first step

when he looks at a woman he searches for qualities that attract him because he wants to desire her yet this tendency creates an imbalance or disadvantage he is rendered weak to a woman’s beauty or whatever traits he idealizes self-realizing this propensity he looks away from women years of disappointment neglect change him he becomes afraid of women gynophobic

2

when she looks at a man she searches for qualities she is critical of because she wants to be impervious to his power she is suspicious of all men their upper body strength penchant to be in control misperception of women as property misogyny emotional immaturity neediness to be mommyed selfishness insensitivity or over-sensitivity depending she wants to be treated with equal respect a loving nurturing relationship she is suspicious of all people their alternate realities passive aggressive behavior co-dependence craziness

3

he sees her then looks away she suspiciously notices nothing happens they go back to their separate homes alone always home alone grown calm in resignation yet disbelieving of this destiny saddened by this fate both worry about future she looks at her face naked body in mirror her stomach churns feels sad sickening remembers time when she was more carefree he puts one foot in front of other then walks tries to remember who taught him to walk how many times did he fall who taught him to laugh where did his sense of humor go

4

he sees her thinks she is lovely resists the urge to turn away he smiles says hello she notices nervously smiles her shaky voice articulates louder than a whisper hi

Tucson 2-step

they are standing in line at a café on 4th avenue he is directly behind her she is lanky wearing white background faded colors patterned summer dress thin straps over bare shoulders long brown hair few gray strands small unfinished tattoo on left calf leather slip-ons 1 inch heals he is at a complete loss for words thinks to make remark about the weather decides not to overhead fan stirs hot humid July air barista girl asks what she would like her eyes scan blackboard menu behind counter she hesitates remarks help him i need an extra moment to decide he steps up to counter money in hand orders small to go Arnold Palmer half black current lays $3 on counter mentions change goes in tip jar thank you barista girl moves fast he lifts cup from counter glances at woman still deciding then at barista girl says have a wonderful day turns walks out door dawns on him woman grows hair under her arms his 2nd most compelling female physique adornment fetish oh god he thinks to himself should i wait for her to make up her mind then approach try to craft conversation at least find out her name no i’m too weak in this moment she is so lovely let her go

2

she orders double Americana in small cup to go room for soy milk thinks to herself he did greet her perhaps their paths will cross on street why did he run off so fast she glances toward front of café notices window seat changes her mind instructs barista ******* 2nd thought make it for here digs through purse realizes she left wallet in truck explains to barista girl she needs to run out to her vehicle to retrieve wallet forgotten under front seat the air on the street is heavy dense she smells her own perspiration looks north then south does not see him walks to truck feels exhausted appetiteless almost nauseous wishes she did not order a drink thinks to get behind wheel drive home go to sleep

Tucson 3-step tango

she feels disappointment by her recent writings as if she is reaching a more sophisticated audience and setting a higher standard for her work yet she is not living up to her ambitions her recent writings smell of her past writings too emotional the damaged woman wounded child she wants to write more introspectively with detached humor that only comes from keener intelligence she slams her laptop shut decides to go to Club Congress for a ****** mary or margarita but Club Congress is haunted with small town cretins losers wannabes she considers Maynard’s decides Maynard’s is too safe suburban yuppyish finally gives in to thought of glass of pinot noir at Plush next comes what to wear jeans in mid-July desert heat is unacceptable perhaps loose fitting thin cotton white summer dress thin leather belt ankle high indian moccasins hair in ponytail no pigtail braids no ponytail no makeup maybe little ylang ylang oil no she thinks about her recent writings

2

i am one breath away from crying in every moment one breath away from flying m.i.a. in every moment one breath away from destroying everything there is beauty in ugliness beauty in decrepitude disease beauty in harm hurt suffering beauty in greed injustice betrayal beauty in corruption contamination pollution beauty in hate cruelty ignorance beauty in death we spend our whole lives searching for a good death we spend our whole lives searching for eternal love this modern world is too much for me over my head the horrors of this place are beyond words unspeakable voice inside maybe mom yells quit your whining or dad hollers stop complaining i am trying to smile through tears one breath away from giving in one breath away from becoming stranger to myself winter spring winter spring there is beauty in nothingness we spend our whole lives searching for ourselves learning who we are not finding grasping secrets from dark paths light trails winter spring winter spring i am one breath away

3

she sits alone at bar at Plush glass of pinot noir glass of ice water in front of her 2 bearded older men eye her from other end of bar she ignores them glances at her wristwatch tries to look like she is waiting for someone music from speakers antiquated rock standard it is early friday hours from dusk moderate middle aged crowd mingle wait for local jazz trio to begin she thinks about her recent writings wonders is it too late for love considers lesbian affair from 5 different perspectives 5 woman’s voices each describing same lesbian affair in 5 opposing accounts hmmm she sips dark red wine from glass chases it with ice water she considers a story about a gang of female bikers who ride south to Mexico

4

the Americans came through here last night crossing border illegally climbing over our fences digging tunnels beneath our barrier walls littering along their trail they travel in packs of every skin color carry guns knives explosives wear leather boots some are shirtless tattoos dyed hair mischievously smiling conceitedly stealing when in question murdering they rob our homes slaughter our chickens ransack gardens loot our harvest you can still smell the stink of their fast food breaths

5

she swallows the last dark red wine from glass chases it with ice water local jazz trio begins to play as bar fills with more people she decides to walk home one foot in front of other wonders who taught her how to walk how many times did she fall she laughs to herself

Tucson square dance

TPD 10-18 unconfirmed data report

7 post-University of Arizona female graduates go to Cactus Moon for several drinks and dancing then drive to Bashful Bandit for more drinks and dancing 2 women get into scuffle victim Brittany Garner female 23 years of age race #5 (Native American, Eskimo, Middle -Eastern, Other) 5’ 2” long black hair cut-off blue jean shorts clingy light blue top falls hits head on side of bar dies of fatal blow to skull forensics report crushed occipital lobe assailant Stacy Won female 31 years of age race #4 (Asian) 5’6” black jeans black leather jacket red helmet Honda motorcycle still at large

witness accounts

Jess Delaney female 33 years of age race #2 (White) 6’ tight black pencil skirt white sleeveless undershirt no bra 3” heels blond ponytail “that squirting little **** deserves everything she got she lied told Stacy i’m a ***** i never cheated on Brittany i don’t understand we were all having a good time getting buzzed and dancing we should never have left Cactus Moon **** Kerrie thought some biker dude might be hanging around the Bandit hell maybe the Bandit was a biker bar once but now it’s just a college sink hole full of drunken frat boys when Monique flashed a little *** they went crazy cheering and buying us shots it just got out of hand never should have happened the way it happened Stacy didn’t mean to **** Brittany it’s ****** up i want to go home please let me go home”

Sabrina Starn female 29 years of age race #2 (White) 5’8” trendy corporate gray suit black pumps red shoulder length hair “i have to be at work at 8 AM Stacy was drunk out of control she gets crazy when she drinks Brittany was trash talking pushing all Stacy’s buttons then Stacy accused Brittany of sleeping with Monique and all hell broke loose i didn’t see what happened i was in the powder room it’s a terrible tragedy unfortunate accident can i please be released i need to sleep this is madness”

Kerrie Angeles female 27 years of age race #1 (Hispanic) 5’ 6” black pants white shirt black hair cut stylishly short silver crucifix around neck red fingernails “when we got to the Bashful Bandit i was ***** soaking between my legs thinking about a cowgirl at Cactus Moon ready to **** anyone i saw fantasized pulling a train with those frat boys Monique had been kind of quiet at Cactus Moon but when we got to the Bashful Bandit she lit up dancing wild unbuttoning her top jacket Sabrina went to the ladies room to snort coke with biker dude Kerrie wanted but he wasn’t into her then Brittany started saying crazy stuff accusing Stacy of stealing Monique from Jess Jessie goes through women heartlessly she doesn’t give a **** about Monique Jessie knows if she wants Monique back she can simply fiddle a finger my guess is Stacy is half way to Argentina she never meant to **** Brittany i’m going to miss her real bad she was a good kid”

Ann Skyler female 28 years of age race  #2 (White) 4’ 11’’ green white red Mexican peasant skirt black t-shirt black high-tops hair in messy bun “i’m confused i saw them dancing laughing grinding up against each other Rage Against the Machine came on then Nine Inch Nails the room felt quaking dizzy claustrophobic then they were pushing each other shoving yelling frat boys cheering the next thing i knew Brittany was supine on the floor blood pouring out maybe she just slipped hit her head i don’t know what to think i feel real sad confused sick to my stomach scared”

Monique Smithson female 24 years of age race # 3 (Black) 5’ 9” blue jeans jean jacket cowboy boots nose ring braided pigtails “Stacy had it in for Brittany from the start i saw it in her eyes at Cactus Moon she made several clever toxic remarks they snapped at each other i never thought it would escalate to ****** poor sweet Brittany was always so susceptible i was looking down adjusting my jeans over my boots when it happened i heard felt a big thump glanced up Brittany was lying there lifeless blood spilling everywhere Stacy ran out fast i heard her bike engine take off in a hurry”

Rodeo Drive Tucson

matt’s hats tom’s tools & tobacco lou’s liquors fred’s beds frank’s planks bill’s drills jane’s drains & panes chuck’s check cashing cheryl’s barrels hank’s tanks tina’s trucks & tractors walt’s asphalt sean’s pawn rick’s rifles mom’s guns terry’s tires charlie’s harleys rhonda’s hondas jim’s rims art’s parts gus’s gasoline mike’s bikes frank’s feed gwen’s pens ann’s cans nancy’s nursery joes‘s clothes jess’s dresses bert’s skirts steve’s sleeves paul’s shawls michelle’s shells & bells al’s pails & snails sam’s hams & jams patty’s pancakes phil’s chili don’s donuts betty’s spaghetti bob’s burgers alycia’s quiches jean’s beans jerry’s berries anna’s bananas andy’s candies cathy’s taffies tony’s ponies roy’s toys kim’s whims marty’s parties jill’s pills rick’s tricks alice’s palace debbie’s disposal dave’s graves

Quinta Waltz de Tucson

she is definitely displeased profoundly disappointed in her latest literary efforts she dreams aches to create deeper discourse higher insight more thoughtful philosophical inquiries about life’s challenges beauty a better world overpowering love inspiration instead she writes paperback television trash stupid inadequate answers to solemn questions she wonders if she is too scratched dented to find love her ******* are definitely changing she is deeply disturbed not ready for menopause too young for menopause she wants to remain a fertile woman with smooth skin wet ******

2

her neighbor Leslie awoke to horrible morning Leslie’s 6 chickens were assaulted overnight precious Mabel dragged off feathers everywhere trail down the street other hens cowering slumped together with wilted necks 3 of them with puncture wounds Leslie carried them one by one inside washed their wounds hugged them cried who did this terrible act a neglected abusive neighborhood cat or some desert predator why didn’t Leslie wake to sounds of savage marauding now this creature knows hen’s whereabouts when will it return for more massacre what modifications need to be enforced to ensure their coup before nightfall

3

she wants to remain a hen keep producing eggs does not want is not ready to enter the next **** stage of this **** existence it was fun being pretty for men inspiring them to say do whacky things she wants to remain a hen she is definitely displeased profoundly disappointed in her latest literary attempts “Tucson square dance” (self-referential) ****** bit about Americans came through here last night in “Tucson 3-step” ****** "Rodeo Drive" tepid perhaps the pinot noir lowered her standards everything is becoming nothing she cannot sleep tosses turns thrashes sheets in humid heat of her lonesome bed is she is too scratched dented to find love she worries for Leslie

4

tomorrow is another day they say the rain will come last year’s monsoon never came the baking sun smothered her garden died one by one sleepless she will miss tomorrow’s pilates class the infrequent delightful chatty breakfast afterwards she dreams aches of deeper discourse higher insight with detached humor that only comes from keener intelligence more thoughtful philosophical inquiries about life’s challenges beauty a better world overpowering love inspiration she crossed the line tonight her ******* are definitely changing

Tucson 666

he decides to shave eighth to quarter inch length salt and pepper beard a.k.a. unshaven look he has worn for years and grow full mustache the whiskers on his upper lip are darker with sparse gray at first no one notices after weeks the mustache gradually fills evoking many contrasting remarks several women loath it several men admire it girl at grocery store suggests he grow Fu Manchu so she can tug on it shopgirl says he looks like Charlie Chaplin downstairs neighbor from Turkey explains most Turkish men traditionally wear mustaches he read mustaches masculinize and empower men especially men in authoritative positions he thinks back to the 1960’s when many hippie males grew mustaches then in the 70’s gay men fashioned mustaches then in the 80’s cops adopted mustaches he wonders why a swatch of hair beneath nose is so provoking examines his visage in mirror discerns the mustache confers a Pepé le Pew quality or European accent to his appearance he remembers when he was young hippie with many amorous episodes how his mustache preserved the scent of a woman but there are no women in his life for many years do post-menopausal women possess scent? he feels indecisive whether to retain it or be rid of it

2

she observes her figure in mirror thinks to herself maybe her ******* are not changing perhaps it’s all in her head she inspects the little lines forming near her eyelids studies her features for signs of aging hardly any silver strands in long brown hair she examines neck ******* arms elbows fingers tummy hips pelvic region thighs knees shins calves ankles feet detects subtle changes thinks to herself my ******* are possibly slightly changing turned 40 in March married briefly in late teens no children a 15 year old dog beginning to suffer veterinarian promises to warn her when the time comes she wonders why it is so difficult finding fitting mate men sleep with her several times then move on maybe she is not such a great lover perhaps she would be better if one of them stuck around perhaps she is a lesbian the whole ide

I can’t wait to be a hundred;
turning over the thoughts
and plots, of Caledon
floating on Zimmer inserts
and dusted Florsheims
three steps forward
in a dream woven
summer afternoon

Through the barn doors
and bee keeper flats
assimilating voices
from Sachems
and Forbes
and Hope Healers
coming and going
as the countryman
comes and goes

You can feel it
in a place like this
the 3 in the tree memories
of Allis Chalmers
and combine parts
of Sundrim poppers
and shallow carp fields
of patterned lawsons
and fading caulk
(on the ripped and rolled
frontier seats)

it’s a wishing well
for the peddler
and bold hydrangea...
both peeking their way
through the rusted
grinders wheel

I

In that November off Tehuantepec,
The slopping of the sea grew still one night
And in the morning summer hued the deck

And made one think of rosy chocolate
And gilt umbrellas. Paradisal green
Gave suavity to the perplexed machine

Of ocean, which like limpid water lay.
Who, then, in that ambrosial latitude
Out of the light evolved the morning blooms,

Who, then, evolved the sea-blooms from the clouds
Diffusing balm in that Pacific calm?
C'etait mon enfant, mon bijou, mon ame.

The sea-clouds whitened far below the calm
And moved, as blooms move, in the swimming green
And in its watery radiance, while the hue

Of heaven in an antique reflection rolled
Round those flotillas. And sometimes the sea
Poured brilliant iris on the glistening blue.

                        II

In that November off Tehuantepec
The slopping of the sea grew still one night.
At breakfast jelly yellow streaked the deck

And made one think of chop-house chocolate
And sham umbrellas. And a sham-like green
Capped summer-seeming on the tense machine

Of ocean, which in sinister flatness lay.
Who, then, beheld the rising of the clouds
That strode submerged in that malevolent sheen,

Who saw the mortal massives of the blooms
Of water moving on the water-floor?
C'etait mon frere du ciel, ma vie, mon or.

The gongs rang loudly as the windy booms
Hoo-hooed it in the darkened ocean-blooms.
The gongs grew still. And then blue heaven spread

Its crystalline pendentives on the sea
And the macabre of the water-glooms
In an enormous undulation fled.

                        III

In that November off Tehuantepec,
The slopping of the sea grew still one night
And a pale silver patterned on the deck

And made one think of porcelain chocolate
And pied umbrellas. An uncertain green,
Piano-polished, held the tranced machine

Of ocean, as a prelude holds and holds,
Who, seeing silver petals of white blooms
Unfolding in the water, feeling sure

Of the milk within the saltiest spurge, heard, then,
The sea unfolding in the sunken clouds?
Oh! C'etait mon extase et mon amour.

So deeply sunken were they that the shrouds,
The shrouding shadows, made the petals black
Until the rolling heaven made them blue,

A blue beyond the rainy hyacinth,
And smiting the crevasses of the leaves
Deluged the ocean with a sapphire blue.

                        IV

In that November off Tehuantepec
The night-long slopping of the sea grew still.
A mallow morning dozed upon the deck

And made one think of musky chocolate
And frail umbrellas. A too-fluent green
Suggested malice in the dry machine

Of ocean, pondering dank stratagem.
Who then beheld the figures of the clouds
Like blooms secluded in the thick marine?

Like blooms? Like damasks that were shaken off
From the loosed girdles in the spangling must.
C'etait ma foi, la nonchalance divine.

The nakedness would rise and suddenly turn
Salt masks of beard and mouths of bellowing,
Would--But more suddenly the heaven rolled

Its bluest sea-clouds in the thinking green,
And the nakedness became the broadest blooms,
Mile-mallows that a mallow sun cajoled.

                        V

In that November off Tehuantepec
Night stilled the slopping of the sea.
The day came, bowing and voluble, upon the deck,

Good clown... One thought of Chinese chocolate
And large umbrellas. And a motley green
Followed the drift of the obese machine

Of ocean, perfected in indolence.
What pistache one, ingenious and droll,
Beheld the sovereign clouds as jugglery

And the sea as turquoise-turbaned *****, neat
At tossing saucers--cloudy-conjuring sea?
C'etait mon esprit batard, l'ignominie.

The sovereign clouds came clustering. The conch
Of loyal conjuration *******. The wind
Of green blooms turning crisped the motley hue

To clearing opalescence. Then the sea
And heaven rolled as one and from the two
Came fresh transfigurings of freshest blue.

There is something discombobulating about feeling a shudder and a tilt, the models in front of you apparently moving slowly sideways, as the stand with your show seat starts to move in circles.

At the same time, the models at the Céline show seemed to be going off in all directions. Popping in and out of the black holes of space were models - young or older - wearing a smart green masculine trouser suit, a striped shirt, a white belted raincoat, something furry and - unexpectedly - a tunic and trousers printed with black wheels and checks skittering before your eyes.

All this and the bodies and arms of shadowy people behind the plastic backdrop. I rushed backstage to try to make sense of the show chaos (sorry: artistic intrigue), but designer Phoebe Philo did not want to talk when I asked her the point of her dramatic presentation of her Autumn/Winter 2017 collection.

"Just ideas coming together with lots of ideas," said the designer. "Just lots and lots of ideas and how they impact each other."

Around me, Phoebe's team were hugging and sobbing and clutching each other, as if this show were their last. Overview notes provided by the public relations people seemed even more confusing, apart from telling me that the installation (that required more electric cables and wires than I have ever seen above a fashion runway) was by French artist Philippe Parreno.

''The Céline AW17 collection explored Phoebe Philo's storytelling design process of how a collection is created and the notion of how changes result in impact," read the statement. "Further, the collection relates closely to the interconnected nature of women's lives and possibilities for women."

Before I read this, I had thought of Phoebe as the English designer who has her children running around backstage and who made practical but classy clothes for today's woman. She threw into the mix a few charming pieces like the fluffy flat sandals that have been picked up by other designers across the world.

With all that on offer, why did the new Céline collection have to complicate things so much?

Take away the moving seats and impossible-to-follow criss-cross of the models and there was the Céline look that any woman would crave: the bold, floor-length tailored coat; a tuxedo with its hemline sweeping right down to the ankle. The tailoring looked bigger, oversized even, which is in tune with the Eighties-style square shoulders that we have seen elsewhere this season.

Phoebe seemed to be offering a hardened version of the serenity she once found in streamlined clothes. An example of the new severity would be a plain, long sleeved dress with a hemline at mid-calf. Its softer side was a blue shirt elongated to the ankle and worn with trousers.

Ultimately, Phoebe offers 21st century elegance with the smooth lines disrupted by a tangle of fringe at the hem or what appeared to be a big blanket over one arm.

