Sunset
by Michael R. Burch
Written for my grandfather, George Edwin Hurt Sr., on the day he departed this life.
Between the prophecies of morning
and twilight’s revelations of wonder,
the sky is ripped asunder.
The moon lurks in the clouds,
waiting, as if to plunder
the dusk of its lilac iridescence,
and in the bright-tentacled sunset
we imagine a presence
full of the fury of lost innocence.
What we find within strange whorls of drifting flame,
brief patterns mauling winds deform and maim,
we recognize at once, but cannot name.
Published by Contemporary Rhyme, New Lyre, The Chained Muse, Age of Muses, Poetry Life & Times, ArtVilla, Motherbird and Word Bird
Spring Was Delayed
by Michael R. Burch
Winter came early:
the driving snows,
the delicate frosts
that crystallize
all we forget
or refuse to know,
all we regret
that makes us wise.
Spring was delayed:
the nubile rose,
the tentative sun,
the wind’s soft sighs,
all we omit
or refuse to show,
whatever we shield
behind guarded eyes.
Originally published by Borderless Journal
Defenses
by Michael R. Burch
Beyond the silhouettes of trees
stark, naked and defenseless
there stand long rows of sentinels:
these pert white picket fences.
Now whom they guard and how they guard,
the good Lord only knows;
but savages would have to laugh
observing the tidy rows.
Polish
by Michael R. Burch
Your fingers end in talons—
the ones you trim to hide
the predator inside.
Ten thousand creatures sacrificed;
but really, what’s the loss?
Apply a splash of gloss.
You picked the perfect color
to mirror nature’s law:
red, like tooth and claw.
Vacuum
by Michael R. Burch
Over hushed quadrants
forever landlocked in snow,
time’s senseless winds blow ...
leaving odd relics of lives half-revealed,
if still mostly concealed ...
such are the things we are unable to know
that once intrigued us so.
Come then, let us quickly repent
of whatever truths we’d once determined to learn
but lost in these drifts at each unexpected turn.
There’s nothing left of us here; it’s time to go.
Less Heroic Couplets: Questionable Credentials
by Michael R. Burch
Poet? Critic? Dilettante?
Do you know what’s good, or do you merely flaunt?
Less Heroic Couplets: Less than Impressed
by Michael R. Burch
for T. M., regarding certain dispensers of lukewarm air
Their volume’s impressive, it’s true ...
but somehow it all seems “much ado.”
The Humpback
by Michael R. Burch
The humpback is a gullet
equipped with snarky fins.
It has a winning smile:
and when it Smiles, it wins
as miles and miles of herring
excite its fearsome grins.
So beware, unwary whalers,
lest you drown, sans feet and shins!
Published by Lighten Up Online
Don’t ever hug a lobster!
by Michael R. Burch
Don’t ever hug a lobster, if you meet one on the street!
If you hug a lobster to your breast, you’re apt to lose a ****!
If you hug a lobster lower down, it’ll snip away your privates!
If you hug a lobster higher up, it’ll leave your cheeks with wide vents!
So don’t ever hug a lobster, if you meet one on the street,
But run away and hope your frenzied feet are very fleet!
The Unregal Beagle vs. The Voracious Eagle
by Michael R. Burch
I’d rather see an eagle
than a beagle
because they’re so **** regal.
But when it’s time to wiggle
and to giggle,
I’d rather embrace an angel
than an evil.
And when it’s time to share the same small space,
I’d much rather have a beagle lick my face!
Resemblance
by Michael R. Burch
Take this geode with its rough exterior—
crude-skinned, brilliant-hearted ...
a diode of amethyst—wild, electric;
its sequined cavity—parted, revealing.
Find in its fire all brittle passion,
each jagged shard relentlessly aching.
Each spire inward—a fission startled;
in its shattered entrails—fractured light,
the heart ice breaking.
Less Heroic Couplets: Midnight Stairclimber
by Michael R. Burch
Procreation
is at first great sweaty recreation,
then—long, long after the *** dies—
the source of endless exercise.
Elemental
by Michael R. Burch
for Beth
There is within her a welling forth
of love unfathomable.
She is not comfortable
with the thought of merely loving:
but she must give all.
At night, she heeds the storm's calamitous call;
nay, longs for it. Why?
O, if a man understood, he might get her.
But that never would do!
Beth, as you embrace the storm,
so I embrace elemental you.
What Immense Silence
by Michael R. Burch
What immense silence
comforts those who kneel here
beneath these vaulted ceilings
cavernous and vast?
What luminescence stained
by patchwork panels of bright glass
illuminates drained faces
as the crouching gargoyles leer?
What brings them here—
pale, tearful congregations,
knowing all Hope is past,
faithfully, year after year?
Or could they be right? Perhaps
Love is, implausibly, near
and I alone have not seen it . . .
