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Nigel Morgan Dec 2013
A Tale for the Mid-Winter Season after the Mural by Carl Larrson

On the shortest day I wake before our maids from the surrounding farms have converged on Sundborn. Greta lives with us so she will be asleep in that deep slumber only girls of her age seem to own. Her tiny room has barely more than a bed and a chest for her clothes. There is my first painting of her on the wall, little more a sketch, but she was entranced, at seeing herself so. To the household she is a maid who looks after me and my studio,  though she is a literate, intelligent girl, city-bred from Gamla Stan but from a poor home, a widowed mother, her late father a drunkard.  These were my roots, my beginning, exactly. But her eyes already see a world beyond Sundborn. She covets postcards from my distant friends: in Paris, London, Jean in South America, and will arrange them on my writing desk, sometimes take them to her room at night to dream in the candlelight. I think this summer I shall paint her, at my desk, reading my cards, or perhaps writing her own. The window will be open and a morning breeze will make the flowers on the desk tremble.

Karin sleeps too, a desperate sleep born of too much work and thought and interruption. These days before Christmas put a strain on her usually calm disposition. The responsibilities of our home, our life, the constant visitors, they weigh upon her, and dispel her private time. Time in her studio seems impossible. I often catch her poised to disappear from a family coming-together. She is here, and then gone, as if by magic. With the older children home from their distant schools, and Suzanne arrived from England just yesterday morning, they all cannot do without lengthy conferences. They know better than disturb me. Why do you think there is a window set into my studio door? So, if I am at my easel there should be no knock to disturb. There is another reason, but that is between Karin and I.

This was once a summer-only house, but over the years we have made it our whole-year home. There was much attention given to making it snug and warm. My architect replaced all the windows and all the doors and there is this straw insulation between the walls. Now, as I open the curtains around my bed, I can see my breath float out into the cool air. When, later, I descend to my studio, the stove, damped down against the night, when opened and raddled will soon warm the space. I shall draw back the heavy drapes and open the wooden shutters onto the dark land outside. Only then I will stand before my current painting: *Brita and the Sleigh
.

Current!? I have been working on this painting intermittently for five years, and Brita is no longer the Brita of this picture, though I remember her then as yesterday. It is a picture of a winter journey for a six-year-old, only that journey is just across the yard to the washhouse. Snow, frost, birds gathered in the leafless trees, a sun dog in the sky, Brita pushing her empty sledge, wearing fur boots, Lisbeth’s old coat, and that black knitted hat made by old Anna. It is the nearest I have come to suggesting the outer landscape of this place. I bring it out every year at this time so I can check the light and the shadows against what I see now, not what I remember seeing then. But there will be a more pressing concern for me today, this shortest day.

Since my first thoughts for the final mural in my cycle for the Nationalmuseum I have always put this day aside, whatever I might be doing, wherever I may be. I pull out my first sketches, that book of imaginary tableaux filled in a day and a night in my tiny garden studio in Grez, thinking of home, of snow, the mid-winter, feeling the extraordinary power and shake of Adam of Bremen’s description of 10th C pre-Christian Uppsala, written to describe how barbaric and immoral were the practices and religion of the pagans, to defend the fragile position of the Christian church in Sweden at the time. But as I gaze at these rough beginnings made during those strange winter days in my rooms at the Hotel Chevilon, I feel myself that twenty-five year old discovering my artistic vision, abandoning oils for the flow and smudge of watercolour, and then, of course, Karin. We were part of the Swedish colony at Grez-sur-Loing. Karin lived with the ladies in Pension Laurent, but was every minute beside me until we found our own place, to be alone and be together, in a cupboard of a house by the river, in Marlotte.

Everyone who painted en-plein-air, writers, composers, they all flocked to Grez just south of Fontainebleau, to visit, sometimes to stay. I recall Strindberg writing to Karin after his first visit: It was as if there were no pronounced shadows, no hard lines, the air with its violet complexion is almost always misty; and I painting constantly, and against the style and medium of the time. How the French scoffed at my watercolours, but my work sold immediately in Stockholm. . . and Karin, tall, slim, Karin, my muse, my lover, my model, her boy-like figure lying naked (but for a hat) in the long grass outside my studio. We learned each other there, the technique of bodies in intimate closeness, the way of no words, the sharing of silent thoughts, together on those soft, damp winter days when our thoughts were of home, of Karin’s childhood home at Sundborn. I had no childhood thoughts I wanted to return to, but Karin, yes. That is why we are here now.

In Grez-sur-Loing, on a sullen December day, mist lying on the river, our garden dead to winter, we received a visitor, a Swedish writer and journalist travelling with a very young Italian, Mariano Fortuny, a painter living in Paris, and his mentor the Spaniard Egusquiza. There was a woman too who Karin took away, a Parisienne seamstress I think, Fortuny’s lover. Bayreuth and Wagner, Wagner, Wagner was all they could talk about. Of course Sweden has its own Nordic Mythology I ventured. But where is it? What is it? they cried, and there was laughter and more mulled wine, and then talk again of Wagner.

When the party left I realized there was something deep in my soul that had been woken by talk of the grandeur and scale of Wagner’s cocktail of German and Scandinavian myths and folk tales. For a day and night I sketched relentlessly, ransacking my memory for those old tales, drawing strong men and stalwart, flaxen-haired women in Nordic dress and ornament. But as a new day presented itself I closed my sketch book and let the matter drop until, years later, in a Stockholm bookshop I chanced upon a volume in Latin by Adam of Bremen, his Gesta Hammaburgensis Ecclesiae Pontificum, the most famous source to pagan ritual practice in Sweden. That cold winter afternoon in Grez returned to me and I felt, as I had then, something stir within me, something missing from my comfortable world of images of home and farm, family and the country life.

Back in Sundborn this little volume printed in the 18th C lay on my desk like a question mark without a sentence. My Latin was only sufficient to get a gist, but the gist was enough. Here was the story of the palace of Uppsala, the great centre of the pre-Christian pagan cults that brought us Odin and Freyr. I sought out our village priest Dag Sandahl, a good Lutheran but who regularly tagged Latin in his sermons. Yes, he knew the book, and from his study bookshelf brought down an even earlier copy than my own. And there and then we sat down together and read. After an hour I was impatient to be back in my studio and draw, draw these extraordinary images this text brought to life unbidden in my imagination. But I did not leave until I had persuaded Pastor Sandahl to agree to translate the Uppsala section of the Adam of Bremen’s book, and just before Christmas that year, on the day before the Shortest Day, he delivered his translation to my studio. He would not stay, but said I should read the passages about King Domalde and his sacrifice at the Winter Solstice. And so, on the day of the Winter Solstice, I did.

This people have a widely renowned sanctuary called Uppsala.

By this temple is a very large tree with extending branches. It is always green, both in winter and in summer. No one knows what kind of tree this is. There is also a spring there, where the heathens usually perform their sacrificial rites. They throw a live human being into the spring. If he does not resurface, the wishes of the people will come true.

The Temple is girdled by a chain of gold that hangs above the roof of the building and shines from afar, so that people may see it from a distance when they approach there. The sanctuary itself is situated on a plain, surrounded by mountains, so that the form a theatre.

It is not far from the town of Sigtuna. This sanctuary is completely covered with golden ornaments. There, people worship the carved idols of three gods: Thor, the most powerful of them, has his throne in the middle of the hall, on either side of him, Odin and Freyr have their seats. They have these functions: “Thor,” they say, “rules the air, he rules thunder and lightning, wind and rain, good weather and harvests. The other, Odin, he who rages, he rules the war and give courage to people in their battle against enemies. The third is Freyr, he offers to mortals lust and peace and happiness.” And his image they make with a very large phallus. Odin they present armed, the way we usually present Mars, while Thor with the scepter seems to resemble Jupiter. As gods they also worship some that have earlier been human. They give them immortality for the sake of their great deeds, as we may read in Vita sancti Ansgarii that they did with King Eirik.

For all these gods have particular persons who are to bring forward the sacrificial gifts of the people. If plague and famine threatens, they offer to the image of Thor, if the matter is about war, they offer to Odin, but if a wedding is to be celebrated, they offer to Freyr. And every ninth year in Uppsala a great religious ceremony is held that is common to people from all parts of Sweden.”
Snorri also relates how human sacrifice began in Uppsala, with the sacrifice of a king.

Domalde took the heritage after his father Visbur, and ruled over the land. As in his time there was great famine and distress, the Swedes made great offerings of sacrifice at Upsal. The first autumn they sacrificed oxen, but the succeeding season was not improved thereby. The following autumn they sacrificed men, but the succeeding year was rather worse. The third autumn, when the offer of sacrifices should begin, a great multitude of Swedes came to Upsal; and now the chiefs held consultations with each other, and all agreed that the times of scarcity were on account of their king Domalde, and they resolved to offer him for good seasons, and to assault and **** him, and sprinkle the stall of the gods with his blood. And they did so.


There it was, at the end of Adam of Bremen’s description of Uppsala, this description of King Domalde upon which my mural would be based. It is not difficult to imagine, or rather the event itself can be richly embroidered, as I have over the years made my painting so. Karin and I have the books of William Morris on our shelves and I see little difference between his fixation on the legends of the Arthur and the Grail. We are on the cusp here between the pagan and the Christian.  What was Christ’s Crucifixion but a self sacrifice: as God in man he could have saved himself but chose to die for Redemption’s sake. His blood was not scattered to the fields as was Domalde’s, but his body and blood remains a continuing symbol in our right of Communion.

I unroll the latest watercolour cartoon of my mural. It is almost the length of this studio. Later I will ask Greta to collect the other easels we have in the house and barn and then I shall view it properly. But for now, as it unrolls, my drama of the Winter Solstice comes alive. It begins on from the right with body of warriors, bronze shields and helmets, long shafted spears, all set against the side of Uppsala Temple and more distant frost-hoared trees. Then we see the King himself, standing on a sled hauled by temple slaves. He is naked as he removes the furs in which he has travelled, a circuit of the temple to display himself to his starving people. In the centre, back to the viewer, a priest-like figure in a red cloak, a dagger held for us to see behind his back. Facing him, in druidic white, a high priest holds above his head a gold pagan monstrance. To his left there are white cloaked players of long, straight horns, blue cloaked players of the curled horns, and guiding the shaft of the sled a grizzled shaman dressed in the skins and furs of animals. The final quarter of my one- day-to-be-a-mural unfolds to show the women of temple and palace writhing in gestures of grief and hysteria whilst their queen kneels prostate on the ground, her head to the earth, her ladies ***** behind her. Above them all stands the forever-green tree whose origin no one knows.

