'Tis not with gilded sabres
  That gleam in baldricks blue,
Nor nodding plumes in caps of Fez,
  Of gay and gaudy hue--
But, habited in mourning weeds,
  Come marching from afar,
By four and four, the valiant men
  Who fought with Aliatar.
All mournfully and slowly
  The afflicted warriors come,
To the deep wail of the trumpet,
  And beat of muffled drum.

The banner of the Phenix,
  The flag that loved the sky,
That scarce the wind dared wanton with,
  It flew so proud and high--
Now leaves its place in battle-field,
  And sweeps the ground in grief,
The bearer drags its glorious folds
  Behind the fallen chief,
As mournfully and slowly
  The afflicted warriors come,
To the deep wail of the trumpet,
  And beat of muffled drum.

Brave Aliatar led forward
  A hundred Moors to go
To where his brother held Motril
  Against the leaguering foe.
On horseback went the gallant Moor,
  That gallant band to lead;
And now his bier is at the gate,
  From whence he pricked his steed.
While mournfully and slowly
  The afflicted warriors come,
To the deep wail of the trumpet,
  And beat of muffled drum.

The knights of the Grand Master
  In crowded ambush lay;
They rushed upon him where the reeds
  Were thick beside the way;
They smote the valiant Aliatar,
  They smote the warrior dead,
And broken, but not beaten, were
  The gallant ranks he led.
Now mournfully and slowly
  The afflicted warriors come,
To the deep wail of the trumpet,
  And beat of muffled drum.

Oh! what was Zayda's sorrow,
  How passionate her cries!
Her lover's wounds streamed not more free
  Than that poor maiden's eyes.
Say, Love--for didst thou see her tears:
  Oh, no! he drew more tight
The blinding fillet o'er his lids
  To spare his eyes the sight.
While mournfully and slowly
  The afflicted warriors come,
To the deep wail of the trumpet,
  And beat of muffled drum.

Nor Zayda weeps him only,
  But all that dwell between
The great Alhambra's palace walls
  And springs of Albaicin.
The ladies weep the flower of knights,
  The brave the bravest here;
The people weep a champion,
  The Alcaydes a noble peer.
While mournfully and slowly
  The afflicted warriors come,
To the deep wail of the trumpet,
  And beat of muffled drum.

When Pigs Fly
by Michael R. Burch

On the Trail of Tears,
my Cherokee brothers,
why hang your heads?
Why shame your mothers?
Laugh wildly instead!
We will soon be dead.

When we lie in our graves,
let the white-eyes take
the woodlands we loved
for the *** and the rake.
It is better to die
than to live out a lie
in so narrow a sty.

In October 1838 the Cherokees began to walk the "Trail of Tears." Most of them made the thousand mile journey west to Oklahoma on foot. An estimated 4,000 people, or a quarter of the tribe, died en route. The soldiers "escorting" the Cherokees at bayonet point refused permission for the dead to be buried, threatening to shoot anyone who disobeyed. So the living were forced to carry the corpses of the dead until camp was made for the night. Years after the Cherokees had been rounded up and driven down the Trail of Tears, John G. Burnett reflected on what he and his fellow soldiers had done, saying, "Schoolchildren of today do not know that we are living on lands that were taken from a helpless race at the bayonet point, to satisfy the white man's greed... ****** is ****** and somebody must answer, somebody must explain the streams of blood that flowed in the Indian country... Somebody must explain the four thousand silent graves that mark the trail of the Cherokees to their exile." Keywords/Tags: Cherokee, Native American, Trail of Tears, Ethnic Cleansing, Genocide, ******, Evil, Death, March, Death March, Infanticide, Matricide, Racism, Racist, Discrimination, Violence, Fascism, White Supremacists, Horror, Terror, Terrorism, Greed, Gluttony, Avarice, Lust, ****, mrbpig, mrbpigs



Cherokee Prayer
loose translation/interpretation by Michael R. Burch

As I walk life's trails
imperiled by the raging wind and rain,
grant, O Great Spirit,
that yet I may always
walk like a man.

This prayer makes me think of Native Americans walking the Trail of Tears with far more courage and dignity than their “civilized” abusers.



Native American Prayer
loose translation/interpretation by Michael R. Burch

Help us learn the lessons you have left us
in every leaf and rock.



Native American Travelers' Blessing
loose translation/interpretation by Michael R. Burch

Let us walk together here
among earth's creatures great and small,
remembering, our footsteps light,
that one wise God created all.



Sioux Vision Quest
by Crazy Horse, Oglala Lakota Sioux, circa 1840-1877
loose translation/interpretation by Michael R. Burch

A man must pursue his Vision
as the eagle explores
the sky's deepest blues.



Cherokee Travelers' Blessing I
loose translation/interpretation by Michael R. Burch

I will extract the thorns from your feet.
For yet a little while, we will walk life's sunlit paths together.
I will love you like my own brother, my own blood.
When you are disconsolate, I will wipe the tears from your eyes.
And when you are too sad to live, I will put your aching heart to rest.

Published by Better Than Starbucks and Cherokee Native Americans



Cherokee Travelers' Blessing II
loose translation/interpretation by Michael R. Burch

Happily may you walk
in the paths of the Rainbow.
                  Oh,
and may it always be beautiful before you,
beautiful behind you,
beautiful below you,
beautiful above you,
and beautiful all around you
where in Perfection beauty is finished.

Published by Better Than Starbucks



Cherokee Travelers' Blessing III
loose translation/interpretation by Michael R. Burch

May Heaven’s warming winds blow gently there,
where you reside,
and may the Great Spirit bless all those you love,
this side of the farthest tide.
And wherever you go,
whether the journey is fast or slow,
may your moccasins leave many cunning footprints in the snow.
And when you look over your shoulder, may you always find the Rainbow.

Published by Better Than Starbucks



What is life?
The flash of a firefly.
The breath of the winter buffalo.
The shadow scooting across the grass that vanishes with sunset.
―Blackfoot saying, loose translation/interpretation by Michael R. Burch



Warrior's Confession
loose translation/interpretation by Michael R. Burch

Oh my love, how fair you are—
far brighter than the fairest star!



Cherokee Proverb
loose translation/interpretation by Michael R. Burch

Before you judge
a man for his sins
be sure to trudge
many moons in his moccasins.



Cherokee Prayer
loose translation/interpretation by Michael R. Burch

As I walk life's trails
imperiled by the raging wind and rain,
grant, O Great Spirit,
that yet I may always
walk like a man.

When I think of this prayer, I think of Native Americans walking the Trail of Tears.



The Receiving of the Flower
excerpt from a Mayan love poem
loose translation/interpretation by Michael R. Burch

Let us sing overflowing with joy
as we observe the Receiving of the Flower.
The lovely maidens beam;
their hearts leap in their *******.

Why?

Because they will soon yield their virginity to the men they love!



The Deflowering
excerpt from a Mayan love poem
loose translation/interpretation by Michael R. Burch

Remove your clothes;
let down your hair;
become as naked as the day you were born—

virgins!



Prelude to *******
excerpt from a Mayan love poem
loose translation/interpretation by Michael R. Burch

Lay out your most beautiful clothes,
maidens!
The day of happiness has arrived!

Grab your combs, detangle your hair,
adorn your earlobes with gaudy pendants.
Dress in white as becomes maidens ...

Then go, give your lovers the happiness of your laughter!
And all the village will rejoice with you,
for the day of happiness has arrived!



The Flower-Strewn Pool
excerpt from a Mayan love poem
loose translation/interpretation by Michael R. Burch

You have arrived at last in the woods
where no one can see what you do
at the flower-strewn pool ...
Remove your clothes,
unbraid your hair,
become as you were
when you first arrived here
naked and shameless,
virgins, maidens!



Native American Proverbs

The soul would see no Rainbows if not for the eyes’ tears.
—loose translation/interpretation by Michael R. Burch

A woman’s highest calling is to help her man unite with the Source.
A man’s highest calling is to help his woman walk the earth unharmed.
—loose translation/interpretation by Michael R. Burch

When you were born, you cried and the world rejoiced.
Live your life so that when you die, the world cries and you rejoice.
—White Elk, loose translation/interpretation by Michael R. Burch

What is life?
The flash of a firefly.
The breath of a winter buffalo.
The shadow scooting across the grass that vanishes with sunset.
—Blackfoot saying, translation by Michael R. Burch

Speak less thunder, wield more lightning. — Apache proverb, translation by Michael R. Burch

The more we wonder, the more we understand. — Arapaho proverb, translation by Michael R. Burch

Adults talk, children whine. — Blackfoot proverb, translation by Michael R. Burch

Don’t be afraid to cry: it will lessen your sorrow. — Hopi proverb

One foot in the boat, one foot in the canoe, and you end up in the river. — Tuscarora proverb, translation by Michael R. Burch

Our enemy's weakness increases our strength. — Cherokee proverb, translation by Michael R. Burch

We will be remembered tomorrow by the tracks we leave today. — Dakota proverb, translation by Michael R. Burch

No sound's as eloquent as a rattlesnake's tail. — Navajo saying, translation by Michael R. Burch

The heart is our first teacher. — Cheyenne proverb, translation by Michael R. Burch

Dreams beget success. — Maricopa proverb, translation by Michael R. Burch

Knowledge interprets the past, wisdom foresees the future. — Lumbee proverb, translation by Michael R. Burch

The troublemaker's way is thorny. — Umpqua proverb, translation by Michael R. Burch



Earthbound
an original poem by Michael R. Burch

Tashunka Witko, better known as Crazy Horse, had a vision of a red-tailed hawk at Sylvan Lake, South Dakota. In his vision he saw himself riding a spirit horse, flying through a storm, as the hawk flew above him, shrieking. When he awoke, a red-tailed hawk was perched near his horse.

Earthbound,
and yet I now fly
through the clouds that are aimlessly drifting ...
so high
that no sound
echoing by
below where the mountains are lifting
the sky
can be heard.

Like a bird,
but not meek,
like a hawk from a distance regarding its prey,
I will shriek,
not a word,
but a screech,
and my terrible clamor will turn them to clay—
the sheep,
the earthbound.



Years after the Cherokees had been rounded up and driven down the Trail of Tears, John G. Burnett reflected on what he and his fellow soldiers had done, saying, "Schoolchildren of today do not know that we are living on lands that were taken from a helpless race at the bayonet point, to satisfy the white man's greed ... ****** is ****** and somebody must answer, somebody must explain the streams of blood that flowed in the Indian country ... Somebody must explain the four thousand silent graves that mark the trail of the Cherokees to their exile."

In the same year, 1830, that Stonewall Jackson consigned Native Americans to the ash-heap of history, Georgia Governor George Gilmer said, "Treaties are expedients by which ignorant, intractable, and savage people are induced ... to yield up what civilized people have the right to possess." By "civilized" he apparently meant people willing to brutally dispossess and **** women and children in order to derive economic benefits for themselves.

These nights bring dreams of Cherokee shamans
whose names are bright verbs and impacted dark nouns,
whose memories are indictments of my pallid flesh . . .
and I hear, as from a great distance,
the cries tortured from their guileless lips, proclaiming
the nature of my mutation.
―Michael R. Burch, from "Mongrel Dreams" (my family is part Cherokee, English and Scottish)

After Jackson was re-elected with an overwhelming majority in 1832, he strenuously pursued his policy of removing Native Americans, even refusing to accept a Supreme Court ruling which invalidated Georgia's planned annexation of Cherokee land. But in the double-dealing logic of the white supremacists, they had to make the illegal resettlement of the Indians appear to be "legal," so a small group of Cherokees were persuaded to sign the "Treaty of New Echota," which swapped Cherokee land for land in the Oklahoma territory. The Cherokee ringleaders of this infamous plot were later assassinated as traitors. (****** was similarly obsessed with the "legalities" of the **** Holocaust; isn't it strange how mass murderers of women and children can seek to justify their crimes?)

Native Americans understood the "circle of life" better than their white oppressors ...

When we sit in the Circle of the People,
we must be responsible because all Creation is related
and the suffering of one is the suffering of all
and the joy of one is the joy of all
and whatever we do affects everything in the universe.
—"Lakota Instructions for Living" by White Buffalo Calf Woman, translated by Michael R. Burch



Veiled
by Michael R. Burch

She has belief
without comprehension
and in her crutchwork shack
she is
much like us . . .

tamping the bread
into edible forms,
regarding her children
at play
with something akin to relief . . .

ignoring the towers ablaze
in the distance
because they are not revelations
but things of glass,
easily shattered . . .

and if you were to ask her,
she might say:
sometimes God visits his wrath
upon an impious nation
for its leaders’ sins,

and we might agree:
seeing her mutilations.

Published by Poetry Super Highway and Modern War Poems.



Ali’s Song
by Michael R. Burch

They say that gold don’t tarnish. It ain’t so.
They say it has a wild, unearthly glow.
A man can be more beautiful, more wild.
I flung their medal to the river, child.
I flung their medal to the river, child.

They hung their coin around my neck; they made
my name a bridle, “called a ***** a *****.”
They say their gold is pure. I say defiled.
I flung their slave’s name to the river, child.
I flung their slave’s name to the river, child.

Ain’t got no quarrel with no Viet Cong
that never called me ******, did me wrong.
A man can’t be lukewarm, ’cause God hates mild.
I flung their notice to the river, child.
I flung their notice to the river, child.

They said, “Now here’s your bullet and your gun,
and there’s your cell: we’re waiting, you choose one.”
At first I groaned aloud, but then I smiled.
I gave their “future” to the river, child.
I gave their “future” to the river, child.

My face reflected up, dark bronze like gold,
a coin God stamped in His own image―BOLD.
My blood boiled like that river―strange and wild.
I died to hate in that dark river, child,
Come, be reborn in this bright river, child.