But if so, still I must ask:
why is it God that they fear?
Published in The Bible of Hell
Lay Down Your Arms
by Michael R. Burch
Lay down your arms; come, sleep in the sand.
The battle is over and night is at hand.
Our voyage has ended; there's nowhere to go ...
the earth is a cinder still faintly aglow.
Lay down your pamphlets; let's bicker no more.
Instead, let us sleep here on this ravaged shore.
The sea is still boiling; the air is wan, thin ...
Lay down your pamphlets; now no one will “win.”
Lay down your hymnals; abandon all song.
If God was to save us, He waited too long.
A new world emerges, but this world is through . . .
so lay down your hymnals, or write something new.
Bittersight
by Michael R. Burch
for Abu al-Ala Al-Ma'arri
To be plagued with sight
in the Land of the Blind,
—to know birth is death
and that Death is kind—
is to be flogged like Eve
(stripped, sentenced and fined)
because evil is “good”
in some backwards mind.
Golden Rue
by Michael R. Burch
Love has the value
of gold, if it’s true;
if not, of rue.
“Golden Rue” is a pun on “golden rule” and the fact that rue (regret) is seldom seen as golden.
Why the Kid Gloves Came Off
by Michael R. Burch
for Lemuel Ibbotson
It's hard to be a man of taste
in such a waste:
hence the lambaste.
Siren Song
by Michael R. Burch
The Lorelei’s
soft cries
entreat mariners to save her ...
How can they resist
her seductive voice through the mist?
Soon she will savor
the flavor
of sweet human flesh.
Rounds
by Michael R. Burch
Solitude surrounds me
though nearby laughter sounds;
around me mingle men who think
to drink their demons down,
in rounds.
Now agony still hounds me
though elsewhere mirth abounds;
hidebound I stand and try to think,
not sink still further down,
spellbound.
Their ecstasy astounds me,
though drunkenness compounds
resounding laughter into joy;
alloy such glee with beer and see
bliss found.
Nothing Returns
by Michael R. Burch
A wave implodes,
impaled upon
impassive rocks . . .
this evening
the thunder of the sea
is a wild music filling my ear . . .
you are leaving
and the ungrieving
winds demur . . .
telling me
that nothing returns
as it was before,
here where you have left no mark
upon this dark
Heraclitean shore.
Musings at Giza
by Michael R. Burch
In deepening pools of shadows lies
the Sphinx, and men still fear his eyes.
Though centuries have passed, he waits.
Egyptians gather at the gates.
Great pyramids, the looted tombs
—how still and desolate their wombs!—
await sarcophagi of kings.
From eons past, a hammer rings.
Was Cleopatra's litter borne
along these streets now bleak, forlorn?
Did Pharaohs clad in purple ride
fierce stallions through a human tide?
Did Bocchoris here mete his law
from distant Kush to Saqqarah?
or Tutankhamen here once smile
upon the children of the Nile?
or Nefertiti ever rise
with wild abandon in her eyes
to gaze across this arid plain
and cry, “Great Isis, live again!”
Published by Golden Isis and The Eclectic Muse (Canada)
Leave Taking (I)
by Michael R. Burch
Brilliant leaves abandon
battered limbs
to waltz upon ecstatic winds
until they die.
But the barren and embittered trees
lament the frolic of the leaves
and curse the bleak
November sky.
Now, as I watch the leaves'
high flight
before the fading autumn light,
I think that, perhaps, at last I may
have learned what it means to say
goodbye.
Published by The Lyric, Borderless Journal (Singapore), Mindful of Poetry, Silver Stork Magazine, and There is Something in the Autumn (anthology)
Con Artistry
by Michael R. Burch
The trick of life is like the sleight of hand
of gamblers holding deuces by the glow
of veiled back rooms, or aces; soon we’ll know
who folds, who stands . . .
The trick of life is like the pool shark’s shot—
the wild massé across green velvet felt
that leaves the winner loser. No, it’s not
the rack, the hand that’s dealt . . .
The trick of life is knowing that the odds
are never in one’s favor, that to win
is only to delay the acts of gods
who’d ante death for sin . . .
and death for goodness, death for in-between.
The rules have never changed; the artist knows
the oldest con is life; the chips he blows
can’t be redeemed.
Self Reflection
by Michael R. Burch
for anyone struggling with self-image
She has a comely form
and a smile that brightens her dorm ...
but she’s grossly unthin
when seen from within;
soon a griefstricken campus will mourn.
Yet she’d never once criticize
a friend for the size of her thighs.
Do unto others—
sisters and brothers?
Yes, but also ourselves, likewise.
Ah! Sunflower
by Michael R. Burch
for and after William Blake
O little yellow flower
like a star ...
how beautiful,
how wonderful
we are!
