Submit your work, meet writers and drop the ads. Become a member
Alexander K Opicho
(Eldoret, Kenya;aopicho@yahoo.com)

Here is a toast for valentine
Valentine in all seasons perennial
Where angst of money for love  
Cradled utopian capitalism,
It is once again in the city of Omurate
In the south most parts of Ethiopia
On the borders of Kenya and Ethiopia
Where actually the river Ormo enters Lake Turkana,
There lived a pair of lovers
With overt compassion for one another
The male lover was an origin of Nyangtom,
A cattle rustling Nilotic kingdom
While the female lover was a descendant of King Solomon
The Jewish children which King Solomon aborted
Because their mother was an Ethiopian African
They now form substantial part of the Ethiopian population
Their clan is known as Amharic, they speak subverted Yiddish,
These lovers were good to one another
Sharing secrets and all other stuffs that go with love.

Both the lovers were fatherless
They had lost their fathers through early death
They only had the mothers, who were again sickly
Their mothers coughed a whole night with whoops
And when in the wee of the night, when temperatures go low
The mothers breathe with wheezing sound
Like peasant music from African violin,
They didn’t eat with good appetite
They always left irritating chunks on the plates,
But they all puked mucus from their mouths
And of course with a very sickening regularity.

The menace of sick mothers intervened with love freedom
Among the inter-compassionate lovers
They did not have time for real active love
I will not mention recurrent missing of ceremonies
Fetes that are bound to go with valentine day
The lovers were bored to their teeth
They don’t knew when gods will come to unyoke them.

Especially the male lover, was most perturbed
His mother looked sorriest
With a scrofulous look on her old aged African face
She looked like a forlorn erstwhile cattle rustler
She ever whined in pain like a trapped hyena
Her son the male lover even began apologizing
To the female lover for such environmental upsets
Hence an African proverb that;
No love is possible with impaired judgment.

One day in the wee of the night
With no electricity nor any source of light
Darkness engulfing each and every aspect of the city
Confirming the hinterland of Africa
The female lover woke up from the sleep
And she never heard the usual wheezing breathes
That her mother often made in such hours,
Feat of suspicion gripped her
She jumped out of her bed to where her mother was
On feeling her, she found her dead, cold like a black member
She was already past the rigor mortis stage of death process
African chilliness had frozen her like a poikilothermic creature.

She wept but not in the uproarious groan
In that instinctive Jewish shrewdness
She did not announce nor inform her lover of her mother’s death
She only washed and groomed the cadaver of her mother
She made a headscarf around the head of dead mother
She even placed reading glasses on her face
On her mother’s dead torso she wrapped a dress
The most expensive of all bought from Egypt,
In the same wee of the night
She carried cadaver of her mother on her shoulders
The way a poor Nigerian farmer would carry a stem of banana
And walked slowly by slowly for a distance of a hundred kilometers
Down ***** into Kenya towards the city of Todanyang in Turkana County
Todanyang was a busy city, but silent and minus people in the night
The king of this city was called Lapur the son of Turkanai
And the law that Lapur passed in this city was archaic
It was; an eye for an eye, a tooth for a tooth, a Jew for a Jew
A pokot for a pokot, a samburu for a samburu
It was simply the law with nothing else
Other than clauses of measure for measure
And clauses of *** for tat instantaneously administered,
On reaching the market she placed her mother standing
Being supported on a sign post at the bus stage
In pose similar to that of an early morning traveler,
She sat a side like a prowling spider awaiting foolish fly
They way an African ***** exposes its red ****
And when the hen comes to peck
It traps and closes the head of the hen
Deeper into its ****,
At that bus stage there was a hotel
Owned by a Rwandese refugee
From the foolish clan of the Hutu
He had ran away from the genocide
In his country, he was also the perpetrator
And thus he was a runaway from the law *** hotelier
His name was Chapuchapu, meaning the quick one,
When Chapuchapu opened the hotel for the early customers
The female lover walked into the hotel
With innocence on her face like all the Jews
She placed an order for two mugs of coffee
And two pieces of bread
When Chapuchapu had placed food on the table
The female lover shrewdly instructed Chapuchapu
To go and hold the hand of the woman standing at the sign post
To bring her into the hotel for morning tea,
Chapuchapu in his unsuspecting charisma
With a mad drive to make money that morning
He dashed out as instructed with his foolish notion
That the customer is the queen, which is not
He grapped the standing cadaver with force
On pulling her to come along
The cadaver tumbled down like a marionette
Everything falling away; headscarf and glasses
Chapuchapu was overtaken by awe
The female lover was watching
Like the big brother in the Orwellian satire, 1984.
When the cadaver of her mother fell
She came out of the hotel
Screaming like a hundred vehicles
Of St John Ambulance
And two hundred Kenyan vehicles of fire brigade
And three hundred Kenyan cash transfer vehicles,
She was accusing Chapuchapu for being careless
Careless in his work that he had killed her mother,
Swam of armed humanity in Turkana loinclothes
Began pouring in like waters of Nile into Mediterranean
Female lover improved the scale of her screaming
Chapuchapu like a heavyweight idiot was dumbfounded
Armed people came in their infinite
Finally king Lapur arrived on his royal donkey
That his foot soldiers had only rustled
From Samburu land a fortnight ago,
The presence of the king quelled the hullabaloo
The king asked to find out what had happened
Amid sops the female lover narrated how
Chapuchapu the hotelier had killed her mother
Through his careless helter skelter behaviour
The king sighed and shouted the judgment
To the mad crowd; an eye for a……….!?
The crowd responded back to the King
In a feat of amok value;
For an eye you mighty Lapur son  ofTurkanai,
The stones, kicks, jabs began rainning
In volleys on an innocent Chapuchapu
Amid shouts that **** him, he came here to **** people
The way he killed a thousand fold in Rwanda.

The sopping female lover requested the king
That his people wait a bit before they continue
Then the king waved to the people to stop
Chapuchapu was on the ground writhing in pain
When the King asked the female lover what was the concern
She requested for pay from Chapuchapu not people to **** him
Chapuchapu accepted to pay whatever the price that will be put
Female lover asked for everything in hundreds;
Carmel, money, Birr, sheep, goats, donkeys, cows
Name them all they were in hundreds
Chapuchapu and his family were saying yes to every demand
And they rushed to bring whatever was said
The payments exhausted Chapuchapu back to square zero
The female lover carried everything away
The cadaver of her mother on her shoulder
She disappeared into the forest
and buried her mother there.

When she arrived home she found the male lover
He looked at her overnight change in fortune in stupefaction
He didn’t believe his eyes, it was a dream
Sweetheart, where have you gotten all these?
Questioned the male lover
Sweetie darling there is market for dead women
At Todanyang in the Turkana County of Kenya
I killed my sickly mother and carried her cadaver
As a trade ware to Todanyang
Whatever I have that you are looking at is the proceed,
Can my mother fetch the same? Asked the male lover
Of course yes, even more
Given the Africanness of your mother
African cadavers fetch more than the Jewish ones
At Todanyang market,
The male lover was now overtaken
By strong urge for quick riches
Was not seeing it getting evening
That day for him was as long as a whole century
He was anxious and restless more tired of a sickly mother
When evening fell he was already ready with the butcherer’s tools
He didn’t have nerves to wait till the wee of the night
As early as eleven in the evening he axed his mother’s head
Into two chunks of human skull spilling the brains in stark horror
Blood streaming like a rivulet all over the house
The male lover was nonchalant to all these
He was in the full feat of determination
To **** and sell his mother to  get the proceeds
With which he could foot the bills of valentine day.

He stuffed the headless blood soaked torso
Of his mothers cadaver in the sisal bag
He threw it to his bag
And began going to Todanyang
The market for human dead bodies
He went half running and half walking
With regular whistling of his favourite poem;
Ode to my Jewish lover
He reached Todanyang in the wee of the night
No human being was in sight
All people had gone as it was late in the night
He then slept in the open with dead body of his mother
Stuffed in the sisal bag beside him
Wandering night dogs regularly disturbed him
As they came to bite at smelling curdled blood
But he always scared them away.
As per the male lover he overslept till five in the morning
But when he woke up he unhesitatingly began to shout
Advertising his ware of trade in foolish version;
Am selling, the body of my mother, I have killed,
I killed her myself, it is still fresh, come and buy,
I will give you’re a bargain price,

When the morning came
People began crowding around him
As he kept on shouting his advertisement
Also Lapur the king came
He was surprised with the situation,
He asked the male lover to confirm
Whatever he was shouting
The male lover vehemently confirmed,
Then the law of an eye for an eye
Effortlessly took its course
Lapur  ordered his people, in a glorious royal decree
To stone the male lover to death
And bury him away without ceremony
Along with his mother in the sisal bag
In the wasted cemetery of villains
The same way Pablo Neruda
Had to bury his dead dog behind the house,

On hearing the tidings
About what had befallen her lover
The female lover had to send out a long giggle
Coming deep from her heart with maximum joy
She took over the estate of the male lover
Combined with hers,
All the animals and everything she took,
She made her son the manager
The son whom she immaculately conceived
Without any nuptial experience in the usual Jewish style
And their wealth multiplied to vastness
And hence toxic valentine gave birth to capitalism
Cat Fiske May 2015
Poetry by Pablo Neruda is something I was just forced to read,
for english class,
and maybe I could enjoy his poem,
called Poetry,
if the soul less bodies around,
could mindlessly stop! saying;
"this is pointless,"
"his poem is about poetry because of the title,"
"his poem has no meaning,"
and If I could focus,
I would of known the meaning,
or at least found meaning in it,
besides the one my stupid classmates found,
"just another ****** forced assignment"
"we will never get the meaning of"
but I know the meaning of his poem now,
"It was about the struggle to write,
and understand poetry to start with,"
and in a room full of people,
who don't get poetry,
maybe they could of gotten something from this lesson,
but, "we will never get the meaning of a forced assignment,"
I just want to learn in school, unlike others, LOOK I LEARNED *** I LIKED THE TOPIC
Nirmalee Jun 2015
In what language does rain
                              fall over tormented cities?
                                      ~Pablo Neruda
My heart is too big
to hold god,
angels maybe,
dark-skinned,
with ragged clothes,
but not god.

Alone in His majesty,
it would be a waste of space,
and we should take care
to make of his gifts more than that.

Where are we to go
on Sundays
from now on, you ask?
Well, you could come to my house,
and I to yours. Or, if that won't do,

we'll build a house from the ground;
and it will be just a house, a house
without memory, without beatings
and cold stares.  Flowers
in all the windows, growing up,
blessed with restlessness.
Build in a very humble way
Its architecture redolent of Europe,
Plain and honest in structure,
The vestibule at the entrance
Replete with old hardbound books
Dust covering the jackets
In their agony of human oblivion,
Every section has shelves under lock
Only to be open on permitted access.

Located in the desert like an oases,
But the desert of readers not waters,
But like any other oasis, it is useful,
At most to the genuine users.

There are books and books all over,
Windows only open after adjustment,
You start at the door step with classics,
Indian, European, American and global classics,
I pumped into Leo Tolstoy at the first glance,
Finely juxtaposed; Anne Karenina after War and peace.

I opened war and peace and I chanced on Napoleon
Then thrill of intellect and bliss of art
Began flowing into my guts like a river
I kept on wandering why Leo Tolstoy
Never became a Christian sub religion,
To be added to the two testaments,
For it to begat the post-modern holy Bible.

My physical peregrination of the hand
Led me to a vase of rosy wine
Its intellectual whiff surpassing all,
The psalms of David and songs of songs
This was nothing but precious discovery;
A thousand Rubiyats of Omar Khayyam
The shoulder of wisdom and love of God
The hero of Sufism and demystifier of heaven,
When in fact I came unto his 69th Rubiyat;
I have heard people say
that those who love wine are ******.
That can't be true, that clearly is a lie.
For if lovers of wine and love are bound for hell,
heaven would be quite empty!

I chewed and chewed fortune out of Rubiyats,
I went through all the thousand Rubiyats,
Only hot Sun and desert sand storms of Lodwar
Are my witnesses among the myriads of bystanders
As life of a reader is similar to the life a writer,
They both derive energy from solitude’s power.

I moved on again to Alfred Jarren
The son of France, the father of mystery;
Pataphysics the science of fantasy
It has the realm beyond metaphysics,
His survey of pataphorical world
Has remained witchcraft
Beyond my simple soul’s grasp.

Paradox is one other worldwide wonder
As I look at an illiterate Turkana Man,
Guarding the library, club in his hand,
His ever week from stubborn hunger,
His sires never go to school, perhaps culture
I looked at him often in my pause for muse,
Why guard knowledge that you can’t use?

I again came upon the Quran
I read it voraciously over and again,
In expectation of great knowledge
Always making Muslims to be noisy,
I have found nothing great in the Quran,
Only regular subversions of Biblical grammar,
Let Muslims sober up to respect Jesus Christ,
His sermon on the Mountain is perfectly enough
as an impeachment to crazed pataphoricals
That Muslims often dare the world with.

I read the Bible again in repetition
Of what I had did ten years ago,
I read psalms, Job and Isaiah,
Gospels and epistles are more nice,
Chronicles and Habakkuk are so dull,
Lamentations are somber poems,
Revelations are esoteric lies,
Kings and Samuel full of chauvinism,
Proverbs and Ecclesiastes are mere clichés
My idea is; mankind can fear God
Minus Jewish intervention.

Now I chanced upon The synagogue of Satan,
A book written by one other crazy American,
His name is Andrew Hitchcock Crichton,
The book is long and spellbinding,
Having historical facts from early centuries,
Chronicling mysterious growth of Jewish empire,
Arranging facts one after another
Dismissing Bush’s anger against Arabs,
Over the bombing of the twin towers
When they are the Jews who Bombed America
As a decoy to induce American wrath,
Thus twin towers bombing was Jewish war ploy
To put Arabs into a rat’s corner.

I came across one funny book
Written by a Indian sage
Its title was Secrets of ***
From male perspective,
I don’t liked the book
For its prurient content,
But to my sad chagrin it was the most read
Its leaves were dog eared and use worn
I spied into the rumour about its tearing,
T it was a hot cake among nuns and priests
Presently living at Lodwar cathedral.

You could also wonder my dear brother
Why a Christian library has works of Marx?
This was my muse as I read Karl Marx,
I mean everything written by Karl Marx,
From Das Kapita to Germany Philosophy,
Selected works to Poverty of philosophy,
18th Brumaire to Integral calculus,
The Manifesto to the letters,
I read Karl Marx as if I was in Russia,
I wondered why Catholics are Liberal
They fear not those who contradict them.

The Holy Grail is visibly placed
In fact at right hand corner,
At the far end on your entrance
I chose to read it
Because of its voluminousity,
The book is about ****** life
Of Jesus Christ and Mary Magdalene,
This book shares out that;
One time Jesus was found hiding,
Kissing Mary Magdalene, the Grail
In the most affectionate manner ever.

The catholic Library at Lodwar is bad news
It swallowed me like waters of Indian Ocean,
It is located at place called Lokiriama,
It was established by Bishop Mahoni
One other man deserving my respect
He was humble and catholically wise,
Very intelligent and consciously bookish,
His mission was to make the Turkana people
A modern community, but he failed,
He was so disappointed to his hilt
He transferred to the Archdioceses of New-York
Where he began facing problems of the law
On allegations of him being a *******,
I curse the devil for such temptations.

I did meet Yan Martel in this dome of books
His famous book; Life of Mr. Pi
It was my eye opener?
It transformed me from a village bumpkin
To a modern reader of global literature,
I read this book amid my fear of Tigre
But I was thrilled, to my bone marrow
When the main character drunk the blood,
Warm salty blood of the sea turtle.

I got another book with folded pages,
At its mid was the red book marker
Baring the name of the respected priest,
The book was entitled; How to excel as
A ****-******, chapter one focused on gays
Chapter two  focused on lesbians,
But the rest of the book was all homosexuality,
In nothing else, but rosiest terms.

On such encounters I once again went back,
To re-read 89th Rubiyat of Omar Khayyam
It has the following quatrain to echo;
Looking for peace on earth? Foolishness.
Believing in eternal calm? Foolishness.
Once dead your sleep will be short. You may
be reborn as a clump of weeds that will be
trodden underfoot, or as a flower that
will wither in the sun's heat.

