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Wade Redfearn Sep 2018
The first settlers to the area called the Lumber River Drowning Creek. The river got its name for its dark, swift-moving waters. In 1809, the North Carolina state legislature changed the name of Drowning Creek to the Lumber River. The headwaters are still referred to as Drowning Creek.

Three p.m. on a Sunday.
Anxiously hungry, I stay dry, out of the pool’s cold water,
taking the light, dripping into my pages.
A city with a white face blank as a bust
peers over my shoulder.
Wildflowers on the roads. Planes circle from west,
come down steeply and out of sight.
A pinkness rises in my breast and arms:
wet as the drowned, my eyes sting with sweat.
Over the useless chimneys a bank of cloud piles up.
There is something terrible in the sky, but it keeps breaking.
Another is dead. Fentanyl. Sister of a friend, rarely seen.
A hand reaches everywhere to pass over eyes and mouths.
A glowing wound opens in heaven.
A mirror out of doors draws a gyre of oak seeds no one watches,
in the clear pool now sunless and black.

Bitter water freezes the muscles and I am far from shore.
I paddle in the shallows, near the wooden jail.
The water reflects a taut rope,
feet hanging in the breeze singing mercy
at the site of the last public hanging in the state.
A part-white fugitive with an extorted confession,
loved by the poor, dumb enough to get himself captured,
lonely on this side of authority: a world he has never lived in
foisting itself on the world he has -
only now, to steal his drunken life, then gone again.

1871 - Henderson Oxendine, one of the notorious gang of outlaws who for some time have infested Robeson County, N. C., committing ****** and robbery, and otherwise setting defiance to the laws, was hung at Lumberton, on Friday last in the presence of a large assemblage. His execution took place a very few days after his conviction, and his death occurred almost without a struggle.

Today, the town square collapses as if scorched
by the whiskey he drank that morning to still himself,
folds itself up like Amazing Grace is finished.
A plinth is laid
in the shadow of his feet, sticky with pine,
here where the water sickens with roots.
Where the canoe overturned. Where the broken oar floated and fell.
Where the snake lives, and teethes on bark,
waiting for another uncle.

Where the tobacco waves near drying barns rusted like horseshoes
and cotton studs the ground like the cropped hair of the buried.
Where schoolchildren take the afternoon
to trim the kudzu growing between the bodies of slaves.
Where appetite is met with flood and fat
and a clinic for the heart.
Where barges took chips of tar to port,
for money that no one ever saw.

Tar sticks the heel but isn’t courage.
Tar seals the hulls -
binds the planks -
builds the road.
Tar, fiery on the tongue, heavy as bad blood in the family -
dead to glue the dead together to secure the living.
Tar on the roofs, pouring heat.
Tar is a dark brown or black viscous liquid of hydrocarbons and free carbon,
obtained from a wide variety of organic materials
through destructive distillation.
Tar in the lungs will one day go as hard as a five-cent candy.

Liberty Food Mart
Cheapest Prices on Cigarettes
Parliament $22.50/carton
Marlboro $27.50/carton

The white-bibbed slaughterhouse Hmong hunch down the steps
of an old school bus with no air conditioner,
rush into the cool of the supermarket.
They pick clean the vegetables, flee with woven bags bulging.
What were they promised?
Air conditioning.
And what did they receive?
Chickenshit on the wind; a dead river they can't understand
with a name it gained from killing.

Truth:
A man was flung onto a fencepost and died in a front yard down the street.
A girl with a grudge in her eyes slipped a razorblade from her teeth and ended recess.
I once saw an Indian murdered for stealing a twelve-foot ladder.
The red line indicating heart disease grows higher and higher.
The red line indicating cardiovascular mortality grows higher and higher.
The red line indicating motor vehicle deaths grows higher and higher.
I burn with the desire to leave.

The stories make us full baskets of dark. No death troubles me.
Not the girl's blood, inert, tickled by opiates,
not the masked arson of the law;
not the smell of drywall as it rots,
or the door of the safe falling from its hinges,
or the chassis of cars, airborne over the rise by the planetarium,
three classmates plunging wide-eyed in the river’s icy arc –
absent from prom, still struggling to free themselves from their seatbelts -
the gunsmoke at the home invasion,
the tenement bisected by flood,
the cattle lowing, gelded
by agriculture students on a field trip.

The air contains skin and mud.
The galvanized barns, long empty, cough up
their dust of rotten feed, dry tobacco.
Men kneel in the tilled rows,
to pick up nails off the ground
still splashed with the blood of their makers.

You Never Sausage a Place
(You’re Always a ****** at Pedro’s!)
South of the Border – Fireworks, Motel & Rides
Exit 9: 10mi.

Drunkards in Dickies will tell you the roads are straight enough
that the drive home will not bend away from them.
Look in the woods to see by lamplight
two girls filling each other's mouths with smoke.
Hear a friendly command:
boys loosening a tire, stuck in the gut of a dog.
Turn on the radio between towns of two thousand
and hear the tiny voice of an AM preacher,
sharing the airwaves of country dark
with some chords plucked from a guitar.
Taste this water thick with tannin
and tell me that trees do not feel pain.
I would be a mausoleum for these thousands
if I only had the room.

I sealed myself against the flood.
Bodies knock against my eaves:
a clutch of cats drowned in a crawlspace,
an old woman bereft with a vase of pennies,
her dead son in her living room costumed as the black Jesus,
the ***** oil of a Chinese restaurant
dancing on top of black water.
A flow gauge spins its tin wheel
endlessly above the bloated dead,
and I will pretend not to be sick at dinner.

Misery now, a struggle ahead for Robeson County after flooding from Hurricane Matthew
LUMBERTON
After years of things leaving Robeson County – manufacturing plants, jobs, payrolls, people – something finally came in, and what was it but more misery?

I said a prayer to the city:
make me a figure in a figure,
solvent, owed and owing.
Take my jute sacks of wristbones,
my sheaves and sheaves of fealty,
the smell of the forest from my feet.
Weigh me only by my purse.
A slim woman with a college degree,
a rented room without the black wings
of palmetto roaches fleeing the damp:
I saw the calm white towers and subscribed.
No ingrate, I saved a space for the lost.
They filled it once, twice, and kept on,
eating greasy flesh straight from the bone,
craning their heads to ask a prayer for them instead.

Downtown later in the easy dark,
three college boys in foam cowboy hats shout in poor Spanish.
They press into the night and the night presses into them.
They will go home when they have to.
Under the bridge lit in violet,
a folding chair is draped in a ***** blanket.
A grubby pair of tennis shoes lay beneath, no feet inside.
Iced tea seeps from a chewed cup.
I pass a bar lit like Christmas.
A mute and pretty face full of indoor light
makes a promise I see through a window.
I pay obscene rents to find out if it is true,
in this nation tied together with gallows-rope,
thumbing its codex of virtues.
Considering this just recently got rejected and I'm free to publish it, and also considering that the town this poem describes is subject once again to a deluge whose damage promises to be worse than before, it seemed like a suitable time to post it. If you've enjoyed it, please think about making a small donation to the North Carolina Disaster Relief Fund at the URL below:
https://governor.nc.gov/donate-florence-recovery
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
Ma Cherie Aug 2016
You were the boy next door
literally and figuratively
I loved you from the moment I saw you
Beautiful golden wavy hair
cut short but ****
soft eyes of a deer...
such a warm buttery brown

I used to fantasize about this feeling
though didn't know if
how, when, where...why
I was innocent as a newborn lamb
you seemed to only like me
or as if you only wanted ***

I was projecting or protecting
I am not certain
But the soft tender sensuous first kisses
I still can taste in my mouth
like sticky sweet caramel
every time I run my tongue over my lips
I remember....
I loved that mouth... and everything attached to it.

Our song was "Hello" by Lionel Richie
And you never knew
I thought of you constantly
after the kiss...for a long time
I waited

So I never thought you were coming back
Graduation came and with a determination
to undo the innocence
craving to know what everyone else already did
The night of baccalaureate
lyrical voices
"strawberry wine
seventeen...
hot July moon
saw everythin'
taste of love
Ahhhh bittersweet
like strawberry wine"
innocently
playing out for real
the most handsome guy there
Said he was 24
asked for a kiss... drunken silly, flirty girl
"Maybe... if I can get a burger first?"
he delivered so we kissed
though he was a gentleman that night
I made a date with destiny

Still remember
I wore a short denim skirt the front like button pants Confederates wear
so kissed warmly by the sun...tanned Native, naive skin...
a lacy white cotten tank top and these terrific kicks...black leather biker boots, square toed...kick ***
curly black long hair... hazel eyes
some say they can see green and gold in there...or something mysterious
Though I don't think I'm much of a mystery
I wore a little mascara... a bit of summertime blush and lip gloss
When I stepped out I got a "Wow"... so beautiful...**** girl"
I used to hear that sometimes but never felt that way... often times it made me uncomfortable
But I smiled and took his hand and trusted him
It was a barn dance so much fun
but I don't remember the ending so well
kind of fuzzy
I guess I drank too much
I do...I do...I do remember his touch
a strange smile just cursed my lips

So that summer I was with him
His father was a ***** pervert, an animal
and I couldn't stand to be around him
I remember jumping in the pool and it's ***** paws trying to touch me
If I told my Father
he would have killed him!
I remember he comforted me though
he did defend me that day
His mother was just such a horrible *****
I'm sure maybe because of his Father...
Brutally honest.. I suppose she told me I was just a plaything
I didn't believe her

Still don't... honestly
He used to like me to sing to him
In the back of his truck where we made a makeshift bed and we'd lie down looking at the stars....
and he left some pretty deep scars
But I remember...focus on the delightful, appealing  things too
like going to the lake and the engine died we had to paddle our way back
and there were bats overhead swooping and diving
He shrieked like a girl and I laughed...
we both did

As it turns out
He was seeing an older woman... I don't know how long
He was really 28 and so was she
Apparently they work together
To spare you the details I ran over his mailbox when I left and I never looked behind me...

I came back
your best friend
was dating my best friend
and you asked if I would go to the beach with you did you really think
I was going to say no?
I climbed in the car there you are
in the backseat
our eyes met like the day of the first kiss
I can still picture it now actually
you took my hand and you pulled me in
I laid my head on your lap...
Looking up in your eyes so happy to be home
we kissed again
finally...

I told you the story of how I'd been hurt
It did matter how much you'd flirt
or caress my hair, touch that spot...rub my neck... lift up my locks...and kiss me there, making yummy sounds...deep and seductive..
making yummy memories...

I was determined not to be hurt that way again
so you courted me for 9 months
And then you asked me to marry you...
So it was never all about ***...
although I know you thought I was **** and beautiful...your curvy hippie girl...and you knew that I thought you were beautiful too...my handsome shadowed face...baseball cap and sneakers, sorta tight fittin blue corduroy  pants  that just looked perfect ... maybe it was the back pockets and a nice white pin striped blue shirt with fold down collars
your laugh, the games of basketball, horseshoes, Frisbee... swimming
food... eating together was like food ***
we so enjoyed the connecting
the sharing...the tastes and flavors
you loved my cooking...thank you

I remember the convertible Mustang
our boat the four wheelers
we had everything and a four-bedroom cape... nice cars..
worked hard....nice things
we did lots of things together
we endured some terrific pain
nearly watching our daughter die
and watching your mother actually go
and your friend... snowmobiling will never be the same again Joey Laquerre... a local racing Legend gone
Irony? I don't know
his son dies at 17 in 2014 an ATV accident...

