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Nota: his soil is man's intelligence.
That's better. That's worth crossing seas to find.
Crispin in one laconic phrase laid bare
His cloudy drift and planned a colony.
Exit the mental moonlight, exit lex,
Rex and principium, exit the whole
Shebang. Exeunt omnes. Here was prose
More exquisite than any tumbling verse:
A still new continent in which to dwell.
What was the purpose of his pilgrimage,
Whatever shape it took in Crispin's mind,
If not, when all is said, to drive away
The shadow of his fellows from the skies,
And, from their stale intelligence released,
To make a new intelligence prevail?
Hence the reverberations in the words
Of his first central hymns, the celebrants
Of rankest trivia, tests of the strength
Of his aesthetic, his philosophy,
The more invidious, the more desired.
The florist asking aid from cabbages,
The rich man going bare, the paladin
Afraid, the blind man as astronomer,
The appointed power unwielded from disdain.
His western voyage ended and began.
The torment of fastidious thought grew slack,
Another, still more bellicose, came on.
He, therefore, wrote his prolegomena,
And, being full of the caprice, inscribed
Commingled souvenirs and prophecies.
He made a singular collation. Thus:
The natives of the rain are rainy men.
Although they paint effulgent, azure lakes,
And April hillsides wooded white and pink,
Their azure has a cloudy edge, their white
And pink, the water bright that dogwood bears.
And in their music showering sounds intone.
On what strange froth does the gross Indian dote,
What Eden sapling gum, what honeyed gore,
What pulpy dram distilled of innocence,
That streaking gold should speak in him
Or bask within his images and words?
If these rude instances impeach themselves
By force of rudeness, let the principle
Be plain. For application Crispin strove,
Abhorring Turk as Esquimau, the lute
As the marimba, the magnolia as rose.

Upon these premises propounding, he
Projected a colony that should extend
To the dusk of a whistling south below the south.
A comprehensive island hemisphere.
The man in Georgia waking among pines
Should be pine-spokesman. The responsive man,
Planting his pristine cores in Florida,
Should ***** thereof, not on the psaltery,
But on the banjo's categorical gut,
Tuck tuck, while the flamingos flapped his bays.
Sepulchral senors, bibbing pale mescal,
Oblivious to the Aztec almanacs,
Should make the intricate Sierra scan.
And dark Brazilians in their cafes,
Musing immaculate, pampean dits,
Should scrawl a vigilant anthology,
To be their latest, lucent paramour.
These are the broadest instances. Crispin,
Progenitor of such extensive scope,
Was not indifferent to smart detail.
The melon should have apposite ritual,
Performed in verd apparel, and the peach,
When its black branches came to bud, belle day,
Should have an incantation. And again,
When piled on salvers its aroma steeped
The summer, it should have a sacrament
And celebration. Shrewd novitiates
Should be the clerks of our experience.

These bland excursions into time to come,
Related in romance to backward flights,
However prodigal, however proud,
Contained in their afflatus the reproach
That first drove Crispin to his wandering.
He could not be content with counterfeit,
With masquerade of thought, with hapless words
That must belie the racking masquerade,
With fictive flourishes that preordained
His passion's permit, hang of coat, degree
Of buttons, measure of his salt. Such trash
Might help the blind, not him, serenely sly.
It irked beyond his patience. Hence it was,
Preferring text to gloss, he humbly served
Grotesque apprenticeship to chance event,
A clown, perhaps, but an aspiring clown.
There is a monotonous babbling in our dreams
That makes them our dependent heirs, the heirs
Of dreamers buried in our sleep, and not
The oncoming fantasies of better birth.
The apprentice knew these dreamers. If he dreamed
Their dreams, he did it in a gingerly way.
All dreams are vexing. Let them be expunged.
But let the rabbit run, the **** declaim.

Trinket pasticcio, flaunting skyey sheets,
With Crispin as the tiptoe cozener?
No, no: veracious page on page, exact.
Nigel Morgan Jan 2013
Heartstone is a reflection in music on a ‘lost’ poem. The poem described in its two short verses a summer’s day, a landscape, a fossil found and placed in the palm of a child’s hand. The poem inspired a seven-movement work for wind, brass and percussion with solo piano. Here is its poetic programme note.

Chert

The piano draws an arc of rhythm
rising then falling.
Above
two choirs of wind and brass
exclaim, fanfare, mark out
shorter, determined
gestures of sound.

The procession, almost a march,
becomes a dance.
Alone
Two choirs of wind and brass
become four couples
whose music weaves
from complexity a simplicity:
Chromatic to Pentatonic
twelve becoming five.

