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anon Sep 2017
I am a master seamstress
I sew on a grin every day
You can never see my seams
Careful little stitchings
All across the surface

At the end of the day
I cut every little string
I let my sewn smile fall weak

I could smile without it
But it wouldn't be true
Because my cute little smile
Is merely a façade
The real me hides behind seams
She sews to be a survivor
The little seamstress I become


I am a master seamstress
I sew thoughts onto papers
The ink could never bleed through

My strong tight stitchings
Gliding across the blank paper

At the edge of the sheet
I find myself stopping
My stitches want to unravel
I have to let them out
Because they look so caged

So I exterminate my thoughts
They never come back to visit
I set them free for a reason
And it was for them to survive
This little seamstress has a heart


I am a master seamstress
I turn colors into thoughts
The thoughts I turn to material
The material I turn to beauty
The beauty I turn to stitches
The stitches heal broken hearts

My work is so well known
But then they go and leave
I do my part and they are pleased
I stitch their hearts up

They cut some stitchings
Right off my patched heart
The little strings I use
On my seamless tiny grin fray
The seamstress I was works no wonders


I am a master seamstress
I sew the strings onto the puppets
They act a lot like I do
So I admire their tough hearts
They are controlled by another
Little hands lift them up
And make them walk through life

They have their grins plastered on
Just like my seamless little smile
They prance and fly among us
But we never seem to notice them

It's like they are invisible
Falling upon deaf eyes
But I keep them alive
Because a seamstress always saves


I am a master seamstress
I sew what some call impossible
I prove them wrong with one stitch
Still they see right through me

I sewed myself invisibly
Don't let them see the real me
Don't let them know the seamstress
I've sewed their eyes to know
Not to look upon me
As I fix as I repair

They think of me as a fairy
Patching up their cuts
I'm just a small little figure
They never really see
That's just the way a seamstress likes


I am a master seamstress
I sew my wings of thread
Wear them proudly like a trophy
Every stitch is always perfect

They fly up off the wings
They soar when I fly up high
Drooping when I try to walk

My wings are seamless grins
They pretend to be when I'm not
Just like the little grin of everyday

Fly away all you little seams
All the little frayed strings
Gather up in all my stitchings

They look upon the air with care
But the seamstress can't fly away anymore


I am a master seamstress
Sewing up what cannot be fixed by man
Poetic T Feb 2015
Wilted flower,* ageless in
A time of *frailty,
never wishing
For her glow to fade, but
Every flower wilts over time.

She was weak in sympathy
Seeing everyone though her
Outer shell was, of ill taste,
Souring there eyes.

So those of younger skin she
Spat upon in hated gestures,
Until she could not see beauty,
Only those having what had
Faded upon her over time.

She was a seamstress of cloth,
Fashion was in her eyes, beauty
For beauty now all was bland
As her image tainted, She was
Upon a plan.

She would take beauty from those
Unworthy souls, who abused the
Gift for it should be collected,
Harvested, so began her crime.

The first was a nose, cut off still
Breathing jagged edges ruined.
She slashed upon beauty as stillness
Settled in there eyes. Like a canvass
Now ruined, ugly in her sight,
Discarded in to the river the fishes
Feasting upon her crime.

She harvested, parts each dead
for moments but stillness brought
precision, each  flawless gem, with
Precise loops each part fell in to place.

She only needed one more ,the lips
So delicate, so fragile. She carved
So many kisses from the bodies,
But never the correct, impatient
She became, enraged with failures.

Her moments of rage, became news.
"The patch work doll"
"The seamstress of beauty"
She liked this name for beauty
Was a puzzle that she stitched
Together to hide the ugly inside.

Then upon those fated moments,
"Excuse me do you know the"
Her mind forgot to listen, transfixed
Upon those ruby gems, Yes ill
Show you the way.
"Thank you mam"
Ill fated beauty, single breathes to
Take. These where her jewels of
Her crown as each most delicately
Removed, stored so not to break.

The patchwork was finished, hideous
Monstrosity
of flesh dead, but she
Revelled upon her creation. Missing
The point that she was only faded inside.

She wore this mask, the seamstress of
Beauty
now wore the blood of others
Upon her face, each was a life taken
For this moment in the mirror, she
Looked upon in happiness, in joy
Of others pain, but the moment faded.

All she saw was others, her beauty hidden
Upon the stiches of others face, she
Couldn't see herself only the faces of
Each life she did take. The lips moved
Spoken words upon this face, you want
This beauty take it cut it with the knife.

She cut upon this mask, deep cuts
Upon her own self, the mask fell
To the floor, spare parts of meat.
She cut around, bleeding down
Kissing the floor as it fell. Till she
Stood there, her skin, meat upon
The floor.

Those final moments the seamstress
Saw she was beautiful, that it was
Underneath that was what she had
Missed, so much beauty spilled for
What, as she ran screaming towards
The window.

Like a mirror shattering shards
Showing her a reflection of the beauty
She had become, she was the seamstress
Of many faces but know only one
Face hits upon the unforgiving ground.
Beauty in pieces...
Alli Westerhoff Aug 2015
Admiration is a word that comes to mind when I think about her work.
The seamstress only has to imagine and she can create a masterpiece of herself.
With every thread, button, and hem she tells a story.
She represents herself with every outfit. Her work molds to her every curve and bump.
She can move effortlessly and not worry about a tair
or loose string.
She can create herself into exactly who she wants to be.

And then there is me.
Who has to fight every zipper,
glare at every neckline,
and gripe at worn out areas that have rubbed and tugged to try and fit
my untamed figure.
The clothes that disguise me only entangle me
in a world of self hate and disappointment.
The number or letter on the tag become scars tattooed in my brain of three words:
not
skinny
enough.

I remember when a boy in line during the 4th grade called me fat ***.
I remember when I was taken by my mother to a store that "might have things that fit better."
I remember looking at pictures of myself next to my friends and instantly comparing every inch of myself to theirs.
I remember when I looked at myself and thought, "maybe if you lost 20lbs. you would be attractive."
When the Seamstress looks in the mirror she sees a canvas.
A challenge.
A body that will fit herself.

When I look in the mirror I see a girl fighting to fit in her body.
I see those memories of hiding behind baggy sweaters.
I see countless dressing room breakdowns.
The seamstress must have harsh eyes.
She must have her own burden.
Her clothes may be her own, but is it all a disguise to hide herself too?
Poetic T Aug 2014
Seamstress sew me a line of word
Make it colourful,
Make it stand out,
She did it, the words weaved in and out
One over the other,
They flowed vibrantly,
She was a master at sewing word
Her pins were
Pencil
&
Pen
Woven with each, shades came out
Each told a story, a life of its own
Happiness
Darkness
Terror
&
Joy
What was asked, she would sew
Every stich was new in her mind
To sew a word profound,
All took time
Once stitched there was no going back,
It was complete
Colourful,
Dark,
The words woven  in style
Like it or not,
Her woven words stitched to the page
This seamstress of ink and lead,
Now waiting to once again sew words
Upon a blank page...
Milyan McKissack May 2014
Dear Seamstress,
oh seamstress!
Please help me if you may.
My heart,
It's torn,
there's nothing left to say.
I'm open,
vulnerable,
I need help right away!
The red stuff,
it's everywhere,
I'm dying so make way.
At the gates of hell,
I see my demise.
Because I assure you;
I'm rotting from the inside.
With the last breath I take
and my heart stone cold,
I remember when my veins ran red
but not anymore.
So thank you,
Seamstress,
for not doing ****.
You've saved me from feelings,
family and friends.
I'm gone.
But not yet dead.
For I've only died on the inside
and not yet felt the cold touch
of death.
Matthew Evett Feb 2017
There once was a hedgehog who sang the blues,
And every day he'd sing his lonely tunes.
I asked him if he'd sing a happy song,
But he said not since he'd been wronged
By a certain red-hatted gnome
Who had driven him from his home.

That bad gnome, you see, had stolen his dreams,
And absconded with a mistress of seams.
With this seamstress the hedgehog had fallen in love
After she had sewn him some quite dashing gloves.
And while they then had a nice picnic,
In the rose garden, a place thought quite chic,
The gnome had more money
So she called him honey.

Then off they did roam, the seamstress and gnome,
Around the world, calling all places home.
The hedgehog ran off away from that place
Hoping to never again see Gnome's face.
But sadly Gnome found a job on TV
And every day he the hedgehog would see.

All this the hedgehog told me that night
As he sang in the pale moonlight.

Later that week I was back in that place
Where I found him with a smile on his face.
I asked him why he was so full of cheer.
And he told me that the seamstress was near.
She had left the gnome who was a rascal.
She had found with him naught but a fiasco.
From the hedgehog she had run,
But now to him she had come.
For she knew he did love her,
And he would be her lover.

