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Martyn Thompson Aug 2011
i - Introduction:
ii - Lismore Park
iii - The Road to Maidenhead
iv - Town Square
v - Contradiction, contraband
vi - Saturday Afternoon
vii - The Circus Comes to Town (Sunday)
viii - The Show
ix - The ringmaster
x - The Fracas
xi - An incident at Upton Park
xii - No ball games
xiii - New found…
xiv - Nearly done
xv - Another time…

i - Introduction:

Come friendly bombs you’ve still to hit
The place whose name means quagmire
The town, the place that’s left bereft
Of soul, of spiritual fire.
But hurry, hurry, please be fast
For the crack dealer plies his trade
With slight of hand and cunning
A ghetto he’ll have made

The peroxide perms have now all grown
And muster outside shops
To wait for the be-suited sales rep
With his rocks and his alco-pops
They’ve all spawned offspring of their own
Fifteen-year-old cradle pushers
Who sold their souls in return for hope
To thirty year old cradle snatchers

Come friendly bombs it’s plain to see
The vacant, empty faces
The lifeless eyes, the pallid skin
The love that leaves no traces
The love that lasts a knee trembling minute
Outside Harry’s and Sluffs
A love that smells of emptiness
O they cannot get enough

Come with me, look over there
To the sculpture in the mall
The stainless tree with it’s stainless birds
And stainless birdsong call
A bird sings and the town all stops
To see from where this sound will show
A bitter disappointment when learned
It was played on the radio

Community service on the airwaves
To draw the crowd together
A song played, a one hit wonder
Reminds us nothing is forever
The sterile radio station plays on
Opiates to which we should yield
And bare our souls and be grateful for
The song of Bedingfield

ii - Lismore Park

The sight of a child playing in the street
Is one of day’s gone bye
But Lismore Park sees them out in droves
Stealing cars and getting high
The twelve year old sent out to play
Whilst mother takes a knap
But really she’s having it away
For a fiver and a brown wrap

The party at the house next door
That never seems to stop
The men all come and go and paw
Girls in this knocking shop
But halt weary traveller, stop!
Come sit and rest your back
The bench awaits you on the green
And the deluded maniac

The man who knows what’s wrong with you
And how to make it better
As long as he keeps his soul filled up
With cheap White Lightening cider
Six large cans for a five-pound note
From the corner shop near the school
An offer really not to be missed
And to make the drunkards drool

A songbird sits on the climbing frame
And sings his cheerful tales
A tune too much for our dear lush
The maniac exhales
The songbird sings and fills the air
With a loving string of notes
That reminds the sitters on the bench
There may still be a hope

A radio plays ‘that’ song again
Should you dare to forget the rhythm
The bird has flown away now
Fed up with this hypnotism
The airwaves are now filled with dross
Thanks to the flat opposite the green
The weary traveller moves on
“Better days has this place seen”

iii - The Road to Maidenhead

O friendly bombs do try to miss
The sweet blossom, the fragrant smell
The flowers, the green grass of the parks
The havens in this hell
Be careful around the Jubilee River
With it’s wildlife and sculpted hills
For a walk in this very man-made place
Will surely heal your ills

But spare no mercy for the superstores
That pollute and destroy our thoughts
“If it’s not on the shelf, we haven’t got it…”
The familiar assistants’ retort
Take no prisoners with the office blocks
That lay empty year after year
For they clutter up the atmosphere
And have no value here

O friendly bombs, o friendly bombs
The cabbages are all grown
They read the Sun and sing along
To the radio’s dreaded drone
Whilst in their vans they speed on by
Jumping all the lights
To price a job – a small brick wall
Based on a thousand nights

The car showrooms… the car dealers
Stack ‘em high and sell them cheap
Chop-chop salesman, soften ‘em up
The rewards are there to reap
Finance, part exchange or cash
Anyhow you like
“No sir, not me sir…
…I’d prefer to use my bike”

The bustle of the weekend crowds
The steamy traffic queues
Stare too hard at that red car
And suffer the abuse
Overtake the blue one now
And make him toot his horn
See him raise his voice in anger
To satisfy his scorn

iv - Town Square

Saturday morning, seven o’clock
The town begins to wake
A pair of sleeping winos
Dream about their fate
They plan their morning sermon
But who will really care
For what they say means nothing
Less than their icy stare

The busker and the balloon man
Wait to take their turns
To entertain and irritate
And suffer being spurned
By a thousand shady shoppers
Who’ve heard it all before
And probably given hard earned cash
To make them play some more

The trickster and the barra’ boys
Set up all their stalls
Selling mobile phone covers
And fake branded hold-alls
Adorn your phone with logos
Hankies for a pound
“Yes sir, we’re here on Sundays…
…(Providing there’s no police around)”

Grab a baked potato and sit
And watch the folk go by
Some will have you in hysterics
Some will make you cry
The man on his double-glazing stand
In his suit and in his tie
The perspiration on his head
Watch him wilt and fry

The songbird settles on the wall
And sings to our delight
A merry sonnet that will inspire
Dreams we’ll have that night
The wino shouts his sermon now
The bird has paused his song
This post-war sprawling Hooverville
Muddles slowly along

v - Contradiction, contraband

On the steps of the library he screams aloud
Through a mist of smuggled gin
“You’re all fools, the lot of you is ****
I’ve not committed sin…”
“It’s not my fault I’m a lush… a drunk
I don’t choose to live this life”
“You’re all wrong in carrying on
It’s you what’s caused my strife”

