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Brad Lambert Oct 2013
(I)

Whose coat is this? Sure as hell isn't my coat. I ain't got no coat with this parka ****, it's *******. I ain't no furry flamin' ******. I ain't no ****** chochy Molly-May-Ze-**** chokin' down chickens and nasalin' a'sniffin' snortin' nasty-*** choch; that ain't me. That ain't me. Look at this coat– I'm like an Eskimo *****. I'm like a butch-**** bull-**** crotch-lappin' a'swimmin' laps in that guy's swimmin' pool. Who's that guy? Who owns that guy? 'Ey, anyone here the owner of this guy– guy ain't got no owner? Whose coat is this? It's nice, real nice. Bet she said, "Does it come from France? Where do I buy one?" I want to buy one, I think I need to buy **** more. I sure as hell need to buy one of these. "And I need one these too and one of them too and I need a petticoat and a tipper-tapper and a whimpratic garfielder and one of them new bartlemores, I need more of them bartlemores. I need more, more, more, more, more, more..." That ain't enough. ****'s from France. ****'s from Paris, that's romantic. You think I'm romantic? I eat hearts for dinner, I chew down nails like nuts for my midnight snack. I smoke cigarettes and spit on concrete slabs, you think that's ****? I'll show you ****. I'll show you Paris, New York City, Rome, romance you in Rome. I'll get real ******' Roman. I'll take you to the desert and make love to you. That's how a free man does a woman, and I'm a real free man. Who's ownin' this guy? It ain't you, it ain't me. I don't own you, you don't own me. I'm a free man:

I said,
"Fire and wood, fire and wood, fire and wood. It is late, it is late, it is far, far too late."

I set
fire to wood, fire to wood; feel that fire fired fresh from that firewood.

I dug the pit,
he gathered the wood,
she started the fire.

She really does make that fire start.

O' how she makes that fire burn,
O' how the wood's wrapped in white hots,
O' how they smoke their smokestacked pipes,
O' tobacco teeming teenagers, tormented by and through youth,
O' adolescence, trending topics, and forget-me-not flowers,
O' old age, Floridan coffins, and coughing  cancers,
O' writers in the mountains writing to be,
O' painters and **** bodies in studies by the sea,
O' thinkers in their mindset, mindsetting the table for dinner,
O' tables set to bursting,
O' wallets so thick,
O' community,
O' society, our social games,
O' hope,
O' peace,
O' that I may be at peace,
O' that I may be content and pray only for peace,
O' how about them true believers,
O' how about that love at first sight,
O' sandstone. My sandstone. That guy sittin' on sandstone.

That's my guy. That's my guy. I own this ****.

Is a man breathing on a mirror the sum of his breaths?
Breaths foggin' a'mistin' my view,
my view of a body and that face,
you're a body.
You're a workin' day's bell,
you're my chill in an Icelandic draft,
you're my spare in a Middle Eastern draft,
you're my pawn in chest-to-chest chess.

You've got this. You've got this. You own this ****.

And it is ****, too. I'd be set, real ******' set, with someone like you. I'll make you a woman, check this parka ****. Coat's mine. I'm a classy igloo runner, runnin' a'ragin' a'czebelskiin' meriteratin', I'll be reiteratin' your points. Check the time, it's late! It's late! ***** was in the grassy knoll turnin' trap tunes on her turntable. Would you listen to that? She sounds late to me, does she sound late to you? I like the music; I like the music. What happened to Woodstock? Where's my watergate, Nixon? Where's my generation, Ginsberg? Where's the meaning? This music's too loud! We're so profound! O' profundity!

Tell me something I didn't know, I'm craving' the new.
Give me the new while I spit on the old,
while I spit on this fine art finely art'd by and for fine artists–
******' fine artists. ******* fine artists.

(You can realize radical-realist realism but you can't be real with me?)

O' fine art!
What fine art!
Which fine artists are dead?



(II)

Looks like they're dead.

Looks like them ******* choked out all them ghettos, choked out all them rednecks, chokin' a'stranglin' by-God-oh-God straddlin' the breeders. I sure did like them babes– babes with their laughin' a'lackin' o' cynicism. They don't know the word "****."

I sure am forgetful–
I forgot that smoke doesn't dissipate,
I forgot how to smell autumn leaves,
I forgot to check the heart against the fingertips,
I forgot why my fingertips went numb,
I forgot to cue in the meaning when the sentence was complete,
I forget to complete my sentences,
I forget who you were wanting when you said, "I want you."

I got as much depth as an in-depth discussion, high hats and electropercussion have got me going. I'm goin' downtown, uptown bourgeois tricked me out, johns and yellow Hummers laid me down and cussed me out. That's not a discussion. That's not my scent scenting my towel, this breath reeks of wintry air– my fingertips went numb.

"I want you."

"Oh would you look at that moon?
Take a look at that moon.
Look at that moon with the ******' mountains.
I love that moon.
That's my moon."

I love darin' a'dusty dareelin' derailin' your dreams, whose dreams are these? They ain't my dreams– ain't no dream derailin' a'nileerad radiatiatin' some hint of joy or Jamison Scotch Liqueur. Drink that ****. That's my ****, I own that ****.
I'm sittin' on this stoop like I own this ****, like this **** owns me; I owed me. I don't own me, you owe me:

Pay up man, feet off the stoop.
Pay up man, be real with me.
Pay up man, you ever thought of a man as a man?
Pay up man, give it in.
Pay up man, give in.
Pay up man, I need you to do me a solid. Do me solid from crown-to-toe, we're toe-to-toe let's do-si-do bro-to-** I'm ready go, **, jo, ko, lo, get low… Now I'm ramblin'. You say, "Ramble in to the stoop and tell me a story."

What's a stoop– who's a stoop? That **** ain't stoop– you ain't stoop. You're stupid. You're a joke, check out the joke. Hey ladies, you seen this joke– joke ain't been seen by them ladies? I'm a joke. We ain't laughin' with you, they're laughin' at you.

O' hilarity!
Such hilarity!
What hilarious histories have passed?



(III)*

"I said I loved him once. I only loved him once."
(
And how long once has been...)

I sure did like them hand-holdins,
them star-gazin' moments,
them moon phasin' nighttime nuances,
them fingertip feelin' a'findin',
them sessions o'meshin' limber legs unto steadfast *****,
heads cocked like guns toward the sky,
beyond the horizon
but well
below the belt.

Them star-gazing moments seeing stars seemin' small, I love how they gleam- gleamin' a'glarin' comparin' shine to shine, shimmerin' a glimmer shone stumblin' her way home from the bar. She's drunk. She's brilliant, brilliance of whit and wantin' a'wanderlustin' gypsy nomads- that ***** gyp'd me, no mad man would take a cerebral slam to the face lest them moving pictures are involved. Read a ******' book, it'll last longer. Kiss me on the collar bones, clavicles shone shining with slick saliva pining for my affections. You're clammerin' to feel me, clammin' up (Just feel me.) I want to run my hands through long hair and peg the nausea nervosa to the wall. The writing's on the wall:

The sun bent over so the moon could rise, chanting,
"Goodbye and good riddance,
I never wanted to shine down
on them seas o' tranquilities anyhow."*

O' what a day. What a day.

And the wind ruffles leaves and it ruffles feathers on birds eating worms in brown soil.

What a day. What a day.

And the men under the bridge gather in traitorous conversation of governments overthrown and border dissolution and poetry with meters bent out of tune.

What a day. What a day.

And the billboards are dry for all the consumers to consume, use, and review.

What a day. What a day.

And hearts break messiest when you're not looking.

What a day. What a day.

And the ego and the id and the redwood trees are talking. They're sitting **** in the marshes, bathing in the bogwater while fondling foreign fine wines and whisperin' a'veerin' conversations towards topics kept well out of hand, out of the game, nontobe racin' in races, rampant radical racists betting bets on bent, bald Bolshevik racists wagging Marxist manifestos in the bourgeois' faces, yes. Make it be. Nontobe sanity as the captain creases his pleats, pleasin' her creases and the dewdrops of sweat trailing down the small of her back– down the ridge of her spine forming solitary springs of saline saltwater in the small of her back. Aye-aye, guy's pleasin' a'makin' choices a'steerin'– government's a'veerin' a hard left into the ice.

'Berg! 'Berg!
Danger in the icy 'berg!
None too soon a 'berg!
Bound to bump a 'berg!
O' inevitably unnerving 'berg!
Authoritative 'berg!
Totalitarian 'berg!
Surveillance of *** and the sexes 'berg!
O' fatalist fetishist 'berg!
Benevolent big brother 'berg!
Homosocial socialization 'berg!
Romanticized Roman 'berg!
O' virginal mother 'berg!
City on a hill on a 'berg!
Subtly socialist 'berg!
Nongovernmental 'berg!
O' illustrious libertine 'berg!
Freedom of the people 'berg!
Water privatization 'berg!
Alcohol idolization 'berg!
O' corrupt and courageous 'berg!
Church and a stately 'berg!
Pray to your ceiling fan 'berg!
Biblically borne 'berg!
O' godly and gorgeous 'berg!
Ferocious freedom fighters launching lackluster demonstrations far too post-demonstration feeling liberty and love, la vie en rouge, revolving revolutionist ranting on revolution tangible as
an ice cold 'berg.

