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What is my motherland?
Is it the dust that ravages my lungs
Or the bones of my ancestors
Humming softly the old and forgotten
What is my motherland?
Is it where I was born?
A piece of land, a group of people?

Or is it the place where
It's mothers are graded
In layers
Where some wombs only give birth
To sub humans
Where some wombs are scarred
Born from the ashes of a thousand dreams burnt down
I'm a survivor
Of all they could throw at you

Of all their insults
The predicament
My mother's womb that withstood all it could
And some more

They tell me this is my land
That it is my mother
The birth giver and sustainer of life
I spit on their faces
My motherland never was this piece of land
Or the people who **** on its soul
Each and every day
My people lived in a different world
On this piece of land where we were  worse than animals to you

Where is my motherland?
I have none
Robbed of it since my birth
Where is my motherland?
But in the hearts of all who are like me
Set in stone
Yet defying gravity

"you really are beautiful,
in your own kind of way",
he says
     as he spits through his teeth

in what way is that,
i wonder?

in a way that can't be crammed into a size five dress?
in a way that isn't actually aesthetically appealing?
in a way that's too intelligent to find your misogynistic outburst colored flattery?

he pushes the wire-like hair away from my face
and wipes an angry tear from my freckled cheek
     "see, all you have to do is try."

oh, boy
try
yeah,
     that's what i'll do
so i can catch another in a long line of "men" who think i COULD be beautiful

as if beauty is only one color
     one size
     one shape
as if it can truly be measured with a bathroom scale and a hand-held mirror
and can be purchased at a costly brand-name outlet in a shopping mall near you

my mother's mother has an affinity for referring to my twenty-three extra pounds
in a way that one refers to the neighbor's busted-down ford that needs towed away
"oh, catrina, you really could be so gorgeous,
     if you'd just get rid of some of your fluff."

she pinches at my sides
     and the backs of my arms
     and the little curve at the tops of my thighs
          just below my ***
like i'm an over-stuffed pillow on her antique love-seat
that's about to burst at the seems
     should the seemstress not pull out the threads with her teeth
and remove the unsightly over-fill like black-heads from a slender nose

everything she buys me comes from a plus sized store
     and wears a fat filthy double XL on it's tag

considering that i factually only need a large
i fight back my plump tears and wear a cheap smile
as i give thanks i don't mean
and kiss her on her heavily perfumed cheek
     "oh, such lovely lips
     why not a splash of lipstick?"

as soon as i'm out of her home state
i take the clothes back to the "big-girl" store
and trade them in for pizza and beer money

the girl behind the counter ironically weighs ninety-two pounds soaking wet
and that's only if she's still got on her padded bra
     slender
     starved
     sickly
     and supposedly ****
since when were curves a curse?
and who the **** decided it was a good idea to pattent worth with a lipstick shade, anyway?

no
     no way

i am beautiful without having to paint myself that way
my existence is not defined by the shape i take
my flaws and imperfections can't be remidied with any myriad of poking and plucking
     nipping and tucking
and all of my greatness and wonder sure as **** outweigh a tiny bleach-blonde *****

oh
*******
     and that pretty little pony you rode in on

i refuse to be pressed against a rubric and graded like a show-dog whose owner will only settle for best-in-show
     and kicks his failure of a companion sharply in the ribs when he doesn't bring home another ribbon

this obsession of society's is making us sick
  
we don't teach our children compassion and empathy
     we instead instill their heads with talk of thread count
     and color schemes
     how to brush on blush
     and how to pick a suit
cute won't save the world

i beg you sisters
     please
let us not give this disease to our daughters
let us not allow our sons to carry the gene

together
     let's put to rest the ill-concieved notion of our beauty residing without us
          rather than within