So many secrets so many skeletons we share in our closet
I miss that safe place and I know you do too
If everyone really knew ...everything..
well...it's such an epic love story
you told our daughter
And our son... how wonderful it all was
Reminisce with them a little too much even
I asked you why
you said you didn't know
and I guess you still don't
you're still with her
the one you left me for... you know
And the guy from baccalaureate he's still with her too
if I was so wonderful
then why did you have to go?

Happy Anniversary to the death of a marriage... 13 years

Cherie Nolan© 2016
I hope this is poetry I felt like it was poetry and hopefully worth reading... I realize it's a bit long but a true story no I'm not sad by the way...all good. :-) it's beautiful here!
John F McCullagh Jun 2013
A cowboy in love with his horse
was convinced they should marry, of course.
They’d spent quality time roping cattle
And he was happiest when in the saddle.
“Love is Love, the high court has opined,
So why should folks deny me mine!”
The neighborhood blondes he found silly,
So he went for long rides with the fillies.
While he flirted with Pintos and Roans,
the Palomino he loved as his own.
Such idylls they spend in the bower
That he threw her a nice bridle shower.
He rented a barn as the hall
and invited his friends one and all.
While Mendelssohn is favored by most
He chose the “Call to the Post”
For their first dance he hoped they could play
“The Run for the Roses” that day.
All his plans came to naught, sad to say
When the love of his life answered” Neigh”
If an animal is your “one and only”
Better make it a sheep, not a pony!
Sad, I hear this bride ran off with some Polo Pony.
Lauren C Oct 2012
Bare skin on dampened green,
arms pendent and the heavy,
near-sighted swing
of dull metal in the pit.

As I loosely ready myself
for another miss,
you call me an anarchist -

the word rouses
me, and I try it on,
gingerly checking
for fit, style and colour.

And yet

I haven't had the time -
or the ruthless abandon -
to learn and befriend it,
to humour and then
ignore it.

No, I haven't had

the time - something I know
we both measure
in cups and baking spoons -

brash spoons sound
anxiety and precision,
or the death-knell clang
of hollowed metal on sand.
Beth C Mar 2012
Hey there, you, driving the lawnmower,
sitting atop your shiny red toy--
state of the art, the best of the best
in lawn technology.

My meager fields are no longer in disarray
since you came around;

Tell me, Mr. Lawnmower,
Do the aspiring clovers and rogue dandelions irritate you?

Is their determination to survive a mere inconvenience,
Or is that the slight trickle of fear running down your back?

What about the bird's nest perched perilously in the gutter
and the rusted horseshoes nesting in my flower bed?
The disused swing set, now eroding in my backyard?

I rather like my own personal jungle!

Still, I suppose someone has to trim the branches
that hang over the power lines.

The poison ivy sneaking its way toward the roof
needs an occasional reminder
of the terms of our uneasy truce.

Perhaps I need you after all.
It was a Saturday afternoon
The legion branch was full
The band was playing some old twangy country song
The front four tables were singing along
Up at the bar
A steady line up of Nevada players
hoping for another jackpot
to cover another few beers
And to make the afternoon last
Nothing worse, than having to milk
a weak draft for an hour
Until the men came back from horseshoes
About three o'clock
the branch livened up as Jimi McGonagle arrived
grandson of the past president
and general all about me, *******
He was strutting around
showing off his new tattoo
No different than his other
thirty or so, but it was new
and it was Jimi McGonagle
so everyone wanted to see
He was proud he now had eight peacocks
All up one leg....there's a joke here
But, even I won't go that far....
The crowd swarmed around him
But, in the back corner
The table....I mean THE TABLE...
didn't move a muscle
In fact out of the three individuals at THE TABLE
Two continued with their dart game
while the third just chuckled, let out a loud
HARUMPH
and went back to his screwdriver
with the quickly melting ice cubes
famous at all legions for helping water down the drinks
Jimi, heard the HARUMPH and looked back
The old man took a slug from the glass
and HARUMPHED louder
Jimi, perplexed, came over to see what was the matter
"Don't like my tattoos Mr. Stein?"
HARUMPH..."they're fine, if you like that kind of thing"
said the old man, knocking back his glass again
"Gives me eight peacocks on my leg now" said Jimi
Again, no response from me on the possible joke here
"cost me almost $700 bucks to get this one done"
"HARUMPH" said the old man....
"What is wrong with you Mr. Stein?"
"Don't like it?"
"Like I said...."
"I know, I know"....said Jimi
"Got any ink?" asked Jimi
"Yep" answered the old man, as a fresh glass arrived
He took a slug...
"So?"...said Jimi, "Is it any better than my peacock?..
"Maybe..maybe not"...said the old man
"It just depends"
The crowd had moved away and was dropping back to the bar area
"Can I see it?" asked Jimi..."What is it?"
"'tain't much to speak of...but I'll show you"....
"Just quit strutting around and sit....and I'll have another screwdriver"...
Jimi sat, and the old man looked him in the eye
"Don't have much colour, like your'n do...don't have any at all"...
"But, a tat's a tat, and you want to see it"...."You sure?"
Jimi nodded, ordered the drink for the old man
"HARUMPH"...said Mr. Stein
He unbuttoned his shirt cuff on the left side
and rolled it up, with his big, beefy, work worn hands
"There she be" he said
"Where", said Jimi
"There'n, on my wrist....just there"
"All I see is a number, an old, worn number"
"That'd be her" said Mr. Stein...."It's all I got, and it's all I need"
"What is it?" asked Jimi
"It's who I am...who I was reduced to"
"It's my curse, and my strength"...
"I was 17 when I got this in Hammelburg, Germany"....
"It was 1943 and we were rounded up"
"and sent to the camps...we were some of the last jews"
"they missed us in the first go round"
"gave me this...don't need another one"
"It's me...this number....it's me"
"Yours are nice...colourful....but are they you?"
"Mine is me"...
"You can see...I have ink....only one....don't want anymore"
"Can I sit a while?" asked Jimi
"Sure, son"...."you can tell me 'bout them silly peacocks"
"Bartender....two screwdrivers"
...and so developed a new and deep friendship....
Michael R Burch Oct 2020
Uyghur Poetry Translations

With my translations I am trying to build awareness of the plight of Uyghur poets and their people, who are being sent in large numbers to Chinese "reeducation" concentration camps which have been praised by Trump as "exactly" what is "needed."

Perhat Tursun (1969-????) is one of the foremost living Uyghur language poets, if he is still alive. Unfortunately, Tursun was "disappeared" into a Chinese "reeducation" concentration camp where extreme psychological torture is the norm. Apparently no one knows his present whereabouts or condition.

Because Perhat Tursun quoted Hermann Hesse I have included my translations of Hesse at the bottom of this page, including "Stages" or "Steps" from his novel "The Glass Bead Game" and excerpts from "Siddhartha."



Elegy
by Perhat Tursun
loose translation/interpretation by Michael R. Burch

"Your soul is the entire world."
―Hermann Hesse, Siddhartha

Asylum seekers, will you recognize me among the mountain passes' frozen corpses?
Can you identify me here among our Exodus's exiled brothers?
We begged for shelter but they lashed us bare; consider our naked corpses.
When they compel us to accept their massacres, do you know that I am with you?

Three centuries later they resurrect, not recognizing each other,
Their former greatness forgotten.
I happily ingested poison, like a fine wine.
When they search the streets and cannot locate our corpses, do you know that I am with you?

In that tower constructed of skulls you will find my dome as well:
They removed my head to more accurately test their swords' temper.
When before their swords our relationship flees like a flighty lover,
Do you know that I am with you?

When men in fur hats are used for target practice in the marketplace
Where a dying man's face expresses his agony as a bullet cleaves his brain
While the executioner's eyes fail to comprehend why his victim vanishes,...
Seeing my form reflected in that bullet-pierced brain's erratic thoughts,
Do you know that I am with you?

In those days when drinking wine was considered worse than drinking blood,
did you taste the flour ground out in that blood-turned churning mill?
Now, when you sip the wine Ali-Shir Nava'i imagined to be my blood
In that mystical tavern's dark abyssal chambers,
Do you know that I am with you?

TRANSLATOR NOTES: This is my interpretation (not necessarily correct) of the poem's frozen corpses left 300 years in the past. For the Uyghur people the Mongol period ended around 1760 when the Qing dynasty invaded their homeland, then called Dzungaria. Around a million people were slaughtered during the Qing takeover, and the Dzungaria territory was renamed Xinjiang. I imagine many Uyghurs fleeing the slaughters would have attempted to navigate treacherous mountain passes. Many of them may have died from starvation and/or exposure, while others may have been caught and murdered by their pursuers.



The Fog and the Shadows
adapted from a novel by Perhat Tursun
loose translation/interpretation by Michael R. Burch

“I began to realize the fog was similar to the shadows.”

I began to realize that, just as the exact shape of darkness is a shadow,
even so the exact shape of fog is disappearance
and the exact shape of a human being is also disappearance.
At this moment it seemed my body was vanishing into the human form’s final state.

After I arrived here,
it was as if the danger of getting lost
and the desire to lose myself
were merging strangely inside me.

While everything in that distant, gargantuan city where I spent my five college years felt strange to me; and even though the skyscrapers, highways, ditches and canals were built according to a single standard and shape, so that it wasn’t easy to differentiate them, still I never had the feeling of being lost. Everyone there felt like one person and they were all folded into each other. It was as if their faces, voices and figures had been gathered together like a shaman’s jumbled-up hair.

Even the men and women seemed identical.
You could only tell them apart by stripping off their clothes and examining them.
The men’s faces were beardless like women’s and their skin was very delicate and unadorned.
I was always surprised that they could tell each other apart.
Later I realized it wasn’t just me: many others were also confused.

For instance, when we went to watch the campus’s only TV in a corridor of a building where the seniors stayed when they came to improve their knowledge. Those elderly Uyghurs always argued about whether someone who had done something unusual in an earlier episode was the same person they were seeing now. They would argue from the beginning of the show to the end. Other people, who couldn’t stand such endless nonsense, would leave the TV to us and stalk off.

Then, when the classes began, we couldn’t tell the teachers apart.
Gradually we became able to tell the men from the women
and eventually we able to recognize individuals.
But other people remained identical for us.

The most surprising thing for me was that the natives couldn’t differentiate us either.
For instance, two police came looking for someone who had broken windows during a fight at a restaurant and had then run away.
They ordered us line up, then asked the restaurant owner to identify the culprit.
He couldn’t tell us apart even though he inspected us very carefully.
He said we all looked so much alike that it was impossible to tell us apart.
Sighing heavily, he left.



The Encounter
by Abdurehim Otkur
loose translation/interpretation by Michael R. Burch

I asked her, why aren’t you afraid? She said her God.
I asked her, anything else? She said her People.
I asked her, anything more? She said her Soul.
I asked her if she was content? She said, I am Not.



The Distance
by Tahir Hamut
loose translation/interpretation by Michael R. Burch

We can’t exclude the cicadas’ serenades.
Behind the convex glass of the distant hospital building
the nurses watch our outlandish party
with their absurdly distorted faces.

