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Nat Lipstadt Apr 2016
words given life's first breath by this comment from
SE Reimer  
"thy tiller has found a storied port"


captain of a city street ferry,
upon the choppy holy waters of
scarlet fevered spotted gum stained
christened concrete streets

daylight guided by the starlight
of quartz sparklers sidewalk embedded,
resurrecting, overwhelming,
the grayness of men's mortared materialism,
these textured bright city lights,
from murk morn steam-pipe risen,
signposts of a city boys life,
navigation tools on his
steerage cruises

'tis only my poor torso
I captain,
my bus driving days retired,
single masted, obedient to the sun's paths plotted
on a personalized AAA TripTik,^
my cargo, my tiring physique,
the refined mettle product of a
sixty five year too short voyage of
deep diving mining defining,
and for surety, water divining

city walking life driving,
debtor-in-possession of a
city infection
of perpetual motion sickness

enabled inability
for standing stilled,
lane weaving,
people receiving and perceiving
as buoyed obstacle objects
to be passed by
in a higher lane
of shaken and stirred
city waterways

muscle's squeak in sonnet speak

Why speed thy errant boots
upon lanes of wandering men,
is there not time enough,
words suffice,
in history's future present
unlived long life,
to recompense
all your recorded stanzas,
mariner's tales and wrote recitations of seafaring voices?

sea nat run.
sea nat go.

dodging tween his fellow citified citizens
and the puzzled and puzzling drowning tourists,
sea nat write his unsecreted visions,
sailing from street to shining street poetry

this glorious grime,
this delicious dirt,
stuff of my blood,
genes of my children's children inheritance,
of thee I sing,
in thee I revel,
of thee I am composed

when my decomposing time scheduled arrival
lately comes on time,
bury me in its cemetery of memories,
within the soft earth of a watery grave
that the jackhammers drill bit paddles can uncover,
in rough canvas toss my worn smooth
failed frame overboard,
so I may become but one more
in your fabulous liquefying
cement oceans


3:53 am

with apologies to all the great poets from  I liberally borrowed
Umi May 2018
A phoenix is...
Extended ash, through unending life,
Darkness clouds the happiness of distant days, as eternal life
might be cursed by the flames of hell, yet she is always resurrecting,
Like a spectator, she watches life rise and fall, alike day and night,
Comparable to the smoke which thins it's trail as it travels into the distant sky, yet never truly dying never truly disappearing, living on.
Such is the fate of one who is imperishable, it is alonely existence,
Scared to bond but filled with hope she keeps her head up high,
Because the majestic, azure sky is always a source of hope and bliss,
This makes her fight on, although this battle will never end,
Believing there is a future, in which she someday will rest happily,
Misery and hatred burn up in her flames, which then fall into the darkness of a deep sin which has found its occurance in the long past,
As her body scorches into a blaze of immortality, recurring memories soar, illuminating the land and guiding her through the long night,
Even if all what is lost can be found again, it will perish, transiently.
For now all what is left, is but immortal smoke.

~ Umi
I had to write this twice
Because hello poetry was down when I wanted to publish it and the draft disappeared almost completely =)
I hate my life
Alyssa Underwood Dec 2018
The GOOD NEWS that God has done for us
what we could NEVER do for ourselves
by sending His own Son to become a man, Christ Jesus,
to live a perfectly righteous life
in complete fulfillment of God’s holy law
and to die for our sins on the cross
as our substitutionary sacrifice
(“the righteous for the unrighteous”),
bearing and satisfying the just wrath of God
deserved by us ALL  
(for against Him our hearts are each
naturally and treasonously rebellious),
and resurrecting Him from the dead
we can be saved from the penalty of our sinful rebellion
(eternal damnation and separation from the grace of God)
and saved from the power of our sinful rebellion
to instead live a NEW LIFE in intimate relationship with Him,
surrendered now to Him, with all of our sins forgiven,
covered with His own perfect righteousness
because of His complete and finished work
for which we who believe receive a full credit,
and therefore (by grace alone) in perfect standing and
unchanging acceptance before God in His holiness,
at peace with the Father wholly,
indwelt and empowered by God's Spirit
to live for Him and His glory and His kingdom,
now and eternally.
“This is love: not that we loved God, but that He loved us and sent His Son as an atoning sacrifice for our sins.”
~ 1 John 4:10

“In the beginning was the Word, and the Word was with God, and the Word was God. He was with God in the beginning. Through Him all things were made; without Him nothing was made that has been made. In Him was life, and that life was the light of all mankind… The Word became flesh and made His dwelling among us. We have seen His glory, the glory of the one and only Son, who came from the Father, full of grace and truth… ’…the Lamb of God, who takes away the sin of the world!’”
~ John 1:1-4,14,29b

“God made Him who had no sin to be sin for us, so that in Him we might become the righteousness of God.”
~ 2 Corinthians 5:21

“Surely He took up our pain
and bore our suffering,
yet we considered Him punished by God,
stricken by Him, and afflicted.
But He was pierced for our transgressions,
He was crushed for our iniquities;
the punishment that brought us peace was on Him,
and by His wounds we are healed.
We all, like sheep, have gone astray,
each of us has turned to our own way;
and the LORD has laid on Him
the iniquity of us all.”
~ Isaiah 53:4-6

“He was delivered over to death for our sins and was raised to life for our justification. Therefore, since we have been justified through faith, we have peace with God through our Lord Jesus Christ, through whom we have gained access by faith into this grace in which we now stand. And we boast in the hope of the glory of God.”
~ Romans 4:25-5:2

“For God so loved the world that He gave His one and only Son, that whoever believes in Him shall not perish but have eternal life… Whoever believes in the Son has eternal life, but whoever rejects the Son will not see life, for God’s wrath remains on them.”
~ John 3:16,36

For much more on this:
Edifice erections surreal mistic heights
Wayward excursions and catenary's bight
Communal collusions of harmonies site
Ethereal subsistence on exsertion's light
Lingam and yoni are indefatigably tight
Exponential overload was communities plight

Semantic regalia is myriad temptation
Finite being a mutual oblation
Vicarious recalcitrance an obeisant sensation
Conception's vastness like incalculable equation  
Ephemeral effulgence is indomitable pervasion
Treacherous traverse and eternal occasion

Succinct salience is symbiotic allegory
Fecundity's verve a transcendent promontory
Imperative ascension the conjunctive's divinatory
Audacity's exigence and fertility's invocatory
Erotica's erectile like mentality's trajectory
Futurity's fatidic and inherent delusory

**** it fell right over like categorical imperative's contradictory
Leeward lecher leer lingam.  Yogi yowl yoni yore.  Straight up forever ontology on high.  Pandemically phatic futurity fatidic's raucously riotous.  The angel was a visage of resplendent beauty as it hovered in mid air above the knoll.  Deontological probity.
MaryJane Doe Apr 2014
Could I be any lamer?
This is the disclaimer
of an avid pc gamer.
The original doom sayer.

Not your average KrakPott priest
Resurrecting the deceased.
Carrying raids to keep pleased.
And a night elf none the least.

