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Weißer Tagesanbruch. Stille. Als das Kräuseln begann,
hielt ich es für Seewind, in unser Tal kommend mit Raunen
von Salz, von baumlosen Horizonten. Aber der weiße Nebel
bewegte sich nicht; das Laub meiner Brüder blieb ausgebreitet,
regungslos.
Doch das Kräuseln kam näher – und dann
begannen meine eigenen äußersten Zweige zu prickeln, fast als wäre
ein Feuer unter ihnen entfacht, zu nah, und ihre Spitzen
trockneten und rollten sich ein.
Doch ich fürchtete mich nicht, nur
wachsam war ich.
Ich sah ihn als erster, denn ich wuchs
draußen am Weidehang, jenseits des Waldes.
Er war ein Mann, so schien es: die zwei
beweglichen Stengel, der kurze Stamm, die zwei
Arm-Äste, biegsam, jeder mit fünf laublosen
Zweigen an ihrem Ende,
und der Kopf gekrönt mit braunem oder goldenem Gras,
ein Gesicht tragend, nicht wie das geschnäbelte Gesicht eines Vogels,
eher wie das einer Blume.
Er trug eine Bürde,
einen abgeschnittenen Ast, gebogen, als er noch grün war,
Strähnen einer Rebe quer darüber gespannt. Von dieser,
sobald er sie berührte, und von seiner Stimme,
die, unähnlich der Stimme des Windes, unser Laub und unsere
Äste nicht brauchte, um ihren Klang zu vollenden,
kam das Kräuseln.
Es war aber jetzt kein Kräuseln mehr (er war nahe herangekommen und
stand in meinem ersten Schatten), es war eine Welle, die mich umspülte,
als stiege Regen
empor von unten um mich herum,
anstatt zu fallen.
Und was ich spürte, war nicht mehr ein trockenes Prickeln:
Ich schien zu singen, während er sang, ich schien zu wissen,
was die Lerche weiß; mein ganzer Saft
stieg hinauf der Sonne entgegen, die nun
aufgegangen war, der Nebel hob sich, das Gras
wurde trocken, doch meine Wurzeln spürten, wie Musik sie tränkte
tief in der Erde.

Er kam noch näher, lehnte sich an meinen Stamm:
Die Rinde erschauerte wie ein noch gefaltetes Blatt.
Musik! Kein Zweig von mir, der nicht
erbebte vor Freude und Furcht.

Dann, als er sang,
waren es nicht mehr nur Klänge, aus denen die Musik entstand:
Er sprach, und wie kein Baum zuhört, hörte ich zu, und Sprache
kam in meine Wurzeln
aus der Erde,
in meine Rinde
aus der Luft,
in die Poren meiner grünsten Knospen
sanft wie Tau,
und er sang kein Wort, das ich nicht zu deuten wußte.
Er erzählte von Reisen,
davon, wo Sonne und Mond hingehen, während wir im Dunkeln stehen,
von einer Erden-Reise, von der er träumte, sie eines Tages zu tun
tiefer als Wurzeln…
Er erzählte von den Menschenträumen, von Krieg, Leidenschaften, Gram
und ich, ein Baum, verstand die Wörter – ach, es schien,
als ob meine dicke Rinde aufplatzen würde, wie die eines Schößlings,
der zu schnell wuchs im Frühling,
so daß später Frost ihn verwundete.

Feuer besang er,
das Bäume fürchten, und ich, ein Baum, erfreute mich seiner Flammen.
Neue Knospen brachen auf in mir, wenngleich es Hochsommer war.
Als ob seine Leier (nun wußte ich ihren Namen)
zugleich Frost und Feuer wäre, ihre Akkorde flammten
hinauf bis zu meiner Krone.
Ich war wieder Samen.
Ich war Farn im Sumpf.
Ich war Kohle.
Michael R Burch Feb 2020
Das Lied des Bettlers (“The Beggar’s Song”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

I live outside your gates,
exposed to the rain, exposed to the sun;
sometimes I’ll cradle my right ear in my right palm;
then when I speak my voice sounds strange, alien ...

I'm unsure whose voice I’m hearing:
mine or yours.
I implore a trifle;
the poets cry for more.

Sometimes I cover both eyes
and my face disappears;
there it lies heavy in my hands
looking peaceful, unafraid,
so that no one would ever think
I have no place to lay my head.

Originally published by Better Than Starbucks (where it was a featured poem, appeared on the first page of the online version, and earned a small honorarium)

Original text:

Das Lied des Bettlers

Ich gehe immer von Tor zu Tor,
verregnet und verbrannt;
auf einmal leg ich mein rechtes Ohr
in meine rechte Hand.
Dann kommt mir meine Stimme vor,
als hätt ich sie nie gekannt.

Dann weiß ich nicht sicher, wer da schreit,
ich oder irgendwer.
Ich schreie um eine Kleinigkeit.
Die Dichter schrein um mehr.

Und endlich mach ich noch mein Gesicht
mit beiden Augen zu;
wie's dann in der Hand liegt mit seinem Gewicht
sieht es fast aus wie Ruh.
Damit sie nicht meinen ich hätte nicht,
wohin ich mein Haupt tu.

Keywords/Tags: German, Rainer Maria Rilke, translation, beggar, song, rain, sun, ear, palm, voice, gate, gates, door, doors, outside, exposure, poets, trifle, pittance, eyes, face, cradle, head, loneliness, alienation, solitude, no place to lay one's head (like Jesus Christ)



Archaischer Torso Apollos ("Archaic Torso of Apollo")
by Rainer Maria Rilke
loose translation by Michael R. Burch

We cannot know the beheaded god
nor his eyes' forfeited visions. But still
the figure's trunk glows with the strange vitality
of a lamp lit from within, while his composed will
emanates dynamism. Otherwise
the firmly muscled abdomen could not beguile us,
nor the centering ***** make us smile
at the thought of their generative animus.
Otherwise the stone might seem deficient,
unworthy of the broad shoulders, of the groin
projecting procreation's triangular spearhead upwards,
unworthy of the living impulse blazing wildly within
like an inchoate star—demanding our belief.
You must change your life.



Herbsttag ("Autumn Day")
by Rainer Maria Rilke
loose translation by Michael R. Burch

Lord, it is time. Let the immense summer go.
Lay your long shadows over the sundials
and over the meadows, let the free winds blow.
Command the late fruits to fatten and shine;
O, grant them another Mediterranean hour!
Urge them to completion, and with power
convey final sweetness to the heavy wine.
Who has no house now, never will build one.
Who's alone now, shall continue alone;
he'll wake, read, write long letters to friends,
and pace the tree-lined pathways up and down,
restlessly, as autumn leaves drift and descend.



Der Panther ("The Panther")
by Rainer Maria Rilke
loose translation by Michael R. Burch

His weary vision's so overwhelmed by iron bars,
his exhausted eyes see only blank Oblivion.
His world is not our world. It has no stars.
No light. Ten thousand bars. Nothing beyond.
Lithe, swinging with a rhythmic easy stride,
he circles, his small orbit tightening,
an electron losing power. Paralyzed,
soon regal Will stands stunned, an abject thing.
Only at times the pupils' curtains rise
silently, and then an image enters,
descends through arrested shoulders, plunges, centers
somewhere within his empty heart, and dies.



Komm, Du ("Come, You")
by Rainer Maria Rilke
loose translation by Michael R. Burch

This was Rilke’s last poem, written ten days before his death. He died open-eyed in the arms of his doctor on December 29, 1926, in the Valmont Sanatorium, of leukemia and its complications. I had a friend who died of leukemia and he was burning up with fever in the end. I believe that is what Rilke was describing here: he was literally burning alive.

Come, you—the last one I acknowledge; return—
incurable pain searing this physical mesh.
As I burned in the spirit once, so now I burn
with you; meanwhile, you consume my flesh.

This wood that long resisted your embrace
now nourishes you; I surrender to your fury
as my gentleness mutates to hellish rage—
uncaged, wild, primal, mindless, outré.

Completely free, no longer future’s pawn,
I clambered up this crazy pyre of pain,
certain I’d never return—my heart’s reserves gone—
to become death’s nameless victim, purged by flame.

Now all I ever was must be denied.
I left my memories of my past elsewhere.
That life—my former life—remains outside.
Inside, I’m lost. Nobody knows me here.



Liebes-Lied ("Love Song")
by Rainer Maria Rilke
loose translation by Michael R. Burch

How can I withhold my soul so that it doesn’t touch yours?
How can I lift mine gently to higher things, alone?
Oh, I would gladly find something lost in the dark
in that inert space that fails to resonate until you vibrate.
There everything that moves us, draws us together like a bow
enticing two taut strings to sing together with a simultaneous voice.
Whose instrument are we becoming together?
Whose, the hands that excite us?
Ah, sweet song!



This is my translation of the first of Rilke’s Duino Elegies. Rilke began the first Duino Elegy in 1912, as a guest of Princess Marie von Thurn und Taxis, at Duino Castle, near Trieste on the Adriatic Sea.

First Elegy
by Ranier Maria Rilke
loose translation/interpretation by Michael R. Burch

Who, if I objected, would hear me among the angelic orders?
For if the least One pressed me intimately against its breast,
I would be lost in its infinite Immensity!
Because beauty, which we mortals can barely endure, is the beginning of terror;
we stand awed when it benignly declines to annihilate us.
Every Angel is terrifying!

And so I restrain myself, swallowing the sound of my pitiful sobbing.
For whom may we turn to, in our desire?
Not to Angels, nor to men, and already the sentient animals are aware
that we are all aliens in this metaphorical existence.
Perhaps some tree still stands on a hillside, which we can study with our ordinary vision.
Perhaps the commonplace street still remains amid man’s fealty to materiality—
the concrete items that never destabilize.
Oh, and of course there is the night: her dark currents caress our faces ...

But whom, then, do we live for?
That longed-for but mildly disappointing presence the lonely heart so desperately desires?
Is life any less difficult for lovers?
They only use each other to avoid their appointed fates!
How can you fail to comprehend?
Fling your arms’ emptiness into this space we occupy and inhale:
may birds fill the expanded air with more intimate flying!

Yes, the springtime still requires you.
Perpetually a star waits for you to recognize it.
A wave recedes toward you from the distant past,
or as you walk beneath an open window, a violin yields virginally to your ears.
All this was preordained. But how can you incorporate it? ...
Weren't you always distracted by expectations, as if every event presaged some new beloved?
(Where can you harbor, when all these enormous strange thoughts surging within you keep
you up all night, restlessly rising and falling?)

When you are full of yearning, sing of loving women, because their passions are finite;
sing of forsaken women (and how you almost envy them)
because they could love you more purely than the ones you left gratified.

Resume the unattainable exaltation; remember: the hero survives;
even his demise was merely a stepping stone toward his latest rebirth.

But spent and exhausted Nature withdraws lovers back into herself,
as if lacking the energy to recreate them.
Have you remembered Gaspara Stampa with sufficient focus—
how any abandoned girl might be inspired by her fierce example
and might ask herself, "How can I be like her?"

Shouldn't these ancient sufferings become fruitful for us?

Shouldn’t we free ourselves from the beloved,
quivering, as the arrow endures the bowstring's tension,
so that in the snap of release it soars beyond itself?
For there is nowhere else where we can remain.

Voices! Voices!

Listen, heart, as levitating saints once listened,
until the elevating call soared them heavenward;
and yet they continued kneeling, unaware, so complete was their concentration.

Not that you could endure God's voice—far from it!

But heed the wind’s voice and the ceaseless formless message of silence:
It murmurs now of the martyred young.

Whenever you attended a church in Naples or Rome,
didn't they come quietly to address you?
And didn’t an exalted inscription impress its mission upon you
recently, on the plaque in Santa Maria Formosa?
What they require of me is that I gently remove any appearance of injustice—
which at times slightly hinders their souls from advancing.

Of course, it is endlessly strange to no longer inhabit the earth;
to relinquish customs one barely had the time to acquire;
not to see in roses and other tokens a hopeful human future;
no longer to be oneself, cradled in infinitely caring hands;
to set aside even one's own name,
forgotten as easily as a child’s broken plaything.

How strange to no longer desire one's desires!
How strange to see meanings no longer cohere, drifting off into space.
Dying is difficult and requires retrieval before one can gradually decipher eternity.

The living all err in believing the too-sharp distinctions they create themselves.

Angels (men say) don't know whether they move among the living or the dead.
The eternal current merges all ages in its maelstrom
until the voices of both realms are drowned out in its thunderous roar.

In the end, the early-departed no longer need us:
they are weaned gently from earth's agonies and ecstasies,
as children outgrow their mothers’ *******.

But we, who need such immense mysteries,
and for whom grief is so often the source of our spirit's progress—
how can we exist without them?

Is the legend of the lament for Linos meaningless—
the daring first notes of the song pierce our apathy;
then, in the interlude, when the youth, lovely as a god, has suddenly departed forever,
we experience the emptiness of the Void for the first time—
that harmony which now enraptures and comforts and aids us?



Second Elegy
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Every angel is terrifying. And yet, alas, I invoke you,
one of the soul’s lethal raptors, well aware of your nature.
As in the days of Tobias, when one of you, obscuring his radiance,
stood at the simple threshold, appearing ordinary rather than appalling
while the curious youth peered through the window.
But if the Archangel emerged today, perilous, from beyond the stars
and took even one step toward us, our hammering hearts
would pound us to death. What are you?

Who are you? Joyous from the beginning;
God’s early successes; Creation’s favorites;
creatures of the heights; pollen of the flowering godhead; cusps of pure light;
stately corridors; rising stairways; exalted thrones;
filling space with your pure essence; crests of rapture;
shields of ecstasy; storms of tumultuous emotions whipped into whirlwinds ...
until one, acting alone, recreates itself by mirroring the beauty of its own countenance.

While we, when deeply moved, evaporate;
we exhale ourselves and fade away, growing faint like smoldering embers;
we drift away like the scent of smoke.
And while someone might say: “You’re in my blood! You occupy this room!
You fill this entire springtime!” ... Still, what becomes of us?
We cannot be contained; we vanish whether inside or out.
And even the loveliest, who can retain them?

Resemblance ceaselessly rises, then is gone, like dew from dawn’s grasses.
And what is ours drifts away, like warmth from a steaming dish.
O smile, where are you bound?
O heavenward glance: are you a receding heat wave, a ripple of the heart?
Alas, but is this not what we are?
Does the cosmos we dissolve into savor us?
Do the angels reabsorb only the radiance they emitted themselves,
or sometimes, perhaps by oversight, traces of our being as well?
Are we included in their features, as obscure as the vague looks on the faces of pregnant women?
Do they notice us at all (how could they) as they reform themselves?

Lovers, if they only knew how, might mutter marvelous curses into the night air.
For it seems everything eludes us.
See: the trees really do exist; our houses stand solid and firm.
And yet we drift away, like weightless sighs.
And all creation conspires to remain silent about us: perhaps from shame, perhaps from inexpressible hope?

Lovers, gratified by each other, I ask to you consider:
You cling to each other, but where is your proof of a connection?
Sometimes my hands become aware of each other
and my time-worn, exhausted face takes shelter in them,
creating a slight sensation.
But because of that, can I still claim to "be"?

You, the ones who writhe with each other’s passions
until, overwhelmed, someone begs: “No more!...”;
You who swell beneath each other’s hands like autumn grapes;
You, the one who dwindles as the other increases:
I ask you to consider ...
I know you touch each other so ardently because each caress preserves pure continuance,
like the promise of eternity, because the flesh touched does not disappear.
And yet, when you have survived the terror of initial intimacy,
the first lonely vigil at the window, the first walk together through the blossoming garden:
lovers, do you not still remain who you were before?
If you lift your lips to each other’s and unite, potion to potion,
still how strangely each drinker eludes the magic.

Weren’t you confounded by the cautious human gestures on Attic gravestones?
Weren’t love and farewell laid so lightly on shoulders they seemed composed of some ethereal substance unknown to us today?
Consider those hands, how weightlessly they rested, despite the powerful torsos.
The ancient masters knew: “We can only go so far, in touching each other. The gods can exert more force. But that is their affair.”
If only we, too, could discover such a pure, contained Eden for humanity,
our own fruitful strip of soil between river and rock.
For our hearts have always exceeded us, as our ancestors’ did.
And we can no longer trust our own eyes, when gazing at godlike bodies, our hearts find a greater repose.



