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SGD Oct 2013
I was never a sinking ship, just the remains
of an ocean liner, settling on the sea’s lips.
At least, that’s what I think.
I am not a tragedy, no,
but so many of my pages are empty and, my god, I need
you to know that if I am a book,
I am half-complete (not half-unfinished––I'm learning, you see?),
but it’s the back half,
and a few scattered paragraphs before that.
Now and then I write in my own history,
just for others to read and believe
there’s something more to me
than a leather bound cover over cheap poetry.
That’s all I am, really.

I’m just trying to keep my head above the water.
I keep my secrets close, and my happiness bottled
––for the nights when I need something stronger
than spirits that burn on the way down,
something that can keep these ghosts
from crawling back out my mouth
to tumble from my lips at last.

Listen, I'm really not hard to figure out.

It’s broken glass,
it’s the smash of a car crash,
it’s the smell of smoke and ash,
it’s a statue of a girl learning to laugh,
and to know, and how to venture
into you. I count the number of times I've been sure,
on my knuckles instead of my fingertips,
because it wasn't the touch, it was the fist
that first said: I am better than this
(fires will die but they fight harder than all else).
Besides, my fingers are not for counting out.
I think they're for you,
to weave yours through,
and to feel on your skin
when I spell out I love you,
because my fingers do not flinch
as easily as my mouth does cringe
and strangle truths in anger.

If you feel I am pulling into myself,
remember I'm likely collapsing inwards,
and know this:
broken homes beget broken bones,
but more often they spit
broken boys and girls from their lips.
My body is new,
no longer mould and mildew,
but steel, mortar, and brick,
and stone
and stick.

I am almost always cold.
My wrists look too thin for the weight of my world.

I carry on, but I am not strong.
**** knows how long those days have been gone.

To the person who will somehow fall for me:
I am not a tragedy,
but a mess of a story.
I write dumb rhymes to feel like I'm growing.
I speak as a cynic, but at heart I'm all dreams.
Sometimes I take a minute to listen and, slowly,
I think I'm becoming someone worth being.

I seem bare as a clinic and empty as glossy magazines,
but it's all a set and some props, one day I'll end scene.
I'm not ready yet, but on One Day, I'll be.

I swear, I'm almost there.
My world is readying,
like winter prepared
to yield to spring.
Jing Xi Lau Nov 2018
They print their lives on a price tag,
Those big fat numbers,
All they do is brag.
My daughter’s a neurosurgeon,
Graduated from Johns Hopkins,
Saving lives by the hundreds.
My son a number-crunching accountant,
A career that keeps his wallet thick,
And his pockets filled.

They wonder what I do,
I tell them I work with words.
They gasp,
Eyes widen.

I tell them that,
I can count the spaces between adjacent letters in a word,
String words together to build a sentence,
Layer each sentence above another like bricks,
Place a single powerful mark of punctuation in between,
The glue that holds the bricks intact and forms a wall.
A wall of stanzas,
Connected by commas and semicolons.
A wall of paragraphs,
Big enough to block numbers out.

Because words fill souls while numbers fill pockets.
Words are immeasurable.

Infinite.
Ugo Nov 2013
The blood of dinosaurs
pump through the soil
serving as cold platter
for the lit Norwegian cigarette  

The war of music pump paragraphs of hope
through the ear of youths
burning lips in pursuit of happiness.

In search of naked pictures of God in our mirrors,
the internet spent our laws and threw our only hallelujah out the sea—
and Arachne smiled, knowing she’s now the Womb—
and all men come in the belly of eternity in order to be.
Ellie Shelley Jan 2016
Don’t become infatuated
Don’t fall in love
Especially not with poets
Because they only ever exist in their words
They will write you love poems, and lengthy paragraphs
With words said in ways you have never heard before
You will fall in love, with love poems, the way they say their vowels, and the look in their eyes when they read to you  
They will lull you to sleep with sticky sweet words
And they will speak of the colour yellow, in a new light
A new meaning will come to its definition
And it will slowly become your favorite colour
You will wear yellow dresses, and put daisies in every room  
You will see the speckles of yellow in their brown eyes
But you will find them at three in the morning sitting in the bath tub, bathing in the words of metaphors
You will find them having an affair with Stanzas and Verses at the same time, sleeping with sonnets
You will see that poetry was always their mistress
At night they will no longer share blankets with you, but they will wrap themselves in ballads and couplets
You will only be able to express this new distance with eulogies
You will start seeing yellow everywhere
In the beds of your nails, and them hems of your skirts
Till you start seeing it so often that you will want to puke up every word they have ever said to you
You will realize that talk is cheap and Rhymes are easy
You will realize that poets only ever exist in their words

Wait I.. I take that back
Fall in love with oddly pronounced vowels, love poems, lengthy paragraphs, and sparking eyes
Wear yellow dresses again
Pick a bouquet of daisies
Fall in love with 2 a.m. again
But not with just anyones 2 a.m.
Fall in love with yours
Get swept up in the arms of personification
Drink sticky sweet words, get drunk off yourself
Have a love affair with stanzas
Kiss verses on the lip
Wrap up your wounded parts with haikus
Become infatuated with metaphors
Whisper sweet nothings to yourself
Fill your nights with praise poems
And love songs
Tear up every eulogy you have ever written
Knit yourself a blanket from all the unfinished poems, all your couplets
Sing ballads to yourself
And write sonnets in the moonlight
Fall in love with rich words and complex rhymes
Don’t worry about falling out of love this time
This is two combined poems, the first one is one I've already put on here. I'm using this for an audition to try to get on my schools poetry team. LTAB (Louder Than A Bomb)
Nyakisa Beth May 2020
Her smile was the rare alphabet that composed the words.
Words that made sentences
Sentences that begot paragraphs
Paragraphs that turned into pages
Pages that turned into chapters
Chapters that turned into books
Books that told my story.
My story that unleashed her into my heart and unveiled my century long love mines

My reaction to her smile was the punctuation that changed the meaning of every letter,word, sentence,paragraph, page, chapter, book and ultimately my story.
That was far from over ,she changed my world.

It was not just a smile but the mark of the finest exploration expedition ever known to my circles.
Her smile was the build behind the words, sentences, paragraphs, pages, chapters, the book and ultimately the story that sent me flying.

Far from over,it was not just a flight but a first class flight of passion, affection, belonging, attachment and confidence that saw me smile with a smile that moved the mountains and shook the valleys of my understanding.
She was the element 115 that changed the alchemy, geography, radiology physics .she changed my approach to the theory of everything.

The beautiful soul behind the rare smile that changed everything lays hidden behind the alphabetic curtain of five letters

Behold AMIGO
Not just a word but a monument
Love changes and teaches
mars Jan 2014
There are words in my head
and the words make sentences
and the sentences make paragraphs
and then the paragraphs form stories that
are incoherent and jumbled like aphasia and
I'm drunk with this pain because there are too
many words too many words too many words and

my heart is so thirsty

my mind is so quiet

my hands are so still
it's been a rough night and I just want to go to bed
Mateuš Conrad Mar 2016
to write against using paragraphs you prevent eye-strain, you increase speed of composition, paragraphs are what you might call the leisurely pace of writing, a promenade with a sun-umbrella, poems can never be written in paragraphs, they need the snap snap snap momentum, obviously unfavourable in times of printing on paper, not economic enough... well, digitalise my *** if you may, we're going to save the amazon rainforest this way!

the 21st doesn't really allow the perks that a 20th century
poet might have, first of all the typewriter has changed,
but so has the page you write on,
back in the 20th century you
lived and wrote,
in the 21st century you write and live,
back then you'd go to a cafe for
about ten days, or to a pub for seven
and talk talk talk, drink, talk talk talk,
play intellectual ping pong,
you lived and wrote,
you didn't write and live -
it's changed, everything has changed,
the pages are like brick walls
everywhere you and can see,
so you apply the rule: well, someone
might see it immediately, so it
must be graffiti rather than poetry,
because a. it's not really written in
public, and b. anyone can take it
immediately, on a random scroll through
this jungle maze of information,
yet poetry written in 20th century took from
the 19th etc. written with that glorious word
ah* or O, that wind of inspiraton, so light,
so breezy entering the heart... the 21st modus operandi?
the word **** **** ****, i.e. it's the ******
hoover dam cracking;
but the other thing is, you also have
the perks of a 19th or an 18th century writer,
a writer like Alexander Dumas or Balzac,
you have time, and you know you have
time to write prodigiously, you know
the audience is a niche of salon corset adorning
perfumed and pampered ladies,
with the gents reading the books to rid
yourself from the existential angst of having
someone bring you peppermint tea in the
afternoon while you lounged and tilled
the field of yawns and un-amusing gatherings
of, well, hardly ecstasy fuelled chorea minor
(st. vitus' dance) dancing raves...
but that's the thing, these days a constant
profile / presence is also a shady presence,
the background noise, ambient refrigerator noise
type observations of your own voice...
it's the 21st century after all,
we have a global world of mass tourism
and easy access to Turkey, Singapore or
Indonesia... but find our neighbour's house
to be Mt. Everest in terms of access...
impassable, well at least it's like that in England,
England and that damnable passive
voyeurism of neighbourly ordeals of staccato -
so you become a mole, you dig into
hades that your self becomes, and you expand
the horizons a little...
but still the perks of writing in the 21st century
is that you can speed up the publishing process
not really minding any material gain,
because, remember: in the 21st century
you write and live, it's not the 20th
century where you can live and write,
that's gone, it's like the idea of what Europe
used to be with free-movement of people
across the union, all the publishing wire fencing
are gone, you have to use this opportunity
to move quickly, use this opportunity,
otherwise it will suddenly disappear in the murk
of what writing used to be: the
ghoul of the infamous Vatican Index -
i mean it's still the early 21st century,
what of the end of it? history can be easily
condensed into an evolutionary theory,
pin-pointing dinosaur fossils and all that,
but i'm working in the framework of a range
of about 100 years, and the dynamics of a century,
nothing more, i'm being realistic like that:
as a poets' poet said: 'you know,
i want to become a philosophers' poet,
i want the shawl of even greater obscurity,
a mythology as it were, this paparazzi
***** and glitter of insect procreation speed
frightens me, i'm not the one for being
encapsulated in some sort of amnesia -
amnesia of the people, people's amnesia,
come one minute, gone the next,
i need to set a coordinate for people who
like to think.' and he was on the money, truthfully said.
people are always talking about all the futilities
of justice: but it's the 21st century!
makes no difference if you can't compare two
centuries and what we do that does not involve serving
our justice... the count of monte cristo always
said what was needed, start embarking on revenge
and your sought out justice will never end, for it
will never really exist, and you will not find
satisfaction in revenge, emotionally you won't,
but obviously cognitively you will, but certainly
not emotionally - since feelings have no aim,
whether in seeking revenge or in pardoning someone
for their idiocy or gluttony or whatever,
emotions are chaos, thoughts can become methodological
to the extent where you will gain revenge,
but up to a certain point, the point of exhaustion,
and then what? give your ear to zatara a while,
your emotions might surprise you, esp. if you're not
thinking out something, make your thought
a coordinate, and send out 360 vectors of the heart
where they please.
Mybadbrainday Nov 2015
Dribble your words all over my body, sprinkle me with your writing. Smother me with your thoughts. Lather me up with scented syllables. Massage your lazy vowels into my skin. Wash me down with your beautiful language. Wrap your sentences around my wrists, hold me down with your paragraphs. Tickle me with with interpunktion. Scrub me with silent speech. When I'm all wet and rosy clean, dry me with the pages of your warm typing
Not really a poem, just longing...
Vamika Sinha Sep 2015
The poet looks
and delves.

