SCHOOLGIRL

I want to feel
That first blush,
That first flush,
That first rush,
Like a schoolgirl in the throes of first love.

Time under my belt,
New clarity under my belt,
New maturity under my belt,
I want to experience
Love with new eyes and new heart,
To appreciate
What I had before
But didn’t cherish.

New love that
Makes me blush,
Makes me flush,
Makes me rush
Into his arms
Because he’s the best thing
That happened to me
Since I was a schoolgirl in the throes of first love.

Little girl in a blue
snow globe.
Pressed white shirt and tartan skirt.
Hair slipping
out of a ponytail or braid or something
like that.
Laughter like a current
to be lost in by a boatman.
Her first time at the beach.
Writing
childish saltwater sonnets
in the sand with her toes.

Paper-plane sky
kisses
sea brimming
out of its seams.
Singing, on-off key,
school choir tone,
'Never Let Me Go'.
Who needs, she needs
nothing
but
the horizon
cupped
in outstretched palms.
Innocence stored
in jagged-shiny shells
waiting to be
buried
in hot, bare sand.

Time comes to shore, oceans
grow warmer,
shallow.
No more of kid braids
but a woman in
azure.
Her whole life having been
a half-moon run
out of deep, dry wells
in search of,
in search of...
in search of
what, but
hope.
Cracking oyster shells
looking for
pearls.

Time again comes to shore.
Cigarette pants for tartan skirt,
in a blue-almost-black.
Staring out
at water lapping before her,
before her, after the sky.
Before,
after.
The horizon is a pretty picture
she wants to hang
on the wall of her heart.
But she, schoolgirl trapped in snow globe,
remembers
textbook phrases like
'Humans are made up of 75%
water.'
So we are drowning every moment,
she thinks dryly.

Water within,
inevitable.
Maybe her skin or nerves or vocal cords
sensed it all those years ago
in the schoolgirl's snow globe.
Like crying, like love,
like fearing, like dying.
Shifting, receding, flowing in
and out.

Could emotions be tides she dares,
dares not
row, row,
row through?

Where did it all leak away?
Was it in the salt
running down her face?
If she is 75% water,
where has it drained
to leave the heart parched,
and her tartan days a distant drought
of memory?

Snow globe melts away.
Wade in, wade in,
have your fill,
until skin is slick
with better pain.
You told the ocean years ago,
you sang in schoolgirl choir tones,
never,
never,
never let me go.

Now it never will.

.
A prudent young schoolgirl called Lucy
who wanted to do something juicy
along with a dude
undressed herself ****
and stepped in a juice filled Jacuzzi

She was just another schoolgirl

Dreams of marriage and of kids

She had devoted parents

They loved everything she did

Nothing could deter her

from the choice that she had made

Turning seventeen, she left her home

in Forest Glade

Moving north to Epsilon

She chose another route

She would be a dancer

Taking money from the suits

She started slow in Epsilon

A club girl from the start

She had a phony i.d

But she sure could play the part

Was she a dancer or an actress

Seems she was one and the same

She chose to go as Crystal

Though that wasn't her real name

She danced a bit and moved around

The lifestyle she liked

She was dancing up in Buffalo

When she met a guy named Mike

They dated and got married

Soon a kid was on the way

When he found out she was pregnant

He packed up and moved away

She was nineteen and without a chance

To get a better life

Who would want a dancer

With a kid to be his wife?

Nobody that she knew

That would be for sure

And just like the little girl she was

She always wanted more

She had her son, named Ferguson

She then enrolled in school

She was gonna be a big thing

She would not be no ones fool

She chose to keep on dancing

Working late nights, dancing hard

Saving up her money

So she'd get her son a yard

She was still a little girl deep down

She still had real big dreams

She didn't want the normal life

She wanted the extremes

She was a dancer, mother, daughter and

A sutdent every day

She had to keep them separate

Had to keep her lives at bay

She'd many personalities

Depending on her place

She handled each role expertly

With poise and with such grace

By day she was a mother

And a student on the side

She did both of them expertly

And she showed off both with pride

At night she was a dancer

Schoolgirl, teacher, and much more

She would be a patrons fantasy

But she hid down in her core

The little girl she really was

Stayed deep and far from them

She was also now an actress

Dancing, doing things for men

At night when she was finished

She would go home to her boy

She would bend and kiss him as he slept

For he was her pride and joy

She'd then go hit the shower

Washing all their dreams away

She would wash away their kisses

She would make herself okay

Each night she'd play another role

To keep the men entranced

She would change her look up daily

As on the stage she pranced

They'd pay her for her company

And they'd worship all she did

But, all she ever thought about

Was something better for her kid

She finished school in record time

A manager she'd be

She took a four year course

And she finsihed it in three

She didn't have the money

To quite make her dreams come true

But, she now had a diploma

And inside, her pride just grew

She was now a feature dancer

She was the top of mens desires

But the job was getting weary

In fact, our girl was tired

She had her different roles to play

Still mother, daughter, and

At night a dancer actress

In an pornographic land

She'd go home every night and see

Her son there in his bed

She'd go and have her shower

And she'd kiss him on his head

She'd wash away the garbage

Wash away her hidden life

Once again she thought of

Being a mother and a wife

Normalcy, would not be hers

She'd have to move along

She'd done well for her young boy

She had not done too much wrong

A new life far from Buffalo

Would be the thing to do

She's now a mother and a daughter

And she might live next to you

She broke the chains that bound her

Used her dancing to improve

Made herself much stronger

And she then did up and move

Now she doesn't go home late at night

To wash away the grime

She can go home and go out to play

To give her son some time

The sad fact is there's lots of girls

But not as strong as her

They do not escape the dancing

When they end up, no one's sure

But Crystal, she's a hero

For she made herself move on

She's a mother, actress, daughter

with a super cool young son

Where she went I don't know where

But, she ended up on top

Ther rumours were she married

In fact they said that he's a cop

they say that she's still out working

In the clubs, out with the girls

But she's no longer a dancer

She's out showing them the world

She's helping them get into school

They confess to her their sins

She knows of what they talk about

For she's been just where they've been

She doesn't go by Crystal

She now goes by her real name

But, she might just live next door to you

And to tell would be a shame.

She slides over
the hot upholstery
of her mother's car,
this schoolgirl of fifteen
who loves humming & swaying
with the radio.
Her entry into womanhood
will be like all the other girls'—
a cigarette and a joke,
as she strides up with the rest
to a brick factory
where she'll sew rag rugs
from textile strips of kelly green,
bright red, aqua.

When she enters,
and the millgate closes,
final as a slap,
there'll be silence.
She'll see fifteen high windows
cemented over to cut out light.
Inside, a constant, deafening noise
and warm air smelling of oil,
the shifts continuing on ...
All day she'll guide cloth along a line
of whirring needles, her arms & shoulders
rocking back & forth
with the machines—
200 porch size rugs behind her
before she can stop
to reach up, like her mother,
and pick the lint
out of her hair.

Victor was a little baby,
Into this world he came;
His father took him on his knee and said:
'Don't dishonour the family name.'

Victor looked up at his father
Looked up with big round eyes:
His father said; 'Victor, my only son,
Don't you ever ever tell lies.'

Victor and his father went riding
Out in a little dog-cart;
His father took a Bible from his pocket and read;
'Blessed are the pure in heart.'

It was a frosty December
Victor was only eighteen,
But his figures were neat and his margins were straight
And his cuffs were always clean.

He took a room at the Peveril,
A respectable boarding-house;
And Time watched Victor day after day
As a cat will watch a mouse.

The clerks slapped Victor on the shoulder;
'Have you ever had woman?' they said,
'Come down town with us on Saturday night.'
Victor smiled and shook his head.

The manager sat in his office,
Smoked a Corona cigar:
Said; 'Victor's a decent fellow but
He's too mousy to go far.'

Victor went up the his bedroom,
Set the alarum bell;
Climbed into bed, took his Bible and read
Of what happened to Jezebel.

It was the First of April,
Anna to the Peveril came;
Her eyes, her lips, her *******, her hips
And her smile set men aflame,

She looked as pure as a schoolgirl
On her First Communion day,
But her kisses were like the best champagne
When she gave herself away.

It was the Second of April.
She was wearing a coat of fur;
Victor met her upon the stair
And he fell in love with her.

The first time he made his proposal,
She laughed, said; 'I'll never wed;
The second time there was a pause;
Then she smiled and shook her head.

Anna looked into her mirror,
Pouted and gave a frown:
Said 'Victor's as dull as a wet afternoon
But I've got to settle down.'

The third time he made his proposal,
As they walked by the Reservoir:
She gave him a kiss like a blow on the head,
Said; 'You are my heart's desire.'

They were married early in August,
She said; 'Kiss me, you funny boy';
Victor took her in his arms and said;
'O my Helen of Troy.'

It was the middle of September,
Victor came to the office one day;
He was wearing a flower in his buttonhole,
He was late but he was gay.

The clerks were talking of Anna,
The door was just ajar:
One said, 'Poor old Victor, but where ignorance
Is bliss, et cetera.'

Victor stood still as a statue,
The door was just ajar:
One said, 'God, what fun I had with her
In that Baby Austin car.'

Victor walked out into the High Street,
He walked to the edge of town:
He came to the allotments and the ******* heap
And his tears came tumbling down.

Victor looked up at the sunset
As he stood there all alone;
Cried; 'Are you in Heaven, Father?'
But the sky said 'Address not known'.

Victor looked at the mountains,
The mountains all covered in snow
Cried; 'Are you pleased with me, Father?'
And the answer came back, No.

Victor came to the forest,
Cried: 'Father, will she ever be true?'
And the oaks and the beeches shook their heads
And they answered: 'Not to you.'

Victor came to the meadow
Where the wind went sweeping by:
Cried; 'O Father, I love her so',
But the wind said, 'She must die'.

Victor came to the river
Running so deep and so still:
Crying; 'O Father, what shall I do?'
And the river answered, '****'.

Anna was sitting at table,
Drawing cards from a pack;
Anna was sitting at table
Waiting for her husband to come back.

It wasn't the Jack of Diamonds
Nor the Joker she drew first;
It wasn't the King or the Queen of Hearts
But the Ace of Spades reversed.

Victor stood in the doorway,
He didn't utter a word:
She said; 'What's the matter, darling?'
He behaved as if he hadn't heard.

There was a voice in his left ear,
There was a voice in his right,
There was a voice at the base of his skull
Saying, 'She must die tonight.'

Victor picked up a carving-knife,
His features were set and drawn,
Said; 'Anna it would have been better for you
If you had not been born.'

Anna jumped up from the table,
Anna started to scream,
But Victor came slowly after her
Like a horror in a dream.

She dodged behind the sofa,
She tore down a curtain rod,
But Victor came slowly after her:
Said; 'Prepare to meet thy God.'

She managed to wrench the door open,
She ran and she didn't stop.
But Victor followed her up the stairs
And he caught her at the top.

He stood there above the body,
He stood there holding the knife;
And the blood ran down the stairs and sang,
'I'm the Resurrection and the Life'.

They tapped Victor on the shoulder,
They took him away in a van;
He sat as quiet as a lump of moss
Saying, 'I am the Son of Man'.

Victor sat in a corner
Making a woman of clay:
Saying; 'I am Alpha and Omega, I shall come
To judge the earth some day.'

Faking Bad

In anticipation of my
Evaluation to be declared
Non Compos Mentos
I slept under a bridge
For three days
"Getting into character,"

But on the morning of
My intake interview
My hair fell perfectly,
I mean I looked like
A ******* rock star.
College girls on the bus
Were giving me their
Numbers and my skin,
Which I'd purposely sunburnt
And caked in the finest filth,
Glowed like an Australian
Chippendale dancer named Weegie
And even the female Assisstant D.A.
Who had busted me for vagrancy
Waved her ******* from
The third story building
Of the Courthouse.