Drinking watered-down liquor,
half-****, descanting through the open window,
we speak sneeringly of life, love, girls.
The cicadas’ serenades keep breaking in,
wrecking critical parts of our dissertations.

The others dream up excuses to ditch me
and I’m left here alone.

The cosmopolitan pyramid
of drained bottles
makes me feel
like I’m in a Turkish bath.

I lock the door:
Time to get back to work!

I feel like doing cartwheels.
I feel like self-annihilation.



Refuge of a Refugee
by Ablet Abdurishit Berqi aka Tarim
loose translation/interpretation by Michael R. Burch

I lack a passport,
so I can’t leave legally.
All that’s left is for me to smuggle myself to safety,
but I’m afraid I’ll be beaten black and blue at the border
and I can’t afford the trafficker.

I’m a smuggler of love,
though love has no national identity.
Poetry is my refuge,
where a refugee is most free.

The following excerpts, translated by Anne Henochowicz, come from an essay written by Tang Danhong about her final meeting with Dr. Ablet Abdurishit Berqi, aka Tarim. Tarim is a reference to the Tarim Basin and its Uyghur inhabitants...

I’m convinced that the poet Tarim Ablet Berqi the associate professor at the Xinjiang Education Institute, has been sent to a “concentration camp for educational transformation.” This scholar of Uyghur literature who conducted postdoctoral research at Israel’s top university, what kind of “educational transformation” is he being put through?

Chen Quanguo, the Communist Party secretary of Xinjiang, has said it’s “like the instruction at school, the order of the military, and the security of prison. We have to break their blood relations, their networks, and their roots.”

On a scorching summer day, Tarim came to Tel Aviv from Haifa. In a few days he would go back to Urumqi. I invited him to come say goodbye and once again prepared Sichuan cold noodles for him. He had already unfriended me on Facebook. He said he couldn’t eat, he was busy, and had to hurry back to Haifa. He didn’t even stay for twenty minutes. I can’t even remember, did he sit down? Did he have a glass of water? Yet this farewell shook me to my bones.

He said, “Maybe when I get off the plane, before I enter the airport, they’ll take me to a separate room and beat me up, and I’ll disappear.”

Looking at my shocked face, he then said, “And maybe nothing will happen …”

His expression was sincere. To be honest, the Tarim I saw rarely smiled. Still, layer upon layer blocked my powers of comprehension: he’s a poet, a writer, and a scholar. He’s an associate professor at the Xinjiang Education Institute. He can get a passport and come to Israel for advanced studies. When he goes back he’ll have an offer from Sichuan University to be a professor of literature … I asked, “Beat you up at the airport? Disappear? On what grounds?”

“That’s how Xinjiang is,” he said without any surprise in his voice. “When a Uyghur comes back from being abroad, that can happen.”…



This poem helps us understand the nomadic lifestyle of many Uyghurs, the hardships they endure, and the character it builds...

Iz (“Traces”)
by Abdurehim Otkur
loose translation/interpretation by Michael R. Burch

We were children when we set out on this journey;
Now our grandchildren ride horses.

We were just a few when we set out on this arduous journey;
Now we're a large caravan leaving traces in the desert.

We leave our traces scattered in desert dunes' valleys
Where many of our heroes lie buried in sandy graves.

But don't say they were abandoned: amid the cedars
their resting places are decorated by springtime flowers!

We left the tracks, the station... the crowds recede in the distance;
The wind blows, the sand swirls, but here our indelible trace remains.

The caravan continues, we and our horses become thin,
But our great-grand-children will one day rediscover those traces.

The original Uyghur poem:

Yax iduq muxkul seperge atlinip mangghanda biz,
Emdi atqa mingidek bolup qaldi ene nevrimiz.
Az iduq muxkul seperge atlinip chiqanda biz,
Emdi chong karvan atalduq, qaldurup chollerde iz.
Qaldi iz choller ara, gayi davanlarda yene,
Qaldi ni-ni arslanlar dexit cholde qevrisiz.
Qevrisiz qaldi dimeng yulghun qizarghan dalida,
Gul-chichekke pukinur tangna baharda qevrimiz.
Qaldi iz, qaldi menzil, qaldi yiraqta hemmisi,
Chiqsa boran, kochse qumlar, hem komulmes izimiz.
Tohtimas karvan yolida gerche atlar bek oruq,
Tapqus hichbolmisa, bu izni bizning nevrimiz, ya chevrimiz.

Other poems of note by Abdurehim Otkur include "I Call Forth Spring" and "Waste, You Traitors, Waste!"



My Feelings
by Dolqun Yasin
loose translation/interpretation by Michael R. Burch

The light sinking through the ice and snow,
The hollyhock blossoms reddening the hills like blood,
The proud peaks revealing their ******* to the stars,
The morning-glories embroidering the earth’s greenery,
Are not light,
Not hollyhocks,
Not peaks,
Not morning-glories;
They are my feelings.

The tears washing the mothers’ wizened faces,
The flower-like smiles suddenly brightening the girls’ visages,
The hair turning white before age thirty,
The night which longs for light despite the sun’s laughter,
Are not tears,
Not smiles,
Not hair,
Not night;
They are my nomadic feelings.

Now turning all my sorrow to passion,
Bequeathing to my people all my griefs and joys,
Scattering my excitement like flowers festooning fields,
I harvest all these, then tenderly glean my poem.

Therefore the world is this poem of mine,
And my poem is the world itself.



To My Brother the Warrior
by Téyipjan Éliyow
loose translation/interpretation by Michael R. Burch

When I accompanied you,
the commissioners called me a child.
If only I had been a bit taller
I might have proved myself in battle!

The commission could not have known
my commitment, despite my youth.
If only they had overlooked my age and enlisted me,
I'd have given that enemy rabble hell!

Now, brother, I’m an adult.
Doubtless, I’ll join the service soon.
Soon enough, I’ll be by your side,
battling the enemy: I’ll never surrender!

Another poem of note by Téyipjan Éliyow is "Neverending Song."

Keywords/Tags: Uyghur, translation, Uighur, Xinjiang, elegy, Kafka, China, Chinese, reeducation, prison, concentration camp, desert, nomad, nomadic, race, racism, discrimination, Islam, Islamic, Muslim, mrbuyghur



Chinese Poets: English Translations

These are modern English translations of poems by some of the greatest Chinese poets of all time, including Du Fu, Huang E, Huang O, Li Bai, Li Ching-jau, Li Qingzhao, Po Chu-I, Tzu Yeh, Yau Ywe-Hwa and Xu Zhimo.



Lines from Laolao Ting Pavilion
by Li Bai (701-762)  
loose translation/interpretation by Michael R. Burch

The spring breeze knows partings are bitter;
The willow twig knows it will never be green again.



A Toast to Uncle Yun
by Li Bai (701-762)  
loose translation/interpretation by Michael R. Burch

Water reforms, though we slice it with our swords;
Sorrow returns, though we drown it with our wine.



The Solitude of Night
by Li Bai (701–762)
loose translation/interpretation by Michael R. Burch

At the wine party
I lay comatose, knowing nothing.
Windblown flowers fell, perfuming my lap.
When I arose, still drunk,
The birds had all flown to their nests.
All that remained were my fellow inebriates.
I left to walk along the river—alone with the moonlight.



Li Bai (701-762)    was a romantic figure who has been called the Lord Byron of Chinese poetry. He and his friend Du Fu (712-770)    were the leading poets of the Tang Dynasty era, which has been called the 'Golden Age of Chinese poetry.' Li Bai is also known as Li Po, Li Pai, Li T'ai-po, and Li T'ai-pai.



Moonlit Night
by Du Fu (712-770)  
loose translation/interpretation by Michael R. Burch

Alone in your bedchamber
you gaze out at the Fu-Chou moon.

Here, so distant, I think of our children,
too young to understand what keeps me away
or to remember Ch'ang-an...

A perfumed mist, your hair's damp ringlets!
In the moonlight, your arms' exquisite jade!

Oh, when can we meet again within your bed's drawn curtains,
and let the heat dry our tears?



Moonlit Night
by Du Fu (712-770)  
loose translation/interpretation by Michael R. Burch

Tonight the Fu-Chou moon
watches your lonely bedroom.

Here, so distant, I think of our children,
too young to understand what keeps me away
or to remember Ch'ang-an...

By now your hair will be damp from your bath
and fall in perfumed ringlets;
your jade-white arms so exquisite in the moonlight!

Oh, when can we meet again within those drawn curtains,
and let the heat dry our tears?



Lone Wild Goose
by Du Fu (712-770)  
loose translation/interpretation by Michael R. Burch

The abandoned goose refuses food and drink;
he cries querulously for his companions.

Who feels kinship for that strange wraith
as he vanishes eerily into the heavens?

You watch it as it disappears;
its plaintive calls cut through you.

The indignant crows ignore you both:
the bickering, bantering multitudes.

Du Fu (712-770)    is also known as Tu Fu. The first poem is addressed to the poet's wife, who had fled war with their children. Ch'ang-an is an ironic pun because it means 'Long-peace.'



The Red Cockatoo
by Po Chu-I (772-846)  
loose translation/interpretation by Michael R. Burch

A marvelous gift from Annam—
a red cockatoo,
bright as peach blossom,
fluent in men's language.

So they did what they always do
to the erudite and eloquent:
they created a thick-barred cage
and shut it up.

Po Chu-I (772-846)    is best known today for his ballads and satirical poems. Po Chu-I believed poetry should be accessible to commoners and is noted for his simple diction and natural style. His name has been rendered various ways in English: Po Chu-I, Po Chü-i, Bo Juyi and Bai Juyi.



The Migrant Songbird
Li Qingzhao aka Li Ching-chao (c.1084-1155)  
loose translation/interpretation by Michael R. Burch

The migrant songbird on the nearby yew
brings tears to my eyes with her melodious trills;
this fresh downpour reminds me of similar spills:
another spring gone, and still no word from you...



The Plum Blossoms
Li Qingzhao aka Li Ching-chao (c.1084-1155)  
loose translation/interpretation by Michael R. Burch

This year with the end of autumn
I find my reflection graying at the edges.
Now evening gales hammer these ledges...
what shall become of the plum blossoms?

Li Qingzhao was a poet and essayist during the Song dynasty. She is generally considered to be one of the greatest Chinese poets. In English she is known as Li Qingzhao, Li Ching-chao and The Householder of Yi'an.



Star Gauge
Sui Hui (c.351-394 BC)  
loose translation/interpretation by Michael R. Burch

So much lost so far away
on that distant rutted road.

That distant rutted road
wounds me to the heart.

Grief coupled with longing,
so much lost so far away.

Grief coupled with longing
wounds me to the heart.

This house without its master;
the bed curtains shimmer, gossamer veils.

The bed curtains shimmer, gossamer veils,
and you are not here.

Such loneliness! My adorned face
lacks the mirror's clarity.

I see by the mirror's clarity
my Lord is not here. Such loneliness!