Originally published by Black Medina

Note: Cassius Clay, who converted to Islam and changed his “slave name” to Muhammad Ali, said that he threw his Olympic boxing gold medal into the Ohio River. Confirming his account, the medal was recovered by Robert Bradbury and his wife Pattie in 2014 during the Annual Ohio River Sweep, and the Ali family paid them $200,000 to regain possession of the medal. When drafted during the Vietnamese War, Ali refused to serve, reputedly saying: “I ain't got no quarrel with those Viet Cong; no Vietnamese ever called me a ******.” The notice mentioned in my poem is Ali's draft notice, which metaphorically gets tossed into the river along with his slave name. I was told through the grapevine that this poem appeared in Farsi in an Iranian publication called Bashgah. ―Michael R. Burch



evol-u-shun
by Michael R. Burch

does GOD adore the Tyger
while it’s ripping ur lamb apart?

does GOD applaud the Plague
while it’s eating u à la carte?

does GOD admire ur intelligence
while u pray that IT has a heart?

does GOD endorse the Bible
you blue-lighted at k-mart?



Enheduanna, the daughter of the famous King Sargon the Great of Akkad, is the first ancient writer whose name remains known today. She appears to be the first named poet in human history and the first known author of prayers and hymns. Enheduanna, who lived circa 2285-2250 BCE, is also one of the first women we know by name.

Lament to the Spirit of War
by Enheduanna
loose translation by Michael R. Burch

You hack down everything you see, War God!

Rising on fearsome wings
you rush to destroy the land,
descending like a raging storm,
howling like a hurricane,
screaming like a tempest,
thundering, raging, ranting, drumming,
whiplashing whirlwinds!

Men falter at your approaching footsteps.

Tortured dirges scream
on your lyre of despair.

Like a fiery Salamander you poison the land:
growling over the earth like thunder,
vegetation collapsing before you,
blood gushing down a mountainside.

Spirit of hatred, greed and vengeance!

******* of heaven and earth!

Your ferocious fire consumes our land.

Whipping your stallion
with furious commands,
you decide our fate.

You triumph over all human rites and prayers.

Who can explain your tirade,
why you go on so?



Temple Hymn 15
to the Gishbanda Temple of Ningishzida
by Enheduanna
loose translation by Michael R. Burch

Most ancient and terrible shrine,
set deep in the mountain,
dark like a mother's womb...

Dark shrine,
like a mother's wounded breast,
blood-red and terrifying...

Though approaching through a safe-seeming field,
our hair stands on end as we near you!

Gishbanda,
like a neck-stock,
like a fine-eyed fish net,
like a foot-shackled prisoner's manacles...
your ramparts are massive,
like a trap!

But once we’re inside,
as the sun rises,
you yield widespread abundance!

Your prince
is the pure-handed priest of Inanna, heaven's Holy One,
Lord Ningishzida!

Oh, see how his thick, lustrous hair
cascades down his back!

Oh Gishbanda,
he has built this beautiful temple to house your radiance!
He has placed his throne upon your dais!



The Exaltation of Inanna: Opening Lines and Excerpts
by Enheduanna, the daughter of Sargon I of Akkad and the high priestess of the Goddess Inanna
loose translation/interpretation by Michael R. Burch

Lady of all divine powers!
Lady of the resplendent light!
Righteous Lady adorned in heavenly radiance!

Beloved Lady of An and Uraš!
Hierodule of An, sun-adorned and bejeweled!
Heaven’s Mistress with the holy diadem,
Who loves the beautiful headdress befitting the office of her own high priestess!

Powerful Mistress, seizer of the seven divine powers!
My Heavenly Lady, guardian of the seven divine powers!
You have seized the seven divine powers!
You hold the divine powers in your hand!
You have gathered together the seven divine powers!
You have clasped the divine powers to your breast!

You have flooded the valleys with venom, like a viper;
all vegetation vanishes when you thunder like Iškur!
You have caused the mountains to flood the valleys!
When you roar like that, nothing on earth can withstand you!

Like a flood descending on floodplains, O Powerful One, you will teach foreigners to fear Inanna!

You have given wings to the storm, O Beloved of Enlil!
The storms do your bidding, blasting the unbelievers!

Foreign cities cower at the chaos You cause!
Entire countries cower in dread of Your deadly South Wind!
Men cower before you in their anguished implications,
raising their pitiful outcries,
weeping and wailing, beseeching Your benevolence with many wild lamentations!

But in the van of battle, everything falls before You, O Mighty Queen!

My Queen,
You are all-conquering, all-devouring!
You continue Your attacks like relentless storms!
You howl louder than the howling storms!
You thunder louder than Iškur!
You moan louder than the mournful winds!
Your feet never tire from trampling Your enemies!
You produce much wailing on the lyres of lamentations!

My Queen,
all the Anunna, the mightiest Gods,
fled before Your approach like fluttering bats!
They could not stand in Your awesome Presence
nor behold Your awesome Visage!

Who can soothe Your infuriated heart?
Your baleful heart is beyond being soothed!

Uncontrollable Wild Cow, elder daughter of Sin,
O Majestic Queen, greater than An,
who has ever paid You enough homage?

O Life-Giving Goddess, possessor of all powers,
Inanna the Exalted!

Merciful, Live-Giving Mother!
Inanna, the Radiant of Heart!
I have exalted You in accordance with Your power!
I have bowed before You in my holy garb,
I the En, I Enheduanna!

Carrying my masab-basket, I once entered and uttered my joyous chants ...

But now I no longer dwell in Your sanctuary.
The sun rose and scorched me.
Night fell and the South Wind overwhelmed me.
My laughter was stilled and my honey-sweet voice grew strident.
My joy became dust.

O Sin, King of Heaven, how bitter my fate!

To An, I declared: An will deliver me!
I declared it to An: He will deliver me!

But now the kingship of heaven has been seized by Inanna,
at Whose feet the floodplains lie.

Inanna the Exalted,
who has made me tremble together with all Ur!

Stay Her anger, or let Her heart be soothed by my supplications!
I, Enheduanna will offer my supplications to Inanna,
my tears flowing like sweet intoxicants!
Yes, I will proffer my tears and my prayers to the Holy Inanna,
I will greet Her in peace ...

O My Queen, I have exalted You,
Who alone are worthy to be exalted!
O My Queen, Beloved of An,
I have laid out Your daises,
set fire to the coals,
conducted the rites,
prepared Your nuptial chamber.
Now may Your heart embrace me!

These are my innovations,
O Mighty Queen, that I made for You!
What I composed for You by the dark of night,
The cantor will chant by day.

Now Inanna’s heart has been restored,
and the day became favorable to Her.
Clothed in beauty, radiant with joy,
she carried herself like the elegant moonlight.

Now to the Noble Hierodule,
to the Wrecker of foreign lands
presented by An with the seven divine powers,
and to my Queen garbed in the radiance of heaven ...

O Inanna, praise!



The Exaltation of Inanna: Opening Lines, an Excerpt
Nin-me-šara by Enheduanna
loose translation by Michael R. Burch

Lady of all divine powers,
Lady of the all-resplendent light,
Righteous Lady clothed in heavenly radiance,
Beloved Lady of An and Uraš,
Mistress of heaven with the holy diadem,
Who loves the beautiful headdress befitting the office of her high priestess,
Powerful Mistress who has seized all seven divine powers,
My lady, you are the guardian of the seven divine powers!
You have seized the divine powers,
You hold the divine powers in your hand,
You have gathered up the divine powers,
You have clasped the divine powers to your breast!
Like a dragon you have spewed venom on foreign lands that know you not!
When you roar like Iškur at the earth, nothing can withstand you!
Like a flood descending on alien lands, O Powerful One of heaven and earth, you will teach them to fear Inanna!



Temple Hymn 7: an Excerpt
to the Kesh Temple of Ninhursag
by Enheduanna
loose translation by Michael R. Burch

O, high-situated Kesh,
form-shifting summit,
inspiring fear like a venomous viper!

O, Lady of the Mountains,
Ninhursag’s house was constructed on a terrifying site!

O, Kesh, like holy Aratta: your womb dark and deep,
your walls high-towering and imposing!

O, great lion of the wildlands stalking the high plains!...



Temple Hymn 17: an Excerpt
to the Badtibira Temple of Dumuzi
by Enheduanna
loose translation by Michael R. Burch

O, house of jeweled lapis illuminating the radiant bed
in the peace-inducing palace of our Lady of the Steppe!



Temple Hymn 22: an Excerpt
to the Sirara Temple of Nanshe
by Enheduanna
loose translation by Michael R. Burch

O, house, you wild cow!
Made to conjure signs of the Divine!
You arise, beautiful to behold,
bedecked for your Mistress!



Temple Hymn 26: an Excerpt
to the Zabalam Temple of Inanna
by Enheduanna
loose translation by Michael R. Burch

O house illuminated by beams of bright light,
dressed in shimmering stone jewels,
awakening the world to awe!



Temple Hymn 42: an Excerpt
to the Eresh Temple of Nisaba
by Enheduanna
loose translation by Michael R. Burch

O, house of brilliant stars
bright with lapis stones,
you illuminate all lands!

...

The person who put this tablet together
is Enheduanna.
My king: something never created before,
did she not give birth to it?



Update of "A Litany in Time of Plague"
by Michael R. Burch

THE PLAGUE has come again
To darken lives of men
and women, girls and boys;
Death proves their bodies toys
Too frail to even cry.
I am sick, I must die.
Lord, have mercy on us!

Tycoons, what use is wealth?
You cannot buy good health!
Physicians cannot heal
Themselves, to Death must kneel.
Nuns’ prayers mount to the sky.
I am sick, I must die.
Lord, have mercy on us!

Beauty’s brightest flower?
Devoured in an hour.
Kings, Queens and Presidents
Are fearful residents
Of manors boarded high.
I am sick, I must die.
Lord, have mercy on us!

We have no means to save
Our children from the grave.
Though cure-alls line our shelves,
We cannot save ourselves.
"Come, come!" the sad bells cry.
I am sick, I must die.
Lord, have mercy on us!

NOTE: This poem is meant to capture the understandable fear and dismay the Plague caused in the Middle Ages, and which the coronavirus has caused in the 21st century. We are better equipped to deal with this modern plague, thanks to advances in science, medicine and sanitation. We do not have to succumb to fear, but it would be wise to have a healthy respect for the nasty bug and heed the advice of medical experts.--MRB



Regret
by Michael R. Burch

Regret,
a bitter
ache to bear . . .

once starlight
languished
in your hair . . .

a shining there
as brief
as rare.

Regret . . .
a pain
I chose to bear . . .

unleash
the torrent
of your hair . . .

and show me
once again―
how rare.

Published by The HyperTexts and The Chained Muse



The Stake
by Michael R. Burch

Love, the heart bets,
if not without regrets,
will still prove, in the end,
worth the light we expend
mining the dark
for an exquisite heart.

Originally published by The Lyric



If
by Michael R. Burch

If I regret
fire in the sunset
exploding on the horizon,
then let me regret loving you.

If I forget
even for a moment
that you are the only one,
then let me forget that the sky is blue.

If I should yearn
in a season of discontentment
for the vagabond light of a companionless moon,
let dawn remind me that you are my sun.

If I should burn―one moment less brightly,
one instant less true―
then with wild scorching kisses,
inflame me, inflame me, inflame me anew.

Originally published by The HyperTexts



The Effects of Memory
by Michael R. Burch

A black ringlet
curls to lie
at the nape of her neck,
glistening with sweat
in the evaporate moonlight ...
This is what I remember

now that I cannot forget.

And tonight,
if I have forgotten her name,
I remember:
rigid wire and white lace
half-impressed in her flesh ...

our soft cries, like regret,

... the enameled white clips
of her bra strap
still inscribe dimpled marks
that my kisses erase ...

now that I have forgotten her face.



Villanelle: Because Her Heart Is Tender
by Michael R. Burch

for Beth

She scrawled soft words in soap: "Never Forget,"
Dove-white on her car's window, and the wren,
because her heart is tender, might regret
it called the sun to wake her. As I slept,
she heard lost names recounted, one by one.

She wrote in sidewalk chalk: "Never Forget,"
and kept her heart's own counsel. No rain swept
away those words, no tear leaves them undone.

Because her heart is tender with regret,
bruised by razed towers' glass and steel and stone
that shatter on and on and on and on,
she stitches in wet linen: "NEVER FORGET,"
and listens to her heart's emphatic song.

The wren might tilt its head and sing along
because its heart once understood regret
when fledglings fell beyond, beyond, beyond ...
its reach, and still the boot-heeled world strode on.

She writes in adamant: "NEVER FORGET"
because her heart is tender with regret.



To the boy Elis
by Georg Trakl
translation by Michael R. Burch

Elis, when the blackbird cries from the black forest,
it announces your downfall.
Your lips sip the rock-spring's blue coolness.

Your brow sweats blood
recalling ancient myths
and dark interpretations of birds' flight.

Yet you enter the night with soft footfalls;
the ripe purple grapes hang suspended
as you wave your arms more beautifully in the blueness.

A thornbush crackles;
where now are your moonlike eyes?
How long, oh Elis, have you been dead?

A monk dips waxed fingers
into your body's hyacinth;
Our silence is a black abyss

from which sometimes a docile animal emerges
slowly lowering its heavy lids.
A black dew drips from your temples:

the lost gold of vanished stars.

TRANSLATOR'S NOTE: I believe that in the second stanza the blood on Elis's forehead may be a reference to the apprehensive ****** sweat of Jesus in the garden of Gethsemane. If my interpretation is correct, Elis hears the blackbird's cries, anticipates the danger represented by a harbinger of death, but elects to continue rather than turn back. From what I have been able to gather, the color blue had a special significance for Georg Trakl: it symbolized longing and perhaps a longing for death. The colors blue, purple and black may represent a progression toward death in the poem.



Turkish Poetry Translations

Attilâ İlhan (1925-2005) was a Turkish poet, translator, novelist, screenwriter, editor, journalist, essayist, reviewer, socialist and intellectual.

Ben Sana Mecburum: “You are indispensable”
by Attila Ilhan
translation by Nurgül Yayman and Michael R. Burch

You are indispensable; how can you not know
that you’re like nails riveting my brain?
I see your eyes as ever-expanding dimensions.
You are indispensable; how can you not know
that I burn within, at the thought of you?