African writers were stuffed on one shelve
Labeled African books of English expressions,
But on my request to the project manager,
His name was Peter Kebo, he was Flamboyant
And physically indifferent to Turkana poverty,
We agreed with him to rename the shelves
As; African literature in English Language,
Nobel Laureates are in this section;
Soyinka, Lessing, Coatze and Gordimer
Not forgetting the Egyptian literary tiger
In the name of Mahfouz or Maguiz
I clearly don’t know,
Sembene Ousmane is also here
I read him again for the fourth time,
It’s when I found out the simple truth,
That God’s bits of wood, translates as;
The wretched of the earth,
I read Lessing’s Grass is singing,
She likes ***,
I read Gordimer’s July’s people,
She likes menstrual blood,
I read everything here
As published by James Currey
In his Africa writes back,
I also read the White African Nobelite
Joshua Maxwell Coetzee
He is a wizard of Narrative literature,
I read his life of Mr. K.
I found amusing plots and amusing themes,
I also read Ngugi’s Wizard of the Crow
It is nice; Ngugi is still fighting dictatorship,
Not physically but in a metaphysical manner.

I was again lucky enough
To chance on Caribbean literature,
Is when I read Vitian S Naipaul
The humourist Marxist of Marxists,
I read his Mr. Biswas’s house,
With avidness of an aphrodisiac cur,
His characters like taking a long time
In the toilets, Naipaul is good,
I again chanced on George Flamming
In the Castle of my skin
Caribbean literature stinks of slavery
And counter-slavery.

My landing to the shelve of Latin America,
Was a total blessing; Gabriel Garcia Marquez
Stood out like tor of literature among others,
I began with his Big Maria’s Funeral,
Then I moved on to Love in Times of Cholera,
And then You Can’t Write to the Colonel,
As I spiced my intellect with Melancholic *****,
Then finally I revisited his Stories from Africa
And the Hundred Years of Solitude,
The following morning when I came back,
I read in the newspaper that;
Gabriel Garcia Marquez is dead!
It was sad and poor of me, I mourned him
With long essays and somber poetry,
Then I fell in love with the literatures
of Spanish origin in language sense,
I read Octavio Paz and Pablo Neruda
From Octavio I enjoyed coda,
Between Coming and Going and so on,
Neruda thrilled me with his sense of Marx
Especially his poem; on burying the dog.

European classics section arrested me
I never easily moved out of there,
I chanced on ****** and annals of Goebbels,
Reading Russians like Tolstoy,Chenkov,
Gorky, Gogol and Shelynetsyn was lively,
Chewing Shakespeare from cover to cover
Not spearing Pushkin nor Homer,
Victor Hugo was a relish. Emile Zola
And Maugham, I too enjoyed…

Then my holiday in Lodwar was finally over,
But I am soon going back for my Xmas,
I will directly go back to the European section,
I also remember having come by;
The Satanic Verses of Salman Rushdie,
I will have to  re-read it with passion,
It is my prayer that this time comes
For I to resume my holy duty
In the Catholic Library at Lokiriama
In Lodwar Dioceses of Turkana County
In the Savannah desert in North West
Regions of my country Kenya.
Mateuš Conrad Oct 2016
civilisation abhors thought that it cannot vocalise,
and therefore monitise - it abhors it! it vilifies such
thinking as a form of mental  illness, or something akin
to such a statement; talk to any psychiatrist
and he'll tell you that psychiatry is, quiete frankly:
a variation of demonology - shadow people -
the "retards" everyone is quickly to defend
but easily strap into death-rollercoster rides
and the famous bon voyage adieu salute!
civilisation stamps it down, as i already said, abhors it,
whenever cancer is involved is a hellraising
fundraiser moment... come the sickness of the mind?
or the abstracted brain: we have parasite,
tapeworm people.
     and all because of our own cause in having created
the skivvy like residuals to brush under the
carpet of what's otherwise glitter:
   people who are without narrative:
                    without the marathon fundraiser public:
a macho personification of how to abuse
state authority but never wishing to do so:
but nonetheless being punished for it.

the central figure? fiction isn't written these days,
take a break, come back later.
        if you can't be honest now: you will never
be honest in a hundred years: forget it!
but you know what i find? sniffer dog that i am:
i find people like *Faustino Barrientos

a.k.a. not Pablo Neruda - and god i'm jealous,
there's this pristine exemplified variant of Adam
and i'm petrified with jealousy at
his 45 years of solitude in Chile -
               i'm mad by it,
why? because the so-called civilised world has
literally cut off all my limbs to embody such
a life: my grandfather and my father lived
under the laws of conscription auto-suggested
by the rubric of social preliminary bulletpoints:
i'm jealous of them too!
              i'm an Auschwitz shaven bearded
"thinker", no good to society that needs rigour
of appearing nice and selling bull's *******:
i wish i was (most of the time),
       i got a chemistry degree and was told to
work in a supermarket... there goes my love for
learning:
                i am, evidently, a pseudo-hermit,
self-imposed isolation but still seeing people:
or as i like to call them: ghosts - in close
proximity; now, if ever anti-social behaviour went
on unpunished, i'd be a gladdened example
of such feralness.
                    oddly enough, atheists are cultured
creatures,
                 but, not oddly enough: they have
nothing enabling them with self-preservation;
the argument goes along the lines of self- (hyphen
opening necessary)... as a prescribed form of
automation... in a variety of guises:
         this hermit from Chile has nothing of this
sort, he simply has a godly competence of
the environment, someone like Christopher Hitchens
can walk into a crowded space and give you
theological nausea -
              because could you find enough whiskey
metabolism while shearing sheep and
milking cows? no! atheism is a placebo of what
is otherwise an individualistic stance of
being an individual within a herd -
and what an almighty cold turkey experience we've
been given after Nietzsche killed god:
we're going cold turkey -
               we're theologically cold turkey -
we are still living in rehab, bad move to do it
so quickly: history on amphetamines sort of speak...
             a dichotomy of priestly attire
and politicians all suited tied and booted as
the grey matter: where are the ******* rainbows?
hence the persistence to relapse into hippy,
while adolescence succumbs to nothing more than
a medical circus frenzy: of nature's own:
                          getting rid of the weakest like
one might throw out an out-of-date yoghurt.
  all good and well with that montage of atheism
being the zeitgeist fashion statement -
    but there is no atheism outside of the civilised world:
there's the purity of the self-        automation:
or adaptability to the environment -
only once congregated there was the imposed:
the non-existence of.
                      because it was trendy to speak like that,
we established a cohabitating necessity as
a species and then tried to fake that necessity by
differentiating with enough intellectual sweat to
distance ourselves with a counter-argument:
i.e. not self-   as in automation because of the ever
changing weather and organic octopus auxiliary attachments
for the worth of grit:
                     but a self-    (unit of automation)
   to fill the world with an almost inaccessible
perpetuation of the narrative - but this civilised self-
                 as variant of automation
toward self-sufficiency and independence is completely
lacking in the civilised world!
     we treat people like ****! waiter! cashiers!
                     bus drivers!
         i endear you to think that in the collective of
what's known as the civilised world: the hermit does not,
exist! there is no self- to speak of,
               try milking a cow or lumbering along with Jack:
it ain't there! we're a bankruptcy in terms of limbs!
        well sure: i write, and immediately i'm
in a mess because i like to study -
     which means poetry or poetry aspiring to
philosophy is inherently useless... so is civilisation!
   tribalism has no need for money: because it
has community: cannibalistic or not... is still has
a collective need to survive - unless of course you
remember the civilised world and all those
experimental fetishes to get you starcast with a moovie.
so this Chilean guy, 40 years a hermit,
     and then this article in the Sunday Times
news review section: driven to distraction -
             and my notes as graffiti after reading it:
we are a second behind goldfish online (8 seconds
with cat videos) - goldfish are 9 seconds into
watching bubbles, and then creative dementia
     doing the plateau incremental snap: re re re.
the god does not exist argument is founded on
a banking system: it's the most viable way to make
an argument that provides wages -
          no other reason for it,
or: as according to the Chilean nomad Faustino
Barrientos
, begin with the self- unit
                of self-determination and sustenance:
otherwise don't bother arguing that sort of argument
without undermining the collective Disney index
of the people: who are incompetent at ruling themselves
then they congregate to give birth to a Picasso,
end of!
              so just because i studied the sciences i can't
be persuaded to an ulterior version of humanism:
i swear, Kant said that there was nothing nobler than
to concern yourself with god... or an argument for
such a being... maybe i'm misreading things:
after all... it's not all that fashionable to say such things:
because never was sane sensibility akin to Jane Austen
for ******* despicable as to read Jane Eyre.
              well sure, i have my "furthering" notes,
from the trenches of the devil's sulphuring *******...
         again: that statement "god is dead"?
is effectively going cold turkey... shutting off all
the superstitious metabolism of the past: oh, 20 centuries.
   sure, the Anglo Renaissance came, Elvis too,
       but the repercussions of what we "experienced"
at the height of the latter part of the 20th century?
unreplicable, gone, dust, sniff the actual grey dust
death of ash... it's not coming back: here my pessimism
and valour in the name of comedy - realism
and the very mortal hand of the extinguished flame:
it's gone! done!
                and it ain't, coming back with a backlash of
infuriated rigour to keep afloat: or return to / replenish.
  it's gone!  mind you, Heath could also be
included in this ode that celebrates necessary
obscurity of the Chilean to my jealous fancy as having
perfected survival skills.
             but this cold turkey debacle over the death
of god penetrates former colonial, hence post-colonial
societies: it affects the youth.
                  it suggests a quickened pretense of
diminished responsibility within a framework of
the lack of all things "karmic":
sure, so history is without a continuum to ensure
there's transgression for every transcendence
and we all live in an Utopian scenario of
immovable mountains: maybe that's why we're
no longer writing history but historiography:
and there is a distinction:
the former is actually angling and fishing -
the other is counting the number of skiving salmon
dreaming of wings rather than gills out
of the river.
                     among the other observations?
or apathy without origin in blissful thinking,
statement A.
     can you imagine anything more apprehensively
digested that reaching the conclusion:
a- + -pathos (without pathology)
                                 can be interpreted negatively?
negative thinking prior to reaching the consolidation
that apathy is, well: most people treat that as
an abnormality.
                     (if i ever wrote a self-help book,
i'd write one like this).
              you go past bulimia, past self-harm,
past all the negative bull and reach a state of apathy,
a non-disconcerted attunement toward feeling:
but you have been chiseling with your thought
at all the unpardonable negativism of your
identifiable physiognomy from genealogical nuance:
you seem to want to replicate an ancestry -
your heart will not tell you to **** yourself:
but find enough automaton curriculum in your
thinking: and your own mind will slothfully entice
you with a thinking sidewinder that aims at the
guillotine, or the gallows.
                   and after all that negative thinking,
you reach apathy, or being without a pathology?
and you feel an emptiness?
             don't expect to be Nepalese -
your ancestry forbids it...
                        you didn't reach a Buddhist apathy,
you didn't start from a zenith: but from a nadir,
tattooed with so many pathologies:
to reach apathy you had to transcend them:
       this is the bit were i say, concerning your heart:
it's a bit like a Cartesian cogito ergo sum moment.
talking about going beyond:
ever think that foundation of ontology is grammatically
based, if not biased?
        i limit this question toward grammatical
categorisation of words...
      primarily? the usual questions:
why are we here?
                       how? (well, that's outdated
'cos we have all the answers and that leverages our
greatest dissatisfaction, even in terms of writing
a new version of Don Quixote, which we can't).
                i devalue grammatical categorisation
altogether, i don't believe in it,
            for example why is categorised as
both adverb and conjunction... to me synonyms
don't exist in grammar, why is therefore only
an adverb...
              how? also an adverb... (ad- + -verb
         toward an action) - thus toward the municipality
of professions: but that's not a moral question.
       why is also an int. (interjection) and n. (noun) -
all it takes is a missing h to completely it as a noun
(unless of course the Oxford dictionary is wrong,
and i'm not Shylock Holmes)...
             what i am focusing on is the word
is, which is grammatically categorised as a conjunction,
and so it is, and so that is, and so this is:
       that's a canvas for me: mirror mirror, on the wall:
who will the the fairest of them all once i stop
asking the question with rose petals in mind being
plucked in that fateful lottery?
                         i don't care why, i already have
a good enough estimate as to how...
                          i base my ontology (nature of being)
upon the is...
                        where there was jungle, there too is
another jungle made of concrete -
and i don't trust the Quran: it makes grammar too
inaccessible, too holy even,
             you tell me the naked truth of the grammar,
i'll put on a ******* Hijab and prance to the tune
of le trio joubran's song masar down a street:
the weeping man of Amsterdam, two German chefs
tripping out on mushrooms while watching
American Dad in a darkened hostel room,
   and an Egyptian architectural student i spent
the afternoon with; otherwise? don't bother.
      and it really is great how is can't be an adverb
and merely a conjunction (well, "merely"),
      there is nothing that requires is to be a limitation,
or a necessary morphing into: toward doing / being
something... everything just, is;
and if it wasn't for Shia Islam you'd get **** all Sufi...
maybe a Falafel kebab, but **** all apart from that.
                    of course i'd side with the ****** Iranians
on this matter...
                                i can't live without music,
for fare game to Faustino Barrientos, but i can't live
without music, and Wahabbism doesn't recognise
music:      never was hearing a camel hart or a
merchant burp or a woman ****** seem so appealing,
and worthy to fight for!
(italics for the sarcasm).
do you think that if i clap my hands for a year
i'll hear a minute's worth of Wagner?
                                         (snigger): probably not.
thePaigebook Nov 2012
Love Sonnet XVII by Pablo Neruda
I do not love you as if you were a salt rose, or topaz
or the arrow of carnations the fire shoots off.
I love you as certain dark things are to be loved,
in secret, between the shadow and the soul.

I love you as the plant that never blooms
but carries in itself the light of hidden flowers;
thanks to your love a certain solid fragrance,
risen from the earth, lives darkly in my body.

I love you without knowing how, or when, or from where.
I love you straightforwardly, without complexities or pride;
So I love you because I know no other way