let us never again bow down to the revlon gods of vanity

together
we are Woman
     and we deserve to finally soar

Every course should be marked on content.
In todays schooling we ask students to write final essays or regular essays to discuss their knowledge in a specific topic. However, marks are deducted for minor sentence errors, grammatical errors and style errors. But does that mean they don’t have sufficient knowledge about the topic or that the content of the essay does mean standards? No. Students lose marks for unrelated reasons. Grammar is not content. Grammar is grammar. Content could be excellent while the grammar is horrible. Philosophers potentially had the worst grammar ever, however we have glorified their thoughts for centuries.
This is where schooling has changed. And this is how schooling needs to change. Writing an essay is irrelevant to knowledge about a topic. Writing skills and understanding of content do not intertwine. If I wanted someone to apply knowledge they learned from a topic an essay is perhaps a very irrelevant way of doing so. Why judge someone on something that is, in today’s society exposed to interferences? Interferences such as grammatical errors.
If I wanted to know someones knowledge about a certain topic and wanted them to apply logic and theories they learned from courses, why not talk to them rather than using paper as a pigeon to share ideas? If it was spoken I can’t say “you lost marks because you didn’t put a period here and a comma there.” If it is spoken, you will still be able to notice if the student understands the topic. This way there is not interferences. It is strictly about content of knowledge and the students ability to apply what they have learned into specific views about a question I would have for them.
If I asked a teacher to have a class discussion where everyone had input, how would the teacher grade them? On quality of their answer, and clarity. Clarity being their ability to get to the point. However, if it is not clear, can the student make it clear for the rest of the class? Because what sometimes isn’t clear for one person, could be unclear because they are not as intelligent to be able to understand. The other student might not be so stupid because he said it in a way that is unclear. Maybe the listener is stupid because they didn’t understand? However, if the student can make it clear then their quality of the answer enhances and they will receive a higher grade.
For instance, if this was a formal essay that attempted to answer “What is wrong with schooling?” I would lose marks because I asked questions. Asking questions for some reason is not allowed? Is it informal? No. But society tells us we shouldn’t ask questions we should instead assume something and make a statement because that imposes confidence in a thought. But, if I was questioning certain aspects of something would that prove that I have sufficient knowledge towards one topic? Wouldn’t that impose that I have enough knowledge to understand details and question them? But hey, don’t formulate that statement in a question. It’s stupid. Question everything because you will never know all the answers regardless of all the resources.
By discussing a topic, the answers are direct. Content may vary depending on how much the student learned (providing the teacher is good at teaching and the proper course are in place). If the student struggles to understand a topic it will be evident in the quality of their answer. We can still see if the student is trying too hard (which is never a bad thing to set the standard high, shoot for the stars), or if the answer they have is someone else’s because they aren’t necessarily answers that they would have or words that they would use. But that is an assumption. Never assume, instead question. We can still notice if the student paid attention the course lectures and successfully answered the topic question with detail, reference, questions, relations, and application of knowledge that was taught to the student.
Just because a student can’t write a thought out on paper, does not mean they didn’t understand it. **** I used contractions, I would lose more marks there as well. See what I mean, a highschool teacher would tell me that I can’t say “Can’t” I was supposed to say “Can not” because that is formal. What is formal? Who said that is formal? Jim Joe Bob down the road? Who cares, does the student understand the topic or not? Stop docking marks for things unrelated to the subject.
If this was a writing course it would be understood why a student would lose marks for grammar and word choice and sentence structure or clarity. But students lose marks in History essays for word choice, and in political science for forgetting a period and in gender studies for saying “you” in a final essay. These are unneeded reasons for losing marks. At the end of the day does the student understand the historical importance of the topic? Or does the student understand the importance of the judiciary amongst the political system? Or does the student understand that sexism will only negatively impact society? If no, then he or she gets a bad mark, if yes, they get a good mark. Stop making up reasons for bad marks.
However, one will say; “Well what if the quality of the essay is so ****** I can’t even understand their knowledge?” This proves the instability of essays. Don’t ask for an essay. Ask to talk to the student about the topic. You’ll know if he or she understands. Just like when you go to a retail store and ask for advice about a product. We know if the associate knows what they are talking about, if they have no idea or if they are just telling us what they learned from training (which isn’t bad). Teachers potentially train students in a certain area. Why not ask a question which enforces them to apply the knowledge which they gained from the training to their answer? The teacher will know if the student knows what they are talking about (because they paid attention in training/class) or if they have no idea (because they did not understand or pay attention). Even if they retell you everything that was taught to them. Don’t they know something about the answer? Yes, it’s not the most enriched content because it was your own words but the student learned something right? Isn’t that why they go to school? To learn?
Another will say; “But we can’t escape writing. We have to do it everyday. A person must know how to write.” Fair. But why not teach writing in a writing course? One where the student will be marked on their ability to be clear in writing, or their ability to be grammatically correct, or their word selectiveness, or the sentence and paragraph structure. This seems like an appropriate course to deduct marks for incorrect application of knowledge. However, another person will ask; “then how do you teach structure and grammar?” Through exercises. Ask them to write a paper. Go through assignments as a class, encourage class participation and discussion. If the student doesn’t talk, the teacher will know what they understand therefore, how are they to give them anything but a bad mark? It’s at the student’s discretion but the proper systems need to be in place.
An example; how many people have gotten a paper back, looked at their grade and put the paper away? Did not even look at the corrections or suggestions for reasons why the mark was so poor or decent? Every one. Why not give a student a second chance? Why not scare them to do their best? Try this: Ask students to answer a question, any question. Have them hand it in 10 days from the assigned date. Students who want a good mark will use their time wisely to proof read, get the proper references and apply the correct knowledge. Students who want to get by will start two nights before. Once the papers are handed in, edit them. Once finished, return them without a mark. Wait for the students reaction. They will come up to you asking “what’d I get?”, “why isn’t there a mark?”. Tell them that, they aren’t getting a mark, they need to read the corrections and implement them. Have the paper due in three days. Once the papers are submitted, grade them. There will be less grammatical errors. At least for the students who took the time to read the corrections and implement them. The students who did not, will not receive a high grade a potentially face the threat of a failing grade. Hand the papers back with grades. Once this is done, ask for them to write another essay on a different topic. A topic such as “Should capital punishment be reinforced in Canada?” This topic is ok because you can write about any topic, its still writing. Writing is not confined to topics such as grammar, story writing or essay writing. Writing has infinite topic possibilities. But once the essay topic is given out, tell them they have 10 days to hand it in. Once handed in, give them a grade. Don’t give the chance for editing this time, and see if there is less errors for each student, ask to sit down with them and compare the errors that were made. In this way the student will learn and most importantly remember why and why not to write in certain structures while adding certain grammatical content.
With this exercise the student will learn how to clearly write, but it will take a while. It should be mandatory that students take a writing course throughout elementary and secondary school because the statement is true “we cannot escape writing”. Everyone must know how to write. But in society we struggle to remember that, just because someone can’t write something doesn’t mean they do not understand the topic. If I was to ask Einstein to write a topic on the differences of between time and space in APA format, His content would very well achieve high academic standards but his grammar and format would be god awful. It would be horrendous. He did not know how to write in specific manners, he would use his resources to learn but that was because from what we know he wanted to achieve in the highest manner possible. But he understood the content, and isn’t that what is most important? O the other hand, if I asked him to tell me about the topic, would it be more credible? Would it blow someone’s mind because they couldn’t take away marks. He would receive 100% on everything because he understood the content. That’s all that matters. For those who want to write, take writing courses. Or in today’s society, every context course is a writing course, as students are not be graded on their quality, rather, they are being graded on writing abilities. So to conclude, are we teaching history, science, politics, law, child and youth studies or are we just teaching students how to write without expanding their knowledge of the topic. We can’t base content off of what is written down,  interferences are infinite. ****, I used “can’t”. Sorry.

my intelligence is not defined by a number, nor a letter.
nor should I be graded on a curve
by people
who don’t know me.
What does knowing the pythagorean theorem
have to do with me being a good person?
what will memorizing words on a page
help me with my rage
raging about how education has become
this conveyor belt
chewing up and spitting out
society’s warped up idea
of intelligence.
Throw me in a classroom with twenty-something students
just to tell me I’m better than him
but not as smart as her
teachers saturating our brains
with force fed textbook equations
telling us this is what we have to know to make it
“make it on time”, they say
“Passing it in late is not okay”
but when I am eventually thrown out
of this conveyor belt of education
the realization will be that life does not have
a set schedule.
my life will not change on time, as you ask
I cannot cram my creativity onto a five-paragraph
piece of paper.
I cannot crunch my knowledge
down onto six pages
about who I am
Don’t give me guidelines
my future does not have guidelines
you think you’re teaching us information
but in reality, you’re teaching us around the system
of how to get a passing grade
but not the exceeding knowledge
knowledge about what?
Our history?
what about our future?
We can’t learn about our future by staring at a blackboard
in a dim-lit room
with twenty-something other people
wondering what the hell we’re doing here
but being too scared to stand up
and ask.

Let’s make vulgarity beautiful
for a couple seconds.
Dwell on the ******* gimmicks of language,
the shock value of mixing syllables together,
the stupidity of poetic “terms”.
I’ll tell you about my hate for
******* clichés,
****** overused poetic devices and word pairings
that ruin the fun for all of us.
I’ll lay down some ground work here:
too many minutes of my life spent
trying to count syllables ,
rhyme words,
analyze and alliterate annoying argumentative articulations.

