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Lanox Nov 2015
Do make it clear if breakfast is included. If not, make a disclaimer: "I am in the belief that you coming over is good. But that somehow this twisted world resulted in someone twisted as me. Who although enjoys the company of someone like you at this hour, cannot accommodate you past sleep. That you can choose to either leave before I doze off, or that in the morning you will readily accept if I can only open the door out for you. You can make yourself coffee. But know that I am wary of being with awake people while I am asleep, as I think you can easily understand."

There are two types of people in the world: the foodies and the cranky ones. I do not intend to be the latter.

Do make sure you expect only as your place can allow. You cannot hope for me to clean up the eye makeup that heavy drinking had caused to drip down my face when what you have is but a cracked mirror and a broken sink. I cannot fix myself up amid your chaos. I would have to look the part. Act the part. Smell the part. You either want me to receive you messy or put you back up. And I know there aren't too many choices, but still. You gotta make one.

Do say only words that you will not choose to forget the next day. Do not make promises of more future promises. Do not paint images of love, kindness, and honesty when we both know our story will only last as long as this night. This is not a contest on who'll be more unforgettable. We both know why we're here in the first place. We both remember too much.

Do consider the possibility that a sleepover may include only sleeping beside each other, but that it does not mean "nothing happened." A conversation can **** me up just as much, perhaps even more, than the real thing. You cannot share to me a universe that you expect me to pretend not knowing the next morning. You cannot accuse me of meddling when you've told me a story of how umbrellas scare the crap out of you and so every time it rains, I remember you. And so every time it rains, I text you, "Where are you?" not in the possessive way others do, but simply to make sure you are somewhere dry and not dying.

Do smile at me the next time I see you, even if we both know we've tried to avoid each other. I, only because I felt you were trying to avoid me first. Even if bitterness starts welling up, please do not look away. You perhaps may have been a mistake, and I may have been yours as well, but we've never been followers of others' ideas of what constitute a tragedy. My love, our love may to them look ugly, but we've agreed their beautiful ***** anyway. Every time they tell me you like a pretty thing, I always think you are being sarcastic. And that only I could see your sardonic point.

[Beer break]

At heto naman ang mga bagay na sana'y 'di mo gawin.

Kung ipagpipilitan mo ang kwarto mo, sana'y siguraduhin mo na mas malinis ito kaysa sa akin. Na 'di ka nakatira sa bahay ng mga magulang mo (dahil maingay ako at matatanda na tayo) o wala kang ibang kasama (sa parehong kadahilanan). Kung tatluhan ang hanap mo't 'di mo naman nakayang sabihin na may ibang babae na pala sa'yong kama ay mas mainam pang makipaglimahan ka na lamang gamit ang iyong mga daliri, mahal.

Wag mo ipagsabayan ang pagkain at ako. Alak at ako, pwede. Ngunit kung ikaw yung tipo na pinagsasabayan ang sarap ng dila't kalamnan, bibigyan kita ng ibang numerong tatawagan. Tayo'y Pilipino't kapag pagkain ang mapag-usapan, kasali ang tuyo, bagoong, balut, at itlog na maalat, mahal ko, seryoso ka bang maihahalo mo ang mga isip-isip na'to sa klase ng almusal na binabalak mo? Je ne suis pas Francais. My kisses will not make you think of food.

Wag mo akong ikalia. 'Di ko ikakahiya anong oras man akong lumabas mula sa'yong tahanan, basta lamang 'wag kang sumalungat kung ang tanging bukambibig ay galing ako sa kanya. Kung ako'y matingnan at mapansin ang biyak-biyak kong puso ngunit bakit nga ba 'di magawang mapalitan, kapag ba'y sinabi kong ito'y dahil sa'yo sana'y 'wag itatwa't angkinin **** minsan kasi'y nabanggit mo na ako . . .

Kaya't kaibigan, 'wag naman masyadong pikon 'pag ika'y na-friendzone, kinakausap ka pa rin naman, diba? 'Wag mo sabihing tunay ngang mas nana-isin mo ang trahedyang dulot ng malisyang 'di nabantayan. 'Wag mo sanang isipin na ang bawat pagpakita ko ng kahinaan ay pagtatawag na bigyang ligaya ang katawan kung masid mo namang lungkot ang siyang nakapaglapit sa'ting dalawa. Walang paghihiwalay sa pagkakaibigan, at kung sasabihin **** wala na tayo'y ipagkakalat ko na minsan nga'y naging tayo, pumili ka.

At ang huli'y sana 'wag **** ipamimigay agad-agad ang sarili mo sa sinuman matapos sa'kin. Madali kang mahalin. Mabilis kang matutunang unawain. 'Di naman sa kita'y ina-angkin. Ang sa'kin lang ay sana'y 'wag **** pagsabayin ang lahat-lahat . . . ng dinarama. Hindi lahat handa na ika'y mahalin ng buong-buo, lalo pa't 'di isa-isa. Tuloy nagmimistulang halimaw sa ilalim ng katre, kahit sa katotohanan nama'y kapareho lang na minsan di'y naging musmos, kapwa walang alam, kapwa nangangapa, kapwa takot, ngunit patuloy pa ring sumusubok.

https://soundcloud.com/lanox-alfaro/the-dos-and-donts-of-1
I wrote this the night before hearing about the Paris attack. I thought of editing the French part out but decided to keep it, as a reminder to myself.
Martin Narrod Feb 2015
Part I


the plateau. the truest of them all. coast line. night spells and even controlled by the dream of meeting again. the ribbon of darker than light in your crown. No region overlooked. Third picnic table to the drive at Half Moon Bay, meet me there, decant my speech there. the table by the restroom block. While the tide is in show me your oyster garden, 3:00p.m. at half-light here in the evilest torments that have been shed.---------------door locked.  The moors. Cow herds and lymph nodes, rancorous afternoon West light and bending roads, the cliffs, a sister, the need to jump. There is nothing as serious as this. There is nothing nor no one that could ever, or would ever on this side come between. Who needs sleep or jokes or snow or rivers or bombs or to turn or be a rat or a fly or ceiling fan or a gurney or a cadaver or piece of cloth or a bed spread or a couch or a game or the flint of a lighter or the bell of a dress; the bell of your dress, yes, perhaps. Having been crushed like orange cigarette light in a pool of Spanish tongues. I feel the heave, the pull; not a yawn but a wired, thread-like twist about my core. Up around the neck it makes the first cut, through the eyes out and into the nostrils down over the left arm, on the inside of the bicep, contorting my length, feigning sleep, and then cutting over my stomach, around and around multiples of times- pulled at the hips and under the groin, across each leg and in-between each nerve, capillary, artery, hair, dot, dimple, muscle, to the toes and in-between them. Wiry dream-like and nervous nightmarish, hellacious plateaus of leapers. Penguin heads and more penguin heads. Startling torment. The evilest of the vile mind. The dance of despair: if feet contorted and bound could move. The beach off Belmont. The hills and the reasons I stared. Caveat after caveat at the heads of letters, on the heads of crowns, and the wrists, and on the palms. Being pulled and signed, and moved away so greatly and so heavily at once in a moment, that even if it were a year or a set of many months it would always be a moment too taking away to be considered an expanse, and it would be too hellacious to be presumptuous. It could only be a shadow over my right shoulder as I write the letters over and again. One after another. Internally I ask if I would even grant a convo with Keats or Yeats or Plath or Hughes? Does mine come close? Does it matter the bellies reddish and cerise giving of pain? Does it have to have many names?


"This is the only Earth," I would say with the bouquet of lilies spread out on the table. Are lilies only for funerals, I would never make or risk or wish this metaphor, even play it like the drawn out notes of a melody unwritten and un-played: my black box and latched, corner of the room saxophone. Top-floor, end of the hall two-room never-ending story, I'm the left side of the bed Chicago and I see pink walls, bathrooms, the two masonite paintings, the Chanel books, the bookshelves, the white desk, the white dresser, you on the left side of the bed in such sentimental woe, **** carpet and tilted blinds, and still the moors and the whispering in the driver's seat in afternoon pasture. Sunset, sunrise, nighttime and bike room writing in other places, apartments, rooms where I inked out fingertips, blights, and moods; nothing ever being so bleak, so eerily woe-like or stoic. Nothing has ever made me so serious.

Put it on the rib, in a t-shirt. Make it a hand and guide it up a set of two skinny legs under a short-sheeted bed in small room and literary Belmont, address included. Trash cans set out morning and night, deck-readied cigarette smoking. Sliding glass door and kitchen fright. Low-lit living room white couch, kaleidoscope, and zoetrope. Spin me right round baby right round. I am my own revenge of toxic night. Attack the skin, the soul, the eyes, the mind, and the lids. The finger lids and their tips. Rot it out. Blearing wild and deafening blow after blow: left side of the bed the both of us, whilst stirs the intrepid hate and ousts each ******* tongue I can bellow and blow.

Last resort lake note in snow bank and my river speak and forest walk. Wrapped in blocks and boxes, Christmas packaging and giant over-sized red ribbons and bows. Shall I mention the bassinet, the stroller, the yard, several rings of gold and silver, several necklaces of black and thread? I draw dagger from box, jagged ended and paper-wrapped in white and amber: lit in candle light and black room shadow-kept and sleeping partisan unforgettable forever. Do I mention Hawaii, my mother dying, invisible ligatures and the unveiling of the sweat and horror? Villainous and frightening, the breath as a bleat or heart-beat and matchstick stirring slightly every friends' woe and tantrum of their spirit.