than this: where I does not exist, nor you,
so close that your hand on my chest is my hand,
so close that your eyes close as I fall asleep.
In response to a sardonic essay written in the recent Saturday Nation by Proffessor Ekara Kabaji, wryly  disregarding the position of Kwani in the global literary movement within and without Kenya , I beg to be permitted a leeway  to observe that any literature, orature, music,drama,cyborature,prisnorature,wallorature,streetorature , sculptor  or painting can effortlessly thrive and off course it has been thriving without professors of  literature, but the reverse is not possible as a proffessor of literature cannot be when literature is not there. Facts in support of this position are bare and readily available in the history of world literature, why they may not be seen is perhaps the blurring effects from tor like protuberant irrelevance of professors of literature in a given literary civilization.
A starting point is that literature exists as a people’s subculture, it can be written or not written like the case of orature which survive as an educative and aesthetic value stored in the collective memory of the given people. The people to be pillars of this collectivity of the memory are not differentiated by academic ranking for superlativity of any reason, but they are simply a people of that place, that community, that time, that heritage, that era and that collective experience. Writing it down is an option, but novels and other written matter is not a sine qua non for existence of literature in such situations. This is not a bolekaja of literature as Proffessor Ekara Kabaji would readily put, but it is a stretch towards realism that it is only people’s condition that creates literature. Poverty, slavery, colonialism, ***, marriage, circumcision, migration, or any other conditions experienced as collective experience of the people is stored or even stowed away in the collective memory of the people as their literature. Literature does not come from idealistic imagination of an educated person.
Historical experience of written literature informs us that the good novels, prose, drama and poetry were written before human society had people known as professors of literature. I want you my dear reader and You-Tube audience to reflect on the Cantos of Dante Alighieri in Italy, novels of Geoffrey Chaucer in England, Herman Melville and his Moby **** in Americas, poetry of Omar khwarisim in Persia, Homeric epics of Odyssey in Greece and the Makonde sculptures of Africa and finally link your reflections to Romesh Tulsi who grafted the Indian epic poetry of Ramayana and Mahabharata. At least you must realize that in those days literature was good, full of charm, very aesthetic and superbly entertaining. This leads to a re-justification that, weapon of theory is not useful in literature. University taught theories of literature have helped not in the growth of literature as compared to the role played by folk culture.
Keen observation will lead you dear reader, down to revelations that; professors of literature squarely depend on the thespic work of the people who are not substantially educated to make a living. Let me share with you the story about Dr. Tom Odhiambo who went to University of Witwasterand in South Africa for post graduate studies in literature only to do his Doctoral research on books of David G Maillu. Maillu is a Kenyan writer, he did not finish his second year of secondary school education but he has been successfully writing poetry and prose for the past three decades. His successful romantic work is After 4.30, probably sarcasm against Kenyan office capitalism, while his eclectic, philosophical and scholarly work is the Broken Drum. Maillu has many other works on his name. But the point is that Dr. Odhiambo now teaches at University of Nairobi in the capacity of senior lecturer in Literature. What makes him to put food on the table is the effort of un-educated person in the name of David Maillu. Dr.Odhiambo himself has not written any book we can mention him for, apart from regular literary journalism he is often involved in on the platforms of the Literary discourse in the Kenyan Saturday Nation which are in turn regular Harangues and ripostes among literature teachers at the University of Nairobi, the likes of Dr Siundu, Proffessor wanjala Chris and Evans Mwangi just but to mention by not being oblivious to professors; Indangasi and Shitanda.
No study has yet been done to establish the role of university professors on growth of African literature. One is overdue. Results may be positive role on negative role, myself I contemplate negative role. Especially when I reflect on how the African literati reacted on the publication of Amos Tutuola’s book The Palm Wine Drinkard. The reactions were more disparaging than appreciative. Taban Lo Liyong reacted to this book by calling Amos Tutuola the son of Zinjathropus as well as taking a self styled intellectual responsibility in form of writing a more  schooled version of this book; Taking Wisdom up the Palm Tree. Nigerians of Igbo (Tutuola being a Yoruba) nation cowed from being associated with the book as it had shamefully broken English, broken grammar etc. Wole Soyinka had a blemished stand, but it is only Achebe who came out forthrightly to appreciate the book in its efforts to Africanize English for the purpose of African literature. Courtesy of Igbo wisdom. But in a nutshell, what had happened is that Amos Tutuola had taken a plunge to contribute towards written literature in Africa.
One more contemplated result from the research about professors and African literature can be that apart from their role of criticism, professors write very boring books. A ready point of reference is deliberate and reasonless obscurantism taken Wole Soyinka in all of his books, Soyinka’s books are difficult to understand, sombre, without humour and not capable to entertain an average reader. In fact Wole Soyinka has been writing for himself but not for the people. No common man can quote Soyinka the way Achebe’s Things Fall Apart is quoted. Achebe wrote Things Fall Apart when he had not began his graduate studies. However, he did not escape the obvious mistake of professors to become obscure in the Anthills of the Savanna, the book he wrote when he had become a proffessor. This is on a sharp contrast to entertaining effectiveness, simplicity and thematic diversity of Captain Elechi Amadi, Amadi who studied chemistry but not literature. He does not have a second degree, but his books from the Concubine, The great Ponds, and Sunset in the Biafra and Isibiru are as spellbinding as their counterparts in Russia.
Kenyan scenario has Ngugi wa Thiongio, he displayed eminence in his first two books; Weep not Child and The River Between. These ones he wrote when he was not yet educated, as he was still an undergraduate student at Makerere University. But later on Ngugi became a victim of prosaic socialism, an ideology that warped his literary imagination only to put him in a paradoxical situation as an African communist who works in America as an English teacher at Irvine University. His other outcrops are misuse of Mau Mau as a literary springboard and campaigning for use of Kikuyu dialect of the Gema languages to become literary Lingua Franca in Kenya. Such efforts of Ngugi are only a disservice to Kenyan literature in particular and African literature collectively. Ngugi having been a student of Caribbean literature has failed to borrow from global literary behaviour of Vitian S. Naipaul.  Ngugi’s position also contrasts sharply with Meja Mwangi whose urban folksy literature swollen with diversity in themes has remained spellbinding entertainers.
The world’s literary thirsty has never failed to get palatable quenching from the works of Harriet Bechetor Stowe, Robert Louis Stevenson, Shakespeare, Alice Munro, Octavio Paz, Pablo Neruda, John Steinbeck, Garcia Guarbriel Marguez,Salman Rushdie, Lenrie Peters, Cyprian Ekwenzi, Nikolai Gogol,I mean the list is as long as the road from Kaduna to Cape town. Contribution of these writers to global literature has been and is still critical. Literature could not be without them. Surprisingly, most of them are not trained in literature; they don’t have a diploma or a degree in literature, but some have won literature Nobel Prize and other prizes. Alfred Nobel himself the author of a classical novella, The Nemesis, does not have University education in literature. What else can we say apart from acceding to the truth that literature can blossom without professors, the Vis-à-vis an obvious and stark impossibility.
RIKKI Jan 2013
I stretch forward, elongating my neck, making the hairs that grow down onto my nape prickle,
envisioning
my true horse-nature.

I’m hooves clopping on river rocks. My mane combed to one side, my angular muzzle huffing.

I’m strong and sturdy – muscle and a soft steel kind of strength. And yet at the
whistle of a windblown reed,

I’m gone,
scattered and spooked.

I trace the angles that connect weakly on my rawboned face. Strong lines
never broken never snapped,
just shifted and sifted easily.

I stand before others, pulled loosely together, unsettled in my people-clothes.
Loyal – love me.
Wild – but not too tightly.

I sit for sketches  
sometimes hours sometimes minutes sometimes seconds sometimes months.

I look like a human,
solid to the fingertips of others pressing in – but  

I’m a ghost.

I’m burned by the red clay of a canyon wall, shiny from the sun. My sweat reflects ribbons of
wet diamonds
at the bottom of a cold, fast river.
what am I...
if the mere color of my skin
smears fear, suspicion and dread
in the heads of perfect strangers...?

what am I...
if I feel the need to
recede to a sanctuary within  
my very own black skin
allowing the familiar stranger
sharing the elevator
to exhale
and set  her bundle of apprehension,
perceived and imagined,
aside
for the ride...?

what am I...
if I instinctively
hide my black eyes
in the screens
of iphones and ipads
avoiding icontact when isolated
with nervous strangers
lest I inflate the balloon of anxiety
to panicked proportions....?

creating that space of comfort
for all nervous strangers in my life
becomes my obsession...

and I switch lanes
by night
crossing to the other side
of  streets with dim lights
lest I collide head-on
with trepidation personified
in the eyes of perfect strangers...

and I ditch the hoodie
for a crew neck sweater
by abercrombie and fitch
lest some slug with a 9mm gun
profile me as a ****
and defy order, rhyme and reason
to exercise his license to ****
in the still of a rainy night in florida
with no credible witness
in sight...

what am I...?

~ P
(7/18/2013)
Ston Poet Dec 2015
(***** I'm dreaming2),..***** I'm believing,.. I'm chasing hope & faith mane..I'm chasing my dreams, ***** I'm believing, I'm chasing (my goals & aspirations2)..***** I'm believing,***** I'm dreaming (Yeah2)..(***** I'm dreaming2)
Dreaming..***** I'm believing, ***** I'm dreaming.. Dreaming..I'm (having hope & faith2)..***** I'm believing.., (I'm having hope & faith2)..***** I'm dreaming, ***** I'm believing, (I'm having hope & faith2)..Yeah..(***** I'm dreaming2)..***** I'm believing, Im (dreaming2)..I'm chasing hope mane,..(I'm chasing my goals & aspirations2)//***** I'm dreaming, ***** I'm believing, I'm chasing (my goals & aspirations2)..Aye..(I'm dreaming3)..dreaming, ***** I'm believing , I'm chasing (my goals & aspirations3)..(***** I'm dreaming, my ***** I'm believing2)..(I'm chasing hope & faith 2)..mane,

I ain't chasing after fame, I ain't chasing none of these hos either,..(***** I'm dreaming
2)..***** I'm believing,..I'm dreaming, I'm chasing (my goals & aspirations3)..*****, I'm believing, ***** I'm dreaming, ***** (I'm believing2)..(Im dreaming3)..dreaming..,aye..I'm chasing, (my goals & aspirations3)..
Goals & Aspirations.. Aye

That's what I'm chasing after like a hungry cheetah, I never been a cheater, ***** Imma believer, a true believer, a King Yeah..Aye, I'm chasing my goals & aspirations, &( I'm speeding2) like,**** the laws I'm going past the speed limit, **** a stop sign, no braking, I'm in drive *****, Its so hard being patient, but I'm tryna be Aye, no time waiting  , no time waisting, none of my days  being wasted..Im so wavey..Aye, Yeah I'm getting so faded, so wasted, Lord please forgive me even , tho I smoke alot of **** on a regular basis, that's (my medication2)..& I need it, it helps me from going (crazy2)..,I ain't never had **** partner, I come from nothing, I ain't had alot of money at a point of time in my life , I was so broke my *****, all I ever had was my goals , dreams, & aspirations, Yeah I was dreaming, & believing, I was chasing after hope & faith.., not after no females mane,Aye..
Nobody can't tell me nothing paparazzi better stay away from my face, aye I ain't on that Kanye West **** I ain't selling my soul for a happy meal *****, In happy all ready, God owns me, So I'm investing in my own worth homie, Yeah..I'm building my on corporation..Aye man..

(***** I'm dreaming
2),..***** I'm believing,.. I'm chasing hope & faith mane..I'm chasing my dreams, ***** I'm believing, I'm chasing (my goals & aspirations2)..***** I'm believing,***** I'm dreaming (Yeah2)..(***** I'm dreaming2)
Dreaming..
I ain't chasing after fame, I ain't chasing none of these hos either,..(***** I'm dreaming
2)..***** I'm believing,..I'm dreaming, I'm chasing (my goals & aspirations3)..*****
Uhh,Yeah

/This is (only for the Real
3)..if you don't know well then now you know *****/3,..
Aye, if you don't know *****, then pull a chair up & listen, Turn this **** up & listen, Blaze one up, (& listen
2), pay attention..This is (Only For The Real2)..Aye
I'm teaching ****** lessons like a teacher *****, I didn't have to go to college to teach *****, but that doesn't mean I can't teach you *****, I was blessed wit this gift from God, thank you so much Heavenly Father, thank you so much Jesus Christ, Ayo we all can learn something from each other, we all sisters & brothers word, Uhh..
Let's come together, let's stand up to this curropted government system, rise up & destroy them..Uhh, Aye I usta be all alone man, so lonely stuck in my room writing hits all day, I been a big factor my *****, man I always been the man, Yeah..Uhh, I ain't conceited either my *****, I'm just saying I'm confident,.. (Yeah *****
2)..
I just been (chasing my dreams & aspirations2)..I write (masterpieces2) Pablo Picasso type of ****, if you don't know well now you know this is (Only For The Real2)..Aye,..

/Im chasing my goals & aspirations
2..(my goals & aspirations2)/2

(Aye, we all on3..)..now..we all on..now
(Aye, we all on
3..)..now..we all on..now

/Aye it doesn't matter what anybody gotta say about ya, forget a doubter let them hate man, if you dream it see it in yo mind, & believe it, then you can achieve it/2
**** right..my *****
if you dream it see it in yo mind, & believe it, then you can achieve it..for real dawg..Ayr


You can become anything that you want my ***** for real dawg, gotta push yo self, uplift yo self if nobody else will, chase after hope & faith, chase (your goals *2), chase (your dreams
2) & your aspirations, don't ever stop *****, Cuhz, (anything you put your mind too you can achieve it,2) Yeah mane, you can..Uhh

/***** I'm dreaming, I'm chasing hope & faith, I'm chasing my goals & aspirations/
3
(Goals & aspirations*3)..aye
POEMOCRACRY AND POEMOCRATS


Alexander   K   Opicho
(Eldoret, Kenya;aopicho@yahoo.com)

It is freedom of universal poetry
And the political democratic space
In the economic government of poetry
By the poetrizens for the poetrizens.
Ascription to which I get Faiz of Urdu a true poemocrat
The male mistress of poetry’s counter-narrative
To its extremism in the Nerudaistic poemocracy
Known in the West as the 'Neruda of Urdu poetry
Faiz wrote romantic lyrics with a different a touch
He fused it with contemporary social issues
Progressive Pakistanis have commemorated
His jolly and poemocratic 29th death anniversary
Faiz Ahmad Faiz, a progressive Pakistani poemocrat
Has inspired almost three generations of Pakistanis
He believe in secular and liberal values poemocratically
A proclaimed poemocratic Marxist Faiz received
The Lenin Peace Prize from the then Soviet Union in 1962
The poet was also involved in many political struggles
And was jailed by Pakistani rulers a number of times.

Good poetry can always be used as an agent for self- awareness
In terms of the poemocratic quality of his poetry
And his poetical expressions he is unparalleled
In the whole history of Urdu poemocracy.
His metaphors, the string of nouns that he uses,
The rhythm and the structure will never go stale
Faiz will remain relevant mostly because of his themes
- He wrote extensively about human misery,
Despair, squalor, Inequality and injustice
These are timeless democratic issues
These are universal issues and are not restricted
to a parochial nor Provencal  country or  group.

Good poetry can always be used as an agent for awareness,
But Faiz is more relevant in this context
Because he speaks in contemporary poemocratic idiom
But let me be clear that Faiz is exceptionally among the equals
Poemocratic like Meer, Ghalib and Hafiz make us open-minded
They make us appreciate and cherish the poemocratic diversity
And differences that we have in the world mother earth’s sire.




Faiz weeps over oppressive problems in Africa
And talks about the oppressive racism in Palestine issue.
Faiz’s poetry makes us feel the pain of others
Indeed Faiz's poetry serves the world a bonanza ever
As a counter-narrative to extreme Islamist ideologies
Faiz and Neruda both belonged to the poor World
The conditions he was dealing with during his life,
was The colonial hangover as it  was
Something Neruda also faced in his country.

Faiz talks about the concrete realities around him
And not only about some imaginative issues
This is also true of poemocratic Pablo Neruda
They both deal with real issues of bread and butter,
Of poverty, hunger, nakedness, jiggers, peace and security.
Not only are the sensibilities of the two poemocrats is ditto,
But also the socio-political fabrics they lived under
Kudos to German poetry and fiction
That always had good influence
On the poemocratic Urdu-Chilean literature
Soul literature has inspired countless Urdu writers and poets.
Its influence was starker during the 20th century
Faiz was not only inspired by soul writers and philosophers,
But also by praxis of poverty and agonies of diverse oppression.
Michael R Burch Oct 2020
Poems about Flight, Flying, Flights of Fancy, Kites, Leaves, Butterflies, Birds and Bees



Flight
by Michael R. Burch

It is the nature of loveliness to vanish
as butterfly wings, batting against nothingness
seek transcendence...

Originally published by Hibiscus (India)



Southern Icarus
by Michael R. Burch

Windborne, lover of heights,
unspooled from the truck’s wildly lurching embrace,
you climb, skittish kite...

What do you know of the world’s despair,
gliding in vast... solitariness... there,
so that all that remains is to
fall?

Only a little longer the wind invests its sighs;
you
stall,
spread-eagled, as the canvas snaps
and *****
its white rebellious wings,
and all
the houses watch with baffled eyes.



The Wonder Boys
by Michael R. Burch

(for Leslie Mellichamp, the late editor of The Lyric,
who was a friend and mentor to many poets, and
a fine poet in his own right)

The stars were always there, too-bright cliches:
scintillant truths the jaded world outgrew
as baffled poets winged keyed kites—amazed,
in dream of shocks that suddenly came true...

but came almost as static—background noise,
a song out of the cosmos no one hears,
or cares to hear. The poets, starstruck boys,
lay tuned in to their kite strings, saucer-eared.

They thought to feel the lightning’s brilliant sparks
electrify their nerves, their brains; the smoke
of words poured from their overheated hearts.
The kite string, knotted, made a nifty rope...

You will not find them here; they blew away—
in tumbling flight beyond nights’ stars. They clung
by fingertips to satellites. They strayed
too far to remain mortal. Elfin, young,

their words are with us still. Devout and fey,
they wink at us whenever skies are gray.

Originally published by The Lyric



American Eagle, Grounded
by Michael R. Burch

Her predatory eye,
the single feral iris,
scans.

Her raptor beak,
all jagged sharp-edged ******,
juts.

Her hard talon,
clenched in pinched expectation,
waits.

Her clipped wings,
preened against reality,
tremble.

Published as “Tremble” by The Lyric, Verses Magazine, Romantics Quarterly, Journeys, The Raintown Review, Poetic Ponderings, Poem Kingdom, The Fabric of a Vision, NPAC—Net Poetry and Art Competition, Poet’s Haven, Listening To The Birth Of Crystals (Anthology), Poetry Renewal, Inspirational Stories, Poetry Life & Times, MahMag (Iranian/Farsi), The Eclectic Muse (Canada)



Album
by Michael R. Burch

I caress them—trapped in brittle cellophane—
and I see how young they were, and how unwise;
and I remember their first flight—an old prop plane,
their blissful arc through alien blue skies...

And I touch them here through leaves which—tattered, frayed—
are also wings, but wings that never flew:
like insects’ wings—pinned, held. Here, time delayed,
their features never merged, remaining two...

And Grief, which lurked unseen beyond the lens
or in shadows where It crept on furtive claws
as It scritched Its way into their hearts, depends
on sorrows such as theirs, and works Its jaws...

and slavers for Its meat—those young, unwise,
who naively dare to dream, yet fail to see
how, lumbering sunward, Hope, ungainly, flies,
clutching to Her ruffled breast what must not be.