Greta has entered the studio in her practiced, silent way carrying coffee and rolls from the kitchen. She has seen Midvinterblot many times, but I sense her gaze of fascination, yet again, at the figure of the naked king. She remembers the model, the sailor who came to stay at Kartbacken three summers ago. He was like the harpooner Queequeg in Moby ****. A tattooed man who was to be seen swimming in Toftan Lake and walking bare-chested in our woods. A tall, well-muscled, almost silent man, whom I patiently courted to be my model for King Dolmade. I have a book of sketches of him striding purposefully through the trees, the tattooed lines on his shoulders and chest like deep cuts into his body. This striding figure I hid from the children for some time, but from Greta that was impossible. She whispered to me once that when she could not have my substantial chest against her she would imagine the sailor’s, imagine touching and following his tattooed lines. This way, she said, helped her have respite from those stirrings she would so often feel for me. My painting, she knew, had stirred her fellow maids Clara and Solveig. Surely you know this, she had said, in her resolute and direct city manner. I have to remember she is the age of my eldest, who too must hold such thoughts and feelings. Karin dislikes my sailor king and wishes I would not hide the face of his distraught queen.

Today the sunrise is at 9.0, just a half hour away, and it will set before 3.0pm. So, after this coffee I will put on my boots and fur coat, be well scarfed and hatted (as my son Pontus would say) and walk out onto my estate. I will walk east across the fields towards Spardasvvägen. The sky is already waiting for the sun, but waits without colour, hardly even a tinge of red one might expect.

I have given Greta her orders to collect every easel she can find so we can take Midvinterblot off the floor and see it in all its vivid colour and form. In February I shall begin again to persuade the Nationalmuseum to accept this work. We have a moratorium just now. I will not accept their reasoning that there is no historical premise for such a subject, that such a scene has no place in a public gallery. A suggestion has been made that the Historiska museet might house it. But I shall not think of this today.

Karin is here, her face at the studio window beckons entry. My Darling, yes, it is midwinter’s day and I am dressing to greet the solstice. I will dress, she says, to see Edgar who will be here in half an hour to discuss my designs for this new furniture. We will be lunching at noon. Know you are welcome. Suzanne is talking constantly of England, England, and of course Oxford, this place of dreaming spires and good looking boys. We touch hands and kiss. I sense the perfume of sleep, of her bed.

Outside I must walk quickly to be quite alone, quite apart from the house, in the fields, alone. It is on its way: this light that will bathe the snowed-over land and will be my promise of the year’s turn towards new life.

As I walk the drama of Midvinterblot unfolds in a confusion of noise, the weeping of women, the physical exertions of the temple slaves, the priests’ incantations, the riot of horns, and then suddenly, as I stand in this frozen field, there is silence. The sun rises. It stagge
To see images of the world of Sundborn and Carl Larrson (including Mitvinterblot) see http://www.clg.se/encarl.aspx
derelictmemory Dec 2013
They say a picture is worth a thousand words and I'm looking to make murals in your likeness
Something that would reflect how truly beautiful your soul is to me

Maybe a watercolour based painting or would pastel-coloured chalk do?

Should I focus on the brightest hues and play down darker tones?
                                                          ­           But your darker side is the part of you I love most.

Let's play with the lighting;
                                               shadows and rays make one more aware

I'd love to create a backdrop, possibly a place you feel most vulnerable and bared
                             The limitless possibilities, the mediums and the inspiration you bring me

Perhaps barring your soul is a tad too blasé?
               Let's dig deeper and find something more suitable for your mural

                                                          ­                                                                 ­        How about an impression?
                                                     ­                                                                 ­                     How I feel about you?

Oh my, that is personal...
                                                     ­   yet entirely too brilliant to ignore!

I could just go on and make a mural that much clearly expresses how I feel about you
The way you talk, the way you walk;

                                                          ­      That particular smile and glint in your eyes
                                                            ­              when something intrigues you
                                                             ­                 and you're up to no good.


Ah, the marvelous mystery I have yet to uncover that is you!
                                                            ­         But the fun is no doubt in trying to capture your essence

Ah, here I go prattling on and on about mysteries and emotions,
I'll get to work and I'll set up my drafts and display them to you...
                                                          ­                The Mural will be breathtaking.

but of course, not as fascinating as you.
Devlin Andrew Harris inspired this piece of writing with the very first line.
"They say a picture is worth a thousand words and I'm looking to make murals in your likeness"
I hope I did it justice.
lauren Jul 2016
theres a passion in existence that mere words cannot express: shaped by rhythm, rhyme, meter and cadence.
this is objectively dictated by heartbeat, pulse, senses and even breath.
life speaks tragedy and eloquence in the language of all experience.
words being the tools that should wield to craft a mural of abstract, and an assemblance of felt realities
taking in each account to form something beautiful.
this is consequently the key to understanding your purpose on this world.
you were not placed here for pure entertainment of others,
but, maybe,
as life paints out a mural for them,
you are just a  drop of color in the existing abstract of their existence.
but as i see your mural being completed
i realize i have purely limited the motion of starting over again after coloring outside the lines.
as i finish your mural your purpose will become clearer.
and as the mural finishes,
so do you.
not to be morbid
death isn't colorful,
but it can be just as beautiful.
this writing was essentially the beginning of a story i began to write. i just cannot find the patience for it.
CK Baker Dec 2016
six lanes
in a sight line
past the cedar shims
and trim tempered insert
past the washed mural
and water stained tiles

covered eyes
fight for focus
over cork strung ties
and dark distant bridges
foot crawlers on lemon pegs
teaming
under clouded halogen light  

dreamers contend
in a variation of chant
(throwing it off in a
drawl sequence)
a glimpse of the guard
and warm towel assignment
forge comforting relief
in a task filled day
Shofi Ahmed Oct 2018
It’s on everyone's eyeline
the flying clouds spill the treasure sea
raining down on this perfectly placed mural.

The Queen of Sheba tiptoes on this way
King Solomon keeps an ear on the ground
only to find seas of silent blooms already
musing dipping in the sun kissed dews
on gently tilted roses that won’t drop down
not from this picture perfect navel-high!

Velvety rose up from the ground
forever green earth is hanging low
in the dew on the rose that won’t fall.
Blossoming, eying on a acute high
evermore hopeful to scale high aspiring
to the faraway awaiting heaven’s pool.
There the spotlight won’t move  
to the north or south nor up or down until
Queen Fathima the Queen of Heaven steps on
spot on on the ‘as above so below’ *****.

There the newly resurrected earth will be primed
its minted atom’s vibration will hit out of the park
for the first time rising atop the navel high.
Perfectly wrap atom’s circle finally turns on,
the stepping stone one that has no pi decimal hole.  
Pure scientia on the door of paradise shall hang on
lo the numerically perfect Queen Fathima to step on!

God willing she will work in beauty
the most sought after perfect works of art,
the lost masterpiece not in translation
but in the pi decimal hole in earthly deep
lo the gleaning sleeping beauty peeps
trailing the role model Queen.

Fathima the first woman entering paradise  
walks the walk perfect straight numerically precise.
Like she knew back from the earth
the murals ahead hanging on the paradise wall
mathematically exact!
Mirrors of imaginations anew wonders on heaven’s way
in the murals at the golden section on the navel high.

She zoom passes the ever spinning atom's perfect span
cemented tangent at the entrance of paradise.  
Yet leaves no foot print like she never did
on sublunary earth, new ponder in the old classic eyes,
oh pi still irrational, wonder in measured navel high!
While writing this poem I had a feeling that the navel stands in the golden ratio section. Then after penning the poem when I checked I found this thesis: The Math Behind the Beauty argues that "Leonardo da Vinci's drawings of the human body emphasised its proportion. The ratio of the following distances is the Golden Ratio: (foot to navel) : (navel to head)".
Crystal lived alone in the cabin Ray had built for her. Ray had left long ago but she thought of him often and sometimes went to see him in the city. She was an artist and a dabbler in many fields. Her house was a kaleidoscope of stained glass windows and half finished art projects. It was built almost entirely of wood with a beautiful stairway to a loft bedroom replete with a skylight window on the stars. Set in the mouth of a valley next to a clear stream the cabin looked almost as if it had grown there.

Crystal spent most of her time on her art projects, in fact she made her living that way. She was well known for the macabre nature of her works and they sold well at the local art fairs. Most of the scenes she painted could not possibly have existed on earth. Take for example the orange sky and purple mountains of Mariners Delight or the river of blood in Cosmic Conception.

Often Crystal would meet Ray at the art shows and they would discuss his books or her latest works. It was just such an occasion that preceded the first of her dreams.

Although Crystal had often dreamt of playing in a large meadow surrounded by reflections of her art work this dream had been different. She awoke from a scene in the woods where she had been the object of a grotesque conclave of creatures almost beyond description. There had been a huge goat like creature leading a chant, "Rada nema nestos Yreba, Rada nema nestos Yreba", for a group of creatures that resembled animals. There was a black toad sitting on a rock of seemingly impossible crystalline form, while an agile spider danced on the spokes of its luminous web above her. The smell of blood, the heat of the fire, and the constant and oppressive chant, "Rada nema nestos Yreba, Rada nema nestos Yreba" with all eyes directed at her. She woke with a start, it was early morning, her bed was a tangled mess, and she was covered with sweat. She felt she could almost smell wood smoke, and somewhere in her mind she could still hear the echos of the horrible chant.

It wasn't until almost a year later that the dream repeated itself. She had just completed what she considered her greatest work, a large mural like painting called Id Conclusion. It was a matrix of human forms in contorted and deformed conditions against a backdrop of misty images of human holocaust, war machines, and atomic clouds. She had gone to bed in a storm of thoughts on human depravation and greed. The scene was the same, the spider, the goat, the half human animals, all seemed the same, except for the chant, it was different. "Rada nema nestos Yreba, Raga mantra nestos reale, Yreba Yreba Shiva kommt da." Lightening cracked and a creature appeared. He seemed a man but was built more like a large monkey. Light seemed to follow him like an aura. He was the obvious master of the conclave and all stood back at his approach.

Crystal was lying on the stone altar in the center of the glade and although not bound she was incapable of motion while held in Yreba's gaze. That this creature was Yreba was obvious since all had bowed down now and the chant had changed, "Yreba Yreba teach us to grow." Crystals eyes were glazed and her naked body shown in Yreba's light. All her past works were floating across her mind like a collage. Lost in ecstasy she responded to his aggression like a wanton beast, screaming and writhing in the flow of his energy.

She woke to find her cabin in shambles and she was lying in the center of the living room on the floor, she panicked and ran to her car, slammed it into gear, and sped off down the road.

Ray was sitting in his office at the University that morning when Crystal burst into the room. "Ray, Ray, I've had a dream, a horrible dream, it was, I was!" "Slow down Crystal! You've had a what?" said Ray. Crystal sat down in a ball of frenzy and continued.

About an hour later Crystal had finished her story. Ray spoke, "So you say this is only the second time you've had this dream. Tell me more about Yreba. Does he resemble any of your art works?" "No", she said, "He seemed a lot more like that creature you told me about that day we were discussing witchcraft. The one who was supposed to be the personification of ****** desire evoked for the *** ****** of the ancient Persians."

Ray walked to his bookshelves (he was a professor of ancient mythology and religions) and pulled out a book called Necromancer by Abdule Azerod. "As I recall" he said "that creature was also a god of fertility." He thumbed slowly through the book, "yes, here it is. What did you say this creatures name was? Yreba? Very strange that's almost exactly this Persian deities name, Youruba. It seems he was evoked every year on the vernal equinox to assure ****** reproductivity and if you think that's frightening, feature this, last night was the vernal equinox." Crystal was stunned. "Do you think there's a connection" she stammered? "Don't be silly girl, this was three thousand years ago. Why don't we drive out to your cabin and see if we can find some clues."