Originally published by Borderless Journal (Singapore)
no foothold
by michael r. burch
there is no hope;
therefore i became invulnerable to love.
now even god cannot move me:
nothing to push or shove,
no foothold.
so let me live out my remaining days in clarity,
mine being the only nativity,
my death the final crucifixion
and apocalypse,
as far as the i can see ...
brrExit
by Michael R. Burch
what would u give
to simply not exist—
for a painless exit?
he asked himself, uncertain.
then from behind
the hospital room curtain
a patient screamed—
"my life!"
fog
by michael r. burch
ur just a bit of fluff
drifting out over the ocean,
unleashing an atom of rain,
causing a minor commotion,
for which u expect awesome GODS
to pay u SUPREME DEVOTION!
... but ur just a smidgen of mist
unlikely to be missed ...
where did u get the notion?
grave request
by michael r. burch
come to ur doom
in Tombstone;
the stars stark and chill
over Boot Hill
care nothing for ur desire;
still,
imagine they wish u no ill,
that u burn with the same antique fire;
for there’s nothing to life but the thrill
of living until u expire;
so come, spend ur last hardearned bill
on Tombstone.
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!
Your intentions were noble and ineluctably pure.
And what the hell does THE LORD care about Palestinians?
Certainly, Christians were right about serfs, slaves and Indians.
Scratch that. You’re one of the Devil’s minions.
thanksgiving prayer of the parasites
by michael r. burch
GODD is great;
GODD is good;
let us thank HIM
for our food.
by HIS hand
we all are fed;
give us now
our daily dead:
ah-men!
(p.s.,
most gracious
& salacious
HEAVENLY LORD,
we thank YOU in advance for
meals galore
of loverly gore:
of precious
delicious
sumptuous
scrumptious
human flesh!)
Sometimes the Dead
by Michael R. Burch
Sometimes we catch them out of the corners of our eyes—
the pale dead.
After they have fled
the gourds of their bodies, like escaping fragrances they rise.
Once they have become a cloud’s mist, sometimes like the rain
they descend;
they appear, sometimes silver like laughter,
to gladden the hearts of men.
Sometimes like a pale gray fog, they drift
unencumbered, yet lumbrously,
as if over the sea
there was the lightest vapor even Atlas could not lift.
Sometimes they haunt our dreams like forgotten melodies
only half-remembered.
Though they lie dismembered
in black catacombs, sepulchers and dismal graves; although they have committed felonies,
yet they are us. Someday soon we will meet them in the graveyard dust
blood-engorged, but never sated
since Cain slew Abel.
But until we become them, let us steadfastly forget them, even as we know our children must ...
This poem was recited by Carla Maria Gnappi to her English literature class in Italy, along with other poems of mine, during a study of the poetry of William Blake.
Orpheus
by Michael R. Burch
for and after William Blake
I.
Many a sun
and many a moon
I walked the earth
and whistled a tune.
I did not whistle
as I worked:
the whistle was my work.
I shirked
nothing I saw
and made a rhyme
to children at play
and hard time.
II.
Among the prisoners
I saw
the leaden manacles
of Law,
the heavy ball and chain,
the quirt.
And yet I whistled
at my work.
III.
Among the children’s
daisy faces
and in the women’s
frowsy laces,
I saw redemption,
and I smiled.
Satanic millers,
unbeguiled,
were swayed by neither girl,
nor child,
nor any God of Love.
Yet mild
I whistled at my work,
and Song
broke out,
ere long.
Les Bijoux (“The Jewels”)
by Charles Baudelaire
loose translation/interpretation by Michael R. Burch
My lover **** and knowing my heart's whims
Wore nothing more than a few bright-flashing gems;
Her art was saving men despite their sins—
She ruled like harem girls crowned with diadems!
She danced for me with a gay but mocking air,
My world of stone and metal sparking bright;
I discovered in her the rapture of everything fair—
Nay, an excess of joy where the spirit and flesh unite!
Naked she lay and offered herself to me,
Parting her legs and smiling receptively,
As gentle and yet profound as the rising sea—
Till her surging tide encountered my cliff, abruptly.
A tigress tamed, her eyes met mine, intent ...
Intent on lust, content to purr and please!
Her breath, both languid and lascivious, lent
An odd charm to her metamorphoses.
Her limbs, her *****, her abdomen, her thighs,
Oiled alabaster, sinuous as a swan,
Writhed pale before my calm clairvoyant eyes;
Like clustered grapes her ******* and belly shone.
Skilled in more spells than evil imps can muster,
To break the peace which had possessed my heart,
She flashed her crystal rocks’ hypnotic luster
Till my quietude was shattered, blown apart.
Her waist awrithe, her ******* enormously
Out-******, and yet ... and yet, somehow, still coy ...