While your out chasing hoes.
I be on my MMOs
Healing tanks of heavy blows.
Mind controlling enemy foes.

Check me on my youtube channel.
In an epic arena battle.
My heals to great to handle.
Got the horde all screaming 'Scandal!'

My reality was so droll
that I decided to re-roll.
Maybe next I'll be a troll
to fill this empty hole.

Could I be any lamer?
This is my disclaimer.
An avid PC gamer.
The original Doom Sayer.

The End Is Near!!! 0o
Edifice erections surreal mistic heights
Wayward excursions and catenary's bight
Communal collusions of harmonies site
Ethereal subsistence on exsertion's light
Lingam and yoni are indefatigably tight
Exponential overload was communities plight

Semantic regalia is myriad temptation
Finite being a mutual oblation
Vicarious recalcitrance an obeisant sensation
Conception's vastness like incalculable equation  
Ephemeral effulgence is indomitable pervasion
Treacherous traverse and eternal occasion

Succinct salience is symbiotic allegory
Fecundity's verve a transcendent promontory
Imperative ascension the conjunctive's divinatory
Audacity's exigence and fertility's invocatory
Erotica's erectile like mentality's trajectory
Futurity's fatidic and inherent delusory

**** it fell right over like categorical imperative's contradictory
Leeward lecher leer lingam. Yogi yowl yoni yore.  Straight up forever ontology on high.  Pandemically phatic futurity fatidic's raucously riotous.  The angel was a visage of resplendent beauty as it hovered in mid air above the knoll.  Deontological probity.
ghost queen Jan 2019
there is hope
like a rising sun
on a distance horizon
lighting up the morning sky
pushing the darkness aside
melting the clouds away

the rays warm my face
coaxing a smile
squinting my eyes
i take a breath, savoring being alive

the sky is blueing deeper, clearer
morning haze is lifting, disappearing
life is awakening, stirring, moving
the beauty is overwhelming, awe inspiring

i see anew, with an indigo eye
things i’d sensed but never knew
i feel too deep, intuit too much
beheld as a curse, repressed, suppressed

i burned, screamed, fell into ashes
my soul lay fallow, quiet, healing, waiting
resurrecting from cold dark depths
heart beating, eyes opening, arms reaching

vindication from self doubt
forgive me Cassandra, Cairn, Mother
i weep, openly, proudly, for your grace
it is the 9th and final gift
indigo flower photos
Edifice erections surreal mistic heights
Wayward excursions and catenary's bight
Communal collusions of harmonies site
Ethereal subsistence on exsertion's light
Lingam and yoni are indefatigably tight
Exponential overload was communities plight

Semantic regalia is myriad temptation
Finite being a mutual oblation
Vicarious recalcitrance an obeisant sensation
Conception's vastness like incalculable equation  
Ephemeral effulgence is indomitable pervasion
Treacherous traverse and eternal occasion

Succinct salience is symbiotic allegory
Fecundity's verve a transcendent promontory
Imperative ascension the conjunctive's divinatory
Audacity's exigence and fertility's invocatory
Erotica's erectile like mentality's trajectory
Futurity's fatidic and inherent delusory

**** it fell right over like categorical imperative's contradictory
Leeward lecher leer lingam.  Yogi yowl yoni yore.  Straight up forever ontology on high.  Pandemically phatic futurity fatidic's raucously riotous.  The angel was a visage of resplendent beauty as it hovered in mid air above the knoll.  Deontological probity.
Jonny Angel Jan 2014
Born to be Wild
just blasted out
on the radio.
It perked me up,
reminded me of
the road warrior days.
We lived it hard.........
preached the holy gospel,
the real one that
included free love,
strong drink,
a puff or two.

Now, I'm digging up old numbers.
I'm going to resurrect the apostles,
we walked on water,
it would cool to see
who was saved.
Your daisies have come
on the day of my divorce:
the courtroom a cement box,
a gas chamber for the infectious Jew in me
and a perhaps land, a possibly promised land
for the Jew in me,
but still a betrayal room for the till-death-do-us-
and yet a death, as in the unlocking of scissors
that makes the now separate parts useless,
even to cut each other up as we did yearly
under the crayoned-in sun.
The courtroom keeps squashing our lives as they break
into two cans ready for recycling,
flattened tin humans
and a tin law,
even for my twenty-five years of hanging on
by my teeth as I once saw at Ringling Brothers.
The gray room:
Judge, lawyer, witness
and me and invisible Skeezix,
and all the other torn
enduring the bewilderments
of their division.

Your daisies have come
on the day of my divorce.
They arrive like round yellow fish,
******* with love at the coral of our love.
Yet they wait,
in their short time,
like little utero half-borns,
half killed, thin and bone soft.
They breathe the air that stands
for twenty-five illicit days,
the sun crawling inside the sheets,
the moon spinning like a tornado
in the washbowl,
and we orchestrated them both,
calling ourselves TWO CAMP DIRECTORS.
There was a song, our song on your cassette,
that played over and over
and baptised the prodigals.
It spoke the unspeakable,
as the rain will on an attic roof,
letting the animal join its soul
as we kneeled before a miracle--
forgetting its knife.

The daisies confer
in the old-married kitchen
papered with blue and green chefs
who call out pies, cookies, yummy,
at the charcoal and cigarette smoke
they wear like a yellowy salve.
The daisies absorb it all--
the twenty-five-year-old sanctioned love
(If one could call such handfuls of fists
and immobile arms that!)
and on this day my world rips itself up
while the country unfastens along
with its perjuring king and his court.
It unfastens into an abortion of belief,
as in me--
the legal rift--
as on might do with the daisies
but does not
for they stand for a love
undergoihng open heart surgery
that might take
if one prayed tough enough.
And yet I demand,
even in prayer,
that I am not a thief,
a mugger of need,
and that your heart survive
on its own,
belonging only to itself,
whole, entirely whole,
and workable
in its dark cavern under your ribs.

I pray it will know truth,
if truth catches in its cup
and yet I pray, as a child would,
that the surgery take.

I dream it is taking.
Next I dream the love is swallowing itself.
Next I dream the love is made of glass,
glass coming through the telephone
that is breaking slowly,
day by day, into my ear.
Next I dream that I put on the love
like a lifejacket and we float,
jacket and I,
we bounce on that priest-blue.
We are as light as a cat's ear
and it is safe,
safe far too long!
And I awaken quickly and go to the opposite window
and peer down at the moon in the pond
and know that beauty has walked over my head,
into this bedroom and out,
flowing out through the window screen,
dropping deep into the water
to hide.

I will observe the daisies
fade and dry up
wuntil they become flour,
snowing themselves onto the table
beside the drone of the refrigerator,
beside the radio playing Frankie
(as often as FM will allow)
snowing lightly, a tremor sinking from the ceiling--
as twenty-five years split from my side
like a growth that I sliced off like a melanoma.

It is six P.M. as I water these tiny weeds
and their little half-life,
their numbered days
that raged like a secret radio,
recalling love that I picked up innocently,
yet guiltily,
as my five-year-old daughter
picked gum off the sidewalk
and it became suddenly an elastic miracle.

