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Cass was the youngest and most beautiful of 5 sisters. Cass was the most beautiful girl
in town. 1/2 Indian with a supple and strange body, a snake-like and fiery body with eyes
to go with it. Cass was fluid moving fire. She was like a spirit stuck into a form that
would not hold her. Her hair was black and long and silken and whirled about as did her
body. Her spirit was either very high or very low. There was no in between for Cass. Some
said she was crazy. The dull ones said that. The dull ones would never understand Cass. To
the men she was simply a *** machine and they didn't care whether she was crazy or not.
And Cass danced and flirted, kissed the men, but except for an instance or two, when it
came time to make it with Cass, Cass had somehow slipped away, eluded the men.
Her sisters accused her of misusing her beauty, of not using her mind enough, but Cass
had mind and spirit; she painted, she danced, she sang, she made things of clay, and when
people were hurt either in the spirit or the flesh, Cass felt a deep grieving for them.
Her mind was simply different; her mind was simply not practical. Her sisters were jealous
of her because she attracted their men, and they were angry because they felt she didn't
make the best use of them. She had a habit of being kind to the uglier ones; the so-called
handsome men revolted her- "No guts," she said, "no zap. They are riding on
their perfect little earlobes and well- shaped nostrils...all surface and no
insides..." She had a temper that came close to insanity, she had a temper that some
call insanity. Her father had died of alcohol and her mother had run off leaving the
girls alone. The girls went to a relative who placed them in a convent. The convent had
been an unhappy place, more for Cass than the sisters. The girls were jealous of Cass and
Cass fought most of them. She had razor marks all along her left arm from defending
herself in two fights. There was also a permanent scar along the left cheek but the scar
rather than lessening her beauty only seemed to highlight it. I met her at the West End
Bar several nights after her release from the convent. Being youngest, she was the last of
the sisters to be released. She simply came in and sat next to me. I was probably the
ugliest man in town and this might have had something to do with it.
"Drink?" I asked.
"Sure, why not?"
I don't suppose there was anything unusual in our conversation that night, it was
simply in the feeling Cass gave. She had chosen me and it was as simple as that. No
pressure. She liked her drinks and had a great number of them. She didn't seem quite of
age but they served he anyhow. Perhaps she had forged i.d., I don't know. Anyhow, each
time she came back from the restroom and sat down next to me, I did feel some pride. She
was not only the most beautiful woman in town but also one of the most beautiful I had
ever seen. I placed my arm about her waist and kissed her once.
"Do you think I'm pretty?" she asked.
"Yes, of course, but there's something else... there's more than your
looks..."
"People are always accusing me of being pretty. Do you really think I'm
pretty?"
"Pretty isn't the word, it hardly does you fair."
Cass reached into her handbag. I thought she was reaching for her handkerchief. She
came out with a long hatpin. Before I could stop her she had run this long hatpin through
her nose, sideways, just above the nostrils. I felt disgust and horror. She looked at me
and laughed, "Now do you think me pretty? What do you think now, man?" I pulled
the hatpin out and held my handkerchief over the bleeding. Several people, including the
bartender, had seen the act. The bartender came down:
"Look," he said to Cass, "you act up again and you're out. We don't need
your dramatics here."
"Oh, *******, man!" she said.
"Better keep her straight," the bartender said to me.
"She'll be all right," I said.
"It's my nose, I can do what I want with my nose."
"No," I said, "it hurts me."
"You mean it hurts you when I stick a pin in my nose?"
"Yes, it does, I mean it."
"All right, I won't do it again. Cheer up."
She kissed me, rather grinning through the kiss and holding the handkerchief to her
nose. We left for my place at closing time. I had some beer and we sat there talking. It
was then that I got the perception of her as a person full of kindness and caring. She
gave herself away without knowing it. At the same time she would leap back into areas of
wildness and incoherence. Schitzi. A beautiful and spiritual schitzi. Perhaps some man,
something, would ruin her forever. I hoped that it wouldn't be me. We went to bed and
after I turned out the lights Cass asked me,
"When do you want it? Now or in the morning?"
"In the morning," I said and turned my back.
In the morning I got up and made a couple of coffees, brought her one in bed. She
laughed.
"You're the first man who has turned it down at night."
"It's o.k.," I said, "we needn't do it at all."
"No, wait, I want to now. Let me freshen up a bit."
Cass went into the bathroom. She came out shortly, looking quite wonderful, her long
black hair glistening, her eyes and lips glistening, her glistening... She displayed her
body calmly, as a good thing. She got under the sheet.
"Come on, lover man."
I got in. She kissed with abandon but without haste. I let my hands run over her body,
through her hair. I mounted. It was hot, and tight. I began to stroke slowly, wanting to
make it last. Her eyes looked directly into mine.
"What's your name?" I asked.
"What the hell difference does it make?" she asked.
I laughed and went on ahead. Afterwards she dressed and I drove her back to the bar but
she was difficult to forget. I wasn't working and I slept until 2 p.m. then got up and
read the paper. I was in the bathtub when she came in with a large leaf- an elephant ear.
"I knew you'd be in the bathtub," she said, "so I brought you something
to cover that thing with, nature boy."
She threw the elephant leaf down on me in the bathtub.
"How did you know I'd be in the tub?"
"I knew."
Almost every day Cass arrived when I was in the tub. The times were different but she
seldom missed, and there was the elephant leaf. And then we'd make love. One or two nights
she phoned and I had to bail her out of jail for drunkenness and fighting.
"These sons of *******," she said, "just because they buy you a few
drinks they think they can get into your pants."
"Once you accept a drink you create your own trouble."
"I thought they were interested in me, not just my body."
"I'm interested in you and your body. I doubt, though, that most men can see
beyond your body."
I left town for 6 months, bummed around, came back. I had never forgotten Cass, but
we'd had some type of argument and I felt like moving anyhow, and when I got back i
figured she'd be gone, but I had been sitting in the West End Bar about 30 minutes when
she walked in and sat down next to me.
"Well, *******, I see you've come back."
I ordered her a drink. Then I looked at her. She had on a high- necked dress. I had
never seen her in one of those. And under each eye, driven in, were 2 pins with glass
heads. All you could see were the heads of the pins, but the pins were driven down into
her face.
"******* you, still trying to destroy your beauty, eh?"
"No, it's the fad, you fool."
"You're crazy."
"I've missed you," she said.
"Is there anybody else?"
"No there isn't anybody else. Just you. But I'm hustling. It costs ten bucks. But
you get it free."
"Pull those pins out."
"No, it's the fad."
"It's making me very unhappy."
"Are you sure?"
"Hell yes, I'm sure."
Cass slowly pulled the pins out and put them back in her purse.
"Why do you haggle your beauty?" I asked. "Why don't you just live with
it?"
"Because people think it's all I have. Beauty is nothing, beauty won't stay. You
don't know how lucky you are to be ugly, because if people like you you know it's for
something else."
"O.k.," I said, "I'm lucky."
"I don't mean you're ugly. People just think you're ugly. You have a fascinating
face."
"Thanks."
We had another drink.
"What are you doing?" she asked.
"Nothing. I can't get on to anything. No interest."
"Me neither. If you were a woman you could hustle."
"I don't think I could ever make contact with that many strangers, it's
wearing."
"You're right, it's wearing, everything is wearing."
We left together. People still stared at Cass on the streets. She was a beautiful
woman, perhaps more beautiful than ever. We made it to my place and I opened a bottle of
wine and we talked. With Cass and I, it always came easy. She talked a while and I would
listen and then i would talk. Our conversation simply went along without strain. We seemed
to discover secrets together. When we discovered a good one Cass would laugh that laugh-
only the way she could. It was like joy out of fire. Through the talking we kissed and
moved closer together. We became quite heated and decided to go to bed. It was then that
Cass took off her high -necked dress and I saw it- the ugly jagged scar across her throat.
It was large and thick.
"******* you, woman," I said from the bed, "******* you, what have you
done?
"I tried it with a broken bottle one night. Don't you like me any more? Am I still
beautiful?"
I pulled her down on the bed and kissed her. She pushed away and laughed, "Some
men pay me ten and I undress and they don't want to do it. I keep the ten. It's very
funny."
"Yes," I said, "I can't stop laughing... Cass, *****, I love you...stop
destroying yourself; you're the most alive woman I've ever met."
We kissed again. Cass was crying without sound. I could feel the tears. The long black
hair lay beside me like a flag of death. We enjoined and made slow and somber and
wonderful love. In the morning Cass was up making breakfast. She seemed quite calm and
happy. She was singing. I stayed in bed and enjoyed her happiness. Finally she came over
and shook me,
"Up, *******! Throw some cold water on your face and pecker and come enjoy the
feast!"
I drove her to the beach that day. It was a weekday and not yet summer so things were
splendidly deserted. Beach bums in rags slept on the lawns above the sand. Others sat on
stone benches sharing a lone bottle. The gulls whirled about, mindless yet distracted. Old
ladies in their 70's and 80's sat on the benches and discussed selling real estate left
behind by husbands long ago killed by the pace and stupidity of survival. For it all,
there was peace in the air and we walked about and stretched on the lawns and didn't say
much. It simply felt good being together. I bought a couple of sandwiches, some chips and
drinks and we sat on the sand eating. Then I held Cass and we slept together about an
hour. It was somehow better than *******. There was flowing together without tension.
When we awakened we drove back to my place and I cooked a dinner. After dinner I suggested
to Cass that we shack together. She waited a long time, looking at me, then she slowly
said, "No." I drove her back to the bar, bought her a drink and walked out. I
found a job as a parker in a factory the next day and the rest of the week went to
working. I was too tired to get about much but that Friday night I did get to the West End
Bar. I sat and waited for Cass. Hours went by . After I was fairly drunk the bartender
said to me, "I'm sorry about your girlfriend."
"What is it?" I asked.
"I'm sorry, didn't you know?"
"No."
"Suicide. She was buried yesterday."
"Buried?" I asked. It seemed as though she would walk through the doorway at
any moment. How could she be gone?
"Her sisters buried her."
"A suicide? Mind telling me how?"
"She cut her throat."
"I see. Give me another drink."
I drank until closing time. Cass was the most beautiful of 5 sisters, the most
beautiful in town. I managed to drive to my place and I kept thinking, I should have
insisted she stay with me instead of accepting that "no." Everything about her
had indicated that she had cared. I simply had been too offhand about it, lazy, too
unconcerned. I deserved my death and hers. I was a dog. No, why blame the dogs? I got up
and found a bottle of wine and drank from it heavily. Cass the most beautiful girl in town
was dead at 20. Outside somebody honked their automobile horn. They were very loud and
persistent. I sat the bottle down and screamed out: "******* YOU, YOU *******
,SHUT UP!" The night kept coming and there was nothing I could do.
Samm Marie Moore Oct 2017
You are cherished deeply and infinitely. I know we are in the process of grieving. All of us are grieving differently and many of us are grieving different things. Some of us our grieving the loss of Kyle. Some of us are grieving our being mortal. Some of are grieving memories that are swelling to the surface. Regardless, almost everyone is grieving. But that's okay.
I write this letter to remind you that you are not alone. I know this first month of the school year has been rough. And honestly, we haven't taken much time to acknowledge just how rough it has been. But know this: there is still hope in the world. There are infinite possibilities for everyone. You are the only one who can decide how you will live your one crazy beautiful life. In the end it will be okay. Maybe right now it's not okay, and that in itself is okay. But know that if it's not okay, it's not the end.
So for now be still. Breathe. Let it sink in. Let it be. And when you're ready, move. Because life goes on. If you need someone to talk to I am here. Just message me. We can go out for coffee or fro-yo sometime. Whatever. I'll listen. It'll be okay friends. For now, let's be still together. You are a wonderful being and I hope you realize you are completely loved.
Love,
Samantha Moore
PHS Senior
the rose
is dying the
lips of an old man ******

the petals
hush

mysteriously invisible mourners move
with prose faces and sobbing,garments
The symbol of the rose

motionless
with grieving feet and
wings
mounts

against the margins of steep song
a stallion swetneess    ,the

lips of an old man ******
the petals.
Nat Lipstadt Jun 2013
Why Men Cry in the Bathroom

For so many reasons.
I will tell you the why.
I think you know,
Or perhaps, you think you know.

Men are always O.K.,
Even when not.

We expect the worse,
Accept the worse,
Nonetheless,
We are forever unprepared.

Wearily, we cry,
In the bathroom, in private,
Lest sighs slip by,
We be unmasked,
Early warring, strife signs warning.

Copious, tho we weep
Before the mirror confessor,
It is relief untethered,
Unbinding of the feet,
An uncounting
Of beaded rosaries,
Of freshly fallen hail stones,
Of night times terrors
By dawn's early edition's light,
and welcomed.

But look for the mute tear,
The eye-cornered drop,
*** tat, that never drops,
But never ceases formation and
Reforming, over and over again,
In a state of perpetuity of reconstitution,

The tippy tear of an iceberg revealing,
And I see you peeping, wondering,
What is beneath


Look for:
the torn worm-eaten edges of spirit,
thrift shop bought, extra worn,
grieving lines neath the eyes,
where the salt has evaporated,
discolored the skin.
worry lines,
under and above,
browed mapped, furrowed boundaries.
the laugh line saga,
where better days are stored,
recalled, as well as recanted,
publicly, privately.

Why just men?

I don't know,
Perhaps,
it is all I know.


Jan 6, 2013
your effusive and lengthy comments are each a poem in their own right.  

