You are going to ask: and where are the lilacs?
and the poppy-petalled metaphysics?
and the rain repeatedly spattering
its words and drilling them full
of apertures and birds?
I'll tell you all the news.

I lived in a suburb,
a suburb of Madrid, with bells,
and clocks, and trees.

From there you could look out
over Castille's dry face:
a leather ocean.
My house was called
the house of flowers, because in every cranny
geraniums burst: it was
a good-looking house
with its dogs and children.
Remember, Raul?
Eh, Rafel?         Federico, do you remember
from under the ground
my balconies on which
the light of June drowned flowers in your mouth?
Brother, my brother!
Everything
loud with big voices, the salt of merchandises,
pile-ups of palpitating bread,
the stalls of my suburb of Arguelles with its statue
like a drained inkwell in a swirl of hake:
oil flowed into spoons,
a deep baying
of feet and hands swelled in the streets,
metres, litres, the sharp
measure of life,
stacked-up fish,
the texture of roofs with a cold sun in which
the weather vane falters,
the fine, frenzied ivory of potatoes,
wave on wave of tomatoes rolling down the sea.

And one morning all that was burning,
one morning the bonfires
leapt out of the earth
devouring human beings --
and from then on fire,
gunpowder from then on,
and from then on blood.
Bandits with planes and Moors,
bandits with finger-rings and duchesses,
bandits with black friars spattering blessings
came through the sky to **** children
and the blood of children ran through the streets
without fuss, like children's blood.

Jackals that the jackals would despise,
stones that the dry thistle would bite on and spit out,
vipers that the vipers would abominate!

Face to face with you I have seen the blood
of Spain tower like a tide
to drown you in one wave
of pride and knives!

Treacherous
generals:
see my dead house,
look at broken Spain :
from every house burning metal flows
instead of flowers,
from every socket of Spain
Spain emerges
and from every dead child a rifle with eyes,
and from every crime bullets are born
which will one day find
the bull's eye of your hearts.

And you'll ask: why doesn't his poetry
speak of dreams and leaves
and the great volcanoes of his native land?

Come and see the blood in the streets.
Come and see
The blood in the streets.
Come and see the blood
In the streets!

F- For being faithful like a forbidden fruit truthful
R- Ruler of fruit so passionately about his love bite
U- Understatement how she layered her
salad love ingredients
Google it
Utmost website take a bite
I- Included in everything We know it the poets
Ring coming like diamond my fruit of the crop
T- Timing, Fruit for thought rhyming tremendous
but tedious fruit-salad love

I- Truly   

S- Strawberries lips of cherries falling from the tree.
Feeling free Robin bob bobbin along loves strawberry pie
A- For such ambiance, Miss Ambrosia
such allure "Pink lady" apple smiles so
animated graphic artist so cool and waves shore
L- For Living eating in good health breathing
the fresh air Earth Baby Bella green lettuce.
Lacy Length of her wedding bodice spiritual rice
he promised her hand in fruit bountiful marriage
A- For a party of love fruit masquerade party
Connoisseur of fruit smarty oranges
vibrant animation fruit forever apples,
I tune's of apples
D- Divine dressed up with layers
of fruit salad
Devilish eggs toppings designs of
dandelions daisies, fusion
with fruit crazies

D-  Digging exploring forbidden fruit
Cranking up the Cranberries
I am dreaming the Blueberries
No Sir, not your Monday blues
Dow Jones way up I Apple phones?
R- Rev it up Robin Recharge, rambling
lucky reds fruits
Italian the lovers of red wine and a salad
avocado smashing up her Money green
Eldorado entering her fruit palace