In his wretched form he abuses the world
Pooh-poohing this and that
A skunk telling the world it stinks
The polemic polecat
“Society has robbed me of everything
And left me less than whole”
“The only day that’s good is Thursday
When the postman brings me dole”

On Friday he meets his dealer
To fuel his pickled mind
The man with the van on Saturday
With the spirit and the wine
By Monday, he’s all skint and broke
The weekend has passed him by
He takes his place on the library steps
We shake our heads and sigh…

Every week the same routine
The same routine again
Like clockwork his life ticks on by
The suffering and the pain
But he tells us it’s all our fault
We’re the ones not right
But it’s very easy for him to say
The man who’s so contrite

The children watch him puzzled
It’s more than they can bear
“It’s very rude…” their mothers say
“To stand like that and stare”
But what, do they expect their young
To ignore this fool a mumbling?
For they will see it for what it is
A stormy weather warning

vi - Saturday Afternoon

I sit on a wall in Slough with friends
Sharing the Dutch export
Watching and laughing at the world
And it’s variety of sorts
A happy bond that we all share
The joy of simple things
Come friendly bombs and gather round
Watch us while we sing

The friendly bombs you call upon
Are they straight off the shelf?
It’s my belief, my firm belief
The bomb is in yourself
Ticking slowly by and by
Just waiting for the code
To trigger you and trip the switch
To make the bomb explode

We watch the people from where we sit
The hellholes they’ve all made
They don’t live they just exist on
The edge of a razor blade
Stop! Step back and take a look
It’s not too late to change
And become what you really want to be
An icon of your age

Over now to Langley Park
To sit and bathe in the sun
O friendly bombs please wait a while
Until this day is done
But what will tomorrow bring my friends?
And will it come too late?
Something that may save us all
The bombs may have to wait

A sedate sleepy Saturday
Away from all the crowds
Share a joke, a ****, a smoke
And laugh together loud
The sun warms our sombre souls
As on our backs we lie
Staring as the clouds roll by
United under the sky

vii - The Circus Comes to Town (Sunday)

Halt now, wait awhile please
Stop the counting down
Today the air is charged with joy
The circus comes to town
Must have arrived last night we think
Under cover of dark
And settled down and pitched it’s tents
In the grounds of Upton Park

The queue to purchase tickets
Trails far along the road
No. 53 offers cups of tea
From outside her abode
The crowds are mum, they say not a word
As they wait their turns to go
Inside the circus big-top tent
And sit and watch the show

We settle down and take our seats
With an ice-cream and a coke
But wait, where are the circus clowns?
Is this some kind of joke?
A wall of mirrors fades into view
And puts us in a spin
Reflecting all the bright lights
The colours and the din

The ringmaster enters, cracks his whip
And hands out little slips
“Everyone’s a winner” was
On every body’s lips
The clowns they all appear now
With a modicum of fuss
Hold on just a minute now!
The clowns we see are us

A spotlight points up to the gods
At the top of the trapeze
A giant money spider glides
Down with greatest ease
He touches each and everyone
All paralysed with fear
And hands out ten pound notes to all
Then promptly disappears

viii – The show

A strongman strolls out slowly with
A length of iron bar
A leopard spotted leotard and
Moustache sealed with tar
He looks around the big top with
A menace and a sneer
Surveying all the audience
He seeks a volunteer

The white van man he raised his hand
The tattoo on his arm
Said this man must not be crossed
To do so would mean harm
The strongman bent the iron bar
Across the van man’s back
Then invited him to strike him down
An unprovoked attack

The van man clenched his hand and hit
And hurt his mighty fist
A statue of the strong man shattered
Turning into mist
The van man stood and stared in fear
The mist it gathered round
And carried out our hero driver
He hardly made a sound

No-one clapped we all just stared
Our faces ghostly white
The strongman re-appeared and looked for
A second stooge that night
No-one raised a hand in fact
No-one said a thing
The strongman shrugged and vanished…
Empty was the ring

A knife thrower was the next to appear
And seek the help of one
With nerves of solid steel and courage
Secondly to none
Down came a fallen woman
Who said she had no fear
A knife was thrown and pierced her skin
Her right large ear-ringed ear

ix – The ringmaster

A second knife it struck her chest
She didn’t seem to weep
She didn’t seem to be in pain
Although the knife was deep
A third knife struck her arm and then
A fourth it struck her head
The knives that should be missing her
Were hitting her instead

Horrified the crowd looked on
Without a fuss or row
The woman now all full of blades
Politely took her bow
She then went back and took her seat
And never said a word
Not another word she said
And not a word she heard

A magician was the next to charm
And thrill us with his tricks
He pulled a rabbit from his hat
Then sat it on some bricks
He then threw watches at this beast
That grew to a great size
The rabbit caught them all and juggled
Them to our surprise

But here’s the rub when we all looked
At places on our wrists
No watches were there to be seen
A cunning little twist
The magician cracked a whip and put
The rabbit in a stew
Which vanished there before our eyes
Vanished out of view

