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The human sacrifices begin at noon. I must hurry to prepare the ruins.

Good: The pyramids retain their purity of line; the hieroglyphs balance out the skulls, more or less. Let us say, oh, two to one.

A Diego Rivera mural stretches from wall to wall of the Mayan ball court. (Are those blues really from nature?)

Heads will roll! I predict.

I need more coffee — any style. Bring me the big, steaming bowls of France that you must slurp two-handedly. Bring me the tiny espresso shots of Italy, bitter and inadequate, always calling for another cup.

Bring me café in an ornamental Mexican jar painted in bright ochres and reds. Set it on a geometrically designed serape with just a hint of purple on the fringe.

I will sop up the last drop of caffeine with my tortilla, while dining room tables multiply like serpents.

I must hurry. The sacrifices begin at noon.

Already, the humidity clings to my skin like a cheap cologne.

How stupid of me not to have worn a white linen suit, huaraches, and a Panama hat  (straw, of course).

In any case, I am the expert. My art criticism begins now.

Rivera’s human figures roll in a wave of revolutionary fervor: too rounded, too cherubic, too pastel. Industry, agriculture, fraternity, socialism. Hand me the hammer. But no bare *******, as in Delacroix’s Liberty Leading the People.

A careless oversight. ****** always adds a pleasant focal point to a painting.

Suddenly, bad news breaks. The sacrifices have been called off; the ballplayers  have converted to Communism. Viva la revolución!

                                                 + + +

Frida Kahlo twirls her mustache to match the flair of Salvador Dali’s.

Her heart flutters for the Spanish surrealist, who has bug-eyes only for Gala.

Kahlo deigns to paint his portrait, which turns out to be another of her
 self-portraits. So many selves. So many portraits.

This one sports ample ****** hair and a monkey on her shoulder, who leans across to eat the gardenia behind her right ear. Or is it a carnation? Ah, carnations only calcify into clichés. Let us call it a hibiscus, and be done with it.

(Still, are those lurid colors from nature?)

I must hurry. The exhibition will begin at 2 a.m., the hour when all the wine shops close, and the retablos disappear from the churches. No respect for authority after la revolución. Only the self, the self. Always the self.

Kahlo twists her mustache into a braid for her next self-portrait: Liberty Leading the Mexican People. She squeezes into an orthopedic corset, bare-breasted.

I pull out my droopy Dali watch to eye the time. The hands cross at midnight.

I must hurry. Yet Kahlo insists I sit.

She paints my portrait with a spike through my spine, a shattered pelvis, and partial paralysis of the legs. I can no longer walk a straight line.

She thinks I am she, in trousers. The self, the self. Always the self.

My moustache grows heavier than hers, however, and I painstakingly pluck out the unibrow.

But I adore her monkey, with his close-set eyes. He eats a carnation for penance each morning, then primps before the mirror. The self, the self. The primate self.

More bad news: Dali cancels the exhibition. He has been demoralized by the retablos, which radiate beauty in six dimensions: height, breadth, length and the omnipresence of the Holy Trinity.

A genuine milagro: The streets fill with gardenias and hibiscus. The Mayan ballplayers convert to Catholicism.

A white skeleton dances with Kahlo in the moonlight. He wears her leather-and-steel braces.

No matter. I am the art critic, and I declare all Mexican colors indigenous, naturalistic, and caffeinated. Then I turn out the dining room lights.

A starry, starry night. The humidity sinks into the cenote.