Keywords/Tags: Rilke, elegy, elegies, angels, beauty, terror, terrifying, desire, vision, reality, heart, love, lovers, beloved, rose, saints, spirits, souls, ghosts, voices, torso, Apollo, Rodin, panther, autumn, beggar
Gold May 2014
Ich habe Fernweh nach dem Ort an dem du gerade bist, und Heimweh nach dem Platz in deinem Herzen.
Ich liebe den Himmel, und ich wünschte ich wäre das Firmament über dir, egal ob hinter Wolken versteckt oder mit den Gestirnen geschmückt, denn dann würde ich dich immer sehen und immer bei dir seien.
Jedoch könnte ich dich nie berühren, von da oben.
Vielleicht wäre es besser, der Boden zu seien. Du legst dich in mein warmes Gras und atmest meinen Duft ein, nach einem Regenschauer, und würdest dabei lächeln. Aber als der Boden, würdest du mich je bemerken? Und wenn ja, würdest du nicht nur auf mich herabsehen?
Das würde ich nicht überleben, wir sind alle aus Sternenstaub, und besonders in der Liebe gleich.
Aber wenn du mir diese drei Worte ins Ohr flüsterst oder sie mir ins Gesicht schreist, dann ist es eh egal. Denn dann steht alles auf dem Kopf, am Himmel ist das Wasser der Meere und ich schwimme durch Wolken. Ich gehe über Federn, und das Federkleid der Vögel besteht aus Gras.
So ist es, zumindest in meinem Kopf, jedes Mal nachdem du mein Herz mit den Schmetterlingen, die du in meinem Bauch ausgesetzt hast, erschütterst hast.
I have a desire to travel to the place where you are right now and homesickness to the place in your heart.
I love the sky, and I wish I were the firmament above you, whether hidden behind clouds or adorned with stars, because then I could always see you and be with you.
However, I could never touch you, from there above.
Maybe it would be better to be the ground. You lay down in my warm grass and breathe in my scent after rain and smile. But as the ground, would you ever recognize me? And if yes, wouldn't you just look down on me?
I wouldn't survive that, we're all made from stardust, and especially equal when in love.
But when you whisper those three words in my ear or scream them in my face, than it doesn't matter anyway. Because then, everything is upside down, the sky is made of the water of the seas and I swim through clouds. I walk over feathers and the feathering of the birds is made of grass.
This is how it is, at least in my head, everytime after you roused my heart with the butterflies you set out in my stomach.
Robert N Varty Jan 2013
Uns,
geht alles gut.

Deine Augen, die hübschesten.
Dein Gesicht, das schönste.
Dein Lächeln, das hellste.
Dein Lachen, der glücklichste.
Dein Geruch, der beruhigende.

(Alles geht mir gut)

Dein Umarmung
Trost.
Deine Stimme
Ruhe.
Dein Kuss
Freiheit.

(Alles geht mir gut)

Meine Anerkennung deiner Liebe
Deine Anerkennung meiner Liebe

(Alles geht uns gut)

Aber dann gab es die Zeit,
Veränderung.
Unsicherheit.
Beklommenheit.

(Alles geht mir fremd)

Mein Misverständnis deiner Liebe
Mein Misverständnis deiner Anerkennung

Aber ich verstehe.
Verstehe ich gut.

Die Anerkennung ist nicht so.
Die Anerkennung gab es nicht mehr.
Die Anerkennung wird der Verlust

Der Verlust des Trostes
Der Verlust der Ruhe
Der Verlust der Freiheit

Der Verlust der Liebe.
Waitherero Jun 2013
ich danke dir
ich dank dir nicht
ich hoffe,...
doch möchte ich es nicht

ich denke
heißt das ich bin

alles kommt mal ans Licht
Schicht für Schicht
entfaltet die Wahrheit sich

wie ein Kartenhaus bricht alles in sich
und alles endet in einen Haufen nichts

wenn das geschieht
stehen wir vor dem Gericht
allein und ohne nichts

in dir kommen Gedanken
nichts mehr ist zum Lachen

Ernst ist gefragt
und wenn du versagst
liegt es allein in deiner Hand

das wird die Zeit sein
in der du dir sagst...

von nichts kommt nichts
ich bin ich
und du bist der der du bist

alles was ich will
ist ein lächeln im Gesicht
und ein schönes Gedicht
#ich bin ich #ich #bin #Licht #hoffe #Hoffnung #Deutsch #Denken #sein
Souleater Dec 2017
Überall genervte Gesichter
irgendwo ein schreiender Richter
Die Verurteilten schweigen
sie wollen den Stress vermeiden
denn sie wissen ganz genau
für die anderen wäre es nicht mehr als ne Show
HEIMEKEHR

Alexander K Opicho
(Eldoret, Kenya; aopicho@yahoo.com)

Meine lieb ist kommen heime
Mene susslich kinder ist kommen
Ist auf die kehle kommen
Meine gute junge ist kommen heime
Meine gute tochter ist kommen heime
Meine jungen leute sie kommen heime
Diese Sonntag meine sohn ist kommen
Weg raumen zweibel von meine auge
Diese montaf meine tochter ist kommen
Weg raumen stumpfsinning von meine leben
Diese Dienstag meine sohn ist kommen
Weg raumen hunger von mein mangen
Diese mtiwoch meine sohn ist kommen
Weg raumen ungeschutzt von meine korper
Diese Donnerstag von domeine jungen kommen
Weg raumen schand von meine gesicht
Diese Freitag meine tochter ist kommen
Weg raumen   qual von meine  hertz
Diese Samstag meine jungen kommen
Weg raumen armut von meine leben
Diese woche meine retter ist kommen
Weg raumen verzweiflung von meine leben


Vergnugen!
Mateuš Conrad Mar 2019
hands down...

   i'll stage a show,
akin to:

    ein hanswurst
              mit-nein schminke...

hanswurst-gesicht-gegessen-
               durch-
             die-arbeit-zustand-
    ein-lächeln:

a clown without make-up...

   clown face eaten
              by
        the work of being
            eaten by: a smile.

- but unlike "abraham" clinton...
i can tell you...
i did nothing wrong
by visiting a brothel...

       the wrong party is
protected under the "law":
it's illegal to procure
prostitution
   with a brothel...

   it's not illegal
to visit a *******,
as it is not illegal
to be a *******...

what is illegal...
is to own a brothel...
to be, the "madam"...
from what i've heard:
i haven't done
anything illegal...

and all the better for it...
given the freedom
of current women,
the only pleasure,
or the last remnant
of freedom for men
to be enjoyed...
is among prostitutes...

the "question" of rubber
isn't even on the cards...
if you've never been...
you'll never know...
what...
    feels like...
  an eternity...
  when you're not
latched onto a parasitical
****'s worth of
"responsibility"...
a "james bond" stealth tax...

not when you're
at university,
and haven't thought
about applying for a job...
not this
******* "solomon's surprise"
of a child when
you haven't learned to use
your feet...
only just finished
using up your arms...

under the english law:
i did nothing wrong
visiting a brothel...
  or a *******...
not one, iota, of harm...
  
   last time i heard...
it's not illegal to be a *******,
nor is it illegal
to be a *******'s pundit...
what is illegal...
is owning / running a brothel...
basically prostitutes
can only be prostitutes
if they serve the working
ethos of considering
themselves self-employed...
but who the **** has
the sort of money
to throw it at women,
behind a camera,
                                 jerking off?

if you're like me...
you're like the "snob"
at the smithfield "laundary"
exchange base:
some people even decided
to call it:
      smit-ah-field...
you know:
when people became
confused buying a bargain
of bulgarian beef,
when it was actually
romanian pork...

  but last time i checked...
what was illegal?
was the venue we spent
an hour in...
and i forgot to trim
my ***** hair,
and me all "embarrassed"...
decided to smooch
            for an hour.

**** me: at least some clear
boundaries...
   she tells you she's
s.t.d. checked...
you put on the ****-tracey
gimp latex tux...
   you start making
items of scent,
past the already applied
perfumes...
the hair has a different
signature to the skin,
  and all else...
        and... pure procreation...
nothing of a moral
question to hugging
babies: as much as i'd love
to hug babbies as petting
the ultimate autistic bonsai:
of the worth of cats...

women:
  an exasperating word...
akin to something
by tom waits: live...

which is why i don't understand
the whole jack the ripper
cult modus operandi of
sifting through the obvious...

(said in a hushed tone(:

     at least with a *******
i don't have to worry
about the clam-trap...
  clam-trap?
   tell you it's o.k. to rubber-off...
encouraging you:
it's on the pill...
   and then...
                     well... it's either
a lie or...
      it's a double lie...
  whatever it was, is,
or will forever be...

     i didn't break a single
english law
by visiting a *******...
she didn't either...
the act wasn't forbidden...
nuance...
   it's illegal
to run a brothel in england...
that's why...
all the prostitutes
of amsterdam...
appear to be self-employed...
the brothel is "bypassed"...
well...
it is, but it technically isn't...

now...
i rather prefer the "moral"
debate concerning prostitutes...
than the debate
concerning relationships
and unwanted
pregnancies...

  why complicate
this world with a compliment
of said question,
about...
   the attitudes
of free women of the west?
i almost would understand
being unable to pull out
a circumcised phallus
from a ******...
  but an uncircumcised phallus?

*****, please...
i know what an *******
feels like...
it's my *******...
pulled back...
constricting
the "sudden" burst
of "juice"...
   it's not a milli-second
timed event...
i don't need some
circumcised ego-tripper
to tell me
what...
   imitation circumcision
feels like...
and how *******
can be prevented to
claim "responsibility"...
  went to a *******...
performed oral ***
on her...
   and this is how that
"oration" translates into!
Es ist alles ich könnte je bitten
jenes Gesicht nie wieder zu sehen.

Es ist alles ich könnte je beten
jene Stimme nie wieder zu hören.

Es ist alles ich könnte je hoffen
jenes Gefühl nie wieder zu fühlen.
-
It is all I could ever ask
never to see that face again;

It is all I could ever pray
never to hear that voice again;

It is all I could ever hope
never to feel that way again.
Title: "Plague"
Mateuš Conrad Feb 2019
men attired in canadian chequers:
like jumberjacks...

          and what becomes
the heaving breathing of that,
which constitutes a horizon:

upon that wood's horizon...
        i entombed meine herz...
as i told it...
in those wooden scuttle
for morph & skim-reading
of books, i.e.:
speak to the few,
and fewer still for any chance
of the morose moor
of more..
  
          boot-lick without
an SS-mann's schuhcreme...
i too see
                 the moon
in the basin reflection of a lake:
der mond...
                    die alles...
                 und meine gesicht zü!

seems: i have no apparent
reason to stage a fright
for the dodo project
in a language: "becoming"
exinct...

                what becomes
mecca was already persepolis...
in that:
bowing in tow,
the deity of the sun...
has... become whiff
of corrupt pleasure...
   sonnegottheit...
   lovely **** lovers,
as dictated by
a w. Burroughs...
strapped to an enclave of
Tangier...
      as much homosexuality
under Islam as...
            what is worth
the "natural" world,
with a buffer of ideology
counter technology
for the onto-;
gentlemen?
     on your knees:
please bow...
            
that...
   how to tell the german
philosophers apart...
i.e.
   dasein &
                    daßein?

              ᛋ:ᛋ....

          ­   hahnohr zü krächzen!

diese deutsche:
mein mütter...

                  and i could have been
such an idle:
sycophant...
    such a toy-boy-shoe-shine
worth of a punk: agenda...

come the rigid whip...

these days: it is no longer
worth its due to
write poetry to escape
the world...

one needs...
to read some philosophy,
to escape the world,
for sure,
but one also requires
an ability to fathom
a construct of a fortress
of a vocab.,
that only:
the systematic application
of language
for the understudy
of philosophy:
breaks, fathoms,
beckons with.

oh, i actually know very little...
but what i do know is...
the basis of all wordly
fade-out vogues...
containing a man...
  
whatever "begins" with
the Cartesian res cogitans
(thinking thing)
"ends" with the Kantian
res per se (think in itself)...
one even begins to hope:
that's a tautological
statement...

              but now...
cogitansper se,
i.e. thinking does not equate
itself to either being
or the in-itself...
since thinking can
become corrupt...
           since thinking is
corrupt...

           ergo?

             well a revisionist take
on Descartes via Kant is
worthy:

     supposing cogitans = esse per se...
   res ≠ res,
via                 res cogitans ≠ res per se...
when, once upon a time
res cogitans = res per se...
yes, once upon a time
a thinking thing would equate
to a thing in itself...

                    not diesetage...

we are liberated by the "knowledge"
that man's thought is: "know"
when his ontology is
the metaphor extract from
the natural world,
and not from the ontological
world, barricaded by
technology and...
the craft of a 3D tongue
of nuance...

              there's no verb attachment
as simply put as: cogito ergo sum...

    it requires
the "thing", i.e. res...

                         a res cogitans
non est res per se...
          
                 but thinking can be
deemed a "per se"...
                  to mind:
         there is no ergo-cascade to
fathom....
  since the Kantian reinvigoration
of the Cartesian heave is
equally balanced on
the ergo:
     qua cogito per se qua
                sum per se (est, est)....

ergo?
  res ≠ ego / id...

             but the verb: cogito
is an eventuality of: burrowing...
i.e. clarifying:
both the fathomable depth
of thought, and the unfathomable
shallowness of being...

we "awaited" the discovery
of the D.N.A. helix...
but never "expected"
  james watson to be: shunned...
thank god i didn't
take part in one of those
D.N.A. investments of
collecting data...

well sure... why would you read
"modern" philosophy...
i.e. something by a German
from the 17th or 18th century
apart from Nietzsche...

   you'd become stiff!
quadratic!

                mind you...
everything spoken in the English
tongue from
the 20th century onwards,
apart from:

love, love me do...
you know i love you
i'll always be true
so please, love me do...


rhyme:
always the highest source
of wisdom (purpose
for life, and subsequent
invigoration for it
being pursued) in
the English tongue...
so... who am i to judge?

i'm just a stiff collar
remnant of what would have
become a "what-if"
schutzstaffelbüro -
ja... die S.S.B.

i know... fetischgrund;
as implanted into me
by my history teacher,
in England...
while studying
WWII...
she said:
pointing at me...
out of all of you...
he would be the only
one left alive...

hell...
   i'm still trying to find
a grimace to live with
to counter her.

p.s. but i thought
the englischspreschenpublikum
   gesucht für, die "knotted-si-si"?
nein?
             ooh... wäß schønde!
Nada Nov 2019
kalte Nacht
dunkles Licht
keine Macht
blinde Sicht
niemand lacht
düsteres Gesicht
verlorene Schlacht
ein Herz das bricht
sag es nicht
trauriges Gedicht
JoJo Nguyen Mar 2016
An algorithm
Is but sly slant rhyme
Math encoded rules
Like riding punk rails
Giving a gesicht
Remembering Zorks
remembering 2012
Mateuš Conrad Dec 2019
i never write "anything"...
i'm claustrophobic when its comes to
exploring cognizance...

'wow! what a fancy word!'

i hardly beg to differ...
i hear of people fathoming the novel...
and...
i'm a monolith monstrosity...
some bourbon, some german:

ich bin gut zu gehen: ja!

spucke bourbon au zu mein gesicht!

i will never write a novel,
i deal with butchering an animal
for: ein stück von fleisch...

"a novel" und barockarchitektur:
sounds similar?

oh but it's a freel available tattoo
in the anglophonic frame of ref....
Hastings, 1066...
hard to come by when the tattoo reads...
ahem...