Thus ends this story of seams and true love.
They lived ever after making their gloves.
For my wife, because she loves hedgehogs.
Marlena R Aug 2015
My eyes to Slava my seamstress say,

"I'm begging you,
sew me a new skin
here
in your living room
to hold me together now
because I can't seem to anymore...

Dear Slava,
I know you know,
how the thoughts inside me
are crazed,
you've known my childhood days &
it's not me here.
Who's this dead thing in the living room?

I feel the bones inside me,
they're too loose.
You see me falling apart,
these eyes of mine the noose.
Catch me dear friend,
from myself!
I'm begging you,
change this stitch in time
for me?
Dreams of Sepia Sep 2015
A harbor town, just like this one, swept up in fog
the seagulls, ghosts emerging from the skies

the river glistens soft & wide,
the Cranes for now are sleeping giants

he kisses her, the anxious gun pressed tight
against his hand in his pocket

he is a dock worker
she is a seamstress

they're a black & white film
because technicolor here is impossible

he is you & she is me
we speak only in French

the kids on the block
will get you the next day.
I live in a harbor town & it means I always have fog & 1930's french movies on my mind...
g clair Sep 2013
Snuggled in Downey, five-hundred thread county, creating,
in brushed cotton flannel she's sewn his panels, he's waiting
when down in the subway he sits on a nail
and jumping up, empties his cup on the rail
the coppers subdue him, and drag him to jail, parading.

Stripped to the drawers for a search they discovered the flannel
panel
when asked of the man who had frozen his can in the English
channel
he gave them the name of his seamstress and then
discovered that inside the panel was penned,
a note from the woman who goes by Sangwen de Lemanel:

"If you find this it means you have bust loose the seams of your winsulation
come back to my shack, I'll be happy to tack without hintsulation
of course, if by chance, you'd be wanting some scones
while I fix up your pants, you can warm up your bones
and I'll double the thickness and strength for your own consolation".

Though the note in the pants, at a glance, hardly worth the debating
somewhat cryptic in places, suggested the seamstress was dating
could it be that this maiden with needle and thread
was hiding an inmate who'd recently fled
it was suspect, her stitch-work, a cover: abetting and aiding.

Intent upon solving the case of the note in the panel
Sherlock Dannel rode down to the seamstress and brought her some flannel
"I've sewn quilts, without guilt, for the queen, rest her soul,
and the king wore my hats, though his head had a hole
but the rest of my work will attest to my innocence, Dannel".

And Sherlock, so taken with Sangwen, whose voice was sedating
missed the gist of her kiss, but the point of this pistol elating
"See I'm really quite good with a needle and thread
but in cases left traces of blood on the dead
when my needles were shed from drawers of the bores who were waiting."

The man was immersed, but well versed in the curse of the smitten
he saw that this seamstress was shrewd and her verses well written
and hiding her needles and notes could avail
in busting loose criminals down at the jail
and if he had his way, on this day, in the pen she'd be knittin'
Martina Ngose Mar 2016
And when you think your heart is breaking,
Honey don't doubt the inner seamstress in you -
Let her stitch your broken pieces
And mould you into a fine piece of fabric -
Beautiful to be loved, appreciated and adored
By other men who have been stitched by a
Different seamstress.
I have mended my many torn stitches
I know so many who need a seamstress
I always pull out my needle and thread
But my stitches keep coming loose again
Jacqueline P Nov 2012
She stayed up quite late many nights
Pricking her fingers raw sometimes
Telling herself that it did indeed matter.
She would thread a ribbon with such care that it seemed as if the ribbon was her own life
And each stitch with such precision!
Lined with words, with nouns, the adjectives kept together just perfect
Yet no one would wear her sorry stories
No, no one read the tear-stained woven fabrics
In such brilliant hues that even a cardinal would be jealous.
Scarlet after all is such a lovely color.
brandon nagley May 2015
Hence, this soul's departed
Its left this carcass
I seeketh a chariot
A spiritual seamstress
Scott M Reamer Apr 2013
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You are what your reading lady. Now would you hold this gun?
Creep Dec 2016
I'm an excellent seamstress--
I can mend anything, rip seams out of everything
But who will fix me?
another love
by tom odell
Queso Jun 2012
‘Twas but a rare, snowy day in Paris,
a January day, as all the lights of the city
rested, as dancers of the Moulin Rouge
fixed their make up during the intermission

And in the graveyard of Père Lachaise
there stood a solitary figure of an old man,
his hands gathered together politely,
in front, clenching on to a tattered flat cap

The man stood in front of a grey wall,
“a tomb without a cross or chapel,
or golden lilies, or sky-blue church windows,”
but with an equally lonesome little plaque
that read, ‘Aux mort de la commune,
21 28 Mai 1871’

He lit a cigarette, from which he took just one puff,
stuck it upside-down on a patch of dirt,
then notwithstanding the thunderstorm
of camera flashes from Japanese tourists,
he started to sing, with a hoarse yet firm voice,
“Debout, les damnés de la terre,
Debout, les forçats de la faim…”

As the wrinkle on his forehead began to stretch,
the dusty particles of ice piled higher and higher
on neighboring graves commemorating
French members of the International Brigades
and Spanish maquis of the French Resistance
-apparently the 3,400 meters height of Pyrenees
was merely a backyard *****
for ideas and fates to tread over barefooted-

His song was a ballad of unrequited passion;
when he got to the chorus about some final struggle
and the unity of human race in a silly hymn,
a song that was never played on a radio,
for which no cool kid would ever
spend $0.99 on iTunes store,
his voice started cracking in amorous choke

The old man was a lifetime lover
in the truest spirit of a Frenchman,
spent all his life trying to charm a girl named Emma Ries,
and whenever he dreamed of holding
the eloquently bruised hands of that sixteen years old seamstress,
his eyes swelled of nostalgic heart,

And he used to cry joyfully,
dropping tears of bullets back in the days,
whether by the guillotine in Place de la Concorde,
behind the barricades of Belleville amidst the cannonballs,
******* in front of the Gestapo firing squads,
or under the truncheons of gendarme in Quartier Latin

As the expired old ******* moaned wet dreams,
hallucinogic delusions of his bygone youth, however,
the chilly, soggy winter of 20th arrodissement piled on,
the ashen slums of Ménilmontant depressingly ugly as always
with brownish-grey molten snow spattered all over
the streets trotted by drug dealers and wife beaters,
and neither the fiery oratory of Maurice Thorez
nor the sanguine grenade of Colonel Fabien
was around to arson the frost into the proletarian spring

In the same winter that the old man sang
the first, only, and last lovesong of his life,
it had been more than two decades already
since the Berlin Wall had tumbled down
and the ruling parties in Greece and Spain,
both socialists,
had just driven 500,000 workers out of their jobs

-J.P. Proudhon, Marx and Engels, Jean Jaures, V.I. Lenin,
Leon Trotsky, Antonio Gramsci, Leon Blum, Abbie Hoffman-
by the time the old man muttered an old pop-song nobody cared for,
all of those names were as relevant as some Medieval knights,
characters from an obscure chronicle centuries ago,
who died by charging horseback into windmills,
mistaking them for giants that held whom they thought as
a princess of an ugly peasant woman,

Eventually, right before his voice cracked
into an embarrassing fuddle of choked-up tears,
impressive for a seventy something years old,
the man finished the song from his memory,
all the way up to the sixth stanza;
yet the curvaceously splintered palm of a seamstress,
it was still so far away from his hands that’s been pleading
since 1871 for that glorious *******
which once stood so proudly in the face of a Czernowitz magistrate

When the cigarette he stuck upside down on the dirt
burned all the way down, he reached into his coat,
took out a rose, laid it softly, like his own infant child,
in front of the plaque which golden inscriptions
turned grey from unwashed grimes of ages
and as the old fool walked away,
his back turned away from the solemn wall,
there was but one little patch of dirt in the whole of Paris
uncovered by snow, still hoping for the spring to come.
g clair Nov 2014
Snuggled in Downey, five-hundred thread county, creating,
in brushed cotton flannel she'd sewn his panels, he's waiting
when down in the subway he sits on a nail
and jumping up, empties his cup on the rail
the coppers subdue him, and drag him to jail, parading.

Stripped to the drawers for a search they discovered the flannel
panel
when asked of the man who had frozen his can in the English
channel
he gave them the name of his seamstress and then
discovered that inside the panel was penned,
a note from the woman who goes by Sangwen de Lemanel:

"If you find this it means you have bust loose the seams of your insulation
come back to my shack and I'll cover the cost of my consultation
and then, if by chance, you'd be wanting some scones
while I fix up your pants, you can warm up your bones
and I'll double the thickness and strength for your own consolation".

Though the note in the pants, at a glance, hardly worth the debating
somewhat cryptic in places, suggested the seamstress was dating
could it be that this maiden with needle and thread
was hiding an inmate who'd recently fled
it was suspect, her stitch-work, a cover: abetting and aiding.