Twenty minutes later they were standing in Crystal's cabin. What had seemed so disorderly to Crystal in the morning was now clearly a purposeful state of order. All of her sculptures were arranged neatly on the stairs to the loft, and her pictures were arranged so as to face the spot on the floor where she had awakened. On the floor where she had lain was a large five pointed star. "What does it mean Ray?" "I think it's a pentagram" he stated. "Is anything missing?" "Not that I can see" she said. "I don't think we had better stay" he said, "Find what you need and we'll go back to my house. You can stay there until we figure it out."

Crystal never returned to the cabin. Ray sold it for her and bought her a new house in the city.

Crystal got sick a few months later. She was sitting in the doctors office now awaiting his return. "I have good news" he said. "Good news" Crystal groaned. "Yes" he said, "Your pregnant."
Aliens can make you pregnant of mind, it's the hawkowl facts.
I named my bird dog Yreba.......I'm in so much trouble!!
Oculi Jul 2022
No tomb like the present
A suffocating fact
I shan't see the crescent
A summer with no tact

There is a distinct, quiet suffering
That plagues the air every which summer
Though out there, the world is rapidly expanding
The smell of rot is the one that catches my nostril
As for what rots, I am not sure
Perhaps the trouble lies within myself
But in these days, I am slower, less responsive
And my conversations get more unhinged
With the entities in my living space
As for whether they are hallucinated
Or it's me yelling at bugs that have entered
I honestly would not be able to say

The air is thick, thicker than milky fog
And this thickness hurts the purity
Pure, white snow falls from my eyes
And cold, piercing winds from my throat
Icicles grow upon my fingertips
And my hair is made of frozen grass
I am the late autumn and early winter, I am
My stark and hailing demeanor freezes the weak
I am the very definition of an ice queen
Or at the very least I definitely pretend to be
Even though it's a charade everyone ignores

Have you ever sat in the back seat, while a parent drove?
You might even feel a bit of affection from them
So it is not so bad, not quite as impersonable
Not as horrifying as the passenger's seat
You are at risk but you are not the operative word
I am currently in the passenger's seat of my life
Have you ever felt similarly? Like you lost control?
My interactions are pure instincts and pheromones
My preferences are base level urges in all cases
Even the music I so enjoy, I entrust not to myself
But to the almighty, for their hand is far more sturdy
I shake, like an autumn leaf in a hurricane
Barely holding on the driver, which is always them
I will never learn how to drive a car

I often get called an adept storyteller
Some people call me vivid or imaginative, even
So I suppose I might as well ask the people in my head
To help me conjure up some short tales for you;
This one is of a young girl, dreaming

In some dreams she finds herself in a rancid, green room
There with her is another girl, a cynical kind
The two of them may have loved each other once, but
That time has long since passed
Acts of carnal urges and violence come to pass
Mold grows on the walls and ceilings
The camera slowly pans away from them, *******
To show the director and the audience

In some dreams, she finds herself in a small Japanese home
Discussing the fate of that infamous 100 ryo
"You'll never get it back" says the cynical girl
She vows to get it back and leaves the room
Most of the scene is silent, save for cicadas
In the night she returns, scars all over her face
She brutally dismembers the cynical girl
She simply was not meant to be a ronin

In some dreams she finds herself in a police station
The cynical woman is on the other ends of the desk
"We've got you by the *****, ****" she says
The girl answers only with a scoff and a crooked smile
"If you had me by the *****, this would be more enjoyable"
The cynical girl seems embarrassed, upset
The director shouts "More emotion, you dimwits, more!"
The camera zooms in, with shaking motion, towards the girl

In some dreams she finds herself alone, it's snowing inside
The cynical girl left. Surely something far more important.
She begins to draw a mural, in the style of Basquiat
A funky little guy, baby blue, bright orange, neon pink lines
Once done, she hears a voice: "It's been a while, babes"
Finally, he was back! It was the mural, speaking
Or in some sense, the very walls of the room spoke to her
"What's groovy, baby?" he asks, with his usual cheer

There's many more dreams to share, like the one where they reminisce
Or the one where they're janissaries, stationed in Serbia
Or the one where they're communists, in a bar during the Great War
Or the one where space has been conquered and they stayed back at home
Or the one where the mural learns to play drums, and the shadowy figure joins
I didn't even talk about the shadowy figure, even though he's a major character!
I mean hell, even I joined them occasionally, once they asked
They figured out I didn't know everything, and talked to me, what a lovely bunch
But obviously at one point, spunky little girls have to wake up

In this dream, she finds herself alone again, in a regular room
The heat of the scorching sun has been illuminating her abode all day
She remembers that in this reality, she plays improvised music
And yet, in such horrid weather, it'd be suicide to go play right now
She is sluggish, unconcerned, seemingly in another world already
No tomb like the present, she thinks and repeats, like a mantric chant
"No time! You keep saying the phrase all wrong!" a voice reprimands her
She knows and she deems it an unfit day to have yet more drama
"I know... I just thought the pun was amusing..."
She says in retort to herself, in order to pass the time.
///

*Nature was so mature to bring the rain
She was still muddy after that pain
He took that sad song
And knew how to love her too long

The rain was falling on the very dry land
And he was holding her on a hard stand

The heavy rain,
Very rain was falling and
Flowing through the vein and vale
And the mud was gathering on the feet of the dale

The wet heavy mud,
Soft elastic after the long flood

He had a pair of keen eyes to see the pore spaces,
And had seen her in so many pale faces

When the new fresh dawn came
God sacked her from all the blame
He collected all the mud from the dale
And made her mural on the vale

///

@ Musfiq us shaleheen
He took the sad song and tried to make the song better, after a long rain he got mud on the feet of the dale and finally made her mural after her death.
Kathi Truscott Sep 2010
She painted in awe slowly
With anticipation waking to
The beauty of colors.

The sky turns to blue, the
Sun a bright yellow.
The lady in white sitting
On the rock.

Listening to the birds sing
High in the trees, swaying
In the breeze.

She painted a mural on the wall
For the world to see.
Alex Oct 2018
The mural, it was of myself
Amongst lycanthropic flowers
I was in the Balkins
And 6am was the hour

I saw this in a psych ward
The strangest thing it was
To see a portrait of myself
It seemed as if I was in Hell
Strange experience I had at a psych ward in Texas. Feel free to ask me more about it.
Brandi Oct 2018
We the people built the wall
You can look left
You can look right

But we the people
Yes
WE THE PEOPLE
Built the wall

He didn’t
She didn’t
We all did
We
All
Wall (“e” dropped)

The battlefield is one we meant to use in case of war with the enemy
When did the Enemy become one of our own?
Or an entire group?

When did the Enemy become the media?
The press?
When did it become Trump supporters?
Or Trump himself?
When did the Enemy become those who dislike Trump?
Or those who are politically liberal?

I believe we the people created the Enemy
As philosophical as that sounds
We, the people, did it

We the people touted diversity like the ticket to tranquility
Placing our bets that this warm embrace of peoples
Religions
Backgrounds
Would be a true gift for all people
Rich or poor
Christian or Jew

Here is the truth of the matter
The pursuit of diversity
Of creating a mural of the American people
Was superficial
It was not carried out to its full potential

We became frightened
Untrusting of others
And so we unknowingly
Yet willingly
Began to build walls

It’s quiet
Then there’s a hurricane
A mass shooting
An election

And suddenly you look and see a black man
Or a black woman
Or maybe a younger black boy
Or black girl
Standing behind their call to action of support for the Black Lives Matter movement

And for several months it Is everyone’s story
But then it is not
And people
White
Black
Any color
Feels disappointment
And the belief that walls will just keep growing taller

Because there is hate
There is a form of social paranoia that emerges
Which means more walls

An angel appears in the midst of the havoc
The grief
Under a night sky lit by vigil candlelight of yet another unfortunate event that stole the lives of our brothers and sisters
Saying that God did not mean for us to build walls and live behind them

So one day
A family makes a vow to spread kindness and love to their neighbors
The family comes together in unity
They keep the pieces of their individual walls
But now lay them down at their feet
As a way of getting somewhere
That way leads to their neighbor’s house

They reach out and take the hand of the hurting
No matter what color that hand is
No matter their beliefs
No matter what political wing they favor

It takes two wings for an eagle to fly
Left and right
An eagle with one wing would likely get exhausted
As many feel today

The neighbors receive kindness
And then they act
The walls come tumbling down
They do good regardless of the Enemy’s hatred of good
We the people can all agree
There is an Enemy
That we can be sure
And as we lie in confusion over who or what the Enemy is
We the people are all suffering
From all sides

As more and more people say one more kind word
And we the people find places
Music for the spirit
Food for the soul
That always has been
And always will be
Ours to share and appreciate

It is then we look left and right without a wall in sight
They did not disappear
For the walls simply laid down boards
Displaying the human nature of us all
As we
We the people
Stand on one unshakable
Indivisible bridge

That welcomes liberty and justice for all
That always has been
And always will be
A gift for we the people

© 2018
Brandi Keaton
I know this is a lengthy entry. Please read in it's entirety if possible. I hope in this time of trial and confusion this can bring some hope as one people. Join me in engaging in more kindness. Thank you!
Robin Carretti May 2018
So grace me through
my colors
Let's Start

God Grace me

Someone was smart
To raise me
But the blaze
came and love
pursued me
He pushed me
Into his hot blaze

His ***** of fire
A big part of the script
Another lift in his
desire
But my lips
Got raised up
But couldn't.sustain
the fire
The glossy shimmer
Sky hug
He Aint nothing but
a hound dog goodbye
Raised me Orange
Red Robin fly

But how you
face me
Never to
disgrace me

You pick me up with
all my goods
Odds with the bad
Honorable Gods
And so many facets
of my moods
Watch out!!
Starburst

Or a war curse

We  evaporate
In fragments

Orange segments
Sliced and eaten

Love forbidden fruit
One hidden

Embrace the warm solitude

all over your face,
Someone is rude
Fresh Orange
told you
It's Fate

That brought us
together
Orange juicier sun

So many love forms
Whose terms? Just run
This world full of
germs
But to juice things up


How the colors of your
eyes came to an epical stop

But nursed me
orange juice hip hop

He dazed into me
After-life
They named her
Saucy before-life
See ablaze
orange zest
See me and fly me
At my very best

My breast was
so nicely raised


Lips so fruitful
he cannot
resist you know
the rest??

