mandarin oranges) was arranged, and they had moved almost immediately he arrived in the attic studio to the minimalist kitchen two floors below, questions were thrown out about partners and children, his activities, and sadly, his recent illness (the stairs had seemed much steeper than he remembered and he was a little breathless when he reached the top). As a guest he answered with a brevity that surprised him. Usually he found such questions needed roundabout answers to feel satisfactory - but he was learning to answer more directly, and being brief, suddenly thought of her and her always-direct questions. She wanted to know something, get something straight, so she asked  - straight - with no ‘going about things’ first. He wanted to get on with the business at hand, the business that preoccupied him, almost to the exclusion of everything else, for the last two days.

When they were settled in what was J’s working space ten years ago now he was immediately conscious that although the custom-made furniture had remained the Yamaha MIDI grand piano and the rack of samplers were elsewhere, along with most of the scores and books. The vast collection of CDs was still there, and so too the pictures and photographs. But there was one painting that was new to this attic room, a Cézanne. He was taken aback for a moment because it looked so like the real thing he’d seen in a museum just weeks before. He thought of the film Notting Hill when William Thacker questions the provenance of the Chagall ‘violin-playing goat’. The size of this Cézanne seemed accurate and it was placed in a similar rather ornate frame to what he knew had framed the museum original. It was placed on right-hand wall as he had entered the room, but some way from the pair of windows that ran almost the length of this studio. The view across the rooftops took in the Tower of London, a mile or so distant. If he turned the office chair in which he was sitting just slightly he could see it easily whilst still paying attention to J. The painting’s play of colours and composition compelled him to stare, as if he had never seen the painting before. But he had, and he remembered that his first sight of it had marked his memory.

He had been alone. He had arrived at the gallery just 15 minutes before it was due to close for the day.  He’d been told about this wonderful must-see octagonal room where around the walls you could view a particularly fine and comprehensive collection of Impressionist paintings. All the great artists were represented. One of Van Gogh’s many Olive Trees, two studies of domestic interiors by Vuillard, some dancing Degas, two magnificent Gaugins, a Seurat field of flowers, a Singer-Sergeant portrait, two Monets - one of a pair of haystacks in a blaze of high-summer light. He had been able to stay in that room just 10 minutes before he was politely asked to leave by an overweight attendant, but afterwards it was as if he knew the contents intimately. But of all these treasures it was Les Grands Arbres by Cézanne that had captured his imagination. He was to find it later and inevitably on the Internet and had it printed and pinned to his notice board. He consulted his own book of Cézanne’s letters and discovered it was a late work and one of several of the same scene. This version, it was said, was unfinished. He disagreed. Those unpainted patches he’d interpreted as pools of dappled light, and no expert was going to convince him otherwise! And here it was again. In an attic studio J. only frequented occasionally when necessity brought him to London.

When the coffee and fruit had been consumed it was time to eat more substantially, for he knew they would work late into the night, despite a whole day tomorrow to be given over to their discussions. J. was full of nervous energy and during the walk to a nearby Iraqi restaurant didn’t waver in his flow of conversation about the project. It was as though he knew he must eat, but no longer had the patience to take the kind of necessary break having a meal offered. His guest, his old friend, his now-being-consulted expert and former associate, was beginning to reel from the overload of ‘difficulties’ that were being put before him. In fact, he was already close to suggesting that it would be in J’s interest if, when they returned to the attic studio, they agreed to draw up an agenda for tomorrow so there could be some semblance of order to their discussions. He found himself wishing for her presence at the meal, her calm lovely smile he knew would charm J. out of his focused self and lighten the rush and tension that infused their current dialogue. But she was elsewhere, at home with her children and her own and many preoccupations, though it was easy to imagine how much, at least for a little while, she might enjoy meeting someone new, someone she’d heard much about, someone really rather exotic and (it must be said) commanding and handsome. He would probably charm her as much as he knew she would charm J.

J. was all and more beyond his guest’s thought-description. He had an intensity and a confidence that came from being in company with intense, confident and, it had to be said, very wealthy individuals. His origins, his beginnings his guest and old friend could only guess at, because they’d never discussed it. The time was probably past for such questions. But his guest had his own ideas, he surmised from a chanced remark that his roots were not amongst the affluent. He had been a free-jazz musician from Poland who’d made waves in the German jazz scene and married the daughter of an arts journalist who happened to be the wife of the CEO of a seriously significant media empire. This happy association enabled him to get off the road and devote himself to educating himself as a composer of avant-garde art music - which he desired and which he had achieved. His guest remembered J’s passion for the music of Luigi Nono (curiously, a former resident of the city in which J. now lived) and Helmut Lachenmann, then hardly known in the UK. J. was already composing, and with an infinite slowness and care that his guest marvelled at. He was painstakingly creating intricate and timbrally experimental string quartets as well as devising music for theatre and experimental film. But over the past fifteen years J. had become increasingly more obsessed with devising software from which his musical ideas might emanate. And it had been to his guest that, all that time ago, J. had turned to find a generous guide into this world of algorithms and complex mathematics, a composer himself who had already been seduced by the promise of new musical fields of possibility that desktop computer technology offered.

In so many ways, when it came to the hard edge of devising solutions to the digital generation of music, J. was now leagues ahead of his former tutor, whose skills in this area were once in the ascendant but had declined in inverse proportion to J’s, as he wished to spend more time composing and less time investigating the means through which he might compose. So the guest was acting now as a kind of Devil’s Advocate, able to ask those awkward disarming questions creative people don’t wish to hear too loudly and too often.

And so it turned out during the next few hours as J. got out some expensive cigars and brandy, which his guest, inhabiting a different body seemingly, now declined in favour of bottled water and dry biscuits. His guest, who had been up since 5.0am, finally suggested that, if he was to be any use on the morrow, bed was necessary. But when he got in amongst the Egyptian cotton sheets and the goose down duvet, sleep was impossible. He tried thinking of her, their last walk together by the sea, breakfast à deux before he left, other things that seemed beautiful and tender by turn . . . But it was no good. He wouldn’t sleep.

The house could have been as silent as the excellent double-glazing allowed. Only the windows of the attic studio next door to his bedroom were open to the night, to clear the room of the smoke of several cigars. He was conscious of that continuous flow of traffic and machine noise that he knew would only subside for a brief hour or so around 4.0am. So he went into the studio and pulled up a chair in front of the painting by Cézanne, in front of this painting of a woodland scene. There were two intertwining arboreal forms, trees of course, but their trunks and branches appeared to suggest the kind of cubist shapes he recognized from Braque. These two forms pulled the viewer towards a single slim and more distant tree backlit by sunlight of a late afternoon. There was a suggestion, in the further distance, of the shapes of the hills and mountains that had so preoccupied the artist. But in the foreground, there on the floor of this woodland glade, were all the colours of autumn set against the still greens of summer. It seemed wholly wrong, yet wholly right. It was as comforting and restful a painting as he could ever remember viewing. Even if he shut his eyes he could wander about the picture in sheer delight. And now he focused on the play of brush strokes of this painting in oils, the way the edge and border of one colour touched against another. Surprisingly, imagined sounds of this woodland scene entered his reverie - a late afternoon in a late summer not yet autumn. He was Olivier Messiaen en vacances with his perpetual notebook recording the magical birdsong in this luminous place. Here, even in this reproduction, lay the joy of entering into a painting. Jeanette Winterson’s plea to look at length at paintings, and then look again passed through his thoughts. How right that seemed. How very difficult to achieve. But that night he sat comfortably in J’s attic and let Cézanne deliver the artist’s promise of a world beyond nature, a world that is not about constant change and tension, but rests in a stillness all its own.
Mark McIntosh Mar 2015
stem of orchid jewels
hearts white. fronds dangling caressed
clouds obscure. Judas gifts wrap
kitchen. bromeliad pool &
bird chorus, cocteau twins, unwound
clock. himalayan surveyor measures
watercolour, telescopic insight
ginger of blue flowerless season
changing, renewed construction
seeds bloom, a winter pose. house of
possibilities in clear air, away from here
barbeque covered, herbs sprout flavour
zen stone feature a cat’s new bed
L B Mar 2017
This is a three-part, longer narrative poem, seen
as old photographs that follow the main character, My Aunt, Lillian Goldrick, across two decades.  It was written 30 years ago*
______

“Hey Kid!”     Part I

Photographs aren’t fair
stopping the soul where it’s not
in rectangular guffaws
surrounded by serrated edges, pickets, teeth?
to fence and stab in yellow, soft-covered booklets
with designated floppy phrase
“Your memories”

Happier than she could ever be...