Tinkered with June 22, 2013
With a push from Bala,
A serial peeper, thank God!
the history of melancholia
includes all of us.
me, I writhe in ***** sheets
while staring at blue walls
and nothing.
I have gotten so used to melancholia
that
I greet it like an old
friend.
I will now do 15 minutes of grieving
for the lost redhead,
I tell the gods.
I do it and feel quite bad
quite sad,
then I rise
CLEANSED
even though nothing
is solved.
that's what I get for kicking
religion in the ***.
I should have kicked the redhead
in the ***
where her brains and her bread and
butter are
at ...
but, no, I've felt sad
about everything:
the lost redhead was just another
smash in a lifelong
loss ...
I listen to drums on the radio now
and grin.
there is something wrong with me
besides
melancholia.
alexis Mar 2015
Representative of the Ocean;
The under side of galaxies -
depths that man will never come to know,
But will foolishly never cease to search to for.
The tips of waves
Caressing the shore line to meet man once again,
Though it draws its feeble hand back often.
The color blue is
The moment after grieving,
The emptying of great seas.
Temporary peace.
idk what this is
kyle ekay Jan 2019
it has been over two years and i am proud of my growth. my main focus this year is to finish my grieving so that i may continue my life in an efficient manner.
the process of grieving is commonly known as, but not limited to:

denial
anger
bargaining
depression
acceptance

my denial proces:
many times the easiest way to get over trauma is to repress it. i was 15 when i was ra ped. legal age of consent is 16. he was 18. i was naive, and could not imagine the man i loved doing that to me. i believed that it was an accident and neither of us knew what was right or wrong. I had assumed that because i had previously given him my body, he was able to ignore my pleads to stop this time. i blamed myself more than i blamed him, and he blamed me. i had been so infatuated with him that i had pushed away the people who cared most about me. when i told them about being ***** our bond was already so far gone that they could not feel anything more than pitty. i was terrified of losing him, so i convinced us both it was an accident. ra pe is no accident.

through denial became anger:
i became genuinely angry for the first time in my life. i was angry at him for being somebody that i had trusted and loved. angry that i had let this happen to myself. angry that i had no strength nor respect to stand up for myself. if i had told him to stop one more time he would have. i understand now that i should not have had to say no more than once. i was angry because i let myself down, but I’m more angry that i could not blame him. being angry was the easiest part of grieving. it is okay to he angry.

bargaining is a toxic healing method:
i became really good at bargaining with myself. after he was gone i had begun to understand my emotions, but i could not control them. my fear of more being taken from me fed my overcompensation. i began to give my body away, so that it could not be taken. it was an unhealthy coping mechanism. my body is not meant to be given nor taken.

depression hit hard:
i began to reflect on all of the points in my life that had lead me to this one. i became close to restarting the grieving process. i spent a long portion of the depression stage in denial. then i was angry that i had backtracked to the beginning. i had more meaningless se x that i now regret more than anything. i saw how good his life had been going and how poorly mine was. it was obvious that i needed help.

acceptance:
this entire passage was my process to acceptance. i reached out to my therapist. i made new friends. i stopped wallowing in self pity and i began to recover. i stopped begging to forget my flaws and began to forgive them.
ryn Oct 2014
tell me...

will tomorrow bring,
     all the things
i'm longing...
    stowed upon its elusive wings,
tirelessly beating
    and fighting
to show what's dangling
and hanging...
          ready for the picking...

                          awaiting...
such time so it could begin its need for unloading,
                   delivering
                                      and dropping,
its gleaming
                      treasures
on those who are deserving,
        in no way lacking
so they could be at the receiving
end of this pressurising,
           inking
                      of dwindling
                                        words...

carel­ess thoughts conceived only to
              fuel
           my deranged ramblings...
incessant mutterings of a shattering
                         mind...

           bending backwards, almost breaking,
         risking...
the chance of ever fully
                                          mending...

hopin­g and praying
   for a sentence that's pending
dawn's approval...

allowing
   the rising
of the sun...
                  paving
            ways for thriving
                                          wishes,
unbarr­ing
                  gates for soaring
                                                dreams, unlocking
                   latches,

relieving...
the heightening
                     anxieties of grieving
                                                        ­ hearts.

constantly whispering
                               utterances, promising
good will, happiness
                              and titillating
                                                     ­ sanity.

we're thinking...
     the earth is spinning,
         the moon is setting,
     so the sun must be rising
                         but...

             tell me,
                           tomorrow...

                                *is it coming?
RAJ NANDY Nov 2015
GREAT ARTISTS & THEIR IMMORTAL WORKS :
CONCLUDING ITALIAN RENAISSANCE IN
VERSE.  -  By Raj Nandy, New Delhi.

Dear Readers, continuing my Story of Western Art in Verse chronologically, I had covered an Introduction to the Italian Renaissance previously. That background story was necessary to appreciate Renaissance Art fully. Now, I cover the Art of that period in a summarized form, mentioning mainly the salient features to curb the length. The cream here lies in the 'Art of the High Renaissance Period'! Hope you like it. Thanks, - Raj.

                          INTRODUCTION
“Painting is poetry that is seen rather than felt, &
  Poetry is painting that is felt rather than seen.”
                                                        – Leonardo Da Vinci
In the domain of Renaissance Art, we notice the
enduring influence of the Classical touch!
Ancient Greek statues and Roman architectures,
Inspired the Renaissance artists in their innovative
ventures!
The pervasive spirit of Humanism influenced
creation of life-like human forms;
Adding ****** expressions and depth, deviating
from the earlier stiff Medieval norms.
While religious subjects continued to get depicted
in three-dimensional Renaissance Art;
Portraits, **** figures, and secular subjects, also
began to appear during this great ‘Re-birth’!
The artists of the Early and High Renaissance Era
are many who deserve our adoration and artistic
due.
Yet for the sake of brevity, I mention only the
Great Masters, who are handful and few.

EARLY RENAISSANCE ARTISTS & THEIR ART

GITTO THE PIONEER:
During early 13th Century we find, Dante’s
contemporary Gitto di Bondone the Florentine,
Painting human figures in all its beauty and form
for the first time!
His masterwork being the 40 fresco cycle in the
Arena Chapel in Padua, depicting the life of the
****** and Christ, completed in 1305.
Giotto made the symbolic Medieval spiritual art
appear more natural and realistic,
By depicting human emotion, depth with an
artistic perspective!
Art Scholars consider him to be the trailblazer
inspiring the later painters of the Renaissance;
They also refer to Giorgio Vasari’s “Lives Of
The Eminent Artists,” - as their main source.
Giotto had dared to break the shackles of earlier
Medieval two-dimensional art style,
By drawing lines which head towards a certain
focal point behind;
Like an illusionary vanishing point in space,
- opening up a 3-D ‘window into space’!
This ‘window technique’ got adopted by the
later artists with grace.
(
Giorgio Vasari, a 16th Century painter, architect & Art
historian, was born in 1511 in Arezzy, a city under the
Florentine Republic, and painted during the High
Renaissance Period.)

VASARI’s book published in 1550 in Florence
was dedicated to Cosimo de Medici.
Forms an important document of Italian Art
History.
This valuable book covers a 250 year’s span.
Commencing with Cimabue the tutor of Giotto,
right up to Tizian, - better known as Titan!
Vasari also mentions four lesser known Female
Renaissance Artists; Sister Plantilla, Madonna
Lucrezia, Sofonista Anguissola, and Properzia
de Rossi;
And Rossi’s painting “Joseph and Potiphar’s
Wife”,
An impressive panel art which parallels the
unrequited love Rossi experienced in her own
life !
(
Joseph the elder son of Jacob, taken captive by Potiphar
the Captain of Pharaoh’s guard, was desired by Potiphar’s
wife, whose advances Joseph repulsed. Rossi’s painting
of 1520s inspired later artists to paint their own versions
of this same Old Testament Story.)

Next I briefly mention architects Brunelleschi
and Ghiberti, and the sculptor Donatello;
Not forgetting the painters like Masaccio,
Verrocchio and Botticelli;
Those Early Renaissance Artists are known to
us today thanks to the Art historian Giorgio
Vasari .

BRUNELLESCHI has been mentioned in Section
One of my Renaissance Story.
His 114 meter high dome of Florence Cathedral
created artistic history!
This dome was constructed without supporting
buttresses with a double egg shaped structure;
Stands out as an unique feat of Florentine
Architecture!
The dome is larger than St Paul’s in London,
the Capitol Building of Washington DC, and
also the St Peters in the Vatican City!

GILBERTI is remembered for his massive
15 feet high gilded bronze doors for the
Baptistery of Florence,
Containing twenty carved panels with themes
from the Old Testament.
Which took a quarter century to complete,
working at his own convenience.
His exquisite naturalistic carved figures in the
true spirit of the Renaissance won him a prize;
And his gilded doors were renamed by Michel
Angelo as ‘The Gates of Paradise’!
(
At the age of 23 yrs Lorenzo Ghiberti had won the
competition beating other Architects for craving the
doors of the Baptistery of Florence!)

DONATELLO’S full size bronze David was
commissioned by its patron Cosimo de’ Medici.
With its sensual contrapposto stance in the
classical Greek style with its torso bent slightly.
Is known as the first free standing **** statue
since the days of Classical Art history!
The Old Testament relates the story of David
the shepherd boy, who killed the giant Goliath
with a single sling shot;
Cutting off his head with Goliath’s own sword!
Thus saving the Israelites from Philistine’s wrath.
This unique statue inspired all later sculptors to
strive for similar artistic excellence;
Culminating in Michael Angelo’s **** statue of
David, known for its sculptured brilliance!

MASSACCIO (1401- 1428) joined Florentine
Artist’s Guild at the age of 21 years.
A talented artist who abandoned the old Gothic
Style, experimenting without fears!
Influenced by Giotto, he mastered the use of
perspective in art.
Introduced the vanishing point and the horizon
line, - while planning his artistic works.
In his paintings ‘The Expulsion from Eden’
and ‘The Temptation’,
He introduced the initial **** figures in Italian
Art without any inhibition!
Though up North in Flanders, Van Eyck the
painter had already made an artistic innovation,
By painting ‘Adam and Eve’ displaying their
****** in his artistic creation;
Thereby creating the first **** painting in Art
History!
But such figures greatly annoyed the Church,
Since nudes formed a part of pagan art!
So these Northern artists to pacify the Church
and pass its censorship,
Cleverly under a fig leaf cover made their art to
appear moralistic!
Van Eyck was also the innovator of oil-based paints,
Which later replaced the Medieval tempera, used to
paint angles and saints.

Masaccio’s fresco ‘The Tribute Money’ requires
here a special mention,
For his use of perspective with light and shade,
Where the blithe figure of the Roman tax collector
is artistically made.
Christ is painted with stern nobility, Peter in angry
majesty;
And every Apostle with individualized features,
attire, and pose;
With light coming from a single identifiable source!
“Render unto Caesar the things that are Caesar’s,
and unto God things that are God’s”, said Christ;
Narrated in Mathew chapter 22 verse 21, which
cannot be denied.
Unfortunately, Masaccio died at an early age of
27 years.
Said to have been killed by a jealous rival artist,
who had shed no tears!

BOTTICELLI the Florentine was born half a
century after the Dutch Van Eyck;
Remembered even to this day for his painting
the ‘Birth of Venus’, an icon of Art History
making him famous.
This painting depicts goddess Venus rising out
of the sea on a conch shell,
And the glorious path of female **** painting
commenced in Italy, - casting a spell!
His full scale **** Venus shattered the Medieval
taboo on ******.
With a subject shift from religious art to Classical
Mythology;
Removing the ‘fig-leaf cover’ over Art permanently!

I end this Early Period with VERROCCHIO, born
in Florence in fourteen hundred and thirty five.
A trained goldsmith proficient in the skills of both
painting and sculpture;
Who under the patronage of the Medici family
had thrived.
He had set up his workshop in Florence were he
trained Leonardo Da Vinci, Botticelli, and other
famous Renaissance artists alike!

FOUR CANONICAL PAINTING MODES OF
THE RENAISSANCE:
During the Renaissance the four canonical painting
modes we get to see;
Are Chiaroscuro, Sfumato, Cangiante and Unione.
‘Chiaroscuro’ comes from an Italian word meaning
‘light and dark’, a painting technique of Leonardo,
Creating a three dimensional dramatic effect to
steal the show.
Later also used with great excellence by Rubens
and the Dutch Rembrandt as we know.
‘Sfumato’ from Italian ‘sfumare’, meaning to tone
down or evaporate like a smoke;
As seen in Leonardo’s ‘Mona Lisa’ where the
colors blend seamlessly like smoke!
‘Cangiante’ means to ‘change’, where a painter
changed to a lighter or a darker hue, when the
original hue could not be made light enough;
As seen in the transformation from green to
yellow in Prophet Daniel’s robe,
On the ceiling of Sistine Chapel in Rome.
‘Unione’ followed the ‘sfumato’ quality, but
maintained vibrant colors as we get to see;
In Raphael’s ‘Alba Madonna’ in Washington’s
National Gallery.

ART OF HIGH RENAISSANCE ERA - THE
GOLDEN AGE.

“Where the spirit does not work with the
hand there is no art.”- Leonardo

With Giotto during the Trecento period of the
14th century,
Painting dominated sculpture in the artistic
endeavor of Italy.
During the 15th century the Quattrocento, with
Donetello and Giberti,
Sculpture certainly dominated painting as we get to
see!
But during the 16th century or the Cinquecento,
Painting again took the lead commencing with
the great Leonardo!
This Era was cut short by the death of Lorenzo the
Magnificent to less than half a century; (Died in 1493)
But gifted great masterpieces to the world enriching
the world of Art tremendously!
The Medieval ‘halo’ was now replaced by a fresh
naturalness;
And both Madonna and Christ acquired a more
human likeness!
Portrait paintings began to be commissioned by
many rich patrons.
While artists acquired both recognition and a status
of their own.
But the artistic focus during this Era had shifted from
Florence,  - to Venice and Rome!
In the Vatican City, Pope Julius-II was followed by
Pope Leo the Tenth,
He commissioned many works of art which are
still cherished and maintained!
Now cutting short my story let me mention the
famous Italian Renaissance Superstar Trio;
Leonardo, Raphael, and Michael Angelo.