Lobster-legged, waiting, sifting through the sea shore at the sea line, the bright tyrannosaurs in mahogany, in maple, and in twine over throw rose meadow over-looks, honey-brimming and warehouse built terrariums in the underbelly of the ravine, twist and turn: road bending, hollowing, in and out and in and out, forever, the everlasting and too fastidious driving towards; and it's but what .2 miles? I sign my name but I'll never get out. I am mocked and musing at tortoise speed. Headless while improvising. Purring at any example of continue or extremity or coolness of mind, meddling, or temptation. I rock, bellowing. Talk, sending shivers up my spine. I'm cramped, and one thousand fore-words and after words that split like a million large chunks of spit, grime, and *****; **** and more ****. I might even be standing now. I could be a candle, in England, a kingdom, in Palo Alto, a rook in St. Petersburg. Mottled by giants or sleepless nights, I could be the Eiffel Tower or the Statue of Liberty, a heated marble flower or the figure dying to be carved out. I'm veering off highways, I'm belittling myself: this heathen of the unforgettable, the bog man and bow-tied vagrant of dross falsification and dross despair. I am at the sea shore, tide-righted and tongue-tide, bilingual, and multi-inhibited by sweat, spit, quaffs of sea salt, lake water, and the like. Rotten wergild ridden- stitched of a poor man's ringworm and his tattered top hat and knee-holed trousers. I'm at the sea shore, with the cucumbers dying, the rain coming in sideways, the drifts and the sandbars twisting and turning. I'm at the sea shore with the light house bruise-bending the sweet ships of victory out backwards into the backwaters of a mislead moonlight; guitars playing, beeps disappearing, pianos swept like black coffees on green walled night clubs, arenose and eroding, grainy and distraught, bleeding and well, just bleeding.






I'm at the sea shore, the coastline calling. I've got rocks in my pockets, ******* and two lines left in the letter. I’m at the sea shore, my mouth is a ghost. I've seen nothing but darkness. I'm at the seashore, second picnic table, bench facing the squat and gobble, the tin roof and riled weir near the roadside. .2 and I'm still here with my bouquet wading and waiting. I'm at the sea shore and there's nobody here. My inches are growing shorter by the second, cold, whet by the sunset, its moon men, their heavy claws and bi-laws overthrowing and throwing me out. The thorns stick. The tyrannosaurs scream. I'm at the sea shore, plateau, left bedside to write three more letters. Sign my name and there's nobody here.

I'm at the sea shore: here are my lips, my palms (both of them facing up), here are my legs (twine and all), my torso, and my head shooting sideways. I'm at the seashore and this is my grave, this is my purposeful calotype, my hide and go seek, my show and tell, my forever. .2 and forever and never ending. I was just one dream away come and keep me. I'm at the sea shore come and see me and seam me. I'm without nothing, the sky has drifted, the sea is leaving, my seat is a matchbox and I'm all wound up. The snow settling, the ice box and its glory taken for granted. I'm at the sea shore and there's nobody here. The room with its white sets of furniture, the lilies, the Chanel, the masonite paintings, the bed, your ribbon of darker on light, the throw rug **** carpet, pink walled sister's room, and the couch at the top of the stairs. I'm at the sea shore, my windows opened wide, my skin thrown with threat, rhinoceri, reddish bruises bent of cerise staled sunsets. I'm at the sea shore and there's nobody here. I'm at the plateau and there isn't a single ship. There are the rocks below and I'm counting. My caveats all implored and my goodbyes written. I'm in my bed and the sleep never set in. I'm name dropping God and there's nobody there. I'm in a chair with my hands on a keyboard, listening to Danish throb-rock, horse-riding into candle light on a wicked wedding of wild words and teary-eyed gazes and gazers. Bent by the rocking and the torment, the wild and the weird, the horror and everything horrifying. There is this shadow looking over my shoulder. I'm all alone but I feel like you're here.



Part II




I wake up in Panama. The axe there. Sleeping on the floors in the guest bedroom, the floor of the garden shed, the choir closet, the rut of dirt at the end of the flower bed; just a towel, grayish-blue, alone, lawnmower at my side, and sky blue setting all around. I was a family man. No I just taste bits of dirt watching a quiet and contrary feeling of cool limestone wrap over and about my arms and my legs. Lungs battered by snapping tongues, and ancient conversations; I think it was the Malaysian Express. Mom quieted. Sister quieted. Father wept. And is still weeping. Never have I heard such horrifying and un-kindly words.-----------------------It's going to take giant steel cavernous explorations of the nose, brain cell after brain cell quartered, giant ******* quaffs of alcohol, harboring false lanterns and even worse chemicals. Inhalations and more inhalations. I'm going to need to leap, flight, drop into bodies of waters from air planes and swallow capsules of psychotropics, sedatives beyond recalcitrance. I'm requiring shock treatments and shock values. Periodic elements and galvanized steel drums. Malevolence and more malevolence. Forest walks, and why am I still in Panama. I don't want to talk, to sleep, to dream, to play stale-mating games of chess, checkers, Monopoly, or anything Risk involving. I can't sleep, eat, treaty or retreat. I'm wickeded by temptations of grandeur and threats of anomaly, widening only in proverb and swept only by opposing endeavors. Horrified, enveloped, pictured and persuaded by the evilest of haunts, spirits, and match head weeping women. I can't even open my mouth without hearing voices anymore. The colors are beginning to be enormous and I still can't swim. I couldn't drown with my ears open if I kept my nose dry and my mouth full of a plane ticket and first class beanstalk to elysian fields. It's pervasive and I'm purveyed. It's unquantifiable. It's the epitomizing and the epitome. I have my epaulets set for turbulent battles though I still can't fend off night. Speak and I might remember. Hear and it's second rite. Sea attacks, oceans roaring, lakes swallowing me whole. Grand bodies of waters and faces and arms appendages, crowns and more crowns and more crowns and more crowns and more crowns and I'm still shaking, and I'm still just a button. And I still can't sleep. And I'm still waiting.

It is night. The moon ripening, peeling back his face. Writhing. Seamed by the beauty of the nocturne, his ways made by sun, sky, and stars. Rolled and rampant. Moved across the plateau of the air, and its even and coolly majestic wanton shades of twilight. It heads off mountains, is swept as the plains of beauty, their faces in wild and feral growths. Bent and bolded, indelible and facing off Roman Empires too gladly well in inked and whet tips of bolder hands to soothe them forth.-----------Here in their grand and grandiose furnaces of the heart, whipped tails and tall fables fettered and tarnished in gold’s and lime. Here with their mothers' doting. Here with their Jimi Hendrix and poor poetry and stand-up downtrodden wergild and retardation. I don't give a ****. I could weep for the ***** if they even had hair half as fine as my own. I am real now. Limited by nothing. Served by no worship or warship. My flotilla serves tostadas at full-price. So now we have a game going.-----------------------------------------------------------­------------------------  My cowlick is not Sinatra's and it certainly doesn't beat women. As a matter of factotum and of writ and bylaw. I'm running down words more quickly than the stanza's of Longfellow. I'm moving subtexts like Eliot. I'm rampant and gaining speed. Methamphetamine and five star meats. Alfalfa and pea tendrils. Loves and the lovers I fall over and apart on. Heroes and my fortune over told and ever telling. Moving in arc light and keeping a warm glow.

the fish line caves. the shimmy and the shake. Bluegrass music and big wafting bell tones. snakes and the river, hands on the heads, through the hair; I look straight at the Pacific. I hate plastic flowers, those inanimate stems and machine-processed flesh tones. Waltzing the state divide. I am hooked on the intrepid doom of startling ego. I let it rake into my spine. It's hooves are heavy and singe and bind like manacles all over me. My first, my last, my favorite lover. I'm stalemating in the bathtub. Harnessing Crystal Lite and making rose gardens out of CD inserts and leaf covers. I'm fascinated by magic and gods. Guns and hunters. Thieving and mold, and laundry, and stereotypes, and great stereos, and boom-boxes, and the hi-fi nightlife of Chicago, roasting on a pith and meaty flame, built like a horror story five feet tall and laced with ruggedness and small needles. My skin is a chromium orchid and the grizzly subtext of a Nick Cave tune. I've allowed myself to be over-amplified, to mistake in falsetto and vice versa. To writhe on the heavy metallic reverberations of an altercated palpitation. The heart is the lonely hunted. First the waterproof matchsticks, then the water, the bowie knife, crass grasses and hard-necked pitch-hitters and phony friends; for doing lunch in the park on a frozen pond, I play like I invented blonde and really none of my **** even smells like gold.--------------------- There are the tales of false worship. I heard a street vendor sell a story about Ovid that was worse than local politics. As far as intermittent and esoteric histories go I'm the king of the present, second stage act in the shadow of the sideshow. Tonight I'm greeting the characters with Vaseline. For their love of music and their love of philosophy. For their twilight choirs and their skinny women who wear black antler masks and PVC and polyurethane body suits standing in inner-city gardens chanting. For their chanting. The pacific. For the fish line caves. For the buzzing and the kazoos. For the alfalfa and the three fathers of blue, red, and yellow. For the state of the nation. But still mostly working for the state of equality, more than a room for one’s own.-------------------------------------------------------------­------"Rice milk for all of you." " Kensington and whittled spirits."
(Doppelganger enters stage left)MAN: Prism state, flash of the golden arc. Beastly flowers and teeming woodlands. Heir to the throes and heir to the throng.----------------------------------------------------------­--------------- The sheep meadow press in the house of affection. The terns on my hem or the hide in my beak; all across the steel girder and whipping ******* the windows facing out. The mystery gaze that seers the diplopic eye. Still its opening shunned. I put a cage over it and carry it like a child through Haight-Ashbury. At times I hint that I'm bored, but there is no letting of blood or rattle of hope. When you live with a risk you begin at times to identify with the routes. Above the regional converse, the two on two or the two on four. At times for reasons of sadness but usually its just exhaustion. At times before the come and go gets to you, but usually that is wrong and they get to you first. Lathering up in a small cerulean piece of sky at the end turnabout of a dirt road
jonchius Sep 2015
checking potent aftershock
observing seismic anniversary
checking another tremor
resuming constrained writing

