Now it might be hard to understand
But just for a moment I ask that you try to comprehend
The idea, the marvel, the miracle
Of learning love’s true definition from a child less than 3 years young

Her name was Amelia Lyon, but she was called Amy Lou
And her hair was up like Whoville’s own Cindy Lou Who
Dr. Suess would’ve been proud
I’m sure he would’ve loved Amelia, as did every single person of every single crowd

We would bring her with us to Disneyland
The happiest place on earth for both woman and man
And little Amy loved every second of it
With a wide smile, never crying, not even a bit

Bearing the power of a simple smile, and a thousand suns
She would light the very streets she crossed

Reaching out and attacking strangers was far from seldom
With a beautiful kiss of innocence, sincerity, we watched as joy would blossom

Did she discriminate?
Did she decide who to incriminate?
No, you see, Amelia would never
If someone was hurt, and broken, she could make all things better

A beautiful soul
To match a beautiful girl
I learned, let me tell you
What true love is, something new
Something that is rarely practiced
But only talked about, and the fact is
I’ve never seen love quite like this!

It was sincere, and it was real and it was amazing
A special perspective, a new trail she was blazing
And now I know what true love is
Humble, supportive, and nonjudgemental
Kind, gorgeous and always gentle

Thank You, Amy Lou.
One day, I hope to be like you.

But now she's gone, at two and a half you were taken from us
So unique, Heaven, God, and the Angels were jealous
Do I feel robbed? Do I feel cheated?
Certainly not! Because I know who I shall see when I am greeted

There she will be, adorable and precious
That gleaming smile with a child’s eyes
At the opening of the Gates, it will be glorious
Because finally, that disguise, that shroud of earthliness
Will have been torn away, and we will forever be united again

My baby sister, my Amelia Lyon, my Amy Lou
I miss you so very dearly, my little Cindy Lou Who
With love, bittersweet tears, and a heart deeply aching
Your brother, Remington Charles King

Here is a primer on the history of poetry

Features of Modernism

To varying extents, writing of the Modernist period exhibits these features:

1. experimentation

belief that previous writing was stereotyped and inadequate
ceaseless technical innovation, sometimes for its own sake
originality: deviation from the norm, or from usual reader expectations
ruthless rejection of the past, even iconoclasm

2. anti-realism

sacralisation of art, which must represent itself, not something beyond preference for allusion (often private) rather than description
world seen through the artist's inner feelings and mental states
themes and vantage points chosen to question the conventional view
use of myth and unconscious forces rather than motivations of conventional plot

3. individualism

promotion of the artist's viewpoint, at the expense of the communal
cultivation of an individual consciousness, which alone is the final arbiter
estrangement from religion, nature, science, economy or social mechanisms
maintenance of a wary intellectual independence
artists and not society should judge the arts: extreme self-consciousness
search for the primary image, devoid of comment: stream of consciousness
exclusiveness, an aristocracy of the avant-garde

4. intellectualism

writing more cerebral than emotional
work is tentative, analytical and fragmentary, more posing questions more than answering them
cool observation: viewpoints and characters detached and depersonalized
open-ended work, not finished, nor aiming at formal perfection
involuted: the subject is often act of writing itself and not the ostensible referent

............
Expressionism

Expressionism was a phase of twentieth-century writing that rejected naturalism and romanticism to express important inner truths. The style was generally declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that belong to all men, and which European civilization had rendered effete or inauthentic. The movement drew on Rimbaud and Nietzsche, and was best represented by German poetry of the 1910-20 period. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm, Schnack and Werfel are its characteristic proponents, {1} though Trakl is the best known to English readers. {2} {3}

Like most movements, there was little of a manifesto, or consensus of beliefs and programmes. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order". Expressionism was very heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early Surrealism, many of which crop up in English, French, Russian and Italian poetry of the period. Political attitudes tended to the revolutionary, and technique was overtly experimental. Nonetheless, for all the images of death and destruction, sometimes mixed with messianic utopianism, there was also a tone of resignation, a sadness of "the evening lands" as Spengler called them.

Expressionism also applies to painting, and here the characteristics are more illuminating. The label refers to painting that uses visual gestures to transmit emotions and emotionally charged messages. In the expressive work of Michelangelo and El Greco, for example, the content remains of first importance, but content is overshadowed by technique in such later artists as van Gogh, Ensor and Munch. By the mid twentieth-century even this attenuated content had been replaced by abstract painterly qualities — by the sheer scale and dimensions of the work, by colour and shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering the horrors of the First World War, and ineffectual governments afterwards, fragmented into violently opposed political movements, each with their antagonistic coteries and milieu. The painting of these groups was very variable, but often showed a mixture of aggression and naivety. Understandably unpopular with the establishment  — denounced as degenerate by the Nazis — the style also met with mixed reactions from the picture-buying public. It seemed to question what the middle classes stood for: convention, decency, professional expertise. A great sobbing child had been let loose in the artist's studio, and the results seemed elementally challenging. Perhaps German painting was returning to its Nordic roots, to small communities, apocalyptic visions, monotone starkness and anguished introspection.

What could poetry achieve in its turn? Could it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of poetry, and to the exclusion of content? Poetry can never be wholly abstract, a pure poetry bereft of content. But clearly there would be a rejection of naturalism. To represent anything faithfully requires considerable skill, and such skill was what the Expressionists were determined to avoid. That would call on traditions that were not Nordic, and that were not sufficiently opposed to bourgeois values for the writer's individuality to escape subversion. Raw power had to tap something deeper and more universal.

Hence the turn inward to private torments. Poets became the judges of poetry, since only they knew the value of originating emotions. Intensity was essential.  Artists had to believe passionately in their responses, and find ways of purifying and deepening those responses — through working practices, lifestyles, and philosophies. Freud was becoming popular, and his investigations into dreams, hallucinations and paranoia offered a rich field of exploration. Artists would have to glory in their isolation, moreover, and turn their anger and frustration at being overlooked into a belief in their own genius. Finally, there would be a need to pull down and start afresh, even though that contributed to a gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an elaborate body of theory to justify, support and overtake what might otherwise appear infantile and irrational. And if traditional art cannot be pure emotional expression, then a new art would have to be forged. Such poetry would not be an intoxication of life (Nietzsche's phrase) and still less its sanctification.  Great strains on the creative process were inevitable, moreover, as they were in Georg Trakl's case, who committed suicide shortly after writing the haunting and beautiful piece given below

................
SYMBOLIST POETS
symbolism in poetry

Symbolism in literature was a complex movement that deliberately extended the evocative power of words to express the feelings, sensations and states of mind that lie beyond everyday awareness. The open-ended symbols created by Charles Baudelaire (1821-67) brought the invisible into being through the visible, and linked the invisible through other sensory perceptions, notably smell and sound. Stéphane Mallarmé (1842-98), the high priest of the French movement, theorized that symbols were of two types. One was created by the projection of inner feelings onto the world outside. The other existed as nascent words that slowly permeated the consciousness and expressed a state of mind initially unknown to their originator.