Intent upon solving the case of the note in the panel
Sherlock Dannel rode down to the seamstress and brought her some flannel
"I've sewn quilts, without guilt, for the queen, rest her soul,
and the king wore my hats, though his head had a hole
but the rest of my work will attest to my innocence, Dannel".

And Sherlock, so taken with Sangwen, whose voice was sedating
missed the gist of her kiss, but the point of this pistol elating
"See I'm really quite good with a needle and thread
but in cases left traces of blood on the dead
when my needles were shed from drawers of the bores who were waiting."

The man was immersed, but well versed in the curse of the smitten
he saw that this seamstress was shrewd and her verses well written
and hiding her needles and notes could avail
in busting loose criminals down at the jail
and if he had his way, on this day, in the pen she'd be knittin'.
Amour de Monet May 2014
Today
I will find my heart
where you left it

Today
I will rinse it clean
and
sew it back into my chest

Today
I will buff the scars
and watch as it inhales
red

Today
I will be fully alive

but
Tonight
I will detach it from my veins
and lay with you again
Mike Hauser May 2015
Where did she go this time
This seamstress of the rhyme
Did she just up and quit
Had enough of it
Decided to move on
Flipping the silver coin
That came up on heads
So that is why she left

Where did she up and go
This seamstress of the poem
Did she even bid farewell
Tell us all to go to...
Hello are you out there
I'm in my underwear
That may be T.M.I.
What I won't do for a rhyme

Why did she have to part
This seamstress of poetic art
Since the day she went away
Things round here ain't been the same
Sitting here wondering what is up
Cause I miss Deborah very much

Oh and the part about me in my underwear now burned into your mind
Any good Shrink could erase that given enough money and time
Jenny Cassell Apr 2011
You are the practicality that keeps me grounded;
I am the spontaneity that drags you along.
You are the reason to my irrationality;
I am the tumult to your calm.
You are the answer to my questions;
I am the words to your quiet deeds.

You are the engineer I cherish;
I am the bookworm you esteem.
You are the chef I rate as top;
I am the baker you adore.
You are the handyman I can count on;
I am the seamstress you prefer.

They say opposites attract, and it seems that might be true.
Like two pieces from the puzzles we both love,
We fit together seamlessly.
To be cliche, you complete me,
But in ways I never knew weren't whole.
Shane Dec 2012
Rumination expands through the personification of strands,
through exposure to vociferous souls
Prismatic expulsion
Blinding to the eyes, but in this darkness I achieve true sight
My eyes parallel to the universe
I watch the seams closely
Fixated

*I am the watcher of all that is sacred
speakeasied Jul 2013
If you are a singer, be a construction worker.
If you are a construction worker, be a lawyer.
If you are a lawyer, be a seamstress.
If you are a seamstress, be a teacher.
If you are a teacher, be a police officer.
If you are a police officer, be a librarian.
If you are a librarian, be a mathematician.
If you are a mathematician, be a writer.
And if you are a writer, be all of the above.
The only way you can be a writer is to look within yourself and find someone else.
All the world locked outside,
You tread on despite my cries,
Sewing memories afloat with pain,
And forgetting them in my brain.
Your needle steady, your foot secure,
Upon my now empty chest you endure,
You thread and step across my mind,
You ***** your torture slowly in time,
Of all things now I wish could be
Is that you would again feel something for me,
So that you’d know the agony you’ve caused,
So that you could see the  blood I’ve lost,
I want your heart to again reveal,
I want you to personally feel,
For these familiar wounds have in time healed,
But I want you to know this pain unreal.
It Could Have Been So Much More.
Matilda.
The light of my life.
The poem of my tongue.
The fire of my chest.
The wind of my *****.
The hate I loathe.
The beauty I view.
My lady.
My dream.
My hesitant rainbow.
My fearless tears.
My coverlet and starlet;
my blanket and dainty amulet.
My distant promise and cautiousness;
but in all my darling; looking ever so stately-
yet not like yon faraway, morning dew.

Matilda.
The hands I adore;
the fingers I want to kiss.
The solitude I live in;
the fate I was born in.
A pair of eyes ever to me too divine,
A charm that loyally strikes, and glows and shines.
A lock of hair that petulantly sways and sweats.
A midday tale of love; as how it is mine,
a beauty that this world ensures,
but cannot adore.

Matilda.
Even the brisk turquoise sea
is ever less glossy than thy eyes,
for their calmness is still less harmful,
unlike unbending, thus insolent tides, at noon.
Ah, Matilda, thou art yet too graceful,
but tricky and indolent, as the puzzling moon!
Thy purity is like unseen smoke,
tearing the skies' linings like a fast rocket,
making me ever thirsty, turning my heart wet,
but still this attentive heart thou canst not provoke;
thou art a region too far from mine;
but still luck is in heart whose fate's in thine.
And as thou singeth a tone I liketh to sing
I cannot help but more admiring thee;
And as thou singeth it genuinely more,
thou capture all my breath and give it all a thrill;
for I realise then, that thou canst be stiff, as sandless shores;
but thy beauty canst so finely startle,
and whose startledness
canst ****.

Matilda.
But deadness, and ever desolation
are vividly clamouring in thy eyes;
Thou art but distinct, distinct indeed-from serenity;
for thou warble thyself, but gladly-away, from thy sullen reality.
Ah, Matilda, how canst a soul so comely
be hateful to fame, and dishonest just from its frame?
Matilda, to those merciless hearts indeed thou beareth no name;
Thou art a shame to their pride, and a stain to their bitterly fevered, sanity.
Yet still, thou art to innocent to understand which,
and in love naively, as thou just art, now-
with that feeble shadow of a pampered young fellow,
Whose stories are also mine,
for his father's money is donned,
and coined every day-by my servant's frail hands;
The sweat of my palms obey me in doing so-
I am my master's son's poor sailor,
and he his sole heir-and soon is to inherit
an indecent boat; full of roaming paths, doors, and locks
And at nights, costly drapery and jewels shall be planted in their hair-
yes, those beastly riches' necks, and skin fair,
And thou be their eternal seamstress,
weaving all those bare threads with thy hands-
ah, thy robust ****** hands,
whilst thy heart so dutifully levitating
about his false painting, and bent even more heartily, onto him.
Ah, 'tis indeed unfair, unfair, unfair-and so unfair!
For such a liar he was, and still is-
Once he was betrothed to a bitter, and uncivil Magdalene;
Uncivil so is she, prattling and bickering and prattling and bickering-
To our low-creature ears, as she once remarked,
She who basked in her own vague hilarity, and sedate glory
And so went on harshly unmolested by her vanity, and fallibility;
But sadly indeed, occupied with a great-not intellect,
As not sensible a person as she was;
At least until the winds knocked her haughty voices out-
and so then hovering stormy gales beneath,
took her out and gaily flung her deep into the raging sea.

Still he wiggled not, and seems still-in a seance every night,
whenst he but cries childishly and calls out to her name in fright.
Her but all dead, dead name;
'Till his father tears him swiftly out of his solitude
And with altogether the same worried face
but drags his disconcerted son back into his flamboyant chamber.
Ah, and I caught thee again, Matilda,
Bowed over the picture of yon young sailor;
'Twixt those sweet-patterned handkerchiefs
On thy lil' wooden table, yesterday
And curved over yon picture, I was certain;
I caught some fatigued tears in thy eyes-
for from thy love thou wert desperate,
but still unsure even, of the frayed tyings of cruel fate.
Ah, Matilda, your hair is still as black as the night
The guilty night, though nothing it may knoweth, of thy love,
and perhaps just as unknowing it seemingly is;
as th' tangled moon, and its dubious arrows
of unseen lilies, above
Shall singeth in uncertainty; and cordless dignity
And which song shall forever be left unreasoned
Until the end of our days arrive, and bereft us all
of this charismatic world-and all its dearest surge of false,
and oftentimes unholy, fakeness.
Oh Matilda, but such truest clarity was in thy eyes,
And frightened was I-upon seeing t'is;
As though never shrouded in barren lies
Like a love that this heart defines;
but never clear, as never is to be gained.
Ah, Matilda, and such frank clarity dismays me;
It threatens and stiffens and chortles me,
for I am certain I shan't be with thee-
and shall ever be without thee,
for thou detest and loathe me,
and be of no willingness at all-
to befriend, to hold, or to hear-
much less reward me with thy love,
as how I shall reward thee with mine.