'Berg! 'Berg!
O' the 'berg, the ****** iceberg–
You'll be the death of me.
Robin Carretti Aug 2018
E Enter In Out EIO
E-IE-I-O  the O- the outcome
Playing some Banjo giggly
Words are getting wiggly
Like everlasting Jello
The Old/ New Heaven?Hell

Meet the best
transformation
Absolutely
It's in our duty
Takes effort modern-times
Instagram pictures of Mcdonald
Don't bend yourself
out of shape over hot buns
Hunters bite of the hamburger
Amazing shapes of the Planet
to enter

Don't live like the pretender
Your the pilot absolutely laughing
to the end of the wing
Catching fresh air telling some dirt
Not everything is a
*Pink champagne
Riot
EIEIO Airplane he raised this pilot
Blue sky absolutely
looking too hard
People are starting to look strange
B-S Be Sweet I know what
you thought words get rearranged
What bull one boy to
have a coke with a smoke with
Is this the way it should be
Bye Bye Birdie Ann Margarita
Is this what life is about

He salutes to  my absolutely
knock out dress

Inside of his head, he's
looking mighty fine
Drinking Absolute *****
When its truly mine
Silk ties or Paisley Ties
Crazy love absolutely
Time traveler talker
Who is your caretaker
The burden to carry on
Girls want to have fun
Homemaker proud baker
Be on time yes absolutely
After I know what
happen before
One day I will find out
what this is all about
All ones or against none
Mr. Sexter in the City
The forever not to marry one

She's the absolute solitaire player
He's the homebody head ringer
Cut face band-aid
The band's and singers
Newsstands Jazz step swingers

American Bandstand
The time is hand full  such corruption
No freedom what happen for the
*Love of God Kingdom


Absolute insane asylum of maids
Absolutely I agree its hard
enough for one
E for entering I- I Phone OH!
Out of your mind
Get out I absolutely don't
need you in
the best time of my life
Chose your words wisely
Absolutely solemnly swear
Something is not
Kosher my Dear
We love to carry on
Not to carry someone over the
threshold do what you're told
Get up sleepy head you will
be late for school

Old Mcdonald EIEIO
E Exception I want that
E-Everything I Immaculate
O- Out of money
What *******
He's banging his drumsticks
You're the Oz good witch
Making more room with
your broomstick
She is absolutely the
spitting image of
her "Mom Mega babe'
clicker

So many Odd Moms
On speed racing for time
Coffee moms Business Moms
She is absolutely the prettiest
Mom I came across
Absolutely rarely do you see
Hollywood Housewife acting
like Moms
Her skirt got the heat like
A-Absolute what a cute "City Cat"
meeting the cat________??
"From Hell ringing the Liberty Bell"
A haystack don't turn your back
You absolutely got into his heat

Rekindled by the barn cat
How dogs and cats may
be disobedient
But we love them for
who they are
Even if they look
like their masters  
We are born like that
The artist absolutely
Graphically lined
Of the absolutely cool
deviant defined
She had lines of a lifetime
in her pleats
He didn't make his bed
wrinkled sheets
French bulldog has
more manners
Then his master
Hey Buster

Board signs on your body
But we all have to
make a living
So it's fading like an
Antique Queen malevolent
jewels
Too bright hurting
my eyes shining
Do you trust her or him
Expectations are getting slim
Losing time your gold trim
The double-breasted dress you
hear a
Robin bird symphony
You're the absolute epiphany
Going and tumbling back to
be single eating a triple
decker sandwich

Hey Mate?
Absolute Divine Date*

She is absolutely beyond herself
Never known a love to
be absolutely right

Were human or our beliefs fire out
Evidentially taking a flight
Make it the best fight you ever had
Writing an article we hours
of the morning smile and
tell the world
What you need to say
is as real as your heart will ever feel
We learn from the best the
spiritual journey
here's to a healthy meal
The Newsweek more moments
to remember absolutely our best times
The
Bird's eyeabsolutely so precisely
the eye for E-I-E-I let's catch up to O
Any mystery making history
Jane Eyre  
Life leads us on the "Empty
"Sad Doorway"
Make it a "Jumpy Glad on a Clear Day"
It's absolutely lovely to see forever
  Moreover, the rainbow don't worry

Make it heavenly birds
Absolutely our time is precious
have it your way

Absolute genius the
best cattle
Hot Moon lady from Venus
Absolutely this is not the drink of ***** but we can absolutely make this into anything you like its the absolute of all the things we need to laugh with or the tough tie to bear it don't fear anything make this time on our planet everything
judy smith Apr 2017
So you know you’re looking at two very different styles of dress, here. But precisely what decades? When did that waistline move back down? What details are the defining touches of their era? How long were women actually walking around with bustles on their backsides?

Lydia Edwards’s How to Read a Dress is a detailed, practical, and totally beautiful guide to the history of this particular form of clothing from the 16th to the 20th centuries. It tracks the small changes that pile up over time, gradually ******* until your great-grandmother’s closet looks wildly different than your own. As always, fashion makes for a compelling angle on history—paging through you can see the shifting fortunes of women in the Western world as reflected in the way they got dressed every morning.

Of course, it’ll also ensure that the next lackadaisically costumed period piece you watch gives you agita, but all knowledge has a price.

I spoke to Edwards about how exactly we go about resurrecting the history of an item that’s was typically worn until it fell apart and then recycled for scraps; our conversation has been lightly trimmed and edited for clarity.

The title of the book is How to Read a Dress. What do you mean by “reading” a dress?

Basically what I mean is, when you are looking at a dress in an exhibition or a TV show, reading it in terms of working out where the inspirations or where certain design choices come from. Being able to look at it and recognize key elements. Being able to look at the bodice and say, Oh, the shape of that is 1850s, and the design relates to this part of history, and the patterning comes from here. It’s looking at the dress as an object from the top down and being able to recognize different elements—different historical elements, different design elements, different artistic elements. “Read” is probably the best word to use for that kind of approach, if that makes sense.

It must send you around the bend a little bit, watching costume adaptations where they’re a bit slapdash. The one I think of is the Keira Knightley Pride and Prejudice, which I actually really enjoy, but I know that one’s supposed to have all over the place costuming-wise.

Yeah, it does. I mean, I love the BBC Pride and Prejudice one, because they kept very specifically to a particular era. But I can see what they did with the Keira Knightley one—they were trying to keep it 1790s, when the book was written, as opposed to when it was published. But they’ve got a lot of kind of modern influences in there and they’ve got a lot of influences from 30, 40 years previously, which is interesting to an audience and gives an audience I suppose more frames of reference, more areas to think about and look at. So I can see why they did that. But it does make it more difficult if you’re trying to accurately decode a garment. It’s harder when you’ve got lots of different eras going on there, but it makes it beautiful and interesting for an audience.

The guide spans the 16th to the 20th century. Why start with the 16th century?

Well, partly because it’s where my own interest starts, in terms of my research and the areas I’ve looked at. But more importantly in terms of audience interest, we get a lot of TV shows, a lot of films in recent years—things like The Tudors—that type of era seems to be something that people are interested in. That time is very colorful and very interesting to people.

And also because in terms of thinking about the dress as garment, obviously people wore dresses in medieval times, but in terms of it being something that specifically women wore, distinct from men’s clothes, I really think we start to see that more in the 15th, 16th century onwards.

Where do you go to get the historical information to put together a book like this? What do you use as your source material? Because obviously the thing about clothing is that it has to stand up to a lot of wear and tear and a lot of it doesn’t survive.

This is the other thing about the 16th century stuff—there’s so little surviving. That’s why that chapter was a lot shorter and also that’s why I used a lot of artworks rather than surviving garments, just because they don’t exist in their entirety.

But wherever possible, you go to the garments themselves in museum collections. And then if that’s proving to be difficult, you go to artworks or images, but always bearing in mind the artist will have had their own agenda, so they won’t necessarily be accurate of what people were actually wearing. So then you have to go and look up written source material from the time—say, diaries. I like using letters that people have written to each other over the centuries, describing dress and what they were wearing on a daily basis. Novels can be good, as well.

Also the scholarship that has come before, the secondary sources, works by people like Janet Arnold, Aileen Ribeiro. Really well researched scholarly books where people have used primary sources themselves and put their own interpretation on it can be really, really helpful. Although you take some of it with a pinch of salt, and you put your own interpretation on there, as well.

But always to the dress itself wherever possible.

What are some of the challenges you face, or the constraints on our ability to learn about the history of fashion?

Well, the very practical issue of trying to see garments—some of them I did see here in Australia, but a lot of them were in the States, in Canada, in New Zealand, so it’s hard to physically get there to see them. And often, even when you can get to the museum, garments are out on loan to other exhibitions or other museums. That’s a practical consideration.

But also, especially when I’m talking about using artworks and things, which can be really helpful when you’re researching, but as I’ve said they do come from a place where there’s more interpretations and more agendas. So if someone’s done a portrait and there’s a beautiful 1880s dress in it, that could have been down to the whims of the person who was wearing it, or the artist could have changed significantly the color or style to suit his own taste. Then you have to do extra research on top of that, to make sure that what you are seeing is representative.

It’s a fascinating area. There’s a lot of challenges, but for me, that’s what makes it really exciting as well. But it’s really that question of being able to trust sources and knowing what to use and what not to use in order to make things clear for the audience.

Obviously many of these dresses were very expensive and took a lot of labor and it wasn’t fast fashion—people didn’t just give it away or toss it when it fell out of season. A lot of times, you did was you remade it. When you’re looking at a dress that’s been remade, how do you extract the information that you need as a historian out of it?

I love it when something like that comes up. I’ve got a couple of examples in the book.

Well, it can be quite challenging, because often when you’re first looking at a piece it’s not obvious that it’s been remade. But if you’re lucky enough to look inside it and actually hold it and turn it round different angles, there’ll be things like the placement of a seam, or you’ll see that the waist has been moved up or down according to the fashion. And that’s often obvious when you’re looking inside. You can see the way the skirt’s been attached. Often you can tell if a skirt’s been taken off and then reattached using different pleats, different gatherings; that can give you a hint that it’s then been remade to fit in with a different fashionable ideal.

One of the key ways is fabric. You can often see, especially in early 19th century dresses when they’ve been made of these beautiful 18th century silks and brocades. That’s nice because it’s the first obvious clue that something’s been remade or that an old dress has been completely taken apart and it’s just the fabric that’s been used. I find it particularly interesting when the waist has been moved or the seams have been taken off or re-sewn in a different shape or something like that. It can be subtle but once your knowledge base grows, that’s one of the most fascinating areas that you can look at.

You page through the book and you watch these trends unfold and there are occasional sea changes will happen fairly quickly, like when the Regency style arises. But how much change year-to-year would a woman have seen? How long would it take, just as a woman getting dressed in the morning, to see styles just radically alter? Would you even notice?

Well, this is the thing—I think it’s very easy, when we’re looking back, to imagine that in 1810 you’d be wearing this dress and then all the frills and the frouf would have started to come in the late 1810s and the 1820s, and suddenly you would have had a whole new wardrobe. But obviously, unless you were the very wealthiest women and you had access to dressmakers who had the absolute newest patterns and newest fabrics then no, you wouldn’t have seen a massive change. You wouldn’t have afforded to be able to have the newest things as they came in. You would have maybe remade dresses to make them maybe slightly more in line with a fashion plate that you might have seen, but you wouldn’t have had access to new information and new fashion plates as soon as they came. To be realistic, there would have been very little change on a day to day level.