                      She rules

E- Energy vitamin E for exceptional inviting
fruit salad with everything piling
Elderberry Evergreens Huckleberry
S- Symmetry art salad Palm of hearts
Fruit season
love storm style sophisticated a poem with
the style you're sure to smile
S- Autumn leaves falling on the
sleeves crabapples
Silver smooth skin Kiwifruit sour cherry on the
          " SILKY"
Dogwood in the Sierra Juniper
E- Enlightening some enchanting evening
how his love fruit fell from the tree
His fruit for the soul so enthusiastic you loved
to entertain this is love fusion nothing simple
I am not one to complain

D- Dressed to the fruit nines perfect 10 salad
Mad Alice in Wonderland hair so much hair
obsessions love of fruit blueberries and
she's a bit sour cream
with daisies and dandelion teas all,
please and what else is another
fruit of a pain
To remain in silence but that burst of flavor
is like science fusion of soulful rain

F- food for thought furry but fireplace hot
love frenzy comfort foods A la carte frosting
"Buttercream" food pleasant dream
The freshly brewed coffee I never heard of
fruit your in luck
Blueberry coffee homemade Moms
I  girl scout you brownies and
Saltwater sea fruity buns of a breeze

U- Unique how you utilize passion-fruit
prize music
fruity Pop blend fires out up-tempo
your feeling unbaked
Not the right ingredients of love fruit cake

S- Serendipity New York City the
fruit never sleeps fruit stands love for
keeps or Dorothy surrender spices
of Sage Superfood salads

I- Yes we have bananas wearing paisley
bandanas fruit is ripe to improve a love
how it's written
Inkwell an index of fruit swell

O- Out worked outlived on time for only
fruit about the abundance of love
So soothing the fruit tunes of his music
Overjoyed Silk Organza

N- Gift of fruit not like any other day
Neighborly of kindness just dress
Organza Gown of fruit
So naturally spoken love so near Fruit salad he left a notorious love tear.

--I can't really tell you when it happened--
each day is just a blur--
maybe it was yesterday
or the day before
      or the day before
            or the day before...


that Voice--
that Thing--
bound
around
my wrist
a string
and
dragged me

(--screaming,fighting,writhing,clawing--)

into a darkness
where he stabbed
my brain with
my very own
writing pen.

unwritten words
poured out and evaporated,
floating into the
emptiness in which
echoed the Thing's
                        laughter.

my arm reached up--
without control--
and pulled the pen
out from my skull--

with blood as ink I
tattooed the air--
while the monstrous Thing
tugged at my hair--

my soul hung from a distance-
hanging from the sky--
with every word that I wrote,
I heard her let out a cry--

YES!!
SCREAM FOR ME!!
SCREAM!!

YOU'RE MINE
AND
ALWAYS

WILL

BE

It kept me writing Its poem all through the night,
until It had no more words left to drip from my hand--

until the inkwell ran dry.

Murdered by the sky.
Among the forms that move toward the snake
and the forms searching for crystal
I will let my hair grow.

With the limbless tree that cannot sing
and the boy with the white egg face.

With the broken-headed animals
and the ragged water of dry feet.

With all that is tired, deaf-mute,
and a butterfly drowned in an inkwell.

Stubmling onto my face, different every day.
Murdered by the sky!

my thoughts, so potent just before--
like fresh-pressed olive drops
that lingered, lipping from the fragrant spout--
now pass, diffuse atop an ocean vast.

i imagine willing it to be a pond,
not for its lesser size alone
but mostly for its calm,
reflective height; yet
these waves are
distort ruthlessness
of liquid dust
by slapping, tower-high
the central ocean rip-whirl tide:
and gone--
as Homer's heroes screaming as they drown,
deaf as oars but for their final gasps
of yearned-for clarity:
of nameless pride's Ithacan king
abrading lustful wrists
restrained to blind a god's son's single eye
by tentacles of twisting, tactful fate.