In the mix of orange
things
Pink rings
Butterfly eyes
winged

Was set so privately-----*

The red tail hawk
Was the talk of the 
 Orangey words flowy
Popsicle poppy eye town
No time to refresh
my colors

Free bird orange up
The ramp no lady
and tramps
Just (Gypsies Orange Vamp)
The rocks fall to thump
Trump orange fixtures
Towers Forestal Gump

The soothing smile of lights
He came to you pop features
All over my place
So cultural to the race
The colors of
Orange mellow
oh! no
Here comes yellow----

Creaming into his
creamsicle
Gelato
popsicle
My feeling divided
like politics

Been sliced by
the orange Super bowl
Erotics
Sunny California Kist
Rodeo drive what a
list
Satanic red
Orange Christ
But that orange
She Shh_ sheets
Had the most vibrant
juicy beats
Tomato vines Rome
Lend me your orange
No ears no other
color of tears

Villians of vineyards
Orange bowl of fruit
No Junkyards
The owl started to hoot
Towards the bad apple

My heart was galloping
Shrimp and scallop
Right in my western charm
boot he takes off

Another mix of paint
Orange isn't carrots and
pumpkins
Austin Power Mini-me
Munchkins

Or goblins spooked
Mandarin Orange lovely
Divinely licked
Gingerly lovely Cayenne
Sweet Pepper he looked at her
Lucky 7 Orange ring karat

Whats up Doc
_


Any cracks of his cravat
Orange Key-West lock
Doesn't turn get off
my block
I am going to
Bangkok
With Chuck

Having Orange Tang
He was holding me
777 karat ring
The  Mediterranian
party
Why so dead sea
Pink Smarty
Orange blosson tea
Orange Marquis
Louis and Diamonds
All clockwork
Orange movies

In the lounge of
Raymonds of ring
junkies
Pour OJ for me
**** a doodle doo

Flash of orange came at me
Do you want to?

The operation of heartless
surgery
The Showstopper emergency
Revived refreshing lady
of purity but no orange
The
((Orange Marquis))
Off to see the Wizardly
Orange field gorgeous
WC fields raise

Writer with the
lucky pen praise
Her editor was
the perfect color
ten

Miss coralline with
her coral rock
The mixed infusion

Next color comes up
Raise your brow reaction

Needing a follow-up

Orange rinds
Another call-up
Giddy Apps up
Orange glittering
passion fruit
paintbrush
Soap Opera beauty
and the beast
Another gulp the
pulp pretty in pink
psst
_

Orange-pink tropical
girl orange whirl
The orange-red ringlets
She curled inside him
Glass raise you cup trim
In your villa stucco orange
You were breastfeeding
his orange suited juice

No time to see another
color
Orangey wiz showbiz
Arabian sky sunset
burnt orange
The caramel bump
of the camel
Her favorite one
mural

Lips of tang so foreign
She is flaming like a
flamingo bed

Get his color out of
Cotton picking head
Your shampoo
The
"Orange Oddysey"

Hey, what do you say?

Just open your
eyeshadows
He shadows her in

Or a site for sore eyes got
puffy war of
orange bubbles begin

Feather me
orange wings
The fringe orange
suede
flops
you happy

The A+ diet of fruit
he was the
hotshot
Glass
You're at the
bake me
What do you know
he passed

The spa refreshing
orange peel
mystique

Long lace-lit
Unique
He was coming on too
bossy orangey burst
cheeks were falling
Rise up not down
Orange Julius raise
his price
Fed Ex orange truck
got closer to
Her alluring butterfly
Orange U glad
To catch her
To court her
Fast Orange perfume
She Sha shala
femme
Orange flames came
from his cleft

Still no time for your
spouse whoa he left
_

Now please let me know

what I left out
Orange you glad

this is the only color love
him madly
Orange so vibrant masterpiece the butterfly changes
like a wedding centerpiece
Daniello Mar 2012
a nacreous tossing around at
the sides, a dappled silver
sunlight if looked one way, an

apocalyptic gloam if another,
exhaled from a seeming
mouth, feeding on what has

already eviscerated an unfelt
*****, a predator certainly its
own prey, a heat certainly

poison-breath on a cheek
falling when a meretricious
lover spouts that spurious

hypocorism, and also just a
wavering, iridescent puddle—
cornered, soft as a liquid steel

echo of a futile struggle
rolling around, bouncing off  
a wine glass, and a porcelain  

table edge, while a listening
head shakes, looks down
despondently, gloom glowing

out the hair, a voice jaded
since birth saying some
thing about differences, or a

helpless slender strap of hope
hanging itself on the way two
other eyes look at it across

checkered watered wings, two
swirling god whorls, two
effulgent galaxies the color of

melting pine bole circling
around in living umber striae,
pulling its gaze, raising it, as if

they, they were blazing truth
cased behind lithophane, and it,
only an aporetic puddle now

of tepid ocher, a mild earth
stone placed in a hand, asked
what is thought of it and the

response: yes, yes of course,
before foreign distance splutters
its face, and it retreats from

its meaning imparted to every
thing (with the vulnerable
precision of a swaying finger

tip) to the baby lanugo of a
delicate floating, through
human rills, of what is horizon

docked, dead, not merely
deciduous—forever jilted with
breath bulging as when beating

a flopping eyeless fish to
half-dead, head tilted up a
throat trying to pry itself

free, trying to live by
streaming snagless, airful,
without spirant sound of going

lost straight from the hands—
then a short chop of fullness
finally expunged and sputtering

like an escaped tuft of
shackled wonder soaring up
the sky in a puff and soul ring.
K Balachandran Jun 2013
Part of me is thoughts, sown by effulgent minds,
whole of it is a dream, created by generations of ancestors,
bit of poetry gathered from the elements, makes it dulcet,
mural on the rock it becomes when the day meets the  sunset.
Shofi Ahmed Oct 2018
A sprinkle of blue sparkle
off the lapis lazuli sky.
A throw of stars
from the full moon night.
We will take in abundance
while rowing the waves
once in the River Nile.

Hear! The crave of oars
breaching the shore.
Reaching out and close
to the pyramid foundation.
That’s scientia is pure rigid
yet so open loose.
One dozen milky ways
can hover in rhythm
over this stony knot!

That doesn’t mean
the Mintaka stars will give
up their shares at all
They will sit on the top.
Without the pyramid moving
a step from the true north.

Between this relative sublunary
and over the moon mural
if and when one spaces up.
The silent Moon takes a pause
humming the prehistoric lullabies.
With a patch of the blue sky
and a starry sprinkle from the night.  
Maybe then we will take a break in
behind the closed doors of the great pyramid!
A poem from my upcoming book Qun: Love is Above Reason
st64 Jun 2013
turning..turning..turning
how it ever
turns


1.
they all pass me by
everyday
and no-one says a word
to me

the earth moves
one more time
and it all
starts again


2.
on their way to work
high-heels totter
they chatter on
birds in smoke
hardly aware

from the evening subway
attachés whisk past
looking so important
eyes down on text
talking into boxes
streaming... streaming
endless

onto the bus
a struggle
a pram is lifted
distant cries of a baby
an echo of an old man
in a park nearby
sitting, lost in thought
counting the arthritic joints
of his fingers

skateboards
in such great haste
as on an almighty trail
somewhere

footfalls go
some clackety-clack
a thousand by the minute

by now
I lose track
of the number


3.
they look my way
and they don't really see me
not anymore, anyway

I'm just there

but I hear it all

the steps..
they clack-flash across my ears
the words..
they flaunt over my silence
the secrets..
they furtively long to share with someone
the awful rush..
they long to shed
the frustrations..
they find no space for
the dreams..
they ache to realise


4.
only *the mendicant traveler

comes by
once daily
with a battered Coke can
to sit and keep me
company
just for a while
a little while

leaning against me
I smile inside
to think
I can still be somewhat
useful

or the occasional trolley-lady
who guards all her assorted treasures
a bric-a-brac of unrecoverable dreams
all neatly piled neglect
reflected in
society's abandoned grown-up child

then, that funny visitor
comes by
to bestow on me
hebdomadary gift:
his customary ****

too lazy for a WC!


5.
I am just
what I am..
on a wall
as pretty as they come
yet half-invisible
and
I am here

how
I keep track
of
all the beings'
coming-and-going

as the busyness
of life
keeps
turning..turning..turning


(once in a while, though...a new pair of eyes may flash upon me and love me for my worth.
then again...just for a few seconds...but it is enough: I may be peeling now, but I am such the fine burgundy-and-green masterpiece, of a rather stunning bird, caught in mid-flight.... that once was the great love of my esteemed master, the eternal artist...long, long ago.

and I can smile...inside)

I dare to smile, yes..




how the earth moves
one more time
and it all
just
starts again





S T, 26 June 2913
The more things change, the more they stay the same.

Do so love the use of metonymy.




sub-entry: 'pictures etched'

1.
a fine day for rain, it is
soaking into earth
warding off all noise
but the gentle
pitter-patter
of half-born
ideals

2.
such grasping images
come
all attentive
and
tremors unaware
ensconced
by
pictures etched
deeply into psyche
they sit

slow birth
of
some very
powerful
ideas

3.
then, write a heartfelt note
and lick a stamp
post it off
in a spiffy new
London-red box
and
wait..
distant destination

4.
final score
no parting

break down the wall
and
rescue that light
I am painting a mural with my words,
Cameos, sublime, Turquoise,
line my blue bell filled path
To Luminescence
#micropoetry #poetry
Cunning Linguist Mar 2015
Tongue in cheek I detest you
Hand over foot
Make a peep *****
And I promise I'll ****** you

Bad tact I'm a cesspool
Festering in the nestle of your daughter's
well developing *******
Everyday I follow her home from school

This unnerving pervert unearthing fervor
making ya catatonic &
giving your heart murmurs
Nurture the thought
It's just the tip
(Of the iceberg)

Gotta stir the paint before you make a mural
Ma'am, I'll purloin your ham purse until my burial
Don't be a sourpuss

It's final
I'm vile
And I swear I'm not a *******.

Want some candy?
Lou Costello’s
bronze semblance
dipped and danced atop
his granite pedestal
spinning miasmatic tales
of enigmatic hope and
resplendent labor

“the sweet
unbounded
expectation of
hope once
surged down
this city’s streets”
... said Lou

"I was a self made man
until someone thought up
the idea to cast a bronze
caricature of me and
bolt it to this grand rock”

nostalgia
is the boldest form
of fiction
culling from the past
the things hoped for
in the now

“growing up
here
I clipped school,
played ball,
rolled drunks
and fought
nickel ante
prize fights
to get my
daily bread,
I literally
punched my
way out
of this town”

a smith smelts a
batch of liquid bronze
pouring molds full of
a fervent wish
a madman's delusion
a priestly promise
a Pollyannaish illusion?

baskets overflowed
gushing hope, offered
at the holy altars by
honorable workers

it was said that
a morsel of labor
could feed 5000
starved families
breeding hopes as large
as a half cup of water

hope
the size of a
mustard seed sparked
recovery of 1000 sick children
dying from the Asian Flu
at St. Joe's

hope
willed an end to war’s slaughter
which ironically was bad for
Paterson's war profiteers
forcing layoffs
sparking labor actions

hope
ignited conflagrations firing
the resurrection of dead industries
lately there is a lot of hope
circling this one

miracles spring
from the pronounced
lips of trembling hearts

the hopeful amassed
slogging forth on bloodied toes
along razor thin slices
of expectation
hoping to begin again
eager to build anew

new starts sometimes
grow old fast soon
hope expires
winging back home
on broken wings of
misspent labor

hoping for the snow to stop
a lump of coal to last
the labor of a budding crocus
rewarded, breaking through
the hard crust of winters end
blooms for a day then expires

hope is a beggars wish
gods give yearnings heft
prayers earnestly chanted
willing paradigm shifts

prayers of absolution
play the angles
calculating odds
of probabilistic mathematics
a sure thing long shot
the prayers of the
righteous availeth much

we hoped for jobs
we hoped for leisure
we hoped for love
we hoped for labor
we hoped for rest
we hoped for luck
we hoped for a life
wealth health blest

laughing at our follies
crying over defeats
our city a tragic star
a comedy of schemes

our
hope and labor
is the keystone of
our self construction
cornerstone of
a grand city’s edifice
its negation our
deconstruction

tragedy and comedy
invested and spent
falling and laughing
foibles and faith

belief trumps evidence
happenstance slays surety
horror and beauty
compose a life's mural
nothing happens
by mistake

learning and ignorance
fate and chance
the risk of randomness
expiration dates arrive fast

predetermination a bold
conviction, suspicion,
intention a splendid  
kismet  

banality becomes
sublime  
laughter is ******

...the mystery is in
the loam... says WCW
...the finished product
is what I’m after...