Trees prepare themselves for autumn;
can this city be our lost Istanbul?
Now clouds disintegrate in the darkness
as the street lights flicker
and the streets reek with rain.
You are indispensable, and yet you are absent ...

Love sometimes seems akin to terror:
a man tires suddenly at nightfall,
of living enslaved to the razor at his neck.
Sometimes he wrings his hands,
expunging other lives from his existence.
Sometimes whichever door he knocks
echoes back only heartache.

A screechy phonograph is playing in Fatih ...
a song about some Friday long ago.
I stop to listen from a vacant corner,
longing to bring you an untouched sky,
but time disintegrates in my hands.
Whatever I do, wherever I go,
you are indispensable, and yet you are absent ...

Are you the blue child of June?
Ah, no one knows you―no one knows!
Your deserted eyes are like distant freighters ...

Perhaps you are boarding in Yesilköy?
Are you drenched there, shivering with the rain
that leaves you blind, beset, broken,
with wind-disheveled hair?

Whenever I think of life
seated at the wolves’ table,
shameless, yet without soiling our hands ...
Yes, whenever I think of life,
I begin with your name, defying the silence,
and your secret tides surge within me
making this voyage inevitable.
You are indispensable; how can you not know?



Fragments
by Attila Ilhan
loose English translations/interpretations by Michael R. Burch

The night is a cloudy-feathered owl,
its quills like fine-spun glass.

It gazes out the window,
perched on my right shoulder,
its wings outspread and huge.

If the encroaching darkness seems devastating at first glance,
the sovereign of everything,
its reach infinite ...

Still somewhere within a kernel of light glows secretly
creating an enlightened forest of dialectics.

In September’s waning days one thinks wanly of the arrival of fall
like a ship appearing on the horizon with untrimmed, tattered sails;
for some unfathomable reason fall is the time to consider one’s own demise―
the body smothered by yellowed leaves like a corpse rotting in a ghoulish photograph ...

Bitter words
crack like whips
snapping across prison yards ...

Then there are words like pomegranate trees in bloom,
words like the sun igniting the sea beyond mountainous horizons,
flashing like mysterious knives ...

Such words are the burning roses of an infinite imagination;
they are born and they die with the flutterings of butterflies;
we carry those words in our hearts like pregnant shotguns until the day we expire,
martyred for the words we were prepared to die for ...

What I wrote and what you understood? Curious and curiouser!



Mehmet Akif Ersoy: Modern English Translations of Turkish Poems

Mehmet Âkif Ersoy (1873-1936) was a Turkish poet, author, writer, academic, member of parliament, and the composer of the Turkish National Anthem.



Snapshot
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

Earth’s least trace of life cannot be erased;
even when you lie underground, it encompasses you.
So, those of you who anticipate the shadows,
how long will the darkness remember you?



Zulmü Alkislayamam
"I Can’t Applaud Tyranny"
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

I can't condone cruelty; I will never applaud the oppressor;
Yet I can't renounce the past for the sake of deluded newcomers.
When someone curses my ancestors, I want to strangle them,
Even if you don’t.
But while I harbor my elders,
I refuse to praise their injustices.
Above all, I will never glorify evil, by calling injustice “justice.”
From the day of my birth, I've loved freedom;
The golden tulip never deceived me.
If I am nonviolent, does that make me a docile sheep?
The blade may slice, but my neck resists!
When I see someone else's wound, I suffer a great hardship;
To end it, I'll be whipped, I'll be beaten.
I can't say, “Never mind, just forget it!” I'll mind,
I'll crush, I'll be crushed, I'll uphold justice.
I'm the foe of the oppressor, the friend of the oppressed.
What the hell do you mean, with your backwardness?



Çanakkale Sehitlerine
"For the Çanakkale Martyrs"
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

Was there ever anything like the Bosphorus war?―
The earth’s mightiest armies pressing Marmara,
Forcing entry between her mountain passes
To a triangle of land besieged by countless vessels.
Oh, what dishonorable assemblages!
Who are these Europeans, come as rapists?
Who, these braying hyenas, released from their reeking cages?
Why do the Old World, the New World, and all the nations of men
now storm her beaches? Is it Armageddon? Truly, the whole world rages!
Seven nations marching in unison!
Australia goose-stepping with Canada!
Different faces, languages, skin tones!
Everything so different, but the mindless bludgeons!
Some warriors Hindu, some African, some nameless, unknown!
This disgraceful invasion, baser than the Black Death!
Ah, the 20th century, so noble in its own estimation,
But all its favored ones nothing but a parade of worthless wretches!
For months now Turkish soldiers have been vomited up
Like stomachs’ retched contents regarded with shame.
If the masks had not been torn away, the faces would still be admired,
But the ***** called civilization is far from blameless.
Now the ****** demand the destruction of the doomed
And thus bring destruction down on their own heads.
Lightning severs horizons!
Earthquakes regurgitate the bodies of the dead!
Bombs’ thunderbolts explode brains,
rupture the ******* of brave soldiers.
Underground tunnels writhe like hell
Full of the bodies of burn victims.
The sky rains down death, the earth swallows the living.
A terrible blizzard heaves men violently into the air.
Heads, eyes, torsos, legs, arms, chins, fingers, hands, feet ...
Body parts rain down everywhere.
Coward hands encased in armor callously scatter
Floods of thunderbolts, torrents of fire.
Men’s chests gape open,
Beneath the high, circling vulture-like packs of the air.
Cannonballs fly as frequently as bullets
Yet the heroic army laughs at the hail.
Who needs steel fortresses? Who fears the enemy?
How can the shield of faith not prevail?
What power can make religious men bow down to their oppressors
When their stronghold is established by God?
The mountains and the rocks are the bodies of martyrs! ...
For the sake of a crescent, oh God, many suns set, undone!
Dear soldier, who fell for the sake of this land,
How great you are, your blood saves the Muslims!
Only the lions of Bedr rival your glory!
Who then can dig the grave wide enough to hold you. and your story?
If we try to consign you to history, you will not fit!
No book can contain the eras you shook!
Only eternities can encompass you! ...
Oh martyr, son of the martyr, do not ask me about the grave:
The prophet awaits you now, his arms flung wide open, to save!



Sessiz Gemi (“Silent Ship”)

by Yahya Kemal Beyatli
loose translation by Nurgül Yayman and Michael R. Burch

for the refugees

The time to weigh anchor has come;
a ship departing harbor slips quietly out into the unknown,
cruising noiselessly, its occupants already ghosts.
No flourished handkerchiefs acknowledge their departure;
the landlocked mourners stand nurturing their grief,
scanning the bleak horizon, their eyes blurring ...
Poor souls! Desperate hearts! But this is hardly the last ship departing!
There is always more pain to unload in this sorrowful life!
The hesitations of lovers and their belovèds are futile,
for they cannot know where the vanished are bound.
Many hopes must be quenched by the distant waves,
since years must pass, and no one returns from this journey.



Full Moon
by Yahya Kemal Beyatli
loose translation by Nurgül Yayman and Michael R. Burch

You are so lovely
the full moon just might
delight
in your rising,
as curious
and bright,
to vanquish night.

But what can a mortal man do,
dear,
but hope?
I’ll ponder your mysteries
and (hmmmm) try to
cope.

We both know
you have every right to say no.



The Music of the Snow
by Yahya Kemal Beyatli
loose translation/interpretation by Michael R. Burch

This melody of a night lasting longer than a thousand years!
This music of the snow supposed to last for thousand years!

Sorrowful as the prayers of a secluded monastery,
It rises from a choir of a hundred voices!

As the *****’s harmonies resound profoundly,
I share the sufferings of Slavic grief.

My mind drifts far from this city, this era,
To the old records of Tanburi Cemil Bey.

Now I’m suddenly overjoyed as once again I hear,
With the ears of my heart, the purest sounds of Istanbul!

Thoughts of the snow and darkness depart me;
I keep them at bay all night with my dreams!

Translator’s notes: “Slavic grief” because Beyatli wrote this poem while in Warsaw, serving as Turkey’s ambassador to Poland, in 1927. Tanburi Cemil Bey was a Turkish composer.



Thinking of you
by Nazim Hikmet
loose translation/interpretation by Michael R. Burch

Thinking of you is beautiful, hopeful―
like listening to the most beautiful songs
sung by the earth's most beautiful voices.
But hope is insufficient for me now;
I don't want to listen to songs.
I want to sing love into birth.



I love you
by Nazim Hikmet
loose translation/interpretation by Michael R. Burch

I love you―
like dipping bread into salt and eating;
like waking at night with a raging fever
and thirstily lapping up water, my mouth to the silver tap;
like unwrapping the unwieldy box the postman delivers,
unable to guess what's inside,
feeling fluttery, happy, doubtful.
I love you―
like flying over the sea the first time
as something stirs within me
while the sky softly darkens over Istanbul.
I love you―
as men thank God gratefully for life.



Sparrow
by Nazim Hikmet
loose translation/interpretation by Michael R. Burch

Little sparrow,
perched on the clothesline,
do you regard me with pity?
Even so, I will watch you
soar away through the white spring leaves.



The Divan of the Lover

the oldest extant Turkish poem
loose translation/interpretation by Michael R. Burch

All the universe as one great sign is shown:
God revealed in his creative acts unknown.
Who sees or understands them, jinn or men?
Such works lie far beyond mere mortals’ ken.
Nor can man’s mind or reason reach that strand,
Nor mortal tongue name Him who rules that land.
Since He chose nothingness with life to vest,
who dares to trouble God with worms’ behests?
For eighteen thousand worlds, lain end to end,
Do not with Him one atom's worth transcend!



Fragment
by Prince Jem
loose translation/interpretation by Michael R. Burch

Behold! The torrent, dashing against the rocks, flails wildly.
The entire vast realm of Space and Being oppresses my soul idly.
Through bitterness of grief and woe the sky has rent its morning robe.
Look! See how in its eastern palace, the sun is a ****** globe!
The clouds of heaven rain bright tears on the distant mountain peaks.
Oh, hear how the deeply wounded thunder slowly, mournfully speaks!



An Ecstasy of Fumbling
by Michael R. Burch

The poets believe
everything resolves to metaphor—
a distillation,
a vapor
beyond filtration,
though perhaps not quite as volatile as before.

The poets conceive
of death in the trenches
as the price of art,
not war,
fumbling with their masque-like
dissertations
to describe the Hollywood-like gore

as something beyond belief,
abstracting concrete bunkers to Achaemenid bas-relief.



Excerpts from “Travels with Einstein”
by Michael R. Burch

for Trump

I went to Berlin to learn wisdom
from Adolph. The wild spittle flew
as he screamed at me, with great conviction:
“Please despise me! I look like a Jew!”

So I flew off to ’Nam to learn wisdom
from tall Yankees who cursed “yellow” foes.
“If we lose this small square,” they informed me,
earth’s nations will fall, dominoes!”

I then sat at Christ’s feet to learn wisdom,
but his Book, from its genesis to close,
said: “Men can enslave their own brothers!”
(I soon noticed he lacked any clothes.)

So I traveled to bright Tel Aviv
where great scholars with lofty IQs
informed me that (since I’m an Arab)
I’m unfit to lick dirt from their shoes.

At last, done with learning, I stumbled
to a well where the waters seemed sweet:
the mirage of American “justice.”
There I wept a real sea, in defeat.

Originally published by Café Dissensus



The Leveler
by Michael R. Burch

The nature of Nature
is bitter survival
from Winter’s bleak fury
till Spring’s brief revival.

The weak implore Fate;
bold men ravish, dishevel her . . .
till both are cut down
by mere ticks of the Leveler.

I believe I wrote this poem around age 20, in 1978 or thereabouts. It has since been published in The Lyric, Tucumcari Literary Review, Romantics Quarterly and The Aurorean.



The Hippopotami
by Michael R. Burch

There’s no seeing eye to eye
with the awesomely huge Hippopotami:
on the bank, you’re much taller;
going under, you’re smaller
and assuredly destined to die!



Ballade of the Bicameral Camel
by Michael R. Burch

There once was a camel who loved to ****.
Please get your lewd minds out of their slump!
He loved to give RIDES on his large, lordly lump!



The Echoless Green
by Michael R. Burch

for and after William Blake

At dawn, laughter rang
on the echoing green
as children at play
greeted the day.

At noon, smiles were seen
on the echoing green
as, children no more,
many fine vows they swore.

By twilight, their cries
had subsided to sighs.

Now night reigns supreme
on the echoless green.



Unlikely Mike
by Michael R. Burch

I married someone else’s fantasy;
she admired me despite my mutilations.

I loved her for her heart’s sake, and for mine.
I hid my face and changed its connotations.

And in the dark I danced—slight, Chaplinesque—
a metaphor myself. How could they know,

the undiscerning ones, that in the glow
of spotlights, sometimes love becomes burlesque?

Disfigured to my soul, I could not lose
or choose or name myself; I came to be

another of life’s odd dichotomies,
like Dickey’s Sheep Boy, Pan, or David Cruse:

as pale, as enigmatic. White, or black?
My color was a song, a changing track.



Spring Was Delayed
by Michael R. Burch

Winter came early:
the driving snows,
the delicate frosts
that crystallize

all we forget
or refuse to know,
all we regret
that makes us wise.

Spring was delayed:
the nubile rose,
the tentative sun,
the wind’s soft sighs,

all we omit
or refuse to show,
whatever we shield
behind guarded eyes.

Originally published by Borderless Journal



The Shijing or **** Jing (“Book of Songs” or “Book of Odes”) is the oldest Chinese poetry collection, with the poems included believed to date from around 1200 BC to 600 BC. According to tradition the poems were selected and edited by Confucius himself. Since most ancient poetry did not rhyme, these may be the world’s oldest extant rhyming poems.

Shijing Ode #4: “JIU MU”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

In the South, beneath trees with drooping branches
thick with vines that make them shady,
we find our lovely princely lady:
May she repose in happiness!

In the South, beneath trees with drooping branches
whose clinging vines make hot days shady,
we wish love’s embrace for our lovely lady:
May she repose in happiness!