A black and white day at Salisbury Beach, NH
hung over his hammock
Private pin-up girl
tilts her head against silver sheen of shoulder
Hair, dark chignon
except for a few wispy curls about her face
freed by wind
bleached by sun

Stopped

...for three decades
Legs slightly bent—long extended
that could stop trains, stop traffic

Stopped

Modest bathing suit, probably peach
cannot hide (not that she would)
the undeniable
And if there were question left
you could look at her smile—and love her
posed by he message scrawled in sand:

“Hey Kid!”

What kid? Where?
In the foreground?
In the camera’s eye?

In the background—
a Ferris wheel, a billboard
and  r-i-g-h-t  there—Can’t you see it?
Look again—behind her eyes
You can barely see it, but it’s there.
Remember?

The Depression
Only ten years before
It was April
Stroke, heart attack
Both of them gone, a year apart!
The priest came
Last Rites for mortally stricken
Candles, crucifix, the Catholic containment
of holy water that dams the tears

Kneeling around the bed
they said the Rosary

——————————

After VJ Day he came
to the house on the corner
of Commonwealth Ave.
She knew he was coming
but she could not be ready today
nor tomorrow
nor next week—or ever...

“Lill! Will ya come to the door?
She’ll be ready in a minute.
Hey Lill! Hurry up, will ya!
They’re waitin’ fer us!”

Upstairs in the dark hallway
her door clicks shut....
________


"Hey Kid"    Part II


The clock at Joe Rianni’s read 20 minutes to 12...

Crowd from the Phillip’s Theater—gone
though laughter lingers
in a Friday mood
in high-backed booths
where only an hour ago swinging free
were high-heeled shoes
legs crossed at knees....

Now on tables abandoned
deserted fields of French
fries lie cold in salt flurries

Only female straws wear lipstick
as do Luckys bent in ashtrays
Males, uniformly flattened
as powder burned, as mortar might
shells, casings—the evidence of war
Among explosions of tickled giggles
one was taken broadside...

listing     toward      stars
_______

...The clock read 20 minutes to 12

when she walked in--
And Rhea stopped swabbing black mica counters
long enough to absorb late-customer hate
and envy that such beauty can arouse
In voice hoarse and weighted like a trucker’s

“Whadaya have, Lill?”

“coffee”

The small answer settled at the soda fountain
and slowly struck a match...
She was falling from the slant
of her black felt hat
dripping off the point of pheasant feather
Gray gabardine suit
tailored from angle of shoulder
to dart diagonally
toward such a waist!
Turned to skirt hips
that arched and dove toward slit—
then seams that run the round of calf

that seem to flow
to ankles of naught—
...and all that seems

Black     high-heeled     above it

Coffee— cold, stale
Gray glassed-in stare
searches air and random walls
of coat hooks, menus, mirrors...
while lips ****** exiled words— replies

Dragging a demon from her Camel
slowly     purposefully
she exhaled a burly arm of smoke
that rose and laid its hand
against the ceiled atmosphere of embossed tin
Then leaning over her shoulder
in roiling emission of shrugs and sneers—

“Lill—There’s no way outa here!”
________


“Hey Kid!”    Part III

After kneeling backwards on their chairs
after nuns, catechism recited
After—
Five of them scuffed through leaves and litter
along the curbing
spotting cars that counted—
Bugs, beach wagons, flying bathtubs
A slower way home of hunting
shiny chestnuts and muddy finds
rare match book covers
and bottle caps that win ya things!

One breaks from bunch
and trials off to where
dimes turn to candies!
...at a dingy luncheonette...Joe Rianni’s
____

Here—behind smeary wall of glass
pleasure leers while holding back
those grimy fingers, lips that long
for jelly fish, gum drops, lollies
holding back the company
of Baby Ruth, and Mary Jane
O Henry or Bazooka Joe!
For less money but the same salivation
there were colored dots to chew and ****
from strips of paper that last forever!
For a little more, plus the sweet struggle
of desire denied
a kid could be proud owner
of a pea shooter or trading cards!
While in the mouth
were golden imaginings—
the chocolate foil of coins
and the candied pretense of cigarette adulthood
_____

Rhea didn’t see her in the line...

Only grownups with wallets and purses
Only grownups get waited on...
...because Rhea was a Gypsy!
Kids could tell!
by her big red lips and hair to match
by the nasty way she chased them out—
“****** kids!”
Only grownups get waited on....
_______

And the clock read 20 minutes to 12

While a child waits—
time stirs in a ceiling fan
   There’s a drift in attention
      along deepening endless walls
         toward a line of sleepy booths
              carved with

“I was here—in such and such a year”

Her aunt—at the last stool—like always
Their names too close
Confused too often

A little girl wonders
about the sight behind the sightless stare
loafers, ankle socks, the ‘40s hair
the gathered skirt that gathers ashes
as they fall from cigarette
held in yellowed fingertips
Tremors crimp the smoke that climbs—

              ...a strobing pillar

“Whataya want, girly?”

              ...the only movement

“Hey! What’s it gonna be!”

              ...in a shot—

“HEY KID!”

              Snapped
There are photos that go with this. I'll try to post them together on Facebook.
Francie Lynch Feb 2018
If I showed you a picture of her,
All else becomes background.
Before the Eiffel, she towers high;
She is the Alberta Foothills to the Rockies;
As curvaceous and meandering as the Amazon;
More story than Bunratty Castle;
The most intriguing smile at The Louvre;
More endurance than The Spirit of St. Louis;
As mystical as The Shroud;
More amusing than the Park;
More striking than lightning.
The sun diminishes behind her;
In any room, she is Feng Shui.
It's futile to compare.
She is the globe, all else is alien.
The last breath of winter's glory,
The first open flower of spring,
The coolness of a summer rain,
The palette of autumn's color,
These and all others wither
And fade behind the foreground.
Happy Valentine's Day
cel Sep 2013
They say that smell
Is your strongest sense
When tied to memory.

That just a whiff of a smell
Or even thought of a
Smell can bring you back
To a place and a time that
You had previously
Thought were left behind.


For me the smell of
Bleach is comfort, as my
Nanny used it as a
Standard, household
Cleaner. I love that smell
As well as of my favorite
Dinner, mildew (reminds me of summers spent
At camp, living out of a trunk) and
My favorite flowers

Each of these smells I
Love to revisit time and
Time again. One smell
Though has embedded
Itself in my memory and if
I have my way, I’ll never
Smell it again.