annexing hidebound constituents
hugging incoming eschatologies
fighting pervasive insomnia
battling invasive fatigue

damning incompetent fools
awaiting furtive escape
abandoning corporate wasteland
summoning celestial syzygy

detesting spaghetti code
protruding riparian dolphin
establishing unilinear escritoire
glowing cybernetic cynosure

avoiding eternal invisibility
supporting valued customer
performing lexical gymnastics
scrooping notification sounds

restoring usual happiness
glorifying darkwave fanfares
collapsing old relationships
raising ambient awareness

defining wolf people
propagating yesteryear's spectre
achieving hemispheric virality
testing weekend legerity
installing iron curtain

propagating today's spectre

developing niche audiences
transmitting abstract propaganda
disappearing thought experiments
overusing various condiments

double-checking hyper-real emotions
rubbernecking celestial explosions
observing splendid holiday
exploding volcano day

erupting bucolic mountain
disrupting hectic shouting
perfecting suggestive triptychs
checking festive pyrotechnics

drifting across multiverse
regifting glossy paperwork
writing six-lined hexagrams
liking two-toned instagrams

recalling pygmalion sculptures
brawling tatterdemalion cultures
"rambling corporate shill
rattling rapid prosody"
"battling hamburger hill
ambling hundredth library"
"sensing ideological schism
pending guttural neologism"

glowing verdant background
foreshadowing palmyra takedown
developing geopolitical mess
geminating quasi-couplet stress

"hugging cultural diversity
shrugging irrational adversity"

distancing spooky raindrops
avoiding potential burnout
implementing lexical databank
approaching crash-scene sudser

becoming increasingly selective
escaping tyrannical bureaucracy
perpetuating cut-throat capitalism
purchasing contrived happiness
incorporating chance elements
relaxing rigid structures
reheating your retweet

holding theoretical design
smiling beach life
scrutinizing eternal simulation
rushing artificial apothegm
annexing facetious document
freaking creepy centipedes

writing neural structure
congratulating yestreen's warriors
encouraging seatbelt usage
boosting abstract setting
sensing frivolous ochlocracy

keeping hypothetical metropolis
blurring metaphorical æsthetic
scrutinizing computational festival
memorializing towel day

raising six-fingered paw
eternizing fragment schedule
liking subtextual repository
quoting quintessential quidnunc

finding ideological style
disregarding their slovenliness
planning spatial factoid
spinning glacial ellipsoids

enjoying eternal spreadsheet
deleting repetitive tweet
awaiting festival lineup
gainsaying unethical startups

observing turgid experiment
contemplating conniving contrivances
enjoying dynamic project
dropping two-toned simulation
finding harmonic space
finalizing warring cavaliers

detecting enigmatic apathy
retrieving potential exchange
meddling middling muddling
baking hypnagogic pizza

spinning galactic dinosaur
building trans-pacific partnership
finishing theoretical mission
giggling agog googlers

crashing atypical tessellation
cherishing precious hexagons
proliferating western lottery
cretaceousing funkaholic skeletor

blurring turgid gallery
cancelling tsunami warnings
extemporizing incoherent neologisms
transmitting harmonic rave

gliding black hawks
hiding quacked ducks
archiving animated light
googling moonbow imagery

ignoring relatable messages
observing unfinished world
generating optional content
continuing exponential growth
May 2015
What if love became so overwhelming, such an inextinguishable force that its true purpose betrayed itself completely?
To the point that even the utterance of those three powerful words, that at a different junction had held such promise, now left a distinct taste of uncertainty on the lips and a ringing of insanity in the ear drum. What else does one say when the most pure form of expression and commitment echo with distain and regret?
Even as I slide into introspection, diving deep to the point of no return, there seems to be no logical path, no penance for the monster I have created. Through my own autonomous actions and neglect I have reached this dark place. Perhaps I indulged beyond a point where thoughts and actions have boundaries. A broken compass , spinning without meaning. All indicators in tact, every cog and point in place, magnetism lost to exaggerated memories, fears and regrets.
Self delusion is a drink that is best served with company. With companionship the mind tends to believe its own meddling. Delusions are mistaken for truth and biased opinions blur with reality.  
All roads lead to pain. Every so often a spark jumps to the surface of my consciousness.  A pin ***** exclaiming hope.  It’s a glitch of my own creation. The belief in happy endings and love prevailing. That love is more powerful than any disappointment, mistake or breech in trust. My reality had been resurfaced and augmented by the media. Love stories are just that. Stories.  A wave of manufactured hope, washing over the beach of the human psyche. Every grain of sand is washed back to the sea just as it has arrived.
Happiness, a flame burning on a tiny wick. Enjoy the heat while it lasts for it is going to be a cold winter. And the power is out.
Muse of the many-twinkling feet! whose charms
Are now extended up from legs to arms;
Terpsichore!—too long misdeemed a maid—
Reproachful term—bestowed but to upbraid—
Henceforth in all the bronze of brightness shine,
The least a Vestal of the ****** Nine.
Far be from thee and thine the name of *****:
Mocked yet triumphant; sneered at, unsubdued;
Thy legs must move to conquer as they fly,
If but thy coats are reasonably high!
Thy breast—if bare enough—requires no shield;
Dance forth—sans armour thou shalt take the field
And own—impregnable to most assaults,
Thy not too lawfully begotten “Waltz.”

  Hail, nimble Nymph! to whom the young hussar,
The whiskered votary of Waltz and War,
His night devotes, despite of spur and boots;
A sight unmatched since Orpheus and his brutes:
Hail, spirit-stirring Waltz!—beneath whose banners
A modern hero fought for modish manners;
On Hounslow’s heath to rival Wellesley’s fame,
Cocked, fired, and missed his man—but gained his aim;
Hail, moving muse! to whom the fair one’s breast
Gives all it can, and bids us take the rest.
Oh! for the flow of Busby, or of Fitz,
The latter’s loyalty, the former’s wits,
To “energise the object I pursue,”
And give both Belial and his Dance their due!

  Imperial Waltz! imported from the Rhine
(Famed for the growth of pedigrees and wine),
Long be thine import from all duty free,
And Hock itself be less esteemed than thee;
In some few qualities alike—for Hock
Improves our cellar—thou our living stock.
The head to Hock belongs—thy subtler art
Intoxicates alone the heedless heart:
Through the full veins thy gentler poison swims,
And wakes to Wantonness the willing limbs.

  Oh, Germany! how much to thee we owe,
As heaven-born Pitt can testify below,
Ere cursed Confederation made thee France’s,
And only left us thy d—d debts and dances!
Of subsidies and Hanover bereft,
We bless thee still—George the Third is left!
Of kings the best—and last, not least in worth,
For graciously begetting George the Fourth.
To Germany, and Highnesses serene,
Who owe us millions—don’t we owe the Queen?
To Germany, what owe we not besides?
So oft bestowing Brunswickers and brides;
Who paid for ******, with her royal blood,
Drawn from the stem of each Teutonic stud:
Who sent us—so be pardoned all her faults—
A dozen dukes, some kings, a Queen—and Waltz.

  But peace to her—her Emperor and Diet,
Though now transferred to Buonapartè’s “fiat!”
Back to my theme—O muse of Motion! say,
How first to Albion found thy Waltz her way?

  Borne on the breath of Hyperborean gales,
From Hamburg’s port (while Hamburg yet had mails),
Ere yet unlucky Fame—compelled to creep
To snowy Gottenburg-was chilled to sleep;
Or, starting from her slumbers, deigned arise,
Heligoland! to stock thy mart with lies;
While unburnt Moscow yet had news to send,
Nor owed her fiery Exit to a friend,
She came—Waltz came—and with her certain sets
Of true despatches, and as true Gazettes;
Then flamed of Austerlitz the blest despatch,
Which Moniteur nor Morning Post can match
And—almost crushed beneath the glorious news—
Ten plays, and forty tales of Kotzebue’s;
One envoy’s letters, six composer’s airs,
And loads from Frankfort and from Leipsic fairs:
Meiners’ four volumes upon Womankind,
Like Lapland witches to ensure a wind;
Brunck’s heaviest tome for ballast, and, to back it,
Of Heynè, such as should not sink the packet.

  Fraught with this cargo—and her fairest freight,
Delightful Waltz, on tiptoe for a Mate,
The welcome vessel reached the genial strand,
And round her flocked the daughters of the land.
Not decent David, when, before the ark,
His grand Pas-seul excited some remark;
Not love-lorn Quixote, when his Sancho thought
The knight’s Fandango friskier than it ought;
Not soft Herodias, when, with winning tread,
Her nimble feet danced off another’s head;
Not Cleopatra on her Galley’s Deck,
Displayed so much of leg or more of neck,
Than Thou, ambrosial Waltz, when first the Moon
Beheld thee twirling to a Saxon tune!

  To You, ye husbands of ten years! whose brows
Ache with the annual tributes of a spouse;
To you of nine years less, who only bear
The budding sprouts of those that you shall wear,
With added ornaments around them rolled
Of native brass, or law-awarded gold;
To You, ye Matrons, ever on the watch
To mar a son’s, or make a daughter’s match;
To You, ye children of—whom chance accords—
Always the Ladies, and sometimes their Lords;
To You, ye single gentlemen, who seek
Torments for life, or pleasures for a week;
As Love or ***** your endeavours guide,
To gain your own, or ****** another’s bride;—
To one and all the lovely Stranger came,
And every Ball-room echoes with her name.