As if stout haunches of Antiope
Had been grafted to a boy ...
The room grew dark, the lamp had flickered out,
Till firelight, alone, lit each glowing stud;
Each time the fire sighed, as if in doubt,
It steeped her pale, rouged flesh in pools of blood.
Published by Lush Stories, The ****** Salon and loovebook
BeMused
by Michael R. Burch
You will find in her hair
a fragrance more severe
than camphor.
You will find in her dress
no hint of a sweet
distractedness.
You will find in her eyes
horn-owlish and wise
no metaphors
of love, but only reflections
of books, books, books.
If you like Her looks,
meet me in the long rows,
between Poetry and Prose,
where we’ll win Her favor
with jousts, and savor
the wine of Her hair,
the shimmery wantonness
of Her rich-satined dress;
where we’ll press
our good deeds upon Her, save Her
from every distress,
for the lovingkindness
of Her matchless eyes
and all the suns of Her tongues.
We were young,
once,
unlearned and unwise . . .
but, O, to be young
when love comes disguised
with the whisper of silks
and idolatry,
and even the childish tongue claims
the intimacy of Poetry.
Resurrecting Passion
by Michael R. Burch
Last night, while dawn was far away
and rain streaked gray, tumescent skies,
as thunder boomed and lightning railed,
I conjured words, where passion failed ...
But, oh, that you were mine tonight,
sprawled in this bed, held in these arms,
your ******* pale baubles in my hands,
our bodies bent to old demands ...
Such passions we might resurrect,
if only time and distance waned
and brought us back together;
now
I pray these things might be, somehow.
But time has left us twisted, torn,
and we are more apart than miles.
How have you come to be so far—
as distant as an unseen star?
So that, while dawn is far away,
my thoughts might not return to you,
I feed your portrait to banked flames,
but as they feast, I burn for you.
Progress
by Michael R. Burch
There is no sense of urgency
at the local Burger King.
Birds and squirrels squabble outside
for the last scraps of autumn:
remnants of buns,
goopy pulps of dill pickles,
mucousy lettuce,
sesame seeds.
Inside, the workers all move
with the same très-glamorous lethargy,
conserving their energy, one assumes,
for more pressing endeavors: concerts and proms,
pep rallies, keg parties,
reruns of Jenny McCarthy on MTV.
The manager, as usual, is on the phone,
talking to her boyfriend.
She gently smiles,
brushing back wisps of insouciant hair,
ready for the cover of Glamour or Vogue.
Through her filmy white blouse
an indiscreet strap
suspends a lace cup
through which somehow the ****** still shows.
Progress, we guess, ...
and wait patiently in line,
hoping the Pokémons hold out.
Poppy
by Michael R. Burch
“It is lonely to be born.” – Dannie Abse, “The Second Coming”
It is lonely to be born
between the intimate ears of corn . . .
the sunlit, flooded, shellshocked rows.
The scarecrow flutters, listens, knows . . .
Pale butterflies in staggering flight
ascend the gauntlet winds and light
before the scything harvester.
The winsome buds of cornflowers
prepare themselves to be airborne,
and it is lonely to be shorn,
decapitate, of eager life
so early in love’s blinding maze
of silks and tassels, goldened days
when life’s renewed, gone underground.
Sad confidante of worm and mound,
how little stands to be regained
of what is left.
A tiny cleft
now marks your birth, your reddening
among the amber waves. O, sing!
Another waits to be reborn
among bent thistle, down and thorn.
A hoofprint’s cleft, a ram’s curved horn
curled inward, turned against the heart,
a spoor like infamy. Depart.
You came too late, the signs are clear:
whose world this is, now watches, near.
There is no ****** for the heart.
Originally published by Borderless Journal
Child of 9-11
by Michael R. Burch
a poem for Christina-Taylor Green, who was born on September 11, 2001 and died at the age of nine, shot to death ...
Child of 9-11, beloved,
I bring this lily, lay it down
here at your feet, and eiderdown,
and all soft things, for your gentle spirit.
I bring this psalm—I hope you hear it.
Much love I bring—I lay it down
here by your form, which is not you,
but what you left this shellshocked world
to help us learn what we must do
to save another child like you.
Child of 9-11, I know
you are not here, but watch afar
from distant stars, where angels rue
the evil things some mortals do.
I also watch; I also rue.
And so I make this pledge and vow:
though I may weep, I will not rest
nor will my pen fail heaven’s test
till guns and wars and hate are banned
from every shore, from every land.
Child of 9-11, I grieve
your gentle life, cut short. Bereaved,
what can I do, but pledge my life
to saving lives like yours? Belief
in your sweet worth has led me here ...
I give my all: my pen, this tear,
this lily and this eiderdown,
and all soft things my heart can bear;
I bring them to your final bier,
and leave them with my promise, here.