LEONARDO DA VINCI was born in 1452 in
the village of Vinci near the City of Florence,
Was deprived of a formal education being born
illegitimate!
He was left-handed, and wrote from right to left!
He soon excelled his teacher Varrocchio, by
introduced oil based paints into Italy;
Whose translucent colors with his innovative
techniques, enhanced his painting artistically.
Sigmund Freud had said, “Leonardo was like a
man who awoke too early in the darkness while
others were all still asleep,” - he was awake!
Leonardo’s  historic ‘Note Book’ has sketches of a
battle tank, a flying machine, a parachute, and many
other anatomical and technical sketches and designs;
Reflecting the ever probing mind of this versatile
genius who was far ahead of his time!
His ‘Vituvian Man’, ‘The Last Supper’, and ‘Mona Lisa’,
Remain as his enduring works of art and more popular
than the Leaning Tower of Pisa!
Pen and ink sketch of the ‘Vitruvian Man’ with arms
and leg apart inside a square and a circle, also known
as the ‘Proportion of Man’;
Where his height correspondence to the length
of his outstretched hands;
Became symbolic of the true Renaissance spirit
of Man.
‘The Last Supper’ a 15ft by 29ft fresco work on
the refectory wall of Santa Maria, commissioned
by Duke of Milan Ludovic,
Is the most reproduced religious painting which
took three years to complete!
Leonardo searched the streets of Milan before
painting Judas’ face;
And individualized each figure with competence!
‘Mona Lisa’ with her enigmatic smile continues
to inspire artists, poets, and her viewers alike,
since its creation;
Which Leonardo took four years to complete
with utmost devotion.
Leonardo used oil on poplar wood panel, unique
during those days,
With ‘sfumato’ blending of translucent colors with
light and shade;
Creating depth, volume, and form, with a timeless
expression on Mona Lisa’s countenance!
Art Historian George Varasi says that it is the face
of one Lisa Gherardini,
Wife of a wealthy Florentine merchant of Italy.
Insurance Companies failed to make any estimation
of this portrait, declaring its value as priceless!
Today it remains housed inside an air-conditioned,
de-humidified chamber, within a triple bullet-proof
glass, in Louvre France.
“It is the ultimate symbol of human civilization”,
- exclaimed President Kennedy;
And with this I pay my humble tribute to our
Leonardo da Vinci!

MICHEL ANGELO BUONARROTI (1475-1564):
This Tuscan born sculptor, painter, architect, and
poet, was a versatile man,
Worthy to be called the archetype of the true
‘Renaissance Man’!
At the age of twelve was placed under the famous
painter Ghirlandio,
Where his inclination for sculpting began to show.
Under the liberal patronage of Lorenzo de Medici,
He developed his talent as a sculptor as we get
to see.
In the Medici Palace, he was struck by his rival
Torregiano on the nose with a mallet;
Disfiguring permanently his handsome face!
His statue of ‘Bacchus’ of 1497 and the very
beauty of the figure,
Earned him the commission for the ‘PIETA’ in
St Peter’s Basilica;
Where from a single piece of Carrara marble he
carved out the figure of ****** Mary grieving
over the dead body of Christ;
This iconic piece of sculpture which along with
his ‘David’ earned him the ‘Superstar rights’!

Michel Angelo’s **** ‘DAVID’ weighed 6.4 tons
and stood 17 feet in height;
Unlike the bronze David of Donatello, which
shows him victorious after the fight!
Michel’s David an epitome of strength and
youthful vigour with a Classical Greek touch;
Displayed an uncircumcised ***** which had
shocked the viewers very much!
But it was consistent with the Mannerism in Art,
in keeping with the Renaissance spirit as such!
David displays an attitude of placid calm with
his knitted eyebrows and sidelong glance;
With his left hand over the left shoulder
holding a sling,
Coolly surveys the giant Goliath before his
single sling shot fatally stings!
This iconic sculpture has a timeless appeal even
after 500 years, depicting the ‘Renaissance Man’
at his best;
Vigorous, healthy, beautiful, rational and fully
competent!
Finally we come to the Ceiling of the Sistine
Chapel of Rome,
Where Pope Julius-II’s persistence resulted in the
creation of world’s greatest single fresco that was
ever known!
Covering some 5000 square feet, took five years
to complete.
Special scaffoldings had to be erected for painting
scenes from ‘The Creation’ till the ‘Day of Judgment’
on a 20 meter’s high ceiling;
Where the Central portion had nine scenes from
the ‘Book of Genesis’,
With ‘Creation of Adam’ having an iconic significance!
Like Leonardo, Michel Angelo was left-handed and died
a bachelor - pursuing his art with devotion;
A man with caustic wit, proud reserve, and sublimity
of imagination!

RAFFAELLO SANZIO (1483-1520):
This last of the famous High Renaissance trio was
born in 1483 in Urbino,
Some eight years after Michel Angelo.
His Madonna series and decorative frescos
glorified the Library of Pope Julius the Second;
Who was impressed by his fresco ‘The School
of Athens’;
And commissioned Raphael to decorate his
Study in the Vatican.
Raphael painted this large fresco between 1510
and 1511, initially named as the ‘Knowledge of
Causes’,
But the 17th century guide books referred to it
as ‘The School of Athens’.
Here Plato and Aristotle are the central figures
surrounded by a host of ancient Greek scholars
and philosophers.
The bare footed Plato is seen pointing skywards,
In his left hand holds his book ‘Timaeus’;
His upward hand gesture indicating his ‘World
of Forms’ and transcendental ideas!
Aristotle is seen pointing downwards, his left
hand holds his famous book the ‘Ethics’;
His blue dress symbolizes water and earth
with an earthly fix.
The painting illustrates the historic continuance
of Platonic thoughts,
In keeping with the spirit of the Renaissance!
Raphael’s last masterpiece ‘Transfiguration’
depicts the resurrected Christ,
Flanked by prophets
LDuler Mar 2013
Why people feel the need or desire to
Listen to the radio
Or surround themselves with machines that whir and beep
Or white noise to fall asleep
Or go to concerts
Is beyond me
I don't understand why
People want noise all the time
They're committing a terrible crime!
They mutilate silence
Tarnish delicate laconism
And mangle quiet
Machines everywhere!
Machines and devices, noise and distraction from the essence of life
Tooting, blaring, screeching, whistling, crashing
Honking, booming cracking, grinding, and trilling!
We happily bask in this cacophony

So much noise that we tend to forget that
How truly precious real silence is-
A gold nugget in a long, tumultuous river.
Yet we don't want any of it, not even a sliver
Silence is that which comes nearest to expressing the ineffable
It's so pure and so true, so delectable
Silence is a true friend who never betrays
Whatever has happened to saying it all with a simple gaze?
Words are by no means proof of wisdom
Silence isn't ignorance or dullness of mind
Silence is refined
Silence is
A pause between birdsongs
The mournful song of lonely hearts
The sigh of a tree
The shift of the clouds
The obscure and perishing rhythm of forgotten thoughts
The throb of the summer sun
The timid streaming of tears down a child's cheek
The fall of a snowflake
The pulse of the veins on a frail white wrist
And a kiss between whispered promises

Babble is empty
And words, like wire
May seem solid
Yet they can be twisted to resemble anything-
Weak promises, false prayers, delusive prophecies
And can easily be broken, if one distorts them enough.

Silence is more eloquent than phrases
It is not nothing
It has a form, dimension, substance
A texture and quality of its own
So many people associate it with mystery, privacy and isolation
When really it reveals it all
Silence can be jealous; rough and small
It can be peaceful; blue and hazy
It can be tumultuous; confused and crazy
Silence can be loving; soft and surrounding
Or it can be spiteful; violent and pounding
Silence can chaste; reserved and shy
Or it can sensual, with a voluptuous sigh
Silence can be puzzled; blurry and nauseous
It can be disgusted; halting and cautious
Silence can be grieving; a falling apart
It can be horribly heavy; the weighing of unspoken secrets on a fragile heart
Silence can be anything
Agitated, insecure, submissive or authoritative
Giddy or gloomy, vicious or respectful
Silence contains it all
Every word, every language,
All the knowledge, all the memories, all the emotions
If you've ever watched a sunrise, or been in love, or spent a night home alone, or sat in grieving silence as someone held your hand
Then you know this

The silly young, the brash and impatient ones, always break the silence
With gossip and music and profanity and small talk
They always giggle, interrupt, argue and squawk
Constant conversations, words, motions, defense, offense, back and forth
Yet those who are comfortable with each other can sit without speaking
Because to love and be quiet is enough
To hold hands and not say a word is enough
Silence is the gift of the world that we've pushed aside
A precious gift wrapped in white that we've rudely denied
Silence is the highest form of thought
And it is by slowly developing this mute contemplation in us that we will,
Step by step,
With reflections, speculations, and musing
Be able to reach what is true about ourselves.
When we are quiet and timid
We sit silently and watch the world around us
We see things, we read things, we hear things that others don't, we keep quiet about them, and we understand.

I don't understand why people fear the hush
Perhaps people are afraid to surrender to the clear ****** of it
Maybe all these fools think that to keep quiet is to erase yourself
Maybe they associate silence with loss of life
Perhaps some of them know that listening to the silence can be painful
That it can reveal the pain of the world
So they cower and shy away from it

Yet look at what I've done
I'm just like the rest of them, aren't I?
I wrote and wrote, yet what do all these words mean?
How pretentious of me to think I could be one to put silence into words
Ode to Silence by Geneviève Pardoe Macchiarella is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Najwa Kareem Mar 2019
4 Years, 1500 days, 3600 hours, 2,160,000 minutes, 129,600,000 seconds
Yemen with a devastating war
Yemen crushed by Saudi war criminals
Yemen wounded by US' immorality
Yemen killed by too many's frigid hearts
Yemen unbelievably destroyed

4 Years, 1500 days, 3600 hours, 2,160,000 minutes, 129,600,000 seconds
Yemen a skeleton
Yemen with its sustainable resources confiscated
Yemen its country's wealth no more
Yemen with blood everywhere

4 Years, 1500 days, 3600 hours, 2,160,000 minutes, 129,600,000 seconds
Yemen with 20 Million affected
Yemen with babies deceased
Yemen with young orphaned
Yemen with old without shelter
Yemen with men buried under sand
Yemen with women *****
Yemen with countless widowed
Yemen trapped under rebel with people screaming for help

4 Years, 1500 days, 3600 hours, 2,160,000 minutes, 129,600,000 seconds
Yemen in shock
Yemen weary
Yemen with its hands up high in the air pleading for an end

Are our hands up with them
Are our foreheads wet
Are our eyes full
Are our mouths dry
Are our fingers in motion
Are our legs fatigued
Are our brains thinking

YEMEN: 4 Years Starving, 4 Years Dying, 4 Years Bleeding, 4 Years Grieving, 4 Years Hurting, 4 Years Too Long Not With Our Oppressed, 4 Years Too Late We Must Begin
In commemoration of Yemen's 20 Million people affected by a unfathomable, ruthless 4 year Saudi led, US supported war
Kimberley Jan 2018
4"2 with the voice of an angel
he couldn't be more than ten
the only thing he ever stole was the hearts of those around him

a week later,
his body drains of blood
a mother's cry echoes around the town
her innocent baby
why'd they **** her innocent baby?
he was only nine.

a mother's cry echoes around the world
her baby is gone
blood drains from his body
one shot to the head
several to the torso
why'd they **** her baby?
he was only coming from school.

a shaken up officer stands to the left
Caucasian and worried
a grieving community to the right
African-American and terrified

straight A's and a bright future at seventeen
a future no-one could foresee
both labeled thugs
at 9 and 17

why?
because of the skin they keep.
Keith Ren Oct 2010
hand it true,
she is not dead,
though my heart-
needs it so.

sit my still,
and pass the dread,
fill my grief,
to let her go.

all things off,
and close my eyes.
let resonate-
that love.

            (removal sounds)
                 (testing 2)

                                 what truths
                              might
                                       my
                       spirit allow

       such saturated
                                                pain


                                 acknowledged loss
                             and
                        heart shelled tossed

          my center's hope
                                                   remains

my center's hope
        remains



I cast the loss to winded seas.
With faith, replacing burns.

An end in sight,
With fairer light,

I sit now in
        
                                         the grieving learn.

          I sit still in,

                                                       the grieving learn.
that I may not
be stuck
in the evers.

that I might love again...
Stay low
Soft, dark and dreamless
Far beneath my nightmares and loneliness
I hate me
For breathing without you
I don't want to feel any more for you

Grieving for you
I'm not grieving for you
Nothing real love can't undo
And though I may have lost my way
All paths lead straight to you

I long to be like you
Lie cold in the ground like you

Halo
Blinding wall between us
Melt away and leave us alone again
The humming, haunted somewhere out there.
I believe our love can see us through in death.

I long to be like you,
Lie cold in the ground like you.
There's room inside for two and I'm not grieving for you,
I'm coming for you.

You're not alone,
No matter what they told you, you're not alone.
I'll be right beside you forever more.

I long to be like you, sis,
Lie cold in the ground like you did.
There's room inside for two and I'm not grieving for you.

