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D Conors Sep 2010
"io sol uno."
-Dante, Purgatorio

There I was,
the comic-tragic star of my own motion-picture,
bold beneath the springtime Italian sun hung high
--a heavenly fixture,
illuminating the gold-leaf enframed frescoes in
kaleidoscopes of colours,
baking dry the pigeon droppings upon the flagstones
they smothered,
where I, in all my self-serving recreation,
posed proudly in a costume of my own creation,
an operatic villain clad in a billowy blouse of black,
the Campanile Tower like a sentinel behind my back,
as movie cameras panned and zoomed,
paparazzi photographers capturing me
and freezing me,
in all my wicked, medieval glory,
floating and gloating in the dank aroma of the Venetian seas,
"I'm the shining star!
--Look at me, look at me!"*
-the super-special star I always knew I'd be,
a painted parody,
a harlequin of displaced passions
for all to laugh at and see,
before slipping silently
into the ornate basilica,
dim and dark as night,
thanking Mother Mary (for nothing) as I sparked
a votive candle's light,
not really sure or caring
where my life would lead,
just as long as the Azure Queen
shed Her Grace on me,
     me,
             me,

...until I fell
and fell
to the mockery of a home
I made in Hell,
hard and forever and fast,
the only fool left alone in my solo cast,
adrift with no direction,
****** and lost,
me and my frivolous theatre,
squandered an an extravagant cost.

___
"io sol uno" means, "I, myself, alone."

This poem is a true-life story.

__
See the Piazza San Marco, Venice, Italy:
http://www.carfree.com/design/pix/sqlg110venice_piazza-san-marco.jpg
D. Conors
August/September 2010
Kendall Mallon Jul 2013
Book One


Prelude:

As Romans before them, they built the city upward—
layer ‘pon layer as the polar caps receded
layer by layer—preserving what they could, if someday
the waters may recede back into the former polar
ice caps; restoring the long inundated coastlines.


Home:

A man sat upon a tall pub stool stroking
his ginger beard while grasping a pint loosely
in his other hand. An elderly gent stood
next to him. The older gentleman noticed
that the ginger bearded man’s pint sat almost
quite near the bottom of its tulip glass.

A woman with eyes of amber and hair
as chestnut strolled through a vineyard amongst
the ripening grapes full of juice to soon
become wine. She clutched a notebook—behind (10)
thick black covers lay ideas and sketches
to bring the world to a more natural
state—balancing the wonders and the merits
of technology apace with the allure ‘n’
sanctity borne to the natural world.

When the ginger bearded man finished the
final drops of his stout, another appeared
heretofore him—courtesy owed to the elder
gentleman. “Notice dat ye got d’ mark
o’ a man accustom amid the seas,” (20)
he inferred; gesturing the black and blue
compass rose inscribed inside a ship’s wheel,
imbedded into the back of the ginger
bearded man’s weathered right hand.
                 “I have crewed
and skippered a many fine vessel, but I
am renouncing my life at sea—one final
voyage I have left inside of me:
one single terminal Irish-Atlantic
voyage t’ward home.” (30)
“Aye d’ sea can beh cold
‘nd harsh, but she enchants me heart. Ta where
are ye headed fer d’ place ye call home,
d’ere sonny boy?”
     “’tis not simply a where,
‘tis a who. Certain events have led me
to be separate from my wife. For five
eternal years I have been traveling—
waiting to be in her embrace. The force
of the Sea, she, is a cruel one. For (40)
it seams: at every tack or gybe the farther
off I am thrown from my homeward direction
to stranger and stranger lands… I have gone
to the graveyard of hell and the pearly gates
of (the so called) heaven; I have engaged
in foolhardy deals—made bets only a
gambling addict would place. All to just be
with Zara. I am homesick—Zara is my
home—it doesn’t matter where (physically)
we are located, my home is with Zara. I (50)
was advised to draw nigh the clove of Cork
and wait; wait for a man, but I was barely
given a clue as to who this man is,
only I must return him this:” the ginger
bearded man held out a dull silver pocket watch
with a frigate cut into the front cover
and two roses sharing a single stem
swirling upon themselves cut into
the back.
   “Can it be? ‘Tis meh watch dat meh (60)
fat’er gave t’ meh right before he died…
I lost it at sea many a year ago.
It left meh heartbroken—fer it was meh only
lasting mem’ry of him… Come to t’ink I
was told by a beggar in the street—I
do not remember how long ago—dat
I would happen across a man wit’ somet’ing
dear t’ meh, and I’d accomp’ny dis man
on a journey, and dis man would have upon
‘im d’ mark of a true sailor…” (70)
    “Dear elder man,
my name is Abraham; the mark you see
represents the control that I have on my
direction—thought it appears the Sea retains
some ascendancy… Yet now, it appears,
the Sea is upholding her bargain—though
a bit late... Do you, by chance, own a vessel
that can fair to Colorado?—all across
this mist’d island no skipper ‘ll uptake
my plea; they fear the sharp wrath of the Sea (80)
or (if they have no fear) simply claim my home
‘is not on their routes…’ i’tis a line I’ve
heard too often. I would’ve purchased a vessel,
but the Sea, she, has deprived me completely
of my identity and equity.”

Zara, with her rich chestnut hair sat upon
a fountain in a piazza—her half empty
heart longing to savor the hallow presence
of Abraham, and stroke his ginger beard…
Everyday she would look out at the sea (90)
whence he left…
     All encouraged her to: “forgo
further pursuit”; “he is likely deceased
by now”—his vessel (what left) scuttled amidst
the rocks of Cape Horn, yet Zara could feel
deep-seated inside her soul he is alive;
Alive (somewhere) fighting to return home.
Never would Zara leave; never would she
abandon post; she made that promise five
years ago as Abraham, ‘n’ his crew,
set out on their final voyage; and she (100)
would be ****** ere she broke her promise—a promise
of the heart—a promise of love. Abraham
said: “You are my lighthouse; your love, it, will guide
me home—keep me from danger—as long as you
remain my lighthouse, I’ll forever be
set to return home—return home to you.”

Out from Crosshaven did the old man take
steadfast Abraham en route to his home.
Grey Irish skies turned blue as they made their
way out on the Irish Sea, southwest, toward (110)
the southern end of the Appalachian Island.
The gentle biting spray of the waves breaking
over the bow and beam moistened the ginger
bearded face of Abraham; his tattooed
hands grasped the helm—his resolute stare kept him
and the old man acutely on course.
A shame,
it struck the old man, this would be the final
voyage of Abraham… he: the best crew
that the old man had ever came across; (120)
uncertain if simply the character
of Abraham or his pers’nal desire
to return home in the wake of five long
salty-cold years—a vassal to the Sea
and her changing whim. Never had the old
man seen his ship sail as fast as he did when
Abraham accorded its deck—each sail
set without flaw: easing and trimming sheets
fractions of an inch—purely to obtain
the slightest gain in speed; the display warmed (130)
the heart of the old man.
        And thus the elder
gent mused as he lightly puffed on his pipe
while sitting on the stern pulpit regarding
at Abraham’s passion to return home
(as he calls her):—maybe dis is d’ reason
d’ Sea has fought so hard, and lied, t’ keep
Abraham from returning home… Could not
bear t’ lose such fine a sailor from her
expanses—she is known t’ be quite a jealous (140)
mistress…
      But for all Abraham’s will and passion,
the old man insisted for the fellow
to rest; otherwise lack of sleep would cause
the REM fiddler to reap his debt—replace
clarity of mind with opacity.
Reluctantly stalwart Abraham gave
in and retire below deck—yet the old
man doubted the amount of rest that he
acquired in those moments out of his sight. (150)

For the days, then weeks, in the wake of their
departure from the port-island Crosshaven,
the seas were calm as open water can:
gentle azure rolling swells oscillated
and helped impel the vessel forward. The southern
craggy cape of the Appalachian
Island pierced the horizon. Like a threshold
it stood for Abraham—a major landmark;
the closest to home he had been in five
salty long years—his limbo was beginning                               (160)
to fade, his heart slowly—for the first time since
he left port in eastern Colorado—
started to feel replete again. The Great
Plains Sea—his final sea—he would not miss
the gleam of his lighthouse stalwart on shore.