Matilda, this love is too strong-but so is, too poor
And neither is my heart plainly bruised;
For it is untouched still, but feeling like it has been flawed
Ah, why does this love have to be raw-and far indeed, too raw!
I, who is thy resilient friend, and fellow-sadly never am in thy flavour;
for in his soul only-thy love is rooted;
And this love is forever never winning-and it is sour,
Like a torn, mute flower; or like a better not, laughter.
And my heart is once more filled with dead leaves-
Ah, dead, dead leaves of undelight, and unjoy;
Whose cries kick and bend and strangle themselves-
all to no avail, and cause only all its devouring to fail,
For his doorless claws are to strong,
Stealing thy eyes from me for all day,
and duly all night long.
How discourteous! Virtual, but too far, still-
corrupting me; ah, unjust, unjust, and discourteous!
Tormentingly-ah, but tormentingly, torturously, insincere!
Ah, Matilda! But soon as thou prayeth,
every single grace and loveliness thou shall delicately saith;
Thy voice is as delightful as nailed, or perhaps, cunningly deluded vice-
Which I hath always feigned to be refuting tomorrow,
but is only to bring me cleverer and cleverer sorrow
'Till hath I no power to defy its testy soul,
that for no reason is too shiny and bold,
but so dull, and bland as a hard-hearted summer glacier,
and too unyielding as hurtful, talloned wines.
Oh, but no appetite I hath, for any war
against him-for he is fair, and I am not,
He is worthier of thee, than my every word;
He who to thee is like a graceful poem,
he who is the only one to smirk at
and hush away thy daylight doom.
Matilda! For evermore thy heart is mine;
and mine only-though I canst love thee
only secretly, and admire thee from afar,
Still cannot I stand bashful, and motionless-too far,
For I wish to hath been born, for thy every sake
Though it shall put my sinless tongue at stake
And even my love is even gentler then blue snowflakes;
and more cordial than yon rapturous green lake.
Ah! Look! Upon the moors the grass is swirling,
so please go back now; and be greedy in thy running.
Still when no music is playing,
all is but too painful for thee,
which I liketh to neither witness, nor see,
for upon thee the moon of love might not be singing,
as it is upon all others a song,
But somehow to nature it not be wrong,
for he cannot still be thy charm, nor darling.
O-but I hate thinking of which affectionately,
when thou crieth and which sight, to my heart, is paining.
Ah, Matilda! For even to God thy love is but too pure;
for it is faultless as morns, and poisonless-
like those ever unborn thorns;
Of yon belated autumn melody,
But is, somehow, fraught and dejected
With sorrow, for it is him, that yesterday and now
Thou loveth softly and securely,
Two hours later and perhaps, in every minute of tomorrow.

Matilda! But still tell me, how can thou securely love a danger?
For I am sure he is but a danger to thee, indeed;
Once I witnessed how his face
grotesquely thrusted into furtive anger
As he burst into a dearth of strong holds,
of his burning temper-under the blooming red birch tree;
And as every eye canst see,
He is only soft, and perhaps meek-as a butterfly,
Whenever the world he eats and sleeps and feeds on in-
Tellest him not the least bit of a lie;
Ah, Matilda, canst I imagine thee being his not,
ah, for I shall be drowned in deflating worry, indeed-I shall be, I shall be!
I dread saying t'is to thee-but he, the heir of a ruthless kingdom,
and kingdom of our God not-within their lands and reigns of scrutiny,
His words are but a tragedy, and a pain thou ought not to bear;
O, Matilda, thou art but too holy and far too fair!
Thy soul is, so that thou knoweth, my very own violin-
To which I am keenly addicted;
I am besotted with thy red cheeks-;
As whose tunes-my violin's, are thy notes
as haunting and sunnily beautiful,
And cloudless like thy naivety,
Which stuns my whole nature,
and even the one of our very own Lord Almighty.
Ah, Matilda, even the heavens might just turn out
far too menial for thee;
and their decorum and sweet tantrums idle and unworthy;
Thou art far, far above those ladies in dense gowns,
With such terseness they shall storm away and leave him down.
But why-why still, he refuses to look at thee!
Ah, unthinking and unfeeling,
foolish and coquettish,
unwitted and full of deceit-is himself,
for loving should I be-if thy smile were what I wished,
and thy blisses and kisses were what I dreamed;
I wouldst be but warmer than him,
I wouldst be but indeed so sweet,
I wouldst be loftier than he may seem;
and but madden thee every sole day, with my gracious-
though sometimes ferocious-ah, by thy love, ever tender wit.

I hath so long crept on a broken wing,
And thro' endless cells of madness, haunts, and fear,
Just like thou hath-and as relentlessly, and lyrically, as we both hath.
But not until the shining daffodils die, and the silvery
rivers turn into gold-shall I twist my love,
and mold it into roughness-
undying, but enslaved roughness;
that thou dread, and neither I adore;
For for thee I shall remain,
and again and again stay to find
what meaningful love is-
Whilst I fight against the tremor
and menace this living love canst bring about-
To threaten my mask, and crush my deep ardor.
Ah, my mask that hath loved thee too long,
With a love so weak but at times so strong;
and witnessed thee I hath, hurt and pained
and faded and thawed by his nobility
But one of worldliness; and not godliness
For heavens yonder shall be ours, and forever
Shall bestow us our triumphs, though only far-in the hereafter;
Still I honour thee, for holding on with sincerity-
and loyalty, to such contempt too strong
For thou art as starry as forgiveness itself,
and thus is far from yon contempt-and its overbearing soul;
And perhaps friendly, too unkind not-
like its trepid blare of constant rejection, and mockery
And as I do, shall I always want thee to be with me;
For thou art the mere residue, and cordial waning age of the life that I hath left;
For thou art the only light I hath, and the innate mercy I shall ever desire to seek;
and perhaps have sought shall, within the blessed soul of my 'ture wife.
Oh, Matilda, thou art the dream t'at I, still, ought not to dream,
thou art the sweetness I ought' only charm, and keep;
As thou art the song, that I may not be right'd to sing;
but the lullaby; which in whose absence, I canst shall never sleep.
Nigel Morgan Dec 2013
A Tale for the Mid-Winter Season after the Mural by Carl Larrson

On the shortest day I wake before our maids from the surrounding farms have converged on Sundborn. Greta lives with us so she will be asleep in that deep slumber only girls of her age seem to own. Her tiny room has barely more than a bed and a chest for her clothes. There is my first painting of her on the wall, little more a sketch, but she was entranced, at seeing herself so. To the household she is a maid who looks after me and my studio,  though she is a literate, intelligent girl, city-bred from Gamla Stan but from a poor home, a widowed mother, her late father a drunkard.  These were my roots, my beginning, exactly. But her eyes already see a world beyond Sundborn. She covets postcards from my distant friends: in Paris, London, Jean in South America, and will arrange them on my writing desk, sometimes take them to her room at night to dream in the candlelight. I think this summer I shall paint her, at my desk, reading my cards, or perhaps writing her own. The window will be open and a morning breeze will make the flowers on the desk tremble.

Karin sleeps too, a desperate sleep born of too much work and thought and interruption. These days before Christmas put a strain on her usually calm disposition. The responsibilities of our home, our life, the constant visitors, they weigh upon her, and dispel her private time. Time in her studio seems impossible. I often catch her poised to disappear from a family coming-together. She is here, and then gone, as if by magic. With the older children home from their distant schools, and Suzanne arrived from England just yesterday morning, they all cannot do without lengthy conferences. They know better than disturb me. Why do you think there is a window set into my studio door? So, if I am at my easel there should be no knock to disturb. There is another reason, but that is between Karin and I.

This was once a summer-only house, but over the years we have made it our whole-year home. There was much attention given to making it snug and warm. My architect replaced all the windows and all the doors and there is this straw insulation between the walls. Now, as I open the curtains around my bed, I can see my breath float out into the cool air. When, later, I descend to my studio, the stove, damped down against the night, when opened and raddled will soon warm the space. I shall draw back the heavy drapes and open the wooden shutters onto the dark land outside. Only then I will stand before my current painting: *Brita and the Sleigh
.

Current!? I have been working on this painting intermittently for five years, and Brita is no longer the Brita of this picture, though I remember her then as yesterday. It is a picture of a winter journey for a six-year-old, only that journey is just across the yard to the washhouse. Snow, frost, birds gathered in the leafless trees, a sun dog in the sky, Brita pushing her empty sledge, wearing fur boots, Lisbeth’s old coat, and that black knitted hat made by old Anna. It is the nearest I have come to suggesting the outer landscape of this place. I bring it out every year at this time so I can check the light and the shadows against what I see now, not what I remember seeing then. But there will be a more pressing concern for me today, this shortest day.

Since my first thoughts for the final mural in my cycle for the Nationalmuseum I have always put this day aside, whatever I might be doing, wherever I may be. I pull out my first sketches, that book of imaginary tableaux filled in a day and a night in my tiny garden studio in Grez, thinking of home, of snow, the mid-winter, feeling the extraordinary power and shake of Adam of Bremen’s description of 10th C pre-Christian Uppsala, written to describe how barbaric and immoral were the practices and religion of the pagans, to defend the fragile position of the Christian church in Sweden at the time. But as I gaze at these rough beginnings made during those strange winter days in my rooms at the Hotel Chevilon, I feel myself that twenty-five year old discovering my artistic vision, abandoning oils for the flow and smudge of watercolour, and then, of course, Karin. We were part of the Swedish colony at Grez-sur-Loing. Karin lived with the ladies in Pension Laurent, but was every minute beside me until we found our own place, to be alone and be together, in a cupboard of a house by the river, in Marlotte.