And as we lay in silent bliss,
I know you remember me.

I long to be like you,
Lie cold in the ground like you.
There's room inside for two and I'm not grieving for you,
I'm coming for you.
DJ Thomas Jul 2010
Dead sold souls herd us
Lost mindless finger puppets
Vapid witless words

A large meat fed dog *OR
a bicycle riding Meathead
ARE more harmful to the environment THAN
a Vegan driving a four-by-four

Eating meat means death
more suffering then grieving.
Suicidal Meatheads
contracting breast cancer,
China’s rich women’s disease

Linked male disease
includes prostate cancer.
Early doddering
old age of the mind and body
Meathead fat minds and body flesh .

Grumbling guts of a -
selfish and cruel industry.
Cleaving and feeding
Meatheads taste for flesh and fat.
Growing numbers of pet dogs.

They, their butchering -
suppliers and the linked
blind politicians.
Hands ****** with world ecology
and mankind’s nearing suicide.

Barbecuing flesh
Burn’t species in rainforests.
Slash and burn farming
Busy Meathead industry
Gross greedy blood dripping heart

Detail is in the UN Food and Agriculture Organisation’s
REPORT Livestock’s Long Shadow

Hot warming dry world.
Slaughtered environment.
Acid rain is falling
in livestock’s long dead shadow.
Desertification breath.

Trumpeting slaughter
Our children, each child’s children
Dangerous future
Meatheads dead with Treehuggers
Planets species murdered

Meatheads, THEIR suppliers and producers of live and
cleaved flesh AND their greedy lawyer-ed politicians ARE
the primary cause of harmful greenhouse gasses

Growing and processing
Feeding livestock flatulence.
Living flesh movement
Frozen slaughtered cut flesh
Transported, sold chilled packs.

Land taken for grazing and feeding cattle flesh IS
destroying our rainforests, CAUSING desertification,
KILLING or DISPLACING millions of wild animals,
DRIVING species into extinction

A plant-based diet
efficiently providing
our nutrient need.
Land feeding just two Meatheads
will feed twenty four with grain.

Or more than sixty with soya - BUT bioengineering has targeted
AND taken control of soya, BY doing so they might purposely
be destroying the bees - THIS another long sad story

The flesh producers -
cause most the world’s pollution.
Consuming most our WATER.
Legislating against meat
New green taxation controls

A worldwide plant-based diet WOULD require less than a
quarter of the present agricultural land and COULD
feed the millions who currently live in starvation!

Bees disapearing
Biodiversity sold
Rainforest cinders


It would allow us to SHARE our planet with the other SPECIES
that are struggling to survive OUR greed and stupidity
and HELP our own possible survival

Fat shopaholics,
a deadly consumerism.
Cancers meat to eat


Meat consumption is increasing, USING-UP a sea of potable water,
burning forests & species... MEANING there has never been
a more urgent time to reconsider OUR eating habits!

Enculturation
Our sad indoctrination
Globalization
  

So MEATHEADS, are burgers, bangers and steak worth
the personal risk, YOUR children’s live’s AND the
approaching environmental catastrophe?*”
copyright©DJThomas@inbox.com 2010
no grieving then but seize the darting joys
that pass like summer birds above the lake
enjoy the time and all the things you make

ignore the pain avoid the childish noise
see how the breezes still the reeds do shake
no grieving then but seize the darting joys

before they pass on to new girls and boys
as life requires since every reed must break
eternity's the dream that we mistake
no grieving then but seize the darting joys
I was grieving in September
I felt loss
the sky was empty
without summers abundance of life
there will be no more aerial displays
swooping birds on the airstream
feasting on unaware flies overly engaged in their own ceremonies of the sky
high spirited flight, with purpose such a magnificent sight
I was grieving in September
for the swallows had gone
left for another’s warmth
another’s ability to provide
but they will return
they always do
to the white cracked home
in need of repair from winters effect
together making the home as new
and bringing new life to celebrate
and I will watch in awe
as they learn the sky dance of their parents
these thoughts
And the promise of their return
keeps me warm
as I settle into winters cold
ab Dec 2018
why is there a line
between living wholly
and holding on to scraps
of grieving our futures

why am i grieving a life
i haven't lived yet?
or why aren't i filling it
with the kindness of years

well lived? when you realize
your own mortality, does it bite
you as hard as it bites me?
you won't talk about it though.

none of us will.

it's a cycle of awareness
i've barely spoken to you because you
are being reminded day in, day out
that breathing is optional to your body

i am sickeningly aware that
my dosage is wrong
and my blood is pounding in my kidneys
and behind my eyes

you're having a series of bad days
i wonder if your body screams like mine
or if the pain ties you in knots
but i know you don't talk about it.

none of us do.

we pretend we're not sick
and that the ringing in our ears
or the bubbling behind our teeth
doesn't mean anything

"it's fine, i'm used to it"

it's not fine.
it is the ultimate self-denial,
the breakdown of our bodies
things we choose to forget

when you chose me,
you chose somebody who knows pain
somebody who is also afraid
and would sometimes rather give up

but you now know someone else
who is grieving.

are you grieving?

i heard that grief
is just love with
no place to go

and life is one of the greatest loves

through life i can love

no matter how my body
wants to take it from me.
~chronic illness isn't cute, it can rip people apart even if it's "not a big deal"
Exhale Your Mind Jan 2014
He smiles so bright like he has teeth of gold.
Projecting the reflections of his own inceptions.
I'm done grieving the words that once killed the inner me.
Verbally abusive was the past that didn't last.
He shattered my hope like splintered and shattered glass.

As far as the moon is to the sun is he to me.
I can picture his face but to me he's faceless.
His voice is like the echo of a stranger.
He salts his words with flatter,
it doesn't matter, they are tasteless.

His speech is drenched in hypocritical lyricals.
Transmissions of emphatic subliminals
transformed him into an emotional criminal.
If people would obey the limitations of their naive believes.
Maybe they would know that he calls me once a year...
SE Reimer Jan 2015
~

remnants of
afore night’s grieving
before her on the table lie,
echoes of her sobbing
tears from last night's cry;
boxes of his cards,
handwritten letters,
a schoolboy’s pictures,
the wadded tissues
lie in random crumples,
for his silent laughter,
his fading whispers;
the one remaining lock
of hair she used to rumple;
the invisibly present
drying tearful brine
to table salt reduced;
the how remembered,
the when recalled,
the why that's yet
to be deduced.
each a remnant of
her softened weeping,
each a minder of
a mother of a sorrow,
a son-of-a-gun,
don’t-know-if
i’ll-make-it-to tomorrow,
reminders of
a yesternight’s cry;
the remnants of
afore night’s grieving
that on her table lie;
the six-years-ago,
still-can’t-believe-it,
never-ending-long...
goodb­ye.

~

post script.

"her smile...
’tis the thinnest veil o'er a razor's edge,
it can ne’er conceal her bleeding heart..."
like the spiraling whirlpool
like leaves bowing to winter
it's palpable, predictable,
a seasonal forecast...
guess it's just
that time of year.


*for Becky,
for Tonya,
for Andrea,
for all
grieving mothers
everywhere
"Teej" Julie Teasdale  aka MasikaniCrocodile aka Crocodile of Happiness has taken her life after suffering from bipolar disorder. She was 27. She's home with Jesus now, God I miss her.

All her HP family are invited to the service Sunday night at 1897 Little Snowbird RD Robbinsville NC 28771. I would love to give and receive hugs from any of you who were touched by her poetry. Trust me, she was the most beautiful, kind, sincere, meek person you could ever know. She was my best friend since the day I was born and my heart is shredded on my knees crying Lord, Lord.
You can see pics and get some more of her writing at her facebook page:
https://www.facebook.com/teejs?fref=ts

-Robbie Teasdale
Muse of my native land! loftiest Muse!
O first-born on the mountains! by the hues
Of heaven on the spiritual air begot:
Long didst thou sit alone in northern grot,
While yet our England was a wolfish den;
Before our forests heard the talk of men;
Before the first of Druids was a child;--
Long didst thou sit amid our regions wild
Rapt in a deep prophetic solitude.
There came an eastern voice of solemn mood:--
Yet wast thou patient. Then sang forth the Nine,
Apollo's garland:--yet didst thou divine
Such home-bred glory, that they cry'd in vain,
"Come hither, Sister of the Island!" Plain
Spake fair Ausonia; and once more she spake
A higher summons:--still didst thou betake
Thee to thy native hopes. O thou hast won
A full accomplishment! The thing is done,
Which undone, these our latter days had risen
On barren souls. Great Muse, thou know'st what prison
Of flesh and bone, curbs, and confines, and frets
Our spirit's wings: despondency besets
Our pillows; and the fresh to-morrow morn
Seems to give forth its light in very scorn
Of our dull, uninspired, snail-paced lives.
Long have I said, how happy he who shrives
To thee! But then I thought on poets gone,
And could not pray:--nor can I now--so on
I move to the end in lowliness of heart.----

  "Ah, woe is me! that I should fondly part
From my dear native land! Ah, foolish maid!
Glad was the hour, when, with thee, myriads bade
Adieu to Ganges and their pleasant fields!
To one so friendless the clear freshet yields
A bitter coolness, the ripe grape is sour:
Yet I would have, great gods! but one short hour
Of native air--let me but die at home."

  Endymion to heaven's airy dome
Was offering up a hecatomb of vows,
When these words reach'd him. Whereupon he bows
His head through thorny-green entanglement
Of underwood, and to the sound is bent,
Anxious as hind towards her hidden fawn.

  "Is no one near to help me? No fair dawn
Of life from charitable voice? No sweet saying
To set my dull and sadden'd spirit playing?
No hand to toy with mine? No lips so sweet
That I may worship them? No eyelids meet
To twinkle on my *****? No one dies
Before me, till from these enslaving eyes
Redemption sparkles!--I am sad and lost."

  Thou, Carian lord, hadst better have been tost
Into a whirlpool. Vanish into air,
Warm mountaineer! for canst thou only bear
A woman's sigh alone and in distress?
See not her charms! Is Phoebe passionless?
Phoebe is fairer far--O gaze no more:--
Yet if thou wilt behold all beauty's store,
Behold her panting in the forest grass!
Do not those curls of glossy jet surpass
For tenderness the arms so idly lain
Amongst them? Feelest not a kindred pain,
To see such lovely eyes in swimming search
After some warm delight, that seems to perch
Dovelike in the dim cell lying beyond
Their upper lids?--Hist!             "O for Hermes' wand
To touch this flower into human shape!
That woodland Hyacinthus could escape
From his green prison, and here kneeling down
Call me his queen, his second life's fair crown!
Ah me, how I could love!--My soul doth melt
For the unhappy youth--Love! I have felt
So faint a kindness, such a meek surrender
To what my own full thoughts had made too tender,
That but for tears my life had fled away!--
Ye deaf and senseless minutes of the day,
And thou, old forest, hold ye this for true,
There is no lightning, no authentic dew
But in the eye of love: there's not a sound,
Melodious howsoever, can confound
The heavens and earth in one to such a death
As doth the voice of love: there's not a breath
Will mingle kindly with the meadow air,
Till it has panted round, and stolen a share
Of passion from the heart!"--

                              Upon a bough
He leant, wretched. He surely cannot now
Thirst for another love: O impious,
That he can even dream upon it thus!--
Thought he, "Why am I not as are the dead,
Since to a woe like this I have been led
Through the dark earth, and through the wondrous sea?
Goddess! I love thee not the less: from thee
By Juno's smile I turn not--no, no, no--
While the great waters are at ebb and flow.--
I have a triple soul! O fond pretence--
For both, for both my love is so immense,
I feel my heart is cut in twain for them."

  And so he groan'd, as one by beauty slain.
The lady's heart beat quick, and he could see
Her gentle ***** heave tumultuously.
He sprang from his green covert: there she lay,
Sweet as a muskrose upon new-made hay;
With all her limbs on tremble, and her eyes
Shut softly up alive. To speak he tries.
"Fair damsel, pity me! forgive that I
Thus violate thy bower's sanctity!
O pardon me, for I am full of grief--
Grief born of thee, young angel! fairest thief!
Who stolen hast away the wings wherewith
I was to top the heavens. Dear maid, sith
Thou art my executioner, and I feel
Loving and hatred, misery and weal,
Will in a few short hours be nothing to me,
And all my story that much passion slew me;
Do smile upon the evening of my days:
And, for my tortur'd brain begins to craze,
Be thou my nurse; and let me understand
How dying I shall kiss that lily hand.--
Dost weep for me? Then should I be content.
Scowl on, ye fates! until the firmament
Outblackens Erebus, and the full-cavern'd earth
Crumbles into itself. By the cloud girth
Of Jove, those tears have given me a thirst
To meet oblivion."--As her heart would burst
The maiden sobb'd awhile, and then replied:
"Why must such desolation betide
As that thou speakest of? Are not these green nooks
Empty of all misfortune? Do the brooks
Utter a gorgon voice? Does yonder thrush,
Schooling its half-fledg'd little ones to brush
About the dewy forest, whisper tales?--
Speak not of grief, young stranger, or cold snails
Will slime the rose to night. Though if thou wilt,
Methinks 'twould be a guilt--a very guilt--
Not to companion thee, and sigh away
The light--the dusk--the dark--till break of day!"
"Dear lady," said Endymion, "'tis past:
I love thee! and my days can never last.
That I may pass in patience still speak:
Let me have music dying, and I seek
No more delight--I bid adieu to all.
Didst thou not after other climates call,
And murmur about Indian streams?"--Then she,
Sitting beneath the midmost forest tree,
For pity sang this roundelay------

          "O Sorrow,
          Why dost borrow
The natural hue of health, from vermeil lips?--
          To give maiden blushes
          To the white rose bushes?
Or is it thy dewy hand the daisy tips?