For me it was love found
like a diamond
where carrots grow--
the glint of diamond on a plane wing,
meaning:  DANGER!  THICK ICE!
but the good crunch of that orange,
the diamond, the carrot,
both with four million years of resurrecting dirt,
and the love,
although Adam did not know the word,
the love of Adam
obeying his sudden gift.

You, who sought me for nine years,
in stories made up in front of your naked mirror
or walking through rooms of fog women,
you trying to forget the mother
who built guilt with the lumber of a locked door
as she sobbed her soured mild and fed you loss
through the keyhole,
you who wrote out your own birth
and built it with your own poems,
your own lumber, your own keyhole,
into the trunk and leaves of your manhood,
you, who fell into my words, years
before you fell into me (the other,
both the Camp Director and the camper),
you who baited your hook with wide-awake dreams,
and calls and letters and once a luncheon,
and twice a reading by me for you.
But I wouldn't!

Yet this year,
yanking off all past years,
I took the bait
and was pulled upward, upward,
into the sky and was held by the sun--
the quick wonder of its yellow lap--
and became a woman who learned her own shin
and dug into her soul and found it full,
and you became a man who learned his won skin
and dug into his manhood, his humanhood
and found you were as real as a baker
or a seer
and we became a home,
up into the elbows of each other's soul,
without knowing--
an invisible purchase--
that inhabits our house forever.

We were
blessed by the House-Die
by the altar of the color T.V.
and somehow managed to make a tiny marriage,
a tiny marriage
called belief,
as in the child's belief in the tooth fairy,
so close to absolute,
so daft within a year or two.
The daisies have come
for the last time.
And I who have,
each year of my life,
spoken to the tooth fairy,
believing in her,
even when I was her,
am helpless to stop your daisies from dying,
although your voice cries into the telephone:
Marry me!  Marry me!
and my voice speaks onto these keys tonight:
The love is in dark trouble!
The love is starting to die,
right now--
we are in the process of it.
The empty process of it.

I see two deaths,
and the two men plod toward the mortuary of my heart,
and though I willed one away in court today
and I whisper dreams and birthdays into the other,
they both die like waves breaking over me
and I am drowning a little,
but always swimming
among the pillows and stones of the breakwater.
And though your daisies are an unwanted death,
I wade through the smell of their cancer
and recognize the prognosis,
its cartful of loss--

I say now,
you gave what you could.
It was quite a ferris wheel to spin on!
and the dead city of my marriage
seems less important
than the fact that the daisies came weekly,
over and over,
likes kisses that can't stop themselves.

There sit two deaths on November 5th, 1973.
Let one be forgotten--
Bury it!  Wall it up!
But let me not forget the man
of my child-like flowers
though he sinks into the fog of Lake Superior,
he remains, his fingers the marvel
of fourth of July sparklers,
his furious ice cream cones of licking,
remains to cool my forehead with a washcloth
when I sweat into the bathtub of his being.

For the rest that is left:
name it gentle,
as gentle as radishes inhabiting
their short life in the earth,
name it gentle,
gentle as old friends waving so long at the window,
or in the drive,
name it gentle as maple wings singing
themselves upon the pond outside,
as sensuous as the mother-yellow in the pond,
that night that it was ours,
when our bodies floated and bumped
in moon water and the cicadas
called out like tongues.

Let such as this
be resurrected in all men
whenever they mold their days and nights
as when for twenty-five days and nights you molded mine
and planted the seed that dives into my God
and will do so forever
no matter how often I sweep the floor.
JP May 2015
I'll be leaving you my cocoon
It is time for me to bloom
And soar on my own
It is time for my beauty to be shown
It is time to leave my comfort zone
I'll be leaving you soon

You have imprisoned me for a while
You didn't know you nourished me inside
With bruises and pain, I actually died
I am resurrecting, no need to hide
Your rules, I will not abide
Goodbye my cocoon, goodbye
Sally A Bayan Apr 2015
(not much of a poem)

Thrice awake, asleep, again awake
Something always wakes me up

The phone sounded, nobody answered
Procession and vigil ended
Late fireworks echoed through this Black Saturday night..

I'm deciding: to cease, or not to cease
I can't find my desired peace
To find lost journals, or just burn what's left, old and new
To start or not to start, a life anew
To rise, or just lie through this hot evening
My late mother said then: Black Saturdays are days...rarely ending
Black Saturdays are for resurrecting...celebrating...
This late night, it is segue-ing, to an Easter morning
While dogs are barking, while gecko is calling
Cats are quiet, where are they stashed? where could they be hiding? I am a car, my motor is hushed...but i am still running...


Copyright April 4, 2015
Rosalia Rosario A. Bayan
***not much of a poem...just venting random thoughts on a late Black Saturday night...***
jo spencer Oct 2013
The formulae for well being
is found in those memories,
a preparedness to unearth
yesterday's yearbooks;
which releases those far flung controls of analogue, 
resurrecting belt driven
record players
to play Starbuck and Brothers Johnson
reviving  '76,
mentally speeding on pristine motorways,
buzzing by on a chevy  corvette
humming to the suggestive "Afternoon Delight"
vying with your Radio's antenna.
Sofia Sep 2016
your stars hung in pairs against the
accustomed singularity of celestial bodies
your stars held the promise of enlightenment
and i sought you the way kings did
hunting you down in the endeavor of navigation
pinned down and ****** until
man left the stars for devices of their own
and when the stars followed humanity
stardust resurrecting in the arrangement of atoms
constellations manifesting in wombs
nebulae shattering for the genesis
the universe destroyed itself for you

oh gemini boy

the cosmos are not kind
to boys who are destined to be halves
on an eternal voyage for missing fragments
in a lover's touch and a child's laugh
the world is not kind
to boys who look into your eyes
and only see their reflection
but you were kind to me

oh gemini boy

this is an apology
to a mortal born from the immortality
of twins whose love bore the gods' mercy
to rest among the stars
not knowing that stars die just as
the children born from them do
just as you

oh gemini boy

maybe i should have known better than
to love a boy always searching for himself
i mistook you for a cosmic collision
meant for the dawn of a new heaven
and maybe i fell in love with your destruction
as i navigated you the way ancients looked
to your stars for salvation

oh gemini boy

my stars hang in the silhouette of the unknown
isolated from the promise of deliverance
man was once told
we are born from different stars
our fates moving in parallel precision
never meeting again after our stardust
once laid prints upon our astral anatomy
and because we are not stars
but the echoes of seraphic wars
meant to traverse desolate lands
in search for completion

oh gemini boy

i forgive you
you just wanted to be whole
wrote this a long time ago, geminis are oddly inspiring muses.
Michelle E Alba Mar 2012
Lamenting lost love
hidden behind harmonies,
(synonymous to symphony)
resonates absently.
Like making love
to a stranger.
Like you make love
to me.
Void of all passion,
like revenge of apathy.
Apathetic entirely,
the emptiness that fuels you
emphasizes decrees.
Standard-less standards
validate your need
to dismantle the mantled,
and devour the diseased,
to command and to seize,
to exploit the exploited,
and explore every scene—
every pelvis, and every scream.

