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Suzanne Penn Dec 2013
I too...
wake up sometimes
longing to touch you
to taste
tease
tempt
and excite you
I want to wake you up
with soft lingering kisses
and tender rhythmic touches
I want to slide my tongue
deeply within you
playfully persistent
until your back arches
and your breath catches
I want your spirit to soar...
before your eyes
are even open
I want to give to you
the passion
joy and love
that you have hungered for...
I want you
to begin each day...
fulfilled.
Nigel Morgan Nov 2012
She said, ‘You are funny, the way you set yourself up the moment we arrive. You look into every room to see if it’s suitable as a place to work. Is there a table? Where are the plugs? Is there a good chair at the right height? If there isn’t, are there cushions to make it so? You are funny.’
 
He countered this, but his excuse didn’t sound very convincing. He knew exactly what she meant, but it hurt him a little that she should think it ‘funny’. There’s nothing funny about trying to compose music, he thought. It’s not ‘radio in the head’ you know – this was a favourite expression he’d once heard an American composer use. You don’t just turn a switch and the music’s playing, waiting for you to write it down. You have to find it – though he believed it was usually there, somewhere, waiting to be found. But it’s elusive. You have to work hard to detect what might be there, there in the silence of your imagination.
 
Later over their first meal in this large cottage she said, ‘How do you stop hearing all those settings of the Mass that you must have heard or sung since childhood?’ She’d been rehearsing Verdi’s Requiem recently and was full of snippets of this stirring piece. He was a) writing a Mass to celebrate a cathedral’s reordering after a year as a building site, and b) he’d been a boy chorister and the form and order of the Mass was deeply engrained in his aural memory. He only had to hear the plainsong introduction Gloria in Excelsis Deo to be back in the Queen’s chapel singing Palestrina, or Byrd or Poulenc.
 
His ‘found’ corner was in the living room. The table wasn’t a table but a long cabinet she’d kindly covered with a tablecloth. You couldn’t get your feet under the thing, but with his little portable drawing board there was space to sit properly because the board jutted out beyond the cabinet’s top. It was the right length and its depth was OK, enough space for the board and, next to it, his laptop computer. On the floor beside his chair he placed a few of his reference scores and a box of necessary ‘bits’.
 
The room had two large sofas, an equally large television, some unexplainable and instantly dismissible items of decoration, a standard lamp, and a wood burning stove. The stove was wonderful, and on their second evening in the cottage, when clear skies and a stiff breeze promised a cold night, she’d lit it and, as the evening progressed, they basked in its warmth, she filling envelopes with her cards, he struggling with sleep over a book.
 
Despite and because this was a new, though temporary, location he had got up at 5.0am. This is a usual time for composers who need their daily fix of absolute quiet. And here, in this cottage set amidst autumn fields, within sight of a river estuary, under vast, panoramic uninterrupted skies, there was the distinct possibility of silence – all day. The double-glazing made doubly sure of that.
 
He had sat with a mug of tea at 5.10 and contemplated the silence, or rather what infiltrated the stillness of the cottage as sound. In the kitchen the clock ticked, the refrigerator seemed to need a period of machine noise once its door had been opened. At 6.0am the central heating fired up for a while. Outside, the small fruit trees in the garden moved vigorously in the wind, but he couldn’t hear either the wind or a rustle of leaves.  A car droned past on the nearby road. The clear sky began to lighten promising a fine day. This would certainly do for silence.
 
His thoughts returned to her question of the previous evening, and his answer. He was about to face up to his explanation. ‘I empty myself of all musical sound’, he’d said, ‘I imagine an empty space into which I might bring a single note, a long held drone of a note, a ‘d’ above middle ‘c’ on a chamber ***** (seeing it’s a Mass I’m writing).  Harrison Birtwistle always starts on an ‘e’. A ‘d’ to me seems older and kinder. An ‘e’ is too modern and progressive, slightly brash and noisy.’
 
He can see she is quizzical with this anecdotal stuff. Is he having me on? But no, he is not having her on. Such choices are important. Without them progress would be difficult when the thinking and planning has to stop and the composing has to begin. His notebook, sitting on his drawing board with some first sketches, plays testament to that. In this book glimpses of music appear in rhythmic abstracts, though rarely any pitches, and there are pages of written description. He likes to imagine what a new work is, and what it is not. This he writes down. Composer Paul Hindemith reckoned you had first to address the ‘conditions of performance’. That meant thinking about the performers, the location, above all the context. A Mass can be, for a composer, so many things. There were certainly requirements and constraints. The commission had to fulfil a number of criteria, some imposed by circumstance, some self-imposed by desire. All this goes into the melting ***, or rather the notebook. And after the notebook, he takes a large piece of A3 paper and clarifies this thinking and planning onto (if possible) a single sheet.
 
And so, to the task in hand. His objective, he had decided, is to focus on the whole rather than the particular. Don’t think about the Kyrie on its own, but consider how it lies with the Gloria. And so with the Sanctus & Benedictus. How do they connect to the Agnus Dei. He begins on the A3 sheet of plain paper ‘making a map of connections’. Kyrie to Gloria, Gloria to Credo and so on. Then what about Agnus Dei and the Gloria? Is there going to be any commonality – in rhythm, pace and tempo (we’ll leave melody and harmony for now)? Steady, he finds himself saying, aren’t we going back over old ground? His notebook has pages of attempts at rhythmizing the text. There are just so many ways to do this. Each rhythmic solution begets a different slant of meaning.
 
This is to be a congregational Mass, but one that has a role for a 4-part choir and ***** and a ‘jazz instrument’. Impatient to see notes on paper, he composes a new introduction to a Kyrie as a rhythmic sketch, then, experimentally, adds pitches. He scores it fully, just 10 bars or so, but it is barely finished before his critical inner voice says, ‘What’s this for? Do you all need this? This is showing off.’ So the filled-out sketch drops to the floor and he examines this element of ‘beginning’ the incipit.
 
He remembers how a meditation on that word inhabits the opening chapter of George Steiner’s great book Grammars of Creation. He sees in his mind’s eye the complex, colourful and ornate letter that begins the Lindesfarne Gospels. His beginnings for each movement, he decides, might be two chords, one overlaying the other: two ‘simple’ diatonic chords when sounded separately, but complex and with a measure of mystery when played together. The Mass is often described as a mystery. It is that ritual of a meal undertaken by a community of people who in the breaking of bread and wine wish to bring God’s presence amongst them. So it is a mystery. And so, he tells himself, his music will aim to hold something of mystery. It should not be a comment on that mystery, but be a mystery itself. It should not be homely and comfortable; it should be as minimal and sparing of musical commentary as possible.
 
When, as a teenager, he first began to set words to music he quickly experienced the need (it seemed) to fashion accompaniments that were commentaries on the text the voice was singing. These accompaniments did not underpin the words so much as add a commentary upon them. What lay beneath the words was his reaction, indeed imaginative extension of the words. He eschewed then both melisma and repetition. He sought an extreme independence between word and music, even though the word became the scenario of the music. Any musical setting was derived from the composition of the vocal line.  It was all about finding the ‘key’ to a song, what unlocked the door to the room of life it occupied. The music was the room where the poem’s utterance lived.
 
With a Mass you were in trouble for the outset. There was a poetry of sorts, but poetry that, in the countless versions of the vernacular, had lost (perhaps had never had) the resonance of the Latin. He thought suddenly of the supposed words of William Byrd, ‘He who sings prays twice’. Yes, such commonplace words are intercessional, but when sung become more than they are. But he knew he had to be careful here.
 
Why do we sing the words of the Mass he asks himself? Do we need to sing these words of the Mass? Are they the words that Christ spoke as he broke bread and poured wine to his friends and disciples at his last supper? The answer is no. Certainly these words of the Mass we usually sing surround the most intimate words of that final meal, words only the priest in Christ’s name may articulate.
 
Write out the words of the Mass that represent its collective worship and what do you have? Rather non-descript poetry? A kind of formula for collective incantation during worship? Can we read these words and not hear a surrounding music? He thinks for a moment of being asked to put new music to words of The Beatles. All you need is love. Yesterday all my troubles seemed so far away. Oh bla dee oh bla da life goes on. Now, now this is silliness, his Critical Voice complains. And yet it’s not. When you compose a popular song the gap between some words scribbled on the back of an envelope and the hook of chords and melody developed in an accidental moment (that becomes a way of clothing such words) is often minimal. Apart, words and music seem like orphans in a storm. Together they are home and dry.
 
He realises, and not for the first time, that he is seeking a total musical solution to the whole of the setting of those words collectively given voice to by those participating in the Mass.
 
And so: to the task in hand. His objective: to focus on the whole rather than the particular.  Where had he heard that thought before? - when he had sat down at his drawing board an hour and half previously. He’d gone in a circle of thought, and with his sketch on the floor at his feet, nothing to show for all that effort.
 
Meanwhile the sun had risen. He could hear her moving about in the bathroom. He went to the kitchen and laid out what they would need to breakfast together. As he poured milk into a jug, primed the toaster, filled the kettle, the business of what might constitute a whole solution to this setting of the Mass followed him around the kitchen and breakfast room like a demanding child. He knew all about demanding children. How often had he come home from his studio to prepare breakfast and see small people to school? - more often than he cared to remember. And when he remembered he became sad that it was no more.  His children had so often provided a welcome buffer from sessions of intense thought and activity. He loved the walk to school, the first quarter of a mile through the park, a long avenue of chestnut trees. It was always the end of April and pink and white blossoms were appearing, or it was September and there were conkers everywhere. It was under these trees his daughter would skip and even his sons would hold hands with him; he would feel their warmth, their livingness.
 
But now, preparing breakfast, his Critical Voice was that demanding child and he realised when she appeared in the kitchen he spoke to her with a voice of an artist in conversation with his critics, not the voice of the man who had the previous night lost himself to joy in her dear embrace. And he was ashamed it was so.
 
How he loved her gentle manner as she negotiated his ‘coming too’ after those two hours of concentration and inner dialogue. Gradually, by the second cup of coffee he felt a right person, and the hours ahead did not seem too impossible.
 
When she’d gone off to her work, silence reasserted itself. He played his viola for half an hour, just scales and exercises and a few folk songs he was learning by heart. This gathering habit was, he would say if asked, to reassert his musicianship, the link between his body and making sound musically. That the viola seemed to resonate throughout his whole body gave him pleasure. He liked the ****** movement required to produce a flowing sequence of bow strokes. The trick at the end of this daily practice was to put the instrument in its case and move immediately to his desk. No pause to check email – that blight on a morning’s work. No pause to look at today’s list. Back to the work in hand: the Mass.
 
But instead his mind and intention seemed to slip sideways and almost unconsciously he found himself sketching (on the few remaining staves of a vocal experiment) what appeared to be a piano piece. The rhythmic flow of it seemed to dance across the page to be halted only when the few empty staves were filled. He knew this was one of those pieces that addressed the pianist, not the listener. He sat back in his chair and imagined a scenario of a pianist opening this music and after a few minutes’ reflection and reading through allowing her hands to move very slowly and silently a few millimetres over the keys.  Such imagining led him to hear possible harmonic simultaneities, dynamics and articulations, though he knew such things would probably be lost or reinvented on a second imagined ‘performance’. No matter. Now his make-believe pianist sounded the first bar out. It had a depth and a richness that surprised him – it was a fine piano. He was touched by its affect. He felt the possibilities of extending what he’d written. So he did. And for the next half an hour lived in the pastures of good continuation, those rich luxuriant meadows reached by a rickerty rackerty bridge and guarded by a troll who today was nowhere to be seen.
 