Tannenberg, 1410...
Vienna, 1683...

clear-cut... almost safe-net catch-em
while you can...
the Hastings folk were pagans...
don't you know?
don't you know that only white
people can be racist?

pst... ask the russians "about that"...
see what you come back with...
i will have to...
S'****** at the reply...
no... honestly: "because" it's forbidden for
us former iron curtain "roma" folk...
**** dastardly's dog: muttley... S'*******...
giggles in...
we former folk from the eisenvorhang...
coming across the californian:
siliziumvorhang?!
where are we... polacks...
hunagarians... czechs... estonians...
lithuanians... ukranians...
yugolz... at?!
we don't fit the narrative... do we?

it's the 27th of december...
and i'm "thinking"... it's mighty fine...
to celebrate something with the aestigermani!

the children of ***** sought a father...
the children of gomorrah were akin...
i do not know whether i am
a father figure or whether:
there's that pointless safety question
to mind: did i wear a ******?
i was assured! i was assured there were
contraceptive pills involved!

i'm tired on the usual steaming-heap
pile of warm ******* and ****
to give a psychoanalyst his rhetoric
elevated status of disinhibition...

cocktail! madonna's papa don't preach...
dusty springfield: son of a preacher man...
and any other formidable calypso
study of salsa... should this sugar baby
this sugar baby be my baby
and if i would never become a sugar daddy...

and because i was only ever looking
for the six oops-stones of womanhood...
infinity: eh... bag 'em one weekend...
forget 'em the next...

god... let me this one type of racist...
Jefferson keeping "green things" akin
to Zoe Saldana in some variation
of a "basement"...
i'm good with green...
use enough cumin, coriander or
cinnamon powder in your cooking...
you'll ask: what's wrong with green?
i'd **** green! i'd **** green sitting down
i'd **** green of the sort sleeping!
i'd peacock myself in many variations
of drunk to stage:
that one sober sort of **** with her
and... it's no samantha 38g and...
classics come to mind...
homer, horace... and plump models
of: extra cushions!

ha ha... i make myself laugh:
i make myself laugh because:
there's about zeo chance of me...
conjuring up a novel ambition...
me and a novel...
a "supposed" schizoid and a novel...
ha ha! Noel! Noel!

there was a time where i grew a beard for a reason:
i.e. exercise less..
grow a beard, hide the pride of a walrus
minus the harem...
double chin and the...
Zoe Saldana in green skin...
octopus fucky-fucky or what?

- never mind -

grow a beard... hide the shar pei...
i figured over time...
my beard became a giza pyramid
focus of my eyes...
it took some persuasion...
namely 4 years and my grandmother
finally pointing out:
oh look how thick it is...
she wanted to play g.i. joe with...
prior to: my hair...
like some thor meets barbier universe
dolls extravaganza...
a hard-on waiting...
with an ava lauren limp twist...

"oops".

now the beard is all about...
being 34 years old... while donning
the *** leftover skivvy look
inflating the organic body for a media
frenzy to "compenstate" it to be aged:
49!
ha ha...
i keep forgetting why i'm in such a good mood!
today is today! and i'm...
and i'm not allowing myself to succumb
to an anglophonic seriousness
of staging an elvis costello seriousness
of: everyday writing the novel...

pst: sounds better than that obvious...
"nook 'n' cranny"...

my alternatives!
minnesang - neidhart:
meie din liechter schin!

weihnachten ist erledigt!
weihnachten ist erledigt!
weihnachten ist erledigt!
weihnachten ist erledigt:
lassen uns singen!
lassen uns geben loben!
lassen uns männer verlassen
der mutterleib!

ensemble für frühe musik augsburg -
mayenzeit one neidt...

jetzt kommen der lieder:
zu gesungen! für alle das jahr!

i guess i grew a beard to hide a shar pei...
then again:
perhaps i grew a beard to pretend to
fiddle with a throng of violins?
perhaps i found growing my hair long...
i had to compensate!
i had to exfoliate in the downward
spiral and exchange...
oi! baldy! baldy!
i can juggle! i can juggle!
i can grow long hair and a beard!

but never the two at the same time!
germany and the nazis...
i just can't stiop thinking about
the lucky... those frivolous drunks
of the holy roman empire...
esp. when peering via their folk songs...
i call it: having to succumb to
english prune and pristine pressures...
even these days...
being wholy saxon is to be:
most unwholesome when it comes
to the german federation...

it's called cheating:
eatin saxon white soy
and not... riddling oneself
with Bavarian rye!

i'm drunk! it's the 27th of december!
the little ******* is born!
now i can celebrate!
chevalier, mult estes guariz!
on the 27th of december i can sing
german, and french crusader songs!

on the 27th of december i can celebrate!
nothing has to be left so innocent
and passive! so coddled!
and if they weren't singing byzantine
chants... prior to this day?!
let them sing no more!
i have found my happiness! once more!

Ö dies freude!
jetzt ich können: singen!
einst die kinder und engel...
ar legen zu bett!

if i am to be the integrated kind...
now i rejoice!
for i have all the reasons to rejoice!
i do no have to pander
to a babe!
i do not have to force myself
into elevated expectations with
a pre- litany of the omni- suitor...

now i can champion the romance
of the crusade...
i am... freed from the utopia...
that only one heart is allowed
to feel... and its feeling is to be contested...
solely by the sacrifice of a crucifixion...
not by iron maiden outlets "etc."...

now muttererde...
ihr liebhaber: wind - seine unterschrift!
weihnachten ist erledigt!
weihnachten ist erledigt!

it's the 27th of december and i can finally
celebrate with songs...
that... celebrate the sort of christianity
i am accustomed to...
french crusader songs...
german folk...
that i can stomach...
not this... pandering...
expecting the nuns to not...
somehow, not, become...
the ****** of the christ-harem!
a nun is a nun is a nun is a nun...
is a nun...
but i very much like...
being considered...
for... the better part of the feminine whim,
outside the realm of:
the usual rejection tactics of:
the aborted... i like my exercise of yielding:
DAS WORTE... ooh... chisel that
with a base goosebump strut to be worth
being added!

em... it's almost like that...
time-travel question of:
why not travel back in time...
and **** the baby adolf ******...
dunno... no point doing that with a jesus...
since... m'eh... his cross is our
genuflexion... yes: kind sir...
yes mr. greek and mrs. hebrew...
esp. in this script...
esp. when its alive and "we" debate...
the pronunciation of:

nil admirari prope res est una, Numici,
solaque, quae possit facere et servare beatum...
hunc solem et stellas et decedentia certis
tempora momentis sunt qui formidine nulla
inbuti spectent: quid censes munera terrae,
quid maris extremos arabas ditantis et indos
ludicra, quid plausus et amici dona quiritis,
quo spectanda modo, quo sensu credis et ore?

there's nothing to be surprised by, Numicious,
in this life's mainstay, peace of soul and happiness;
others, onto the sun, the stars, azure bodies...
on the round year of orbital changes, look with
a calm... and you would, upon the gifts of earth,
pearls of the sea, what of the distant Arabs,
Indians beyond the Arabs,
on the Kwiritow (googlewhack...)
Quiritus' honours, questionable plaudit: peer
raptured in awe without measure?

a very ******* bad a very ******* terrible
translation... as you do...
as you do... sinking into bourbon...
thinking about... maritza mendez...
sylvia loret... samantha 38G...
and all those lost plump classics of *****...

i would have sunk the Potemkin!
drunk... i wouldn't even require
a sober catch / scrutiny of "character"...
because now i am yet to translate
some latin, use this... ahem...
pseudo-cuneiform text:
"LATINE QUOD MORTUS EST"

perhaps that's mis-translated as:
qua: i.e. "as being"...
perhaps MIT... some runic...
or glagolitic... we AWAIT: the revival!
of the grand h'american protestant church
of apocalyptic wonder!
maybe, perhaps... "then"!

but it's the 27th of december...
the... "messiah" is born!
now we can reroute and go back to our...
current year... ***** and gomorrah type
of *******...
the cosmopolitan whoop-t'd'ah is 'ere!
come easter, come spring....
come the crucifixion! come the resurrection!
Snow Aug 2021
du.
Du. Du bist alles. Alles für mich.
Alles ist die Luft die ich atme,
die Sonne die mir ins Gesicht scheint,
der Regen auf meiner Haut,
die Fähigkeit zu leben.
Zu leben als gäbe es kein morgen,
als könne jede Sekunde,
jede Träne,
jedes lächeln,
jeder Sonnenuntergang,
jeder Traum
mein letzter sein.
Mein letzter Atemzug.
Ich ertrinke in dir
und du ?
Du stehst 500 Meter von mir entfernt und schaust mich an.
Meine Haare fliegen im Wind,
es ist kalt.
Deine Blicke ziehen mich aus
und das einzige was von mir übrig bleibt ist meine weiße,
kalte Haut.
Meine braunen Haare,
meine blauen Augen.
Und ich ? Wer bin ich ? Wer war ich ? Wen hast du aus mir gemacht ?  
Dich zu verlieren war einst mein größter Schmerz,
das Gefühl zu ertrinken,
keine Wasseroberfläche in Sicht.
Alles dunkel,
Pechschwarz und doch,
doch fühl ich mich leicht,
fast frei, ein Gefühl von Leichtigkeit.
Ich hab mich verloren.
Deine Liebe hat mich konsumiert,
ausgesaugt wie ein Vampir,
bis meine einzige Seele dein war.
Du nahmst mich mir weg.

Du bist nicht alles,
das hab ich jetzt verstanden.
Ich war alles,
alles um zu leben.
Und nun ? Was nun ?
Hab meine Seele dir gegeben,
mit Hoffnung, Hoffnung,
dass du auf sie aufpasst, sie beschützt.
Doch jetzt verstehe ich.
Ich verkaufte meine Seele an den Teufel.
Ich fühl mich gebunden,
du bist im Besitz des meinen.
Geb' mich frei.


Und doch,
doch werde ich mich nie wiedersehen.
Ich bin weg,
schwebe wie eine verlorene Seele in unserem Universum.
Und nun ?
Du musst verstehen,
du existierst nicht mehr,
nicht wie vorher.
Also vergiss nicht,
verliebe dich wieder,
liebe mit all deinem Herz,
jedes Atom soll vor Glück sprießen,
aber vergiss mich nicht.
Leg deine Hände um dein neues Ich.
Liebe mich,
hege und pflege mich,
heiße mich mit offenen Armen willkommen.
Und wenn du mich fast verlierst,
dann schnapp mich,
halte mich fest,
so fest wie du kannst,
und lass mich niemals los,
niemals.
Michael R Burch Nov 2024
These are modern English translations of poems by the German poets Hermann Allmers, Hannah Arendt, Ingeborg Bachmann, Paul Celan, H. Distler, Wilhelm Ludwig Gleim, Johann Wolfgang von Goethe, Günter Grass, Heinrich Heine, Johann Georg Jacobi, Friedrich Gottlieb Klopstock, Rainer Maria Rilke, Friedrich Schiller, Angelus Silesius and Georg Trakl.



To the boy Elis
by Georg Trakl, an Austrian poet who wrote in German
loose translation/interpretation by Michael R. Burch

Elis, when the blackbird cries from the black forest,
it announces your downfall.
Your lips sip the rock-spring's blue coolness.

Your brow sweats blood
recalling ancient myths
and dark interpretations of birds' flight.

Yet you enter the night with soft footfalls;
the ripe purple grapes hang suspended
as you wave your arms more beautifully in the blueness.

A thornbush crackles;
where now are your moonlike eyes?
How long, oh Elis, have you been dead?

A monk dips waxed fingers
into your body's hyacinth;
Our silence is a black abyss

from which sometimes a docile animal emerges
slowly lowering its heavy lids.
A black dew drips from your temples:

the lost gold of vanished stars.

I believe that in the second stanza the blood on Elis's forehead may be a reference to the apprehensive ****** sweat of Jesus in the garden of Gethsemane. If my interpretation is correct, Elis hears the blackbird's cries, anticipates the danger represented by a harbinger of death, but elects to continue rather than turn back. From what I have been able to gather, the color blue had a special significance for Georg Trakl: it symbolized longing and perhaps a longing for death. The colors blue, purple and black may represent a progression toward death in the poem.




Heinrich Heine

The Seas Have Their Pearls
by Heinrich Heine
loose translation/interpretation by Michael R. Burch

The seas have their pearls,
The heavens their stars;
But my heart, my heart,
My heart has its love!

The seas and the sky are immense;
Yet far greater still is my heart,
And fairer than pearls and stars
Are the radiant beams of my love.

As for you, tender maiden,
Come steal into my great heart;
My heart, and the sea, and the heavens
Are all melting away with love!



Rainer Maria Rilke

Rainer Maria Rilke [1875-1926] was a Bohemian-Austrian poet generally considered to be a major poet of the German language. He also wrote more than 400 poems in French. He was born René Karl Wilhelm Johann Josef Maria Rilke in Prague, then the capital of Bohemia and part of Austria-Hungary. During Rilke's early years his mother, who had lost a baby daughter, dressed him in girl's clothing. In 1895 and 1896, he studied literature, art history, and philosophy in Prague and Munich. In 1902 Rilke traveled to Paris to write about the sculptor Auguste Rodin. Rilke became deeply involved with the sculpture of Rodin and for a time served as Rodin's secretary. Under Rodin's influence Rilke transformed his poetic style from the subjective to the objective. His best-known poem, "Archaic Torso of Apollo," was written about a sculpture by Rodin and speaks about the life-transforming properties (and demands) of great art. Rilke allegedly died the most poetic of deaths, having been pricked by a rose. He was in ill health, the wound failed to heal, and he died as a result.

Poems translated here include Herbsttag ("Autumn Day"), Der Panther ("The Panther"), Archaïscher Torso Apollos ("Archaic Torso of Apollo"), Komm, Du ("Come, You"), Das Lied des Bettlers ("The Beggar's Song"), Liebeslied ("Love Song"), and the First Elegy, also known as the First Duino Elegy.



Archaischer Torso Apollos (“Archaic Torso of Apollo”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

We cannot know the beheaded god
nor his eyes' forfeited visions. But still
the figure's trunk glows with the strange vitality
of a lamp lit from within, while his composed will
emanates dynamism. Otherwise
the firmly muscled abdomen could not beguile us,
nor the centering ***** make us smile
at the thought of their generative animus.
Otherwise the stone might seem deficient,
unworthy of the broad shoulders, of the groin
projecting procreation's triangular spearhead upwards,
unworthy of the living impulse blazing wildly within
like an inchoate star—demanding our belief.
You must change your life.

TRANSLATOR'S NOTE: This is a poem about a major resolution: changing the very nature of one's life. While it is only my personal interpretation of the poem above, I believe Rilke was saying to himself: "I must change my life." Why? Perhaps because he wanted to be a real artist, and when confronted with real, dynamic, living and breathing art of Rodin, he realized that he had to inject similar vitality, energy and muscularity into his poetry. Michelangelo said that he saw the angel in a block of marble, then freed it. Perhaps Rilke had to find the dynamic image of Apollo, the God of Poetry, in his materials, which were paper, ink and his imagination.—Michael R. Burch

Archaïscher Torso Apollos

Wir kannten nicht sein unerhörtes Haupt,
darin die Augenäpfel reiften. Aber
sein Torso glüht noch wie ein Kandelaber,
in dem sein Schauen, nur zurückgeschraubt,
sich hält und glänzt. Sonst könnte nicht der Bug
der Brust dich blenden, und im leisen Drehen
der Lenden könnte nicht ein Lächeln gehen
zu jener Mitte, die die Zeugung trug.
Sonst stünde dieser Stein entstellt und kurz
unter der Schultern durchsichtigem Sturz
und flimmerte nicht so wie Raubtierfelle
und bräche nicht aus allen seinen Rändern
aus wie ein Stern: denn da ist keine Stelle,
die dich nicht sieht. Du mußt dein Leben ändern.



Herbsttag ("Autumn Day")
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Lord, it is time. Let the immense summer go.
Lay your long shadows over the sundials
and over the meadows, let the free winds blow.
Command the late fruits to fatten and shine;
O, grant them another Mediterranean hour!
Urge them to completion, and with power
convey final sweetness to the heavy wine.
Who has no house now, never will build one.
Who's alone now, shall continue alone;
he'll wake, read, write long letters to friends,
and pace the tree-lined pathways up and down,
restlessly, as autumn leaves drift and descend.

Herbsttag

Herr: es ist Zeit. Der Sommer war sehr groß.
Leg deinen Schatten auf die Sonnenuhren,
und auf den Fluren laß die Winde los.
Befiel den letzten Früchten voll zu sein;
gib ihnen noch zwei südlichere Tage,
dränge sie zur Vollendung hin und jage
die letzte Süße in den schweren Wein.
Wer jetzt kein Haus hat, baut sich keines mehr.
Wer jetzt allein ist, wird es lange bleiben,
wird wachen, lesen, lange Briefe schreiben
und wird in den Alleen hin und her
unruhig wandern, wenn die Blätter treiben.