          "O Sorrow,
          Why dost borrow
The lustrous passion from a falcon-eye?--
          To give the glow-worm light?
          Or, on a moonless night,
To tinge, on syren shores, the salt sea-spry?

          "O Sorrow,
          Why dost borrow
The mellow ditties from a mourning tongue?--
          To give at evening pale
          Unto the nightingale,
That thou mayst listen the cold dews among?

          "O Sorrow,
          Why dost borrow
Heart's lightness from the merriment of May?--
          A lover would not tread
          A cowslip on the head,
Though he should dance from eve till peep of day--
          Nor any drooping flower
          Held sacred for thy bower,
Wherever he may sport himself and play.

          "To Sorrow
          I bade good-morrow,
And thought to leave her far away behind;
          But cheerly, cheerly,
          She loves me dearly;
She is so constant to me, and so kind:
          I would deceive her
          And so leave her,
But ah! she is so constant and so kind.

"Beneath my palm trees, by the river side,
I sat a weeping: in the whole world wide
There was no one to ask me why I wept,--
          And so I kept
Brimming the water-lily cups with tears
          Cold as my fears.

"Beneath my palm trees, by the river side,
I sat a weeping: what enamour'd bride,
Cheated by shadowy wooer from the clouds,
        But hides and shrouds
Beneath dark palm trees by a river side?

"And as I sat, over the light blue hills
There came a noise of revellers: the rills
Into the wide stream came of purple hue--
        'Twas Bacchus and his crew!
The earnest trumpet spake, and silver thrills
From kissing cymbals made a merry din--
        'Twas Bacchus and his kin!
Like to a moving vintage down they came,
Crown'd with green leaves, and faces all on flame;
All madly dancing through the pleasant valley,
        To scare thee, Melancholy!
O then, O then, thou wast a simple name!
And I forgot thee, as the berried holly
By shepherds is forgotten, when, in June,
Tall chesnuts keep away the sun and moon:--
        I rush'd into the folly!

"Within his car, aloft, young Bacchus stood,
Trifling his ivy-dart, in dancing mood,
        With sidelong laughing;
And little rills of crimson wine imbrued
His plump white arms, and shoulders, enough white
        For Venus' pearly bite;
And near him rode Silenus on his ***,
Pelted with flowers as he on did pass
        Tipsily quaffing.

"Whence came ye, merry Damsels! whence came ye!
So many, and so many, and such glee?
Why have ye left your bowers desolate,
        Your lutes, and gentler fate?--
‘We follow Bacchus! Bacchus on the wing?
        A conquering!
Bacchus, young Bacchus! good or ill betide,
We dance before him thorough kingdoms wide:--
Come hither, lady fair, and joined be
        To our wild minstrelsy!'

"Whence came ye, jolly Satyrs! whence came ye!
So many, and so many, and such glee?
Why have ye left your forest haunts, why left
        Your nuts in oak-tree cleft?--
‘For wine, for wine we left our kernel tree;
For wine we left our heath, and yellow brooms,
        And cold mushrooms;
For wine we follow Bacchus through the earth;
Great God of breathless cups and chirping mirth!--
Come hither, lady fair, and joined be
To our mad minstrelsy!'

"Over wide streams and mountains great we went,
And, save when Bacchus kept his ivy tent,
Onward the tiger and the leopard pants,
        With Asian elephants:
Onward these myriads--with song and dance,
With zebras striped, and sleek Arabians' prance,
Web-footed alligators, crocodiles,
Bearing upon their scaly backs, in files,
Plump infant laughers mimicking the coil
Of ******, and stout galley-rowers' toil:
With toying oars and silken sails they glide,
        Nor care for wind and tide.

"Mounted on panthers' furs and lions' manes,
From rear to van they scour about the plains;
A three days' journey in a moment done:
And always, at the rising of the sun,
About the wilds they hunt with spear and horn,
        On spleenful unicorn.

"I saw Osirian Egypt kneel adown
        Before the vine-wreath crown!
I saw parch'd Abyssinia rouse and sing
        To the silver cymbals' ring!
I saw the whelming vintage hotly pierce
        Old Tartary the fierce!
The kings of Inde their jewel-sceptres vail,
And from their treasures scatter pearled hail;
Great Brahma from his mystic heaven groans,
        And all his priesthood moans;
Before young Bacchus' eye-wink turning pale.--
Into these regions came I following him,
Sick hearted, weary--so I took a whim
To stray away into these forests drear
        Alone, without a peer:
And I have told thee all thou mayest hear.

          "Young stranger!
          I've been a ranger
In search of pleasure throughout every clime:
          Alas! 'tis not for me!
          Bewitch'd I sure must be,
To lose in grieving all my maiden prime.

          "Come then, Sorrow!
          Sweetest Sorrow!
Like an own babe I nurse thee on my breast:
          I thought to leave thee
          And deceive thee,
But now of all the world I love thee best.

          "There is not one,
          No, no, not one
But thee to comfort a poor lonely maid;
          Thou art her mother,
          And her brother,
Her playmate, and her wooer in the shade."

  O what a sigh she gave in finishing,
And look, quite dead to every worldly thing!
Endymion could not speak, but gazed on her;
And listened to the wind that now did stir
About the crisped oaks full drearily,
Yet with as sweet a softness as might be
Remember'd from its velvet summer song.
At last he said: "Poor lady, how thus long
Have I been able to endure that voice?
Fair Melody! kind Syren! I've no choice;
I must be thy sad servant evermore:
I cannot choose but kneel here and adore.
Alas, I must not think--by Phoebe, no!
Let me not think, soft Angel! shall it be so?
Say, beautifullest, shall I never think?
O thou could'st foster me beyond the brink
Of recollection! make my watchful care
Close up its bloodshot eyes, nor see despair!
Do gently ****** half my soul, and I
Shall feel the other half so utterly!--
I'm giddy at that cheek so fair and smooth;
O let it blush so ever! let it soothe
My madness! let it mantle rosy-warm
With the tinge of love, panting in safe alarm.--
This cannot be thy hand, and yet it is;
And this is sure thine other softling--this
Thine own fair *****, and I am so near!
Wilt fall asleep? O let me sip that tear!
And whisper one sweet word that I may know
This is this world--sweet dewy blossom!"--Woe!
Woe! Woe to that Endymion! Where is he?--
Even these words went echoing dismally
Through the wide forest--a most fearful tone,
Like one repenting in his latest moan;
And while it died away a shade pass'd by,
As of a thunder cloud. When arrows fly
Through the thick branches, poor ring-doves sleek forth
Their timid necks and tremble; so these both
Leant to each other trembling, and sat so
Waiting for some destruction--when lo,
Foot-fe
Zach Hanlon May 2015
Grieving the death of yesterday,
and the fearful beginning of a new today,

Sits the mourning dove,
perched upon its pine tree palace.

The call of the sorrowful dove;
a soft, songful lament against the dawn's awakening.

Beneath the blue jay's ballad,
countered by the crow's cackle.

The mourning of the fallen, unknown to the world.
The mourning of the lost and forgotten.

Not singing, not chirping;
Just grieving.
CataclysticEvent Mar 2019
The act of grieving.
It’s unlike anything I’ve
Ever had to go through.
Survived through 17 years of
Mental torture at the hands of
A mother who should have loved me;
But alcoholism had her by the throat
          ****.
That never received any justice.
Physical abuse and mental abuse
For years by a man who should have
Cherished me but instead hated me.
12 hours of labor with no medication.
No relief of the spine crushing pain.
And yet the simple act of you dying.
             Of you leaving me behind,
                           In this world without you.
Has crushed and devastated me.
     Leaving me
                          annihilated and listless.
And without

My best friend, my cheerleader, my fan, my sounding board, my dad, my confidant, my partner in crime, my moral backbone, my courage, my strength, my forever compass, my mother figure, my only family.

I don’t know how to exist here.

The act of grieving,
Has left me tired and restless.
And I’m unsure if I’ll finish the act
Or the act will finish me.
   Exit stage…..
                                                        ­        Right.
A Poem for Three Voices

Setting:  A Maternity Ward and round about

FIRST VOICE:
I am slow as the world.  I am very patient,
Turning through my time, the suns and stars
Regarding me with attention.
The moon's concern is more personal:
She passes and repasses, luminous as a nurse.
Is she sorry for what will happen?  I do not think so.
She is simply astonished at fertility.

When I walk out, I am a great event.
I do not have to think, or even rehearse.
What happens in me will happen without attention.
The pheasant stands on the hill;
He is arranging his brown feathers.
I cannot help smiling at what it is I know.
Leaves and petals attend me.  I am ready.

SECOND VOICE:
When I first saw it, the small red seep, I did not believe it.
I watched the men walk about me in the office.  They were so flat!
There was something about them like cardboard, and now I had caught it,
That flat, flat, flatness from which ideas, destructions,
Bulldozers, guillotines, white chambers of shrieks proceed,
Endlessly proceed--and the cold angels, the abstractions.
I sat at my desk in my stockings, my high heels,

And the man I work for laughed:  'Have you seen something awful?
You are so white, suddenly.'  And I said nothing.
I saw death in the bare trees, a deprivation.
I could not believe it.  Is it so difficult
For the spirit to conceive a face, a mouth?
The letters proceed from these black keys, and these black keys proceed
From my alphabetical fingers, ordering parts,

Parts, bits, cogs, the shining multiples.
I am dying as I sit.  I lose a dimension.
Trains roar in my ears, departures, departures!
The silver track of time empties into the distance,
The white sky empties of its promise, like a cup.
These are my feet, these mechanical echoes.
Tap, tap, tap, steel pegs.  I am found wanting.

This is a disease I carry home, this is a death.
Again, this is a death.  Is it the air,
The particles of destruction I **** up?  Am I a pulse
That wanes and wanes, facing the cold angel?
Is this my lover then?  This death, this death?
As a child I loved a lichen-bitten name.
Is this the one sin then, this old dead love of death?

THIRD VOICE:
I remember the minute when I knew for sure.
The willows were chilling,
The face in the pool was beautiful, but not mine--
It had a consequential look, like everything else,
And all I could see was dangers:  doves and words,
Stars and showers of gold--conceptions, conceptions!
I remember a white, cold wing

And the great swan, with its terrible look,
Coming at me, like a castle, from the top of the river.
There is a snake in swans.
He glided by; his eye had a black meaning.
I saw the world in it--small, mean and black,
Every little word hooked to every little word, and act to act.
A hot blue day had budded into something.

I wasn't ready.  The white clouds rearing
Aside were dragging me in four directions.
I wasn't ready.
I had no reverence.
I thought I could deny the consequence--
But it was too late for that.  It was too late, and the face
Went on shaping itself with love, as if I was ready.

SECOND VOICE:
It is a world of snow now.  I am not at home.
How white these sheets are.  The faces have no features.
They are bald and impossible, like the faces of my children,
Those little sick ones that elude my arms.
Other children do not touch me:  they are terrible.
They have too many colors, too much life.  They are not quiet,
Quiet, like the little emptinesses I carry.

I have had my chances.  I have tried and tried.
I have stitched life into me like a rare *****,
And walked carefully, precariously, like something rare.
I have tried not to think too hard.  I have tried to be natural.
I have tried to be blind in love, like other women,
Blind in my bed, with my dear blind sweet one,
Not looking, through the thick dark, for the face of another.

I did not look.  But still the face was there,
The face of the unborn one that loved its perfections,
The face of the dead one that could only be perfect
In its easy peace, could only keep holy so.
And then there were other faces.  The faces of nations,
Governments, parliaments, societies,
The faceless faces of important men.

It is these men I mind:
They are so jealous of anything that is not flat!  They are jealous gods
That would have the whole world flat because they are.
I see the Father conversing with the Son.
Such flatness cannot but be holy.
'Let us make a heaven,' they say.
'Let us flatten and launder the grossness from these souls.'

FIRST VOICE:
I am calm.  I am calm.  It is the calm before something awful:
The yellow minute before the wind walks, when the leaves
Turn up their hands, their pallors.  It is so quiet here.
The sheets, the faces, are white and stopped, like clocks.
Voices stand back and flatten.  Their visible hieroglyphs
Flatten to parchment screens to keep the wind off.
They paint such secrets in Arabic, Chinese!

I am dumb and brown.  I am a seed about to break.
The brownness is my dead self, and it is sullen:
It does not wish to be more, or different.
Dusk hoods me in blue now, like a Mary.
O color of distance and forgetfulness!--
When will it be, the second when Time breaks
And eternity engulfs it, and I drown utterly?

I talk to myself, myself only, set apart--
Swabbed and lurid with disinfectants, sacrificial.
Waiting lies heavy on my lids.  It lies like sleep,
Like a big sea.  Far off, far off, I feel the first wave tug
Its cargo of agony toward me, inescapable, tidal.
And I, a shell, echoing on this white beach
Face the voices that overwhelm, the terrible element.

THIRD VOICE:
I am a mountain now, among mountainy women.
The doctors move among us as if our bigness
Frightened the mind.  They smile like fools.
They are to blame for what I am, and they know it.
They hug their flatness like a kind of health.
And what if they found themselves surprised, as I did?
They would go mad with it.

And what if two lives leaked between my thighs?
I have seen the white clean chamber with its instruments.
It is a place of shrieks.  It is not happy.
'This is where you will come when you are ready.'
The night lights are flat red moons.  They are dull with blood.
I am not ready for anything to happen.
I should have murdered this, that murders me.