In the South, beneath trees with drooping branches
whose vines, entwining, make them shady,
we wish true love for our lovely lady:
May she repose in happiness!

Shijing Ode #6: “TAO YAO”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

The peach tree is elegant and tender;
its flowers are fragrant, and bright.
A young lady now enters her future home
and will manage it well, day and night.

The peach tree is elegant and tender;
its fruits are abundant, and sweet.
A young lady now enters her future home
and will make it welcome to everyone she greets.

The peach tree is elegant and tender;
it shelters with bough, leaf and flower.
A young lady now enters her future home
and will make it her family’s bower.

Shijing Ode #9: “HAN GUANG”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

In the South tall trees without branches
offer men no shelter.
By the Han the girls loiter,
but it’s vain to entice them.
For the breadth of the Han
cannot be swum
and the length of the Jiang
requires more than a raft.

When cords of firewood are needed,
I would cut down tall thorns to bring them more.
Those girls on their way to their future homes?
I would feed their horses.
But the breadth of the Han
cannot be swum
and the length of the Jiang
requires more than a raft.

When cords of firewood are needed,
I would cut down tall trees to bring them more.
Those girls on their way to their future homes?
I would feed their colts.
But the breadth of the Han
cannot be swum
and the length of the Jiang
requires more than a raft.

Shijing Ode #10: “RU FEN”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

By raised banks of the Ru,
I cut down branches in the brake.
Not seeing my lord
caused me heartache.

By raised banks of the Ru,
I cut down branches by the tide.
When I saw my lord at last,
he did not cast me aside.

The bream flashes its red tail;
the royal court’s a blazing fire.
Though it blazes afar,
still his loved ones are near ...

It was apparently believed that the bream’s tail turned red when it was in danger. Here the term “lord” does not necessarily mean the man in question was a royal himself. Chinese women of that era often called their husbands “lord.” Take, for instance, Ezra Pound’s famous loose translation “The River Merchant’s Wife.” Speaking of Pound, I borrowed the word “brake” from his translation of this poem, although I worked primarily from more accurate translations. In the final line, it may be that the wife or lover is suggesting that no matter what happens, the man in question will have a place to go, or perhaps she is urging him to return regardless. The original poem had “mother and father” rather than “family” or “loved ones,” but in those days young married couples often lived with the husband’s parents. So a suggestion to return to his parents could be a suggestion to return to his wife as well.

Shijing Ode #12: “QUE CHAO”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

The nest is the magpie's
but the dove occupies it.
A young lady’s soon heading to her future home;
a hundred carriages will attend her.

The nest is the magpie's
but the dove takes it over.
A young lady’s soon heading to her future home;
a hundred carriages will escort her.

The nest is the magpie's
but the dove possesses it.
A young lady’s soon heading to her future home;
a hundred carriages complete her procession.

Shijing Ode #26: “BO ZHOU” from “The Odes of Bei”
ancient Chinese rhyming poem circa (1200 BC - 600 BC)
loose translation/interpretation by Michael R. Burch

This cypress-wood boat floats about,
meandering with the current.
Meanwhile, I am distraught and sleepless,
as if inflicted with a painful wound.
Not because I have no wine,
and can’t wander aimlessly about!

But my mind is not a mirror
able to echo all impressions.
Yes, I have brothers,
but they are undependable.
I meet their anger with silence.

My mind is not a stone
to be easily cast aside.
My mind is not a mat
to be conveniently rolled up.
My conduct so far has been exemplary,
with nothing to criticize.

Yet my anxious heart hesitates
because I’m hated by the herd,
inflicted with many distresses,
heaped with insults, not a few.
Silently I consider my case,
until, startled, as if from sleep, I clutch my breast.

Consider the sun and the moon:
how did the latter exceed the former?
Now sorrow clings to my heart
like an unwashed dress.
Silently I consider my options,
but lack the wings to fly away.



The Drawer of Mermaids
by Michael R. Burch

This poem is dedicated to Alina Karimova, who was born with severely deformed legs and five fingers missing. Alina loves to draw mermaids and believes her fingers will eventually grow out.

Although I am only four years old,
they say that I have an old soul.
I must have been born long, long ago,
here, where the eerie mountains glow
at night, in the Urals.

A madman named Geiger has cursed these slopes;
now, shut in at night, the emphatic ticking
fills us with dread.
(Still, my momma hopes
that I will soon walk with my new legs.)

It’s not so much legs as the fingers I miss,
drawing the mermaids under the ledges.
(Observing, Papa will kiss me
in all his distracted joy;
but why does he cry?)

And there is a boy
who whispers my name.
Then I am not lame;
for I leap, and I follow.
(G’amma brings a wiseman who says

our infirmities are ours, not God’s,
that someday a beautiful Child
will return from the stars,
and then my new fingers will grow
if only I trust Him; and so

I am preparing to meet Him, to go,
should He care to receive me.)

Keywords/Tags: mermaid, mermaids, child, children, childhood, Urals, Ural Mountains, soul, soulmate, radiation



On the Horns of a Dilemma (I)
by Michael R. Burch

Love has become preposterous
for the over-endowed rhinoceros:
when he meets the right miss
how the hell can he kiss
when his horn is so ***** it lofts her thus?

I need an artist or cartoonist to create an image of a male rhino lifting his prospective mate into the air during an abortive kiss. Any takers?



On the Horns of a Dilemma (II)
by Michael R. Burch

Love has become preposterous
for the over-endowed rhinoceros:
when he meets the right miss
how the hell can he kiss
when his horn deforms her esophagus?



On the Horns of a Dilemma (III)
by Michael R. Burch

A wino rhino said, “I know!
I have a horn I cannot blow!
And so,
ergo,
I’ll watch the lovely spigot flow!



The Horns of a Dilemma Solved, if not Solvent
by Michael R. Burch

A wine-addled rhino debated
the prospect of living unmated
due to the scorn
gals showed for his horn,
then lost it to poachers, sedated.



The Arrival of the Sea Lions
by Michael R. Burch

The sound
of hounds
resounds in the sound.



Hounds Impounded
by Michael R. Burch

The sound
of hounds
resounds
in the pound.



Prince Kiwi the Great
by Michael R. Burch

Kiwi’s
a ***-wee
but incredibly bright:
he sleeps half the day,
pretending it’s night!

Prince Kiwi
commands us
with his regal air:
“Come, humans, and serve me,
or I’ll yank your hair!”

Kiwi
cries “Kree! Kree!”
when he wants to be fed ...
suns, preens, flutters, showers,
then it’s off to bed.

Kiwi’s
a ***-wee
but incredibly bright:
he sleeps half the day,
pretending it’s night!

Kiwi is our family’s green-cheeked parakeet. Parakeets need to sleep around 12 hours per day, hence the pun on “bright” and “half the day.”



Ah! Sunflower
by Michael R. Burch

after William Blake

O little yellow flower
like a star ...
how beautiful,
how wonderful
we are!

Published as the collection "When Pigs Fly"

12 in the dark, I sit awake by the window,
Across from Hyde Park, and the feel of the wind oh,
Sparking a bark, Nana's remarking from below,
Canine matriarch against the boy with no shadow,
Time's flickering by and I begin to rust,
Consumed, I'm high with lust just for pixie dust,
But to fly you must be robust and adjust,
And I can't, though I try, I just look with disgust,
Sitting on the sill, I think of him mournfully,
Hard as I try, I can't think of him scornfully,
Despite the fact that he talks so informally,
He says my name and I know I was born to be,
Part of the family, I think of them nightly,
Tootles, the twins, Curly, Nibs and Slightly,
Second star to the right, it shines so brightly,
Hope he might come back if I ask politely,
He doesn't apologize, he's immature and he's cold,
Lives in a land without rules so he can't be controlled,
But as soon as I saw him I knew I'd struck green-gold,
Peter Pan is a joke that just never gets old,
Don't smile at crocodiles down in Neverland,
And if you hear a ticking clock, hope the ships are manned,
Because there's a high demand for the taste of pirate band,
And if you're not hooked by now then Hook'll tell you first hand,
I flew here like a bird in a night-dress, frilly,
Scared, trying to fight stress, skin like Chantilly,
Found Peter and I confess that the boy's my Achilles,
Now I'm a lost girl treading on Tiger Lillies,
Acorns and thimbles are my idea of 'bases',
And sword fights with pirates are my ***** chasers,
Watching the boys as they fly and admiring Peter Pan,
But he's the boy who can't love here in Neverland,
I wanted devotion, to marry men who were charming,
So I repressed, left my emotion, I left Peter Pan snarling,
My own species no longer, just a common starling,
Caged by age at my window, I'm Wendy Darling.

Far away on tides of blue,
father still then havens of gray.
Stretching across those wondrous fields
farther still then the breaking day.
Reaching fourth strands of hope,
grasping for life in the depths.

A light appears in the mire,
a hope filled with deepest desire.
The eminence of this light priceless
the glory of its beauty,
eternal.

The stars gleam
the darkness beams,
the heavens soar
and the moon drifts and dreams.

The night is alive
under this sleepless light,
stars shift and sway.
To the beat of its reflecting gleam,
the galaxies drift away, away.

The wolf cries mournfully
to it's long lost love.
The moon in return
shines all the brighter.

The heavens rejoice
for the light is theirs,
the songs of the deep
rising higher and higher.
The night is alive
under the sleepless light,
The stars arrayed in all their splendor.

The night is alive with color and life
Love and peace,
beauty and such magnificence.

When the sleepless lights
shines ever bright,
the darkness fades
and the night comes alive.

“Nullus enim locus sine genio est.”

  Servius.

“La musique,” says Marmontel, in those “Contes
Moraux” which in all our translations we have insisted upon
calling “Moral Tales,” as if in mockery of their
spirit—”la musique est le seul des talens qui
jouisse de lui-meme: tous les autres veulent des
temoins.” He here confounds the pleasure derivable from
sweet sounds with the capacity for creating them. No more
than any other talent, is that for music susceptible
of complete enjoyment where there is no second party to
appreciate its exercise; and it is only in common with other
talents that it produces effects which may be fully
enjoyed in solitude. The idea which the raconteur has
either failed to entertain clearly, or has sacrificed in its
expression to his national love of point, is
doubtless the very tenable one that the higher order of
music is the most thoroughly estimated when we are
exclusively alone. The proposition in this form will be
admitted at once by those who love the lyre for its own sake
and for its spiritual uses. But there is one pleasure still
within the reach of fallen mortality, and perhaps only one,
which owes even more than does music to the accessory
sentiment of seclusion. I mean the happiness experienced in
the contemplation of natural scenery. In truth, the man who
would behold aright the glory of God upon earth must in
solitude behold that glory. To me at least the presence, not
of human life only, but of life, in any other form than that
of the green things which grow upon the soil and are
voiceless, is a stain upon the landscape, is at war with the
genius of the scene. I love, indeed, to regard the dark
valleys, and the gray rocks, and the waters that silently
smile, and the forests that sigh in uneasy slumbers, and the
proud watchful mountains that look down upon all,—I
love to regard these as themselves but the colossal members
of one vast animate and sentient whole—a whole whose
form (that of the sphere) is the most perfect and most
inclusive of all; whose path is among associate planets;
whose meek handmaiden is the moon; whose mediate sovereign
is the sun; whose life is eternity; whose thought is that of
a god; whose enjoyment is knowledge; whose destinies are
lost in immensity; whose cognizance of ourselves is akin
with our own cognizance of the animalculae which
infest the brain, a being which we in consequence regard as
purely inanimate and material, much in the same manner as
these animalculae must thus regard us.

Our telescopes and our mathematical investigations assure us
on every hand, notwithstanding the cant of the more ignorant
of the priesthood, that space, and therefore that bulk, is
an important consideration in the eyes of the Almighty. The
cycles in which the stars move are those best adapted for
the evolution, without collision, of the greatest possible
number of bodies. The forms of those bodies are accurately
such as within a given surface to include the greatest
possible amount of matter; while the surfaces themselves are
so disposed as to accommodate a denser population than could
be accommodated on the same surfaces otherwise arranged. Nor
is it any argument against bulk being an object with God
that space itself is infinite; for there may be an infinity
of matter to fill it; and since we see clearly that the
endowment of matter with vitality is a principle—
indeed, as far as our judgments extend, the leading
principle in the operations of Deity, it is scarcely logical
to imagine it confined to the regions of the minute, where
we daily trace it, and not extending to those of the august.
As we find cycle within cycle without end, yet all revolving
around one far-distant centre which is the Godhead, may we
not analogically suppose, in the same manner, life within
life, the less within the greater, and all within the Spirit
Divine? In short, we are madly erring through self-esteem in
believing man, in either his temporal or future destinies,
to be of more moment in the universe than that vast “clod of
the valley” which he tills and contemns, and to which he
denies a soul, for no more profound reason than that he does
not behold it in operation.

These fancies, and such as these, have always given to my
meditations among the mountains and the forests, by the
rivers and the ocean, a tinge of what the every-day world
would not fail to term the fantastic. My wanderings amid
such scenes have been many and far-searching, and often
solitary; and the interest with which I have strayed through
many a dim deep valley, or gazed into the reflected heaven
of many a bright lake, has been an interest greatly deepened
by the thought that I have strayed and gazed alone.
What flippant Frenchman was it who said, in allusion to the
well known work of Zimmermann, that “la solitude est une
belle chose; mais il faut quelqu’un pour vous dire que la
solitude est une belle chose”? The epigram cannot be
gainsaid; but the necessity is a thing that does not exist.

It was during one of my lonely journeyings, amid a far
distant region of mountain locked within mountain, and sad
rivers and melancholy tarns writhing or sleeping within all,
that I chanced upon a certain rivulet and island. I came
upon them suddenly in the leafy June, and threw myself upon
the turf beneath the branches of an unknown odorous shrub,
that I might doze as I contemplated the scene. I felt that
thus only should I look upon it, such was the character of
phantasm which it wore.