I received an overall impression of longer - to the ankle - length, a sense of sobriety and a few fanciful things for evening. What I missed in the hurdy-gurdy of the presentation, is, as yet, unknown.

With exquisite workmanship and Victoriana melded with pop, Pierpaolo Piccioli had a new vision of romance for the digital era.

Prudishness and pop - can the two really meld together? Yes! If the Victorian-style cape is in a vivid, sugary, postmodern pink and the dress underneath a colourful geometric pattern, recalling the Memphis era.

At Valentino, the 1880s met the 1980s with sensational results as designer Pierpaolo Piccioli dismissed the feminist vibe that has reverberated through the Autumn/Winter 2017 season yet created a collection that was respectful to and joyful for, women.

Just looking at the designer's four moodboards was a history lesson, as Pierpaolo whizzed me through dark Victorian carved birds, bright Memphis furniture, coral with a religious connection to Medusa - so much from the past crammed into one collection.

Yet on the runway, the result was far from overloaded, as the history of coral was subsumed into the necklaces all the models wore and the deflated Victorian silhouette - long and high waisted, but slim where a crinoline once was, seemed perfectly acceptable as a romantic vision of the 21st century.

"I wanted to add deepness and romanticism to the modernity of the shapes, so these are absolutely items that you can wear separately - a white shirt or the skirt with your own sweater," said Pierpaolo. "I think fashion is made for dreams, but sometimes you want a dream that is daywear."

The Valentino studios are at the heart of the matter, apparently finding it as easy to toss off a tailored coat with a mid-calf hemline nudging Victoriana bootees, as it is to make a soft, light dress to flow underneath. The detail and delicacy of the dresses seemed like an extension of the haute couture, but the designer was eager to point out that the clothes came from the Italian factory dedicated to Valentino.

Whether it is so easy visually to mix a sorbet pink top with tiny ruffles down the arms that flowed into a cherry ripe panelled skirt, the result was surprisingly calm. Even the dresses patterned with Memphis pop blended in with the plainer, pleated versions. And just when you thought that the show's high romance was over blown, the designer would slip in a black top over a pair of sloppy velvet trousers or calm a Memphis patterned dress with a tailored coat. A severe black jacket could be worn with anything already in the closet from an LBD to blue jeans. Like the tailored coats, it kept ripe femininity in check.

"For me it is important to keep the lightness, otherwise it doesn’t feel confident and if you don’t feel that you don’t feel beautiful," said Pierpaolo. "I think if you feel confident you can even be able to show your sensibility and really feel stronger."

However you rated the clothes - too fancy, too froufrou, too historical - there is no denying that Pierpaolo has created a vision that is respectful to women and which makes them feel beautiful. In a churning political universe, Valentino offers a small, still voice of calm.

Demna Gvasalia revisited Cristóbal’s silhouettes with surges of modern colour, print and volume.

Balenciaga haute couture has been revived for the first time since Cristóbal himself closed the house nearly half a century ago. The last nine outfits shown by creative director Demna Gvasalia, on the huge carpet patterned with the word 'Balenciaga,' had their roots in the legacy of grandeur left by the noble Spanish-born couturier, who died in 1972.

Demna, who started in fashion by building street-smart, unadorned clothes, deliberately named just Vetements (the French word for clothing), has turned towards the grandeur of the original designs that are part of the Balenciaga legacy.

“I thought 100 years was a good reason to make couture available again,” said Demna backstage. “We're not going to do a couture line or show during couture, but these pieces will be made to order – basically for people who want to buy a couture dress from Balenciaga.”

The grand offerings – the polka dot dress with bustle back, the layers of dark pink taffeta, and a slim black gown, all with large back bows, were not the only historic links. The show opened with tailored coats which were worn with a drape over the left shoulder, reminiscent of the way that the models of an earlier era would walk with their heads up, shoulders rounded and stomachs sunk in.

“I studied how the pieces are worn and I found these images from old mood boards of Cristóbal where women are standing with their coats like this,” the designer explained. “The idea was to bring this kind of elegance, the gesture of wearing those pieces, but take it into a kind of cool and make it more modern. You can also wear it in a normal way, but it is constructed so that one part is larger and then you can also pin it up. And this is what you see basically in all these books.”

Demna's way of rethinking with his brain what he had seen with his eyes is exceptional – and the reason why he seems able to update the house as if he were growing new shoots from existing roots.

The arrival of vivid colour signalled a change of pace, as every figure stood out in the farthest reach of the enormous sports stadium. The hosiery especially perhaps, in grass green, and cut-away waistcoats like harnesses in pastel colours, took the image of Balenciaga back to the early days of Nicolas Ghesquière and his futuristic period at the house.

Demna is also drawn by the flowers that were a part of the Cristóbal Balenciaga look; by showing a patterned skirt with big, bold, brightly coloured sweaters, he gave print a modern feel.

The show was not perfect. Mini dresses in the floral patterns and bright hose looked out of place. But the overall effect was precise but theatrical, with the couture creating a dramatic ending.

Choosing Demna may have been a gamble by François-Henri Pinault, CEO of Kering, the luxury group that owns Balenciaga. But the designer has turned out to be able to answer fashion's most difficult challenge: finding the balance between old and new, tipped towards the future.Read more at:http://www.marieaustralia.com/cocktail-dresses | www.marieaustralia.com/****-formal-dresses

GOD GOES FOR A WALK

God goes
for a walk.

it is the depths of Winter
but, at a whim

he makes it
...Spring.

Because.
He can.

I also, as it happens
have gone for a walk

& am surprised by
the sudden change of

the weather. . ?
...whatever!

He is wearing a yellow
gangster style fedora.

He looks like Marlon Brando
being The Godfather.

He sports the brightest of yellow
waistcoats

which compliments
the purple shirt...purple trousers.

He strides along with His
Paisley patterned  Parisian walking stick

whistling the music of
The Spheres.

The World bows
before him.

He is well pleased
with Himself, un-

-til: He encounters me
coming towards him

dressed in a gangster style
yellow fedora

the brightest of yellow waistcoats
not to mention the purple shirt...purple trousers.

I, also, possess
a Paisley patterned  Parisian walking stick.

We nod politely
saying nothing but...

He is miffed at me
wearing His outfit and

I also miffed at Him
wearing mine!

We pass each other
God & creature.

And God...**** if He doesn't
make it Winter

on the very next step.

He was always
a Jealous God.

Ah, Nikolaas, my love for him is not the same, as my love for thee;
My love for thee was once, and may still be, sweeter, purer, more elegant, and free;
But still, how unfortunate! imprisoned in mockery, and liberated not-by destiny;
It still hath to come and go; it cannot stay cheerfully-about thee forever, and within my company.

And but tonight-shall Amsterdam still be cold?
But to cold temper thou shalt remain unheeded; thou shalt be tough, and bold;
Sadly I am definite about having another nightmare, meanwhile, here;
For thy voice and longings shall be too far; with presumptions and poems, I cannot hear.

Sleep, my loveliest, sleep; for unlike thine, none other temper, or love-is in some ways too fragrant, and sweet;
All of which shall neither tempt me to flirt, nor hasten me to meet;
My love for thee is still undoubted, defined, and unhesitant;
Like all t'is summer weather around; 'tis both imminent, and pleasant.

My love for thee, back then, was but one youthful-and reeking of temporal vitality;
But now 'tis different-for fathom I now-the distinction between sincerity, and affectation.
Ah, Nikolaas, how once we strolled about roads, and nearby spheres-in living vivacity;
With sweets amongst our tongues-wouldst we attend every song, and laugh at an excessively pretentious lamentation.

Again-we wouldst stop in front of every farm of lavender;
As though they wanted to know, and couldst but contribute their breaths, and make our love better.
We were both in blooming youth, and still prevailed on-to keep our chastity;
And t'is we obeyed gladly, and by each ot'er, days passed and every second went even lovelier.

But in one minute thou wert but all gone away;
Leaving me astray; leaving me to utter dismay.
I had no more felicity in me-for all was but, in my mind, a dream of thee;
And every step was thus felt like an irretrievable path of agony.

Ah, yon agony I loathe! The very agony I wanted but to slaughter, to redeem-and to bury!
For at t'at time I had known not the beauty of souls, and poetry;
I thought but the world was wholly insipid and arrogant;
T'at was so far as I had seen, so far as I was concerned.

I hath now, seen thy image-from more a lawful angle-and lucidity;
And duly seen more of which-and all start to fall into place-and more indolent, clarity;
All is fair now, though nothing was once as fair;
And now with peace, I want to be friends; I want to be paired.

Perhaps thou couldst once more be part of my tale;
But beforehand, I entreat thee to see, and listen to it;
A tale t'at once sent into my heart great distrust and sadness, and made it pale;
But from which now my heart hath found a way out, and even satisfactorily flirted with it,

For every tale, the more I approach it, is as genuine as thee;
And in t'is way-and t'is way only, I want thee to witness me, I want thee to see me.
I still twitch with tender madness at every figure, and image-I hath privately, of thine;
They are still so captivatingly clear-and a most fabulous treasure to my mind.

My love for thee might hath now ended; and shall from now on-be dead forever;
It hath been buried as a piece of unimportance, and a dear old, obsolete wonder;
And thus worry not, for in my mind it hath become a shadow, and ceased to exist;
I hath made thee resign, I hath made thee drift rapidly away, and desist.

Ah, but again, I shall deny everything I hath said-'fore betraying myself once more;
Or leading myself into the winds of painful gravity, or dismissive cold tremor;
For nothing couldst stray me so well as having thee not by my side;
An image of having thee just faraway-amidst the fierceness of morns, and the very tightness of nights.

And for seconds-t'ese pains shall want to bury me away, want to make me shout;
And shout thy very name indeed; thy very own aggravated silence, and sins out loud;
Ah, for all t'ese shadows about are too vehement-but eagerly eerie;
Like bursts of outspread vigilance, misunderstood but lasting forever, like eternity.

'Twas thy own mistake-and thus thou ought'a blame anyone not;
Thou wert the one to storm away; thou wert the one who cut our story short.
Thou wert the one who took whole leave, of the kind entity-of my precious time and space;
And for nothingness thou obediently set out; leaving all we had built, to abundant waste.

Thou disappeared all too quickly-and wert never seen again;
Thou disappeared like a column of smoke, to whom t'is virtual world is partial;
And none of thy story, since when-hath stayed nor thoughtfully remained;
Nor any threads of thy voice were left behind, to stir and ring, about yon hall.

Thou gaily sailed back into thy proud former motherland;
Ah, and the stirring noises of thy meticulous Amsterdam;
Invariably as a man of royalty, in thy old arduous way back again;
Amongst the holiness of thy mortality; 'twixt the demure hesitations, of thy royal charms.

And thou art strange! For once thou mocked and regarded royalty as *******;
But again, to which itself, as credulous, and soulless victim, thou couldst serenely fall;
Thus thou hath perpetually been loyal not, to thy own pride, and neatly sworn words;
Thou art forever divided in his dilemma; and the unforgiving sweat, of thy frightening two worlds.

Indeed thy godlike eyes once pierced me-and touched my very fleshly happiness;
But with a glory in which I couldst not rejoice; at which I couldst not blush with tenderness.
Thy charms, although didst once burn and throttle me with a ripe vitality;
Still wert not smooth-and ever offered to cuddle me more gallantly; nor kiss my boiling lips, more softly.

Every one of t'ese remembrances shall make me hate thee more;
But thou thyself hath made more forgiving, and excellent-like never before;
'Ah, sweet,' thou wouldst again protested-last night, 'Who in t'is very life wouldst make no sin?'
'Forgiveth every sinned soul thereof; for 'tis unfaithful, for 'tis all inherently mean.'

'Aye, aye,' and thou wouldst assent to my subsequent query,
'I hath changed forever-not for nothingness, but for eternitie.'
'To me love o' gold is now but nothing as succulent',
'I shall offer elegantly myself to not be of any more torment, but as a loyal friend.'

'I shall calleth my former self mad; and be endued with nothing but truths, of rifles and hate;'
'But now I shall attempt to be obedient; and naughty not-towards my fate.'
'Ah, let me amendst thereof-my initial nights, my impetuous mistakes,'
'Let me amendst what was once not dignified; what was once said as false, and fake.'

'So t'at whenst autumn once more findeth its lapse, and in its very grandness arrive,'
'I hopeth thy wealth of love shall hath been restored, and all shall be alive,'
'For nothing hath I attempted to achieve, and for nothing else I hath struggled to strive;'
'But only to propose for thy affection; and thy willingness to be my saluted wife.'

And t'is small confession didst, didst tear my dear heart into pieces!
But canst I say-it was ceremoniously established once more-into settlements of wishes;
I was soon enlivened, and no longer blurred by tumult, nor discourteous-hesitation;
Ah, thee, so sweetly thou hath consoled, and removed from me-the sanctity of any livid strands of my dejection.

For in vain I thought-had I struggled, to solicit merely affection-and genuinity from thee;
For in vain I deemed-thou couldst neither appreciate me-nor thy coral-like eyes, couldst see;
And t'is peril I perched myself in was indeed dangerous to my night and day;
For it robbed me of my mirth; and shrank insolently my pride and conscience, stuffing my wholeness into dismay.

But thou hath now released me from any further embarkation of mineth sorrow;
Thou who hath pleased me yesterday; and shall no more be distant-tomorrow;
Thou who couldst brighten my hours by jokes so fine-and at times, ridiculous;
Thou who canst but, from now on, as satisfactory, irredeemable, and virtuous.

Ah, Nikolaas, farther I shall be no more to calleth thee mad; or render thee insidious;
Thou shall urge me to forget everything, as hating souls is not right, and perilous;
Thou remindeth me of forgiving's glorious, and profound elegance;
And again 'tis the holiest deed we ought to do; the most blessed, and by God-most desired contrivance.

Oh, my sweet, perhaps thou hath sinned about; but amongst the blessed, thou might still be the most blessed;
For nothing else but gratitude and innocence are now seen-in thy chest;
Even when I chastised thee-and called thee but an impediment;
Thou still forgave me, and turned myself back again into elastic merriment.

Thou art now pure-and not by any means meek, but cruel-like thy old self is;
For unlike 'tis now, it couldst never be satisfied, nor satiated, nor pleased;
'Twas far too immersed in his pursuit of bloodied silver, and gold;
And to love it had grown blind, and its greedy woes, healthily too bold.

And just like its bloodied silver-it might be but the evil blood itself;
For it valued, and still doth-every piece with madness, and insatiable hunger;
Its works taint his senses, and hastened thee to want more-of what thou couldst procure-and have,
But it realised not that as time passed by, it made thee but grew worse-and in the most virtuous of truth, no better.

But thou bore it like a piece of godlike, stainless ivory;
Thou showered, and endured it with love; and blessed it with well-established vanity.
Now it hath been purified, and subdued-and any more teaches thee not-how to be impatient, nor imprudent;
As how it prattled only, over crude, limitless delights; and the want of reckless impediments.

Thou nurtured it, and exhorted it to discover love-all day and night;
And now love in whose soul hath been accordingly sought, and found;
And led thee to absorb life like a delicate butterfly-and raiseth thy light;
The light thou hath now secured and refined within me; and duly left me safe, and sound.

Thou hath restored me fully, and made me feel but all charmed, awesome, and way more heavenly;
Thou hath toughened my pride and love; and whispered the loving words he hath never spoken to me.
Ah, I hope thou art now blessed and safely pampered in thy cold, mischievous Amsterdam;
Amsterdam which as thou hath professed-is as windy, and oft' makes thy fingers grow wildly numb.

Amsterdam which is sick with superior lamentations, and fame;
But never adorned with exact, or at least-honest means of scrutiny;
For in every home exists nothing but bursts of madness, and flames;
And in which thereof, lives 'twixt nothing-but meaningless grandeur, and a poorest harmony.

Amsterdam which once placed thee in pallid, dire, and terrible horror;
Amsterdam which gave thy spines thrills of disgust, and infamous tremor;
But from which thou wert once failed, fatefully, neither to flee, nor escape;
Nor out of whose stupor, been able to worm thy way out, or put which, into shape.

But I am sure out of which thou art now delightful-and irresistibly fine;
For t'ere is no more suspicion in thy chest-and all of which hath gone safely to rest;
All in thy very own peace-and the courteous abode of our finest poetry;
Which lulls thee always to sleep-and confer on thee forever, degrees of a warmest, pleasantry.

Ah, Nikolaas-as thou hath always been, a child of night, but born within daylight;
Poor-poor child as well, of the moon, whose life hath been betrayed but by dullness, and fright.
Ah, Nikolaas-but should hath it been otherwise-wouldst thou be able to see thine light?
And be my son of gladness, be my prince of all the more peaceful days; and ratified nights.

And should it be like which-couldst I be the one; the very one idyll-to restore thy grandeur?
As thou art now, everything might be too blasphemous, and in every way obscure;
But perhaps-I couldst turn every of thine nightmare away, and maketh thee secure;
Perhaps I couldst make thee safe and glad and sleep soundly; perfectly ensured.

Ah, Nikolaas! For thy delight is pure-and exceptionally pure, pure, and pure!
And thy innocence is why I shall craft thee again in my mind, and adore thee;
For thy absurdity is as shy, and the same as thy purity;
But in thy hands royalty is unstained, flawless, and just too sure.

For in tales of eternal kingdoms-thou shalt be the dignified king himself;
Thou shalt be blessed with all godly finery, and jewels-which thou thyself deserve;
And not any other tyrant in t'ese worlds-who mock ot'er souls and pretend to be brave;
But trapped within t'eir own discordant souls, and wonders of deceit and curses of reserve.

Oh, sweet-sweet Nikolaas! Please then, help my poetry-and define t'is heart of me!
Listen to its heartbeat-and tellest me, if it might still love thee;
Like how it wants to stretch about, and perhaps touch the moonlight;
The moonlight that does look and seem to far, but means still as much-to our very night.

Ah! Look, my darling-as the moonlight shall smile again, to our resumed story;
If our story is, in unseen future, ever truly resumed-and thus shall cure everything;
As well t'is unperturbed, and still adorably-longing feeling;
The feeling that once grew into remorse-as soon as thou stomped about, and faraway left me.

Again love shall be, in thy purest heart-reincarnated,
For 'tis the only single being t'at is wondrous-and inexhaustible,
To our souls, 'tis but the only salvation-and which is utterly edible,
To console and praise our desperate beings-t'at were once left adrift, and unheartily, infuriated.

Love shall be the cure to all due breathlessness, and trepidations;
Love shall be infallible, and on top of all, indefatigable;
And love shall be our new invite-to the recklessness of our exhausted temptations;
Once more, shall love be our merit, which is sacred and unalterable; and thus unresentful, and infallible.

Love shall fill us once more to the brim-and make our souls eloquent;
Love be the key to a life so full-and lakes of passion so ardent;
Enabling our souls to flit about and lay united hands on every possible distinction;
Which to society is perhaps not free; and barrier as they be, to the gaiety of our destination.

Thus on the rings of union again-shall our dainty hearts feast;
As though the entire world hath torn into a beast;
But above all, they shan't have any more regrets, nor hate;
Or even frets, for every fit of satisfaction hath been reached; and all thus, hath been repaid.

Thus t'is might be thee; t'at after all-shall be worthy of my every single respect;
As once thou once opened my eyes-and show me everything t'at t'is very world might lack.
Whilst thou wert striving to be admirable and strong; t'is world was but too prone and weak;
And whilst have thy words and poetry; everyone was just perhaps too innocent-and had no clue, about what to utter, what to speak.

Thou might just be the very merit I hath prayed for, and always loved;
Thou might hath lifted, and relieved me prettily; like the stars very well doth the moon above.
And among your lips, lie your sweet kisses t'at made me live;
A miracle he still possesses not; a specialty he might be predestined not-to give.

Thou might be the song I hath always wanted to written;
But sadly torn in one day of storm; and thus be secretly left forgotten;
Ah, Nikolaas, but who is to say t'at love is not at all virile, easily deceived, and languid?
For any soul saying t'at might be too delirious, or perhaps very much customary, and insipid.