How did I fall for such a—
loveless being?
Better yet,
How do I disintegrate re-memories,
Or abolish aplitic fallacies,
and survive soullessly?
(How must I do these things!?)
Here I plead
surrounded, unattentively,
summoning recognition
for the being
whom resides in me.

Resurrecting old wounds,
(chore almost seems daily)
almost seems like it’s alive,
like maybe one day
it might save me.
More likely, one day
it will concave me.  

But without knowledge
there is no upset.
And no upset means
no you and me.
MST Sep 2014
Let me undress your heart,
look upon it's naked curves,
let me give it that jump start,
with feelings that play on your nerves.
Let me love you and feel you,
holding you close to me,
between us electric shocks flew,
like a defibrillator,
resurrecting our lives,
into the one we once knew.
Correctly he is John the Baptizer,
His birth was delayed up to late,
Late post menopausal age of his mother,
Elisabeth the wife of Zachariah the priest,
At the temple of the Jews in Palestine
During the regal time of Rome
As a world empire and a role model of tyranny,

Imagine conceiving after menopause,
During the nonagenarian ages
Of all the ages, in the nineties?
But she conceived John,
Was it true or mere sensationalism?
Or mere nerve chilling art style?
To hold the world audience a hostage?
I don’t know but  John was born
After his mother’s menopause,

He contrasts with Jesus
Born by a ****** Mary,
Imagine a Jewish ******
Without ****** *******
Became pregnant,
And gave birth to Jesus,
When Mary was pregnant
She socially visited Elisabeth
John’s fetus somersaulted,
Like a Chinese acrobat
Inside his mother’s tummy,
It was his baptism before birth,
But may be pregnancy of a ******
Has more strength than pregnancy
Of a post menopause octogenarian,

Hence the famous ode by Catholics;
In the name of Hail Mary
The mother of God
Most blessed above all women,

These post menopause pregnance
And ******‘s pregnancy without ***
Contrasts with Adam’s creation from clay
And Eve’s creation from Adam’s left rib,
Another super-sensational literature,
Or pataphorical art; Magical surrealism?

Let me not go dumb or mute
Like Zachariah when he believed not,
But no, I already believed ergo, my vocality,

Now why did John refuse to put on clothes?
Only to put on a skin of a goat,
Or was it a monkey Clobus,
The one which we in Africa
We are forced to ****
Before your father permits you
To face the circumcision knife,
John again refused to eat cooked foods,
He survived on raw honey and locusts,
Nuts, roots and raw fruits, dietician?

Or it was self denial or self immolation?
Like the one often displayed
by the Islamic statesmen aka terrorists
When committing suicide bombing?
No it began with the Japanese Kamikaze,
In preparation to bomb Pearl Habour,
I don’t know at all at all,

Now what of the howling in the wilderness,
Calling for people to baptism in water
At the riverbanks of polluted Jordan
And when he saw the Negroes
Among those who came for baptism
He called them the viper’s generation
Or were they Libyan Arabs?
And Jesus came, John went inferior,
He declined to baptize Jesus,
But Jesus pleaded for the service,
Then the dove opened the heaven
And came down to anoint Jesus,
Which heaven was opened?
Was the sky or the heaven?
This must be the writer’s Gnostics
Used to calling the sky as the heaven
Why the dove and why the heaven?

Then john again began doubting
Very genuine doubt I m telling you,
You see john began spying on privacy of the king
Was he also a night runner? Maybe,
He spied on Herodias the mother of Salome
She was a chic for the king; Herod Antipas,
This stuff threw John into  a calaboose,
Then John began day dreaming
Like any other prisoner
For his freedom and bush foods
He really missed honey and locusts
And also the fruits; Quavas and mustaberries,

He thought Jesus would come running,
Panting like a cheetah to pull him out,
Out of colonial prison, Jesus never came
Hence Johns doubts;
If Jesus is the Messiah really,
Can’t he come to redeem me?
From these colonial prison Herod,
Look; we are all Jews
In fact blood related Jews
And it is a year he has never come,
To pay me a visit when am in prison
Is he the Messiah really?
Or we still have to wait for a true messiah?

But Jesus was a rude messiah
Or Jesus was jealousy? Envious?
Of John’s spiritual competence,
I think he was wrong, totally wrong
He should have saved john the Baptizer
From the Roman colonial prison,
For there is no need nor spiritual logic
For Jesus to heal the lepers, and the blind
To resurrect Jairus’s daughter
And command the devils out of a madman,
But he could rescue his cousin brother
From a colonial prison, was it detention?
Remember Mary and Elisabeth were sisters,

John was a victim of circumstance
Like those who now languish in torture,
Torture chambers of the quatanamo bay prison,
Detained and tortured inhumanly
Without hope of trial nor justice
For no other reason but faith and race,
John was a harbinger of Sadam Hussein,
Osama Bin Laden, Mummar Gaddafi,
Nelson Mandella, Luther King, Dedan Kimathi,
Elijah Masinde, Arap Manyei and Mugo wa Gatheru,
They fought tyranny with firmness
They underwent torture for the sake of humanity,
They suffered for no reason but folly that goes with tyranny.

And finally, Salome the poet,
Living by performing the spoken word,
And Proceeds of her mother’s adultery
And vampirizing on the blood of the righteous
She came and danced in artful wickedness
by gyrating her ***** satanically
In the usual wicked style of a *****’s daughter
Sending the male audience nerveless with ego
Only for to suggest her prize;
As John’s head on the platter,
John was grisly mattered in the cells
Then his head was delivered on a platter
To Salome the poet the daughter of Herodias,
It all happened when Jesus was aware
Amid the full wind of his wonders
On the crest of his fame as the messiah
Isn’t saving the prisoner good as resurrecting
Young damsels and healing the lepers’?

But anyway, it is stark culture of Europe
To chop off the heads
Of those who oppose their tyranny,
It is not only John the Baptist that have suffered,
Suffered like this in the hands of Europeans tyranny,
The list of such-like victims is endless;
Mugo wa Gatheru was buried alive in Kenya
He was ordered at a gun point
By the British colonial police,
To dig his own grave using a mattock
Then the British clobbered and buried him a live,
On this brutal burial of Mugo wa Gatheru,
The Queen of England promoted these policemen
That buried Mugo wa Gatheru,
Kotalel Arap Samoia of the Nandi Militia in Kenya
Was shot twice in the head by the British spy;
The spy chopped off Koitalel’s head
He took it to the queen in heroic dint
And the queen glorified the spy,
Anglo-American power chopped of sadam’s head
Anglo-American power killed Mummar Gaddafi,
Anglo-American power Killed Osama bin Laden
They perpetrated all these without trial,
I am tired of all these………………
ConnectHook Dec 2015
As concerning therefore the eating of those things that are offered in sacrifice unto idols, we know that an idol is nothing in the world, and that there is none other God but one. For though there be that are called gods, whether in heaven or in earth, (as there be gods many, and lords many,) But to us there is but one God, the Father, of whom are all things, and we in him; and one Lord Jesus Christ, by whom are all things, and we by him.*

                             I Corinthians 8  [KJV]

Roll a Yule log on the fire
and let the mystery-cult inspire.
What Persians, Gauls, and Romans knew
could teach us all a thing or two
about midwinter celebrations
warming frigid Northern nations.