Sui Hui, also known as Su Hui and Lady Su, appears to be the first female Chinese poet of note. And her 'Star Gauge' or 'Sphere Map' may be the most impressive poem written in any language to this day, in terms of complexity. 'Star Gauge' has been described as a palindrome or 'reversible' poem, but it goes far beyond that. According to contemporary sources, the original poem was shuttle-woven on brocade, in a circle, so that it could be read in multiple directions. Due to its shape the poem is also called Xuanji Tu ('Picture of the Turning Sphere') . The poem is now generally placed in a grid or matrix so that the Chinese characters can be read horizontally, vertically and diagonally. The story behind the poem is that Sui Hui's husband, Dou Tao, the governor of Qinzhou, was exiled to the desert. When leaving his wife, Dou swore to remain faithful. However, after arriving at his new post, he took a concubine. Lady Su then composed a circular poem, wove it into a piece of silk embroidery, and sent it to him. Upon receiving the masterwork, he repented. It has been claimed that there are up to 7,940 ways to read the poem. My translation above is just one of many possible readings of a portion of the poem.



Reflection
Xu Hui (627-650)  
loose translation/interpretation by Michael R. Burch

Confronting the morning she faces her mirror;
Her makeup done at last, she paces back and forth awhile.
It would take vast mountains of gold to earn one contemptuous smile,
So why would she answer a man's summons?

Due to the similarities in names, it seems possible that Sui Hui and Xu Hui were the same poet, with some of her poems being discovered later, or that poems written later by other poets were attributed to her.



Waves
Zhai Yongming (1955-)  
loose translation/interpretation by Michael R. Burch

The waves manhandle me like a midwife pounding my back relentlessly,
and so the world abuses my body—
accosting me, bewildering me, according me a certain ecstasy...



Monologue
Zhai Yongming (1955-)  
loose translation/interpretation by Michael R. Burch

I am a wild thought, born of the abyss
and—only incidentally—of you. The earth and sky
combine in me—their concubine—they consolidate in my body.

I am an ordinary embryo, encased in pale, watery flesh,
and yet in the sunlight I dazzle and amaze you.

I am the gentlest, the most understanding of women.
Yet I long for winter, the interminable black night, drawn out to my heart's bleakest limit.

When you leave, my pain makes me want to ***** my heart up through my mouth—
to destroy you through love—where's the taboo in that?

The sun rises for the rest of the world, but only for you do I focus the hostile tenderness of my body.
I have my ways.

A chorus of cries rises. The sea screams in my blood but who remembers me?
What is life?

Zhai Yongming is a contemporary Chinese poet, born in Chengdu in 1955. She was one of the instigators and prime movers of the 'Black Tornado' of women's poetry that swept China in 1986-1989. Since then Zhai has been regarded as one of China's most prominent poets.



Pyre
Guan Daosheng (1262-1319)  
loose translation/interpretation by Michael R. Burch

You and I share so much desire:
this love―like a fire—
that ends in a pyre's
charred coffin.



'Married Love' or 'You and I' or 'The Song of You and Me'
Guan Daosheng (1262-1319)  
loose translation/interpretation by Michael R. Burch

You and I shared a love that burned like fire:
two lumps of clay in the shape of Desire
molded into twin figures. We two.
Me and you.

In life we slept beneath a single quilt,
so in death, why any guilt?
Let the skeptics keep scoffing:
it's best to share a single coffin.

Guan Daosheng (1262-1319)    is also known as Kuan Tao-Sheng, Guan Zhongji and Lady Zhongji. A famous poet of the early Yuan dynasty, she has also been called 'the most famous female painter and calligrapher in the Chinese history... remembered not only as a talented woman, but also as a prominent figure in the history of bamboo painting.' She is best known today for her images of nature and her tendency to inscribe short poems on her paintings.



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

I heard my love was going to Yang-chou
So I accompanied him as far as Ch'u-shan.
For just a moment as he held me in his arms
I thought the swirling river ceased flowing and time stood still.



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

Will I ever hike up my dress for you again?
Will my pillow ever caress your arresting face?



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

Night descends...
I let my silken hair spill down my shoulders as I part my thighs over my lover.
Tell me, is there any part of me not worthy of being loved?



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

I will wear my robe loose, not bothering with a belt;
I will stand with my unpainted face at the reckless window;
If my petticoat insists on fluttering about, shamelessly,
I'll blame it on the unruly wind!



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

When he returns to my embrace,
I'll make him feel what no one has ever felt before:
Me absorbing him like water
Poured into a wet clay jar.



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

Bare branches tremble in a sudden breeze.
Night deepens.
My lover loves me,
And I am pleased that my body's beauty pleases him.



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

Do you not see
that we
have become like branches of a single tree?



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

I could not sleep with the full moon haunting my bed!
I thought I heard―here, there, everywhere―
disembodied voices calling my name!
Helplessly I cried 'Yes! ' to the phantom air!



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

I have brought my pillow to the windowsill
so come play with me, tease me, as in the past...
Or, with so much resentment and so few kisses,
how much longer can love last?



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

When she approached you on the bustling street, how could you say no?
But your disdain for me is nothing new.
Squeaking hinges grow silent on an unused door
where no one enters anymore.



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

I remain constant as the Northern Star
while you rush about like the fickle sun:
rising in the East, drooping in the West.

Tzŭ-Yeh (or Tzu Yeh)    was a courtesan of the Jin dynasty era (c.400 BC)    also known as Lady Night or Lady Midnight. Her poems were pinyin ('midnight songs') . Tzŭ-Yeh was apparently a 'sing-song' girl, perhaps similar to a geisha trained to entertain men with music and poetry. She has also been called a 'wine shop girl' and even a professional concubine! Whoever she was, it seems likely that Rihaku (Li-Po)    was influenced by the lovely, touching (and often very ****)    poems of the 'sing-song' girl. Centuries later, Arthur Waley was one of her translators and admirers. Waley and Ezra Pound knew each other, and it seems likely that they got together to compare notes at Pound's soirees, since Pound was also an admirer and translator of Chinese poetry. Pound's most famous translation is his take on Li-Po's 'The River Merchant's Wife: A Letter.' If the ancient 'sing-song' girl influenced Li-Po and Pound, she was thus an influence―perhaps an important influence―on English Modernism. The first Tzŭ-Yeh poem makes me think that she was, indeed, a direct influence on Li-Po and Ezra Pound.―Michael R. Burch



The Day after the Rain
Lin Huiyin (1904-1955)  
loose translation/interpretation by Michael R. Burch

I love the day after the rain
and the meadow's green expanses!
My heart endlessly rises with wind,
gusts with wind...
away the new-mown grasses and the fallen leaves...
away the clouds like smoke...
vanishing like smoke...



Music Heard Late at Night
Lin Huiyin (1904-1955)  
loose translation/interpretation by Michael R. Burch

for Xu Zhimo

I blushed,
hearing the lovely nocturnal tune.

The music touched my heart;
I embraced its sadness, but how to respond?

The pattern of life was established eons ago:
so pale are the people's imaginations!

Perhaps one day You and I
can play the chords of hope together.

It must be your fingers gently playing
late at night, matching my sorrow.

Lin Huiyin (1904-1955) , also known as Phyllis Lin and Lin Whei-yin, was a Chinese architect, historian, novelist and poet. Xu Zhimo died in a plane crash in 1931, allegedly flying to meet Lin Huiyin.



Saying Goodbye to Cambridge Again
Xu Zhimo (1897-1931)  
loose translation/interpretation by Michael R. Burch

Quietly I take my leave,
as quietly as I came;
quietly I wave good-bye
to the sky's dying flame.

The riverside's willows
like lithe, sunlit brides
reflected in the waves
move my heart's tides.

Weeds moored in dark sludge
sway here, free of need,
in the Cam's gentle wake...
O, to be a waterweed!

Beneath shady elms
a nebulous rainbow
crumples and reforms
in the soft ebb and flow.

Seek a dream? Pole upstream
to where grass is greener;
rig the boat with starlight;
sing aloud of love's splendor!

But how can I sing
when my song is farewell?
Even the crickets are silent.
And who should I tell?

So quietly I take my leave,
as quietly as I came;
gently I flick my sleeves...
not a wisp will remain.

(6 November 1928)  

Xu Zhimo's most famous poem is this one about leaving Cambridge. English titles for the poem include 'On Leaving Cambridge, ' 'Second Farewell to Cambridge, ' 'Saying Goodbye to Cambridge Again, '  and 'Taking Leave of Cambridge Again.'



These are my modern English translations of poems by the Chinese poet Huang E (1498-1569) , also known as Huang Xiumei. She has been called the most outstanding female poet of the Ming Dynasty, and her husband its most outstanding male poet. Were they poetry's first power couple? Her father Huang Ke was a high-ranking official of the Ming court and she married Yang Shen, the prominent son of Grand Secretary Yang Tinghe. Unfortunately for the young power couple, Yang Shen was exiled by the emperor early in their marriage and they lived largely apart for 30 years. During their long separations they would send each other poems which may belong to a genre of Chinese poetry I have dubbed 'sorrows of the wild geese' …

Sent to My Husband
by Huang E
loose translation/interpretation by Michael R. Burch

The wild geese never fly beyond Hengyang...
how then can my brocaded words reach Yongchang?
Like wilted willow flowers I am ill-fated indeed;
in that far-off foreign land you feel similar despair.
'Oh, to go home, to go home! ' you implore the calendar.
'Oh, if only it would rain, if only it would rain! ' I complain to the heavens.
One hears hopeful rumors that you might soon be freed...
but when will the Golden **** rise in Yelang?

A star called the Golden **** was a symbol of amnesty to the ancient Chinese. Yongchang was a hot, humid region of Yunnan to the south of Hengyang, and was presumably too hot and too far to the south for geese to fly there.



Luo Jiang's Second Complaint
by Huang E
loose translation/interpretation by Michael R. Burch

The green hills vanished,
pedestrians passed by
disappearing beyond curves.

The geese grew silent, the horseshoes timid.

Winter is the most annoying season!

A lone goose vanished into the heavens,
the trees whispered conspiracies in Pingwu,
and people huddling behind buildings shivered.



Bitter Rain, an Aria of the Yellow Oriole
by Huang E
loose translation/interpretation by Michael R. Burch

These ceaseless rains make the spring shiver:
even the flowers and trees look cold!
The roads turn to mud;
the river's eyes are tired and weep into in a few bays;
the mountain clouds accumulate like ***** dishes,
and the end of the world seems imminent, if jejune.

I find it impossible to send books:
the geese are ruthless and refuse to fly south to Yunnan!



Broken-Hearted Poem
by Huang E
loose translation/interpretation by Michael R. Burch

My tears cascade into the inkwell;
my broken heart remains at a loss for words;
ever since we held hands and said farewell,
I have been too listless to paint my eyebrows;
no medicine can cure my night-sweats,
no wealth repurchase our lost youth;
and how can I persuade that ****** bird singing in the far hills
to tell a traveler south of the Yangtze to return home?



Hermann Hesse

Hermann Karl Hesse (1877-1962) was a German-Swiss poet, novelist, essayist, painter and mystic. Hesse’s best-known works include Steppenwolf, Siddhartha, Demian, Narcissus and Goldmund and The Glass Bead Game. One of Germany’s greatest writers, Hesse was awarded the Nobel Prize in Literature in 1946.