You know what?
**** alliteration, assonance and consonance,
bastardisations of the brilliance of poetry.
Destroying all appreciation of something so fine
at such early age,
with red pens,
poor introductions,
and misconceptions falling out of every ******* mouth.
Reused and recycled clichés
trivializing the beauty of rain,
that stomach hiccup when you see someone you like
the actual emotions that fundamentally make us human.
The over-judgemental *****
who can’t write for ****,
think they’re high and mighty,
overusing these feelings with the vocabulary of an eight year old,
giving us poets a bad reputation.
**** those *******
with their dark souls
empty hearts and
broken dreams
**** them over cups of cold coffee
in vintage mugs
snapping in a low-lit jazz café.
Sonnets, haikus and ballads aren’t the only forms of poetry,
nothing has to rhyme,
I shouldn’t be graded on my ability to be a thesaurus.
******* teachers narrow-mindedly give us
“creative writing” homework
that's not creative,
like the colour green.
I don’t see how they can judge poetry,
perhaps how it flows and word choice,
but I have an extra syllable
and purple doesn’t rhyme with anything,
**** me right?
Because purple is the only word which
accurately portrays what I mean,
excuse me if I pronounce this differently
rendering my iambic pentameter to ****.
I didn’t deserve a B.
*****.
Poetry isn’t something you can confine to four walls,
it can’t be truly ugly,
it can be the sort of ugly where your mum doesn’t want to put it on the fridge
but she keeps it until you’re satisfied,
and then she trashes it,
but it’s not ugly.
Remember that poetry is supposed to be beautiful,
*******.
Forget about that *****-*****-***** who ******* you over,
that ******* who didn’t say thank you or
that ****-faced ***** who should go digest a bag of *****
and write something worth reading.
Something that will makes eyes wander back to revisit phrases,
admiring the careful craftsmanship
that translates into something universally beautiful.

The moral here is that
poetry is an art to be mastered and
no one has yet to master it.
Some have come close,
and not all of them have used alliteration,
similes about the heart,
metaphors for love,
binding syllable limits
or rhyme schemes.
Whoever told you otherwise is a raging *******
who doesn’t deserve even the lowest paid *******.
Don’t be afraid to use taboo words;
it's your writing and anyone who doesn’t like it can *******.
Despite the irony,
vulgarity can be beautiful.

Write lyrics like spreadsheets with number crunching
Calculate the isotopes
numerical accuracy in the vein of vain attempts to overcome
the show off tendencies of artist who exhibit flow to illicit
concern about existence beyond what they can see of pedagogical poetry
more concerned with numbers and patterns
who gives a **** what the stress is on the vowel in the third stanza  
lyrically despondent personal correspondents for a publication that says
more about what you know than what you feel
and who you are
computer says no, statistically impossible, synaptic haiku
five seven five
musical ronin
go go gadget of talent
extend-o-pole and flying nimbus as you train like son-goku
hyperbolic chamber where time is an illusion only to collapse
true Saiyans are warriors from the womb until death and after
over nine thousand and the scanner short circuits
write on the clouds with light so hot that it burns on thought
not contact
no constants, just variables, electron microscopes to try and hear the angels sing.
Large Hadrons small dreams, no love, just roman numerals
XIV, ***, Blood transfusions in the realm of “O Positive” and you're just a pessimist, negative Nancy at the end of evolution
Flesh and bone as a tent in your double helix of a genome,
flesh like clay in the hands of some master
but you know no master
no nations, under no gods but Darwin
all 23 chromosome pairs making 46 parts of your brain
screaming neurons fire
WRITE
WHAT
YOU
ARE
If you should so choose as to end not with a bang but a whimper
then your memory is forfeit
contribute in some meaningful semblance of sarcasm and sinsethesia with anesthetic medications of pop remedies and voided memories
of sinthesisia
Smell the colours and taste the sounds of pen on paper
when you never own a pen or a pad
just a bright white rectangle you stare at for hours on end
No thoughts just Digg and Reddit
your only contributions a thumbs up or a red thumbs down
like buttons
but no dislike, because if you've got nothing nice to say
then say nothing
unless you're outrage and full of spite
and morose
at the state of human nature
beauty and song thrown out in an effort to leave nobody behind
and so we have a generation coming in
at the age of 5, who are told new math
new science
wrote memorization of equations
no thought process, no argument about relation
theory of relativity, the genious mind just numbers and letters on a page with squiggles and lines that don't have to mean anything more than they mean on the book
we have a generation with no lust, no hope
Do they dream in black and white?
do they dream at all?
is the consequence of IQ tests and graded paper intelligence
the thirst for knowledge and creativity?
WE HAVE TO SCREAM
at the injustice
Burn it to the bricks and ashes
we hurl through the windows
in the streets and in the parks
car radios and clock towers sold
for cheap homemade *****
dance around the fire like the wild things are
LET THE WILD RUMPUS BEGIN
but then we're still hollow
no happy medium, just excess
in the pursuit of Dionysus, trepination,
demon possession is illegal in the eyes of the police and federal law
spread your legs and lean against the car
as they frisk you and plant the seed
of doubt
in the cuffs of your jeans
You have the right to remain silent
but I hope you don't
refuse
question
resist

So let us now place monetary value on information.
Let us return to the source,
Mining & prospecting that fertile intel seam.
To wit: WWII and G-2 shenanigans.
Wild Bill and OSS-capades,
Artificial disseminations.
Partial recriminations.
And PSYOPS:
A literary nightmare--
THE CYCLOPS from The Odyssey,
For example,
If you lack your own,
Your own personal Bogey Man.
Or men. For me:
Allen Dulles or Richard Helms.

The Intelligence Community:
It was a small tightly knit crew,
Less than battalion strength in 1942;
A few myopic soldiers,
Who, although could barely type,
Were still too cerebral to
Waste as infantry fodder.
It was a huge converted Army-green warehouse,
Space strategically partitioned,
Sectioned off into cubicle-like spaces,
By giant 4-drawer file cabinets
Standing tall like MPs,
Sentinels & Guardians,
Monuments to pre-electronic storage,
Data relatively comprehensive, and an
Archive secretive & intimidating.

Within the Army-green incunabula,
Scattered throughout the intel landscape,
Here and there a few commissioned officers,
A smattering of college psychology majors,
Personalities with predilections,
And penchants for mind games.
These self same WWII vets,
Would morph into Cold War Mad Men.
Stalwart, stouthearted men of Eisenhower,
And J. Walter Thompson,
De-mobbed, as they say in the UK.
Consumptive.
Self-indulgent,
Particularly when it came to the kids;
Children of the peace,
Called Baby-Boomers,
An entire generation enabled & destroyed.
Who would produce little of value
Except medical marijuana and
Coupons, clipped by that sober ruling class—
Fat interest-bearing college-loan portfolios
Held by that neo-Calvinist Elect: The 1%.
Fat cats one and all,
Loaded dice & canasta cronies--
In concert a stacked deck,
“Una mano lava l'altra.”
The words of my namesake--
My grandfather Giuseppe--
His vowels reverberating,
Rattling in my dreams.
Not friends, but
Fiends in high places, like
The Fed and dark liquid pools.
Thank you, Barack, for
Fooling us again.
For giving us
“Belief we can believe in.”

But I digress.
It was when the Government Secrecy Act,
In all its transnational incarnations,
Embraced capitalism in a big way,
Elevating the ideology to whole-Earth saturation,
Systemizing the ethos of Darwin,
Into one global Moby ****,
One solitary leviathan,
A multi-level marketing labyrinth,
Where wealth is the end game--
Greed: pure, unbridled & unrestrained.
Bond--James Bond—
Did his bit, supplying catchy
Slogans & tag-lines:
“For Your Eyes Only.”
“On a need to know basis.”
“Confidential Information.”
“Top & Ultra-Top Secret.”
“Hush, Hush & a Bag of Chips.”