FIRST VOICE:
There is no miracle more cruel than this.
I am dragged by the horses, the iron hooves.
I last.  I last it out.  I accomplish a work.
Dark tunnel, through which hurtle the visitations,
The visitations, the manifestations, the startled faces.
I am the center of an atrocity.
What pains, what sorrows must I be mothering?

Can such innocence **** and ****?  It milks my life.
The trees wither in the street.  The rain is corrosive.
I taste it on my tongue, and the workable horrors,
The horrors that stand and idle, the slighted godmothers
With their hearts that tick and tick, with their satchels of instruments.
I shall be a wall and a roof, protecting.
I shall be a sky and a hill of good:  O let me be!

A power is growing on me, an old tenacity.
I am breaking apart like the world.  There is this blackness,
This ram of blackness.  I fold my hands on a mountain.
The air is thick.  It is thick with this working.
I am used.  I am drummed into use.
My eyes are squeezed by this blackness.
I see nothing.

SECOND VOICE:
I am accused.  I dream of massacres.
I am a garden of black and red agonies.  I drink them,
Hating myself, hating and fearing.  And now the world conceives
Its end and runs toward it, arms held out in love.
It is a love of death that sickens everything.
A dead sun stains the newsprint.  It is red.
I lose life after life.  The dark earth drinks them.

She is the vampire of us all.  So she supports us,
Fattens us, is kind.  Her mouth is red.
I know her.  I know her intimately--
Old winter-face, old barren one, old time bomb.
Men have used her meanly.  She will eat them.
Eat them, eat them, eat them in the end.
The sun is down.  I die.  I make a death.

FIRST VOICE:
Who is he, this blue, furious boy,
Shiny and strange, as if he had hurtled from a star?
He is looking so angrily!
He flew into the room, a shriek at his heel.
The blue color pales.  He is human after all.
A red lotus opens in its bowl of blood;
They are stitching me up with silk, as if I were a material.

What did my fingers do before they held him?
What did my heart do, with its love?
I have never seen a thing so clear.
His lids are like the lilac-flower
And soft as a moth, his breath.
I shall not let go.
There is no guile or warp in him.  May he keep so.

SECOND VOICE:
There is the moon in the high window.  It is over.
How winter fills my soul!  And that chalk light
Laying its scales on the windows, the windows of empty offices,
Empty schoolrooms, empty churches.  O so much emptiness!
There is this cessation.  This terrible cessation of everything.
These bodies mounded around me now, these polar sleepers--
What blue, moony ray ices their dreams?

I feel it enter me, cold, alien, like an instrument.
And that mad, hard face at the end of it, that O-mouth
Open in its gape of perpetual grieving.
It is she that drags the blood-black sea around
Month after month, with its voices of failure.
I am helpless as the sea at the end of her string.
I am restless.  Restless and useless.  I, too, create corpses.

I shall move north.  I shall move into a long blackness.
I see myself as a shadow, neither man nor woman,
Neither a woman, happy to be like a man, nor a man
Blunt and flat enough to feel no lack.  I feel a lack.
I hold my fingers up, ten white pickets.
See, the darkness is leaking from the cracks.
I cannot contain it.  I cannot contain my life.

I shall be a heroine of the peripheral.
I shall not be accused by isolate buttons,
Holes in the heels of socks, the white mute faces
Of unanswered letters, coffined in a letter case.
I shall not be accused, I shall not be accused.
The clock shall not find me wanting, nor these stars
That rivet in place abyss after abyss.

THIRD VOICE:
I see her in my sleep, my red, terrible girl.
She is crying through the glass that separates us.
She is crying, and she is furious.
Her cries are hooks that catch and grate like cats.
It is by these hooks she climbs to my notice.
She is crying at the dark, or at the stars
That at such a distance from us shine and whirl.

I think her little head is carved in wood,
A red, hard wood, eyes shut and mouth wide open.
And from the open mouth issue sharp cries
Scratching at my sleep like arrows,
Scratching at my sleep, and entering my side.
My daughter has no teeth.  Her mouth is wide.
It utters such dark sounds it cannot be good.

FIRST VOICE:
What is it that flings these innocent souls at us?
Look, they are so exhausted, they are all flat out
In their canvas-sided cots, names tied to their wrists,
The little silver trophies they've come so far for.
There are some with thick black hair, there are some bald.
Their skin tints are pink or sallow, brown or red;
They are beginning to remember their differences.

I think they are made of water; they have no expression.
Their features are sleeping, like light on quiet water.
They are the real monks and nuns in their identical garments.
I see them showering like stars on to the world--
On India, Africa, America, these miraculous ones,
These pure, small images.  They smell of milk.
Their footsoles are untouched.  They are walkers of air.

Can nothingness be so prodigal?
Here is my son.
His wide eye is that general, flat blue.
He is turning to me like a little, blind, bright plant.
One cry.  It is the hook I hang on.
And I am a river of milk.
I am a warm hill.

SECOND VOICE:
I am not ugly.  I am even beautiful.
The mirror gives back a woman without deformity.
The nurses give back my clothes, and an identity.
It is usual, they say, for such a thing to happen.
It is usual in my life, and the lives of others.
I am one in five, something like that.  I am not hopeless.
I am beautiful as a statistic.  Here is my lipstick.

I draw on the old mouth.
The red mouth I put by with my identity
A day ago, two days, three days ago.  It was a Friday.
I do not even need a holiday; I can go to work today.
I can love my husband, who will understand.
Who will love me through the blur of my deformity
As if I had lost an eye, a leg, a tongue.

And so I stand, a little sightless.  So I walk
Away on wheels, instead of legs, they serve as well.
And learn to speak with fingers, not a tongue.
The body is resourceful.
The body of a starfish can grow back its arms
And newts are prodigal in legs.  And may I be
As prodigal in what lacks me.

THIRD VOICE:
She is a small island, asleep and peaceful,
And I am a white ship hooting:  Goodbye, goodbye.
The day is blazing.  It is very mournful.
The flowers in this room are red and tropical.
They have lived behind glass all their lives, they have been cared for
        tenderly.
Now they face a winter of white sheets, white faces.
There is very little to go into my suitcase.

There are the clothes of a fat woman I do not know.
There is my comb and brush.  There is an emptiness.
I am so vulnerable suddenly.
I am a wound walking out of hospital.
I am a wound that they are letting go.
I leave my health behind.  I leave someone
Who would adhere to me:  I undo her fingers like bandages:  I go.

SECOND VOICE:
I am myself again.  There are no loose ends.
I am bled white as wax, I have no attachments.
I am flat and virginal, which means nothing has happened,
Nothing that cannot be erased, ripped up and scrapped, begun again.
There little black twigs do not think to bud,
Nor do these dry, dry gutters dream of rain.
This woman who meets me in windows--she is neat.

So neat she is transparent, like a spirit.
how shyly she superimposes her neat self
On the inferno of African oranges, the heel-hung pigs.
She is deferring to reality.
It is I.  It is I--
Tasting the bitterness between my teeth.
The incalculable malice of the everyday.

FIRST VOICE:
How long can I be a wall, keeping the wind off?
How long can I be
Gentling the sun with the shade of my hand,
Intercepting the blue bolts of a cold moon?
The voices of loneliness, the voices of sorrow
Lap at my back ineluctably.
How shall it soften them, this little lullaby?

How long can I be a wall around my green property?
How long can my hands
Be a bandage to his hurt, and my words
Bright birds in the sky, consoling, consoling?
It is a terrible thing
To be so open:  it is as if my heart
Put on a face and walked into the world.

THIRD VOICE:
Today the colleges are drunk with spring.
My black gown is a little funeral:
It shows I am serious.
The books I carry wedge into my side.
I had an old wound once, but it is healing.
I had a dream of an island, red with cries.
It was a dream, and did not mean a thing.

FIRST VOICE:
Dawn flowers in the great elm outside the house.
The swifts are back.  They are shrieking like paper rockets.
I hear the sound of the hours
Widen and die in the hedgerows.  I hear the moo of cows.
The colors replenish themselves, and the wet
Thatch smokes in the sun.
The narcissi open white faces in the orchard.

I am reassured.  I am reassured.
These are the clear bright colors of the nursery,
The talking ducks, the happy lambs.
I am simple again.  I believe in miracles.
I do not believe in those terrible children
Who injure my sleep with their white eyes, their fingerless hands.
They are not mine.  They do not belong to me.

I shall meditate upon normality.
I shall meditate upon my little son.
He does not walk. &n
ryn Jul 2015
I am but willing prey to the wiles of the full grown moon.
She guards the night sky...
While I patrol these grounds...
Grieving over the seconds that have gone too soon.

I am a vessel... all emptied and barren.
what once was full,
now echoes faint
the glories of yesteryears.
Afloat still, adrift upon the currents... aimless and sullen.

I am a ghost... haunting no one but my own.
Immortalised...
Anchored...
to a body of mist and haze...
Occupying this space where worthy wind had once blown...