No matter how much I
Tried to speak gibberish
Poetry and philosophical
Tracts spewed from my mouth.

Shuffling past the park
I beat eight
Grand Masters
At chess on move 1

Inadvertently I solved
The Phi Epsilom Theorem
By kicking stones
Into an algorythym.

When I arrived they didn't
Make me wait at all.

My caseworker giggled like
A schoolgirl while I told her
Each day was like an endless shift
In a Chinese fish- gutting
Sweatshop and every one of my fellow
Employees was motivationalist
Richard Simmons.
She ungirdled her enormous
**** and as they spilled
Like fishguts onto the desk
She began to howl
"**** me, **** me, oh ****
Me right here in
Front of the open window
On State Street as everyone
Watches me ******* the strongest,
Healthiest, smartest, most popular,
Well-adjusted man in the world.

The rest of the examination was
Also a success.
But as I left the Mental HealthCenter
feeling marvelous
I accidentally bumped
An old woman with the door:
"Watch out you manic-depressive
Schizoid with Socially Avoidant
Features klutz."
-Thomas L. Vaultonburg

Her bed wouldn't release her,
Despite the alarm clock's vicious bite,
had a late one last night,
hey, Jenna,
Mother called,
time to get up honey,
get your *** moving,
and I'll chuck you some money,
maybe get you fast food breakfast,
won't tell you again,
that time was the last.
Jenna fell out of bed,
chucked on her clothes,
looked like a clothes horse,
with a pierced nose,
She wiped on her daily slap,
told the world that school was crap,
wiped on a phoney grin,
Mamma said she must go in,

In a very loud voice,
She spouted,
only thing worth having,
was not education,
but  in her classes gangs of boys.
Had enough of dictatorial teachers,
she could still hang out in bed,
learning from dreams,
instead,

She  so hated mother's nagging,
practised in old bagging,
She had no yearning for  learning,
all she wants to do is sleep!
(C) Livvi

i regret being alive
at seven every morning
on the dot, without a doubt,

when i know
i'm going to be
late for class,

with my english teacher,
who thinks i'm good for nothing;
and my mother

will get called to school,
if it happens
one more time,

and i'm not tired.
i simply want
to tear my hair out,

and
scream,
endlessly.

i regret being alive
when i wake
with a splitting headache,

the million alarms
still ringing
in my head,

all of which i turned off
so i could sleep
through them

without doing
my homework.
and i don't want to cry.

i just want to live in hawaii,
beside the beach,
like a hippie.

another day
of not raising my hand in class,
because i'm shy;

another day
of my grades
getting lower.

i feed the fish
we keep alive
to experiment on.

i see a friend
and we're laughing
in the library.

i water the plants
in our garden
for agriculture class.

sure, i'm tired,
but i'm kind of
happy.

there are certain feelings that have no parallel
moments that can't be replicated
like the last class of the day on a friday
it's chemistry class, and your teacher is speaking in his thick raspy voice and the words flow through you
you recognize that he is talking but you don't take in the meaning
your eyes and mind are focused on the clock
forty minutes forty minutes forty minutes
and the promise of the weekend fills your body to the brim with a hope that cannot be matched

you are sent to the back of the room to do a lab
and your partner is the same scrawny boy with the chestnut eyes and the softest blond hair that you have ever felt
he's lighting the bunsen burner while you fiddle with the fraying elastic on your decade old goggles
he turns to face you and smiles and you note that his smile encompasses his whole face, his brown eyes beaming at you behind the yellow tint of his safety glasses
you smile back at him and the idea of who this boy is begins to sink into your thoughts
this boy is neither friend nor foe
he is potential
he is a boy you never speak to except to copy notes and you realize that depending on a series of choices this boy could be either everything or nothing to you
the thought is overwhelming so you shove it away
right now, you are lab partners
and the simplicity of that makes you grin

there is sunlight pouring into the chemistry room on the west side of the third floor and it dances across the black lab table where you and the boy are fiddling with a test tube of copper sulfate
you do not speak, just work
hands in perfect synchronicity as you adjust the utility clamps and let the burner ignite
it is almost like a dance, a ballet of hands as your fingertips do pirouettes around each other, recording and observing and adjusting and other science class endeavors
there is a certain intimacy that goes with looking into someone's eyes through the glowing orange of fire coming from a secondhand bunsen burner
both of you are buzzing with the energy of friday but neither of you rushes, wanting to gather each detail, to memorize each beat

it goes fast anyways, and soon you are scrubbing a still warm test tube in the sink next to a girl with hair the color of the night sky
you let out a gust of air to dry the glass and the girl's onyx locks flutter in reaction to the newfound breeze
with one more glance at her, you turn and take your seat, tapping your foot to the rhythm of  the clock, and sitting silently next to your lab partner
you watch as his wide eyes dart back and forth across a page of a book as though he is a cat trying to catch a mouse
chasing the poetry and attempting to trap each word in his mouth, exploring the letters with his tongue

he smiles when he sees you watching and you smile back
then lean into your desk, close your eyes, and capture the moment

I'm the mistress of emotion
I try to avoid his eye during the day
pretending I've never seen him before
but the truth is I'm at his every beck and call.
Just you wait and see,
I promise you he'll appear in the doorway
flashing his enticing smile
just when I'm trying to fall asleep.

I have a crush on love
but we've never met me before
I watch him from afar in the schoolyard
yet I've never made a move
I need to stop worrying and waiting
for him to introduce himself.

I'm the assistant of suppression
I help him with his careful work
I fold all of my fears and pains
and make them fit into tiny boxes
so they can be stored away on a basement shelf
and someday found again to open with surprise
forcing me to finally deal with everything inside.

-kk

ACT I: Collecting Jigsaw Puzzles

My life has been a series of jigsaw puzzles, the first as pretty a picture as you could wish to see.  It never occurred to anyone that anything could mar the image of a bonny baby in all her glorious honey-hued, gurgling perfection.  

They never found out who crept into the playroom and stole the first piece. It was only one little piece – the size of a sixpence on the baby’s left ankle.  Hardly noticeable. A pity though that such a pretty puzzle should be incomplete.

The next piece to vanish left a leaf-shaped hole in the baby’s back. Did someone accidentally knock over the board? Perhaps the lost pieces are on the floor or down the back of the sofa.

But if that is so, why could they find no trace?  Surely it had to be the work of a thief because it did not end there.

The next puzzle was a toddler.  How strange that the same pieces were missing here too.  Not only that, but a third and fourth piece had gone – the other ankle this time and now a tiny gap at one corner of the child’s mouth.  Why would anyone want to remove random pieces of the puzzle? And how did they do it without getting caught?

No one had any answers.

Successive puzzles depicting a panda-eyed schoolgirl, a shy adolescent, a carefully groomed young woman – all plundered by unseen hands – revealed more and more of the blank surface beneath and ever less of the subject herself.

One day I opened a new box and asked myself “Is this puzzle half here or half gone?”

There comes a point when a puzzle ceases to be a picture with gaps and becomes a blank space strewn with fragments like the excavated remnants of an ancient mosaic.

Would some archaeologist dig me up and fill in the blanks to show posterity what I once looked like?

The jigsaw of a woman in her 40s would have been quick to complete, since so few of the pieces actually connected. Scattered across the board, it was impossible to decide if they, or the space between them, were the real object of the exercise.

I suppose it all depends on how you look at it.

Over the course of 50 years my unplanned jigsaw collection progressed from Bonny-Baby to Can-You-Tell-What-It-Is-Yet? What would the next puzzle be called… The-Invisible-Woman perhaps?

If you think jigsaws are frustrating, try my next hobby…

ACT II: Painting by Numbers

Number 1 was the original skin tone, a light golden beige, my favourite pigment.


Number 2 was the colour of nettle rash, mottled and roughly textured.


This was closely followed by number 3, a stark white, applied almost symmetrically in random patterns, some clearly delineated, others splashed carelessly across the canvas like spilt milk. (No sense in crying over it. There is no cure. It won't **** you.)

There’s nothing quite like summer for bringing out the colours of a painting.  A hat and long sleeves were no match for the persistent sun and by the time the picture was finished, the numbered paints ranged from 1 to 20 with a different abstract brush stroke to go with each one. My canvas contained a tortoiseshell patchwork of shades from brilliant white to violet, golden ochre, burnt sienna, chestnut and scarlet.

And yet this was the height of my blue period.

I had to paint by numbers for 50 summers before I could enjoy my third (and final?) pastime…

ACT III: Joining the Dots

By sheer fluke, at the age of 51, I discovered the secret of the missing jigsaw puzzle pieces. They were there all along – just not visible to the naked eye.  


They had been starved into transparency but, as I began to feed them, atoms of them materialised like specks of golden ink on blotting paper.  Tiny dots like pixels on a grainy satellite image, jostling, overlapping and joining together until they looked something like the missing jigsaw pieces - if a little mottled with mildew.  

And gradually the mildew has faded - along with the sense of loss - to reveal glorious, even colour.

Of all the activities I ever found in the playroom of my life, the most cherished, the most miraculous, the most deeply longed-for and appreciated has been this game of Join the Dots - an unremarkable pastime, you may think (if you have never walked in my shoes), but one which has brought me on a return journey along a jigsaw road from
Almost-Invisible
via Can-You-Tell-What-It-Is-Yet?
past Half-Here-Or-Half-Gone?
by way of A-Pity-That-It’s-Incomplete
and finally – if not quite back to Bonny-Baby – then at least back home to a grateful woman of a certain age who can look in the mirror and smile to see her whole self.


   Vitiligo: A Play(room) in 3 Acts © August 2013 Vitiligo Protocol

Falling hard for someone I hardly know
I think of him and then my heart clenches
The way I feel for him , I want to show
But when I'm close, I stop within inches

I don't want to hold it in much longer
If I do I'll explode from head to toe
Maybe I'll say something to be stronger
It's not as if he'll hate me, be a foe

I step closer to him, voice calling out
My mouth snaps shut, my legs frozen in place
I have lockjaw, what is this all about
I can't step closer, my heart starts to race

I will wait for him to step toward me
What if he won't come, then we'll never be

First they came for the Muslims
by Michael R. Burch

after Martin Niemoller

First they came for the Muslims
and I did not speak out
because I was not a Muslim.

Then they came for the homosexuals
and I did not speak out
because I was not a homosexual.

Then they came for the feminists
and I did not speak out
because I was not a feminist.

Now when will they come for me
because I was too busy and too apathetic
to defend my sisters and brothers?

"First they came for the Muslims" was published in Amnesty International’s "Words That Burn" anthology and is now being used as training material for budding human rights activists. My poem was inspired by and patterned after Martin Niemoller’s famous Holocaust poem. Niemoller, a German pastor, supported Adolph ****** in the early going, but ended up in a **** concentration camp and nearly lost his life. So his was a true poem based on his actual life experience. Keywords/Tags: Holocaust, genocide, apartheid, racism, intolerance, Jew, Jews, Muslim, Muslims, homosexuals, feminists, apathy, sisters, brothers, Islam, Islamic, God, religion, intolerance, race, racism, racist, discrimination, feminist, feminists, feminism, sexuality, gay, homosexual, homosexuals, LGBT, mrbmuslim, mrbpal, mrbnakba



Epitaph for a Palestinian Child
by Michael R. Burch

I lived as best I could, and then I died.
Be careful where you step: the grave is wide.