But I think also, for us now—it’s hard to see it without hindsight, but we feel like we’re fairly fluid in wearing the same kind of styles, but obviously when we look back in 20 years, we’ll look at pictures of us and see greater changes than we’re now aware. Because it happens on a slow pace and it happens on such a subconscious level in some ways.

But actually, yeah, it’s to do with economics, it’s to do with availability. People living in towns where they couldn’t easily get to cities—if you were living in a country town a hundred miles away from London, there’s no way that you would have the resources to see the most recent fashion plates, the most recent ideas that were developing in high society. So it was a very slow process in reality.

If you have a lot of money you can change out your wardrobe quicker and wear the latest styles. And so the wealthiest people, their clothes were what in a lot of case stood the best chance of surviving and being in modern collections. So how do we know what working women would have worn or what middle class women would have worn?

Yeah, this is hard. I do have some more middle class examples, because we’re lucky in that we do have quite a few that have survived, especially in smaller museums and historical collections, where people have had clothes sitting in their attics for years and have donated them, just from normal families over the years.

But, working women, that’s much more difficult. We’re lucky from the 19th century because we have photographic evidence. But really a lot of it will come down to written descriptions, mainly letters, diaries, not necessarily that the people themselves would have kept, but there’s examples of people that worked in cotton mills, for instance, and people that ran the mills and their families and wives and friends who had written accounts of what the women there were wearing. Also newspaper accounts, particularly of people who would go and do charity work and help the poor. They often wrote quite detailed descriptions of the people that they were helping.

But in terms of actual garments, yeah, it’s very difficult. Certainly 18th century and before, it’s really, really hard to get hold of anything that gives you a really good idea of what they wore. But in the 18th century—it’s quite interesting, because then we get examples of separate pieces of clothing worn by the upper classes, like a skirt with a jacket, which was actually a lower middle class style initially and then it became appropriated by the upper classes. And then it became much fancier and trimmed and made in silks and things. So then, we can see the inspiration of the working classes on the upper classes. That’s another way of looking at it, although of course that’s much more problematic.

It’s interesting how in several cases you can see broader historical context, or other stories happening through clothes. Like you point out that the rise of the one-piece dresses is due to the rise of mantua makers, who were women who were less formally trained who were suddenly making clothing. Are there any other interesting stories like that, that you noticed and thought were really fascinating?

There’s a dress in the book that a woman made for her wedding. I think she was living on her own, or she was living with a servant and her mother or something. She made the dress and then turned up to her wedding and traveled quite a long way to get there, and when she arrived, the groom and all the guests weren’t there. There was nobody. So she went away and came back again a week later, and everyone was there. And the reason that no one was there before was that a river had flooded in the direction that they were all coming from. She had obviously no way of finding out about this until after the fact, and we have this beautiful dress that she spent ages making and had obviously gone to a lot of effort to try and work out what the latest styles were, to incorporate it into her wedding dress.

Things like that, I find really interesting, because they talk so much about human and social history as well as fashion history, and the garment is the main way we have of keeping these stories alive and remembering them and looking into the kind of life and world these people lived, who made these garments.

Over the centuries, how does technology affect fashion? Obviously, we think of the industrial revolution as really speeding up the pace of fashion. But are there other moments in the history of fashion where technology shapes what women end up wearing?

One example is where I talk about the Balenciaga dress from the early 1950s—with a bubble hem and a hat and she would have worn these beautiful pump shoes with it—with the introduction of the zipper. Which just made such a huge difference, because it suddenly meant you’d have ease and speed of dressing. It meant that you didn’t have to worry about more complicated ways of fastening a garment. I think the zipper made a massive change and also in terms of dressmaking at home, it was a really quick and simple way that people had of being able to create quite fashionable styles on a budget and with ease and speed at home.

Also, of course, once women’s dress started to become simpler and they did away with the corset and underwear became a lot less complicated, that made dressing a lot easier, that made the introduction of the bias cut and things that sit very closely to the natural body much more widely used and much more fashionable.

I would say the introduction of machine-made lace as well, particularly from the late 19th, early 20th century onwards where it was so fashionable on summer dresses and wedding dresses. It just meant that you could so much more easily add this decadent touch to a garment, because lace would have been so much more expensive before then and so time-consuming to make. I think that made a huge difference in ordinary women being able to attain a kind of luxury in their everyday dress.

That actually makes me think of something else I wanted to ask you, which is you point out in your intro the way we casually use this word “vintage.” I think about that with lace. Lace is described as being a “vintage” touch but it’s very much this question of when, where, who, why—it’s a funny term when you think about it, the way we use it so casually to describe so much.

Oh, yes. It’s crazy. I used to work in a wedding dress shop and I used to make historically inspired wedding dresses and things. And brides used to come in and say, “Oh, I want something vintage.” But they didn’t really know what they meant. Usually what they meant is they wanted something with a bit of lace on it, or with some sort of pearls or beading. I think it’s really inspired by whatever is trending at the time. So, you know, Downton Abbey became vintage. I think ‘50s has always been kind of synonymous with the word vintage. But what it means is huge,
Haydn Swan Mar 2015
In her closet next to a shirt
hangs a concertina pleated skirt
she slips it on with grace and ease
the tiny pleats are there to please
like a million shimmering crystal shards
all tightly pressed like a pack of cards
as she moves they sway and dance
upon her legs they tickle and prance
the feeling makes her smile and shiver
which makes the pleats start to quiver
they skim and flatter her  hips and ***
like the majestic rays of a rising sun
such carnal delights found in a skirt
as she hangs it back next to the shirt.
A silent observation as I watched my ex girlfriend getting dressed once
Dark n Beautiful Aug 2014
My midnight blue satin dress
Someone said that it’s wicked, wicked tease
However, I know better:
it controls my every mood
Staying ahead as my curves survey the scenery
  I swayed down the avenues

Who’s going be the lucky fellow?
To auction it off my back
Who’s the one that
  see 3-D images with only one eye?
but to see what lies beneath this midnight blue
is sating memories

I felt the earth move under my feet
Pleats and creases;
hisses and random kisses
Tonight I am your mistress
and most of all
the goddess in the mist

Airbrush my body with admiration.
but never again say you love me
What is love?
Campbell Mar 2016
A knee length scream rebounds down the empty hall,
The walls as bear as her legs, which bear her away from the roar.
Not far behind, another set of legs, another set of pleats,
This time the floor reflects polished black and matt twill
And a slippery set of sneaky misogynies disguised as paternal concern.

But a good father does not stare at his daughter's legs.
He worries, as does his running child, about the man who's gaze is perpetually set a foot or two below eye level.
But when it wanders, as it "always must," our daughter rebukes his lust,
And her first and last words muster the might of all daughters and sons.
And she stands on her chair, so that this time his eyes are looking level,
And bellows from the fog of anger that had been slowly settling about her uncovered ankles.

You can imagine how that went down.

So sprinting, whooping, echoing across the school,
Her cries of exhileration tug spirits out of rooms.
The path of the pin-straight Man is blocked by the faces of his children,
He trips on their blue hair, their white shoelaces, and their black denim hems,
And as he falls she rises, out of her skirt and above the regime,
For neither define her as a separate being,
Nor as a string in the weave that catches that pastoral shin
And catapults the shepherd into the stampede of the sheep.
My school is revolting in its obsession with skirt length
Nigel Morgan May 2014
She opened the door of the gallery and there it was, there it lay, before her, nearly perfect: her exhibition. The opening was an hour or so away and there were, naturally, a few adjustments to make, but in essence it was right, and as she walked to the middle of the rectangular space (to survey the full effect ) she felt held by the quiet wonder of it all; that she had made all this and with ‘the quality control of nature’s accidents’. He’d written those words some years previous when a solo show was but a dream she would enter between sleep and wakefulness, when she would think of the west coast of Scotland and the poetry of its seashore, the infinite variety in the seashore strand between sand and sea. It was such natural accidents of form and transformation by nature’s hand that had guided her imagination into rightness and towards this exhibition.

At breakfast that morning she had come to the table dressed to greet her audience, and for the first time as a featured artist in a festival of some repute. She had felt the quiet joy of choosing the right combination of clothes to be the public person she had now become. He had loved the new dress she had bought to clothe her gallery persona. She had been conscious of his eyes following the lines this frock so generously drew around her body’s shape and form, the way the material fell across her *******, lay smoothly on her thighs.  It was a very grownup frock and with the jacket and scarf made her look purposeful, confident. His looking made such confidence possible, his admiration and what she could tell was that coming together of love and passion that, her being dressed in this formal way, so often evoked.

In the gallery she had worried over the lighting, climbed up the metal ladder with the fluffy green glove thoughtfully provided to enable those small adjustments of direction to be made on a hot spotlight. There were four large pieces flanking a corner that had embossed lines running across their surfaces, lines that needed oblique light to reveal the shadowing of this effect of swirls and marks of a retreating tide on sand.  Two smaller pieces needed rearranging; she’d placed them, late the evening before, in the wrong sequence. Poster boards were to be filled with her poster and put outside on the pavement by the gallery entrance. She opened the main door, a very green door with its top and bottom bolts and black-painted handle ring. The street outside was a welcoming mix of 18th and 19th C buildings, hardly one the same, the sort of three storey buildings that had simple plaques prominently placed into the brickwork from a distant past when proud builders would describe a structure’s use or ownership with a title and date. By ten o'clock this one-way street was lined with parked cars, but now there was little traffic. It was a quiet sunny morning in a market town.

‘Don’t mind the dog, ‘ he said. ‘He’s used to coming in here.’ It was a long-haired verging on the side of scruffy sort of dog, used to keeping its own counsel, probably used to being taken to exhibitions. ‘Just popping in,’ he said, this man who, and she couldn’t help noticing this, seemed to hold much in common with his dog; the long, but retreating on the forehead, hair, slightly scruffy from the want of a comb or a good brush (like his dog), he had dressed without much thought (because who dressed thoughtfully to walk a dog?), and that’s what he was doing, walking the dog and, seeing the Gallery open, thought he ought to look in.

Giving him her brightest smile, she embarked on performing the artist’s music of conversation, that score holding gentle melodies and welcoming harmonies. Although she had become quite practised in talking to her audience there was always the challenging inquiry that would catch her off guard.