  Endearing Waltz!—to thy more melting tune
Bow Irish Jig, and ancient Rigadoon.
Scotch reels, avaunt! and Country-dance forego
Your future claims to each fantastic toe!
Waltz—Waltz alone—both legs and arms demands,
Liberal of feet, and lavish of her hands;
Hands which may freely range in public sight
Where ne’er before—but—pray “put out the light.”
Methinks the glare of yonder chandelier
Shines much too far—or I am much too near;
And true, though strange—Waltz whispers this remark,
“My slippery steps are safest in the dark!”
But here the Muse with due decorum halts,
And lends her longest petticoat to “Waltz.”

  Observant Travellers of every time!
Ye Quartos published upon every clime!
0 say, shall dull Romaika’s heavy round,
Fandango’s wriggle, or Bolero’s bound;
Can Egypt’s Almas—tantalising group—
Columbia’s caperers to the warlike Whoop—
Can aught from cold Kamschatka to Cape Horn
With Waltz compare, or after Waltz be born?
Ah, no! from Morier’s pages down to Galt’s,
Each tourist pens a paragraph for “Waltz.”

  Shades of those Belles whose reign began of yore,
With George the Third’s—and ended long before!—
Though in your daughters’ daughters yet you thrive,
Burst from your lead, and be yourselves alive!
Back to the Ball-room speed your spectred host,
Fool’s Paradise is dull to that you lost.
No treacherous powder bids Conjecture quake;
No stiff-starched stays make meddling fingers ache;
(Transferred to those ambiguous things that ape
Goats in their visage, women in their shape;)
No damsel faints when rather closely pressed,
But more caressing seems when most caressed;
Superfluous Hartshorn, and reviving Salts,
Both banished by the sovereign cordial “Waltz.”

  Seductive Waltz!—though on thy native shore
Even Werter’s self proclaimed thee half a *****;
Werter—to decent vice though much inclined,
Yet warm, not wanton; dazzled, but not blind—
Though gentle Genlis, in her strife with Staël,
Would even proscribe thee from a Paris ball;
The fashion hails—from Countesses to Queens,
And maids and valets waltz behind the scenes;
Wide and more wide thy witching circle spreads,
And turns—if nothing else—at least our heads;
With thee even clumsy cits attempt to bounce,
And cockney’s practise what they can’t pronounce.
Gods! how the glorious theme my strain exalts,
And Rhyme finds partner Rhyme in praise of “Waltz!”
Blest was the time Waltz chose for her début!
The Court, the Regent, like herself were new;
New face for friends, for foes some new rewards;
New ornaments for black-and royal Guards;
New laws to hang the rogues that roared for bread;
New coins (most new) to follow those that fled;
New victories—nor can we prize them less,
Though Jenky wonders at his own success;
New wars, because the old succeed so well,
That most survivors envy those who fell;
New mistresses—no, old—and yet ’tis true,
Though they be old, the thing is something new;
Each new, quite new—(except some ancient tricks),
New white-sticks—gold-sticks—broom-sticks—all new sticks!
With vests or ribands—decked alike in hue,
New troopers strut, new turncoats blush in blue:
So saith the Muse: my——, what say you?
Such was the time when Waltz might best maintain
Her new preferments in this novel reign;
Such was the time, nor ever yet was such;
Hoops are  more, and petticoats not much;
Morals and Minuets, Virtue and her stays,
And tell-tale powder—all have had their days.
The Ball begins—the honours of the house
First duly done by daughter or by spouse,
Some Potentate—or royal or serene—
With Kent’s gay grace, or sapient Gloster’s mien,
Leads forth the ready dame, whose rising flush
Might once have been mistaken for a blush.
From where the garb just leaves the ***** free,
That spot where hearts were once supposed to be;
Round all the confines of the yielded waist,
The strangest hand may wander undisplaced:
The lady’s in return may grasp as much
As princely paunches offer to her touch.
Pleased round the chalky floor how well they trip
One hand reposing on the royal hip!
The other to the shoulder no less royal
Ascending with affection truly loyal!
Thus front to front the partners move or stand,
The foot may rest, but none withdraw the hand;
And all in turn may follow in their rank,
The Earl of—Asterisk—and Lady—Blank;
Sir—Such-a-one—with those of fashion’s host,
For whose blest surnames—vide “Morning Post.”
(Or if for that impartial print too late,
Search Doctors’ Commons six months from my date)—
Thus all and each, in movement swift or slow,
The genial contact gently undergo;
Till some might marvel, with the modest Turk,
If “nothing follows all this palming work?”
True, honest Mirza!—you may trust my rhyme—
Something does follow at a fitter time;
The breast thus publicly resigned to man,
In private may resist him—if it can.

  O ye who loved our Grandmothers of yore,
Fitzpatrick, Sheridan, and many more!
And thou, my Prince! whose sovereign taste and will
It is to love the lovely beldames still!
Thou Ghost of Queensberry! whose judging Sprite
Satan may spare to peep a single night,
Pronounce—if ever in your days of bliss
Asmodeus struck so bright a stroke as this;
To teach the young ideas how to rise,
Flush in the cheek, and languish in the eyes;
Rush to the heart, and lighten through the frame,
With half-told wish, and ill-dissembled flame,
For prurient Nature still will storm the breast—
Who, tempted thus, can answer for the rest?

  But ye—who never felt a single thought
For what our Morals are to be, or ought;
Who wisely wish the charms you view to reap,
Say—would you make those beauties quite so cheap?
Hot from the hands promiscuously applied,
Round the slight waist, or down the glowing side,
Where were the rapture then to clasp the form
From this lewd grasp and lawless contact warm?
At once Love’s most endearing thought resign,
To press the hand so pressed by none but thine;
To gaze upon that eye which never met
Another’s ardent look without regret;
Approach the lip which all, without restraint,
Come near enough—if not to touch—to taint;
If such thou lovest—love her then no more,
Or give—like her—caresses to a score;
Her Mind with these is gone, and with it go
The little left behind it to bestow.

  Voluptuous Waltz! and dare I thus blaspheme?
Thy bard forgot thy praises were his theme.
Terpsichore forgive!—at every Ball
My wife now waltzes—and my daughters shall;
My son—(or stop—’tis needless to inquire—
These little accidents should ne’er transpire;
Some ages hence our genealogic tree
Will wear as green a bough for him as me)—
Waltzing shall rear, to make our name amends
Grandsons for me—in heirs to all his friends.
Mateuš Conrad Aug 2016
i like looking up these shadow-people, the labourers
away from the spotlight, away from easy reference conclusions,
Ludovico Arrighi is among them, as is
the high jumper **** Fosbury - no belly-flop in
the competition after... after 1968 the road signs
told every jumper to expose the back and ***
when overpowering the heights -
Philippe Petit is outside the world, the ultimate
expression of solipsism, what grandeur (previous
attempts, the dyslexic source: the graphemes, æ,
previously i wrote grandeur as: grandeaur,
grandaeur, etc., somehow the syllables of only
vowels can leave you momentarily dyslexic,
when we're talking pure consonant graphemes
we have an aesthetic performed,
sheering can become šeering, whereby the diacritical
input overpowers excess spelling of graphemes,
such examples arise from what became the silent H...
or the surd H... ping-pong with the tetragrammaton...
e.g. dhal - which is said with a macron over the a:
dāl... but the trinity of spelled words gives rise
of neurosis... unless it's a word as conjunction,
the tribunal of aesthetic in keeping language beautiful
will prefer the spelling dhal or even daal rather than
what i proposed). concerning Ludovico Arrighi's
italics type... the skewed rhombus alignment /    /
is prescribed for emphasis... i need something to introduce
something that doesn't stress emphasis, but
sarcasm / ridicule... when i write something,
as i did in Christianity 2.0 (two point oh),
i'd change the direction of the ~wind, i.e. instead of
/    /    for emphasis, i'd like to stress ridicule in the
following direction:    \     .
but that's beside the point, it's like a western with
English not applying noticeable stresses...
for example the English trill, or the French hark...
they should be equipped with diacritical marks
of distinction... some sort of uniformity
of suggestion... the northerners trill (roll)
their R, the French used to, now anything but
a puddle of phlegm... but indeed, easy dyslexia from
pure vowel graphemes... cutting up graphemes
with diacritical incisions (safety, in a persistent vocabulary,
following the method of philosophical methodology -
hence my casual use of diacritics and graφemes -
i.e. when graphemes can't be constructed due
to a lacking of grapheme intention - unlike θ and φ -
supported by their alignment of a twin sound,
the Greeks would never consider applying diacritical
marks on p, t, h - unlike in Polish, where the h
is distinguished into a ch for aesthetic purposes -
e.g. chleb - bread and huj - **** -
but overpowering the vowel graphemes produced
their disappearance and the emergence of diacritical
vowels, e.g. the acute o (ó), which is a U, i treat
the diacritical mark as an incision point for the parabola,
cutting up the omicron, and that seems natural
given that the Greeks already did it without the acute
sign, i.e. the omega (the double u) - ω - again,
aesthetic reasons, the forgotten gallery of words
is there, you just have to forget Chomsky for a while.
but indeed, breaking up graphemes provides us
the necessity for diacritical marks,
the ancient Roman graphemes might have disappeared,
but they're still digitally present: mostly concerning
major words, like onomatopoeia - or encyclopaedia -
graphemes behave differently with the barbarians,
the latter encyclo- example is obviously nostalgic,
the ono- example does a reverse grapheme variation
of oe... but modernity expresses these couples
with individual distinctions - i.e. encyclopaedia
could be written utilising... well not a caron - not quiet
***, and more p'eh - the resurrection of the tetragrammaton
is necessary, i'd have inserted the variation without
minding French, i.e. grave accent on e eating away
the last vowel... or vowels... i.e. encyclopaèdia -
so avoiding the French usage that would cut off the -ia,
i'd insert it for reasons of interacting with a h, p'eh.
Joyce's Finnegan's Wake should have been written like this...
instead, it was written without noticing the diacritical
marks, and therefore made it's pompousness known
by omitting diacritical marks, therefore succumbing to
excessive spelling... or the ruin of Delmore Schwarzt -
nurse! scalpel: sch(sh /sz / š)- -wä(łä)- r(z)'t - drum-kit
wet snare tss't like in jazz.
still i need to define the R being trilled (rolling ball)
akin to the å - but of course the umlaut would do the job
likewise - but it's the aesthetic purpose that's necessary,
i guess umlaut designates an eased concept of
arithmetic included above the sound: i.e. prolonged,
count +2.