Mom had Colon cancer most
Of my time in
High school.
No clue on the stage
But it was best not
To
Ask

Surgeries, chemo, radiation, the
Whole
Nine

Things seemed to be fine,
Well, even great
Until it took a turn

My mom has never been
Skinny; she is petite, but
Normal

Suddenly she looked like
A holocaust victim
She would get quiet
Draw into herself
For periods of time

Another surgery. Fine
She returned home
And then something crept in

That something was death
And I’ll never know how I knew
You just know.

The smell of something
Dying
Isn’t pleasant
It puts you on edge
And turns your stomach

Mom was confident
That she was getting better

The smell, that can’t
Be described (dying tissue, pain
Suffering) was glaring
To me

I never asked Mom or Dad
If they could smell it
Because the smell of Death
Isn’t a sense that should
Be shared

I would just maintain that
I didn’t think
Something was right
A day or so later

Surgery. Fine. Home.
Smell.

Surgery. Fine. Home.
Smell.

Surgery. Fine. Home.
After that last
Surgery. The smell
Left. But even now
When I think back
To that time
That complicated time of
Soccer games
Chemotherapy
Apply to college
Surgeries
The one thing in the
Foreground
Is
That
Smell


Just a whiff of death
Of human decay
Of dying
Of suffering
And I’ve had my fill
For a lifetime
Sarah Radzi Aug 2018
Everytime I close my eyes,
Sunday afternoon comes to mind.
Sometimes when I close my eyes,
there is only white noises.
The Sunday in my head is always sunny;
rarely it rains.
When it rains on Sunday,
I am reminded of school uniform;
sweaty and sticky,
but it is still Sunday.
Everytime I close my eyes,
I can smell Sunday.
The smell of Sunday in my head—
consists of jasmine, pandan, and milk.
The Sunday in my head rarely rains.
When it rains, it smells like **** and soil.
The sunny side of my Sunday is not always bright—
and my wet Sunday is not always gloomy.
Everytime I close my eyes,
I see myself tracing Sunday.
I run my fingers through the odds of—
possibilities and the ambience of the present.
You see, I cannot imagine anyone but myself—
in my Sunday.
Everytime I close my eyes,
I see no one.
Everytime I close my eyes,
I see silhoutte of myself.
Everytime I close my eyes,
I see myself leaving trails.
Everytime I close my eyes,
It was all in my head all along.
Blessed with the odds,
my Sunday goes by very slowly;
so slow sometimes I caught myself in turbulence.
From violent shower to the still lake,
I avoid meeting myself on the foreground.
If I ever crossed path in the middle,
I would be non-existent;
none of this would matter,
and there will never be my Sunday.

Sarah Radzi
In Between Four Walls,
19.08.2018,
01:56
Glenn Currier Sep 2022
Do you know someone
who’s in the background of your day
and when you pause
if you’re lucky
you remember and smile
can’t suppress a thank you
but feel just a tint of sadness
they’re not in the foreground?
You can see it already: chalks and ochers;
Country crossed with a thousand furrow-lines;
Ground-level rooftops hidden by the shrubbery;
Sporadic haystacks standing on the grass;
Smoky old rooftops tarnishing the landscape;
A river (not Cayster or Ganges, though:
A feeble Norman salt-infested watercourse);
On the right, to the north, bizarre terrain
All angular--you'd think a shovel did it.
So that's the foreground. An old chapel adds
Its antique spire, and gathers alongside it
A few gnarled elms with grumpy silhouettes;
Seemingly tired of all the frisky breezes,
They carp at every gust that stirs them up.
At one side of my house a big wheelbarrow
Is rusting; and before me lies the vast
Horizon, all its notches filled with ocean blue;
***** and hens spread their gildings, and converse
Beneath my window; and the rooftop attics,
Now and then, toss me songs in dialect.
In my lane dwells a patriarchal rope-maker;
The old man makes his wheel run loud, and goes
Retrograde, hemp wreathed tightly round the midriff.
I like these waters where the wild gale scuds;
All day the country tempts me to go strolling;
The little village urchins, book in hand,
Envy me, at the schoolmaster's (my lodging),
As a big schoolboy sneaking a day off.
The air is pure, the sky smiles; there's a constant
Soft noise of children spelling things aloud.
The waters flow; a linnet flies; and I say: "Thank you!
Thank you, Almighty God!"--So, then, I live:
Peacefully, hour by hour, with little fuss, I shed
My days, and think of you, my lady fair!
I hear the children chattering; and I see, at times,
Sailing across the high seas in its pride,
Over the gables of the tranquil village,
Some winged ship which is traveling far away,
Flying across the ocean, hounded by all the winds.
Lately it slept in port beside the quay.
Nothing has kept it from the jealous sea-surge:
No tears of relatives, nor fears of wives,
Nor reefs dimly reflected in the waters,
Nor importunity of sinister birds.
Ashley Williams Jun 2014
Curiosity sparks within,
The unknown rising in the foreground.
An evanescent whirlwind consumes all.

Shimmering rapture quakes on the horizon--
Tangible, ephemeral,
Eternally unstable.
Connor Oct 2018
"In Heaven
The Water
is Shiny Gold"

In approach of a clearing /
Vernal-Volcanic-Bagpipe-Intimidation-Collapse-Arise-/
empty hopscotches fade with rain, remembrances of my foiled return
lent to after-rather haze mingling line by line
with eyeglasses fogged up

I relinquished the panic of your absence one week ago today, but it wasn't easy, being caught in such swelling strings once desiring to wake in Gold

I was guided by my dream family which led me thus / glimpsing premonition Wyomings sprawl with pine & geyser
flat land fire
down river /
Spring Snow and tribulations sound with elemental reverberations of Spirit colliding with Stone
pirouetting upon a newfound expanse

My restless and uninitiated Tulpa stirs and screams
(I am owed this one) delving to ancient territories of attractive chaos
emerged unkind
but tender enough to fold into my next dressing, appropriately remote

II

By June I ascend further via Nepalese staircases carved from Mountain rock, Sun-showers resplendently endow this band of rattling Sherpas with grace
to hold, to wrap around their necks and deliver to my private Summit

(where many have died, where many have given their flesh to this
Golgotha Sagarmatha)

Sneah Yerng !
away you mortal entity death !

I consume you with Himalayan tea and the heavy sensation of my boots planting their weight to frozen earth - listening, attention to the foreground Chorus exhaling harmonies of Khmer which give further texture to the native brush

(We were once kindling set perfect across the ground - to blaze & become heavenly together - instead subjugated by time's feral will, you - now a Mother and a stranger to me, Myself - continuing & following this sense strangeness which is always present but flickering like cosmic frequency magnetically luring me into a breadbasket of fire & weeping intermittent, into a cycle, a snake - surrounding magic Islands of self-past and self-future
which whirl-about searching feverishly for a path - now that the one preceding has been lost or misguided, you're bound to this breathing child who's not ours - but yours)

This is how our story ends. Where we diverge and become Actual -
carrying separate but respectful momentum in each Epoch of life in all it's various & flowing Identities, just as I'd once predicted in an Altenburg Kitchen reading Rimbaud and sipping hot water quietly, disturbed - knowing, somehow, that we'd irrecoverably commit to being temporary conflagrations in the lives of the other. The end of A summation. Events that in many ways were born there, it is forcibly behind me now.. I was the result of these things. A sword carved from heat, and pressure.