"Stages" or "Steps"
by Hermann Hesse
from his novel The Glass Bead Game
loose translation/interpretation by Michael R. Burch

As every flower wilts and every youth
must wilt and exit life from a curtained stage,
so every virtue—even our truest truth—
blooms some brief time and cannot last forever.
Since life may summons death at any age
we must prepare for death’s obscene endeavor,
meet our end with courage and without remorse,
forego regret and hopes of some reprieve,
embrace death’s end, as life’s required divorce,
some new beginning, calling us to live.
Thus let us move, serene, beyond our fear,
and let no sentiments detain us here.

The Universal Spirit would not chain us,
but elevates us slowly, stage by stage.
If we demand a halt, our fears restrain us,
caught in the webs of creaturely defense.
We must prepare for imminent departure
or else be bound by foolish “permanence.”
Death’s hour may be our swift deliverance,
from which we speed to fresher, newer spaces,
and Life may summons us to bolder races.
So be it, heart! Farewell, and adieu, then!



The Poet
by Hermann Hesse
loose translation/interpretation by Michael R. Burch

Only upon me, the lonely one,
Do this endless night’s stars shine
As the fountain gurgles its faery song.

For me alone, the lonely one,
The shadows of vagabond clouds
Float like dreams over slumbering farms.

What is mine lies beyond possession:
Neither manor, nor pasture,
Neither forest, nor hunting permit …

What is mine belongs to no one:
The plunging brook beyond the veiling woods,
The terrifying sea,
The chick-like chatter of children at play,
The weeping and singing of a lonely man longing for love.

The temples of the gods are mine, also,
And the distant past’s aristocratic castles.

And mine, no less, the luminous vault of heaven,
My future home …

Often in flights of longing my soul soars heavenward,
Hoping to gaze on the halls of the blessed,
Where Love, overcoming the Law, unconditional Love for All,
Leaves them all nobly transformed:
Farmers, kings, tradesman, bustling sailors,
Shepherds, gardeners, one and all,
As they gratefully celebrate their heavenly festivals.

Only the poet is unaccompanied:
The lonely one who continues alone,
The recounter of human longing,
The one who sees the pale image of a future,
The fulfillment of a world
That has no further need of him.
Many garlands
Wilt on his grave,
But no one cares or remembers him.



On a Journey to Rest
by Hermann Hesse
loose translation/interpretation by Michael R. Burch

Don't be downcast, the night is soon over;
then we can watch the pale moon hover
over the dawning land
as we rest, hand in hand,
laughing secretly to ourselves.

Don't be downcast, the time will soon come
when we, too, can rest
(our small crosses will stand, blessed,
on the edge of the road together;
the rain, then the snow will fall,
and the winds come and go)
heedless of the weather.



Lonesome Night
by Hermann Hesse
loose translation/interpretation by Michael R. Burch

Dear brothers, who are mine,
All people, near and far,
Wishing on every star,
Imploring relief from pain;

My brothers, stumbling, dumb,
Each night, as pale stars ache,
Lift thin, limp hands for crumbs,
mutter and suffer, awake;

Poor brothers, commonplace,
Pale sailors, who must live
Without a bright guide above,
We share a common face.

Return my welcome.



How Heavy the Days
by Hermann Hesse
loose translation/interpretation by Michael R. Burch

How heavy the days.
Not a fire can warm me,
Nor a sun brighten me!
Everything barren,
Everything bare,
Everything utterly cold and merciless!
Now even the once-beloved stars
Look distantly down,
Since my heart learned
Love can die.



Without You
by Hermann Hesse
loose translation/interpretation by Michael R. Burch

My pillow regards me tonight
Comfortless as a gravestone;
I never thought it would be so bitter
To face the night alone,
Not to lie asleep entangled in your hair.

I lie alone in this silent house,
The hanging lamp softly dimmed,
Then gently extend my hands
To welcome yours …
Softly press my warm mouth
To yours …
Only to kiss myself,
Then suddenly I'm awake
And the night grows colder still.

The star in the window winks knowingly.
Where is your blonde hair,
Your succulent mouth?

Now I drink pain in every former delight,
Find poison in every wine;
I never knew it would be so bitter
To face the night alone,
Alone, without you.



Secretly We Thirst…
by Hermann Hesse
from his novel The Glass Bead Game
loose translation/interpretation by Michael R. Burch

Charismatic, spiritual, with the gracefulness of arabesques,
our lives resemble fairies’ pirouettes,
spinning gently through the nothingness
to which we sacrifice our beings and the present.

Whirling dreams of quintessence and loveliness,
like breathing in perfect harmony,
while beneath your bright surface
blackness broods, longing for blood and barbarity.

Spinning aimlessly in emptiness,
dancing (as if without distress), always ready to play,
yet, secretly, we thirst for reality
for the conceiving, for the birth pangs, for suffering and death.

Doch heimlich dürsten wir…

Anmutig, geistig, arabeskenzart
*******unser Leben sich wie das von Feen
In sanften Tänzen um das Nichts zu drehen,
Dem wir geopfert Sein und Gegenwart.

Schönheit der Träume, holde Spielerei,
So hingehaucht, so reinlich abgestimmt,
Tief unter deiner heiteren Fläche glimmt
Sehnsucht nach Nacht, nach Blut, nach Barbarei.

Im Leeren dreht sich, ohne Zwang und Not,
Frei unser Leben, stets zum Spiel bereit,
Doch heimlich dürsten wir nach Wirklichkeit,
Nach Zeugung und Geburt, nach Leid und Tod.



Across The Fields
by Hermann Hesse
loose translation/interpretation by Michael R. Burch

Across the sky, the clouds sweep,
Across the fields, the wind blunders,
Across the fields, the lost child
Of my mother wanders.

Across the street, the leaves sweep,
Across the trees, the starlings cry;
Across the distant mountains,
My home must lie.



EXCERPTS FROM "THE SON OF THE BRAHMAN"
by Hermann Hesse
loose translation/interpretation by Michael R. Burch

In the house-shade,
by the sunlit riverbank beyond the bobbing boats,
in the Salwood forest’s deep shade,
and beneath the shade of the fig tree,
that’s where Siddhartha grew up.

Siddhartha, the handsomest son of the Brahman,
like a young falcon,
together with his friend Govinda, also the son of a Brahman,
like another young falcon.

Siddhartha!

The sun tanned his shoulders lightly by the riverbanks when he bathed,
as he performed the sacred ablutions,
the sacred offerings.

Shade poured into his black eyes
whenever he played in the mango grove,
whenever his mother sang to him,
whenever the sacred offerings were made,
whenever his father, the esteemed scholar, instructed him,
whenever the wise men advised him.

For a long time, Siddhartha had joined in the wise men’s palaver,
and had also practiced debate
and the arts of reflection and meditation
with his friend Govinda.

Siddhartha already knew how to speak the Om silently, the word of words,
to speak it silently within himself while inhaling,
to speak it silently without himself while exhaling,
always with his soul’s entire concentration,
his forehead haloed by the glow of his lucid spirit.

He already knew how to feel Atman in his being’s depths,
an indestructible unity with the universe.

Joy leapt in his father’s heart for his son,
so quick to learn, so eager for knowledge.

Siddhartha!

He saw Siddhartha growing up to become a great man:
a wise man and a priest,
a prince among the Brahmans.

Bliss leapt in his mother’s breast when she saw her son's regal carriage,
when she saw him sit down,
when she saw him rise.

Siddhartha!

So strong, so handsome,
so stately on those long, elegant legs,
and when bowing to his mother with perfect respect.

Siddhartha!

Love nestled and fluttered in the hearts of the Brahmans’ daughters when Siddhartha passed by with his luminous forehead, with the aspect of a king, with his lean hips.

But more than all the others Siddhartha was loved by Govinda, his friend, also the son of a Brahman.

Govinda loved Siddhartha’s alert eyes and kind voice,
loved his perfect carriage and the perfection of his movements,
indeed, loved everything Siddhartha said and did,
but what Govinda loved most was Siddhartha’s spirit:
his transcendent yet passionate thoughts,
his ardent will, his high calling. …

Govinda wanted to follow Siddhartha:

Siddhartha the beloved!

Siddhartha the splendid!



Thus Siddhartha was loved by all, a joy to all, a delight to all.

But alas, Siddhartha did not delight himself. … His heart lacked joy. …

For Siddhartha had begun to nurse discontent deep within himself.
These are my modern English translations of poems by Uyghur poets, Chinese poets and the German poet Hermann Hesse.
Unlucky horseshoes,
strewn around the fields,
where I used to play.
Captured ankles after curfews,
absconded sword and shield,
laugh at me from yesterday.
I used to cry with curlews,
now my mouth is sealed,
like the word unsay.
Broad and mighty purviews,
are now wisps that yield,
to ground on which they lay.

You'll never understand,
the pain with which you struck me.
The young outstretching hand,
has wizened into an old and grizzled duppy.
The noose I wear by your demand,
has the same shape and plans,
as those; hateful, possessive, and, ******;
horseshoes unlucky.

@poormansdreams
Jami Samson Jun 2013
Never have I let a black cat get in my way,
Never have I turned a horseshoe upside-down,
And never have I looked at a broken mirror;
But yet it seems like black cats insist on getting in my way,
Horseshoes turn themselves upside-down,
And mirrors break themselves, to give me bad luck.

“Don't sweep the floor at night if you don't want to sweep away the fortune,”
“Don't open an umbrella while you're still inside, if you don't want to attract trouble;”
That's what they all say.
But it seems like no matter what I do,
Good luck and good fortune really want to stay away from me,
And misfortune and disaster really want to chase after me.

Every incident turns into accident.
No, it can't be just a coincidence.
I'm jinxed, vexed, and hexed.
Call me anything you want,
It won't change the fact;
I'm hoodooed, and voodooed, and cursed.

But the fortune teller never told me about
How fate would suddenly be on my side this time.
She read my palm
And looked at her crystal ball,
But all she saw
Was my ill-fated future.

But now the wheel of fortune has finally spun;
The one on the bottom is finally on top.
I guess this is the effect of karma.
Destiny has finally decided
To give me something I need more than anything,
And it's none other than a lucky charm.

This lucky charm cannot be worn like a ring, bracelet, or an amulet;
And cannot be stolen like a gem or a stone.
It's something that I am the only one who possess;
For it is not an object, but a person instead.
He's not a genie, a wizard, or anyone who can grant any wish;
Just an ordinary person, with an extraordinary magic.

Bad luck is my twin;
We're together through thick and thin.
But when I'm with him,
It's as if good luck is also with me.
Because he can make such an unfortunate person
Feel even luckier than a lucky charm.
#8, 2011
SOMEBODY'S little girl-how easy to make a sob story over who she was once and who she is now.
Somebody's little girl-she played once under a crab-apple tree in June and the blossoms fell on the dark hair.
  
It was somewhere on the Erie line and the town was Salamanca or Painted Post or Horse's Head.
And out of her hair she shook the blossoms and went into the house and her mother washed her face and her mother had an ache in her heart at a rebel voice, "I don't want to."
  
Somebody's little girl-forty little girls of somebodies splashed in red tights forming horseshoes, arches, pyramids-forty little show girls, ponies, squabs.
How easy a sob story over who she once was and who she is now-and how the crabapple blossoms fell on her dark hair in June.
  