but these are but minor points of consideration,
obviously it would take decades to implement, and knowing
human endeavours in this realm, once fixed, once
fixated, nothing will hardly change - due to the already
existing utilisation, whereby it works perfectly to segregate
people... and the fact that there's no linguistic bible to
mind... but talking about orthodoxy and meddling with
dogma, i'm still bothered about the Malachi heresy,
how could it have been implemented?
i mean, a polytheistic concept of reincarnation is the oldest
form of identity theft, isn't it?
monotheism is incompatible with the concept of reincarnation,
this is the weakest spot / the blemish in Judaism...
Malachi is the actual inventor of Christianity and Islam,
he introduced the concept of reincarnation with
the return of Elijah, as mentioned in the New Testament
where Jesus is compared with Elijah...
it's a monotheistic heresy... reincarnation has no place
in monotheism, yet there it is, glaring at everyone from
the page... it was Malachi's error that gave rise to
schism... the litmus test of a monotheism is it's inability to
succumb to schism... well, Christianity is poly-schismatic,
Islam suffered an infection of schism early on...
Jewish schism?  you either practice or don't...
you either don the full attire of a Hasidic jews or you simply
turn your opinions toward earthly matters...
and so much rigour just because they didn't care to
roll the ******* back during ***, all that much work
from snipping the *******... early intervention did the job,
snip the skin off and we have the most ridiculously
funny god in the thought of man, an entire Mongolian
horde of intellectuals have been spawned from his existence...
imagine if god intervened when plastic surgery came around...
wouldn't be so ******* funny by my count.
****! listening to the radio and standing up between sentences
then realising there's no go-back button... it's live...
sometimes the oddities of not being your own d.j. can be
petrifying, when you're working against the river-current
like a Salmon of rhythm.

lastly... i guess this is a major point, in a magazine article
some dung-heap of opinion wrote something
about poetry, in ditto:
a policeman shoots dead Michael Brown in Ferguson,
Missouri in August 2014, Maggie Smith's poem
Good Bones goes viral, it wasn't about Ferguson,
it was about life being short and often terrible -
continues with: poetry is the language of crisis, of
profound thought and deep emotion, it may not be
much read these days, but it is certainly felt...

is that all true? is poetry the language of crisis?
i think that assertion is a load of *******...
it's a bit like using a hammer to paint the civil room's
walls (living room, i call it the civil room) -
if i'm reading poetry i'm not commuting or lying in bed,
i'm perched on the windowsill in a quasi-akimbo pose,
sipping a glass of bourbon with coca-cola and
smoking a cigarette, mindful of never wanting to
wear contact lenses or eyeglasses,
poetry is more than this idealism about it,
that you read poetry to savour the moment of critical needs,
i read poetry because newspaper articles **** me off...
poetry is like newspaper articles when those monstrous
literary ****** get going for months of necessary
attention to finish them... poetry, when drinking
bourbon, smoking a cigarette, quasi-akimbo on the windowsill,
perfect use of spacing, i bet most people who stick
to poetry will have better eyesight when they grow older.
neth jones Jan 2023
blushes
tips, brushes and spills and the willingness of physics
dip the quill
blending a full face of colours trippy
tipping my crown, my head,
my thinker becomes      creation winning
inks
i wink   faithfully lacy    into the universe    pirouettes and eddies
tinkering
i divide myself    couple and quad and oct..
flood my breeding into the cosmos
spoon-feeding      peddling out into the mutter
the great relax of the creative meddle
15/12/22
written for a 'picture prompt' competition. the picture was a painting of a human face made of galaxy swirls and outer space features.
Cné Aug 2018

My mind to frolic, with words of Frost
Slides between and then is lost

Drifting ‘round to fellows long
My thirst is deep; desires strong

Filled with all that Maya says
Flits in and out my meddling head

And ah, when Pablo speaks of love
My heart's aflutter with pure white doves

Around the beat, who else but Poe
A deep dark place I've come to know

I stop to ponder the words worth
As if I've nursed them from their birth

I settle to hear the rambling brook
Where Gwendolyn baits my eager hook

Then ‘long comes Oscar, running wild
I listen like an eager child

When Langston paints his colored hues
His canvas fills my point of view

Not just the finest spinning me
To this state of flux and reverie

For verses drift from near and far
Forever reaching for the stars

Feeding on the gentle night
I languish in the word's delight

Finding rhyme from ‘neath the skin
The place where passion's settled in

To fill my cup, appease my soul
Till hunger's sated, fat and whole

The empty space behind my eyes
Is filled with life's sweet lullabies

And when at last, I lay to rest
I'm filled with cadence of the best

You were forever finding some new play.
So when I saw you down on hands and knees
I the meadow, busy with the new-cut hay,
Trying, I thought, to set it up on end,
I went to show you how to make it stay,
If that was your idea, against the breeze,
And, if you asked me, even help pretend
To make it root again and grow afresh.
But ’twas no make-believe with you today,
Nor was the grass itself your real concern,
Though I found your hand full of wilted fern,
Steel-bright June-grass, and blackening heads of clovers.
’Twas a nest full of young birds on the ground
The cutter-bar had just gone champing over
(Miraculously without tasking flesh)
And left defenseless to the heat and light.
You wanted to restore them to their right
Of something interposed between their sight
And too much world at once—could means be found.
The way the nest-full every time we stirred
Stood up to us as to a mother-bird
Whose coming home has been too long deferred,
Made me ask would the mother-bird return
And care for them in such a change of scene
And might out meddling make her more afraid.
That was a thing we could not wait to learn.
We saw the risk we took in doing good,
But dared not spare to do the best we could
Though harm should come of it; so built the screen
You had begun, and gave them back their shade.
All this to prove we cared. Why is there then
No more to tell? We turned to other things.
I haven’t any memory—have you?—
Of ever coming to the place again
To see if the birds lived the first night through,
And so at last to learn to use their wings.
As I am exiting the Abandoned Castle to retrieve what Aziel asked me to get for him a thought comes to mind.. - I wonder what he is going reward me with- I follow a short trail that quickly leads me to the Forest of Whispers suddenly I hear Aziel's voice echo in my head. Aziel: "Frank follow the Trail of Tears Northwest about 12 miles from where you stand there you will find yourself in front of a small creek follow it to the end and to your left there will be a small cave and to your immediate right there will be a huge stone that's been there for thousands of years it's practically impenetrable. However, I will land you my power to pass thru it but first you must enter the small cave and retrieve a sacred relic from it. Good luck my Mortal friend." Frank: Aziel what if I get lost? What about this relic and what do you mean you'll lend me your power?" Aziel: "Don't worry I will explain everything in full detail once your at the site and don't worry about getting lost...A raven will follow you from now on and if you get lost just whistle as loud as you can it will fly ahead of you to show you what route to take" Frank: " Thank you Aziel I will keep all that in mind." As I press on deeper and deeper into the Forest I am fascinated with its Beautiful scenery.

It's 11pm and I class start to get weary so I sit down in the midst of the woods in the Forest. Suddenly I hear a weak gallop like some sort of horse coming closer and closer to where am sitting...so I get up hesitant and finally I see a figure come out of the wilderness and to my surprise it's a creature half man half horse and I whisper to myself "Whoa it's a centaur...." The centaur gets closer to me and it speaks to me in a cold voice....
"What are you doing here in the middle of the Forest almost at midnight human...don't you know it's dangerous to be out here?" I look at the mighty centaur his lower part of the body is indeed a horse with furs at it's feet and the color of his full fur is golden yellowish. I examine his human half and he is covered by battle scars and he seems quite strong in his upper body. I also notice he has green eyes the color of emerald and what seems like 3 claw like scars in his face. I sit quietly for a moment then reply ... Frank: " I made a promise to retrieve something for someone and I am here to fulfill my task." He smiles at me and proceeds to talk. Centaur: " My name is Neur Blackthorn I am the Leader of the Golden Centaurs protectors of the Forest of Whispers. You see am looking for a sacred relic known as Ghruthemtox it's a breast plate made out of the skull of a Cyclop known as Mathalam who lived 3000 years ago here in this very forest and was the Creator and protector of this very place known now as The Forest Of Whispers. Legend tells that whoever finds all the pieces of the breast plate and wears it will be granted 1000 years added to his life span and tremendous magical power. I want this relic in my possession. I heard there are 5 pieces to the breastplate all scattered in this very Forest. If you are able to come across the relic itself it will guide you to all five remaining pieces so legend foretold. It's some sort of magical map the relic itself...but I heard it can only be touched by human hands because if it's touched by anything else the creature or being itself will perish immediately." -Neur looks at me attentively- Frank: - " So let me get this straight...you want me to get this relic for you? Am I right?" Neur: " That's right...in return I shall grant you what you seek from the forest. So tell me what is it that you want to retrieve?" Frank: " I want a vial of her blood from the Goddess of the Forest...Nabyah." Neur: " I will talk to her in your behalf...but I cannot guarantee the blood itself." -I look at Neur with some disgust and disappointment- Neur: " Fine Mortal I will do my very best to retrieve this for you as long as you can find me the relic..." -All the sudden I hear Aziel telepathically communicates to me and he says "Frank what are you doing meddling with Centaurs you cannot trust them...It's a dangerous task he asks of you plus he might **** you after retrieving this relic I advice you play it safe and tell him you will do what he says but with your own mission." Frank: -I speak to Aziel telepathically and I can do this due to the fact he lands me his power to do so...in order for both to speak to each other without no one else knowing...- "Right don't worry I am going to pretend to aid him then do my own thing..." Aziel: " Smart young lad ...don't worry he won't know nothing and by the way I advice you try to stay away from this Centaurs I think they might be linked to the Goddess herself...somewhat." Frank: " Right...now I will proceed..."