It was a curious piece. It came to a halt on an enigmatic, go-nowhere / go-anywhere chord after what seemed a short declamatory coda (he later added the marking deliberamente). Then, after a few minutes reflection he wrote a rising arpeggio, a broken chord in which the consonant elements gradually acquired a rising sequence of dissonance pitches until halted by a repetition. As he wrote this ending he realised that the repeated note, an ‘a’ flat, was a kind of fulcrum around which the whole of the music moved. It held an enigmatic presence in the harmony, being sometimes a g# sometimes an ‘a’ flat, and its function often different. It made the music take on a wistful quality.
 
At that point he thought of her little artists’ book series she had titled Tide Marks. Many of these were made of a concertina of folded pages revealing - as your eyes moved through its pages - something akin to the tide’s longitudinal mark. This centred on the page and spread away both upwards and downwards, just like those mirror images of coloured glass seen in a child’s kaleidoscope. No moment of view was ever quite the same, but there were commonalities born of the conditions of a certain day and time.  His ‘Tide Mark’ was just like that. He’d followed a mark made in his imagination from one point to another point a little distant. The musical working out also had a reflection mechanism: what started in one hand became mirrored in the other. He had unexpectedly supplied an ending, this arpegiated gesture of finality that wasn’t properly final but faded away. When he thought further about the role of the ending, he added a few more notes to the arpeggio, but notes that were not be sounded but ghosted, the player miming a press of the keys.
 
He looked at the clock. Nearly five o’clock. The afternoon had all but disappeared. Time had retreated into glorious silence . There had been three whole hours of it. How wonderful that was after months of battling with the incessant and draining turbulence of sound that was ever present in his city life. To be here in this quiet cottage he could now get thoroughly lost – in silence. Even when she was here he could be a few rooms apart, and find silence.
 
A week more of this, a fortnight even . . . but he knew he might only manage a few days before visitors arrived and his long day would be squeezed into the early morning hours and occasional uncertain periods when people were out and about.
 
When she returned, very soon now, she would make tea and cut cake, and they’d sit (like old people they wer
Keith Collard Jun 2013
The Quest for the Damsel Fish  by Keith Collard

Author's  Atmosphere

On the bow of the boat, with the cold cloud of the dismal day brushing your back conjuring goose bumped flesh you hold an anchor.  For the first time, you can pick this silver anchor up with only one hand and hold it over your head. It resembles the Morning Star, a brutal medieval weapon that bludgeons and impales its victims.  Drop it into the dark world beyond the security of your boat--watch the anchor descend.
        Watch this silver anchor--this Morning Star--descend away from the boat and you, it becomes swarmed over with darkness.  It forms a ******-metallic grin at first as it sinks, then the sinking silver anchor takes its last shape at its last visible glimpse.  It is so small now as if it could be hung from a necklace.  It is a silver sword.  
Peering over the side of the boat, the depths collectively look like the mouth of a Cannibalistic Crab, throwing the shadows of its mandibles over everything that sinks down into it--black mandibles that have joints with the same angle of a Reaper's Scythe.  

I am scared looking at this sinking phantasm.  I see something from my youth down there in this dark cold Atlantic.  I see the silver Morning Star again, now in golden armor.  I remember a magnificent kingdom, in a saltwater fish tank I had once and never had again.  A tropical paradise that I see again as I stare down into the depths.  This fish tank was so beautiful with the most beautiful inhabitants who I miss.  Before I could lift the silver anchor--the Morning Star--over my head with only one hand, turning gold in that morning sun-- I was a boy who sat indian style, cross legged--peering into this brilliant spectacle of light I thought awesome.  I thought all the darkness of home and the world was kept at bay by this kingdom of light...

Chapter  1 Begins the Story

The Grey Skies of Mass is the Name of This Chapter.

                                                      ­­                        
    
 Air, in bubbles--it was a world beauty of darkness revealed in slashes of light from dashing fluorescent bulbs overhead this fish tank.
Silver swords of fluorescent energy daring to the bottom, every slash revealing every color of the zodiac--from the Gold of Scorpio to the purple of Libra combining into the jade of the Gemini. 
In the center, like a dark Stonehenge were rocks. The exterior rocks had tropical colors like that of cotton candy, but the interior shadows of the rocks that was the Stonehenge, did not possess one photon of light. The silver messengers of the florescent energy from above would tire and die at their base.  The shadows of the Stonehenge rocks would stand over them as they died.

 
          When the boy named Sake climbed the rickety wood stairs of the house, he did so in fear of making noise, as if to not wake each step.
   Until he could see the glowing aura of his fish tank then he would start down that eerie hall, With pictures of ghosts and ghosts of pictures staring down at him as he walked down that rickety hallway of this towering old colonial home.  He hurried to the glowing tank to escape the black and white gazing picture frames.
                    The faint gurgling, bubbling of the saltwater tank became stronger in his ear, and that sound guided him from the last haunt of the hallway-- the empty room that was perpendicular to  his room.   He only looked to his bright tank as soon as he entered the hallway from the creaky wooden steps.  Then he proceeded to sit in front of this great tropical fish tank in Indian style with his legs folded over one another as children so often would sit.
  The sun was setting.  The reflections from the tank were beginning to send ripples down the dark walls. Increasing  wave after wave reflecting down his dark walls.  He thought they to be seagulls flapping into the darkness until they were overcome as he was listening to the bubbling water of his tank.
                " Hello my fish, hello Angel, hello Tang, hello  Hoomah, hello Clown and hello Damsel … and hello to you Crab...even though I do not like you," he said in half jest not looking at the crab in the entrance of the rocks.  The rocks were the color of cotton candy, but the interior shadows did not possess a photon of luminescence.  All other shadows not caused by the rocks--but by bright swaying ornament--were like the glaze on a candy apple--dark but delicious.  Besides the crab's layer in the rock jumble at the center of the tank which was a Stonehenge within a Stonehenge--the tank was a world of bright inviting light.
                The crab was in its routine,  motionless in the entrance to his foyer, with his scythe-like claws in the air, in expectation of catching one of the bright fish someday.  For that reason the boy tried to remove the crab in the past, but even though the boy was fast with his hand, the optical illusion of the tank would always send his hand where the crab no longer was.  He did not know how to use two hands to rid the crab in the future by trapping and destroying the Cannibal Crab ;  his father, on a weekend visit, gave the Crab to the boy to put into the bright world of the saltwater tank, which Sake quickly regretted.  His father promised him that the Crab would not be able to catch any of the fish he said " ...***** only eat anything that has fallen to the bottom or each other..."

         A scream from the living room downstairs ran up the rickety wood and down the long hall and startled the boy.  His mother sent her shrieks out to grab the boy, allowing her to not have to waste any time nor calorie on her son; for she would tire from the stairs, but her screams would not, allowing her to stay curled up on the couch.  If she was not screaming for Sake, she was talking as loud as screams on the phone with her girlfriends.  The decibels from her laugh was torture for all in the silent house.   A haughty laugh in a gossipy conversation, that overpowered the sound of the bright tropical fish tank in Sake's room that was above and far opposite her in the living room.
               " Sake you have to get a paper-route to pay for the tank, the electricity bill is outrageous," she said while not taking her eyes off the TV and her legs curled up beside her.  He would glad fully get a paper-route even if it was for a made up reason.  He turned to go, and looked back at his mother, and a shudder ran through him with a new thought:  someday her appearance will match her voice.  

              Upon reaching his tank,  Hoomah was trying to get his attention as always.  Taking up pebbles in his big pouty pursed lips and spitting them out of his lips like a weak musket.  The Hoomah was a very silly fish, it looked like one of Sake’s aunts, with too much make up on, slightly overweight, and hovering on two little fins that looked incapable of keeping it afloat, but they did.  The fins reminded him of the legs of his aunt--skinny under not so skinny.’

               The Tang was doing his usual aquanautics , darting and sailing was his trick.  He was fast, the fastest with his bright yellow triangular sail cutting the water.  Next was the aggressive Clown fish, the boy thought she was always aggresive because she didn't have an anemone to sleep on.  The Clown was strong and sleek with an orange jaw and body that was built like a tigress.
  Sake thought something tragic about the body if the  orange Clown and the three silver traces that clawed her body as decoration -they reminded him of the incandescent orange glow of a street lamp being viewed through the rainy back windshield of a car.   The Clown fish was a distraction that craved attention.
The Clown would chase around some of the other fish and jump out of the water to catch the boy's eye. 
                 Next is the Queen Angel fish, she is the queen of the tank, she sits in back all alone, waving like a marvelous banner, iridescent purple and golden jade.  Her forehead slopes back in a French braid style that streams over her back like a kings standard waving before battle, but her standard is of a house of beauty, and that of royal purple.

                    Lastly is the Damsel Fish, the smallest and most vulnerable in the tank.  She has royal purple also, rivaling the queen. Her eyes are lashed but not lidded like the Hoomah.  Her eyes are elliptical, and perhaps the most human, or in the boy’s opinion, she is the most lady like, the Hoomah and the Queen Angel come to her defence if she is chased around by the Clown.  Her eyes penetrate the boys, to the point of him looking away.  

                      Before the tank, in its place in the corner was a painting, an oil painting of another type of Clown donning a hat with orange partial make-up on his face (only around eyes nose and mouth there was ghost white paint) and it  had two tears coming down from its right eye.  The Clown painting was given to him by his mother, it seems he could not be rid of them, but Sake at first was taken in by the brightness of the Clown, and the smooth salacious wet look of the painting. it looked dripping, or submerged, like another alternate reality.  The wet surreal glaze of the painting seemed a portal, especially the orange glow of the Clown's skin without make-up.  .  If he tried to remember of times  before the Clown painting that preceded the Clown fish, he thought of the orange saffron twilight of sunset, and watching it from the high window from his room in the towering house.  How that light changed everything that it touched, from the tree tops and the clouds, to even the dark hallway leading up to his room.  The painting and the Clown fish did not feel the same as those distant memories of sunset, especially the summer sunset when his mother would put him to bed long before the sun had set.  
Sake did not voice opposition to the Clown.
Then he was once again trapped by the Clown.  
            The boy was extremely afraid of this painting that replaced the sunsets , being confined alone with it by all those early bedtimes.
Sake once asked his mother if he could take it down, whereas she said " No."  That clown would follow him into his dreams, always he would be down the hill from the tall house on the hill, trying to walk back to the house, but to walk away or run in a dream was like walking underwater or in black space, and he would make no distance as the ground opened up and the clown came out of the ground hugging him with the pryless grip of eight arms.  He would then wake up amid screams and a tearful hatted clown staring somberly down at him from the wall where it was hung.  Night made him fear the Clown painting more;  that ghost white make-up decorating around the eyes and mouth seeming to form another painting in entirety.  He could only look at the painting after a while when the lights were on, and the wet looking painting was mostly orange from the skin, neck, and forearms of the hat wearing clown.  But the painting is gone now, and the magnificent light display of the tank is there now.  