The magician he announced that he
Alone did have this plan
To mystify and amaze us all
With his clever hand
Indeed he was the ringmaster
That owned this circus troupe
That terrified and petrified
Our frightened little group

x – The Fracas

A swarm of bees engulf us now
And cover us with honey
The ringmaster cracks his whip again
The bees all turn to money
Then suddenly the fight begins
As we grab this flying stash
Filling up our purses now
With the hard-grabbed cash

The ringmaster, a clever man
Calms us with his sigh
“There’s plenty here for everyone
…And more than meets the eye”
Suddenly a flock of doves fly
Sweetly through the air
They then attack the baying crowds
Pulling at their hair

Then with a deafening bang, a crack
A flash of burning light
We all cascade towards the floor
The circus out of sight
Confused we all stare around
Thinking it absurd
This bizarre spectacle should vanish
Gone without a word

I look from face to face to face
Whatever could this mean?
We all are laughing nervously
How stupid have we been?
We talk about the day’s events
We talk and talk some more
A voice booms from out the sky
“I’ve opened up the door”

“I’ve brought you all together now
To pander to your greed
To watch you take from fellow man
Deny him what he needs”
I reach in to my pocket
For the money I did place
It reads “Admission: 1 adult
To The Human Race”

xi – An incident at Upton Park

That week the local paper ran
An exclusive full-page ad
“Faland’s Travelling Circus Troupe”
“The most fun ever had”
But no review was there to read
To tell of our event
The strange encounter with this circus
To which we all went

The following Sunday we meet up
In groups of three or four
Since that incident in Upton Park
The spectacle we can’t ignore
No-one knows quite what it means
I don’t think that we’ll ever
Understand all that happened here
That brought us all together

Perhaps there is a deeper message
Given on that day
Faland may be telling us
That we have lost our way
He simply used us all as tools
To illustrate our folly
That had now become too serious
A risk to things so jolly

Every week now we all gather on
This hallowed piece of land
And this is very odd because
Nobody makes the plan
The idea comes to all of us
A self-ignited spark
And draws each of us in turn
To meet in Upton Park

We picnicked then we all played games
Then talked about the rain
We toasted our new friendships
And vowed to meet again
The bombs, the bombs they’ve all slowed down
Compassion saved the day
This newfound love we now all have
Must surely pave the way

xii - No ball games

The joy did not take long to spread
Across our grimy frowns
And bring a little sunshine
To lighten up this town
Happiness is upon us now
The whole of Slough-kind
Depending on how you look at it
And on your state of mind

The lush upon the library steps
The wino on the bench
The Publican and Landlord
The ***** serving *****
They all wear smiles and laugh a lot
And speak of wondrous things
A songbird perches on the fence
And merrily she sings

The children, o the children
How they sing and dance
Always being friendly
In any circumstance
They have no care for politics
You’ll see it in their face
They want to play with everyone
Who’s in the human race

Meanwhile back in Upton Park
The townsfolk meet again
But there’s no talk of horror
Or suffering and pain
Instead though how a monument
Should be erected in our names
And pulling down the signs
That read ‘No Ball Games’

The bombs have all stopped ticking now
And line up by the wall
And every now and then they clang
Just to remind us all
If we get too complacent
And don’t respect our friends
We’re marking down the seconds
To our bitter end

xiii – New found…

We shared our food and shared our tales
Life stories we all told
They made us laugh they made us cry
Left us warm and cold
The suffering we did speak of
Helped us understand
How fellowman and woman kind
Dwelt in other lands

We laughed at tales of folly
And stories of the past
Stories that we are in awe of
Stories that will last
For another thousand years or more
And travel on the wind
A gentle breeze that talks to us
Thrilling to the end

Gathering momentum
Our stories travel far
Picked up and told by new folk
Under glowing stars
They bring warmth and humanity
Softened by the rain
They travel back to each of us
To be re-told again

Who’d have thought this loving joy
This beacon in the dark
Would begin upon the grass
Of hallowed Upton Park
The greed has gone or mostly so
Now happiness is here
We’ve seen the light and now must spread
Our messages of cheer

Looking back it hardly seems
We could have been that way
Not caring if each other lived
To see another day
This new found near Utopia
Must spread across the land
And we must stand to offer all
Our warm and guiding hand

xiv – Nearly done

The story is now almost told
Of how a strange event
Saved us from our selfish selves
A message heaven sent
With cunning tricks and sleight of hand
The error of our ways
Was written up in greasepaint
Shining through the haze

A strange di
I wrote this in about 2004 - loads of literary influences in this poem. It speaks for itself really. Having read through it, I think I ought to revise / review and re-write some of it, but this is the original.... yay!!
yellah girl Sep 2017
the circus train comes to town once a year,
carrying Russian ballerinas & corporate America dropouts.
she brings an irresistible bouquet of
caramel apples & greasepaint, of
cotton candy & mechanical smoke.
the circus is a seductive beast, she'll grab your heart
between her teeth & she won't let go, like a
rabid dog.

when the show begins on opening night,
you'll be sure to grab a front row seat, right in the
Grand Stand, among the soccer moms & their sticky-faced toddlers.
you'll feel the childish delight bubble
in your chest when the music swells, when the elephants march
& the clowns tumble out in garish colors.

after the show, you'll stumble to the three rings with the
toddlers & their tired moms, right to the center ring, don't be
shy when the clown dressed in yellow & black,
like a bumblebee, comes towards you, a devilish grin on
his painted coal black lips.
your knees will tremble, you'll turn as red as his big nose, when he pulls your back to his solid chest, & he begins to juggle right in front of you.