All the sudden Neur looks at me with curiosity...Neur: " You look like you where day dreaming for a while...fine I will leave you alone, but please find this I will reward you with what you seek I promise. Now get some rest I will come back to you at midnight" -He dashes towards the darkness of the Forest and disappears in the wilderness...-

--->TO BE CONTINUED

KEY


Trail Of Tears the path where many knights from the Order have shed blood sweat and tears. Many of them have never made it out alive.  Golden Centaurs Protectors of the Forest of Whispers who settled in the Forest 1000's of years ago. Accursed by a Powerful Witch they where once human but no longer have retained their humanity. Now creatures of the forest some of them seek to lift up the curse.
Ghruthemtox An ancient relic worn by a Cyclop Shaman Creator/Protector of the Forest Of Whispers that gave him strong magical prowess.
Protectors Forest Of Whispers ...they where those should work something out. Thanks man.
Pedro Tejada Apr 2010
I hear the thunder meddling
its way among the raindrops
that permeate through sunlight
and realize
that the weather is a motif
for God's emotional prognosis.

God is but a ******;
he and I stammer upon the same boat.

Our existence makes a pair
of helplessly hanging doppelgangers,
orbs of confusion that contract
whiplash with every turn they make.

Two repressed housewives
that put all their hopes and dreams
in a ****-stained smile.

This collision of light and malevolance
is but His way of symbolizing
my shame-patronized indecision
in a way that makes people tear up
at the joy of beauty.
Bob B Dec 2019
So Putin helps Trump win an election
And subsequently feels elated.
He is still anticipating
How he will be compensated.
Who are the ones who cheer and clap
As Putin takes a victory lap?

Watching the Trump administration
Blame and distrust the FBI
Also tickles Putin as Trump
Makes it a target to vilify.
Watch Putin cheer and clap
As he takes a victory lap.

When Trump says he doesn't believe
Our intelligence agents here
But eagerly accepts whatever
Putin tells him, one thing's clear:
Trump is willing to cheer and clap
As Putin takes a victory lap.

When Russia starts a conspiracy theory
And blames Ukraine for election meddling,
Many Trumplicans here believe
The devious lies that the Kremlin is peddling.
How can Americans cheer and clap
As Putin takes a victory lap?

When Trump speaks with the president
Of Ukraine and crudely tries to extort
Favors from the Ukrainians
And threatens to pull U.S. support,
Putin supporters cheer and clap
As Putin takes a victory lap.

As here we see a chilling loss
Of democratic values, we
Will ask ourselves whatever happened
To hope and opportunity.
Who then will cheer and clap
As Putin takes a victory lap?

-by Bob B (12-12-19)
Nickols Oct 2023
Mortals may think that death is the finally ending.
For you, my love; it's merely the beginning.
I watch them watch each other.

They play a game of touch-and-go, and all the while the clock is counting down.

One of these days, I want to walk with them, and then take their hands and place them in each other's.

I want to tell her:

"Tell me you don't feel this. Tell me you don't want this. Tell me you don't believe in this. Tell me this isn't still the realest thing you'll ever know. Tell me you don't wake up every day hurting for this. Tell me this simplest touch doesn't make you feel whole again. Tell me the thought of letting go again doesn't scare you to death.

Because you know what?

He feels this. He wants this. And oh god does he believe in it, despite how much hell it's dragging him through. It's still the realest thing he's ever known. He wakes up every day hurting and hoping for this. I can tell you for **** sure this tiniest bit of contact makes him feel whole again, and if you let go and walk away again, it will **** him.

So, if you can tell me all that, if you can let go and not break your own heart as well as his, then do it. But do it knowing all that you're giving up this time. Do it knowing that, if this doesn't **** both of you, you'll have an emptiness inside you for the rest of your life."
written April 9, 2015

They did get their happy ending after all, but before that happened, it was oh-so-painful to watch them...
Why can't I fly? Because, I am caged in the bowels of bitter, deceit.
Why can't I dance? Because, my body is bound to the gravity of unacceptable, honor.
Why, can't I sing? Because, my lungs are choked by this haute reservoir of insanity.

But, the Trapeze, artist...
The trapeze artist, climbs the ladder of awe, itself, and walks the silver lining of death.

Why can't I write? Because, my hands are bound in the filth of my past,
meddling with broken things.
Why can't I speak? Because, the honor I am bound to, is to live, life, behind closed windows.
Why can't I see? Because, the blindfolds that sheath my eyes from sin, are more sin than any satan incarnate.

But, the Trapeze, artist...
The trapeze artist, climbs the rungs of the narrow road, and walks over the pit of doom, to save itself.
There is no explanation for this act.

So, why can't I shout? Because, I am voiceless to the concerns of the audience.
Why can't I beg? Because, the world has no room for weakness, fear and more loss.
Why can't I scream? Because...
Because...

Because the Trapeze artist dropped off the high-strung ledge of wonders...
And plummeted into a darkness, that has robbed my audience, of all conscionable thought.

Because... the Trapeze artist, is dead.
This is a poem that I wrote back in 2010 (on July 4th), which is the year I consider to be the dawn of my writing. It was the year that poems came to me effortlessly, continually, like bottled messages from yonder lands. I sat on the shore crafting a boat to make it to yonder, where I thought yonder held the love I so craved and spoke elegantly of. Now I may have been to yonder, and wish to never return...

Enjoy!

DEW
I
Thy trivial harp will never please
Or fill my craving ear;
Its chords should ring as blows the breeze,
Free, peremptory, clear.
No jingling serenader's art,
Nor ****** of piano strings,
Can make the wild blood start
In its mystic springs.
The kingly bard
Must smile the chords rudely and hard,
As with hammer or with mace;
That they may render back
Artful thunder, which conveys
Secrets of the solar track,
Sparks of the supersolar blaze.
Merlin's blows are strokes of fate,
Chiming with the forest tone,
When boughs buffet boughs in the wood;
Chiming with the gasp and moan
Of the ice-imprisoned hood;
With the pulse of manly hearts;
With the voice of orators;
With the din of city arts;
With the cannonade of wars;
With the marches of the brave;
And prayers of might from martyrs' cave.

Great is the art,
Great be the manners, of the bard.
He shall not his brain encumber
With the coil of rhythm and number;
But, leaving rule and pale forethought,
He shall aye climb
For his rhyme.
"Pass in, pass in," the angels say,
"In to the upper doors,
Nor count compartments of the floors,
But mount to paradise
By the stairway of surprise."

Blameless master of the games,
King of sport that never shames,
He shall daily joy dispense
Hid in song's sweet influence.
Forms more cheerly live and go,
What time the subtle mind
Sings aloud the tune whereto
Their pulses beat,
And march their feet,
And their members are combined.

By Sybarites beguiled,
He shall no task decline;
Merlin's mighty line
Extremes of nature reconciled,
Bereaved a tyrant of his will,
And made the lion mild.
Songs can the tempest still,
Scattered on the stormy air,
Mold the year to fair increase,
And bring in poetic peace.
He shall nor seek to weave,
In weak, unhappy times,
Efficacious rhymes;
Wait his returning strength.
Bird that from the nadir's floor
To the zenith's top can soar,
The roaring orbit of the muse exceeds that journey's length.
Nor profane affect to hit
Or compass that, by meddling wit,
Which only the propitious mind
Publishes when 'tis inclined.
There are open hours
When the God's will sallies free,
And the dull idiot might see
The flowing fortunes of a thousand years;
Sudden, at unawares,
Self-moved, fly-to the doors,
Nor sword of angels could reveal
What they conceal.

II
The rhyme of the poet
Modulates the king's affairs;
Balance-loving Nature
Made all things in pairs.
To every foot its antipode;
Each color with its counter glowed:
To every tone beat answering tones,
Higher or graver;
Flavor gladly blends with flavor;
Leaf answers leaf upon the bough;
And match the paired cotyledons.
Hands to hands, and feet to feet,
In one body grooms and brides;
Eldest rite, two married sides
In every mortal meet.
Light's far furnace shines,
Smelting ***** and bars,
Forging double stars,
Glittering twins and trines.
The animals are sick with love,
Lovesick with rhyme;
Each with all propitious Time
Into chorus wove.

Like the dancers' ordered band,
Thoughts come also hand in hand;
In equal couples mated,
Or else alternated;
Adding by their mutual gage,
One to other, health and age.
Solitary fancies go
Short-lived wandering to and ire,
Most like to bachelors,
Or an ungiven maid,
Nor ancestors,
With no posterity to make the lie afraid,
Or keep truth undecayed.
Perfect-paired as eagle's wings,
Justice is the rhyme of things;
Trade and counting use
The self-same tuneful muse;
And Nemesis,
Who with even matches odd,
Who athwart space redresses
The partial wrong,
Fills the just period,
And finishes the song.

Subtle rhymes, with ruin rife
Murmur in the hour of life,
Sung by the Sisters as they spin;
In perfect time and measure they
Build and unbuild our echoing clay.
As the two twilights of the day
Fold us music-drunken in.
Bob B Jul 2018
Manipulating information
To craftily plot your lore
Is necessary if you want
To continue an information war.

Specific example: Deny Russian
Collusion and interference in
U.S. elections, and do not stop
Seeking info that you can spin.

