On December the tenth day
When it was night, down I lay
Right there as I was wont to do
And fell asleep wondrous soon,
As he that weary was as who
On pilgrimage went miles two
To the shrine of Saint Leonard,
To make easy what was hard.
But as I slept, I dreamed I was
Within a temple made of glass
In which there were more images
Of gold, tiered in sundry stages,
And more rich tabernacles,
And with more gemmed pinnacles,
And more curious portraiture,
And intricate kinds of figure
Of craftsmanship than ever I saw.
For certainly, I knew no more
Of where I was, but plain to see
Venus owned most certainly
That temple, for in portraiture
I at once saw her figure
Naked, floating in the sea.
And also on her head, indeed,
Her rose garland white and red,
And her comb to comb her head,
Her doves, and her blind son
Lord Cupid, and then Vulcan,
Whose face was swarthy brown.
And as I roamed up and down,
I saw that on a wall there was
Thus written on a piece of brass:
‘I will now sing, if that I can,
The arms, and also the man
Who first, pursuing destiny,
Fugitive from Troy’s country,
To Italy, with pain, did come,
To the shores of Lavinium.’
And then begin the tale at once,
That I shall tell to you each one.
First I saw the destruction
Of Troy, through the Greek Sinon,
Who with his false forswearing
And his outward show and lying,
Had the horse brought into Troy
By which the Trojans lost their joy,
And after this was engraved, alas,
How Ilium assailed was
And won, and King Priam slain,
And Polytes his son, for certain,
Cruelly by Lord Pyrrhus.
And next to this, I saw how Venus
When that she saw the castle’s end,
Down from the heavens did descend
And urged her son Aeneas to flee;
And how he fled, and how that he
Escaped from all the cruelties,
And took his father Anchises
And bore him on his back away,
Crying, ‘Alas!’ and ‘Well-away!’
That same Anchises, in his hand,
Bore the gods of the land,
Those that were not burnt wholly.
And I saw next, in this company,
How Creusa, Lord Aeneas’ wife,
Whom he loved as he did his life,
And their young son Julus,
Also called Ascanius,
Fled too, and fearful did appear,
That it was a pity them to hear;
And through a forest as they went,
At a place where the way bent,
How Creusa was lost, alas,
And died, I know not how it was:
How he sought her and how her ghost
Urged him to flee the Greek host,
And said he must go to Italy,
Without fail, it was his destiny;
That it was a pity thus to hear,
When her spirit did appear,
The words that to him she said:
Let him protect their son she prayed.
There saw I graven too how he,
His father also, and company,
In his fleet took sail swiftly
Towards the land of Italy,
As directly as they could go.
There I saw you, cruel Juno,
That is Lord Jupiter’s wife,
Who did hate, all their life,
All those of Trojan blood,
Run and shout, as if gone mad,
To ******, the god of winds,
To blow about, all their kinds,
So fierce, that he might drench
Lord and lady, groom and *****,
Of all the Trojan nation
Without hope of salvation.
There saw I such a tempest rise
That every heart might hear the cries
Of those but painted on the wall.
There saw I graven there withal,
Venus, how you, my lady dear,
Weeping with great loss of cheer,
Prayed to Jupiter on high
To save and keep the fleet alive
Of the Trojan Aeneas,
Since that he her son was.
There saw I Jove Venus kiss,
And grant that the tempest cease.
Then saw I how the tempest went,
And how painfully Aeneas bent
His secret course, to reach the bay
In the country of Carthage;
And on the morrow, how that he
And a knight called Achates
Met with Venus on that day,
Going in her bright array
As if she was a huntress,
The breeze blowing every tress;
How Aeneas did complain,
When he saw her, of his pain,
And how his ships shattered were,
Or else lost, he knew not where;
How she comforted him so
And bade him to Carthage go,
And there he should his folk find
That on the sea were left behind.
And, swiftly through this to pace,
She made Aeneas know such grace
Of Dido, queen of that country,
That, briefly to tell it, she
Became his love and let him do
All that belongs to marriage true.
Why should I use more constraint,
Or seek my words to paint,
In speaking of love? It shall not be;
I know no such facility.
And then to tell the manner
Of how they met each other,
Were a process long to tell,
And over-long on it to dwell.
There was graved how Aeneas
Told Dido everything that was
Involved in his escape by sea.
And after graved was how she
Made of him swiftly, at a word,
Her life, her love, her joy, her lord,
And did him all the reverence
Eased him of all the expense
That any woman could so do,
Believing everything was true
He swore to her, and thereby deemed
That he was good, for such he seemed.
Alas, what harm wreaks appearance
When it hides a false existence!
For he to her a traitor was,
Wherefore she slew herself, alas!
Lo, how a woman goes amiss
In loving him that unknown is,
For, by Christ, lo, thus it fares:
All is not gold that glitters there.
For, as I hope to keep my head,
There may under charm instead
Be hidden many a rotten vice;
Therefore let none be so nice
As to judge a love by how he appear
Or by speech, or by friendly manner;
For this shall every woman find:
That some men are of that kind
That show outwardly their fairest,
Till they have got what they miss.
And then they will reasons find
Swearing how she is unkind,
Or false, or secret lover has.
All this say I of Aeneas
And Dido, so soon obsessed,
Who loved too swiftly her guest;
Therefore I will quote a proverb,
That ‘he who fully knows the herb
May safely set it to his eye’;
Certainly, that is no lie.
But let us speak of Aeneas,
How he betrayed her, alas,
And left her full unkindly.
So when she saw all utterly
That he would fail in loyalty
And go from her to Italy,
She began to wring her hands so.
‘Alas,’ quoth she, ‘here is my woe!
Alas, is every man untrue,
Who every year desires a new,
If his love should so long endure,
Or else three, peradventure?
As thus: from one love he’d win fame
In magnifying of his name,
Another’s for friendship, says he;
And yet there shall a third love be,
Who shall be taken for pleasure,