                Sake pulled out the fish food, all the fish bestirred in anticipation of being fed.  The only time they would all come together; and that was to mumble the bits of falling flakes: a chomp from the Clown, a pucker from the Hoomah, the fast mumble of the Tang, and the dainty chew of the Damsel.  The Queen Angelfish would stay near the bottom, and kiss a flake over and over.   She would not deign herself to go into a friendly frenzy like the other fish; she stayed calm, yet alluring like a flag dancing rhythmically in the breeze, but never repeating the same move as the wind never repeats the same breeze.  She is the only fish to change colors.  When the grey skies of Mass emit through every portal in the house at the height of its bleakness, her colors would turn more fantastic, perhaps why she is queen.

                 He put his finger in the top of the watery world; the warmth was felt all the way up his arm.  After feeding, his favorite thing to do was to trace his finger on the top of the warm water and have the Damsel follow it. She loved it, it was her only time to dance, for the Clown would descend down in somewhat fear ( or annoyance) of the boys finger, and the Damsel and he would dance.  The boy, thought that extraordinary.

                     Sake bedded down that night, to his usual watery world of his room.  The reflective waves running down the walls like seagulls of light, with the rhythmic gurgling sound and it's occasional splash of the Clown, or the Hoomah swooping into the pebbly bottom to scoop up some pebbles for spitting making the sound "ccchhhhh" --cachinging  like a distant underwater register.  The tank’s nocturne sound was therapeutic to the boy.

                      Among waking up, and being greeted by his sparkling treasure tank--that was always of the faintest light in the morning due to the grey skies of Mass coming through every portal to lessen the tropical spectrum-- the boy would render his salutations " Good morning my Hoomah.....good morning Tang, my Damsel, and your majesty Queen Angel.....and so forth.  Until the scream would come to get him, and he would walk briskly past the empty room and the looming family pictures of strangers.  His mother put him to work that day, to "pay for the fish tank" but really to buy her a new cocktail dress for her nightly forays.  The boy did not care, the tank was his sun, emitting through the bleak skies of Mass, and even if the tank was reduced to a haze by the overcast of his life, it only added a log to the fire that was the tropical world at night, in turn making him welcome the dismal day.
                  On a day, when the overcast was so thick, he felt he could not picture his rectangular orb waiting for him at night. He had trouble remembering what houses to deliver the paper.  He delivered to the same house three times.  Newspapers seemed to disappear in his hands, due to their color relation to the sky.   Leaves were falling from the trees—butterfly like—he went to catch one, he missed--a first. For Sake could walk through dense thorned brambles and avoid every barb, as a knight in combat or someone’s whose heart felt the painful sting of the barb before.  He would stand under a tree in late fall, and roll around to avoid every falling leaf, and pierce them to the ground deftly with a stick fashioned as a sword.  He could slither between snow flakes, almost like a fish nimbly avoiding small flakes.  
                  After he finished his paper-route , he went to his usual spot under an oak tree to fence with falling leaves.  As the other boys walked by and poked fun he would stall his imagination, and look to the brown landscape of the dry fall.  The crisp brown leaves of the trees were sword shapes to him.  He held the battle ax shape of the oak leaf over his eye held up by the stick it was pierced through, and spied the woodline through the sinus of the oak leaf lobe.  The brown white speckled scenery, were all trying to hide behind eachother by blending in bleakfully; he pretended the leaf was Hector’s helmet from the Illiad—donned over his eyes.
“ Whatchya doing Sake?” asked a young girl named Summer.  Sake only mumbled something nervously and stood there.  And a pretty Summer passed on after Sake once again denied himself of her pretty company.  He looked to the woodline again, a mist was now concealing the tall apical trees.  It now looked like the brown woodland was not trying to retreat behind eachother in fall concealment, but trying to emerge forth out of the greyness to say "save us."

“ Damgf” he uttered, and could not even grasp a word correctly.  His head lifted to the sky repeatedly, there was no orb, and the shadows were looming larger than ever; fractioned shadows from tree branches were forming scythes all over the ground.
             He entered the large shadow that was his front door, into the house that rose high into the sky, with the simplicity of Stonehenge.  He climbed the rickety petrified stairs and went down the hall.  Grey light had spotlighted every frame on the wall.  He looked into the empty room, nothingness, then his room, the tank seemed at its faintest, and it was nearing twilight.  He walked past the tank to look out the w
nivek May 2014
my love sings as the nightingale sings
as all birds sing my love hides
behind all gifted songs of Earth
psalm and childrens laughter
the sound of rhythmic hammers
mankind at work with wood and metal
hearts full of life and love and singing
Nitinrao Aambore Nov 2012
My heart is beating so for you
believe ne honey my love is true
What had i done not hate me please
eloquent you and your sweet English

you know what you told first
Give this rose to someone best
I am not wrong i chosen you
again I tell my love is true

Where we met at corner there
Fergusson-Modern one bus stop were
when you spoke one word so bold
and I was tried your hand to hold

What stroke of your sweet bright eyes
why not given that GOOD-LUCK prize
to win your grace I worked so heard
but why you turn and proved me bad

Where is your that fancy dress?
which give you round and rolling grace
I choose you for my red rose ;why?
your little height and sweetest shy

when you move ;why?your hidden soul
which time ?did you perform that role
only you and our Indian airs
how I tell you I love you dear

o dear show me that secret shine
In that many youth you are divine
I like your turning and rolling round
in your language one poetic sound

fear no more dear wait for year
coming soon i am in the name of dear
it nothing but the joy you seen
you know what that echoing shrill

I saw that air with rhyme rhythmic
don't  know what is the measure for it
I like you and your thiny lips
I was dreaming in the night of sleeps

What am I wrong ?really tell me
that smell I want and together we
not matter what rule and law
keep me with you or declare draw

what you like .......I know it
take care of yourself and on time  Eat
who was that one you moving around
wind was so cold on that ground

with whom your speaking I feel jealous
where are you in the sky;come to us
In my nation lush garden green
you get everything;what I captured in

o dear crazy wayward listen to mine
I never smile at others fairy shine
o honey I cant send you away
we make together our one way

happiness and pleasure will be there
I like your innocent face dear
your heart is like the deepest ocean
your sound rhythmic has special motion

It is not cross the limit of soul
you the soulmate I told you whole
I cant say more about your nature
like dancing peacocks reathers feature

my singing dove is waiting for you
your peaceful shadow -tell;how are you
how I say about my soul
wish to be your guard is my role

In the garden of coconut at evening
moving wind with yellow shining
wants you dear ;be the friend of mine
little stars of heaven its twinkling shine

don't change your friend for my heart
I'm  the one will ever your guard
I know why?your anger high
your tempered eyes give terrible joy

not matter anger it shows your beauty
your nose,lips hair looks  sweetly
you're the one who university queen
give me that your hidden unseen

no not why but you are the one
I like your speech and anger like sun
I wish to hold your hand quickly
heavenly little queen looks sweetly

come to me at list at last
if one break your heart so fast
not matter if this next seven birth
what is this earth;is it the worth?

this my love is paradise of love
messenger of peace my friend is dove
it is the one my immortal song
ever I love you,is fixed,not wrong

o sweet heart,dear listen to me
made for each other couple are we
what I say don't get bother
we have to take seven birth together

you and me were roses in first birth
you the bud I was flower on this earth
scent of love we had given to the world
and yet we loved till get to the old

In second time we became singing doves
day and night we live in love
fey free-in the sky with keeping peace
peaceful messenger really love this

you and me will  became the snake
we ran in the jungle and moved into lake
touching our body embraced each other
breathing closeness sleeped night together

At fourth time you the flame of fire
that was the time your wish so higher
in romance we spend each the time
your breathing air spoke rhythm and rhyme

Fifth birth must deep down in the sea
in that blue world what lovers would we
lush green surface had softy blue shine
nature of you was perfect divine

This is the sixth,you teacher ;student I
teach me poems of love,it need;why?
you teach that all what love you made
In the garden of banana we make our shade