Tomorrow, I shall buy a monkey and teach it to paint. All colors from nature, of course.
This is an imaginative riff based on a trip to the Yucatan Peninsula. It's also a poem where the reader has to judge whether the speaker of the poem, the "I", is the author. I'll leave the answer to you. It helps to know the works and ****** portraits of Mexican muralist Diego Rivera, Mexican self-portraitist Frida Kahlo, who was impaled and had her pelvis shattered in a bus accident, and the Spanish Surrealist painter Salvador Dali. You can Google all of them.
Nishu Mathur Sep 2016
I coloured my world today
my hands smeared in pastels
canary yellows
ripe peaches and cardinal ochres
pink from a flamingo sunrise
a passionate cerise

Splashed
an array of feisty blues
a flamboyant turquoise
a topaz tango
a twinkling periwinkle

Streaked it with
beams of gold
contoured lilac smudges
lavender tipped edges
in custard pineapple floats

Splattered emeralds, toned pistachio
fern greens with swift finger strokes.

Tempered it with
muddy crusty earthy browns
rock coloured sandy mounds
reined in royal purple
the sensual blaze of a flaming sunset
the dark indigo of a gloaming sky
agate drops a few
a silver sliver of a crescent new

I coloured my world
with my eyes
my fingers,hands
my hues
....the way I wanted to
Craig Verlin Oct 2013
You find yourself alone at last
amongst the masses.
Out where the sunset sits
cross-legged in the sky,
staring downward through
the evening.
Such beautiful backdrop
for such ugly company,
all of it painted on canvas;
ochres, violets, varying
shades of autumn gray.
Find yourself bummed out
on the side of the curb,
sharing insults
with the passing traffic.
Even the devil has company,
but here you are alone,
sharing cigarettes and
cheap conversation with
the cement.

Night comes without urgency
and you are left in it;
bad breath and
a dense, colored
evening air that
burns the lungs
with coming winter.

The pub sign down the road
leans out from her window,
peering scornfully down
through her thick, iron grates.
Red and blue lights
blink disapproval against the pavement.
But maybe that rough pavement
can almost feel sweet
to the touch.
Maybe that rough pavement
can be soft; a woman's curve,
if you get it just right.
The old beer bottle
leans in and tells
you a terrible secret
before putting his cap
back on, strolling
off into that setting sun.
Skipping rocks
off an ocean of rubble
and asphalt
before they careen
into the grass.

Even the devil has company,
but sometimes it is
not so bad to be alone.
wordvango Nov 2014
I am always seeing the seasons changing
the hottest summer breeze fall leaves
cold winter snows spring roses
dawns and darkness
crimson ochres
grasses green drenching
clear drop rains, ice and cold,
turning reds and oranges fallen leaves
your eyes being the clearset
green of forests the scent
of wintergreen freshness of a lucky Irish lad on spartan turf seeing
his love. His four leaf (c)lover.
Cailey Duluoz Oct 2010
I drive home, slowly.
The trees lining the road look the way I feel:
Ambivalent.

Some of the leaves are brilliant
Shining he way this amber ring does
And some have flat warm tones
Like the ochres the shaman, in his trance,
Brushed onto the walls
Building a miracle at Lascaux.

The dead ones
Lay still
Until a big rig barrels by
And they fly up in circles
And settle back where they began-
They're shiftless, no better than you or me.
- From Terms of Endearment
A stallion pure and thorough bred
With sinewy limbs and a regal head
Entranced a maiden:  coy, fragile
Her naïveté peeking through her guile
The touch of skin on skin, ablaze
The arching back, the dreamy gaze
Oblivious to the world around
When hearts were lost and hearts were found
They rode around without a care
With hair afloat a back stripped bare
Through wind and water, sky and sand
They trod the depth and breadth of land
Love melding with the sunset's hues
With ochres, crimsons, lilacs, blues
She held him firm as 'e sprinted on
Her hands alive on 'is rippling brawn
Both breathless, panting, fit to drop
By a trove of aspen, came to stop
They laid down on the cooling grass
And watched the stars in heaven's pass.
The moments' magic, in their midst
Where gift of fate their presence kissed
The sound of stillness filled the air
To interject , neither could dare
In the conversations of the souls
No words suffice, nor phrases hold
Each secret there that instant shared
All love exchanged, and none was spared.