None of this came about without cultivation, and indeed dedication. Poets focused on the inner life. They explored strange cults and countries. They wrote in allusive, enigmatic, musical and ambiguous styles. Rimbaud deranged his senses and declared "Je est un autre". Von Hofmannstahl created his own language. Valéry retired from the world as a private secretary, before returning to a mastery of traditional French verse. Rilke renounced wife and human society to be attentive to the message when it came.

Not all were great theoreticians or technicians, but the two interests tended to go together, in Mallarmé most of all. He painstakingly developed his art of suggestion, what he called his "fictions". Rare words were introduced, syntactical intricacies, private associations and baffling images. Metonymy replaced metaphor as symbol, and was in turn replaced by single words which opened in imagination to multiple levels of signification. Time was suspended, and the usual supports of plot and narrative removed. Even the implied poet faded away, and there were then only objects, enigmatically introduced but somehow made right and necessary by verse skill. Music indeed was the condition to which poetry aspired, and Verlaine, Jimenez and Valéry were among many who concentrated efforts to that end.

So appeared a dichotomy between the inner and outer lives. In actuality, poets led humdrum existences, but what they described was rich and often illicit: the festering beauties of courtesans and dance-hall entertainers; far away countries and their native peoples; a world-weariness that came with drugs, isolation, alcohol and bought ***. Much was mixed up in this movement — decadence, aestheticism, romanticism, and the occult — but its isms had a rational purpose, which is still pertinent. In what way are these poets different from our own sixties generation? Or from the young today: clubbing, experimenting with relationships and drugs, backpacking to distant parts? And was the mixing of sensory perceptions so very novel or irrational? Synaesthesia was used by the Greek poets, and indeed has a properly documented basis in brain physiology.

What of the intellectual bases, which are not commonly presented as matters that should engage the contemporary mind, still less the writing poet? Symbolism was built on nebulous and somewhat dubious notions: it inspired beautiful and historically important work: it is now dead: that might be the blunt summary. But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now. The contents of consciousness were the concern of Edmund Husserl (1859-1938), and he developed a terminology later employed by Heidegger (1889-1976), the Existentialists and hermeneutics. Current theories on metaphor and brain functioning extend these concepts, and offer a rapprochement between impersonal science and irrational literary theory.

So why has the Symbolism legacy dwindled into its current narrow concepts? Denied influence in the everyday world, poets turned inward, to private thoughts, associations and the unconscious. Like good Marxist intellectuals they policed the area they arrogated to themselves, and sought to correct and purify the language that would evoke its powers. Syntax was rearranged by Mallarmé. Rhythm, rhyme and stanza patterning were loosened or rejected. Words were purged of past associations (Modernism), of non-visual associations (Imagism), of histories of usage (Futurism), of social restraint (Dadaism) and of practical purpose (Surrealism). By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational. Even Postmodernism, with its bric-a-brac of received media images and current vulgarisms, ensures that gaps are left for the emerging unconscious to engage our interest

......................

.
IMAGIST POETRY
imagist poetry

Even by twentieth-century standards, Imagism was soon over. In 1912 Ezra Pound published the Complete Poetical Works of its founder, T.E. Hulme (five short poems) and by 1917 the movement, then overseen by Amy Lowell, had run its course. {1} {2} {3} {4} {5} The output in all amounted to a few score poems, and none of these captured the public's heart. Why the importance?

First there are the personalities involved — notably Ezra Pound, James Joyce, William Carlos Williams {6} {7} {8} {9} — who became famous later. If ever the (continuing) importance to poets of networking, of being involved in movements from their inception, is attested, it is in these early days of post-Victorian revolt.

Then there are the manifestos of the movement, which became the cornerstones of Modernism, responsible for a much taught in universities until recently, and for the difficulties poets still find themselves in. The Imagists stressed clarity, exactness and concreteness of detail. Their aims, briefly set out, were that:

1. Content should be presented directly, through specific images where possible.
2. Every word should be functional, with nothing included that was not essential to the effect intended.
3. Rhythm should be composed by the musical phrase rather than the metronome.

Also understood — if not spelled out, or perhaps fully recognized at the time — was the hope that poems could intensify a sense of objective reality through the immediacy of images.

Imagism itself gave rise to fairly negligible lines like:

You crash over the trees,
You crack the live branch…  (Storm by H.D.)

Nonetheless, the reliance on images provided poets with these types of freedom:

1. Poems could dispense with classical rhetoric, emotion being generated much more directly through what Eliot called an objective correlate: "The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." {10}

2. By being shorn of context or supporting argument, images could appear with fresh interest and power.

3. Thoughts could be treated as images, i.e. as non-discursive elements that added emotional colouring without issues of truth or relevance intruding too mu
...............
PROSE BASED POETRY
prose based poetry

When free verse lacks rhythmic patterning, appearing as a lineated prose stripped of unnecessary ornament and rhetoric, it becomes the staple of much contemporary work. The focus is on what the words are being used to say, and their authenticity. The language is not heightened, and the poem differs from prose only by being more self-aware, innovative and/or cogent in its exposition.

Nonetheless, what looks normal at first becomes challenging on closer reading — thwarting expectations, and turning back on itself to make us think more deeply about the seemingly innocuous words used. And from there we are compelled to look at the world with sharper eyes, unprotected by commonplace phrases or easy assumptions. Often an awkward and fighting poetry, therefore, not indulging in ceremony or outmoded traditions.
What is Prose?

If we say that contemporary free verse is often built from what was once regarded as mere prose, then we shall have to distinguish prose from poetry, which is not so easy now. Prose was once the lesser vehicle, the medium of everyday thought and conversation, what we used to express facts, opinions, humour, arguments, feelings and the like. And while the better writers developed individual styles, and styles varied according to their purpose and social occasion, prose of some sort could be written by anyone. Beauty was not a requirement, and prose articles could be rephrased without great loss in meaning or effectiveness.

Poetry, though, had grander aims. William Lyon Phelps on Thomas Hardy's work: {1}

"The greatest poetry always transports us, and although I read and reread the Wessex poet with never-lagging attention — I find even the drawings in "Wessex Poems" so fascinating that I wish he had illustrated all his books — I am always conscious of the time and the place. I never get the unmistakable spinal chill. He has too thorough a command of his thoughts; they never possess him, and they never soar away with him. Prose may be controlled, but poetry is a possession. Mr. Hardy is too keenly aware of what he is about. In spite of the fact that he has written verse all his life, he seldom writes unwrinkled song. He is, in the last analysis, a master of prose who has learned the technique of verse, and who now chooses to express his thoughts and his observations in rime and rhythm."

.............
OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition

A old gentleman in a bar was sitting next to a very beat up man this tattered man He wore no shoes
He smelled
He was soaking wet and looked very pale.
The old gentleman bought the  man a beer
and ask him what his story was
the man told him that he was once a successful buissness owner
a man of high class and standard.
He wore the finest clothes,
wore the most beautufl jewelry,
and went on amazing journeys.
The old gentleman began to laugh
he sipped his drink
looked over the man and asked him what happened
the man told him that he was driving out in the country comming home from a buissness meeting
He said he had been drinking and reached for his scotch when he
looked up
his car swirved in the lake
water seaped in
He said " water came rushing in so fast"
the old gentleman looked down at his beer
looked up
and the man was nowhere to be seen
he asked the bar keep if he saw where the man went
the bar keep insisted that the old gentleman was crazy that he saw the old gentleman  talking to himself...
suddenly
The old Gentleman heard a voice over the television " Good evening we have breaking news it appears that Lyon Lemon Owner of Inka Industries has gone missing. Police have recovered his viechle but with no trace of Lyon inside it. They've issued scuba divers to search for the Lyons body. We will keep you posted on this story.