by threaded loom rethreaded
soon i see my salty self in suit
of sameness, tricking time
by indolence or theft--
from truth, from others' hearths--
the difference winks in bubbles on the cosmic shore...
foam so clean i grin to call it spume,
grin to brace the seabed to my algaed chest
in salinating crush of sand, of blood-sharp shell and rock,
in sungreen warmth of blue and life
in crashing sinus wince
i grit aegean nereids in my sneeze,
splay their formless sexing into pelvic scrapes
of quickened starbursts anciently reborn,
squeezed in pleasure tears and laughing drops--
as all pelagic ***** must
within the pressure of a world,
its breathing darkness spotted with transmuted sun,
expel itself in sensate gusts--
as octopodal spurting flings
in liquid ****** of purpose forth,
(or backwards, sideways, in and out)--
so too i think
and thinking, drown my ink
instead of drowning thinking in my ink














.

A  polished,  old  inkwell  sits  spritely  stag,
ready  to  give­  everything  it  knows.
Its  blood  breathes  brilliant  carving­s  of  words,
its  sight  blinded  to  the  next  encounter.

The­  tip  of  a  quill  c h i p s  a w a y  a t  i t s  h e a r t,
but  it  never  b
                           l
                             e
                               e
                                 d
                                    s where  it  shan't,
And  even  though  it's  shattered  before­,
there's  nothing  a  little  mending  won't  fix.
In  bustling  lives  we  often  forget
what we're handed is simply a privilege,
and  where  there's  give,  there's  take,  inevitably­
it's  easy  to  cleverly  take  for  granted.

Consistently  s l o w  from  brim  to  bottom
but  as  long  as  you  keep  dipping ­ your  phrases,
you  must  remember  that
eventually
what's­  e                                                            d.
               m                                                     e
                  p                                        ­       l
                    t                                      ­    l
                      y                                  i
                      will  need  to  be  **f

You have
an ocean
   in your inkwell,
      and who knows
         what new discoveries
  will flow
      from
         your pen

flipping through pages of his mind,
caressing unspoken quotes; I whisper
slang of lust in his ear, ******* his big
ego to the bottom of his page, while his
drool trickles between breast; uttering
syllable after syllable as I re-write his script.

his hardness speaks fluently, inking
parchment with liquid tipped quill, oh! the
thrill as I bend his will, to fluidly flow; dipping
in inkwell of thoughts, penning desires and
want in liquid diatribe of lustful pleasures; like
a moth to flame flickering, as I lick verbs in
hunger to peruse his re-written script;
gripping sheeted pages to uncover his
beguilement; drinking in acknowledgment
of his golden chalice.

I want to decipher his member in autographed
curlicues of calligraphic swirls, teasing and
taunting as he watches, awe-struck; as tongue
etches each throbbing vein in ebonized charcoal,
sketched upon pages of wanton verses making
him scream with passion in prose; on bended
knee tasting my rose, penning his moans in
quotes against throat.

in heat of our passion, pages and scripts are
flipped allowing him to drip ink upon lips as I
whisper softly to his mind; want of him to grind
his neb of ache within my archive, articulating
history of hunger; as limbs mime each cursive
letter, insinuating one vowel at a time; licked
against silken parchment in tender stroked
consonant utterances; shuddering inside  
walls as nouns clench and moans escape
in adjectives shattering mind as wet tendrils
slide down firmness, fore, only she can do this
to me; making me flip volumes of pages while
inside wetness she drips ink all over in
chaptered stages.

each chapter I lick her spine; cornering her
in my mind as a sensual adversary; claiming
her as I untie her collection of copious sighs,
my mind tries to deny copyrights to her library;
as I place her upon my shelf, while against the
wall; ravishing her like the wild section of animal
kingdom, lusting while I watch her body fall
prey to breathless hunger, devouring
and savoring her bookmark; paying full
attention to her glossary of delectability,
that melts upon tongued bilingual text;
her nectar leaves its imprint upon
our handbook of worded aphrodisiacs.

cherishing our artistic volumes in ardency as
we're ready to publish our first draft, but not
before I slide her lubricious cover upon my
shaft; we begin to lay strokes of signatures
against our first editioned copies belonging
soley to us, as we scream in accented jargon
every second I tease; easing in and out,
shouting out in voweled ecstasy; gliding
thickness, gently against taut bookmark.