The sealed letter sits in a locked drawer,
In that stout desk,
In the Oval Office
In The White House,
“To be opened by my VP in the event of my death.”
Another staggering work,
Of achy-achy-heart breaking genius,
The culture commoditized,
A disease containing its own cure,
Assayed, graded,
Portioned & packaged.
Priced accordingly,
To a logic that goes something like:
“Anything this tightly controlled,
Anything the government deems to be
This illegitimate and/or & secret
Must be really, really God-awesome,
Must really be Da ******* Bomb.”

Brother Coolidge was right:
“The Business of America is Business.”
And INFORMATION:
“The Most Valuable Commodity on Earth.”
So said Stanford Stuyvesant Whitehead III,
19th Century robber baron, and
Consummate Fat Cat.
Get the picture:
We were smoking cigars and sipping cognac,
Mighty comfortable in leather armchairs,
Muted billiard clicks,
Punctuating the atmosphere
In this spacious lounge,
His East Side
Downtown & private
Manhattan club.
I, his guest, had not the slightest idea
Why I was there.
"By God, man," he went on,
My eyes speared by his laser gaze,
His bushy eyebrows,
His monocle.
His bulbous nose;
His thick wet mustache.
And those EYES:  
Those crazy,
Insane eyes.

"I am talking about a profound change,” he continued.
“Back when the steamship
Gave way to electronic wireless radio."
He puffed smoke,
Removing the cigar from his mouth,
Holding it,
Examining it critically for a moment.
"I'm talking about communication,
Instant communication
With business associates, &
Cronies far away,
Way out there,
Far beyond the places we know well.
Picture it:
You're running a fleet of
Ramshackle Filipino banana boats,
Out of some nameless cove,
Indenting the south coast of Mindanao.
A cyclone comes out of nowhere.
Good God--there’s sixteen banana-packed
Coal burners lying on the bottom of the Celebes Sea.
Think about it:
You've got telegraph radio.
Everyone else has the post office.
Now, I ask you:
‘Who's going long,
Who’s getting rich on the
Caracas Banana Exchange?’
Good Lord, man, it would be
Like being omniscient!"
“This very conversation,” he went on,
“Could well be a verbatim transcription
Of a conversation right here in this very room,
Between people like: J. Pierpont Morgan
And some lesser Gilded Age nabob;
Some Astor, some Rockefeller,
A Gould or Vanderbilt,
Whitney or Duke,
Some Frick or Warburg--
To name just a few, old sport.”
He stopped suddenly.
He looked down at his hands,
As we both realized he had counted these names
Out on his fat curled fingers.
He looked at me and smiled.
I was afraid.
Why had I been invited to this meeting?
I smiled back at him,
Doing my best to mirror his
Carnivorous menace.

I knew it.
He knew it.
He knew I knew it.
Mr. Whitehead’s growling rabid jowls,
His slobbering canine smile held me steady.
“Okay. Touché. ‘Ya got me.”
He shook off the phony smile,
An absence, accentuating
His stare: lethal, carnal & rare.
“I never had much formal schooling.
I’ve been hungry.
Hungry enough to know for sure
That the correct fork,
Don’t mean ***** from shinola.
When I’m dining out, fancy-like,
Me manners is the least of me problems,
Far less important than
The dinner chit they
Hand me after I slake
My thirst & appetite.”
Again, he stopped suddenly,
Recognizing that, perhaps,
He’d revealed too much of his
Bedford-Stuyvesant pedigree.
He turned again and stared at me.
“None of that,” he said.
“None of that means squat to me, Boyo.
What matters now is I’m rich.
I’ve got mine, By God,
And ******* It!
Tough ***** on the rest of you losers;
The rest of you fecking whiners can go
**** yourselves over at Zuccotti Park.”
He pounded the armrest,
The padded armrest of the rich Corinthian leather—
( . . . ***, Ricardo?
Get your Montalbán
Mexicano ***, back in
Random Access Memory Land,
Where you belong.
**** ya’ Fantasy Island
Hospitality, Mr. Roarke,
Go be wrathful Khan Noon Singh,
Somewhere else.
Now is not the time, or,
Let me rephrase that:
This narrative will not allow your meme here . . .)    

Whitehead pounds the armrest again.
“My point is this:  
None of JP Morgan’s decidedly,
un-nattering lesser nabobs of negativity . . .”
BAM!  Again, he pounded the leather . . .

(Back in your ******* hole, Spiro!
Do you realize just how far back,
Just how far back
Maryland’s reputation
Has been set back by your venality?
Not to mention any shot at ethnic assimilation,
The rest of us grease ball non-Wasps
Have in this country?
You ******* Greek!)

I stopped thinking
When I realized Stanford Stuyvesant Whitehead III
Was reading my mind.
“So that’s what it’s really all about,” he said,
Rank smugness in his voice.
“So, I’m just a nouveau riche upstart,
A socially inept parvenu,
Yet they still let me
Join their tony clubs.
It chaps your ***, Boyo, don’t it?
I’m still Scotch-Irish, and
A WASP, Laddie.
Something your skinny
Greaser-Guinea-****-Spaghetti-*** ***,
Ain’t ever gonna be.”
But I digress, again.

So I joined one of Uncle Sam’s
Lesser-known clandestine services,
An assignment appropriate to my ethnic identity,
Namely GLADIO in Italy,
A NATO stay-behind operation &
Cold-War comedy.
I infiltrated the Brigate Rosse.
I drove the Aldo Moro kidnap vehicle.
I cooked minestrone for General Dozier.
I sliced off J. Paul Getty’s ear in Calabria.
Ironically, I lost my hearing during
The Stazione Bologna bombing.
I am consequently pensioned off,
Off both the radar and the payroll.
Years later now,
I live in one of those gated, golf-coursed,
Over-55, sunny southern California
Lunatic asylums.

Most days I am drunk at 9 AM.
I fill Bukowski mornings,
Conjuring up Jane Fonda,
Jazzercised in camo spandex.
She is high atop a Vietcong tank in Hanoi.
Or Daniel Ellsberg
Enjoying a second act in American politics,
Praising Snowden & Assange,
& Bradley Manning,
I summon up the ghosts of
Julius & Ethel,
Benedict Arnold,
Rose of Tokyo & Mata Hari—
And Ezra exiled at Rapallo,
And John Walker Lindh,
A Yankee Doodle Dandy,
Born in Washington,
District of Columbia,
By way of Afghanistan,
Taliban Americano,
Kangaroo-courted,
Presently residing at the
Federal Correctional Institution
At Terre Haute, Indiana.
Spies.
Traitors.
Saboteurs.
And Poets?
No longer capable of keeping secrets.
Desperate now to tell
The truth.

Maybe my writing
Will improve
When strewn over
Blue lined graph paper,
Tiny boxes,
Coaxing out order,
Perhaps even
Clarifying boundaries
Between crazed truth,
And detrimental lies.