And in such darkness of death; thou shalt always be the tongue to whom I promise;
One with whom I shall entrust the very care of my poetry; and ot'er words of mouth;
One I shall remember, one I once so frightfully adored, and desired to kiss;
One whose name I wouldst celebrate; as I still shall-and pronounce every day, triumphantly and aggressively, out loud.

For thy name still rings within me with craze, but patterned accusation, of enjoyment;
For thy art still fits me into bliss, and hopeful expectations of one bewitching kiss;
Ah, having thee in my imagination canst turn me idle, and my cordial soul-indolent;
A picture so naughty it snares my whole mind-more than everything, even more than his.

Oh, Nikolaas, and perhaps so thereafter, I shall love, and praise thee once more-like I doth my poetry;
For as how my poetry is, thou art rooted in me already; and thus breathe within me.
Thou art somehow a vein in my blood, and although fictitious still-in my everyday bliss;
Thou art worth more than any other lov

Growling and hissing, a storm formed along the road, portending the merging of the chaos that had been gripping our minds for months.  This day, this type of day, we could have dreamed up in the novel of our love affair.  The conversation along our drive into the country was as full and ***** as all other tête-à-têtes shared in our two months together.  We were never at a loss for words and his conversation had been more educated than the older men I had dated since the divorce.  I was forever astonished at him and with him.  

The first time I met him, I was sitting behind my desk and planning for another monotonous day of office politics and all the drama connected.  Lost in thought, I sipped coffee and read emails until, there was - him.  He opened my office door with such fervor and drama, I knew someone had just entered into my life that would leave me forever changed, and I welcomed it.  A mess of auburn hair, neither combed nor styled and yet quite fitting, haloed around his head and gave the visage of an angel.  He had a freckled nose and cheeks with blue eyes staring from behind all that wildness and they were the only calming feature about him.  I turned my head and grimaced a bit, “how dare someone charge into my office as if to own it”.  “How can I help you?” made its way from my lips with a bit of a sigh.  And he smiled, that smile which would make his face even younger and more deceptively angelic.  

“Hello” danced off his lips and in two syllables was able to sound singsong and my anger soon turned to anticipation.  He introduced himself as Parker and explained his new position as Junior Editor.  He went on to say someone instructed him to introduce himself to me since I was Senior Project Manager for the organization.  His fervent entrance into my office had sent a gush of wind that disheveled my tidy desk and his wide blue eyes looked around at the chaos he had rendered.  He seemed unable to offer apologies, and I soon learned this was his way.  His confident facade prevented admission of mistakes and the word “sorry” could not escape the tightness of his will to be correct.  This was my lover’s way and it was the structure built that only wrecking ***** could destroy.

As is expected of me, I extended my hand to welcome him, overmuch aware of my grip and strength in presenting my hand, I felt the need to dominate the grip.  I was a woman in a senior position inside the male dominated echelon of upper management.  I took his hand and with rehearsed quickness attempted to demonstrate my dominance, my superiority.   It was then, the first time I saw a devil behind his angelic face and I remember my expression churned up my secret thoughts.  He saw my eyes searching those thoughts and delight shone from his blue eyes like cold fire and I was burned.   Our hands soon contorted into a dance of dominance with fingers twisting as if in a finger shadow play.  No time for games or plays for control, I simply took the shake he offered and turned towards my coffee, my drama, my emails and without looking at him welcomed him again and gave a wave of dismissal.  He greeted my brush-off with a laugh and made his way to the chair in front of my desk.  He was tall and the light from behind silhouetted his broad shoulders and upright posture.  He was confident and sure.  His clothes were expensive, well-tailored and not at all the measure for his age.  He had a style about him and I believe it came as naturally to him as did the confidence in which he clothed himself.

I wanted to be angry at his overconfidence, his interruption, his disregard.  I was, instead, amused but annoyed.  He sensed he was beginning to irritate me and it seemed to delight him.  He would speak without taking a breath, eager to finish his thoughts, aware perhaps that time could steal the moment away and he would forever wonder.  He spoke with an accent I did not fully recognize and attempted to invite me to lunch or even coffee.  My lover was bold.  

I was succeeding in this corporate world, my world.  I was not ready to lose my focus for a moment alone with the delightful creature staring back at me, awaiting the “yes” he expected would be my answer.  He was a man who did not accept the “no’s”.    He would get what he wanted and would wait in predator mode until his prey was wounded, weak, ready.  He was not a predator in the malevolent sense, more in the need for survival mentality.  He would lift the wounded and weak above the limits of their afflictions and a “yes” would flow from their lips in fond gratitude.  Today I was not a “yes” and it did not feel like a final answer.  Somehow, I knew one day I would be naked with this man, my lover.  I knew I would take him inside me, and he would show me how to love in ways I had never known.  The “no’ and the explanations of the “no” exuded from my lips, and I could see him grow even more eager to know me.  He would learn the stories of my life from rumors and talk.  He would learn of my divorce, of the men I dated with expensive homes and cars.  He would hear about the occasional woman who would occupy my bed.   I had wished all of it to be true but only the divorce was correct.  I was not exceptional or exciting.  I was driven and focused.  

He stood there hearing my “no” with the sun behind him igniting the fire in his hair with his shoulders pinned back exposing his sculpted chest.  He stood there and allowed the silence after my rejection to hover the room, and there it was.  We locked eyes, and neither could emancipate from the other.  I wondered who he was and what he looked like naked in the morning with his disheveled hair, and we stared, locked in our gaze until my phone rang signaling the end of round one.  

Wrapped in my shawl, I moved between sipping coffee, as was my usual, and typing on my laptop.  He was behind me in the cabin.  I felt him approaching and knew he would quickly whisk me away from the overwhelming din of office emails and calls.  His presence behind me now was no longer disquieting but natural.  

The cabin had been his grandfathers and he had a noticeable pride about it when showing me through the door and gateway to his childhood memories.  He had a smile on his face I had never seen.  I delighted in how young it made his face appear, almost as if the childhood memories possessed him and he became the blithe youth here with his grandfather.  


It was fall at the cabin and the smell of musk and rotting leaves and ozone from the storm, filled the cabin and each deep breath was taking in a memory from my youth.   I was happy to be here with him and yet afraid.  Two months we flirted and touched over our shared lunches, eager to get inside each other physically, mentally.  The office was replete with stories of the happenings between the older woman executive and the younger up and coming man, how he must be using her to advance his career and how she was using him to heal the wounds of her recent divorce.  We heard these stories and watched them grow to the point we ended our touching, our flirting.  Soon the denial of our feelings and time apart turned to foreplay.  Soon there were stares across conference rooms, perceptive smiles as we crossed paths.  The total of it led us to this moment, to time alone together for the first time, this time.  

Fall in the country was the vangaurd to a glorious death.  The earth would explode with color announcing its final breath and moment upon the stage and we had arrived during the final bow and curtain call.  Trees draped in gold - and red - and orange heralded the fire to come and we too were ready to pour forth in glorious blaze and inferno.  During the entire ride into the country an ironical mist of dew and rain dotted the windshield as if nature attempted to douse the desires clawing to escape in each other’s arms.  There was a devil sitting next to me and I had to smile as his auburn hair blended so naturally with the landscape.  I was obviously lost in thought and he looked at me and asked if I was okay.  Him next to me, him crookedly smiling at me.  

“It’s nothing.  It’s just nice to see you in your element.”  My replay was short but my heart was beating so hard I was almost afraid he could see it bouncing behind my blouse, so I began to cover up but was met with his hand before I even reached the edge of my coat.  

“No.  I want to see you.”  His voice was soft but demanding and strong.  Often there were hints of a struggle for power between us.  His youth and position within the company prevented me from accepting his seriousness and his face would ***** into a grimace.  I never gave it much thought other than a bit of a nuisance.  His hand led mine to my lap, and I expected him to hold it, but he let go with a smile.  I enjoyed his show of power but refused to reveal a glint of it for fear I would lose the respect and control necessary over a subordinate.

Soon the cabin filled with the sounds of rain and thunder and as I stared out the window jealous of the drops of rain and their randomness, he touched my shoulder and looked down at me with his eyes bluer than wild lupine.  I smiled a painful smile and he knew I was overthinking the moment.  Taking my hand, he brought me to his chest and into his arms, arms that would embrace all of me and at times felt as if they could wrap around me twice.  I placed my head on his chest and began to reach for his belt.  The *** I had known was always routine.  This was expected, that was not allowed.  I fell into that routine naturally and was happy to oblige his needs in order to meet mine.  He kissed my forehead and still holding one hand, led me to the door of the cabin.  “What are we do…”  He stopped me with a single “shhh” from his lips.  I followed him and felt myself shiver.  I was not sure if I was shivering in fear or from the nip of fall air.  

“Don’t be afraid.  You have nothing to fear from me.  There’s no need to shiver my little poppet.”  He stepped back from me and stared as if I were a tiny bird in need of nestling back into its home.  “I’ve never seen you afraid.”  He touched my cheek and I felt so small and helpless, lost from home, and he was the only way back.  With a smile he took my hand and led me outside to the rain, lifting his face and savoring the drops bouncing off his cheeks.  

“W..w..what are you doing?”  I was trembling now and wondered if I had misjudged this man and he was in fact a lunatic ready to strangle me to my death.  My silk blouse, now drenched, clung to my ******* exposing an imprint of lace from my bra.  He reached for my shawl and pulled it off my shoulders.  He was looking at me so lovingly my body and mind calmed and I was once again in the moment.  Our moment.  This moment.  

His face, stern now, official, his mouth opening with such deliberateness that I was sure he had been in this situation before.  Once again my mind wanted to race to thoughts of not being good enough or that I was too old or too plain.  His voice pierced my thoughts and brought me to attention.  “There will be no talking unless I tell you to.  Nod if you understand”

My mind wanted to slap him with reminders of my superiority to him at work, how he was MY subordinate and how dare he.  My mouth would not open and my head began to nod in understanding.  My body and mind were bending to his will and acting upon his orders.  Shivering gave way to shaking now and I wanted to run to the warmth of the cabin and watch the fire burn the logs to a black crisp and wake up in his arms naked and giggling.  

Having seen my compliant nod, he began to speak.  “Undress.”  One word.  One word in response to the shaking mess of a woman standing in the rain, cold and afraid.  My hands were barely able to form the necessary movements to reach for the top button of my blouse.  I did not want to fail him or appear as if I were unfamiliar with tales of ***** men overpowering and having their way with a willing lover.  My fingers moved quickly now, wanting to end the scene and move on to the *******.  He stared.  He did not blink.  He did not nod or move.  He was enjoying every subtlety of me.  He was pleased.   I was a willing participant in his fantasy.  Nothing made me happier than to please him.  I began to feel hot and something inside me broke.  Was it my will, my pride, my fears?  I was not sure, but I felt alive.  Every thirsty pore of my skin opened up and lapped at the rain so very eager to feel it on my skin and the randomness of the drops was no longer something I envied but something in which I participated.  

My hands began to tug my blouse free from my skirt and the wet silk now draped over my hips like curtains, revealing the curves I was so painfully aware of hiding to keep anyone from noticing my *** and concentrate upon my words and actions.  I knew now I had one button remaining before I would, for the first time, display myself to him.  He did not flinch, rather, he maintained his stare and for a second I pleaded to him with my eyes not to expect me to do this.  He was resolute.  I spread open the soft, wet cloth and began to drape it off my shoulders.  I let it slide from my wrists, then fingertips, then to the ground blissfully unconcerned that my Hermes blouse was now draped over wet grass and mud.  

I looked down at my skin dripping and alive with goosebumps.  I had bought this bra in anticipation of this moment, in fear of this moment.  White lace bra and perfectly matched ******* were demonstrative of my control over even the small details.  My skirt was loose and heavy with the rain.  It was low on my waist and lay just below the navel leaving me the most exposed I had ever been with him.  I reached to touch the button on the back of my skirt.  Undone, I slipped my fingers along with the zipper feeling each click of the tiny teeth holding together the disguise of a powerful woman.  My hands traced the banded edge of the skirt pushing it over my hips allowing it to fall to the ground.  

His face looked stern but pleased, stoic and fixed.  I was in my bra, ******* and stilettos now.  I began to reach for the hinged part of my bra when he stopped me.  “No.  Stop.” He walked over to me.  He was close now and I was so cold I could feel heat from his body.  I wanted to kiss his lips, his full lips, but I did not move.  I knew now the rules and I would do only what was asked of me.  I stood rigid with no flinching.  I waited for any words that would pass from lips to ear.  He did not speak but leaned into me and reached over my right shoulder undoing the chignon in my hair.  He draped my shoulders with strands of liquid filament.  He took his time there, placing each strand in the exact order in which he was pleased.  With two steps back, he looked at my wet hair with the deliberate strands, as if he had created a masterpiece and for a moment I was unsure if the artwork he saw was me or his work.  

“Now be still.  Allow me to touch you, to admire you, my beautiful Moira.”  When he said my name even after these two months, he had the ability of saying it as if he were speaking it in serenade and for the first time.  He moved his hands to my back and unlinked my bra, one hook at a time with such dexterity I knew he must be a professional at *******.  He, who was to be my first professional lover.  He slid both straps off my shoulders, then taking my hands towards my abdomen, he slid the straps forward on my arms.  Lifting my hands, he demanded I keep them out and straight.  Me, the student to the professional, complied without question.  He bound my wrists with the lace bra, the bra I had bought just to please him, then lifted my arms above my head.  “You will keep your hands up until I tell you to move.”

I had become his toy.  I knew in this moment, I no longer existed for me, I was his, completely and entirely, and I abandoned myself to the rain, to the cold, to his gaze, realizing that surrendering to his urges strengthened me.  He turned and walked away.  He took a seat in an Adirondack chair and even it looked small in his presence.  “On your elbows and knees,” he spoke matter-of-factly.  Just five minutes ago, the struggle inside me to have the appearance of strength, would have denied me this happiness, this happiness to be free in his command.  “Now crawl to me, please.  Slowly.”

I did not care to be in the mud.  I wanted it.  I wanted to please him.  First to my knees, leaving an indention in the clay, then awkwardly at first, onto my elbows with my hands still tied at the wrist.  Crawling on my elbows, my back was arched with my waist higher than my head, giving him a view of the thong I had chosen only for this moment, my succeeding moment.  My position felt ungainly.  I looked to his face for approval.  “No.  You cannot look at me”, he commanded.  For a moment I felt I had lost his approval and self-doubt harried my brain.  My will to please was resolute.  I faced the ground, once again aware of the randomness of nature, the power of nature, how things in nature will do as they are told.  The reed is told to bend.  It does.  It does not question why but responds in its way.  Rivers do not question why they are shaped.  They just continue with powerful current.  I was the reed.  I was the river.  I did not question.

Face towards the ground, I could see the mud forming on my body, molding to my shape then rinsing with the rain.  It repeated.  Mud.  Rain.  Mud.  Rain.  This was the cadence to my crawl.  I arrived at his knees and waited there, a dog eager for a command from its master.  I was content to watch the rain beat ripples around his feet, splashing and shining his shoes with glossy drops.  “I cannot love you”, I thought to myself, “this is forbidden”.  “Being here in this moment, is forbidden.” We would have this moment.  Yes.  We could create this memory and think back on it in fondness and with both heaviness and happiness.  I would remember my young lover, my professional lover.  He would remember the obedient executive on her knees.  I would not regret our moment.  I would some day write it all down in my journal and press the pen deep into the paper.  It had to be etched, those words, my words, this memory.

His hand below my chin, lifted my gaze to his and he smiled, that smile, his smile, the smile that was like nature to my body, and I did not ask why.  I was a river being formed.  “You are so beautiful.  All of you.  Your skin so soft and pale.  Your eyes moving from fear to acceptance.  I see now you want to please me and I want you to know that I want to make you happy.  I want to be your lover.  I want to taste your lips kissed with rain and feel your shivering body pulled against me.  You are safe.  I will not hurt you.  Poppet.  I love you.  I have for awhile now, and I think you know it.  You, my wise, wise Moira.”  He lifted me up and for a moment pulled my body towards him burying his face in my abdomen.  He lingered there.  I felt how soft his red tufts of hair were and how soft his words were against my ears.  I loved him too.  Genuinely.  Profoundly.  I was afraid.

He inhaled deeply, there against my stomach, as if he were breathing in my essence.  I felt his breath turn from warm to cold against me as it mixed with rain.  He stretched his arms and moved my body backwards as he extended until I was a foot away from him.  “I would very much like to undress you, poppet.  I’ve been imagining it, aching for it.  I want to see all of you, naked and on display.”  He touched my abdomen with the tips of his fingers, as if afraid the pale china of my skin would disintegrate into a misty dream.  I relished it, the touch of him against parts of me he had not known.  I was always able to keep him at a distance, physically.  His hands traced the edge of my *******.  He moved slowly, and I knew he was wanting to etch this memory into his journal.  Nothing less than ink pressed hard to paper would release this memory to time.  His placed his hands on my hips and spun me around, my thong lining up with his gaze.  “Bend over.”  His voice from sweet to demanding again.

My hands were still bound, and I stumbled at first.  He seemed not to notice or to care, so I arched my back and pushed myself outward and into his view.  I felt his hands move from my thighs to my hips as gentle as summer winds that in their seductiveness turn our faces towards the impact.  I was in my forties and unsure how I would compare to the twenty-year-old’s he was known to date.  The gossip left nothing to imagination and everything to speculation.  My mind had conjured images of him, this professional lover, inside the firm thighs of a youthful companion.  Thoughts transformed to pleasure as the nature that was his hands took dominance over the thin lace that hid the only piece of me left unseen.  I became art in his hands, marble statue, exquisite with textures and curves wanting to be touched.  

The lace scraped my skin as he slid the *******, wet and splashed with earth, over the expanse of my hips and down to the ground at my ankles.  “Step out of them.”  He helped free my ankles, and I saw the delicate lace become one with the earth as the rain beat it into the mud.  This was freedom.  This was me with nature, me with my lover.  I was the reed and he was the wind.  

I was keenly aware of his eyes fixated on the valley of my mound, how my cheeks spread just enough to give hints of the pinkest of my flesh, now swollen and ripe.  “Turn around.”  I heard his voice and could tell the bombardment of rain was making it difficult to speak.  

I turned and began to ***** my body when I felt his hand on my back.  “No, poppet.  You must stay this way until I say stand.”  My body ached to be touched by him, by more than fingers and hands, but this, the anticipation, the wanting of it all, this was the skill of a professional lover.  I saw the earth drowned with a thick layer of rain now, and my shoes made splatters and ripples as I turned towards him.  I was cold now, too cold, unaware cold, numb in my cold.  I was happy to feel it.  I had for too long hid from rain, this glorious rain.  Now, I was one with the rain.  I was the river coursing its path as commanded by nature.  

He took my hands and untied them.  I watched the entire progression of it and I felt his presence now even more.  My hands were free, and I stared at my shoes and his shoes.  I was so small in his presence.  “Stand for me, poppet.”  His voice diffused through the rain and seemed softer now.  I stood there in my nakedness and he delighted in it.  My lover was not afraid and moved his head along with his eyes.  It was easy to know where upon my body his gaze had landed.  He seemed to linger the most on my face, and I thought how odd it was as most men concentrated on my ******* or mound.  My lover was different.  My lover was professional.

“Poppet, I want you to remove my shirt, but you will not toss it to the ground.  You will place it on the chair.  Nod if you understand me.”  He knew I understood but was confirming I was still in the moment and willing.  I obliged him with a nod and without looking at his face, began to unbutton each dot from its hole until he was shirtless before me.  His chest was firm and hairless and dotted with unobtrusive freckles as random as the rain.  I was delighted.  He was beautiful.  My lover was beautiful.

He placed one hand on my head, the other on my shoulder.  “On your knees for me, poppet.”  My knees once again bent for him, and I knelt in the rain, the thick rain and saw my knees again molded in the mud and earth.  I was unsure now.  Years had passed since I had taken a man inside my mouth.  I felt panic, like the river, run a course through me and I started to turn away.  But I was resolute.  “I will make him happy in all things this day” rang in my ears like a mantra.  I watched as he undid his belt and felt it as he wrapped it around my neck two times and pulled the loose end until it was taut but not constricted against my skin.  I was his.  I was the pet and he was the master.  It was official to me now in this symbol.  I was leashed and about to be tamed.  My lover was going to teach me his skill.  I was delighted.