On all sides, save to the west where the sun was about
sinking, arose the verdant walls of the forest. The little
river which turned sharply in its course, and was thus
immediately lost to sight, seemed to have no exit from its
prison, but to be absorbed by the deep green foliage of the
trees to the east; while in the opposite quarter (so it
appeared to me as I lay at length and glanced upward) there
poured down noiselessly and continuously into the valley a
rich golden and crimson waterfall from the sunset fountains
of the sky.

About midway in the short vista which my dreamy vision took
in, one small circular island, profusely verdured, reposed
upon the ***** of the stream.

So blended bank and shadow there, That each seemed pendulous
in air—

so mirror-like was the glassy water, that it was scarcely
possible to say at what point upon the ***** of the emerald
turf its crystal dominion began. My position enabled me to
include in a single view both the eastern and western
extremities of the islet, and I observed a singularly-marked
difference in their aspects. The latter was all one radiant
harem of garden beauties. It glowed and blushed beneath the
eye of the slant sunlight, and fairly laughed with flowers.
The grass was short, springy, sweet-scented, and Asphodel-
interspersed. The trees were lithe, mirthful, *****, bright,
slender, and graceful, of eastern figure and foliage, with
bark smooth, glossy, and parti-colored. There seemed a deep
sense of life and joy about all, and although no airs blew
from out the heavens, yet everything had motion through the
gentle sweepings to and fro of innumerable butterflies, that
might have been mistaken for tulips with wings.

The other or eastern end of the isle was whelmed in the
blackest shade. A sombre, yet beautiful and peaceful gloom,
here pervaded all things. The trees were dark in color and
mournful in form and attitude— wreathing themselves
into sad, solemn, and spectral shapes, that conveyed ideas
of mortal sorrow and untimely death. The grass wore the deep
tint of the cypress, and the heads of its blades hung
droopingly, and hither and thither among it were many small
unsightly hillocks, low and narrow, and not very long, that
had the aspect of graves, but were not, although over and
all about them the rue and the rosemary clambered. The
shades of the trees fell heavily upon the water, and seemed
to bury itself therein, impregnating the depths of the
element with darkness. I fancied that each shadow, as the
sun descended lower and lower, separated itself sullenly
from the trunk that gave it birth, and thus became absorbed
by the stream, while other shadows issued momently from the
trees, taking the place of their predecessors thus entombed.

This idea having once seized upon my fancy greatly excited
it, and I lost myself forthwith in reverie. “If ever island
were enchanted,” said I to myself, “this is it. This is the
haunt of the few gentle Fays who remain from the wreck of
the race. Are these green tombs theirs?—or do they
yield up their sweet lives as mankind yield up their own? In
dying, do they not rather waste away mournfully, rendering
unto God little by little their existence, as these trees
render up shadow after shadow, exhausting their substance
unto dissolution? What the wasting tree is to the water that
imbibes its shade, growing thus blacker by what it preys
upon, may not the life of the Fay be to the death which
engulfs it?”

As I thus mused, with half-shut eyes, while the sun sank
rapidly to rest, and eddying currents careered round and
round the island, bearing upon their ***** large dazzling
white flakes of the bark of the sycamore, flakes which, in
their multiform positions upon the water, a quick
imagination might have converted into anything it pleased;
while I thus mused, it appeared to me that the form of one
of those very Fays about whom I had been pondering, made its
way slowly into the darkness from out the light at the
western end of the island. She stood ***** in a singularly
fragile canoe, and urged it with the mere phantom of an oar.
While within the influence of the lingering sunbeams, her
attitude seemed indicative of joy, but sorrow deformed it as
she passed within the shade. Slowly she glided along, and at
length rounded the islet and re-entered the region of light.
“The revolution which has just been made by the Fay,”
continued I musingly, “is the cycle of the brief year of her
life. She has floated through her winter and through her
summer. She is a year nearer unto death: for I did not fail
to see that as she came into the shade, her shadow fell from
her, and was swallowed up in the dark water, making its
blackness more black.”

And again the boat appeared and the Fay, but about the
attitude of the latter there was more of care and
uncertainty and less of elastic joy. She floated again from
out the light and into the gloom (which deepened momently),
and again her shadow fell from her into the ebony water, and
became absorbed into its blackness. And again and again she
made the circuit of the island (while the sun rushed down to
his slumbers), and at each issuing into the light there was
more sorrow about her person, while it grew feebler and far
fainter and more indistinct, and at each passage into the
gloom there fell from her a darker shade, which became
whelmed in a shadow more black. But at length, when the sun
had utterly departed, the Fay, now the mere ghost of her
former self, went disconsolately with her boat into the
region of the ebony flood, and that she issued thence at all
I cannot say, for darkness fell over all things, and I
beheld her magical figure no more.

as clear as ice, in night or day
reflecting faintly, a soulful reverie
reminding its presence subtly
dewdrops dripping rhythmically

standing in the way, an invisible wall
trying to reach the distant horizon
of which, birds appear and disappear
like speckles of black in orange canvas

eyes—blank and expressionless
mournfully staring in quietude
of the distant mountains and hills
and clouds floating idly

in monotone silence,
a hand reaches out only to be impeded by a cold caress

Cold stone statues of all shapes and sizes
Chilled to the moss covered bone
Standing *****, markers of time
Weather worn words, passages of years

A place of disasters, heartbreak and crime
All gathered there, forgotten by time
As the trees bend to the seasons
And the passing of years

A lone figure dressed in black
Stands above an unnamed gravestone
Reflecting on past memories
Of someone he had known.

Brown wet clinging clay lies
Heaped by the side of a black hollow
Waiting for another invited guest
As the bell tolls, mournfully

a lot of us have lost so many, age 6 i lost my nana now i know that's not too bad, we get back from the funeral within minutes of walking in there's a knock on the door, the police? were sent to our rooms my brother sister and me,  i sneak down the stairs to the hatch in the wall where the living room sits on the other side, the policemen are sat there explaining how my fathers son had died, my big brother was dead? surely not true, as my nana has just gone not my brother too? hit by a train? he jumped you say? well why would he do that? just take his life without much reason one day? then age 7 i lost my great nana which wasn't too bad then a gap to age 9 where it was rather sad, the day went like this.. firstly my dad said we didn't have to go to school today, he took us to my brothers where we asked to go swimming, 'we will see how you feel later' my dad said then it hit me, my dads stress the day of school talking about feelings "who was dead?" i thought quietly somewhere deep in my head, i dismissed the idea without much more of a though, we drove home, me and my sister jumped out the van and my dad shouted for us to wait and come back as we ran towards the front door, we came back i looked at my sister the huge smile on her face, my dad? his face looked solomn, full of concentration, his eyes full of a deep sadness, the summer air breezed past us leaving silence in its path then my dads deep voice cut through it 'i need to tell you something.' and my sisters smile changed to a face full of confusion, 'you're mum is gone' he continued, a small tear run down his face,  i looked at the young fair haired 8 year old next to me, the disbelief on her face as she asked what he meant and he then went on to explain how she had passed away the night before my sisters face had gone from happy to confused then twisted with pain in a matter of seconds she was on her knees at his side where he held her squirming body and wiped her tearful eyes, i went inside found my half brother and started to play fight, i knew i needed to be strong, are you not upset my brother asked me and i answers simply with, well of course i am, my mum is dead but i'm strong and i have you lot and a very clear head, and with that sentence i managed to land a punch in his ribs, i didn't cry once not shed one tear, i saw in my sisters face over the next few weeks that pure look of fear and i knew what was wrong as we now had to grow up with no mum, so that day i made a silent vow to myself that i would be there for her as long as i could. now lets fast forward.. im 13 in 2 days! im getting exited now my dads come down stairs 'no school today', wow how could this get any better eh? well maybe not better but maybe just worse as my nana died just this morning, the tumor took over her head and that was the end and with that i simply said, i wanna go to school today dad and so i left went to school and stayed distracted all day acted as happy as any teenager at school may. lets fast forward again 17 in 2 weeks! just got ready for a road trip with 2 of my brothers by now i'm a tear away like them, earning money to blow and smoking far too much **** were leaving at 6 and i've come down the stairs woke my dad up on the sofa to tell him to go to bed, were packing the car almost ready to leave my dad comes downstairs a distraught look on his face, 'my dad died this morning' he mournfully said and with that we all looked at his tired bowed head we all went inside made some cups of tea my brothers friends ringing where are you they say, he politely tells them whats happened said he would ring them when we sort our heads out, i look at my brother not knowing if hes feeling up for driving about... my dad tells us to go it will all be okay my younger sister still in bed i send her a text before i left, 'keep an eye on dad, go talk to him when you wake up make sure he is okay.' i don't tell her whats happened it isn't my place to say, a few hours later and i tell all the rest so that while i'm away there are people there for our dad. now i look at myself only just 17 years of age, i'm much more wiser than most that's just my own age i grew up quiet fast looking after the young and have learnt from others mistakes as i have as well with my own, there is other stuff too with drugs violence and more but ill leave that for another day as my brain is becoming quiet sore.

Where olive leaves were twinkling in every wind that blew,
There sat beneath the pleasant shade a damsel of Peru.
Betwixt the slender boughs, as they opened to the air,
Came glimpses of her ivory neck and of her glossy hair;
And sweetly rang her silver voice, within that shady nook,
As from the shrubby glen is heard the sound of hidden brook.

'Tis a song of love and valour, in the noble Spanish tongue,
That once upon the sunny plains of old Castile was sung;
When, from their mountain holds, on the Moorish rout below,
Had rushed the Christians like a flood, and swept away the foe.
A while that melody is still, and then breaks forth anew
A wilder rhyme, a livelier note, of freedom and Peru.

  For she has bound the sword to a youthful lover's side,
And sent him to the war the day she should have been his bride,
And bade him bear a faithful heart to battle for the right,
And held the fountains of her eyes till he was out of sight.
Since the parting kiss was given, six weary months are fled,
And yet the foe is in the land, and blood must yet be shed.

A white hand parts the branches, a lovely face looks forth,
And bright dark eyes gaze steadfastly and sadly toward the north
Thou look'st in vain, sweet maiden, the sharpest sight would fail.
To spy a sign of human life abroad in all the vale;
For the noon is coming on, and the sunbeams fiercely beat,
And the silent hills and forest-tops seem reeling in the heat.

That white hand is withdrawn, that fair sad face is gone,
But the music of that silver voice is flowing sweetly on,
Not as of late, in cheerful tones, but mournfully and low,--
A ballad of a tender maid heart-broken long ago,
Of him who died in battle, the youthful and the brave,
And her who died of sorrow, upon his early grave.

But see, along that mountain's *****, a fiery horseman ride;
Mark his torn plume, his tarnished belt, the sabre at his side.
His spurs are buried rowel-deep, he rides with loosened rein,
There's blood upon his charger's flank and foam upon the mane;
He speeds him toward the olive-grove, along that shaded hill:
God shield the helpless maiden there, if he should mean her ill!

And suddenly that song has ceased, and suddenly I hear
A shriek sent up amid the shade, a shriek--but not of fear.
For tender accents follow, and tenderer pauses speak
The overflow of gladness, when words are all too weak:
"I lay my good sword at thy feet, for now Peru is free,
And I am come to dwell beside the olive-grove with thee."

Penned on watermarked cotton paper
Cursive letters script the words
of a surrendering rhythmic rhyme.
The ardent sonata was written
by the light of a Blue Moon’s shine.

The blood red ink bled through
the white wrinkled cotton pages;
musical notes dried by the warmth
of glowing Moon Beams radiance
in the subtle pollination breeze...

The maestro Coyote’s howl cried out!

Instinctively rousing the stillness of the night;
       a feral essence echoed
       through the eerie silence
       of the distant horizon,
bringing helpless lovers to their knees.

The words to the Cabernet Sauvignon
       stained midnight  lullaby,
       were emotions quilled,
       blending an aura accenting
       organic warmth of tones...

       The native maple trees'
flowering canopies of Spring
released a dusty yellow pollen
onto the watermarked cotton sheets.

In a moment of rapturous intimacy,
       an elixir of intoxicating bliss
illumined the achingly euphoric moments.
A natural untamed wildness was exhaled;
       savored ecstasy released
       into a passionate song of love …

That poignant melody forever lingers,
       like hieroglyphics on the walls
of some long lost abandoned cave.

Engraved, etched, brushed and stroked
       onto the brattice canvas
       of a musical Minstrel’s
            melodic montage ...

       Watch the artiste’s fingers
       prancing graceful ballet
       Worn down catgut strings

                                *moan
          
     ­                  weep

              purr**

       crying out lustfully.
     as if it were
    enraptured lovers'
  breathless sighs

  the rhythm’s cadence
whispers a masterpiece
       in an infinite
       harmonious time...

       The tempo’s lines
                Phrasing…

                 ...hush...!

             ♪♫♪ ~ ♫  ♪♪

        Listen to the pictures flow...
Listen to the weeping guitar strings
      of the passionate troubadour
stroking the metaphorical canvas scene.

       The ebb and flow
       of the musical rhythm's throb
arouse the Blue Moon’s hypnotic  allure,
    throwing incandescent shadows
    that dance around Moonbeams.

Joyfully twirling, blissfully embracing
in the blossoming Forget-me-not fields;
            Bluebonnet Lupine
               swirl and tango
       with the moonlit breeze.

       Lilacs fragrant aroma drifts
with spring’s churning romantic haze;
rekindling this fleeting memories recital.
The Minstrel and the Minstrel’s song
         now yearn to be set free ~

      Timbre without reverberation …
The twilight serenade was never penned
  to be hidden from the Nightingale

A romantic moment’s sorrowful lament
to be abandoned like a broken dream;
   fading unnoticed into forevermore ―
      Unsung,  unsaid, unreleased,
                     unrequited
                through eternity…

              The maestro Coyote
       is a wilderness troubadour
       illumined under the gloaming
               full moon’s spell.

                Howling soulfully...
               wailing impulsively ~
              ... crying hopefully
             pleading mournfully
                     lamenting
the Minstrel’s breathless cadenza ...