turning each page with deep thrusts, into her
inkwell; as I swell with friction, speaking in
fluent diction, of addiction to her sweetness;
dripping, as I'm slipping in tomes; thinking
about how she begged me to re-write our script,
spilling ink in delirious closure, in *******
exposure while losing our artistic composure;
writing manuscripts as ink spills upon volumes
of pages in disclosure.

i held on as long as I did for one reason and one reason only...

you were the single most beautiful being in my life worth writing about.

now the inkwell of my soul has slowly run out of beautiful words and unfathomable metaphors.

now the inkwell of my soul has slowly run out of your favorite poems and my unrealistic expectations.

now the inkwell of my soul has slowly run dry.

I wanted a pen
to write my dreams
to silence my screams
to dwell in imaginations den

I looked at the sky
head in the clouds
asked out loud
a plaintive cry

I forgot my request
got on with life
lived through strife
survived the test

I entered a contest for fun
drew a quick sketch
third prize I fetched
oh my, a sky pen, I won

I took it as a sign
to rekindle my fire
this victory inspired
me to pen a line

I’ve found a lost love
a forgotten joy
a much adored toy
a gift from above

It fulfills a need
feeds the soul
makes me whole
I’ve planted a seed

It grows and grows
can take over
I’ll never recover
from poems I sow

I’m soaring, floating
following my pen
escaping reality again
sweetly, softly, drifting

My wings are stretched
I’m travelling worldwide
nothing can hide
nothing’s too far-fetched

Dilly-dallying my day away
strolling down fantasy lane
with my pen I’m playing
brain and hand gone astray

Am I like Dumbo with his feather?
Can I pen without this pen?
if it broke, what then?
Could I even write a letter?

Firing words from pen
shooting from the hip
no risk of punch in lip
safely hidden in my den

Writing stops many a row
it’s a release
iron’s out many a crease
to it’s power I bow

Freedom is anonymity
let emotions speak
coming out, not for the weak
it brings accountability

My pen has the loudest voice
speaks over my own
doesn’t need a microphone
to listen, I’ve no choice

On day’s pen’s not working
I await listlessly
eyeing it continuously
ideas, hovering, lurking

This pen is now an obsession
an all consuming need
I’m overcome with greed
interrupting can cause agression

My time is no longer my time
it’s now ruled by pen
I’m let of now and then
but frequently called back to rhyme

I’m skimming the stars
for inspiration
battling frustration
wish I could traverse on Mars

On make-believe’s loom I weave
today I want to celebrate
pen and I co-operate
it’s absence I’d grieve

I’m living in cloud cuckoo land
this writing lark is easy
and never makes me queasy
everything, today, is grand

Pen has a quirky way of being
some days very liberal
wouldn’t want to take it literal
problems invisible, I’m not seeing

Today pen writes in language of love
expressing itself from the heart
roses and kindness it imparts
fits me snug, like a glove

Whispering sweet nothings in my ear
making me write all twee
writing cute and pretty
causing my dog to leer

Your like a pringle
once I pop, I can’t stop
you make my feet bop
my senses all a tingle

I’m your willing slave
marvelling in your ways
writing in a blissful daze
your company I crave

Now your just being rude
everything you write is naughty
getting me all prim and haughty
I’ll have to work on your attitude

I need to go to sleep
rest my weary head
your inkwell, your bed
don’t want to hear you, not a peep

I shall never worthy be to step into Eternity.
Where I would walk in Spirit--and behold,
'Our elements resolved to things untold.
A sense o'er all my soul impressed,
that I am weak, yet not unblessed.
But thy soul or this world must fade,
in the frost that binds the dead.
Soft tears of fond regret reveal its smart,
and sorrow, restless sorrow, chills my heart.