At last we will die, leave this world
and beyond all this remains our love
Last seventh time we the stars in the sky
we'll blessings to the lovers with immortal joy.
like know just time mind life feel world lost say we're things think love there's does people night away way thought got words long reality want better left make end eyes day man human dark experience remember really right death memory going place high good live city thoughts soul meaning great pain home sky believe shall change living oh fall light choice god consciousness existence years cause hard feeling thinking fear times 'cause dreams ask alive heart need past felt days dream sensation truth true use power knowledge wrong stars understand baby tell state thing face wave broken old you'll wave new broken nature you'll **** mental look far ah drug moment best ago air lose sleep dare try leave beautiful blue born lives escape sublime doesn't body dawn friends waiting feels young daze game control perception gone story mean sun head given writing act difference reason poetry philosophy psyche little trying touch deep greatest wonder choose drugs exist we'll moments score hold play set run self forget coming hope word future dead wish burn music emotion rain stop gaze pleasure glass one's what's lies sense wake hit remain real work bad stay open brain art seek space present happy spent acid pill social we've they're half-light used land held gotta help lie path finally listen actually longing rave water cold seeking caught energy reflection information anymore venturous goes came red hide start truly hand evil divine subtle matter kind lonely yes told eternity keeps line black edge ego context dusk horizon gonna spiritual tripping dimension data die white **** seen means care getting saw places sure freedom looking hurt fool wind flow search chance la took broke existential summer content flowing belief praise empyrean empathy discovery chemical aeon couldn't who's turn forth bit question eye judgement pray passion sound personal worth memories sanity accept universe embrace lack knows free makes rise language decide consider temporal society gain wander conscious stuff religious comprehend particle psychedelic metaphysics you've entheon absurdia entactus maybe ready fate realize family meant return perfect learn miss spirit doubt rest loved minds health moving mortal bring expression sleeping cast lines purpose quiet known strange infinite king months madness haze depths ate party patterns oneself psychedelion inside guess crowd later silent clear soft breath hours hate dust forgotten arms drink fast year war longer close searching morning ashes calm beauty darkness different justice fell friend shadows knowing fine youth heavy standing sweet enjoy explain vain simple chasing hidden ends smoke gold heaven follow point person breaking necessary today relief action cool possible bass generation lying listening machine yeah substance hath engine forlorn problem subject intangible study effort quantum definitions dopamine psychedelics we'd sigma cybran apotheon isn't empathion clouds practice gave warm wanted stand poem wait storm met asleep course skies crime surely grow depression write loose fair ecstasy knew dreaming humanity waves share taken simply faith playing sands view fix winter afraid began wise welcome comprehension sought late big zero table says bliss changed repetition everybody blame unto maze understanding mr explore states ignore addiction venture define teenage american humans billion she's wasn't 'til sonder walk smile tonight speak dance skin blood breathe fears illuminate worse peace girl crave easily emotions feelings **** having force ways lets catch meet hair doors worlds hearts destroy heard walking near hurricane wisdom lights second suicide ignorance fresh waking sadness grand happiness appear rising scared save join adventure neon outside alike liberty particles wonderful compounds killed somebody grace merely closer company desert master twisted realm respect trance ridiculous *** exile pondering noble dangerous absurd nation progress culture contradiction perceive irish urban phenomena cyberspace scoreboard psi ain't you'd mydriasis entheogenesis **** ones taste throw watch painting room alas lay history spend apart sea staring poet fact cut smell happened admit river wasted brought leaves making answer sorry glow learned decided grasp breeze bed begin pretty floor lived sole sand cure awake sight tears barely kept running safe roam willing prefer mist heads asked prose wandering sounds imagine looked hour growing recognize soon falls mirror treat ***** brother climb hero problems granted digital proud changes birth quest age spring aware doing witness names amazed ****** despite takes condition intoxication level beginning worked pupils decision object insanity rhythm medium quality weather physical false process strife individual journey doth code effects abandoned channel judge notions moral swear experienced greater chain natural thunderous cleanse determine shivering hallowed plus reckon caused adolescence media superposition addict connection indigo ethics survived definition reasoning internet feedback vibrancy serotonin cyclone hacker sardonic surreality virtuality here's he's sunyata temporality ******'s empathos apotheotelos flash shining green forever anger carry son moon selfish written supposed feed ya quite loop hooked pure feet hole paper flag sick voice burning attention fly utter wicked tremble endless form infinity talking piece shores verse chest rules food placed plan hallelujah called gun fading drinking emotional measure inspiration suffering belong west read sly instead bear erase furious shame conclusion drunk roll ******* depressed calls taught died defined tire everyday answers sacred acknowledge speaks perfection games ground spoke stood motion sway keeping pretend hell movement magic park key spin kick sake jump hanging animal begins orange streetlights fade crazy honest warp puppet chained survive apathy chains claim prey science diamonds begging grip tale hang powerful wonderland heal dealing plant twice painful daylight mastery desires recall school conviction miracle yearn empyreal weekend actual court value chalk hurts humankind rabbit eggs potential offers temporary pupil atlas nostalgia serenity happens yearning ponder hypothesis worthy witnessed ideas azure tools alpha curiosity consume singularity typhoon revelation stimulant liberate application projection criminals communication throes fraternity enables actuality starshine ethos apotheosis sardonicism aren't mind's teleology empatheon entheos hear mydriatic transcendention fight tear ash minutes wanna taking nights forgot tales lest desire lust darkest single shine slow allow destruction money comes anxiety contemplate nostalgic offer continue happen ink brings brave created holding create thunder produce talk sail philosopher creating distant illuminating drive dancing ease wishing higher pass excuse figure essence angel hopes child ahead sigh using door vast loves awaits strong tornado ok sorrow immortal ghosts certain remains stained insane reached lot discovered plain poison streets killing ending tried session vs poor woke stare watching grass slick emptiness falling box painter series children virtues awareness clean rolling reach advice heavens rend half cherish bay started relax focus laughed ashamed fiend melody drop exhale void occurs beneath win chose robes thrall shield ended sons normal sunrise road forged onward burden actions unlike colors curious street observe chosen silence shades returns technology race vengeance swept bag civilization strive reconcile trouble cloud described replaced substances whilst finding euphoria dear chemistry events deal message eternal masses beliefs vision apparent honestly dr seeing idea domain soar books frames rule law pleasures eat dread bare blaze raise compassion kindness wandered objects expressed sin declare mistake smoking drum heavenly honor lands fountain renew happening aspect gotten issues divinity teach matters pills goal follows significant job romantic gazed envelope elements identity group sell foolish lucid dimensions brothers owe education november difficult recognition express properties glitter considering illusion appreciate discover resonance derived transcendental buzz notion risk scares riot rainy teaching drizzle direct experiences elation normality quote evolution versus lamplight method reflective endeavour cloth eats teenagers eventually haul club result relative breed threat subjective concerning solstice interpretations allows rational ultimately basis aligned numbness hypocrite charade morality dope chaser continuum undead exploits aeons research freeman appropriate ion ****** teachings dilation binge beatific intuitive transcendent escapism psychedelia metaphysical beta untitled mescaline otherworldly dreampt contextual experiential symbiosis codex dissociation cybernetic weren't life's let's mirror's well-being any-more entheogenic junkiedom signifiers mescalito zero-summing won't 'pataphysics window million pair logic alright whisper stone walls notice fun picture lips whispering dying wanting hands pull remained pieces poems built push house choices united turns blessed lucky drifted sane demons demon external slowly worst angels town needs needed drifting watched abyss crimson liquid arch planes add souls questions leads flicker thousand swallow note strings player despair offering realms drift caressing enter gentle closed bodies letter beat gorgeous indescribable smiling laughing probably pick grown shade precious shooting background yesterday woman ocean sober lead clothed ghost flows turned conscience alphabet contain spun luck atmosphere vagabond completely surprise rock creed drawn book autumn rays spinning bottle early regrets lake kids sad acceptance stuck melancholy formed slip draw clearly scars collapse del sit satisfied jungle realized bunch favourite laid fit breaks notes plans anyways spoken produced echoes den trees steps ugly cover explained glance stole gazing current raised travel scratch haunts played women apathetic conquest naught goodbye midnight asking passed waste loss fallen rapture absolute positive walked mistakes lately bound patience nurture fog stranger men wants prevent forfeit asks arose easy quick sing allowed prove pitch mad closest deeply tides praying root poets sentence pulse nightmare deem coffee commit golden insert mock innocent whispers offend low tea strength captured attack stories baseline joint innocence neural chemicals plains blanket dripping reflect blink concepts psychosis plucked tidal radiance roar bathed wonders thrown moves suffer unspoken exists glad shroud plunge scorn bane asunder enslaved harvest possibly fail allure drank danger unsaid veil gravity assume sum receive bloom reveal odd whispered likes news fractured wisely gathered seraphim intention wrought plane weeks mere haunting aspects ha distance hungry eternally swaying eden foretold breach advance pains balance design event forgive significance confidence error alter paying unreality cost chronology thoroughly resembles vivid steal poetic illegal understands maelstrom temples amidst perpetual lesson pathos behold reborn produces scale heaviness ascend talked **** forsake valuable andor relinquish dismiss usually kid nervous sort fierce disguise demands abandon encourage avoid minor relentless identify loneliness web alchemy cosmic rhyme coil suffered basking dropped standard spark mates hearth swore steam myth native wonderfully occasionally solace ventures determination galaxy opportunity justify political prophecy steadfast healthy forsaken chapter facebook worried ex struggle shatter gentleman including convinced profit comfortable twine deity responsible adrift sage fortune immortality theft damage examine deliverance ultimate immersion response access test physics magnitude occur member relation acts theme signal shivers mire coin planet anybody vicious nirvana pendent applause glimmering benediction consuming glint refrain renewal myths manifest nocturnal reflections limitations teenager naturally material matrix columbine giveth inseparable singular proving lifestyle coherence humane ideals starlight sincerely prudence underworld infamous perspective presented pretends excitation viewed regard enhanced zen reverence arcadia theory realization typing construct statement subjugated exploration vote hazy reaper **** streetlight artificial trespass definitive device exceed complex finality surreal petrol proposition inspiring totality originally recurring narcotic cometh juxtaposition reckoning represent inability proclamation syntax continuity nevermind avoidance irrelevant veracious arcadian commence rumination aesthetics ubiquitous nonetheless variable exploit experiencing underlying villain cola rictus ketamine corporeal electronic graciously input cannabis manifestation comprised socially proportionate insofar ethical hedonism junkies vicissitudes cognitive determining psychiatrist palindrome lucidity remix reduction dissociative reclamation detract aer enhancement intoxicants qualia world's shouldn't wouldn't other's nothing's man's summer's today's who'd everybody's y'all 'the all's t'was ethereality thought's drug's noumenon skystruck shroom alexithymia transhuman you- -the in-between self-sufficiency -one zed's 15 11 liminality immanence adrenergic symbionts sublimeoblivious medina's buckfast psychonautes determinative serotonergic psychedelos skyglow cyclica 5-ht2a noumena pharmahuasca jeans role proper loud aching grows concrete cruel strains conversation ill paint wet couple calling mouth kiss senses case keeper torn pause middle setting whats pulling bone reminds likely remind wrath karma reading sunlight prone ***** phrase enemy familiar levels careful source adolescent small straight driving courage rush flaw suppose starting deny stayed weary worship trust turbulent troubled letting absence leaving wearing college proclaim spirits gather ear lady hey garden boys winning alcohol pay foolishly banish song cross encounters plays belonging famous shift burst alice tunes hood flickers glimpse gleam fleeting grant ride deja vu anticipation spot switch boyfriend order faded wrapped definitely short fish beach clock older dusted block station anchor longest deserve passing mark awhile lovers muse ache island totally existing comfort pride phone greek apollo bleeding unknown psychic powder remembrance tree train helps painted gambling tide tired acting blow build apologies silver fabric especially suspense band cascade flawless heat hunger nearly numb bread bright minus wide looks differently dive beating veins settle turning couch holds saying impression suspension meaningless plastic rich pointless occupied brief tiger sticks stones mask cake bitter concentrate drown forbidden shell dry walks unless regardless moved type shirt lone burns songs negative momentary staying police swing unseen ability analysis worries determined dreamt sink hopelessly chances abuse palm week existed ignorant blind dice sheep agree joke spy spill odds immeasurable *** pushing wanderlust softly midst presents blade guided ripped round ball lovely rhythms beats cars glaze wash fates evening vein gloss juvenile sides faces graces month circular rung wheel rises permeates father supreme portal liked rip fades october sitting grin showing surrounded explored opened confused wall quietly deftly scene sighs lingering radio altered evaporated suns dreamed vibration important appetite exactly devil inhabiting brains ordinary beckons constant local organic soothing linger meditation moonlight lads height ethereal simplicity kinda cigarette suggest violence blew bombs arise trips predict surface guy movements grey car stepped large bank forward landed lied ancient purely crash direction inspired release warned melodic rhythmic telling mysticism blues riddle blur floating drama neck lover nerve poisonous glare factory wage character suburbia escaped gates suspended followed pierced hall marks ruled influence functioning contained losing stopping effect electronica relate fed temper facts dependent malleable convey bent delve horror wolves won lacking certainly fooled temple oblivious watches extension molecular random subtlety rem price sear covers truths judging stage frost conditions victory millennium realised confront trickster eve daughter defines awoke terror remembere
Composed on 00:53, 21/09/2016 using Hello Poetry's 'Words' algorithm. We don't assume this means something.
Cné Sep 2017
Let me mold my body along your curves; trickle yourself into my entire being

Vulnerable, ****, my heart exposed, palpably we connect across the starry sky; you ... within me

I want your intimacy to linger along the edges of my lips hours after you've gone

I ache to be consumed by your eyes, intense with emotions, long after the dawn

Take me to your intimate chambers where hearts race; the rhythm of our silhouettes melded on satin sheets

Leisurely feel your way; a slow descend along the avenue of my rhythmic swell; forgive me of my quivering wanton needs

Allow me to graze at the gates of your femininity, drinking the honey from your pink walls; to feel your crowning point between my lips

How can I resist those wandering lips that stirs the curtains of my garden alcove; perfectly painted in honey dew, I throb for the touch of your kiss

Drape your thighs upon my shoulders; let the waves of satisfaction cascade up your spine

I beg to be released, dear God, of this intoxicating spell; I submit myself, heart laid bare; oceans of emotions no longer can I hide.