Du im Voraus (“You who never arrived”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

You who never arrived in my arms, my Belovéd,
lost before love began...

How can I possibly know which songs might please you?

I have given up trying to envision you
in portentous moments before the next wave impacts...
when all the vastness and immenseness within me,
all the far-off undiscovered lands and landscapes,
all the cities, towers and bridges,
all the unanticipated twists and turns in the road,
and all those terrible terrains once traversed by strange gods—
engender new meaning in me:
your meaning, my enigmatic darling...

You, who continually elude me.

You, my Belovéd,
who are every garden I ever gazed upon,
longingly, through some country manor’s open window,
so that you almost stepped out, pensively, to meet me;
who are every sidestreet I ever chanced upon,
even though you’d just traipsed tantalizingly away, and vanished,
while the disconcerted shopkeepers’ mirrors
still dizzily reflected your image, flashing you back at me,
startled by my unwarranted image!

Who knows, but perhaps the same songbird’s cry
echoed through us both,
yesterday, separate as we were, that evening?

Du im Voraus

Du im Voraus
verlorne Geliebte, Nimmergekommene,
nicht weiß ich, welche Töne dir lieb sind.
Nicht mehr versuch ich, dich, wenn das Kommende wogt,
zu erkennen. Alle die großen
Bildern in mir, im Fernen erfahrene Landschaft,
Städte und Türme und Brücken und un-
vermutete Wendung der Wege
und das Gewaltige jener von Göttern
einst durchwachsenen Länder:
steigt zur Bedeutung in mir
deiner, Entgehende, an.

Ach, die Gärten bist du,
ach, ich sah sie mit solcher
Hoffnung. Ein offenes Fenster
im Landhaus—, und du tratest beinahe
mir nachdenklich heran. Gassen fand ich,—
du warst sie gerade gegangen,
und die spiegel manchmal der Läden der Händler
waren noch schwindlich von dir und gaben erschrocken
mein zu plötzliches Bild.—Wer weiß, ob derselbe
Vogel nicht hinklang durch uns
gestern, einzeln, im Abend?



Der Panther ("The Panther")
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

His weary vision's so overwhelmed by iron bars,
his exhausted eyes see only blank Oblivion.
His world is not our world. It has no stars.
No light. Ten thousand bars. Nothing beyond.
Lithe, swinging with a rhythmic easy stride,
he circles, his small orbit tightening,
an electron losing power. Paralyzed,
soon regal Will stands stunned, an abject thing.
Only at times the pupils' curtains rise
silently, and then an image enters,
descends through arrested shoulders, plunges, centers
somewhere within his empty heart, and dies.



Komm, Du (“Come, You”)
by Ranier Maria Rilke
loose translation/interpretation by Michael R. Burch

This was Rilke’s last poem, written ten days before his death. He died open-eyed in the arms of his doctor on December 29, 1926, in the Valmont Sanatorium, of leukemia and its complications. I had a friend who died of leukemia and he was burning up with fever in the end. I believe that is what Rilke was describing here: he was literally burning alive.

Come, you—the last one I acknowledge; return—
incurable pain searing this physical mesh.
As I burned in the spirit once, so now I burn
with you; meanwhile, you consume my flesh.

This wood that long resisted your embrace
now nourishes you; I surrender to your fury
as my gentleness mutates to hellish rage—
uncaged, wild, primal, mindless, outré.

Completely free, no longer future’s pawn,
I clambered up this crazy pyre of pain,
certain I’d never return—my heart’s reserves gone—
to become death’s nameless victim, purged by flame.

Now all I ever was must be denied.
I left my memories of my past elsewhere.
That life—my former life—remains outside.
Inside, I’m lost. Nobody knows me here.

Komm, Du

Komm du, du letzter, den ich anerkenne,
heilloser Schmerz im leiblichen Geweb:
wie ich im Geiste brannte, sieh, ich brenne
in dir; das Holz hat lange widerstrebt,
der Flamme, die du loderst, zuzustimmen,
nun aber nähr’ ich dich und brenn in dir.
Mein hiesig Mildsein wird in deinem Grimmen
ein Grimm der Hölle nicht von hier.
Ganz rein, ganz planlos frei von Zukunft stieg
ich auf des Leidens wirren Scheiterhaufen,
so sicher nirgend Künftiges zu kaufen
um dieses Herz, darin der Vorrat schwieg.
Bin ich es noch, der da unkenntlich brennt?
Erinnerungen reiß ich nicht herein.
O Leben, Leben: Draußensein.
Und ich in Lohe. Niemand der mich kennt.



Liebes-Lied (“Love Song”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

How can I withhold my soul so that it doesn’t touch yours?
How can I lift mine gently to higher things, alone?
Oh, I would gladly find something lost in the dark
in that inert space that fails to resonate until you vibrate.
There everything that moves us, draws us together like a bow
enticing two taut strings to sing together with a simultaneous voice.
Whose instrument are we becoming together?
Whose, the hands that excite us?
Ah, sweet song!

Liebes-Lied

Wie soll ich meine Seele halten, daß
sie nicht an deine rührt? Wie soll ich sie
hinheben über dich zu andern Dingen?
Ach gerne möcht ich sie bei irgendwas
Verlorenem im Dunkel unterbringen
an einer fremden stillen Stelle, die
nicht weiterschwingt, wenn deine Tiefen schwingen.
Doch alles, was uns anrührt, dich und mich,
nimmt uns zusammen wie ein Bogenstrich,
der aus zwei Saiten eine Stimme zieht.
Auf welches Instrument sind wir gespannt?
Und welcher Geiger hat uns in der Hand?
O süßes Lied.



Das Lied des Bettlers (“The Beggar’s Song”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

I live outside your gates,
exposed to the rain, exposed to the sun;
sometimes I’ll cradle my right ear
in my right palm;
then when I speak my voice sounds strange,
alien ...

I'm unsure whose voice I’m hearing:
mine or yours.
I implore a trifle;
the poets cry for more.

Sometimes I cover both eyes
and my face disappears;
there it lies heavy in my hands
looking peaceful, instead,
so that no one would ever think
I have no place to lay my head.

Translator's note: I believe the last line may be a reference to a statement made by Jesus Christ in the gospels: that foxes have their dens, but he had no place to lay his head. Rilke may also have had in mind Jesus saying that what someone does "to the least of these" they would also be doing to him.

Das Lied des Bettlers

Ich gehe immer von Tor zu Tor,
verregnet und verbrannt;
auf einmal leg ich mein rechtes Ohr
in meine rechte Hand.
Dann kommt mir meine Stimme vor,
als hätt ich sie nie gekannt.

Dann weiß ich nicht sicher, wer da schreit,
ich oder irgendwer.
Ich schreie um eine Kleinigkeit.
Die Dichter schrein um mehr.

Und endlich mach ich noch mein Gesicht
mit beiden Augen zu;
wie's dann in der Hand liegt mit seinem Gewicht
sieht es fast aus wie Ruh.
Damit sie nicht meinen ich hätte nicht,
wohin ich mein Haupt tu.



This is my translation of the first of Rilke’s Duino Elegies. Rilke began the first Duino Elegy in 1912, as a guest of Princess Marie von Thurn und Taxis, at Duino Castle, near Trieste on the Adriatic Sea.

First Elegy
by Ranier Maria Rilke
loose translation/interpretation by Michael R. Burch

Who, if I objected, would hear me among the angelic orders?
For if the least One pressed me intimately against its breast,
I would be lost in its infinite Immensity!
Because beauty, which we mortals can barely endure, is the beginning of terror;
we stand awed when it benignly declines to annihilate us.
Every Angel is terrifying!

And so I restrain myself, swallowing the sound of my pitiful sobbing.
For whom may we turn to, in our desire?
Not to Angels, nor to men, and already the sentient animals are aware
that we are all aliens in this metaphorical existence.
Perhaps some tree still stands on a hillside, which we can study with our ordinary vision.
Perhaps the commonplace street still remains amid man’s fealty to materiality—
the concrete items that never destabilize.
Oh, and of course there is the night: her dark currents caress our faces ...

But whom, then, do we live for?
That longed-for but mildly disappointing presence the lonely heart so desperately desires?
Is life any less difficult for lovers?
They only use each other to avoid their appointed fates!
How can you fail to comprehend?
Fling your arms’ emptiness into this space we occupy and inhale:
may birds fill the expanded air with more intimate flying!

Yes, the springtime still requires you.
Perpetually a star waits for you to recognize it.
A wave recedes toward you from the distant past,
or as you walk beneath an open window, a violin yields virginally to your ears.
All this was preordained. But how can you incorporate it? ...
Weren't you always distracted by expectations, as if every event presaged some new beloved?
(Where can you harbor, when all these enormous strange thoughts surging within you keep
you up all night, restlessly rising and falling?)

When you are full of yearning, sing of loving women, because their passions are finite;
sing of forsaken women (and how you almost envy them)
because they could love you more purely than the ones you left gratified.

Resume the unattainable exaltation; remember: the hero survives;
even his demise was merely a stepping stone toward his latest rebirth.

But spent and exhausted Nature withdraws lovers back into herself,
as if lacking the energy to recreate them.
Have you remembered Gaspara Stampa with sufficient focus—
how any abandoned girl might be inspired by her fierce example
and might ask herself, "How can I be like her?"

Shouldn't these ancient sufferings become fruitful for us?
Shouldn’t we free ourselves from the beloved,
quivering, as the arrow endures the bowstring's tension,
so that in the snap of release it soars beyond itself?
For there is nowhere else where we can remain.

Voices! Voices!

Listen, heart, as levitating saints once listened,
until the elevating call soared them heavenward;
and yet they continued kneeling, unaware, so complete was their concentration.

Not that you could endure God's voice—far from it!

But heed the wind’s voice and the ceaseless formless message of silence:
It murmurs now of the martyred young.

Whenever you attended a church in Naples or Rome,
didn't they come quietly to address you?
And didn’t an exalted inscription impress its mission upon you
recently, on the plaque in Santa Maria Formosa?
What they require of me is that I gently remove any appearance of injustice—
which at times slightly hinders their souls from advancing.

Of course, it is endlessly strange to no longer inhabit the earth;
to relinquish customs one barely had the time to acquire;
not to see in roses and other tokens a hopeful human future;
no longer to be oneself, cradled in infinitely caring hands;
to set aside even one's own name,
forgotten as easily as a child’s broken plaything.

How strange to no longer desire one's desires!
How strange to see meanings no longer cohere, drifting off into space.
Dying is difficult and requires retrieval before one can gradually decipher eternity.

The living all err in believing the too-sharp distinctions they create themselves.

Angels (men say) don't know whether they move among the living or the dead.
The eternal current merges all ages in its maelstrom
until the voices of both realms are drowned out in its thunderous roar.

In the end, the early-departed no longer need us:
they are weaned gently from earth's agonies and ecstasies,
as children outgrow their mothers’ *******.

But we, who need such immense mysteries,
and for whom grief is so often the source of our spirit's progress—
how can we exist without them?

Is the legend of the lament for Linos meaningless—
the daring first notes of the song pierce our apathy;
then, in the interlude, when the youth, lovely as a god, has suddenly departed forever,
we experience the emptiness of the Void for the first time—
that harmony which now enraptures and comforts and aids us?



Second Elegy
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Every angel is terrifying. And yet, alas, I invoke you,
one of the soul’s lethal raptors, well aware of your nature.
As in the days of Tobias, when one of you, obscuring his radiance,
stood at the simple threshold, appearing ordinary rather than appalling
while the curious youth peered through the window.
But if the Archangel emerged today, perilous, from beyond the stars
and took even one step toward us, our hammering hearts
would pound us to death. What are you?

Who are you? Joyous from the beginning;
God’s early successes; Creation’s favorites;
creatures of the heights; pollen of the flowering godhead; cusps of pure light;
stately corridors; rising stairways; exalted thrones;
filling space with your pure essence; crests of rapture;
shields of ecstasy; storms of tumultuous emotions whipped into whirlwinds ...
until one, acting alone, recreates itself by mirroring the beauty of its own countenance.

While we, when deeply moved, evaporate;
we exhale ourselves and fade away, growing faint like smoldering embers;
we drift away like the scent of smoke.
And while someone might say: “You’re in my blood! You occupy this room!
You fill this entire springtime!” ... Still, what becomes of us?
We cannot be contained; we vanish whether inside or out.
And even the loveliest, who can retain them?

Resemblance ceaselessly rises, then is gone, like dew from dawn’s grasses.
And what is ours drifts away, like warmth from a steaming dish.
O smile, where are you bound?
O heavenward glance: are you a receding heat wave, a ripple of the heart?
Alas, but is this not what we are?
Does the cosmos we dissolve into savor us?
Do the angels reabsorb only the radiance they emitted themselves,
or sometimes, perhaps by oversight, traces of our being as well?
Are we included in their features, as obscure as the vague looks on the faces of pregnant women?
Do they notice us at all (how could they) as they reform themselves?

Lovers, if they only knew how, might mutter marvelous curses into the night air.
For it seems everything eludes us.
See: the trees really do exist; our houses stand solid and firm.
And yet we drift away, like weightless sighs.
And all creation conspires to remain silent about us: perhaps from shame, perhaps some inexpressible hope?

Lovers, gratified by each other, I ask to you consider:
You cling to each other, but where is your proof of a connection?
Sometimes my hands become aware of each other
and my time-worn, exhausted face takes shelter in them,
creating a slight sensation.
But because of that, can I still claim to be?

You, the ones who writhe with each other’s passions
until, overwhelmed, someone begs: “No more!...”;
You who swell beneath each other’s hands like autumn grapes;
You, the one who dwindles as the other increases:
I ask you to consider ...
I know you touch each other so ardently because each caress preserves pure continuance,
like the promise of eternity, because the flesh touched does not disappear.
And yet, when you have survived the terror of initial intimacy,
the first lonely vigil at the window, the first walk together through the blossoming garden:
lovers, do you not still remain who you were before?
If you lift your lips to each other’s and unite, potion to potion,
still how strangely each drinker eludes the magic.

Weren’t you confounded by the cautious human gestures on Attic gravestones?
Weren’t love and farewell laid so lightly on shoulders they seemed composed of some ethereal substance unknown to us today?
Consider those hands, how weightlessly they rested, despite the powerful torsos.
The ancient masters knew: “We can only go so far, in touching each other. The gods can exert more force. But that is their affair.”
If only we, too, could discover such a pure, contained Eden for humanity,
our own fruitful strip of soil between river and rock.
For our hearts have always exceeded us, as our ancestors’ did.
And we can no longer trust our own eyes, when gazing at godlike bodies, our hearts find a greater repose.



Johann Wolfgang von Goethe

Excerpt from “To the Moon”
by Johann Wolfgang von Goethe
loose translations/interpretation by Michael R. Burch

Scattered, pole to starry pole,
glide Cynthia's mild beams,
whispering to the receptive soul
whatever moonbeams mean.

Bathing valley, hill and dale
with her softening light,
loosening from earth’s frigid chains
my restless heart tonight!

Over the landscape, near and far,
broods darkly glowering night;
yet welcoming as Friendship’s eye,
she, soft!, bequeaths her light.

Touched in turn by joy and pain,
my startled heart responds,
then floats, as Whimsy paints each scene,
to soar with her, beyond...

I mean Whimsy in the sense of both the Romantic Imagination and caprice. Here, I have the idea of Peter Pan flying off with Tinker Bell to Neverland.

My translation was informed by a translation by John S. Dwight.



Der Erlkönig (“The Elf King”)
by Johann Wolfgang von Goethe
loose translations/interpretation by Michael R. Burch

Who rides tonight with the wind so wild?
A loving father, holding his child.
Please say the boy’s safe from all evil and harm!
He rests secure in his dear father’s arms.

My son, my son, what’s that look on your face?
Father, he’s there, in that dark, scary place!
The elfin king! With his dagger and crown!
Son, it’s only the mist, there’s no need to frown.

My dear little boy, you must come play with me!
Such marvelous games! We’ll play and be free!
Many bright flowers we'll gather together!
Son, why are you wincing? It’s only the weather.

Father, O father, how could you not hear
What the elfin king said to me, drawing so near?
Be quiet, my son, and pay “him” no heed:
It was only the wind gusts stirring the trees.