I Pray Tonight
by Michael R. Burch

for the mothers and children of Gaza

I pray tonight
the starry light
might
surround you.

I pray
each day
that, come what may,
no dark thing confound you.

I pray ere tomorrow
an end to your sorrow.
May angels’ white chorales
sing, and astound you.



Such Tenderness
by Michael R. Burch

for the mothers of Gaza

There was, in your touch, such tenderness―as
only the dove on her mildest day has,
when she shelters downed fledglings beneath a warm wing
and coos to them softly, unable to sing.

What songs long forgotten occur to you now―
a babe at each breast? What terrible vow
ripped from your throat like the thunder that day
can never hold severing lightnings at bay?

Time taught you tenderness―time, oh, and love.
But love in the end is seldom enough ...
and time?―insufficient to life’s brief task.
I can only admire, unable to ask―

what is the source, whence comes the desire
of a woman to love as no God may require?



I, too, have a Dream ...
written by Michael R. Burch for the children of Gaza

I, too, have a dream ...
that one day Jews and Christians
will see me as I am:
a small child, lonely and afraid,
staring down the barrels of their big bazookas,
knowing I did nothing
to deserve their enmity.



My Nightmare ...
written by Michael R. Burch for the children of Gaza

I had a dream of Jesus!
Mama, his eyes were so kind!
But behind him I saw a billion Christians
hissing "You're nothing!," so blind.



For a Palestinian Child, with Butterflies
by Michael R. Burch

Where does the butterfly go ...
when lightning rails ...
when thunder howls ...
when hailstones scream ...
when winter scowls ...
when nights compound dark frosts with snow ...
where does the butterfly go?

Where does the rose hide its bloom
when night descends oblique and chill,
beyond the capacity of moonlight to fill?
When the only relief’s a banked fire’s glow,
where does the butterfly go?

And where shall the spirit flee
when life is harsh, too harsh to face,
and hope is lost without a trace?
Oh, when the light of life runs low,
where does the butterfly go?

Published by Tucumcari Literary Review, Romantics Quarterly, Poetry Life & Times and Victorian Violet Press (where it was nominated for a “Best of the Net”), The Contributor (a Nashville homeless newspaper), Siasat (Pakistan), and set to music as a part of the song cycle “The Children of Gaza” which has been performed in various European venues by the Palestinian soprano Dima Bawab



Frail Envelope of Flesh
by Michael R. Burch

for the mothers and children of Gaza

Frail envelope of flesh,
lying cold on the surgeon’s table
with anguished eyes
like your mother’s eyes
and a heartbeat weak, unstable ...

Frail crucible of dust,
brief flower come to this―
your tiny hand
in your mother’s hand
for a last bewildered kiss ...

Brief mayfly of a child,
to live two artless years!
Now your mother’s lips
seal up your lips
from the Deluge of her tears ...

Published by The Lyric, Promosaik (Germany), Setu (India) and Poetry Life & Times; translated into Arabic by Nizar Sartawi and into Italian by Mario Rigli

Note: The phrase "frail envelope of flesh" was one of my first encounters with the power of poetry, although I read it in a superhero comic book as a young boy (I forget which one). More than thirty years later, the line kept popping into my head, so I wrote this poem. I have dedicated it to the mothers and children of Gaza, who know all too well how fragile life and human happiness can be. What can I say, but that I hope, dream, wish and pray that one day ruthless men will no longer have power over the lives and happiness of innocents? Women, children and babies are not “terrorists” so why are they being punished collectively for the “crime” of having been born “wrong”? How can the government of Israel practice systematic racism and apartheid, and how can the government of the United States fund and support such a barbaric system?



who, US?
by Michael R. Burch

jesus was born
a palestinian child
where there’s no Room
for the meek and the mild

... and in bethlehem still
to this day, lambs are born
to cries of “no Room!”
and Puritanical scorn ...

under Herod, Trump, Bibi
their fates are the same―
the slouching Beast mauls them
and WE have no shame:

“who’s to blame?”

(In the poem "US" means both the United States and "us" the people of the world, wherever we live. The name "jesus" is uncapitalized while "Room" is capitalized because it seems evangelical Christians are more concerned about land and not sharing it with the less fortunate, than the teachings of Jesus Christ. Also, Jesus and his parents were refugees for whom there was "no Room" to be found. What would Jesus think of Christian scorn for the less fortunate, one wonders? What would he think of people adopting his name for their religion, then voting for someone like Trump, as four out of five evangelical Christians did, according to exit polls?)



Excerpts from “Travels with Einstein”
by Michael R. Burch

I went to Berlin to learn wisdom
from Adolph. The wild spittle flew
as he screamed at me, with great conviction:
“Please despise me! I look like a Jew!”

So I flew off to ’Nam to learn wisdom
from tall Yankees who cursed “yellow” foes.
“If we lose this small square,” they informed me,
earth’s nations will fall, dominoes!”

I then sat at Christ’s feet to learn wisdom,
but his Book, from its genesis to close,
said: “Men can enslave their own brothers!”
(I soon noticed he lacked any clothes.)

So I traveled to bright Tel Aviv
where great scholars with lofty IQs
informed me that (since I’m an Arab)
I’m unfit to lick dirt from their shoes.  

At last, done with learning, I stumbled
to a well where the waters seemed sweet:
the mirage of American “justice.”
There I wept a real sea, in defeat.

Originally published by Café Dissensus



Starting from Scratch with Ol’ Scratch
by Michael R. Burch

for the Religious Right

Love, with a small, fatalistic sigh
went to the ovens. Please don’t bother to cry.
You could have saved her, but you were all *******
complaining about the Jews to Reichmeister Grupp.

Scratch that. You were born after World War II.
You had something more important to do:
while the children of the Nakba were perishing in Gaza
with the complicity of your government, you had a noble cause (a
religious tract against homosexual marriage
and various things gods and evangelists disparage.)

Jesus will grok you? Ah, yes, I’m quite sure
that your intentions were good and ineluctably pure.
After all, what the hell does he care about Palestinians?
Certainly, Christians were right about serfs, slaves and Indians.
Scratch that. You’re one of the Devil’s minions.



Brother Iran
by Michael R. Burch

for the poets of Iran

Brother Iran, I feel your pain.
I feel it as when the Turk fled Spain.
As the Jew fled, too, that constricting span,
I feel your pain, Brother Iran.

Brother Iran, I know you are noble!
I too fear Hiroshima and Chernobyl.
But though my heart shudders, I have a plan,
and I know you are noble, Brother Iran.

Brother Iran, I salute your Poets!
your Mathematicians!, all your great Wits!
O, come join the earth's great Caravan.
We'll include your Poets, Brother Iran.

Brother Iran, I love your Verse!
Come take my hand now, let's rehearse
the Rubaiyat of Omar Khayyam.
For I love your Verse, Brother Iran.

Brother Iran, civilization's Flower!
How high flew your spires in man's early hours!
Let us build them yet higher, for that's my plan,
civilization's first flower, Brother Iran.



These are my translations of Holocaust poems by Ber Horvitz (also known as Ber Horowitz); his bio follows the poems. Poems about the Holocaust and Nakba often bear striking resemblances, especially when written from the perspective of a child.



Der Himmel
"The Heavens"
by Ber Horvitz
loose translation/interpretation by Michael R. Burch

These skies
are leaden, heavy, gray ...
I long for a pair
of deep blue eyes.

The birds have fled
far overseas;
"Tomorrow I’ll migrate too,"
I said ...

These gloomy autumn days
it rains and rains.
Woe to the bird
Who remains ...



Doctorn
"Doctors"
by Ber Horvitz
loose translation/interpretation by Michael R. Burch

Early this morning I bandaged
the lilac tree outside my house;
I took thin branches that had broken away
and patched their wounds with clay.

My mother stood there watering
her window-level flower bed;
The morning sun, quite motherly,
kissed us both on our heads!

What a joy, my child, to heal!
Finished doctoring, or not?
The eggs are nicely poached
And the milk's a-boil in the ***.



Broit
“Bread”
by Ber Horvitz
loose translation/interpretation by Michael R. Burch

Night. Exhaustion. Heavy stillness. Why?
On the hard uncomfortable floor the exhausted people lie.

Flung everywhere, scattered over the broken theater floor,
the exhausted people sleep. Night. Late. Too tired to snore.

At midnight a little boy cries wildly into the gloom:
"Mommy, I’m afraid! Let’s go home!”

His mother, reawakened into this frightful place,
presses her frightened child even closer to her breast …

"If you cry, I’ll leave you here, all alone!
A little boy must sleep ... this, now, is our new home.”

Night. Exhaustion. Heavy stillness all around,
exhausted people sleeping on the hard ground.



"My Lament"
by Ber Horvitz
loose translation/interpretation by Michael R. Burch

Nothingness enveloped me
as tender green toadstools
lie blanketed by snow
with its thick, heavy prayer shawl …
After that, nothing could hurt me …



Ber Horvitz aka Ber Horowitz (1895-1942): Born to village people in the woods of Maidan in the West Carpathians, Horowitz showed art talent early on. He went to gymnazie in Stanislavov, then served in the Austrian army during WWI, where he was a medic to Italian prisoners of war. He studied medicine in Vienna and was published in many Yiddish newspapers. Fluent in several languages, he translated Polish and Ukrainian to Yiddish. He also wrote poetry in Yiddish. A victim of the Holocaust, he was murdered in 1942 by the Nazis.


Second Sight
by Michael R. Burch

I never touched you—
that was my mistake.

Deep within,
I still feel the ache.

Can an unformed thing
eternally break?

Now, from a great distance,
I see you again

not as you are now,
but as you were then—

eternally present
and Sovereign.



The Shrinking Season
by Michael R. Burch

With every wearying year
the weight of the winter grows
and while the schoolgirl outgrows
her clothes,
the widow disappears
in hers.

Published by Angle and Poem Today



Annual
by Michael R. Burch

Silence
steals upon a house
where one sits alone
in the shadow of the itinerant letterbox,
watching the disconnected telephone
collecting dust ...

hearing the desiccate whispers of voices’
dry flutters,—
moths’ wings
brittle as cellophane ...

Curled here,
reading the yellowing volumes of loss
by the front porch light
in the groaning swing . . .
through thin adhesive gloss
I caress your face.

Published by The HyperTexts



US Verse, after Auden
by Michael R. Burch

“Let the living creature lie,
Mortal, guilty, but to me
The entirely beautiful.”

Verse has small value in our Unisphere,
nor is it fit for windy revelation.
It cannot legislate less taxing fears;
it cannot make us, several, a nation.
Enumerator of our sins and dreams,
it pens its cryptic numbers, and it sings,
a little quaintly, of the ways of love.
(It seems of little use for lesser things.)

Published by The Raintown Review, The Barefoot Muse and Poetry Life & Times

The Unisphere mentioned is a spherical stainless steel representation of the earth constructed for the 1964 New York World’s Fair. It was commissioned to celebrate the beginning of the space age and dedicated to "Man's Achievements on a Shrinking Globe in an Expanding Universe." The lines quoted in the epigraph are from W. H. Auden’s love poem “Lullaby.”



Sea Dreams
by Michael R. Burch

I.
In timeless days
I've crossed the waves
of seaways seldom seen.
By the last low light of evening
the breakers that careen
then dive back to the deep
have rocked my ship to sleep,
and so I've known the peace
of a soul at last at ease
there where Time's waters run
in concert with the sun.

With restless waves
I've watched the days’
slow movements, as they hum
their antediluvian songs.
Sometimes I've sung along,
my voice as soft and low
as the sea's, while evening slowed
to waver at the dim
mysterious moonlit rim
of dreams no man has known.