What do I do with this?
So worn with necessity - living
Enjoying occasional rain, timely - capturing passing loves
refusing to stale and finish as Petrarchan - Madame George and Myself as two ambitions which acted both honorably & dishonorably at times. As human nature dictates, as I'll know, a branded truth from now on -
I am proud of you, I love you. I will cherish you, always.

We curate and amend – understand
each other's impossible profundities

(Shh! lights go out unexpectedly ! Your remainder hovers by the door for just a few secret and sacred seconds/ gone...)

These poems have been as much for you as they were for me - But I must exit this vacated place of only peering into the beyondness of things that have outgrown their form
open, step - deliver myself to:
The last poem I'll be posting here or writing for a while. The end of a continuous stream of thought depicting the events and emotions of the last two years. Recent events have called to their end. I'll be ready to write again once this coming new state of mind and being has revealed itself - of which I am optimistic
Nat Lipstadt Dec 2013
the banner photograph that the poem references is off now, but...

The poem is about a photo I took, outside looking in, where the window and an interior mirror, both reflected me, outside, outwards, but caught the interior of the house within, and the interior of our lives, which was my intent, but the poem came later....

a self portrait,
a reflection
in a window, in a mirror.
a man stick figure
within and without.

me hidden, armed,
iPad spyglass
one upon the other,
unaware of observation,
introspection / extrospection.

man, external,
grilling striped bass,
woman, internal,
kitchen caught slicing heirlooms,
a dressing awaits,
peach salsa,
the seagulls inform me.

Outdoors, indoors.
bay,
in the background.
living room, kitchen,
in the foreground
couching, crouching, cooking,
a closeup and landscape,
of two lives.

so the photo treatment,
introspection / extrospection,
upon reflection,
a poem ouside-insight.


a moment to reflect upon a reflection of a moment.

this  how I see things,
and why not you too?

Double vision.
outside, looking in, inside, looking outward.
then,
at the point of intersection,
a memory recorded,
always recording,
paths, moments,
worthy of note.

such a note, here,
record of a photograph.
preserving my preservation.
tho photo blurry,
what you see,
is what I see.
lives of symmetry

summer symmetry is my life.
life is my summer symmetry.

exactly.



August 2012
digging up seasonal inappropriate poems to warm me up.
A

Not No Logos, Klein.
What about anti-logo
Using the figure as the foci
But leaving the message in the medium
Both in the back and foreground

Then we yell fore and the foreground becomes the background

2

Always remembering hierarchy but always forgetting Plutarch

Is this is a disambiguation?

Did I confuse Parallel Lives with Plutarchy?

3

So we grid it out.
GOTO Vitruvio ...

4

Trying hard to balance can create imbalance this we rationalize through irrationality.

3.14159265359 ...

5

Symmetry ... .. . ~ . .. ... assymetrY

Stressing the *** in asymmetry

And what about the meeting of Apollo and Dionysus and the Apollonian/Dionysian duality?

6

Rhythm:

3:3 ; 4:4 ; 7:4 ; salt peanuts . .. ... windtalkers

7

White space is an access point for flow, Tao, source .... this is where my batteries recharge

8

Every element is mindfully placed; an element of gestalt ism "shape form", is this analogous to timespace?

Is the whole other than the sum of its parts? GOTO Miller-Urey II nested inside Babylon Falling

Both are self organizing, none the less. Such wholesome folk we are.

9

The patterns found in isolation parallel both linear and crossing elements and the instructions always coming from a double helix. GOTO The Dance of the Double Helix

... and always adding depth and motion ... kinematic to the statics. GOTO Introducing Happiness

10

Type faces are interfaces so be consistent ... you Paranoid Android!

J

Always K.I.S.S.ing

Q

And in motion means modularity is a must

K

Peaks and valleys can be better understood at the Red Onion or maybe just by peeling back the layers (of life)
Broadcast from the Red Onion Saloon in Skagway, Alaska

Written over a couple of pints of Spruce Tip Pale Ale from the Baranof's of Sitka, Alaska

Inspired by the poetry of Ben Barrett--Forrest http://forrestmedia.org/the-design-deck/

Alternatively titled: Figure & Ground
tread Mar 2013
I saw 3 stars floating
in the window over Greenland.
The clouds below in the night
sky represented the snow blind
vision of this half-country,
half-forgotten-continent.
My stomach ached, felt like gas.
I wondered if the flight attendants
were robbing a nap
in the foreground of
our lives.
written on March 20th, 2013 over southern Greenland.
I don't quite understand the 'you and I,'
It's good, of course, but I can help thinking
'Could it be more?'
Ari Dec 2011
OM
Om
In The Beginning
Sound
needed a medium
for dissemination
space and time
was born.
As I sleep sitting cross legged I know these things to be Truth.
All things consist of matter
matter of molecules
molecules of atoms
atoms of  atomic particles
atomic particles of subatomic particles
subatomic particles composed of strings
yes strings
the vibrations of strings at certain resonant frequencies --
Sound
I’m referring to Sound --
accounts for the creation of all things
all things composed of matter --
I matter You matter --
and Sound is the variation of pressure waves propagating through matter
through You, and Me, We
are hereby beings of Sound
Per-Son
Earth, Sun
the birth hum permeates us all
all things soak in the amniotic ocean of Sound
it is the background, the foreground, before Sound
was Silence
Silence is the antithesis of hissing existence sibilance is diametrically opposed to nothingness antimatter to matter in an asymmetrical universe.
If a tree falls in a forest and no one is there as witness, it still fell and the timbre transpired, to be
is not to be seen, perception exists within existence
Real is a three inch wide magnetized Mobius Strip spinning counterclockwise in a corroding
centrifuge of perception carbon dated to The Beginning
and The Beginning occurs every second
in an umbrella opening in a firestorm
the collision of soapy bubbles
clay in a snow kiln
uranium decaying
a sari being wrapped
the chopping of wood
ice capped volcanoes
an oily rainbow
the exposure of negatives
the grinding of coffee beans
a cobra swaying
You can charm a cobra by biting an apple
the blur of sweat and palms on stretched animal skins
congas bongos tablas djembes tom toms snares timpani
hands at warp speeds in an innate rhythm inundating time
four four two four four three seven eight twelve o’clock
what is time to Sound but a permanent witching hour for feet to frenzy?
each stomp a falling star that sears a crater, each crater a subwoofer for the Earth’s movements
Sound is time being rendered elastic
quantized digitized equalized filtered phased distorted compressed processed
time has been tamed
fast forwarded paused rewound slow motioned skipped
from one timeline to another, Sound is the de-lineation of time
the unraveling of space the curling of dimensions dementia in rhyme
minds are traveling back to the present, pre sent from the future, the future has passed
We are light, massed
night is just another shadow our auras cast
mating calls
jarred halos
woodwinds in an airlock
disemboweled factories
pyramids of electric chairs
pipelines in the desert
grief slumped shoulders
paper lanterns in a whirlpool
poems read in darkness
laughs sobs shrieks cries cackles yelps howls laughs whimpers
worlds ending with a BANG
an infinite piece quantum philharmonic orchestra clamoring to be heard over the revolution of the spheres
We sing
reverberating to replace Saturn’s rings
every single note a secret love letter passed ear to ear read instantly
all sounds converging to singularity
an accretive disc of sonic entropy spinning around one point
all We have left to do is drop the needle
call
and let the response cascade into us
Chain Gang of the Universe swinging old ***** spirituals
the momentum of our pulsing song accelerates beyond relativity
the amplitude of our vibration transmits from soul to womb
each newborn tongue blessed with a honeyed Om
My son, Your daughter, I taught her, You taught him
and now they can play cat’s cradle with their strings
tap dance on quarks and make fiddlesticks sing
So even now the Rabbis sing
Hear O Israel, the Lord is Sound…
As I sleep sitting cross legged I know this Truth to be all things.
Om
Alyson Lie Oct 2015
Sometimes you can see in the faded
tapestry shapes and scenes that move
from foreground to background and
background to foreground.