The grid putting
Poem in context,
Poem like graph,
Displaying
Levels of THC
Depression
Number of Kisses
Tears Cried
Outliers of secrets uttered.
Box and whisker plot
Displaying anxiety,
Skewed data toward extremes.

No.
Linear writing would
Reveal the chaos inside.
I can't fit the poems
To the squares.
A graph can't really cry
The way a person can.
There's a losing feeling
Etched in pen
On a harshly graded
Parcel of mathematical quizzing
That a poem has no place to
Instill in me.

And no one would
Be able to read my work
The way they tell you to show it.
My poems have no color coding.
Definition between data
Becomes hazy as
Layers of black are added
In empty,
All encompassing anger.
And I smoke while I write tonight,
Haze growing,
Lines wobbled,
And I may have put a poem
On a piece of graph paper
But it's nothing like the math homework
That stays in my backpack.

Dar Al-Hekma University hosted its second fashion show on Sunday that featured the work of its second batch of fashion design undergraduates.

The event, titled “Luminosity” was held under the auspices of Princess Reem **** Muhammad Al-Faisal. President of the university Dr. Suhair Hassan Al-Qurashi said: “Providing such events to our students before graduation exposes them to industry leaders of their prospective industries and gives them a head start in their careers.

“Dar Al-Hekma University’s students stand out because of the combination of their high caliber and the opportunities the university provides for them.”

Along with industry leaders, families of participating students attended. The event started with an opening speech by the department chair for the fashion design program Dina Kattan, who then introduced the sophomore and junior students’ work.

Afterward, models wearing three-piece collection garments designed by senior students scheduled to graduate this year took the stage and were graded by four judges.

Kattan said: “I am so proud of the work my students presented today; they worked really hard and they deserve a big hand. “Everyone was impressed with the level of creativity and attention to detail they demonstrated.”

The judges were Batool Jamjoom, businesswoman in the fashion industry and manager and owner of Jamjoom Fashion House; Amra Alabdalilsharif, director of the innovation and visual merchandising department at Rubaiyyat; Dalal Al-Hasan, a fashion designer; and Aram Kabbani, Dar Al-Hekma alumna and fashion stylist.

The grades students received during the fashion show will form part of their final grade. One of the students whose designs were featured at the show, Zahar Algain, said her collection was inspired by Mexican artist Frida Kahlo.

“Studying fashion has altered my perspective. I view fashion, in the same way that I view life; it’s a matter of balance and proportions.

“My interest in avant-garde fashion has led me to believe in using creativity to solve difficult situations. Algain’s collection was meant to blur the line between art and fashion.

“It is inspired by Frida Kahlo but with a fictional twist. “The story behind my collection is a daydream, a magical love story, an artwork; it is splattered with Frida’s colorful soul and spirit.”

Following this women only event, Dar Al-Hekma is organizing a one-day fashion design exhibition on Tuesday, which is open to all. The event starts from 7 p.m.Read more here:www.marieaustralia.com/formal-dresses-adelaide | www.marieaustralia.com/long-formal-dresses

The Beauty Of Wisdom And Intelligence,
You are seen in the Cosmic Reality herself,
You are the female part of Christ, called Wisdom and Intelligence,
Your Cosmic Math's is a beautiful thing to behold,
That a unlearned person like me who loves sports like me who is too unlearned in the world's eyes to understand the beauty of the Math's of the Cosmic Reality herself,
So only the real genius mind's understand your true beauty in the Cosmic Reality herself,
But I was good enough at math's at college to get a 98% in a test score and student tutored a girl in class called Bev.
But Wisdom and Intelligence; you really enlightened great minds like Newton, Einstein and Hawking's?
So Wisdom and Intelligence hear my simple math's plea, I am alone and the math's of Wisdom and Intelligence say's its not right for man to be alone?
So make the one alone into two and then the two become one again?
So my math's is simple and unlearned by Wisdom and Intelligence's mathematical eyes; but its the most beautiful sum in the Cosmic Reality herself?
So Wisdom and Intelligence says I've done the math's?
I've marked your sum; I have graded your test paper A+ and gifted you a younger sister bride to be the sum of sums for all eternality,
This younger sister bride will never divide her love for you,
Because one divide into two should stay two, but by theoretical mathematician's the two become the perfect nought number of one raised to nought or zero power nought or zero is one for all eternality,
You shall always be one in body, heart, mind and soul,
You will always have Wisdom and Intelligence tutoring you about the beauty in the Math's of the Cosmic Reality herself,
But never forget to look up at the star's, nebula's and galaxies together and the two who are one see the Math's of love in each other's eyes and the math's of love in the Cosmic Reality herself.

Vietnam, you uncovered my soul
Gave me a song, a direction smog
Looked at the pandora box I held
Unstripped my flames up temples

A hologram of the graded existence
Seasoned in explosions of burnt haste
Decked on buses,ducked in valleys
Chilled bays, overly paddled kayaks

Such sweet taste of the Halong bay
Undreamt mist of the skies stared
Fishing squids and bellied jellyfish
The soil, the sound,an orotund playlist

Detective stories have been making a splash on European screens for the past decade. Some attract top-notch directors, actors and script writers. They are far superior to anything that appears over here -- whether on TV or from Hollywood. Part of the impetus has come from the remarkable Italian series Montelbano, the name of a Sicilian commissario in Ragusa (Vigata)who was first featured in the skillfully crafted novellas of Andrea Camilleri.

Italians remain in the forefront of the genre as Montelbano was followed by similar high class productions set in Bologna, Ferrara, Turino, Milano, Palermo and Roma. A few are placed in evocative historical context. The French follow close behind with a rich variety of series ranging from a revived Maigret circa 2004(Bruno Cremer) and Frank Riva (Alain Delon) to the gritty Blood On The Docks (Le Havre) and the refined dramatizations of other Simenon tales. Others have jumped in: Austria, Germany (several) and all the Scandinavians. The former, Anatomy of Evil, offers us a dark yet riveting set of mysteries featuring a taciturn middle-aged police psychiatrist. Germany'sgem, Homicide Unit -- Istanbul, has a cast of talented Turkish Germans who speak German in a vividly portrayed contemporary Istanbul. Shows from the last mentioned region tend to be dreary and the characters uni-dimensional, so will receive short shrift in these comments.

Most striking to an American viewer are the strange mores and customs of the local protagonists compared to their counterparts over here. So are the physical traits as well as the social contexts. Here are a few immediately noteworthy examples. Tattoos and ****** hardware are strangely absent -- even among the bad guys. Green or orange hair is equally out of sight. The former, I guess, are disfiguring. The latter types are too crude for the sophisticated plots. European salons also seem unable to produce that commonplace style of artificial blond hair parted by a conspicuous streak of dark brown roots so favored by news anchors, talk show howlers and other female luminaries. Jeans, of course, are universal -- and usually filled in comely fashion. It's what people do in them (or out of them) that stands out.