“what the
**** are you
doing here?"
the bronzed Louis
gagged

"Hey Abbott
look at these clowns
in the yellow plastic
garbage bags!

bobbing in a sea of
midnight mist

a posse of
neon clowns
donning glad bags
on the most dismal
night of the year

twinkling under the
gloom of my playgrounds
faltering streetlamps

“twinkling targets
easily tracked,
a trained eye,
a steady hand
could pick you off
at a thousand paces
what gives?

“what the **** are
you doing here?

“what the **** am I doin
here for that matter?”

“the second question
is easy to answer,

“I’m Paterson’s
finest son....

...“Wherever he is tonight, I want him to hear me," and went on with the show. No one in the audience knew of the death until after the show when Bud Abbott explained the events of the day, and how the phrase "The show must go on" had been epitomized by Lou that night....

"Mr. Bacciagalupe
he use to live on
Cianci Street

“who’s on first?
what’s on second?
I don’t know is on third?
was a riddle one recited
to get into his speak

“his Ginnie Red was legendary
and no one was ever known to
die from drinking his bathtub gin”

the old world ways
are made new
by the arrival of
new old worlds
supplanting old Italiano

“where is all the goodwill capital
we invested in this place?”

successive generations
thought it best to export
the capital of the
expired generations
elsewhere

it was ferried
across the river,
crossed the
city boundaries,
leaving for Wayne
and the fairer lawns
of Wyckoff and the
greener grasses of
Franklin Lakes

all the old wise guys
died off or were sentenced
to life by their children,
some still doin time in
old age homes in
Rockaway

all the sport clubs
boarded up but their spirit
lingers like an espresso
ring on a post slurp
demitasse cup

“hell my body is buried
in Hollywood but here
I am, holding court in
Costello Park
talking with you
knuckleheads
a baseball bat
my royal scepter
a brown derby
my crown, truly a
King of Nothing,
Lord of All

“the soul of my city is
eternal,  like the comedy
of tragedy or is it
tragic comic?

“here I remain
omnipresent,
spinning about
frozen forever
in a magnificent
bronze age,
erected to my likeness
beholding me
to stand witness
to this litter strewn park
decorated with corrugated
Big Mac boxes, plastic
Big Gulp tops and discarded
rubbers bagging the ****
of this cities arrested
citizenry”

never actualized
never naturalized
citizenship denied
at the commencement
of ejaculatory flows
of joy

unfulfilled spirit
of citizenship
never to experience
the splendor
of yesterday’s
modernist
metropolis and
Lou’s stand up
routines

“look at that John
over there, that guy
wheezing like a
ruptured blacksmith’s
billow, pounding away
laboring to get off

“the poor little
******* just hopes it
will end soon

it does
**** he’s done

I” knew that guys
grandfather,
getting off
runs in the family
and remains one
of the few things
that draws the progeny back
to the old neighborhood

“you can still glimpse
snippets of the old ways
rising in new ways

“an Armenian
sports club
around the corner
is a new
incarnation of
the old Neapolitan
social clubs that
once demarcated the
neighborhoods

“these days
great grandsons
of once proud
Sons of Italy
come back to the
old neighborhoods
begging for hand-jobs
from crack ******

“welcome to my
burlesque world

“since the Gumbas
moved to Franklin Lakes
the wannabe wise guys
became ***** whipped
dumb *****
making ***** of
themselves with
their painted ****-job
Jersey Housewives

“they ***** their families
out for a bit parts on
MTV and a free lunch
at the Brownstone

“their grandfathers
labored long hours
to assure the well being
of their families in the expectant
hope of a better shot at life
but the children squandered
the hard earned bequest lovingly
bequeathed by reverent forebears

“in the wee hours
one can sometimes hear
a weeping chorus
of concrete Madonnas
musing melodious lullabies
to the sleeping
Lombard's lying
in uneasy repose at
Holy Sepulchre Cemetery

“they twist in their graves
dreaming of a last dance with the
Lady of Unending Sorrows
at weddings for unrepentant
wayward daughters and prodigal sons

“its small
recompense for a
lifetime of an
honest day’s work”

the dashed hope
of squandered labor
begets a city of ruin”

at the
parks northern corner
the Salvation Army’s
rumbling bivouac rests
in a dreamless sleep
its residents
patiently waiting to
inherit this city
abandoned by
nuevo wise guys

this tragedy
is all comedy
the comedic hope
of tragic labor
buried snoring
the millenniums away
awaiting resurrection
day

Lou was getting ******...
“get outta my park

“the artists
in the rehabbed
factories across
the street
are resting

“nothing much
going on there

“if you're hoping
to find some
homeless slogs
head over to the river
you should find some there”....

Music Selection:
Frank Sinatra, High Hopes

jbm
Oakland
3/26/13
Part 5 of extended poem Silk City PIT.  PIT is an acronym for Point In Time.  PIT is an annual census American cities conduct to count the homeless population.  Hope and Labor is the city motto of Paterson NJ, nick named The Silk City.
Gaffer May 2016
Words on the wall.
Go with Paul.
So profound.
Like a crystal ball.
Okay, all coming back.
Should have read.
Julie, will you go with Paul.
But it didn’t.
Surely a message.
A deeper meaning.
Check the celestial phone.
A message awaits.
You ***** lying scummbag, drop dead.
Should I tell her there's only one M in scumbag.
Could this be another message.
I enlighten her.
The other M is for *******.
But is it.
Is there an even deeper meaning.
The celestial phone bleeps.
I peruse the heavenly text.
Actually there should be an extra B with the extra M, *******.
I see pain in her text.
I feel it myself.
There is a wanting.
Flowers and chocolates.
I feel comfort walking through the graveyard.
Knowing random people are helping me in the pursuit of love.
I throw a pebble up to her window.
Holding my mixed bunch of flowers.
Old Mrs Jones looks down, smiling.
If I was seventy, I’d do, I digress.
I bade her in, throwing the pebble up to my true love.
Who opened the window maybe a tad too early.
She screams my name.
Which was comforting in a strange way.
Old Mrs Jones looked out, recoiling in horror, knocking herself out in the process.
I realised I had forgotten the chocolates.
Darling, could you borrow me ten pounds.
Something in her one good eye told me no.
The paramedics told me to go.
The Police read me my rights.
Putting me up for the day, and the night.
Still, as the Councilman said as I was scrubbing the wall.
It’s not like you’re Banksy, is it Paul.
I felt a deeper meaning.
A thought had occurred
It would take a lot of paint.
But would be worth the pain.
I worked through the night.
Such a delight.
I threw a pebble up to her window.
Old Mrs Jones looked down at the naked mural of me, and dropped down dead.
Julie sort of squinted in dread.
But the gun in her hand.
Well, enough said.
The Police charged me with indecent exposure.
Though the court said that wasn’t quite true.
Still, the Councilman said.
I’m really impressed.
I mean, it's different.
Maybe you should have added a verse.
He stopped me scrubbing.
We bowed our heads.
As old Mrs Jones passed by in the hearse.
GailForceWinds Dec 2014
Paper is my canvas
A Paintbrush is my pen
I search for the right colors
To paint a beautiful scene
Blotches
Splatters
Smears
Paint thrown by the can
A rough texture surface
Spanning miles where the eye can't see
It’s a mural of my life
This hodgepodge I’ve created
Is me
Quentin Briscoe Mar 2013
Im watching over them...those freaks and perverted beast...the dark flesh that owns the land..I save them from there doom...keep them out those tombs...my job is to protect the sick...as I sit...I glimpse and I see a ray of hope...
Purity...from the ***** of my imperfection...I began to be aroused...thought about swooping down, in a single bound..being so cliche'..but I've since grown from my stereotypical ways....Cuz this world here ain't kind to no hero..this worlds only sin painted in a mural...But she could be the one...my chance to save the day!!...But they wanna **** the hero...they say **** the hero....Try to save the hoes...but I think I save a woman...kryptonite to my sins...She could be the cleanse...I could actually win...
-Dairy of a ****** superhero.
Chris Saitta May 2019
Venezia, its musical key of brick and shade
And the canals in rejoining polyphony
Sweeten the dour Church-ear.  
From the impasto knife and loose brushwork,
A thumb-smear of waves and gently-bristled strife
Rise to assumption of the cloud-submerged bay,
Mural of cristallo, only-light without landscape,
Made too from the winds of Murano,
Its clayed blowpipe of waterways molding
The lagoon of blown glass and bouquet of colored sea-shadows.

The Tiber lies on its side, like the lion and fox,
Licking its paws at empire’s dust,
A drifting gaze of water that already foresees
The swift-run northward to Romagna,
Where the veined fur of the roe will succumb…
A ripple twitches like one dark claw of the Borgia…

The watercolors of the Arno are a fresco
On the wet plaster of the lips of Firenze, Tuscan fire-dream.
Or like the warring leg in curve of counterpoise,
Sprung foot-forward to the daring world
And arm slung down in stone-victory
From this valley, too much like Elah,
With taunting eyes turned from the Medici toward Rome.
Titian revolutionized the style of painting that contained no landscape in his "Assumption of the ******" (circa 1515)
"cristallo" is actually a term that means clear glass, or glass without impurities, and was invented around the time of the Renaissance.
"the lion and fox" was a nickname for Cesare Borgia.
"Romagna" was his intended conquest.
"Elah" was the valley where the Israelites camped when David defeated Goliath
Wedge Aug 2014
So unearthly in presence, yet I feel right at home
In a place where only the most vivid dreams could see
Its isolated nature beckons me through
Exploration has always been my habit so I feel welcome
And when the limits are my mind, it welcomes me even more
Nearly perfect in altitude with the opaque below
The life grows constantly, for the callow sit in the foreground
With trailing plants climbing to the highest of the trees to form bridges
Why does this nature hold such allurement?
Because it is unfathomed, unscathed by any hand other than my own
But as much as I long to return, the images of lucidity will not
What felt so absolute now feels so astray
The harmony must cope with my absence as I must cope with its
(May 1st, 2012) - One night I had this very vivid dream (that actually occurred a couple more times) where I entered the woods behind my house. After a few steps, the forest took a different appearance and turned into the most beautiful scenery I've ever seen. I scaled up vines to a large treetop overlooking this large dip in the canopy. This poem describes what I saw. I'm actually basing a story/novel on this one partially.
r Oct 2015
Oh, sad Poet,
cartographer
of the heart,
mapping the geography
where sadness
is the topography
of your soul.