Book Two

Oracle:**

Upon a beach, Abraham found himself alone—gasping
in gulps of moist air like that of a new born baby first (10)
experiencing the breathe of life; he felt as if he
would never become dry again… the salt burning his skin
as it crusted over when the water evap’rated
into the air; Abraham took the first night to rest, the
next day he set to make shelter and wait for a rescue
crew; out he stared at the crashing waves hoping for a plane
or faint form of a ship upon the horizon…days and
nights spun into an alternating display of day then
night: light then dark—light, dark, light, dark, grey, grey, grey…

Abraham (20)
gave up marking the days—realized the searches are done—
given up after looking in the wrong places (even
he did not know where he was…) the cold waves and currents took
him to a safe shore away from his ship and crew, in a
limp unconscious float…
From the trees, and what he could find on
the small  island, Abraham occupied himself with the
task of building a catamaran to rid himself of
the grey-waiting.
Out he cast his meager vessel into (30)
the battering surf; waves broke over his bows and centre
platform—each foot forward, the waves threatened to push him back
twofold… Abraham struck-beat the water with the oars he
fashioned; rising and falling with the energy of the
waves; Abraham stole brief looks back with hopes of a van’shing
shoreline—coast refused to vanish… his drenched arms grew tired;
yet he pushed on knowing he would soon be out passed the
breaking waves; then could relax and hoist sail; yet the waves grew
taller—broke with greater power… Abraham struck-beat the
water with his oars—anger welled—leading to splashes of (40)
ivory sea-froth instead of the desired progress
forward; eventually, his arms fell limp beyond the
force of will… waves tumbled him back to shore as he did the
first night upon the island…
Dejected Abraham lay
in the surf that night—the gentle ebb of the sea added
to insult, but hid the tears formed in the corner of his eyes—
salt water to salt water… the next day Abraham took
inventory of damage: the mast snapped in multiple
places, the rudders askew—the hulls and centre structure (50)
remained intact; the oars lost (or at least Abraham cared
not to search); over the next weeks he set to improve
the design and efficiency of his vessel—the first
had been hurried and that of a man desperate to leave;
the bare minimum that would suffice—he set to create
a vessel to ensure his departure from the des’late
accrue of sand and vegetation; Abraham laboured
to strengthen his body—pushing his arms further passed the
point his mind believed they could go—consuming the hearty,
protein-rich, mollusks, and small shellfish he could find inside (60)
tide pools or shallows—if lucky, larger fish that dared the
nearby reefs.
Patiently, Abraham observed the tides and
breaking water; he wanted to determine the correct
time to set off to ensure success—when the waves would not
toss him back to the beach; the day: a calm clear day—only
within few metres of soft beach did there exist any
breaking waves, and those that broke were barely a metre high;
loading provisions upon the vessel, Abraham bid
farewell to the island (out of wont for the sustenance (70)
it gave not for nostalgia) grasping his oars, he set forth
to find open sea—where the waves do not break and set you
gingerly on foreign shore(s); Abraham paddled passed the
first few breaking waves, his heart pounding with hope—he stifled
the thoughts (celebrate when the island is but a subtle
blue curve upon the horizon); as the island began
to shrink in his vision, the sky to his back grew darker…
the waves started to swell—moguls grew to hills—Abraham
stroked up and rode down; the cursèd Island refused to shrink…
if not begin to grow wider… stroke by stroke Abraham (80)
grew frustrated—stroke by stroke frustration advanced into
anger—stroke by stroke anger augmented into fiery
beating of the water!—Abraham struck and struck at the
Sea—eyes closed—white knuckles—trashing!—unsure which direction
he paddled…sky pitch-black, wind blowing on-shore Abraham
bellowed out to the Sea in inarticulate roars of:
hatefrustrationpitydesperationheartache!
Towards
Abraham’s in-linguistic roar, the sky let out a crack
of authority! a wave swept the flailing Abraham (90)
into the ocean—cool water only heated the rage
in Abraham’s mind—his half empty heart only wanted:
to sail home, become whole  again—sit under and olive
tree and stroke the chestnut hair of Zara as she drifted
off to sleep on his chest while he would whisper sweet verses
into her ear… Abraham’s rage, beyond reason, forgot
the boat and all clarity, he tried to swim away from
the cursèd island—scrambling up waves only to tumble
back with their breaking peaks—salt, the only taste in his mouth;
churning his stomach to *****; his kidney’s praying he (100)
would  not swallow anymore… his gasps stifled any curse
Abraham’s head wished to expel onto the Sea—yet she
swore she heard one final curse escape his lips! at that the
Sea tossed Abraham (head first) into his ghost-helmed vessel—
all went dark for hostile Abraham…

Contemplating back
at his rage—knowing the barbarian it makes of him,
Abraham peered into the band inscribed into his
ring-finger and saw the knot tying him to Zara—shame
at his arrogant-uncontrolled-fury sent Abraham (110)
into a meditative exile inside of his mind
(within the exile of the island…) in his mental
exile Abraham spun into deeper despair at his
two failures—even more at the prospect of failing the
vow he professed onto Zara: return home—home from this
final voyage, grow old with her on solid ground, never
to die apart and cause the pain of losing a loved one
without the closure of truly knowing the death is real,
to die by her side white, white with the purity of age…
Abraham’s destitution turned inward—his fury, the (120)
lack of control, the demon he becomes when rage surges
through his muscles; equiping him with untamed strength without
direction or self-possession—so much potential, yet
no productive way to use it… Abraham’s half-full-heart
burned, ached with passion and anguish—all desire
focused on home, his return, but the mind’s despondency
and insistent ‘what-ifs’ kept poor Abraham prostrate in
his mental cave—all his wishing for anger and vi’lence
to force his will, it did more to retain him upon the
cursèd island than bring his heart closer to fulfillment: (130)
his long awaited home…
Out of his mental exile did
Abraham’s irises dilate and contract with blinding
illumination—self-pity is not what make things happen—
it would only serve to anger Zara—nothing other
than I can be to blame for my continued absence; I
am stronger than that!—looking at the tattoo in his hand,
he remembered the reasons for the perennial brand—
the eight-spoke ship’s helm: the eight-fold-path—I must cut off my
desire for anger to be the solution and focus (140)
on the one path to Zara—the mind can push the body
further than the body believes is possible—the star:
the compass to guide me via celestial bodies
to where my heart can see the guiding beam of my lighthouse!
This is the Final Voyage epic thus far. I am converting Home into blank verse and it is taking longer than I thought to do; which is why that part is incomplete here. I also added line numbers. I changed The names as well.
Kendall Mallon Feb 2013
A man sat upon a pub stool stroking his
ginger beard while grasping a pint with his
other hand; an elderly gent sat down next to
him; this older man saw the ginger bearded
fellow’s pint was quite ne’r the bottom

A woman with eyes of amber and hair like
chestnut strolled through a vineyard amongst
the ripening grapes full of juice soon to become
wine she clutched a notebook—behind black
covers lay ideas and sketches on how to bring
the world to a more natural state; balancing
the wonders and benefits of technology with
the beauty and sanctity of the natural world

When the ginger bearded man finished
the last bit of his pint another appeared
before him—courtesy of the old man,
“Notice you got the mark of a man accustom
to the seas,” said the old man gesturing to
the black and blue compass rose inscribed
in a ship’s helm, imbedded into the back
of the ginger bearded man’s right hand.

“I have crewed and skippered a many fine
vessel, but I am giving up the sea. I have
one last voyage left in me—to my home.”

“Aye the sea can be cold and harsh,
but she captures me heart. To where
are ye headed for home, there son?”

“’tis not a where, ‘tis a who. Sets of events
have lead to separate from me my wife. I
have been traveling for  five years waiting
to be in her embrace. The force of the sea,
she, is a cruel one for at every tack, or gybe
I am thrown off my course to stranger and
stranger lands… I have gone to the rotunda
of hell and the gates of the so called heaven.
I have struck deals, and  made bets only a
gambling addict would accept. All to just be
with her. I am homesick—she is my home; it
doesn’t matter where—physically—we are
my home is with her. I was told to come to the
clove of Cork and wait, wait for a man, but I
was not told anything about this man only that
I must return him this,” the ginger bearded man
held out a silver pocket watch with a frigate
engraved on the front and two roses sharing a
stem swirling on the back upon themselves.