Upon a Frozen Star
by Michael R. Burch
Oh, was it in this dark-Decembered world
we walked among the moonbeam-shadowed fields
and did not know ourselves for weight of snow
upon our laden parkas? White as sheets,
as spectral-white as ghosts, with clawlike hands
****** deep into our pockets, holding what
we thought were tickets home: what did we know
of anything that night? Were we deceived
by moonlight making shadows of gaunt trees
that loomed like fiends between us, by the songs
of owls like phantoms hooting: Who? Who? Who?
And if that night I looked and smiled at you
a little out of tenderness ... or kissed
the wet salt from your lips, or took your hand,
so cold inside your parka ... if I wished
upon a frozen star ... that I could give
you something of myself to keep you warm ...
yet something still not love ... if I embraced
the contours of your face with one stiff glove ...
How could I know the years would strip away
the soft flesh from your face, that time would flay
your heart of consolation, that my words
would break like ice between us, till the void
of words became eternal? Oh, my love,
I never knew. I never knew at all,
that anything so vast could curl so small.
“Upon a Frozen Star” was my first attempt at blank verse.
Of Civilization and Disenchantment
by Michael R. Burch
for Anais Vionet
Suddenly uncomfortable
to stay at my grandfather's house—
actually his third new wife's,
in her daughter's bedroom
—one interminable summer
with nothing to do,
all the meals served cold,
even beans and peas...
Lacking the words to describe
ah!, those pearl-luminous estuaries—
strange omens, incoherent nights.
Seeing the flares of the river barges
illuminating Memphis,
city of bluffs and dying splendors.
Drifting toward Alexandria,
Pharos, Rhakotis, Djoser's fertile delta,
lands at the beginning of a new time and "civilization."
Leaving behind sixty miles of unbroken cemetery,
Alexander's corpse floating seaward,
bobbing, milkwhite, in a jar of honey.
Memphis shall be waste and desolate,
without an inhabitant.
Or so the people dreamed, in chains.
An Obscenity Trial
by Michael R. Burch
The defendant was a poet held in many iron restraints
against whom several critics cited numerous complaints.
They accused him of trying to reach the "common crowd,"
and they said his poems incited recitals far too loud.
The prosecutor alleged himself most artful (and best-dressed);
it seems he’d never lost a case, nor really once been pressed.
He was known far and wide for intensely hating clarity;
twelve dilettantes at once declared the defendant another fatality.
The judge was an intellectual well-known for his great mind,
though not for being merciful, honest, sane or kind.
Clerics loved the "Hanging Judge" and the critics were his kin.
Bystanders said, "They'll crucify him!" The public was not let in.
The prosecutor began his case by spitting in the poet's face,
knowing the trial would be a farce.
"It is obscene," he screamed, "to expose the naked heart!"
The recorder (bewildered Society), well aware of his notoriety,
greeted this statement with applause.
"This man is no poet. Just look—his Hallmark shows it.
Why, see, he utilizes rhyme, symmetry and grammar! He speaks without a stammer!
His sense of rhythm is too fine!
He does not use recondite words or conjure ancient Latin verbs.
This man is an impostor!
I ask that his sentence be . . . the almost perceptible indignity
of removal from the Post-Modernistic roster!"
The jury left, in tears of joy, literally sequestered.
The defendant sighed in mild despair, "Might I not answer to my peers?"
But how His Honor giggled then,
seeing no poets were let in.
Later, the clashing symbols of their pronouncements drove him mad
and he admitted both rhyme and reason were bad.
Ann Rutledge’s Irregular Quilt
based on “Lincoln the Unknown” by Dale Carnegie
I.
Her fingers “plied the needle” with “unusual swiftness and art”
till Abe knelt down beside her: then her demoralized heart
set Eros’s dart a-quiver; thus a crazy quilt emerged:
strange stitches all a-kilter, all patterns lost.
(Her host
kept her vicarious laughter barely submerged.)
II.
Years later she’d show off the quilt with its uncertain stitches
as evidence love undermines men’s plans and women’s strictures
(and a plethora of scriptures.)
III.
But O the sacred tenderness Ann’s reckless stitch contains
and all the world’s felicities: rich cloth, for love’s fine gains,
for sweethearts’ tremulous fingers and their bright, uncertain vows
and all love’s blithe, erratic hopes (like now’s).
IV.
Years later on a pilgrimage, by tenderness obsessed,
Dale Carnegie, drawn to her grave, found weeds in her place of rest
and mowed them back, revealing the spot of the Railsplitter’s joy and grief
(and his hope and his disbelief).
V.
For such is the tenderness of love, and such are its disappointments.
Love is a book of rhapsodic poems. Love is an grab bag of ointments.
Love is the finger poised, the smile, the Question — perhaps the Answer?