By the morning sun, came duty's hail
And both knew what devoirs entail
To be with each , although they longed
Of different earths, their loam belonged
They thought, they planned, they tried devise
But union came at a selfish price
In a firm embrace they held on tight
Accepting it was a time not right
And bravely to departure led
Through aching ******* good byes were said
A part of each, with the other sent
For a farewell isn't where love should end
So holding on their transformed heart
On the stage of life, resumed their part
And each then took their separate way
no matter what, wherever they stay
for rest of time, they had had that day
for rest of time, they had had that day!
Nishu Mathur Jul 2018
I coloured my world today
my hands smeared in pastels
canary yellows
ripe peaches and cardinal ochres
pink from a flamingo sunrise
a passionate cerise
Splashed
an array of feisty blues
a flamboyant turquoise
a topaz tango
a twinkling periwinkle
Streaked it with
gold
contoured lilac smudges
lavender tipped edges
in custard pineapple floats
splattered emeralds, toned pistachio
fern greens with swift finger strokes
Tempered it with
muddy crusty earthy browns
rock coloured sandy mounds
reined in royal purple
the sensual blaze of a flaming sunset
the dark indigo of a gloaming sky
agate drops a few
a silver sliver of a crescent new

I coloured my world
with my eyes
my fingers, hands
my hues
just the way I wanted to
An old poem
Henry Koskoff Nov 2017
alas, spring was a time of fakeness
and sally sneezed in sequences
everything swayed with breeze
on the brink of warm and cold were the colors
greens and yellows and ochres
that were pleasing those eyes
red, moist, sore
emblazoned by the dusty air
everything reproduced at a fast rate
au printemps, she remembered
bath absorbed
sally wandered
less direction now
her home near
too familiar now to be satisfying in any way
there she was
when she awoke at noon
Sam Jun 2018
Leaves fall in the space between
you and the truth
and me. Furious reds and bittersweet
ochres stain damp sidewalks and memories.

The cold and the dark conspired to ruin
this year. I let it collapse until I didn't,
and I wish I knew how
it worked itself out. But I don't.
it was a zillion degrees this week so I wrote a poem about cold weather.
wordvango Nov 2014
the sun reaches down into my corner that I am hiding in
ruined as senseless can be trembling cold yet feeling warmth of
Light, hiding in the corner, not yet fully seeing
the brightness the sun is offering. A fire is burning yet it pales
to the dark, I am used to. My vision needs re-igniting into life and hope and dreams so long dark, here. The clouds always gathering a shadow into my being from long lost souls, grey seems the   brightest part of time ticking,
pastels and ochres blues cram inside my tendons live a life so intimate  from dread and where I see Love gone with damning habit. Into the dawn of dark I dared to tread. Left all good: spite and doubt became my bed. My head  lies on bedrock my back aches.My companion is constant. In this dark head. Yet, the sun reaches.
Sona Lachina Sep 2019
Soon
Autumn's grand parade will clamor
      through the streets
Drumbeats
Chilly harvest of marching bands
      and hayrides
      The ebbing tides
of long days
Confetti blown from reluctant trees
Fluttering ochres and rocketing rubies
As nature lets the clock run out

Blow summer a sweet kiss goodbye --
cheryl love Nov 2014
Splash the prussian blue through clear H2O
A tiny touch of fresh lemon and wait for it to go
absolutely spectacular, mad as a hatter, wow.
The pigment disperses for all it is worth
The results are amazing like nothing on earth.
On a wet piece of watercolour paper taped down
drop from a wet paintbrush a touch of deep brown
Then add a nice bright shade of transparent ink
Anything from a scarlet to a permanent pink.
The scattering of colour is an explosion of rainbows
Browns, ochres and rouge combine into **** glows.
Drop any shade onto damp paper and another
and you will hav your mind blown away to some other
colour dimension.  It is addictive, best you have seen
Complimentary colours like the red and the green.
Try it and you will say wow.
onlylovepoetry Jul 2023
The Whether


you will like, love or hate this poem
it will be written, needs writing,
asks no permission from the author,
gives no quarter, it is the

whether of either or,
for ‘tis not in our hands, not in this domain,
for it’s ripped from my elemental being,
like it or not, was took and taken!