“Can it be? ‘tis my watch t’at me fat’er gave
me before he died… I lost t’is at sea many a
year ago; it left me heartbroken. For ‘twas me
only lasting memory of him… Come to t’ink
I was told by a beggar in the streets, I do not
remember how long ago, but it has been many
a years, t’at I would meet a man with something
very dear to me, and I would take this man on
a journey, and this man would have the mark
of a sailor. What is ye name? Can it be…?”

“My name is Lysseus dear old man—it seems
the Sea is holding up her bargain—though a
little late... do you have a ship that can fair to
Rome? All across this land, none a skipper will
uptake my plea; they fear the wrath of the sea.
If they have no fear, they claim my home ‘is not
on their routes…’ ‘tis a line I’ve heard too often;
I would purchase a boat, but the sea, she, has
robbed me identity and equity; I’m at her mercy.”

Penny with her rich chestnut hair sat on a fountain
in a piazza—her half empty heart longing to feel
the presence of the Lysseus and stroke his ginger
beard… everyday she would look out at the sea;
where she saw him leave port—five long years ago…

All said she should give up; that he
was dead by now—his ship (what
was left) was found amidst the rocks
of Cape Horn, but she knew there was
hope, she should feel deep inside her
soul he is alive somewhere fighting to
return home. Never would she leave;
never would she abandon her post.
She made that promise five years ago
as he set out on his ‘last’ sail off shore.
And she would be ****** before she
broke her promise—a promise of the
heart; a promise of love. He said, “You
are my lighthouse; your love will guide
me home—keep me from danger. As
long as you remain my lighthouse I will
forever be able to return home—to you.”

Off from Crosshaven the old man took
steadfast Lysseus en route to his home.
Grey Irish skies turned blue as they made
their way out on the Celtic Sea, southeast,
to the Straight of Gibraltar; gentle cold
spray moistened his ginger beard, his
tattooed hands grasped the helm—his
resolute stare kept the two on course.

It was a shame to the old man that this
would be Lysseus’ final voyage—he was
the best crew the man had known; he
was  not sure if it was just the character
of the  fellow or his personal desire to
return  home after five long, salty-cold,
years being a slave to the sea and her
changing whim—never had he seen his
ship sail as fast as he did when Lysseus
was his crew—each sail trimmed perfectly,
easing  the sheets fractions of an inch to
gain just the slightest gain in speed; the
sight warmed the heart of the old man.

The old man mused: maybe this is the
reason the sea has fought so hard and
lied to keep Lysseus from returning
home… she could not bear to lose such
fine a sailor from her expanses—she
is known to be a jealous mistress…

The old man, as he smoked his pipe, sat on
the back pulpit staring at Lysseus’ passion
to return home, as he calls her. But for all
his will and passion the, old man had to
insist for the fellow to rest; otherwise he
would go mad without sleep; reluctantly he
would retire below deck, but the old man
doubted the amount of rest he actually
acquired in those moments out of his sight.

The seas were calm as open water can be,
rolling swells rocked and pushed the vessel
forward. The Straight of Gibraltar opened
up on the horizon like a threshold—a major
land mark for the Lysseus; he was closer to
home than he had been in five long, salty,
years. His limbo was starting to fade, his
heart slowly—for the first time since he left
port—was beginning to feel whole again.
The Mediterranean Sea—his final sea—he
would not miss the gleam of his lighthouse…

The closer they sailed to Rome, he could sense a
change in the water, a change in the weather; clouds
grew darker and bellowed like gluttonous bulbs. As
he feared, the Sea was breaking her promise—she
was not done with him yet. She could not let him
return home—the jealous temptress who has ruined
many a fine men—the least honest of all the elements.

“I see she ain’t done wit’ ye yet,” said
the old man. Surveying the dark, grey,
clouded noon-day sky from the bow pulpit.

“Nothing will keep me from reaching home; even if I
have to swim the final nautical miles. I will not let the
Sea break her deal; I will make her keep at least one of
her deals. My love is stronger than her forces. That I
know for certain. That I know beyond doubt.” Such
cried Lysseus out to the darkening sea and old man.

As if on cue—waiting for Lysseus to finish
his soliloquy—the clouds let out a deafening
cacophony of thunder cracks rolling through
the heavens towards their vessel. Lighting
grounded on the horizon around them creating
a cage of light and electricity. The gentle rolling
swells grew in stature with every cracking
second. The bow smacked and dove into on
coming waves; drenching both Lysseus and
the old man; with each flood of water over
the deck. The swells grew to such heights the
horizon transformed into dark clouds and
white peaked waves merging with the sky.

A wave crashed over the windward side of
the ship, the force of it cracked the base at
which the compass stood fastened to the deck
of the cockpit a larger wave hit abeam further
loosening the compass from its purchase; with
the angle of the ship and the rise and fall in the
waves it was all Lysseus could to do hold on
and watch the Sea slowly take the ship’s
navigation instrument into Her dark cold depths…

“Oh why do you curse me you foul tempest?
Cannot you see all I desire is to return to my
home!? I have done all you asked; I have
played all your games and won! now it is my
turn now—time for you to play by my rules!”
Lysseuc beckoned the old man to seek refuge
below deck—he would sail them through the
storm, and assured him the ship would reach
port afloat; for, “I can feel my lighthouse in
the distance; do you hear me Sea? You can
take away our mariner’s compass, but you
cannot take away the compass in my heart;
and the light of my home on shore. Five long
years ago she made a promise to me to be
my lighthouse—to guide me home no matter
what—regardless what you do, Sea, you can
never break her promise—only your, promises.”

As a lighthouse she stood through the weather
of the night—risking pneumonia, for Penny’s
heart told her she could never abandon her
promise as the waters fell flat and the sun peaked
through the storm clouds, a silhouette stretched
in the sunrise light, pointing to her feet. Upon the
bow Lysseus stood, his eyes fixed at the dock
where his lighthouse stood, fixed. Upon the dock
he jumped into the warm, loving, arms of his
home both of their hearts became whole again.
In my head, this is the beginning of a longer epic, which I still have yet to write. Would any of you who read this like to have more to the story; or do you like it as it is?
Kendall Mallon Apr 2013
pigeons perch themselves preening
on marble fauns ambivalent to their
perch, while dark skinned men prowl;
seeking tourists (Americans) to sell
cheap novelty items, over priced, yet
bought to drive away the insistent
merchants; ignorant to the realization:
if you remain silent and don’t make eye
contact you will not forfeit your money...
merchants who ruin the peace and awe
of grand feats of sculpture—I know they
are human (on a base level)—craving
money to make a living, yet there are
many (more respectable) professions…
their presence  crowds the already
crowded (streets and) piazzas—aggregates
of language babble—old women and men
meandering along waiting to die—hoping
it is true: the slower you move the faster
time flows—if not: to hell with relativity!
(should have put chips on more than one table)
can math really explain all?—or
is life more than abstract objects?
while the din of crowds palpitates my heart
making way for anxious calculations,
C— and I hurry pass to find some area
to give the artefacts the respect they deserve
Howard Day Aug 2014
I looked up across the piazza and
saw a girl with ***** blond hair in a brown dress
in the fourth floor window of the blue building,
the one next to the building with the faded painting of the ******
on its facade.

She was looking down at the fountain,
and all of us sitting around it.
I looked down to grab my pen, but when I looked back,
all I could see were the lavender shades in the window,
swaying in the late afternoon breeze.

When I finished scribbling these stanzas, she was back
for a moment, as if to say one final farewell.
But not to me, but the fountain
And everyone else sitting around it.
Meandering like its canals
Venetian streets sing underfoot.
Who wore away the stone cobbled streets?
Who walked down to the shore?
Who gazed out at the Adriatic?
Who's dreams were lost in Venice's stream of streets?

Licentious lovers loved in Venice's streets, kissed on her bridges,
Crossed under by gondola and over by foot.
Proposed at the piazza San Marco.
Kissed, while the Grand Canal wound her way down.
Down into the sea,
where the menace that is the world, Venice shuns.