Springtime Prayer
by Michael R. Burch

They’ll have to grow like crazy,
the springtime baby geese,
if they’re to fly to balmier climes
when autumn dismembers the leaves...

And so I toss them loaves of bread,
then whisper an urgent prayer:
“Watch over these, my Angels,
if there’s anyone kind, up there.”

Originally published by The HyperTexts



Learning to Fly
by Michael R. Burch

We are learning to fly
every day...

learning to fly—
away, away...

O, love is not in the ephemeral flight,
but love, Love! is our destination—

graced land of eternal sunrise, radiant beyond night!
Let us bear one another up in our vast migration.



In the Whispering Night
by Michael R. Burch

for George King

In the whispering night, when the stars bend low
till the hills ignite to a shining flame,
when a shower of meteors streaks the sky
while the lilies sigh in their beds, for shame,
we must steal our souls, as they once were stolen,
and gather our vigor, and all our intent.
We must heave our bodies to some famished ocean
and laugh as they vanish, and never repent.
We must dance in the darkness as stars dance before us,
soar, Soar! through the night on a butterfly's breeze...
blown high, upward-yearning, twin spirits returning
to the heights of awareness from which we were seized.

Published by Songs of Innocence, Romantics Quarterly, The Chained Muse and Poetry Life & Times. This is a poem I wrote for my favorite college English teacher, George King, about poetic kinship, brotherhood and romantic flights of fancy.



For a Palestinian Child, with Butterflies
by Michael R. Burch

Where does the butterfly go
when lightning rails,
when thunder howls,
when hailstones scream,
when winter scowls,
when nights compound dark frosts with snow...
Where does the butterfly go?

Where does the rose hide its bloom
when night descends oblique and chill
beyond the capacity of moonlight to fill?
When the only relief's a banked fire's glow,
where does the butterfly go?

And where shall the spirit flee
when life is harsh, too harsh to face,
and hope is lost without a trace?
Oh, when the light of life runs low,
where does the butterfly go?

Published by Tucumcari Literary Review, Romantics Quarterly, Poetry Life & Times, Victorian Violet Press (where it was nominated for a “Best of the Net”), The Contributor (a Nashville homeless newspaper), Siasat (Pakistan), and set to music as a part of the song cycle “The Children of Gaza” which has been performed in various European venues by the Palestinian soprano Dima Bawab



Earthbound, a Vision of Crazy Horse
by Michael R. Burch

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

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

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

Published by American Indian Pride and Boston Poetry Magazine



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

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

Published by Better Than Starbucks and A Hundred Voices



in-flight convergence
by Michael R. Burch

serene, almost angelic,
the lights of the city ——— extend ———
over lumbering behemoths
shrilly screeching displeasure;
they say
that nothing is certain,
that nothing man dreams or ordains
long endures his command

here the streetlights that flicker
and those blazing steadfast
seem one: from a distance;
descend,
they abruptly
part ———— ways,
so that nothing is one
which at times does not suddenly blend
into garish insignificance
in the familiar alleyways,
in the white neon flash
and the billboards of Convenience

and man seems the afterthought of his own Brilliance
as we thunder down the enlightened runways.

Originally published by The Aurorean and subsequently nominated for the Pushcart Prize



Flight 93
by Michael R. Burch

I held the switch in trembling fingers, asked
why existence felt so small, so purposeless,
like a minnow wriggling feebly in my grasp...

vibrations of huge engines thrummed my arms
as, glistening with sweat, I nudged the switch
to OFF... I heard the klaxon's shrill alarms

like vultures’ shriekings... earthward, in a stall...
we floated... earthward... wings outstretched, aghast
like Icarus... as through the void we fell...

till nothing was so beautiful, so blue...
so vivid as that moment... and I held
an image of your face, and dreamed I flew

into your arms. The earth rushed up. I knew
such comfort, in that moment, loving you.



Flight
by Michael R. Burch

Eagle, raven, blackbird, crow...
What you are I do not know.
Where you go I do not care.
I’m unconcerned whose meal you bear.
But as you mount the sunlit sky,
I only wish that I could fly.
I only wish that I could fly.

Robin, hawk or whippoorwill...
Should men care that you hunger still?
I do not wish to see your home.
I do not wonder where you roam.
But as you scale the sky's bright stairs,
I only wish that I were there.
I only wish that I were there.

Sparrow, lark or chickadee...
Your markings I disdain to see.
Where you fly concerns me not.
I scarcely give your flight a thought.
But as you wheel and arc and dive,
I, too, would feel so much alive.
I, too, would feel so much alive.

This is a poem I wrote in high school. I seem to remember the original poem being influenced by William Cullen Bryant's "To a Waterfowl."



Flying
by Michael R. Burch

I shall rise
and try the ****** wings of thought
ten thousand times
before I fly...

and then I'll sleep
and waste ten thousand nights
before I dream;

but when at last...
I soar the distant heights of undreamt skies
where never hawks nor eagles dared to go,
as I laugh among the meteors flashing by
somewhere beyond the bluest earth-bound seas...
if I'm not told
I’m just a man,
then I shall know
just what I am.

This is one of my early poems, written around age 16-17.



Stage Craft-y
by Michael R. Burch

There once was a dromedary
who befriended a crafty canary.
Budgie said, "You can’t sing,
but now, here’s the thing—
just think of the tunes you can carry!"



Clyde Lied!
by Michael R. Burch

There once was a mockingbird, Clyde,
who bragged of his prowess, but lied.
To his new wife he sighed,
"When again, gentle bride?"
"Nevermore!" bright-eyed Raven replied.



Less Heroic Couplets: ****** Most Fowl!
by Michael R. Burch

“****** most foul!”
cried the mouse to the owl.
“Friend, I’m no sinner;
you’re merely my dinner!”
the wise owl replied
as the tasty snack died.

Published by Lighten Up Online and in Potcake Chapbook #7.



Lance-Lot
by Michael R. Burch

Preposterous bird!
Inelegant! Absurd!
Until the great & mighty heron
brandishes his fearsome sword.



Kissin’ ’n’ buzzin’
by Michael R. Burch

Kissin’ ’n’ buzzin’ the bees rise
in a dizzy circle of two.
Oh, when I’m with you,
I feel like kissin’ ’n’ buzzin’ too.



Delicacy
by Michael R. Burch

for all good mothers

Your love is as delicate
as a butterfly cleaning its wings,
as soft as the predicate
the hummingbird sings
to itself, gently murmuring—
“Fly! Fly! Fly!”
Your love is the string
soaring kites untie.



Lone Wild Goose
by Du Fu (712-770)
loose translation/interpretation by Michael R. Burch

The abandoned goose refuses food and drink;
he cries querulously for his companions.
Who feels kinship for that strange wraith
as he vanishes eerily into the heavens?
You watch it as it disappears;
its plaintive calls cut through you.
The indignant crows ignore you both:
the bickering, bantering multitudes.



The Red Cockatoo
by Po Chu-I (772-846)
loose translation/interpretation by Michael R. Burch

A marvelous gift from Annam—
a red cockatoo,
bright as peach blossom,
fluent in men's language.

So they did what they always do
to the erudite and eloquent:
they created a thick-barred cage
and shut it up.



The Migrant Songbird
Li Qingzhao aka Li Ching-chao (c. 1084-1155)
loose translation/interpretation by Michael R. Burch

The migrant songbird on the nearby yew
brings tears to my eyes with her melodious trills;
this fresh downpour reminds me of similar spills:
another spring gone, and still no word from you...



Lines from Laolao Ting Pavilion
by Li Bai (701-762)
loose translation/interpretation by Michael R. Burch

The spring breeze knows partings are bitter;
The willow twig knows it will never be green again.



The Day after the Rain
Lin Huiyin (1904-1955)
loose translation/interpretation by Michael R. Burch

I love the day after the rain
and the meadow's green expanses!
My heart endlessly rises with wind,
gusts with wind...
away the new-mown grasses and the fallen leaves...
away the clouds like smoke...
vanishing like smoke...



Untitled Translations

Cupid, if you incinerate my soul, touché!
For like you she has wings and can fly away!
—Meleager, loose translation by Michael R. Burch

As autumn deepens,
a butterfly sips
chrysanthemum dew.
—Basho, loose translation/interpretation by Michael R. Burch

Come, butterfly,
it’s late
and we’ve a long way to go!
—Basho, loose translation/interpretation by Michael R. Burch

Up and at ’em! The sky goes bright!
Let’***** the road again,
Companion Butterfly!
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

Ah butterfly,
what dreams do you ply
with your beautiful wings?
—Chiyo-ni, loose translation by Michael R. Burch

Oh, dreamlike winter butterfly:
a puff of white snow
cresting mountains
—Kakio Tomizawa, loose translation by Michael R. Burch

Dry leaf flung awry:
bright butterfly,
goodbye!
—Michael R. Burch, original haiku

Will we remain parted forever?
Here at your grave:
two flowerlike butterflies
—Matsuo Basho, loose translation by Michael R. Burch

a soaring kite flits
into the heart of the sun?
Butterfly & Chrysanthemum
—Michael R. Burch, original haiku

The cheerful-chirping cricket
contends gray autumn's gay,
contemptuous of frost
—Matsuo Basho, loose translation by Michael R. Burch

Whistle on, twilight whippoorwill,
solemn evangelist
of loneliness
—Matsuo Basho, loose translation by Michael R. Burch

The sea darkening,
the voices of the wild ducks:
my mysterious companions!
—Matsuo Basho, loose translation by Michael R. Burch

Lightning
shatters the darkness—
the night heron's shriek
—Matsuo Basho, loose translation by Michael R. Burch

This snowy morning:
cries of the crow I despise
(ah, but so beautiful!)
—Matsuo Basho, loose translation by Michael R. Burch

A crow settles
on a leafless branch:
autumn nightfall.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

Hush, cawing crows; what rackets you make!
Heaven's indignant messengers,
you remind me of wordsmiths!
—O no Yasumaro (circa 711), loose translation by Michael R. Burch

Higher than a skylark,
resting on the breast of heaven:
this mountain pass.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

An exciting struggle
with such a sad ending:
cormorant fishing.
—Matsuo Basho, loose translation/interpretation by Michael R. Burch

Does my soul abide in heaven, or hell?
Only the sea gull
in his high, lonely circuits, may tell.
—Glaucus, translation by Michael R. Burch

The eagle sees farther
from its greater height—
our ancestors’ wisdom
—Michael R. Burch, original haiku

A kite floats
at the same place in the sky
where yesterday it floated...
—Yosa Buson, loose translation/interpretation by Michael R. Burch



Descent
by Michael R. Burch

I have listened to the rain all this morning
and it has a certain gravity,
as if it knows its destination,
perhaps even its particular destiny.
I do not believe mine is to be uplifted,
although I, too, may be flung precipitously
and from a great height.



Ultimate Sunset
by Michael R. Burch

for my father, Paul Ray Burch, Jr.

he now faces the Ultimate Sunset,
his body like the leaves that fray as they dry,
shedding their vital fluids (who knows why?)
till they’ve become even lighter than the covering sky,
ready to fly...



Free Fall
by Michael R. Burch

for my father, Paul Ray Burch, Jr.

I see the longing for departure gleam
in his still-keen eye,
and I understand his desire
to test this last wind, like those late autumn leaves
with nothing left to cling to...



Leaf Fall
by Michael R. Burch

Whatever winds encountered soon resolved
to swirling fragments, till chaotic heaps
of leaves lay pulsing by the backyard wall.
In lieu of rakes, our fingers sorted each
dry leaf into its place and built a high,
soft bastion against earth's gravitron—
a patchwork quilt, a trampoline, a bright
impediment to fling ourselves upon.
And nothing in our laughter as we fell
into those leaves was like the autumn's cry
of also falling. Nothing meant to die
could be so bright as we, so colorful—
clad in our plaids, oblivious to pain
we'd feel today, should we leaf-fall again.

Originally published by The Neovictorian/Cochlea



The Folly of Wisdom
by Michael R. Burch

She is wise in the way that children are wise,
looking at me with such knowing, grave eyes
I must bend down to her to understand.
But she only smiles, and takes my hand.
We are walking somewhere that her feet know to go,
so I smile, and I follow...
And the years are dark creatures concealed in bright leaves
that flutter above us, and what she believes—
I can almost remember—goes something like this:
the prince is a horned toad, awaiting her kiss.
She wiggles and giggles, and all will be well
if only we find him! The woodpecker’s knell
as he hammers the coffin of some dying tree
that once was a fortress to someone like me
rings wildly above us. Some things that we know
we are meant to forget. Life is a bloodletting, maple-syrup-slow.

Originally published by Romantics Quarterly



Kin
by Michael R. Burch

for Richard Moore

1.
Shrill gulls,
how like my thoughts
you, struggling, rise
to distant bliss—
the weightless blue of skies
that are not blue
in any atmosphere,
but closest here...

2.
You seek an air
so clear,
so rarified
the effort leaves you famished;
earthly tides
soon call you back—
one long, descending glide...

3.
Disgruntledly you ***** dirt shores for orts
you pull like mucous ropes
from shells’ bright forts...
You eye the teeming world
with nervous darts—
this way and that...
Contentious, shrewd, you scan—
the sky, in hope,
the earth, distrusting man.



Songstress
by Michael R. Burch

Within its starkwhite ribcage, how the heart
must flutter wildly, O, and always sing
against the pressing darkness: all it knows
until at last it feels the numbing sting
of death. Then life's brief vision swiftly passes,
imposing night on one who clearly saw.
Death held your bright heart tightly, till its maw–
envenomed, fanged–could swallow, whole, your Awe.
And yet it was not death so much as you
who sealed your doom; you could not help but sing
and not be silenced. Here, behold your tomb's
white alabaster cage: pale, wretched thing!
But you'll not be imprisoned here, wise wren!
Your words soar free; rise, sing, fly, live again.

A poet like Nadia Anjuman can be likened to a caged bird, deprived of flight, who somehow finds it within herself to sing of love and beauty.



Performing Art
by Michael R. Burch

Who teaches the wren
in its drab existence
to explode into song?
What parodies of irony
does the jay espouse
with its sharp-edged tongue?
What instinctual memories
lend stunning brightness
to the strange dreams
of the dull gray slug
—spinning its chrysalis,
gluing rough seams—
abiding in darkness
its transformation,
till, waving damp wings,
it applauds its performance?
I am done with irony.
Life itself sings.



Lean Harvests
by Michael R. Burch

for T.M.

the trees are shedding their leaves again:
another summer is over.
the Christians are praising their Maker again,
but not the disconsolate plover:
i hear him berate
the fate
of his mate;
he claims God is no body’s lover.

Published by The Rotary Dial and Angle



My Forty-Ninth Year
by Michael R. Burch

My forty-ninth year
and the dew remembers
how brightly it glistened
encrusting September,...
one frozen September
when hawks ruled the sky
and death fell on wings
with a shrill, keening cry.

My forty-ninth year,
and still I recall
the weavings and windings
of childhood, of fall...
of fall enigmatic,
resplendent, yet sere,...
though vibrant the herald
of death drawing near.

My forty-ninth year
and now often I've thought on
the course of a lifetime,
the meaning of autumn,
the cycle of autumn
with winter to come,
of aging and death
and rebirth... on and on.

Originally published by Romantics Quarterly as “My Twenty-Ninth Year”



Myth
by Michael R. Burch

Here the recalcitrant wind
sighs with grievance and remorse
over fields of wayward gorse
and thistle-throttled lanes.
And she is the myth of the scythed wheat
hewn and sighing, complete,
waiting, lain in a low sheaf—
full of faith, full of grief.

Here the immaculate dawn
requires belief of the leafed earth
and she is the myth of the mown grain—
golden and humble in all its weary worth.



What Works
by Michael R. Burch

for David Gosselin

What works—
hewn stone;
the blush the iris shows the sun;
the lilac’s pale-remembered bloom.

The frenzied fly: mad-lively, gay,
as seconds tick his time away,
his sentence—one brief day in May,
a period. And then decay.

A frenzied rhyme’s mad tip-toed time,
a ballad’s languid as the sea,
seek, striving—immortality.

When gloss peels off, what works will shine.
When polish fades, what works will gleam.
When intellectual prattle pales,
the dying buzzing in the hive
of tedious incessant bees,
what works will soar and wheel and dive
and milk all honey, leap and thrive,
and teach the pallid poem to seethe.



Child of 9-11
by Michael R. Burch

a poem for Christina-Taylor Green, who
was born on September 11, 2001 and who
died at age nine, shot to death...

Child of 9-11, beloved,
I bring this lily, lay it down
here at your feet, and eiderdown,
and all soft things, for your gentle spirit.
I bring this psalm — I hope you hear it.