She wonders if he ever stops,
him, this rushing-forward-breathlessly train,
if he did park himself in fantastical paragraphs;
the poet is dumbfounded at him
ceasing.

In construction sites of grammar,
where free ideas float in ruins,
poet wonders how,
how, how
he came to plan to live
up
to an exclamation mark.
And condensed so many dribbles and strikes
of strange and fruitful, even withered
paragraphs into one line and pointer -
a smile and a lope-stagger dance of a walk -
an exclamation mark.

The poet stares, once again
astounded by the little streaks of the universe
and longs to hold on to something.
Disarmed,
she can't quite put a finger on it,
his gaping honesty and his quiet one,
that contradiction
shouting in her face
while whispering in her eyes.

The poet laughs -
laughs of, in, out
of sleep.
Summer is here.
And she chooses to notice.
He laughs too,
but he's always been noticing
and the poet writes down how
she learnt to bite and chew into the fruit of the world
and taste

it sour runny sweet cold explosive lingering
just as him.
The poet saw all
colours rolling in one
strange song of limbs.
She did not like the music
but she made herself a blank white canvas

and listened
and laughed

clean, silly laughs
fluting out of the incongruity
of simple,
simple
moments.

Fun life, easy stretch of the mouth -
it is possible to smile down at
what a clown pain is.
He declares this boldly
without saying a word
or two.
The poet is dumbfounded at him
being.

She did not see and had not seen and now only began to picture
but she was blind.
He said he was blinder and that
was true. The poet
did not smirk but giggle at the irony -
he lived in pop-bold spectacles,
she slept in black and white films.
But both were blind.

We cannot see and
we
are blurs.

The poet likes that life scrapes away at her
because she can see chinks of white sunshine
through all the sheared-off layers.
Clean, clean,

bright, bright -
he teaches her in a beam
without a hello.

The poet writes poetry
on breathing action prose.
And she laughs -

You are everything I don't want
but I'm curious.
Something different, hey?
Nothing helps,
Externalising this pain seems almost impossible.
These emotions don’t translate into words,
Into sentences,
Into paragraphs.
I can’t tell you whats wrong,
I can’t tell you how I feel,
I can’t tell you whats wrong,
I can’t tell you how I deal.

Nothing helps,
Externalising this pain seems almost impossible.
These emotions don’t translate into words,
Into sentences,
Into paragraphs,
I give it my all,
I try try try and I try,
I give it my all,
I cry cry cry and I cry.

Nothing helps,
Externalising this pain seems almost impossible.
These emotions don’t translate into words,
Into sentences,
Into paragraphs,
It all seems so hopeless,
It is a dead end for me,
It all seems so hopeless,
*It is a dead end you’ll see.
There, if I cant externalise the pain, I'll externalise the struggle
Mateuš Conrad Nov 2016
a note before i end the pending poem.

i know i'm not writing anything "in the groove"
or whatever urban tonguing i should use to invent
the new form of glue: to stick with the trends.
                    when people read candyfloss
literature i read lead literature,
  that's how it goes, i find too many poets
angry shouting down other people's throats,
i find them in positions where they think
they empower people: but rarely do.
   i write for the sole purpose of a demographic,
a democracy of sorts, i never want to hear
my voice regurgitated back at me,
i find it prickly, apart from the half-digested content
i am actually opposing being fed it...
  i can't explain why i don't entertain,
write one poem every two years either, apart from
the fact that: well, writing a poem and then
performing it? performance doesn't really do much
for what's an ongoing voyage, performance to
the art is like a Moby **** moment:
   you get to tell the adventure of a shipwreck,
rather than the proof that the earth is not flat.
the additional benefit, you get to see how your
thinking interacts with symbols, and how these symbols
will never betray the tongue that doesn't speak them...
   you get to do x-ray upon x-ray and find that
stuff like this: is actually equivalent to a bone in your
tongue. as with the moment: when artists are quoted
as having said: words are meaningless...
     i guess there comes a time when, with that said:
punching someone dead means more.
   oh this pithy sentiments that only empower politicians
and the media... i might have said
    a baby's gluttonous gaga drool and you'd be like:
yay! happy days upon us!
                      when poetry isn't performed it continues
into the nether region of thoughts: it's not jeopardy
of suddenly fizzling out into a state of a stale champagne
bottle... the residual power is confiscates from speaking
it retains a close proximity of actually writing it,
on the basis that it becomes prolonged, and more concentrated,
it cannot be allowed to diffuse into the open,
into a crowd, for a democratic hurrah on we go.
  i wanted to simply see poetry as an optical exploration,
rather than a vocal necessity of the art,
      philosophy was clogged up in too many truths
and untruths, and basically too many paragraphs,
   i wanted to make frank the medium that abhors paragraphs,
and by the looks of it: punctuation marks.
well, it's all about pedantry to be honest,
               but then i never desired the urban lingua
of keeping with the zeitgeist... i see how keeping up
with the times is enshrined with materialism and how
fickle it all eventually becomes... you can never reach
a status of cool reaching for the obscure,
but that's what all attempts at fame end up being:
a quiz show, trivia, obscure knowledge, 0 points
means the best points available, and after that, the realisation
that all is empty, and that attempts at fame
become questions in a quiz show where the aim of
the game is to: name the most obscure answer possible...
oddly enough the same show invites celebrities to
take part in the quiz for charity... *pointless celebrities
,
first word, yep, that's the name of the show.
oh no, i don't shun television, i do admit that watching
a brick wall is more entertaining drunk than television,
but the sober me has to do something from time to time.
so poetry: a medium that's opposite of vocally necessary,
a medium to explore the bone inside the tongue
that writing invokes: ****** stalemate...
      would i care to say why every word has a meaning?
unless you can speak hundsprechen i'd say only this,
that sort of reasoning is dangerous...
            we wouldn't get anything done is units of language
was meaningless... (hold on, i'm going to create
a crescendo for this point)...
you can say language is meaningless when you're
singing... vocalising language from these depths of
what would otherwise be known as the graveyard of surds
on the pure basis of optics and all cognitive parameters...
      sure, from these depths into an angelic gospel choir
you can get a meaninglessness: because it's so ******
    pleasurable... you can't deny a good song, you
can't compare the use of language in singing to the use
of language in lecturing some obscure topic by simply
talking... for thus words are sounds, and not the dreaded
pluralism of conventional talking: i.e. meanings.
              unlike the Chinese who have a certain capacity
to remember about 3000 ideograms, we have a much
bigger capacity, but our words are shrapnel and what we
don't have that the Chinese do have is:
                 a capacity for the multiplicity of meaning.
i can't imagine any ambiguity with Chinese ideograms
in the range of 3000 symbols... but there is clearly ambiguity
in our system...
                      obviously we can say words are meaningless
at times when rules of using language are lax given
the lies of politicians and the media roulette:
the fact that media is not state owned is even worse,
shadow brokers and a tarantula venom disorientating people.
   singing is an escape route from the socio-political
conventions of using language, hence the ambiguity trail
of what's deservedly called: socially-acceptable mode
of conduct, something that doesn't receive the ****** frown
of what would probably look like a lemon smiling.
  yet, if language doesn't give you a chance to see a labyrinth
then you have the shallows of singing... mm, yeah, mm, boo...
         ye-ha! ******* cowboys the whole lot of them...
but it's what it's supposed to be, something to be sung
for someone else to hear... it's not something written
down for someone else to see... and subsequently maybe
think about... oh how dreaded that statement seems in
English, a bit like denken scheiße / shy-se!
          people only make statements about the meaningless
of language when they sing... but that's the point:
you're making sounds, akin to the rhythm of my heart,
hence i don't think and subsequently go into a moshpit
or nod my head with some pigeon-like "cool" approval...
language is a bit like Shrek talking about onions...
it has layers, "spooky" other dimensions, oooh oooh...
Casper asked for a weener so he could invert necrophilia
and ghost-**** that ***... it has layers...
         somewhere between the Antarctica and the Arctic,
perhaps in the tropic of Capricorn, but who knows?
but i'll tell you one thing... it's not a white guy thing...
i finally understand why i don't like rap...
a bit like saying: a crowd shouting at a football match
is not an onomatopoeia of whatever is **** sapiens worthy...
   i think that classification actually predates
the expression of it... it's out there, but on the fringes...
         it's like this standard of protestantism with the concept
of predestination: we might just get there by Sunday
in the year 2099, but who knows?
        now i do understand why i don't like rap...
never liked it... couldn't stomach it...
   then i come across a beauty... so all those things i said
before, it culminates into this...
    Akua Naru, ring a bell? probably not,
3mil is nothing in today's celebrity cut-throat backstabbing...
     http://tinyurl.com/lt8ayhg... now that's entertainment...
that's what i love, how every instrument is
actually heard... the bass kicks in to set the tone
with the tickly percussion accents...
                       she's baking a cake...
she's layering...
  it's unlike that ****-culture music of pounding pounding
overly rhythmic and for every band these days
   it's one guitar = 20 violins of an orchestra's worth...
                  this is the new-jazz, or what John Coltrane
insinuated with the words: a love supreme, a love supreme.
            i don't know if it's poetry...
                                   a weak message on a stage might
always require a backing band, like a weak voice
might require a backing band... but this little critique doesn't
necessarily mean i can appreciate it,
   and is the reason why i don't understand rap, and never will.
Gotta find a new way
To scribble the pencil on paper
To draw letters and words
Sentences and paragraphs
Chapters and books
Because there's just too much going on
In my mind
It's like a cement mixer filled with rock and mud
Turning 'round and 'round
Mixing that **** into concrete
You can put your hands on the spread product
And the imprint will dry in the block
Forever for to contrast the size of your hand today
With the size of your hand in 25 years
(Barring a catastrophe that demolishes the concrete)