I watched him free the one button on his pants and move to the patterned teeth of the zipper.  He rested his pants on his hips and pulled free the thing, that thing, the thing I was craving.  The thing I would take inside me, deep inside wherever my master wanted it.  I was the river.  

He was not large, not small, but thick, surprisingly thick, he was swollen and vascular.  I studied the curve of it.  The tip, the head.  I watched his hand grip it and move it towards my lips.  I opened my mouth and took him inside me.  He moved his hands to the sides of my head and began to direct me in the movement he needed from me.  I studied the thrusts and followed.  I moved my tongue, my eager tongue, in unison with the rain and percussion of the drops.  I slid him deep inside me devouring and savoring the taste of him.  The taste of my lover was satisfying, and I wanted to bring him to completion there in that moment.

We stayed in the rhythm, with the rain, both lost to the moment.  He stopped his ****** and lifted my chin.  “Moira.  My poppet.”  He led me to my feet and gave his crooked smile to me.  He gave me his smile in that moment, in that second, his smile was mine.  

“I love you”, I whispered, unsure he heard me.  He lifted me like a child and carried my nakedness to the bed.  He placed me there, like a doll.  He contemplated my skin in the light of the fire.  My lover the wind.  My lover the water.  

He was soon naked and drops of rain lit up on his body like little mirrors and I could see images of the room and myself reflected in them.  He removed the belt from my neck.  “We won’t need this.  In this moment, you know you are mine.  You know I am yours.”  We both wrapped our arms around the other, and I felt his skin on mine.  His body was hard and moved in perfect form with each muscle flinching the way it should, each squeeze and release in harmony with the other.  My pale, soft skin was beautiful contrast to his and was yin and yang.  He felt hard and long inside me, so engorged each vein touched the inside of me in a different fashion.  We each sealed our mouth on the other unable to drink as deeply as we wanted.  We were in our moment, this moment.  Alive in the seconds that passed to hours.  We were ready to etch ink on the pages telling of how I was the reed and he was the wind and on this day, I did not ask why, I only did as was I was told.

I used to think that all of them were just bodies. She-figures, they came and went, facilitating infinite happiness and following with hellacious heartbreak, aorta explosions galore. They pass. I stay. She goes. I remain. We all take a trip, but she falls asleep while I follow the road, I sing the song, make the lyrics up as the 101 heads West, and I careen against the Pacific. I see silvery-white plumes of whale breaths spouting, they break the rocks of my rock and roll. When the levee breaks, we'll have no place to go- I'm going back to Chicago.

California. Line 5. Verse 1. She is born in Arkansas, in Denver, in New York City, in the back of a taxi cab, her parents waiting for a table at Earth Cafe, 1989. There are concerts, balconies, elevator shafts, and on benches. The gain rises, the volume up and up and up, I offer her a cigarette, I ask her if she likes my dress, I show up with two palms full of a flame, and I say hello. Browsing in high-definition, the water is warm, my feet are planted and I have everywhere to go. Classical emporium of light fill me with ease, greatness, and belief. She asks me if I'm gay. Every great confusion can be proven to be fortuitous with enough time on hand. I kiss in cars, in bathrooms, and barrooms, in hallways, on staircases, on beds, church steps, and legs. I touched a leg, ran my fingers through her hair, my thumbs curved to the height of two ears alongside a size B head. I love art *****. i burn candles, and I swirl the wax around until the walls wear masks of white. I check-in to a hotel. I stop to buy wild flowers on the side of the road, or to climb down a ravine, we open a page into an enormous patch of strawberries, wind-surfers, and the golden Palo Alto beaches. I am in Bronzeville, on my way to Bridgeport, I am riding the train, browsing magazines, and singing new songs in my head. My lips are wet with excitement and the musings of the Modern Art Museum and the gift of a first kiss; behind the statue on Balcony 2, near the drinking fountain, the Eames couch, and two lips meeting anew. Bravery in twos.

Chapter 1, Verse 2. The chorus is large and exciting. New plastic shining coats. Smocks patterned with the Random House children's stories that we played with as children. We didn't wear gloves, or hats, or pants, or our hearts on our sleeves. I was up to my knees in hormones and very persuasive. My fifth birthday was at the Nature Center, you chased me into the boys' bathroom and kissed me with your wet and four year old lips in the second stall from the door. I eased up maybe 2% since then. The speakers are a little bit fuzzy, it's like listening to the spit of someone's tongue cascade the roof of their mouth while they pronounce the British consonants of the 90s. Said and done and saving space.

I am saving up for Grace. A crush in the mid 2000s, black hair, long legs, and the only brunette for a decade before or after. We played doctor, with the electric scalpel we turned our noses red with Christmas time South American powders. A safe word for an enemy, the sun for an enemy too. You bolted out and took my early Jimi Hendrix Best Of compact disc case too. While we're at it, you took my Michael Jackson cassettes as well. I go mid-range, think Kiri Te Kanawa in the whispers of E.T.'s Elliot. Stuffed-animal closet party for seven minutes in heaven. Your family came with butlers while mine came with over-educated storage. A blue borage sky in the intestines of life, a splinter in the shanty-town of invincible daily struggles- both of us were born again in O'Hare Airport's Parking Level D. Too many nonsensical arguments in two-tone grayscale ripping open the packaging of a course about trysting in your twenties.

Your stomach's history is overpowering. It is temperamental, mettled by spirits and sleepless nights, borborygmus, wambles, and shades of nervousness you were never comfortable speaking openly about. The history of your ****** was privatized, in options and unedited films shot over and over candidly by a mini DV desk camera, nine months to read you wrong to weep in strong wintry walks back and forth from The Buckingham to the Dwight Lofts, Room 408 without a view. All of your secrets in a little miniature of a notebook, bright cerise red. You captured teardrops in medicinal jars meant for syringes. You tied strings to your fingers, named your field mouse Ginger, and introduced your mother as Lady Darling. Captain with stingray skin, the hide of Ferris Bueller with the coattails of James Bond, dusted with daisy pollen, and clearly weakness. You ate me like bitter herbs on Thursdays, and like every other woman I've ever met, on Tuesdays you always kept me waiting.

I have wings for everything. Yellow wings for a woman in a yellow dress, Red, White, and Green wings for Bernice from Mexico City, Purple wings for  Mrs. Doolittle the doctor who worked at Taco Bell, the Jamaican priestess who was traveling through Venice Italy- we smoked hash with the grandchild of James Joyce on the Northern pier against the aurulent statues of Apollo and Zeus, Cupids' collection of malevolent tricks, SleepingB Beauty's rebuttal in fending off GHB attackers, my two dear friends who were kidnapped in clothes, abandoned in the ****, and only remember eating chocolate donuts with sprinkles and the bruises and dirt on the insides of their thighs. Nothing clever. Nothing extraordinary. Everything sentimental, built to withstand soot, sourness, and early female bravado.

You know how to play the piano so you've said, but i only have the CD you gave me to prove it. I do have evidence of your addiction to men and *******. I have your collection of dresses with tags still on them (but every woman has some of those), there is the post office box in Kauai, the Halloween card from last November and the two videos I have stored on an external drive in a nightstand adjacent to the foot of my bed. You sleep atrociously, talk too quickly, and **** like your father abandoned you when you were five. Your talent for taking photographs is like your skill-set for playing the piano, but I don't have the CD to prove it. You don't believe in social media, social consistency, friendships, or hephalumps and woozels- with the exception of the classes we shared together in college, I've never seen you outside of the most glamorous of fashion. You hate flats, hats, and white wine, and for as sad as you can seem to be at times, I've only had you cry on me once. While we were on the phone, three days after your mother hung herself. That's when I last left California, and I haven't been back yet.

I love a Kristine, but once a Britni, a Brandi, a Joni, a Tina, Kristina, Kirsten, Kristen, and a Katherine and Kathryn too. I know rock stars who are my dearest friends, enemies who I share excellent taste in music with, and parents who've always had my back but show it in lashings of the tongue and of the belt. It's been two years and three states since I was two sizes smaller than I am now. I've never considered the possibility that I was the main character and not the supporting actor, but due to recent developments in antipathy and aesthete, reevaluation, and retrospective nostalgia. All of this is about to change.

I am me still evolving without my usually stolid and grim ****** features. i bare brevity to situations existing that would **** most or in the least paralyze a great many. There is one for every hour of every day, and one for every minute in every hour, second in every minute, and more than the minutes in every day. No one has a second chance, shares a different time, or works off a different clock. I have been called the master of the analog, king of the codependent, and rook to queenside knight. I share a parabola for every encounter, experience, and endeavor. I am three minutes from being a cadaver, one drink away from a drunk, and one thought away from being completely alone. I think upright, i sleep horizontally, and I love infinitely. I am the only finite constant i have ever known. I am the main character, the script, satire, sarcasm, and soundtrack are mine.

"I don’t care if you believe it. That’s the kind of house I live in. And I hope we never leave it.”
There's A Wocket In My Pocket by Dr. Seuss

And that night I was a mechanical doll
and I turned right and left, to all sides
and I fell on my face and broke to bits,
and they tried to put me together with skillful hands
And then I went back to being a correct doll
and all my manners were studied and compliant.
But by then I was a different kind of doll
like a wounded twig hanging by a tendril.
And then I went to dance at a ball,
but they left me in the company of cats and dogs
even though all my steps were measured and patterned.
And I had golden hair and I had blue eyes
and I had a dress the color of the flowers in the garden
and I had a straw hat decorated with a cherry.



Translated from the original Hebrew by Karen Alkalay-Gut.

When I was ten I used to believe some pretty silly things
I believed my sister when she told me
That marshmallows were made out of whale blubber
I believed that all the monsters in the world
Would totally be repelled by my covers
I believed that taking 40 baby aspirin would **** me
And I only found out it wouldn’t after I tried
When I found out that other than a stomach ache
I was left completely fine
I first attempted suicide at the age of 10
And I don’t know if that’s where anyone else has been
But I really ******* hope not
I found out at age 14 that monsters, real monsters
Are the ones who actually slip under your sheets
Plucking out your innocence before you can even realize
That they are monsters that will hold your hand as they **** you
Make you believe that you are okay
But 4 years down the road you still won’t be able to breathe or concentrate
When you hear their name
Or when the anniversary of the day rolls around
You won’t be able to choke out any sound to ask for help
You can no longer let people in
Afraid they will blow you up like a balloon just to pop you with a razor sharp pin
I wish I could go back to believing in the silly things
I wish I could go back to flying in my dreams
Instead of drowning and being ripped at my seams

It was always going to be black and white
that's the typeface on my preference of late
defining day and night with your choice of tights
those fine dividing lines on your partnered limbs
wrapped tall in belts daring as a Lara Croft climb
a silky striped raggedy ann gone neat sensuous
tight strapped to a two striking sinuous princess
committed to lodge sins inside my Loveland challenge
hemmed in round towers together to never-never unhinge

at home we horse around and rub along together
boosted by the interplay between cotton twill gathered
pulled low one side then canter balance riding high
as you level up to a line up of outbound thigh
saddled with a lovely leg stirrup over here
and a lean waist wobble to match up there
eyebrow lifts to starch arrowroot attention
over the swings and sway of every action
so swift I play catch-up each morning
delayed by fumbling for ones gone matching
it's a wonder you don't just wander away
in a daze from my one legged hopping display

then I would travel far as a bee
long-legged as stilts could be
to sing to your nails and feet
and be spun free flaunting
our google
a red white and blue
pair of giggles unfurled like flags
in your slim line dancers' legs
dangling ideas like fair weather socks
to goggle one direction behind your back
unique like nobody else contains within
thin licked then rolled back ciggie skins
so I pinch holes in the bacci parts
sinking into slats like leaky wooden boats
your avoiding tiptoes gadfly and curl in return
my feet undoing knits with swats and swirls
toeing tinkling notes like piano keys
undertones pink tinged with tingling knees
and when a jukebox plays
my coins are there always
for I've got your pop socks in motion
your vox populi's united under my skin
with impressive pulled tight bands
embedding imprint elastic rings
inky red slinking down
leaving parallel links


ignore my pins and needles
alone in dead of night
longing for your leggings
luminous stripe tights
today it's all me put on the spot
today it's music you might hate
biographies of people you don't like
subtitled movies too deep to bother
blue jeans dull dyed against your garter belt
a one man team can't DIY a drill majorette
spiralling shafts that come to a threaded point
enthralling with alternating knee bend bit pants
so pretty poly soft I'm pulled up like a fool
fully mixed up by your weaving cotton wool
wave me down in your way of sweet patter feet
a patterned cakewalk for you to catwalk sock it
to me in a stand in posey kind of way
this way to stand outs knitted to fancy
uncross your legs and cross-stitch
my path with gaited kisses
closely

Moths float out from behind
an opened, warped door.
I push my face into your clothes,
hung heavy like pearls
in an antique shop.
Stale and familiar,
the scent follows me
like a lost little bee.
It buzzes even after I leave.

Hopscotch down the hallway
to find dead crickets
in the bathtub.
Scuffed wallpaper camouflages
a cobweb. Metallic vines
curve around bursts of petals.
I’m certain you chose this pattern,
but I don't know.

Memories are few.
I fill in the holes with honey
and arrowheads.
Indian feathers and
an old brooch.
Piles of pie.
Did you love to bake pie?

Games of bridge
on that old, scratched table top
with a musty deck of Bicycle cards.
Each deck a photo album
of your face.

Your raisined face.
I remember holding it in my hands.
“This aint a walk for old womans.”
And out the door I go.
Empty handed and independent.

The best places are hidden
like stones in central park
secret roof top not
accessible except
for the morning staff
overnight, the sheer weight
of moonlight
paralleling through a Brooklyn
window pours on
to a frozen floor of
patterned tiles
where touches are like
turning on a lamp
dimly at first. Flickers
a bit then
bright as Chicago (1871)

I broke your grandmother’s vase.
The blue one, patterned with lilacs,
liberated from a secondhand store
in Czechoslovakia in 1939.

Like your grandmother,
it came with stories:
she talked a German officer
into buying it for her
in exchange for a date
she never showed up for,
the year her brother
put her on a train with a trunk
full of dresses and a little sister,
a hundred korunas sewn
into her underwear, where she knew
no one would find them.

I broke your grandmother’s vase.
I knocked it off the shelf,
dove to catch it, missed,
and watched it shatter into
thirty-nine pieces, patterned with lilacs.
Thirty-nine, because I counted
every piece as I hid them
in a drawer in the shed behind
the house, beside the hammer
and wrench, where I knew
you would not find them.

My aged mum excitedly points outside
White flowers burst open bright overnight
She says they look like popcorn
I love her metaphor and play along
Flowers white like popcorn bright
Tickled by the heat of the micro light

Mum speaks of small things in her big age
Sun, rain, wind, hot, cold, quite days
The unrelenting pain in her legs
and memories of things she could once do with ease

She speaks of the coming and going of mischievous monkeys
real monkeys - not metaphors
She tells of how they brazenly steal her fruit
when she is alone at home - teasing her
as they walk backwards out the glass door
slinging their stolen bananas like a colt 44

My mum sits across from me
the sun gently brushes her short silver grey strands of hair
Today she wears a pretty pink dress - patterned bright
with pretty pink and blue flowers - reflection
of the pretty flowers outside
She sits in serenity - she is at peace - inside

My niece pops corn in the microwave
My sisters biryani fills the hungry air
My brother in law awaits his birthday party
I am at home

The pretty white flowers
silently blossom in the yard
I sit across from my metaphor mum
My poet, my muse, my loving bard

Stanley Arumugam
Richards Bay

Your eyes were like a sunflower
Comparable in beauty
With colors patterned
In the shape and design

Your eyes were like a sunflower
They drew me in
And swallowed me
Down into your heart where I'll be fine, I'll be fine

And my eyes were like a sunflower
Just like yours
But different in color
Contracting and eating your existence

This moment I cherish
Because your eyes hold so many secrets and
In that second of gaze connected by a line
I could see them all clearly without rose tint

I've taken off my pink hued glasses and
I see the world through clear thin glass
See it for what it is
Through your sunflower eyes

Fingerprints litter the glass
Making it difficult to see through to it's beauty
Tainted by past hands
Even without the rose applied

Will we ever see the world for what it is?
Maybe
If we look through sunflower eyes

Lord:

no bequest requested.
no grant, no teach,
no need or greed asked
just a hey listen up,
if your attention is elsewhere

this is an
all-on-my-own
prayer that
my eyes only utter,
my tongue,
self-silenced,
can only watch
and must approve

in fact,
this is more
of a post
than a prayer,
updating you
on the state
of what we Earth temporaries
call the heart, mind, soul
and even our,
your-designed
crafted carrier,
my body

Mine enemies call me
cursed, embittered,
they are right - but fools,
they are
so much more than wrong,
for in this they err grievous,
for they cannot see their own
bile provisioning their end

ask for no interference
from the sidelines
neither from the
sapphire mother sky
that raised me up gloriously
this morning

nor the emerald earth
that this day
both gives and gets
common bounty
gives me sustenance,
as much spiritual
as grained cereal delights

lest you think this
just one more
me-centric rants,
let us recall this prayer,
is his very own,
prayer of gratitude

woman's head
rests on my chest,
her blonde highlights,
highlight our bed
and our
life

take and tuck her tresses
from eyes and forehead,
gentle them into place,
behind her ear,
and my hand journeys on
to the skin,
flesh of her backbone,
where my fingers
spread wide,
five messengers unique,
advising all of the 120 provinces of her
heart, mind, soul and body,
she is my beloved,
and I pray,
I am hers

learning still to
live with my means,
such as they are,
sometime mean,
sometimes extraordinaire

even this skill,
to express

is a gratitude
that though
comes and goes
like summer breezes
that as now we pray,
cools my AM coffee
while studying the
patterned mystery
of the bay's
Ave Maria waves
from that
dock-by-his-name

where my heart, mind, soul
drink wet inspiration
from the still-oak-tree'd-strong-surfaced waters,
the blue glue of
our common delighted,
uncommon existence

this skill,
at this moment mine,
to share and
not to keep,
for have I not,
been blessed,
by comrades-in-arms
that kneel beside me,
asking, imploring
to be stronger yet,
for their sakes,
for them!
I pray for
best they-can-muster
sustenance of peace
of heart, mind, soul
and body

here now,
my shills,
my failing skills
cannot help express
in new ways,
a gratitude
that has a shapeless shape,
no measurement app enabled
for their comfort,
our comfort,
best grasped as
an unbounded divinity,
how so I wish I could pray for them better

focus this prayer
on the good ones,
who so greatly honor us
with a greater-than-a-creator,
gift glorious of
friendship

this walnut crack'd shell,
this container ship of
heart, mind, soul,
here there,
a few leaks sprung,
no nicotine patches
to cover

this dented car,
this dented body,
new dent every day
from only-you-know-where
still gets me there,

but
other than taking care better,
it plods along and houses
the rearrangement of this prayer's words,
and that is what is called
plenty good enough,
self-sufficient

prayers that are too long
go to the back of line,
so here we be,
but here we do not wait!

for prayers of gratitude
are instantaneous fulfilled,
and thus granted even before
they are completed

Matilda.
The light of my life.
The poem of my tongue.
The fire of my chest.
The wind of my *****.
The hate I loathe.
The beauty I view.
My lady.
My dream.
My hesitant rainbow.
My fearless tears.
My coverlet and starlet;
my blanket and dainty amulet.
My distant promise and cautiousness;
but in all my darling; looking ever so stately-
yet not like yon faraway, morning dew.

Matilda.
The hands I adore;
the fingers I want to kiss.
The solitude I live in;
the fate I was born in.
A pair of eyes ever to me too divine,
A charm that loyally strikes, and glows and shines.
A lock of hair that petulantly sways and sweats.
A midday tale of love; as how it is mine,
a beauty that this world ensures,
but cannot adore.