Everyone who painted en-plein-air, writers, composers, they all flocked to Grez just south of Fontainebleau, to visit, sometimes to stay. I recall Strindberg writing to Karin after his first visit: It was as if there were no pronounced shadows, no hard lines, the air with its violet complexion is almost always misty; and I painting constantly, and against the style and medium of the time. How the French scoffed at my watercolours, but my work sold immediately in Stockholm. . . and Karin, tall, slim, Karin, my muse, my lover, my model, her boy-like figure lying naked (but for a hat) in the long grass outside my studio. We learned each other there, the technique of bodies in intimate closeness, the way of no words, the sharing of silent thoughts, together on those soft, damp winter days when our thoughts were of home, of Karin’s childhood home at Sundborn. I had no childhood thoughts I wanted to return to, but Karin, yes. That is why we are here now.

In Grez-sur-Loing, on a sullen December day, mist lying on the river, our garden dead to winter, we received a visitor, a Swedish writer and journalist travelling with a very young Italian, Mariano Fortuny, a painter living in Paris, and his mentor the Spaniard Egusquiza. There was a woman too who Karin took away, a Parisienne seamstress I think, Fortuny’s lover. Bayreuth and Wagner, Wagner, Wagner was all they could talk about. Of course Sweden has its own Nordic Mythology I ventured. But where is it? What is it? they cried, and there was laughter and more mulled wine, and then talk again of Wagner.

When the party left I realized there was something deep in my soul that had been woken by talk of the grandeur and scale of Wagner’s cocktail of German and Scandinavian myths and folk tales. For a day and night I sketched relentlessly, ransacking my memory for those old tales, drawing strong men and stalwart, flaxen-haired women in Nordic dress and ornament. But as a new day presented itself I closed my sketch book and let the matter drop until, years later, in a Stockholm bookshop I chanced upon a volume in Latin by Adam of Bremen, his Gesta Hammaburgensis Ecclesiae Pontificum, the most famous source to pagan ritual practice in Sweden. That cold winter afternoon in Grez returned to me and I felt, as I had then, something stir within me, something missing from my comfortable world of images of home and farm, family and the country life.

Back in Sundborn this little volume printed in the 18th C lay on my desk like a question mark without a sentence. My Latin was only sufficient to get a gist, but the gist was enough. Here was the story of the palace of Uppsala, the great centre of the pre-Christian pagan cults that brought us Odin and Freyr. I sought out our village priest Dag Sandahl, a good Lutheran but who regularly tagged Latin in his sermons. Yes, he knew the book, and from his study bookshelf brought down an even earlier copy than my own. And there and then we sat down together and read. After an hour I was impatient to be back in my studio and draw, draw these extraordinary images this text brought to life unbidden in my imagination. But I did not leave until I had persuaded Pastor Sandahl to agree to translate the Uppsala section of the Adam of Bremen’s book, and just before Christmas that year, on the day before the Shortest Day, he delivered his translation to my studio. He would not stay, but said I should read the passages about King Domalde and his sacrifice at the Winter Solstice. And so, on the day of the Winter Solstice, I did.

This people have a widely renowned sanctuary called Uppsala.

By this temple is a very large tree with extending branches. It is always green, both in winter and in summer. No one knows what kind of tree this is. There is also a spring there, where the heathens usually perform their sacrificial rites. They throw a live human being into the spring. If he does not resurface, the wishes of the people will come true.

The Temple is girdled by a chain of gold that hangs above the roof of the building and shines from afar, so that people may see it from a distance when they approach there. The sanctuary itself is situated on a plain, surrounded by mountains, so that the form a theatre.

It is not far from the town of Sigtuna. This sanctuary is completely covered with golden ornaments. There, people worship the carved idols of three gods: Thor, the most powerful of them, has his throne in the middle of the hall, on either side of him, Odin and Freyr have their seats. They have these functions: “Thor,” they say, “rules the air, he rules thunder and lightning, wind and rain, good weather and harvests. The other, Odin, he who rages, he rules the war and give courage to people in their battle against enemies. The third is Freyr, he offers to mortals lust and peace and happiness.” And his image they make with a very large phallus. Odin they present armed, the way we usually present Mars, while Thor with the scepter seems to resemble Jupiter. As gods they also worship some that have earlier been human. They give them immortality for the sake of their great deeds, as we may read in Vita sancti Ansgarii that they did with King Eirik.

For all these gods have particular persons who are to bring forward the sacrificial gifts of the people. If plague and famine threatens, they offer to the image of Thor, if the matter is about war, they offer to Odin, but if a wedding is to be celebrated, they offer to Freyr. And every ninth year in Uppsala a great religious ceremony is held that is common to people from all parts of Sweden.”
Snorri also relates how human sacrifice began in Uppsala, with the sacrifice of a king.

Domalde took the heritage after his father Visbur, and ruled over the land. As in his time there was great famine and distress, the Swedes made great offerings of sacrifice at Upsal. The first autumn they sacrificed oxen, but the succeeding season was not improved thereby. The following autumn they sacrificed men, but the succeeding year was rather worse. The third autumn, when the offer of sacrifices should begin, a great multitude of Swedes came to Upsal; and now the chiefs held consultations with each other, and all agreed that the times of scarcity were on account of their king Domalde, and they resolved to offer him for good seasons, and to assault and **** him, and sprinkle the stall of the gods with his blood. And they did so.


There it was, at the end of Adam of Bremen’s description of Uppsala, this description of King Domalde upon which my mural would be based. It is not difficult to imagine, or rather the event itself can be richly embroidered, as I have over the years made my painting so. Karin and I have the books of William Morris on our shelves and I see little difference between his fixation on the legends of the Arthur and the Grail. We are on the cusp here between the pagan and the Christian.  What was Christ’s Crucifixion but a self sacrifice: as God in man he could have saved himself but chose to die for Redemption’s sake. His blood was not scattered to the fields as was Domalde’s, but his body and blood remains a continuing symbol in our right of Communion.

I unroll the latest watercolour cartoon of my mural. It is almost the length of this studio. Later I will ask Greta to collect the other easels we have in the house and barn and then I shall view it properly. But for now, as it unrolls, my drama of the Winter Solstice comes alive. It begins on from the right with body of warriors, bronze shields and helmets, long shafted spears, all set against the side of Uppsala Temple and more distant frost-hoared trees. Then we see the King himself, standing on a sled hauled by temple slaves. He is naked as he removes the furs in which he has travelled, a circuit of the temple to display himself to his starving people. In the centre, back to the viewer, a priest-like figure in a red cloak, a dagger held for us to see behind his back. Facing him, in druidic white, a high priest holds above his head a gold pagan monstrance. To his left there are white cloaked players of long, straight horns, blue cloaked players of the curled horns, and guiding the shaft of the sled a grizzled shaman dressed in the skins and furs of animals. The final quarter of my one- day-to-be-a-mural unfolds to show the women of temple and palace writhing in gestures of grief and hysteria whilst their queen kneels prostate on the ground, her head to the earth, her ladies ***** behind her. Above them all stands the forever-green tree whose origin no one knows.

Greta has entered the studio in her practiced, silent way carrying coffee and rolls from the kitchen. She has seen Midvinterblot many times, but I sense her gaze of fascination, yet again, at the figure of the naked king. She remembers the model, the sailor who came to stay at Kartbacken three summers ago. He was like the harpooner Queequeg in Moby ****. A tattooed man who was to be seen swimming in Toftan Lake and walking bare-chested in our woods. A tall, well-muscled, almost silent man, whom I patiently courted to be my model for King Dolmade. I have a book of sketches of him striding purposefully through the trees, the tattooed lines on his shoulders and chest like deep cuts into his body. This striding figure I hid from the children for some time, but from Greta that was impossible. She whispered to me once that when she could not have my substantial chest against her she would imagine the sailor’s, imagine touching and following his tattooed lines. This way, she said, helped her have respite from those stirrings she would so often feel for me. My painting, she knew, had stirred her fellow maids Clara and Solveig. Surely you know this, she had said, in her resolute and direct city manner. I have to remember she is the age of my eldest, who too must hold such thoughts and feelings. Karin dislikes my sailor king and wishes I would not hide the face of his distraught queen.

Today the sunrise is at 9.0, just a half hour away, and it will set before 3.0pm. So, after this coffee I will put on my boots and fur coat, be well scarfed and hatted (as my son Pontus would say) and walk out onto my estate. I will walk east across the fields towards Spardasvvägen. The sky is already waiting for the sun, but waits without colour, hardly even a tinge of red one might expect.

I have given Greta her orders to collect every easel she can find so we can take Midvinterblot off the floor and see it in all its vivid colour and form. In February I shall begin again to persuade the Nationalmuseum to accept this work. We have a moratorium just now. I will not accept their reasoning that there is no historical premise for such a subject, that such a scene has no place in a public gallery. A suggestion has been made that the Historiska museet might house it. But I shall not think of this today.