I am a beggar offering nothing but my open palms.
Hope etched tight
into my knackered knuckles
and calloused digits.
Please... take them in yours...
soothe them...
grant me your touch, your coveted balm.
The assembly now broke up and the people went their ways each to his
own ship. There they made ready their supper, and then bethought
them of the blessed boon of sleep; but Achilles still wept for
thinking of his dear comrade, and sleep, before whom all things bow,
could take no hold upon him. This way and that did he turn as he
yearned after the might and manfulness of Patroclus; he thought of all
they had done together, and all they had gone through both on the
field of battle and on the waves of the weary sea. As he dwelt on
these things he wept bitterly and lay now on his side, now on his
back, and now face downwards, till at last he rose and went out as one
distraught to wander upon the seashore. Then, when he saw dawn
breaking over beach and sea, he yoked his horses to his chariot, and
bound the body of Hector behind it that he might drag it about. Thrice
did he drag it round the tomb of the son of Menoetius, and then went
back into his tent, leaving the body on the ground full length and
with its face downwards. But Apollo would not suffer it to be
disfigured, for he pitied the man, dead though he now was; therefore
he shielded him with his golden aegis continually, that he might
take no hurt while Achilles was dragging him.
  Thus shamefully did Achilles in his fury dishonour Hector; but the
blessed gods looked down in pity from heaven, and urged Mercury,
slayer of Argus, to steal the body. All were of this mind save only
Juno, Neptune, and Jove’s grey-eyed daughter, who persisted in the
hate which they had ever borne towards Ilius with Priam and his
people; for they forgave not the wrong done them by Alexandrus in
disdaining the goddesses who came to him when he was in his
sheepyards, and preferring her who had offered him a wanton to his
ruin.
  When, therefore, the morning of the twelfth day had now come,
Phoebus Apollo spoke among the immortals saying, “You gods ought to be
ashamed of yourselves; you are cruel and hard-hearted. Did not
Hector burn you thigh-bones of heifers and of unblemished goats? And
now dare you not rescue even his dead body, for his wife to look upon,
with his mother and child, his father Priam, and his people, who would
forthwith commit him to the flames, and give him his due funeral
rites? So, then, you would all be on the side of mad Achilles, who
knows neither right nor ruth? He is like some savage lion that in
the pride of his great strength and daring springs upon men’s flocks
and gorges on them. Even so has Achilles flung aside all pity, and all
that conscience which at once so greatly banes yet greatly boons him
that will heed it. man may lose one far dearer than Achilles has lost-
a son, it may be, or a brother born from his own mother’s womb; yet
when he has mourned him and wept over him he will let him bide, for it
takes much sorrow to **** a man; whereas Achilles, now that he has
slain noble Hector, drags him behind his chariot round the tomb of his
comrade. It were better of him, and for him, that he should not do so,
for brave though he be we gods may take it ill that he should vent his
fury upon dead clay.”
  Juno spoke up in a rage. “This were well,” she cried, “O lord of the
silver bow, if you would give like honour to Hector and to Achilles;
but Hector was mortal and suckled at a woman’s breast, whereas
Achilles is the offspring of a goddess whom I myself reared and
brought up. I married her to Peleus, who is above measure dear to
the immortals; you gods came all of you to her wedding; you feasted
along with them yourself and brought your lyre—false, and fond of low
company, that you have ever been.”
  Then said Jove, “Juno, be not so bitter. Their honour shall not be
equal, but of all that dwell in Ilius, Hector was dearest to the gods,
as also to myself, for his offerings never failed me. Never was my
altar stinted of its dues, nor of the drink-offerings and savour of
sacrifice which we claim of right. I shall therefore permit the body
of mighty Hector to be stolen; and yet this may hardly be without
Achilles coming to know it, for his mother keeps night and day
beside him. Let some one of you, therefore, send Thetis to me, and I
will impart my counsel to her, namely that Achilles is to accept a
ransom from Priam, and give up the body.”
  On this Iris fleet as the wind went forth to carry his message. Down
she plunged into the dark sea midway between Samos and rocky Imbrus;
the waters hissed as they closed over her, and she sank into the
bottom as the lead at the end of an ox-horn, that is sped to carry
death to fishes. She found Thetis sitting in a great cave with the
other sea-goddesses gathered round her; there she sat in the midst
of them weeping for her noble son who was to fall far from his own
land, on the rich plains of Troy. Iris went up to her and said,
“Rise Thetis; Jove, whose counsels fail not, bids you come to him.”
And Thetis answered, “Why does the mighty god so bid me? I am in great
grief, and shrink from going in and out among the immortals. Still,
I will go, and the word that he may speak shall not be spoken in
vain.”
  The goddess took her dark veil, than which there can be no robe more
sombre, and went forth with fleet Iris leading the way before her. The
waves of the sea opened them a path, and when they reached the shore
they flew up into the heavens, where they found the all-seeing son
of Saturn with the blessed gods that live for ever assembled near him.
Minerva gave up her seat to her, and she sat down by the side of
father Jove. Juno then placed a fair golden cup in her hand, and spoke
to her in words of comfort, whereon Thetis drank and gave her back the
cup; and the sire of gods and men was the first to speak.
  “So, goddess,” said he, “for all your sorrow, and the grief that I
well know reigns ever in your heart, you have come hither to
Olympus, and I will tell you why I have sent for you. This nine days
past the immortals have been quarrelling about Achilles waster of
cities and the body of Hector. The gods would have Mercury slayer of
Argus steal the body, but in furtherance of our peace and amity
henceforward, I will concede such honour to your son as I will now
tell you. Go, then, to the host and lay these commands upon him; say
that the gods are angry with him, and that I am myself more angry than
them all, in that he keeps Hector at the ships and will not give him
up. He may thus fear me and let the body go. At the same time I will
send Iris to great Priam to bid him go to the ships of the Achaeans,
and ransom his son, taking with him such gifts for Achilles as may
give him satisfaction.
  Silver-footed Thetis did as the god had told her, and forthwith down
she darted from the topmost summits of Olympus. She went to her
son’s tents where she found him grieving bitterly, while his trusty
comrades round him were busy preparing their morning meal, for which
they had killed a great woolly sheep. His mother sat down beside him
and caressed him with her hand saying, “My son, how long will you keep
on thus grieving and making moan? You are gnawing at your own heart,
and think neither of food nor of woman’s embraces; and yet these too
were well, for you have no long time to live, and death with the
strong hand of fate are already close beside you. Now, therefore, heed
what I say, for I come as a messenger from Jove; he says that the gods
are angry with you, and himself more angry than them all, in that
you keep Hector at the ships and will not give him up. Therefore let
him go, and accept a ransom for his body.”
  And Achilles answered, “So be it. If Olympian Jove of his own motion
thus commands me, let him that brings the ransom bear the body away.”
  Thus did mother and son talk together at the ships in long discourse
with one another. Meanwhile the son of Saturn sent Iris to the
strong city of Ilius. “Go,” said he, “fleet Iris, from the mansions of
Olympus, and tell King Priam in Ilius, that he is to go to the ships
of the Achaeans and free the body of his dear son. He is to take
such gifts with him as shall give satisfaction to Achilles, and he
is to go alone, with no other Trojan, save only some honoured
servant who may drive his mules and waggon, and bring back the body of
him whom noble Achilles has slain. Let him have no thought nor fear of
death in his heart, for we will send the slayer of Argus to escort
him, and bring him within the tent of Achilles. Achilles will not ****
him nor let another do so, for he will take heed to his ways and sin
not, and he will entreat a suppliant with all honourable courtesy.”
  On this Iris, fleet as the wind, sped forth to deliver her
message. She went to Priam’s house, and found weeping and
lamentation therein. His sons were seated round their father in the
outer courtyard, and their raiment was wet with tears: the old man sat
in the midst of them with his mantle wrapped close about his body, and
his head and neck all covered with the filth which he had clutched
as he lay grovelling in the mire. His daughters and his sons’ wives
went wailing about the house, as they thought of the many and brave
men who lay dead, slain by the Argives. The messenger of Jove stood by
Priam and spoke softly to him, but fear fell upon him as she did so.
“Take heart,” she said, “Priam offspring of Dardanus, take heart and
fear not. I bring no evil tidings, but am minded well towards you. I
come as a messenger from Jove, who though he be not near, takes
thought for you and pities you. The lord of Olympus bids you go and
ransom noble Hector, and take with you such gifts as shall give
satisfaction to Achilles. You are to go alone, with no Trojan, save
only some honoured servant who may drive your mules and waggon, and
bring back to the city the body of him whom noble Achilles has
slain. You are to have no thought, nor fear of death, for Jove will
send the slayer of Argus to escort you. When he has brought you within
Achilles’ tent, Achilles will not **** you nor let another do so,
for he will take heed to his ways and sin not, and he will entreat a
suppliant with all honourable courtesy.”
  Iris went her way when she had thus spoken, and Priam told his
sons to get a mule-waggon ready, and to make the body of the waggon
fast upon the top of its bed. Then he went down into his fragrant
store-room, high-vaulted, and made of cedar-wood, where his many
treasures were kept, and he called Hecuba his wife. “Wife,” said he,
“a messenger has come to me from Olympus, and has told me to go to the
ships of the Achaeans to ransom my dear son, taking with me such gifts
as shall give satisfaction to Achilles. What think you of this matter?
for my own part I am greatly moved to pass through the of the Achaeans
and go to their ships.”
  His wife cried aloud as she heard him, and said, “Alas, what has
become of that judgement for which you have been ever famous both
among strangers and your own people? How can you venture alone to
the ships of the Achaeans, and look into the face of him who has slain
so many of your brave sons? You must have iron courage, for if the
cruel savage sees you and lays hold on you, he will know neither
respect nor pity. Let us then weep Hector from afar here in our own
house, for when I gave him birth the threads of overruling fate were
spun for him that dogs should eat his flesh far from his parents, in
the house of that terrible man on whose liver I would fain fasten
and devour it. Thus would I avenge my son, who showed no cowardice
when Achilles slew him, and thought neither of Right nor of avoiding
battle as he stood in defence of Trojan men and Trojan women.”
  Then Priam said, “I would go, do not therefore stay me nor be as a
bird of ill omen in my house, for you will not move me. Had it been
some mortal man who had sent me some prophet or priest who divines
from sacrifice—I should have deemed him false and have given him no
heed; but now I have heard the goddess and seen her face to face,
therefore I will go and her saying shall not be in vain. If it be my
fate to die at the ships of the Achaeans even so would I have it;
let Achilles slay me, if I may but first have taken my son in my
arms and mourned him to my heart’s comforting.”
  So saying he lifted the lids of his chests, and took out twelve
goodly vestments. He took also twelve cloaks of single fold, twelve
rugs, twelve fair mantles, and an equal number of shirts. He weighed
out ten talents of gold, and brought moreover two burnished tripods,
four cauldrons, and a very beautiful cup which the Thracians had given
him when he had gone to them on an embassy; it was very precious,
but he grudged not even this, so eager was he to ransom the body of
his son. Then he chased all the Trojans from the court and rebuked
them with words of anger. “Out,” he cried, “shame and disgrace to me
that you are. Have you no grief in your own homes that you are come to
plague me here? Is it a small thing, think you, that the son of Saturn
has sent this sorrow upon me, to lose the bravest of my sons? Nay, you
shall prove it in person, for now he is gone the Achaeans will have
easier work in killing you. As for me, let me go down within the house
of Hades, ere mine eyes behold the sacking and wasting of the city.”
  He drove the men away with his staff, and they went forth as the old
man sped them. Then he called to his sons, upbraiding Helenus,
Paris, noble Agathon, Pammon, Antiphonus, Polites of the loud
battle-cry, Deiphobus, Hippothous, and Dius. These nine did the old
man call near him. “Come to me at once,” he cried, “worthless sons who
do me shame; would that you had all been killed at the ships rather
than Hector. Miserable man that I am, I have had the bravest sons in
all Troy—noble Nestor, Troilus the dauntless charioteer, and Hector
who was a god among men, so that one would have thought he was son
to an immortal—yet there is not one of them left. Mars has slain them
and those of whom I am ashamed are alone left me. Liars, and light
of foot, heroes of the dance, robbers of lambs and kids from your
own people, why do you not get a waggon ready for me at once, and
put all these things upon it that I may set out on my way?”
  Thus did he speak, and they feared the rebuke of their father.
They brought out a strong mule-waggon, newly made, and set the body of
the waggon fast on its bed. They took the mule-yoke from the peg on
which it hung, a yoke of boxwood with a **** on the top of it and
rings for the reins to go through. Then they brought a yoke-band
eleven cubits long, to bind the yoke to the pole; they bound it on
at the far end of the pole, and put the ring over the upright pin
making it fast with three turns of the band on either side the ****,
and bending the thong of the yoke beneath it. This done, they
brought from the store-chamber the rich ransom that was to purchase
the body of Hector, and they set it all orderly on the waggon; then
they yoked the strong harness-mules which the Mysians had on a time
given as a goodly present to Priam; but for Priam himself they yoked
horses which the old king had bred, and kept for own use.
  Thus heedfully did Priam and his servant see to the yolking of their
cars at the palace. Then Hecuba came to them all sorrowful, with a
golden goblet of wine in her right hand, that they might make a
drink-offering before they set out. She stood in front of the horses
and said, “Take this, make a drink-offering to father Jove, and
since you are minded to go to the ships in spite of me, pray that
you may come safely back from the hands of your enemies. Pray to the
son of Saturn lord of the whirlwind, who sits on Ida and looks down
over all Troy, pray him to send his swift messenger on your right
hand, the bird of omen which is strongest and most dear to him of
all birds, that you may see it with your own eyes and trust it as
you go forth to the ships of the Danaans. If all-seeing Jove will
not send you this messenger, however set upon it you may be, I would
not have you go to the ships of the Argives.”
  And Priam answered, “Wife, I will do as you desire me; it is well to
lift hands in prayer to Jove, if so be he may have mercy upon me.”
  With this the old man bade the serving-woman
Terry O'Leary May 2013
AWAKENING

Sleep and slumber, dreams of wonder... weaving,
morning’s vacuum broke the spell
Pitted pillow, note of parting... leaving,
“from your friend, a fond farewell”
Sunrise throbbing, twilight aching... grieving,
daydreams, flashbacks, nightmares knell
Pale phantasms, visions sneaking... thieving,
plot to fill the empty shell

12 DELIRIA

1st Delirium: COLLAPSES

Fractured sky bolts, billows bursting... rumbling,
heavens tighten, turn the vise
Horsemen saddle shafts of lightning... tumbling,
jagged highways must suffice
Ruptured skyways, hailstones crackling... crumbling,
naked pearls of paradise
Toxic tongues of laughter stinging... stumbling,
ocean buckets choked with ice
Droplets drumming, thunder muzzled... mumbling,
washed out whispers pay the price
Smothered blazes, cinders smoking... humbling,
ashes shaped in sacrifice

2nd Delirium: DESCENTS

Asphalt alleys, ashen faces... frowning,
blowing bubbles, chewing gum
Drinking ale from tavern tankards... downing,
moonlit beads of painted ***
Stony stars and sea misshapen... drowning,
humble rivers’ rhythms hum
Apparitions aspirating... clowning,
diamonds dying , minstrels strum
Incandescent candles conquered... crowning,
vacant vapours, cold and numb

3rd Delirium: FATES

Tempest turmoil, tapered turrets... holding,
dungeons, dragons, chains and racks
Wheels of fortune, Tarot temptress... molding,
Hangmen, Towers, One Eyed Jacks
Sand dune castles, cryptic candles... folding,
warping walls of liquid wax
Idols colder, combed and coddled... scolding,
hide in fissures, peek through cracks

4th Delirium: LOST SOULS

Sunken cities, pilgrims peering... gawking,
squinting eyeballs, blazing sun
Janus facing, shepherds chasing... stalking,
friends embrace before they shun
Tearooms steaming, tumult teeming... talking,
lovers listen, poets pun
Broken stones unanchored, quaking... rocking,
slipping, falling, one by one
Beaten pathways, footsteps marking... mocking,
wedged in webs which spiders spun
Circus shelters, big tops tumbling... locking,
people pacing, soon they’re none
Numbered exits, zeros numbing... knocking,
midnight daylight’s days undone
Moon blood shackles, shivers shaming... shocking,
starlight striders streaking, stun
Hushed but harried hermits waiting... walking,
restless rainbows on the run
Pixies, elves, and echoes bouncing... balking,
fading fast when dawn’s begun
Bantum butterflies are flitting... flocking
sometimes conquered, overrun
Hocus pokus, seers focus... squawking,
voodoo wavered, witchcraft won

5th Delirium: INTROSPECTION

Sundown furnace, fires fading... coughing,
dusky dew drops drain the air
Empty chalice, sipped in silence... quaffing,
thirsting shadows unaware
Looking glass and lattice scorning... scoffing,
local loser gapes and stares
Faces covered, dancing naked... doffing,
peering inside, hope despairs

6th Delirium: THE VOID

Tales of taboos, mystic mythos... missing,
windows shuttered, bolted door
Kindled candles, tongues and anvils... hissing,
heavy hammers, echoes roar
Dark deceivers, raven charmers... kissing,
draging demons from the shore
Hopeless hollows filled with doubters... dissing
standing empty - nevermore

7th Delirium: SEARCHING

Martyred monks haunt runic ruins ... waiting,
banging broken bells below
Vaulted hallways, voided voices... grating,
churning Chinese chimes aglow
Granite graveyards, spectres spooking... skating,
blackened bushes, roses grow
****** dwarfs seek mutant migrants... mating,
packing parcels, ice and snow

8th Delirium: NIGHTTIME

Throbbing drumheads, fingers blazing... steaming,
coins of copper, beggars plea
Rusty residues of resin... streaming,
opal amber filigree
Orphan shades in shallow shadows... teeming,
steeping twigs in twilight tea
Cloister doorsteps, Prophets gaming... scheming,
tracing tracks of destiny
Blacksmiths blanching, horseshoes glowing... gleaming,
partially sheathed in black debris
Phantoms feigning, nightmares scathing... screaming,
dusty dreamers drifting free

9th Delerium: EMPTYNESS

Water wheels in wastelands... turning,
drowning relics in the slum
Rumpled rags of fashioned burlap... burning,
lit by bandits blind and dumb
Pastured prisons, ponies bridled ... yearning,
forest fairies under thumb
Sounds inside of cauldrons coughing... churning,
blaring bugles, tattooed drum