Matilda.
Even the brisk turquoise sea
is ever less glossy than thy eyes,
for their calmness is still less harmful,
unlike unbending, thus insolent tides, at noon.
Ah, Matilda, thou art yet too graceful,
but tricky and indolent, as the puzzling moon!
Thy purity is like unseen smoke,
tearing the skies' linings like a fast rocket,
making me ever thirsty, turning my heart wet,
but still this attentive heart thou canst not provoke;
thou art a region too far from mine;
but still luck is in heart whose fate's in thine.
And as thou singeth a tone I liketh to sing
I cannot help but more admiring thee;
And as thou singeth it genuinely more,
thou capture all my breath and give it all a thrill;
for I realise then, that thou canst be stiff, as sandless shores;
but thy beauty canst so finely startle,
and whose startledness
canst ****.

Matilda.
But deadness, and ever desolation
are vividly clamouring in thy eyes;
Thou art but distinct, distinct indeed-from serenity;
for thou warble thyself, but gladly-away, from thy sullen reality.
Ah, Matilda, how canst a soul so comely
be hateful to fame, and dishonest just from its frame?
Matilda, to those merciless hearts indeed thou beareth no name;
Thou art a shame to their pride, and a stain to their bitterly fevered, sanity.
Yet still, thou art to innocent to understand which,
and in love naively, as thou just art, now-
with that feeble shadow of a pampered young fellow,
Whose stories are also mine,
for his father's money is donned,
and coined every day-by my servant's frail hands;
The sweat of my palms obey me in doing so-
I am my master's son's poor sailor,
and he his sole heir-and soon is to inherit
an indecent boat; full of roaming paths, doors, and locks
And at nights, costly drapery and jewels shall be planted in their hair-
yes, those beastly riches' necks, and skin fair,
And thou be their eternal seamstress,
weaving all those bare threads with thy hands-
ah, thy robust ****** hands,
whilst thy heart so dutifully levitating
about his false painting, and bent even more heartily, onto him.
Ah, 'tis indeed unfair, unfair, unfair-and so unfair!
For such a liar he was, and still is-
Once he was betrothed to a bitter, and uncivil Magdalene;
Uncivil so is she, prattling and bickering and prattling and bickering-
To our low-creature ears, as she once remarked,
She who basked in her own vague hilarity, and sedate glory
And so went on harshly unmolested by her vanity, and fallibility;
But sadly indeed, occupied with a great-not intellect,
As not sensible a person as she was;
At least until the winds knocked her haughty voices out-
and so then hovering stormy gales beneath,
took her out and gaily flung her deep into the raging sea.

Still he wiggled not, and seems still-in a seance every night,
whenst he but cries childishly and calls out to her name in fright.
Her but all dead, dead name;
'Till his father tears him swiftly out of his solitude
And with altogether the same worried face
but drags his disconcerted son back into his flamboyant chamber.
Ah, and I caught thee again, Matilda,
Bowed over the picture of yon young sailor;
'Twixt those sweet-patterned handkerchiefs
On thy lil' wooden table, yesterday
And curved over yon picture, I was certain;
I caught some fatigued tears in thy eyes-
for from thy love thou wert desperate,
but still unsure even, of the frayed tyings of cruel fate.
Ah, Matilda, your hair is still as black as the night
The guilty night, though nothing it may knoweth, of thy love,
and perhaps just as unknowing it seemingly is;
as th' tangled moon, and its dubious arrows
of unseen lilies, above
Shall singeth in uncertainty; and cordless dignity
And which song shall forever be left unreasoned
Until the end of our days arrive, and bereft us all
of this charismatic world-and all its dearest surge of false,
and oftentimes unholy, fakeness.
Oh Matilda, but such truest clarity was in thy eyes,
And frightened was I-upon seeing t'is;
As though never shrouded in barren lies
Like a love that this heart defines;
but never clear, as never is to be gained.
Ah, Matilda, and such frank clarity dismays me;
It threatens and stiffens and chortles me,
for I am certain I shan't be with thee-
and shall ever be without thee,
for thou detest and loathe me,
and be of no willingness at all-
to befriend, to hold, or to hear-
much less reward me with thy love,
as how I shall reward thee with mine.

Matilda, this love is too strong-but so is, too poor
And neither is my heart plainly bruised;
For it is untouched still, but feeling like it has been flawed
Ah, why does this love have to be raw-and far indeed, too raw!
I, who is thy resilient friend, and fellow-sadly never am in thy flavour;
for in his soul only-thy love is rooted;
And this love is forever never winning-and it is sour,
Like a torn, mute flower; or like a better not, laughter.
And my heart is once more filled with dead leaves-
Ah, dead, dead leaves of undelight, and unjoy;
Whose cries kick and bend and strangle themselves-
all to no avail, and cause only all its devouring to fail,
For his doorless claws are to strong,
Stealing thy eyes from me for all day,
and duly all night long.
How discourteous! Virtual, but too far, still-
corrupting me; ah, unjust, unjust, and discourteous!
Tormentingly-ah, but tormentingly, torturously, insincere!
Ah, Matilda! But soon as thou prayeth,
every single grace and loveliness thou shall delicately saith;
Thy voice is as delightful as nailed, or perhaps, cunningly deluded vice-
Which I hath always feigned to be refuting tomorrow,
but is only to bring me cleverer and cleverer sorrow
'Till hath I no power to defy its testy soul,
that for no reason is too shiny and bold,
but so dull, and bland as a hard-hearted summer glacier,
and too unyielding as hurtful, talloned wines.
Oh, but no appetite I hath, for any war
against him-for he is fair, and I am not,
He is worthier of thee, than my every word;
He who to thee is like a graceful poem,
he who is the only one to smirk at
and hush away thy daylight doom.
Matilda! For evermore thy heart is mine;
and mine only-though I canst love thee
only secretly, and admire thee from afar,
Still cannot I stand bashful, and motionless-too far,
For I wish to hath been born, for thy every sake
Though it shall put my sinless tongue at stake
And even my love is even gentler then blue snowflakes;
and more cordial than yon rapturous green lake.
Ah! Look! Upon the moors the grass is swirling,
so please go back now; and be greedy in thy running.
Still when no music is playing,
all is but too painful for thee,
which I liketh to neither witness, nor see,
for upon thee the moon of love might not be singing,
as it is upon all others a song,
But somehow to nature it not be wrong,
for he cannot still be thy charm, nor darling.
O-but I hate thinking of which affectionately,
when thou crieth and which sight, to my heart, is paining.
Ah, Matilda! For even to God thy love is but too pure;
for it is faultless as morns, and poisonless-
like those ever unborn thorns;
Of yon belated autumn melody,
But is, somehow, fraught and dejected
With sorrow, for it is him, that yesterday and now
Thou loveth softly and securely,
Two hours later and perhaps, in every minute of tomorrow.

Matilda! But still tell me, how can thou securely love a danger?
For I am sure he is but a danger to thee, indeed;
Once I witnessed how his face
grotesquely thrusted into furtive anger
As he burst into a dearth of strong holds,
of his burning temper-under the blooming red birch tree;
And as every eye canst see,
He is only soft, and perhaps meek-as a butterfly,
Whenever the world he eats and sleeps and feeds on in-
Tellest him not the least bit of a lie;
Ah, Matilda, canst I imagine thee being his not,
ah, for I shall be drowned in deflating worry, indeed-I shall be, I shall be!
I dread saying t'is to thee-but he, the heir of a ruthless kingdom,
and kingdom of our God not-within their lands and reigns of scrutiny,
His words are but a tragedy, and a pain thou ought not to bear;
O, Matilda, thou art but too holy and far too fair!
Thy soul is, so that thou knoweth, my very own violin-
To which I am keenly addicted;
I am besotted with thy red cheeks-;
As whose tunes-my violin's, are thy notes
as haunting and sunnily beautiful,
And cloudless like thy naivety,
Which stuns my whole nature,
and even the one of our very own Lord Almighty.
Ah, Matilda, even the heavens might just turn out
far too menial for thee;
and their decorum and sweet tantrums idle and unworthy;
Thou art far, far above those ladies in dense gowns,
With such terseness they shall storm away and leave him down.
But why-why still, he refuses to look at thee!
Ah, unthinking and unfeeling,
foolish and coquettish,
unwitted and full of deceit-is himself,
for loving should I be-if thy smile were what I wished,
and thy blisses and kisses were what I dreamed;
I wouldst be but warmer than him,
I wouldst be but indeed so sweet,
I wouldst be loftier than he may seem;
and but madden thee every sole day, with my gracious-
though sometimes ferocious-ah, by thy love, ever tender wit.

I hath so long crept on a broken wing,
And thro' endless cells of madness, haunts, and fear,
Just like thou hath-and as relentlessly, and lyrically, as we both hath.
But not until the shining daffodils die, and the silvery
rivers turn into gold-shall I twist my love,
and mold it into roughness-
undying, but enslaved roughness;
that thou dread, and neither I adore;
For for thee I shall remain,
and again and again stay to find
what meaningful love is-
Whilst I fight against the tremor
and menace this living love canst bring about-
To threaten my mask, and crush my deep ardor.
Ah, my mask that hath loved thee too long,
With a love so weak but at times so strong;
and witnessed thee I hath, hurt and pained
and faded and thawed by his nobility
But one of worldliness; and not godliness
For heavens yonder shall be ours, and forever
Shall bestow us our triumphs, though only far-in the hereafter;
Still I honour thee, for holding on with sincerity-
and loyalty, to such contempt too strong
For thou art as starry as forgiveness itself,
and thus is far from yon contempt-and its overbearing soul;
And perhaps friendly, too unkind not-
like its trepid blare of constant rejection, and mockery
And as I do, shall I always want thee to be with me;
For thou art the mere residue, and cordial waning age of the life that I hath left;
For thou art the only light I hath, and the innate mercy I shall ever desire to seek;
and perhaps have sought shall, within the blessed soul of my 'ture wife.
Oh, Matilda, thou art the dream t'at I, still, ought not to dream,
thou art the sweetness I ought' only charm, and keep;
As thou art the song, that I may not be right'd to sing;
but the lullaby; which in whose absence, I canst shall never sleep.

Hi, below I copy a humorous hiabun, which I shared as an exercise to mentor enquiring and inspired poets to learn, so they might adopt and try different techniques and then give critique together with awesome comments... Yes, I used the words ***, ****** and **** for context the rest was left to an individual imagination as in good poetry!

It included reflective commentary encompasses innocent classification terminology used in the critique, reading, examining, appreciating, understanding and writing of poetry for example: POETIC DEVICES (enjambement, duality, keriji, images, collocation, semantic, oxymoron, repetition, listing etc.), STORY (personification, characterisation, subject, context, voice etc.), IMAGERY (synaesthesia), STRUCTURE ( lineation, breaks, syntactic etc.), SOUNDS (syllables, rhyme, alliteration, pace, musicality, phrasing, beat, assonance, onomatopoeia, mouthed rhythms, patterned) and WORDS (preposition, determiner, verbs, adverbs, lexical, nouns, adjectives) used by poets, critics and academics...

And here it is :

****** tongue-in-cheek haibun - a reflective commentary on writing a popular tanka

Eye lashes flicker
a shared urgent interest
parting - dancing smile


My first inspiration was ***, passionate life squeezing screaming ***, the thumping wall musicality of ***, exhaustingly inventive sweaty and wet.

I wanted to make it a senryu but for duality the female characterisation demanded two more lines each extending to seven syllables.  

Arousing images captured her moaning splashing loneliness in unusual collocation.

I was first excited by the placement of a hovering extended enjambement to give life to my final line, whilst also considering the satisfaction in using noisy mouthed rhythms.  

I believe I easily hid the wet aroused context with a watery semantic field, that suggested she would choke and drown.

So in my last line I had ‘pleasures’ as a cutting keriji to make clear the dominating ****** context, having previously used a preposition and determiner to maintain duality!


Exhausted shivers
in windowed naked currents
unfolding sinking
then surfing vital wavelets
drowning screams - pleasures wet bite

A series
of short puffs
from a rekindled
cigarette expertly put out
on the half
reminds you of your
fastidiousness
now you feel like **** as you look
at the wreckage site
of a desk that
is your own doing
       That is what you do.

While your ego
floats like the unmelted
coffee you put in cold water
Hardly dissolvable
to anything normal
missing anything temporal
You lash out once more
waging a war
with a nation
of thoughts
You kick the furniture
to send the dust flying
       That is what you do.

You attempt to sheathe
an intricate wound
patterned on your
knuckle, as detailed as the
dystopia of your
own human agenda that
can be trivialized by just
"I haven't been myself lately"
when somebody asks
because you're afraid
they might see
you find it
                hard
          to
  belong
Slowly, the dust resorts to settle
on the bedroom floor
       And so do you.

Brown sugar sapotas
Blending with custard alfonso mangos
And bold sweet lime juice

Georgette saris
Pairing with uncut diamond necklaces
Mixed with peals and rubies

Gently sloping palm trees
Swaying in balmy sultry air
And hazy golden sunsets

Frenetic yellow autos
Competing with dusty zipping mopeds
Mixed with ambulating pedestrians

Aromas of cumin
Blending with the sewage
Other times with incense

Glows of brass oil lamps
Singing in hums of prayer
Added with turmeric's incantations

Brightly-patterned salwars
Accentuating gemstone bindis
Comfy fitted leggings

Savory masala dosas
Coupling coconut chutney
Meter-high filter coffee

although you've gotten taller,
your eyes have remained
the same shade of trusting brown
and deep down
you are still the little girl
who stayed up late
whispering secrets to her best friend
beneath flower patterned sheets

and you're still afraid of spiders
and you still cannot sit still
and as you grew up
you noticed that the world
is a lot smaller than it used to seem

and i think when you looked
into the wonder-filled eyes
of this little girl
you saw a reflection of yourself
and it reminded you that
although you’ve gotten taller,
your eyes have retained
that same glimmer of hope

i've reverted back to the days when
i held a permanent position
in between the arms of an
ugly, paisley patterned easy chair.

i played a game of hide and seek--
hiding from feelings, sought only by others
to prove that i had some semblance of humanity
lurking behind my blank eyes.

those days were dark, angry
as they ate me up, gathering every drop
of my existence like a sponge

fast forward: i'm far away and
mom says the chair is gone.
what should have felt like anguish
feels like nothing.

all the feelings are in the chair
like coins hidden in the couch cushions,
gone before we recognized their existence.

i've reverted back to the days when
i held a permanent position
in between the arms of an
ugly, paisley patterned easy chair,

but now the chair is gone
and i am left to soak up the feelings.

Lost to backdrops scrolling past,
She sits knitting
in the carriage of a train.
The vague needles
They scintillate and glimpse
With the cadence of the wheels –
Upbeating ceaselessly.

Strips of tiny loops
And eyelets like dewdrops
Of condensation
Grouped on the superior rim.

Once in a while,
She gives a heave
To loosen more yarn from the skein
Of Filipino-made wool,
brushed worsted weave.
Spun and carded
from the richest fleece,
Deeper in the wicker basket by her feet.

The needles flash,
With ancient rhythms and attack
Of duellists in their chainmail coats.
With little hesitation she can tack
From plain to purl to blackberry.
Count back by rote or slip a stitch
While the fish-eyed gimlets gleam.

All gather profusely in her lap,
As windfall trove, rich-patterned
And warm with peach-fuzz nap,
All crafted from a single line of yarn.
Marvels fall continuously from wise
Spell-binding hands and all is well for now.

(9/11/13 @xirlleelang)

Do butterflies realize their beauty,
The wonderful way in which they fly,
Or do they compare themselves to every insect
Wondering if they should hide their colorful wings with dye.

Do they admire their wing’s softness
Their calming patterns, soft and light
Or do they think there’s something wrong with them
If there's something faulty with their size

Do they hate carrying the weight
of those stunning patterned wings
Do they ask themselves why they don't look the same
Or do they realize it is because they're queens.

Do they recognize they have nothing to be jealous of.
That they’re special and unique
Those wings are part of who they are
And without them, they would just be weak.

Do butterflies realize their wings’ beauty
And know they need them to reach the sky
Because without them they would be incomplete
And would remain “butter” without “fly”.

Like a patterned rug
Beaten to be rid of dust and
Flopped over a balcony railing, a leopard
Hangs her hefty hands beneath a bough.
Head lolling lazily, she awakens.

Fingers like silent meteorites dig
Craters in the loose, dry earth.
From the grasses emerge many warm black eyes, unseen
And vicious: floral pockmarks on
Her carpeted exterior: cruel camouflage.

Deftly lugging her **** back
Into the branches to feed on its flesh:
Patterned rug stained.

Ears ***** and whiskers twitch
As boughs creak and twigtips reach
For the ground: the impala’s weight
Has weakened her arboreal home.

She panics not.

She slinks softly back into
The grasses: better to sidle away unscathed
From immediate danger.
Pride and body intact, she will **** again
Elsewhere.

1
 
Here’s a sunny card to cheer up your hospital room.
Kate’s Flowers c. 1936 by Winifred Nicholson
So glad you’ve got your own room
And can therefore do a bit more of what you want to.
Take it easy though!
 
This painting is not what it seems.
Taking the long long look
that Jeanette Winterson recommends
there’s this abundance of orange
and its close friend yellow:
plenty and laughter
joining hands with
wisdom and calm.
Sometimes known as Kate’s Bunch
It’s an oil on plywood,
painted in Paris.
Two vases, daffodils and lilies,
the latter’s petals fallen on
a polished table, mahogany possibly,
and spread about by a gust of wind,
or perhaps a passing child. Kate
her first born, her miracle child
just seven when this painting was made.
 
2
 
There, sitting in front of us
in the stalls in the Town Hall,
was Stockhausen himself,
resplendent in the orange jumper
he always seemed to wear
in the last years of his life.
Because he invariably wore
white shirts and white jeans
an orange jumper, scarf
and jacket seemed sensible
garb for an angel from Sirius,
particularly when working in his garden.
At a concert he’d been known
to sport a purple scarf.
Orange and purple:
two colours that defy rhyme
but clearly not the reason
of this genius from another planet.
  
3
 
This Orange is Ecstatic.
Its theme of six quick notes,
almost never leaves the music.
Composer Michael Torke
slows it down, smooths it out,
it’s so quick and catchy
momentum builds up quickly;
it simply sounds (almost) unstoppable.
It sure is! Such fun,
and so good to listen to
because you never loose the thread.
Ok, the tune cycles round your head
but the instruments change
and there’s lots of extra tunes
playing away like good buddies.
This is music you can’t help smiling to.
It’s Ecstatic and Orange.

4
 
Did you know there’s a Music of Colour?
It is so new that few people,
except those who are creating it,
are aware that it exists.
At all.
 
Colour has seven degrees
of depth intensity.
With Orange it's
Alabaster
Apricot
Fire
Fox
Copper
Tobacco
Black coffee
 
Colour has seven degrees
between the shade of its hue
to its neutralization.
With orange it's
flame
sand
ochre
bistre
fawn
dun
mud
 
Oh Winifred, have you any idea
of the song your colours sing?
How orange and yellow
and blue and white
and almost purple
with a little green
make music become a picture.
 
5
 
I bought some orange tights! X
Oh Gosh! X
I’m not wearing them though . . . X
There’s a time and place for orange tights . . .
wait for (poetic) instructions please . . . X
Curiouser and curiouser . . . X
 
You see I bought this frock
in a charity shop.
Folly green and Pointing white
it was pleasantly patterned,
though a small fourteen,
and knowing he’d like it
I put it on one night
before we went to bed.
And he said:
‘You know it would be just right
with a pair of orange tights.’
And so it is.
Just right.

6

Dearest,
don’t let me touch you
yet, above the knee
where this warm colour
flows towards that centre
of your movements’ grace,
where lower limbs join
to kiss and stroke each inner thigh,
those quiet smooth planes of softest skin
that inviting so the caress of a hand,
daring so the intimate touch of a cheek.
Let orange keep you close to the possibility of passion
to the glow of your beauty’s length and line
where the firmness of your standing self
will shine out and speak of purpose
and of love’s sweet gift.