Love is the pain of betrayal, the two left feet of the dancer.
VI.
There were ladies of ill repute in his past. Or so he thought. Was it true?
And yet he loved them, Ann (sweet Ann!), as tenderly as he loved you.
The Celtic Cross at Île Grosse
by Michael R. Burch
“I actually visited the island and walked across those mass graves [of 30,000 Irish men, women and children], and I played a little tune on me whistle. I found it very peaceful, and there was relief there.” – Paddy Maloney of The Chieftains
There was relief there,
and release,
on Île Grosse
in the spreading gorse
and the cry of the wild geese . . .
There was relief there,
without remorse,
when the tin whistle lifted its voice
in a tune of artless grief,
piping achingly high and longingly of an island veiled in myth.
And the Celtic cross that stands here tells us, not of their grief,
but of their faith and belief—
like the last soft breath of evening lifting a fallen leaf.
When ravenous famine set all her demons loose,
driving men to the seas like lemmings,
they sought here the clemency of a better life, or death,
and their belief in God was their only wealth.
They were proud folk, with only their lives to owe,
who sought the liberation of this strange new land.
Now they lie here, ragged row on ragged row,
with only the shadows of their loved ones close at hand.
And each cross, their ancient burden and their glory,
reflects the death of sunlight on their story.
And their tale is sad—but, O, their faith was grand!
wild wild west-east-north-south-up-down
by michael r. burch
each day it resumes—the great struggle for survival.
the fiercer and more perilous the wrath,
the wilder and wickeder the weaponry,
the better the daily odds
(just don’t bet on the long term, or revival).
so ur luvable Gaud decreed, Theo-retically,
if indeed He exists
as ur Bible insists—
the Wildest and the Wickedest of all
with the brightest of creatures in thrall
(unless u
somehow got that bleary
Theo-ry
wrong too).
I wrote this poem after discovering the poetry of e. e. cummings while reading poetry independently in high school. My “cummings period” started around 1974 at age 15-16. I believe this poem was the first of its genre. I seem to remember working on it my sophomore and junior years, making mostly minor revisions in 1975.
i (dedicated to u)
i.
i move within myself
i see beyond the sky
and fathom with full certainty:
this lifes a lethal lie
my teachers try to tell me
that they know more than i
(and well they may
but do they know
shrewd TIME is slipping by
and leaving us all to die?)
i shout within myself
i stand up to be seen
but only my eyes
watch as i rise
and i am left between
the nightmare of “REALITY”
and sleeps soothing scenes
and both are only dreams
i cry out to my “friends”
but none of them can hear
i weep in dark frustration
but they swim beyond my tears
i reach out to assist them
but they cannot find my hand
they all believe in “GOD”
yet all of them are ******
come, my self, come with me
move within your shell
cast aside such “enlightenment”
and let us leave this living hell
ii.
i watch the maidens play
their fickle games of love
and is this is what
life is of
then i have had enough
all my teachers tell me
to adjust to SOCIETY
yet none of them will venture
how (false) it came to be
this gaud, SOCIETY
i watch the maidens play
and though i want them much
i know the illusion of their purity
would shatter at my touch
leaving annihilated truth
to be pieced together to dispel
the lies that accompany youth
i watch the maidens play
and know that what i want
i cannot take because
then it would be gone
iii.
i watch the lovely maidens
i search their sightless eyes
i find that only darkness
lies behind each guise
i try to touch their feelings
but they have been replaced
by intelligence and manners
and tact and social grace
i want to make them love me
but they cannot love themselves
and though they seek love desperately
and care for little else
they stand little chance
of much more than romance
for a few days
i try to friend the men
but they have even less
for they want nothing more
than whatever seems “the best”
their hollow, burnt-out eyes
reveal their souls have flown
and all that loss has left
is a strange, sad fear of debt
and a love for things of gold
ive.
ive never seen a day break
but ive seen a life shatter
it was mine
and i suppose it still is:
all ten thousand pieces
id.
id like to put it together
(someONE please tell me how!)
for i am out of the glue
called u
that held my life together
i.e.
and i wish that u
and i were through
but whatever u do
dont say that we are!
Cycles
by Michael R. Burch
I see his eyes caress my daughter’s *******
through her thin cotton dress,
and how an indiscreet strap of her white bra
holds his bald fingers
in fumbling mammalian awe . . .
And I remember long cycles into the bruised dusk
of a distant park,
hot blushes,
wild, disembodied rushes of blood,
portentous intrusions of lips, tongues and fingers . . .
and now in him the memory of me lingers
like something thought rancid,
proved rotten.
I see Another again—hard, staring, and silent—
though long-ago forgotten . . .
And I remember conjectures of ***** lines,
brief flashes of white down bleacher stairs,
coarse patches of hair glimpsed in bathroom mirrors,
all the odd, questioning stares . . .