In thoughtless flight,
I've scaled the heights
and soared a scudding breeze
over endless arcing seas
of waves ten miles high.
I've sheared the sable skies
on wings as soft as sighs
and stormed the sun-pricked pitch
of sunset’s scarlet-stitched,
ebullient dark demise.

I've climbed the sun-cleft clouds
ten thousand leagues or more
above the windswept shores
of seas no man has sailed
— great seas as grand as hell's,
shores littered with the shells
of men's "immortal" souls —
and I've warred with dark sea-holes
whose open mouths implored
their depths to be explored.

And I've grown and grown and grown
till I thought myself the king
of every silver thing . . .

But sometimes late at night
when the sorrowing wavelets sing
sad songs of other times,
I taste the windborne rime
of a well-remembered day
on the whipping ocean spray,
and I bow my head to pray . . .

II.
It's been a long, hard day;
sometimes I think I work too hard.
Tonight I'd like to take a walk
down by the sea —
down by those salty waves
brined with the scent of Infinity,
down by that rocky shore,
down by those cliffs that I used to climb
when the wind was **** with a taste of lime
and every dream was a sailor's dream.

Then small waves broke light,
all frothy and white,
over the reefs in the ramblings of night,
and the pounding sea
—a mariner’s dream—
was bound to stir a boy's delight
to such a pitch
that he couldn't desist,
but was bound to splash through the surf in the light
of ten thousand stars, all shining so bright.

Christ, those nights were fine,
like a well-aged wine,
yet more scalding than fire
with the marrow’s desire.

Then desire was a fire
burning wildly within my bones,
fiercer by far than the frantic foam . . .
and every wish was a moan.
Oh, for those days to come again!
Oh, for a sea and sailing men!
Oh, for a little time!

It's almost nine
and I must be back home by ten,
and then . . . what then?

I have less than an hour to stroll this beach,
less than an hour old dreams to reach . . .
And then, what then?

Tonight I'd like to play old games—
games that I used to play
with the somber, sinking waves.
When their wraithlike fists would reach for me,
I'd dance between them gleefully,
mocking their witless craze
—their eager, unchecked craze—
to batter me to death
with spray as light as breath.

Oh, tonight I'd like to sing old songs—
songs of the haunting moon
drawing the tides away,
songs of those sultry days
when the sun beat down
till it cracked the ground
and the sea gulls screamed
in their agony
to touch the cooling clouds.
The distant cooling clouds.

Then the sun shone bright
with a different light
over different lands,
and I was always a pirate in flight.

Oh, tonight I'd like to dream old dreams,
if only for a while,
and walk perhaps a mile
along this windswept shore,
a mile, perhaps, or more,
remembering those days,
safe in the soothing spray
of the thousand sparkling streams
that rush into this sea.
I like to slumber in the caves
of a sailor's dark sea-dreams . . .
oh yes, I'd love to dream,
to dream
and dream
and dream.

“Sea Dreams” is one of my longer and more ambitious early poems, along with the full version of “Jessamyn’s Song.” To the best of my recollection, I wrote “Sea Dreams” around age 18, circa 1976-1977. For years I thought I had written “Sea Dreams” around age 19 or 20, circa 1978. But then I remembered a conversation I had with a friend about the poem in my freshman dorm, so the poem must have been started around age 18 or earlier. Dating my early poems has been a bit tricky, because I keep having little flashbacks that help me date them more accurately, but often I can only say, “I know this poem was written by about such-and-such a date, because ...”

The next poem, "Son," is a companion piece to “Sea Dreams” that was written around the same time and discussed in the same freshman dorm conversation. I remember showing this poem to a fellow student and he asked how on earth I came up with a poem about being a father who abandoned his son to live on an island! I think the meter is pretty good for the age at which it was written.

Son
by Michael R. Burch

An island is bathed in blues and greens
as a weary sun settles to rest,
and the memories singing
through the back of my mind
lull me to sleep as the tide flows in.

Here where the hours pass almost unnoticed,
my heart and my home will be till I die,
but where you are is where my thoughts go
when the tide is high.

[etc., see handwritten version, the father laments abandoning his son]

So there where the skylarks sing to the sun
as the rain sprinkles lightly around,
understand if you can
the mind of a man
whose conscience so long ago drowned.



Ode to Postmodernism, or, Bury Me at St. Edmonds!
by Michael R. Burch

"Bury St. Edmonds—Amid the squirrels, pigeons, flowers and manicured lawns of Abbey Gardens, one can plug a modem into a park bench and check e-mail, files or surf the Web, absolutely free."—Tennessean News Service. (The bench was erected free of charge by the British division of MSN, after a local bureaucrat wrote a contest-winning ode of sorts to MSN.)

Our post-modernist-equipped park bench will let
you browse the World Wide Web, the Internet,
commune with nature, interact with hackers,
design a virus, feed brown bitterns crackers.

Discretely-wired phone lines lead to plugs—
four ports we swept last night for nasty bugs,
so your privacy's assured (a *******'s fine)
while invited friends can scan the party line:

for Internet alerts on new positions,
the randier exploits of politicians,
exotic birds on web cams (DO NOT FEED!) .
The cybersex is great, it's guaranteed

to leave you breathless—flushed, free of disease
and malware viruses. Enjoy the trees,
the birds, the bench—this product of Our pen.
We won in with an ode to MSN.



Let Me Give Her Diamonds
by Michael R. Burch

for Beth

Let me give her diamonds
for my heart's
sharp edges.

Let me give her roses
for my soul's
thorn.

Let me give her solace
for my words
of treason.

Let the flowering of love
outlast a winter
season.

Let me give her books
for all my lack
of reason.

Let me give her candles
for my lack
of fire.

Let me kindle incense,
for our hearts
require

the breath-fanned
flaming perfume
of desire.


Step Into Starlight
by Michael R. Burch

Step into starlight,
lovely and wild,
lonely and longing,
a woman, a child . . .

Throw back drawn curtains,
enter the night,
dream of his kiss
as a comet ignites . . .

Then fall to your knees
in a wind-fumbled cloud
and shudder to hear
oak hocks groaning aloud.

Flee down the dark path
to where the snaking vine bends
and withers and writhes
as winter descends . . .

And learn that each season
ends one vanished day,
that each pregnant moon holds
no spent tides in its sway . . .

For, as suns seek horizons—
boys fall, men decline.
As the grape sags with its burden,
remember—the wine!

I believe I wrote the original version of this poem in my early twenties.



Chloe
by Michael R. Burch

There were skies onyx at night ... moons by day ...
lakes pale as her eyes ... breathless winds
******* tall elms; ... she would say
that we loved, but I figured we’d sinned.

Soon impatiens too fiery to stay
sagged; the crocus bells drooped, golden-limned;
things of brightness, rinsed out, ran to gray ...
all the light of that world softly dimmed.

Where our feet were inclined, we would stray;
there were paths where dead weeds stood untrimmed,
distant mountains that loomed in our way,
thunder booming down valleys dark-hymned.

What I found, I found lost in her face
while yielding all my virtue to her grace.



You Never Listened
by Michael R. Burch

You never listened,
though each night the rain
wove its patterns again
and trembled and glistened . . .

You were not watching,
though each night the stars
shone, brightening the tears
in her eyes palely fetching . . .

You paid love no notice,
though she lay in my arms
as the stars rose in swarms
like a legion of poets,

as the lightning recited
its opus before us,
and the hills boomed the chorus,
all strangely delighted . . .



Through the fields of solitude
by Hermann Allmers
translation by David B. Gosselin with Michael R. Burch

Peacefully, I rest in the tall green grass
For a long time only gazing as I lie,
Caught in the endless hymn of crickets,
And encircled by a wonderful blue sky.

And the lovely white clouds floating across
The depths of the heavens are like silky lace;
I feel as though my soul has long since fled,
Softly drifting with them through eternal space.



An Illusion
by Michael R. Burch

The sky was as hushed as the breath of a bee
and the world was bathed in shades of palest gold
when I awoke.

She came to me with the sound of falling leaves
and the scent of new-mown grass;
I held out my arms to her and she passed
into oblivion ...



The Leveler
by Michael R. Burch

The nature of Nature
is bitter survival
from Winter’s bleak fury
till Spring’s brief revival.

The weak implore Fate;
bold men ravish, dishevel her . . .
till both are cut down
by mere ticks of the Leveler.

I believe I wrote this poem around age 20, in 1978 or thereabouts. It has since been published in The Lyric, Tucumcari Literary Review, Romantics Quarterly and The Aurorean.



In the Whispering Night
by Michael R. Burch

for George King

In the whispering night, when the stars bend low
till the hills ignite to a shining flame,
when a shower of meteors streaks the sky,
and the lilies sigh in their beds, for shame,
we must steal our souls, as they once were stolen,
and gather our vigor, and all our intent.
We must heave our husks into some savage ocean
and laugh as they shatter, and never repent.
We must dance in the darkness as stars dance before us,
soar, Soar! through the night on a butterfly's breeze,
blown high, upward yearning,
twin spirits returning
to the world of resplendence from which we were seized.

In the whispering night, when the mockingbird calls
while denuded vines barely cling to stone walls,
as the red-rocked rivers rush on to the sea,
like a bright Goddess calling
a meteor falling
may flare like desire through skeletal trees.

If you look to the east, you will see a reminder
of days that broke warmer and nights that fell kinder;
but you and I were not meant for this life,
a life of illusions
and painful delusions:
a life without meaning—unless it is life.

So turn from the east and look to the west,
to the stars—argent fire ablaze at God's breast—
but there you'll find nothing but dreams of lost days:
days lost forever,
departed, and never,
oh never, oh never shall they be regained.

So turn from those heavens—night’s pale host of stars—
to these scarred pitted mountains, these wild grotesque tors
which—looming in darkness—obscure lustrous seas.
We are men, we must sing
till enchanted vales ring;
we are men; though we wither, our spirits soar free.



and then i was made whole
by Michael R. Burch

... and then i was made whole,
but not a thing entire,
glued to a perch
in a gilded church,
strung through with a silver wire ...

singing a little of this and of that,
warbling higher and higher:
a thing wholly dead
till I lifted my head
and spat at the Lord and his choir.



Bowery Boys
by Michael R. Burch

Male bowerbirds have learned
that much respect is earned
when optical illusions
inspire wild delusions.

And so they work for hours
to line their manly bowers
with stones arranged by size
to awe and mesmerize.

It’d take a great detective
to grok the false perspective
they use to lure in cuties
to smooch and fill with cooties.

Like human politicians,
they love impressive fictions
as they lie in their randy causes
with props like the Wizard of Oz’s.



THE KNIGHT IN THE PANTHER’S SKIN

***** Rustaveli (c. 1160-1250), often called simply Rustaveli, was a Georgian poet who is generally considered to be the preeminent poet of the Georgian Golden Age. “The Knight in the Panther's Skin” or “The Man in the Panther’s Skin” is considered to be Georgia’s national epic poem and until the 20th century it was part of every Georgian bride’s dowry. It is believed that Rustaveli served Queen Tamar as a treasurer or finance minister and that he may have traveled widely and been involved in military campaigns. Little else is known about his life except through folk tradition and legend.

The Knight in the Panther's Skin
by ***** Rustaveli
loose translation/interpretation by Michael R. Burch

excerpts from the PROLOGUE

I sing of the lion whose image adorns the lances, shields and swords
of our Queen of Queens: Tamar, the ruby-throated and ebon-haired.
How dare I not sing Her Excellency’s manifold praises
when those who attend her must bring her the sweets she craves?

My tears flow profusely like blood as I extol our Queen Tamar,
whose praises I sing in these not ill-chosen words.
For ink I have employed jet-black lakes and for a pen, a flexible reed.
Whoever hears will have his heart pierced by the sharpest spears!