Always hoped my mind would be a deep well into which could be thrown a cavalcade of essentials,
Knowledge, wisdom
Intellect
I've kept my mind open for them
And yet they weigh me down
They make me feel awful, like being squeezed across the chest by the not particularly strong arms of an aging circus  sideshow barker

Take what you will
Lighten my load
For Gods sake take the fear
Of being happy without feeling this ominous depression

This is the point where I rail against how unfair it is that in Colorado and a few other enlightened states marijuana is given due credit for it's medicinal propensities while 10 hours away in Oklahoma you can still be thrown in jail for possessing even a small amount.

People, scoff if you will
I need medicinal marijuana
I know that nothing else is going to bring me a modicum of joy such as it has for so many years

And I know it's wrong to be more excited about hooking up than in communing with God, meditating and contemplating on His Holy Name.
It's wrong
It's got to be a sin, obsessing about ***
While my desire for God wanes and
Flutters like a flag at a losing race
I'm sorry I feel this way
But I do
O Jesus I trust total honesty
Means a lot more to you
Than puttin' on the show
Pasting phony smiles
and lying, making out like their love for Someone they've never seen is consuming them with the same passion had it been a new boyfriend or a special girlfriend with flesh and blood and sinew and tendon and breathing heart and beating lung
Speaking words
Emitting odors
Skin to pinch
Glorious laughter in your ears
Guffawing at your stupid jokes, she likes you!
Mikey liked you, dear, I know that means a lot
Maybe ask them if they want to go see God with you
But if they don't you'll be disappointed
And if you're as depressed as I am
You'll stay home and hope they'll decide to hang with you

Because there's too much information
There are too many idiots walking the terra of this country
Too much misunderstanding
Too much pressure
Too much unloving intolerance
Too many headaches
Too much wringing of the hands.
Mister, you wouldn't recognize Jesus on the street if He personally placed your hand in His side
You don't want to know him, do you?
The Truth is a terrifying concept
Don't get too close to it, get burned by the light
You can't handle the truth, afraid you'll see it in the mirror
So you hoist the beam from both your eyes
Because someone said if you did that you could judge rightfully
But you didn't get that the beam wasn't a literal object , that it in fact could not be removed
None but the Christ Ever had the right to judge you
He judges from love, always seeing the value in the man, long past forgiven all sins
But they'll run from Him
I think he'll giggle, knowing they'll eventually come around
Maybe he'll have to show them
But for right now I don't see Him
My faith may be weak
But I need some ******* relief
I have a feeling He wouldn't mind
If nothing else He'd be pleased that it made me feel like living again

Scuse me while I load a bowl
Let me get a few tokes
Then you come back
And I guarantee you'll notice
A much friendlier, social man
Lappel du vide Mar 2014
you know? i'll stop being so empty sometimes. i'll fill myself with words, so they will be dripping down the carefully creased seams of my lips and dents in my cheeks. i am tired of margins and paragraphs to box in what i have to say. i'm ready to let things out like a destroyed dam barricading a swift, roaring feline river; distorted reflections of the day racing past.  i am a goddess with dripping hair and naked skin, you can't stop me from feeling. i feel with my soul i feel i feel I FEEL and i am alive. i am the start of morning, i am red tinged and purple, i am the end of the afternoon, dark skinned and starry. i am everything that this universe is made up of, and i intend to be that way till the very earth splits my bones and drills my skull, and my skin droops tiredly to the ground. i am whole, and i am divine. i am eternal, like the dust scattered across the milkyway, and *you can't stifle me.
our conversations are all in blue.
i try not to mind it,
like i try not to mind the hair falling out of my scalp.

you're just busy being unattached to me.

i make excuses for you as easy as i double text.
they flood my head like mantras,
but not the kind that make you feel calm or loved.
it's more like telling yourself you won't throw up after the twisty roads up the mountain.

but i want to see the view with you.

so i keep sending you blue paragraphs filled with 'sorry's and 'i love you's.
you send the same grey 'i love you, too's.
and we call it communication.

i'm the driver and the passenger
the carsick kid trying not to throw up and the toddler asking over and over if we're there yet.
but i want to see the view with you.
would it hurt to send a grey paragraph? or ask me,
in your best whine,
if we are at the top yet?
throw up in my lap. drive me crazy.

ask me for the aux cord and i'll give it to you.

i'm done listening to this album on repeat.
i want to hold your hand without worrying if your fingers are numb and you just don't want to hurt my feelings.
this car needs more you.
and i don't mean the you dressed in grey half messages that you probably rewrote three times.

i need the you that talked about faking our deaths together
like it was the only part of life worth living.
wearing that laugh you always say is too loud,
but really it sounds like music.
i like my music loud and angry.
and ****** at your parents for being expired versions of themselves, always expecting you to be organic.
i need that you like i need a vice.

because that's who i want to see the view with.
i miss you. not the you that texts me, 'i miss you, too.' i miss the you that calls me a crazyhead for texting you that at 1am <3

09.05.2021
Mateuš Conrad Jan 2017
prelimenary coordinates - a blindman playing chess.

well... you either drink, and write sparingly,
     or you don't drink, and you write
a novel...
    but who would have thought, that there
would be poetic odes involving coffee...
     it's staggering how many women write
poems and have to concern themselves with
coffee...
  i down a litre of whiskey a night, don't know
what a hangover is anymore,
        and i can beat out more words
than women, who use a stimulant and write
   crumbs... when i expect a loaf of bread...
if not this website, then another, and the scenario
is the same: the glorification of coffee...
           it just shows you how barricaded the human
narrative is, of the soul...
        poetry merely nibbles, and i know it's
flaws... write without paragraphs,
or care for punctuation marks... and it's immediately
a poem...
   or... oh god forbid! there's something profound
being said with a few words...
      and it has to be profound...
                      yes, i'm the Gargamel and those
are my smurfs...
                             strange that Freud didn't think up
the man-child complex...
                         which is the opposite of the madonna-*****
complex, which he actually did...
           Edward Hopper was also bemused by
these two mental pharmacologists...
                did a little sketch holding Freud as pillar 1,
and Jung as pillar 2.
    but coffee and poetry: i'd expect more from this
latitude...
        and it's still a case of:
                   people cling to the raft that's their
mental narrative mondus operandi...
                Kant tried to say something as concrete
with 5 + 7 = 13... and read any philosophy book...
    Kant isolates the ''i think'', and Hegel isolates
    the i = i, or i am i...
                              and these are serious thinkers...
but Descartes has said a limit...
                       thinking defines subjectivity...
      thinking the essential component of what's
   not thought about: the existential compromise of
   being per se...
                    and how i always seem to find philosophy
as a stumbling block concerning everything i write...
    it's almost as if i can't escape the world of
abstracts...          a degree in chemistry didn't help either...
     am i truly so un-realistic?
               not that i'm afraid of being drawn toward
the un-real...          it's that humanity seems only like
an infertile groundwork speeding toward a forgivable
promise...
    i just wanted to say: you drink and write poetry...
or you don't drink, and write a novel...
      and true to a heart's cause i will say:
that straitjacket of what poetry is...
                           whether rhyme... or other technique...
    hanging over it...
                           it can't do:
      i abhor Nietzsche for making poetry a science...
  and it is: too scientific...
              i'd never think so little can be deemed
so perplexing... or having that essence...
                    so yes... Kant
                         really does struggle to say something
profound, but he actually does...
                     over and over again... namely:
i'd never could think of so many faculties of my mind...
    not that's what i call a plastic saying...
      ****-licking brown-nosing, call it what you like...
it's just so terrible that philosophy cannot reach
toward being a humanism, like a novel always can...
     which is why i could eat a historical novel
        by Kraszewski in three weeks in between allocating
that time to the festive season,
                     and it took me 2 years to read Kant's
critique... until i let go of that post-scriptum necessity
of having to stop at every setence and do a rubick's cube...
     a bit like: well... aren't those electron-migration
   schematics they teach you in chemistry, a little bit pointless?
   who give's a badger's nut-sack about how electrons migrate
when a a cabron to oxygen bond forms?
                         but they do teach that...
           which is why you can take a novel to bed,
on the train... but so much focus is needed for that other novel,
the scientific one... the grandeur of... philosophy...
                and that's when i let go...
   the last part of the critique does allow you to read
piece of work... like a novel... unless of course that was my
need to do so...
                    so yes: transcendental methodology in Kant's
critique: does read like a novel... at some point
you just have to let go.

ii. ...