The old gentleman suddenly felt quezzy and uneasy. His lips dried, his skin went clammy, and his hair stood on the back of his neck. He knew he had seen Lyon not moments ago in the bar. The old gentle dropped a handfull of silver and paper on the counter and rushed out.

Javier Timble once a Master Con Artist and a Cheat was now the one being fooled and tricked with. He knew the game that was being played on him and he was to have no part of being set up for a ******. Timble was shakened but was far from scared. As he walked out the bar he noticed wet footprints. But they were forming as if someone was walking. Timble again felt the rush of adrenline come into his heart he began to mutter to himself and wonder what kind of trick this was. Javier stepped slowly towards the footprints and noticed that there was letters forming on the wall to the right of him. slowly the words formed out to say "InKa"

On lit dans les Annales de la propagation de la Foi :
« Une lettre de Hong-Kong (Chine), en date du 24 juillet
1832, nous annonce que M. Bonnard, missionnaire du
Tong-King, a été décapité pour la foi, le 1er mai dernier. »
Ce nouveau martyr était né dans le diocèse de Lyon et
appartenait à la Société des Missions étrangères. Il était
parti pour le Tong-King en 1849. »

I.

Ô saint prêtre ! grande âme ! oh ! je tombe à genoux !
Jeune, il avait encor de longs jours parmi nous,
Il n'en a pas compté le nombre ;
Il était à cet âge où le bonheur fleurit ;
Il a considéré la croix de Jésus-Christ
Toute rayonnante dans l'ombre.

Il a dit : - « C'est le Dieu de progrès et d'amour.
Jésus, qui voit ton front croit voir le front du jour.
Christ sourit à qui le repousse.
Puisqu'il est mort pour nous, je veux mourir pour lui ;
Dans son tombeau, dont j'ai la pierre pour appui,
Il m'appelle d'une voix douce.

« Sa doctrine est le ciel entr'ouvert ; par la main,
Comme un père l'enfant, il tient le genre humain ;
Par lui nous vivons et nous sommes ;
Au chevet des geôliers dormant dans leurs maisons,
Il dérobe les clefs de toutes les prisons
Et met en liberté les hommes.

« Or il est, **** de nous, une autre humanité
Qui ne le connaît point, et dans l'iniquité
Rampe enchaînée, et souffre et tombe ;
Ils font pour trouver Dieu de ténébreux efforts ;
Ils s'agitent en vain ; ils sont comme des morts
Qui tâtent le mur de leur tombe.

« Sans loi, sans but, sans guide, ils errent ici-bas.
Ils sont méchants, étant ignorants ; ils n'ont pas
Leur part de la grande conquête.
J'irai. Pour les sauver je quitte le saint lieu.
Ô mes frères, je viens vous apporter mon Dieu,
Je viens vous apporter ma tête ! » -

Prêtre, il s'est souvenu, calme en nos jours troublés,
De la parole dite aux apôtres : - Allez,  
Bravez les bûchers et les claies ! -
Et de l'adieu du Christ au suprême moment :
- Ô vivant, aimez-vous ! aimez. En vous aimant,
Frères, vous fermerez mes plaies. -

Il s'est dit qu'il est bon d'éclairer dans leur nuit
Ces peuples égarés **** du progrès qui luit,
Dont l'âme est couverte de voiles ;
Puis il s'en est allé, dans les vents, dans les flots,
Vers les noirs chevalets et les sanglants billots,
Les yeux fixés sur les étoiles.

II.

Ceux vers qui cet apôtre allait, l'ont égorgé.

III.

Oh ! tandis que là-bas, hélas ! chez ces barbares,
S'étale l'échafaud de tes membres chargé,
Que le bourreau, rangeant ses glaives et ses barres,
Frotte au gibet son ongle où ton sang s'est figé ;

Ciel ! tandis que les chiens dans ce sang viennent boire,
Et que la mouche horrible, essaim au vol joyeux,
Comme dans une ruche entre en ta bouche noire
Et bourdonne au soleil dans les trous de tes yeux ;

Tandis qu'échevelée, et sans voix, sans paupières,
Ta tête blême est là sur un infâme pieu,
Livrée aux vils affronts, meurtrie à coups de pierres,
Ici, derrière toi, martyr, on vend ton Dieu !

Ce Dieu qui n'est qu'à toi, martyr, on te le vole !
On le livre à Mandrin, ce Dieu pour qui tu meurs !
Des hommes, comme toi revêtus de l'étole,
Pour être cardinaux, pour être sénateurs,

Des prêtres, pour avoir des palais, des carrosses,
Et des jardins l'été riant sous le ciel bleu,
Pour argenter leur mitre et pour dorer leurs crosses,
Pour boire de bon vin, assis près d'un bon feu,

Au forban dont la main dans le meurtre est trempée,
Au larron chargé d'or qui paye et qui sourit,
Grand Dieu ! retourne-toi vers nous, tête coupée !
Ils vendent Jésus-Christ ! ils vendent Jésus-Christ !

Ils livrent au bandit, pour quelques sacs sordides,
L'évangile, la loi, l'autel épouvanté,
Et la justice aux yeux sévères et candides,
Et l'étoile du coeur humain, la vérité !

Les bons jetés, vivants, au bagne, ou morts, aux fleuves,
L'homme juste proscrit par Cartouche Sylla,
L'innocent égorgé, le deuil sacré des veuves,
Les pleurs de l'orphelin, ils vendent tout cela !

Tout ! la foi, le serment que Dieu tient sous sa garde,
Le saint temple où, mourant, tu dis :Introïbo,
Ils livrent tout ! pudeur, vertu ! - martyr, regarde,
Rouvre tes yeux qu'emplit la lueur du tombeau ; -

Ils vendent l'arche auguste où l'hostie étincelle !
Ils vendent Christ, te dis-je ! et ses membres liés !
Ils vendent la sueur qui sur son front ruisselle,
Et les clous de ses mains, et les clous de ses pieds !

Ils vendent au brigand qui chez lui les attire
Le grand crucifié sur les hommes penché ;
Ils vendent sa parole, ils vendent son martyre,
Et ton martyre à toi par-dessus le marché !

Tant pour les coups de fouet qu'il reçut à la porte !
César ! tant pour l'amen, tant pour l'alléluia !
Tant pour la pierre où vint heurter sa tête morte !
Tant pour le drap rougi que sa barbe essuya !

Ils vendent ses genoux meurtris, sa palme verte,
Sa plaie au flanc, son oeil tout baigné d'infini,
Ses pleurs, son agonie, et sa bouche entrouverte,
Et le cri qu'il poussa : Lamma Sabacthani !