Find your eyes locking with mine; my torso parallels yours, my body pressed to you; equal in ferocity and tenderness

Mesmerize by your burning eyes in our melting flesh, so strong your hold; yet so tender your caress

Utter our names in fiery moans both whispered and screamed in heated breaths on our solitary night

Vile obscenities float out on heated breath, as cool air kiss our molded skin on the evening our time takes flight

Take me to your heart & cast away the flesh; allow our souls to weave in the throes of passion as our bodies mix into one; slow-motion ecstasy

A longing deep inside, the locked chambers of my soul to exotic places beyond our imaginationsyou sneak into my heart to fulfill my every fantasy 

Feed me the lullabies you paint on your canvas; orgiastic symphony we conduct in cascading tides; trembles throughout our bodies when our fluids mix

Let me paint upon your heart a ballet of our duet; the crescendo palette of my tide drown you in the spirit of our lyrics

Your ripe fruit quivers tenderly while our union completes; take my hands and let me be yours

Hold my sated body that tremors from the wake; a union of our souls ensnare a bond secure
~
A Collaboration with Jack Jenkins.
https://hellopoetry.com/jack-jenkins/
O sweet spontaneous
earth how often have
the
doting

            fingers of
prurient philosophers pinched
and
poked

thee
,has the naughty thumb
of science prodded
thy

      beauty       .how
often have religions taken
thee upon their scraggy knees
squeezing and

buffeting thee that thou mightest conceive
gods
        (but
true

to the incomparable
couch of death thy
rhythmic
lover

          thou answerest


them only with

                          spring)
Lotus Oct 2013
Human beings are we all,
Each of us sharing views, that differ and are similar, and
Hang suspended in the air
By pieces of thread called emotions.

We all hold to our minds
Thoughts of hate and sorrow,
Revenge and jealousy.
The mind is the chamber of negative secrets.

We all hold to our hearts
Feelings of love and joy,
Happiness and bliss.
The heart is the bed chamber of positive secrets.

The beating rhythmic heart in the center of our chest
Is the one thing that forever remains pure.
The thudding mass of brain that is our mind
Is what is susceptible to pollution.

If every human being follows their heart
And not what their mind thinks is correct,
No one in this world will be lost.
Nathaniel R Horn Dec 2011
Feel the rhythm
Feel the rhume c’mon y’all
It’s healing time

Let the beat
Touch your soul
Grease up those joints
And get ready to roll

Have that bass
Rock your world
To where the feelings lost
And love endures

Let the music move you
Till your body rocks and head spins
Let its powers touch you
So its healing can begin
Dan Bolens Dec 2014
Starlight wings white as snow,
Illuminating the night sky.
Will you take me?
Can I reach you?

The resonating sound of love,
Sends ripples through the ocean of my heart.
Once an endless abyss,
Now harbors summery waters.

Your words imbued with sunlight,
Drive away the most torturous thoughts.
As the notes of your dulcet voice,
Echo through the airways.

The rhythmic beat of your heart,
Like the ticking of a clock.
I hear it.
I feel it.
I need it.

Oh, bearer of radiant wings;
I continue to climb higher;
Continue to work harder,
Continue to stand taller.

I will fly with you;
I will reach you;
And I will touch you;
As you have touched me.
PoserPersona Jul 2018
Your hair stills heart's rhythmic meter
  For this I wish forever
Strands spun with goddess gossamer;
  softer than touch of mother

Your eyes dazzle with no glitter
  For this I stare o're yonder
Locking jewels with coins of others;
  Leaves throbbing chests emptier

Your form flows as gentle rivers
  For this I grudge past swimmers
Glory bequeathed to the winner;
  drown will the losing suitors

Your voice humbles angel choirs
  For this I listen eager
Songs molding seraphs from satyrs;
  in harmony with nature

Your being stirs wildfire
  For this I bear the pleasure
Ethereal flames dance together;
  fueled by spiritual tethers