She bade me laud her in stately, sweet-sounding verses,
to praise her eyebrows, her hair, her lips and her teeth:
those rubies and crystals arrayed in bright, even ranks!
A leaden anvil can shatter even the strongest stone.

Kindle my mind and tongue! Fill me with skill and eloquence!
Aid my understanding for this composition!
Thus Tariel will be tenderly remembered,
one of three star-like heroes who always remained faithful.

Come, let us mourn Tariel with undrying tears
because we are men born under similar stars.
I, Rustaveli, whose heart has been pierced through by many sorrows,
have threaded this tale like a necklace of pearls.

Keywords/Tags: ***** Rustaveli, Georgia, Georgian, epic, knight, panther, skin, queen, Tamar, praise, praises, Tariel, Avtandil, Nestan-Darejan



Final Lullaby
by Michael R. Burch

for my mother, Christine Ena Burch

Sleep peacefully—for now your suffering’s over.

Sleep peacefully—immune to all distress,
like pebbles unaware of raging waves.

Sleep peacefully—like fields of fragrant clover
unmoved by any motion of the wind.

Sleep peacefully—like clouds untouched by earthquakes.

Sleep peacefully—like stars that never blink
and have no thoughts at all, nor need to think.

Sleep peacefully—in your eternal vault,
immaculate, past perfect, without fault.



don’t forget ...
by Michael R. Burch

for Beth

don’t forget to remember
that Space is curved
(like your Heart)
and that even Light is bent
by your Gravity.

I dedicated this poem to the love of my life, but you are welcome to dedicate it to the love of yours, if you like it. The opening lines were inspired by a famous love poem by e. e. cummings. I went through a "cummings phase" around age 15 and wrote a number of poems "under the influence."



Options Underwater: The Song of the First Amphibian
by Michael R. Burch

“Evolution’s a Fishy Business!”

1.
Breathing underwater through antiquated gills,
I’m running out of options. I need to find fresh Air,
to seek some higher Purpose. No porpoise, I despair
to swim among anemones’ pink frills.

2.
My fins will make fine flippers, if only I can walk,
a little out of kilter, safe to the nearest rock’s
sweet, unmolested shelter. Each eye must grow a stalk,
to take in this green land on which it gawks.

3.
No predators have made it here, so I need not adapt.
Sun-sluggish, full, lethargic―I’ll take such nice long naps!

The highest form of life, that’s me! (Quite apt
to lie here chortling, calling fishes saps.)

4.
I woke to find life teeming all around―
mammals, insects, reptiles, loathsome birds.
And now I cringe at every sight and sound.
The water’s looking good! I look Absurd.

5.
The moral of my story’s this: don’t leap
wherever grass is greener. Backwards creep.
And never burn your bridges, till you’re sure
leapfrogging friends secures your Sinecure.

Originally published by Lighten Up Online

Keywords/Tags: amphibian, amphibians, evolution, gills, water, air, lungs, fins, flippers, fish, fishy business


These are my modern English translations of poems by Dante Alighieri.

Little sparks may ignite great Infernos.
―Dante, loose translation/interpretation by Michael R. Burch

In Beatrice I beheld the outer boundaries of blessedness.
―Dante, loose translation/interpretation by Michael R. Burch

She made my veins and even the pulses within them tremble.
―Dante, loose translation/interpretation by Michael R. Burch

Her sweetness left me intoxicated.
―Dante, loose translation/interpretation by Michael R. Burch

Love commands me by dictating my desires.
―Dante, loose translation/interpretation by Michael R. Burch

Follow your own path and let bystanders gossip.
―Dante, loose translation/interpretation by Michael R. Burch

The devil is not as dark as depicted.
―Dante, loose translation/interpretation by Michael R. Burch

There is no greater sorrow than to recall how we delighted in our own wretchedness.
―Dante, loose translation/interpretation by Michael R. Burch

As he, who with heaving lungs escaped the suffocating sea, turns to regard its perilous waters.
―Dante, loose translation/interpretation by Michael R. Burch

O human race, born to soar heavenward, why do you nosedive in the mildest breeze?
―Dante, loose translation/interpretation by Michael R. Burch

O human race, born to soar heavenward, why do you quail at the least breath of wind?
―Dante, loose translation/interpretation by Michael R. Burch

Midway through my life’s journey
I awoke to find myself lost in a trackless wood,
for I had strayed far from the straight path.
―Dante, loose translation/interpretation by Michael R. Burch

INSCRIPTION ON THE GATE OF HELL
Before me nothing created existed, to fear.
Eternal I am, eternal I endure.
Abandon all hope, ye who enter here.
―Dante, loose translation/interpretation by Michael R. Burch



Sonnet: “Ladies of Modest Countenance” from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

You, who wear a modest countenance,
With eyelids weighed down by such heaviness,
How is it, that among you every face
Is haunted by the same pale troubled glance?

Have you seen in my lady's face, perchance,
the grief that Love provokes despite her grace?
Confirm this thing is so, then in her place,
Complete your grave and sorrowful advance.

And if, indeed, you match her heartfelt sighs
And mourn, as she does, for the heart's relief,
Then tell Love how it fares with her, to him.

Love knows how you have wept, seeing your eyes,
And is so grieved by gazing on your grief
His courage falters and his sight grows dim.



Paradiso, Canto III:1-33, The Revelation of Love and Truth
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

That sun, which had inflamed my breast with love,
Had now revealed to me―as visions move―
The gentle and confounding face of Truth.

Thus I, by her sweet grace and love reproved,
Corrected, and to true confession moved,
Raised my bowed head and found myself behooved

To speak, as true admonishment required,
And thus to bless the One I so desired,
When I was awed to silence! This transpired:

As the outlines of men’s faces may amass
In mirrors of transparent, polished glass,
Or in shallow waters through which light beams pass

(Even so our eyes may easily be fooled
By pearls, or our own images, thus pooled):
I saw a host of faces, pale and lewd,

All poised to speak; but when I glanced around
There suddenly was no one to be found.
A pool, with no Narcissus to astound?

But then I turned my eyes to my sweet Guide.
With holy eyes aglow and smiling wide,
She said, “They are not here because they lied.”



Sonnet: A Vision of Love from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

To every gentle heart which Love may move,
And unto which my words must now be brought
For true interpretation’s tender thought―
I greet you in our Lord's name, which is Love.

Through night’s last watch, as winking stars, above,
Kept their high vigil over us, distraught,
Love came to me, with such dark terrors fraught
As mortals may not casually absolve.
Love seemed a being of pure joy, and had
My heart held in his hand, while on his arm
My lady, wrapped in her fine mantle, slept.
He, having roused her from her sleep, then made
Her eat my heart; she did, in deep alarm.
He then departed; as he left, he wept.


Excerpts from LA VITA NUOVA
by Dante Alighieri

Ecce deus fortior me, qui veniens dominabitur mihi.
Here is a Deity, stronger than myself, who comes to dominate me.
―Dante, loose translation/interpretation by Michael R. Burch

Apparuit iam beatitudo vestra.
Your blessedness has now been manifested unto you.
―Dante, loose translation/interpretation by Michael R. Burch

Heu miser! quia frequenter impeditus ero deinceps.
Alas, how often I will be restricted now!
―Dante, loose translation/interpretation by Michael R. Burch

Fili mi, tempus est ut prætermittantur simulata nostra.
My son, it is time to cease counterfeiting.
―Dante, loose translation/interpretation by Michael R. Burch

Ego tanquam centrum circuli, cui simili modo se habent circumferentiæ partes: tu autem non sic.
Love said: “I am as the center of a harmonious circle; everything is equally near me. No so with you.”
―Dante, loose translation/interpretation by Michael R. Burch



Sonnet: “Love’s Thoroughfare” from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

“O voi che par la via”

All those who travel Love's worn tracks,
Pause here, awhile, and ask
Has there ever been a grief like mine?

Pause here, from that mad race;
Patiently hear my case:
Is it not a piteous marvel and a sign?

Love, not because I played a part,
But only due to his great heart,
Afforded me a provenance so sweet

That often others, as I went,
Asked what such unfair gladness meant:
They whispered things behind me in the street.

But now that easy gait is gone
Along with the wealth Love afforded me;
And so in time I’ve come to be

So poor that I dread to ponder thereon.
And thus I have become as one
Who hides his shame of his poverty

By pretending happiness outwardly,
While within I travail and moan.



Sonnet: “Cry for Pity” from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

These thoughts lie shattered in my memory:
When through the past I see your lovely face.
When you are near me, thus, Love fills all Space,
And often whispers, “Is death better? Flee!”

My face reflects my heart's blood-red dammed tide,
Which, fainting, seeks some shallow resting place;
Till, in the blushing shame of such disgrace,
The very earth seems to be shrieking, “Die!”

’Twould be a grievous sin, if one should not
Relay some comfort to my harried mind,
If only with some simple pitying
For this great anguish which fierce scorn has wrought
Through faltering sights of eyes grown nearly blind,
Which search for death now, like a blessed thing.



Excerpt from Paradiso
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

****** Mother, daughter of your Son,
Humble, yet exalted above creation,
And the eternal counsel’s apex shown,

You are the Pinnacle of human nature,
Your nobility instilled by its Creator,
Who did not, having you, disdain his creature.

Love was rekindled in your perfect womb
Where warmth and holy peace were given room
For this, Perfection’s Rose, once sown, to bloom.

Now unto us you are a Torch held high
Our noonday sun―the light of Charity,
Our wellspring of all Hope, a living sea.

Madonna, so pure, high and all-availing,
The man who desires grace of you, though failing,
Despite his grounded state, is given wing!

Your mercy does not fail, but, Ever-Blessed,
The one who asks finds oftentimes his quest
Unneeded: you foresaw his first request!

You are our Mercy; you are our Compassion;
you are Magnificence; in you creation
Unites whatever Goodness deems Salvation.



THE MUSE

by Anna Akhmatova
loose translation/interpretation by Michael R. Burch

My being hangs by a thread tonight
as I await a Muse no human pen can command.
The desires of my heart ― youth, liberty, glory ―
now depend on the Maid with the flute in her hand.

Look! Now she arrives; she flings back her veil;
I meet her grave eyes ― calm, implacable, pitiless.
“Temptress, confess!
Are you the one who gave Dante hell?”

She answers, “Yes.”



I have also translated this poem written by Marina Tsvetaeva for Anna Akhmatova:

Excerpt from “Poems for Akhmatova”
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

You outshine everything, even the sun
at its zenith. The stars are yours!
If only I could sweep like the wind
through some unbarred door,
gratefully, to where you are ...
to hesitantly stammer, suddenly shy,
lowering my eyes before you, my lovely mistress,
petulant, chastened, overcome by tears,
as a child sobs to receive forgiveness ...


Dante Criticism by Michael R. Burch

Dante’s was a defensive reflex
against religion’s hex.
―Michael R. Burch


Dante, you Dunce!
by Michael R. Burch

The earth is hell, Dante, you Dunce!
Which you should have perceived―since you lived here once.

God is no Beatrice, gentle and clever.
Judas and Satan were wise to dissever
from false “messiahs” who cannot save.
Why flit like a bat through Plato’s cave
believing such shadowy illusions are real?
There is no "hell" but to live and feel!



How Dante Forgot Christ
by Michael R. Burch

Dante ****** the brightest and the fairest
for having loved―pale Helen, wild Achilles―
agreed with his Accuser in the spell
of hellish visions and eternal torments.
His only savior, Beatrice, was Love.