Lo, or his own profit’s measure.’
In such words she did complain,
Dido, in her great pain
As I dreamed it, for certain,
No other author do I claim.
‘Alas!’ quoth she, ‘my sweet heart,
Have pity on my sorrow’s smart,
And slay me not! Go not away!
O woeful Dido, well-away!’
Quoth she to herself so.
‘O Aeneas, what will you do?
O, now neither love nor bond
You swore me with your right hand,
Nor my cruel death,’ quoth she,
‘May hold you here still with me!
O, on my death have pity!
Truly, my dear heart, truly,
You know full well that never yet,
Insofar as I had wit,
Have I wronged you in thought or deed.
Oh, are you men so skilled indeed
At speeches, yet never a grain of truth?
Alas, that ever showed ruth
Any woman for any man!
Now I see how to tell it, and can,
We wretched women have no art;
For, certainly, for the most part
Thus are we served every one.
However sorely you men groan,
As soon as we have you received
Certain we are to be deceived;
For, though your love last a season,
Wait upon the conclusion,
And look what you determine,
And for the most part decide on.
O, well-away that I was born!
For through you my name is gone
And all my actions told and sung,
Through all this land, on every tongue.
O wicked Fame, of all amiss
Nothing’s so swift, lo, as she is!
O, all will be known that exists
Though it be hidden by the mist.
And though I might live forever,
What I’ve done I’ll save never
From it always being said, alas,
I was dishonoured by Aeneas
And thus I shall judged be:
‘Lo, what she has done, now she
Will do again, assuredly’;
Thus people say all privately.
But what’s done cannot be undone.
And all her complaint, all her moan,
Avails her surely not a straw.
And when she then truly saw
That he unto his ships was gone,
She to her chamber went anon,
And called on her sister Anna,
And began to complain to her,
And said that she the cause was
That made her first love him, alas,
And had counselled her thereto.
But yet, when this was spoken too,
She stabbed herself to the heart,
And died of the wound’s art.
But of the manner of how she died,
And all the words said and replied,
Whoso to know that does purpose,
Read Virgil in the Aeneid, thus,
Or Heroides of Ovid try
To read what she wrote ere she died;
And were it not too long to indite,
By God, here I would it write.
But, well-away, the harm, the ruth
That has occurred through such untruth,
As men may oft in books read,
And see it everyday in deed,
That mere thinking of it pains.
Lo, Demophon, Duke of Athens,
How he forswore himself full falsely
And betrayed Phyllis wickedly,
The daughter of the King of Thrace,
And falsely failed of time and place;
And when she knew his falsity,
She hung herself by the neck indeed,
For he had proved of such untruth,
Lo, was this not woe and ruth?
And lo, how false and reckless see
Was Achilles to Briseis,
And Paris to Oenone;
And Jason to Hypsipyle;
And Jason later to Medea;
And Hercules to Deianira;
For he left her for Iole,
Which led to his death, I see.
How false, also, was Theseus,
Who, as the story tells it us,
Betrayed poor Ariadne;
The devil keep his soul company!
For had he laughed, had he loured,
He would have been quite devoured,
If Ariadne had not chanced to be!
And because she on him took pity,
She from death helped him escape,
And he played her full false a jape;
For after this, in a little while,
He left her sleeping on an isle,
Deserted, lonely, far in the sea,
And stole away, and let her be,
Yet took her sister Phaedra though
With him, and on board ship did go.
And yet he had sworn to her
By all that ever he might swear,
That if she helped to save his life,
He would take her to be his wife,
For she desired nothing else,
In truth, as the book so tells.
Yet, to excuse Aeneas
Partly for his great trespass,
The book says, truly, Mercury,
Bade him go into Italy,
And leave Africa’s renown
And Dido and her fair town.
Then saw I graved how to Italy
Lord Aeneas sailed all swiftly,
And how a tempest then began
And how he lost his steersman,
The steering-oar did suddenly
Drag him overboard in his sleep.
And also I saw how the Sibyl
And Aeneas, beside an isle,
Went to Hell, for to see
His father, noble Anchises.
How he there found Palinurus
And Dido, and Deiphebus;
And all the punishments of Hell
He saw, which are long to tell.
The which whoever wants to know,
He’ll find in verses, many a row,
In Virgil or in Claudian
Or Dante, who best tell it can.
Then I saw graved the entry
That Aeneas made to Italy,
And with Latinus his treaty,
And all the battles that he
Was in himself, and his knights,
Before he had won his rights;
And how he took Turnus’ life
And won Lavinia as his wife,
And all the omens wonderful
Of the gods celestial;
How despite Juno, Aeneas,
For all her tricks, brought to pass
The end of his adventure
Protected thus by Jupiter
At the request of Venus,
Whom I pray to ever save us
And make for us our sorrows light.
When I had seen all this sight
In the noble temple thus,
‘Oh Lord,’ thought I, ‘who made us,
I never yet saw such nobleness
In statuary, nor such richness
As I see graven in this church;
I know not who made these works,
Nor where I am, nor in what country.
But now I will go out and see,
At the small gate there, if I can
Find anywhere a living man
Who can tell me where I am.’
When I out of the door ran,
I looked around me eagerly;
There I saw naught but a large field,
As far as I could see,
Without town or house or tree,
Or bush or grass or ploughed land;
For all the field was only sand,
As fine-ground as with the eye
In Libyan desert’s seen to lie;
Nor any manner of creature
That is formed by Nature
Saw I, to advise me, in this,
‘O Christ,’ I thought, ‘who art in bliss,
From phantoms and from illusion
Save me!’ and with devotion
My eyes to the heavens I cast.
Then was I aware, at the last,
That, close to the sun, as high
As I might discern with my eye,
Me thought I saw an eagle soar,
Though its size seemed more
Than any eagle I had seen.
Yet, sure as death, all its sheen
Was of gold, it shone so bright
That never men saw such a sight,
Unless the heavens above had won,
All new of gold, another sun;
So shone the eagle’s feathers bright,
And downward it started to alight.