Prase

Four stopped horns,
five extended tonalities.
Together they wander
a maze of Pentatonic paths;
alone, and in pairs, as a quartet
they discover within
a measured harmonic rhythm.
Tension: resolution

. . . and surrounding
their every move
the piano
insists an obligato,
a continuum of phrases,
absorbing into itself
the warp and weft of horn tone.

Sard

Oscillating
in perpetual motion
the full ensemble
occupies a frame
of time and space.

Flutes, reeds,
double-reeds
brass, piano,
percussion
mirror-fold on mirror-fold
layer upon layer
overlapping.

Yarns of threaded sound.

Tuff

Without a break
the mirrored oscillations
patter pentatonics
on tuned percussion
of marimba and vibraphone

whilst
a *batterie
of drums
lays down
shards of beaten rhythm
against this onward
folding of tonality change.

In the background
a choir of winds
flutes and single reeds
waymark this recursive journey
gathering together
cadential moments and the
necessary pause for breath.

Marl

Relentlessly, the motion is sustained,
piano-driven,
a syncopated continuo,
rhythm-sectioned
amidst layers of percussion.

Adding edge,
a choir of brass and double reeds
amplify the piano’s jagged rhythms
providing impetus for
phrases to become longer and longer,
ratching up the tension,
ever-denying closure
until the batterie
delivers
a conclusive flourish.

Paramoudra

Pulse-figures of winds.
Motific cells of brass.
Both
negotiate a stream of
fractal-shaped tonality
expanding: contracting.
A blossom of fanfares

folding into
pulsating layers
of tuned percussion,
flutes and reeds.
A dance-like episode

absorbs a chorale.
Four horns in close harmony
against the continuing dance.
A duet of differences

flows into a cascade of chords
in closed and open forms.
The piano supports
brass-flourishing figures
before a final stillness.

Heartstone

In gentle reflection
the solitary piano –
a figure in a landscape
of collapsed harmonic forms -
presents in slow procession
the essence of previous music.
Find out more about the music of Heartstone here: http://www.nigel-morgan.co.uk
L B Dec 2017
from a dream*

...My student's name is Ari
and he's dying...

“No serious talk today!” he warns
He wants to laugh –
and so we do

He wants the Patriarchs and Prophets
on this tropical island
He names them doing something funny
and I pick up where he leaves off--
with the second line:

      “Elijah, with his ravens on a blow-up raft...”
     “...Ascends with ham sandwich, sipping wine!”

    “Jeremiah throwing mud *****...”
    “...at Zedekiah's white garage!”

We rewrite the Old Testament
laughing till we cry

“Now that's what I'm talkin' about!”
He's pumped
and kicks that rebel trashcan 'cross the room
...and suddenly shouts out--

“For everything there is a season...!”

I do not finish this one....

“I'll tell Solomon you said Hi”
____

...and in that moment half aware...

_____

I'm wearing a grass skirt
in someone else's dream

I'm on Instagram
and I don't know how I got there

I have coconut halves for my ****
but for the life of me –
can't figure
how to keep them on

So I let them sway with my grasses
to the languid freedom of marimba music
toes clutching warmth of sand
No one here to see
but Instagram?

Nagging in the background:
How did I ever get here?

Dreaming like this... right?
Thanks to Anon for the suggestion to switch the order of the two pieces to this dream.  Yes, definitely makes it more sensible.

These two different dreams just somehow blended together.

I have never been to the tropics, but it's nice to dream, seein' as how it'll be
3 degrees here tonight.  I've worked with kids and as a teacher in public schools, so I guess that's where the rest comes from--that, and I've read the Old Testament.
David Nelson May 2013
While My Guitar Gently Sleeps

boogie woogie is on my mind
my toe tapping a thousand times
slapping snare and top hat crash
back to sleep dreamy night fade away

is it a festival of jazz marching by
raz-ma-taz New Orleans style
clarinet and trumpet and tuba blow
blind melon singing do-dah do-dah-day

Latin fever makes me thrash
trying to remember the tricky steps
the cha-cha of the island girls
watching how the shapely hips sway

Spanish marimba mambo twist
taps clacking as the flamenco flies
big box acoustic cat gut strings
fingers twitching wanting to play

square dance cowgirls and dudes strut
thumbs in their pockets stomping boots
fiddles and steel race through my heart
gonna do it all do it all someday

roll over and change the world another day
dreamy night fade away once again
screaming guitars in triple tones
while my guitar gently sleeps away

Gomer LePoet...
no rest for the weary frustrated musician :)
[On my birthday]
                