10th Delirium: ALIENATION

Rain unravelling, wistfully weeping... falling,
treacle trickling, fickle sky
Mushrooms sprinkled, visions sprouting... sprawling,
seagulls drowning, dolphins die
Rabble gasping, spirits broken... crawling,
lonely lonesome swallows cry
Babbling brooks and breakers ebbing... bawling
puppies paddle, puppets sigh
People passing ripple past me... calling,
rainbow colours, collars high
Chaos seething, lepers looting... stalling,
stealing stallions on the sly
Pencils pausing, scholars scrambling... scrawling,
scratching scribbles, asking why

11th Delirium: JETSAM

Silver sails sway pallid pirates... prowling,
Jolly Rogers, wind and sound
Parrots perching, tattered feathers... fouling,
tethered talons, tied and bound
Shipwrecked foghorns, trumpets stranded... howling,
spiral springs of time unwound
Magic moonlight, shimmers shaking... scowling,
burnt out matchsticks washed aground
Prairie wolfs, coyotes calling... yowling,
witching hours, midnight hounds
Tightrope walkers, grizzlies grunting... growling,
seeking islands, lost and found

12th Delirium: RELIEF

Slumber shattered, vapours captive... haunting,
chained in mirrors, breaking free
Scarlet skylines, daylight dawning... daunting,
rivers rushing to the sea
Silence softens, sandmen whisper... wanting,
piercing rafters, turning keys
Shadows shudder, notions fluster... flaunting,
moonbeam bullets meant for me
Mind in migraine, meadows trembling... taunting,
sparrows speak in harmony

REAWAKENING

Pitter patter, teardrops paling... pearling,
salting scarves in secret drawers
Mist amongst us, smoke rings rising... curling,
climbing from the ocean floors
See-saw circles, senses swerving... swirling,
swept away with silver oars
Courtyard jesters, sceptres twisting... twirling,
push the past to foreign shores
Passing pangs of passions heaving... hurling,
burning bridges, closing doors
Roses wither, icons waning... whirling,
time decays and time restores
Maggie Emmett May 2016
Gendering Woman *******

Beautiful, anatomical part //  Ugly, anatomical part
Natural, pleasurable             //   Burdensome, loathsome
Female Symbolic                //    Femme Symbolic
MALIGNANT                             HEALTHY

fearful, tearful, wretched     //  joyful, hopeful, euphoric,
bereft, wept, grieving          //  embryonic, rapt, relieving
leaving, loss                         //  believing, gain
m a y b e - d e a t h                                            r e - b i r t h
                                                   BI-LATERAL
                                             MASTECTOMIES
Operating Theatre

SURGEON                                         ANAESTHETIST
cleaning/ cutting/ knife/ scalpel   //   doping/ unconscious/ airway
blood / tissue                                 //   hypotension
loss/ damage                                 //   shock
drains                                             //   sinus rhythm
stitches                                           //   pain deadening
tight binding                                 //   reversal drugs
                                    
POST-OPERATIVE
a l i v e                                                a w a k e

draining, bound & stitched               draining, bound & stitched
                                            DRAINED
    ­                                   ~ UNBOUND
                                       -- UNSTITCHED –

Empty chest                                                    Flat Chest
FREEDOM from Disease                               FREEDOM from Dis-ease


© M.L.Emmett
This was written to explore the different responses to bi-lateral mastectomies, one woman with Cancer; the other trans gendering. It was inspired by reading The Argonauts by Maggie Nelson, whose partner, Harry, was pleased to be rid of these cumbersome appendages & by my friend, Angela who had breast carcinoma and felt very differently towards the loss of *******.
Jordan Frances Apr 2014
Your death
Is transforming my life.
My health is down the drain
My body is in pain
And my mind is in a far worse state
I'm depressed and a wreck
I don't sleep or eat
At least not the way I used to.
These bloodshot eyes are tired of leaking
My chest wishes to rest
And the only time I'm not shaking
Is when my lips
Are curled around a cigarette
And smoke abundant in my lungs.
Some may call it a mental breakdown
I call it grieving.
Sam Edwards Dec 2012
A dream once was had-- for two to be equal,
For this is the land of the free,
Free for you; free for me.

Often we hide our faces, as if we were the ones shamed.
Instead of standing up with another,
Repelling awful names.

Silence has a power, often more than sound.
Silence tunes your true voice,
Silence shakes the ground.

Silence is the foe, when words need to be said.
Silence is the killer.
Silence marks the dead.

Young students go to school, all shades of different skin.
We all threw rocks and names,
Wanting equality was their sin.

Did it matter? Their race was who they were.
A few rose voices,
Others’ silences were fists furled.

What does it matter, of what color their skin?
Here comes another battle.
Here it comes again.

Silence is the foe, when words need to be said.
Silence is the killer.
Silence marks the dead.

If one was gay, would he not be a being?
Should you let others mock?
Does silence stop the grieving?

No, the pain is still there, still loud.
The silence is louder.
Silence is all around.

The names, the hate, all can be repressed.
Silence is the fermata.
Silence has the stress.

Silence is the foe, when words need to be said.
Silence is the killer.
Silence marks the dead.

What is the solution, to this lack of sound?
Simple.
Make it loud.

A word of hope, ringing upon new ears.
A word of sympathy,
Erasing all the fear.

A smile, a hug, a song, a dream,
All to be had,
All to be seen.

Shout against repression, against hate.
For we are all equal,
All the same final fate.

Silence is the foe, when words need to be said.
Silence is the killer.
Silence marks the dead.

Stand together, as one. Make the stand.
Stop silence, create music,
Ring it through the land.

With your words create harmony, create rhyme.
Create thirds and fifths,
Stronger than the flow of time.

Why must we stand alone? Aren’t we all brothers?
Did our ancestors fight?
Protecting our dear mother?

Hand in hand we’ll rise, voices speak as one.
Cruelness and evil gone,
Silence on the run.

Silence is the foe, when words need to be said.
Silence is the killer.
Silence marks the dead.

If we do not help each other, then who will assist?
Together we will rise,
Or fall together into the abyss.

Gay or straight, or be it black or white,
Whether you believe in god,
We’re all human, right?

We all feel, we all hear and see.
We can all make words,
We all breathe.

Silence is the foe, when words need to be said.
Silence is the killer.
Silence marks the dead.

So why must we be made different, called by our opinions or race?
Why must we be judged,
Simply by our face?

No more, I shout. No more the hate.
No more discrimination.
This is our fate.

No more injustice, social and the silence.
No more acts of anger.
No more senseless violence.

Let brothers protect brothers, let friends be friends,
For we are only human.
The same mortal end.

Let sisters love their sisters, let strangers be strangers no more.
For we are only human.
Our heart is our core.

Silence is the foe, when words need to be said.
Silence is the killer.
Silence marks the dead.

I will stand alone, if that is what it takes.
I will raise my voice,
Singing with quick haste.

I will be the difference, the smile to the weak.
I will help protect,
Helping shield the meek.

I will celebrate the differences, that make you and me.
I will turn the lock,
My voice will be the key.

Soon my friends will join, creating a choir of light,
Singing against the hate,
Harmonies strike the night.

Silence will not be my tool, silence is not my friend.
I will make my voice count.
I will make this hate end.

Silence is the foe, when words need to be said.
Silence is the killer.
Silence marks the dead.
Kevin J Taylor Oct 2015
pine is for leaving
oak is for time
willow, for grieving
love left behind
This verse lies in the grave
of an Englishman
who left for home
from a borrowed land.
Rachel Olivia Feb 2015
Air in my chest is close and warm
But when I have to release it
It's cold and turns to ice
Before my eyes
Just like my own little storm

Frost is beneath my bare feet
And the cold air around me
Is colder than I've ever felt
This winter is brutal
This winter is a slow, methodic beat

Everything around me is dead
Gray and brown, gray and brown
The pattern never seems to end
The flower must have so much courage
To break through the winter's layer of dread

It breaks my heart to see the earth like this
Grieving for past warm days with
sunshine
Yet the sunrise always is there
To remind the earth that she cares
She caresses the barren earth with her golden wrist

Slowly she rises till she covers the earth's every line
She whispers, "it'll be okay,"
And all the trees and blades of grass
Have renewed hope
Hope of days filled with sunshine
days of dread will end, spring will come again.
Lambert Mark Mj Sep 2014
A decade of silent and grieving pours
Sadly no mountains to explore
Only islands in our dreams
That are vastly full of dreary streams,

Wailing rains have stopped,
But only can I hear the sound of my clap,
This one pour of flood,
has caused many terrors and blood




            *- Learn your mistakes before it may cause a storm-
The uniVerse May 2015
Always thinking
what am I thinking?
lets start writing
should be sleeping
why am I thinking?
I need to sleep now
bored of sheep, lets try cows
maybe I should count the spots
or connect the dots
of my thoughts....

Dalmatians are the cow canine
ten, eleven, twelve
deeper I delve
sleeper I'm not
wide awake, no
half baked dough
money makes the world go round
funny how it doesn't make a sound
yet people are so loud
it's not needed
nod your head when greeted
nod your head when agreeing
or leaving, deceiving, grieving
maybe thats bowing
bow your head when grieving
Robin Hood had merry men
and they were thieving
still need to be sleeping
dreaming........

If only I could dream of you
as we sail the ocean blue
you would get sea sick
and I would drown quick
this is how my dreams end
much like our relationship
conscious thoughts
maligned with nonsense fraughts
I fraught of you today
tonight, this night
every night
you my light
my darkness
my rainbow
tied around your neck
so delicate
a pretty little thing
no tongue ring yet
butterflies
toast lands sunny side
glass half empty
I'm half fool
a joker in the pack
Batman that's a fact
I only come out at night
your caped crusader
I tried to save her
but the current dragged her under
she now resides in the depths of my mind
a shipwreck
my Mary Rose
how I loved your eyes and nose
and everything attached
did I remember to put the door on the latch?
turn off the oven
come give me loving
and affection
Marvin Gaye, Joan Armatrading
sing to me so I can sleep
sheep, cow, dalmatian, sheep..........
https://www.instagram.com/p/Bk3hn7Fl4kK/
Dayda Oct 2020
Loss causes grief
One can suffer loss from death
Broken relationships
Divorce
Retrenchment

Grieving is the process after the loss
Done in so many ways
Some are more extreme than others
More verbal whilst some are more silent

It's difficult and different
For each and every soul
Some take longer than others
Whereas some are better at hiding

Don't judge
Don't criticize
Don't say otherwise
Don't compare

Let them heal at their own pace
Let them feel every emotion
Let yourself cry all out
Let yourself go

Grieving
It's ok
Take your time
Build up that facade
It's ok
Live every moment
Cry when you have to
Sing if you feel it's best
Visit that grave if you need to
Pray as much as you can
It's ok
It will be ok
It's really ok

Grieve
I lost my mom a year plus ago. Still coping and grieving. It will never go away. But I get to see how others do it too. And I find it really beautiful. Because we have our own way to celebrate and remember her. Not just about losing her. But how she made us who we are now. I miss you mom. Always and always.
hazel Jan 2016
Had there been a time where idealizations were accepted among the walk of reality that lie before us it may all prove to be a bit more comforting.
Where the daunting banter of voices that sat atop my conscience were able to soothe the pain of grieving without true loss.
Heartache failed to be coupled with death.
A place where we could walk hand in hand with dark, empty vessels sent to sail with a destination that is but a passing fog and direction pinpointed out by wanderlust souls.
We lie with a marker of selfishness that runs so close to the bone- etching its edges into our flesh with such vigor that one could hardly ignore, yet it sits on the back burner.

Come with me, my love, dance in my graveyard of pasts.
Take in the sights of freshly filled earth that mold itself beneath our feet as we take a gander at what was.
Here lies the spring evening under the sycamore, young hearts screaming with excitement, the way the wind intertwined among-
The nearly bare branches of autumn rest peacefully with the skin coat worn as a declaration of verses that died between clenched teeth and sealed lips.
This is the laughter worms now feed on.
Here are the fingertips and silk braced locks buried alongside one another but never to touch again.
Pay mind to the faces piling up adjacent to the stone wall, laugh lines rotting by the rise and fall of moonlight.

What a spectacle of self, is it not, dear?
We can witness blue fade to black, closing the light on this scene.
Sit here and rot beneath the sycamore tree.
Clench our hearts between our teeth and swallow messenger bottles along with them.
Never to walk in unison but let one dissipate aside the other.
Let our memories of memorized bone structure fall before our very eyes- wouldn't it be grand?

Induct this into the cemetery of past and do away with the make up of oneself.
We will let this idealization fall cold,
Watch rigor mortis seep in with such mesmeric fashion.
Tuck it away before pre-thought memories taint themselves with reality.
Lower it down under into the ever so charming embrace of wood and soil, mites and fungus.
Clean our hands of touch ever so sacred.
Let it bleed out, darling. Let it decay.
Anyway- how will we remember this when its done away with today?

Let the grieving sink in, just to coddle remembrance of nothingness.
Embrace the black holes swallowing pieces of us.
Dance among the treetops and feel the wind, when our memory dies we can truly begin.
And again,
And again.
Written January 2016
Jason Drury May 2012
we lost you in April
during the rains
it was as if the sky was grieving
we lost you right before the blooms
that awake during the crisp morning
we lost you, and it is April again
they speak to you now in silence
and in memory
we lost you…yes
maybe physically
but, I see you during the spring
where life is full and lush
I see you in the cardinals  
they fly free in ribbons of gold
this is where I see you
among blue hydrangeas

— The End —