Ils vendent le sépulcre ! ils vendent les ténèbres !
Les séraphins chantant au seuil profond des cieux,
Et la mère debout sous l'arbre aux bras funèbres,
Qui, sentant là son fils, ne levait pas les yeux !

Oui, ces évêques, oui, ces marchands, oui, ces prêtres
A l'histrion du crime, assouvi, couronné,
A ce Néron repu qui rit parmi les traîtres,
Un pied sur Thraséas, un coude sur Phryné,

Au voleur qui tua les lois à coups de crosse,
Au pirate empereur Napoléon dernier,
Ivre deux fois, immonde encor plus que féroce,
Pourceau dans le cloaque et loup dans le charnier,

Ils vendent, ô martyr, le Dieu pensif et pâle
Qui, debout sur la terre et sous le firmament,
Triste et nous souriant dans notre nuit fatale,
Sur le noir Golgotha saigne éternellement !

Du 5 au 8 novembre 1852, à Jersey

With special thanks to George Ella Lyon*

I am from crumbling brick
(red, dusty, smelling of musk).
I am from aluminum siding
and triple-deckers,
tall, strong, unmovable.

Hailing from the city on about seventy hills.
From Grandfathers and photo albums,
cigar ash salad and pinecone wars.
From "use your imagination" and "go play in the street".

I am from a whirlwind of faith,
belief from non-believers.

From schoolyards, playgrounds, and crawlspaces
come these faces, and these memories
are worth more to me, than anything.

The charred scent of paper
Atop the ******* skyscraper
Burns when a life is consumed
In its greenish greedy gown
On it has been proudly sown
A golden triangle. It assumed
Its complete authority over
The human race we chase
Its glinting giggling gorge
Postponing the petty morgue
Adorning chests in a tower
Of wealth, of woe, of war
Some are the jacks in tar
Others the *****, the ace

Hovering over cities
Teasing the daisies.
That thick soot
Flawless is flaying
Slowly peeling
Away layers of our root
We gambol and gamble
Pitiful onions in unions
Hawkers jaywalking
Hunters, judges, humble
Flock of those who can think
Trying to make sense of ions
We can with a gun link
Deaths and collapsing ink.

The bright dollar bill smolders
On Atlas’ sore shoulders
An intricate golden lattice
In lieu of a benighted bodice
It lifts Man on a rusty noose
King on a heap of newspapers
The charred choking scent
Demonic, deliquescent
Atop the ******* skyscrapers.
For a divine raiment
Would the goofy government
Trade your blood and lymph
For a smoke and mirrors nymph?
I choose not, please turn us loose?

We are the scorching enemy
All in all, possessed by the mark
We gloat over the metonymy
Of our radiant success
We are nothing under duress
But pigs left bound to bark
In the mud of our sockets
Buy this diamond necklace
So you can prove, in the race
Of rats, you are the best of piglets
“How much does it cost?’’, asks the poet
But his voice is regarded as a dandling duet
Society sleeps, makes loves, guzzles
A writer too, probably feebly fizzles…


All the while the creased cremated paper
Will keep on swallowing us over and over
This smoke once was the signal of civilization
It is now the ominous gleam of our globalization
Soothing soot it is not, it throttles us all
I foresee it but soon we shall
Fall back into this drowsy land
Demise of those who did not stand
Up behind the legacy of a quill
That is now silent in steel, still
Child, write down your future
Your literature will triumph for sure!
I’d read his lines instead of gulping down
The shiny pill of tomorrow brand new uptown!

January 26, 2016
Guillotière, Lyon
7:17 pm

In the cavernous expanse gilded out of silicon robes of Greece flattened into the diminutive spaces between crags and rock, the swimmers of the natatorium embrace to plunge in transparency where they erred in covert chivalry
Knighted partially by association but yet unofficially born of sentiments rebarbative to the well-heeled, I linger like tar heels lamenting that the supernova eventually bequeaths the death of the ultimate chapel hill a shining city on a valley masquerading as a hill
From past and repast, the nurture of former presidents calumniates if also embraces the possibility of unfettered liberty and prosperous futurity, they simper in silent lugubrious reflection at lives shortened by liberty prolonged, of hearts opened but death devolved
Latitude and the caress of brazen attitudes corners the ***** in a tightened alcove of a restrictive forest of livid and limpid dastardly deeds, the arm of hunched idiots grazing with dumbfound idiocy at their own protective duty to shepherd the forest only for the singular trees as though disease itself is only a tease in a flirtation too exposed to believe
I joust with giants in a town that brooks lions and lyon estates with too many GrayZe superintending too many fain and valiant graves littering the stream besides the Pennsylvania forest in a past sunken in intrigue slipping in and out of an ethereal time invented by a harvest moon too attuned to be a lunatic any time soon
Whither is the outcome of a Shakespearean demise of prattle becoming the pasture of specious but solid skies, gleaming that a science fiction theater isn’t hailing a fuhrer or jingoistic furor any time soon hopefully I do too croon.
Militant tapestries of unhinged madmen craven in their disregard for every bent temptation, we witness the downfall of scrounged indecency and lonely hearted thieves contemned as they condemn perdition upon an unsuspecting victim
The victim is the hope of galvanized promise, a regal flutter of liberty tracing the skies elaborately for the flight plan most likely volitant and most destined to succeed
Corporate heads shake hands with desperate beds that Damocles himself wishes blood himself was yet shed or never shed but cutthroat collapse is avoidable with the recrudescence of provident relapse and rejoinder, asunder the ships may seem but now aimed so directly like a laser pointer
Titanic is a father to founding fathers only in the regress of avoidant times, sheepish of the whispered grime of inutterable blithe sublime time, limpid in partial acknowledgment of a wretched fate as avoidable as possible with the proper introduction and the right heeded date of a love better than choice wine and the wineskins of an indian province live as well just as much in a Skinnerian time.
Read the palimpsest, pittance proferred for every skeptical and undeclared bet that skewers the coffers of a criminal ring of Barnum Brothers in bed with burned asylum, a sanitarium wider and menacing like the most minatory lion
But the jaws of these aliens in time, whether specious or not thrill only those susceptible to the flattery of swank and the travesty to which we thank our deliverance and suspected exoneration
Flanking the outstripped malls that sprawl in the orbit of cities engorged like a skyscraping promise littered by Walled Ease and regaled bleats that belay down the cliffs of rigid insurrection only partially courageous to noble and partial inflections.

The courage of a wistful day slipping into the fathomless depths of dudgeon and pain the dungeons clamoring of insanity willfully reign, we clip the newspapers to the walls and scrawl our loves into the fallen scrawl.