First, almost no workout routines -- or animated talk about them. Nautilus? Nordic Track? Yoga pants? From roughly 50 programs, I can recall only one, in fact -- a rather humorous scene in an Istanbul health club that doubles as a drug depot. There is a bit of jogging, just a bit -- none in Italy. The Italians do do some swimming (Montalbano) and are pictured hauling cases of wine up steep cellar stairs with uncanny frequency. Kale appears nowhere on the menu; and vegan or gluten are words unspoken. Speaking of food, almost all of these characters actually sit down to eat lunch, albeit the main protagonist tends to lose an appetite when on the heels of a particularly elusive villain. Oblique references to cholesterol levels occur on but two occasions. Those omnipresent little containers of yoghurt are considered unworthy of camera time.

A few other features of contemporary American life are missing from the dialogue. I cannot recall the word "consultant' being uttered once. In the face of this amazing reality, one can only wonder how ****-kid 21 year old graduates from elite European universities manage to get that first critical foothold on the ladder of financial excess. Something else is lacking in the organizational culture of police departments, high-powered real estate operations, environmental NGOs or law firms: formal evaluations. In those retro environments, it all turns on long-standing personal ties, budgetary appropriations and actual accomplishment -- not graded memo writing skills. Moreover, the abrupt firing of professionals is a surprising rarity. No wonder Europe is lagging so far behind in the league table of billionaires produced annually and on-the-job suicides

Then, there is that staple of all American conversation -- real estate prices. They crop up very rarely -- and then only when retirement is the subject. Admittedly, that is a pretty boring subject for a tense crime drama -- however compelling it is for academics, investors, lawyers and doctors over here. Still, it fits a pattern.

None of the main characters devotes time to soliciting offers from other institutions -- be they universities, elite police units in a different city, insurance companies, banks, or architectural firms. They are peculiarly rooted where they are. In the U.S., professionals are constantly on the look-out for some prospective employer who will make them an attractive offer. That offer is then taken to their current institution along with the demand that it be matched or they'll be packing their bags. Most of the time, it makes little difference if that "offer" is from College Station, Texas or La Jolla, California. That doesn't occur in the programs that I've viewed. No one is driven to abandon colleagues, friends, a comfortable home and favorite restaurants for the hope of upward mobility. What a touching, if archaic way of viewing life.

The pedigree of actors help make all this credible. For example, the classiest female leads are a "Turk" (Idil Uner) who in real life studied voice in Berlin for 17 years and a transplanted Russo-Italian (Natasha Stephanenko) whose father was a nuclear physicist at a secret facility in the Urals. Each has a parallel non-acting career in the arts. It shows.

After viewing the first dozen or so mysteries of diverse nationality, an American viewer begins to feel an unease creeping up on him. Something is amiss; something awry; something missing. Where are those little bottles of natural water that are ubiquitous in the U.S? The ones with the ****** tip. Meetings of all sorts are held without their comforting presence. Receptionists -- glamorous or unglamorous alike -- make do without them. Heat tormented Sicilians seem immune to the temptation. Cyclists don't stick them in handlebar holders. Even stray teenagers and university students are lacking their company. Uneasiness gives way to a sensation of dread. For European civilization looks to be on the brink of extinction due to mass dehydration.

That's a pity. Any society where cityscapes are not cluttered with SUVs deserves to survive as a reserve of sanity on that score at least. It also allows for car chases through the crooked, cobbled streets of old towns unobstructed by herds of Yukons and Outbacks on the prowl for a double parking space. Bonus: Montelbano's unwashed Fiat has been missing a right front hubcap for 4 years (just like my car). To meet Hollywood standards for car chases he'd have to borrow Ingrid's red Maserati.

Social ******* reveals a number of even more bizarre phenomena. In conversation, above all. Volume is several decibels below what it is on American TV shows and in our society. It is not necessary to grab the remote to drop sound levels down into the 20s in order to avoid irreparable hearing damage. Nor is one afflicted by those piercing, high-pitched voices that can cut through 3 inches of solid steel. All manner of intelligible conversations are held in restaurants, cafes and other public places. Most incomprehensible are the moments of silence. Some last for up to a minute while the mind contemplates an intellectual puzzle or complex emotions. Such extreme behavior does crop up occasionally in shows or films over here -- but invariably followed by a diagnosis of concealed autism which provides the dramatic theme for the rest of the episode.

Tragedy is more common, and takes more subtle forms in these European dramatizations. Certainly, America has long since departed from the standard formula of happy endings. Over there, tragic endings are not only varied -- they include forms of tragedy that do not end in death or violence. The Sicilian series stands out in this respect.

As to violence, there is a fair amount as only could be expected in detective series. Not everyone can be killed decorously by slow arsenic poisoning. So there is some blood and gore. But there is no visual lingering on either the acts themselves or their grisly aftermaths. People bleed -- but without geysers of blood or minutes fixed on its portentous dripping. Violence is part of life -- not to be denied, not to be magnified as an object of occult fascination. The same with ****** abuse and *******.

Finally, it surprises an American to see how little the Europeans portrayed in these stories care about us. We tend to assume that the entire world is obsessed by the United States. True, our pop culture is everywhere. Relatives from 'over there' do make an occasional appearance -- especially in Italian shows. However, unlike their leaders who give the impression that they can't take an unscheduled leak without first checking with the White House or National Security Council in Washington, these characters manage quite nicely to handle their lives in their own way on their own terms.

Anyone who lives on the Continent or spends a lot of time there off the tourist circuit knows all this. The image presented by TV dramas may have the effect of exaggerating the differences with the U.S. That is not their intention, though. Moreover, isn't the purpose of art to force us to see things that otherwise may not be obvious?Read more at:http://www.marieaustralia.com | www.marieaustralia.com/short-formal-dresses

A needle in my eye
Injecting my sight
Evading the light

I was graded in solitary youth
Molded by a truth

My tongue saturated
With a souring tease
My words backwards
They always bleed.

With a finite wire
With a touch that is dire.

I was graded in solitary youth.
I was molded by a truth.

Though loth to grieve
The evil time's sole patriot,
I cannot leave
My buried thought
For the priest's cant,
Or statesman's rant.

If I refuse
My study for their politique,
Which at the best is trick,
The angry muse
Puts confusion in my brain.

But who is he that prates
Of the culture of mankind,
Of better arts and life?
Go, blind worm, go,
Behold the famous States
Harrying Mexico
With rifle and with knife.

Or who, with accent bolder,
Dare praise the freedom-loving mountaineer,
I found by thee, O rushing Contoocook!
And in thy valleys, Agiochook!
The jackals of the *****-holder.

The God who made New Hampshire
Taunted the lofty land
With little men.
Small bat and wren
House in the oak.
If earth fire cleave
The upheaved land, and bury the folk,
The southern crocodile would grieve.

Virtue palters, right is hence,
Freedom praised but hid;
Funeral eloquence
Rattles the coffin-lid.