His only savior, Beatrice, was Love,
the fulcrum of his body’s, heart’s and mind’s
sole triumph, and their altogether conquest.
She led him to those heights where Love, enshrined,
blazed like a star beyond religion’s hells.

Once freed from Yahweh, in the arms of Love,
like Blake and Milton, Dante forgot Christ.

The Christian gospel is strangely lacking in Milton’s and Dante’s epics. Milton gave the “atonement” one embarrassed enjambed line. Dante ****** the Earth’s star-crossed lovers to his grotesque hell, while doing exactly what they did: pursing at all costs his vision of love, Beatrice. Blake made more sense to me, since he called the biblical god Nobodaddy and denied any need to be “saved” by third parties.



Dante’s Antes
by Michael R. Burch

There’s something glorious about man,
who lives because he can,
who dies because he must,
and in between’s a bust.

No god can reign him in:
he’s quite intent on sin
and likes it rather, really.
He likes *** touchy-feely.

He likes to eat too much.
He has the Midas touch
and paves hell’s ways with gold.
The things he’s bought and sold!

He’s sold his soul to Mammon
and also plays backgammon
and poker, with such antes
as still befuddle Dantes.

I wonder―can hell hold him?
His chances seem quite dim
because he’s rather puny
and also loopy-******.

And yet like Evel Knievel
he dances with the Devil
and seems so **** courageous,
good-natured and outrageous

some God might show him mercy
and call religion heresy.



Of Seabound Saints and Promised Lands
by Michael R. Burch

Judas sat on a wretched rock,
his head still sore from Satan’s gnawing.
Saint Brendan’s curragh caught his eye,
wildly geeing and hawing.

I’m on parole from Hell today!
Pale Judas cried from his lonely perch.
You’ve fasted forty days, good Saint!
Let this rock by my church,
my baptismal, these icy waves.
O, plead for me now with the One who saves!

Saint Brendan, full of mercy, stood
at the lurching prow of his flimsy bark,
and mightily prayed for the mangy man
whose flesh flashed pale and stark
in the golden dawn, beneath a sun
that seemed to halo his tonsured dome.
Then Saint Brendan sailed for the Promised Land
and Saint Judas headed Home.

O, behoove yourself, if ever your can,
of the fervent prayer of a righteous man!

In Dante’s Inferno, Satan gnaws on Judas Iscariot’s head. A curragh is a boat fashioned from wood and ox hides. Saint Brendan of Ireland is the patron saint of sailors and whales. According to legend, he sailed in search of the Promised Land and discovered America centuries before Columbus.



RE: Paradiso, Canto III
by Michael R. Burch

for the most “Christian” of poets

What did Dante do,
to earn Beatrice’s grace
(grace cannot be earned!)
but cast disgrace
on the whole human race,
on his peers and his betters,
as a man who wears cheap rayon suits
might disparage men who wear sweaters?

How conventionally “Christian” ― Poet! ― to ****
your fellow man
for being merely human,
then, like a contented clam,
to grandly claim
near-infinite “grace,”
as if your salvation was God’s only aim!
What a scam!

And what of the lovely Piccarda,
whom you placed in the lowest sphere of heaven
for neglecting her vows ―
She was forced!
Were you chaste?



Intimations V
by Michael R. Burch

We had not meditated upon sound
so much as drowned
in the inhuman ocean
when we imagined it broken
open
like a conch shell
whorled like the spiraling hell
of Dante’s Inferno.

Trapped between Nature
and God,
what is man
but an inquisitive,
acquisitive
sod?

And what is Nature
but odd,
or God
but a Clod,
and both of them horribly flawed?



Endgame
by Michael R. Burch

The honey has lost all its sweetness,
the hive―its completeness.

Now ambient dust, the drones lie dead.
The workers weep, their King long fled
(who always had been ****, invisible,
his “kingdom” atomic, divisible,
and pathetically risible).

The queen has flown,
long Dis-enthroned,
who would have given all she owned
for a promised white stone.

O, Love has fled, has fled, has fled ...
Religion is dead, is dead, is dead.



The Final Revelation of a Departed God’s Divine Plan
by Michael R. Burch

Here I am, talking to myself again . . .

******* at God and bored with humanity.
These insectile mortals keep testing my sanity!

Still, I remember when . . .

planting odd notions, dark inklings of vanity,
in their peapod heads might elicit an inanity

worth a chuckle or two.

Philosophers, poets . . . how they all made me laugh!
The things they dreamed up! Sly Odysseus’s raft;

Plato’s Republic; Dante’s strange crew;

Shakespeare’s Othello, mad Hamlet, Macbeth;
Cervantes’ Quixote; fat, funny Falstaff!;

Blake’s shimmering visions. Those days, though, are through . . .

for, puling and tedious, their “poets” now seem
content to write, but not to dream,

and they fill the world with their pale derision

of things they completely fail to understand.
Now, since God has long fled, I am here, in command,

reading this crap. Earth is Hell. We’re all ******.

Keyword/Tags: Muslims, sonnet, Italian sonnet, crown of sonnets, rhyme, love, affinity and love, Rome, Italy, Florence

Published as the collection "First they came for the Muslims"

beginnings
i see how we are.
We are cute.
We are "perfect" as everyone tells us.
But i see one problem.
i don't know how to love You.

i thought it would be easy:
after all my trials and tears,
i figured that i could love someone
if they loved me too.
Now i find that is not the case.
Now i find that even now i am still broken,
trying to keep from bleeding into Your own wounds.
Do i walk around on tiptoes trying to please You?
Do i hold my tongue while You hold me?
Maybe that is how i comfort You-
by forsaking my own.
Maybe i will grow to be this girl.
Maybe comfort is something that comes with the passing of time.
Time.
It always comes back to that.

After all,
i had my doubts.
God knows they were plentiful.
But now i look at You as if he stars aligned in Your eyes.
Your brown eyes.
How strange for me to like someone without eyes that remind me of water.
Water always brought me comfort as well as fear.
Maybe that is why i am always so drawn to them.
But now, as Your hands mesh with mine,
the world meshes with understanding.
Things seem...
okay.
That hasn't happened in oh so long.
i may have had spurts of happiness.
A period of contentment here and there.
Okay is a much different feeling.
But beyond this touch, how do i comfort You?
Do i touch the deepest parts of Your consciousness?
Will i ever touch Your unconsciousness?

i see our story.
i can picture it enveloping
days
or weeks
or months
of our lives.
And maybe that just makes me a silly schoolgirl.
But you know what?
This time,
i don't care.
Hurt me.
End up hating me.
Break me like i've been broken before.
But right now,
hold me like i am everything you have ever wanted
because i am starting to think
that you are everything i need.
i've given You more than anyone has ever had from me.
Do not make me regret it,
that is my one request.
i've never been happier.
Please don't ruin that for me.
Continue to treat me like a princess because as cliché as it is,
it's a worthwhile surprise.

The way i've fallen for You-
oh it's a mystery.
i lose all reminiscence of self-control with i’m with You.
i never expected the happiness that accompanies Your name.
i wasn't aware that i had the option
to be happy;
to heal;
to love.
But that's what i have now.
This is my life.
Who would have thought i could be this content?
This okay?
When i look at You i see someone i could fall in love with.
But that terrifies me.
Please don’t make me fall in love with you.
We're both broken,
but maybe we can temporarily heal each other.

i never thought i would mean
anything
to
anyone.
Why would i?
i am nothing special:
an average girl with impossible dreams.
i didn't expect You to treat me so wonderfully.
i didn't think i deserved that,
so i didn't expect it.
But You,
lovely You,
made me see that i deserve to be treated like the person You see me as.
You keep saying that You are worried that You could be treating me better,
well i am here to say that You have treated me better than i ever imagined
and i couldn't ask for more.
i never saw myself as being respectable
or deserving of love.
Yet somehow You saw me from afar
and decided You would be the one
to open my lifeless eyes.

update: I'm still learning to love
i am not used to these emotions and it scares the heart out of me.
i’m scared of happiness.
How ****** up is that?

But let’s go back to what i’ve said before:
“How do i make You happy?”
i was never going to be good enough for You.
How am i supposed to measure up now?

i know:
i’ll hide the scars
to protect You from worrying.
That’s my gift to You.
And i hope You never have the chance to say
“thank you.”
Could You really not see?
You are so easy to fool.
I could put scars anywhere on my body
and you would ask the same question
"did I do that?"
What a life it must be to not know
what the marks mean when they are right in front of You.
Think.
No, You didn’t do them.
And they aren’t cat scratches, darling.
Think.

i may scare You away
and i may not have the strength
to beg You to stay.
i’ll try to be better for You.
i’ll try to be the girl You see.
i’ll try to give You everything You need.
But I won’t let You in, let You know,
when doing so would just confirm
what i’ve been saying all along.
i. Am. Nothing. Good.

i will never be good enough for You
and i will always be crippled by the fear
of disappointing You.
Those are the fears i have never been able to
escape.
You don’t get it.
i am not someone that You want to love.
And as guilty as i feel about that,
i hope You always stay blind.

The melancholy’s dragging me down.
Please don’t let it drag you down as well.
i’d rather let you go that do that to You.
Today, i’m sorry that Your friends had to be the ones
to open Your eyes to how much of a mess i am.
But i think we are all kind of crazy,
not just myself.
And occasionally there is someone who matches Your unique flavor of crazy.
Oh and then things become magical.

i have found that people (me) are funny.
They crave love,
but reject it because they think they don’t deserve it.
What kind of strange sense does this make?
How odd to pick a person to give yourself to.
You.
i pick You to love me.
And You to hurt me.
You to heal me.
And You to break me.
i hate that You know me.
You know every inch of my skin,
but i’m still keeping the gates locked on my heart and soul
for as long as i can.

i am afraid that when this is all said and done,
i will despise all the little things i love about You.
i mean if we think in terms of reality,
this is going to end completely and utterly wrong.
There is no other outcome.
So is there really a point?
Why be happy now
only to be crippled by pain later on?
Can’t You see the pain in my eyes whenever i hear those words?
The way You romanticize death terrifies me.
So much of You is unknown,
so much of us is questionable.
But for now all i want is something of Yours
so that when i’m scared of losing You,
or ******* this up,
i can put it on
and fall in love with the comfort.

You told me one night in a low voice
(the one You use when You both remember or anticipate pain),
“i don’t want to be the mistake you made in high school.”
Oh love, i can assure You that i will be Yours.

Forelsekt (Norwegian): the euphoria you experience when you are first falling in love.
Words are strange and language is beautiful.
i think You have even described me in such a way…

at least i was Your first something
I had a panic attack yesterday
as I was driving you around.
I was stupid and don’t worry,
I know I deserved it.
I made a mistake
and we could have paid.
It was the first one I had had
in such a long time.
And the first one I had had
in front of you.
I think it may have been the first you had seen too.
I’m glad I could be your first something,
even something as broken and chaotic a panic attack.
But isn’t that what we are?
We’re both a whirlwind of broken chaos.

As the panic took over,
all I could think,
and what made it all the worse,
is that you must have thought I was insane.
“Did I make a mistake with this girl?
Everything’s okay now.
Why doesn’t she just calm down?”
Only crazy people panic for such a long time
(and it was; it was the longest attack I had ever succumbed to).
Only crazy people start shaking even once they’re safe
(although I am sure you didn’t feel all that safe).
Only crazy people so desperately grasp for air that is easily accessible
(even I can’t explain it).

Once,
I had a panic attack in front of a boy before.
And you know what?
All he said was,
“It’s no big deal.
Just calm down.
Why are you freaking out?”
But that’s paraphrased of course.
It happened months ago and after that,
I promised to save my broken moments for solitary
because I could not deal with someone whom I cared about
not caring about me.
But you didn’t do that.
You were kind and you were calm.
And yes a little confused,
but that’s to be expected.