Crimson red beneath the spangled spars, the author of debauchery immemorial that swills and wassails its own heartrending blues. And this movie squandered in limelight but buttressed by blithe regards for morally debased frights. Sting me the police and see the wasps nest infest your hollow diatribe to the extent you are hobbled in the depths, ennobled aboveground but nevertheless widely pitied.
The mathematics of love and loss, cravings for distrusted sacraments on a blue bus swiveling though the recesses of aleatory or controlled time. But then I lament that fully loved and fully lived is a fluff of sacerdotal emulation rather than the true authorship of heaven blanketing the earth.
Polished polity renegades and the rumpus of crumbled heaped ashes in a cremated time, where sand itself is eternal and sentience is somehow the door to nothing but despair, in their blinkered hubris that scales the lizards back in order to be lifted by olfactory graft.
In that light I see a bright whisked wind carrying the secrecy of portentous spared revelations and the spate of intermittent lightheardedness blows away my skepticism, but sides have been chosen and the bluster of the past emulating the culmination of an amenable future scares the birds from their chavish
Chiliads chill like excellency dissembled as the husk of an eternal monument of punctuated emphatic glory lingering above the ground with intransigent resistance to gravity and an slaver of better sincerity in the attempt to become beyond guileless tourists.
Dressed rankled blue swayed news, always operative in militant conformity to an eradicated sentience but simulatenously a wider sing song enlightenment. I struggle for words in this debased state of pitiable futures plastered all over every billboard that ever matters rather than the closure of closed doors trampled by intermittent dreams and seamless cows becoming the heifers of unified peace.
Smaller that the ants the infest the hills but more glorified than the quiet pristine ponds that outskirt the skirts that need less descent and more ascendancy.

Blitzkreig of cosmic wars swelters the torrid desiccation of a languor existing in human platitude but defiled of human gratitude. We swiftly wait for the erosion of sanity to become the author of a novella of craven deeds and bolted brimstone, serenading a rush towards sensation and an abandonment of rivers libation
Beneath which rivers flow, scrounged glowers endemic to a ruddy blush of sun-stricken grace, I clasp every remedy and every catholicon becomes more ecumenical and more rabid with stricken gaze of disordered streets in festivity but inured of nothing but lazy passions rather than sought rations
Dickens and hard hammers scribble the parched concrete with Chinese depths masqueraded as a suburban muse for canned applause and raucous crews relishing everything crude.
In the refinement the poet slings his garment over his shoulders and buys coffee for his ***** queen, and how to outfox such gallantry and how to temper so much enthusiasm. Only by the skullduggery of dead hands anointed with Greenwich bands.

We hiked mountains and dove into ocean temples
We tasted apple candy, fried onions and sushi platters
Without you to nourish my soil, my earth shatters
In my mouth lingers the dry taste of our kindred kiss

Longing for a touch that is now long gone
I trudge when I walk back to where we walked
In dreams I call (your name), in dreams I fall
Back into your arms…emptiness… alone!

October 2017, Lyon
Dedicated to my former Californian lover, Aaron S.

Beijing’s Child points at the white clouds flying, veils in the somber sky, to the moon under the yielding tree’s red lantern, he is absent-mindedly playing with his brown braids. He pictures himself abroad, by other long shores turning the pages of his dear illustrated book when a fired fish jumps up to the skies clad in its rainbow scales, glistering. Under the yielding tree red lantern

Beijing’s Child rubs the green ginkgo Although the snow, winter’s daughter plucks the feather leaves of her silvery coat....
Was it the wind, messenger of the west that brought the Biloba bird until Ta? Under the yielding tree red lantern

He thinks about it sprouting, seed of the past. The Child whose name means pagoda lives over the gates of the shining sun chanting to the elements songs and lullabies,
Under the yielding tree red lantern.

And when Earth vibrates under the storms when the frightened men rise their damped eyes the child wraps his body with the veil of the stars I hear by the mounts his voice and his augurs. But the tree was cut down and cannot offer its sweet sap anymore the red gleam has faded long ago of the marooned torn by time book only one thing remains, and it is a dream.

Because, at bedtime, as the world is sound asleep the child pours a golden powder to the souls. Stay awake at night because the Child of Beijing will enchant you until your morning!

Written in French in Beijing, October 20, 2011. Translated on May 9, 2014 Lyon, France

<font size="22">“Can’t **** every day” is what he said
Hello, we don’t even.
Formal French frankly thrown away
Shock. No.
Scenes of SM and secret desires swirl to me
Wave of pleasure, literature of the flesh as well as poetry
All gone with the air of his breath. Breathe. No.

Can’t withdraw the ideas of fantasies
Can’t fight too long against love’s urges
Can’t deny to ignore them sometimes but
Can’t pretend to love him when his pride
As a male is destroyed, because his walking stick
Is askew, I’ve walked my path from California to here
Can’t always shush my fantasies’ atmosphere
I’m upstairs typing away my rage
On the from the start sensitive and ****** page
Wrote a book of poems full of mysteries and furies
Thought he knew it burned, bright.

Lyon, May 4, 2017

With their new awards show - VH1 Big In 2015 with Entertainment Weekly - the network aimed to 'highlight the trailblazers and epic pop culture moments of the year.'

So it was no surprise then that Taraji P. Henson, 45, was one of the program's honorees for her unforgettable work as Cookie Lyon on Fox's smash hit Empire.

Taraji looked stunning as she arrived at Pacific Design Center in West Hollywood, California on Sunday for the celebration, flashing some skin in a fitted black Alexander **** dress.

Taraji wore a sleeveless, black dress for the event that hugged the Fox star's curves while showing off her toned pins.

The flattering number also featured a laced-up, cut-out along the side of the dress that added some edge to the look with a flash of skin.

She coupled the look with a pair of studded, strappy black heels, and donned a pair of dramatic, dangling earrings.

She showed off bold eyeliner for the event, as well as big lashes and a complimentary mauve lipstick.

Taraji's brunette tresses were styled in gorgeous, wild curls, and the actress looked to be in good spirits as she hit the carpet, showing off a big grin and at one point even blowing a kiss.

Amy Schumer was also being honored at the event after her stellar year that included the success of her comedy Trainwreck.

The 34-year-old smoldered in a form-fitting red gown, which she coupled with a pair of coordinating red pumps.

The flattering number featured three-quarter length sleeves and was fitted to show off the comedian's trim figure.

She wore her long, blonde tresses styled straight for the show, and showed off a smoky eye and a dark manicure.

Amy was joined on the carpet by her sister Kimberly Schumer, who wore a sleeveless, bright blue mini dress that showed off her toned pins.

She coupled the playful frock with a pair of strappy, black heels, and wore her long, brunette locks in soft curls.

Amber Rose, 32, put her ample assets on display in a figure-hugging mini dress as she arrived at the Pacific Design Center.

The model wore a long-sleeved black mini dress which featured a plunging front and also highlighted her toned pins.

She coupled the daring number with a pair of strappy, black heels, and hid her eyes behind over-sized, black sunglasses.

Pitch Perfect 2 director and star Elizabeth Banks, 41, wore a textured black dress with a semi-sheer skirt and bow-shaped cut-out along the front.

The eye-catching dress hit at just above the actress's knees, and she coupled the look with strappy, peep-toe black heels.

She accessorized with a coordinating, black clutch, and wore her long, blonde tresses pulled back into a chic updo, with curled, wisps of hair falling around to frame her face.

Queen Latifah, 45, and Katherine Bailess, 35, both opted for stylish, black jumpsuits for the awards show, though the former wore long sleeves while the latter opted for a one-shoulder look.

Katherine finished off her look with a pair of peep toe heels that showed off a dark pedicure, and wore her long, blonde locks in soft waves.