and you do... try saying philosophy without saying
something pretentious....
               and i dare say: as long as the fewest number
of people concern themselves with it:
  the more chances we have for electricity,
plumbing, food on the table...
               but by now there's this talk of a curse...
premature Socratic antics... mind you: he was an old man...
but Plato be ******, he wrote down what the old man
spoke: and a clear number of them succumbed to
      the tumble-**** effect...
                      no real prospects for life...
        and, evidently, the dead gods philosophised,
while the rest remained: prone to throwing a show of
macho, and worshipped the body...
Olympus shone...  
   by now you should know that i don't know what
i'm doing...
                  give me the killer-switch to launch a nuclear
strike and i'd probably say: maracas!
shake shake shake...     fidgety in the brothel...
shake shake shake...
             that's the weird thing, every time i went to
a brothel i became over-heated...
      i sat there, the whole **** place always reminded me
of a perfume... jack daniels...
   and i could feel myself over-heating...
  i don't known if that was the angel conscience talking
to me... but i always felt those eyes of scrutiny...
       mind you, once the whole "naughty'' escapade
took off... i forgot those relationships where
                    an impotence was crowned...
   don't know: maybe prostitutes just know my pin-number
and hold to say to little richard: off to the crusades with you!
     phenomenal...
                                         well... thank god for
the north african imports! i'd start thinking all european
women are bound to be: neglected.
               and was it ever, not only about ***?
    it's nice to doubt it...
                           next time i'll woodpecker a grave.
but hey! the promised land!
                           at least you'll have someone to cry
over your grave...
   and did i tell you how there's this cult of the grave
in Poland? yep, that's not a personal reality,
it's a populist manifesto... i'm starting to see it
as a hell where people sort of forgot to state their emotion
to the people, now lying in those tombs...
         give me a Hindu wedding with fire!
  i wanna become elemental!
and look, libido on fire... a billion vishnu-******* in
Bangladesh...   it's this thirst for fame in western
societies that's going to be a downsize...
                                 over there that's like a **** in
a tornado...              ha ha! it really is!
   but then again, here i am, a graveyard hyenna...
walking in Liberace's talk of style...
  most of these graves, really are: tacky...
    just like Liberace, the greatest showbiz conman of
the 20st century... i love the fact that he fooled so many
women... i mean... that guy was almost as good
as ****** when it came to mesmerising people...
but Liberace had a nieche audience... so...
                 no khaki for the ss...
                                           and i dare to hold
an ethnicity? in tune with bob marley: one love, one people...
it has never been so painful to strategise globalisation...
         it's this ethnic cleansing that everyone agreed to
provided they received a smart-phone...
                   or a McDonald's fetish... and that's saying it cheap...
but that's how it feels on the periphery of H'america...
little ol' England boycots Europe...
                     and it's like: huh?
                                           presto! dum-dum.
    sometimes i start thinking that i have a hydra for a tongue...
and the more i drink, the more i start to see
       it splintering up into a polyphony construct,
but more a case of: polyphony of subjects...
   and yes, aren't we all those internet losers...
when the most powerful man in the world...
     uses twitter. bastions of respectable comment!
yes, i.e. newspapers... we're riding this meteor to the end...
          does anyone still consider newspapers to be
the pledges of a free society? i must have been asleep for
the past 20 years then...
                      someone switched on this chaos-turbine,
and we're all shoving our two cents of opnions'-worth into it...
and it's not stopping...
            and yet you still read in newspapers, this underlining
feeling of being condescended... as if they are the sole
authority... they have to behave like little despots...
                           social media's power is invested in its
shock reverberation... think: Marx in the 21st century...
           but can you? is this some pseudo Marxism?
             i might have bypassed all the king-makers and
walls... but i have no leverage... my opinions are
     as cheap as chips... well: we got ourselves a unison converson...
   i still don't see how the television zeitgeist still thinks
that the internet zeitgeist is no connected with ''real life''...
i mean... **** me! where's the highstreet with all the shops?
on the internet. where is the frontline of wars? on the internet.
  where do suicides take place? on the internet,
from all the cyber bugs that people start to represent...
    if this isn't real life... then i guess i must be sitting,
and writing this in some medieval castle in transylvania,
    and my computer is powered by a legion of
hamsters on exercise-wheels, in a damp room, lit by a candle.

iii.

for me, this is how reading a philosophy book looks like:

| | |
     fig. 1
                                          /   \
                                            _
                 ­                                 fig. 2
    Δ
       fig. 3
                                           A
                                               fig. 4

it's like i want to see something with some clarity;
there is clear movement
      concerning a book like that,
              but unlike a standard novel:
there is clearly nothing concerning the: any given
  hope to disperse the mist.
                you're given the blunt truth:
the use of language...
                     again, it would be easier to call forward
a use of a tomahawk... or a guillotine...
            philosophy books never establish civilisations,
they break them.
                and do i think that the crucifix is a profanity
of the tetragrammaton? yes.
                do i feel Spinoza's anguish? probably.
when you read philosophy to start to waver,
it's almost necessary to unlearn language, and with
each philosophy book: learn it over again.
     you can't remain strapped to this culture
of emphasis of singled-out words...
              we can't find a constructive basis if we're
about to start any mechanism from such a dynamic,
isolating certain words and weighing them
                       obstructs language...
                 i can't even begin to fathom a pledge
to using a language, if there are these plebian obstructions...
i did write some notes when i spent these past 3 weeks
in Poland, but i'm scared of rewriting them...
                    i can claim to have understood
their content at the time,
but the context disparity is too much for me...
                 i'm rereading them in England
and i can only see England as a nightmarish construct
of such grandeour... that i might only be seen
speaking truth in the north of it...
                nor do i like the tri-tier categorisation
of man... if you read Kant, you'd be afraid of
man's laconic approach to the mind, stating
the three boundaries, and literally no faculty interactions...
  consciousness (the artist), denoting the overly-sensitive,
the subconscious (the worker), denoting the athletic construct
   and liberation from the daily toils of pure physical
    disposition...
and the unconscious (the zombie)...
   if you read Kant and explore the faculties...
and then turn toward the Freudian populism:
   there's enough reason to be concerned...
                  i can't be saying someone anti-vogue:
and that was my proper concern, that i might be saying
someone not recountable in any sort of realism...
          that mine is an isolated case...
         ditto alongside: why are we juggling the tri-tiers,
and so bombastic and even celebratory in huddling
toward these safety-nets of being human?
    thus said: the reflective man has died...
       in his place came the reflexive man...
                             and if there really is a worthwhile
stance to be a: **** sapiens...
   then all hope for a bewildered man is gone...
                 when the potency of robotics escaped science
fiction, and all trodden paths of orthodox science were
      fed to science fiction, humanity could begin
the process of discarding the offshoots...
          
iv.

the new testament... a book riddled with metaphors...
no wonder the greeks exploited the hebrew literalism...
and yes, plato the precursor made this very real...
by testifying that poetry had no place in the republic,
the new testament had to become solely poetic...
   the new testament is a rebellion against plato's republic...
it's a book wholly compromised on metaphor...
culminating in a book that's founded on imagery...
the gosepls are, once again, arithmetically speaking,
resembling the crucifix... which damns the concept
of the tetragrammaton...
                      as a book: it's only gibberish in
its final circumstance of revelation as a book of imagery...
   and in its preceding case: a book of metaphors...
who wouldn't be apprehensive to be born human
with such a thing being rampant?!
                    imagery is gibberish, given that we
have compentent painters out there...
and metaphor is metaphysics, given that we have
competent magicians out there...
   so how far apart are the words: qua             and
                   quo?
   as good a question as: how far apart are the words
                          phor               and phren?
       φoρ                       &                            φρην?
        so in the congregation of μετα, how are they
so apart?  looking at language from an alphabetical
perspective... it's hard to see anything inspirational...
    nor the tangens divergence of words
that are nonetheless so proximate in their construct...
a bit like the genetic proximity of man and ape,
or man and a banana...
   φoρ (the bearer of the beyond) -
                φρην (a mind concerned with things
under the curtain) -
                        and so: the futility of looking for
        a soul... became translated as the new found feudalism
of looking for a mind:
  given the common consensus: we're all mad....
so too looking at mythology could be revised:
  that myth of narcissus and echo...
or narcissus and psyche...
                         or φρην & πσιχη -
                we already know that there's an aesthetic
in Greek, at least they showed us
      that it can be σimple, when acknowledged
  and practised -
which means transcribing the ease of handwriting
   into a digital format, can be seen as an unnecessary
complexity - as if me currently looking for a word
that ends, and showcases the most obvious Grecian
aesthetic (without mention ο, ε, ω, η, œ)...
but with due mention: so where the second variant
of α, given there's æ?
                           it really is hard to find coherency
in human language... i'm still trying to conjure up
the second sigma... unless i hit the plural noteς...
there... i hit them... as simple as that.
  and yes: the father of the french hooked c
in garçon, came from this: the sigma used at the end
of wordς... i suspect that how things were denoted
to be possessed in english, also came from it.
once again: handwritting is bewildering on this digital canvas.

v.*

i don't have an atheistic argument, or a theistic argument,
i'v
alex grey Sep 2014
the letters create the words
the words create phrases
the phrases create the sentences
the sentences create the paragraphs
and they all mean nothing
if there is no feeling

but the person chooses the letters
the words
the phrases
the sentences
the paragraphs
all that is written

but the meaning is inside
dropped into each letter
hidden in the words
tearing its way into phrases
concealed in the sentences
weaved into the paragraphs

to truly grasp a feeling
to transfer thoughts
into the written word

writing is hard
Nat Lipstadt Nov 2013
There are metallic, life-like statues of human figures scattered through my city, often on park benches.  You must look twice the first time you spot them, and sometimes, each time, as they are so nat-ural, that they fool the retina image of man.*

The traffic light,
red to green,
yet my limbs,
froze fruit solid,
release catch stuck,
unflippable,
somehow plastic freezes,
mobility skills rusted
by December's hampering
cheeky cheeks,
a seasonal reddish copper
discoloration of the extremities,
a harmony of no sensation

A comet stuck in
pedestrian neutral,
collided/jostled by
starry eyed
Fifth Avenue
street walkers and tourists.

my presence sensed,
touched, yet avoided,
unnoticed,
like streetlight,
lamppost, mailbox,
I am, a body,
at rest,
unseen
but on display
in the art gallery of
Manhattan's Lost and Found

In the section of the paper
where the
unimportant local news is
sliced n' diced
into single paragraphs,
of human interest,
tidbits, amuse bouche,
items of
major minor interest,
The New York Times
reported the discovery of an
unauthorized lifelike
bronze n' copper sculpture.

eyes of polished nickel,
heart of stained steel,
rendition of a man
so lifelike y'all do a
triple take, smile,
take a cell photo,
phone a friend

his embodiment can be found
on the rounded corner of
Columbus Circle, @59th St.,
where you enter Central Park.

upon a bench,
man clutching Sunday newspapers,
a pair of scissors,
coupons cut,
scattered at his feet.
a homely but comely,
****** expression,
one of bewilderment.