Much love I bring — I lay it down
here by your form, which is not you,
but what you left this shell-shocked world
to help us learn what we must do
to save another child like you.

Child of 9-11, I know
you are not here, but watch, afar
from distant stars, where angels rue
the evil things some mortals do.
I also watch; I also rue.

And so I make this pledge and vow:
though I may weep, I will not rest
nor will my pen fail heaven's test
till guns and wars and hate are banned
from every shore, from every land.

Child of 9-11, I grieve
your tender life, cut short... bereaved,
what can I do, but pledge my life
to saving lives like yours? Belief
in your sweet worth has led me here...
I give my all: my pen, this tear,
this lily and this eiderdown,
and all soft things my heart can bear;
I bring them to your final bier,
and leave them with my promise, here.

Originally published by The Flea



Desdemona
by Michael R. Burch

Though you possessed the moon and stars,
you are bound to fate and wed to chance.
Your lips deny they crave a kiss;
your feet deny they ache to dance.
Your heart imagines wild romance.

Though you cupped fire in your hands
and molded incandescent forms,
you are barren now, and—spent of flame—
the ashes that remain are borne
toward the sun upon a storm.

You, who demanded more, have less,
your heart within its cells of sighs
held fast by chains of misery,
confined till death for peddling lies—
imprisonment your sense denies.

You, who collected hearts like leaves
and pressed each once within your book,
forgot. None—winsome, bright or rare—
not one was worth a second look.
My heart, as others, you forsook.

But I, though I loved you from afar
through silent dawns, and gathered rue
from gardens where your footsteps left
cold paths among the asters, knew—
each moonless night the nettles grew
and strangled hope, where love dies too.

Published by Penny Dreadful, Carnelian, Romantics Quarterly, Grassroots Poetry and Poetry Life & Times



Transplant
by Michael R. Burch

You float, unearthly angel, clad in flesh
as strange to us who briefly knew your flame
as laughter to disease. And yet you laugh.
Behind your smile, the sun forfeits its claim
to earth, and floats forever now the same—
light captured at its moment of least height.
You laugh here always, welcoming the night,
and, just a photograph, still you can claim
bright rapture: like an angel, not of flesh—
but something more, made less. Your humanness
this moment of release becomes a name
and something else—a radiance, a strange
brief presence near our hearts. How can we stand
and chain you here to this nocturnal land
of burgeoning gray shadows? Fly, begone.
I give you back your soul, forfeit all claim
to radiance, and welcome grief’s dark night
that crushes all the laughter from us. Light
in someone Else’s hand, and sing at ease
some song of brightsome mirth through dawn-lit trees
to welcome morning’s sun. O daughter! these
are eyes too weak for laughter; for love’s sight,
I welcome darkness, overcome with light.



Reading between the lines
by Michael R. Burch

Who could have read so much, as we?
Having the time, but not the inclination,
TV has become our philosophy,
sheer boredom, our recreation.



Rilke Translations

Archaic Torso of Apollo
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

We cannot know the beheaded god
nor his eyes' forfeited visions. But still
the figure's trunk glows with the strange vitality
of a lamp lit from within, while his composed will
emanates dynamism. Otherwise
the firmly muscled abdomen could not beguile us,
nor the centering ***** make us smile
at the thought of their generative animus.
Otherwise the stone might seem deficient,
unworthy of the broad shoulders, of the groin
projecting procreation's triangular spearhead upwards,
unworthy of the living impulse blazing wildly within
like an inchoate star—demanding our belief.
You must change your life.



Herbsttag ("Autumn Day")
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

Lord, it is time. Let the immense summer go.
Lay your long shadows over the sundials
and over the meadows, let the free winds blow.
Command the late fruits to fatten and shine;
O, grant them another Mediterranean hour!
Urge them to completion, and with power
convey final sweetness to the heavy wine.
Who has no house now, never will build one.
Who's alone now, shall continue alone;
he'll wake, read, write long letters to friends,
and pace the tree-lined pathways up and down,
restlessly, as autumn leaves drift and descend.

Originally published by Measure



The Panther
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

His weary vision's so overwhelmed by iron bars,
his exhausted eyes see only blank Oblivion.
His world is not our world. It has no stars.
No light. Ten thousand bars. Nothing beyond.
Lithe, swinging with a rhythmic easy stride,
he circles, his small orbit tightening,
an electron losing power. Paralyzed,
soon regal Will stands stunned, an abject thing.
Only at times the pupils' curtains rise
silently, and then an image enters,
descends through arrested shoulders, plunges, centers
somewhere within his empty heart, and dies.



Come, You
by Ranier Maria Rilke
loose translation/interpretation by Michael R. Burch

This was Rilke's last poem, written ten days before his death. He died open-eyed in the arms of his doctor on December 29, 1926, in the Valmont Sanatorium, of leukemia and its complications. I had a friend who died of leukemia and he was burning up with fever in the end. I believe that is what Rilke was describing here: he was literally burning alive.

Come, you—the last one I acknowledge; return—
incurable pain searing this physical mesh.
As I burned in the spirit once, so now I burn
with you; meanwhile, you consume my flesh.
This wood that long resisted your embrace
now nourishes you; I surrender to your fury
as my gentleness mutates to hellish rage—
uncaged, wild, primal, mindless, outré.
Completely free, no longer future's pawn,
I clambered up this crazy pyre of pain,
certain I'd never return—my heart's reserves gone—
to become death's nameless victim, purged by flame.
Now all I ever was must be denied.
I left my memories of my past elsewhere.
That life—my former life—remains outside.
Inside, I'm lost. Nobody knows me here.



Love Song
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

How can I withhold my soul so that it doesn't touch yours?
How can I lift mine gently to higher things, alone?
Oh, I would gladly find something lost in the dark
in that inert space that fails to resonate until you vibrate.
There everything that moves us, draws us together like a bow
enticing two taut strings to sing together with a simultaneous voice.
Whose instrument are we becoming together?
Whose, the hands that excite us?
Ah, sweet song!



The Beggar's Song
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

I live outside your gates,
exposed to the rain, exposed to the sun;
sometimes I'll cradle my right ear
in my right palm;
then when I speak my voice sounds strange,
alien...
I'm unsure whose voice I'm hearing:
mine or yours.
I implore a trifle;
the poets cry for more.
Sometimes I cover both eyes
and my face disappears;
there it lies heavy in my hands
looking peaceful, instead,
so that no one would ever think
I have no place to lay my head.



Ivy
by Michael R. Burch

“Van trepando en mi viejo dolor como las yedras.” — Pablo Neruda
“They climb on my old suffering like ivy.”

Ivy winds around these sagging structures
from the flagstones
to the eave heights,
and, clinging, holds intact
what cannot be saved of their loose entrails.
Through long, blustery nights of dripping condensation,
cured in the humidors of innumerable forgotten summers,
waxy, unguent,
palely, indifferently fragrant, it climbs,
pausing at last to see
the alien sparkle of dew
beading delicate sparrowgrass.
Coarse saw grass, thin skunk grass, clumped mildewed yellow gorse
grow all around, and here remorse, things past,
watch ivy climb and bend,
and, in the end, we ask
if grief is worth the gaps it leaps to mend.



Joy in the Morning
by Michael R. Burch

for my grandparents George Edwin Hurt and Christine Ena Hurt

There will be joy in the morning
for now this long twilight is over
and their separation has ended.
For fourteen years, he had not seen her
whom he first befriended,
then courted and married.
Let there be joy, and no mourning,
for now in his arms she is carried
over a threshold vastly sweeter.
He never lost her; she only tarried
until he was able to meet her.



Prodigal
by Michael R. Burch

This poem is dedicated to Kevin Longinotti, who died four days short of graduation from Vanderbilt University, the victim of a tornado that struck Nashville on April 16, 1998.

You have graduated now,
to a higher plane
and your heart’s tenacity
teaches us not to go gently
though death intrudes.

For eighteen days
—jarring interludes
of respite and pain—
with life only faintly clinging,
like a cashmere snow,
testing the capacity
of the blood banks
with the unstaunched flow
of your severed veins,
in the collapsing declivity,
in the sanguine haze
where Death broods,
you struggled defiantly.

A city mourns its adopted son,
flown to the highest ranks
while each heart complains
at the harsh validity
of God’s ways.

On ponderous wings
the white clouds move
with your captured breath,
though just days before
they spawned the maelstrom’s
hellish rift.

Throw off this mortal coil,
this envelope of flesh,
this brief sheath
of inarticulate grief
and transient joy.

Forget the winds
which test belief,
which bear the parchment leaf
down life’s last sun-lit path.

We applaud your spirit, O Prodigal,
O Valiant One,
in its percussive flight into the sun,
winging on the heart’s last madrigal.



Breakings
by Michael R. Burch

I did it out of pity.
I did it out of love.
I did it not to break the heart of a tender, wounded dove.

But gods without compassion
ordained: Frail things must break!
Now what can I do for her shattered psyche’s sake?

I did it not to push.
I did it not to shove.
I did it to assist the flight of indiscriminate Love.

But gods, all mad as hatters,
who legislate in all such matters,
ordained that everything irreplaceable shatters.



The Quickening
by Michael R. Burch

I never meant to love you
when I held you in my arms
promising you sagely
wise, noncommittal charms.

And I never meant to need you
when I touched your tender lips
with kisses that intrigued my own—
such kisses I had never known,
nor a heartbeat in my fingertips!



It's Halloween!
by Michael R. Burch

If evening falls
on graveyard walls
far softer than a sigh;
if shadows fly
moon-sickled skies,
while children toss their heads
uneasy in their beds,
beware the witch's eye!

If goblins loom
within the gloom
till playful pups grow terse;
if birds give up their verse
to comfort chicks they nurse,
while children dream weird dreams
of ugly, wiggly things,
beware the serpent's curse!

If spirits scream
in haunted dreams
while ancient sibyls rise
to plague black nightmare skies
one night without disguise,
while children toss about
uneasy, full of doubt,
beware the devil's eyes...
it's Halloween!



An Illusion
by Michael R. Burch

The sky was as hushed as the breath of a bee
and the world was bathed in shades of palest gold
when I awoke.
She came to me with the sound of falling leaves
and the scent of new-mown grass;
I held out my arms to her and she passed
into oblivion...

This is one of my early poems, written around age 16 and published in my high school literary journal, The Lantern.



Describing You
by Michael R. Burch

How can I describe you?
The fragrance of morning rain
mingled with dew
reminds me of you;
the warmth of sunlight
stealing through a windowpane
brings you back to me again.

This is an early poem of mine, written as a teenager.



www.firesermon.com
by Michael R. Burch

your gods have become e-vegetation;
your saints—pale thumbnail icons; to enlarge
their images, right-click; it isn’t hard
to populate your web-site; not to mention
cool sound effects are nice; Sound Blaster cards
can liven up dull sermons, zing some fire;
your drives need added Zip; you must discard
your balky paternosters: ***!!! Desire!!!
these are the watchwords, catholic; you must
as Yahoo! did, employ a little lust
if you want great e-commerce; hire a bard
to spruce up ancient language, shed the dust
of centuries of sameness;
lameness *****;
your gods grew blurred; go 3D; scale; adjust.

Published by: Ironwood, Triplopia and Nisqually Delta Review



Her Grace Flows Freely
by Michael R. Burch

July 7, 2007

Her love is always chaste, and pure.
This I vow. This I aver.
If she shows me her grace, I will honor her.
This I vow. This I aver.
Her grace flows freely, like her hair.
This I vow. This I aver.
For her generousness, I would worship her.
This I vow. This I aver.
I will not **** her for what I bear
This I vow. This I aver.
like a most precious incense–desire for her,
This I vow. This I aver.
nor call her “*****” where I seek to repair.
This I vow. This I aver.
I will not wink, nor smirk, nor stare
This I vow. This I aver.
like a foolish child at the foot of a stair
This I vow. This I aver.
where I long to go, should another be there.
This I vow. This I aver.
I’ll rejoice in her freedom, and always dare
This I vow. This I aver.
the chance that she’ll flee me–my starling rare.
This I vow. This I aver.
And then, if she stays, without stays, I swear
This I vow. This I aver.
that I will joy in her grace beyond compare.
This I vow. This I aver.



Second Sight (II)
by Michael R. Burch

Newborns see best at a distance of 8 to 14 inches.
Wiser than we know, the newborn screams,
red-faced from breath, and wonders what life means
this close to death, amid the arctic glare
of warmthless lights above.
Beware! Beware!—
encrypted signals, codes? Or ciphers, noughts?
Interpretless, almost, as his own thoughts—
the brilliant lights, the brilliant lights exist.
Intruding faces ogle, gape, insist—
this madness, this soft-hissing breath, makes sense.
Why can he not float on, in dark suspense,
and dream of life? Why did they rip him out?
He frowns at them—small gnomish frowns, all doubt—
and with an ancient mien, O sorrowful!,
re-closes eyes that saw in darkness null
ecstatic sights, exceeding beautiful.



Incommunicado
by Michael R. Burch

All I need to know of life I learned
in the slap of a moment,
as my outward eye turned
toward a gauntlet of overhanging lights
which coldly burned, hissing—
"There is no way back!..."
As the ironic bright blood
trickled down my face,
I watched strange albino creatures twisting
my flesh into tight knots of separation
all the while tediously insisting—
“He's doing just fine!"



Letdown
by Michael R. Burch

Life has not lived up to its first bright vision—
the light overhead fluorescing, revealing
no blessing—bestowing its glaring assessments
impersonally (and no doubt carefully metered).
That first hard

SLAP

demanded my attention. Defiantly rigid,
I screamed at their backs as they, laughingly,

ripped

my mother’s pale flesh from my unripened shell,
snapped it in two like a pea pod, then dropped
it somewhere—in a dustbin or a furnace, perhaps.

And that was my clue

that some deadly, perplexing, unknowable task
lay, inexplicable, ahead in the white arctic maze
of unopenable doors, in the antiseptic gloom...



Recursion
by Michael R. Burch

In a dream I saw boys lying
under banners gaily flying
and I heard their mothers sighing
from some dark distant shore.

For I saw their sons essaying
into fields—gleeful, braying—
their bright armaments displaying;
such manly oaths they swore!

From their playfields, boys returning
full of honor’s white-hot burning
and desire’s restless yearning
sired new kids for the corps.

In a dream I saw boys dying
under banners gaily lying
and I heard their mothers crying
from some dark distant shore.



Poet to poet
by Michael R. Burch

I have a dream
pebbles in a sparkling sand
of wondrous things.
I see children
variations of the same man
playing together.
Black and yellow, red and white,
stone and flesh, a host of colors
together at last.
I see a time
each small child another's cousin
when freedom shall ring.
I hear a song
sweeter than the sea sings
of many voices.
I hear a jubilation
respect and love are the gifts we must bring
shaking the land.
I have a message,
sea shells echo, the melody rings
the message of God.
I have a dream
all pebbles are merely smooth fragments of stone
of many things.
I live in hope
all children are merely small fragments of One
that this dream shall come true.
I have a dream...
but when you're gone, won't the dream have to end?
Oh, no, not as long as you dream my dream too!
Here, hold out your hand, let's make it come true.
i can feel it begin
Lovers and dreamers are poets too.
poets are lovers and dreamers too



Life Sentence
by Michael R. Burch

... I swim, my Daddy’s princess, newly crowned,
toward a gurgly Maelstrom... if I drown
will Mommy stick the Toilet Plunger down
to **** me up?... She sits upon Her Throne,
Imperious (denying we were one),
and gazes down and whispers “precious son”...

... the Plunger worked; i’m two, and, if not blessed,
still Mommy got the Worst Stuff off Her Chest;
a Vacuum Pump, They say, will do the rest...

... i’m three; yay! whee! oh good! it’s time to play!
(oh no, I think there’s Others on the way;
i’d better pray)...

... i’m four; at night I hear the Banging Door;
She screams; sometimes there’s Puddles on the Floor;
She wants to **** us, or, She wants some More...

... it’s great to be alive if you are five (unless you’re me);
my Mommy says: “you’re WRONG! don’t disagree!
don’t make this HURT ME!”...

... i’m six; They say i’m tall, yet Time grows Short;
we have a thriving Family; Abort!;
a tadpole’s ripping Mommy’s Room apart...

... i’m seven; i’m in heaven; it feels strange;
I saw my life go gurgling down the Drain;
another Noah built a Mighty Ark;
God smiled, appeased, a Rainbow split the Dark;
... I saw Bright Colors also, when She slammed
my head against the Tub, and then I swam
toward the magic tunnel... last, I heard...
is that She feels Weird.