‘Well, are you finished with the seashore now?’ said the man with the look-alike dog. For a moment a half dozen possible answers seemed possible. ‘Could one ever finish with something so extraordinary and various as that hinterland between land and sea?’ No, that was seemed a mite critical and clever. ‘Oh, I’ve hardly started’ was tempting, but rather smug and too confident by half. ‘I just love the seaside’ would probably do, as no one else was listening. ‘Merleau-Ponty says the complexity of the seashore is a metaphor in the search for self-identity’. She did wonder what he’d make of that, but finally decided on ‘It’s such a rich source of ideas and images I’m sure there’s a lot more I want to do with the subject.’

”It’s all the same colour”. She’d had that one a few times. ‘When I’m on the beach I’m fascinated as much by the texture and shape of what I see  and feel than the colour. I like the subtlety of the colours in the sand. I think my pieces – and she waved her hand towards what she had titled her Sand Marks pieces – show so many of the different shades of colours you find on the seashore.’

Those Sand Marks, a collection of variously dyed and marked two metre plus linen-lengths, dominated one wall of the gallery. They floated a few centimetres from the white wall, and when people moved past them the slight shadows cast by the linen lengths seemed to ripple in the human-made breeze. She could never look at them without thinking how their very accidental making – binding a linen cloth with inner placed objects and using the natural dye of tea – could create such absorbing results. She would follow with her gaze one of the linen-lengths from bottom to top (or top to bottom) and find herself walking on the wet sand of a Scottish beach, overwhelmed by the clear light and space with only the sea sound surrounding. He would tell her, had told her often, how moved, how affected he had been when he first saw them hung. To him, these ‘marks’ carried an essence of this aesthetic she now owned and for which had become recognised.

Even on this, her first day, she had been visited by a small number of admirers and supporters, some travelling distances to see her work with the aura of the original, a truer view than that possible on the back-lit screen of their computer monitors. Ladies who loved textiles, the containment and privacy to sew and stitch secured in their busy lives. These friendly and smiley women (the comfortable side of sixty) understood something of what she was doing here, and perhaps imagined themselves as thirty-somethings walking Scottish beaches free from children and the relentless list-making of house and home and occupation, able to create imaginary worlds of marks and folds, pleats and textures. Full of enthusiasm for the medium, what they perhaps didn’t have was the skill of seeing, a skill she had grown up with, had always owned to some degree: found, fostered, honed, developed into a second-nature activity of always looking.

There would be the occasional brief lull when the gallery was empty or close to empty, as though needing the space to come up for breath after being occupied by people and their movement. She would then walk slowly around the long well-lit room viewing her pieces and her arrangements of pieces from different angles. She would look at his poems placed antiphonally between her work, commissioned for her catalogue, her book of images of the sea shore paired with, incorporating even, her made pieces. She’d chosen a favoured few she’d felt caught the essence of being in the sea’s company, in the sand and shore’s domain. Like everything he did it had been undertaken with the utmost intensity of purpose. She saw him now in her mind’s eye with his notebook sitting against rocks, paddling in the great shallow pools, walking head down along the tide line, those bright days on a Scottish island and before, before on that ellipse of beach by the fishing station.

He would tease out an idea formed from a little motif of words, perhaps like the very music that was his private territory: here, alone, apart we are marked by the tide’s turn. Yes, we are marked by being solitary in such unconfining space, the marks at our feet become the lines, the mounts, the fingers, those interruptions, breaks and blockages found in the tridents, chains and crosses of the art of palmistry. We read the seashore as a psychic oracle reads the hand, hoping, as Kathleen Jamie so rightly says, for the marvellous. And marvellous it so often is.

Standing in this gallery was like being gathered about by the seashore. It was a short jump in the imagination’s miracle to hear the soft breathing of the sea, the wind caressing the face, the warmth of the afternoon sun on the freckled cheek.

See how those we love are transformed
when the sea is their only boundary

a figure stands before a sand bar
in a crescent of water left by the tide
an affecting geometry of solitude
. . .


These words had always stopped her in her perambulating tracks. She thought of her son, far distant on the beach, at rest for once, still, motionless within the confluence of the elements of the beach, at the epicentre of her gaze, all things flowing to and from his tiny, far-away figure.
Valsa George Oct 2017
I hear a wind whispering from the hills
It comes down tickling the woodland rills
From far is heard the frightened murmur of leaves
As it pounces on them like wayside thieves

It shakes the branches of flowering trees
And their weak petals drop like confetti in the breeze
Over hills and trees it loves to skip and stray
Always in motion, never inclined to stay

It moves unhampered over streams and field
With no resistance to its might, they simply yield
Like a child, it romps over the sloppy meadows
In its gentle touch, dances the gleeful flowers

It skillfully pleats the blue chiffon of the ocean
Sometimes curling waves in electric motion
Over the sea it runs puffing up the sails
And over the sky heaping clouds in bales

Sometimes it steals furtively like a lover
And disappears kissing our cheeks under cover
Often it comes capering with a lilt and a swing
We feel delighted when we hear its merry song

Like a nomad, the wind roams from place to place,
Hiding its mysterious presence from our glance
From an unknown hide out it comes like a spirit
But always making us feel its vigorous might!

At times it gains force and roars like a beast
Felling trees and wreaking havoc with its twist
In rampage, it sweeps the sea and the ground
Triggering sparks of fear and horror all around
So happy to see this enthusiastic response to my straight and simple lines. I have no words to thank you dear friends, especially to Kim who has given an extra shine to my poem......!
judy smith Sep 2016
When I was chief creative officer for Liz Claiborne Inc., I spent a good amount of time on the road hosting fashion shows highlighting our brands. Our team made a point of retaining models of various sizes, shapes and ages, because one of the missions of the shows was to educate audiences about how they could look their best. At a Q&A; after one event in Nashville in 2010, a woman stood up, took off her jacket and said, with touching candour: “Tim, look at me. I’m a box on top, a big, square box. How can I dress this shape and not look like a fullback?” It was a question I’d heard over and over during the tour: Women who were larger than a size 12 always wanted to know, How can I look good, and why do designers ignore me?

At New York Fashion Week, which began Thursday, the majority of American women are unlikely to receive much attention, either. Designers keep their collections tightly under wraps before sending them down the runway, but if past years are any indication of what’s to come, plus-size looks will be in short supply. Sure, at New York Fashion Week in 2015, Marc Jacobs and Sophie Theallet each featured a plus-size model and Ashley Graham debuted her plus-size lingerie line. But these moves were very much the exception, not the rule.

I love the American fashion industry, but it has a lot of problems and one of them is the baffling way it has turned its back on plus-size women. It’s a puzzling conundrum. The average American woman now wears between a size 16 and a size 18, according to new research from Washington State University. There are 100 million plus-size women in America, and, for the past three years, they have increased their spending on clothes faster than their straight-size counterparts. There is money to be made here ($20.4 billion (U.S.), up 17 per cent from 2013). But many designers — dripping with disdain, lacking imagination or simply too cowardly to take a risk — still refuse to make clothes for them.

In addition to the fact that most designers max out at size 12, the selection of plus-size items on offer at many retailers is paltry compared with what’s available for a size 2 woman. According to a Bloomberg analysis, only 8.5 per cent of dresses on Nordstrom.com in May were plus-size. At J.C. Penney’s website, it was 16 per cent; Nike.com had a mere five items — total.

I’ve spoken to many designers and merchandisers about this. The overwhelming response is, “I’m not interested in her.” Why? “I don’t want her wearing my clothes.” Why? “She won’t look the way that I want her to look.” They say the plus-size woman is complicated, different and difficult, that no two size 16s are alike. Some haven’t bothered to hide their contempt. “No one wants to see curvy women” on the runway, Karl Lagerfeld, head designer of Chanel, said in 2009. Plenty of mass retailers are no more enlightened: under the tenure of chief executive Mike Jeffries, Abercrombie & Fitch sold nothing larger than a size 10, with Jeffries explaining that “we go after the attractive, all-American kid.”

This a design failure and not a customer issue. There is no reason larger women can’t look just as fabulous as all other women. The key is the harmonious balance of silhouette, proportion and fit, regardless of size or shape. Designs need to be reconceived, not just sized up; it’s a matter of adjusting proportions. The textile changes, every seam changes. Done right, our clothing can create an optical illusion that helps us look taller and slimmer. Done wrong, and we look worse than if we were naked.

Have you shopped retail for size 14-plus clothing? Based on my experience shopping with plus-size women, it’s a horribly insulting and demoralizing experience. Half the items make the body look larger, with features like ruching, box pleats and shoulder pads. Pastels and large-scale prints and crazy pattern-mixing abound, all guaranteed to make you look infantile or like a float in a parade. Adding to this travesty is a major department-store chain that makes you walk under a marquee that reads “WOMAN.” What does that even imply? That a “woman” is anyone larger than a 12 and everyone else is a girl? It’s mind-boggling.

Project Runway, the design competition show on which I’m a mentor, has not been a leader on this issue. Every season we have the “real women” challenge (a title I hate), in which the designers create looks for non-models. The designers audibly groan, though I’m not sure why; in the real world, they won’t be dressing a seven-foot-tall glamazon.

This season, something different happened: Ashley Nell Tipton won the contest with the show’s first plus-size collection. But even this achievement managed to come off as condescending. I’ve never seen such hideous clothes in my life: bare midriffs; skirts over crinoline, which give the clothes, and the wearer, more volume; see-through skirts that reveal *******; pastels, which tend to make the wearer look juvenile; and large-scale floral embellishments that shout “prom.” Her victory reeked of tokenism. One judge told me that she was “voting for the symbol” and that these were clothes for a “certain population.” I said they should be clothes all women want to wear. I wouldn’t dream of letting any woman, whether she’s a size 6 or a 16, wear them. Simply making a nod toward inclusiveness is not enough.

This problem is difficult to change. The industry, from the runway to magazines to advertising, likes subscribing to the mythology it has created of glamour and thinness. Look at Vogue’s “Shape Issue,” which is ostensibly a celebration of different body types but does no more than nod to anyone above a size 12. For decades, designers have trotted models with bodies completely unattainable for most women down the runway. First it was women so thin that they surely had eating disorders. After an outcry, the industry responded by putting young teens on the runway, girls who had yet to exit puberty. More outrage.

