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Ariel Taverner Jul 2015
It's acold misty morning
The large grey cobblestones creating valleys by themselves
The old black lampposts casting the imaginings of light
The buildings shuffle between dark grey and black as if they were a depressed Chameleon
A man walks along this pathway
His dark black Brioni suit covered by the enveloping arms of his coat
The buttons undone as the coat ***** dramatically in the wind that isn't there
The outfit is completed with a black fedora which he wears upon his head
He walks down the pathway and passes a small man
With ragged clothes and a baggy hat
He barely notices the painter as he Iis consumed with his Own demons
The painter holds a brush in his right hand
An old thing with paint and chips on the wooden handle
The bristles are long
Not imacculate
But well used
In his left hand he holds his pallette
It has every colour imaginable
But only a small splotch of it
The painter walks behind the man with the fedora
And he painted
He painted galaxies on the cobblestones and valleys separating them
He painted patterns into the sidewalk and stories into the bricks
His style a rough painterly style
Jagged geometric lines creating organic spirals and waves
A Van Gogh style
Painfully wild strokes
That seem to contain the souls of suffering and pain
His flat yellows contrast to his vivid reds
Powerful imagery created by nothing but contrast
Emotions toyed with by jagged currants and swirls
The painter painted
Trying to catch up to the man with the fedora
Painting eruptions of beauty from the lampposts
And birds and flowers floating upon the air
As the fedora man's heels lifted paint was laid down in insane yellow
Driven insane by trying to catch up to this man
Driven insane by trying to show the man beauty
The painter ran out of paint
A masterpiece a mile long
Seen and admired by all who walked behind
But the artist had failed
His face Contorted as his emotional suffering manifested physically
His heart broke again as he realized that this man with the fedora wouldn't stop
He would live his whole life
Without seeing beauty
The painter was put in a nice jacket and a white padded room to live the rest of hus days
Forced to live in his misey....
His  emotion....
His failure...
The finale that rose up from 'Sad' and 'smiles'
Torin Feb 2016
Its not the vocabulary
The extravagant phrasing
And imacculate meter
Its not the originality
Of the metaphors
Or the identifiability of the similies
Its only the way
And nothing more
That that feelings are expressed

And understood
We laughed and we danced
That was not a history but a secret
Moments after sands found strands
Hue of Curtis mattered most in filial company

Beginnings restarted, as ending rolled back
As soon as white and black split into tempered Classic and power tragics, mastered systems spoke

Only that the company of power and the savages Of classic white looked like a blemish on Imacculate beddings and silver drapes

Monarchy and whitarchy cooperate against Blackarchy in the knuckle and  fundament of four little black girls from King's native after four, two three dotage

Wishes pushed proselytism of the occident and the orient to an exuberant brink only to return spoils instead of black four little sons

We know why the the throbs of Kings posterity still chase the white goddesses of whitarchy, leaving footprint stains on the gonfalon of two Colours and negotiated anthem reawakened

How impossible is it
The wonders of puissance
The countenance of acceptance
The posture of trending
The disposition of what I have become!

Names too lost their native legend to the silver widgets arranged where the sun sets

Sun did not take sides either for black or white, it only switches sides for hue of Curtis.

It has no chromium yet we are on pins and needles scavenging for attention on the cover Pages of scandal sheet

— The End —