Yes, I remember it all now,
and I shoo them away,
willing them not to play too long or too hard
in the back yard—
with a long, ineffectual stare
that years from now, he may suddenly remember.
Sunset, at Laugharne
by Michael R. Burch
for Dylan Thomas
At Laugharne, in his thirty-fifth year,
he watched the starkeyed hawk career;
he felt the vested heron bless,
and larks and finches everywhere
sank with the sun, their missives west—
where faith is light; his nightjarred breast
watched passion dovetail to its rest.
*
He watched the gulls above green shires
flock shrieking, fleeing priested shores
with silver fishes stilled on spears.
He felt the pressing weight of years
in ways he never had before—
that gravity no brightness spares,
from sunken hills to unseen stars.
He saw his father’s face in waves
which gently lapped Wales’ gulled green bays.
He wrote as passion swelled to rage—
the dying light, the unturned page,
the unburned soul’s devoured sage.
*
The words he gathered clung together
till night—the jetted raven’s feather—
fell, fell . . . and all was as before . . .
till silence lapped Laugharne’s dark shore
diminished, where his footsteps shone
in pools of fading light—no more.
No One
by Michael R. Burch
No One hears the bells tonight;
they tell him something isn’t right.
But No One feels no need to rush:
he smiles from beds soft, green and lush
as far away a startled thrush
flees screeching owls in sinking flight.
No One hears the cannon’s roar
and muses that its voice means war
comes knocking on men’s doors tonight.
He sleeps outside in awed delight
beneath the enigmatic stars
and shivers in their cooling light.
No One knows the world will end,
that he’ll be lonely, without friend
or foe to conquer. All will be
once more, celestial harmony.
He’ll miss men’s voices, now and then,
but worlds can be remade again.
These Hallowed Halls
by Michael R. Burch
a young Romantic Poet mourns the passing of an age . . .
A final stereo fades into silence
and now there is seldom a murmur
to trouble the slumber of these ancient halls.
I stand by a window where others have watched
the passage of time—alone, not untouched.
And I am as they were—unsure,
for the days
stretch out ahead, a bewildering maze.
Ah, faithless lover—that I had never touched your breast,
nor felt the stirrings of my heart,
which until that moment had peacefully slept.
For now I have known the exhilaration
of a heart having leapt from the pinnacle of Love,
and the result of each such infatuation ...
the long freefall to earth, as the moon glides above.
These Hallowed Halls
by Michael R. Burch
a young Romantic Poet mourns the passing of an age . . .
I.
A final stereo fades into silence
and now there is seldom a murmur
to trouble the slumber
of these ancient halls.
I stand by a window where others have watched
the passage of time—alone,
not untouched.
And I am as they were
...unsure...
for the days
stretch out ahead,
a bewildering maze.
II.
Ah, faithless lover—
that I had never touched your breast,
nor felt the stirrings of my heart,
which until that moment had peacefully slept.
For now I have known the exhilaration
of a heart having vaulted the Pinnacle of Love,
and the result of each such infatuation ...
the long freefall to earth, as the moon glides above.
III.
A solitary clock chimes the hour
from far above the campus,
but my peers,
returning from their dances,
heed it not.
And so it is
that we fail to gauge Time’s speed
because He moves so unobtrusively
about His task.
Still, when at last
we reckon His mark upon our lives,
we may well be surprised
at His thoroughness.
IV.
Ungentle maiden—
when Time has etched His little lines
so carelessly across your brow,
perhaps I will love you less than now.
And when cruel Time has stolen
your youth, as He certainly shall in course,
perhaps you will wish you had taken me
along with my broken heart,
even as He will take you with yours.
V.
A measureless rhythm rules the night—
few have heard it,
but I have shared it,
and its secret is mine.
To put it into words
is as to extract the sweetness from honey
and must be done as gently
as a butterfly cleans its wings.
But when it is captured, it is gone again;
its usefulness is only
that it lulls to sleep.
VI.
So sleep, my love, to the cadence of night,
to the moans of the moonlit hills’
bass chorus of frogs, while the deep valleys fill
with the nightjar’s strange bullfrog-like trills.
But I will not sleep this night, nor any;
how can I—when my dreams
are always of your perfect face
ringed by soft whorls of fretted lace,
and a tear upon your pillowcase? / framed by your rumpled pillowcase?
VII.
If I had been born when knights roamed the earth
and mad kings ruled savage lands,
I might have turned to the ministry,
to the solitude of a monastery.
But there are no monks or hermits today—
theirs is a lost occupation
carried on, if at all,
merely for sake of tradition.
For today man abhors solitude—
he craves companions, song and drink,
seldom seeking a quiet moment,
to sit alone, by himself, to think.
VIII.