"stick around, after closing" he murmurs in your ear, "that's when the real circus begins."

the circus is painted bright, a swirling mass of
red & blue, with sparks of yellow, ribbons of pink.
even when the show is over, the mystery is still
there, the sweet seduction lingers, like an old lover's fingers can trace circles on your skin in the dead of night.

when the bumblebee clown drags you around town that night,
as if he lives there & not you, you'll go along with him,
your heart racing fast, as fast as the girl dressed in
pink spandex flew from the cannon across the circus ceiling,
how could you have forgotten that?

he'll take you to McDonald's, ask you to pay for the meal, he's broke until Thursday at 2. of course. you split a small
fry and a chocolate shake, by then it's midnight,
he performs some simple magic tricks, balancing a
chair on the edge of his chin, snagging a shining quarter
from your brunette curls, watch out, girl, he's reeling you in,
he's as seductive as the circus.

he will walk you back to your college dorm &
he's sure to mention how it's been years since he has
been inside a dormitory, since clown college, yes it's real.
your roommate is gone & you're not ready to say goodbye
just yet, so you'll sign him in & guide him to your third floor
room.

he marvels at your textbooks & cuddles your teddy bear
brought from home, while you drink him in, solid, squat,
a true Texican, his skin is brown as caramel, & you wander
if he will taste just as sweet. he'll notice your blush, & pull
you close, pinch your hips, nuzzle your neck & kiss you hard,
maybe a bit too hard.

he lays you on your back, & you're naked, you're scared,
vulnerable, you watch him dip his head & kiss you, nibble you in that sweet, sweet forbidden spot. there's a black coal
in your chest, in the pit of your stomach, you're disgusted,
you're curious, you taste the circus firsthand, gagging.

the circus will remain in town for
an entire week, & for an entire week you have a
circus clown as a boyfriend.
you take him on adventures around your college campus,
to your favorite burger spot, to the big water balloon fight
& he'll show you the circus world, you'll hug
an elephant, you'll drink your first beer in Clown Alley,
& you'll watch the show a dozen times.

he'll write you a love letter on your skin, caramel drips on
China porcelain, he'll leave bruises in the shapes of hearts,
& you'll cry when he leaves, it's only been a week, but
it's been a lifetime. he'll hold you tight, too tight, and he'll whisper,

"it's only a year, i'll see you in a year."

when the circus train leaves, the asphalt lot will be
conspicuously empty, except for a trampled clown nose,
much like your aching heart. you'll feel numb & blue,
you'll cling to your phone, the clown promised you
he would call.
you fall asleep cradling your phone to your chest, startle awake when he finally calls you, it's 4 in the morning, you have an early class, but that can wait, his voice is on the other line.

you'll lose a lot more than sleep when you fall in love
with a circus clown, you have to conform to his schedule,
you see, he is the one calling the shots, not you, not we.
you'll start to slip up in your classes, all you do is stare at your phone screen, who cares about supply vs. demand, anyway?

you hitch a ride to see the clown half a year later, you could
hardly stand him being an hour away, & you'll fly into his arms
like a trapeze artist, after the show, he'll carry you like a bride
to his coffin
bed & you're naked again, scared, vulnerable, he's all the way
he's grunting and sweating, and you're cowering, numb.

you leave 15 minutes later, with shaky thighs, you're slightly
nauseated, you try to kiss him goodbye, but he pushes you away,
he's got eyes on the concession stand girl, the one with
raven black hair and a Marilyn Monroe piercing. your heart drops as you get into the car, your friend begs you to talk, but you can't,
you're confused, you're scared, you won't see the clown
for some time to come.

you try to focus on your schoolwork, but your As slip to Ds, you
try to go out with your friends, but they want to talk about
the cute guy in psychology, not about a circus clown miles away.
you forgot to do laundry, all you do is lay in bed, your dorm is
smelling moldy, your roommate starts to stay away. you're
falling, sinking into a blue sea, deep, dark, endless.