The Phrygian cap he used to wear,
holly entwined with evergreens
still linger in our current year
recalling dim pre-Christian scenes.
Some strange vestigial rites remain:
The specter of the Lydian Bishop.
No bull—but reindeer pull his train
spreading love, inspiring worship
mixed with Nordic pageantry,
barbaric sensuality,
and glimmers of Medieval night;
His season beckons, burning bright.
In England's prim polyphony
voices call across the centuries
no remnant of tauroctony
resurrecting pagan memories.
Drunks and rebels hum the tunes -
they lift the cup, they cast the runes
participating unawares
in Eleusinian affairs
like office parties, trees in houses:
timeless ritual that rouses
peace and love, goodwill to men.
(is it so diabolic then?)
Ghosts of Roman soldiers laugh:
the sun-god wears a funny hat.
His bull was just a golden calf
that grew up sacrificially fat.

Who cares when Christ was born, or where—
the point is: God appeared on earth
to set the record straight, lay bare
unwelcome truth: the second birth.
A new religion superseded
what had been before. It needed
rituals to syncretize
(no drastic sin, in heaven's eyes).
Why rail against it? What is wrong
with festive fare and holy song?
You think you can set back the clock?
destroy the sun or banish God?
Why agitate the Shepherd's flock;
in vain you would restrain His rod...
Since Christ is all in all why bother
searching out old gods to smother?
Who denies He rules the ages
mocks your idols, stumps the sages?

And so you are without excuse
for finding reasons to be mad -
committing holy child-abuse
and making mother Mary sad.
Why fight the vibe, why square the wheel?
No point in Scrooging up the deal.
Just kiss beneath God's mistletoe
and let the blessed season flow.
Water Jan 2014
Memories of us as the sun set fire to everything I touch.
Hands to myself and forget the idea of love.
Our light has dwindled out.
All that remains is a broken bulb
hanging above
the bed, in the attic of my head.
Scattered shards of glass surrounding comfort.
Every night I walk on our broken dreams and bleed before I get to sleep.
I just lay in the shadow of my past looking for lines you once said.
Only to bury the words again.
Maybe it would make more sense if I stopped resurrecting the dead.
There's a piece of me, no longer alive.
From me to you is a far drive.
So I dig in the dark attic for old and removable parts to repair my broken car. Flashing my lights at anyone who could be you.
Because you're the only one who can see it too.
Our connection is as consistent as me quitting bad habits
For instance, cigarettes, but how could I know when I still haven't?
I crave but can barely manage.
I'm on and off in strange patterns.  
A rusty pull chain hanging from the socket
Stuck with our questions to questions,  irrational logic.
I asked "why do you always escape from what you wanted?"
You slowly whispered "how else would you know if you really got it.".
I guess  I'll figure it as I smoke another cigarette.
I take a hit, before exhaling, i stare up at the sun.
Close my eyes and think of you.
I imagine the smoke soaking up everything I ever wanted to tell you.
Plans, ideas, thoughts, and the rawest feelings I have ever had.
Once it feels right I open my eyes to the empty sky and exhale.
An emotional release.
February air will condense these dreams on to your car window.
You will wipe them off to find your way home.
The last thing you said before you left, "Just keep thinking of me And We'll meet again"
There has to be another chapter before the end of this story being written in my head.
But love and love lost is the ink to my pen of thoughts.
Let it leak in my sleep. Knowing I'll wake up to her gone.
But its okay.
She left the chorus for my song.
Feedback greatly appreciated.
Thanks for reading
Dreamfall121 Apr 2015
Leaving a love message
After the machine's beep
Delivery failed
I am in Pixel Maze's
Escape garden
With green grass
On Genesis walls
Flashlights are switching
On and off
Walking by ethnic purple demons
Their gold hands
Over their several heads
Static at the summit
They freeze
In prolonged pauses
They don't even exist
But our eyes still torches
Music is thundering down now
From the heavens
With electro nodes
Am I that out of it?
And I never really left
That haunted warehouse
Watching evil trees
Awake now
By the nightfall
They are dancing
By father's campfire
Slicking my hair
I am jumping
On polish mushrooms
We don't even like him
I hear him Tolling
Church's bells
Resurrecting guilt
On immature Sunday
But I don't want to listen
He is reading again
Those antique diaries
Hours fly by
Won't listen
Uneasy by his discomfort
I find that magic carpet
And i elude
onlylovepoetry Sep 2017
too oft, so oft, the absence, the imagining, that
no such comfort exists, that remorse may n'ere complete its course,
when a time for love is beyond beyond, is a bridge too far,
a notion so fraught, a vision unwrought, that we do not
recognize the why and the wherefore to step forward
even for for the next breath small, the in of inconsolability,
a deeper welling
so consequential there is no seeing a piercing light

then come to me, come to me then, when words can be
a symphony of violins, an orchestrating examination of
thy wounded chest, and caressing slow repetition
deep moaning, understanding waves upon the shores of my arms, my shoulder, my chest, any piece that can be yours,
a shoreline of relief, and listen with great care as the subtleties change, the pastoral comes in an ever ascending
crescendo of lifting, a stabbing, resurrecting but not fully repairing,
restoring but replacing sensation, for inconsolability is a disease
difficult to defeat, deserving of being memory-recalled,
but the ability, the cure, the rhyme of
hope and upward ***** of open eyes will penetrate surely as the potion of the music of my words lay you down and rise you up,
and that is enough, to begin the renewal,
the campaign of commencement, the possibility of clarity,
it is the journey,

the changeling we call the
destiny of our designation,
which is forever the next destination


a cab driver told me of his life's up and downs,
and that he drove on weekends for one must never cease earning hope
and cabbing reminded him weekly
that it was the journey, not the destination.
Santiago Oct 2014
Feels my pain
On a rainy day
Speaking winds
Where have you been?