Beast 666
by Michael R. Burch

“... what rough beast... slouches toward Bethlehem to be born?”—W. B. Yeats

Brutality is a cross
wooden, blood-stained,
gas hissing, sibilant,
lungs gilled, deveined,
red flecks on a streaked glass pane,
jeers jubilant,
mocking.

Brutality is shocking—
tiny orifices torn,
impaled with hard lust,
the fetus unborn
tossed in a dust-
bin. The scarred skull shorn,
nails bloodied, tortured,
an old wound sutured
over, never healed.

Brutality, all its faces revealed,
is legion:
Death March, Trail of Tears, Inquisition...
always the same.
The Beast of the godless and of man’s “religion”
slouching toward Jerusalem:
horned, crowned, gibbering, drooling, insane.



America's Riches
by Michael R. Burch

Balboa's dream
was bitter folly—
no El Dorado near, nor far,
though seas beguiled
and rivers smiled
from beds of gold and silver ore.

Drake retreated
rich with plunder
as Incan fled Conquistador.
Aztecs died
when Spaniards lied,
then slew them for an ingot more.

The pilgrims came
and died or lived
in fealty to an oath they swore,
and bought with pain
the precious grain
that made them rich though they were poor.

Apache blood,
Comanche tears
were shed, and still they went to war;
they fought to be
unbowed and free—
such were Her riches, and still are.

Published by Poetic Reflections and Tucumcari Literary Review



Kindergarten
by Michael R. Burch

Will we be children as puzzled tomorrow—
our lessons still not learned?
Will we surrender over to sorrow?
How many times must our fingers be burned?
Will we be children sat in the corner,
paddled again and again?
How long must we linger, playing Jack Horner?
Will we ever learn, and when?
Will we be children wearing the dunce cap,
giggling and playing the fool,
re-learning our lessons forever and ever,
still failing the golden rule?



Photographs
by Michael R. Burch

Here are the effects of a life
and they might tell us a tale
(if only we had time to listen)
of how each imperiled tear would glisten,
remembered as brightness in her eyes,
and how each dawn’s dramatic skies
could never match such pale azure.

Like dreams of her, these ghosts endure
and they tell us a tale of impatient glory...
till a line appears—a trace of worry?—
or the wayward track of a wandering smile
which even now can charm, beguile?

We might find good cause to wonder
as we see her pause (to frown?, to ponder?):
what vexed her in her loveliness...
what weight, what crushing heaviness
turned her lustrous hair a frazzled gray,
and stole her youth before her day?

We might ask ourselves: did Time devour
the passion with the ravaged flower?
But here and there a smile will bloom
to light the leaden, shadowed gloom
that always seems to linger near...
And here we find a single tear:
it shimmers like translucent dew
and tells us Anguish touched her too,
and did not spare her for her hair
of copper, or her eyes' soft hue.

Published in Tucumcari Literary Review



Numbered
by Michael R. Burch

He desired an object to crave;
she came, and she altared his affection.
He asked her for something to save:
a memento for his collection.
But all that she had was her need;
what she needed, he knew not to give.
They compromised on a thing gone to seed
to complete the half lives they would live.
One in two, they were less than complete.
Two plus one, in their huge fractious home
left them two, the new one in the street,
then he, by himself, one, alone.
He awoke past his prime to new dawn
with superfluous dew all around,
in ten thousands bright beads on his lawn,
and he knew that, at last, he had found
a number of things he had missed:
things shining and bright, unencumbered
by their price, or their place on a list.
Then with joy and despair he remembered
and longed for the lips he had kissed
when his days were still evenly numbered.



Nucleotidings
by Michael R. Burch

“We will walk taller!” said Gupta,
sorta abrupta,
hand-in-hand with his mom,
eyeing the A-bomb.

“Who needs a mahatma
in the aftermath of NAFTA?
Now, that was a disaster,”
cried glib Punjab.

“After Y2k,
time will spin out of control anyway,”
flamed Vijay.

“My family is relatively heavy,
too big even for a pig-barn Chevy;
we need more space,”
spat What’s His Face.

“What does it matter,
dirge or mantra,”
sighed Serge.

“The world will wobble
in Hubble’s lens
till the tempest ends,”
wailed Mercedes.

“The world is going to hell in a bucket.
So **** it and get outta my face!
We own this place!
Me and my friends got more guns than ISIS,
so what’s the crisis?”
cried Bubba Billy Joe Bob Puckett.



All My Children
by Michael R. Burch

It is May now, gentle May,
and the sun shines pleasantly
upon the blousy flowers
of this backyard cemet'ry,
upon my children as they sleep.

Oh, there is Hank in the daisies now,
with a mound of earth for a pillow;
his face as hard as his monument,
but his voice as soft as the wind through the willows.

And there is Meg beside the spring
that sings her endless sleep.
Though it’s often said of stiller waters,
sometimes quicksilver streams run deep.

And there is Frankie, little Frankie,
tucked in safe at last,
a child who weakened and died too soon,
but whose heart was always steadfast.

And there is Mary by the bushes
where she hid so well,
her face as dark as their berries,
yet her eyes far darker still.

And Andy... there is Andy,
sleeping in the clover,
a child who never saw the sun
so soon his life was over.

And Em'ly, oh my Em'ly...
the prettiest of all...
now she's put aside her dreams
of lovers dark and tall
for dreams dreamed not at all.

It is May now, merry May
and the sun shines pleasantly
upon the green gardens,
on the graves of all my children...
But they never did depart;
they still live within my heart.

I wrote this poem around age 15-16.



Kingdom Freedom
by Michael R. Burch

LORD, grant me a rare sweet spirit of forgiveness.
Let me have none of the lividness
of religious outrage.

LORD, let me not be over-worried
about the lack of “morality” around me.
Surround me,
not with law’s restrictive cage,
but with Your spirit, freer than the wind,
so that to breathe is to have freest life,
and not to fly to You, my only sin.



Birthday Poem to Myself
by Michael R. Burch

LORD, be no longer this Distant Presence,
Star-Afar, Righteous-Anonymous,
but come! Come live among us;
come dwell again,
happy child among men—
men rejoicing to have known you
in the familiar manger’s cool
sweet light scent of unburdened hay.
Teach us again to be light that way,
with a chorus of angelic songs lessoned above.
Be to us again that sweet birth of Love
in the only way men can truly understand.
Do not frown darkening down upon an unrighteous land
planning fierce Retributions we require, and deserve,
but remember the child you were; believe
in the child I was, alike to you in innocence
a little while, all sweetness, and helpless without pretense.
Let us be little children again, magical in your sight.
Grant me this boon! Is it not my birthright—
just to know you, as you truly were, and are?
Come, be my friend. Help me understand and regain Hope’s long-departed star!



Litany
by Michael R. Burch

Will you take me with all my blemishes?
I will take you with all your blemishes, and show you mine. We’ll **** wine from cardboard boxes till our teeth and lips shine red like greedily gorging foxes’. We’ll swill our fill, then have *** for hours till our neglected guts at last rebel. At two in the morning, we’ll eat cold Krystals as our blood detoxes, and we will be in love.

And that’s it?
That’s it.

And can I go out with my friends and drink until dawn?
You can go out with your friends and drink until dawn, come home lipstick-collared, pass out by the pool, or stay at the bar till the new moon sets, because we'll be in love, and in love there's no room for remorse or regret. There is no right, no wrong, and no mistrust, only limb-numbing ***, hot-pistoning lust.

And that’s all?
That’s all.

That’s great!
But wait...

Wait? Why? What’s wrong?
I want to have your children.

Children?
Well, perhaps just one.

And what will happen when we have children?
The most incredible things will happen—you’ll change, stop acting so strangely, start paying more attention to me, start paying your bills on time, grow up and get rid of your horrible friends, and never come home at a-quarter-to-three drunk from a night of swilling, smelling like a lovesick skunk, stop acting so lewdly, start working incessantly so that we can afford a new house which I will decorate lavishly and then grow tired of in a year or two or three, start growing a paunch so that no other woman would ever have you, stop acting so boorishly, start growing a beard because you’re too tired to shave, or too afraid, thinking you might slit your worthless wrinkled throat...



Mending Glass
by Michael R. Burch

In the cobwebbed house—
lost in shadows
by the jagged mirror,
in the intricate silver face
cracked ten thousand times,
silently he watches,
and in the twisted light
sometimes he catches there
a familiar glimpse of revealing lace,
white stockings and garters,
a pale face pressed indiscreetly near
with a predatory leer,
the sheer flash of nylon,
an embrace, or a sharp slap,
... a sudden lurch of terror.

He finds bright slivers
—the hard sharp brittle shards,
the silver jags of memory
starkly impressed there—
and mends his error.



Shadowselves
by Michael R. Burch

In our hearts, knowing
fewer days—and milder—beckon,
how are we, now, to measure
that flame by which we reckon
the time we have remaining?

We are shadows
spawned by a blue spurt of candlelight.
Darkly, we watch ourselves flicker.

Where shall we go when the flame burns less bright?
When chill night steals our vigor?

Why are we less than ourselves? We are shadows.

Where is the fire of youth? We grow cold.

Why does our future loom dark? We are old.

Why do we shiver?

In our hearts, seeing
fewer days—and briefer—breaking,
now, even more, we treasure
the brittle leaf-like aching
that tells us we are living.



Pressure
by Michael R. Burch

Pressure is the plug of ice in the frozen hose,
the hiss of water within vinyl rigidly green and shining,
straining to writhe.

Pressure is the kettle’s lid ceaselessly tapping its tired dance,
the hot eye staring, its frantic issuance
unavailing.

Pressure is the bellow’s surge, the hard forged
metal shedding white heat, the beat of the clawed hammer
on cold anvil.

Pressure is a day’s work compressed into minutes,
frantic minute vessels constricted, straining and hissing,
unable to writhe,

the fingers drumming and tapping their tired dance,
eyes staring, cold and reptilian,
hooded and blind.

Pressure is the spirit sighing—reflective,
restrictive compression—an endless drumming—
the bellows’ echo before dying.

The cold eye—unblinking, staring.
The hot eye—sinking, uncaring.



Open Portal
by Michael R. Burch

“You already have zero privacy—get over it.”
Scott McNealy, CEO of Sun Microsystems

While you’re at it—
don’t bother to wear clothes:
We all know what you’re concealing underneath.

Let the bathroom door swing open.
Let, O let Us peer in!
What you’re doing, We’ve determined, may be a sin!

When you visit your mother
and it’s time to brush your teeth,
it’s okay to openly spit.

And, while you’re at it,
go ahead—
take a long, noisy ****.

What the he|ll is your objection?
What on earth is all this fuss?
Just what is it, exactly, you would hide from US?



beMused
by Michael R. Burch

Perhaps at three
you'll come to tea,
to sip a cuppa here?

You'll just stop in
to drink dry gin?
I only have a beer.

To name the greats:
Pope, Dryden, mates?
The whole world knows their names.

Discuss the songs
of Emerson?
But these are children's games.

Give me rhythm
wild as Dylan!
Give me Bobbie Burns!

Give me Psalms,
or Hopkins’ poems,
Hart Crane’s, if he returns!

Or Langston railing!
Blake assailing!
Few others I desire.

Or go away,
yes, leave today:
your tepid poets tire.



The Century’s Wake
by Michael R. Burch

lines written at the close of the 20th century

Take me home. The party is over,
the century passed—no time for a lover.

And my heart grew heavy
as the fireworks hissed through the dark
over Central Park,
past high-towering spires to some backwoods levee,
hurtling banner-hung docks to the torchlit seas.
And my heart grew heavy;
I felt its disease—
its apathy,
wanting the bright, rhapsodic display
to last more than a single day.

If decay was its rite,
now it has learned to long
for something with more intensity,
more gaudy passion, more song—
like the huddled gay masses,
the wildly-cheering throng.

You ask me—
How can this be?

A little more flair,
or perhaps only a little more clarity.

I leave her tonight to the century’s wake;
she disappoints me.



Salve
by Michael R. Burch

for the victims and survivors of 9-11

The world is unsalvageable...
but as we lie here
in bed
stricken to the heart by love
despite war’s
flickering images,
sometimes we still touch,
laughing, amazed,
that our flesh
does not despair
of love
as we do,
that our bodies are wise
in ways we refuse
to comprehend,
still insisting we eat,
drink...
even multiply.

And so we touch...
touch, and only imagine
ourselves immune:
two among billions
in this night of wished-on stars,
caresses,
kisses,
and condolences.

We are not lovers of irony,
we
who imagine ourselves
beyond the redemption
of tears
because we have salvaged
so few
for ourselves...

and so we laugh
at our predicament,
fumbling for the ointment.



Stump
by Michael R. Burch

This used to be a poplar, oak or elm...
we forget the names of trees, but still its helm,
green-plumed, like some Greek warrior’s, nobly fringed,
with blossoms almond-white, but verdant-tinged,
this massive helm... this massive, nodding head
here contemplated life, and now is dead...

Perhaps it saw its future, furrow-browed,
and flung its limbs about, dejectedly.
Perhaps it only dreamed as, cloud by cloud,
the sun plod through the sky. Heroically,
perhaps it stood against the mindless plots
of concrete that replaced each flowered bed.
Perhaps it heard thick loggers draw odd lots
and could not flee, and so could only dread...

The last of all its kind? They left its stump
with timeworn strange inscriptions no one reads
(because a language lost is just a bump
impeding someone’s progress at mall speeds).

We leveled all such “speed bumps” long ago
just as our quainter cousins leveled trees.
Shall we, too, be consumed by what we know?
Once gods were merely warriors; august trees
were merely twigs, and man the least divine...
mere fables now, dust, compost, turpentine.



First Dance
by Michael R. Burch

for Sykes and Mary Harris

Beautiful ballerina—
so pert, pretty, poised and petite,
how lightly you dance for your waiting Beau
on those beautiful, elegant feet!

How palely he now awaits you, although
he’ll glow from the sparks when you meet!



Keep the Body Well
by Michael R. Burch

for William Sykes Harris III

Is the soul connected to the brain
by a slender silver thread,
so that when the thread is severed
we call the body “dead”
while the soul — released from fear and pain —
is finally able to rise
beyond earth’s binding gravity
to heaven’s welcoming skies?

If so — no need to quail at death,
but keep the body well,
for when the body suffers
the soul experiences hell.



On Looking into Curious George’s Mirrors
by Michael R. Burch

for Maya McManmon, granddaughter of the poet Jim McManmon

Maya was made in the image of God;
may the reflections she sees in those curious mirrors
always echo back Love.

Amen



Maya’s Beddy-Bye Poem
by Michael R. Burch

for Maya McManmon, granddaughter of the poet Jim McManmon

With a hatful of stars
and a stylish umbrella
and her hand in her Papa’s
(that remarkable fella!)
and with Winnie the Pooh
and Eeyore in tow,
may she dance in the rain
cheek-to-cheek, toe-to-toe
till each number’s rehearsed...
My, that last step’s a leap! —
the high flight into bed
when it’s past time to sleep!

Note: “Hatful of Stars” is a lovely song and image by Cyndi Lauper.



Chip Off the Block
by Michael R. Burch

for Jeremy

In the fusion of poetry and drama,
Shakespeare rules! Jeremy’s a ham: a
chip off the block, like his father and mother.
Part poet? Part ham? Better run for cover!
Now he’s Benedick — most comical of lovers!

NOTE: Jeremy’s father is a poet and his mother is an actress; hence the fusion, or confusion, as the case may be.



Whose Woods
by Michael R. Burch

Whose woods these are, I think I know.
**** Cheney’s in the White House, though.
He will not see me stopping here
To watch his chip mills overflow.

My sterile horse must think it queer
To stop without a ’skeeter near
Beside this softly glowing “lake”
Of six-limbed frogs gone nuclear.

He gives his hairless tail a shake;
I fear he’s made his last mistake—
He took a sip of water blue
(Blue-slicked with oil and HazMat waste).

Get out your wallets; ****’s not through—
Enron’s defunct, the bill comes due...
Which he will send to me, and you.
Which he will send to me, and you.



1-800-HOT-LINE
by Michael R. Burch

“I don’t believe in psychics,” he said, “so convince me.”

When you were a child, the earth was a joy,
the sun a bright plaything, the moon a lit toy.
Now life’s minor distractions irk, frazzle, annoy.
When the crooked finger beckons, scythe-talons destroy.

“You’ll have to do better than that, to convince me.”

As you grew older, bright things lost their meaning.
You invested your hours in commodities, leaning
to things easily fleeced, to the convenient gleaning.
I see a pittance of dirt—untended, demeaning.

“Everyone knows that!” he said, “so convince me.”

Your first and last wives traded in golden bands
for vacations from the abuses of your cruel hands.
Where unwatered blooms line an arid plot of land,
the two come together, waving fans.