You are my love light of summer
  For this I waded winter
Glowing 'bove, spring was made greener;
  blooming nascent desire
Nat Lipstadt Jan 2017
Yom Kippur this year was celebrated on Oct. 12th 2016.
Leonard Cohen passed away on November 7, 2016.


~~~

faint knocking at the door to the Tower of Song

the ministering angels, hearing a rhythmic, lyrical rapping,
sigh, thinking the atonement day,
the holiday/holy days, are supposedly over,
the human balancing act, the rush to judgement period,
all tallies totaled, the busy sale season for souls,
at last completed, each fate inscribed & sealed,
in the book of life^

but, always one,
the itinerant straggler, the last reluctant sinner, a judgment resister,
flaunting an expired coupon, trumpeting demands for a recount,
waving it, claiming it, the bearer, entitled to a mercy discount and
an extra 30 days

"who shall we say is calling?"

the Angels are stunned to hear,
a familiar raspy, growling, almost indescribable,
yet, stammeringly, beautiful voice enchanting,
equally asking and answering,  how both,
with a strident humility, "a man in search of answers"

this voice, instantaneous recognizable,
the asking superfluous,
all beating wings now, all in vast excitement,
this psalmist, long awaited, one of His best,
a chosen one, a courtly singer in the Temple of his people,
blessed with the curse of seeing and believing,
the comprehension of beauty of the human superior interior,
never being quiet or quite satisfied,
in capturing, its multifarious variations,
in every language spoken

this is the man who took ten years
to compose just
one song,
one poem,
one word,
Hallelujah,
whose faith was strong,
but still needed proofs,
whose every breath of oxygen inhalation,
brought more questions,
every exhalation, only releasing partial answers,
and yet, still, yes, yes! finding hidden verses inside

a simple, everlasting
hallelujah

the hubbub subsides, the man sings~speaks:
how came I here,
was I one, who by fire?
that fire afeared,  that my finality was spirit consumer?

one voice, answers,
in one voice, the swaying back-up singers answer,
not by fire, not by water, not by stoning or
even drowning
in tea that came from all the way from China

when sing we Angels, the Judgement Day poem,
we alone, on high and above,
we, keepers of the books and records of everyone,
are permitted this to query:

Who by Sufficiency?

you, the sidekick of the creator,
special commissioned by him, anointed to live a life of research,
record in word and song the mysteries of musical gene strings,
that intertwine the skin cells of man and woman,
man and his fellow us-human,
your soul commandeered, ordered, delve deeper,
into the consolable chasm tween divine and mortals,
all those who are poorly constructed
in his image

he, who has earned his place, his best rest,
his works adjudged sufficient,
he, who best answered
this judging,
this calling out,
calling in
incantation,

Who by Sufficiency?

now forward on, write only of answers,
wade in the troubled waters no more,
no more passports, or borders to cross,
no more measuring the days,
the last road trip finale
finished & feted,
fate meted

no more changing thy name, changeling priest,^^
sing songs of solution, salvation,
for the questioning hours of confusion,
the urgency of revolution,
no longer need a hallelujah resolution


                                                    ­| | |
Who By Fire                             Who By Fire, Who By Water:^
(lyrics by Leonard Cohen)     (A Yom Kippur Hebrew Prayer)

who by fire                             How many shall die and      

who by water,                                how many shall born,
Who in the sunshine,                 Who shall live      
who in the night time,                   who shall die,                      
Who by high                                Who at the measure of days,
who by common trial,                    and who before,
Who in your merry                            
                                                          Who by fire
month of May,                                 and who by water
Who by very                                 Who by sword,
slow decay,                                       and who by wild beasts,
And who shall I                      Who by hunger,
say is calling?                              and who by thirst,

And who in her,                           Who by earthquake
lonely slip,                                         and who by plague
who by barbiturate,                      Who by strangling,
Who in these                                    and who by stoning
realms of love,                               Who shall have rest,

who by,                                             and who shall go wandering,
something blunt,                            Who will be tranquil,
And who by avalanche,                  and who shall be harassed,
who by powder,                            Who shall be at ease,
Who for his greed,                           and who shall be afflicted,
who for his hunger,                      Who shall become rich,
And who shall I,                             and who shall become poor,
say is calling?                                Who will be raised high,
                                                         ­     and who will be brought low
And who by brave assent,                  
who by accident,
Who in solitude,
who in this mirror,
Who by,
his lady's command,
who by his own hand,
Who in mortal chains,
who in power,
And who shall I,
say is calling?




^From the liturgy of Rosh Hasanah, the Jewish New Year and Yom Kippur, the  Day of Atonement, there is this truly stunning prayer (https://en.m.wikipedia.org/wiki/Unetanneh_Tokef) in the Jewish liturgy. The Book of Life contents the fate of every sinner. From the first day of the new year, until ten days later, on Yom Kippur, depending on whether the sinner repents or not, his fate is sealed.
Yom Kippur this year was celebrated on Oct. 12th 2016.

Leonard Cohen passed away on November 7, 2016.

^^"A Kohens ancestors were priests in the Temple of Jerusalem. A single such priest was known as a Kohen, and the hereditary caste descending from these priests is collectively known as the Kohanim.[2] As multiple languages were acquired through the Jewish diaspora, the surname acquired many variations." Today, with no temple, the limited role of the Kohanim is to bless the Jewish people on the high holy days with a  special prayer with abeloved tune,  instantly evocative (see wikipedia.org/wiki/Priestly_Blessing) The Kohanim are still revered, honored, and always called up first to the Sabbath reading of the weekly portion of the Old Testament

A thank you to Bex for proofing and encouragement.
Part I of a trilogy
For a  more detailed analysis of the roots of the song, "Who By Fire," and its origins, see:
_____________________________________________
http://www.leonardcohen-prologues.com/who_by_fire.htm

He worked on the song Hallelujah, arguably his most famous composition, for ten years.
Tanya Louise Jul 2018
thoughts in endless swirling
like a storm
and un-rhythmic beats of my chest
distract me
i should be listening
but my head is lost
far, far gone
deep, deep it's sunk
maybe its your stupid smile
or your uneven words
i should be listening
but the sparks are distracting
oh,
they'll surely be a second date
Tomato:
Big, juicy, red
INSANE!
Sneaks up upon unsuspecting
Unreliable
MATH TUTORS!
A terrible fight ensues!
Tomato or tutor?
Tutor or tomato?
Tomato knows no math.
Tutor has no seeds.
A standoff.
Tutor and tomato growl menacingly,
Circling one another
Like two pieces of meat
On a microwave turntable.
Suddenly, their rhythmic dance of Hate
Is broken
By the rhythmic sound of incoming
Imminent
Inescapable
Doom.
Tutor and tomato are trampled
Like a TV dinner
On the freeway.
Shane Leigh Jan 2018
This is not poetry,
and this is not heartstrings
playing sad lullabies
in the deep spaces of your mind.

This is not poetic;
this is not reading
stanza after stanza
wanting to know what's at the end.

This is not rhythmic,
nor sensual, nor smooth,
nor is it flowing like words should
from the tongues of those
that know which words to use.

This is simple.
These are words
that make sense
without peaking around corners
or hiding behind luscious similes
or over-used metaphors
and out of touch symbolism.

If this is not poetry,
then
I refuse to dub myself
a poet
and will continue on,
but write prose instead.
© Shane Leigh
Enjoy (:
Lyz Yearicks Dec 2013
Tick... Tick... Tick... Tick...
With the clock hanging on the wall,
Here I am to hear the noises,
To close my eyes and remember them all,
The echo of no sound through the room,
The absence of footsteps down the hall,
The only sound a lonely clock,
Hanging, fading on the wall,
Tick... Tick... Tick... Tick...
Harlow Jan 2013
plat, plat, plat*
went the blood as it spat on the floor.
He entered the tub a few hours before.
She slipped in, with him, to rest her bleary eyes.
With a razor, she chose to never arise, and
him, with pills, a bit counter-clockwise.
Entwined, they were found in an eternal embrace,
though the events prior could never be traced.
欣快 Apr 2017
We're in the sun and I'm moving from your mouth
to your jeans, we're watching the stars and we're moving
We're going down the green boulevard and we're cruising
you speak Romanian, I speak you, we're going to far
and moving to the beat as one and the wind blows the hair
in my face and I got news for you, I can see you just clearly
as I could before, carefully, barely hanging on and catching movies

I can't keep away from your kiss, back and forth want to feel
the rest of you and all of you can't wait to catch you all alone
we're in the sun and I'm moving from your mouth
to the hole in your heart, tell me how you feel and who you are
you speak barely, your rhythmic breaths tell me all I need to know
waste the day and spend all the time in your pockets, all alone
floating around your head and hanging midair in your palms like
a red balloon
Katrina Maria Jun 2011
Eyes sliver open languidly, feel out the corners
Stretched, palms pressed against white walls
Pull the covers high above my head
Building courage to greet the day

Lungs fill with a familiar scent
Smile, reach and caress a glowing cheek
Next to me, he turns, all elbows and sighs
Find him  in a second with tingling toes and fingertips

Untangle the limbs and sheets
Firm and nut-brown, coarse in the right places
Soft in the best places, he's flawless
Dare to disturb the rhythmic breathing


Wake up, I whisper
Coffee, he groans
Cné Sep 2018

Each body part
sizzled in pure pleasure
in the blissed wake
of your oral efforts
brought forth the waves
of rapturous delight...

                                       Spurs poetic inspiration
                                        in equal liberation
                                        of desires to please.
                                        Bodies transpose
                                        in fluid motion
                                        as brazen eyes meet.

        Savor the voluptuous image before you.
        Indulge your eyes in my carnal halo
        before they roll to the back of your head.

On all fours
knees between your thighs
tips of swollen breast
caress your chest
tasting fresh honey
upon lips in a kiss.

                                        Ripples of ardor
                                         hover
                                         by wet trails
                                         of sensual kisses
                                         suckling towards
                                         the apex.

Breathe in
the slow motion pace
that pulsates eagerness
to the fore tumescing bulge
leaking with anticipation
of viscous lava.

        Tickles of silken hair
        against flesh edges closer.

Emerging subtle grumbles
in deep resonance
betray your impatience .
Hands tightly twine
in tangled hair
to maneuver
the treasure hunt.

                                         Licked lips pause
                                         at the sight of fire
                                         burning in
                                         glazed gazes
                                         before engulfing
                                         the throbbing member.

Plump ruby lips
greet velvety texture
in a slow deep dive.
Tongue curls around
the flavor
in a dulcet embrace.

                                         Moans release
                                         as grip tightens
                                         in my hair
                                         settles the
                                         rhythmic pace
                                         to taste in an
                                         oscillating dance.

        The masculine aroma of heady musk
        lingering there, arouses my appetite.

With my enthusiasm
attuned to
your preferred rhythm
suckling, slurping
surface and dive
in measured unison.

                                          Break of breath
                                          allows tongue
                                          freedom to roam below,
                                          licking, soft kissing
                                          the tender hammock
                                          of testicles.

        Tongue and lips escalate higher
        to mount another assaulting dive
        deeper in the depths
        of the cusp in cavity.

Wetted fingers
probe even lower
circling superficially
as gasp escapes
your heavy breath;
flaming eyes lock.

                                          Finger dips in
                                          with expert finesse
                                          gorging hardened growth
                                          within a wrapped hand.

Thighs tighten
with rocking grip.
Head thrusts onward,
drilling forward
in each dive.

        Salvia slips
        fingers grip
        lips dip

Engorged swell, flesh tightens in an intensity
of volcanic eruption ...

        HALTS
        assault

Pace retracts.
Loosened lips kiss tip.

“Soon sweetheart, your time will ***
inside me as we surrender to synergy."

Inspired by Multi Sumus' love...................................lust (act I) with my reciprocation in collaboration.

https://hellopoetry.com/poem/2678968/lovelust-act-i/
s Oct 2017
I think it's been four hundred days
since that innocuous defining phase,
But that's if we were keeping count,
and if numbers meant a thing at all.

For isn't time just ornamental,
perhaps even incidental,
when the commodity is sentimental,
or like love, a hypothetical
fundamental ?

Same page?, I ask,
tying to gauge flipping thoughts;
As if I knew where
my book was marked.
But pages, I can dog-ear,
to hold onto a moment
that would otherwise disappear;

An excerpt that I can savour
many moons later,
when love turns to favour
and leaves
a bittersweet flavour.

It's today
I'm looking for,
among shuffling tenses
but the focal lenses
are blurring
And my words
are slurring
for I'm too close
to your near perfect nose,
to find a reason
for why we chose
this.

I'm afraid this poem has turned
into a rhythm & blue,
or maybe it's an untimely cue
to write that song about you and me -
One that's been due
for a month or three.

A nonsense rune
with an infectious tune;
in the four chord beat,
where the lyrics
unfailingly repeat.

A rhythmic monotony
of a romantic comedy -
a stanza about you,
and a chorus about me -
a few things kept true,
and some made up for story.

Something about
wine pink shirts
and warm maroon shawls,
with just a few words
about unsaved phone calls.
A yellow lamp here,
an airport kiss there.
a night spent in fear,
of doubting you'll be there.
A white wall washed
in cinematic glory;
Two kittens tossed in
to make trouble & ***.
And then a pre chorus
about card tricks and foreplay
and the time in the bus,
we talked about a good day.
A few bits borrowed
from the last rhyme I wrote
and that could be followed
by one even before;
For what could I say
that I haven't already proclaimed
in ten odd poems,
gushing with love, unashamed
Melody W Nov 2012
Why is the speckled lark oblivious to the fading warmth
of a dying sun that taints the world with feeble light