Rialto, Doge, Basilica, St. Marks, pigeons!
All evoke that lagoon city of streets.
Originally refugees, incolae lacunae ("lagoon dwellers")
Venetians, gave not only a place for the dispossessed,
but a place for the world to see, feel and taste.
Art, war, politics, commerce, spice and silk.

Venice with her ribbon of streets, alleyways and bridges
saw the Renaissance, the crusades, and the Black Death.
Glassware, paintings, sculptures, religion, refugees all
synonymous with that floating city.
A city returning to the water she arose from.
Subsiding with grief as she drowns in elegant decay.
© JLB
13/06/2014
Der Ganzumsonst Nov 2011
Save your sympathies,
And cradle your kisses
They need your words,
In light, speak softly.
In light, be cautious,
Don’t forget where you’ve set
Your feet and laid your head.
Nat Lipstadt Oct 2013
The High Line (Pearls Before Swine)

is located on Manhattan's West Side. It was an elevated train track, that runs from Gansevoort Street in the Meatpacking District (wholesale butchers) to West 34th Street, between 10th & 11th Avenues, near the Hudson River, running parallel to the river.  

The High Line was originally constructed in the 1930's, to lift dangerous freight trains off Manhattan's streets. The High Line, nowadays, is open as a public park, owned by the City of New York. The District is now a night life hot spot of elegant shops and restaurants, among the few remaining meat packing firms, a "scene." If not in a hurry, and unfamiliar with the High Line, look it up (see notes), to get a visual of image. Or not. I can't remember who I promised I would dig out my High Line poem, but a promise kept.
_________________

Walk­ed the High Line after work,
early summer afternoon,
a pubescent evening-tide,
the teenage colors
of the setting ball,
seize your breath,
your eyes, enthrall.

On Little West 12th Street,
climbed up to
breathe the green,
thriving railroad earth-beds
tucked so cute,
tween the rusted ties of
intrepid railroad tracks.
still working in
service to humanity;
nature supporters now,
a new kind
of freight carried.

Climbed up on the backs
of a jumbled combo of
dressed beef carcasses
and yuppie carc-*****,
both obedient to the
Law of Consumption:
Consume or be consumed.  

Looked down on them,
grazing,
gazed upon them
pseudo social-dancing,
they are all prowling,
cat burglars,
searching for felines, roosters,
to tango/tangle with till
the shameful dawn walk,
a final tally of who,
was consumed,
and who,
got consumed.

Watch with bemused fascination
at the children,
swilling and chilling,
some liquor, some swill.
nonetheless  admiring each other;
their Lauren cut and Hilfiger heft
the finest of fat veined lines,
decorating their svelte,
but very attractive,
full figured appearances.

USDA Grade A,
a genuine meat market,
humans and
animals guts,
intertwined.

The Highline,
an architect's composition
of summer grasses,
planted in nooks and crannies
of man's discarded invention.

Summer grasses in unison,
stadium waving to
the music of summer breezes,
Manhattan sounds,
clinking glasses,
goods and services exchanged.    

The view admires you -
Oh baby you look so fine,
Your hair, like the
Hudson River's aquas
is a shining, streaked,
by High Line highlighted
late afternoon,  
sun-setting golden sparklers.

Your gold chains entwining,
fire crackers on top of a
the blue ribboned river,
exploding, dazzling,
your obedient admirers.  

They complement your skin,
aglow, one of nature's works,
soon to be painted on a canvas,
across a horizon of a
pinkish-tinged lavender sky -    
a gift of the oh-so-refined
refineries of South Jersey.  

Cool summer afternoon in
the Meatpacking District,
traffic, human, automotive,
clogs the Gansevoort piazza,
a NYsee zone pietonne,
a Manhattan cocktail of
young strivers and Eurotrash,
where you check me out,
and I return the favor,
using a pre-certified checklist.

Are you young?
Are you hip?
Are you beautiful?
Do you possess
what it takes
to undress me?
Reservations and a limousine!

Everyone who's there,
by definition, is in,
otherwise where else
would they be!

Pearls of perfect people,
perfect lives,
in, around and
before, swine.  

Am I the only one
who gets the joke,
or is the joke, me,
because I just don't got it
in order to get "it"?

Am I the only one
who sees the dead,
ancient and newly arrived,
human and other kind,
the living,
sharing the animal spirits
of the Meatpacking district:
some animated,
some haunted,
some summer tanned
some blood drained,
ghostly white veined?    

In this city,
my sweet city,
city where I bore
my first breath,
city where I'll be laid down to
my permarest,
the hues of my life
are city pastels,
colorful shades of asphalt
and concrete gray and
dried blood,
interspersed with the
speckled glitter of the
potpourri of human creation.

The Highline, an architect's
composition of summer grasses,
planted in nooks and crannies
waving to the jazzed music
of Manhattan lives,
its history, summer breezes,
emblem of the city's only coda:

Transform, rebirth -
survive and prosper,  
or else,
be slaughtered and die.

Summer 2010
http://en.wikipedia.org/wiki/High_Line_(New_York_City)

Written years ago when long poems were the norm, and inspiration was in the odor of the air I breathed.
Sarà un cielo chiaro.
S'apriranno le strade
sul colle di pini e di pietra.
Il tumulto delle strade
non muterà quell'aria ferma.
I fiori, spruzzati
di colori alle fontane,
occhieggeranno come donne
divertite. Le scale
le terrazze le rondini
canteranno nel sole.
S'aprirà quella strada,
le pietre canteranno,
il cuore batterà sussultando
come l'acqua nelle fontane -
sarà questa la voce
che salirà le tue scale.
Le finestre sapranno
l'odore della pietra e dell'aria
mattutina. S'aprirà una porta.
Il tumulto delle strade
sarà il tumulto del cuore
nella luce smarrita.

Sarai tu - ferma e chiara.
I miss thee, I hath to admit
I want to witness again thy stunning smile so sweet
And how th' sun always kindly, and generously, touchest thy dark hair
Then shalt thou breakest into endless jokes and childish wit
'Fore rising a tender smile, as we greet each other by th' circular stairs.

I bet thou art still remarkable and stupendous as usual
Thou whom I'th known since last grey fall
By th' ponderous sleeping lake; in th' midst of a burly night;
Thou stared through me with a pair of unfathomable eyes;
as though thou couldst makest everything in my heart-better and right;
and yon, yon colourlessness of th' night, shinest so beautifully as butterflies.
Thou wert, indeedst, not th' paleness I had dreamed,
thou wert not bleak, thou wert not mean.
Thou still shined brightly though chilled and dimmed,
thou wert damp, but sunny-just like th' nearby shuffling trances
to which I had never been.
At times thou canst seem lazy, ah-but thou'rt indeedst not!
As just I do, thou liveth thy life from dot to dot,
thou leapest from time to time in my story,
thou, though far away, somehow always seem near,
and be sitting here idly with me and my poetry.
Thou might be close not to my ears,
but I canst listenest to thee; as thou eat and pray,
and as thou waketh, to every single inevitable day.
T'is life, which canst somehow be bitter,
shalt at times corruptest thy happiness and thy laughter;
wringing thee into false devotion and meanness,
but be sure, my love, t'at I shalt be thy cure;
I shalt be thy unhealed passion and all-new tenderness.
I shalt be thy first salvation, honesty and satiation;
I shalt be a scarf t'at giveth thee warmth, and thy hated mediation;
hated and dejected by t'is dreadful world, my love,
t'is world which knowest not t'at love is everything above.
And I shalt be thy heaven, and holiness,
and thy greenest grass when it is too dark,
as t'is world hurts and drivest away from frankness;
and within its grim sacrifice, lettest go of its single spark.
Ah, thee, thy innocence is just like my own soul,
but it is what makest thee divine as gold;
thou art ever pure, and incessantly pure,
and thy jokes and ventures and preachings flawless and true.
And in t'is weary life-which is sometimes faultless but unsure,
thou always makest me feel honoured;
makest me feel brand new.

Ah, Kozarev, thou art my immortal twin star,
and thy lips my sophisticated fragrant moon;
thou art my umbrella in yon idyllic heaven afar,
fade away not, but thou drifted away too soon!
My love, but sketchest again our undying night,
t'is time with a new ***** of light,
and giveth me comfort within which,
and flinch no more, for I shalt not flinch.
Thy genuinity is my nature,
thy childishness is my cure;
for t'ere are no more lips as naive as thine,
though t'ey oftentimes seemest spotless,
and t'eir toughness, seemest fine.