                
At low tide like this how sheer the water is.
White, crumbling ribs of marl protrude and glare
and the boats are dry, the pilings dry as matches.
Absorbing, rather than being absorbed,
the water in the bight doesn't wet anything,
the color of the gas flame turned as low as possible.
One can smell it turning to gas; if one were Baudelaire
one could probably hear it turning to marimba music.
The little ocher dredge at work off the end of the dock
already plays the dry perfectly off-beat claves.
The birds are outsize. Pelicans crash
into this peculiar gas unnecessarily hard,
it seems to me, like pickaxes,
rarely coming up with anything to show for it,
and going off with humorous elbowings.
Black-and-white man-of-war birds soar
on impalpable drafts
and open their tails like scissors on the curves
or tense them like wishbones, till they tremble.
The frowsy sponge boats keep coming in
with the obliging air of retrievers,
bristling with jackstraw gaffs and hooks
and decorated with bobbles of sponges.
There is a fence of chicken wire along the dock
where, glinting like little plowshares,
the blue-gray shark tails are hung up to dry
for the Chinese-restaurant trade.
Some of the little white boats are still piled up
against each other, or lie on their sides, stove in,
and not yet salvaged, if they ever will be, from the last bad storm,
like torn-open, unanswered letters.
The bight is littered with old correspondences.
Click. Click. Goes the dredge,
and brings up a dripping jawful of marl.
All the untidy activity continues,
awful but cheerful.
mûre Nov 2012
With my heart I picture you in polaroids
tinted blue by my eyes, surrounded by crushed leaves.
In the skipping track of my inner eye
your mouth, the way it moves when you focus
the open-palmed reaching of marimba chorale
and softening of your brow from the vines
of midnight-colour hair.
From many perspectives, again and again,
in the skipping track of my inner eye,
photographs shot with love.
Faeri Shankar May 2012
Stomach full of liquid.

Black eyed peas

And obsession with relish

Finally paying off.

Trees

Collages

Dancing

Seductress.

Knowledge

Healing

­Three small boys dressed as their fathers

Playing checkers

Giggling

Marimba chops

Echoing

Twice stolen earphones

Volume control

Old south

1933

Shallow grave

Shallow sleep

Fresh cars

First to drive

Survive.

Sonic

Pescetarianism.

Cherry Lime-ade

Walking on the

Green grass

REM interrupted

Curious hands

Laced between

Fingers

Three sizes smaller

Sinking

unbiased truth

peeking an ugly face

around her corner.

Talk of mustaches and

****** orientation

The price of documentation.

Embrace

certainty within confusion.

Tuesday.
Anne Scintilla Nov 2019
every time my phone dings that chime I set,

our patterend steps have been
evenly paced
but sometimes i miss
a few, just so our hands won’t
graze
— a metronome
back and forth.

though I’d still steal
a glance from it: soft
fingers on keys, light wrist
on the right beat,
slender
palms fit
in my sweater sleeve.

wondering, how
quickly it can
thaw the frost in mine;
and before my boiling belly
boil over  
surrendering the
mistletoe nose;

how many are missing the same warmth I have yet to hold.
so much warmth in for the last days of autumn.
it’s my favorite season despite not experiencing it in my country.
i guess we can really miss the things that was never ours— or not yet, at least.

thanks for reading
a.s.
Thomas W Case Feb 2021
I sit at my window and look out at the
snowflakes; they fall vertically, horizontally under
the grey black sky. I watch the dog break open the
bone and lick the marrow out. I watch the
big white cat sleep, snore, maybe dreaming of
a fat sparrow in his mouth. I think of taking
a bite of the sunset, living in a cave; the way
a marimba sounds when I’m haunted,
how Hamsun took bites of his hand in hunger.
My mind drifts to Van Gogh’s potato eaters,
the ***** that rejected his ear, Lautrec’s withered
legs and beautiful heart. I think of the falcon in
the city, the stranger in the mirror, the brutality
of man and the wonder in the doe’s eyes.

Anything but algebra, I took the compass test for
college, 99% in writing, 96%.in reading and 17% in math.
I have to retake the math and score a 25% or better.
I despise math, my girlfriend says, “You love math, it
gets you loans and grants.”
My brain bleeds with numbers and equations,
but she’s right,
I like loans and grants.