A bitter sweet musical embryo of love
                 found and lost
                       below
           the full Blue Moon’s
               glistening light…



©  H.  Rivers ... 2012, 2013
           all rights reserved

"Wala pay sulod atong sako Nay.”*

Sack of rice is empty
Stomach rumbling mercilessly
Mind is hazy, breathing sporadically
Cold porridge is a feast.

“Go home!” says Mama sternly
Frantic, frightened, panicky
Rocks hurled, bullets fly
Blood splatters; running aimlessly

We dodge our way to safety
Cold porridge is a feast.

“I will not,” I say adamantly
She looks at the sack mournfully
Empty. Devoid of sanity.
Cold porridge is a feast.

“We’ll get some soon. Don’t worry.”
“I don’t believe you.”
I feel weak, I am crabby
I’m staying despite this misery
Cold porridge is a feast.

Childlike will, piety of soul
Purity of intention, pursuit of living whole

Cold porridge is a feast.

The casket was coming up, swaying and wobbling
Like a novice skater’s layover spin,
The workings proceeding apace,
The stillness of the August heat
Punctuated by disinterested growl of the backhoe,
The occasional out-of-place jocularity by the excavators
The creaky jingle of the chains holding the muddied box
As it proceeded skyward in its clumsy poor-man’s Resurrection.
The affair was being observed by an elderly couple,
Old enough to be of no particular age.  
Their car had Carolina plates,
But their inflections, their casually-tossed idioms
They noted that ruefully The grass needs mowed)
Marked them as natives.
They’d returned (Last time, most likely,
The wife uttered mournfully)
To take their son with them; he’d drowned when was five? six?
(The years will do that to a body, apparently)
In Kinzua Creek some half-century ago,
Back when little boys weren’t under a mandate
To be safe from themselves, as it were.  
He was our boy! We’ve never forgotten him!
The old man said, the words snapping off
In a manner that spoke of something else altogether,
How the whistle at the Montmorenci
Went off at three and eleven for second shift,
And your *** had better be there,
As those were good jobs that didn’t wait for bereavement leave,
Because there was always someone
Just itching to take your spot on the line,
And anyway life went on,
At least in the sense that television screens went all to snow
And tires went flat and fuses blew
And eventually a dead child
Is not always in the forefront of your thoughts,
Only tiptoeing in when the Press ran a picture
Of the Montmorenci Area Class of whenever,
Or there was an item about some other family
Who opened their front door
To a grim sheriff’s deputy with his hat in his hand.  
Eventually, after some time
And in defiance of both the odds and gravity,
The casket was settled into the back
Of the undertaker’s huge old black Caddy,
And the couple cane-toddled back to their car,
Following out the through the old spider-like gates
And onto the main road.
The brief procession fading from sight,
Until there was nothing left to see
Save the hillsides covered in old growth pine.

she exists now in a dream state
unaware of the horror and the passage of time
wind rushes through broken panes
moaning mournfully
floors creak and door hinges speak
announcing her presence
this was her house
once a place of light and love
full of family and friends
cotillions resonating with music and dance
and lively conversation
a grand kitchen to prepare the feasts
of pheasant under glass
a gazebo for laughing in the rain
arbors for moonlit meetings with owls
a pond for lilies and croaking frogs
gardens for picking her favorite peonies
a nursery for her children
all this now nothing but ruins
from happiness to a home for bugs and bats
crawling with silverfish, centipedes and black widows
shrouded in cobwebs
drowning in dust
suffocating in stench of rotting wood and desolation
decorated with 100 year old bloodstains
she never saw her killer
never saw the spurting of her arteries
never heard her children’s screams and death rales
she sees her house as it was
and every night she roams the rooms
calling her children’s names in long, haunting whispers

Tomorrow I shall see the birth of the awaited dawn
Today it seems I am locked in a midnight zone
Tomorrow I will not walk into the dread of the night
But shall be led by the blazing light

Tomorrow I will carry my yoke manfully
And never recite the litany of my woes mournfully
Tomorrow I shall slow down and stop by the mountain side
And watch the silvery stream joyfully down way glide

Tomorrow I shall seize every chance that comes my way
And never wait for them to fall on another day
Tomorrow I shall be out of my prison cell with discord round
And shall enter a palace with joys abound

Tomorrow I shall willingly partake of another’s grief
And never seek solely my own relief
Tomorrow I shall wait for the calm that follows the storm
And not grumble in haste that life is a withering dream

Tomorrow I shall look beyond the clouds of gathered gloom
And see for myself the beauty of stars that in hundreds bloom
Tomorrow amid hostilities I shall keep alive the sparks of friendship
And never mourn the absence of anyone for companionship

Did I hear someone teasingly say to my utter surprise
“Your resolutions sound so good! But what if tomorrow doesn’t arise?”

Twilight's melody rises
mournfully dressed in lilac hues 
she grieves for the glory of the primrose sun.

The rise and fall of waltzing starlings
mirror the final breaths of the day
as with glorious mirth they beckon to the silvered chill of the moon.

Whispers of heavenly death, murmur’d I hear;
Labial gossip of night—sibilant chorals;
Footsteps gently ascending—mystical breezes, wafted soft and low;
Ripples of unseen rivers—tides of a current, flowing, forever flowing;
(Or is it the plashing of tears? the measureless waters of human tears?)

I see, just see, skyward, great cloud-masses;
Mournfully, slowly they roll, silently swelling and mixing;
With, at times, a half-dimm’d, sadden’d, far-off star,
Appearing and disappearing.

(Some parturition, rather—some solemn, immortal birth:
On the frontiers, to eyes impenetrable,
Some Soul is passing over.)

Windows to the the world through which I see
Images of shortfalls and views of perpetual inadequacies.
Shut my lids ever hoping for a change in scenery...
But only pictures of emotional chaos, mistakes and uncertainties.

Visions I can't ignore and they can't be severed;
Like a splinter that's embedded but can't be retrieved.
Reluctant at first I wish to have them captured...
Capturing all the disorder, but have the beauty all sieved.

Beauty and light engulfed by this visual turmoil
From windows to canvas, I paint but with a sombre brush.
Vicious strokes represent the feelings that roil;
Devoid of pardon; sing of pressures that crush.

This brush that I use; I've taught it all too well.
It could paint even when running on the subconscious.
It never does relent, nor never will it ever quell,
It'll keep on painting the dark side of the senses.

My canvas just lays receiving the brunt of the strokes.
It lays there quiet; accepts it all without struggle.
Like fuel to a bonfire, it provides and also it stokes;
It lays there ready to accommodate the dust and rubble.

Again the brush finishes with its last deft touches.
Producing the same painting it's painted over and over...
They will never depict meadows with the farthest of reaches
But a portrait of me; staring mournfully into forever...

Music of the street
Reverberates loudly
Out the dumpster,
From the tiny mouth
Of a screaming
Baby
Wrought in the wombs
Of filth, injustice,
Foggy rage.
Tongues ripped out,
On the floor, tastebuds that
Know the pang
of blue blood.
Rusty nails and overused syringes
***** the fingers,
Softly.
The people yell, maniacally,
Yet remain unheard.
Pain becomes evident,
Written on the faces
Of the unwholesome.
A wafting scent of
Their rotten morals,
Forgotten dreams,
Floats, as hot steam,
from the pavement.
Unable now
To decompose.
Across the road,
A pregnant woman holds
Her cigarette, which
Smells of cookies
And cream soda.
Jesus was enlightened,
Not too pious
For the poor.
Yet more than pain
Was written
On their faces,
Missing tongues, missing eyes.
Laid together
On the ****-stained mattress,
Feet to head and head
To feet.
Nonsense was confused
As words, that danced into
Non-platonic humps.
She kissed him, because
She wanted to feel
The texture of his brain.
Pick her up with
Golden hand, though
She may see you.
And the sad image of
Dollar bills
Inspires the mind,
Making it immobile.
Here, where the *******
Stands, more holy
Than the monastery.
Crawling, as they do,
Through unpainted,
Rented walls, like
Hungry little cockroaches,
Creeping for a bite.
The small infant still
Lays on metal, each
Moment crying softer
For warmth.
Though you will not
Hear her tomorrow,
As she’s carted off by
Garbage men
Who, each week, remove
The undesired
Remnants of yesterday.
Hope for sweet
Needles to sooner bring her
A different relief.
Life is so simple
When struggles
Are never-ending.
Mi amor pequeña,
no llores más. El fin está cerca,
aunque no entiende
mis palabras.
Though the buildings
Surrender with
Decay and the sun decides
He doesn’t want
To keep on caring
The music still plays mournfully,
And only the baby can hear.

Indefinite black pervades the air,
a darkened sun casts no shine
luminous black, like concrete surrounds you,
light is absent, Cimmerian shade is all.

Sonorous, sullied, sooty black cloaks all.
Shimmering, in the corner is a jet black,
obsidian hard sparkle, it's just a puddle.
A puddle made to sparkle in the street light.

A joyless sight in the darkness of a Stygian night.
Indistinct figures rush by, oblivious to the sparkling puddle.
Somber souls,mournfully groping homeward in the false electric light.
Home to a comfortless home, having failed to see the sparkle in the dark.

On the mangrove bank of the tidal river
lie embedded the mollusks,
they appear mournfully motionless,
deceiving you to believe
they’re too passive to be alive,
are just displays of dead shells
in their muddy graveyard,
though the truth is
they are mystic monks
silently enduring their estuarine transience,
bidding in meditation the time
the return tides carry them to their marine abode.

Turkish Poetry Translations

Attilâ İlhan (1925-2005) was a Turkish poet, translator, novelist, screenwriter, editor, journalist, essayist, reviewer, socialist and intellectual.

Ben Sana Mecburum: “You are indispensable”
by Attila Ilhan
translation by Nurgül Yayman and Michael R. Burch

You are indispensable; how can you not know
that you’re like nails riveting my brain?
I see your eyes as ever-expanding dimensions.
You are indispensable; how can you not know
that I burn within, at the thought of you?

Trees prepare themselves for autumn;
can this city be our lost Istanbul?
Now clouds disintegrate in the darkness
as the street lights flicker
and the streets reek with rain.
You are indispensable, and yet you are absent ...

Love sometimes seems akin to terror:
a man tires suddenly at nightfall,
of living enslaved to the razor at his neck.
Sometimes he wrings his hands,
expunging other lives from his existence.
Sometimes whichever door he knocks
echoes back only heartache.

A screechy phonograph is playing in Fatih ...
a song about some Friday long ago.
I stop to listen from a vacant corner,
longing to bring you an untouched sky,
but time disintegrates in my hands.
Whatever I do, wherever I go,
you are indispensable, and yet you are absent ...

Are you the blue child of June?
Ah, no one knows you―no one knows!
Your deserted eyes are like distant freighters ...

Perhaps you are boarding in Yesilköy?
Are you drenched there, shivering with the rain
that leaves you blind, beset, broken,
with wind-disheveled hair?

Whenever I think of life
seated at the wolves’ table,
shameless, yet without soiling our hands ...
Yes, whenever I think of life,
I begin with your name, defying the silence,
and your secret tides surge within me
making this voyage inevitable.
You are indispensable; how can you not know?



Fragments
by Attila Ilhan
loose English translations/interpretations by Michael R. Burch



The night is a cloudy-feathered owl,
its quills like fine-spun glass.

It gazes out the window,
perched on my right shoulder,
its wings outspread and huge.

If the encroaching darkness seems devastating at first glance,
the sovereign of everything,
its reach infinite ...

Still somewhere within a kernel of light glows secretly
creating an enlightened forest of dialectics.



In September’s waning days one thinks wanly of the arrival of fall
like a ship appearing on the horizon with untrimmed, tattered sails;
for some unfathomable reason fall is the time to consider one’s own demise―
the body smothered by yellowed leaves like a corpse rotting in a ghoulish photograph ...



Bitter words
crack like whips
snapping across prison yards ...

Then there are words like pomegranate trees in bloom,
words like the sun igniting the sea beyond mountainous horizons,
flashing like mysterious knives ...

Such words are the burning roses of an infinite imagination;
they are born and they die with the flutterings of butterflies;
we carry those words in our hearts like pregnant shotguns until the day we expire,
martyred for the words we were prepared to die for ...



What I wrote and what you understood? Curious and curiouser!


Mehmet Akif Ersoy: Modern English Translations of Turkish Poems

Mehmet Âkif Ersoy (1873-1936) was a Turkish poet, author, writer, academic, member of parliament, and the composer of the Turkish National Anthem.



Snapshot
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

Earth’s least trace of life cannot be erased;
even when you lie underground, it encompasses you.
So, those of you who anticipate the shadows,
how long will the darkness remember you?



Zulmü Alkislayamam
"I Can’t Applaud Tyranny"
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

I can't condone cruelty; I will never applaud the oppressor;
Yet I can't renounce the past for the sake of deluded newcomers.
When someone curses my ancestors, I want to strangle them,
Even if you don’t.
But while I harbor my elders,
I refuse to praise their injustices.
Above all, I will never glorify evil, by calling injustice “justice.”
From the day of my birth, I've loved freedom;
The golden tulip never deceived me.
If I am nonviolent, does that make me a docile sheep?
The blade may slice, but my neck resists!
When I see someone else's wound, I suffer a great hardship;
To end it, I'll be whipped, I'll be beaten.
I can't say, “Never mind, just forget it!” I'll mind,
I'll crush, I'll be crushed, I'll uphold justice.
I'm the foe of the oppressor, the friend of the oppressed.
What the hell do you mean, with your backwardness?