Left behind us, that questioned absent mise-en-scène
With gods compassionate speaking over me;
Carelessly deliberate staves of notes rise off the pastiche
To push the soul above the throat through to the hubris of Man
And while his brushstroke unpaints the painter, and a lucid camera shutters free.

All things arise from unities as fibers from the music sheet,
A horn of violet magnitude triumphs beyond the bore concrete,
It cuts below the rest, the merit, teasing to the very womb
Of beauty, raw and eager as primitive desire; he shows to us a tomb
A snapshot of myself the author, of us authors, born again and again

And he sits smug to the side, his cigar as long as libido.
Our bodies are substance on which and of which are drawn
From the comely purple man, patient and ******, he bears
For the very law of beast commands a stable mind,
Captains the aesthete unto the intrusive hole from, for which he writes

For which we create: in that, we find the hungry impetus,
Mothers and fathers in the same moment, with abandon
A moral of such empty stuff pulls from me spirit, spirit, spirit
Of the living wager, my life, as the music man, as the purple man
Ensconced by *****, comes to me: thus is proposed, thus is empowered

Poesis brought me close to the thing of God, poetry brought me from
And beyond, and I dedicate myself to escape from the ******* of art
But run back, and back, and back to the sole recourse to be made.
I can only ride, and writhe to feel the ****** of creation
Let it take hold, let it take breath, rise immortal o’er this infinite little death.

It took him a week to master thought-diversion. He would leave home to walk to work and the moment the door was shut it was as though she followed him like a shadow on snow. If he wasn’t careful the ten-minute walk would be swallowed up in an imagined conversation. He had already allowed himself too many dark thoughts of tears and silences. He saw her befreckled by weeks in a light he had only read about. She would be a stranger for a while, a visitor from another world (until she gradually lost the glow on her skin and the smell of Africa became an elusive memory). He was frightened that he would be overwhelmed by her physical grace enriched by   southern summer and the weight of her experience, having so little to offer in return. So he practised thought diversion: as her shadow entered his consciousness he would divert his attention to China of the Third Century and what he would write next about Zuo Fen and her illustrious brother.

Sister and brother Zou gradually took on a fictional life. This he fuelled by reading poetry of the period and his daily beachcombing along the shores of the Internet. He built up an impressive bibliography for his next visit to the university library. Even in the Han Dynasty there was so much material to study, though much of it the stuff of secondary sources.

One morning he took down from his library shelf Max Loehr’s The Great Painters of China and immediately became seduced by the court images of Ku Kai’chih. This painter is the only artist of this period of Chinese antiquity to be represented today by extant copies. There was also a possible original, a handscroll in The British Museum. It is said Ku was the first portrait artist to give a psychological interpretation of the person portrayed. Before him there seems in portraiture to have been little differentiation in the characterization of figures. His images hold a wonder all their own.

As David looked at the book’s illustrative plates, showing details from The Admonitions of the Instructress to the Palace Ladies, the world of Zuo Fen began to reveal itself. A ‘palace lady’ she certainly was, and so possibly similar to the image before him: a concubine reclines in her bamboo screen and silk-curtained bed; her Lord sits respectively at right-angles to her and half-way down her bed. The artist has captured his feet deftly lifting themselves out of square-toed slippers, whilst Zuo Fen drapes one arm over the painted bamboo screen, her manner resolute and confident. Perhaps she has taken note of those admonitions of her instructress. Her Lord has turned his head to gaze at her directly and to listen. Restless hands hide beneath his gown.

        ‘Honoured Lord, as we have talked lately of flowing water and the symmetry of love I am reminded of the god and goddess of Xiang River’.
       ‘In the Nine Songs of Qu Yaun?’
       ‘Yes, my Lord. The opening verse has the Prince of Xiang say: You have not come; I wait with apprehension / And wonder who makes you prevaricate on your island / When I am so splendidly and perfectly attired in your honour?
       ‘Hmm. . . so you favour this new gown.’
       ‘It is finely made, but perhaps does not suit the light of this hour’.
       ‘Let the Yangzi River flow calmly, / I look for you, but you have not come.’
      ‘I gaze at the distance in a trance, /  Only to see the grey green waters run by.’
        ‘Honourable Companion, I fear you feel my mind lies elsewhere . ‘
       ‘I know you ride the cassia boat downstream.’
       ‘Indeed, my oar is of cassia and my rudder of orchid’.
        ‘I fancy that you build a house underwater, thatching it with a roof of lotus leaves . . .’
       ‘Well, if that is so, drop your sleeves into the Yangzi River and present the thin dress you wear to the bay of Li.’
       ‘I am in awe of my Lord’s recall of such verses . . . I love the Lady of Xiang’s description of the underwater house . . . with its curtains of fig leaves and screens of split basil.’
      ‘But will you send me all the spirits of Juiyi mountains to bring me to your side . . . will they come together as numerous as clouds?’
      ‘My Lord, my nose perspires . . .’
      ‘I offer my jade ring to the Yangzi River / and yield my jade pendant to the bay of Li. / I gather galingale fronds on an islet of fragrant grasses, / still hoping to present them to you. / If I leave, I might not have another chance. / So I’d rather stay here and linger a little longer.’
        ‘I gather the powerful roots of galingale / hoping to offer them to you who are still far away. / If I leave, I might not have another chance. / So I’d rather stay here and linger a little longer.’
      ‘Even though your nose perspires and your ******* harden . . .’
        ‘Kind Lord, you have taken the wrong role in the dialogue. Surely it is the Plain Girl who gives such advise to the Yellow Emperor.’
        ‘And I thought only men read the Sunujing . . .’
        ‘You forget I have a dear brother . . .’
       ‘With whom you have read the Sunujing! . . and no I have not forgotten . . . he sought permission to travel to the Tai mountains, some fool’s errand my minister states.’
         ‘He may surprise you on his return.’
        ‘Only you can surprise me now.’
       ‘My Lord, you know I lack such gifts . . . I hear your sandals dropping to the floor’.
      ‘I sail my boat ever closer to the wind / and the waves are
stirred like drifting snow.’
     ‘I can hear my beloved calling my name. / I shall hasten so that I can ride beside him.’