Give unto me, made lowly wise,
the spirit of self-sacrifice.
Vows of my slavery, my giving up,
my sudden adoration, my Great Love.

Heaven notes the sigh afflicted goodness heaves.
And all I loved, I loved alone.
Can I suffice for Heaven and not for earth?

Love's letters clattered in currents
Winds curled to stillness,
in a talus of potpourri,
Season totem, a cluster of hope,
waiting
For one match pulled and struck,
To scare the ghosts from the pyre.
In a choke of smoke
from sweet attar,
Loves heat fans
the embers within
the hearts own fire.

So many words
wrenched from mouth
and wrought from hand
Contortions,
twisted spoken grip,
we strip the evergreen needles
from the bough
and let them fall from the fist,
Sprinkling fir
To the earth as grist.

Had not a sentence stretched from
pulsing ink well
by plume to parchment, or
from warm breath of lip’s beseech
What then of our night would say,
And of our day to listen.

If we do not dare with deeds to fly
Then the falling never ends,
And poem, eternal, ne'er to begin
Loves expression, not its desire,
Is the cachet
to which both life and death aspire.

For years I saved my tears
in a small glass well
From every tearful high
and every trip to hell

From every deep depression
and rare moment of rage
When I need to write I dip my pen
and spread them on this page

The ink can be the darkest black
to meet a poems needs
or vibrant golden colours
for more uplifting reads

If you understand the concept
of what this poem is about
Perhaps you can tell me what to do
if the ink ever runs out.

Oh brother
of mine.

I feel your heartache.

The depth of your
despair.

I am here.

My love for you.

My shoulders
to lean on.

The weight.
I will
help bear.

In the inkwell
of the night.
I know your silent tears.

I am here.

And I will never leave.

Words drawn from my blood
Emotions on paper flow in flood

Exposing ****** fluids
Pain from my past is deeply rooted

Written from deep within
Wounds unhealed embedded in my skin

Tears make it just enough bitter
Smiles through life; a shape shifter

Regular ink isn't strong enough
My own cut is the pen to my handcuffs

Sets me free from my demise
My room of mirrors countered; clockwise

Smothered and spilled with travail
My own created nib is frail
So I use blood in my inkwell
Watered down, colored in pastel

She puts her head down and slightly to the left
trying to smile, but not all the way there yet-
like a black and white photograph.
It seems like the world has left her.
The little girl across the black stream drowned in the melting snow.
Pity. Because they sure loved to play in the springtime.
The older boy has given up his soul.
Sold it-not to the devil- but to defeat him.
Funeral attire.
She wore a black dress too.
Abhorrence turned into trust which turned into fondness
but too many rules and restrictions and ridiculous favors.
and now? Now what's left of that?
Everything is so solid and so broken at the same time.
If only Einstein was right and this moment was every moment.
So she was lonely and content and wishful and weeping and laughing and kissing all at the same nano second.
So she didn't have to ever drive away.
So she never had to leave the warm, lovely smelling basement.
So, even though the blonde craving a change had become mute,
they still talked till midnight and later.
So she didn't have to choose a worst moment or a happiest moment because it was all one.

because that is what truly killed her.
Time.
but time is a black and white photograph.

confessions from
a cerebral inkwell
hemorrhaging the
paradox of spilled
holy water blessed
in unorthodox
black lace.
||shoo.shu ||

HORSE OF A DIFFERENT COLOUR

Auden & Isherwood
strolling in China

trying to soak up
The War

by the process of
osmosis

staining it
with words

observe
(at first what seems)  

green horses

but turns out to be
only white horses

painted green
for camouflage purposes.

That evening in Canton
also offering them

the futility of two men

trying to put a rat
into a bottle

a woman who lived
in a beehive

pouring water
into a sieve.

War knocks
over the inkwell

spills
into men’s lives

covers the white pages
of their wishes

makes the idea of Hell
...all   too   real.