Other times you only see the tattered
granularity of the weave and nothing else.

Is it the ocean that sounds
like traffic or the traffic that
sounds like the ocean?

As you ponder this question,
what you are holding slips
from your fingers and your mood
stabilizing regimen scatters
across the dusty floor.
I built my soul a lordly pleasure-house,
    Wherein at ease for aye to dwell.
I said, "O Soul, make merry and carouse,
      Dear soul, for all is well."

  A huge crag-platform, smooth as burnish'd brass
    I chose. The ranged ramparts bright
From level meadow-bases of deep grass
      Suddenly scaled the light.

  Thereon I built it firm. Of ledge or shelf
    The rock rose clear, or winding stair.
My soul would live alone unto herself
      In her high palace there.

  And "while the world runs round and round," I said,
    "Reign thou apart, a quiet king,
Still as, while Saturn whirls, his steadfast shade
      Sleeps on his luminous ring."

  To which my soul made answer readily:
    "Trust me, in bliss I shall abide
In this great mansion, that is built for me,
      So royal-rich and wide."

* * * *

  Four courts I made, East, West and South and North,
    In each a squared lawn, wherefrom
The golden gorge of dragons spouted forth
      A flood of fountain-foam.

  And round the cool green courts there ran a row
    Of cloisters, branch'd like mighty woods,
Echoing all night to that sonorous flow
      Of spouted fountain-floods.

  And round the roofs a gilded gallery
    That lent broad verge to distant lands,
Far as the wild swan wings, to where the sky
      Dipt down to sea and sands.

  From those four jets four currents in one swell
    Across the mountain stream'd below
In misty folds, that floating as they fell
      Lit up a torrent-bow.

  And high on every peak a statue seem'd
    To hang on tiptoe, tossing up
A cloud of incense of all odour steam'd
      From out a golden cup.

  So that she thought, "And who shall gaze upon
    My palace with unblinded eyes,
While this great bow will waver in the sun,
      And that sweet incense rise?"

  For that sweet incense rose and never fail'd,
    And, while day sank or mounted higher,
The light aerial gallery, golden-rail'd,
      Burnt like a fringe of fire.

  Likewise the deep-set windows, stain'd and traced,
    Would seem slow-flaming crimson fires
From shadow'd grots of arches interlaced,
      And tipt with frost-like spires.

* * *

  Full of long-sounding corridors it was,
    That over-vaulted grateful gloom,
Thro' which the livelong day my soul did pass,
      Well-pleased, from room to room.

  Full of great rooms and small the palace stood,
    All various, each a perfect whole
From living Nature, fit for every mood
      And change of my still soul.

  For some were hung with arras green and blue,
    Showing a gaudy summer-morn,
Where with puff'd cheek the belted hunter blew
      His wreathed bugle-horn.

  One seem'd all dark and red--a tract of sand,
    And some one pacing there alone,
Who paced for ever in a glimmering land,
      Lit with a low large moon.

  One show'd an iron coast and angry waves.
    You seem'd to hear them climb and fall
And roar rock-thwarted under bellowing caves,
      Beneath the windy wall.

  And one, a full-fed river winding slow
    By herds upon an endless plain,
The ragged rims of thunder brooding low,
      With shadow-streaks of rain.

  And one, the reapers at their sultry toil.
    In front they bound the sheaves. Behind
Were realms of upland, prodigal in oil,
      And hoary to the wind.

  And one a foreground black with stones and slags,
    Beyond, a line of heights, and higher
All barr'd with long white cloud the scornful crags,
      And highest, snow and fire.

  And one, an English home--gray twilight pour'd
    On dewy pastures, dewy trees,
Softer than sleep--all things in order stored,
      A haunt of ancient Peace.

  Nor these alone, but every landscape fair,
    As fit for every mood of mind,
Or gay, or grave, or sweet, or stern, was there,
      Not less than truth design'd.

* * *

  Or the maid-mother by a crucifix,
    In tracts of pasture sunny-warm,
Beneath branch-work of costly sardonyx
      Sat smiling, babe in arm.

  Or in a clear-wall'd city on the sea,
    Near gilded *****-pipes, her hair
Wound with white roses, slept St. Cecily;
      An angel look'd at her.

  Or thronging all one porch of Paradise
    A group of Houris bow'd to see
The dying Islamite, with hands and eyes
      That said, We wait for thee.

  Or mythic Uther's deeply-wounded son
    In some fair space of sloping greens
Lay, dozing in the vale of Avalon,
      And watch'd by weeping queens.

  Or hollowing one hand against his ear,
    To list a foot-fall, ere he saw
The wood-nymph, stay'd the Ausonian king to hear
      Of wisdom and of law.

  Or over hills with peaky tops engrail'd,
    And many a tract of palm and rice,
The throne of Indian Cama slowly sail'd
      A summer fann'd with spice.

  Or sweet Europa's mantle blew unclasp'd,
    From off her shoulder backward borne:
From one hand droop'd a crocus: one hand grasp'd
      The mild bull's golden horn.

  Or else flush'd Ganymede, his rosy thigh
    Half-buried in the Eagle's down,
Sole as a flying star shot thro' the sky
      Above the pillar'd town.

  Nor these alone; but every legend fair
    Which the supreme Caucasian mind
Carved out of Nature for itself, was there,
      Not less than life, design'd.

* * *

  Then in the towers I placed great bells that swung,
    Moved of themselves, with silver sound;
And with choice paintings of wise men I hung
      The royal dais round.

  For there was Milton like a seraph strong,
    Beside him Shakespeare bland and mild;
And there the world-worn Dante grasp'd his song,
      And somewhat grimly smiled.

  And there the Ionian father of the rest;
    A million wrinkles carved his skin;
A hundred winters snow'd upon his breast,
      From cheek and throat and chin.

  Above, the fair hall-ceiling stately-set
    Many an arch high up did lift,
And angels rising and descending met
      With interchange of gift.

  Below was all mosaic choicely plann'd
    With cycles of the human tale
Of this wide world, the times of every land
      So wrought, they will not fail.

  The people here, a beast of burden slow,
    Toil'd onward, *****'d with goads and stings;
Here play'd, a tiger, rolling to and fro
      The heads and crowns of kings;

  Here rose, an athlete, strong to break or bind
    All force in bonds that might endure,
And here once more like some sick man declined,
      And trusted any cure.

  But over these she trod: and those great bells
    Began to chime. She took her throne:
She sat betwixt the shining Oriels,
      To sing her songs alone.

  And thro' the topmost Oriels' coloured flame
    Two godlike faces gazed below;
Plato the wise, and large brow'd Verulam,
      The first of those who know.

  And all those names, that in their motion were
    Full-welling fountain-heads of change,
Betwixt the slender shafts were blazon'd fair
      In diverse raiment strange:

  Thro' which the lights, rose, amber, emerald, blue,
    Flush'd in her temples and her eyes,
And from her lips, as morn from Memnon, drew
      Rivers of melodies.