She seemed so child-like in that singular room of the garden annex. Her head had buried itself between the two pillows so only her ever-curling hair was visible. Opening a small portion of the curtains drawn across the blue metalled-framed French windows, he gazed at her sleeping in the dull light of just dawn. Outside a river-mist lay across the autumnal garden where they had walked yesterday before their tour of the estate. Unable to sleep he had sat in their hosts’ kitchen and mapped their guided walk in the rain, noting down his observations of this remote valley in a sprawling narrative. On the edge of moorland it was a world constrained and contained, with its brooding batchelor-owned farms and the silent legacy everywhere of a Victorian hagiographer and antiquarian. As he wrote and drew, snapshot-like images of her intervened unbidden. She both entranced and purposeful in a physical landscape she delighted in and knew how to read. Although longing to lie next to her he had sat gently for a moment on her bed, feeling the weight of her sleeping form move towards him as the mattress sagged, his bare feet cold on the stone floor. He placed his poem on the empty companion pillow, and returned through the chill of unheated rooms to the desert warmth of the Agared kitchen.


Lying in your arms
I am surprised to hear a voice
That seems in the right key
To sing what is in my heart.

After so many dark
inarticulate hours
I,  desperate
To express this love
That drowns me,
Suddenly come up for breath
(after floundering in
the cold water of night)
to find there were words
like little boats of paper
carrying a tea light,
a vivid yellow flame
on the black depths,
floating gently towards you . . .

Oh log of memory
record these sailing messages
So carefully placed, rehearsed,
Launched and found complete.

Knowing I must not talk of love,
Knowing no other word
(feeling the shape of your knee
with my right hand),
knowing this time will not
come again, I summon
to myself one last intimacy
before the diary of reason closes.

Zou Fen often wrote about herself as a rustic illiterate, country-born in a thatched hut, but given (inexplicably) the purple chamber at the Palace. As the daughter of a significant officer of the Imperial Court she appears to have developed a fictional persona to induce and taste the extremes of melancholy. Otherwise she is mind-travelling the natural world from her courtyard garden, observing in the growth of a tiny plant or the flight of distant bird, the whole pattern of nature. These things fill her rhapsodies and fu poems.

As a young man Zuo Si had wild flights of fantasy. He imagined himself as a warrior. In verse he recalls reading Precepts on the Art of War by Ssu-ma Jang Chu. With a scholar’s knife he writes of quelling the barbarian hordes (the Tibetans) in their incursions along the Yang-tze. When triumphant he would not accept the Emperor’s gift of a title and estate, but would retire to a cottage in the country. Then again, as a student scholar, he describes failure, penury and isolation ‘left stranded like a fish in a pond, without – he hasn’t a single penny in his account: within – not a peck of grain in the larder.’ He was never thus.

Like all good writers sister and brother Zou were the keenest observers. They took into and upon themselves what they saw and gathered from the lives of others, and so often their playful painted characters hide the truth of their real lives. David looks at his dishevelled poetry and wonders about its veracity. He always thought of Rachel as his first (and only) reader; but what if she were not? What would he write? What would his poems say?

*I lie on my back in her bed.
On her stomach, her arm on my chest,
She props herself against me
so that I see her face in close up.
She gazes
out of the window

I don’t think I have slept at all,
My own bed was so cold.
She warms me for a while.

All night
I’ve been thinking
what to say to her,
and now I am too weary
to speak.

I am in despair,
Yet I ache with joy
At having her so close.

I wish I knew who I was,
What I could be,
What I might become.

A voice tells me
that such intimacy
will not come again.

framed in driftwood
we stand, gathered informally
standing on sand, at the waters edge
with blue sky and sun behind

father, mother, son.
zinced but still pinked
by the day, on the beach
smiling, carefree

intertwined by love
and history,
the gene pool, strong.
hair blonde and curly
the feet, long toed
and the clefting dimple
on chin, the slight turn of nose

we are held for posterity
together,
for this moment
of memory.
smiling, laughing, loving.

as the tide recedes,
as the sun sets,
as the sand is blown hither.

we will remain......family....

I have long since forgotten his name
(He was only around for my sophomore year at Dear Old State)
As he was universally known as  “Coal Miner”,
Being of all things, a geology major,
The nickname being buttressed by one heroic drunk
In whose aftermath  he brought forth, all Vesuvius-like,
A dark concoction of dirt, twigs, and some small bits of stone,
Though by and large he was reasonably diligent in his classwork ,
Maintaining his drinking and general decorum
Within sensible boundaries
Not adhered to by the general run of dwellers
In our brick bungalow of doubles and triples.

One perhaps-it’s-truly-Spring day just before finals week,
The Miner went off in an in aberrant and inexplicable rampage,
Replete with wall punching, blood letting,
And annihilation of light fixtures
Which spilled out of the dorm, across the academic commons,
And ended just inches from the Dean of Students himself.
It was the last any of us saw of The Coal Miner
Before he and his disappearance rode off together
As the stuff of undergraduate legend.
We later heard The Miner’s mother had died
Suddenly, unaccountably, down in Cortland,
Succumbing to some rare and misdiagnosed malady
(To be fair, it was one of those illnesses
Beyond the experience or worldview of small-town hospitalists)
And, with her, all his means of support, emotional and otherwise
Vanished like so much ash blown away
From the site of some ghastly fire.
To disprove the theory that God only sends us what we can stand,
The college regretted to inform him
That they were unable to provide
For the unfortunate contingency at hand,
And as such, his only mildly distinguished academic career
Was brought to an abrupt and unfortunate end.