The spilt ink eating
the words of men

who send letters home
and die in pain

never to return

only in other’s memories
& useless dreams

marble memorials

while green horses
champ the grasses

the bridles & the bits
clanking & glinting

in the hot sun
of Now.

as this last lost evening
dies.

When I write, I can’t cry.
When I cry, I can’t write.
I have ended up weeping as I am stranded between a rock and a pen.
I want a blood transfusion.
The red for the black.
I want ink to spill from me when they splinter my skin with their scalpeled words.
I want it to fountain from me when I trip on my own sentences and shoelaces, skinning my knee.
And I want it to bleed the permanency of black, when you take my stained glass heart and hold it dripping in your hand.
With your stained finger tips like midnight freeing the mocking birds and scarlet poppies to burst forth from me like water through the cracks of a crumbling levy.

I once felt like words gave me power
Like they gave my quiet shell of a self a leg to stand on
Now I feel like I have none left to speak, to write
I've been drained of verbs and left broken -- immobile
My adjectives fall soft and simple, even the deaf don't pretend to hear
It's strange
Being so far removed from the one you called yourself
I don't know what there is left for me to say
It's like being a young musician on stage
And people have slowly stopped cheering as they realized
You have no more tunes left to play
Yet I've stood frozen, stuck, despite myself
I'm waiting for them to come back
The words
The crowds
The self that I used to know
That I thought I did know
I haven't a clue to where they've left, to where they'll go
But I hope that they find it
The messages they seek
I can no longer provide them
My inkwell bone dry
My spirit missing it's former vibrance, now dully meek
They once called me wicked
I thought it ironically sweet
That for someone so bitter
Many worshiped me

Black ink drips into clear water; it diffuses.
I am a pebble, thrown,
Skimming the surface until it loses;
I am submerged but not alone.
There is blackness all around me,
Thin but clearly evident.
Water bodies are my happy places;
Black is a lack of color- a numbness.
I could dive into the ocean,
But apathy would follow my path.
I am running, breathing heavily,
But I can't escape the crawling black.
There is an inkwell inside everyone,
But mine- I have acknowledged it.
Try as I have to escape the thoughts,
It latched onto the acknowledgment.

Once in my life, a few years past,
I dove directly to the black,
Hating the world outside my water glass-
The only way to block the mass.

Since then, the ink has followed me,
Bodies of water to water bodies,
Creating a film through which I see,
A subtle, haunting apathy.

We're not so different, you and I.
There is an inkwell inside everyone.
You are sitting on the lid of yours.
From mine, I am on the run.

The question is
Where to begin?
Why, with honest heart
And boldly sin!
And sin I must
Against myself
Pinning the inkwell
A bespoken purpose
--The poetic confession
Since speech commands silence
And advances regression.
My courage it falters
And guts turn all queer
Neither could reckon
With our distances near
And confessing this outright
Is just plain absurd,
I hope I have made
My cowardice clear.
True, this is petty
And prideful at best
Poem’s the proper vehicle lest
My weakness runs wild
As ornery thoughts
And binds up my tongue
And stomach in knots.
But onward! I bore you!
My pen spitting gibb'rish
Thinking sense and writing none  
I’m too far to turn back
And the day is yet won!
But can I be blamed
For nerves all on end
When the single string in every thought
Goes day’s beginning to its end
And all around and back again?
This whole semester
I’ve felt a fool
Beside this mind of eloquence
Of enervating sensation
Like, I, a simple candle
And auroras’ collocation
On the clearest luminescent night
With incensing breeze blown left and right,
Coupled with creative flair
And womanly chic, short, brown hair
I’m distracted, diverted stupidly
A boy's been made
Of the man in me.
I’m a mustard seed among
Religious men,
And profanation blossoms
Brought to transcendent, if divine heights
My words reaching an Elysian place
Touching new Heavens
With (excuse the pun) Grace.
Please don’t hold daft obligation
That you must reciprocate
The sentiments, here, laid before you
And mushiness innate
But the purpose is here
Not to woo
Nay, to salve this tiny,
Yet consumptive flu
So for stoic, normal me
This is something radically new.
So excuse the upheaval
And heavily borne load
It’s just perseverance
Through pessimistic mode,
I know this is weighty
And clichéd and trite
But I've been made weary
(And that’s creepy a mite)
Through countless embattled days
And resultant restless nights
With no intention to do so.
I hope this has struck you
Not perturbed or amused
Because right now I’m trembling
Sclerotic and bruised
And will follow, oh follow
This to its end;
To see this message
Read in your hands.
But until then, condemned
To sleep sad and wake gaily
To think only one thought
And think that thought daily
And thought is of you
Of you,
–.