Let the lights of Broadway spangle and splatter-and the taxis hustle the crowds away when the show is over and the street goes dark.
Let the girls wash off the paint and go for their midnight sandwiches-let 'em dream in the morning sun, late in the morning, long after the morning papers and the milk wagons-
Let 'em dream long as they want to ... of June somewhere on the Erie line ... and crabapple blossoms.
Catrina Sparrow Dec 2012
the clouds are breaking
slowly
and sweetly
and just enough to let ribbons of sunlight splash down on our faces

let's play today
let's fill the car with gas
and beer
and horseshoes
and disappear for a few hours on end
further south
on the lake shore
let's run rampant today
kick off our shoes and paddle over the cracking pavement barefoot
at full speed
and full of laughter
let's jump in the puddles
and build in the mud
and dance in the wild flowers like we used to
before we learned that others may be watching

let's fly a kite
unfathomably high
upwards enough to tap-dance through the rings of saturn
and scoop us up some treasures-
astrological costume jewelry just waiting to be adorned
let's sing like we aren't afraid
snap our way to center stage
and bathe in sweltering limelight for the world to hear
we'll sing away all our blues
and the rest of the world's blues too
let's jump off the high cliffs
in our steam pressed sunday best
to show at least ourselves
we're all we've got to impress
and as we're weightless and pressurized
beneath the surface of a glossy green lake
let the buttons
and cufflinks
and pearl earrings fall away
so we can see ourselves some clean way
again

let's forget
let us never remember being scared
and lonely
and lost
at cumbersome crossroads of the past
let's rebuild ourselves from scratch
press stardust and dirt
from the ground up
to make us new
and real
and something we can finally feel proud of
let's be magic
light in the dark
and love to the lost
we can heal hearts
we can hold hands
we can be friends
and be happy

let's play today
i wrote this on may 27, 2011.
i feel like it applies, with the new year on approach.
Robert C Howard Jul 2016
" It ought to be solemnized with Pomp and Parade, with Shews,
            Games, Sports, Guns, Bells, Bonfires and  
                Illuminations from one End of this Continent
                      to the other from this Time forward forever more.”
      John Adams – July 3, 1776.

Webster Groves - 2016

The Townhall fountain dances
cheerily in the morning sun.
The red-white-blue shirted crowd
rises as one for the colors.
Laughing children scramble for
tootsie rolls and sweet tarts
tossed by a strolling  clown.

         Philadelphia, July 3, 1776

        Carriages sped toward Philadelphia
        where resolute patriots
        would turn the pages of history
        and tell an unsuspecting world
        that a new nation had given birth to itself.


Sousa strains peal from the marching Statesmen,
Girl Scouts guide their well-groomed mounts -
hooves echoing through concrete caverns.
Vintage firetrucks and autos
sound their horns and sirens
as candidates work the crowd, pressing the flesh.

        Each crass insult from the British crown
        had tightened the noose on the colonial neck.
        The middle ground was soaked with patriot blood
        and revolution was the only course left.


Barbecue clouds drift over Pat and Lee’s farm
Horseshoes spin and clang and frisbees fly.
A ***-luck feast with beans and franks
interrupts the pop and glare of bottle rockets.

        One by one, each patriot quilled the parchment
        resolved to endure the costs of liberty -
        knowing to the marrow that defeat
        would spell certain ******* and death.


We reach the lakeshore at dusk -
unfolding chairs - spreading out blankets -
strains of Americana drift over the lake.
then a pyro-technic extravaganza
blazes across the summer sky.  

        Washingon’s tattered and bloodied men
        cornered Cornwallis at Yorktown.
        Then surrender - all British claims
        to American soil banished to the tomes of history.


The grand finale pummels the darkened sky
raising cheers and whistles from the crowd
Toddlers collapse in parental arms,
car doors slam, engines ignite
and head-lighted caravans, turn for home,
spiraling off in every compass degree.

“Happy birthday,” America and endless happy returns
"from this time forward forever more!”  

Robert Charles Howard
Werdna Jan 2019
A circle speaks volumes.
Revolutionize and tidy up.
Instruction manuals are read automatically.
Privacy parts the talon and now,
how the sky blinks a feather ever so unusually.

Ever wake up in your sleep to your head fully stuck in the sixth sense
stomach of a pillow, and thought to yourself in bed about how much of
a dream it must be to be stuffed turkey?

I haven't.

Or thought to your self made bed how making the bed as an edible
symbol of thanksgiving
is like taking a stand
on a landmine,
for eternity?

I haven't.
I also lie and lay awake to myself.

Although a traveler tends to do all of the above,
below the radar.
A farmer tends too.
Eats an earthquake,
aftershock, rattled rim, pacific clarity, clear the oceans, tremors, tremors,
Noah's ark is a humpback funeral home.
Noah riding a hearse by the hubcap, clean teeth grip.
Noah in my mouth, reciting odd numbers on my taste buds.

Noah licking a polished nail, course matte for me,
three by three, the poor
poor bones of a humpback whale singing sad on a mountain.

You have to wonder about coffins when it's death out.
And water among amidst when your lungs are thirsty.
And since it seems the tried and tested walk has all but run away,
some metal wood rubber leather latex silk wool boxes spit out tickets.

A materialistic downer on uppers levels off at acceptance.
And yeah, smoking will **** you, but this is about me and I need to inhale.
This is not about me, but about you, or was that nature?
The nature of nurturing seems as good a point to start this conversation.
But it's dead end talk to talk in line segments, and well, ****,
it's time for an advertisement:

This cylinder tin is full of everything your life is empty of!
Forget the cost; be content with the contents,
rehearse the ingredients, unload the all and do it again.
Infatuation is hot-air gas inflated in the belly of outer space.
I love the way those stars look and those stars love looking at me.

The cut and paste of our human race is unfairly lopsided.
The northern blade has a tumor the size of misdirection,
the scales are tipped, the whips are tipped, and the weapons are gripped.
Sudan doesn't own scissors; Angola is the axis of axe-less
but their ******* skyline is incestuously bright,
their constellations all make sense,
and their astronauts haven't lifted off, to jump and jive in the very
same sky we share with them.
No, not yet, there are animals to be slaughtered sedimentary still.
Ones with tribal names that come off the tongue like mouth sound effects,
they are almost people, without horns hammered in their heads.

Eating on all fours from a license plate.
Dig in, Donesia.
How is life in amnesia, brain pulp square?
Psychologically disturbed map and memory loss, southwest Asia?
Your address is a long walk, but the **** citizen on the roadside exhibit
is a refreshing remix to our boring, bragging billboards.
And your suffering is art to the skull and cross-bone pale cube galleries
that we call home sweet, home sweet merchandise.
And rest assured, your lack of rest will insure western survival,
North America will steal your toddler corpses
and sell them at the front gates of your orphanage ghettos.
It's the least we can do after gouging out your eyeballs.

I didn't even write this, it was drawn by a blind boy in India.

The black market pencil case people are going to a blow-out sale.
The sales on them and the jokes a bomb.
The jokes on them and the sales a bomb.
The bombs on them and the jokes a sale.
The female holds her breath and suffocates a male.
And the genders collapse in heaps and heaves, recycled and broke
like natural leaves caught in a mythological fighter
jet's propeller.
Like aeroplanes, several even, oddly amount conclusive crash-like.
Like, like, like, if the globe of green and blue were to still be alive
I would colour co-ordinate accordingly, and wear whatever hue
the big bang theory wasn't.
Dust particles getting it on and such.
Finger painting *** with a rag and pan pencil case.

The black market Darwin drawin' is on fire in the pockets of our youth,
elderly lint in same corduroy bent knuckle nameless, places
an introduction to i.v. and a never un-shook from his hinges
living room magazine holder.
So the flinching milli-metricks betwixt our beloved booklets brings
gratification, satisfaction, and eternal life.
And gravity with a runny nose.
Oh, oh!  My first ever and last edit: Make that ******.

So I'm infinite pass-time, tedious rusty grime
and dead llama on the zoo-way.
"Look Ma, a dead llama!"
"No dear, she is just sleeping with her blood out
and cage on".

No more rides for the unknown, let it be known.
Call your superiors, mega-impose their posteriors, an emphasis on
brittle lives.
And chew the fat, chew the fat, **** the marrow, narrow
weight-scale bound in chain-mail, accidental prediction protection,
magnify, mortify, modern sill overdosing on wake pills, horticultural hi.

I am coherent when the setting is all tens, when
the plot is all tens, when the characters are all reaping tens.
The catch is in the ******, looking scared cloth-less elevens.

Judges, what verdict gives you
the right to wig wear an oak arm chair
with an all too obvious worn-mallet-beating-desktop syndrome
bashing your would be innocent until proven rich-boy lashes, err, guilty?

Was that even a question,
or merely a stir-fried rant?

The master chefs are coming after us all in our under garments,
over bridges and mountains and tiger stance wisdom and
we need a Messiah like we need horseshoes on our foreheads.

Mule yoke split on the frying pan of till death do us cook.
Separation nation; a river plain, a barren abstract.
And the artists are painting droplets on their toes,
kissing themselves after a game of Chinese checkers,
determined to squirm sweet nothings while riding
question mark shaped seats from Sweden.

And under a hail of Mary's, Jason's, William's, Susan's, and missiles,
they touch their ankles where they know
nails should be,
extinct.

A circle sounds off,
a sky sounds awful,
a bomb sounds right,
a body sounds circles,
and a circle speaks volumes.
Celeste McNeil Apr 2016
One almost tore away my wall
One almost said he chooses me
Another almost made me fall
One almost finally set me free

But almost only counts
in horseshoes and hand grenades
Fool's gold has luster
and sweet are borrowed serenades
You can't call it love
I'll call your bluff
because almost is only almost
and that's not enough

A roller coaster only climbing
missing the train by a minute's timing
A frozen bud in a snap of cold
An unfinished novel, story untold
A sentence fragment
A muddled accent
A pantomimed kiss
A swing and a miss
A pencil sketch
A warm up stretch
A suspended chord
A ringless lord
A lightning bolt, no rain or thunder
A child at play, no sense of wonder

Almost only counts
in horseshoes and hand grenades
Fool's gold has luster
and sweet are borrowed serenades
You can't call it love
I'll call your bluff
because almost is only almost
and that's not enough

I almost love you too
I almost let you in
I almost wish I was the one
I can almost begin again

And even if the words only almost rhyme
I only almost care by the end of the lines
While I could almost forget, in truth I find
that I will always remember how you were almost mine
Richard Riddle Dec 2015
I've been asked by our son and the grandchildren, Evan and Emily, "Granddad, what would you like to have Santa bring you for Christmas?" A stock answer with grandparents nearly everywhere is, "Don't get me anything, for I have everything I need or want, so save your money."
Although this is a true answer, I usually give some kind of a rediculous answer like, "A pair of horseshoes would be nice." They smile, laugh, but it wouldn't surprise me if they bought a pair.
When I say, "I have what I want", I mean just that. For you see, my family, our son Russ, daughter-in-law, Mea, Evan and Emily, and my "Guardian Angel", "Brie", are my Christmas gifts, 365 days a year.