Come with me now, you're a fine little lad!
My daughters will kiss you, then you’ll be glad!
My daughters will teach you to dance and to sing!
They’ll call you a prince and give you a ring!

Father, please look, in the gloom, don’t you see
The dark elfin daughters keep beckoning me?
My son, all I can see and all I can say
Is the wind makes the grey willows sway.

Why stay with your father? He’s deaf, blind and dumb!
If you’re unwilling I’ll force you to come!
Father, he’s got me and won’t let me go!
The cruel elfin king is hurting me so!

At last struck with horror his father looks down:
His gasping son’s holding a strange golden crown!
Then homeward through darkness, all the faster he sped,
But cold in his arms, his dear child lay dead.



The Fisher
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

The river swirled and rippled;
nearby an angler lay,
and watched his lure with a careless eye,
like any other day.
But as he watched in a strange half-dream,
he saw the waters part,
and from the river’s depths emerged
a maiden, or a ****.

A Lorelei, she sang to him
her strange, bewitching song:
“Which of my sisters would you snare,
with your human hands, so strong?
To make us die in scorching air,
ripped from our land, so clear!
Why not leave your arid land
And rest forever here?”

“The sun and lady-moon, they lave
their tresses in the main,
and find such cleansing in each wave,
they return twice bright again.
These deep-blue waters, fresh and clear,
O, feel their strong allure!
Wouldn’t you rather sink and drown
into our land, so pure?”

The water swirled and bubbled up;
it lapped his naked feet;
he imagined that he felt the touch
of the siren’s kisses sweet.
She sang to him of mysteries
in her soft, resistless strain,
till he sank into the water
and never was seen again.

My translation was informed by a translation by William Edmondstoune Aytoun and Theodore Martin.



Kennst du das Land (“Do You Know the Land”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

Do you know of the land where the bright lemons bloom?
Where the orange glows gold in the occult gloom?
Where the gentlest winds fan the palest blue skies?
Where the myrtles and laurels elegantly rise?



Excerpt from “Hassan Aga”
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

What whiteness shimmers, distant on the lea?
Could it be snow? Or is it swans we see?
Snow? Melted with a recent balmy day.
Swans? All departed, long since flown away.
Neither snow, nor swans! What can it be?
The tent of Hassan Aga, shining!
There the wounded warrior lies, repining.
His mother and sisters to his side have come,
But his shame-faced wife weeps for herself, at home.



Excerpt from “The Song of the Spirits over the Waters”
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

Wind is water's
amorous pursuer:
the Wind, upswept,
heaves waves from their depths.
And you, mortal soul,
how you resemble water!
And a mortal’s Fate,
how alike the wind!

My translation was informed by a translation by John S. Dwight.



Excerpt from “One and All”
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

How the solitary soul yearns
to merge into the Infinite
and find itself once more at peace.
Rid of blind desire & the impatient will,
our restless thoughts and plans are stilled.
We yield our Selves, then awake in bliss.

My translation was informed by a translation by John S. Dwight.



Prometheus
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

obscure Your heavens, Zeus, with a nebulous haze!
and, like boys beheading thistles, decapitate oaks and alps.

yet leave me the earth with its rude dwellings
and my hut You didn’t build.
also my hearth, whose cheerful glow You envy.

i know nothing more pitiful under the sun than these vampiric godlings!
undernourished with insufficient sacrifices and airy prayers!

my poor Majesty, if not for a few fools' hopes,
those of children and beggars,
You would starve!

when i was a child, i didn't know up from down,
and my eye strayed erratically toward the sun strobing high above,
as if the heavens had ears to hear my lamentations,
and a heart like mine, to feel pity for the oppressed.

who assisted me when i stood alone against the Titans' insolence?
who saved me from slavery, or, otherwise, from death?
didn’t you handle everything yourself, my radiant heart?
how you shone then, so innocent and holy,
even though deceived and expressing thanks to a listless Entity above.

revere you, zeus? for what?
when did u ever ease my afflictions, or those of the oppressed?
when did u ever stanch the tears of the anguished, the fears of the frightened?
didn’t omnipotent Time and eternal Fate forge my manhood?

my masters and urs likewise?

u were deluded if u thought I would hate life
or flee into faraway deserts,
just because so few of my boyish dreams blossomed.

now here I sit, fashioning Humans in My own Image,
creating a Race like Myself,
who, for all Their suffering and weeping,
for all Their happiness and rejoicing,
in the end shall pay u no heed,
like Me!



Nähe des Geliebten (“Near His Beloved”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

I think of you when the sun
shines softly on me;
also when the moon
silvers each tree.

I see you in the spirit
the shimmering dust resembles;
also at the stroke of twelve
when the night watchman trembles.

I hear you in the sighing
of the restless, surging seas;
also in the quiet groves
when everything’s at peace.

I am with you, though so far!
Yet I know you’re always near.
Oh what I'd yield, as sun to star,
to have you here!

Ich denke dein, wenn mir der Sonne Schimmer
Vom Meere strahlt;
Ich denke dein, wenn sich des Mondes Flimmer
In Quellen malt.

Ich sehe dich, wenn auf dem fernen Wege
Der Staub sich hebt;
In tiefer Nacht, wenn auf dem schmalen Stege
Der Wandrer bebt.

Ich höre dich, wenn dort mit dumpfem Rauschen
Die Welle steigt.
Im stillen Haine geh ich oft zu lauschen,
Wenn alles schweigt.

Ich bin bei dir, du seist auch noch so ferne.
Du bist mir nah!
Die Sonne sinkt, bald leuchten mir die Sterne.
O wärst du da!



Gefunden (“Found”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

Into the woodlands,
alone, I went.
Seeking nothing,
my sole intent.

But I saw a flower
deep in the shade
gleaming like starlight
in a still glade.

I reached down to pluck it
when it shyly asked:
“Why would you snap me
so cruelly in half?”

So I dug up the flower,
by the roots and all,
then planted it gently
by the garden wall.

Now in a dark corner
where I planted the flower,
it blooms just as brightly
to this very hour.

Ich ging im Walde
So für mich hin,
Und nichts zu suchen,
Das war mein Sinn.

Im Schatten sah ich
Ein Blümchen stehn,
Wie Sterne leuchtend
Wie Äuglein schön.

Ich wollt es brechen,
Da sagt' es fein:
Soll ich zum Welken,
Gebrochen sein?

Ich grubs mit allen
Den Würzeln aus,
Zum Garten trug ichs
Am hübschen Haus.

Und pflanzt es wieder
Am stillen Ort;
Nun zweigt es immer
Und blüht so fort.



Wandrers Nachtlied (“Wanderer’s Night Song”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

1.
From the hilltops
comes peace;
through the treetops
scarcely the wind breathes.
Do you feel the lassitude touch you?
The little birds grow silent in the forest.
Wait, soon you’ll rest too.

2.
From the distant hilltops
comes peaceful repose;
through the swaying treetops
a calming wind blows.
Do you feel the lassitude touch you?
The birds grow silent in the forest.
Wait, soon you’ll rest too.

Über allen Gipfeln
ist Ruh’
in allen Wipfeln
spürest du
kaum einen Hauch.
Die Vögelein schweigen im Walde.
Warte, nur balde
ruhest du auch.



Wandrers Nachtlied (“Wanderer’s Night Song”)
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

1.
You who descend from heaven,
calming all suffering and pain,
the one who doubly refreshes
those who are doubly disconsolate;
I’m so weary of useless contention!
Why all this pain and lust?
Sweet peace descending,
Come, oh, come into my breast!

2.
You who descend from heaven,
calming all suffering and pain,
the one who doubly refreshes
those who are doubly disconsolate;
I’m so **** tired of this muddle!
What’s the point of all this pain and lust?
Sweet peace,
Come, oh, come into my breast!

Der du von dem Himmel bist,
Alles Leid und Schmerzen stillest,
Den, der doppelt elend ist,
Doppelt mit Erquickung füllest,
Ach, ich bin des Treibens müde!
Was soll all der Schmerz und Lust?
Süßer Friede,
Komm, ach komm in meine Brust!



ON LOOKING AT SCHILLER’S SKULL
by Johann Wolfgang von Goethe
loose translation/interpretation by Michael R. Burch

Here in this charnel-house full of bleaching bones,
like yesteryear’s
fading souvenirs,
I see the skulls arranged in strange ordered rows.

Who knows whose owners might have beheaded peers,
packed tightly here
despite once repellent hate?
Here weaponless, they stand, in this gentled state.

These arms and hands, they once were so delicate!
How articulately
they moved! Ah me!
What athletes once paced about on these padded feet?

Still there’s no hope of rest for you, lost souls!
Deprived of graves,
forced here like slaves
to occupy this overworld, unlamented ghouls!

Now who’s to know who loved one orb here detained?
Except for me;
reader, hear my plea:
I know the grandeur of the mind it contained!

Yes, and I know the impulse true love would stir
here, where I stand
in this alien land
surrounded by these husks, like a treasurer!

Even in this cold,
in this dust and mould
I am startled by a strange, ancient reverie, ...
as if this shrine to death could quicken me!

One shape out of the past keeps calling me
with its mystery!
Still retaining its former angelic grace!
And at that ecstatic sight, I am back at sea ...

Swept by that current to where immortals race.
O secret vessel, you
gave Life its truth.
It falls on me now to recall your expressive face.

I turn away, abashed here by what I see:
this mould was worth
more than all the earth.
Let me breathe fresh air and let my wild thoughts run free!

What is there better in this dark Life than he
who gives us a sense of man’s divinity,
of his place in the universe?
A man who’s both flesh and spirit—living verse!



To The Muse
by Friedrich Schiller
loose translation/interpretation by Michael R. Burch

I do not know what I would be,
without you, gentle Muse!,
but I’m sick at heart to see
those who disabuse.



GOETHE & SCHILLER XENIA EPIGRAMS

She says an epigram’s too terse
to reveal her tender heart in verse …
but really, darling, ain’t the thrill
of a kiss much shorter still?
―#2 from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

There are more translations of the Xenia epigrams of Goethe and Schiller later on this page.



Through the fields of solitude
by Hermann Allmers
set to music by Johannes Brahms
translation by David B. Gosselin with Michael R. Burch

Peacefully, I rest in the tall green grass
For a long time only gazing as I lie,
Caught in the endless hymn of crickets,
And encircled by a wonderful blue sky.

And the lovely white clouds floating across
The depths of the heavens are like silky lace;
I feel as though my soul has long since fled,
Softly drifting with them through eternal space.

This poem was set to music by the German composer Johannes Brahms in what has been called its “the most sublime incarnation.” A celebrated recording of the song was made in 1958 by the baritone Dietrich Fischer-Dieskau with Jörg Demus accompanying him on the piano.



Hannah Arendt was a Jewish-German philosopher and Holocaust survivor who also wrote poetry.

H.B.
for Hermann Broch
by Hannah Arendt
loose translation/interpretation by Michael R. Burch

Survival.
But how does one live without the dead?
Where is the sound of their lost company?
Where now, their companionable embraces?
We wish they were still with us.

We are left with the cry that ripped them away from us.
Left with the veil that shrouds their empty gazes.
What avails? That we commit ourselves to their memories,
and through this commitment, learn to survive.

I Love the Earth
by Hannah Arendt
loose translation/interpretation by Michael R. Burch

I love the earth
like a trip
to a foreign land
and not otherwise.
Even so life spins me
on its loom softly
into never-before-seen patterns.
Until suddenly
like the last farewells of a new journey,
the great silence breaks the frame.



Bertolt Brecht fled **** Germany along with Albert Einstein, Thomas Mann and many other German intellectuals. So he was writing from bitter real-life experience.

The Burning of the Books
by Bertolt Brecht, a German poet
loose translation/interpretation by Michael R. Burch

When the Regime
commanded the unlawful books to be burned,
teams of dull oxen hauled huge cartloads to the bonfires.

Then a banished writer, one of the best,
scanning the list of excommunicated texts,
became enraged — he'd been excluded!

He rushed to his desk, full of contemptuous wrath,
to write fiery letters to the incompetents in power —
Burn me! he wrote with his blazing pen —
Haven't I always reported the truth?
Now here you are, treating me like a liar!
Burn me!

Parting
by Bertolt Brecht
loose translation/interpretation by Michael R. Burch

We embrace;
my fingers trace
rich cloth
while yours encounter only moth-
eaten fabric.
A quick hug:
you were invited to the gay soiree
while the minions of the "law" relentlessly pursue me.
We talk about the weather
and our eternal friendship's magic.
Anything else would be too bitter,
too tragic.

The Mask of Evil
by Bertolt Brecht
loose translation/interpretation by Michael R. Burch

A Japanese carving hangs on my wall —
the mask of an ancient demon, limned with golden lacquer.
Not altogether unsympathetically, I observe
the bulging veins of its forehead, noting
the grotesque effort it takes to be evil.

Radio Poem
by Bertolt Brecht
loose translation/interpretation by Michael R. Burch

You, little box, held tightly
to me,
escaping,
so that your delicate tubes do not break;
carried from house to house, from ship to train,
so that my enemies may continue communicating with me
on land and at sea
and even in my bed, to my pain;
the last thing I hear at night, the first when I awake,
recounting their many conquests and my litany of cares,
promise me not to go silent all of a sudden,
unawares.



These are three English translations of Holocaust poems written in German by the Jewish poet Paul Celan. The first poem, "Todesfuge" in the original German, is one of the most famous Holocaust poems, with its haunting refrain of a German "master of death" killing Jews by day and writing "Your golden hair Margarete" by starlight. The poem demonstrates how terrible things can become when one human being is granted absolute power over other human beings. Paul Celan was the pseudonym of Paul Antschel. (Celan is an anagram of Ancel, the Romanian form of his surname.) Celan was born in Czernovitz, Romania in 1920. The son of German-speaking Jews, Celan spoke German, Romanian, Russian, French and understood Yiddish. During the Holocaust, his parents were deported and eventually died in **** labor camps; Celan spent eighteen months in a **** concentration camp before escaping.

Todesfuge ("Death Fugue")
by Paul Celan
loose translation/interpretation by Michael R. Burch

Black milk of daybreak, we drink it come morning;
we drink it come midday; we drink it, come night;
we drink it and drink it.
We are digging a grave like a hole in the sky; there's sufficient room to lie there.
The man of the house plays with vipers; he writes
in the Teutonic darkness, "Your golden hair Margarete …"
He writes poems by the stars, whistles hounds to stand by,
whistles Jews to dig graves, where together they'll lie.
He commands us to strike up bright tunes for the dance!

Black milk of daybreak, we drink you each morning;
we drink you at midday; we drink you at night;
we drink you and drink you.
The man of the house plays with serpents, he writes …
he writes when the night falls, "Your golden hair Margarete …
Your ashen hair Shulamith …"
We are digging dark graves where there's more room, on high.
His screams, "You dig there!" and "Hey you, dance and sing!"
He grabs his black nightstick, his eyes pallid blue,
cries, "Hey you, dig more deeply! You others, keep dancing!"

Black milk of daybreak, we drink you each morning;
we drink you at midday, we drink you at night;
we drink you and drink you.
The man of the house writes, "Your golden hair Margarete …
Your ashen hair Shulamith." He toys with our lives.
He screams, "Play for me! Death's a master of Germany!"
His screams, "Stroke dark strings, soon like black smoke you'll rise
to a grave in the clouds; there's sufficient room for Jews there!"

Black milk of daybreak, we drink you at midnight;
we drink you at noon; Death's the master of Germany!
We drink you come evening; we drink you and drink you …
a master of Deutschland, with eyes deathly blue.
With bullets of lead our pale master will ****** you!
He writes when the night falls, "Your golden hair Margarete …"
He unleashes his hounds, grants us graves in the skies.
He plays with his serpents; he's a master of Germany …

your golden hair Margarete …
your ashen hair Shulamith.

O, Little Root of a Dream
by Paul Celan
loose translation/interpretation by Michael R. Burch

O, little root of a dream
you enmire me here;
I'm undermined by blood —
no longer seen,
enslaved by death.

Touch the curve of my face,
that there may yet be an earthly language of ardor,
that someone else's eyes
may see yet see me,
though I'm blind,
here where you
deny me voice.

You Were My Death
by Paul Celan
loose translation/interpretation by Michael R. Burch

You were my death;
I could hold you
when everything abandoned me —
even breath.