We later heard he’d told one of the coterie of security officers
Who had wrestled him to the ground
(Thus preventing the Dean’s untimely
Though likely unlamented end)
That one of the faded, clumsy portraits
Depciting long-dead medical directors
Lining the entranceway corridor of that hospital back home
Had actually hissed to him
What do you want from us?  We’re only men, after all.
(He’d been in the full-blown midst
Of his shock and grief at the time,
So the possibility of hallucination certainly couldn’t be discounted)
And one of his hall-mates swore upon his mother’s life
He’d seen the shoulders of the founder’s statue
(Heroic bronze figure outside of Waddington Hall
Smiling benevolently,palms upturned, hands outstretched
Offering a bounty of knowledge to all comers)
Actually began to droop a little bit after it had been passed
By a screaming, bloodied, raging Coal Miner,
Though that tale was the handiwork of Tommy Mulligan,
Who was sodden and given to pure foolishness
Remarkable even by our standards,
And I later heard the Coal Miner
Was living in a barely habitable cabin
Up on the shore of Saranac Lake
Where he had become a stonemason
Specializing in the restoration of headstones
Buffeted by epochs of mountain sleet
And Midwest-borne acid rains.

Death drives fast in stolen car
Pursued en mass by cops afar
Down motorway of he and she
Who drive in innocence, legally.
Colliding in cascading mess
Of debris, dust and huge distress.
Face down upon the tarmac now
Handcuffed with glock at bleeding brow.

Whilst winding through a country glade
An opulence of deep, green shade,
A confluence of peace and quiet
Where nature’s art, in beauty, riot,
Where squirrels dart and rabbits munch
In turquoise grasses, lush, for lunch,
And sunspots sparkle in the shade
This place where poetry is made.

Juxtaposed, the concrete hash
Where ranting politician’s clash,
Where each, determined to be right
Adopts inflexibility's fight,
To hold to ransom common sense
Whilst seated stoically on the fence,
Committing all to farce and pain
Whilst pointing to another’s blame.

White waves wash the pristine sand
Where in Bermuda shorts, I stand,
Soaking up the tropic sun
In holiday, now just begun,
Far out I see a distant sail
Which tells a fascinating tale
Of opalescent crystal seas
Caressed by mystic scented breeze.

Juxtaposed, is terrors threat
Caste worldwide through Islam’s net,
Despite the protestations made
By Clerics, genuine, dismayed,
Permeated far and wide
Through violent death’s perverted pride.
Causing misery obscene
Whilst rinsing hands in blood till clean.*

Hark, a lark on yonder hill
It’s song, so clear, enduring till
It ends in silence… so pristine,
That tears stream down my face, so lean
And gaunt, so filled with joy am I
With gift of lark song sung to sky,
A gift, so sweet and clean and pure
If juxtaposed, it will endure.

Marshalg
Portraiture of my yin & yan in this day.
4 October 2013

liquid will swirl into the shape of it's cradle as hearts will mold to the minds of their successors. background checks?

tl;dr.

______________

­brave girls have cranberry ***** running through their veins, isn't that right? drink up, buttercup.
what's it if you and i goes on a ride? i got a paintbrush, you've got what needs to be painted. i'll paint you so good you won't even recognize yourself.
-
portraiture is dead and landscape is only dying.
let me
-make you
-in two
-into
a landscape.
you're gonna be sittin' pretty for the rest of your life, 'cause i'm not giving you any other options. open up those ankles - we're out of paint.
-
this prototype calls for one cup of honeydew, one cup of darling- stop - .
if it's on the market, how illegal could it be?
throw 'er in the ***.
the bottom drawer plays labyrinth to movers, shakers, mixers, fixers.
all those faces are too hard to tell apart, if you ask me. ten can-can dancers, please, and make it snappier than jaws on concrete!

no, not like that.
you're spending too much money on lipstick anyways. girls don't need makeup. girls will look pretty no matter what angle i've determined your elbows should be. your short-haired sister doesn't appear to be using this blood.
-
lay her on thick; and make sure you write those scars off as business expenses.

It's a travesty to tolerate
The ugly mores of men,
When everyone's allowance
Condones release for them.
Where everywhere provision
Is made for man to shove,
And woe betide the meek
Who don the feathers of a dove


The world applauds the forceful,
Rewards are rich for he
Who tramples over daisies
And holds aloft the key.
Who forces his attentions
And speculates the win,
Despite the devastation wrought
In winning it for him.


It's a travesty to tolerate
This bovine charge of man
When all can be achieved
With an accommodating plan,
When compromise and levity
See consideration's way
Where success can be attained
With out bloodletting on the day.


I hear the snort of your derision,
Feel the snigger in your smile,
See the curl of lip descending
With your slit eyes of defile.
For this portraiture is global
The fighting man is King
And he who deviates
Is left bereft and vanquishing.


Sadness is the matador
Who casts his scarlet cloth,
To be shredded and impaled
By a maddened bullock's wrath.
To be tossed aside, asunder
Like a lifeless ragged doll,
Like mankind's brute tomorrow
When the final drums do roll.


Marshalg
@theBach
Mangere Bridge
29 November 2009

Unfinished sketch
                                                          ­                                              in my mind
following each encounter
                                                                            with carefully drawn details,
a face                                                             ­                      without expression
a body                                                             ­                     without definition
a title                                                            ­                               without "you"
grant me
the right to continue
until the colors resonate
your name
                                                                                              *off the portraiture

Crashing surf on roiling sands
Bouldered with volcanic might,
Westward storms howl from the sea
Battered seagulls shriek in flight.

Pale dune grasses thrash to leeward
Scattered shafts of milky light,
Wild and storm caste portraiture
Of cruel sea's eternal might.

Searching eyes across this tumult
Reaching gaze amongst the foam,
Sodden gown to clinging body
Frantic eyes in cold waves roam.