Çanakkale Sehitlerine
"For the Çanakkale Martyrs"
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

Was there ever anything like the Bosphorus war?―
The earth’s mightiest armies pressing Marmara,
Forcing entry between her mountain passes
To a triangle of land besieged by countless vessels.
Oh, what dishonorable assemblages!
Who are these Europeans, come as rapists?
Who, these braying hyenas, released from their reeking cages?
Why do the Old World, the New World, and all the nations of men
now storm her beaches? Is it Armageddon? Truly, the whole world rages!
Seven nations marching in unison!
Australia goose-stepping with Canada!
Different faces, languages, skin tones!
Everything so different, but the mindless bludgeons!
Some warriors Hindu, some African, some nameless, unknown!
This disgraceful invasion, baser than the Black Death!
Ah, the 20th century, so noble in its own estimation,
But all its favored ones nothing but a parade of worthless wretches!
For months now Turkish soldiers have been vomited up
Like stomachs’ retched contents regarded with shame.
If the masks had not been torn away, the faces would still be admired,
But the ***** called civilization is far from blameless.
Now the ****** demand the destruction of the doomed
And thus bring destruction down on their own heads.
Lightning severs horizons!
Earthquakes regurgitate the bodies of the dead!
Bombs’ thunderbolts explode brains,
rupture the ******* of brave soldiers.
Underground tunnels writhe like hell
Full of the bodies of burn victims.
The sky rains down death, the earth swallows the living.
A terrible blizzard heaves men violently into the air.
Heads, eyes, torsos, legs, arms, chins, fingers, hands, feet ...
Body parts rain down everywhere.
Coward hands encased in armor callously scatter
Floods of thunderbolts, torrents of fire.
Men’s chests gape open,
Beneath the high, circling vulture-like packs of the air.
Cannonballs fly as frequently as bullets
Yet the heroic army laughs at the hail.
Who needs steel fortresses? Who fears the enemy?
How can the shield of faith not prevail?
What power can make religious men bow down to their oppressors
When their stronghold is established by God?
The mountains and the rocks are the bodies of martyrs! ...
For the sake of a crescent, oh God, many suns set, undone!
Dear soldier, who fell for the sake of this land,
How great you are, your blood saves the Muslims!
Only the lions of Bedr rival your glory!
Who then can dig the grave wide enough to hold you. and your story?
If we try to consign you to history, you will not fit!
No book can contain the eras you shook!
Only eternities can encompass you! ...
Oh martyr, son of the martyr, do not ask me about the grave:
The prophet awaits you now, his arms flung wide open, to save!



Sessiz Gemi (“Silent Ship”)

by Yahya Kemal Beyatli
loose translation by Nurgül Yayman and Michael R. Burch

for the refugees

The time to weigh anchor has come;
a ship departing harbor slips quietly out into the unknown,
cruising noiselessly, its occupants already ghosts.
No flourished handkerchiefs acknowledge their departure;
the landlocked mourners stand nurturing their grief,
scanning the bleak horizon, their eyes blurring ...
Poor souls! Desperate hearts! But this is hardly the last ship departing!
There is always more pain to unload in this sorrowful life!
The hesitations of lovers and their belovèds are futile,
for they cannot know where the vanished are bound.
Many hopes must be quenched by the distant waves,
since years must pass, and no one returns from this journey.



Full Moon
by Yahya Kemal Beyatli
loose translation by Nurgül Yayman and Michael R. Burch

You are so lovely
the full moon just might
delight
in your rising,
as curious
and bright,
to vanquish night.

But what can a mortal man do,
dear,
but hope?
I’ll ponder your mysteries
and (hmmmm) try to
cope.

We both know
you have every right to say no.



The Music of the Snow
by Yahya Kemal Beyatli
loose translation/interpretation by Michael R. Burch

This melody of a night lasting longer than a thousand years!
This music of the snow supposed to last for thousand years!

Sorrowful as the prayers of a secluded monastery,
It rises from a choir of a hundred voices!

As the *****’s harmonies resound profoundly,
I share the sufferings of Slavic grief.

My mind drifts far from this city, this era,
To the old records of Tanburi Cemil Bey.

Now I’m suddenly overjoyed as once again I hear,
With the ears of my heart, the purest sounds of Istanbul!

Thoughts of the snow and darkness depart me;
I keep them at bay all night with my dreams!

Translator’s notes: “Slavic grief” because Beyatli wrote this poem while in Warsaw, serving as Turkey’s ambassador to Poland, in 1927. Tanburi Cemil Bey was a Turkish composer.



Thinking of you
by Nazim Hikmet
loose translation/interpretation by Michael R. Burch

Thinking of you is beautiful, hopeful―
like listening to the most beautiful songs
sung by the earth's most beautiful voices.
But hope is insufficient for me now;
I don't want to listen to songs.
I want to sing love into birth.



I love you
by Nazim Hikmet
loose translation/interpretation by Michael R. Burch

I love you―
like dipping bread into salt and eating;
like waking at night with a raging fever
and thirstily lapping up water, my mouth to the silver tap;
like unwrapping the unwieldy box the postman delivers,
unable to guess what's inside,
feeling fluttery, happy, doubtful.
I love you―
like flying over the sea the first time
as something stirs within me
while the sky softly darkens over Istanbul.
I love you―
as men thank God gratefully for life.



Sparrow
by Nazim Hikmet
loose translation/interpretation by Michael R. Burch

Little sparrow,
perched on the clothesline,
do you regard me with pity?
Even so, I will watch you
soar away through the white spring leaves.



The Divan of the Lover

the oldest extant Turkish poem
loose translation/interpretation by Michael R. Burch

All the universe as one great sign is shown:
God revealed in his creative acts unknown.
Who sees or understands them, jinn or men?
Such works lie far beyond mere mortals’ ken.
Nor can man’s mind or reason reach that strand,
Nor mortal tongue name Him who rules that land.
Since He chose nothingness with life to vest,
who dares to trouble God with worms’ behests?
For eighteen thousand worlds, lain end to end,
Do not with Him one atom's worth transcend!



Fragment
by Prince Jem
loose translation/interpretation by Michael R. Burch

Behold! The torrent, dashing against the rocks, flails wildly.
The entire vast realm of Space and Being oppresses my soul idly.
Through bitterness of grief and woe the sky has rent its morning robe.
Look! See how in its eastern palace, the sun is a ****** globe!
The clouds of heaven rain bright tears on the distant mountain peaks.
Oh, hear how the deeply wounded thunder slowly, mournfully speaks!



Keywords/Tags: Turkish, poetry, translations, Turkey, Attila Ilhan, Ersoy, Beyatli, Nazim Hikmet, Prince Jem, Divan, Istanbul, mrbtran

Published as the collection "Turkish Poetry Translations"

1

A great year and place;
A harsh, discordant, natal scream out-sounding, to touch the mother’s heart
closer than any yet.

I walk’d the shores of my Eastern Sea,
Heard over the waves the little voice,
Saw the divine infant, where she woke, mournfully wailing, amid the roar
of cannon, curses, shouts, crash of falling buildings;
Was not so sick from the blood in the gutters running—nor from
the single corpses, nor those in heaps, nor those borne away in the
tumbrils;
Was not so desperate at the battues of death—was not so shock’d
at the repeated fusillades of the guns.

2

Pale, silent, stern, what could I say to that long-accrued retribution?
Could I wish humanity different?
Could I wish the people made of wood and stone?
Or that there be no justice in destiny or time?

3

O Liberty! O mate for me!
Here too the blaze, the grape-shot and the axe, in reserve, to fetch them out
in case of need;
Here too, though long represt, can never be destroy’d;
Here too could rise at last, murdering and extatic;
Here too demanding full arrears of vengeance.

4

Hence I sign this salute over the sea,
And I do not deny that terrible red birth and baptism,
But remember the little voice that I heard wailing—and wait with perfect trust,
no matter how long;
And from to-day, sad and cogent, I maintain the bequeath’d cause, as for all lands,
And I send these words to Paris with my love,
And I guess some chansonniers there will understand them,
For I guess there is latent music yet in France—floods of it;
O I hear already the bustle of instruments—they will soon be drowning
all that would interrupt them;
O I think the east wind brings a triumphal and free march,
It reaches hither—it swells me to joyful madness,
I will run transpose it in words, to justify it,
I will yet sing a song for you, MA FEMME.

The shell of objects inwardly consumed
Will stand, till some convulsive wind awakes;
Such sense hath Fire to waste the heart of things,
Nature, such love to hold the form she makes.
Thus, wasted joys will show their early bloom,
Yet crumble at the breath of a caress;
The golden fruitage hides the scathèd bough,
****** it, thou scatterest wide its emptiness.
For pleasure bidden, I went forth last night
To where, thick hung, the festal torches gleamed;
Here were the flowers, the music, as of old,
Almost the very olden time it seemed.
For one with cheek unfaded, (though he brings
My buried brothers to me, in his look,)
Said, 'Will you dance?' At the accustomed words
I gave my hand, the old position took.
Sound, gladsome measure! at whose bidding once
I felt the flush of pleasure to my brow,
While my soul shook the burthen of the flesh,
And in its young pride said, 'Lie lightly thou!'

Then, like a gallant swimmer, flinging high
My breast against the golden waves of sound,
I rode the madd'ning tumult of the dance,
Mocking fatigue, that never could be found.

Chide not,--it was not vanity, nor sense,
(The brutish scorn such vaporous delight,)
But Nature, cadencing her joy of strength
To the harmonious limits of her right.

She gave her impulse to the dancing Hours,
To winds that sweep, to stars that noiseless turn;
She marked the measure rapid hearts must keep
Devised each pace that glancing feet should learn.

And sure, that prodigal o'erflow of life,
Unvow'd as yet to family or state,
Sweet sounds, white garments, flowery coronals
Make holy, in the pageant of our fate.

Sound, measure! but to stir my heart no more--
For, as I moved to join the dizzy race,
My youth fell from me; all its blooms were gone,
And others showed them, smiling, in my face.

Faintly I met the shock of circling forms
Linked each to other, Fashion's galley-slaves,
Dream-wondering, like an unaccustomed ghost
That starts, surprised, to stumble over graves.

For graves were 'neath my feet, whose placid masks
Smiled out upon my folly mournfully,
While all the host of the departed said,
'Tread lightly--thou art ashes, even as we.'

I

Solemnly, mournfully,
  Dealing its dole,
The Curfew Bell
  Is beginning to toll.

Cover the embers,
  Aand put out the light;
Toil comes with morning,
  And rest with the night.

Dark grow the windows,
  And quenched is the fire;
Sound fades into silence,—
  All footsteps retire.

No voice in the chambers,
  No sound in the hall!
Sleep and oblivion
  Reign over all!

II

The book is completed,
  And closed, like the day;
And the hand that has written it
  Lays it away.

Dim grow its fancies;
  Forgotten they lie;
Like coals in the ashes,
  They darken and die.

Song sinks into silence,
  The story is told,
The windows are darkened,
  The hearth-stone is cold.

Darker and darker
  The black shadows fall,
Sleep and oblivion
  Reign over all.

You stare up at me
As I type, type, type away
With those big eyes of yours
Pleading for cuddles
And scratches
And kisses galore
But I can't I say
I've got work to do
You reach out a paw
Mournfully whining
I give in, tempting fate
For your soft fur
And wet licks across my palm
I giggle
As your tail wags
At a hundred miles per second
And leave my homework
For your joyful personality
Instead

i was going to write a piece using the word we entirely too often. talk about the slip of your palms down my cheeks, the floaty high after you don't sleep for forty-eight hours and then skip gallantly through the albertson's parking lot. i was going to write this immense prose with weaving metaphors and phrases that begged to be spoken. a piece with a moral, about a boy and a girl, or maybe two girls, or an animal and the voice that haunts it. about a willow bride with gauze wrapped firmly around a puncture wound. describe the inner monologue of a park bench. but maybe not, because that would be deleted.

i could write you a letter, because you know who you are. or the empty waterbottle that is staring mournfully at me, or burlap sacks, or the words that i speak of constantly but never speak.

There’s a funeral across the road today.

Despite the freezing temperatures and impending storm, the car park is full. Friends and family fill the church to say a last goodbye to their lost loved one. At the end, the church bells toll, mournfully. The honour guard of veterans file out and line up behind the hearse, saluting as the casket is brought out.

It never ceases to make me think how that little wooden box is smaller than you would expect it to be. It never seems big enough.

I always look at the coffins and think, “I’m sure he was taller than that.”

But the real discrepancy is not in the stature of the man compared to the size of the coffin, but of the life of the one being carried within it.

Does it really come down to this?

One man’s lifetime of love and adventures, more than most judging by the honour guard, the average age and the number of mourners. Does it all it come down to wooden box that seems too small?

But then I realise something I hadn’t thought of until I sat down to write this.

The measure of this man, the measure of his life, isn’t to be found within that box or even reflected by its size. His life can be measured by those that came to say goodbye. By the sorrow on their faces for the loss of their friend. By the honour guard, standing proud and straight and stronger than their years, to escort their comrade from this world to the next.

And as the snow begins to fall, I can’t help but think, who will be there to measure my life for all to see?

I saw myself sitting on my knees, hunched over, clinging to a pile of rugs beneath me. Precisely three. Each rug was much like the other; slightly different in shape, but all of the same tone and texture. 


One by one, each was pulled away from underneath me…


My dad came and stole the first rug. I hardly expected it to have been snatched away. In my innocence, I thought I could somehow seek comfort there. Somehow I thought, I could feel it’s warmth for the remainder of my life not knowing much of the past, nor the future. With its displacement soon arose great fear. My mind started to alarmingly ring. What if all my other rugs are taken too? What if I have nothing soft left to lie on anymore? And what if all I feel is the bare emptiness of the ground below me? An emptiness, in which I am nothing? Inherently nothing…?

I clung to each rug that followed in dire fear of unanswered questions. In dire fear of all unknown. 


A few years thereafter, another rug I had grasped was snatched from underneath my base by T–. He did so in such an insidious way, I hardly expected it to have happened either. He had such invisibly cold hands that he told me were warm – a series of lies masquerading as truth. When T—’s rug went missing, I fell in much the same way as when my first rug was taken. Except this time, I fell to a position I had already felt so keenly, and so now, fell much more intensely. Doubly hunched over and in pain. A feeling of dejection and despair so intense from having already carried a previous stain; a previous memory. 


The next rug I encountered, I thought to be real. Actually, I thought it to be the most genuine I had ever encountered in the universe. It had seemingly inexhaustible warmth. I could hardly help but cling in ecstasy, though also in hidden agony, in cognizance of how transient all my other rugs had been. Finally, perhaps I had a home for me to lay my head upon? A home which would grant me stable rest? But here too, I was mistaken. Like each rug that came before, this rug was indeed transitory and full of uncertainty. Perhaps more soft, perhaps more real, perhaps more warm and embracing – but he too had to go. After all, he was another rug I had clung to; an attachment like all the rest.