Ah, Kozzie, only fate t'at shalt makest out paths eventually align;
fate who hath sent me sweet prophecies, and a truthful bold sign.
Let me be thy grace, and thy sole, immortal lady;
let me be such craze, so t'at thou shalt always be with me.
I shalt be thy doll, and thy very own addict;
I shalt nursest, and cherishest thee every day of the week.
And joy, and its miraculous delight shalt be ours alone,
fallen fast asleep by night, and renewed by upcoming morns.
Together shalt we teasest every passing minute and hour;
and treatest all 'em nicely, just like how we deemeth t'at laugh, of ours.
And when nightfall greetest, sleep, my love, sleep;
thy red, innocent cheeks shalt I kiss; thy greatest dreams shalt I keep.

Kozarev, and fliest me again to th' melancholy Sofia,
wherein our peace shalt dwellest, and be cheered and alive.
But let me first fetch my old, talkative umbrella;
for Sofia shalt be full of rain; but one t'at makest it safe, and thrive.
Ah, Sofia, our little haven like yon nearby oak chatroom,
old as it is, but still-tenderer t'an t'is ever lonely gloom;
I bet Sofia is still warmer t'an t'is fraudulent war of my heart,
though it is, of now, far and sat by a land wholly apart.
Oh, Sofia, in which our love shalt be adequate, but still-inadequate,
for our love is more benign, ye' at times-more capricious t'an fate.
And it is raw, but ripe, like a mature cherry;
it hath neither tears, nor hate, nor brave worry!
Ah, my love; but again fly me, fly me, t'ere-
for cannot I waitest to live my life with thee;
and so promise t'at I shalt not bend, nor go else anywhere,
so long as thou shalt stayest, and liveth thy future years with me.

Oh, and I shalt forsaketh thee no more;
and disdaineth thee no more-thou art my sonata!
My delight liest in hearing thy sonnets be told;
thou sitting by me 'fore moonlight, down on th' starlit piazza!
Ah, Kozarev, please no longer makest my heart sore-
I am sick to death, I detestest t'is grief to th' core;
Burnest my heart's cries, and indulgest me in thy arms,
I shalt brimmest in thy glory; and gratefully lost, in thy charms.

As th' world turnest so weak and rough,
we shalt be th' sole ones to fall in love;
but our idyll is one t'is envious world cannot gather;
as it growest bleaker, as it turnest worse.
But Kozarev, having thee by my side shalt be enough;
and my days shalt be no more sad, nor tough;
Thou art th' candle, t'at lightest up th' life within me,
thou art th' candy, t'at livenest up all my poetry.
Khairul Anwar Aug 2014
"Have you ever sailed across an ocean, Donald? On a sail boat surrounded by sea with no land in sight. Without even the possibility of sighting land for days to come. To stand at the helm of your destiny. I want that, one more time. I want to be in the Piazza Del Campo in Sienna. To feel the surge as ten race horses go thundering by. I want another meal in Paris, at L'Ambroisie in the Place Des Vosges. I want another bottle of wine. And then another. I want the warmth of a women in the cool set of sheets. One more night of jazz at the Vanguard. I want to stand on summits and smoke cubans and feel the sun on my face for as long as I can. Walk on the wall again. Climb the tower. Ride the river. Stare at the frescoes. I want to sit in the garden and read one more good book. Most of all I want to sleep. I want to sleep like I slept when I was a boy. Give me that. Just one time. That's why I won't allow that punk out there to get the best of me, let alone the last of me."
EssEss Sep 2021
Italy's Capri admirably fits the bill as an enchanted island,
Nestled in the Bay of Naples, it's apt to call it wonderland,
It is famous as a coastal resort and a celebrated beauty spot,
Little wonder of it being touristy and a location often sought

The isle is seriously beautiful, sans any blemish in its splendor,
So little room for any shortcoming, chances of which are slender,
Breathtaking views from any angle makes Capri appear so scenic,
Futile to draw comparison to any other isle that is so panoramic

Capri is known as the isle of the sirens in Greek mythology,
It has very little to do though with any aspect of theology,
Long considered a preserve of celebrities and the super-rich,
The small precipitous island is a must-visit travel agent's sales pitch

Accessible only by ferry or hydrofoil from Naples and its surrounds,
The idyllic isle with sheer cliffs and dazzling seascapes visually astounds,
Steep cliffs rise majestically from an almost impossibly blue sea,
That the isle has that tangible deluxe feel, is for all to see

The island has a mythical charm with its jaw-dropping natural beauty,
Stunning landscapes from rocky caves to the horizon's edge lend to the popularity,
Shimmering sea views, secluded grottos lure visitors in droves to be on board,
Amazing cuisine, world-class shopping are bells and whistles; lest you get bored

Blue Grotto is an oceanic cave at the water's edge with an opening to the sea,
Optical effects created by sunlight bouncing on the cave walls, is a sight to see,
Water lit turquoise hues from below, by the sun, creates a magical atmosphere,
Shimmering cobalt-blue light images beckons us to a virtual optical stratosphere

Through the water on the floor of the cave, Roman remains are clearly visible,
Supposedly used as a bathing place by Emperor Tiberius, a reason nigh plausible,
This lagoon was probably a Roman villa with statues decorating the whole floor,
Other entrances to the grotto were created to improve irrigation, per Greek folklore

Capri's standout are three rocky peaks emerging from the azure blue water,
Called the Faraglioni, the limestone stacks are discernible to any spotter,
Formed by erosion, separated by water thro' collapse of solid land mass,
Emerging as steep rocks rising out of the sea, surprisingly not as a morass

La Piazzetta, aka chiazza, is a bustling diminutive square in the heart of Capri,
Table settings of the handful of cafes are meant for one to be carefree,
The colorful clock tower chimes every quarter hour throughout the day,
With thronging crowds at all times, little surprise why the place holds sway

Post ferry drop-off at Marina Grande, a road trip from Capri to Anacapri is a must,
Brace yourselves for a 3-km. stretch of hairpin bends en route in the mini bus,
On the slopes of Mount Solaro and at a higher elevation than Capri,
The more authentic side of the island and less crowded, is Anacapri

Piazza Vittoria in Anacapri town is the bustling bus stop square where one alights,
Sauntering thro' colorful bougainvillea, geranium festooned lanes is sheer delight,
Behold a mix of Neapolitan tailor shops, artisan shoemakers and souvenir shops,
Enjoy the aerial whiff of the town's lemon groves pervading everywhere, nonstop

Museum of Villa San Michele is a building articulating at various levels,
Ancient artifacts, Roman paving, marble columns are sights that revel,
An elevated garden with granite Sphinx and Greek tomb is a perfect setting,
For a sweeping view of the Bay of Naples below, that looks so enchanting

Continuing downhill, the Church of Santa Sofia is the pride of the town,
The adjoining Piazza Armando Diaz bustling with activity is a place of its own,
Locals chatting and reading newspapers presents such a wonderful sight,
Seated on hand painted majolica benches, as if conveying life is so bright

A visit to Capri is incomplete without tasting the famed Caprese salad,
The taste is so exquisite that one tends to break into a ballad,
Tomatoes, milky mozzarella, aromatic basil leaves are the sole ingredients,
A drizzle of sharply flavored olive oil does little to serve as an impediment

Restaurants abound the lanes with crowds' incessant chatter,
Panino Caprese being made in a jiffy is no laughing matter,
So popular is the salad that it can be found on every menu,
Strolling along past excited visitors, makes for the perfect milieu

It is with a heavy heart that you ferry back to mainland at the trip's end,
While enjoying the panoramic stunning views again, as if there's no end,
It is not without reason that Capri's famed "cliff beauty" is so majestic,
The only describable feeling of the experience is that it is "ecstatic"!
Travel poetry
Maggie Emmett Sep 2014
I catch the rapido train from Milano and edge slowly westward through the stops and starts of frozen points and village stations. The heating fails and an offer of warmer seats in another compartment. I decide to stay here. I put on my coat, scarf, hat and gloves and sit alone. In my grieving time, I feel closer to the cold world outside as it moves past me, intermittently. Falling snow in window-framed landscapes.            