The word scars has always had a negative connotation behind it. A common name for Mental or Emotional injury is referred to as mental scars or emotional scars. Medically speaking scars or scarring is a step in the natural process your body undergoes to heal. Even though the healing is happening when a scar appears it tends to leave behind what some people see as an unattractive mark or area. Emotional scars and mental scars follow the same rules; a broken heart, the death of a friend or family member. All of these things can give us scars of some form. Having many scars myself I can relate with the desire to cover up or be rid of the unattractive areas on my body or in my life. It can become increasingly frustrating when those scars don't fade over time, or take longer to vanish then we hoped for. However this doesn't have to be a bad thing as quoted by a musical group AA-" How Stubborn are the scars when they won't fade away, or just a gentle reminder that now are better days".

I've had my fair share of "scars" whether emotional, mental, or physical. Each one has a different story, each one is riddled with wouldas, shouldas or I wish; but like the choices I've made to obtain them they are permanent. A Great example of scars as a story is the process of tattooing. Tattooing is the process to scar the skin by injecting ink into the second layer of skin causing it to be stained in the patterned it was scarred. People are in most cases proud of their tattoos, yet try to hide the natural tattoos of life. The body is a blank canvas when you’re born. Through trial and error we have been painted with life experience. Where I’m from scars are worn like the patches on a jacket. “I've been stabbed here or I've been shot there" is a badge of honor. Maimed knuckles were on the hands that lead us to adulthood. We grew up believing that our scars were how we were defined. If my face wasn't torn or my legs weren't spotted from the bruises then I’ll never fit in. Although it’s looking beyond the superficial, I was convinced we still were missing something. We were missing the beauty of those distorted knuckles, the grace in that scraped up knee. We never stopped to realize that we were actually bonding over our flawed skin instead of boasting about, "You should see the other guy".

We shouldn't hide behind the outcome of something that happened but instead smile that we learned from it. It took me a long time to realize just how special each blemish I carry truly was to me. When I look at my shin I don't see I fell and it was painful; I see my wife and I playing soccer and she juked right pass me scoring the winning goal. Something my grandmother always said to me, “You’re only as interesting as the scars you can smile at". For me that sums up things beautifully. Bad things happen to everyday people and even when that scar doesn't fade just remember that now are better days. I can successfully say I’m smiling because now these are truly better days.

Your mother's washed
your red patterned
woollen jumper,
the Christmas one
we call it, as that
was when
you wore it last.

She hung it on
a wooden hanger
in the hall to dry.

Seeing it there,
silent and empty,
opened in me
a deeply wounded,
unuttered cry.

Later when dry,
I took it down
to turn
the right way in
and fold,
then pressed against
my cheek and chest
to hold,
as if
for a moment
you were there again,
your beating heart,
your pulse of life,
your solid being,
but I knew you weren't,
just the coloured wool,
the red patterned jumper,
that just been washed scent.

I thought you immortal;
how sad that is,
that illusion love made,
that you will always be there, lie,
that you will
never never die.

I clutched
the jumper tight;
tried to sense you there,
your pounds of flesh,
your gentle self,
your body
within the wool.

How sad that is,
they'll say,
the old sad fool.

Your mother washed
and dried your
red patterned
woollen jumper
yesterday, today
I placed it on
a plastic hanger
and put away.

this dust-rolled
brown moth
is
patterned
with a band of white
to stand for winter,
when it was just a flimsy bundle
of gristle and sticks

and all the boys in the summertime are sticky and
unclean
like the mouths of dogs -
pink where the sun can't lick

the backs of their necks are baked red brick

girls wear bronzer
piled on thick.

In a distant land, far beyond the time we know now, there lived an ancient people who knew in their bones of a past outside memory. Things happened over and over; as day became night night became day, spring followed winter, summer followed spring, autumn followed summer and then, and then as autumn came, at least the well-known ordered days passed full of preparation for the transhumance, that great movement of flocks and herds from the summer mountains to the winter pastures. But in the great oak woods of this region the leaves seemed reluctant to fall. Even after the first frosts when the trees glimmered with rime as the sun rose. Even when winter’s cousin, the great wind from the west, ravaged the conical roofs of the shepherds’ huts. The leaves did not fall.

For Lucila, searching for leaves as she climbed each day higher and higher through the parched undergrowth under the most ancient oaks, there were only acorns, slews of acorns at her feet. There were no leaves, or rather no leaves that might be gathered as newly fallen. Only the faint husks of leaves of the previous autumn, leaves of provenance already gathered before she left the mountains last year for the winter plains, leaves she had placed into her deep sleeves, into her voluminous apron, into the large pockets of her vlaterz, the ornate felt jacket of the married woman.

Since her childhood she had picked and pocketed these oaken leaves, felt their thin, veined, patterned forms, felt, followed, caressed them between her finger tips. It was as though her pockets were full of the hands of children, seven-fingered hands, stroking her fingers with their pointed tips when her fingers were pocketed.

She would find private places to lay out her gathered leaves. She wanted none to know or touch or speak of these her children of the oak forest. She had waited all summer, as she had done since a child, watching them bud and grow on the branch, and then, with the frosts and winds of autumn, fall, fall, fall to the ground, but best of all fall into her small hands, every leaf there to be caught, fallen into the bowl of her cupped hands. And for every leaf caught, a wish.

Her autumn days became full of wishes. She would lie awake on her straw mattress after Mikas had risen for the night milking, that time when the rustling bells of the goats had no accompaniment from the birds. She would assemble her lists of wishes, wishes ready for leaves not yet fallen into the bowl of her cupped hands. May the toes of my baby be perfectly formed? May his hair fall straight without a single curl? May I know only the pain I can bear when he comes? May the mother of Mikas love this child?

As the fine autumn days moved towards the feast day of St Anolysius, the traditional day of departure of the winter transhumance, there was, this season, an unspoken tension present in the still, dry air. Already preparations were being made for the long journey to the winter plains. There was soon to be a wedding now three days away, of the Phatos boy to the Tamosel girl. The boy was from an adjoining summer pasture and had travelled during the summer months with an itinerant uncle, a pedlar of sorts and beggar of repute. So he had seen something of the world beyond those of the herds and flocks can expect to see. He was rightly-made and fit to marry, although, of course, the girl was to be well-kept secret until the day itself.

Lucila remembered those wedding days, her wedding days, those anxious days of waiting when encased in her finery, in her seemingly impenetrable and voluminous wedding clothes she had remained all but hidden from view. While around her the revelling came and went, the drunkenness, the feasting, the riotous eruptions of noise and movement, the sudden visitations of relatives she did not know, the fierce instructions of women who spoke to her now as a woman no longer a young girl or a dear child, women she knew as silent, shy and respectful who were now loud and lewd, who told her things she could hardly believe, what a man might do, what a man might be, what a woman had to suffer - all these things happening at the same time. And then her soon-to-be husband’s drunk-beyond-reason friends had carried off the basket with her trousseau and dressed themselves riotously in her finest embroidered blouses, her intricate layered skirts, her petticoats, even the nightdress deemed the one to be worn when eventually, after three days revelry, she would be visited by a man, now more goat than man, sodden with drink, insensible to what little she understood as human passion beyond the coupling of goats. Of course Semisar had prepared the bright blood for the bridesbed sheet, the necessary evidence, and as Mikas lay sprawled unconscious at the foot of the marriage bed she had allowed herself to be dishevelled, to feign the aftermath of the act he was supposed to have committed upon her. That would, she knew, come later . . .

It was then, in those terrible days and after, she took comfort from her silent, private stitching into leaves, the darning of acorns, the spinning of skeins of goats’ wool she would walnut-dye and weave around stones and pieces of glass. She would bring together leaves bound into tiny books, volumes containing for her a language of leaves, the signs and symbols of nature she had named, that only she knew. She could not read the words of the priest’s book but was fluent in the script of veins and ribs and patterning that every leaf owned. When autumn came she could hardly move a step for picking up a fallen leaf, reading its story, learning of its history. But this autumn now, at the time of leaf fall, the fall of the leaf did not happen and those leaves of last year at her feet were ready to disintegrate at her touch. She was filled with dread. She knew she could not leave the mountains without a collection of leaves to stitch and weave through the shorter days and long, long winter nights. She had imagined sharing with her infant child this language she had learnt, had stitched into her daily life.

It was Semisar of course, who voiced it first. Semisar, the self-appointed weather ears and horizon eyes of the community, who followed her into the woods, who had forced Lucila against a tree holding one broad arm and her body’s weight like a bar from which Lucila could not escape, and with the other arm and hand rifled the broad pockets of Lucila’s apron. Semisar tossed the delicate chicken bone needles to the ground, unravelled the bobbins of walnut-stained yarn, crumpled the delicately folded and stitched, but yet to be finished, constructions of leaves . . . And spewed forth a torrent of terrible words. Already the men knew that the lack of leaf fall was peculiar only to the woods above and around their village. Over the other side of the mountain Telgatho had said this was not so. Was Lucila a Magnelz? Perhaps a Cutvlael? This baby she carried, a girl of course, was already making evil. Semisar placed her hand over and around the ripe hard form of the unborn child, feeling for its shape, its elbows and knees, the spine. And from there, with a vicelike grip on the wrist, Semisar dragged Lucila up and far into the woods to where the mountain with its caves and rocks touched the last trees, and from there to the cave where she seemed to know Lucila’s treasures lay, her treasures from childhood. Semisar would destroy everything, then the leaves would surely fall.

When Lucila did not return to prepare the evening meal Mikas was to learn all. Should he leave her be? He had been told women had these times of strange behaviour before childbirth. The wedding of the Phatos boy was almost upon them and the young men were already behaving like goats before the rut. The festive candles and tinselled wedding crowns had been fetched from the nearest town two days ride distant, the decoration of the tiny mountain basilica and the accommodation for the priest was in hand. The women were busy with the making of sweets and treats to be thrown at the wedding pair by guests and well-wishers. Later, the same women would prepare the dough for the millstones of bread that would be baked in the stone ovens. The men had already chosen the finest lambs to spit-roast for the feast.

She will return, Semisar had said after waiting by the fold where Mikas flocks, now gathered from the heights, awaited their journey south. All will be well, Mikas, never fear. The infant, a girl, may not last its birth, Semisar warned, but seeing the shocked face of Mikas, explained a still-birth might be providential for all. Know this time will pass, she said, and you can still be blessed with many sons. We are forever in the hands of the spirit, she said, leaving without the customary salutation of farewell.
                                               
However different the lives of man and woman may by tradition and circumstance become, those who share the ways and rites of marriage are inextricably linked by fate’s own hand and purpose. Mikas has come to know his once-bride, the child become woman in his clumsy embrace, the girl of perhaps fifteen summers fulfilling now his mother’s previous role, who speaks little but watches and listens, is unfailingly attentive to his needs and demands, and who now carries his child ( it can only be a boy), carries this boy high in her womb and with a confidence his family has already remarked upon.

After their wedding he had often returned home to Lucila at the time of the sun’s zenith when it is customary for the village women to seek the shade of their huts and sleep. It was an unwritten rite due to a newly-wed husband to feign the sudden need for a forgotten tool or seek to examine a sick animal in the home fold. After several fruitless visits when he found their hut empty he timed his visit earlier to see her black-scarfed figure disappear into the oak woods.  He followed her secretively, and had observed her seated beneath an ancient warrior of a tree, had watched over her intricate making. Furthermore and later he came to know where she hid the results of this often fevered stitching of things from nature’s store and stash, though an supernatural fear forbade him to enter the cleft between rocks into which she would disappear. He began to know how times and turns of the days affected her actions, but had left her be. She would usually return bright-eyed and with a quiet wonder, of what he did not know, but she carried something back within her that gave her a peculiar peace and beauty. It seemed akin to the well-being Mikas knew from handling a fine ewe from his flock . . .

And she would sometimes allow herself to be handled thus. She let him place his hands over her in that joyful ownership and command of a man whose life is wholly bound up with flocks and herds and the well-being of the female species. He would come from the evening watch with the ever-constant count of his flock still on his lips, and by a mixture of accident and stealth touch her wholly-clothed body, sometimes needing his fingers into the thick wool of her stockings, stroking the chestnut silken hairs that he found above her bare wrists, marvelling at her small hands with their perfect nails. He knew from the ribaldry of men that women were trained from childhood to display to men as little as possible of their intimate selves. But alone and apart all day on a remote hillside, alone save for several hundred sheep, brought to Mikas in his solitary state wild and conjured thoughts of feminine spirits, unencumbered by clothes, brighter and more various than any night-time dream. And he had succumbed to the pleasure of such thoughts times beyond reason, finding himself imagining Lucila as he knew she was unlikely ever to allow herself to be. But even in the single winter and summer of their life together there had been moments of surprise and revelation, and accompanied by these precious thoughts he went in search of her in the darkness of a three-quarter moon, into the stillness of the night-time wood.

Ah Lucilla. We might think that after the scourge of Semisar, the physical outrage of her baby’s forced examination, and finally the destruction of her treasures, this child-wife herself with child would be desolate with grief at what had come about. She had not been forced to follow Semisar into the small cave where wrapped in woven blankets her treasures lay between the thinnest sheets of impure and rejected parchment gleaned surreptitiously after shearing, but holding each and every treasure distinct and detached. There was enough light for Semisar to pause in wonder at the intricate constructions, bright with the aura of extreme fragility owned by many of the smaller makings. And not just the leaves of the oak were here, but of the mastic, the walnut, the flaky-barked strawberry and its smoothed barked cousin. There were leaves and sheaves of bark from lowland trees of the winter sojourn, there were dried fruits mysteriously arranged, constructions of acorns threaded with the dark madder-red yarn, even acorns cracked and damaged from their tree fall had been ‘mended’ with thread.

Semisar was to open some of the tiny books of leaved pages where she witnessed a form of writing she did not recognise (she could not read but had seen the priest’s writing and the print of the holy books). This she wondered at, as surely Lucila had only the education of the home? Such symbols must belong to the spirit world. Another sign that Lucila had infringed order and disturbed custom. It would take but a matter of minutes to turn such makings into little more than a layer of dust on the floor.

With her bare hands Semisar ground together these elaborate confections, these lovingly-made conjunctions of needle’s art with nature’s purpose and accidental beauty. She ground them together until they were dust.

When Semisar returned into the pale afternoon light it seemed Lucila had remained as she had been left: motionless, and without expression. If Semisar had known the phenomenon of shock, Lucila was in that condition. But, in the manner of a woman preparing to grieve for the dead she had removed her black scarf and unwound the long dark chestnut plaits that flowed down her back. But there were no tears. only a dumb silence but for the heavy exhalation of breath. It seemed that she looked beyond Semisar into the world of spirits invoking perhaps their aid, their comfort.

What happened had neither invoked sadness nor grief. It was as if it had been ordained in the elusive pattern of things. It felt like the clearing of the summer hut before the final departure for the long journey to the winter world. The hut, Lucila had been taught, was to be left spotless, every item put in its rightful place ready to be taken up again on the return to the summer life, exactly as if it had been undisturbed by absence . Not a crumb would remain before the rugs and coverings were rolled and removed, summer clothes hard washed and tightly mended, to be folded then wrapped between sprigs of aromatic herbs.

Lucila would go now and collect her precious but scattered needles from beneath the ancient oak. She would begin again - only to make and embroider garments for her daughter. It was as though, despite this ‘loss’, she had retained within her physical self the memory of every stitch driven into nature’s fabric.

Suddenly Lucila remembered that saints’ day which had sanctioned a winter’s walk with her mother, a day when her eyes had been drawn to a world of patterns and objects at her feet: the damaged acorn, the fractured leaf, the broken berried branch, the wisp of wool left impaled upon a stub of thorns. She had been five, maybe six summers old. She had already known the comforting action of the needle’s press again the felted cloth, but then, as if impelled by some force quite outside herself, had ‘borrowed’ one of her mother’s needles and begun her odyssey of darning, mending, stitching, enduring her mother’s censure - a waste of good thread, little one - until her skill became obvious and one of delight, but a private delight her mother hid from all and sundry, and then pressed upon her ‘proper’ work with needle and thread. But the damage had been done, the dye cast. She became nature’s needle slave and quartered those personal but often invisible

Ritualized out of the skies
in all places and all faces.

Rightly so,
a brightened show of patterned glow.

Enlightened thought is included
in the time we spend alive.
But after life we thrive.

Rightly so,
a brightened show of patterned glow.

I'm going to keep singing
until the last day
I'm alive.
Until I die, I'm going
to spit this jive.

Rightly so,
a brightened show of patterned glow.

To live a righteous life
is my internal drive
to set external vibes.

To reach eternal life.

some times I believe,
not think,
but believe,
that there are indeed little figures in the grass,
brushing my ankles with tickles and laughs

sometimes in mid of velvet black,
can see them waving their six fingered hands
in front of the lights across the bay,
for the twinkles are different, their winkles,
semaphoric, euphoric, random but patterned

every know and every then,
could they be inside me,
inciting riots, sugar sharp pains,
in places where pain has no place purposed,
feel them lifting my-back-of-the-neck hairs,
at scary movies, making an ear itchy, why?

these elusives
are fairie godmothers,
personal angels,
hobgoblins,
shoulder sitters,
amusing muses
ear whisperers,
of new poem titles

sock stealers,
shoelace knoters,
giggling self-amusers,
ever present, ever invisible,
hat hiders, wet spot slider installers

you say you know them too?

cousins perhaps, for my elusives,
could not be here and there,
for they are:

as I write,
as I speak,
this very second
fluttering my eyelids,
those rascals,
to lay me down to sleep,
in cherishing tenderness me to keep
for they know too well,
sleep,
is an elusive of a different kind,
like peace of mind,
but they do their best,
to distract me unto rest

You crossover the cutting board
Quick witted leather fitted
Eyes blasting beautiful rainbows
Muscle rippling with truth
Capes and cowls
Heroes and villains
Smiles and scowls
A league of Avengers
A modern mythology
Patterned after past pantheons
DC to Marvel
The same side of two twisted coins
The same lie that I love to enjoy
Fiction intertwined with philosophy
Violence intertwined with morality
Leaving me with these power fantasies
Of superhero friends and families
You’re on my tv, movie screen
In my comic books, novels,
And even in my dreams

First they came for the Muslims
by Michael R. Burch

after Martin Niemoller

First they came for the Muslims
and I did not speak out
because I was not a Muslim.

Then they came for the homosexuals
and I did not speak out
because I was not a homosexual.

Then they came for the feminists
and I did not speak out
because I was not a feminist.

Now when will they come for me
because I was too busy and too apathetic
to defend my sisters and brothers?

"First they came for the Muslims" was published in Amnesty International’s "Words That Burn" anthology and is now being used as training material for budding human rights activists. My poem was inspired by and patterned after Martin Niemoller’s famous Holocaust poem. Niemoller, a German pastor, supported Adolph ****** in the early going, but ended up in a **** concentration camp and nearly lost his life. So his was a true poem based on his actual life experience. Keywords/Tags: Holocaust, genocide, apartheid, racism, intolerance, Jew, Jews, Muslim, Muslims, homosexuals, feminists, apathy, sisters, brothers, Islam, Islamic, God, religion, intolerance, race, racism, racist, discrimination, feminist, feminists, feminism, sexuality, gay, homosexual, homosexuals, LGBT, mrbmuslim, mrbpal, mrbnakba



Epitaph for a Palestinian Child
by Michael R. Burch

I lived as best I could, and then I died.
Be careful where you step: the grave is wide.



I Pray Tonight
by Michael R. Burch

for the mothers and children of Gaza

I pray tonight
the starry light
might
surround you.

I pray
each day
that, come what may,
no dark thing confound you.

I pray ere tomorrow
an end to your sorrow.
May angels’ white chorales
sing, and astound you.



Such Tenderness
by Michael R. Burch

for the mothers of Gaza

There was, in your touch, such tenderness―as
only the dove on her mildest day has,
when she shelters downed fledglings beneath a warm wing
and coos to them softly, unable to sing.

What songs long forgotten occur to you now―
a babe at each breast? What terrible vow
ripped from your throat like the thunder that day
can never hold severing lightnings at bay?