when you fall in love with a circus clown, you must know
you're just another Rube from another city, nothing special,
you see, he's got girlfriends in Florida and Las Vegas, that
concession stand girl, too, you're nothing special, girl,
not even close. you gave it all up, your love & your
bleeding heart, to a circus clown, you foolish girl, don't
you know, he'll just play you as hard as he plays in the
circus ring?
A fictitious retelling of the very non-fictitious years I spent in love with a real-life circus clown. It's been three years since my heart was broken, and I finally feel like I can tell my tale.
jesi Gaston Mar 2015
“I've realized,” I write, “the Groucho Marx of the mind is chaos personified. The Groucho Marx of *my mind *was chaos, I revise and already think I should revise again – “you never know where you'll end up,” I think, of me and of Groucho. Either way, Groucho Marx came to me in a thought when I was thinking about a poem I will not finish, that would have been about him. “We were just four jews looking for a laugh,” Groucho says at least twice – once when he was alive and once now as I invoke him – the heavy glasses, the synonymous greasepaint lip, the cigar – lit, with smoke that surrounds and engulfs me, threads tangibly through the air, through my eyes, and through the insides of my sinus densely, like mossy Eldritch Horrors and old movies somehow without stopping my vision. He has a mouth but it doesn't move, he is not alive – instead he is a ghost, instead he is dead but standing there, with me, in space lighted from within – space that's white like the smoke – thickly. Among all this, a ghost in a black suit. At least, I think the suit is black, or bluing black. It is tinged with 50 years of rotting celluloid, and paired with a white button up underneath – no tie.
         Growing up all five of them were poor, very poor – so poor they were Jewish-in-New-York-in-the-early-1900s poor. Forced outside of the world, into their world from birth, while their mother, Big Duck, put them up to instruments and got them begging early – vaudeville was their daddy after all (“after all” being a refrain in the poem I'll never finish, repeated like a mantra – after all! after all! after all! after all!– in that text, and used like a drug – afterall – and always driving deathward to an end that never came and can't, after all is written down) – with the jokes they told and sang and played, on their piano, harp, and banjo, all the time – and here is how she learnt how well Chico could play the piano, and how well Harpo could play the harp. And how poorly little Groucho played the banjo. The shame she felt, the shame she must have felt – but here my poem consumes them, because I am already sure that childhood is wrought with fear of birth order, sure as I am that middle children lack something, and maybe have something for that lack, but It's me, not Groucho, that takes over, saying Groucho was the obvious middle child, and of course lacked Big Duck's approval – Big Duck hated the banjo strumming and myriad puns he threw, I say – puns being a part of the poem, the poem which would have (but never) ended on Groucho ducking soup. I wanted it all as a joke and still do, but who will disappoint? Who could? There are options – Groucho, myself, the poem, etc. all working poorly. It is hard to imagine the lack that would culminate in a poet – maybe this gap is wider than a middle child – writing three brothers into a brawl, cartoonish in the streets. May be even harder to imagine the discontent and fear at work inside a child of five – birthing chaos. Maybe I misspoke – I can't know,  I'm not a child of five.
                  Groucho is dead, is still standing in front of me expectantly, not moving. Right in front of me when again I hear his voice – reanimate and filtered through a phonograph – weakly rising above it's own eroded texture – “I was misquoted, I was misquoted... Quote me as saying, 'I was misquoted.'” I wanted his life entropically spinning this place, spinning throughout this place, a ghost – to live forever is to die forever in every gaunt lie, misquote after misquote re-shaping our dead selves until grotesqueries we never intended are held comfortably under our name. Groucho, aimless, escapes because he pre-empts – he uses his whole self to decimate his cultural body, to save the self he's sacrificed. Groucho means to become a void, or Groucho becomes a void more correctly – Groucho means nothing, can only mean nothing, because he's focused his words – his self – around his lack – the words' lack. Because the words always lack, and Groucho is all words. I see him take out the greasepaint container, which is in a shoe-polish-looking canister, and then I lose Groucho again to facts – he was the outsider using words to one up them. I see his wit like a weapon. His being in Hollywood was a stress on Hollywood's peace of mind. I see him tearing balsa wood from up under the street and chucking it into styrofoam towers, which crumble. I see the SUVs that swerved to pass him run into walls, deflating the cars and the walls while the drivers run screaming with ketchup pulsing from the real wounds in their necks. This is where my poem was – more or less. My poem had Groucho gleeful – “Groucho skips, Groucho skips, Groucho skips,” it said, “down the streets throwing rocks at cars...” – the melodies of my naive poem's schoolboy nihilisms never broke enough – “In Groucho's perfect world every day would be spent disrupting traffic, smashing bugs and ******* everywhere,” it said because it was too young to understand, because it had no void, and could offer no revolt from meaning – revolution being radical agency expressed through violence against every order, hatred for every structure including itself – in Groucho's perfect world really there is no language and no one knows what happens after all.
            Lingering is the thought that Groucho means something – lingering is the vaguest, most insistent and warlike imprint of a metaphor on Groucho's face, ineffably moving me to continue but Groucho is no friend, and Groucho is not with me, because the Groucho of the mind is not Groucho, Groucho hates the mind, and Groucho negates all possible Groucho's so the imprint is not Groucho's. The ghost is a misquote, the poem is a misquote, the letters are a misquote, I am a misquote – and this is a misquote too. His cigar (growing bigger) is puffing out that white cloud smoke but still I can see him – the smoke just goes into the space around us, the space that redacts and recreates itself every time I consider it – a copy of an 18th copy, with only Groucho remaining in all iterations, like the borders of a decomposed jpeg quietly losing logic. Groucho the lie, Groucho the memory – a man shaped around the falsity of metaphor and language – floats, as subject, through my memory – punctum with no point, void. Here he is – naked, a stark black silhouette I'd never claim. He's staring, but he's not staring at me because I'm not there. What's left is overstated nothing – the ghost of a man who negated logic, left in the mind of a poet who has long since given up on the man, and soon will give up on the poem.”
There is nothing left here. I am alone, I am dizzy – overcome with boredom.  I want to say, “Groucho is not here, was not, cannot be here” – I know instead I need to end on a mute point.
formatting is wonk for this one anywhere except libreoffice. It's always prose but there it's prose with cool spacing (which is to say it fills exactly a page in 12 point times new roman font single-spaced)
I wonder if they ever heard
The noise that people made
Watching them up on the screen
Until the final credits fade

Did anybody tell them
Thanks for what you did
For just a while you took me back
And made me feel just like a kid