A tiny plaque on a brass plate,
at his feet,
hints of his progenitor and human origins.

Artist: Unknown,
Materials: Organic Metals
Title: A Living Finish
st
    ru
        ct
            ur
                 e
structure in 5 paragraphs(5 perfect paragraphs)
you see, it's
l
  e
    t  
      t
        e  
           r
             s
on a conveyor belt
letters organized organized organized
into words organized organized organized
into paragraphs organized organized organized
into papers(into perfection)
assembled into Perfection,
                        is it human?
NO!
                    you *******
it's not.
humans cannot  
              willnot
be anything close to                   perfection
all this organizing is only            dehumanizing
if it leads to something that one cannot achieve
if one says something is ABSOLUTELY PERFECT
2 billion others will say
          f*ck you
               you're wrong
and you probably are
       either way
               majority rules
everything
               is
               a true imperfection
for there is always a time when the conveyor belt bre aks
Corruption is an earthly sin.
Sin is heaven's corruption.
Heaven is against corruption;
Earth is against sin.
Is corruption a child of sin?
Is sin a brother or mother of corruption?
What is going on with sin and corruption?
Where is the conjunction of corruption and sin?

Intro of corruption and sin is a short term successful goal.
Body of sin and corruption are paragraphs of confusion.
Devil writer where is the body of the novel intro?
Devil authors excel in their intro with your short term goal.
Beware of devil authors in this game of life with corruption.
Beware of pigeons, let’s hope Noah’s dove will be back with the body of the intro.

Written by: The Senior 02/10/2019
-The Difference appetizer
Raphael Uzor Mar 2014
Its an addiction...

When you relish every word
And see beauty in written lines,
Seeing them romance each other
While everyone see paragraphs.

Its an addiction...

When you idolize pens like brush
And adore papers like canvas,
When you see things in 4D
In a three dimensional world!

Its an addiction...

When you see colorful shades of gray
While everyone sees blacks and whites,
When you see words come alive
And embark on every poetic voyage.

Its an addiction...

When everything is beautiful
Be it tragic, happy or vague,
As long it's expressed in words
In a seamless, caressing way!

Its an addiction...

When you peek into Hellopoetry
When you know you should be working,
When you see poetry in everything
And must hurry to write and share.

It's an addiction...*

When you read these lines of mine
And proceed to click ♥
Yes! I am deeply addicted!
And no! I do not need a shrink!


© Raphael Uzor
Marcus Collins Aug 2016
"Tell me about you," he said.
"What would you like to know?" she asked."
Everything," he said."
That could take some time," she said."
I have time," he said. 

He listened, and watched.
He looked & listened for a live mind, live heart and live eyes.
He hoped he would find contradictions.
Confidence and vulnerability.
Energy and stillness.
Gracefulness and stumbling. 

At home in a five-star hotel or eating pizza at home.
Enjoying silly jokes and impassioned debate.
A personality to express and a desire to please.
He was not without checkboxes to be filled, of course;
we are none of us blank sheets.
But he did not seek perfection.He sought someone very real. 

A woman with thoughts, feelings, passions.
A woman who has known highs and lows, and been lost to neither.
A woman who has things she will not compromise.
A woman who has things about which she cares deeply.
A woman who lives a philosophy of her own creation.
A woman who rejects mediocrity.
A woman who wishes to be tied and dominated in the bedroom,
and to have doors held open for her outside it. 

He knew what he sought was rare.
He knew the hunt would take time. 

But he had found it before, and would find it again.
And he was in no hurry.
His friendship was widely available,
though his truly close friends few in number.
His sexuality to the compatible ones.
The whole of him, though ... everything;
that would be available only to one.
To an incredibly rare & valuable creature. 

With her, he would share it all.
They would venture into dark, hard places together.
Then emerge into light, laughter-filled ones.
They would share their minds, bodies, hearts, souls.
They would share their dreams and their fears.
She would share the whole of her with him, and he with her. 

It would begin with the smallest step. 

She would read this, and respond.
Perhaps with a few paragraphs, perhaps with a few pages. 

He waited, patiently.
Mateuš Conrad Feb 2016
.the crows' persistent croak undermines all attempts at man's adventure into universal fame, or one that might distinguish man's composition, from earth, as intended for adam, to air, as intended for odin, to water as intended for poseidon, to fire as intended for the tetragrammaton.

it fails, most of the time,
poetry is scarce,
too much fondness of the abstract,
hence residues of
distracted verse, whimsical,
overburdened pronoun usage -
such likes - complex punctuation
to replace diacritical marks in
france or germany or norway,
poetry doesn't have the impetus,
just doesn't have the impetus to
package fudge, package fudge paragraphs
of fiction, poetry isn't anything
unless it's anti-fiction,
there's no point idealising
how you would fit into a glass stiletto
when it doesn't allow a fitting: cindarella was first
two jealous sisters got their heel
and big toe cut off, you want to encode
that as .pdf or .jpeg?
technophobes ***-standing:
is that enough for a start-up religious cult?!
i'm just wishy washy wondering,
all bets on it taking off - congregation of
en masse suicide seems a fanciful expression,
mind you, i have no excuse.
where there's a middle there ain't no finger,
no message evaluation and furthered to
an execution, the middle has an eroteme:
not exactly erotically thematic, just
a hunch off huh...
so... poetry... it's scarce, tumble **** practice
of a lost joke...
poetry exhibits itself sometimes in tight-tangle prose
of a knausgård - fancy wording a mile apart
would make traffic accidents aplenty,
and it happens... ramble ramble ramble (worded),
then some poetic ecstasy like an unguided tour
of a gallery making you kneel in anti-catholic
gesticulation of a painting by francis bacon...
shouldn't happen, but it did...
so while prose writers are like things infused
with packaged designation of the right
digestion and right diet content of carbohydrates,
poets are like: what sustenance from air?
we ramble sometimes, **** naked i presume,
but we do, and when we do, we draft novels
for other people, we're not into nation building
or writing novels... we're the anorexia of prose...
and that's grand... because it means
that our readers have to be self-involved,
not ready to grasp the rooting of prose diction...
more fused to the open airs
of writings' scarcity...
we need strong readers not numbers...
we need people who are self-involved,
who would spit and kick a copper statue of
the poet represented in a public square with
people of the spoken tongue the real tourists
wondering: who's that?

that aside...
          i went to sleep thinking about chess...
into bed at around 1am
woke up at around 9am...
past two nights? interludes of
perhaps 2 / 3 hours...
    cutting on the alcohol is one thing...
keeping a tally?
proof: co-op sells 1liter labelled bottles
of scotch,
but as it turns out, according to my braille tally?
it's: ⠷⠷ (500ml) + ⠷⠷ (500ml) + ⠷ (250ml)...
they label it as a liter...
but it's actually 1.25liters...
three days later: you get the full picture:
-esque akin to 'and on the third day he rose
again, according to the scriptures...'

good luck to the men and their vanity
projects...
   i will never become as famous as
the man who "invented" stumbled upon
fermentation to produce beer / wine...
distillation to produce whiskey / *****...
dom perignon and albert hofmann
are known now... give it a few centuries later...
****! gone!
       but to overshadow the universal
stability of a woodland pigeon cooing,
a crow croaking, a fox laughing?
   my words are here: yet these examples
retain the future unchanged...
by void, crook, vogue or folly...

so i went to sleep thinking about chess...
there's the king: the point
of the game...
              to topple the king...
get ol' charlie firsty on the chopper...
distract charlie zee 'eck'und
with pseudo-harems and handel...
and fireworks on the thames...
little learning tool offshoot of louis XIV...
the king is just an elevated pawn...
it seems the king only controls the pawns
given his own movement rules...
the queen though?
   she's the bishop and the rook combined,
as she's also the king and pawn, combined...
the knight is the only odd piece
on the whole board...
   why? didn't queens feast their eyes
upon knights of old, at tournaments...
chivalry: the dropped oopsie handerchief moment
when the king wasn't looking?
the knight piece is the only outsider piece
on the board... hence it's ontological
grasshopper routine of jumping
outside the line of pawns and then
jumping back into line...
the king is a king in name only:
it would appear...
  while the most powerful piece on the board
is the queen: since if the king merely
control the pawns:
   at a battlefield a king command pawns
(soldiers)...
  in the background...
the queen will command...
   the bishops, the knights,
   the rooks (houses, castles) -
she's not on the battlefield with with pawns...
and soon knights become judges
and lawyers - merge with the bishops...
i never like playing chess -
but i liked thinking about chess...
  from the perspective of: the queen is
the most powerful piece on the board...

you could even rewrite chess by expanding
the board... so it would look like so:

1. denotes pawn         9. denotes king

2. denotes bishop        6. denotes queen
3. denotes knight        4. denotes rook.


1 1 1 1 1 1 1 1
         9 3               (battlefield formation)
      2 4 4 2             (behind the scenes formation)
        3 6    

but the board would have to be expanded from
64 to say... 100 squares... per board...
it's still chess... but with a twist...
it's what real life would look like...
one knight would be faithful to the king
and stand behind his army on the battlefield...
the other knight would be *******
the queen in secret surrounded
by castles and the clergy / the judicial system...
well: so many people have become so good
at the game of chess...
   kasparov vs. deep blue...
         so smart: and yet no imagination.

besides... i had more important things to do
today than remember what i fell asleep with...

1. making the perfect sausage rolls...
the most pristine invention of the english
and how the french fumed when their puff
pastry was "degraded"...
never use meat from sausages...
always minced pork...
and instead of adding carrots...
celery... and who would have thought
that fennel seeds are the secret ingredient...