  No nightingale delighteth to prolong
    Her low preamble all alone,
More than my soul to hear her echo'd song
      Throb thro' the ribbed stone;

  Singing and murmuring in her feastful mirth,
    Joying to feel herself alive,
Lord over Nature, Lord of the visible earth,
      Lord of the senses five;

  Communing with herself: "All these are mine,
    And let the world have peace or wars,
'T is one to me." She--when young night divine
      Crown'd dying day with stars,

  Making sweet close of his delicious toils--
    Lit light in wreaths and anadems,
And pure quintessences of precious oils
      In hollow'd moons of gems,

  To mimic heaven; and clapt her hands and cried,
    "I marvel if my still delight
In this great house so royal-rich, and wide,
      Be flatter'd to the height.

  "O all things fair to sate my various eyes!
    O shapes and hues that please me well!
O silent faces of the Great and Wise,
      My Gods, with whom I dwell!

  "O God-like isolation which art mine,
    I can but count thee perfect gain,
What time I watch the darkening droves of swine
      That range on yonder plain.

  "In filthy sloughs they roll a prurient skin,
    They graze and wallow, breed and sleep;
And oft some brainless devil enters in,
      And drives them to the deep."

  Then of the moral instinct would she prate
    And of the rising from the dead,
As hers by right of full accomplish'd Fate;
      And at the last she said:

  "I take possession of man's mind and deed.
    I care not what the sects may brawl.
I sit as God holding no form of creed,
      But contemplating all."

* * * *

  Full oft the riddle of the painful earth
    Flash'd thro' her as she sat alone,
Yet not the less held she her solemn mirth,
      And intellectual throne.

  And so she throve and prosper'd; so three years
    She prosper'd: on the fourth she fell,
Like Herod, when the shout was in his ears,
      Struck thro' with pangs of hell.

  Lest she should fail and perish utterly,
    God, before whom ever lie bare
The abysmal deeps of Personality,
      Plagued her with sore despair.

  When she would think, where'er she turn'd her sight
    The airy hand confusion wrought,
Wrote, "Mene, mene," and divided quite
      The kingdom of her thought.

  Deep dread and loathing of her solitude
    Fell on her, from which mood was born
Scorn of herself; again, from out that mood
      Laughter at her self-scorn.

  "What! is not this my place of strength," she said,
    "My spacious mansion built for me,
Whereof the strong foundation-stones were laid
      Since my first memory?"

  But in dark corners of her palace stood
    Uncertain shapes; and unawares
On white-eyed phantasms weeping tears of blood,
      And horrible nightmares,

  And hollow shades enclosing hearts of flame,
    And, with dim fretted foreheads all,
On corpses three-months-old at noon she came,
      That stood against the wall.

  A spot of dull stagnation, without light
    Or power of movement, seem'd my soul,
'Mid onward-sloping motions infinite
      Making for one sure goal.

  A still salt pool, lock'd in with bars of sand,
    Left on the shore, that hears all night
The plunging seas draw backward from the land
      Their moon-led waters white.

  A star that with the choral starry dance
    Join'd not, but stood, and standing saw
The hollow orb of moving Circumstance
      Roll'd round by one fix'd law.

  Back on herself her serpent pride had curl'd.
    "No voice," she shriek'd in that lone hall,
"No voice breaks thro' the stillness of this world:
      One deep, deep silence all!"

  She, mouldering with the dull earth's mouldering sod,
    Inwrapt tenfold in slothful shame,
Lay there exiled from eternal God,
      Lost to her place and name;

  And death and life she hated equally,
    And nothing saw, for her despair,
But dreadful time, dreadful eternity,
      No comfort anywhere;

  Remaining utterly confused with fears,
    And ever worse with growing time,
And ever unrelieved by dismal tears,
      And all alone in crime:

  Shut up as in a crumbling tomb, girt round
    With blackness as a solid wall,
Far off she seem'd to hear the dully sound
      Of human footsteps fall.

  As in strange lands a traveller walking slow,
    In doubt and great perplexity,
A little before moon-rise hears the low
      Moan of an unknown sea;

  And knows not if it be thunder, or a sound
    Of rocks thrown down, or one deep cry
Of great wild beasts; then thinketh, "I have found
      A new land, but I die."

  She howl'd aloud, "I am on fire within.
    There comes no murmur of reply.
What is it that will take away my sin,
      And save me lest I die?"

  So when four years were wholly finished,
    She threw her royal robes away.
"Make me a cottage in the vale," she said,
      "Where I may mourn and pray.

  "Yet pull not down my palace towers, that are
    So lightly, beautifully built:
Perchance I may return with othe
Edward Coles Jan 2018
I painted you.
With trembling, amateur precision,
I suffered each line on your face.

Each fleck of sun,
Your candid smile,
Your immediate beauty in the foreground
Of an exceptional ocean.

Stumbling blindly through the days,
Fumbling for the switch
In a punch-drunk, love-sick afternoon.

Apart from you,
Stripped, exposed,
Laid prone on the gurney
With my skull in a vice
And a fist to my stomach.

I can barely stand because of you.

I painted you this afternoon
So I could toil in your gaze.
Pray I am an interesting splatter,
A noticeable blight;
A happy accident on your page.
C
About the size of an old-style dollar bill,
American or Canadian,
mostly the same whites, gray greens, and steel grays
--this little painting (a sketch for a larger one?)
has never earned any money in its life.
Useless and free, it has spent seventy years
as a minor family relic
handed along collaterally to owners
who looked at it sometimes, or didn't bother to.

It must be Nova Scotia; only there
does one see abled wooden houses
painted that awful shade of brown.
The other houses, the bits that show, are white.
Elm trees, low hills, a thin church steeple
--that gray-blue wisp--or is it? In the foreground
a water meadow with some tiny cows,
two brushstrokes each, but confidently cows;
two minuscule white geese in the blue water,
back-to-back, feeding, and a slanting stick.
Up closer, a wild iris, white and yellow,
fresh-squiggled from the tube.
The air is fresh and cold; cold early spring
clear as gray glass; a half inch of blue sky
below the steel-gray storm clouds.
(They were the artist's specialty.)
A specklike bird is flying to the left.
Or is it a flyspeck looking like a bird?

Heavens, I recognize the place, I know it!
It's behind--I can almost remember the farmer's name.
His barn backed on that meadow. There it is,
titanium white, one dab. The hint of steeple,
filaments of brush-hairs, barely there,
must be the Presbyterian church.
Would that be Miss Gillespie's house?
Those particular geese and cows
are naturally before my time.

A sketch done in an hour, "in one breath,"
once taken from a trunk and handed over.
Would you like this? I'll Probably never
have room to hang these things again.
Your Uncle George, no, mine, my Uncle George,
he'd be your great-uncle, left them all with Mother
when he went back to England.
You know, he was quite famous, an R.A....

I never knew him. We both knew this place,
apparently, this literal small backwater,
looked at it long enough to memorize it,
our years apart. How strange. And it's still loved,
or its memory is (it must have changed a lot).
Our visions coincided--"visions" is
too serious a word--our looks, two looks:
art "copying from life" and life itself,
life and the memory of it so compressed
they've turned into each other. Which is which?
Life and the memory of it cramped,
dim, on a piece of Bristol board,
dim, but how live, how touching in detail
--the little that we get for free,
the little of our earthly trust. Not much.
About the size of our abidance
along with theirs: the munching cows,
the iris, crisp and shivering, the water
still standing from spring freshets,
the yet-to-be-dismantled elms, the geese.
Madeleine Toerne Oct 2013
Counting young women in black leggings
and baseball caps, with ancient letters inscribed on the tops of them.
One-thousand, three-hundred, thirty-five dollars
and fifty-four cents,
for half a year
of friendship.