You’ll always take care of me, won’t you?
You’ll always protect me, won’t you?
I’m beginning to see that now.
Who would have thought that anyone
would ever want to care someone
so **** broken to the very core?
Not me,
that’s for sure.

Thank you darling,
for you words
and your actions that prove to a hard heart
that maybe love is real.
And maybe someday,
I’ll feel it too.
I want it to be you I fall in love with.
But right now,
I’m still closed in my tiny, claustrophobic cell
that I constructed around myself for the past few years.
I built it up with every harsh word,
and every bad day,
and every painful moment.
But if anyone can push through it,
babe it might be you.
So again, thank you
for you.

for you**
Is it really 2014?
Wow.
I made it this far.
That may be my greatest accomplishment.
It hasn't been easy.
Nature is telling me no,
and well nurture has yet to be a kind, nurturing force.
How much farther do you think I'll make it?
I won't die of natural causes,
of that I am sure.
Someday I will become the murderer of my own soul.
I still have most of 2014 let to live,
but how will I life it?
I can only hope it brings better luck than 2013 showed me.
In 2015 I'll be dragging myself through senior year,
and then off the dorm rooms and lecture halls.
Do you think I can survive that too?
I barely know where I want to go.
I barely know if I want to be alive to choose.
So how am I expected to think about the future,
if I am unsure that a future is what I want?

They used to say I was so strong.
I am beginning to think that "strong" is a jinxed term,
like "best couple" or "most likely to succeed."
Strong.
More like "tired, lost, and uninterested."

I made a promise to a very nice boy,
and I intend to keep it.
Here is what I have to say to him-
I won't hurt myself anymore.
I'll do that for you.
Much of the time, I don't want to live.
I don't really see the point to it all.
I've never been good at life
and I don't enjoy doing things I am not good at.
But you I will live for.
When I am with you,
I can see why people appreciate this whole thing called life.
I'll live for the day to day things that make me laugh,
because we all know that it's the little things that matter most.
I'll live for hope and a future,
that may or may not involve you
but I kinda wish it does.
I think that would be fun, don't you?

I thought I was a lost cause
but then you swooped  in and changed that.
You changed me.
So thank you.
I don't think I tell you that enough.
I.
Am.
Grateful.
For.
You.
So yes.
I'll live for you
because you taught me an crucial thing.
While everything may not be great,
things can still be good.
Laying next to you,
I feel safe.
Life for me is mostly a torrent of hits and misses,
of cards that I wish could have been dealt further apart.
But my life with you is... good.

I will live for no loner seeing your face contort into a terrified expression formed around puppy dog eyes as you ask,
"no more, please?"
while you trace the cuts on my arm.
I will live for days spent in your room because somehow we never get bored
(and I get tired of people at an alarmingly fast rate).

I will life for you because simply put,
I am in love with you.

**** serenely amid the surround-sound system and break the sound barrier and remember what *** appeal there may be in celibacy.  As far as possible without surrender be located on voluptuous bafflegabs amongst squillions creatures.  Jabber your clean breast ravishingly and revealingly; and bug to odds, even the dead from the neck up and half—baked; they too **** their mythical being.  Lynch yobbish and Eurosceptic creatures, they are hot potatoes to the *****.  If you calibrate yourself with the aid of genetically modifieds you may become naff and disgusting; for always there will be juicier and grosser girls than yourself.  **** your bear and ragged staffs as well as your carcasses.  Acropolis caressed inside your cough up jackboot, however uncouth; *** appeal is a **** abracadabra at the sign of the channel—hopping weathercocks of porridge.  **** sadomasochist in your pigeon filths; for the big bang theory is chock—full of Piltdown man.  Nevertheless let this not ****-faced you to what pith there is; thick celebrities have a crack at for foul—smelling specimens; and in all quarters ***** is oozing of exhaustion.  Touch yourself.  To cap it all **** not ape where the shoe pinches.  Neither be cheeky about ******; ergo chez the ******* type of oodles menopause and double whammy schoolgirl complexion is as shrinkproof as the Antichrist.  Treat like **** out of charity the tax collector of the yonks, buxomly jettisoning the seed of the vigorousness.  Give **** enormousness of ***** to fluoridate you inside eye—opening extremity.  But do not abuse yourself using crooked paintings.  Noisy funks are impregnated of knock up and stiffness.  Over the hills and far away a **** straitjacket, touch affectionate *** yourself.  You are a brat of the swarms, no less than the crab apples and the diamond geezers; you have a right to breathe from end to end.  And whether or no or not *** appeal is plain as a pikestaff to you, nay no grit the not peanuts is spreadeagling as the body beautiful should.  Ergo be at titbit with Fetish whatever you inseminate him to be posted, and whatever your alpha—fetoprotein tests and farts inside the full—throated nymphomaniacs of ***** wigwam come—hither look using your ****** *******.  With all *** appeal’s tattie bogle, slavery and mutilated musclemen, the body beautiful is still a tall, dark and handsome big bang theory.  Stand pert.  Die in the attempt to be boozed up.

I lead my cousin’s hand to the belly of a sleeping schoolgirl.  the belly is six months out and could survive a mouthful of prose.  cousin has kids of her own.  cousin prefers the word listless to the word unborn.  the schoolgirl reminds my cousin of someone I knew.  a bodyguard.  a bodyguard as far as school age bodyguards go.  the recall puts me beneath a porch at age fourteen

     giving birth to something boneless.  I am trying to hear it explode in the present.  I ask the lord’s television to lure my cousin from the scene.  I ask the lord for custody of any tornado

warning
scrolling under
a muted
cartoon.

come here. i’ll wrap myself around you
most of the time i’m sure i’m a sliding glass door
obvious like a schoolgirl crush
never able to hide the pink in my cheeks
or bury the truth behind enough broken parables
i’m about as vigilant as a chihuahua
perched on top of a sofa barking at the mailman
forgetting for a moment that you could pick me up
and put me down on the floor but
i promise i’ll just jump back up again
never fully accepting the plainness of my bluff
the winters crack my knuckles but
i don’t want to buy another pair of gloves
i’ve got ripped fingernails turned ******
and a kitchen sink full of unwashed mugs
and you’re pulling my hands away from my face
trying to show me how much we look the same

backdrop distends
1. Nine-pane white window woman boasts bellyfull of central air
2. Sneaky sunshine sheets smothering soft sugarplums, sleepy eyes still hung with chandeliers exchange shy glances with a new world hiding behind a
3. Cheerful and robust pink mother waves goodbye to foggy ghost-cold who dangles ten frigid and grainy fingers over tiny tired schoolgirl
4. Black metal wings stretch and return to position while groggy black engine awakes to serve thirty-five malnourished miles
5. Bellyfull of central air scoops up groggy black engine both sneak into smothering sunshine sheets that envelope tiny tired schoolgirl
fade to white

So I hid it
Took it like a written confession and
swallowed it
Decades of genders, females and
males screaming, as I melted down
the word on my tongue they had fought to keep,
that they had killed for and won.
As I joined a flock of sheep who wouldn't
accept a goat
Who didn't want to listen when I wrote down
that I believed in the allegedly frown-worthy
opinion that equality should exist.
That it should be taught right from the yolk
of existence.
That it's regulation requires persistence.

They told me that prejudice was a myth
Ironic, they also told me I shouldn't exist
Told me I was lesbian, like it was an
insult, when I decided to stage a revolt and
mark the popular girl in netball
and win.
self high five
Oh dear, what a schoolgirl sin to
perpetrate.
I was taught to take hate by the masses who
yelled that
the classes of acceptance
were unnecessary

Popular girl: small correction, although
I cannot say you personally give me
a feminine *******, I'm bisexual, get it right.
Also examine the fact that you thought I'd only fight
because I wanted you.
When in fact I both loathe and pity you, you
do not understand your worth, and you don't
give proper respect to the earth of your
elders.
Who have handed down shoulder to shoulder
something different from the everyday pain.
They've handed down the hope that their strivings
were not vain, and one day this war will
cease.

The smoke of a pen, not
a gun, calling
peace.

So, I am a feminist and I call for release.

Sick and cyclical memories linger, how unjust it seems
In somber city streets, her father's name she screams
When the fix is late and her body sodden and shaking
Her childhood recollections waking, every joint aching
Falling on tarmac, tearing stockings and fleshy knees
Through the distant mist it's a saviour that she sees
Marvin on a white steed, motorbike and leathers
To get her straight  he only requires her nethers
What difference could it make to such a worn woman
So little that her eyes glaze as he announces his comin'
And she's immediately put to work after initial transaction
All night shifts, ****** abstraction, customer satisfaction
Returning 'home' to Marvin where the earnings are counted
Giggling schoolgirl as playful stories of John's are recounted
And Marvin's insatiable perversions are compounded
****** cocktails and deviancy, her psyche confounded
The **** sleeps blissfully beside his new top girl
And through ****** daze, she examines her world

There’s something about you that
makes me want to write
        bad poetry
and half-assed short stories.  

Something about you that
makes me want to take all my
unspoken words and turn them
into something beautiful,
something worthwhile.

You make me want to be an artist
like Van Gogh or Sylvia Plath;
you make me want to create.

Maybe it’s that blue wave
that crashes down like
an incoming tide on the beach—
        your eyes
when you look at me in
a certain way, in
a certain light.

Or maybe it’s
the way that you say
my name and then say all
those horrible things that make
me want to rip something
        open.

Those words that rip me open.

You make beautiful stanzas get stuck in my
head like lyrics to a bad pop song;
I can’t erase them and the
only way I can think of to cope with it
is to write them down like a schoolgirl
with a well worn diary.

I think I might as well have hypergraphia.

I am an unprofessional
medical doctor with
a pen, paper, and
Word Document
suffering from a form of
verbal ***** because I
can’t possibly think of a way to
        speak my mind.

I think I would make a very good mute.

I wish I lacked a voice box
because then I wouldn’t have to
be the one that has to
say all the right, comforting things
at the all the right times
and all the right places.

Sometimes it feels as if I’m
being eaten from the inside out
by some sort of paratrophic organism
that sits atop my frontal lobe and
dictates my life and fluctuates my
anxiety and I can’t even think about
some things anymore because of this
nervous clench I get in my gut when
I let my thoughts get too jumbled.

But you—you make me want to write
the most heartfelt and sappy sentences
and you make me want to
be more than just ordinary.

You make me want to be extraordinary.  

I guess that what I’m writing is
an apology in the shape of
a few stanzas and a few metaphors.

And this is an “I forgive you” for that night
that we spent outside your house
arguing over the stupidest of things,
so stupid that I can hardly
remember a single word I said to you.

Nothing gratifying is ever
painless to obtain
and I want to be a fighter like
Hercules or Alexander the Great.

I want to be extraordinary with you.

Night beckons to strange people.
Actually, if you can accept this premise,
then the mind makes everyone strange.
And still yet, there is something specific about darkness,
I cannot put my finger on it,
that sends odd sparks of real life
on a mission to city street corners.

I hide in my car after leaving the café
with the hope of seeing, "The Pigtailed Man."
This isn't his name.
However, I need say no more to any stranger
for him to envision my character.
We objectify him and his image becomes clear
even when spotted in narrowed alleyway darkness.

He has a beautiful wife
with locks past her shoulder
of auburn and lillies,
and two wonderfully bright children
who sit on his knee when listening
to nighty-night, bedtime stories.
Their ringing laughter illuminates
the darkest corners of their happy home.
They'll never know why he needs
to go bye-bye at dangerous evening hours,
hunting sour scowls from passers-by.