After months of denying Russian
Cyber attacks and election meddling,
Then admit the possibility
Through a little backpedaling.

Say that well…maybe they meddled,
But hastily add: so did others.
Say you'd still end all queries
And probes if you had your druthers.

It's vital, of course, that you keep
Bashing the press. Be sure to accuse
Investigative journalists
Of making up tons of fake news.

Finally, say the Russians will
Interfere in the U.S., and that's
How in elections this November
They plan to help the DEMOCRATS!

Why? Because you're so hard
(Wink!) on Russia. You'll be winning.
Your fawning fans will eat it up,
And you will have all heads spinning.

Your friends on your favorite TV station
Will help you criticize and demean
Those who don't agree with you.
Praise to your propaganda machine!

Who cares what the world thinks?
You've got your fans; you've got your base.
There's no match for a stable genius
Who says to the world, "In your face!"

-by Bob B (7-25-18)
and you
you standing there like the goddess
Aphrodite of Knidos
drawing the softest curves amidst lines that make my heart yearn
for even she
murmured

'where thou saw me naked?'

you rest
effortless
making man fall between your marble curves
a beauty holding centuries of thought and attempts to simply possess

you stand

free against the attempts of man
their meddling fingers so often confusing the way your hips dipped and your ******* crest

shattering all ideas of beauty in the way you smiled at me
between whispers of curtains

and idolatry
Aphrodite of Knidos is arguably one of the first depictions of the female form **** within classical sculptures (350BCE area)

One myth after Praxiteles finished the sculpture, Aphrodite commented on the piece, asking embarrassed where he has seen her naked bathing.
The sculpture has many commentaries, Pliny saying it was something to behold  not just of Praxiteles work, but the world's work in entirety.

the placement of her hand is of great contention, hiding/maintaining some form of modesty, while also drawing attention- further positioning her divinity and beauty.

Once again amazed by the artistry and story that goes into the depiction of the female form, something that can be caught as easily as water between fingers.
Olivia Kent Dec 2014
The flapping of the listeners ears.
Their meddling noses.
Careering through the undergrowth
Thick skinned and worthy of massive respect.
Their ears listen,
But sadly their eyes didn’t see.
The poachers passing by the Baobab tree.

The huge noble beasts.
No-one supposes.
That elephants ever forget.
That’s what the people say.
I guess they forgot the sound of the poachers’ guns.

And they’re probably not scared of mice either.
Mice are pretty nice as well.
© Livvi
Darkness and humour combined
Liam Mar 2014
I'm tired of beauty
incessantly meddling in my affairs

luring me to venture outside myself
revealing hidden radiance within

disguising life's dismal undercurrent
reducing it to a superficial veneer

randomly appearing by surprise
stubbornly eliciting a smile

performing alchemy on the mundane
dousing my awareness in the elixir of life

beauty...
the pulchritude of spirit...that's all it is...
AM Aug 2017
We all have a forbidden apple.
The fruit that we know will poison us with one bite-
You are mine.
I stand in the forbidden garden and stretch to reach for you.
My hands shake, as I know it is wrong.
I know you are toxic,
Yet, I pick you from the branch, and, like Snow White, I take a bite.

The day you walked up to me and said hello, I didn’t yet know
How truly tragic the outcome would be.
You brought me upon your wings and up we rose, into the clouds that clouded my thoughts and concealed your true colors.
On this day I had no idea who you were,
I knew not your intentions,
and so my feelings grew stronger.

Everyone says “no.”
They say they know what is right.
You are dangerous, they say,
But I cannot help but take another bite.

How could I ever walk away from you,
When you are the only one that can navigate the winding roads in my stomach that turn with every glimpse of your face?
One look at your blinding sunlight and the backs of my eyelids are burned,
with blue dots that take the shape of you.

How I long to join in on your game.
Cave in to your sweet, thick, caramel apple words.
As the caramel melts, so do I.
But words aren’t sweet if not spoken from the heart.
Your words are empty;
artificial and hollow.
I find this hard to remember.
You are cold,
You are selfish.
You don’t care for me,
You didn’t care for her,
and you won’t care about the next one either.

How does it feel? To know this truth, and know that I know it too?
How does it feel to be up in the stars, the only planet that I orbit?
The only face in my washed up, weary eyed dreams that disappear in morning light?

Every word you say screams “stop.”
I ignore this, I only hear the words you whisper from the depths of my daydreams.
Your actions tell me you will never love me, just as you could never love her.
You are incapable of showing true emotion, unable to open your mind to the possibility of something real.
Yet, I take my heart from my chest and place it into your hands, weak as you drain my power.

I cannot escape you.
Every step I take away from you brings me closer.
The waterfalls of tears fall from my eyes and create rainbows in yours.
Your rainy day attitude is the cloud that hangs above me.
Your storm never stops,
It rains down on the trees that the apples don’t fall far from.

I have wavered, almost escaped.
Others come and go, but the pull of your gravity makes it impossible to step away.
Dangerous love is the most intriguing of all.
In a heartbeat, I choose you over safety.

I can see the end, I know it is near.
I know they are right.
I will no longer be the one.
You’ll decide to play a new game and cast me to the side, the forgotten memory that never gets played.
You will find someone new to replace me,
Just as I replaced her so little time ago.
Your cycle is more predictable than the rain.

You are forbidden fruit,
I have never been the apple of your eye.


You are just living life you say.
What a life that must be, meddling with the feelings of others.
You are a tornado and yet I continue to look past your path of destruction.
Uprooted trees and piled up cars,
Your hurricane of actions cause earthquakes around me, yet somehow I am still standing.

Why do we always reach for that apple?
The one with the mushy brown spots and the rotten core.
You’re poisonous,
Yet I let you in, and I’m left wanting more.
This is one of my favorite poems I have ever written. Its abrupt switches from admiration to shame perfectly describe how the person that this was inspired by caused my life to go.
Thy trivial harp will never please
Or fill my craving ear;
Its chords should ring as blows the breeze,
Free, peremptory, clear.
No jingling serenader's art,
Nor ****** of piano strings,
Can make the wild blood start
In its mystic springs.
The kingly bard
Must smite the chords rudely and hard,
As with hammer or with mace,
That they may render back
Artful thunder that conveys
Secrets of the solar track,
Sparks of the supersolar blaze.
Merlin's blows are strokes of fate,
Chiming with the forest-tone,
When boughs buffet boughs in the wood;
Chiming with the gasp and moan
Of the ice-imprisoned flood;
With the pulse of manly hearts,
With the voice of orators,
With the din of city arts,
With the cannonade of wars.
With the marches of the brave,
And prayers of might from martyrs' cave.

Great is the art,
Great be the manners of the bard!
He shall not his brain encumber
With the coil of rhythm and number,
But, leaving rule and pale forethought,
He shall aye climb
For his rhyme:
Pass in, pass in, the angels say,
In to the upper doors;
Nor count compartments of the floors,
But mount to Paradise
By the stairway of surprise.

Blameless master of the games,
King of sport that never shames;
He shall daily joy dispense
Hid in song's sweet influence.
Things more cheerly live and go,
What time the subtle mind
Plays aloud the tune whereto
Their pulses beat,
And march their feet,
And their members are combined.

By Sybarites beguiled
He shall no task decline;
Merlin's mighty line,
Extremes of nature reconciled,
Bereaved a tyrant of his will,
And made the lion mild.
Songs can the tempest still,
Scattered on the stormy air,
Mould the year to fair increase,
And bring in poetic peace.

He shall not seek to weave,
In weak unhappy times,
Efficacious rhymes;
Wait his returning strength,
Bird, that from the nadir's floor,
To the zenith's top could soar,
The soaring orbit of the muse exceeds that journey's length!

Nor, profane, affect to hit
Or compass that by meddling wit,
Which only the propitious mind
Publishes when 'tis inclined.
There are open hours
When the god's will sallies free,
And the dull idiot might see
The flowing fortunes of a thousand years;
Sudden, at unawares,
Self-moved fly-to the doors,
Nor sword of angels could reveal
What they conceal.
Odi Nov 2011
I know it's heavy, the burden you carry,
But it's yours, and yours alone,
I know you’re tired, eyes weary,
But carry on, carry on.

So rest your heavy head,
On my comforting sleeve,
And as for that meddling heart,
Let it bleed, Let it bleed.

I'm amazed at how,
Your fragile bones don’t break,
Under that crippling weight,
That you have to carry alone,
But you must, so carry on,
Carry on.
Dear Russians,
would you mind not taking Crimea?
This is not the Cold War
nor the time of Imperialism,
so I suggest that you go back
and think empathetically about
the Ukrainians pushing to be
part of the European Union.
You must try to walk a mile in their shoes, understand?
There is no more Soviet Union
or the Iron Curtain,
so you really shouldn't be meddling
in Ukraine's affairs.
Let the revolutions play out and
what will be, will be.

Sincerely,
Wistful Wanderer
Frustrated Poet Sep 2014
you're too busy targeting the next spot
you'll bury that knife
pierced not into my back
but in my heart

what we have is real and we're genuinely happy
and it's rare to find in this world that's ******
so stop meddling with ours
it wont do you any better
i hope you'll find yours
but you're clouded and bitter
stop being so **** judgmental. we're human too.
in darkness i hide
deep inside
comfort light does provide
hiding deep

vision of night
grants moon's bright
looking in the dark
finding night's light

looking deep within
the problem's meddling might
hiding in the darkness light

light hiding in the dark
dark living in the light
fire and flames
dances do the games

dark hides
in lights provide
hidden is the key
to the mysterious me
Marina Morales Sep 2014
Perhaps I peered too closely into the abysmal potholes of other people’s souls
of whom I had no business pilfering through in the first place.
Now I ponder about feelings and memories that do not belong to me
some of which are long forgotten, disregarded, or even irrelevant.
Of this information that I have unearthed and processed, I know not what to do with it.
I am perpetually preoccupied with what lies beneath the surface point, which is what pushes me forward, yet could propel me to my downfall.
I just sit here and anxiously ponder this arcane information I acquiesced
through means not noble to my standard of normal morals.
There is nothing else to do.
For I rest here in the realm of reality.
This is no novel of fiction for me to figure out.
I can’t flip through the pages of people’s plights.
Something like that does not fall within my rights.
I am a mere meddling mortal amongst other mortals.
I am no god who sits proudly upon their plethora of others’ secrets.