Karin is here, her face at the studio window beckons entry. My Darling, yes, it is midwinter’s day and I am dressing to greet the solstice. I will dress, she says, to see Edgar who will be here in half an hour to discuss my designs for this new furniture. We will be lunching at noon. Know you are welcome. Suzanne is talking constantly of England, England, and of course Oxford, this place of dreaming spires and good looking boys. We touch hands and kiss. I sense the perfume of sleep, of her bed.

Outside I must walk quickly to be quite alone, quite apart from the house, in the fields, alone. It is on its way: this light that will bathe the snowed-over land and will be my promise of the year’s turn towards new life.

As I walk the drama of Midvinterblot unfolds in a confusion of noise, the weeping of women, the physical exertions of the temple slaves, the priests’ incantations, the riot of horns, and then suddenly, as I stand in this frozen field, there is silence. The sun rises. It stagge
To see images of the world of Sundborn and Carl Larrson (including Mitvinterblot) see http://www.clg.se/encarl.aspx
Karen Newell Aug 2014
I sew the seams of my life together.
The fingers of my Heart
busily stitching
the patterns of my Mind.
A wondrous patchwork quilt.
It lays upon me like a mantel
with a bridal train billowing along
in the wild Cosmic Wind.
A garment not quite complete.
i dreamed a rattlesnake was loose in the closet i heard it rattling i was afraid to open the door



a man suffering a toothache goes to see his dentist the dentist administers laughing gas when the man comes to his numb tongue swooshes around his mouth he asks how long was i under the dentist answers hours i needed to pull them all out



he imagines when he grows old there will be a pencil grown into one hand and a paintbrush grown into the other they will look like extra fingers grown out from the palms extensions of his personal evolution little children will be horrified when they see mommy mommy look at that man’s hands!



what if we are each presented with a complete picture of a puzzle from the very start then as our lives proceed the pieces begin showing up out of context sometimes recognizable other times a mystery some people are smarter more intuitive than others and are able to piece together the bigger picture some people never figure it out



i wasn’t thinking i didn’t know to think nobody taught me to think maybe my teachers tried but i didn’t get it i wasn’t thinking i was running reacting doing whatever i needed to survive when you’re trying to survive you move fast by instinct you don’t think you just act



many children are relieved when their parents die then they no longer need to explain prove themselves live up to their parent’s expectations yet all children need parents to approve foster mentor teach love



she was missing especially when her children needed her most she was busy lunching with girlfriends dinner dates beauty shop manicure masseuse appointments shopping seamstress fittings constant telephone gossiping criticizing she was too busy to notice she was missing more than anything she wanted to party show off her beauty to be the adored one the hostess with the mostest



i dreamed i was condemned to die by guillotine the executioner wore black and wielded an axe just in case the device failed in the dream the guillotine sliced shallow then the executioner went to work but he kept chopping unsuccessfully severing my head this went on for a long time



1954 Max Schwartzpilgrim sits at table in coffee shop on 5th floor of Maller’s Building elevated train loudly passes as he glances out window it is typical gloomy gray Chicago day he worries how he will find the money to pay off all his mounting debts he is over his head in debit thinks about taking out a hefty life insurance policy then cleverly killing himself but he cherishes his lovely wife Jenny his young children and social life sitting across table Ernie Cohen cracks crass joke Max laughs politely yet is in no mood to encourage his fingers work nervously mutely drumming on Formica table then stubbing out cigarette in glass ashtray lighting another with gold Dunhill lighter bitter tastes of coffee and cigarettes turns his stomach sour he raises his hand calling over Millie the waitress he flirtatiously smiles orders bowl of matzo ball soup with extra matzo ball Ernie says you can’t have enough big ***** for this world Max thinks about his son Odysseus



when Odysseus is very young Dad occasionally brings him to Schwartzpilgrim’s Jewelers Store on Saturday mornings Dad shows off his firstborn son like a prize possession lifting Odysseus in the air Dad takes him to golf range golf is not an interest for Odysseus Dad pushes him to learn proper swing Odysseus fumbles golf club and ***** he loves going anyway because he appreciates spending time with Dad once Dad and Odysseus take shower together Dad is so life-size muscular hairy Odysseus is so little Dad reaches touches Odysseus’s ******* feeling lone ******* Dad says we’ll correct that make it right Odysseus does not understand what Dad is talking about at finish Dad turns up cold water and shields Odysseus with his body he watches Dad dressing in mornings Dad is persnickety to last details of French cuff links silk handkerchief in breast pocket even Dad’s fingernails toenails are manicured buffed shiny clear



Odysseus’s left ******* does not descend into his ******* the adults in extended family routinely want to inspect the abnormality Mom shows them sometimes Dad grows agitated and leaves room it is embarrassing for Odysseus Daddy Lou’s brother Uncle Maury wants to check it out too often like he thinks he is a doctor Uncle Maury is an optometrist the pediatrician theorizes the tangled ******* is possibly the result of a hormone fertility drug Mom took to get pregnant the doctor injects Odysseus with a hormone shot then prescribes several medications to induce the ****** to drop nothing works eventually an inguinal hernia is diagnosed around the age of 9 Odysseus is operated on for a hernia and the ******* surgically moved down into his ******* the doctor says ******* is dead warning of propensity to cancer later in life his left ball is smaller than his right but it is more sensitive and needy he does not understand what the doctor means by “dead” Odysseus fears he will be made fun of he is self-conscious in locker room he does not comprehend for the rest of his life he will carry a diminutive *****



spokin alloud by readar in caulkknee axescent ello we’re Biggie an Smally tha 2 testicles whoooh liv in tha ******* of this felloh Odys Biggie is the soyze of a elthy chicken aegg and Smally is the size of a modest Bing cheery



one breast ****** points northeast the other smaller breast ****** points southwest she is frightened to reveal them to any man frightened to be exposed in woman’s locker room she is the most beautiful girl/woman he will ever know



Bayli Moutray is French/Irish 5’8” lean elongated with bowed legs knobby knees runner’s calves slim hips boy’s shoulders sleepy blue eyes light brown hair a barely discernable freckled birthmark on back of neck and small unequal ******* with puffy ******* pointing in different directions Laura an ex-girlfriend of Odysseus’s describes Bayli’s appearance as “a gangly bird screeching to be fed” Laura can be mean Odysseus thinks Bayli is the coolest girl in the world he is genuinely in love with her they have been sleeping together for nearly a year it is March 11 1974 Bayli’s birthday she turns 22 today Bayli is away with her family in Southeast Asia Odysseus understands what a great opportunity this is for her to learn about another culture he knows Bayli plans to meet up again with him in late summer or autumn in Chicago Dad wants Odysseus to follow in his footsteps and become a successful jewelry salesman he offers Odysseus a well-paying job driving leased Camaro across the Midwest servicing Dad’s established costume jewelry accounts Odysseus reasons it is a chance to squirrel away some cash until Bayli returns it is lonely on the road and awkward adjustment to be back in Chicago Odysseus made other plans after graduating from Hartford Art School he is going to be an important painter after numerous months and many Midwestern cities he begins to feel depressed he questions how Bayli can stay away for so long when he needs her so bad the Moutray’s send Mom and Dad a gift of elegant pewter candleholders made in Indonesia Mom accustomed to silver and gold excludes pewter to be put on display she instructs Teresa to place the candleholders away in a cabinet Mom also neglects to write a thank you note which is quite out of character for Mom Bayli’s father is a Navy Captain in the Pacific he is summoned to Norfolk Naval Station in Virginia the Moutray’s flight has a stopover in Chicago Bayli writes her parents want to meet Odysseus and his family Odysseus asks Dad to arrange his traveling itinerary around the Moutray’s visit Dad schedules Odysseus to service the Detroit and Michigan territory against Odysseus’s pleas Odysseus is living with his sister Penelope on Briar Street it is the only address Bayli’s parents know Odysseus has no way to reach them when the Moutray’s arrive at the door Penelope does not know what to tell them Mom and Dad are not interested in meeting Bayli’s parents it is not the first sign of dissatisfaction or disinterest Mom and Dad convey regarding Bayli Odysseus does not understand why his parents do not like her is it because Bayli is not Jewish is that the sole reason Mom and Dad do not approve of her Odysseus believes he needs his parent’s support he knows he is not like them and will likely never adopt their standards yet he values their consent they are his parents and he honors Mom and Dad let’s take a step back for a moment to get a different perspective a more serious matter is Odysseus’s financial dependency on his parents does a commitment to Bayli threaten the sheltered world his parent’s provide him is it merely money binding him to them why else is he so powerless to his parent’s control outwardly he appears a wild child yet inwardly he is somewhat timid is he cowardly is he unsure of Bayli’s strength and sustainability is that why he let’s Bayli go whatever the reason Dad’s and Mom’s pressure and influence are strong enough to sway his judgment he goes along with their authority losing Bayli is the greatest mistake of Odysseus’s life