“Everyone knows that. Convince me.”

As your father left you, you left those you brought
to the doorstep of life as an afterthought.
Two sons and a daughter tap shoes, undistraught.
Their tears are contrived, their condolences bought.

“Everyone knows that. CONVINCE me.”

A moment, an instant... a life flashes by,
a tunnel appears, but not to the sky.
There is brightness, such brightness it sears the eye.
When a life grows too dull, it seems better to die.

“I could have told you that!” he shrieked, “I think I’ll **** myself!”

Originally published by Penny Dreadful



Lines for My Ascension
by Michael R. Burch

I.
If I should die,
there will come a Doom,
and the sky will darken
to the deepest Gloom.

But if my body
should not be found,
never think of me
in the cold ground.

II.
If I should die,
let no mortal say,
“Here was a man,
with feet of clay,

or a timid sparrow
God’s hand let fall.”
But watch the sky darken
to an eerie pall

and know that my Spirit,
unvanquished, broods,
and cares naught for graves,
prayers, coffins, or roods.

And if my body
should not be found,
never think of me
in the cold ground.

III.
If I should die,
let no man adore
his incompetent Maker:
Zeus, Jehovah, or Thor.

Think of Me as One
who never died—
the unvanquished Immortal
with the unriven side.

And if my body
should not be found,
never think of me
in the cold ground.

IV.
And if I should “die,”
though the clouds grow dark
as fierce lightnings rend
this bleak asteroid, stark...

If you look above,
you will see a bright Sign—
the sun with the moon
in its arms, Divine.

So divine, if you can,
my bright meaning, and know—
my Spirit is mine.
I will go where I go.

And if my body
should not be found,
never think of me
in the cold ground.

Keywords/Tags: flight, flying, fancy, kites, leaves, birds, bees, butterflies, wings, heights, fall, falling
“every man wants to be a tyrant when he fornicates"— marquis de sade (philosophy in the boudoir)
in murky region of my mind flickers shanty town of wickedness and all who burn betray me are tortured murdered buried on outskirts of this moot province not entirely devoted to revenge shadows dart lascivious exchanges shadow economy back alley shenanigans soundproof rooms filled with hunger for beautiful women sole source of my arousal female lust japanese silk braided ropes bowls hoses drop-clothes vibrating toys anticipating mischievous acts town’s folk love esteem me applaud my fiercest turpitude fathers offer their daughters mothers perfume girls with wild flowers in their hair whispering accommodating instructions ultimately i decline their generous offerings opting instead for steadfast soul confidante accomplice closer in age she knows how to mommy my genitals get me off and i the same for her churning simmering caldron of desires dazzling aromas through center of town runs sacred blue river constantly replenishing innocence upon dust filth criminality also many enchanting bridges connecting dark side to bright side in elegant rundown art museum hang several of my paintings next to jackson ******* ad reinhardt anselm kiefer gerhard richter albert pinkham ryder francisco goya susan rothenberg and public library shelves brim with volumes of my writings next to james joyce william faulkner sophocles sylvia plath rainer maria rilke milan kundera franz kafka gabriel garcia marquez thomas bernhard patrick suskind  pablo neruda oriana fallaci annie proulx lydia davis during mornings everyone busies themselves making things practicing yoga swimming cooking friends gather for lunch munch comically gossip about previous night’s dramas in afternoon go back to their interests at sunset all citizenry come together look to west watch fiery orange globe sink beyond purple mountains wonder reflect sniff their fingers as night falls on little village each goes about deciding what to wear then meet for cocktails in local taverns and commotion begins
1975 Art Institute is tactic for Odysseus to put off dealing with real world also investigate range of visual techniques gay instructor fruitlessly endeavors to ****** him he enjoys several affairs with beautiful girls yet Bayli haunts him main building of school is connected behind Art Institute of Chicago Odysseus spends lots of time looking at paintings Edward Hopper’s “Nighthawks” Gustave Caillebotte’s “Paris Street Rainy Day” Ivan Albright’s “Portrait of Dorian Gray” Jackson *******’s “Greyed Rainbow” Georgia O’Keeffe’s “Black Cross New Mexico” Francis Bacon’s “Figure with Meat” Pablo Picasso’s “The Old Guitarist” Balthus’s “Solitaire” Claude Monet’s “Stacks of Wheat” Paul Cezanne’s “The Bathers” Vincent Van Gogh’s “Self-Portrait” Edouard Manet’s “The Mocking of Christ” Henri Toulouse-Lautrec’s “At the Moulin Rouge” Robert Rauschenberg’s “Photograph” Mary Cassatt’s “The Child’s Bath” Peter Blume’s “The Rock” Ed Paschke’s “Mid America” Grant Wood’s “American Gothic” Jasper John’s “Near the Lagoon” and John Singer Sargent James McNeill Whistler Diego Rivera Marsden Hartley Thomas Eakins Winslow Homer his 2nd year at Art Institute involves student teaching during day then at night working as waiter at Ivanhoe Restaurant and Theater gay managers teach him to make Caesar salad tableside and other flamboyant tasks wait staff are all gay men once more Odysseus experiences bias from homosexual regime he is assigned restaurant’s slowest sections it bothers him the way some gay men venomously condescend women and their bodies Odysseus loves women especially their bodies he thinks about how much easier his life would be if he was gay in 1976 the art world is managed by gay curators gay art dealers he wonders if he could be gay yet not realize it can a person be gay but not attracted to one’s own ***? Ivanhoe hires variety of night club acts one night he watches Tom Waits perform on piano in lounge Odysseus feels inspired in 1977 he graduates with teacher’s certification he considers all the sacrifices teachers make and humiliating salaries they put up with he does not want to teach candidly he feels he has nothing yet to teach teaching degree was Mom’s idea Odysseus wants to learn grow paint after Art Institute he flip-flops between styles his artwork suffers from too much schooling and scholastic practice it takes years to find his own voice he has tendency to be self-effacing put himself down often he will declare what do i know? i’m just a stupid painter one topic artists do not like talking about is their failures how much money they cost creation requires resource paint and canvas can be expensive how much money is spent on harebrained ideas that never pan out? most artists resort to cheap or used materials few can afford their dreams he gets job selling encyclopedias that job lasts about 5 weeks then he finds job selling posters at framing store on Broadway between Barry and Wellington Salvador Dali Escher Claude Monet prints are the rage his manager accuse him of lacking initiative being spacey after several months he gets laid off he finds job waiting tables during lunch shift at busy downtown restaurant other waiters are mostly old men from Europe they play cards with each other in between shifts teach Odysseus how to carry 6 hot plates on one arm and 2 in his other hand the job is hectic but money is good experience educates differently than books and college a university degree cannot teach what working in the real world confronts people learn most when they are nobodies he reads Sartre’s “Being And Nothingness” he wants to discover who he is by finding out who he is not often he rides bicycle along lakefront taking different routes sometimes following behind an anonymous bicyclist possibly to come across new way he does not know or to marvel at another person’s interest

truth is this life is too difficult for me the violence hatred turf wars tribalism laws judgments practices rules permits history i’m not prepared emotionally to withstand the realities of this world not equipped psychologically to deal with the stresses of this world not prepared emotionally to withstand the realities of this world not equipped psychologically to deal with the stresses of this world i’m sorry am i repeating myself i apologize i’m not prepared emotionally to withstand the realities of this world not equipped psychologically to deal with the stresses of this world god please protect teach me strength courage fairness compassion wisdom love i’m not prepared emotionally to withstand the realities of this world not equipped psychologically to deal with the stresses of this world

buy divinity purchase devotion earn reward points own 4 bedroom loft with roof garden deck porch pool parking in paradise’s gated community pay for exclusive membership into sainthood become part of inner circle influence determine fate destiny of everything step up to the plate sign on the line immortalize yourself feel the privileges of eternal holiness i’m living inside a nightmare inside a nightmare inside a nightmare hello? i am dizzy in my own self-deceptions lost in my own self-deceptions alone in my own self-deceptions there was a time once but that time is gone there was a place once but that place has vanished there was a life once but that life is spent remember when things were different truth is i’m weak skittish anxious alienated paranoid scared to death pagan idiot stop

breath deeply push stale air out imagine kinder more respectful loving world please god do your stuff angels throw your weight around clean up this mess planets align stars shine ancient spirits raise your voices magic work there are words when spoken can change everything words rooted to spiritual nerves if voiced in  particular order secret passwords capable of setting off persuasions in the mind threads to the heart if a person can figure out which words what order tone of voice rate of pronunciation time of day then that person can summon powers of the supernatural Isis goddess of celestial sway of words whisper secret earth water fire air reveal your alchemy winter spring summer autumn teach about passages patterns sublime eastern western sun fickle moody moon unveil your heavenly equation north south east west  beat the drums blow winds show the path to healing path of the heart blood dirt hair *** bare the mystery of your trance dance the ghost dance sacred woman with ovaries cycles flow smell beautiful girl eyes sweetness strange awkward skinny scruffy boy great bear spirit bird jumping fish wise turtle where are you why is there no one to back me? jean paul sartre what was your last thought before you died? was it nausea? nothingness? or a wish?
Dr Sam Burton Sep 2014
Whales have no wings to fly
But they have eyes to cry

Whales are so big but kind
They're not easy to find

Whales are definitely so nice
**** them not to eat with rice.


Today is Saturday, Sept. 28, the 269th day of 2014 with 94 to follow.

The moon is waxing. Morning stars are Jupiter, Uranus and Venus. Evening stars are Mars, Mercury, Neptune and Saturn.


In 1825, in England, George Stephenson operated the first locomotive to pull a passenger train.



A thought for the day:



No place epitomizes the American experience and the American spirit more than New York City. -- Michael Bloomberg.



QUOTES FOR THE DAY:




He who is void of virtuous attachments in private life is, or very soon will be, void of all regard for his country. There is seldom an instance of a man guilty of betraying his country, who had not before lost the feeling of moral obligations in his private connections.

------------------------

How strangely will the Tools of a Tyrant pervert the plain Meaning of Words!



Samuel Adams



In university they don't tell you that the greater part of the law is learning to tolerate fools.




Doris Lessing




“The character inherent in the American people has done all that has been accomplished; and it would have done somewhat more, if the government had not sometimes got in its way.”



Henry David Thoreau



"Everything you can imagine is real."



Pablo Picasso



“Ugly. Is irrelevant. It is an immeasurable insult to a woman, and then supposedly the worst crime you can commit as a woman. But ugly, as beautiful, is an illusion.”



Margaret Cho




POETRY




TO THE THAWING WIND



Robert Frost





Come with rain, O loud Southwester!
Bring the singer, bring the nester;
Give the buried flower a dream;
Make the settled snowbank steam;
Find the brown beneath the white;
But whate'er you do tonight,
Bathe my window, make it flow,
Melt it as the ice will go;
Melt the glass and leave the sticks
Like a hermit's crucifix;
Burst into my narrow stall;
Swing the picture on the wall;
Run the rattling pages o'er;
Scatter poems on the floor;
Turn the poet out of door.


About this poem
"To the Thawing Wind" was first published in Frost's collection "A Boy's Will" (Holt, 1915).

About Robert Frost
Robert Frost was born on March 26, 1874, in San Francisco. He was the recipient of four Pulitzer Prizes during his lifetime and read at President John F. Kennedy's inauguration. Frost died in Boston on Jan. 29, 1963.

*
The Academy of American Poets is a nonprofit, mission-driven organization, whose aim is to make poetry available to a wider audience. Email The Academy at poem-a-day[at]poets.org.



This poem is in the public domain.
Distributed by King Features Syndicate





A TIP FOR WOMEN




Choosing Eyeliner



Make sure the color of your eyeliner complements your eyes. Dark brown eyes benefit from plum shades. If you have lighter eyes, try navy and charcoal. Brown eyeliner works well no matter what color your eyes are!




JOKES



WHALES



A little girl was talking to her teacher about whales.

The teacher said it was physically impossible for a whale to swallow a human because even though it was a very large mammal its throat was very small.

The little girl stated that Jonah was swallowed by a whale.

Irritated, the teacher reiterated that a whale could not swallow a human; it was physically impossible.

The little girl: said, "When I get to heaven I will ask Jonah".

The teacher: asked, " What if Jonah went to hell?"

The little girl: replied, "Then you ask him".





JURY SELECTION

The tiresome jury selection process continued, each side hotly contesting and dismissing potential jurors. Don O'Brian was called for his question session.

"Property holder?"

"Yes, I am, Your Honor."

"Married or single?"

"Married for twenty years, Your Honor."

"Formed or expressed an opinion?"

"Not in twenty years, Your Honor."





Questionable Predictions



Nostradamus recently turned 500. Here are some other predictions from lesser lights:

- Law will be simplified (over the next century). Lawyers will have diminished, and their fees will have been vastly curtailed. --Junius Henri Browne 1893

- By 1960, work will be limited to three hours a day. --John Langdon-Davies

- Hurrah, Boys, we've caught them napping. We'll finish them up and go home to our station. --George A. Custer, 1876, prior to the Battle of Little Big Horn

- Get rid of the pointed-ears guy. --NBC executive, regarding Mr. Spock of STAR TREK, 1966

- Telephones (will) bring peace on earth, eliminate Southern accents, and save the farm by making farmers less lonely. --printed in THE WALL STREET JOURNAL, Century-old Pronouncements, 1995





Stupid True Headlines



- Something Went Wrong in Jet Crash, Expert Says

- Police Begin Campaign to Run Down Jaywalkers

- Safety Experts Say School Bus Passengers Should Be Belted

- Drunk Gets Nine Months in Violin Case

- Survivor of Siamese Twins Joins Parents

- Farmer Bill Dies in House

- Iraqi Head Seeks Arms

- Is There a Ring of Debris around Uranus?

- Stud Tires Out

- Prostitutes Appeal to Pope

- Panda Mating Fails; Veterinarian Takes Over

- Soviet ****** Lands Short of Goal Again

- British Left Waffles on Falkland Islands

- Lung Cancer in Women Mushrooms

- Eye Drops off Shelf

- Teacher Strikes Idle Kids

- Include your Children When Baking Cookies

- Squad Helps Dog Bite Victim

- Shot Off Woman's Leg Helps Nicklaus to 66

- Enraged Cow Injures Farmer with Axe

- Plane Too Close to Ground, Crash Probe Told

- Miners Refuse to Work after Death

- Juvenile Court to Try Shooting Defendant

- Stolen Painting Found by Tree

- Two Soviet Ships Collide, One Dies

- Two Sisters Reunited after 18 Years in Checkout Counter

- Killer Sentenced to Die for Second Time in 10 Years



- Never Withhold ****** Infection from Loved One

- Drunken Drivers Paid $1000 in '84

- War Dims Hope for Peace

- If Strike isn't Settled Quickly, It May Last a While

- Cold Wave Linked to Temperatures

- Enfields Couple Slain; Police Suspect Homicide

- Red Tape Holds Up New Bridge

- Deer **** 17,000

- Typhoon Rips Through Cemetery; Hundreds Dead

- Man Struck by Lightning Faces Battery Charge

- New Study of Obesity Looks for Larger Test Group

- Astronaut Takes Blame for Gas in Spacecraft

- Kids Make Nutritious Snacks

- Chef Throws His Heart into Helping Feed Needy

- Arson Suspect is Held in Massachusetts Fire

- British Union Finds Dwarfs in Short Supply

- Ban On Soliciting Dead in Trotwood

- Lansing Residents Can Drop Off Trees

- Local High School Dropouts Cut in Half

- New Vaccine May Contain Rabies

- Man Minus Ear Waives Hearing

- Deaf College Opens Doors to Hearing

- Air Head Fired

- Steals Clock, Faces Time

- Prosecutor Releases Probe into Undersheriff

- Old School Pillars are Replaced by Alumni

- Bank Drive-in Window Blocked by Board

- Hospitals are Sued by 7 Foot Doctors

- Some Pieces of Rock Hudson Sold at Auction

- *** Education Delayed, Teachers Request Training





HAVE A FABULOUS SUNDAY!
Cné Aug 2018

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jonny Angel Mar 2014
Pablo used to tell me
stories about people
disappearing
in the middle of the night,
being ***** & pillaged,
cut up for body-parts.

And I used to think
he was just
a crazy old Latin man,
'till I perused
the ******
eyewitness accounts
of the horrors
he must have endured.

They left me reflective,
sickened
& wondering why
we think
we have it so rough.
one lazy tropical afternoon
in June,
a green coconut fell
from a 15-foot tree
in my backyard

a tree I'd planted a few years back

not in a climbing mood,
I grabbed a 10-ft pole
and stabbed the bunch of swollen nuts

stab...
stab...
stab...

then my neighbor yelled:
'pablo, pick one for me..'

and I turned my head
towards her voice,
then back
up

the green coconut fell
from the 15-foot tree
in my backyard

and landed on my face...