The damp sidewalk is the stage,
the crushed orange leaves a platform.
Rubber rain boots have only existed for three or four decades.
Holes in an umbrella, holes in mother's boots;
Whatever that man said last night,
whatever that was,
it wasn't an oxymoron.

Leafing leaves, neon green with orangish tips
shake subtly with a light breeze,
and madly with a heavy breeze.
Or is that a squirrel?
Foreground, background, juxsta-
positions;
And I,
just in the right position.
Julia Low May 2012
I do not know who I am writing to anymore.
Faces blur to pages to chapters
of the never ending story that I write
as I walk through the waves of indifference.

Sea foam splashes over drying ink
and curling parchment in ways that
blend background and foreground into
nonsensical images of insanity.

I write blank letters left with open
spaces and unfilled lines waiting for
a name or a pronoun or even a shimmering
idea of who to place there.

The final line is always the worst
with "love" and "yours always" and
"sincerely" hardly meant before
the name I know even less than yours:

     *my own.
Hal Loyd Denton Nov 2011
America’s Soul
Through the means of a company trying to appeal to your emotions to make a sale as I watched this
Pass before me I wasn’t taking in the foreground but what it depicted in the background a realness a
Testimony of truth was flowing at flood stage images bathed in purist knowing about place and the stalwart
Ideals that make up a fabric so rich and full family’s not just empty see through nothing really there pay
No mind but you and I our successes our failures caught in the back drop of mountains and deserts and
In a song an anthem a coursing river but one of a unique part of the world’s humanity identified by red
White and blue builder’s fighter’s lovers of freedom that didn’t come by dreamers alone yes they
Dreamed but then they infused blood and sinew muscle onto this lifeless skeleton their efforts are
Attested to by the sacred graves the head stones don’t tell the story of hardship sacrifice on battlefields
Domestic and hostile bone weary against all odds at times feeling all alone and there were those times
This was true but it was always known you were part of a great brotherhood and sisterhood though far
Apart in the physical sense never the less a great spiritual dynamism bonded you together at the
Farthest and narrowest stretching point steel was without equal in its intent and its effort the lowliest to
The mightiest carried the same strain of a heroic undertaking and inwardly looked the same and truly
Were the same there wasn’t class or rank just Americans pushing this grand experiment to its most
Glory filled conclusion and then at lands end the heart would be engaged to its fullest with hands that
Reached around the globe to any that were threatened or abused fear not our brothers we will lend
To you are strength and all of our resources fulfilling a moral duty to those who are less fortunate we
Have fought and achieved and the natural result will be a mobilized caring that endures through all of
Our history making a stronger unified self governing people the envy of the world not through cheap
Pride but the foundational excellence will give the challenge don’t settle for less don’t be reduced to
Settling for anything but the best monuments are built by many tyrants but let the people build them
From the costliest material and they will endure all generations it will push back ignorance send
Down lighting striking fear in those with ill will and promote the human spirit they will peer down from
Lofty heights undisturbed by petty squabbles those that contend for illustrious beacons forged and
Sprayed out from hammer an anvil in the dark nightly skies of heaven performing and making a sculptured treasure
That speaks truth and creates the sensation of a glory that rests on a people like no other that have
Touched the fringes of utopia with just enough realism to keep you grounded and not allow you to
Totter and fall back under false hood that causes the cycle to start all over again of being a slave instead
Of being free
Kara Rose Trojan Jul 2015
I don’t write about my Dad or God so
I will write about how
Moses told all the Jews to slay a lamb, take the blood, and paint its blood around the doors
so that the Angel of Death may Passover the marked houses.

The story goes that Dad (or God) was
Wobbling down the street with heavy breathing like a deflated walrus washed on shore,
kneaded jowls bouncing beneath his jaw with each bouncing step,
Because he had to order special shoes for his diabetic feet.  
When he stopped in the middle of the sidewalk and collapsed beneath
The L train and curious stares blurred against a man’s fight to live.
Fiddling with either his rosaries or toolkit or pants or
Phone or newspaper or lungs or shoes or inhaler
And I’m sure they’ve seen him before,
But I’m sure this time it was different –
They would have a story to tell to their co-workers and loved ones
About their walk on the sidewalk by the hospital
Where an old man collapsed
And they would echo the words, “Count your blessings,”
But have no idea what that means.
He was dead for two minutes and had bleeding on the brain.

This is about more than just myself
And him
And the way he made me feel.
This is also about the man next door to him
And how I came to learn to never talk about my Father or God.

It is a Saturday morning with snow on the ground
And there is guilt frosted on my back
I have not moved in a few hours (perhaps years)
And there are tubes like translucent octopus straddling his mouth and mounting
His chest
As it rises – and breaks – rises – and breaks (so romantically)
With each second beep of the heart monitor.

In the general waiting room, some men and women arched in their seats with gleeful excitement
And balloons and footies for newborn babies
to deposit
Something hopeful and crisp into the umbilical residue.
So as to mask the horrors of what human health really is.
Staring at what is truly written as if the “I” myself
Is too special to suffer.

And, then, there is the man (stranger) with a smile
Too transparent against the masks bouncing robotically in the foreground
The man (stranger) –
he asked me if he was ready to
Make count with his major failures and major contradictions,
Thereby ready to vacate (physical) body (earth)  
up to the Lord. He spoke to me about The Lord as if I never knew him,
never knew his stripped promises of salt statues
never knew the bent knees and heads during Mass
stripped away the infallible memories of people
of people
who knew no better
yet checked each other
to thank him for their
chosen suffering.
never knew the responsive sweat dotting HELP along new mother’s brows
never knew the elegance of bliss/love during *******  
never knew the muddy feet of a wretched child clambering between belts.
never knew the frantic swerve of hurried fury from a coat’s hem.

my brother said he was going to
time how sporadic, chaotic, hypnotic
My three-year-old haunches switched up the stairs –
Animal-like, on all-fours,
swiveling from one grimy patch of
cement-splotched carpet patch to
the frozen barbecue-sauce colored tile at the front door to
another grimy-cement colored carpet patch to

the tacky, stuck-together carpet-hairs hardened by dish-soap calligraphy –
combed the S.O.S. message I crafted one hot, sticky June evening
after slapping the ***** of my feet into mud
then tracking pawprints through the kitchen door,
transcribing my help-yelps as Dad’s belt cracked –


Climbing then freezing at rage’s zenith,
His face contorted like gargoyle-wrinkles deepened with sweat
broken peals of thunder-skin splitting like a river’s delta through the house
Flooding pockets of silence then bursting with a child’s sniffs
since crying never helped me, anyway;
undeniable red-shame pooling split skin after each crack-smack
doubled back then cooled its buckle on his thumb.

With comfort, Aunt Joan assured me: “Love is
the second most mispriced of human goals.”
What’s First? “Liberty.”
So I’d lie amongst the dishsoap-doodles
     like Alice in the daisies
Limbs outstretched --
          like DaVinci’s Millenial Man
     or
           Jesus on the cross  
     or
           hopeless girl losing her virginity
     or
          Ma reaching towards the door lock
     or
          McMurphy post-lobotomy
     or
          Santiago dreaming of Lions on an African beach
     or
          fireworks blossoming against an emptied sky --
And trace the cracks in the ceiling with the blue veins on my arm,
like
       roads on a map;
I'd mouth the names of places I'd never seen/heard of but
       I would go in my mind –
The mountains I’d climb steady on all-fours, switching my haunches
As if Escape was the warm, fuzzy world only children would dream of -- then linger with their eyes shut to return there -- hidden beyond the garden of Love and Liberty –

No, sir,
        No, man,
        No, stranger,
                I never knew there was such a way.
-- how could I go undone?
He hogged the conversation – I hogged the facts
Everything I’m leaning toward is a cut in the conversation, sir. How could I go undone?
He asks me what his name is and I tell him, Ken. His name was Ken.(Or God.)
He asks why he is here and I tell him
You don’t need to know that. I don’t know why I am here. Why are any of us here?