2. watching india get their *******'
whipped and their ***** put into
a meat grinder by the new zealand side
at the cricket world cup...
**** me the last 5 overs!

3. lamenting the state of cinema...
the pursuit of "being" via distraction
with the end goal of fulfilling "happiness"...
so much for "being" and so much for "happiness"...
take two prime examples...
it only took 8 years to spare all the details
that seperate them...
1958's the inn of the sixth happiness
starring ingrid bergman...
those movies! mmm hmm!
i would gladly take away all the current
heavy editing and metallurgy scaled
CGI for a classical western panoramic view...
no dialogue... just an expansive camera
distance where the characters are dwarfed
by the grander scheme of things:
even if it's just a valley or a field...
cinema dropped the paranoramic
   interlude, resorting for the clausto-****
of heavy editing with multiple cameras
switching backwards and forwards
like watching a game of tennis...
    actually: both genres degraded themselves
dropping the panoramic view at times...
less in sport, more in cinema...
but this is 1958... the 1950s! the glory days of cinema...
fast-forward to 1966... and the film:
ALFIE...
       what's the difference between a lothario
and a ****? a self-employed ******...
or some other weird combition of 'not-a-joke'...
wait a minute... why are the women
so ******* dumb come the mid-1960s in cinema...
while back in 1958: they were so admirable?!
ingrid bergman learned mandarin,
she was ambitious, she was stubborn...
she was bossy...
  come the 1960s we're talking about
    beings without either soul or will
simply orientated at being dumpster *** toys...
i don't even know where the men
did that to them...
           the women in 1950s cinema
gained respected... they were commanding...
or at least decisive in giving
the least expected virtue: generosity
and on top - a sense of fairness -
                             a merit pyramid...
1960s cinema women, "women" are nothing
more than sloppy teenagers...
these women are not women...
1960s cinema doesn't depict women...
it's starting to depict one direction:
  pissy-pants teen girls...
               ******* at the sight of harvey styles
sighing and ****...
        plus... back in the day:
cinema used to be... engaging...
ben-hur? how long? 5 hours?
  gone with the wind? how long? 7 hours?!
cinema like opera: 15 minute interludes,
toilet breaks before the next part went on...
now? a quckie 1.5 hours long CGI ***** fest
of minimal dialogue and the heavy editing
juxtapositions of "angles"...
       people don't watch modern cinema
because it's engaging...
they watch it... because it's... distracting...
pretty bright lights! ooh! aah!
i love the fact that i'm being snarky
           and sarcastic... what else can you be?!
   i don't even think is missed that much
when it comes to the sub-culture of drugs...
psychadellic or otherwise...
i ****** well missed on a decent amount
of cinema...
   and when that happens...
       look at me...
                            what's that phrase...
a bitter old man... aged 33...
bitter doesn't even cut it...
              it's not even a bitterness...
it's an elevated sense of nostalgia...
   for me nostalgia is something i was present
at when it started going to ****...
late 1990s... cartoon network, early internet...
etc.,
              1990s date night movie quality
requiring adults to employ babysitters...
i was there...
1950s cinema? yeah: i wish i was nostalgic
about that... but i wasn't there...
hence the technical observations...
and how, objectively: movies were...
oh god so much better.
Mateuš Conrad Feb 2016
i still get two alumni magazines
shoved through my mailbox,
edinburgh's edit, and u.c.l.'s portico,
they're alike, they're asking for money:
which is a bit like that mystery of lawlessness,
one word... money!*

i love poetry, i really do,
i think it respects readers more
than those glutton chatterers of off-the-page prose,
there's no need to create characters,
prose readers have an easy way out,
they have all the hidden architecture
keeping them involved with time-wasting
effectively-exploitative narration,
and then the characters, off the page
nothing like the readers with mundane jobs,
with menial tasks better augmenting
the cartesian thought and being,
ego and something that represents a passing,
meaning the unit, re-, of something the same
that changes each day...
readers of poetry are not readers of prose,
in comparing poetry to prose
poetry is naked... there is no elaborate
scaffolding... to concrete character study...
a poet can't conjure characters...
he can't even conjure rivers or readers...
when prose has characters, poetry has readers;
how many memorable characters emerge
from a prosaic narrative? one, two... fifty?
you see the pawn legion fall on the first
shot shadow of mongolian arrows...
you see their slain bodies hit the mud without
a word... so you see:
poetry is too naked, it's a mud-hut compared
to prose's glass spiral...
poetry will leave you an architect, rather than
a labourer... you will build your own you...
i wish i too could build from scratch
a horizon of distractions...
i rather you build that... you can't be a character
for me... you have to be a reader... not necessarily
an orator of what i wrote... just a reader...
and more than all the summations of characters
can be moulded into... hence the loss of tightly packed
paragraphs... hence the scarcity of composition...
if prose be a Chopin or a Liszt... then poetry be a Debussy or
a Satie... and i prefer the latter...
plus poetry is written so there's less eye-strain
bothering you... no loss of post-interlude starting point...
when poetry is read standing up...
prose is a style taken to bed and falling asleep to,
or that easy armchair: when i was converting my
grandmother to read poetry (zbigniew herbert's)
and forget the cheap romance novels... she was quietly
amused... i told her we write scarce words, once in a while,
rather than attempting to procrastinate
as most work is these days with the lost scythe and plough
on the pseudo-faustian bargain of Proust
(if it has no direct meaning, remember
there's a direct and an indirect article dualism,
just let it resound... don't treat it like a comet...
but more like rainfall... i treat ezra pound's like that...
like a hundred people could say the same,
even though only one did)...
the proustian bargain fabble? babble babble blah blah
babylon... the israelites sung about the babylonian
captivity... thought about the egyptian one...
i once said architectural necrophilia, and i'm true to it
like an expected tide...
but let us return to the title...
poetics explains economics the best...
new notation in post-existentialism, the ditto-encapsulation
will be replaced with a non-literary notation,
with the approx. mark, so a word is referred to
as approximately rather than within the skeleton
of ambiguity, loose the question mark, that way you will,
no longer "haiku" as referring to syllables, but rather
referring to length, hence the notation ~haiku, e.g.:
poet strip yourself of priceless / worthless subject matters,
the mechanics of the moon and the sun are too much,
you write of beauty for beauty be only a grandeur,
and indeed you take pick of the celestial bodies,
but you leave the two-pence coin on the pavement
when you pass it, and by not picking it up
not blowing on it for good luck (come one moment
come the next moment, gone),
so that the pennies can be increased...
write a thousand moons into a single poem
and still the thousand moons will not translate
into a thousand pounds: you speak of the nocturnal
moisture with a mouth of a desert, and a tongue
like a sidewinder... always missing the topic
you care for because you have never took step
on the object stressed, used...
don't make this a barren art-form.
Alex Fountain Feb 2014
Words are weapons.
I believe in the strength words possess that gives each sentence the ability to build up
just as easily as tearing down.
Words can leave
cuts that no band-aid can cover,
wounds that not any number of trips to the hospital can cure,
scars that time cannot heal--
do not tell the victim of bullying that words don't hurt as much as
sticks and stones.
I believe in the authority of words and their
power
that can be the difference between life and death.
Telling an individual to **** himself is *not
a *joke,
telling an individual to **** himself is not  funny,
telling an individual to **** himself may be the permission he was waiting for to finally escape the consuming burden he calls his life--
do not tell the mother of two kids minus one who lost her son to his own hand that actions speak louder than words.
I believe in the healing magic that occurs when the right words are arranged in the right order.
Words are made into sentences,
sentences into paragraphs,
paragraphs into pages,
and pages into books that evoke every kind of emotion and
lock the reader between those pages--
do not tell those whose friends are made out of paper that they require friends made out of flesh.
For every individual there are two types of sentences:
a sentence that can destroy and a sentence that can mend.
*I believe in words.
hallucinations Dec 2014
you loved in paragraphs.
your lips, endless words,
the touch of your fingers; metaphors.
you loved me in ways a poet
desires.
your affection ran across the pages of my body
and i loved you to the point of oblivion.
twenty-fourteen|(c)hallucinations
Kendra Feener Jan 2014
if there is anything that is unfair, it's the way my eyelids twitch restlessly desperate for sleep while my brain refuses to be at peace. and my lack of ability to deal with my feelings in ways other than these nonsense paragraphs, that have an endless amount of errors, that i dare to call poetry. or how i am unrealistic with myself. like when i think that my favorite flowers are the purple pansies i used to plant in my grandmothers garden when i was a little girl. but those flowers wilted and her garden was dug up when her house was sold. those flowers have been making my stomach turn and causing me to choke back tears since the year she died, when i was just thirteen. those flowers remind me of lost things and aches in my heart.
but there are may flowers, which only come once a year. and with them come new beginnings and fresh starts. and every year i wait through the april showers, and they never let me down. they remind me of patience and that good things come in time, and even the greyest of days can lead to something beautiful. they remind me of hope.
if there is anything that is unfair, its your eyes. because your eyes remind me of may flowers, and may flowers remind me of hope, and hope is a four letter word, but so is lies. And hope only comes once a year, and new mind sets only happen in may. but your eyes are there in january, when i'm supposed to still have a four month wait for my hopeful new start. and in september, when my new start isn't so new anymore. your eyes are like may flowers that never die, and  may flowers that never die remind me of hope that never dies.... and hope is a four letter word. and so is lies. and so is hurt.
but so is love.
and maybe i'm being unrealistic with myself again, but that's the word i'm going to go with. because love reminds me of better days and better days remind me of you. because days are always better with may flowers and your may flowers never die.
jumbled thoughts.
January 29th, 2014.
The soft whirling hum of a fan works its way from one corner of the room to the next. I succumb, defeated, deflated, shoulders slouched over, to passing wafts of air that briefly foam over the drooped skin of my emotionless face. Its touch invigorates the senses, momentarily reminding me to take in a breath of the foul and arid air that lingers lifelessly in this second story bedroom. As a sliver of light makes its way slowly up my chest and falls back to its original place, a muffled sound of pain boils over slowly softly searing through my torpid ears. Meanwhile, transparent tendrilous hands of memories begin to curl through my mind appearing and quickly vanishing like steam before I can grasp the true gravity of their presence.
        It must be ninety seven degrees in here. A drop falls from my face onto the back of my clenched hand and for a moment the fan is at it again pulling my head with it from side to side. Oscillating, it dictates a hypnotic lullaby, an ***** riddled rhythm sanding away at my rigid thoughts. Another drop falls toward my wrists driving me away from the blissful moment. Then losing its grip a metallic clang reverberates throughout the room as the object leaves my hand and finds the old wooden floor. Looking back at my hand I see where the two drops had fallen, now glistening in the dimly lit room. Were those tears? When I direct my sight down to meet with whatever had fallen a rush of blinding pain jaggedly inhibits my vision with a flaming wall of white instinctively calling my eyelashes into the backs of my eyelids painfully. My voice cracks and I hear the same singe of grief from earlier reflect ballistically throughout the room and into the hallway where ghosts gargle back an echo of my anguished voice. Am I hurt?
        Afraid now of what I may have done,I cautiously work my foot away from the chair and navigate it across the floor until it hits the handle of something sending it spinning around. Reaching down, the once trance like hum of the fan falls deaf and gives way to a steady beat of drips that are accompanied by an ever increasing tightening of my chest. When I reunite with the object I had dropped the image of blood and steel mesh a murderous hue onto my fingers as I fumble to recover it. Realizing what has happened my mind fizzles and pops with panic and I begin to beg for respite, for a chance to revisit the moment before I had slit open both wrists. Cold anguish flushes the heat from the room and out into the hall as the dam of reality breaks and in with it a torrent of emotions and images of the blood peppered hardwood floor that now seeps dauntingly with the new life it is drinking. In desperation my eyes fire off in every direction, finding an open journal perched on a coffee table. The pages are in a fretful fury revealing pages dotted with smudges and smears of bloodied ink and teary paragraphs. Confused, I begin to search the room again and there beneath the window blinds lies the woman I have loved for eleven years lifeless in a pool of blood. Lorraine.
        My head lashes violently backward as if to howl toward the moon of time in an attempt to beckon the falling grains of sand to return to me what had once been mine. A sobering clarity strikes me and I begin to recall the events that led up to this moment. Beginning with a distressed phone call from Lorraine. I came,I told you I would come. And then I recall the strange feeling that scaled through my body slithering down my arm until it coiled its nervous grip around my fingertips as they bit into the **** of our bedroom door. As it creaked open, I had thought, I'm here baby, but you were already gone. Lorraine. It took what felt like hours to reach the part of the journal where you had confessed your infidelity that resulted from the tangles of promises I never kept, from the things I hadn't done, and should have said. Oh Lorraine why didn't you tell me. I would have changed, would have done anything for you. I'm so sorry,I forgot, I hadn't noticed. After seven years I thought you knew, but I will show you now. I will give you my life as you had given yours. I would have forgiven you ******, they were only kisses that meant nothing. Lorraine...and then nothingness.
        A grey shadow in a once enraged Congo of colors and emotions in an otherwise empty room now fill my eyes until I'm choking on its thick smoke and drowning in tears. When one of those tears fall, this time on my bloodied wrists I'm called back to the present moment. Once more the fan catches my sight directing me toward your lifeless body, and then a warm hand from the deepest recesses of my mind begins to cradle my shoulder. Lorraine. My eyes flutter open and find you placing a kiss on my forehead as you say something sweetly into the soft embrace of night. The scent of your hair bristles around my cheek and ears while you caress the short hairs along the ridges of my neck. All I can manage in the moment is to pull you in closer as I whisper "I'm sorry Lorraine. I love you. I can show you." A tear catches a lock of your hair as you kiss my lips and with your love I am drawn back into our bed and out away into sleep.
I'm interested in knowing what you readers believe happens in the end. Is he dreaming and alive, is he already dead, or is he dying? I've heard some interesting theories from friends and family but I would also value your opinions as well, and with them, in the future be able to write short stories like this that have even better ambiguous endings.
Ahbengo Nov 2013
You read the books that are made for men
And call yourself a feminist