~ P (#Pablo#PC)

(8/10/2013)
And I have the scars on my upper lip to prove it....
SassyJ Jan 2017
I look at your work and see
an array of strokes in-between
The smiles and tears that piles
Isolated brushes in small rooms

I peep on your life and portraits
On the aisles of temptation and love
The misery of the human formations
Inside a three dimensional canvas

I think of you from symbolism realism
On the island where nature was proud
Landscapes of greenish violet spoke
Soaked romantic tinges in spiky pokes

I see your blue lonely bubble episodes
On the earth's doleful daunted pasture
Culminates of gloom, isolation suicide
Dark and blue composite of blindness

I love the painted roses of orange tosses
On the eve where mistresses and lovers
Speak accents of lust with naked bodies
Paraded games of the heart captured on ice

I seek your open mind and astuteness
On the soil of Africa celebrating souls
Dancing at the rhythm of the drum beats
Shaping,hunting,pacing, tracing, painting

I like the way you wandered and hoped
On the excitement of something a new
When cubism of browny monochrome
Shaded neutrals in fragmented collages

I long to figure you out and your gems
On that dynamic cased experimentation
Crystal periods of pipes, guitars and glass
The passion that brought you riches and fame

I love to romantasise you Pablo Picasso
On my search you were a dreamer and a doer
Falled and failed, waited and won it all
From surrealism, abstraction to classical
A repost as promised. Written at Musee Picasso in France Sept 2016
prāz Dec 2016
Maisusulat ko ang pinakamalulungkot na tula ngayong gabi.

Maisusulat, halimbawa:
“Ang gabi’y mabituin, at nanginginig, asul,
ang mga tala sa dako pa roon.”
Umiikot sa langit ang hangin ng gabi, umaawit.

Maisusulat ko ang pinakamalulungkot na tula ngayong gabi.
Siya’y inibig ko, at kung minsan ako’y inibig din niya.

Sa mga gabing tulad nito,
niyakap ko siyang mahigpit
at hinagkan sa lilim ng walang-hanggang langit.

Ako’y inibig niya, kung minsan siya’y inibig ko rin.
Paanong hindi iibigin ang mga mata niyang malamlam?

Maisusulat ko ang pinakamalulungkot na tula ngayong gabi.
Isipin lang: Hindi ko siya kapiling.
Nawala siya sa akin.

Dinggin ang gabing malawak,
mas malawak pagkat wala siya.
At ang tula’y pumapatak sa diwa,
parang hamog sa parang.

Ano ngayon kung di siya mapangalagaan ng aking pag-ibig?
Ang gabi’y mabituin, at siya’y hindi ko kapiling.
Iyon lamang.
Sa malayo, may umaawit.
Sa malayo.
Diwa ko’y hindi mapalagay sa kanyang pagkawala.
Anyong lalapit ang paningin kong naghahanap sa kanya.
Puso’y naghahanap sa kanya, at siya’y hindi kapiling.
Ito ang dating gabing nagpaputi sa mga dating punongkahoy.
Tayo, na nagmula sa panahong iyon, ay di na tulad ng dati.

Hindi ko na siya iniibig, oo, pero inibig ko siyang lubos.
Tinig ko’y humalik sa hangin para dumampi sa kanyang pandinig.

Sa iba. Siya’y sa iba na.
Tulad ng mga dati kong halik.
Tinig, maningning na katawan.
Mga matang walang-hanggan.

Hindi ko na siya iniibig, oo, pero baka iniibig ko siya.
Napakaikli ng pag-ibig, at napakabata ng paglimot.

Pagkat sa mga gabing tulad nito’y yakap ko siyang mahigpit,
diwa ko’y di mapalagay sa kanyang pagkawala.

Ito marahil ang huling hapding ipadarama niya sa akin,
at ito na marahil ang huling tulang iaalay ko sa kanya.



“Tonight I Can Write The Saddest Lines” ni Pablo Neruda
sinalin sa Filipino ni Jose Lacaba.
this is one of my favorite translations
it is not of my purpose to plagiarize
i just thought
this piece is too beautiful
and people have to read it
Alexander K Opicho
(Eldoret, Kenya; aopicho@yahoo.com)


I guess most of you will be born when
Taban Makitiyong Reneket lo Liyong is dead
When he will be already another ****** dead
Myself I am luck I have met relative of zinjathropus
I have shared a table and a roof
With Liyong the poetical witch of port Africa
Let me tell you how he is and what puzzles him;
He is black and short stumpy and weak
In his shadow of seventy years, a sagacious septuagenarian
He has **** eyes and his protruding nose is keen
On solving problems of an African girl child
He has read all the books in the world
Apart from the book of Amos in the evil Bible
He is ugly in the face and breathes cacophonously
In the left north with heavy sound
He is an aggressive eater with sharp appetites
Towards African herbs and turkana beef; goat meet
He is a sympathetic listener who gets
Inspiration by listening to the young
He loves all students with passion, but who knows
He loves poems and incantations
From the akuku culture in southern Sudan
Where he was born before becoming a temporary Ugandan
He is fond of taking knowledge upwards
The palm wine tree along the shores and coastlines
This is where he found the fellow son of zinjathropus
A palm wine Drinkard in the name of Amos Tutuola,

Taban wonders why Frantz Omar Fanon has
The un-even ribs on the sides
Taban wonders why there are no aged Chinese in the world
Why turkana women are the most beautiful in Africa
But they play like playing bush love where
But every time before you go off her top
The deadly desert scorpion bites you on the leg
Why The Babukusu of east Africa stopped their revolution
Why the books of Ali A Mazrui form a succinct tribe
Why the Masai chiefs eat as peasants beggingly look
Why there is oil in turkana area and no turkana man knows where oil is
Why Obama has not read his fixions and meditations, his youthful oeuvre
Why Wole Soyinka used to be jailed by foolish people in Nigeria
Why Achebe and Okigbo condemned Captain Elechi Amadi to detention
During the tribally secessionist Igbo war of Biafra
Why publishers in Kenya take bribes in kind
Especially whisky, pilsner, viceroy, smirnoff and freezing tusker
Why Pablo Neruda was not born in Congo
Why Jews are all over the world but none is seen
Why thirteen offenses against his enemies
Never shook the world like Das kapitel of Karl Marx
Why man cannot eat socialism but only bread and wine
Why Ramogi Acheing Oneko was not in Lodwar prison
Why Paul Ngei broke the leg of Jomo Kenyatta
When they were in detention at Lodwar
Why he missed by a whisker to betroth Grace Ogot
A Luo babie who leaves in the land without
Neither thunder nor promise of thunder
In the bossomy bossom of Bethwel Ogot
Whose foot prints on the sands of times
Hat to Sent Daniel arap Moi Home shout a lame poem;
Jogoo! Jogoo! Jogoo! Jogoo!
Why a short fat big headed man the poet in this poem
Asked him why he launched Christmas in Lodwar during December 2013
But not the intellectually logical So what and Show What
Why turkana men don’t put on *******
But still their ***** cannot make three percent in size
Of the size of the ***** of a Luhyia man Mr. Wanyama
Who hosted Taban during chrismas in Lodwar
Why his tribesmen will remove six front teeth
From his lower jawbone when he is dead.
Andrea E Baide Apr 2013
No te amo como si fueras rosa de sal, topacio
o flecha de claveles que propagan el fuego:
te amo como se aman ciertas cosas oscuras,
secretamente, entre la sombra y el alma.

Te amo como la planta que no florece y lleva
dentro de sí, escondida, la luz de aquellas flores,
y gracias a tu amor vive oscuro en mi cuerpo
el apretado aroma que ascendió de la tierra.

Te amo sin saber cómo, ni cuándo, ni de dónde,
te amo directamente sin problemas ni orgullo:
así te amo porque no sé amar de otra manera,

sino así de este modo en que no soy ni eres,
tan cerca que tu mano sobre mi pecho es mía,
tan cerca que se cierran tus ojos con mi sueño.
One of my favorite poets.
Joseph Childress Sep 2010
The root
Of ambition
Is ambivalent

There's no “one cause”
No one causes
A man
To make life decisions
In a day

It takes
Much more
For
A man to be successful
And real
With his inner-self
Accepting
The cards dealt
With the stamina
To play through
Exercising his will
With the feel
Lingering in every pore

Unsure
Of obstacles ahead
Headstrong
Through barricades
Bearing the bruises
Trampling
Over your own
Feet
Defeat
Seen in battle
But the war’s on

And the war zone
Isn’t limited
To a few
Years
Like ages 19-22
Whose to do
Worse
Who has more

Money
CARS
Clothes
And hoes

And whose vision
Is so small
To tack them
with success
All in all

And attack those
Who lack the
Wills
To move forward
And ignorantly
Attach it
With a phenomena
Of
Your unknowing

Root of ambition
Can spread
Like weeds

And weeds
Can **** ambition
Or spread
Like seeds

How many men
Dive
Head first under the influence
Or rise above
High
From the same drug

Barack Obama
Michael Phelps
William Shakespeare
Bill Clinton
Lebron James
Pablo Picasso
The Beatles
Jay-Z
Bob Marley
Conan O’Brien
Dr Francis Crick. (Nobel Prize Winner)
Samuel Taylor Coleridge
Salvador Dali
Victor Hugo
Kareem Abdul-Jabar
Snoop Dogg
Dr. Dre
Stephen King

Just to name a few
Maybe
Just maybe
It has nothing to do
With success

Or you.
Mike Essig Apr 2015
One Hundred Love Sonnets: XVII**
BY PABLO NERUDA
TRANSLATED BY MARK EISNER

I don’t love you as if you were a rose of salt, topaz,  
or arrow of carnations that propagate fire:  
I love you as one loves certain obscure things,  
secretly, between the shadow and the soul.

I love you as the plant that doesn’t bloom but carries  
the light of those flowers, hidden, within itself,  
and thanks to your love the tight aroma that arose  
from the earth lives dimly in my body.

I love you without knowing how, or when, or from where,  
I love you directly without problems or pride:
I love you like this because I don’t know any other way to love,
except in this form in which I am not nor are you,  
so close that your hand upon my chest is mine,  
so close that your eyes close with my dreams.
JM Apr 2013
One room away is a woman
who wants me to **** her.
She is beautiful, intelligent, and drunk.

I am ugly, intelligent, and sober.

Even though my highest and best
tells me to walk away with a smile,
my core screams for a ruining.

One room away is a drunk, *****,
dripping work of art who is also
very, very lucky.

Charles tells me to listen to
my **** and Pablo whispers a reminder
to remember the smell
of early morning wheat
and your eyelashes
while Walt and I gaze at the stars
and think of death.

I smile to myself,
soaking in the after glow
of vanilla chai, good ****,
and dead poets.

One room away is a woman
who's fate was in my sadistic hands.
Two rooms away is a twelve year old
who is dreaming of flag football
and Vans and getting to
level 37 of Skyrim
and one day,
after he wakes up
and after we have our
toaster strudel,
and somewhere in between
me stopping for coffee
and dropping him off,
I'll remind him
that good ***** is everywhere
so take your time and do it right
and when you just don't want to
look at their face,
make some tea,
catch a buzz,
and read some poetry.
The short-order cook and the dishwasher
argue the relative merits
of Rilke’s Elegies
against Eliot’s Four Quartets,
but the delivery man who brings eggs
suggests they have forgotten Les fleurs
du mal and Baudelaire. The waitress
carrying three plates and a coffee ***
can’t decide whom she loves more—
Rimbaud or Verlaine,
William Blake or William Wordsworth.
She refills the rabbi’s cup
(he’s reading Rumi),
asks what he thinks of Arthur Whaley.
In the booth behind them, a fat woman
feeds a small white poodle in her lap,
with whom she shares her spoon.
"It’s Rexroth’s translations of the Japanese,"
she says, "that one can’t live without:
May those who are born after me
Never travel such roads of love."
The revolving door proffers
a stranger in a long black coat, lost in the madhouse poems of John Clare.
As he waits to be seated,
the woman who owns the place
hands him a menu
in which he finds several handwritten poems
By Hafiz, Gibran, and Rabindranath Tagore.
The lunch hour’s crowded—
the owner wonders
if the stranger might share
my table. As he sits,
I put a finger to my lips,
and with my eyes ask him
to listen with me
to the young boy and the young girl
two tables away
taking turns reading aloud
the love poems of Pablo Neruda.
Ashley Reem Apr 2019
A place where we feel minuscule
All the gray soaking our vision
Pushing for comfort
Faster for fear
The whole city on our glossy eyes
Not sure what route we will take
As long as our paths meet at the end
In our tiny city, with our big hearts
We come together as one
The moon connects us
If we keep our chins up
Pushing for comfort
Faster for fear
Away in the distance
The beautiful words of love
Pablo is always near
SøułSurvivør May 2015
anagram!**

LOUD BEAR NAP!
BAN LOUD PEAR!
BARE LOUD PAN!
LOU BEND A PAR!
AOL BAND PURE!
Can you think of any others?
HRTsOnFyR Apr 2017
I want you to know
one thing.

You know how this is:
if I look
at the crystal moon, at the red branch
of the slow autumn at my window,
if I touch
near the fire
the impalpable ash
or the wrinkled body of the log,
everything carries me to you,
as if everything that exists,
aromas, light, metals,
were little boats
that sail
toward those isles of yours that wait for me.

Well, now,
if little by little you stop loving me
I shall stop loving you little by little.

If suddenly
you forget me
do not look for me,
for I shall already have forgotten you.

If you think it long and mad,
the wind of banners
that passes through my life,
and you decide
to leave me at the shore
of the heart where I have roots,
remember
that on that day,
at that hour,
I shall lift my arms
and my roots will set off
to seek another land.

But
if each day,
each hour,
you feel that you are destined for me
with implacable sweetness,
if each day a flower
climbs up to your lips to seek me,
ah my love, ah my own,
in me all that fire is repeated,
in me nothing is extinguished or forgotten,
my love feeds on your love, beloved,
and as long as you live it will be in your arms
without leaving mine.
Wreckless Oct 2013
And because love battles
not only in its burning agricultures
but also in the mouth of men and women,
I will finish off by taking the path away
to those who between my chest and your fragrance
want to interpose their obscure plant.

About me, nothing worse
they will tell you, my love,
than what I told you.

I lived in the prairies
before I got to know you
and I did not wait love but I was
laying in wait for and I jumped on the rose.

What more can they tell you?
I am neither good nor bad but a man,
and they will then associate the danger
of my life, which you know
and which with your passion you shared.

And good, this danger
is danger of love, of complete love
for all life,
for all lives,
and if this love brings us
the death and the prisons,
I am sure that your big eyes,
as when I kiss them,
will then close with pride,
into double pride, love,
with your pride and my pride.

But to my ears they will come before
to wear down the tour
of the sweet and hard love which binds us,
and they will say: “The one
you love,
is not a woman for you,
Why do you love her? I think
you could find one more beautiful,
more serious, more deep,
more other, you understand me, look how she’s light,
and what a head she has,
and look at how she dresses,
and etcetera and etcetera”.

And I in these lines say:
Like this I want you, love,
love, Like this I love you,
as you dress
and how your hair lifts up
and how your mouth smiles,
light as the water
of the spring upon the pure stones,
Like this I love you, beloved.

To bread I do not ask to teach me
but only not to lack during every day of life.
I don’t know anything about light, from where
it comes nor where it goes,
I only want the light to light up,
I do not ask to the night
explanations,
I wait for it and it envelops me,
And so you, bread and light
And shadow are.

You came to my life
with what you were bringing,
made
of light and bread and shadow I expected you,
and Like this I need you,
Like this I love you,
and to those who want to hear tomorrow
that which I will not tell them, let them read it here,
and let them back off today because it is early
for these arguments.

Tomorrow we will only give them
a leaf of the tree of our love, a leaf
which will fall on the earth
like if it had been made by our lips
like a kiss which falls
from our invincible heights
to show the fire and the tenderness
of a true love.
Jeffrey Young Jun 2015
I do not love you as if you were salt rose, topaz,
Or arrow of carnations disseminating fire:
I love you as certain dark things are loved,
In secret, between shadow and soul.

I love you like the plant that does not bloom
But bears hidden within itself those flowers’ light,
And thanks to your love there dwells darkly in my body
The compressed scent arisen from the earth.

I love you, knowing neither how, nor when, nor whence;
I love you directly, without problems or pride:
Thus I love you, for I know no other way,

Unless it be such that there’s no I nor You,
So close that your hand on my chest is my own,
So close that your eyes close as I fall asleep.
6/17/15  For A.

— The End —