he dreams Bayli and he are at a Bob Dylan concert they are hidden in the back of the theater in a dark hall they can hear the band playing Dylan’s voice singing and the echoes of the mesmerized audience Odysseus is ******* Bayli’s body against a wall she is quietly moaning his hand is inside her jeans feeling her wetness rubbing fingers between her legs after the show they hang around an empty lot filled with broken bottles loose bricks they run into Dylan all 3 are laughing and dancing down the sidewalk Dylan is incredibly playful and engaging he says he needs to run an errand not wanting to leave his company Odysseus and Bayli follow along they arrive at an old hospital building it is dark and dingy inside there is a large room filled with medical beds and water tanks housing unspeakably disfigured people swarming intravenous tubes attach the patients to oxygen equipment feed bags and monitoring machines Dylan moves between each victim like a compassionate ambassador Odysseus is freaking out the infirmary is too horrible to imagine he shields his eyes wanders away losing Bayli searching running frantically for a way out he wakes shivering and sweating the pillow is wet sheets twisted he gets up from the bed stares out window into the dark night he wonders where he lost Bayli



these winds of change let them come sailor home from sea hunter home from hill he who can create the worst terror is the greatest warrior
Eva Encarnacion Apr 2012
We each have loose strings we'd like to mend
But we don't have the right touch to make them bend
The thread I have doesn't match up to you
After all the strain we've both been through
The chance we had for us to learn
Was a missed opportunity for which I yearn
Our thread has unwound and become tired and tattered
And I can no longer recall a time when this wasn't that matter
After tying us in countless knots
Don't you feel it's time to stop?
From our choices it's too hard to choose
Try again, or cut and lose.

(Feb 13, 2012)
LittleFreeBird Mar 2017
Fate stitched us together
Love sewed us a pattern
Every bit of me is
Threaded through you
Darling we are patch work
Cross stitched across boarders
Time has hemmed us to perfection
And we are
A master piece
I'm watching you sleep right now, you look so peaceful that I didn't want to wake you to tell you I love you. So I'm telling you here, I love you.
Is it bad,
I can't recall when last
I have slept?
No not the time
but the act.

Now.
The days seem
to run seamlessly together
like undeveloped film.
Held at their endings,
by my fractured mind;
overworked by emotions
and pain.
( This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. )
Maddie Renee Oct 2014
My mother is my seamstress,
lapping around a genetic retail store,
she had 23 chromosomes to spend.
Knitting freedom’s peach fuzz fabric over the inseam of  muscles,
cross stitching stereotypes of blonde thread into the pores of a rounded scalp,
hot-gluing  privilege into blue eyes,
kneading the molds of a thigh gap between legs of the race that would shame its way to superiority.
I am white.
My mother was my seamstress,
she made sure the licks of discrimination didn’t scar my back.
Neville Johnson Jan 2019
Sue Venir loved Hugh Biquitous, but he was unreliable, so she confided this to her friend, Di Namic who confirmed he’d been seen with Penny Farthing and Miss Chevous. Then she ran into Ken Tucky, who’d just broken up with Jen Erator, and was known to hang with Mel N. Choly. Together, they and Dan Ube went to a party thrown by Perry Winkle at the house of Dana Point.

Con Valescence introduced Sue to Marine Layer who asked Mr. Tucky to join the conversation, and they’ve been conversing ever since. Lou Kemia couldn’t make the party as he was ill. This was confirmed by Nick Knack who’d been informed by Conrad Alert.

Penny Saver left early, heading over to the home of I. Stan Bul, who was throwing a celebration in honor of Hazel Nuts and Grant N. Aid, who were to be married by Will Power, though Miss Givings, his former girlfriend, did not approve. Celebrants included Buzz Saw, Ma Larkey, Ben E. Diction, ***** Pack and of course Ann I. Versary, who deemed it worthy of being remembered. Tom Foolery was always good for a laugh, which was appreciated by Art I. Face, Dee Vice and Tess Osterone.

Some chose to dine alfresco, notably Flora Fauna, Heidi **, and Ed U. Cate. Barb Ituate was a downer, though Ma Larkey tried to cheer her up, watched by Cliff Hanger who wanted to see what happened, until a dispute arose between Ana Conda and Ann Ticipation, who’d both been vying for the attention of Billy Goat.

Meanwhile, in another part of town, Terry Dactyl was in a dispute with Billy Club over Lilly White because of something Miss Conception had reported after hearing from that duo, Caesar Salad and Reuben Sandwich.

Junior Mints tried to mollify the situation with sugary statements, but was interrupted by Yuri Nal, who said he had to go, and then left with Jay Walking and they were off to congregate with Diane Tomeetya.

At the next table General Jive held court in a warlike mood,  that Cary Cature tried to lighten.  With them were Tex Arcana, whose accent was amusing to Bill Collector, Al Gorythm, Tim Buktu and Marv E. Lous, who always had a great time wherever he went.

By then, Bobby Pin, the luscious seamstress, had given up on Peter D. Out, after seeing him clowning around with Butch Wax and Slim N. None, all of them malcontents and disrupters.

In walked Daisy Chain, newly arrived  from the Southern Hemisphere, along with Sydney Australia. Klaus Trophobic had initially agreed to travel with the two of them, but said he had to stay at home. Frank O’Phile overhead this and confided to Phil O’Sophically that there is sometimes merit to such position.

The restaurant was owned by Ty ****, managed by Chuck Wagon, with the food delivered by waiters Clay *** and Terry Aki , assisted by busboyTara Misou.

The next morning, everyone gathered at the home of Dawn Patrol, who was there with her new husband, Earnest Money, after divorcing Perry Mutual. Deb Enture was her maid of honor.  Nick O’Time was nearly late to the party, driving in with Stu Debaker, via a shaky Uber driver named Manuel Shifting.

Al Acrity was his usual sunny self, but not when Den O’Thieves interrupted his conversation, which was shut down by Kay O.

Sherman Oaks and Van Nuys were late, having gotten mixed up on the location. Cliff Hanger was worried about the falling stock market, and as a result was getting drunk with Jack Daniels. Stan Dup was his usually assertive self, but was overshadowed by the always munificent Cy Pres.

Claude Hopper was dressed in yesterdays’ styles, but that didn’t matter to Dov Tail who  was going into business with Matt Chabox, known for his incendiary personality. They had two other partners to round the group out, **** Ular and Ben E. Fit.

Gar Gantuan loomed large, and was unstable when paired with Mo Mentum, who said in such situations, they needed to involve Otto Matic.

Terry Cloth was wrapped around Jan U. Ary, ogled by Barbie Queue and Coleman Lantern.
SøułSurvivør Mar 2014
The morning sky waits
A skein of taffeta silk
Sewn to velvet hill.


Soul Survivor
Catherine Jarvis
(C) March 26, 2014
GOOD MORNING!
little bear Sep 2014
The bolt of lightening  touches the ground,
gently
quickly
sewing the world together again
with its static thread and mechanistic jut from the skies.

i think mother nature is trying to hold her pieces together,
even when everyone knows she's falling apart.
Kelly Roland Jun 2014
shes got every color woven into her soul
the depths she can go, with her eyes
are untold. one moment shes bright, the next she is cold
shes just as much silver as she is gold
her needles are small, and some of them thin, but shes got a few as well
that hurt going in
shes pain-free but carries the pains of the world in the cushion of her heart, where the pins call home.
shell mend any soul, corrupted or blessed
she doesnt care, if youre poor or well dressed, she goes without rest, always a next, to serve
i always felt but never knew, in totality
this work that she does
i remember once she tried to construe, an image for me,
"I'm a chameleon"' she said, "It's what I do"
right then i knew, how deep her workings went. shell hold your hand and follow you to hell, just to bring you to heaven
shecame into my dream, i ran for her my soul screaming, for her embrace
i found you
without needing to look
i burried my face. in your soft brown hair. people were staring, but with smiles in their eyes.
i hugged you SO tight
we fell to the floor, collapsing into our laughter
you looked at me, with that shade  of your eyes, i know is only for me , you saw my tattered dress, you tightened the seams,
and told me I was beautiful...
and for thefirst time ever,
i believe
Random Beauty Mar 2014
This morning as I walked along the lakeshore,
I fell in love with a wren
and later in the day with a mouse
the cat had dropped under the dining room table.

In the shadows of an autumn evening,
I fell for a seamstress
still at her machine in the tailor’s window,
and later for a bowl of broth,
steam rising like smoke from a naval battle.

This is the best kind of love, I thought,
without recompense, without gifts,
or unkind words, without suspicion,
or silence on the telephone.

The love of the chestnut,
the jazz cap and one hand on the wheel.

No lust, no slam of the door –
the love of the miniature orange tree,
the clean white shirt, the hot evening shower,
the highway that cuts across Florida.