Time taught you tenderness―time, oh, and love.
But love in the end is seldom enough ...
and time?―insufficient to life’s brief task.
I can only admire, unable to ask―

what is the source, whence comes the desire
of a woman to love as no God may require?



I, too, have a Dream ...
written by Michael R. Burch for the children of Gaza

I, too, have a dream ...
that one day Jews and Christians
will see me as I am:
a small child, lonely and afraid,
staring down the barrels of their big bazookas,
knowing I did nothing
to deserve their enmity.



My Nightmare ...
written by Michael R. Burch for the children of Gaza

I had a dream of Jesus!
Mama, his eyes were so kind!
But behind him I saw a billion Christians
hissing "You're nothing!," so blind.



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

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

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

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

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



Frail Envelope of Flesh
by Michael R. Burch

for the mothers and children of Gaza

Frail envelope of flesh,
lying cold on the surgeon’s table
with anguished eyes
like your mother’s eyes
and a heartbeat weak, unstable ...

Frail crucible of dust,
brief flower come to this―
your tiny hand
in your mother’s hand
for a last bewildered kiss ...

Brief mayfly of a child,
to live two artless years!
Now your mother’s lips
seal up your lips
from the Deluge of her tears ...

Published by The Lyric, Promosaik (Germany), Setu (India) and Poetry Life & Times; translated into Arabic by Nizar Sartawi and into Italian by Mario Rigli

Note: The phrase "frail envelope of flesh" was one of my first encounters with the power of poetry, although I read it in a superhero comic book as a young boy (I forget which one). More than thirty years later, the line kept popping into my head, so I wrote this poem. I have dedicated it to the mothers and children of Gaza, who know all too well how fragile life and human happiness can be. What can I say, but that I hope, dream, wish and pray that one day ruthless men will no longer have power over the lives and happiness of innocents? Women, children and babies are not “terrorists” so why are they being punished collectively for the “crime” of having been born “wrong”? How can the government of Israel practice systematic racism and apartheid, and how can the government of the United States fund and support such a barbaric system?



who, US?
by Michael R. Burch

jesus was born
a palestinian child
where there’s no Room
for the meek and the mild

... and in bethlehem still
to this day, lambs are born
to cries of “no Room!”
and Puritanical scorn ...

under Herod, Trump, Bibi
their fates are the same―
the slouching Beast mauls them
and WE have no shame:

“who’s to blame?”

(In the poem "US" means both the United States and "us" the people of the world, wherever we live. The name "jesus" is uncapitalized while "Room" is capitalized because it seems evangelical Christians are more concerned about land and not sharing it with the less fortunate, than the teachings of Jesus Christ. Also, Jesus and his parents were refugees for whom there was "no Room" to be found. What would Jesus think of Christian scorn for the less fortunate, one wonders? What would he think of people adopting his name for their religion, then voting for someone like Trump, as four out of five evangelical Christians did, according to exit polls?)



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

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

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

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

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

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

Originally published by Café Dissensus



Starting from Scratch with Ol’ Scratch
by Michael R. Burch

for the Religious Right

Love, with a small, fatalistic sigh
went to the ovens. Please don’t bother to cry.
You could have saved her, but you were all *******
complaining about the Jews to Reichmeister Grupp.

Scratch that. You were born after World War II.
You had something more important to do:
while the children of the Nakba were perishing in Gaza
with the complicity of your government, you had a noble cause (a
religious tract against homosexual marriage
and various things gods and evangelists disparage.)

Jesus will grok you? Ah, yes, I’m quite sure
that your intentions were good and ineluctably pure.
After all, what the hell does he care about Palestinians?
Certainly, Christians were right about serfs, slaves and Indians.
Scratch that. You’re one of the Devil’s minions.



Brother Iran
by Michael R. Burch

for the poets of Iran

Brother Iran, I feel your pain.
I feel it as when the Turk fled Spain.
As the Jew fled, too, that constricting span,
I feel your pain, Brother Iran.

Brother Iran, I know you are noble!
I too fear Hiroshima and Chernobyl.
But though my heart shudders, I have a plan,
and I know you are noble, Brother Iran.

Brother Iran, I salute your Poets!
your Mathematicians!, all your great Wits!
O, come join the earth's great Caravan.
We'll include your Poets, Brother Iran.

Brother Iran, I love your Verse!
Come take my hand now, let's rehearse
the Rubaiyat of Omar Khayyam.
For I love your Verse, Brother Iran.

Brother Iran, civilization's Flower!
How high flew your spires in man's early hours!
Let us build them yet higher, for that's my plan,
civilization's first flower, Brother Iran.



These are my translations of Holocaust poems by Ber Horvitz (also known as Ber Horowitz); his bio follows the poems. Poems about the Holocaust and Nakba often bear striking resemblances, especially when written from the perspective of a child.



Der Himmel
"The Heavens"
by Ber Horvitz
loose translation/interpretation by Michael R. Burch

These skies
are leaden, heavy, gray ...
I long for a pair
of deep blue eyes.

The birds have fled
far overseas;
"Tomorrow I’ll migrate too,"
I said ...

These gloomy autumn days
it rains and rains.
Woe to the bird
Who remains ...



Doctorn
"Doctors"
by Ber Horvitz
loose translation/interpretation by Michael R. Burch

Early this morning I bandaged
the lilac tree outside my house;
I took thin branches that had broken away
and patched their wounds with clay.

My mother stood there watering
her window-level flower bed;
The morning sun, quite motherly,
kissed us both on our heads!

What a joy, my child, to heal!
Finished doctoring, or not?
The eggs are nicely poached
And the milk's a-boil in the ***.



Broit
“Bread”
by Ber Horvitz
loose translation/interpretation by Michael R. Burch

Night. Exhaustion. Heavy stillness. Why?
On the hard uncomfortable floor the exhausted people lie.

Flung everywhere, scattered over the broken theater floor,
the exhausted people sleep. Night. Late. Too tired to snore.

At midnight a little boy cries wildly into the gloom:
"Mommy, I’m afraid! Let’s go home!”

His mother, reawakened into this frightful place,
presses her frightened child even closer to her breast …

"If you cry, I’ll leave you here, all alone!
A little boy must sleep ... this, now, is our new home.”

Night. Exhaustion. Heavy stillness all around,
exhausted people sleeping on the hard ground.



"My Lament"
by Ber Horvitz
loose translation/interpretation by Michael R. Burch

Nothingness enveloped me
as tender green toadstools
lie blanketed by snow
with its thick, heavy prayer shawl …
After that, nothing could hurt me …



Ber Horvitz aka Ber Horowitz (1895-1942): Born to village people in the woods of Maidan in the West Carpathians, Horowitz showed art talent early on. He went to gymnazie in Stanislavov, then served in the Austrian army during WWI, where he was a medic to Italian prisoners of war. He studied medicine in Vienna and was published in many Yiddish newspapers. Fluent in several languages, he translated Polish and Ukrainian to Yiddish. He also wrote poetry in Yiddish. A victim of the Holocaust, he was murdered in 1942 by the Nazis.


Second Sight
by Michael R. Burch

I never touched you—
that was my mistake.

Deep within,
I still feel the ache.

Can an unformed thing
eternally break?

Now, from a great distance,
I see you again

not as you are now,
but as you were then—

eternally present
and Sovereign.



The Shrinking Season
by Michael R. Burch

With every wearying year
the weight of the winter grows
and while the schoolgirl outgrows
her clothes,
the widow disappears
in hers.

Published by Angle and Poem Today



Annual
by Michael R. Burch

Silence
steals upon a house
where one sits alone
in the shadow of the itinerant letterbox,
watching the disconnected telephone
collecting dust ...

hearing the desiccate whispers of voices’
dry flutters,—
moths’ wings
brittle as cellophane ...

Curled here,
reading the yellowing volumes of loss
by the front porch light
in the groaning swing . . .
through thin adhesive gloss
I caress your face.

Published by The HyperTexts



US Verse, after Auden
by Michael R. Burch

“Let the living creature lie,
Mortal, guilty, but to me
The entirely beautiful.”

Verse has small value in our Unisphere,
nor is it fit for windy revelation.
It cannot legislate less taxing fears;
it cannot make us, several, a nation.
Enumerator of our sins and dreams,
it pens its cryptic numbers, and it sings,
a little quaintly, of the ways of love.
(It seems of little use for lesser things.)

Published by The Raintown Review, The Barefoot Muse and Poetry Life & Times

The Unisphere mentioned is a spherical stainless steel representation of the earth constructed for the 1964 New York World’s Fair. It was commissioned to celebrate the beginning of the space age and dedicated to "Man's Achievements on a Shrinking Globe in an Expanding Universe." The lines quoted in the epigraph are from W. H. Auden’s love poem “Lullaby.”



Sea Dreams
by Michael R. Burch

I.
In timeless days
I've crossed the waves
of seaways seldom seen.
By the last low light of evening
the breakers that careen
then dive back to the deep
have rocked my ship to sleep,
and so I've known the peace
of a soul at last at ease
there where Time's waters run
in concert with the sun.

With restless waves
I've watched the days’
slow movements, as they hum
their antediluvian songs.
Sometimes I've sung along,
my voice as soft and low
as the sea's, while evening slowed
to waver at the dim
mysterious moonlit rim
of dreams no man has known.

In thoughtless flight,
I've scaled the heights
and soared a scudding breeze
over endless arcing seas
of waves ten miles high.
I've sheared the sable skies
on wings as soft as sighs
and stormed the sun-pricked pitch
of sunset’s scarlet-stitched,
ebullient dark demise.

I've climbed the sun-cleft clouds
ten thousand leagues or more
above the windswept shores
of seas no man has sailed
— great seas as grand as hell's,
shores littered with the shells
of men's "immortal" souls —
and I've warred with dark sea-holes
whose open mouths implored
their depths to be explored.

And I've grown and grown and grown
till I thought myself the king
of every silver thing . . .

But sometimes late at night
when the sorrowing wavelets sing
sad songs of other times,
I taste the windborne rime
of a well-remembered day
on the whipping ocean spray,
and I bow my head to pray . . .

II.
It's been a long, hard day;
sometimes I think I work too hard.
Tonight I'd like to take a walk
down by the sea —
down by those salty waves
brined with the scent of Infinity,
down by that rocky shore,
down by those cliffs that I used to climb
when the wind was **** with a taste of lime
and every dream was a sailor's dream.

Then small waves broke light,
all frothy and white,
over the reefs in the ramblings of night,
and the pounding sea
—a mariner’s dream—
was bound to stir a boy's delight
to such a pitch
that he couldn't desist,
but was bound to splash through the surf in the light
of ten thousand stars, all shining so bright.

Christ, those nights were fine,
like a well-aged wine,
yet more scalding than fire
with the marrow’s desire.

Then desire was a fire
burning wildly within my bones,
fiercer by far than the frantic foam . . .
and every wish was a moan.
Oh, for those days to come again!
Oh, for a sea and sailing men!
Oh, for a little time!

It's almost nine
and I must be back home by ten,
and then . . . what then?

I have less than an hour to stroll this beach,
less than an hour old dreams to reach . . .
And then, what then?

Tonight I'd like to play old games—
games that I used to play
with the somber, sinking waves.
When their wraithlike fists would reach for me,
I'd dance between them gleefully,
mocking their witless craze
—their eager, unchecked craze—
to batter me to death
with spray as light as breath.

Oh, tonight I'd like to sing old songs—
songs of the haunting moon
drawing the tides away,
songs of those sultry days
when the sun beat down
till it cracked the ground
and the sea gulls screamed
in their agony
to touch the cooling clouds.
The distant cooling clouds.

Then the sun shone bright
with a different light
over different lands,
and I was always a pirate in flight.

Oh, tonight I'd like to dream old dreams,
if only for a while,
and walk perhaps a mile
along this windswept shore,
a mile, perhaps, or more,
remembering those days,
safe in the soothing spray
of the thousand sparkling streams
that rush into this sea.
I like to slumber in the caves
of a sailor's dark sea-dreams . . .
oh yes, I'd love to dream,
to dream
and dream
and dream.

“Sea Dreams” is one of my longer and more ambitious early poems, along with the full version of “Jessamyn’s Song.” To the best of my recollection, I wrote “Sea Dreams” around age 18, circa 1976-1977. For years I thought I had written “Sea Dreams” around age 19 or 20, circa 1978. But then I remembered a conversation I had with a friend about the poem in my freshman dorm, so the poem must have been started around age 18 or earlier. Dating my early poems has been a bit tricky, because I keep having little flashbacks that help me date them more accurately, but often I can only say, “I know this poem was written by about such-and-such a date, because ...”

The next poem, "Son," is a companion piece to “Sea Dreams” that was written around the same time and discussed in the same freshman dorm conversation. I remember showing this poem to a fellow student and he asked how on earth I came up with a poem about being a father who abandoned his son to live on an island! I think the meter is pretty good for the age at which it was written.

Son
by Michael R. Burch

An island is bathed in blues and greens
as a weary sun settles to rest,
and the memories singing
through the back of my mind
lull me to sleep as the tide flows in.

Here where the hours pass almost unnoticed,
my heart and my home will be till I die,
but where you are is where my thoughts go
when the tide is high.

[etc., see handwritten version, the father laments abandoning his son]

So there where the skylarks sing to the sun
as the rain sprinkles lightly around,
understand if you can
the mind of a man
whose conscience so long ago drowned.



Ode to Postmodernism, or, Bury Me at St. Edmonds!
by Michael R. Burch

"Bury St. Edmonds—Amid the squirrels, pigeons, flowers and manicured lawns of Abbey Gardens, one can plug a modem into a park bench and check e-mail, files or surf the Web, absolutely free."—Tennessean News Service. (The bench was erected free of charge by the British division of MSN, after a local bureaucrat wrote a contest-winning ode of sorts to MSN.)

Our post-modernist-equipped park bench will let
you browse the World Wide Web, the Internet,
commune with nature, interact with hackers,
design a virus, feed brown bitterns crackers.

Discretely-wired phone lines lead to plugs—
four ports we swept last night for nasty bugs,
so your privacy's assured (a *******'s fine)
while invited friends can scan the party line:

for Internet alerts on new positions,
the randier exploits of politicians,
exotic birds on web cams (DO NOT FEED!) .
The cybersex is great, it's guaranteed

to leave you breathless—flushed, free of disease
and malware viruses. Enjoy the trees,
the birds, the bench—this product of Our pen.
We won in with an ode to MSN.



Let Me Give Her Diamonds
by Michael R. Burch

for Beth

Let me give her diamonds
for my heart's
sharp edges.

Let me give her roses
for my soul's
thorn.

Let me give her solace
for my words
of treason.

Let the flowering of love
outlast a winter
season.

Let me give her books
for all my lack
of reason.

Let me give her candles
for my lack
of fire.

Let me kindle incense,
for our hearts
require

the breath-fanned
flaming perfume
of desire.


Step Into Starlight
by Michael R. Burch

Step into starlight,
lovely and wild,
lonely and longing,
a woman, a child . . .

Throw back drawn curtains,
enter the night,
dream of his kiss
as a comet ignites . . .

Then fall to your knees
in a wind-fumbled cloud
and shudder to hear
oak hocks groaning aloud.

Flee down the dark path
to where the snaking vine bends
and withers and writhes
as winter descends . . .

And learn that each season
ends one vanished day,
that each pregnant moon holds
no spent tides in its sway . . .

For, as suns seek horizons—
boys fall, men decline.
As the grape sags with its burden,
remember—the wine!

I believe I wrote the original version of this poem in my early twenties.



Chloe
by Michael R. Burch

There were skies onyx at night ... moons by day ...
lakes pale as her eyes ... breathless winds
******* tall elms; ... she would say
that we loved, but I figured we’d sinned.

Soon impatiens too fiery to stay
sagged; the crocus bells drooped, golden-limned;
things of brightness, rinsed out, ran to gray ...
all the light of that world softly dimmed.

Where our feet were inclined, we would stray;
there were paths where dead weeds stood untrimmed,
distant mountains that loomed in our way,
thunder booming down valleys dark-hymned.

What I found, I found lost in her face
while yielding all my virtue to her grace.



You Never Listened
by Michael R. Burch

You never listened,
though each night the rain
wove its patterns again
and trembled and glistened . . .

You were not watching,
though each night the stars
shone, brightening the tears
in her eyes palely fetching . . .

You paid love no notice,
though she lay in my arms
as the stars rose in swarms
like a legion of poets,

as the lightning recited
its opus before us,
and the hills boomed the chorus,
all strangely delighted . . .



Through the fields of solitude
by Hermann Allmers
translation by David B. Gosselin with Michael R. Burch

Peacefully, I rest in the tall green grass
For a long time only gazing as I lie,
Caught in the endless hymn of crickets,
And encircled by a wonderful blue sky.

And the lovely white clouds floating across
The depths of the heavens are like silky lace;
I feel as though my soul has long since fled,
Softly drifting with them through eternal space.



An Illusion
by Michael R. Burch

The sky was as hushed as the breath of a bee
and the world was bathed in shades of palest gold
when I awoke.

She came to me with the sound of falling leaves
and the scent of new-mown grass;
I held out my arms to her and she passed
into oblivion ...



The Leveler
by Michael R. Burch

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

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

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



In the Whispering Night
by Michael R. Burch

for George King

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

In the whispering night, when the mockingbird calls
while denuded vines barely cling to stone walls,
as the red-rocked rivers rush on to the sea,
like a bright Goddess calling
a meteor falling
may flare like desire through skeletal trees.

If you look to the east, you will see a reminder
of days that broke warmer and nights that fell kinder;
but you and I were not meant for this life,
a life of illusions
and painful delusions:
a life without meaning—unless it is life.

So turn from the east and look to the west,
to the stars—argent fire ablaze at God's breast—
but there you'll find nothing but dreams of lost days:
days lost forever,
departed, and never,
oh never, oh never shall they be regained.

So turn from those heavens—night’s pale host of stars—
to these scarred pitted mountains, these wild grotesque tors
which—looming in darkness—obscure lustrous seas.
We are men, we must sing
till enchanted vales ring;
we are men; though we wither, our spirits soar free.



and then i was made whole
by Michael R. Burch

... and then i was made whole,
but not a thing entire,
glued to a perch
in a gilded church,
strung through with a silver wire ...

singing a little of this and of that,
warbling higher and higher:
a thing wholly dead
till I lifted my head
and spat at the Lord and his choir.



Bowery Boys
by Michael R. Burch

Male bowerbirds have learned
that much respect is earned
when optical illusions
inspire wild delusions.

And so they work for hours
to line their manly bowers
with stones arranged by size
to awe and mesmerize.

It’d take a great detective
to grok the false perspective
they use to lure in cuties
to smooch and fill with cooties.

Like human politicians,
they love impressive fictions
as they lie in their randy causes
with props like the Wizard of Oz’s.



THE KNIGHT IN THE PANTHER’S SKIN

***** Rustaveli (c. 1160-1250), often called simply Rustaveli, was a Georgian poet who is generally considered to be the preeminent poet of the Georgian Golden Age. “The Knight in the Panther's Skin” or “The Man in the Panther’s Skin” is considered to be Georgia’s national epic poem and until the 20th century it was part of every Georgian bride’s dowry. It is believed that Rustaveli served Queen Tamar as a treasurer or finance minister and that he may have traveled widely and been involved in military campaigns. Little else is known about his life except through folk tradition and legend.

The Knight in the Panther's Skin
by ***** Rustaveli
loose translation/interpretation by Michael R. Burch

excerpts from the PROLOGUE

I sing of the lion whose image adorns the lances, shields and swords
of our Queen of Queens: Tamar, the ruby-throated and ebon-haired.
How dare I not sing Her Excellency’s manifold praises
when those who attend her must bring her the sweets she craves?

My tears flow profusely like blood as I extol our Queen Tamar,
whose praises I sing in these not ill-chosen words.
For ink I have employed jet-black lakes and for a pen, a flexible reed.
Whoever hears will have his heart pierced by the sharpest spears!