Once the greasepaint was washed off
And the curtains had come down
Did they know the magic that they made
Still filtered through the town

Acting like we wanted to
Up there upon the  screen
They filled the world with laughter
You know just what I mean

Most of them are gone now
Very few that we would know
Acetates and ashes
Are all they have to show

If we took the time to tell them
Thank you for the laughter
Would they ever hear us...
Those who have come after

The mantle never passed
The best are long now dead
The ones who worked in silence
With words seen but not said

The names are not all famous
Some are never known
But, we owe them for the laughter
In the movies that were shown

We'd remember lines that they said
And we'd think of them and smile
They took us out of where we were
If just for a short while

Think of your favorite actor
Who you watched and always laughed
Whether slapstick or through word play
They all chose to share their craft

I will not list my favorites here
The list may never end
But, to them I'd just say thank you
A message I must send

I wonder if the next time
Or even the next time after
If they would ever hear us
tell them Thank you for the laughter
Waiting for the theatre.
Not the greasepaint and glitter kind,
The scary scalpel suction kind.
My costume an open backed frump sack,
Out of it,
Tripping on tranqs.
Thirsty, nervous, needy for love,
Searching in strange places
Reaching out to unknown faces,
Will anyone care if I never come back?
Counting the minutes
In blood pressure increments,
I dig the sedation
Please
Give me some for the rest of this year?
I miss Buffalo Bill and Jersey Lil'
Jesse James among other names
Like Hopalong and Big John Wayne
Cooper,Cagney and,
What's that Indians name?
Oh yes
Cochise.
The man of war, the man of peace.

Jimmy Dean and Johnny Ray
Otis,Sammy and Doris day all yesterday
And yet
I bet there's no one quite like them
Not like Borgnine,Heston or Glen Ford.
Rememeber West and Ward
The caped crusaders
Or Roy Thinnes and the Martian Invaders?

I miss them all
The magic of the casting call and Lucille Ball.
Where did they go?
Moved on no doubt to another show and more greasepaint
Ain't life dull Without it full
Of these great stars.
Mary McCray Apr 2017
(NaPoWriMo Challenge: April 26, 2017)

In a square tomb attached to a 21st century dwelling, archaeologists have uncovered a massive trove of artifacts related to what they believe is an ancient deity called Chēr:

1. Something called a “Cher Makeup Head” which researchers believe is actually an altar piece for greasepaint and grooming ceremonies.

2. Over 75 circular shaped and mostly, but not all, black colored vinyl plates which were most likely used for holy feasts.

3. Eight 12-inch hard-plastic statuettes of the deity complete with various diminutive and sequined polyester costumes allegedly used at one time for ceremonial recreations of sacred and historical events.

4. One male statuette of a man with a mustache. Scientists are not sure the role of this statuette but believe he might have represented either the deity's male concubine, nemesis or svengali.

5. Various plastic cases with shiny discs inside. According to materials included in tiny booklets inside the plastic cases, these discs were used in some storytelling apparatus that projects sound and images onto a kind of archaic screen. These stories are believed to be mythologies related to this particular deity.

6. A miniature temple made of orange and blue plastic. The temple has various pieces that are very difficult to assemble but once constructed form a structure with revolving stages and rooms. Archaeologists believe this temple was used in conjunction with the small hard plastic statuettes in ceremonial recreations.

7. One shelf of bound manuscripts labeled “biography.” Researchers believe these books were bibles, possibly from contrasting religious sects, containing all mythologies and theories related to the deity creation story.

8. Various ceremonial pieces of clothing, mostly highly causal wear, usually white in color with some image of the deity on the front and a list of dates on the back. We believe these dates represent either major weather events or memorable war battles that took place during the deity’s lifetime.

9. Large scale representations of the deity, rolled up and stored in cardboard tubings.

10. Small boxes of perfumes, lotions and shampoos believed to be healing ointments, salves and meditative balms created by the deity or her representatives.

Thousands of other relics from other deities have been found in similar houses around the world since excavations of the 21st century have begun. There seems to have been no consensus in the 21st century around one or two deities. There are literally hundreds of them in storage facilities and tombs, and in some cases, domestic interpretive museums.
Napowrimo 2017: Write a poem about what a future archaeologist would make of our culture (or rather, my garage).
It was an opera in that everybody had grown fat
every movement was stylized and expositional
the faintest grin
the miniscule teardrop
even an emotion that barely registered came out over-inflated;
encircled in greasepaint, underscored by full orchestration, embellished by stiff and grandiose choreography.

It was an opera in that we yawned,
shifting in our seats, checking our watches, yearning for the curtain call.