No waiting, no huffiness, or rancor –
just a twinge every now and then

for the wren who had built her nest
on a low branch overhanging the water
and for the dead mouse,
still dressed in its light brown suit.

But my heart is always propped up
in a field on its tripod,
ready for the next arrow.

After I carried the mouse by the tail
to a pile of leaves in the woods,
I found myself standing at the bathroom sink
gazing down affectionately at the soap,

so patient and soluble,
so at home in its pale green soap dish.
I could feel myself falling again
as I felt its turning in my wet hands
and caught the scent of lavender and stone.
Billy Collins is a former Poet Laureate of the United States and author of this poem. "Aimless Love" is also the title of his recently released book, a collection of new and selected poems.
The swallow of summer, she toils all the summer,
A blue-dark knot of glittering voltage,
A whiplash swimmer, a fish of the air.
          But the serpent of cars that crawls through the dust
          In shimmering exhaust
          Searching to slake
          Its fever in ocean
          Will play and be idle or else it will bust.

The swallow of summer, the barbed harpoon,
She flings from the furnace, a rainbow of purples,
Dips her glow in the pond and is perfect.
          But the serpent of cars that collapsed on the beach
          Disgorges its organs
          A scamper of colours
          Which roll like tomatoes
          **** as tomatoes
          With sand in their creases
          To cringe in the sparkle of rollers and screech.

The swallow of summer, the seamstress of summer,
She scissors the blue into shapes and she sews it,
She draws a long thread and she knots it at the corners.
          But the holiday people
          Are laid out like wounded
          Flat as in ovens
          Roasting and basting
          With faces of torment as space burns them blue
          Their heads are transistors
          Their teeth grit on sand grains
          Their lost kids are squalling
          While man-eating flies
          Jab electric shock needles but what can they do?

They can climb in their cars with raw bodies, raw faces
          And start up the serpent
          And headache it homeward
          A car full of squabbles
          And sobbing and stickiness
          With sand in their crannies
          Inhaling petroleum
          That pours from the foxgloves
          While the evening swallow
The swallow of summer, cartwheeling through crimson,
Touches the honey-slow river and turning
Returns to the hand stretched from under the eaves -
A boomerang of rejoicing shadow.
Margaryta Jun 2014
At 5 I was convinced I was
a flower
whose vocation was imitating
their final hysterical
wail
once Winter awoke from its
anorexia.

I pleaded my case with
a botanist
whose seamstress wife consented to stitch
a tutu of Kadupul
flowers,
like a fairy godmother warning of their death at
dawn.

At 16 I finally danced
their goodbye,
petals whisked off as if molted
layers of skin
and only when at the end I stood naked
did the concept of death have
definition.
Lost Left Shoe Jan 2014
My heart was pieced together like a patchwork
Just like the rest of me
Made from parts of ticking time-bombs
Stitched and stapled together in a mass of voracious viscosity
Violently vilifying the way
The thread streams me seamlessly
from one person to the next
Each feeling they will be the center-ring circus master
Until they realize
The sewing needle is simply passing through their square

The seamstress ran out of string with me
Resulting in relapse burlap fistfights along the edges
Left me searching for salvation each time
The bells chimed to open the day
Left me in the company of
Misshapen shadows hidden along broken back hallways
Back-and-forth handshakes to make sure
The other was still there

Night after night, staring at your creation in the window
But not during the day because monsters like the dark
It’s not that it’s easier to sneak and scare
I just know the faces of disgust and terror
And I don’t need that right now
When that’s the same face I want to rip from the mirror

That night should have been stormy
For all the things that I did
To your masterpiece
Pulling at strands like they were nooses around my neck
Each time like removing an iron bar from my cage
Until the burlap sack flew apart flapping like vultures
Leaving nothing but the sheep in scarecrow’s clothing
Unraveling my sense of time until the clock struck
3 times an echo

Once for the creation of your abhorrent abomination
Twice for your meticulous sense of the grotesque
And three times for putting a soul you saw unhappy
Into a prison so much worse


When I was on your bench
My words came choppily and broken
Because I couldn't finish a sentence
Without second guessing everything
Waiting for a punishment after every word
So I wouldn't interrupt
The beginning of your sentence
With the middle of mine

You put my heart together piece by piece
Cross-stitching over the years of my childhood
Connecting a pair of glasses with a two-tone sense of humor
Building a bridge between arms wide open and a shotgun blast
But now the words flow fluidly
Because now my thoughts are seamless
Put together skillfully like a seamstress’s caress
No more anticipating the end before the beginning
Now that I've come full circle
KM Ramsey Feb 2016
i want to sew myself into you

black wire stitches to close the
gaping hole and
ragged edges of my fragmented self
held together tenuously by
crocodile ocean tears and
a bloodlust that is the only drive
keeping me alive

but you

you are somehow whole
a sweating glass of full fat milk
a body that is not
fragmented
a mind that hasn't been
shattered and the minute shards
ground into an irreconcilable dust
scattered to the wind
and how could you not be
ripped to shreds when
a hurricane fueled tornado
ripped your world apart one day
and cracked the looking glass
through which you saw the world

perhaps you are as self-deceiving as i am
maybe you have an even darker
wool pulled over your eyes
a piston to continually
push down
and errant emotion that
threatens to remind you
of that nameless pain
or shame
an inky black spot i would
rub out of you if i could
if you'd let me

i want you to sew me into your broken places

those crumbling cliff faces
bowing to the persistence of ocean waves
those places where you feel yourself
growing thin
threadbare hidden places that you
lead me away from
because why would you lash out
like a cornered animal when
i inadvertently touch on that
raw nerve which you
tried to ignore but the
wound just festered and now
leaks a pus and
emanates a stench of your
fear
trust issues

how can two broken pieces
from different people
fit together and make one
coherent functioning unit

i want to sew myself into you so you might trust me
like you trust your own self

but maybe you don't even trust him
that uninhibited man who lives
at the core of your being and
transcends all the pain and hurt
and is a perfect mirror image of the
man you were before she
cut out your tongue and
blinded you

i've let you see the
emptiness
the grand canyon that gapes
and yawns open
in the center of my being
with the gravitational pull of
a black hole with the entire universe in its
orbit
but you're like the stopper for
a bath tub and you
fit perfectly into that void

if you'd only let me stitch the edges closed
to a soft pink sensationless seam
a roadmap memory of
where we came from
and couldn't it be a scar that
reminds us of how we came together
reminds us of growth
of a vibrant returning spring even in
the bitter cold winter
we both escaped

and your eyes were the headlights
on the front of a screaming
ambulance that brought me
broken and bleeding to
the emergency room
and your face was the one of
a meticulous doctor
frowning on my damage but
methodically sewing me closed
to keep my entire self from
spilling out

i want to sew myself into your heart
just so that i know
you'll be just as torn
just as wounded
just as broken
when i watch you walk away
into the blinding sunrise
of a new day.
letters to you i'll never send
One4u2nv Dec 2012
How do you feel about this and that?

A cockroach stealing your children's dreams of a bright and peaceful future?

Watching a mongoloid getting backhanded by a ******* with a heart of gold?

The unknowable can't be evacuated by an atomic bomb.

Knowledge cannot be enthralled by microbiology.

Peace CAN & WILL shatter into fragments by the use of clinical drugs.

Fun finds the cure for cancer in a twisted upbringing that you and your siblings will never be blessed to experience.

Trust can trigger an avalanche of facts, AND satanism should generally avoid including sexuality.

Mary Magdalene turns boring things into ****** tension like peace inspires fundamentally skewered acts of protests.

Our world leaders briefly researching painful mutilations in an ancient garden in Greece, while suggestively grabbing handfuls of lost gifts in a church made from human bones.

How are you feeling about this mess of words I've sewn together?  

Televised revolutions are deeply advertising etched foreskins of death like Disney World sells us dates with Mickey Mouse and his muse Minnie as Donald poses as Adolf ******.   

Watch your friends fade and die as they disobediently blow away blue swamps at your feet, never even bothering you with a decent goodbye.  

There's a supply and demand on our radios briefly warning us of fearful flesh in the background of a dark ash filled sky, gently driving away from mysteries spied through a peephole.

I would have cried briefly, if worshiping premonitions in the shadows was good human behavior...But it's not..

Your sisters are daintily self-destructing emergency shelters dancing w/ both hands in your pockets while vomiting their lunches into fine porcelain. Aren't we lucky?

I am happily reusing substances
and creating electrifying populations with clay and words. A seamstress of sorts I suppose.  But I'm no artist.

Pentecostalism might be able to rid the world of a nightmare and your wildest dream might have been known to lead to a disorder that hasn't yet been but already has five matter of fact cures.

The Bible courses through the veins of vengeance like physics can be used to detect our long-term relationship with Santa Christ. Satan and I think this is exciting!

Complex religious designs can be combined with gracelessness in the name of American eye-candy.  We can be uncomfortable if it's entangled with destiny. Of this I am certain.

— The End —