But change is not impossible. There are aesthetically worthy retail successes in this market. When helping women who are size 14 and up, my go-to retailer is Lane Bryant. While the items aren’t fashion with a capital F, they are stylish (but please avoid the cropped pants — always a no-no for any woman). And designer Christian Siriano scored a design and public relations victory after producing a look for Leslie Jones to wear to the “Ghostbusters” red-carpet premiere. Jones, who is not a diminutive woman, had tweeted in despair that she couldn’t find anyone to dress her; Siriano stepped in with a lovely full-length red gown.

Several retailers that have stepped up their plus-size offerings have been rewarded. In one year, ModCloth doubled its plus-size lineup. To mark the anniversary, the company paid for a survey of 1,500 American women ages 18 to 44 and released its findings: Seventy-four per cent of plus-size women described shopping in stores as “frustrating”; 65 per cent said they were “excluded.” (Interestingly, 65 per cent of women of all sizes agreed that plus-size women were ignored by the fashion industry.) But the plus-size women surveyed also indicated that they wanted to shop more. More than 80 per cent said they’d spend more on clothing if they had more choices in their size and nearly 90 per cent said they would buy more if they had trendier options. According to the company, its plus-size shoppers place 20 per cent more orders than its straight-size customers.

Online start-up Eloquii, initially conceived and then killed by The Limited, was reborn in 2014. The trendy plus-size retailer, whose top seller is an over-the-knee boot with four-inch heels and extended calf sizes, grew its sales volume by more than 165 per cent in 2015.

Despite the huge financial potential of this market, many designers don’t want to address it. It’s not in their vocabulary. Today’s designers operate within paradigms that were established decades ago, including anachronistic sizing. (Consider the fashion show: It hasn’t changed in more than a century.) But this is now the shape of women in this nation, and designers need to wrap their minds around it. I profoundly believe that women of every size can look good. But they must be given choices. Separates — tops, bottoms — rather than single items like dresses or jumpsuits always work best for the purpose of fit. Larger women look great in clothes skimming the body, rather than hugging or cascading. There’s an art to doing this. Designers, make it work.Read more at:http://www.marieaustralia.com/cocktail-dresses | www.marieaustralia.com/black-formal-dresses
With Good Business brewed is Good Business told
Confirmed the New Mentor who taught us well
Such swig a Sterling Medicine behold
But knowing our Skills his Avid Trust spell
Forsought this Blue Trade our Clients rely
Was that our Webbed Gifts can reciprocate
That within those Months our Service apply
To increase the Bank's volume aggregate
Such now our Eagle wears; Tri-Coloured Schemes
Weaved in pleats forth to Genious unique
And if we can prove to maintain those Seams
Will he be Proud of our Learning oblique.
Once that's done, to the Pub he tips his Zest
All the more content our Minds would not guess.
avenue sounds are never agreeable, ignore the drift,
ignore the hum,
ignore the suburban neophytes in the city lights (I never did care much for hipsters).
ignore rapid eye movements, the flush red face, ignore the snapshots of you that adorn my semi-sleep state

I stare at my ceiling and see the cobblestone summer streets you once graced, long ago in the eternal occident, I want to ignore but I’m so very boozed, in a blue lucid slumber:::

eyes closed::: my head spins and sleep begins with the tidal delirium of dopamine drips, your legs, your hips, I’m drowning a bit, doused in a sanguine sweat inside a fantasy (**** I’m dreaming of you)

Synaptic friction
she is a pleasant fiction  
flash/sparks segue a dormant memory ,
the two of us riding familiar highways::: she gazes at me with her usual emerald encased ocular torment, those limbal rings cast aspersions at the last vestiges of my will power, until, I’m done, done in by the divinity of her lips:::

There is no end to (your) energy
It even finds me here::: in my dystopian  dream (eternal)
now
an inescapable, myopic curse
(nocturnal)
:::
the nightmare of not having you near

Awake, I roll over to clutch for the pacifier of your comfort (violent midnight)
I find only a fragrance,
i flail, searching, when those flashbacks fall short
isolated into the banality of bedsheets and pillows pleats

(the retrograde nature of my reality, now readily apparent)



cdh
bellow my window ****** drunks seem to taunt me with feigned intellect and a bullshiter’s banter, a nest of vipers in the heat of the dialectic, serenading one night stands  (**i guess this is what passes for love**)
Molly Jenkins Dec 2015
the folds, the tether-lines gathering
securing linens whipped and filled
by a wide wind
it sweeps my memory in white
noise, throwing the sheets, the chronologies
of a life into air
and I am left wanting.
running my hands into the folds,
the pleats of cool pressed cotton
running my hands down the pleats
again, just to feel them
the reassurance that they are still there,
for my fingers to glide over
in a given moment of luxurious ennui.
the pleats are snatched up in
thoughts nimble, quick, and grasping
again, just to feel them
a habit to drape
to clip against a line
(to blow in the wind)
in the folds.
file under: things that don't belong to us
I now delight
In spite
Of the might
And the right
Of classic tradition,
In writing
And reciting
Straight ahead,
Without let or omission,
Just any little rhyme
In any little time
That runs in my head;
Because, I’ve said,
My rhymes no longer shall stand arrayed
Like Prussian soldiers on parade
That march,
Stiff as starch,
Foot to foot,
Boot to boot,
Blade to blade,
Button to button,
Cheeks and chops and chins like mutton.
No! No!
My rhymes must go
Turn ’ee, twist ’ee,
Twinkling, frosty,
Will-o’-the-wisp-like, misty;
Rhymes I will make
Like Keats and Blake
And Christina Rossetti,
With run and ripple and shake.
How pretty
To take
A merry little rhyme
In a jolly little time
And poke it,
And choke it,
Change it, arrange it,
Straight-lace it, deface it,
Pleat it with pleats,
Sheet it with sheets
Of empty conceits,
And chop and chew,
And hack and hew,
And weld it into a uniform stanza,
And evolve a neat,
Complacent, complete,
Academic extravaganza!
Third Eye Candy Jan 2013
Flecks of violet, patch-quilt  loofah skin of  sponge-green iris, gold dusted
Emerald  eyes... wet stones in flesh tone, parachute baskets; paratroop lids
Descend... thin paradigms slip ; adrift upon a Seam of Tears. A saline Sea - with
Glass floor; lensing starlight over mint pink trampolines
covered in tiny copper filings,

And two Black Pools that Expand.
Two Sunbathing Night Blossoms -

Dead center. Unmanned...

Her cheekbones encroach upon Cataracts of Vacancy.
Lipid lathes of Lethe ; lips departed... red zeppelins, moist and mute . pontoons
Plump and mindless. Bee stung -
Open.

Soft mimes, glide
Over bleach and stain; over -
bone white; glide
Over Nicotine sigils, hiding -
in off-white
Enamel...

like anonymous petroglyphs for Dentists.
or Rosetta Stones for a lethargic Tongue.



II


Theta-wave turbines, throw rods and spark nods ... as others speak.
She resembles a dream-catcher’s mitt.
Words hiss now, and solid mist, twist the tell o' gram.
Into Fable's Armada !

Fog.... fog rolls in...   She rolls in, Beneath  a New Between. of Chasms
Hazardous grammar spasms, stammering -
Deaf tones of Diction -
All This ....In the Good Ear.
An Ear Of Cornucopias Delete.... The Dry Cob
Of  Annulled
Speech. [ but Morphine ]

Maybe a half-dozen kernels of distinct cream ; velveteen vague...
Or vivid - pleats in pure radiation.
?
Perhaps,  varicose inanities are expiation enough to drown a Kraken ?  Maybe God Happens ?

Let Ampule be the Judge.  Let Pack Mules be Priests.

As Others speak, Our Lily,  decrypts languidly left of linear... dislodged -
from Lexicons ....with long Odds, Against...
She Relents, Relentlessly-  And Utterly

Utterly Regardless...

She aborts pregnant ( .... )
pauses.

All this Fog rolls in... Agnostic.
She Robs
The Cuckoo... She De-bones the Soup
with Disjoint Comments.
And Scuttles
The Broth.

She's all Starlings and Polaroids.... Savage Pinwheels  and Aurora Vandals.

She's  All Plasma...
And Rapture -
with No Handles ...

She's Both Ends ... Burning
NOooo Candle .

A Wee Atlas; Shouldering A Loss
Ever Since Her World  
Was  Dismantled ..  A  Burden ( ... )
Lily
Phantom
Shrugs  

And Random Drugs..Atlantis.
Ronni McIntosh Jul 2014
My father's long fingers smooth
over the aged scratchy pleats.
The Kilt is magnificent. It has the
fleeting beauty that only a well
kept antique has, that warm
firelight glow of the past.
It has a few scuffs and holes,
but the somber reds and greens of
clan Mackintoish have settled into
the cloth and darkened pleasantly.
The kilt is always the most important detail,
it has passed from grandfather down,
and it looks as handsome now
as in the sepia photographs on our shelves.
The dirks black ornate hilt rests
heavily against his hip, and the
belt is cinched tightly to hold it up.
you can practically hear bagpipes
My grandfather's dark green cotton socks
sit near the top of my father's calf
and he leans over to adjust the frills.
And as his tan wrinkled brow furrows
in concentration, and his admittedly
attractive white whiskers scrape
across his collar, and the image
nears completion, the drum beats louder.
Reaching up from the ancient past
and grasping the future in tradition,
the ghosts of ancestors enter his poise,
and he suddenly appears less like
my father and takes on the swagger
of a cocky fisherman, of pirate.
He is swinging swords
and playing pipes, and cobbling, and
setting stones upright in ancient
forgotten ritual, and tossing cabers.
I know looking at him now,
what my own ghosts will be
when my time comes.
Fegger May 2010
The lantern sways, as shadows flash,
Mists draped in night so still;
Illuminating fleshless arms,
Creep-out along this hill.
Such guardians of soul-less mounds,
Wooden markers of the poor,
Bow in hallowed reverence
As sentries evermore.

Weeping, yet un-frightened,
She trips between each aisle;
Casting light against each stone,
Acknowledge each beguiled.
Then memory finds her grasping,
And clenching cold, damp stone
Denoting ‘neath a vacant plot,
For he never did come home.