Oh, Cousteau
of the changing tides,
like an oceanographer,
an admiral  spying
the enemy on the horizon.
Your sorrow comes and goes.

Oh, builder of sad dreams
in your house of many rooms,
but one door. Like a grave,
a casket shellacked with
black paint, a mural
of a shadow on the wall.
Architectural sorrow.

Oh, you sad Poet,
open your eyes,
paint us a poem of a rose.
Poem penned straight at the author.
Corset Dec 2015
I stare into the shadows
and remember
the Panhandle dust
that made them,
fuzzy now,
around the edges.

The mural that somehow
felt sacred on fire
the tumbleweeds in your
eyes as they rolled to
look into the distance.

How the lightening
struck your hair and
left it white overnight,
and the way you clawed
to find the door to
anywhere
else...

I remember the trip home,
how the early spring wind
howled through the empty
windows, the necklace
around my neck
the cherry red
ball of vines
awaiting my return,
as if to say
yes, he was here,
but now he is gone...
and gone is what he is,
will always be,
but here,
here is a bite of me
to always remember
those tears that echoed
in silence.
If my fingertips were full of art
like I had so hoped they were once
I would paint a mural between your shoulder blades.

I would show you how the stars have been brighter,
how the minutes move faster,
and how my tears, though still numerous,
have been gentler
with you.

But all I can give you are these words
the same three,
whispered
shouted
laughed.

Because they are the only things I can say
when all the
gratitude
gratefulness
joy
security
rushes to my mind.

So I will push the knots from between your shoulders,
trace your muscles with my
fingertips
lips
breath
and hope that
"I love you"
paints as beautiful a picture on the backs of your eyelids
as it does mine.
Oh how I love you.
Max Alvarez Mar 2014
I want to tell her
But i can't.

I watch the spring rain fall.
A gentle tapping,
Sort of rapping
On the window's pane.

I focus on the sound until it fades.

I close my eyes and remember the day,
The scene is painted in a greyscale haze.
There stands you
Across the room
Enveloped in blue.
Your favorite colour.
It's late on that late winter's night,
And we're with our group.
If I said I knew who was there
I would be lying
Because it was you I was eyeing.
I'll skip the cliches, like
Butterflies
Or, better yet,
"Love at first sight"
Be as they may,
They all came true that night.


A casual glance became
A gaze became
A smile.
Once,
Twice,
Thrice,
Then Five,
We held it for a while.


I take a drink and pause the haze.


Minutes become hours that drag on for miles
We found ourselves in that grassy field
Dotted with trees,
And rabbits,
And owls.


A hot summer day-
The south suffers waves.
Hand in hand we make our way
Through the trail.
We fall behind our friends,
There's something I have to tell.
I stumble and fumble
Through letters to string,
I can't think of what to say.
And you say it's okay.
I smile and hold you close,
A mixed sense of pleasure morose.
Your lips touch mine,
And my heart explodes.
I can't believe we let each other go
We became 'twixt,
Ivy to our bones.


Again
Time lapses
There I am standing
There you are
Hanging
On him.
My rage demanding
His end.
But you come between
Deny instead.
Say I'm not right in the head,
Well, baby,
Love killed me dead.


I turn to walk away
And in turn you turn to
Return to he
Who shook your leaves.


So we've parted ways
And all was well
Until recently.
When I examined
A mural
And saw I missed a shard.
A blue tile
The final part
To my stain-glassed heart.
Feedback?
grace elle Dec 2014
have you ever drowned in a pool of your own blood and been resuscitated by yourself after entering the 9 circles of hell? you enter one hell for each month, and at the end you are reborn again.

the first month, you are forced to watch a movie of your former lover's future love life, the day their sky wasn't your favorite shade of gray anymore, their wedding day, their children growing up in the arms of another, the ending of all endings. you cannot leave the theater, you cannot cry, you cannot scream, only apologize on a cycle like the mixtape you played on repeat that they gave you the day they first told you they loved you.

the second month, your demons circle you for 31 days straight. they tell you the stories of your past you swore you forgot, the knives you though you pulled out, put back in the drawer, and locked away are in their hands. they sing songs of everything that has gone wrong. they wrap their festering arms around your shoulders, they leave oil stained kisses on your neck on the same places all of your previous lovers did. they hold your hand like your mother did, they take you in their arms like your father did. they tell you they love you, you begin to believe them, and on the 31st day they leave, abandon you, the bitter iron taste that is all too familiar enters your mouth.

the third month, you are on the fourteenth floor of an abandoned mansion. salvador dali has painted a mural of what could have been before you drowned in that ****** sticky murky mess of red upon a wall, and you are forced to stare at this for two weeks. on the 15th day of this month van gogh appears in the corner with a box. you open the box and it is of course, his ear. he can see the monstrosity of fear upon your face, you see him open his mouth, you can see the pain escape his lips, but you cannot hear a thing, you look to the wall next to you and a the glow of the burning mural of what your life could have been lights up a wall of ears. you see yours in the center. you cannot hear the fear, you cannot hear the birds, you cannot hear the songs. your past and future are both now long gone.

the fourth month, you enter a white room. a projector projects every memory of your mother from the time you were in the womb to the time she saw your blood surface and your name headline the obituary. every projection of the memories of your father have a slit through the middle, and you swear to god for a split second you see yourself flash across the screen trapped in the barrel of a syringe with each of these memories. you are held captive in this room, this jail cell, with every broken memory that has led you to drown. you cannot cry. you cannot scream. you cannot even hear your own happiness, you cannot hear your mother's voice or the last time your father said i love you. the words goodbye pour as ***** out of your mouth.

the fifth month, you awaken confused as to when you left consciousness. you are in a wooded area, there is a phone stuck to the tree, and you can see the phone vibrating. you answer, though you cannot hear, the leaves on the trees begin to fall off and make out the words of those on the other end. it is the last words of all your friends, the words they screamed after they realized they would never see you again. you try to expel the words that you wished to tell from your chest, from your lungs, but the blood is still oozing within your throat. you are hopeless. you drop the phone and climb the tree hoping to see some type of sea that could help you be free.

the sixth month, you are drug out of the tree by the demons that you began to believe loved you. they drag you out to a sea, they throw you in it, the salt burns the holes where your ears once were. while under water, you see every fetus you will never have, every broken bottle that touched the lips of those you love, every bit of ash from the cigarettes that killed the good cover the sea floor. you have forgotten how to swim and the light is beginning to fade, someone, something, pulls you out. deja vu of exiting your mothers womb washes over you.

the seventh month, a book of every word you ever spoke is placed upon the dirt of the sea bank. you sit in silence and reminisce with your own history book. you can hear the waves, you realize the salty sea fertilized your eardrums, your ears are back in tact. you find some unsettling peace in this place. this month seems so short. so distant. so incessant.

the eighth month, you are drug into a room by those ******* demons again. in the room is every god you've ever known of. they convince you that you were never evil, that your omens were not the demons you have met, they tell you that there is future, there is light. they tell you that you can return. they spend the first three weeks dwelling on the positive things you placed into the world. during the last week, they explain their personalities, each of them, their multiple personalities. they expound on their traits, and god do these traits sound so **** familiar. jesus hangs from the ceiling, and jesus tells you that there was no light, no truth, only the trees. the ******* trees. jesus tells you that he died for himself, not for you, not for them, not for his father. he died for himself, to remove his own weight of pain. god sheds a tear, buddha holds his hand, mother nature hands you a bouquet of wildflowers. they vanish shortly thereafter.

the ninth month, you are still locked in the same room. you realize the room is actually just one solid mirror, the floor, the ceiling, the walls. you realize you were seeing reflections of yourself the entire time, you realize you were speaking to yourself. you realize you actually could speak, that you weren't choking on your own blood. you stare into your own eyes, you ask god for forgiveness. the room goes black.

you awaken in a hospital bed with a bouquet of wildflowers in your hand and a notebook the size of a bible on your chest. you open the notebook and page after page is every ending note you had ever wrote.

you flip to the back cover of the notebook.
it reads: you are forgiven.
L B Jan 2017
If that night could remember
it would call him back
to our Chinese restaurant
to fried rice and steaming tea
to our winter refuge of tile and cushions
60s retro black and white
Chrome legs of lacquered tables
with its mural of
our Great Wall

...winding, distant, wonder

If the snow hadn't muffled all
but our voices
we would not be—

so alone

Only I
felt his arm take its chance
around my shoulder
Guiding warmth
as good excuse as any
to touch

Two miles on foot
An arc in time
In lace of white
to hide— what might....

Below my window
“Good Night”
not enough
for troubadour
singing, pleading, stumbling...

(I worry about his long way home)

...and hardly notice...

How gently Time joins Snow
as if they cannot bare
instead, conspire
Decide the crystals
Send the flakes to sift over him

This loss needs snow
to blur his face
to fade from view....

This— tender let-down from the sky
As only snow can do...

Cover with beauty

https://www.youtube.com/watch?v=6o6zMPLcXZ8
Lowell, Massachusetts, January, 1970... Love was lost in the storm of war politics, *****, drugs, and grief.  His brother was a priest and chaplain, killed in Vietnam.
Crystal lived alone in the cabin Ray had built for her. Ray had left long ago but she thought of him often and sometimes went to see him in the city. She was an artist and a dabbler in many fields. Her house was a kaleidoscope of stained glass windows and half finished art projects. It was built almost entirely of wood with a beautiful stairway to a loft bedroom replete with a skylight window on the stars. Set in the mouth of a valley next to a clear stream the cabin looked almost as if it had grown there.

Crystal spent most of her time on her art projects, in fact she made her living that way. She was well known for the macabre nature of her works and they sold well at the local art fairs. Most of the scenes she painted could not possibly have existed on earth. Take for example the orange sky and purple mountains of Mariners Delight or the river of blood in Cosmic Conception.

Often Crystal would meet Ray at the art shows and they would discuss his books or her latest works. It was just such an occasion that preceded the first of her dreams.

Although Crystal had often dreamt of playing in a large meadow surrounded by reflections of her art work this dream had been different. She awoke from a scene in the woods where she had been the object of a grotesque conclave of creatures almost beyond description. There had been a huge goat like creature leading a chant, "Rada nema nestos Yreba, Rada nema nestos Yreba", for a group of creatures that resembled animals. There was a black toad sitting on a rock of seemingly impossible crystalline form, while an agile spider danced on the spokes of its luminous web above her. The smell of blood, the heat of the fire, and the constant and oppressive chant, "Rada nema nestos Yreba, Rada nema nestos Yreba" with all eyes directed at her. She woke with a start, it was early morning, her bed was a tangled mess, and she was covered with sweat. She felt she could almost smell wood smoke, and somewhere in her mind she could still hear the echos of the horrible chant.