Trial i: Crimson


By: The Mad Poetess


Purpose:

I shall birth
a new colour.

Sprung from the womb
of passion & rage--

cacophonous.

The name of the labour:
The Crimsoning

after the spawn:

Crimson.

Hypothesis:

from the quill
baptized in crimson ink

to the torn parchment

poetry shall hail down

like a meteor shower.

Materials:

- Sewing needle
- Blood
- Berries harvested from the Belladonna plant (devil's cherry)
- Teardrops
- Artist's palette
- Inkwell
- Bunsen burner
- Quill pen
- Parchment


Procedure:

1. With the needle, ***** finger; remove needle at the first dewdrop of blood
2.  Crush and mix devil's cherries with teardrops upon artist's palette
3. Add dewdrop and rest of concoction on to palette and mix using whatever is convenient (fingers, paint brush, hair, etc)
4. Transfer Crimson to inkwell
5. Place in well above bunsen burner
6. Burn for 40 days and 40 nights until Crimson is matured
7. Dip quill into ink
5. Press quill to parchment
6. Write poetry


Observations:

The parchment kindles
beneath the ink

pages curl up
at the corners
like Medusa’s hissing serpents

every gawking
letter
a petrification of
what could have been

every lowercase t
crucified

every serif
a burning branch.

Is this the context
of a self-fulfilling prophecy?

To write poems about forest fires
and then

burn?

~

My poems and I:

on the cusp of extinction.

I throw my head back
at a ghastly angle

like the ancient
Ornithomimus.

He loves me when he loves me
He convinces me
I’m the kind who serves up suicide with every Ciroc poured
in the neon blue of this town
where dreams turn cold but where,
He says,
I,
I am as hot as the blue light flame
He opens the Pandora’s curiosity in me
With warm breath and a silent scream
he makes me say his name
I know there’s fiction in the space between us
covered in polyurethane that some would consider toxic
but where I,
I rub my flesh into the smooth and dip fingers into my inkwell
He makes me an artist
He has a way
Hurt me a little
Make me cry
Rubbing this little pendulum of mine
I want to know I knew you even before I knew you
Savor you like an oyster
Memorize you
Hold you under my tongue
Learn you by heart so when you leave
I can go to the inkwell, again
*Orlando

Realizing that my pain
that resulted from past failures
was only temporary because
forgetting that past knowing
that foregiveness does not change
what happened
I am finally able
to move on as the other half
of my heart comes
home.

It does let me take
the first step torward
growth and creation as each time
that one loves is the only time
and a difference of object
does not alter singleness of passion
but merely intensifies it.

I knew that her love
was the other half of my heart
on the day that she came to me
and said that she loved me
and I could feel that love
when she talked to me hearing it
in her voice like a tone
that only I could hear.

Knowing that I have loved her
in numerous forms, numerous times,
life after life, age after age forever
our final journey now begins
as I dip my feather into the inkwell
of the sunset and write about her
sending my love to the
treasure of her heart of which
my heart is now
a part.