‘Pon scattered grass and gravelly dirt;
Drops to reverent knee,
While fanning simple pleats about,
Her dress, in modesty.
She twists the **** and raises wick;
And it curls with cloak of flame.
She whets her lips, inhaling deep,
Then summons ‘pon his name:

“Bartholomew,  Bartholomew,
Can you see that I ‘ave come?
Are you near, me sweetest husband?
‘Tis I, your Mary Dunn!
I had me thoughts to come t’night,
To ‘ave a word with you,
That’s pressin’ on me heart so fierce,
Ya’ ‘round Bartholomew?
Aye, that’d be just like ye some,
To wait fer me confess;
A’twisten’ in me awkward words,
No salve fer me distress!
Yet I—I need t’hear yer voice
An’ calmin’ words to heal,
The anxious quiver, here, inside,
A’longin’ to reveal.”

The widow paused, collecting will,
And questioned own intent;
To cast a net to spirit’s world,
To herald self- repent.
She wrings her fingers nervously,
While waiting ‘pon the dead;
When suddenly a breeze did rise,
Then a hand upon her head.

“Mary Dunn, me Mary Dunn,
‘Ave not better things to do;
Than wander ‘bout such crypts at night,
A’hovered by the moon?
What keeps y’here in dank an cold,
So callin’ out fer me?
Ye know fer fact I’m dead by now,
An rottin’ in the sea!”

“It’s good to see ya’ too, my love;
Better then, to hear;
That death din’t take away that tongue,
Or how ye prone t’snear.
I ‘spected that I’d smell ya’ first,
That rancid scent of whale;
Yer eyes were once quite darker,
Yer skin not quite so pale”.

The spirit corpse then spun about,
Examined high and low,
The fiery bride he’d left behind,
With heart so still aglow.
Warmed by her excited eyes,
And cheeks so pink with life;
He felt a distance aching,
Longing for this wife.

“Ye got a bit of lonely, Mary,
That why ye come tonight;
‘Spectin’ glimpse ‘ov me, like this
‘Wud turn ya’ heart to right?
Sensible is how ye was,
Yet be scurryin’ to find,
Such wisdom in yer harkin’,
To terms ye felt unkind.”

“Stop with ya’!  Stop with ya’!
Ya’ stubborn, briney goat!
T’wasn’t me who boarded ship
An’ failed to keep afloat!
Aye, the heaven hasn’t tempered,
The iron in yer will.
Judge me not Bartholomew,
One, amongst the krill!”

The bearded ghost then chuckled,
‘Til tears came to his eyes.
Proud he was to have such time,
To spend with feisty bride.
He then retreats in silence,
As he gleans from her distress,
That she torments with a secret,
To him, she must confess.

“"Bartholomew, me love,"
she embarks to make her plea,
"Ye left me young an' fruitful still,
yet no child ‘pon me knee.
I'm not as sturdy as y'think,
An' tremble at the thought;
deprived I am of husbandry,
my womb be saved fer naught."
Without ye then, I’ll ‘ave no spring,
No child to remind,
Of splendid days, brighter sun,
Me husband now divine.
I’m askin’ yer forgiveness,
And yer permit to pursue,
The kindly callers come to me,
In absence then, of you.”

“Yer speakin’ of the cooper, Tim,
Or Drew, the smithies’ hand?
Aye, better off with men who keep,
Their feet upon the land!
But Tim, I’m sadly knowin’ that,
His time is comin’ due;
An’ if a child be yer design,
There ‘ain’t no seeds in Drew.
I’ll not be one to keep ya’,
To an empty marriage bed.
Lord knows ye d’serve a finer life,
Than keepin’ with the dead.
But ev’rythin’ that’s in me,
Needs ye hurt no more.
Death ‘as grant me favored eyes,
I ‘adn’t known before.
I’ll come ‘ere, e’vry night,
An’ visit, yer desire.
Honest, I will always be,
Tendin’ yer require.
Love ‘been mine for days of flesh,
Then, for eternity.
Go then now, me Mary Dunn,
An’ make a life for thee.”

With courage she did leave that night,
With freedom then realized,
To pair with then, another mate,
Forsaking former ties.
Yet, on the night that followed,
And for thousands after, too,
She chose the comp’ny of the ghost,
Her lost Bartholomew.

Each night she braved nature’s serve,
Through rain, or cold, or sleet;
Imbibing ‘pon such moment’s time,
To feed on love so sweet.
Each minute spent, Bartholomew,
Rejoiced in hardships, laughter;
And only God and Time will know,
Such treasures in hereafter.

One night, amidst November freeze,
Mary staggered there,
Among the stones akin to home,
With her husband shared;
Lungs revolting, gurgling swell,
Mouth of staining red;
Contrasting earthly suffering,
Found solace ‘mongst the dead.
Fevered to delirium,
Wet, silver-tainted hair,
She settles ‘side familiar post
And finds him waiting there.
Struggles so to form a breath,
In hopes that she may speak,
Surrendering the day’s accounts;
But fears she is too weak.

“Aye, ‘tis time, me Mary Dunn,
A’time that ye come home.
Beyond this night, forevermore,
Y’ll nev’r be alone.
I wish that I could reach ya’ now,
An pull ya’ ‘cross the veil
That’s kept us ‘part these many years,
In spite of what’s prevailed.”

“So ‘lighten me, me whaler man,”
She coughed a pale reply.
“Why’d ya’ choose to lie to me,
To keep me as yo’r bride?
The cooper, he outlived us both,
Eight children sprung from Drew;
Ye lied to me for all these years,
What say, Bartholomew?”

“I feared me own accord, me lass,
From terms set forth above;
Ye cannot cross to waitin’ arms,
Unless ye go with love.
An’ I, but one love known to life,
This chance then rest with you
To be me escort to the Lord,
This, I say is true.
Should ye have taken ‘nother man,
I feared that ye’d be his;
An’ ye’d be taken up with him,
While I’d be left like this;
A-hoverin’ in between such space,
An’ time, by lonesome self;
While pinin’ for me heart of life,
Me Mary, ‘n no one else.”

“Aye, such flat’ry from  des’prate ghost;
It was my life ye know;
I seen ya’ for deceiver,
So many years ago.
But I choose’d to keep me vows to you,
‘Til heaven takes me in;
An’ if I granted sim’lar choice,
I’d choose the same a’gin’.

I’m dying love, I feel it now,
Me spirit needs to leave;
This body sez it’s had enough,
Me time is done, indeed.”
“Lay down, me lass, breath peace,
Lay down ‘n be there, still;
Our fate, as love, ‘pears destiny,
As both our lungs were filled.”

Mary Dunn surrendered then,
To callings of her spirit;
With forever longing arms of his,
She had no cause to fear it.
United once again, at last,
Of faith and love of few,
She crossed into Eternity,
With her love, Bartholomew!
As this represents a needed edit, I'd like to extend my gratitude to Drew for precise observation, critique/guidance and to my dear poet friend, Ron Gardner,  who donated several verses to this piece that were clearly more appropriate than what I had penned originally.  Thanks, so much, gentlemen!!!

If you are reading this, you did me a great favor of time...thanks.  

Fegger, 2010
Jack Dec 2014
~


Painting a picture of porcupines playing
Pincushions out in the field
Purple and pink for this playful perception
Plans of their purpose revealed

Painful endeavors of pacified pranksters
Presenting a pie at their place
Pecan or pumpkin, pickle, pineapple
Pieces are smeared on their face

Putting the paint on some powder puff paper
Pleasure in each stroke is plied
Pausing to peer at the porcupines playing
Prancing in pansies they hide

Puzzling problems with pretzels and peanuts
Posturing people to prove
Pistachio perfume in prime presentation
Preaches that peaches will move

Polishing pastels on pre-printed pages
Prized the possessions we seek
Paisley the plumes of a peacocks posterior
Portraits now come take a peek

Pampering piccolos play the piano
Pure as a pelican’s prayer
Picking a parcel of plum flavored pudding
Poetic prose fills the air

Pleats in my pants shout in proud proclamation
Puddle my pores they perspire
Poodles on playgrounds prevent prosecution
Plotting my hearts pure desire

Passion precedes every past tense of parting
Piled with a presence so true
Painting a picture while purposely dreaming
Promising my love to you
Ok, just having a little fun and I have to P.   :)
S E L Nov 2013
I’d fling the sun far into your cut corner
and shove moonlight broadly onto your toenails
you would want for so little
as the oceans carry you to shores of your water borne desire

wicked is the world stream when high hopes pegged precarious
onto chalky lines that shift like changing clouds
and lend its kind illusory touch under the lee

end dashed like outcast mirrors whose use
is rod cracked like inside the core of acrid earth
where awaits hot lava in secret fissures to melt all ropes
to bridge so narrow a wing's gapped fluke

jerking maestroms circle overhead
inducing desultory plunge
finger pointing, egg-beating, giddy whirly whirl

a day will come as yet unknown
when soul rags are panel worked and hylic sheathed
when latticed treats, as American as apple pie
will fill that tabled sky decked with cirrus tablecloth

averted seeker squint feels that cat-eyed wonder
flattened insect on a troubled screen with translucent beauty wings
lets in a dry smile ***** of real life dust in heretical relief

rupture
        ventilation
bolt that flippin' door – shut out the ****** world – make fast the curtain sides
broach the unslotted gap you know is yours and proclaim it wide: open sesame!
gouge your way into me - till I’m fully plugged with light
caulk me with your fingers till my spine near cracks
spike my heart with currents from the milk rush of you
pierce my thigh strips and whip the whetted words out me
tap into the slinky slices of my pervious skylit want
there will be no occlusion as arches meet under shuddered pleats

no, I have precious little time or heart to draw cute sunshine panels onto your retracted sleeve
in that stead, I can really be just plain me
who’d  eagerly wrench pale-blue patches from the sky cloth
and steal in zest moonbeams from lovers’ eyes
and heartily fling the sun your way and rob its life-giving warmth
and gladly rip up torn foliage from its homes
along with pert petals from fickle floral parties

if only these were things you’d want
yet, well I know whatever be the pains
there waits little gain
feral feline will trouble little more
heart swing derision flies poor as sad plighted answer rings on

the problem is..
being a poems in yearning..
in the silence of solitary nights..
i still wander heedlessly..
upon the pleats of my papery heart of longing..
besotted by the fragrance of a garden of love..
that we never planted in a distant desert..
is that you savour and trust each words your lover has..
but without question..

the problem with..
being a poet in conscience..
so skillfully that i have crafted the art..
to carefully lay the beats of my heart..
to sleep between its folds and pleats..
O’ this Origami of my heart..
how well i have mastered the art..
and it's all about you..

we are simply in love..
with bare literature...
spoken from the mind of someone we hold in higher regards..
and then ourselves sometimes..

in the stillness of serene dawns..
i still walk barefoot..
upon the folds of my rugged heart of yearning..
looking for the footprints of a shore..
that we never cared to saunter together..

when you love a poems..
each word you utter should be a piece of artwork..