“To Young”
for Edward Young, the poet who wrote “Night Thoughts”
by Friedrich Gottlieb Klopstock (1724–1803)
loose translation/interpretation by Michael R. Burch

Die, aged prophet: your crowning work your fulcrum;
now tears of joy
tremble on angel-lids
as heaven extends its welcome.

Why linger here? Have you not already built, great Mover,
a monument beyond the clouds?
Now over your night-thoughts, too,
the pallid free-thinkers hover,

feeling there's prophecy amid your song
as it warns of the dead-awakening trump,
of the coming final doom,
and heaven’s eternal wisdom.

Die: you have taught me Death’s dread name, elide,
bears notes of joy to the ears of the just!
Yet remain my teacher still,
become my genius and guide.

My translation was informed by a translation by William Taylor.



Excerpts from “The Choirs”
by Friedrich Gottlieb Klopstock (1724–1803)
loose translation/interpretation by Michael R. Burch

Dear Dream, which I must never behold fulfilled,
pale diaphanous Mist, yet brighter than orient day!,
float back to me, and hover yet again
before my swimming sight!

Do they wear crowns in vain, those who forbear
to recognize your heavenly portraiture?
Must they be encased in marble, one and all,
ere the transfiguration be wrought?

Yes! For would the grave allow, I’d always sing
with inspiration stringing the lyre,—
amid your Vision’s tidal joy,
my pledge for loftier verse.

Great is your power, my Desire! Few have ever known
how it feels to melt in bliss; fewer still have ever felt
devotion’s raptures rise
on sacred Music’s wing!

Few have trembled with joy as adoring choirs
mingled their hallowed songs of heartfelt praise
(punctuated by each awe-full pause)
with unseen choirs above!

On each arched eyelash, on each burning cheek,
the fledgling tear quivers; for they imagine the goal,—
each shimmering golden crown
where angels wave their palms.

Deep, strong, the song seizes swelling hearts,
never scorning the tears it imbues,
whether shrouding souls in gloom
or steeping them in holy awe.

Borne on the deep, slow sounds, now holy awe
descends. Myriad voices sweep the assembly,
blending their choral force,—
their theme, Impending Doom!

Joy, Joy! They can scarcely bear it!
The *****’s thunder roundly rolls,—
louder and louder, to the congregations’ cries,
till the temple also trembles.

Enough! I sink! The wave of worshipers bows
before the altar,—bows low to the earth;
they taste the communal cup,
then drink devoutly, deeply, still.

One day, when my bones rest beside this church
as the assembled worshipers sing their songs of praise,
the conscious grave shall acknowledge their vision
with heaves of sweet flowerets in bloom.

And on that morning, ringing through the rocks,
as hymns are sung in praise, O, joyous tune!,
I’ll hear—“He rose again!”
Vibrating through my tomb.

My translation was informed by a translation by William Taylor.



A Lonely Cot
by Johann Wilhelm Ludwig Gleim (1719-1803)
loose translation/interpretation by Michael R. Burch

A lonely cot is all I own:
it stands on grass that’s never mown
beside a brook (it’s passing small),
near where bright frothing fountains fall.

Here a spreading beech lifts up its head
and half conceals my humble shed:
from winter winds my sole retreat
and refuge from the summer’s heat.

In the beech’s boughs the nightingale
sweetly sings her plaintive tale:
so sweetly, passing rustics stray
with loitering steps to catch her lay!

Sweet blue-eyed maid with hair so fair,
my heart's desire! my fondest care!
I hurry home—How late the hour!
Come share, sweet maid, my sheltering bower!



Excerpts from “Song”
by Johann Georg Jacobi
loose translation/interpretation by Michael R. Burch

Friend, tell me where the violet fled,
so lately gaily blowing?
That once perfumed fair Flora’s tread,
its choicest scents bestowing?
Swain, give up verse and hang your head:
the violet lies dead!

Friend, what became of the blushing rose,
the pride of the blossoming morning?
The garland every groom bestows
upon his blushing darling?
Swain, give up verse and hang your head:
the rose lies dead!

And say, what of the village maid,
so late my cot adorning?
The one I assayed in our secret glade,
as pale and fair as the morning?
Swain, give up verse and hang your head:
the erstwhile maid lies dead!

Friend, what became of the gentle swain
who sang, in rural measures,
of the lovely violet, blushing rose,
and girls like exotic treasures?
Maid, close his book and hang your head:
the swain lies dead!



Dunkles zu sagen (“Expressing the Dark”)
by Ingeborg Bachmann, an Austrian poet
loose translation/interpretation by Michael R. Burch

I strum the strings of life and death
like Orpheus
and in the beauty of the earth
and in your eyes that instruct the sky,
I find only dark things to say.

Untitled

The dark shadow
I followed from the beginning
led me into the deep barrenness of winter.
—Ingeborg Bachmann, loose translation/interpretation by Michael R. Burch



Johann Wolfgang von Goethe and Friedrich Schiller

#2 - Love Poetry

She says an epigram’s too terse
to reveal her tender heart in verse ...
but really, darling, ain’t the thrill
of a kiss much shorter still?
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#5 - Criticism

Why don’t I openly criticize the man? Because he’s a friend;
thus I reproach him in silence, as I do my own heart.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#11 - Holiness

What is holiest? This heart-felt love
binding spirits together, now and forever.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#12 - Love versus Desire

You love what you have, and desire what you lack
because a rich nature expands, while a poor one contracts.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#19 - Nymph and Satyr

As shy as the trembling doe your horn frightens from the woods,
she flees the huntsman, fainting, uncertain of love.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#20 - Desire

What stirs the ******’s heaving ******* to sighs?
What causes your bold gaze to brim with tears?
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#23 - The Apex I

Everywhere women yield to men, but only at the apex
do the manliest men surrender to femininity.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#24 - The Apex II

What do we mean by the highest? The crystalline clarity of triumph
as it shines from the brow of a woman, from the brow of a goddess.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#25 -Human Life

Young sailors brave the sea beneath ten thousand sails
while old men drift ashore on any bark that avails.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#35 - Dead Ahead

What’s the hardest thing of all to do?
To see clearly with your own eyes what’s ahead of you.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#36 - Unexpected Consequence

Friends, before you utter the deepest, starkest truth, please pause,
because straight away people will blame you for its cause.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch

#41 - Earth vs. Heaven

By doing good, you nurture humanity;
but by creating beauty, you scatter the seeds of divinity.
―from “Xenia” by Johann Wolfgang von Goethe and Friedrich Schiller, loose translation/interpretation by Michael R. Burch



Unholy Trinity
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Man has three enemies:
himself, the world, and the devil.
Of these the first is, by far,
the most irresistible evil.

True Wealth
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

There is more to being rich
than merely having;
the wealthiest man can lose
everything not worth saving.

The Rose
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

The rose merely blossoms
and never asks why:
heedless of her beauty,
careless of every eye.

The Rose
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

The rose lack "reasons"
and merely sways with the seasons;
she has no ego
but whoever put on such a show?

Eternal Time
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Eternity is time,
time eternity,
except when we
are determined to "see."

Visions
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Our souls possess two eyes:
one examines time,
the other visions
eternal and sublime.

Godless
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

God is absolute Nothingness
beyond our sense of time and place;
the more we try to grasp Him,
The more He flees from our embrace.

The Source
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Water is pure and clean
when taken at the well-head:
but drink too far from the Source
and you may well end up dead.

Ceaseless Peace
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Unceasingly you seek
life's ceaseless wavelike motion;
I seek perpetual peace, all storms calmed.
Whose is the wiser notion?

Well Written
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

Friend, cease!
Abandon all pretense!
You must yourself become
the Writing and the Sense.

Worm Food
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

No worm is buried
so deep within the soil
that God denies it food
as reward for its toil.

Mature Love
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

New love, like a sparkling wine, soon fizzes.
Mature love, calm and serene, abides.

God's Predicament
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

God cannot condemn those with whom he would dwell,
or He would have to join them in hell!

Clods
by Angelus Silesius
loose translation/interpretation by Michael R. Burch

A ruby
is not lovelier
than a dirt clod,
nor an angel
more glorious
than a frog.



Günter Grass

Günter Wilhelm Grass (1927-) is a German-Kashubian novelist, poet, playwright, illustrator, graphic artist, sculptor and recipient of the 1999 Nobel Prize in Literature. He is widely regarded as Germany's most famous living writer. Grass is best known for his first novel, The Tin Drum (1959), a key text in European magic realism. The Tin Drum was adapted into a film that won both the Palme d'Or and the Academy Award for Best Foreign Language Film. The Swedish Academy, upon awarding Grass the Nobel Prize in Literature, noted him as a writer "whose frolicsome black fables portray the forgotten face of history."

“Was gesagt werden muss” (“What must be said”)
by Günter Grass
loose translation/interpretation by Michael R. Burch

Why have I remained silent, so long,
failing to mention something openly practiced
in war games which now threaten to leave us
merely meaningless footnotes?

Someone’s alleged “right” to strike first
might annihilate a beleaguered nation
whose people march to a martinet’s tune,
compelled to pageants of orchestrated obedience.
Why? Merely because of the suspicion
that a bomb might be built by Iranians.

But why do I hesitate, forbidding myself
to name that other nation, where, for years
—shrouded in secrecy—
a formidable nuclear capability has existed
beyond all control, simply because
no inspections were ever allowed?

The universal concealment of this fact
abetted by my own incriminating silence
now feels like a heavy, enforced lie,
an oppressive inhibition, a vice,
a strong constraint, which, if dismissed,
immediately incurs the verdict “anti-Semitism.”

But now my own country,
guilty of its unprecedented crimes
which continually demand remembrance,
once again seeking financial gain
(although with glib lips we call it “reparations”)
has delivered yet another submarine to Israel—
this one designed to deliver annihilating warheads
capable of exterminating all life
where the existence of even a single nuclear weapon remains unproven,
but where suspicion now serves as a substitute for evidence.
So now I will say what must be said.

Why did I remain silent so long?
Because I thought my origins,
tarred by an ineradicable stain,
forbade me to declare the truth to Israel,
a country to which I am and will always remain attached.

Why is it only now that I say,
in my advancing age,
and with my last drop of ink
on the final page
that Israel’s nuclear weapons endanger
an already fragile world peace?

Because tomorrow might be too late,
and so the truth must be heard today.
And because we Germans,
already burdened with many weighty crimes,
could become enablers of yet another,
one easily foreseen,
and thus no excuse could ever erase our complicity.

Furthermore, I’ve broken my silence
because I’m sick of the West’s hypocrisy
and because I hope many others too
will free themselves from the shackles of silence,
and speak out to renounce violence
by insisting on permanent supervision
of Israel’s atomic power and Iran’s
by an international agency
accepted by both governments.

Only thus can we find the path to peace
for Israelis and Palestinians and everyone else
living in a region currently consumed by madness
—and ultimately, for ourselves.

Published in Süddeutschen Zeitung (April 4, 2012)



“Totentanz”
by H. Distler
loose translation/ interpretation by Michael R. Burch

Erster Spruch:
Lass alles, was du hast, auf dass du alles nehmst!
Verschmäh die Welt, dass du sie tausendfach bekömmst!
Im Himmel ist der Tag, im Abgrund ist die Nacht.
Hier ist die Dämmerung: Wohl dem, der's recht betracht!

First Aphorism:
Leave everything, that you may take all!
Scorn the world, that you may receive it a thousandfold!
In the heavens it is day, in the abyss it is night.
Here it is twilight: Blessed is the one who comprehends!

First Aphorism:
Leave everything, that you may take all!
Scorn the world, seize it like a great ball!
In the heavens it is day, in the abyss, night.
Understand if you can: Here it is twilight!

Der Tod: Zum Tanz, zum Tanze reiht euch ein:
Kaiser, Bischof, Bürger, Bauer,
arm und ***** und gross und klein,
heran zu mir! Hilft keine Trauer.
Wohl dem, der rechter Zeit bedacht,
viel gute Werk vor sich zu bringen,
der seiner Sünd sich losgemacht -
Heut heisst's: Nach meiner Pfeife springen!

Death: To the dance, to the dance, take your places:
emperor, bishop, townsman, farmer,
poor and rich, big and small,
come to me! Grief helps nothing.
Blessed is the one who deems the time right
to do many good deeds,
to rid himself of his sins –
Today you must dance to my tune!

Zweiter Spruch:
Mensch, die Figur der Welt vergehet mit der Zeit.
Was trotz'st du dann so viel auf ihre Herrlichkeit?

Second Aphorism:
Man, the world’s figure decays with time.
Why do you go on so much about her glory?

Der Kaiser: O Tod, dein jäh Erscheinen
friert mir das Mark in den Gebeinen.
Mussten Könige, Fürsten, Herren
sich vor mir neigen und mich ehren,
dass ich nun soll ohn Gnade werden
gleichwie du, Tod, ein Schleim der Erden?
Der ich den Menschen Haupt und Schirmer -
du machst aus mir ein Speis' der Würmer.

Emperor:
Oh Death, your sudden appearance
freezes the marrow in my bones.
Did kings, princes and gentlemen
bow down before me and honor me,
that I should I become, without mercy,
just like you, Death, slime of the earth?
I was my people’s leader and protector –
you made me a meal for worms.

Der Tod: Herr Kaiser, warst du der Höchste hier,
voran sollst du tanzen neben mir.
Dein war das Schwert der Gerechtigkeit,
zu schlichten den Streit, zu lindern das Leid;
doch Ruhm- und Ehrsucht machten dich blind,
sahst nicht dein eigen grosse Sünd.
Drum fällt dir mein Ruf so schwer in den Sinn. -
Halt an, Bischof, den Tanz beginn!

Death:
Emperor, you were the highest here,
thus you shall dance next to me.
Yours was the sword of justice,
to settle disputes and alleviate suffering;
but your obsession with fame and glory blinded you,
you failed to see your own immense sinfulness.
Hence my reputation is so difficult for you to comprehend. –
Halt, Bishop, the dance begins!

Dritter Spruch:
Wann du willst gradeswegs ins ew'ge Leben gehn,
so lass die Welt und dich zur linken Seite stehn!