Desperately she seeks the lover
Hauntingly she calls his name,
Writhing seas consume her words
Crashing surf dispels the blame.

Sad solitude in loneliness
Outstretched slender arms so frail,
Yearning for that tender kiss
And for his cold, dead features pale.

Rain soaked ******* lonely outcrop
Railing at a raging sea,
Lost within unfeeling vastness
Unobserved by all...but me.


Marshalg
On the wild & remote, black sand beaches of Taranaki
20 November 2010

An empty drinking glass is pressed against a wall; amplifying the voices on the other side. My ear is pressed to the words, ”outside is a secret key” - I can honestly say, “I hear…" Your words, idealizations, sentiments, selected scrawls of graffiti-type promise and viewpoints echo through the wall. Over and over. Championing outsiders…

Are there WALLS WITHIN WALLS? Can we walk through them? ARE THE WALLS ERASABLE? Will the walls tumble down? Will the walls polarize? WHAT ABOUT CRACKS IN THE WALLS? Can they hear? Can we leap over them?

DO WE build them where everything and anything follows and flows?
DO WE build them where something's nothingness tethers vapors with souls?
DO WE build them so molecular melodies of light and dark can collide unopposed?

Are these word walls of dust?  Can we move them? Can you angle between these walls? Will the walls speak a wealth of quiet surprises, poems, and meditations? Do walls give birth to improvisation?

Now some of these walls, in their moment are with no rules, self-constructed, circling dramatically, and might prove more resistant to erosion.  These are often troubling walls, no voice, no strength of decency, no laughter, which place freedom at stake. That and survival. One can be easily manipulated or yanked by an image of the truth swirling in the brick blackness of the wall. Discomforts relish now. Walls such as these are very deep-rooted and passed on for generations. Yet even those barriers eventually give way once we read the super fine print etched into the wall - a word salad of B.S., idiocy and hypocrisy.

Reach for spray-paint and enlarge your wall… maybe it enhances your world now with colored aerosols of wall portraiture's that capture rebellion and mirth. So many Walls, AND SO MANY QUERIES…

I heard a poem say, “Step out from behind one (wall) and FIND YOUR REAL SELF” – or maybe it whispered “jus walk through that door in the wall.”
Your tightly strung trampoline of words has provided a springboard for me to bounce freely over the many walls we build around ourselves.


by "ooznozz"

Bovine like he sits
maybe he has to ****
            the only reason i can think of
            that would warrant the stupid look on his face
speaking with urgency
and an andalucian lisp
he slouches in his chair to lessen his discomfort

And the large african queen'the proud mother gorilla
who shows up late everyday
then doesn't speak spanish
at all
es interesante

cow-boy now gets up
scampering out of class
relief in sight
past the starry eyed portraiture
of the girl reminiscent of the head of a young woman with tussled hair
carrying her emotion in her eyes

or maybe she's just ******

a morning bowl was nice today
the leaves almost at their peak
in terms of chlorophyllic changes at least

Had anyone heard of her accidentally?
elsewhere there's no trace.
I saw this paradigm of time drift by.  
Leastways Nikon F / Nikkor lens
ER Ektachrome caught her beauty;
never  flighty  Lavinia  Stone:
1/125  F5.6  stood her evergreen.  
Grained figurine, patient as light.
Portraiture from heavens sense,
cloudy drizzle
times eminent on blue rays.

Thunder's Rolling drum
Across the churning heavens,
Lightning’s mighty discharges
Flash across the waves,
Illuminating torment
Of a momentary vision
In portraiture of Hades,
A kaleidoscope of craze.

Hard rain horizontal
In howling gale of deluge
Revealed momentarily
In silver sheets of rain,
Writhing tongues of lightning
In jagged forks a-searching,
An instantaneous funeral
Through a million volts of pain.

Standing at the cliff edge
In the drenching after midnight
Fearful pulses racing
In the violence of the storm,
Spectator to the vastness
Of Devil’s work unleashed here
Spectator to a fearsome sky
Where the Gods of Wrath were born.*

Marshalg
Witnessing the most spectacular, violent lightning and thunderstorm immediately adjacent to my hilltop front door in Taranaki @ midnight..
11 April 2014

Conceit in lines around her face
Which mask an underlying pain
Of envy coined in terms of rage
Behind sweet smiling lips, ordained.
Within those eyes of brittle blue
The contradictions deep portrayed
In portraiture of crowning wealth
Beneath a writhing hate, contained.

Oh how the opulence displayed
The charm dispensed, the pomp, the fuss
Apparent ‘neath the thin veneer
Sincerity’s black *****, mistrust.
Hid beneath the thin veneer
The entrails churn in anger’s spleen
And woe betide the servant found
To whisper subterfuge, unseen.

On the surface calm prevails
Appearances must be preserved
Tea and sandwiches at noon
Shall on the terrace porch be served.
Deep beneath the knives are drawn
Blood must flow before this night
She shall sever dalliances….
Non shall witness sound nor sight.


Marshalg
28 June 2014
Sandringham.

The Art World knows her face,
and, for certain, her smile;
a smile sad, enigmatic, constrained.
So I read, with some interest,
of a copy that that’s thought
to share an author one and the same.

The provenance of the piece is not clear;
Some detect the Master’s own style.
Others contend an apprentice’s fingers
transcribed the work like a file.

The dispute will continue, for years
I suspect. The work will be x-rayed for clues
If it turns out to be Leonardo’s own work,
I t will certainly be front page news.

He carried the original wherever he went.
He was proud of this work, I am sure.
In a long life of work there would be time enough
to copy this famed portraiture.

I look on it now: She is modest, demure,
her lips bear the hint of a smile.
She’s a thin coat of oil on poplar wood,
done in his unmistakable style.