It was an opera, but it was mostly life
in that it had no final act, ending or closure.
revised in 1999 Andrew Marshall Alper
What do you expect from me?
Am I your entertaining clown?
Am I always supposed to clicked on
When your friends come around?
Am I here for your enjoyment?
Am I here to make you laugh?
Do you want me for my company?
Or am I just on your staff?
The light goes on, and I'm on stage
Regardless where we are
I'm the center of attention
I'm a bug trapped in your jar
When I'm quiet you ignore me
When I'm on, you're by my side
I am just another plaything
Being taken for a ride?
I'm funny when I need to be
But, that's by your request
I'm a puppet on your little stage
When I'm on, I'm at my best
I hide behind my greasepaint
Wearing masks through out the day
But, when the footlights shine
And I'm in front, that's when I come to play
Am I funny just to please you?
Or am I really pleasing me?
The doorbell rang, your friends are here
Another show for free.
Don't worry, this is not an autobiographical poem.
I killed a man in my sleep last night.

strange albino maskface
cueball head coated in alabaster
greasepaint of a clown
skin white as the sharpened teeth
tearing through a bloodred slit of mouth
that wound the only color in his face

he was keeping me there
in the darkred room with no windows
holding me there in fear
terrorizing me
torturing me
delighting in it
consuming my fear like a drug
lusting after my pain
pleasuring himself with it

It had been a very bad day for me.

but then he brought Her in
so She could see what he had done
witness the mess he was making of me
brought Her in so I could see
the pain and the fear twisting Her beauty

but then he lost himself
in his lust and hunger for our degradation
he leaned down
face to "face"
pressed his sickening skin to mine
to whisper in my ear
all the things he was about to do to Her

He shouldn't have.

my hands were on his head
fists closed around ears
and pulled
thumbs went into eyes
and sank
and his bloodred mouth opened in glorious tortured screaming
my teeth clamped down
tearing into his bottom lip
with everything i had
i pushed and pulled and tore and ruined
eyeballs popped wet and cold like rotten grapes
ears gave in came off ripping strips of cheek revealing bone
lip tore down down down over chin and neck and red flowed free
free as i felt
free as i now was
as we now were


and i looked to Her
worried for us both
for so many things
and I saw Her
standing shocked
and there was no more fear in Her eyes
and there was no more love in Her smile
there was only the dumbfounded awe
of the newly awakened

all i felt
was justified
This is pretty dark, even by my standards.  Been having a lot of nightmares lately.  They're starting to **** me off.
Nahla Nainar Jan 2017
Here lies a painted doll
Broken by a lifetime of twirling
In front of cameras.

Playing the dream woman
Who existed only in the mind of a man
She first danced to the music,
Then made music dance to her.

To and fro went the tango
Until greasepaint turned into warpaint
To fight the creeping vines of age.

The news ticker doesn’t care for
How she lived … her death, if sensational, is fine

But ever the professional,
She strikes the best pose to
Suit the lighting,
Even in death.
Brian Yule Mar 2019
Shadowboxing with a dead man as a massacre stills  

Fingerdancing to smoke & mirror the masses

Whistling frantic in the gathering dark to steady the ranks

Faith trumps facts

A strong man acts

Greasepaint thick

Growing cracks

A flailing will can kick up sparks

Keep squeezing shills

Catch easy marks

Throw enough show & something will stick

That's shitbusiness!
Dave Robertson May 2021
A restrained ahem
echoes into the night
without even the edge of an eyebrow raised

the tentative gesture
fails to interrupt business
as usual
no mass exposed
to the fat con and filial misdirection

while on the stage
the hamfisted prestidigitator
sweats so profusely
that the greasepaint nearly shifts
Sometimes it's there where it should be and sometimes it's totally *******.
immortal?
well I went through some portal and ended up here, but I don't know exactly where here is or should be,

there are shadows that mill all around me
mystifying and
satisfying in a curious kind of way.

But it's greasepaint. ain't it?
we're
in the limelight for the
opening night.

The opposite end to the opposite end
is the end we always begin at,
that
I try to hold onto
as forces repel me
so they attract me
and then I am back here,
where's here at?

like a riddle in a riddle
something to fiddle with
to give life
and then we're there
where?

this is deja'
I've been there before
why am I here again and
what for?

if I should answer what could be your question,
is this how it would be?
or sometimes
when
where's where it should be,
what would be the point?

I'm going to sleep on it
and
revolve around the sun a bit
to see
if I get warmer.
Sit yourself down and listen awhile
You really got no place to go
But the look in your eyes says
‘Hold out your hand’
So let’s buy a ticket
It’ll be some kinda show

I danced with the jugglers
I ran on the wire
You watched, and you saw me fall
In the blink of an eye, you jumped to your feet
Then the lights went out
And they saw nothing at all

I dazzled the crowd
I took the applause
Then I wiped off the greasepaint
And reapplied yours
I watched from the sidelines as you took your bow
I gave you my world
But hey, won’t you look at me now?

I’ve danced for the last time
It’s all over now
But don’t you dare shead a tear
My time in the spotlight was short but ‘My God’
I burned like a fire
And survived it somehow

I dazzled the crowd
I took the applause
Then I wiped off the greasepaint
And reapplied yours
I watched from the sidelines as you took your bow
I gave you my world
But hey, won’t you look at me now

So here we are at the end of the show
The light come down one last time
The costumes and make up
Are safe in the trunk
I’ll hitch up the horses
And you can be on your way

I dazzled the crowd
I took the applause
Then I wiped off the greasepaint
And reapplied yours
I watched from the sidelines as you took your bow
I gave you my world
But hey, won’t you look at me now
Meanwhile
they're queueing down on Broadway
to see the latest show
supposed to be quite brilliant
but I don't think that I'll go
because there's a little place off Broadway
which is really rather quaint and frequented
by the greasepaint crew
when they've nothing else to do,

and it's darling this and lovey that
from Quentin in the Fedora hat
and from the bow-fronted window
I can see
not much because now I'm drunk.
Seven Nielsen Oct 2021
Halloween costumes in the 70s were oversized homemade style-ups
of witches, princesses, cowboys, and greasepaint hobos
spoiled by coats and jackets worn over everything against the cold
Herb Apr 2019
See that clown
In the big baggy suit
He's holding up folks
And taking their loot