illuminating the motionless face of a stone mountain dwelling?
Does it cease the rhythmic flutter of wings all aglow
fashioned like countless generations before and those yet to come?

When shadows fall and gradually disappear
into obscure crevices of clearings in woods never tread upon
it would seem that darkness exposes
reflects the barren souls living, existing,
and yet almost incapable of being.

So much of everything is composed of nothing
mere empty space yearning to pull off the illusion of reality-
until a desire to delve deeper
to push through quanta of energy
and minuscule atoms screaming with silent fury
ignite meaning

in psychologists and philosophers
      eager to present another iota of wisdom obtained
in a shivering orphan living day to day
      with an unparalleled yearning for better tomorrows
in a lark not oblivious to the fading warmth of a dying sun
      but striving with all the forces inside impelling it
to live in anticipation of a phoenix orb of light
to exist amidst this terrible chaotic world
gradually growing resplendent
cyclical as a flame
©MW
Nigel Morgan Aug 2013
Today we shall have the naming of parts. How the opening of that poem by Henry Reed caught his present thoughts; that banal naming of parts of a soldier’s rifle set against the delicate colours and textures of the gardens outside the lecture room. *Japonica glistening like coral  . . . branches holding their silent eloquent gestures . . . bees fumbling the flowers. It was the wrong season for this so affecting poem – the spring was not being eased as here, in quite a different garden, summer was easing itself out towards autumn, but it caught him, as a poem sometimes would.

He had taken a detour through the gardens to the studio where in half an hour his students would gather. He intended to name the very parts of rhythm and help them become aware of their personal knowledge and relationship with this most fundamental of musical elements, the most connected with the body.

He had arranged to have a percussionist in on the class, a player he admired (he had to admit) for the way this musician had dealt with a once-witnessed on-stage accident that he’d brought it into his poem sequence Lemon on Pewter. They had been in Cambridge to celebrate her birthday and just off the train had hurried their way through the bicycled streets to the college where he had once taught, and to a lunchtime concert in a theatre where he had so often performed himself.

Smash! the percussionist wipes his hands and grabs another bottle before the music escapes checking his fingers for cuts and kicking the broken glass from his feet It was a brilliant though unplanned moment we all agreed and will remember this concert always for that particular accidental smile-inducing sharp intake of breath moment when with a Fanta bottle in each hand there was a joyful hit and scrape guiro-like on the serrated edges a no-holes barred full-on sounding out of glass on glass and you just loved it when he drank the juice and fluting blew across the bottle’s mouth

And having thought himself back to those twenty-four hours in Cambridge the delights of the morning garden aflame with colour and texture were as nothing beside his vivid memory of that so precious time with her. The images and the very physical moments of that interval away and together flooded over him, and he had to stop to close his eyes because the images and moments were so very real and he was trembling . . . what was it about their love that kept doing this to him? Just this morning he had sat on the edge of his bed, and in the still darkness his imagination seemed to bring her to him, the warmth and scent of her as she slept face down into a pillow, the touch of her hair in his face as he would bend over her to kiss her ear and move his hand across the contours of her body, but without touching, a kind of air-lovers movement, a kiss of no-touch. But today, he reminded himself, we have the naming of parts . . .

He was going to tackle not just rhythm but the role of percussion. There was a week’s work here. He had just one day. And the students had one day to create a short ‘poem for percussion’ to be performed and recorded at the end of the afternoon class. In his own music he considered the element of percussion as an ever-present challenge. He had only met it by adopting a very particular strategy. He regarded its presence in a score as a kind of continuo element and thus giving the player some freedom in the choice of instruments and execution. He wanted percussion to be ‘a part’ of equal stature with the rest of the musical texture and not a series of disparate accents, emphases and colours. In other words rhythm itself was his first consideration, and all the rest followed. He thought with amusement of his son playing Vaughan-Williams The Lark Ascending and the single stroke of a triangle that constituted his percussion part. For him, so few composers could ‘do it’ with percussion. He had assembled for today a booklet of extracts of those who could: Stravinsky’s Soldier’s Tale (inevitably), Berio’s Cummings songs, George Perle’s Sextet, Living Toys by Tom Ades, his own Flights for violin and percussionist. He felt diffident about the latter, but he had the video of those gliders and he’d play the second movement What is the Colour of the Wind?

In the studio the percussionist and a group of student helpers were assembling the ‘kits’ they’d agreed on. The loose-limbed movements of such players always fascinated him. It was as though whatever they might be doing they were still playing – driving a car? He suddenly thought he might not take a lift from a percussionist.

On the grand piano there was, thankfully, a large pile of the special manuscript paper he favoured when writing for percussion, an A3 sheet with wider stave lines. Standing at the piano he pulled a sheet from the pile and he got out his pen. He wrote on the shiny black lid with a fluency that surprised him: a toccata-like passage based on the binary rhythms he intended to introduce to his class. He’d thought about making this piece whilst lying in bed the previous night, before sleep had taken him into a series of comforting dreams. He knew he must be careful to avoid any awkward crossings of sticks.

The music was devoid of any accents or dynamics, indeed any performance instructions. It was solely rhythm. He then composed a passage that had no rhythm, only performance instructions, dynamics, articulations such as tremolo and trills and a play of accents, but no rhythmic symbols. He then went to the photocopier in the corridor and made a batch of copies of both scores. As the machine whirred away he thought he might call her before his class began, just to hear her soft voice say ‘hello’ in that dear way she so often said it, the way that seem to melt him, and had been his undoing . . .

When his class had assembled (and the percussionist and his students had disappeared pro tem) he began immediately, and without any formal introduction, to write the first four 4-bit binary rhythms on the chalkboard, and asked them to complete it. This mystified a few but most got the idea (and by now there was a generous sharing between members of the class), so soon each student had the sixteen rhythms in front of them.

‘Label these rhythms with symbols a to p’, he said, ‘and then write out the letters of your full name. If there’s a letter there that goes beyond p create another list from q to z. You can now generate a rhythmic sequence using what mathematicians call a function-machine. Nigel would be:

x x = x     x = = =      = x x =      = x x x      x = x x

Write your rhythm out and then score it for 4 drums – two congas, two bongos.’

His notion was always to keep his class relentlessly occupied. If a student finished a task ahead of others he or she would find further instructions had appeared on the flip chart board.  Audition –in your head - these rhythms at high speed, at a really quick tempo. Now slow them right down. Experiment with shifting tempos, download a metronome app on your smart phone, score the rhythms for three clapping performers, and so on.

And soon it was performance time and the difficulties and awkwardness of the following day were forgotten as nearly everyone made it out front to perform their binary rhythmic pieces, and perform them with much laughter, but with flair and élan also. The room rang with the clapping of hands.

The percussionist appeared and after a brief introduction – in which the Fanta bottle incident was mentioned - composer and performer played together *****’s Clapping Music before a welcome break was taken.
Daisy Chain Oct 2012
It all became a void
as i fell backwards
endlessly
among the rocks that chimed
I told myself
"ive been here before"
and allowed myself to fall

It seemed to go on endlessly
tumbling, not breathing.
I was sure this was it
the end of something
but
just before the surrender
the moment of death
I faltered
I was afraid

The layer upon layer
that seemed to then become
a dream I could not wake from
kept running, fleeing.
Looking for the door
that has all the light
or dark

Even now, someone smirks
"you are still dreaming"
I laugh and agree
how would i know the difference?
Tim Eichhorn Aug 2014
With regards to Thomas Sayers Ellis*

Look at the
    Lucent lava lamps,
Dark craters
    Hiring hands.
We walked,
    Mimicking magma.
Hot, why is
    This heat?
Forget Vulcan
    And his illusion
Of kaleidoscopes,
    A rip tide
On the shore
    Of our conscious minds.
We held fire,
    Pretending to swim
Underground,
    But only out
Of pure respect.
    Some had boots
Made with
    The clippings
Of funky tripwire,
    Others wore suits
With goggles
    Clamped to their faces,
Gripping like
    Bay Area earthquakes.
One-by-one,
    Jang-strangs were
Attached to us and
    Hurled into the Pit
With rhythmic rituals,
    Waves of S and P
Flailed away
    Like flags.
One nation
    Under a new.
No one looked away
    From the fiery daze.
No one wept.
Nik Bland Oct 2013
Paint the veil so the pale might wear off
Let this rhyme be the lozenge to your cough
Scoff and listen as words glisten shiny and new
Heavenly time in a rhyme can clear the blues
Make them red in your head and fuel the fire
Stand with your heart in your hand, push the desire
Mouths for hire and the perspiration comes down
As the words become verbs to pick you off the ground
Lost and found as that old becomes bigger better
The rhyme's cold like winter day, so wear a sweater
i walked the boulevard

i saw a ***** child
skating on noisy wheels of joy

pathetic dress fluttering


behind her a mothermonster
with red grumbling face

cluttered in pursuit

pleasantly elephantine


while nearby the father

a thick cheerful man

with majestic bulbous lips
and forlorn piggish hands


joked to a girlish *****

with busy rhythmic mouth
and sily purple eyelids

of how she was with child
sophie mechaune Oct 2018
rhythm is
comfort
and predictability
stitching my days together
through the notion
of repeating the motions
an illusion of stability,
but no matter the way I
structured my day
no matter the perfection
I strived to attain
no matter how many
unkempt strings I cut away
I think deep down I knew
that life
should be a little frayed

as counterintuitive as it seems
the unexpected becomes
the rhythm of dreams
ripping through the routine
changing the patterns
of what I planned to be
into new designs entirely

so I embrace this chaotic beauty
with its endearing knots and
erratic threading, ready for
living imperfectly
balanced in the uncertainty
is rhythm
Dan Filcek Apr 2017
In the search for greater freedom of movement.
new ideas began to emerge,
rebellion against classical forms and practices
in what is now called aesthetic
disregarded the limited set of movements that were considered proper
Artistic content morphed and shifted
for young people longed to dance.
Music and rhythmic ****** movement are twin sisters of art,
portrayed in movements what the master expresses in his compositions
bare feet, loose hair, free-flowing
a form of natural movement and improvisation
Presenting dramatic contemporary imagery,  
often revealing the full spectrum of human experience
reflecting the tension and alienation of the time
the truth of human movement.
introduce chance procedures and pure movement to the cannon of dance
focused on the physical tasks of overcoming obstacles
investigate the properties of physical space and movement.
having a heightened sense of awareness of being grounded to the floor
at the same time, feeling the energy throughout the entire body,
flexibility, strength, coordination, body awareness ,
and poly-rhythmic movement; strong dramatic works
free from the limiting strictures of the big monopolistic managements
National Poetry Month 2017 - source - https://en.wikipedia.org/wiki/Modern_dance
Nigel Morgan Sep 2013
He had been away. Just a few days, but long enough to feel coming home was necessary. He carried with him so many thoughts and plans, and the inevitable list had already formed itself. But the list was for Monday morning. He would enjoy now what he could of Sunday.

Everything can feel so different on a Sunday. Travel by train had been a relaxed affair for once, a hundred miles cross-country from the open skies of the Fens to the conurbations of South Yorkshire. Today, there was no urgency or deliberation. Passengers were families, groups of friends, sensible singles going home after the weekend away. No suits. He seemed the only one not fixated by a smart phone, tablet or computer. So he got to see the autumn skies, the mountain ranges of clouds, the vast fields, the still-harvesting. But his thoughts were full to the brim of traveling the previous November when together they had made a similar journey (though in reverse) under similar skies. They had escaped for two days one night into a time of being wholly together, inseparably together, joined in that joy of companionship that elated him to recall it. He was overcome with weakness in his body and a jolt of passion combined: to think of her quiet beauty, the tilt of her head, the brush of her hair against his cheek. He longed for her now to be in the seat opposite and to stroke the back of her calf with his foot, hold her small hand across the table, gaze and gaze again at her profile as she, always alert to every flicker of change, took in the passing landscape.

But these thoughts gradually subsided and he found himself recalling a poem he had commissioned. It was a text for a verse anthem, that so very English form beloved by cathedral and collegiate choral directors of the 16th C (and just that weekend he had been in such a building where this music had its home). He had been reading The Five Proofs for the Existence of God from the Summa Theologica by Thomas Aquinas, knowing this scholar to have been a cornerstone of the work of Umberto Eco, an author he admired. He had also set a poem that mentioned these Five Proofs, and had set this poem without knowing exactly what they were. He recalled its ending:

They sit by a lake where dead leaves
Float and apples lie on a table. She
ignores him and his folder of papers

but I found later the picture was called
‘In Love’, which coloured love sepia.
Later still, by the time I sat with you,

Watched your arm on the back of a chair
And your hand at rest while you told me
Of Aquinas and his proofs for the existence

Of God I realised love was not always
Sepia, that these hands held invisible
Keys, were pale because the mind was aflame.

He remembered then the challenge of reading Aquinas, this Dominican friar of the 13C. It had stretched him, and he thought of asking his wordsmith of thirty years, the mother of his daughters, to bring these arguments together in a poetic form for him to set to music. She had delivered such a poem and it took him some while to grasp it wholly. He wondered for a moment if he actually had grasped it. But there was this connection with the landscape he was passing through. She had mentioned this, and now he saw it for his own eyes. She had been to Ely for the day, to walk the length of the great Cathedral, to stare at and be amongst the visible past, the past of Aquinas. He remembered the first verse as only a composer can who has laboured over the scheme of words and rhythms:

The Argument from Motion