Still..
Oh, still at the very thought of your figure..
i hold this creased paper in my palms heart..

and still..
still before you come to know of it..
i gently fold it away..
and hide it in the voids of my *****..
along with the paper jasmine,
paper flowers,
paper stars,

each sentence is a highly thought out structure of awe and beauty to leave us seeping..
in the warmth of your voice and caressing such fine words..

meh...
along with the few crumpled angels..
treasured to forget for sure..
between the pressed beats..
of your flimsy heart..

so when deciding that you love someone,
who writes or reads for it..
just go for it..

fill their souls with beauty,
memories,
and truth especially,
for a poet's heart breaks at ease..*


┈┈┈┈┈»̶·̵̭̌✽✽·̵̭̌«̶ ƦУ »̶·̵̭̌✽✽·̵̭̌«̶┈┈┈┈┈┈┈
despite my ghoulish reputation, i really have the heart of a small conscience..
i keep it in a jar on my desk of my mind..
mmmk...
Raymond Crump Jun 2011
Under the spread hazel's winter
umbrella hung with pale catkins
pulling at a black bin liner rubble
spilled, a little toad tumbles free
from under in turmoil of warty limbs.

A toad in this garden where is no pond
found a moist pocket of plastic pleats
and a larder of wood lice in the rotted
pile sits on my palm calm as a buddha
thoughtless, yellow-eyed, unidentified.

Later, returning for forgotten secateurs
he drifts down in the water *** I let in
to the ground, trailing a bubble stream,
an olive green indifferent nature god.
The lordly stars sustain his crawlspace.
Sarah Daniels Sep 2010
I’ve seen this girl before, but only at night in the depths of my subconscious mind. The perfect curls of her long red hair flowing so delicate upon her shoulders. Her skin, blank and pale. No imperfections such as freckles or scars. Her skin, smooth and soft to the touch. The eagerness I feel to talk to this woman is overwhelming, but I can’t muster the confidence. Her movements, so precise. She has complete control over her body and actions. Her Egyptian eyes, bright green, sparkle in the dim light of the room we both share. Her **** lips forming a smile to reveal the straight white teeth behind them. The face I see before me I’ve kissed and touched a thousand times, but I do not know this girls’ name. Even the black dress with satin pleats underneath her bust fit the exact imagining pictured on the curtains of my eyelids. She sits at the bar and does not take notice to the holes my intense staring have burned. I pinch myself to make sure I’m not dreaming again. Feeling the slight pain, I come to terms. It has been proven to me that angels do exist. Every sip of my drink begins to taste better than the one before. I second guess every move I make and she’s not even looking my way. All the signs are clear and I’ve already fallen in love.

There he is. The picture I envisioned. I didn’t think it was possible. This man is sitting in a folder in the closet of my studio; wasting in the charcoal and paper I created him. Every imperfection and feature matches perfectly. His slightly over grown brown hair that waves at the ends and his ****** hair the very length my hands and creativity mastered in still life. He stands to pull a cigarette out of his pocket and I see his height and slim figure. He looks at me and I smile as I look away to fake a drink. I look up again and he’s sitting, smoking, and running his fingers through his hair. A shiver runs down my spine and I wonder if I became a psychic over night. How could I paint a picture of a person I’ve never seen before and then see them in real life? I guess this could be the man of my dreams. The artist in me pictured exactly the man I would fall in love with and God gave him to me. My stomach ceases to function and my toes can feel my heartbeat. I feel myself falling and if his voice reaches my ears the ground might find me as a burden. This man could be my masterpiece. I get up to take a seat closer. I’ll need another drink if I’m going to initiate any sort of conversation. I sit down and he immediately looks my way. “Hello,”

She came close and I think I said some words out loud. She looked at me and smiled. My brain no longer has any activity, and all I can focus on is her beauty and the fact that she’s real and existing before me. “Hello, I’m Elizabeth.” She spoke, and I heard nothing else. She spoke, and lit the room so bright I could see nothing else. “Hello Elizabeth, I’m Andrew” Panic gripped my heart and the sounds of the public vanished. She had me, all of me. Lost in her words and swimming in her scent. I asked what she did, and she answered with artist. I listened as she spoke of her accomplishments and her soft voice soothed my worry. The stress settled and the determination took over.

He asked me questions. He became interested in what I had to say. The look of his brown eyes locked onto mine gave me the secure feeling that he cared. I asked what he did, and he answered with writer. I listened as he spoke of his stories and his voice took over my mind. I shriveled in his presence and in my sight he was the only man alive. My heart was dead set on what I had to gain. I’ll be you art if you’ll be my tongue. The conversation kept and the evening froze. After hours of laughter and secrets I found the weakness invade. He yawned and touched my hand. Electricity shrieked through my blood veins. He pulled away quickly and I looked him in the face to express that it was okay.

She smiled at me and I heard music begin to play. I took her hand and rose to my feet. She steadily followed my motion and stood close to me. I turned to face her and our eyes locked in sync. I put my arms around her and moved to the symphony. She danced along and wrapped her arms around my neck. I felt as though we connected. Our hearts beating together, our breathing steady, our attention focused only on each other. I’m controlling the steps we take but you’re the one leading the way.
The romance this man beholds is more than I can bear. His hands on my waist, dancing in the middle of a public place. No music is playing, just the tune of our bodies. I must know who he is, inside and out. I want to know his dreams and passions. I need to wake to my creation, my gift from god, my new reason for life, everyday. Feeling his touch is hopeful. Hopeful that tomorrow could feel like today.

I’ve seen this girl before, at this very same bar. She orders the same drink, and sits with the same two girls, every time. She does not know that she plagues my mind. I write all my sorrows and keep my thoughts inside.

I’ll see this girl again tonight. She’ll take me over and my imagination will run wild. My dreams are where she’ll stay, whether at night or during the day. More in love I’ll fall, and perfect in my mind she’ll remain. I rise from my seat, ready for my journey home. Leaving an empty glass and a napkin with a note,

“I’ll be your art if you’ll be my tongue; together a masterpiece is waiting to be born.”
This is obviously a short story, and not a poem.
Mark Lecuona Feb 2012
Her smile held my hand
As I led her up the grand staircase
She pulled on her pleats
And carefully took her place
To be gazed upon and worshipped
Buttressed by my approval
A saint of ****** desire
She could not foreshadow her removal
As the glow of my delusion shines
She is unaware
Assuming her immortality
Cloaked by the intensity of my stare
Unspoken words are felt
She believes she has been pardoned
Mere beauty enough
For her heart had softened
Soon she paces
Back and forth in her discomfort
As for a moment
She lost her golden support
I dared avert my eye
To live if only for a moment
Alone and in control
Yet it only caused her torment
Her angelic eyes turned red
Her ***** sighed
Suddenly she realized
Her subject had lied
It was not eternal love
Or forgiving grace
Instead it was seduction
In his hands he held lace
As long as she was pretty
And demure in his presence
She could live on as a goddess
While faking its essence
What happened?
How did she lose control?
Assuming her power
She failed to see what he stole
Yes the princess
Has given her virtue
To an artful lover
Who pretended to be true
Her mistake
Was failing to heed his writ
Don't mistake my kindness
For weakness of the spirit
My power to love
Can be removed at will
As long as you are worthy
It will remain still
Spoiled by her parade
The queen commands
Her subject turns away
And begins making plans
Removing the grand staircase
He prefers an indelicate fall
The music has stopped
It is the end of the ball
Shocked to be so discarded
Once prized now yesterday's refuse
Devastated by her turning fate
She lives as a recluse
The Monarch
Sheds it's wings
Crawling back to her cocoon
Solitude the sadness to which she clings
The gaze is empty
He rises from his knee
Turning to another
She hears his heart plea
Take my hand
And mount my pedestal
Let me worship you
He smiles as she becomes ornamental
Another glass to break
Another jewel to steal
His passion unending
As the conquest is greater than what he feels
Kuzhur Wilson Sep 2014
One Sunday
On one of our many births  
We
must become the Pappa and Mamma
of an ancient Nazrani tharavadu.

I will go in the morning
And return with
A kilo of beef  meat
With bones
Two kilos of tapioca
And may be also a *** of toddy
From the toddy tapper.

While I slice the meat
You will crush the coconut mix
In the grinding stone.

I will come, now and then,
And wipe my face
In the chatta and mundu
Draped folds of yours.

Go away you shameless man
You will dub  
The slogan of a coy mistress.
Meanwhile
I’ll drum quick rhythms  
On your buttocks
Graced
With pleats.

The kids will see
You’ll repudiate, with your eyes

With the sun
Our bodies also will get warmer
Drops of sweat
Will make studs
On your
Nose.
With the fold of
My chequered mundu
I will wipe them off.

The sun will grow warmer
The toddy inside
Will simmer
In our bodies
An insatiable hunger will torment.

The aroma of
The beef curry with the coconut mix
That you cooked
Will drift into my nose.
Unable to control the craving
I will pick
Tapioca pieces from it and eat.
The hot bits will smolder my tongue.

“You Glutton”  
You will then
Whisper to my ears

By the time I wash my hands and sit
Calling out to the kids
And you, to come for lunch
The 12.30 bell will ring in the church.

From that unexpected
Sunday
Which we spent
Stingily
We will set aside
Some memories
for the next creation.