Travel unseen
Breaking through
My heart fights
My brain wont give up

My clouds full of water
Commence to pour tear drops
Cleansing life resurrecting hope
Attacking in millions

Feeding mother earth
Trees, plants, animals
Covering my tearz
Thoughts begin to clear

Water strikes my skin
Neutralizing ice cold
My soul comforts to unfold
My sky My cry Never lie

People avoid my pouring rain
Shutting down closing doors
While I soar ready to explore
My skies transform heavy grey

Hoping it can last and forever stay...
- Hands, Nose, Feet Shiver Freeze Numb Ice
Travis Green Aug 2018
I sit on the rooftop of my home
above the city traffic breezing through
the stark streets, their shadowed tires
playing various musical notes upon the
glorious surface, swirling smoke from engines
twisting and twirling in the rising air, the deep
shifting sun wearing it’s majestic crown, gazing
at the beautiful scenery glittering in its eyesight,
my bright brown eyes staring at a mountain
of lyrical content, a stunning sheet filled with
blazing melodies, a magnificent instrument strumming
its skills upon a drumming landscape, an amazing vocal
pattern hip-hopping into a dominion of amplifying layers,
each time changing into a collection of crystal clears,
resurrecting a roaring sea of swagging infinities flying
into future constellations, while suntanned trees swing
a swift beat, rocking in outer worlds far from earth,
marching leaves sinking in magical passion and dancing
dreams, breathing in the eternal existence of tranquility,
letting it seep inside their frames and intensify their minds,
letting its philosophy of uncharted depths exhale a wave
of genius creations, a glowing gem existing beyond Venus and Mars, further distant than any galaxies known to mankind.  As I sit on this creative platform of timeless brilliance, I can feel the echoing breeze whispering in my ears, its smooth monotone sounds stinging my soul,every essence of my being, igniting a fire spinning kingdom of raw and gritty poetry inside my heart.
Julian Aug 2015
Decadent choirs bemoan the prudish proctor of the inevitable and decisive test
Profligacy anneals and the knaves repeal the prohibition of the earth’s very best
Despondent clouds tower over a garbled loud and an unapologetic proud
Panache whisks the hallowed cross into transmogrified dross amassing a boisterous crowd
Hidebound ideologies tether the masses to masses and gather the rust of the bustle and bust
Recusant allegiance mocks the science of sanctimony and dissolute lust
Deathless in prayer and breathless in despair rhapsody creeps and percolated ideals leap
Arriving in the limelight of providence, the renegades daunted by the specter of commination weep
Proofs now exist and investment in their emphasis burgeons into a divine cease and desist
But in the hubris of victory and the rubrics of history pleasure wrenches control and importunacy insists
Brisk alacrity and savvy rapacity beseech the death of the stodgy gate
Time lingers in evanescent turmoil satiated only by the fish and the bait
But when the bait runs in low supply the society hearkens the agents of the sky
They pout over water even with verdant temptations escorting them away from the dry
How do you anoint in a world preoccupied with the next joint rather than the next joint venture
Revelations lies to stultify the brides of misadventure
Caprice rampant, society recusant deadlocked in hedonistic dreadlocks
The fools boast of victories never won, and the prattle of yesteryear is stalked
Restraining order duly noted but never imposed
Stygian elements wrought apparel to contribute to indecency in clothes
To the master of destiny and the architect of decency
I advise the future to focus more than just on recent sprees
Ignominy forgotten in tokes, we forget about the labor of cotton
We forget also about the putrefaction of the rotten
Abdicate the uprooted era squelched by disorientation wrought by intensified sensations
And return to the regal promise of prudes living beyond temptation
But who is the fool foolish enough to forswear the hide of the bear in the dead of the winter scare
Lilting in sumptuous praise and reckless abandon this charge and travesty seems unfair
Slanted lies of stodgy disguise revile the return to primitive commode and camaraderie
To loot of the panaceas and nepenthes to the extent of dearth seems a more egregious robbery
But in the uprooted future the past has no say
The primacy of today shines the refulgent and overpowering rays
The sun won’t burn out but the burn outs won’t establish any clout
Even in a world divorced from prudishness in sanctimonious doubt
Powerless in the rout of pleasure over the scourge of dearth
The earth awakens renewed even with the impossibility of rebirth
Resurrecting the indulgences of Rome while abdicating the tome
The theophany astounds especially the most prone
The coming of righteousness working to castigate immoderacy
The renegades listen barely enough to subvert their own profligacy
Shouting over the skylines the rain announces the sentences for the wicked crimes
Of a past forgotten and a future rotten because of an ill-designed time
An ill-designed design leading to wanton men groveling in grime
Time to indulge time to abstain
Either extreme ultimately lame.
Sethnicity May 2015
I am the black sludge poured into morning mouths
The thickening blood like mucus oozing from the nose,
the failed vandal on the doorstep wringing
I felt this ick coming before, like bricks in the bell tower… Grimacing
I am the shifting surface of your beach front property
The wax of mudslide and sleep of glacier drift wiped away
You once tried to save me…,
But you should have saved yourselfrightchoseless… Sickening
I am the quite traveler giving ride to whomever
Provider of spectacles no testicales can compare
Hope you are ready for the next one cause my revolution’s in the air
Get the Mayans and the Call Lenders Cause I’m the blender you’re the pear!

Your thoughts fickled mine things
My water of youth your cesspool for fuel
The conduit of my poles peeled for golden rings
Have the nerve to say I’m not self-sustaining
Uninhabitable!   I’ve been more than hospitable!
What a virus that makes it self service unsuitable
To favor ill behavior for the sake of a savior
Your heads may bow to the east
But your *** still ***** none the least
Time after time provide I with a bountiful feast
So you Land on my Lover to satisfy your lust
Hover her then leave her collecting trophies, Moon Dust!?
Even the God of War has been fondled by your touch
They whisper, Oh how they want to flee me
They satellite and bend the light
And fore tell of my death
Well, Be Gone! And leave your clothes behind!
That flesh, My skin of desert and shore sand given.
The enchanted threads for your living experience
Be Gone! And don’t bother with packing up and cleaning
There will be no interrogation no exile from Eden

I’ll burn this wicked garden to the ground
Arrange my poles, and swish waters to cool it down
They are white clouds in my blackened blue atmosphere
Casting shadows on the crusted earth of my flesh
I frown a deep sound like bass clef
Their tall tale torn apart
The last vault too big to fail now broken Bonaparte
My molten core resurrecting to the surface
I smoke out for every hemp plant chopped and burned in vain
I offer fruit for Gods and you look pone it with distain  
These Human parasites stuck to my feet!
One whim of solar wind should cure me of their feverous heat

Ignore the Calendar your end will be what I vendor
NO refunds or replays back to binary Control Alt Delete’
You say the past will repeat yet look in a mirror, tongue and cheek
What is it that you seek? Have you forgotten My rule?
What you sew into me is what you reap
I’ve soaked in seeds of blood and tears now its harvest thyme to weep
IV. Isaiah

If ever on the moors in seeking
Zarephath she faltered—
White of gossamer and lamb—

And the well in running over
Colored bloodred clay
Lapis Lazuli, sweetened to dewpoint

As for what it meant
To those that saw and waited
Prophets and disciples of an
Instant; bear witness to the
World reborn (not premeditated)

At muddy dawn in unloved scrubland plots
Subsequent to love running sacred between
The pages of an unloved tome, a fissure

What is a truth?
Could I reach out
And touch you?

What holds your heart, Elijah?
Who can you see beneath the glass
Who stares back from the bottom of a raindrop
Flashing past before convening
With the ground?

Did you know, my dear,
I stem from the disillusionment of ground
And the resurrecting of fraught winter
Did you know,
I am alive and dying to go, now,
To arise from Pelas and walk free in sun again?