Everything in the world changes.
A meadow of skewbald horses grazes
Beneath a pair of flying swans
And the universe is different again.

And no sooner is potency reduced to act,
By a whisker’s twitch or a word,
A word, that potent gobbet of air
Than smiles and tears change places.

And everything has changed. Back
Go the tracks beyond seen convergence
To a great self-sufficient terminus
Which terminus we might call God.

And so it was in such a spirit of reflection that his journey passed. He had joined the Edinburgh express at Peterborough to travel north, and the landscape had subsided into a different caste, still rural, but different, the fields smaller, the horizon closer.

Alighting from the train in his home city on a Sunday afternoon the station and surrounding streets were quiet and the few people about were not walking purposefully, they strolled. He climbed the flights of stairs to his third floor studio, unlocked the door and immediately walked across the room to open the window. Seagulls were swooping and diving below him, feeding off the detritus of the previous night’s partying in the clubs and pubs that occupied the city centre, its main shopping area removed to a mall off kilter with the historic city and its public buildings. What shops there were stood empty, boarded up, permanently lease for sale.

Sitting at his desk he surveyed the paper trail of his work in progress. Once so organised, every sketch and plan properly labelled and paginated, he had regressed it seemed to filling pages of his favoured graph paper in a random fashion. Some idea for the probably distant future would find its way into the midst of present work, only (sometimes) a different ink showing this to be the case. Notes from a radio talk jostled with rhythmic abstracts. He realised this was perhaps indicative of his mental state, a state of transience, of uncertainty, a temporariness even.

He was probably too tired to work effectively now, just off the train, but the sense and the relative peacefulness that was Sunday was so seductive. He didn’t want to lose the potential this time afforded. This was why for so many years Sunday had often been such a productive day. If he went to meeting, if he cooked the tea, if he ironed the children’s school clothes for the week, there was this still space in the day. It represented a kind of ideal state in which to think and compose. Now these obligations were more flexible and different, Sunday had even more ‘still’ space, and it continued to cast its spell over him.

He put his latest sketches into a sequential form, editing on the computer then printing them out, listening acutely, wholly absorbed. Only a text message from his beloved (picking blackberries) brought him back to the time and day. There was a photo: a cluster of this dark, late summer fruit, ripe for picking framed against a tree and a white sky. Barely a week ago they had picked blackberries together with friends, children and dogs and he had watched her purposely pick this fruit without the awkwardness that so often accompanied bending over brambles. He wondered at her, constantly. How was this so? He imagined her now in her parents’ garden, a garden glowing in the late afternoon light, as she too would glow in that late-afternoon light . . . he bought himself back to the problem in hand. How to make the next move? There was a join to deal with. He was working with the seven metrics of traditional poetry as the basis for a rhythmic scheme. He was being tempted towards committing an idea to paper. He kept reminding himself of the music’s lie of the land, the effectiveness of it so far. It was still early days he thought to commit to something that would mark the piece out, produce a different quality, would declare the movement he was working on to be a certain shape.

And suddenly he was back on the train, looking at the passing landscape and the next verse of that Aquinas poem insisted itself upon him with its apt description and tantalising argument:

The Argument from Efficient Causality

We are crossing managed washlands.
Pochards so carefully coloured swim
Where cows ruminated last summer
In a landscape fruit of human agency.

And I think of the heavenly aboriginal
Agent of all our doings in this material
Playground of earth I can pick up,
Hold and crumble and cultivate

And air that is mine for the breathing
And the inhabited waters that cling
As if by magic to a sphere. What cause
Sustains the effects we live among?

For there is no smoke without fire
And as we sow, thus we reap. Nihil
Ex nihil, therefore something Is,
Some being we might call God.

So ‘nothing out of nothing, therefore something is’.  Outside in the city the Cathedral bells were ringing in Evensong. The sounds only audible on a Sunday when the traffic abated a little and the sounds in the street below were sporadic. He thought of going out into the Cathedral precinct and listening to the bells roll and rhythm their sequences, those Plain-Bob-Majors and Grand-Sire-Triples. But he knew that would further break the spell, the train of thought that lay about him.

He sketched the next section, confidently, and when he had finished felt he could do know more. There it was: a starting point for tomorrow. He could now go towards home, walk for a while in the park and enjoy the movements of the wind-tossed trees, the late roses, the geese on the lake. He would think about his various children in their various lives. He would think about the woman he loved, and would one day assuage what he knew was a loneliness he could not quench with any music, and though he tried daily with words, would not be assuaged.
The poetic quotations are from poems by Margaret Morgan. A collection titled Words for Music by Margaret and Nigel Morgan is now available as an e-book from Amazon http://www.amazon.com/dp/B00DY8RAGC
"You're cold."

  He said as he took her hands and he couldn't be more right and wrong at the same time. Her gaze simply fell to her feet as she let the silence envelop her. She felt cold, her soul quivering somewhere in the corner of her heart, obscuring its rhythmic beat and creating a swell of off tempo chaos in her veins. Her memory of his whispers were akin to the sudden rush of wind that hit her skin, wet with the storm of tears and caused chills to cascade their way across her body.
  
  But he was wrong, it wasn't she who was cold, it was him who was stealing everything that made her warm. Coaxing her with his silver tongue, murmuring the words he knows she wants to hear, testing his skill and bringing her to the edge of the flimsy fortress she calls defense, to where she's just barely out of his reach, a paper thin wall separating his will from hers, and he nearly giggles in delight when he causes her to tear it down herself, like a spider tearing down its own web.
  
  But of course that isn't enough, not when she's standing there, all walls down, vulnerable and tender, her heart so soft he could cut right through it with just his fingernails, and Hell be ****** itself if he wasn't the slightest bit temped to try because he knows how easily he can, like shoving a pin through a butterfly, simple and smooth, and it'd be so interesting to see her squirm. But instead he's interested in how far he can cause her to do it to herself.  
  
  All he has to do is let a few of his venomous words drip from his teeth, promising he isn't like everyone else (because he isn't of course, no one else would be this thrilled to watch her crumble so slowly ), that he understands, understands that she's so incredibly weak, and that her heart is so big it oozes to the surface of her skin for everyone to see, and it's so **** easy that she must be begging for it, and suddenly he's caught her and he loves it.
  
  She's hanging on every word as if he's holding happiness over her head, but this is boring him, he wants to see what makes her tick, how she is the way she is, so it's time to step up his game. He moves his hand from hers and slides it up her arm, resting ever so gently on her shoulder as his other hand moves to her waist, and as if to further prove his point about how she basically wears her heart as her skin it turns a rosy shade of pink, and sends its pulse so strongly he can feel it. He lets his breath ghost across her susceptible ears and pulls her against him as he gives his orders.

"Strip."
  
And she does.

First go the clothes, but her skin isn't what he's interested in, and he makes it very clear with the expecting look he gives her, so she goes again,tearing skin from muscle one piece as a time. He knows it must be painful, from the tears pouring from her eyes and how the exposed muscle throbs with its raw appearance, and yet the look of concentration on her face just pulls him in more, and yet it still just isn't enough, and finally that red disgusting throbbing ****** mess is pulled away to expose her shining ivory bones. He can't help but marvel in how gracefully they curve, the very core of her frame standing before him, she's completely bare with nothing left to expose, and that gorgeous  pearly figure before him is only more defined by the red  heart that's left behind those ribs, as it pulses and drips and beckons him with each flutter.
  
  It glistens like a slimy rotting apple, and it couldn't be anything more since it belongs to her. But you know what they say, fruit is always the sweetest just before it goes bad, and it's too tempting for him to not take a bite. And he couldn't help but marvel at how warm it was, or the sudden chills dancing down his spine.
TinaMarie Mar 2012
Sunny afternoon

75 degrees

Breeze
     Flowing
          Blowing softly through the slightly cracked window

Trees
     Swaying
          Laying rhythmic undertones to lyrical chirping

Me
     Smiling
Snuggled so tightly
     Pressed against your skin
Entangled limbs
     Indistinguishable as to where you end and I begin

Our
     Hearts and Breaths
Synced
     Collaborating
Producing a soothing lullaby as we drift off to...
      Sleep

I miss afternoon naps

     With you

In

     The afterglow

                                   after...



© Tina Thompson
Colt Jul 2013
for Those who eat ramen by choice, or not.*

I saw the best minds of my generation destroyed by disillusionment,
lacking egotistical sold, dragging themselves through the hip streets at dawn
looking for a socially self-aggrandizing fix.
Poets, as they sit in desks and discuss discourse
about discourse about discourse about discourse,
who fear that thinking itself was buried with Vonnegut,
who are lost in forests of brick walls,
inviting, because they block the wind of dying fall,
who swim in cesspools filled with academic sewage, yearning for freedom,
for truth, as they always have,
mining their minds for images, and searching for words to describe
-a reality which is virtual at its core and each act, another chore./
-a scene of life which reflects all that is poignant and sacred.
Poets seek musicians while musicians seek poets.
and the dog chases its tail, endlessly
and the dog chases its tail, endlessly
and the dog chases its tail, endlessly

These poets who search aimlessly for the feeling of feeling,
who are overwhelmed with meaning to the point where meaning
has no meaning in itself.
Who claim this poem as their own and continuously write themselves into it.
It is those who suffer in truth that live the poetic.
Those who sit in front of space heaters eating peanut butter sandwiches in winter,
who sweat unknowingly in summer, comforted in each’s odor.
Those who open Macbooks while squatting in empty flats.
Signing up, logging in and zoning out, forever disengaged.
Those who type prophecy on keypads and let keyboards gather dust-
stratification, signs of long nights spent in century-old homes still not renovated,
ceilings sinking at the sides while those above pogo to punk rock long dead,
or grind genitals to old soul, simulating all that is sensual.
Those who play archaeologist to their own layers of makeup, grimed on the sink.
Those who share their food with the roaches and the mooches who all have keys,
who use the books as shelves to hold ceramic mugs, stained with a single drip-drop,
who, with arms crossed, watch bands in basements play noise.
Those who replaced their nu-metal records with folk but kept the unkempt beards.
Those who drink stale beer on stranger’s rooftops.
Those who live with bags under eyes, themselves asleep, lacking a body,
sleeping naked together to stay warm,
sleeping naked together to stay sane,
sleeping naked together to stay touched.

Those who leave coffee in unplugged automatic pots, decaying rapidly.
Those who eat pizza for breakfast, cold or microwaved, as an act of ultimate indulgence.
Those who prance about in un-matching socks
from hardwood floors to vinyl floors to tile floors, all under the same popcorn ceiling,
dancing to the sound of rhythmic silence.
Those who fight with lovers about acts, but never once mention the act of love itself.
Those who don flannel plaid in springtime color, constructing Williamsburg,
who consider gentrification a new form of landed gentry,
who live in poverty as if it were a novelty,
capitalist martyrs sacrificing employment to hide being non-hirable,
who shop in online surplus department stores for unique vintage.
Those who, who, who hoot like the owls framed on their walls, eyes wide but beaks small.
Those who are oppressed by nonexistent kings ruling in imaginary suits.
Those who crave something new, not tired-as the form of this very poem-
something which is not-yet auto-tuned.
Those who, faux-hawked and shredded, rock and bop to Bowie doing Lou
on Sunday Morning from Station to Station shooting ******,
who walk swiftly with denim skin on their legs and refuse socks.
Those who, in their rightest mind, are the wrongest-minded.
Those who can reject privilege only because they are privileged,
who, in their uniform whiteness, denounce racism,
who, in their uniform straightness, claim immune to homophobia
who, with their ***** ***** in a row, claim to be feminists.

And those who search for revolution in a time when rebellion is conformity.
Listening to the  pounding sound of blog-protesters typing n o w.
who, in claiming to accept, don’t accept the unaccepting,
who got veggies tattooed on their sides while snapping bacon in their teeth,
who ironically infiltrated asylums and performed madness until the shocks came
and they were maddened, for good, eaten alive by volts resounding
ka-ching, ka-ching, ka-ching.
Who sleep naked together to be together but end up being alone,
exchanges from lips that move in pretentious drone,
and the dog chases its tail, endlessly.
When the abnormal is normal and the whole structure is inverted and
heaven is here and flames under the soil are no longer hell burning for soles of the
Converse, Adidas, and Nike sneakers on the bicycle pedals of poets who ride at night,
listening to the sound of owls that question:
who?
whoo?
whooo?
Christine May 2010
Just feel don't know
Need love want hope
End up all alone
End up in a retirement home

Taste heart smell sun
Dance shake shimmy fun
Run into guy with a gun
Run in the convent be a nun

Worship jesus worship god
Hate the devil hate the rod
Celibate and frozen solid
No one ever sees your ***

Age wrinkle die alone
Empty heart empty throne
Wasted life on fake credo
Now you die, now you go
Matthias Feb 2011
Trying to steal that pearl from your mouth.
But as your name says, you shut me out.
I then get tossed in the undercurrent.
You offer not a hand, but a laugh.
I drift alone thinking of what I can.
I the seahorse, and you the clam.
Just Melz Jun 2014
Smooth as silk on soft crimson sheets
Sliding and gliding in unison
Rhythmic hearts beating
Nothing in comparison
The heat splashes in waves
Our minds in a daze
Lost in intertwined bodies
Skin on skin, lips on lips
Tongues soothing like wine
Electricity at our finger tips
Wrapped up and warm
But oh so paralyzed
Lost in the others eyes
Totally hypnotized
Dancing to our own beat
Singing our own ****** tune
Words all spicy and sweet
The ending will come too soon
The beat gets faster, we move as a whole
Locked together as one soul
Sweating, panting, barely able to breathe
Eyes lock, arm tightens
Sensations move as a prefect one
Space around sudden lightens
The dream is finally done

— The End —