Sky gun metal grey
shot through
with sunset ribbons.
                                                                                                          
Dusk eases into black-cornered night. After Maghera, the train seems to race to the sea. It rumbles onto the Ponte della Ferrovia, stretching out across the Laguna Veneta. Suddenly, a jonquil circle moon pulls the winter clouds back and shines a lemony silver torch across the inky waters. Crazed and cracked sheets of ice lie across the depthless lagoon. The train slows again and slides into Santa Lucia. I walk into the night.                                                                                               
Bleak midwinter      
sea-iced night wind
bites bitter.
                                                                                                      
No. 2 Diretto winding down the Canal Grande.  The foggy night muffles the guttural throb of the engine and turns mundane sounds into mysteries. Through the window of the vaporetto stop, the lights of Piazza San Marco are an empty auditorium of an opera house. Walking to Corte Barozzi, I hear the doleful tolling of midnight bells; the slapping of water and the *****-***** of the gondolas’ mooring chains. Faraway a busker sings Orfeo lamenting his lost Eurydice, left in Hades.
I wake to La Serenissima, bejewelled.                                                                                                                           
Weak winter sunshine
Istrian stone walls
flushed rosy.
                                                                                                          
Rooftops glowing. Sun streaming golden between the neck and wings of the masted Lion. Mist has lifted, the sky cloudless; I look across the sparkling Guidecca canal and beyond to the shimmering horizon.          
Molten mud
bittersweetness demi-tasse
Florian’s hot chocolate                    

I walk the maze of streets, squares and bridges; passing marble well-heads and fountains, places of assignation. I walk on stones sculpted by hands, feet and the breath of the sea. Secrets and melancholy are cast in these stones.                                                                  

At Fondamente Nuove, I take Vaporetto no.41 to Cimitero. We chug across the laguna, arriving at  the western wall of San Michele.  I thread through the dead, along pathways and between gravestones. At the furthest end of the Cemetery island, Vera and Igor Stravinsky lie in parallel graves like two single beds in an hotel room. Names at the head, a simple cross at the foot of the white stone slab. Nearby, his flamboyant mentor Serge Diaghalev. His grave, a gothic birdbath for ravens, has a Russian inscription; straggly pink carnations, a red votive candle and a pair of ragged ballet shoes with flounces of black and aquamarine tulle tied to their the ribbons. So many dead in mausoleums; demure plots; curious walled filing cabinets, marble drawer ossuaries.
                                                                                                      
Bare, whispering Poplars
swaying swirling shadows
graves rest beneath          

I walk to the other end of the island and frame Venezia in the central arch of the Byzantine gateway.  I see that sketchy horizontal strip of rusty brick, with strong verticals of campaniles and domes. It is here, before 4 o’clock closing time, I throw your ashes to the sea and run to catch the last boat.                                                                                          

Beacon light orange
glittering ripples
on the dove grey lagoon.

© M.L.Emmett
First published in New Poets 14: Snatching Time, 2007, Wakefield Press, Kent Town SA.
To view with Images: Poems for Poodles https://magicpoet01.wordpress.com
I wanted to write a Haibun (seasonal journey poem interspersed with haiku). I love Venezia but only in Winter.
Brian Oarr Feb 2012
The fundamental phenomena in nature are symmetrical
with respect to interchange of past and future.* --- Richard Feynman

                 Millions for Defense

In the Cabinet room of Monticello, clutching Decatur's letter,
the President removes his wire-rimmed glasses ---
Frigate Philadelphia has been burned.
Decanting a bourbon, he pours and quaffs.
Outside in the piazza the cicadas' din is unbroken.
The Pasha of Tripoli has his tribute!
In three short hours warm rays of sunlight
will greet the outstretched arms of Earth,
but for now the bourbon scintillates.
Ink splatters on the blotter,
as he pounds a clenched fist upon the desk.
Not one cent!, he pronounces to the wall-clock.
Cicadas hold sway in the Charlottsville night,
but on the Barbary Coast a fire is raging.
Sole di mezzogiorno, nel luglio felice, sulla piazza deserta:
piazza lontana di città lontana, tu ed il tuo uomo,
e quello era il mondo.
Bianca nella tua veste, bianca vibratile fiamma tu pure,
nell'abbaglio d'incendio dell'aria.
Bianco il tuo riso perduto nel riso di lui, fresco di polla il
tuo riso d'amore tra il vasto fulgere ed ardere.
Non sarebbe discesa la notte, non sarebbe venuto il domani,
tua la luce, tuo l'uomo, tuo il tempo.
Fermasti il tempo in pieno sull'ora solare per cui in terra
tu fosti divina:
il resto è ombra e polvere d'ombra.
marriegegirl Jun 2014
Le Regency Conference Center

Le Regency Conference Center à O'Fallon offre des options de mariage à la fois intérieure et extérieure, de robe bustier ceremonie sorte que si la pluie devient un problème, vous n'aurez pas à vous inquiéter. Le centre se trouve sur les rives d'un lac de 6 hectares qui comprend fontaines. Une pergola extérieure sert de lieu de cérémonie et le Garden Piazza détient réceptions ou sert de salle d'attente avant le début du mariage. Nourriture à l'extérieur, à l'exception d'un gâteau de mariage, est interdite, mais le centre dispose d'une facilité de restauration avec un menu complet à partir de laquelle choisir. Inclus avec le forfait mariage robes de mariée couleur du centre est l'éclairage de la tête et table gâteau, découpage du gâteau et le service et une fête de mariage dressing. Le Larimore Plantation House

La Plantation House Larimore à St. Louis est l'un des plus grands plantations dans le Midwest. Cet établissement historique est inscrit sur le registre national des lieux historiques. Soit organiser votre cérémonie en plein air dans le jardin ou dans la chapelle de mariage historique, puis la tête à l'extérieur pour la réception. Il ya des sièges pouvant accueillir jusqu'à 250 invités. L'un des co-propriétaires de la plantation sert de coordonnateur de mariage pour aider les parties à la personnalisation de l'événement. Le Missouri Botanical Garden

Le Jardin botanique du Missouri à St. Louis englobe 79 acres d'écrans horticoles disponibles pour un événement spécial location y compris les mariages. Organisez

http://www.robesdemariee2014.com/bal/garoune-robes-de-bal-s-p-14301.htm

votre mariage dans le jardin de buis Blanke, jardin chinois, Gladney roseraie, jardin japonais ou le Rose Garden Lehmann. Le Jardin de Chine est idéal pour une cérémonie intime, avec des places debout pour 25 personnes. Le jardin japonais offre le plus d'espace, avec des sièges pour jusqu'à 200 personnes. Vous devez commander tous les aliments de restauration St. Louis, planificateur de partie exclusive du jardin. Crystal Banquet de jardin et Event Center robes de mariée couleur
cristal Banquet de jardin et Event Center est à Edwardsville, Illinois, au nord de Saint-Louis. Organiser votre mariage dans le jardin privé de l'établissement, qui peut accueillir plus de 400 personnes. Les jardins comprennent une pergola pour la cérémonie, un étang à poissons et des cascades. Deux grandes salles intérieures sont disponibles pour la tenue de la réception. L'établissement de restauration sur place propose plusieurs centaines d'éléments de menu qui permet de choisir.
v V v Jan 2014
(Or Bi-Polar Disorder)

I. Depressive phase- 
   
I love you for your kindness first,
then for the peace in your eyes.
How could anyone as sure as you
not be the one sent to save me?
But save me from what?  
From doubt?  From myself?
You are God’s gift to me yet
I can't help it sometimes
I picture myself ten years down
the line with you not caring
and me destitute and homeless,
living on the streets, alone.

           When the transition comes
            I see it come and embrace it,
            picking up speed it screams over me
            like a snow white avalanche,
           a huge chemical ****** in my brain
           that cannot be stopped.


II. Manic phase-

Here I like to entertain myself
with vain fantasies of sainthood.
I’m standing and waving
to the faithful in Piazza San Pietro,
doing what’s necessary to secure
my martyr’s destiny in the after life
where I’ll have a place of honor
in the great hall of God, and through
a window in the floor I’ll be able
to see my mourners
filing past my gaudy reliquary,
crossing themselves as they gaze through
the philatory glass at the peaceful repose
of my sequin studded bones.