It wasn't until almost a year later that the dream repeated itself. She had just completed what she considered her greatest work, a large mural like painting called Id Conclusion. It was a matrix of human forms in contorted and deformed conditions against a backdrop of misty images of human holocaust, war machines, and atomic clouds. She had gone to bed in a storm of thoughts on human depravation and greed. The scene was the same, the spider, the goat, the half human animals, all seemed the same, except for the chant, it was different. "Rada nema nestos Yreba, Raga mantra nestos reale, Yreba Yreba Shiva kommt da." Lightening cracked and a creature appeared. He seemed a man but was built more like a large monkey. Light seemed to follow him like an aura. He was the obvious master of the conclave and all stood back at his approach.

Crystal was lying on the stone altar in the center of the glade and although not bound she was incapable of motion while held in Yreba's gaze. That this creature was Yreba was obvious since all had bowed down now and the chant had changed, "Yreba Yreba teach us to grow." Crystals eyes were glazed and her naked body shown in Yreba's light. All her past works were floating across her mind like a collage. Lost in ecstasy she responded to his aggression like a wanton beast, screaming and writhing in the flow of his energy.

She woke to find her cabin in shambles and she was lying in the center of the living room on the floor, she panicked and ran to her car, slammed it into gear, and sped off down the road.

Ray was sitting in his office at the University that morning when Crystal burst into the room. "Ray, Ray, I've had a dream, a horrible dream, it was, I was!" "Slow down Crystal! You've had a what?" said Ray. Crystal sat down in a ball of frenzy and continued.

About an hour later Crystal had finished her story. Ray spoke, "So you say this is only the second time you've had this dream. Tell me more about Yreba. Does he resemble any of your art works?" "No", she said, "He seemed a lot more like that creature you told me about that day we were discussing witchcraft. The one who was supposed to be the personification of ****** desire evoked for the *** ****** of the ancient Persians."

Ray walked to his bookshelves (he was a professor of ancient mythology and religions) and pulled out a book called Necromancer by Abdule Azerod. "As I recall" he said "that creature was also a god of fertility." He thumbed slowly through the book, "yes, here it is. What did you say this creatures name was? Yreba? Very strange that's almost exactly this Persian deities name, Youruba. It seems he was evoked every year on the vernal equinox to assure ****** reproductivity and if you think thats frightening, feature this, last night was the vernal equinox." Crystal was stunned. "Do you think there's a connection" she stammered? "Don't be silly girl, this was seven thousand years ago. Why don't we drive out to your cabin and see if we can find some clues."

Twenty minutes later they were standing in Crystal's cabin. What had seemed so disorderly to Crystal in the morning was now clearly a purposeful state of order. All of her sculptures were arranged neatly on the stairs to the loft, and her pictures were arranged so as to face the spot on the floor where she had awakened. On the floor where she had lain was a large five pointed star. "What does it mean Ray?" "I think it's a pentagram" he stated. "Is anything missing?" "Not that I can see" she said. "I don't think we had better stay" he said, "Find what you need and we'll go back to my house. You can stay there until we figure it out."

Crystal never returned to the cabin. Ray sold it for her and bought her a new house in the city.

Crystal got sick a few weeks later. She was sitting in the doctors office now awaiting his return. "I have good news" he said. "Good news" Crystal groaned. "Yes" he said, "Your pregnant."
I named my bird dog Yreba, I'm in so much trouble!
Coleen Mzarriz Dec 2022
The slit between the roof and the abandoned house gets me—the moon drowns in his own mystical clouds, wavering and so full of light.

I squint my eyes as the moon hides his presence from me. Almost knowing I had captured it with my own eyes and the grey clouds scattered like waves, consuming my breath and taking it away.

He knows it still haunts me from time to time and he gave his best to give me an embrace—even when my very own existence is running cold and dry and my breath thickens with the mist of unwavering thoughts coming from the night and the stars twinkle at the sight of people looking at them—like a mirrorball entertaining strangers from the club and they shine in their spot. Even when I close my eyes, the moon peaks in its stillness. All the poets used him as their muse, radiating this mellow one could think of when the sun sleeps in her slumber. The poets had perfectly described him in thousands of words and painted him over the mural where I can see him directly and the strangeness of him calms the raging waters in me.

Even when peace is quite chaotic and chaos is peaceful, a trap between the slit on the roof and the abandoned house, squinting my eyes as the moon hides his presence from me. And she haunts me as the sun begins to show herself in ways I am blinded by her light.

In some ways, she shines even when it is night.
In a way, she looks over the moon when he wakes up from his slumber.
In a way, the stars and clouds enveloped her with the warmness of their breath.
In some ways, I couldn’t look at her for too long.
In some ways, I am silenced by her beauty.
Wrote this around October and as I’m scrolling through my notes, I found this. Glad I still have this poem.
I look at my wall,
It speaks no colour.
Bare,
Empty,
Since the season of summer.

Your soul left,
And I,
Left too.
But an idea
Came to me,
One lazy afternoon.

I looked at my supplies,
That were almost decaying.
I opened them gently,
And soon began painting.

Your favourite colours cascading
Yellow, green and blue.
The wall began drying,
As my tears did too.

For this mural,
Is sacred,
And I,
Am now feeling.
As another sun rises,
My heart welcomes healing.
This poem is a story poem about healing from a loss and making a beautiful memory of that person. I hope you all enjoy !
Fled foam underneath us, and round us, a wandering and milky smoke,
High as the Saddle-girth, covering away from our glances the tide;
And those that fled, and that followed, from the foam-pale distance broke;
The immortal desire of Immortals we saw in their faces, and sighed.

I mused on the chase with the Fenians, and Bran, Sceolan, Lomair,
And never a song sang Niamh, and over my finger-tips
Came now the sliding of tears and sweeping of mist-cold hair,
And now the warmth of sighs, and after the quiver of lips.

Were we days long or hours long in riding, when, rolled in a grisly peace,
An isle lay level before us, with dripping hazel and oak?
And we stood on a sea's edge we saw not; for whiter than new-washed fleece
Fled foam underneath us, and round us, a wandering and milky smoke.

And we rode on the plains of the sea's edge; the sea's edge barren and grey,
Grey sand on the green of the grasses and over the dripping trees,
Dripping and doubling landward, as though they would hasten away,
Like an army of old men longing for rest from the moan of the seas.

But the trees grew taller and closer, immense in their wrinkling bark;
Dropping; a murmurous dropping; old silence and that one sound;
For no live creatures lived there, no weasels moved in the dark:
Long sighs arose in our spirits, beneath us bubbled the ground.

And the ears of the horse went sinking away in the hollow night,
For, as drift from a sailor slow drowning the gleams of the world and the sun,
Ceased on our hands and our faces, on hazel and oak leaf, the light,
And the stars were blotted above us, and the whole of the world was one.

Till the horse gave a whinny; for, cumbrous with stems of the hazel and oak,
A valley flowed down from his hoofs, and there in the long grass lay,
Under the starlight and shadow, a monstrous slumbering folk,
Their naked and gleaming bodies poured out and heaped in the way.

And by them were arrow and war-axe, arrow and shield and blade;
And dew-blanched horns, in whose hollow a child of three years old
Could sleep on a couch of rushes, and all inwrought and inlaid,
And more comely than man can make them with bronze and silver and gold.

And each of the huge white creatures was huger than fourscore men;
The tops of their ears were feathered, their hands were the claws of birds,
And, shaking the plumes of the grasses and the leaves of the mural glen,
The breathing came from those bodies, long warless, grown whiter than curds.

The wood was so Spacious above them, that He who has stars for His flocks
Could ****** the leaves with His fingers, nor go from His dew-cumbered skies;
So long were they sleeping, the owls had builded their nests in their locks,
Filling the fibrous dimness with long generations of eyes.

And over the limbs and the valley the slow owls wandered and came,
Now in a place of star-fire, and now in a shadow-place wide;
And the chief of the huge white creatures, his knees in the soft star-flame,
Lay loose in a place of shadow:  we drew the reins by his side.

Golden the nails of his bird-clawS, flung loosely along the dim ground;
In one was a branch soft-shining with bells more many than sighs
In midst of an old man's *****; owls ruffling and pacing around
Sidled their bodies against him, filling the shade with their eyes.

And my gaze was thronged with the sleepers; no, not since the world began,
In realms where the handsome were many, nor in glamours by demons flung,
Have faces alive with such beauty been known to the salt eye of man,
Yet weary with passions that faded when the sevenfold seas were young.

And I gazed on the bell-branch, sleep's forebear, far sung by the Sennachies.
I saw how those slumbererS, grown weary, there camping in grasses deep,
Of wars with the wide world and pacing the shores of the wandering seas,
Laid hands on the bell-branch and swayed it, and fed of unhuman sleep.

Snatching the horn of Niamh, I blew a long lingering note.
Came sound from those monstrous sleepers, a sound like the stirring of flies.
He, shaking the fold of his lips, and heaving the pillar of his throat,
Watched me with mournful wonder out of the wells of his eyes.

I cried, 'Come out of the shadow, king of the nails of gold!
And tell of your goodly household and the goodly works of your hands,
That we may muse in the starlight and talk of the battles of old;
Your questioner, Oisin, is worthy, he comes from the ****** lands.'

Half open his eyes were, and held me, dull with the smoke of their dreams;
His lips moved slowly in answer, no answer out of them came;
Then he swayed in his fingers the bell-branch, slow dropping a sound in faint streams
Softer than snow-flakes in April and piercing the marrow like flame.

Wrapt in the wave of that music, with weariness more than of earth,
The moil of my centuries filled me; and gone like a sea-covered stone
Were the memories of the whole of my sorrow and the memories of the whole of my mirth,
And a softness came from the starlight and filled me full to the bone.

In the roots of the grasses, the sorrels, I laid my body as low;
And the pearl-pale Niamh lay by me, her brow on the midst of my breast;
And the horse was gone in the distance, and years after years 'gan flow;
Square leaves of the ivy moved over us, binding us down to our rest.

And, man of the many white croziers, a century there I forgot
How the fetlocks drip blocd in the battle, when the fallen on fallen lie rolled;
How the falconer follows the falcon in the weeds of the heron's plot,
And the name of the demon whose hammer made Conchubar's sword-blade of old.

And, man of the many white croziers, a century there I forgot
That the spear-shaft is made out of ashwood, the shield out of osier and hide;
How the hammers spring on the anvil, on the spearhead's burning spot;
How the slow, blue-eyed oxen of Finn low sadly at evening tide.

But in dreams, mild man of the croziers, driving the dust with their throngs,
Moved round me, of ****** or landsmen, all who are winter tales;
Came by me the kings of the Red Branch, with roaring of laughter and songs,
Or moved as they moved once, love-making or piercing the tempest with sails.

Came Blanid, Mac Nessa, tall Fergus who feastward of old time slunk,
Cook Barach, the traitor; and warward, the spittle on his beard never dry,
Dark Balor, as old as a forest, car-borne, his mighty head sunk
Helpless, men lifting the lids of his weary and death making eye.