Are you a copy or are you for real?
Dear Lady, refined and reserved,
in you was the hand of the Master at work?
Mona Lisa’s not saying a word.

portraiture.
sweet tooth.
rotting away my teeth.
bitter aftertaste.
indulgence. indulge me.
inhale decadence.
exhale toxins.
cleanse deep.
she knows. she knows. he does too.
but he always did.
new to the game.
red lipstick razor blade.
cut you open. let you spill your guts to me.
incorrect patchworks.
inaccurate intricacies.
spillage on highway 505
where we left our beating, ****** hearts.
lit up with gasoline wine.
fast ignition on a mission.

for your neck.
failed wreck.

Moments fly and phrases die
Like thistledown in breeze,
Creativeness evades
The minds capacity to seize.
Shadows of vast portraiture
Do beckon from within
Just to dissipate like gossamer
When almost penciled in.
Sequences of magnitude
Dissolve upon the lips
And laughter’s spontaneity dies
As vapoured humour slips.
To fancy pearls of rapture
Emanating from the brain
Would tax ones capacity
To ever fantasize for fame.
Frustrations of the frantic day
Those rushing points of call
Where interruptions, interrupt
In fleeting moments all,
Where focusing, just shatters
In the face of crass demand
Where inspiration’s stillborn babes
Are delivered cold to hand.
Tragic are the losses
To the mortified’s dry pen
And jubilantly, Satyrs claw
Creations’ prize …to them.

Marshalg
Victoria Park Tunnel
28 June 2010

Pandering to platitudes am I….
Running riotously adrift
To spice my day with pleasures.
Pleasures caste in portraiture so stark
Of thee my love, of thee.

In curvature of smooth refrain
And delving vortex of unimaginably fine dark fur.
Reclined in attitude of ease…
With mischief dancing about thy porcelain, painted lips.

Oh that I could die with this indelible art?
Slip away to this shrill cacophony of sweet,sensate spree?

M.

Their eyes did the judicious scan down to our shoes,
Muddied silence gave us away,
Cartographers of the naughty ditch we huddled in for warmth
Alight go the zip-lock bags are knuckles giggled in
Pulling the drug like creativity,
Often enough to it portraiture;
Spacily, we followed their eyes, lay flaccid fixéd
To there, they stay, when precautions cross and made
Punitive pleasures of the proxies, and all.

Rest assured, we did not care.

Blush for the dervishes, aslant, a chin
Ravaging to the eye, a glance, a smile,
Hoping a spin, awry a touch is enough to motion the room
Sheepish, onto the other,
From there at poles and solemn way: yearning.
Sticky lips, servile mementos
Wishing to be the real thing, palms
Inexorable ones, warmly tie loose ends of the world
Together, sharing as some do the spectator’s space
So twain between him and the moon: mind, body, soul
A coupling of felicitous breadth
And her come-hither stare, clung to lusting silence
Dim, in throes of mere taboo, they stay
Safely, that personal place, the jeers of teenaged love
They buried under blankets to escape.

Rest assured, they did not care.

“Replay, diligently, the last song and keep,” she said,
“Your sarcasms to yourself. I lived it before
Before, oh, it fell all into place; the fiction of photos
Will not keep food in my mouth,
Turned down in nostalgia—to be birthed
Is first in the long thread of loses,
Doled out in tips, the ringed coffee, holding each other together
While I move between tables too eagerly,
Unwelcomed contentment
Wears the dancer’s shoes mockingly
A still-life, still life just gets it, the sad times
Are written, my still life has bills to pay
Arranged like puerile bursts, blossomed hearts
Wanting to pull you through the hole in the earth
And show you the center/poetry buried in still
Lifeless end-times we gave up for access
To green roads of experience and all their contradiction;
The rest was all just small talk.”

Rest assured, she did not care.

Her and I wept away from the palpable, at feelings
Knowledge of solutions to pathos, Love begs itself
Remediation, wrong at every turn, swiftly
Excising its possessions:
Do you love me, or is it ought?
Do I love you or merely the thought?
Long, is it, to have or be—
An aspect of a thousand chattering sounds
Plentitude of voices harken answers we
Bear not to hear, but form in the absence
Bliss, enscribed on parchment, out lovely whole
Complementing our moon,
Bringer of the yeasts of child, of its own siege
Full of what we’ve only given room.
I say, recourse for our maddened state, what we promise
In rhinestones, bands us together, in too small a space,
Too short a time, is that of theft and thing—
Undo, undone the marks the sane voices’ command
We, thus, are to be lectured, tongue-in-cheek
The portmanteaus of proper affection, bed-pleasures: individuality,
Its arithmetic and the modals virile, my destiny divisible
Or walk divided, infinitely one,
Autoerotically in praise of my bottled ***, given to all,
Shared with none, taughtfull-wellknown
A love may never love but itself
If it has choice between—it chooses self,
Indulge, indulge the unlovely ecstasies sure
All lessons lead to conclusion, different in their by-ways
Restlessly falling short of dreams, for the fallen fruits
And sour with despair.

Rest assured, we did not care.

To reveal a face
Is to disrupt
The gentle slow roll barrage
To show a concealed instant
The mask dies away
In old growth misery decay
When hair & belly
Like a costume folding
United with unknown cause
Who has invented
The receding plaster
Mindful eyes
Wet portraiture
Individualized
Self-conscious stranger
You are  a repetition
And a contradiction
Cells bloom like
Palm patterns
Maps limited in form
Without whatever
Mimics Henrietta
To intrusions
Conscientious tales
Who told from
Up on great heights
No reason to imagine
A resistance
Painful recreation
Sell me your blind light
I call you out of mine

Pull* "The dog says: 'Bark'"
Pull "The cat says: 'Meow'"
Pull "The human says: 'The human says: 'The human says: 'The human says: 'The human says: 'The human says:......