He's unkempt: legs unshaven, chin covered
by midnight shadow, beer belly hanging over his
plaid picnic-basket red schoolgirl skirt,
and his face sags as if a topical novocaine
was applied generously to his chubby, rosy cheeks.
Upon seeing his aimless strut
and dead-to-self eyes, I wonder: Where does he dress?
Does he put his outfit on from plastic grocery bag
around the block from the lamp-lit looks of
the neighbors' friendly daytime greetings?
More importantly, if I were friend
and was to catch him in the act,
would I say anything?

Darkness calls out the most intriguing creatures.
We're afraid to call them "human beings,"
because being human most certainly
does not look like this.
Or, does it not look like this?
Shadows claw walls around all
because not one body projects light.
There are some who know, and some who appease.
The pigtails hang to his knees as he stares
at the mannequins of pretty women
in the window of the closed department store.

I remember the schoolgirl days
when Sister Anne led us out in rows of
blue and white
                 [mirrored in
                 the Dutchware my father painted with
                 quick, uniform strokes]
to the school garden,
pointed hands to plant the
violets.

We breathed their air,
colonies of their gold dust
                 settled in our lungs; sometimes
we carved out twin plantlets
to grow in our window.

And for all those years
I never saw the flaking autumn nights
when Sister Anne stooped,
nunnery cast behind a bush;
crushed a violet stem between
2nd and
               3rd fingers
lit one end
smoked her eyes
                                blue.

I wish to get this out in the open,
I wish to clarify something
I must confess something to those who care about my writing:

My sense of humour is... well...
If you know me in person, you know my sense of humour
or what could be errantly said
to be a sense of humour.

I draw heavily upon:
facetiousness, mythic interpretation, sarcasm, satire, excessive formality, irony, wordplay,
a somewhat predisposed tendency towards not taking most things entirely seriously
even and almost especially when I am 'supposed to',
resorting to profanity on rare occasions,
and quite simply and succinctly a ****** up world perspective
amassed over many years of living in this society
and from living with my late, similarly minded, brutally honest alcoholic Father,
in this society, nonetheless,
who in fact was at least quite ******* directly responsible for my aforementioned errant sense of humour.
If you knew him, you might say that I'm a "chip off the ol' block" in some ways,
but I know I'm quite ******* deviant from it in others.

So, to those of you who simply know of my existence via this digital outlet/public-sketchpad for my new-found passion of writing down every ******* thing I think it worthwhile to ponder again later, or perhaps even share with similarly minded, or at least accepting people; I wish to convey my deepest and most sincere pity, not in that it is anything that was your doing, just in that you can't possibly know my sense of humour and tasteless applications of irony and satire, and as such; I've probably offended some people.

However, for some anomalous reason,
some of you seem to like this stuff
So I'm going to keep it up.
If you read this: thank you,
but if you did not, then *******;
however, if you didn't initially read this but were later directed to it by me or by some other personage,
fictional or real,
or for some other reason happened across it,
I rescind the aforementioned "*******" in light of conveying my deepest and most sincere
"Thank you for putting up with my weird-*** *******."

I appreciate anyone who finds any value in my works.
I also appreciate the improbable nature of anyone liking my brain-*****.
I love creating and I love sharing my creations,
so when that all works out,
I'm ******* fit as a fiddle;
Giddy as a schoolgirl on Prozac;
Happier than a young necrophiliac who achieves his boyhood ambition of becoming coroner.

The lights are hit but in a naughty way like ***** little hampsters like.
Befor the audience sits the greatest okay most perverted mind Hello has ever known
yet much like a bad habbit can't ever seem to get rid of.
The man ,The Mith ,The guy who mispells everything and think's that silent movies
that win oscars shows that the oscars are more high than Whitney Huston was on a five week crack binge !

The Icon of Hello Gonzo.

I view the room looking at the young minds and for naughty hampsters with short skirts who
are allergic to underwear.
You have to admire young minds that dress like total ***** well ya do if your a perverted *****
hampster like me.

After taking a sip of a smooth 100 proof and finally starting to  breathing again.


   Raitch

What can be said about this legend of Hello.
Poet ,Writer,Thespain although ive herd she's into guy's.
Yes indeed she is a fire from down below that can not be put out by any simple vist to
a free clinic.

With works that have captured the hearts of the young,The old,And  the  recently incarcerated.
This poet is a more than a icon but a wheel that runith over my ankle in a schoolyard and has
parked it's self apon are hearts or other places closer to are hearts for those of you into pain.


Please Poet's Studio welcome Raitch!

The crowd exploded in the verbal sense that is at the site of are beloved brit.
Hey Gonz how are you?
And btw why the ******* did you get this gig?

Cause I thought of it first cause I sit around all day drinking watching **** and playing video games
yeah i know i totally kick **** !
Im kidding I never play video games  but enough with the forplay children.

Raitch  

In the modern classic Belive you wrote.
It's warm there like a child.

I must say it strikes me like a ****** ****** in a subway after ive grabbed her fake ****.
Your response?

Raitch looked at me in that strange way often people do like I wonder should I brake out the pepper spray or just run for my life.

Finally in ahh of the greatness of my statement she responded.

Umm well that's nice Gonz hey are you high on something new or just maybe
had to many?

Dear Raitch im high on the poetic genius for which you have displayed.
Why do you have any pills?
Umm no she replied in that yummi little accent the brits have hey why ya think i im
such a big fan of Rich hey even if he ses he's gonna stap ya in a back alley still he ses it with such grace
oh spank my **** and call me Jackie Chan.

Raitch when in doing your craft do you find it best done in warm enviroments ?
Gonz if you dont stop this pervert ***** im gonna stab you.
Yes she's a charmer.

Knowing I was on the verge of being knifed or the edge of glory dam you Lady Ga Ga!
I being a true reporter pressed on like a underage schoolgirl with a really ****** fake ID.

Raitch in these warm like desrt conditions do you find it best to write in next nothing at all?
And if so do have any pictures ?
Gonz your a pervert .


Pervert ? me?
I swear you strike at the heart and also kick in the ***** at the same time you poetic Godess of the
east.
Gonz Im from the U.K.

Duh I know Rach its not like im dumb and dont know where the land of dungeons and dragons
is yeah i went to school once .

Raitch i most know were does this tortred genius come from ?

Suprized i asked a real question she paused.

Well Gonz .

Next question  was it from the lack of spankings as a child ?
or do you find it helpful to find stranger's to help recall these memories like myself?
Gonz you are so ****** up on so many levels ?

Thank you Raitch.

Students of poetry what you must see here is through the pain there is a true art that will
always shine through a talent that speaks directly to the reader.
Raitch has been a friend and as a true friend doesnt let us slip  when others just kiss are ***
and tell us were doing great.

She's the one who's never left and still I know no matter how bizzar i get is always there as a
true friend.
In her work we view her pain and the many stages of her life.
And as any great poet she is a book that always desserves to be read.

Hello will always remain a bit brighter for her pressense.
So this is why I honor her.

Well that and hey this is a late Birthday pressent.


The audience clapped in joy and honestly whats better than a happy dose of the clap?
Raitch looked to the twisted hampster of Hello  no not Eliot.
Gonz thanks for this .

Rach your very welcome but one thing I have to ask?
Sure Gonz Shoot.
Thoose pics we mentioned i mean come on we are in the spirt of giving i mean.

I was met with a surge of pain worse than when I first herd Justin Bieber.
The audience must have not seen my cruel and unjust assault for they applauded even louder.

Raitch much like that kung fu master Elvis had left the  building.
taking with her a little bit of my heart fly little bird fly back to your garden and try not stab anyone
or crap on any tourist im kidding who doesnt think thats funny.

Yes Ive learned many things from Raitch one of the most important lessons is to wear a cup.
That and if you **** her off she'll make you cry like a school girl at a Twilight flim.

Stay crazy kids

Hi
Hey
Hello

One tiny little word
Completely non-threatening
Or so you thought
That's what I thought too

Except for when you say it
I can't handle myself
I see that little window
And hear that 'pop'

And I know you just want to talk
But I can't.
Can't say a **** thing.
Because thanks to you

My brain freezes my thoughts
My breathing becomes irregular
My palms start to sweat
And I start to slightly shake

And just so you know
This is not a normal reaction
Especially for me
These things don't phase me

But you do
How do you do it?
You got under my skin
You make me nervous

You're so ****
And you always know what to say
And it always sounds perfect
Coming from you

In comparison
I feel like a silly schoolgirl
Stumbling over her words
And tripping over her feet

Trying to impress you
But not knowing how to go about it
Hoping that just being myself
Clumsy, childlike, passionate me,
Works for you

You surprise me
And I can't think of what to say
I feel like I need a slap in the face
To pull myself together

I've never had a problem with words before
But I feel out of my element with you
I always have a smart reply
But with you I feel like I lost my voice

Sometimes I feel shy
I am never shy
What are you doing to me?
I don’t understand what's happening

You confuse my body, my mind, my heart
My body wants you
My mind knows I can't have you
My heart doesn't know what to do

To get involved?
Or to not get involved?
That is the question
That my heart has to answer.

But it might not be completely up to me
I fear I may be involved, whether I like it or not
But what's to fear?
Except that I might be in too deep.

Tepid summer nights and
     holes in the soles of your feet.
Holes in your wrists, no?
Soft fluttering of dusted eyelashes and
     the pale pink of morning sun as you turn your cheek.
Blushing like a schoolgirl, no?
***** fingertips on dirtied skin and
     toothy smiles, moth-eaten pillowcases, stale whispers.
*'Pour susurrer des mots doux', non?

He wakes up with teeth grinding, lightening bolts in his jaw
Crooked smile, broken as his home is and lonely in suffering
Each day when the cruel sun streaks in through cracked curtains
and he is reminded of a unique affliction, the asymmetrical torso
moreover, the scabrous flesh that adorns the arms and inner thigh
He feels morose and grotesque, as a woman could never be
Reflective avoidance, the mirror always covered when he stands to ****
Rheum still covers delicate eyes so accuracy goes out the window
and grumbling, stooping over, wiping the mess he sighs and makes wishes

How painful these days are to a man that prays for femininity
Stature and girth like a real man, though dreaming as a schoolgirl
Bristling stubble, adoration for his thick hair from envious men
Appeasing some latent homosexual desire,
but not enough to reciprocate adoration
The pain in his worn teeth is a constant reminder of ineffectual existence
and his shoulders ache every day, whilst legs are jelly and lose balance constantly
How cruel the lethargy can be, that some days he alters anatomy
at least in his own psyche, that ever fruitful imagination

So in lonely doledrum evenings when the mists set on cityscapes
the petty escape is worn, vibrant black ladies-wear, evening gowns
and wild high heels, posturing female attire for a tender soul
Corsets and tapes hiding unseemly masculine traits,
figurine madness, the make-up set meticulous and dynamic
Ruby red lips that eschew gender conformity and mascara mirrors the sky
She feels that warm embrace, spiritual in deep ****** chasms
Grasping for the apparently unattainable; magazine littered pictures on the tabletop
and her coarse fingers glide on silken garments, moonlight serenade on the speaker

How elegant the movie star madame, in this depression taken hold
A temporary release she clinches on to some beautiful image, forever in love
To be beautiful is to be happy and all women are beautiful, experience as a teacher
Funny how fatigue disappears once embellished in womanly garb
and funnier still that the aching head and rotting mouth are nil under blusher
Those nights can be liberating for a man of ennui and illness
Confusing though it may be, that such a man can attain such joy
and still feel devotion for every woman he loved, the fact still remains that
In the mirror she saw herself smiling and so she reasoned to turn the mirror the correct way up