She accessorized with a pair of dangling earrings, and added a pop of color to her look with a bright red lipstick.

Parks And Recreation alum Aubrey Plaza, 31, stunned in a form-fitting, white mini dress that featured metallic embellishments, and she coupled it with chunky, black heels.

Elle King, 26, meanwhile, was a bit more colorful in a pretty floral dress, though she added a bit of edge to her look with a black, leather jacket.

Master of None star Aziz Ansari, 32, looked dapper in a fitted, black suit worn with brown leather oxfords and a bright, pink patterned tie.

T.I. - host for the VH1 and Entertainment Weekly event - looked stylish in an all-black ensemble that he accessorized with Aviators and a bold, silver necklace.

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Furious orange wounds
rimmed in charcoal
betray last night's secret:
died, almost died,
charred in an accidental inferno
due to the lazy application
of a long-standing addiction.

Warm,
paper-burn stink clings
to the heat of an early morning
- July.
The slowly-creeping wet heat
in stark contrast
to the quickflash realization of predawn:
my bed was on fire.

The must never know,
those in the cells opposite -
surely, threats of neglectful destruction
warrant the hasty eviction
of the new tenant.

Thus I,
the wakeful sentinel of 611 Lyon
watching for mattress fire
have overturned the hopefully-cooled burns
and will sleep
to avoid dwelling on thoughts
of bonfires.

(In English, we were supposed to write a poem based off of George Ella Lyon's poem "Where I'm From" and this is the one I wrote)

I am from picture frames,
from Dove and Suave.
I am from the white house on the corner of the street
(far enough from the train tracks, close enough to the park).
I am from lilacs,
from the rose bush on the side of the house,
always humming with bees.

I am from crocheting and complaining,
from Edith, Rachael, and Susanne.
I am from blind eyes with a blue glow,
from "Speak up!" and "Sit up straight."
I am from "Now I lay me down to sleep..."
and old, golden cross necklaces.

I am from Ohio,
turkey, and sweet tea.
From the night my grandparents ran away togethers,
and the glass wedged into my father's finger,
the day god lifted him from the driver's seat.

I'm from the upstairs closet,
sitting beside childhood memorabilia.
Images of faces I never met,
and those I'll never forget.
Bags of animals,
stuffed with imaginary souls,
and boxes of books
which tales will never grow old.

Play off “Where I’m From” written by George Ella Lyon


I am from novels
From thrillers and believers
I am from the roots which keep me grounded
(Deep, Strong
Holding me up right)
I am from the graveyard
A haunting gaze
Whose eyes have seen violence
And tears turned to stone

I am from flashing lights and late nights
From whiskey and cottonmouth
I’m from the runaways
And the poets
From shut up and get out
I’m from please forgive me
With baby, it’ll be okay
And honey he’s better now

I’m from a conventional home
With grilled chicken and extra veggies
From the innocence I have lost
To a monster
The blue eyes I keep shut tight
Under my pillow was a knife
Spilling broken dreams
A sift of faces
To drift beneath my nightmares
I am from these moments—
Snapped before I budded—
Blooming towards the roads ahead

Craving the crack of the whip possessing the flesh
Before it hits the air, the breath of the bound captive
Hearing in the silence of the caressing hand a touch
Pored out behind the shackles, the feathers, the rules
Trying to make sense of the frustration and delusive
Desire of the entangled ******* rough and intricate mesh
Taking off all misunderstanding, embracing your blush
A sort of rituals of carnal, Sir, Mistress, Save Our Souls.

Bound to love the feeling of expectancy in a dark room
Dealing with all traumas and successes bending a knee
Savoring the exquisite or frightful balance of pleasure
Muttering an ****** language known by all yet dreaded

A scene in which your persona stages a fantasy
With a consenting partner or in your mind, it is easy
There is no self-help book for this topic, it all takes place
In your body and your heart, you decide if you keep pace
Power plays challenge your equilibrium, your lust
Whether you believe in a prophet or in flesh and dust
The beginning is near and she carries all your hidden rites
If only you would disrobe and lie down in many of your nights.

Lyon, July 28, 2017
11:04 pm

A take on violence

The exiling waves of life
Battered a Syrian child
Swept ashore. We scrolled.
We shrugged this violence.

Eyes glued to a simulacrum of love
Expecting the controlled dominance
Of a filthy rich fictional character
We said: “It’s vanilla.”

Violence as an idea is sweetened
You gulp down the pill
But violence as a means is condemned
You still gulp down the pill.

March 6, 2018
Lyon 1 University

I made my way through Sierra Madre
Through the trail entrance and past the monastery

Three miles or so I hiked
I took a video of a snake
Little miniature birds
About 2 inches or so
Fluttering in the bush

When I look across at the mountain
It seems so very close
Never did a mountain seem so real

Birds dance beneath the sunlit sky
Ancient earth
Magnificent

I walk alone
But I am never alone
For He is with me

And now I have some up close photos
Of a lizard
Two shades of brown and teal
Were the colors it displayed

I always say hello
To my fellow hiker

I often wonder about those
Who for whatever reason don't say
A simple hi in return

We share the same earth after all
How hard is it
Just to return the hello?
I do not understand

Sitting on the green bench
At the trail's entrance
Small stumps and grass
The breeze blows

The monastery bells ring at 6 pm
To be good
To do good
To show love to my fellow human being
Is what I will always do

Groups of hikers passing by
With their dogs

I make my way back through Sierra Madre
And On a tree
There is a box
That reads "please take one"

It is a poem template
Entitled "I Am From"
Inspired by "Where I'm From"
By George Ella Lyon

Dear France,

I say goodbye today, after so many beautifully painful moments. I want to thank you, from the bottom of my heart.

I thank you for showing me what it meant to be myself, to fend off my fears and win over my confidence. To know my weaknesses and reassure me in my strengths. France, you're more than a country to me. I thank you for all the hard times, the endless nights and the painful, lonely sundays. For the fun times and the bad times. You made me grow in unthinkable ways. I learned to be comfortable in solitude and joyful in company; I learned the value of long relationships and the ephemeral amusement of short ones. I learned that life is not easy and yet you don't have to worry so much. But most importantly, I learned what it means to be a stranger, a foreigner, an outcast. I learned to love who I am, where I come from, and all that it means.

I thank you for the people I met. For the dully predictable clichés of your society, and the wonderfully astonishing beauty of what each French hides. Parisians so pretentious you'd think their stares are stabbing you, and women so flirtatious your heart stops and you find out with a bittersweet taste what a coup de foudre is, as she walks out of your life as fast as she walked into it. People so nice they'd go out of their ways to give a ride to a lost colombian kid who can't find home. People so nice they take the time to talk slowly so you understand that fascinatingly complex language of yours. People so nice they invite you with their friend even if you're a drag, not getting the jokes and trying to fit in. You have so many wonderful people France, you make other countries envious, don't let anyone tell you otherwise.

Your culture is unique, surprising and oh-so enjoyable. I learned so much that I think I owe you a lifetime of gratitude. I walked your museums, visited your endless castles and read your writers. I learned your architecture, memorized your history and recited your poems.