He then prays for him and invites me to as well.
I tell him,
When you come undone, I come undone
We’ll all come undone in the end
We were doomed to die the moment we are born
So who will pray for you in the waiting room, sir?
No thank you, sir, I’m just fine, since who
Knows the way or what somebody says
All I know is that I can put you away. But, I will not.
So why don’t you sit your excited *** down?
If only he could understand the joke.
May the man learn the dead man’s float and seek solace in the cadence of Charon’s poling of his ferry.

What valor. What courage. You all turned out so well.
The leading man is dying.

Escape is the erased movement where the sinewy lights and colors behind dark eyelids stand steady long
after the first disturbance, then usher those that were hurt
into Charon's ferry
because anything feels better than everything that was taken.
CharlesC Sep 2012
a new recognition
how we lived death
in north and south..
in our self inflicted
all consuming war..
death now found
in history's foreground..

his gettysburg words
conceived and dedicated..
equality and death
each soldier remembered
their sacrifice owned..
his words our grounding
death's equality lives..

patterns have repeated
more wars
fires and floods
those september screams..
careful accounting
from chaos springs..
and we know now
each must be named..

we have strewn flowers
many memorial days..
his address recalled
we repeat
none died in vain..
a fearful delight
each life seen equal
connected
by their blood
and their light..

back then
each soldier's family
fervently wished
in their deepest despair
for their loved ones
a good death..
these all now seem
to us good
very good for all time...
Poem is based on recent PBS American Experience program,
Death in the Civil War, and a book, Republic of Suffering by
Drew Gilpin Faust...
Robyn Jan 2013
It was a highway that brought me here
Stuffed into a expensive car with four adults and good music
We drove for what seemed hours
Arriving on the slick, black streets of the Emerald City
Down a rabbit hole of old cars and termite ridden stairs
Past an old couch and a stray cat
Into a cold room with heaters stacked and jumbled
Full of pianos and good and beer
People I've known for twelve years
And people I've met only once
People I don't know
Different skins, of their own, of animals
Frizzy and cropped hair, wine and mason jar glasses
Walls painted silver, gleaming under forty year old lamps
Mismatched furniture and occupants alike
Sirens singing in the background
Children running through the foreground
Old friends and a blind man with a big dog
Visual artists and IRS agents
Musicians and carpenters
Mechanical engineers
Cobbled together around and old fireplace and a rosewood piano
Sharing stories and songs, sons and daughters
Tales from the road, and wedding pictures
I sat on an orange pleather couch in the makeshift kitchen
Watching theses people's children play with bionicles and dolls
Reading books and drawing on walls
Playing drums and answering calls
Fighting for bathroom stall
These are my people
I know them all
Raj Arumugam Sep 2012
in times gone by
Zhou Maoshu sat in his boat
and the boatman rowed it out

Zhou Maoshu went in his boat
to appreciate the lotuses
strewn about in the lake

And the vast sky was everywhere
and the willow huge in the foreground
and a line of them
receding into the mist
and Zhou Mashu sang a song
there in the lake as he sat in his boat:
*water spreads about
and the lotus
is scattered over it
I, Zhao Mashu, am in my boat
and this is neither a journey or end;
here we are but another part of the whole -
it is the seeing of beauty
and that is all there is
here and beyond
now and ever
poem based on painting “Zhou Maoshu Appreciating Lotuses” by Kanō Masanobu (狩野 正信?, 1434? – August 2, 1530?)
Hal Loyd Denton Apr 2013
Seeing Differently


Take a plain window have an artist with sensitivity add rain and with the vision disfigured you
See though it is only raw rain it takes on the appearance of looking through frozen icicles
Everything your vision catches is broken as just solid forms of many colors electrifying
Stimulating a quiet delight changes everything the ordinary like snow takes the everyday and
Makes it a true winter wonderland the sidewalk tree foliage and shop roofs are perfect because
They are different tones and blends of color with someone in the foreground in bright pink this
Is all for one time instead of clear vision this difficulty creates pleasure for the eye I started
In my schooling at three years old my class room was at my great grandmothers when I got
There my crippled grandmother was in her wheelchair right next to her ninety year old blind
Mother they both set in their wheelchairs great grandmother ask me to come and stand in
Front Of her while with old feeble hands she felt my face knowledge passed through her fingers
To her and love passed through me as I stood as nothing in this revered setting whatever small
Doubts I might have had about life and my place in it this one thing I knew I was somebody I felt
Loved Excepted I felt human worth because it resonated from their presence there is an ancient
One that we stand before in this case the blindness rest on and with us he sees perfectly where
We truly are in much darkness it deals with trueness at the deepest level we all know that a lot
Of our speech is real but there is the time we are tenderly raw and open without trying to guard
Ourselves we speak from deep within what special times those are He touches unlike
Grandmother but He by His spirit touches the whole fiber of our being body soul and spirit but
How much we miss because our lives have not only blindness but darkness of our actions that
Respells His presence because he is holy in fact we have the rebel nature that defies one so
Loving we are his gifted dreams that he gives to others to name just a few gifts Steve Jobs for
Technology marvelous toys and more Walt Disney movies and the most fun place to go as
As a family a family Jim Henson’s widow co-creator of the Muppets just died what an empty
World it would be for children but He provides these treasures that cover the globe we don’t
Move in those circles but we enrich our world and bless our friends with our lives with the
Limitations we draw between ourselves in him He makes sure we still can give a lot but could
You see what more and how fantastic life could really be if we took the restraints out of the
Way and let him freely move in our lives I don’t know of one person who would not appreciate
A Deeper life my schooling continues when I meet someone they don’t understand the
Intensity and depth that I place on them this will bring you at times great pain because life has
That to go Along with such joy truly “no one is an island unto himself” being a true friend on
Deep levels is Costly but it is our best way of showing His wonderful greatness to others it is
Truly taking a Slice of heaven and inserting it in this natural walk it can be endured or blessed
With lips of clay Heaven will bow as the willow and touch common ground and make it golden
The nightingale will sing and cause the sweetest affection that will be spellbinding and other
Worldly it just Takes seeing differently and the walking that path to greater perfection
Laurel Elizabeth Nov 2013
Cyan*
has such a brackish mark
upon your passive visage-
it transfigures boldly, tempestuously
any average glance flung facetiously in my direction.

Dearest Rogue Element,
You invigorate all other
salient features.
Like the slip of a blunt knife,
you surge open your soul, compelling
any audacious personality to bleed through the wound of your
gaping irises.
You betroth yourself to
the Fascinating, the Creative,
and like the cascade of clearest french horn lamentation-
you stir my
emotions with a mournful compassionate caress.

And that’s the difference.
The mellow mahogany of my eyes
provides the most loving background for Light to
reflect her dancing valiance with reverent adoration.

But-
your Blue
will
forever
stride as the
arrogant foreground.
Commanding and eternally vexing, (captivating) me
with your gaudy juxtaposition
of angry intensity
and poignant serenity.

— The End —