What boots thy zeal,
O glowing friend,
That would indignant rend
The northland from the south?
Wherefore? To what good end?
Boston Bay and Bunker Hill
Would serve things still:
Things are of the snake.

The horseman serves the horse,
The neat-herd serves the neat,
The merchant serves the purse,
The eater serves his meat;
'Tis the day of the chattel,
Web to weave, and corn to grind,
Things are in the saddle,
And ride mankind.

There are two laws discrete
Not reconciled,
Law for man, and law for thing;
The last builds town and fleet,
But it runs wild,
And doth the man unking.

'Tis fit the forest fall,
The steep be graded,
The mountain tunnelled,
The land shaded,
The orchard planted,
The globe tilled,
The prairie planted,
The steamer built.

Live for friendship, live for love,
For truth's and harmony's behoof;
The state may follow how it can,
As Olympus follows Jove.
Yet do not I implore
The wrinkled shopman to my sounding woods,
Nor bid the unwilling senator
Ask votes of thrushes in the solitudes.
Every one to his chosen work.
Foolish hands may mix and mar,
Wise and sure the issues are.
Round they roll, till dark is light,
*** to ***, and even to odd;
The over-God,
Who marries Right to Might,
Who peoples, unpeoples,
He who exterminates
Races by stronger races,
Black by white faces,
Knows to bring honey
Out of the lion,
Grafts gentlest scion
On Pirate and Turk.

The Cossack eats Poland,
Like stolen fruit;
Her last noble is ruined,
Her last poet mute;
Straight into double band
The victors divide,
Half for freedom strike and stand,
The astonished muse finds thousands at her side.

There are two kinds of lives
Examined and unexamined
So we see two kinds of drives
One of grace the other famine

Two lives
Intertwined
In the line
We call time
In a bind
Of the blind
Versus kind

We needed an example
Of how to be nice
Though those were ample
We found Jesus Christ
To lead the way
Through the fray
Until the day
He was slain
And died for our sins
Because the bad guy wins

Now when
Holy men
Goal tend
We bend
To their end
As they send
Us to mend
A devil's den
That is of their apocryphal creation
Of which they deny any relation

There are no angels and demons
Only people who are the reason
For this devilish season
And those who are not
Are caught
In the empire crossfire
Until they retire

Floating through life peacefully
Treating everyone equally
The people at the steeple see
Ways to help through deep beliefs
But others pervert it
To divert it
And insert it
Into hateful ideology
That falls onto me
Ominously

The imposition of their will
Is how they get their fill
Becoming jaded predators
Not caring who must be killed
Our pain doesn't register
Once we're billed
Cash in till
Their heart goes still

Pain lingers
From bane stingers
Of shame singers
And grave bringers
Using slave fingers
As blame flingers

The righteous save brothers
The wicked blame others
The two became lovers
To hide pain under covers
Because the righteous
Want to be like Jesus
Once the wicked fight us
The righteous leave us
To turn the other cheek
Until we're up **** creek

Plenty of people act like Jesus unintentionally
And live life exceptionally
Others study religion fervently
Yet continue hurting me
This dichotomy
Is odd to me
Do we need God to see
A way to be?

The real dichotomy is net negatives versus net positives
Though we may never conceive
A measurement I still believe
This battle exists
Our actions persist
But the only judgement we'll receive
Is in the way we're perceived
Yet society's goals aren't the same as humanity's
I know it sounds like insanity
But we act counterintuitively
Like the lawyers suing me
So they can get theirs
While saying life isn't fair
Which may be true
But only because of them
So my frustration grew
Once I saw the problem's stem

I wanted to be a good person
But then I got headaches
And bad breaks
From high stake
Mistakes
Growing jaded
After society graded
My endeavors slated
As failures awaited
I became one of them
A broken gem
Can someone please save me
From remaining the same me?
Or will I spend my time
As part of the grime
Not reading the signs
Until the day I die?

I tried to tell her.
I did! Did she listen?
No, she didn’t bother.
It was test upon test.

You can’t pass something
You haven’t learned
However hard you’re trying.
But I gave it my best.

It was today that she
Finally graded that those tests.
Her look a degree
Colder than cold.

“This is very, very bad,”
Said she, and I agreed.
I couldn’t tell if she was sad or mad,
But she showed me my mark.

Fifty three out of fifty five.
“At least I got two,” I thought.
No matter how you strive,
You can’t know what you don’t know.  

I tried to tell her so.

I'm sorry you had to steal
what was already freely given.
I hope your heart never burns
like mine did the day I wrote that.
I give to you freely
what you honestly deserve,
that is a second chance,
and a word of advice.
Give from yourself,
no gift can ever be poorly graded.

I submitted my poem
to a teacher, Mr Rowan
and he graded it an F
Still, I’m a great poet
he just doesn’t yet know it
but some day he’ll have to confess

though he’ll give me an E
yet when it comes to poetry
I’m the greatest poet there ever was
I’ll climb my way to a D
just wait and you’ll C
I’ll prove it just because

I’ll let go and let B
he’ll wonder if it’s me?
A poet born not made
he’ll grant me an A
on a poem I’ll tear up that day
and prove I’m more than just a grade

I wasn't afraid if the Devil sent you to me. In fact, if it was the Devil then this would all make complete sense. But the thing I'm terrified of is if God was the one who brought you to me. I wondered if you were a test- some graded assignment I had to complete to get to the Gates of Heaven.

Yet after meeting you, I didn't want to ascend into the Gates of Heaven. I wanted to stay on Earth, still using 24 hours trying to figure out why we are here. I wanted to stay in Purgatory, sinking my nails into the depth the darkness while you hold me up. I wanted to descend into the hole of hell to feel comfortable in the fire with you. All I wanted was you- in each stage of hell or life. I wanted you.

You see, thats why I think God gave me you. I think God gave me a test, and I'm still not sure if I passed or not.

i
no less than two hundred souls lie
        clustered along the shoreline
        lowland they call a town.
there where the hilltops look
        below, where salty waves
        in unending sequence
        lap the rocks.
the foam floating still is fading
        and the icy gloom of night is gone.
the tug-tug of the diesel engine
        interrupts the balmy silence
        of the sleeping town.
perchance,
        here is a variant
        (or is it?)
        on new island soil
        tread one another foot.

       ii
away now from the busy hum of
        factory, from the hurrying trucks,
        daredevil drivers, the unwelcomed
        whistle of the morning train,
        from the strained scream of the
        lumpia vendor, from the sophisticated
        melody of nightclub music, from the
        alms-begging cries in crowded sidewalks,
        from pretending graded glasses seeking
        sheep-skin, high-pressured ticket seller.
        away form the honk-honk of waiting
        limousines, the haste of presses
        accommodating headlines, the cackle
        of the radio announcer.
        it takes a sea to part the two,
                and many others more, yet the
                watery distance do mend the broken
                piece-part of the broken whole.