I can't ask for more than that!

copyright: richard riddle- 12-21-2015
deanena tierney Jan 2011
When every single rabbit's foot is rubbed down to the core,
And all your note's in lil' bottles fail to reach the shore,
And you realize that no *** of gold, has, nor will be found,
And not even one, heads-up penny, remains on any ground,
And all that Buddha seems to get, is a real bad tummy ache,
And you can't locate a wishbone, to have a chance to break,
And every finger becomes so stiff, that you just can't cross,
And you find the numbers, seven and eleven, bring you only loss,
When every ladybug becomes so sick, and appears surely to die,
And you search, but find no rainbows, to view up in the sky,
And finally, you must admit, horseshoes only work for fun,
Must it take all of this to know that's GOD's the ONE?
Michael R Burch May 2024
I have titled this collection of ancient Chinese poems SORROWS OF THE WILD GEESE by HUANG E

Sent to My Husband
by Huang E
loose translation/interpretation by Michael R. Burch

The wild geese never fly beyond Hengyang ...
how then can my brocaded words reach Yongchang?

Like wilted willow flowers I am ill-fated indeed;
in that far-off foreign land you feel similar despair.

“Oh, to go home, to go home!” you implore the calendar.
“Oh, if only it would rain, if only it would rain!” I complain to the heavens.

One hears hopeful rumors that you might soon be freed ...
but when will the Golden **** rise in Yelang?

A star called the Golden **** was a symbol of amnesty to the ancient Chinese. Yongchang was a hot, humid region of Yunnan to the south of Hengyang, and was presumably too hot and too far to the south for geese to fly there.




Luo Jiang's Second Complaint
by Huang E
loose translation/interpretation by Michael R. Burch

The green hills vanished,
pedestrians passed by
disappearing beyond curves.

The geese grew silent, the horseshoes timid.

Winter is the most annoying season!

A lone goose vanished into the heavens,
the trees whispered conspiracies in Pingwu,
and people huddling behind buildings shivered.



Bitter Rain, an Aria of the Yellow Oriole
by Huang E
loose translation/interpretation by Michael R. Burch

These ceaseless rains make the spring shiver:
even the flowers and trees look cold!

The roads turn to mud;
the river's eyes are tired and weep into a few bays;
the mountain clouds accumulate like ***** dishes,
and the end of the world seems imminent, if jejune.

I find it impossible to send books:
the geese are ruthless and refuse to fly south to Yunnan!



Broken-Hearted Poem
by Huang E
loose translation/interpretation by Michael R. Burch

My tears cascade into the inkwell;
my broken heart remains at a loss for words;
ever since we held hands and said farewell,
I have been too listless to paint my eyebrows;
no medicine can cure my night-sweats,
no wealth repurchase our lost youth;
and how can I persuade that ****** bird singing in the far hills
to tell a traveler south of the Yangtze to return home?

These are my modern English translations of poems by the Chinese poet Huang E (1498–1569), also known as Huang Xiumei. She has been called the most outstanding female poet of the Ming Dynasty, and her husband its most outstanding male poet. Were they poetry’s first power couple? Her father Huang Ke was a high-ranking official of the Ming court and she married Yang Shen, the prominent son of Grand Secretary Yang Tinghe. Unfortunately for the young power couple, Yang Shen was exiled by the emperor early in their marriage and they lived largely apart for 30 years. During their long separations they would send each other poems which may belong to a genre of Chinese poetry I have dubbed "sorrows of the wild geese."



Springtime Prayer
by Michael R. Burch

They’ll have to grow like crazy,
the springtime baby geese,
if they’re to fly to balmier climes
when autumn dismembers the leaves ...

And so I toss them loaves of bread,
then whisper an urgent prayer:
“Watch over these, my Angels,
if there’s anyone kind, up there.”

Originally published by Borderless Journal (Singapore)



The Mallard
by Michael R. Burch

The mallard is a fellow
whose lips are long and yellow
with which he, honking, kisses
his *****, boisterous mistress:
my pond’s their loud bordello!



Kindred (II)
by Michael R. Burch

Rise, pale disastrous moon!
What is love, but a heightened effect
of time, light and distance?

Did you burn once,
before you became
so remote, so detached,

so coldly, inhumanly lustrous,
before you were able to assume
the very pallor of love itself?

What is the dawn now, to you or to me?
We are as one,
out of favor with the sun.

We would exhume
the white corpse of love
for a last dance,

and yet we will not.
We will let her be,
let her abide,

for she is nothing now,
to you
or to me.



Hangovers
by Michael R. Burch

We forget that, before we were born,
our parents had “lives” of their own,
ran drunk in the streets, or half-******.

Yes, our parents had lives of their own
until we were born; then, undone,
they were buying their parents gravestones

and finding gray hairs of their own
(because we were born lacking some
of their curious habits, but soon

would certainly get them). Half-******,
we watched them dig graves of their own.
Their lives would be over too soon

for their curious habits to bloom
in us (though our children were born
nine months from that night on the town

when, punch-drunk in the streets or half-******,
we first proved we had lives of our own).



Breakings
by Michael R. Burch

I did it out of pity.
I did it out of love.
I did it not to break the heart of a tender, wounded dove.

But gods without compassion
ordained: Frail things must break!
Now what can I do for her shattered psyche’s sake?

I did it not to push.
I did it not to shove.
I did it to assist the flight of indiscriminate Love.

But gods, all mad as hatters,
who legislate in all such matters,
ordained that everything irreplaceable shatters.



Habeas Corpus
by Michael R. Burch

from “Songs of the Antinatalist”

I have the results of your DNA analysis.
If you want to have children, this may induce paralysis.

I wish I had good news, but how can I lie?
Any offspring you have are guaranteed to die.

It wouldn’t be fair—I’m sure you’ll agree—
to sentence kids to death, so I’ll waive my fee.



Like Angels, Winged
by Michael R. Burch

Like angels—winged,
shimmering, misunderstood—
they flit beyond our understanding
being neither evil, nor good.

They are as they are ...
and we are their lovers, their prey;
they seek us out when the moon is full
and dream of us by day.

Their eyes—hypnotic, alluring—
trap ours with their strange appeal
till like flame-drawn moths, we gather ...
to see, to touch, to feel.

Held in their arms, enchanted,
we feel their lips, so old!,
till with their gorging kisses
we warm them, growing cold.



Update of "A Litany in Time of Plague"
by Michael R. Burch

THE PLAGUE has come again
To darken lives of men
and women, girls and boys;
Death proves their bodies toys
Too frail to even cry.
I am sick, I must die.

Lord, have mercy on us!
Tycoons, what use is wealth?
You cannot buy good health!
Physicians cannot heal
Themselves, to Death must kneel.
Nuns’ prayers mount to the sky.
I am sick, I must die.
Lord, have mercy on us!

Beauty’s brightest flower?
Devoured in an hour.
Kings, Queens and Presidents
Are fearful residents
Of manors boarded high.
I am sick, I must die.
Lord, have mercy on us!

We have no means to save
Our children from the grave.
Though cure-alls line our shelves,
We cannot save ourselves.
"Come, come!" the sad bells cry.
I am sick, I must die.
Lord, have mercy on us!



faith(less)
by Michael R. Burch

Those who believed
and Those who misled
lie together at last
in the same narrow bed

and if god loved Them more
for Their strange lack of doubt,
he kept it well hidden
till he snuffed Them out.

ah-men!



The Cosmological Constant
by Michael R. Burch

Einstein the frizzy-haired
claimed E equals MC squared.
Thus all mass decreases
as activity ceases?
Not my mass, my *** declared!



***-tronomical
by Michael R. Burch

Relativity, the theorists’ creed,
claims mass increases with speed.
My (m)*** grows when I sit it.
Mr. Einstein, get with it;
equate its deflation, I plead!



The Hair Flap
by Michael R. Burch aka "The Loyal Opposition"

The hair flap was truly a scare:
Trump’s bald as a billiard back there!
The whole nation laughed
At the state of his graft;
Now the man’s wigging out, so beware!



Salvation of a Formalist, an Ode to Entropy
by Michael R. Burch

Entropy?
God's universal decree
That I get to be
Disorderly?
Suddenly
My erstwhile boxed-in verse is free?
Wheeeeee!

Keywords/Tags: Chinese poetry, China, sorrow, sorrows, geese, rain, heavens, hills, winter, trees, rivers, mountains, books, birds, spring, springtime, baby, babies, pray, prayer, angels
These are modern English translations of poems by the Chinese poet Huang E, , also known as Huang Xiumei.
A Psalmist Jun 2016
There once was a lingering Almost
That followed you like a ghost.
She's haunted your past
Leaves you downcast
and both lifeless and comatose

She decided to stay for a while
So long that she had a child
His name is Regret
who will make you forget
Exactly how to reconcile

But one day you decide you've had enough
And demand that they pack up their stuff
They were so close to leaving
And almost believing
Until they called your bluff.
GIVE me your anathema.
Speak new damnations on my head.
The evening mist in the hills is soft.
The boulders on the road say communion.
The farm dogs look out of their eyes and keep thoughts from the corn cribs.
Dirt of the reeling earth holds horseshoes.
The rings in the whiffletree count their secrets.
Come on, you.
Cheyenne Majors Dec 2012
I
We are made of wood, we
rot from the inside out,
for men of STONE went extinct years ago.
We are the trees
our a  r  m  s and    l
                                 e
                                 g
                                 s
                                     are branches
Our fingers
twigs and leaves
our hearts easily set     a         l            z
                                              b   ­       a           e         by emotions carved on
our trunks
We burn for one another
like a forest fire,
but if we all fall to the flame
we will soon be men of  a  s   h    e     s ....

II
Where are the golden halos?
the jeweled crowns of the gods?
have they tumbled from the h e a v e n s
down below the sea
pass hell's gate
and into your hands?

They're looking for them,
they'll find you.
But not until April,
because Persephone will be back by then,
and hell will be less tense.
Until then, guard them.
You know the demons come out at night,
ready to bargin,
but dont make the deal.
Wait for April.
Wait for the flowers to bloom,
and the rain to fall,
before you return the crowns.

III
They came on horses
in gold and red.
My father and his friends stared at them
in the way only arrogant American men can.
They trotted on by with their horses
that wore blindfolds
and gold horseshoes.  
They did not say a word.
They did not look at anyone.
They
          did
                  nothing
            ­                     wrong.
My father sleeps with the blindfold on at night
and carries one of the horseshoes in his pocket.
I haven't seen the gold and red horse riders since they came
that one day
with no words to say
                                      and no eyes to be met
                                                             ­                  on their blinded stallions.
My father says we're not allowed to talk about them.
He doesn't let me wear red and gold anymore.
Anais Vionet Jul 2023
It was a cool, overcast and windy Sunday morning in March 2014. We were about 50 miles from Paris, at my Grandmère’s (grandmother’s) farm. She lives in Paris, but she owns a Château and surrounding 1,100-hectare farm that she calls her “fall retreat.”

Between three and five hundred people work on the farm, the Château and its surrounding shops (some work is seasonal). The shops sell wool, cheese, wine and ice cream produced on the farm, as well as touristy things. Many of the employees live on the farm, rent free. Their homes, owned by the farm, form a hameau (village). I didn’t understand much of this at the time, I was 10 years old.

My Grandmère was dedicating a new store just off the village green. The green wasn’t square, like those in the UK and it didn’t have swings or a slide, as I’d hoped. You’d think I’d know a hamlet my Grandmère owned but this place was alien to me. I’d arrived as part of her entourage but as the presentation ground on, I got bored. So, I took Charles by the hand and off we went.