And by me, in soft red raiment, the Fenians moved in loud streams,
And Grania, walking and smiling, sewed with her needle of bone.
So lived I and lived not, so wrought I and wrought not, with creatures of dreams,
In a long iron sleep, as a fish in the water goes dumb as a stone.

At times our slumber was lightened.  When the sun was on silver or gold;
When brushed with the wings of the owls, in the dimness they love going by;
When a glow-worm was green on a grass-leaf, lured from his lair in the mould;
Half wakening, we lifted our eyelids, and gazed on the grass with a sigh.

So watched I when, man of the croziers, at the heel of a century fell,
Weak, in the midst of the meadow, from his miles in the midst of the air,
A starling like them that forgathered 'neath a moon waking white as a shell
When the Fenians made foray at morning with Bran, Sceolan, Lomair.

I awoke:  the strange horse without summons out of the distance ran,
Thrusting his nose to my shoulder; he knew in his ***** deep
That once more moved in my ***** the ancient sadness of man,
And that I would leave the Immortals, their dimness, their dews dropping sleep.

O, had you seen beautiful Niamh grow white as the waters are white,
Lord of the croziers, you even had lifted your hands and wept:
But, the bird in my fingers, I mounted, remembering alone that delight
Of twilight and slumber were gone, and that hoofs impatiently stept.

I died, 'O Niamh! O white one! if only a twelve-houred day,
I must gaze on the beard of Finn, and move where the old men and young
In the Fenians' dwellings of wattle lean on the chessboards and play,
Ah, sweet to me now were even bald Conan's slanderous tongue!

'Like me were some galley forsaken far off in Meridian isle,
Remembering its long-oared companions, sails turning to threadbare rags;
No more to crawl on the seas with long oars mile after mile,
But to be amid shooting of flies and flowering of rushes and flags.'

Their motionless eyeballs of spirits grown mild with mysterious thought,
Watched her those seamless faces from the valley's glimmering girth;
As she murmured, 'O wandering Oisin, the strength of the bell-branch is naught,
For there moves alive in your fingers the fluttering sadness of earth.

'Then go through the lands in the saddle and see what the mortals do,
And softly come to your Niamh over the tops of the tide;
But weep for your Niamh, O Oisin, weep; for if only your shoe
Brush lightly as haymouse earth's pebbles, you will come no more to my side.

'O flaming lion of the world, O when will you turn to your rest?'
I saw from a distant saddle; from the earth she made her moan:
'I would die like a small withered leaf in the autumn, for breast unto breast
We shall mingle no more, nor our gazes empty their sweetness lone

'In the isles of the farthest seas where only the spirits come.
Were the winds less soft than the breath of a pigeon who sleeps on her nest,
Nor lost in the star-fires and odours the sound of the sea's vague drum?
O flaming lion of the world, O when will you turn to your rest?'

The wailing grew distant; I rode by the woods of the wrinkling bark,
Where ever is murmurous dropping, old silence and that one sound;
For no live creatures live there, no weasels move in the dark:
In a reverie forgetful of all things, over the bubbling' ground.

And I rode by the plains of the sea's edge, where all is barren and grey,
Grey sand on the green of the grasses and over the dripping trees,
Dripping and doubling landward, as though they would hasten away',
Like an army of old men longing for rest from the moan of the seas.

And the winds made the sands on the sea's edge turning and turning go,
As my mind made the names of the Fenians.  Far from the hazel and oak,
I rode away on the surges, where, high aS the saddle-bow,
Fled foam underneath me, and round me, a wandering and milky smoke.

Long fled the foam-flakes around me, the winds fled out of the vast,
Snatching the bird in secret; nor knew I, embosomed apart,
When they froze the cloth on my body like armour riveted fast,
For Remembrance, lifting her leanness, keened in the gates of my heart.

Till, fattening the winds of the morning, an odour of new-mown hay
Came, and my forehead fell low, and my tears like berries fell down;
Later a sound came, half lost in the sound of a shore far away,
From the great grass-barnacle calling, and later the shore-weeds brown.

If I were as I once was, the strong hoofs crushing the sand and the shells,
Coming out of the sea as the dawn comes, a chaunt of love on my lips,
Not coughing, my head on my knees, and praying, and wroth with the bells,
I would leave no saint's head on his body from Rachlin to Bera of ships.

Making way from the kindling surges, I rode on a bridle-path
Much wondering to see upon all hands, of wattles and woodwork made,
Your bell-mounted churches, and guardless the sacred cairn and the mth,
And a small and a feeble populace stooping with mattock and *****,

Or weeding or ploughing with faces a-shining with much-toil wet;
While in this place and that place, with bodies unglorious, their chieftains stood,
Awaiting in patience the straw-death, croziered one, caught in your net:
Went the laughter of scorn from my mouth like the roaring of wind in a wood.

And before I went by them so huge and so speedy with eyes so bright,
Came after the hard gaze of youth, or an old man lifted his head:
And I rode and I rode, and I cried out, 'The Fenians hunt wolves in the night,
So sleep thee by daytime.' A voice cried, 'The Fenians a long time are dead.'

A whitebeard stood hushed on the pathway, the flesh of his face as dried grass,
And in folds round his eyes and his mouth, he sad as a child without milk-
And the dreams of the islands were gone, and I knew how men sorrow and pass,
And their hound, and their horse, and their love, and their eyes that glimmer like silk.

And wrapping my face in my hair, I murmured, 'In old age they ceased';
And my tears were larger than berries, and I murmured, 'Where white clouds lie spread
On Crevroe or broad Knockfefin, with many of old they feast
On the floors of the gods.' He cried, 'No, the gods a long time are dead.'

And lonely and longing for Niamh, I shivered and turned me about,
The heart in me longing to leap like a grasshopper into her heart;
I turned and rode to the westward, and followed the sea's old shout
Till I saw where Maeve lies sleeping till starlight and midnight part.

And there at the foot of the mountain, two carried a sack full of sand,
They bore it with staggering and sweating, but fell with their burden at length.
Leaning down from the gem-studded saddle, I flung it five yards with my hand,
With a sob for men waxing so weakly, a sob for the Fenians' old strength.

The rest you have heard of, O croziered man; how, when divided the girth,
I fell on the path, and the horse went away like a summer fly;
And my years three hundred fell on me, and I rose, and walked on the earth,
A creeping old man, full of sleep, with the spittle on his beard never dry'.

How the men of the sand-sack showed me a church with its belfry in air;
Sorry place, where for swing of the war-axe in my dim eyes the crozier gleams;
What place have Caoilte and Conan, and Bran, Sceolan, Lomair?
Speak, you too are old with your memories, an old man surrounded with dreams.

S.  Patrick. Where the flesh of the footsole clingeth on the burning stones is their place;
Where the demons whip them with wires on the burning stones of wide Hell,
Watching the blessed ones move far off, and the smile on God's face,
Between them a gateway of brass, and the howl of the angels who fell.

Oisin. Put the staff in my hands; for I go to the Fenians, O cleric, to chaunt
The war-songs that roused them of old; they will rise, making clouds with their Breath,
Innumerable, singing, exultant; the clay underneath them shall pant,
And demons be broken in pieces, and trampled beneath them in death.

And demons afraid in their darkness; deep horror of eyes and of wings,
Afraid, their ears on the earth laid, shall listen and rise up and weep;
Hearing the shaking of shields and the quiver of stretched bowstrings,
Hearing Hell loud with a murmur, as shouting and mocking we sweep.

We will tear out the flaming stones, and batter the gateway of brass
And enter, and none sayeth 'No' when there enters the strongly armed guest;
Make clean as a broom cleans, and march on as oxen move over young grass;
Then feast, making converse of wars, and of old wounds, and turn to our rest.

S.  Patrick. On the flaming stones, without refuge, the limbs of the Fenians are tost;
None war on the masters of Hell, who could break up the world in their rage;
But kneel and wear out the flags and pray for your soul that is lost
Through the demon love of its youth and its godless and passionate age.

Oisin. Ah me! to be Shaken with coughing and broken with old age and pain,
Without laughter, a show unto children, alone with remembrance and fear;
All emptied of purple hours as a beggar's cloak in the rain,
As a hay-**** out on the flood, or a wolf ****** under a weir.

It were sad to gaze on the blessed and no man I loved of old there;
I throw down the chain of small stones! when life in my body has ceased,
I will go to Caoilte, and Conan, and Bran, Sceolan, Lomair,
And dwell in the house of the Fenians, be they in flames or at feast.
stephannie Mar 2021
there stood a wall with little splashes of blue
and yellow and red and even black too
but their eyes almost bled, still no one's got a clue
with this much chaos, how should they grasp you?

barely complete, barely coherent
people acknowledged, but wondered what it meant
but those with great patience knew from the start
it's the lack and chaos that makes an art

winter snow fell twice the life of a tortoise
slowly, the colors started making a noise
highlighting its beauty, the sun gives it a kiss
today it made someone smile even during traffic

now perhaps it's okay to be puzzling at first
and lose them with the obscurity of your works
cause only one thing truly gives it meaning
that even with doubts, you never stop painting
to my best friend.
happy birthday, art.
ERR May 2012
Maktub saw the light at the end of his tunnel
It approached him with a barbaric screech
Doppler shifting to piercing, painful pitch
On the wrong side of tracks he watched the train charge past
In his new freedom, he explored the station
Wandering through the grimy halls by
Too-busy roaches scurrying from the bright
A burpy crumple lump sat propped against the wall
Reeking of sick and
Filth and dead liver
Maktub bought him a sandwich
And left it on his lap, with a dead president
On whose face he had jotted a blotted
Don’t drink me
The *** woke to this, and
Bless you friend, jaundiced beam
Bless you back, sir
Restored faith in (chances) chances

Some teens whizzed unpaying under turnstiles
On rolling boards, lying on their backs and holding bags
Maktub found them clever and pursued
In a secluded spot they made aerosol spray mural
Mischievous hands intricately crafted as cans blasted
Through their mist emerged a mighty orb of life
And in blackness round twinkled possible worlds
He admired their vandalism; art is everywhere, he thought
At sound of step the mural makers
Dashed, leaving colors and can
Maktub raised it, unfamiliar, and finished the wall with
We are one

Returning to his platform, he saw that more had gathered
And a strumming bard, milk eyed, fluttered notes with dancer’s grace
Her voice sent shivers down his spine and lifted him in spirals
I would recognize the
Song of God, he thought (and I know where he is)
The screeching came again, and Maktub
Leaned to watch, eager for his light
His train had come to take him home
He was calm
He was ready
Marge Redelicia Mar 2014
We are all mere dots in this vast mural:
too fickle and futile
to comprehend the complexities
of existing
where
everything is part of
a design so grand
that it stretches
before and beyond eternity,
a design so intricate
that it weaves together
strangers' destinies
and where
nothing is
contingent and coincidental
nothing is
random and accidental
nothing is
ever
too early or too late.
But
don't just use this as an excuse
to settle in your unfortunate state
because though everything is part
of this grand plan ordained,
our ultimate destiny
is to be something great.
Hannah Rose Feb 2018
I'm blending into these white walls
Silence to be heard
hands claw at my lips
Shredded skin
****** words spill

Stares
At the mural on the wall

— The End —