           *I have come to understand that
           this matter may never be settled.  
           I’d truly give anything for you
           to have  power enough to hold me
           in the middle, to hold me in
           the purple fog nothingness
           but I believe it tires you
           to prop up a puppet all day.
           You’d rather love me in each moment
           which is the truest love there is
           and that makes me the luckiest
           man on the face of the Earth.
Piazza San Pietro = St Peter's Square, the Vatican
Reliquary = A shrine for the storing of religious artifacts, especially relating to saints
Philatory = A box in a reliquary with a glass top or side for viewing the boxes contents

For more information check out this link, I promise it is worth a look!

http://www.dailymail.co.uk/news/article-2413688/Incredible-skeletal-remains-Catholic-saints-dripping-gems-jewellery-
dug-Indiana-Bones-explorer.html
Sandra Jan 2013
Let’s pretend its kismet
I’m not opposed to that
We can meet in the piazza
Have ourselves a chat
You’ll know me by my red dress
That I have chosen for this day
And the trio serenading us
Will see our voice in sway
You may order coffee
A latte for me please
Maybe we can break some bread
Fon due our talk with cheese
Pigeons on the cobblestones
Will flap their wings in pray
Lovers smile a knowing
As we hand in hand our day
You may bring your camera
To mark this fait accompli
And I’ll scribble in my notebook
My Je t’aime, mon chéri…
Yue Wang Yitkbel Jun 2019
Jacques de Rouge

The wandering pilgrim

Of poetic seekings

Drifted away once again

Oppose the Homeland Paris

And into the Heart of Italy

Known for many feats

Though,

One was in particular

Unmistakable

It is the City of Dante



Firenze, in a frenzy

Have manifested itself

In the Golden Light

Of heavenly stars to be

Alive with all characters

Past and passed.

Opening wide behind

Lorenzo Ghiberti’s

The Gates of Paradise

Dante himself emerged

From the centre

Of the Florence Baptistery

And ascended toward the light

The opening of Hope and Stars

Among the rings of Heaven

Jacques de Rouge followed,

In pursuit.

And kneeled before him,

As Dante stopped and stood

With the Eagle!

In Piazza di Santa Croce.



When Jacques de Rouge stood

In a shadow at Palazzo Vecchio

The shadow revolved like

Da Vinci’s Helicopter

With what seemed like

A bulging knot at the end.

Barely missed his head

Jacques de Rouge

Realized the swings

Were from the slingshot

Of none other than

That of the one masculinity

Of all masculinity

Michelangelo's David.



His marble complexion transformed

Almost ever so light and faintly

Into a smooth and pale flesh.

Jacques cast his eyes down

In an unavoidable instinct of shame.

When he looked up, the flesh

Is now a single dangling foot

Seconds from stepping into

The Niche of Orsanmichele

And approaching his beloved Christ.

Amen, and he proceeded.

Discreetly into the Secrets of Sandro Botticelli,

That which is secured marvelously

As the Standing Monument of

Giotto’s Bell Tower

And

Brunelleschi's Dome.



The Three Graces danced

The Venus stood in the classical position.

And one woman looked wearily at Jacques

Staring into his eyes.

And yes, Heaven it was.

As Jacques stood in the illusion of the weightless contrapposto.
Repost of an older poem:
The City of Dante

Wednesday, May 22, 2013

2:04AM

Yue Yitkbel Xing ****
Darbi Alise Howe Jun 2013
Find me in the piazza where Neptune's confined
As night makes phantoms of us two entwined
Hold me tightly, with all your power
When we come across that evil tower
Where the feet of men once danced upon air
Please - do not let us not linger there
Instead, take me to the statues ball
Where shadows waltz across the wall
We'll join them in this moonlit masque
And spin until dawn begins her task
As darkness burns in morning's fire
Take my hand so we may retire
I'll place my head upon your naked chest
And savor the silence in which we're blessed
But most of all, do not let me leave
For home is not a place to grieve
Keep me here, until our hearts cease to endeavor
In our final moment, we will live forever.
One night in Florence
Katie Hetherman Nov 2011
Air: soft, warm, old, kept and distilled,
grasps my skin in heat so comfortable
enveloping the chill from moments before,
dissolving in a sultry, lustful sun.
Hot wind: solid and intentional,
wavering the stillness
surrounding the ancient new touch.

Men, voices rough with the fragility of age,
shouting foreign words with a friendly bounce.
Language unfamiliar, intent unclear.
Bells ring distantly, and then twice close by.
The avalanche begins, rolling chimes, rolling in time.
An unheard beauty unfolding.
The song of Mother Nature, different than the norm,
dancing around the chimes, complimenting sound.

Traditional and bold,
the spices swing past.
Recipes from generations back.
Gasoline and pollution abide miles away.
Warms and colds become defined,
crisp, triggering hunger.
Carts of fresh pastries release a delicious smell.

Coming to consciousness through scent.
Close to dining, the desire grows.
The cold ruins the warm mouth,
dissolves hunger, sweet and smooth.
Longingly, another sugary scoop drains the tongue.
This soft, delicious taste.

Unmasked beauty in historically bruised walls.
Faces of heroes, faces of citizens,
Colours of all sorts held in small cups and bowls,
Youth spread out soaking in the yellow sun,
Yellow skin and wrinkles instilled over time--
In the piazza.
Evan Stephens Oct 2019
Look at this Moor,
with his dolphin
held like a bagpipe
splitting with water,

while beside him
tourists stack three deep
grabbing at their beer,
pretending to ponder

the veiled Nile,
while their eyes slant
towards the open seats
at the cafe and the Aperol

that issues so freely
you'd think Neptune
was pouring it out, too.
The sun is wincing citrus

above the high windows
that overlook the plaza,
laughter cresting above
the tourist scrum, and

children scream with gelato
strung between their fingers.
People like to be close
to history, but not too close.

If the old stones spit water
pleasantly, so much the better.
Browse the pamphlet,
tell the wife it's Bernini,

not knowing that Bernini
once paid a servant
to take a razor to the face
of his mistress because

she slept with his brother,
because history's scrawled
as much in blood as in marble,
and the colossal Pantheons

of the world are easier
understood with a dizzy
laugh and eyes shining
with afternoon wine.
CH Gorrie Apr 2015
Where did I come from?
A country of what?
Big hearts?

That's what the guestbook said,
And the amnesia makes anything else suspect.
Still...

A chipped Greek frieze;
Shade inching over insalata Caprese;
Piazza Cavour from a smudged helicopter window at noon;
Faces in a crowd at LOVE park, rapid fire;
Dusk in an Irish cemetery;
Lakeside heather.

This departure is like rewriting
A book from memory.
How much of me—if any—is there?
Poem for day 4 of National Poetry Month.
Sam Kirby Aug 2015
Non-believer in a holy land,
Stained glass tells my favorite fairy tales,
While crypts whisper to the Angel choir,
"Gloria a Dio.. Cristo Pietà."

The street reeks of burnt things,
Incense offered to the man in the hills.
Perched above the people and nestled below the heavens,
The tranquil streets carry their own version of history.

Father says this place holds magic,
And I fear to displease him.
I'll pray for him on graves and make blood sacrifices,
But not for me, my soul is already liberated.

The streets glow bright neath the shadow of church spires,
A history that speaks for itself.
The hills will sing its praises as will I,
For the piazza of storytellers,
For the direct line to martyrdom,
Never will I fathom them.
Outsider observations in the Franciscan hermitage, Assisi.
Nat Lipstadt Apr 2021
What Walt Whitman Knew About Democracy


For the great American poet, the peculiar qualities of grass suggested a way to resolve the tension between the individual and the group.


When Walt Whitman began conceiving his great volume of poetry, “Leaves of Grass,” in the 1850s, American democracy was in serious danger over the issue of slavery. As we celebrate National Poetry Month this month, the problems facing our democracy are different, but Whitman still has a great deal to teach us about democratic life, because he saw that we are perpetually in danger of succumbing to two antidemocratic forces. The first is hatred between Americans, which Whitman saw erupt into civil war in 1861.