And so I cannot shut myself
off from the rest of the world,
to spend my days in philosophy
and my nights in tears of self-sympathy.
No, I must continue as best I can,
and learn to keep my thoughts away
from those glorious, uproarious moments of youth,
centuries past though lost but a day.
IX.
Yes, I must discipline myself
and adjust to these lackluster days
when men display no chivalry
and romance is the "old-fashioned" way.
X.
A single stereo flares into song
and the first faint light of morning
has pierced the sky's black awning
once again.
XI.
This is a sacred place,
for those who leave,
leave better than they came.
But those who stay, while they are here,
add, with their sleepless nights and tears,
quaint sprigs of ivy to the walls
of these Hallowed Halls.
At the Natchez Trace
by Michael R. Burch
for Beth
I.
Solitude surrounds me
though nearby laughter sounds;
around me mingle men who think
to drink their demons down,
in rounds.
Beside me stands a woman,
a stanza in the song
that plays so low and fluting
and bids me sing along.
Beside me stands a woman
whose eyes reveal her soul,
whose cheeks are soft as eiderdown,
whose hips and ******* are full.
Beside me stands a woman
who scarcely knows my name;
but I would have her know my heart
if only I knew where to start.
II.
Not every man is as he seems;
not all are prone to poems and dreams.
Not every man would take the time
to meter out his heart in rhyme.
But I am not as other men—
my heart is sentenced to this pen.
III.
Men speak of their "ambition"
but they only know its name . . .
I never say the word aloud,
but I have felt the Flame.
IV.
Now, standing here, I do not dare
to let her know that I might care;
I never learned the lines to use;
I never worked the wolves' bold ruse.
But if she looks my way again,
perhaps I will, if only then.
V.
How can a man have come so far
in searching after every star,
and yet today,
though years away,
look back upon the winding way,
and see himself as he was then,
a child of eight or nine or ten,
and not know more?
VI.
My life is not empty; I have my desire . . .
I write in a moment that few men can know,
when my nerves are on fire
and my heart does not tire
though it pounds at my breast—
wrenching blow after blow.
VII.
And in all I attempted, I also succeeded;
few men have more talent to do what I do.
But in one respect, I stand now defeated;
In love I could never make magic come true.
VIII.
If I had been born to be handsome and charming,
then love might have come to me easily as well.
But if had that been, then would I have written?
If not, I'd remain; **** that demon to hell!
IX.
Beside me stands a woman,
but others look her way
and in their eyes are eagerness . . .
for passion and a wild caress?
But who am I to say?
Beside me stands a woman;
she conjures up the night
and wraps itself around her
till others flit about her
like moths drawn to firelight.
X.
And I, myself, am just as they,
wondering when the light might fade,
yet knowing should it not dim soon
that I might fall and be consumed.
XI.
I write from despair
in the silence of morning
for want of a prayer
and the need of the mourning.
And loneliness grips my heart like a vise;
my anguish is harsher and colder than ice.
But poetry can bring my heart healing
and deaden the pain, or lessen the feeling.
And so I must write till at last sleep has called me
and hope at that moment my pen has not failed me.
XII.
Beside me stands a woman,
a mystery to me.
I long to hold her in my arms;
I also long to flee.
Beside me stands a woman;
how many has she known
more handsome, charming,
chic, alarming?
I hope I never know.
Beside me stands a woman;
how many has she known
who ever wrote her such a poem?
I know not even one.
“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 in high school my senior year, then worked on in college. It appeared in my poetry contest notebook and thus was substantially complete by 1978.
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 vessel’s 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 I’d so often climb
when the wind was **** with the tang 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-seasoned 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 sprightlier 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 tumble 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.” For years I thought I had written “Sea Dreams” around age 19 or 20. 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 by 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 ...”
Alien Nation
by Michael R. Burch
for J. S. S., a Christian poet who believes in “hell”
On a lonely outpost on Mars
the astronaut practices “speech”
as alien to primates below
as mute stars winking high, out of reach.
And his words fall as bright and as chill
as ice crystals on Kilimanjaro —
far colder than Jesus’s words
over the “fortunate” sparrow.
And I understand how gentle Emily
must have felt, when all comfort had flown,
gazing into those inhuman eyes,
feeling zero at the bone.
Oh, how can I grok his arctic thought?
For if he is human, I am not.
Note: The coinage “grok” appears in Robert Heinlein’s classic sci-fi novel Stranger in a Strange Land. The novel’s protagonist, Valentine Michael Smith, was raised on Mars by enlightened Martians, and he often feels out of sorts on Earth, where he struggles to grok (understand deeply and profoundly) earthlings and their primitive, often inhuman, ways.
Keywords/Tags: These Hallowed Halls, ivy, college, university, school, class, classmates, students, study
These are poems about sunsets, things in decline, loss and regrets.