As you recite paragraphs
Making gestures with your right hand

Sprays of self-righteous spit
Accompanied with your confident loud words.

Your knowing worm eyebrows
As the cherry on top.

I wonder if you would be ashamed
To know that Hemingway was an anti-Semite.

Or that Sartre thought there were two kinds of women.
Poor Simone was just like you
She went along for the ride.
Leiak, omnipresent vague pneuma-dancing spirit, ductile pious water of epiphany and extraordinary example, lives on the water with his parasitic chin in the Vernarthian epigram; he is seen with his jocular back, breaking the lines of the swamps between muscles and silhouettes. Before the First station..., primitive of the three remaining nights before reaching the volcano of Patmos, its deluge begins. "

It bathes in the Davidian, Alexandrian, and Vernarthian rains. A little touched he is seen and insubordinate in the astragali that he has gained in his allegories, squeezing his chest, exactly for the good of a wonderful Hellenistic city statue of the Dyticá, where he imbibed Vernarth's putti, adhering to the hydric spheres that fell over the ceilings of the heavens that Eros himself and his crush, which struck the heart axis of Medea, totally extracted from Zefian's quiver, constricted in Borker's nanotechnological sub-mythology. From the comedy of Attica and in the superb speeches of endo-adverbial satire, he stigmatized verbal changes of creation, superimposing them on tops of excesses carried by heavy drops inside some amphorae brought from the eastern sunset, tracking happiness that arrived on the western shores, waiting letters of sigh and loneliness stretched out on the thalamus full of stretch marks. So Leiak expanded, where everyone made fun of him being a satyr by essence, but being unaware of it. Perhaps as a unitary gesture of shadows when going to dawn, before having the best light that they put in figures or pirouettes, without disgracing him as a satirical minority in the Epicurean doctrine, he is inquiring a happy life through the intelligent search of innate pleasures, the ataraxia and in apocalyptic friendships with Zefian, Borker, and Kaitelka.

Borker did not intend to heal himself of trifles at all; it will be a habit to venerate the revelations against polytheism, to then cling to an interiority that points to corroded execration from the root to the top of the fallen tree, with force blinded by the blindness of the Automaton, as far as it is concerned. By itself, of identical significance in the background; but with so-called change that he tends to totally eliminate the last trait of personification of the divine. From this dilemma, the values will be spikes in his hands, sheaves in both, and what he envisions of Hellenism will be the property of nano-technology, submitting under the lens of time dividers that have never been pieces of rest under the Duoverse-Universe., the lens will be your Iridium and the microbes that govern us will be the atomic force, to discover them. What atomistic world will there be between Borker and Leiak, if in this nanoworld; The nanometer is one-billionth of a meter ?, What will be enough to start being tiny in this great epic, which is called Vernarth intra-spaces and inter-Verthians of the universal macrocosm, which will now approach the microcosm of human consciousness, and the laboratory of Epicurean affabilities in Ataraxias decreasing the passionate intensity of the Hypothalamus, and the supra desires that can alter the mental-corporal balance, strengthening in misery that they reach said balance, and finally happiness, which is a meta-plane of Epicurean convergence that runs after the lost. Ataraxia is, therefore, tranquility, serenity, and imperturbability analogous to Vernarth's soul, reason and feelings in his dislocated world, and the hemispheres of himself that will be rationalized in their slightest longitudinal measure, in what fits and in the precarious!

Passionate laboratories were magnetized every time Leiak walked on its extension, and his hands went beyond his fingers, touching the Constellation of Aorion, to indicate that the longitudinal metric of man is measured beyond the fingers of the Duoverse, where it appears the Extra-Cosmos in the proximal of a nano-scale is a submultiple of the conferred means of the Saint John the Apostle pattern. The scientific notation will be the safeguard of the magisterial scientist exponentiated brain; 10.1 mm = 10-3., the kilometer or km, is the opposite equivalent in what submultiples of the meter are called a micrometer: 1 μm = 10-6 m. In this scale we find bacteria, which constitute the main group of microbes, hence the name of the submultiple between observation scales of the macro and micro world of this being of Holographic Lux called Leiak, having the composition between this nanoscale, and the opposite of 1 μm = 10-6 m. projected onto a bacterium, which in turn is ten times larger than a viral body. Sizing enough to balance the biosphere that will surround the Automaton Mandragoron.
Leiak's world is an outpatient virtual laboratory, as it is valid in colloquial language, adhering to measures that differ by the conception of transliteration or decimal mathematical positioning. The letters and lines have been interpreted by Leiak, they are Vernarthian Parapsychologies that oscillate gaps of mismatch of billionths of wasted knowledge, in displays of ghostly reigns and in no-man's-land. This nanoscale makes us nano-poetize themes of ultra interference of the Epicurian decree, of tranquility, serenity, and imperturbability, with the meagerness that we know of the enlightened after a thousand moons writing under the stars:
"Woman when you touched my life with the grace of your fingers, I could see how the kind nights closed my eyes, caressing the entire Universe." This is undoubtedly Epicurean Nano Poetry, but the Author is Tagore "

The exponential oscillates in the parameter of the outstanding Astronomer of the divine verb and poetic thinking, in the most intimate and dynamic Hindu techno-language. Quantum mechanics here is the debit of the iconic remnant reached, by parameters not achieved below the average intelligence, providing lost data far from collecting and storing. Tagore's logic is nano-poetry, which balances billionths that are not achieved by occupying the Corporal Dytiká (poetic sunset) and the synchronic soul, rather the material simultaneity of the fifth element of will, emotional and objective desire, condensing into matter already conferred consciousness, in gaps in fit at all times, but linking it to her divinity as intelligence never before out of date; V.G. The Mashiach is always linked to the vertebral and communicational axon of the plasma nano-particles by grasping its infinite numinosity, making this scale it's one billionth, and being within the Eras that will be the largest average of the macrocosm, in the quantum itself of the Christian Era and in other Quantum worlds.