So I’m back at it, like a kid to
the dentist, and math does its job,
it pushes me back to
the word, the line, my dirt road
through the madness.
Bryce Jun 2018
Kawasaki revving on a long 5 *******
screaming pipe, watching from behind
a beautiful carousel of red and blue
flashing between my eyes

All along these tired roads
between the wandering streams cutting daily into the sediment
eroding the trust of those ancient riverbanks
exposing the bodies laid to dust

Those great crackling xylophones
marimba of memory and curdled blood
Screaming now, cracking between the gunshots
like bones
Souls forever past it

No forgiveness, no chance
No indictment on a ruddy road

I fall off my bike, skid a mile or two
feel the deep earth grind my skin,
tempting me with heat and a sweet goodbye
a challenge I'll never win

I skid past the officer in a ditch,
hole in his head and a clipboard ripped in two
Poor man, back with the sediment
wrapped in a carpet of beige and mud
all we've ever done

I'm not sure what I'd have said
As I slid past on my way to death
where the Appalachia slammed into Africa
saying we were all in this together
once before
as dinosaurs

So how are we any different then?

Bunch of stardust
and Sediment
Acting like winners
and consumed by lust
for dust and rocks
a part of us
Leading back our dark descent

Kawasaki flips and implodes in a ball of combustibles
behind me the sky explodes into red
and fire of passion deep in our star
of hearts, I know we'll all be the same then
empty of body, devoid of toys
stripped of lies, those knowledgeable clothes
and return to perfect Eden
where dirt and earth are us,
and dust we discriminate
obliterate into the neverend
Kaley Smith Jul 2016
To run to the far side of the pasture
Is to stop one’s own heart
Quick
Like the flash of a lightning bug
Little ones’ feet wander
As do their minds
Away from tales of fairies
And white gods
To big oak trees
On the far side of the pasture

Grass claws at his face
As his knees bend to the rhythm of his feet
And tiny black fists keep time
***** of mallets striking marimba air
“Don't let mama catch you”
Bounces against the walls of his cranium
Crash-
Into the oak tree
“Ouch”
#religion
Tawanda Mulalu Aug 2017
I.
//Yum Yum, No Vacation//

Such remarkable running you did there
You look like you're out breath, where is the air
You carried around yourself, air-bending monk
Heaving this way and that like you're in a funk

Yeah, I know, promised to never comment on you or your look
No more, at least to myself, but, baby you shook
Like how you shouldn't be, like someone like me saying 'baby'
Please, I trickled down your throat- gravy

Maybe, if you wasn't lying to yourself, life would be gravy
But then again- my mind is hazy
Maybe, if I'd been more faithful than lately
We coulda ended more stately but that's just a maybe

I like to deal with certainties so if it ain't that physics
I gotta ask why, where and when is it biting me
My space and time aren't hyphenated I'm not prepared to give
Myself away like that- so, can I live?

(Eh, you prolly didn't like me that much anyway
Eh, it doesn't bother me that much anyway
Yeah, writing past that call me Hemingway
Blam, end of a verse just like Hemingway)

II.
//Beach ******, No Vacation//

Oh wow, what weather indifferent is difference
Hello Boston, with your moodiness, how is you feeling?
I'm doing fine cause I'm doing me
Shower with rain and ice, movements in your symphony

Sympathy wasn't no nothing I asked from you
But double negatives ain't mahala so hala with sunlight akuna mathata
Lion King if you really wanna know
Roaring on so bitter with this flow

like

You really gon' try play me out of this Simba
Like Mufasa didn't gift me that rhythm marimba
Whatever homie, they don't even know me
Way they actin' up, they could win a Tony

******- and I thought I wasn't good enough
I'm good, getting out of my dreams, getting out of my seat
Good- like the only house concrete after a huff and a puff
Summer- only time the lyrics get done- sheesh!

III.
//Biking, Frank, Jay, Tyler//

Watch      what you say to me
Watch      pretty clear to me
Tick-tock til' next drop you don't mean none to me
No more if you play me, see

Soft boy, hard heart if need be, breathe
Not just for next stroke, left strokes, knees
Don't get weak, leave ***** sheets hang in breeze
Last whole night b, don't mean I'm happy

Pretty nice problem if you asked him
Little boy playin' 'round Invader Zim, where his friends
at? act   like   you   -   don't care
act? act         -you do-  so scared

Of dying lonely, crying won't be done
Nothing welled in tear ducts since fifteen, no fun, so done
with this shh... where the catharsis
Hamlet complex: the rest is shh... silence

IV.
//Fourth of July- Sufjan//

O, when the crickets clunkered and thundered
I thudded against myself- mind against skull
Bruce Banner in Incredible Hulk, whisper in bulk
Ghost in the Shell, heard sorta mumbled

Skip a few weeks later she breathes on my neck
Same thoughts really I don't like how I see me
I mean, I like myself, I hate my body
Or rather the idea of a body, microphone check:

Can I finally hear myself? Am I still stuck in myself?
Can I get outta myself? Can I please get some help?
I like living and touching and I like what she did there
But imagine if could disappear into universals and share

the same space as numbers and shapes
with none of this creaking and yearning my body it makes
I am a corpse in the making- and so is she
No matter how long we keep at it I am still inside of me

I didn't finish
I didn't finish

I didn't
I didn't

I
I
Thomas W Case Jun 2020
When I think of you,
I hear a marimba in my head.
I'm lost like a stray cat.
Baby, I swear I'll hop a train
and head west, to roll away
from the memory of you.
This mad hatter moon lights
my way, and I'm done
holding on.  I'm getting a
bottle of whiskey, and drinking
it until you become a
blurry memory.
Then I'm jumping that train.
This is another poem I wrote off the cuff for the Tom Waits Challenge
Miss Fit Jul 2023
Dear Musician play me a song
Play for me a song so long
Though the words may not be new
All I want is a tune so true

Play for me the mbira
And take me back to Africa
As your hands hit those metal notes
Let from your mouth come musical tones

Pluck the strings of a Spanish guitar and send my mind to a land afar
Create a song I want to hear it
Create a melody and make me complete

Play the African drums in contrast
Create a melody and make it last
I want to dance the way my forefathers did
To dancing the African way I myself bid

Rub gently the strings of violin
On your shoulder let it lean
With the bow make music
Make music and make me meek
Let it heal me, I'm no longer sick

Hit the notes of the marimba
I want to hear their deep sound
By the melody I'm spellbound
Deep satisfaction I have found

Dear Musician play any instrument for me
Play me any song, whatever tempo, whatever genre, whatever melody
All I want is the sensational harmony
Of your voice making music for me

Miss Fit ⚓
Ellis Reyes Apr 2021
I remember the day that you were born
I held you while the nurse bathed you in warm water
I held you when they stamped your tiny footprints on your birth certificate
I handed you to Mom for the first time

I remember when you learned to crawl,
Because you didn’t.
You sat up, dug your heels in, flexed your knees,
And scooted across the floor.

I remember the morning when you threw a fit because you didn’t like what I had picked
Out for you to wear – you were two.

I remember the many miles that you and your brother
Drove in circles around our backyard in his electric John Deere

I remember the magical fairy who left you notes and stories at night.
Her name was Donnabella.

I remember the astonished look on the reading specialist’s face
When you dropped ‘oviparous’ on her after she asked you to,
“Name a word that starts with ‘O’.
No kindergarten was necessary for you.

I remember thinking, “I can’t believe they’re both in school.”

I remember when you were in Prep Choir
Singing, dancing
Loving it,
Having no idea where it would lead

I remember your years in Girls’ Choir
The Winter and Spring performances
The hard work in between
And the frustration you felt
at the favoritism
and at people
who didn’t put in their all

I remember how proud you were to become a percussionist
To learn to play the bass
and the snare
and the tympani
and the marimba
and everything else that you could hit or shake

I remember when you began to dip your toes into theater
Ensemble parts first
And Crew
Then cast
With clever bios in the program
Then larger roles
And more clever bios
Then leading roles
And a growing desire to make theater
your life’s work

And here you are, today
Pursuing just that.

I remember how every teacher
who has ever known you
has loved you
and still asks about you
How none of them are at all surprised
That you are where you are
Doing what you are doing

Now it’s your turn to remember
How much we love you
How much we are behind you
And how very proud we are of you.

Happy Birthday.

Love,

Dad
To my daughter on her 18th birthday
fish-sama Dec 3
The faint patters of a marimba
greets your entrance, my love,
harmonics strung behind
silken curtains of muted chords
and
all is quiet but deafening in the beating of my heart.
Lawrence Hall Sep 2020
Music Around the House

There is music around the house today:
The old refrigerator hums a tune from Frozen
Handel might envy the washer’s Water Music
And the off-center dryer waltzes Blue Danube

The air-conditioner calls the wind Mariah
Boiling pasta plays a stovetop marimba
The vacuum cleaner is a Wagnerian storm
And the microwave joins in with a ring

There is music around the house today
In rhythms of work, imagination, and play
I regret that I don't remember how to format titles in this program.
What’s the wonder of soccer?
The musicality, the marimba, the flow
back and forth, side to side.
Sometimes the ball directing the pace,
sometimes the player keeps the ball
from taking over.
But the ball doesn’t take no
for an answer.
It wants to challenge
the speed and direction of the players.
Saying, I’m faster than you,
more precise, that is if we
work together,
if you accept I’m faster,
because I’m the one who
needs to end up somewhere,
not you.
And when I do,
we’re both happy.

— The End —