I thank you for being a meeting point of cultures, the heart of a continent and the boiling stew of a thousand spices. I had a taste of everything I could, I swear. I fought off my prejudices and made friends wherever I could, changing people's minds about my Homeland as I went. I fell in love with girls I met in your soil, and your language was the bridge to countless encounters.

I leave having seen your lands, smelled your flowers and soared your skies. I leave after climbing your mountains, swimming your seas and sailing your rivers. I leave with love for Bretagne, Provence, Alsace, and everything in between them. I tried all the cheeses I could, all the wines I found and all the foods you have to offer. I fell in love with the traboules in Lyon, the park in Strasbourg, the lights in Paris, the beautiful port that is Nantes. You took my breath away so many times in so many vast landscapes and little towns that I might never breath again if it's not your air.

Oh France, I tried so hard to find out all there is about you, and I thoroughly enjoyed the ride you offered me.

You are easy to love, France. Beautifully enticing and glamorously inviting. You make my Homeland jealous, and She's gorgeous as well. You make me wanna split in two and live two lives, so as not to miss anything you have to offer. It's so painful loving you, France. You're a demanding lover. Friends, family, costumes and comfort were prices I had to pay for your charm.

I leave having learnt your language. People even take me for a Frenchman sometimes now! I leave having studied, worked, loved, loss, cried and laughed here, and having done my best effort to breath you all in as best as I could. I promise you, I will never speak ill of you.

I leave with pain in my heart and tears in my eyes, a knot in my throat so big I had to write down my feelings as to not let them go unnoticed. You were such a wonderful friend, France.

I leave with Marianne in my heart, knowing one day I'll call you home.

With all my love,

Life
Baffled.
What befell
Our civilization
Is hell. There is no heaven
When religion is mistaken
For a token of radicalism.

Death
Rejoiced
What brought her
Our people
In a living inferno.
There is no pourparlers
With terrorists and benighted
Souls.

Manchester
These people are heathens
No virgins await them up the heavens
But the cold-blooded sight of a bleeding earth
Stigmatizing those out there who protect their hearths
In tears, facing the West
This is a waste of our so called civilization

Jews
Muslims
Christians
Buddhists

We aren’t.
We are humans.

In the aftermath of the deadly attacks that befell Manchester Arena, May 23, 2017.
Lyon

Crippled crowned crowds crawling for a crate
Craving to cry in crystalized cradles

Formed of fires in a fidgeting frame,
Favor the finest flavor for your fate!



Bedtime in a bleak baby-like babble
Blessed on his bustier blasting the blames

Gently gathering her gorgeous gauntlet
Glad to be glazed in the glass of his gin!

Soothed by his sights for this serene sin
Secretly seduced by this spoiled piglet

Whooshing wooden wildness withering
On the willing winding ***** whispering!

December, 3, 2015
Lyon 2 University, France

Desperate to grab the grail of words
we decide to share our joint thoughts
to introspect our vision together
of what it takes to write two at this hour

Pen and paper, one
writes witness into the mind of the other
and meets the timid point of punctuation, followed by
the exasperation of words
it only follows

rules do not apply
nor does a simulacra of similes
the enjambment is our language
that we create we can
misplace
is it our native tongue so much so that
poetry never needs to be learned?

The friendship of thought to process
Relays poet to poem
to poet
And poem again

It's with you now
          I walk
Our eyes along the same path to troth

It's truth is spoken
Between lines, it's in the heart
Our paths, alone, come together
Its friendship Is art

Dialogical process fill in
the blanks at  1:01 4:01
p.m, hey aim
For the sweet link we proudly
discovered and shared in eyes and ink
Both black.

It's lack of light
Where the sun of the one seeks the night of the other
It's days and nights; mark hours... asunder under calendar
And daydream of once and again seeing the same sun face the marvel of the other

We are time traveling, air traveling through words
book a seat at the airline company of poetry
What the other sees in the sun sky above her
the other thinks of under his night sky
the thought of one never cancels that of the other
We trod on the same path
Me with Ginsberg, you with Plath.

Written jointly by Appoline Romanens first, third, seventh and ninth paragraph  at 1:00-1:27 pm, Lyon, France and by Jesse Altamirano, second,  fourth, fifth, sixth and eighth 4:00- 4:30 am, Riverside, California
May 23, 2017

Elle ne connaissait ni l'orgueil ni la haine ;
Elle aimait ; elle était pauvre, simple et sereine ;
Souvent le pain qui manque abrégeait son repas.
Elle avait trois enfants, ce qui n'empêchait pas
Qu'elle ne se sentît mère de ceux qui souffrent.
Les noirs événements qui dans la nuit s'engouffrent,
Les flux et les reflux, les abîmes béants,
Les nains, sapant sans bruit l'ouvrage des géants,
Et tous nos malfaiteurs inconnus ou célèbres,
Ne l'épouvantaient point ; derrière ces ténèbres,
Elle apercevait Dieu construisant l'avenir.
Elle sentait sa foi sans cesse rajeunir
De la liberté sainte elle attisait les flammes
Elle s'inquiétait des enfants et des femmes ;
Elle disait, tendant la main aux travailleurs :
La vie est dure ici, mais sera bonne ailleurs.
Avançons ! - Elle allait, portant de l'un à l'autre
L'espérance ; c'était une espèce d'apôtre
Que Dieu, sur cette terre où nous gémissons tous,
Avait fait mère et femme afin qu'il fût plus doux ;
L'esprit le plus farouche aimait sa voix sincère.
Tendre, elle visitait, sous leur toit de misère,
Tous ceux que la famine ou la douleur abat,
Les malades pensifs, gisant sur leur grabat,
La mansarde où languit l'indigence morose ;
Quand, par hasard moins pauvre, elle avait quelque chose,
Elle le partageait à tous comme une sœur ;
Quand elle n'avait rien, elle donnait son cœur.
Calme et grande, elle aimait comme le soleil brille.
Le genre humain pour elle était une famille
Comme ses trois enfants étaient l'humanité.
Elle criait : progrès ! amour ! fraternité !
Elle ouvrait aux souffrants des horizons sublimes.