–

When this particular rug was pulled, I was so terrified of soon touching the ground below me, that my body contracted in a frenzied, desperate agony. I tried so hard to make whatever warmth remain; strenuously clenching with all my might to staple it down in place. However, as hard as I did pull to hang on, an unknown force pulled away at a greater intensity. I found myself in a tug of war I could not win and sooner or later, the weight of my frustrations gave in. Mournfully, I failed to control its inevitable movement. My last remaining rug, yes, he too, went away.

And so I had nothing left beneath me… 


The cold floor exposed bare was the hard reality with which existence presented me. In the past, I had tried to search for other rugs to hide in. I thought to myself that other rugs would do, that perhaps I just needed a different few. I clung to some alternate variations; some made of others’ skin; half-hearted relations or validations, some of money, others of drugs or work or pastimes and pleasure. Despite all my attempts however, I could not evade the emptiness of the floor beneath me. I had felt it repeatedly with my own body. Its coldness had visibly scraped and scarred me. And I knew; each rug I had clung to was a cover-up so transient. Despite their initial warmth; each stood porous now – exposing the cold, and digging holes in any of my attempts not to feel what lied beneath.

Upon these realisations, the floor which held me and my previous rugs soon started collapsing. With its fall, I was taken into an empty, dark abyss; seemingly endless and all-enclosing. Seemingly perpetual.

Mid-fall I was so catastrophically uncertain, I wanted to close my eyes and no longer wake. I berated myself for continuing to be conscious and pleaded for existence to **** me in my sleep. How dare I still be alive while falling in such suffering and sadness, I lamented.


I lacked the courage to feel the thud of my final landing and its location.

From past experience, I was almost certain that what lied beneath was infinite pain; dark abandonment of course, for miles without end.


–

To be continued (as I learn how)…

And he delivered them into the hands of the Gibeonites, and they
hanged them in the hill before the Lord; and they fell all seven
together, and were put to death in the days of the harvest, in the
first days, in the beginning of barley-harvest.

And Rizpah, the daughter of Aiah, took sackcloth, and spread it for
her upon the rock, from the beginning of harvest until the water
dropped upon them out of heaven, and suffered neither the birds of the
air to rest upon them by day, nor the beasts of the field by night.

2 SAMUEL, xxi. 10.


  Hear what the desolate Rizpah said,
As on Gibeah's rocks she watched the dead.
The sons of Michal before her lay,
And her own fair children, dearer than they:
By a death of shame they all had died,
And were stretched on the bare rock, side by side.
And Rizpah, once the loveliest of all
That bloomed and smiled in the court of Saul,
All wasted with watching and famine now,
And scorched by the sun her haggard brow,
Sat mournfully guarding their corpses there,
And murmured a strange and solemn air;
The low, heart-broken, and wailing strain
Of a mother that mourns her children slain:

  "I have made the crags my home, and spread
On their desert backs my sackcloth bed;
I have eaten the bitter herb of the rocks,
And drunk the midnight dew in my locks;
I have wept till I could not weep, and the pain
Of my burning eyeballs went to my brain.
Seven blackened corpses before me lie,
In the blaze of the sun and the winds of the sky.
I have watched them through the burning day,
And driven the vulture and raven away;
And the cormorant wheeled in circles round,
Yet feared to alight on the guarded ground.
And when the shadows of twilight came,
I have seen the hyena's eyes of flame,
And heard at my side his stealthy tread,
But aye at my shout the savage fled:
And I threw the lighted brand to fright
The jackal and wolf that yelled in the night.

  "Ye were foully murdered, my hapless sons,
By the hands of wicked and cruel ones;
Ye fell, in your fresh and blooming prime,
All innocent, for your father's crime.
He sinned--but he paid the price of his guilt
When his blood by a nameless hand was spilt;
When he strove with the heathen host in vain,
And fell with the flower of his people slain,
And the sceptre his children's hands should sway
From his injured lineage passed away.

  "But I hoped that the cottage roof would be
A safe retreat for my sons and me;
And that while they ripened to manhood fast,
They should wean my thoughts from the woes of the past.
And my ***** swelled with a mother's pride,
As they stood in their beauty and strength by my side,
Tall like their sire, with the princely grace
Of his stately form, and the bloom of his face.

  "Oh, what an hour for a mother's heart,
When the pitiless ruffians tore us apart!
When I clasped their knees and wept and prayed,
And struggled and shrieked to Heaven for aid,
And clung to my sons with desperate strength,
Till the murderers loosed my hold at length,
And bore me breathless and faint aside,
In their iron arms, while my children died.
They died--and the mother that gave them birth
Is forbid to cover their bones with earth.

  "The barley-harvest was nodding white,
When my children died on the rocky height,
And the reapers were singing on hill and plain,
When I came to my task of sorrow and pain.
But now the season of rain is nigh,
The sun is dim in the thickening sky,
And the clouds in sullen darkness rest
Where he hides his light at the doors of the west.
I hear the howl of the wind that brings
The long drear storm on its heavy wings;
But the howling wind and the driving rain
Will beat on my houseless head in vain:
I shall stay, from my murdered sons to scare
The beasts of the desert, and fowls of air."

Maybe I'll clean up my act, just to be good.  It did give Shaun the chance to look deeply and most mournfully (nicely empathetic) into my eyes once upon a time ages ago...



(sonnet #MMMMMCMLXXIX)


I'll wear my heart upon this sleeve in pale
Excuse as oft as suits my fancy, whence
Ye all kin chide to no avail from hence,
Whiles I rebuff aught notions in betrayl
Of better sense, cuz nothing here is bail.
Or if some fragile thought seems vague defense,
Tis vanquished ere I've managed to gain thence
A foothold, and I'll be thus stripped and frail.
Ah, love.  Do thou but tempt me with the poor
Suggestion, ye kin laugh 'til ye are blue,
I'm prey, tears dried until tis proven fer
Whatever that twas aye, a jest.  I'll rue
Me folly, cherry-cheeked, and pray whiles your
Much wiser sense erm, coughs.  And yes, I knew.

20Oct16

You're in love with a rotting Ginsberg
The desert's tanks are overturned
and your motifs are stale

Fooled into the belief that anyone cares
That clumsy wordplay is acceptable
or that your name carries weight

It's the same piece, week after week
With drugs in your system
and stoic aromanticism

How do you expect to write a novel
When ideas melt in tablespoons
or are blown in dusty clubs

You sit and watch rain fall in archaic gravel pits
By a window, long overdue for cleaning
and Jandek plays mournfully

Watch as that jaundice coloured sky opens
When the winds overturn dustbins
and form trash streams, ironic

Another languid day you waste on cannabis and ennui
Whilst the world burns; it's people raving
and the war is raging

His face trembles in my hands, melting into a mirage of colors, dripping to the ground. The picture falls face down on my bed, tattered and ripped along the edges, crumpled and water stained. I sit next to him, laying on my back. I stare off at the empty void above me. My lights are off. The doors are locked. Windows cracked just enough to let a lightless breeze in. The air is crisp with snow, and I know the carpet is getting wet but I don’t care. My fingers graze cold metal and I grip it tightly. Why did he have to go? Why couldn’t he just stay and fight like I did for him? Was our life together not enough? I twist the ring on my finger absently, realizing that it will never have the second, matching ring on it. I get up with shaking legs and open the top drawer of our dresser. The smell of him hits me like a ton of bricks, right in the face. Holding my breath, I reach blindly around, trying to ignore the feel of his shirts. I find the little velvet box with one ring from a set of two in it, remembering the last time I opened this drawer.

The dress's collar is too tight against my throat and I pull at the itchy lace right before the music starts. The steady rhythm is the only thing allowing me to walk. I march to the beat, lifeless, like a zombie. He's waiting for me at the alter and I hurry, wanting to feel him again. His eyes are closed. I wish he'd look at me, tell me how beautiful I am, hell, even cry a little. But no, he just keeps that dead look on his face. My heart squeezes painfully, and the wrong kind of tears run down my cheeks. The priest looks at me mournfully when I finally get there. I wrap my fingers around my soon to be husband's cold, stiff hand as I look out at the crowd one last time, a solemn sea of black. I turn my attention to him now, never taking my eyes off his face as I say my vows. I give a gentle squeeze in recognition of the response he can't give, and slide the ring on his swollen finger, then mine on my own. "I now pronounce you husband and wife. You may now kiss the... groom." The priest has a hard time keeping the revoltion out of his voice. Ignoring it, I plant a soft, loving kiss on my husband's pale blue lips. He no longer smells like he used to. The priest allows me a moment before he begins unlocking the wheels on the coffin. I hold my husband's hand as we make our way down the aisle. This is not how I imagined this day two years ago. The rest flys by; lowering him into the ground, the prayers, and I don’t even know if  I'm crying. I can feel nothing. I am home, except I'm not because home is 10 miles away under six feet of dirt. I can't stop staring at the ring on my finger. It is consuming me in thoughts I never wanted to think. I rip it off and throw it in the top drawer- his drawer, so that I'm not tempted to go back for it. The thought of taking my other ring off passes through my mind, but it is so unbearable I cannot entertain it. I've gotten so used to it, feeling the absence would only remind me of what else I have lost, so I keep it and then collapse to the ground, a bottle of xanax in my hand. I swallow three and wash it down with the half empty bottle of wine next to the bed. I fall asleep with the bottle in one hand and the glass in the other.

The memories shake me, and I regret ever taking the **** ring off. Ceremoniously, I slide it back on, placing his picture on the pillow on his side of the bed and lay next to him. The coldness of it bites into my palm and makes me tremble harder. I feel it brush against my temple and suddenly, I am doing this. Fear leaves me. Now it's just me and cold, hard determination. I breathe deeply for the last time. My finger pulls the trigger back, and I am bathed in a newer, more permanent darkness.

I don't have to miss him anymore.

my soul breaths.

it rises and falls as the
red tides do
on the western shore.

my soul breaths,
just as the leaves
of the deciduous must
redden and fall.

my soul breaths,
the songs of the lonely
mournfully
whispered over the piano.

my soul breaths.
unique.
inevitable.
longing.
universal.

Shortly before my father died, he whispered to me longingly: “Daughter, treasure this, because it authenticates your heritage to our kinsfolk!”  When I accepted this object, I discovered it was a stone with inscriptions I did not understand and delicate, mysterious lines.  He continued, “It is a keepsake from our great-great grandfather and can ultimately be traced back to Bilal, the Holy Prophet’s first muezzin, and his father, who was the king of Ethiopia.”  I accepted this small heirloom, which I carried everywhere with me in my handbag.  The person who shared my life under the title of “husband,” however, threw it down the drain at our house, thinking—as he told me—that it was a fetish.  From then till now I have endured successive exiles.  So I wrote this poem to explain the secret of my skin color—given that I am a native of al-Najaf, Iraq—spiritually, mournfully, and poetically!

My father said: “You were born quite unexpectedly,
Remote from Aksum, like a beauty spot for al-Najaf—‘the ******’s Cheek.’
Your one obsession has been writing, but
The sea will run dry before you arrive at the meaning of meaning.”
He affirmed: “During a pressing famine,
I devoted myself to watching over every breath you took.  
I would ****** my hand through the film of hope
To caress your spirit with bread.
You would burp, and
I would delightedly endure my hunger and fall asleep.
I could only find the strength to fib to your face and say I was happy.
I would feel devastated when you fidgeted,
Because you would always head toward me,
And I felt helpless.”
Aksum!  They say you’re far away!
“No, it’s closer to you than your exile.”
“And now?”
“Don’t talk about ‘now’ while we’re living it.”
“The future depresses me.  How can I proceed?”
How can the ear be deaf to the wailing from the streets?
Aksum, you have colored my skin.  Al-Najaf has freshened my spirit.
She knows and does the opposite.
She knows that I inter only dirt above me, and
That I deny everything except spelling out words:
M: Mother, who went walking down the alley of no return.
F: Father, who hastened after her.
B: Brother, who never earned that title.
S: Sister who buttoned her breast to a loving tear, no matter how fake.
………………….There’s no one I care about!
The trees tremble some times, and we don’t ask why.
My life surrounds me the way prison walls surround suspects;
I am the victim of a building erected by a frightened man.
With its talons time scratches its tales on me,
And I transform them into a silent song
Or, occasionally, a psalm of sobs.
Father, do you believe that--the roots have been torn asunder?
Fantasies began to carry me from al-Najaf to Afyon
And from Afyon to nonexistence,
Yellow teeth stretching all the way.
“History’s not anything you’ve made,”
One American neighbor tells another.
He’s surprised to see me.
“Who are you?” he asks when he doesn’t believe his eyes.
Would he understand the truth of my origin if I told him I was born in al-Najaf
Or that Aksum has veiled my face?
I have walked and walked and walked.
I’m exhausted, Father.
Is your child mine?
Show yourself and return me to the purity of your *****.
Allow me to occupy the seventh vertebra of fantasy!
Don’t eject me into a time I don’t fit.
I need you.
I ask you:
Has my Lord forbidden me to be happy?
Am I forbidden to preserve
What I have left
And sit some warm evening
Averting my ear from a voice that doesn’t interest me?
Answer me, Father!
Or change the face of our garden
So it changes . . . .to what they believe!
Translated by William Hutchins

Sweet cherry wood
Clean strings
The bow was so light
My soul was joyful
I could feel the passion welling
Inside me
I lay the bow against the string
And draw out a long sighful note
And then I jump into a series of slurrs
Rocking to the sound
I'm being swept away
Enveloped on the arms of the sound
So sweet and melodic
I was being drowned in the music
My arm was pumping the strings
Drawing every inch of beauty from it
I close my eyes and lose myself
To the song
To the beat
My heart beating fast
Racing with the strokes of my bow
Until I come to a crescendo
And then end my song mournfully