      iii
broken by the water barrier, part of
        the broken scheme – a stray mass
        the grown untamed.
blame it on the ills of war, a frenzied
        sickness, a cancer-growth.
        a callousness undisguised
the city’s pleasure is a farmlife’s
        leisure and these
        in different garbs exist.
not even mindful of the worms
        that eat up the human heart,
        like a rotting fruit.
with colored goggles
        the hue is blood-red and shady black.

  iv
o city of pain,
vineyard of desire
o burial ground
        where lay bedfellows
        they who came, stayed, gone,
where stumps and leafless trunks
        are bare to the sun,
        breathless and devoid.
while fingers are busy
        counting metallic coins.

  v
no, not a flood shall cleanse
        this wild and wanton fleshliness,
        nor upturn the barren farrows,
        not the rise of the tides
        nor the fury of the winds
        not even the whiplash of a strong hand.
the deluge in every clayey figure
        in the farm and furnace.
the going up beyond the worldly
        watermark of the passing tide
        that is man.
the man
        the self
                is the starting point
                from which the line
                        of the circle revolves.
                        and in our chambered brief hours
                                of aloneness, shall speak
                                a shrill deep-seated voice
                                to which we shall be all ears
                                        and shall tremble.

Over the course of my tenure
I've noticed something about
These concrete walls and me.
Something's changed i n m e.

Over the course of these days
It has completely eaten away
My tongue . Cutting a w a y
Neatly and p a i n l e s s l y  .

It even has a personality, I've
Nicknamed him C l e e t i s P.
However, instead of parasiti-
-zing my life. It u p - graded

Me. Replaced that uncouth T
Somewhat enlightened m e  .
Above the soloists -no longer
"I" or "me"; but "us" and "we"

you see self-communality i n
"we". It's slimy-self now fun-
-ctions as o u r newest *****;
A mouthpiece & a voicebox

It lives off of small drops o f
Blood from my tongue-stub
That won't ever, ever c l o t!
My business has a s e c r e t

I t s a y s t o m e                     :
Regardless of  Earthly losses
Give y o u r everything to us
W e are your dearest bosses .

I took Billy Collins to lunch with me today.
He kept me company, Horoscopes of the Dead
and new versions of Dante’s hellish sandwich.
My pasta was dry, but I ate it
between stanzas and between pages.
You walked in, backpack and all, at the top
of the stairs. I choked on some graded cheese,
because of the way you looked in your khakis.
I hate the taste of cucumbers but I would have

kissed you anyway. Even though,
I sometimes laugh a little too loud in the mornings
you still make sanctuaries out of my sheets,
covering us in a layer of polka dots,
craving each other’s skin, listening
the lullaby the ruffles of the duvet make.

And even though I sometimes know
that wanting you has its clumsy consequences,
I still lose my breath when you walk up
to the lunch line, or when you grab my face
with both hands, or when you say my name
backwards between sighs. Maybe Billy understands,

and maybe I can just stay a poet. Maybe,
you would look good on me. I’d love
to try you on. But I lost my breath
when you walked in this afternoon.

Truth of the matter is, I never was one for essays.
I can insert quotes like mad, I can, but the words
Don't sing for me in papers like they do in poetry.
I can't paint you a world cause you're already
Living in it and you already know it well.
The only gift an essay has to give is analysis and
Let me be honest with you, my opinion
Ain't worth as much as my heartbreak.
Essays don't let me talk like I want,
Don't let me layer in the truth behind a lie.
It ain't fair to kids like me that we get graded
On how well we use big words.
I wanna be graded on a scale I can't trust,
I wanna get credit for making you cry my tears.
Maybe it's hard to be an artist so that
No one will half-*** it: only the idiots who
Wasted art class making cartoons,
Failed English for the sake of their poetry,
The idiots who can do nothing else,
Will be the ones to do nothing else.

Another Monday comes and goes
and with it brings a new set of woes.
More ******* assignments
and papers to write
about **** that I don't care about
but I'm forced to try.

Got my graded calc test
I scored a 68.
Because I don't care about your curves
or if the line is straight.
Teach me something useful
like how to be an adult.
Don't fill my head with nonsense
That I'll never use at all.

College is a joke.
Such a cleverly crafted scheme.
To get us to throw money at them
because we "need them to succeed."
But I grow tired of the *******
and I'm sick of your games.
Just give me my degree,
and I'll be on my way.

Love has no conditions
We make our own traditions
This isn't our first edition
Love has no conditions

We fix each other along the way
What gives you the power to say
What is right or wrong in any way
If love has no conditions

Tear me down, wrip me apart  
Condition, condition, condition
Am I not enough
Are you calling my bluff

Do you not see the same me
Standing here before you
Begging you, asking you
For you to accept me as I am

Are you settling with being content
When you strive to be elated
Maybe our love has faded
I didn't know I was being graded

If love has no conditions
How dare you not accept me
If we were sand and sea
Id see how you wrestle me

I never wanted to fight with you
I only wanted to be with you
This was our time to shine
If love had no conditions

I can't blame you, slay you, betray you
I want all of you unconditionally
I find myself adjusting to you
As we dance this rhythm of love

Love is just a game
The players tend to say
Ive never felt so played
Who am I today

If love has no conditions
Pigs began to fly
If love has no conditions
This is the day I will cry

do not feel the need to change your works/pieces because people on this site don't think you're up to par. I encourage all of you to keep writing
in whatever forms the words come to you. This is not high school or college. You are not being graded. Criticisms are welcome and considered but don't have to apply to your work if they don't fit in with how you think your poetry should be written.

Don't tell me to get of my phone and play hopscotch in the wilting paddy fields across the house
the same paddy field that decorated the chest of every newspaper last Thursday, written across the title  in bold; 6 year old girl strangled to death

don't tell me to get off my couch and try make some friends
the same friends that got my neighbour's daughter gangraped at her sixteenth birthday party

don't tell me to only fall in love with a person of the opposite gender,
not after hearing the screams of the lady across these cracked walls, whom as usual would make excuses to cover up the reasons behind the galaxy toned punch scars across her no longer smooth skin, a result of being beaten up by her drunk husband each night

don't tell me writing isn't going to get me anywhere, that only science will, not after you've seen me bleed across these pages trying to make you understand my passion and love for writing & trust me when I say these numbers & stupid scientific terms will never be able to diffuse into my numb skull the way these lovely letters  have

don't tell me that the numbers written on one piece of paper that is graded by a person who probably had a million and one reasons to make me fail, defines  my intelligence, not after looking at that girl from high school who failed  her maths & ended up becoming a world renowned poet

don't tell me that it's right to hate a person because they were born a shade darker than I am, not after the person who saved my life that summer night I was sprawled across the bathroom floor, overdosed on drugs, was 'fifteen shades darker' than me

don't tell me that I don't have a right to stand up to you because I'm younger than you, not after a 50 year old man ***** his 12 year old student; in no way does your age define your maturity

and dear generation X & Y,

don't tell me what is wrong and right, for I am old enough to face the consequences of my actions, for there is no way I will learn without making mistakes,

and dear generation  X & Y,


we'll show you how life should be lived.

Thank you, sit down.