We (my little nuclear family) were living in the UK then and we were visiting Paris for the Easter holiday. The fall before, as the school year had started, a girl in my grade (4th grade or year 5 in the UK) had been kidnapped and murdered on her way home from school. My Grandmère was “having none of it,” and hired Charles, a burly, red-headed, just retired, ex-NYC cop, as my security, escort and practical nanny. He’d been with me for about half a year, at that point, and we’d become fast friends.

It was the height of the pre-summer, Easter season. In addition to the villagers, there were tourists everywhere, picnicking on the grass, visiting the shops and playing football (soccer). Most of the tourists seemed to have small children that ran around. The townspeople sat on benches, eating ice creams and playing dominoes or quoits, a horseshoes-like game, played on a sand pitch.

You couldn’t mistake the two groups - the natives and the tourists. The towns folk were plainly dressed, the women in simple smocks and sweaters, the men wearing slacks, tweed jackets, berets or tag hats. The tourists spoke other languages - there were Italians, Britts, Germans and even Americans - who wore sports logoed t-shirts, shorts, sneakers and baseball caps.

As Charles and I wandered around the village, I asked, “Can we get a sirop?” One of the most popular drinks, in France, is a grenadine sirop (soda). We stopped and as Charles bought us drinks, I wandered a way off. He found me, moments later, hanging from a tree limb, upside down, my hair sweeping the grass like a broom.

“Stop that,” he’d said, swooping me up and off the branch with his soda free hand and setting me alright. As he picked leaves out of my hair, he said, “Don’t wander away from me like that, you know better.” “Yes sir” I agreed. A moment later, he picked me up and placed me atop a low, four-foot parapet wall that ran around the village. I could feel sharp, rough stone edges through my cotton dress but I drank my sirop and didn’t complain.

“You saved me from the dragon,” I said, after my first few sips.
“What dragon?” he said.
“The dragon that had me in its teeth, over there.” I pointed at the tree where I’d been upside down.
“I saved you from yourself,” he said, as he looked around the square.
“That’s silly,” I announced, “how can someone need saving from themselves?”
“Oh, It happens all the time,” he said.

The event ended and as people began leaving, they filed by us on the sidewalk. The village men doffed their hats and the women nodded a quick curtsey as they passed. “Why are they doing THAT?” I asked Charles, “am I a princess?”
“No,” he snorted, “you’re no kind of princess. They’re doing it out of respect for your illustrious grandmother.” “Oh,” I said disappointedly.

A moment later our car pulled up and we were headed back to the city. “Did you have fun?” my Grandmère asked, “yes mam,” I answered. “Did you behave yourself?” She followed up. “Mostly,” I admitted. She nodded, pronouncing, “That’s how it should be,” as the limo turned onto the autoroute (expressway) and accelerated for lunch in Paris.
BLT Marriam Webster word of the day challenge: Illustrious: a person that’s highly admired and respected.
Connor Reid Jun 2014
1992, seldom electric fire
  Top tier tenement
grease paint balcony
White flack veranda, in cold
     Aircraft damage
diamond hill - screen run
  centipedes crawling from under carpets
  Three stacked wage
Lighters tossed in
click click click
            Shared alternate
          Wiping vandal on jeans
- aquatic codex
     Ran       G - Er
Cleaning ***** pipes to play
     Brushes
Pushing out bits of pigeon meat
             Nature
                   Takes back
                         Inner pink
walking through valley, 2 shops
   Butchers, newsagents, bag on back, 75p Irn Bru
     - niaroo, old folks
a Roman decoration
   Holding hands, woken camping
Damp - Sleep
             Dams
man-made, man-made
   shoes
Taken off
  tiptoeing in inch high slow decline
Straddling fallen tree rings
           Egyptian replicant
      Citerazine, bag full of frogs
       Tree swings
                  - rope burn
    Cap full of Night Nurse
And a newtonian lung full of phlegm
  Mattress protector, cold sweat, menthol
                      - Or
  Retailed Jelly Beans pushed through face
      Lactic acid
          food pylons
     change t-shirts on trains home
     Thawing moments
     In a misty aether
       - That we found
            While eating in the Rain
     Sidestep
         Sidestep
              sidestep
         Til' we ***** rocks on waxpaper
                                Quasi-negativity
overheard on the 57th chemical bus
           Imitated cough
  Flash point culture
Aching on
a woken bad comfort, 50 minutes
    Surfing on liquid Archipelagos
- Camping - On a swollen inner thigh
                 Cause the
                 (carriage)
                           Today
Several dead.
   Yet cosmos vanished lacquer
                              Manslaughter
boiled mouthwash
       in the future
- drole
        acryllic ****
Shoes taken off at doors
      A need to laugh, Not in bars
    Not in rigor, not in Lips
Blankets on open doors to Firs
         rings century heat fort
  eight days external
             licking
     The imaginary
                  (Wound)
Shameless St. John
  Bricks
  Smashed off 204th launch
          finger split.   Splint
      -Fibration
              g
               oo -
finding Love in Junipers
        enchanted, Vanilla pod
Apple fries, casual ***, loose horseshoes
    Draper
           &
             a cold Vermont
        Liberty, capitol savings/Planck
        Ever twisting Venetian control
           Executive seep
        - In Sunlight
          skies scraped Cosgrove, Skies
presents, present
maybe sunny side of Barstow
    Agony aunt Limericks
and - Deep thrombosis
Let's build pyramids          In our Dreams
the night time sky
here
Will         never     Win    any    Awards
Connor Reid Mar 2015
Breaking waves, folding in river bends (meandering)
with an effortless grace
Cupids mouth, foaming to return -
broken and filling up the landscape.
Cracked horseshoes
waltzing across a vibrating brain,
all the worlds night
quartz, cutting drunk into
your Green city.

Banishing a sense of self
uprooting positivity, displacing our discontempt -
boil out the water from the soup of human condition.
Boredoms grace.

We're rotting, lizards tongues
wearing the past, skin deep
Imbued.
a morbid relocation of entrance
authority, a fee
Reflecting light off your face
always leading back,
back towards a tabletop nausea.

Caked in powder,
i make my way over -
licking my finger and rubbing away
at the cracks formed years ago
wandering in and out of Escher's *******,
hoping to settle mind and body
numbed and lethargic,
medicine doesn't help.

An open patio door,
grooming in the whisped brown dawn -

7.34am

God's rags, crisp
displacing particles against the mountain lip
red light brewing in the observers mind.
Cubes of water
pushing through into tomorrows wake
all unwrapping like 1,000 words
diluted into one second.

I'm tired
appetite gone
graven, knowledge of the inside of my mouth
encyclopedic and (almost) boring.
It's closed again
at the crux of abandon,
the skies youthful,
built from wood, holding up the trees.
Excess - child's play for Atlas.

Rogue, electric Blue.
Mollusc in hand
living, lipless
just outside the geopolitical borders
heading back towards maturity.
Nihil,
projects objectivity, sycamore due, borders
as happiness combed our soft necks.

A situation is only what you make of it,
we're all in on this
living together in leaves -
by roadsides
making homes where we sleep.
The sky is on fire
exploding into fruition
as hot chlorine licks against unwashed belly buttons and hair
going blind and stripping back
it breaks you.
Having summoned an Uber I walked
Into the Remise to await for its arrival.
Unusual, the owners of this 1750’s building
Had refused to knock down the Remise
And as it was snowing and cold it sure was
A comforting place to wait out of the weather.

I imagined how it must of looked in its heyday
Full of fine coaches and horse tack.
For a moment I could smell a horse all bridled
And strapped with new leather – something which
Stirred up an agreeable sensation within me;
I could feel the churlish beast chomping at the bit.

Twiddling my thumbs as I waited I wondered if
There were anyone left to construct such an ancient
Horse drawn carriage or was there even anyone left
Who could ever think of using it.
But as oft I do I let my mind wander to
Those good old days, though not one of which I knew.

Closing my eyes, I swear that I could smell the oak fire
Of a blacksmith’s furnace and I could hear the
Gent solidly hammering out a new set of gaited horseshoes.
In my minds eye I could see the Remise all
Full of carriages, each hooked to a fine stead -
What a grand sight it must of truly been.

It was then that I felt a hand in mine and when I
Turned toward the hand – to my wandering eye -
I had a hold on the most intriguing creature that God
Had ever given a man to hold, I dared not open my eyes.
She looked into my soul and asked me,
“Sir, which carriage?”

At about 8 paces in front of us was what I suppose
Was the best equipped of the lot and as its driver
Stepped down and made his way toward me/us
I noticed the lady was as taken with it as myself.
So Monsieur De La Dessein – the driver – or at
Least that was how he introduced himself,

Then he asked me if we cared to take the Grand Tour.
He led us up to the door of the chaise and as he opened
The door I said, “This one will not do,
It is hardly big enough for one.”
The lady, without hesitation, pushed me toward the
Door whispering, “Get in.”

Upon her insistence I climbed aboard taking up
All but about 4 inches of the seat cushion
When the lady put her head and foot in the
Carriage saying, “Move over.”
With no place to move I tilted up on one cheek
With my legs – one atop of the other.

Now my lady was climbing in full bodied and all
To find that she too must sit on one cheek facing me
With our knees knocking against each other.
The driver shut the door as the lady said, “Abarth.”
The horse sprang to life as the “La Grand Tour” began.
Face to face, body to body this buggy ride was …

How should I say it ….

Wonderful….

And then I did the stupidest thing that I’d ever done.
I opened my eyes to find the Remise empty -
No carriages, no horses, no blacksmith and no ravishing beauty.
Just an empty place to get in out of the weather.
My heart sank lower than it had ever been before.
What mind is this that can wander so ****** far from reality?

A little tiny car whipped into the Remise and right in front of me
It turned a half moon pulling up to me.
I noticed the labeling on the front of the car – Fiat.
The back windows were all blacked out.
The driver got out coming toward me on the passenger side.
As he opened the back door I asked him what kind of car this was.

He said it was a Fiat Abarth and he hoped that
I didn’t mind sharing the ride.
As I bent over peering inside the driver said his name
“Monsieur De La Desein” and sitting on
One cheek in the back of this mutant automobile
Was – that intriguing creature that I had just dreamed about.

Carefully – more expertly this time – I crawled into
The back – on one cheek – face to face
As the Uber driver asked me, “Where to.”
In perfect unison – we in the back replied
“La Grand Tour please.”

God, please don't make me open my eyes...
Clem C Jan 2014
mirrors,
marble floors,
windshields,
ice,
metal and painted surfaces.
                                                       ­       comments, hockey pucks, bullets
                                                         ­       and tossed horseshoes
                                                      ­          that changed direction.
                    
                                 ­                                                                 ­              need to know, blackout
                                                                ­                                censorship, who you know and what  
                                                          ­                                       you said to whom.

could be logic, could be pay,
could be power, could be it ends this way



                                                          ­            light or images
veering and twisting                                                         ­               please redact me and let me go
                                                                ­                                            for I don't want to be in the
                                                                ­                                                dark and treated like a
                                                                ­                                                      mushroom anymore.
from the gross
left with a net
and you have earned your trap.
                                                         on reflection, deflection
                                                      ­        redacting, deductions

a quiet pool of still water will give you
a clearer image and rocks won't shatter the water,
they make waves and rings and distortion but ... watch and learn and return to the truth about


you!


©ClemC012014
sorry for the disjointed write, don't do this often... hope you enjpoy it

— The End —