He doesn't need jewels
Credit cards or money
He just wants them to know
That life isn't funny

Should they resist him
(A recourse unwise)
He makes them look deep
Into his eyes

They see the pain
A clown must endure
Of greasepaint and work
From a lifetime on tour

And then they think
"At least I'm not he
With a permanent smile
For all to see"

To smile through the pain
Of broken-hearted grief
To smile even though
You'll find no relief
_ _ _ _ _ _ _ _ _ _ _ _ _ _

So accede to his demand
It will only hurt a while
Take solace in the fact
You can choose to cry, or smile
sheila sharpe Dec 2020
once it was the bouquets
the dark red velvet roses
the white ghosted Arums
then the chocolates in elaborate
be-ribboned boxes
the creme centres, sugared almonds
the ginger tasting on eager tongue
aah. but those never lasted long
then came the jewellery
necklaces, bracelets, rings,
and those other not so mentionable things
and him, his lips upon hers
his fingers fastening, unfastening
buttons, then stroking, skin to skin
but she was aging
voice and looks no longer appealing
rouge, mascara, henna, greasepaint
non of her imperfections now concealing
neck, shoulders, back, aching
those once nimble fingers
fast becoming thumbs
and all was vanishing
that illusion of perfection
that enviable slice of all that was good
fast becoming
simply
crumbs
the death of a romance
Kurt Philip Behm Sep 2023
Stalking a dream
trailing a memory
A scent came in focus
  wafting desire

Seized by the moment
alluding a time warp
Tracking its shadow
ambush on fire

Covered in greasepaint
fear is approaching
Hearing its footsteps
the jungle embarked

Crosshair detention
target redemption
Locked and reloaded
—one shot in the dark

(Dreamsleep: September, 2023)
Yenson Oct 2020
The republicans in Republicans operas
arduously miming inaudible scriptures of red rage
furloughed in endemic pandemic
they are rooted on stage in hamfisted drama
improvising illusions of scatterlings and simpletons
begging revisions and reviews of a bored audience
who sees the pathos of idle damaged playing Zeus of Hades
in slapstick genre of hams and pigs in spotlights
the tragedy of no-marks in insignificant control
ignoring and dodging the snook from side stage
desperate for credence in elemental insignificance
for in the asylum of simple minds
there are more out in public than inside
Reviewer who bothers to watch the inane plays
save your comments and dissections
our hapless actors can neither read or reason
the spirit of Madame La Guillotine has possessed the hams
Insanity rules, viva la revolution of worms and maggots
paste on the greasepaint of self-deceits and ignorance
march in unison with your leader the Marquis de Sade
in your coven theatre a perfumed aristocrat laughs in disdain
even facing oblivion you are all nothing but wounded fodders
Do you serve cakes in your imagined theatre of defunct horrors
or is that how bloodlust and stupidity and ham actors smells
Viva la revolution and remember to return all you stole from
the Colonies....




Copyright@yenson2020
While figuratively trout fishing
for ideas to write about
analogous (hook, line and sinker)
idea wormed itself into mind with clout
moment of awareness arose
without shadow of doubt.

As a long haired pencil necked teenage geek
zany Harpo, Groucho, Chico ranked as idols
mine most favorite slap stick until I reached
cusp of early adulthood, yet of lately uptick
regarding said comedic acts unexpectedly a
rose, spurring me to revisit adolescent mem
rubble entertainers overarching unstoppable
nostalgic ache for their nonpareil antics did
pang ping pong within mine corporeal esse

Scents trademarked and christened Matthew
Scott Harris, somewhat alleviated watching
courtesy Internet random You Bet Your Life
momentarily experiencing giddiness bursting
with laughter - shy kid relishing hearing quip
lightning fast barbs oft imitated sporting his
greasepaint moustache nsync with cigar size
of small walking stick renown world over an
American iconic figure (+entire motley crew)

lively bunch post World War II boys groomed
since birth begat Minnie Marx (born Miene
Schönberg, 9 November 1864 or 1865 – 13
September 1929) mother and manager of the
Marx Brothers, a family of vaudevillians,
Broadway and film actors, she dominated
band of five boisterous and hilarious brothers
who dominated silver screen more'n nearly 3
4ths century ago sired by patriarch Sam Marx.

No particular rhyme nor reason explains why
aforementioned nitty gritty personal trivia thy
actually more accurately & specifically yours
truly metaphorically unexpectedly did qualify

as teetotaling poetaster to craft poem well nigh
acknowledge inexplicable passion regarding my
heartfelt affection constituting zany wily troupe
linkedin with baker's dozen films iterated wild
3 ringed circus antics did all these years schtick
well lodged within me noggin + gamut of stars

whose career launched during quaint silent film
era albeit (Betzwood, one time, between 1912
and 1924), one of the largest film studios in the
world located in downtown Philadelphia and
their studio lot in Valley Forge, Pennsylvania,
right next to the park, I kid ye not, and... take
look see for yourself by visiting following link.

https://americasbesthistory.com/
spotlight2017-11.html

— The End —