Strictly speaking, the molecules are angels without a will, but the dispensers are the consciousness of Leiak, which transfers hybrid consciousness, for purposes of regulating and shaping the ravings of intelligence and atheistic consciousness, and for purposes of the great remnant always present and active in the emergency. Spirituality of the Mashiach-revolutionized. The by-product will be Zefian's Tetra Sagita with its ergonomic tip, opening up doubts and tracing the future of a rewritten bible in the same character and fidelity, but with the omnipresent Mashiach of a Scientific Eucharist.

Leiak walked through minefields, and in some, he saw universes come out that exploded in livid colors, among them Vernarth, who had been recovering from malaria, and who helped him create a culture composed of a great artifice of immutability, for those who are close to his Greek spirit. Overwhelming those who lack the will, clarifying where the great art galleries of the world will be, not because of their current works but because of those they will have to exhibit? From the rushing philosophical delta, germs of dominance were trickling, distinguishing properties that did not germinate under his feet. Bread and water of the hundredfold fruit of all the lesser forces that resist on the thirty and nine with fever, more than the narrow borders to be discovered, in democracies that will prosper in the hands of kind tyrants, and not in the unitary Ecumene. Vernarth did not denationalize from his grass crops, he was Hetairoi more than all the commanders of Alexander the Great because his native country never sank next to him, he only prospered in centuries where he had to rise again silenced and prostrate oblivion.

The chaos of an absence accuses a majority of sadness that greets the Celtic Gauls for the axon of the anointed cosmos of the divine autarkic world. But not in seditious wars devoid of bread and water that does not support them, nor by papyrus did nets that do not contain them either, in the spiral retransform the land of all, as a plural work done here, by the Mandragoron Áullos Kósmos, intends. The male rectors will trust their works in the widespread Greek language, called koine (common). A language that writes has its own feet to write new divisions, and ordinal paragraphs to fulfill in proskínesis or obeisances in those who have golden knees or not! They will continue to make separate book stores or libraries for Filososfia or science sub-themes that will tackle the top of Profitis Ilias. For all large cities and nations, it will only be Leiak's legacy, of having large spaces for dialogues where no one can resist his man-made preaching, holographic rain forest, and times that not even in billionths will make him melt spaces of ignorance, diverge from the juxtaposed principle of unpopulated urban schools do not deserve.

Says Leiak: “Every time it is more intense to turn the dislocated nature of man, my literary idylls are at the end of everything with his genre works. Life and it's agitated think idyllic of removing the talus, which is not swayed in my chest by the Metelmi..., but by my breath of death! "
Dyticá Leiak's twilight
Aeerdna Apr 2016
If I'd love you more and more and more,
until my heart will become a dry fountain,
it will still not be enough for you
it will never be enough for me
for I will never see the happiness
you used to feel around me.

Our hands still not apart,
but your heart is as absent
as snow in desert.
You're writing new paragraphs between your lines,
but you've never taught me the language
your feelings speak now.

With every touch you're growing colder
the air between us is poison
you're cutting deep in my skin
with your once sweet lips.

I'm sorry darling,
but you see,
this chasm is getting too wide for me
in the darkness of this abyss I don't want to be.

I'll pack all my love in an old luggage case
new journeys awaiting, new roads ahead.

I'm sorry, sweetheart,
I hope you understand,
only by turning pages I'll ever find
paragraphs written in the language of my heart.
Dani Jan 2013
26 letters make words
And words make sentences
And sentences make phrases
And phrases make paragraphs
And paragraphs make stories
And if you're lucky,
Stories turn into songs.

Songs state emotions
Emotions cause feelings
But feelings cause emotions
It's an endless repeating pattern of thoughts.
Thoughts make us human
But so does the brain
The heart
Pumping the life to our veins.
But why do we live
Why do we thrive
Why do we wonder about the time that goes by
Time is aging
Aging is growing
But growing means we eventually all die.
Why do we die
But why do we live
Why can't we control the pain that we give
To ourselves
To our lives
It all makes us cry
Why do we cry
Why do we tear
Why do we force ourselves to listen to things we don't want to hear
Why go through torture
Why go through sorrow
When death could easily be the best thing about tomorrow.
Hallee Aug 2014
I'm sorry I require so much patience, I know how tiring loving me must be.
I'm sorry my walls are more like towers, but they were never keeping you out I swear.
I know I'm probably the most challenging project you've ever had to do but I swear I'm trying.
I wish the cut from when he left didn't stop me from trusting. but how am I supposed to trust when he handed me the bottle of pills he so many times begged me to flush?
I'm so ******* sorry it will take me extra long to open up to you but I promise you, I PROMISE YOU, my heart is yours to take. my heart is beating your name.
I'm sorry I'm always so sorry but I feel like you deserve the world.
he left and I'm scared you're going to go. I promised myself I wouldn't let myself trust again but my ******* walls begged for you when I met you. I like to say I'm strong enough to go through losing anyone else, but I swear to god I'd be on the floor begging you not to leave if you ever thought of going. every "I love you" has a suttle mention of "stay" lingering. if I could say I need you, I would. please.
Terry Collett Jan 2014
Alice sits
in the room
with blackboard

and easel
and small desk
and small chair

with Nanny
stern and strict
pointing at

the blackboard
with her stick
teaching her

her letters
the grammar
paragraphs

sentences
by long rote
and command

and Alice
knows now that
any cause

of Nanny's
discontent
will bring her

punishment
her father's
hard hand smacks

whack and whack
she sits still
taking note

but bored she
stares out high
windows at

tall tree tops
and blue skies
thinking of

her mother
locked away
(ill in her

head Nanny
coldly said)
then she thinks

of her new
adoptive
mother who

works below
stairs(low stairs
her father

often says)
the one with
the red raw

fingers thin
and young who
secretly

said she would
be her new
adopted

mother but
to strive to
learn to do

her best and
so she does
but thinks of

the time when
lessons are
over she

can sneak down
below stairs
and along

passageways
to where her
adoptive new

mother works
and feel her
embrace her

earthy smell
her soft cheek
against that

rough cloth of
apron the
red fingers

caressing  
her long hair
whispering

words but still
the nanny
drones on the

lesson now
taking its
toll boredom

sinking in
wishing her
adoptive

mother would
come and take
her away

for a walk
to the horse
stables or

into town
holding her
hand the red

hand holding
her pink one
or dreams of

snuggling
up to her
in her bed

feeling her
motherly
tender warmth

but Nanny
still drones on
the long lesson

word on word
keeping her
from the arms

and caress
and earthy
smell of cloth

of her new
adoptive
young mother

below stairs
Alice yawns
secretly

her small hand
over mouth
knowing this

blowing soft
from her palm
to her young

adoptive
mother a
secret kiss.
A YOUNG GIRL IN 1890 AND HER NEWLY ADOPTIVE MOTHER BELOW STAIRS.
He stood before her
Imperfection visible
In long drawn out prose
With sentences and paragraphs
That seemed longer than earth
She smiles and kissed life
And remembered pain
The sun drops cuts from its sting
Yet they drift
A thousand miles away;

Her words dissolve like a broken record
Distracted with failing light
Each drop of them
Is collected
Natures gift to those who come
To put out the shimmering fires of the
Life of thine.
A rhythmic melody of light and sound
As the touch of them
Bestows her;

The kiss was bitter at first
The shyness over took them
Then it was nourished
And then was strong
As her imperfections were visible..*

Debbie Brooks 2014
dedicated to my new friend.
Michael Haile
I challenge you to answer it..
If I, your humble poet,
could simplify my star
my muse
my flower's beauty into words
then you, dear reader,
would have paragraphs upon paragraphs to read
for, if it was possible,
I would take the time, detailing
The color, length of her golden-bronze hair,
Soft threads spun from only the finest material.
I would speak of the depth and clarity
of her eyes,
crystalline clear as sapphire.
I would tell of her smooth, milky skin,
dotted lightly and delicately with the most perfect freckles.
Her nose, upturned ever so slightly,
to give her a high-society look.
The crinkles around her eyes
when she lends me a genuine smile.
The lines on her palms
finally leading me home.
But since it all is impossible,
my words barely qualifying as the tip of the iceberg,
I will simply sit
And admire
my flower.
My muse.
My Star.
Noder Aug 2014
when i am dead,
bury me someplace vast,
full of knowledge
bury me in a library
no, better yet
bury me under a shelf
full of books
no, better yet
bury me under a pile of books,
no, get me closer,
cremate me,
bury me between the sun-yellowed pages,
stuff me in
compress me into paragraphs, sentences,
words even
press me into the holes of letters
until i can see the pigment of the ink
and then i shall learn
to read between the lines
Sometimes I feel small.
Nigel Morgan Oct 2012
A visit to the library,
And returning I opened the book
I’d waited for a long impatient month.
Knowing it to be brim full of inspirational words, 
I had only to read a few paragraphs
When it came to me,
When there was this moment 
Poets call epiphany.
 
Into another place, beyond the printed page, mysteriously I slipped. I think it’s where your creative spirit lives and thrives, a place your flowing thoughts reside. There, the energy of your spirit flashes in the dark, and there exists the archetypes of all your inward eye brings forth. There the marked surfaces carry the chemerical accident of objects placed and pressed, and there the passage of your sewing hand’s rich rightness of intuition guides. In tandem they touch me to the quick; they scare and scar me. And why? – I sense in them this vigor; a potency no less, strength so wholly absent from my declining store of sad objects and false fashionings.
 
And all that careful reasoning 
I'd so variously composed, 
badly articulated,
tiresomely presented 
became then as nothing, 
nothing against the truth
of what you make 
and what I know you are.
Maggie Emmett Nov 2015
Venice was a place for sudden ******
a stiletto plunged in velvet
vengeance tied in a knot of silk
piracy on any dark canal
robbery under quiet bridges.

Water laps the crumbling walls
salt hunger creeps up
seeps between stones
worms its way through cedar
settles in the sagging shelves
where old books bound in leather
edged in gold, embossed with crests
are best left well alone.

In these libraries of the lagoon
chapters and paragraphs
sentences and phrases fragment
nouns lay down with their verbs
creating images from metaphors
startling and sublime, but hidden
kept in these word-chambers
they slide away in time.

Each passing month, each day
restless and uneasy
festering in this state of decay
Venice is still
the place of death.


© M.L.Emmett

— The End —