**Trans: Shyma P
1  Andrew Marvell’s To the Coy Mistress, imagines the normative woman as one who is shy and slow to respond to the ****** advances of the lover.
Nico Bee Aug 2012
Disquietude
Rustle my mind

Iron out the creases 
Left me with nothing
But perfect pleats
I can't bear to understand
And flat surfaces 
Lacking the wrinkles

Of chocolate
Of stories
Of moments

Maybe of passion
Maybe of clumse
Maybe of sadness

Then again
Doesn't no wrinkles
Tell the story of
A perfectly ironed shirt

A moment
A story

Maybe of passionate ironing
Maybe of clumsy ironing
Maybe of sad ironing

Who am I to judge this shirt-mind
Perhaps 
The ironing
Is chocolate
In and of itself.
Ben Jones Jun 2013
Cascade along the midnight street
Allow your feet to lead the way
Past shuttered shops and lowered blinds
And let your mind be led astray
Although some time meandering
And wandering bereft of cares
You find you've stopped and there you stand
Beneath a strand of marble stairs
 
You brush your hand along the rail
As you assail the stony flight
There, at the top a door of brass
And crystal glass reflects the night
A counter cut of fretted oak
Unique, bespoke and petrified
Encroaches on the lobby floor
With doorways on its either side
 
Within them dwells an ailing stage
All worn with age and polished black
And facing this are rows of seats
With velvet pleats and to the back
Resides a heavy curtained box
With silver locks and tapestry
Scenes of the earth and all above
Of love and whimsicality
 
Inside the hall, the lights are out
Yet all about an echo bounds
Of lost applause and orchestras
And raucous, energetic sounds
It's here and now, upon the boards
The darkness hoards a pool of light
Where mingling in motes of dust
And arm is ****** from out of site
 
A quiet amid the hush befalls
Along the stalls, a faceless glare
As set in shades of darkest dim
She glimmers like a solitaire
Her dance describes a careful tone
Each every bone at her command
Her feet tattoo a silent beat
The rhythm meets her open hand
 
Her features null and desolate
Her lips yet to convey a smile
She draws a story with her grace
With shapeless face and all the while
She skips across the empty floor
A dead score from an vacant pit
And through a haze of burning lime
From distant times her dance is lit
 
A swan song of a life cut short
A fable wrought in liquid gloom
Lamenting talent never proved
A bud removed before it's bloom
Its loss a crime against the world
A shadow hurled towards the sun
For such a life slip the hands
As dry sands through the fingers run
 
And now she stands at center stage
A gilded cage she'll never slip
A single tear is seen to leak
about her cheek, across her lip
She stoops a solitary bow
And dips her brow to those unseen
A cacophony of aphony
For her, the girl who's never been
 
A ghostly veil wavers free
As slowly she dissolves in light
Her sparkle spreads and dissipates
Evaporates from empty sight
She never takes a curtain call
No flowers fall about her toes
But still she dances for the dark
A tiny spark of spirit froze


**reposted because I'd forgotten all about it
Third Eye Candy Oct 2014
The ancestral diet of Stars, being Other Stars
has left no scars, save open black and yawning vast.
No retrograde Oblivion... only galactic swirls
and elastic Space between worlds. that never last.

and Eternity.

my modernity nips and pleats my yellow teeth
after long whitening by paste and bristle. i chew the gristle
of the dead sow
and club the weaning pups of Cerberus
with an eyelash and a long blink.
i tread the narrows, flatly -
and conquer the quizzical  conundrums
by simply asking.  
My Rocket Science... laughing
at your grecian urn
to paint the herrings red.

i'm out of my depth.

but yes means 'yes' and we ' no' it.

if Nothing else.
Natasha Adorlee Nov 2010
Coming undone from the strings in my throat
that say a little too much or a little too little
They don't know their Femalien place,
in this masculine **** race-
So with raw heat boiling from the pit of my genitals
and dew drops glistening on my *******,
is it possible that we females are maybe playing the maleful jest?
At best, could a man see that he takes not
what he owns not
and what he owns not-
Is Everything.
But oh,
no no no no-
no no no no no no no,
you're a big man
with your big purply veined ****
coming out of your ears
and vomiting your man juice from your mouth,
don't you feel like a big man now?
As I slip between your skinny pleats
your manly desire,
your teeny weeny *****,
and swim about the valleys of your frothy tongue-
I'll get the flooding of your wallet
the more I scream "oh yeah baby,
I want you to *** *** ***!"
Yet as so far as real love can be concerned
real love does not exist here and in return
it is rain rain rain.
Heavy ******* rain on the blank canvas of your face.
I'll paint a pretty picture with your blood,
you could stick your detached eyeballs
in the mud
and we'd be happy, if only you lost those ears-
pesky things, I'd rip and tear,
tasty treats, your biggest fear,
to be a deaf and blind man
with a women in your wake-
or in your way-
or leading you-
You are not sure.
But ****
it terrifies you-

To the core.
HRTsOnFyR Sep 2015
While the other children were content
To play jacks and skip rope
She preffered the company of the old oak tree
Towering in the back corner lot of the schoolyard
She rested against it's mighty trunk
Basking in the cool shade she loosened her bonnet
Only the toes of her patent leather shoes
Catching beams of wavering sunlight
As they arched through the rustling leaves
A sweet song of a robin whistled amongst the branches
As she smoothed the pleats of her dress
A leather bound book at rest on her thighs
It's jacket so familiar and a comfort to the touch
The scent of it's brown and curling pages
Reminding her of late winter nights by the fire
When her grandmother's kind smile shone so brightly
As the flames from the hearth danced in her eyes
While she spun the girl one of her many stories
As deftly as her fingers could pull stitches
From a mountain of patchwork piled on her lap
The chiming of the bell marked the end of play
And she shook herself from her daydream
Dusting off the errant leaves and grasses
She lined up at the entrance to the courtyard
A sweet smile forming on her lips
Though a measure of sorrow still lingered in her heart
A bittersweet mix both of pleasure and mourning
Her spirit pining for the solace of those precious days; of her past
Gregory K Nelson Apr 2013
I caught you with your dark side peeking past your pleats,
I saw it like a clear sky, when the mist cooks off the streets.
The unfinished irrigation I left drying hard upon your face -
It smells of history.  Kindness is always born of a disgrace.

The internet hides us safe behind crowds of young minds,
A book of faces desiring something proven by the times.
A page to write our names on, photos of our shared birth,
Kindness rising from the street, proving what she's worth.

Candy for our generation is smooth stones of sense of self,
A tumbling togetherness, in natural rivers of joy and wealth.
Mood like sunset destiny sinking among knife blade peeks,
That cut you without warning, and smile while you bleed.

The prisons house the strangers you know from crazy nights,
They don't remember you, they simply dream of better lights.
The half empty charger hungers, and shifts from foot to foot,
Eyes of hope blink for wind.  On the wall the news is good.




"A squirrel dying in front of your house may be more relevant to your interests right now than people dying in Africa."

"People have really gotten comfortable not only sharing more information and different kinds, but more openly and with more people - and that social norm is just something that has evolved over time."

                -Mark Zuckerberg
Keely Hartman Aug 2011
I want to be a princess
To walk in miles of silent gardens
Each flower blooming brilliance in my wake
Each bird screeching songs of joyfulness as I pass
Each forest creature following my path, nudging me with gentle noses and tails
I want to be swathed in the simplest of gowns
So simple, that each golden curve of design makes it more beautiful than any extravagant ball gown
The ***** of the neck and the light pleats of the skirt
Trailing careful sparks of magic from the places the fabric and my skin brush
Everyone will gasp at my beauty
The soft glow of my skin so humble
Each curl of every golden lock catches the sunshine, even on cloudy days
And my eyes
They shall be the bluest in the land
But I keep the tips of my lashes lowered upon my blushed cheeks for anyone who gazes too long
Is entranced by the soft waves crashing on a white shore
I want to only be troubled by my mother's tightness and my father's naivety
I want to be stubborn, to turn away every suitor stumbling in my path
I want to lose my toys and such in the garden and upon looking for them
I want to come across a toad
And the toad will hold out my toy in the palm of his slimy hand
He will say Princess! In return for this act of kindness, I only ask you of one boon!
I will kneel in the softest, greenest of grasses and ask What boon may I grant you, dear toad?
The he shall ask for a kiss and in the glory of this act, his insignificant body shall be changed into a prince
I want to hesitate before I kiss the dripping lips of the toad
Because hesitation will turn to magnificence as Prince Charming appears and says
*I told you so
Coyote Nov 2010
No sin
No beginning
No end

No sending it out to
laundry like tailored
sheets to be returned
with fashionable pleats
in all the right places
Sad faces
Too many **** sad faces
Forgiveness is an elusive
***** these days, her gray
shadow an unrealized
contrast to our delusional
perceptions.
PK Wakefield Nov 2010
beholden only unto thee who art thy;the throbbing quark of
sated lust and thusly spent
                                
              and


                           spl
deya-

                   the vassal of my notes and insert your nice pain
like melodically sugary lush ventricles. a cane bent. stocks bearing
the gossamer fruit of your surly vinegar pleats

replete i in sticky coughs of light glowing pertinently of the vehicle
of your hips. in which i ride unruly and cold killing ****** of
thighs all sweated and blithe and lithe. like a slick predator
pounce uneffortful sighs of dainty lace and so pink cotton

           what ami?if not thy's?then:nothing,mymoistsnappingprose
!
Third Eye Candy Oct 2012
Even in the apple blossom moss of your sleep
A plod across the marsh of it, is such a placid deep-
And a withering of agony
a thing to keep...
Than ever was the promise
Of  a hell beneath.

The quaint and gnarly burl of frost     affixed      to half the stars you marvel-
Crisp dark pleats
In absolute
Garments.

Tethered to your sleep
regardless.

Heart of heartless.
Ivie May 2013
Drive to the edge,this rush to feel free,
rambling off my skin and bones,
electrifying the nerve endings.
dizzying highs of the illuminating happiness
wind rushing though my pale hair,pleats of my ruby dress fluttering in the breeze
my fingertips reaching the starry sky,
like all these vast,embellished dreams-
are finally going to come true
freeing me from the disappointing hues.
i wrote this months ago,maybe in November,or December. its different from what i write these days.anyway,tell me what you think about this:)
katie Jan 2014
Hair tied tightly in her mothers favourite pleats
as tight as the chains that aren't there.
A pretty white sundress dress
for a pretty pure girl
living in the so-called summer of her life.

A ****** touch strokes across her chest
a touch that doesn't belong to her
an *****
black as the coal she would've got for christmas
if saints existed.
cross her heart and hope hope hope to die.

a little black book called the mind
buttoned, fastened and chained
so her demons don't escape.
tormenting her freewill and appetite.
enough.
her poor mother.
if she knew they'd get her too.
keeps them locked behind her ribs and eyes.
a prisoner, master of her own dungeon.
a tormented soul
an angel living among demons
white wings torn and tainted
by their words and actions.
evil.

every man, woman and child for themselves.
you don't know who or what
is lurking.
you're not alone.
noone can hear you scream from the space inside your mind.

.

— The End —