Third Aphorism:
If you would enter directly into eternal life,
leave the world and yourself by the wayside!
These are modern English translations of German poems by Michael R. Burch.
Mateuš Conrad Jan 2022
whereas women might tend to "think" along the lines of being unique... men tend to "think" they belong... of old i heard the argument in a school playground: you're unique, just like everybody else... it's an argument whispered by women that later achieves the gravitas of a shout in third person... women strive to be unique: while men strive for belonging... no man wants to be excluded from the possibility of joining a cohesive body of work... from what i found... men do not function on the focus of language that's exclusive... exclusionary language... we're implicit creatures... what is implied is always deserving... of: whatever...

as a ******... the joke runs long alone the alleys
and the labyrinths of time -
call me a ******* Pole... or Paul...
as a ******: there you go... first word you learned
in Polish... ****'s sake: flag on a pole...
polish - the stuff you use to keep dirt off...
and here comes some ******* Nigerian
bothered about an added G to the giggle:
******... oh... i'll say the word...
as an urban slur... whigger, ******, whigger:
some things these days ought to be bigger...
to freak people out... like insects!
whigger? that's why-ite that i didn't eat:
but ate some letters as surds...
what?! gnome: gnostic, it might have a "gamma"
associated with it, but it ought to apostrophe
"riddled": 'nome, 'nostic...
just like the case of psi...
                 you sure you're seeing purple...
when saying the word: PSYCHOLOGY?
isn't it:  sight-ecology?
          oh my my... this English tongue is a *******
buckets & spades... sandpit... a ******* playground!
let's play bulldog! let's play hide & seek...
sigh: -co- -logy (+)
        the sun is still adamant, therefore i put the washing
on...
  anyway... i must say...
being confused for a German is very welcome...
it feeds my vanity of being associated
with the Vandals, the Goths, the Wends...
i like being confused for a German...
which invites me to move further west from
those ******* Russians...
although...
      yeah... a slim "although"...
        it must be said, though... we inherited the best...
and the worst of the Germans...
******? oh... right... the nickname of King John...
lackland... he? no, not him... Philip Augustus
dissolved the Angevin Empire... that's when England
lost possessions of... lands now best associated
to France...
only two groups of people ever sacked Moscow...
the Mongols... and the Polacks...
we once held Kiev... from the Baltic to the Black
Sea...
        but we inherited the best and the worst
of the Germans... we are in the possession
of the concentration camps... Auschwitz...
Sobibor, Treblinca, Belzec...
but... we also own Malbork... the castle of the Teutonic
Knights of Marienburg...

i need to speak some Deutsche...
sorry:
          ich sehen ein gesicht ohne
     ausdruck!
                                 krieg! krieg ohne ende!
jetzt, immer, heute!

what? i'm going to be called a ****... paparazzi
for inquiring into the deutsche-zung(e)?!
am i?
               fine...         so sein es!

let me just follow up on my NVQ module 4...
later... i'll put the washing on the washing line
while capturing the last blink of the sun...
then... i'll iron my shirt... polish my shoes...
and get ready for a shift as Fulfham FC...
shepherding people.
Mateuš Conrad Jan 2022
and i saw, four figures of fire rise up
and transverse the night sky...
     to reiterate: i'm used to seeing wandering
stars... that's almost usual for me...
to reiterate:
    if i'm originally writing in English...
i have to go back, to the zeppelins...
und ich gesehen, vier zahlen aufgehen
und querlaufend der nachthimmel!
mein gott! ich war rechts!
                                  der zeit ist reif!

of the 3Ps i once cited: priests psychiatrists & prostitutes, there's also a 4th P... poets? then again, i'm not too sure, too much soapy-water, too much cuddle-fiddling going around, not enough gusto akin to Julian Tuwim, Witkacy, Dante or Giuseppe Belli... i mean, go for it, go see a priest, see what he tells you: repent! some ******* solipsistic mea culpa - only you exist! it's all your fault... right... everyone else is ******* blameless?! go see a psychiatrist... if they don't prescribe you regression - i.e. want to implant you with false memories, they'll prescribe you the sort of drugs that make you wet your bed at night! or **** you out, out of a yin-yang... zombie! oi oi! ZOM-BIE! i.e. EE! alternatively... go and see a *******... if you ever thought you had erectile-dysfunction... go and see a *******... never fails... well... it fails when you've drunk too much and she's being an overtly timid little *****: but even then you cuddle and share tongues... what's eyes in Romanian? what's freckles in Romanian? what's nose in Romanian? then you exit the brothel, get on your bike and scream like a werewolf all the way home, harking, grunting, ******* at yourself for drinking too much... but you still exit the brothel like a gentleman: in their own words... you kiss two on the hand and the one you just spent an hour with on the forehead... then you go back again and ask for the Turkish girl that was so eager to sleep with you... this time you go sober... turns out she's a nymphomaniac and you're into that sort of ****... wholesome stuff... nothing ****-funny... none of that Dubai crap... wholesome... oral *** without a ****** and then all that protection while she talks something funny while you try not to speak a word: word... who needs god in the bedroom? elevation of animal noises just won't do? all this talk during *** is a ******* turn-off...

             che bber ttruttrù! oh ddio mio che cciammellona!
   e ppoi sc'è la bbebbella e la bbobbóna!


like the men who put women on a peddle-stool,
this idea that: women are unable to ****...
or some Cinderella *******, i have the same problem
with the English, the people,
i don't know why... i always seem to envision then
as these ideal people... well... concerning what
they say: you'd think so...
perhaps not the people per se:
rather the society they have envisioned...
well... so much for the society they envisioned...
where's the best part at?
where?! 10 Downing St., there's where!
that's going to be a running joke for, some, time...
it's not that i even care...
it started to turn foggy, "all of a sudden"...
you know how fog looks like in the night?
like... someone breathed a breath of milk
powder into the atmosphere:
the street lights are visible, the moon is...
but people are less and less: visible because...
they tell big-little-truth: which are lies...
it's not the sort of lies associated with..
why would my supervisor send me
a sample of her fruit cake... white lie: oh... great
baking technique... like **** it was...
whenever having *** i always found it
suspicious that a woman might get pleasured
from the *******...
whenever it happened to me with prostitutes:
i still wouldn't believe them...
i would be met with scolding: OW...
yeah: they couldn't believe it either...
they couldn't believe that being authentically pleasured
i didn't buy into them being pleasured...
hey, weird as the world is... enough said...
so my supervisor sends me her take on
a fruit cake... oh **** me it's sweet...
it's so sweet it's like the antithesis of *******
a lemon... i mean... even though *******
a lemon is not exactly cringe... but a lemon
is a sweet-acidity... this load of *******
it is just SWEET...
i have to brew myself a cup of coffee
and not sweeten it just in order to... to...
recreate a concept of palette for my numbed tongue...
it's terrible: women can bake worth of ****
these days...
it's too sweet... i rather **** a lemon...
alright, here's to the plunge...
what are we working with...
two *****... *****?!
if there are two women... trying to look
unattractive... oh **** on me...
we even don the same haircuts... but i have the beard:
they don't...
i'd still... you know... do some plumping...
male sure something is working, correctly:
you read is correctly:
MALE SURE... no... not "MAKE SURE"...

are these women supposed to have invisible sniffer
dogs around them, does it take having 5 children
to say: mmm... something is scented "funny"...
*****... for starters...
and that's like... normal... for the woman to
sniff you? sure, the compliment is great:
oh, you smell good...
           so does a fresh paintjob on a pristine looking
bathroom, but who am i to brag?
and it's like the most basic job:
lowest i.q. threshold imaginable...

i can say, i look the part... why do i look the part?
is some ******* **** going to stop me
taking a pint of beer to an area where i'm not allowed to take it...
or will some 6ft2 bloke...
donning a pristine coat... affirmatively pedantic
in questioning his attire... stop... 6 lads...
from doing likewise... because... i look the part?
because i'm a male and... ahem: "i'm entitled to being
entitled to the entitlement of being entitled of
being in a functioning role whereby i'm not given
leeway?!
optics... no one is going to take a woman seriously
in a position of a steward... even if she tries to pull it off
as a ******* ****... sorry, no...

reality tends to bite back...
even Brandon... oh my mother knows Brandon,
he works the Romford Blue Sapphire gym...
we talked about dogs... about him being abused about
the public, me trying to explain to him that:
he too has a breaking point... imagine that:
you going off a tangent...
see... this is what bothers me about the English...
Brandon says he's a home... manager...
some sort of manager... that he lives with his girlfriend...
i message me mumz and she clarifies...
he's not a manager... he's a senior receptionist...
he lives with his girlfriend... hmm... he might have
a girlfriend, but he probably lives with his parents...

status, hierarchy...
****'s sake... he says he's a manger of a gym, house, manager...
yet he... works added hours as a steward at sport events...
or the second girl that sniffed me up:
because i'm all ******* fine for being sniffed...
she apparently has a private... personal? huh?
business... oh... she just does this **** on the side...
right... 5 kids in...
you know the advantage of not being famous...
you can sort out a lot of ******* among your coworkers...

oh **** me, the atmosphere is great...
Emma loves pythons... you feed them... frozen, mice?
interesting... so they wouldn't eat anything
that's already killed, they need to be under the illusion
of having killed something?! wow...
imagine... living without eyelids... blah blah...
she's almost like this scary feminist blue-tinged hair fairy...
but...
oh my god... if no one's looking...
and i look at her earlobes... no... come to think of it...
if i just look at her ears... yeah: but me writing about this
is not exactly me telling her during hours of work...
oh you smell nice... counter-*******-productive
if you ask me... why? because now i'm thinking about *******
you!

the most ****** parts of a woman... her hands...
why? because if i were she were we were to hold
my ******* emblem... i'd ask myself to be rid
of the pinky finger & the 4th knuckle...
a woman's ears! it's like... itchy... itchy... smooth...
smooth... ears, hands... chin... neck's pleasure-dome
of tenderness... wild eyes!

and you know what: i watch these grown men
"indocrininate" their offspring into either
a support of a football team,
localised prejudices, yet those "disappear" when
support for the / a national teams surfaces...

hey, so much for pork eating
when you're Muslim and cousin *******...
i guess eating pork must be as much
confusing as cousin-*******, no?!
i guess pork-bad = ******-bad!
**** them, these ****** specimens...
who's going to care for them?
is Romania the only option?

        ****** riddled i.q. starvation oops...
how do you write oops in the plural?
as much as i might be discriminated to
eating pork, where does most of leather come from?
shoes? PIG... belt... PIG...
sorry... "cousin": you're about to **** your
grandmother's sister... or whatever happens
in Pakistan...

sinister taunt... how else to combat these
audacious suicide-bombers...
shame their ****** culture origins...
keep them there... they better settle for being there...
aww.... look at that...
only today... a Pakistani mother, daughter & grandma...
the daughter... all sort of fiddly... sort of weird...
to tongue out... trying to lick the grandmother's tongue...
even my cat doesn't do that...

eating pork is bad...
right... while god created all that's good...
god created cumin! turmeric! ******* ****** camel-jockeys....
right... cousin-******* is somehow divinely inspired?!
******* to Dubai... ******* to where there's no "racism" /
slavery invited by the Arabs using up Bangladeshi flesh...

OI! ARAB! COUGH UP! YOUR RIDDLE OF KFC!
power, supposed power... now... a joke; always
the little people, one litre of whiskey will always make you a convert, given, that you get to see so many zombies from the mere experience of ingesting a pint, two pints, three pints of beer...

with me? you need to play a longer game.

- are they still going on about the war of words?
here's a new one i learned...
i believe that onions are the only plants in existence
that have consciousness - or rather:
are receptive of pain...
you chop down a tree... eh... not much...
perhaps a splinter under your nail...
given, in light of debate, ahem "debate" in Parliament
concerning the ethical way of killing lobsters...
boiling the: B'ah BAD...
but freezing them etc.: not so B'ah BAD...
i once dated a girl who found it funny that
in her childhood she would pour salt on snails...
i accidently step on a snail in the dark
in the garden i hear a crunch in my heart...
sorry, mate... didn't see you coming...
it's like this one time - thinking about it still
gives me a pseudo-PTSD...
Poland: where else? walking alone, "somewhere"...
i come across these two boys (i am also a boy
at that time) - oh... so what are you up to?
the reply? **** me...
oh... we caught this frog, we're smearing it
with lipstick then we're going to set it alight...

erm... o.k... see you later Jeffrey & Henry H...
******* Major Major, whatever...
o.k. that i'm not a presbyterian: shoot me...
give me a raw herring in a yoghurt sauce and i'll
tell you to stuff, your cosmopolitan sushi up
your ******* ***!
there, said it, no turning back...
    i'm done, with people, telling me what i can and
can't say... but killing animals in an unnecessary manner:
that's beneath even me enjoying
a few poultry abortions on toast...
a toasted bagel... with some cream cheese...
some raw smoked salmon (is it cooked if it's only
smoked?) some dill and... mmm... a squeeze of lemon...
beats a cucumber every single time...
curing... funny that... you pour some acid
on a sea protein and it starts a cooking process...
that's ******* weird...
it's "unconsciously" receptive of the cooking process:
to heat... via an acid...

right, right... that new word...
        syn-propanethial-S-oxide... said the cis-man...
that's the **** that onions release when you
cut them... which makes you cry...
ergo? you think that perhaps onions are receptive
of pain? should we have a Parliament debate akin
to lobsters regarding how one might prepare onions?!
i think we should... also... a debate about
eating oysters... after all: invasion of privacy:
peering into those shells... don't you think?

- sure, but if i were to do it... oh, something smells "funny"...
not good, at first, just funny...
she wanders with her eyes then focuses on my neck
draws in and sniffs it... oh... it's you... you smell good...
yeah... i do that... but in a brothel...
once i've paid to pass the paywall...
i take her hair in my hands and sniff it...
because she's lying next to me, naked...
and i'm naked it... but i don't ******* follow it up
with any words: i'm already intoxicated
by the scent...

if a man were to sniff up a woman - in public, or better still...
in a professional environment...
and these are the same women who get confused when
they are abused by drunk and disorderly lads
at a football match... like Louis XIV said:
perception is everything... for ****'s sake:
if you don't look the part... a hungry *** starved
yet still a beaming with joy angry gorilla...
you're not going to get away with much...
not in that sort of scenario...

a quest for double-think: my new motto is...
YOU DON'T HAVE TO TELL ME THE TRUTH,
JUST DON'T LIE...
what's the middle ground? this supposed house
manager (ahem, elder receptionist) -
well... we ended up talking about him
petting a dog... an american pit bull terrier...
but he called it by some other name...
where he walked: Raphael Park, eh?

oh the nights spent with dangerous ladies...
loved every minute...
the only place where i can: breathe me...
and breathe them...
where i don't have to be ignored, displaced...
******* of a man...
esp. among Romanian or Turkic women...
to hell with those overrated blonde ******...
give me Tuba Büyüküstün and i'll give you
the ******* Taj Mahal... eh... some prostitutes are
just worn beauties... you rub them the right way
some sort of Genie ends up appearing...
usually: grr... viciously... wild-eyed...
anyway... none of them could ever get in between
my affair with Fraulein Bernstein (whiskey)...
it sort of *****... but life's life... and death's death...
no point making complaints...
ooh... **** me... all that raven hair... and Turkic...
recipe for disaster...
why? well... because she's not exactly copper-skinned...
she doesn't look like she has a pernament suntan...
like the Raj girls from... wherever Delhi is...
(I know where Delhi is! for, ****'s sake!)

if we're being so adamant in living in a post-racial
society, surely i can pick and be fickle about
my sort of potential cocktail of genes, no?
does it always have to be about black on white,
or white on black... can i... hmm...
i'd like something more curious... again:
can i stick with the Turkic women?
i fancy that depth of a shared history...
the Ottoman Empire knocking on the door
of Europe (even though the Greeks cucked)
at Vienna... the Polish-Lithuanian Commonwealth replying...
while being back-stabbed by the...
Prussians... Russians... Swedes...

o.k. i tried being extra special and slept with...
two black girls... not that i greatly enjoyed it...
o.k. i enjoyed ******* one...
but the other one gave me the creeps...
how, can, i, ****, a woman,
when... she has two children sleeping in the room...
she drags them out of bed...
forces them to sleep on the floor while i'm
THEN supposed to do, what?!
**** her?! she probably had *** since she
started to fake having a ******... instead ensuring
her inner thighs were tight enough...
or whatever the **** was happening...
i just asked her: can i sleep here tonight...
she agreed... i woke up in the middle of the night
while little afro Jerome was standing at the foot
of the bed ******* at a makeshift ****...
so i grabbed him and placed him on my chest...
the end...

*** is ugly... unless it's with a *******...
in a brothel...
   come to think of it... since: i'm always drinking
when i'm writing...
the more i drink the more i wake up...
i was going to suggest: the more i sober up...
no, the more i drink the more i wake up...
but i'm not of the "woke" brigade...
i'm of the SLEPT brigade...
    waking is for the people who are still somewhat
sleeping... or... rather... awake in a zombie-state
of consciousness, mantra-riddled *******...
what could get me drunk?
if i were drinking... as always...
a good conversation... i'm a sucker for a good conversation
like i'm a sucker for pop music when i'm sober...
AQUA: TURN BACK TIME... anything
by ROXETTE...

- and as it happens at every football match i steward,
i see a dad with his younglings...
sure... that could have been me,
but, my psychotic trip: exit at the age of 21...
sort of sorted my future affairs for me,
perhaps i wrote in my 20s... something or other...
but i wasn't really there: or here...

   i get really jealous when i see a guy with a pretty girl,
or when i see four or five guys, friends...
then again: i hate companionship,
i prefer the presence of animals...
    dogs i can almost stand if i don't require them
to be put on a leash... on a leech of authority...
i can stand objective language as long
as it is prescribing me authoritative pointers...
but objective narration bores the hell out of me...
it's so... so... unimaginative...
if objective narratives were a women
i'd call them a stuck-up-***** fakery
of a flaky "******"...