I want to love the rain
So that it knows

I want to lavish love upon your
Lips, your hands,
Your neck that holds
Your temples, the gaps between
Your ribs, and vertebrae, and 50 billion stars
Part IV of IX
James L Nunn Apr 2016
Politics is an infection
A rampant rapid dividing bacteria
Symptoms include, but are not limited to
Deceit, self interest, and inciting hysteria
The Athenians knew it was deadly
You got a year's sole exposure
An ancient vaccination
Then before it could take hold your tenure was over
But now we let the rot spread
Mass communication transmits it with ease
Back-room backers help to poison the water
As the 99% catch the government disease
Unclean hands press the flesh
Smiling eyes say "I'm just like you!"
Words as tainted as mutated cells
Which sweet lies have palmed onto you
Their media incubates tumours
Feeds us manure we devour
Tells us to fear the ****** of the month
Banned bombs on white cities launched from ivory towers
A new threat they fabricate
To keep us afraid
Hoping we don't notice these are villains they made
Resurrecting old fears
Crying "No room at the inn!"
Talk of walls and deportation
As though the land was shrinking in
No matter the wig they wear
They are no democrats these
We elect them to cure what ails us
And they just give us a new disease
Politics is an infection
But we shake no cans to fund finding a cure
We just pray that our money protects us
And continue to swim in the sewer...
Jonny Angel Jan 2014
Everyday I crank into battle,
pedal my knobby-spaceship
to somewhere else.
I'm really nobody special,
just another universal-soldier,
a lover of rock and roll,
a fellow sojourner.

Achilles Last Stand
blasts through
my skull candy
in raw-melody.
I jump curbs,
hop ravines,
resurrecting the
meaning of clairvoyance.

I read her calling,
a true woman-child
crying for faith,
she masked her pain
with self-doubt,
swallowed anger,
hexed by *** & drugs
& lots of alcohol,
temporal killing pain-relief,
death-elixirs from liars.

And in my boldness,
my love for her indomitable spirit,
I shout to her,
telepathically send her
an important sincere message,
"Pick yourself up fighter,
cleanse your bloodied knees,
cloak yourself in flower-maille,
love yourself first
for protection
from you adversaries
(and there are many).
Carry the shield of courage
to blind the dark-world
with the next coming,
the coming of your own sun,
shine sister shine!"
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,
Anonymous Dec 2018
Most days I’m great,
I’m pretty average looking but I’ve got a personality
That’s much bigger than my physical body
I’m goofy more than I’m serious
And I procrastinate more than I should
Most people call me the energizer bunny;
Always running around brining energy and smiles
Most days, that’s me.
Just your average normal person;
Not every day is perfect…
There are good days,
                      bad days,
                             better days,
                                  worse days &
                                         worser than worst
                                                          ­           d
                                                     ­                      y
                                                        ­                       s

How can a day be so bad that you make up your own version of “worse” you ask?
Well those days go something like this:
The air is heavy,
My senses are heightened
I can feel every droplet on my back
My lungs are tight, but not quite tight enough to be suffocating
My throat is dry, I can’t tell if I’m burning hot or freezing cold.
I get dressed, I go about my day.
There are good things.
There are bad things.
The bad things always stick on these kinds of days.
Inevitably, I can feel my anxiety begin to grow
It begins burning in my chest first,
I can feel the toxic attitude begin to bubble beneath my skin
Destroying everything inside
I am painted red with an unexplainable anger and rage
I sit alone, until my anger devours itself feeding on its toxic irrational thoughts

This is when it happens, the (worser than worst)
It’s always when I let myself let go of the anger,
When my voice resumes its normal tone and pitch,
When my breathing is in sync with my heart,
And my once raging and thrashing thoughts
Begin to quiet and wind themselves down
It’s always when things start to feel okay again
Then it happens.
I’m walking in a crowded subway station
Hundreds of voices around me, yet they all drown out each other
Until a loud one breaks through the rhythmic hum of a busy commuter city
My body responds automatically searching for the noise
I see her in the distance,
Dressed in all black
For how cold it is, she’s not wearing nearly enough
She’s old.
Her face tells stories
Through the hard-pressed lines and crevices of her weather-beaten skin,
Her skin shows it all,
A Face that has laughed, cried, and experienced
Her eyes are glazed over
Chills run down my spine so suddenly I’m almost startled
It’s the eyes,
It’s always the eyes, they always trigger me
I can feel you in the atmosphere
Pressing your cold pale lips to my ear and whispering
“You couldn’t save me”
“You’re forgetting me”
“I won’t let you forget me”
I stand motionless trying to will my body to move
It doesn’t.
I watch the woman for a bit longer
Lost in her own world, eyes glazed over and lost
I feel sorry for her and then I feel it
Like all the muscles inside of me are suddenly limp and weak
With all my effort I push my feet off the ground
So, focused I don’t notice the tears streaming down my cheeks
I walk away in disappointment
I do what I do best,
I leave
And as I do, I hold my breath
And count
I count until the numbers feel right
And until I force myself to forget your presence
And the lingering guilt that still takes root
In the void you left behind.

Most days I’m great,
Just your average normal person,
Most days are easy enough to get through,

It’s the few days,
The ones spread so thin throughout the year
The days that remind me
That eyes are truly gateways into other places
It’s those days
That being to engulf the great days
Beneath its roots of your memory
And I am reminded that after all of these years,
If you can manage to keep resurrecting yourself
Through the people still on this planet
Than my words, will once again resurrect with you.
For you.
Paul R Mott May 2012
I’ve faced the pinnacles of darkness
and the depths of Illumination;
but the faces that kept my sight
were always vague but constant.

There’s been dark times of laughter
and saccharine times of sorrow;
but none were so merry as the times
of prolonged grins and short scowls.

When the fires were stoked within
‘twas a friend’s quick gaze pumped the bellows
that quelled the fires so sacrificial
and returned my mind to the mellow.

So forever again ‘twill be those nearest
that will face the hottest flames.
Forever again will those nearest fan
away these flames from a face so fickle.

This breeze will coax the life from dark-
will cull away a smile from lips so grave-
resurrecting life from dead social graces-
until grace finds a perch in a heart once
ej Apr 2015
Take from the poor and give to
the poorer

Drink scorched gold on ashy

Bronze in your fist and silver
in your tooth

You're surely ******,


Running to hills and sighting clouds like kids again,
Chasing memories that don't want you around

Resurrecting demons like foul-mouthed holy men,
Bones stir deep in your blood-soaked mounds

Hey, man, why do you bother?
Hey, man, why do you care?