Even I, am without choice, this one of
singular changing moments in our lives,


when she speaks and:

the happenstance dominates, the errant word,

bullet kills, grimace or grin is its very own revel-nation,

when where truth smashes,

drips and a froze-moment is preserved without

artifice, mnemonic or devise, for it is both perma-

burnt and burnished with ochres, browning yellows,

when you spoke plainly words that sundered irretrievably,

un-remediable, destructing 

my first first principle,

a mathematical construct of

conceptional  constantcy


“I can no longer love you.”
July 2023
Vicki Kralapp Jul 2020
Along the well-worn winding path,
we made our way between the burnt sienna of early sumac,
their fuzzy heads brushing against our arms,
as we basked in the rich ambiance of fall.

The smell of autumn in the air, clean and warm,
shadows long and drawn out, in September’s Mannerist style,
painted dark on the ochres and greens of the landscape,
we played our way home from our long days of school.

Rich days of golden sun on my back, long and lazy;
cicadas buzzing, grasshoppers guiding us along our way.
Memories transport me to this simpler time and place;
when my heart was still young and filled with newness of life.
All poems copy write by Vicki Kralapp in July, 2020
alice Sep 25
Ten or twelve stills switch before me in a meagre few seconds
The pressure lessens in my right thumb.
The flash flood of memories ceases.
Now I'm gawking into the eyes - your eyes - in the centre of the display screen
But are they your eyes? I can't make sense of it.
Olives and ochres, I know the hue like I know the back of my hand.
Something's absent for it not to be you I’m clutching.

The lens hasn't been able to capture it all.
The momentary connection
When I see my reflection
Living, thriving in your eyes, inside of you, part of you
That binds us for as long as the Moon pulls in the tide,
A glimpse of my unbridled grin shining back at me in the darkness of your pupil.
Dark, yet bright. How could the bleakest black prove to be
My greatest light?
The real shadows reside far from here.
Ryan O'Leary Sep 2018
On, an over crowded street,
where light and darkness, never meet.

Where voices barter, to be heard,
From faces hidden, behind veil or beard.

Aroma’s, perfumes, pungent, smells,
Wafting forth, from wishing wells.

Coffee rooster's, wake up the souls,
Bazaars of ochres, in sun baked bowls.

Minaret's with nibs of lead,
Draw crescent moons, on skies, near red.

Seraglio point, which marks the horn,
Where Marmara, is Bosphorus born.

The sky Blue Mosque, mocks Mecca’s name,
Leaves no doubt, to which, bears fame.

Constantinople, or Istanbul,
No place, no name, can be as full.

Back we walk, by cheek, by jowl,
Eclipsed by fading light, in cowl.

No thoughts of dawn, no night yet come,
No curfew called, no quiet, but hum.

Of dreams, Alladin's, of wicks, of lamps,
Of Sesame, Pariah’s, tramps.

Sounds from far off citadels,
Of glamour, clammer, peal knell, toll, bells.

No sheep, no sleep, no counting herds,
No Mudlark talk, no listening nerds.

Romans, Greeks, have gone and come,
Left names on stones, Byzantium.

Where west, joins east, nigh one, the least,
by bridge, shake hands, by eyeful, Feast!
Sultan Tughra is the Hotel
we are staying at in Istanbul.
Google it.
The Fire Burns Aug 2017
Steel rail sections of rusty brown
create a steady heart like beat,
as iron wheels travel quickly
over the girder bridge.

Pale naked trees stand still,
despite the metallic music,
a final autumn leaf falls to the ground
dislodged by the smoking train's whistle.

Oranges and ochres and touches of green,
paint the day with brushstrokes of fall,
anonymous passer-bys, notice nothing
in their shadowed silhouetted existence.

— The End —