She bade me laud her in stately, sweet-sounding verses,
to praise her eyebrows, her hair, her lips and her teeth:
those rubies and crystals arrayed in bright, even ranks!
A leaden anvil can shatter even the strongest stone.

Kindle my mind and tongue! Fill me with skill and eloquence!
Aid my understanding for this composition!
Thus Tariel will be tenderly remembered,
one of three star-like heroes who always remained faithful.

Come, let us mourn Tariel with undrying tears
because we are men born under similar stars.
I, Rustaveli, whose heart has been pierced through by many sorrows,
have threaded this tale like a necklace of pearls.

Keywords/Tags: ***** Rustaveli, Georgia, Georgian, epic, knight, panther, skin, queen, Tamar, praise, praises, Tariel, Avtandil, Nestan-Darejan



Final Lullaby
by Michael R. Burch

for my mother, Christine Ena Burch

Sleep peacefully—for now your suffering’s over.

Sleep peacefully—immune to all distress,
like pebbles unaware of raging waves.

Sleep peacefully—like fields of fragrant clover
unmoved by any motion of the wind.

Sleep peacefully—like clouds untouched by earthquakes.

Sleep peacefully—like stars that never blink
and have no thoughts at all, nor need to think.

Sleep peacefully—in your eternal vault,
immaculate, past perfect, without fault.



don’t forget ...
by Michael R. Burch

for Beth

don’t forget to remember
that Space is curved
(like your Heart)
and that even Light is bent
by your Gravity.

I dedicated this poem to the love of my life, but you are welcome to dedicate it to the love of yours, if you like it. The opening lines were inspired by a famous love poem by e. e. cummings. I went through a "cummings phase" around age 15 and wrote a number of poems "under the influence."



Options Underwater: The Song of the First Amphibian
by Michael R. Burch

“Evolution’s a Fishy Business!”

1.
Breathing underwater through antiquated gills,
I’m running out of options. I need to find fresh Air,
to seek some higher Purpose. No porpoise, I despair
to swim among anemones’ pink frills.

2.
My fins will make fine flippers, if only I can walk,
a little out of kilter, safe to the nearest rock’s
sweet, unmolested shelter. Each eye must grow a stalk,
to take in this green land on which it gawks.

3.
No predators have made it here, so I need not adapt.
Sun-sluggish, full, lethargic―I’ll take such nice long naps!

The highest form of life, that’s me! (Quite apt
to lie here chortling, calling fishes saps.)

4.
I woke to find life teeming all around―
mammals, insects, reptiles, loathsome birds.
And now I cringe at every sight and sound.
The water’s looking good! I look Absurd.

5.
The moral of my story’s this: don’t leap
wherever grass is greener. Backwards creep.
And never burn your bridges, till you’re sure
leapfrogging friends secures your Sinecure.

Originally published by Lighten Up Online

Keywords/Tags: amphibian, amphibians, evolution, gills, water, air, lungs, fins, flippers, fish, fishy business


These are my modern English translations of poems by Dante Alighieri.

Little sparks may ignite great Infernos.
―Dante, loose translation/interpretation by Michael R. Burch

In Beatrice I beheld the outer boundaries of blessedness.
―Dante, loose translation/interpretation by Michael R. Burch

She made my veins and even the pulses within them tremble.
―Dante, loose translation/interpretation by Michael R. Burch

Her sweetness left me intoxicated.
―Dante, loose translation/interpretation by Michael R. Burch

Love commands me by dictating my desires.
―Dante, loose translation/interpretation by Michael R. Burch

Follow your own path and let bystanders gossip.
―Dante, loose translation/interpretation by Michael R. Burch

The devil is not as dark as depicted.
―Dante, loose translation/interpretation by Michael R. Burch

There is no greater sorrow than to recall how we delighted in our own wretchedness.
―Dante, loose translation/interpretation by Michael R. Burch

As he, who with heaving lungs escaped the suffocating sea, turns to regard its perilous waters.
―Dante, loose translation/interpretation by Michael R. Burch

O human race, born to soar heavenward, why do you nosedive in the mildest breeze?
―Dante, loose translation/interpretation by Michael R. Burch

O human race, born to soar heavenward, why do you quail at the least breath of wind?
―Dante, loose translation/interpretation by Michael R. Burch

Midway through my life’s journey
I awoke to find myself lost in a trackless wood,
for I had strayed far from the straight path.
―Dante, loose translation/interpretation by Michael R. Burch

INSCRIPTION ON THE GATE OF HELL
Before me nothing created existed, to fear.
Eternal I am, eternal I endure.
Abandon all hope, ye who enter here.
―Dante, loose translation/interpretation by Michael R. Burch



Sonnet: “Ladies of Modest Countenance” from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

You, who wear a modest countenance,
With eyelids weighed down by such heaviness,
How is it, that among you every face
Is haunted by the same pale troubled glance?

Have you seen in my lady's face, perchance,
the grief that Love provokes despite her grace?
Confirm this thing is so, then in her place,
Complete your grave and sorrowful advance.

And if, indeed, you match her heartfelt sighs
And mourn, as she does, for the heart's relief,
Then tell Love how it fares with her, to him.

Love knows how you have wept, seeing your eyes,
And is so grieved by gazing on your grief
His courage falters and his sight grows dim.



Paradiso, Canto III:1-33, The Revelation of Love and Truth
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

That sun, which had inflamed my breast with love,
Had now revealed to me―as visions move―
The gentle and confounding face of Truth.

Thus I, by her sweet grace and love reproved,
Corrected, and to true confession moved,
Raised my bowed head and found myself behooved

To speak, as true admonishment required,
And thus to bless the One I so desired,
When I was awed to silence! This transpired:

As the outlines of men’s faces may amass
In mirrors of transparent, polished glass,
Or in shallow waters through which light beams pass

(Even so our eyes may easily be fooled
By pearls, or our own images, thus pooled):
I saw a host of faces, pale and lewd,

All poised to speak; but when I glanced around
There suddenly was no one to be found.
A pool, with no Narcissus to astound?

But then I turned my eyes to my sweet Guide.
With holy eyes aglow and smiling wide,
She said, “They are not here because they lied.”



Sonnet: A Vision of Love from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

To every gentle heart which Love may move,
And unto which my words must now be brought
For true interpretation’s tender thought―
I greet you in our Lord's name, which is Love.

Through night’s last watch, as winking stars, above,
Kept their high vigil over us, distraught,
Love came to me, with such dark terrors fraught
As mortals may not casually absolve.
Love seemed a being of pure joy, and had
My heart held in his hand, while on his arm
My lady, wrapped in her fine mantle, slept.
He, having roused her from her sleep, then made
Her eat my heart; she did, in deep alarm.
He then departed; as he left, he wept.


Excerpts from LA VITA NUOVA
by Dante Alighieri

Ecce deus fortior me, qui veniens dominabitur mihi.
Here is a Deity, stronger than myself, who comes to dominate me.
―Dante, loose translation/interpretation by Michael R. Burch

Apparuit iam beatitudo vestra.
Your blessedness has now been manifested unto you.
―Dante, loose translation/interpretation by Michael R. Burch

Heu miser! quia frequenter impeditus ero deinceps.
Alas, how often I will be restricted now!
―Dante, loose translation/interpretation by Michael R. Burch

Fili mi, tempus est ut prætermittantur simulata nostra.
My son, it is time to cease counterfeiting.
―Dante, loose translation/interpretation by Michael R. Burch

Ego tanquam centrum circuli, cui simili modo se habent circumferentiæ partes: tu autem non sic.
Love said: “I am as the center of a harmonious circle; everything is equally near me. No so with you.”
―Dante, loose translation/interpretation by Michael R. Burch



Sonnet: “Love’s Thoroughfare” from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

“O voi che par la via”

All those who travel Love's worn tracks,
Pause here, awhile, and ask
Has there ever been a grief like mine?

Pause here, from that mad race;
Patiently hear my case:
Is it not a piteous marvel and a sign?

Love, not because I played a part,
But only due to his great heart,
Afforded me a provenance so sweet

That often others, as I went,
Asked what such unfair gladness meant:
They whispered things behind me in the street.

But now that easy gait is gone
Along with the wealth Love afforded me;
And so in time I’ve come to be

So poor that I dread to ponder thereon.
And thus I have become as one
Who hides his shame of his poverty

By pretending happiness outwardly,
While within I travail and moan.



Sonnet: “Cry for Pity” from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

These thoughts lie shattered in my memory:
When through the past I see your lovely face.
When you are near me, thus, Love fills all Space,
And often whispers, “Is death better? Flee!”

My face reflects my heart's blood-red dammed tide,
Which, fainting, seeks some shallow resting place;
Till, in the blushing shame of such disgrace,
The very earth seems to be shrieking, “Die!”

’Twould be a grievous sin, if one should not
Relay some comfort to my harried mind,
If only with some simple pitying
For this great anguish which fierce scorn has wrought
Through faltering sights of eyes grown nearly blind,
Which search for death now, like a blessed thing.



Excerpt from Paradiso
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

****** Mother, daughter of your Son,
Humble, yet exalted above creation,
And the eternal counsel’s apex shown,

You are the Pinnacle of human nature,
Your nobility instilled by its Creator,
Who did not, having you, disdain his creature.

Love was rekindled in your perfect womb
Where warmth and holy peace were given room
For this, Perfection’s Rose, once sown, to bloom.

Now unto us you are a Torch held high
Our noonday sun―the light of Charity,
Our wellspring of all Hope, a living sea.

Madonna, so pure, high and all-availing,
The man who desires grace of you, though failing,
Despite his grounded state, is given wing!

Your mercy does not fail, but, Ever-Blessed,
The one who asks finds oftentimes his quest
Unneeded: you foresaw his first request!

You are our Mercy; you are our Compassion;
you are Magnificence; in you creation
Unites whatever Goodness deems Salvation.



THE MUSE

by Anna Akhmatova
loose translation/interpretation by Michael R. Burch

My being hangs by a thread tonight
as I await a Muse no human pen can command.
The desires of my heart ― youth, liberty, glory ―
now depend on the Maid with the flute in her hand.

Look! Now she arrives; she flings back her veil;
I meet her grave eyes ― calm, implacable, pitiless.
“Temptress, confess!
Are you the one who gave Dante hell?”

She answers, “Yes.”



I have also translated this poem written by Marina Tsvetaeva for Anna Akhmatova:

Excerpt from “Poems for Akhmatova”
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

You outshine everything, even the sun
at its zenith. The stars are yours!
If only I could sweep like the wind
through some unbarred door,
gratefully, to where you are ...
to hesitantly stammer, suddenly shy,
lowering my eyes before you, my lovely mistress,
petulant, chastened, overcome by tears,
as a child sobs to receive forgiveness ...


Dante Criticism by Michael R. Burch

Dante’s was a defensive reflex
against religion’s hex.
―Michael R. Burch


Dante, you Dunce!
by Michael R. Burch

The earth is hell, Dante, you Dunce!
Which you should have perceived―since you lived here once.

God is no Beatrice, gentle and clever.
Judas and Satan were wise to dissever
from false “messiahs” who cannot save.
Why flit like a bat through Plato’s cave
believing such shadowy illusions are real?
There is no "hell" but to live and feel!



How Dante Forgot Christ
by Michael R. Burch

Dante ****** the brightest and the fairest
for having loved―pale Helen, wild Achilles―
agreed with his Accuser in the spell
of hellish visions and eternal torments.
His only savior, Beatrice, was Love.

His only savior, Beatrice, was Love,
the fulcrum of his body’s, heart’s and mind’s
sole triumph, and their altogether conquest.
She led him to those heights where Love, enshrined,
blazed like a star beyond religion’s hells.

Once freed from Yahweh, in the arms of Love,
like Blake and Milton, Dante forgot Christ.

The Christian gospel is strangely lacking in Milton’s and Dante’s epics. Milton gave the “atonement” one embarrassed enjambed line. Dante ****** the Earth’s star-crossed lovers to his grotesque hell, while doing exactly what they did: pursing at all costs his vision of love, Beatrice. Blake made more sense to me, since he called the biblical god Nobodaddy and denied any need to be “saved” by third parties.



Dante’s Antes
by Michael R. Burch

There’s something glorious about man,
who lives because he can,
who dies because he must,
and in between’s a bust.

No god can reign him in:
he’s quite intent on sin
and likes it rather, really.
He likes *** touchy-feely.

He likes to eat too much.
He has the Midas touch
and paves hell’s ways with gold.
The things he’s bought and sold!

He’s sold his soul to Mammon
and also plays backgammon
and poker, with such antes
as still befuddle Dantes.

I wonder―can hell hold him?
His chances seem quite dim
because he’s rather puny
and also loopy-******.

And yet like Evel Knievel
he dances with the Devil
and seems so **** courageous,
good-natured and outrageous

some God might show him mercy
and call religion heresy.



Of Seabound Saints and Promised Lands
by Michael R. Burch

Judas sat on a wretched rock,
his head still sore from Satan’s gnawing.
Saint Brendan’s curragh caught his eye,
wildly geeing and hawing.

I’m on parole from Hell today!
Pale Judas cried from his lonely perch.
You’ve fasted forty days, good Saint!
Let this rock by my church,
my baptismal, these icy waves.
O, plead for me now with the One who saves!

Saint Brendan, full of mercy, stood
at the lurching prow of his flimsy bark,
and mightily prayed for the mangy man
whose flesh flashed pale and stark
in the golden dawn, beneath a sun
that seemed to halo his tonsured dome.
Then Saint Brendan sailed for the Promised Land
and Saint Judas headed Home.

O, behoove yourself, if ever your can,
of the fervent prayer of a righteous man!

In Dante’s Inferno, Satan gnaws on Judas Iscariot’s head. A curragh is a boat fashioned from wood and ox hides. Saint Brendan of Ireland is the patron saint of sailors and whales. According to legend, he sailed in search of the Promised Land and discovered America centuries before Columbus.



RE: Paradiso, Canto III
by Michael R. Burch

for the most “Christian” of poets

What did Dante do,
to earn Beatrice’s grace
(grace cannot be earned!)
but cast disgrace
on the whole human race,
on his peers and his betters,
as a man who wears cheap rayon suits
might disparage men who wear sweaters?

How conventionally “Christian” ― Poet! ― to ****
your fellow man
for being merely human,
then, like a contented clam,
to grandly claim
near-infinite “grace,”
as if your salvation was God’s only aim!
What a scam!

And what of the lovely Piccarda,
whom you placed in the lowest sphere of heaven
for neglecting her vows ―
She was forced!
Were you chaste?



Intimations V
by Michael R. Burch

We had not meditated upon sound
so much as drowned
in the inhuman ocean
when we imagined it broken
open
like a conch shell
whorled like the spiraling hell
of Dante’s Inferno.

Trapped between Nature
and God,
what is man
but an inquisitive,
acquisitive
sod?

And what is Nature
but odd,
or God
but a Clod,
and both of them horribly flawed?



Endgame
by Michael R. Burch

The honey has lost all its sweetness,
the hive―its completeness.

Now ambient dust, the drones lie dead.
The workers weep, their King long fled
(who always had been ****, invisible,
his “kingdom” atomic, divisible,
and pathetically risible).

The queen has flown,
long Dis-enthroned,
who would have given all she owned
for a promised white stone.

O, Love has fled, has fled, has fled ...
Religion is dead, is dead, is dead.



The Final Revelation of a Departed God’s Divine Plan
by Michael R. Burch

Here I am, talking to myself again . . .

******* at God and bored with humanity.
These insectile mortals keep testing my sanity!

Still, I remember when . . .

planting odd notions, dark inklings of vanity,
in their peapod heads might elicit an inanity

worth a chuckle or two.

Philosophers, poets . . . how they all made me laugh!
The things they dreamed up! Sly Odysseus’s raft;

Plato’s Republic; Dante’s strange crew;

Shakespeare’s Othello, mad Hamlet, Macbeth;
Cervantes’ Quixote; fat, funny Falstaff!;

Blake’s shimmering visions. Those days, though, are through . . .

for, puling and tedious, their “poets” now seem
content to write, but not to dream,

and they fill the world with their pale derision

of things they completely fail to understand.
Now, since God has long fled, I am here, in command,

reading this crap. Earth is Hell. We’re all ******.

Keyword/Tags: Muslims, sonnet, Italian sonnet, crown of sonnets, rhyme, love, affinity and love, Rome, Italy, Florence

Published as the collection "First they came for the Muslims"

I sew therefore I am. This is what women do she thought, even with the television on, muttering and flickering in the corner. But its turning on was but a reflex action to being alone when she came down stairs after reading to her child, and the sitting room empty of his presence. Only the cats occupied her chair where she now sat and sewed.

For once her sewing pile had his nightshirt, a tear at the bottom, a missing button. It was old, well-worn, of a light blue stripe. That was what he wore in bed, and, as he invariably read to her each night, she would slip her hand inside the shirt, across his stomach to a place she had discovered at the top of his pelvis that seemed to be there for her hand to rest. One night she had felt the tear and thought, I must mend this.

She knew something of the feminist canon: Rozsika Parker's Subversive Stitch lay browsed but unread on her bookshelf. The impact of the book was enough: that the relationship between women’s lives and embroidery had brought sewing out from the private world of female domesticity into the fine arts and created a breakthrough in art history and criticism. She remembered writing that somewhere in a student essay. But mending clothes was hardly fine art. And then she remembered Sashiko, the ‘little stabs’, that functional stitching of clothes in Japan.

They had met at the station for a 30-mile train journey to a nearby city. It was a blue-cold December day and they had felt warmed by seeing from the train window a covering of snow on the ploughed fields. She had worn her grey coat with the green lining and an indigo blue-pattern scarf, a swinging denim skirt and orange-patterned top. Tights and boots. He: she had forgotten. Funny that, remembering what she had worn, but for the man she was beginning to feel so hopelessly in love with, and by the end of that day, hold in her heart, seemingly, for evermore, she could not remember. His old brown jacket perhaps . . . No, she couldn’t be certain.

He had loved the exhibition. It was an unencountered world, though he had experienced Japan, but not, as he said (at length), the rural fastness of an offshore island where women were loggers and men were firemen. It was the simplicity of the stitch that captured his attention, the running white-cotton stitch on the blue indigo workware, occasionally a red thread on a decorative piece – a fireman’s tunic. This was stitching about mending, reinforcing a worn area by stitching on a new patch, and in doing so novel patterns evolved, so novel that this traditional stitch became an inspiration for Reiko Sudo, Hideko Takahshi, and the cutting edge textile designers of 20C Japan. It was reuse that made sense.

He had loved the names of the stitches: passes in the mountain, fishing nets, the interlaced circles of two birds in flight, woven bamboo, the seven treasures of Buddha.  She remembered the proximity of him, touching his arm to show, and sometimes just to touch his arm – yes, he was wearing that old brown coat. It was before they were lovers, but she was sure then they were in love, and it seemed impossible and quite wrong to be in this large gallery, flowing too and fro, apart then together, apart then together. She thought: he knows how I want to be when looking at such things; I need space. And she supposed he needed space too because the moment they entered the gallery he left her alone. But that coming together was, and remained ever after, a warm thing, and she remembered that day being a little aroused by it being so.

Later, they had walked a short way from the gallery to a tiny cottage-like bookshop he knew, a bookshop full of impossibly large books on art and architecture. He had something to find: The Crystal Chain Letters – architectural fantasies Bruno Taut and his circle by Ian Boyd Whyte. There had been her favourite  Mark Hearld cards and his collaged pictures in the window. She went upstairs and knelt on the wooden floor to take out the books on gardens on the lowest shelves. The winter sun had poured through a nearby window, warming her face till it glowed. But she was already glowing inside. And he came and knelt behind her. He rested his head on her shoulder and she had turned and put her arms around him. They had kissed, a delicate, exploratory, yet to be lovers kiss that had made her feel weaker than she already felt. She knew she would remember that moment, and she had, here on her chair years later, now in a different sitting room from the one she had returned to that evening without him, returning to her husband and children. And she had missed him beyond any measure and written to him the next day, a letter written in her head before she had slept, and then the following morning, with the children at school, she had lain on her bed and calmly touched herself to remember his kiss, their kiss.