Tell yourself again: It's not worth it,
Look down deep and you will find
the twisted nature of the highwayman

Running to the hills and sighting clouds like kids again,
Chasing memories that don't want you around

Resurrecting demons like foul-mouthed holy men,
Bones stir deep in your blood-soaked mounds

Tell yourself again: it's so worth it
Look up high and you will find
the blessed nature of the holy man

(Take from the poor and give to
the poorer
Drink scorched gold on ashy
Bronze in your fist and silver
in your tooth
You're surely ******,
You're surely ******,
holy man)
Mateuš Conrad Jul 2016
that you may read poetry without a tongue, with a plight
of sore eyes, of eager eyes, only eyes,
and shelter yourself from the rain
with a hand agreeing to greet it falling extended:
plucking mushrooms as you
might be reasonable meeting it with
umbrellas - but umbrellas
far beyond the flowery gutter of scent
and decaying ambition where the frugal
fungal arise like lechery of goblin ****
celebrated - some might add
a dice throw of Macadamia nuts -
eyed i too you the death-stinker;
this is the English revision of Zulu -
primitive tongue extended into abstract,
by those speaking English as foreign,
my English is an English reversed on
the colonialists - its a robbing tongue when
effectively used, with this in mind
i'm starting to think the Irish are bigger *****
than the Welsh even with the middle exported
as V into France and the longbow-men -
remember the antonym of German compounding
is the hyphen in English - optic talk -
failed rubrics of arithmetic for one,
failed rubrics of spelling the other -
i wish you knew English as well as you once
you knew Swahili - i actually wish you knew
Swahili ably talking to you grandparents...
i'm not your grandfather, even though
i wish he wishes he was -
you became gluttonous in tongue as they in body,
fat overdose from mono-linguistic apartheid -
you let them undermine the bilingualism
inherent in you... the Prussians
and the Russian and the Austrians never stole our
tongue... of course we devolved it borrowing
too many words, but loan nouns are never able to evolve
into slang, into urban talk that deconstructs nations,
where once was France now there's only Paris,
the same with England and London;
that you may read poetry without a tongue,
and make tongue read unto mind a Braille -
goosebump fidgety prickle - sour palette without
saying Thai in York - for the eyes to see the deformity
at hand, for the tongue to turn silent for one evening
alone, Venetian snares of the omni- eyed fake
entrusted with Cerberus' oath (only howl a wake
when your master Hades passes into the Styx for
voice of democratically reprimanding judgement over all
souls to arise from droplet into their own content
river form); for i too would have taken to resurrecting
the tongue, but the tongue was forgotten for a purpose
of agility in sports and un-thought poetics of excessive
rhyme, hardly the jazz, hardly the blues,
and hardly poetry - jazz i agree beyond measure a mint
cloud among the down-pouring heavy-clad-grey-clouds
of Mozart - i admit the blues the invigoration -
but rap? rap i just don't get.
me and this homeless man just laughed it off:
and i'm a Brazilian (blue tracksuit bottoms,
yellow t-shirt, green hoodie) - Eminem nemo Emo?
get the beach bleach out... we're going to stain those
starfish as coordinates' worth of horoscope... twirling
twirling twirling... cartwheels a'hoo a'hoo a'hoo ha hey.
i mean, sorry, i don't get the "hood" -
i don't get post-grunge either... i think i'm getting old -
and it's true what they say... the only black friend
was a drug dealer - wanted me to teach his daughter
to play the guitar... i said i listened to Bob Marley's sons
and he said i listened to culture -
racial stereotypes can be fun, i guess, if you're honest
about them... keen on the Illuminati,
so i said: anything better than Kubrick's eyes wide shut ******?
n'ah? hell, if it can't beat that, what's the interesting part?
or as i itemise the rewards the Koran states...
those 72 virgins... is that a metaphor for gym membership?
if you're a lazy drunk like me... the last thing
you want is 72 eager beavers.
ॐ-i Jul 2014
I used to be Deep
Conversing for hours about
The state of America,
Chanting songs of political freedom
And lamenting about Black struggles and Queer Politics

I used to be Complex too
Drinking Americano
Using words like Ornery and Astute
Reading books by Brother West
And articles from the Brookings Institute

I used to Poetic
Resurrecting line after line of intense emotion and lyrical brilliance
Effortless rhyme and impeccable syntax
Spitting common sense and writing haikus about love and resilience

I was beautifully and unapologetically Black
So Black that the milk flowed ebony from my breast and filled the sky
It nourished that dark matter and flourished the light
It buffered the rays and kissed your skin
It sweetened the air and made vibrant your kin

I used to be a Woman
Feminine and soft
Bold and daring

My womb birthed the sea and impassioned the storm
I painted my lips with clay and tooted my own **** horn

I used to be these things
And now, collectively, I am all,

When the air leaves my chest mountains crumble and fall

This is not an anthem about womanhood and there is no need to roar
My truth is will break your back in a whisper and pierces like the tusks of a boar

I can not be quantified, qualified, or so easily identified

I am, I am
And I am will speak on it no more.
Kyla Mae Pliskie Oct 2013
constant waves crash under the surface, the skin, absorbing cynical ballads sung by the echoes of these inhabitants. Relief derives from punishment, self-nourishment, set the stage for these unfortunate events. There has been no consent, no arrangement. my voice has been silenced by the choices I've secured. breathless and brittle i can hear the bones cracking and open doors slamming, this horizon dissolving into a thin gray line. Confined to this cage of regret and regression thrusts underneath my fingernails, leaving bread for bail, opting for a quiet place. My own eyes are lost in these melancholy faces surrounding the destruction like a venue of vultures. My head is so clear, and so transparent. Denying instincts and escape have left this chaos unsettled and evident; naked for prey. Sunken souls longing for destruction. Anticipating a rainy day. Molded my chemistry to fit inside what they want of me, circles in squares, what do we really have but empty packaging. And emptiness has no place of residence. Wildfires stemming from my fingertips as every single substance i caress turns to ash. Blackened. steps that have no depth. Roads that have no end. I am spiraling on an axis that does not tilt the right way and my hair is blowing in the wind. Goosebumps raising on my skin. I am alive. I am distant. I am left behind. In the wrong frame of mind. Unrestrained. A dose to withdrawal with a shot of champagne. Ten seconds, i'm falling into intersecting highways. Blankness. Resurrecting a flicker, caught beneath dark circles sheltering my iris. An accomplice in the wounded charade, a collapsing lung makes no sound in this crowded space. Abandoning idolized conclusions raising passions like battered children, from broken gates we let the truth escape and the oxygen conformed with it. Counterfeit. Dreams, although sleepless haunt every breath inhaled leaving malignant now speechless. Disease in every bite we eat. I leave it upon the ones who envision cloudless. My sight has mislead me, which has brought me to this wreckage. Dependence in noxious fumes gripping on to this disaster. Was it really the truth we were after. After the truth we wrote new rules, confused for apparent reasons. Our time is evolving and deteriorating with the seasons.
Cheshi Apr 2014
Etching my movements in time as a sculpture would to stone.
One wrong scratch on the experience and the whole plan falls.
I try to memorize all of your countries and how they fit in and line up and how some of them surface only during times of dispute or sadness.

Many people dream this dream.
Many people hide.

I glanced in your direction through a screen like a steamed window, buffed for clarity, squinting for connection.

And no one has to know.
There's nothing to fear.

The music in your voice isn't the same as the tapping on my bed
Thinly resurrecting in course of the night.

I want to believe in the tug.
I want to believe that the struggle is somehow pulling me closer.
But more often I just want to hide.

— The End —