                             while Pearl Jam became
what Nirvana could never become... grunge-dad-rock...
i don't mind... i truly don't mind... after seeing
enough faces you start thinking along
the categories of: TO PREVENT A SECOND HILLSBOROUGH,
TO PREVENT A SECOND HILLSBOROUGH...

seeing so many people i sometimes start
thinking about working in a slaughterhouse  -
then again, to seem less psychopathic
i think about the people working in slaughterhouses...
it's not fair that i... wait... i'm not getting paid
for this... well if it's free: then i suppose anything goes,
right?
          
    oh what could have been...
oh sure sure, it's great... getting sniffed up by women
in their 30s with 5 children in tow
thinking they are single and childles...
white knight anywhere, anyone?! no? keep sniffing...
darling... and it was this running joke...
*** habits came up... one blue haired freak of a girl
that keeps snakes: some 3ft long, pythons...
she said darling but i forgot to lip-read her
mishearing: daddy... i've been called DAD before...
don't ask why...

i morphed Darling into Daddy... for the whole *******
shift she kept nagging me...
Daddy... this... Daddy that...
o.k. with a 7  year old i could understand...
i could cuddle a toddler... do all that mother-goose ****...
she or he could pull my beard... ;oke my eye out...
i don't do friends, i i don't do dates...
i do prostitutes, i do whiskey,
i do forests at night, i do graveyards at night...
i do German thinking...
  i might come across as autistic or as an imbecile...
but i think the same of you...

how unfortunate to have children of your own...
esp. girls... how unfortunate...
imagine the distaste in your mouth at being called
a father at some point... then again: the same goes for having
a son... it's a nice idea... a very nice idea...
but i'm here not on some ******* mea culpa
clause... i've reached my prime and i wasn't selected
for the replica... it doesn't bother me in that:
i always had a melancholic disposition...
given that i'm ageing... i have acquired a melancholic
sense of self-deprecating humour....
i'll sooner commit suicide than die the death of
"loneliness"...

   it will most certainly be a pristine night...
cloudless... with a full moon!

what's that counter argument i keep hering?
what's that? i said: WHAT'S THAT?!
oh you know that ******* yin-yang masculinity
undermined. that we should all be *******
farmers: not enough coliseums...
plenty of vegan hot-spots though...
love, my ***..

   personally i don't know how white girls ****
all these african boys... for me, ******* a black
girl is sort... sort of crippling...
anything beside something Caucasian...
in the raven hair category... i'll sooner *******
to Asia than i'll acknowledge to ever
coming from Africa... the Somali inbreds
**** me off the most: listen, curly-braids!
you're not here to be paid to watch the football match!
why isn't anyone paid to watch a football match!

once upon a time they were known as the Yanks...
the Yankees... these days? oh, you know...
these days some of us just call them the WANKEES...
the WANKS... cuck-barons of the world..
yeah, i once had respect for these people...
it's sort of waning day in, day out...

but if i'm expected to fight someone else's fight...
these days i'm going to say: no thank you...
i'm already gearing up myself to marry death...
how's that?! of course i can see the little people,
of course i love animals as much as i love children...
they're one and the same to me...
personally... and i'm seriously disorientated
by fraulein bernstein... eternity?!

Abraham! oi!
    an eternity spent among children...
or... with 72 virgins... your take...
         oh no no no...
i'm not taking these *******,
these supposed virgins anywhere...
i'm taking the children... throw in 72 rottweilers
if you're at it... i know time well spent...
but knowing my luck... i'll be bound to a hell
where women sniff my hair, or my neck...
even though i'm not exactly anything to peer at...

why are these Indian women looking at me oh
so funny? i'm not rich, what?! am i funny?!
then again, working around the Turkic manifesto of
a woman's beauty... some of these Raj girls give
me a hard-on like not other... they have eyes that tease...
white girls' eyes are all anti-racist: seek *******
zombie...

white girls are currently only available for black boys
given white girls' anti-racist "trauma"...
so here's to building up a New Brazil!
   yeah.... that's also called me looking elsewhere...
oh, no, not for commitment...
   for the sake of it!
anorexic bleached hair... in need of psychiatric help...
or otherwise beached-whale types...
feminists with pink hair... can... ha ha... CAN i say NO?!
or do i have to?!

ich bin verheiratet zu die nacht und nicht(s)!
ich! allein! bin!
was ein...ziemlich.... gesicht...
from time to time... Saxony?!

z-mooth ah smoochies... and... a "blah"...
what was written in hell: by hell,
must return to hell... please... no tenderness, here,,,,
Mateuš Conrad Feb 2022
perhaps my theory of learning comes too late,
it's experimental, still, it's only curated to me...
i still don't know how i learned English...
when i came to these isles...
perhaps i watched some ******-Doo on cartoon
network... i do remember...
that GI JOE movie... that really cool animated
movie... from the late 80s or the early 90s...
COB-R'AH... COB-R'AH...
                           silly little **** that i am...
hell... back in the day we used to play tic-tac-toe
with the girls... we used to dig a hole
in the ground... and throw marble ***** into it
sometimes we'd put more marbles in the hole
prior to the throwing session...
we... gambled... with marbles...
or we'd put chewing gum into bottle caps
and invent labyrinths where we're slide the
weighed down caps along... **** me...
did we role dice? to make moves?
i do remember getting hit by a swing... right in
the head from the back... where the kippah /
tonsure shave ought to be...
it hit me... i stood still... touched the back
of my head... the hand came back with blood...
i started crying and was taken to hospital for
stiches...
and when evening came... all the kids gathered
round and we played hide & seek...
or we talked...
i wish i could remember all of that with more
clarity...
i don't even remember how i learned English...
got thrown into the deep end of the pool:
swim ******... swim...
i had a copy of Disney's animated Robin Hood...
in Deutsche... perhaps that's why i'm teasing
myself so much with the zunge...
well... if i can't find a partner in England...
perhaps i'm thinking... let's try Germany...
          perhaps the women over there are...
more... "sensible": is a word that doesn't even
cut close to the slither of a cut...
sure... i remember... St. Augustine's primary
school in Barkingside... hiding in the toilet...
mute... unable to to speak...
then, suddenly... out of my own initiative...
i started reading...
hey presto... i started talking...
          my parents didn't speak this ****** tongue...
my father tried to teach me how to swim
on several occasions...
i'm ashamed to say that i speak better English
than my father... is that how immigration works?
for 2nd generation migrants, sure...
but 1st generation?
i also learned to swim on my own...
         peer pressure got the better of me...
and i'm thinking... this German "thing" i have...
my thinking is aligned...
what is the art of learning a new language...
well... i guess you'd have to start with a bank account
of nouns... oh... you need to have a bank acccount
of nouns...
red ist rot
    spatz is sparrow...
backwards and forwards we go...
swan ist schwan...
    sonne, mond und himmel: sun, moon and sky...
respectively...
i think you learn a language by first
associating yourself with the nouns...
calling things by their proper: designated...
understood, encryption... cipher...
nouns are ciphers...
because that's how you decipher what
someone who speaks another language
is talking about...
after the nouns? come the verbs...
what is done around nouns...
a tree?
   ein(e) baum...
you: du...
     chop... hacken...
down... nach unten... ein(e) baum...
to: zu... machen: make...
ein(e) tisch - a table...
oder / or...
                     ein(e) stuhl! a chair!

when i was younger it just: came! boom! like a big bang...
i was mute one day, speaking fluent the next...
but now that i'm older...
i'm thinking about going into hiding
somewhere in Germany... how do i do that, though?
i need a bank account of nouns...
that's sort starters...

i need to ensure i disorientate sky in my mind
for himmel... then i'll burn verbs into my head...
grammar itself will come last...
and since... prepositions, pronpouns,
conjunctions... are shrapnel...
i'm least worried about adjectives... although:
adjectives tend to be the most complicated...
well... unless it's an adjective like:
the best...
       der beste...                 beast...
do i need a French acute E to stress the second
E in beste?!
         no... i don't...

reddich... face...
    rötliches gesicht... see... adjectives morph...
from red: rot, to reddish... on its own: rötlich...
but coupled with a noun like: face?
the added suffix of -es...
oh the accenting would be a doddle...
under no circumstance am i learning Russian!
Greek... i could learn Greek...
but i have a fetish for German...
even though it should have been Danish,
or Finnish... Swedish or Norwegian...
nope... it had to be German...

it will take me months to start investing in
the noun bank account in German...
then the verbs...
then the adjective... i don't even know how
to categorise adverbs when it comes to speaking
a language... what's an adverb?

eh... conjunctions, prepositions, pronouns...
that's already taken care of...
the words in these categories take care of themselves...
they come, they go...
no one really gives a flying **** or a nun's "wisdom"
about them...
i don't understand why a small minority in
the English speaking world has such a hard-on
about one category of this shrapnel *******...

V US M! you what?!
come to think of it... hmm... i think i might have pulled
a truly spectacular trolling campaign with this
former love interest of mine...
well... i insinuated when we were travelling
to Oxford that my grandfather: god rest his soul
still had memories of asking two SS-men in
black clad: Hugo Boss uniforms for sweets...
that he said: herr! bite bon-bon like German might
write it, as one word: herrbitebonbon...
that he received sweets so sticky that his mother
had to out his hands under the tap
to unglue them... that the Russian army were all
colts... and slept in barns with goats...
true story... no need to lie...

i think i just trolled her: insinuating that i'm
secretly a ****...
   then there was this Millwall fan...
who just turned as a grandfather...
   and his comments were: oh, you're with him!
look at him... Adolf ****** over 'ere...
marching... hands behind his back...
                  i always said... if people want a villain...
they'll get a villain...
but... it's not the sort of villain they'll be able
to stomach...
**** me, i trolled her...
   but she doesn't look like the atypical pink faired
***** brigade type of post-careless
global communist... whatever it is that these
people are up to...

   can you believe it, though?
who attired the Wehrmacht?
      yeah... Hugo Boss...
                            i must have trolled her... a little...
just a pinch of salt... just a little...
but look how amazing they looked...
ah... never mind the sickly sweet mustard Khaki...
i'm talking about the philosophy
of Karl Lagerfeld...
wear your clothes like animals wear
their fur... **** me: in Deutsche!

wie tiere anlegen ihr peltz!

i have a comfortable, petty, standard...
look like a ******* tri!
         brown shoes, brown-green trousers...
brown t-shirt... dark... dunkel...
and a lighter heavy shirt... also... ebenfalls... braun...
braun-grün bäckerjungekappe...
i'll change my attire when the seasons change...
right now: ich bin hier...

but hell... if merely speaking German...
wanting to learn it... is a sign that you might be a ****?
i'm ******* going for it!
in defence of my historical enemies...
i'll be the first one to show up...
why? there's a historical tie... either at the pelvis
or at the *******... i have no narrative with
these newly arrived people...
expect in England... what... with these Pakistani
kiddy-fiddlers?!
right... well... if you're going to start somewhere...
might as well, start there, no?

well... at least with the Turks.... i'll gladly go to a Turkish
barber shop... "my" people had some run-ins
with the Ottomans in the past...
and if... they see... that i have a potential for a
fu manchu... because my moustache is blonde
as is my love spot... while my beard is brown...
and i didn't ask for one...
that they're doing the styling of(f) their own accord:
so be it... they know better...
i don't mind Muslims...
as long as they are Turks...

the rest? sort of... huddle... *******?!
i mean: who could have it even conceivable...
how can you mingle... rosemary...
with beef? but apparently you can!
i hate lamb... Nomadic meat... rich in stink!
in circumcision! i hate lamb!
******* Semites and their protein preferences!
Hebrew or Arab... all the entire host of them!
i hate lamb!
stinking meat... but these previous cultural
jewels of monotheism...
not too bothered about what of cheeses
they gobble down... if any...
at least a pork pie knows where a truffle is
hidden... ******* camel jockeys...
necrophilic usurpers of mountains...
backwards death-riddled people...
their superiority complex is... insufferable!

       you have to belittle these sort of:
******... cousin ******* sorts...
i get the gloryhole bukake fetishes...
but cousin *******?! come on...
how ancient do i have to be to allow
these people on Noah's arc?!
cull them... what?!
                      if push came to shove...
would you?
it's called a bullet to the head...
ask that lovely.... Ukranian serial killer...
why he was dragged into a cell...
shot in the back of the head..
ask... left for dead for almost two weeks...
ask... christine chubbuck...
femme incel... ask her...
            i'm not here to... care...
i'm looking for something:
"something"... exclusive...
exclusively monogamous... swan ******* lake...

now... let's line then up... shot to the back
of the head... in an isolated cell...
please... stop selling me the Hollywood
******* that a shot in the head is the quickest
way to die: no... it isn't!
******* psychopaths....
stab to the heart... that's less cruel...
but a shot to the head?
that urban myth of a cockroach....
living its best days without a head...
for almost two weeks...
why would someone... shoot a a man...
before... putting him inside any empty
prison cell?! bleed out of your ******* head:
herr orientierungshilfe?!
jawohl! jawohl!
   das ist rechts! beifall! beifall! zugabe!

how much i loved and wanted to love...
yet... how so little was afforded to me...
no matter... the world is what it is...
a very predictably unpredictable focus for
a deityto master...
  nichts ist nein:
   was hält diese welt: zusammen!

mein... besitzen... ich! bin! ihm!

sure... sure... pork is bad... but the niqqab
and cousin ******* is ******* kosher!
silly little "oink"-beards... inbreds...
protein selective wankers...
because your shoes... your belts are...
what? not pork?!
   your god is the equivalent of me saying:
i have an *******!
cousin *******... you insulted pig...
how about i insult you...
the pig is the most graciously domesticated
animal... priority over the dog...
but then again... you have have women...
that you treat like dogs...
eh... ****** cousin *******...
    nothing new...
nothing old... just same old... same...
i'd like to say: disappointment...
but i'm used to that, sort of crap...
you do you...
  but just don't get me involved...
******* *******...
         yeah yeah... you do that drill to the head...
no... we're not talking...
we will never be talking...
not over some vegeterian dish
or the idea of a global H'american quest for
a universal democracy...
come to think of it...
wasn't the H'american experiment...
the exact... antonym... of what the Soviet
communists attempted?
global democracy... is it so different
to global socialism?
thank god... that i can't tell the difference...
******* camel jockeys.
Jonas Jan 2024
Kann man eine Beziehung führen
Ohne sich dabei selbst zu verlieren?
Seine Selbstständigkeit aufgeben,
Um miteinander
Zusammen auf zu gehen?

Wo setze ich meine Grenzen
Damit es funktioniert
Und nicht kaputt geht?
Damit ich nicht an dir,
Mit dir zu Grunde geh?

Wieviel kann ich abgeben?
Wie viele Kompromisse bin ich bereit einzugehen?
Von Zufriedenheit zu Glück zur Liebe
Oder immer im Kreis
Wieder von vorn?

Hallo,
Schön dich zu sehen,
Na dann, auf Wiedersehen
Wieder alleine sein,
Lieber alleine bleiben?
Muss das so sein?

Gehört das Wirklich dazu?
Wenn achtzig Prozent stimmen,
Dann ist es perfekt
Sagen sie
Kannst dich glücklich schätzen
Welche achtzig genau?

Wer bin ich überhaupt?
Ohne dich , mit dir, nach dir?
Was will ich, was brauch ich?
Was weiß ich,
Schon?
Nichts davon

War da mehr bevor oder nachdem wir uns trafen?
Vor oder nach den ersten drei Monaten,
Dem ersten halbem Jahr,
Nach drei, nach sieben
Fünfzehn, dreißig ...?

Werde ich je Gewissheit haben?
Das es das ist
Das du es mir wert bist?
Bin ich schon angekommen,
Oder sollte ich weitersuchen?
Bekomme ich Klarheit, ohne dich dabei zu riskieren?
Dich zu verlieren?

Bleib bei mir,
Sieh mir nicht ins Gesicht
Komm mir nicht zu nah,
Aber bitte warte noch,
Bitte
Verlass mich nicht
Jonas Jul 2024
Ich bin ich
Der, der hinterm Mikro steht
Wer bin ich? Einer wie du eigentlich
Nur ganz anders

Anderes Geschlecht, andere Herkunft, Sexualität
Ein anderes Gesicht
Andere Persönlichkeit und Denkweise
Aber doch sind wir irgendwie gleich
Siehst dus nicht?

Grundlegend gleich
Gleiche Bedürfnisse und Emotionen
Gleiche Wünsche und Ängste
Irgendwie ironisch

Also warum verstehen wir uns nicht
Treffen, sprechen, einigen wir uns nicht?
Komm lass dich doch einfach mal ein auf mich

Vielleicht finden wir ja einen Weg
Gemeinsam
Am Ende einfach gemeinsam gleich, anders glücklich zu sein

Das sollte doch nicht so schwer sein
Komm, trau dich

— The End —