I am just another human being.
Something else from a year ago. I need to stay humble and worry about myself.
Adam Childs Apr 2015
As a silly  spoilt child
Disgruntled I grumble
Throughout my blessed life
Complaining about my loss
That God does not give a toss

But abundantly  in my life
Scattered in my garden
Live deep hidden forests
Sacred special spaces
Forgotten mossy places
Things I can not see  

In my soft mossy pastures
I am drawn into sound
Soft rich earthy ground
My meddling hands resigning
And my heart softening
To the treasures God is bringing

As a child I am sometimes
still screaming for what
I am not receiving  
Even though chosen
But my loving Father
Always refusing to
serve me poison

But he keeps on giving
Life's unexpected gifts
Full of presents and parcels
An unknown cultivated Karma
A forgotten ignored pleasure
Actually look at all the treasure
Everyday a Christmas tree
If I could only look and see

So in my adult days
I learn to look on
In different ways
With a mossy heart
I nourished and softening
receiving parcels tenderly
passed down from heaven
the idea just came to me I may return to it
too much interference
has been extensively run
by those who hold
the kingmaker's gun

as a consequence
of this kind of thing
the democratic process
is under a clouded ring

the flow of votes
which were meant
for the out in front candidate
got subverted somewhere
in the ballot box's victory pate

foreign countries meddling
with other country's domestic autonomy
so the results of elections
will satisfy their sovereignty

transgressors are employing
their technics from nations far away
to determine who'll wear
a crowning array
(descent)
Hindered by progress, or the idea of progress:
evolution-in-waiting bellows me to hide,
tattering becomes ruination.

Animism creeps,
not-yet hands pushing at dim velvet.
Peeping one-eyed through the past
where had borne such potent promise
immutability lain intact
flumped into snowy thickness
and thrown hard against Georgian glass.

Here comes the stealth of unillumination
thankfully blanketing
they were tied at the hips
and neck,
then wrapped as old mirrors.

That door went nowhere
it always does
those Victorians, forever meddling,
will folly themselves into any trouble.

(resurrection)
You haven’t changed one bit!
I say to myself,
showing you their brand new niceness
***** as copper pans.
Go on, spit in my fire
the hiss is the thing that’s real.
I think it better that in times like these
A poet keep his mouth shut, for in truth
We have no gift to set a statesman right;
He has had enough of meddling who can please
A young girl in the indolence of her youth,
Or an old man upon a winter's night.
Up! up! my Friend, and quit your books;
Or surely you’ll grow double:
Up! up! my Friend, and clear your looks;
Why all this toil and trouble?

The sun above the mountain’s head,
A freshening lustre mellow
Through all the long green fields has spread,
His first sweet evening yellow.

Books! ’tis a dull and endless strife:
Come, hear the woodland linnet,
How sweet his music! on my life,
There’s more of wisdom in it.

And hark! how blithe the throstle sings!
He, too, is no mean preacher:
Come forth into the light of things,
Let Nature be your teacher.

She has a world of ready wealth,
Our minds and hearts to bless—
Spontaneous wisdom breathed by health,
Truth breathed by cheerfulness.

One impulse from a vernal wood
May teach you more of man,
Of moral evil and of good,
Than all the sages can.

Sweet is the lore which Nature brings;
Our meddling intellect
Mis-shapes the beauteous forms of things:—
We ****** to dissect.

Enough of Science and of Art;
Close up those barren leaves;
Come forth, and bring with you a heart
That watches and receives.
Examining the accuracy.
Exploring the brightness.
Hunting for certainty.
Inquiring the directness.
Inspecting the lucidity.
Investigating the precision.
Pursuing purity.
On a quest for simplicity.
Researching transparency.
Chasing articulateness.
Frisking comprehensibility.
Going over conspicuousness.
Inquesting a definition.
Rummaging for distinctness.
Scrutinizing the evidence.
Shaking down the exactitude.
On an expedition for explicitness.
Working the legs towards intelligibility.
A perquisition for legibility.
A wild-goose chase for limpidity.
A witch hunt for obviousness.
Interrogating openness.
Probing the palpability.
Prosecuting the penetrability.
Racing perceptibility.
Raiding perspicuity.
Coursing the plainness.
Following the prominence.
Hounding the salience.
Meddling in the tangibility.
Prying into the unambiguity.
Reconnaissance in the cognizability.
Seeking decipherability.
Snooping for explicability.
Sporting limpidness.
On a steeplechase for manifestness.
Studying the overness.
Tracing unmistakability.
Nope Jun 2014
Your flawless exterior, shines like a self-righteous diamond
Gleaming and reflecting, deflecting and beguiling
Meddling in the emotions and perceptions
Laying waste to the argumentative non-believers
Of your worth
This one is not pleased!
The light that shines on your walls is so much brighter
Than the darkness inside gives it credit for
Is there no path towards the center?
The door is shut.  She leaves the curtained office,
And down the grey-walled stairs comes trembling slowly
Towards the dazzling street.
Her withered hand clings tightly to the railing.
The long stairs rise and fall beneath her feet.

Here in the brilliant sun we jostle, waiting
To tear her secret out . . . We laugh, we hurry,
We go our way, revolving, sinister, slow.
She blinks in the sun, and then steps faintly downward.
We whirl her away, we shout, we spin, we flow.

Where have you been, old lady?  We know your secret!--
Voices jangle about her, jeers, and laughter. . . .
She trembles, tries to hurry, averts her eyes.
Tell us the truth, old lady! where have you been?
She turns and turns, her brain grows dark with cries.

Look at the old fool tremble!  She's been paying,--
Paying good money, too,--to talk to spirits. . . .
She thinks she's heard a message from one dead!
What did he tell you?  Is he well and happy?
Don't lie to us--we all know what he said.

He said the one he murdered once still loves him;
He said the wheels in wheels of time are broken;
And dust and storm forgotten; and all forgiven. . . .
But what you asked he wouldn't tell you, though,--
Ha ha! there's one thing you will never know!
That's what you get for meddling so with heaven!

Where have you been, old lady?  Where are you going?
We know, we know!  She's been to gab with spirits.
Look at the old fool! getting ready to cry!
What have you got in an envelope, old lady?
A lock of hair?  An eyelash from his eye?

How do you know the medium didn't fool you?
Perhaps he had no spirit--perhaps he killed it.
Here she comes! the old fool's lost her son.
What did he have--blue eyes and golden hair?
We know your secret! what's done is done.

Look out, you'll fall--and fall, if you're not careful,
Right into an open grave. . . but what's the hurry?
You don't think you will find him when you're dead?
Cry!  Cry!  Look at her mouth all twisted,--
Look at her eyes all red!

We know you--know your name and all about you,
All you remember and think, and all you scheme for.
We tear your secret out, we leave you, go
Laughingly down the street. . . Die, if you want to!
Die, then, if you're in such a hurry to know!--

. . . She falls.  We lift her head.  The wasted body
Weighs nothing in our hands.  Does no one know her?
Was no one with her when she fell? . . .
We eddy about her, move away in silence.
We hear slow tollings of a bell.
Bob B Oct 2018
The king of cover-up is at it again,
Downplaying financial ties
And close connections with other countries,
Especially when questions arise.

First it was with Putin and Russia.
How much collusion remains to be seen.
Conspiracy in election meddling?
Whitewashing is now routine.

And then there was the hush-money
To cover-up some hanky-panky.
Dissimulation's easy when
You've got money in the banky.

It looks as though you must deny
And try to hide actions you rue,
But calling your fling "horse face," is that
A gentlemanly thing to do?

Now the cover-up deals with the Saudis--
With the crown prince and the Saudi king.
Denial…admittance…rogue players…
It has such a familiar ring.

After bragging over and over
About the millions of dollars he's made
From wealthy Saudis, his words are now
Exploding like a hand grenade.

When the leader has conflicts of interest,
Critics, pundits, and others who know
Where his interests really lie,
Shrug and say, "We told you so!"

He says he has a "natural instinct
For science." Isn't THAT a joke!
I wish his "natural instinct" was for
Telling the truth whenever he spoke.

-by Bob B (10-18-18)
cora Apr 2014
Show me the peace of mind that I lack.
Apart I am weak and wondering and shuttering and stuttering.
And at time's I am very alone.
More panic attacks.
More feelings I'm stuck muttering as others are meddling.
Not having a life of my own.
not completely
although maybe bleakly.

So please show me the peace of mind I can't find for myself.
Stay my mind I beg you
because the alternative is... Unspeakable.
Stay my mind for me. I don't have the strength to do it myself.

Self-pity is so easy. Comes so quickly. Flows so hazily.
From now on that stops.
Maybe it's time I learn a thing or two...
and begin to stay my own mind.
dorian green Dec 2017
fate's meddling red noose has found me again
wrapped, warped me into your life
and i am far too light for my neck to snap
by my oh my do i choke and writhe

and i laugh with a mouth full of blood and bile
as i gasp for comic relief that will never come
i believed it might be different
lured in by the crimson rope's beating drum

the joke's on me
gallows humor of a certain sort
the punchline hits me in the gut
and i ***** on fate's high court

to be loved more than one can comprehend
to be loved but feel so empty
to be loved but feel so lonely
to be loved
to be loved

the joke's on me

— The End —