I can not take for granted
our future knowing that we have
the love of each other
and more importantly
we have ourselves as we touch
and our hearts became whole
once more and our love
continues to grow
and we both know that our love
for each other exceeds
the need for each other.                     Jon    York           2013

I'm writing love poems

to a person that doesn't exist

building her up

from the bottom with my words

her skin as soft as half smiles

we'll share after an argument

her arguments as hard as

similes

I know

she's not there

not the one I've imagined

but when I do find someone

She will be poetry

She sits on the sidelines
Outlined by shadow and smoke
Her curling p's and q's go unnoticed
Watching him wallow in darkness
Persephone and Hades comes to mind
Although in reverse
The ashes of her springtime **** craves the bright burning flame of his 
Unforgiveness
Coming on like a fifth street ******
Red lips and sky high thighs
She's got bad intentions 
His fathomless inkwell craves the sweetness of her embrace
We all aren't built the same she thinks
But she'd let him tap her vein
Violets and stars winking in her vision
His cold touch finally reaches her
Hot skin melting past his reluctant facade
It was all a game he whispers
To get you closer
**To make you mine

The quill immerses into the inkwell,
and pulls out slowly, careful not to drip.
The hand trembles with excitement to spell,
it moves across the page with only the tip.

The author breathes deep, the muse speaks softly,
words come easily, flowing like water.
The muse commands, the scribe follows blindly.
The words appear faster, the hand a blur.

A smile plays at her lips, her breath catches.
The ink like a tattoo, leaves a dark trail.
Faster, her hand, Fire, leaves only ashes.
The muse completes the symphony, hands fail.

The quill falls, the author breathes out a sigh.
The black spreads. This writing can satisfy.

You strengthen me
Stretch me tall in fond pursuit
And call my waking trees to move with subtle hints

Familiar as the folding sound
Between quiet rustling parchment leaves
Becoming new our newest sounds as an inkwell drawn

Like a sunlit jewel your dulcet glow
Is stumbling down a penciled path of painted memory
Colored by every season anew with the hues of you

Don’t cry when I am no more seen, my felicity
It was always and with you in mind
That you made me want to try

The sun is risen above the summit of a mountain- a Dwala-
Beaming, chasing darkness away;
Rejuvenating the veld as the dew shimmers,
Pasture assumes its deep brown lustre
As if trying to blend with the golden sun’s rays;
The Dwala – where it had momentarily perched-
Has slowly set it free for its westerly journey

My Tropical Savannah is a beauty:
Deep brown pasture in summer, clustered bushes, umbrella trees
Irregular footpaths run across its plains,
I assume one of them leads to you,
But as I trace them, they shy away at a distant horizon,
As if the sky is eating them up

The sun brings a light breeze mid-flight,
It blows softly on my quill,
Making a melody with the fur;
Whistling a song on the brim of my inkwell

On one footpath, I spot two love birds coming from the well,
The damsel is balancing an earthen calabash on her head;
My lips crease into a marvel-smile at their chatter and carefree laughter
I am surprised at myself for sharing their moment of bliss,
But then, it is always easy to share happiness.

Bliss is…abstract,
As the beauty and radiance of our sun

But the burden of sadness is…concrete,
Something I can share with you,
Only after I trace these footpaths beyond the horizon


The dying sun perches on a faraway ridge like an alter offering
Its deep brown rays permeate the foliage.
By and by, colours fade away with darkness.

The veld now looks old and beaten, almost gothic,
The sun is gone, leaving a trace of a blue-brown spectrum;
I hope it has come to you my dear,
With the same happiness it brings me
*

Darkness sets in.

Though my sentiments are hurt at the thought of having to close my inkwell,
I love the sweet calmness reigning in harmony with the sound of nocturnals,
Besides, seeing another beautiful sunrise is enough consolation.

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.

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.

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?

I get lost in my own words
don’t know where I end and the character begins.
Writing to keep the ink from spilling
the blood in my veins flowing.
Wishing that time would start slowing.
There is so much to do
so much time to sleep
so much time to fill
knowing that it is time to
replace the silence
and speak the truth.