The human says: 'I can understand that.'
                               Sternly command that.
                               shear and plow and smelt and can that
                            
                               I can make a plan
                               to catch and **** and roast and feast
                               on that hard quill and bristle beast

                               And I can stain his image on the living rock
                               no, not to mock
                               But to remember what feats we drew
                              up from ourselves
                               As the javelins flew
              
                              My hands are clever
              They chip the stone, and scrape the wood,
                      and wind the sinew

             My tongue is cleverer still
             My words are the creeping shadow of my  thoughts
             And just as a shadow is drawn along behind,
                     and stretches in the late dying sun
             And snaps to attention in the noonday swelter, to heel,                                                  obedient
­             My words precede me, and linger behind, and snap to my side to attack
             And defend
             And manipulate

             For well you know, dear reader
             That words move men to move mountains
             They can drive him to brave the tusks and teeth
              And reward him with praise, as the fire flickers against portraiture
             Of a hundred beasts
             Deadly, proud, roaring
             And in the end, delicious.

            How splendid am I
            To suss out basic truths
            From straight-line scratches
            In the dirt
            I can learn the rules
            of all that ever was
                            And to learn, is to understand,
            is to become unfettered
            
            I can cleave, dissect, *****, inject
            And figure it all out
            And learn from a loosing bout
            
             Every monster brought low
              will be investigated
              To see how we can end him easier

Until the last monster
Is man himself

carnivorous portraiture
symbol of power
like waves crashing over the breakwater
or the moment in which dinner-table and silverware are upended
a very nice rug to cover a very deep hole

inside that hole;
look inside the darkest recesses
inside the vault of stolid self-irreverence
underground railroad adorned with tableaus for selves no longer embodied
hang yourself
be your own ideal hang man
be your own ideal hang man's own ideal hang man
be your own ideal hang man's own ideal hang man's own ideal hang man

parasuicidal ego-death impotentiate
look into that hole
do not step on the rug

Portraiture of previous lives lie beneath my feet
And forward spans a future that I know must stay discreet
For I’ve learnt through harsh experience to take care for what I quest
That *** of gold at rainbows end I’ve found…a mixed bequest.
As mythical to contemplate as money grown on trees
In truth the carnage gaining it has near brought me to my knees.
Millions brought security, offshore banking locked within
But also brought suspicion born relationships, now languishing.
The billions are a burden and a loneliness is born
For new friendships are hollow and old ones now forlorn,
The parasites surrounding you, all bicker to compete
And empathy flows out the door where values are replete.
Vicissitudes grow day by day, it’s harder to relate
As underlings smile woodenly knowing deep within, they hate.
A disconnect is now complete the burdened weight too much
But worse befalls regression, just impossible to touch.
For what is now, is meant to be… from here I wear the Crown
And woe betides that snivelling sod who tries to take me down.

M.
16 April 2016
Auckland city

They sit in the humblest of frames,
Faux wood-grained plastic grotesqueries
Purchased long ago from some doomed Grants or Bradlees,
Though one or two enjoy something nicer,
Left behind by some long-timer taking a buyout
Or a sympathetic youngster denied tenure
(She has, for the better part of three decades,
Cleaned up the detritus of middle-school children,
A bit stooped from the work,
Not to mention the burden
Of any number of she’s just  or she’s only
Tossed like so much bric-a-brac in her direction.)
The approximations of old masters equally eclectic in origin:
One or two gallery-quality reproductions
Blithely abandoned by some haughty faculty matron
Mentoring children through noblesse oblige,
The odd promotional piece from a scholastic publisher,
Mostly things she has cut from magazines or discarded texts.
She studiously avoids pieces tending to the dark or muted,
No Stuart portraiture or pensive Vermeers;
She has a strong predilection for bold, boisterous Gaugins,
Mad cubist Picassos, lush Cezanne still-lifes,
Even the odd blocky *******.
If you pressed her to explain her fetish
For the brightest of the great masters,
She would likely be at a loss to explain,
Having no academic bent for such things
(Though she has been known to curse the shortcomings
Of lithographers and pressmen under her breath)
And, as she freely admits, I’m not much good with words.
There would be the uncharitable suggestion
That their purpose is to mask cracks and pockmarks in her walls
(She has, to be sure, lived in a long series of such places)
But she has never, consciously or otherwise,
Used them for such pedestrian and utilitarian purposes;
They are, to her anyway, beautiful, and that is all they need be.

trod lightly to avoid
disturbing leaves fallen
and feeding filamental roots
of fungus.

these puffing spores,
teasing the nose to sneeze
a spawning mushroom love.

wherewithal to breed,
hypothecary of suspension
neither dead nor alive, hung
in the balance, forests outweighed.

you soaked my love in your hand
kerchief, adjusted outdoor lipstick
in the mirror forever ready in the sacred
pouch of bag.

you like to love in the woods, on the beach,
in that castle and on the bus
carrying us from Paris.

thrilling the thought of capture,
a sudden lens, natural rapture,
fecundity of trees spilling carefree nuts,

of hairy bee legs moving the future,
whole species in a shuddering buzz.
hairs in my nasal passage protrude,

never have money, the
necromancer said, reading this face,
portraiture of fortune.

but in this new forest
on bedded lichen and moss
scratching and soothing, intermittent
I saw you, naked as morning joy.

This kaleidoscope street where I stand disjointed,unique,
I am
the ever changing landscape and shaping and colour of man.

On the road to the sun where the images run
and the colours slip into the sky,
my eyes spin from blue and then red into green,a traffic like dream
in a scene from a movie,
it moves me.

Amber sits on the back burner with Turner,
waiting for ships to come in.

Each colour pulls me
this way and that way, down lanes through a bright day in grey clouds,
of roof slate,
I could wait and decide to stop or to ride on,but I have relied on the colours for so long,it would be wrong to tarry and so I marry the pinks and different hues of these inks and go on.

In the end we all blend
there's no secret to this,
we each have a kiss to give
but many colours in life to live
I live to the full,
come colour and pull me,
fulfill this
picturesque need in me,
feed to me pigments in
figments of my own
portraiture.