The second danger lies in the hunger for kings. The European literature and culture that preceded Whitman and surrounded him when he wrote “Leaves of Grass” was largely what he called “feudal”: It revolved around the elect, the special, the few. Whitman understood human fascination with kings and aristocrats, and he sometimes tried to debunk it. But mostly he asked his readers to shift their interest away from feudalism to the beauties of democracy and the challenge of sustaining and expanding it.

Whitman offers one metaphor for the grass after another, and one feels that he could go on forever.

This challenge is what inspired him to find his central poetic image for democracy, the grass: “A child said, What is the grass? fetching it to me with full hands.” Whitman says that he can’t and won’t offer a literal answer to the question. Instead he spins into an astonishing array of “guesses.” The grass “is the flag of my disposition, out of hopeful green stuff woven”; it’s “the handkerchief of the Lord…Bearing the owner’s name somewhere in the corners, that we may see and remark and say Whose?”

To Whitman, “the grass is itself a child…the produced babe of the vegetation.” “Tenderly will I use you, curling grass,” he writes. “It may be that you are from old people and from women, and from offspring taken soon out of their mothers’ laps / And here you are the mothers’ laps.” He offers one metaphor for the grass after another, and one feels that he could go on forever.



But mainly Whitman’s grass signifies American equality: “I guess it is a uniform hieroglyphic,/And it means,/Sprouting alike in broad zones and narrow zones,/Growing among black folks as among white,/Kanuck, Tuckahoe, Congressman, Cuff,/I give them the same, I receive them the same.” Whatever our race and origin, whatever our station in life, we’re all blades of grass. But by joining together we become part of a resplendent field of green, stretching gloriously on every side.

Whitman found a magnificent metaphor for democratic America and its people. Like snowflakes, no two grass blades are alike. Each one has its own being, a certain kind of chlorophyll-based individuality. Yet step back and you’ll see that the blades are all more like each other than not. Americans, too, are at least as much alike as we are different, and probably more so. America is where we can be ourselves and yet share deep kinship with our neighbors.

And who are our neighbors? Kanuck, Congressman, Tuckahoe, Cuff—Canadian, legislator, Virginia planter, Black man, all of the teeming blades of grass that we see around us. When you stand back far enough, you can’t see any of the individual blades, but look closer and there they are—vibrant and unique, no two alike. We say “e pluribus unum,” from many one. But who could have envisioned what that would look like and how it would feel before Whitman came along?


MORE IN IDEAS


The grass is Whitman’s answer to the problem that bedeviled his contemporary Ralph Waldo Emerson: how to resolve the tension between the individual and the group. Emerson is sometimes hopeful that the two can cohere. When you speak your deep and true thoughts, no matter how controversial, he believed that in time the mass of men and women will come around to you. Each will say, ‘this is my music, this is myself,” Emerson says in “The American Scholar.” But mostly he is skeptical, believing that society is almost inevitably the enemy of genius and individuality.

Whitman’s image of the grass suggests that the one and the many can merge, and that discovery allows him to imagine a world without significant hierarchy. Can any one blade of grass be all that much more important than any other? When you make the grass the national flag, as it were, you get to love and appreciate all the people who surround you. You become part of a community of equals. You can feel at home.

We can look at those we pass and say not ‘That is another’ but ‘That too is me. That too I am.’

In “Leaves of Grass,” soon after he offers his master metaphor Whitman rises up to view American democracy from overhead. The poem’s famous catalogues of people doing what they do every day are quite simple: “On the piazza walk five friendly matrons with twined arms;/ The crew of the fish-smack pack repeated layers of halibut in the hold,/The Missourian crosses the plains, toting his wares and his cattle,/The fare-collector goes through the train—he gives notice by the jingling of loose change.”

This is your family, these are your sisters and brothers, Whitman effectively says. In general, we walk the streets with a sense of isolation. But if we can move away from our addictions to hierarchy and exclusive individuality, and embrace Whitman’s trope of the grass, our experience of day-to-day life can be different. We can look at those we pass and say not “That is another” but “That too is me. That too I am.” Or so Whitman hopes.

Of course, the benefits that Whitman promises do not come for free, or simply by reading his poem. We’ve got to meet his vision halfway, by being amiable, friendly, humane and nonhierarchical. This repudiation of hierarchy is not so easy; it’s not clear that even Whitman himself pulls it off. Isn’t he trying to be a great poet, the first truly American bard? But his effort matters. He knew that democracy is always vulnerable, that the best hope for human happiness could disappear from the earth. But Whitman would not let that happen without a fight.

—Mr. Edmundson is a professor of English at the University of Virginia. This essay is adapted from his new book “Song of Ourselves: Walt Whitman and the Fight for Democracy,” published this week by Harvard University Press.

Copyright ©2020 Dow Jones & Company, Inc. All Rights Reserved. 87990cbe856818d5eddac44c7b1cdeb8
Appeared in the April 17, 2021, print edition as 'What Whitman Knew About Democracy.'
Existential me Feb 2018
Twenty and two years have passed, feels like a millennia.

I left my heart and soul on the dock of  Palau, Sardinia.

I can remember my love and I bathing in the Mediterranean Sea.

Love making under a midnight sky, the moon, my Sophie and me.

She kissed me with a passion that was non contested.

Held me with a strength of faith and none could test it.

I can see her dancing at the Piazza due Palme where we use to

meet friends and mingle.

She always said whenever she looked at me her insides would tingle.

It must have been true for her brown eyes would shine…

It never occurred to me that she would not always be mine.

I don’t know why I thought about her so much today…But anyway.

It’s been twenty and two years since Sardinia.
Thinking of Sophie...
Sarà un cielo chiaro.
S'apriranno le strade
sul colle di pini e di pietra.
Il tumulto delle strade
non muterà quell'aria ferma.
I fiori, spruzzati
di colori alle fontane,
occhieggeranno come donne
divertite. Le scale
le terrazze le rondini
canteranno nel sole.
S'aprirà quella strada,
le pietre canteranno,
il cuore batterà sussultando
come l'acqua nelle fontane -
sarà questa la voce
che salirà le tue scale.
Le finestre sapranno
l'odore della pietra e dell'aria
mattutina. S'aprirà una porta.
Il tumulto delle strade
sarà il tumulto del cuore
nella luce smarrita.

Sarai tu - ferma e chiara.
Sarà un cielo chiaro.
S'apriranno le strade
sul colle di pini e di pietra.
Il tumulto delle strade
non muterà quell'aria ferma.
I fiori, spruzzati
di colori alle fontane,
occhieggeranno come donne
divertite. Le scale
le terrazze le rondini
canteranno nel sole.
S'aprirà quella strada,
le pietre canteranno,
il cuore batterà sussultando
come l'acqua nelle fontane -
sarà questa la voce
che salirà le tue scale.
Le finestre sapranno
l'odore della pietra e dell'aria
mattutina. S'aprirà una porta.
Il tumulto delle strade
sarà il tumulto del cuore
nella luce smarrita.

Sarai tu - ferma e chiara.
Jon gregg Dec 2012
Rooms, Doors, Windows

One part of me thinks that it is what makes it, and the parts and pieces are what holds it together. Like a cat with its tail, whiskers, and paws

Another part of me thinks that a thing is what you make of it, like a desk: the  broken Mike Piazza bubble head, the mini pencil that's on it's last tip, and the dirt stains on the floor below for that time you went for a walk in the rain.

No your wrong, parts are held together by the things they are made of like the old "The Game Of Life" board that's on your shelf. The pieces and cards make up the game and when you play it you will need all those pieces to do it.

But in life you need something to be sentimental about, not only will you be happy but it gives you hope. To use your example of "The Game Of Life" board, sure those bits and pieces don't have much and they are needed. But they have meaning to each person, like the guy who always goes for the blue piece because that's his favorite color. Or the person who decides they don't need college and they said "it's because I'm none conformist"


The moral of this conversation is to prove to people that life is like a house, a house is made of rooms, doors, and windows but each house is different because each house has a story. Every door has been opened to see what treasures lie within, every window has been looked at and sometimes looked through,and every room has been built to fit the owners vision. Happiness grows.

— The End —