Quand Pauline Roland eut commis tous ces crimes,
Le sauveur de l'église et de l'ordre la prit
Et la mit en prison. Tranquille, elle sourit,
Car l'éponge de fiel plaît à ces lèvres pures.
Cinq mois, elle subit le contact des souillures,
L'oubli, le rire affreux du vice, les bourreaux,
Et le pain noir qu'on jette à travers les barreaux,
Edifiant la geôle au mal habituée,
Enseignant la voleuse et la prostituée.
Ces cinq mois écoulés, un soldat, un bandit,
Dont le nom souillerait ces vers, vint et lui dit
- Soumettez-vous sur l'heure au règne qui commence,
Reniez votre foi ; sinon, pas de clémence,
Lambessa ! choisissez. - Elle dit : Lambessa.
Le lendemain la grille en frémissant grinça,
Et l'on vit arriver un fourgon cellulaire.
- Ah ! voici Lambessa, dit-elle sans colère.
Elles étaient plusieurs qui souffraient pour le droit
Dans la même prison. Le fourgon trop étroit
Ne put les recevoir dans ses cloisons infâmes
Et l'on fit traverser tout Paris à ces femmes
Bras dessus bras dessous avec les argousins.
Ainsi que des voleurs et que des assassins,
Les sbires les frappaient de paroles bourrues.
S'il arrivait parfois que les passants des rues,
Surpris de voir mener ces femmes en troupeau,
S'approchaient et mettaient la main à leur chapeau,
L'argousin leur jetait des sourires obliques,
Et les passants fuyaient, disant : filles publiques !
Et Pauline Roland disait : courage, sœurs !
L'océan au bruit rauque, aux sombres épaisseurs,
Les emporta. Durant la rude traversée,
L'horizon était noir, la bise était glacée,
Sans l'ami qui soutient, sans la voix qui répond,
Elles tremblaient. La nuit, il pleuvait sur le pont
Pas de lit pour dormir, pas d'abri sous l'orage,
Et Pauline Roland criait : mes soeurs, courage !
Et les durs matelots pleuraient en les voyant.
On atteignit l'Afrique au rivage effrayant,
Les sables, les déserts qu'un ciel d'airain calcine,
Les rocs sans une source et sans une racine ;
L'Afrique, lieu d'horreur pour les plus résolus,
Terre au visage étrange où l'on ne se sent plus
Regardé par les yeux de la douce patrie.
Et Pauline Roland, souriante et meurtrie,
Dit aux femmes en pleurs : courage, c'est ici.
Et quand elle était seule, elle pleurait aussi.
Ses trois enfants ! **** d'elle ! Oh ! quelle angoisse amère !
Un jour, un des geôliers dit à la pauvre mère
Dans la casbah de Bône aux cachots étouffants :
Voulez-vous être libre et revoir vos enfants ?
Demandez grâce au prince. - Et cette femme forte
Dit : - J'irai les revoir lorsque je serai morte.
Alors sur la martyre, humble cœur indompté,
On épuisa la haine et la férocité.
Bagnes d'Afrique ! enfers qu'a sondés Ribeyrolles !
Oh ! la pitié sanglote et manque de paroles.
Une femme, une mère, un esprit ! ce fut là
Que malade, accablée et seule, on l'exila.
Le lit de camp, le froid et le chaud, la famine,
Le jour l'affreux soleil et la nuit la vermine,
Les verrous, le travail sans repos, les affronts,
Rien ne plia son âme ; elle disait : - Souffrons.
Souffrons comme Jésus, souffrons comme Socrate. -
Captive, on la traîna sur cette terre ingrate ;
Et, lasse, et quoiqu'un ciel torride l'écrasât,
On la faisait marcher à pied comme un forçat.
La fièvre la rongeait ; sombre, pâle, amaigrie,
Le soir elle tombait sur la paille pourrie,
Et de la France aux fers murmurait le doux nom.
On jeta cette femme au fond d'un cabanon.
Le mal brisait sa vie et grandissait son âme.
Grave, elle répétait : « Il est bon qu'une femme,
Dans cette servitude et cette lâcheté,
Meure pour la justice et pour la liberté. »
Voyant qu'elle râlait, sachant qu'ils rendront compte,
Les bourreaux eurent peur, ne pouvant avoir honte
Et l'homme de décembre abrégea son exil.
« Puisque c'est pour mourir, qu'elle rentre ! » dit-il.
Elle ne savait plus ce que l'on faisait d'elle.
L'agonie à Lyon la saisit. Sa prunelle,
Comme la nuit se fait quand baisse le flambeau,
Devint obscure et vague, et l'ombre du tombeau
Se leva lentement sur son visage blême.
Son fils, pour recueillir à cette heure suprême
Du moins son dernier souffle et son dernier regard,
Accourut. Pauvre mère ! Il arriva trop ****.
Elle était morte ; morte à force de souffrance,
Morte sans avoir su qu'elle voyait la France
Et le doux ciel natal aux rayons réchauffants
Morte dans le délire en criant : mes enfants !
On n'a pas même osé pleurer à ses obsèques ;
Elle dort sous la terre. - Et maintenant, évêques,
Debout, la mitre au front, dans l'ombre du saint lieu,
Crachez vos Te Deum à la face de Dieu !

Jersey, le 12 mars 1853.

For Adrien,




San Francisco is asleep
On the lips a vermillion souvenir
Of an unthought dream yet
Paralyzed from a wound not mended yet
Red iron body in the night
Of two lovers we have observed
Hurt by a somber Beauty…

Two naked children, to Charity’s breast
Born and tortured by a majestic Love
Loving each other, two men as on Humanity’s
Very first day, in the large bedroom America.
In the passion of a bridge their two hands link
That time… Freedom! And tenderness heals
Devoted fingers, divinized with desire…

Trailing down, delicate, along backs, pleasure
Awake and keeping watch in the large bedroom America
Love comes by, patiently, Pacific
Two entangled lovers, male Galateas
Protected in the silver of their gold, protected from decay
Discovering each other, deliciously, in the bedroom America
In a California, stylistic seduction,

You too are dreaming about your bedroom America!

Montpellier, France July 19, 2015
Translated on July 20, 2015
Lyon, France

Reacting to the new dangerous trend of taking the ****** off in an until then consensual ****** act.


Dear America,

I strolled down your famous Sunset Avenue
Tasted the marine-inspired SF clam chowder
I had dreams about a Hollywood Undead venue
I had in mind Madonna, Monroe and their powder…

Dear America,

You gave me Ginsberg, Baldwin and Brooks
You gave me Hawthorne, Poe and Hemingway
You gave me strength and glory along the way
You gave me all my poems found in these books.

Dear America,

Today I want to tell you about stealthing
No I’m not talking about your crusade and sword
I want to tell you about a new trend and word
Consisting of taking your ****** off in the act

Dear America.

Irving told me he saw a desperate mother– it made me cringe
At the hospital, watch her son slowly pass and leave her
In his arm they gave him an against whatever AIDS shot syringe
This mother planted the needle in her arm.

Dear America,

The gay community was stigmatized because of barebacking
Horses of desire that they decided to tame
And you tell me your youths are, as we are speaking
Making love risking their lives, and no one is to blame?

Trumpets of shame I hear, crumbling the walls of reason
This brand new world to our bodies is nothing but treason
What is that? Is stealthing ****, America? I don’t know, say,
What was your reaction when they took your freedom away?

Dear America,

To the insolence of the 1970s youth, the recklessness
This generation responds with an air of stupidity
Go waste yourselves on the altars of dumbness
We won’t move a finger, to again witness this madness?

April 28, 2017
Lyon, France

If she wasn’t hooked on honey
she would fall down on my page
I rescued a blue-winged bee sage
I hope she’ll enjoy her stay
in my human home
She strains her abdomen
I pray it’s not a bad omen
her Hermes powers at rest
Did she leave her nest in earnest
I found her on lonely gray stairs
I pray she heals from her despairs
as the carpenter bee sleeps dangled
To my honey lathered chopsticks
I admire her frail black body
I gently blow on her she’s inside
my heart. I felt hers when she
Gripped my thumb.

March 13, 2018
Lyon